1.

Opening Posture of Taijiquan

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

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

2. Wild Horse Shakes Its Mane

Variations of names for this movement include: Parting the Wild Horse's Mane, Wild Horse
Waves His Mane, and : Ye Ma Fen Zong : Parting the Wild Horse's Mane.
The general direction of movement is in a straight line from E3 towards W9 in Movement #2.
Part the Wild Mustang's Mane Three Times: 1. To the left side (2e), 2. To the right side (2j),
and 3. To the left side (2o). Please study the recommended online videos to see how the series
of postures in this particular movement are performed.
When performing the short form, players should: move slowly, move continuously, keep the
movements rounded, move without great effort, relax, keep the head up, let the mind direct
the movements, don't bounce, and maintain an upright posture. Breathe in through the nose
and out through the mouth, breathe deeply and regularly, breathe in when pulling back or
reaching up, and breathe out when going forward or reaching down. All the basic principles
found in the T'ai Chi Ch'uan Classics should be followed when doing the Beijing simplified
Taijiquan form.

Gently rise up to normal height (2a). Circle right arm counter-clockwise up to chest height,
with the palm facing down. Draw left arm to waist, with the palm facing up (2a). Imagine
holding a ball between the two hands. Turn the waist to NE1 (2b). Draw the left foot to the
side of the right foot (2b). Hold Tai Chi "energy ball" with right hand, palm down, at chest
height; and left hand below, palm up, at Dan Tien height (2b). Relax and gently inhale.
"Part Wild Horse's Mane to the Left" by stepping diagonally with the left leg (2d), bring left
hand out, palm up, to about chest height (2e). Exhale as the left arm extends. Left elbow is
slightly bent. Right hand moves down to right hip (2e), with the right palm down. End with
chest facing W9, left hand to SW7. Left bow stance with 60% of weight in forward left leg

(2e), left knee bent; and, 40% of weight in rear right leg, with leg bend. Head upright.
Shoulders down.
"Part Wild Horse's Mane to the Right" by first drawing the weight back into the right leg,
pivot on left heel (2f), drawing the left hand back as the torso turns to face SW7 (2g). Step
forward with the right foot to side of left foot (2g). Step out the right leg to the diagonal (2i).
Exhale as the right arm extends (2i). Right elbow is slightly bent. Left hand moves down to
left hip (2j), with the left palm down. End with chest facing W9, left hand to NW11. Right
bow stance with 60% of weight in forward right leg (2j), right knee bent; and, 40% of weight
in rear left leg, with leg bend. Head upright. Shoulders down.
"Part Wild Horse's Mane to the Left" by first drawing the weight back into the left leg, pivot
on left heel (2k), drawing the right hand back as the torso turns to face SW7 (2k). Step
forward with the left foot to side of right foot (2l). Step out the left leg to the diagonal (2m).
Exhale as the left arm extends (2n). Left elbow is slightly bent. Right hand moves down to
right hip (2o), with the right palm down. End with chest facing W9, right hand to SW7(2o).
Left bow stance with 60% of weight in forward left leg (2o), left knee bent; and, 40% of
weight in rear right leg, with right leg bend (2o). Head upright. Shoulders down. Look
towards W9.

3. White Crane Spreads Its Wings

Variations of names for this movement include: White Stork Spreading Its Wings, White
Crane Lifts Its Wings, White Stork Cools Its Wings;
: Bai E Liang Chi.
The general direction of movement is in a straight line from E3 towards W9 in Movement #3.

2o = 3a. From 3a draw the right foot forward a half step (3b). The right hand moves upward
(3b) as the left hand moves downward (3b). Draw the left foot backward (3c) as the right
hand moves up and left hand moves down (3c). Finish (3d) with the right hand above the
head and palm forward, in a left toe stance with 90% of the body weight in the back right leg,
and the left hand rests along left leg with palm down. End with chest facing W9. Face to
W9. Relax and exhale as the weight settles down in the back right leg.
Notice how the body turns at the waist slightly to left SW7 (3b) and then to the right NW11
(3c) before it settles to face W9. This represents the subtle internal rotation of the Dan Tien, a
"silk reeling" movement, more pronounced in the Chen Style of Taijiquan than in Yang Style

Taijiquan, but still present in all styles of Taijiquan. Many movements in the 24 Form include
this turning of the waist from side to side, and rotation of the Dan Tien.

4. Brush Knee
Variations of names for this movement include: Twist Step, Brush Knee, Palm Strike;
Brushing Your Knees and Stepping; Brush Knee and Twist Step; and : Lou Xi Ao
Bu : Brush Knee and Twist Step.
The general direction of movement is in a straight line from E3 towards W9 in Movement #4.
Please study the recommended online videos to see how the series of postures in this
particular movement are performed.

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

5. Playing the Lute

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

4u = 5a. End with chest facing W9, and look to W9.

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

6. Step Back and Repulse Monkey

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

6a = 5d. Right leg and right twisting (reverse reeling forearm) arm back, left arm forward,
step back with left leg (6d), exchange arms and move right palm forward (6d-6e).
Left leg and leg twisting arm back, right arm forward, step back with right leg (6g), exchange
arms and move left palm forward (6g-6h). 6h = 6i.
Right leg and right twisting arm back, left arm forward, step back with left leg (6k), exchange
arms and move right palm forward (6k-6l).
Left leg and leg twisting arm back, right arm forward, step back with right leg (6n), exchange
arms and move left palm forward (6n-6o).
Here is a detailed description of how to perform Repulse Monkey (#6, 6a-60) taken from the
very useful narrative document by David Hann:
"Repulse Monkey (1): Turn your right hand palm up and let it drop so that your arm moves
in an arc (6a-6b). Continue bringing your right arm back until your hand is level with your
right shoulder (6c). Turn your left hand palm up and flat, parallel with the earth (6c). Notice
that your torso is facing (6c) to the side (N12) (the same direction as you face when you first
begin, Raising the Chi (1a). Step back with the left foot (6d-6e), taking care to maintain your

stance about a two fist width from your right foot, or about shoulder width. Now turn your
torso to the left, bringing your right arm forward in a palm strike and your left arm backward
as if grabbing an opponent's arm and pulling (6d-63). Your right palm will now be the most
advanced hand (6e).
Repulse Monkey (2): Turn your left hand palm up and let it drop so that your arm moves in
an arc (6e-6f). Continue bringing your left arm back until your hand is level with your left
shoulder (6g). Turn your right hand palm up and flat, parallel with the earth (6f). Notice that
your torso is facing to the opposite side (S6). Step back with the right foot, taking care to
maintain your stance about a two fist width from your left foot, or about shoulder width (6g6h). Now turn your torso to the right, bringing your left arm forward in a palm strike and
your right arm backward as if grabbing an opponent's arm and pulling (6h). Your left palm
will now be the most advanced hand (6h).
Repulse Monkey (3): Turn your right hand palm up and let it drop so that your arm moves
in an arc (6i). Continue bringing your right arm back until your hand is level with your right
shoulder (6j). Turn your left hand palm up and flat, parallel with the earth (6j). Notice that
your torso is facing (N12) to the side (the same direction as you face when you first begin,
Raising the Chi. Step back with the left foot, taking care to maintain your stance about a two
fist width from your right foot, or about shoulder width (6k-6l). Now turn your torso to the
left, bringing your right arm forward in a palm strike and your left arm backward as if
grabbing an opponent's arm and pulling (6l). Your right palm will now be the most advanced
hand (6l).
Repulse Monkey (4): Turn your left hand palm up and let it drop so that your arm moves in
an arc (6l-6m). Continue bringing your left arm back until your hand is level with your left
shoulder (6m). Turn your right hand palm up and flat, parallel with the earth(6m). Notice
that your torso is facing to the opposite side (S6). Step back with the left foot, taking care to
maintain your stance about a two fist width from your right foot, or about shoulder width (6n6o). Now turn your torso to the right, bringing your left arm forward in a palm strike and
your right arm backward as if grabbing an opponent's arm and pulling (6n-6o). Your left palm
will now be the most advanced hand (6o)."
- David Hann, Yang Style Short Form Tai Chi

7. Grasping the Sparrow's Tail - Left

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

7a = 6o. Generally, one is moving in the direction of W9, to your left side, in Movement 7.
Here is a detailed description of how to perform Grasping the Bird's Tail, Left Mode (#7, 7a7m) taken from the book "Illustrations of Tai Chi Chuan Simplified" by Y. W. Chong, pp. 2731:
"1. Raise the left hand arch-wise to the right (7a-7b) and stop it before the right side of the
waist (7c). At the same time bend the right hand horizontally before the chest as if grasping a
ball with both hands (7c). Concurrently draw the left foot back and put it close to the right
one (7b-7c), with the left toes touching the ground (7c).
2. Lift the left hand outward in a bent manner to the left as if to ward off a blow (7c-7e)
and bow it horizontally at the level of the shoulders (7e). At the same time swing the right
hand downward to the right (7d-7e) and put it beside the right thigh (7e). At the same time
stretch the left foot out and bow it forward (7d-7e). The eyes are looking at the left forearm
(7e). [Ward Off Left (Peng Zuo) I]
3. Stretch the left hand forward, turning its palm downward (7f). Concurrently turn the
right palm upward and stretch it forward until it comes below the left wrist (7f). Then pull the
two hands downward past the abdomen and swing them up backward to the right until the
right hand comes to the height of the shoulders with its palm upward (7f-7g) and the left hand

comes before the chest with its palm facing inward and the elbow bend horizontally (7g). At
the same time shift the centre of gravity to the right foot (7g). The eyes are looking at the
right hand (7g). [Roll Back (Lu) II]
4. Draw the right hand back and put it at the inside of the left wrist (7g). Push both hands
forward with the left palm inward and the right one outward (7h-7i). At the same time bow
the left leg forward (7h-7i). The eyes are looking at the left wrist (7i). [Press (Ji) III]
5. Separate both hands at the distance of the breadth across the shoulders with both palms
facing downward (7j-7k). Then lower the upper body slightly backwards (7k), shifting the
centre of gravity to the right foot (7k). At the same time draw both hands back to the two
sides of the waist with both palms facing forward slightly to the ground (7k-7l). The eyes are
looking forward horizontally (7l).
6. Push both hands forward and upward (7l-7m). At the same time bow the left leg
forward (7m). The eyes are looking forward. [Push (An) IV]"
- Y. W. Chong
I. Ward Off Left (Peng Zuo) (7b-7e) Inhale 7b-7c, and exhale 7d-7e. Turn torso to the left
towards W9 (7e).
II. Roll Back (Lu) (7f-7g) Inhale 7e-7g. Turn torso to right towards N12 (7g). The hand
movements for Roll Back are not shown clearly in the the above illustrations (7f-7g). Look
at right hand in the direction of NE2.
III. Press (Ji) (7h-7i) Inhale 7g-7h, and exhale 7h-7i. Torso facing W9 (7i). Turn torso to
the left towards W9 (7i). The right palm presses against the left forearm. The left palm faces
the body.
IV. Push (An) (7j-7m) Face W9. Push both hands, palms forward, towards W9 (7m). Inhale
7j-7l, and exhale 7l-7m. Torso faces W9 (7m).

8. Grasping the Sparrow's Tail - Right

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

8a = 7m. Generally, one is moving in the direction of E3, to your right side, in Movement 8.
Here is a detailed description of how to perform Grasping the Sparrow's Tail - Right (#8, 8a8o) taken from the book "Tai Chi Ch'uan and Qigong: Techniques and Training" by Wolfgang
Metzger and Peifang Zhou, pp. 106-109:
"Assume starting position (8a = 7m): Arch steps to the left. Left foot load about 70 percent;
right foot about 30 percent (8a). Shift weight to the right foot; left foot rotates on the heel by
90 to 120 to the inside (8b). At the same time - with gently held, slightly rounded arms - the
hands move with the upper body to the right (8b). Slowly bend arms, with right hand moving
in an upward arc (8b-8c), and assume the ball-holding position in front of the right side of the
body (8c-8d). While in the ball-holding position, the right foot is pulled towards the left
without the toes touching the ground (8d).
1. Peng Movement: With an arched step to the right, pull the left hand as in Form 2
("Parting Horse's Mane") in an arc down to hip level (8e-8f), while the right forearm different from Form 2 - moves at a left angle in an arc forward and up (8e-8f) until level
with the chest (8f), harmoniously coordinating it with the rotation of the body (8d-8f) and the

shifting of the weight (8e-8f). Position (8f) is the starting point for the second part of this
form. [Ward Off Right (Peng You) I]
2. Lu Movement: This starts with a slight rotation of the body to the right SE4 (8g), not
shown in the illustration. While the body rotates to the right, hands are rotating to face each
other, the right hand moving towards the right. Both hands - while shifting the weight to the
left leg (8f-8g) and rotating the body to NW11 - move in an arc down to the right hip level
(8g). [Roll Back (Lu) II]
3. Ji Movement: Preceded by a small reaching back movement (8h), move the left hand
towards the left; both hands cross at the wrists and are pushed forward and out (8i-8k). When
pushing forward, shift the weight again to the right leg (8k). [Press (Ji) III]
4. An Movement: at the conclusion of the Ji movement (8k), turn the hands so that they are
crossed (8l) with the palms facing down, right hand below the left (8l). As the weight is
shifted to the back left leg (8m-8n) - the toes of the right foot raised slightly off the ground
(8n) - the crossed hands separate again and are pulled towards the body by the elbows (8m8n). They are then - with a slight shift of of the body's weight (8n-8o) - pushed forward (8n8o). Do not straighten your arms out in the end position (8o). [Push (An) IV]."
- Wolfgang Metzger and Peifang Zhou
I. Ward Off Right (Peng You) (8a-8f) Inhale 8c-8d, and exhale 8e-8f. Turn torso to the right
towards E3 (8c-8e).
II. Roll Back (Lu) (8f-8h) Inhale 8g-8h. Turn torso to right towards N12 (8h). The hand
movements for Roll Back are not shown clearly in the the above illustrations (8f-8h). Look
at right hand in the direction of NW10.
III. Press (Ji) (8j-8k) Inhale 8h-8i, and exhale 8j-8k. Torso facing E3 (8k). Turn torso to the
right towards E3 (8i-8k). The left wrist presses against the inside of the right forearm. The
right palm faces the body.
IV. Push (An) (8l-8o) Push both hands, palms forward, towards E3 (8n-8o). Inhale 8m-8n,
and exhale 8n-8o. Torso faces E3 (8o). Both palms face away from the body.

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

10. Waving Hands Like Clouds

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

From the Single Whip position (10a = 9g) begin to turn the torso to the right side (10a-10e)
until the front of the body is facing N12 (10c). At the same time as the torso turns toward the
right side, the right hand remains outstretched (10b-10c). The left hand moves downward and
then upwards toward the right side (10b-10c) until it reaches the level of the head (10d). The
weight moves into the bent right leg (10c). The head turns and looks towards the right side
E3 (10d).
The left hand, palm facing the body, remaining at about face level, moves across the body
towards the left side (10d-10f). The right hand, at about waist level, palm facing the body,
moves across the body towards the left side at the same time as the left hand moves (10e10f). The waist turns to move the arms more than the shoulders move the arms (10e-10f).
Turn the waist and move the arms until you reach the left side and are looking towards W9
(10f).
Step with the right leg and move it closer to the left leg as the arms move to the far left
position W9 (10e-10f). Switch the position of the arms by moving the right arm to about face
level (10e-10f), and the left arm down towards the waist level (10f). This completes the first
part of the Cloud Hands movement by moving from the far left (10a) to the far right (10c) and
then from the far right (10c) to the far left (10f) in a gentle flowing manner (10b-10f), moving
the hands like floating clouds.

From the far left position (10f) with the right hand high (10f) and the left hand low at waist
level (10g), with both palms facing the body, move both arms to the right across the body
(10g-10h). The waist turns to move the arms more than the shoulders move the arms (10f10h). Turn the waist and move the arms until you reach the far right side and are looking
towards E3 (10h). When you reach the far right, exchange the arms by bringing the left arm
up to about face level (10i) and the right arm down to about waist level (10i-10j), and at the
same time step the left leg to the left W9 (10h-10i). Now begin to move the left arm across
the body to the left side at about face height, palm facing the body (10i-10k), at the same time
as the right arm drops down to about waist level (10i-10j) and moves across the body, palm
facing inward, to the far left side (10j-10k). When the left hand reaches the far left side (10j),
lift and step with the right leg towards the left leg (10j-10k). This completes the second part
of the Cloud Hands movement by moving from the far left (10f) to the far right (10i) and then
back to the far left (10k) in a gentle flowing manner, moving hands like floating clouds.
From the far left position (10k) with the right hand high (10k) and the left hand low at waist
level (10l), with both palms facing the body, move both arms to the right across the body
(10k-10n). The waist turns to move the arms more than the shoulders move the arms (10k10n). Turn the waist and move the arms until you reach the far right side and are looking
towards E3 (10m). When you reach the far right, exchange the arms by bringing the left arm
up to about face level (10n) and the right arm down to about waist level (10m-10n), and at the
same time step the left leg to the left W9 (10m-10n). Now begin to move the left arm across
the body to the left at about face height, palm facing the body (10n-10p), at the same time as
the right arm drops down to about waist level (10m-10n) and moves across the body, palm
facing inward, to the far left side (10n-10p). When the left hand reaches the far left side
(10p), lift and step with the right leg towards the left leg (10o-10p). This completes the third
part of the Cloud Hands movement by moving from the far left (10k) to the far right (10m)
and then back to the far left (10p) in a gentle flowing manner, moving hands like floating
clouds.

11. Single Whip

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

From the last posture of Cloud Hands (10p = 11a), step forward with the right foot a small
step (11b). Begin to rotate the arms from the left side to the right side. The arms draw across
the body at about chest height (11a-11c). After the arms reach the left side (9c), then they
rotate back to the right side (11c-11e). The waist faces N12 (11c). As the right arm gets to
the right side (11d) then the hand extends in the direction of NE1 (11d) and the hand is shaped
into a beak style (thumb touches the other fingers and all fingers point down) (11e). The left
arm is drawn up to the face level, with the palm facing the face (11d). As the right hand forms
into beak, the left leg steps to the right, bringing the left foot fairly close to the right foot (11c11d), and the left toe touching the ground (11d). As the left leg lifts and is placed to face W9,
the left hand opens out towards W9 (11d-11e). As the body settles into a left bow stance
(11f), the left hand pushes forward, palm facing out (11e-11f). We end in Single Whip (11f)
with the waist facing NW11, in a left bow stance, pushing with the left palm in the direction
of W9, with the right arm lifted and pointing towards NE1, beaked right hand, and looking
towards W9 (11f). Inhale from 11b-11d and exhale from 11e-11f.

12. Pat the Horse on the Back

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

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

13. Kick with Right Heel

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

Lift left leg and step forward (13a-13b). Circle both hands outward in a circle and down
(13b-13c). Step with right leg forward to bring the right foot next to the left foot (13c-13d).
At the same time, circle both hands upwards and bring the right hand in front of the left hand,
crossing the hands in front of the face (13d-13d). Left the right leg as both hands move away
from each other towards the sides (13e), palms facing out and fingers up (13f). Turn the body

slightly to the left so that instead of your waist facing W9 it faces SW7. Kick with the left
heel in the direction of NW10 (13f). Inhale 13c-13d, and exhale 13e-13f.
Some persons may not be able to kick high with a straight right leg and right toe drawn back a right heel kick (13f). Instead, substitute a toe kick, while kicking lower if necessary, or
bending the knee if necessary. Don't let the inability of executing a movement perfectly,
according to a standard, prevent you from practicing Taijiquan. Adapt accordingly to
accommodate for injuries, balance problems, inflexibility, or weakness. Be practical and
smart; and, make reasonable adjustments. Keep practicing, and you will probably see steady
improvements, increased strength, and greater flexibility.

14. Hitting Your Opponent's Ears with Both Fists

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

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

15. Kick with Left Heel

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

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

16. Snake Creeps Down, Golden Rooster Stands on Left

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

16a = 15g. Squat down and balance on right leg (16d-16e). Right arm draws back in single

whip (16c), and right hand makes a beaked fist (16c). Extend left leg low to E3 (16e). Draw
the left arm down along inside of left leg towards left ankle ... the snake creeps down (16d16e). Stand up on left leg (16f-16h). Draw right leg up until level with hip (16h). Right
elbow is over right knee, right had pointing up (16h). This final posture, facing E3, is called
"Golden Rooster Stands on Left Leg, Golden Bird Standing Alone" (16h).

17. Snake Creeps Down, Golden Rooster Stands on Right

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

17a = 16h. Squat down and balance on left leg (17d-17e). Left arm draws back in single
whip, and left hand makes a beaked fist (17c). Extend right leg low to E3 (17d-17e). Draw
the right arm down along inside of right leg towards ankle ... the snake creeps down (17d17e). Stand up on right leg (17g-17h). Draw left leg up until level with hip (17g-17h). Left
elbow is over left knee, left had pointing up (17h). This final posture, facing E3, is called
"Golden Rooster Stands on Right Leg, Golden Bird Standing Alone" (17h).

18. Fair Lady Works the Shuttles

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

18a = 17h. From "Golden Rooster on Right Leg (18a) step left foot forward and diagonally
(18b-18c), draw right foot to left foot (18e), step out with right foot diagonally to right (18f18g). Raise right arm to block out above head (18g-18h), palm facing out. Left palm strike
(18h). Right leg bow stance (18h).
Bring left leg up by right leg (18h-18j), and bring arms to chest (18i). Step diagonally to the
left side with left foot (18k-18l). Raise left arm to block out above head, palm facing out (18k18m). Right palm strike (18m). Left leg bow stance (18m).
Here is a description of how to perform Fair Lady Works the Shuttles ("Works at Shuttles")
(#18, 18a-18m) from the book 'Tai Chi for Health: The 24 Simplified Forms" by Cheng Zhao
and Don Zhao, p.126:
"Form 18. Fair Lady Works at Shuttles (Left and Right Sides.).
(1) Step forward on your left foot; shift your body weight onto the left leg (18b-18c). Draw
you right foot forward in such that the toes touch the ground beside your left foot (18c-18d).
At the same time, your arms hold a large ball in front of your chest with the left hand above
the right (18e). Face NE2 (18e).
(2) Rotate your waist to the right and place your right foot forward with the right heel
touching the ground first (18e-18f). Then shift 70% of your body weight onto the right leg

and from a right bow stance (18h). At the same time, rotate the right arm up so the hand is
level with your forehead and the palm faces out (18h). Face SE4 (18h). [Inhale 18e-18f,
exhale 18g-18h.]
(3) Shift your body weight back to the left leg, and rotate your waist slightly to the right
(18i-18j). Shift your body weight back to the right leg, drawing your left foot up to rest
beside your right foot with the toes touching the ground (18j-18k). At the same time, both
arms hold a large ball in front of your chest with the right hand above the left (18k). Face
SE4 (18k).
(4) Rotate your waist to the left and place your left foot forward with the left heel touching
the ground first (18l-18m). Then shift 70% of the body weight onto the front leg forming a
left bow stance (18m). At the same time, rotate the left arm up so the hand is level with your
forehead and the palm faces out (18l-18m). Face NE2 (18m)." [Inhale 18j-18k, and exhale
18l-18m.]
- Dr. Cheng Zhao

19. Pick Up the Needle from the Bottom of the Sea

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

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

20. Flashing the Arms Like a Fan

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

21. Deflect, Parry and Punch

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

21a = 20d.
Here is a detailed description of how to perform Deflect, Parry and Punch (#21, 21a-21h)
taken from the very useful narrative document by David Hann:
"Turn, Intercept, and Punch: Turn to the right on your left heel so that you are facing to
your rear, looking over your right shoulder (21b). Your left hand is held, palm facing out, at

least a hand's width from your head. Your right hand is formed into a fist, held about chest
level, with the elbow below the fist (21c). Step out with your right foot and strike out and
downward with the back of your fist (21d). Step up to your right foot with your left foot, toe
down, heel up (21e). Bring your right fist back to your right waist (21f). Bring your left arm
across your body as if blocking an opponent's punch and bring your left hand, palm open,
facing and in front of your right fist (21f). Step forward with the left foot (21g) and punch
with your right fist (21g-21h), moving it over your left hand, which is now turned flat, palm
up (21h)."
- David Hann, Yang Style Short Form Tai Chi

22. Apparent Close and Push

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

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

23. Cross Hands

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

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

24. Closing Posture of Taijiquan

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

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