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Cultivating the Civil and Mastering the Martial: The Yin and Yang of Taijiquan Copyright © 2016 Andrew Townsend All rights reserved. No part of this book may be reproduced by any means, graphic, electronic, or mechanical including photocopying, recording, taping, or by any information storage retrieval system without the express permission of the author except in the case of brief quotations embedded in critical articles and reviews. ISBN-13: 978-1523258536 ISBN-10:1523258535

For my teacher and friend, Dr. Jesse Tsao. Thank you for sharing your knowledge, wisdom, and experience with me and all of your students. You are a true inspiration for all practitioners of taijiquan.

Contents Preface Acknowledgements Introduction Chapter One – The Theoretical Foundation of Tajiiquan Chapter Two – Taijiquan and Taosim Chapter Three – Song – The First Principle Chapter Four – Stretching Exercises Chapter Five – Loosening and Silk-Reeling Exercises Chapter Six – Zhan Zhuang Standing to Enhance Root Chapter Seven – The Principles and Practive of Qi Cultivation Chapter Eight – The Principles and Practive of Qi Circultation Chapter Nine – The Fundamental Principles of Taijiquan Chapter Ten – The Individual Postures of Taijiquan Chapter Eleven – Understanding and Training Defensive Jin Chapter Twelve – Understanding and Training Offensive Jin Chapter Thirteen – The Principles and Practice of Pushing Hands Chapter Fourteen – The Martial Applications of Taijiquan Chapter Fifteen – The Principles and Practive of the Taiji Jian Chapter Sixteen – The Principles and Practive of the Taiji Dao Chapter Seventeen – Taijiquan as a Spiritual Practice Chapter Eighteen – Taoist Alchemy and the San Pao Bibliography

Preface

Hundreds of books have been written on the subject of taijiquan. Many of these books are excellent in content and provide essential information for any serious student of the art. Some were written by members of the original Chinese families responsible for developing and promoting the art and others by their close disciples. Still others have been written by serious taijiquan scholars. The bibliography that accompanies this book provides a comprehensive selection of these books. Given the plethora of excellent books on the subject, one might question the necessity of yet another book. The motivation for this book arose from my many years of experience in the taijiquan community. Sadly, my experience has been that most of the teachers and students with whom I have had contact do not embody the true essence of the art. The unique contribution of this book is to foster an understanding of the vital core of the art taijiquan. Many Occidental teachers teach the form and talk about concepts such as song, qi, the dantien, and the balance of yin and yang. However, in most cases their understanding of these important principles is conceptual rather than experiential. If teachers don’t embody these important qualities, how can their students ever hope to incorporate these principles and qualities into their own practice? The current state of affairs is that most Occidental teachers (and many Chinese teachers as well) spend a limited time studying with this or that “master” and then establish themselves as teachers in their own right. It is now possible to attend a week-long or even a weekend workshop where one can become certified as a taijiquan instructor. These so-called teachers may know the form and may have a passing familiarity with the underlying principles of taijiquan, but they have not invested the time and effort (gongfu) necessary to develop a deep

understanding of taijiquan and, more importantly, to embody the essence of the art in their own practice. In this way, the true art of taijiquan has become diluted to the point that very few people practice the art correctly. Without proper instruction and guidance, the general level of taijiquan that one encounters today is of a very low caliber. This is true in both empty-hand forms and weapons forms and also in pushing hands. You only need attend a local or even a national Chinese martial arts competition to see how diminished both the form and pushing hands have become. Gold medalists perform the form with little or no regard for the underlying principles established by the originators of the art: their knees extend forward past their toes; their heads move one way while their torso moves another; they bob up and down like buoys in a choppy sea; and nowhere is seen the movement of qi or the underlying expression of jin. As if the form competitions aren’t bad enough, just walk over to the area set aside for pushing hands competition. There you will see the participants shoving and grappling like junior varsity wrestlers, sweat popping out on their foreheads and staining their shirts. The idea of four ounces deflecting a thousand pounds flies out the window at the first contact between the two participants. The principle of yielding oneself to follow the other is nowhere to be found. The first player to shove the other out of the circle wins; that’s all there is to it. The root cause of this dilution of the art is the manner in which taijiquan is taught today. The reality is that the true essence of any style taijiquan cannot be conveyed in a classroom setting. Even a high-level taijiquan master cannot transmit the essential knowledge of his art to a large group of students. The reasons for this are varied. First, the instruction must be tailored to each individual student depending upon his or her ability and level of development. Second, not all students are worthy of receiving the essence and true transmissions of the art. The old expression, “casting pearls before swine,” is apropos here. Lastly, true qi circulation and jin power must be demonstrated and subsequently transmitted directly from master to disciple. This clearly cannot be accomplished in a group setting, even if the students are all adept and open to receiving this transmission. Even highly-developed teachers with a direct lineage relationship to one of the original taijiquan families can only transmit the full extent of their

knowledge and skill to a very limited number of close disciples. This special relationship with their masters establishes such disciples as “indoor” or “inner courtyard” students. This term is bestowed upon them because they have been invited into the home or the courtyard of their teacher for private and sometimes secret instruction. Such special status is often limited to family members or trusted individuals close to the family. It is very rare for a Westerner to be accepted as an indoor student. I have been fortunate to have studied with a number of excellent Western and Chinese teachers. Of all these excellent teachers, however, two individuals have had the most profound impact on my understanding and practice of taijiquan. They are Master James Huang of Honolulu and Grand Master Jesse Tsao of San Diego. Each, in his own way, has provided me with the general understanding and insights as well as specific instruction and guidance that can only come from a personal relationship. I had the great fortune to meet and study with Master Huang more than twenty years ago. At that time he was not offering formal classes in taijiquan. Instead, he was a well-respected practitioner of traditional Chinese medicine and gained his livelihood from treating his many patients, a practice which he continues to this day. Master Huang studied with one of Professor Cheng Man-ch’ings indoor students in Taiwan. He subsequently moved to Honolulu, where he continues to practice and teach the Cheng Man-ch’ing 37 posture form, which emphasizes relaxation and qi circulation. Master Huang’s cultivation of qi and skill in pushing hands is of a very high level. At that time, I had not experienced anything that compared with Master Huang’s skill and depth of understanding of the underlying principles of taijiquan. During that period of my life I was split between living in San Diego and Oahu. I had been working with a Chinese Wu style taijiquan master in Honolulu whenever I was on the island. He mentioned that, as a student of Yang style taijiquan, I would benefit greatly from studying with Master Huang. He suggested that I introduce myself to Master Huang and see if he would allow me to study with him privately. I met Master Huang in a local park where he practiced his taijiquan on Saturday mornings. When he had finished doing his two rounds of the form, I introduced myself, and he asked me to do the form. I began the opening movement and transitioned into Ward-off Left. In less than a thirty seconds

he asked me to stop. He made a “tsk”ing sound three times and then said, “Your taiji is no good.” This was very unsettling for me, and I thought at first that Master Huang had dismissed me out of hand. However, Master Huang went on to say that it was clear that I was a diligent student and that my taijiquan could be improved. He informed me that he would accept me as his student and that he would teach me, as he called it, the “true taiji.” Thus began the most intensive training of my career as a taijiquan student. I met privately with Master Huang three times a week as well as on Saturday mornings, when other individuals would gather to follow silently and respectfully along with Master Huang. When I was not working directly with Master Huang, I practiced on my own, incorporating his daily lessons into my form. Master Huang instructed me to practice two hours daily to reverse the destructive effects of my other passion: surfing. He cautioned me at the beginning of my study with him that surfing was “not good for taiji.” I pleaded with Master Huang to allow me to continue surfing, as it was as important to me as my taijiquan practice. In his simple but pragmatic way, Master Huang reached a compromise: “One hour surfing; two hours taiji.” In our private sessions, Master Huang corrected my form, posture by posture. For each posture, he laid his hands on my body, tracing the pathway of the qi as it was supposed to travel through the various meridians. I could literally feel his qi flowing up my legs, across my back, over my shoulders, and down my arms and into my fingers. He explained to me that only by transmitting his qi into my body would I know what the proper flow of qi felt like. Then I could begin working on mobilizing my own qi along those same pathways. When Master Huang and I would study together in the various parks around Honolulu, we would sometimes observe other groups of taijiquan students working with their teachers. Master Huang was invariably dismissive of these teachers and their students. He would make his now-familiar “tsk”ing sound and say “Not true taijii.” I remember once, in particular, we watched a beautiful Chinese woman dressed in traditional flowing white garments leading her students through some taijiquan form practice. Her movements were lovely, graceful, and very

fluid. Master Huang, however, had only this to say: “Not taijii. Dancing.” To Master Huang, this was the worst type of criticism. Anything that lacked the true essence and spirit of taijiquan was, to him, nothing more than dancing. Whenever Master Huang referred to someone's taijiquan as “dancing,” he meant that their form was strictly external. It lacked the qualities of song and rootedness. Most importantly, there was no inner movement of qi. Without these internal qualities, which are the essence of true taijiquan, their form was empty. Such performances were simply that, performances devoid of substance, merely dancing to the strains of some unheard music. This type of taijiquan was not to be regarded in the same light as the transcendent art he was conveying to me. The most important lesson that I learned from Master Huang is that, as students of taijiquan, we are also students of Taiji. This lesson was imparted to me on a specific occasion and made an impression upon me that has permeated every aspect of my life. Master Huang and I would normally meet in the mornings to practice taijiquan and pushing hands in a small park before he attended to his patients. Often, after practicing the form and playing pushing hands, we would sit on a bench under a shady tree and meditate for a while. One morning after meditating, Master Huang noticed a neighborhood cat slowly and silently approaching a bird that was perched in one of the lower branches of a nearby tree. The cat moved with such precision and grace that it reminded me of a leopard stalking an antelope. Master Huang turned to me and said, “Look at that cat. It is doing taiji.” We both watched the cat and marveled at how it moved, advancing with “cat steps” just like Master Huang had taught me to advance in the form. Eventually the bird became aware of the cat’s intentions, ruffled its feathers, and flew off squawking indignantly. The formerly-stalking feline transformed itself back into a simple house cat and sauntered off nonchalantly. Master Huang then looked at me and made a pronouncement that I will remember for the rest of my life. He said simply, “Everything is Taiji.” We sat together for a few moments with this weighty statement settling into the silence. Then Master Huang spoke again, “Everything is Taiji.” At this time I had been studying with Master Huang for several months, and I had come to realize that when he repeated himself, which was not often, it indicated that I was to pay special attention to what he had said or had shown me. In this

particular instance he made no further comment. In order to convey the significance of this deceptively simple statement, I need to digress from my story and clarify the difference between Taiji and the martial art of taijiquan. According to ancient Chinese philosophy, Taiji is born out of the formless void when it begins to move and divides into heaven and earth. Heaven and earth possess the characteristics of yang and yin respectively and are the progenitors of “the ten thousand things,” which is to say all of creation. Taiji also includes the underlying principles from which the laws of nature are derived. As such, Taiji governs the natural universe. In the world view of the ancient Chinese philosophers, humankind occupies a unique position between heaven and earth. According to Taiji theory, humans are also governed by the principles of Taiji. By formulating an overarching explanation of both the natural world and society, Taiji theory provides us with a complete and comprehensive perspective on life and the cosmos. Taiji theory represented to the ancients what the Big Bang theory, combined with Universal Field theory, is to modern-day physicists. As its name implies, the martial art of taijiquan is based upon the principles of Taiji. The Chinese character for quan is usually translated as “fist” and may be more generally interpreted as “fighting style.” So, taijiquan is the fighting style based upon Taiji, the Supreme Ultimate, and may thus be translated as “supreme ultimate fighting style.” Returning to the words of Master Huang, whenever Master Huang used the words, “taiji,” he was referring to our art, taijiquan. The entire time we spent together he never used the art’s full name, “taijiquan.” This is common in the world of martial arts, where “taiji” is recognized to mean “taijiquan.” At the time when Master Huang made his simple statement “Everything is Taiji,” I assumed he was referring to the martial art that he was teaching me. As time has passed, however, and as I have gained both wisdom and a broader perspective, I now believe that Master Huang was, in fact, referring to Taiji. This is why I capitalize “Taiji” in the statement, “Everything is Taiji.” For me, everything is, indeed, Taiji. The martial art of taijiquan, while extremely important in my life, is secondary to the study of Taiji, which is the Tao, or way, of my life. Over the ensuing years, I have found Master Huang’s simple statement,

“Everything is Taiji,” to be the catch-phrase of my life. I have striven to incorporate his words into my daily practice. This underlying concept has guided my studies in Taoism, taijiquan, and qigong. More importantly, this insight has provided me with a foundation for living my life, observing and respecting nature, and interacting with family, friends, students, co-workers, and the people with whom I come into contact on a daily basis. It is evident to me that any student of taijiquan must also study the Tao and in so doing must, by virtue of the sincere practice of this art, reach the obvious conclusion that “Everything is Taiji.” As Taoists, we must recognize that, ultimately, nature and the cosmos are neither benign nor malignant. The universe follows a natural order, and that order is governed by Taiji. Studying nature and observing the natural order with an open mind is an excellent way to understand Taiji. Recognizing the influence of Taiji in all natural phenomena enables one to accept with equanimity both good fortune and calamity, abundance and scarcity, youth and old age, living and dying. The natural world can teach us many of the lessons we need to learn in order to live in harmony and balance. For this reason, it is highly beneficial to live in an environment where nature can be observed on a daily basis. Ideally, one should live in the mountains, by a lake or a river, or by the ocean. The presence of clean air and the influence of water are highly beneficial to our physical, mental, and spiritual well-being. The opportunities for enjoying nature are plentiful if you are motivated to take advantage of them. Engaging in outdoor activities is both healthful and life-renewing. However, as students of taijiquan, we should learn to observe nature from the perspective of yin and yang, heaven and earth, strength and weakness, fullness and waning. Everything in nature teaches us about Taiji. Open your eyes and open your mind. You will see that, truly, “Everything is Taiji.” Once you perceive that “Everything is Taiji,” you will naturally begin to incorporate the principles of Taiji into your daily taijiquan practice. With this realization, you will find yourself effortlessly seeking a balance between yin and yang, empty and full, advance and retreat, movement and stillness. The ultimate goal of our martial art is the embodiment of the principles of Taiji in our practice. As we practice the form, pushing hands, or standing meditation, we should strive to practice not only taijiquan, but also Taiji, the Supreme

Ultimate. Since studying with Master Huang some twenty years ago, I have dedicated myself to the study and practice of what he called “the true taiji.” I have endeavored to live up to his teaching and also to the teaching of all the original taijiquan masters and their disciples. Over the years I have learned much and have had to correct many mistakes along the way. As mentioned previously, I have also had the great fortune to have studied with a number of excellent and accomplished teachers, especially Grandmaster Jesse Tsao, who has been my teacher for the past thirteen years. When I began my studies with Grandmaster Tsao, I expanded my study of the art to include the Chen, Wu (Chian-chuan), and Sun styles of taijiquan. Whereas Master Huang taught me the essence of taijiquan, Grandmaster Tsao taught me the practical, hands-on applications of the postures as well as the footwork and strategies for employing those postures in actual combat. What I initially learned from Dr. Tsao was the self-defense side of the art, its martial aspect. Interestingly, with the passage of time, Dr. Tsao has begun to emphasize more and more the internal aspect of taijiquan and its relationship to the Tao, which represents the civil aspect of the art. Taken together, the civil and the martial components of taijiquan comprise a unique and complete system of personal cultivation and martial skill that have earned this art the deserved title of “supreme ultimate fighting style.” It is the premise of this book, based upon the inspiration of Dr. Tsao’s teaching, that only when practitioners combine both the civil and the martial aspects of the art can they truly understand the sublime art of taijiquan. More than any other teacher I have met, Dr. Tsao embodies the true spirit of taijiquan. His knowledge of the art is encyclopedic. There are few individuals who have mastered multiple family styles of taijiquan. Dr. Tsao is able to effortlessly switch from one style of taijiquan to another and from one weapon to another. He expresses the underlying distinct characteristic of whichever style of taijiquan or weapon he is practicing at that moment. As a designated Grandmaster of the Chen style of taijiquan, which is the original style of taijiquan, Dr. Tsao is able to integrate the basic principles and concepts of taijiquan that underlie all family styles of taijiquan. It is this integrated understanding of these underlying principles that Dr. Tsao is able to convey to all his students, no matter what style of taijiquan they practice.

In essence, Dr. Tsao presents what in physics would be considered to be a Unified Field theory of taijiquan. Although practitioners of individual styles of taijiquan are able to reach a level of practice and understanding that may be categorized as mastery of the art by fully grasping and integrating the principles and methods of the art, the study and practice of multiple family styles of taijiquan broadens the student’s understanding and appreciation of those principles and methods. Of all the lessons that I have learned from Dr. Tsao, the most significant has been the ability to perceive and appreciate the similarities among the various family styles of taijiquan, rather than focusing, as many practitioners do, upon the apparent differences among the family styles. Many students of taijiquan who read the Taijiquan Classics and the other literature on this art claim to have grasped the principles presented therein. The truth is that most of these “armchair stylists” have not put in the effort (gongfu) necessary to incorporate these principles into their practice. Be wary of anyone, be it a teacher or a fellow student, who pontificates on the principles expressed in the Classics but whose taijiquan is at a very low level. In his seminal work, The Essence and Applications of Taijiquan, Yang Cheng-fu warned the reader to pay attention to practice. He added that the commentary that accompanied the photos in his book were not just writing for the sake of writing. To this, I would add that the commentary is not just reading for the sake of reading. In order to appreciate any book on the art of taijiquan, one must study and put into practice what one reads. Otherwise, the knowledge gained from reading will remain theoretical and therefore will be useless in practical application. Here is a cautionary tale regarding an individual whom I met several years ago. This individual had learned the Cheng Man-ch’ing form in the early seventies from one of Professor Cheng’s Western students who had opened a school in New York City. This individual told me that he attended the school for about six months and then went off “to do his own thing.” He further revealed that he had taught taijiquan at the local YMCA for a time. He then related to me that, although he had practiced the form every day for more than thirty years, he had never felt nor did he believe in qi. Without realizing that I would hurt his feelings, I exclaimed “That’s tragic!” I could tell right away that I had offended him, and I made no additional comment on the subject. However, this individual is typical of the vast majority of taijiquan

students who never receive the depth and breadth of instruction that is required in order for their art to be complete. To this end, I have undertaken the project of writing this book for all students of taijiquan. I have attempted to present a comprehensive explanation of both the principles of taijiquan as well as to include a sequential program of training exercises that will enable the student to master the true essence of this marvelous and incomparable art. I have spent many years in the study of this taijiquan, and I have internalized the lessons I have learned, not only from my excellent teachers but also from an intensive study of the available literature on this subject and my own intensive investigation into the principles and practice of taijiquan. As a result of the invaluable instruction of my teachers and my own study, I have developed a curriculum suitable for any student of taijiquan. The purpose of this book is to present in principle and practice the separate elements which collectively comprise the multi-dimensional art of taijiquan. I acknowledge that all of us are on the path together. My own journey still has far to go. I do not claim that my knowledge and understanding are complete, and I strive daily to increase my knowledge and to improve my practice. Nevertheless, I humbly offer to share my current understanding and practice with all students of taijiquan. I hope you will join me on our shared journey of knowledge, discovery and mastery of the art.

Acknowledgements

This book is the result of more than a quarter-century of research, self-study, practicing with countless taijiquan brothers and sisters, and most importantly the transmitted knowledge and wisdom of my many teachers, both Chinese and Western. First and foremost, I acknowledge the debt I owe to my present teacher, Grandmaster Dr. Jesse Tsao. Dr. Tsao has been the inspiration and the source my understanding regarding the principles and the practice of taijiquan for the past thirteen years. Without his technical instruction and his depth of knowledge, I would have little to share with readers of this book. His knowledge of the main family styles of taijiquan, in particular the Chen family style, of which he is a lineage holder, is encyclopedic. He is also very knowledgeable in the field of TCM and the meridian system and has provided me with many insights on the manner in which the art of taijiquan enhances the health and vitality of practitioners through improving qi circulation. I also wish to pay tribute to Master James Huang, of Honolulu, Hawaii. Although I only spent a brief three months studying with Master Huang, his personal instruction helped me to make the transition from an interested amateur to a serious practitioner. It was his specific guidance and inspiration that set me upon the path of intense daily practice and deeper investigation into the extant literature on all aspects of the art of taijiquan. I am very fortunate to have had the opportunity to study with Master Huang at just that moment in my life when his instruction and inspiration had the greatest impact. I am also indebted to the many other taijiquan teachers who have guided and inspired me during my journey as a student of this challenging and fascinating martial art. Without their excellent and dedicated instruction, I would not be in a position to pass along the limited knowledge that I have

acquired over the past twenty-six years. I must also acknowledge my fellow taijiquan brothers and sisters. Some I have known and practiced with for many years; others were only brief acquaintances; still others are newly-found friends that, hopefully, will remain in my life for many years to come. So many of my taijiquan brothers and sisters have shared with me their own personal insights, knowledge, teaching methods, methodologies, secrets, and overall wisdom regarding the art of taijiquan. I feel a particular bond to those fellow students of Grandmaster Tsao. Although we only get together several times a year, they also share my affection for and dedication to our mutual teacher. I also wish to acknowledge my own students from who I have learned so much. There is a saying that “Only when one teaches does one truly learn.” In this regard, I have learned much from my students. For this reason, I wish to extend my sincerest thanks to all my students, both past and present. I also wish to express my thanks for the skill, professionalism, and most of all patience of the photographer who took the excellent photographs that accompany this book. Meggan Harper is a martial artist, yoga instructor, and skilled professional photographer. Her knowledge and understanding of the human form and sensitivity to the subject at hand resulted in the high-quality photographs that clarify many of the concepts, principles, and applications of the art of taijiquan. Finally, I have withheld the most important acknowledgement for the individual who is most prominently displayed in the photographs in this book: my beautiful, talented, and highly photogenic wife, Deya. Deya is my constant companion, my friend, my inspiration, my joy, and my daily taijiquan training partner. As can be seen from the photographs that accompany this book, she is at once beautiful, graceful, poised, grounded, and deceptively strong. These are precisely the qualities necessary for practicing the art of taijiquan. Without Deya’s daily assistance, inspiration, and enduring patience, this book would still remain on the hard drive of my computer.

Introduction

Millions of people worldwide practice some form of taijiquan due to its versatility as a martial art, a system of exercise, and as a method of personal development. Many students are drawn to the art of taijiquan due to its elegant, flowing movements. It appears so graceful and fluid. Others are attracted to the art due to its reputation for improving health, increasing vitality, and extending longevity. Still others are interested in taijiquan as a practical system of self-defense. Unlike many other martial arts, taijiquan is based upon both theoretical and philosophical foundations. The theorectical foundation include Taiji theory, Five Elements theory, and Baqua theory, from which the I Ching is derived. The philosophical foundation is derived primarily from Taoism, but the influence of Confucian philosophy is also present. As every student of taijiquan knows, there are a variety of styles of taijiquan. Many of these styles were developed by and then held closely within the ranks of specific Chinese families and closely related disciples. The main family styles of taijiquan include the following: Chen style (which includes the Old Frame, the New Frame, and the Small Frame), Yang style (which is derived from Chen style and includes many variations in form), the Wu Yu Xiang style (derived from the Yang and Chen styles), the Wu Chian-chuan style (derived from the Yang style), and the Sun style (derived from the Wu Yu Xiang style as well as xinyi quan and bagua zhang). Each style uniquely reflects the character of the individual(s) who developed the style and also the historical and cultural period in which the style was created. While there are definite differences between the various styles, there are central principles which underlie all styles. In order to understand and master taijiquan, it is important to have at least a basic comprehension of these principles. Different practitioners are drawn to the specific qualities of the varying

family styles of taijiquan, such as the Chen style, Yang style, Sun style, etc. The popularity of Yang style taijiquan is due in part to its expansive, slowmoving, and even-paced quality. The solo form of this style is relatively easy to learn and to practice and provides a method of physical exercise that is accessible to individuals of all ages and abilities. The Chen style of taijiquan, with its stamping, leaping, and sudden, explosive punches and kicks, may appeal to those individuals who are interested in the martial aspects of the art. Still others are attracted to the meditative aspect of the art and may be interested in the Wu style taijiquan. All of these reasons for studying and practicing taijiquan are valid, although most students simply focus on a single aspect of the art or upon a single family style. This is understandable, especially given the limitations of time and energy of the majority of taijiquan practitioners who may only be able to devote twenty minutes or so on a daily basis to their practice. However, if one desires to become a dedicated student of taijiquan, it is necessary to study and practice all aspects of the art. This means not only practicing the forms (both empty-hand and weapons), but also studying the underlying philosophy and principles of the art, learning how to cultivate and mobilize the qi, and mastering the martial applications of the postures as well as engaging in pushing hands practice and actual sparring. Additionally, exploring multiple family styles will foster a broader understanding of the art. This is a daunting curriculum and requires a sincere and dedicated commitment of time and energy.

The Civil and the Martial Aspects of Taijiquan When the original creators of taijiquan developed their various forms, they lived in an era during which one could study and practice martial arts as a vocation. The Chen family members of the seventeenth century had to defend their village from bandits. Yang Lu-chan, the originator of Yang style taijiquan, reputedly worked as an armed body guard and was widely acclaimed for his martial prowess. Sun Lutang was an officer in the Chinese army and fought against the Japanese. Unfortunately, the original empty-hand and weapons forms developed by these stalwart martial artists are generally no longer available to us. However, it is almost certain that those forms and the methods employed to train them were much more martial and rigorous than the forms and training methods practiced today.

It is important to note that, although the original styles of taijiquan were developed as fighting systems, an emphasis was placed on the health benefits derived from practicing this unique martial art. Yang Cheng-fu recorded that his grandfather, Yang Lu-chan, was concerned with the general lack of physical conditioning of his students in the capital of Peking, who were used to a sedentary lifestyle. Yang Lu-chan noted that the health and vigor of individuals who studied his taijiquan improved and that they became robust and healthy as a result of practicing taijiquan.1 Yang Cheng-fu himself wrote that the true purpose of practicing taijiquan was not to engage in fighting but rather to increase the store of people’s good health, prevent disease, and to increase their natural lifespans.2 Scholars of taijiquan agree that Yang Lu-chan and, later, Yang Cheng-fu each modified the original, more aggressive and overtly martial style of the art in order to make it more accessible to the members of the imperial court. Similar modifications were made by subsequent members of the Chen family. The original taijiquan created by Chen Wangting contained seven forms, including a long form consisting of 108 postures and a shorter Cannon Fist set. The original seven sets were compressed by a succeeding Chen family member (Chen Changxin) into the two contemporary Chen style routines, the I Lu and Er Lu. Another Chen family member (Chen Youben) created a modified routine based upon the original forms, but he dispensed with the more difficult movements, along with some of the more explosive ones. This routine became known as the Small Frame to distinguish it from Chen Changxin’s Old Frame.3 More recently, the famed Chen Fake further modified the two routines of the Old Frame (Laojia) with the intention of emphasizing the martial elements of the forms and created the New Frame (Xinjia). There is less dilution of the Wu, Wu/Hao, and Sun styles, due to the fact that origins of these styles date only to the middle of the nineteenth century. Still, a number of the forms and drills developed by Wu Yu Xiang, Wu Chianchuan, and Sun Lutang are no longer widely practiced. Although we may regret the loss of the more martial elements of the original taijiquan forms and training methods, each of the five major family styles contains a complete and comprehensive system that includes martial applications as well as physical culture and spiritual development.

Taijiquan enjoys a unique status within the martial arts community due to its dual emphasis upon the “civil” and the “martial.” The original forms of taijiquan as practiced during the Qing dynasty certainly included both of these elements. Whereas most other styles of martial arts in this era were concerned with developing external martial ability, the training practices of the taijiquan masters during that period were directed specifically toward cultivating the qi and elevating the spirit of vitality, or shen. In particular, the Chen and Yang families borrowed extensively from the Taoist tradition in order to create a holistic system of both external forms and internal practices, such as zhan zhuang, qigong, and Taoist meditation. The later Wu, Wu/Hao, and Sun style originators followed this tradition of basing their arts on the principles of Taoism, Taiji theory, Five Elements theory, the Bagua and the I Ching. Any student of taijiquan, therefore, should study both the martial and civil components of the art along with a detailed study of the underlying principles of Taoism, Taiji theory, Five Elements theory, the Bagua and the I Ching. The literature attributed to the Yang family of this era makes several key references to both the civil and the martial aspects of the art.4 These documents also clarify that the term “civil” refers to both the health aspect of the art and to its spiritual aspect. As revealed in these documents, the civil aspect of the art entailed the cultivation of the internal, and the martial aspect dealt with the external. It was taught that cultivating both of these facets of the art would unite the internal and external. The integration of the internal with the external in the practice of taijiquan was held to be the highest level of achievement. The internal, or civil, aspect of taijiquan involves the cultivation of the ching, qi and shen, which are the three essences of every human being. Together they are considered to be the three Taoist treasures, or san pao. These Three Treasures are discussed in greater detail in the chapters on qi cultivation and qi circulation presented later in this book. To summarize here, ching is one’s sexual essence; qi is the energy which sustains life; and shen is the personal vitality or spirit of an individual. The disciplining of these three essences is at the heart of Taoist practice and is accomplished through various meditative techniques. With regard to spiritual development, it was held that Taoist meditation and the practice of taijiquan shared a very close relationship.

Within the framework of both the Yang and the Chen family’s training regimens during this era, physical culture entailed not only the physical exercise of practicing the postures, which was considered to be external physical culture. It also involved internal practices such as standing meditation (zhan zhuang) and cultivating the Three Treasures through the practice of Taoist meditation. It is known that Chen Wangting combined martial arts from Shaolin and other styles with the Taoist techniques of daoyin and tuna in order to create an art that combined internal and external cultivation. In a similar vein, Sun Lutang developed his style of taijiquan by integrating the physical movements of xinyi quan, bagua zhang, and taijiquan with the internal movement of the qi and the alternation of opening and closing, stillness and movement, which collectively he felt were the highest level of martial accomplishment.5 Clearly the civil and the martial aspects of the art of taijiquan were considered to be of equal importance to the taijiquan masters who created and later modified the art. They had a clear vision of what it meant to reach the highest level of achievement, and this vision clearly included the cultivation of both the civil and the martial. The cultivation of the civil entailed internal gongfu through the practice of various Taoist techniques. The cultivation of the martial required external gongfu in the form of practicing the postures, training in weapons, and engaging in pushing hands, dalu and sparring. Yang Cheng-fu stated that the ability to cultivate oneself both physically and spiritually represented civil accomplishment.6 The ability to defend oneself without spiritual cultivation was martial accomplishment. The ability to both defend oneself and cultivate oneself physically and spiritually represented the highest level of accomplishment, as it integrated both the civil and the martial. He taught that this was the true method of taijiquan. The concept of self-cultivation in this context refers to the cultivation of the ching, qi and shen. The cultivation of the qi takes precedence, as the cultivation of the other two depends on the strength and quality of the qi. Chapter Seven of this book presents a detailed discussion of the subject of qi and its cultivation. It is important to understand that the art of taijiquan is based upon the cultivation and subsequent circulation of the qi. Fu Zhong-wen, perhaps

Yang Cheng-fu’s most renowned disciple, wrote that the practitioner should concentrate at first on integrating the inner and the outer (the internal and the external).7 Further, one should utilize the yi (the intention) rather than strength. He also emphasized the importance of sinking the qi to the lower dantien while maintaining a light and insubstantial energy at the top of the head. In his book, Gateway to the Miraculous, Wolfe Lowenthal wrote that Prof. Cheng Man-ching’s teacher, Yang Cheng-fu, would often instruct his students in the “first principle” of taijiquan. Sometimes Yang Cheng-fu would claim that the first principle is: “Guard the mind and the qi in the dantien.” At other times, Master Yang would tell his students that the first principle is: “A light and insubstantial energy lifts the crown of the head.”8 When questioned by his own students as to which of these two first principles was first, Prof. Cheng’s response was that both were important. That is to say, there is no separating the two principles; they are two sides of the same coin. “Sinking the qi to the dantien” is what happens internally within the lower half of the body, and “A light and insubstantial energy rises to the crown of the head” is what happens internally in the upper half of the body. Once the student comes to realize that both principles are essential to the proper practice of taijiquan, the student will have entered the inner courtyard of the art and can begin to make meaningful progress. Failing to reach this realization, the student will always remain at the outer gate. No matter how many years the student studies the form, weapons, or pushing hands, his practice will always be external, and he will only reach a low level of accomplishment. For this reason, students of the art of taijiquan should make every effort to discover for themselves the underlying principles of the art and to apply themselves diligently to integrating those principles into every aspect of their practice. The question then arises: “How should the student proceed?” In his book, Mastering Taijiquan, Fu Zhong-wen provided the answer.9 He wrote that one must begin by learning each of the postures of the form. Studying the form is the external side of beginning practice. In conjunction with studying the form, the student should begin self-cultivation, starting with learning to “sink the qi to the dantien.” This represents the internal side of preliminary practice. Once the student has acquired the ability to sink the qi to the

dantien, he or she can progress to more advanced meditative practices which are intended to mobilize and circulate the qi up the spine and out to the extremities of the body.

Practicing Taijiquan for Health At present, there are many, mainly older, students who say, “My doctor told me to take up taijiquan. I’m not interested in learning how to use taijiquan for fighting. I’m only interested in the health benefits.” The response to this statement is that the art of taijiquan conveys many health benefits. Anyone who undertakes the study of this art for whatever motivation should be applauded. The health benefits of practicing taijiquan are well-documented. See The Harvard Medical School Guide to Tai Chi for more information on the research into the health benefits of taijiquan.10 However, even those individuals who are interested solely in the health benefits should understand that the benefits derived from practicing taijiquan are a result of both external and internal physical culture. The external physical culture derives from the stretching and loosening exercises and the gentle but stimulating movements that occur while practicing the form. Taijiquan form practice is a deceptively challenging type of physical exercise. The slow transitions from one posture to the next, as well as the momentary pauses in postures that place the weight primarily on one leg, cause the muscles of the legs to develop greater strength and endurance. Traditional Chinese Medicine considers the legs to act as a second heart in that, when exercised, they induce increased blood circulation. In China it is said that, if you become healthy and robust by practicing taijiquan in your youth, then in old age you can succeed in illuminating your spirit and strengthening your qi. In this way, you will experience an old age that is free of disease and suffering and can experience an “eternal spring” of health and vitality. Even if one is only interested in practicing taijiquan solely for health, it is important to consider the martial applications of the individual postures within the form. The physical shape of each posture is derived from its martial application. If students ignore the martial application of a posture, they are likely to get the shape wrong. If the shape is wrong, then the body won’t be receiving the maximum physical benefit from the posture. Also, if

there are errors in the posture, such as permitting the knee to travel forward of the toes in the bow stance, it is possible for students to injure themselves. Yang Cheng-fu commented on this very issue. He stated that learning the martial applications of taijiquan is indispensable. He counseled that even those students who were primarily interested in the health benefits of taijiquan also needed to study the martial applications.11 As beneficial as the process of stretching and moving through the form can be, the true health benefits of taijiquan are the result of increased qi circulation. The ancient Taoists discovered that where the mind goes the qi follows. During form practice, students learn to direct their awareness, that is to say their concentrated mind, on specific areas of the body such as the substantial hand or the weighted foot in each posture. This focused attention of the mind causes localized qi to accumulate in specific parts of the body. Such localized qi can have a revitalizing and healing effect on that region body. However, if students can learn to focus their awareness on the abdomen and to accumulate their qi in the lower dantien, then they can begin to increase their overall store of qi, which is the source of Nourishing Life. If students further learn how to use the mind to guide the qi up the spinal column and out to the body’s extremities, they will be able to use their qi to revitalize and rejuvenate their organs, tissues and bones. In this way, a host of illnesses can be prevented and even reversed. The original taijiquan masters taught that the Way of Nourishing Life is based upon the cultivation and circulation of the qi.12 For this reason, even students for whom the primary motivation is the improvement of their health should concern themselves with both the internal and the external aspects of the art of taijiquan: that is to say both the civil and the martial.

Practicing Taijiquan as a Martial Art In order to practice the martial aspect of taijiquan correctly, it is important to understand the theoretical foundations of the art. As stated previously, the art of taijiquan is based upon the theories of Taiji, the Five Elements, and the Bagua. The Original Thirteen Postures of taijiquan were derived from the Eight Gates of the Bagua, and the Five-Style Steps were derived from Five Elements theory. In the Taijiquan Ching, which is one of the Taijiquan

Classics, Chang San-feng, the putative creator of taijiquan, wrote that WardOff, Rollback, Press, Push, Pull-Down, Split, Elbow-Stroke, and ShoulderStroke are derived from the Eight Gates of the Bagua, which encompass the eight directions. Advance, Retreat, Look Left, Gaze Right, and Central Equilibrium are called the Five Steps, which relate to the elements of metal, wood, water, fire, and earth, respectively.13 Students who wish to master the martial applications of taijiquan must begin by studying the postures of Ward-Off, Rollback, Press, Push, Pull-Down, Split, Elbow-Stroke, and Shoulder-Stroke and the five stepping methods of Advance, Retreat, Look Left, Gaze Right, and Central Equilibrium. The postures of Ward-Off, Rollback, Press and Push are referred to collectively as the Four Sides. The Four Sides are trained primarily in tuishou, or pushing hands, specifically within the formalized double pushing hands exercise. The postures of Pull-Down, Split, Elbow-Stroke and Shoulder-Stroke are known together as the Four Corners. The Four Corners are trained mainly through the practice of dalu, or large rollback. The Five Steps are trained in movingstep pushing hands as well as in dalu. It is clear that students must not only study the individual postures of the form but also need to learn how to apply them through the practice of twoperson exercises. The importance of both cannot be overlooked. For this reason there are chapters in this book that cover both the martial applications of the individual postures as well as the practice of pushing hands. Students interested in mastering the martial application of taijiquan should study the information contained in these chapters carefully and practice the techniques described therein diligently. Within the world of Chinese martial arts, a distinction is made between fighting styles that employ hard, external force and fighting styles that rely upon soft, internal energy. The former, which include Shaolin kung fu and wing chun, are referred to as “hard” or “external” styles. In contrast, the latter, including taijiquan and xingyi quan, are considered “soft” or “internal” styles. The internal martial arts forego the application of hard force to strike, block or kick in favor of neutralizing and redirecting the attacker’s energy. The main distinction between hard and soft styles is that hard styles rely upon physical strength, quickness, and agility to overcome those individuals who are weaker, slower, or less agile. Techniques definitely do come into play in

hard styles, but between two individuals who have learned the same techniques, the stronger, quicker, and more nimble will usually prevail. Taijiquan practitioners, on the other hand, rely upon the skills of neutralizing and deflecting, in which subtlety and skill are used to overcome brute force. One doesn’t need great strength to deflect a force of a thousand pounds using only four ounces of skill. This does not mean that soft styles do not incorporate punches and kicks. It is more that these offensive weapons are powered by internal energy, or jin, rather than by hard, muscular force, or li. Surprisingly, a punch delivered with the explosive power of fa jin, which uses little or no muscular force, is much more devastating than a traditional punch powered by raw, muscular force. If you understand the nature of strength and jin, you will know the difference between using strength and mobilizing qi in order to issue jin. Issuing jin in the ligaments and tendons is vastly different from relying upon muscular strength. Just as the civil aspect of taijiquan dependents on the cultivation and circulation of the qi, so too the martial aspect of the art relies on the application of qi in the form of jin. The training and the application of jin will be presented in Chapter Ten and Chapter Eleven of this text. As will be discussed in these chapters, there are a number of different types of jin employed in taijiquan. Some jin are offensive and some are used for sensing, understanding, and neutralizing an opponent’s attack. As will be explained in Chapter Eleven, there can be no jin without the correct training in qi cultivation and circulation. Without jin, the softness of taijiquan will be of little or no use in martial applications. What is necessary is the condition referred to as “steel wrapped in cotton.” The external softness of the skin and muscles is supported by the internal hardness of the bones and the tendons and ligaments which support them. The original taijiquan masters sought to develop this quality in which internal hardness was hidden beneath external softness. The notion of hardness concealed within softness is one of the key features of the martial aspect of taijiquan. Most beginning students of this art understand, at least intellectually, the concept of the soft overcoming the hard. It is fairly easy to demonstrate how to use Rollback, for example, to deflect the force of a thousand pounds with the proper application of a

corresponding force of only four ounces. What is more difficult to understand, let alone attain, is how to achieve the quality of steel wrapped in cotton. This requires years of internal gongfu, beginning with learning how to sink the qi to the dantien. In order to master the martial application of taijiquan, students must learn to internalize the foundational principles that underlie the practice of the art. These important fundamental principles are presented and discussed in detail in Chapter Nine of this book. Therefore, all students of the martial application of taijiquan should make the commitment of time and energy to understand and internalize the fundamental principles of the art. Additionally, studying the principles must be accompanied by the internal cultivation of qi and jin coupled with the analysis and application of the external applications of the form in pushing hands and sparring practice. Only when these internal and external elements are perfected can one be said to have mastered the martial aspect of the art of taijiquan.

Practicing Taijiquan for Spiritual Development No discourse on the art of taijiquan would be complete without addressing the spiritual aspect of the art. Because the fundamental principles of this art involve the internal cultivation of qi and the elevation of the shen, or spirit of vitality, taijiquan is very similar to certain forms of Taoist meditation. Indeed, many individuals consider the practice of taijiquan to be a “moving meditation.” For this reason it is said that taijiquan includes both stillness in movement and movement in stillness. The stillness in movement occurs when practicing the form and, at a higher level of attainment, also in pushing hands and even during sparring. The body and the qi move, but the mind remains calm and tranquil. When engaged in the internal training methods of self-cultivation described previously, the individual is externally still but the qi moves. Eventually, when one practices at a high level of development, the qi moves on its own whether practicing the form or in meditation, and the mind is concentrated only on the shen. As stated previously, this level of self-cultivation requires a serious commitment to the internal practices of qi cultivation, qi circulation, and the cultivation of the san pao, or Three Treasures. These Taoist practices constitute the internal, or civil, aspect of training in taijiquan. In particular,

one must learn and practice the two qi circulation techniques: the Microcosmic Orbit (also called the “Small Heavenly Circle”) and the Macrocosmic Orbit (also known as the “Large Heavenly Circle”). Additionally, one may want to include the practice of the Taoist alchemy, in which the ching, qi and shen are cultivated and refined together. These techniques are usually performed while seated and are thus referred to as “seated meditation.” The ultimate attainment of Taoist meditation is the merging of the individual Te, or spirit, with the Tao. The Taoists referred to this as the state of enlightenment. Prior to this final attainment, however, there are a number of lesser but nonetheless notable attainments. The first of these is the ability to guard the mind and the qi in the dantien at all times. When this state is reached the mind will be calm and tranquil. A calm and tranquil mind is much to be desired and is the pursuit of many meditators. The development of mental tranquility is a significant accomplishment. However, it is only a stepping stone to greater attainments. The next level of attainment is the ability to circulate the qi at will throughout the entire body. When this macrocosmic circulation has been achieved, the cultivator will have the benefit of a bright and lively qi that circulates through the body like “silk thread pulled through a nine-holed pearl.” The result of this circulation is a long and healthy life: an “eternal springtime of youth,” as referred to in the Song of the Thirteen Postures, another of the Taijiquan Classics.14 The ancient Taoists believed that it was possible to extend human life for centuries and even to become immortal. There are numerous legends of Taoist adepts who lived for many hundreds of years. The Taoist literature even celebrates achieved masters who reached the ultimate goal of immortality. However, it is important to understand that the term “immortality” here may be viewed in two ways. In one sense, immortality does refer to physical life. It is unlikely that any Taoist master actually achieved this physical goal. However, we can also consider immortality to mean that the individual’s spirit has become eternal. We can refer to this as the spiritual state of immortality. Many Taoists believe that, if one’s great qi is properly nourished and not damaged, it will endure forever. Even if one does not reach the final spiritual realization of enlightenment or immortality, the achievement of just the first attainment, that of guarding the mind and the qi in the dantien, is a noble spiritual goal, and one that is within

the reach of any dedicated practitioner of the art of taijiquan. Further attainments, such as the Macrocosmic Orbit, Macrocosmic Orbit, and the refinement of the ching, qi and shen are also worthy goals and are within the reach of human endeavor. Concerning the path of self-cultivation, Yang Cheng-fu taught that one day’s effort yields one day’s benefits; one year’s effort yields one year’s results; and a lifetime of practice yields a lifetime of blessings.15 These simple words from the Yang family member who bequeathed to the world the system of taijiquan that many practice today should inspire any dedicated student of the art to persevere in both the external and internal aspects of the art.

A Holistic Approach to the Study of Taijiquan With regard to the practice of taijiquan, it is important to adopt a holistic approach. Just as “Everything is Taiji,” so is the art of taijiquan part of Taiji. It seems so obvious: taiji is Taiji, right? And yet, when a student begins to study this complex and multi-faceted art, it is easy to get caught up in the individual components, such as learning the empty-hand form, then learning the sword form, moving on to the practice of pushing hands, and so on. As the saying goes, the student can’t see the forest for the trees. Rather than viewing the art as a collection of specific practices, i.e. the empty-hand form, weapons, pushing hands, sparring, etc., try viewing the art in its entirety. Seek to incorporate the inner essence of the art into every aspect of your practice. Be soft, be yielding, be expansive, guard the mind and the qi in the dantien at all times, suspend the head-top and elevate the shen. When practicing any particular component of taijiquan, practice the complete art. Once you understand that standing meditation, qigong practice, the stretching and loosening exercises, the empty-hand form and the weapons forms practice, along with pushing hands play and sparring, are all threads that make up the whole cloth of the art, you will begin to perceive that taijiquan is one complete and comprehensive art. So how do you learn to weave the individual threads of your practice into the whole cloth that comprises the art of taijiquan? Continuing with the cloth analogy, you need to have all the threads available. Without the complete array of threads, rather than winding up with the whole cloth, you will only end up with “holey” cloth.

The threads of taijiquan include the empty-hand form, weapons forms, and two-person exercises such as pushing hands, dalu, and sparring. However, these three aspects of the art are not enough. You also need to include stretching and loosening exercises, standing practice, and, most importantly, internal qigong or Taoist meditation. Finally, it is essential to study the Taijiquan Classics as well as the works of taijiquan masters and their close disciples. These invaluable treatises and texts provide the explanations for the theoretical and philosophical foundation upon which the art of taijiquan is based. As stated previously, taijiquan combines both theoretical and philosophical foundations that include Taiji theory, Five Elements theory, and Bagua theory. If one truly wishes to understand and master taijiquan, it is important to have at least a basic comprehension of these topics, which are explained in Chapter One. Chapter Two addresses the relationship between Taoism and taijiquan. Hopefully the information provided in these two chapters will increase your appreciation of the theory and philosophy that underlie the art of taijiquan. The chapters included in this book build upon each other and are organized in a logical order. It is recommended that you use the book for its intended purpose and follow the chapters as presented. It is also important to follow the recommended duration for the practice of each series of training exercises before moving on to the next stage of development. This is particularly important with regard to the practice of zhan zhuang standing meditation and the Taoist exercises for cultivating and circulating the chi. In the past, these practices were closely guarded and specifically not taught to Westerners. Fortunately, over the past fifty years a wealth of information regarding Taoist meditation and alchemical practices has been made available to all students of Taoism and taijiquan. The availability of this information, as well as accessibility to masters who are willing to impart their knowledge of these practices, permits all students to cultivate the civil, or spiritual, side of the art of taijiquan. To this end, Chapters Seven and Eight provide a detailed discussion of qi cultivation and circulation and outline specific Taoist practices which enable the student to accomplish both the Microcosmic and Macrocosmic Orbits. Chapter Eighteen further explores the practice of taijiquan as a spiritual

practice that can ultimately lead to the highest civil goal, which is spiritual enlightenment. Chapter Nineteen further expands upon this topic and discusses specific Taoist teachings on spirituality and the attainment of enlightenment through Taoist meditative practices. With regard the to the martial aspect of taijiquan, the ability to emit jin is what distinguishes a true taijiquan practitioner from one who simply knows the sequence of the movements of the form and can roughly push and resist when playing pushing hands. The ability to issue jin is based upon the ability to be song. In order to assist the reader in developing these skills, Chapter Four discusses song training, or song gong, in great detail. The development and training of jin for both defensive and offensive applications is covered in Chapter Twelve and Chapter Thirteen. One cannot attain a high level of skill in the art of taijiquan without a deep understanding of the principles of song, rooting, qi cultivation, the inter-play of yin and yang, the martial applications of the postures, and intensive study of the principles outlined in the Taijiquan Classics. Yang Cheng-fu himself stated that the essence of taijiquan is not found in the external postures, but rather in the principles, the internal energy, and the qi. Only when the one has grasped these principles and has incorporated them into one’s practice can one’s art be complete. The above skills relate to the form only. If one additionally wishes to achieve mastery in pushing hands, one must undertake further training and study to develop sensitivity and competence in the use of a variety of jin. Some of this training can be accomplished working on your own, but you will need to train with partners on a regular basis in order to succeed in this endeavor. The tento-twenty minutes of unstructured pushing hands practice that follows a typical taijiquan form class will not provide you with sufficient experience. Separate chapters are included in this book on the topics of martial applications, the development and use of jin, and pushing hands. This material will provide those readers interested in the martial aspect of taijiquan with guidance for developing skill in these areas. Finally, in order to be truly well-rounded in taijiquan you should learn and acquire skill in at least the straight sword, or jian, and the saber, or dao. Chapter Sixteen presents information on training and practicing with the taiji jian. This chapter also discusses two-person practice with the jian, since it

can be argued that sword sparring represents the epitome of taiji skill. Chapter Seventeen presents the principles and training techniques for handling the taiji dao. This is a challenging curriculum. In terms of your own personal progress, don’t be too eager to move ahead before you have developed the appropriate level of qi development and circulation. The development of song and the cultivation of qi cannot be rushed. In order to address all these areas of study, a dedicated student will need to spend at least one hour per day practicing the following: zhan zhuang standing, qi cultivation and circulation, stretching and loosening exercises, training the individual postures of the form, flowing the form, jin training, weapons training, and pushing hands drills. One should also spend at least a half hour per day reading from the works of the original taijiquan masters and their disciples, scholarly interpretations of the Taijiquan Classics and books like this one in order to deepen your understanding of the underlying principles of the art.

Chapter One

The Theoretical Foundation of Taijiquan

As explained in the Introduction, the art of taijiquan is predicated upon three basic theories that are central to traditional Chinese culture: Taiji theory, Five Elements theory, and Bagua theory. Any student of taijiquan who seeks a deeper understanding of this art must study and understand these three theories. This chapter will address each of these three theories in turn and will relate them directly to the principles and practice of taijiquan. It is said that Chen Wangting integrated the concepts of Taiji, Taoism, Bagua theory, and Five Elements theory into his unique style of martial arts, which later came to be known as taijiquan. The documents and texts of the Yang family members and their close disciples, as well as the Taijiquan Classics, are full of references to Taiji theory, Five Elements theory, and Bagua theory. In particular, Professor Cheng Man-ch’ing often referred to the principles of Taiji theory, Five Elements theory and Bagua theory, not only in relationship to the art of taijiquan but also in terms of health and the general condition of the body.16 Other individuals, such as Sun Lu-tang, who developed his own style of taijiquan, also based their art upon the principles of these theories.

Taiji Theory Taiji theory has its roots in ancient Chinese philosophy, and its origin dates back at least 2500 years. It is likely that the basic concepts of Taiji theory are rooted in Chinese mysticism which predates formal Chinese philosophy by many thousands of years, although there are no historic records to document this. Students of taijiquan should be concerned with Taiji theory as it lies at the very center of their art. Yang Cheng-fu taught that the entire universe is one great Taiji, and that the human body is a small Taiji. As practitioners of the

art of taijiquan, it is, therefore, important to understand what Taiji theory encompasses and how this theory relates to the study of the art that bears its name. The Chinese characters which make up the word Taiji (or T’ai Chi in the Wade-Giles system) are usually translated as “supreme ultimate.” This translation, however, does not capture the deeper meaning of Taiji theory. An alternative translation, “grand terminus,” is more indicative of the significance of both Taiji theory and of the Taiji symbol, which will be addressed later in this section. A terminus is a beginning or ending point. Think of a bus terminal or a train station. Journeys, both literal and figurative, begin and end at such locations. Similarly, in Taiji theory the two mutually supportive energies of yin and yang have their beginnings and their endings within Taiji. Indeed, Taiji theory is based on the interplay of yin and yang, and any discussion of Taiji theory must explore the concept of yin/yang in detail. Taiji theory is based upon the concept of the duality of yin and yang, which are customarily represented as polar opposites. However, treating yin and yang simply as opposing energies or qualities does not completely capture the essence of the relationship between them. Nonetheless, it is beneficial to consider these two energies as dialectically opposed for now. Within Chinese philosophy, yang is typically associated with the following entities and qualities: heaven, sun, fire, day, light, heat, dry, masculine, strength, exhalation, and expansion. Yin, on the other hand, is associated with: earth, moon, water, night, darkness, cold, wet, feminine, weakness, inhalation, and contraction. According to this representation, yin and yang oppose each other and strive to succeed or overthrow one another. However, because each is equally powerful, neither can succeed in dominating the other, and so their mutual interaction continues in an infinite interplay of opposing energies. This concept is best illustrated by considering the cycle of day and night, each following the other but neither able to suppress the other. Although yin and yang are in opposition, Taiji theory posits that they are also mutually supportive. For example, day supports night; man supports woman (or, more realistically, woman supports man!); inhalation supports exhalation.

Within the art of taijiquan, yang relates to the substantial and yin relates to the insubstantial. One of the fundamental principles of taijiquan is to “distinguish between the substantial and the insubstantial.” For example, the Yang style posture of Ward-Off, shown below in Figure 1-1a is a yang posture, while its counterpart, Rollback, depicted in Figure 1-1b, is a yin posture.

Figure 1-1a

Figure 1-1b

However, the relationship between yin and yang pervades every aspect of our art. Consider the posture of Ward-off Right, shown above in Figure 1-1a; although it is a yang posture, it contains both yin and yang aspects. Further, the yin aspect of the posture supports the posture’s primarily yang role. The right arm is substantial, or yang, while the left arm is yin. The left, downward facing yin arm supports the right, outward facing yang arm. Similarly, the right, warding-off arm is supported by the yielding, or yin, left leg. Furthermore, the substantial, or yang, right leg is balanced by the counterweight of the yin left arm. The spiraling chan ssu jin energy characteristic of Chen style taijiquan also contains both yin and yang energies. The energy of chan ssu jin can be divided into two aspects, ni chan and shun chan, which together constitute a complete circle. Shun chan encompasses the first half of the circle and is used for neutralizing or redirecting an incoming force. Ni chan comprises the second half of the circle and is employed to control an opponent using his own energy against him. According the yin/yang theory, shun chan is yin, and ni chan is correspondingly yang. Figure 1-2 depicts these complimentary spiraling energies in the movements of the hands in silk-reeling training as they trace the Taiji symbol. The diagram on the left represents the left hand’s movements, while the diagram on the right depicts the right hand’s movements. As either hand moves up from the bottom of the diagram to the top, it is executing shun chan; and when either hand turns down at point 3, it switches to ni chan.

Figure 1-2

In Sun style taijiquan, the interplay of yang and yin are seen most clearly in the opening and closing movements which are a distinguishing feature of this style. In his classic treatise on taijiquan, A Study of Taijiquan, Sun Lutang explained that opening is employed to expand and to move, whereas closing is used to contract and to be still. Opening, expanding, issuing, or moving is yang and closing, withdrawing, contracting, or becoming still is yin.17 Figure 1-3, shown below, depicts the complementary postures of Opening Hands and Closing Hands in the Sun style of taijiquan.

Figure 1-3

Wu style taijiquan similarly employs the dual concepts of rou and gan in order to express the coaction yin and yang in both the form and in tuishou. Wu Chian-chaun, emphasized the special quality of the interaction of rou (softness) and gan (power) which is in accord with the theory of the mutually supporting energies of yin and yang.18 Figure 1-4 illustrates this mutual relationship between yin (figure in white) and yang (figure in black) during tuishou, or pushing hands.

Figure 1-4

You should discover these balanced yin/yang relationships in every posture of your form. Indeed, this is such an important consideration in mastering the art of taijiquan that Chapter Eleven is dedicated to explaining these relationships within specific postures taken from a variety of family taijiquan styles. When discussing the properties of yin and yang, it is important to recognize that there is no inherent “yinness” or “yangness” in a concrete sense. You cannot see yin; you cannot taste or smell yang. However, one can detect the yin quality of the color green as compared to the yang quality of the color red, for example. Also, you can clearly taste the yang quality of a jabanero chile as compared to the yin quality of a cucumber. Furthermore, yin and yang are not absolute. It is possible for one thing to be more yang than another. When comparing two red colors, for example, you can determine that one is more yang than the other. Clearly, the qualities of yin and yang are relative, both to each other and to themselves. Considering the example of day and night, it would be pointless to say that day is yang if night did not exist to be yin in contrast. So, the yang quality of day is relative to the yin quality of night. Moreover, within both yin and yang, there can be gradations. Something can be more or less yang than another thing. This is equally true of the quality of yin. For example, although day is considered to be yang, the weak daylight experienced in northern climes during the winter months is clearly less yang than the long, hot days of those same locales during the summer months. Taiji theory dictates that yin and yang should exist in equilibrium, with neither dominating the other. While yin and yang ideally coexist in balance and harmony, it is possible for one to temporarily overwhelm the other. This is evident with regard to the weather. If the sun shines unimpeded on a region for too long, the land becomes hot and dry, and the ocean temperature rises. This is an excess of yang. However, eventually the rising temperature of the ocean will cause evaporation, creating clouds that will in turn coalesce into thunderstorms. The relative heat differential between the land mass and the ocean will create wind currents that will drive the thunderheads onto the land, where they will generate rain, thus obscuring the sun and cooling the land. Ultimately, the natural environment will be brought back into balance. This concept of excess returning to equilibrium is a key principle of Taiji theory.

As you are probably aware, the Chinese written language is based upon ideograms. From the earliest examples of Chinese writing, the Chinese have relied upon symbols not only to stand for actual objects, such as “man,” “tree,” and “mountain,” but also to represent abstract concepts. One symbol, more than any other from Chinese culture, has become universally recognized: the Taiji symbol. This symbol, an example of which is shown below in Figure 1-5, represents the interplay of yin and yang within Taiji.

Figure 1-5

Conveyed within the twin semicircles of the Taiji symbol are the mutual production of yin and yang, the complementary exchange of hard and soft, the thousand changes, and ten thousand transformations. This is the basis for taijiquan. Indeed, taijiquan is the embodiment of the Taiji symbol. Besides the representation of the Taiji symbol shown in Figure 1-5, there are numerous symbolic depictions of Taiji. The representation presented above is one of the most common and includes several features important to Taiji theory. The first prominent feature is the division of the circle into two equal portions. The white half on the left represents yang, which is symbolic of light, day, the sun, etc. The black half on the right represents yin, which is represents of darkness, night, the moon, and so on. Another prominent feature of the Taiji symbol as presented above is that the circle is not merely divided vertically into two perfect semicircles. Instead, the white half bulges slightly into the right half at the top of the circle, whereas the black half bulges slightly into the left half at the bottom of the circle. The curved aspect of each semicircle is meant to indicate that there are times when yang dominates yin and times when yin dominates yang. Taken as a whole, however, it is apparent that yang and yin coexist in perfect harmony and balance. The curvilinear shape of the yang portion of the Taiji symbol also represents the concept of yang arising out of extreme yin. At the bottom of the circle, when yin has reached its maximum, yang emerges, albeit weakly at first. Yang then grows in strength on the left-hand side of the circle to a point where yin and yang are balanced (in the center of the circle.) Ultimately, yang reaches its zenith, a condition known as “extreme yang,” at the top of the circle. Just as extreme yin is unsustainable, so extreme yang gives rise to weak yin, which follows a parallel progression on the right-hand side of the circle. We find ample evidence of extreme yang giving rise to weak yin and viceversa in the transitions between the postures of the form. Consider the transition from the Yang style posture of Ward-Off Right into the posture of Rollback, presented previously in Figures 1-1a and 1-1b. As discussed above, when one completes the Ward-Off Right posture, the right hand is in a yang state. Even though this hand is supported by the left, yin hand, its yang state cannot be maintained for long. However, rather than directly withdrawing the

hand, the practitioner allows it to become even more yang by extending it slightly out and to the right. At this point, the right hand as well as the entire Ward-Off posture has reached a point of extreme yang, which cannot be sustained. The practitioner must withdraw from this position of extreme yang and transition into Rollback. The right hand becomes yin, as does the right leg; and the previously yin left hand takes over the substantial, or yang role as we intercept and guide the opponent’s energy down and to our left. Similarly, the left leg assumes the yang role previously held by the right leg, which now becomes yin or insubstantial. A similar transformation from yang to yin occurs during the Chen style transition from Lazily Tying the Coat into Six Sealing and Four Closing. In the finished position of Lazily Tying the Coat, the right hand is substantial, or yang, and the left hand is yin in support of the right hand. Taking into account the chan ssu jin aspect of this posture, the outward spiraling energy (ni chan) has reached its apex in the leading edge of the right hand. The right hand is then pulled back and withdrawn to return the spiraling energy into the dantien (shun chan). This corresponds to the yin portion of the Taiji circle. At the same time, the left, or yin hand, turns over and becomes more yang as we step outward into the new posture of Six Sealing and Four Closing. This can be readily observed in the sequence illustrated below in Figure 1-6.

Figure 1-6

In Chen style taijiquan, the legs must also be assigned yang (substantial) and yin (insubstantial) roles in each posture. Especially during the transitions between postures, the changes between substantial and insubstantial that occur between the two legs reflect the interchange of yin and yang in the lower portion of the body. Throughout the practice of the form, one leg must be substantial, supporting the larger portion of the body’s weight, while the other is insubstantial and acts in support of the substantial leg. This unequal distribution of the body’s weight enables the practitioner to easily transfer the weight from one leg to the other when transitioning between postures. As the preceding examples illustrate, in addition to distinguishing between yin and yang within the postures themselves, students of taijiquan need to be able to make the transitions from yang to yin and from yin to yang during the transitions from one posture to the next. Chapter Ten, which presents individual postures and their transitions, will assist you in developing this essential skill. Yet another significant feature of the of the Taiji symbol shown in Figure 1-5 is the location of a smaller circle of contrasting color within each of the larger semicircles. Located at the top of the white yang semicircle is a small, black yin circle. Similarly, located at bottom of the black yin semicircle is a small, white yang circle. The pictorial representation of Taiji provided by the simple Taiji symbol allows us to visually apprehend many of the principles of Taiji theory. A second alternative translation of the Chinese characters that comprise Taiji is “great union.” The great union of yin and yang is readily apparent within the Taiji symbol. This is especially true if the two curvilinear semicircles, with the smaller inscribed circles, are viewed as a pair of fish. With a bit of imagination, these two semicircles, each with a small circle located within, appear to be a pair of intertwined fish, swimming in an infinite circle. The two fish, one male and one female, are forever joined in a cosmic dance, one chasing the other into infinity.

Figure 1-7

The significance of the two small circles within the larger semi-circles is as follows. Taiji theory specifies that within yang there is always some yin, and that within yin there is always some yang. It is the presence of this small amount of yin at the point of extreme yang that allows yin to emerge on its own. Equally, the presence of a small amount of yang within extreme yin enables yang to emerge on its own. The presence of yin within yang and vice-versa is an important concept in tuishou (pushing hands), especially within the execution of the push. If we do not withhold some of the energy of the push, whether it be li strength or internal fa jin power, a skilled opponent will be able to borrow the yang energy of the push and use it to roll us back. However, by keeping some reserve, or yin, in the push, we are able to detect if the opponent is attempting to borrow our pushing energy and can instead change the push into shoulder stroke or some other response to their attempt to roll us back. In so doing, we learn not to overcommit to our attack. Yet another element of Taiji theory suggested by the Taiji symbol is that of movement or change. In the traditional Taiji symbol, the white yang semicircle seems to rise up from the bottom of the symbol, while the yin semicircle appears to descend downwards. The image of the two fish, shown above, represents this sense of motion even more graphically. Change is the inherent nature of the universe. Without movement and change, the universe would not exist. Taiji theory states that Taiji emerged from Wuji, the formless void, when Wuji began to move. This movement generated Taiji, which consisted of heaven and earth, whose characteristics are yang and yin respectively. This transition is depicted in Figure 1-8 below. The interplay of heaven and earth gave rise to humankind (“man” in traditional Chinese philosophy). From these original three arose all “the ten thousand things” which make up the cosmos.

Figure 1-8

When we practice the taijiquan form, we begin by standing in wuji posture. Within this posture, there is no distinction between yin and yang. There is no substantial leg and no insubstantial leg; no substantial arm and no insubstantial arm. There is no separation between the upper body and the lower body. Most importantly, there is no movement. The entire body is still. Nonetheless, the potential for movement is present within this wuji posture. Indeed, the Classics state that the entire form is contained within the beginning wuji posture. Sun Lu-tang commented specifically upon the importance of reaching a state of complete calm and emptiness by standing in the wuji posture for some period of time before stepping out into the taiji posture to commence the form. Once we have the idea in our heart/mind to begin the form, the simple intention of moving spurs yin and yang to separate. If we move from the taiji posture directly into Ward-Off Left, as the form developed by Yang Chengfu originally did (that is to say, without the raising and lowering of the hands that one normally associates with the opening of the Yang style form), then one side of the body becomes yang and the other side becomes yin as described previously. Further, the extreme yang of Ward-Off Left gives rise to a slight neutralizing, or yin aspect to the left side as we transition into Ward-Off Right. Throughout the form yang arises and diminishes, giving rise to yin, and vice-versa. Regardless of family style, all styles of taijiquan share the common feature that the sequence of postures transitions from yang to yin and from yin to yang. One begins the form by standing quietly in wuji posture and then transitions into the commencement of the form, proceeding from one posture to the next, on and on until one reaches the conclusion of the form, finishing by settling once again into wuji posture. Thus it is apparent that the taijiquan form truly is an embodiment of Taiji theory. When one practices the form, one is actually practicing Taiji.

Five Elements Theory Over four thousand five hundred years ago, the mythical Chinese Yellow Emperor purportedly wrote a treatise, the Classic of Internal Medicine, in which he described the attributes and actions of the Five Elements, wu xing, as they relate to the major organs of the human anatomy. The Five Elements

are: wood, fire, earth, water, and metal. Each element has a special quality and influence upon the natural world and is associated with a particular season. According to Five Elements theory, wood is associated with expansion, the season of spring, and the direction east; fire is associated with ascension, the season of summer, and the direction south; earth is associated with stability, the period of change between each of the seasons, and the direction center; water is associated with descending, the season winter, and the direction north; and metal is associated with contraction, the season autumn, and the direction west. The individual Five Elements are said to be both creative and destructive of one another. For example, wood is created by water but destroyed by metal, since trees are nourished by water but can be cut down with metal axes. Elements are said to be attracted to the element which creates it and to fear the element that can destroy it. With regard to Chinese traditional medicine, each element is associated with both a yang organ and a yin organ. So, for example, the heart (yin) and the small intestine (yang) are associated with fire. Based upon the principles of mutual creation and destruction, an ailment in one organ may be due to an excess or a deficiency in another organ. Often the treatment of an illness is based upon identifying the excesses or deficiencies of the mutually supportive or destructive organs associated with the organ causing the illness. Treatment of the illness may involve stimulating or calming the associated organs through herbal remedies, massage, and acupuncture. Five Elements theory is integral to the study of taijiquan. Five Elements theory is related to taijiquan primarily through the stepping directions associated with each of the elements. (Note: these stepping directions are not to be confused with the cardinal directions associated with each element. The stepping directions will be presented in detail in Chapter Eleven.) Stepping forward (Advance) is associated with metal; stepping backward (Retreat) is associated with wood; stepping to the left (Look Left) is associated with water; stepping to the right (Gaze Right) is associated with fire; and keeping to the center (Central Equilibrium) is associated with earth. Together, these five directions constitute the Five Steps of the Original Thirteen Postures of taijiquan.

In the Taijiquan Classics, the treatise attributed to Chang San-feng specifically identifies these Five Steps, which can be observed throughout the taijiquan forms. The following are specific examples: Advance: Brush Knee, Twist Step (Yang style); Advance Step, Deflect, Parry and Punch (Sun style); Six Sealing and Four Closing (Chen style) Retreat: Step Back to Repulse Monkey (Yang and Wu styles); Retreat Step and Lazily Tying the Clothes (Sun style); Step Back and Whirl Arms (Chen style) Look Left: Wave Hands Like Clouds (Yang and Wu styles); Single Whip (Sun style); Dash Leftward (Chen Style) Gaze Right: the turning to the right in Wave Hands Like Clouds (Yang and Wu styles); Jade Lady Works the Shuttles (Sun style); Dash Rightward (Chen style) Central Equilibrium: the Opening and Closing postures of the various styles. The importance of the Five Steps is apparent in the overall choreography of many of the traditional taijiquan solo forms. In most styles, if you place a small marker under your feet before beginning the form and follow the steps correctly, you should finish up with your feet over the marker at the completion of the form. This is one more indication of the intelligent design of the forms that we have inherited from originators of taijiquan.

Bagua Theory When the ancient Chinese wanted to represent the concepts of yin and yang, they chose simple ideograms. They employed a single, unbroken horizontal line to represent yang and a broken horizontal line to represent yin. See Figure 1-9 below.

Figure 1-9

The ancient Chinese sages realized that by combining these yin and yang lines, they could represent various situations. By combining two lines, we get the following four groupings:

Figure 1-10

These same ancient sages realized that four descriptive categories were insufficient to describe all natural events and human affairs, so they added a third line to create eight unique groupings. These groupings, known as trigrams, became the Bagua. The eight trigrams are presented below, along with their Chinese names, their shape names, and the aspect of nature which they represent:

In its infancy, the art of divination, or geomancy, relied upon the eight trigrams in order to predict the future as well as to advise on the action to be taken in a given situation. However, eight situations proved very limiting, so the eight trigrams were further arranged into pairs, giving rise to sixty-four hexagrams. The sixty-four hexagrams formed the basis of the I Ching, or Book of Changes, which has served as the standard tool for divination in China for more than 2,500 years. Each of the sixty-four hexagrams are named and described in the I Ching along with a short commentary on the meaning and application of the hexagram to various situations. Skilled geomancers would employ the I Ching after performing a ritualized ceremony involving the casting of yarrow stalks to help decide upon a course of action arising out of a given situation or even to predict the future. The I Ching describes the formation of the eight trigrams, or Bagua, as follows: First there was the Taiji, or the Grand Terminus, which generated the two forms, or Liung-Yi. Those two forms generated the four symbols, or Ssu-Hsiang. Those four symbols divided further to generate the eight trigrams, or Bagua.

Figure 1-11

The sixty-four hexagrams became the basis for the I Ching, which is the most widely referenced book in classical Chinese culture. However, the basic eight trigrams of the Bagua also remained very influential in Chinese thought. The relationships between the eight trigrams and their application to natural phenomena as well as to human affairs forms the basis of Bagua theory, which has had a significant influence upon classical Chinese culture. The Chen family adapted Bagua theory to provide a theoretical construct which, in conjunction with the Five Steps, provided a classical theoretical foundation for the Original Thirteen Postures. This knowledge was passed on to Yang Lu-chan from Chen Chang-xing and became a cornerstone of Yang style taijiquan. Yang Chen-2 explicitly stated in his The Essence and Applications of Taijiquan, that taijiquan is based upon the Taiji theory and Bagua theory, and also specifically referred to the I Ching.19 The eight trigrams were referred to as the “eight gates,” and each gate was assigned a posture from the Original Thirteen Postures along with a cardinal point. According to the Yang family classification scheme, the eight trigrams were assigned as follows:

The postures of Peng (Ward-Off), Lu (Roll-Back), Ji (Press) and An (Push) are referred to be the Four Sides, as they relate to the four cardinal points of the Bagua. See Figure 1-12. The postures of Kao (Shoulder-Stroke), Chou (Elbow-Stroke), Tsai (Pluck) and Lieh (Split) are assigned to the Four Corners, as represented in Figure 1-13.

Figure 1-12

Figure 1-13

As stated in the Introduction, Chang San-Feng referred to the eight postures described above in his Treatise on Taijiquan. He called Ward-Off, Rollback, Press and Push “the four cardinal directions,” which the Yang family referred to as the Four Sides, and named Pull-Down, Split, Elbow-Stroke, and Shoulder-Stroke as “the four diagonals,” which the Yang family referred to as the Four Corners.20 Within Chen style taijiquan, the bafa, or eight kinetic movements, are central both to the postures and to tuishou practice. The bafa comprise the eight basic intrinsic energies (jin) from which the individual techniques of Chen style taijiquan are generated. These eight basic intrinsic energies are also the basis of Chen style pushing hands and martial applications. As such, the eight kinetic movements are fundamental to Chen style taijiquan.21 Students should study and practice the martial application(s) of each posture in the taijiquan form. It is difficult to truly understand a martial application by reading about it and studying photos in a book or even watching videos demonstrating the application. Despite these limitations, Chapter Fourteen provides an explanation of the martial application(s) of a number of the postures taken from different family styles as a point of study and reference. Even if you never intend to use your taijiquan for self-defense, a thorough understanding of the martial application of each posture will help you understand the physical structure of the posture and may assist you in eliminating postural defects.

Conclusion This chapter has provided a basic introduction to the theoretical foundation of the martial art of taijiquan. This foundation is based upon Taiji theory, Five Elements theory, and Bagua theory. The coverage of each of the three theories presented here is by no means complete. For further discussion of each of these theories, the reader is referred to Jou Tsung Hwa’s excellent text, The Tao of Tai-Chi Chuan. While there is great controversy among scholars of taijiquan as to when and who originally attributed these theories to taijiquan, it is nonetheless clear that the all the major family traditions consider Taiji theory, Five Elements theory, and Bagua theory to be fundamental to their art. Understanding the theoretical foundations of taijiquan will add depth and dimension to your understanding and practice of

this sophisticated and complex martial art. As fundamental as these three theories are to the art of taijiquan, in many ways the philosophical foundation provided by Taoism, particularly the Tao Te Ching, is even more important to the formulation and development of taijiquan. The following chapter presents an introduction to the relationship between Taoism and taijiquan. Along with Taiji theory, Five Elements theory, and Bagua theory, an appreciation of the philosophy of Taoism is essential to understanding the art of taijiquan.

Chapter Two

Taijiquan and Taoism

The art taijiquan stands upon two pillars, one theoretical and one philosophical. The theoretical foundation is derived from Taiji theory, Five Elements theory and Bagua theory, which were presented in the previous chapter. The philosophical foundation of taijiquan is based primarily on Taoism, particularly the seminal writings of Lao Tzu as recorded in the Tao Te Ching. The close relationship between taijiquan and Taoism manifests itself through numerous references to Lao Tzu and the Tao in the Taijiquan Classics as well as in the writings of the original masters, their descendants and their disciples. Professor Cheng Man-ch’ing, a disciple of Yang Chengfu, often stated that the fundamental principles of taijiquan were derived from the teachings of Lao Tzu.22 The influence of Taoism also can be seen in the circular movements and in the continual interchange of hard and soft, open and closed, substantial and insubstantial that occur in Chen style taijiquan. The principles that underlie Chen taijiquan theory closely reflect the Taoist ideas of the separation of yin and yang and distinguishing between insubstantial and substantial. One of the key concepts of Taoism is that softness overcomes hardness. This is also a key concept in taijiquan. The legend of the origin of taijiquan recounts that Chang San Feng, a Taoist hermit, witnessed a bird attacking a snake. Rather than rigidly resisting the bird’s attacks, the snake evaded the bird's beak and talons by withdrawing, coiling, and then suddenly striking.

Figure 2-1

From this incident, Chang San Feng reputedly developed a complete martial art based on the concept of soft overcoming hard. From his observation of the combat between the bird and the snake, he received a revelation. The coiled form of the snake was like the Taiji symbol and the actions of the snake embodied the principle of the soft overcoming the hard. When the crane attacked the snake’s head, it withdrew its head and counter-attacked with its tail. If the crane attacked the snake’s tail, it withdrew its tail and struck with its fangs. According to legend, Chang San Feng developed taijiquan based upon the sinuous movements of the snake. As many taijiquan masters of his generation, Sun Lutang also ascribed the origin of taijiquan to Chang San Feng. In his book, A Study of Taijiquan, he related that Chang San Feng cultivated the Tao at Wu Dang Mountain. He stated that Chang San Feng practiced the Taoist practices of Tendon Changing and Marrow Washing, as well as utilizing Zhou Zi’s Taiji symbol. Sun Lu-tang claimed that Chang San Feng followed these natural principles in order to develop the art of taijiquan.23 Modern historians and scholars of the art of taijiquan dismiss the origin myth of Chang San Feng and attribute the actual development of taijiquan to the Chen family, beginning with the Chen Wangting in the 17th century AD. Regardless of its origins, it is undeniable that the art of taijiquan is deeply imbued with principles and concepts derived from Taoist philosophy. When you practice the art of taijiquan you are, in essence, following the Tao or “Way” of the natural world. For this reason, all students of taijiquan should at least read the Tao Te Ching and attempt to internalize the wisdom of this ancient handbook of Taoist philosophy. This chapter provides a brief background on Taoism and relates the concepts and principles of Taoism to the art of taijiquan.

The Origins of Taoism Formally, Taoism has its origins in the Tao Te Ching, attributed to Lao Tzu and written in the 4th century B.C. The title “Lao Tzu” means “Old One” or “Master.” Lao Tzu was purportedly a government scribe named Li Er who retired from government service at the age of ninety to withdraw to the mountains and live the life of a hermit. Modern scholars question whether Lao Tzu existed as a single individual. Rather, it is generally accepted that

the Tao Te Ching is composed of the previously recorded insights of various Taoist sages.

Figure 2-2

The roots of Taoist thought and practices almost certainly predate this pivotal text by thousands of years. The principles of yin and yang and the concept of qi as the primary energy of both nature and human beings date back to the earliest recorded Chinese writing. It is probable that ancient Chinese shamans and healers engaged in practices that are the precursors of modern Taoist exercises and internal alchemy. It should be noted that, while the Tao Te Ching is the first recorded collection of Taoist thought, it was by no means the last. Several centuries later, another famous Taoist sage, Chuang Tzu, recorded a number of chapters clarifying the Tao Te Ching while also adding his own insights. Later Taoist sages, particularly the Huainan masters, wrote treatises on Taoist thought and practices. Collectively these writings are referred to as the Taoist Canon. Philosophical Taoism is not a religion. Instead, Taoism is a world view that includes both the origin of the universe as well as an explanation of how everything in creation functions. Taoism existed for centuries as both a philosophy and as a prescription for living in harmony and balance with nature. However, as with many philosophies, there were attempts to cloak the basic principles of Taoism in religious garb. Taoist gods and spirits were created, partly based upon the gods of folk religions of the time. Rituals were established, holy days declared, and temples constructed to support religious practices. For this reason, contemporary scholars of Taoism classify Taoism according to whether it is practiced primarily as a philosophy or as a religion. Most Westerners today are drawn to Taoism as a philosophy and a way of life rather than to the religious trappings that grew up around Taoism. Accordingly, in this book Taoism will be presented in its philosophical form, devoid of any religious implications. The fundamental concept of Taoism is that there exists an indefinable and intangible driving force that both created and governs everything in the universe. This ineffable force is referred to as the Tao. The Tao is both the unseen ruler of creation as well as the set of principles upon which the laws of nature and humankind are based. The Tao is unseen and unfathomable. However, the effects of the Tao are everywhere. There is nowhere that the Tao does not reach.

Taoism and Taiji theory are closely related. Just as it can be said that “Everything is Taiji,” it can also be said that “Everything is the Tao.” The difference is that Taoism goes beyond Taiji theory as both a theoretical construct and a philosophy. Taoism is both a description of the world and a prescription for how to live in it. Both Taiji theory and Taoism encompass heaven, earth and humanity. However, while Taiji theory deals primarily with heaven and earth as the archetypes of yang and yin, Taoism is more concerned with human beings in relation to heaven and earth. The Chinese character for tao is often translated as “the way.” This suggests that the Tao is a path to be followed. However, such a strict interpretation of the Tao is misleading. How can one follow an invisible path? If one wants to think of the Tao as “the Way,” then it is best to use this term to refer to “the Way of nature,” or “the Way of creation.” We can even consider the Tao to be “the Way of humanity.” The Chinese character for tao consists of two radicals (smaller subcharacters.) The first of these is “foot” and the second is “head.” This gives the character for tao several connotations. One understanding is that the “head,” or consciousness, follows the “foot,” or path. This can be interpreted as “the conscious following of the Way.” Another interpretation of the character tao is that of wholeness, that is to say “from head to foot.” In this definition, “head” represents heaven, and “foot” represents earth. So, the Tao may be defined as heaven and earth united, much in the sense that Taiji unites heaven and earth, yang and yin.

The Principles of Taoism The character tao can also be translated as “principle.” This interpretation may be more suggestive of the true nature of the Tao. Scholars sometimes rely on the notion of a “first principle.” A first principle is the seminal concept from which a philosophy or science or even an art form arises. In the case of Taiji theory, the first principle is the polarity of yin and yang. From this first principle, all other principles of Taiji theory can be derived. The difficulty in defining Taoism from a first principle is that the first principle of Taoism can be found in the Tao Te Ching itself: “The Tao that can be told is not the eternal Tao.” That is to say, if you can describe what the Tao is, then that is not the true Tao. The only way to know the Tao is to open

one's awareness to the Way of creation. In this manner, one can experience the Tao. Although the underlying nature of the Tao is indescribable, Taoism nonetheless does provide us with a set of fundamental principles that both describe natural phenomena and aid us in understanding the affairs of human beings. These include the principles of balance and harmony and the existence of cyclic change in nature. Other principles include the concept of wu wei, or inaction, and the concept of yielding, or of softness overcoming hardness. The Tao teaches us to seek balance both within ourselves and with our natural and social environments. We need to learn to consume a balanced diet, engage in activity and rest in equal measure, and to be moderate in our daily habits. Because the natural order is one of balance and harmony, Taoists often seek out mountains, forests, lakes and streams where they can observe nature and live in harmony within a natural setting. While this may not be practical in modern society, it is advisable to place oneself in natural surroundings as often as possible. One way to place yourself in harmony with nature is to make a practice of observing natural phenomena, such as birds in flight, leaves changing color in autumn, bulbs blooming in spring, the changing weather, etc. Try to discern the ever-changing patterns of nature and how the natural world functions harmoniously. See if you can identify natural patterns in your own life: waking and sleeping, eating and evacuating; work and play; simply breathing in and out. Make every effort to align yourself with the natural rhythms of life. See Taiji in everything. In this way, you will engage in consciously living the Tao. Wu wei, a fundamental principle of Taoism, is the principle of inaction. This important concept has defined much of Chinese thought and culture and continues to do so even today. Inaction is a broad concept and includes the notions of patience, forbearance, and constraint. For example, in China it is considered inappropriate to show emotion. Love, excitement, pride, and anger may be felt internally, but should not be overtly expressed, as these “excessive” emotions upset balance and harmony. The principle of wu wei is also a key concept in taijiquan. In particular, we

are counseled to forgo brute force when confronting an opponent. Rather, we learn how to use the opponent’s force against him. This is the technique of “deflecting a force of a thousand pounds with a counterforce of four ounces.” Another way of looking at this is to respond to the opponent’s yang with yin. Yang is associated with action and yin is associated with inaction. In this way, the art of taijiquan adheres to the principles of both Taiji theory and Taoism. The principle of wu wei espoused by Taoism is related to the concept of Wuji described in Taiji theory. From Wuji, which is formless and inactive, arises Taiji, which encompasses heaven and earth. Heaven and earth in turn generate humankind and “the ten thousand things” of creation. So, from nothingness and inaction, the entirety of creation is formed. Just as Wuji is the foundation of Taiji, so it can be said that wu wei is a cornerstone of Taoist philosophy. The virtues of the Way of inaction are extolled in the Tao Te Ching. In Verse 37, Lao Tzu states unambiguously:

The Tao in its regular course does nothing, And so there is nothing that it does not do.24 This simple statement, consisting of a brief ten words, defines the principle of wu wei concisely. Another cornerstone of Taoism is the principle of yielding, of softness overcoming hardness. In verse 36 of the Tao Te Ching, Lao Tzu states, “The soft and weak overcomes the hard and strong.”25 The meaning of this simple statement is that it is better to be yielding than to be rigid. When using taijiquan for self-defense, if your opponent use hard force, you should employ softness to neutralize it. When your opponent attacks fiercely, you should rely upon stillness and yielding to neutralize the attack. Extreme softness and stillness are the embodiment of yin. When extreme yang encounters extreme yin, the yang will always be defeated. There are numerous references to this principle in the Tao Te Ching. Verse 76 states: Man at his birth is supple and weak;

at his death, stiff and hard. Trees and plants are born tender and pliant; at their death, dry and withered. Firmness and strength are the concomitants of death; softness and weakness, the concomitants of life. Hence, he who relies on the strength of his force does not conquer. And a tree that is strong will not fill out the outstretched arms and thereby invites the feller. Therefore the place of what is firm and strong is below, and that of what is soft and weak is above.26

The Taoist metaphor for softness is water. While water possesses the quality of softness, the power and destructiveness of water cannot be overlooked. The Tao Te Ching expresses this concept succinctly in Verse 78: There is nothing in the world more soft and weak than water. Yet for attacking things that are firm and strong, there is nothing that can surpass it. Everyone knows that the soft overcomes the hard; and the weak overcomes the strong. Words that are strictly true seem to be paradoxical.27

The image of water as both yielding and overcoming hardness is central to taijiquan. There is an ancient Chinese aphorism: “Water both floats and destroys boats.” When you are as yielding as water, no incoming force can harm you. Skilled taijiquan practitioners learn to absorb a blow much as a body of water can accommodate the weight of a boat. On the other hand, the force of strongly surging water can overturn and sink a boat. Just so, the surging power of a punch or push that rises out of the ground can send an opponent flying. The principle of yielding is central to the martial aspect of taijiquan. When faced with an opponent’s incoming force, the practitioner yields to it and redirects the force so that it is neutralized. The Taijiquan Classics refer to this as “leading into emptiness.” The skill of yielding enables a smaller, weaker player to overcome a larger, stronger player with lesser skill. This is the epitome of the art of taijiquan.

The Taijiquan Classics state that when the opponent is hard, you should be soft. This is known as tsou (yielding). If the opponent’s movement is quick, then you should respond quickly; if his movement is slow, you should respond slowly. The relevance of the Tao Te Ching to the art of taijiquan can best be summarized succinctly by the concise wording of Chapter Forty-three: The softest thing in the world dashes against and overcomes the hardest. That which is insubstantial enters where there is no crevice. I know hereby what advantage belongs to doing nothing. There are few in the world who attain the teaching without words, and the advantage arising from non-action.28

When practicing the art of taijiquan, whether it be flowing the form, working with weapons, playing pushing hands, practicing or dalu, or engaging in sparring, we must keep to softness and stillness and avoid excessive, hard force and jerky or uneven movements. Yang Chen-fu stated that the most important principle in taijiquan is the presence of stillness within motion. He instructed his disciples to seek stillness in every movement and to proceed evenly from one posture to the next. The martial art of taijiquan is based upon skill and sensitivity rather than reliance upon brute force and strength. The practitioner relies upon softness, yielding, and neutralizing to overcome hardness and aggression. The Taijiquan Classics advise the practitioner to look to the method of using four ounces of energy to control a force of a thousand pounds. The effectiveness of taijiquan does not depend on force to overcome force, or hardness to overcome hardness. In the past, the old masters were able to successfully defend themselves against many younger, stronger opponents at once. They did not depend upon strength and quickness, but instead relied upon softness and stillness to overcome their opponents. Above all, as students of taijiquan we are also students of the Tao. Practicing of the art of taijiquan, we learn to balance yin and yang and to find harmony within ourselves and with others. By learning to become loose and relaxed in the face of stiffness and aggression, we learn to remain calm in the face of

adversity. Cultivating our “mighty qi,” we improve our health and vitality. The great benefit from our daily practice is to increase longevity and enjoy a “springtime of eternal youth.”

The Three Treasures of Taoism No presentation of Taoism would be complete without mentioning Taoist meditation and the alchemical practices which lead to spiritual attainment. These practices include breathing exercises, yoga-like exercises called daoyin, and the ingestion of special herbs. These practices are intended to cultivate and refine both the qi and the sexual energy, or ching, which leads to the refinement of the spirit, or shen. These three energies are often referred to as the “Three Treasures,” or san pao, of Taoist alchemy. The Taoist techniques for the cultivation and circulation of the qi are presented in detail within Chapterx Seven and Eight of this book. The Taoist alchemical practices that are involved with the cultivation of the Three Treasures are presented in Chapter Eighteen. In addition to the Three Treasures of ching, qi and shen, Taoism also places great emphasis on another set of Three Treasures: heaven, earth, and humanity. The Taijiquan Classics state that Taiji is born of Wuji and is the mother of yin and yang. The highest representation of yang is heaven, and the highest representation of yin is earth. Between these two stands humanity. The role of the individual is to combine and refine the energies of heaven and arth in order to elevate his or her shen, or spirit. This is accomplished through a process called the reversal of yin and yang. In Bagua theory, the trigram Qian is yang: which represents heaven, the sun, and fire. The trigram K’un is yin: which represents earth, the moon, and water. The technique for reversing yin and yang will be introduced in Chapter Eight. This Taoist alchemical practice, along with the practices of Microcosmic Orbit and Macrocosmic Orbit, is the key to achieving the highest level of attainment in Taoist practice, which is to integrate the san pao: the Three Treasures of ching, qi, and shen.

Conclusion As the title of this book states, the art of taijiquan combines the civil with the martial. The civil component of taijiquan encompasses both the health and

spiritual aspects of the art. In contrast, the martial component of the art includes the combat applications of the postures, along with pushing hands, weapons and sparring. Taken together, these may be considered to be the yin and the yang of taijiquan. Many other martial arts also claim to promote both martial skill and health. Unlike those other martial arts, however, taijiquan contains an underlying element of spirituality. This is evident in the numerous references to the “spirit” in the Taijiquan Classics as well as in the writings of the taijiquan masters. An example from the Classics is the instruction to “thread the spirit to the crown of the head.” As we practice the solo form, engage in pushing hands, or even undertake actual combat, we should always maintain this intangible and yet very real connection with heaven. At the same time, we must maintain our connection to the earth through the technique of “rooting.” The practice of taijiquan, therefore, serves to integrate our human nature with the natural forces of heaven and earth. In so doing, the Three Treasures of heaven, earth and humanity are brought into balance and harmony. This is the way of the Tao. By actively incorporating the Tao into our practice, we cultivate the highest degree of civil pursuit, that of spiritual attainment. The ancients taught that the human body represents the universe in miniature, i.e. a microcosm. If we can learn to cultivate and nourish our ching, qi and shen, then we will become strong and vital and will enjoy health and vigor throughout our lifetime. When the Three Treasures of each human being are vital, then we will comprise in microcosmic form the Three Treasures of the Tao, which are heaven, earth, and humankind. This is our birthright and our destiny. When one practices taijiquan as an expression of the Tao, then taijiquan becomes a spiritual practice. The highest attainment of the practice of taijiquan is the integration of heaven, earth and humanity. In order to reach this highest level of achievement, however, one must practice correctly. Having presented the theoretical and philosophical foundations of taijiquan in this and the preceding chapter, it is appropriate to consider next the proper practice of the art. Just as Taiji theory and Taoism each have their own first principle, so too does the art of taijiquan. Although individual masters, past and present, may emphasize different important principles for practicing taijiquan, it is

commonly agreed that the universal first principle of the art is to be song. The concept of song is of primary importance in the practice of taijiquan. This important first principle is explained and investigated in detail in the following chapter.

Chapter Three

Song - The First Principle

It has been said that Yang Cheng-fu constantly exhorted his students to “relax.” Professor Cheng Man-ch’ing, one of Yang Cheng-fu’s disciples, recounted that his teacher must have repeated the instruction to “relax” many times each day.29 Yang Cheng-fu taught that the entire body had to be relaxed in order for the postures to be correct. There is an expression in the taijiquan community that relates to this: “Ninety-nine percent relaxed is one hundred percent wrong.” Indeed, it is not an exaggeration to state that the first principle of tajiquan is to be relaxed. The original Chinese word employed by both the Yang and Chen families to denote the concept of “relaxation” is song (also transliterated as sung). Unfortunately, if one takes the literal translation of song to mean “relax,” then one misses entirely the point of this seminal principle of the art of tajiquan. It is important for students of tajiquan to understand the true meaning of the word song and also to distinguish between song and “relax.” The term song conveys the sense of openness, fullness, expansion, and sinking down into the earth while simultaneously welling up from the earth. Song also entails loosening the ligaments and tendons which hold the skeletal system together. In this sense, one can use the word “relax” as it relates to the muscles, tendons and ligaments. It is important, however, to distinguish between relaxing and collapsing. When relaxing the muscles and loosening the ligaments and tendons, we don’t want to collapse our physical structure. Rather, we want to substitute soft internal energy, or jin, for hard external energy which involves muscular tension. The concept of song is central to all styles of tajiquan. Chen Zhenglei, a contemporary Chen family lineage holder, also teaches that, in order to achieve the state of song, the practitioner must relax the whole body. All the

components of the body, including the muscles, the skeletal structure, the internal organs, the skin and even the hair must all relax. Chen Zhenglei refers to development of song as yangsong gong.30 Other Chen family members employ the term fansong. In Chen style training, the quality of song is considered to have four components: relaxation of the mind, extension and expansion of the ligaments and tendons, sinking the energy and the weight into the lower half of the body, and pliancy (which implies the ability to move with agility.) With regard to the opening of the joints through the loosening of the ligaments and tendons, there are nine primary joints to loosen: the wrists, the elbows, the shoulders, the ankles, the knees, the hips, the back, the waist, and the neck. In fact, all the joints in the body, as well as the muscles and tendons, should be loosened and stretched. This expansion should extend even to the joints of the fingers and the toes. Many students misunderstand the concept of song and fall into the bad habit of “spaghetti arms,” wherein one or both arms are held limp, like cooked spaghetti. Consider for a moment the Beginning posture from the Wu (Chianchuan) style taijiquan, (which is the equivalent of Ward-Off Left in traditional Yang style taijiquan). The left arm should be relaxed, but not so relaxed that it can’t repel, or ward off, an intruder. Similarly, the right arm should be held up in a supportive position behind the right arm, relaxed but able to come to the aid (both structurally and energetically) of the left arm in order to ward off an attack. In order to provide the proper structure and internal energy in this posture, the arms must be song, not limp. This means that the joints of each arm (shoulder, elbow and wrist) must be open; the ligaments and tendons of the arm must be loose but connected; and the internal energy, peng jin in the case of the left arm, must flow freely and fully through the arm and into the hand. Song is often associated with the related concept ch’en, translated as “sink.” Sinking means to allow the entire weight of the body to sink down into the feet. This creates a sense of stability and rootedness. The upper body is light and insubstantial, while the lower body, the legs and feet in particular, are heavy and substantial. If one can relax completely, then this is ch’en. When the muscles, ligaments and tendons relax completely, then the whole body sinks down.

From the above we see that song actually consists of being both relaxed and sunk. Basically, ch’en and song are the same thing. One cannot be song unless one is able to sink, and one cannot sink unless one is able to be song. This concept is also central to the principle of fansong in the Chen style. When properly executed, sinking creates the quality of heaviness, or zhong. It is not hard or rigid, but is characterized by external softness supported by internal strength. The importance of song cannot be over-emphasized in the practice of tajiquan. Song relates to all aspects of our art, from practicing the form, to engaging in pushing hands, playing with weapons, and emitting jin. This chapter includes several basic standing exercises designed to assist you in developing these dual qualities. However, it is necessary first to explore this important principle of tajiquan in more detail. The ability to be song is necessary in order for the qi to fill the lower dantien and circulate throughout the body. Qi travels through the body via twelve meridians and eight channels. Many of the meridians and channels pass through the joints of the body. As such, if the joints of the body are bound up or tight, then the qi will not be able to flow freely. The Taijiquan Classics state that the mind moves the qi and the qi moves the body. Since the art of tajiquan relies upon the flow of qi, and the flow of qi depends upon the joints being loose and open, it is essential that we learn to be song if we want to promote the circulation of qi. Proper and unrestricted qi flow is the basis for both the practice of tajiquan as well as overall good health and longevity. Song is also essential if we want to develop the underlying power of tajiquan. In martial arts terminology, tajiquan is classified as an internal martial art. That means that our art relies upon internal power, or jin, rather than external force, or li. Li can be thought of as brute or muscular force. Think of the most basic form of attack in tuishou: the push. One who has not mastered internal power will attempt to push his opponent using the shoulders and arms and possibly leaning into the opponent as well to gain additional leverage. While such an attack may prove effective against an inexperienced opponent, an advanced student of tajiquan will easily detect and neutralize such a primitive attack and redirect the attacker’s energy in

such a way as to send him flying backward, repelled by his own brute force. The proper way to push an opponent is to connect with her center, follow her to a place where she is vulnerable, and then use internal power, or jin, to propel her backward. When using jin, the muscles are not engaged, the body does not lean into the opponent, and there is no hard, physical force to be borrowed by the opponent. Rather than relying upon muscular tension, jin relies upon the compressed qi in the ligaments and tendons and especially in the spine. When this compressed qi is suddenly released, it is experienced by the opponent as a powerful, almost electric force that is almost impossible to neutralize. (The term “almost impossible” is used here, because very advanced tajiquan practitioners are able to receive and neutralize jin, based upon their high degree of song.) Jin is the highest skill in the art of tajiquan and is not developed in a day, a month, or a year. It takes many years to fully develop jin to the point that it can be employed effortlessly in martial applications. Further, it is an oversimplification to simply talk about jin, as there are many types and applications of jin. Since the development and application of jin rely upon one being song, it makes sense that one should start with learning how to be song. Over centuries of experimentation and investigation, the taijiquan masters of old developed various exercises and practices intended to develop the quality of song. Collectively, these practices are often referred to as song gong, which may be translated as song cultivation. The foundation of song is proper posture, which relies upon correct postural alignment. Correct postural alignment is essential for the ligaments and tendons to be loose and flexible. The Ten Essentials of Yang Cheng-fu instruct us to lift the head as if suspended from above, drop the chin slightly, hollow the chest, raise the back, sink the shoulders, drop the elbows, hang the hands from the wrists, tuck in the pelvis, loosen the waist and the kua, and round the crotch. The best way to begin practicing correct postural alignment is to assume the wuji posture. Figures 3-1a and 3-1b illustrate proper standing in wuji posture from both a frontal and side view. Note in particular that the ears, shoulders, elbows, wrists, hip bones, and ankles are vertically aligned in Figure 3-1b. This alignment allows the joints to sit one on top of the other. The only joints that do not conform to this vertical alignment are the knees. We need to have

a slight hollowing of the knee joints when standing in wuji posture. Otherwise, the knees will be stiff and our stance will be too rigid.

Figure 3-1a

Figure 3-1b

Of particular importance when standing in wuji posture is that the pelvis be leveled and the coccyx be tucked under. This allows the spinal column to be lengthened. Many individuals describe the proper alignment of the spine as a column of vertebrae stacked one on top of the other. However, this analogy is somewhat misleading. While it is true that proper spinal alignment relies on the vertebrae being “stacked,” the stack is not perfectly linear. Our vertebrae should not line up like a stack of poker chips. The spine has a natural curve to it which should be maintained whenever we are erect. So, the vertebrae are stacked, but slightly off-center one from the next. We can think of the spine as a series of Jenga blocks, each one slightly off-center from the one below, but all supporting one another. Consider the drawing of the spinal column in Figure 3-2. You can easily observe the natural curvature of the spinal column. In fact, the spinal column actually consists of three curves, the cervical curve in the neck region, the thoracic curve in the upper back, and the lumbar curve in the lower back. Collectively these three curves comprise the overall curvilinear shape of the spinal column. You can also see that the top of the spinal column is vertically aligned with the coccyx. When we say that the spine should be straight and the vertebrae should be “stacked,” this is the image that we should visualize. The curvature of the spine also enables the spine to act like a shock absorber, which enables the spine to store and release energy.

Figure 3-2

Exercise 1: In this first exercise, you are going to stand in wuji and work on aligning the head, the shoulders, the elbows, the wrists, the spine, the pelvis, the knees, and the ankles. To begin, you need to stand with feet parallel and hip-width apart. Most people think they are standing with their feet hip-width apart, but typically their feet are wider, approximately shoulder width apart. To ensure that your feet are, indeed, hip-width apart, begin with your two feet together as shown in Figure 3-3a. Now, rotate your right foot ninety degrees outward by pivoting on the right heel until the feet are in the position indicated in Figure 3-3b. Next, pivot on the ball of the right foot and swing the right heel backward until it is behind and parallel with the left foot, as shown in Figure 3-3c. Finally, slide the right foot forward until it is even with and parallel to the left foot, as shown in Figure 3-3d.

Look down and make sure that your feet are parallel. People commonly think that their feet are parallel when, in fact, there feet are somewhat splayed outward. It is imperative when standing in wuji posture that the feet are perfectly parallel. Standing with the feet splayed out even slightly puts undue stress on the knees and hips and will prevent the body from attaining proper alignment. Now that your two feet are parallel and hip-width apart, you can address the vertical alignment of the body. This requires you to work simultaneously on the skeletal structure and the soft tissues. The soft tissues, which include the muscles, tendons, ligaments, and the fascia, maintain the alignment of the skeletal structure. When the bones and joints are properly aligned, the muscles, ligaments, and tendons which hold the bones and joints in place don’t need to work as hard in order to maintain your overall vertical shape. Only then are these soft tissues able to lengthen and relax. In complementary fashion, when the muscles, ligaments, and tendons are relaxed, the joints can open and the bones can find their proper alignment. The goal in postural alignment is to establish an overall straight line from the head down to the feet. In order to accomplish this, you will need to stretch out and lengthen the spinal column by elongating the curvature of the spine. Note, you don’t want to eliminate the curvature altogether, but rather to “seek the straight in the curved.” Lengthening the spinal column means drawing out the three individual curves: the cervical, thoracic and lumbar curves mentioned previously. Although you want to align your skeletal structure from the top of the head to the feet, it is best to start with the pelvis. Most people stand naturally with their pelvis rocked slightly forward. To correct this, you should begin by consciously tucking your pelvis under by engaging your hip flexors and your abdominal muscles. This will reduce the lumbar curve. You don’t want to force the tucking, but a slight tension in your core will probably be needed in order to level the pelvic bowl. Next, you can work on suspending your head. The classic example given by Cheng Man-ch’ing is to imagine that the head was held aloft by a long queue of braided hair. Those of us who are “queueless” will have to imagine a string attached to the top of the head. As with the pelvis, most of us don’t have a level head-top. However, unlike the pelvis, which is typically tilted forward,

most of us jut our chin out, tilting the head backward and placing undue strain on the neck. So, you need to tuck your chin under in order to level the top of your head. This will lengthen your neck and reduce the cervical curve. Now that your pelvis and head are level, you need to work on your shoulders. Another postural defect that most individuals need to overcome is holding the shoulders back so that the shoulders are behind their ears. This is the typical military posture, in which the shoulders are thrown back and the chest is jutted forward. You may need to reverse this military posture by relaxing and dropping the shoulders, slightly rounding the shoulder yoke, and hollowing the chest. This will reduce the thoracic curve which will result in lengthening the entire curvature of the spine. If possible, stand sideways to a full-length mirror so you can check to see that your shoulders and ears are vertically aligned. It is very helpful to use a mirror at the beginning when practicing standing exercises. Many of us need the visual cues provided by a mirror in order to see and correct the various misalignments in our structure. Once you learn what it feels like to stand in alignment by checking yourself in the mirror, you can perform an overall body alignment with your eyes closed and allow yourself to “see” the body with your inner eye: that is to say, through your own self-awareness. Once your shoulders are relaxed and aligned with your ears, you can hang your arms at your sides, relaxing both the elbows and the wrists and allowing the fingers to extend somewhat from the hands. Now your ears, shoulders, elbows, and wrists should be aligned as in Figure 3-1b. While maintaining the vertical alignment of the upper body, you can begin to work on relaxing your thighs and rounding your crotch. Soften your knees and imagine that there is a tennis ball behind each knee. This will bring the knees slightly forward. The knees are the only joints that do not align vertically in the wuji posture. However, the ankles should line up with the hip bones, which in turn should line up with the shoulders, the ears, the elbows, and the wrists. When standing in wuji, or for that matter when practicing any aspect of tajiquan, it is best to curl the tip of the tongue upward to rest against the soft palate in the roof of the mouth (located just behind the upper front teeth.) This connects two major qi channels, also called “vessels,” in the body: the

Governing Vessel (du mai) in the back and the Conception Vessel (ren mai) in the front. The importance of these two “extraordinary vessels” will be explained in Chapter Eight, but suffice it to say that connecting these two vessels facilitates the uniform and continuous flow of qi during the practice of both standing meditation and moving tajiquan. Once you have placed all the joints into their proper alignments, you should continue to stand in wuji posture for at least five minutes per session. As you stand in wuji posture, you can make slight adjustments to your posture as you scan your body looking for any defects. Scan internally and try to feel if any part of the body is out of alignment. Rock slightly to and fro on your feet and shift your weight from side to side in order to determine the correct weight distribution. Adjust your head, shoulders, back, pelvis, hips, knees, elbows, wrists and ankles until you find the proper postural alignment that allows you to stand with minimal effort in order to maintain your upright posture. At this stage of your standing practice, you should focus your awareness solely on your alignment. Breathe naturally without placing undue attention on the breath. Eventually, you can use the wuji posture to practice Taoist breathing and other meditative practices. However, you first must master the simple act of standing effortlessly. This takes time and effort (gongfu) and progresses gradually over time. You should incorporate wuji standing into your daily tajiquan practice. The best time to stand in wuji is after your warm-up exercises but before form practice. Having completed your warm-up exercises, your body will be loosened sufficiently for you to be able to correctly align the joints. Doing your form practice after standing in wuji posture enables you to better perform each of the postures of the form. It is said that Sun Lu-tang interspersed periods of standing in wuji posture with rounds of the form, practicing in this manner for as much as eight hours per day. From this example, it is clear that standing in wuji posture supports the practice of the form. Standing in wuji takes practice, patience, and diligence. The key to success is continuity. Try to stand for at least five minutes daily. You can increase the time spent standing as you feel more comfortable holding the wuji posture without feeling fatigue. As you stand regularly in wuji posture, you will find that you are able to stand longer and with less effort. Eventually, you will be

able to locate and eliminate the various tensions that cause your ligaments and tendons to be tight. Standing in wuji literally teaches you to relax and let go of tension and stiffness. This is the first step in learning to become song. Exercise 2: Exercise 2 builds upon the work accomplished in Exercise 1. You should spend at least a week simply standing in wuji as described in the preceding exercise before proceeding to the second exercise. Remember to be patient with your practice. The vertical alignment of the joints described in Exercise 1 is essential to making headway in Exercise 2. You will know you are ready to advance to the second exercise when you are able to stand comfortably in wuji posture for at least five minutes without feeling tension, strain, or needing to come out of the posture because you can’t hold it any longer. In Exercise 1, the goal was to learn the technique of stacking the components of the body one on top of the other. The head was stacked upon the torso; the upper arms were stacked upon the lower arms, and the lower arms were stacked upon the wrists; the individual vertebrae of the spinal column were stacked on top of each other; the torso was stacked upon the pelvis; the pelvis was stacked upon the thighs; the thighs were stacked upon the knees; and the shins were stacked upon the ankles. In this exercise, while standing in wuji posture you will learn how to allow the weight of each of the body’s components to sink, or fall into, the next lower component. The key element of this exercise is that the combined weight of all components above a given joint will fall into that joint. This involves a process that may be referred to as “releasing, and then releasing again.” In order to accomplish this sequential releasing, you will begin with the head and work your way down to the feet. The sequence is as follows: the weight of the head falls into the neck joint; the weight of the upper arm falls into the elbow; the weight of the upper and lower arms falls into the wrists; the weight of the entire arms plus the hands falls into the fingers. Next, the combined weight of the head, both arms, and the torso falls into the hip joints; the weight of the head, arms, torso, and pelvis falls into the two thighs. Then, the combined weight of the head, arms, torso, pelvis, and thighs will be transferred into the lower legs. The next to the last step is to open the ankle joints and to allow the entire weight of the body to fall into the two feet equally while standing at hip-width apart as

described previously. Think of the individual joints of the body as functioning like gates. By relaxing the neck joint, you are able to open the neck gate and enable the weight of the head to fall into the upper back; by relaxing the hip joints, you allow the weight of the upper body to fall into the lets, etc. What you are doing in this exercise is opening gates, one after the other, until all the gates of the body have been opened and the combined weight of the body has fallen into the feet. The ankle joint is the last major joint in the body, so you should be finished at this point, right? In fact, there is one more gate that you need to open. This gate is not a joint in the physical sense. Instead, it is an “energy gate.” There a number of energy gates in the body, and you need to discover and learn how to open each of them in order to attain a high level of skill in the art of tajiquan. The energy gate you will be working with here is the yongquan point located on the sole of each foot. Figure 3-4 shows the location of the yongquan point.

Figure 3-4

Having opened all the other gates of the body, and with the combined weight of the body evenly distributed between the two feet, the final step is to open the yongquan point in each foot and to allow the combined weight of the body to fall into the ground. This is no easy task and requires both physical relaxation of the muscles in the feet as well as mental concentration to open the yongquan points. In order to relax the muscles of the feet, lightly press the entire bottom of the foot onto the surface on which you are standing. You can do this either barefoot or shod, as long as you are wearing shoes that are comfortable and non-restrictive. Allow the muscles in each foot to soften and simultaneously widen and lengthen. Try to imagine each foot as a hand and spread the “palm” of the foot outward and then press it downward gently yet firmly. Make sure that the foot is not weighted solely (no pun intended) over the toes or the heel, nor pressed too much either on the outer or inner edge of the foot. You want the entire underside of each foot to bear fifty percent of the weight of the body. In this way, it is easier for the yongquan points in both feet to open. Using the power of your heart/mind, or hsien, imagine that each yongquan point is an energy vortex that you are opening to allow yourself to connect to the energy of the earth. Visualize the vortex in each foot opening and expanding. Try to feel the energy of the body dropping down through these two vortices and combining with the earth’s energy. The process of sinking the combined weight of the body through the feet and into the ground is called “rooting.” When you practice rooting, you are figuratively planting roots into the ground. This gives the body greater stability. Learning to open the yongquan points is one of the most important steps in developing true skill in tajiquan. This takes time and mental effort. However, you will know when it happens, because you will actually feel the two yongquan energy gates opening. Initially you may feel a spongy feeling in the balls of the feet, followed by a tingling in the yongquan points. Eventually you will feel the earth’s energy welling up into these points. For this reason, the yongquan points are referred to as the “Bubbling Well” points. To begin your rooting practice, assume the wuji posture as described in Exercise 1. Then use the following instructions to open each of the major

structural gates in the body. You may want to record these instructions so you can listen to them while you practice. In this way you won’t have to concentrate on remembering the sequence and can focus instead on simply relaxing and loosening each section of the body. Breathe in, breathe out, and relax your neck. Allow the weight of your head to fall onto your shoulders. Breathe in, breathe out, and relax your shoulders. Allow the weight of your shoulders to fall into your upper arms. Breathe in, breathe out, and relax your upper arms. Allow the combined weight of your upper shoulders and upper arms to fall into your elbows. Breathe in, breathe out, and relax your elbows. Allow the combined weight of your shoulders and upper arms to fall into your forearms. Breathe in, breathe out, and relax your wrists. Allow the combined weight of your shoulders, upper arms and forearms to fall into your hands. Breathe in, breathe out, and relax your finger joints. Allow the combined weight of your shoulders, upper arms, forearms and hands to fall into your fingers. Breathe in, breathe out, and relax your neck. Allow the combined weight of your head and shoulders plus your arms and hands to fall into the upper back. Breathe in, breathe out, and relax your upper back. Allow the combined weight of your head, shoulders, arms and upper back to fall into your middle back. Breathe in, breathe out, and relax your middle back. Allow the combined weight of your head, shoulders, arms and upper and middle back to fall into your lower back. Breathe in, breathe out, and relax your lower back. Allow the combined weight of your torso to fall into the pelvis. Breathe in, breathe out, and relax your hip joints. Allow the combined weight of your torso and your pelvis to fall into your thighs. Breathe in, breathe out, and relax your knee joints. Allow the combined weight of your torso, pelvis and your thighs to fall into your lower legs. Breathe in, breathe out, and relax your ankles. Allow the combined weight of your body to fall into your feet. Breathe in, breathe out, and relax the yongquan points in your feet.

Allow the combined weight of your body to fall through the yongquan points and into the ground. Once you have opened up the yongquan points, continue standing in wuji posture and allow the weight of your body to sink deeper into the ground. As you become more effective at relaxing each joint in your body and permitting the combined weight of each component to fall onto the one below, you will begin to experience the sensation that your head and torso are light, almost as if they are floating. Your thigh and calf muscles will burn at first, but as you continue to learn how to open the yongquan points you will eventually reach the point where your rooted feet are supporting your body and the weightbearing work of your thighs and calves will be diminished. As with the first exercise, you should make this rooting training a daily component of your tajiquan practice. With each passing day, week, and month you will feel a greater sense of rootedness and connection to the earth. You will also experience the entire body becoming looser and more song. As you move out of your standing practice and into your form practice, try to incorporate both the sense of rooting and song into each posture of the form. Try to emulate the example of Sun Lu-tang, whose standing practice formed the foundation of his high level of civil and martial attainment.

Conclusion The importance of song is fundamental to the study of taijiquan. Whether you practice taijiquan for exercise, health, longevity, or as a martial art, the benefits you derive will largely depend upon your ability to be song. As with the qualities of yin and yang, song is a relative state. Yang Cheng-fu taught his students that they had to pass through definite stages over a many years of practice.31 Chen Xiaowang also places great emphasis on the developmental progression of the practitioner through the “Five Levels of Skill.”32 Although we say that song is relative and that one can become more song over time, song can also be considered to be a discrete state. In this sense, one is either song or not song. This is just one more example of the seemingly contradictory aspects of the art of tajiquan. Recall the dictum from the beginning of the chapter that “Ninety-nine percent song is one hundred percent wrong.” Despite this strict assessment, however, you should not be

discouraged with the incremental nature of your progress. It simply means that you must practice faithfully as the ancients taught: every day, morning and evening, winter and summer. In this way, your success will be assured. This chapter has described the principle of song and has introduced the simple practice of standing in wuji posture as a tool for developing song and rootedness. Although you can increase your ability to be song through standing exercises, standing alone is not sufficient to become completely song in all aspects of the body. The ability to be song not only requires proper alignment through relaxation and sinking down. It also depends upon the ligaments, tendons and sinews of the body being stretched and loosened. In order to accomplish this, the students of tajiquan must engage in a daily routine of stretching and loosening exercises. Chapter Four, which follows, provides a simple but effective stretching routine. Chapter Five includes instructions on how to perform the five loosening exercises developed by Huang Sheng Shyan. Chapter Five also presents a series of exercises known as “silk-reeling.” Through the daily practice of the exercises presented in these two chapters, you will gradually be able to lengthen, strengthen and loosen the muscles, ligaments and tendons, which will, in turn, enable you to deepen your ability to be song.

Chapter Four

Stretching Exercises

After several years of studying taijiquan, many students still appear wooden and mechanical when practicing the form. Accordingly, they lack skill in neutralizing their partners’ energy during pushing hands and instead hide this defect by stiffly resisting any attack and attempting to crudely repel their opponents using hard, muscular force. The fault in such cases often lies in the underlying rigidity of their musculoskeletal system. They are unable to relax tight muscles and ligaments and must learn how to loosen stiff tendons and joints. In order to become song, one must first become supple and limber. This is challenging, especially for individuals who have led a sedentary lifestyle, causing their ligaments and tendons to shrink and their joints to become tight with disuse. However, not only sedentary individuals have difficulty in loosening up. Many individuals who have been very active find that the same over-developed musculature that is the result of their active lifestyle actually becomes a hindrance when attempting to stretch and loosen the muscles, ligaments, and tendons. The same joints that have become tight in the case of sedentary individuals through underuse can become similarly bound up in the case of active individuals as a result of overuse. The secret to developing supple and flexible ligaments and tendons and to opening all the joints of the body is to engage in a regular and extensive regimen of stretching and loosening exercises. Most tajijquan instructors allocate a segment of each class to such exercises. However, in many cases the perfunctory ten minutes or so of gentle stretching is insufficient to overcome the accumulated years of tension and stiffness brought about by poor posture and inactivity or excessive muscular development. To further worsen matters, most students neglect stretching at home altogether and only

practice the form when not in the classroom. Unfortunately, such students typically spend no more than ten minutes stretching once or twice per week. A suitable warm-up routine should consist of two portions: a stretching session lasting about fifteen minutes and a loosening session lasting another ten to fifteen minutes. This chapter presents a comprehensive stretching routine, which will be described in detail in the following section. Chapter Five presents the loosening routine, which includes a series of loosening exercises followed by a sequence of chan ssu jin, or silk-reeling exercises. This combined stretching and loosening routine, or a similarly comprehensive stretching and loosening routine, is recommended for all students who are serious about improving their tajijquan practice. You may want to go through the stretching routine gently for the first few times in order to get a feel for each exercise and to determine how far you can stretch without undue strain. You may also choose to undertake the stretching and the loosening routines separately to avoid becoming overtired (and overwhelmed). Carefully begin to stretch the muscles, ligaments and tendons a little past their normal limits in order to increase your range of motion. You don’t want to overdo it and run the risk of injury. Take it slow and easy; you will know when you can push yourself a little further. Realistically, you should begin to see some increase in flexibility and range of motion within about two weeks. What you’re seeking here are gains measured in millimeters, not inches. Try to make stretching and loosening a regular part of your daily taijiquan practice. You should strive to perform each of the exercises with the same awareness and concentration that you dedicate to the form. For example, when you are standing in order to perform neck rolls, stand as if you are preparing to begin the form. Concentrate on rooting the feet and relaxing the upper body. When you are standing in bow stance in order to swing the arms to loosen the shoulders, make the bow stance long, wide, and deep. When rotating the arms like propellers to loosen the elbows, engage the entire torso. Maintain your focus on each exercise and don’t allow your attention to drift off. Be present with each exercise, conscious of your body and how each joint works (or doesn’t) the way it is supposed to. It is best to stretch before loosening, and to stretch and loosen before commencing form practice. If you only have a little time and you want to

launch directly into form practice, at least do a little stretching and loosening first. That way you will not only avoid the risk of injury but will also enable the qi to flow more freely and thereby receive greater benefit from your form practice.

The Stretching Routine The following stretching routine includes exercises designed to strengthen, lengthen, and loosen all the joints of the body. The routine starts with the neck and works its way systematically down to the toes. Having gently stretched the body from head to toe, the routine moves on to additional exercises designed to open the groin, strengthen the legs, and provide overall flexibility in the lower body. Photographs have been included where a written description is insufficient. As you execute each of these stretching exercises, be sure to breathe normally. Don’t hold your breath as you stretch. It is best to breathe in and out through the nose rather than through the mouth. Take long, slow breaths, and allow your body to relax into the stretches. 1. Neck rolls - Stand erect with your feet parallel and hip width apart. Drop your head forward and proceed to rotate it to the right, back, to the left, and forward again. Keep the motion circular and smooth. Repeat eight times clockwise and then reverse and perform eight repetitions in a counter-clockwise direction. 2. Turn your head left and right: Remain standing and look straight ahead. Turn your head to the left until you feel a slight strain on the right side of your neck. Keep your head level. Hold for an eight-count and then return your head to look straight ahead. Now perform the same exercise looking to the right. Repeat each side one time. 3. Tilt your head left and right: Position your head to look straight ahead. Push your right shoulder down slightly and then tilt your head over to the left side until you feel a slight strain in your right shoulder and neck. Hold for an eight-count and then return your head to look straight ahead. Now perform the same exercise tilting your head to the right. Repeat each side one time. 4. Tilt your head front and back: Look straight ahead. Push both of your shoulders down slightly and then tilt your head forward until you feel a

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slight strain in the back of your neck. Hold for an eight-count and then return your head to look straight ahead. Now perform the same exercise by tilting your head backward until you feel a slight strain in the front of your neck. Repeat forward and backward one time. Shoulder shrugs: Stand erect as before and pull both of your shoulders up as high as you can. Inhale and hold the breath and your shoulders in place for an eight count. Exhale and simultaneously release all the tension in your shoulders, dropping them down with an audible “Ha!” sound. Repeat a total of four times. Rotate both shoulders forward: Stand erect with feet hip width apart. Rotate both of your shoulders forward simultaneously. Make as large a circle with your shoulders as you can. Repeat for a total of eight times. Rotate both shoulders backward: Perform the same exercise as above but change direction to roll your shoulders backward eight times. Rotate alternate shoulders forward: Perform the forward shoulder rotation with one shoulder leading the other. Both of your shoulders should be in motion, but out of sync by 180 degrees. Repeat for a total of eight times. Rotate alternate shoulders backward: Perform the same exercise as above but change direction to alternately roll your shoulders backward eight times. Swing your arms forward and backward: Stand in a left bow stance (archer’s stance) with your left foot forward. Loosen your right shoulder and swing your right arm forward in a large, vertical circle as shown in Figure 4-1. Repeat for a total of eight times. Next, reverse the direction of your swinging arm to make circles in reverse for a total of eight backward circles. Change to a right bow stance and repeat the exercise with your left arm.

Figure 4-1

11. Horizontal elbow circles forward and backward: Stand erect with your feet hip width apart. Hold both of your arms in front of your body at chest height as shown in Figure 4-2. Circle your arms horizontally outward, one following the other, for a total of eight times. Imagine that your arms are the blades of an old-fashioned reel lawn mower. Now reverse the direction of the circles and repeat for a total of eight times.

Figure 4-2

12. Vertical elbow circles clockwise and counter-clockwise: From the preceding exercise, change your arms to a vertical orientation and make vertical circles clockwise with one arm following the other a half-circle behind. See Figures 4-3a and 4-3b. Imagine that your arms are twin propellers. Repeat for a total of eight clockwise circles. Now reverse the direction of the vertical circles and perform eight counter-clockwise circles.

Figure 4-3a

Figure 4-3b

13. Fling your arms outward: Stand erect with your feet hip width apart. Bend down slightly allowing your arms to hang downward. Imagine that you are dipping your hands in a washbasin filled with water. Now rise up quickly and, as your legs straighten, bring your arms in slightly to your body and then fling them outward as if you are flicking water off your fingers. Repeat for a total of four times. See Figures 4-4a and 4-4b.

Figure 4-4a

Figure 4-4b

14. Fling your arms downward: Stand erect with your feet hip width apart. Rise up and circle your arms out, around, and then in upward. Drop down quickly and fling your arms downward as if you are trying to flick something sticky off your fingers. Repeat for a total of four times. See Figures 4-5a and 4-5b.

Figure 4-5a

Figure 4-5b

15. Wrist rolls: Stand erect with your feet hip width apart. Clasp your hands together lightly with the fingers interlaced. Roll your hands around the wrists eight times clockwise. Change direction and repeat eight times counter-clockwise. 16. Figure Eights: Stand erect with your feet hip width apart. Extend your arms out from the shoulders and rotate your arms so that your two wrists are facing each other. Form mirror-image figure eights with each hand, concentrating on the circular motion of the wrists. Perform eight series of figure eights. Reverse the direction of each hand and repeat for a total of eight figure eights. 17. Push your wrists down: Stand erect with your feet hip width apart. Clasp your hands together at chest height as if you are praying. Keeping your hands vertical and together (don’t let them drift forward or apart) pull your hands down until you feel a slight strain in your wrists. Try not to lift your shoulders as you do this exercise. Hold for an eight count. Repeat four times. 18. Pull your wrists up: Turn your hands over with the fingers pointing down. Pull your hands up until you feel a slight strain. Again, don’t let your hands drift outward or separate, and be sure not to engage your shoulders. Hold for an eight count. Repeat four times. 19. Turn your wrists in: Now point your hands outward. Turn your hands over to point inward until you feel a slight strain in your wrists. Hold for an eight count. Repeat four times. 20. Fingertip pushups: Place the tips of the fingers of each hand in contact with the fingertips of the other hand. Keep your palms apart. Maintaining some tension in the fingers, press your palms together, separating the fingers and splaying them outward. Hold for an eight count. Repeat four times. 21. Shake it out: Stand erect with your feet hip width apart. Allow your arms to hang down from your shoulder sockets. Bounce gently up and down and allow your arms to shake with the movement of the torso. Completely loosen your arms from the shoulders down to the fingers with each “shake”. Repeat for a total of eight “shakes.” 22. The bear wakes up: Stand erect with your feet shoulder width apart. Hang your arms down at your sides. Now rotate your hips and shoulders first to one side and then the other. Allow your arms to swing up and

wrap around your torso to lightly tap front and back. Imagine that you are a bear emerging from hibernation and want to work out the kinks by slapping yourself awake. Don’t force your arms; instead allow them to remain loose and use the centrifugal force of the rotation of your torso to propel your arms. See Figures 4-6a and 4-6b.

Figure 4-6a

Figure 4-6b

23. Forward bends: Stand erect with your feet hip width apart. Inhale and raise your hands high overhead. Now exhale and bend forward, leading with your head, until your hands are hanging straight down. Relax your neck and your lower back. Hang for an eight count, breathing naturally. Then, inhale and roll up, leading with your lower back and stacking the vertebra one on top of the other until you are again standing erect. Float your arms over your head and repeat once more. See Figure 4-7.

Figure 4-7

24. Twisting forward bends: Stand with your feet hip width apart and float your arms over your head. Twist to your right and bend forward as before. Hang downward with your hands on the right side of your feet and relax. See Figure 4-8. Breathe naturally and hold for an eight count. Now, while still bending over, rotate forward until you are hanging with your hands in front of your feet. Then, slowly roll up one vertebra at a time as in the preceding exercise.

Figure 4-8

25. Backward bends: Stand with your feet hip width apart and press your palms against your lower back, fingers facing downward. Use your palms to push your pelvis forward. Then lean back slightly. See Figure 4-9. Don’t lean backward too far until you are sure of your own limitations. Hold for an eight count and breathe naturally. Using your palms to support your lower back, slowly return to an upright position. Repeat one time.

Figure 4-9

26. Side bends: Stand with your feet wide apart. Place your left hand on your left hip with the fingers forward and the thumb behind. Raise your right hand over your head with the palm facing up. Try to maintain a curve in your right arm. See Figure 4-10. Now press your pelvis sideways toward the right as you incline your torso over to the left. The trick here is to push your pelvis sideways before inclining your torso. Hold for an eight count. Return to vertical, reverse your hands, and perform the exercise pushing your pelvis to the left as you incline your torso to the right. Repeat the exercise one additional time on each side.

Figure 4-10

27. Hip circles: Stand with your feet hip width apart and place the palms of both hands on your hips. Bend your knees slightly and then rotate your hips in a clockwise direction. Try to keep your torso and especially your head erect as you rotate your hips. Complete eight clockwise circles and then reverse and complete eight counter-clockwise circles. 28. Knee circles: Stand with your feet together and place the palms of both hands over your knees with the fingers pointing down. Bend your knees between fifteen and forty-five degrees, depending upon your level of flexibility. Using your palms to support your knee joints, press your knees together and then rotate your two knees as a single unit in a clockwise direction for eight rotations. Rise up and then bend down again and rotate your knees together in the counter-clockwise direction for eight rotations. 29. Push your knees back: From the preceding exercise, keep your palms on your knees and rise up. Press your knees backward, extending your legs fully. Hold for an eight count. 30. Squat down: From the preceding exercise, squat down as low as you are able without placing undue strain on your knees. Again, use your two hands to both support your knees and press them together. If you can squat all the way down to rest your buttocks on your ankles that is ideal. If not, use the strength in your thighs to support yourself in the squatting position. See Figures 4-11a and 4-11b for both options. Hold for an eight count and then rise up.

Figure 4-11a

Figure 4-11b

31. Ankle circles: Stand with your feet approximately hip width apart but with your right leg extended forward and outward as shown in Figure 412. Place the toes of your right foot on the ground. Rotate your right foot around the ankle joint for a total of eight rotations. Repeat for your left foot and ankle.

Figure 4-12

32. Achilles’ tendon stretches: Stand in the same posture as the previous exercise. This time place the heel of your right foot on the ground. Lean forward and grasp the toes of your right foot with both hands and pull upward. See Figure 4-13. If you are unable to reach your toes with either hand, grasp your ankle or even your calf and pull up. Hold for an eight count and then release. Change legs and repeat on the left side.

Figure 4-13

33. Bent toe stretches: Stand with your feet hip width apart. Then extend your right foot backward approximately two feet. Place the toes of your right foot on the ground and then lift the right heel off the ground. Bend both knees approximately forty-five degrees and sink down. This will cause your right toes to flex. Bounce and flex the toes of your right foot eight times. Then change legs and repeat for the toes of your left foot. 34. Hamstring stretches: Stand close to a wall and place your hands on the wall at approximately shoulder height. Place your left foot and knee against the wall. Extend your right leg backward as shown in Figure 414. Press your left knee against the wall and push your right heel backward to create a lengthening of your right leg. Hold for an eight count. Reverse the stance and repeat with your left leg extended backward.

Figure 4-14

35. Achilles’ tendon stretches: Stand on a door ledge or similar elevation (not too high). The photo shown in Figure 4-15 employs a speciallydesigned apparatus for performing this stretch. Hold onto the door frame or a banister if possible. Placing all the weight on your right foot, press the heel of your left foot downward to create a stretch in the sole of your left foot. Hold for an eight count. Reverse feet and repeat.

Figure 4-15

36. Triangle forward bends: Stand with the feet slightly wide apart. Bend forward and place both of your palms on the floor at approximately shoulder width. Lean forward and downward, supporting your weight with your hands as shown in Figure 4-16. Try to separate your feet a few more inches by duck walking them further apart. Hold for an eight count. Now walk your feet closer together until they are approximately shoulder width apart. Then come up by rolling up one vertebra at a time.

Figure 4-16

37. Hip flexor stretches: Stand with your feet hip width apart. Place the entire weight of your body on your right foot and lift your left knee up until the thigh is parallel with the ground. Allow your left shin and foot to hang down naturally as in Figure 4-17a. Now, keeping the thigh parallel to the ground, rotate your entire left leg outward ninety degrees until it is in the position shown in Figure 4-17b. Drop your foot to the ground and bring your foot back to hip width distance facing forward. Repeat for a total of eight times. Then change legs and repeat, standing on your left leg and lifting and rotating your right leg eight times.

Figure 4-17a

Figure 4-17b

38. Extended leg toe circles: Stand with your feet hip width apart. Place the entire weight of your body on your right foot and bend your right knee slightly. Extend your left leg forward with the toes pointing out. Hold your arms out to your sides for balance as shown in Figure 4-18. Make small vertical circles, approximately twelve inches in diameter, in the air with the toes of your left foot. Make eight clockwise circles and then reverse to make eight counter-clockwise circles. Change legs and repeat.

Figure 4-18

39. Heel kicks: Stand with your feet hip width apart. Place the entire weight of your body on your right foot and bend your right knee slightly. Raise your left leg until your left thigh is parallel with the ground. Allow your left shin and foot to hang down naturally. Cross your arms in front of the body with your left arm in front. Now lift your left foot up with the entire sole of the foot facing outward as in Figure 4-19a. Then extend your left foot slowly outward, leading with the heel, to execute a slowmotion heel kick. At the same time, open your arms in two crescentshaped curves to finish in the position shown in Figure 4-16b. Hold a few seconds in this extended position. Then withdraw your extended left leg and return your arms back to the position shown in Figure 4-19a. Repeat for a total of eight times and then change legs and perform eight slow-motion heel kicks with your right leg.

Figure 4-19a

Figure 4-19b

40. Crescent kicks: Stand with your feet hip width apart. Angle your right foot outward approximately thirty degrees. Place the entire weight of your body on your right leg and bend your right knee slightly. Lift your left leg up with the toes pointed outward and sweep it first to the right side of your body and then across your body to the left side in a sweeping crescent-shaped curve. The apex of the curve should reach at least shoulder height. As the leg is sweeping up, over and across the body, extend your arms outward palms down and try to slap the bottoms of both sets of fingers with the tops of your left toes. See Figures 4-20a and 4-20b. Repeat for a total of eight times and then change to the other leg for an additional eight repetitions.

Figure 4-20a

Figure 4-20b

41. Cross-legged squats: Begin with your feet hip width apart. Step out with your left foot and place it on the ground turned outward approximately thirty degrees. Bend your left knee approximately thirty degrees. Now bend your right knee and squat down until your right knee is nestled behind your bent left knee. Continue to squat down until you can sit down with your right buttock resting upon the elevated heel of your right foot. Rest your hands comfortably on top of your left knee. See Figure 4-21a. If you can’t sit down completely, don’t worry about it. Just support the weight of your body using the muscles of your right thigh and left calf. Every time you perform this exercise, try to sink a little lower. Eventually you will be able to sit with the right buttock resting on your right heel. As an additional challenge, before sitting down, extend your arms outward and cross your left arm over the right. Grasp both of your hands together with the fingers interlaced. Then, as you sit down, fold your arms back toward your body so that your clasped hands are pointing up with your right hand forward as in Figure 4-21b. Repeat twice on each leg. Please note that, if you feel any strain or sharp pain in either knee, rise up and try again holding on to a chair or other stable object and lower yourself again slowly. If the pain persists, skip this exercise.

Figure 4-21a

Figure 4-21b

42. Squatting hurdler’s stretches: Stand with your feet wide apart and pointing outward as in a duck stance. Bend your right knee and squat down onto your right foot while extending your left leg. Squat as low as you are comfortable. Try to keep your upper body erect. See Figure 422. Repeat twice on each leg. As in the preceding exercise, if you feel any strain or sharp pain in either knee, rise up and try again holding on to a chair or other stable object and lower yourself again slowly. If the pain persists, skip this exercise.

Figure 4-22

43. Standing hurdler’s stretches: Find a parallel bar, the back of a high couch, or a counter-top. Stand on your right leg with your right toes parallel to the bar and approximately three feet apart. Lift your left leg up and place the heel of your left foot on the bar. Lean forward and wrap the fingers of both hands around the erect toes of your left foot. See Figure 4-23. Hold the stretch for an eight count. Release your hands and then release the heel of your left foot from the bar. Lower your left leg. Repeat twice on each leg.

Figure 4-23

This completes the stretching routine, which will serve to lengthen, loosened and, for some muscle groups, strengthened all the major muscles, ligaments and tendons of the body. In addition to this stretching routine, it is highly recommended to include the loosening and silk-reeling exercises presented in the following chapter prior to beginning your standing and solo form practice.

Conclusion The stretching routine presented in this chapter is very comprehensive. However, this routine does not include all the possible stretches that could precede your taijiquan form practice. Many teachers and advanced practitioners perform different stretches from the ones included here. Please don’t feel slighted if a favorite stretch that you have been performing for years is not included. Every teacher has his or her preferred stretching routine. Feel free to mix and match your favorite stretches with the stretching exercises presented in this chapter. Just be sure to include at least one stretch for each muscle group and joint in the body, from head to toe. Don’t leave any area out, as that is bound to be the muscle or joint that will hold you back in your form practice. Some teachers will tell you that “You don’t have to do a lot of stretching. It’s all in the form.” However, this is not the case. Although the form is the foundation of our art, it will be greatly enhanced if you take the time to prepare yourself properly prior to practicing the form. Remember that the goal of taijiquan is to cultivate and circulate the qi throughout the entire body. In addition to solo form practice, standing, stretching, and loosening will significantly increase the flow of qi throughout your body. By engaging in these preparatory exercises on a daily basis, you will ensure the greatest benefit from practicing the solo form.

Chapter Five

Loosening and Silk-Reeling Exercises

The preceding chapter presented a series of exercises designed to stretch and lengthen all the major muscle groups, joints, tendons, and ligaments of the body. The purpose of this stretching routine is to open the joints and stretch the muscles and their associated connective tissues. Stretching the body prior to practicing taijiquan serves two purposes. The first is to prepare the body for the movements performed during the taijiquan form. Depending upon the family style and the intensity with which one practices, individual postures can overextend certain muscles and joints in the body. Therefore, stretching prior to practice can aid in avoiding injury. A second function of any stretching routine is to open up the joints so that the qi can flow unobstructed through the meridians that pass through those joints. While stretching is essential to the free flow of qi throughout the body, stretching alone is not sufficient to open the joints of the body completely. In order to fully open up the joints of the body, stretching should be combined with some type of loosening routine. Loosening routines, such as the five loosening exercises presented below, employ smooth, continuous, repetitive movements in conjunction with the coordinated opening and closing of the related joints from the upper and lower portions of the body. Another category of movements, chan ssu jin, or silk-reeling exercises, is also very important in facilitating the movement of the qi through the body. These exercises are very similar in purpose to the loosening exercises referred to in the preceding paragraph. However, unlike simple loosening exercises that merely open the joints, silk-reeling exercises focus more on the sequential opening and closing of the joints combined with the directed movement of the qi. As such, silk-reeling exercises are somewhat more advanced than simple loosening exercises.

A good warm-up routine will include all three: stretching, loosening, and silk-reeling. Having spent at least ten to fifteen minutes on each of these three types of preliminary exercises, the practitioner will be sufficiently stretched out and loosened up and will have accumulated sufficient qi to derive the maximum benefit from his or her taijiquan practice. Indeed, if we remind ourselves that “Everything is Taiji,” then we can (and should) consider the warm-up exercises to be as much a part of our taijiquan practice as performing the actual form, weapons, pushing hands, etc.

The Six Harmonies When a novice taijiquan practitioner steps through the individual postures of the form, she is typically preoccupied with the grosser aspects of the movements. Where does the left hand go? Where does the right foot go? How should she distribute her weight, etc? This is understandable, as the movements at first seem rather complicated. However, this preoccupation with “getting it right” focusses her attention on large-scale movements. When we practice taijiquan, we need to pay attention to the details of each movement. Rather than simply moving the arm or the leg as a unit, we need to begin to think of how each joint in that limb (be it an arm or a leg) moves in relationship to the other joints in that limb. We also must consider the relationship of that limb relative to the other limbs of the body. Additionally, we should be aware of how the upper body moves in concert with the lower body. The Taiji Classics state that “When one part moves, everything moves.” This important principle applies to every movement of the form. However, the movement of “everything” needs to be coordinated; otherwise the movement of the physical body will not support the underlying movement of the qi. If the qi does not move in conjunction with the body, there will not be any resulting power associated with the body’s movement. Externally the movement will appear stiff and clumsy, and internally the movement will be lifeless. In order to ensure proper movement of the body externally and correct movement of the qi internally, the practitioner must pay attention to the Six Harmonies. The Six Harmonies reflect the relationships between the joints of the limbs and also between the mind, the qi, and the emitted power. The relationships

between the joints are referred to as the Three External Harmonies, or wai san he. The Three External Harmonies are: the shoulders in harmony with the hips; the elbows in harmony with the knees; and the wrists in harmony with the ankles. The Three Internal Harmonies, or li san he, are: the mind (xin) in harmony with the intent (yi); the intent in harmony with the qi; and the qi in harmony with the emitted power, or jin. The Three Internal Harmonies will be discussed in greater detail in subsequent chapters. In this present chapter, the focus will be on the Three External Harmonies and how we can incorporate them into our taijiquan practice. Before addressing the interrelationships between the individual joints of the body, it is helpful to identify the joints that are involved in those interrelationships. In taijiquan we work with nine different joints (in fact, there are more than nine joints if we take into account the individual vertebrae in the spine as well as the joints in the fingers and the toes.) The three joints in the arm are the shoulder, the elbow and the wrist; the three joints in the leg are the hip, the knee and the ankle; and the three joints in the torso are the waist, the back, and the neck. The back itself is often further subdivided into the lower, middle and upper back. The Three External Harmonies require that the movements of the shoulders be coordinated with the movements of the hips; the movements of the elbows be coordinated with the movements of the knees; and the movements of the wrists be coordinated with the movements of the ankles. The function of the torso and the waist is to work together like an axle and a hub, thereby connecting the upper and lower limbs of the body and allowing them to turn freely from side to side. This corresponds to the imagery from the Taiji Classics: “Stand like a balance; turn like a wheel.” Having identified the major joints in the body and defined the relationships between the joints of the upper and lower limbs, we can now consider how those relationships should be incorporated into the individual movements of the taijiquan form. Several examples from different family styles will clarify this issue. For the first example, consider the transition into Brush Knee Twist Step (right side) from the Sun style. As the practitioner moves into the finished posture, the left hand pushes forward as the left foot steps up. In this case, the wrist of the left hand is coordinated with the ankle of the left foot. See Figures 5-1a and 5-1b below.

Figure 5-1a

Figure 5-1b

The coordination between the movement of the wrist joint of the left hand and the ankle joint of the left foot is just one of the many coordinated movements that occur in the Brush Knee Twist Step posture as illustrated above. Additionally, the movement of the right hand must be coordinated with the movement of the right foot, the elbows and knees on each side of the body must move in a coordinated fashion, as must the shoulders and the hips. In this way, the entire upper body is coordinated with the lower body. Also, the right side of the body is coordinated with the left side of the body, thereby balancing the yin and yang on the left and right sides. A second example, taken from the Wu Chian-chuan style of taijiquan, illustrates how all three of the external harmonies come into play to store and transmit power, or jin, in the posture of Step Up, Diverting and Blocking Fist. In the transition to the final position of this posture, the practitioner stores potential energy in the bent right leg, the waist (which is turned somewhat to the right), and the bent right arm. This can be seen clearly in Figure 5-2a below.

Figure 5-2a

Figure 5-2b

In order to emit the jin required to power the punch, the practitioner shifts forward onto the previously unweighted left leg. Power is transmitted up from the right leg, through the waist as it turns forward, and into the right arm as it straightens out into the punch. This accords with the Taijiquan Classics, which state that power originates in the leg, is transferred by the waist, and is expressed in the arm and hand. The power created from the right leg and the waist should be transmitted through the body to the fist. In the transition from the position shown in Figure 5-2a to the final posture shown in Figure 5-2b, the three joints of the right leg work in conjunction with the three joints in the right arm as the leg and the arm straighten and extend forward. There is a similar correspondence between the three joints in the left leg and the three joints in the left arm. Both the left leg and the left arm are initially extended but fold at the knee and the elbow respectively as the punch is delivered on the right side of the body. As you can see from the preceding two examples, it is very important to be aware of the Three External Harmonies and to integrate the unified coordination of the joints in the legs and the arms into every posture of the form, regardless of the style of taijiquan you practice. The question then arises, how does one train to develop the kinesthetic sense of the proper coordination between the hips and the shoulders, the knees and the elbows, and the ankles and the wrists? One way to train the body to move in a coordinated fashion is to engage in simple, repetitive movements that emphasize the correspondence between the joints of the legs and the arms. In particular, the loosening exercises and the silk-reeling exercises introduced in the following sections of this chapter will help you develop the appropriate body awareness and the ability to coordinate the harmonious movement of the arms and legs. With sufficient practice, these deceptively simple movements will help you incorporate the Three External Harmonies into all the movements of your taijiquan form.

Huang Sheng Shyan’s Five Loosening Exercises Grandmaster Huang Sheng Shyan, who passed away in 1992, was one of the most famous and arguably the most accomplished of Professor Cheng Manch’ing’s students. Grandmaster Huang was renowned for his softness, root, and the ability to push students for dozens of yards without moving his arms.

His fa jin was the stuff of legend. Perhaps more than any other practitioner of taijiquan of the twentieth century, he embodied the concept of steel wrapped in cotton. Grandmaster Huang developed a series of five loosening exercises intended to open up all the major joints of the body while simultaneously loosening and lengthening the ligaments and tendons. This section presents a written description accompanied with a few photos to illustrate these five simple exercises. However it is highly recommend that you seek out videos of Grandmaster Huang performing them in person in order to gain a true appreciation of how loose Grandmaster Huang was, even into his later years. It is difficult to represent such a dynamic practice as loosening all the joints of the body in a written description. There are many subtleties involved in these deceptively simple-looking movements. Furthermore, the transitions which Grandmaster Huang performs in switching from one exercise to the next are rather difficult to describe or to document in photographs. For this reason, the written instructions and photos of these exercises cannot convey the full detail of how to perform them. Please consider the following to be a simplified version of the exercises. Again, you are encouraged to seek out videos of Grandmaster Huang performing these exercises. Such videos are readily available online. Before reading the specific instructions below, please note that it is extremely important to be completely loose and relaxed when performing them. In particular, you need to allow your arms to hang from the shoulders like strands of heavy rope. Imagine that your hands are knots tied at the ends of the rope. As you swing your arms, allow the centrifugal force created by the waist and hips as they twist from side to side or swing forward and back to control the movement of the arms and hands. In particular, don’t force the arms to swing higher or farther forward than their own momentum will carry them. When performing each of these loosening exercises, be mindful of the Three External Harmonies at all times. Be especially aware of the opening and closing of the individual joints in the arms and the legs. When rising up, the legs straighten up from the ankles, the knees, and then the hips. When the arms extend, begin with the shoulders, then the elbows, and finally the wrists. When sinking down, the process is reversed. First the wrists drop, then the

elbows, and finally the shoulders. Similarly in the legs, the sinking begins in the hips, then the knees, and lastly the ankles. Loosening Exercise 1: To begin, stand with your feet together. Then step out with your left foot and stand in a shoulder-width parallel stance. Allow your arms to hang loosely in front of your torso with your hands crossed at the wrists. Relax and round the shoulders and pull in the chest slightly, thereby raising the back. Sit down into your stance and then push up from your feet to elevate your torso. Use the upward momentum to float your arms up and out to the sides. See Figure 5-3a. Slowly rotate your entire torso from side to side, moving only from the waist. It is crucial that the rotation come from the waist and hips and not the shoulders. Also, don’t allow your head to rotate more than your shoulders or your waist. A good rule of thumb here is: “Nose and navel in alignment.” As you rotate continuously and smoothly from side to side, allow your loosely hanging arms to swing slowly downward and then upward in the following fashion: as you rotate to the left, your left arm swings up behind the torso while your right arm swings up and across the front of the torso. Don’t exaggerate this swinging motion, but allow your arms to move according to the centrifugal force provided by the waist rotation. As you complete the rotation to one side and return to face forward, allow your arms to return to the sides of your body and to extend laterally outward and upward to no more than shoulder height. Then continue rotating to the opposite side, drawing your arms down before swinging up once more with one arm in front and one arm behind the torso. Figure5-3b shows a left-side rotation. Pay particular attention to the position and height of the arms in each photograph. Continue rotating and swinging the arms side to side for at least two minutes.

Figure 5-3a

Figure 5-3b

This exercise works the entire torso, from the shoulders on down to the hips. The key to this exercise is to loosen the shoulder joint as much as possible. If the shoulder joint is loosened, the arms will swing naturally and the elbows and wrists will follow without strain or effort. Also, this exercise alternately opens the hip region, known as the kua, on each side of the body. The kua must be actively engaged in order to rotate the waist. Try as much as possible to release any muscular tension in this region as you continue to rotate your waist. Loosening Exercise 2: Stand as before in a shoulder-width parallel stance with your arms hanging loosely at your sides. This time, you will simply sink down and then rise up by first sinking into your hips, your knees, and your ankles slightly and then extending them to elevate your torso. By performing this simple compression and expansion of the hips, knees, and ankles, you will set up a pumping action that will cause your torso to rise up like a Jackin-the-Box. Each time you rise up, allow your arms to swing up and outward laterally to no more than shoulder height. As you drop down and compress your knees, permit your arms to swing back down and cross in front of your body. Figures 5-4a and 5-4b show the upward and downward positions of this exercise.

Figure 5-4a

Figure 5-4b

It is best if you change which hand is in front with each time your arms cross in front of your torso in the descending posture. This will balance out the yin and yang energies in each arm. Perform this simple pulsing movement, rising and falling while simultaneously swinging the arms up and out and then down and across the torso, for at least two minutes. This exercise continues to work the shoulders as well as the elbows and wrists. However, this exercise also engages the hips, the knees, and the ankles. The pumping action of the thigh and calf muscles gently lubricates the hip joints, the knee joints, and the ankle joints as they alternately close and open. Loosening Exercise 3: Stand in a hip-width parallel stance with your arms hanging loosely at your sides as in the preceding two exercises. While looking straight ahead, swing your hips alternately forward and backward. Use this rocking action to create the momentum necessary to swing one arm forward while the other arm swings backward as follows: as the left hip rocks forward, allow the left arm to swing forward and up to no more than chest height; simultaneously allow the right arm to swing backward and up to approximately the height of the lumbar region. Figure 5-5a shows the position of the arms with the right side of the pelvis rocked forward. Figure 5-5b shows the position on the opposite side of the body.

Figure 5-5a

Figure 5-5b

This exercise involves the opening and closing of the kua on either side of the waist. As you swing the left arm up, you sink into the right hip and close the right kua while you simultaneously open your left kua. In order to withdraw the left arm, you begin to sit into your left hip and close the left kua as you open your right kua. The act of sitting into one hip and closing the kua on that side as you open the kua on the opposite side creates a pendulum effect that is expressed in the swinging forward and backward of the two arms. Repeat this simple rocking from side to side with the arms alternately rising in front and then behind for two minutes. If you observe yourself in a fulllength mirror, you will appear somewhat like a chimpanzee walking on two legs (without the stepping part, of course.) This is a good image for what this exercise feels like internally. Here again you are working on your shoulders, elbows and wrists while simultaneously loosening the muscles in the hips, and the waist. You should feel an almost springy sensation, as if you had a “spring in your step” (again, without actually stepping.) Loosening Exercise 4: Stand with your feet hip width apart. Allow your arms to float laterally outward and upward to shoulder height. Then collapse your forearms in toward the chest until you can press your hands gently together as in prayer. Bend your knees as deeply as you can and then incline your torso forward to rest your elbows upon your knees. Now place the flat of each palm on the ground with the fingers pointing straight away from your body. With your palms supporting the weight of your body, unbend your knees to cause your legs to straighten and your buttocks to lift up. Essentially you are creating a forward bend with your torso bent over, head hanging down like a weight suspended from a string, your shoulders loose, and the weight of your upper body supported by your hands. See Figure 5-6. Now rock your shoulders from side to side as follows: first the right side rocks up while the left side rocks down and then the left side rocks up while the right side rocks down. Repeat for thirty seconds.

Figure 5-6

Remain bent over and rotate your hanging torso from side to side. With each rotation allow your arms and hands to swing from side to side as follows: as you rotate your torso to the right, allow the right hand to swing around behind the right calf while the left hand swings in front to tap the right shin; as you rotate your torso to the left, allow the left hand to swing around behind the left calf while the right hand swings in front to tap the left shin. See Figures 5-7a and 5-7b.

Figure 5-7a

Figure 5-7b

Repeat for thirty seconds and then come to rest. Bend your knees again and allow your forearms to rest on your knees as with the beginning of the exercise. Then rise up slowly to your full height. Stand quietly for a few seconds and breathe normally. Then repeat the entire exercise a second time. This exercise emphasizes loosening and lengthening the spinal column. By curving the spine and bending forward, you are also working on relaxing the muscles of back, particularly the muscles of the upper and lower back. Important note: if you are unable to place your palms flat on the ground when bending forward and rising up, place your palms on your knees or grasp your shins to support the body's weight. You may also place your hands on top of yoga blocks for support. Loosening Exercise 5: Stand with your feet hip width apart. Pivoting on the heel of your right foot, turn your right foot in slightly. Shift the majority of the weight of your body onto your right foot and empty your left foot. Next pivot on the heel of your left foot and turn it out ninety degrees as shown in Figure 5-8a. Try to square your entire torso to the left. Now, slowly transfer the majority of the weight of your body onto your left foot. Don’t allow your left knee to extend beyond the toes of your left foot. See Figure 5-8b. Take about ten seconds to make the weight transfer and then retreat onto your right foot just as slowly. Repeat for a total of three times.

Figure 5-8a

Figure 5-8b

Now, rotate your left foot forward and adjust your right foot so you are again standing in a parallel stance with both feet facing forward. Perform the same exercise to the right side. This exercise isolates the kua and the waist on each silde and also trains you to relax the groin in order to transfer the weight from one leg to the other. Since all the transitions in the taijiquan form entail weight shifts, this simple exercise will really help you maintain a state of song when performing the form.

Silk-Reeling Exercises As a final warm-up exercise, it is beneficial to finish with anywhere from five to ten minutes of silk-reeling, or chan ssu jin. As the Chinese name implies, chan ssu jin is a form of energy. It is the soft energy of pulling a silk thread off a silkworm’s cocoon. Imagine that you have a silkworm’s cocoon pinned to a rotating spindle. If you can grasp the end bit of silken thread between your thumb and forefinger, you should be able to unwind the cocoon by pulling with a gentle but steady pressure on the silk thread. As you pull continuously, the cocoon gently rotates and the silk thread slowly grows longer and longer. The trick is to pull with a steady and even pressure. You can’t jerk the thread or speed up and slow down; otherwise the delicate silken strand will break. Silk-reeling exercises emphasize the internal energy we want to develop and express in our tajijquan practice. That is to say, we want our outer movements to reflect the inner qualities of slowness, constancy, and rotation. In Chen style tajijquan, chan ssu jin is an important and separately-trained skill that is reflected outwardly in the coiling and uncoiling of the torso and the extremities in many of the movements. The coiling movements of chan ssu jin often precede the sudden strikes and kicks of this style of tajijquan, especially in the more explosive Canon Fist form. While external coiling and explosive movements are not part of the Yang, Wu and Sun styles of taijiquan, nonetheless many of the postures of these styles do involve circular rotation and winding up prior to opening and the releasing of jin, albeit in a slower manner. For example, when setting up to perform Brush Knee and Twist Step Left in Yang style, we first rotate the waist to the right and draw up the left arm to the right shoulder in preparation to step out with the left foot and subsequently unwind the waist. The right

arm is also wound up to the right ear, much as a pitcher performs a wind-up prior to throwing a pitch. The unwinding of the waist provides the momentum for the left arm to brush down and the right arm to push forward. Similar winding and unwinding occur in the Wu Chiang-chuan style as well. Although such winding and unwinding is not as overtly expressed in the Sun style, the characteristic opening and closing of this style also lends itself to the practice of silk-reeling, as will be demonstrated in Silk-Reeling Exercise 1. Whereas in taijiquan form practice the feet are constantly engaged in stepping, when practicing silk-reeling exercises we adopt a fixed stance. You can actually employ the movements from any taijiquan form to train silkreeling. You could, for example, stand in a left bow stance and repeat the motion of Brush Knee and Twist Step Left from the Yang style. This would entail repeatedly winding up the movement and then unwinding to complete it. The following three silk-reeling exercises adapt a single posture from each of the Sun, Yang, and Chen styles as the basis for training the Three External Harmonies and the use of the intent (yi) to lead the qi into the extremities. The additional exercises presented in Silk-Reeling Exercise 4 and SilkReeling Exercise 5 are not specific to any style, and can be practiced effectively by adherents of all family styles of taijiquan. Silk-Reeling Exercise 1: One of the characteristic movements (actually a pair of “postures”) from the Sun style is the sequence of Opening Hands and Closing Hands, which appears a total of thirteen times in the traditional long form of this style. We can adapt this sequence to the practice of silk-reeling by repeatedly performing Opening Hands followed by Closing Hands, as shown in Figures 5-9a through 5-9c. These two movements are deceptively simple. Externally, not much appears to take place aside from the separating and then the returning of the open hands to their original position in front of the chest. However, internally the intent (yi), is directing the qi to expand and contract while simultaneously creating the mutually supporting feelings of fullness and subsequent emptiness within the body. To perform this sequence, stand in a narrow parallel stance. Using as little external muscular tension as possible, raise your forearms up with your elbows hanging down and your open palms held up facing each other as shown in Figure 5-9a. Sun Lutang indicated that your thumbs should be

approximately one inch apart at this point. Use the technique of abdominal breathing to expand your torso like blowing up a beach ball. The expansion of your torso (not just the chest, as would occur in “chest breathing”) will cause your hands to separate outward to a distance of approximately eighteen to twenty-four inches apart. Use your intention (yi) to send the qi up from your dantien and outward into your arms and hands as they separate. At the same time, direct the yi to create an overall sense of expansion and fullness throughout your entire body. When separating your hands, keep the image of pulling strands of silk between fingers and thumbs of each hand. Your posture should now resemble Figure 5-9b.

Figure 5-9a

Figure 5-9b

Figure 5-9c

Having fully expanded your torso and opened your hands on the inhalation, allow the breath to naturally flow out. This will cause your torso to collapse inward somewhat. Accompanying the exhalation, use the yi to draw the qi back from your hands and into your arms and lead it down into your dantien. Your hands will be drawn back to their original position, as shown in Figure 5-9c. When the exhalation has completed, your body should feel temporarily empty, light and nimble. You may repeat the sequence of Open/Close for several minutes or longer if you are so inclined. The goal is to achieve a feeling of overall lightness and looseness in your upper body that is accompanied by a sense of sinking and heaviness in your lower body. Sun Lutang taught that one should not only be aware of the Three External Harmonies, but should also harmoniously link the mind with the qi and the qi with the power, or jin. When practicing this simple silk-reeling exercise, be sure to use the yi to lead the qi according to the instruction from the Taiji Classics: “The mind leads the qi (yi yi yin qi.)” Silk-Reeling Exercise 2: The posture from the Yang and Wu styles most suitable for silk-reeling training is Cloud Hands. This posture, which is really a continuous sequence of movements, utilizes the turning of the waist in both directions and therefore lends itself particularly well to silk-reeling training. The description and photos that follow are taken from the Yang style. The Wu style version would be very similar, with the inclusion of the characteristic sideways inclination that occurs in the Wu style Cloud Hands. The actual performance of the Cloud Hands silk-reeling exercise is also deceptively simple. Stand with your feet parallel and hip width apart. First shift your weight onto your left leg and rotate your waist to the left. Next raise up your right arm horizontally in front of your chest as if to begin the Cloud Hands sequence. Your left arm should curve down and in front of your waist. See Figure 5-10a. You are now wound up in preparation to wave your hands like clouds as they pass across the front of your body. Shift your weight onto your right leg, then slowly rotate your waist to the right. Use the waist rotation to draw your right arm across your torso in a horizontal path while your lower, left hand draws an arc across your waist and groin. Figure 5-10b shows the intermediate position as the right arm has travelled halfway across the torso. Continue rotating to the right and allow your right arm to extend laterally out to the

right, with the palm finishing facing down as shown in Figure 5-10c. In this finished position, you have fully unwound the waist energy stored in the initial position (Figure 5-10a).

Figure 5-10a

Figure 5-10b

Figure 5-10c

This completes one half of the Cloud Hands movement. Then change the position of the arms to set up for the return rotation back to the left. See Figure 5-10d. You are now wound up on the right side of your body, and can proceed to unwind to the left as shown in the sequence from Figures 5-10d through 5-10f. Note that unwinding to the left involves a weight shift onto your left leg and the turning of your waist to the left in a mirror image of the unwinding to the right. This will complete the second half of the Cloud Hands movement.

Figure 5-10d

Figure 5-10e

Figure 5-10f

The above instructions describe the movement of Cloud Hands in the actual Yang style form with one crucial difference: the feet don’t move. This means that you can repeat the sequence of Cloud Hands indefinitely (although three to five minutes should suffice.) The purpose of the exercise is to train a number of important principles of taijiquan without the distraction of having to concentrate on stepping. First of all, you want to concentrate on the qualities of slowness, steadiness, and softness in the movement of both the waist and the arms. The pace of your hands as they move across your body should be constant. Imagine that each hand is connected to a silkworm’s cocoon. Try to pull the silk thread off each cocoon without causing any breaks. Second, you want to focus your attention on shifting your weight and rotating your waist. Many teachers instruct their students to combine the weight shift and the waist turn into a single coordinated movement. In practical terms, it is best to first shift the weight and then turn the waist. The act of shifting the weight onto the opposite leg first provides a more stable vertical axis for performing the waist turn. When performing this movement, the sequence should be to shift the weight and then turn the waist. Remember that the power and grace of this movement is generated in the legs and controlled by the waist, and is only expressed through the lightest and gentlest movements of the hands. Third, you want to embody the principle: “When one part moves, the entire body moves.” That is to say, once you have performed the weight shift, as you execute the waist rotation the entire torso, arms included, moves as a single unit. In particular, you don’t want your head to move independently of your torso. Again, the instruction “Nose and navel in alignment” is helpful here. In particular, many students get caught up in following the hands with the eyes, especially at the conclusion when the leading hand drifts out to its full lateral extension. This is incorrect and should be avoided. Doc Fai Wong’s injunction “Don’t be a palm reader!” applies in this exercise. Although the principle “When one part moves, the entire body moves.” applies to this and all of the movements in taijiquan, this does not mean that the arms and the hands should not complete their trajectories across the body. In fact, it is correct for the leading hand and especially the fingers of that hand to drift out to the side at the conclusion of the waist turn. They are

simply completing the motion set up by the turning of the waist. Similarly, the downward arm should allow the momentum of the waist turn to draw it upward at the conclusion of the movement in preparation for the turning of the waist in the opposite direction. While the analogy of drawing silk from a cocoon is apt when describing the motion of the hands in Cloud Hands, it may also be helpful to employ the image of the hands as two Chinese brushes making elegant strokes in the air. Imagine dipping the fingers of each hand into a pot of ink and then making sweeping brush strokes on an invisible sheet of rice paper suspended in the air in front of you. As a variation on this exercise, you can train in a lower horse-riding stance. In this case, you will need to turn your feet out slightly. Otherwise, the completion of the waist turn will place undue strain on the knees. Just as the instruction “Nose and navel in alignment” applies to the torso, so should the instruction “Knee and ankle in alignment” apply to the joints of the leg. Training in a low, horse-riding stance will strengthen the legs and increase your endurance. It also will help you to develop the quality of song. Silk-Reeling Exercise 3: As stated at the beginning of this section, silkreeling energy, or chan ssu jin¸ is a characteristic feature of Chen style tajijquan and is part of the intelligent design of Chen Wangting’s original martial art. Chen Wangting combined hard and soft movements and incorporated both internal twining and external coiling into the individual postures of his art. The source of the spiraling movements of the body (the external) is the internal turning of the lower dantien. The technique of turning the lower dantien takes time to develop. This topic will be addressed separately in Chapter Seven, which deals with qi cultivation. Suffice it to say that, at this stage of your training, you should be aware of the lower dantien as you practice Chen style silk-reeling exercises, and you should strive, according to your level of development, to employ internal dantien rotation in order to drive the turning of the waist, which in turn will drive the spiraling movements in the arms and legs. In order to execute silk-reeling correctly in the Chen style, you must also be cognizant of the two phases of every silk-reeling movement. These are

referred to as shun chan and ni chan. Shun chan represents the collecting of the internal energy, or qi, from the extremities back into the lower dantien. Ni chan completes the cycle by sending the qi out into the extremities. In both shun chan and ni chan, the qi follows spiral pathways as it draws inward or expands outward. The spiral pathways followed in the shun chan and ni chan hemicycles are often represented in drawings such as the one reproduced below in Figure 511

Figure 5-11

The following silk-reeling exercise is well-known and commonly-practiced in the Chen style of tajijquan. Chen Zhenglei refers to this exercise as Single Wave Hand in his book, Chen’s Taichi for Health and Wellness.33 Unlike the Yang style Cloud Hands silk-reeling exercise described in the preceding section, this exercise is performed on either the left or the right side separately. In this example, the left side will be presented. The right side can be performed in a mirror image and will not be included here. To begin, stand in a Chen style left bow stance. The body’s weight should fall sixty percent onto your left (substantial) leg and forty percent on your right (insubstantial) leg. Rest your right hand on your right hip and extend your left arm outward on your left side with the palm facing out as shown in Figure 5-12a. Turn your head slightly to the left and direct your gaze toward your left hand. From this position, shift the body’s weight onto your right leg and curve your left hand down in front of your abdomen to the position shown in Figure 5-12b. This should be accomplished in a downward scooping motion. Continue to rotate your left arm through the circular path upward and to the right side of your body with the palm of your left hand facing out and to the right. Your head should now be turned slightly to the right with the gaze fixed upon your left hand as shown in Figure 5-12c. From this position, shift the body’s weight back onto your left leg and use your waist to turn your torso back toward the left side of your body. Allow your left arm to drift horizontally across the front of your body in conjunction with the turning of your torso until your left hand reaches the level of your left shoulder. At this point, your left knee should be aligned vertically over your left ankle. See Figure 5-12d. This is as far as your body should move to the left. To complete the movement, allow the momentum of the weight shift and the waist turn to direct the movement of your left hand up and out to the left as if pivoting on the left elbow until it returns to its original position shown in Figure 5-12a.

Figure 5-12a

Figure 5-12b

Figure 5-12c

Figure 5-12d

The above sequence constitutes one repetition of the Left Single Wave Hand exercise with the inclusion of both the shun chan and ni chan hemicycles. The movement of your left arm and hand from the position shown in Figure 5-12a through Figure 5-12c constitutes the shun chan half of the cycle. The passage of your left arm and hand back from Figure 5-12c through Figure 512d and ending in the beginning position shown in Figure 5-12a comprises the ni chan half of the cycle. Remember to drive the movements with your legs and direct the movement of your hand using your waist rather than simply turning your shoulder. Keep in mind the Three External Harmonies and the sequential opening of the three joints in the legs and the three joints in the arms. When performing the movements of the Left Single Wave Hand exercise, attempt to use your yi to rotate the lower dantien in order to direct the turning of your waist and torso and the curving movement of your arm and hand. If you are unable to accomplish this at your present level of ability, don’t be discouraged. Simply try to perform the movements smoothly and with coordination and continuity. As you develop greater awareness of the lower dantien and the circulation of your qi, you will eventually develop the ability to rotate the loweer dantien and circulate the qi at will in order to drive the external movements of this silk-reeling exercise. Silk-Reeling Exercise 4: Another silk-reeling training exercise entails using one hand to trace the pattern of the Taiji symbol. This training exercise is common in Chen style, in which the hands are specifically engaged in twining and spiraling movements, but is just as relevant to any other style. Figures 5-13a and 5-13b depict the patterns for both the right and the left hands.

Figure 5-13aFigure 5-13b

A good way to practice this exercise is to attach a large poster of the Taiji symbol to a wall at torso height. Select the hand you want to employ and trace the symbol as shown in the illustration above, beginning at the bottom of the symbol. Follow the pattern in Figure 5-13a for the left hand and use the pattern in Figure 5-13b for the right hand. The key to performing this exercise correctly is to keep the wrist loose and flexible and to rotate the wrist as it traces the pattern. It is helpful to imagine that your fingertips are the bristles of a calligraphy brush tipped with ink and that you are tracing the Taiji symbol with them, much as you would paint the symbol using brush and ink. Once you are able to trace the pattern by following the Taiji symbol on the wall, you can dispense with the visual aid of the poster and simply trace the Taiji symbol in the air. Also, as you become more proficient in using your wrist to direct your fingers in tracing the pattern, you can engage your entire torso in guiding the movement of your hands and fingers. Eventually you should initiate the motion from your feet. As with the preceding exercise, you should feel your intrinsic energy coiling up out of the feet, spiraling up the legs and torso, and then coiling around the arms and out into the wrist and the hands as you trace the pattern of the Taiji symbol. You should have the sense that your entire body is involved in tracing the Taiji symbol Make sure you train equally with both hands, as you want to balance silkreeling energy on both sides of the body. If you are ambitious, you can try the same exercise while tracing the Taiji symbol with the toes of each foot. This trains silk-reeling energy in the lower extremities and is very helpful in loosening the sinews of the ankle. This also develops strong legs and good overall balance, since you will need to stand on one leg while the other leg is elevated as the foot and the toes coil around the Taiji symbol. Silk-Reeling Skill Training Exercise 5: As a final silk-reeling skill training exercise, you may want to try working with the taiji ball. There are many exercises that one can practice with the taiji ball. The exercise presented here will provide you with an introduction to this type of silk-reeling training. You can investigate this subject on your own if you find this introductory exercise valuable. In actual practice, a taiji ball should measure approximately eight inches in diameter. Also, traditionally the taiji ball was constructed of wood and often wrapped in a metal covering such as brass. However, to begin with

you can work with a child’s inflatable ball until you get the hang of moving the ball in your hands. Once you become comfortable with the basic movements, you can look for a wooden ball that will fit into your hands comfortably. To begin, stand with your feet between hip width and shoulder width apart. Hold the ball between your two palms, paying particular attention to the two lao gong points in your palms as they press against the ball. See Figure 514a. Before moving your torso, try rolling the ball around between your two palms using a gentle pressure to rotate the ball. You can turn the ball over from top to bottom and also from one side to the other. Once you are comfortable moving the ball within your two hands, try twisting to your right side and simultaneously rotating the ball so that your left hand is on top and your right hand is underneath as shown in Figure 5-14b. At this point the body’s weight is shifted onto your right leg, and your torso is turned to the right. Now begin to shift your weight onto your left leg as you rotate your waist and turn your torso to the left. Simultaneously begin rotating the ball between your hands so that, as you face forward, the ball is held between your hands as in the beginning position. See Figure 5-14c. As you continue rotating your waist and turning your torso to the left, keep turning your hands so that, when you complete the waist turn to the left, your right hand will be on top and your left hand will be underneath as shown in Figure 5-14d.

Figure 5-14a

Figure 5-14b

Figure 5-14c

Figure 5-14d

Continue shifting your weight, rotating your waist, turning your torso, and moving the ball from side to side until you can complete the changes fluidly and continuously. As with the preceding exercises, try to open all nine of the joints consecutively; focus on shifting your weight and rotating your waist. Be conscious of the coiling of your hands as they turn the ball over from one side to another and keep the image of pulling silk as your turn the ball. This basic exercise of turning over the ball is the simplest pattern you can perform with the taiji ball. You can experiment with more complex patterns and rotations which engage your hands, your arms, and your entire torso. You can, for example, stand in a bow stance and move between Rollback and Press while holding and rotating the ball between your two hands. The variations are endless and fascinating. When you become accustomed to working with an inflatable ball, you can switch over to a solid wooden ball (these can be found online) in order to deepen your taiji ball gongfu.

Conclusion The two preceding chapters, which focused on developing song and stretching, and the material presented in this chapter collectively constitute a foundational system of stretching, opening, and loosening the muscles, tendons, and ligaments of the body in order to prepare you to engage for training in the art of tajijquan. Many, if not most, tajijquan practitioners either ignore these foundational exercises or pay them little heed. This lack of basic foundational development is evidenced in their corresponding lack of song and the presence of angular, disjointed movements in their tajijquan form practice. Those individuals who eschew regular stretching, loosening, and song gong either are too rigid and mechanical in their movements, or else, at the opposite extreme, are too floppy and soft. The proper state of fullness, openness, calmness, and fluidity is only achieved by those practitioners who grasp the importance of and consequently devote themselves to the consistent and dedicated practice of standing, stretching, loosening, and silk-reeling exercises. As you can see from the standing, stretching, loosening, and silk-reeling routines presented in this text, the warm-up portion of your daily tajijquan practice should encompass anywhere from a half an hour to forty-five minutes. For most of us, this means we should spend at least as much time in preparation as we spend in actual form and weapons practice. Although these routines may seem boring and repetitive, they are essential to the gongfu of taijiquan training. It is best to keep in mind the adage: “One day’s practice; one day’s benefit. One year’s practice; one year’s benefit.”

Chapter Six

Zhan Zhuang Standing to Enhance Root

Chapter Three introduced the topic of song and suggested that one way to develop song is to stand in wuji posture on a daily basis. Chapters Four and Five presented a complete warm-up routine consisting of stretching, loosening, and silk-reeling exercises to further enhance your ability to become song. Now it is time to take your practice to the next level through the introduction of zhan zhuang. The term “zhan zhuang” translates roughly as “standing post.” Zhan zhuang practice entails standing still and rooted, like a post planted deep into the ground. Zhan zhuang is common to many Chinese martial arts and is not unique to taijiquan. Rather, it is a universal practice that confers benefits to practitioners of all martial arts Whether you practice taijiquan for health or for its martial applications, zhan zhuang practice will greatly enhance the results you will obtain from this art. The health benefits derive from both the improved cardiovascular function resulting from working the legs as well as the increased qi flow which improves the health of all the organs of the body. The martial benefit that is obtained from this practice arises out of the rooting ability which accrues over time. In addition, the ability to store and issue energy (fa jin) is directly related to the circulation of qi. The practice of zhan zhuang may employ a variety of taijiquan postures, including the wuji standing posture introduced in Chapter Three. This chapter presents several new standing postures. Here the emphasis is not only on sinking down into the postures but also on the internal processes that take place when standing in the postures. In addition, the topic of rooting is discussed in greater detail. The mental gongfu that is needed in order to open the qi channels and meridians that permeate the body is also examined.

Finally, some of the spontaneous experiences which may arise out of the practice are explored. Although not all taijiquan teachers include zhan zhuang as part of their curriculum, many taijiquan practitioners do include zhan zhuang as part of their training. Those who do include such training universally report that their overall skill and understanding of the art is enhanced. There is a saying in the taijiquan community: “No standing; no understanding.” Zhan zhuang practice is also frequently included in the study of qigong. Qigong is the internal cultivation and subsequent circulation of qi. Chapters Seven and Eight present some specific qigong exercises that require the practitioner to stand in the zhan zhuang posture of Embracing the Tree. While zhan zhuang conveys benefits on its own without including qigong techniques, the combination of qigong and zhan zhuang provides the best results. Students often ask: “Where is the best place to practice zhan zhuang?” The simple answer is that, wherever you are, you can stand. However, in practical terms, it is best to practice zhan zhuang in a tranquil location where you are unlikely to be disturbed or draw attention to yourself. If weather permits, a scenic outdoor spot may inspire you to stand longer. Many practitioners prefer to stand adjacent to a large tree in order to take advantage of the tree’s deep roots in order to lead their own roots downward into the ground. With regard to the ground, it is good to begin by standing on level ground and better to stand on raw earth, grass, or a wooden floor as opposed to standing on concrete or carpeted flooring. Wear warm clothing and try to wear a longsleeved shirt and long pants in order to keep the qi close to the skin. You can wear any flat-soled shoes or you can stand barefoot if weather permits. Once you begin spending time in standing practice, you may be tempted to cut back on the time you spend in the stretching and loosening exercises presented in the preceding chapters. This would be a mistake. The stretching, loosening, and silk-reeling exercises are the external aspect (waidan) of your training, whereas zhan zhuang represents the complementary, internal component (neidan) of your training. Neither is as effective practiced separately as when practiced in conjunction.

Embracing the Tree After you have been practicing standing in wuji posture for at least one month, you can elevate your standing practice by adopting a slightly more challenging posture. The Embracing the Tree posture takes its name from the position of the arms, which are held up and circle outward as if embracing a tree. Some practitioners refer to this posture as “holding the ball.” Figure 6-1a illustrates the basic posture as seen from the front. In particular, note the height of the hands and the fact that the elbows are dropped down slightly. You want your hands to be held up around chest height, palms facing in, fingers relaxed but not curled, with a small gap between the fingers of your left and right hands. Be sure to keep your elbows dropped. Mid-torso height is a good level for your elbows; any higher and you place strain on your shoulders, which in turn will restrict the flow of qi down and out into your arms and hands. Figure 6-1b shows the Embracing the Tree posture as seen from the side. Notice that the knees are flexed to a greater extent than in the wuji posture introduced in Chapter Three. As you practice more advanced postures in zhan zhuang you should begin dropping down into your legs, engaging the thighs and calf muscles. This will increase your leg strength and also assist in developing root. There is another expression related to zhan zhuang in the martial arts community: “No burn, no earn.”

Figure 6-1a

Figure 6-1b

With regard to the width of the feet, there are three basic stances: narrow, hip width, and shoulder width. It is best to start off standing with your feet hip width apart. As your stamina and leg strength improves, you can widen your stance to shoulder width. A narrow stance is actually more challenging than a hip width or shoulder width stance and should be reserved for advanced standing practice. To begin, stand with your feet together and your hands hanging down comfortably at your sides. Shift your weight onto your right leg and step out to hip width with your left foot. Place the weight onto your left leg until you come to a 50/50 weighted stance. Flex your knees somewhat and round the groin. Drop down into your legs and lower your buttocks as if you are sitting onto a high stool. Level the pelvic bowl, drop the shoulders, round the back, and hollow the chest. Once your body is settled, float your arms up and outward in front of your body as if you were performing the opening of the taijiquan form. Then, rotate your wrists so the backs of your hands are facing forward. Finally, drop your elbows slightly and allow your hands to remain suspended approximately two feet in front of your chest. Don’t let the fingers of your two hands touch, but allow them to point toward each other with a gap of about an inch between the two index fingers. Although some practitioners maintain a wider gap, up to a foot between the fingers, it is better at the beginning to keep the fingers of your two hands fairly close together. This is due to the fact that it is easier to feel the qi connection between the two hands when the fingers are nearer to each other. It is important that the thumbs also point in toward each other and do not stick up. You want to establish a qi connection between all the fingers (including the thumbs). When standing in zhan zhuang, you can either close your eyes or leave them open. Most beginners prefer to close their eyes during the initial stage of zhan zhuang practice, as it enables them to direct their awareness inward. If you do opt to leave your eyes open, place your gaze on something in the distance. You should also “soften the gaze.” This means that you should not concentrate the vision on any particular object. Some practitioners say that closing the eyes during zhan zhuang practice promotes serenity, whereas opening the eyes and gazing out into the middle distance enhances the martial spirit, which is expressed through the eyes.

Once you are in the Embracing the Tree posture, go through the joint-by-joint relaxation exercise described in Chapter Three until you have relaxed and opened all the joints of your body. Allow the full weight of your body to drop through your feet and into the ground by opening the yongquan points in the feet. Now the real work begins. You are going to engage in neigong, which is internal effort. This internal work is presented below in four stages. It is best to spend considerable time, several weeks or more, on each stage before proceeding to the next one. As you become more comfortable with each new stage of your standing practice, you should also increase your standing time according to the recommendations included in the following instructions. Stage 1 – Opening the Joints: In this stage you will focus your intention on opening all the joints of your body. If you have been standing daily in wuji posture, you are already familiar with the overall body relaxation exercise introduced in Chapter Three. This relaxation exercise is a helpful way to create an overall state of relaxation. However, it is not intended to target specific regions of the body to facilitate their complete opening. At this new stage of your development, you need to begin focusing on opening specific joints as completely as possible. This is a process that takes place over time and cannot be accomplished in one or two sessions of zhan zhaung. The ultimate goal of this lengthy process is to create a body that is as relaxed and pliant as that of an infant. To reach a deeper and more fundamental level of relaxation and to focus on opening specific joints in the body, you will need to increase the time of standing from five minutes per day to ten minutes per day. If your arms get too tired, drop them down for a brief respite and continue to stand in the basic wuji posture for a minute or so before raising them up again to embrace the tree. If you do need to rest your arms, be sure to relax your shoulder muscles before raising the arms again. In this stage of practice, there are two specific parts of the body that require particular attention. These are the shoulder joints and the hips joint, which are the two most important joints in taijiquan and are also the most difficult to open up. It is best to start with the opening of the shoulder joints. In order to open and loosen your shoulder joints, you will need to work on the entire

shoulder girdle. This is a group of muscles, ligaments, and tendons that surround each shoulder joint and that both support the joint as well as enable it to move in a variety of directions. Orthopedists generally agree that the shoulder is the most complex joint in the body. The shoulder girdle includes a number of important muscles, such as the pectoralis major and pectoralis minor, the rhomboid, and the trapezius, to name a few. You can find many excellent illustrations of the shoulder girdle online. Basic familiarity with the anatomy of this area will assist you in your efforts to loosen and open the shoulder joints. Rather than focus on specific muscles, it is more useful to focus on the five sub-regions of the shoulder girdle: the anterior or front, the superior or top, the outer side, the inner side, and the posterior or back. Your task is to relax each of these five sub-regions in turn, beginning with the posterior subregion. It is important to work on all of the five sub-regions in each standing session. You need to ensure that the overall relaxation of this area is balanced and complete. Otherwise, you may create imbalances that will lead to postural problems and blockages to the free flow of qi. When addressing the shoulders, you can work on each shoulder separately, or you can address both shoulders at the same time. In the beginning, you will want to work on one sub-region at a time, advancing through the five sub-regions as described below. To begin, stand in the Embracing the Tree posture and perform the overall body relaxation exercise. Spend several minutes establishing your connection to the ground through the yongquan points in your feet. Now, bring your awareness to bear on your shoulder region. First, feel the entire shoulder region. Perform an overall scan of the region, looking for stiffness, tightness, pain, numbness, or any other indication of physical or mental tension. Next, place your awareness specifically on the posterior sub-region. Focus on the area underneath the shoulder blades. Use your intention to relax the muscles and ligaments that bind the shoulder blade to the rest of the shoulder girdle. Use your breath to assist you in this endeavor. Inhale into the area and then exhale as you direct the muscles and ligaments to relax. You can imagine that you have a small balloon inserted behind each shoulder blade. Inflate the balloon on the inhale to expand the tissues and deflate the balloon on the exhale to relax the tissues. Do this for several minutes until you feel

the muscles, ligaments, and tendons begin to relax and to release any storedup tension in this area. Now move onto the tops of the shoulders. Focus on relaxing and releasing the muscles and ligaments in this sub-region. Again, you can use the balloon imagery here to inflate and expand and then deflate and relax the tissues of this region. Spend several minutes on this region as well before moving on to the front sub-region. The anterior sub-region contains several important muscles associated with shoulder function. Some are accessible from the surface; that is to say that you can feel and manipulate them easily with your fingers and hands using basic massage techniques. Others are deeper and much more difficult to reach using standard massage techniques. That is why zhan zhaung is so important in achieving the deep release we are striving for. Superficially, the muscles and ligaments that create the visible indentation below the top of the shoulder in this sub-region are referred to as the “shoulder nest.” It is very important that you relax the shoulder nest as this will open the entire shoulder joint and provide greater flexibility and range of motion. Use the breath and the balloon imagery to relax this region. Then, before moving on to the inner and outer sub-regions, place your awareness deeper into this area and work on relaxing and releasing the deeper muscles of this sub-region. There is much work to be done here. You will need to devote multiple sessions to the shoulder area in order to achieve the desired result of song in the shoulder area. Finally, move on to the inner and outer sub-regions, working on the outer sub-region first and then on the inner sub-region. Use the breath and the balloon imagery to relax and release the muscles, ligaments, and tendons in each of these sub-regions. When employing the balloon imagery on the inner sub-region, you can actually allow the arm to expand outwards slightly with the inflation of the balloon. You should spend a week or more standing in zhan zhuang and working solely on the shoulder girdle and opening the shoulder joint on each side of the body. One sign that you are making progress is that your hands will hang lower at your sides when you stand in wuji posture. When you feel comfortable with the progress that you have made in opening your shoulders,

you can move on to the elbow joints and then proceed to the wrist joints. You can view the anatomy of these two joints online, but they are both relatively simple joints to open using the techniques described above. Professor Cheng Man-ch’ing used to tell his students that, once the shoulder joints were opened, the elbow and wrist joints were easy to open by comparison. The other major joints that need to be addressed in this stage of standing practice are the hip joints. Like the shoulder joints, the two hip joints are surrounded by another girdle, which is referred to as the “pelvic girdle.” As with the shoulder girdle, the pelvic girdle consists of a number of muscles, ligaments, and tendons. The muscles involved on each side of the pelvic girdle include the iliacus and the psoas muscles, the hip flexors, the abductors, the adductors, and gluteal muscles. That’s a lot of muscle, and it’s all connected through complex attachments of ligaments and tendons, many of which are typically either frozen or tight. Your job is to work on loosening and releasing these muscles and their associated ligaments and tendons. Similar to the shoulder joints, the each hip joint consists of sub-regions on each side of the pelvic bone. In this case there are four sub-regions that should be considered: the anterior, inner, outer, and posterior. When working on the hip joints, you should begin with the anterior sub-region of each hip. This sub-region includes both the psoas and the iliacus muscles. If these muscles are tight, they tend to tilt the pelvis forward, which causes the hip joint to bind up. This in turn reduces flexibility and range of motion. From a martial aspect, this means that you are not free to rotate and neutralize effectively using Rollback for example The difficulty in working with both the psoas and the iliacus muscles is that they are deep muscles and are not easily accessible using traditional massage techniques. That means you are going to have to use neigong, or internal effort, in order to work on loosening them in order to open up the hip joints. As with the shoulder joints, you will address these deep muscles through standing in the Embracing the Tree posture. To begin, assume the Embracing the Tree posture and settle yourself using the overall body relaxation sequence. Stand for several minutes and allow yourself to sink into the earth through the yongquan points in your feet. As you do so, try to round the crotch by exerting a slight outward pressure on each inner thigh. The groin area may be likened to an inverted bowl. The

rounder the bowl, the more open the groin. In fact, you have two bowls in the mid-section of the body. The first is the upright pelvic bowl, which sits on the overturned bowl created by rounding the crotch. You want both of these bowls to be as round and as level as possible. Now you can address the anterior sub-region of the pelvic girdle. The trick to loosening and lengthening the muscles, ligaments, and tendons in this region is to create dynamic tension. That is to say, you need to pull up with your lower abdominal muscles while simultaneously pulling down with the muscles of your upper thighs. This is a bit like pulling taffy, in which you pull from both ends to stretch out the taffy in the middle. At the same time as you are pulling up with your abs and down with your quads, you should imagine the tissues in between as stretching out like the taffy in the taffypulling analogy. While it may seem counter-intuitive to employ muscular tension in order to develop song, this is exactly what you need to do. Of course, you don’t want to use excessive strength when engaging the muscles above and below the pelvis, as this will negate any opening you gain in the pelvic girdle itself. Spend several minutes trying to find the right degree of tension while simultaneously relaxing the underlying tissues that connect the front of the thigh bone to the pelvis. Over the course of several zhan zhuang sessions you should begin to feel these underlying muscles, ligaments, and tendons begin to release and lengthen. Next, move on to the posterior sub-region. Again, you will need to employ dynamic tension here to level the pelvic bowl from the back. Assuming that, like most people, your pelvic bowl is tipped forward, you will need to pull it down from the back by engaging your gluteal muscles. However, if you only tense these muscles you will not achieve the desired result of permanently releasing the pelvis. Therefore, at the same time as you are pulling down with your buttocks you need to exert a certain degree of tension in the muscles of your abdomen in order to pull up on your pelvis and counteract the downward pulling effect of tightening your buttocks. As with the dynamic tension created in the anterior sub-region, this requires a delicate balancing act between the muscles of your abdomen and your buttocks. You will know that you have reached the proper balance when your pelvic bowl appears to hang or float in the level position without undue

strain. Because of the complexity of both the anterior and posterior subregions of the pelvic girdle, you should spend at least three minutes on these sub-regions in each zhan zhuang session devoted to this area. The inner and outer sub-regions of the pelvic girdle are addressed similarly to the inner and outer sub-regions of the shoulder girdle. They are much less complicated and can be addressed in a straightforward fashion once the pelvic bowl has been leveled by balancing out the anterior and posterior subregions. To restate, both the shoulder region and the hip region are very complex, and each will require multiple sessions of zhan zhuang in order to fully address any issues you may have. You should expect to spend from one to two weeks on each area before moving on to the other areas of the body. This assumes that you do not have any specific injuries in either of these two areas. There is a school of thought that believes that even long-standing injuries can be either healed or at least ameliorated through zhan zhuang. Whether or not zhan zhuang will be efficacious in addressing such issues in your case, it is certain that you will derive overall benefits from standing in zhan zhuang and working on opening the joints. Once the hip joints are opened, you can move down to the knees and the ankles. Although each of these joints are easier to work on than the hip joints, nonetheless you will probably need to spend a bit more time on the knee joints than on the elbow, wrist and ankle joints. Like the shoulder joints and the hip joints, the knee joints are also rather complex. You should review the anatomy of the knee joint before working on your knees in zhan zhuang. In order to open the knee joints, you can use the expansion/contraction balloon imagery presented above. As part of your zhang zhuang practice at this stage, be sure to address all the major joints of the body. Don’t neglect the cervical (neck) joint or the sacral joint at the base of the spine. When working on the neck region, you need to be very careful not to push up with force as you attempt to lengthen and open the vertebrae in the neck. When standing in zhan zhuang and working on the neck region, it is best to imagine that the head is suspended like a helium balloon. One by one, allow each vertebra to gently separate from the one below as the head floats up.

With regard to the sacrum, you may employ a small amount of muscular force as you tuck your tailbone under. This is usually accomplished in conjunction with the leveling of the pelvis. You may want to visualize attaching a four-ounce fishing weight to the bottom of your spine. Imagine the weight of your sacrum gently pulling downward on the base of your spine. You will also want to spend some time working on your upper, middle and lower back in order to lengthen and straighten your spinal column. When standing in zhan zhuang, you can concentrate on each region of your spine separately. Starting with your lower back, imagine each vertebra as pulling up gently in order to create a small space between itself and the vertebra below. Again, be careful to use imagination and the intent rather than muscular force in order to separate the vertebrae in your spine. You can employ the balloon imagery here. Imagine that there is a small balloon occupying the space between two vertebrae. Use your breath and your imagination to inflate the balloon and so increase the space between each pair of vertebrae. Overall, you should spend at least one month in this first stage of your zhan zhuang practice before moving onto the second stage, which entails deepening your root. Remember that you have a lifetime ahead of you and nothing to be gained by moving on to the next stage of your development before the present work is completed. Have patience and focus on what you are trying to accomplish in each stage rather than anxiously rushing on to the next stage of your training. Stage 2 – Deepening Your Root: Once you have achieved noticeable progress in opening all the joints of the body, you are ready to continue on to the second stage of zhan zhuang practice: deepening your root. Of the many rewards derived from zhan zhuang, this benefit most directly relates to the martial aspects of taijiquan. Rooting clearly is relevant to fixed-step pushing hands practice, but “moving root” is also important in moving-step pushing hands as well as in sparring. Both wuji standing and the zhan zhuang standing described above entail a certain degree of rooting. Now, however, you will really begin to extend your roots deep into the ground. The reason for postponing rooting practice until you have completed the practice of opening all the joints of the body is that

you need to be able to allow the full weight of the body to sink down into your feet and then be transferred further into the ground through the yongquan points. This can only take place when the joints are sufficiently open to allow the weight to fall through them and into your feet. The process of dropping down into your feet should proceed sequentially from your neck and shoulders, down through your upper, middle and lower back, further down through your sacro-illiac joint and into your hips, from your hips down through your knees, and finally into your ankles and feet. Rooting practice requires absolute relaxation and openness throughout the entire body along with deep mental concentration on the task of dropping the weight of the body down into the ground. This internal work, or neigong, is not easy to achieve and will require many days and even weeks to accomplish completely. However, the benefits to be derived from attaining a deep root are well worth the effort. It is important to understand that, in order to deepen your root, it is necessary to increase your standing time in this stage from ten to fifteen minutes per session. The reason for this is that root grows slowly, just like the roots of a tree. The longer you stand in each session, the deeper your root will penetrate into the ground. If you stand for five minutes, you will create a root “five minutes” deep. If you stand for fifteen minutes, you will create a root “fifteen minutes” deep. Dedicated students of the Chinese martial arts will often stand for up to an hour in order to develop truly deep and penetrating roots. To begin working on deepening your root, stand in the Embracing the Tree posture. Go through the overall body relaxation exercise. At this stage of your development, you should be able to fully open all the joints of the body in just a few minutes. Now when you stand, you don’t have to work on releasing the individual joints anymore. Instead, you can place your awareness on your feet, paying particular attention to the yongquan points. However, you should also be aware of the toes, the heel, and the outer and inner edges of each foot. Some practitioners advocate distributing the weight over the entire bottom surface of the foot. This is a basic way to stand. However, if you shift your weight just slightly forward of the center of the foot, you will place additional pressure on the yongquan point. The additional pressure will aid in opening this energy gate. You will need to experiment during standing in order to

determine what weight distribution works best for you. You can do this by ever-so-slightly shifting forward and backward, paying close attention to whether you feel more stable and grounded as the weight shifts from back to front. You can also roll each foot from side to side, again with the purpose of finding your own personal “center” within each foot. The most important aspect of this stage of zhan zhuang training is that you send your awareness down below the ground and not focus on the bottom surface of the foot nor on the surface of the ground (or floor) upon which you are standing. Start by placing your awareness (or your intention, if you will) an inch or so below the ground. Use your will to drop your weight through each foot until it reaches the spot directly below the ground where you are standing. Stand like this for five minutes or so. Then transfer your awareness even deeper, say two to three inches below the ground. Again, drop the weight of the body down to the point below each foot where you have placed your awareness. Stand for another five minutes or so with your root sinking to this depth. Finally, try dropping your awareness down six inches into the ground and stand with your roots at this depth for a final five minutes. In this way you can gradually extend your roots deeper into the ground. With each rooting session you should try to extend your roots a little deeper. The goal is to sink your roots down at least a foot. The deeper the better. As you stand in zhan zhuang with your attention focused on rooting, you will likely feel your body getting both heavier and lighter. How can this seemingly contradictory state of the body exist? The heaviness is the result of the weight sinking down. You will feel this heaviness primarily in your lower body, but this sensation may well rise as high as the midriff. The lightness is the result of the qi spontaneously and naturally rising upward. This lightness will be felt mostly in your upper torso and particularly in your arms, shoulders, neck and head. Both the sensations of heaviness and of lightness are signs of overall progress. However, you should not intentionally try to become either heavy or light. Just focus on dropping the weight of the body into your feet, opening the yongquan points, and allowing the body’s weight to fall through your feet and into the ground as described above. In zhan zhuang practice, there is no trying, only allowing. You may also experience a variety of sensations associated with opening the

yongquan points. These may include warmth, tingling, and a sense that the energy of the earth is rising up into your feet through the yongquan points. Remember that the yongquan point is referred to as the “Bubbling Well.” Once the Bubbling Well points are opened, the qi of the earth will naturally rise up to fill your feet. Eventually this qi will rise up from your feet and into your lower extremities, eventually reaching the level of your lower dantien. As with Stage 1, you should spend some time in Stage 2 of zhan zhuang practice. It is recommend that you spend at least two weeks in this stage before moving onto Stage 3. The deeper your roots, the easier it will be to stand for longer periods in the later stages of practice. It is important to understand that the longer you are able to stand while you are learning to focus your awareness on the breath, the dantien and the qi in Stage 3, the more your overall taijiquan practice will improve. Stage 3 – Focusing the Awareness on the Dantien and the Breath: Having developed the ability to open and loosen the joints of the body and also having arrived at the point in your practice where you can extend your roots into the ground, you are now ready to direct your focus on the lower dantien and the breath. The lower dantien is the energy center located approximately three finger widths below the navel and approximately two finger widths behind the muscles of the abdominal wall. Use the technique known as abdominal breathing (also called “baby breathing” or “Buddhist breathing”) to inflate your abdomen as you inhale and to deflate your abdomen as you the exhale. Keep your mind quietly focused on your breathing and the lower dantien energy center. Spend at least five minutes standing in the Embracing the Tree posture, breathing naturally and easily into your lower dantien region. Your breath should be long, slow, thin, quiet, and deep. Try counting slowly to eight on each inhalation and using another eight-count on the exhalation. If your attention wanders, bring it back to the breath and the lower dantien. At this stage of your practice, don’t get caught up in what the rest of your body is doing. If your arms begin to ache or tremble, just ignore them. Even a beginner can put up with a little discomfort in the arms for at least five minutes. If you find your arms tiring easily, it is often a sign that your elbows are too high. Try dropping them down a bit more.

Practice in this way for five minutes a day until you can stand comfortably without tiring and without losing the focus on your breath and the lower dantien. Pay attention to the sensations in your abdominal region. Do you feel this region getting warmer? Do you feel as if the lower dantien is expanding, contracting, or starting to rotate on its own or in conjunction with the breath? Do you feel energy beginning to radiate outward or upward from the lower dantien? These are all indications that the qi is starting to accumulate in the lower dantien. Although these are common signs of qi development, don’t be concerned if you do not experience any of these sensations at the beginning of your practice. Each individual develops at his or her own pace, and it does no good to try to force the qi into the dantien. Just let it develop naturally. Once you are able to maintain your stance naturally and your focus easily, you can move on to the next level of energy awareness. As you stand in the Embracing the Tree posture, imagine the qi rising up your back to the dazhui point in your upper back, midway between your two shoulder blades. Move the qi up your spine on the inhale; then move it across the tops of your shoulder blades, over your shoulders, down your arms and into your hands and fingers on the exhale. At first you probably won’t feel any energy movement. Instead you will have to rely upon your imagination. Eventually you will begin to feel the qi rise out of the lower dantien and move up your spine. The qi may move either slowly or it may seem to surge up. Allow the qi to move at its own pace, but be sure to coordinate the movement of the qi with your breath as described in the preceding paragraph. Some students initially have difficulty moving the qi up their spine and out into their arms. This may be due to blockages in their spine or in their shoulders. It may also be due to their reliance upon the analytical mind rather than drawing upon the power of the hsien or heart/mind. Rather than thinking about qi in the abstract, try imagining the qi as heat, or light, or electricity. Lead the light or the heat or the electricity with your imagination. Let the movement of the qi be a challenging game instead of a difficult task. You will know that you have met with success in this endeavor when you begin to feel a tingling sensation in the fingers of your hands. You may even

feel the energy extending outward from the fingers and meeting in the space between your two hands. This normally occurs first in the space between the two middle fingers, as they are closest to each other. Eventually the gaps between the other fingers will fill with energy as well. The two thumbs are usually the last digits to participate in this energetic connection. Be sure that you don’t have any tension in the thumbs. They should point toward each other just like the other fingers and should not stick up at an angle from the back of your hands.

Empty Stance and Single Leg Postures Both the wuji posture and the Embracing the Tree posture are equallyweighted postures. That is to say that the weight of the upper body is distributed evenly between the two legs and the feet. We say that these are “50/50” postures. These 50/50 postures are great for working on issues such as opening the joints, concentrating the breath and the qi in the dantien, and moving the qi up the spine and out to the arms. As you have seen, you can even use these postures to deepen your root. While these 50/50 postures can be used for martial arts training, they are more appropriate for pursuing the civil aspect of zhan zhuang. This means that such postures are typically employed by those individuals seeking either to improve their health or to enhance their spiritual awareness. Recall that, if you are practicing zhan zhuang for health or spiritual reasons, you may want to close your eyes during your standing practice. This will enable you to focus your awareness inward. If, on the other hand, you are intent on increasing your martial ability through zhan zhuang, then you should keep your eyes open. You can either soften your gaze as mentioned previously, or you can actually gaze out with focused intent. In addition to equally-weighted postures, it is important that you become familiar with single-weighted postures, especially if your intent is to improve your martial ability. The simplest single-weighted postures are empty stance postures. In these postures, you stand with the weight entirely (or as close as you can come) on the back leg and simply touch the toe or the heel of the front foot on the ground. The purpose of the connection of the front foot with the ground is to provide both stability and added root. Even though the back foot is bearing most, if

not all, of the weight, nonetheless you want both feet to maintain an energetic connection with the earth. This is especially true if you are training for martial ability. While any of the taijiquan empty stance postures, such as White Crane Spreads Its Wings or Lifting Hands, are suitable for zhan zhuang practice, most practitioners begin with an empty stance version of Embracing the Tree as shown in Figure 6-2. You will need to make a small adjustment to your feet when adapting the Embracing the Tree posture for standing in an empty stance. Your back foot will need to be angled out to approximately thirty degrees to facilitate placing all the weight of the body in your back leg and foot. Also, your front foot should be placed in line with either the heel or the instep of your back foot. If there is any horizontal distance between your two feet it will create lateral instability that will prevent you from sinking fully onto your back leg.

Figure 6-2

You can use this modified Embracing the Tree posture for zhan zhuang practice to enhance your root or to channel the qi. To begin with, stand first on one side for five minutes and then make a smooth transition onto the other leg for an additional five minutes. Work up to the point where you can stand in each back-weighted posture for ten minutes, extending your overall zhan zhuang session to a full twenty minutes. This is a real challenge, and you will need to work up slowly to standing in the empty stance version of the Embracing the Tree posture. If you push yourself, you are likely either to get discouraged or to run the risk of leg cramps. Try to make smooth transitions from one weight-bearing leg to the other. For example, to make the transition from your right back-weighted leg, first withdraw your left front leg as in a withdrawing center step. Then step out with your left foot at a diagonal with your foot angled outward approximately thirty degrees. Finally, shift your weight onto your left leg and bring your right leg forward to place the toes of your right foot down in front of the instep of the your foot. Execute this change like a cat walking. Also, when making the transition, try to keep your arms up and don't let them droop down. It is beneficial at this stage to keep your eyes open when training standing in an empty stance. If you are interested more in civil cultivation, you can allow your gaze to extend to the horizon. However, for martial purposes, it is better to focus your eyes on the space between the fingers. After standing for fifteen or twenty minutes you may be surprised by what you see. Having reached the point where you can stand comfortably in the modified Embracing the Tree posture with all the weight on your back leg, you should be able to lift your front foot off the ground and continue to stand on one leg with little difficulty. To begin with, try lifting your front foot just a few inches off the ground as shown in Figure 6-3. Again, you may have to go back to standing for just a few minutes per side, but eventually you should be able to work up to ten minutes per side in this posture.

Figure 6-3

When you feel comfortable standing on one leg with the empty leg elevated off the ground a few inches, try for more challenging postures, such as the posture illustrated in Figure 6-4. This advanced posture really puts the weight-bearing leg through its paces. Interestingly enough, this posture also strengthens the elevated leg. Try standing in this posture and you will quickly see that it is not easy to hold up the elevated leg, especially when it is bent as in these more advanced stances.

Figure 6-4

Single leg standing is especially helpful for training martial ability. When one has developed to the point that the weight of the entire body can be rooted in a single leg, the advantages in pushing hands and sparring are enormous. One is free to rotate the torso around the weighted leg, providing a greater range of motion for neutralizing. Also, when one is able to stand rooted on one leg, the other leg is free to kick or to step in or to retreat depending upon the opponent’s actions.

Zhan Zhuang and Taijiquan Postures As stated previously, not all taijiquan teachers include zhan zhuang as part of their curriculum. However, there is some evidence that zhan zhuang was, at one time, part of traditional Chen and Yang style taijiquan training. In his translation of Chen Kung's Cultivating the Qi, Volume One, Stuart Olson presents material that purports to be part of a Yang family training manual. Section Six of this document describes the practice of zhan zhuang as including two types of ch’uang pu (standing post) stances: ma pu (horseriding stance) and ch’uan tzu (cat stance, or empty stance). In this document it states that in the past the beginning student would stand in these two stances in order to develop jin (intrinsic energy) in the lower extremities (feet and legs).34 At the end of this treatise, Chen Kung presented line drawings of a number of Yang style taijiquan postures which can be employed for zhan zhuang training. These include Lifting Hands, Ward-Off, Rollback, Press, Push, Repulse Monkey, Diagonal Flying, and Strike the Tiger. Chen Kung further went on to state that such single posture standing would continue for up to ten years, resulting in the cultivation of mind/intent, spirit, and qi.35 Whether the practice of zhan zhuang is part of traditional taijiquan training or not, it is clear that holding specific individual postures for an extended duration will bring increased rootedness, song, and a better understanding of the internal dynamics of each posture both in terms of energy flow and the balance between the substantial and insubstantial aspects of the posture. You would do well to heed the above advice and practice each of the main postures of your form separately by adapting them individually for zhan zhuang standing.

Conclusion Although zhan zhuang practice may appear physically challenging at first, if you are willing to work at it both physically and mentally, the benefits you receive will more than repay your investment in the long run. The reward from zhan zhuang standing is directly related to the time you spend, both on a day-to-day basis and over time. As indicated previously, there is a clear correspondence between five minutes standing and “five minutes root.” There is a similar relationship between fifteen minutes standing and “fifteen minutes root.” It is also valid to say that one day’s standing results in one day’s worth of root and one year’s standing results in one year’s worth of root. With our busy lives caught up in work, family, and other responsibilities, we often find ourselves pressed for time. Because zhan zhuang appears superficially to be the least glamorous aspect of our training, we may be tempted to drop it from our daily taijiquan practice. If you find yourself squeezed for time, at least try to put in a minimum of five minutes per day devoted to this training. Perhaps you can find time for longer zhan zhuang sessions on the weekends. However, do realize that it is better to do a little standing every day than to stand for one long session once per week. Remember that the best way to deepen your roots and to become song is to spend time standing. Although it may seem contradictory, the best preparation you can undertake for flowing the form is to stand still first. Recall what the Classics say about Taiji arising out of Wuji. First there is stillness, then movement can begin. Learn to be as still as a mountain, then you can flow like a mighty river. It is equally important to undertake the challenge of mentally directing the qi to move up the spine and out to the arms and hands while standing in the Embracing the Tree posture. The art of taijiquan requires that the practitioner be able to mobilize the qi in order to move the body. In the following chapters you will learn how to cultivate and mobilize your qi more effectively through various qigong practices. As you will see, some of the exercises presented in the next two chapters involve movement, just like the form. Others are performed while either sitting or standing still. These neigong practices are frequently performed

while standing in zhan zhuang. It makes sense, therefore, to begin these practices only after you have been standing for several months or more. The good news is that you will be able to combine zhan zhuang with qi cultivation and mobilization. So, while you will be adding another aspect to your training, you won't be increasing the overall time you spend in your training sessions.

Chapter Seven

The Principles and Practice of Qi Cultivation

The Taijiquan Classics provide us with many important principles that guide the practice of taijiquan: When one part moves, the entire body moves. Stand like a balance, turn like a wheel. The motion should be rooted in the feet, released through the legs, controlled by the waist, and manifested through the fingers. The principles contained within the Classics, along with the essential points expounded by the founders of taijiquan, provide the framework for the practice of our art. Underlying all these principles, however, are two fundamental touchstones: Guard the mind and the qi together in the dantien. The mind moves the qi, and the qi moves the body. If a student adheres to all the other principles of taijiquan but ignores these two, his or her practice will lack the true essence of the art. That is to say, it will not be the true taijiquan as practiced by the originators of the different styles of this unique, internal martial art. In his Thirteen Treatises on T'ai Chi Ch'uan, Cheng Man-ch’ing included a chapter entitled “Developing the Qi to Attain Suppleness.” This chapter includes a reference to the Tao Te Ching, in which Lao-tzu described the process of developing the qi in order to achieve suppleness. Professor Cheng concluded that the appropriate location in the body to develop the qi is the lower dantien.36 Chen Zhenglei also explains the importance of accumulating the qi in the

lower dantien. He emphasizes the importance of being naturally relaxed and calm while coordinating the movements of the entire body. When the body is in motion, all of the components of the body must move in a coordinated manner. When the body stops moving, all of the components of the body need to settle together into stillness. He further explains that the breathing and the movement should be coordinated under the direction of the mind, or yi. He emphasizes the necessity for persistent and ongoing practice in order to reach the state in which the qi accumulates in the dantien. From this focussed practice, the qi will become substantial and powerful.37 As was asserted in the Introduction, the vast majority of taijiquan practitioners do not keep their awareness in the dantien, nor do they actively direct the qi in order to move the body. These individuals may be relaxed, they may have acquired some limited root, and they may even have developed a certain degree of song. However, without the ability to cultivate and mobilize the qi, their taijiquan practice will forever remain at a superficial level. It is essential to be relaxed, rooted, and song when performing the form. These are important qualities in the practice of taijiquan and are prerequisites for the cultivation and mobilization of qi. Just as relaxation is essential for developing song, so song is an essential condition for cultivating and mobilizing the qi. Students who have learned to relax, established some root, and developed a degree of song can justifiably be proud of their accomplishment. However, they should not stop at this point but rather need to advance forward to the real gongfu of qi cultivation and mobilization. Many students report experiencing a warmth and tingling in the hands and fingers at some point in their study of taijiquan. Although this is a good sign, it is nothing more than the presence of localized qi. The phenomenon of localized qi will be addressed in the following section. Experiencing localized qi, however, is not the same as cultivating the qi in the dantien and then mobilizing and circulating the qi out to the extremities of the body. To accomplish this takes months and even years of serious gongfu, preferably under the tutelage of a knowledgeable and experienced teacher.

Understanding Qi Before one can learn to cultivate and mobilize the qi, one must first

understand what qi is. According to Chinese tradition, qi is an invisible yet tangible energy that permeates the universe. The ancient Chinese believed that everything in the universe, both living and inanimate, contains qi. With regard to living entities such as plants and animals, qi can be considered to be the basic life-force which supports existence. If the qi is weak, the individual (plant or animal) will be weak. If the qi ceases to function entirely, the entity will die. One may well ask how inanimate objects can contain qi if qi is considered to be a life-force. The answer is that the qi of inanimate objects is contained within the energy that inhabits those objects. An analysis of the Five Elements reveals how inanimate objects are embued with their own unique type of qi. Wood for example, can be burned, releasing its qi as heat. Water’s qi has the power to dissolve small objects and even to wash away large boulders. A rock’s qi may be bound up in the minerals it contains. For example, iron ore can be melted to release the metal contained within it. There are many ways to categorize qi. However, the most common classification is to refer to the three categories of qi as follows: heaven qi, earth qi, and human qi. These three types of qi are collectively referred to as the Three Treasures of the universe, or san pao. It is important to understand these three types of qi and to know how to combine them harmoniously. Heaven qi, or tian qi, consists of the heavenly forces that exert their influence upon humans and the earth. It has long been known that heavenly bodies, such as the sun, the moon and the stars, all influence both the earth and the individuals that inhabit the earth. Heaven qi is present in both sunshine and moonshine (especially the liquid variety!) Exposure to heaven qi in the right amount is essential to our health and vitality. Heaven qi is also present in the air that we breathe. Clearly, the quality of the air we breathe has direct influence upon our health and well-being. Chinese Traditional Medicine counsels us to avoid air that is too dry, too humid, too hot or too cold. We must also avoid breathing air that contains harmful substances, such as pollution or sulfurous vapors, etc. The ancient Chinese believed that heaven qi was responsible for the weather, particularly such events as typhoons and tornadoes, and also influenced the tides. Astrologically speaking, heaven qi was also thought to influence

human affairs. The Chinese developed elaborate systems of divination in order to understand and predict the influence of heaven qi on present and future events. The I Ching is the best known of these systems. Below heaven is earth. Earth qi, or di qi, is influenced by heaven qi, although earth qi also acts independently from heaven qi. Earth qi includes the earth's magnetic field as well as geothermic energy. Earth qi also encompasses the energy contained in rivers, oceans, lakes, mountains, and forests. As with the weather, the ancient Chinese believed that natural disasters such as earthquakes, landslides, floods, and tidal waves were the result of imbalances in earth qi. The well-known art of geomancy, or feng shui, is based upon the study of earth qi. Humankind stands between heaven and earth. As such, human qi, or ren qi, is influenced by both heaven qi and earth qi. As stated previously, human qi is affected by the quality of the air we breathe (kong qi), the food we eat (gu qi) and the water we drink. Human qi is further categorized as pre-birth qi (hsien t'ien qi) and post-birth qi (hou t'ien qi). Pre-birth qi is the qi we receive from our parents. In modern scientific terms, pre-birth qi is the equivalent of our DNA. Post-birth qi is the qi that animates our lives and which is influenced by heaven qi and earth qi and also the qi of air, food and water. We can do nothing to change our pre-birth qi, although there are exercises we can perform to maintain the vitality of our pre-birth qi. Our post-birth qi, on the other hand, is largely under our control. We can engage in practices that nourish this qi, such as breathing good, fresh air; eating healthy, nourishing food in the proper quantities; drinking pure, clean water; and engaging in stimulating and invigorating exercise. We can also choose to live in environments where the qi of heaven and earth exerts a healthy influence upon us, such as in the mountains or beside a lake or the ocean. As well as these natural activities, we can also engage in specific exercises designed to enhance and nourish our qi. The ancient Chinese sages developed many such exercises, which are collectively known as qigong. Several of these exercises will be introduced in the following sections of this chapter. In addition to devising qigong exercises, the venerable Chinese sages were able to map out the pathways within the human body along which the postbirth qi travels. They were also able to analyze human anatomy and establish

the relationships between the various organs. Organs were classified as either yang or yin, and the qi pathways, or meridians, associated with each organ were identified. The science of Traditional Chinese Medicine is based upon these organ classifications and the meridians associated with them. Diagnoses for various illnesses were developed based upon the knowledge of the organs and their relationships. Specific treatments involving the placement of needles at key acupoints along the meridians were devised. Herbal remedies were also created based upon the special healing qualities, or qi, of certain plants and animal parts. In addition, specific qigong exercises were established for the purpose of stimulating or strengthening individual organs in order to combat diseases and deficiencies within the body. In addition to qi, each human being possesses two other vital energies or essences: ching and shen. Ching is the sexual energy which enables procreation. Ching is normally associated with the testes in men and with the ovaries in women. Shen is the spiritual energy that each human possesses. This is not the same concept as the Western notion of the soul. Rather, one’s shen is their spirit of vitality, that is to say the brightness of their personality, the essence of their being. Someone who has a vibrant shen is said to have a “great spirit.” As with heaven, earth, and humanity, which together make up the Three Treasures of the universe, qi, ching, and shen make up the Three Treasures of humankind. These three human treasures are mutually supportive and dependent upon one another. It is said that ching supports qi, qi supports shen, and shen supports ching. This circular, tripartite relationship is referred to as the Three Internal Harmonies. One style of qigong, which is internal, seeks to strengthen and unite these Three Treasures. When the qi, ching, and shen are united, the spirit of vitality rises to the upper energy gate located on the top of the head (the bai hui, or Heaven's Gate), resulting in a state of elevated spiritual awareness and ultimately in enlightenment. The Taoists refer to this union as “the three flowers meet on the top” (san hua ju ding). Just as pre-birth qi is associated with either the testes or the ovaries, postbirth qi is associated with the kidneys. It is said that the kidneys are the source of post-birth qi. For this reason it is important to maintain the health of

the kidneys above all other organs. Many qigong exercises are intended specifically to strengthen and energize the kidneys in order to generate strong, healthy post-birth qi. Note: for the rest of this discussion, the term “post-birth qi” will be abbreviated to “qi.” When the term “qi” is used without any qualification, it is assumed to mean “post-birth qi.” Although qi is generated in the kidneys, it is stored in the lower dantien. As discussed previously, the lower dantien is the energy center located in the abdominal cavity. It is situated three finger widths below the navel and two finger widths toward the interior. This Chinese term is often translated as the “field of immortality” or the “field of elixir” where “elixir” refers to the “qi.” There are many qigong exercises whose purpose is to increase the store of qi in the lower dantien. Within the human body, there are three circulatory systems: the qi circulatory system, the blood circulatory system, and the lymph circulatory system. The qi and blood circulatory systems are closely related. In Cultivating the Ch’i, Chen Kung stated that, between the blood and the qi, the qi is the more important in that the qi serves as the master to the blood because it directs the blood to reach all the tissues of the body.38 The close relationship between the blood and the qi is often referred to in China as the relationship between a brother and a sister. In this analogy, the qi is the brother and the blood is the sister. Traditional Chinese Medicine is based on the premise that the qi leads the blood. Where the qi goes the blood follows. If the qi is blocked or stagnant, then there will be a deficiency of blood in that region of the body. Also, if the qi flow stops completely, then the individual will die. Although the qi will flow naturally of its own accord, it may become subjected to blockages as stated above. These blockages can be released through acupuncture. It is also possible to open qi blockages through either external qigong exercises or through internal qigong exercises. The basis for both external and internal qigong is the principle of yi yi yin qi, “the mind leads the qi.” Just as where the qi goes the blood follows, it is also true that where the mind (intention) goes, so the qi follows. The mere mental act of focusing the intent on a particular region of the body can cause an increased accumulation of qi in that region. When the qi flows

strongly to a specific location, the blood naturally follows. It is this increased blood flow that individuals sometimes experience as warmth or tingling when practicing taijiquan. This sensation most frequently occurs in the fingers and palms of the hands. Although this is a valid experience, it is not a direct experience of the qi, but rather the experience of the blood following the qi. Furthermore, the qi that is experienced in these cases is localized qi. Localized qi is important and can be useful in both martial applications and in healing. However, if we want to master qi cultivation and mobilization, we need to learn to work with the qi in the lower dantien. Without learning how to cultivate the qi in the lower dantien and then mobilize and circulate this qi throughout the body, our experiences of the qi will only be of the local variety. Hence we say that the experience of qi is superficial as opposed to deep and all-pervasive. The exercises presented in the final two sections of this chapter are intended to be used for this purpose, i.e. to aid in cultivating the qi in the lower dantien and then to circulate the qi out from this field of elixir. To conclude this discussion of qi, we need to consider one final topic. Some people mistakenly believe that there are two types of qi: yin qi and yang qi. This is incorrect. There is only qi. However, it is true to say that all qi, whether it be derived from heaven, earth, or an individual, may have the quality of being yin or yang. We see this everywhere in nature. For example, the fierce rays of the midday sun are said to be yang, whereas the cold light of the moon may be considered to be yin. The same is true of the qi in the human body. The qi that travels within the stomach meridians is normally yang in nature. On the other hand, the qi that travels within the kidney meridians is normally yin in nature. If, for some reason, the qi in the kidney meridians becomes yang in its aspect, then the kidneys will become overheated and disease will arise. Disease in the kidneys may also arise if the qi in the kidney meridians becomes too yin. Thus it is important not only to have strong qi overall but also to have the right quality of qi in each of the meridians. Again, many qigong exercises have been devised to both strengthen and balance the qi associated with specific organs so that it is neither too yin nor too yang.

The Qi and the Breath

No discussion of qi and qigong would be complete without discussing the association between the qi and the breath. Within the human body, the qi and the breath are closely related. It is not an exaggeration to state that without the breath there would be no qi. The relationship between the breath and the qi is two-fold. First, the breath is necessary for the creation of qi. Second, just as the qi leads the blood, so the breath can be used to lead the qi. We will consider each of these aspects of the breath in turn. As stated previously, our post-birth qi is created from the air that we breathe (kong qi) as well as the food that we eat (gu qi) and the water that we drink. Kong qi comes from heaven, and food and water come from the earth. The qi of heaven and the qi of earth are combined to generate our human qi. From this you can see that it is important to learn how to breathe properly in order to provide the body with the best kong qi. Of course, we want to breathe where the air is clean and pure and not stagnant or polluted. It is also important to breathe in air that is neither too hot or cold, nor too moist or dry. In order to employ the breath to aid in cultivating the qi, you will need to learn how to breathe properly. There are two main breathing techniques that can be used to increase your absorption of kong qi and also to help concentrate and lead the post-birth qi. These are abdominal breathing and reverse breathing. These two breathing techniques are also referred to as Buddhist breathing and Taoist breathing. Although reverse breathing is specifically called “Taoist breathing,” both of these breathing techniques are used in Taoist meditation in order to cultivate the qi. Abdominal Breathing: In this section we will explore the simpler of these two breathing techniques: abdominal breathing. Abdominal breathing is intended to enhance your ability to extract kong qi from the air. This breathing exercise is simple to perform and highly effective. You can consider this exercise to be the preliminary exercise to the more extensive qigong exercises presented in later in this and the following chapter. Abdominal breathing is also called “baby breathing.” As its name implies, abdominal breathing involves breathing into the abdomen. This is contrary to the way in which most adults breathe, which involves inflating the chest. Infants, on the other hand, naturally breathe into the abdomen, hence the alternate name for this type of breathing. Abdominal breathing is not unique to Taoism and is also employed in Buddhist meditation. Other spiritual

traditions incorporate abdominal breathing into their practices as well. Abdominal breathing has the benefit of engaging the entire thoracic cavity in the breathing process. As mentioned above, most adults only breathe into the upper thoracic cavity, thereby filling only the upper third of the lungs. The consequences of this chest breathing are two-fold. First, only the upper portion of the lungs are presented with fresh air from which to extract oxygen (and kong qi). The second consequence is that the air in the lower two-thirds of the lungs is not exchanged and becomes stagnant and stale. Abdominal breathing can be practiced in one of three positions: lying down, sitting, or standing. If you are unaccustomed to this style of breathing, it is recommend that you start with the prone position. Figure 7-1 illustrates this position. Note that the hands are placed over the abdomen, one on top of the other, with the palms gently pressed against the navel.

Figure 7-1

Begin by lying down face up and placing the hands over the abdomen as shown in Figure 7-1. Perform the overall body relaxation exercise and breathe normally for several minutes to relax the body and calm the mind. Then, place your awareness on the abdominal cavity, specifically under your hands. Inhale slowly and deeply through your nose. Your inhalation should be long, slow, quiet, and continuous. As you inhale, draw your diaphragm down and at the same time gently extend your abdomen so that your hands lift up slightly. See Figure 7-2. At the same time, try to draw the breath all the way down to the bottom of your lungs. This will fill the bottom third of the lungs.

Figure 7-2

Once you have extended the abdomen, continue inhaling and fill the middle lungs. You should feel your ribs lifting and expanding outward. Finally, inhale into the upper lungs. This will cause your chest to expand outward slightly as well. When you first begin this breathing exercise you don’t want to fill the lungs completely, as this will result in straining. However, you do want to fill them to as much as eighty percent capacity. Having filled your lungs to this eighty percent capacity, your entire thoracic cavity will be expanded and open. When you have filled the lungs to your comfort level, begin to exhale. Exhale through the mouth. Again, your exhalation should be long, slow, quiet and continuous. Allow all the air to escape the lungs. Relax the muscles of the upper thoracic cavity, then the ribs, and finally the lower thoracic cavity. The diaphragm will ascend of its own accord, and the abdominal wall will collapse slightly. You should notice that your hands drop down slightly at the end of the exhalation as shown in Figure 7-3.

Figure 7-3

Normally your exhalation is shorter than your inhalation. It may assist you to count on the inhalation and again on the exhalation in the following manner: slowly count to eight as you inhale; then slowly count to six as you exhale. Be sure not to hold your breath between the inhalation and the exhalation. You want the breath to be continuous, or “one breath” as the Taoists say. One of the goals of abdominal breathing is to balance the inhalation and the exhalation. To this end, you should eventually use the same count on both the inhalation and the exhalation. Keep this in mind as you continue practicing abdominal breathing. Also remember that you should not strain or feel out of breath at any point. If the eight/six count doesn’t work for you, find a count that is comfortable. As for the duration of practice, this will also depend upon your conditioning and prior experience. You should practice abdominal breathing initially for five minutes or so. Later you can work up to longer periods of breathing. Also, once you are comfortable performing abdominal breathing in the prone position, move up to a seated posture, as shown in Figure 7-4. Eventually you want to practice abdominal breathing in the standing posture illustrated in Figure 7-5.

Figure 7-4

Figure 7-5

When practicing abdominal breathing, you should concentrate initially on the breath. However, once you find it natural to breathe into the abdomen, you should allow your attention to become focused on the lower dantien instead. This is called “breathing into the dantien” and is the first step in learning to cultivate the qi. When breathing into the lower dantien, you should imagine that the lower dantien becomes expanded on the inhalation and contracted on the exhalation. This is done with your intent, or yi. Note: there are actually three dantien energy centers in the human body. All references in this chapter to the “dantien” without any qualifying adjective, refer to the lower dantien as described previously in this book. Later in this chapter the middle dantien and upper dantien energy centers will be discussed. Chen Kung stated that each person has both mind/intent and qi, which are invisible and formless.39 These two are related as follows: where the mind/intent (yi) goes, the qi will follow. So, by placing the yi on the dantien, the qi is naturally drawn to the dantien, where it accumulates and becomes condensed. At some point you may feel the presence of the qi in the dantien. This area may feel warm or become slightly expanded. You may feel a tingling sensation or you may even feel that the dantien is moving. These are all valid experiences, but they are neither to be encouraged nor discouraged. Simply keep the awareness intently on the dantien and allow the breath to flow in and out. After you are able to engage in abdominal breathing comfortably for ten to twenty minutes at a time, you can incorporate abdominal breathing into your zhan zhuang sessions. This will enable you to kill two birds with one stone, so to speak. Try standing in the Embracing the Tree posture, either with the weight evenly distributed between the two legs or in the back-weighted cat stance version of this posture. Instead of focusing on song and rooting, which should now occur naturally, perform the abdominal breathing exercise and concentrate on the dantien. Standing in zhan zhuang while performing abdominal breathing and concentrating on the dantien is a gateway practice to more advanced practices such as the Microcosmic Orbit and the Macrocosmic Orbit. Realistically, you

should spend at least a month standing in zhan zhuang while focusing on your breathing and concentrating your awareness on the dantien prior to beginning these more advanced practices. This section has presented the simplest and most effective breathing exercise for individuals with limited or no prior experience in Taoist breathing practices. While this exercise appears simple, the benefit of bringing the breath and the yi together in the dantien is significant. Once you can hold the mind/intent steadfastly on the dantien, you can begin to cultivate the qi in this field of elixir. This is the first step in the practice of many more advanced qigong exercises. Reverse Breathing: The second Taoist breathing technique, known as “reverse breathing,” is a more advanced technique in which the diaphragm is drawn up and the abdominal muscles are contracted on the inhalation, with the opposite taking place on the exhalation. This is the reverse of the abdominal breathing technique presented above, which is why it is called “reverse breathing.” Reverse breathing, which is also specifically referred to as “Taoist breathing,” is an advanced technique that involves not only the breath but also requires concentrated control over the muscles of the abdominal cavity and the perineum. Reverse breathing is often employed in an advanced Taoist practice known as “fire and water reversing,” or the reversal of yin and yang. This practice is performed in order to unify the ching and the qi and to cause their united energies to rise to the upper dantien in order to merge with the shen. This process is referred to as Taoist alchemy, which will be presented in detail in Chapter Eighteen. Having accustomed yourself to abdominal breathing, you may find reverse breathing counter-intuitive at first. However, you should develop some skill in this alternate breathing technique because it is very useful in both Taoist meditation and in the martial applications of taijiquan. In particular, the Chen style of taijiquan makes use of reverse breathing when issuing explosive fa jin energy. Unlike abdominal breathing, it is best to begin your practice of reverse breathing by sitting upright in a chair or in a cross-legged posture. Close the eyes, place the tongue on the roof of the mouth, and perform the overall body

relaxation exercise. Once you have settled down, start an inhalation by pulling the diaphragm up into the middle thoracic cavity just under the ribs and simultaneously contracting the abdominal muscles. You will find that the breath fills the upper thoracic area and causes the chest to expand somewhat. If you just stop the inhalation at this point, you will miss the final stage of the inhalation. Continue inhaling and roll the diaphragm outward toward front of the ribs and down toward the navel, thereby filling the middle and lower portions of the lungs. The abdomen will also expand to accommodate the inflation of the lungs. Without pause begin to exhale by deflating the lungs, starting with the upper lungs and then working down to the middle and lower lungs. The upper, then the middle, and finally the lower thoracic cavity will contract with the exhalation. With the reverse breathing technique it is easier to balance the inhalation with the exhalation, so you should be able to work with an eight/eight count to regulate the inhalation and exhalation of the breath. As with abdominal breathing, start with five minutes per session and work your way up to ten minutes per session. Reverse breathing requires greater concentration than abdominal breathing as it engages your muscles in ways that you may be unaccustomed to. If at any point you feel that you are straining or find yourself out of breath, take a break and just breathe normally. Because reverse breathing is especially useful in martial applications, you will need to learn how to engage in reverse breathing while standing in zhan zhuang. For this reason you should extend your practice to include a standing version of reverse breathing. The use of reverse breathing in martial applications will be discussed in Chapter Fourteen.

The Practice of Qigong The term “qigong” is an abbreviation of “qi gongfu.” As you know, gongfu refers to the effort or work one puts into any given endeavor. When that endeavor is the cultivation of qi, we call it “qigong.” The practice is qigong dates back at least 4,500 years and is as ancient as Chinese culture. Although the term “qigong” is relatively modern, many of the earliest recorded Chinese scrolls include references to practices that we now consider to be qigong

exercises. In general, qigong practices can be divided into two categories. The first category entails specialized physical movements that are performed with the intent of both strengthening the body as well as causing the qi to move in specific ways. These types of exercises are referred to as “external” qigong, or waidan qigong. Examples of some of the more popular external qigong exercises include the Eight Pieces of Brocade (baduan jin), Dragon’s Gate qigong, and the Five Animal Frolics (wuxi xing). Figure 7-6 shows drawings of the Eight Pieces of Brocade, and Figure 7-7 includes representations of the Five Animal Frolics. Because external qigong exercises are beneficial to the practice of taijiquan, a discussion of the Eight Pieces of Brocade is presented at the end of this chapter.

Figure 7-6

Figure 7-7

In contrast to external qigong, there are many qigong exercises which are performed in a stationary position. In these internal qigong practices, or neidan qigong, the qi is cultivated and mobilized internally using the yi and the breath. One may observe the practitioner from the outside and not be aware of the intense gongfu that is taking place within. Because only mental effort is involved, it is important for the mind to be calm and focused in order for this type of qigong to be successful. The practices that have been presented up to this point, which have included simple standing in wuji posture, standing in more advanced zhan zhuang postures, and performing abdominal and reverse breathing, may be considered to be preliminary internal qigong exercises. These various exercises should have prepared you to engage in this next level of practice. By now you should have established some degree of song and root, and you should be able to keep your mind fixedly on the dantien. Your mind should be both calm and clear and ready to gather and mobilize the qi. The training presented in the following section is designed to lead you through the process of cultivating the qi internally. As such, this is a neidan qigong exercise.

Cultivating the Qi Internally To continue with your training, you will now begin to cultivate the qi in the dantien. This is a logical progression of the work you have been doing up to this point. Again, you can perform this new training in a prone position, sitting, or standing, depending upon your preference. As with the abdominal breathing exercise, you may want to begin initially in the prone position. Start by closing your eyes to focus your awareness inward. Place your tongue on the roof of your mouth. Perform the overall body relaxation routine. Then begin abdominal breathing. Place your awareness on the dantien. As you inhale, imagine that you are drawing the qi out of the kidneys and into the dantien. The qi should travel from the kidneys located on either side of the small of the back on two slightly downward converging paths to join together in the dantien. When you exhale, imagine that the qi you have drawn into the dantien is settling and collecting there. On each subsequent cycle of breath imagine the store of qi increasing. You will need to use both your breath and your yi to guide the qi from the kidneys into the dantien. The role of the imagination in this exercise is very

important. There is a traditional expression used to describe this practice: “First in the mind and then in the body.” This means that you first have to imagine the qi moving out of the kidneys and into the dantien. Eventually, what you have been imagining will become reality as the qi accumulates in the dantien. It is also said: “The mind moves the qi.” It is essential to learn to use your mind to lead the qi where you want it to go. Your mind must be calm, clear, and focused in order to lead the qi. If the mind (yi) is weak, the qi will not follow it, just as people will not follow a weak leader. In order to cultivate the qi, you must first train the mind to be calm and focused. That is why the zhan zhuang and abdominal breathing exercises introduced previously are very important as preliminary exercises to internal qigong practice. Eventually the qi will actually follow your intention, and you will feel it moving and collecting in the dantien. Try to imagine the qi accumulating into an ever-increasing ball of energy or light. As this qi ball grows in size, the dantien will expand. Initially you may sense the dantien as a single point or a small sphere the size of a pea. However, as you are able to accumulate more and more qi in the dantien, eventually the dantien should expand to the size of a grapefruit. The process of accumulating the qi in the dantien may take days, weeks, or even months; you simply have to be patient and put in the necessary gongfu in order to make it happen. As with prior practices, start off slowly, practicing for no more than five minutes per session. Work up to at least ten minutes per day. You should also progress from lying down to sitting and then standing in zhan zhuang while cultivating the qi.

Cultivating the Qi Externally Although the internal cultivation of the qi is essential, this type of neidan practice works solely on the level of the human, post-birth qi. Recall that there are three types of qi in the universe: heaven qi, earth qi, and human qi. One should not ignore the benefits to be derived by accumulating the qi of heaven and the qi of earth through the means of waidan qigong practices such as the Eight Pieces of Brocade. Millions of individuals in China and worldwide practice this popular qigong routine on a daily basis in order to maintain their health and vitality as well as to increase their lifespans.

Although many taijiquan instructors believe that practicing the taijiquan form is a type of qigong and do not feel the need to include a special qigong routine as part of their classroom instruction, it is highly recommended to include some type of external qigong in your the daily practice prior to practicing the taijiquan form. Practicing external qigong serves as a great warm up and gets the juices flowing for the more demanding form practice to follow. To this end, the following is a brief description of the Eight Pieces of Brocade external qigong set along with a series of photographs depicting the individual postures within the set. One additional benefit to learning the Eight Pieces of Brocade is that, should you become ill or injured and unable to practice the traditional taijiquan form, you will still have a healthful routine that you can perform which is not too physically challenging. Also, the energy that you create internally, along with the heaven and earth energy that you gather externally, will aid considerably in your recovery. The Eight Pieces of Brocade set consists of the repetition of eight different movements or postures. Each movement should be repeated eight times, for a total of sixty-four repetitions (eight eights). It is best to breathe in through the nose and out through the mouth just as in practicing the form. Try to coordinate the breathing with the movements as follows: when gathering the hands inward or bending forward, breathe in; when reaching up or out, breathe out. The following, in order, are the eight individual postures. Two Hands Holding Up Heaven: This movement is performed in order to gather heaven and earth energy and also to stimulate the Triple Heater (sanjiao). The Triple Heater is not an actual organ, but consists of three organs and their associated systems: the heart and the circulatory system, the lungs and the respiratory system, and stomach and the digestive system. Because the Triple Heater is involved in three main bodily functions, this exercise is an overall tonic for the body and balances the energy of all the major organs. To begin, stand with your feet hip width apart and then bend your knees to squat down slightly while gathering your hands together, palms facing up, to scoop up the qi of earth as shown in Figure 7-8a. Then stand up and bring the hands up the midline of the torso, continuing up past the throat and face. When the hands reach the level of the eyes, rotate the hands outward 180

degrees so the palms face up toward heaven. Continue to lift your hands above the head until you feel a slight stretching in your arms. Also, stretch up with the rest of your body (legs, torso and neck) and look upward toward your hands. This is the Two Hands Holding Up Heaven posture. See Figure 7-8b. Gather the qi of heaven into the two hands before circling them outward to the sides. Relax the upstretched body and slowly drop the arms and hands back to the original position with the knees bent slightly and the hands scooping together in front of the thighs.

Figure 7-8a

Figure 7-8b

The breathing for this exercise should occur as follows: Inhale as you raise your hands up to the level of your heart. Exhale as your hands continue to rise up and then turn over to face upward. Inhale again as you lower your hands out and downward to the level of your heart. Finally, exhale as your arms continue to lower to their original position. Try to engage your imagination throughout this exercise. When bending down, imagine scooping up the qi of earth. As you rise up, imagine that you are pulling the qi of earth up and into the organs of your body, beginning with the sexual organs and ending with the brain. When your hands are stretched upward over your head, imagine that you are gathering up the qi of heaven. As you lower your arms back down, carry some of this heaven qi with you and then merge it together with the earth qi that you gather at the beginning of the next cycle. Repeat the complete cycle eight times. Draw the Bow to Shoot the Arrow: This movement is performed in order to open the chest and also to stimulate the lungs. This exercise strengthens the muscles of the arms, abdomen, back and legs and promotes overall good health and vitality. The benefit to the legs is due to the fact that it is performed in a horse-riding stance (ma pu), the lower the better. Begin by separating your legs to shoulder width or wider. You may want to angle your toes out slightly toward each side in order to facilitate squatting down into a horse-riding stance. Cross your arms in front of your chest with your right hand in front. Lightly clench your right fist with the index finger extended and lightly clench your left fist as shown in Figure 7-9a. Turn your torso to face the right. Now squat down into the horse-riding stance as you separate the two arms. Expand your chest and stretch out your right arm fully but don’t pull your left hand further back than the armpit. This is the Draw the Bow to Shoot the Arrow position. See Figure 7-9b. Hold the stretch for a moment; then drop the arms down to cross in front of the legs and rise back up. As you rise up, lift the crossed arms up in front of the torso, this time with the left hand in front. The breathing for this exercise is straightforward: When you gather in the arms, you inhale. As you expand the chest and extend the arms outward, you exhale. Repeat the exercise on the left side. Perform a total of eight repetitions on each side.

Figure 7-9a

Figure 7-9b

As in the preceding exercise, you want to engage your imagination here. When you are drawing the bow on the right side, pretend that the right hand is holding the bow and the left hand is drawing back the bowstring. See if you can’t feel the tension in the bent bow in the right hand and arm and the tension of the drawn bowstring in the left hand and arm. Imagine releasing the bowstring to shoot the arrow as you relax the arms and drop them down, Separate Heaven and Earth: This movement is performed in order to gather qi from both heaven and earth and also to stimulate the stomach and the spleen. This exercise stretches the torso and balances the left and right sides of the body. It is an overall tonic for the system. Stand with your feet hip width apart and place your hands together in front of your groin with the palms facing up and the fingers facing each other. Then raise your right hand with the fingers pointing upward and trace the midline of your body; turn the right palm over as your right hand passes in front of your eyes and then rotate it to face upward toward the sky as you stretch your entire body upward. Simultaneously turn your left hand to face downward and push your left palm down along the front of your left thigh. Simultaneously extend your right hand up and your left hand down. This is the Separate Heaven and Earth posture. See Figure 7-10a. Turn both hands over so that the palm of your right hand faces downward and the palm of your left hand faces upward. Pause in this position for a moment while you gather heaven qi in your right hand and earth qi in your left hand. Then retract your right hand by passing it down the midline of your body with the palm facing downward. At the same time, pull your left hand upward with the palm facing up. As your hands pass each other they exchange roles, and your left hand reaches up to heaven while your right hand presses down toward earth as shown in Figure 7-10b.

Figure 7-10a

Figure 7-10b

The breathing for this exercise is as follows: When the hands travel toward each other, you inhale. When the hands separate and travel away from each other, you exhale. Repeat eight times on each side. This exercise not only gathers heaven and earth qi, but the hand that gathers heaven qi when reaching up on one side changes over to gather earth qi when pushing down on the other. On each side, one hand is yang and one is yin. The hands exchange roles as they pass each other during the transition from one side to the other. This promotes the overall balancing of body’s qi on the left and right sides. Wise Owl Looks Right and Left: This movement is performed in order to stretch and exercise the muscles of the neck. It also exercises the muscles that control the movement of the eyes. The flattening and outward rotation of the hands helps relieve tension in the wrists. This exercise is very good for those who spend long periods of time working at a computer or talking on the phone. Stand with your feet hip width apart and place your hands in front of your groin with the palms up and the fingers facing each other. Raise your hands up to the level of your navel and then turn them over to point palm down and press them down toward the earth. See Figure 7-11a. When your arms are pressed down in front of your thighs, turn them outward away from each other as far as you can. Simultaneously turn your head to look to the right. This is the Wise Owl Looks Right posture. See Figure 7-11b. Hold for a moment and then return your hands to point inward with the fingers facing each other again. Turn the palms over and raise your hands up to the level of your navel again to repeat the exercise. This time, however, turn the head to gaze to the left. Breathe in as you bring the hands in, and breathe out as the hands turn outward. Repeat the exercise eight times on each side.

Figure 7-11a

Figure 7-11b

When performing this exercise, use your imagination to pretend that you are an owl perched in a tree and are looking left and right to peer into the night. Engage not only your neck and your hands but also your eyes as you scan both left and right seeking out prey. You can turn this exercise into a rooting exercise if you gently press the soles of your two feet into the ground and open the two yongquan points to connect to the earth each time you flatten your hands and turn them outward. If you also open the laogong points in the hands and connect them energetically to the earth as you open and connect the yongquan points to the earth, you will be emulating a four-footed animal. This is an especially effective method for deepening your overall rootedness and enhancing your connectedness to the earth. Shake the Head and Wag the Tail: This movement is performed in order to stimulate the heart and lungs. In particular, this exercise expels excess qi from the heart. The heart is a yin organ, and the build-up of too much qi in this organ can generate “heart fire” causing the heart to become yang, which is detrimental to both the heart and the overall health. Stand with your feet at least shoulder width apart; a bit wider is even better for this exercise. Toe out slightly toward each side. Place your hands on your hips with the thumbs facing forward and the fingers splayed out backward toward the kidneys. Bend forward and incline your head toward your right knee. Flex your right knee in order to shift your weight onto your right leg and extend your left leg. At the same time slide your left hand down your left thigh until it reaches the knee or slightly lower. See Figure 7-12a. Now swing your head in an arc over to your left knee. Pull your head up along the left side of your body and slide your left hand back up your left thigh to rest again on your left hip. Repeat the exercise by bending forward and inclining your head toward the left, as shown in Figure 7-12b. Breathe in as you rise up, and breathe out as you drop down and swing the torso from one side to the other. Perform eight repetitions on each side.

Figure 7-12a

Figure 7-12b

If you have ever witnessed the Lion Dance at a Chinese festival, you will understand the imagery behind the name of this exercise. When you are performing this movement, imagine you are a dancer inside a lion costume and that you are repeatedly bending forward to shake your head from one side to the other while simultaneously wagging your tail in the opposite direction. Touch the Heels and Grab the Earth: This movement is performed in order to gather earth energy and to strengthen and replenish the qi in the kidneys. The forward bend and the downward stretch of this exercise stretches the entire spinal column. Rising up brings oxygenated blood to the brain. Stand with your feet hip width apart. Place your hands over your dantien in a triangle pattern as shown in Figure 7-13a. Now separate your hands and slide them around the Belt Channel to place them over the kidneys with the thumbs facing forward and the fingers splayed out behind. Draw your hands down over your buttocks, past the back of your thighs and your calf muscles and down to your heels. See Figure 7-13b. This is the Touch the Heels and Grab the Earth position. Stay bent forward for a moment before sliding your hands around to the front of your feet. Then draw your hands back over the tops of your feet and then up to their original position over the dantien. Breathe in as you rise up and exhale as you bend forward. Repeat for a total of eight times on each side.

Figure 7-13a

Figure 7-13b

In this exercise you should imagine that you are drawing the earth’s qi up the legs to store it temporarily in the dantien. Then you draw the qi out of the dantien and transport it through the Belt Channel to the kidneys. Earth qi has a yin quality, and you want to use this yin qi to replenish and revitalize the kidneys, which are yin organs. Punching with Angry Eyes: This movement is performed in order to increase overall vitality and to tone the muscles of the chest and arms. It also revitalizes the liver. This exercise can be performed either slowly or rapidly, depending upon your condition and disposition. When performed quickly, the punching motion should conclude with a sudden snap at the end to complete the punch. Whether you perform this exercise slowly or quickly, you should glare fiercely with the eyes at the moment when you clench the punching fist. This is the Punch with Angry Eyes position. The eyes are associated with the liver, and when you glare fiercely, you dispel anger and built-up tension that can adversely affect your liver. Punching out energetically while performing this exercise quickly causes the heart rate to accelerate, which is beneficial for overall conditioning. One note of caution here: Don’t extend the arm all the way out if you are punching energetically, as you can injure your elbow and shoulder joints. Be sure to hold the punch just a little and to snap the fist at the end to stop the energy of the punch from jerking the arm forward. To begin, stand with your feet at least shoulder width apart. Settle down into a horse-riding stance. The wider the feet and the lower the stance the better. Place both hands at the hips and lightly clench them into fists with the curled fingers facing upward. See Figure 7-14a. Use the power of your waist to twist your torso to the right while punching out from the hip with your left fist. As your left fist reaches the end of the punch, rotate it counter-clockwise ninety degrees and squeeze the fingers tightly together. See Figure 7-14b. Open the fist and rotate your torso back to its original position. As you withdraw your open hand, curl it lightly into a fist to rest at the hip. Breathe in as you withdraw the punching hand and breathe out as you extend the punching hand. Repeat on each side for a total of eight times per side.

Figure 7-13a

Figure 7-13b

When performing this exercise, it is up to you whether you are going to punch out in a slow, controlled motion or punch out quickly. If you are unaccustomed to executing fast punches, start off slowly and gradually increase the speed of your punches. Whatever you do, don’t punch from the shoulder. The punch should come from the waist and should involve very little muscular tension. If you choose to punch vigorously, the power of the punch should come from the rotation of the waist in combination with the turning over of the fist and the clenching of the fingers at the very last moment of the punch. This type of punch is known as a “snap punch” in martial arts. It is very effective as an offensive weapon and also entails no risk of injury to the shoulder or elbow joint when executed properly. Regardless of whether you punch in slow motion or with vigor, imagine that you are punching an actual opponent. Use your eyes to gaze aggressively outward toward this imaginary adversary. Allow the spark of your martial spirit, your shen, to shine from your eyes. Just as the punch can dispel physical tension, the angry glare from your eyes can dispel mental or emotional tension. Bouncing on the Toes: This movement is performed in order to get rid of stagnant qi and to balance out the heaven, earth and human qi that has built up as a result of practicing the previous seven exercises. Bouncing on the toes also activates the yongquan points on the bottoms of the feet and the shaking of the body invigorates all the organs. As such, this exercise is also a great overall cleanser for the body. Stand with your feet hip width apart. Place your hands at your sides as shown in Figure 7-15a. Rise up on the balls of your feet and clench your fists tightly. See Figure 7-15b. Hold this position for a brief moment before dropping down suddenly onto the soles of your feet. Simultaneously release the clenched fists and extend the fingers downward. You can combine this movement with a cleansing breath if you like. When rising up, inhale. Hold your breath at the top of the movement and then expel it forcefully, making a “ha!” sound as you land hard on the soles of your feet. Repeat for a total of eight times.

Figure 7-15a

Figure 7-15b

This exercise completes the Eight Pieces of Brocade set and acts as both a cleansing and a balancing activity. Having completed the full set, you should feel both energized and relaxed. You can stop at this point and go about your daily activity, or you can use the qi you have built up to perform the emptyhand form or one of the weapons forms. You should find your forms practice to be more energetic and alive as a result of the increased qi circulating throughout your body.

Conclusion This chapter began with a discussion of the importance of the two fundamental principles of taijiquan. The first is to “Guard the mind and the qi together in the dantien,” and the second is “The mind moves the qi, and the qi moves the body.” To assist the practitioner in realizing the first of these two principles, several neidan techniques were presented that will enable you to focus your yi on the dantien and to accumulate the qi in the dantien. By practicing neidan qigong on a daily basis, you will be increase your store of qi in the dantien, which in turn will enable you to circulate your qi throughout the body according to the dictates of your intent, or yi. Whether you are more interested in the civil or the martial aspect of taijiquan, it is essential that you learn to cultivate your qi. The cultivation and circulation of the qi are the fundamental practices upon which all other aspects of taijiquan are based. If you aren’t able to build up a store of qi in the dantien, you won’t be able to circulate the qi throughout the body during the practice of the form. It is this circulation of your qi that revitalizes the organs, bones, and muscles of the body and keeps you healthy and vigorous. The accumulation and circulation of the qi are also necessary for the proper application of the martial techniques contained within the form. Both the defensive and the offensive techniques rely upon the development and application of jin in order to be effective. Jin, or intrinsic energy, is in turn reliant upon the accumulation and circulation of the qi. Chapter Eleven and Chapter Twelve address the different types of jin and how to develop jin. Chapter Eleven focusses on defensive jin, and Chapter Twelve investigates various offensive jin. In these two chapters you will learn about the integral relationship between qi and jin. Remember that it is not only necessary to cultivate the qi. It is also necessary

to be able to mobilize the qi. Again, this is true whether you are interested in the civil or the martial application of taijiquan. Keep in mind the second fundamental principle introduced in this chapter: “The mind moves the qi, and the qi moves the body.” In order for the qi to move the body, it must be able to circulate freely. The following chapter presents a number of Taoist practices designed to enable you to circulate the qi that you have accumulated using the techniques described in this chapter. In combination, the techniques for cultivating and circulating the qi presented in this book will provide you with the necessary foundation for practicing the true art of taijiquan.

Chapter Eight

The Principles and Practice of Qi Circulation

As explained in the preceding chapter, it is important to understand the role of qi cultivation in the practice of taijiquan. The purpose of the waidan and neidan qigong techniques presented in that chapter is to cultivate the qi in the dantien, which is the first level of attainment in qigong practice. Qi cultivation is not an end in itself, however. Instead, it is a necessary prerequisite to the circulation of the qi throughout the body. The Song of the Thirteen Postures, which is one of the Taijiquan Classics, instructs us that the qi should be circulated throughout the body without the slightest break or obstruction.40 The Expositions of Insights into the Practice of the Thirteen Postures, another of the Taijiquan Classics, advises the practitioner to circulate the qi through the body as if passing a silken thread through a pearl with nine passages without interruptions or breaks.41 Only when the qi circulates freely without obstruction can you use it to heal and revitalize the body. This is the civil aspect of the art of taijiquan. From the martial perspective, it is the free and unobstructed circulation of qi, under the control of the mind, or yi, that gives rise to internal strength, or jin. The unobstructed circulation of the qi throughout the body as through a nineholed pearl is a common theme within the Taijiquan Classics. The original taijiquan masters emphasized that the internal strength of taijiquan comes not from the muscles and the skin (i.e. external force) but rather from the sinews and the bones. Through the development of external softness one is able to circulate the qi. It is the circulation of qi that gives rise to the resulting internal hardness of the sinews and the bones. Yang Cheng-fu, in his Ten Essentials of Taijiquan, stated that by daily circulating the qi throughout the body without interruption the practitioner would reach the state of hardness that results from softness. This condition is often referred to as “steel within

cotton.”42 Developing the ability to circulate the qi requires time, effort, and patience. Over many centuries, the Taoist adepts developed a sequence of progressively complex exercises for the purpose of mobilizing and circulating the qi. The timeline for this progression will vary from individual to individual. At a minimum, you should plan on spending at least three months on this challenging undertaking. Depending upon your rate of progress, it may take substantially longer. The one axiom that is consistent for all individuals is that the process cannot be rushed. Trying to progress too quickly will only result in incomplete development and wasted effort. The process entails learning how to move the qi in a series of increasingly greater circular rotations or orbits. The first rotation takes place within the lower dantien. (Note: for the purposes of this chapter, all references to “the dantien” will refer to the lower dantien.) Once you are able to rotate the qi within the dantien, you will then move on to the Small Heavenly Circle, also called the “Microcosmic Orbit.” This, in turn, will be followed by the Large Heavenly Circle, which is usually referred to as the “Macrocosmic Orbit.” At each stage of development, you will know that you are ready to move on to the next stage when you are able to feel the qi circulating through the intended orbit under the direction of the mind, or yi. In order to facilitate these circular rotations, you will need to master the technique of reverse breathing. This breathing technique, introduced in the preceding chapter, is often referred to as Taoist breathing. As its name implies, reverse breathing is the “reverse” of abdominal breathing. Although you can practice dantien rotation and the Microcosmic and Macrocosmic circulations using abdominal breathing, the direction of abdominal breathing is contrary to these rotations. It may take some time to accustom yourself to the technique of reverse breathing. However, in the end you will find your progress will be greatly enhanced in making the progressively larger rotations if you practice them while engaging in reverse breathing. As a final comment before proceeding to the specific training exercises, it should be noted that there are numerous variations upon each of these exercises. This is due in part to the multiple Taoist sects that practice and teach these exercises. Although there is no one correct way to practice these exercises, the methods presented in this book are the most beneficial to the

practice of taijiquan, as they lead to circuits that conform internally to the external postures in the form and to the martial applications of those postures.

Reverse Breathing As noted in the preceding chapter, there are two main types of breathing that are employed in qi cultivation. The first and more natural of these breathing techniques is abdominal breathing. As you may recall from that chapter, abdominal breathing is sometimes referred to as “baby breathing,” because this type of breathing in adults duplicates the natural breathing of newborns and infants. Abdominal breathing is very relaxing, which is why it is often the first breathing technique taught to beginning qi cultivators. Abdominal breathing draws the awareness down into the lower abdomen, which is where the lower dantien is located. For this reason, abdominal breathing is helpful in training practitioners to focus their yi on the dantien. The problem with relying solely on abdominal breathing is that abdominal breathing draws the awareness down on the inhalation and up on the exhalation. There are times when we want our awareness to ascend on an inhalation and to descend on an exhalation. This is the case in when practicing dantien rotation and the Microcosmic Orbit. For this reason, it is important to learn the breathing technique employed by the Taoists in the practice of these and other qi cultivation exercises. The principle behind reverse breathing is quite simple. Instead of pushing down and forward with the diaphragm when inhaling, the diaphragm initially is pulled upward and inward. For this reason, during reverse breathing the lungs fill from the top downward. On the exhalation, the diaphragm is allowed to relax and return to its original position. This allows the lungs to deflate, which in turn causes the breath to escape the lungs in an exhalation. Dr. Yang, Zwing-Ming provides an explanation of reverse breathing in his book, The Essence of Taiji Qigong, in which he explaines that, with reverse abdominal breathing you withdraw the abdomen and hold up the huiyin when you inhale, and then expand the abdomen and gently relax your huiyin when you exhale.43 Although the principle is relatively easy to grasp, you will probably need

some time to master this breathing technique, especially after having recently learned and become comfortable with the technique of abdominal breathing. When first practicing reverse breathing, it is best to sit upright in a chair or on a cushion with your legs crossed. It is important to keep your spine erect and to hold your head up with the crown horizontal and the chin slightly tucked under. It is also important to place your tongue against the upper palate, located on the roof of your mouth. This will prevent you from breathing through the mouth and will also keep your mouth from drying out. Begin by taking a few deep abdominal breaths to settle your body and your mind. Then switch to reverse breathing as follows: Use your abdominal muscles to pull in and lift the diaphragm up and at the same time pull it back toward your spine. Fill your lungs by inflating them from the throat downward. As the lungs inflate, you will need to rotate your upper abdominal muscles forward and outward in order to accommodate the air that begins to fill the lower lungs. At first, you may only be able to fill the upper lungs. However, with practice you will learn to make your inhalations longer, thereby filling the lungs all the way. When you feel pressure building up in the lungs due to their expansion and the need to exhale arises, simply relax the abdominal muscles and allow your diaphragm to drop. Releasing the tension in your abdominal muscles and relaxing your diaphragm will cause your inflated lungs to deflate automatically. This will result in an exhalation. In the initial stage of this practice, it is only necessary to focus on the inhalation, as the exhalation is a natural process and needs no special attention on your part. When you are first learning how to engage in reverse breathing, the inhalation phase of a reverse breath will take longer than the exhalation phase. Once you learn to regulate your breathing, however, you should strive to slow down the exhalation until both the inhalation and exhalation are of equal duration. You might try counting on the inhalation and then slowing down the exhalation to the same count. A six-count is a good starting point. With a slow six-count, you will take six seconds to inhale and six seconds to exhale. This equates to five breaths per minute, which is slightly less than the normal breath rate for an adult at rest. Over time, you can increase the duration of both the inhalation and the exhalation. As taijiquan practitioners, we want to go beyond normal breathing. Try increasing the duration of each

eight-count and match that count on the exhalation. When you feel that you can comfortably extend your inhalations and exhalations to a slow eight-count, extend your durations to a ten-count. This will slow your breathing down to three breaths per minute. This is a good goal to strive for, as it will provide you with the time you need on a single breath in order to visit all the important energy points on the Microcosmic Orbit. inhalation to an

As your breathing slows, you will find that your heart rate and metabolic rate slow down as well. For this reason, the ancient Taoists referred to this style of breathing as “tortoise breathing.” Tortoises are venerated in China, as they live a long time and are perceived to be both calm and humble. The tortoise is frequently employed in Chinese literature and art to represent longevity. You will also notice that, when engaging in reverse breathing, the chest hollows out slightly and the back raises and rounds out a bit, just like a turtle’s carapace. Recall that hollowing the chest and raising the back are included in Yang Cheng-fu’s Ten Essential points. It is important to spend the time necessary to master reverse breathing before attempting the qi circulation exercises presented in the remainder of this chapter. Most individuals can become proficient in reverse breathing in as little as one or two sessions. It is recommended that you practice reverse breathing until you can at least maintain a six-count on both the inhalation and the exhalation before proceeding. A six-count for inhalation and another six-count for exhalation is sufficient for practicing dantien rotation. As you practice dantien rotation over time, try to extend the duration of your inhalation and exhalation to an eight-count in preparation for practicing the Microcosmic Orbit.

Rotating the Dantien The purpose of the exercises presented in the previous chapter is to accumulate sufficient qi in the dantien such that the dantien expands and fills with qi. When you feel that your dantien has expanded to the size of a grapefruit, you can begin the process of mobilizing the qi that you have accumulated. Eventually you will learn to move the qi out of the dantien and up into the spine. To begin with, however, you must learn how to circulate the qi by rotating the dantien within the abdominal cavity. As with moving the qi from the kidneys into the dantien, learning to rotate

the dantien requires the focused intent of your yi. You can also use your breath to assist you in this exercise. As in the previous exercises, you may practice dantien rotation in either a seated or a standing posture, but it is best to start off in a comfortable seated position. To begin, sit or stand comfortably and perform the overall body relaxation routine. Start with abdominal breathing and place your intent on the dantien. Spend a few minutes using your mind to lead the qi from the kidneys into the dantien until you have expanded the dantien to roughly the size of a grapefruit. When you are comfortably relaxed and your dantien has expanded to the size of a grapefruit, begin to employ reverse breathing along with your imagination to rotate the dantien like a slowly spinning sphere. The easiest direction to rotate the dantien sphere is upward, forward, downward, and then backward. This is referred to as “forward rotation.” Try using your imagination to rotate the dantien in the forward direction. Use your breathing to assist you. On the inhalation, roll the dantien upward and then forward. On the exhalation, continue the rotation of the dantien downward and then backward. You may need to give your dantien a little nudge in order to get it started. Use your concentrated yi to mobilize the qi in the dantien and create a forward momentum that will cause the dantien to rotate. See Figure 8-1 for a visual representation of this rotation.

Figure 8-1

When you first begin this practice, you will need to rely upon reverse breathing to guide the rotation of the dantien. We can liken the breath to the mechanical rabbit that is employed at dog tracks to encourage the greyhounds to run. Using the breath to assist you is useful in the initial stage of dantien rotation. Eventually, however, you should be able to rotate the dantien using just your yi without relying on reverse breathing. Whether you use your breath as an aid or work directly with your yi, you should begin with five minutes or so and then slowly increase your time of practice up to ten minutes. Also, it is important to be able to rotate the dantien in either the seated or standing position. If you began your practice sitting down, at some point it will become necessary to shift to a standing posture, such as the wuji posture or the Embracing the Tree posture. The reason for this is that eventually you will be incorporating dantien rotation into both your form practice and in two-person training, such as pushing hands. Continue working on the forward rotation of the dantien until you can easily keep the dantien rotating for up to ten minutes. As with the preceding exercise, the amount of time it takes you to accomplish this will depend upon the strength of your yi and the commitment you make to this practice. After you have mastered the forward rotation of the dantien, try reversing the rotation. Because you have been so focused upon the forward rotation of the dantien, it will take some time before you are able to change the direction of the dantien rotation. Keep at it until you can accomplish this reverse rotation as easily as you do the forward rotation. Your ultimate goal is to be able to rotate the dantien in either direction at will. When you have attained this goal, you will be ready to advance to the next level of internal qigong practice, the Microcosmic Orbit.

The Microcosmic Orbit Practicing the Microcosmic Orbit, or Small Heavenly Circle, builds upon the qi cultivation and mobilization exercises described previously, especially the ability to rotate the dantien. As the words “orbit” and “circle” suggest, the Microcosmic Orbit is a circular path along which the qi is directed in order to circulate the qi through two major qi channels within the torso. These two channels, or vessels as they are referred to in Traditional Chinese

Medicine, are the Governor Vessel (du mai) and the Conception Vessel (ren mai). The difference between the wording “channel” and “vessel” is subtle but important in this discussion. In TCM there are twelve qi meridians that are associated with the various organs within the body. The qi normally travels along these meridians in order to stimulate and maintain the health of the entire body. Additionally, there are eight exceptional vessels where qi is stored and regulated. They are called “vessels” because they contain reserves of qi, much as a water jug is a vessel for storing reserves of water. When practicing the Microcosmic Orbit, we don’t just want to store qi in the Governor Vessel and Conception Vessel. Rather, we want to mobilize the qi and direct it to travel through them. So, rather than thinking of them as vessels, it is more appropriate to conceptualize them as channels. In fact, it is even better to visualize these extraordinary vessels as two canals, because we must learn to open specific energy gates, or locks if you will, along each of these channels. In order to perform the Microcosmic Orbit, you will need to know the location and the anatomy of both the Governor Channel and the Conception Channel. Figure 8-2 illustrates the location of these two channels within the torso. The Governor Channel travels down from the lower dantien to the lowest point in the torso at the perineum, or huiyin point. From there, it circles back up to join the spinal column at the coccyx, or weilu point. Continuing on up the spine, it passes through the mingmen, or Life Gate, and then on up the spine to the juncture of the torso and the neck at the yuchen, or Jade Pillow. From the yuchen, the Governor Channel continues on up and over the head, where it encounters the niwan point at the crown and then passes down the front of the face to terminate at the raphe, or the hollow just above the upper lip.

Figure 8-2

As you can see, this is a complex route. While it is helpful to become familiar with the names and locations of the individual acupoints and energy gates located along the Governor Channel, it is only necessary for you to understand this channel in general terms. As its name implies, the Governor Channel is charged with “governing” all of the yang meridians. As such, it is a yang vessel. By definition, yang energy rises, so the qi in the Governor Channel ascends from the huiyin point up and over the head and then down to the raphe (the small indentation above the upper lip). The Conception Channel is noticeably shorter than the Governor Channel but is just as important in its supervisory role over all the yin meridians. The Conception Channel connects to the Governor Channel through the tongue and runs downward along the midline in the front of the torso until it reaches the lower dantien. The Conception Channel is related to the uterus in women and the testes in men and is therefore responsible for reproduction. The Conception Channel is a yin channel. Just as yang energy rises, so yin energy descends. Thus, having passed from the Governor Channel to the Conception Channel at the junction provided by the tongue, the qi descends along this channel back down to the lower dantien and completes the Small Heavenly Circle, or Microcosmic Orbit. The ancient Taoists referred to this cycle as “Yang ascends and yin descends.” Now that you can visualize the Governor Channel and Conception Channel and are able to understand how they are connected, you can begin circulating the qi within the Microcosmic Orbit. As with the previous neidan exercises, you will rely primarily upon your yi, with assistance from your breath, to lead the qi through this orbit. In the beginning, it is best to practice the Microcosmic Orbit in a seated position. This is because you will be training the qi to rise and fall with your breath. It is much easier to train the qi to ascend and descend if your torso is in the upright position. When seated, it is important to hold the spine erect. Cheng Man-ch’ing advised taijiquan practitioners to make their spine upright in order for the qi to circulate correctly throughout the body.44 The preference of a seated posture over standing is due to the fact that even the most relaxed individual must engage in some muscular tension to remain upright when standing. When beginning to practice the Microcosmic Orbit, it is preferable to eliminate all tension in the torso and neck.

As for the position of the legs, you have several options. The simplest and most comfortable position for the majority of individuals is to sit in a chair or on a bench with the spine held erect and away from the back of the chair. Alternatively, you can sit cross-legged on a sofa or a meditation cushion. You can sit in the tailor’s pose (legs crossed in front), in half lotus or in full lotus. The full lotus seated posture is the most desirable as it places the yongquan points in the feet closest to the dantien. However, this posture may not be manageable for you and is not necessary for the practice to be effective. When sitting rather than standing or lying down, the position of the hands arises. In seated postures, it is best if the two hands are connected rather than resting separately upon the thighs. The method for holding the hands is one of personal preference. You can rest one hand on top of the other with both palms up and the thumbs touching; you can clasp the hands together as in shaking hands; or you can place the hands together in one of the Taoist or Buddhist mudras. A special mudra that provides an energetic connection between the hands is the “Taoist knot.” To hold the hands in this mudra, place your left hand palm up and connect the pad of the thumb to the tip of the middle finger, as shown in Figure 8-3a. The thumb and middle finger of your left hand are now connected energetically. Then press the pad of your right thumb into the laogong point of your left hand. Place the tip middle finger of your right hand against the back of your left hand. The thumb and middle finger of your right hand will connect energetically through the laogong point of your left hand. See Figure 8-3b.

Figure 8-3a

Figure 8-3b

When practicing neidan qigong or Taoist meditation, the question arises: “Should the eyes be open or closed?” The answer to this question depends upon the purpose of your practice. If you are practicing specifically for a civil purpose, either for health or spiritual development, then you should “draw the drapes” and close the eyes. On the other hand, if the intent of your practice is to develop martial ability, then you want to practice with eyes open. The reason for either closing or opening the eyes relates to the role of the eyes in projecting the shen, or spirit of vitality. When meditating for health or spiritual development, you want to turn the spirit of vitality inward for inner cultivation. If you are meditating to enhance your martial spirit, then you want to project the spirit of vitality outward through the eyes. In general, whatever your intention, you should begin the practice of any new neidan qigong exercise by closing the eyes so you can limit the distractions presented by the outside environment and focus your awareness on the task you are trying to accomplish. Before beginning this or any other Taoist neidan practice, recall the importance of placing the tip of your tongue on the upper palate. This creates the energetic connection between the Governor Channel and the Conception Channel. You will be breathing in and out through your nose as you use your breath to lead the qi through these two channels. As you proceed with your practice, you may find that saliva builds up under your tongue. This is to be expected and is viewed as a sign that the qi is flowing without hindrance along the Governor Channel and into the Conception Channel as it passes through the tongue. When the saliva builds up to a point where it may overflow the bottom half of your mouth, take a brief moment to swallow the saliva down into your stomach. Don’t be squeamish here. The Taoist believe that this “sweet saliva” is especially beneficial for digestion and overall health and place great value on producing and swallowing it. To begin practicing the Microcosmic Orbit, first sit comfortably, close your eyes, and complete the overall body relaxation exercise. Then focus your yi on the dantien and gather the qi into the dantien from the kidneys until it is full. Begin rotating the dantien using your breath as described in the preceding section. Once the dantien is rotating under the control of your yi and your breath, you can begin to lead the qi out of the dantien and into the

Governor Channel. You can do this by extending the rotation of the dantien forward and downward on an inhalation. Begin by leading the qi down to the huiyin point on the perineum (the spot between the genitals and the anus) at the bottom of your torso. Continue backward and slightly upward to reach the weilu at the bottom tip of your spinal column (the coccyx). Then draw the qi upward with the inhalation to pass by the mingmen, the yuchen, over your head to the niwan, and then down your face to the raphe. This all occurs with a single inhalation. Try moving the qi through the Governor Channel using an eight count with the inhalation. Follow the diagram shown in Figure 8-2. Without pausing, begin exhaling and pass the qi through your tongue to connect with the Conception Channel. Lead the qi down your chin and the front of your neck and into your upper, middle and lower torso until it reaches the navel. Then lead the qi back into the dantien. Again, this occurs on a single exhalation. Since the length of the Conception Channel is shorter than that of the Governor Channel, try using a six count with the exhalation. Again use the diagram shown in Figure 8-2 as a guide. As with the preceding exercises, it is important to employ your imagination and to engage your intention at the beginning of this practice. You probably won’t feel the qi moving at first. Don’t be discouraged. If you wish, you can imagine the Microcosmic Orbit as the It’s a Small World ride at Disneyland. Imagine that your qi is a boat floating along the Governor Channel and then connecting with the Conception Channel at the half-way point. In this analogy, the countries that you encounter along the way are the various acupoints and energy gates located on the Governor Channel and Conception Channel. Over time and with extended practice, you will actually begin to experience the qi travelling up the Governor Channel, passing through the tongue and crossing into the Conception Channel, and then finally descending back down to its origin in the dantien. You will need to employ your yi to control your breath and your breath to lead the qi. Practice diligently every day, starting with five minutes per session and working up to ten minutes per session. Maintain your commitment to the practice, even if your progress is slow. You may encounter blockages, especially at the weilu point at the base of the spine, the mingmen gate in the lower back, or in the yuchen point in the back of the

neck. The Taoists refer to these three sticking points as the Three Barriers, or san guan. This is where the real gongfu takes place. It is necessary to focus your awareness on these blockages and gently work on opening them with your yi. Whatever you do, don’t try to forcibly break through these blockages, as that will result in straining (either physically or mentally) and may possibly cause physical or psychic injury. Just be patient and believe that you will eventually succeed in your endeavor. As encouragement, recall that legions of Taoist masters and qigong practitioners have undertaken and mastered this same Microcosmic Orbit. If they can do it, then so can you. Learning to lead the qi at will through the Microcosmic Orbit is a major milestone in your study of taijiquan. This neidan practice is essential to the overall goal of circulating the qi during form practice, weapons practice, and in pushing hands and sparring. Remember that the art of taijiquan involves both stillness in movement and movement in stillness. When we perform the connected postures of the form, we are practicing stillness in movement. When we practice neidan exercises, especially the Microcosmic Orbit and the Macrocosmic Orbit, we are practicing movement in stillness. As a final point on the subject of Microcosmic Orbit, once you feel completely confident in your ability to lead the qi through the Small Heavenly Circuit in the seated posture, you should advance to performing this circuit while standing in zhan zhuang, especially in the Embracing the Tree posture. Begin practicing the Microcosmic Orbit while standing in the Embracing the Tree posture and then step up (literally) to the modified Embracing the Tree posture with the weight of the body supported primarily on one leg. Try practicing the Microcosmic Orbit for five minutes on each leg for a total of ten minutes of practice per day. The reason for practicing the Microcosmic Orbit during zhan zhuang is to accustom yourself to circulating the qi while standing. Ultimately, the goal of practicing both the Microcosmic Orbit and the Macrocosmic Orbit is to be able to circulate the qi while practicing taijiquan. If you are only able to circulate the qi while seated, it may help you improve your health and vitality, but it won’t do you any good in a situation where you are called upon to defend yourself. We are, after all, training in both the civil and the martial aspects of taijiquan.

Students often ask when they can move on to the Macrocosmic Orbit. The answer is that it depends upon each individual’s progress in practicing the Microcosmic Orbit. If you are able to stand in zhan zhuang for up to ten minutes and maintain a continuous, unobstructed flow of qi through the Governor Channel and the Conception Channel, then you are ready to advance to the practice of the Macrocosmic Orbit. Don’t be in a hurry to move on to the Macrocosmic Orbit, however. Students are usually required to spend at least three months practicing the Microcosmic Orbit in zhan zhuang before being allowed to proceed with training in the Macrocosmic Orbit. If you are studying on your own without the assistance of a teacher, let this be your guideline as well.

The Marocosmic Orbit The Macrocsomic Orbit, or Large Heavenly Circle, extends the range of the qi circulation that you have developed in the Microcosmic Orbit. Whereas the Microcosmic Orbit only circulates the qi within the torso, the Macrocosmic Orbit circulates the qi out to the arms and the legs as well. Note that when the words “arms” and “legs” are used here it is implied that the hands and fingers and also the feet and toes are included in these extremities. Ideally, in each circuit of the Macrocosmic Orbit the qi will reach all the way to the fingers and the toes. The Macrocosmic Orbit circulates the qi in three directions: around the torso, out the arms, and down into the legs. It is best to consider the Macrocosmic Orbit to be a series of smaller circuits that collectively form one complete, larger circuit. Figure 8-4 illustrates the overall circulation of the qi within the Macrocosmic Orbit.

Figure 8-4

As you can see from the above illustration, the smaller circuits that comprise the Macrocosmic Orbit consist of the circulation of the qi through the Microcosmic Orbit combined with the circulation of the qi through the arms and the circulation of the qi through the legs. Each arm forms a complete circuit as does each leg. Taken in total, there are actually five separate circuits of qi in the Macrocosmic Orbit. However, we normally think of the circulation of the qi through the two arms as one circuit and the circulation of the qi through the legs as another circuit. Combined with the Small Heavenly Circle, that makes a total of three smaller circles that comprise the Large Heavenly Circle. Compared to the Microcosmic Orbit, there is quite a lot going on in the Macrocosmic Orbit. Directing the qi through three separate circuits simultaneously requires total concentration and the ability of the yi to command the qi with complete control. This, in turn, depends upon both calmness and firmness of resolve within the mind. If the mind wavers, then the qi will falter as well. Also, if the mind fixates on any one point in the body, then the qi will stop in that same location. This can cause stagnation, making it even more difficult to complete the circuit. As with the Microcosmic Orbit, you must employ your yi and your breath, working together, to remove any blockages to the smooth and free circulation of the qi. Because the Macrocosmic Orbit is much more complicated than the Microcosmic Orbit, it is best to approach its development in stages. When beginning a new stage, first start off in a seated posture. Make sure that you can complete the circulation of qi comfortably while seated. Then move on to standing in either the equal-weighted or modified stance of the Embracing the Tree posture and continue practicing the circulation of the qi for that particular stage of development. Only when you can circulate the qi as specified for a given stage of development in both the seated and standing postures should you move on to the next stage. It is best to begin by focusing only on either the arms or the legs. Once you are able to complete the circuit of qi in the arms and the legs as separate circuits, you may address the coordination of the three circuits together. In general, the complete circuit of the qi in either the arms or the legs is as follows: Inhale to the inside or back of the limb all the way to the extremity

of that limb and exhale from the extremity back up the outside or front of the limb. For the arms, this means sending the qi down the inside of the arm to the laogong point on the inhale and leading the qi out to the fingers and then over to the back of the hand and up the outside of the arm on the exhale. For the feet you follow a similar circuit; direct the qi down the back of the leg to the yongquan point on the inhale and then send the qi out to the toes, over the back of the foot and up the leg on the exhale. The Macrocosmic Orbit – Stage One of Development: Let’s first address the qi circulation in the arms. The circulation of the qi in the arm circuit begins involves the middle dantien. Up to this point, you have only worked with the lower dantien, but you now need to familiarize yourself with the location of the middle dantien as well. The middle dantien is located in the center of the upper thoracic cavity as shown in Figure 8-5 below.

Figure 8-5

Assuming that you are seated comfortably with your hands folded in your lap, close your eyes and perform the overall body relaxation exercise. Place your awareness in the lower dantien. On the inhalation, lead the qi up from the lower dantien into the middle dantien and then direct the qi outward from the middle dantien to your armpits. Then guide the qi down the inside of your arms finishing at the laogong points on your two palms. On the exhalation, lead the qi from the laogong points out to your fingers and then up the backs of your hands and then continue leading the qi up the outside of your arms, across the shoulders, and back to the middle dantien. Finally, allow the qi to drop down from the middle dantien and return to the lower dantien. See Figure 8-6 for an illustration of this circuit.

Figure 8-6

When circulating the qi through the arm circuits, some practitioners actually cross the qi over from one hand to the other when completing each arm circuit. This is depicted in Figure 8-6 by the arrows indicating the small circular flow in the two clasped hands. If you feel comfortable with this, you can try leading the qi down the inside of one arm to the laogong point in the hand, then transferring the qi over to the fingers of the opposite hand and leading the qi back up the outside of the opposite arm. This crossover is optional, however, and is not required for the arm circuit to be completed correctly. This completes the arm circuit of the Macrocosmic Orbit. Continue practicing for as many days as it takes to complete the arm circuit in the seated position. Then move into the Embracing the Tree zhan zhuang posture and practice completing the arm circuit while standing. Recall that, when holding your arms outward in the Embracing the Tree posture, your hands don’t actually touch. If you want to perform the optional energetic crossover of the qi as described in the preceding paragraph you will need to send the qi across the empty space between the extended fingers of your two hands. Again, this is not necessary for the completion of the arm circuit in the standing posture. The Macrocosmic Orbit – Stage Two of Development: When you are successfully able to lead the qi through the arm circuit, you are ready to begin working on the leg circuit. The leg circuit works with the lower dantien, with which you are already familiar. As with circulating the qi into the arms, you should begin in the seated posture. Close the eyes and perform the overall body relaxation exercise. Place the awareness on the lower dantien. On the inhalation, lead the qi out of the lower dantien and down to the huiyin point located at the perineum. Continue leading the qi down the backs of your legs until it reaches the yongquan points located on the soles of your feet. On the exhalation, guide the qi out to your toes and then return the qi over the tops of your feet and back up the front of your legs. Continue to lead the qi through the inguinal creases at located in your groin and finally back to the lower dantien. Figure 8-7 illustrates the complete circulation of the qi in the legs.

Figure 8-7

As with the arm circuit, you should begin the practice of circulating the qi into your legs by sitting in a chair or cross-legged. Once you are able to complete the leg circuit smoothly and without impediment, then you can progress to circulating the qi in your legs while standing in zhan zhuang. When you are able to stand for five minutes on each side of the modified Embracing the Tree zhan zhuang posture while practicing either the arm circuit or the leg circuit, you will be ready for the third and final stage of development in the practice of the Macrocosmic Orbit. Remember that there is no need to hurry this process along. It is better to be certain of your ability to circulate the qi in either the arm circuit or the leg circuit separately before you try to combine these two circulations with the Small Heavenly Circle to complete the Large Heavenly Circle. The Macrocosmic Orbit – Stage Three of Development: In this, the final stage of development of the Macrocosmic Orbit, you will combine the three circuits that you learned previously into a single, continuous flow of qi that includes your torso, your two arms, and your two legs. In order to perform this grand circulation, you will need to be able to separate the qi stored in the lower dantien into three “portions.” One portion will be used to complete the circuit in your legs; one portion will be used to complete the circuit in your arms; and one portion will be used to complete the Small Heavenly Circle in your torso. Additionally, the portions for your legs and your arms must be further separated in order for the qi to flow into each leg and each arm individually. As stated in the introduction to the Macrocosmic Orbit, you will need total and complete control of your qi in order to accomplish this. That means that your yi will need to be both calm and focused. By this stage in your development you should be able to concentrate your yi to lead your qi at will. You will only be able to accomplish this final stage of development if your mind is clear and your resolve is firm. It may assist you to think of your qi to be separated as a large lump of dough from which you want to make one medium-size loaf and four smaller-sized loaves of bread. You will first separate the “dough” (your qi) in the lower dantien, leaving one third for the leg circuit while moving the other twothirds up the Governor Channel on the inhale. At the middle dantien, you will further divide your qi into two equal portions. You will leave one portion in

the middle dantien for the arm circuit and continue leading the other portion up the remainder of the Governor Channel to join the Conception Channel and complete the Small Heavenly Circle. At the same time as the final third portion of your qi is circulating through the Small Heavenly Circle, you must further divide the qi in the lower dantien into two equal portions to send down each leg. Similarly, you need to divide the qi remaining in the middle dantien into two equal portions to be directed down into the two arms. You now have a blueprint of how to divide the qi for the three smaller circuits that comprise the Large Heavenly Circle. Attempting to circulate the qi through the three circuits simultaneously can be a daunting task for the novice meditator. For this reason, you may want to work with only two of the three circuits at the beginning. To employ another analogy, maintaining the circulation of qi in all three circuits simultaneously is like juggling three balls at the same time. When learning the skill of juggling, beginning students are often advised to start off juggling two balls at a time. If you follow this strategy, you can begin with the arm circuit and the Small Heavenly Circle simultaneously. Next you may attempt the leg circuit and the Small Heavenly Circle together. Later you can try just the arm and leg circuits without attempting the Small Heavenly Circle. Eventually, however, you are going to have to keep all three circuits moving concurrently. In a way, learning the Macrocosmic Orbit is like learning how to juggle three balls at the same time, where the arm circuit, the leg circuit, and the Small Heavenly Circle are analogous to the three balls. This is going to require time, effort, and the recognition that you won’t be able to do it perfectly right away. To continue with the juggling analogy, you are going to drop one or more balls many times. Don’t allow yourself to become discouraged; you need to remain motivated and focused on the task at hand. Work tirelessley on keeping those balls (i.e. circuits) going round and round. Eventually there will come a moment where all the circuits will seem to be rotating of their own accord. That is when you will realize that you have accomplished the complete Macrocosmic Orbit.

A Modified Macrocosmic Orbit for Martial Applications The Large Heavenly Circle described in the preceding section is a very

challenging practice. It is not to be undertaken lightly and requires a deep commitment on the part of the student in order to master the intricacies and complexities of the three circuits and to perform them simultaneously with one continuous flow of qi. The successful completion of the Macrocosmic Orbit represents a high level of attainment in the Taoist arts. The benefit that accrues from the mastery of this practice is that eventually, after months and years of practice, you will be able to lead your qi anywhere in the body using your yi alone. You can use this unobstructed qi for self-healing and for healing others. You can also use the circulation of qi in pushing hands and in martial applications as will be discussed in Chapters Thirteen and Fourteen of this book. Because it is so difficult to completely master the full Macrocosmic Orbit, this section presents a shortcut to practicing Macrocosmic Orbit. In his book, There Are No Secrets, Wolfe Lowenthal recounts that Professor Cheng Manch’ing would often begin a discussion of some important point with the following words, “There are no secrets to the art of taijiquan, but if there were...” To paraphrase Prof. Cheng here, with regard to the Macrocosmic Orbit, it may be said that, “There are no shortcuts to the practice of the Macrocosmic Orbit, but if there were...” The modified Macrocosmic Orbit presented in this section is actually onehalf of the complete Macrocosmic described in the preceding section. It includes exactly half of each of the three circuits: one-half of the leg circuit, one-half of the arm circuit, and one-half of the Small Heavenly Circle. The secret to the effectiveness of this modified Macrocosmic Orbit is the selection of which half of each circuit is included. In essence, the modified version of the Macrocosmic Circuit includes the second half of the leg circuit combined with the first half of the Small Heavenly Circle and the first half of the arm circuit. There is one additional twist here; the direction of the qi flow in the arms and the legs is reversed. For the legs, the qi flows up the legs on the in-breath; for the arms, the qi flows down the arms on the out-breath. The verbal description of this modified Macrocosmic Orbit is actually more complicated than the execution, which is represented pictorially in Figure 8-8 shown below:

Figure 8-8

To complete the modified Macrocosmic Orbit, begin by inhaling and leading earth qi up from the yongquan points in your feet and along the backs of your legs. Join this earth qi with the post-birth qi accumulated in the lower dantien. Continue to inhale and guide this combined qi up the Governor Channel to the middle dantien, specifically the dazhui point located between your two shoulder blades in the middle of your upper back. From there, begin to exhale and lead the qi into your armpits and down your arms to terminate at the laogong points in your two palms. As you can see from the above illustration, as well as from the verbal description, the modified Macrocosmic Orbit is not actually an orbit at all. The qi does not recirculate back to either the middle dantien or lower dantien. As such, this modified “orbit” simply provides a one-way flow of qi from the yongquan points in the feet to the laogong points in the hands. Because the qi does not recirculate, this modified Macrocosmic Orbit is not suitable for the civil practices of self-healing or spiritual development. However, the directed flow of the qi from the yongquan points to the laogong points can be used to project your qi upward from the ground and outward to your hands. This modified Macrocosmic Orbit is especially effective in supporting martial applications, such as Brush Knee Twist Step as shown above or in Withdraw and Push. When executed rapidly, the sudden upward and outward flow of the qi can be expressed as fa jin. This is the source of power for Chen style postures, such as Hidden Thrust Punch or Linking Cannons. Whereas the complete Macrocosmic Orbit is more civil in its aspect, the modified Macrocosmic Orbit is more suitable for martial applications. Also, as it is much easier to learn and master the modified Macrocosmic Orbit, it may appeal to those students whose interest in taijiquan inclines toward the martial rather than the civil.

Conclusion In this chapter you have been exposed to several techniques that can be practiced in order to mobilize and to circulate the qi throughout the body. It is important to remember that these techniques will only be effective if your mind is calm and focused. In his book, The Essence of Taiji Qigong, Dr. Yang, Jwing-ming emphasizes the importance of being emotionally calm and employing the intention, or yi, to lead the qi during the practice of qigong.45

A calm and focused mind leads to the accumulation and subsequent circulation of the qi in meditation. However, our ultimate goal as practitioners of taijiquan is to lead the qi into the extremities while practicing the empty-hand and weapons forms as well as employ qi circulation in order to issue intrinsic energy, or jin, during pushing hands and sparring. In Cultivating the Qi, Volume One, Chen Kung wrote of the need to cultivate the mind and body simultaneously; otherwise the training of seated meditation alone accomplishes little.46 It is essential to recognize that the attainment of skill in the art of taijiquan is dependent upon cultivating both the mind and the body simultaneously. That is to say that both the civil and the martial aspects of the art are to be developed equally. Avoid focusing on only one aspect of the art at the detriment of the other. Also be wary of the temptation to “take the door of shortcuts.” Student who truly desire to excel in this art would be well-served to heed Chen Kung’s invaluable advice. The following chapter presents many more important pieces of advice from the original taijiquan masters as well as their disciples. These precious words of wisdom collectively form the fundamental principles of the art of taijiquan. No one can seriously study taijiquan without understanding and internalizing these fundamental principles. Just as the civil and the martial complement one another, so the principles and the practice support one another.

Chapter Nine

The Fundamental Principles of Taijiquan

As has been previously discussed, taijiquan differs from most other martial arts in that it includes both civil and martial components. The civil component consists of the health benefits that accrue from the physical movements involved in practicing the form as well as the circulation of the qi throughout the body. At the highest level of attainment, the civil component also results in the elevation of the spirit, leading to enlightenment and immortality. The martial component consists of the martial applications embedded within the empty-hand form as well as the various weapons forms. These applications are trained via tuishou (pushing hands), dalu, and sparring. The breadth and depth of the art of taijiquan is due to its tripartite foundations in philosophy, theory and principles. The philosophical foundation of the art is Taoism, and the theoretical foundation comes from Taiji theory, Five Elements theory, and Bagua theory. These philosophical and theoretical foundations have already been addressed in previous chapters of this book. This chapter presents the third foundational column of the art of taijiquan: the fundamental principles that underlie the art and that distinguish it from other martial arts in both character and quality. These fundamental principles can be found in the written, formerly secret, documents of the Chen and Yang families, along with subsequent published texts produced by later members of the Chen and Yang families and those of the Wu family and of Sun Lutang. We also have access to a number of texts written by the close disciples of these family members, such as Fu Zhongwen and Cheng Man-ch’ing (of the Yang family lineage) and Ma Yueh-liang and Zee Wen of the Wu Chian-chuan family lineage, to name just a few. Finally, we have the collective writings of a number of taijiquan scholars of the

eighteenth and nineteenth centuries, such as Wu Yu-hsiang and Wong Chung-yua, which are commonly referred to as the Taijiquan Classics. The principles expounded by the founders of the various family styles of taijiquan formulate the basic concepts of the art as well as provide specific guidance for its practice and application. No student of taijiquan should practice this art without also studying the principles that form its foundation. Yang Cheng-fu himself stated that the true essence of taijiquan is not found in the external postures of the form, but is based upon the principles, the internal energy, and the movement of the qi. Only when practitioners have understood the principles of taijiquan and thoroughly assimilated them into their practice will their art be complete.47 This chapter provides a general introduction to the fundamental principles of the art of taijiquan. Dedicated students of this art are encouraged to obtain copies of the texts listed in the bibliography of this book and to study the principles presented therein diligently and frequently. However, more importantly than simply reading about the fundamental principles of taijiquan, students of this art must strive earnestly and constantly to internalize these concepts and guidelines in their daily practice. It is further recommended that practitioners expand their investigation of the principles of the art beyond their particular family style of taijiquan. While it is true that each family style has its distinguishing characteristics, the principles that underlie the art of taijiquan are, for the most part, universal and applicable to all family styles. Before continuing on to a discussion of the individual principles of taijiquan, one further issue must be addressed. Throughout the writings of the originators of our art and their disciples as well as within the Taijiquan Classics, there are references to the “other,” or to the “opponent,” or to “him.” These references apply specifically to either the martial applications of the art or to the practice of pushing hands. Because each of these topics is considered in a separate chapter, the principles of taijiquan that pertain specifically to the practice of pushing hands or to the martial applications will be presented in Chapters Thirteen and Fourteen, which address these two topics in greater detail. In the present chapter, the discussion is limited to those principles that are more general in nature. These general principles apply to all aspects of the art of taijiquan, including empty-hand form

practice, weapons practice, pushing hands, and martial applications.

First Principles The concept of first principles, which is widely employed in both philosophy and science, was introduced in Chapter Two. To review, first principles are the seminal concepts from which a philosophy or science or even an art form arises. Every teacher of taijiquan likes to identify one or more fundamental principles of the art and elevate them to the status of first principles. Chapter Seven identified two touchstones for the art of taijiquan: Guard the mind and the qi together in the dantien. The mind moves the qi and the qi moves the body. Without a thorough understanding and application of these two defining principles, no matter how many other principles of this art students may adhere to, they will fail to attain the essence of art of taijiquan. The principles and the techniques for cultivating and circulating the qi were presented in the preceding two chapters. It is important to recognize that cultivating and circulating the qi is integral to and inseparable from the correct practice of taijiquan in every aspect of the art. Without the cultivation of the qi, there can be no circulation of the qi, and without the circulation of the qi, the form will be empty. An empty form has no essence, no life. There can be no benefits, neither civil nor martial, to be derived from practicing an empty form. One might as well take a walk in the park or go out ballroom dancing. Yet a third first principle is: “An intangible and lively energy lifts the crown of the head.” This is one of the original Ten Important Points identified by Yang Cheng-fu in his The Essence and Applications of Taijiquan.48 This is also an important principle in the Chen style of taijiquan and can be found in the writings of the Wu family members and those of Sun Lutang as well. Elaborating upon this principle, Yang Cheng-fu stated that the head must be held up by elevating the spirit of vitality rather than through the use of strength. The use of strength will cause the muscles of the neck to become stiff and will and inhibit the flow of qi and blood. If the practitioner relies upon muscular strength to hold up the head, then the energy of vitality will not be able to rise.49

The crown of the head, also referred to as the “head-top,” is the site of an important energy gate, the baihui, which is considered in Taoism to be the Heaven’s Gate. This energy gate is also the location of the acupuncture point known as the niwan. When the practitioner leads the “intangible and lively energy” up to this energy gate, the shen, or spirit of vitality, is raised. When the shen is raised, the practitioner experiences an increased awareness and greater sensitivity. The benefits of this expanded consciousness are both civil and martial. The civil aspect is the spiritual elevation that occurs when the shen is raised. The martial aspect is the greater sensitivity and awareness that together enable the practitioner to sense and respond to any attack before it has the chance to inflict damage. Although it is easy to imagine a light and intangible energy liftng the headtop, it is very difficult to accomplish this correctly in practice. The lifting must be achieved energetically and not through the application of muscular tension. Muscular tension will cut off the flow of qi rising up from the spinal column and into the upper dantien. Cheng Man-ch’ing offered the image of being suspended from heaven by a string connected to the point in the center of the skull.50 An additional benefit of suspending the head-top is that the spine becomes elongated. Recall from Chapter Three that the spine has a natural curvature. This curvature typically becomes compressed over time due to fatigue, age, and lack of proper exercise. By energetically lifting the crown of the head, we create a gentle pulling up of the spine, helping to elongate the spinal column and to restore its natural curvature. Concerning the spine, Professor Cheng indicated that, if the head is held upright as if suspended from heaven, the spine will be erect. According to Taoist philosophy, the spine is considered to be the “Pillar of Heaven.” Misalignment and/or compression of the vertebrae in the spinal column are responsible for many ailments and illnesses.51 Regarding Cheng Man-ch’ing, Wolfe Lowenthal wrote that Professor Cheng talked about Three Treasures. These are not the same Taoist Three Treasures known as the san pao, but are, instead, Professor Cheng’s own first principles. The first of these treasures is the intangible and lively energy that lifts the crown. Professor Cheng’s second treasure is the Bubbling Well, or yongquan point, located in the sole of the foot. The third treasure is the guarding of the qi and the yi together in the dantien.52

Professor Cheng’s second treasure, the Bubbling Well, is the energy gate that connects one to the qi of the earth. This has already been discussed at some length in Chapter Six. Focusing one’s awareness on the Bubbling Well points in the feet allows the individual to establish rootedness, which Professor Cheng referred to as one’s connection with the ground.53 As stated previously, the quality of rootedness, along with the quality of song, distinguishes the true practitioner from one who only imitates the art of taijiquan. As an additional comment on Cheng Man-ch’ing’s first two treasures, if we consider both the baihui and the yongquan points to be energy gates, then it is possible to imagine that the student who has successfully opened both gates will be connected simultaneously to heaven and to earth. This is the ideal state of each human being and completes the trinity of heaven, earth and humanity from the perspective of Taoist philosophy. Finally, regarding the quality of song, one may well ask whether this should also be included in the first principles of taijiquan. Rather than consider song to be a first principle, however, it is preferable to treat both rootedness and song as prerequisites to the correct practice of this art. Put succinctly, there is no point in exploring and attempting to internalize any of the fundamental principles of the art of taijiquan unless one has first established some capacity for rootedness and song. As such, the topics of song and rootedness were presented in Chapters Three and Six of this book, where each topic was discussed at some length. However, as you will see, all the past and current masters of the various family styles of taijiquan consider song to be an essential principle of their art.

Chen Zhenglei’s Key Points and Specific Requirements The material presented in the preceding chapters has established the foundation for the current discussion of the fundamental principles of our art. In this and the following sections, the important principles of taijiquan as identified by past and present masters of the various family styles will be summarized, beginning with Chen style. Listed below are the “Key Points and Specific Requirements” outlined by Chen Zhenglei in his book Chen’s Taichi for Health and Wellness.54 Grandmaster Chen Zhenglei is an 11th

generation lineage-holder of Chen style taijiquan and is an ambassador of Chen style taijiquan both within China and worldwide. As you will see, his “Key Points and Specific Requirements” are relevant to all styles of taijiquan. 1. Relax the body and calm the mind: Here again we see the emphasis placed upon the importance of being relaxed, or song. The practitioner must relax the whole body; not only the muscles but the bones, the internal organs, the skin, and even the hair must all relax completely.55 The skill of relaxation derives from the exercises that were presented previously in this book. However, it is one thing to become song while standing still; it is another to be able to maintain this state of relaxation while performing the movements of the form or in practicing pushing hands and in actual combat. It is imperative to maintain the state of song while engaging in every aspect of the art of taijiquan. To this end, we must also calm the mind and eliminate all distractions when practicing the form or engaging in martial applications. Cheng Zhenglei also stresses adhering to the Law of Nature when practicing taijiquan. The Law of Nature means that one must execute the postures without holding the breath or applying muscular strength. Rather, the practitioner must perform the movements of the form while breathing naturally.56 2. Connect the mind and the qi; coordinate the body and the spirit: Once more we see the importance of the principle: yi yi yin qi. According to Chen Zhenglei, the mind moves first; the qi follows; and the strength reaches the extremities.57 To extend the principle of “The mind leads the qi,” we can say that “The mind leads the qi, and the qi leads the li.” Here, the term li is translated as strength. The term “li” normally refers to muscular strength, but in this case the term “li” is expanded to include the pliable, springy strength that issues from the tendons and ligaments and is more commonly thought of as jin. In Chen style taijiquan there is a coordination not only between the mind and the qi but also between the qi and the jin. This is true for all types of jin, but especially the explosive fa jin energy that is expressed in the fast punches and kicks of this style. In his discussion of coordinating the mind and the qi, Chen Zhenglei also addresses the importance of proper breathing. In general, it is best to inhale when closing and to exhale when opening; to inhale when leading in and to

exhale when releasing out; to inhale when rising and to exhale when descending; to inhale when storing power and to exhale when releasing power.58 3. Stay upright and centered; divide emptiness and solidness clearly: This is the principle of central equilibrium, or zhong ding. In order to maintain central equilibrium, one should stand straight and neither incline forward nor lean backward. Neither should one tilt to one side, nor stoop down. The head should be kept level and suspended; the shoulders should be relaxed; the elbows should be dropped; the tailbone should be tucked under; and the waist should be level. Additionally, one needs to distinguish between emptiness and solidness in every movement and in every aspect of the body. Emptiness is yin, and fullness, or solidness, is yang. The practitioner must be able to distinguish yin from yang, as this is the essence of taijiquan. Finally, Chen Zhenglei instructs us in the classic principle of taijiquan: “When one part moves, the entire body moves.” He counsels practitioners to pay particular attention to the coordination of the body as a whole. Specifically, the hands, the eyes, the torso, and the footwork should all be coordinated. In addition, the three essences (the ching, the qi, and the shen) should coordinate with the li (the strength).59

Additional Principles from Chen Style Taijiquan As stated in the previous section, the principles outlined above in Chen Zhenglei’s “Key Points and Specific Requirements” are relevant to all styles of taijiquan. This makes sense, as Chen style taijiquan is the basis for all other styles of taijiquan, and certain of the principles that define Chen style taijiquan should apply to all styles of taijiquan. However, there are characteristics of Chen style taijiquan that are either not present or are not obvious in other styles of taijiquan. One such characteristic is the quality of “steel wrapped in cotton.” Although Yang Cheng-fu was said to have exhibited this quality in his pushing hands skill, this principle is not generally emphasized in the Yang style nor in the Wu and Sun styles of taijiquan. What is unique about the Chen style is that the training proceeds from soft to hard and back to soft again. Thus, beginning practitioners of Chen style taijiquan are instructed to be soft and pliant, just as Lao Tzu counsels in the Tao Te Ching:

Man at his birth is supple and weak; at his death, stiff and hard. Trees and plants are born tender and pliant; at their death, dry and withered. Firmness and strength are the concomitants of death; softness and weakness, the concomitants of life. Hence, he who relies on the strength of his force does not conquer. And a tree that is strong will not fill out the outstretched arms and thereby invites the feller. Therefore the place of what is firm and strong is below, and that of what is soft and weak is above.60

Practitioners of Chen style begin with songgong and silk-reeling exercises such as those described in Chapters Three, Four, and Five to develop softness. They then proceed onto fa jin training, as will be described in Chapter Twelve. Finally, they learn how to integrate softness and hardness to develop the quality of steel wrapped in cotton. This requires a return to softness in which hardness is concealed. The process for developing this internal development is as follows: from relaxation to softness; from softness to firmness; and finally from firmness back to softness. The result is the coexistence of softness and firmness with each complementing the other. In application, Chen style employs quick actions that are both preceded by and followed by slow ones. This is in keeping with the principle that when the opponent moves slowly, you move slowly, and when the opponent moves quickly, you move even more quickly.61 The principle of matching the speed of your movements to that of your opponent corresponds to the Taijiquan Classics: When the opponent moves fast, you move faster, and when he moves slowly, you move slower. In this way, you will always match the movements of your opponent.62 The Classics also state that if the opponent doesn’t move, you don’t move. If the opponent makes even the slightest movement, you will have already moved accordingly.63 The alternation of slow and fast movements is a distinguishing characteristic of Chen style taijiquan and is based upon the coordination of softness and firmness. Another distinguishing characteristic of Chen style is the combination of hard (gang) and soft (rou). Although gang is translated as “hard,” it is, in actuality, a springy force (dan buang jin) that is generated through the process of silk-reeling (chan ssu jin). The softness of rou is not

limp and lifeless, but is pliant, full, and resilient.64 Another distinguishing characteristic of Chen style taijiquan is the spiraling nature of the movements. This can be seen externally in both the movements of the arms and hands and also of the legs. However, the true spiraling movement that occurs when a skilled practitioner of Chen style taijiquan performs the movements of the form (or engages in pushing hands or sparring) takes place internally and involves the movement of the qi through the jingluo of the body. The coiling and spiraling movement of the qi (internally) and of the body (externally) is the legacy of Chen Wangting (the founder of the family style), who spent much time investigating the jingluo and the movement of the qi throughout the channels and meridians that make up the qi circulatory system within the human body. Chen Wangting created his martial art based upon twining, coiling and arcing movements that are generated by the turning of the waist. The energy released by these movements passes through to the jingluo and the jingmai. The movements of Chen style are alternatively expanding and contracting, opening and closing, firm and soft.65 The twining, coiling and arcing movements referred to in the above paragraph are generated from the silk-reeling skill that is developed not only through the practice of the form but also by repetitively practicing silkreeling drills such as the ones introduced in Chapter Five of this book. As you will recall from the discussion of silk-reeling presented in that chapter, the skill of silk-reeling is not limited to Chen style taijiquan. The concept of moving the qi through the jingluo and the jingmai of the body can be applied to any style of taijiquan. The external coiling and spiraling may not be discernible in other styles, but the internal circulation of the qi should be an important principle to be followed in the practice of all styles of taijiquan. For his investigation into and his development of this central principle, all practitioners of taijiquan should be grateful to Chen Wangting, founder of the art of taijiquan.

Yang Cheng-fu’s Ten Essentials There is a well-known set of fundamental principles that practitioners of Yang style taijiquan refer to as “The Ten Essentials” of Yang Cheng-fu. These ten essential principles are enumerated and elaborated upon in Fu

Zhong-wen’s Mastering Taijiquan in a chapter titled “The Ten Essentials of Taijiquan Theory.” Fu Zhong-wen, a close disciple of Yang Cheng-fu, wrote at the end of that chapter that the Ten Essentials were dictated by Yang Cheng-fu to his disciple, Chen Wei-ming, and were a direct transmission from him. These ten essentials are summarized below: 1. An intangible and lively energy lifts the crown of the head: This principle was introduced and discussed in the beginning section of this chapter. It should be noted that, of all the fundamental principles, this essential was selected by Yang Cheng-fu to appear first in the list. This is not the result of random selection, and practitioners of every style of taijiquan should devote themselves to internalizing this concept and putting it into practice in all aspects of their practice. 2. Contain the chest and raise the back: This principle refers to reversing the military posture favored in the West in which one sticks one’s chest out and pulls the shoulders back. This is sometimes referred to as “puffing up the chest,” in reference to the behavior of rooster intent on attracting hens and intimidating rivals. The problem with this posture is that it creates muscular tension in the chest and shoulders while at the same time reversing the natural curvature of the spine. Sticking the chest out and holding the shoulders back impedes the flow of qi and blood, which is bad for one’s health and also runs counter to the principle of circulating the qi throughout the body. The puffing up of the chest also causes one to become top-heavy, which means that it is very easy to become uprooted. In opposition to this puffed up posture, the correct manner for holding the torso is to round the shoulder yoke slightly; hollow out the chest; and raise the spine. For those individuals who have been standing at attention for much of their lives, this will require concentrated postural adjustment in order to undo old habits. Here is one test for correct posture: Stand sideways in front of a mirror and observe your shoulders in relation to your ears. If your shoulders are positioned behind your ears, then your shoulders are pulled too far back. You will need to work on rounding the shoulder yoke in order to bring them in line with the ears. 3. Relax the waist: It is important to understand that when Yang Cheng-fu referred to the waist, he was not just speaking about the Western concept of the waistline. Rather, according to Chinese anatomy as understood by the

original taijiquan masters, the waist, or yao, encompasses the region extending from the small of the back down to the hips and includes the kua as well. In fact, this region is sometimes referred to as the “yaokua.” Students should keep this expanded notion of the waist in mind when considering and attempting to internalize this important principle. The waist is the key to flexibility and mobility in the practice of taijiquan. One needs to be flexible in the waist in order to practice the signature movement of Yang style taijiquan, Rollback, effectively. While it is relatively easy to roll back on the open side of the body (i.e. the side where the bow stance is open), it is quite another to be able to roll back on the opposite side of the body. Many students are so bound up in the waist that they are unable to roll back to the off side. The waist is also the source of the transitions from posture to posture in the Yang style taijiquan form. Nowhere is this more evident than in the sequence of Wave Hands Like Clouds. If the waist is tight, then the transitions from one side to the other will not flow smoothly, and the dictum of “nose and navel in alignment” cannot be observed. The cure for a tight waist is to engage in a daily series of stretching and loosening routines such as the ones presented in Chapter Four and Chapter Five. Failure to attend to tightness in the waist will forever limit the student to stiffness in the form and the inability to neutralize attacks in pushing hands and sparring. 4. Distinguish the insubstantial and the substantial: Yang Cheng-fu’s commentary on this essential is worth noting here. He stated that the distinction between the insubstantial and the substantial should be taken as the first principle of taijiquan.66 Here we find yet another first principle. One might well wonder, “How many first principles are there?” When any of the past masters referred to a first principle, they were simply drawing our attention to the significance of the principle or concept at hand. It can be said equally of the Ten Essentials that they are all first principles. In order to distinguish between the insubstantial and the substantial, students must first understand what each term refers to. Anatomically, the definition is relatively straightforward: the weight-bearing leg is the substantial leg, making the lesser-weighted leg the insubstantial leg. In a bow stance, for example, the front leg is substantial and the back leg is insubstantial. With regard to the arms, usually the upraised or outstretched arm is substantial and

the lower or downward pointing arm is insubstantial. So, for example, in Ward-Off Left, the left arm is substantial and the right arm is insubstantial. On the physical level, being able to distinguish between the substantial and the insubstantial aids in the transitions between postures. In the example of Wave Hands Like Clouds, when turning to the left, you use the substantial left leg as the pivot point for the waist turn. When returning to the right, you must first shift your weight onto the right leg to make it substantial prior to executing the waist turn to the right. The importance of being able to distinguish between the substantial and the insubstantial cannot be overemphasized. To cite Yang Cheng-fu again from his commentary on this point, if practitioners are unable to distinguish the substantial from the insubstantial, their movements will be heavy and sluggish, their postures will be unsteady, and they will be easily uprooted by their opponent’s.67 As important as it is to distinguish between the substantial and the insubstantial on the physical level, it is even more important to be able to distinguish between these two qualities on an energetic level. For example, keeping a light and intangible energy at the head-top creates an overall sense of lightness, or insubstantiality, in the upper body. At the same time, placing ones awareness on the dantien and on the yongquan points of the feet directs the energy of the body downward, making the lower half of the body more substantial. This creates an overall feeling of song and rootedness and allows one to be nimble and responsive to the changes of the opponent. 5. Sink the shoulders and drop the elbows: With regard to the military posture referred to in the second point above, when the shoulders are lifted up, the qi and the blood are constricted in their flow out to the arms. Additionally, the increased tension and tightness in the shoulders restricts their flexibility and range of motion. Obviously, this is not a desirable state. The way to counteract this is to sink the shoulders. This is a difficult undertaking and requires much time and work to accomplish successfully. Once again, the solution lies in stretching and loosening exercises. Standing in zhan zhuang is also highly effective in opening the shoulder joints and helping them to become song. Cheng Man-ch’ing used to say that the shoulders were the most difficult joint in the body to open. Professor Cheng claimed that once the shoulder joint has been opened, the other eight joints of the body will be much easier to open.68

Professor Cheng outlined the process for loosening the shoulders, as well as the other joints, as follows: first the tendons must become loose, and then one can loosen the joints that connect the bones. He stated that, when the tendons are tight, the jin will be released in an angular fashion. When the tendons and joints are loose, the jin will be released in a natural way. He further commented that the tightness in our tendons and joints is the result of bad habits, and that we must work at reversing the effect of those habits by loosening the tendons and joints.69 Dropping the elbows is essential for sinking the shoulders. It is very difficult to sink the shoulders if the elbows are held high. Often you will see students holding postures such as Ward-Off with their forearms held up parallel to the ground. Study, in contrast, the photos of Yang Cheng-fu, Fu Zhong-wen, or Cheng Man-ch’ing in either Ward-Off Left or Ward-Off Right, and you will see a graceful uplifting of the ward-off arm. That is because their elbows are dropped. The same can be said of any of the postures in the form. When the elbows are held up, the qi cannot flow into the arms and out to the hands and fingers. Any postural defect which inhibits or blocks the flow of qi to the extremities is to be avoided. Students of the art of taijiquan should heed this essential point and pay strict attention to both the shoulders and the elbows when practicing the form. 6. Use consciousness, not strength: Of all the Ten Essentials, Yang Chengfu commented at greatest length regarding this principle. Taking his commentary literally, it appears that he was discussing the use of consciousness, rather than strength, in the context of martial applications. He even referred to “practitioners of external martial arts” who rely superficial strength as opposed to employing the intent, or yi. Regarding the use of external strength, he wrote that relying upon strength rather than using the yi to direct the internal energy was not worthy of respect.70 Although Yang Cheng-fu was referring to the martial applications of the art, one must apply this essential principle to the practice of the solo form as well. Take, for example, the posture White Crane Spreads Its Wings. Externally the right arm is lifted up. Beginning students accomplish this by flexing the muscles of the shoulder region: the latissimus dorsi, the deltoids, etc. The contracting of the muscles required to elevate the arm above the shoulder creates constriction in the flow of qi and blood, which is an undesirable

consequence of elevating the arm. More advanced students of the art use their consciousness, that is to say, their intent, to direct the qi into the arm and the hand according to the principle: “Use the mind to move the qi and the qi to move the body.” In this way, the shoulder remains song and the qi and blood are free to flow outward to the fingertips. The principle of using consciousness rather than strength must be applied to every aspect of the art, both civil and martial. Otherwise the practice will be based upon external force rather than internal energy and will not be worthy of respect. 7. Upper and lower follow one another: This principle can be summarized by a well-known line from the Taijiquan Classics: “When moving, there is no part that does not move.”71 Another oft-quoted line from the Classics, this time from the Taijiquan Treatise by Chang San-feng, states: “In motion all parts of the body must be light, nimble and strung together.”72 Yang Cheng-fu added that, if the entire body does not move in a coordinated fashion, then the form will be scattered and confused.73 One must pay attention to the movement of the hands and feet and also to the movements of the arms and legs. These movements should be coordinated. Also, the rising and falling of opposite hands must be integrated. To continue with the example of White Crane Spreads Its Wings, as the right hand rises up, the left hand curves down. The upward arc of the right hand should be coordinated with the downward arc of the left hand so that they complete their appointed trajectories at the same moment. Additionally, the lifting up and the subsequent touching down of the left foot should also be synchronized with the motion of the two arms. With regard to the upper body, the torso and the head must also move in concert. The guideline “nose and navel in alignment” applies here. When the nose and navel are in alignment, the head does not move independently of the torso. The eyes should be included in this maxim. Many students turn the head to follow the trailing hand with the eyes in movements such as Step Back to Repulse Monkey. This is a mistake on two levels. First, it breaks the axiom of “nose and navel in alignment.” Secondly, from a strictly martial perspective, the opponent you are trying to repulse is standing in front of you. Why would you want to look away when trying to repel him? To borrow the advice of Grandmaster Doc Fai-wong: “Don’t be a palm reader.” Keep your

eyes and your awareness focused on the objective of the posture. 8. The Internal and he external are united: This important principle relates to the use of internal energy to control external movement. The Taiji Treatise of Wu Yu-hsiang, another of the Taijiquan Classics, advises the practitioner to employ the mind to direct the internal energy. The internal energy must sink and be attached to the tendons and bones and must circulate smoothly and completely throughout the entire body. Eventually, the internal energy can be directed to any specific part of the body at will.74 The question arises as to how one learns to use the mind to exercise the internal energy. The answer is that one must practice the neidan techniques introduced in Chapter Seven and Chapter Eight. This principle makes it absolutely clear that the practitioner must develop the connection between the mind, or yi, and the internal energy, or qi. The key here is the four-character Chinese phrase: yi yi yin qi which translates as “Use the mind to move the qi.” Failure to develop the internal gongfu of the mind and the qi will result in the execution of the external without the internal. Once the mind is able to lead the qi, then one can direct the qi to move the body. In this way, the internal and the external are united. The Taijiquan Classics state: “The mind is the commander, the qi is the flag, and the waist is the banner.”75 It is also written that movement must be “First in the mind, then in the body.”76 These statements from the Expositions of Insights into the Practice of the Thirteen Postures, another of the Taijiquan Classics composed by Wu Yu-hsiang, make it clear that the movements of the form are generated first in the mind (the commander) and then are executed by directing the qi (raising the flag to instruct the troops) to move the body (i.e. the waist in this example). Of this relationship between the mind and the qi (the internal) and the waist and the body (the external), Yang Cheng-fu commented that, when the practitioner is able to unite the internal with the external, then there is complete unity.77 9. Linked without breaks: This essential point comes directly from the Taijiquan Treatise attributed to Chang San-feng. The complete translation is: “Let the postures be without breaks or holes, hollows or projections, or discontinuities and continuities of form.”78 Yang Cheng-fu stated that this means that the flow of qi should be continuous from the beginning of the form to its completion, “like a great river rolling on unceasingly.”79 Yang

Cheng-fu also made reference to another frequently quoted line from the Classics: “Move the energy as though drawing silk (from a cocoon).”80 When practicing the form, students should keep one of these two images in mind. For example, from the moment the practitioner extends the qi into the arms in the opening posture, the movement of the qi should flow on continuously without pause or breaks, just like the steady flow of the Yellow River as it travels from its source in the Kunlun Mountains down to the China Sea. Alternatively, students can imagine that the fingers of each hand gently grasp a silken thread connected to a silkworm’s cocoon. As they move their hands through the various postures and transitions of the form, they must continually and steadily pull the thread from each of the two cocoons. Any sudden movement or stopping and starting again will cause the threads to break. The above imagery is suitable for describing the external movements of the form. However, one must also be cognizant of the internal movements of the form. The qi itself must move continually and without interruption or hindrance through the meridians of the body. On this subject Wu Yu-hsiang wrote that the qi should be circulated throughout the body as if a silk thread being passed through a nine-holed pearl so that there is no part of the body that it cannot reach.81 As with the question posed in the discussion of the preceding essential principle, one may well ask how to train the qi to move through the body without breaks. Although there are individuals who believe that this can be accomplished through dedicated practice of the solo form, the ability to direct and circulate the qi is best trained in neidan qigong practices such as those outlined in Chapter Seven and Chapter Eight. Regardless of whether one trains the circulation of the qi through form practice directly or through Taoist cultivation practices, it is essential that the qi move continuously and without impedance from the beginning until the final, closing posture of the form. Anything less will result in a form that lacks the internal movement of the qi, which is the essence of taijiquan. 10. Seek stillness in motion: One of the Taijiquan Classics entitled Song of the Essence and Application of Taijiquan instructs us that “Movement arises from stillness, but even in movement there is stillness.”82 The phrase “movement arises from stillness” refers to the Taoist concept of Taiji arising

out of Wuji. In the solo form, we begin in the wuji posture. At this point, prior to stepping out into the taiji posture and lifting the hands to begin the form, there is only stillness. Once we begin to move, yin and yang separate and the taijiquan form begins. Within the form, the hands move to and fro, the feet step in and out, and the transitions are many and varied. Both the external (the body) and the internal (the qi) are in constant and uninterrupted motion. Only the mind remains calm and still. The body is like the troops on a battlefield. They move about under the instruction of their local commander (the qi) who waves a banner to lead them from one location to another. Only the general (the mind), seated upon his horse on the distant hilltop, remains stationary. He must maintain a calm demeanor and steady discipline in order to oversee the entire battle. The Taijiquan Lun of Wang Tsung-yueh includes the line “Be as still as a mountain, move like a great river.”83 This lyrical instruction captures the essence of the meaning of the phrase “seek stillness in motion.” Taijiquan is sometimes referred to as a “moving meditation.” This is an apt description in that the physical motion of the body is directed by a calm and steady mind. The mind directs the qi while in a state of heightened awareness that results from suspending the head-top and elevating the spirit of vitality. Yang Cheng-fu stated that the practice of taijiquan employs stillness to direct movement. Even in movement there is stillness. He explained that, when practicing the form, the slower one moves the better one is able to experience stillness within movement. By performing the movements slowly and at a steady pace, the breathing will become long and deep, and the qi will naturally sink to the dantien.84 Although taijiquan is a martial art, the solo form is practiced slowly at first so that beginning students can develop the ability to use the mind to lead the qi and the qi to lead the body. It takes many months and even years to accomplish this to the point where the conscious mind does not have to actively lead the qi; instead the qi travels of its own accord as the requirements of the form dictate. When this occurs, one can practice the form without having to focus the attention upon the movements, and, in the words of T. T. Liang: “The mind can take a vacation.” This is the true meaning of moving meditation, of seeking stillness in movement.

Cheng Man-ch’ing’s Explanation of the Oral Secrets In his Thirteen Treatises on Taijiquan, Cheng Man-ch’ing recorded twelve secrets that were transmitted orally to him by Yang Cheng-fu. These oral transmissions should be studied in conjunction with the Ten Essentials transmitted by Yang Cheng-fu to Chen Wei-ming. There is some degree of overlap between these two sets of fundamental principles. However, a number of Cheng Man-ch’ing’s twelve secrets do differ from the Ten Essentials. Of those that are different, five relate to pushing hands and will be discussed separately in Chapter Thirteen. Listed below are those principles which are general in nature and which do not coincide with any of the preceding Ten Essentials. Sink (ch’en): Sinking means allowing the entire weight of the body to sink down into the lower extremities (i.e. the legs and the feet) and leads to rooting. Recall that rooting and song are the qualities of a true taijiquan practitioner. Cheng Man-ch’ing commented that, in essence, ch’en and song are the same.85 Professor Cheng also noted that the opposite of ch’en is floating, which is the antithesis of taijiquan. If students of this art fail to develop the dual properties of song and ch’en, then their practice will have a floating, disconnected quality and will not embody the true feeling of the art. The best way to develop sinking is to stand in zhan zhuang. There is simply no short-cut to achieving this quality. One simply must put in the time and effort of standing in order to acquire this skill. This topic has been addressed in detail in Chapter Six of this book and therefore does not require additional commentary here. The millstone turns but the axle doesn’t turn: The Taijiquan Classics state: “The waist is like the axle and the qi is like the wheel.”86 It is also written in the Classics: “Stand like a balance and rotate actively like a wheel.”87 These two statements express the dual concepts of central equilibrium and rotation, which together produce centrifugal force. The vertical line from the niwan point in the top of the head down to the huiyin point between the legs creates the axis around which the torso can rotate. This rotation creates a centrifugal force that can be used to repel an opponent. The most obvious application of the use of centrifugal force to throw off an

opponent is that of Wave Hands Like Clouds. The upper arm is held in a Ward-Off position, creating the rim of the wheel. The shifting onto the substantial leg creates the pivot point. The waist then acts as the axle and the torso rotates like a wheel to spin the opponent off in the direction of the angular rotation. Although not as apparent, this same principle is at work in a number of other postures, in particular the postures of Rollback and Single Whip. Students should pay close attention to the principle of the axle and the wheel and train its application diligently. The best training technique for developing the turning of the waist are the silk-reeling exercises presented in Chapter Five of this book. Professor Cheng wrote of this secret transmission that, once he fully understood this principle, he made daily improvements in his practice.88 In practicing the form the body should be level and upright: Cheng Manch’ing commented that this simple principle was easy to understand but difficult to put into practice.89 Essentially, this is a proscription against the faults of leaning and butting (inclining the head forward). The Taiji Treatise of Chang San-feng instructs the practitioner not to lean in any direction.90 Wu Yu-hsiang wrote as well that the upright body must be made to be stable and comfortable in order to support movement in any of the eight directions.91 There are three important postural requirements to observe here. First, the head should be level (i.e. no butting). Second, the torso should be erect and vertically aligned from the niwan to the huiyin (no leaning). Third, the waist should be level, meaning that the pelvis should not be tilted forward. When the head and torso are held level and upright and the pelvic bowl is level, then the body will be stable and comfortable. This will allow the qi to sink to the lower dantien and the shen to be raised to the head-top. The image of the axle is helpful here. Imagine a millstone rotating horizontally around a vertical axle. If the axle is tilted off to one side, then the millstone will not rotate properly. In order for the millstone to grind efficiently, the axle must be perfectly aligned. This is why the metaphor of the millstone appears throughout the Taijiquan Classics. In order to execute the postures of the form correctly we must to stand like an axle and turn like a millstone.

Wu Chian-chuan’s Mental and Bodily Preparations In the book co-authored by Wu Ying-hua and Ma Yueh-liang (daughter and son-in-law respectively of Wu Chian-chuan) entitled Wu Style Tai Chi Chuan, there is a chapter under the heading “Mental and Bodily Preparations”. In this chapter, the authors outline the mental and physical preparations (i.e. the “state of mind” and “state of body”) described by Wu Chian-chuan that should be adopted by all taijiquan practitioners. The authors stated that there are specific mental and physical preparations that must be observed when beginning to practice the form. They also stressed the importance of studying and understanding the true meaning of the Taijiquan Classics.92 The Mental Preparations:93 The mental preparations for the practice of the taijiquan form include the following five qualities: stillness, lightness, exactness, slowness, and perseverance. The stillness referred to here is the calming of the mind, which is likened to stilling the turbulent water of a great river. Calming of the mind enables calming of the body and also results in calming of the spirit. The quality of lightness means that no unnecessary force or effort is used in order to execute the movements of the form. One should be so light and sensitive that “If the left side is weighted, you are ready to change to empty the left. If the right side is weighted, you are ready to empty the right. A feather cannot be added, nor can a fly alight without upsetting equilibrium.” This is a famous quotation from the Taijiquan Classics, and is one of the catch phrases of taijiquan. Slowness is relative to the practitioner’s level of development and skill. It is recommended to take between twenty-five to forty minutes to perform the traditional Wu style long form. The authors indicated that the more experienced the practitioner, the longer the form should take. Less experienced practitioners were recommended to complete the form within the twenty-five minute time frame. Exactness means that the practitioner must pay attention to even the smallest details of each posture and the transitions that lead from one posture to the next. In particular, the practitioner needs to pay attention to the following details: First, the body must be straight and centered; second, the distinction

between empty and solid should observed in every posture of the form; third, the flow of qi should be continuous and without pause; and last, the expression of jin should be steady, distinct, and aimed in one direction. Perseverance means that the practitioner must practice diligently and regularly and should not become discouraged or lethargic with regard to his or her practice. Heed the commentary of the original taijiquan masters: One day’s practice, one day of results; one month’s practice, one month of results; one year’s practice, one year of results; a lifetime’s practice, a lifetime of results. The Bodily Preparations:94 The physical preparation for practicing the form as outlined by Wu Chian-chuan parallels that of Yang Cheng-fu. This makes sense, as Wu’s father, Quan Yu, studied with Yang Lu-chan, the founder of the Yang family style of taijiquan. Nonetheless, these essential physical preparations bear repeating here. They are as follows: suspend the head-top (hui lin din jin); hollow the chest and lift the upper back (han shan ba bei); sink the shoulders and drop the elbows; sink the qi down to the dantien (qi shen dantien); center the coccyx and straighten the spine; relax the waist and drop the buttocks; and round the crotch. The importance of suspending the head-top has already been stressed. The authors of this text cite the importance of suspending the head-top, which has the effect of elevating one’s spirit of vitality and promoting lightness and agility. They state that this structural element should be present in all the postures of the form. Suspending the head-top should coincide with the centering of the coccyx (weilu). When performed concurrently, these two postural corrections serve to lengthen the spine, causing the spine to be more flexible and also to enable the shen to rise up to the upper dantien. Sinking the chest and raising the upper back counteracts the tendency to puff up the chest and compress the upper back in what has already been referred to as the military posture. This military bearing is undesirable because it hinders the qi from circulating smoothly in the body and prevents the movements from being performed with lightness and agility. Sinking the shoulders and dropping the elbows also promotes the flow of the qi into the upper extremities and has the added benefit of protecting the ribs from attack. The purpose of relaxing the waist and dropping the buttocks is to enable the

waist to turn freely and without impediment. It is essential for the practitioner to understand that the waist is the commander for all the movements in taijiquan. Only when the waist is loosened can all the movements be executed with agility and coordination. Rounding the crotch must accompany the relaxing of the waist and the dropping of the buttocks. The practitioner should adopt the posture of a cowboy who is used to sitting astride a horse; thus the derivation of the term, “horse-riding stance.” The final bodily preparation is to sink the qi to the dantien (qi shen dantien). This is accomplished both through the use of the yi and also through the method of abdominal breathing. Unless the qi is drawn down into the dantien, the practitioner will tend to float during practice and will not be able to connect to the ground and from there be able to transfer the power from the feet, up the legs, through the waist, and into the arms and fingers. That is to say, without first sinking the qi into the dantien, practitioners will not be practicing the true taijiquan and will be merely dancing their way through the form. At the conclusion of this section on the Mental and Bodily Preparations, the authors stated that only when the mental and bodily preparations are performed correctly will there be favorable results from the practice of the taijiquan form. Every student of the art must keep these principles in mind when preparing to practice the form.

Sun Lutang’s The Meaning of Taijiquan In his famous book, A Study of Taijiquan, Sun Lutang included a brief chapter titled “The Meaning of Taijiquan.” In this short chapter, Sun described the defining characteristics of his style of taijiquan, which included influences from Chen and Wu/Hao style taijiquan as well as xinyi quan and bagqua zhang. His central premise was that the qi must flow unimpeded out to the four corners of the body, and that the qi must penetrate the bones in order to nourish the body. A central principle of Sun style taijiquan is that the internal and the external must be united in a single expression of qi. Another key principle of Sun style taijiquan is the emphasis on maintaining the continuous flow of the qi within the form. Throughout his commentaries on the individual postures of the traditional long form, Sun Lutang made frequent references to the qi and the importance of the movement of the qi

from the dantien out to the extremities. Sun concluded his brief opening chapter with the instruction that the qi must be allowed to circulate throughout the body without obstruction. It must be round, full, and lively without angles. It must be without excess or deficiency. When the qi is manifest, the Six Harmonies are complete. When the qi returns to the lower dantien, it is hidden as a treasure within. Sun concluded by stating that the ability to circulate the qi throughout the body and to retain the qi in the dantien is the essence of taijiquan.95 Of singular importance to practitioners of this style of taijiquan are the complementary actions of opening and closing. The dual postures of Opening Hands and Closing Hands occur repeatedly throughout the traditional Sun style long form. Regarding the complementary actions of opening and closing, Sun wrote that the movement and stillness of the postures both have the centralized flow of qi as their source. To open is to extend and to move. To close is to contract and to be still. Opening is yang and closing is yin. To issue, extend, or move is yang. To withdraw, contract, or become still is yin. The cycle of opening and closing is like the one flow of qi passing through the cycles of yin and yang.96 Although the individual postures and transitions of Sun style taijiquan may appear externally different from other styles of taijiquan, the underlying principles are the same. It is important for practitioners of all styles to be able to recognize the foundational principles that link all styles together. For example, if practitioners of another style investigate carefully, they are certain to discover opening and closing embedded in their particular style. No matter what style of taijiquan you practice, if you keep these fundamental principles in mind when practicing the form or other aspects of your art, you will be practicing the true taijiquan as conceived and established by the progenitors of your style and passed down through their descendants and disciples.

Additional Principles from the Taijiquan Classics In addition to the fundamental principles transmitted by the developers of the different styles of taijiquan and their disciples, there are other sources of taijiquan wisdom. These are collectively referred to as the Taijiquan Classics. Many of the Classics contain the same principles as the ones

presented in the previous sections of this chapter. Perhaps the wording or the metaphors used are different, but the underlying principles are the same. The following material includes a small survey of those fundamental principles of the art of taijiquan that have not been discussed previously in this chapter. As stated at the beginning of this chapter, a discussion of principles that directly relate to pushing hands or martial applications will be deferred until later in this book. The motion should be rooted in the feet, released through the legs, controlled by the waist, and manifested through the fingers:97 This statement comes from the Taijiquan Treatise attributed to Chang San-feng and is one of the most frequently quoted lines from the Taijiquan Classics. The term “motion” referred to here has also been translated as “internal energy” or “jin.” This is the formula for generating power for martial applications. However, when performing the solo form, it is also the prescription for moving the qi so that the arms and hands above are connected to the legs and feet below (upper and lower are united.) An example from the Yang style solo form, Ward-Off Left, may be employed to illustrate the circulation of the qi from the feet out to the fingers. When making the transition from the Opening posture to Ward-Off Left, one first places the weight onto the right leg and makes a connection with the yongquan point in the right foot to the qi of the earth. Stepping out with the empty left leg, one transfers the weight from the right leg onto the left leg while simultaneously raising up the left arm into the peng posture of WardOff Left. The compressed qi that was stored, or rooted, in the right foot travels up, or is released from, the right leg and is controlled and directed by the turning of the waist to move up the spine, across the shoulder and into the left arm to be manifested through the fingers of the left hand. In every posture there should be a similar transfer of stored or rooted energy from the ground up through the legs. This energy is then given direction by the turning of the waist and is subsequently guided up the spine and out into the arms and the hands. The challenging task of every practitioner is to investigate these qi flows for each and every posture of the solo form. To assist in this task, the following chapter provides detailed descriptions and photographs for a number of the postures from the solo forms of the Chen, Yang, Wu (Chian-chuan), and Sun styles that identify these internal energy

pathways. Chang San-feng elaborated upon this principle by explaining that the feet, legs, and waist must act together simultaneously. No matter what action is being performed, the timing and position must be correct. If the timing and position are not correct, body will be disordered. In all such cases, the defect will be found in the legs and the waist.98 This is in accordance with the principle: “When one part moves, the whole body moves.” This concept is referred to as “single-body movement.” While single-body movement can be accomplished without moving the qi, such movement would be purely external and would appear wooden and mechanical. It is the continuous flow of qi from the feet all the way to the hands which imparts a sublime elegance to the form. This can only occur when the internal and the external are connected. Chang San-feng also describes the consequences of failing to distinguish between the insubstantial and the substantial, specifically in the legs. If one cannot identify the substantial leg and use that leg to transfer the internal energy via the waist, then the stepping will be clumsy and the resulting movement of the body will be disordered. If there is up, there is down; if there is forward, there is backward; if there is left, there is right:99 This principle relates to the balance of opposing energies within the postures of the form. Consider, for example, the posture of White Crane Spreads Its Wings, which occurs in a number of different styles. The right arm and hand are directed upward. This, in turn, is offset by the left arm and hand, which are directed downward. These two energy vectors counter-balance each other and maintain the overall balance of the body. The same can be said of the directions right and left. In the posture of Part the Wild Horse’s Mane, Right, for example, the energy on the right side of the body is counter-balanced by the energy on the left side of the body. Many students simply dangle the left hand in this posture without putting any energy into it. This is a mistake and violates the principle that, “If there is right, then there is left.” It is clear from the two examples cited in the preceding paragraphs that students must obey the principle of the balance between up and down, left and right, and forward and backward in the individual postures within the

form. However, this same principle applies when executing the transitions between postures. To illustrate this, consider the transition from Ward-Off Right to Rollback in Yang style taijiquan. When we want to roll backward to the left corner, we first extend the right, ward-off arm diagonally forward to the right corner. This embodies the principle: “To go left, first go right.” Sometimes the changes in direction are not so obvious, but they should at least be expressed energetically. Examine the transition from Lifting Hands to White Crane Spreads Its Wings from the Yang style. We want the right arm to rise up (the upward spreading wing), so we first drop it downward and shift forward slightly into the transitional Shoulder Stroke posture. From there we continue into the posture of White Crane Spreads Its Wings and raise the right arm upward to deflect an incoming attack to our right side. This transitional sequence conforms to the principle that dictates, “To go up, first go down.” In the curved seek the straight: The Taijiquan Lun, written by Wang Tsung-yueh, includes the sentence: “It is not excessive or deficient; accordingly when it bends, it then straightens.”100 Later in this Lun it is written: “In the curved seek the straight, store, then release.”101 Both of these instructions contain meaning on two levels, the external and the internal. Let’s consider each of these two dimensions separately, beginning with the external. In all the postures of the form, the limbs should express curved shapes. The spine should also contain an ‘S’ curve. Taken together, the four curves of the limbs plus the elongated curvature of the spine constitute the Five Bows. These will be addressed in greater detail in the following chapter. For now, consider the application of the Five Bows in the posture Single Whip in Chen style taijiquan. If we analyze the right arm and left arms individually, we can see that the elbow of each arm is dropped somewhat, creating a gentle curve in each arm that resembles the curve of a bow. Additionally, the two arms, connecting across the shoulder yoke, together form a larger curve. The spine is erect, but, due to the opening of the two kua and the sinking of the torso onto the wide horse-riding stance, the spine itself is gently curved, forming another bow. Finally, each of the legs individually form bows, and the roundness of the crotch (dang) connecting the two legs forms yet another bow. So, in this one posture we see how the seemingly straight lines formed

by the arms and the legs as well as the spine actually are curved in shape. Energetically, we must also seek the straight in the curved. This has to do with the issuing of jin, or intrinsic energy. The Taijiquan Lun also includes the statement: “The jin is stored (having a surplus) by means of the curved.”102 If we continue with the example of the left arm in Single Whip, we see that it contains jin stored in the curvature of its bow. The Lun also states: “Store up the jin (internal strength) like drawing a bow.”103 If we were to actually attack an opponent using the left hand, this stored jin would be released as if snapping a whip. This is the application of the principle: “Release the jin like releasing an arrow.”104 Because the ability to store and issue jin is an essential skill in the martial application of taijiquan, this topic will be discussed in greater detail in Chapter Eleven and Chapter Twelve. Walk like a cat:105 Cat walking is often one of the first exercises taught to beginning students of taijiquan. This deceptively simple exercise teaches students to be aware of their bodies and to control the movement of their legs by consciously identifying and moving the individual muscles required to advance their feet when stepping forward. This exercise also teaches students how to walk properly without falling onto their extended foot. In order to walk like a cat, students need to be able to distinguish between the insubstantial and the substantial leg at all times. Often, when inexperienced students step through the form, you can hear the distinctive clunk as their stepping foot falls onto the floor. This is a defect in stepping that results from not having learned how to walk like a cat. One way to overcome this defect is for students to imagine that they are crossing a frozen pond. If they were to walk across the ice as they are accustomed to walking normally, that clunk might turn into a crunch as they break through the ice. It is better to place each step gingerly and with sensitivity before committing the full weight of the body onto the stepping foot. Cat walking also requires that the student to learn how to place the weight completely upon the substantial leg in order to step out weightlessly with the insubstantial leg. Initially, the student will only be able to take short steps forward without committing the error of falling onto the advancing foot. It takes greater skill and leg strength to take longer strides. This is especially true in the form, where we are continually stepping forward and backward and even out to the corners. One indication of a practitioner’s skill is the

length of his or her steps when executing the form. In order to increase the length of his or her the stride and still walk like a cat, the student must learn to sink into the substantial leg, lowering the entire body somewhat. This requires not only strength in the thigh and calf muscles; it also requires the student to open the kua. This is the real secret to walking like a cat. Most students focus on the leg itself, but unless the kua is opened first, it will be difficult to move the leg freely and step out lightly. Opening the kua is best accomplished through stretching and loosening exercises such as the ones presented in Chapter Four of this book. Abraham Liu, a senior student of Cheng Man-ch’ing, used to exhort his students to “go lower and step out longer.” Master Liu would quote his fellow senior student, Ben Lo, on this subject: “No burn, no earn.” Legs would burn, grimaces could be seen on straining faces, and groans could be heard. Nonetheless, those students who persisted, who put in the effort required to go lower and step out longer, gained valuable strength and mobility and could be seen cat walking around the studio like leopards and tigers. It was quite a sight to behold. The form is like that of a falcon about to seize a rabbit, and the shen (spirit) is like that of a cat about to catch a rat:106 This sentence, taken from the Taijiquan Lun of Wang Tsung-yueh, expresses the martial aspect of the solo form. The civil aspect of the form is to treat the movements as a moving meditation. A different approach is to practice the form as if facing an imaginary opponent. Imagine that each transition and each finished posture is directed toward an opponent. Zeng Weiqi, who co-authored the book Wu Style Taijiquan with Wang Peisheng, wrote that, when one practices the taijiquan solo form, one should visualize engaging with an opponent. Only by visualizing the martial application of each posture can one have the possibility of employing the postures in actual combat.107 For example, when executing Two Fist Blow Ears (Box the Ears) in either the Wu or the Yang style, you may want to visualize stepping into an imaginary opponent with the right leg and striking both of his ears fiercely with clenched fists. The trick here is performing this devastating attack in the mind only and not in the body. We don’t want to exhibit any tension in the muscles of the arms or the shoulders. Nor should the fists be tightly clenched. Rather than demonstrate the power of the double-fist strike externally with

force, we express it internally through our spirit of vitality. Outwardly our demeanor is calm, and the posture is soft and relaxed. Internally, our spirit of vitality is raised and our intent is focused. It is the yi that is like a falcon about to seize a rabbit or a cat about to catch a rat. The only external evidence of our martial intent in this posture can be found in the eyes. It is often said that the eyes are the windows to the soul. As such, we can use our eyes to express the internal martial spirit of the shen, even while we maintain the external softness of the posture. This is like steel wrapped in cotton. The steel in this case is the martial intent of the yi, whereas the cotton is the softness of the skin and the relaxed muscles. Students who desire to internalize the martial aspect of the art must practice the form with this martial spirit, imagining that every posture has application and visualizing those applications as they flow through the solo form. Extension and contraction, opening and closing, should be natural:108 Many of the principles found in the Taijiquan Classics, as well as in the oral transmissions of the original taijiquan masters, deal with the connections between opposites: internal and external, substantial and insubstantial, upper and lower, left and right, up and down, etc. These are all simply manifestations of the underlying relationship between yang and yin, which are derived from Taiji. This principle from the Song of the Thirteen Postures, of unknown origin, is another example of the relationship between opposites. The connection between expansion and contraction and opening and closing can be found in every posture of the form, regardless of family style. Extension is yang; contraction is yin. Likewise, opening is yang and closing is yin. This concept has already been discussed in the section on Sun Lutang’s “The Meaning of Taijiquan” presented earlier in this chapter. However, the concept is so fundamental to the correct practice of taijiquan that it bears repeating in this context. Every posture in the solo form includes both extension and contraction, opening and closing. In general, a posture will finish in either an extended and open position or a contracted and closed position. Examples of postures that are open include Single Whip and White Crane Spreads Its Wings. Examples of postures that are closed include Six and Sealing Four Closing and Hit the Tiger.

Even if a posture is considered to be open and extended, the transition to the final shape of the posture will likely contain contraction and closing. This is evident in the transition to Single Whip, in which the two hands are drawn in with the right hand forming the hook and the left hand supporting the right elbow. Similarly, with postures that are considered closed, such as Six Sealing and Four Closing, the transition to the finished posture will include both extension and opening. The transition from the posture of Lazily Tying the Coat to the posture of Six Sealing and Four Closing in the traditional Chen form includes opening and circling of the two arms, as if graciously inviting a guest into one’s home. This is like the petals of the Venus fly trap that open invitingly and then close with finality once the fly has entered the trap. Students of taijiquan should observe the continual changes from open to close and from extension to contraction as they move from one posture to the next during the execution of the solo form. These same transitions with openings and closings, extensions and contractions are also evident in the practice of the weapons forms. In general, the myriad changes of open and close, extension and contraction reflect the constant transition from yang to yin, and yin to yang, continuously expressing the dynamic nature of the Taiji circle. Avoid the fault of double-weighting: All beginning students of taijiquan are warned against committing the fault of double-weighting. Initially, this is understood to mean that the student should not place the weight of the body evenly on both feet. The only postures within the solo form in which this is permitted are the Opening and Closing postures. These postures are considered to be either the initiation or the cessation of Taiji, in which the movement of the form rises out of or returns to the state of Wuji. For all other postures, the weight is unevenly distributed between the two feet, with one leg acting as the substantial leg and bearing a greater percentage of the weight and the other leg serving as the insubstantial leg and bearing a lesser percentage of the weight. Double-weighteding can also occur in the arms. In almost all of the postures, one arm can be identified clearly as the substantial arm whereas the other arm functions in a supportive role. Even in Withdraw and Push, or Six Sealing and Four Closing, where both arms appear to be pushing forward equally, the

student is advised to place more emphasis energetically on one or the other arm to avoid the fault of double-weighting in the arms. Additionally, double-weighting occurs when both the arm and the leg on the same side of the body are substantial. There should always be a cross-body coordination between the arms and the legs. That is to say, if the left arm is substantial, then the right leg should be substantial and vice-versa. Typically, the insubstantial arm is the one on the same side of the substantial leg, i.e. if the right leg is substantial, the left arm is substantial.109 The Taijiquan Classics state that the way to avoid the fault of doubleweighting is to know yin and yang. What this signifies is that one must be able to distinguish between the insubstantial and the substantial in both the arms and the legs. Not only must one avoid the fault of double-weighting on the physical level, one must also avoid the fault of double-weighting on an energetic level. This means that the yin and yang of the internal energy must also be distinguished and directed accordingly. The yang energy in the substantial arm must be balanced with the yin energy in the insubstantial arm. The same can be said of the legs. Finally, the upper and lower body must be separated energetically, with the lower body being heavy and full while the upper body is light and empty. The fault of double-weighting also arises in the interaction of pushing hands and is the most common reason why individuals are unable to uproot others and are so vulnerable to being uprooted themselves. The Taijiquan Classics state that anyone who has practiced taijiquan for many years and yet is always controlled by his opponent has not understood the fault of doubleweighting.110 This issue will be discussed in greater detail in Chapter Thirteen, which focuses on pushing hands. From the greatest softness comes the greatest hardness:111 The subtlety of the art of taijiquan lies in using softness to overcome hardness. We accomplish this through neutralizing and deflecting the force of a thousand pounds with four ounces of counterforce. In order for this approach to be successful, we must learn to relinquish all hard physical strength and to become soft and yielding. This in turn depends upon the muscles, tendons and ligaments becoming relaxed and pliant, which in turn results in the opening of the joints and their ability to allow incoming force to pass through them without resistance.

We begin by developing softness in the muscles, ligaments, and tendons. When we achieve this level of softness and flexibility, the qi is able to penetrate into the vertebrae of the spine and the bones of the limbs. Once this takes place, the marrow of the bones is replenished and the bones themselves become hard and dense. If a skilled taijiquan practitioner is struck on the arm or the leg, the blow will do no damage to the practitioner but will result in the attacker being injured as a result of striking something hard. This is called “steel wrapped in cotton” and occurs naturally as a result of many years of sinking the qi to the dantien and then circulating the qi throughout the tissues of the body, including the vertebrae of the spine and the bones of the arms and legs. This internal hardness is a special quality resulting from the dedicated practice of taijiquan. Other martial artists train to harden their skin and their bones by repeatedly striking their limbs (and even their heads) against objects such as wooden logs or buckets filled with mung beans or sand. Additional training techniques employ special poultices and liniments intended to toughen the skin. Only the art of taijiquan can generate internal hardness through the practice of external softness. This is why the internal art of taijiquan is considered superior to those external martial arts. No shape no shadow. Entire body transparent and empty:112 This principle is not so much a principle as it is a description of the transcendent state of the individual when practicing taijiquan at a high level of accomplishment. These two sentences come from the Song of the Real Meaning. This song provides an expressive description of the internal state of the stylist while practicing taijiquan. The mind and spirit of such a practitioner (the yi and shen) are so refined and free from extraneous thoughts and preoccupations that they have no shape and cast no shadow over the perfection of the form. That is to say that the form, and the yi and shen of the person performing it, are flawless. Obviously, even the most advanced practitioner cannot not become physically transparent and empty. However, the state of mind of the skilled practitioner can and does express these qualities. The Song of the Real Meaning is brief. In total it contains eight lines, each of which conveys an image of a particular quality that should be exhibited when practicing taijiquan.

The final three lines in this song state that one should be as clear as a fountain, as peaceful as calm water, as turbulent as a mighty river, as fierce as a stormy ocean. One should devote one’s whole being to developing one’s spirit.113 These concluding lines describe how the yi and the shen are clear and peaceful, while the qi that flows throughout the body is abundant and powerful. The final line of the song emphasizes the spiritual aspect of the practice of taijiquan. At the highest level, the practice of taijiquan transcends the realm of the martial and ascends to the highest level of the civil, that of spiritual cultivation. As Master Huang used to say, “Change your taiji; change your life.” When dedicated students apply themselves whole-heartedly to the practice of “true” taijiquan, their whole life can become elevated to the realm of spiritual selfcultivation. This topic will be addressed in the final two chapters of this book.

Conclusion The fundamental principles of taijiquan presented in this chapter have been selected from the many principles identified and elaborated upon by the creators of the various family styles, their disciples, and those past scholars of the art whose insights and understanding resulted in the Taijiquan Classics. It is difficult to identify a perfect subset of all such principles. This chapter has attempted to identify and include those general principles which collectively serve to describe and to define taijiquan as unique from all other styles of martial arts. Also, as stated in the introduction to this chapter, the general principles presented in this chapter do not include those specialized principles that relate specifically to the martial applications of the postures, the practice of pushing hands, or to the development and issuing of qi in the form of jin. These more narrowly defined principles will be presented in subsequent chapters in this book as appropriate. The following chapter includes a selection of the individual postures taken from the solo forms of the Chen, Yang, Wu (Chian-chuan), and Sun styles. Many of the principles introduced in this chapter will be employed to explain the external structures as well as the internal dynamics of each of these postures. Only when the principles of the art have been understood and internalized can students truly undertake a study of the individual postures.

This presentation should prove invaluable to all practitioners of the art of taijiquan, regardless of whether they are interested primarily in either the civil or the martial aspect of the art.

Chapter Ten

The Individual Postures of Taijiquan

For the majority of taijiquan practitioners, the solo, or empty-hand, form constitutes the greatest part of their involvement with the art. Even for those of practitioners whose interest extends to weapons, pushing hands and sparring, the solo form represents the cornerstone of their practice. For this reason, it is critical to practice the form correctly. The correct practice of the form entails two separate yet integrally related components: the internal and the external. The internal aspect of the form involves the use of the yi to lead the qi, which in turn directs the movements of the body. The external aspect of the form consists of the postures themselves and the transitions that connect them into a continuously flowing sequence. When discussing the individual postures of the traditional empty-hand form, it is important to realize that each posture as shown in a photograph or described in writing is merely a fixed point in a continuous flow of movement. Fu Zhong-wen, a close disciple of Yang Chen-fu, referred to these fixed points as dingdian. In the past, students would hold individual postures from the form much as we hold postures when standing in zhan zhuang. However, for most modern practitioners of taijiquan, each individual posture is merely a freeze-frame extracted from a continuous video that constitutes the form. Continuing with the video analogy, if the individual freeze-frame images that represent the fixed postures are not correct, then the overall form obviously will not be correct. Taken in this context, it is important to recognize that each posture occurs in relationship to the posture that precedes it and the posture that follows it. The transitions from one posture to the next are just as important as the postures themselves. As difficult as it is to provide clear, written descriptions of each posture, it is even more challenging to furnish concise, intelligible

descriptions of the transitions between postures. For this reason, this chapter will focus primarily on the details of the postures themselves. The preceding chapters presented in detail both the principles and the neidan practices that enable the student to guard the yi and the qi in the dantien; lead the qi up the spine and around the torso via the Microcosmic Orbit; and finally to lead the qi out into the extremities via the Macrocosmic Orbit. The student must be aware at all times of the qi and must be able to lead it to the proper location within the body using the focused power of the mind. This chapter will describe the specific pathways that the qi should follow in order to reach the extremities in various postures. In addition to describing the path of the internal energy for each posture, the physical structure of each selected posture will be described. Each posture has a specific shape that defines the posture in terms of both its form and its application. Yang Cheng-fu stated that only when the individual postures are correct and the principles are understood would the practitioner truly be practicing taijiquan. He added that, if the postures are not correct and the inner principles are not understood, then even if the postures resemble taijiquan, there is no actual difference from external martial arts.114 The shapes of the postures are important for two reasons. First, each posture derives its basic shape from the martial application for which it is intended. This represents the martial aspect of the posture. If the posture’s shape is incorrect, then the martial application will be ineffective. Chen Zhaokui explained that every posture should be correct and that the martial application of every posture should be clear. When the practitioner is able to visualize the martial application of each posture, then the posture will incorporate every aspect of the body correctly.115 Second, if the posture is structurally incorrect, the qi may not be able to flow in an unobstructed path out to the extremities. This will limit the health benefits of the posture, which relate to the civil aspect of the posture. It is also important to understand that if the structure of the posture is faulty, the practitioner may actually do harm to his or her joints. One example of this is the practitioner who extends the front knee over the toes when holding a bow stance. Over time, this bad habit is likely to damage the cartilage and the tendons associated with the knee joint.

Despite the importance of performing the postures properly, many practitioners fail to do so. They commit the errors of leaning, butting, overextending, failing to distinguish between substantial and insubstantial, lifting the shoulders, raising the elbows, holding the hands improperly, or placing the feet incorrectly. This may be due to a number of factors, including incorrect understanding or improper instruction. Unfortunately, incorrect postures are very difficult to correct. Fu Zhong-wen commented upon this sad state of affairs, which was just as prevalent in his era as it is today. He wrote that, while it is easy for practitioners to imitate the form in rote fashion, they in fact never mastered the secrets of taijiquan. A close examination of any specific posture revealed that every aspect of the posture was flawed. He lamented that even if the master corrected these postural defects in the morning, they reappeared the same evening. Fu Zhong-wen concluded by stating that to study taijiquan is easy but to correct taijiquan is difficult.”116 It requires a certain degree of humility on the part of practitioners to accept that they may not have been performing the postures correctly, especially if they have been practicing for a long time. There are individuals with one, five, ten and even more years of experience who continue to perform one or more of the postures in their form incorrectly. This is analogous to a tennis player who has been playing with an incorrect grip or a golf player who has been swinging the club incorrectly. Such persistent bad habits will require constant correction and focused attention in order to be reversed. Obviously, it is best to work with a knowledgeable teacher who understands the underlying principles as well as the correct structure of each posture. However, in the absence of a skilled teacher, one can engage in self-analysis and self-correction by working independently. Two invaluable aids for selfstudy are a full-length mirror and either a still or a video camera. Full-length mirrors, plate glass windows, and other reflective surfaces are very helpful in enabling practitioners to analyze their postures and make any necessary corrections when working without the guidance of a teacher. Also helpful are still photos and videos that friends and fellow practitioners may take or record. Sometimes photos and videos can facilitate insights and breakthroughs that neither a teacher nor viewing oneself in the mirror can provide.

The following material presents detailed descriptions of the correct internal and external aspects of selected postures taken from the solo forms of the Chen, Yang, Wu (Chian-chuan) and Sun styles of taijiquan. The purpose of this chapter is to provide practitioners with a basic understanding of both the external and internal aspects of specific postures. Once a practitioner understands the basic principles to be applied in a specific posture, he or she should be able to extrapolate from that particular posture and should then be able to apply the same principles to any other posture in the form. It is helpful to have access to a book that provides both textual descriptions and photographic images of each of the postures in the entire solo form. For this reason, it is highly recommend that practitioners obtain a reference text for their preferred style of taijiquan. The bibliography that included in this book includes excellent reference books that contain photos and/or drawings of past or present masters of each of the styles presented in this chapter. In order to make this chapter relevant to any taijiquan stylist, the presentation of the selected postures will begin with an analysis of the Original Thirteen Postures of taijiquan. These consist of the Eight Gates (bamen) or intrinsic energies: peng, lu, ji, an, chou, kau, lieh, and tsai, or Ward-Off, Rollback, Press, Push, Elbow-Stroke, Shoulder-Stroke, Split, and Pluck; plus the Five Steps (wubu): Advance, Retreat, Look Left, Gaze Right, and Center Step. The Original Thirteen Postures are said to have been created by the mythical Taoist figure, Chang San-feng. However, the actual source of these thirteen postures is shrouded in the mists of martial arts legend and conflicting historical records. What is certain is that Chen Wangting, the founder of the Chen family style of taijiquan, which we now know is the origin of all present styles of taijiquan, included elements of these basic thirteen postures in his original forms. As explained in Chapter One of this book, the significance of the Original Thirteen Postures derives from the close association between the art of taijiquan and both Bagua theory and Five Elements theory. The following analysis of the Original Thirteen Postures begins with four postures selected from the traditional Yang style of taijiquan. These four Yang style postures represent each of the Four Sides of the Eight Gates: peng, lu, ji and an. Four postures representing the Four Corners of the Eight Gates: chuo, kau, lieh, and tsai have been selected from the Wu (Chian-

chuan) style of taijiquan. To represent the Five Steps, five postures from the Sun style of taijiquan are included. These decisions are somewhat arbitrary, as it is possible to find postures from any of the major styles of taijiquan to represent each of the Eight Gates and the Five Steps. In addition to the thirteen postures chosen from the Yang, Wu and Sun styles of taijiquan, several representative postures from the Chen style of taijiquan are included to complete the chapter. Obviously, it is not possible in the limited space of a single chapter to include every posture from every family style of taijiquan. Rather, it is the goal of this chapter to provide both a written and a photographic explanation of how the principles of taijiquan presented in the preceding chapter may be applied to the individual postures of any style of taijiquan. As stated previously, an intelligent and detailed analysis of the photographs and written explanations presented in this chapter should enable the reader to extrapolate to those postures of each style not covered here. With regard to the presentation of the postures from the different family styles, the postures presented in this chapter are based upon photographs of specific individuals representing the different families as follows: Yang Zhenduo for Yang style; Wu Ying-hua for Wu (Chian-chuan) style; Sun Lutang for the Sun style; and Chen Zhenglei for the Chen style. Despite the attempt to correctly duplicate the postures of these past and present masters, there may be some readers who will claim that the postures are not correct. To those critics, the response is that every effort has been made to present these postures as the written and photographic record describes them.

Selected Postures from Yang Style Taijiquan Before presenting the selected postures from the Yang style, it is necessary to identify certain key points that must be incorporated into every posture of this or any other style of taijiquan. First and foremost, the overriding principles to be obeyed in every posture, regardless of family style, are the three First Principles outlined in the preceding chapter. The first of these is: “Guard the mind and the qi together in the dantien.” Second is: “An intangible and lively energy lifts the crown of the head.” The third principle to be observed is: “The mind moves the chi and the qi moves the body.” In addition to these essential principles, the following are the five points that

should be observed in order to ensure that the postures are structurally correct and to enable the proper circulation of qi to the extremities. These five points are best explained by referring to the drawing in Figure 10-1, which is shown below:

Figure 10-1

1. One central axis: Make sure that the niwan point at the crown aligns with the huiyin point located at the perineum. This requires that the weilu point located at the coccyx be tucked under. The alignment of the niwan and the huiyin creates a central vertical axis around which the waist and torso can rotate. Establishing this central axis allows the student to “stand like a balance and turn like a wheel.” 2. Keep the two bowls level: The two bowls refer to the pelvis, which can be visualized as an upright bowl, and the crotch, which can be thought of as an overturned bowl. These two bowls were introduced in Chapter Six. Recall that if either of these bowls are tipped forward or backward, the physical structure will become misaligned both horizontally and vertically. 3. Open the three gates of the spinal column: These three gates are the energy gates located along the Governor Channel: the niwan, the yuchen, and the weilu (known respectively as the Heaven’s Gate, the Jade Pillow and the Sea Bottom Cavity.) The ability to open these three energy gates depends upon the previous two points as well as being able to lengthen the spine and suspend the head-top from above. At first, the idea of the three gates will be just that, an idea. However, over time you should begin to feel these energy gates opening and then the qi will begin to flow through them as it travels up the spinal column to circulate out to the arms, hands and fingers. 4. Place your awareness on the four energy gates in the extremities: These are the two laogong points in the palms of the hands and the two yongquan points in the soles of the feet. Keeping your awareness fixed on the yongquan points enables you to focus on your stance. Is it correct in distance and width? Are the feet pointed in the correct direction? Of course, an added benefit of placing the awareness in the yongquan points is that it helps you to maintain your root. Similarly, by placing your awareness in the laogong points, you are able to focus on the positions of the two hands. Where should they be held? How are the hands related energetically to the rest of the body in that particular posture? 5. Store and release energy from the five bows: The five bows consist of the two arm bows, the two leg bows, and the spinal bow. In every posture there must be a curvature to each of the arms as well as in each

of the legs. Neither the arms nor the legs should be extended fully. Full extension of either the arms or the legs indicates that you have overcommitted in one direction. If you are overcommitted, it is easy for the opponent to borrow your energy and uproot you. Instead, if the arms and legs are curved, you are able to store energy to be released as jin. Also, the curvature in the arms helps to cushion any incoming force, while the curvature in the legs allows the legs to act like shock absorbers. Concerning the breath, the breathing technique when performing the form is somewhat different than the breathing technique that was introduced in Chapter Seven. In neidan practices, the breath is both drawn in and expelled out through the nose. When practicing the form, the breath should be inhaled through the nose but exhaled through the mouth. The mouth should appear to be closed, but must maintain a slight opening through which the breath can be exhaled. Regarding this point, Fu Zhong-wen wrote that the mouth seems to be open but is not really open. He instructed the practitioner to breathe naturally by inhaling through the nose and exhaling through the mouth. If this natural breathing produces saliva, it should be swallowed, as this saliva is very regenerative.117 Beginning students are counseled to follow Fu Zong-wen’s advice and to breathe in a natural way. When learning the postures and transitions initially, it is not necessary to focus one’s attention specifically on the breath. However, more advanced students should become aware of the role of the breath in executing the postures. In general, one should inhale on a withdrawal or a closing and exhale on an expansion or opening. The specific breathing for each posture will be described in the discussion related to that posture in the sections below. Ward-Off Left: The Ward-Off posture, on either the left side or the right side, represents one of the Four Sides of the Eight Gates of the Bagua. As stated previousy, the Four Sides are Ward-Off, Rollback, Push and Press. The Chinese terms for these postures are peng, lu, ji and an. The Ward-Off posture relies upon expansive peng jin energy to protect the body by warding off a frontal attack. Peng energy feels like a large, inflated ball held in front of the chest. If someone were to push against this ball or attempt to strike it, they would be repelled by the expansive energy stored within the ball.

Like an inflated ball that utilizes the stored energy of the compressed air contained within it, peng relies upon the stored energy that is “compressed” within the ward-off arm. The secret to employing peng effectively is to eschew physical strength or force in favor of expanding one’s intrinsic energy out into the warding off arm. Perhaps more than any other posture, Ward-Off relies upon the stored energy of the Five Bows to repel an incoming force. The student must keep the idea of peng in mind when holding either the Ward-off Left or Ward-off Right posture. Figure 10-2a shows the posture of Ward-Off Left. To hold this posture correctly, the practitioner should stand in a bow stance with the left foot pointing forward and the right foot pointing out at about a forty-five degree angle. Figure 10-2b shows the positioning of the feet for this posture. In this posture, the left leg is considered to be the weight-bearing leg. The student should place between sixty and seventy percent of the body’s weight on this leg, with between thirty to forty percent of the weight reserved in the back leg.

Figure 10-2a

Figure 10-2b

Note that the feet form a rectangle that is longer than it is wide. This rectangle defines the limits of the posture. In particular the ward-off arm, in this case the left arm, should not extend beyond the forward edge of this rectangle. Note also that the shin of the front leg is vertical and not extended forward beyond the toes of the front foot. If either the left arm or the left knee extends beyond the front edge of this rectangle, then the student will be overextended. Overextension should be avoided for two reasons. First, when you are overextended, it is easy for an opponent to borrow your energy and uproot you. Second, by overextending the knee, you run the risk of injuring your knee. For all postures except the Opening and Closing postures, the student must be able to distinguish between the substantial arm and the insubstantial arm. In Ward-Off Left, the left arm, which expresses peng energy, is substantial, while the right arm is insubstantial. In this case, the left arm is considered to be yang and the right arm is said to be yin. This corresponds to the qi flow, which is directed to the outside of the left arm and to the back of the left hand. The qi flow for the right arm is down the inside of the arm and into the palm of the right hand. Likewise, the practitioner must be able to distinguish the substantial leg from the insubstantial leg. Recall that the leg bearing the majority of the body’s weight, which in this case is the left leg, is be considered to be the substantial leg. As has been discussed previously, if the substantial arm and the substantial leg are on the same side of the body, this creates a situation of double-weighting, which causes the practitioner to become overcommitted on that side. Nonetheless, in certain postures, including the posture of Ward-Off Left, both the substantial leg and the substantial arm are located on the same side of the body. In order to compensate for the substantial left arm and the substantial left leg in the Ward-Off Left posture illustrated in Figure 10-2a above, there must be a strong energetic connection downward from the rear, right leg into the ground. Although the back leg in Ward-Off is technically insubstantial, its role in counterbalancing the substantial left arm and substantial left leg is significant. In the case of Ward-Off Left, it is the right leg that provides both structural and energetic support to the ward-off energy in the left arm. If an opponent were to push against the left arm, the energy of that push would be directed

through the body, down into the back, right leg, and then into the ground. It is primarily the right leg that provides the root for the ward-off energy of WardOff Left. The front, left leg, which indeed bears a greater percentage of the weight, acts as the pivot point in case one needs to turn in order to redirect the incoming energy of the opponent to either the left or right side of the body. When considering the role of the two legs in any posture, it is useful to think of one leg as the “stake” and one leg as the “pillar.” In this case, the right leg is the stake: it is planted deep into the ground and acts like a buttress. The left leg serves as the pillar. The pillar is perfectly vertical, and permits rotation, whereas the stake may be planted at an angle in order to better receive the incoming energy of a push. When one leg serves as the pillar, the the foot of that leg connects to the ground via the yongquan point. The foot of the leg that acts like the stake is connected to the ground through the heel. In the posture of Ward-Off Left, the jin flows up the back of the right leg, continues up the spine, crosses over to the left shoulder and then flows out the back of the right arm and into the back of the right hand. This continuous arc of energy provides the peng jin that enables one to ward-off or repel a frontal attack. This corresponds to the adage from the Taijiquan Classics which states that the energy is rooted in the feet, released by the legs, controlled by the waist, and expressed in the arms and the hands. It should also be recognized that this same path can be followed downward in order to root an incoming push. In this case, the energy is received in the hand and arm, is controlled (directed downward) by the waist, absorbed by the (right) leg, and rooted into the ground through the (right) foot. With regard to the arms and hands, many students only pay attention to the front, left arm and hand in the posture of Ward-Off Left. Consequently, their right arm and hand can be seen dangling uselessly at their right side. Although the right arm is insubstantial, this does not mean that the arm and hand have no energetic role in the posture. There must be a complementary flow of energy up the inside of the left leg, up the spine, into the right armpit, and finally down the inside of the right arm to the laogong point in the palm of the right hand. Just as the yongquan point of the left foot and the heel of the right foot are energetically connected to the ground, so too is the laogong point in the palm of the right hand connected energetically to the ground.

This energetic connection through the laogong point of the right palm to the ground enhances the root provided by the left and right feet. An additional function of the downward curving right arm and hand is to provide protection to the right thigh and groin from any low punches or sweeping kicks directed to that side of the body. This protection is only present if the right arm and hand also contain peng energy. Recall that Ward-Off is one of the Four Sides. As such, this posture should face forward. This requires that both the hips and the shoulders be squared off to the forward direction. Although many practitioners correctly hold the ward-off arm in front of their bodies, they get lazy and don’t fully square their hips and their shoulders when completing this posture. If the hips and shoulders are not facing forward along with the warding off arm, then the full effect of peng energy cannot be expressed. The peng jin of Ward-Off is the combined jin of the whole body, not just of the arm. Rather than thinking of only the arm as containing peng, it is best to think of the entire body as an inflated ball. In this way, one is able to use the whole body to ward off an opponent. It is necessary for the practitioner to carefully analyze both the physical structure and the internal energy of the Ward-Off Left posture. The practitioner should be able to determine the balance between substantial and insubstantial on both the physical and the energetic levels. If the substantial and the insubstantial are not balanced, yang and yin will not be in harmony, and the posture will suffer from a variety of faults, such as being one-sided, double-weighted, off-balance, overextended, etc. Ward-Off postures are considered to be open postures. This relates to the principle of Open/Close, which will be discussed further in the subsequent section on Rollback. With regard to the breath, since Ward-Off Left is an open posture, the posture should be completed on an exhalation. The inhalation that precedes this exhalation should take place during the transition from Opening posture to Ward-Off Left. Ward-Off Right: Ward-Off Right incorporates the same concepts as described in Ward-Off Left above. The only difference has to do with the position of the insubstantial left hand, which is held up in support of the substantial right hand. The positioning of the two hands for this posture is represented in Figure 10-3 shown below. One point to attend to in Ward-Off

Right is that the space between the laogong points of the two hands should contain an energetic ball. Although the two points do not have to align physically, they should nonetheless connect energetically.

Figure 10-3

As with Ward-Off Left, Ward-Off Right is an open posture and should also be completed with an exhalation. The preparatory inhalation takes place during the transition between Ward-Off Left and Ward-Off Right. Note that, since two open postures follow each other, the transition between them must include a closing both energetically and physically. This closing action occurs during the transition between the two Ward-Off postures, when arms come together to hold the taiji ball on the left side of the body and the right foot steps in slightly. Ward-Off Right is the first posture in the four-posture sequence in the Yang style form known as Grasp the Sparrow’s Tail. The complete sequence consists of the following: Ward-Off Right, Rollback, Press, and Push, which includes the energies of peng, lu, ji, and an respectively. Many teachers make the mistake of trying to relate the name of this sequence to an actual martial application, such as using Rollback to grasp the tail of a bird and pull it backward. This is unfortunate, since the phrase Grasp the Sparrow’s Tail has nothing to do whatsoever with the four postures or their applications. The derivation for the name, Grasp the Sparrow’s Tail, has been examined by scholars who have studied this point. Stuart Olson provides a good explanation for the derivation of this term in his book, The Intrinsic Energies of Taijiquan.118 His explanation for this term is that at some point the Yang family desired to come up with unique names for the postures, which had been modified from the original Chen style. One of the Yang family members (or more likely one of their literate students) invented new ideographs to represent certain of the postures. The ideograph that was created to represent peng included two subcharacters. One sub-character looked like a hand and the other was shaped like a stylized bird’s tail. Those literate Chinese who had never seen this new ideograph interpreted it to mean “grasp the bird’s tail.” Thus, in Yang style, peng, and later the entire sequence of peng, lu, ji and an, became known collectively as Grasp the Sparrow’s Tail. As a result, this poetic term became part of the lexicon of Yang style taijiquan and is used universally today, even though the phrase bears no relationship to the applications of the postures in the sequence. It would be best if students of Yang style taijiquan not perpetuate the incorrect interpretation of the name, Grasp the Sparrow’s Tail. Ward-Off Right maintains the same structural and energetic principles that

apply in Ward-Off Left. The only difference between Ward-Off Left and Ward-Off Right is the position of the insubstantial hand. In Ward-Off Left, the insubstantial hand is the right hand, which is held in a guarding position adjacent to the right thigh where it protects the thigh and the groin against an opponent’s crescent kick. In the Ward-Off Right posture, the insubstantial hand is the left hand, which is held just back of the substantial right hand as shown in Figure 10-3. Although the two laogong points of the two hands are not necessarily aligned physically, they should support each other energetically. In particular, the pressing jin of the left hand supports the wardoff jin of the right hand. Rollback: Rollback is considered to be the signature move of Yang style taijiquan. Rollback is visibly the most obvious expression of the neutralizing aspect of taijiquan. Rollback incorporates the intrinsic energy of lu jin. Many beginning students misunderstand the concept of intrinsic energy, or jin, and consider jin to be explosive, or at least expansive, and only used for offense. They typically think of fa jin or peng jin when conceptualizing intrinsic energy. However, as you will learn in Chapter Eleven, there are many different types of jin, and lu jin is one of the first intrinsic energies that you need to understand and internalize if you want to practice taijiquan correctly. Lu jin is a specific type of neutralizing energy, or hua jin. It represents another of the Four Sides and also underlies the second posture in the sequence of Grasp the Sparrow’s Tail. Rollback, which is considered to be a closed posture, follows Ward-Off Right, which is considered to be open by contrast. Recall from Taiji theory that extreme yang gives rise to weak yin. This is important to understand when transitioning from Ward-Off Right into Rollback. Figures 10-4a through 10-4c illustrate this transition into the finished posture.

Figure 10-4a

Figure 10-4b

Figure 10-4c

Note in Figure 10-4a that the yang energy of peng jin has been expanded outward and slightly to the right. This is the ultimate expression of the peng energy of Ward-Off Right and represents a state of extreme yang. One cannot expand any further without seriously overextending. At this point, the extreme yang of Ward-Off Right must give rise to the weak yin that signals the beginning of Rollback. The body begins to withdraw, leading the two arms backward and downward on the left side of the body to terminate in the position shown in Figure 10-4c. The transition from Ward-off Right to Rollback involves the principle of Open/Close. Recall that Open and Close are related in much the same way as yang and yin. Throughout the form, open postures are followed by closed postures, just as closed postures are followed by open postures. In this case, Ward-Off Right is an open posture, and Rollback is a closed posture. Thus, the principle of Open/Close is upheld in the sequence of Ward-Off Right and Rollback. The transition from Ward-Off Right to Rollback also includes an element of Store/Release. If you look carefully at Figure 10-4a you will see that the torso has rotated about thirty degrees to the right. This rotation creates a degree of torque in the waist that may be referred to as the “wind-up.” The rotational energy stored in the wind-up is then released at the beginning of the Rollback movement and adds power to the waist rotation that causes the body to roll backward onto the back leg. Note also in Figure 10-4c that, although the feet have not moved, the weight distribution has shifted onto the back leg. Energetically, the peng energy of Ward-Off Right continues to flow out to the hands as yang expands to extreme yang, as can be seen in Figure 10-4a. In Figure 10-4b, the energy of peng converts to lu and returns back down and into the legs as extreme yang gives rise to weak yin. This weak yin in turn grows into the fully developed yin of Rollback, which reaches its maximum in Figure 10-4c. Remember to turn the torso backward by rotating the waist, not by turning the shoulders. Store the compressed energy created by rolling backward and shifting the weight onto the back leg in the heel of the left foot. As with all postures that include transitions between Open and Close or Close and Open, the breath coincides with the opening and the closing. On the close there is an inhalation and on the open there is an exhalation. Since Rollback is a closed position, you should inhale as you Rollback. Use the inhalation to

guide the intrinsic energy from the outstretched hands shown in Figure 10-4a back down and into the legs and feet as shown in Figure 10-4c. The finished posture of Rollback is illustrated in Figure 10-4c. This represents the position of the body after rolling back an opponent from a frontal attack. In this position, the imaginary frontal attack has been neutralized and the hypothetical opponent has been rolled back to the left side of the body. It is apparent that the substantial leg is the left, weight-bearing leg, and the insubstantial leg is the front, right leg. The substantial arm is the left arm, which has been used to connect to the opponent and roll him back. The right hand has functioned in a supportive roll in assisting in the rolling back of the opponent, so it is the insubstantial arm. Note that throughout the transition from Ward-off Right into Rollback, the torso is maintained in an upright position, with the niwan and the huiyin points in alignment. There is no leaning or bending over to the left side of the body. The upright torso acts as the vertical axle and the waist as the wheel in facilitating the rotational action of rolling back. The other four postural points introduced at the beginning of the section on Yang style postures are also evident. As stated at the beginning of this section, it is important for practitioners to review each of these five points when correcting individual postures. As suggested previously, reviewing one’s postures in a floor-length mirror is helpful in making such self-corrections. Press: The posture of Press represents another of the Four Sides. Like WardOff, Press is used to repel an opponent. The difference, however, is that Press is more focused in its effect. Press relies upon the concentrated energy of ji jin. Although Press can be performed with any part of the body, in the sequence Grasp the Sparrow’s Tail, Press is implemented using either the two hands pressed together or the inside hand pressed against the outer forearm. See Figures 10-5a and 10-5b.

Figure 10-5a

Figure 10-5b

When the two hands are pressed together, as in Figure 10-5a, the combined energy of the two laogong points can be issued into the opponent. This creates a more concentrated form of ji jin that can cause serious injury to the opponent if issued against his sternum or ribs. A gentler and kinder approach is to place the laogong point of the inner palm against the inside forearm of the outer arm, as illustrated in Figure 10-5b. This method employs the entire forearm as the pressing surface, which spreads out the ji jin and is less likely to cause serious injury to the opponent when the jin is issued. Press is an open posture and follows Rollback, which is a closed posture. This conforms to the principle of Open/Close or, in this case, Close/Open. The transition from Rollback to Press occurs when the yin of Rollback reaches its maximum and transforms into weak yang. This can be seen in the setup for Press, which is depicted in Figure 10-5c. The leading arm in the Rollback movement is the left arm. As the practitioner rolls back into position 10-5c, the intrinsic energy of lu is stored in the heel of the back foot. The energy that is stored in the rear leg is then gathered in the two arms. This is like drawing back the two arm bows. This stored energy is finally released as ji jin in the Press posture depicted in Figure 10-5d. The action of the waist in Press is critical. In Rollback, the waist was used to turn the torso to the side. When this rotation reaches its furthest point, the hips begin to rotate back toward the front. The forward rotation of the waist and hips imparts centrifugal force to the left arm and causes it to swing around in an upward arc to the position shown in Figure 10-5c. The rotation of the left arm upward occurs at the end of the inhalation that began with Rollback. Finally the breath is exhaled as the hands press forward in Figure 10-5d.

Figure 10-5c

Figure 10-5d

Like Ward-Off, the hips and shoulders in Press should be squared off to give maximum effect to the ji jin issued by the two hands or the hand/forearm connection described above. Figure 10-5d shows the final position of the Press posture. As with Ward-Off, don’t allow the pressing hands or hand/forearm connection to extend beyond the toes of the front foot to avoid the error of overextending. Because the feet have not moved since the beginning of the Grasp the Sparrow’s Tail sequence, you don’t have to concern yourself with placement of the feet as you transition from Rollback into Press. However, do make sure to distinguish between the substantial and the insubstantial in both the arms and the legs. With regard to the arms, the right arm is substantial and the supporting left arm is insubstantial. As with the Ward-Off Left and Ward-Off Right postures, the front leg bears more weight than the rear leg. However, again as in the two Ward-Off postures, it is the rear leg that is generates the jin by supplying the upward energy from the ground to support the energy of Press. Push: The posture of Push represents the fourth of the Four Sides and employs an jin, or Push energy. The application of an jin is to intercept an opponent’s incoming attack and to push it downward and then upward and forward in order to prevent it from reaching your body. Push is the appropriate response to use when the opponent attacks with Press. Many students of Yang style taijiquan do not realize that Push includes a downward component and simply apply Push as a linear, horizontal force. In addition to the downward aspect of Push, the posture of Push in the Grasp the Sparrow’s Tail sequence also includes a withdrawal prior to the execution of the push. This component of the movement is demonstrated in Figure 106a. The purpose of the withdrawal is to entice the opponent to overcommit to his attack. Combined with the downward aspect of Push, the withdrawal neutralizes the incoming energy and causes it to dissipate. The neutralization that occurs in Figure 10-6a occurs on both a physical and an energetic level. This neutralization is accomplished by inhaling on the withdrawal while drawing the opponent’s energy downward through the arms, into the spine, and then down into the back leg and into the heel of the back foot. In order to accomplish this without using force, you need to attach energetically to the opponent’s body (or hands, arms, etc.) and gently lead him inward and

downward using a small amount of downward pressure to neutralize the onslaught of his frontal attack. It is important to understand that the intrinsic energy of an jin includes both a downward and a horizontal component. The downward component of Push occurs during the withdrawal and can be seen in Figure 10-6b. Once the opponent has expended his energy without effect, he will realize that he is overextended and will attempt to retreat. At this point, you can connect with his body and add the horizontal component of Push to send him flying backward. See Figure 10-6c.

Figure 10-6a

Figure 10-6b

Figure 10-6c

Cheng Man-ch’ing referred to the combination of withdraw and push as ti fong. This technique is highly effective in pushing hands. The correct application of ti fong enables a smaller player to push a larger player with apparent ease by adding his own pushing energy to the larger player’s retreating energy. The smaller player only has to add a small amount of additional energy in order for the resulting push to have a powerful effect. Again, the key here is to adhere to the principle of using four ounces to repel a thousand pounds. The posture of Push contains both Close and Open. As such, it is complete in and of itself. Recall that Press is an open posture. If Push were to follow Press without the withdrawal component, together they would constitute two sequential open postures. This would violate the principle of Open/Close. However, by incorporating the withdrawal between Press and Push (Figures 10-6a and 10-6b), the two postures of Press and Push constitute a sequence of Open, Close, and Open, and the integrity of the principle is maintained. The breath in this case follows the principle of inhaling on the withdrawal and exhaling on the push. In accordance with the breath, the intrinsic energy is withdrawn into the back leg as hua jin on the inhale and expressed outward as an jin on the exhale. As with Press, it is important for both the hips and the shoulders to be squared off to the front in order for the push to achieve its maximum effect. With regard to the substantial and insubstantial legs, the front leg is the substantial and the back leg is insubstantial, just as in the postures of WardOff and Press. The back leg functions like a spring: it is loaded, or compressed, on the withdrawal and unloaded, or released, on the push. In the push phase, in which both arms appear to be equal, we can look to the legs in order to determine which arm is substantial and which is insubstantial. Since the right leg is energetically substantial, we must treat the left arm as substantial and the right arm to be insubstantial. The practitioner needs to be careful not to emit jin equally in both arms in order to avoid the fault of double-weighting. Recall that when energy is expended equally on both sides of the body, the result is double-weighting. Most students know not to be double-weighted in the legs, but ignore the injunction against being double-weighted in the arms, especially when applying Push. A double-weighted push is just as bad as a

double-weighted stance in that the person applying the push is easily controlled. If both sides are full, how can one neutralize an opponent’s counterattack? For this reason, it is important to push primarily with one arm and employ the other arm in a supporting role only.

Selected Postures from Wu Style Taijiquan Because the Wu (Chian-chuan) style of taijiquan developed from the Yang family style of taijiquan, it is understandable that these two styles share many of the same characteristics and qualities. A number of the postures in the long forms of the two styles even have the same names. However, there are also noticeable differences between the postures of the two styles. Despite these apparent differences, the postures of the Wu style contain the same essential elements that fully express the original characteristics of Yang style taijiquan: agility, smoothness, an even pace, and continuity. As with Yang style taijiquan, Wu style taijiquan is fundamentally based upon the dual foundations of Bagua theory and Five Elements theory. Accordingly, there are postures in the traditional solo form that are imbued with the intrinsic energies of Ward-Off, Rollback, Press, Push, Split, Pluck, Elbow-Stroke and Shoulder-Stroke. Having already presented postures from the Yang style that are representative of the Four Sides: the postures of WardOff, Rollback, Press and Push, this section will present four postures from the Wu style that represent the Four Corners: the postures of Split, Pluck, ElbowStroke and Shoulder-Stroke. Remember that, as with any style of taijiquan, when performing postures from the Wu style, one must always adhere to the principles presented in the preceding chapter. In particular, one must pay attention to the Wang Peisheng’s instruction that before making any movement, first lift your head lightly and loosen the joints, especially the shoulder joints and the hip joints.119 Also be aware that, whichever posture you are performing, you must adhere to the general principle that your arms and legs should move in a coordinated manner and that your shoulder should move in unison with your hip, your elbow should move in conjunction with your knee, and your hand should move in with coordination with your foot.”120 One additional point should be made here regarding the characteristic leaning that occurs in a number of Wu style postures. This leaning is accomplished

by straightening the back leg and aligning the spine and the torso with the inclined angle of the leg to form a straight, diagonal line. At first glance, this inclined posture would seem to violate the principle of zhong ding, or Central Equilibrium. However, there are several underlying justifications that support this seemingly unorthodox postural inclination. First, by straightening the entire body, from the foot up to the head-top it is easier for the qi to circulate throughout the body.121 Additionally, by maintaining a straight line from the back leg up to the neck and head, any stress or muscular tension in the lower back is relieved. It is said that, of all the styles of taijiquan, the Wu style is best for those who suffer from lower back pain. Finally, the forward leaning that occurs in many of the Wu style postures supports the martial application of those posture, in particular the injunction to follow your opponent’s closing without allowing him the opportunity to change to opening.122 Parting the Wild Horse’s Mane: The posture of Parting the Wild Horse’s Mane in Wu style incorporates three of the Four Corner’s intrinsic energies of taijiquan: lieh, chou, and kao. However, this discussion will focus on the intrinsic energy of of lieh, or Split. The posture of Parting the Wild Horse’s Mane includes an initial closing in as shown in Figure 10-7a. This closing is followed by an opening at the conclusion of the posture illustrated, which is evident in Figure 10-7b. Note: this posture occurs in both a left and a right configuration. The transition from the closed posture in Figure 10-7a into the open posture of Figure 10-7b is accomplished by a diagonal stepping out with the right foot. This results in the final posture being completed to the corner direction of northwest. In the traditional Wu style form, this posture occurs three times, twice to the northwest and once to the southwest.

Figure 10-7a

Figure 10-7b

Within the posture of Parting the Wild Horse’s Mane, the intrinsic energy of lieh, or Split, is expressed in the transverse movement of the two arms and hands. The substantial right arm is directed upward and outward, with the palm of the right hand facing up toward heaven (a yang orientation). The left, insubstantial arm is directed downward, with the palm of the left hand facing down toward earth (a yin orientation). The up-reaching right arm (the substantial arm) is offset by the downward energy of the insubstantial, left leg, which acts as the stake in this posture. The lower left arm, which serves in a supportive role and is insubstantial, is linked energetically to the right leg (the substantial leg), which serves as the pillar in this posture. Without entering into a detailed description of the martial application of this posture, which will be addressed at length in Chapter Fourteen, the intrinsic energy of lieh in this posture is evidenced by the splitting apart of the two arms, as stated in the preceding paragraph. The left hand, which was held over the right hand in the preparatory posture shown in Figure 10-7a, is used to intercept the opponent’s left arm and draw it down and across the practitioner’s body. Simultaneously, the right arm, which was folded under the left arm, is raised in an upward arc to attach to the opponent’s torso across his upper chest. The right hand faces up and contains yang energy. As such, it is the substantial hand. The left hand, which faces down, contains yin energy and is connected to the earth to aid in offsetting the heaven energy of the right hand. The left hand, therefore, is considered to be the insubstantial hand. The two legs act in harmony with the two arms: the right leg is the substantial leg and the left leg is the insubstantial leg. The opposing angular direction of the two arms effectively splits the opponent, causing him to bend backward at the waist and to fall over. This is facilitated by the practitioner’s right leg, which has cleverly stepped in and behind the opponent’s left leg, serving as a fulcrum over which the opponent will trip when tilted backward by the splitting action of the two arms. The bifurcated energy of lieh in this application adheres to the Taijiquan Classics, which state that: “Where there is an up there must be a down, and where there is a right there must be a left.” The upward and rightward thrust of the right, substantial arm is matched by the downward and leftward pull of the left, insubstantial arm. Also, as the two photos in Figure 10-7a and Figure 10-7b reveal, the final, open posture of Parting the Wild Horse’s Mane is

preceded by the closed preparatory posture in which the two arms are folded in next to the body. The closed position of the two arms in Figure 10-7a is like that of two spring-loaded blades that are held closed until the moment of release, when they spring open. This is the splitting energy that is expressed in the finished posture of the Parting the Wild Horse’s Mane posture. Needle at the Bottom of the Sea: The intrinsic energy of tsai, or Pluck (sometimes referred to as Pull-down), is employed in the posture of Needle at the Bottom of the Sea. In this posture, the right hand is used to intercept and grasp the opponent’s right wrist and then to pull it downward, causing the opponent to bend forward under the practitioner’s control. The action of Pluck is preceded by a gathering movement in which the practitioner connects with the incoming punch of an imaginary opponent, as portrayed in Figure 10-8a. Having connected with the opponent, the practitioner proceeds to pull him downward as illustrated in Figure 10-8b. The power of the downward pulling is provided by the bending of the waist and does not come from either the arm or the shoulder. Thus, one relies upon the bending power of waist and legs rather than the muscular strength of the arm or the shoulder. Energetically, this is accomplished by using the yi to lead the qi forward and then down through the right arm and into the fingers of the right hand. The sinking of the right hand is accomplished primarily by bending the waist. This application demonstrates the technique of using tsai force (plucking). Bending at the waist increases the strength of the plucking energy.123 It is very important when performing this posture to lead the qi into the fingers of the right hand. At the same time, the practitioner must also direct some of his awareness backward and down into the right leg in order to anchor the posture. Otherwise, the practitioner may topple forward at the conclusion of the posture.

Figure 10-8a

Figure 10-8b

As can be seen in the completed posture represented in Figure 10-8b, the right side is substantial and the left side is insubstantial. The role of the left arm is to support the pulling down energy of the right hand. The left leg is poised, ready to step forward or kick as needed. The left foot touches down lightly with only the toes and ball of the foot in contact with the ground. This lightness and agility, which are characteristic features of Wu style taijiquan, allow for the nimble transition into the subsequent posture of the traditional Wu style form, Fan Through the Back. Cross Hands and Step Up to Form Seven Stars: Because the shapes of the Wu style postures are somewhat rounder and fuller, and the transitions between postures are more fluid than in other styles of taijiquan, it is not always easy for the inexperienced practitioner to discern the various intrinsic energies that are hidden in the postures and their transitions. Indeed, Wu Ying-hua and Ma Yueh-liang advise practitioners of this style of taijiquan to avoid overtly expressing the intrinsic energies contained within the individual postures.124 However, if one investigates each posture and the transition that precedes it, it can be discerned that every posture and transition include multiple intrinsic energies. The descriptions of the postures provided by Wu Ying-hua and Ma Yuehliang in their book, Wu Style Taijiquan – Forms, Concepts and Applications of the Original Style, and also those of Wang Peisheng and Zeng Weiqi in their book, Wu Style Taijiquan, contain detailed explanations of the intrinsic energies and martial applications involved in each posture and transition. Practitioners of this style of taijiquan are referred to these two important references for further information regarding the underlying energies and the martial applications of the individual postures of Wu style taijiquan. Of all the eight intrinsic energies from the Bagua, Elbow-Stroke (chou) is the least obvious in Wu style taijiquan. However, the application of ElbowStroke can clearly be seen in the posture Cross Hands. It is also evident in the posture Step Up to Form Seven Stars. The name of the latter posture gives a hint to the embedded application of Elbow-Stroke, as the Seven Stars of Chinese martial arts refer to the seven striking surfaces of the hands, the elbows, the shoulders, the head, the hips, the knees, and the feet. The position of the elbows as potential striking surfaces is most evident in the posture Cross Hands, shown in Figure 10-9 below, but is also manifest in a less

obvious way in the posture of Step Up to Form Seven Stars, which is illustrated in Figure 10-10. In both postures, the crossing of the forearms gives the impression of creating a defensive posture of blocking an incoming attack. However, in either posture the hands or the elbows can be used in offense. When your hands are crossed at the wrists you can attack the enemy’s face with either the edges of the hands or the elbows.125

Figure 10-9

Figure 10-10

Because the forearms are crossed in both Cross Hands and in Step Up to Form Seven Stars, these two postures employ the “closed door” method when used in actual combat. In keeping with the principle of Open/Close, each of these postures is both preceded and followed by an open posture. Also, in both postures, the principle of Central Equilibrium, or zhong ding, must be maintained. In the posture of Cross Hands, the center of the body is located above the two parallel feet, each of which bears fifty percent of the body’s weight. In the posture of Step Up to Form Seven Stars, the two feet form an empty stance, with the back, right foot supporting the body’s weight. In this posture, the center of the body is located above the point equidistant between the front and the rear feet. The roles of the substantial leg and the insubstantial leg in this posture are distinct.126 Flying Oblique: Similar to the posture of Part the Wild Horse’s Mane, the posture of Flying Oblique contains several of the intrinsic energies from the Four Corners. In this discussion, the emphasis will be on the intrinsic energy of kao, or Shoulder-Stroke. As its name suggests, the posture of Flying Oblique is executed by inclining the torso toward the northeast corner, just as is the first Part the Wild Horse’s Mane posture. As in the first Part the Wild Horse’s Mane posture, it includes the directionality of a corner. However, in Part the Wild Horse’s Mane, the power of the attack comes primarily from the Split energy; in the case of the Flying Oblique posture, the attack employs the energy of Shoulder-stroke. The preparation for completing the Flying Oblique posture is presented in Figure 10-11a, shown below. From this closed posture, the left foot steps out toward the northeast as shown in Figure 10-11b. The left palm extends diagonally upward toward the northeast; at the same time, the right palm is directed diagonally downward toward the southwest. The right palm contains the intrinsic energy of tsai, while the left shoulder expresses the intrinsic energy of kao. The martial application of this posture is that, if an opponent punches with his right fist, you first divert it with your right palm using tsai force (plucking). At the same time, you extend your left arm toward his armpit and then attack him with your shoulder using the kao force (bumping with your shoulder).127

Figure 10-11a

Figure 10-11b

As with the other three intrinsic energies of the Four Corners: Split, Pluck, and Elbow-Stroke, the power of the Shoulder-Stroke in the Oblique Flying posture is generated by the coordinated movement of the upper and lower body, in this case the left hip and left shoulder. If one attempts to shoulder stroke an opponent using only the power of the shoulder, the attack will be weak and without effect. Only when the strength is extended leg, controlled by the the waist, and then issued from the shoulder will the shoulder stroke prove effective in uprooting the opponent. With regard to the distribution and quality of the qi in the Flying Oblique posture, it is similar to that in the Parting the Wild Horse’s Mane posture. The upper hand (in this case the left hand) is held palm up toward heaven and contains yang qi. The lower hand (the right hand) is held palm down toward earth and is therefore yin in nature. The two energies of yang and yin mutually support and offset each other. It is important to distinguish between yang and yin, substantial and insubstantial, in this and in every posture of the Wu style empty-hand form.

Selected Postures from the Sun Style As you will recall from the introduction to this chapter, the Original Thirteen Postures of taijiquan are based upon elements of both Bagua theory, specifically the Eight Gates (bamen), and Five Elements theory, in particular the Five Steps (wubu). The preceding two sections presented selected postures from the Yang and Wu styles of taijiquan in order to illustrate the applications of the intrinsic energies of the Eight Gates. This section will focus on the Five Steps and will draw upon examples from the Sun style in order to explain and demonstrate the application of these stepping techniques. To review, the Five Steps are Advance (jing bu), Retreat (tui bu), Gaze Right (you pan), Look Left (zuo gu), and Central Equilibrium (zhong ding). While stepping gracefully and nimbly is important to all styles of taijiquan, skill in stepping is an integral aspect of Sun style taijiquan. This is due in large part to Sun Lutang’s background in both xingyi quan and bagua zhang. Each of these internal martial arts fundamentally relies upon stepping for its unique character. In xingyi quan, the dominant method of stepping is linear in nature and employs primarily the power derived from Advance (jing bu). In contrast, bagua zhang relies mainly upon circular stepping in either the

clockwise direction, which entails the technique of Gaze Right (you pan), or the counter-clockwise direction, which utilizes the technique of Look Left (zuo gu). Additionally Sun Lutang incorporated the stepping techniques of Retreat and Central Equilibrium from the Wu/Hao style of taijiquan. Hands Strum the Lute: In Sun style taijiquan, the posture of Hands Strum the Lute incorporates the stepping technique of Retreat. Because this posture is employed as a transitional posture throughout the traditional Sun style solo form, it is valuable to explore the structure and dynamics of this posture in more detail. The completed posture is represented in Figure 10-12.

Figure 10-12

As can be seen, the front (left) foot lightly touches the ground, and the back (right) foot bears the weight of the body. The center of gravity is located to the rear. This is an example of the empty stance in the Sun style taijiquan. Sun Lutang’s commentary on this posture included the statement that the body’s center of gravity moves to the rear, while the yi and the qi remain stable. There must not be any tilting or leaning. The posture of Hands Strum the Lute represents a momentary pause in the energetic flow of the form, allowing the spirit and the qi to stabilize. Sun Lutang added that the entire posture must be correct, with no disorder in any part. He counseled practitioners to reflect seriously upon this important point. 128 In order for there to be no disorder, the practitioner must strictly adhere to the principle of Central Equilibrium. As stated previously, this principle is fundamental to the practice of Sun Style taijiquan. Practitioners of this style must ponder this principle deeply. The correct way to maintain Central Equilibrium while stepping in Sun style taijiquan (or any other style of taijiquan, for that matter) is to move from the center. Sun Lutang commented upon the method of stepping in his the treatment of the posture Appearing to Seal and Close. Students of Sun style taijiquan should investigate this technique and learn to incorporate it into their practice of this style. With regard to the two hands, the left hand is the substantial hand, with the right hand acting in support. The martial application of this posture is one of grasping or sealing and employs the intrinsic energy of na jin, which can be translated as grasping or sealing. The practitioner can imagine trapping the opponent’s right arm between his own two extended arms to apply the arm bar method of chin na, or joint locking. The practitioner’s left hand grasps the opponent’s right elbow, while his right hand connects to the opponent’s right wrist. Energetically, the yang qi in the practitioner’s left hand is directed inward toward the center in order to meet energetically with the yin qi in his right hand. This effectively seals the opponent’s arm in an arm bar joint lock and provides the practitioner with a practical means of controlling the opponent. The balance of yang and yin in the hands prevents the practitioner from being double-weighted in the arms. This energetic equilibrium, along with the fact that the center of gravity has moved to the rear, creates an overall sense of balance and harmony in what might otherwise be an over-extended posture.

Sun Lutang wrote of this posture that the entire body should be light and nimble. The internal and the external must be united by a single qi as the body moves backward.129 Tim Cartmell, the individual who translated Sun’s commentaries into English, clarified this point by adding that practitioners should feel as if they are moving backward against the current of a stream. However, during the backward movement, the intention must be directed toward the front.130 This imagery is apt for all styles of taijiquan. If we analyze the reason why any martial artist would engage in the stepping technique of Retreat, it is obvious that any retreat is in response to an advance on the part of the opponent. While the practitioner must be aware of the space behind him in order to step back with confidence, his primary focus must be on the advancing opponent. Any lapse in forward awareness is likely to present an opening for the opponent to engage with and possibly overpower the practitioner. Advance Step, Deflect, Parry and Punch: Due to the influence of xingyi quan, many of the postures in Sun style taijiquan employ the forwardstepping technique of Advance (jing bu). In Sun style, the forward step of the leading foot is normally accompanied by a following step made by the trailing foot. The reason for the following step is to add the momentum of the forward shift in the body’s mass to the attacking energy in the hands. In the Sun style posture of Advance Step, Deflect, Parry and Punch, the martial application of the hands is expressed in the combination of deflecting, parrying, and punching. It is the final technique of punching with the right hand that is enhanced by the momentum provided by the following step of the right foot. The initial advance is made with the left foot, which transitions the practitioner from the preceding posture, Hands Strum the Lute, shown above in Figure 10-12. This advance step initiates the first two hand techniques of deflect and parry. The advance step of the left foot closes the gap between the practitioner and the opponent. That is the purpose of the stepping technique of Advance. When the final hand technique of punch is executed, the momentum of the body is added to the energy of the punch through the additional follow-up stepping of the right, trailing foot. As can be seen in Figure 10-13, this results in a somewhat narrower stance than is employed in other styles of taijiquan. However, because the Advance stepping in Sun style is light, agile and

nimble, there is no defect in the resulting stance. It must be noted, however, that the ability to maintain a short stance without the tendency to topple forward or lean backward requires strict adherence to the principle of zhong ding, or Central Equilibrium. This is another indispensable characteristic of Sun style taijiquan. At the conclusion of his commentary on this posture, “A Study of Advance Step, Deflect, Parry and Punch,” Sun Lutang wrote that the entire body should be centered and that the yi and the qi should be in harmony according the Three Internal Harmonies.131

Figure 10-13

Sun’s commentary on this posture warrants additional clarification. When Sun Lutang stated that the intent and the qi should be in balance, he was alluding to the phrase yi yi yin qi from the Taijiquan Classics: “The mind (intent) moves the qi.” In order to understand the movement of the qi in this posture, we must refer to the previous posture of Hands Strum the Lute (Figure 10-12). In this posture, the left and right hands express the energy of na jin. The left, predominant hand is yang and the right, supporting hand is yin. In the transition from Hands Strum the Lute to Advance Step, Deflect, Parry and Punch, the practitioner must employ the mind to intentionally exchange the yang qi in the left hand into yin qi, and the yin qi in the right hand into yang qi, which is then directed to the knuckles of the right fist. The martial intent changes from that of na jin (sealing) to that of fa, jin (issuing). Single Whip: The posture of Single Whip appears in all styles of taijiquan. The Sun style version of this posture is different in that, unlike the frontweighted posture in the Yang, Wu (Chian-chuan) and Chen styles, in the Sun style the Single Whip posture is back-weighted, with sixty percent of the body’s weight supported by the right leg. The eyes are directed toward the fingers of the right hand. The concentration of the weight on the right leg accompanied by the right-ward direction of the eyes distinguishes the Sun style Single Whip posture from other styles of taijiquan, as can be seen in Figure 10-14 below.

Figure 10-14

In the commentary that accompanies this posture, Sun Lutang emphasized the shape of the space between the legs (the dang) as being round and full. Additionally, he stated that the body must remain upright, and the shoulders should be relaxed and open. At the same time, the legs must also be relaxed and open. When the shoulders and the legs are relaxed and open, the abdomen will also be able to relax and open. In this state, the qi will penetrate and gather in the bones.132 The above statement could just as easily be used to describe the state of song that is achieved in the body during zhan zhuang standing practice. Indeed, the moment of settling that occurs at the conclusion of every posture in Sun style can be likened to a brief period of standing meditation. It is a little-known fact that, in his later years, Sun Lutang interspersed periods of zhan zhuang standing between each of the postures of his form practice. In this way, Sun style taijiquan epitomizes the concept of stillness within movement that is a defining characteristic of true taijiquan practice. Sun Lutang concluded his commentary on this posture with the injunction to avoid attempting to suddenly force the qi in downward; instead, the practitioner should use the intention to direct the qi down into the dantien.133 As stated above, this advice could just as easily be applied to the practice of zhan zhuang standing meditation. Begin with qi shen dantien: “Guard the mind and the qi in the dantien.” Once the qi has gathered in the dantien, the practitioner can move the qi out into the bones and the extremities. With many years of accumulated practice, the bones will become dense and hard, while the muscles, ligaments and tendons will become soft and pliant. Eventually the practitioner will achieve the refined quality of “steel wrapped in cotton.” Brush Knee Twist Step (Left): The Sun style posture of Brush Knee Twist Step is executed both to the left and the right sides. In this section the left side of the posture will be discussed. The same principles and structural considerations apply equally when the posture is executed by stepping out to the right. The transition to the Brush Knee Twist Step, Left posture is initiated at the conclusion of the matched postures of Open Hands and Close Hands. (Note: some Sun stylists consider the postures of Open Hands and Close Hands to be a single posture – Open/Close Hands.) The posture of Close Hands is represented below in Figure 10-15. Figure 10-16 shows the

completed posture of Brush Knee Twist Step (Left).

Figure 10-15

Figure 10-16

The transition from Close Hands to Brush Knee Twist Step, Left is initiated by stepping sideways with the left foot. Thus, this posture incorporates the stepping method of Look Left. The body’s weight is shifted onto the left leg and the torso rotates from the waist until it is facing east (a ninety degree rotation from the direction south, which is the direction of Open/Close Hands). As the torso rotates, the left hand brushes down across the left side of the waist and upper thigh as shown in Figure 10-16. As the left hand completes its downward arc, the right foot executes a following step to rest adjacent to the left shin. This following step is accompanied by the forward pushing of the right arm and hand until the right hand reaches the final position depicted in Figure 10-16. In this position, the right hand is yang, and the left hand is yin. The substantial, right hand is connected energetically to the substantial, left leg. The right hand conveys the intrinsic energy of fa jin, or issuing. The issuing energy in the right palm is counter-balanced by the connection of the left, yin palm to the earth. Without the grounding energy of the left palm and the right leg, the issuing energy of the right palm would cause the practitioner to be over-extended. One must be careful when performing Brush Knee Twist Step, Left not to overdo the pushing out of the right palm. The martial application of this posture is two-fold; first to clear a low punch or a kick with the left hand, and second to execute a palm strike with the right palm. The following step with the right foot provides additional power to the palm strike. Recall, however, that in performing the solo form the martial applications should be hidden. There is a tendency, especially among those practitioners with backgrounds in external martial arts, to let the martial application take over when engaged in performing this posture. In his commentary on this posture, Sun Lutang advised the practitioner to hold up the right hand as if gently lifting up a paper lantern.134 He added that the posture must be round and full, while the spirit remains tranquil and still. This conforms to the principle of stillness in movement, which easy to describe and very difficult to accomplish. Sun Lutang concluded his commentary on this posture with the instruction that, although this imagery is only a metaphor, it is up to the practitioners to use their intelligence to grasp the underlying significance of the metaphor.

Wuji: The first posture in the traditional Sun style solo form is wuji. Sun’s commentary on this posture, entitled “A Study of Wuji”, is the most protracted of all his commentaries. His commentary begins with the explanation that the wuji posture is the natural state that occurs before the practitioner begins the form. In that state, the mind is without thought; the intent is without motion; the eyes are without focus; the hands and feet are still; the body makes no movement; yin and yang are not yet divided; the clear and the turbid have not yet separated; and the qi is united and undifferentiated.135 The posture of wuji, which is represented in Figure 10-17, is the epitome of zhong ding, or Central Equilibrium. The body is upright; the head-top is suspended; the shoulders and elbows hang down; the waist is relaxed; and the weight of the body is centered over the two feet, which are connected to the ground as if you are standing on sand.136 There is no leaning forward, no bending backward, no tilting to one side or the other.

Figure 10-17

When beginning taijiquan students first read about the Original Thirteen Postures in the Taijiquan Classics, they often set about identifying the postures in the their particular style that are associated with each of the Original Thirteen Postures. In their naiveté, they often conclude that the posture of wuji, which occurs at the beginning of the form, must be the posture that represents the thirteenth original posture, that of Central Equilibrium. In actuality, the so-called “posture” of Central Equilibrium occurs not in a single posture, but rather is present throughout the form and in every posture. Ping-Siang Tao, author of the beautifully written and highly informative book, Taiji Push Hands – The Secret of Qi in Taiji Quan, explained that being stable like a mountain is zhong ding. In actuality, real zhong ding is present at all times and in every posture.137 Clearly, zhong ding is more a quality of practice rather than a specific posture. The quality of Central Equilibrium is a recurrent theme in Sun Lutang’s commentaries on the postures of his style of taijiquan. Indeed, it can be said that the quality of zhong ding is one of the defining characteristics of this style of taijiquan. Other styles emphasize roundness, or fullness, or spiraling energy. These are all important qualities in Sun style as well. But, as the photos in this section and Sun’s own commentaries reveal, it is the special quality of Central Equilibrium which stands out among all other characteristics of this style.

Selected Postures from the Chen Style Members of the Chen family have been documented historically as being the founders of the art we know today as taijiquan. As such, Chen style taijiquan has much to offer to all practitioners who value the art in both its civil and martial aspects. Due to subsequent modifications made by individuals from outside the Chen family, such as Yang Luchan, Chuan Yu (father of Wu Chian-chuan), Hao Wei Zhen (teacher of Wu Yu Xiang), Sun Lutang and others, the various non-Chen styles of taijiquan appear, on the surface, to have little in common with the art practiced by the Chen family. However, it should be noted that even the taijiquan practiced today by the representatives of the Chen family is not that of the founder, Chen Wangting. Regardless of the modifications to the Chen Wangting’s original forms, the Chen style that we know today embodies all of the principles of taijiquan that

were presented in the preceding chapter. In particular, Chen style taijiquan places great importance upon the following: strict adherence to the principle of Central Equilibrium; emphasis on distinguishing between substantial and insubstantial; cultivation of the qi in the dantien and its circulation throughout the body via the jingluo and the jingdian; insistence upon song as the prerequisite for the proper execution of the postures; integration of the joints of the body in accordance with the Three External Harmonies; integration of the ching, qi and shen in accordance with the Three Internal Harmonies; coordination of Opening and Closing; and reliance upon softness to overcome hardness. These and other principles are central to all styles of taijiquan and owe their origins to the insights and genius of Chen Wangting and his descendants. While Chen style taijiquan does share much in common with other, later styles of taijiquan, it is also important to identify and acknowledge those characteristics of the Chen style that distinguish it from other styles. One such characteristic is the variation of the soft and hard, slow and fast movements that occurs throughout the form. Indeed, the combination of hard (gang) and soft (rou) is the essence of Chen style taijiquan. The variations in speed are necessary in order to implement the martial applications of the postures.138 Modern-day Chen style forms still contain the leaping, explosive punching, twisting and spinning, and rapid kicks that must have been present in the original forms of Chen Wangting. For this reason, Chen style has an obvious appeal to those enthusiasts whose interests lean toward the martial aspect of taijiquan. Another distinguishing characteristic of Chen style is the spiraling energy of chan ssu jin, or silk-reeling energy. The external expression of this spiraling energy can be seen in the winding and unwinding of the arms as they make their transitions from one posture to the next. In skilled practitioners, the coiling can be seen to take place throughout the entire body, as the energy springs from the feet, spirals up the legs, and twists out from the waist and torso to pulse outward like a shock wave through the arms and into the hands in the expression of fa jin in postures such as Covering Hand Punch. Yet a third unique characteristic of Chen style taijiquan is the alternation of high and low postures. The other, derived styles do include some low postures, but the low postures are not traditionally executed as close to the

ground as those in the Chen style. Also, unlike Chen style, the remaining postures are all performed at the same height. Raising and lowering of the torso, except in the case of specific low postures, is considered to be an error and is generally thought of as a defect on the part of the practitioner. Not so in Chen style, where rising up and sinking down as a method of storing and releasing energy are integrated into many of the postures of the form. Finally, the postures of the Chen style are typically performed with longer and lower stances than those of other styles of taijiquan. Many of the Chen style postures rely upon either a forward bow stance or a lateral bow stance. Forward bow stances also occur in the later, derived styles, but are typically held higher and shorter than in Chen style. In the case of forward bow stances, the weight is typically supported by the forward leg. In the case of lateral bow stances the weight may be either primarily on the right or the left leg, depending upon the application. The distinguishing characteristics of Chen style taijiquan that make it such a dynamic and exciting martial art present difficulties for anyone attempting to document the postures of this style in print. Even sequential photographs do not convey effectively the storing and releasing of energy, the coiling of the body, and the explosive release of jin at the conclusion of a fast kick or punch. The only way to fully appreciate the unique quality of a properly executed Chen style sequence is to view it continuously, either in a video recording or, preferably, as a live performance. Despite the obvious limitations of print media in accurately depicting Chen style postures, this section presents four representative postures from this style for the purpose of illustrating some of the underlying principles and distinguishing characteristics of this style. The postures presented here come from the opening section of the Chen style Old Frame (lao jia) First Routine (i lu). They have been selected because they appear, either in name or in function, in one or more of the later, derived styles. Therefore, these four postures are relevant to practitioners of any style of taijiquan. Practitioners of later styles can benefit from discovering and understanding the roots of their own style of taijiquan by reviewing these and other postures from the original, Chen style. Lazy About Tying the Coat: The posture of Lazy About Tying Coat is worth studying in that it includes one of the five stepping techniques, Gaze

Right (you pan), as well as incorporating the Four Side energies of Ward-Off, Rollback, Press, and Push in addition to two of the Four Corner energies – Shoulder-Stroke and Elbow-Stroke. The finished posture, shown below in Figure 10-18d, does not depict the complex series of movements that in the limbs and the torso that precede it. Even the freeze-frame photographs in Figures 10-18a, 10-18b, and 10-18c can only reveal a small portion of what takes place between the preceding posture, Buddha’s Attendant Pounds the Mortar, and the finished posture of Lazy About Tying Coat.

Figure 10-18a

Figure 10-18b

Figure 10-18c

Figure 10-18d

The posture shown in Figure 10-18a represents the initial transition from the posture of Buddha’s Attendant Pounds the Mortar. Here the two hands separate into yang (right hand) and yin (left hand). The weight also shifts initially to the right as the waist turns slightly to the left. Concurrent with the waist turn, the right hand curves out and up as the right fist opens and the left hand brushes slightly outward to the left. From this initial position, the two arms each perform vertical rotations that appear as if two semicircules in order to arrive at the position shown in Figure 10-18b. The circling of the two arms is accompanied by a spiraling in the torso that rises out of the left, substantial leg and is controlled by the waist and directed out to the arms. The second half of the right-hand circle contains the intrinsic energy of Rollback, while the second half of the lefthand circle contains the intrinsic energy of Push. Then, as the hands come together and cross over, they contain Ward-Off energy. The crossed hands can also be used at this point to apply the intrinsic energy of Press. At the conclusion of the two arm circles, the practitioner shifts the weight to the left in order to perform a side step out to the right. In Chen style, this type of side step is accomplished with the heel of the stepping foot moving out just above the floor and with the toes pointed upward up.139 This side stepping should be initiated at the conclusion of the closing movements of the two arm circles. This position is similar to the conclusion of a baseball pitcher’s windup routine and represents a state of storing prior to issuing. From the position shown in Figure 10-18b, the practitioner shifts the weight onto the right leg. The rightward movement of the body initially provides the opportunity to apply Shoulder-Stroke as the shoulder and hip move in concert. However, as the body continues to shift to the right, the energy of Shoulder-Stroke gives way to Elbow-Stroke as follows: When the jin reaches the shoulder the shoulder stops moving and the jin transfers into the elbow to deliver the elbow strike.140 Having shifted the weight primarily onto the right leg, the right arm is permitted to wave out to the right with the wrist, hand and fingers continuing the rightward momentum generated by the left leg, waist, right hip, right shoulder and right elbow. The left hand floats down to rest on the left hip as shown in Figure 10-18d. In his commentary on this finished posture, Chen Zhenglei writes that the practitioner must loosen the hips and sink the waist

while opening and rounding the crotch. The right leg is solid and the left leg is empty. The body should be upright and centered. The posture should be extended and comfortable.141 The finished stance in Lazy About Tying Coat is a lateral bow stance in which the weight is borne primarily by the right leg. As was stated previously, the lateral bow stances of Chen style are typically lower and longer than in other styles. In order to accommodate the lower and wider stance in Lazy About Tying Coat, the practitioner must loosen the hips and sink the waist while simultaneously opening and rounding the crotch. Failure to loosen the hips, sink the waist, and open and round the crotch will result in the practitioner’s inability to make the posture extended and comfortable. The posture Lazy About Tying the Coat appears under the same name in the Wu/Hao and Sun styles of taijiquan. There is no similarly named posture in either the Yang or Wu (Chian-chuan) styles. However, the sequence of Grasp the Sparrow’s Tail, which occurs in these two styles at essentially the same point at the beginning of the respective forms, bears striking resemblance to Lazy About Tying Coat due to its inclusion of the Four Sides energies of peng, lu, ji, and an. As stated previously, there is some controversy over the derivation and meaning of the term Grasp the Sparrow’s Tail. Regardless of the actual (or imputed) meaning of the term, it is very likely that Yang Luchan modified the sequence of movements contained within the original Chen style posture of Lazy About Tying Coat in order to create the sequence in Yang style taijiquan that we know today as Grasp the Sparrow’s Tail. Six Sealing and Four Closing: The next posture in the traditional Chen style First Routine is the posture of Six Sealing and Four Closing, liu feng si bi (sometimes romanized as ru feng si bi). This posture, known by different English names, but all designated liu feng si bi in Chinese, occurs in all the derived styles (“Apparent Close” in Yang and Wu (Chian-chuan) styles, “Appearing to Seal and Close” in Wu/Hao and Sun styles). In every style, the sealing and closing are accomplished by the two hands working together in concert. This action involves the two hands gathering in a large opening movement that is subsequently followed by a smaller closing movement. In the Chen style, as in the Sun style, the closing and sealing of the hands is enhanced by a following step. The entire sequence is represented below in Figures 10-19a through 10-19d.

Figure 10-19a

Figure 10-19b

Figure 10-19c

Figure 10-19d

The downward, curvilinear movement of the arms as depicted in Figures 1019a through 10-19b is reminiscent of a koi fish’s tail as it swims lazily about in the pond. The sweep of the koi’s tail follows the movement of its body, just as the sweep of the practitioner’s arms follows the shifting of the weight from the right leg to the left leg and the concurrent turning of the waist from right to left. The external shifting and turning is accompanied internally by spiraling in and down in order to store the intrinsic energy in the left leg and foot. In the final movement of the sequence, shown in Figure 10-19d, the stored energy is allowed to spiral up out of the left leg to be directed toward the right by the turning of the waist and torso and finally to be expressed, or issued, by the arms and hands. The following step executed by the trailing, left leg adds momentum to the release of the stored energy. In this way, the complete sequence incorporates both the shun chan and ni chan turnings of chan ssu jin. The principle of Open/Close is preserved. At the conclusion of this posture, Chen Zhenglei instructs the practitioner to coordinate the jin with the settling of the body.142 In the solo routine, this posture is performed in a relaxed and controlled manner. However, in actual combat, such an action could be employed to quickly step inside the opponent’s defensive perimeter and then close the opponent’s offensive capability and to seal the opponent’s avenues of escape. In this way, the opponent would be rendered defenseless and incapable of counter-attacking. White Crane Spreads Its Wings: The posture of White Crane Spreads Its Wings is present in all major styles of taijiquan. The final position of the Chen style version, shown below in Figure 10-20b, appears very similar to those of the Yang and Wu (Chian-chuan) styles. What distinguishes the Chen style version of this posture are the intricate inward and outward turnings of the arms and the rotation of the torso that occur during the transition to the finished posture in White Crane Spreads Its Wings.

Figure 10-20a

Figure 10-20b

These intertwining movements are too complex to depict photographically and too difficult to describe accurately in writing. Nevertheless, there are some key characteristics of the posture and the transitional movements that can be addressed through the use of photographs and text. In particular, the directional movements of the arms and torso can be divided into closing and opening movements. Starting from the transitional position shown in Figure 10-20a above, the arms have been turned downward and inward and the torso has been turned to the left from their open positions at the conclusion of the preceding posture, in this case the second occurrence of Buddha’s Attendant Pounds the Mortar. From the positions shown in Figure 10-20a, the arms and hands, guided by the movements of the legs, waist, and torso, perform small outward and then inward turnings in order to terminate in the larger, open arcs shown in Figure 10-20b. Chen Zhenglei’s comment on this posture includes the instruction to press the left palm down beside the left hip with the palm facing down. At the same time, lift and push the right palm up and outward to the right with the palm facing out.143 Beginning with the conclusion of the posture of Buddha’s Attendant Pounds the Mortar (not shown here), the arms and torso close inward. Then the arms open upward and downward simultaneously. In this way, the posture of White Crane Spreads Its Wings contains both the opening and closing movements required by the principle of Open/Close. During the shun chan (closing) phase, the qi is drawn back into the dantian. In the ni chan phase, the qi stored in the dantian is directed outward to the arms and hands according to Chen Zhenglei’s instruction as explained in the preceding paragraph. Up to this point, the breathing component of the postures of has intentionally been overlooked. However, proper breathing is important in the correct execution of the postures of any style of taijiquan and is especially crucial in the Chen style. This is due to the coordination of the breath with the inward and outward spiraling that takes place in the shun chan and ni chan phases of chan ssu jin. In Chen style taijiquan, chan ssu jin is present in the execution of every posture in Chen style taijiquan. Therefore, correct breathing is essential to the proper execution of the postures in this style. On this topic, Chen Zhenglei instructs the practitioner to inhale when closing and to exhale

when opening. When inhaling and closing, the qi should be withdrawn from the extremities into the lower dantien. In contrast, when opening and exhaling, the practitioner directs the qi outward from the dantian to the finger tips.144 Covering Hand Punch: The posture of Covering Hand Punch is representative of the explosive fa jin energy that is characteristic of Chen style taijiquan. Indeed, this is one of the signature postures of the Second Routine (er lu), which is known by the descriptive name, “Cannon Fist” (pao cui). Covering Hand Punch, also translated as Hidden Thrust Punch, involves the storing of energy and its subsequent sudden release. The storing phase, shown below in Figure 10-21c, not only entails the storing of the potential energy for the resulting punch, but also the hiding of the fist next to the right hip. There is a sense that the opponent is unaware of the power that is about to be unleashed upon him as demonstrated in Figure 10-21d.

Figure 10-21a

Figure 10-21b

Figure 10-21c

Figure 10-21d

The complete sequence, which begins with the transitional posture shown in Figure 10-21a, consists of a series of opening and closing movements. In Figure 10-21a, the arms open outward to the sides. The hands are then drawn inward and pressed downward (see Figure 21-b). Chen Zhenglei advises the practitioner to use the entire body to provide the momentum for motion of the arm.145 From this position, the practitioner draws the right hand back and forms the hidden fist, as depicted in Figure 10-21c. This drawing back of the right fist, which is a closing movement, is accompanied by the corresponding extension of the left hand, which is an opening movement. The two opening and closing movements of the left and right hands is coordinated with the storing of the energy in the right leg. Inhale and store the power in the right leg with the potential to release.146 In the final position (Figure 21-d), the energy stored in the right leg is released, causing the body to rotate slightly to the left while driving the right arm forward to deliver the punch. Simultaneously, the left arm is drawn back in order to deliver a backward elbow strike with the left elbow. All of these actions occur simultaneously and rapidly, as is appropriate when issuing explosive fa jin. Chen Zhenglei’s commentary on the final release of energy explains that, at the time of releasing fa jin, the practitioner must rotate the waist and open the crotch. The right fist must punch out with sudden explosive power. Both the forward punch and elbow strike to the rear issue jin simultaneously in coordination with the movement of the whole body.147

Conclusion This chapter has provided a survey of four family styles of taijiquan: Yang, Wu (Chian-chuan), Sun, and Chen. Although the Wu/Hao style has not been directly represented, some of the flavor of this style is reflected in the other four styles. Regardless of one’s style of practice, the principles outlined in Chapter Nine should be the guiding factor in one’s practice of the solo form. The primary purpose of this chapter has been to present selected postures from four different family styles of taijiquan with the intention of revealing the common features between them rather than emphasizing their differences. These commonalities are based upon the fundamental principles established by the founders of the various family styles and articulated in their own writings, in the writings of their disciples, and in the Taijiquan Classics. To ignore these central principles is to ignore the core of the art itself.

Wu Ying-hua and Ma Yueh-liang wrote that, with their combined experience of sixty years of teaching, they had observed that the majority of taijiquan practitioners failed to achieve real progress in the art despite their excellent physical condition and long-term practice. They concluded that this was most often the result of ignoring the fundamental principles of the art.148 The importance of practicing taijiquan according to the fundamental principles of the art cannot be over-emphasized. However, it is not sufficient to understand these principles intellectually. One must also put those main essential principles into practice. This requires a great deal of disciplined self-study (i.e. gongfu), as well as instruction from a knowledgeable teacher. In one’s practice, it is not enough to be able to execute the form correctly in its outward appearance. There are many practitioners whose form is beautiful and whose low postures and high kicks garner many accolades. However, when one touches hands with most of these practitioners, one finds them lacking in the intrinsic energy that must accompany any true performance of the external form. Each practitioner must understand that every posture consists of a series of external bodily movements that are driven by the internal movement of the qi and the jin. Without the internal cultivation of the qi and the ability to mobilize and issue jin, the external performance of the form becomes nothing more than physical exercise and may be considered to be dancing rather than true taijiquan. The cultivation and circulation of the qi has already been presented in Chapter Seven and Chapter Eight. The following two chapters, Chapter Eleven and Chapter Twelve, present a detailed discussion regarding the development and application of intrinsic energy, or jin. Many taijiquan practitioners have a basic, conceptual understanding of the sudden, explosive fa jin associated primarily with Chen style taijiquan. However, as will be explained in Chapter Eleven, there are many types of jin. These various jin can be conveniently categorized as either defensive or offensive in nature. In Chapter Eleven, the defensive jin are presented and analyzed. Chapter Twelve focusses on offensive jin. The sequence of these two chapters is crucial, because in taijiquan one cannot effectively employ offensive jin without first applying one or more defensive jin. Indeed, it is the development and resulting skill in applying both defensive and offensive jin that distinguishes advanced practitioners of taijiquan from their peers.

Chapter Eleven

Understanding and Training Defensive Jin

Within taijiquan circles, you will occassionaly hear practitioners discussing the seemingly mystical power of intrinsic energy, or jin. You may also have read about or heard tales of past masters whose jin was so powerful that they could send opponents flying with barely a touch. It is even rumored that some highly-skilled masters in the past could repel an opponent by simply sending their energy out through their hands at a distance. While the use of jin may seem mysterious to the uninitiated, the power of jin is really very simple to comprehend once the student comes to understand the relationship between the yi, the qi, and jin. The simplest explanation is that jin is manifest qi. That is to say, when the qi is able to penetrate to the muscles and the tendons, the qi can enliven those tissues and enable them to fire quickly. Then the muscles and tendons can seem to generate great power quickly and with little perceptible movement. That is why an accomplished taijiquan master is able to propel an opponent great distances with hardly any apparent effort. While such displays of internal power are impressive, they tend to distract us from the true character of taijiquan. Our art is predicated upon the principle of the soft overcoming the hard. We are taught to use four ounces to deflect a thousand pounds and to borrow the opponent’s energy in order to uproot him. For this reason, it is far better to study defensive skills before attempting to master the more impressive offensive skills. Because it is so important to train defensive jin before attempting to develop offensive jin, the subject of jin training has been divided into two separate chapters in this book. This chapter is devoted to discussing the understanding and training of defensive jin, and the following chapter will focus on the training of offensive jin.

The present chapter includes a general explanation of jin, describes the various types of defensive jin, and includes a series of training exercises designed to help students explore and develop defensive jin skills on their own. While this material may seem esoteric, it is based upon sound principles and can be learned by any individual who is willing to put in the gongfu necessary to develop these skills. The only limitation is that jin training does require working with other individuals. The development of defensive jin skills such as Sticking/Adhering jin (chan nien jin), Listening jin (ting jin), Interpreting jin (dong jin), Receiving jin (tsou jin) and Neutralizing jin (hua jin) cannot be accomplished independently, and partner training is essential.

Understanding the Concept of Jin There are many different types of jin. The Chinese character for jin is often translated as “intrinsic energy.” This term can be misleading if we interpret the word “energy” to mean something that has movement or is expressed outwardly. Since many jin are not visibly perceptible, the use of the word “energy” to describe them seems counter-intuitive. Especially in the case of defensive jin such as Neutralizing jin, it is more appropriate to refer to the proper application of jin as “skill.” However, since one of the best references on the subject of jin employs the term “intrinsic energy,”149 this term will be employed synonymously with the term “skill” when referring to jin in this book. As stated previously, the various types of jin may be categorized as either defensive or offensive. The offensive category of jin includes the sudden and powerful fa jin referred to at the beginning of this chapter. Other offensive jin are softer but still powerful, such as an jin (the jin applied in Push). Offensive jin are employed to repel or even to injure an opponent. Defensive jin include Sticking/Adhering jin, Listening jin, Interpreting jin, Receiving jin, and Neutralizing jin. These defensive jin may not at first seem to fit the novice’s understanding of jin at all. However, defensive jin form the foundation from which all offensive jin are issued. It is crucial to understand and train the skills of defensive jin if one wishes to develop offensive jin skills. The reason for this is straightforward. In order to issue fa jin, for example, the practitioner must first establish a connection to the opponent (through sticking and adhering). Having established this

connection, the practitioner then needs to listen to the opponent in order to identify where he is full and where he is empty. Next the practitioner must interpret and understand the opponent’s intention as well his physical and energetic structure. Only then can the practitioner issue fa jin effectively to send the opponent flying away. Failure to connect with, listen to, and interpret the opponent’s intention is likely to result in the practitioner’s fa jin landing upon emptiness. Since jin can be either offensive or defensive, and since many jin do not directly involve issuing, it is appropriate to think of the term “jin” broadly as “skill” rather than more narrowly as manifest power. This term is preferable, as it conveys both the true meaning of the concept of jin as well as the gongfu necessary to develop and employ jin effectively. It is much more suggestive in English to use the terms “Listening skill” or “Understanding skill” rather than the terms “Listening intrinsic energy” or “Understanding intrinsic energy.” However, once you appreciate the true nature of jin, you can use the terms “skill” and “intrinsic energy” interchangeably. At least one respected author and translator of original treatises on taijiquan shares this position. In his “Translator’s Introduction” to Fu Zhong-wen’s Mastering Yang Style Taijiquan, Louis Swaim wrote that if jin is considered to be merely a type of strength or technique, then it would be difficult explain such subtleties as ting jin (Listening jin) or dong jin (Understanding jin). Louis Swain stated that he preferred a definition of jin as the integration of strength and sensitivity. In this definition of jin, the concept of sensitivity encompasses the important element of mind/intent (yi), which is essential to all types of jin.150 The relationship between jin and mind/intent referred to above is central to one’s understanding and development of jin skill. By now you should be well aware of the importance of using the yi both to cultivate and to circulate the qi. The focused intent is equally important in developing and utilizing jin. Stuart Olson, another renowned author and translator of important original Chinese works related to taijiquan, wrote in his “Translator’s Introduction” to Chen Kung’s The Intrinsic Energies of Taijiquan that the mind/intent, or yi, is an essential component of jin.151 The utilization of mind/intent in the application of jin is essential for both offensive and defensive jin. Consider once again the ability to issue fa jin.

Because the issue of fa jin is so sudden, it must be directed solely by the yi. One cannot analyze and ponder over the issuing of fa jin as one would a chess move or even a martial action such as a punch or a sweeping kick. When the moment is right, one must strike swiftly and suddenly, “like a hawk seizing a rabbit, or a cat catching a rat.” Even using jin defensively requires the use of mind/intent, or yi, in order to prove effective. As an example, examine the meaning of the classic phrase, “Use four ounces to deflect a thousand pounds.” Cheng Man-ch’ing explained that this principle relates to the non-use of force. He stated that the non-use of force entails not receiving the force of another’s attack. This requires the practitioner to employ neutralize (hua jin) the opponent’s incoming force rather than resisting it. Professor Cheng stated that this principle is fundamental to the art of taijiquan.152 When Cheng Man-ch’ing employed the term “non-use of force” in this context, he was referring directly to the use of mind/intent. It is the mind/intent that recognizes the incoming force of a thousand pounds and understands intuitively how to redirect tht force by guiding it skillfully off to one side using Rollback, or lu jin. On this same topic, Cheng Man-ch’ing wrote that the use of qi and jin in taijiquan depends on both being continuously circulated throughout the body without blockages or restrictions.153 From this you can see that the yi is important in the development and utilization of defensive jin such as Sticking/Adhering jin, Listening jin, and Understanding jin. Each of these jin relies upon the focused power of the mind and the will. How can one listen or understand the intention of an opponent if the mind is not clear and concentrated. Chen Kung wrote that, in order to utilize jin, the mind must be tranquil, with no thought of attacking.154 This relates directly to the Taoist principle of non-doing, or wu wei. Closely related to the use of the yi in the development and application of jin is the special quality of the shen as it relates to the utilization of jin. As has been stated previously, the shen represents an individual’s spirit of vitality. Stuart Olson wrote that the shen is expressed by the eyes and that jin (intrinsic energy) is expressed through the hands and fingers.155 A person’s shen can attain different levels of development. The highest level of development is shen ming, which is akin to enlightenment. An individual

who possesses shen ming experiences mental clarity and inner peace. When such an individual faces a situation in which he needs to utilize his taijiquan skill for self-defense, his mind will not be clouded by doubt or indecision. Intuitively and instantly he will sense the nature and direction of any attack and will react accordingly, applying whichever jin is appropriate to the situation. The development of jin depends upon three prerequisite capabilities: the ability to cultivate and circulate the qi; the ability to be song; and the ability to be rooted. Without these three essential abilities, you won’t be able to develop even the most basic jin skill. This is why the practices of loosening, stretching, zhan Zhuang, and Taoist meditation are of such importance to your overall development as a student of taijiquan. With regard to the necessity of cultivating and circulating the qi as a prerequisite for jin training, Dr. Yang Jwing-Ming explained that it is necessary first to train the qi by practicing the Microcosmic Orbit and the Macrocosmic Orbit. Once sufficient qi has been accumulated in the lower dantien, it can be drawn up from the Sea Bottom cavity and can be directed up the spine and out to the hands and fingers. He further explained that when qi from the lower dantien is used to support the tendons, the jin can reach a high level. He referred to this high-level jin as “nei jin” (internal jin) and stated that the development of nei jin is the jin that is used by skilled taijiquan practitioners.156 Of equal importance with the cultivation and circulation of the qi in the development and application of jin is the ability to be song. Song is not a technique or a skill that can be learned in a weekend seminar. Instead, song must be developed and cultivated over time, as explained in Chapter Four. Song training imparts an elasticity and a pliability to the tendons and sinews of the entire body. It is this elasticity and pliability that enables one to issue jin suddenly and also to be able to absorb and neutralize incoming energy. Concerning the importance of song in the application of jin, Stuart Olson commented that jin is the result of becoming song in the sinews and tendons. When the sinews and tendons are song, they become elastic, and, when this elasticity is employed correctly, the sinews and tendons can release elastic kinetic energy just like snapping a rubber band.157

Song is also necessary to the utilization of defensive jin such as hua jin. The ability to either absorb or deflect an opponent’s incoming energy depends upon the body being relaxed and the joints being open and loose. Recall the old saying that “drunks don’t get hurt falling down.” Although this is not always true, it is based upon the observation that, because they are relaxed, individuals who are intoxicated are less likely to be stiff and rigid when they fall. This enables their bodies to absorb the impact of a fall. In a similar way, a martial artist who is relaxed and loose can absorb blows that would seriously injure a frightened and therefore stiff and tense individual. Additionally, when one’s joints are loose and relaxed, it is much more difficult for an opponent to apply joint locking techniques. Just as important as it is to be song in the body, it is equally important to be song in the mind. The mind should be relaxed and open. This enables the qi to rise up and stimulate the shen. When the spirit of vitality is stimulated, it becomes clear and expansive. This in turn endows one with the ability to perceive and react to any threat and to employ the appropriate energetic response in a relaxed and highly effective manner. Finally, one must consider the subject of rootedness when discussing the development and application of jin. The Five Character Secret, written by Li I-yu, revealed that, in order to issue fa jin, it is necessary to have root. This text includes the statement that the jin starts from the foot, is commanded by the waist, is discharged through the spine and back, and is manifested in the fingers.158 This same principle appears in the Taijiquan Treatise attributed Chang Sanfeng. In his commentary on the Taijiquan Treatise, Yang Lu-chan stated that jin originates in the feet, travels up the legs and arrives at the waist. It then travels up the spine and across the shoulders and is expressed in the hands and fingers. In support of the jin, the entire body must be connected by a single flow of qi. In this way, whether one is engaged in advance or retreat, one’s jin will be infinite.159 Rooting not only provides the connection to the earth necessary to issue jin. Rooting also establishes a firm foundation from which to turn the waist in yielding and neutralizing, as when executing Rollback. Due to the importance of rooting in issuing jin and in neutralizing an opponent’s attack, it is clear that every student of taijiquan must develop a deep and firm root. Having

root also enables the practitioner to directly withstand an opponent’s push. One only needs to watch videos of past and present masters effortlessly rooting the combined pushing power of a long line of straining students to understand the importance of root as a fundamental skill in the art of taijiquan. Although he did not specifically identify the qualities of song and rootedness, Chen Kung summarized the characteristics necessary for the development of jin by stating that externally the practitioner must be light, nimble, and mentally tranquil. Internally, the practitioner’s qi needs to be clear, bright, and circulated throughout the body. Chen Kung concluded that these requirements are fundamental to the correct method for developing and applying jin.160 Despite the obvious importance of qi cultivation and circulation, song, and rootedness to the development and training of both defensive and offensive jin, many students “seek the far and forsake the near.” They mistakenly believe that they can jump right into jin training without devoting the requisite time and effort (gongfu) of developing song and root or of learning how to cultivate and circulate the qi through the Small Heavenly Circle and the Large Heavenly Circle. The simple truth is that there are no shortcuts to be found when it comes to jin development and training. This is a five-year, ten-year, and even a lifetime process. Jin training is not to be undertaken lightly nor with expectations of sudden, magical power. The training is often tedious and difficult. The information and training exercises included in this and the following chapter have been provided for those students of taijiquan who have already put in the months or years of zhan zhuang standing, Taoist meditation, and other preparatory work and who have established the foundations necessary to begin jin training. You may find the material presented in these two chapters fascinating and may therefore be tempted to skip over the previous material in an attempt to jump right into jin training. However, if you ignore the training regimen described in the preceding chapters and attempt to pursue jin training without the proper foundation, your efforts will come to nothing and your time will be wasted. You would be better off studying a hard martial art like Shaolin kung fu that will produce some superficial martial skill in a few months.

The Five Basic Defensive In his work, The Intrinsic Energies of Taijiquan, Chen Kung identified thirtyeight different intrinsic energies, or jin, that were known to the Yang family at the time of his writing. Having identified these thirty-eight different types of jin, he subsequently provided detailed descriptions of twenty-five separate jin. The other thirteen remain undocumented and are likely lost to modern students of the art. Regarding the various types of jin, Chen Kung wrote that taijiquan jin include Adhering/Sticking jin, Listening jin, Interpreting jin (i.e. Understanding jin), Receiving jin, and Neutralizing jin. He advised the practitioner who wishes to master jin to study these five jin and to become skilled in their application. He added that, once the practitioner has mastered these five jin, then he or she will comprehend “the wonderful mystery” of taijiquan.161 Of all the various jin documented in Chen Kung’s text, the five defensive jin of Sticking/Adhering, Listening, Interpreting, Receiving, and Neutralizing are the most important. Without the ability to make and maintain a connection to the opponent, it will be difficult to either neutralize his incoming energy or issue your own energy into him. Similarly you need to develop good listening skill in order to sense the opponent’s intention as well as the direction and degree of his attack in order to be able to neutralize such an attack. Even if you are able to connect to an opponent and listen to his intention, if you are not able to interpret his intention and understand how to respond, then that connection will provide you with little or no advantage. Only after you have sensed and understood the opponent’s intention, will you be able to receive his energy and neutralize it. Without first having neutralized an opponent’s attack, you should not attempt any offensive response. Otherwise, you will be meeting force with force. When force is used to counteract force, the stronger and more agile opponent will be victorious. The Taijiquan Classics caution that there is always someone stronger and quicker than ourselves. It is foolish, therefore, to rely upon strength and agility when dealing with unknown opponents. It is better to master the art of defensive jin. Then you will be able to deal with any opponent, no matter how strong or quick he may be. For this reason, Chen Kung selected Sticking/Adhering, Listening, Interpreting, Receiving, and Neutralizing as the first five jin to be described in his treatise on intrinsic

energy. Sticking/Adhering Jin: Sticking/Adhering jin, or chan nien jin, refers to the ability to establish and maintain both a physical and an energetic connection to the opponent. This is a very subtle skill and one that takes time to develop. Sticking/Adhering is often discussed in conjunction with Connect/Follow (lian sui jin). Collectively, these four related jin describe the ability to attach oneself to another and either to follow or to lead him in any direction, be it up, down, forward or backward. Chapter Four of the Yang Family Forty Chapters explains that sticking means lifting up the opponent; adhering means attaching to the opponent; connecting means not separating from the opponent; and following means responding to the opponent’s movements. Although the four skills are related, each is subtly different from the other three.162 Sticking and adhering have to do with controlling the opponent through your physical and energetic attachment to him. Connecting and following, on the other hand, have to do with following the opponent as he either attempts to penetrate your center or to elude your attack. Perhaps the most common mistake beginners make when playing pushing hands is to disconnect from their partner, either when they think their push is completed or when they attempt to escape from their partner’s push. Chen Kung wrote that the nei jin skill of Sticking/Adhering jin is an absolute requirement for high-level skill in taijiquan and is developed through the practice of pushing hands, or tuishou.163 Chen Kung stated that true Sticking/Adhering jin means that the connection cannot be broken. Your opponent should feel like you are glued to him and that he cannot disconnect from you. This is a disconcerting feeling, as anyone who has tried to remove pine sap or glue from their fingers can attest. Students often ask: “How do I develop Sticking/Adhering jin?” This skill seems almost magical to the novice. However, the reality is that Sticking/Adhering jin is the result of being able to send the qi out to the skin through the myriad of small qi vesicles, known as luo, that branch off from the main qi meridians, or jingluo. When the qi reaches the skin, it can attract and connect to the skin of another individual. If the qi is sufficiently strong, it can actually penetrate into the tissues of another and thereby enable you to attach yourself to that individual in a way that cannot be easily discarded. The

imagery of the hooks and loops of Velcro is an apt way to visualize the action of Sticking/Adhering jin. To develop Sticking/Adhering skill, you must first learn to cultivate and circulate the qi according to the training techniques introduced previously in Chapter Seven and Chapter Eight. You should also investigate the technique of “skin breathing” in which you learn to “breathe” through the pores of your skin. These nei dan techniques will enable you to send your qi out to your skin and therefore allow you to stick and adhere to another individual. As important as the preliminary practices of learning how to direct the qi to the skin are in the development of Sticking/Adhering jin, you must also train this skill by working with willing partners during specialized two-person exercises. Later in this chapter you will be introduced to some simple training exercises that you can practice to aid in the development of this very subtle and elusive skill. Listening Jin: Listening jin, or ting jin, is the ability to sense, or “listen to,” the movement of energy in another person. This ability is usually manifested when one has established a connection to one’s partner when playing pushing hands. However, at a higher level one can sense the movement of energy in an opponent even from a distance. This is a crucial skill in sparring or in actual self-defense situations where it is not always possible to connect physically to an opponent prior to his attack. In order to develop Listening jin to a high level, you must first realize that an opponent’s physical movement is always preceded by the mobilization of the energy necessary to activate his muscles. This in turn is preceded by ideation on the part of the opponent. He first thinks of what he is going to do, his brain then sends the electrical impulses to the muscles, and lastly the muscle fibers respond by firing to initiate the movement. At a low level of Listening skill, you are able to sense the muscles right when they fire. If you are quick, it is possible to react to this very early muscular response and avoid the attack. However, if you just a bit late in responding, the opponent’s attack will meet with success. If you can read the actual electrical impulses that precede muscular response as they travel down the arm or leg, or even as they travel over the shoulder or across the hip, then you will have more time to respond to and thwart the opponent’s attack. This is what is meant by “The opponent leaves first, but I

arrive first.” If we recognize that qi leads the electrical impulses, then what we are really speaking of here is sensing the opponent’s qi as it mobilizes the muscles. This represents the middle level of development of Listening jin. It is said: “The mind moves the qi.” This is the meaning of the four-character phrase: yi yi yin chi. It is also said: “First in the mind, then in the body.” Based upon these two statements, it follows that the highest level of Listening jin is to be able to “read” the opponent’s mind. This requires a highly developed mental state that borders on the transcendent. This state of consciousness has been referred to previously as shen ming. Chapter Three of the Yang Family Forty Chapters refers to this ability by stating that, in order to develop Listening jin, practitioners must first develop conscious movement in themselves. Only then they will naturally be able to “hear” conscious movement in others. If practitioners attempt to hear conscious movement in others without having first learned to listen to their own movements, then they are destined to failure. This important chapter from the Yang Family Forty Chapters also states that only by first developing Listening jin will practitioners be able to subsequently develop Interpreting jin.164 Listening skill is dependent upon two important requirements. The first requirement is the ability to send the qi out to the skin as described in the preceding discussion of Sticking/Adhering jin. Chen Kung wrote that listening to the conscious movement of another requires “listening” through the surface of the skin rather than with the ears. Because Listening jin requires direct contact with another, this skill is dependent upon Sticking/Adhering skill.165 The second requirement for developing Listening jin is the ability to be song in both the body and the mind. If your muscles and sinews are tight, the qi cannot flow out to the skin, and you will lose your “ears,” as it were. Also, if you are mentally tense or afraid, you also won’t be able to “hear” the opponent’s intention. Chen Kung further wrote that, in order to develop Listening jin, one must first rid oneself of external force and learn to loosen and relax the waist and the legs. Further, he instructed practitioners to practice mental tranquility, cultivate the qi, and concentrate the shen. Without acquiring these prerequisite qualities, the practitioner won’t succeed in developing Listening skill.166 As with Sticking/Adhering jin, Listening jin must be developed through two-

person exercises. Of course, these exercises will only serve if you are also incorporating the neidan practices of qi cultivation and qi circulation as well as standing in zhan zhuang as part of your training regimen. Later in this chapter you will learn several two-person training exercises intended to assist in the development of Listening jin. You should spend time developing this skill, as it is a prerequisite to the more advanced skill of interpreting and understanding. Interpreting Jin: Interpreting jin, or dong jin, is the ability to interpret an opponent’s intention and to understand what he is planning to do. This skill is also referred to as Understanding jin. Having interpreted and understood an opponent’s intention, you have the freedom to react in any number of ways. For example, if you are connected to an opponent in pushing hands and you sense from his qi mobilization that he is about to push you, you can prepare to receive and neutralize the push. Alternatively, prior to his actual push, you can use that split second when he is about to push to step in and push him first, as in: “The opponent leaves first but I arrive first.” Chapter Fifteen of the Yang Family Forty Chapters states that employing Interpreting jin depends on the ability of the practitioner to sense and respond to the conscious movements of the opponent. Once the practitioner is able to sense and respond to the movements of the opponent, then his or her own movements becomes extremely responsive.167 At a high level, Interpreting skill enables you to measure the feet, inches, hundredth parts, and thousandth parts in hand techniques.168 References to “the feet, inches, hundredth parts, and thousandth parts” appear in several of the Taijiquan Classics and refer to the skill of interpreting energy. This highlevel ability is attained after reaching the level of spiritual illumination and allows the practitioner to apply offensive jin such as Controlling jin, Grabbing jin, Seizing jin, and Sealing jin.169 The full development of dong jin occurs over many decades of pushing hands and sparring practice. Regarding dong jin, Chen Kung wrote that Interpreting skill is the most important skill in taijiquan. The ability to interpret your own energy and that of your opponent is a significant achievement in your taijiquan training. Chen Kung stated that those individuals who study taijiquan without developing Interpreting skill will find it difficult to progress in their taijiquan training.170

Receiving Jin: Receiving jin, or tsou jin, is the skill of allowing an opponent’s incoming energy to advance without finding anywhere to land. Receiving jin is often referred to as “yielding.” You may have heard the phrase “leading into emptiness.” That is exactly what Receiving jin accomplishes. The opponent should feel that when he moves forward he cannot reach you. This is what is meant by the phrases in the Taijiquan Classics “advancing, the distance seems incredibly longer;” and “suddenly appear, suddenly disappear.”171 The Song of Sparring instructs practitioner to draw the opponent in so that his energy lands on nothing and to deflect his incoming force of a thousand pounds with a reciprocal force of four ounces.172 The key to Receiving jin is to give up all resistance and learn to follow the opponent’s energy. Rather than resisting his advance, you allow it to proceed and thereby lead him into overcommitting to his attack. The opponent expects to find something solid when he attacks. That is to say, he is expecting you to resist. However, if you do not provide him with anything solid and instead lead him into emptiness, he will lose both his balance and his root. This condition is known as “floating.” At that point, it will be easy for you to control him and either push him backward or continue to lead him past your body using Rollback. Receiving jin is a defensive jin. However, as the preceding example illustrates, Receiving jin is often utilized as a setup for the application of offensive jin. The technique of ti fong, which is employed in the two-part action of withdraw and push, is an example of tsou jin followed by an jin (Push jin). To utilize this technique, you allow the opponent to apply his own push on your arms. Instead of resisting his push, you empty the chest, providing you with space to withdraw the arms and suddenly disappear. This will cause the opponent to float and lose his balance. You then respond with your own push, which may be accompanied by stepping in, in order to suddenly appear with devastating effect. Neutralizing Jin: Neutralizing jin, or hua jin, is the signature jin of taijiquan. If practitioners do not understand the method and use of neutralizing, then their study will have failed to grasp the essence of the art. Neutralizing is based upon the principle of the soft overcoming the hard and employs the circle to counter the straight. It is the key to the ability to deflect

an incoming force of a thousand pounds with a corresponding force of only four ounces. The Taijiquan Treatise attributed to Chang San-feng instructs the practitioner to stand like a balance and to rotate actively like a wheel. The practitioner is cautioned to avoid the fault of being double-weighted, which will prevent the practitioner from sinking to one side or another in order to neutralize the opponent’s incoming force.173 The concept of standing like a balance means that one is so sensitive that a feather cannot come to rest nor a fly alight without causing a reaction on the part of the practitioner. As soon as an opponent places the slightest pressure on any part of your body, you should react like a balance beam. If the opponent applies pressure on the right, you empty the right and become full on the left. If your left side becomes heavy (i.e. is pushed upon), you become light on the left and heavy on the right. In this way, there will be no resistance to the opponent’s attack. The sensitivity of a balance beam must be accompanied by the rotation of the waist, which is referred to above as “actively rotate like a wheel.” This concept utilizes the principle of centripetal force. When the opponent’s incoming force contacts our body, we instantly respond and rotate like a millwheel grinding fast or slow depending upon the suddenness or slowness of his attack. Whether fast or slow, our turning deflects the opponent’s incoming force (inertia) and sends it off in a tangent to our body.

Figure 11-1

The Song of the Free Circle expresses this principle succinctly be stating that the principle of the free circle represents the highest level of skill.174 The concept of the circle deflecting the inertia of an incoming vector is easy to visualize in two dimensions. However, in reality our bodies are threedimensional in nature. For this reason, it is more instructive to think of Neutralizing jin as employing a sphere rather than a circle in order to deflect an incoming force. The concept of the sphere is explained by Ping-Tsian Tao in his book, Taiji Push Hands – The Secret of Qi in Taijquan. He wrote that one should consider the body to be like a weightless sphere. If a weightless sphere is floating in the air, it will respond to the slightest contact by moving away from the point of contact. If you can imitate a weightless sphere floating in space, then your movements naturally will become light and lively.175 Beginning students are often taught to imagine holding a beach ball between their bodies and their outstretched arms when standing in Ward-Off posture. The image of the inflated beach ball is instructive here. The compressed air contained within the ball acts as a buffer between the practitioner and the imagined opponent. If the opponent pushes against the ball, it may become slightly more compressed, but it still will not permit the opponent to penetrate the protective space contained within the ball. Moreover, if the student simply rotates his waist, the opponent will spin off in the direction of rotation of the waist. This is an example of the application of Neutralizing jin. There is a secret to hua jin that is revealed by the preceding example. The secret is that if the beach ball is not sufficiently inflated, then the neutralization provided by the waist rotation will prove ineffective. As you know, the inflation of the imaginary beach ball comes from the intrinsic energy of Ward-Off, or peng jin. Chen Kung wrote that, in order to apply Neutralizing skill, one must incorporate a little Ward-Off (peng) energy. Without the application of Ward-Off energy, one will not be able to neutralize effectively.176 Neutralizing always employs the principle of the circle (or the sphere). However, as one becomes more adept at sensing the opponent’s energy, one can make the circle smaller and smaller until it is seemingly imperceptible. Chen Kung added that neutralization may employ either a large or small circle. The more skilled the practitioner, the smaller the circle used to

neutralize an opponent’s incoming force.177 As with Receiving energy, Neutralizing energy is usually followed up with some type of counterattack. The Taijiquan Classics say that within neutralization there is attack, and that within attack there is neutralization. It is also said that, after drawing the opponent in and neutralizing his energy, one should issue power.178 This is the yin and yang of taijiquan. Many students of taijiquan place too much emphasis on neutralizing and not enough attention on counterattacking. In this way, their practice becomes unbalanced. This one-sided approach becomes apparent when these students play pushing hands. They are very effective at neutralizing opponents’ attempts to push them but are unable to uproot and push their opponents. For this reason, students must study both neutralizing and issuing. Additional Types of Jin: The preceding sections describe the five basic defensive jin that can be employed to neutralize an opponent’s attack. As mentioned previously, once the opponent’s attack has been neutralized, one can apply any of a number of offensive jin to repel or injure him. A survey of offensive jin will be presented in the following chapter. Additionally, there are other, more advanced jin that may be investigated by students of taijiquan. Such jin are beyond the scope of this book. However, you may want to refer to Stuart Olson’s translation of Chen Kung’s book on the Essential Energies of Taijiquan for explanations of these additional jin. Chen Kung’s book also includes descriptions of eight additional jin that do deserve treatment in any comprehensive book on taijiquan. Those are the jin that correspond to the eight postures derived from the Bagua. To review, the postures of the Four Sides are Ward-Off, Rollback, Press, and Push (peng, lu, ji and an respectively). The four jin associated with these four postures are peng jin, lu jin, ji jin and an jin. The postures of the Four Corners are PullDown, Split, Elbow-Stroke, and Shoulder-Stroke (tsai, lieh, chou and kao respectively). The four jin associated with these postures are tsai jin, lieh jin, chou jin and kao jin. The importance of these jin should not be overlooked. These eight postures and the jin that support them will addressed at length in Chapters Twleve and Thirteen of this book, in which pushing hands and the martial applications of selected postures will be discussed.

How to Train Defensive Jin

The training regimen for developing defensive jin follows the same sequence in which the jin were introduced in this chapter. That is to say, you first train Sticking/Adhering jin; next you train Listening jin; after that you train Interpreting jin; following that you train Receiving jin; finally you train Neutralizing jin. In order to train Sticking/Adhering, Listening, Interpreting, Receiving, and Neutralizing jin, you will need to work with cooperative partners. Try to find time each week to work with a partner in order to develop these skills. The more time you devote to this training, the faster your defensive jin skills will develop. Also, try to work with multiple partners. The greater the number of partners you are able to work with, the better your skills will become. Sticking/Adhering Skill Training Exercise 1: This first exercise is a cooperative two-person exercise. You and your partner stand in opposing right bow stances with the right feet aligned and the right arms held up horizontally in Ward-Off position with the backs of the hands touching. This pairing is shown in Figure 11-2a. Since this is an exercise to train Sticking/Adhering skill, imagine that each of you has a piece of Velcro glued to the back of your right hand. Let’s say that you have the loops piece and your partner has the hooks piece. Once your hands connect, you must both maintain the connection created by the two pieces of Velcro. You initiate the exercise by advancing your arm forward and slightly to the left. Use your whole body, especially your legs and your waist, to initiate this movement just as you would in the form. Your partner must match your movement exactly by retracting her arm back and to her right. Don’t advance too far; just a few inches will suffice at the beginning stage of this exercise. When you have advanced as far as you feel comfortable, your partner should take over. She, in turn, should advance forward and slightly to her left as you retreat back and to your right. Continue this circling exercise without breaking the pattern or the connection between the backs of the hands. The complete sequence is reproduced in Figures 11-2a through 11-2d below.

Figure 11-2a

Figure 11-2b

Figure 11-2c

Figure 11-2d

There are several points that both partners should observe when practicing this exercise. The first is that each of you should be projecting your qi into your right arms and out the backs of the right hands. You want to feel your qi expanding out to the back of your hand and making it feel sticky. The second is that the contact between the two hands must be light and agile, not forceful. Sticking/Adhering energy is sensitive and very tactile; it does not rely upon muscular tension or strength. The third is that this is a completely cooperative exercise. It is up to each of you to maintain the connection between the backs of the hands. Do not attempt to elude your partner or cause her to lose her connection to you. Neither of you controls the circling motion of the two arms. Rather, the two of you cooperatively maintain this motion. After circling on one side for three to four minutes, pause and then change to your left sides. Reestablish the connection between the backs of the two left hands and repeat the circling on the left side for another three to four minutes. If possible, try repeating this exercise with different partners. The more partners you can work with the more quickly you will develop Sticking/Adhering skill. Sticking/Adhering Skill Training Exercise 2: In this exercise you will work with a partner as in the previous exercise. Both of you will take a right bow stance, and both will hold up your right arms in Ward-Off position with the backs of the two right hands connected. Although this second exercise is also a cooperative exercise, one of you will assume the leading role and the other will act as the follower. Let’s say that you will start off in the leading role. You begin the circling exercise as in Exercise 1. In this exercise, however, it is the job of your partner to stick to the back of your hand and to follow your hand as you circle. She does not contribute to the circling motion at all. This means that you must initiate both the advance and the retreat. Her role is simply to maintain the connection between the backs of the two hands and to follow your movement passively. Continue circling for three to four minutes with you taking the active role and your partner assuming the passive role. Then, without changing sides, change roles. Now your partner will initiate and control the circling motion while you passively follow her lead. Although you are not initiating the movement, you must nonetheless follow her movements without breaking off the connection between the hands. What may seem at first to be merely a passive

role is actually very active in that you must pay close attention to the movements of your partner as well as the energetic connection established between the two hands. Again, it is important for both of you to send qi out to your Ward-Off arms and especially to the skin on the backs of your right hands. Make the hands as sensitive as you can. No matter how the active partner moves, the passive partner must remain attached to the active partner’s hand. This exercise primarily benefits the passive partner, although both of you will improve your Sticking/Adhering jin no matter which role you play. Be sure to adopt both roles on each side until each partner is comfortable with the passive role. Sticking/Adhering Skill Training Exercise 3: In this third version of the circling exercise, the active partner now directs his or her arm upward or downward as he or she circles the Ward-Off arm. Figures 11-3a through 113d show one such pattern. Again, the job of the passive partner is to maintain the connection between the backs of the hands at all times. It is important that the passive partner not attempt to anticipate the movement of the active partner. He or she must remain completely passive and rely only on the stickiness in the back of the hand to maintain the connection to his or her partner. The active partner can vary the circling pattern as he or she wishes as a way to challenge the passive partner’s ability to stick and adhere.

Figure 11-3a

Figure 11-3b

Figure 11-3c

Figure 11-3d

As a final comment to these exercises, it is important to understand that these are not pushing hands exercises. Although superficially they may appear to be pushing hands exercises, the purpose here is different. It is better to consider these exercises to be sticking hands drills rather than pushing hands drills. Of course, the best pushing hands players always use sticking hands, but they are also using many other skills as well. You should practice these Sticking/Adhering exercises with multiple partners until you can circle comfortably with any variations while maintaining a constant connection between the the back of your hand and the back of your partner’s hand. Listening Skill Training Exercise 1: Having attained some skill in Sticking/Adhering, you can move on to the next level of defensive jin training, that of Listening skill. In this first Listening skill exercise, you will work with a partner as in the previous Sticking/Adhering skill exercises. As with the second and third of those exercises, one partner will be the active partner with the other partner assuming the passive role. Again, start off by standing in a right bow stance while facing your partner, who should also be in a right bow stance. Each of you should hold up your right arm in Ward-Off with the backs of the hands connected as before. You, as the active partner, should begin to circle horizontally forward and backward. This time, however, your partner should not only maintain the connection between the two hands but should also listen to the movement of your right hand and try to match it by moving her own right hand in response. Although she is the passive partner, she now assumes a more proactive role in attempting to match your movement. The ability to listen to a partner’s movement does not take place in the mind. Rather, it takes place in the back of the hand. The listening partner must focus her mind/intent and her qi on the back of her right hand and “listen” through her skin. This will take some practice, but eventually she should “hear” (feel) your movement in her hand. She should then respond to your movement by moving in concert with you. To begin with, you should keep the circles smooth and consistent so both partners can develop their listening abilities. Trade roles and change sides until each of you are able to follow the other’s smooth and consistent circling pattern. Once both of you are comfortable listening to and following closely as passive partners, the active partner can begin to change up the circling

pattern so as to challenge the passive partner’s ability to hear the changes and respond accordingly. You should continue practicing this exercise with your partner(s) for multiple sessions. It is highly unlikely that either of you will master this skill completely in a single session. Indeed, it takes months and even years to fully develop Listening skill. This is an exercise that you can add to your two-person practice on an ongoing basis. Listening Skill Training Exercise 2: In this second exercise you and your partner will be changing your hand positions as the circle advances and retreats. To begin, you will both stand in right bow stances. Your partner will hold her hand up in Ward-Off position. You, as the active partner, will hold your right arm up in a single-handed push position and will place the palm of your right hand against the wrist joint on the back of your partner’s hand. See Figure 11-4a. You should initiate the circle by advancing and gently pushing your partner’s hand toward her torso. She must listen to this push and respond by sitting back onto her rear, left leg and rotating her waist slightly to her left in retreat. Be sure not to push your partner too hard and overpower her. To begin with, only push in a few inches or so. Then, continue the circle by retreating backward to your initial position. The entire sequence is represented in Figures 11-4a through 11-4d. Your partner’s task is to sense the change in your movement as you begin to retreat and to follow you back to the starting point. As before, keep the circling movement slow and continuous as first to allow your partner to develop her listening skill.

igure 11-4a

FFigure 11-4b

Figure 11-4c

Figure 11-4d

As you both develop more confidence in this new hand connection, you as the active partner can change the direction and speed of the circle in order to challenge your partner to really listen to your movements and not simply to anticipate them. Be sure to change roles and change stances from left to right. Continue this exercise over multiple sessions and, if possible, with multiple partners. Listening Skill Training Exercise 3: In this third Listening skill training exercise, you both will be modifying your hand positions as the circle advances and retreats. As the active partner, you will start off as in Listening Skill Training Exercise 2 above. Your partner will hold up her right arm in Ward-Off and you will connect to the back of her wrist with your right palm. You will maintain this connection as you advance forward, pushing her with gentle pressure and causing her to retreat. When you feel you have pushed her to her limit you will then turn your right hand over and assume a WardOff position with your right arm and hand. Your partner’s job is to listen to this change in hand position and to respond by turning her own hand over and placing the palm of her right hand against the back of your right wrist. Even though she is now in push position, she should still be passive and not attempt to push you backward. You, as the active partner, initiate your own retreat as she follows you. The complete sequence is reproduced in Figures 11-5a through 11-5d.

Figure 11-5a

igure 11-5b

Figure 11-5c

Figure 11-5d

The major addition to this exercise is the hand change. Now the passive partner must not only develop listening in the back of her hand but also in the palm of her hand, particularly the laogong point. This will take some getting used to, so proceed slowly here. As with the previous exercises, once you are both comfortable with the addition of the hand changes, the active partner can vary the circling while the passive partner continues to focus her awareness on her listening skill. Listening Skill Training Exercise 4: In this Listening skill training exercise, you will repeat the hand changes introduced in the previous exercise. However, in this exercise you and your partner will exchange roles with each hand change. To begin, you as the active partner will place the palm of your right hand against the back of your partner’s wrist as she holds up her right arm in Ward-Off. You advance by gently pushing her arm backward. She, in turn withdraws and turns slightly to the left until she reaches the limit of her ability to retreat. She then turns over her hand and initiates Push. At this point, you become the passive partner and she the active partner. It is your job to roll your hand over into Ward-Off and then listen to her as she begins to push forward, causing you to withdraw. You will both continue circling, each assuming the active role when advancing and the passive role when retreating. Keep the circle horizontal and consistent in speed until you are both comfortable with the changing of the hand positions and the active/passive roles. Start off slowly and work up to increasing the circling speed as you both gain confidence. Be patient with each other and help each other master the hand changes as well as the changes from the active to the passive role. When you both feel comfortable circling horizontally, change the angle and direction of the circle. Also, be sure to change from right feet forward to left feet forward. As a variation, keep the circle going and add a transitional step when you change over from right bow stance to left bow stance. As you change stances from right to left, you will also need to coordinate changing the arms and hands from right to left. There will likely be some stumbling and tangled arms at first, but soon you both will get the hang of making the transition from one side to the other smoothly. At first, you will both want to agree as to when the changeover is to occur. One of you can announce, “Okay, get ready to change sides.” Then, when the partner has acknowledged her

readiness, you can say, “change,” and you can step forward as she steps backward into the new stance. After successfully completing a number of changes, either partner can initiate a stance change without prior warning. This will challenge the other partner’s listening skills. Listening jin is an extremely important skill and takes time to develop. Try to work with as many partners as possible, since each individual will feel different. Remember that, although you are working with a partner, you are actually mainly working with yourself. You should focus more on your own sensitivity in these exercises rather than on what your partner is doing. Use your mind/intent and focus your qi on the point of contact with your partner. Learn to listen first with your hand (either the back of the hand or the palm) and then extend your listening ability into the entire arm. Whatever you do, don’t try to listen with your analytical mind, as this will only retard your development. As you continue to develop Listening skill, you will reach a point at which you can sense not only the external movement of your partner’s hand and arm but also the internal movement of her qi. Recall that the movement of the qi precedes the movement of the body. When you can hear the qi moving, you will be able to know in advance what the arm is going to do. This will give you a distinct advantage in both pushing hands and in sparring. However, this highly-developed skill takes years to develop. Don’t expect to be able to hear your partner’s qi moving after only a few practice sessions. Just keep this goal in mind as you practice diligently day after day, week after week, month after month, and year after year. Remember that skill grows with practice. The Classics tell us that “The more practice, the more skill.” Interpreting Skill Training Exercise 1: Interpreting skill follows upon Listening skill. You will only be able to interpret and understand an opponent’s attack once you are able to listen to his intention. Interpreting skill involves not only understanding the opponent’s intention but also responding to it appropriately. Although Interpreting skill can be successfully applied to any single point of contact, it is best trained through two points of contact using the technique of triangulation. To train Interpreting skill using the technique of triangulation, your partner will need to place both of her hands on your ward-off arm. If you start off in a right bow stance with your right arm held up in Ward-Off, she should place

the palm of her right hand against the back of your right wrist. She will then place the palm of her left hand against your right elbow. Your partner will now have both hands connected to your right, ward-off arm in a two-handed Push posture. See Figure 11-6a. In this first Interpreting skill training exercise, your partner should push against your ward-off arm with uneven pressure. She should push more with her right hand than with her left hand. In response to this uneven push, you will then turn your waist slightly to the left and guide her energy off to your left side as shown in Figure 11-6b. This will require that you maintain peng energy in your ward-off arm and that you use your waist and not your upper body to effect the turn to the left. Having correctly listened to and interpreted her uneven push, you should then sit back slightly and circle in to position shown in Figure 11-6c. To finish off, shift forward and circle back out to the starting position as shown in Figure 11-6d. The entire sequence is presented below.

Figure 11-6a

Figure 11-6b

Figure 11-6c

Figure 11-6d

Remember that this is a cooperative exercise. Your partner should push gently enough to allow you to turn your waist in order to deflect her push. She should not attempt to uproot you. Her job is to allow you to interpret and then respond to her uneven push, not to cause you to lose your structure or your balance. Your job is to interpret the direction of her push from her two points of contact using triangulation. This requires you to listen to the pressure of her two hands and to sense which of her two hands is fuller. Sensing that her right hand is fuller provides you with the understanding of the direction of her push, which in turn enables you to respond by deflecting her push off to the left side of your body. This takes you to the position shown in Figure 11-6b. Once you have listened to, interpreted, and deflected your partner’s uneven push, she should refrain from pushing. Her job in assisting you to interpret her push is now finished. To complete the sequence, you then sit back slightly on your left leg and circle your ward-off arm inward to the position shown in Figure 11-6c. From there you shift your weight back to your front leg and circle your ward-off arm back to the starting position as in Figure 116d. Your partner should follow this circling passively until it is completed whereupon she should initiate another uneven push to your left side. Repeat this circling process until you are able to sense and respond to her uneven pushes fluidly and smoothly. Then change roles, with your partner holding up her right arm in Ward-Off arm while you apply uneven pushes with your right palm using more pressure than your left. Once you are both comfortable interpreting uneven pushes to the left side, switch to left bow stances and try the same exercise, this time with the active player applying more pressure with his or her left palm. When standing in a left bow stance, this means that the interpreter will now have to turn to the right in response to the uneven pushes. Interpreting Skill Training Exercise 2: This second Interpreting skill training exercise is a variation of the first exercise. You and your partner will stand in right bow stances as before. You will hold up your right arm in Ward-Off, and she will connect her two palms to your wrist and elbow as shown in Figure 11-7a. This time, however, she will apply an uneven push by exerting more pressure with her left palm. Your job is to interpret this uneven push and recognize that you need to turn your body to the right in order to

effectively deflect her push. See Figure 11-7b. Having deflected her uneven push off to the right side of your body, you sit back slightly into the posture shown in Figure 11-7c and then circle back to the position shown in Figure 11-7d accompanied by a weight shift back onto your front leg. The complete sequence is shown below.

Figure 11-7a

Figure 11-7b

Figure 11-7c

Figure 11-7d

In a sense, this is a mirror image of the response to an uneven push with the right hand applying more pressure. When the pressure is uneven on the partner’s right side, you turn your waist to the left to deflect the push. When the pressure is uneven on the partner’s left side, you turn your waist to the right to deflect the push. You will probably find it easier to turn the waist to the left when standing in a right bow stance. This waist turn corresponds to the waist turn of Rollback when standing in a right bow stance and is more natural. Turning the waist to the right when standing in a right bow stance is equivalent to rolling back to the offside of the torso and is likely to feel somewhat unnatural to begin with. You should practice turning the waist to the offside in both a right bow stance and a left bow stance until you are able to deflect uneven pushes to the offside no matter which bow stance you are holding. Also, make sure that each partner spends equal time as both the pusher and the interpreter. Interpreting Skill Training Exercise 3: In the two preceding exercises, your partner intentionally applied uneven pushes to one or the other side of your ward-off arm. This provided you with the opportunity to listen to the uneven pressure and to interpret the directionality of the push. You then responded to this directionality by turning the waist away from the push in order to lead your partner off to one or the other side of your body. In this exercise, your partner will exert pushing pressure equally through both palms. As the interpreter in this exchange, your job remains the same: listen to the pressure in the two palms, interpret the direction of the push, and respond accordingly. The only difference between this exercise and the previous two exercises is that you won’t be able to deflect your partner’s push by turning your waist. Instead, you must withdraw your ward-off arm by hollowing out your chest in order to neutralize her push. The hollowing out of the chest is accompanied by sitting back onto your left leg. Hollowing out the chest and sitting back onto the rear leg creates the empty space necessary to neutralize the incoming push. This withdrawal position is shown in Figure 11-8b. Having neutralized your partner’s push, you circle your ward-off arm downward slightly to the position shown in Figure 11-8c before circling the arm back up to the initial Ward-Off position. As you circle your ward-off arm back up, you will again shift your weight forward onto your front, right leg. As with the preceding two exercises, your partner should refrain from

pushing forward once you have successfully interpreted and responded to her push. Again, it is her job to provide just enough pressure for you to interpret it and react to it. She should not try to push you off or cause you to lose your balance. Also, she should cooperate with you as you circle your ward-off arm down and then back up again in order to return to your initial positions. Figures 11-8a through 11-8d show the complete sequence of this exercise.

Figure 11-8a

Figure 11-8b

Figure 11-8c

Figure 11-8d

As with the preceding two Interpreting skill exercises, be sure to practice this drill in both right and left bow stances and make sure to change roles so that both partners have the opportunity to act as both the interpreter and the pusher. Interpreting Skill Training Exercise 4: The three previous Interpreting skill exercises are designed to help you learn how to interpret specific pushes. In essence, there are really just three ways an opponent can push you from the front. Her push can either be directed toward your center or directed toward either the left or the right side of your body. If her push is aimed directly toward your center, you must interpret the equal pressure from both her palms and neutralize by hollowing out and sitting back onto your rear leg. If her push is uneven on the left, then you employ a waist turn to the right to deflect the push. Similarly, if her push is uneven on the right, then you employ a waist turn to the left to deflect the push. The same basic strategy applies in self-defense situations. If an attacker attempts to punch or kick you, their punch or kick will have directionality. You must sense the attacker’s intention and interpret the directionality of the attack. Once you understand the direction of the punch or kick, you can attach to the opponent’s arm or leg and rotate your waist to deflect the punch or kick. If the attack is straight on, such as when the attacker attempts to push you backward or to grab you with both arms, you will be able to interpret this frontal attack. Your response in such instances should be to step back slightly, hollow out your chest and push the opponent’s arms down before circling back up, stepping in, and pushing the attacker away. In order to train Interpreting skill to meet with any push or frontal attack, you need to work with your partner by having her randomly vary the direction of her pushes. The two of you will begin by taking right bow stances. You will hold up your right arm in Ward-Off and she will attach her two palms to your right wrist and elbow. It is her job to apply whichever push she chooses: either uneven to the right, uneven to the left, or straight ahead. As the interpreter, your job is to listen carefully, interpret the directionality of the push, and react accordingly. This will take some getting used to and will require feedback on the part of your partner. If, for example, your partner applies an uneven push with her right palm exerting more pressure, but you mistakenly interpret her push and

turn your body to the right, she should stop and correct you by informing you that the pressure came from her right palm and not her left. The same applies to uneven pushes with the left palm exerting more pressure or when both palms apply pressure equally. Learning to listen to, interpret, and react appropriately to a partner’s pushes takes months and even years to accomplish. Don’t be frustrated or give up if you don’t master this challenging skill in just a few practice sessions. Keep at it and remember to work with as many different partners as possible. The following analogy will serve to illustrate the importance of working with multiple partners: When learning a new language, the more people you speak with the easier it will become to communicate with anyone you meet. If you speak with the same individual all the time, you will become accustomed to their voice and may not be able to understand others when you speak with them. The same applies to Listening and Interpreting skill. You need to realize that each individual has their own energy signature and will sound different to you. For this reason you should attempt to practice with different partners in order to broaden your interpreting skills. Receiving Skill Training Exercise 1: Receiving jin is the ability to receive an opponent’s incoming energy without allowing that energy to move you or cause you to be uprooted. This first Receiving skill training exercise is intended to assist you in developing the skill of hollowing out in order to create an empty space to receive the opponent’s energy. For this exercise, you and a partner will be working with a large, inflatable ball, such as a beach ball or an exercise ball. Both you and your partner will stand in a right bow stances separated by approximately one foot in distance. Hold the ball suspended between you and your partner as indicated in Figure 11-9a. You will begin by pushing the ball horizontally forward toward your partner. In response, she must hollow out her chest and raise her back in order to create a space for the ball. She may also need to sit back onto her left leg to create additional space as necessary. This is shown in Figure 11-9b. Your partner should have the sense that she is creating a large letter ‘C’ with her torso. It is also helpful to think of matching the shape of the ball with the upper body in order to accommodate the ball’s intrusion. It is important in this exercise not to stick out one’s buttocks while hollowing out the back. It is also essential to maintain a vertical alignment

between the niwan point in the head and the huiyin point located between the legs while creating the empty space necessary to receive the incoming energy. After your partner has received the incoming energy of your advance, she then pushes through the starting position and into your space. You must receive her incoming energy in turn by hollowing out your body to create space for the ball. Again, try to match the roundness of the ball with a corresponding roundness in your upper body without sacrificing central equilibrium. The entire sequence is represented below in Figures 11-9a through 11-9d. As with the preceding two-person exercises presented in this chapter, you should practice this exercise equally in both the right bow stance and the left bow stance.

Figure 11-9a

Figure 11-9b

Figure 11-9c

Figure 11-9d

When practicing these exercises you should focus your awareness on the sequential opening of the joints. Recall that there are nine main joints in the body: three in the legs, three in the spine and three in the arms. As you receive the incoming ball, begin by opening the wrist joints, the elbow joints and the shoulder joints. Then, in order to create the letter ‘C,’ you must open the three joints of the spine: the neck and upper back, the middle back, and the lower back. Finally, you may need to open the joints in the legs, starting with the hips and then the knees, and finally the ankles. Receiving Skill Training Exercise 2: This Receiving skill training exercise is an extension of the preceding one. Here you will substitute a smaller, heavier ball for the large, inflatable ball. An eight or ten pound medicine ball will work for this exercise. Lacking a medicine ball, you can substitute any soft, heavy object weighing around ten pounds. If you do not have a medicine ball, you can create one easily from an old basketball by filling it with sand. Check online for instructions on how to make your own medicine ball. To proceed with this exercise, you and your partner should stand in right bow stances about two feet distant from each other. You begin by holding the medicine ball as shown in Figure 11-10a. Your partner stands ready to receive the ball as shown in the same illustration. You then toss the medicine ball gently toward your partner’s midsection. She catches the medicine ball by receiving it in her arms and then hollowing out her chest, raising her back, and sitting back on her left leg. In this way, she receives the ball and absorbs its incoming momentum. This is shown in Figure 11-10b. Having caught the ball successfully, she then pushes off her back leg, extends her arms and tosses the medicine ball back to you. You, in turn, catch the medicine ball using the same technique. The entire sequence is represented in Figures 1110a through 11-10d.

Figure 11-10a

Figure 11-10b

Figure 11-10c

Figure 11-10d

Continue tossing and catching the medicine ball until each of you can catch the ball without any tension or resistance. The key to this exercise is to keep the arms and shoulders soft and loose and to absorb the medicine ball’s incoming energy by hollowing out the chest, elongating the spine, and sitting onto the back leg. Keep in mind, however, the importance of maintaining central equilibrium. Don’t bend forward or lean backward when throwing or receiving the medicine ball. Be sure to perform this exercise equally in both right and left bow stances. Receiving Skill Training Exercise 3: The preceding two Receiving skill training exercises are designed to train you to hollow out the chest, raise the back, and sit into the back leg in order to receive an opponent’s incoming energy without compromising your central equilibrium. This type of response should be used whenever an opponent attacks you directly from the front. Recall from the Interpreting exercises presented previously in this chapter that an opponent’s energy may directed straight toward you or may include a cross-body component. If, for example, the opponent’s pushing energy is offcenter to your left side, you should roll back onto your back leg and deflect his energy to your left. Similarly, any attack that is off-center to your right side should be rolled back to your right. In order to train Receiving skill for an off-center attack you will again work with a partner and a medicine ball. Stand as before in right bow stances separated by about two feet. You stand ready to toss the ball as previously. Your partner stands with her arms held in the position shown in Figure 1111a. She has her right hand up and her left hand under it in anticipation of receiving the ball across the left side of her body. To assist her in training to receive an off-center attack, you toss the ball slightly across her body toward her left side. She catches the ball as before with her two hands and then simultaneously sits back onto her left leg and turns her waist slightly to the left as shown in Figure 11-11b. After receiving the medicine ball, your partner should then return to the forward position and use the momentum of moving forward to toss the ball across your body to your left side. You, in turn, receive the ball by opening your arms with the right hand on top and the left hand underneath and then sitting back onto your left leg and turning your waist to the left. See Figures 11-11c and 11-11d. Continue this sequence until each of you can receive the

ball comfortably.

Figure 11-11a

FFigure 11-11b

Figure 11-11c

Figure 11-11d

The exercise described above will enable you to receive an incoming force that is off-center on the left side of your body when standing in a right bow stance, and is the equivalent of performing Rollback in the Yang style sequence of Grasp the Sparrow’s Tail. Now you need to train to receive an incoming force that is off-center to the right side of your body when standing in a right bow stance. Begin with your partner as before by standing in right bow stances separated by approximately two feet of distance. You hold the medicine ball as before. This time, however, your partner holds her left hand up and her right hand underneath. You then toss the ball slightly to the right side of her body. She must catch the ball between her two outstretched hands while simultaneously sitting onto her back, left leg and turning her waist slightly to her right. Your partner then returns to her original right bow stance and tosses the ball to your right side, which you will then catch as you turn to your right. Be sure to practice throwing and catching the ball to both sides of the body. Once both you and your partner are comfortable receiving the energy of the medicine ball on either side of the body while standing in right bow stances, switch to left bow stances and repeat the drill by throwing and catching the medicine ball on either side of the body. It is important to practice this training exercise in both a right and a left bow stance. When playing pushing hands or engaging in sparring, not to mention in an actual attack, you won’t have the luxury of deciding which foot will be forward when a push, a punch, or a kick will be aimed at your body. Neutralizing Skill Training Exercise 1: The preceding exercises in this chapter have trained you in Sticking/Adhering skill, Listening skill, Interpreting skill, and Receiving skill. This final set of exercises will train you in the development of Neutralizing jin, or hua jin. As stated earlier in this chapter, Neutralizing jin relies upon the jin of Sticking/Adhering, Listening, Interpreting, and Receiving. Because Neutralizing jin is an advanced defensive jin, you should only proceed to Neutralizing skill training once you feel you have achieved a basic level of competence in these other defensive skills. Neutralizing jin may be expressed either externally or internally. This first exercise will train you to use external neutralization to nullify an opponent’s straight-on attack. To begin, you and a partner will stand facing each other in

right bow stances as shown in Figure 11-12a. You will hold up your right arm in Ward-Off, and your partner will connect to your wrist and elbow with her right and left hands respectively. This is similar to the beginning of the first Interpreting skill exercise. The only difference is that now you will connect to your partner’s right elbow with your own left hand as indicated in Figure 1112a. Your partner begins by pushing evenly with both hands into your midsection. You receive this incoming push just as you did when receiving the incoming force of the inflatable ball. You withdraw your arms while you simultaneously hollow out your chest, raise your back, and sit back onto your left leg. In this exercise, you will add the external neutralizing skill of circling your ward-off arm around in order to place your right hand upon your opponent’s left wrist. You will simultaneously circle your left arm around to place your left hand over her right wrist. As you come to the end of the empty space created by your withdrawal, you gently push down with both your arms. This will neutralize the horizontal force of your partner’s incoming push. This position is shown in Figure 11-12b. Having neutralized your opponent’s incoming push, you then follow her as she retreats back to her original position. You then provide her with an opportunity to practice neutralizing by gently pushing toward her midsection and allowing her to neutralize your push as shown in Figures 11-12c and 1112d.

Figure 11-12a

Figure 11-12b

Figure 11-12c

Figure 11-12d

This Neutralizing skill training exercise relies upon the gentle pushing down of the opponent’s hands to change the direction of her push and thereby to neutralize it. Since this technique does employ a small amount of force to counteract the opponent’s force, it is considered to be an external form of neutralization. Even though you are utilizing external force to effect the neutralization, you want to be as soft and yielding as possible. As you practice this exercise with your partner, each of you should strive to use less force with each attempt at neutralization. You want to reach the point where each of you is using no more than four ounces of downward pressure in order to neutralize the opponent’s incoming force. Neutralizing Skill Training Exercise 2: In this second Neutralizing skill training exercise, you will learn how to neutralize an opponent’s push that is off-center to your left side. To begin, stand with your partner in the positions shown below in Figure 11-13a. This time your partner will exert an uneven push by pushing a little harder with her right hand than with her left hand. In response to this off-center push, you circle your right arm down and then back up and around your opponent’s left arm to connect to her left elbow. At the same time, you disconnect your left hand from her right elbow and reconnect with the back of her right wrist. Having established two new points of connection with your opponent, you then sit back onto your rear, left leg and turn your torso slightly to your left by rotating your waist. As you sit back and turn your torso, your arms should lightly guide your opponent’s two arms across the left side of your body, as shown in Figure 11-13b. The goal here is to use the rotation of your waist and a small amount of pressure from your right hand to neutralize her push. After you have neutralized her push, allow her to withdraw and follow her back to the starting position as shown in Figure 11-13c. In this illustration, she holds her right arm up in Ward-Off and connects to your right elbow with her left palm while you push against the wrist and elbow of her ward-off arm with your two palms. As you gently push against her ward-off arm, be sure to exert more pressure with your right hand than your left so she can practice neutralizing your off-center push to the position shown in Figure 11-13d. In this way, each of you will have the opportunity to practice neutralizing offcenter pushes to your left side when standing in a right bow stance. Remember to switch sides and practice neutralizing off-center pushes to the

right side when standing in a left bow stance.

Figure 11-13a

Figure 11-13

Figure 11-13c

Figure 11-13d

Neutralizing Skill Training Exercise 3: In the preceding exercises you began to develop Neutralizing skill by neutralizing off-center pushes to the open side of the body. In this exercise you will train Neutralizing skill in order to neutralize an incoming force to the offside of your body. When standing in a right bow stance, this involves receiving and neutralizing an offcenter force to your right side. This neutralization is a bit more difficult to accomplish as it requires you to close the offside kua more than when neutralizing to the other side of the body. To begin, both you and your partner should stand in right bow stances facing each other. You will hold up your right arm in Ward-Off, and your partner will connect her two hands to your ward-off arm. You, in turn, will connect your left hand to her right elbow. These positions are reproduced in Figure 11-14a. To begin, your partner pushes on your ward-off arm with slightly more force in her left hand. In response you slide your left hand up from her right elbow onto the outside of her upper right arm. At the same time, circle your right arm around the outside of her right hand so that your right palm covers her right wrist. Then sit back onto your rear, left leg and simultaneously turn your torso to your right. You will not only need to rotate your waist to the right, but you will also need to close your right kua by deepening the right inguinal crease in your groin. Use the waist rotation and the turning of your torso to gently guide your partner across your body to the right side. This is represented in Figure 11-14b. As with the preceding two Neutralizing skill training exercises, your goal is to neutralize your partner’s incoming force with a maximum of four ounces of pressure upon her right arm and wrist. The neutralization is primarily accomplished by sitting back onto the rear leg and turning the torso. After you have neutralized her off-center push to your right side, allow her to withdraw to the starting position. Change hand positions and assume the pushing role as she receives an off-center push to her right side. This is shown in Figures 11-14c and 11-14d. Continue practicing on the right side until both of you feel comfortable neutralizing off-center pushes to the right side of the body while standing in a right bow stance. Then change to left bow stances and continue with this exercise.

Figure 11-14a

Figure 11-14b

Figure 11-14c

Figure 11-14d

Neutralizing Skill Training Exercise 4: The preceding three exercises relied upon the application of a small amount external force in order to neutralize an opponent’s incoming force. These three exercises are intended to train the development of external neutralization. External neutralization is valuable and necessary in the practice of taijiquan, but it is not the highest level of neutralization that can be attained in this art. In this final Neutralization skill training exercise, you will work on developing internal Neutralization skill. Once you are able to employ internal neutralization, you can either use this skill on its own or combine it with external neutralization to effectively neutralize even very powerful incoming attacks. Internal Neutralization skill training begins with you and your partner standing in right bow stances. You hold up your right arm in Ward-Off position and your partner places her two hands on your right arm at your wrist and elbow. She then begins to exert pressure evenly against your wardoff arm. See Figure 11-15a. Your job is to allow your opponent’s incoming force to be absorbed by your entire body without either resisting or collapsing your structure. At first, this will seem difficult, and you will find yourself stiffening up. Your partner’s task is to tell you when she feels you becoming rigid. She then needs to reduce her pressure and allow you to relax your tension. Then she should begin gently reapplying pressure. In order to neutralize her incoming force without either stiffening up or collapsing, you must maintain peng energy in your ward-off arm. This, however, is not enough. You must also become song in the shoulder joints, the spine, the waist, the hip joints, the knee joints, and the ankle joints in order to allow your partner’s incoming energy to flow from your ward-off arm through your shoulder, down your spinal column, through your hips, down your legs, and into your feet. You should practice receiving and neutralizing your partner’s pressure until you can absorb an incoming force of up to twenty or thirty pounds of pressure. Be sure to switch roles and also to change from right to left bow stances. After you have developed some skill in neutralizing your partner’s pressure on your ward-off arm, drop both your arms down to your sides and have her push directly upon your shoulders as shown in Figure 11-15b. Again, you should relax and open the shoulder joints, the spinal column, the waist, the hip joints, the knee joints, and the ankle joints in order to allow her incoming

force to pass through your body and down into your feet without either resisting or collapsing. If your partner feels you getting stiff, she should inform you and reduce her pressure until you are able to relax into her push. Equally, if you feel yourself collapsing or coming off your front foot, ask your partner to allow you to reset and then have her begin pushing again. The secret to this exercise is complete cooperation and communication between the two partners. Once you feel that you can neutralize your partner’s pushes standing in a bow stance, stand and face your partner in a parallel, or horse-riding stance (ma pu) while holding up your right arm in Ward-Off. Your partner still gets to stand in either a right or a left bow stance while placing her two hands against your ward-off arm as shown in Figure 11-15c. You, however, must now focus on absorbing her pushes directly down into your two parallel feet without resisting, collapsing, or being pushed backward. Your partner needs to be very sensitive here and should not apply more pressure than you are able to absorb. To begin with, your partner should push more in a downward direction rather than straight forward in order to assist you in drawing her force down into your feet. Gradually, she should change the direction of her pushes so that eventually she is pushing straight through you. Your task is to redirect these horizontal pushes through your arm and shoulder and then down your spine and legs and into your feet. As a final modification of this exercise, stand in parallel stance with both arms at your sides and permit your partner to push directly against your shoulders as shown in Figure 11-15d. Again, your partner should start off with very gentle pressure directed somewhat downward until you are able to absorb and neutralize her pressure without stiffening, collapsing or being pushed off. Then she should increase her pressure and alter the direction of her pushes so that her force is coming straight into your shoulders.

Figure 11-15a

Figure 11-15b

Figure 11-15c

Figure 11-15d

The training of internal Neutralization skill described above helps you develop the ability to receive and neutralize an opponent’s incoming force by allowing the force to pass through your body and into the ground. As stated previously, this requires both strong roots and the ability to be song throughout the body. When the opponent’s force is neutralized in this fashion, you will feel the force passing through your body and into the ground through the yongquan points in your feet. This helps to develop your roots. The more song you become, the deeper your roots will penetrate into the ground. When your partner pushes against your shoulders and you allow her incoming force to pass through your body and into the ground, this is a process referred to as “feeding your roots.” Training and developing internal Neutralization skill in this manner is an ongoing process. You won’t master this skill in a day, a week, or even a year. Although such training may seem boring at first, you should try to train this skill several times each week for at least fifteen minutes per session. Without internal and external Neutralizing skill, you will never be able to successfully engage in pushing hands, sparring, or the martial applications that constitute the martial aspect of taijiquan.

Conclusion This chapter introduced the subject of jin and specifically described the defensive jin of Sticking/Adhering, Listening, Interpreting, Receiving, and Neutralizing. The main thrust of this chapter was to provide training exercises to assist you in the development of these five defensive jin. The application of defensive jin comes into play during pushing hands, sparring, and the martial applications of the postures of taijiquan. Defensive jin such as those described in this chapter are essential to the execution of offensive jin, such as fa jin. Yang Jwing-Ming summarizes this succinctly in his discussion of Neutralizing jin, in which he states that one must neutralize an opponent’s incoming force before one attempts to counterattack. If the opponent’s force is not neutralized effectively, how can one’s own counterattack be expected to succeed?179 The importance of developing defensive jin cannot be overemphasized. You need to be able to stick and adhere, listen to, interpret, yield, and neutralize your opponent’s attack. Otherwise you will be at her mercy. Your first

response to any attack should be to apply these defensive jin in the following order: first stick to the opponent’s attacking arm or leg; then listen to and interpret her intent; yield to her incoming force; and finally neutralize that force through a combination of internal and external neutralization. Often simply applying defensive jin will be sufficient to nullify the opponent’s attack and to discourage her from further aggressive action. However, if the opponent continues to attack you, you may need to respond with offensive jin in order to prevent her from doing you harm. In such cases, you will need to follow up your defensive jin by applying offensive jin. Offensive jin are discussed in the following chapter. There you will learn about more aggressive jin such as Issuing jin, Drilling jin and Seizing jin. These and other offensive jin may be applied with devastating effect when dealing with aggressive and non-compliant opponents. While the defensive jin discussed in this chapter may be likened to the yin aspect of taijiquan, these offensive jin represent the yang side of the art. It is essential that you learn both sides of the art. Otherwise, your development and understanding of the martial applications of taijiquan will be incomplete. Far too many students only study the defensive applications of this art with the result that their skill is one-sided. There are also practitioners who tend toward the opposite extreme and focus exclusively on the training and development offensive jin. These individuals typically are drawn to the martial aspect of taijiquan and usually come from a background in other hard styles of martial arts. Individuals who ignore the training of defensive jin in favor of only training offensive jin will never plumb the depths of the art, and their development and application of offensive jin will always remain at a superficial level. As with individuals who only engage in defensive jin training, their skill will also be one-sided and therefore limited. The essence of taijiquan is that it is a balance of yin and yang, of defense and offense. Without the yin of defensive jin, the yang of offensive jin will be incomplete and lacking in balance. Remember that the Taiji symbole contains both yin and yang in equal measure. As you train and develop jin, be sure to train both defensive jin and offensive jin equally. Only then can you begin to fathom the true taijiquan as practiced by the past and present masters of the art.

Chapter Twelve

Understanding and Training Offensive Jin

The preceding chapter introduced the subject of jin and focused upon the core defensive jin which form the cornerstones of the martial application of taijiquan. One of the central precepts of our art is that softness is used to overcome hardness. The application of deflecting a force of one thousand pounds with four ounces is based upon this essential principle. However, it is also important for students to recognize that taijiquan is a martial art. As such, it contains both defensive and offensive applications. Thus, our art incorporates the yin and the yang of Taiji theory upon which the art of taijiquan was founded. Just as the defensive applications of taijiquan rely upon defensive jin, so the offensive applications of the art rely upon offensive jin. It is equally important from a martial perspective to study both the defensive and the offensive aspects of the art. To this end, this chapter presents a survey of key offensive jin and provides various training exercises designed to assist the student in developing these jin. As cautioned in the preceding chapter, it is important to understand that, when using taijiquan for self-defense, the practitioner must always employ defensive jin first in order to receive and neutralize an attacker’s incoming force before attempting to apply any of the offensive jin presented in this chapter That is why defensive jin are trained first. Only when students have attained a basic level of understanding and development of the defensive jin of Sticking/Adhering, Listening, Interpreting, Receiving, and Neutralizing should they begin training in offensive jin.

Understanding Offensive Jin The literature surrounding taijiquan is full of tales regaling the highly-

developed skill of past taijiquan masters. Fu Zhong-wen wrote of Yang Cheng-fu that his skill in pushing hands, in particular his skill at neutralizing and in fa jin, was unsurpassed. Fu further stated that Yang Cheng-fu exhibited the quality of the softness of cotton containing a bar of steel. Although Yang Cheng-fu seemed to move very slightly, his power reached “exceedingly far,” and the energy was released “with extreme swiftness.” Those who were on the receiving end of his fa jin were sent “soaring and tumbling into the air.”180 Chen Wanting, founder of the Chen family style of taijiquan, was said to have defeated more than one thousand bandits. There is a story regarding Sun Lu Tang in which he purportedly chased a bandit across a harvested field of grain in which only the stalks remained. Sun supposedly raced across the field in pursuit of the bandit, stepping only upon the tops of the stalks. He was also reputed to be able to run up tall, vertical walls before somersaulting in the air and landing back on the ground. Similar stories are told about Wu Chian-chuan and other past members of the Chen, Yang, Wu and Sun families. These legendary tales may at first seem apocryphal until one realizes that there are masters of the art today who have also attained this high level of skill. As stated at the beginning of this chapter, offensive jin such as fa jin rely upon the prior application of defensive jin. This will be made clear as each of the offensive jin are explored in greater detail in the remainder of this chapter. It is also important to understand that fa jin is only one of the many offensive jin that underlie the martial applications of taijiquan. This chapter presents several of the basic offensive jin of this art. Other, more advanced offensive jin will need to be explored by students on their own, as they are beyond the scope of this book. Issuing Jin: Issuing jin, or fa jin, is the specialized skill of issuing sharp, sudden energy into an opponent. This is the fabled jin for which the original founders of taijiquan were renowned. The development of fa jin is a highlevel achievement, but it is definitely within the reach of any dedicated student of taijiquan who is willing to put in the time to train this jin and learn how to apply it correctly. Fa jin is based upon the principle of store and release. The Taijiquan Classics state that internal power should be condensed, or stored, like pulling a bow,

and should be projected, or issued, like releasing an arrow.181 In The Secret of Withdraw and Release it is written you should draw the opponent’s power in near your own body in order to borrow (store) his power. Yang Zwing-Ming clarifies this by explaining that when you neutralize an opponent’s attack you first draw him into you somewhat. This allows you to accumulate energy in your own posture, just as when drawing a bow or compressing a spring. At the same time, you accumulate qi in your lower dantien and attach it to your spine. These complementary actions should be accompanied with an inbreath, as storing takes place on an inhalation.182 The images of the drawn bow and the coiled spring help us to understand how jin is stored in the body. Recall that the body contains five bows: the two leg bows, the two arm bows, and the bow of the spine. At the lowest level of development, the jin is stored in the leg bows. The opponent’s incoming force is received in the arms and is directed downward in order to compress the legs. This requires that the entire body be relaxed and song so that the incoming energy can be absorbed all the way down to the yongquan points in the feet. There cannot be any resistance or stiffness in the body. If there is resistance or stiffness, the incoming force will find a place to discharge and you will be uprooted and sent flying instead of being able to receive and store that energy for subsequent release. When the opponent’s energy has been absorbed into the legs, the leg bows will have been drawn. You can also think of the legs as two springs that have been compressed. The compression of the spring in one of the legs is depicted in the drawing presented below in Figure 12-1.

Figure 12-1

Once the jin has been stored in the legs, it can be released. In his commentary on The Secret of Withdraw and Release, Yang Zwing-ming states that having neutralized the incoming force of the opponent, you should counterattack by relaxing and emitting jin the way a drawn bow releases its tension to shoot an arrow.183 The release of the stored energy follows the dictates of the Taijiquan classics: “The internal energy roots in the feet, transfers through the legs and is controlled from the waist, moving eventually through the back to the arms and fingertips.”184 This release of stored energy is represented below in Figure 12-2.

Figure 12-2

The storage and release of energy in the legs is not accomplished by the mere compression of the muscles. Rather, the storage and release is effected through the compression and subsequent expansion of the sinews. When the authors of the Taijiquan Classics use the term “sinews,” they are referring to the tendons and the ligaments. Chapter Thirteen of the Yang Family Forty Chapters states that power (jin) is generated by the tendons, and strength (li) is generated by the bones.185 Here the term “bones” refers to muscular strength. It is important to distinguish between muscular strength and the compression and expansion of the tendons and ligaments. Muscular strength is based upon hard force, whereas the compression and expansion of the sinews is based upon the ability to be song. When releasing the energy stored in the leg bows, a caveat must be heeded. It is important to remain sunk into the legs (ch’en) and to avoid the error of springing up as one releases the energy. The energy travels up the legs and the spine and out the arms, but this passage is internal rather than external. If you spring up out of the legs, you will lose your root. Similarly, if you allow the energy traveling into the arms to project your body forward or your arms outward, then the opponent will be able to borrow your forward momentum and pull you off your stance. Most beginning students make the mistake of springing up and forward out of their stance when attempting to issue energy from the legs. It is helpful to ask others to observe you or to observe yourself in a mirror when practicing this technique in order to avoid the error of rising up or leaning forward when emitting fa jin from the legs. Of the five bows in the body, the two leg bows are the largest and the most powerful. However, relying solely upon the legs to store and release energy represents a relatively low level of fa jin development. One may ask, where else can the energy be stored and released? The Taijiquan Classics tell us that the transfer of power comes from the spine.186 The Classics also instruct us to condense the qi in the spine. If you can store energy in the spine as well as in the leg bows and then release the combined energy of the two leg bows and the spine bow in rapid succession, your fa jin will be much more powerful than merely issuing stored energy from the leg bows. Storing and releasing jin in the bow of the spine along with the leg bows represents a middle level of fa jin development. The next level of fa jin development utilizes the arm bows in conjunction with the leg bows and the

spine to store and release energy. The energy stored in the arms is a combination of the opponent’s incoming energy and your own condensed qi which has been stored in the sinews of the arms and shoulders. There is one more level of fa jin development to consider. This is the release of energy from the hands and the fingertips alone. When energy is emitted directly from the hands, the pathway of the emitted energy is relatively short. This creates a much more sudden and disruptive release of energy that is felt by the opponent as an electric jolt. Issuing directly from the hands and fingers is the shortest and most sudden way to emit fa jin. To the recipient of this type of fa jin, it feels like sticking one’s fingers into an electric socket. It is quite literally shocking. Huang Sheng-shyan, who was renowned for his fa jin, used to demonstrate this ability by sitting on a chair and issuing fa jin into his students by simply touching them with his hands. The purpose of these demonstrations was to show that his legs were not involved in the process. Obviously, when one is able to issue fa jin directly from the hands and fingers, one is no longer relying upon the borrowed energy of the opponent. So where does the energy come from? The answer is that the highest level of fa jin relies upon the immediate and instant release of concentrated qi. This, in turn, depends upon years of neidan qigong training in which the practitioner has learned to condense the qi and direct it to any part of the body at will. In addition to the principle of storing and releasing, Chen Kung wrote that in order to issue jin into an opponent, three essential points must be present: opportunity, direction, and timing.187 If any of these elements are lacking or are not executed correctly, the issuing will be ineffective. Opportunity means that the opponent must present a suitable point of impact when issuing energy. That is to say that the opponent must present a locus of resistance or stiffness. It will do no good to issue fa jin where the opponent is soft or empty. When working with relatively inexperienced opponents, it is easy to find resistance and stiffness. However, with more skilled opponents you may be required to manufacture resistance on their part. This can be accomplished by applying Shaking jin, Grasping jin, Seizing jin, Freezing jin, or Interrupting jin. These are advanced jin and should be attempted only after mastering the jin presented in this chapter. Ideal opportunities for issuing fa jin occur when the opponent has attempted and failed in his attack and finds

himself stuck. If, for example, you can deflect an opponent’s attack and cause him to turn his shoulder or back to you, these points provide excellent opportunities to issue fa jin. The direction for issuing fa jin is also important. The Classics instruct us to “seek the straight in the curved.” When you withdraw to lead an opponent in, you should employ roundness and a curved path. This is the curvature of the bow. However, when you release this stored energy, the release must follow a straight path, like an arrow shooting forward. The direction of your release must be straight through the point of the opponent’s resistance. If the direction is not precise, your energy may be deflected in turn, which will place you in a disadvantageous position. When issuing fa jin, it is also important to pay attention to the opponent’s stance. In practical terms, you don’t want to release your energy directly toward the opponent, as that will enable him to root your energy into his back leg. If you can identify a weak point in his stance, you can direct your fa jin at an angle that takes advantage of this weakness. In this way, your fa jin will have maximum effect. With regard to the timing of your release, you should release when the opponent has failed in his attempt to attack you but has not yet recovered from his failed attempt. This is the timing of the opponent. You must also look to your own timing. For example, if you are releasing energy stored in the leg bows, you must coordinate the release of the leg energy with the turning of the waist and the extension of the arms and hands. Yang Zwingming’s comments on The Secret of Withdraw and Release emphasize the importance of correct timing in the release of fa jin. He writes that timing is essential in order to release jin effectively. Unless you are able to seize the proper moment to issue jin, it will be clumsy and ineffective, and the opportunity for issuing jin will be lost. Just as with shooting an arrow to strike a moving target, both the timing of the release and the accuracy of the aim are crucial.188 In conclusion, Issuing jin relies upon the principle of store and release. How the energy is stored and released depends upon the level of development. At a low level of development, the energy is stored and released from the sinews. At the highest level of development the energy is stored as condensed qi and the issue is almost electric in is character. Regardless of how the energy is

stored and released, it must be issued when the appropriate opportunity arises, in the right direction, and with correct timing. If any of these elements is lacking, the release of fa jin will fail to meet its objective, and the issuer may find himself at the mercy of his intended victim. For this reason it is essential to train fa jin and to practice with cooperative partners before attempting to use this energy against actual opponents. Seizing Jin: Seizing jin, or na jin, is an advanced jin that can be used either defensively or offensively. The martial application of Seizing jin is often referred to as “chin na.” In Western terminology the term “chin na” refers to the use of joint locks to control or injure an opponent. Chen Kung wrote that, in order to seize an opponent you must seize his joints, such as his wrists, elbows or shoulders. If you do not correctly seize the opponent’s joints, when you join with him, he may seize your own joints instead.189 Seizing jin is a good example of when it is necessary to interpret the term jin as “skill.” Seizing skill involves knowing both where to seize an opponent and how to seize him. The “where” typically involves the joints of the fingers, the wrists, the elbows, or the shoulders. Often you will seize the opponent at two different joints simultaneously. An example of this is the joint lock known as an “arm bar.” In this type of joint lock, you seize the opponent’s wrist and elbow in order to make his entire arm as stiff as a bar of iron, which gives you complete control over his arm. Since his arm is connected through his shoulder to his torso, it also gives you complete control over the opponent’s body and not just his arm. The “how” of seizing must be learned through experience working with a knowledgeable instructor and willing partners. Typically, you will seize an opponent by grasping one of his joints in one of your hands. As stated in the preceding paragraph, you may also want to grasp two separate joints, one with each hand. Seizing can be accomplished using only your fingers or your entire hand. At advanced skill levels you can actually seize with your forearm, your elbow, your upper arm, or your shoulder. Once you have attached to the opponent’s joint(s) with your hands, you use the rotational movement of the waist and the legs to put on the joint lock. Do not try to simply twist his joint(s) with your hands. This is not the skill of Seizing jin. Chen Kung specifically cautioned against this type of forceful seizing. He instructed that the power of the seizing must come from the legs

and the waist. You should attach to the opponent’s joint(s) without forcefully grabbing him. If you roughly grab his joints, he will be able to easily elude your grasp.190 True seizing is accomplished through the application of mind/intent and attaching using the defensive skills of chan nien explained in the previous chapter. Yang Zwing-Ming concurs, stating that when controlling an opponent, your touch must be light and agile. If your movements are heavy, your opponent will easily detect them and be able to elude your attempt to seize him.191 Beginning students typically make the mistake of trying to lock up the opponent by simply grasping his joint(s) and then twisting with the hands or forearms. As explained in the previous paragraph, an experienced taijiquan practitioner can easily escape such clumsy attempts at seizing. This also brings up an important aspect of seizing. The individual who is applying the joint lock must do so subtly and without alerting the opponent of his intention. If the opponent becomes aware of your attempt to seize him before you are able to do so, he may elude you and possibly turn the tables by seizing you instead. When advanced practitioners practice Seizing skill, it becomes a game of not only applying joint locks but also of eluding their opponents’ attempts to apply a lock. For every joint lock, there is a counter, and for every counter, there is another counter. As a final caution regarding Seizing skill, be very careful how you practice these techniques and with whom you practice them. You don’t want to unintentionally injure someone, nor do you want to suffer injury yourself. You should only practice Seizing jin, or chin na, under the tutelage of a knowledgeable and experienced teacher and only with partners who know the limits to which these techniques can be applied without causing injury. Chen Kung advised that it is normally not necessary to complete the application of Seizing jin to the point of causing irreversible damage to an opponent. It is better to cause the opponent temporary discomfort in order to discourage him from attacking further. Chen Kung wrote that this is the Tao of the wise individual. Joint locks and other damaging offensive jin should only be resorted to in situations in which your life or the life of someone you are with is in jeopardy. Drilling Jin: Drilling jin, or tsuan jin, is a very specific type of jin that is similar to the spiraling energy of Silk-Reeling jin. However, while Silk-

Reeling jin is smooth and continuous, Drilling jin is sharp and sudden. Drilling jin is used to penetrate an opponent’s skin in order to damage the underlying tissues or organs. Chen Kung wrote that Drilling jin is used when first coming into contact with an opponent’s skin. It is as if drilling into wood, which employs circular, torque-like action. This type of jin penetrates deep into the opponent, and is capable of causing serious injury to the opponent’s internal organs.192 Because Drilling jin is a penetrating jin, it is not appropriate for either pushing hands or sparring practice. However, it can be very devastating in an actual self-defense application, especially if this jin is applied at certain acupoints that correspond to specific organs. There are also certain openings in the body, referred to as “cavities,” where it is easy to penetrate into the internal structure of the body. The solar plexus is one such cavity; the eye is another. When one strikes a cavity, such as the solar plexus, this is called a “cavity strike.” If the cavity strike is accompanied by Drilling jin, then the cavity strike can cause serious injury or even death. Usually strikes to acupoints and bodily cavities are accomplished using either one or two knuckles, one or more rigid fingers, or an elbow. These become the “drill bits,” so to speak, through which the drilling action is concentrated. The “hook hand” in Single Whip is a modification of the crane’s beak that is employed in Shaolin kung fu to execute cavity strikes. This hook hand in taijiquan is a vestige of the art’s roots in hard style Chinese martial arts. Chen Kung counseled beginning students not to attempt to apply Drilling jin, as they might inadvertently injure another individual. He further added that, without instruction from an experienced and reputable teacher, it is impossible to learn how to apply Drilling jin correctly and safely. Although Drilling jin is both dangerous and difficult to master, it is important to understand the function and purpose of this offensive jin. For this reason, Drilling jin along with Seizing jin and Sealing jin, have been included in this chapter for the purpose of exposing the reader to the full range of offensive jin that are included in the arsenal of taijiquan. It is recommend that any student who wishes to study and become proficient in the martial application of these offensive jin seek out an experienced and reputable teacher who can explain these advanced offensive jin and teach them in a controlled and safe environment.

Breaking Jin: Breaking jin, or quan jin, is an offensive jin that is used to break an opponent’s bones. Like Drilling jin, this jin should not be applied in either pushing hands or sparring. This jin should be reserved for use in serious, life-threatening situations in which prior attempts to neutralize and discourage an opponent from further aggression have failed. Breaking jin is included in the thirty-seven jin identified by Chen Kung in his The Intrinsic Energies of Taijiquan. However, it is not one of the twenty-five jin upon which he elaborated further. The knowledge and application of Breaking jin comes to us from other Chinese martial arts. This jin is included in the present chapter for both historical reference and also because this jin may actually save your life at some point. Having stated this, it is extremely important that you study and develop this very dangerous skill under the guidance of a knowledgeable and experienced teacher. Breaking jin can be applied using the fist, the side of the hand, the palm, the forearm, the foot, the shin, and even the head. The simplest application of quan jin is to use either the fist or the forearm to fiercely strike against an opponent’s bones. Great care must be taken when applying Breaking jin not to break your own bones as well. For this reason, the breaking surfaces employed in applying this jin must be trained so as to harden them to the point of steel. This requires much time and effort. Until you have developed this level of hardness, it is pointless to attempt to use Breaking jin in an actual self-defense application. In external martial arts systems, training hardness is accomplished by repeatedly striking increasingly harder surfaces with the various body parts, such as the fist or the forearm. In the past, external martial artists began by punching into buckets filled with sand and then progressed to buckets full of mung beans. They then punched wooden posts wrapped with cloth before finally punching the posts without protection. Similar techniques were used to harden the forearms, the shins, the feet, and even the head. These external martial artists also applied tinctures and liniments to the skin in order to harden the skin and the underlying tissue. The problem with such external training techniques is that they not only harden the underlying bones and tissues but they also harden the skin as well. Once the skin is hard, it loses its sensitivity. When the skin is hardened, the qi can’t reach the surface; when the qi can’t reach the surface of the skin, there

can be no Sticking/Adhering, no Listening, and therefore no Interpreting skill. The question then becomes “How can one harden the bones without making the skin hard as well?” The taijiquan masters in the past discovered how to do just that. They were able to develop the quality of extreme hardness contained within extreme softness, a condition referred to as “steel wrapped in cotton.” This quality is developed through many years of neigong training in which the qi is circulated out to the skin in order to developed sensitivity. At the same time, the qi is also condensed into the bones, reaching the marrow in order to harden the bones from the inside out. If you train for many years according to the techniques outlined in chapters Three through Eight in this book, you will eventually develop this quality in yourself. When skilled taijiquan practitioners use Breaking jin, their application is somewhat different than that of external martial artists. For example, when an external martial artist attempts to break a board or stack of bricks, he is taught to focus his mind at a point beyond the board or the last brick and to drive his fist through the board or the stack of bricks. In taijiquan, there is a saying: “The yi stops but the energy does not stop.” With regard to Breaking jin, this means that you should fix your mind on the thing you want to break, be it a bone or a joint. You strike with your fist, or forearm, etc. to that point. At the moment of impact, you issue Breaking jin, which then continues on through the bone or the joint. It is the jin and not the fist, forearm, etc. that accomplishes the breaking of the bone or the joint. Because internal Breaking jin relies upon issuing rather than physical force, it is much more difficult to develop this skill to a high level. Additional Offensive Jin: In addition to the jin of Issuing, Seizing, Drilling, and Breaking, there are several other offensive jin that may be employed in actual self-defense applications. These advanced jin have intriguing names such as Separating jin, Frozen jin, Wiping jin, Peeling jin and Shaky/Coiling jin to name a few. The study of these advanced jin is beyond the scope of this book. If you really want to explore the depths of the martial aspect of taijiquan, you will need to find a high-level master of the art and commit to studying with him or her for many years in order to be introduced to these advanced skills. While it is entertaining to consider these advanced jin as an intellectual

pursuit, the truth of the matter is that you don’t need to spend years mastering advanced offensive jin in order to apply the art of taijiquan for pushing hands, sparring, or self-defense. The two most basic offensive jin of Issuing and Seizing will serve you well in the practice of the martial aspect of our art. There is an expression, “ting, hua, na, fa” that can be translated as “listen, neutralize, seize, issue.” This is the basic sequence used in the offensive application of any taijiquan technique. First, one must listen to (and understand) the nature of the opponent’s attack. Then, one must neutralize that attack. Having neutralized, one can take advantage of the opponent’s resulting vulnerable position to seize and control him. Finally, one can issue fa jin to repel (or injure) the opponent. Once you have mastered this simple formula, you will be able to apply the offensive jin of na and fa effectively in pushing hands and sparring. If necessary you will be able to use the techniques of both chin na and fa jin and in order to discourage or even incapacitate an opponent in an actual selfdefense situation. For this reason, this chapter only includes training exercises for fa jin and na jin. As stated previously, if you are interested in learning how to develop and apply more advanced offensive jin, you should seek the tutelage of a knowledgeable and experienced master to teach you these esoteric jin.

How to Train Offensive Jin Offensive jin training takes a different direction from defensive jin training. Whereas defensive jin training primarily requires the cooperative interaction of two partners, many of the offensive jin training techniques can be practiced individually. This makes it much easier and more convenient to practice and develop these skills. Of course, from time to time you will want to test your level of development by pushing hands or sparring with other individuals. When attempting to apply offensive jin with partners, be certain that you and your partner both know what you are doing, what the safety limits are, and practice under the guidance of a teacher who can intercede if either of you crosses over the line from safety to risking injury. Fa Jin Training Exercise 1: In this first fa jin training exercise, you will develop the ability to issue energy suddenly by punching out with either the right or the left fist. Although most taijiquan empty-hand forms only include

a right fist punch, you should train punching with both fists in order to maintain energetic and physical balance between both sides of the body. For the sake of brevity, only the right fist punch will be presented here. In this exercise, the punch will be issued from a forward bow stance. However, once you become proficient with punching out of a forward bow stance, you can also practice punching from a parallel horse riding stance (ma bu). This makes it possible to alternate punching from either side of the body without having to change stances. To begin, stand in a left forward bow stance. Drop your right fist down next to your right hip and extend your left arm outward with the palm angled upward and the fingers facing forward. Do not tighten the right fist at this point. Instead, loosely close the four fingers of the right hand and cover them with the thumb. Your right arm should be loose and relaxed, but should also conform to the shape of a drawn bow. Your left arm should be extended forward at chest height. See Figure 12-3a. Sink into your rear, right foot and bend the right knee to draw the right leg bow. Level your pelvis to draw the spine bow. Rotate your waist in a clockwise direction in order to turn the torso approximately thirty degrees to the right, as shown in Figure 12-3b. Then punch forward quickly, turning your waist to face forward and unleashing the energy stored in the rear leg, the spine, and the right arm. At the same time, pull back your left arm. Figure 12-3c shows the body as it begins to shift forward. As you rotate your waist and shift your body forward, rotate your fist one hundred and eighty degrees so that the knuckles are horizontal with the thumb facing downward. Just as your right arm reaches its full extension, clench your right fist tightly in order to strike out with power. At the same time, issue energy upward from the rear leg, through the spine, forward into the right arm, and outward into the knuckles of the clenched right fist. Figure 12-3d shows the finished posture of the punch.

Figure 12-3a

Figure 12-3b

Figure 12-3c

Figure 12-3d

Be sure not to use any shoulder strength when punching out. The power for the punch comes entirely from the extension of the rear leg and the turning of the waist. You will need to tense your right forearm slightly as you clench the fist in the final moment of issuing the stored internal energy. The tightening of the muscles in the forearm and the clenching of the fist act together to compress the jin like squeezing toothpaste from a tube. It is important that the entire body, other than the tensed right forearm and the clenched right fist, remains relaxed and loose throughout the punch. If you have executed the punch correctly, your right fist will vibrate as you complete the punch. When issuing jin, it is important to incorporate proper breathing. Be sure to inhale down into the abdomen as you store energy and to exhale fully as you release and issue energy. The inhalation should take place through the nose, but the exhalation should be through the mouth. You may want to make a brief, sudden sound as you complete the punch. Traditionally, Chen family members used the sound of “ha” when issuing jin. This served both to intensify the release of the breath and also to startle their opponents. Practice punching repeatedly until you can issue jin and make the clenched right fist vibrate without any additional bodily tension. Remember to practice punching from both sides of the body. Your opposite side punch may feel awkward at first. If necessary, spend more time punching with your nondominant fist until you can issue jin with equal power and suddenness on either side of the body. Fa Jin Training Exercise 2: In this second fa jin training drill, you will begin to develop the ability to issue energy to both fists simultaneously. It is said that when Chen Wangting punched forward with both fists, he would first withdraw his two fists into the sleeves of his tunic. When he punched forward, his two fists would shoot out of his sleeves like twin cannon balls. The sharp sound made by the snapping of his fists as they emerged from the loose fabric of his sleeves sounded like the double report of two cannons firing simultaneously. This is the source of the designation “Cannon Fist,” or “Double Cannons,” which is associated with Chen family taijiquan. As with the preceding drill, you can train punching with double fists in either a right or a left forward bow stance. The left forward bow stance will be employed in this example. To begin, stand in a left bow stance with the two arms held up in front of the body as shown in Figure 12-4a. You next sit back

into your rear, right leg in order to draw the right leg bow. You will also need to rotate your waist clockwise to store rotational energy in the waist and the right kua. Tuck your tailbone under to level the pelvis and draw the spine bow. As you sit back and rotate your waist to the right, draw in your two arms and form loosely closed fists with both hands. Your right hand should be held above your left hand. Rotate your two wrists so that the knuckles of both hands face inward, as shown in Figure 12-4b. To release the internal energy stored in the rear leg bow, the spine bow, and the two arm bows, extend your rear leg and rotate your waist in a counterclockwise direction in order to transfer your weight onto your front leg and turn your torso to face forward. Figure 12-4c shows this transitional movement. Finally, snap your two fists outward as you release the energy stored in the rear leg bow, the spine bow, and the two arm bows. As the two fists are propelled forward, rotate your wrists so that the knuckles of the two hands face forward. This will impart a spiraling energy to the double punch. At the final moment of release, clench both fists and tense the two forearms to issue jin into knuckles of the two hands. Release the breath through your mouth with a sudden “ha” sound. See Figure 12-4d.

Figure 12-4a

Figure 12-4b

Figure 12-4c

Figure 12-4d

You should practice storing and releasing energy in this fashion for at least eight times in both the left and right forward bow stances. When practicing in the right bow stance, your left fist will be forward of your right fist. This may feel a bit awkward at first if your right hand is dominant. Practicing fa jin drills on both sides of the body is one way to lessen your dependence upon your dominant hand. Fa Jin Training Exercise 3: This fa jin training exercise focusses on the action of issuing energy to strike with the elbow. Recall that Elbow-Stroke (tsou) is one of the Original Thirteen Postures. As was explained in Chapter One, the Original Thirteen Postures are not really postures, but are martial techniques. Regarding the technique of Elbow-Stroke, there are several ways to strike with the elbow. You can use the elbow like a battering ram and strike horizontally; you can slam the elbow downward like a hammer; or you can swing the elbow upward is if delivering an uppercut. A well-aimed elbow strike can be delivered with devastating effectiveness against an opponent in a martial situation. In this example, the elbow strike will be delivered horizontally. This is the easiest of the three elbow strikes to train. To begin this exercise, stand in a right sideward bow stance. Because you will not be engaging the left arm, you can rest the left hand comfortably upon your left hip. Hold your right forearm horizontally with the elbow adjacent to your right hip and the right hand near the left hip. Your right palm should be facing inward, as shown in Figure 12-5a. In order to store internal energy in the left leg bow, sit back onto your left leg. At the same time, withdraw your right forearm horizontally to your left and rotate your right wrist so that the palm of your right hand faces downward. Although the primary source of the internal energy comes from the leg bow, you will also employ the waist in this drill, so also need to turn the waist about twenty degrees to your left. Be sure to inhale as you sit onto the left leg and withdraw the right arm. See Figure 12-5b. To release the energy stored in the left leg bow and the right arm bow, transfer the weight quickly from the left leg into the right leg, turn the waist twenty degrees to the right, and shoot the right forearm forward. Figure 12-5c shows the position of the body as it begins to move from left to right. Finally, allow the momentum of the weight shift to send the right forearm further to

the right until the palm of the right hand reaches the edge of the right ribcage. As the right elbow reaches its final position. The dual rotations of the waist adds an element of spiraling energy to the elbow strike. As you issue energy, exhale suddenly with a “ha” sound. See Figure 12-5d.

Figure 12-5a

Figure 12-5b

Figure 12-5c

Figure 12-5d

Practice this exercise for a minimum of eight times on the right side and then switch stance and perform for an additional eight strikes on the left side. It is especially important when practicing this exercise that you avoid engaging the shoulder on the striking side of the body. All the energy must be directed into the leading edge of the elbow, while the rest of the body remains loose and relaxed. Fa Jin Training Exercise 4: In this fa jin training exercise, you will train the martial application of Shoulder-Stroke (kao). Shoulder-Stroke can be delivered with the side of the shoulder, the front of the shoulder, or the back of the shoulder. In a martial situation, bumping or striking an opponent with the shoulder can be used to escape from an opponent who has attempted to enclose you by wrapping his arms around your upper body in a bear-hug type of embrace. In this example, the side of the shoulder will be employed to issue energy from the right shoulder. To begin, stand in a right forward bow stance. As with the elbow strike fa jin training exercise, you won’t be utilizing the left arm or shoulder, so you can rest your left hand comfortably upon your left hip. Place your right arm in front of your torso as shown in Figure 12-6a below. You first load the left leg bow as done previously in the elbow striking exercise. As you sit back onto your left leg, draw in your right shoulder somewhat. At the same time, rotate your waist slightly to your left. Accompany the withdrawal of the body with an inhalation. See Figure 12-6b. To release the energy stored in the left leg bow, extend the left leg suddenly as you transfer your weight quickly forward into your right leg. At the same time, rotate your waist to the right and allow your withdrawn right shoulder to expand outward to the right side. Figure 12-6c presents a snapshot of this transitional movement. Finally, issue energy into the outer edge of the right shoulder as you complete the weight transfer from the left leg into the right leg. Exhale with a sharp “ha” sound as you issue energy suddenly out to the right shoulder. See Figure 12-6d.

Figure 12-6a

Figure 12-6b

Figure 12-6c

Figure 12-6d

Practice this exercise for a minimum of eight times on each side of the body. When practicing this drill, it is essential that you do not tense your shoulder at the moment when the energy is issued. Tensing the shoulder will impede the passage of jin from the back and into the shoulder. Unlike the action of Elbow-Stroke, which is sharp and focused, the action of Shoulder-Stroke is more diffused, and the energy that is released is spread over a larger surface area. For this reason, the martial application of Shoulder-Stroke is sometimes referred to as “Shoulder-Bump.” Fa Jin Training Exercise 5: Another way to train fa jin is to practice the form quickly. In Chen style, this will entail learning the er lu, or second form, of the lao jia (Old Frame). This second form, also known as “Cannon Fist,” will help you develop and deliver fa jin. The fa jin in this form is accompanied by chan ssu jin that is developed through the practice of the first form (i lu). The Wu (Chian-chuan) family style also includes a fast set, although most teachers of this style do not teach it. There are, however, a number of Wu stylists with direct lineage to Wu Chian-chuan who are still practicing and teaching the fast form. Within the Yang family, practicing the fast form (or “fast set” as it is sometimes called) is somewhat controversial. It is clear that, in the past, the Yang family members practiced a fast form. What that form consisted of is the subject of much debate. The Dong family claims that their progenitor, Tung Ying Chieh, who was a student of Yang Cheng-fu, developed a fast set with the approval of Yang Chen-fu, since the original fast set of Yang Luchan apparently had been lost. Who is to say what the true story is? However, it doesn’t really matter what the origin of the fast set is as long as you understand its purpose, which is to train fa jin. In fact, the Dong family also refers to the fast set as the “fa jin set.” If you do decide to practice a fast set from a style other than Chen, be sure to understand that the fast form is not just doing the form fast. Instead, there is a variation in speed from slow to fast and back to slow again. In this way, the fast form shares the speed changes which are one of the primary characteristics of Chen style taijiquan. For example, when performing the Dong family fast set, you must be aware of when to move slowly and when to speed up and issue fa jin. Obvious points for issuing jin are the postures of Push, Press, Brush Knee, Flash Arms, Advance, Deflect Downward, Parry

and Punch, Strike the Tiger, etc. If you are unable to find a qualified teacher with whom to study the fast form from your family style, you can isolate specific movements and perform them repeatedly while focusing on issuing jin at the appropriate moment. For example, you can perform the movements of Press followed by Withdraw and Push from the traditional Yang style form as you step across the room. This sequence would proceed as follows: First, stand in a right bow stance and withdraw the arms as if performing Rollback. When you complete the Rollback, circle the arms up and across the body with the left palm placed inside the right wrist in preparation to execute Press. Square up the hips, shoulders and arms and then perform a quick step forward with the right foot, while extending the back, left leg. As you complete the forward step and extend the rear leg, suddenly issue fa jin into both the left palm and the right forearm as if you were connecting with an opponent’s chest. To perform the next step in the sequence, relax and withdraw the arms inward and downward on each side next to the ribs. Then, step forward again with the right foot, execute a following step with the rear, left foot, and quickly extend the arms up and outward as if pushing the chest of an opponent. Issue fa jin suddenly into the laogong point in each palm as you extend the rear, left leg. Finally, relax the two arms and roll them back in preparation for another press. See Figures 12-7a through 12-7d for the full sequence. Repeat this process as you advance across the room. Then turn around, switch to a left bow stance and repeat the process to cross the room again to your original starting position.

Figure 12-7a

Figure 12-7b

Figure 12-7c

Figure 12-7d

Practicing the fast form, or simply isolating specific sections of the form and practicing the movements quickly with an emphasis on issuing fa jin, will help you develop issuing skill. However, you must practice with the correct frame of mind and divest yourself of all external force. You must be completely relaxed, especially in the shoulders. If you are at all tense, you will not be able to issue fa jin, and you will simply wind up practicing the form fast, with little or no benefit. If at all possible, try to study videos of past and present masters practicing the fast form. Also, ask someone to record you on video as you practice the fast form so you can analyze whether you are loose and relaxed or tense and forceful. If you have any doubt as to whether you are practicing correctly, it is better to forego fast form training until you can find a knowledgeable teacher to instruct you. Chin Na Training Exercise 1: In order to train Seizing jin, you will need something to seize. Obviously the most realistic thing to seize would be a partner’s arm or hand. However, partners are not always available, and partners who are willing to be seized, especially inexpertly by a beginner, are rare indeed. For this reason, it is convenient to practice seizing using an apparatus such as a short wooden stick. A piece of bamboo of approximately one to one-and-a-half inches in diameter and measuring around two feet in length is ideal. However, if you don’t have access to a piece of bamboo, you can use a wooden dowel, a length of broomstick, or even a piece of PVC tubing. Traditionally, the piece of wood used to practice seizing was referred to as a “ruler.” The ruler is a very useful tool in training a number of both offensive and defensive jin. The taiji ruler, or taiji bang, has been used in China for centuries to train chin na skill as well as to develop the ability to issue qi out the hands in qigong training. There are many taiji ruler training exercises, several of which are described in this section. To begin, stand in a parallel stance with your feet between hip width and shoulder width apart. Hold the ruler away from your body parallel to the ground at about waist height. You should grip the ruler lightly in both hands with the palms and fingers wrapped around the ruler and the backs of the hands facing up. See Figure 12-8a. Alternately rotate one hand forward and the other hand backward using the wrists to accomplish the hand rotations. As you rotate your hands in opposite directions, squeeze them against the

surface of the taiji ruler. See Figure 12-8b. You should have the sense that you are wringing water out of a wet towel. This will create a twisting effect on the ruler. However, since one hand is twisting forward and the other is twisting backward, the ruler should remain stationary. Nonetheless, you will be creating a rotational torque on the ruler. If the ruler were an opponent’s arm, he would definitely feel this torque, which would be uncomfortable, to say the least.

Figure 12-8a

Figure 12-8b

As a variation of this exercise, hold the ruler vertically with the backs of the hands facing forward as shown in Figure 12-9a. Twist the left hand counterclockwise and the right hand clockwise while you squeeze your hands against the ruler. See Figure 12-9b. Hold this position for around twelve seconds and then release the tension in the wrists. Relax for another twelve seconds and then repeat the twisting motion and the squeezing of the two hands. Continue in this fashion for several minutes. When twisting the hands, try not to rely so much on the hands. Instead, begin the twisting motion in the forearms and down into the wrists. Also, don’t use too much force. If the wrist and forearm of each arm twist equally in opposing directions, you will only need to employ a small amount of muscular strength in order to create sufficient rotational torque.

Figure 12-9a

Figure 12-9b

A more challenging variation of the above exercise is to reverse the two hands as shown in Figure 12-10a. Then rotate the hands in opposite directions. This will definitely cause your wrists to stretch and will strengthen the ligaments and tendons in the wrists and hands, as can be seen in Figure 12-10b. Without changing hand positions, now turn the ruler over so the opposite hand is on top and repeat the rotation of the hands. Change back and forth, holding the ruler first with one hand on top and squeezing and then turning the ruler over and squeezing with the other hand on top.

Figure 12-10a

Figure 12-10

Chin Na Training Exercise 2: When practicing chin na, it is very helpful to know what it feels like to be seized. For this reason, you should practice seizing techniques on yourself. These techniques, of necessity, will be of the one-handed variety. However, you will be surprised at the number of different joint locks that you can practice on yourself using only one hand to lock up the opposite hand, wrist, elbow and shoulder. Practicing joint locks on yourself also has the added benefit of strengthening the opposite arm and of training you to receive joint locks without injury to yourself. Just be sure that you don’t overdo it. Start off very gently and work up to the amount of rotational torque that you can withstand without harming yourself. To begin, stand in a parallel stance and seize the fingers of your left hand in your right as shown in Figure 12-11a. Using the rotational torque of your right forearm and wrist, wring out the left hand just as if you were wringing out a twisted up towel. You will find that you don’t need much rotational torque in order to create the effect you are looking for. Hold the twist for ten seconds and then release. Repeat for five times. Then turn the left hand over and twist it with your right hand in the opposite direction See Figure 12-11b. Hold for ten seconds and repeat for five times. Move up to the left wrist and repeat both twists on the wrist. Then change hands and repeat all the locks on the right hand and wrist.

Figure 12-11a

Figure 12-11b

Next you will use the right hand to lock up the left hand when the left arm is held up vertically and the palm facing in. See Figure 12-12a for the first application. After you have twisted the left hand in one direction, reverse the position of the left hand so the palm faces out and apply a twisting motion in the opposite direction, as shown in Figure 12-12b. Then switch to the left wrist and again practice twisting in both directions by reversing the direction of the left hand from facing in to facing out.

Figure 12-12a

Figure 12-12b

Finally, hold the left forearm downward with the palm facing away and grip the left hand with the right hand as shown in Figure 12-13a. Twist the left hand forward to create the joint lock. See Figure 12-13b.Hold for ten seconds and then release. Repeat for five times. Then rotate the left arm so the palm faces in and try twisting the left arm in the opposite direction.

Figure 12-13a

Figure 12-13b

You can find lots of ways to practice chin na on yourself. As cautioned at the beginning of this section, take it easy and don’t be overly eager at first. Be sure to practice all these self-applied locks carefully! Work up to the level where you can support the lock without causing injury. The self-locking techniques presented here are just a few examples to give you the idea of how to practice on yourself. There are many other variations that you can develop on your own. Chin Na Training Exercise 4: In this next of Seizing skill exercise, you will practice with a (hopefully willing) partner. You should only attempt these exercises after you have practiced on yourself, since you will have a better understanding of what it feels like to have a joint lock applied to your arm or hand. You will realize that it only takes a little rotational torque to achieve a joint lock, and you are much less likely to overdo it and cause injury to your partner once you have practiced on yourself. Remember, if you injure your partner, you won’t have anyone to practice with. You should also take into account that, however hard your lock your partner, she is going to apply the same amount of force on you. So, take it easy! Don’t get carried away here. You can begin by practicing the same one-handed joint locks on your partner that you have practiced on yourself. Again, you are advised you to start off very gently at first. Use rotational force rather than brute strength and slowly increase the rotation until your partner indicates that the lock is in place. Then back off slightly and keep the lock on for ten seconds or so. Practice with both hands and change roles often so as not to overtax any single joint. Once you and your partner are comfortable applying single-hand joint locks on each other, you can move on to two-handed locks. When applying doublehanded locks on a partner, it is even more important that you proceed slowly and carefully. It is very easy to injure someone unintentionally when twisting their arm in two directions simultaneously. A simple two-handed joint lock is shown in Figure 12-14a. You lightly grip your partner’s left hand with your right hand and place your left forearm under his left elbow. Apply a gentle downward pressure with your right hand while simultaneously applying a gentle upward pressure with your left forearm. At the same time, you can add a clockwise twisting motion with your right hand. This combines both bending and twisting to create a very effective arm bar joint lock on your partner’s left arm. As you apply the

upward pressure on your partner’s left arm, he will of necessity rise up in order to relieve this pressure. Be sure not to apply too much pressure and to release the lock as soon as your partner indicates that the lock is on. See Figure 12-14b. Practice this lock on both sides and change partners frequently so as not to overstretch the tendons and ligaments in either arm.

Figure 12-14a

Figure 12-14b

A variation of the arm bar is to lightly grip your partner’s left hand again in your right hand while placing your left forearm above his left elbow as shown in Figure 12-15a. This time, twist his left hand counterclockwise to extend his left forearm and then apply a downward pressure with your left forearm. This creates another type of arm bar. However, this time your partner will be forced to bend down in order to relieve the downward pressure. See Figure 12-15b. As with the preceding arm bar, be sure to use very gentle pressure and to desist once your partner has indicated that the lock is on.

Figure 12-15a

Figure 12-15b

When training chin na skill, you should keep in mind that you are still practicing taijiquan. Be sure to use softness and roundness rather than muscular force and tension. Apply your chin na techniques gently and with rotation. Above all, avoid jerking or hard force. Adhere to Yang Jwingming’s caution here, in which he instructs students who practice chin na to avoid hurting each other when practicing these techniques. He advises chin na practitioners to control their power. As Yang Jwing-ming reminds us, experienced martial artists always know how to control their power are able to determine how far to apply a chin na technique to avoid permanently injuring their sparring partners.193

Conclusion Many martial arts schools teach hundreds of applications, which their students spend dozens of years learning. However, masters of these arts will tell you that in an actual self-defense situation, they are likely resort to only a handful of their most basic defensive and offensive applications. Those are the applications that they have studied most extensively and are, therefore, the most instinctive. This is also the case in the application of jin. If you can use Sticking/Adhering jin, Listening jin, Interpreting jin, Receiving jin, and Neutralizing jin effectively for defense and Issuing jin and Seizing jin for offense, you will be able to defend yourself in any situation that requires you to confront one or more aggressors. The defensive and offensive jin identified in the sequence ting, hua, na, and fa constitute an arsenal of intrinsic energies, or jin, that give the art of taijiquan its unique character. Along with the aspect of song and principle of guarding the yi and the qi in the dantien in coordination with the circulation the qi throughout the body, it is these jin that constitute the essence of the art. All students who wish to master the martial art of taijiquan should undertake the study of these jin as part of their training. Chen Kung wrote that to reach the top you must begin at the bottom, and to travel far you must begin at the near.194 This chapter has provided not only a theoretical description of the basic offensive jin of taijiquan, it has also included training exercises designed to assist students in the development of Issuing jin and Seizing jin. Many of these exercises are solo exercises, although several do require a willing

partner. These training exercises, while essential, are not the end of the road, however. They merely open the door to the actual application of these jin. In order to learn how to apply both defensive jin and offensive jin, you will need to engage in two-person practices such as pushing hands and sparring. To continue with the travelling metaphor employed in the preceding paragraph, the next step on your journey is to begin practicing pushing hands with willing and cooperative partners. It is through this practice that you will really begin to develop and learn to apply both the defensive jin introduced in the previous chapter and the offensive jin described in this chapter. The following chapter introduces the principles and the practice of pushing hands, or tuishou. In that chapter, you will be introduced to those principles of taijiquan which relate specifically to the relationship between the taijiquan practitioner and an opponent. In addition, you will be introduced to a number of tuishou patterns which will enable you to put the principles of pushing hands into practice. Finally, you will be given some helpful hints and suggestions for improving your free-hand pushing hands skill.

Chapter Thirteen

The Principles and Practice of Pushing Hands

Any student who wishes to study taijiquan as a martial art should spend time developing and refining the skill of pushing hands. Pushing hands, or tuishou, is not an end in itself. Rather, it is a training exercise that is practiced in order to develop the skills of Sticking/Adhering, Listening, Interpreting, Following, and Neutralizing. The practice of pushing hands also helps to develop the Four Sides skills of Ward-Off, Rollback, Push, and Press as well as the Four Corners skills of Pull-Down, Split, Shoulder-Stroke, and Elbow-Stroke. Additionally, moving step pushing hands trains the practitioner in the stepping skills of Advance, Retreat, Look Left, Gaze Right, and Central Equilibrium. Taken together, the Four Sides and Four Corners along with the Five Steps constitute the Original Thirteen Postures enumerated in the Taijiquan Classics. For this reason, it is important to master pushing hands if one seeks to understand and practice the true taijiquan of the masters of old. Given the importance of pushing hands to the development of high-level taijiquan skill, it is surprising how few teachers emphasize this aspect of the art. Many of those who do include pushing hands practice in their curriculum allow, and even encourage, their students to engage in fierce shoving matches. In these schools, one participant pushes forcefully against a partner who stubbornly refuses to budge in the name of rooting. True pushing hands has nothing to do with either pushing in the Western sense of the word or of stiffly resisting as a form of so-called “neutralizing.” Instead, the goal of pushing hands practice is to develop softness, sensitivity, and skill in neutralizing. The softness, sensitivity, and neutralizing skill developed through pushing hands practice can then be employed in sparring and, more importantly, in actual self-defense situations.

In his popular and influential book, The Tao of Taijiquan, Jou Tsung Hwa included an excerpt from an earlier work by Yang stylist Chen Yen-lin. In this work Chen stated that the basis of all achievement in taijiquan is the practice of pushing hands. He advised all practitioners to spend as much time as possible practicing and studying pushing hands. Jou Tsung Hwa himself stated that understanding the principles of pushing hands enables one to balance yin and yang in in all aspects of life. In this way, the quality of life as a whole will be enhanced. Ma Yueuh-liang stated that practicing the form is the way of self-practice, while practicing pushing hands is the way for two people to train cooperatively. He added that the practice of the solo form is the foundation, and pushing hands is the application. On the subject of pushing hands, Sun Lutang stated that the solo form is the body and pushing hands is the use. Together, the body and the use form a complete art. According to Sun, practicing the form is the gongfu of understanding the self, and practicing pushing hands is the gongfu of understanding others. The concept of understanding others through the practice of tuishou is said to have originated with Chen Wanting, the founder of Chen style taijiquan. In the Song of the Canon of Boxing he wrote: “Nobody knows me, while I know everybody.” Chen Xiaowang, a contemporary Chen style grandmaster, stresses the importance of pushing hands in developing true taijiquan skill. He has stated that pushing hands and form training are inseparable. Any defects in the form will be revealed during pushing hands as a weakness that can be taken advantage of by an opponent. According the Chen Xiaowang, pushing hands is the only way of reliably testing the effectiveness of one’s solo form. From the words of these masters, we can see that pushing hands practice is essential to the complete mastery of the art of taijiquan. Individuals who only practice the solo form have no way of really testing their gongfu. Externally, their solo form may appear technically correct, fluid, and graceful. However, as Ping-Siang Tao expressed it, these same practitioners often find themselves being dominated when playing pushing hands. For this reason, all serious taijiquan practitioners should engage in regular pushing hands in order to test themselves. Practicing pushing hands enables one to measure the degree of one’s own achievement in becoming, as Dr. Tao puts it: light, nimble, and strung together.

It is important, however, that students do not engage in pushing hands until they have a good foundation in the traditional solo form. It is difficult to attempt to incorporate the principles of taijiquan in pushing hands until the student already has learned to incorporate those principles when moving through the solo form. Further, once students are introduced to the activity of pushing hands, their initial practice should be limited to engaging in repetitive two-person drills such as those introduced in Chapter Eleven. After developing some rudimentary skill in these simple drills, students can advance to one or more standardized patterns such as the Four Hands pattern described later in this chapter. Practicing repetitive pushing hands patterns, both with single hands and with double hands, helps to develop the skills of Sticking/Adhering, Listening, Interpreting, Following, and Neutralizing. Only after an extensive period of practicing the solo form and pushing hands patterns should the student begin to engage in freestyle pushing hands. Those students who have already been practicing freestyle pushing hands without sufficient exposure to formalized pushing hands patterns would do well to find a teacher or a partner who knows these patterns. Such students are advised to learn and practice these basic patterns in order to overcome the deficiencies and bad habits that they have developed through the practice of undisciplined pushing hands play. There are a number of important principles that should be observed whenever practicing pushing hands. These are discussed in the following section. Unless students heed the principles delineated by the masters and also those elucidated in the Taijiquan Classics, they are unlikely to make any meaningful progress in the practice of pushing hands. It is often difficult for individuals with five or ten years of freestyle pushing hands experience to admit that their pushing hands skills are limited and that they need to learn the basic skills of pushing hands. However, in many cases that is exactly what must take place in order to unlearn bad practices and to develop the proper skills (and attitude) necessary for the correct practice of pushing hands. This is analogous to individuals who learned to play tennis without proper instruction at the beginning stages. Such individuals may be competent tennis players, but they are likely to have many bad habits and also to have gaps in their skill set that only can be addressed through corrective instruction from a skilled tennis professional. Whether you fit into

the category of a beginner who is just attempting to learn pushing hands or consider yourself to be an old hand at this practice, you will be well-served to review the following section which explains the principles of pushing hands. It would also be beneficial at this stage to review the two-person exercises outlined in Chapter Eleven. Finally, you should learn and practice the basic pushing hands patterns presented at the end of this chapter.

The Principles of Pushing Hands In discussing the subject of pushing hands, it is important to adhere to the basic principles of taijiquan. These principles were outlined in Chapter Nine. Such principles as “a light and lively energy suspends the headtop” and “guard the mind and the qi in the dantien” apply equally to both the solo form and pushing hands. Students should always keep the fundamental principles of the art in mind when practicing pushing hands. Indeed, it is said that one should practice pushing hands as if one were practicing the solo form. However, in addition to the fundamental principles that apply to practicing the solo form, there are also certain principles that pertain directly to the practice of pushing hands. The following are some of the more important principles of pushing hands. Maintain Central Equilibrium: Of all the principles that relate to the practice of pushing hands, one of the most important is: “Maintain central equilibrium.” The principle of central equilibrium is integral to all aspects of taijiquan. This important principle was introduced in Chapter Nine, but it bears reviewing here as it is particularly relevant to the practice of pushing hands. When considering the concept of central equilibrium, it is helpful to think about the function of a revolving door. The revolving door has a central, vertical axis around which the four door panels rotate. If the revolving door is properly aligned and well-lubricated, the gentle pressure of a child’s hand against one of the door panels is enough to cause the entire four-door structure to revolve. This is in accordance with the line from the Taijiquan Classics: “So light an object as a feather cannot be placed, and so small as a fly cannot alight.” If you extend the principle of the revolving door to any door, you will realize that, in order for a door to function properly, it must be vertically aligned. If a door is not properly hung on its hinges, it will lean in one direction or

another. This will impede the door’s ability to open and close easily. Similarly, when individuals practice pushing hands, they must be free to turn to either side in order to execute Rollback in order to neutralize incoming pushes. The Classics caution us not lean in any direction. We are advised instead to use the waist like a mill wheel, “grinding fast and slow.” Figures 13-1a and 13-1b illustrate the proper technique for rotating the waist while maintaining central equilibrium in order to Rollback and neutralize an incoming push. Note that the player in white maintains her central axis while the player in black has lost his central equilibrium.

Figure 13-1a

Figure 13-1b

Leaning backward or bending forward at the waist are referred to as the dual errors of “leaning and butting.” These and other deficiencies, such as doubleweighting, are to be avoided when practicing any aspect of taijiquan. Each of these errors is addressed individually in this chapter. As a general rule, when practicing pushing hands one should avoid any posture that is not present in the empty-hand form. When practicing the empty-hand form, the practitioner does not lean forward or backward, so why would she do so when playing pushing hands? Unfortunately, many experienced pushing hands players resort to bending at the waist in order to hollow out or lean backward in an attempt to evade an opponent’s incoming force. While such efforts may yield the immediate benefit of avoiding getting pushed off, this style of Gumby pushing hands directly violates the principle of maintaining central equilibrium as can be seen in Figures 13-1c and 13-1d. Figure 13-1c illustrates the error of leaning, and Figure 13-1d portrays the error of butting.

Figure 13-1c

Figure 13-1d

Individuals who rely primarily upon this style of pushing hands may experience some initial success and even some renown as skilled players. However, these same individuals will never advance to higher levels of skill in which the waist and the kua are employed in order to neutralize an opponent’s incoming force. More advanced pushing hands players will know to simply follow the retreating player’s center until he has no more capacity to hollow out or lean backward. Then, a small amount of pressure will suffice to topple such individuals, who have no real root and who have compromised their structure. Be Light, Nimble, and Threaded Together: The Taijiquan Classics instruct us to be light, nimble, and threaded together so that the qi can penetrate the body like a silken thread passing through a nine-holed pearl. Ping-Siang Tao uses the phrase “light, nimble, and threaded together” to describe the basic qualities of taijiquan. While these qualities are important in the practice of the solo form, they are essential in pushing hands practice. Lightness is necessary for the development of Listening skill, or ting jin. We must become so light that “a feather cannot be placed nor a fly alight.” Lightness is developed through the use of the yi to lead the qi to the extremities. Techniques such as opening the pores and feeling the hairs on one’s skin can be utilized to develop lightness and sensitivity. However, real progress in developing lightness can only be made by working with willing partners while practicing pushing hands patterns. Nimbleness means that we immediately respond to any touch or pressure. “If the opponent attacks the right, immediately empty out the right and fill in the left. If the left side is attacked, empty the left and fill the right.” This principle relates directly to the origin legend of taijiquan, in which Chang San-feng observed a bird attacking a snake. When the bird attempted to strike at the snake’s head, it withdrew its head and whipped around to attack with its tail. When the bird strove to peck at the snake’s tail, it withdrew its tail and counterattacked with its head. As with lightness, the best way to develop nimbleness is to practice pushing hands patterns. Being threaded together means that all of the joints of the body, from the ankles and toes out to the wrists and fingers, must be connected together like links in a chain. The chain is a good analogy to use when practicing pushing hands. When yielding and neutralizing, one should allow each link in the

chain to give way individually, starting with the wrists and working backward through the elbows, the shoulders, the spine, the waist, the hips, the legs and finally the ankles. When issuing jin, the links should be connected as if welded together at the moment of issuing the jin. Otherwise, the jin will be loose and disconnected. It is important, however, only to weld the links together for the briefest moment in time, otherwise one will become stiff and unresponsive to the opponent’s counter-attack. Don’t insist; don’t resist: Another important principle of pushing hands is: “Don’t insist; don’t resist.” This principle warns the practitioner against insisting on pushing the opponent when the act of pushing does not produce the desired result. Consider, for example, the student who wishes to push her partner’s front, ward-off arm in an attempt to uproot him. However, if her partner has a good root and has sufficient peng jin in his arm, her initial push will have no effect. Should she continue to push against her partner’s arm, he is likely to turn and roll her back, or alternatively he can ti fong by leading her into emptiness and then repelling her backward. In either case, her partner will be borrowing the energy which she has foolishly provided to him. Rather than insisting on pushing against his ward-off arm, she should desist pushing against his arm and look for a place to push where her partner is empty rather than full. The second half of this principle is equally important. Consider the partner who uses his ward-off arm to resist his partner’s push. While Ward-Off is an important skill, it should not be used to resist an incoming push. Rather, Ward-Off is a way to initially receive a push and then to redirect it. If the individual using Ward-Off resists his partner’s push, she may be strong enough to overcome his resistance and push him over anyway. Further, by standing resolutely in a fixed-position and relying upon his ward-off arm and his root to resist his partner’s push, the individual creates a situation in which he is committed to this position. He cannot easily give up his Ward-Off stance for fear of being pushed off. In essence, he is stuck. He may not be pushed off, but neither is he free to change to any other position in order to take advantage of his partner’s potential weaknesses. When two partner’s engage in the contrary behavior of insisting and resisting, both partners are stuck. In such cases, if the pusher is stronger, she will eventually overcome the partner who is resisting. If the individual resisting

has a better root and a stronger ward-off arm, he will be able to stand there all day without getting pushed off. However, neither is the victor here as neither has given up their ego in order to “follow the other.” Give up yourself to follow the other: This important principle is what distinguishes taijiquan from external styles of martial arts such as Shaolin kung fu, the Japanese art of karate, or the Korean art of tae kwan do. The principle of giving up oneself to follow the other is a logical extension of the principle: “Don’t resist; don’t insist.” When the practitioner commits to give up herself (i.e. her own intention to push her partner) and instead to follow her partner, she no longer places herself in an adversarial role relative to her partner. In this way, she is free to react to whatever action her partner takes. If her partner acts offensively and attempts to push her, she can follow his energy and redirect it so that it has no place to land. If her partner attempts to withdraw in reaction to his failed attempt to push her, she merely follows him to a place where retreat no longer serves and he feels stuck. Often times, at such a juncture her partner will seek to extricate himself from his awkward position and will uproot himself. Even if her partner does not uproot himself, she will be able to borrow his retreating energy in order to uproot him with minimal effort on her part. If one player ignores this principle and insists upon pushing his partner, she will be able to borrow the energy of his push to either roll him back or recirculate the energy of his push back into him. In either instance, his insistence on pushing will lead to his own defeat. In a similar vein, if he resists his partner’s attempt to push him, he will become rigid and stuck. In this case, it will be easy for an experienced player to take advantage of his stiffness and rigidity and to uproot him. Only by giving up himself and following his partner in whatever action she takes will he be able to apply the skills of Sticking/Adhering, Listening, Interpreting, Following, and Neutralizing. Without the willingness to give up himself and follow his partner, the insistent player will be left to rely upon brute force to overcome his partner and clumsy attempts to escape from her advances. Practice Listening to Force: The ability to “follow the other” requires one to be able to hear what the other is doing. Although we use the word “hear” to describe this ability, what is actually being sensed is the subtle movement and even the intent of the other person. This so-called “hearing” is accomplished

through the sensitivity of the skin. Our skin must become our ears. Dr. Tao stated that Listening jin is a crucial skill in the practice of pushing hands. He explained that listening is not simply a matter of feeling with the hands. Rather, it is an expanded tactile awareness that involves all of the sensory nerves of the skin over the entire surface of the body. In order for our skin to become our ears, we must become completely song. Not only must we become song in the body, we must also become song in the mind. If the muscles, ligaments, and tendons of the body are stiff, then the skin can’t relax. In a similar fashion, if the mind is preoccupied, focused on winning, or fearful of losing, then the mind can’t relax. Only when both the body and the mind are relaxed can we “hear” the opponent’s subtle movements and interpret his intent. Ma Yueh-liang also wrote regarding what he referred to as the ability to “listen to force.” He stated that, in order to understand the opponent’s force, one must rely primarily upon the sensitivity of feeling. This sensitive feeling is a type of intrinsic energy, or jin, and is only fully developed after many years of practicing taijiquan. Ma referred to this sensitivity feeling as “audible strength,” which he explained is closely connected to peng jin. The audible strength to which Ma Yueh-liang referred requires many years to develop. However, it is definitely attainable by all students of taijiquan who practice pushing hands on a consistent basis. This is also in accordance with Dr. Tao’s own experience. He wrote that, after many years of practice, the practitioner will develop an invisible web or net that covers the entire body. This web is sometimes referred to as “guardian qi,” or wei qi. When one’s wei qi is sufficiently developed, it is possible to sense an incoming force even before that force connects with the skin. At this advanced level of Listening skill, it is easy for the practitioner to know others without being known by them. While it is absolutely imperative to work with partners in order to develop Listening skill (ting jin), practicing the solo form can play an important supporting role. If practitioners pay particular attention to the feeling of the air on their skin as they move through the form, they can begin to develop a degree of what may be termed “skin sensitivity.” Over time, they can even feel the air as it gently touches the hairs on their neck, arms, and hands (assuming that they are wearing short sleeves.) This training technique is

related to the approach to practicing taijiquan known as “swimming in air.” If practitioners can develop sufficient sensitivity to feel the air against their skin while performing the solo form, they should have no difficulty feeling another person’s touch on their skin when practicing pushing hands. Use softness to overcome hardness: This key principle relates to the requirement of being light, nimble, and threaded together. According to Dr. Tao, anything that is not light, nimble, and threaded together is brute force. The quality of softness derives from the ability to be song. One must first be song in the arms. Many push hands players are tight in the arms. This error usually can be traced to tightness in the shoulders and, to a lesser degree, in the elbows. Next one must be song in the waist and the hips, specifically in the area known as the kua. Individuals who are song in the arms but are unable to turn aside effectively in order to neutralize pushes are usually tight in the waist and the hips. Lastly, one must be song in the legs. Failure to achieve song in the legs is normally the result of stiffness in either the knees or the ankles. Stiffness in the knees is often due to weakness in the thighs, whereas stiffness in the ankles may be due to weakness in the calf muscles. Stiffness in the arms, the waist and hips, and the legs can only be eliminated through the consistent practice of song gong. This practice includes stretching, loosening, and standing in zhan zhuang meditation. There are no shortcuts, and the benefits accrue over time. The concept of song and the practices that are proven to develop song were presented in chapters Three through Six. One specific benefit of standing in zhan zhuang is that the muscles of the thighs and calves become stronger. This takes the pressure off the knee and ankle joints and allows them to move more freely in order to assist the waist and the hips in neutralization. Song gong training is essential to attaining success in the practice of pushing hands. Those individuals who are unwilling to invest in song gong will invariably continue to encounter problems with stiffness and the inability to neutralize their opponent’s pushes. However, those individuals who make the effort to train song gong will, in time, enter “the gateway to the miraculous.” They will achieve the ability to neutralize and transform their opponents’ incoming energy without resorting to stiff resistance. Further, they will be able to push opponents at will without relying upon brute force, or li. Recall that, in taijiquan, there exist both rou (softness) and gang (hardness).

In the practice of pushing hands, one must apply the principle of softness overcoming hardness. This is achieved by diverting the opponent’s force in order to make it empty. Having neutralized the opponent’s incoming force, one can seize the advantage of a favorable position for counterattack. It is important to recognize that rou is a type of strength, just as gang is a type of strength. The difference between rou strength and gang strength, specifically with regard to pushing hands, is that rou strength is reserved and not exposed to the opponent. The key to rou strength is peng jin. Peng jin is the first jin that should be applied whenever one comes in contact with an opponent. It is essential to apply peng jin rather than hard force, or li, whenever one is engaged in pushing hands with an opponent. It is the ability of experienced tuishou players to utilize rou strength, both in neutralizing and transforming, and also in pushing that enables them to use softness to overcome hardness. Failure to utilize softness to overcome hardness will limit the practitioner to the level of employing “old buffalo force.” Use a force of four ounces to deflect a thousand pounds: One way to apply the principle of using softness to overcome hardness s to follow the corollary principle of using a force of four ounces to deflect a thousand pounds. There is a close relationship between these two principles. Taijiquan emphasizes both using softness to overcome hardness and using four ounces to throw off a thousand pounds. The technique of using a force of four ounces to deflect a thousand pounds involves applying the principle of centripetal force. The image of a floating sphere, such as an inflated beach ball, can help to visualize this principle. If a beach ball is floating in the air and someone attempts to bat at it, the ball will simply rotate in the direction of the hand’s trajectory, and the hand will essentially land on nothing. Even if the hand strikes the ball directly in line with the ball’s center, the ball will simply be propelled away. In either case, the ball is not damaged nor is it deformed from its spherical shape. When practicing pushing hands, if one player receives another’s push, no matter how forceful, she should apply Listening skill in order to measure the strength and directionality of the push. This is referred to as “strength perception.” Having listened to and understood her opponent’s strength (and thus his intention), she can neutralize the incoming force by turning her body in a direction that will deflect his force away from her center. In so doing, she

may need to assist in this neutralization with a slight pressure from one or both of her hands. (See Figures 13-2a and 13-2b below.) However, the assisting pressure that she employs should not “weigh” more than four ounces. If she applies more than four ounces, her opponent may be able to use this additional strength to support himself and recover from his initial error.

Figure 13-2a

Figure 13-2b

The application of the dual principles using softness to overcome hardness and applying a force of four ounces to deflect a thousand pounds enables the skilled pushing hands player to lead the opponent into emptiness. Leading the opponent into emptiness is the skill of neutralizing and transforming an opponent’s attack so that it has nowhere to land. Usually this results in the opponent being placed in a disadvantageous position, providing the neutralizing player the opportunity to counterattack with great effectiveness while relying upon very little physical strength. Maintain two points of contact: Another important principle in pushing hands is to maintain two points of contact with your partner at all times. Whether you are practicing formalized patterns or engaging in freestyle pushing hands, you should always have either your two hands or one hand and a forearm or elbow in contact with your partner. Ideally you should have one hand in contact with the back of your partner’s wrist and the other in contact with your partner’s elbow. This position is shown in Figure 13-3a. In this way, you can redirect an incoming push by either deflecting his hand (using his wrist) or redirecting his arm (using his elbow). These two points of contact can also be used to apply a joint lock to the partner’s arm, which will enable you to connect to his center and thereby give you control over him. See Figure 13-3b.

Figure 13-3a

Figure 13-3b

Since controlling your partner’s wrist and elbow puts him at a disadvantage, most experienced pushing hands players will move their hand or forearm so as to remove any solid connection to these two joints. However, if you are adroit you can still maintain contact with one or both of his forearms with your two hands even as he attempts to elude you. Even better would be if he drops his guard and allows you to make contact with his upper arm or torso with one or both of your hands. If you can slip past his guard and place both of your hands on his upper body, you will be in an advantageous position to apply either Push or Press against him. Be aware, however, that you should never disconnect in order to change points of contact. The error of separation results from disconnecting with the opponent. Separation is undesirable, as it means that the ability to listen to and respond to the opponent’s changes has been temporarily suspended. If, for example, you have one hand on your opponent’s forearm and you see an opening on his chest, don’t separate your hand from his forearm and then place it on his chest. During the time when you are disconnected, your opponent may take advantage of this temporary gap in connection to counterattack according to the adage: “My opponent leaves first but I arrive first.” In order to reach a more advantageous point of connection, you must be sneaky and slide your hand up from your opponent’s forearm to his upper arm or chest. Following the same principle, you should never disconnect with your opponent in order to remove one of his hands from a point on your arm or body that you consider to be threatening. If, for example, he has placed a hand on your shoulder and you want to remove it, don’t separate your opposite hand from its point of contact in order to wipe his hand off your shoulder. When you disconnect your hand, he can use that moment of disconnection in order to issue into your shoulder and uproot you. Instead, turn your body and slide your opposite hand into a position where you can wipe his hand off your shoulder. Avoid the errors of leaning and butting: As stated in the section on maintaining central equilibrium, the Taijiquan Classics advise us to avoid the errors of leaning and butting. Leaning means that the entire torso is inclined either forward or backward. Butting is defined as leading with the head, which means that the head is tilted forward. These are errors of deviation

from the vertical alignment of the head-top, or baihui, with the perineum, or huiyin. In order to rotate freely, the head-top must be vertically aligned with the point in the crotch between the two legs known as the perineum, or huiyin. These two points are represented in Figure 13-4, shown below:

Figure 13-4

If you lead with the head, then the head will act as a weight and will cause the entire torso to become misaligned. If your opponent senses that your head is tilted forward, she can use this to easily pull you forward and uproot you. See Figure 13-5a. If you lean your entire torso forward, the effect is magnified and it will be that much easier for your opponent to pull you forward as shown in Figure 13-5b. Leaning to either side or leaning backward in order to avoid being pushed are equally dangerous as these structural misalingments make it much easier for your opponent to push or pull you in the direction of your leaning. More importantly, once you have butted your head or leaned your torso, you lose your central axis and thus the ability to turn the waist “like a millwheel, grinding fast and slow.”

Figure 13-5a

Figure 13-5b

Butting may be considered to be a venial sin in the realm of pushing hands. Leaning forward or backward, however, must be treated as a mortal sin and should be avoided at all costs. In the Yang Family Forty Chapters, it is explained that either bending forward or bending backward represents a serious flaw. Bending over from the waist usually results from an opponent’s attempt to push or pull you down. In response to such attempts, you must sink your entire body down rather than simply bending forward from the waist. This requires you to open your hip joints and bend your knees in response to the downward force of the opponent. This sinking down will maintain your vertical central axis. At the same time as you sink downward you should rotate the torso around its central axis in order to deflect the downward force of your opponent’s push or pull. The correct responses to either being pushed downward or pulled forward are illustrated in Figures 135c and 13-5d.

Figure 13-5c

Figure 13-5d

Avoid the fault of double-weighting: The Taijiquan Classics advise us to avoid the fault of double-weighting. Double-weighting is often viewed as the error of distributing the weight equally between the two feet. This equal weight distribution occurs at the beginning and ending of most solo forms. However, during the remainder of the form, the weight should not be evenly distributed between the two feet. Rather, one foot should bear a greater percentage of the weight, with the other bearing less. This conforms to the principle: “Distinguish the substantial from the insubstantial.” The reason for placing most of the weight in a single leg is that the weightbearing leg serves as a vertical axis that permits the waist and torso to rotate horizontally. When one stands with the weight evenly distributed between the two legs, it is more difficult to react to an attack (or, in the case of pushing hands, a push) to one or the other side of the body. Instead, one is caught flatfooted, as it were. The T’ai Chi Lun of Wang Tsung-yueh explains that sinking to one side is responsive and that being double-weighted is sluggish. Wang stated explicitly that practitioners who are unable to neutralize their opponent’s incoming force have not overcome the fault of double-weighting. Most practitioners of taijiquan know to avoid the fault of double-weighting in their legs. However, when engaged in pushing hands it is also important to avoid the same fault in the hands and arms. This error is particularly common when an inexperienced player attempts to push her partner. Even if she has a good position from which to push, say with both arms placed against the partner’s forearm, if she pushes forward equally with both hands, then she is guilty of double-weighting. A more experienced partner will simply turn his body to one side and lead her into emptiness or respond with Withdraw and Push in order to redirect her own push back upon her. When using both hands to execute a push, the proper technique is to push primarily with one hand and use the other hand as a supporting hand. In this way, if the opponent attempts to turn to one side to neutralize the push, the pushing hand can release its forward momentum and the supporting hand can then intercede to capture the opponent in the act of turning. Figures 13-6a and 13-6b demonstrate the proper use of the hands in Push.

Figure 13-6a

Figure 13-6b

The ability to push with one hand while reserving the other hand in a supportive role is one of the most difficult concepts for a novice player to apprehend. This skill is based upon the principle outlined previously of maintaining two points of contact at all times. Maintaining two points of contact in turn relies upon the skill of Sticking/Adhering, which was described in Chapter Eleven. As stated in that chapter, the skill of Sticking/Adhering gives rise to the skills of Listening and Interpreting. When the student is able to listen to her partner’s changes and to interpret, or understand, his intention, then she will be able to use her two hands effectively in either offense (Push, Press, Split, etc.) or in defense (Ward-Off, Rollback, Pull-Down, etc.). No matter what response she utilizes, she must be conscientious in avoiding the fault of double-weighting when applying her two hands to her partner’s arms or body. She must always keep one hand substantial and the other hand insubstantial when applying various hand techniques. Stand like a balance and rotate actively like a wheel: This statement from Wang Tsung-yueh’s T’ai Chi Lun occurs in the same stanza of as the statement referring to the fault of double-weighting. From the placement of these two statements together in the same stanza, it is clear that they are closely related. One may consider the two principles as corollaries. The instruction to “stand like a balance and rotate actively like a wheel” relates to the concept of “sinking to one side,” which is the opposite of being doubleweighted. As stated in the preceding section, when one sinks to one side, the supporting leg on that side serves as the foundation for the vertical axis around which the waist and torso can rotate horizontally. The vertical axis created by the weight-bearing leg allows the body to stand like a balance scale. A balance scale is a measuring device with a central, vertical axis and a horizontal beam from which two weighing pans are suspended by thin chains at opposite ends of the beam. The two sides of the horizontal beam are analogous to the two arms that extend from the torso. If so much as a feather’s weight is placed upon either of the arms, a sensitive practitioner will immediately respond. In the case of the balance scale, one arm of the scale will tip down and the other will lift up. In the case of the experienced pushing hands practitioner, the response will be to rotate actively like a wheel. This rotation refers to the turning of the waist and torso. In this way, one can neutralize an incoming force, deflecting even a thousand

pounds with a counterforce of only four ounces. If the student is unable to stand like a balance and rotate actively like a wheel through the fault of double-weighting, she will be unable to execute Rollback and neutralize the incoming force of either Push or Press. The substantial and the insubstantial should be clearly differentiated: This instruction from the Taijiquan Classics relates to the preceding principle. When the practitioner stands like a balance, she must be able to distinguish which of her arms is receiving more pressure from her opponent. Let’s say that she is standing in a right bow stance with her right arm held up in Ward-Off. Her partner places his two hands upon her right forearm with his right hand pressing against the back of her wrist and his left hand cupping her elbow. His intention is to push her. However, because he wants to avoid the fault of double-weighting, he pushes with his right hand and reserves his left in a supportive capacity. In this situation, she correctly distinguishes that her partner’s right hand is substantial and executes Rollback to her left side, thereby neutralizing his push. Were her partner to push with his left hand, she would identify that hand as being substantial and would execute Rollback to her offside (i.e. her right side). Refer to the photos in Figures 13-2a and 13-2b for examples of both open side and offside Rollback. The ability to distinguish between an opponent’s substantial and insubstantial hands enables one to be able to rotate actively like a wheel in order to turn and deflect an incoming push. However, what happens when an inexperienced opponent pushes with equal force in both hands? In this case, the correct response is to execute Withdraw and Push. That is to say that the student should allow the incoming push to enter without resisting and to lead her partner into emptiness. This is usually accomplished by hollowing out the torso while simultaneously attaching to the attacker’s two arms. Once her partner’s incoming push has been neutralized and he has lost his root, she will be free to return his energy back to him in the form of her own push. This is the technique of ti fong which was taught by Prof. Cheng Man-ch’ing. Figures 13-7a and 13-7b illustrate how to apply the technique of ti fong in pushing hands. When applying the technique of ti fong, the practitioner may simultaneously step in with her front leg to assist in applying her push. Prof. Cheng was notorious for stepping in to add additional momentum when he executed ti fong. Stepping in is not necessary, however, in order for this

technique of ti fong to be effective, as the photograph in Figure 13-7b illustrates.

Figure 13-7a

Figure 13-7b

When practicing pushing hands, the principle of “distinguish the substantial from the insubstantial” applies to both offense and defense. It is important not to push against any substantial part of the opponent’s body. Rather, it is the job of the practitioner to identify places where the opponent is insubstantial. These points may be viewed as holes, places where the opponent is empty rather than full. These holes are analogous to the tiny fissures within a granite cliff face into which water can seep. When the water freezes, the pressure of the expanding ice causes cracks to develop in the granite, and eventually rock slabs separate and fall from the face of the cliff. Similarly, the practitioner penetrates the holes in her partner’s defensive posture and then expands using peng jin, an jin, or ji jin in order to open up his defenses and uproot him. Empty the left whenever a pressure appears, and similarly the right: This principle is really an extension of the preceding principles. Obviously, when engaging in pushing hands, you don’t want to resist any pressure applied by the opponent. The correct response when pressure (such as a pressing hand) builds up on the left side of your body (say the left arm or shoulder) is to rotate the waist like a wheel in order to deflect this pressure. It is said: “A feather cannot be placed, and a fly cannot alight.” When practicing pushing hands, try to imagine that your entire body is made up of silk cloth. If someone were to push against a piece of silk cloth, the cloth would simply fold with the pressure of the push. The cloth lacks the capacity for resistance. Similarly your body should fold and give when any pressure applied to it. The trick to this is to fold in such a way as to both lead the opponent into emptiness while at the same time improving your own position. Many beginning pushing hands players only understand the concept of softness and yielding without understanding that retreating must lead to a position of advantage. By yielding and retreating without seeking advantage, they allow their partners to back them into a corner from which there can be no escape. The Classics state that “If your emptiness does not conceal fullness, it is not effective emptiness.” It is also said that that “Advance includes retreat, and retreat includes advance.” The sequence depicted below in Figures 13-8a through 13-8d illustrate how to yield in order to obtain a more advantageous position.

Figure 13-8a

Figure 13-8b

Figure 13-8c

Figure 13-8d

There is no single technique that students can learn in order to yield in such a way as to both lead the opponent into emptiness and simultaneously improve their own position. Rather, this is a guiding principle that should be followed whenever practicing pushing hands. Students must learn through trial and error which yielding techniques work to their advantage and which techniques result in being backed into a corner. The most important thing is to continue practicing with the principles foremost in mind and to learn from the many mistakes that they invariably will make as they advance in the pursuit of excellence in pushing hands. Don’t push outside of the square: The concept of the square as defined by the two feet when standing in a bow stance was introduced in Chapter Ten. As was explained in that chapter, the so-called “square” is actually a rectangle. The leading edge of the rectangle is delineated by the position of the toes of the front foot, and the trailing edge is delineated by the heel of the back foot. In Chapter Ten it was explained that, when executing the posture of Push, neither the front knee nor the palms should extend beyond the toes of the front foot. This is contrary to the postures assumed by many taijiquan practitioners in which both the knees and the palms can be seen to extend far beyond the toes of the front foot when executing the Push posture. Figure 139a shows the correct position of the front knee and the palms in the position of Push. When the palms extend beyond the toes of the front foot in the execution of a push, the practitioner is said to be “pushing outside of the square.” This error is not immediately evident when performing the solo form. However, this fault has direct consequences when practicing pushing hands. When the palms (and often the entire forearms) extend beyond the toes of the front foot, it creates a situation in which the opponent can easily borrow the forward energy of the extended upper limbs and can pull the errant pusher off his or her root. Pushing outside of the square is an example of overextending, which should be avoided at all costs. Figure 13-9b illustrates the an example of applying a push in which the front knee and the palms of the hands have been allowed to extend beyond the front toes. Figures 13-9c and 13-9d demonstratesthe consequences of “pushing outside the square” and allowing the opponent to borrow one’s energy.

Figure 13-9a

Figure 13-9b

Figure 13-9c

Figure 13-9d

Some practitioners justify their overextended Push postures in the solo form by claiming that the opponent has already been pushed and that the position of their palms is the result of following the opponent as he is pushed backward. However, the Taijiquan Classics state: “The energy (jin) is broken, but the mind is not broken.” The meaning of this sentence is that the energy of Push (an jin) breaks off at the front of the foot so as not to be borrowed. The intent, or yi, however, does not break off and continues to follow the opponent as he is pushed backward. Further, if one has developed even a rudimentary ability to issue (fa jin) into the opponent, there is no reason for the palms to extend beyond the toes of the front foot in order to send the opponent flying backward as a result of executing a push. The injunction not to push outside of the square applies equally to the postures of Ward-Off and Press in the solo form and also to the execution of Ward-Off energy (peng jin) and Press energy (ji jin) in pushing hands. The explanation is the same as for executing Push. The practitioner should not provide excessive forward momentum that can be borrowed by the opponent when executing either Ward-Off or Press. What is not as obvious is that the practitioner should pay equal attention when executing Rollback. It is just as dangerous to rollback beyond the rear boundary of the square as it is to push forward outside of the square. If the practitioner executes a large rollback, the opponent may be able to follow her by stepping in as she rolls back, thereby uprooting her by combining his forward momentum with her backward momentum. If the practitioner chooses to execute a large rollback in response to a dramatic forward attack on the part of the opponent, she should accompany such a rollback with a backward step. The practice of dalu, or “large Rollback,” was developed specifically for practicing the execution of a large rollback accompanied by a backward step. However, in most cases it is not necessary when practicing pushing hands to step backward when executing Rollback as long as the practitioner conforms to all the principles of pushing hands and plays accordingly. The entire body is hands: One of the most common mistakes made by students when they begin to practice pushing hands is to push with their arms and hands and not with the body. This stems from the Western notion of pushing, in which arms and hands are the primary tools employed in pushing

an object. At best, we might add the shoulders and the back when the arms and hands alone are not strong enough. Of course, as any professional strongman or weight-lifter will tell you, the key to pushing is found in the legs rather than in the hands and arms. The The Essentials of the Practice of the Form and Push-hands by Li I-yu explains that the jin rises from the feet, is powered by the legs, is commanded by the waist, is moved through the shoulders and the arms, and is expressed in the hands. The upper part of the body connects to the two arms and hands, and the lower part of the body follows the legs and feet. When pushing, beginning students only employ the hands or maybe a combination of the hands and the arms. Gradually they must learn to push from the ground by pushing up from their feet. The trick to pushing out of the ground is to push down into the back heel while simultaneously pushing up with the leg. Once students know how to push out of the ground, they can begin to incorporate the waist and the kua into their pushes. Finally, they learn how to integrate the feet, the legs, the waist (in conjunction with the kua), and the back in order to execute pushes that involve the entire body. When the force of the entire body can be directed into the arms and the hands, then the entire body functions like a hand. Partners who experience this type of push describe it as the sensation of being overcome by a powerful wave. Just as an ocean wave can be an irresistible force that is simultaneously soft and powerful, a push executed by a practitioner who uses her whole body as a hand is equally overpowering. If the opponent’s movement is quick, then quickly respond; if his movement is slow, then follow slowly: This principle follows as a consequence of giving up oneself to follow the other. Through the practice of formalized pushing hands patterns, the student learns to match her movements to those of her partner. In the Four-Hands pattern, also known as “sawing the log,” two partners take turns executing peng, lu, an and ji while moving to and fro. These matched movements have been likened to two woodsmen using a two-handed saw in order to saw a log in half as depicted in Figure 13-10. In order for the saw to pass smoothly through the tough wood, they must evenly match their pulling and pushing. If one woodsman pushes harder than his partner pulls, the saw’s teeth will become stuck in the wood. The same result occurs if one of the woodsmen pulls harder than his partner is pushing.

Figure 13-10

When playing freestyle pushing hands, the same axiom applies. If the student moves quickly while her partner moves slowly, she will disconnect from him. This violates the principle of maintaining two points of connection at all times. If, on the other hand, her partner moves quickly while she continues to move slowly, then he will be able to gain the advantage and she will find herself trapped. For this reason, experienced pushing hands practitioners pay close attention to even the smallest movements of their partners in order to respond either quickly or slowly to changes in both position and speed of their partners’ movements. The opponent does not know me; I alone know him: If pushing hands players learn to follow all the principles outlined above, they will attain the exemplary condition referred to by Chen Wangting: “The opponent does not know me; I alone know him.” This principle can be considered to be the ultimate goal of pushing hands. If practitioners can master this one principle, they will have no need for all the other principles. Of course, acquiring this ability takes many years of dedicated practice. The result, however, is the ability to fathom the intent of the opponent while hiding one’s own intent from the opponent. The Taijiquan Classics state: “To become a peerless boxer results from this.” The ability to know the opponent arises from a highly-developed combination of Sticking/Adhering, Listening, and Interpreting skill. Chapter Fifteen of the Yang Family Forty Chapters describes this level of interpreting skill as approaching the level of spiritual illumination. Once the practitioner has developed his or her senses to respond to the changing conditions on the part of the opponent, the practitioner’s mind achieves perfect clarity, the practitioner’s entire body becomes highly sensitive, and the practitioner’s movements become dexterous and responsive. When the practitioner’s skill reaches this level, he or she can move intuitively and without thinking. The above description details the marvelous skill of Interpreting energy that is acquired when the practitioner attains the level of “spiritual illumination.” The ancillary skill of hiding one’s own intention is just as important and also results from the spiritual illumination that can be achieved after many years of concentrated practice. The obvious question that arises from these two points is: “How does one develop such high-level skill?” The answer is actually fairly simple. In order to know the opponent, you must know where

his center is located. If you can locate his center and control it, then you will “know” him and be able to do with him what you wish without effort. To this end, you should constantly be seeking out your partner’s center when practicing pushing hands. At the same time, you must make every effort to hide your own center from your partner’s attempts to find it. Initially, your attempts to find your partner’s center are likely to be clumsy and ineffective. Your attempts to hide your own center also may prove to be ineffectual at first. However, with time you will become more astute at finding your partner’s center while simultaneously becoming more skillful in hiding your own center. As you become more adept at finding and controlling your partner’s center, you will discover that you require less and less effort (read “force” here) in order to uproot and move him wherever you desire. Your partner will also realize that your partner has greater difficulty in locating your center and therefore will be less and less likely to uproot you and move you.

The Basic Four Hands Pattern As stated at the beginning of this chapter, pushing hands training begins with the practice of formalized, two-person patterns. These patterns are intended to teach beginning students the basic skills of Sticking/Adhering, Listening, Interpreting, Following, and Neutralizing. As you will recall, Chapter Eleven introduced a number of two-person exercises intended to develop just these skills. As it turns out, these simple two-person drills are actually part of the repertoire of pushing hands patterns that have been employed for centuries to teach the basic skills required for more advanced, freestyle pushing hands practice. All students who wish to study the art of pushing hands should spend considerable time practicing these training exercises with cooperative partners. If students only attend class once or twice per week, they should continue with these basic drills for at least three months before advancing onto the more advanced Four Hands pattern presented in this section. The Four Hands pattern depends upon the basic skills of Sticking/Adhering, Listening, Interpreting, Following, and Neutralizing that are developed through practicing these simple drills. Without these basic skills, it will be difficult to execute the Four Hands pattern smoothly and with the appropriate

level of understanding and awareness of the underlying principles involved. The Four Hands pattern is one of the most widely practiced of all pushing hands patterns. Practicing this pattern is intended to assist students in developing the Four Sides skills of Ward-Off, Rollback, Press, and Push. There are numerous variations on this pattern. The version of the Four Hands pattern presented here may differ somewhat from the basic Four Hands pattern that you or your teacher practices. As long as the Four Hands pattern that you practice includes the Four Sides skills of Ward-Off, Rollback, Press, and Push it should suffice for training purposes. The best way to describe any pushing hands pattern is to designate one partner as “Partner A” and the other partner as “Partner B”. To begin, both Partner A and Partner B face each other in right bow stances. Partner A (in black) stands with his two forearms crossed horizontally in front of his body in the position of Press. Note that the right forearm is outside, with the right palm resting against the outside of left elbow. The left forearm is on the inside with thumb and index finger of the left hand notched against the inside of the right elbow. Partner B (in white) places her two hands upon Partner A’s right forearm with her right palm covering Partner A’s right wrist and her left palm pressing against the top of Partner A’s right elbow as shown in Figure 13-11a. In this frozen vignette, Partner A is executing Press and Partner B is preparing to execute Push in response. This is the starting position for beginning the pattern. To initiate the sequence, Partner B pushes down on Partner A’s crossed forearms. Partner A responds by separating his right forearm and circling it down and then up in a counter-clockwise direction until his right palm comes to rest under Partner B’s left elbow. Partner A’s left arm is now in Ward-Off. Partner B responds to Partner A’s change by circling her right arm up and down in a clockwise direction until her right hand rests in the crook of her left elbow. The new position is shown in Figure 13-11b. Partner A then uses his connection to Partner B’s left elbow with his right palm along with the connection of his left wrist to Partner B’s left palm in order to execute Rollback. Partner B’s response to Partner A’s Rollback is to follow Partner A’s left wrist with her left hand and allow it to be guided across her body until the palm of her left hand comes to rest in front of her right elbow. Partner A has now completed his Rollback, and Partner B is now

in Press, as shown in Figure 13-11c. Finally, Partner A turns both his palms outward and drops them onto Partner B’s crossed forearms, with his right palm resting on top of Partner B’s left elbow and his left palm resting on top of Partner B’s right wrist. In this position, Partner A is now prepared to execute Push while Partner B remains in Press. See Figure 13-11d below. When Partner A executes Press, Partner B will change to Ward-Off and the sequence will repeat on the opposite side.

Figure 13-11a

Figure 13-11b

Figure 13-11c

Figure 13-11d

The sequence described above only relates to the changing hand positions. There is also a concomitant shifting of the weight that accompanies the changing hand positions. For example, when Partner A performs Rollback, he shifts his weight backward. As he completes his Rollback and changes his hands and executes Push, he shifts forward onto his front foot. Some individuals incorporate a slight lifting of the toes of the front foot when performing Rollback. This is an adaptation from the Wu style and is optional. However, what is not optional in this version of the Four Hands pattern is the shifting of the weight to and fro, just as the two woodsmen do when sawing the log. It is also important to maintain a vertical axis even while shifting forward and back. In this way, the two partners reinforce the principles of central equilibrium, avoiding the fault of double-weighting, and focusing on sitting back to neutralize the opponent’s incoming force. You may have noticed that, in this simple Four Hands pattern, Rollback does not involve turning of the waist. The two partners remain facing each other squarely during the entire interchange. It is true that, in the form, Rollback entails turning the waist. However, in this most basic of pushing hands patterns, the skill that is being trained is the connection of the hands and the shifting of the weight. In other, more advanced patterns, turning the waist and creasing the kua assume a more significant role. At some point in this pattern, each partner executes the sequence of WardOff, Rollback, Push, and Press. The order of these four movements is the same for each partner. In this way, the Four Hands pattern emphasizes the basic skills of the Four Sides. The sequence of these four movements is slightly different than that practiced in the solo form. Recall that the sequence of movements in Grasp the Sparrow’s Tail is Ward-Off, Rollback, Press, and Push. In practical application, the order in which the movements would be executed would depend upon the opponent’s movements and changes. Just as solo forms are meant to be training tools for actual combat, pushing hands patterns are intended to serve as training tools for freestyle pushing hands. Within the Four Hands pattern, the postures should be matched to each other as follows: Ward-Off should be matched with Rollback; Press should be matched with Push; Rollback should be matched with Ward-Off; and Push should be matched with Press. In this way, each of the Four Sides postures has its own counterpart. By following these posture pairings, two partners can

execute the Four Hands pattern as a continuous interchange, each giving up him or herself and responding smoothly and fluidly to the changes of the other without flaws or breaks. Students should practice this pattern over a period of several months until they can execute the pattern with multiple partners without having to think about the individual movements and instead being able to flow the pattern effortlessly. Be sure to practice this pattern in both a right bow stance and a left bow stance, and to change the sides to which you circle the arms. With this pattern, you can circle the arms to either side, regardless of whether you are standing in a right bow stance or a left bow stance. The changeover from circling the arms to the right side and switching to circling the arms to the left side is too complicated to present in either text or photographs. This changeover is best learned from a more advanced player who knows this pattern well and who can teach you the changeover. Once you know the basic pattern and the changeover, you can combine the changeover with stepping to simultaneously switch from a right bow stance to a left bow stance as you change the direction of the arm circles. This may entail some initial confusion, but once you master the simultaneous changeover of the arms and the legs, it is a very impressive display of pushing hands ability and will represent a major milestone in your pushing hands progress.

The Double Rollback Pattern As was stated in the preceding section, the basic Four Hands pattern does not employ the turning of the waist when executing Rollback and instead relies upon sitting back into the rear leg. It is important, however, to train turning the waist and creasing the kua when executing Rollback. Sitting back into the rear leg will only serve to neutralize pushes from an individual who is not skilled in Sticking/Adhering and Following. A skilled practitioner who is adept in applying these intrinsic energies will be able to attach to and follow any inexperienced player who seeks to escape from being pushed simply by sitting back onto the rear leg. For this reason, it is important to train turning the waist and creasing of the kua when executing Rollback. In this way, you will learn to “stand like a balance and turn like a wheel.” You may recall that Rollback may be executed on either side of the body. For example, when you are standing in a

right bow stance and you roll back to your left side, this is the open side for Rollback. See Figure 13-12a. If you roll back to your right side, this is considered to be the offside Rollback, as it requires you to roll back to your right side. See Figure 13-12b.

Figure 13-12a

Figure 13-12b

In most styles of taijiquan, the solo form does not include a rollback to the offside. However, in pushing hands, sparring, and certainly in fighting, you do not have the luxury of choosing which side onto which you will roll back. Instead, the decision is made for you by your opponent. Recall the principle: “Empty the left whenever a pressure appears, and similarly the right.” If you are standing in a right bow stance, and your opponent applies pressure to your left side, you empty your left and execute the standard rollback. However, if you are in a right bow stance and your opponent applies pressure to your right side, you must empty your right side and execute an offside rollback. For this reason, it is important to train at least one basic pushing hands pattern that includes a rollback to each side of the body. The pushing hands pattern presented in this section, which will be referred to as the Double Rollback pattern, includes two rollbacks, one to the left side and one to the right side. The pattern also includes Ward-Off, Push, and Press. If you begin in a right bow stance in Ward-Off posture, the sequence will be as follows: Ward-Off Right, Rollback Right (the offside), Rollback Left, Push, and Press. Your partner will initiate the pattern, beginning with Push, followed by Press, Ward-Off Right, Rollback Right, and Rollback Left. The complete pattern is presented in Figures 13-13a through 13-13f, shown below.

Figure 13-13a

Figure 13-13b

Figure 13-13c

Figure 13-13d

Figure 13-13e

Figure 13-13f

In this particular pattern, the first rollback (the offside rollback) is performed by Partner A (in black) in response to the Partner B’s (in white) Push, as shown in Figure 13-13b. Partner A attaches his left hand to Partner B’s right elbow, creases his right kua, and turns his waist to the right. Sensing that her push has been neutralized, the Partner B then changes to Press and tries to attack Partner A’s center. Partner A must quickly change his hands to the position shown in Figure 13-13c. Partner A will then perform another Rollback to his left side by creasing his left kua, sitting onto his back, left leg, and turning his waist to the left. Having neutralized both Partner B’s Push and her Press, Partner A then squares to the front and applies his own Push. Partner B initially responds to Partner A’s Push by changing to Ward-Off, and then redirects his Push to her own right side by executing Rollback Right. Partner A then changes to Press, which Partner B counters by executing Rollback to her left side. When her left-side Rollback has neutralized Partner A’s Press, Partner A changes back to Ward-Off, Partner B changes back to Push, and the pattern repeats. As with the Four Hands pattern, be sure to practice this pattern with both partners standing in left bow stances as well as right bow stances. You don’t want to become accustomed to always playing with your right foot forward, which favors the right hand in Ward-Off and Press and which favors the left side of the body when executing the standard Rollback to the left. Although in pushing hands you can select which foot you put forward, in sparring, fighting, and life in general, your opponent, the terrain on which you are standing, or just happenstance will determine which foot you must put forward when responding to an attack, or slipping on an icy walkway, or sliding down a treacherous slope when hiking. It is essential to be wellbalanced in all aspects of your life, including your pushing hands practice. As a practitioner of taijiquan who is interested in pursuing the martial side of the art, you should be aware that pushing hands patterns, such as the Four Hands pattern and the Double Rollback pattern, are part of the rich tapestry of the art. These patterns were developed hundreds of years ago and have been practiced by legions of students and masters over the centuries. All the main styles of taijiquan have their own repertoire of pushing hands patterns, including the Four Hands pattern. The Wu (Chian-chuan) system practices thirteen separate pushing hands patterns, each of which is intended to develop a different skill that can be applied in freestyle pushing hands. If you are

serious about improving your pushing hands ability, you would benefit greatly from seeking out a knowledgeable teacher to provide additional instruction in pushing hands patterns.

Deepening Your Root Second only to developing the skill of being light, nimble, and threaded together, the ability to maintain a solid root is critical to success in pushing hands. The ability to establish and maintain a rooted connection between the feet and the ground enables the practitioner to yield and neutralize without being pushed off. Recall the instruction from the Taijiquan Classics: “Stand like a balance and turn like a wheel.” If a balance scale is not connected to a stable base, then it will simply topple over when even a small amount of weight is placed upon one of the pans. In a similar way, if you do not have a solid base (i.e. root), then no matter how skillfully you turn the waist to neutralize, you won’t be able to deflect an incoming force. This is because your vertical axis is not firmly rooted into the ground. In Chinese culture, the bamboo is highly regarded for its ability to bend and to yield even to the strongest wind, the taifun (Romanized as “typhoon). This is due in part to the flexibility of the bamboo bole, which bends ever so slightly at each joint, enabling it to flex like a giant bow under the force of the wind. However, flexibility alone is not sufficient to permit the bamboo to give way to the wind’s strength. The bamboo also must have excellent roots; otherwise, the wind would easily topple the bamboo bole no matter how flexible it is. The image of the bamboo yielding to the mighty taifun serves as an apt metaphor to the way in which tuishou players must both yield to and root an opponent’s powerful push. A strong root is equally important when issuing energy, as in pushing or striking. One of the most common mistakes beginners make, both in the solo form and in pushing hands, is allowing their back heel to disconnect from the ground. In the form, this can be seen when these practitioners execute postures such as Withdraw and Push or Six Sealing and Four Closing. When playing pushing hands, these same practitioners often over-extend when pushing, again as evidenced by the fact that their rear heel leaves the ground. In both cases, this happens because they have no rear root. Given the importance of good rooting technique in both the solo form and in

pushing hands, it is surprising how little time most taijiquan practitioners devote to growing their root. Chapter Eleven introduced a set of two-person exercises under the heading of “Neutralizing Skill Training Exercise 4.” Recall that one partner was the “pusher” while the other partner took the role of the “receiver.” The pusher’s job was to apply gradual pressure on the receiver’s shoulders, and the receiver’s task was to absorb the energy of the push by allowing it to pass through the joints of the body. In those exercises, the receiver focused primarily upon the skill of internal neutralization by maintaining song in the shoulders, hips, knees, ankles and feet. The ability to be song is critical to the ability to establish a strong connection to the earth. You can employ those same exercises as a method of deepening your root. To do so, you will not only allow the pusher’s energy to pass through the joints of the body, but you will now incorporate the concept of passing the energy through your feet and into the ground. This entails the ability to open the yongquan points in the feet and to imagine that the pushing energy is being directed through the Bubbling Well point in each foot and down into the earth. As you become more confident in your ability to pass the pusher’s energy through your feet and into the ground, you will actually begin to feel the sensation of your roots growing down into the earth. Your feet may feel heavy, as if they are encased in blocks of concrete. Alternatively, your feet may feel like extensions of the earth, and your legs may begin to feel like tree trunks growing up out of the earth. That is what real rooting feels like. If you don’t have a partner to work with on a consistent basis, you can still work on deepening your root through your zhan zhaung standing practice by employing the techniques of song gong that were introduced in Chapter Six. As you stand in zhan zhaung, concentrate on projecting your root deep into the earth. At first, you can try for an inch or two of penetration into the earth. Over time you should be able to send your roots down at least a foot. If you practice the rooting exercises described in chapters Six and Eleven, you will discover that, as you deepen your root, you will find it easier to relax when playing pushing hands. Once you are confident in your root, you won’t feel threatened when your partner attaches to your body and attempts to push you. For this reason, it is important to allocate at least five minutes of your daily practice to developing and deepening your root. This rooting gongfu will enable you to cultivate the feeling of rootedness in both your solo form

and pushing hands practice.

Ting, Hua, Na, Fa There is a four-character Chinese phrase that succinctly expresses the sequence of effectively receiving and then returning an opponent’s attack using the principles of taijiquan: ting, hua, na, fa. As you may recall, ting refers to Listening skill. This important skill has already been discussed at length in this and previous chapters. It is worth noting in this context that Listening skill is the first skill to be employed when connecting with an opponent. Only through listening and understanding can the pushing hands player sense the opponent’s intention. If the player doesn’t grasp the opponent’s intent, how can she properly respond? The second character in the phrase is hua, or neutralize. The ability to neutralize an opponent’s attack is a core skill in taijiquan. Indeed, it is what separates taijiquan from most other styles of martial arts. Although neutralization is integral to every aspect of taijiquan, it is essential when practicing pushing hands. Dr. Tao wrote that when playing pushing hands, one must be be able to yield completely and to neutralize completely. When the opponent attacks, you must yield and neutralize fully and completely without any trace of resistance. As discussed in Chapter Eleven, neutralization can be classified as either external or internal. External neutralization involves the use of the body to redirect incoming force and lead it into emptiness. This usually entails creasing the kua and turning the waist and may also include the use of the hands to guide or deflect the opponent’s attack to one side or the other. Internal neutralization relies upon the ability to lead the opponent’s attacking force through the body and into the ground. Examples of both external and internal neutralization were presented in Chapter Eleven. Clearly, internal neutralization requires a higher level of skill and depends upon the practitioner’s capacity to root, as described in the preceding section. In a practical application, such as pushing hands, sparring, or actual combat, your ability to neutralize an opponent’s attack will involve both external and internal neutralization. For training purposes, however, you can initially separate these two facets of neutralization and develop them individually. The two-person neutralizing exercises presented in Chapter Eleven are

designed to aid in the development of basic neutralizing skills. It would be beneficial to review and repeat those exercises before attempting the exercises presented in this section. Both ting and hua are considered to be defensive jin, and their development and utilization were discussed in Chapter Eleven. Na and fa, on the other hand, are clearly offensive in their application. These and other offensive jin were described in Chapter Twelve. The Chinese character “na” may be translated in different ways. In this case, the best translation is “control.” When playing pushing hands, the objective is to control your opponent’s center while preventing the opponent from controlling your own center. In the four-character expression “ting, hua, na, fa,” you will notice that na follows hua. This is in accordance with the very essence of taijiquan. Taijiquan practitioners never initiate an attack. Rather, they wait for the opponent to attack and then to utilize the opponent’s attack to defeat him. Whether in pushing hands, sparring, or actual combat, the correct approach is to use Listening skill and Neutralizing skill to lead the opponent into emptiness. At that point, the opponent will be at a disadvantage in terms of his structure and his root, both of which will almost certainly have been compromised. It is a simple matter to control an opponent whose structure has been compromised and whose root has been broken. The scenarios presented below will demonstrate different methods for applying na in order to control an opponent whose attack has been neutralized. The final character in the four-character expression is “fa.” As described in Chapter Twelve, fa is usually translated as “issue.” There are many ways to issue jin. The simplest is to either employ an (Push) or ji (Press). If you are able to effectively control your partner in pushing hands with one or both of your hands, you can use the hand(s) to execute Push to send him backward. If you are able to obtain the advantageous position of placing both your hands together and connecting with some part of your opponent’s body, you can employ Press against him. The use of both Push and Press are illustrated in the scenarios described below. These scenarios encapsulate what might take place during actual freestyle pushing hands. By rehearsing specific situations and training the proper responses, pushing hands players ingrain appropriate reactions within their muscle memories so that they can relax and respond naturally when engaged

in unstructured pushing hands play. Although it is often said that there are no techniques in taijiquan, it is nonetheless true that certain types of pushes, attacks, etc. do recur when playing pushing hands. Knowing how to read a given situation and respond appropriately helps one build the confidence and competence to play without the need to anticipate and plan for the opponent’s attack when engaged in freestyle pushing hands. For this reason, it is valuable to stage certain scenarios and to practice them repeatedly. When working in pairs, one partner will assume the role of the pusher while the other employs the sequential response of ting, hua, fa and na. After several repetitions, the partners should reverse roles. It is also important to practice each of these scenarios on both sides of the body in order to avoid developing a preferred side for playing pushing hands. Scenario 1: In this scenario, Partner A (in black) will simulate pushing against Partner B’s left shoulder with his right palm, as shown in Figure 1314a. Partner A should direct his push in an attempt to push Partner B backward and off her back foot. In accordance with the four-character expression, Partner B’s first reaction to Partner A’s initial contact should be to listen and judge both the directionality and “weight” of his push. If Partner B has listened and fathomed the direction of Partner A’s push, she can then respond by hollowing out her chest, sitting back onto her left leg, and gently attaching to Partner A’s right wrist with her left hand and attaching to his right elbow with her right palm. As Partner B sits back onto her left leg, she should employ a combination of external and internal neutralization to lead Partner A’s right palm into the empty space created by hollowing out her chest and shifting backward. This position is depicted in Figure 13-14b.

Figure 13-14a

Figure 13-14b

Figure 13-14c

Figure 13-14d

Note that, in Figure 13-14b above, Partner B has not only drawn Partner A’s arm into emptiness, she has also directed it slightly downward as well. This has caused Partner A to bend forward at the waist and to compromise both his structure and his central equilibrium. Because Partner A’s arm has also been straightened by Partner B’s retreat, he is now overextended and his back root is weakened. Partner B, on the other hand, has maintained her central axis and has strengthened her back root by borrowing Partner A’s forward energy and storing it in her left leg. Having neutralized Partner A’s push, Partner B can now control his center. She simultaneously applies a slight upward pressure on Partner A’s right elbow and a slight downward pressure on Partner A’s right wrist. This creates an “arm bar” joint lock, and gives Partner B control over Partner A’s entire right arm. Partner B must be careful here not to apply too much pressure, as it is easy to cause pain and even injury when applying an arm bar joint lock on an opponent. If Partner B not only applies the correct pressure to Partner A’s wrist and elbow but also incorporates a slight lifting up of Partner A’s locked arm, she will be able to fully control not only Partner A’s arm but also his shoulder and even his torso. This is shown in Figure 13-14c above. Once Partner B is in control of Partner A’s right arm, shoulder and torso, she can then issue by releasing the energy stored in her back leg while at the same time projecting both her arms upward and forward toward Partner A’s centerline. If Partner B does this gently, Partner A will be softly but effectively pushed backward as represented in Figure 13-14d. However, if Partner B chooses to release her back leg energy and extend her arms suddenly, then Partner A will be sent flying backward for several yards in a striking display of fa jin. Scenario 2: This scenario simulates a situation that often arises when playing freestyle pushing hands, especially when playing with less-experienced, overly-aggressive opponents. These opponents mistakenly believe that if they can connect both of their hands to your upper arms, they will be able trap you and push you backward. In fact, if you understand the principle of ting, hua, na, and fa, then you can turn their ill-conceived attempt to push you to your own advantage. To set up this scenario, Partner A (in black) and Partner B (in white) should face each other in left bow stances. Partner A attaches both of his palms to

Partner B’s upper arms in an attempt to control her center, as shown in Figure 13-15a below. Partner A then uses his two hands to push against Partner B’s upper arms in an attempt to pin them back behind her shoulders. In this simulated exchange, Partner A should push forward with equal force in both hands. As in the previous scenario, Partner B’s first response should be to listen to the directionality and the amount of force behind Partner A’s push. Having measured Partner A’s push and detected forward directionality in Partner A’s two hands, Partner B should neutralize by shifting back slightly, sinking into her root, and drawing Partner A into emptiness. This position is illustrated in Figure 13-15b. It is important that Partner B not allow Partner A to push her arms behind her shoulders. To avoid this disadvantageous situation, Partner B should sink her shoulders and drop her elbows as she settles into her root and withdraws. This requires that her shoulders and upper arms remain relaxed. If she exhibits any tension or stiffness in the shoulders and upper arms, Partner A will be able to use that tension or stiffness in order to push her upper arms behind her shoulders. It is very difficult to escape from this position, and it is best to avoid having one’s arms be pinned back. Once Partner B has neutralized Partner A’s push, she can slip her own two hands under Partner A’s hands in order to connect to Partner A’s body in the posture of Press. With her hands connected to Partner A’s torso and her hips squared toward the front, she is now in a position to control A’s center. This new position is shown in Figure 13-15c. After obtaining the advantageous position depicted in Figure 13-15c, it is a simple matter for Partner B to execute Press against Partner A’s upper body and to issue energy in order to propel him backward. Again, the suddenness and extent of issuing is up to Partner B. Since she controls Partner A’s centerline, it will only take a small amount of pressing energy (ji jin) to uproot him. However, should she choose to do so, she can issue fa jin against Partner A’s body to send him flying backward. The final outcome of this scenario is presented above in Figure 1315d.

Figure 13-15a

Figure 13-15b

Figure 13-15c

Figure 13-15d

Freestyle Pushing Hands So far, all the two-person exercises presented in this book have relied upon mutual cooperation between the two partners. These exercises have shared the common purpose of training both participants in the development of a particular skill. Unfortunately, real combat does not involve mutual cooperation. Whether in freestyle pushing hands, sparring, or actual fighting, both individuals are intent on imposing their will upon their opponent. In order to master the martial aspect of taijiquan, we must train the ability to use this art both to defend ourselves and to overcome opponents if necessary. In most other martial art systems, the way to train in both defense and offense is to practice sparring. There is an inherent danger in sparring, however. Ping-Siang Tao wrote of this in his book, Taiji Push Hands – The Secret of Qi in Taiji Quan. He stated that, in order for any martial art to be useful, it must be practiced with partners. However, if the practitioners begin actual sparring too soon, it is possible for them to become injured before they acquire the listening and neutralizing skills necessary to avoid being controlled by their opponents. For this reason, it is important to begin with lightness and softness along with yielding and neutralizing by practicing pushing hands, which is the safest way to acquire these skills. Freestyle pushing hands is the practice of engaging with a partner in order to train the martial skills of taijiquan without employing striking, kicking, joint locks, or take-downs. Freestyle pushing hands does permit pushing, pressing, splitting, pulling down, shoulder stroking and even elbow stroking, as long as these last two don’t cause injury. Freestyle pushing hands is competitive in the sense that each player attempts to control their opponent while remaining free from their opponent’s control. This is in keeping with the principle: “Only I know the other; he does not know me.” Nonetheless, freestyle pushing hands is also a cooperative enterprise, since there are agreed-upon conventions, and neither party is trying to injure the other. Most individuals who engage in freestyle pushing hands do so with the objective of pushing their opponents off without getting pushed off themselves. However, this is contrary to the intent and spirit of taijiquan. When playing pushing hands, the correct approach is to practice lightness, softness, yielding, and neutralizing. You should measure your success in terms of how well you use softness and lightness in order to yield and

neutralize your opponent’s pushes, rather than taking pride in how often you pushed your partner off. A good rule of thumb in playing pushing hands is to neutralize ten pushes for every time you push your partner off. In this way, you will develop good rooting, yielding, and neutralizing skills. Once you have mastered those skills, it is really very easy to uproot, control, and push opponents when the opportunity arises. Freestyle pushing hands can be practiced under different sets of constraints. The simplest form of freestyle pushing hands, called “fixed-step pushing hands,” requires that the two players remained fixed in their stances. Technically, if either player shifts a foot or lifts a foot off the ground, that player is judged to have been bested in the interchange. The second category of freestyle pushing hands is known as “restricted-step pushing hands.” In this type of pushing hands, either player may take one step backward or forward in order to attack or retreat. The other player is permitted to match the single step of the player who initiates the stepping. In the third category of freestyle pushing hands, which is sometimes referred to as “moving-step pushing hands” and is also called “unrestricted pushing hands,” partners are free to take multiple steps in any direction. In some instances, a ring or square may be delineated, and if either partner steps outside the designated space, that is considered to be a defeat. Fixed-step Pushing Hands: As stated in the preceding paragraph, the fixedstep form of freestyle pushing hands limits each player to standing in a fixed stance. In the Chen style, this type of pushing hands is referred to as “dingbu tuishou.” Although this may be the most constrained of the three forms of freestyle pushing hands defined above, it offers many training advantages over the other two forms. Because the two players are not permitted to step or to move their feet in any manner, they are able to concentrate on what are referred to as “hand techniques.” You may have noticed that, when learning the movements of a new posture, it is easier to start off learning the hand movements first and to add the stepping movements only after you become comfortable with the hand movements. The same holds true when initially learning to play freestyle pushing hands. A second benefit conveyed by requiring the players to remain in static stances is that it helps to develop the skill of rooting. In order to maintain the two feet in a fixed position, a player must learn to absorb the opponent’s

pushes and to rely upon rooting when neutralizing and yielding. The ability to stand like a balance and turn like a wheel is developed through the practice of fixed-step pushing hands. One disadvantage of fixed-step pushing hands is that it can lead to bad habits. When individuals are unable to move their feet in order to retreat from a strong push, they may bend backward from the waist in order to avoid being pushed off. This style of Gumby pushing hands, depicted previously in Figures 13-1c and 13-1d, is very common in the West, where emphasis is placed on not getting pushed off rather than “investing in loss.” When playing fixed-step pushing hands, if one is unable to use the waist effectively in order to neutralize a strong push, it is better to step back while maintaining an upright posture rather than to stand determinedly in place as one bends backward like piece of half-cooked linguine. Always remember that, if your body’s posture doesn’t resemble one of the postures in the solo form, it has no place in pushing hands. Whether engaging in fixed-step or any other form of freestyle pushing hands, partners must agree upon a convention for initiating each interaction. It is very common to adopt the “three circle rule” in which the partners cooperatively perform three repetitions of a standard pattern before attempting to push or otherwise control their opponent. This is yet another reason to learn at least one pushing hands pattern before moving on to freestyle pushing hands. Having completed the three repetitions, players are free to employ any of the hand techniques permissible in freestyle pushing hands. Many players immediately attempt to seize the advantage as soon as the third repetition of the pattern is completed. However, it is wise to heed the wisdom of Miyamoto Musashi, author of The Three Rings, the classic Japanese text on the use of the sword: “The first one to draw his sword is the one who gets cut.” It is better to allow your opponent to attempt to push you first rather than immediately trying to push your opponent. In this way, you will be able to measure the opponent’s strength and also his weakness. You can then utilize yielding and neutralizing to lead him into a disadvantageous position. Having listened and neutralized (ting and hua), you can then seize and issue (na and fa) as you wish. This is the correct way to practice fixed-step pushing hands. Restricted-step Pushing Hands: After students are comfortable playing

fixed-step pushing hands, they can progress to the practice of restricted-step pushing hands. As the name implies, restricted-step pushing hands “restricts” each player to taking a single step. Further, the stepping can only be forward or backward (i.e. Advance or Retreat). The purpose of restricted-step pushing hands is to train practitioners in the skills of “stepping in” and “matching.” In the Chen style, practitioners may take more than one step forward or backward, but are restricted to stepping forward or backward along a linear path. This type of pushing hands is called “huanbu tuishou.” In restricted-step pushing hands, the individual who steps in gains additional momentum from the forward step. This momentum may be added to the power generated from Push, Press, Elbow-Stroke, or Shoulder-Stroke. The individual who is receiving such power creates additional space by stepping back and matching the forward step of the attacker. This enables the receiving individual to yield and neutralize the attacker’s power without compromising her space. The stepping in and stepping back of the two players is depicted below in Figures 13-16a through 13-16d.

Figure 13-16a

Figure 13-16b

Figure 13-16c

Figure 13-16d

In the above photographs you will notice that the stepping in of the individual who is advancing is matched by the stepping back of the individual who is retreating. The complete event, which takes place very quickly, has been reproduced in four freeze frames in order to show the step-by-step sequence, which is as follows. Assume that both players are facing each other in right bow stances, as depicted in Figure 16-13a, In Figure 16-13b, Partner A (in white) steps forward approximately eighteen inches with her forward, right foot, and Partner B (in black) matches Partner A’s forward step by initially retreating approximately eighteen inches with his back, left foot. In Figure 13-16d, Partner A executes a following step by sliding her left foot up to maintain the original distance between her two feet. At the same time, Partner B slides his front, right foot backward to regain his original bow stance. The best way to begin training in restricted-step pushing hands is to work cooperatively with your partner. Designate one partner as the individual who will be advancing and the other partner as the individual who will be retreating. Start by standing in matching bow stances and circling the hands in an agreed-upon pattern, such as the Four Hands pattern introduced previously. After three circles, which you may want to count aloud, the advancing partner will step in as the retreating partner steps back. Repeat the process by completing three more circles of the pattern and then stepping forward and backward as before. The two partners can begin at one end of a long room until they reach the other end. Then the partners can reverse roles, and the process can be repeated back across the room in the other direction. At this point in the training process, neither partner should attempt to push or rollback the other. Instead, the partners should concentrate on striving to match each other’s movements smoothly and fluidly. The purpose of this exercise is to develop sensitivity and agility, especially on the part of the individual who is stepping back. After both partners have become equally familiar with stepping in and retreating backward, they can dispense with counting of the preliminary circles. One player will still assume the role of the advancer with the other taking on the role of the retreater. However, now the advancer may step in at any time without giving any warning. The retreater must sense the intention of the advancer and match her step. If the retreater is not paying attention or is not sufficiently sensitive to the subtle movements that precede the

advancer’s forward step, he may be caught off guard and will likely get pushed backward. Conversely, if he is overly cautious and steps back before the advancer steps in, he will lose contact with his partner, which is also undesirable. In either case, the two players will need to reset their bow stances and begin anew. At some point, the two players can dispense with the roles of advancer and retreater. As before, they will stand facing each other in matching bow stances and will begin circling hands as in fixed-step freestyle pushing hands. However, without warning either player may elect to step in and attempt some form of attack, such as a push or a press. The other player must be able to sense the impending attack and match the attacker’s advance by stepping back while employing yielding and neutralizing in order to negate the attack. The player stepping back may utilize Rollback, Split, or Pull-Down in order to borrow the attacker’s forward momentum and use it to uproot him. As a final note on restricted-step freestyle pushing hands, it is permissible for each player to quickly repeat the sequence of stepping in as long as he permits his partner to step back each time. This can also be practiced as a drill. For example, two partners can take turns being the advancer, with the advancer taking a pre-determined number of forward steps to be matched by the same number of backward steps on the part of the retreater. Once both partners become familiar with the basic sequence of stepping in or retreating, they may elect to permit the advancer to switch from a right bow stance to a left bow stance as she advances. This requires the retreater to switch bow stances as well. Additionally, both players will need to reverse their hand positions, as shown in the sequence illustrated below by Figures 13-17a through 13-17d.

Figure 13-17a

Figure 13-17b

Figure 13-17c

Figure 13-17d

Moving-step Pushing Hands: Unlike fixed-step or restricted-step pushing hands, in moving-step pushing hands there are no limitations placed upon the players, and they are permitted to step in any direction and as many times as they please. In the Chen system, this type of pushing hands is called “luancaihu tuishou.” In order to play the game of moving-step pushing hands effectively, both players need to be light, agile, nimble, and responsive. Each player must be attuned to the stepping of his partner and must respond according to his partner’s stepping direction: forward, backward, left, or right. As such, moving-step pushing hands incorporates the Five Steps (Advance, Retreat, Look Left, Gaze Right, and Central Equilibrium) which are part of the Original Thirteen Postures of taijiquan. All the hand techniques may be employed in moving-step pushing hands. In addition, some schools allow the participants to incorporate tripping and leg sweeps in order to uproot the opponent. There are even schools that permit grappling and throwing in order to take the opponent down. These techniques are actively practice in Chenjiagou (the Chen village, where Chen style taijiquan is taught according to tradition).When the foot techniques of tripping and sweeping, along with the hand techniques of grappling and throwing, are added to the mix, the practice of moving-step pushing hands becomes another art, that of Chinese wrestling (shuai jiao). If one wishes to practice this art, it is best to do so under very careful supervision, as injury to either oneself or one’s partner is an ever-present danger. Also, unless both players are very skillful and mindful of the true objective of this type of play, they can easily resort to raw muscular strength and body mechanics in order to sweep, trip, grapple and/or throw their opponent to the ground. Moving-step pushing hands helps to develop the martial skills of taijiquan. The only limitation is that the participants must still maintain two points of contact with the hands. All the hand techniques and the stepping techniques of the Original Thirteen Postures may be employed. Striking with the hands and kicking with the feet are not permitted. Nonetheless, the practice of moving-step pushing hands comes close to free sparring or actual combat without involving the risk of injury from getting punched or kicked. However, as stated in the preceding paragraph, if grappling, throwing, tripping, and sweeping are involved, the risk of injury increases significantly. For these reasons, masters from the original families and their disciples developed several different approaches to two-person moving-step interaction

in order to train martial skills without risking injury to the participants. Two widely-practiced two-person training techniques evolved: sanshou and dalu. These training routines are discussed briefly in the following two sections.

Sanshou For those individuals who are interested in moving-step pushing hands but are concerned about the possibility of injury, a related two-person exercise, called “sanshou,” may be practiced instead. In sanshou, partners follow a set pattern of movements in which each player has an assigned role. For example, one player steps forward in order to execute a stylized attack, such as a punch, while the other player matches the attacker’s advance and employs the programmed response, such as Rollback. Many individuals will find that this stylized, two-person approach to stepping and matching may satisfy their interest in moving-step pushing hands without running the risk of personal injury to themselves or their partners. There are a number of twoperson sanshou sets. The photographs presented below in Figures 13-18a through 13-18d illustrate several of the matched movements taken from the Yang style two-person set developed by T. T. Liang, a disciple of Professor Cheng Man-ch’ing.

Figure 13-18a

Figure 13-18b

Figure 13-18c

Figure 13-18d

Individuals who are interested in learning sanshou will need to seek out a qualified and experienced teacher. Unfortunately, here in the West there are very few taijiquan schools that include sanshou in their curriculum. It is possible for experienced taijiquan practitioners to learn a sanshou routine by following an instructional video if no qualified instructor is available. The sanshou routine referred to above, for example, includes eighty-eight twoperson interactions. It will take two individuals, working cooperatively together, anywhere from three to six months to learn the movements of this routine and to be able to execute it smoothly and with good control.

Dalu Dalu is another two-person practice that involves stepping. The term “dalu” is usually translated as “Large Rollback.” Dalu routines are intended to train the Four Corners hand techniques of Pluck, Split, Elbow-Stroke and Shoulder-Stroke. In some ways, dalu is similar to sanshou. Each player has a specific role in the two-person interactions. However, in dalu there are only four basic interactions, illustrated in Figures 13-19a through 13-19d below. Also, in dalu the primary stepping directions are toward the four corners (northeast, southeast, southwest, and northwest) rather than the four sides (north, east, south and west). Yang Chengfu wrote that “four corners pushing hands” refers to the directions of dalu, and that the stepping should proceed toward the four corners. In this way, dalu is different from the cardinal directionality of moving-step pushing hands. Taken together, moving-step push hands and dalu address all eight sides of the Bagua symbol.195 In dalu, each action has a pre-determined response. For example, when one partner executes tsai the other partner responds with kao. The stepping is also matched. When one partner steps backward to execute tsai, the other partner steps forward diagonally to execute kao. In this aspect, dalu differs from other moving-step routines and trains a very important stepping technique. Rather than stepping directly to the rear in order to neutralize an attack, which does not change the dynamic between the two individuals, in dalu the individual who retreats actually steps back diagonally in order to gain a more advantageous position relative to his partner. This can be seen in the photographs shown in the sequence below. The attacking partner must then adjust her step accordingly.

In a single sequence of dalu, each partner assumes the role of both attacker and defender. In the first half of the sequence, the partner who initiates the attack advances three steps. If both partners are facing each other in left bow stances, as shown in Figure 13-19a, Partner A will advance with her right foot and attempt to strike with her right hand. See Figure 13-19b. Partner B will step back with his right foot while pivoting on his left foot and rotating his waist to turn away from Partner A’s advance. This first rotation should complete a clockwise turning of forty-five degrees. While stepping back, Partner B will also intercept Partner A’s right hand with his own right hand, as shown in Figure 13-19b. Partner A will then take another step, this time with her left foot, in order to adjust her position relative to Partner B. Partner A must adjust the direction of her second step by forty-five degrees in order to be square relative to Partner B. This is shown in Figure 13-19c. Partner B does not step at this point, as Partner A’s second step is an adjusting step rather than an advancing step. Finally, Partner A steps in with her right foot and attempts to execute Shoulder-Stroke. Partner B responds by stepping back again with his right foot, again pivoting forty-five degrees in a clockwise direction, and executes Pulldown by attaching to Partner A’s right wrist with his own right hand and connecting to Partner A’s right elbow with his left hand. See Figure 13-19d.

Figure 13-19a

Figure 13-19b

Figure 13-19c

Figure 13-19d

When Partner A realizes that her attempt to apply Shoulder-Stroke has been neutralized by Partner B’s Pulldown, Partner A will step back with her own right foot, and Partner B will step forward with his right foot and attempt to strike with his right hand. This begins the second half of the sequence, with the roles of attacker and defender reversed. Each half of the sequence of attack and retreat completes an arc of forty-five degrees. When the entire sequence has been completed, with each partner assuming the role of both attacker and defender, they will have stepped through an arc of ninety degrees, which is a quarter of a full circle. If the partners begin facing each other in a north/south configuration, then one partner will wind up facing the southwest, while the other partner faces to the northeast. This completes the first half of the sequence. The partners then reverse rolls to complete the second half of the sequence. At this point, the partners will be facing east and west. If the sequence is repeated again, the partners will have switched their original orientations and will now be facing south/north. A total of four sequences will return the partners to their original positions. It is difficult to explain in detail how the dalu sequence is executed, as anyone who has read either Yang Chengfu’s or Fu Zhongwen’s descriptions can attest. Even photographic sequences, such as the one presented above, do little to clarify written descriptions of this form. The best way to learn dalu is to receive instruction from a qualified and experienced teacher. As with sanshou, it may be possible for experienced taijiquan practitioners to learn the basic sequence of dalu from an instructional video. However, unlike sanshou, the sensory learning that takes place when practicing dalu with an experienced teacher cannot be replicated in a video. Dalu requires precise timing and appropriate responses. Also the directionality of both the advancing steps and retreating steps is difficult to convey precisely, even in a video. Nonetheless, dalu is an important practice for those who are interested in mastering the complete complement of martial skills in taijiquan. For this reason, it is important to make the effort to encounter and train with a teacher or advanced practitioner who can impart the Four Corners skills to you through hands-on training.

Conclusion

For those who seek to master the martial aspect of taijiquan, the various practices of pushing hands described in this chapter represent the gateway. It is absolutely crucial to study pushing hands in order to understand the essence of taijiquan as a martial art. As Yang Chengfu wrote in The Essence and Applications of Taijiquan, the martial art of taijiquan employs pushing hands in order to convey the meaning of its applications.196 Although practicing pushing hands is an essential step in acquiring martial mastery in taijiquan, it is important to understand that tuishou, in and of itself, does not directly train the martial applications of taijiquan. Rather, tuishou helps practitioners to develop the sensitivity, lightness, nimbleness, and responsiveness that are necessary to the application of the taijiquan postures in actual combat. Practicing basic pushing hands patterns trains the muscle memory and the sensitivity that enables partners to both listen to and respond to various attacks that may be encountered in actual sparring or combat. Fixed-step pushing hands helps players develop root and the ability to neutralize without relying upon stepping back to avoid an attack. Limited-step pushing hands begins to develop the ability to either step forward in order to gain advantage or to match an attacker’s advance by stepping backward. Moving-step pushing hands simulates the unrestricted stepping that individuals would encounter were they to be engaged in either sparring or combat. Finally, the stylized sequences of sanshou and dalu aid in training both the stepping methods and the hand techniques which would be employed in sparring or fighting. Having emphasized the importance of pushing hands practice in developing basic hand techniques and stepping skills, it must be stated unequivocally that pushing hands practice will not prepare the practitioner to apply taijiquan in a martial setting. In order to use the principles and applications of taijiquan in either sparring or real combat, it is necessary to practice the individual postures in two-person drills and then in unstructured two-person sparring. This is a challenging proposition and absolutely requires the supervision and guidance of an experienced teacher. It also demands that partners be willing to subject themselves to some rough treatment. Of course, if the individuals engaged in such training have extensive backgrounds in pushing hands, they will have developed a degree of softness and sensitivity that will enable them

to both give and take the simulated attacks and defenses that must be practiced in order to apply the principles and postures that have been rehearsed thousands of times during both solo form and pushing hands practice. The following chapter presents the martial applications of a number of postures that have been chosen from the Chen, Yang, Wu (Chiang-chuan), and Sun styles of taijiquan. These applications will prove instructive whether you want to actively practice them to develop martial ability or merely have a more academic interest in the martial applications of taijiquan. Even those individuals who do not actively seek to master the martial applications of taijiquan will find it interesting to see how the empty-hand postures that they have been practicing for many years can be applied in actual combat situations. It is recommended that all practitioners of the martial art of taijiquan have at least a working familiarity with the martial applications of the form that they practice. To exclude the martial applications from the study of the taijiquan is to diminish it as a martial art and limit it to the superficial level of mere physical exercise. One would be just as well-served by practicing yoga, Pilates, or aerobic dancing.

Chapter Fourteen

The Martial Applications of Taijiquan

As students of taijiquan, it is important to acknowledge that the art we practice today has its roots in the millennia-old tradition of Chinese martial arts. Modern scholars have traced the roots of the art of taijiquan back at least a thousand years to various styles and schools of martial arts in ancient China. Many of these styles are now known only through historical records, as their actual practice has been lost due to the depredations of wars, dynastic turnovers, and shifting cultural values. In the preface to his informative text, Tai Chi Chuan in the History of Martial Arts, Martin Broedicker quoted from The Great Learning (Daxue): “All things have roots and branches.” He commented that we can see the branches of taijiquan, but the roots are hidden in “the mists of time.”197 Authors such as Martin Broedicker and Sal Canzonieri, whose The Hidden History of the Chinese Internal Martial Arts includes the internal martial arts of baqua zhang and xinyi quan in its coverage, provide a fascinating historical perspective with regard to the development and evolution of taijiquan as a distinctive martial art. Dr. Yang, Zwing-ming’s book, Advanced Yang Style Tai Chi Chuan, provides a concise summary of the martial styles that preceded and influenced the martial art that we know today as taijiquan. While it is interesting from a layperson’s perspective to read these historical accounts, what is more important is to understand and appreciate the martial tradition from which the modern art of taijiquan developed. As stated in the Introduction to this book, anyone who seeks to master the art of taijiquan must appreciate and study both the civil and the martial aspects of the art. While it is possible to practice taijiquan solely for its health benefits or to utilize the empty-hand and weapons forms as a method of

moving meditation, failing to study the martial applications of the art and to develop martial proficiency means that the practitioner has ignored both the historical tradition and the underlying purpose of the art. Many teachers assert that learning the martial applications of the postures and the various weapons is not essential in order to derive the health benefits of taijiquan. They claim that the study of martial applications has limited appeal, and that instruction in the martial applications is inappropriate for many venues in which taijiquan is taught (i.e. fitness centers, YMCAs, senior centers, etc.) Although there is merit in simply presenting taijiquan as a system of healthful movements that benefit mind, body, and spirit, even individuals who undertake the study of taijiquan for health and/or spiritual development will gain a deeper understanding of the movements if the martial applications of those movements are demonstrated. Experienced taijiquan teachers realize that form follows function. When students understand the martial function of a posture as it relates to the shape of the arms and the position of the feet, they are more likely to hold the posture correctly. Because the shape of each posture conveys its unique health benefit in terms of stretching and opening the joints, strengthening the legs, improving balance and coordination, and directing the flow of qi, it is essential that students learn the proper physical structure for each posture. To this end, even beginning students are more apt to perform the postures correctly if they recognize and can incorporate the martial applications into the individual postures of the form. Understanding and properly executing the transitions between postures is equally important in mastering both empty-hand and weapons forms. In practical terms, the execution of a particular taijiquan form has more to do with the transitions than with the fixed postures. It is within the transitions that the five stepping techniques are employed. It is also in the transitions that yielding and neutralizing take place and attaining an advantageous position is achieved. Explaining in martial terms why the transition to a particular posture requires forward or reverse stepping, as well as the length or width of the resulting stance, will enable students to better execute the transition correctly. Although it is important to study and understand the martial applications of the postures, there is an inherent danger in this study. The danger is that the

student becomes focused on specific techniques and loses sight of the underlying principles of taijiquan. It is of no benefit to understand rationally the purpose of Ward-Off in maintaining a defensive position if the practitioner employs rigidity in holding up the ward-off arm and maintains stiffness in the legs. It is equally important that students recognize that each posture typically contains multiple applications. For example, in the posture of White Crane Spreads Its Wings, the empty foot may be employed to kick the opponent’s kneecap with the toe, strike with the opponent’s thigh with the heel, knee the opponent in the groin, or trip the opponent by sweeping the opponent’s leading foot. And those are just several applications that may be applied with the empty foot. The applications of the arms in this posture are just as varied. Students often ask: “How many different applications does this posture have?” An experienced teacher will answer “Dozens.” If it is true that principles are more important than techniques and that every posture contains many applications, then the question arises: “How can one begin the study of the martial applications of taijiquan?” The answer is that one begins simply. Students who wish to learn the martial side of the art must study with an experienced teacher. That teacher will introduce one application at a time, focusing upon the underlying internal principles that support the application of the posture. Students should practice that single application with the teacher and with each other, adhering strictly to the application of internal power rather than relying upon external strength. Over time, additional applications for each posture will be introduced. In general, learning a comprehensive set of martial applications for a traditional long form takes several years to complete. Many books and videos have been produced with the purpose of demonstrating and explaining the martial applications of taijiquan. Acknowledging that there are differences in family styles and that each style applies its postures uniquely, the following material is presented in the interest of providing an overview of the martial applications of taijiquan. A variety of postures from the Chen, Yang, Wu (Chian-chuan), and Sun styles are included, with one or two applications described and depicted photographically for each style. This material is not intended to be a comprehensive treatment of the martial applications of the art of taijiquan.

Such an endeavor is beyond the scope of this, or any single, book.

Chen Style Martial Applications As the original style of taijiquan, Chen style taijiquan is, in many ways, more closely related to hard style martial arts than the later, derived family styles of taijiquan. Chen style includes fast strikes and kicks and intersperses slow, gathering movements with quick, opening movements intended to issue jin. In particular, the influence of Shaolin temple martial arts can be seen in both the postures and their names, starting with the posture of Buddha’s Warrior Attendant Pounds the Mortar. Many of the martial applications of Chen style postures are intended to injure or incapacitate the opponent. For these reasons, many practitioners of taijiquan consider Chen style to be more openly martial than other styles. This distinction is more superficial than actual, as each of the family styles includes applications that are intended to render an opponent incapable of further attack. One key feature of all styles of taijiquan is that any pushing, striking, kicking, locking up, or throwing over is always preceded by a preliminary neutralization of the opponent’s attack. This is apparent in the martial applications of the Chen style of taijiquan as well. In Chen style, however, neutralization and yielding are often short and quick, and may not be as apparent as in other styles of taijiquan. Thus, when those not familiar with the intricacies of Chen style taijiquan observe this style in martial applications, their impression is often that Chen style is more overtly aggressive than other styles of taijiquan. In the following examples, both yielding/neutralizing and attack play equal roles. Each example includes both rou and gang, soft and hard. It is important to recognize the role of both rou and gang in every martial application of Chen style taijiquan. Buddha’s Warrior Attendant Pounds the Mortar: The posture of Buddha’s Warrior Attendant Pounds the Mortar is a signature posture of Chen style taijiquan. This posture occurs at the beginning of both the yi lu and er lu of the laojia (first and second routines of the Old Frame). Figures 14-1a and 14-1b depict the solo execution of this posture. The raising of the right knee and right fist are shown in Figure 14-1a. These initial movements are executed slowly; however, the dropping of the right foot onto the ground and the “pounding” of the right fist into left palm, as shown in Figure 14-1b,

are performed quickly, resulting in the stamping of the right foot and the hard punching of the right fist into the left palm.

Figure 14-1a

Figure 14-1b

As with all taijiquan postures, there are numerous martial applications contained within this simple posture. This posture may be employed in response to a punching attack on the part of an opponent. If the opponent (in black) throws a high punch with his right hand, the practitioner (in white) may respond by turning to the side and intercepting the opponent’s right wrist with her own right hand while simultaneously connecting her left hand to the outside of the opponent’s upper arm. This provides the practitioner with two points of contact with the opponent’s outstretched right arm. These two points of contact may be used to apply a joint lock, thus neutralizing the opponent’s attack. Having locked the opponent’s arm, the practitioner may then step forward in order to throw the opponent backward. Alternatively, eschewing a joint lock, having neutralized the opponent’s attack, the practitioner can apply a knee strike to the opponent’s groin which is likely to temporarily incapacitate him. To further injure the opponent, the practitioner can strike the opponent’s ribs with her right elbow and/or strike the opponent’s lower jaw with an uppercut with the right fist, as indicated in Figure 14-1c. Finally, the practitioner can stomp down on the opponent’s left instep with her right heel, as indicated in Figure 14-1d.198 The bones in the feet are small and easily broken. It is very easy to be injure an opponent by stamping upon his foot, which renders him incapable of further aggressive action. Anyone who has dropped a heavy object onto their foot will recall how painful and incapacitating such an injury can be.

Figure 14-1c

Figure 14-1d

Lazy About Tying the Coat: This is another signature posture of Chen style taijiquan. This posture appears quite relaxed, but it has several martial applications. One key feature of this posture is that the upper body, especially the left arm, is soft and seemingly unengaged. The power of this posture derives from the stepping, the width of the resulting lateral bow stance, and the turning of the waist. This posture also incorporates the shun chan and ni chan movements of chan ssu jin. Although it is difficult to portray these qualities in still photography, collectively they are the key to applying this posture effectively. Figures 14-2a depicts the transition from the posture of Buddha’s Warrior Attendant Pounds the Mortar and Figure 14-2b shows the finished posture of Lazy About Tying the Coat. In Figure 14-2a, the practitioner circles the arms in preparation for gathering in. This represents the shun chan phase of the Silk-Reeling energy. In Figure 14-2b, the practitioner steps out to the right settles into a wide, lateral bow stance, turns the waist to the right, and extends the right arm in a slight arc up and to the right. This is the ni chan phase of the Silk-Reeling energy.

Figure 14-2a

Figure 14-2b

The primary application of this posture is to intercept an opponent’s righthanded punch to the chest. The purpose of the circling of the arms as depicted in Figure 14-2a of the solo form now becomes apparent in Figure 14-2c. Having deflected and neutralized the opponent’s attack using shun chan, or coiling in, the practitioner is free to step in on the opponent and insert her knee into the opponent’s crotch. At the same time, the practitioner can execute Elbow-Stroke with her right elbow against the opponent’s right ribs, as shown in Figure 14-2d. The energy stored in shun chan is issued outward in ni chan to deliver the chou jin of Elbow-Stroke.

Figure 14-2c

Figure 14-2d

Alternatively, the practitioner, having neutralized the attack, can step in on the opponent and use the leverage of her right arm, combined with the turning of her waist, in order to unbalance and to throw over the opponent, as can be seen in Figures 14-2e and 14-f. The action of stepping in and employing the opponent’s arm as a lever is a classic Chen style technique which is used to great advantage when combined with a waist turn. This technique can be used to make the opponent lose his balance while striking above in order to render him incapable of further attack.199

Figure 14-2e

Figure 14-2f

White Crane Spreads Its Wings: The posture of White Crane Spreads Its Wings is present in all the major family styles of taijiquan. In some styles, the bird is referred to as a “goose” or a “swan;” however, the basic shape of the posture and the intrinsic energy of lieh, or split, remains the same. If one understands the martial application(s) of White Crane Spreads Its Wings in one family style, it is easy to identify the same application(s) in the postures of other styles. Figures 14-3a and 14-3b illustrate the transition into and the finished posture of White Crane Spreads Its Wings in Chen style taijiquan. In Figure 14-3a, the practitioner is shown in the transition from the posture of Buddha’s Attendant Pounds the Mortar. The practitioner sits back onto the right leg forming a cat stance and circles the arms outward. In the final posture, shown in Figure 14-3b, the right arm is lifted up above the right shoulder while the left arm has arced down adjacent to the left thigh.

Figure 14-3a

Figure 14-3b

White Crane Spreads Its Wings employs the intrinsic energy of Split as the primary martial application. This can be illustrated in the sequence of photographs shown in Figures 14-3c and 14-3d. In the first photo in the sequence, the opponent attempts to punch practitioner’s face or chest. The practitioner responds by stepping backward with her right leg in order to yield to the opponent’s attack such that the punch lands on nothing. In the second photo (Figure 14-3d), the practitioner uses her two arms to open up the opponent by employing Split, or lieh, energy. Having exposed the opponent’s chest, the practitioner is free to step into the opponent in order to strike his chest or kick him in the groin. The energy of Split can also be employed with a waist turn in order to topple the opponent onto the ground.200

Figure 14-3c

Figure 14-3d

Double Cannon Fists: The Chen style posture of Double Cannon Fists is another signature posture of this style. It has various names, such as “Cannons to the Face,” “Cannons Overhead,” and “Taiji Cannons.” This explosive posture is so indicative of the Chen style that the second routine of the Old Frame is often referred to as Cannon Fists, or pao cui. The solo form of Double Cannon Fists is illustrated in Figures 14-4a and 14-4b. The first movement, shown in Figure 14-4a, is a neutralizing action, and the hands execute closing rotations as the practitioner performs a centering step. In the second photograph, shown in Figure 14-4b, the practitioner steps out, and the stored energy of the leg and the waist is released rapidly, sending the two arms outward to issue fa jin simultaneously from both fists. It was said that, when Chen Wangting would execute this movement, he would first withdraw his fists into the sleeves of his silken tunic. When he released the fa jin into the two fists, the noise they made as they exploded out of the sleeves sounded like a pair of cannons firing off a double round.

Figure 14-4a

Figure 14-4b

The primary martial application of this posture is to intercept an opponent’s attack using yielding and neutralizing, as shown in Figure 14-4c. This yielding and neutralizing enables the practitioner to borrow the opponent’s energy, which is stored in the legs and the waist. Finally, the stored energy is released suddenly as the practitioner strikes the opponent’s chest, as indicated in Figure 14-4d.201 Alternatively, in a gentler version of this technique, the practitioner can connect the two fists to the opponent’s chest and then propel him backward. It should be noted that the fa jin power of the Double Cannon Fists attack is augmented by the forward momentum obtained by stepping into the opponent’s frame, as indicated in Figure 14-4d. The technique of stepping in is present in all styles of taijiquan, but is often not as apparent as it is in Chen style, especially in those movements in which the stepping in and the issuing of fa jin are combined dramatically, such as in the Double Cannon Fists posture.

Figure 14-4c

Figure 14-4d

Yang Style Martial Applications Compared to Chen style taijiquan, the Yang style taijiquan that is practiced today is less overtly martial in appearance. Although originally derived from Chen style, modern Yang style taijiquan has undergone a number of modifications by the various lineage holders, beginning with Yang Lu-chan and especially with Yang Cheng-fu. Several interpretations have been offered to explain the dilution of the martial elements of Chen style in the early development of Yang style taijiquan. It is claimed that Yang Lu-chan eliminated many of the more challenging movements from the original Chen style in order to accommodate the imperial family members who studied with him and who were unaccustomed to rigorous physical activity. Others theorize that many of the adjustments made by both Yang Lu-chan and Yang Cheng-fu were intended to disguise the martial aspect of the art in order to make it appear less threatening to the Manchu rulers of the era. Proponents of Yang style like to say that the martial applications are still in the form, they are merely hidden. Although the pace of modern of Yang style taijiquan is slow, steady, and even, it is almost certain that the taijiquan of Yang Lu-chan and his sons, Yang Ban-hou and Yang Chien-hou, included changes in pace and sudden punches and kicks. There are still adherents of the variants of taijiquan handed down by Yang Ban-hou and Yang Chien-hou, and their versions of Yang style taijiquan are clearly more martial in tenor than the taijiquan attributed to Yang Cheng-fu and practiced by the large majority of Yang stylists today. Despite the external differences between variants, all variations of Yang style taijiquan include certain commonalities, one of which is the inclusion of the sequence, Grasp the Sparrow’s Tail. Grasp the Sparrow’s Tail: The sequence of Yang style postures collectively known as “Grasp the Sparrow’s Tail” includes the following: Ward-Off, Rollback, Press, and Push. These four postures contain within them the intrinsic energies of the Four Sides, i.e. peng, lu, ji, and an. As its name suggests, the posture of Ward-Off employs peng energy in order to withstand, or ward-off, an opponent’s attack. Figure 14-5a illustrates the posture of Ward-Off Left as it appears in the solo form. In Figure 14-5b, the practitioner is employing Ward-Off in order to hold off an opponent who is seeking to overcome her with force.

Figure 14-5a

Figure 14-5b

It is important to note that peng energy is full and springy, not stiff and rigid. When executed properly, the practitioner can withstand a great deal of incoming force without any semblance of stiff resistance. Yang Cheng-fu wrote that, in applying Ward-Off, one must use horizontal energy (peng jin) to ward off in both a forward and an upward direction. One must not be stiff or wooden. Once the opponent’s strength has been neutralized, his position will become unstable and he can be easily overcome.202 The second posture in the Grasp the Sparrow’s Tail sequence is Rollback. The posture of Rollback employs the intrinsic energy of lu and is used to intercept and divert an opponent’s incoming force. Figure 14-5c depicts the posture of Rollback in the solo form. Notice that the practitioner is sitting on her back leg and has turned her waist somewhat to the right. The primary martial application of this posture is shown in Figure 14-5d. In this photo, the opponent appears to be tipping forward and is likely to fall onto the ground at the completion of the movement.

Figure 14-5c

Figure 14-5d

It is important to understand that the practitioner has not pulled the opponent forward. Rather, the practitioner has merely “opened the gate to let the robber in.” This means that the opponent has applied too much force in an attempt to overwhelm the practitioner, and the practitioner has simply shifted her weight and turned her waist in order to guide the opponent in the direction of the opponent’s attack. However, since there is nothing left to attack, the opponent follows his own energy and is defeated by his own aggressive behavior. Rollback is a defining posture of Yang style taijiquan and serves to embody the Taoist principles that underlie this style of taijiquan. Yang Cheng-fu wrote of the application of Rollback that the entire body sits on the rear leg. The rear foot becomes full and the forward foot becomes empty. If the opponent attacks at this time, then one should lead him across the chest. As the neutralizing energy of Rollback engages, then the opponent’s feet will be uprooted. His body will then follow, and he will fall away at an incline.203 Following Rollback, the next posture in the sequence of Grasp the Sparrow’s Tail is Press. Press utilizes the concentrated energy of ji for the purpose of initiating a counter-attack. In the solo form, Press is executed using both hands connecting to the same point on the opponent’s body. This can be seen in the solo form posture and also the application, as shown in Figures 14-5e and 14-5f respectively. The most common point for applying Press is against the opponent’s torso, but Press can also be applied to the opponent’s shoulder, back, or any other part of his body.

Figure 14-5e

Figure 14-5f

Yang Cheng-fu stated that Press is to be applied as the opponent is attempting to escape from being rolled back. He wrote that the palm of the left hand should adhere to the right arm or wrist and should then advance forward, connecting to the opponent’s body. Having connected to the opponent, the practitioner should issue Press (ji) to him, causing the opponent to be dropped smoothly to the ground.204 The final posture in the Grasp the Sparrow’s Tail sequence is Push, which employs the energy of an. The posture of Push in the solo form is illustrated in Figure 14-5g. An, or push energy, has two directions. The first is a downward pushing, which is frequently used to push down on the opponent’s horizontal arm(s) in order to redirect the energy of his attack. For example, push-down can be used to redirect and neutralize an opponent’s Press attack. This application is shown in Figure 14-5h.

Figure 14-5g

Figure 14-5h

The second direction of an energy is a horizontal pushing. This horizontal pushing is employed after neutralizing the opponent’s attack by pushing downward. Because the opponent’s initial horizontal attack has been neutralized by pushing down, the horizontal component of Push can be applied with great effect in order to send the opponent flying backward with little apparent effort. See Figures 14-5i and 14-5j below.

Figure 14-5i

Figure 14-5j

The power of Push comes not from the arms, but rather from the momentum of the body as it shifts from the back leg to the front leg. The secret to executing a successful push is first to cause the opponent to lose his root and then to push off the back leg to engage the entire body in the push. Yang Cheng-fu instructed the practitioner to extend the rear leg and waist (which includes the lower back) while attacking forward. He advised practitioners to include a fierce expression in the eyes in accordance with the forward movement of the push. Then the opponent will lean backward and be thrown away.205 Single Whip: Like the posture of White Crane Spreads Its Wings, the posture of Single Whip is present in all the major family styles. Because the martial applications of this posture are essentially the same in all styles, it is instructive to examine this Yang style posture and its martial applications. The photographs in Figures 14-6a and 14-6b, shown below, correspond to the illustrations and the video footage of Fu Zhong-wen in his preparation and execution of the Single Whip posture in the solo form. The practitioner, having completed the posture of Push to the west, sits onto his back leg and turns the torso back toward the south. The arms arc up and around in accordance with the movement of the torso. This transitional movement serves the purpose of intercepting and neutralizing any incoming attack. The practitioner then executes a centering step and gathers in the arms in preparation for striking. In Figure 14-6a, the practitioner “sends out the hook” by forming the right hand into a hook and extending it outward. Subsequently, in Figure 14-6b, the practitioner steps out to the east and extends the right arm with the hand forming a hook while the left arm is employed to deflect and/or strike to the front in a “whipping” motion.

Figure 14-6a

Figure 14-6b

There are multiple martial applications associated with this posture. In Figure 14-6c, the practitioner uses her right, hook hand in order to capture the opponent’s fist and turn it over to render it harmless. In Figure 14-6d, the practitioner steps in on the opponent and strikes the opponent in the chest with the knife edge of her left hand.

Figure 14-6c

Figure 14-6d

Carry Tiger to Mountain: The Yang style posture of Carry Tiger to Mountain has a rather dramatic name. However, once the practitioner understands the martial application of this posture, the significance behind this imaginative name becomes apparent. This posture follows the pauses that occur between the three sections of the traditional Yang style long form. The first and second section and the second and third section of the long form are punctuated by the posture of Crossing Hands, which is then followed by the posture of Carry Tiger to Mountain. Figures 14-7a and 14-7b depict the transition from Crossing Hands to the finished posture of Carry Tiger to Mountain in the solo form.

Figure 14-7a

Figure 14-7b

Figure 14-7a shows the practitioner in the posture of Cross Hands. From this initial position, which faces south, the practitioner turns to the southwest while maintaining the arms in the crossed position. This position provides a good defense against an incoming strike. Subsequently, the practitioner opens the hands and circles the arms down and up, with the left hand held by the left ear and the right hand ready at the left shoulder. The circling of the arms is accompanied by centering the right foot next to the left, substantial foot. Finally, in Figure 14-7b, the practitioner steps out on a diagonal to the southwest and appears to execute a brush knee and single-hand push to that direction. Notice the position of the right hand in Figure 14-7b, in which the palm is facing up rather than down, as it would in the posture of Brush Knee. The reason for this upward facing palm will become apparent in the following explanation of the application of this posture. Although the finished posture of Carry Tiger to Mountain appears similar to the posture of Brush Knee Twist Step, the primary martial application of this posture differs from that of Brush Knee. The main distinction has to do with the greater rotation of the torso. The photographs shown below in Figures 147c and 14-7d illustrate how the torso rotation in Carry Tiger to Mountain is used to throw the opponent over onto his left side. In Figure 14-7c, the practitioner receives and neutralizes the opponent’s incoming left fist. Having neutralized the opponent’s attack, the practitioner turns back to her right side in order to draw the opponent in. Her right hand grasps the opponent’s left fist and turns it over to execute a wrist lock, which lifts the opponent up and severs his root. Once the opponent is uprooted and his structure is broken, the practitioner steps in behind the opponent’s left leg. The practitioner then unwinds her torso and uses her right leg as a lever in order to topple the opponent over onto his left side, as depicted in Figure 147d.

Figure 14-7c

Figure 14-7d

This application uses the stored rotational energy of the waist along with the principle of the lever (the practitioner’s right leg) in order to throw the opponent down onto the ground. This technique can be employed effectively by a smaller, weaker practitioner against a larger, stronger opponent because the wrist lock that has been applied to the opponent’s left hand causes the opponent to float. Once the opponent is floating on his feet, he becomes easy to move through space. In this sense, the practitioner has gained the ability to “carry the tiger to the mountain,” which, under different circumstances, would be a very daunting task. Needle at Sea Bottom: The Yang style posture of Needle at Sea Bottom derives its name from the image of thrusting a needle downward to the bottom of the sea. In the solo form, this is one of two postures in which the torso is permitted to bend at the waist, the second being the posture of Planting Punch. (Note: although many individuals execute the posture of Snake Creeps Down by bending forward at the waist, this is not correct; in the posture of Snake Creeps Down, the torso should remain upright.) In the traditional long form, the posture of Needle at Sea Bottom follows the posture of Brush Knee Twist Step in the second and third sections of the form. Having completed the Brush Knee posture, the practitioner makes a half-step forward and extends the right arm is if making the gesture of shaking someone’s hand. The extended hand is then withdrawn as the practitioner steps back and gathers the formerly-extended hand up to the right ear while the left hand is brought up to the right shoulder. Finally, the left hand is brushed down across the left knee and the right hand is plunged downward while bending forward at the waist and gently touching down with the toes of the left foot. The beginning and ending movements of this posture are presented below in Figures 14-8a and 14-8b.

Figure 14-8a

Figure 14-8b

The posture of Needle at Sea Bottom has multiple martial applications. The following photographs in Figures 14-8c and 14-8d demonstrate one such application that incorporates tsai, or Pull-Down, energy. In Figure 14-8c, the practitioner center-steps backward and intercepts the opponent’s incoming left hand as it attempts to strike the practitioner in the chest. Having joined with the opponent, the practitioner then settles onto her right leg and draws the opponent’s left arm forward and slightly upward. This raises the opponent up on his toes and causes him to float. In Figure 14-8d, the practitioner bends at the waist and uses the downward momentum of her torso to pull the opponent down and forward while simultaneously applying a joint lock (chin na) to the opponent’s right arm. In this way, the practitioner has neutralized the opponent’s attack and has placed the opponent under her control. In his commentary on this posture, Yang Cheng-fu wrote that the movement’s purpose is like employing a needle to probe the sea bottom. Although the opponent may want to pull or struggle, his attempts to eradicate himself will ultimately meet with defeat. Once the opponent’s root has been severed, it will be easy to take advantage of his emptiness and to advance and attack him.206

Figure 14-8c

Figure 14-8d

Wu Style Martial Applications It has been said that, of the main family styles of taijiquan, the Wu (Chianch’uan) style places the most emphasis upon the use of the spine and the waist in conjunction with the principle of central equilibrium. The spine, which is elongated in Wu style, provides for central equilibrium and also stores and issues jin. The waist functions as a wheel revolving around an axle and produces the variations (i.e. changes) that enable the practitioner to yield and neutralize in defense and to control and issue when attacking. Wu Gong-Zao’s The Lecture of Taijiquan elucidated the Wu style emphasis upon the spine and the waist as the foundation for all movements, be they in the solo form or in martial applications. He wrote that, among the Original Thirteen Postures of taijiquan, Central Equilibrium (zhong ding) is the most important. According to Wu Gong-Zao, the other twelve postures, such as peng, lu, ji, and an, are of secondary importance. The specific techniques do not depend upon a definite position, and all of the martial applications are derived from Central Equilibrium. The jin (i.e. power) originates from the spine and is controlled by the waist. One must pay attention to the waist in every movement, since the waist is the hinge upon which the body rotates.207 One of the key elements found in many of the martial applications of Wu style is the reliance upon the principle of the fulcrum and the lever. If the fulcrum can be situated correctly and the lever can be applied with the appropriate length, it will be easy to uproot the opponent and to propel him backward or to topple him onto his side. Another distinguishing feature of Wu style martial applications is the emphasis upon the back foot. Just as the Classics say that the jin is rooted in the feet, Wu stylists add that it is essential to issue the energy from the bottom up by pressing the heel of your rear foot with a “snap against the ground.”208 The emphasis upon the pressing of the rear heel into the ground is especially evident in the Wu style posture of Brush Knee Twist Step, as illustrated in the following section. Brush Knee Twist Step: The Wu style posture of Brush Knee Twist Step is more linear and direct than the associated posture in Yang style. Also, the practitioner appears to incline or lean forward somewhat. See Figure 14-9b. Those who are not familiar with the underlying energy vectors of this posture may be tempted to argue that this characteristic forward leaning violates the principle of central equilibrium. However, in martial applications the forward

leaning is offset by the downward pressure of the rear heel, so central equilibrium is maintained. The wind-up and the completed posture of Brush Knee Twist Step Left Side are shown below in Figures 14-9a and 14-9b. In Figure 14-9a, the practitioner has closed up and executed a withdrawing step with the left foot in preparation to step out into a bow stance on the left side. In Figure 14-9b, the practitioner has stepped out with the left leg. As the practitioner shifts her weight onto her left foot, she simultaneously brushes her left knee with her left hand and extends her right arm forward, leading with the outer edge of the right hand.

Figure 14-9a

Figure 14-9b

The primary martial application of Brush Knee Twist Step is two-fold. Initially, the practitioner intercepts a combined punch and kick by the opponent as shown in Figure 14-9c. Having neutralized the opponent’s attack, the practitioner closes with the opponent in order to connect with his center. Finally, the practitioner steps through the opponent’s position and combines the forward momentum of her torso with a downward pressing of the heel of the rear foot to propel the opponent backward as shown in Figure 14-9d.

Figure 14-9c

Figure 14-9d

The practical application of this posture is to counter an opponent who has failed in his attempt to kick the practitioner with his right foot. When he subsequently drops down onto this foot, this presents an opportune moment for the practitioner to thrust her left leg close to the inner side of his right leg. Simultaneously she can deliver a blow with her right hand at his chest or face. The opponent will be thrown off a good distance. Golden Cock Stands on One Leg: The Wu style posture of Golden Cock Stands on One Leg is similar in form and application to the Yang style posture of the same name. This posture follows the posture of Downward Single Whip in the traditional long form. The transition and completion of this posture are depicted in Figures 14-10a and 14-10b, shown below. Figure 14-10a shows the transition upward from the posture of Downward Single Whip. As the practitioner rises up, the body is rotated slightly to the left. This provides the wind up for the release into the final posture, shown in Figure 14-10b. Here we see the use of the torsional energy of the waist and the rotation of the torso around the central axis.

Figure 14-10a

Figure 14-10b

The primary martial application of this posture is to intercept the opponent’s attempt to grab with his left hand or strike with his right fist. In Figure 1410c, the opponent has attempted to punch the practitioner with his right fist. The practitioner intercepts the opponent’s extended right arm with her left hand and lifts it upward as she shifts her weight forward and rotates her torso slightly to her left. At the same time, she uses her right hand to connect with the opponent’s left forearm, drawing it downward and to his left. These two actions spread aside the opponents two arms and exposes his torso. Having neutralized the opponent’s attack and rendered him defenseless, the practitioner applies upward pressure on the opponent’s right arm, which lifts him up onto his toes and causes him to float. Finally, the practitioner raises her left leg to strike the opponents groin with her foot, as shown in Figure 1410d.

Figure 14-10c

Figure 14-10d

Flying Oblique: The Wu style posture of Flying Oblique, also known as “Diagonal Flying,” derives its name from the directionality of the body, which is on a diagonal to the linear path followed by the majority of the movements in the form. As with all the postures of Wu style, the posture of Flying Oblique includes both closing and opening. This posture follows the posture of Step Back to Repulse Monkey in the traditional long form and employs the principles of expanding and contracting, or the opening and closing of one’s two arms, much like an eagle that spreads its wings as it flies across the sky. The transition into and the completed posture of Flying Oblique are presented below in Figures 14-11a and 14-11b. In Figure 14-11a, the practitioner shifts her weight onto her right leg, rotates her torso to the right, and crosses the arms in a closing posture. From this closed position, the practitioner shifts her weight onto her left leg and unwinds her torso to the left side while simultaneously uncrossing the two arms, with the left arm extending up and to the left and the right arm extending down and to the right. See Figure 141b.

Figure 14-11a

Figure 14-11b

The primary martial application of Flying Oblique employs the principle of leverage in order to topple the opponent onto his side. In this case, the initial neutralization occurs when the opponent attempts to attack with left arm. The practitioner intercepts the opponent’s left arm and ties him up, as represented in Figure 14-11c. This causes the opponent to become unbalanced and compromises his structure. The practitioner then places her left arm under the opponent’s left armpit while controlling his left fist with her right hand. Finally, the practitioner steps her left foot behind the opponent’s left leg and uses her left knee as the fulcrum to topple the opponent onto his right side by extending her left arm upward and outward, elongating her spine, and unwinding her waist. The result is depicted in Figure 14-11d, shown below. In this application, the principle of leverage can be plainly seen. Combined with the rotational energy of the waist and the elongation of the spine, this is a very effective counter-attack. Care should be taken when practicing the martial application of this posture, however, as it is possible to injure the partner. As Wang Pei-sheng wrote, it is better to know how to perform this technique and yet try avoid using it.209

Figure 14-11c

Figure 14-11d

Double Swing Lotus: The Wu style posture of Double Swing Lotus includes a sweeping crescent kick. This type of kick is known as a “swing lotus kick” because the transverse kicking is like the wind swinging the leaves of the lotus.210 As the kicking foot travels in a crescent-shaped path from the left to the right side, it strikes the undersides of both extended palms. For this reason, this type of crescent kick is referred to as a “double lotus kick.” The set-up and the crescent kick are represented in Figures 14-12a and 14-12b, shown below. Initially, the practitioner is facing west, having successfully dispatched an opponent in that direction. Sensing that a new opponent is about to attack from behind, the practitioner spins and turns one hundred and eighty degrees to face the new threat from the east. The practitioner’s arms are held up in a defensive posture, as shown in Figure 14-12a. The practitioner then lifts the right leg with the leg extended diagonally across her body and then proceeds to sweep the extended leg from left to right while striking the undersides of both extended palms with the pointed instep of the right foot. See Figure 1412b. When executed correctly, the sweeping foot will make two distinct slapping sounds as it strikes first the left palm and then the right palm.

Figure 14-12a

Figure 14-12b

The martial application of this posture is to strike the opponent’s rib cage or upper thigh with the swinging lotus kick. The two arms are used at first to intercept and to neutralize the opponent’s attempt to attack from behind with his right hand, as shown in Figure 14-12c. The practitioner then locks the opponent’s right arm and turns him away. Having disabled the opponent and exposed his right rib cage, the practitioner executes a swinging lotus kick with her right foot to strike the opponent’s right thigh. At the same time, the practitioner may execute a strike to the opponent’s head with her right hand, as shown in Figure 14-12d below.

Figure 14-12c

Figure 14-12d

Sun Style Martial Applications Sun style taijiquan has its roots in the three internal martial arts of taijiquan (from both Chen and Wu/Hao styles), xinyi quan, and bagua zhang. Due to the influence of xinyi quan, Sun style is more linear and compact than other styles of taijiquan. Also, the principle of Opening/Closing predominates throughout the solo form and in the martial applications of this style. Sun Lutang taught that the source of Opening and Closing is “an Original Qi.” Sun wrote that this centralized qi encompasses the entire body and is ever-present. Both the internal and external are united in a single qi, which flows ceaselessly without break. The opening and closing and the movement and stillness of martial forms have this qi as their foundation211 When applying the martial applications of Sun style taijiquan, it is essential to understand and to incorporate the principle of Opening/Closing. Failing to do so, the practitioner will be forced to rely upon physical strength rather than the “one qi,” which is lively and active rather than stagnant and clumsy. In some sense, Sun style taijiquan is the most subtle of all the major styles of this internal art. The movements, while compact, contain all that is necessary for both defense and attack. Although a small man, even at an advanced age Sun Lu-tang was able to neutralize and throw off much larger, stronger, and younger opponents with apparent ease. His martial ability can only be attributed to his mastery of qi cultivation and circulation. It is to be hoped that Sun’s martial prowess will serve as an inspiration for those practitioners who are committed to the use of softness and internal jin in martial applications without resorting to external strength. Hands Strum the Lute: The Sun style posture of Hands Strum the Lute bears some resemblance to the similarly-named Yang and Wu style postures. The primary martial application of this posture is the same in all three styles. However, the execution of this posture in Sun style is more subtle in its approach. As in the Yang and Wu styles, in the traditional solo form of Sun style the posture of Hands Strum the Lute follows the posture of Brush Knee Twist Step on the left side. The transition from Brush Knee Twist Step to the final posture of Hands Strum the Lute is presented in Figures 14-13a and 1413b below. In Figure 14-13a, the practitioner places the weight on the left leg and extends the arms forward with the right arm extended farther than the left.

This is an open posture. Unlike the Yang and Wu styles, there is no forward stepping, merely a settling of the weight onto the left leg. In Figure 14-13b, the left leg steps back and the practitioner sits onto the right leg and withdraws the right arm while extending the left arm. The arms move in opposition, much like the tie rods on opposite sides of a locomotive. This is the closing segment of the posture in which movement returns to stillness.

Figure 14-13a

Figure 14-13b

As stated in the introduction to this posture, the martial application of Hands Strum the Lute is the same in Sun style as it is in either the Yang style or the Wu style. In response to the opponent’s attempt to grab the practitioner’s right hand, the practitioner extends her right arm, offering up her arm and allowing the opponent to have what he wants. See Figure 14-13c. However, the practitioner does not give up her foundation, which remains fixed on her forward, left leg. Having given up her arm but not her root, the practitioner then sits back onto her rear, right leg. This draws the opponent forward and causes him to lose his own root. At the same time, the practitioner withdraws her right arm while extending her left arm. The practitioner’s right hand grasps the opponent’s left wrist and her left hand controls the opponent’s left elbow, creating an arm-bar joint lock. As the practitioner presses her two arms toward her center, the effect of the joint lock is to rend the tendons of the opponent’s left elbow and incapacitate him, as can be seen by the opponent’s expression of pain in Figure 14-13d, shown below.

Figure 14-13c

Figure 14-13d

As a note of caution, extreme care must be observed when practicing this martial application, as even a small amount of pressure on the opponent’s (read partner here!) elbow can prove painful and may even result in permanent injury. Be sure to practice only with willing partners and agree upon a signal as to when to stop applying pressure. Advance Step, Deflect, Parry, and Punch: As with the preceding posture, the Sun style posture of Advance Step, Deflect, Parry, and Punch shares both the name and the application of similar postures in the Yang and Wu styles. Because of the influence of xinyi quan, however, the Sun style posture of Advance Step, Deflect, Parry, and Punch is more compact, and the energy expressed in the solo form is subtler and more internalized. As the name implies, this posture consists of four distinct actions, each of which has its own martial application. Because the first two actions are performed simultaneously, the photographs in Figures 14-14a and 14-14b will serve to illustrate the posture in the solo form. In Figure 14-14a, the practitioner steps forward with the left foot and uses the right hand to deflect upward and outward. These two movements correspond to the “Advance Step, Deflect” elements of the posture. In the “Parry” component of the posture, the left hand is brought up as if brushing away an imaginary opponent’s hand.212 Finally, in Figure 14-14b, the right hand forms a fist and then punches up and outward at chest level while the left hand is drawn back toward the chest. At the same time, the practitioner executes the signature “follow step” and steps up with the right foot. Sun Lu-tang wrote that, as the right hand punches forward, one should not force the shoulders downward. Rather, the shoulders and the legs as well as the torso should remain relaxed and be full of qi. In this way, the body’s central equilibrium will be maintained throughout the execution of the posture.213

Figure 14-14a

Figure 14-14b

As its name suggests, the posture of Advance Step, Deflect, Parry, and Punch includes the defensive applications of deflecting and parrying an opponent’s strikes as well as the offensive action of punching an opponent in the chest. What makes this application so effective, however, is the preliminary act of stepping in on the opponent. Most martial arts counsel maintaining distance from the opponent, staying just outside the range of his arms. However, in the application of Advance Step, Deflect, Parry, and Punch, the practitioner steps inside the opponent’s attack and closes with him. This tends to unsettle the opponent and also to mitigate the power of his punches, as most martial artists rely upon extension in order to deliver powerful punches. When stepping in on an opponent, the opportune moment is when he has just thrown one punch but has not yet had a chance to set himself before delivering a second punch with the opposite arm. In Figure 14-14c, the practitioner steps inside the opponent’s right punch and uses her right arm to deflect the opponent’s punch to his left side. Having deflected the opponent’s left-hand punch, the practitioner responds to the opponent’s attempt to throw a left-hand punch by parrying with her own left hand. Having neutralized both of the opponent’s hands and opened up his center, the practitioner executes a xinyi quan style punch to the opponent’s chest. See Figure 14-14d. Xinyi quan style punches only travel a short distance. The power of the punch results from the release of fa jin in combination with the forward momentum provided by the follow up step with the back (in this case, right) foot.

Figure 14-14c

Figure 14-14d

Pass through the Back: The Sun style posture of Pass through the Back, also known as Fan thought the Back and Flashing Arms, is similar to the posture of Fan through the Back found in both the Yang and Wu styles. In these family styles, the posture of Fan through the Back follows the posture Needle at Sea Bottom. However, in Sun style the two postures are combined together and are collectively named “Pass through the Back.” In this section, only the actually passing through the back portion of the posture will be examined, as the martial application of bending forward to pluck the needle from the sea bottom is essentially the same in both the Sun and the Yang styles. Unlike in the Yang and Wu styles, in Sun style, the posture of Pass through the Back includes both a left and a right side. Figures 14-15a and 14-15b illustrate the left side of the Pass through the Back posture in the traditional Sun style solo form. The transition begins with the initial step of plucking the needle from the sea bottom, as shown in Figure 14-15a. From this position, the practitioner rises up and lifts the right arm up above the head in a curving arc while holding the left arm close to the chest. The practitioner then steps forward with the left foot and extends the left arm with the palm facing forward. The right arm maintains its position of guarding the head. See Figure 14-15b.

Figure 14-15a

Figure 14-15b

As with all postures in taijiquan, this posture contains within it multiple martial applications. In this discussion, the application of flashing arms will be presented. Assume that the practitioner has bent forward for the purpose of applying Pull-Down against an opponent’s strike. At that point, the opponent will also be doubled over, which serves to compromise the opponent’s structure, as shown in Figure 14-15c. The opponent will attempt to rise up in order to recover his central equilibrium. As he does so, the practitioner follows the upward momentum of the opponent’s retreat by stepping in on the opponent with her left foot, lifting the opponent’s left arm with her right hand, and applying a palm strike with her left hand to the opponent’s chest. See Figure 14-15d. Such a palm strike, when supplemented with the momentum of the body that results from stepping in, can cause serious injury or even result in the opponent’s death. As with all martial applications, care should be exercised when training this application. It is best to simply make contact with your training partner and not actually deliver the palm strike to his chest with any impact.

Figure 14-15c

Figure 14-15d

Right Thrust Kick: The Sun style includes a number of kicking postures, one of which is the posture of Right Thrust Kick. Right Thrust Kick is a heel kick, which is to say that the power of the kick is delivered through the heel of the foot. Heel kicks are executed by first lifting the knee and then extending the foot with the heel in the lead. In the traditional Sun style long form, the posture of Right Thrust Kick follows the posture of Left Lifting Foot, which is a toe kick. In toe kicks, the power of the kick is directed toward the toes rather than into the heel. The posture of Right Thrust Kick in the solo form is presented below in Figures 14-16a and 14-16b. In Figure 14-16a, the practitioner stands on the left leg and lifts up the right knee to the level of her waist in preparation for executing the kick. Note that the left foot is angled out to the left in order to form a stable base. The practitioner then quickly thrusts out the lower part the right leg with the toes pointing up and the heel extended in a kicking motion. At the same time, the arms straighten out with the left hand extending forward and the right hand extending diagonally backward, as shown in Figure 14-16b. Note that each hand forms a knife edge as it extends.

Figure 14-16a

Figure 14-16b

The martial application of a heel thrust kick is to use the heel as a weapon, thrusting it into the opponent’s knee, thigh, groin, abdomen, or ribs. In this application, the intent is not to strike with the heel so much as it is to place the heel onto the intended target and then thrust outward. In a sense, a thrust kick is a push that is executed with the heel of the foot rather than with the hand. Often times, a thrust kick will be combined with a hand strike to the opponent’s face in order to distract him from the incoming kick. Figures 1416c demonstrates the use of the Right Thrust Kick to attack the opponent’s abdomen In Figure 14-16c, the practitioner has stepped in on the opponent and intercepted the opponent’s striking right hand. The practitioner then lifts up her right knee and places her right heel against the opponent’s lower abdomen. To complete the kick, the practitioner thrusts forward with her right leg while delivering a palm strike to the opponent’s face with her left hand. The effect of the thrusting kick is to send the opponent stumbling backward from the force of the kick, which acts like a push to the opponent’s center of mass. Alternatively, the surface of the extended leg may be employed as a weapon, as can be seen in Figure 14-16d, shown below. In this case, the practitioner neutralizes the opponent’s right hand punch and turns him to expose his right side. She then strikes his right shoulder with her left hand while using the outside of her right leg to execute a sweeping strike at his exposed right flank. The combined actions of extending his right arm, striking his right shoulder with her left hand, and sweeping with her right leg are certain to uproot the opponent and cause him to topple over onto his left side.

Figure 14-16c

Figure 14-16d

Conclusion As the examples in this chapter have illustrated, the martial art of taijiquan can be very effective when used for self-defense. It is important to note that the applications presented in this chapter, and, indeed, all martial applications of taijiquan, are always employed in response to an opponent’s attack. That is why we use the term “self-defense” when describing taijiquan as a martial art. It is important to recognize that the martial applications embedded in the various postures are intended to be applied against individuals who attack with stiff, external force, such as the punching, kicking, and grabbing attacks favored by practitioners of hard-style martial arts. In taijiquan, we eschew strength and speed and rely instead on softness and sensitivity. In so doing, we gain the ability to detect an opponent’s intention and to deflect an attacking force of a thousand pounds with only four ounces of reciprocal force. The advanced practitioner who truly embodies the principles of taijiquan has no fear of larger, stronger, or younger opponents and feels secure in the knowledge that “The opponent does not know me. I alone know him.” Students who are interested in learning the martial applications of taijiquan frequently ask: “When can I begin learning how to fight?” The way this question is phrased is revealing. It is akin to a pre-teen girl asking her mother when she can begin wearing makeup. Like the pre-teen, they are too eager to grow up. Learning to use taijiquan for self-defense is a process and should not be rushed. First one needs to learn the form, then one needs to learn the basics of pushing hands, after which one needs to deepen one’s understanding of jin. It is then recommended that the student learn a fast taijiquan set. From there it is appropriate to begin studying moving step and freestyle pushing hands. Only after proceeding through all these stages should the student begin to practice the martial applications of taijiquan under controlled conditions. After at least a year of practicing the martial applications for the individual postures, one can proceed to the practice of sparring. In his book, Advanced Yang Style Tai Chi Chuan, Dr. Yang, Zwing-ming outlined a training sequence for those individuals interested in learning the martial aspect of taijiquan. His recommended sequence includes twenty-two separate stages for training in the martial art of taijiquan.214 Only after the

student has gained proficiency in the first twenty-one stages does he recommend engaging in free fighting. One reason for this is that, until one has overcome the tendency to rely upon hard, stiff force in order to control and overcome an opponent, the applications will not really embody the principles of taijiquan. This is especially true for individuals who have prior experience in other, hard-style of martial arts. This does not mean that students should not become familiar with the martial applications of the individual postures of the empty-hand form, however. The Song of the Thirteen Postures instructs us to study the function of each posture carefully and with deliberation.215 Even Dr. Yang, Zwing-ming recommends analysis of the martial applications of the postures once the student has learned the solo form. So, how does one begin to study the function of each posture? The best format is to work with a knowledgeable instructor in a group setting. In such an environment, it is possible to work with others in slow motion, practicing various responses to pre-determined attacks in order to understand the application(s) of each posture in the form. Under strict supervision, students typically begin at one-quarter speed and then proceed to half speed. When practicing martial applications with willing partners at greater than half speed, it is a good idea to don lightweight sparring gloves in order to avoid painful blows. After some time working at three-quarter speed and full speed, advanced students can remove the gloves and practice individual martial applications at full speed. It is important to always work cooperatively with willing partners and to be humble and respectful at all times. It is also recommended to work with a variety of partners. The more partners you practice with, the more experience you will gain. As a student of the martial applications of taijiquan, you should study the empty-hand postures and investigate their martial applications. By working with cooperative partners and a knowledgeable instructor, over time you will slowly gain martial prowess. Only then will you begin to fathom the true meaning of taijiquan, which translates as “taiji fist.”

Chapter Fifteen

The Principles and Practice of the Taiji Jian

The use of weapons in Chinese martial arts has a long and venerable history. Indeed, it is no exaggeration to state that Chinese martial arts as we know them today began with the development of and training in various types of personal weapons. The weaponry developed in ancient China until the invention of gunpowder included a vast array of both cutting and blunt weapons and also included the bow and arrow as well as various throwing weapons. Because Chinese history and culture extend backward into the Bronze, Iron, and Stone Ages, the long history of the development of weaponry in China has given rise to a wide range of different types of weapons used in martial conflict. The weapons used in the earliest times in China almost certainly evolved from hunting weapons, such as the bow and the spear, and also from certain agrarian tools, such as hoes, sickles, scythes, shovels, axes, and the like. As Chinese society and culture evolved out of early primitive agrarian settlements, struggles over land and resources inevitably arose, and conflicts ensued. This gave rise to the formation of armed groups that banded together for self-defense as well as for attacking and pillaging. As civil society progressed, these small bands grew into formal armies who served local warlords, regional leaders, and ultimately the emperor. With the evolution of civil society, armed conflicts became more common and weapons intended strictly for war were developed. Swords, both singleand double-edged, were designed specifically as weapons of war. Halberds evolved out of simple axes, and the primitive hunting bow matured into a sophisticated long-distance weapon. The basic training of soldiers would certainly have included practice in the use of swords, spears, bows, and halberds. Hand-to-hand combat would also have been included in a soldier’s

training, but only as an adjunct to weapons training. The training of emptyhand fighting would have been secondary to weapons training. Martial engagements would have been fought first with bows, then with halberds, and subsequently with short-range weapons such as swords. Hand-to-hand fighting would only occur in close quarters, and even then only if a soldier somehow lost the use of his sword or saber. When most of us think of Chinese martial arts, we don’t immediately think of armed soldiers involved in large-scale military engagements. Rather, we visualize some form of solo martial art, such as Shaolin or White Crane style kung fu, or taijiquan, bagua zhang, or xinyi quan. We typically identify these empty-hand fighting systems as “traditional Chinese martial arts.” It is important to understand that the weapons forms practiced in these traditional Chinese martial arts have their origins in the art and science of warfare. Weapons such as the bow, the halberd, the spear, the sword, and the saber all have practical application for the purpose of cutting, stabbing, shooting, or bludgeoning one or more opponents while engaged in group combat. If we exclude from this discussion the bow and throwing weapons, then we can focus on the weapons most commonly practiced in traditional Chinese martial arts. These weapons may be classified according to their length as follows: short weapons, such as sticks, knives, fans, hammers, edged rings, and scythes; medium-length weapons, such as swords, sabers, canes, and short staffs; and long weapons, such as spears, halberds, staffs, and long poles. Most traditional Chinese martial arts systems will include training in a variety of weapons from each of these three categories.

The Weapons of Taijiquan As has been stated elsewhere in this book, the developers of the original family styles of taijiquan were serious martial artists and/or skilled military men. At some point in their lives, Chen Wangting, Yang Lu-chan, Sun Lutang, and Chuan Yu (father of Wu Chian-chuan) each were commissioned to serve as military officers or worked as professional bodyguards for wealthy merchants. In the era in which these individuals lived, weapons such as spears, straight swords, and sabers were the stock-in-trade for these two professions. In particular, the straight sword, or jian, the saber, or dao, and the spear, or qiang, were the principle weapons employed by military officers

and professional bodyguards. There are many stories recounting the skills of these and other members of the founding taijiquan families. Chen Wangting was a military officer who served the emperor during the Ming dynasty. In addition to empty-hand forms, Chen Wangting developed training methods for the spear, the saber, the sword, the halberd, and the long-pole. Yang Lu-chan also was renowned for skill with the spear. It is said that he could pick up light objects using his spear to adhere to the object and then toss it up into his hand.216 Another story claims that he once used his spear to tear down the wall of a house that was on fire in order to stop the fire from spreading. Not much is known about Yang Lu-chan’s sword skill, but his grandson, Yang Cheng-fu was wellknown as a skilled swordsman. In particular, he was known for his use Sticking/Adhering energy (chan nien jin) in sword fighting.217 Chuan Yu, the originator of the Wu (Chian-chuan) style of taijiquan, was a Manchurian military officer who was directly responsible for protecting members of the imperial family. It is reported that he was a master at shooting the bow while galloping on horseback.218 Sun Lutang was proficient in both the straight sword and the spear and wrote treatises on each of these weapons. Like Chuan Yu, he was also an excellent horseman and could throw small round projectiles with deadly accuracy as he rode bareback on a galloping horse. The primary weapons taught in most taijiquan systems include the straight sword, the saber, and the spear. Some systems also include the use of other items from daily life, such as the fan, the flute, and the cane, which can double as weapons if the need arises. The halberd, or kwan dao, is also taught in the Chen style system. Additionally, all of the original systems included training in the long pole. However, this training continues today only in the Chen and Wu family styles. The material presented in this chapter will focus on the principles and applications of the straight sword. The following chapter will present the principles and applications of the saber. Individuals who are interested in training in other taiji weapons, such as the cane, the spear, or the halberd, are encouraged to seek out knowledgeable teachers who have mastered these weapons. Of all the weapons that were used by martial artists in the past, the jian enjoys the greatest popularity among modern practitioners of taijiquan. This

is likely due to the elegance and beauty of the taiji jian forms that have survived in the various family styles of taijiquan. The taiji jian permits the practitioner to express the martial spirit of taijiquan and to feel some connection to the past generations of taijiquan masters who literally “lived by the sword.” Because of the leaps and jumps, the vigorous thrusts and parries, and the combination of both high, one-legged postures and low, squatting postures, practicing the taiji jian also conveys greater health benefits than simply practicing the empty-hand form. When discussing the art of the taiji jian, it is important to acknowledge the influence of Taoism in general and the Taoist masters of Wudang Mountain in particular. The Taoist martial arts tradition is somewhat different from the taijiquan martial arts tradition. However, it is clear that the original taijiquan masters, such as Chen Wangting and Yang Lu-chan, were aware of and were influenced by Taoist philosophy and Taoist practices. It is quite likely that these influences also included the sword techniques practiced by the Taoist monks who lived on Wudang Mountain. What is certain is that the taiji jian forms practiced today incorporate some of the movements and techniques that were derived from the Taoist Wudang sword forms. There is some specific evidence to support this, such as the statement by Chen Wei-ming, included in the Preface to his book, Taiji Sword and Other Writings, in which he described an encounter with the famous General Li Jing-lin, who was a renowned Wudang sword master. He recouned a story in which he met General Li, who provided him with a demonstration of the taiji jian. Chen Wei-ming wrote that General Li’s swordsmanship was similar to that of Yang Cheng-fu in that he practiced the Listening energy (ting jin) of taijiquan. He noted, however, that General Li’s sword was not constantly in contact with that of his partner and that at times he would separate his sword from that of his partner. Chen commented that this was actually the Wudang Mountain style of jian. Chen concluded that, with what he learned from Yang Cheng-fu and additionally from General Li, he had a more thorough and complete knowledge of the essence and the use of taiji jian.219 For those taijiquan practitioners who are familiar with the principles and applications of the taiji jian, the above excerpt is revealing. Elsewhere in his book, Chen Wei-ming referred to Yang Cheng-fu’s sticking skill when using

the sword. Yang Cheng-fu’s disciple, Cheng Man-ch’ing, was also renowned for his sticking skill when sword sparring with his students. In this way, taiji jian sparring is similar to taijiquan tuishou (pushing hands) in that the practitioner connects the flat side of the jian to the blade (either cutting edge or flat side) of the partner’s jian in order to “listen to” the partner’s sword. This, in turn, enables the practitioner to “hear” the partner’s intention. Moreover, by extending the qi into the blade of the jian, the practitioner can stick and adhere to the partner’s blade so as to control the partner’s jian, rendering his attempts at either attacking or defending ineffective. The sword fighting techniques employed by the practitioners of Wudang Mountain, on the other hand, do not rely primarily upon connecting with the opponent’s sword in order to listen to and understand the opponent’s intentions. “Listening” is accomplished through the eyes and the ability to sense the opponent’s intentions through the subtle movements of his body and his sword. Because the practitioner’s sword is not connected to the opponent’s sword, the movements in Wudang sword are typically larger, faster, and more nimble than the movements found in the empty-hand forms of taijiquan. Many of the movements of the Wudang sword have become incorporated into the extant taiji sword forms; thus, those forms are also much larger, swifter, and more agile than the empty-hand forms. In his description of the art of taiji jian, which is included in his preface to Chen Wei-ming’s book, Hu Yunyu wrote that, when the sword goes straight, nothing stands before it; when raised, nothing lies above it; when pressed down, nothing lies below it.220 Hu’s poetic description of the use of the taiji jian is reminiscent of the statement in the Taijiquan Classics, in which it is written: “If the opponent raises up I am taller; if he sinks down, then I am lower; advancing, the distance seems incredibly longer; retreating, the distance seems inescapably short.”221 From these two descriptions, one describing the art of the taiji jian and one describing the art of taijiquan, we can see clearly the parallel between the two art forms. As a practitioner of the taiji jian, one must continually seek to incorporate the principles of taijiquan into the art of the sword.

The Jian and Its Component Parts The straight sword, or jian, is the most commonly trained weapon in

taijiquan. Technically, when referring to the jian or any other weapon, one should use the term “taiji” “rather taijiquan,” as the “quan” in “taijiquan” refers to the “fist,” or “empty hand.” When the jian is practiced as part of one’s taiji practice, it is referred to as the taiji jian and not the taijiquan jian. The jian is a medium-range weapon and was traditionally reserved for the use of officers and imperial officials. It is sometimes referred to as “the scholar’s weapon.” The jian may be employed for both stabbing and cutting in offense and for both blocking and deflecting in defense. To use the jian effectively, the practitioner needs to combine deftness, agility, cleverness, and great sensitivity. Originally, straight swords were short and heavy and were used primarily for cutting and hacking and only secondarily for stabbing. However, as the blades became more refined and lighter in weight, the lengths of the blades increased, enabling the wielder to attack with the point of the blade of the jian, which was longer than the curved blades of broadswords and sabers. These shorter, curved single-edged blades are collectively referred to as dao in Chinese martial arts. By reducing the thickness and width of the blade, as well as by using lighter metal allows, sword smiths were able to increase the overall length of doubleedged straight swords relative to shorter, thicker, and heavier single-edged swords. As stated in the previous paragraph, the increased length of the jian provided an advantage over the shorter curved dao, allowing the swordsman to stand out of range of the dao wielder’s slashing attack while still enabling him to stab with the point of his jian. However, this advantage came with a price. The jian sacrificed strength in favor or length. This meant that, edgeto-edge, a dao was likely to overpower a jian and even cause it to break. For this reason, the techniques for employing the jian differed from those employed in using the dao. The dao was (and still is) a much less sophisticated weapon. It is essentially a slashing weapon and relies upon strength and a straight line of attack for its effectiveness. In order to fight effectively against an individual wielding a dao, the swordsman who holds a jian must avoid any direct edge-to-edge contact between the swords. In essence, he must not attempt to meet force with force. Rather, a swordsman employing a jian needs to evade the slashing attacks of the dao through agility and cunning. Any contact between the two types of swords must be limited to the flat edge of the jian connecting the flat edge of the dao.

Chen Zhenglei quotes a traditional saying from the Chinese martial tradition: Practice the saber (dao) like a powerful tiger; practice the sword (jian) like a floating dragon. In this way, the individual movements of the sword must be connected like flowing water.222 Ideally, the swordsman who fights with a jian uses feints to entice the swordsman wielding a dao to initiate an attack. The jian swordsman then evades the dao’s slashing attack and subsequently lunges in with a rapid, stabbing attack. In cases where the jian swordsman must connect with the opponent’s dao, he uses the flat side of his jian to connect with the flat side of the dao and then deftly deflects the angle and direction of the blade’s slashing attack. This approach is in keeping with the taijiquan principles of “leading into emptiness,” “using softness to overcome hardness,” and “repelling a force of a thousand pounds with a corresponding force of four ounces.” When two individuals are both engaged in swordplay involving the use of the jian, the same principles apply. However, since both swordsmen wield weapons of equal length, the techniques and strategies become even more refined. Because the thickness and width of the two blades are more closely matched, some edge-to-edge contact may be permitted. Too much edge-toedge contact will damage the finely sharpened edge of the blade, however, so the main contact between two straight swords should still take place with the flat of the blades. Again, rather than employing force against force, the skilled swordsman will use the flat of his blade to deflect and redirect the angle of his opponent’s attack. In order to appreciate the proper use of the jian, it is important to understand the various elements that make up a jian. Figure 15-1 illustrates a typical jian. A jian consists of a double-edged blade (jiannti), a guard (hushou), a handle (jianba), and a pommel (jiantan). A tassel (jianpao) is often attached to the pommel, which is sometimes simply referred to as the “tassel holder.” Of course, when speaking of the straight sword, it is important to include the sword’s sheath, or scabbard (jianqiao).

Figure 15-1

The blade, or jianti, of a jian consists of three distinct sections, each with its own function. The forward section, which is the thinnest, sharpest and most flexible, is the qianren. This portion of the sword is used for cutting and stabbing. The qianren includes the sword tip, or jianfeng. The middle section, which is the longest section, is the zhongren. This section is used for blocking and deflecting. Recall that it is best to use the flat side of this section when engaged in defending. The section of the blade closest to the guard is the jiangen, or root of the jian. This portion of the sword is typically not sharpened and is used in conjunction with the guard as a last line of defense against an opponent’s attack. Ideally, an opponent’s blade would never reach the jiangen nor the hushou. However, should an opponent find an opening in your defenses, you must be able to employ your jian’s root and guard to capture his blade and render it harmless before it has a chance to touch your body. Learning to use the three sections of the jianti is an important part of any sword practitioner’s training. Modern straight swords come in three basic weights: combat steel, spring steel, and wushu steel. Combat steel swords are the heaviest and are meant to simulate the weight and heft of an actual jian that might have been used in combat in the era before the advent of gunpowder. Unless the blade of a combat steel jian is very finely forged, it is likely not to be flexible even at the tip. The blade most commonly used for taiji jian practice is made from spring steel. Spring steel blades have quite a bit of flexibility in the qianren, less flexibility in the zhongren, and almost no flexibility in the jiangen. Wushu steel blades are extremely flexible and can even be bent completely back upon themselves. These blades are not practical for actual jian training, and are used primarily for showy demonstrations in which the blade is made

to vibrate dramatically. They are also used in two-person sword training in which neither participant is likely to be injured from such a malleable blade. The overall length of the jian is determined primarily by the length of its blade. Ideally, the length of the jian should reach from the hand to the ear when the sword is held as shown in Figure 15-2. The balance of the jian is an important consideration. A sword that is too heavily weighted toward the front will make it difficult to maintain the tip in an upright position when executing the various postures. Unless a particular posture requires that the tip be pointed downward, there is a common admonition in taiji jian practice: “Don’t let your tip dip.” Ideally, the combined weight of the sword’s guard, grip, and pommel will serve to offset the weight of the blade itself. A wellbalanced jian will balance nicely on two outstretched fingers placed approximately three inches forward of the guard.

Figure 15-2

How to Hold the Jian When holding the jian, there are a variety of different grips that are employed, depending upon the purpose to which the sword is being used at that moment. The term “wojian” refers to any method for gripping the jian and defines the relationship between the sword and the hand holding the sword. It is essential to hold the jian correctly in order to execute the various sword techniques that will be presented later in this chapter. The following information refers to individuals who are right-handed. Individuals who normally hold the jian in their left hand will need to reverse the directions presented here. The most commonly used grip is similar to the grip used when shaking someone’s hand or when holding a tennis racket. The handle is held naturally in the hand with the thumb wrapped around the top and the fingers wrapping around the outside of the handle. See Figure 15-3a. Unlike a firm handshake or the determined grip that holds a tennis racket, however, the hand does not grip the sword firmly with all four fingers. Instead, the thumb and the middle two fingers of the hand contact the jianba firmly, with the remaining two fingers only loosely connected to the handle. In his book, The Major Methods of Wudang Sword, Huang Yuan-xiou identified to methods for holding the jian. The first method, which is more common, is si ba jian, which translates as “dead-grip sword.” In Wudang sword, the sword is held loosely, which is called huo ba jian, translated as “live-grip sword.” He explained that the livegrip enables the swordsman to manipulate the sword with an agility and dexterity that a swordsman who uses the dead-grip can never achieve.223 When held in this fashion, with the elbow dropped comfortably down by the lower ribs, the sword will have an upward inclination, as shown in Figure 153b. This is to the correct way to hold the jian. As stated previously, the sword holder should adhere to the dictum: “Don’t let your tip dip.” Except when intentionally thrusting downward with the sword or when cutting horizontally, you want the tip of the sword to point upward at all times.

Figure 15-3a

Figure 15-3b

Other grips are employed when turning the blade of the sword sideways for cutting. Figure 15-4a shows the grip in which the thumb of the hand is up, and Figure 15-4b shows the grip in which the thumb is pointing down. These two grips are often alternated as the sword is used to cut horizontally first across the left side of the body and then back across the right side of the body. See Figures 15-4c and 15-4d.

Figure 15-4a

Figure 15-4b

Figure 15-4c

Figure 15-4d

The sword may also be used to cut upward or to block an overhead strike. In the former case, the natural grip shown in Figure 15-3a may be reversed by rotating the wrist clockwise one hundred and eighty degrees such that the thumb is on the outside of the jianba and the fingers are on the inside. See Figure 15-5a. This will enable the sword to be lifted up in an upward cutting arc, as shown in figure 15-5b. The wrist can also be rotated one hundred and eighty degrees counter-clockwise as shown in Figure 15-5c. This grip is often used when holding the jian over the head either to thrust down onto an opponent or to block an opponent’s overhead attack. See Figure 15-5d.

Figure 15-5a

Figure 15-5b

Figure 15-5c

Figure 15-5d

When holding the sword in the right hand, the left hand is often used to support the grip by placing the first two fingers of the left hand against the inside of the right wrist, as shown in Figure 15-6a. The thumb of the left hand and the remaining two fingers of the left hand are curled under and joined beneath the hand. When the two fingers of the empty hand are held against the wrist of the hand holding the jianba, the empty hand is referred to as the “sword helper,” or jianfa. When the empty hand is held in the same shape but is not connected to the wrist of the hand holding the sword, as illustrated in Figure 15-6b, it is known as the “sword finger,” or jianjue. This hand position is also sometimes called the “secret sword hand” since it can be used as second, “hidden” weapon, as will be described in the following section.

Figure 15-6a

Figure 15-6b

The sword helper hand provides both physical and energetic support when either cutting or blocking. See Figures 15-7a through 15-7d below.

Figure 15-7a

Figure 15-7b

Figure 15-7c

Figure 15-7d

There are other sword holding positions, including several two-handed grips that may be utilized when pressing or thrusting forward forcibly against an opponent’s weapon, either in defense or for attacking. See Figures 15-8a and 15-8b. The two-handed grip is employed during various postures in the Chen style taiji jian practice, such as The Black Dragon Whips Its Tail.

Figure 15-8a

Figure 15-8b

Two other grips should also be mentioned. The first is the resting grip, in which the sword is actually held pointing upward in a “port arms” position. In this resting grip, the sword is held in the left hand and rests against the outside of the left arm, as shown in Figure 15-9a. The second grip is similar to the first, but the sword is held in a reversed positon, or fanwo, with the sword resting against the inside of the left arm, as illustrated in Figure 15-9b. In the taiji jian tradition the practitioner always begins by holding the jian in the left hand.224

Figure 15-9a

Figure 15-9b

The Principles of Taiji Jian Practice The principles of taijiquan apply whether performing the empty-hand form or practicing the taiji jian. In particular, the fundamental principles outlined by Yang Cheng-fu that relate to the structure of the body should be attended to. These include the following, among others: “An intangible and lively energy lifts the crown of the head.” “Contain chest and raise the back.” “Relax the waist.” “Sink the shoulders and drop the elbows.” One should also follow the guidance provide by Chen Zhenglei in which he counsels the practitioner to pay attention to physical coordination as a whole. In particular, the hand, eye, body, and footwork should all be coordinated. It is essential that the qi, shen and jin should all be coordinated.225 In the sword form of the Chen style in particular, the alternation between hard and soft (gang and rou) come into play, as gentle, sweeping movements of the sword are interrupted by swift, fierce attacks that result in the practitioner’s fa jing being expressed in the sudden shaking of the sword, which vibrates all the way out to the tip. This sword style employs nimble and solid footwork, the interchange of soft and hard, and slow moves interspersed with fast ones. Real attacks are hidden in fake moves and fake moves transform into real attacks. In addition, it is important to recognize that the power delivered to the sword when striking, cutting, thrusting, stabbing, deflecting, or blocking must all come from the legs and the waist and not from the shoulders. In particular, the turning of the waist and the torso are especially important when cutting from side to side. The movements of the individual wielding the sword and the sword itself must become one movement, such that the power delivered to the sword is a direct result of the power generated by the sinuous and circular movement of the body. Zhang Yun wrote that, when practicing taiji jian, the movements of the waist should be larger than they are in when practicing the empty-handed form. Therefore, practicing the jian provides an especially good opportunity to increase your awareness of the movements of your waist.226 When handling the taiji jian, it is important that the sword be treated as an extension of the arm and the hand that is holding the sword. Just as it is true in pushing hands that “the hand is not a hand, the body is a hand,” it can equally be said that “the sword is not a sword; the body is the sword.” In this

analogy, the arm that holds the sword must be treated as an extension of the torso, which in turn is connected to the waist, the legs, and the feet. One does not cut, thrust, slice, stab, block, or parry with the sword, but rather with the arm that holds the sword. Moreover, the arm that holds the sword does not move independently of the body. When cutting, the movement begins with the feet, is powered by the legs, controlled by the waist, directed into the arm, and expressed in the motion of the sword. The same is true for all the movements of the sword. This is the key to using the jian correctly according to taijiquan principles. Regarding the union of the body with the sword, the famous General Li Jinglin wrote that the essence of practicing the sword lies in moving the body like a swimming dragon. He stated that, after practicing for a long time, the practitioner’s body fuses with the sword, and the sword then fuses with the practitioner’s shen.227 In order for the waist and legs to effectively transfer power into the sword, the entire body must be correctly aligned. In particular, the line from the baihui point on the top of the head must be aligned with the huiyin point between the legs. This is in accordance with the principle of zhong ding, or Central Equilibrium. When standing upright, this will allow the torso to function as a vertical axis, thus enabling waist to transfer maximum power into the extended arm and sword to cut horizontally from side to side. You will also derive the greatest height when lifting the sword overhead if the torso is vertically aligned. When practicing taiji jian forms, there are postures in which the torso is inclined forward, such as in thrusting downward to stab or to block. Even in these inclined postures, it is important to maintain the linear alignment between the baihui and the huiyin. This will allow for the most direct transfer of power into the tip of the blade when thrusting and will provide the greatest stability when blocking. There is a principle of taijiquan pushing hands that states: “Don’t apply more than four ounces of pressure against an opponent’s body, and don’t allow more than four ounces of pressure to build up on your body.” This is a corollary of the fundamental principal of taijiquan which instructs the practitioner: “Use four ounces of force to repel a thousand pounds.” These two principles may be adapted to sword fighting as follows: “Don’t apply

more than four ounces of pressure on the opponent’s blade, and don’t allow more than four ounces of pressure to build up on your own blade.” Recall that, in taiji jian practice, it is permissible and often desirable to connect the two blades when sparring. This allows you to listen to your opponent’s blade and also to control it. However, if you apply too much pressure against the opponent’s blade, he will be able to borrow that pressure and use it either to deflect your sword and to circle in to cut you or simply to follow the line of rigidity of your sword in order to strike at your wrist. On the other hand, if your opponent begins to build up pressure on your blade, he may be able to cause your blade to be collapsed inward against your body, which will diminish the effectiveness of your defense. As you feel pressure building up on your blade, you must move your body (and hence your sword) in such a way that your opponent’s blade is drawn into emptiness. Having redirected your opponent’s attempt to penetrate your defense, you will be free to attack him where he has become open. In his book, The Art of Chinese Swordsmanship – A Manual of Taiji Jian, Zhang Yun outlines what he refers to as “Techniques of Taiji Jian.” These “techniques” are actually qualities that should be maintained whether practicing the taiji jian forms or engaging in sparring. These qualities are: relaxation, smoothness of movement, nimbleness of movement, stability, emptiness, and integration.228 These are also qualities that should be expressed whenever practicing the empty-hand forms or playing pushing hands. However, as the taiji jian is an extension of the body, the forms and applications are much bigger than the empty-hand forms and applications. An error or fault that may imperceptible in an empty-hand form is likely to become apparent when it occurs while handling the sword. For this reason, one must pay particular attention to the development and expression of these qualities when practicing with the taiji jian. The six qualities listed above are all crucial for the proper performance of both taijiquan and the application of the taiji jian. When practicing with the jian, the quality of nimbleness is especially important. This is because stepping, jumping, standing on one leg, and squatting down are all performed on a larger scale and are often executed relatively quickly compared to the empty-hand forms. Indeed, lively and active stepping is a characteristic of taiji jian (and even more so in the Wudang Mountain style of jian). This

makes sense, as the consequences of stepping too slowly or taking steps that are not long enough are severe (i.e. one may be cut or stabbed if one is not able to elude or evade the opponent’s attack.) The movements of the sword are also much bigger than the movements in the empty hand forms, so nimbleness and agility are required in the handling of the sword as well as in the feet.

Preliminary Taiji Jian Exercises One of the objectives when practicing the taiji jian is to extend the qi into the blade. Ideally, the qi should reach all the way to the tip, or jianfeng. This requires a high level of qi development and should only be attempted by individuals who have mastered the ability to circulate the qi into the palms and the fingers during empty-hand form practice. For this reason, taiji jian practice is normally only introduced to students after they have practiced the empty-hand form and zhan zhuang for several years. In addition to directing the qi into the blade, the sword practitioner must also send a comparable flow of qi into the extended two fingers of the sword hand, or jianjue. In actual combat, a skilled taiji jian practitioner is able to attack not only with the jian but also to injure the opponent by penetrating his acupoints with the fingers of his jianjue. According to tradition, the sword finger can be used to attack the opponent at key acupuncture points.229 Standing in zhan zhuang while holding the jian: Developing the ability to extend your qi into the blade of the jian takes time and effort. There is a standing practice that you can use to help develop the ability to direct your qi into the blade of the jian. As you will see, this practice has been adapted from the practice of zhan zhuang. This practice not only enables you to extend your qi into the metal of the sword, but will also assist you in directing your qi into the two extended fingers of the sword hand as well. To undertake this practice, stand in a shoulder-width parallel stance and hold your jian in your right (or your dominant) hand. Extend your jian outward, downward, and pointed in toward the center as shown in Figure 15-10. Extend your left, sword finger hand downward, outward and pointed inward on the opposite side of your body. Draw an imaginary line from the two extended fingers of your sword finger hand to meet at the vertex of a similar imaginary line drawn from the tip of the jian. Imagine extending you qi down

both arms, into the hands, and down the imaginary lines of flux that you have drawn with your mind.

Figure 15-10

In order for the qi to flow down your arms and into your hands, you must observe the principles outlined in the previous section of this chapter. In particular, you must be relaxed (song) in the shoulders and arms with the elbows dropped and the arms somewhat rounded. You will need to sink into your hips and absorb the weight of the body into your legs and feet. Try to open your two yongquan (Bubbling Well) points so that the qi of earth surges up from the ground and enters your body. Direct this qi to flow up from the ground to reach the shoulders and then down the arms, through the hands, and outward. The qi of the right hand will flow into the metal of the blade, and the qi in the two extended fingers of the left hand will extend out into space along the flux line described above. It is important to recognize that the steel of the jian’s blade (jianti) extends up into the handle (jianba) via the tang. So, whenever you grip the sword handle, you are actually holding a piece of the steel that extends out into the blade. Be careful not to grip the jianba too tightly, or this will prevent the qi from leaving your hand and entering the tang. When holding the jian in the position indicated in Figure 15-10, you must visualize sending your qi through the wood (or other material) of the jianba and penetrating into the steel of the tang. From there, you can use your imagination to direct your qi down the metal of the blade all the way to the tip (jianfeng). At first, the only thing you are likely to feel is the additional weight of the sword. For this reason, it is best to limit your early standing sessions to just a few minutes. At all costs, you must resist the temptation to engage the muscles of your shoulders and arms in order to hold the sword in the proper position. Rely solely upon your qi, your imagination, and your will to keep the sword suspended in space as shown in Figure 15-10. When you are no longer able to hold up the sword without engaging in muscular tension, lower both arms gently and take a break. Eventually, you will find that the sword becomes lighter and lighter, and your qi becomes stronger and more palpable. At some point, you will begin to experience the electrical tingling in the hand holding the sword as your qi reaches the hand and penetrates into the steel of the tang. Over time, you will actually come to feel the strong current of qi as it passes into the tang and down the blade of the jian to reach the jianfeng. As you engage in this practice, don’t neglect the qi flow into the opposite arm

the two extended fingers of the sword hand. Proper handling of the jian requires that the qi flows equally into both the jian and the jianjue (the sword hand). Once you are able to send your qi into both the sword and the sword hand, you will be ready to learn the individual sword applications, as described in the following section. Working with the tassel: Although only briefly mentioned so far, the sword tassel can (and should) be an important component of the jian with regard to fighting applications. Many beginning taiji jian practitioners find the tassel to be a hassle. It seems to wrap around the wrist or the handle of the sword at the most inopportune times. This is only because the practitioner has not yet learned to move the handle of the sword in conjunction with the wrist such that the tassel follows along behind or below the handle, rather than becoming wound up around the handle. Although the temptation to remove the tassel when learning the jian is strong, this temptation should be resisted. This caution may run counter to your teacher’s advice. However, if you remove the tassel early on in your jian training, you will likely never master the correct technique for moving the wrist and the handle as a single unit. Later, when you re-attach the sword tassel, you will find that the problems that beset you at the beginning of your practice will return to frustrate you. It is better to learn from the beginning how to move the sword correctly so that the tassel follows the movement of the handle throughout the form. One concession you may make is to begin with a relatively short tassel. As you become comfortable working with a shorter tassel, you can advance to a longer tassel. T. T. Liang, who was one of Cheng Man-ch’ing’s senior students, was recognized as a taiji jian master in his own right. His specialty was the sword tassel. He used an especially long tassel, and the grace with which he drew beautiful arcs with his tassel when performing the taiji jian form was breath-taking to behold. The tassel is not just a pretty decoration, however. Once you master the tassel, you can use it offensively to distract and even directly strike the opponent. Defensively, the tassel can be used to wrap around your opponent’s wrist and so render his sword useless. Rather than viewing the tassel as an impediment to your sword practice, consider it instead to be your secret weapon. For this reason, you should spend time practicing basic sword

movements and focusing on moving the tassel in such a way that it follows the sword handle without becoming tangled up or wrapped around the handle or your wrist. The following are several basic exercises that will not only improve your overall taiji jian skill but will help you to learn how to move the sword without entangling the tassel. Cutting with the jian horizontally: The ability to cut horizontally from side to side is a basic skill in taiji jian practice. The two alternating grips used in horizontal cutting were described previously. See Figures 15-4a and 15-4b. Horizontal cutting can be performed either with or without the support of the sword helper hand, or jianfa. In this example, the jianfa will be employed to assist in executing the horizontal cutting strokes. To begin, stand in a left bow stance and hold the jian with the right thumb up and the sword helper hand on top of the right wrist. Turn your waist to the right and allow the sword to float out to the right side, as shown in Figure 1511a. Push out of your back heel (don’t let the heel come off the ground) and rotate your waist counter-clockwise. Use the power of the rear leg and the waist rotation to turn your torso to the left and draw the sword horizontally across your body from the right side all the way over to the left side of your body, as shown in Figure 15-11b. Pay attention to the tip of the sword, and don’t allow it to drop down below the level of your right wrist (i.e. “Don’t let your tip dip.”) Once you have cut horizontally from right to left, rotate your right wrist one hundred and eighty degrees counter-clockwise so that the thumb of the right hand is under the handle of the sword. Slide your sword helper hand on top of your right wrist. See Figure 15-11c. Now, push off the ball of your front foot and rotate your waist clockwise. Use the power of the front leg and the waist turn to rotate your torso and cut horizontally across your body from left to right. See Figure 15-11d. Repeat the sequence for a minimum of twenty cuts (ten to the left and ten to the right). As you make your horizontal cuts from side to side, you should monitor the path of the sword tassel. Ideally, the tassel will continue to hang downward and will sway smoothly from side to side as you move the handle from one side of your body to the other. If the tassel begins to swing upward on either side, then your movements are too fast and/or jerky. Let the tassel be your guide when cutting horizontally. When the tassel flows in a continuous

curvilinear path while continuing to hang downward, you will know that you are making your horizontal cuts correctly.

Figure 15-11a

Figure 15-11b

Figure 15-11c

Figure 15-11d

Rotating the jian vertically: Another important skill in taiji jian is the ability to turn the jian vertically through space. This vertical rotation may be accomplished in either the forward or the backward direction. During the vertical rotation, the blade of the jian completes a full three hundred and sixty degree circle. This practice is also referred to as “spinning the sword.” The ability to rotate the blade vertically in either the forward or the backward direction is used in both cutting downward and upward and also in blocking and deflecting. In order to spin the sword freely, you must maintain a loose but firm grip on the handle of the jian. To spin the jian forward, stand in a left bow stance. Hold the jian in the right hand, using the grip shown in Figure 15-3a. Now cover the top of the wrist with the sword helper. Your jian should point upward and forward at approximately forty-five degrees of elevation. See Figure 15-12a. When you are ready the spin the jian forward, drop your right wrist and elbow down slightly to impart downward momentum to the jian. Allow the jian to drop downward until the tip is pointing diagonally forward and downward. See Figure 15-12b. Then, with a flick of your right wrist, guide the blade around to the back and then upward until the tip is pointing horizontally behind you. This position is depitcted in Figure 15-12c. Finally, give another flick of your right wrist to bring the blade of the sword back to its original starting position, as shown in Figure 15-12d. This constitutes one vertical circle. During the entire forward rotation, your sword helper hand should remain attached to the top of your right wrist. Also, be aware of the backward and upward path of the blade. Don’t allow the blade to drift away to the side of your body. Ideally, you should feel the side of the blade brush against your right shoulder as the blade swings behind and then back up and around.

Figure 15-12a

Figure 15-12b

Figure 15-12c

Figure 15-12d

The reverse spinning of the jian is accomplished in a similar manner. Again, stand in a left bow stance and hold the jian in the same grip as for spinning the sword forward. Point the tip of the blade forward and upward at a fortyfive degree angle as in the preceding exercise. Give a slight upward pull with your right wrist and elbow to impart an upward momentum to the jian. Allow the blade of the jian to continue upward until the tip points straight up. Then, loosen your grip just slightly and permit the blade to fall backward behind you. When the jian is pointing horizontally straight back, turn your wrist over quickly and bring the sword down and forward until it returns to its starting position. When spinning the sword either forward or backward, you again must pay attention to the sword tassel. If your wrist action is smooth and fluid and if you impart sufficient momentum to the sword at the beginning of the rotation, then the tassel will swing upward and then around between your right hand and the right side of your body. If your tassel becomes entangled or wrapped around your right hand, then you will need to continue to work on refining the action of your right wrist. Don’t become discouraged if your tassel doesn’t seem to cooperate at first. More importantly, don’t remove the tassel! As stated previously, the tassel is an important learning aid. If you can’t spin the sword without fouling the tassel, then that means you’re not ready to advance to the next training exercise. Just keep at it and learn from your mistakes until you can spin the sword vertically in either the forward or the backward direction while the tassel follows obediently behind like a well-trained heeler. Painting flowers with the jian: One training method that has been used by beginning jian practitioners for centuries is the technique of “painting flowers” with the tip of the jian. Essentially, this training technique involves extending the jian in front of the body and using the movement of the elbow and wrist in order to “paint” various shapes in space by visualizing the tip of the jian as a calligraphy brush. There are many different shapes that can be painted. Each shape is considered to be a “flower.” The simplest shape, or flower, that one can paint is a circle. It is best to begin with a larger circle and then slowly make the circumference of the circle smaller and smaller. You can use any stance and grip, but the right bow stance works well with a flat sword grip (i.e. the flat side of the blade

horizontal to the ground with the fingers curled under and the thumb up. See Figure 15-5b). Extend the jian out in front of your body and use your elbow and wrist to “stir” the jian in a clockwise direction. Focus on the tip of the jian and try to draw smooth, round circles with the tip that are roughly eighteen inches in diameter. You may want to pick a spot on a wall in front of you that can serve as the center of the circle. To begin with, you may also want to support your grip hand (normally the right hand) with your sword helper hand. Be mindful of the sword tassel. When the sword tassel is moving smoothly like a pendulum, you can begin to reduce the circumference of the circles, drawing ever tighter circles until there is almost no movement in the tip of the jian. Once you can make smooth, round, and increasingly smaller circles in the clockwise direction, begin to reverse the direction outward in the counterclockwise direction. Increase the size of your counter-clockwise circles until you again are drawing circles that are roughly eighteen inches in diameter. After you have practiced sufficiently that you feel comfortable drawing circles, you can proceed to more complex shapes, such as spirals, figure eights, clover leaves, and even tracing the taiji symbol. As when painting simple circles, let your tassel be your guide. The tassel should hang down and swing like a pendulum in response to the movements of your elbow and wrist. As you draw increasingly complicated shapes in space, be sure not to let your tip dip. Focus on a point in space that is your target and draw shapes that are centered on that fixed target. In actual sword fighting, the target is frequently the opponent’s chest, but may be his wrist, arm, upper thigh, etc.

Taiji Jian Applications Just as there are thirteen “postures” or techniques in taijiquan, there are also thirteen basic techniques in taiji jian. These are ji (hit or strike), ci (thrust), gi (block), xi (clear/wash), chou (draw/pull), dai (deflect), ti (raise/cut upward), beng (explode/burst), pi (chop/split), jieh (intercept), jiao (stir), ya (press downward) and dian (point). Each of these techniques is applied to accomplish a specific objective either when practicing the jian solo form or when sparring with a partner. Note: different jian authorities identify the thirteen jian techniques in different orders and sometimes with different names. The reality is that there

are more than thirteen distinct jian techniques. Over the centuries, many sword techniques were created by different sword masters representing different Wudang and other schools of sword practice. For this reason, there is quite a bit of confusion in terminology when referring to different sword techniques. Often, the same basic technique has several different names. Occasionally, even techniques with the same name can be quite different from each other. In recognition of these variations, the above list was combined from various authoritative sources. It is important to realize that, due to the afore-mentioned authoritative differences, the following names and descriptions vary from source to source. An example of this is the technique of dai, which is variously described as “deflect,” “carry,” or “take along.” The definitions of the thirteen techniques presented below have been selected as representative of the complete arsenal of taiji jian techniques. In his commentary on Huang Yuan-xiou’s The Major Methods of Wudang Sword, Master Chang Wu Na stated that the thirteen techniques of the Wudang jian were culled from a list of thirty-four by General Li Jing-lin. He narrowed the list to thirteen in order to conform to the thirteen basic skills, or techniques, of taijiquan.230 If the practitioner is able to master the specific techniques presented in this chapter, then additional techniques, or modifications of these techniques, will present no great challenge. Ji: The technique of ji, or hit, is used to strike with the tip or the front edge of the sword. This technique may be applied by cutting upward, downward, or horizontally and is the most common technique employed in attacking with the jian. An example of ji is the Chen style jian posture of The Phoenix Spreads Its Wings, shown below in Figure 15-13a below. The application of this posture is presented in Figure 15-13b. Chen Zhenglei wrote that the application for this posture entails swinging the sword backward and up in order to attack the crotch or the throat with the tip of the sword.231

Figure 15-13a

Figure 15-13b

Ci: The technique of ci, or thrust, is used to thrust forward (or backward) with the tip of the sword in order to stab the opponent. An example of this occurs in the Wu style jian posture of White Snake Flicks Its Tongue, represented in Figure 15-14a, shown below. When thrusting with the sword, the most important aspect of the technique is that the tip of the jian should always move in a straight line. If the line of attack is not straight, the blade of the sword may bend or break. When executing ci, the shen must be focused, and the internal force must come from the back and the legs. An application of ci is presented in Figure 15-14b.

Figure 15-14a

Figure 15-14b

Gi: The technique of gi, or block, is used defensively to block an opponent’s weapon. This technique may be used against a variety of weapons, such as another jian, a dao, a staff, or a spear. Gi should always be executed with the flat side of the sword and never with the blade edge. Blocking with the edge of the blade runs the risk of damaging the cutting edge. When blocking, it is important not to resist the force of the opponent’s weapon. The most important aspect of this technique is that the sword stick to and follow the opponent’s weapon lightly without employing heavy force. Instead of using force to resist force, the proper application of gi is to guide the opponent’s weapon away from its original line of attack. Alternately, the practitioner can step to one side while blocking in order to evade the direction of the attack. An example of gi is the Chen style jian posture of The Golden Rooster Stands on One Leg. The solo posture is shown in Figure 15-15a, with an application of this technique presented in Figure 15-15b.

Figure 15-15a

Figure 15-15b

Xi: The technique of xi, or clear, is used clear away an opponent’s weapon. This technique is also referred to as “wash,” in that the jian is used to wash away to opponent’s weapon. The movement of the tip should create the impression that it has been plunged into a body of water and is being washed with a circular motion. The technique of xi is employed when circling the sword around the body, as in the Wu style jian posture of Dragonfly Skims the Water. See Figures 15-16a and 15-16b illustrate the solo posture and its application.

Figure 15-16a

Figure 15-16b

Chou: The technique of chou, or draw, is used to pull the cutting edge of the jian across an opponent’s arm, leg, or even their torso. This technique depends upon the sharpness of the blade, so that even the slightest contact between the edge of the blade and the opponent’s clothing or skin will be sufficient to cut him. The jian is first extended, and the cutting edge of the blade is placed onto the opponent’s arm, leg, torso, neck, etc. The blade of the jian is then drawn along the surface by pulling the jian back toward the practitioner’s center. In essence, the opponent receives a serious “paper cut” delivered by the jian’s sharpened blade. The internal force for chou comes from the body and should be released quickly. The touch of the sword must be so light that the opponent is unaware of being touched. The ensuing pull and cut must be made with speed and agility. Figure 15-17a illustrates the technique of chou in the Yang style jian posture of Detain and Come Forward, while Figure 15-17b illustrates how the horizontal cutting of chou may be implemented in combat.

Figure 15-17a

Figure 15-17b

Dai: The technique of dai, or deflect, is used defensively in order to redirect the opponent’s attack. This jian technique can be applied against another jian or any other type of weapon. When employed against another jian, the technique of dai is best applied by connecting the flat edge of the blade against the flat edge of the opponent’s blade, as shown in Figures 15-18a and 15-18b, which demonstrate the Yang style jian posture of Whirlwind Right. When deflecting, it is important that the angle is correct. Applying dai with the proper angle will make the technique more efficient and will reduce the amount of force needed to deflect the opponent’s weapon.

Figure 15-18a

Figure 15-18b

Ti: The technique of ti, or raise up/cut, is employed to cut upward with the leading edge of the jianti (blade of the jian). The internal force of ti comes from the arm and the body. Its effectiveness depends much more on its accuracy than its power. Normally, the upward cutting arc of the jian is executed with the grip shown in Figure 15-4a, in which the thumb is on top and the palm faces outward. However, the technique of ti can also be executed with the reverse grip, shown in Figure 15-19a. Chen Zhenglei wrote that the movement of the jian in Protecting the Knee is to circle the sword on the side of the body. The practitioner should coordinate the circling of the sword with movement of the body. The jian should be first move upward and then downward in a curve.232

Figure 15-19a

Figure 15-19b

Beng: The technique of beng, or explode, is a quick movement executed by snapping the wrist up to raise the tip of the jian in order to cut the opponent. Dr. Yang Zwing-ming explains that the technique of beng should be quick and small but also powerful. Because the movement is small and sudden, the force should originate from the forearm and the wrist.233 The technique of beng can be seen in the transition from Blue Dragon Offers Its Claws to Phoenix Nods Its Head in the Sun style taiji jian form. This movement and its application are presented below in Figures 15-20a and 15-20b.

Figure 15-20a

Figure 15-20b

Pi: The technique of pi, or chop, employs the edge of the jian to chop down against the opponent’s exposed wrist, arm, torso, or leg. Because pi is intended to rend an opponent’s limbs or torso, the middle of the blade must be utilized, as it is thicker and heavier. Pi is used much as a butcher would chop a piece of meat. In order to be effective, the internal force must be delivered from the legs to the waist and then to the back and the arm. Because pi involves a large movement, its execution must be performed quickly and suddenly. An example of the application of pi is Turn and Chop with Sword from the Chen style taiji jian form, shown below in Figures 1521a and 15-21b. Regarding the application of this posture, Chen Zhenglei wrote that if an opponent attacks from behind, the practitioner must turn quickly in order to step forward and chop downward.234

Figure 15-21a

Figure 15-21b

Jieh: The technique of jieh, or intercept, is used to intercept an opponent’s weapon with the flat edge (jianren) of the jian. Normally, the application of jieh accompanies the act of shifting backward or dodging to one side in order to elude the opponent’s attack while simultaneously “leading him (or his weapon) into emptiness.” Jieh should never be used to block the cutting edge of an opponent’s weapon and is best applied with the flat edge of the jian against the flat edge of the opponent’s weapon, be it another jian, a dao, or a spear. The technique of jieh is a common and useful technique. Once the opponent has committed to an attack, you must evade the attack and then then intercept his weapon with the blade of the jian. An application of jieh can be seen in the Wu style posture of Tiger Crouches at the Front Door, illustrated below in Figures 15-22a and 15-22b.

Figure 15-22b

Figure 15-22b

Jiao: The technique of jiao, or stir, is employed to impart a spiraling energy against the opponent’s weapon. This technique may be used to dramatically spin the opponent’s jian out of his hand. This is a powerful technique that requires the integration of both external strength and internal energy. Ideally, when the jian touches the opponent’s weapon, stirring energy should cause him to drop his weapon.235 The technique of jiao is not expressly seen in most taiji jian forms, but its application can arise out of a number of form postures, such as the Yang style taiji jian posture of The Cat Catches the Rat, shown below in Figures 15-23a and 15-23b.

Figure 15-23a

Figure 15-23b

Ya: The technique of ya, or press downward, employs the flat side of the jian to press down upon the opponent’s weapon in order to control it. When applying ya, be sure to use the weight of the body and not just press downward with the arms and shoulders. The downward pressure should feel irresistible to the opponent, who should feel that his weapon has become immobilized. For this reason, you may want to employ a double-handed grip, such as those illustrated in Figures 15-24a and 15-24b. Dr. Yang explains that ya is not a very common technique. He cautions that the downward pressure should not be held for too long. Instead, the practitioner must change very quickly to another technique so that the continuity and flow of the movements is not impeded.236 This technique is employed in the Yang style taiji jian form prior to lifting the sword up in the posture of White Ape Presents Fruit. See Figures 15-24a and 15-24b.

Figure 15-24a

Figure 15-24b

Dian: As its name suggests, the technique of dian, or point, is very precise. The name of this technique is also sometimes translated as “dot,” as in the expression, “dot the ‘i’.” The dot over the letter ‘i’ is both small and precise in its location. Although the technique of dian may be applied in any sparring situation, it is most often employed to attack the wrist of the opponent’s sword hand. This can be accomplished by attacking from slight downward angle, or by attacking upward. An example of an upward attack aimed at the opponent’s wrist can be clearly seen in the photographs shown in Figures 1525a and 15-25b, in which the practitioner demonstrates the posture of Step Forward and Point at Attacker’s Wrist, which is included in the Wu style postural sequence of Turn Back While Pricking Lightly Up.

Figure 15-25a

Figure 15-25b

Two Person Jian Practice The techniques described in the preceding section represent the basic taiji jian skills that are employed in both the solo forms and also in sparring and actual fighting. As with empty-hand taijiquan applications, the best way to develop proficiency in the jian is to perform the taiji jian form(s) many thousands of times. However, at some point it is necessary to touch swords with a partner in order to attain a higher level of skill. As with the solo jian practice, there are several basic two-person drills that you can practice with a partner in order to develop sensitivity and responsiveness to another person’s sword. Having acquired some sensitivity to the touch of another sword, the next step is to learn to “read” another’s sword from a distance and to respond accordingly. The best way to train this skill is to practice a choreographed two-person set. Such two-person taiji jian sets are similar to the two-person empty hand taijiquan sets that are known as sanshou. Two-person taiji jian sets are relatively rare. One of the best examples is the two-person set performed by T. T. Liang, which he called the “sancai” (three powers) sword fencing set. Once the jian practitioner has spent some time (at least six months) developing sword sensitivity and correct timing through the practice of twoperson drills and a choreographed two-person taiji jian set, he or she may begin unstructured sword sparring, or fencing. Some teachers introduce sword sparring early on and employ wooden swords wrapped with foam padding. While this type of so-called “sparring” is entertaining, it is actually detrimental to the development of real jian sensitivity and responsiveness. It is better to be patient and practice the two-person drills and the two-person choreographed set with unprotected swords. The edges of most practice swords are dull enough that even the occasional contact with the skin is unlikely to result in an actual cut. The lightness and sensitivity provided by a steel jian simply cannot be reproduced with a heavy, bulky wooden “sparring” sword that has been wrapped in foam. Two-Person Jian Drill 1: There are a variety of two-person drills that have been developed for the purpose of training jian sensitivity and responsiveness. These drills are practiced with the flat part of the blades in constant contact. The simplest drill is practiced by two participants standing

in matched right bow stances with the swords connected initially as shown in Figure 15-26a. Note the position of the sword finger hand, which is extended backward to offset the forward extension of the jian. In this drill, one individual, Participant A, shifts her weight forward and extends her sword in order to execute the technique of pi in a downward and forward motion. Participant B responds with jieh, shifting his weight backward and pointing his sword upward in order to redirect A’s jian away from her initial line of attack. See Figure 15-26b. Participant B then shifts his weight forward while Participant A shifts backward. This is similar to the pushing hands drill known as “sawing the log,” in which the two players shift back and forth while interacting with their hands such that the distance between them remains the same, and the pushing and neutralizing forces in the hands and arms are perfectly balanced. In the case of the taiji jian drill, the two swords should maintain contact in the middle portion of the blade, and the flat sides of each jian should only slide back and forth a few inches as the two participants shift forward and backward.

Figure 15-26a

Figure 15-26b

Two-Person Jian Drill 2: In this drill, the participants will begin as before with the flat sides of their swords in contact at approximately the midpoint. This time, however, Participant A will step forward with her right foot as she advances with to execute pi. Participant A will then follow up with her left foot to maintain the correct distance between the feet. Participant B must match Participant A’s advance by first stepping back with his left foot and then drawing his right foot back as he executes jieh. Participant B then advances to execute pi as Participant A retreats and executes jieh. This drill begins to engage the sensitivity required to step forward and backward in response to another fencer’s movements. The following drill continues to develop stepping skill when working with the jian. Two-Person Jian Drill 3: Once you and your partner are comfortable stepping forward and backward with matched steps and connected swords, you can proceed to continuous stepping with the two swords attached. In this drill, one participant will advance continuously in a circular path while the other participant steps backward, matching her partner’s steps. In this exercise, neither participant will execute an attack or a defense with the jian. Rather, the objective of this drill is to develop the agility and sensitivity necessary to match another’s stepping. The jian is employed to sense the other fencer’s movements. To begin, the two participants face each other as shown in Figure 15-27a. The two swords are placed against each other as in the preceding two drills. Participant A initiates the drill be stepping out toward Participant B. As Participant A steps out, she applies a slight but perceptible pressure against the flat edge of Participant B’s jian. Participant B responds to Participant A’s advance, which he is able to sense through her jian, by stepping back obliquely, again to A’s right. Participant A then takes another step forward, adjusting the angle of her stepping to match the Participant B’s new position. As Participant A advances, she presses gently against Participant B’s jian, to which Participant B responds with another oblique step backward. See Figure 15-27b. It is important to alternate the steps, i.e. A should first advance with the right foot and then with the left foot, while B retreats first with the left foot and then with the right. The two participants continue circling each other until such time as Participant B chooses to reverse his role and switches over to advancing.

Participant A must sense that Participant B has switched from defense to offense, and must immediately assume the role of defender. This transition should occur smoothly and without a break in stride by either partner. This drill requires great sensitivity, especially on the part of the individual who switches over from defense to offense. In this case, Participant B should not attempt to switch to offense while Participant A is still stepping forward or pressing against his jian. Participant B needs to find that tiny gap in Participant A’s advance during which he can step in on Participant A without their two bodies moving forward at the same time or their two swords pressing at the same time. This drill may take both partners some time to master. Care must be taken, especially when making the transition from defense to offense, so that neither partner walks into the other’s jian.

Figure 15-27a

Figure 15-27b

Additional Two-Person Jian Drills: In addition to training pi and jieh, you and your partner can practice any of the other thirteen taiji jian techniques in matched, predetermined attack/response patterns. For example, one partner can execute chou (draw horizontally) while the other partner counters with xi (clear). Completing xi, the second partner executes chou while the first partner counters with xi. Another drill might involve Participant A attacking with ci (thrust) while Participant B responds with dai (deflect). With each of these paired techniques, it is best to begin in stationery positions until the techniques become familiar to each participant. Then, the two partners can proceed to single stepping forward and backward. Once both players become comfortable with the timing and stepping, they can advance to circling while practicing the techniques. Free Sparring: The highest level of two-person taiji jian practice is free sparring, or fencing. When practicing free sparring, it is not necessary to maintain the two swords in constant contact. Instead, the players may employ any of the thirteen techniques, such as ci or beng to attack each other. Defensively, players must respond to their partner’s attacks using appropriate taiji jian techniques, such as dai or gi. However, more important than the movements of the arm, wrist, and sword are the intricate stepping and turning of the torso that must accompany any attack or defensive maneuver. It does no good to execute dai with the arm, wrist, and jian if the torso is still exposed to the opponent. So, when executing dai in response to ci, you must step obliquely and turn your torso away from your opponent’s thrust in order to effectively deflect his jian and remove yourself from the angle of his attack. One way to prepare to engage in free sparring is to practice a choreographed two-person fencing set with a partner. Although few taijiquan instructors are qualified to provide instruction is two-person fencing, if you are dedicated and diligent, you can locate a video of a two-person fencing set. With sufficient patience and regular practice sessions, you and a partner should be able to master a short, two-person taiji jian fencing set in three to four months. The sheer joy and the sense of controlled freedom that comes from flowing together with another taiji jian player is difficult to express in words and must be experienced personally in order to be appreciated. In some sense, this is the highest expression of the martial art of taijiquan and can even transport the two players into the spiritual realm of the art.

Conclusion The study and mastery of the taiji jian requires a lifetime of dedicated practice. As with the empty-hand forms and tuishou (pushing hands) aspects of taijiquan, there are many principles and techniques that must be learned and practiced until they become completely integrated into your taiji jian practice. Many of these principles and techniques are unique to the taiji jian. However, the fundamental principles of taijiquan must also be incorporated into the practice of the taiji jian. Principles such as xu lin ding jin, “a light and lively energy elevates the head-top,” must be observed at all times when handling the taiji jian. In this way, the practice of the taiji jian will reinforce your taijiquan practice and vice-versa. In addition to learning the principles and techniques of the taiji jian, one needs to truly master the skill of “knowing the other.” Although this skill is important in taijiquan two-person activities such as pushing hands and free sparring, it is absolutely essential in the art of the taiji jian. If you misread your opponent when playing pushing hands or empty-hand sparring, the worst that can happen is that you may get pushed off or punched in the face. If you misjudge your opponent’s intention and fail to counter his attack during fencing, you might actually get cut or stabbed. For this reason, taiji jian free sparring requires a much higher level of skill and awareness, not only of yourself but also of your opponent. Perhaps the highest accomplishment in the civil aspect of the practice of the taiji jian is the cultivation and extension of the qi into the blade of the jian. This ability takes many years and even decades to develop fully. Taiji jian masters who are able to extend their qi into the blade of the jian are thereby able to use sticking energy for the purpose of attaching to and controlling their opponent’s blade, rendering it useless for either attack or defense. There is a tale of General Li Chin-lin, renowned as the best sword fighter in China at that time. General Li encountered an elderly gentleman who agreed to spar with him. Employing only a long-stemmed tobacco pipe, the old man attached the wooden stem of his pipe to the edge of General Li’s sword. No matter how much General Li tried, his attempts to free himself were to no avail. It is reported that the old man in this story was none other than Yang Pan-hou, one of the sons of Yang Lu-chan, the founder of the Yang family style of taijiquan.

The question naturally arises among beginning and intermediate taijiquan practitioners as to when, and even if, they should commence taiji jian practice. The answer to the “when” component of this question is that it depends upon the level of skill of the practitioner. However, normally one should not begin taiji jian practice until one has completed training in the traditional long form and has developed some facility with pushing hands. For most individuals, this will require several years or more of dedicated, regular practice. As to whether it is essential to practice the taiji jian (or any other weapon, for that matter) in order to develop a high level of taijiquan skill, the answer is that such practice is not essential, especially if one is mainly interested in practicing taijiquan for health. However, as has been explained in this chapter, practicing the taiji jian will definitely enhance one’s understanding and appreciation of the martial art of taijiquan. Because taiji jian forms are more athletic and physically demanding than empty-hand forms, taiji jian practice will also convey greater health benefits than simply practicing the empty-hand forms. Finally, because, at the highest level, the practice of the taiji jian requires the practitioner to extend his or her qi into the blade of the jian, adding taiji jian practice to your daily training routine will accelerate your qi cultivation and circulation, which is one of the principle goals of taijiquan.

Chapter Sixteen

The Principles and Practice of the Taiji Dao

The preceding chapter presented a brief history of the development of handheld weapons in the Chinese martial arts tradition. The principle weapons of Chinese martial arts, such as the straight sword, the curved sword, the spear, and the halberd, evolved from the primitive cutting and stabbing implements of early Chinese warfare to the sophisticated weaponry in use during the Ching dynasty. The development of these weapons parallels the advances in metallurgy from bronze to iron to steel and occurred over several millennia and across many dynasties, as documented by both historical records and archeological discoveries. Metallurgical advancements enabled swordsmiths and weapon makers to develop stronger, lighter weapons with increasingly sharper edges. As metals became stronger and lighter, the length of weapons also increased, providing their handlers with a marked advantage over armsbearers whose weapons were shorter and heavier. As explained in the previous chapter, traditional martial arts in China evolved out of the martial tradition of weapons training and usage. In modern martial arts training regimens, students begin training with empty-hand techniques and forms. Only after these students have demonstrated some proficiency with empty-hand techniques and forms are they provided instruction in weapons, such as the straight sword, the saber, and the spear. In his foreword to Zhang Yun’s The Complete Taiji Dao, Strider Clark wrote that it is important to understand that, in the martial tradition of China prior to the development of the gun, this process was reversed. Weapons skills were more important and were therefore taught and practiced intensively. An individual’s success depended upon proficiency with a variety of weapons because, without weapons skills one could be killed or seriously injured. Over time, the martial arts tradition in China evolved to include training in in empty-hand fighting. The empty-hand techniques borrowed heavily from the

techniques learned in weapons training, as soldiers were already familiar with such techniques.237 Within Chinese military history, four weapons assumed primacy. These were the straight sword (also referred to as the double-edged sword), or jian; the curved, single-edged sword, or dao, which, in the European martial tradition, is referred to as a saber or broadsword; the spear, or qiang; and the halberd, or kwan dao. As Chinese martial arts developed into specific systems, such as shaolin kung fu, white crane, and the internal martial arts of xingyi quan, bagua zhang, and taijiquan, these and other weapons were included within those systems. The major family styles of taijiquan all include training in the use of three weapons: taiji jian, taiji dao, and taiji qiang. The Chen style of taijiquan also includes training in the use of the kwan dao. In Chinese martial arts, the three weapons, jian, dao, and qiang are often categorized as follows: The jian is considered to be the scholar’s weapon, due to its subtlety and finesse in application. The dao is respected as the warrior’s weapon because of its directness and power. The qiang is held to be the king’s weapon, because it requires great agility and nimbleness in its application. Each weapon has its strengths and special requirements for proper usage. Over thousands of years, specific principles and techniques have been developed for training and fighting with each of these three weapons. It is important to recognize, however, that when these weapons are practiced as part of a taijiquan system, their principles and usage must conform to the basic principles of taijiquan. For this reason, in this book the straight sword is referred to as the “taiji jian;” the saber is referred to as the “taiji dao;” and the spear is referred to as the “taiji qiang.” When these weapons are discussed outside of the context of a family system of taiji, they are simply known as the “jian,” the” dao,” and the “qiang.” The preceding chapter addressed the subject of the taiji jian in some detail. This chapter will focus on the taiji dao. As with the treatment of the taiji jian presented in the previous chapter, this chapter will consider the taiji dao as an extension of the empty-hand art of taijiquan. It is important to understand that, although the taiji dao includes its own principles and techniques, these principles must, by definition, derive from and accord with the basic principles of taijiquan.

The History and Development of the Taiji Dao Just as the carbine became the preferred weapon of infantrymen throughout the many conflicts that arose in Europe during the 19th and 20th centuries, the dao was the preferred weapon of infantrymen in Chinese warfare prior to the advent of the widespread use of firearms. As Zhang Yun explained, straight swords were initially more prevalent than curved swords because of the relative ease of their manufacture. However, with improvements in materials and metal-working techniques, curved swords such as the traditional broadsword, and later the saber, became the standard military sword, supplanting the straight sword.238 This favored position was the result of the increased use of mounted soldiers and specifically the development of pommeled saddles and stirrups. A mounted soldier’s most effective method of attack is to ride through a throng of infantrymen while employing a curved saber to chop and slice at footsoldiers as he swivels from one side of his saddle to the other. Longer, straight swords are clumsier and less effective when used by mounted warriors. As cavalrymen began to adopt the curved shape of the dao, infantrymen followed suit. However, the curved swords adopted by the infantry differed in length, width, and thickness from those employed in the cavalry. The footsoldiers’ swords were typically shorter, wider, and thicker than the relatively longer, narrower, and thinner swords of their horse-mounted counterparts. This distinction can be seen in the swords of mounted cavalrymen and footsoldiers the world over. In Europe, prior to the advent of the long gun, cavalrymen employed longer, narrower, and thinner curved swords that were known as “sabers,” whereas foot-soldiers employed shorter, wider, and thicker curved swords which we typically distinguish be calling “broadswords.” The widespread adoption of the curved sword as the weapon of choice in Chinese armies was also due to the fact that the dao is a relatively simpler weapon to train and use. Just as the crossbow requires less training and skill to employ than the longbow, so the curved single-edged sword requires less training and skill to use effectively than a double-edged straight sword. Because it only required forging an edge on one side, shorter, curved swords

were also easier and cheaper to manufacture than straight swords, which were edged on both sides of the blade. For this reason, the two most widely-used weapons for the common soldier were the broadsword and the crossbow. The straight, double-edged sword, or jian, became an officer’s weapon. The design and style of an officer’s jian denoted his rank and status. In Chinese mythology, the god Tsang Her is the god directly associated with the dao. The name Tsang Her conveys the meaning “kills whatever it touches.” The association of the dao with the god Tsang Her is significant. The dao was and still is a formidable weapon. It use and purpose is to kill or dismember an opponent quickly and efficiently. In mass combat, it was not unusual for a skilled warrior to dispatch dozens of opponents within a single battle. Successful combatants lived to fight another day. Less skilled soldiers typically had a brief career that ended violently and often permanently. In addition to the dao and the crossbow, a third weapon arose as an infantry weapon due to the advent of cavalry as an element of organized Chinese warfare. This was the kwan dao (guan dao), the development of which is attributed to the famous General Kwan Yu (Guan Yu). The kwan dao is a long-handled dao with a fairly short blade. In European warfare, this weapon is known as the “halberd.” The kwan dao, or halberd, was employed by footsoldiers for the purpose of incapacitating mounted horsemen by chopping at the legs of their horses. These weapons were commonly referred to as “horse cutters.” Figure 16-1 shows an example of a modern kwan dao.

Figure 16-1

There are many different types of Chinese curved swords, or dao. In general, dao can be classified according to the length of the blade, the length of the handle, and the shape of the blade. In this chapter, the two types of dao that will be presented are the broadsword and the saber. Both of these swords have medium-length blades measuring between twenty-four and thirty inches and short handles measuring approximately six inches in length. The handles of these swords are curved rather than straight, in contrast with the handles of jian swords. Although the term “dao” is used to refer to both sabers and broadswords in Chinese martial arts, the distinction between the two types of curved swords is significant, especially with regard to the special curved swords employed in taijiquan systems. The taiji saber is a longer, narrower, and thinner curved sword than is the more common broadsword that is typically employed in other traditional Chinese martial arts. Additionally, the taiji saber has a ring pommel and is often sharpened on both sides of the sword head. The photos in Figures 16-2a and 16-2b illustrate a taiji saber and a traditional Chinese broadsword, respectively. The differences between these two weapons is clearly apparent in these two photos.

Figure 16-2a

Figure 16-2b

Both the saber and the broadsword illustrated above are considered to be yao dao. The Chinese word, yao, refers to the waist. As such, yao dao are swords that are meant to be carried by attaching the scabbard to a sash worn around the waist. The shapes of the blades of the saber and the broadsword became somewhat standardized by the advent of the Ching dynasty (the last dynasty in China). The saber depicted in Figure 16-2a above is sometimes referred to as a “willow leaf dao” because its blade resembles a willow leaf. (Note: author Zhang Yun states that the taiji dao, or saber, is distinct from the willow leaf dao. However, other authorities do consider the taiji dao to conform to this design.) The broadsword shown in Figure 16-2b is classified as an “oxtail dao” because of its wider head, reminiscent of the tuft of hair found at the end of an ox’s tail. In his introduction to the Wu style Thirteen Posture Taiji Dao set (taiji shisan dao), Zhang Yun presents an informative explanation of the origins of this set, which he states was initially practiced by both Yang and Wu stylists in the middle of the nineteenth century in Beijing. He attributes the creation of this set to either Yang Luchan or one of his sons or disciples. He adds that Wu Chiang-chuan, who studied with Yang Luchan before creating the Wu style of taijiquan based upon Yang’s teachings and those of his father, Quan Yu, is known to have taught this form. According to Zhang Yun, this form was derived apart from any extant Chen family broadsword forms at the time and is unique to the Yang (and later Wu) style of taijiquan. The taiji dao set that was practiced in the nineteenth century was based upon a set of thirteen postures. The names of these thirteen postures are:239 Seven Stars, Ride Tiger, and Hand over Dao Dodge and Focus, Jump and Move, Excite Mind and Qi Guard Left and Right, Opening and Extending Two Times White Crane Spreads Its Wings and Wuxing Palm Wind-swept Lotus Flower Hidden beneath Leaves Fair Lady Works the Shuttles Eight Times Three Stars Open and Close Freely and Naturally Double Kick and Strike Tiger Slant and Twist Body Sideways, Diagonal Block, and Mandarin Duck Kick 10. Push a Boat along with the Tide, Raise the Sword Like a Whip, and Use 1. 2. 3. 4. 5. 6. 7. 8. 9.

It Like a Punt-pole 11. Swim and Leap over the Dragon Gate 12. Assume a Low Position with Three Integrations and with Free and Natural Changes 13. Bian He Carries Jade Like a Phoenix Returning to Its Nest. These rather elegant and evocative posture names were interwoven into a thirteen stanza poem. Although the names of the thirteen postures are still utilized by practitioners of both the Yang and Wu styles, the actual postures themselves have apparently undergone substantial changes since the time when Fu Zhongwen and Yang Ban-hou practiced these sets. This is evidenced by photographic depictions of Fu Zhongwen in the book, Taiji Saber, written by Cai Longyun, and translated by Paul Brennan.240 There is also a taiji dao set practiced by adherents of the Guangping Yang style of taijiquan that is reportedly the same as the set practice by Yang Ban-hou. Both of these sets are substantially shorter in duration and more direct in their use of basic dao techniques. Regardless of the changes that have taken place during the past century, it is clear that practitioners of both the Yang and Wu styles of taiji dao developed a unique approach to the use of the dao that was based upon the principles of taijquan and which may also have incorporated skills borrowed from the Wudang school of swordsmanship. Because the Yang and Wu styles of taijiquan are less explosive than the Chen style of taijiquan, a unique sword design that expressed the subtleties of these styles was required. This led to the development of the taiji dao, or saber, which differs in a number of characteristics from what Zhang Yun refers to as “the common dao,” or “the common broadsword.” He explained that, by the end of the Ching dynasty, the most prevalent dao found in most martial arts schools were nu wei dao, or oxtail swords. Oxtail dao, or what we would label “ordinary broadswords,” have shorter blades and handles than taiji dao. Further, unlike many taiji dao, they do not typically have an upper edge. Due to the differences in the shape of a taiji dao compared to a regular dao, some sword techniques specific to the practice of taiji dao will vary depending on whether one is using a taiji saber or a standard broadsword.241 It is important to note that practitioners of Chen style taijiquan typically employ a “common broadsword” when performing the taiji dao set.

Depending upon the school, it is not uncommon to find practitioners of Yang and Wu styles employing broadswords as well in their taiji dao practice. Because the Sun style of taijiquan is derived in part from bagua zhang and xingyi quan, each of which have their own broadsword sets, the Sun style of taiji dao also uses a broadsword. Whether you choose to practice the taiji dao with a broadsword or a saber will depend partly upon your preference and partly upon the style of taijiquan that you practice. Of course, you should always defer to the preference of your teacher, especially if you are studying under a lineage holder of a traditional family style of taijiquan.

The Underlying Principles of the Taiji Dao As with the taiji jian, it is important to observe all the principles of the art of taijiquan when practicing the taiji dao. In his highly informative book, The Complete Taiji Dao: The Art of the Chinese Saber, Zhang Yun wrote that taijiquan and taiji dao skills are essentially the same, because, when used correctly, the dao becomes an extension of the practitioner’s body. He stated that, at the highest level, the correct practice of taiji dao requires that the practitioner adhere to the principles found in taijiquan.242 This is especially true when employing a broadsword, which is likely to be heavier and more unwieldy than a saber. Because taiji dao sets employ more angular diagonal cutting or downward chopping movements as well as upward blocking movements, there is a tendency upon the part of the practitioner to rely upon physical strength rather than proper body mechanics when executing the individual postures of these sets. When performing diagonal cutting, downward chopping, or upward blocking movements, the principle of maintaining central equilibrium, or zhong ding, along with the principle of suspending the head-top (xu lin ding jin), is of preeminent importance. Remember also the principle of the waist turning like a millwheel around its axis. The upright torso must serve as the central axis around which the torso, and therefore the dao, revolves. The power of the dao should be derived from the turning of the waist and not from the isolated actions of the shoulders and the arms. This requires the practitioner to sink the shoulders and drop the elbows and also to relax the waist. In order to employ internal power rather than external strength when using the dao, the practitioner must recall at all times the instruction provided in the

Taijiquan Treatise, attributed to Chang San-feng, which states that the motion should be rooted in the feet, released through the legs, controlled by the waist, and manifested through the fingers.243 It is also important to ensure that the upper and lower body function together, with the upper following the lower. If one is able to issue internal power, or jin, from the ground up, then there will be no need to rely upon external physical force, or li, in order to issue power into the blade of the dao. In order to practice the taiji dao correctly, you must adhere to the tenets of taijiquan throughout the form. These include the following, which were presented in Chapter Nine. Guard the mind and the qi together in the dantien. The mind moves the qi and the qi moves the body. Seek stillness in motion. Use consciousness, not strength. First in the mind and then in the body. The movements must be light, nimble, and threaded together. Distinguish between substantial and insubstantial. In addition to the general principles of taijiquan which must be applied when practicing taiji dao, there are principles specific to the dao which also must be considered. The dao is like a ferocious tiger: The primary function of the dao is for chopping. According to Zhang Yun, the handling of the dao demands a strong spirit and great courage. The swordsman must employ determination and valor in order advance quickly and with agility.244 When employing the dao in attacks, there can be no hesitation or temerity. Whether chopping downward, cutting diagonally, or thrusting forward, the movements must be straight, precise, and powered by the entire body. The practitioner must exhibit a fierce spirit of vitality in which the focus of the attack should be directed toward the leading edge of the dao. The eyes should shine brightly with intent. Distinguish between the substantial and the insubstantial: When employing the dao in combat, the swordsman must be able to determine which of the opponent’s moves represent real attacks and which are feints intended to deceive and mislead. To a large degree, this means that the

swordsman needs to have ample experience and great sensitivity to the movements of the opponent. One way to understand and recognize which attacks are real and which are feints is to practice these techniques oneself. When training in the dao, the practitioner must practice both actual attacks and feints. In offense, one should vigorously attack the opponent’s weak points and avoid attacking where he is strong. In the face of a strong defense, the swordsman should employ deception and misdirection in order to cause the opponent to drop his guard. In defense, one must recognize false attacks and not be misled by them. The skilled swordsman defends against substantial attacks by being insubstantial. Either through the turning of the body combined with nimble stepping or through connecting with the opponent’s weapon and deflecting his line of attack, the swordsman must avoid direct attacks and lead the opponent into emptiness. Once the opponent’s attack has been neutralized, the swordsman may attack at the point where the opponent has become insubstantial. Forsake the near to seek the far: Remember that the dao is a relatively short weapon, especially when used against a longer weapon, such as a spear, a staff, or a halberd. When fighting against longer weapons, there is a tendency to become fixated upon the tip of the opponent’s weapon. If one only defends against the spear’s point, for example, then there will be no chance of attacking the individual wielding the spear. Zhang Yun wrote that the primary challenge for anyone training with a short weapon is learning how to use it effectively against an opponent wielding a long weapon. In theory, the opponent with the long weapon should hold the advantage, because the fighter with the long weapon can always reach farther than the fighter armed with a short weapon.245 Therefore, in order to prevail against a long weapon when employing a broadsword or saber, the practitioner must rely upon a number of skills. First, and foremost, the practitioner must maintain a calm mind and not become distracted by the movements of the tip of the spear (or other long weapon). Instead, the practitioner must focus on the movements of the spear wielder’s hands and body. Employing deftness with the blade of the dao and nimble stepping, the practitioner must neutralize the spearhead while stepping in close enough to attack the spear holder’s hands and/or body. The swordsman must recognize the briefest of opportunities that arise when the

spear’s forward attack has been neutralized and the spear holder’s next attack has not yet been mobilized. This is the moment when a swift and sudden counter-attack will meet with success. When sparring with another swordsman who is using either a dao or a jian, the same basic principle applies. The primary targets should be the opponent’s wrists, arms, and legs. If the practitioner becomes preoccupied with the tip of the opponent’s weapon, then he will eventually be cut. The strategy of fighting blade against blade is to neutralize or redirect the opponent’s blade and attack the opponent’s body. Because the hands are closest, it is best to attack the opponent’s hands and wrists. If you are able to seriously injure the opponent’s sword hand, the contest will be effectively concluded, and you can proceed to deal with the next opponent. Remember that the principle goal of the dao is to dispatch each opponent as quickly and efficiently as possible. It is not necessary or even advisable to behead each opponent or cleave off entire limbs as long as the opponent is rendered incapable of further attack. Alternate soft and hard: The concept of rou (soft) and gang (hard) was introduced in Chapter Nine. As you may recall, the alternation of rou and gang is a key principle in Chen style taijiquan. In empty-hand practice, hard punches and kicks that express fa jin are interspersed among softer, gentler movements that incorporate silk-reeling, or chan ssu jin. This is because taijiquan utilizes both defense and offense. Indeed, a key characteristic of taijiquan is that defense contains offense and offense contains defense. This is in accordance with Taiji theory, which stipulates that within yang there is a small amount of yin, just as within yin there is the presence of a small amount of yang. When practicing the art of the taiji dao or when engaged in actual sparring against another swordsman or an opponent with a long weapon, it is imperative to employ both hard and soft techniques. The power and the momentum of the dao is generated by the alternation of soft and hard movements, such as the when the reversing movements of the dao in defense of an onslaught of a spear attack is suddenly transformed into a forward thrusting strike with the head of the dao. As Zhang Yun wrote, it is essential to learn how to combine hard and soft qualities and how to change hard to soft in order to control the rhythm of your movements. The ability to change

from soft to hard (rou to gang) will greatly improve your taiji dao skill.246 Suddenly appear and suddenly disappear: This principle follows directly upon the previous principle. You will note that in most taiji dao sets, offensive and defensive moves are interwoven into the form. If one simply uses the dao offensively, employing only cutting, chopping, and thrusting, the opponent will quickly sense the rhythm of your offense and will be able to penetrate the brief pauses between one attacking movement and the next. Further, if you only know how to attack with the dao, how will you be able to defend yourself against an equally aggressive opponent? The most skillful swordsmen know the secret of “suddenly appear and suddenly disappear.” They recognize that the best way to confuse and therefore to overcome an aggressive attacker is to suddenly disappear, causing the opponent’s blade to fall onto emptiness. At the moment when the opponent’s blade is empty, that is when the skilled swordsman will swiftly and decisively counterattack with devastating consequence. To suddenly disappear creates vulnerability by neutralizing the opponent’s attack. To suddenly appear takes advantage of that vulnerability by attacking before the opponent has a chance to marshal his next attack. Stick, adhere, connect, and follow: This is a four-character phrase (chan nien lian sui) that is found in the Taijiquan Classics and in much of the literature associated with the practice of taijiquan. As was explained in Chapter Eleven, each of these individual words in Chinese denotes a distinct type of defensive jin. Chan refers to a special type of sticking that includes an upward lifting energy. Nien means to adhere in such a fashion that the opponent feels that he cannot break the connection. Lian may be translated as “connect to” or “link to” in a manner that prevents the connection between two objects from being broken. Finally, sui means to follow so closely that the opponent cannot escape pursuit. Recall from Chapter Eleven that the concept of jin is best broadly defined as “skill” or “ability” rather than more narrowly as “internal force.” These four different but closely related defensive skills are critically important when employing the dao in sparring or in actual combat. These four jin are particularly relevant to the use of the dao in defense against long weapons, such as the spear. One must be able to stick, adhere, and connect to the shaft of the spear in such a manner as to divert the spearhead’s line of attack. Only

then can the swordsman follow the shaft downward toward the opponent’s hands, where a sudden counter-attack will be effective. The sword is an extension of the body: This statement is equally valid whether one is wielding a jian or a dao. In order for one to employ the dao as an extension of the body, the practitioner must exercise the Six Harmonies. The Six Harmonies include the Three Internal Harmonies and the Three External Harmonies. The Three Internal Harmonies are: the yi leads the qi; the qi leads the jin (internal strength); and the jin leads the li (external strength). The li is the outward expression of the movement of the body, which is linked together according to the Three External Harmonies: the ankles lead the wrists; the knees lead the elbows; and the hips lead the shoulders. In reference to the Six Harmonies, Zhang Yun wrote that the sword must become a natural extension of the practitioner’s arm, and the sword’s movements must become integrated with all the movements of the practitioner’s body.247 This is in keeping with the teaching of Yang Zhenduo, who instructed that the waist is the dominant factor in leading all the movements. The arms follow the body’s turning, and the saber follows the arm’s movement. The sword and the empty hand support each other: There is a tendency among beginning students of the sword arts to focus upon the sword and to neglect the empty hand. Such students believe that the entire array of offensive and defensive movements in the form are executed solely with the sword. As was explained in Chapter Fifteen, when wielding the jian, the empty hand can play a variety of supporting roles, both for counterbalancing the extended sword-bearing arm and also for engaging in actual attacks against an opponent’s acupoints using the two fingers of the secret sword hand. The supporting role of the empty hand is even more important when fighting with a dao. The empty hand may be used to counterbalance the momentum of the dao when cutting, chopping, or thrusting forward. Additionally, the empty hand may attach to the back of the sword to apply additional pressure to the dao when blocking or warding off. The empty hand may be employed to distract the opponent by feinting blows or grabs, or the empty hand may be used to actually attack or grab the opponent. Most significantly, the empty hand may be used to grab the shaft of the opponent’s weapon, thus rendering it

harmless. This approach is especially useful when fighting against an adversary wielding a spear. As Zhang Yun wrote, using the taiji dao properly is dependent upon your empty-hand skills, so taiji dao practice must focus on these skills as well as upon skills that are specific to the taiji dao.248

The Individual Components of the Dao In general, the components of a curved sword are similar to those of a straight sword. The dao includes a blade (daoti), a handle (daobing), and a scabbard (daoqiao). The blade consists of a head (daotou), a body (daoshen), and a root (daogen). The head of the blade includes the sword’s tip (daojian) and both the upper (shangren) and lower (qianren) edges. In some dao, both the shangren and the qianren are sharpened to provide both upward and downward cutting surfaces. The handle of the dao includes the guard (hushou), the grip (daoba), and the pommel (daohuan). The pommel of a taiji saber is normally a ring pommel, whereas the handle of a broadsword is typically blunt with a small ferrule through which a brightly colored scarf is often attached. The type, length, and weight of the sword you select for your taiji dao practice will depend upon several factors. Principal among these are your height, age, and general level of fitness, as well as the family style of taijiquan that you practice. The Chen and Sun style dao forms employ more chopping and blocking moves. As such, a traditional Chinese broadsword, such as the one depicted in Figure 16-1b, is appropriate for these dao routines. The Yang and Wu (Chiang-ch’uan) taiji dao forms employ more cutting and stabbing movements combined with nimble stepping. In this case, a taiji saber, like the one shown in Figure 16-1a will prove to be more suitable. Regarding the length of the dao, if you are using a broadsword, you will want the tip of the sword to reach your shoulder when held in the beginning position at the opening of the form (qi shi), see Figure 16-3a. If you are using a saber, you will want a longer blade. In this case, the tip of the sword should extend upward to the level of your throat, as shown in Figure 16-3b. Note: some practitioners prefer longer blades for both the broadsword and the saber. You should rely upon the direction of your teacher. If you are selecting a sword for practice without the guidance of a teacher, it is always better to

begin with a shorter blade. You can always acquire a longer blade once your proficiency with the dao improves.

Figure 16-3a

Figure 16-3b

As with the jian, the types of dao produced for practicing contemporary Chinese martial arts come in three weights, or flexibilities. These are categorized as combat steel, spring steel, and wushu steel. As was explained in Chapter Fifteen, combat steel swords are the heaviest and are meant to simulate the weight and heft of an actual dao that might have been used in combat prior to the advent of gunpowder. This type of dao is likely to be too heavy and unwieldy for the beginning taiji dao practitioner and should be avoided until one has gained greater strength and proficiency at wielding the dao. The type of blade most commonly used for taiji dao practice is made from spring steel. Spring steel blades have quite a bit of flexibility in the daotou, less flexibility in the daoshen, and almost no flexibility in the daogen. Wushu steel blades are extremely flexible and can even be bent completely back upon themselves. Some teachers, even famous ones, employ broadswords made with wushu steel blades for the purpose of demonstrating fa jin when sending energy to the tip of the sword. However, these blades are not appropriate for actual dao training and should be reserved for showy demonstrations in which the blade is made to vibrate dramatically. They may also be used in two-person demonstrations in which neither participant is likely to be injured from such a malleable blade. It should be noted that most martial arts competitions do not permit the use of such flimsy swords and require that the blade of the sword be able to support the entire weight of the sword when placed vertically with the tip touching the floor. The subject of a sword’s balance was introduced in the preceding chapter. The issue of balance when selecting a sword for taiji dao practice is even more important than in choosing a jian. This is especially true if you will be using a standard martial arts broadsword. These swords are typically very heavy in the blade, without sufficient counterweighting in the handle and pommel. For this reason, it may be better to select a lighter broadsword in the beginning and progress to a heavier one once the basic skills of handling the sword have been developed. As with the jian, the ideal balance point is for the sword to remain level when supported by two outstretched fingers placed approximately three fingers’ width forward of the guard. This same rule of thumb applies equally to a saber. Although the saber’s blade is narrower and thinner, its increased length must also be taken into account when considering the sword’s overall balance.

Most Chinese broadswords have one or more sashes or scarves attached to the ferrule that is affixed to the pommel. These scarves traditionally were used to distract the opponent. Sometimes small knife points would be tied to the ends of the scarves so that they could be used to strike or cut the opponent. In modern times, the scarves serve to brighten up and enliven the appearance of the broadsword’s movements. Whether you attach several scarves or a sash to the pommel of your broadsword will depend upon your personal preference. However, you should avoid attaching anything to the ring pommel of a taiji saber, because the ring pommel has special significance and usage, as will be explained later in this chapter.

How to Hold the Dao In order to wield the dao effectively, one must first learn how to hold it properly. There are a variety of different grips that are employed in holding the dao. The term wojian was introduced in the preceding chapter and refers to the manner in which the swordsman grips the jian. A similar term, “wodao,” is used when referring to grips used in holding the dao. Many of these grips are the same as those employed in handling the jian. This makes intuitive sense, as many of the basic sword techniques, such as cutting, stabbing, deflecting, and blocking are common to both the jian and the dao. One distinction between the jian and the dao is that the thicker, wider blade of the dao makes it especially suitable for chopping. In order to impart maximum power into the dao when chopping, the swordsman will often adopt a two-handed grip. The main difference between the dao and the jian, however, is that the dao is a single-edged sword, whereas the jian is sharpened on both edges. The unsharpened back edge of the dao provides a surface against which the empty hand can be placed to reinforce techniques such as blocking, warding off, and pressing. The following information describes the principal methods for holding the dao. In these examples, the dominant hand is presumed to be the right hand. Obviously, those practitioners who are left-handed will need to reverse the hand positions as shown in the illustrations. The basic grip for holding the dao is the same as for the jian. Whether you are working with a broadsword, which typically has a disk-shaped guard, or a saber, which normally has an S-shaped guard, you will grip the dao as if you

were shaking hands with another individual. The thumb side of the hand is up, and the curled fingers are on the bottom of the sword’s handle. When held in this fashion, the blade of the dao will be pointed upward at a fortyfive degree angle. Figures 16-4a and 16-4b illustrate this type of grip when holding a broadsword and a saber, respectively. In both photographs, you will notice that the houkou, or tiger’s mouth (the space between the thumb and index finger) fits snugly against the guard. This type of grip is used for downward attacks, such as chopping or diagonal cutting, and also for stabbing and pecking. This same grip may also be employed for upward cutting in the case of the taiji saber, in which the upper edge of the saber’s head is also sharpened.

Figure 16-4a

Figure 16-4b

If you rotate your wrist ninety degrees clockwise or counter-clockwise, you will convert this vertical grip to a horizontal grip. See Figures 16-5a and 165b. In Figure 16-5a, the wrist has been rotated ninety degrees in the clockwise direction, such that the back of the hand faces down and the thumb and curled fingers are facing up. In a similar fashion, in Figure 16-5b, the wrist has been rotated ninety degrees in the counter-clockwise direction, such that the back of the hand faces up and the thumb and curled fingers face downward. The primary function of a horizontal grip is horizontal cutting. When the thumb and fingers are up, the horizontal cut is a straight cut, similar to a forehand stroke in tennis. When the thumb and fingers face downward, the horizontal grip is referred to as a reverse horizontal grip and is employed in reverse cutting, which in tennis would be analogous to a backhand stroke.

Figure 16-5a

Figure 16-5b

If the wrist is rotated a full one hundred and eighty degrees from the standard grip, such that the position of the houkou faces upward instead of downward, the grip becomes a reverse vertical grip. There are two reverse vertical grips, depending upon whether the wrist is rotated in the clockwise or counterclockwise direction. Figures 16-6a and 16-6b illustrate both of these reverse vertical grips. When the wrist is rotated one hundred and eighty degrees in the clockwise direction, the dao may be employed in an upward cutting motion and also in a direct thrusting direction. When the wrist is rotated one hundred and eighty degrees in the opposite direction, the sword may be used either for blocking or for thrusting. In these instances, the sword is usually held in an overhead position.

Figure 16-6a

Figure 16-6b

As stated previously, the design of the dao lends itself to a variety of chopping movements. As anyone who has utilized a hatchet understands, chopping may be accomplished with a single-hand grip as long as the wood being cut is not too thick. However, an axe is a much more effective tool when chopping larger pieces of wood. The use of an axe requires a doublehand grip. Similarly, the most effective chopping motion when employing a dao is accomplished with a double-hand grip. Many broadswords and sabers are intentionally manufactured with longer handles for the specific purpose of accommodating a double-hand grip. Figures 16-7a and 16-7b show a doublehand grip using both a broadsword and a taiji saber. Note that the taiji saber’s handle more easily accommodates a double-hand grip due to its greater length.

Figure 16-7a

Figure 16-7b

As stated previously, one of the distinguishing characteristics of the dao is that it has a wider, thicker blade that is only sharpened on the leading edge. The back edge may therefore be used as a surface for pressing with the nondominant, empty hand. Almost all of the single-handed grips described in this section may be supported in this manner. Figures 16-8a through 16-8d portray four such double-hand grips. Gripping the sword in this manner facilitates basic dao techniques such as blocking, warding off, and cutting.

Figure 16-8a

Figure 16-8b

Figure 16-8c

Figure 16-8d

Basic Taiji Dao Skills Prior to learning any taiji dao set, it is important to spend some time developing and perfecting the basic skills of handling the dao. Clearly, the beginning taiji dao practitioner must learn and become comfortable with the various methods for holding the dao presented in the preceding section. Additionally, the beginning practitioner should learn the basic sword strokes that are the foundation of the arsenal of dao techniques. These include chopping, cutting, thrusting, blocking, warding off, and deflecting. In his modern classic, Chinese Single Broadsword – A Primer of Basic Skills and Performance Routines for Practitioners, Xie Zhikui wrote that, when beginning to study the broadsword, one should first practice basic broadsword skills. By practicing the basic movements, students gradually strengthen their grip, increase the flexibility in their wrists, and become accustomed to the use of the various methods for gripping the sword.249 Over several thousand years, training techniques intended to develop these basic skills have been refined to the point that a beginning taiji dao practitioner has many skill-building drills to choose from. The following simple drills will provide the novice swordsman with the tools necessary to develop the skills required to practice a complete taiji dao set. Holding the dao in the resting position: The first skill is learning to hold the dao in the resting position. There are several methods employed for holding the dao in the resting position. Figures 16-9a and 16-9b show the method for holding the broadsword and the saber, respectively, in the forward-facing resting position. When holding the dao in this resting position, the sword is held in the non-dominant hand with back edge of the sword resting against the forearm, upper arm, and shoulder on the nondominant side. When held in this fashion, the leading, or sharpened edge, faces forward. When holding the sword in the non-dominant hand (in this case, the left hand), the sword is held between the index and the second finger, with the thumb wrapped around the guard. Note that, due to the different shapes of the guards, the position of the thumb on the guard is slightly different when holding a common broadsword as opposed to a taiji saber.

Figure 16-9a

Figure 16-9b

It is important to become familiar with holding the dao in the non-dominant hand, as several of the dao sets require that the sword be handed off from the dominant hand to the non-dominant hand in order to execute one or more postures. The ability to handle the sword in either hand enables the swordsman to be more versatile in his attacks and also begins to develop the ability to work with two swords at the same time in preparation for the practice double-dao sets. Figures 16-9c and 16-9d illustrate two additional methods for holding the dao in the resting position. In Figure 16-9c, the sword is held behind the non-dominant arm so that the sword remains hidden from the front. When holding the dao in this position, it is important that the leading edge of the blade faces away from the body to avoid possibly being cut by the sharpened edge of the blade. In Figure 16-9d, the sword is held in the dominant hand, but the blade of the sword rests upon the forearm of the non-dominant hand. Again, be sure that the leading edge of the blade faces away from the body. Figures 16-9e and 16-9f present two further methods for holding the dao in the resting position using the dominant hand.

Figure 16-9c

Figure 16-9d

Figure 16-9e

Figure 16-9f

It is important to be able to hold the dao in one of the resting positions shown above, as this will establish comfort and familiarity with the weapon. Also, this basic skill will provide you with some sense of connection to the countless warriors and martial artists of the past who would often be required to hold their swords in a resting position for many hours while standing guard or preparing for battle. Spinning the dao: Many of the transitions between postures in the various dao sets require that the dao be turned over rapidly. This may occur when advancing and executing a series of chops or, alternatively, when a forward advancing thrust needs to be followed quickly by stepping back and executing a block. In order to develop the ability to turn the sword over rapidly, you should practice the next two drills. In the first drill, you will learn to spin the dao in a forward vertical circle. In the second drill, you will practice spinning the dao in a backward vertical circle. These two drills are essentially the same as the drills presented in Chapter Fifteen for spinning the jian. They are presented again in this chapter for the sake of completeness, as the ability to spin the sword is an essential skill in the overall use of the dao. It is important to master these two vertical circles. In particular, when training either forward or backward vertical circles, try to keep the edge of the sword adjacent to the torso. The sword should swing as close to the shoulder of the dominant hand as possible without actually brushing it. This will require some practice and also a certain level of flexibility in the wrist and elbow of the dominant hand. To spin the dao in a forward vertical circle, stand in a left bow stance and hold the dao as shown in Figure 16-10a. Loosen your grip and allow the weight of the sword’s head to draw the tip forward and downward, as shown in Figure 16-10b. Next, employ the downward momentum of the sword to rotate your wrist one hundred and eighty degrees in the clockwise direction, such that the sword hangs pointing downward and behind you. At this point, you should only be gripping the handle with your thumb and index finger. See Figure 16-10c. Finally, give a flip of the wrist and swing the sword backward and then upward until it reaches the position shown in Figure 16-10d. To complete the spin, draw the sword forward until it returns to the initial position indicated in Figure 16-10a.

Figure 16-10a

Figure 16-10b

Figure 16-10c

Figure 16-10d

To spin the sword in a backward vertical circle, the steps are similar. Figures 16-11a through 16-11d depict the complete sequence. The only difference is in the transition from the position of the sword in Figure 16-11c, in which the leading edge faces up, to the position of the sword in Figure 16-11d, in which the leading edge of the sword faces down. This will require a quick flip of the wrist in order to turn the sword over from the leading edge up position to the leading edge down position.

Figure 16-11a

Figure 16-11b

Figure 16-11c

Figure 16-11d

Wrapping the sword around the head: One of the more distinctive moves in the repertoire of the dao is wrapping the sword around the head, usually referred to as “wrapping the sword.” This technique is also called “entwining the head” or “binding the head.” These names are somewhat misleading, as the sword actually wraps around the entire torso and not just the head. When performed properly and rapidly, this movement is both impressive and practical. The purpose of wrapping the sword around the head (and the torso) is two-fold. First, by placing the sword against the back, with the leading edge facing outward, one can block or deflect an attack from behind. A second function of wrapping the sword is to distract or surprise an adversary in front of you. In order to practice wrapping the sword, you will want to hold the dao initially in an upward-pointing position as shown in Figure 16-12a. Follow by angling the sword diagonally across the body as indicated in Figure 16-12b. Next, allow the sword to swing behind the shoulder of the non-dominant side. This will require the dominant shoulder to be loose and the dominant elbow to raise up. At this point, the sword should be vertical with the tip pointing downward. See Figure 16-12c. Circle the sword behind the torso until it is suspended vertically downward behind the dominant shoulder, as depicted in Figure 16-12d. Finally, draw the sword forward back to its initial position in Figure 16-12a.

Figure 16-12a

Figure 16-12b

Figure 16-12c

Figure 16-12d

As with spinning the sword, you want the complete circle to be smooth and continuous. You should also strive to maintain the sword suspended vertically with the tip pointing downward as it wraps around and behind the torso. Once you are able to wrap the sword around your head and torso without banging your head with the handle or guard or twisting your arm awkwardly, you should try wrapping the sword in the opposite direction. It is important to practice wrapping the sword in either direction until you can execute these two movements cleanly and effortlessly. Dexterity in wrapping the sword is an indication of a swordsman’s overall skill in handling the dao. Practicing horizontal cutting: The techniques for horizontal cutting with the dao are essentially the same as for horizontal cutting with the jian. Horizontal cutting is performed by rotating the sword to a horizontal position by turning the wrist ninety degrees in either the clockwise or counter-clockwise direction, as explained in the section on holding the dao. (See Figures 16-5a and 16-5b). To cut horizontally from right to left (assuming the right hand is the dominant hand), you must first rotate the wrist ninety degrees in a clockwise direction in order to turn the sword so that the leading edge faces to your left side. This is best accomplished when standing in a left bow stance. See Figure 16-13a. You can then use your waist to turn your torso from right to left. This will cause the sword to travel in a horizontal path from the right side of your body to the left side of your body. See Figure 16-13b.

Figure 16-13a

Figure 16-13b

To practice cutting horizontally from left to right, first change to a right bow stance. Then rotate the wrist so the sword is horizontal with the leading edge of the blade facing to your right as shown in Figure 16-13c. Use your waist to rotate your torso to the right, resulting in a horizontal cutting motion from left to right, depicted below in Figure 16-13d.

Figure 16-13c

Figure 16-13d

As you become more comfortable cutting from right to left and left to right, you should practice stepping across a long hall, alternately stepping and cutting from one side to the opposite side. This basic drill will serve you in good stead as you begin to practice the thirteen taiji dao techniques presented below in preparation for learning a complete taiji dao set. Practing wrapping and cutting: After you have developed some competence in both wrapping the sword around the head and cutting horizontally, you can proceed to combine these two actions. Initially you will chop diagonally downward with the leading edge of the dao, and then finish with a horizontal cut. The power of the final horizontal cut comes from the elevated starting position of the sword and the diagonal downward direction of the dao. This power can be augmented by the whirling momentum imparted to the sword by wrapping it around the head. Figures 16-14a through 16-14d illustrate a right-to-left horizontal cut that is preceded by wrapping the sword around the torso from left to right.

Figure 16-14a

Figure 16-14b

Figure 16-14c

Figure 16-14d

Having completed a wrapping horizontal cut from right to left, you should immediately practice using the reverse wrapping with a horizontal cut on the opposite side of the body. This sequence of movements is shown below in Figures 16-15a through 16-15d. In this instance, the horizontal cutting is preceded by wrapping the sword around the torso from right to left and then cutting horizontally from left to right.

Figure 16-15a

Figure 16-15b

Figure 16-15c

Figure 16-15d

The Thirteen Taiji Dao Techniques As with the taiji jian, there are thirteen basic taiji dao skills, or techniques. The thirteen taiji dao techniques are: che (slice), kan (chop), gi (block), peng (ward-off), ya (press down), jieh (intercept), pi (split), ci (stab), xie (sweep), xi (brush), lan (parry), ge (cut off), and ti (upwards stoke). These techniques have been developed over millennia of use in both large-scale combat and one-on-one fighting. The shape and overall design of the dao dictate many of these techniques. It is important to understand that the specific number and names of these techniques vary from one family style to another, and differences can be found even within family styles depending upon the background and lineage of individual masters. However, if you become familiar with the thirteen dao techniques presented below, you will have developed a solid foundation of dao skills that will enable you to practice any specific set of dao postures with confidence and proficiency. Slice: The technique of Slice, or che, involves employing the leading edge of the blade to slice across the opponent’s body. An example of this technique can be found in the Chen style dao posture of Sever the White Snake with Horizontal Chop. The solo posture is presented in Figure 16-16a, and the application of this technique is shown in Figure 16-16b. Chen Zhenglei’s commentary on the application of this posture states that, if the opponent attacks your right chest, you should attach to the opponent’s weapon and then turn and step in to cut across the opponent’s waist horizontally.250

Figure 16-16a

Figure 16-16b

Chop: The technique of Chop, or kan, is the most forceful of all the dao techniques. Chopping is performed in a diagonal downward direction. The most common application is to chop diagonally downward from the upper right of the body to the lower left of the body (assuming the swordsman is right-handed), but may also be executed diagonally downward from left to right. It is important when employing the technique of chop that the power come from the legs and the waist and not be dependent solely upon upper body strength. In order to impart additional momentum, chopping is often preceded by wrapping the sword. For example, when chopping diagonally from right to left, the dao would first be wrapped around the torso from left to right. Chopping may be applied directly to the opponent’s body, but the primary application of kan is to chop at the shaft of a long weapon, such as a spear, staff, or halberd. Zhang Yun advised practitioners that, when using the technique of kan, it is best to chop at the middle or lower section of your opponent’s spear shaft. Since the head of the spear can be made to move very quickly, the shaft of the spear closest to the opponent’s hands will make an easier target.251 The technique of Chop is utilized in the postural sequence, Three Stars Open and Close, of the Yang style Thirteen Posture Broadsword form. The movement within this posture that illustrates a downward chop is presented in Figure 16-17a. The application of this movement against a spear is shown in Figure 16-17b.

Figure 16-17a

Figure 16-17b

Block: The technique of Block, or gi, is employed in order to stop a fierce attack on the part of an adversary. Although the two appear to be the same externally, the usage of gi is different in character and in application from the technique of Ward-Off, which is presented below. Block entails the use of force against force. Although this appears to violate the Taoist prohibition of employing force against force, the utilization of blocking force is required when the ferocity of the opponent’s attack is so great that only an application of a similar counterforce will prevent the attack from causing injury or death. However, the technique of gi must also include sticking, adhering, connecting and following. In this way, the initial force of the block can be converted to one’s advantage by gaining control over the opponent’s weapon once his initial attack has been thwarted. Figure 16-18a portrays the posture of Block Vertically and Look to the Left, which occurs in the Wu Style postural sequence, Guard Left and Right, Opening and Extending Two Times. The application of this posture is depicted in Figure 16-18b. In this application, the flat side of the dao is initially employed to block the attacker’s spear. In his commentary on the application of this posture, Zhang Yun wrote that when your opponent attacks your chest with a spear, you should lightly attach your sword to the shaft of his spear. As soon as you make contact with his spear, you should turn your right wrist inward. This will cause the sharp edge of your sword to face backward. The turning of your sword should block your opponent’s spear to the left.252

Figure 16-18a

Figure 16-18b

You will notice that, in the photos presented above, the practitioner is blocking with only one hand. Depending upon the force of the attack and the position of the body relative to the opponent, it may be advantageous to provide additional support by placing the empty hand against the back edge of the dao when employing the technique of Block against a fierce attack. Ward-Off: The technique of Ward-Off, or peng, is used to ward off an opponent’s attack. The technique of Ward-Off is softer than that of Block and includes an outward, expansive component associated with the intrinsic energy of peng. The posture of Smoothly Push Sword Forward in Left Bow Stance, which also appears in the Wu style postural sequence of Guard Left and Right, Opening and Extending Two Times, employs the technique of peng. Figure 16-19a illustrates the solo posture, and Figure 16-19b portrays its application against a spear. When practicing Ward-Off, it is helpful to employ the empty hand in support of the forward direction of the peng energy. This use of two hands when warding off is similar to the posture of Press from the Yang style sequence of Grasp the Sparrow’s Tail. Zhang Yun explained that the application of this posture is to place your left hand on the back of your sword and push it against the shaft of your opponent’s spear. Then, no matter how quickly your opponent steps back or retracts his spear, you must maintain contact with his spear while sliding your sword down the shaft to attack the opponent’s hand.253

Figure 16-19a

Figure 16-19b

Press Down: The technique of Press Down, or ya, enables the practitioner to control the opponent’s weapon by pressing downward against it. The most common application of Press Down is to press down upon the opponent’s weapon with either the flat side of the dao or the sharpened edge of the dao. The technique of Press Down is similar to the intrinsic energy of ji, or Press, in taijiquan. In order to employ the technique of Press Down when using the dao in sparring or combat, you use your empty hand to establish two points of contact with the blade of the dao. Figures 16-20a illustrates the technique of Press Down in a movement taken from the Sun style taiji dao set. Figure 16-20b demonstrates how this technique can be applied against the head of a spear. Note that, once the spearhead has been pushed downward, it may be possible to step onto the spearhead on order to render it useless and to then quickly step forward in order to strike directly at the spear-holder’s body.

Figure 16-20a

Figure 16-20b

Intercept: The technique of intercept, or jieh, is used to quickly attack the opponent’s wrist as he attempts to stab you with his sword. This technique is only effective against another sword, however, and should not be directly applied against a long weapon such as a spear. In order to intercept a linear attack, you will need to counterattack from above, below, or sideways. When intercepting from above, you may wish to bend your wrist in such a way that the point of your sword points downward toward your opponent’s wrist. In this special case, the method of intercepting is called “Peck,” or dian. Figure 16-21a shows the solo posture of Intercept Downward with Right Bow Stance from the Yang family’s dao set. The application of this posture, presented below in Figure 16-21b, shows the practitioner employing the tip of the dao to peck at the wrist of an opponent who has attempted to stab her with his jian. Although pecking can be accomplished with a broadsword, this technique is most effective using the narrower, longer blade of a taiji saber.

Figure 16-21a

Figure 16-21b

Split: The technique of Split, or pi, is similar to the technique of Chop. However, whereas Chop has a diagonal component, Split employs a direct, downward chopping motion. Imagine that you want to cut down a tree. You would use the technique of Chop, which has a diagonal direction, in order to cut into the trunk of the tree with your axe. However, once you have cut down the tree and sectioned the trunk into lengths suitable for your fireplace, you would need to split the logs into quarters for faster burning. In this case, you would use a direct downward stroke of your axe in order to split the logs lengthwise along the grain of the wood. The technique of Split has the same effect when applied with the dao. Figures 16-22a and 16-22b portray the posture taken from the Yang style dao set performed by Fu Zhongwen. This movement occurs in the posture of Look Left and Right and Spread Apart to Both Sides. Fu’s commentary regarding the conclusion of this posture includes the instruction to employ a straight downward chop with the cutting edge facing downward as your left palm raises up to be level to the left side, fingers pointing upward.254

Figure 16-22a

Figure 16-22b

As with the technique of Chop, the technique of Split can be employed against a long weapon. Alternatively, Split may be used to attack the head or limb of an opponent whose sword has been rendered ineffective due to a prior offensive move such as the technique of Intercept or Peck, discussed previously. When employed against an opponent’s spear, the technique of pi can literally split the spear’s shaft in two. Split is also a devastating and often deadly strike when used against an already wounded or unarmed adversary in mortal combat. Stab: As the name suggests, the technique of Stab, or ci, employs the tip of the blade to stab at the opponent. When stabbing or thrusting, the blade of the sword may be held either vertically or horizontally. Since only the tip of the sword is involved in the stabbing action, when held vertically, the sword may be held in either the standard or reverse grip. When stabbing, it is best to direct the sword linearly such that the tip of the sword travels straight and true and covers the shortest distance in order to reach its target. In keeping with taijiquan principles, the offensive technique of ci normally follows upon a defensive technique in which the adversary’s weapon has been neutralized or deflected. Such techniques usually are executed in a curvilinear path. In this way, the action of stabbing conforms to the two principles: “Seek the straight in the curved.” and “Within defense there is offense.” Figure 16-23a illustrates the solo posture of Turn Body Back and Push Sword to Thrust Forward, which occurs in the postural sequence of Wind-swept Lotus Flower Hidden Beneath Leaves, taken from the Wu style taiji dao set. Note that, because this set employs the taiji saber, the thrusting action is accomplished with a two-handed grip in which the non-dominant hand pushes against the ring pommel of the saber. Zhang Yun wrote that, when executing the thrust in this posture, you should use both hands to thrust your sword toward your opponent’s chest.255 The photograph in Figure 16-23b demonstrates the application of this technique. Due to the longer reach provided by the taiji saber, it is possible to employ the technique of ci against an opponent wielding a spear as long as you are able to evade the initial thrust of the spear head and step inside the spear-holder’s extended range. The extra-long handle of the taiji saber and the use of the non-dominant hand to press against the ring pommel also add to the length of the saber’s blade, enabling the practitioner to employ this technique against a spear-holder.

Figure 16-23a

Figure 16-23b

Sweep: The technique of Sweep, or xie, is used to sweep the opponent’s weapon away, thus creating an opening for a counterattack. This technique is similar to a cutting technique called xiao, in which the blade of the dao is employed first to scoop away the opponent’s weapon in order to execute a slicing cut against the opponent’s limb or torso. Figures 16-24a and 16-24b illustrate the application of the technique of xie in the process of wrapping the sword in order to sweep the opponent’s spear away. This sweeping motion is then followed by a downward-arcing cut against the spear-holder’s left shoulder. This technique can be found in most taiji dao sets. The photographs presented below are excerpted from the Sun style broadsword set.

Figure 16-24a

Figure 16-24b

Brush: As its name suggests, the technique of Brush, or xi, is used to brush the opponent’s weapon away from its intended path. For example, if the opponent attempts a downward thrusting attack with a spear in order to pierce the practitioner’s thigh, the practitioner can use the flat side of the blade of the dao in order to attach to the shaft of the opponent’s spear. Then, using the combined intrinsic energies of chan, nien, lian, and sui, the practitioner can control the opponent’s spear in order to brush it away from the practitioner’s body, thereby rendering the opponent’s thrusting attack harmless. Figure 16-25a portrays the solo posture of Brush Away Grass to Search the Snake from the Chen style taiji dao set. In this instance, the empty hand is employed to reinforce the blade of the dao in order to brush away the head of a spear that has been thrust forward and downward to attack the practitioner’s leg. The application of this technique is depicted in Figure 16-25b. Although this application appears to be a block, Chen Zhenglei explained that the technique must employ sticking rather than forceful blocking. Regarding the application of this posture, he wrote in his book, Chen’s Taichi Sword, Saber & Baton, that the sword must attach softly to the opponent’s weapon instead of using a hard blocking force.256

Figure 16-25a

Figure 16-25b

Parry: The technique of Parry, or lan, uses the flat edge of the dao to parry an opponent’s attack. Parry can be used to meet and turn aside an attack from any direction. The technique of lan is usually combined with the related technique of dai, or Deflect. Regarding this technique, Zhang Yun wrote that this skill is most effective when used against a wooden staff or spear. Because lan involves connecting to the opponent’s weapon with the edge of your sword, it is usually not advisable to use this skill to block a metal weapon directly, as a direct edge-on block is likely to damage your sword. It is essential to avoid any contact between metal blades that results in a clanging sound, as this violates the principle of taijiquan that prohibits the use of force against force.257 The photograph in Figure 16-26a shows the posture of Raise Left Knee, Block, and Let Sword Hang within the postural sequence of Guard Left and Right, Opening and Extending Two Times, which occurs in the Wu style taiji dao set. The application of this posture is portrayed in Figure 16-26b.

Figure 16-26a

Figure 16-26b

Cut Off: The technique of Cut Off, or ge, is used in a quartering stroke. This technique is intended to sever limbs. As such, the technique of ge employs a diagonal downward chopping motion with the blade of the sword. It is not easy to sever a limb with a single stroke of the sword. In order to impart greater power to the chopping motion, the practitioner can lower his entire body, thereby adding the momentum of dropping down to the power of the downward sword stroke. This is apparent in the Chen style sequence of Three Rings around the Sun. In this sequence, the practitioner jumps and spins with the body and then sits into the posture. The jumping, spinning, and downward cutting are repeated three times. Within each repetition of this posture, the body rotation and the sitting action impart momentum (rotational and downward) to the downward cutting action of the sword. See Figures 16-27a and 16-27b. Chen Zhenglei’s commentary on the application of this sequence explains that this technique may be used against multiple opponents. Each turning of the sword can be used to sweep an opponent’s lower body. The skipping, jumping, and dropping down into a sitting posture are employed to initially evade a new opponent and then to attack his lower body until all three opponents have been dispatched.258

Figure 16-27a

Figure 16-27b

Upwards Stroke: The technique of Upwards Stroke, or ti, employs the sharpened edge of the dao to slice upwards using a lifting motion. Unless the shangren of the dao is sharpened, then this technique will require a reverse vertical grip so that the leading edge of the sword is facing upward. Recall that the taiji saber is specifically designed with a sharpened shangren. When using a taiji saber, it is possible to apply the technique of Upwards Stroke using the normal vertical grip. This enables the practitioner to impart a quick, upward stroke with a mere flick of the wrist. The following photograph, presented below in Figure 16-28a, is taken from the Yang style postural sequence of White Crane Spreads its Wings. In this photograph, the practitioner has completed a sweeping upper cut using the leading edge of the blade. The application of this posture can be seen in Figure 16-28b.

Figure 16-28a

Figure 16-28b

Conclusion As with the taiji jian, the practice of the taiji dao should not be considered as a separate, isolated endeavor. Rather, the practice of any of the weapons included in your taiji family style should be treated as one more component of a multi-faceted martial art. Adding a taiji dao set to your daily taijiquan regimen will further enhance all areas of your practice. The additional skills and physical conditioning that will develop as a result of daily taiji dao practice will carry over into both your empty-hand form and pushing hands play. As the title of this book conveys, the art of taijiquan includes both a civil and a martial aspect. These two apparently contradictory facets of the art are actually complementary, just as the seemingly opposite qualities of yin and yang are harmoniously present within all of nature. You may choose to consider your empty-hand form practice to comprise the civil component of your taijiquan practice and to treat pushing hands, sparring, and weapons training as the martial component. It is important, however, to adopt the mind-set that the civil and the martial elements of your daily training serve mutually to support not only each other, but also the greater, over-arching goal of becoming a true master of the art of taijiquan. It is of little value to develop skills individually in empty-hand forms, pushing hands, sparring, and weapons, if one remains limited in one’s overall skill and understanding. Superficially, there is justifiable merit in mastering the empty-hand form, pushing hands, the taiji jian, and the taiji dao. Many taiji practitioners have, indeed, reached admirable skill in these areas. However, to become a “jack of all trades and a master of none” is merely a mundane accomplishment in the overall study that is required to master taijiquan. If all these various skills are not integrated and developed in order to lead to a higher level of attainment, both in terms of martial mastery and civil cultivation, then the practitioner will have missed the true reason for studying the art of taijiquan. The final two chapters of this book address the higher level of civil cultivation that can be achieved as a result of practicing not only the specific skills of taijiquan referred to above but also the practice of the alchemical Daoist neigong arts. These are the esoteric and little-understood practices that have the potential to enable the aspirant to develop true internal power and

ultimately to achieve the goal of spiritual enlightenment. Without striving for and finally achieving these dual attainments, one’s practice, however dedicated, will remain limited in its scope and accomplishment. To achieve true mastery in taijiquan, one must master both the internal as well as the external, such that the internal and external become one. Only then can the practitioner achieve the state of Taiji. Ultimately, even the state of Taiji must give way to the state nothingness that is Wuji. This is true accomplishment: the attainment of spiritual enlightenment.

Chapter Seventeen

Taijiquan as a Spiritual Practice

The creators of taijiquan stated that the purpose of their art was to promote the dual goals of developing martial skill coupled with civil cultivation. As has been emphasized throughout this book, the complete art of taijiquan includes both martial and civil components. We can consider these two aspects of taijiquan to represent the two sides of an extremely valuable coin. If you were to invest in such a coin, you would accord equal importance to each side of the coin. The martial applications of the solo form and weapons forms were presented in chapters Fouteen through Sixteen. The role of civil cultivation in the practice of taijiquan also has been addressed in many of the chapters of this book. This chapter and the one that follows will jointly address the highest level of civil cultivation, that of spiritual development. Continuing with the coin analogy, imagine a rare Chinese coin from some ancient dynasty. One face of the coin depicts a fierce warrior sitting astride a charging horse, bow drawn, arrow nocked, gaze intent on the enemy. This side of the coin represents the martial aspect of taijiquan. On the reverse side of the coin stands a Taoist monk, dressed in a flowing robe, hair drawn up in a top-knot, bearing a scroll in one hand and a peach in the other. The scroll in this image represents wisdom, and the peach symbolizes longevity. This side of the coin exemplifies the qualities of civil cultivation that may be attained through the practice of taijiquan. These two aspects of our art are symbolized in the taijiquan salute, in which the left hand (representing wisdom) covers the right fist (signifying strength). As has been discussed previously, civil cultivation includes the development of the muscles and sinews, which strengthens the body; the cultivation and circulation of the qi, which leads to greater vitality and increased longevity; the stimulation of the vital organs and the meridians associated with those

organs, which can aid in curing diseases and prevent illness; and, if pursued with the proper instruction and discipline, the refinement of the spiritual body, which can result in enlightenment.

Spirituality and Enlightenment In order to understand how the practice of taijiquan can lead to spiritual enlightenment, it is necessary to define what the terms “spiritual” and “enlightenment” mean in the context of the cultural milieu within which the art of taijiquan was developed. By definition, the term “spirituality” concerns itself with that most intangible aspect of human existence, the spirit. The human spirit, which is often called “the soul,” has been defined differently within the many diverse spiritual traditions, but all of these traditions share the same basic precept. The underlying principle of all spiritual traditions is that there exists within each of us that which, while it cannot be touched or measured, is the essence of our individuality. This inherent essence is typically referred to as the “spirit” or the “soul.” Some traditions posit that only human beings possess a soul and further postulate that the human soul is immortal. Western spiritual traditions, including Judaism, Christianity, and Islam, specifically define the existence of the human soul in term of its relationship to a supreme deity. Within these spiritual traditions, the goal of spirituality is to unite the individual soul with God. We can say that any spiritual tradition that introduces the notion of God may be termed a religion. Within such religious traditions, the concept of enlightenment refers to the communion of the soul with God. The three primary spiritual systems that influenced traditional Chinese culture are essentially non-theistic. Although many Westerners regard these spiritual systems as religions, this apprehension is mistaken. While it is true that folk religions deifying Confucius, Lao Tzu, and the Buddha have evolved over time, the initial teachings of these great sages did not postulate the existence of God. Rather, each of these philosophers expounded upon the nature of the human soul, or spirit, as an inherent quality of human existence. The goal of spirituality in the traditions of Confucianism, Taoism, and Buddhism is one of individual self-discovery and the refinement of the spirit. Enlightenment in these traditions is expressed in terms of self-awareness,

which is fundamentally different from the concept of God-awareness that is the basis of any relationship between the human spirit and God. Although each of the three aforementioned spiritual traditions incorporates some concept of the spirit, or soul, the concept differs somewhat from one tradition to the next. Given the different conceptions of what constitutes the soul, it is no wonder that the paths toward spiritual development and ultimate enlightenment also vary from tradition to tradition. To further confuse the issue, there are conceptual and pedagogical divisions within each of the three major spiritual traditions. For example, within Buddhism there is the major division between the Theravada and Mahayana sects. Further factions exist within each of these major sectarian groups. Similar divisions exist within the Taoist spiritual tradition. In addition to Confucianism, Taoism, and Buddhism, the role of the Indian yogic tradition, or Vedanta, must also be considered. There is recorded historical evidence that Indian yogis traveled to China and spread their teachings there. However, the greatest influence of the Indian spiritual tradition resulted from the intermingling of yogic practices with Buddhism that are evident in Tibetan Buddhism. In particular, the mystic practices of Tantric Yoga, which emphasized the refinement of the ethereal body and the regulation and stimulation of the chakras, strongly impacted Tibetan Buddhist practices, especially with regard to the development of supernatural powers and the ability to intentionally direct the spirit to leave the body at the time of death. Many of the practices of Tantric Yoga and Tibetan Buddhism were absorbed into the Taoist tradition. For example, several of the energy gates involved in the Microcosmic Orbit correspond to chakras that are documented in Tantric literature. Also, the Taoist reverse breathing technique is similar to the pranic breathing technique of Tantric Yoga. Most significant is the shared belief in the existence of one or more non-physical bodies that exist on energetic levels and that vibrate at frequencies above those of the physical body. The Indian yogis, the Tibetan Buddhists, and the Taoist adepts all sought to refine their energy bodies through meditative and other esoteric practices, including the ingestion of herbs and the adoption of restrictive diets. It was believed that, by refining their ethereal bodies, these individuals would be able to achieve transcendent states in which their essential, non-material

nature would be revealed. These heightened states of consciousness would, in turn, lead to nirvana or enlightenment, thus liberating their spiritual essence from dependence upon the physical body. In this way, these practitioners sought to achieve immortality, if not physically then at least spiritually. While there is much commonality among the concepts and practices within the Eastern spiritual traditions, there are numerous differences between them as well. These differences occur not only in terms of philosophical precepts but also within the specific spiritual techniques practiced by each tradition. The specific spiritual practices that were developed within these separate traditions were intended to elevate the human spirit with the ultimate goal of attaining enlightenment. As the word implies, “enlightenment” means to “shed light upon” or “bring to light.” Taken less literally, enlightenment implies arriving at an understanding or a realization. When used in the context of spirituality, enlightenment refers to self-awareness: the realization of the true nature of the soul. As stated in the preceding paragraphs, the Indian yogis, the Tibetan Buddhist monks, and the Taoist alchemists all sought spiritual enlightenment, liberation from the cycle of reincarnation, and immortality through the refinement of their energy bodies. Within both the Shaolin Buddhist tradition and the Taoist tradition in China, a number of the esoteric practices were developed for the purpose of refining the spirit or, more precisely, the spirit body. These practices were maintained secretly within the Shaolin and Taoist monastic communities and were only shared with those individuals who demonstrated the sincerity and strength of character necessary to undertake the arduous and lengthy process required to bring such practices to fruition. It has been asserted that the originators of taijiquan had at least some familiarity with the esoteric Shaolin and Taoist practices that were involved in the cultivation and refinement of the spirit body. Further, as will be presented in the following two sections, there are a number of veiled references to such practices in the writings of the founders and those who chronicled the early development of taijiquan.

The Role of Spirituality in the Development of Taijiquan

As stated in the preceding section, Taoism, Confucianism, and Buddhism were the three major philosophies that influenced all facets of Chinese culture, including the martial arts. All three ideologies collectively shaped the concepts of spirituality and enlightenment as perceived by the founders of the art of taijiquan. Of these three, Taoism exerted the most influence, as can be seen by the many references to the Tao in general and to the writings of Lao Tzu in particular within the early literature associated with the development of taijiquan. However, the influence of Buddhism, as practiced in the Shaolin temple, is also in evidence, as the names of various Chen style postures, such as Buddha’s Warrior Attendant Pounds the Mortar, suggest. The image of the warrior priest (or monk) is not unique to Chinese culture. One only has to recall the role of the Knights Templar during the Christian crusades in order to see this theme repeated in Western history. The notion of a righteous hero who fights to uphold a spiritual or religious ideal and who champions virtue and protects the down-trodden holds a universal appeal. Throughout much of China’s history, bandits and unscrupulous warlords were the norm, and the defense of commercial enterprises and civil establishments, such as merchant caravans, the local village, or the nearby temple, fell to those who trained in martial arts and employed their skill to uphold social order. Chinese literature and folklore abound with tales of the heroes of old who, through superior martial skill and impeccable virtue, vanquished packs of bandits or marauding renegades and rescued their village, benefactor, or romantic interest from impending destruction, destitution, or degradation. Similar tales are told about the progenitors of each of the family styles of taijiquan. The Chen family tradition tells us that Chen Wangting was well known for his martial skill as an escort for wealthy merchants and is said to have defeated numerous armed bandits in this role. Chen Wangting, the founder of Chen style taijiquan, was both a famous martial artist and a scholar who at one time served the emperor in a civil capacity. The founder of the Yang style of taijiquan, Yang Luchan, was considered the consummate boxer of his era. Because he never lost a contest and had no rival, he earned the title Yang Wu-Ti, which translates as “no rival.” Despite his reputation for martial prowess, Yang Luchan was equally renowned for not seriously injuring his opponents. This reflects a gentleness and nobility of

spirit that all taijiquan practitioners would do well to emulate. Sun Lutang, creator of the Sun style of taijiquan, was another famed martial artist who was equally skilled in the martial arts and in classical Chinese literature. There are many tales recounting the martial feats of Sun Lutang as he defeated and apprehended bandits or demonstrated extraordinary skill in horseback riding or in running up vertical walls. All of the founders of the different family styles of taijiquan either recorded their principles and insights directly or had their teachings recorded by close disciples. In many cases, either the masters themselves or the individuals who recorded the words of the masters were classically trained in Chinese literature. The founding members of the five main families, along with their close disciples, left records that indicate, either directly or through veiled references, a deep understanding of the I Ching along with the Tao Te Ching and other works included in the Taoist Canon. Yang Cheng-fu wrote that the art of taijiquan is based upon Taiji theory, Bagua theory, and the Book of Changes.259 There is some debate as to Yang Cheng-fu’s literacy. However, whether he could read and write, or instead relied upon the literacy of disciples such as Cheng Man-ch’ing, he nonetheless exhibited a working knowledge and understanding of the basic principles of Confucianism and Taoism. Moreover, Yang Cheng-fu almost certainly received training in Taoist alchemical practices from his uncle, Banhou, whose skill was second only to Luchan’s. The skill exhibited by all the Yang family members was extraordinary, but in particular the martial abilities of Yang Luchan and those of his sons, Banhou and Jianhou, bordered upon the supernatural. The extent of their development was evidenced not only in their martial exploits but also in the manner in which they conducted their lives. It is said that Yang Jianhou engaged in secret Taoist practices. It was reported that he practiced inner force training at night and that he made a sound like thunder as he lay in bed. It was further recorded that he passed away peacefully, having had a premonition of his death a few hours ahead of time.260 Within the writings of the Yang family members and their disciples, there are several direct references to the relationship between taijiquan and spirituality. For example, Yang Cheng-fu quotes his grandfather, Luchan, as having said, that taijiquan was created by Chang San-feng and that the art is based the

natural phenomena that arise out of Taiji.261 According to the account given by Yang Cheng-fu, his grandfather believed that the movements of taijiquan, when practiced with the proper mental and physical training, enable the practitioner to elevate his or practice to the level of spirituality. The writings of other founders, such as Sun Lutang, also make references to Taoist principles and alchemical practices. As many of his contemporaries, Sun Lutang attributed the invention of taijiquan to Chang San-Feng. According to Sun Lutang, Chang San-feng initially practiced hard martial arts. Due to injuries resulting from overexertion, he subsequently engaged in Taoist practices, including the Tendon Changing and Marrow Washing. In addition, he tirelessly investigated the ever-changing movements of yin and yang as represented in the Taiji symbol. Sun Lutang wrote that, from studying these changes, Chang San-feng came to understand the principles of qi flow and the interchanges of yin and yang and the movement of the qi throughout the body. In this way, he invented the internal martial art that we now know as taijiquan.262 The above tale once again recounts the origin myth of taijiquan, which in the past commonly attributed the creation of taijiquan to the legendary Chang San-feng. As has been previously stated in this book, whether the Taoist sage Chang San-feng actually existed may be debated. However, his role in the origination of the martial art of taijiquan has been historically refuted. Nevertheless, his status as the legendary founder of taijiquan serves to link the art with many key Taoist practices as well as to the theories of Taiji and Bagua. In particular, the references in the early literature of taijiquan to the cultivation of the dantien, the practices of Tendon Changing and Marrow Washing which were part of Shaolin kung fu training, and the pre-heaven and post-heaven states all indicate that the art of taijiquan was heavily influenced by both Taoist and Shaolin Buddhist principles and practices. On topic of spiritual cultivation, Sun Lutang further stated that taijiquan does not rely upon the use of force, but rather emphasizes the cultivation of the qi until it transforms into spirit.263 Once again, the writings of a founder of one of the major styles of taijiquan supports the principle that the effectiveness of taijiquan as a martial art ultimately depends upon inner cultivation rather than the application of physical strength and technique, and that this inner cultivation ultimately leads to the elevation of the spirit.

Clues to the Methods of Spiritual Cultivation in Taijiquan Based upon the writings of the original founders of taijiquan, we can be fairly certain that they understood the principles and practices of the prevalent spiritual traditions of their day. As to whether they actually practiced the techniques of Taoist alchemy or the Buddhist Tendon Changing and Marrow Washing techniques, the evidence is less clear. However, given the seemingly supernatural powers and abilities that these founders were said to have possessed, it appears highly likely that the past masters must have engaged in some form of esoteric alchemical practices aimed at cultivating these abilities. Although there are tantalizing references to practices such as the conversion of qi into shen, the integration of pre-birth and post-birth qi, and other Taoist alchemical processes in the original writings of the past masters, the best clues to the cultivation methods practiced by these masters and their disciples are to be found in the collective works of the Taijiquan Classics. It is in the Classics, for example, that we find more specific references to the Taoist practice for refining the qi in order to elevate the shen. However, even the descriptions of this and other practices are often couched in metaphorical terms, which makes it challenging for modern Western readers to infer the underlying practices to which the authors of the Classics were referring. Regarding the guarded language frequently found in the Classics, one well may wonder, why all the secrecy? Why not openly reveal the methods and techniques for self-cultivation that would lead others to the development of supernatural powers? Didn’t the masters want to share their knowledge with the greater martial arts community? The answer to this question, in a word, is no, they did not. There were significant reasons for keeping these practices secret, not the least of which was to protect their own reputations. What value would it have been to be known as “no rival” if other martial artists could attain the same level of skill? Remember that these original masters derived their livelihoods initially from working as armed escorts and later as martial arts teachers. In order to maintain their status in both these capacities, they regularly needed to demonstrate their superior martial skills. Another reason for guarding the secrets of their esoteric practices was to keep

such practices out of the hands of those individuals who might employ them to gain powers that they could then use for unscrupulous purposes. Only those individuals who had studied for many years and demonstrated high moral character and respect for their masters were rewarded with the privilege of these hidden, mystical techniques. On the whole, such practices were revealed only to family members and, in rare circumstances, close disciples. This ensured the proper transmission of the techniques down through the generations. Fortunately for those of us living in a more open society, a number of modern Taoist adepts and contemporary taijiquan masters have been willing to divulge the formerly-secret techniques used in the past for developing martial mastery and cultivating spiritual awareness. In addition, several important Chinese texts describing a number of esoteric Taoist and Buddhist practices recently have been translated into English. Before examining these techniques, however, let’s first investigate some of the clues to their practice as revealed, albeit in veiled terms, in the Taijiquan Classics. By seeking out and attempting to understand these obscure references, we can verify that the alchemical practices that have been made available to us today are, indeed, the same ones that were employed by the past masters to achieve their seemingly magical powers. Louis Swaim wrote about the apparent references to Taoist principles and practices that appear throughout the Classics in his translation of Fu Zhongwen’s Mastering Yang Style Taijiquan. In his discussion of the topic of self-cultivation, he suggested that, due to the presence of Taoist principles throughout the Taijiquan Classics, the art of taijiquan is clearly intended as a method for self-cultivation.264 We can begin our survey of the Taijiquan Classics by examining the Taiji Treatise, attributed to Chang San-feng. The second verse of this treatise states that the internal energy, or qi, should be enlivened and that the spirit, or shen, should be “condensed” in the lower dantien. This verse corresponds to the three character instruction qi shen dantien, “place the spirit and the qi in the lower dantien.”265 This critical practice serves as the foundation upon which three important spiritual practices are based. The first is the Taoist neigong practice of directing the qi upward along the pathway of the Thrusting Channel to the yintang acupoint, which is associated with the upper dantien

and which corresponds to the ajna, or Third Eye Chakra. The second practice is that of vibrating the qi, which helps us to attune ourselves to the vibrational frequency of our energy body. The third practice refers to the Shaolin Buddhist internal training system known as Marrow Washing qigong. Each of these practices will be addressed later in this chapter. In Taoist neigong practices, it is essential to elevate the spirit of vitality, or shen. The shen is what shines brightly from the eyes of individuals whose spirit is full and refined. When one has a strong martial spirit, this is the result of their shen being elevated due to the power of their qi. In order to use the qi to elevate the shen, one must first practice the Microcosmic and Macrocosmic circulations. One can then use the Taoist technique of reverse breathing to condense the qi within the lower dantien. Once condensed, the qi can be directed under internal pressure into the marrow of the long bones and into the spinal column. Finally, one learns to guide the condensed qi up the Thrusting Channel and lead it directly to the brain in order to elevate the shen. Another early classic, the Taiji Lun, written by Wang Tsung-yueh, describes the theory of natural awareness, which is developed through the dedicated practice of taijiquan over a long period of time.266 The natural awareness that Wang Tsung-yeh referred to in this text is the awareness of one’s intrinsic nature. It is possible to attain a highly developed sense of self-awareness through the proper practice of taijiquan. The key point to note here is that, in order for our taijiquan practice to serve as a vehicle for spiritual development, we must practice with the proper intent and diligence. Our intention, our yi, must be focused on the circulation of the qi throughout the entire body, like passing a silken thread through a nine-holed pearl. In this way, our taijiquan practice becomes a mindful meditation. Over time, the mindfulness that we develop through the daily practice of taijiquan will naturally extend into the rest of our waking activities and even into our sleep and dream states. If you are at all familiar with Buddhism, you will know that Right Mindfulness is one of the eight practices of the Eightfold Path, which leads to the liberation of the soul. Recall that one interpretation of the Chinese character, “tao,” is “path.” So, Right Mindfulness, accomplished in taijiquan through the sharpening of the yi, is part of the Tao of spiritual development.

Within the Buddhist spiritual tradition, there are specific practices, such as Vipasana meditation, that are intended to assist us in developing Right Mindfulness. As it turns out, we already possess just such a tool in the practice of taijiquan. However, our taijiquan practice must have the correct focus if it is to bring about the spiritual transformation that we are seeking. In the Exposition into the Practice of the Thirteen Postures, another of the Taijiquan Classics, Wu Yu-hsiang instructed practitioners to use the mind to cultivate internal energy. In his commentary on this classic, Waysun Liao provides further clarification. The practitioner must develop the ability to use the mind (yi) to lead the internal energy (qi) to any part of the body. At an advanced level, the practitioner will be able to condense the internal energy into the bone marrow. Once the practitioner has reached this level, he or she will be able to generate concentrated internal energy, or jin.267 In the next stanza of the Exposition, Wu wrote that the internal energy must be circulated smoothly and without obstructions. Only then will the internal energy follow the guidance of the will, or heart/mind (hsien).268 In these two stanzas, Wu provided an important insight into to how the qi should be directed to move throughout the body. He stated that the practitioner must use the intention and the will to drive the qi in order to circulate the qi throughout the body. That is to say that the qi must have power, the power that results from the qi being condensed within the dantien. This is similar to an automobile’s engine. The engine provides the power. However, it is up to you to drive the car where you want it to go. You use your intention (yi) and your will (hsien) to control the power of the engine by turning the steering wheel and pressing the accelerator. You need both the power of the engine along with your intention and will to make the car go where you want. To continue with the Exposition, the translation by Benjamin Pang Jeng Lo gives a slightly different take on Wu Yu-hsiang’s important treatise. He states that the qi adheres to the back and permeates the vertebrae. When the practitioner relaxes fully and breathes into the abdomen, the qi is able to penetrate into the bones. Then, external softness will lead to internal hardness, and the practitioner will achieve the quality of “steel wrapped in cotton.”269

From the preceding three references, we see that Wu Yu-hsiang reiterated the concepts presented in the original Taiji Treatise of Chang San-feng. This is not simply a coincidence, as several taijiquan scholars have suggested that the original Taiji Treatise (attributed to Chang San-feng) was actually written by Wu Yu-hsiang. What is significant here is that the concepts of the mind leading the qi and directing the qi to permeate the spine and to penetrate the marrow of the bones are all central to the development of the shen (the spirit of vitality), which results in the Taoist ideal: “The softest will then become the strongest.” These concepts were well known to the individuals who originated the art of taijiquan, and help to explain how the founders were able to achieve such impressive martial skills as well as reach the highest levels of spiritual development. The Essentials of the Practice of Form and Push-Hands, written by Li I-yu, reaffirms the practices alluded to in the preceding Taijiquan Classics. Li I-yu stated that, in order to eliminate holes and protuberances, the practitioner must excite and expand both the qi and the shen. This requires concentrating the qi such that it is able to penetrate the bones and elevate the shen.270 In this stanza, Li I-yu reiterated the sequence for elevating and refining the shen that had been divulged in earlier Taijiquan Classics by Wang Tsung-yueh and Wu Yu-hsiang. Throughout the Taijiquan Classics, references are made to the actions of concentrating and exciting the qi, condensing the qi into the bones, and elevating the shen. From these references we can infer that the original taijiquan masters engaged in practices that produced these results. What the Taijiquan Classics do not reveal, however, are the actual practices that produce such results. However, we do have modern documents and living masters who can aid us in discovering and mastering those previously secret practices. The remaining material in this chapter will describe several specific Taoist and Shaolin practices that are intended to achieve the elevated spiritual states alluded to in the Taijiquan Classics. The chapter that follows will continue this discussion by detailing the practices of Taoist alchemy that enable selfcultivators to transmute the ching and qi in order to refine and elevate the shen. The shared goal of these practices is to reveal the innate spiritual nature that resides in each of us and, once realized, to merge that spiritual nature with the Tao.

Taijiquan as a Moving Meditation Taijiquan is sometimes referred to as a “moving meditation.” This is an apt description in that, although the body is in motion, the outer movements are accompanied by an inner calmness that reflects a relaxed and tranquil state of mind. Another way to refer to the practice of taijiquan is “stillness in motion.” While both these descriptions are appropriate, it is helpful to borrow a term from Buddhism and consider the practice of taijiquan as a form of “mindful meditation.” As stated previously in this chapter, Right Mindfulness is one of the eight practices that collectively comprise the Eightfold Path. Past Buddhist masters devised a number of specific meditative practices intended to promote Right Mindfulness. One approach to Right Mindfulness that many practitioners find helpful is the Vipassana practice of mindful meditation. Essentially, mindful meditation focuses the meditator’s awareness on the present moment. Mindful meditation is often practiced in a seated posture. Mindful meditation may also be experienced while walking. However, the walking that takes place during mindful meditation is different from normal walking. Mindful walking is a favorite practice of the well-known Buddhist monk, Thich Nhat Hanh. When walking mindfully, each step is executed with the full awareness of the action of stepping. The practitioner is mindful of sinking the weight into one foot, lifting the other foot off the ground, moving that foot through space, placing the foot onto the ground precisely, and then placing the body’s weight onto that foot. Although the awareness is directed to the movement of the feet, the practitioner is also aware of the external surroundings and the inner feelings that are being experienced. While the practitioner is engaged in the activity of walking, there are no thoughts of the past or the future. Only the present moment is experienced in all its clarity and fullness. As any experienced taijiquan practitioner can attest, the above description also can be applied to the practice of taijiquan. If we choose to practice taijiquan as a mindful meditation, it is important to determine in advance what we should be mindful of. Although there are a myriad of details that we can focus on, there are three basic levels of awareness that can be achieved when practicing taijiquan. The first level of awareness is the concentration of the mind on the physical body. The second, more advanced level is to use the

yi to direct the qi according to the four-character instruction, yi yi yin qi: “The mind moves the qi.” The third, and most advanced, level is to place the awareness on the shen, the spirit of vitality. At this point in your taijiquan practice, you should have achieved the first level of mindful meditation when practicing both the solo form and weapons forms. That is to say, you should be able to focus your awareness on the correct physical structure of the body. You will know that you have reached this level of awareness when your movements adhere to each of Yang Chengfu’s Ten Important Points for the practice of taijiquan.271 The second level of mindful meditation relies upon the practitioner’s gongfu in the cultivation and circulation of the qi. Until the practitioner has invested the time and effort in the practices of qi cultivation and circulation described in Chapter Seven and Chapter Eight, there is no point in attempting to practice taijiquan while focusing the awareness on the movement of the qi. However, if the practitioner has reached this level of cultivation, then he or she should begin employing the yi to direct the movement of the qi throughout the entire form. In each posture, the practitioner should be aware of the appropriate pathways for circulating the qi and should intentionally direct the qi through those pathways. The awareness should concentrate solely on the movement of the qi and should not be directed to any other aspect of the practice. Because the qi must be abundant and excited and the yi must be concentrated and resolved, it is best to stand in wuji posture for some time prior to commencing the form. The past masters would often stand for several minutes or longer before internally separating their unified qi into yin and yang. In the first chapter of A Study of Taiiquan, which is titled “A Study of Wuji,” Sun Lutang stated that, during the period of standing in wuji posture prior to beginning the form, the practitioner should stand quietly and be empty both internally and externally. Tim Cartmell, who translated this work, appended his own commentary to Sun’s description. Mr. Cartmell stated that the time required to reach this level of stillness (ru jin), will vary with the practitioner, but suggests that a time period of twenty minutes.272 As you can see from the above recommendation, it is essential to spend an appropriate amount of time standing in wuji posture prior to commencing the form. If necessary, you should review the material presented previously in

Chapter Three, which introduces the topic of song gong and discusses what should take place when standing in wuji posture. As to the amount of time that one should spend standing in this posture prior to initiating the separation of yin and yang at the beginning of the form, one should rely not only upon the feeling of ru jin but should also actively feel that the qi within the dantien has become abundant and excited. If the feeling of ru jin and the excitation of the qi can be achieved in five minutes, one minute, or even thirty seconds, then it is permissible to begin the form. If after twenty minutes the desired physical stillness and mental calmness along with the excitation of the qi in the dantien referred to in the preceding paragraph have not been established, then this should be taken as a sign that it is not the appropriate time to practice the form. It would be better to engage in some other physical activity, such as walking or practicing the Eight Pieces of Brocade qigong exercise. If one cannot yet attain the physical and mental states described above, then one should continue practicing song gong along with the qi cultivation exercises outlined in Chapter Seven and Chapter Eight. There is no point in attempting to be mindful of the movement of the qi during the form if the qi is not sufficiently strong and abundant or if the yi is not adequately developed and accustomed to the task of leading the qi from the dantien out to the extremities. Only additional time spent practicing song gong will prepare the practitioner to engage in mindful meditation at this level. The above discussion, which presents the general idea of mindfully meditating on the circulation of the qi, is rather simplistic. As you are aware, the qi doesn’t just go to a single part of the body when completing a particular posture. In actual practice, the qi is directed to each of the four extremities when completing a posture. Further, the quality of the qi in each extremity may be classified as either yin or yang depending upon the martial application of the posture. So, for example, in the Yang style posture of Ward-Off Right, shown in Figure 17-1a below, the qi that is directed toward the outside of the right arm is yang in nature. In contrast, the qi directed down the inside of the left arm and palm is yin. The qi that is sent down the right leg is yang, and the qi delivered to the left leg is yin. In the posture of Ward-Off Right, both the right arm and the right leg are considered to be yang, whereas the left arm and left leg are considered to be

yin. At first, this distribution of yang qi and yin qi appears to contradict the principle of balancing yang and yin, since both the extremities on the right side of the body (i.e. the arm and the leg) are yang and both the extremities on the left side of the body are yin. This would appear to result in the condition of double-weighting on the right side. However, postures such as Ward-Off Right are essential from a martial perspective, as there are times in which one side of the body must be full while the other side of the body is empty. Taken together, the right and left sides of the body do conform to the requirement that yang and yin be maintained. There are, however, many taijiquan postures in which the right leg is yang and the right arm is yin, counter-balanced by yin in the left arm and yang in the left leg and vice-versa. An example of such a posture is the Yang style posture of Left Brush Knee, Twist Step, presented below in Figure 17-1b. In this posture, the right arm is considered to be yang; the left arm is considered to be yin; the left leg is considered to be yang; and the right leg is considered to be yin. In this case, yang and yin are balanced in both the upper and the lower extremities, and the body in its entireity maintains an overall balance between yang and yin energies. When analyzint the distribution of yang qi and yin qi in a given posture, it is important to consider the martial application of the posture and to seek the overall harmony of yang qi and yin qi throughout the entire body, rather than simply focusing upon one half of the body, such as the upper or lower extremeties or on only one or the other side of the body.

Figure 17-1a

Figure 17-1b

In order to execute each posture with the correct distribution of qi, one must not only know the martial application of each posture of the form, one must

also know where to direct the qi and what quality of qi (i.e. yang or yin) should be sent to each extremity. This requires a thorough understanding of each posture and also the ability to engage the yi to direct the qi. Additionally, the transitions from posture to posture must be clearly understood, as they require that the qi that was previously directed to each extremity be withdrawn into the dantien before being redirected outward again in support of the next posture. This in turn entails strictly following the principle of Open/Close and a clear grasp of the principle of distinguishing between the substantial and the insubstantial. The drawing in and the subsequent extending of the qi as one posture transitions into another may be illustrated by considering the transition from the Chen style posture Lazy About Tying the Coat into the posture of Six Sealing and Four Closing. At the conclusion of the posture of Lazy About Tying the Coat, the substantial (or yang) qi has been extended outward toward the outer edge of the right hand as well as down into the right leg and the toes of the right foot. Correspondingly, the yin qi is held in the left hand and in the left leg and the heel of the left foot. The finished posture of Lazy About Tying the Coat is represented in Figure 17-2a. In order to initiate the transition into the posture of Six Sealing and Four Closing, the hands are withdrawn in a counter-clockwise circle toward the center in conjunction with the weight shifting from the right leg back onto the left leg. In this closing phase, the qi is likewise withdrawn from the hands and feet and spiraled back into the dantien. See Figure 17-2b. As the transition continues, the hands continue circling down and then up and forward toward the right, and the qi is issued from the dantien and spiraled outward toward the palms in a double push gesture. This is supported by the shifting of the weight back onto the right leg and the attendant stepping to the right with the left foot, as shown in Figure 17-2c.

Figure 17-2a

Figure 17-2b

Figure 17-2c

The above description of the circulation of the qi in the transition from the posture of Lazy About Tying the Coat into the posture of Six Sealing and Four Closing constitutes one cycle of chan ssu jin, or silk-reeling energy. This cycle includes both the gathering, or shun chan, phase, and the issuing, or ni chan, phase. Normally, Chen stylists practice silk-reeling by repeating a single cycle, such as the one described above. However, when practicing the empty-hand form as a mindful meditation, the silk-reeling must proceed from posture to posture, from one cycle of shun chan/ni chan directly into the next cycle, continuing on until the entire form has concluded. The challenge of performing the solo form with the awareness centered on the qi becomes one of continually circulating the qi throughout the entire form “without breaks or holes, hollows or projections, or discontinuities.” From the moment one steps out from the wuji posture and begins to separate yin and yang at the commencement of the form, the yi must direct the qi to flow continuously, “like a great river rolling on unceasingly.” If at any point in the execution of the form the practitioner loses the sensation of the movement of the qi, he or she should terminate that round of the form and begin anew. However, prior to initiating another round of the form, the practitioner should identify what caused the qi to stop flowing. Was it due to a lapse in concentration or was it related to a blockage somewhere in the body? Lapses in concentration are likely to occur whenever a beginner practices any type of mindful meditation. Even seasoned meditators occasionally experience such lapses. When engaged in other forms of mindful meditation, such as when meditating on the breath or when engaged in mindful walking, it is easy to begin anew. All one needs to do is to take another breath or another step forward. However, when the taijiquan form is used as the vehicle for practicing mindful meditation, it is necessary to begin the entire form again. There are no shortcuts to this type of mindful meditation. One should not, for instance, “take up where one left off.” That is to say, if the practitioner is performing the Wu style solo form and finds that, at the point of executing Fist Under Elbow, she has lost the sensation of the qi, it would be cheating to return to the position of Cross Hands in order to begin again. The only way to train the complete and continuous circulation of the qi throughout the entire

performance of the form is to start at the beginning and continue on without any discontinuities until the form is complete. It is best to think of the qi at the beginning of the form as a tiny stream born high in the mountains that gathers strength and momentum as it flows onward like a mighty river until it reaches its final destination where the river meets the sea. Although practicing the form while focusing the awareness on the qi without breaks or discontinuities is a significant achievement, it is not the ultimate attainment of taijiquan. In his classic, Expositions into the Practice of the Thirteen Postures, Wu Yu-hsiang wrote that focusing only on the qi will cause the mind to become “stagnant.” Wu explained that the practitioner must make the ching shen firm, while maintaining external calmness. Wu further added that the yi must rely upon the ching shen and not be focused on the qi. If the mind is concentrated on the qi, the qi will become stagnant. However, when the mind is focused on the ching shen, the resulting strength, or li, will become like “pure steel.”273 This important exposition from Wu Yu-hsiang’s treatise gives rise to several questions: Isn’t qi a good thing? Shouldn’t we strive to cultivate the qi? How can concentrating the yi on the qi lead to stagnation of the qi? Also, isn’t li external strength? If so, shouldn’t we be striving to develop jin and not li? And, finally, how can there be pure steel without first cultivating and circulating the qi? We can begin to answer these questions by further investigating Wu’s treatise, in which he stated that, when the ching shen is raised, there is no fault of heaviness. One must become light in order to elevate the ching shen. This is accomplished by suspending headtop.274 The key concept to be understood is the notion of raising the ching shen, the spirit of vitality. The term “ching shen” employed by Wu Yu-hsiang is referred to elsewhere in Taoist literature as hsien shen. This is the purified shen that is the result of the Taoist alchemical process of transmuting the ching and the qi in order to refine the shen. When the ching shen is raised, the awareness is no longer focused on the circulation of the qi. Focusing on the qi limits the awareness, preventing the practitioner from being simultaneously calm and agile. When the mind is fixed on one thing, even if that thing is the qi, then it becomes stagnant and heavy. In relation to this, the reliance upon qi to support jin is not the highest level of jin. At the highest level, issuing jin is accomplished by the yi alone. This is only possible when the ching shen

has been elevated to reside in the upper dantien, situated behind the yintang acupoint. The term, “pure steel,” in this discussion refers to the refinement of the jin that takes place when the qi is condensed into the bones, especially the vertebrae in the spine. The Taijiquan Classics refer to the process of cultivating the jin of pure steel as if creating the blade of a fine sword. The metal is hammered, reheated, and hammered again until all the impurities are eliminated in order to forge a blade that is indestructible.275 Several techniques for condensing the qi into the bones and elevating the spirit of vitality will be presented in the following sections of this chapter. Assuming that one has achieved the level of spiritual cultivation that enables one to raise the spirit of vitality into the upper dantien, practicing the form, or any activity for that matter, becomes the highest form of mindful meditation. At this level of attainment, one is mindful of one’s own spirit and becomes conscious of one’s own consciousness. In the yogic spiritual tradition, the awareness of one’s own essential nature is called “pure consciousness,” or “cosmic consciousness” This is considered to be a transcendent state of awareness, what the Taoists refer to as “natural awareness.” Maharishi Mahesh Yogi, who introduced Transcendental Meditation to the West, was once asked about taijiquan. He replied that it would be possible to transcend while practicing taijiquan. He was aware that any thought or activity, if experienced at a sufficiently subtle and refined level, could serve as a vehicle for focusing consciousness onto itself. In TM, the vehicle for refining the consciousness is the mantra. In taijiquan, the vehicle for refining consciousness is the form itself. In either practice, when either the mantra or the form disappears and all that is left is pure consciousness (i.e. pure ching shen), then one transcends the limitations of ordinary consciousness and experiences cosmic consciousness, which reveals one’s essential spiritual nature.

The Shii Soi Ching The early Taoists developed a number of practices for cultivating and circulating the qi. Several of these practices were outlined in Chapter Seven and Chapter Eight. The Buddhist monks who resided in the Shaolin temple also recognized the importance of cultivating the qi for the purpose of

supporting their quest for enlightenment. Two important documents, the Yi Gin Ching and the Shii Soi Ching, are generally attributed to Da Mo, the legendary Buddhist monk who is reputed to have brought Buddhism to China and who supposedly spent a number of years at the Shaolin temple. Legend has it that Da Mo observed the poor state of the health of the monks who were living in the temple at the time. Because of their weakened condition, the monks were unable to endure the rigors of monastic life, in particular the long hours spent in seated meditation. According to legend, Da Mo went into seclusion and meditated upon this situation. He ultimately devised two complementary systems for strengthening the body and the qi so that the monks would be strong enough both physically and energetically to pursue their spiritual goals. These two systems were documented in the Yi Gin Ching, or Muscle/Tendon Changing Treatise, and the Shii Soi Ching, or Marrow Cleansing/Brain Washing Treatise. The Yi Gin Ching primarily describes external, or wai dan, practices for strengthening the muscles and tendons of the body. The Shii Soi Ching includes both external and internal practices for cleansing the bone marrow and “washing” the brain. These practices, which are described in the following sections of this chapter, enable the practitioner to stimulate the bone marrow and the neurons of the spinal column and the brain with the purpose of cleansing and purifying both the blood and the qi and also of refining and elevating the shen. The original texts of the Yi Gin Ching and the Shii Soi Ching are terse and often obscure or allegorical. They are also, obviously, written in Chinese. For this reason, we in the West are fortunate to have the benefit of translations and commentaries for these two treatises to work with. Probably the most accessible and widely read of these translations/commentaries is that of Dr. Yang, Zwing Ming. In the commentaries which accompany his translations of the Yi Gin Ching and the Shii Soi Ching, he clearly describes both the theories and the practices that are presented in the original versions. Although some taijiquan practitioners may find the physical training methods presented in the Muscle/Tendon Changing Treatise to be valuable in supplementing their practice, it is the practices presented in the Shii Soi Ching that have the greatest applicability to the goal of spiritual development which is the focus of this chapter. The following sections will present

practices from the Shii Soi Ching that are particularly relevant to the strengthening of the qi and the refinement of the shen.

Stimulating the Fascia In his presentation of the Shii Soei Ching, Dr. Yang describes two specific techniques for cleansing and stimulating the marrow of the bones: beating stimulation and bone marrow breathing. Beating stimulation is a waidan practice that involves external stimulation of the muscles and fascia in order to invigorate the bone marrow. Bone marrow breathing is a neidan practice, that is to say that it is practiced internally by engaging the yi to direct the qi. Beating stimulation employs various appliances such as stone pestles, wooden sticks, wooden balls, bean bags, etc. in order to gently (and later not so gently) beat and vigorously massage the surface of the body in order to stimulate the underlying muscles and fascia. Yang Zwing-Ming wrote that fascia training is the key for successful Yi Gin Ching training.276 Dr. Yang cited the “The Fascia Kung” chapter of the Shii Soei Ching in which it is written that one must train the fascia in order to change the tendons. In order to train the fascia, one must begin by training the qi. This requires the practitioner to first clean the qi and make it harmonious; subsequently the practitioner must be able to transport the qi to the fascia and tendons.277 The purpose of beating and massaging the skin and the underlying tissues is to stimulate local blood flow. The blood that is attracted to the area of stimulation is accompanied by qi. This qi is then directed by the yi to penetrate the pores of the bones and so enter the marrow. Ideally, you will be able to work with a partner who can perform the beating and massaging, although it is possible to stimulate most areas of the body without assistance. If beating the body with sticks and bean bags or massaging with balls and stone pestles seems a bit extreme for your sensibilities, you can try the alternate technique of fascia massage, which has gained much popularity in exercise and physical therapy circles. Fascia massage employs traditional massage techniques as well as foam rollers and tennis balls to massage the fascia tissue that lies between the skin and the underlying muscles. Fascia massage is much gentler than beating, and can provide many of the same results without the associated discomfort and risk of injury.

A detailed presentation of fascia massage is beyond the scope of this book. However, the photographs presented below will give you some idea of how you can practice fascia massage on yourself. A short, smooth wooden rod, such as a cane or a taiji bang is very effective in providing the gentle rolling pressure that is required for fascia massage of the limbs. A foam roller may be employed on the torso, the neck, the hips, and even the calves and thighs. Many individuals find relief from a variety of ailments, such as backache, arthritis, poor circulation, fibro-myalgia, etc. You can use the technique of rolling with a wooden rod or a foam roller in order to stimulate the fascia surrounding the muslcles of the arms, the legs, the pelvis, the ribs, the scapula, and the vertebrae of the spine. Figures 17-3a and 17-3b illustrates how to use either a taiji bang or a foam roller to gently stimulate the fascia covering the muscles of the thigh. There are a number of techniques that can be applied to various parts of the body when working with either a short rod or a foam roller. You can find detailed instructions online or in books that explain the process of fascia stimulation. One such book is The Melt Method, by Sue Hitzmann.

Figure 17-3a

Figure 17-3b

The complementary practices of fascia stimulation and bone marrow breathing, described below, serve to improve the quality of the blood, strengthen the immune system, and enhance the qi. Individuals often notice increased energy and vitality and more abundant and powerful qi after as little as a week of regular practice of these efficacious techniques. After around three months, these changes will become integrated into both your physical and energy bodies, and you will begin to experience greater health, vitality, energy, and resistance to diseases.

Condensing the Qi into the Bones The practice of condensing the qi into the marrow of the bones was documented over a thousand years ago in the Shii Soei Ching. In his commentaries on this treatise, Dr. Yang explains the importance of our bone marrow in maintaining optimal health. As you may be aware, our bone marrow is responsible for producing both red and white blood cells. Red blood cells have the important task of transporting oxygen to all the tissues of the body, especially the oxygen-consuming neurons of the brain, which typically require ten times more oxygen than other cells in the body. White blood cells are one of the primary components of our immune system and are also extremely important in maintaining our overall health. In Traditional Chinese Medicine, the qi and the blood are considered to be “brother and sister.” If the blood is healthy, then the qi will be healthy and vice-versa. For this reason we want the marrow in our bones to be healthy and abundant. One way to ensure this is to employ our qi in order to augment and promote the overall vitality of the bone marrow. Dr. Yang wrote that there are two ways the qi can be led into the marrow when practicing bone marrow breathing. The first method is to lead the qi into gaps between the bones (i.e. the joints). The other approach is to lead the qi directly into the bones through the millions of small qi channels, called “luo.”278 Of these two techniques, the method of leading the qi into the bones laterally via the luo is easier to visualize and to put into practice. The method of leading the qi into the bones through the joints is more difficult and will not be discussed here. You may want to investigate this alternate form of bone marrow breathing on your own. Please refer to Dr. Yang’s excellent text for further instruction.

In order to employ this second method of leading the qi into the bones, it is important to understand the role of the luo. The qi circulates throughout the body following the twelve main qi meridians. Qi is also stored and may flow into and out of the eight extraordinary qi channels. The twelve meridians and the eight extraordinary channels correspond to the arteries and veins of the circulatory system. However, just as the blood must be able reach every tissue in the body via the small capillaries that are connected to the arteries, so the qi must be able to penetrate to every point of the body, including the bones. This is the function of the luo. The luo are analogous to the capillaries in the blood circulatory system. The luo deliver the qi to the surface of the bones. As you may be aware, bones are porous. It is possible for the qi to enter the bones through these surface pores and so to penetrate to the marrow situated at their centers. However, when the qi is weak, it will only penetrate to the marrow at a low volume. Without a strong supply of qi to invigorate the marrow, it becomes fatty and debilitated, thus affecting the quality of the blood. When the qi is strong, on the other hand, it is possible to use the yi to direct the qi to condense into the marrow with great force and volume. This will revitalize the marrow and strengthen the blood. The Taoists refer to this process as “cleansing the marrow.” Condensing the qi into the bones produces the added benefit of strengthening and hardening the bones until they have the quality of steel. Bone marrow breathing is best practiced on the long bones, such as the fingers, toes, forearms, upper arms, shins, and thighs. With long bones, such as the thigh bone, it is also easier to apply the external pressure that initially accompanies the mental imagery of condensing the qi into the bone. The ribs are technically long bones, so you can practice bone marrow breathing into the ribs as well, as you will discover in Bone Marrow Breathing Exercise 3 described below. Bone marrow breathing does not work well with flat bones, such as the scapula, pelvis, and skull. Although these bones do contain marrow, the marrow is different from that of the long bones and the bones themselves are denser and more difficult to penetrate through the technique of bone marrow breathing. Consider the technique of condensing the qi into a specific bone by passing the qi through the pores on the surface of the bone. This requires that the qi

first be pressurized by practicing the Taois of reverse breathing technique described in Chapter Eight. Once the practitioner has learned to pressurize the qi through the process of reverse breathing, the qi can be lead to the pores on the surface of the bone, and then the qi can be directed to penetrate to the marrow at the bone’s center. On the inhale, the yi leads the qi to the surface of the bone, where it attaches to the pores. On the exhales, the qi is “squeezed” through the pores in order to penetrate the marrow at the bone’s center. Bone Marrow Breathing Exercise 1: It is best to start small when beginning the practice of bone marrow breathing. You can begin with the phalanges (the finger bones of the hand). For example, wrap the first three fingers and thumb of your right hand around the phalanges of your left thumb as shown in Figure 17-4a. Inhale using reverse breathing and use your yi to direct the qi to surround the thumb bone. As you exhale, gently squeeze your wrapped fingers and the thumb of your right hand around your left thumb and imagine the qi being condensed into the bone. You may use the illustration depicted in Figure 17-4b as a mental guide. You will feel the gentle squeezing pressure, and you may be able to feel the qi penetrating the bone and stimulating the marrow.

Figure 17-4a

Figure 17-4b

Repeat this process for eight squeezes. Proceed one-by-one to condense the qi into each of the fingers of both hands. This practice should take you ten minutes or more. When you are beginning, you should work with each finger individually. Obviously, if you work on each finger individually, as well as each toe individually, by the time you get to the arms and legs, you will have spent quite a lot of time. Instead, the practice of working on the individual fingers of the hands is to accustom you to the practice of condensing the qi into the bones using gentle external pressure in order to condense the qi into the bones. Once you are comfortable with the process, you can address all the fingers of a single hand at the same time using the technique that will be described in Bone Marrow Breathing Exercise 2. After you have developed some sense of how to breathe the qi into the bone marrow of the fingers, you can proceed to work on the two bones in the forearm, the radius and the ulna. Because you won’t be able to wrap your fingers around the entire length of the forearm at one time, you will work up the forearm in sections. Begin by wrapping the fingers of the entire right hand around the portion of the left forearm closest to the wrist as shown in Figure 17-5a. Apply the same technique to this portion of the forearm that you applied to the fingers. Employ the technique of breathing and squeezing this portion of the forearm eight times. Visualize the qi penetrating into the bones of the radius and the ulna in the region covered by your opposite hand. See Figure 17-5b.

Figure 17-5a

Figure 17-5b

After eight squeezes, release the fingers of your right hand and move them up a hand’s width on the left forearm. Repeat the process for eight breaths and then move up the left forearm again. By positioning the fingers around the circumference of the forearm at three separate locations, you should be able to include the entire length of the forearm in a total of twenty-four squeezes. Be sure to work on both arms equally. After you are comfortable working on the radius and ulna of each arm, you can move up to the larger humerus bone located in the upper right arm. As with the bones in the forearm, you will need to address this bone in three stages, starting with the portion of the upper arm closest to the elbow. Once you have finished with the upper right arm, you can apply the same method of breathing and squeezing to the upper left arm. When you can condense qi into all the bones of the fingers and the arms, begin working on the bones in the toes, the shins, and the thighs. Bone marrow breathing can be time-consuming. For this reason, you may choose to address a different region of the body each day. For example, on one day you may concentrate on the toes and the legs. On another day you may focus your practice on the fingers and the arms. Remember that, by condensing the qi into the bones, you are not only improving the health of your bone marrow, you are also revitalizing the entire body by enhancing the quality of your blood and your qi. Bone Marrow Breathing Exercise 2: Once you feel comfortable directing the qi into the marrow of the bones of the fingers, arms, toes, and legs using gentle external pressure, you may begin bone marrow breathing with mental intention alone. This will enable you to treat an entire long bone, or even several long bones, with a single breath. As an example, try working with all the fingers of a single hand. For this practice, it is helpful to employ the Embracing the Tree posture as shown in Figure 17-6a. Using reverse breathing, breathe in and visualize the qi adhering to the pores of all the fingers of one of your hands. On the exhale, use your yi to direct the qi inward to the marrow of each finger simultaneously. See Figure 17-6b. Repeat this process for eight breaths. After eight breaths, the fingers should begin to feel warm and/or tingly. Then, shift your attention to the fingers of the opposite hand. Perform the same exercise on the fingers of that hand.

Figure 17-6a

Figure 17-6b

Next, move up to the forearms and perform eight breaths while concentrating on directing the qi into the marrow of both the ulna and the radius of one arm. Having completed the eight breaths on one side, repeat the process on the other forearm. Then move up to the humerus and perform eight breaths on one arm and then the other. Repeat the same basic sequence for the toes, shin bones, and femur, working first on one foot or leg and then the other. If you perform eight breaths on each set of long bones, the entire process should take approximately twenty minutes. After a week of practice, you can reduce the time by half if you are able to address both sides of the body at the same time. That is to say, when you work on the fingers, direct the qi to enter the bones of the fingers of both hands simultaneously. You can address the other long bones in a similar fashion. Bone Marrow Breathing Exercise 3: In this exercise, you will focus on the ribs. The ribs are a special category of long bone in that they are curved and connected together by muscles, tendons, and ligaments. Because of their interconnectivity and curvature, it is difficult to isolate individual ribs for the purpose of bone marrow breathing. For this reason, it makes sense to work with the entire rib cage as a single unit when practicing bone marrow breathing with these long bones. Although more difficult than the previous two exercises, it is important to include the ribs when engaging in bone marrow breathing. This is due to the manner in which the ribs attach to the spine. As you know, the spine is pivotal in both the martial and the civil aspects of taijiquan. Practicing bone marrow breathing into the rib bones will facilitate the practice of attaching the qi to the spine, which will be explained in the following section. The practice breathing into the marrow of the ribs is similar to that of Bone Marrow Breathing Exercise 2. However, because of the relationship between the ribs and the lungs, it is best to use abdominal breathing when practicing bone marrow breathing into the rib bones. To begin, stand in the zhan zhuang posture of Embracing the Tree shown above in Figure 17-6a. Unlike the previous two bone marrow breathing exercises, you will employ the technique of abdominal breathing in this exercise. On the inhale, direct the qi from the dantien to the surface of each of the ribs. Use the outward pressure of the inflated lungs against the rib bones to pressurize the qi. On the exhale,

use your yi to lead the pressurized qi into the interior of the rib bones where the marrow is located. Repeat for a total of twenty-four times. The technique of abdominal breathing alternately expands and contracts the muscles, ligaments, and tendons that connect the individual rib bones together. This breathing technique also lifts and lowers the entire rib cage and gently massages the organs of the upper torso, including the heart, lungs, stomach, liver, spleen, and thymus gland. As you continue to practice bone marrow breathing into the rib bones, it is a good idea to focus your awareness on the intersections of the ribs with the vertebrae of the spine. This awareness will assist you when you proceed to the following exercise, in which you will practice attaching the qi to the spine.

Attaching the Qi to the Spine Bone marrow breathing is effective in stimulating the marrow of the long bones. However, it is difficult to direct the qi into the marrow of the individual vertebrae that comprise the spine, as these small bones are hollow at their centers. To address this issue and also to prepare themselves for further self-cultivation techniques, the ancient Taoists discovered and perfected the technique of attaching the qi to the spine. Attaching the qi to the spine supports both the martial applications of taijiquan as well the civil goal of self-cultivation. Recall that the body contains five bows, of which one is the spinal bow. When the spinal bow is drawn (i.e. its overall curvature is increased) it becomes a source of elastic potential energy. The stored elastic potential energy can then be released in support of martial applications, such as executing a push. If the qi can be attached to the spine and can then be released suddenly, the potential energy stored in the curvature of the spine will be augmented by the sudden release of the stored qi. This is the explanation for the issuing of fa jin. Attaching the qi to the spine also serves another purpose. By attaching the qi to the surface of the vertebrae and then directing the qi to penetrate into the centers of the vertebrae, the practitioner stimulates and fills the Thrusting Channel, which runs up the center of the spinal column. The Thrusting Channel is one of the eight extraordinary qi channels that, in conjunction with the twelve meridians and the countless luo, constitute the qi circulatory

system. It is the Thrusting Channel that is employed in raising the shen, which is the goal of all Taoist practitioners. Refining and raising the shen will be discussed in detail in the following chapter, which addresses the subject of Taoist alchemy. For the purposes of this discussion, it is sufficient to recognize the importance of attaching the qi to the spine as a preliminary exercise in support of this goal. Attaching the qi to the spine is a natural progression from Bone Marrow Breathing Exercise 3, in which the qi was lead into the marrow of the rib bones. In order to attach the qi to the spine, you will again employ the technique of reverse breathing. The inhalation draws the qi to the surfaces of the individual vertebrae. On the exhalation, the yi directs the qi to penetrate to the centers of the vertebrae, where the nerves of the spinal cord are located. See Figure 17-7.

Figure 17-7

When first learning how to attach the qi to the spine, it is helpful to work on the region of the spinal column that includes the articulations (connections) to the ribs. You can use these rib articulations to help you visualize the locations of the vertebrae. The ribs can serve as vectors, or pathways, for the qi to follow as you direct the qi inward toward the vertebrae of the spine. Figure 17-8 depicts these articulations.

Figure 17-8

You can address the entire thoracic region of the spine as you practice attaching the qi to the surfaces of the thoracic vertebrae on the inhalation and then directing the qi to penetrate into the centers of these vertebrae on the exhalation. Try for a total of twenty-four breaths. At the conclusion of this sequence, you are likely to feel the entire thoracic area as expansive, and the thoracic region of the spinal column may be sensed as a pillar of energy. This entire region may also become warm or tingly, and the thoracic portion of the spinal column may even begin to vibrate or pulse with energy. These are all good signs. Although the thoracic region of the spine is the easiest to work with due to its connection to the ribs, it is important to include the cervical, lumbar and sacral portions of the spinal column as well. The yuchen, or Jade Pillow, is located just above the first cervical vertebra in the cervical region of the spinal column; the mingmen, or Life Gate, is located within the lumbar region of the spinal column; the weilu, or Rising Yang point, is situated at the coccyx, which is located at the bottom of the sacral portion of the spinal column. These are three important energy enters and are involved in the execution of both the Microcosmic Orbit and the Macrocosmic Orbit. Additionally, you will want to be aware of the dazhui acupoint is located in the thoracic region when you work on this portion of the spinal column. Figure 17-9 provides both lateral and posterior views of entire spinal column, which you can use as a general guideline for identifying the four sub-regions. Figure 17-10 identifies some of the important energy points located along the course of the Microcosmic Orbit.

Figure 17-9

Figure 17-10

A good way to begin the complex process of attaching the qi to the spine is to practice on each of the four sub-regions of the spine individually, employing twenty-four reverse breaths to direct the qi into the group of vertebrae situated in each of the four sub-regions. Once you are comfortable addressing each segment of the spine separately, you can begin to combine two or more sub-regions until you are able to attach the qi to the entire length of the spine in a single breathing cycle. When you have reached this point, you can stimulate and penetrate all of the vertebrae of the spine in a single sequence of twenty-four breaths.

Brain Washing In addition to practicing condensing the qi into the bones in order to cleanse and stimulate the marrow, the Shaolin monks also practiced a technique which enabled them to lead the qi directly to the brain in order to activate and “wash” the tissues of the brain. As you may be aware, the brain is the largest consumer of blood. Even a brief interruption of blood supply to the brain can result in permanent brain injury. The main job of the blood is to supply oxygen to the tissues. If we can increase the oxygen level of the blood, we can supply a greater amount of oxygen to the all the tissues of the body. This is especially important for the neurons of the brain, which require as much as ten times more oxygen than other tissues of the body. Recall that, in TCM, the relationship between the qi and the blood is considered to be that of a brother and sister. Where the qi goes, the blood follows. If we can direct the qi to the brain, then the blood will naturally be drawn to the brain as well. Additionally, if the blood has been strengthened and purified through the process of cleansing the bone marrow, the oxygenrich blood will be able to nourish and cleanse the tissues of the brain. The Shaolin monks discovered a direct pathway for transporting the qi to the brain: the Thrusting Channel. Figure 17-11, shown below, depicts the course of the Thrusting Channel, indicated by the letters A, O, N, M, and P. The Thrusting Channel is located in the center of the torso. It begins at huiyin energy gate (the letter A in Figure 17-11). The huiyin is an important energy gate in that it is situated at the confluence of the Conception Channel (A, L, K, J, I, and H) and the Governor Channel (A through H).

Figure 17-11

The technique of leading the qi up the Thrusting Channel and into the brain is similar to the previous self-cultivation techniques introduced in this book in that it employs the yi to guide the qi. This is a neidan technique and requires both tranquility and focused intent. This focused meditation is best performed either seated or standing in wuji posture. This technique should not be attempted lying down, as the spinal column needs to be vertical in order to direct the qi to rise up the Thrusting Channel. To begin, settle yourself in either a seated or a standing posture. Be sure to level the pelvic bowl and also suspend the headtop. It is important that the spine be elongated and not compressed during this meditation. Take ten deep, relaxing abdominal breaths to calm the mind while at the same time guarding the yi and the qi together in the dantien. Once you feel settled and relaxed in body and mind, switch to reverse breathing. With each inhalation, pull up lightly on the perineum and the anus as you mentally draw the qi up from the huiyin to travel from point A all the way up to point P. Dr. Yang, Zwing-Ming states that, in the exercise of brain washing, the keys to success are the yi, the breathing, and the huiyin.279 With each the exhalation, allow the qi to diffuse out to all the tissues of the brain. When exhaling, you should also relax the perineum and the anus. This differs from Dr. Yang’s instruction, which is to continue to hold up the perineum and the anus during both the inhalation and the exhalation. When you first begin this practice, try for a total of twenty-four breaths. If at any time you feel light-headed, revert to regular abdominal breathing and suspend the movement of the qi from the huiyin to the brain. Once you have regained your focus, you can resume reverse breathing and continue the practice. Over time, you will develop the ability to continue this focused meditation for up to twenty minutes. The result of practicing for even five minutes at a time will be increased alertness, broader awareness, and more focused attention. You may feel that your brain is larger and that your consciousness has expanded beyond the physical limits of your cranium. As you increase the length of your practice, these positive sensations will become amplified and will accrue over time. After several weeks of practice, you can enhance your brain washing focused meditation by incorporating the “heng” and “ha” sounds into your inhalations and exhalations. The “heng” and “ha” sounds are normally vocalized when

practicing the form or applying martial techniques. The purpose of the “heng” sound is to gather and store the jin. The “ha” sound is employed to amplify and focus the power when the jin is released. However, these two sounds may be repeated silently when practicing reverse breathing. When reverse breathing while engaged in brain washing focused meditation, you silently repeat the sound, “heng”, as you draw the qi up the Thrusting Channel on the inhalation. On the exhalation, as the qi is diffused throughout the brain, you silently express the “ha” sound. When practicing brain washing focused meditation, you may feel sensations at the special points located at either the Third Eye Chakra (the yintang acupoint) or the Crown Chakra (the niwan acupoint). These important energy gates are often activated during the process of brain washing focused meditation. As you will discover in the following chapter, the Third Eye Chakra is the home of the shen, which the Taoists refer to as the Shen Valley. Brain washing focused meditation is one of the techniques employed by Taoist adepts in order to elevate the shen, which is one of the primary goals of Taoist alchemy.

Conclusion This chapter has introduced the topic of spiritual development and has suggested that the founders of the various family styles of taijiquan were not only martial artists but also spiritual cultivators who practiced esoteric and formerly-secret methods for refining and elevating the spirit of vitality, or shen. The basic concepts of spirituality and enlightenment were discussed as a foundation for introducing the possibility of employing taijiquan as a path for spiritual development. It is important for all individuals who seek to follow a spiritual path to know where that path will lead. All spiritual traditions have the same ultimate goal, which is to reveal the true self and to unite that self with universal consciousness. In the yogic tradition, the self is the atman, and is revealed primarily through the practice of meditation. The state of self-awareness that results from this practice is known in the yogic tradition as “cosmic consciousness.” Once the atman is revealed, the final step is to unite the atman with brahman, or universal consciousness. The Buddhist tradition seeks to resolve the duality of the self and the non-

self. When this duality is resolved, one’s true self, or buddha nature, is revealed. The realization that duality is an illusion results in the state of enlightenment, or nirvana. This, in turn frees one from the karmic wheel of birth, death, and rebirth. The goal of the Taoist tradition is to elevate the shen in order to reveal the Te. Waysun Liao defines the “Te” as that small piece of the Tao that resides in each individual. Once the Te is revealed, it can then merged with the Tao in order to complete the process of spiritual development that results in enlightenment. The means for elevating the shen to reveal the Te and for merging the Te with the Tao are contained within the alchemical practices developed by the venerable Taoists sages of the past. The practice of taijiquan, in and of itself, has the potential to elevate the spirit, or shen, and to enable practitioners to realize their innate nature, their true self. This chapter has demonstrated how, by practicing the form with focused intent, one can not only cultivate and circulate the qi but also refine and elevate the shen. The refinement and elevation of the shen can lead one to a transcendental state of awareness. Although it is possible to achieve such a state by engaging solely in taijiquan, it is helpful to supplement the practice of taijiquan with additional exercises whose purpose is to strengthen the qi and to refine the shen. The Shaolin Buddhist practices described in the Shii Soi Ching, several of which were presented in this chapter, may be used to strengthen the qi by stimulating and cleansing the bone marrow. The practice of brain washing, also described in the Shii Soi Ching, enables the practitioner to stimulate the neurons of the brain in order to support a strong and vital shen. The practices of bone marrow cleansing and brain washing as presented in this chapter will result in healthy, abundant qi and a strong and vibrant shen. This will result in a healthy body and mind. Along with the Microcosmic and Macrocosmic circulations, these exercises may be considered to be preliminary activities to the more demanding practices of Taoist alchemy, which are presented in the following chapter. If your interest lies in the dual benefits of improved health and increased vitality, you can forgo any further self-cultivation practices. With the continued and dedicated practice of the exercises presented in this chapter, you will certainly attain this commendable goal. However, if you wish to

pursue self-cultivation with the aim of spiritual enlightenment, then you will need to engage in the Taoist alchemical practices described in the following chapter. Through these practices, you will discover how to transmute the Three Treasures of the ching, qi, and shen in order to reveal the Te and merge it with the Tao in order to attain the ultimate goal of spiritual practice, the state of enlightenment.

Chapter Eighteen

Taoist Alchemy and the San Pao

Chapter Seventeen introduced the concept of using the practice of taijiquan as a path for spiritual development. One of the main ways in which taijiquan promotes spiritual growth is through the increased tranquility and selfawareness that result from the daily practice of this gentle art. Although taijiquan, in itself, can serve as a vehicle for spiritual development, our practice can be significantly enhanced by supplementing the empty-hand form, weapons forms, and two-person training exercises with additional neidan practices that are specifically intended to enhance our essential energy and to reveal our innate spiritual essence. Several such practices were introduced in the preceding chapter. The Shaolin Buddhist practice of bone marrow breathing that was presented in Chapter Seventeen serves to cleanse and to strengthen the blood. Because the blood and the qi are intimately related, this practice also functions at the energetic level to increase the quantity and improve the quality of the qi. However, the qi is only one of the vital essences that are necessary for human life. According to the Taoist tradition, we also rely upon our sexual essence, or ching, and our spiritual essence, or shen. Together, these three essences support our existence. The Hsien Tao Ching Tso Ching, which translates as “The Way of Immortals Tranquil Sitting Classic,” states that the three essences of ching, qi, and shen are what “activate” us. If these three essences are robust and abundant, they will keep us youthful and vigorous. The Hsien Tao Ching Tso Ching refers to these three essences as the “Three Treasures of Mankind,” which are the san pao of Taoist self-cultivation.280 The cultivation and transformation of the Three Treasures is the purpose of the esoteric alchemical practices that were developed by the ancient Taoist adepts. These practices will be presented

later in this chapter. In order to understand and appreciate these practices, however, it is necessary first to explore the nature of and relationships between each of the Three Treasures.

The San Pao The cultivation and refinement of the san pao are essential to the Taoist practice of self-cultivation, the goal of which is to attain enlightenment and immortality. Collectively, the san pao enable us to live, to thrive, to procreate, and to develop physically, mentally, and spiritually. In his commentary on Awakening to Reality, one of the works in the Taoist Canon, Wang Mu wrote that the essence (ching), breath (qi), and spirit (shen) are the major components of life. He reaffirmed that these three essences are regarded by Taoists as the Three Treasures, and he further stated that the health of the body is dependent upon these Three Treasures. He warned that if they become depleted, the health and vitality of the body will suffer.281 For this reason, it is important to cultivate and nourish these essences and not deplete or damage them. The Jade Emperor’s Mind Seal Classic, translated by Stuart Olson, includes a line which explains that the “meeting” of the Three Treasures creates life, and that their “parting” results in death.282 Mr. Olson expands upon this statement by explaining that the refinement and transformation of the Three Treasures enables one to attain immortality.283 Each of the Three Treasures serves an essential purpose in supporting our existence. First and foremost, we owe our life to the procreative power that derives from the ching of our parents. Without our father’s sperm and our mother’s egg, we would not have been conceived. When we are born and mature, we begin to produce our own ching. Women already have the potential for procreation in the eggs residing in their ovaries at birth. Men typically begin producing sperm as they make the transition into adolescence. Although our individual ching is related to either our eggs or our sperm, our ching essence is more complex. A more detailed explanation of ching and its cultivation and refinement will be provided later in this chapter. The subject of qi and its cultivation and refinement has been covered extensively in the preceding chapters of this book. However, it is important to reiterate that qi is indispensable for our existence. Moreover, the quality and duration of our existence are directly related to the quality and quantity of our

qi. The cultivation and refinement of the qi is of central importance in almost all Taoist practices. As you may recall, we possess two distinct types of qi, our pre-birth qi and our post-birth qi. Our pre-birth qi comes to us from our parents and cannot be augmented after birth. The Taoists developed specific practices designed to preserve rather than dissipate our pre-birth qi. However, the larger part of Taoist qi cultivation practices are intended to strengthen, augment, and refine our postbirth qi. This topic will be discussed in some detail later in this chapter under the heading of Taoist Alchemy. The shen is perhaps the most difficult of the Three Treasures to define accurately. This is because the shen is the most subtle of the three essences. It is also because the shen is not simply defined as a single quiddity, but rather consists of three spiritual energies. Stuart Olson identifies these three spiritual energies as the ming shen (bright spirit), hsien shen (heart/mind spirit), and ling shen (immortal spirit). He further explains that the ming shen is related to the qi, the hsien shen is associated with the ching, and the ling shen is associated with the spiritual self. Strengthening the qi causes the ming shen to become bright; restoring the ching causes the hsien shen to manifest itself; and transforming the ling shen results in immortality.284 When considering the Three Treasures, it is important to understand that, although each of these three essential essences are different and have their own source and purpose, these three essences are also interdependent and mutually supportive. The Yi Gin Ching, which was introduced in the preceding chapter, states that the ching must be abundant and the shen should be complete. Then the qi will naturally be full and “round.” When the shen and the qi are plentiful, the life-force will not be extinguished.285 The Taoists believed that the san pao were integrally related. The Su When Ching, another Taoist text, states that the qi is produced from the ching, and the shen is produced from the qi. The Liu Ching (translated as “The Classification Classic”) supports this relationship by stating that the refinement of the ching results in the refinement of the qi, and that the refinement of the qi results in the refinement of the shen.286 The Taoists posit that the ching is the source of the qi, and the qi is the source of the shen. The Hsien Tao Ching Tso Ching further clarifies that it is the ching and qi together that generate and support the shen. This text explains that when the

shen is unified with the ching and qi, a single unified substance is produced that establishes life. With regard to the shen, both the ching and qi must be unified in support of the shen. If the ching and qi disperse, the shen will perish.287 According to the Taoist sages, there is a hierarchical relationship between the ching, qi, and shen. Regarding the relationship between the Three Treasures, Wang Mu explained that, according to the alchemical texts, ching, qi, and shen constitute a single entity, rather than individual essences. Nevertheless, as far as the Taoist alchemical practices are concerned, it is necessary to separate them and cultivate them sequentially.288 In one sense, this is correct. In order to strengthen and increase the qi, the ching must be stimulated. In order to refine and elevate the shen, the qi must be cultivated. The hierarchical relationship between the ching, qi and shen is an oversimplification, however. As the Yi Gin Ching instructs, both the qi and the shen are employed in the stimulation and retention of the ching. Similarly, in order to cultivate the qi, both the ching and the shen must be engaged. In a larger sense, the shen is the general that oversees the cultivation and ultimate transformation of both the ching and the qi. The ching and the qi also share a special relationship. Both ching and qi are mutually interdependent and neither can exist without the other.289 It is said that the essential nature of ching is yin contained within yang, whereas qi relies upon yang contained within yin. In this way, ching and qi are like the two halves of the Taiji symbol. On one side of the Taiji symbol there is a white semicircle with a small black circle inscribed. This side represents yang. Ching is primarily yang, but is supported by the yin of qi. The other side of the Taiji symbol is a black semicircle with a small white circle inscribed. This side represents yin. Qi is primarily yin, but is supported by the yang of ching. In this way, the two essences are interdependent and mutually supportive. The early Taoists developed a number of practices for cultivating and transforming the three essences for the purpose of attaining the dual goals of enlightenment and immortality. They believed that it was possible to cultivate and transmute the ching and the qi in order to create a magic elixir within the dantien. The internal “consumption” of this magic elixir would enable them to refine and elevate the shen. The refinement and elevation of the shen would, in turn, reveal their inner spiritual nature. The Taoists referred to this

as the “true nature,” which Waysun Liao has labelled the “Te,” and which Stuart Olson refers to as “original nature.” Revealing the Te would further enable practitioners to unite the Te with the Tao and would result in spiritual enlightenment and immortality. Collectively, these practices are referred to as “Taoist alchemy.” It is important to recognize that, in order to successfully engage in the practice of Taoist alchemy, the practitioner must possess a healthy body, an agile mind, and a willing spirit. Wang Mu stated that, in the initial stage of alchemical practice, it is important to replenish the basic constituents of the body. Unless the basic constituents of the body are strong and abundant, it is fruitless to undertake the latter stages of alchemical refinement.290 To this end, one should first and foremost attend to the health of the body and the mind by addressing the issue of lifestyle choices that can either aid or hinder one’s self-cultivation practice.

The Importance of a Healthy Lifestyle In Tao: The Way of God, Master Waysun Liao states that there are three parts that make us who we are: our physical body, our life energy, and our spiritual nature.291 The life energy he is referring to is our qi. Our spiritual nature is something that he calls our “Te.” According to Master Liao, our Te is the individual portion of the infinite energy that pervades the universe. This universal energy, along with the laws that govern how that energy manifests itself, is what we perceive and identify as the Tao. In order to bring our Te into harmony with the Tao, we need to strengthen and refine our qi. To do so, we must first nourish and support our physical body. Master Liao cautions us that, since our physical bodies enable us to have life energy, we must take care of our physical health. 292 This makes perfect sense. Recall that the past Taoists masters identified different types of qi. Within the human body, we have pre-birth and post-birth qi. Although we can care for and conserve our pre-birth qi, we cannot augment it. Our postbirth qi, on the other hand, is completely within our control. We can increase this post-birth qi and enhance its quality in a number of ways, including proper nutrition, suitable exercise, ingesting special herbs, receiving acupuncture and other holistic treatments, training in qigong and taijiquan, and practicing other special techniques intended to refine and increase our qi.

Nourishing and strengthening the body aids in the production of qi, which can be employed to the refine and elevate the shen. For this reason, both the Buddhist monks of the Shaolin temple and the Taoist adepts who followed the Heaven’s Gate method sought to practice both physical and spiritual cultivation. Dr. Yang, Zwing-Ming wrote in his commentary on the Yi Gin Ching that the mutual cultivation of the physical body and the spiritual body is called shing ming shuang shio, which translates as “double cultivation of the human body and the spiritual nature.” According to the Yi Gin Ching, in order to attain enlightenment one needs a strong and healthy body to serve as the physical foundation for spiritual cultivation.293 All of the above methods for increasing and enhancing our post-birth qi fall under the umbrella of lifestyle choices. In general, those activities and practices that are considered to be part of a healthy lifestyle result in improving our post-birth qi. Those activities and practices that are generally deemed to be unhealthy are damaging to our post-birth qi. Since our spiritual development depends upon the amount and the condition of our qi, it stands to reason that we should strive to adopt a healthy lifestyle and to avoid those activities that can damage or diminish our qi. It is beyond the scope of this book to provide detailed instruction in proper nutrition. However, it is worthwhile to point out the importance of providing the body with the nutrients it needs, both of the highest quality and in the appropriate quantity. When approaching the concept of nutrition, it is valuable to consider the role of the Triple Burner, which is central to Traditional Chinese Medicine. The Triple Burner is sometimes mistakenly referred to as the stomach, lungs, and heart. However, it is best to consider the Triple Burner to be a combined super-system that consists of the individual digestive, pulmonary, and circulatory systems. It is these three systems that are collectively involved in digesting food, breathing in air, absorbing nutrients and oxygen into the bloodstream, and circulating those absorbed nutrients and oxygen to the tissues of the body, especially the brain. Clearly, if any of the three primary organs (i.e. the heart, the lungs, and the stomach) associated with the Triple Burner are defective, the overall health of the body will be affected. Also, the health of the body can be positively or negatively impacted by the food that is ingested and the air that is inhaled. Since our post-birth qi is generated from the food we eat, the water we drink,

and the air we breathe, it is incumbent upon us to consume high quality food, drink the purest water, and to breathe in clean air that has not been contaminated by impurities or depleted of its oxygen. One should also be careful not to overload the stomach with excess food or drink. There is a Taoist guideline that, upon finishing a meal, the stomach should be filled with three thirds: one third food, one third water, and one third air (which is to say one third empty). Exercise is almost as important as proper nutrition in terms of maintaining the body in an optimal state of health. By exercising regularly, we help to maintain the health of the heart and the circulatory system. Also, by strengthening the muscles, tendons, and ligaments, we provide the reinforcement required by the joints to support the weight of the body and enable it to function correctly. However, as with nutrition, it is important to determine the proper type and amount of exercise. Lifting heavy weights, for example, may in the long run do greater damage to the joints than the immediate benefit provided by increasing muscle strength. Also, overlydeveloped muscles can impede the flow of qi to the extremities of the body. It is best to select those forms of exercise that provide gentle but continual demands upon the heart and lungs and which do not overly stress the joints and connective tissues. Proper rest is also essential to the body’s healthy functioning. Our waking activities place stress on the body and also cause a buildup of toxins, such as uric acid, within our tissues. When we rest, especially during sleep, our bodies engage in regeneration and elimination at a cellular level. Chinese Traditional Medicine divides the twenty-four hour day into twelve two-hour segments. Each two-hour segment is utilized by one of the organs for rejuvenation and replenishment. See Figure 18-1 below:

Figure 18-1

Consider what happens when you have insomnia. Let’s say that you awaken at 2:15am and can’t fall back to sleep. You decide to turn on the bedside lamp and read a book. As you can see from the above chart, the period between 1:00 am and 3:00 am is utilized by the liver for cleansing and repair. What you may not know is that the eyes are associated with the liver. If you engage your eyes between the hours of 1:00 am and 3:00 am, you disrupt the rest cycle of the liver and thereby reduce its effectiveness throughout the rest of the day. Similarly, you will note that the large intestine in engaged in regeneration and elimination during the hours of 5:00 am until 7:00 am. If you are a “regular” individual, you may find that you normally need to evacuate your bowels toward the end of this cycle. Also, from the above chart, you can see that the best time to sleep is between the hours of 9:00 pm and 7:00 am. Although the chart displayed above does not mention the brain, this vital organ also needs to rest and regenerate itself. Individuals who routinely do not receive sufficient sleep will become sleep deprived and will suffer a number of physical and mental disorders if this condition persists for more than a few days’ time. Both deep sleep and dreaming are important in maintaining good psychological and emotional health. While each individual has his or her own sleep requirements, the one common factor among all of us is that we typically underestimate the amount of sleep we need. As a result, most individuals in modern society are chronically sleep deprived and suffer the consequences of diminished physical and mental capacity. This affects the quality of their qi, which in turn affects their ability to engage in meaningful spiritual development. Providing the body with proper nutrition, pure water, clean air, appropriate exercise, and sufficient rest are all important to the overall health of the body and collectively contribute to strong and vital post-birth qi. Even though we may ensure that the body receives its full complement of these necessary factors, if we coincidentally engage in activities that weaken or damage the body, then our qi will be adversely affected. We can think of the body as receiving either positive or negative inputs. Good food, pure water, clean air, proper nutrition, and sufficient rest are all positive inputs. We want to maximize the positive inputs that our bodies receive in order to preserve and strengthen our qi. Conversely, stimulants and depressants, such as caffeine, alcohol, nicotine, recreational and even many prescription drugs are all

negative inputs. We should strive to restrict or eliminate all negative inputs that can harm the body and damage our qi. Another negative input is stress. Many individuals who desire to follow a healthy lifestyle and pursue spiritual development are limited in their progress due to excessive stress in their lives. The source of their stress may be either external or internal. External stressors include work, family, financial obligations, daily traffic, etc. Internal stressors may be related to the pressure to succeed, concern about personal relationships, childhood trauma, and any number of psychological phobias or conditions. As you are probably aware, it is often easier to manage external stressors than it is to identify and eliminate internal stressors. Most of us are affected to some degree by external stressors on a daily basis. An example of an external stressor is work-related stress. We can either let those external stressors overwhelm us or we can discover ways to avoid or to manage them. By comparison, internal stressors are often more complicated to deal with. However, if we are sufficiently self-aware, we can identify these stressors and seek out techniques that will enable us to confront and overcome them. It is also important to recognize that by increasing our body’s physical health we are better able to address any psychological or emotional issues that we are dealing with. As a final consideration, it is necessary to regulate the amount and quality of your sexual activity. This is a touchy subject. Traditionally, Taoists adepts refrained completely from sex. Sexual release, especially for men, affects the sexual essence, or ching, that is associated with the male sperm and seminal fluid. Excessive ejaculation in men can damage the ching, especially as men age. Even with young men, excessive ejaculation can prove to be debilitating. As will be explained subsequently, the sexual essence, both in men and in women, is an important ingredient in the Taoist alchemical practice in which the qi and the ching are refined together in the cauldron of the dantien in order to produce a special spiritual essence known as ching qi. This highly refined qi can only be produced if both the qi and the ching are strong and abundant. One also must guard against engaging in sexual activity with multiple partners or with partners whose character may not be of the highest moral fiber. When we engage in sex with another individual, we absorb some of

that individual’s psychological, emotional, and spiritual energy. If that individual’s energy is clouded or contaminated with negativity, then some of that negative energy will transfer to us. Each individual must know his or her capacity for sexual activity and must also gauge whether his or her partners are appropriate for sexual intercourse. Those who are engaged in the process of spiritual growth and development must pay special attention to their sexual activities. It is important to determine how much and with whom we choose to engage in sexual activity in light of how committed we are to our spiritual journey. In the case of sex, the aphorism “less is more” is especially apt.

The Importance of the Foundational Practices The Taoist approach to spiritual development is analogous to the process of building a house. The construction of a house begins with laying a strong and stable foundation. The walls are then constructed. Finally, the roof is raised. According to this analogy, cultivating strong and abundant qi is like laying the house’s foundation. Until the foundation has been established, it is pointless to begin erecting the house’s walls. With regard to Taoist spiritual cultivation practices, it is essential to spend the time and effort (gongfu) required to establish the necessary reservoir of strong and abundant qi before proceeding to engage in those practices that utilize the qi to refine the shen. In the analogy of constructing a house, refining the shen is the equivalent of erecting the walls of the house. At a certain point of refinement, the elevated energy of the shen can be concentrated and focused on the yin tang energy gate in order to illuminate the Te. The process of illuminating the Te and merging it with the Tao is akin to raising the roof in the house construction analogy. As you can see, the entire transformational process starts with the foundation, which is the cultivation of strong and abundant qi. That is the purpose of the exercises that have been presented in this book in chapters Three through Eight. To review, the first step is to practice song gong in order to develop the ability to be completely song throughout the entire body. Song gong practice includes both external exercises, such as the stretching and loosening exercises presented in chapters Four and Five, as well as the neigong exercise of zhan zhuang standing described in Chapter Six.

Having developed the ability to be song, practitioners then proceed to the exercise of cultivating the qi by practicing abdominal breathing and focusing the yi on the dantien. When they are able to employ the yi to gather and concentrate the qi in the dantien, according to the Taoist instruction qi shen dantien, they can then begin the exercise of rotating the dantien. Once practitioners can rotate the dantien at will in any direction, they are ready to commence circulating the qi through the Microcosmic Orbit pathway. Only after practitioners have reached the stage in which the qi can be directed to circulate freely and without impediment through the complete circumference of the Microcosmic Orbit should they attempt the final foundational exercise of circulating the qi out to the extremities via the Macrocosmic Orbit. The above process involves a number of sequential steps and requires a serious commitment of time and a substantial expenditure of both physical and mental effort. For those individuals who are not disposed to devote the time and effort necessary to complete these foundational exercises, there is simply no point in attempting the Taoist spiritual practices presented in the remainder of this chapter. There are no shortcuts on the path of spiritual development. To return to the analogy of building a house, if you attempt to erect the walls on top of a scraped earth surface, they surely will not stand on their own. Why would you even attempt such folly? To attempt the following exercises without first establishing the foundation of a strong and abundant qi that you can intentionally circulate throughout your body will prove equally futile. You may well ask: How will you know when you are ready to proceed? The answer is that, if you are completely honest with yourself, you will know at the level of feeling when your qi is strong and abundant. You will further know when you are truly able to employ your yi to circulate the qi throughout the body. Here’s a simple test. Think of an orange for a moment. Imagine holding the orange in your hand, smelling its pungent, citrous aroma and then peeling back the rind and tasting that sweet, slightly acidic flavor that is uniquely “orange.” You can do this, can’t you? That’s the power of your mind: the ability to instantly conjure up the image, texture, scent, and flavor of an orange. OK, now think about concentrating your qi in your dantien. Is it there right now, as soon as you intend it to be? Is it strong and abundant? If so, then next

direct your qi to the index finger of your right hand. Did your qi shoot directly to your finger? Can you feel the qi tingling there, ready to do your bidding? Could you place your index finger on the acupoint of a friend or relative and transmit healing energy into that individual? If you answered “no” to any of these questions, then you are not yet ready to proceed to the higher-level training exercises presented in the remainder of this chapter. Don’t be discouraged by this. Just recognize that the process of building a strong foundation takes time and commitment. Keep working on the foundational exercises presented in chapters Three through Eight until such time as you have cultivated your yi and your qi to the degree that you can instantly direct your qi to any point in your body. Only then should you attempt the following spiritual cultivation exercises. The Yi Gin Ching includes the instruction to practice the Microcosmic Orbit until the qi in both the Conception Vessel and the Governing Vessel is full and abundant. This is the fundamental preliminary condition for beginning the practice of cultivating the spirit (shen) and attaining immortality. If the practitioner does not engage in this initial practice, there will be no foundation for “learning the Tao.”294

An Overview of Taoist Alchemical Practices All of the Taoist and Shaolin Buddhist techniques and exercises presented up to this point have related in some way to the cultivation, circulation, and utilization of the qi. In his translation of the Jade Emperor's Mind Seal Classic, Stuart Olson writes that the basis for contemporary Taoist practices is the process of yang hou. Yang hou is the process of accumulating and circulating qi. He adds, however, that yang hou alone is insufficient to reach the highest level of spiritual cultivation.295 In addition to accumulating and circulating the qi, the process of spiritual development further involves refining and raising the shen to reveal the Te and ultimately merging the Te with the Tao. Cultivating the qi bestows both martial and civil benefits. The martial benefits derived from qi cultivation have been discussed at length in the preceding chapters. The civil benefits, which have also been discussed in detail throughout this book, include optimal health, greater vitality, and increased longevity. We can refer to this type of martial and civil

development as self-cultivation. For many taijiquan practitioners, the martial and civil benefits obtained from the various qigong and Taoist practices introduced previously are more than sufficient reward for the self-cultivation, or gongfu, that they have undertaken. However, in order to attain the highest level of civil cultivation, that of spiritual enlightenment, it is necessary to engage in additional Taoist neigong practices. The goal of these practices is the refinement and elevation of the shen in order to reveal one’s innate spiritual nature, or self. Having revealed the self through the refinement and elevation of the shen, the final step on the path of enlightenment is to merge the self, or Te, with the Tao. This is the ultimate goal of self-cultivation. When discussing self-cultivation, one must be careful to define what is meant by the “self.” In one sense, the term “self” refers to one’s personhood. Western psychologists would call this the “ego”, or, to be more precise, the id, ego and super-ego complex. Your personhood includes your personality, your physical body, your emotions, your past experiences, and your awareness of who you are. All of these things, taken collectively, are your “self.” This description of the self leaves out one significant aspect of your existence: there is no mention of the individual’s spiritual nature. Unfortunately for most of us, this spiritual nature, which is connected directly to the Tao, has been obscured. It is still there, but most of us are simply unaware of its existence. As was stated earlier, Master Waysun Liao refers to this piece of the Tao that resides in each of us as our “Te.” If we employ the Taoist alchemical techniques described below, we can re-awaken our sleeping Te. When our self becomes aware of our Te, our innate spiritual being, then we are said to be spiritually self-aware. What was once obscured has been revealed through the light of self-revelation. This, in itself, is a state of enlightenment, but it is not the ultimate enlightenment. True enlightenment occurs when we reunite our Te with the Tao from whence it originated. The ancient Taoists adepts devised a detailed process for awakening the Te and subsequently uniting the individual Te with the Tao. The Taoist sages employed the allegory of conceiving and nurturing a “spirit baby” to describe

this process. When nurtured to maturity, the spirit baby gives rise to a fullydeveloped spiritual body. The entire process takes a number of years to complete. You can read about the process of conceiving, nurturing, and raising the spirit baby in a number of texts, such as Dr. Yang, Zwing-Ming’s Muscle/Tendon Changing and Marrow/Brain Washing Chi Kung, Stuart Alve Olson’s The Jade Emperor’s Mind Seal Classic, Wang Mu’s Foundations of Internal Alchemy, Liu Yiming’s Cultivating the Tao – Taoism and Internal Alchemy, and Jou Tsung Hwa’s The Tao of Meditation. Master Waysun Liao also refers to the process of conceiving and raising the spirit baby in his book, Tao, the Way of God. To many Westerners, the idea of conceiving a spirit baby and nurturing it within the abdominal cavity may seem foreign and therefor difficult to imagine. However, the basic Taoist practices that underlie the allegory of the spirit baby can be employed without having to rely upon the image of a baby growing in one’s abdominal cavity. Instead, one can simply complete the process of transforming the Taoists’ Three Treasures of the ching, qi, and shen into the Te. The transformations required to refine these Three Treasures, or san pao, are often referred to as Taoist alchemy. The term “Taoist alchemy” refers to the practice of transmuting the essences of ching, qi, and shen for the purposes of self-cultivation and spiritual development. According to surviving Taoist texts, the early Taoist sages were intent on compounding potions that would extend their physical lives. They believed that increasing their lifespans would provide them with more time to complete the lengthy process of attaining spiritual enlightenment. Their efforts lead to many important discoveries in herbal medicine, but they were not successful in discovering the “pill of immortality.” Fortunately, later Taoist adepts abandoned their quest for a physical pill of immortality and turned their efforts inward. These intrepid sages ultimately discovered the secret methods that enabled them to refine their own internal essences for the purpose of attaining higher states of awareness and achieving spiritual enlightenment. The Taoist alchemical practices that these sages discovered are both challenging and time-consuming, and they should not be undertaken casually. Only those individuals who are disciplined and committed to achieving the goal of spiritual enlightenment should engage in these practices. There is a

line in The Jade Emperor’s Mind Seal Classic that states that the process of self-cultivation requires great effort.296 Stuart Alve Olson elaborated upon the difficulties associated with the practice of Taoist alchemy in his commentary on The Jade Emperor’s Mind Seal Classic. He wrote that one should not embark upon the process of spiritual cultivation lightly. Although many contemporary books on Taoist alchemy discuss the process of accumulating the qi in the dantien and of elevating the shen in general terms, these texts are not complete in their descriptions of the actual practices required to achieve these two goals. Most contemporary books on the subject of Taoist alchemy are based upon earlier Taoist texts. These original texts presented diagrams depicting the overall processes of cultivating and circulating the qi and of elevating the shen, but did not include detailed descriptions of these esoteric practices.297 Indeed, the original Taoist texts, even when translated into English, are difficult for Westerners to grasp. They are replete with allegory, symbolism, and allusions to obscure practices. Fu Jinquan, a seventeenth century Taoist scholar, wrote that the alchemical texts are fraught with subtlety, allegory, allusion, metaphor, and intentional deception.298 Wang Mu explained that the Taoist alchemical methods were closely-guarded secrets and that the most important points were not written down, but rather were transmitted orally from master to disciple.299 Despite the obscurities present in the original texts, they serve as valuable references for the modern practitioner who seeks to follow the footsteps of the venerable Taoist adepts who developed the alchemical practices for transmuting the essences and achieving enlightenment. Wang Mu concluded by stating that the Taoist alchemical practices ultimately result in acquiring Nourishing Life (yang sheng). The benefits, both physical and spiritual, of procuring Nourishing Life are certainly worth the gongfu required to acquire it.300 In order to understand how neidan Taoist alchemy is able to transform, or transmute, the essential essences of ching, qi, and shen, it is necessary to realize that each of these essences has its own vibrational energy. The vibrational energy of each essence is dependent upon the energy gate, or chakra, with which that essence is associated. The vibrational energy of your ching, for example, is at a relatively low frequency because your ching is

associated with the Root Chakra located at the huiyin energy point. The Root Chakra is your lowest chakra and has the lowest vibrational frequency of all the chakras. By comparison, your qi has a higher frequency than your ching. The qi is associated with the Sacral Chakra. This chakra is located in the area of the lower dantien. The Sacral Chakra has a higher vibrational energy than the Root Chakra, but its vibrational energy is still at a relatively low frequency compared with the other, higher chakras. Your shen is associated with the Third Eye Chakra, situated at the yintang point, which has a much higher vibrational frequency than either the Root Chakra or the Sacral Chakra. Figure 18-2 indicates the location of the seven chakras of the yogic spiritual tradition.

Figure 18-2

Taoist alchemy involves raising the vibrational energy of one essence so as to transmute it into the next higher essence. For example, in order to transmute your ching into qi, you must raise the vibrational frequency of your ching to that of your qi. There is a logical extension to this concept, which is that the more of one essence you possess, the more of the next higher essence you will be able to produce. For this reason, the Taoists devised techniques for not only transmuting one essence into another but also for increasing the amount of each essence. The process of transforming the san pao involves four stages. Wang Mu enumerated them as follows: 1. 2. 3. 4.

Laying the foundations (zhuji); Refining the ching to transmute it into qi (lianching huaqi); Refining the qi to transmute it into shen (lianqi huashen); Refining the shen to return to emptiness (lianshen huanxu).301

The first stage, laying the foundations, entails restoring the depleted ching, qi, and shen until they reach a state of abundance. In particular, it is important for the ching, or sexual essence, to be abundant and for the qi to be strong and capable of circulating freely throughout the body. The foundational practices referred to above and described more fully in chapters Three through Eight of this book are essential prerequisites for the Taoist alchemical practices presented below. Restoring the ching to the level necessary for the transformation into qi is discussed later in this chapter. Technically, Taoist alchemy begins with the second stage of cultivation. In this stage, the sexual essence, or ching, is stimulated and transmuted in order to augment the qi. In the third stage, the qi is refined and transmuted into shen. In the fourth stage, the refined shen, known as the ching shen, is returned to emptiness. Each of the three alchemical stages (stages two through four) takes place in one of the three dantien. The transformation of ching into qi takes place in the lower dantien, which is associated with the Sacral Chakra. The transformation of the qi into shen takes place in the middle dantien, which is associated with the Heart Chakra. Finally, the transformation of shen into emptiness occurs in the upper dantien, which is situated at the yintang acupoint. This important energy point corresponds to the Third Eye, or Brow

Chakra. This point is also referred to as the “shen valley” and is the residence of the revealed self. Figure 18-3 depicts the three dantien and their role in the transformation of the san pao.

Figure 18-3

The material that follows will describe the Taoist techniques for each of these three stages of spiritual development. The actual techniques presented in this chapter have been culled from a number of sources, including those identified above. In particular, these techniques have been simplified to make them accessible to all individuals. The original Taoist methodology for practicing these alchemical exercises involved special dietary restrictions, secret rituals, Tantric-like sexual practices, and other monastic activities that would be restrictive in today’s society. In his commentary on The Jade Emperor’s Mind Seal Classic, Stuart Olson wrote that, for modern Western practitioners, the more extreme Taoist practices that entail ingesting herbs, abstaining from grains, and engaging in esoteric sexual practices are not necessary. Rather, the same results can be achieved through the process of meditation, which he refers to as the “tranquility method.” This is the method that will be employed for each of the four stages of Taoist alchemical transformation described in the remainder of this chapter. If one completes the three stages for transmuting the ching, qi, and shen, one’s shen will come to reside in the shen valley and the Te will be revealed. This is the state of self-awareness, which the yogic tradition refers to as “cosmic consciousness.” Recall, however, that achieving self-awareness is not the final goal of spiritual development. In order to achieve full enlightenment, the Te must be merged with the Tao. This is the final Taoist practice, which involves opening the Heaven’s Gate (baihui) located at the top of the head. This energy gate corresponds to the Crown Chakra in the yogic spiritual tradition. Opening the Heaven’s Gate allows the Te to merge with the Tao. This results in universal awareness, not only of the individual spiritual self but also of the Tao. In the yogic tradition, this state of awareness is called “universal consciousness.” The method for opening the Heaven’s Gate and merging the Te with the Tao is a separate process and will be explained in the final section of this chapter. Those who are able to reach this level of spiritual development will have achieved the highest attainment of Taoist alchemy. The practice of Taoist alchemy is long and involved. As stated previously, there are no shortcuts on the path to enlightenment. The Taoist sages developed specific waidan and neidan practices for completing each stage of

cultivation. These practices will be discussed in the sections that follow. However, prior to discussing the individual stages of Taoist alchemy, one additional practice needs to be introduced. This is the practice of the reversal of kan and li, also known as the “reversal of fire and water.” This Taoist practice is central to the alchemical practices employed by the Taoist for refining and transmuting the three essences.

The Reversal of Kan and Li In order to accomplish the task of transmuting the ching into qi, it is necessary to have a strong and abundant reservoir of ching. However, as Stuart Olson points out, simply cultivating the ching through waidan and neidan practices is not enough. The ching must also build up pressure. When the ching is pressurized, it will be able transform itself into qi. The question then arises: “How can one pressurize the ching to the point where it can be employed in the Taoist alchemical process of refining the ching qi?” As it turns out, we can turn our lower dantien into a pressure cooker by practicing a technique developed by the ancient Taoist adepts. This technique is called “the reversal of kan and li.” The two Chinese characters, kan and li, refer to the elements of water and fire respectively. In Chinese Traditional Medicine, these elements are associated with the kidneys and the heart. Anatomically, the kidneys are locate below the heart. This positions water below fire, which is the natural placement of these two elements. This is explained by the fact that the normal course, or direction, of water is to flow downward. Conversely, the normal course of fire is to rise upward. In his book, Muscle/Tendo Changing and Marrow/Brain Washing – The Secret of Youth, Dr. Yang, Zwing-Ming presents an excerpt from a Taoist document entitled, The Yi Gin Ching Training Secret. In that document, it is written that the secret to elevating the shen is to place fire under water. If fire is not constrained by water then it will fly away, and one’s efforts will come to naught.302 As you know, water is considered to be yin whereas fire is held to be yang. Water proceeds downward toward earth, whereas fire is directed upward toward heaven. Through the neidan practice of focused meditation, we employ the yi to control the natural divergence of water and fire by reversing the normal placement of the elements of kan and li. Imagine an iron cauldron

containing water that has been placed over a fire. When fire is situated below water, steam is generated. Normally, the steam generated by boiling water simply rises into the air, where its energy is dissipated. However, if the steam can be captured and contained within an enclosed space, then it will become pressurized. This is the function of a pressure cooker. The pressurized steam can then be used to heat up and cook the contents of the pot.

Figure 18-4

Figure 18-4, shown above, depicts an iron cauldron containing water that has been placed over a flame. You can see the steam rising from the cauldron. In this illustration, the image of the cauldron is surrounded by the eight trigrams of the Bagua symbol. The trigram representing li, or fire, has been intentionally located at the bottom of the Bagua symbol, with the trigram for kan, or water, placed at the top of the symbol. The positions of these two trigrams are reversed from their usual placement when drawing the Bagua symbol. The image of the cauldron sitting above a fire inscribed within the Bagua symbol represents the reversal of kan and li. Cheng Man-ch’ing wrote in his Thirteen Treatises on Taijiquan that the dantien can be likened to a stove. The heart is the fire that heats the stove, and the water is placed in a pot on top of the stove. The fire heats the water and the water helps control the fire.303 Professor Cheng wrote of this practice, which he referred to as the “coupling of the heart and the kidney.” He concluded with the warning that one cannot master the reversal of fire and water in a short amount of time. More importantly, the reversal of fire and water cannot be achieved through force. However, if one does succeed in reversing fire and water, one will enjoy longevity and good health.304 The ancient Taoists learned how to replicate this situation internally by intentionally leading the fire energy of the heart downward and drawing the water energy of the kidneys upward. The yang fire energy of the heart was then used to heat up the yin water energy of the kidneys in order to generate pressurized ching. Recall that in order to boil water you need a cauldron. Also, in order to pressurize the resulting steam you need a confined space. Within the Taoist practice of the reversal of kan and li, the lower dantien serves these dual purposes. Stuart Olson included material from The Way of Immortals Tranquil Sitting Classic in his book, The Jade Emperor’s Mind Seal Classic. Within the Tranquil Sitting Classic is a chapter entitled, “The Three Treasures of Immortality,” which explains the role of the reversal of kan and li in Taoist alchemy. According to this classic, healthy blood, associated with the heart, is transmuted into into ching. The ching, which resides in the kidneys, then transmutes into qi, which dwells in the qihai (the ocean of qi in the lower abdomen). The process of transmuting the ching into qi generates heat. The qi then relies on this heat to transmute itself into shen. Finally, the shen

transmutes itself back to its primal condition, yuan shen.305 Sun Lutang alluded to the practice of reversing kan and li in his book, A Study of Taijiquan. He referred to the reversal of fire and water as “inverse movement.” He explained that this method inverts the positions of qian (heaven) and kun (earth). The qi is purified until it reverts to its pre-heaven state. In this way, the qi is transformed fills the dantien.306 The effectiveness of the practice of the reversal of kan and li depends upon the proper balance of kan and li, of water and fire. This may be seen in the analogy of the cauldron. If there is too much water in the cauldron, the fire below will have difficulty heating it up. Similarly, if the fire is too weak, it won’t have the strength to boil the water and convert it to steam. On the other hand, if the fire is too strong or there is not enough water in the cauldron, then the steam that will be produced will either be dissipated quickly or will be too diffuse to provide any real power. So, not only must we engage in the practice of the reversal of kan and li, we also must regulate kan and li so that they are balanced. In order to regulate the levels of kan and li, one must look to various lifestyle factors, such as diet, exercise, rest, amount of sexual activity, stress levels, etc. Because kan and li are expressions of the underlying qualities of yin and yang, we need to be sure to balance our yin and yang internally. As already stated, lifestyle factors play a significant role in the overall equilibrium of yin and yang energy in our bodies. However, we can also engage in qigong and taijiquan in order to balance yin and yang internally. Another way to balance our yin and yang energy internally is to receive acupuncture treatments and/or ingest herbal medicines to assist us in achieving the required balance between yin and yang, kan and li. The actual practice of reversing kan and li is accomplished by employing the heart/mind (hsien) and the intent (yi) to reverse the fire and water energies in the abdominal cavity. Dr. Yang, Zwing-Ming identifies the area where the reversal of fire and water takes place as the “huangting cavity.” He wrote that, in Taoist practices, the huangting is considered to be where the spirit baby is conceived.307 The huangting cavity that Dr. Yang wrote about encompasses the lower dantien. If the lower dantien can be expanded, it will fill the huangting cavity. For this reason, if you concentrate on expanding the lower dantien when practicing the reversal of kan and li, the results will be

the same as if you were focusing on the huangting. For all intents and purposes, the fully expanded lower dantien, the huangting and the qihai are the same. Accordingly, the remainder of this discussion will refer to the lower dantien, or simply as the dantien, as the location where the ching is refined into ching qi. The technique of reversing kan and li can be practiced in either a seated or standing posture, but should not be attempted lying down, as this will not place fire directly under water. To begin, settle the body and calm the mind. Perform ten deep, slow, relaxing abdominal breaths. Allow the mind to reside in the lower dantien. Use the will and the intention to expand the dantien until it reaches the size of a grapefruit. Again using the will and the intention, fill the dantien by drawing in yin qi from the kidneys, which are associated with the element of water. Once you are able to expand the lower dantien and fill it with yin qi, you are ready to reverse kan and li. This will require that you employ the Taoists technique of reverse breathing that was introduced in Chapter Eight. As you inhale, draw your diaphragm in toward your spine and then lift it up toward your sternum. At the same time, imagine that you are pulling the water energy of your kidneys upward. You can aid in the action of pulling up the water energy by gently pulling up the perineum and the anus, as in the previous exercises. On the exhale, push your diaphragm out to the front and then down toward your navel. As you exhale, visualize sending the fire energy of your heart down toward the bottom of your abdominal cavity. The flow of your breath on the inhalation and exhalation should follow an elliptical path, beginning at the bottom of the abdominal cavity and rising up the back of the abdominal cavity during the inhalation and then transecting the abdominal cavity at the top before returning down the front of the abdominal cavity on the exhalation. Figure 18-5 illustrates the reversal of kan and li in relation to the heart and the perineum.

Figure 18-5

Each cycle of reverse breathing draws more kan into the dantien while, at the same time, placing more li under the dantien. The exhalation also acts like a bellows to fan the flames of the fire energy. As you continue with reverse breathing, if your will is strong and your intent is focused, you will feel pressure building up in the dantien. This is an indication that the qi is becoming pressurized. At the beginning of your practice, try to continue this reversal process for a minimum of five minutes. You should continue until you feel the pressure build within the dantien. If at any point you feel light-headed, you should pause the reverse breathing and breathe normally until the light-headed sensation subsides. Also, if the pressure within the dantien becomes too uncomfortable, revert to normal abdominal breathing until the pressure diminishes somewhat. However, a certain discomfort is to be expected at the beginning of your practice until you become accustomed to the sensation of pressure in the abdominal cavity. As an additional note of caution, it is important to be aware of the perineum and the anus when engaging in reverse breathing. A small amount of pulling up of the perineum and tightening of the anus are required in order to create the bottom of the confined space needed to pressurize the qi in the dantien. This confined space is delineated by the perineum and the anus at the bottom of the abdominal cavity and the diaphragm at the top of the abdominal cavity. However, if the lifting of the perineum and the tightening of the anus is taken to extremes, it can lead to a hernia or hemorrhoids. One needs to be aware of the need for a certain level of pulling up and tightening, but should not exaggerate these actions. Also, it is important not to focus the attention on the perineum or the anus, but to concentrate instead on the action of the fire heating the water and the resulting “steam” which is the pressurized qi that builds up in the dantien. As you become more accustomed to reverse breathing and the placement of fire below water in the dantien, you can increase both the duration of your practice and also the amount of pressurized qi that you can contain in the dantien. When you have reached the point where you can sustain the reversal of kan and li for twenty minutes and feel that your pressurized qi has expanded the dantien to fill the entire abdominal cavity, then you have achieved the purpose of this exercise. You can then proceed to employ your pressurized dantien in order to transmute your ching for the purpose of

refining and strengthening your qi.

Transmuting the Ching The first stage in the Taoist alchemical process of creating the spirit baby is to transmute the ching, or sexual essence, in order to strengthen the qi. The purpose of this step is to both augment and refine the qi. The Taoists believed that the amount of post-birth qi available to human beings through the normal processes of consuming food and breathing air was insufficient for the task of refining and elevating the shen. As stated above, they sought out methods for increasing the qi through various external (waidan) and internal (neidan) cultivation methods. These ancient Taoist sages borrowed techniques from the Shaolin Buddhists as well. The techniques for stimulating the ching and transmuting the ching into qi were documented in the Shii Soi Ching, attributed to the Buddhist monk Da Mo. The original Taoists and Buddhists who practiced the techniques for stimulating the ching and transmuting it into qi believed that the ching consisted of the sperm and seminal fluid in men and the unfertilized eggs and vaginal secretions in women. The Shii Soi Ching does not address the process of transmuting ching into qi for women. This is not a problem, however, as the techniques described here apply to men and women equally. The early Taoist and Buddhist practitioners did not have the knowledge revealed to us by modern Western medicine. Medical science tells us that our sexual essence is not based directly on our sexual fluids. Rather, our sexual potential is regulated by hormones such as testosterone and estrogen. Sexual fluids such as semen or vaginal secretions are merely the visual evidence of our hormone levels. Rather than working at the gross level of the sexual fluids, we can focus our practice on managing our hormone levels. This can be accomplished through a variety of practices, including diet, exercise, external stimulation, and focused meditation on the sexual organs. There is one further, more subtle aspect of our sexuality. This occurs at the ethereal level, that is to say, at the level of our energy body which is where the chakras reside. At this subtle level, our sexuality is determined by the vibrational frequency of our Root Chakra. In Taoist terms, this relates to the amount of yang energy that is concentrated at the huiyin. The huiyin is considered to be the meeting place of the yin meridians in TCM. By raising

the vibrational frequency of the Root Chakra (or moderating the amount of yang energy in the yin meridians), we can alter our sexual essence and use it to supplement our reserves of qi. The Taoists and Buddhist believed that the more ching one had to work with, the more qi the individual would be able to generate by transmuting the ching to qi. They therefore sought to increase the amount of sperm and semen in order to augment their ching. We know today that what we really want is to increase our hormone levels if we want to increase our sexual energy. Studies have shown that increasing testosterone levels in males, for example, results in increased sperm counts. Raising the level of estrogen increases libido in women. It is important for both men and women to be aware of their hormonal levels. We want our hormone levels to be healthy so that we can enjoy vigor and vitality as we age. However, hormone levels do decline somewhat as we grow older. As such, it may not be appropriate for a sixtyyear-old man to strive for the testosterone level of an eighteen-year-old youth. In addition to aging however, there are many factors that may contribute to low hormone levels in both men and women. These include poor diet, insufficient exercise, lack of sufficient sleep, stress, alcohol and nicotine consumption, and exposure to environmental toxins. By extension, it is possible for both men and women to raise their hormone levels by improving their diet, taking special supplements, increasing their level of exercise, getting enough rest, reducing stress levels, eliminating alcohol and nicotine, and avoiding environmental toxins. Although a discussion of nutritional supplements is beyond the scope of this book, it is worth investigating this topic for those individuals who wish to increase their hormone levels naturally without resorting to pharmaceutical agents such as testosterone creams or estrogen patches. One method for increasing one’s hormone levels is external massage. The Shii Soi Ching includes a number of specific techniques for stimulating the testicles. For the sake of discretion, these specific techniques will not be presented here. However, it is advisable for both men and women who want to increase their hormone levels to include massage of the sexual organs as a component of their training. Men should focus their efforts on the testicles rather than the penis. Techniques for massaging the testicles can be found in

a number of different sources, including online and in Dr. Yang’s translation of the Shii Soi Ching. Don’t become obsessed with this practice, however. Five minutes per day should suffice. For women, a variety of approaches are available for elevating and regulating estrogen levels. These include consuming specific foods such as soy, seeds, and nuts; taking natural dietary supplements; using aromatherapy; and massaging of particular areas, such as the bottoms of the feet, the region of the abdomen containing the ovaries, and the hands. Massaging with oils infused with natural phytoestrogens, such as sage, coriander, and lavender, also may help in elevating estrogen levels naturally. Because women have more area to cover, they may engage in up to fifteen minutes of massage per day, especially if they have a partner who can assist with massaging the feet and the abdomen. It is important for both men and women to exercise caution and common sense when regulating their hormone levels. Be very wary of products that promise rapid increases in either male or female hormone levels, or claim to restore one’s sexuality to the level of an eighteen-year-old. Seek the advice of your medical practitioner or a naturopath if you are at all unsure as to how to proceed. However, diet, nutritional supplements (when used in moderation), increased exercise (especially taijiquan and qigong), more sleep, reduction of stress levels, the elimination of alcohol and nicotine, and especially daily massage of the sexual organs will all serve to bring your hormone levels up to a healthy level. These are all waidan methods. It is also advisable to practice specialized meditation with the focus on the sexual organs. This can be accomplished in several ways. One method, which is appropriate for both men and women, is to focus on the Root Chakra (or the huiyin). You can practice this meditation in either a seated or a standing posture (lying down is not recommended for this type of meditation.) To begin, allow yourself to settle into your preferred posture by taking ten relaxing abdominal breaths. Next, focus your awareness on either the Root Chakra or the huiyin. Switch to reverse breathing. On each inhale, gently pull up the huiyin and the anus and hold them up without tension. Relax the huiyin and the anus on the exhale. Note: Dr. Yang, Zwing-Ming cautions against tensing the huiyin and the anus when performing this meditation technique. One should hold them up using mental intention rather than through physical

force.308 You can use counting to help with the practice. Use an eight-count for the inhalation as you lift up your perineum and anus. Hold for an eightcount. Then exhale and relax for an eight-count. Begin with five minutes and work up to as much as twenty minutes per day. The meditation technique described in the preceding paragraph is effective for both men and women. In addition, or as an alternative, men may choose to focus their meditation directly on the testicles, and women may choose to concentrate their awareness on the ovaries. The breathing technique is the same as in the preceding exercise. However, the physical pulling up on the huiyin and the anus is no longer the focus. Instead, men focus on mentally squeezing the testicles, and women concentrate on sending healing energy into the ovaries. These techniques require more mental concentration, or focusing of the yi, than physically holding up the huiyin and the anus. Either of the two forms of meditation, focusing on the huiyin and anus or focusing on the sexual organs, will assist in regulating hormonal levels. Most individuals can regulate their hormones through the natural practices described above. In very rare cases, pharmaceutical agents may be required. For most individuals, however, there is no need to engage in extreme or exotic sexual practices in order to restore your hormone levels to those appropriate for you age. You will know when your hormone levels begin to normalize, as you will naturally feel more energy, more vigor, and greater sexual desire. This is the point where men, in particular, must exercise prudence. The Shii Soi Ching and other Taoist documents caution against excessive ejaculation for men. For women, there is no such proscription. The standard wisdom is that men should withhold ejaculation for one hundred days. This will increase the amount of ching to the level required to begin transmuting the ching into qi. Whether one chooses to believe that the ching consists of the semen or, as modern science indicates, that the ching is related to the sexual hormones, it makes sense to conserve the ching so that it is available for conversion to qi. Having built up a strong reserve of ching (that is to say, having restored your hormones to healthy levels for your age), you can begin the process of transforming your ching into qi. You should spend at least three months enhancing your ching before attempting to transmute it into qi. As with all the practices presented in this book, there is no benefit to be derived from

attempting the next stage of your development before you have established the proper foundation. If you attempt to transmute your ching into qi before establishing a sufficient reserve of ching, your efforts will be fruitless. The transformation of ching into qi is accomplished through meditation and is a neidan practice. This practice relies upon the reversal of kan and li that was described in the preceding section of this chapter. The Taoists refer to the ching as the “green dragon” and the qi as the “white tiger.” The transformation of the ching into qi entails these two mythic beasts engaging harmoniously within the field of the lower dantien in order to produce the elixir of immortality.

Figure 18-6

It is essential that the practitioner be able to generate the required pressure in the dantien in order to transmute the ching into qi. Without the appropriate pressure, this alchemical process will not succeed. As with the preceding meditation techniques, you can practice this meditation in either a seated or a standing posture. To begin with, it is best to practice in a seated posture, as this will enable you to relax and focus on the interaction between the huiyin and the dantien. As with other Taoist meditations, it is good to begin by settling into the chosen posture and completing ten relaxing abdominal breaths. Once you feel settled, begin the process of reverse breathing and gently hold up the perineum and anus. As you hold up these two anatomical points, imagine closing the huiyin cavity. This will prevent your ching and qi from escaping downward. Then initiate the reversal of kan and li by leading the yin qi of the kidneys up into the dantien and the yang qi of the heart down below the dantien. Using the breath as a bellows, stoke up the fire under the water in the cauldron of the dantien until you feel the pressure building up in the dantien. You will know when you have generated sufficient pressure, as the dantien will expand to fill the entire huangting cavity. You are now ready to proceed with the alchemical process of transmuting the ching into qi. As you continue with reverse breathing, imagine leading your ching from your testicles or ovaries into the lower dantien. On the exhale, imagine compressing your dantien in order to force your pressurized qi and your ching to merge together. Continue to hold up the perineum and anus during this process. Initially you may slightly tense your abdominal muscles to create a feeling of compression. However, this abdominal tensing is not required for the merging of the ching and the qi. As your yi becomes more resolved, you can dispense with the abdominal contractions. This type of meditation requires a high degree of concentrated focus. At first you may only be able to maintain this degree of concentration for eight breaths. After completing eight breaths, you can take a break. Try for three short sessions of eight breaths each. Then try to extend for one longer session of twenty-four breaths. To begin with, limit your practice to five minutes. As you become more experienced, you can extend the time of your practice to twenty minutes. This specific meditation is not described in Dr. Zwing-Ming’s translation of

the Shii Soi Ching. However, Dr. Yang does comment on the underlying Taoist theory that supports this technique. He explains that the huiyin cavity is the place where the three main qi vessels, the Conception, Governing, and Thrusting Vessels, connect and communicate with each other. This important energy gate can be used to regulate the qi level in each of the three vessels. Seminal fluid and sperm in males is considered a yang essence and is capable of creating life when combined with the yin female procreative essence, which is found in the eggs that are stored in a woman’s ovaries. For both men and women, qi can be generated from these essences.309 This meditation technique is not easy to master and requires time to bring the desired result to fruition. Ultimately, the yang energy of the ching and the yin energy of the qi merge and create a super-heated, steam-like qi that expands and fills the lower dantien. The Shii Soi Ching specifies a period of ten months for this practice. According to the Taoist allegory, at this point the spiritual baby has matured from an embryo into a fully-developed fetus. If you are not comfortable imagining a spirit fetus, you can dispense with the spirit baby allegory. Instead you may feel a heightened sense of pressurized qi in the lower dantien, and you also may feel that the lower dantien has expanded to encompass the entire abdominal cavity. At this point, you will have completed the first of the three-stage Taoist alchemical process described in the previous section of this chapter: you have transmuted the ching into ching qi, which is a highly refined type of qi. You are now ready to advance to the second stage, which is the transformation of the qi into shen. This transformative process is described in the following section.

Transmuting the Qi Through the alchemical process of using the reversal of kan and li to transmute the ching, the your qi should now abundant and energized. This is the ching qi referred to in the preceding secion. For the sake of simplicity, this ching qi will be referred to as “qi” the remaider of this discussion. Having reached this level of self-cultivation, you are ready to undertake the second stage of the alchemical process, which is to transmute the energized qi in order to strengthen the shen. The process of transmuting the qi into shen involves the yi, the breath, the qi, and the shen. Once again, you will employ

the technique of reverse breathing as the engine that drives the process. However, this alchemical process now takes place in the middle dantien rather than in the lower dantien. Refer to Figure 18-3 for the locations of the three dantien. You will recall that the middle dantien is the site of the transformation of qi into shen. This practice is best undertaken in a seated position. Begin by settling into your preferred seated posture. Take ten relaxing abdominal breaths and place your awareness in the middle dantien. This practice requires absolute mental tranquility and physical relaxation. You should only undertake this type of meditation if you can achieve these two complementary states. When you are settled in mind and body, initiate the process of reverse breathing. As you inhale, draw your qi up from your lower dantien into your middle dantien. The qi should travel up through the chongmai, or Thrusting Channel, located in the center of the spine. As you exhale, direct your shen to descend down the Thrusting Channel from your upper dantien into your middle dantien. At the conclusion of each exhalation, allow the qi and the shen to remain together within the middle dantien. This is the first step in the process of transmuting the qi in order to refine the shen. Once you are able to draw the qi up into the middle dantien on the inhalation and draw the shen down into the middle dantien on the exhalation, then you can proceed to the next stage of the process of refining the shen. In this second, more advanced stage, you will use the inhalation of a reverse breath both to draw the qi upward from the lower dantien and to direct the shen downward from the upper dantien. In order for the two essences to travel simultaneously using the same pathway, you need to understand that the Thrusting Channel is actually divided into three sub-channels, as shown in Figure 18-7.

Figure 18-7

You can think of the Thrusting Channel as a divided highway. You have one lane travelling down on the left side of the body and another lane travelling up on the right side of the body. Consider the middle sub-channel as the highway’s median. On the inhalation, you draw the qi from the lower dantien up the right side of the Thrusting Channel and into the middle dantien. At the same time, you can direct the shen down from the upper dantien on the left side of the Thrusting Channel and into the middle dantien. This will require some mental experimentation on your part until you can coordinate the upward and downward movements of the qi and the shen. Once you are able to bring both essences into the middle dantien on a single inhalation, you are ready to begin transmuting the qi in order to refine the shen. The middle dantien now serves as the metaphorical cauldron in which the qi and the shen are to be “cooked.” The pressure generated by the steam contained within the lower dantien increases the vibratory frequency of the qi, which enables the qi to merge with the shen. The middle dantien, however, should not be heated in the manner used to heat the lower dantien. In “The Three Treasures of Immortality” it is written that, to refine ching and transmute it into qi, one should use heat. However, to refine qi and transmute it into shen you should employ focused awareness, which is cooling.310 Stuart Olson explains this by stating that, at the first stage of the alchemical process, one must rely on heat generated in the lower dantien. However, once the ching is transmuted into qi one needs to abandon heat and rely upon lightness in order to reach the level of illumination in which the shen is transformed.311 Instead of using heat to combine the two essences of qi and shen, you must use the power of your heart/mind and intention to accomplish this important task. You may liken this alchemical transformation to the process of cold fusion in the field of nuclear physics. Here you will use pressure rather than heat to transform the combined qi and shen into a bright, shining shen, which the Taoists referred to as “ming shen.” The “pressure” that is employed is the concentrated effort of the yi to combine the refined qi that is produced by the reversal of kan and li in the lower dantien with the shen that has been drawn downward from the upper dantien. As a result of the practice of the reversal of kan and li, your qi is now vibrating at a higher frequency, one that is more compatible with the frequency of your shen. The exhalation is used to compress these two essences together in order to refine the shen and make it

shine. The original Taoist texts claimed that nine such breaths would result in the condensation of one drop of the elixir of immortality. After nine reverse breaths in which the qi and the shen are combined, you should direct the concentrated drop of elixir downward toward the lower dantien via the central channel of the Thrusting Channel. At first, you will need to imagine this taking place. However, over time you will begin to sense something dropping down to the huiyin. You may experience warmth, electricity, tingling, or even a spark of light descending from the middle dantien to the lower dantien. As with the previous focused meditation techniques introduced in this and the preceding chapters, you will want to start off slowly. Try for nine repetitions and then imagine the drop of elixir descending down to the lower dantien. Allow yourself to pause and relax the mind and then try for nine more repetitions. Try to work up to nine nines (i.e. eighty-one repetitions) in a single meditation session. This will produce nine drops of elixir in the lower dantien, which is a significant accomplishment. At the conclusion of each meditation session, you should direct your energized shen upward via the Thrusting Channel to its residence in the shen valley, located at the yin tang point, which is the seat of the Third Eye Chakra. As you practice daily, you will gradually feel an increase in the power of you shen. Your mind will become clearer, and your ability to focus upon a single idea or concept will improve. Your awareness of you inner being will become more discerning, and your perception of your external environment will become clearer as the subtle energies that surround you become apparent. You will find yourself relying more and more upon your shen to lead the movements of the taijiquan form, and the form will seem effortless to you. You need merely to will it and each posture of the form will occur spontaneously. The ancient Taoist texts state that one hundred days of this practice should be sufficient to create enough elixir in order to elevate the practitioner to the level of an Immortal. Obviously, this timeline is allegorical rather than literal. However, it is true that the practice builds one day upon the next, and the shen becomes stronger and more refined with regular and continued practice.

The accumulation of the elixir of immortality at the lower dantien is important. Drop by drop, over time the quantity of the elixir will increase until it begins to fill up the lower dantien. At some point, the lower dantien will begin to expand and feel as though it is vibrating and rumbling like distant thunder. You may sense that your lower dantien is filled with light or energy. You may even feel like a bright light is shining from your navel. This is the equivalent of the fully-developed spirit fetus which is referred to in the Taoist texts. Until you feel the actual accumulation of the elixir building up in the lower dantien, you should continue with this stage of self-cultivation and not attempt to proceed to the third stage, which is to elevate the shen in order to reveal the Te.

Refining the Shen When the shen is stimulated and abundant, your martial spirit is full and your eyes are bright. The chapter entitled “The Three Treasures of Immortality” from The Way of the Immortals Tranquil Sitting Classic, explains that the eyes express the shen “like a burning beacon.”312 Your martial skill is related to your martial spirit, just as your health is related to your spirit of vitality. Having reached this stage of self-cultivation, you may not feel the need to continue further. However, you have just begun to open the gate to the miraculous. If you continue onto the next stage of Taoist alchemy, you will be able to fully open the gate and enter into a spiritual realm unknown to most individuals. Who would not want to take the next step and experience the wonders of spiritual awakening? Just as it is necessary to stimulate and vibrate the ching in order to transform the ching into qi, we have seen that it is also necessary to stimulate and vibrate the qi in order to transform the qi into shen. These transformations are accomplished via the mechanism of focused meditation. We can also employ focused meditation in order to increase the vibrational frequency of the shen for the purpose of revealing the self and reaching the state of natural awareness, or cosmic consciousness. The alchemical method that was employed by the ancient Taoists to accomplish this is to utilize the elixir that has been concentrated in the lower dantien. When sufficient elixir has been accumulated, it can then be directed by the yi to rise upward via the Thrusting Channel to reach the upper dantien.

There the elixir can be combined with the shen in order to raise the vibrational frequency of the shen. The elixir nourishes the shen and causes it to attain the clarity and denseness of a diamond. The Taoists referred to this diamond-like shen as the “ling shen,” or the shen of immortality. This process is referred to as “refining the shen.” The focused meditation practice for directing the elixir upward through the Thrusting Channel will take place almost automatically once the elixir has completely filled the lower dantien. Once you feel you are ready to allow the elixir to ascend the Thrusting Channel, you simply enter into a meditative state following the instructions presented above in the previous focused meditation exercises. As you begin the process of reverse breathing, you focus your awareness on the dantien. After a few minutes of sitting, the dantien should begin to vibrate. If the dantien does not vibrate on its own, do not try to force it to vibrate. This may actually damage the elixir and will certainly not produce the desired result. If the dantien does not vibrate of its own accord, then you are not yet ready to proceed to this stage. You should continue with the practice of transmuting the qi in order to produce more elixir. Once you feel the dantien vibrating (or shining brightly, pulsing, etc.), you will need to employ your yi to open up the gate at the bottom of the Thrusting Channel, which is located at the huiyin point. Use your inhalation to draw the elixir upward via the Thrusting Channel and allow it to rise up all the way to the upper dantien. If the elixir is strong enough, simply opening the gate at the huiyin will be sufficient. The elixir should rise up of its own accord. The Taoists say that the “fire will ascend.” The “thrusting up” of the elixir is where the Thrusting Channel gets its name. On each inhalation, allow as much elixir to rise up as feels natural. On each exhalation, focus your awareness on the Third Eye Chakra. Imagine using the elixir to feed the shen. This is analogous to feeding a new-born baby from a bottle. With each complete cycle of inhalation and exhalation, you are nourishing and further refining the shen. As you continue to nourish and refine the shen, you will begin to experience a change in the nature of your shen, that is to say a change in the nature of your consciousness. Your shen will transform from ming shen (or bright spirit) into ling shen (or immortal spirit). This may take anywhere from

several months to several years, depending upon the intensity of your training. As the ming shen evolves into ling shen, you may see flashes of bright light, notice colors dancing before the closed eyelids, experience warmth or tingling at the yintang point, have vivid visions, or even feel as though you are traveling outside of your body. These experiences are common to all meditators. They should neither be encouraged nor suppressed. There is one experience, however, that will occur as you approach the first stage of enlightenment. This is documented in The Jade Emperor’s Mind Seal Classic, which states that the “seven apertures,” including the eyes, will radiate an inner light.313 Stuart Olson commented upon this statement in his translation of this Taoist classic. He explained that the seven apertures are the two eyes, the two ears, the two nostrils, and the mouth. These are the sources of sensory input. Together with the skin, which is not specifically included but can be considered to be a sensory organ, the seven apertures give rise to the senses of sight, sound, smell, taste, and touch. Buddhist and Taoist doctrines alike teach that senses are illusory and obscure the true nature of reality. These same sensory organs give rise to attachments, which deter us from the path of wisdom. When our ling shen becomes activated, we are able to perceive the illusory nature of our sensory organs. With this realization, we are able to break free of the limitations of our sensory organs. Instead, all our sensory organs function as one and together they emit “wisdom light.” You will also begin to feel as if you are emitting wisdom light from your inner eye, located behind the yintang acupoint. The Taoists referred to this inner eye as the “Golden Court.” It is said that together the sacred sun and the sacred moon illuminate the Golden Court.314 The sacred sun and sacred moon refer to the right and left eyes.

Revealing the Te When you reach the point of emitting wisdom light from the seven apertures and illuminating the Golden Court, you can suspend with practicing reverse breathing and drawing the elixir up from the lower dantien. From this level of self-cultivation onward, you will rely solely upon the tranquility method for

revealing the Te and attaining enlightenment. The tranquility method entails simply sitting in meditation and allowing your awareness to reside in the shen valley. You no longer place your awareness on your breathing or your dantien. You merely sit and shine your wisdom light from the seven apertures and the Third Eye Chakra. You will note that the tranquility method is similar to the meditation practices employed by the Buddhist and yogic spiritual traditions to reach enlightenment. The chapter on “The Three Treasures of Immortality,” which is contained within the The Way of the Immortals Tranquil Sitting Classic, explains that the primal shen reflects one’s inner nature. As such, it is the master of both the ching and the qi. When the primal shen unites with the ching and the qi, the primal shen will perfect itself naturally.315 The term “primal shen” employed in the preceding paragraph refers to your Te, or original nature. This is your innate spiritual self. When your ling shen begins to shine with wisdom light, you no longer need to “do” anything in order for your Te to be revealed. Through the simple act of sitting in tranquility and emitting wisdom light, your inner nature, your Te, will reveal itself spontaneously. This is the method-less method, the activity of nonaction, which is the highest form of Taoist practice. It is worth pointing out that many spiritual traditions claim that this revelation can occur with a flash of light. The more common experience, however, is that the revelation takes place gradually. Every day a little more of the Te is revealed. Each day the restrictions of the normal mind diminish and the illusions created by the seven apertures fall away. As awareness of the self grows, one becomes more attuned to the true nature of reality. When awareness of the self persists without interruption, this is the state of cosmic consciousness, which is the first stage of spiritual enlightenment.

Merging the Te with the Tao The preceding two sections described the methods for achieving selfawareness through the transformation of the ming shen into ling shen and then shining the wisdom light in order to reveal the Te. When the innate spiritual self is revealed, one is said to have attained enlightenment. This is a very high-level spiritual accomplishment. However, as stated at the beginning of this chapter, there are multiple levels of enlightenment. The first level,

which occurs when one becomes self-aware, is the state of cosmic consciousness. In this state the delusions created by the senses interacting with the normal mind have been dispelled and one’s true nature has been revealed. In the state of cosmic consciousness, however, duality still remains. Duality persists because the individual Te and the Tao are perceived as separate. In traditional Taoist terminology, the practitioner is aware of the Tao, but has not merged with the Tao. The final stage of Taoist alchemy is to merge the Te with the Tao in order to reach the enlightenment of universal consciousness. Attaining the state of universal consciousness is the final stage of the Taoist alchemical process. In some spiritual traditions, this state of consciousness is called “god consciousness.” The focused meditation technique for merging the Te with the Tao (the word “technique” is used here only for a lack of a more suitable description) involves opening the niwan acupoint at the top of the head. This is the site of the baihui energy gate, or Heaven’s Gate. This energy gate corresponds to the Crown Chakra in the yogic spiritual tradition. The description of the technique is straightforward, but its practice is profound. The success of this technique absolutely depends upon the practitioner’s level of spiritual development and also the strength of the practitioner’s intention. The only qualities required for this practice are purity of heart and tranquility of mind. If one is pure of heart and calm of mind, merging the Te with the Tao will be a natural process.316 To initiate this meditation, one simply sits in tranquility and initially allows the awareness to focus on the Te. This awareness should involve no effort, as the Te should already be shining brightly, seated upon its throne in the Golden Court. With nothing more than purity of heart and tranquility of mind, the practitioner employs the hsien (heart/mind) to lead the ling shen from the shen valley up to the Heaven’s Gate. As the ling shen knocks on the Heaven’s Gate, the practitioner may feel a gentle pressure building up underneath the top of the skull. Since the Te is now shining with wisdom light, the practitioner may also feel as though a light is shining straight upward from the Crown Chakra. Again using nothing more than purity of heart and tranquility of mind, the practitioner wills the baihui to open. When the Heaven’s Gate opens, the

practitioner will feel a release of the pent up pressure and may feel energy flooding in from outside the body. The practitioner may also feel that the inner wisdom light now shines even more brightly and projects upward toward infinity. This is the meeting point between the Te and the Tao. It is as if two old friends, separated for many years, have finally reunited. In Chapter 21 of the Tao Te Ching, Lao Tzu stated that, upon achieving this union, the practitioner will experience a state of complete understanding and spiritual omniscience.317 Sitting in tranquility, the practitioner may enjoy this state of universal awareness for as long as is desired. However, unless the practitioner elects to leave the body, at some point it will be necessary to open the eyes and return to daily activity. At first, the overwhelming experience of connection between the Te and the Tao may diminish upon opening the eyes. However, with repeated sessions of tranquil sitting and allowing the Te to merge with the Tao, the experience will persist into non-meditative activity. In the yogic tradition, this process of becoming accustomed to universal consciousness is likened to the dying of cotton cloth using a traditional vegetable dye. When the white cloth is first immersed in the yellow dye, the cloth turns yellow. The cloth is then removed from the dye mixture and allowed to dry in the sun. As the cloth dries, most of the yellow color fades. However, a little remains embedded in the fibers of the cloth. With repeated immersions and dryings, more and more of the yellow color remains. Eventually the cloth retains its vibrant color no matter how much it is exposed to the sun. Similarly, the practitioner will need to return to tranquil sitting on a regular basis in order for the experience of universal consciousness to persist outside of meditation. At some point, the state of universal consciousness, of being one with the Tao, will become permanent. This is the state of true spiritual enlightenment, where the practitioner has become an enlightened being and no longer needs to practice Taoist alchemy. Having attained this state of universal consciousness through meditation, the practitioner experiences this connection to the Tao no matter what activity requires attending to, be it working, eating, sleeping or simply sitting in tranquility and doing nothing.

Conclusion

This chapter has presented the process for completing the Taoist alchemical practice of cultivating and transmuting the san pao in order to achieve enlightenment. Although the practice of taijiquan was not mentioned in this chapter, the practice of Taoist alchemy is nonetheless central to the ultimate goal of taijiquan, which is that of martial mastery combined with civil cultivation. The martial mastery of the art of taijiquan relies upon intrinsic energy, or jin, rather than hard, physical force, or li. The development of jin in particular, as well as other high-level martial skills, is enhanced through the cultivation of the ching and the qi. The highest level of martial skill, the ability to control the opponent through force of will alone, results from the refinement and strengthening of the martial spirit, or shen. As the shen evolves from ching shen into ming shen and finally into ling shen, the martial spirit of the practitioner also evolves. The fabled martial abilities of the past taijiquan masters were surely based upon their highly evolved shen. As impressive as the martial accomplishments of the past masters were, their true achievement was that of spiritual development. It is not certain that the past masters attained enlightenment, but the verified accounts of masters such as Sun Lutang and Yang Jianhou, both of whom were able to determine the time and place of their death, indicate a very high level of spiritual cultivation. Through the practice of Taoist alchemy and tranquil sitting, we have the tools available to achieve the same level of spiritual development. The path may seem long and arduous, but with discipline and diligence, the goal of enlightenment is within the reach of all sincere taijiquan practitioners.

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Notes [←1] Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 8

[←2] Ibid, page 12

[←3] Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan: The Source of Taiji Boxing, pages 18 - 20

[←4] Cultivating the Qi, Volume One, translated by Stuart Alve Olson, page 58

[←5] Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, pages 57 - 58

[←6] Douglas Wile, Lost T'ai-chi Classics from the Late Qing Dynasty, page 145

[←7] Fu Zongwen, Mastering Taijiquan, translated by Louis Swaim, page 12

[←8] Wolfe Lowenthal, Gateway to the Miraculous, page 61

[←9] Fu Zongwen, Mastering Taijiquan, translated by Louis Swaim, page 12

[←10] Peter M. Wayne, PhD, The Harvard Medical School Guide to Tai Chi

[←11] T'ai-chi Touchstones: Yang Family Secret Transmissions, translated by Douglas Wile, page 149

[←12] Ibid, page 31

[←13] Waysun Liao, Taiji Classics, page 95

[←14] Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 212.

[←15] Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 9

[←16] Cheng Man Ch’ing, Cheng Tzu's Thirteen Treatises on Taijiquan, Translated by Benjamin Pang Jeng Lo and Martin Inn, page 23

[←17] Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 57

[←18]

Wu Ying-hua and Ma Yueh-liang, Wu Style TaiChiChuan – Forms, Concepts and Applications of the Original Style, page 1

[←19] Yang Chenfu, The Essence and Application of Taijiquan, translated by Louis Swaim, page 10

[←20] Waysun Liao, Taijiquan Classics, page 95

[←21] Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan: The Source of Taiji Boxing, page 152

[←22] Wolfe Lowenthal, There Are No Secrets - Professor Cheng Man-qing and his Taiji Chuan, page 137

[←23] Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 53

[←24] Lao Tzu, Tao Teh Ching, translated by John Legge, Sacred Books of the East, vol. 39, publ. 1891

[←25] Ibid

[←26] Ibid

[←27] Ibid

[←28] Ibid

[←29] Cheng Man Ch'ing, Cheng Tzu's Thirteen Treatises on T'ai Chi Ch'uan, translated by Benjamin Pang Jeng Lo and Martin Inn, page 8

[←30] Chen Zhenglei, Chen’s Taiji for Health and Wellness page 8

[←31] T'ai-chi Touchstones: Yang Family Secret Transmissions, translated by Douglas Wile, page 3

[←32] Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan: The Source of Taiji Boxing, page 83

[←33] Chen Zhenglei, Chen’s Taichi for Health and Wellness, page 21

[←34] Chen Kung, Cultivating the Ch'i, Volume One, translated by Stuart Alve Olson, page 141

[←35] Ibid, page 150

[←36] Cheng Man Ch'ing, Cheng Tzu's Thirteen Treatises on T'ai Chi Ch'uan, page 30

[←37] Chen Zhenglei, Chen’s Taichi for Health and Wellness, page 2

[←38] Ibid, page 38

[←39] Ibid, page 37

[←40] Chen Kung, Cultivating the Qi, Volume One, translated by Stuart Alve Olson, page 42

[←41] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 45

[←42] T'ai-chi Touchstones: Yang Family Secret Transmissions, translated by Douglas Wile, page 12

[←43] Dr. Yang, Zwing-Ming, The Essence of Taiji Qigong, page 51

[←44] Cheng Man Qing, Cheng Tzu's Thirteen Treatises on Taijiquan, page 42

[←45] Dr. Yang, Jwing-ming, The Essence of Taiji Qigong, page 31

[←46] Chen Kung, Cultivating the Qi, Volume One, translated by Stuart Alve Olson, page 69

[←47] Douglas Wile, T'ai-chi Touchstones: Yang Family Secret Transmissions, page 132

[←48] Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 11

[←49] Fu Zongwen, Mastering Taijiquan, translated by Louis Swaim, page 16

[←50] Wolfe Lowenthal, There Are No Secrets, page 54

[←51] Ibid

[←52] Ibid, page 56

[←53] Ibid, page 55

[←54] Chen Zhenglei, Chen’s Taichi for Health and Wellness, pages 8 - 10

[←55]

Ibid, page 8

[←56] Ibid, page 9

[←57] Ibid, page 9

[←58] Ibid, page 9

[←59] Ibid, page 10

[←60] Ibid

[←61] Gu Liuxin, Chen Style Taijiquan, page 6

[←62] Waysun Liao, T’ai Chi Classics, page 99

[←63] Ibid, page 120

[←64] Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan, page 73

[←65] Ibid, page 14

[←66] Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 16

[←67] Ibid, page 17

[←68] Wolfe Lowenthal, There Are No Secrets, page 97

[←69] Ibid

[←70] Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 18

[←71] Lo/Inn/Amacker/Foe, The Essence of Taijiquan, page 57

[←72] Ibid, page 19

[←73] Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 18

[←74] Waysun Liao, Taijiquan Classics, pages 109 - 110

[←75] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 44

[←76] Ibid, page 46

[←77] Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 18

[←78] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 20

[←79] Ibid, page 25

[←80] Fu Zhongwen, Mastering Taijiquan, page 19

[←81] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 45

[←82] Douglas Wile, Lost T'ai-chi Classics from the Lage Qing Dynasty, page 51

[←83] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 54

[←84] Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 19

[←85] Cheng Man Qing, Cheng Tzu's Thirteen Treatises on Taijiquan, translated by Benjamin Lo, page 88

[←86] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 44

[←87] Ibid, page 38

[←88] Cheng Man Qing, Cheng Tzu's Thirteen Treatises on Taijiquan, translated by Benjamin Lo, page 90

[←89] Ibid, page 92

[←90] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 32

[←91] Ibid, page 55

[←92] Wu Ying-hua and Ma Yueh-liang, Wu Style Taijiquan – Forms, Concepts and Applications of the Original Style, page 13

[←93] Ibid, pages 15 - 16

[←94] Ibid, pages 17 - 19

[←95] Ibid, page 58

[←96] Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 57

[←97] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 21

[←98] Ibid, page 21

[←99] Ibid, page 22

[←100] Ibid, page 31

[←101] Ibid, page 53

[←102] Ibid, page 50

[←103] Ibid, page 53

[←104] Ibid, page 53

[←105] Ibid, page 56

[←106] Ibid, page 59

[←107] Wang Peisheng and Zeng Weiqi, Wu Style Taijiquan, page 6

[←108] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 65

[←109] Wang Peisheng and Zeng Weiqi, Wu Style Taijiquan, page 6

[←110] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 38

[←111] Douglas Wile, T'ai-chi Touchstones: Yang Family Secret Transmissions, page 110

[←112]

Dr. Yang, Jwing-Ming, Advanced Tai Ch Chuan, page 238

[←113] Ibid

[←114] Douglas Wile, T'ai-chi Touchstones: Yang Family Secret Transmissions, page 149

[←115] Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan: The Source of Taiji Boxing, page 136

[←116] Fu Zhongwen, Mastering Yang Style Taijiquan, translated by Louis Swaim, page 12

[←117] Ibid, page 13

[←118] Stuart Alve Olson, The Intrinsic Energies of Taijiquan, page 133

[←119] Wang Peisheng and Zeng Weiqi, Wu Stule Taijiquan, page 6

[←120] Ibid, page 6

[←121] Wu Ying-hua and Ma Yueh-liang, Wu Style Taijiquan – Forms, Concepts and Application of the Original Style, page 25

[←122] Wang Peisheng and Zeng Weiqi, Wu Style Taijiquan, page 3

[←123] Wu Ying-hua and Ma Yueh-liang, Wu Style Taijiquan – Forms, Concepts and Application of the Original Style, page 83

[←124] Ibid, page 45

[←125] Ibid, page 68

[←126] Ibid, page 136

[←127] Ibid, page 81

[←128] Ibid, page 93

[←129] Ibid, page 91

[←130] Ibid, page 93

[←131] Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 92

[←132] Ibid, page 83

[←133] Ibid, page 83

[←134] Ibid, page 90

[←135] Ibid, page 69

[←136] Ibid, page 72

[←137] Ping-Siang Tao, Taiji Push Hands – The Secret of Qi in Taiji Quan, page 176

[←138] Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan – The Source of Taiji Boxing, page 73

[←139] Chen Zhenglei, Chen’s Taiji for Health and Wellness, page 58

[←140] Ibid, page 59

[←141] Ibid, page 60

[←142] Ibid, page 62

[←143] Ibid, page 67

[←144] Ibid, pages 22 - 23

[←145] Ibid, page 74

[←146] Ibid, page 75

[←147] Ibid

[←148] Wu Ying-hua and Ma Yueh-liang, Wu Style Taijiquan – Forms, Concepts and Applications of the Original Style, page 13

[←149]

Stuart Alve Olson, The Intrinsic Energies of Taijiquan

[←150] Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page xvii

[←151] Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 23

[←152] Cheng Man Qing, Cheng Tzu’s Thirteen Treatises on T’ai Chi Ch’uan, translated by Benjamin Pang Jeng Lo and Martin Inn, page 25

[←153] Cheng Man Qing, Cheng Tzu’s Thirteen Treatises on T’ai Chi Ch’uan, page 44

[←154] Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 95

[←155] Ibid, page 30

[←156] Dr. Yang Jwing-Ming, Advanced Tai Chi Chuan, Volme One, page 74

[←157] Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 25

[←158] Lo/Inn/Amacker/Foe, The Essence of T’ai Chi Ch’uan, page 76

[←159] Douglas Wile, T’ai-chi Touchstones: Yang Family Secret Transmission, page 103

[←160] Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 128

[←161] Ibid, page 41

[←162] Douglas Wile, Lost T’ai-chi Classics from the Late Qing Dynasty, page 67

[←163] Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 46

[←164] Douglas Wile, Lost T’ai-chi Classics from the Late Qing Dynasty, page 66

[←165] Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 52

[←166] Ibid, page 53

[←167] Ibid, page 71

[←168] Ibid, page 81

[←169] Ibid, page 84

[←170] Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olso, page 60

[←171] Lo/Inn/Amacker/Foe, The Essence of T’ai Chi Ch’uan, pages 33 and 34

[←172] Douglas Wile, Lost T’ai-chi Classics of the Late Qing Dynasty, page 45

[←173] Lo/Inn/Amacker/Foe, The Essence of T’ai Chi Ch’uan, page 38

[←174] Douglas Wile, Lost T’ai-chi Classics from the Late Qing Dynasty, pages 56-57

[←175] Ping-Siang Tao, Taiji Push Hands – The Secret of Qi in Taijiquan, page 172

[←176] Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 71

[←177] Ibid, page 73

[←178] Wile, page 51

[←179] Yang Zwing-Ming, Advanced Tai Chi Chuan, page 167

[←180] Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 7

[←181] Waysun Liao, Taiji Classics, page 116

[←182] Dr. Yang Zwing-Ming, Advanced Tai Chi Chuan, page 239

[←183] Ibid, page 241

[←184] Waysun Liao, page 89

[←185] Douglas Wile, page 70

[←186] Ibid, page 117

[←187]

Chen Kung, page 96

[←188] Yang Zwing-ming, page 240

[←189] Chen Kung, The Intrinsic Energies of Taijiquan, translated by Stuart Alve Olson, page 87

[←190] Ibid, page 88

[←191] Yang Zwing-Ming, Advanced Tai Chi Chuan, page 130

[←192] Chen Kung, The Intrinsic Energies of Taijiquan, translated by Stuart Alve Olson, page 172

[←193] Dr. Yang Jwing-Ming, Taiji Jin Na, The Seizing Art of Taijiquan, page 21

[←194] Chen Kung, The Intrinsic Energies of Taijiquan, translated by Stuart Alve Olson, page 41

[←195] Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 111

[←196] Ibid, page 103

[←197] Martin Broedicker, Tai Chi Chuan in the History of Chinese Martial Arts, page 2

[←198] Feng Zhiquan & Feng Dabiao, Chen Style Taijiquan, page 20

[←199] Ibid, page 21

[←200] Ibid, page 26

[←201] Ibid, page 83

[←202] Yang Chengfu, The Essence and Applications of Taijiquan, translated by Tim Cartmell, page 23

[←203] Ibid, page 25

[←204] Ibid, page 26

[←205] Ibid

[←206] Ibid, page 28

[←207] Dr. Yang, Zwing-ming, Tai Chi Secrets of the Wu Style, pages 78 - 80

[←208] Wang Peisheng and Zheng Weiqi, Wu Style Taijiquan, page 7

[←209] Ibid, page 62

[←210] Wu Ying-hua and Ma Yueh-liang, Wu Style Taichichuan – Forms, Concepts and Applications of the Original Style, page 140

[←211] Sun Lu-tang, A Study of Taijiquan, translated by Tim Cartmell, page 57

[←212] Ibid, page 92

[←213] Ibid

[←214] Dr. Yang, Zwing-Ming, Advanced Yang Style Tai Chi Chuan, Volume One, page 19

[←215] Lo/Inn/Amacker/Foe, The Essence of T’ai Chi Ch’uan – The Literary Tradition, page 64

[←216] Dr. Yang Jwing-Ming, Advanced Yang Sty;e Tai Chi Chuan – Volume One, page 5

[←217] Petra and Toyo Kobayashi, Classical T’ai Chi Sword, page 13

[←218] Wu Ying-hua and Ma Yueh-liang, Wu Style Taichichuan – Forms, Concepts and Applications of the Original Style, page 3

[←219] Petra and Toyo Kobayashi, Classical T’ai Chi Sword, page 69

[←220] Chen Weiming, Taiji Sword and Other Writings, translated by Barbara Davis, page 13

[←221] Lo, Inn, Amacker, Foe, The Essence of T’ai Chi Ch’uan – The Literary Tradition, page 34

[←222] Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton Vol. 4, page 2

[←223] Huang Yuan-xiou, The Major Methods of Wudang Sword, translated by Dr. Lu Mei-hui, page 75

[←224] Zhang Yun, The Art of Chinese Swordsmanship – A Manual of Taiji Jian, page 51

[←225]

Ibid, page 10

[←226] Zhang Yun, The Art of Chines Swordsmanship – A Manual of Taiji Jian, page 55

[←227] Huang Yuan-xiou, The Major Methods of Wudang Sword, translated by Dr. Lu Mei-hui, page xix

[←228] Zhang Yun, The Art of Chines Swordsmanship – A Manual of Taiji Jian, pages 28 - 32

[←229] Petra and Toyo Kobayashi, Classical T’ai Chi Sword, page 28

[←230] Huang Yuan-xiou, The Major Methods of Wudang Sword, translated by Dr. Lu Mei-hui, page 10

[←231] Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton Vol. 4, page 21

[←232] Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton Vol. 4, page 14

[←233] Dr. Yang Zwing-ming, Taiji Sword, Classical Yang Style, page 85

[←234] Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton Vol. 4., page 17

[←235] Dr. Yang Zwing-ming, Taiji Sword, Classical Yang Style, page 88

[←236] Ibid, page 89

[←237] Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page xii

[←238] Ibid, page 22

[←239] Ibid, page 186

[←240] https://brennantranslation.wordpress.com/2014/01/17/yang-style-taiji-saber-according-to-fuzhongwen/

[←241] Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page 185

[←242] Ibid, pages 48-49

[←243] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 21

[←244]

Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page 38

[←245] Ibid, page 38

[←246] Ibid, page 41

[←247] Ibid, page 64

[←248] Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page 39

[←249] Xie Zhikui, Chinese Single Broadsword – A Primer of Basic Skills and Performance Routines for Practitioners, page 3

[←250] Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton, page 168

[←251] Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page 372

[←252] Ibid, page 217

[←253] Ibid, page 219

[←254] Cai Longyun, Taiji Saber, translated by Paul Brennan, https://brennantranslation.wordpress.com/2014/01/17/yang-style-taiji-saber-according-to-fuzhongwen/

[←255] Zhang Yun, The Compete Taiji Dao: The Art of the Chinese Saber, page 235

[←256] Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton, page 179

[←257] Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page 115

[←258] Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton, page 169

[←259] Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 16

[←260] Jou, Tsung Hwa, The Tao of Tai-Chi Chuan – Way to Rejuvenation, page 45

[←261] Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 9

[←262] Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 53

[←263] Ibid

[←264] Fu Zhongwen, Mastering Yang Style Taijiquan, translated by Louis Swaim, page 191

[←265] Waysun Liao, Taiji Classics, page 88

[←266] Ibid, page 100

[←267] Ibid

[←268] Ibid, page 110

[←269] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 44

[←270] Ibid, page 81

[←271] Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 83

[←272] Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 72

[←273] Lo, Inn, Amacker, Foe, The Essence of Taijiquan – The Literary Tradition, page 49

[←274] Ibid, page 47

[←275] Ibid, page 53

[←276] Yang, Zwing-Ming, Muscle/Tendon Changing and Marrow/Brain Washing Chi Kung – The Secret of Youth, page 99

[←277] Ibid, page 102

[←278] Ibid, page 194

[←279] Ibid, page 251

[←280] Stuart Alve Olson, The Emperor’s Mind Seal Classic – The Taoist Guide to Healthy, Longevity, and Immortality, page 155

[←281]

Wang Mu, Foundations of Internal Alchemy – The Taoist Practice of Neidan, translated by Fabrizio Pregadio, page 15

[←282] Stuart Alve Olson, The Emperor’s Mind Seal Classic – The Taoist Guide to Healthy, Longevity, and Immortality, page 143

[←283] Ibid

[←284] Ibid, pages 122 - 123

[←285] Yang, Zwing-Ming, Muscle/Tendon Changing and Marrow/Brain Washing Chi Kung – The Secret of Youth, page 138

[←286] Stuart Alve Olson, The Jade Emperor’s Mind Seal Classic – The Taoist Guide to Health, Longevity, and Immortality, page 160

[←287] Ibid, page 159

[←288] Wang Mu, Foundations of Internal Alchemy – The Taoist Practice of Neidan, translated by Fabrizio Pregadio, page 19

[←289] Stuart Alve Olson, The Jade Emperor’s Mind Seal Classic – The Taoist Guide to Health, Longevity, and Immortality, page 167

[←290] Wang Mu, Foundations of Internal Alchemy – The Taoist Practice of Neidan, translated by Fabrizio Pregadio, page 15

[←291] Waysun Liao, Tao: The Way of God, page 168

[←292] Ibid

[←293] Dr. Yang, Zwing-Ming, Muscle/Tendon Changing and Marrow/Brain Washing Chi Kung – The Secret of Youth, page 76

[←294] Ibid, page 83

[←295] Stuart Alve Olson, The Jade Emperor’s Mind Seal Classic – The Taoist Guide to Health, Longevity and Immortality, page 127

[←296] Ibid, page 143

[←297]

Ibid, page 18

[←298] Wang Mu, Foundations of Internal Alchemy – The Taoist Practice of Neidan, translated by Fabrizio Pregadio, page 5

[←299] Ibid, page 8

[←300] Ibid, page 10

[←301] Wang Mu, Foundations of Internal Alchemy – The Taoist Practice of Neidan, translated by Fabrizio Pregadio, page 13

[←302] Dr. Yang, Zwing-Ming, Muscle/Tendon Changing and Marrow/Brain Washing – The Secret of Youth, page 73

[←303] Cheng Man Ching, Cheng Tzu's Thirteen Treatises on Taijiquan, page 31

[←304] Ibid, page 42

[←305] Stuart Alve Olson, Muscle/Tendo Changing and Marrow/Brain Washing – The Secret of Youth, page 163

[←306] Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, pages 69 – 70

[←307] Dr. Yang, Zwing-Ming, Muscle/Tendo Changing and Marrow/Brain Washing – The Secret of Youth, page 198

[←308] Ibid, page 239

[←309] Ibid, page 247

[←310] Stuart Alve Olson, The Jade Emperor’s Mind Seal Classic – The Taoist Guide to Health, Longevity, and Immortality, page 167

[←311] Ibid

[←312] Ibid, page 197

[←313] Ibid, page 144

[←314]

Ibid, page 146

[←315] Ibid, page 199

[←316] Ibid, page 200

[←317] Lao Tzu, Tao Teh Ching, translated by John Legge, Sacred Books of the East, vol. 39, publ. 1891