SIMPLE INTRODUCTION TO TAIJI BOXING

by Xu Zhiyi
[published Sep, 1927]
[translation by Paul Brennan, Aug, 2014]
-

Simple Introduction to Taiji Boxing

- calligraphy by Zhuang Yunkuan

FOREWORD BY GU XIEGUANG OF KUAIJI

Great is Taiji Boxing, tracing back to Wudang.

It can defeat movement with stillness, hardness with softness.
It was created by Zhang Sanfeng, then clarified by Wang Zongyue and Yang Luchan.
The internal arts excel at timing and position, and are peerless for cultivating health.
Once you know the way a river is flowing, there is no need to fight against it.
My friend Xu Zhiyi is a brilliant talent of our nation.
Even though his studies are not yet complete, he has produced an outstanding book.
He has contemplated the concepts endlessly and drilled the techniques over and over.
He is constantly improving himself and sincerely retains what he learns.
He began his training in the north, then earnestly progressed in the south.
A wise man tries to appear ignorant, but his deeper knowledge is hard to hide.
In writing a book to enlighten students, Xu gives them the steps that lead to mastery.
He is quick as an arrow leaving a bow, sharp as a dagger drawn from its sheath.
He is a tireless teacher, fully committed.
Its beauty beyond compare, this martial art will spread throughout the nation.
Its subtleties achieve perfection, for it has the naturalness of Laozi and Zhuangzi.
When weaklings learn of it, they will be empowered. So close to the Way, this art will flourish.
-


Wu Jianquan
-

The author, Xu Zhiyi

MAJOR POSTURES IN TAIJI BOXING SOLO PRACTICE

SITTING:


CROSSED STANCE:

RAISED LEG:


STOOPING:

ONE-LEGGED STANCE:


DIAGONAL FLYING POSTURE:

CROUCHING:


SITTING TIGER POSTURE:

MAJOR POSTURES IN TAIJI BOXING PARTNER PRACTICE

WARDING OFF:


ROLLING BACK:

PRESSING:


PUSHING:

PLUCKING:


RENDING:

ELBOWING:


BUMPING:

AUTHORS PREFACE

For years I practiced external boxing arts, but I found that it was not right for my physique, so
I instead learned the Taiji boxing art from Wu Jianquan, which I have now practiced for ten
years. With the help of fellow students such as Lu Yinfu and Zhao Shoucun, with whom I
have studied daily, I have obtained no small benefit.
This spring, Lu sent me a letter from Wuzhong [in Jiangsu], describing in great detail the

popularity of Taiji Boxing in the south and requesting that I explain what I have gained
through experience for the benefit of beginners. I have long been a devoted advocate of
physical education, but due to my crude level of understanding and my haste to complete the
task, this book is sure to be inadequate in many ways and I fear it will not live up to the
expectations of my venerable colleagues.
sincerely written by Xu Zhiyi, early summer, 1927
[GENERAL COMMENTS]

- The purpose of this book is popularization, therefore it conveys concepts only in language
that is easy to understand, and this is why it is called a simple introduction.

- Although this book is devoted to explaining theory, it does not engage in any obscure and
impractical discussion.

- For photographs of Taiji Boxing postures or commentary to the Taiji Classics,

there are already many volumes in bookshops. This book therefore does not seek to imitate
them.

- Taiji Boxing postures are different from those of external boxing arts, a point which is
crucial to understand. As the eight techniques within pushing hands must also be understood
by practitioners, this text includes some photos of them for demonstration.

- Since my knowledge is limited, errors are inevitable. If the nations experts would give me
corrections, I would feel blessed indeed.

(also by the author)

PREFACE BY HU WEIDE

Now that Xu Zhiyi has completed this book and is about to send it to the publishers, he has
asked me, as I have also practiced Taiji Boxing, to find some words to introduce it. So I will

steal a line I have read in the Book of Poems [poem 198]: They are without fists, without
courage. And another from the Books of Later Han, Bio of Huang Fusong [actually from
Romance of the Later Han, chapter 61]: Even a boy can devote himself to boxing. Such
quotes as these were the harbingers of the boxing arts. In the Bibliographical Records of the
Books of Han, there is listed six chapters on barehand fighting. From traditions of military
skill, we have inherited the boxing arts, but unfortunately there is a lack of books on the
subject. In recent times, foreigners have written a huge number of physical education books
concerning boxing studies, and our own nations boxing arts should not go without analysis.
Xu Zhiyi has practiced Taiji Boxing for more than ten years, his skill is very deep, and he
has amassed a great deal of knowledge with which he has personally taught many students.
Apart from texts such as Wang Zongyues Taiji Boxing Classic and Huang Baijias Boxing
Methods of the Internal School, there are very few authors, and so it is not easy for students to
delve into it. Because of this, Xu has very generously decided to make a book to provide for
students. Students who have already received personal instruction from noteworthy teachers
can then also use the book as a teacher and thus get twice the result for half the effort, which I
can attest to. That being the case, Xus benefitting of students in this way could never be
considered something insignificant.
Xu is a top student of Wu Jianquan. Among the students in the north, there is maybe not
even one who can be considered his superior. [Mengzi, chapter 3a, talking of the scholar
Chen Liang]. Now that he has come to the south, I know he will be great here as well. I am
therefore delighted to write this preface.
written by Hu Weide of Wuxing, second month of summer, 1927

PREFACE BY ZHOU YICHUN

Taiji Boxing is one of our nations ancient boxing arts. My colleague Xu Zhiyi has devoted
himself to it for already ten years. This summer, he has put his studies into this book of
instruction for students, a very worthy undertaking. When the manuscript was completed, he
invited me to write a preface. I have not yet had guidance in this art, so how can I dare to say
anything about it?
Watching friends who practice it often, I see that in every movement, there is a pure
naturalness, supple and effortless, intention in harmony with the changes of the postures. By
maintaining mental focus in it over a long period of time, no matter how weak and feeble
ones body, everyone gains health and strength. It cultivates calm and restrains the
temperament. It prevents illness and prolongs life. Obviously it can do anything.
I am sure this book will become popular, that everyone will grab a copy, and that it will be
an aid to physical education experts everywhere.
written by Zhou Yichun, June, 1927
-


PREFACE BY HUANG ZHONGHUI

Taiji Boxing is a skill that approaches the Way. It uses stillness to defeat movement, softness
to defeat hardness. With neither showing off nor loss of temper, it is dignified, elegant, and
effortless. And when an opponent is defeated by it, he has no comprehension of what was
done.
Furthermore, if this art is obtained by the old and weak, or by women and children, it can
also maintain health as well as defend the self, instead of being an additional harmful habit. It
should be practiced daily and thereby it will swiftly push forth to become the best of our
national skills. Long ago at the battle of Hongyang, thirty-nine of our people committed
suicide in one day, for no other reason than that they could not bear to be executed in
disgrace. Those with no fight or courage in themselves are unable to endure through troubled
times. Truly this is a great pity.
Forty years ago [1887], there was a close friendship between experts in the north such as
Single Saber Wang Wu [Big Saber Wang Wu Wang Zhengyi], Big Saber Li San [Double
Saber Li Fenggang], and Li Ruidong, a master of the soft arts whose skill was extremely
refined. Our nations martial arts styles are rather numerous, but Taiji is both the most
unassuming and the most authentic, in the same way that clothes and food can sustain you
throughout your life but cannot be done without for even a short time.
Xu Zhiyi obtained his art from a famous teacher, but was then able to go beyond
preconceived notions and draw from modern sciences, such as mechanics, geometry,
psychology, and so on. Studying them, he found patterns. Contemplating them, he over time
amassed a thorough knowledge, and he has now produced a number of writings. Giving
instruction also to the weak and the women of our nation, he is unrivaled among his hundreds
of fellow students. As my comrade seeks to spread this material widely in order to rescue the
meek and weak of our nation, I am very pleased to write a preface for him.
written by Huang Zhonghui, June 14, 1927

PREFACE BY LU HONGJI

Once I had been taught to read in my boyhood, I took special delight in martial arts novels. I
constantly read the tales of the swordswomen Hong Xian and Nie the Hermitess, which
thrilled me till I was enraptured. When I heard my elders talking about experts like Gan
Fengchi and Bai Taiguan, I was so captivated I wanted to pack up some provisions and go out
into the world hoping to meet such people. Unfortunately I was a weak-bodied boy and the
mood in my hometown of Wuzhong was that literary studies were superior to martial studies.
Unable to find a good teacher to instruct me, I almost gave up in disappointment.
But before I had lost all hope, a little time had passed and Western influence had gradually
spread to the East. Various schools were now competitively pushing physical education,
offering many extra courses of exercise for young students, such as soccer and other sports.
Schools also seasonally held games to promote it further. By that time I was old enough to
attend our prefectures school of commerce, and all my comrades and I formed a sports study
society on the south side of the city, where we each day practiced all sorts of skills.
In the last year of the reign of Emperor Guangxu [1908], I was studying abroad in Japan,
examining their nations famous historical relics, and I found that their countrymen take
physical education seriously. Within the schools, Japanese classmates practice judo, kendo,
and kyudo, and strive to their utmost in these studies. I then knew that if that nations
flourishing physical education came west to us, then beyond methods of training the body, we
would also deeply grasp the essence of our Eastern martial arts.
I often contemplated how noble and mighty our nations martial arts are, how they would
be peerless throughout the world if not for the physical education experts of Europe and
America, who although they do not emphasize bold courage, they cultivate and consider both
the psychological and physiological aspects. They also think our nation to be inferior and do
not see how there could be anyone here who can use scientific methods and have new ways of
thinking. The study of our martial arts principles and theories will grow and become glorious,

and a new era will begin for our nations physical education community. This has
unexpectedly brought forth my colleague, Xu Zhiyi.
Xu is from Zhejiang and grew up in Shanghai, going to Chengzhong Elementary School.
Excelling in sports, he went from high school into a technical college where his classmates all
encouraged him to be an athletic contestant. The college won every soccer game against other
schools, and because of this, his fame grew as an outstanding athlete. Every time the schools
met for sports events high jump, shot put, running, and so forth Xu never failed to get the
prize. After graduating from Beijing Legal University, he went to take a position in a Jiangsu
accounting firm, where we worked together. At that time, the staff of the railway
administration often held soccer games, inviting Xu to participate, and his playing was always
extraordinarily agile.
After 1916, he accepted a transfer to the Academy of Accounting, where we were again
colleagues, and in our spare time we always talked about martial arts. Then a martial arts
instructor recommended by a friend came from Beijing to live in my house. He taught us
various boxing techniques, as well as saber and staff arts. Xu keenly progressed ahead of the
rest of us, while I found it harder to progress due to the deprived education of my youth. I
considered the age I had already reached, and I feared that no matter how much heart I put
into the training, I would never for the rest of my life be able to reach a very deep level at it.
Because of this, I decided to switch to practicing internal boxing arts, which conform to the
aims of cultivating health.
Fortunately, the Physical Education Research Society had been established within the city,
and the eminent Taiji Boxing authority Wu Jianquan was engaged to give a seminar.
Xu and I went together to seek him out and present him with gifts to become his pupils. Wu
looked upon us with respectful sincerity and has carefully instructed us for the last ten years.
We have arduously trained, never taking a break regardless of winter cold or summer heat.
Xu, his most brilliant disciple, and I return each day to further verify what we have learned
through our training. Xu, being extraordinarily gifted, within three or four years had already
achieved the knack of it, and whenever he has a bout with someone, he always succeeds with
ease. I am too inferior even to be compared to him. Wus other students can rarely contend
with him.
This year, because he is annoyed this art has not been spread throughout the world,
Xu has given his spare time to writing this Simple Introduction, presenting psychology,
physiology, and physics, making connections between body and mind, all accompanied by
evidence and written in language that is easy to understand, putting forth ideas with clarity.
By way of scientific methods and new ways of thinking, I think research of martial arts
principles and theories will gravitate toward the practice of this art. If students do not cherish
its secrets, they will not be able to demonstrate its traditional training methods to other people,
and therefore Xu has not composed this work in the impenetrably mysterious jargon
encountered within martial circles. Because beginners have difficulty knowing what direction
to go, he has been urged to get this booked published and distributed in order to provide for
those who may come to the art. When the manuscript was completed, Xu asked me to write a
preface, so I have sincerely made this introduction to inform all of our comrades everywhere.
written by Lu Hongji of Yinfu in the Xindou Apartments, during the full moon, June,
1927

CONTENTS


Chapter One: Foreword

Chapter Two: A Brief Look at the Origin & Development of Taiji Boxing

Chapter Three: The Merits of Taiji Boxing

Chapter Four: Taiji Boxing in Relation to the Study of Psychology

Chapter Five: Taiji Boxing in Relation to the Study of Physiology

Chapter Six: Taiji Boxing in Relation to the Study of Mechanics

Chapter Seven: Taiji Boxings Practice Methods

Chapter Eight: Further Thoughts

Chapter Nine: Appendices

SIMPLE INTRODUCTION TO TAIJI BOXING

CHAPTER ONE: FOREWORD

Our nations boxing arts began a very long time ago. People in the past trained body and mind
with the purpose of preventing illness and prolonging life. Their methods were generally
simple and easy to do, and everyone could learn them. Now that martial arts are fashionable
and have spread everywhere, people are with every posture contending to be more impressive
than each other, always taking the most difficult movements to be the most praiseworthy,

until gradually they have lost the real intention of physical education. Because new
generations like to do new things, they have naturally come up with new styles, with the result
that systems of boxing arts have become increasingly complex and exhibit a broader range of
abilities. Consequently, beginners have no idea which to choose. The weaker ones strive to do
what is too difficult and then sigh that they are doing twice the work for half the result. I
constantly find this to be regrettable.
Taiji Boxing is one of the internal boxing arts. Its methods are simple and easy, and all of
its postures are natural. Regardless of man or woman, young or old, all can practice it for their
whole life without harm. It is actually the ancient limbering arts that have given it all of its
martial skills, and because it operates entirely by way of mind and energy, it is never separate
from the cultivation arts. Such is not the case with external boxing arts, which are devoted to
winning through strength. When Taiji practitioners talk of the transformations of emptiness
and fullness, they are drawing from the principles in the Book of Changes, and when they talk
of the skill of using mind and energy, they are drawing from Mengzis discussion of
cultivating ones energy [Mengzi, chapter 2b]. It conforms to the various rules of physiology
and physics, and thus with modern scientific principles, one after another. For these several
reasons, can it not be said that the art is based in the Way?
I delight in martial arts. I began by practicing external styles and took great pleasure in
them, but ten years ago I began to focus more on training in the Taiji boxing art. I firmly
believe that every kind of boxing art, despite their distinct characteristics, has basically simple
methods and will produce great results. But for the purposes of spreading physical education,
it is this art that is the most suitable. Therefore, disregarding my low abilities and my
ignorance, I have compiled what I have gained through experience into this Simple
Introduction in order that those who have aspirations toward good health will know what to
ask for guidance in.

CHAPTER TWO: A BRIEF LOOK AT THE ORIGIN & DEVELOPMENT OF TAIJI
BOXING

Although the various schools of boxing arts have different postures with specific names, the
major distinction is to categorize them into the two schools of internal and external. The
internal school emphasizes softness energy is inwardly concealed. The external school
emphasizes hardness energy is outwardly revealed. The distinction between the two is
precisely this. The external school is replete with styles of Shaolin, which has long been held
in esteem throughout the nation. The internal school comes from Zhang Sanfeng, although in
which era he lived is not reported consistently.
According to the Bio of Zhang Songxi from the Records of Ningbo Prefecture, Zhang
Sanfeng was a Wudang elixirist of the Song Dynasty. This much seems believable, but then it
says his boxing art was received through divine means, which rather strains credulity. After
Zhang, the authentic teaching was obtained during the reign of Kublai Khan, starting up again
with Wang Zongyue of Shanxi, who was famous for expressing the inherited theories of
Zhang Sanfeng, writing the Taiji Boxing Classic and the essay Understanding How to
Practice (both included below in Chapter Nine). These texts explain the principles exquisitely,
in language that is simple and concise. What has been passed down to us truly descends from
his explanations.
Huang Baijias Boxing Methods of the Internal School (also included below in Chapter
Nine), says: Zhang Sanfeng was a Shaolin expert, but he turned the art on its head and
thereby created the internal school. It appears the internal school came from the external
school. Huang records boxing principles and the names of many techniques which would be
categorized as belonging to the external school, but then we read words such as these: Skill
will only be achieved through practice. It is not necessary to seek for someone to copy, only
to respond to opponents with whatever works. It is noticeable how they conform to Wang
Zongyues Taiji boxing theory. Usually it is the case in boxing arts that the training goes from
the simple to the complex then back to the simple, but Taiji Boxing is entirely based in
emptiness and stillness, and so makes a constant distinction between generalities and details.
Going by Huang Baijias descriptions, it is the same kind of material that was passed down to
Wang Zhengnan, whose art was surely descended from that of Zhang Songxi.
According to the Bio of Zhang Songxi (which is also included below in Chapter Nine),
Zhang had a fight with Shaolin monks. Examining the account, what Zhang was using was
clearly the Taiji skill. Also of note is that it records that Zhang at the age of seventy could still
chop barehanded through huge stones. This shows that Zhang was not winning only by way
of softness, but then it has been said that softness at its extreme will naturally manifest as
hardness [paraphrasing from How to Practice]. Consider Mengzis discussion of cultivating
energy [Mengzi, chapter 2a] and this will cease to be an impenetrable concept. [Mengzi
describes his noble energy as having extreme hardness but is produced by allowing it to
grow rather than forcing it.] Though it is unclear why Huangs Boxing Methods does not
touch upon this. Although Wang Zongyues Understanding How to Practice mentions
hardness of energy, it does not seem to specify it as distinct from stiffness. It is very
unfortunate that this similarity or difference cannot be fully verified.
Zhang Songzis lineage became the southern branch. The northern branch comes from
Wang Zongyue teaching Jiang Fa of Henan. Jiang taught Chen Changxing of Huaiqing.
Chens top disciple, Yang Luchan, obtained the authentic teachings and brought them to
Beijing. Beyond his own sons, Yang also taught Wan Ling, Ling Shan, Quan You, and many
others. Quan Yous son, Wu Jianquan, is who I myself have learned from. Xu Yusheng of
Guyan described the branching styles in great detail in his book on Taiji Boxing postures

[1921], which you may consult. This volume on the other hand is of a more limited length and
only presents a general picture of these things.

CHAPTER THREE: THE MERITS OF TAIJI BOXING

All boxing arts have their merits, their strengths and weaknesses, their focuses, their
inevitable prejudices, and their special characteristics. Those who nowadays like to discuss
which systems are good or bad end up praising the one they are already practicing. Though
they will probably not be very accurate in their assessment, they will nevertheless fight to the
very best of their ability. Although it is natural to be biased, the issue is actually that people
are not clear about the special characteristics of their own art.
Taiji Boxing uses emptiness and stillness as its main principle. Every movement is
serious about softness and dismissive of hardness. Those who fall in love with the external
posture always get into trouble, for supreme achievement of this art is the cultivation of spirit.
Its fighting method is not a matter of winning through strength, and thereby other styles pale
by comparison. You now adequately know the special characteristics of this art. All of these
arts have their special characteristics, though none of them in the beginning will seem
different from any other.
The merits of this particular art are described below:

A. ITS HEALTH ASPECTS

1. It cultivates both body and mind.

In the practice of external boxing arts, the aim is to develop the body. They are imbued with a
strong sense that the health of the spirit depends on the health of the body.
In the practice of meditation, the aim is the cultivation of spirit. It is considered that when
the spirit is sufficiently strengthened, the body will be transformed.
Looking at them separately, it is apparent that each has its own truth. But looking at them
together, it becomes clear that each simply has its own emphasis. Damo long ago passed

down to us the Sinew Changing Classic and the Marrow Washing Classic, in which the
internal boxing arts happen to be emphasizing body first, then mind. All of this shows that
the methods of building health actually value cultivating body and mind simultaneously. Once
you begin in Taiji Boxing, both body and mind are progressing together, therefore it cultivates
both. The details of this concept are to be found in How to Practice.

2. The movements are mild.

Although strenuous exercise will show fast results, it will also cause unbearable problems.
Every movement in Taiji Boxing should be soft, slow, compliant, and gentle. It noticeably
stretches out the muscles and joints, and invisibly regulates the energy and blood. This means
that while it cultivates the spirit, it also conforms entirely to the principles of physical
education.

3. The postures are smooth and harmonious.

The posture is upright and comfortable (from How to Practice) and the energetic movement
is a matter of neither going too far nor not far enough (from the Classic). These are each
important basic principles. Therefore every posture is completely natural, meaning that it is
smooth and harmonious. Strenuous boxing arts seek to be as risky and dramatic as possible,
entirely different.

4. Development is natural.

Every part of the human body develops, according to physiology, in a proper sequence.
Strenuous exercise does not conform to the proper physiological sequence and very easily
gives rise to bad habits. When practicing Taiji Boxing, if one part moves, every part moves,
and if one part is still, every part is still (from How to Practice). There is no particular area of
the body that has any extra stress upon it. Therefore it accords with physiological function,
being a beneficial practice rather than an obstructive abuse. The character of this art is to do
what is natural.

5. It is particularly effective at treating illness.

Boxing arts have the effect of treating illness, as everyone knows. However, strenuous
exercise consumes too much of ones bodily strength, which weaker people will not easily
replenish. This is counterproductive. One of the principles of Taiji Boxing is to adapt to
physiological changes. It boosts energy and blood by focusing entirely on mildness, and so it
does not cause breathing or pulse to become the slightest bit irregular. Therefore even if you
have lung disease, you can practice it, and you will achieve extraordinary results. (Although at
the onset of an illness, you should of course convalesce.) As for other ways it can treat illness,
you will learn through personal experience.

6. It sculpts your temperament.

Everyones temperament is different, but ones temperament always has an influence over
ones outward character, therefore ones consciousness can transform ones character. Those
with even a smattering of psychological understanding can all agree with this. Taiji Boxing
emphasizes methods of softness, emptiness and stillness being the main principle. If you
have bad habits such as rashness or bluntness, these are things to be pushed aside. By
practicing this art over a long period, you will be unconsciously cultivating a habit of grace,
which will help you learn to take criticism. If you have a tyrannical attitude toward others,
this kind of training will have noticeable results upon you.

B. ITS MARTIAL ASPECTS

1. It uses stillness to overcome movement.

The Art of War [chapter 6] talks a great deal about empty versus full. Boxing arts do likewise,
but emptiness and fullness in boxing arts have more to do with energy rather than posture. I
am already aware of my own state of emptiness and fullness, but if the opponent is storing
energy and has not yet expressed it, I have no way of knowing the condition of his emptiness
and fullness. It is therefore the worst moment for me to attack. I should be allowed extra room
to maneuver, and then if I gently advance, I will turn the tables on him and take advantage of
the situation. Such is the way in Taiji Boxing.

I must allow the opponent to be the first to issue energy, awaiting his approach. Using his
moment of coarseness, I respond with smoothness, the technique being that of receiving,
drawing him into my trap and thereby gaining control over him. (From Playing Hands Song:
Guiding him in to land on nothing, I then close on him and send him away.) Always and
with ease he will made to fall away. As the saying goes: [Art of War, chapter 3] Knowing
both self and opponent, in a hundred battles you will have a hundred victories. The secret to
all this is to use stillness to overcome movement.

2. It uses softness to overcome hardness.

When we begin to discuss energies in boxing arts, we typically try to explain their true
meanings. Therefore the distinction between hardness and softness gets explained via the
passive and active aspects. But the meaning of those two terms is so broad, indeed utterly
general, that beginners rarely have no confusion over their vagueness.
Basically, any kind of energy that has an element of resistance will pay no attention to how
large or small the opponents energy is, and this should always be considered hard energy. On
the other hand, any kind of energy that is able to follow the opponents energy flexibly
contains no element of resistance, and this should always be considered soft energy.
The key to soft energy is elasticity. If you are without this quality when you encounter an
opponent, you will have no hope of recovering your position. Such an energy can be called
lifeless. Hard energy tries to win through strength, and so when it encounters strength, it
inevitably breaks down. Although the source of its failure is different from that of lifeless
energy, the result is the same. It can be seen that using softness to meet hardness would be
comparable to a contest of lively energy [elastic softness] versus lifeless energy [inelastic
softness].
In determining victory and defeat, there should be no predicting between them. In Taiji
Boxing, the magic lies in making adjustments based on being receptive to the opponent
(from the Thirteen Dynamics Song). It basically comes down to this principle, but for those
who do not practice this art, such words may seem mystical.

3. It uses the smaller to defeat the larger.

When Taiji Boxing is used to defeat opponents, it always uses a smaller force to defeat a

larger force. The skill it applies (Technique is shown outwardly. Energy is stored inwardly.
When technique and energy can be combined, this is called skill.) lies in formlessness and is
always rooted in the science of mechanics. When issuing, either first make the opponent lose
control of his balance or make use of the principle of net force and then seize the opportunity
to attack. Therefore you will not need a large force and the opponent will automatically topple
away. The subtlety of these things is something that can only be dreamt of by those who try to
win by using hardness in striking and advancing.

4. It uses smoothness to avoid harm.

In Taiji Boxing, there are two ways of applying energy: yielding and sticking. (From the
Classic: He is hard while I am soft this is yielding. My energy is smooth while his energy
is coarse this is sticking.) Yielding is for neutralizing the opponent, then sticking is for
controlling him. As they both make use of each other, they are able to alternate without limit.
Every kind of movement in Taiji Boxing makes a rounded shape. Within one of its curves are
infinite occasions for yielding and sticking. Act according to the situation, relying entirely on
sensation. The most important principle is to never depart from the concept of smoothness.
When dealing with an opponent, if you are not being soft, then you are being hard. If you
are being hard, then you will be acting with coarseness against the opponents energy rather
than using smoothness to go along with it. If your energy is not smooth, you will have no way
to yield. If you do not yield, you will have no way to neutralize. If you do not neutralize, you
will have no way to stick. If you do not stick, you will have no way to sense the opponents
changes. If you carelessly advance, you are not examining the status of the opponent and are
liable to be deflected away or suddenly crushed by a large force, and those who have not
happened to be injured through such circumstances often do not quite grasp that it is by use of
smooth energy that harm is prevented.

C. ITS OTHER ASPECTS

1. Everyone can practice it.

The reasons Taiji Boxing can be practiced by everyone are outlined below:

i. All of its postures are natural, balanced, simple, and do not require any effort. Therefore it
can be practiced even by women and children, or by the old and weak.


ii. Its martial applications focus entirely on suppleness and yielding, never seeking to win
through strength. Therefore it can be practiced even by those who have a martial ambition but
are embarrassed by an inadequate physical strength.

iii. It is particularly effective at treating illness. Therefore it can be practiced even by the
physically weak, chronically ill, and those who are worried they have a disease that may be
incurable.

iv. As it emphasizes intention rather than what it looks like, it can be practiced alongside other
boxing arts without creating any hindrance. Therefore it can be practiced even by those who
also love practicing external styles, although the order of practice during a session has to be:
external arts first, followed by Taiji.

v. It emphasizes gradual progress. To practice it each morning and evening is really not very
time-consuming. (If your ambition is self-cultivation, you only need to go through the solo set
once each morning and evening, and the set only takes about ten minutes. If you are training
for fighting, doing pushing hands for thirty minutes every day will give you no small benefit.)
Therefore it can be practiced even by those who do not have much free time.

vi. As its movements are very quiet, it will not disturb other people when practiced, and it also
does not use very much space. Therefore it can be practiced even while traveling.

2. It is easier to practice.

Typically when practicing martial arts, what is most emphasized is drilling the techniques.
Training in other boxing arts involves two people being unyielding with each other. This very
easily gives rise to dangerous situations in which the more timid person can no longer stand it
and falls down in pain. This kind of thing is not what we want. Taiji Boxing has its pushing
hands methods for drilling how to deal with an opponent. These methods focus on training
awareness and emphasize neutralizing rather than attacking. Since the movements are not rash
actions and the power is not ferocious, it assuredly lacks the risk of becoming dangerous. And
therefore it is the easiest to practice.

3. It is highly enjoyable.

Since every kind of movement in Taiji Boxing makes a rounded shape, there is everywhere
within one of its curves a switching between emptiness and fullness. In the beginning of the
training, you will not comprehend these transformations and will naturally be without any
sense of emptiness or fullness. But after you have practiced over a long period, your
alternating between emptiness and fullness will naturally be able to fit every situation. (Taiji
Boxings other name of Long Boxing describes this switching between emptiness and
fullness: It is like a long river flowing into the wide ocean, on and on ceaselessly
[Treatise]) Whether solo practice or partner practice, it is like playing chess, so unusually
enjoyable. Your mind must perform alternations nimbly, and then you will have the delight
of being rounded and lively (How to Practice) points to this idea.

CHAPTER FOUR: TAIJI BOXING IN RELATION TO THE STUDY OF PSYCHOLOGY

Taiji Boxing emphasizes the cultivation of both body and mind. When practicing, you must
use mind to move the energy, and use energy to move your body (How to Practice) to then
be able to achieve the full extent of its wonders. This kind of practice method is entirely
grounded upon psychological function, yet its effects are indeed true and trustworthy.
The power of our minds is huge and able to take complete control over our physiological
functions. An extreme example is the sincere belief of those religious people who can walk
barefoot over fire without fear of being burned or who can dance along sharp blades without
feeling pain. A lighter example is when people gather at a social event and notice they are
surrounded by delicacies, and this then increases their appetite for food. Such phenomena are
enough to demonstrate that psychological function has influence over physiological function.
It has to be understood that because the function of our nerves is arranged physiologically,
there are nerve centers and nerve endings. Thus when we receive external stimulation, there
will be a distinction between the sensation of it and the perception of it.
Sensation means the nerve endings receive an external stimulation and generate a simple
effect based on it. In the first instant there is no ability for consciously recognizing external
objects. When a sound is sensed by your ear, a color is sensed by your eye, a scent is sensed
by your nose, or a taste is sensed by your tongue, these are all physiological sense organs
responding directly to sensations. This instant of sensation can only be truly felt in that instant
and cannot really be imagined afterward. An instant later, sensation has prompted
imagination, and then it becomes a matter of perceiving rather than sensing.
Perception is when the fluctuations of sensation pass along the nerve fibers to the nerve
centers, producing an effect upon the imagination. Perception is thus the source of our various
ideas about what we are sensing. There is an intimate connection between thought and the
motor centers. For instance, if you have the notion of grabbing an object, your hand
automatically moves, or if you see a delicious fruit, your mouth starts salivating. These are
both cases of our thoughts prompting our motor centers, producing physiological phenomena.
In modern times, hypnotism and mentalism utilize these kinds of psychological functions to
create incredible effects. Those with even some slight knowledge of psychology are able to
discuss this.
The various postures in Taiji Boxing are quite unremarkable. When practicing, you must
not use effort. (Those who have not previously practiced boxing arts usually put forth an
effort that is sheer brute force, which in boxing arts is called stiff energy.) Not
understanding the significance of this, beginners will often become easily exhausted, never
realizing that it is a matter of taking advantage of psychological function. The first phrase of
How to Practice, use mind to move energy, reveals the key secret.
Unfortunately, beginners tend to think the way of boxing arts is that unless the teacher is
actively filling the student with techniques, it will be very difficult for the student to obtain
the art. This is actually an enormous misunderstanding. They do not grasp that the
responsibility the teacher bears is nothing more than being able to demonstrate the proper
methods to the student. As to whether the art is obtained or not, this is up to the students
approach to the methods the teacher has demonstrated and is dependent entirely on whether or
not he is faithfully practicing. To use mind to move energy was originally one of the proper
methods, but students usually pay no attention it, and so if they want to take some
unremarkable postures and just copy them mechanically, and then expect to enter the ranks of
master, they will be deservingly incapable of achieving any skill.
What then is the right way to study the art? The most common expression that applies to it

is take it for granted. By this I mean that in every movement we should firmly believe the
results will occur and then apply our imaginations to them [i.e. taking for granted actively
rather than passively]. If you wish to move energy, then you should have the thought of
moving energy. If you wish to sink heavily, then you should have the thought of sinking
heavily. If you wish to sink energy, then you should have the thought of sinking energy to
your elixir field. Strive in every technique to perform it as you imagine it should be done.
This kind of method will bring you to a breakthrough. It is extremely simple, but to get the
desired results, you cannot just give it one nudge and expect the effect to carry over through
several movements. In every movement, very deliberately control it by the use of intention,
for once you achieve that, it will all be effortless (Thirteen Dynamics Song) expresses the
idea. Therefore if you want to see results, you have to be the practicing type, and when
practicing, not have to wonder what the results will be. You should constantly perform it the
way you are thinking it, without the slightest discontinuity between thought and action.
Over the course of time, this will gradually go from deliberate to natural, and then the
power of each thought will be able to control physiological function, and whatever is in your
will to do, it will automatically come true. By absorbing through experience and by
constantly contemplating, gradually you will reach the point that you can do whatever you
want (Classic) conforms to this idea. Be sure not to regard it as a bunch of empty words, for
it is very important.
When I began practicing Taiji Boxing, I was deeply convinced of a strong relationship
between this art and psychology. I last year gained a female student who after training for
only a short while had produced extraordinary results. I at first thought this to be unique, but
then I learned she had practiced mentalism, and this increased my feeling that my opinion was
not unfounded. Unfortunately my own investigation into psychological studies has not yet
been very thorough. Therefore I can here only express general ideas and I am not even sure of
the validity of what I have been saying. I deeply hope that knowledgeable people throughout
the nation will come forward and instruct me so that this art may increasingly show
development, and not just for my own personal improvement.

CHAPTER FIVE: TAIJI BOXING IN RELATION TO THE STUDY OF PHYSIOLOGY

All boxing arts have postural standards, distinctions between what makes the posture good or
bad that are related to human physiological functions. Taiji Boxing is always so posturally
unremarkable that some suspect it may be of meager effectiveness, and they do not
understand that the various aspects of posture all conform to physiological principles.
I am not clever, so please pick out what is relevant to you from the explanations that
follow:

1. FORCELESSLY PRESSING UP YOUR HEADTOP

In the head lies the brain. The cerebral cortex has a great variety of nerve centers, divided into
departments for directing all of the bodys organs. The importance of this need not even be
stated. The heads appearance is upright, as it is in every school of boxing arts. But the means
of making it upright is never a matter of using effort to do so. If you use effort, the muscles
will contract and your neck will stand stiff as a board. The bad habits this will create will not
only obstruct smooth bloodflow and smooth breathing, but in the area where your cerebral
cortex (where every nerve center is located) contacts your spinal cord you will also
imperceptibly develop a hindering and harmful effect.
In Taiji Boxing, the posture as regards the head is called forcelessly press up your
headtop, also called headtop suspended. To press up your headtop is like there is energy
coursing through straight to your headtop. To do so forcelessly is the idea of using mere
imagination (meaning not using effort) to guide it to your headtop. The meaning of headtop
suspended is that your headtop seems to be suspended in midair, in other words that the
appearance of your head has to be upright and that it also has to have the subtlety of being
effortless and natural in order for it to be correct. Your whole body will be aware and your
headtop will be pulled up as if suspended (Thirteen Dynamics Song) and if you can raise
your spirit, then you will be without worry of being slow or weighed down (How to Practice)
are both statements that have to do with forcelessly pressing up your headtop, a principle that
has to be understood, for it is the most important quality of the heads posture.
There are also three related points that must be paid attention at the same time, explained
below:

A. Do not glare.

When practicing Taiji Boxing, you should have a serene bearing, not a look akin to having a
drawn sword or a loaded crossbow. Spirit should be collected within (Treatise) as well as
spirit comfortable, body calm and outwardly show ease (How to Practice) each express
this idea. Glaring with angry eyes will keep your eyes from following along with the
movements of your intention, will cause your spirit to be outwardly revealed, and will
produce the error of lifting up your energy. As for the physiological aspect, your eye muscles
should not be overworked and should instead be used moderately and naturally. Glaring with
angry eyes is contrary to this practice and should be avoided.


B. Your mouth should be closed, but do not gnash your teeth.

A persons breathing, according to physiology, ought to be through the nose, resulting in the
mouth being closed. This will cultivate a good habit. But closing your mouth tightly will
violate the principle of naturalness and will cause your teeth to be worn down, a physiological
hindrance that you must be mindful of.

C. Your tongue is to be touching your upper palate.

This will cause your salivary glands to constantly secrete saliva and moisten your throat. In
the beginning of the training, once there is any movement, blood circulation will gradually
quicken, which will easily dry out your throat, hindering your breath. This principle is
therefore concerned with the regulating of the breath, and by practicing with it in mind, you
will avoid such problems. It also can aid digestive function, and so it is worth giving attention.

2. CONTAINING YOUR CHEST & PLUCKING UP YOUR BACK

As for the physiological aspect of this, the extent of the bodys strength and the extent of the
muscular movements power are always in direct proportion to each other. Calisthenics and
martial arts can therefore make a person strong and healthy because they enhance muscular

power. The muscles of the body divide into voluntary muscles and involuntary muscles.
Voluntary muscles are moved consciously. Involuntary muscles move automatically and
unconsciously. Therefore if you wish to enhance the strength of the involuntary muscles, but
are not yet a practitioner of deep skill able to take advantage of psychological functions,
merely a beginner, then you will only be successful if you concentrate on getting the posture
right.
Regarding the torso section, the most important Taiji Boxing principle is contain your
chest and pluck up your back. Containing your chest means getting your solar plexus to
slightly cave in, which folds your diaphragm inward, causing your chest wall to press inward
and naturally downward, thereby aiding the sinking of energy. Plucking up your back means
getting your back to slightly resemble the curve of a bow, so that the vertebrae of your spine
(here meaning the thoracic vertebrae, between the cervical vertebrae and lumbar vertebrae.
This part of the back often curves forward due to the supporting of weight.) can be trained to
curve back instead of curving forward, enabling all of your vertebrae to have movement
forward and back. [What is being described is the two ends of the thoracic section, especially
the lower end where it meets the lumbar section, curving forward to produce a lordosis
swayback effect. The intention is not to counterbalance this by bulging the back into a
kyphosis hunchback effect. Both such extremes are to be avoided. The meaning here is that
the two ends of the thoracic section are to be drawn back and thus straighten the spine from
pelvis to skull. This effect would perhaps be expressed less confusingly by instruction to
simply tuck in the tailbone and draw back the chin rather than to pluck up the back.] Then
imperceptibly your spine will be induced to return to the more straightened appearance it had
when you were an infant.
The function of pluck up the back lies in the martial aspect of the art, for which it is
extremely important. If your spine is sticking out forward, energy will get stuck in your chest
and make you top-heavy and easily knocked down. Furthermore, if your spine is slightly
curving forward, the power of your legs (As the Treatise says: Starting from your foot, issue
through your leg. This means that the issuing of power begins in your legs.) traveling
through the middle of your spine to go directly into your arms will not reach its destination
smoothly, and this will be a particular hindrance to your issuing of energy. Power comes
from your spine and energy sticks to your spine (How to Practice) both have to do with
this kind of skill.
Although contain your chest and pluck up your back resembles the position of the spine
in the three folded posture of seated meditation, Taiji is stillness within the context of
movement whereas meditation is movement within the context of stillness. They are not done
in entirely the same way. For the version of containing the chest and plucking up the back in
Taiji Boxing, you must not commit the error of interpreting the principle as a frozen state of
posture, but must instead allow it to adjust with the changes of the movements. You will then
be able to directly enhance the strength of your intercostal muscles and diaphragm, and
indirectly enhance the strength of your organs and involuntary muscles, thereby greatly
improving the physiological functions of respiration, circulation, digestion, and excretion. The
significance of this principle thus needs no more words.
There are also three related points important to pay attention to, explained briefly below:

A. Loosen your waist.

Loosening your waist is the opposite of hoisting up your waist, which would cause the
problem of lifting up your energy and should thus be avoided. Loosening your waist will
cause energy to sink down and can increase the strength of your legs and stability of your
stance. If you have not achieved efficient switching of emptiness and fullness between your
upper and lower limbs, the remedy for this depends entirely on the appropriate turning of your
waist. Loosening your waist will stretch out the muscles, which can make your waist feel
more nimble and turn more easily, and this will have a significant effect upon your fighting
ability.
As for the physiological aspect, loosening your waist can increase the capacity of your
abdominal breathing, what boxing experts call the sinking energy skill. Furthermore, when
your waist is often given proper exercise, it will have a good influence on your kidneys and
intestines. The problem must be in your waist and legs, so look for it there (Treatise) as well
as their command coming from your lower back and if there is complete relaxation within
your belly, energy is primed (Thirteen Dynamics Song) are all statements pointing to
loosening your waist. This principle has to be understood.

B. Center your tailbone.

Your tailbone is the bone at the bottom of your sacrum, at the very end of your spine. If this
area is not centered, the straightness of your spinal column will be the first thing to be
affected, which will then make it difficult for energy to be transmitted upward. Your tailbone
is centered and spirit penetrates to your headtop (Thirteen Dynamics Song) is exactly this
idea. When a beginner puts his weight onto one leg (While practicing Taiji Boxing, the legs
will have to constantly switch roles of empty and full, an important basic principle.), he
typically moves his body sideways more than is necessary, which easily causes his skeleton to
slip into an unnatural position, a great physiological hindrance. And so you should give extra
attention to the principle of centering your tailbone.

C. Hang your buttocks down.

When squatting your body, your buttocks should be hanging down for the posture to be
correct. When beginners even slightly squat, they instead end up sticking their butts out,

causing unnatural pressure between the vertebrae, which at the very least would hinder the
loosening of the waist and the plucking up of the back. Attention should therefore be given to
this point.

3. SINKING YOUR SHOULDERS & DROPPING YOUR ELBOWS

The movement of the limbs follows the movement of the intention, and so whether the
movement is done right or wrong derives from how refined or crude the intention is.
However, bad habits can cause the mind to lose its effectiveness. In the beginning of the
training, although the movement follows the intention, it will not work unless you have
corresponding attention.
Regarding the upper body, the most important Taiji Boxing principle is sink your
shoulders and drop your elbows.
Sunk shoulders are the opposite of shivering shoulders, as when a person lifts his
shoulders up out of fear of the cold. This kind of posture will at the very least hinder the
ability of the shoulder belt (meaning the muscles connecting the shoulder bone and collar
bone) to flatten out and will have a bad influence on the rib cage that would be in opposition
to its physiological function. The effect of sinking the shoulders is to cause them to loosen
and hang down, aiding in the sinking of energy, and also to keep the arms from becoming
weary when issuing. Lifting your shoulders is contrary to what will be effective, and so
boxing experts tend to warn against it.
Dropping your elbows is related to sinking your shoulders. If your elbows come up like
wings, not only will this ruin the sinking of your shoulders, it will also keep you from closely
guarding your ribs, and so it must also be understood.
There are additionally a couple of related features of the hands, which are explained
below:

A. Extend your fingers.

The idea here is that your fingers must be extending rather than curling into fists, but they
should also not be stiffly straight. Likewise when making a fist, it should be loose rather than
tight, conforming to the naturalness of your whole body. You need to understand that the
posture of your fingers during practice should be regarded as guiding your bodys movements

and should never just have an appearance of attacking opponents. Expressing it at your
fingers (Treatise) is exactly this idea.

B. Stick out your palms.

This describes the palm in the position of a forward push, in which you must give the palm an
intention of slightly protruding in order to aid the drawing in and extending of internal power.
As for the physiological effect, this stretches out the tendons of the arm and wrist, and thus
must not be overlooked. However, you also must not make the mistake of issuing with too
much exertion, which will cause stiffness and brittleness. With stiffness, the energy will be
sluggish. With brittleness, the energy will be interrupted. Neither of these conform to Taiji
Boxings way of moving energy and so you will have to be mindful of them.

4. THE THREE-LINE STANCE

Taiji Boxings stance is called the three-line stance. Your feet stand with one in front, the
other behind, the toes of both feet pointing forward. The feet are placed at two points [with an
imaginary third line running between them],
for instance:
|R
L|
or:
L|
|R

They are on a diagonal to the front and back, separated to the left and right. The standard of
distance between your feet depends on your own bodys height. You must not squat down too
far, for excessive effort is not physiologically sound, and it would also lead to quickening of
the breath. As it would be a huge obstruction to the sinking of energy and the regulating of
breath, going overly low must be paid attention to.
There is a fixed pattern to the emptiness and fullness of the feet, which is explained
generally below:

A. The empty foot:

The feet are constantly switching the roles of empty and full, causing your bodys weight to
be supported by each leg in turn, which can regulate fatigue as well as give equal exercise to
the joints. These are the physiological advantages of Taiji Boxings three-line stance.
The most important feature of the empty foot is that it is able to rise and lower in
accordance with the intention. Whether the leg is straight or bent is not so strict as with
external boxing arts, nor the distinction of touching down with the toes or heel, which instead
conforms to whatever is more natural, neither being frowned upon. From foot through leg
through waist, it must be a fully continuous process as well as other phrases (Treatise) are
generally indicating both of the legs, yet you must never overlook the empty one.

B. The Full Foot:

The full foot is the opposite of the empty foot. The most important feature of it is that the leg
is bent and must not be straight. If straight, then the weight of your body will be braced by
your skeleton in a posture that will not only be unstable, but will make moving into other
postures awkward and harmful. Furthermore, the legs muscles will receive a workout so
diminished as to be physiologically inappropriate.

The various points above have to do only with major elements that are described briefly and
generally, and so gaps of information are unavoidable. This chapter not being an exhaustive
study means the style of writing in it is very easygoing. In chapters Seven and Eight, I have
placed related sections that analyze some of these things further. Pardon me for not placing
that material within this chapter.
-


CHAPTER SIX: TAIJI BOXING IN RELATION TO THE STUDY OF MECHANICS

From a martial aspect, mechanics [the Chinese term more literally meaning the science of
forces] and boxing arts are intimately related. Taiji Boxing always uses a small force to
defeat a large one, and so it especially conforms to the principles of mechanics. The important
points of this are analyzed below:

1. CONFORMING TO NEWTONS LAWS OF MOTION

When issuing power, you must sink and relax, concentrating it in one direction and issue
power like loosing an arrow (How to Practice) both describe the force with which you are
attacking an opponent. The intention should be like an arrow going straight to a target, then
the method will be correct. If you act with strength or urgency, you will inevitably miss by
an inch, lose by a mile [as mentioned in the Classic]. It is necessary to understand the
inherent nature of force, that if it does not receive an outside force, it will not change
direction, what Newtons first law of motion means by the path of motion will be straight.
[As a small point of interest: though the transliterating of Newtons name has by now become
standardized in Chinese as Niudun, Xu in 1927 renders it as Naiduan.]
In the practice of external boxing arts, issuing energy can cause the opponent to be injured,
yet will not necessarily topple him with ease. This is always because the force issued is
intended for injuring him, and will therefore finish upon reaching his body. Moreover, it
would perhaps as a result become controlled by the opponent, who would usually then return
a strike, and this is due to your forward force being already prevented from reaching his body
[i.e. deflected away in the direction of his blocking] (as in the case of Newtons second law of
motion). But if your issued force did reach his body, there would then be an opposing force
(as in the case of Newtons third law of motion), consequently dispelling the forward quality
of your force.
When Taiji Boxing issues energy, it can throw an opponent more than thirty feet away.
Although this is the skill of riding along with the opponents own momentum [during a
moment in which his forward energy has reversed] to attack him with it, it also comes from
your own issuing of energy and can thus comply with the nature of force to continue forward
in a straight line [since your issued energy is added to (producing acceleration) and in the
same direction as his retreating momentum] instead of the situation of ceasing upon reaching
the opponents body.
Included here for reference are Newtons laws of motion:


Newtons First Law of Motion:
[Since Newton originally wrote these laws in Latin (published 1687), it is appropriate for the
Latin text to be included: Corpus omne perseverare in statu suo quiescendi vel movendi
uniformiter in directum, nisi quatenus a viribus impressis cogitur statum illum mutare.
The 1729 translation by Andrew Motte is probably the closest to the Latin original: Every
body perseveres in its state of rest, or of uniform motion in a right line, unless it is compelled
to change that state by forces impressed thereon.]

It is always the case that unless influenced by an outside force, an object at rest will not move
by itself and an object in motion will not come to rest by itself. The path of motion will be
straight and the speed will be consistent.

Newtons Second Law of Motion:

[Newton: Mutationem motus proportionalem esse vi motrici impressae, et fieri secundum
lineam rectam qua vis illa imprimitur.
Motte: The alteration of motion is ever proportional to the motive force impressd; and is
made in the direction of the right line in which that force is impressd.]

Changes of motion that contrast the main force with an outside force will change the straight
line of the motion toward the same direction as that of the outside force. Put another way
[now drawing from Newtons elaborating upon the second law: Si vis aliqua motum quemvis
generet, dupla duplum, tripla triplum generabit, sive simul et semel, sive gradatim et
successive impressa suerit. (Motte: If a force generates a motion, a double force will
generate double the motion, a triple force triple the motion, whether that force be impressed
altogether and at once, or gradually and successively.)], whenever an outside force is added
to an object, one degree of force will have the effect of one degree of force, whereas many
degrees of force will have the effect of many degrees of forces.

Newtons Third Law of Motion:

[Newton: Actioni contrariam semper et qualem esse reactionem: sive corporum duorum
actiones in se mutuo semper esse quales et in partes contrarias dirigi.
Motte: To every action there is always opposed an equal reaction: or the mutual actions of
two bodies upon each other are always equal, and directed to contrary parts.]

When a main force and an opposing force are equal, then the motion of an object will be
entirely reversed.

2. CONFORMING TO THE PRINCIPLE OF NET FORCE


When using Taiji Boxing to deal with an opponent, it is crucial to avoid going against the
direction of his issued energy and resisting it. You should instead yield to the direction of his
energy, drawing in his force to land on nothing and thereby causing him to fall into a
dangerous position. It will then be the correct method, and the force in this kind of method is
called neutralizing energy. It conforms to the principle of net force, demonstrated in figures 13 below.
figure 1:

figure 2:

figure 3:

The three lines of A1B1, A2B2, and A3B3 all show the extent of the opponents force
and its direction. The line of B1C1 demonstrates the typical boxing technique of deflecting
aside the opponents energy by imposing an outside force upon it, and the extent and direction
of this force. Lines B2C2 and B3C3 demonstrate Taiji Boxings neutralizing energy, and
the extent and direction of this force. The three lines of A1C1, A2C2, and A3C3 show
the outside force (the three forces of B1C1, B2C2, or B3C3) added to the opponents
force (the three forces of A1B1, A2B2, or A3B3), producing the extent and direction
of the net force. The scenarios in these three figures are compared below:

i. Comparison of figures 1 and 2:

A1B1 = A2B2

B1C1 = B2C2

A2C2 A1C1 = D2C2

>
Therefore: A2C2 > A1C1

ii. Comparison of figures 1 and 3:


A1B1 = A3B3

A1C1 = A3C3

B1C1 B3C3 = D1C1

<
Therefore: B3C3 < D[B]1C1

Explanation i shows that the force of A2C2 is greater than A1C1. This proves that Taiji
Boxings neutralizing energy can use equal force and yet achieve a greater result (and thereby
causing the opponents force to land on nothing and getting him to fall into an even more
dangerous position). Explanation ii shows that the force of B3C3 is less than B1C1. This
proves that Taiji Boxings neutralizing energy can use less force and yet achieve an equal
result. These results are clear from the diagrams and need no further explanation.

3. CONFORMING TO THE PRINCIPLE OF OPPOSITE FORCE

When attacking an opponent with Taiji Boxing you can utilize opposing force, especially in
relation to net force. If object A adds force to object B, then object B also adds force to object
A, the two forces being always equivalent, as per Newtons third law, a simple matter of fact.
If you push on a wall, the wall is putting the same amount of force into your hands. Or if you
pull an object at the nd of a rope, the object is at the same time pulling on you. Or when a ball
is shot from a cannon, there is sure to be a recoil that rolls that cannon backward. All of these
examples are sufficient to prove the principle of opposite forces. When an object receives

force that moves it from its original position, there is then a greater-than or less-than between
the two forces. It is certain that one force is larger than the other, consequently producing a
net force. In accordance with the principles of mechanics, let us place two forces along a
straight line and calculate the net force. If they go in the same direction, they are to be added
together. If they go in different directions, one is to be subtracted from the other. See figures 4
and 5 below.
figure 4:

In figure 4 above, AB shows the extent of the initial force, amounting to two notches along
the calculating bar. AC shows the extent of the second force, bringing it up to four notches.
As the two forces are in the same direction, AD thus shows the net force of both added
together: six notches. Taking advantage of a momentum to attack an opponent is something
that in every school of boxing arts is to be valued, as proven in figure 4. But it therefore has
no bearing on the subject at hand, being insufficient to show the unique qualities of Taiji
Boxing.
figure 5:

In figure 5 above, AB shows the main force, amounting to four notches along the
calculating bar. AC shows the resisting force, amounting to two notches. As the two forces

are in opposite directions, AD thus shows the net force of both when the smaller amount is
subtracted from the larger: two notches. Practitioners of external arts use a huge force to strike
opponents, and so they always and unavoidably receive the impact of an opposite force,
which is not an economical way to fight, as proven in figure 5.
In Taiji Boxing, when attacking an opponent, the effect of your first force is not intended
to immediately defeat him, but to first of all search for and know his opposing force or how
much resistance he will add to your force. Once you know the degree of this, you can put out
a second force to shift the direction of his opposing force or resistance, causing him to fall
into an unstable position. You may then put out a third force to attack him, and thus he will
always and easily fall away.
Therefore Taiji Boxings first force is always an empty technique, the second force is the
neutralizing energy, and the third force is the beginning of the issuing energy. However, if the
second force fails to shift the direction of the opponents force, then the third force should still
be used to neutralize, and the push will happen with the fourth or fifth force. It should always
be done like this, and then it will conform to the Taiji Boxing intention of first neutralize,
then attack. The relationship between neutralizing and opposite force is shown in figures 6
and 7 below.
figure 6:

In figure 6 above, AB and CB are equal forces in opposite directions. This demonstrates
the situation of a main force and a resisting force being equivalent to each other. Point 1 is
where the two forces counterbalance. The net force is zero. Therefore at this moment, Taiji
Boxing can use the force of BD (i.e. neutralize), causing the opponents opposing force to
veer off from the direction of CB to the direction of CD, making his body go from a
posture of standing erect to one of backing off, and he will be noticeably unstable. The lifting
in the Classics like when you reach down to lift up an object is exactly this idea.
figure 7:

In figure 7 above, EC demonstrates the opponent adding resistance. The net force of EC
and CB compared to the force of AB (a single force), is greater. Therefore Taiji Boxing
does not resist against it, but instead uses the force of BD (neutralizing), taking advantage
of the momentum and shifting the direction of it, causing the direction of EB to veer off to
the direction of ED, which also increases the extent of his forward inclination, making his
body go from a posture of standing erect to one of leaning forward, the danger of which goes
without saying. Taiji Boxing can use a small force to defeat a large force. This is one of the
explanations why, and you have to understand it.

4. CONFORMING TO THE PRINCIPLE OF EQUAL FORCE

When two forces of equal size move along parallel lines but in different directions, there is a
net force of zero, and they are thus called equal forces. See figure 8:

Equal forces cause objects to rotate. Therefore in Taiji Boxing, whenever an opponent uses
his right hand to attack my left side, or uses his left hand to attack my right side, I turn my
body sideways to evade it while at the same time using my right hand to issue energy to his
left side, or using my left hand to issue energy to his right side. The force does not need to be
great, and yet it can make him spin away. In figure 8 above, A and B represent the opponents
shoulders, while 1 and 2 represent opposite directions of force. The result is that his shoulders
are moved from their original position. Once he feels unstable, he will immediately withdraw
his issued energy, and this will be more than enough to make him retreat from the energy he is
attacked by. This changes the situation from one of equal forces to one of net force, as in
figure 9:

In figure 9 above [with A and B still representing his shoulders], 1 is the opponents initial
force, which I have already received and dispelled, 2 is the direction in which my energy
issues, which goes straight forward, 3 is his second energy reversing from his first, also
straight ahead, and 4 is the net force of 2 and 3. This demonstrates that my small amount of
force (2) has the effect of harvesting a great amount.

5. CONFORMING TO THE PRINCIPLE OF CENTER OF GRAVITY

Every object has a center of gravity, sometimes inside an object, sometimes outside an object,
depending on variations of structure. It may be in a position of stability, instability, or
neutrality (meaning neither stable nor unstable). These three distinctions are shown in figures
10a-10c below.
figure 10a:

Cone A above demonstrates stability. This is because the vertical line of the center of gravity
will not easily shift beyond the base.
figure 10b:


Cone B above demonstrates instability. This is because if the vertical line of the center of
gravity shifts at all, it will go beyond the base.
figure 10c:

Cone C above demonstrates neutrality. This is because however the vertical line of the center
of gravity shifts, it will still remain within the base once the object is at rest.

Therefore if you wish to maintain the stability of an object, you must either broaden its base
or lower its center of gravity, and then you will have achieved the principle of unchanging
stability.
A persons center of gravity lies in the lower abdomen. Without utilizing some object or
outside force, one would certainly be without the ability to lower extremely or externally. For
instance, a tightrope walker always relies on a long pole (i.e. the weight at both of its ends) for
assistance, which is exactly this principle. If you have not trained at sinking energy, your
energy will often float up, and your center of gravity will follow it by rising upward. If force
is then added to your upper body, you will become even more top-heavy, the vertical line of
your center of gravity will be very easy to shift beyond your base (as in the case of cone B),
and you would always be in danger of leaning.
However, while the skill of sinking energy can cause your center of gravity to lower so
that your body can obtain a more stable posture, the base that your feet occupy will be either
wide to the front and back while narrow to the left and right or will be wide to the left and
right while narrow to the front and back. If you are attacked at the narrow section, then the
vertical line of your center of gravity will again easily go beyond your base. It is clear from
this that matters of fighting only depend on the center of gravity lowering and not on methods
of total stabilization.
When Taiji Boxing responds to opponents, one aspect of it is to make use of the
opponents opposing force to sway his center of gravity and put him in an urgent situation.
(The effectiveness of neutralizing lies in this scenario, as explained earlier.) Another aspect of
it has to do with your own center of gravity, whereby you will frequently use methods of
adjustment to stabilize yourself rather than trying to stubbornly sink your energy, this being
the only reasonable course to take.
You need to understand that the situation in Taiji Boxing is to shift the weight of your
body onto one foot. This is a key principle. It means that the vertical line of your center of
gravity is over only one foot, and thus obviously your base involves only one foot. Compared
to a base involving both feet, this is actually even narrower, as well as harder to conceal.
Commonsense dictates that this kind of condition would work against you and put you more
often at risk of leaning. Nevertheless, you are able with Taiji Boxing to keep from losing
stability, and the reason for this, put succinctly, is that the feet have the ability to alternate
between states of empty and full.
Alternating means that when one foot is unstable, the weight is immediately switched over
to the other foot, causing a return from instability to stability. In other words, the position of
your base is constantly adapting to the changes of your center of gravity, so that the vertical
line of your center of gravity can be at another position inside your base once you are settled
(as in the case of cone C) and is not limited only to the original placement. The example
above of walking a tightrope can also be achieved without need of a long pole. This at first
would never seem to be the case, but actually once this kind of skill becomes perfected, the
result will be the same [due to subtly alternating states of empty and full throughout the rest of
the body]. All of these things deeply conform to the principles of mechanics and are not the
slightest bit mystical.

The various examples above are for those interested in fighting, but they will not be easily
grasped without a more comprehensive study. As this book has limited space, I can only give
a general idea and I must deeply apologize for its sketchiness. If there are parts that are
difficult for you to understand, you can review them with a partner and work together
according to the diagrams, and then it should make perfect sense. Or you can use your
imagination until you get it.

CHAPTER SEVEN: TAIJI BOXINGS PRACTICE METHODS

It was mentioned earlier [in Chapter Three] that every kind of boxing art has its own special
characteristics. They each therefore will of course have different training methods. If you do
not obtain the methods of your art, it will require twice the effort to get half the result, which I
can attest to from experience. Where Taiji Boxings training methods have to do with
psychology and physiology, these aspects were already touched upon in chapters Four and
Five, and since they can be easily referred to, the content of those chapters will not be
repeated here. This chapter merely describes various related points that ought to be given
attention, as well as filling in for some of the gaps in those chapters.
Taiji Boxings practice methods divide into solo practice methods and partner practice
methods, and the general ideas for each are described below:

1. SOLO PRACTICE METHODS


Solo practice means going through the solo set. The Taiji Boxing solo set from beginning to
end has more than seventy postures, but half of them are repeats, and so it has only a little
over thirty distinct postures. In the beginning of the training, if you select and learn one of
these thirty plus postures each day, you will have them all in about a month. Spend the next
month linking them up into their original sequence and practicing them in order. By the end of
that month, you should definitely be able to make the postures look skillful. Over the course
of a third month, you should know something of the methods of moving by way of intention
and can get your internal spirit and external posture to gradually unite. You will then have
made the first step in learning the fundamentals.
After this, if you have no interest in training in pushing hands, you can practice with the
goal of self-cultivation. But while you will be learning some things and ignoring others, you
should still frequently seek explanation from instructors and older students in order to avoid
going astray, and then you will at least know that aspect of the art.
As for the practice method, although the first posture is merely a posture of preparation, it
nevertheless must not be neglected. When standing in it, you must focus your attention,
ridding yourself of distracting thoughts, and wait until you feel your mind has achieved a state
of calm, then you may begin moving into the second posture, at which time you are going
from stillness to movement. Then every movement from that point on is entirely controlled by
intention rather than rash effort this is the most important principle. In all of these cases,
the problem is a matter of your intent (Treatise) as well as in every movement, very
deliberately control it by the use of intention and mind is sovereign and body is subject
(Thirteen Dynamics Song) and also use mind to move the energy and first in the mind,
then in the body (How to Practice) all clearly express this concept. It is not a difficult
concept to explain, but beginners will often understand the idea in their minds yet have no
way of realizing it in their practice. This is a commonly unavoidable flaw, and the reason for
this is not because they are unable to use intention, but that they are not aware of the stages of
progress toward using intention, nor the methods. The three stages are explained below:

A. AWARENESS & ALERTNESS

Since the first sentence of the Treatise mentions aware and alert, awareness and alertness
can be considered the first stage of skill. The most important thing in seeking awareness and
alertness is slowness. If you go through the techniques quickly, you will easily end up floating
through them, something you must be wary of.
For example, if you raise a hand, when taking it from its lowest point to its highest point,
by no means simply lift it into place. If you do that, the effectiveness of your consciousness
will only go as far as distinguishing movement and stillness. But throughout the grey area
between movement and stillness, you will then be unable to have a constantly involved
consciousness, and you will encourage your movements to become all about merely getting to

the next movement. In other words, if your consciousness is ignoring the transition from one
movement to another, you will not be able to transition from the original movement into the
next movement and have it be driven by consciousness.
Therefore when your mind wants to raise your hand, the hand only needs to be moved very
slightly, and then each increment of the raising beyond that will not progress any further
unless the movement is continued consciously. This can then be called authentic awareness.
To raise the hand to its highest point, it has to go through countless increments of deliberate
raising, constantly having the subtlety of following your intention. And this can then be called
authentic alertness. Step like a cat and move energy as if drawing silk (How to Practice)
points to this concept.

B. CONNECTION

There is connection throughout a posture and connection from one posture to another.
Connection within the postures can be divided into these two types:

i. Upper body and lower are to coordinate with each other.

This has to do with the outward appearance of the movements. When your hands move, your
waist, legs, and feet should be moving along with them. One part should never be guiding
other parts. And although your eyes need not be moving excessively, they have to constantly
be involved. Starting from your foot, (Treatise) and if one part moves, every part
moves (How to Practice) both point to this idea.

ii. Inside and out are to join with each other.

This has to do with the work of regulating the breath. Ones breathing is very related to ones
movement. Actions of opening and closing have to be closely linked to inhaling and exhaling
in order to be correct. What is called breathing does not only have to do with the lungs, but
also has to include the abdomen in order to then have the best effect. Rousing the energy in
the elixir field is the trick to cultivating spirit. Furthermore, the shifting of weight is also
closely connected to the breath, something that surely is especially understood by martial arts
experts. Energy should be roused (Treatise) and use energy to move your body (How to
Practice) both point to this principle.

Complex connectedness occurs when changing from one posture to another. The transitional
movements must flow through and cannot come to a halt. This will ensure that the gap
between postures will be the string in a string of pearls, and it will then be correct. In Taiji
Boxing, every movement is rounded, and it is from this roundness that you will obtain this
flow. But unless you have a foundation of connectedness within single postures, it will
certainly be difficult to transition as roundly as you would wish.
I hope you will not skip steps to try and get ahead. It is crucial to go through these stages
in order. This is the second stage of skill.

C. EMPTINESS & STILLNESS

This is the third stage of skill, when Taiji Boxing is at its most profound level. If you have no
foundation at all, it will be too difficult to understand. In the two stages described above, the
stage of awareness and alertness, then the stage of connectedness, both can still use
techniques that have shape, but this level is purely a matter of the skill of using intention
rather than exertion and is to be found within shapelessness.
Emptiness and stillness means that you are to be seeking emptiness within fullness and
seeking stillness within movement.
In the beginning of the training, every movement should be controlled by the use of
intention, and that level of practice is a matter of fullness. Now as you come into this level,
the element of shape will disappear, hence seeking emptiness within fullness.
In the opening posture of the solo set, you go from stillness to movement. In the closing
posture, you go from movement to stillness. But at this level, there should within every
posture always be a feeling of going from movement to stillness. Seek in every movement to
have the notion that movement is stillness and stillness is movement, hence seeking stillness
within movement.
This kind of practice method is most related to psychological function, as presented in
Chapter Four for your reference.

2. PARTNER PRACTICE METHODS

The partner practice methods are the pushing hands methods, also called playing hands. The
Playing Hands Song, included below in Chapter Nine, encapsulates the special instructions
which should be known when engaging in pushing hands. Pushing hands is a method of
training for fighting, but one who has built a foundation through practicing the solo set will
succeed even better at doing pushing hands. Taiji Boxings fighting skill furthermore takes
the wielding of intention to be the major principle.
Pushing hands has eight basic techniques, which in the terminology of the art are called
ward-off, rollback, press, push, pluck, rend, elbow, and bump. (Ward-off is mainly an upward
carrying. Push is mainly a downward pressure. Rollback is mainly a retreating neutralization.
Press is mainly an advancing stickiness. Pluck is mainly an opportunistic seizing. Rend is
mainly a diagonal pushing. Elbowing and bumping are for when the hand techniques are
insufficient. These are just the general ideas for these techniques. See the photos included at
the beginning of the book.)
When Taiji Boxing is used to deal with an opponent, the greatest of its wonders lies in
defeating him by way of emptiness and stillness, meaning that Taiji Boxings method is
actually a matter of being without method at all. The eight techniques are just explanations for
beginners. Once you have learned the eight techniques, be sure not to then claim you are
identifying energies. If you do not understand this, you will seem to be undiscerning. This
is but a process leading toward the training of identifying energies. Selected essentials of this
process are presented below:

A. Do not crash in.

Not crashing in means not even slightly resisting. Regardless of whether the opponents force
is large or small, it should always be yielded to and neutralized. Beginners will only yield to a
large force because there is still some resistance in their minds. If this error is not eliminated,
it will be difficult to train ones sensitivity to a high level. A feather cannot be added
(Classic) indicates a keen sensitivity, and this is always achieved from a habit of not crashing
in.
Training this principle primarily lies in using your waist. When your waist is not enough,
you can compensate by stepping. But if you are overly willing to step, the effectiveness of
your waist will instead become reduced, which in turn will have a large and unfortunate
impact on the movement of your whole body.

B. Do not come away.

Not coming away means not disconnecting. Taiji Boxings sticking and yielding (not crashing
in being the same as yielding) are equally important. If you disconnect when you yield, not
only will you have no way of sensing the opponents energy, you will also be unable to make
use of sticking, the effect of my energy is smooth while his energy is coarse [Classic]. The
method of not coming away is not really concentrated in the use of your hands. You must use
your whole body, any part being able to stick to the opponents energy, for it to then be
correct. When practicing, you must pay attention to this principle.

C. Strive at first to open up.

It is said that in the beginning of practicing the postures, you should start with the lesser skill
of making the movements long and large, stretching the limits of neither coming away nor
crashing in. You must wait for your skill to gradually deepen, then you can strive to close
up. The solo set should be done in this way, training to go by way of the large to attain the
small, for although small, it would actually be large, much like the substance of a crystal [i.e.
consistent precision of microscopic structure amounting to greater overall strength of
macroscopic structure].

D. Do not be the first to express power.

It is said that the first to move will be in the stronger position and that speed will then bring
victory. Taiji Boxing reverses this concept: it is the one who responds to action that will be in
charge of the situation. Therefore wait for the opponents energy and take advantage of it.
This is the skill of awaiting movement with stillness.
Beginners often feel unaccustomed to this. They get impatient and find it hard not to take
the initiative themselves, and they do not consider how risky such a method of practice is. It is
necessary to be devoted to the principle of neither coming away nor crashing in. By neither
coming away nor crashing in, I can then know all of the opponents weak spots. But even
though I know them, I do not need to attack them. If his actions do not give me reason to
attack them, I am not being skillful if I do.
After practicing in this way over a long period, it will naturally become a habit. The way
of applying power is explained by the power seems to be relaxed but not relaxed, about to
express but not yet expressing (Playing Hands Song). With this concept, you will then be

able to apply power without falling into confusion and can attack the opponent in whatever
way you wish without ever making a mistake. The usefulness of it is quite beyond the
descriptive capacity of words.

E. Know how to adapt.

This has to do with the pushing hands training. Begin by practicing the push technique until
you are skillful at it, but then you must not become stubborn about the way it is to be
performed. Practice being pushed as much as pushing, and then you will eventually have the
complete skill. When moving energy, it should suddenly hide and suddenly appear
[Classic], and the maneuverings of your hands should be sometimes empty, sometimes full.
When practicing the pushing hands skill, you have to understand how to adapt. You can also
pay attention to this idea while going through the solo set, but it is not required.

F. Power finishes, but the intent of it continues.

In Taiji Boxing, the use of intention rather than exertion is a main principle, as already
described above. These words [from the Playing Hands Song] depict a moment when the
opponents energy is not easy to stick to and follow, and instructs that you must not
discontinue your own energy just because of it, nor entirely disconnect from him. You must
secretly connect to him by way of intention, thus disconnect but stay connected [How to
Practice].
This kind of skill can be described as neither coming away nor crashing in invisibly. It is
also the skill of merging energy within the sword method. Practicing this principle entirely
lies with using imagination, then after a long time you will naturally grasp it, the work being
the same process as for the skill of emptiness and stillness.

The various practice methods above have to do with the physiological aspect. For example,
awareness and alertness can prevent harm to your muscles and bones. Connectedness will
maintain a more balanced development. Emptiness and stillness will have the subtle effect of
cultivating your spirit, and will enhance the flow of energy and blood. Enlarging your
movements will have the effect of improving your flexibility. By neither coming away nor
crashing in, this will help keep your skin from being injured. Such things that were not
mentioned in Chapter Five have been specially included in this chapter to supplement your
studies.


CHAPTER EIGHT: FURTHER THOUGHTS

[1] Someone asked me: Why the Taiji in Taiji Boxing?

I said: A taiji [grand pivot] is the condition before dividing into the dual polarities of
passive and active. When there is movement, it splits into passive and active. When there is
stillness, they merge to become a taiji again. In terms of Taiji Boxings cultivation aspect, you
must train to go from movement toward stillness. This is like passive and active merging to
become a taiji. In terms of its defense aspect, its alternations between emptiness and fullness
are concealed inwardly rather than revealed outwardly. This is like the taiji not yet splitting
into passive and active. And hence the name Taiji.

[2] Someone asked me: If you practice Taiji Boxing when youre tired, you not only cease to
be tired, but you forget you even were tired. Why is this so?

I said: Usually when a person is tired, it is because there is fatigue in the body which is kept
in rather than dispelled. Rest has the effect of dispelling fatigue, as of course everyone knows.
When practicing Taiji Boxing, you do not need to exert yourself, and so it does not add to
your fatigue. Furthermore, its method of self-cultivation in fact does the reverse: it
emphasizes energizing, relaxation, and quietude. Truly it has the same function as rest, in that
the result is the forgetting of your weariness, and this is the reason why. [Since Taiji
apparently has the same effect as rest, it is therefore an EXERCISE that doubles as REST, an
excellent example of the passive and active aspects in harmony.]

[3] Someone asked me: Its said that one who has profound skill can, while practicing Taiji
Boxing in the summer heat, pleasantly cool his body down. Whats the theory behind this?

I said: This has to do with the energy and body being relaxed and calm. The skin, blood
vessels, and muscles of your whole body will thus be extremely comfortable, which will
cause your sweat glands to secrete, thereby increasing a sense of smooth well-being. This
regulating function is the bodys most efficient way of lowering temperature. The internal
actions of respiration and circulation can also have the effect of rousing your elixir field in
order to increase your ability to then evaporate the sweat away, which really is the proper
physiological phenomenon. [In other words, relaxed calmness will get you to sweat just

enough to cool you down and keep you from sweating so much that you become
uncomfortably soaked.] Therefore there is a pleasantly cool feeling all over the body.

[4] Someone asked me: Taiji Boxing emphasizes using consciousness. So why is it that when
one has deep skill, the opponent is often already falling away and one does not know why?

I said: This is a function of the nervous systems reflex centers. For instance, scratching an
itch while asleep, or closing ones eyes when seeing a flash of light, or the way skin and blood
vessels contract when encountering cold temperatures these are all examples of reflex
actions. When your sensory nerves receive stimulation, the information does not immediately
go to your cerebral cortex and is instead shunted to your reflex centers, which send commands
to the motor neurons, generating reflex action. As the saying goes, skill comes from
practice, and this is the reason why.

[5] Someone asked me: Taiji Boxing emphasizes softness, so why does Understanding How
to Practice contain the phrase wield power like tempered steel?

I said: Tempering steel makes it soft in that it gives it a springy quality. If it was made hard,
then it would break. How to Practice also contains the phrase extreme softness begets
extreme hardness. This implies the message of being soft yet having that springy quality, and
can be considered a piece of supporting evidence for this.

[6] Someone asked me: Boxing arts can be reduced from a detailed knowledge down to five
terms: focused, sticky, expedient, potent, precise. [See Boxing Methods of the Internal
School in Chapter Nine.] Does Taiji Boxing also have a secret?

I said: The secret of Taiji Boxing lies in that word precise, and that word has two key
aspects: timing and target. When you cannot catch the timing, do not attack. When you cannot
reach the target, also do not attack. Once timing and target are combined into one, you can
begin to say it is right. If so, those other four terms are then fulfilled as well. Therefore I say
the secret of Taiji Boxing lies entirely in the word precise.

[7] Someone asked me: Sitting meditation emphasizes sinking your energy. If youre not
careful when practicing, its easy to give yourself a hernia. Taiji Boxing also emphasizes
sinking your energy, so shouldnt you worry about hurting yourself?

I said: Sinking your energy should be done very gently then it is right. If it is too forceful,

it is inappropriate. Taiji Boxing always emphasizes what is appropriate and natural. The
Treatise says that the energy should be roused, but this does not permit the forceful pressing
of the elixir field. If you can maintain this intention, how could you hurt yourself?

[8] Someone asked me: The movements in Taiji Boxing are all circular. When encountering
an opponent, if you emphasize a circular motion when issuing power, wouldnt it be slower
than a straight motion?

I said: Circular movements always apply to neutralizing, not issuing. Taiji Boxing
emphasizes not being the first to issue power. When the opponent attacks, first neutralize it,
wait for him to be off balance, then attack by issuing power. In Understanding How to
Practice, it says: When issuing power, you must sink and relax, concentrating it in one
direction. You can see from this that issuing power actually cannot be done with a circular
motion.

[9] Someone asked me about the meaning of neutralizing energy.

I said: Not crashing in thats yielding. Not running away thats sticking. Yielding and
sticking combined thats neutralizing. Yielding emphasizes retreat and is passive. Sticking
emphasizes advance and is active. In the Classic, it says: The passive and active exchange
roles. Once you have this understanding, you will be identifying energies. These words
depict neutralizing.

[10] Someone asked me: How do you know whether or not the opponent is off balance?

I said: Whether you are receiving an attack or giving one, if there is no reversal of force to
stop him from leaning, then the vertical line of his center of gravity must go beyond his base
of stability, and so the outcome will be inevitable. Taiji Boxings use of yielding energy
means not giving him the slightest bit with which to reverse his force, thus causing him to go
off balance, and then using sticking energy means to prevent his instability from returning to
stability. Once you understand this, you will know whether or not the opponent is off balance.
There, isnt that clear?

CHAPTER NINE: APPENDICES


1. THE TAIJI BOXING TREATISE

Once there is any movement, your entire body must be aware and alert. There especially
needs to be connection from movement to movement. Energy should be roused and spirit
should be collected within. Do not allow there to be cracks or gaps anywhere, pits or
protrusions anywhere, breaks in the flow anywhere. Starting from your foot, issue through
your leg, directing it at your waist, and expressing it at your fingers. From foot through leg
through waist, it must be a fully continuous process, and whether advancing or retreating, you
will then catch the opportunity and gain the upper hand. If not and your body easily falls into
disorder, the problem must be in your waist and legs, so look for it there. This is always so,
regardless of the direction of the movement, be it up, down, forward, back, left, right. And in
all of these cases, the problem is a matter of your intent and does not lie outside of you.
With an upward comes a downward, with a forward comes a backward, and with a left
comes a right. If your intention wants to go upward, then harbor a downward intention, like
when you reach down to lift up an object. You thereby add a setback to the opponents own
intention, thus he cuts his own root and is defeated quickly and certainly. Empty and full must
be distinguished clearly. In each part there is a part that is empty and a part that is full.
Everywhere it is always like this, an emptiness and a fullness. Throughout your body, as the
movement goes from one section to another there has to be connection. Do not allow the
slightest break in the connection.

Long Boxing: it is like a long river flowing into the wide ocean, on and on ceaselessly
The thirteen dynamics are: warding off, rolling back, pressing, pushing, plucking, rending,
elbowing, and bumping which relate to the eight trigrams:

and advancing, retreating, stepping to the left, stepping to the right, and staying in the center
which relate to metal, wood, water, fire, and earth: the five elements. These combined [8+5]
are called the Thirteen Dynamics.
Warding off, rolling back, pressing, and pushing correspond to , , , and in the
four principle compass directions [meaning simply that these are the primary techniques].
Plucking, rending, elbowing, and bumping correspond to , , , and in the four corner

directions [i.e. are the secondary techniques].

Advancing, retreating, stepping to the left, stepping to the right, and staying in the center
correspond to the five elements of metal, wood, water, fire, and earth.
(An original note says: This relates to the theory left to us from Zhang Sanfeng of Mt.
Wudang. He wanted all the heroes in the world to live long and not merely gain martial
skill.)

2. THE TAIJI BOXING CLASSIC (by Wang Zongyue of Shanxi)

Taiji [grand polarity] is born of wuji [nonpolarity]. It is the manifestation of movement

and stillness, and the mother of yin and yang [the passive and active aspects]. When there is
movement, passive and active become distinct from each other. When there is stillness, they
return to being indistinguishable.
Neither going too far nor not far enough, comply and bend then engage and extend. He is
hard while I am soft this is yielding. My energy is smooth while his energy is coarse this
is sticking. If he moves fast, I quickly respond, and if his movement is slow, I leisurely
follow. Although there is an endless variety of possible scenarios, there is only this single
principle [of yielding and sticking] throughout. Once you have engrained these techniques,
you will gradually come to identify energies, and then from there you will gradually progress
toward something miraculous. But unless you practice a lot over a long time, you will never
have a breakthrough.
Forcelessly press up your headtop. Energy sinks to your elixir field. Neither lean nor slant.
Suddenly hide and suddenly appear. When there is pressure on the left, the left empties. When
there is pressure on the right, the right disappears. When looking up, it is still higher. When
looking down, it is still lower. When advancing, it is even farther. When retreating, it is even
nearer. A feather cannot be added and a fly cannot land. The opponent does not understand
me, only I understand him. A hero is one who encounters no opposition, and it is through this
kind of method that such a condition is achieved.
There are many other schools of boxing arts besides this one. Although the postures are
different between them, they never go beyond the strong bullying the weak and the slow
yielding to the fast. The strong beating the weak and the slow submitting to the fast are both a
matter of inherent natural ability and bear no relation to skill that is learned. Examine the
phrase four ounces moves a thousand pounds, which is clearly not a victory obtained
through strength. Or consider the sight of an old man repelling a group, which could not come

from an aggressive speed.

Stand like a scale. Move like a wheel. If you drop one side, you can move. If you have
equal pressure on both sides, you will be stuck. We often see one who has practiced hard for
many years yet is unable to perform any neutralizations, always under the opponents control,
and the issue here is that this error of double pressure has not yet been understood. If you
want to avoid this error, you must understand passive and active. In sticking there is yielding
and in yielding there is sticking. The active does not depart from the passive and the passive
does not depart from the active, for the passive and active exchange roles. Once you have this
understanding, you will be identifying energies. Once you are identifying energies, then the
more you practice, the more efficient your skill will be, and by absorbing through experience
and by constantly contemplating, gradually you will reach the point that you can do whatever
you want.
The basic of basics is to forget about your plans and simply respond to the opponent. We
often make the mistake of ignoring what is right in front of us in favor of something that has
nothing to do with our immediate circumstances. For such situations it is said: Miss by an
inch, lose by a mile. You must understand all this clearly.

3. THIRTEEN DYNAMICS SONG

Do not neglect any of the thirteen dynamics,

their command coming from your lower back.
You must pay attention to the alternation of empty and full,
then energy will flow through your whole body without getting stuck anywhere.
In stillness, movement stirs, and then in moving, seem yet to be in stillness,
for the magic lies in making adjustments based on being receptive to the opponent.
In every movement, very deliberately control it by the use of intention,
for once you achieve that, it will all be effortless.
At every moment, pay attention to your waist,
for if there is complete relaxation within your belly, energy is primed.
Your tailbone is centered and spirit penetrates to your headtop,
thus your whole body will be aware and your headtop will be pulled up as if suspended.
Pay careful attention in your practice that you are letting bending and extending,
contracting and expanding, happen as the situation requires.
Beginning the training requires personal instruction,
but mastering the art depends on your own unceasing effort.
Whether we are discussing in terms of theory or function, what is the constant?
It is that mind is sovereign and body is subject.
If you think about it, what is emphasizing the use of intention going to lead you to?
To a longer life and a longer youth.
Repeatedly recite the words above,
all of which speak clearly and hence their ideas come through without confusion.

If you pay no heed to those ideas, you will go astray in your training,
and you will find you have wasted your time and be left with only sighs of regret.

4. UNDERSTANDING HOW TO PRACTICE THE THIRTEEN DYNAMICS

Use mind to move the energy. You must get the energy to sink. It is then able to collect in the
bones. Use energy to move your body. You must get the energy to be smooth. Your body can
then easily obey your mind.
If you can raise your spirit, then you will be without worry of being slow or weighed
down. Thus it is said [in the Thirteen Dynamics Song]: Your whole body will be aware and
your headtop will be pulled up as if suspended. Your mind must perform alternations
nimbly, and then you will have the delight of being rounded and lively. Thus it is said [also in
the Song]: Pay attention to the alternation of empty and full.
When issuing power, you must sink and relax, concentrating it in one direction. Your
posture must be upright and comfortable, bracing in all directions.
Move energy as though through a winding-path pearl, penetrating even the smallest nook
(meaning that the energy is everywhere in the body). Wield power like tempered steel, so
strong there is nothing tough enough to stand up against it.
The shape is like a falcon capturing a rabbit. The spirit is like a cat pouncing on a mouse.
In stillness, be like a mountain, and in movement, be like a river.
Store power like drawing a bow. Issue power like loosing an arrow.
Within curving, seek to be straightening. Store and then issue.
Power comes from your spine. Step according to your bodys adjustments.
To gather is to release. Disconnect but stay connected.
In the back and forth [of the arms], there must be folding. In the advance and retreat [of the
feet], there must be variation.
Extreme softness begets extreme hardness. Your ability to be lively lies in your ability to
breathe.
By nurturing energy with integrity, it will not be corrupted. By storing power in crooked
parts, it will be in abundant supply.
The mind makes the command, the energy is its flag, and the waist is its banner.
First strive to open up, then strive to close up, and from there you will be able to attain a
refined subtlety.

It is also said:
First in the mind, then in the body.
With your abdomen relaxed, energy gathers in your marrow. Spirit comfortable, body calm
at every moment be mindful of this.
Always remember: if one part moves, every part moves, and if one part is still, every part
is still.
As the movement leads back and forth, energy sticks to and gathers in your spine.
Inwardly bolster spirit and outwardly show ease.
Step like a cat and move energy as if drawing silk.
The whole of your mind should be on the spirit rather than on the energy, for if you are
fixated on the energy, your movement will become sluggish. Whenever your mind is on the
energy, there will be no power, whereas if you ignore the energy and let it take care of itself,
there will be pure strength.
The energy is like a wheel and the waist is like an axle.

5. PLAYING HANDS SONG

Ward-off, rollback, press, and push must be taken seriously.

With coordination between above and below, the opponent will hardly find a way in.
I will let him attack me with as much power as he likes,
for I will tug with four ounces of force to move his of a thousand pounds.
Guiding him in to land on nothing, I then close on him and send him away.
I stick to him and go along with his movement instead of coming away or crashing in.

It is also said:
If he takes no action, I take no action, but once he takes even the slightest action, I have
already acted.
The power seems to be relaxed but not relaxed, about to express but not yet expressing.
Although the power finishes, the intent of it continues.

6. TAIJI BOXING POSTURE NAMES & THEIR SEQUENCE

[1] TAIJI BEGINNING POSTURE

[2] CATCH THE SPARROW BY THE TAIL

[3] SINGLE WHIP

[4] RAISE THE HANDS

[5] WHITE CRANE SHOWS ITS WINGS

[6] BRUSH KNEE IN A CROSSED STANCE

[7] PLAY THE LUTE

[8] ADVANCE, PARRY, BLOCK, PUNCH

[9] SEALING SHUT

[10] CAPTURE THE TIGER AND SEND ITS BACK TO ITS MOUNTAIN

[11] CROSSED HANDS

[12] BRUSH KNEE IN A CROSSED STANCE

[13] CATCH THE SPARROW BY THE TAIL

[14] DIAGONAL SINGLE WHIP

[15] GUARDING PUNCH UNDER THE ELBOW

[16] RETREAT, DRIVING AWAY THE MONKEY

[17] DIAGONAL FLYING POSTURE

[18] RAISE THE HANDS

[19] WHITE CRANE SHOWS ITS WINGS

[20] BRUSH KNEE IN A CROSSED STANCE

[21] NEEDLE UNDER THE SEA

[22] FAN THROUGH THE BACK

[23] TURN AROUND, TORSO-FLUNG PUNCH

[24] WITHDRAWING STEP, PARRY, BLOCK, PUNCH

[25] STEP FORWARD, CATCH THE SPARROW BY THE TAIL

[26] SINGLE WHIP

[27] CLOUDING HANDS


[28] LEFT RISING UP AND REACHING OUT TO THE HORSE

[29] KICK TO THE RIGHT SIDE

[30] RIGHT RISING UP AND REACHING OUT TO THE HORSE

[31] KICK TO THE LEFT SIDE

[32] TURN AROUND, PRESSING KICK

[33] BRUSH KNEE, ADVANCE, PLANTING PUNCH

[34] TURN AROUND, TORSO-FLUNG PUNCH

[35] STEP FORWARD, RISING UP AND REACHING OUT TO THE HORSE

[36] KICK TO THE RIGHT SIDE

[37] RETREAT, FIGHTING TIGER POSTURE

[38] DRAPING THE BODY, KICK

[39] DOUBLE PEAKS THROUGH THE EARS

[40] KICK TO THE LEFT SIDE

[41] TURN AROUND, PRESSING KICK

[42] TORSO-FLUNG PUNCH

[43] STEP FORWARD, PARRY, BLOCK, PUNCH

[44] SEALING SHUT

[45] CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

[46] CROSSED HANDS

[47] BRUSH KNEE IN A CROSSED STANCE

[48] CATCH THE SPARROW BY THE TAIL

[49] DIAGONAL SINGLE WHIP

[50] WILD HORSE VEERS ITS MANE

[51] MAIDEN WORKS THE SHUTTLE

[52] CATCH THE SPARROW BY THE TAIL

[53] SINGLE WHIP

[54] CLOUDING HANDS

[55] LOW POSTURE

[56] GOLDEN ROOSTER STANDS ON ONE LEG

[57] RETREAT, DRIVING AWAY THE MONKEY

[58] DIAGONAL FLYING POSTURE

[59] RAISE THE HANDS

[60] WHITE CRANE SHOWS ITS WINGS

[61] BRUSH KNEE IN A CROSSED STANCE

[62] NEEDLE UNDER THE SEA

[63] FAN THROUGH THE BACK

[64] TURN AROUND, TORSO-FLUNG PUNCH

[65] STEP FORWARD, PARRY, BLOCK, PUNCH

[66] STEP FORWARD, CATCH THE SPARROW BY THE TAIL

[67] SINGLE WHIP

[68] CLOUDING HANDS

[69] RISING UP AND REACHING OUT TO THE HORSE

[70] PALM STRIKE TO THE FACE

[71] CROSSED-BODY SWINGING LOTUS KICK

[72] BRUSH KNEE, PUNCH TO THE CROTCH

[73] STEP FORWARD, CATCH THE SPARROW BY THE TAIL

[74] SINGLE WHIP


[75] LOW POSTURE

[76] STEP FORWARD WITH THE BIG DIPPER

[77] RETREAT TO SITTING TIGER POSTURE

[78] TURN AROUND, PALM STRIKE TO THE FACE

[79] TURN AROUND, SWINGING LOTUS KICK

[80] BEND THE BOW TO SHOOT THE TIGER

[81] STEP FORWARD, RISING UP AND REACHING OUT TO THE HORSE

[82] PALM STRIKE TO THE FACE

[83] TURN AROUND, TORSO-FLUNG PUNCH

[84] STEP FORWARD, RISING UP AND REACHING OUT TO THE HORSE

[85] STEP FORWARD, CATCH THE SPARROW BY THE TAIL

[86] SINGLE WHIP

[87] CLOSING TAIJI

7. BOXING METHODS OF THE INTERNAL SCHOOL OF ZHANG SANFENG (by
Huang Baijia of Yuyao)

Shaolin is the peak of refinement for the external arts. Zhang Sanfeng was a Shaolin expert,
but he turned the art on its head and thereby created the internal school. Obtaining just a little
bit of it is enough to defeat Shaolin. Wang Zhengnan learned it from Dan Sinan and was the
only one of his students to obtain the entire curriculum.
When I was young, I did not train at all for the civil service exams, for I preferred doing
things that were a little more extreme. Once I had heard about Wangs fame, I bundled up
some provisions and went to the village of Baozhuang to learn from him. Wang was
extremely proprietorial toward his art and very picky about accepting students, but he was
happy to take me in and teach me. (There were five kinds of people who he would never
teach: those who are devious, those who love to fight, those who are addicted to booze, those
who gossip, and those who are klutzy.) There was not enough space in his house, so he
trained me instead at the neighboring Iron Buddha Temple.
His art has many colorfully named combat techniques (such as: Reaching Punch and

Rolling Chop, Punch Across the Center to Each Side, Swinging an Elbow to Force the Door,
Waving an Iron Fan Against the Wind, Letting Go of One Object to Fling Another Forward,
Pushing an Elbow into the Crotch, Caving in with Your Chest to Pound His Ribs, Emperor
Shun is Thrown into the Well, Cutting with Your Wrist to Attack His Joints, Sun Breaking
Through Dawn Clouds, Dark Clouds Hiding the Moon, Ape Offers Fruit, Coil an Elbow in to
Curl Up and Bump, Immortal Shows a Palm, Drawing a Bow in a Long Stance, Share an
Embrace with the Moon, Left & Right Lifting a Rod, Sealing the Door with an Iron Bar,
Hanging a Fish on a Branch, Filling the Stomach with Agony, Successive Arrows, Lifting Up
a Gold Piece, Holding up a Writing Brush with Both Hands, Arhat Tumbles on the Ground,
Pushing Open a Window with Both Hands, Leading a Sheep, Untangling a Rope, Swallow
Tilts Up a Cheeks, Tiger Hides its Head, Wrapping All the Way Around His Waist, and so
on).
There are also many acupoint targets (such as: points which cause death, muteness,
fainting, coughing, as well as the bladder, the croaking toad, the jumping ape, or Qu Chi
[outer part of the bend at the elbow], Suo Hou [spot on the throat between the collar bones],
Jie Yi [side of the jaw], He Gu [pit between thumb and forefinger], Nei Guan [inside of
forearm near wrist], San Li [outside of forearm near elbow], among others), and many
prohibitions against bad habits (do not be lazy, sluggish, or slouching, do not raise your
shoulders, step like an old man, stick out your chest, stand too upright, pamper your legs, lift
your elbows, sprain your fists, stick your butt out, bend at the waist, engage randomly, or put
out both hands with the same reach). But the key principle is practice. Skill will only be
achieved through practice. It is not necessary to seek for someone to copy, only to respond to
opponents with whatever works, up or down, left or right, forward or back, and to notice the
correct moment to engage.
There are furthermore thirty-five hand techniques to practice (chop, erase, shake, knock,
bump, wrap, urge, wipe, hack, beat, wave, swing, deflect, slash, clap, cover, meet, cut, spread,
carry, entwine, thrust, hook, pull, dazzle, replace, switch, contract, lift, overturn, crush, shoot,
insert, peel, and dangle) as well as eighteen stepping techniques (cushion step, rear cushion
step, grinding step, racing step, scattering stance, crouching stance, stomping step,
withdrawing step, horse-riding stance, high horse-riding stance, alignment stance, immortals
stance, sideways-body step, turning-body step, chasing step, urgent step, diagonal step, and
twisting-vine step).
These elements are all used within the Six Lines and the Ten Sections of Brocade, each
recorded in verse:
The Six Lines:
DIPPER POSTURE reaches out and locks up, turning you into a hero.
The THROUGH-THE-ARM punching posture of guardian gods is the highest skill.
IMMORTAL STANDS POINTING TO THE SKY.
Deflect aside and EMBRACE THE MOON, leaving none of it for others.
LIFTING A ROD makes it difficult for surrounding opponents to reach you.
CRUEL HAMMERING, THRUST & WRAP, then SWING BOTH WINGS.
The Ten Sections of Brocade:
BEGINNING POSTURE, TIGER SITS ON ITS MOUNTAIN.
TURN AROUND, THREE QUICK CHASING STEPS.
PROP UP TWO SABERS, WITHDRAWING STEPS.
ROLLING CHOPS WITH THREE ADVANCES AND RETREATS.
PUNCH ACROSS THE BODY TO EACH SIDE, TRIPLE PUNCHES.
PROP UP A SABER AND CHOP, RETURN TO BARRACKS.
KNOTTED FISTS, GRINDING STEP, RESUME ORIGINAL POSTURE.
ROLLING CHOP, RETREAT TO FACE ORIGINAL DIRECTION.

ENTERING STEP, ADVANCING LIKE SLIPPING INTO A SHEATH.

ROLLING CHOP, JUMP BACK TO STARTING POINT.
GOLDEN ROOSTER STANDS ON ONE LEG, PULL THE BOWSTRING TAUT.
LEVEL HORSE-RIDING STANCE, LOOK TO BOTH SIDES.
Considering that these poems are obscure and brief, and therefore hard to hold in the mind,
I have added detailed explanations for each of them so as to preserve the material for
posterity. (This section of the text has not been included.) [See the complete text of Boxing
Methods.]
Wang looked at what I had so far recorded, then smiled and told me: Ive practiced this
stuff my whole life, but I often still seem to have trouble remembering it all. Howve you
made it is as clear as this? I dont think your skill in the art will ever be able to live up to this
record youve made of it.
The thing Wang gave special attention to, was most triumphant about, and what puts his
art above the rest, is his twisting chop. (Boxing experts all agree the technique of chopping is
extremely important. There are four kinds of chop: rolling chop, willow leaf chop, crossedbody chop, and Lei Gong [the Chinese god of thunder] chop, to which Wang has added the
twisting chop as a way to use a chop to defeat a chop.) This technique came from Wangs
many years of experience. With much thought came realization and then an original creation.
My training at the temple was as precise as making glass and as demanding as constructing
a building. After a practice, Wang and I would share some cups of wine, then walk in the
moonlight once it had risen over the hills on the horizon, and I heard the brook gently
babbling while he talked of old ways and new.
Because he was so generous with me, he trained me at the same time in the methods of
spear, saber, sword, and axe. Once you have learned the boxing sets, the rest of this
curriculum is no trouble. Some of the boxing techniques will be just like techniques for the
spear, others like techniques for the sword or the axe. Teaching me even about how to march
squads of soldiers or plan for the encampment of an army, he poured out everything he knew
to the last drop. I have no disciples, so I will do my utmost to teach the art to you.
I was in those days breathing fire out of my nose and jumping all over the place. I admired
men like Bo Ji of Suiyang, who thought that the world must not be run by narrow-minded
pedants, but instead by those who are able to mount a horse and go kill the enemy and then
dismount to seize their king. Only then could one stand tall in the world. But also in those
days, peace had been brought to the southwest. Peace had been brought to the southeast.
Peace had been brought to the whole nation. It was indeed a time when dragging two stones
into place [i.e. building a fortress] was seen as inferior to hammering in a single nail [i.e.
building a house].
My parents considered me to be rebellious and out of control, worried that I would turn
into a young libertine, so they decided to send me away to study for the civil service
examinations. I had myself already become aware that the household was in financial trouble.
Under these circumstances, what use would there be in completing my training? I found
myself regretting that I had spent my time on it, so I suppressed my feelings and quelled those
ambitions, putting my mind instead to the task of mastering the classics. With my bamboo hat
and case of books, I set out on the road accompanying Chen Kuixian, Chen Jiemei, Fan
Guowen, Wan Jiye, and Zhang Xinyou. All the young gentlemen were then congregated in
Ningbos eastern quarter.
Wang came to town and went to my dorm. He talked to me about martial arts with still the
same tireless sincerity: Boxing arts are matter of quality, not quantity. Once practiced to the
point of skill, there will be no limit to the applicability of the Six Lines set. The techniques
within it divide into passive ones and active ones, and altogether make a mere eighteen, the
variations of each bringing them up to forty-nine

He continued: A technique such as Punch in Twisting-Vine Step can be performed in any

direction left, right, center, forward, back and so you must not think of it as being done in
only one way
He further continued: Also, boxing arts go from complexity to simplicity. From the
seventy-two throwing techniques (such as Reaching Punch and Rolling Chop, Punch Across
the Center to Each Side, and other colorfully named combat techniques), there are then the
thirty-five hand techniques (chop, erase, shake, knock, bump, and so on), and then the
eighteen techniques [testing, sending, aiding, seizing, pulling, pushing, crowding, absorbing,
sticking, hoisting, curving, inserting, throwing, propping, rubbing, scattering, vanishing,
ejecting] (contained in the Six Lines set). This reduces from eighteen to twelve (overturn,
switch, twist, shift, roll, shed, lead, entwine, kneel, sit, drum, grab), and then reducing from
twelve, always remember the five words (focused, sticky, expedient, potent, precise). Observe
boxing experts, the way they really only think about a few terms
I was at the time focused on preparing for the civil service exams, and despite making
myself listen, I could not feel as inspired as I used to. Wang himself was destitute, ill, under
stress, weary is his heart, sallow in his complexion, worn out
It is now a mere seven years since Wang died [1669], and our area of the countryside has
since become infested with criminals. They wander the roads and litter the fields with the
bones of those they prey upon. We now need a hero like Sang Yi who can get rid of them all,
but all we have are some candidates for the civil service exams who spend their days snug
behind city walls reciting prose and verse. The authorities have made a few proclamations of
protection and aid, naively thinking this will somehow administer a pacification of such evil
men. The exam candidates for their part have come up with a few slogans about soldiers and
farmers joining forces, naively thinking this would somehow have the capacity to manage the
situation.
It says in the Record of the Warrior of Shaanxi in Great Philosophical Discourses [by
Song Lian]: If Deng Bi was still here, things would surely look different. [Not many years
after the mighty Deng had died, the realm was in chaos.] When I read these words, I cannot
help but think about how much we are to miss you, Wang, buried there three feet under the
artemisia. Unfortunately he cannot help us now.
I think so fondly about those days of learning from him, but I would not presume to
proclaim that such training represents a meaningful scheme for assisting the ruler in pacifying
warlords. However, for safeguarding the walls of a single city, like men such as Fan
Changsheng or Fan Ya did in protecting their own communities, it does seem to me to be a
reasonable course of action. And while it seems impossible that so much trouble has spread
throughout the nation, and under our bamboo hats we gaze all around watching the dust rise
and have nowhere to flee to, such is the present reality facing us!
There was a time when I regretted that I was learning from Wang, but now I deeply regret
that I ever regretted it. I alone was taught his art, but I abandoned his learning. As a result, this
art has since become buried away in a big tomb. This is unbearable to me, and so I have
devoted myself to writing down as much of these details as I can in order that future
generations of enthusiasts can obtain something of the art. But then again, Zhuge Liang wrote
in detail the dimensions for his trojan-horse ox thousands of years ago, but who has made any
use of it yet?

8. BIO OF ZHANG SONGXI FROM THE RECORDS OF NINGBO PREFECTURE [Book

31: Those With Skills]

A native of Yin county, Zhejiang, Zhang Songxi was a superb fighter. His teacher was Sun
Shisan, who said that his art started in the Song Dynasty with Zhang Sanfeng, an elixirist of
the Wudang mountains. Emperor Huizong summoned Zhang Sanfeng, but his route was
blocked and he could not get through. That night in a dream, the first Song Emperor gave him
the boxing method, and the next day he single-handedly killed more than a hundred bandits.
Thereafter his unique skill became famous everywhere.
After Zhang Sanfengs time, his art went on, and during the reign of Emperor Jiajing
[1521-1567], it reached Siming, where Zhang Songxi became the top master of it. Zhang
Songxi was as courteous as a Confucian scholar, respectful to everyone he met, seeming to be
deferential even to his own clothes. When someone sought his art, he declined them with
modesty and evaded the subject.
The Shaolin monks were at this time famous fighters throughout the nation, and during the
period of Wokou piracy, they had been called upon to fend off the pirates. A mob of seventy
of the monks, having heard of Zhang Songxis fame, went to his native Yin county to seek
him out. Zhang stayed in and hid himself away, but the young monks taunted him to come try
his luck. Meeting them all in the upper level of a restaurant while they were comparing their
skills with each other, he suddenly started laughing at them. They knew he was Zhang Songxi
and then sought to test him. Zhang said, If you insist upon it, you must talk to the headman
of the village to see whether or not death would be permitted. Then slipping his hands into
his sleeves, he took a seat. One of the monks then attacked him with a jumping kick, and
Zhang turned his body slightly sideways, lifting his hand to send him away, and the monk
flew off like a shooting star, falling heavily to the lower level and almost died. The rest of the
monks were astonished and dispersed.
Once when he was entering a city among some youths, they sealed him off within the
arched gateway. They surrounded him and saluted, and he was told, Now that you cant go
forward or back, we trust you will grant us a bout. Zhang had no choice, so he had the youths
pile up some round stones of hundreds of pounds. Wearily he said, Im a seventy year old
man with no use at all but to see if I can make you gentlemen laugh. He raised his left hand,

leaned in, and brought it down with a chop. And the three stones were split in two. His skill
was something rare.
[Of Zhangs few disciples, the best was Ye Jinquan. Ye Jinquan taught Wu Kunshan, Zhou
Yunquan, Dan Sinan, Chen Zhenshi, and Sun Jicha, each of which had students. Wu Kunshan
taught Li Tianmu and Xu Daiyue. Li Tianmu taught Yu Bozhong, Chen Maohong and Wu
Qilang. Zhou Yunquan taught Lu Shaoqi. Chen Zhenshi taught Xia Zhixi and Dong Fuyu.
Sun Jicha taught Chai Yuanming, Yao Shimen, the monk Er, and the monk Wei. Dan Sinan
taught Wang Zhengnan. Wang Zhengnan, called Laixian, was a man who valued honor. His
behavior was friendly and he cultivated caution, never showing off his abilities.
The skills of fighters are divided into two schools: external and internal. As to the external
school, Shaolin is the most well-known style. Its method focuses on offense. Hopping and
leaping around, ones structure sometimes gets compromised, and thus an opponent is often
given something to take advantage of. As to the internal school, Zhang Songxis teachings are
the most authentic version. Its method focuses on defense. If an opponent is not in a bad
position, one does not issue power, and so when one does issue power, it is sure to blow the
opponent away. Giving the opponent nothing to take advantage of, the art of the internal
school is therefore the better one.
When fighting people, those of the internal school always make use of acupoints,
acupoints which caused fainting, muteness, or death, and when targeting these acupoints,
whether striking them lightly or heavily, they never miss at all. The major key to their art lies
in a five-word formula: focused, sticky, expedient, potent, precise. Unless one was a direct
disciple, one was not taught this. These five terms do not depict techniques, only a way of
upgrading technique, in the same manner as these words from Sunzi: Generals must be
humane, sincere, smart, bold, and strict.]