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TAIJI BOXING ACCORDING TO WU ZHIQING

AUTHENTIC TAIJI

by Wu Zhiqing
[published by Great East Bookstore, Sep, 1936]
[translation by Paul Brennan, Oct, 2016]

Martial spirit!

[calligraphy by] Wang Zhen


In todays world, if we do not value a martial quality,
there is no way to protect the lives of the people.
Taiji Boxing is a type of martial art
that borrow the opponents force and hits him with it magical.

Inscription for Wu Zhiqings Authentic Wudang [Taiji] by Zhang Ji

FOREWORD

1. In all things, we each notice that at first we do not know what is superior or inferior, nor understand what is
genuine or fake. But once we gather several similar examples before our eyes in order to compare which is superior or
inferior, which is genuine or fake, differentiation will naturally be achieved by the way they contrast with each other.
Nowadays, practitioners of Taiji Boxing are numerous and publications are constantly on the increase. The
common enthusiasm for it has led to all sorts of wrong paths and uncertainties. Therefore this book gathers together
works by various experts who have made systematic studies [Part Two]. I also present distinctions between them by
putting them into a comparative list so that you may understand at a glance where they have had slightly different
ideas [Part One, Chapter One, Section Three].
Examining the origins of the various schools of Taiji Boxing, they all claim it was passed down from the elixirist
Zhang Sanfeng. As for the names of the boxing postures, each school has it variations, sometimes older postures,
sometimes newer versions, sometimes somewhere in between, some with many techniques, some with fewer
techniques. Where one school has one posture, another school may consider it to be several. Postures may be the
same but the names are different, or names may be the same but the postures are different. Something was formerly
taught one way, but in the course of teaching over several decades, people became unaware of the extent to which

changes had been made.


When we look for the reason for this, we find it is simply because variety of transmission leads to slight
inconsistencies, unimportant ones for the most part. However, beginners will not know what lies within. It will be as
though they have entered into miles of fog, unable to distinguish between what is real and what is fake, and their
doubts will increase by the day. This book collects the postures, principles, and terminology of our nations notable
Taiji Boxing experts in order to clarify the genuine art, giving students the ability to differentiate instead of
misguiding students so as to keep the art inaccessible, and thereby eliminating the error of sectarian bias.

2. In 1918, I happened to meet Yang Chengfu. Receiving instruction from him in Taiji Boxing, I practiced day and
night, making a thorough study of it. Now I have put what I have learned, as well as ideas I have collected from
various teachers, into a book, which is divided into two parts, Part One covering theory and practice, Part Two
comprised of essays by experts.
The theories within this book conform to the principles of health held by science and education. I do not seek to
show off by being overly obscure, highly literate, or even particularly unique. Included are photographs and easily
understandable text which describes the movements, explains applications, and clarifies essential requirements. This
will enable you to readily understand as you read through it, everything clear at a glance.

3. This book is comprised of firstly theory [Part One, Chapter One] and then techniques [Chapter Two]. And then
there is a collection of magnificent ideas from the recent studies of famous experts [Part Two], worthy of comparative
study so that through this book you may understand the learning of various teachers. To examine one and end up
understanding several is the idea.
Included is the complete Taiji Boxing solo set, divided into individual movements so that beginners may have an
easy way into the art rather than feeling overwhelmed or frustrated. Practice each technique until the movement is
skillful and the posture is accurate, then connect them into a complete set. Do not violate the cardinal Taiji Boxing
principle of continuity without interruption from beginning to end, nor ignore modern teaching methods. Through
repeated study of this material, we will found a new era.
This is why this book firstly presents some theory, so that you may understand the principles and discern the
parameters of the art. Ponder the postures, then link them together. The practice method is to go from the simple to
the complex, gradually progressing according to the right sequence, so that you will be able to organically and easily
understand, and your interest will develop by itself. By such means, this learning is poised to spread everywhere.
written by Wu Zhiqing in Runzhou [in Jiangsu]

CONTENTS

Part One: Taiji Boxing Theory & Practice

Chapter One: From Authentic Wudang Taiji Boxing Theory

Section One: Taiji Boxing as a Practical Health Science

Section Two: Discussing the Similarities & Differences Between Various Versions of the Taiji Boxing Solo Set

Section Three: On the Comparative List of Similarities & Differences Between the Names & Numberings of the
Various Versions of the Taiji Solo Set

Section Four: A Study of the Names & Enumeration of the Postures in the Taiji Boxing Solo Set

Chapter Two: The Various Techniques Practiced in Taiji Boxing

Section One: Orientation Diagram

Section Two: On the Footwork Charts for Each of the Twelve Segments

Section Three: Practicing the Various Techniques

Segment One twelve postures / thirty-eight movements

Posture 1: BEGINNING POSTURE

Posture 2: CATCH THE SPARROW BY THE TAIL

Posture 3: SINGLE WHIP

Posture 4: RAISE THE HANDS

Posture 5: WHITE CRANE SHOWS ITS WINGS

Posture 6: BRUSH KNEE IN A CROSSED STANCE

Posture 7: PLAY THE LUTE

Posture 8: LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE

Posture 9: PLAY THE LUTE

Posture 10: ADVANCE, PARRY, BLOCK, PUNCH

Posture 11: SEALING SHUT

Posture 12: CROSSED HANDS

Segment Two thirteen postures / thirty-eight movements

Posture 13: CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

Posture 14: DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL

Posture 15: GUARDING PUNCH UNDER ELBOW

Posture 16: LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY

Posture 17: DIAGONAL FLYING POSTURE

Posture 18: RAISE THE HANDS

Posture 19: WHITE CRANE SHOWS ITS WINGS

Posture 20: BRUSH KNEE IN A CROSSED STANCE

Posture 21: NEEDLE UNDER THE SEA

Posture 22: SHOULDER THROUGH THE ARM

Posture 23: TORSO-FLUNG PUNCH

Posture 24: STEP FORWARD, PARRY, BLOCK, PUNCH

Posture 25: ADVANCE, CATCH THE SPARROW BY THE TAIL

Segment Three three postures / eleven movements

Posture 26: SINGLE WHIP

Posture 27: LEFT & RIGHT CLOUDING HANDS

Posture 28: SINGLE WHIP

Segment Four five postures / eleven movements

Posture 29: RISING UP AND REACHING OUT TO THE HORSE

Posture 30: KICKING TO THE LEFT & RIGHT

Posture 31: TURN AROUND, PRESSING KICK

Posture 32: LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE

Posture 33: ADVANCE, PLANTING PUNCH

Segment Five eleven postures / twenty-one movements

Posture 34: TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE

Posture 35: STEP FORWARD, PARRY, BLOCK, PUNCH

Posture 36: PRESSING KICK

Posture 37: LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER

Posture 38: TURN BACK, PRESSING KICK

Posture 39: DOUBLE WINDS THROUGH THE EARS

Posture 40: LEFT PRESSING KICK

Posture 41: TURN AROUND, PRESSING KICK

Posture 42: ADVANCE, PARRY, BLOCK, PUNCH

Posture 43: SEALING SHUT

Posture 44: CROSSED HANDS

Segment Six five postures / twenty-four movements

Posture 45: CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

Posture 46: DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL

Posture 47: DIAGONAL SINGLE WHIP

Posture 48: LEFT & RIGHT WILD HORSE VEERS ITS MANE

Posture 49: CATCH THE SPARROW BY THE TAIL

Segment Seven three postures / thirteen movements

Posture 50: SINGLE WHIP

Posture 51: MAIDEN WORKS THE SHUTTLE

Posture 52: CATCH THE SPARROW BY THE TAIL

Segment Eight three postures / fourteen movements

Posture 53: SINGLE WHIP

Posture 54: LEFT & RIGHT CLOUDING HANDS

Posture 55: SINGLE WHIP, LOW POSTURE

Segment Nine ten postures / twenty-six movements

Posture 56: GOLDEN ROOSTER STANDS ON ONE LEG

Posture 57: LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY

Posture 58: DIAGONAL FLYING POSTURE

Posture 59: RAISE THE HANDS

Posture 60: WHITE CRANE SHOWS ITS WINGS

Posture 61: BRUSH KNEE IN A CROSSED STANCE

Posture 62: NEEDLE UNDER THE SEA

Posture 63: SHOULDER THROUGH THE ARM

Posture 64: STEP FORWARD, PARRY, BLOCK, PUNCH

Posture 65: ADVANCE, CATCH THE SPARROW BY THE TAIL

Segment Ten three postures / eleven movements

Posture 66: SINGLE WHIP

Posture 67: LEFT & RIGHT CLOUDING HANDS

Posture 68: SINGLE WHIP

Segment Eleven four postures / ten movements

Posture 69: RISING UP AND REACHING OUT TO THE HORSE

Posture 70: CROSS-SHAPED KICK

Posture 71: BRUSH KNEE, PUNCH TO THE CROTCH

Posture 72: STEP FORWARD, CATCH THE SPARROW BY THE TAIL

Segment Twelve nine postures / fifteen movements

Posture 73: SINGLE WHIP, LOW POSTURE

Posture 74: STEP FORWARD WITH THE BIG DIPPER

Posture 75: RETREAT TO SITTING TIGER POSTURE

Posture 76: SPIN, SWINGING LOTUS KICK

Posture 77: BEND THE BOW, SHOOT THE TIGER

Posture 78: STEP FORWARD, PARRY, BLOCK, PUNCH

Posture 79: SEALING SHUT

Posture 80: CROSSED HANDS

Posture 81: CLOSING POSTURE

Part Two: Discourses from Various Taiji Boxing Experts

Chapter One: Hu Puans The Value of Taiji Boxing in Physical Education

Chapter Two: Jiang Rongqiaos Annotations to Wang Zongyues Taiji Boxing Treatise

Chapter Three: Yang Chengfus Ten Essentials of Taiji

Chapter Four: A Couple of Essays from Sun Lutangs A Study of Taiji Boxing

Chapter Five: Chen Zhijins Essay Taiji Boxings Moral Qualities & Functions

Chapter Six: Chen Weimings Experience of Teaching Taiji Boxing

Chapter Seven: Xiang Kairans Experience of Practicing Taiji Boxing

AUTHENTIC TAIJI

PART ONE: TAIJI BOXING THEORY & PRACTICE

CHAPTER ONE: FROM AUTHENTIC WUDANG TAIJI BOXING THEORY

Section One: Taiji Boxing as a Practical Health Science

Taiji Boxing is not a kind of bizarre mystical magic, nor a skill for caravan bodyguards or street performers. It is a part
of Nature, a natural method of self-defense training and health maintenance. Because of the liveliness and
naturalness of its movements, all should practice, regardless of strong or weak, young or old. It can make the body
healthy and the spirit abundant. Moreover, Taiji Boxings techniques are profound, and can bring special progress to
ones self-defense capabilities. This is why it is called a natural method of self-defense training.
Furthermore, because its movements can cause the body to develop evenly, it conforms to physiological processes.
Promoting natural movement in the abdomen, it can encourage digestive function, keeping food from moving
sluggishly through the stomach and intestines. On one hand, it more efficiently moves along waste, on the other it

better transports nutrients to the rest of the body. By working to make improvement at the source, illnesses thereby
cannot begin in the first place, and the body is consequently made healthy. This is why it is a natural method of
health maintenance. Therefore Taiji Boxing can be considered a practical health science.

Section Two: Discussing the Similarities & Differences Between Various Versions of the Taiji Boxing Solo Set

Martial arts are divided into internal and external, specified as Wudang and Shaolin. Shaolins origins are quite
old, and there are too many styles of it to remember. There are sets for both long punching and short striking,
differences of high stance or medium stance, large step or small step. In brief, it does not go beyond methods of attack
and defend, advance and retreat, which is obvious to any who witness it.
As for Wudang, its history is not as old as that of Shaolin, and has still not become as widespread, having been
passed down personally from teacher to student. Also, due to focus on physiological principles and the concept of
adjusting according to circumstances, the sets have gotten slightly modified, though its theory has remained
consistent.
For example, Yang Chengfus postures were very open, whereas Wu Jianquan emphasizes compactness, and Sun
Lutang emphasized relaxed extension. They each achieved mastery regardless of such distinctions. The essential idea
in Taiji Boxing is that within spreading open there has to be the qualities of compactness and relaxed extension. This
is the idea behind instructions such as loosen your waist and forcelessly press up your headtop. The differences
between the versions of the set are only a matter of the external appearance of the movements, and there is no
difference in terms of their spirit.

Section Three: On the Comparative List of Similarities & Differences Between the Names & Numberings of the
Various Versions of the Taiji Solo Set

Nowadays, martial arts are being taken increasingly seriously be ordinary people. Practitioners are extremely
numerous, and due to the grand reputations of Yang Chengfu, Wu Jianquan, and Sun Lutang, people consider them
to represent three styles. In fact, Wu Jianquans father, Quan You, was a student of Yang Banhou, and Sun Lutang
learned from Hao Weizhen, who had a close relationship with Yang Banhou and also learned from him for a while.
Therefore it is the Yang family that is the basis of these versions of Taiji Boxing, and really they are not different sects.
Sun published A Study of Taiji Boxing. Wu has taught his art to many students, ensuring it will be carried on.
Chen Weiming, who learned from Yang Chengfu, established his Achieving Softness Boxing Society and has been
giving extensive instruction to a remarkable abundance of students, as well as writing The Art of Taiji Boxing, which
is popular throughout the nation. This can be said to be the golden age of Taiji Boxing.
Although it is in vogue at the moment, with many variations on display, I fear that future generations will not be
able to discern the genuine from the fake, therefore I have made this comparative list of the similarities and
differences of the various versions of the Taiji Boxing solo set in order to clarify the situation:

COMPARATIVE LIST OF SIMILARITIES & DIFFERENCES BETWEEN THE NAMES & NUMBERINGS OF THE
POSTURES IN THE VARIOUS VERSIONS

The different versions with posture names and [overall] numbering:

Chen Weiming / Sun Lutang / Chu Minyi / Wu Zhiqing


1
BEGINNING POSTURE / NONPOLARITY / TAIJI POSTURE / BEGINNING POSTURE
2
CATCH THE SPARROW BY THE TAIL / GRAND POLARITY / BEGINNING POSTURE / CATCH THE

SPARROW BY THE TAIL


3
SINGLE WHIP / TUCK IN THE ROBE / CATCH THE SPARROW BY THE TAIL Part 1/ SINGLE WHIP
4
RAISE THE HANDS / OPENING HANDS / CATCH THE SPARROW BY THE TAIL Part 2 / RAISE THE HANDS
5
WHITE CRANE SHOWS ITS WINGS / CLOSING HANDS / CATCH THE SPARROW BY THE TAIL Part 3 /
WHITE CRANE SHOWS ITS WINGS
6
BRUSH KNEE IN A CROSSED STANCE / SINGLE WHIP / SINGLE WHIP / BRUSH KNEE IN A CROSSED
STANCE
7
PLAY THE LUTE / RAISE THE HAND / RAISE THE HANDS Part 1 / PLAY THE LUTE
8
LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE / WHITE CRANE SHOWS ITS WINGS / RAISE THE
HANDS Part 2 / LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
9
PLAY THE LUTE / OPENING HANDS / WHITE CRANE SHOWS ITS WINGS Part 1 / PLAY THE LUTE
10
ADVANCE, PARRY, BLOCK, PUNCH / CLOSING HANDS / WHITE CRANE SHOWS ITS WINGS Part 2 /
ADVANCE, PARRY, BLOCK, PUNCH
11
SEALING SHUT / BRUSH KNEE IN A CROSSED STANCE / BRUSH KNEE IN A CROSSED STANCE Left /
SEALING SHUT
12
CROSSED HANDS / PLAY THE LUTE / BRUSH KNEE IN A CROSSED STANCE Right / CROSSED HANDS
13
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN / ADVANCE, PARRY, BLOCK,
PUNCH / PLAY THE LUTE / CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
14
GUARDING PUNCH UNDER ELBOW / SEALING SHUT / ADVANCE (OR WITHDRAW), PARRY, BLOCK,
PUNCH Part 1 / DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
15
LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY / CAPTURE THE TIGER AND PUSH IT BACK
TO ITS MOUNTAIN / ADVANCE (OR WITHDRAW), PARRY, BLOCK, PUNCH Part 2 / GUARDING PUNCH
UNDER ELBOW
16
DIAGONAL FLYING POSTURE / OPENING HANDS / SEALING SHUT / LEFT & RIGHT RETREAT, DRIVING
AWAY THE MONKEY
17
RAISE THE HANDS / CLOSING HANDS / CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN /
DIAGONAL FLYING POSTURE
18
WHITE CRANE SHOWS ITS WINGS / BRUSH KNEE IN A CROSSED STANCE / BRUSH KNEE IN A
CROSSED STANCE / RAISE THE HANDS
19
BRUSH KNEE IN A CROSSED STANCE / PLAY THE LUTE / CATCH THE SPARROW BY THE TAIL / WHITE
CRANE SHOWS ITS WINGS
20
NEEDLE UNDER THE SEA / TUCK IN THE ROBE / DIAGONAL SINGLE WHIP / BRUSH KNEE IN A
CROSSED STANCE
21
SHOULDER THROUGH THE ARM / OPENING HANDS / GUARDING PUNCH UNDER ELBOW / NEEDLE
UNDER THE SEA
22
TORSO-FLUNG PUNCH / CLOSING HANDS / RETREAT, DRIVING AWAY THE MONKEY Part 1 /
SHOULDER THROUGH THE ARM
23

STEP FORWARD, PARRY, BLOCK, PUNCH / SINGLE WHIP / RETREAT, DRIVING AWAY THE MONKEY
Part 2 / TORSO-FLUNG PUNCH
24
CATCH THE SPARROW BY THE TAIL / GUARDING PUNCH UNDER ELBOW / DIAGONAL FLYING
POSTURE / STEP FORWARD, PARRY, BLOCK, PUNCH
25
SINGLE WHIP / TURN AROUND, DRIVE AWAY THE MONKEY (LEFT) / RAISE THE HANDS / CATCH THE
SPARROW BY THE TAIL
26
LEFT & RIGHT CLOUDING HANDS / TURN AROUND, DRIVE AWAY THE MONKEY (RIGHT) / WHITE
CRANE SHOWS ITS WINGS / SINGLE WHIP
27
SINGLE WHIP / PLAY THE LUTE / BRUSH KNEE IN A CROSSED STANCE / LEFT & RIGHT CLOUDING
HANDS
28
RISING UP AND REACHING OUT TO THE HORSE / WHITE CRANE SHOWS ITS WINGS / NEEDLE
UNDER THE SEA / SINGLE WHIP
29
KICKING TO THE LEFT & RIGHT / OPENING HANDS / FAN THROUGH THE BACK / RISING UP AND
REACHING OUT TO THE HORSE
30
TURN AROUND, PRESSING KICK / CLOSING HANDS / TORSO-FLUNG PUNCH / KICKING TO THE LEFT &
RIGHT
31
LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE / BRUSH KNEE IN A CROSSED
STANCE / WITHDRAWING STEP, PARRY, BLOCK, PUNCH / TURN AROUND, PRESSING KICK
32
ADVANCE, PLANTING PUNCH / PLAY THE LUTE / STEP FORWARD, CATCH THE SPARROW BY THE
TAIL / LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
33
TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE / THREE THROUGH THE BACK / SINGLE WHIP /
ADVANCE, PLANTING PUNCH
34
STEP FORWARD, PARRY, BLOCK, PUNCH / OPENING HANDS / CLOUDING HANDS Part 1 / TURN
AROUND, WHITE SNAKE FLICKS ITS TONGUE
35
PRESSING KICK / CLOSING HANDS / CLOUDING HANDS Part 2 / STEP FORWARD, PARRY, BLOCK,
PUNCH
36
LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER / SINGLE WHIP/ RISING UP AND
REACHING OUT TO THE HORSE Left / PRESSING KICK
37
TURN BACK, PRESSING KICK / CLOUDING HANDS / KICK TO THE SIDE Right / LEFT & RIGHT
DRAPING THE BODY, SUBDUING THE TIGER
38

DOUBLE WINDS THROUGH THE EARS / RISING UP AND REACHING OUT TO THE HORSE / RISING UP
AND REACHING OUT TO THE HORSE Right / TURN BACK, PRESSING KICK
39
LEFT PRESSING KICK / RIGHT LIFTING KICK / KICK TO THE SIDE Left / DOUBLE WINDS THROUGH
THE EARS
40
TURN AROUND, PRESSING KICK / LEFT LIFTING KICK / TURN AROUND, PRESSING KICK Part 1 / LEFT
PRESSING KICK
41
STEP FORWARD, PARRY, BLOCK, PUNCH / TURN AROUND, KICK / TURN AROUND, PRESSING KICK
Part 2 / TURN AROUND, PRESSING KICK
42
SEALING SHUT / STEP SUCCESSIVELY, PUNCH / ADVANCE, PLANTING PUNCH / STEP FORWARD, PARRY,

BLOCK, PUNCH
43
CROSSED HANDS / TURN AROUND, DOUBLE KICK / TURN AROUND, TORSO-FLUNG PUNCH / SEALING
SHUT
44
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN / DRAPING THE BODY, CROUCHING
TIGER POSTURE / TURN AROUND, DOUBLE KICK Part 1/ CROSSED HANDS
45
DIAGONAL SINGLE WHIP / LEFT KICK / TURN AROUND, DOUBLE KICK Part 2/ CAPTURE THE TIGER
AND SEND IT BACK TO ITS MOUNTAIN
46
LEFT & RIGHT WILD HORSE VEERS ITS MANE / RIGHT PRESSING KICK / DOUBLE PEAKS THROUGH
THE EARS Part 1 / DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
47
STEP FORWARD, CATCH THE SPARROW BY THE TAIL / STEP FORWARD, PARRY, BLOCK,
PUNCH / DOUBLE PEAKS THROUGH THE EARS Part 2 / DIAGONAL SINGLE WHIP
48
SINGLE WHIP / SEALING SHUT / DRAPING THE BODY, KICK / LEFT & RIGHT WILD HORSE VEERS ITS
MANE
49
MAIDEN WORKS THE SHUTTLE / CAPTURE THE TIGER AND PUSH IT BACK TO ITS MOUNTAIN / TURN
AROUND, PRESSING KICK / STEP FORWARD, CATCH THE SPARROW BY THE TAIL
50
STEP FORWARD, CATCH THE SPARROW BY THE TAIL / OPENING HANDS (TURNING TO THE
RIGHT) / STEP FORWARD, PARRY, BLOCK, PUNCH / SINGLE WHIP
51
SINGLE WHIP / CLOSING HANDS / SEALING SHUT / MAIDEN WORKS THE SHUTTLE
52
CLOUDING HANDS / BRUSH KNEE IN A CROSSED STANCE / CAPTURE THE TIGER AND SEND IT BACK TO
ITS MOUNTAIN / STEP FORWARD, CATCH THE SPARROW BY THE TAIL
53
SINGLE WHIP, LOW POSTURE / PLAY THE LUTE / BRUSH KNEE IN A CROSSED STANCE / SINGLE WHIP
54
GOLDEN ROOSTER STANDS ON ONE LEG / TUCK IN THE ROBE / CATCH THE SPARROW BY THE TAIL /
CLOUDING HANDS
55
RETREAT, DRIVING AWAY THE MONKEY / OPENING HANDS / DIAGONAL SINGLE WHIP / SINGLE
WHIP, LOW POSTURE
56
DIAGONAL FLYING POSTURE / CLOSING HANDS / WILD HORSE VEERS ITS MANE TO THE LEFT Part
1 / GOLDEN ROOSTER STANDS ON ONE LEG
57
RAISE THE HANDS / DIAGONAL SINGLE WHIP / WILD HORSE VEERS ITS MANE TO THE LEFT Part 2 /
RETREAT, DRIVING AWAY THE MONKEY
58
WHITE CRANE SHOWS ITS WINGS / WILD HORSE VEERS ITS MANE / WILD HORSE VEERS ITS MANE
TO THE RIGHT Part 1 / DIAGONAL FLYING POSTURE
59
BRUSH KNEE IN A CROSSED STANCE / OPENING HANDS / WILD HORSE VEERS ITS MANE TO THE
RIGHT Part 2 / RAISE THE HANDS
60
NEEDLE UNDER THE SEA / CLOSING HANDS / MAIDEN WORKS THE SHUTTLE Left / WHITE CRANE
SHOWS ITS WINGS
61
SHOULDER THROUGH THE ARM / SINGLE WHIP / MAIDEN WORKS THE SHUTTLE Right / BRUSH
KNEE IN A CROSSED STANCE
62
TORSO-FLUNG PUNCH / RIGHT THROUGH-THE-BACK PALM / SINGLE WHIP / NEEDLE UNDER THE SEA

63
STEP FORWARD, PARRY, BLOCK, PUNCH / MAIDEN WORKS THE SHUTTLE / CLOUDING HANDS /
SHOULDER THROUGH THE ARM
64
ADVANCE, CATCH THE SPARROW BY THE TAIL & SINGLE WHIP / PLAY THE LUTE / LOW POSTURE /
STEP FORWARD, PARRY, BLOCK, PUNCH
65
CLOUDING HANDS / TUCK IN THE ROBE / GOLDEN ROOSTER STANDS ON ONE LEG / ADVANCE, CATCH
THE SPARROW BY THE TAIL
66
SINGLE WHIP / OPENING HANDS / RETREAT, DRIVING AWAY THE MONKEY / SINGLE WHIP
67
RISING UP AND REACHING OUT TO THE HORSE / CLOSING HANDS / DIAGONAL FLYING POSTURE /
CLOUDING HANDS
68
CROSS-SHAPED KICK / SINGLE WHIP / RAISE THE HANDS / SINGLE WHIP
69
BRUSH KNEE, PUNCH TO THE CROTCH / CLOUDING HANDS / WHITE CRANE SHOWS ITS WINGS /
RISING UP AND REACHING OUT TO THE HORSE
70
STEP FORWARD, CATCH THE SPARROW BY THE TAIL / LOWERING FROM CLOUDING
HANDS / BRUSH KNEE IN A CROSSED STANCE / CROSS-SHAPED KICK
71
SINGLE WHIP, LOW POSTURE / ROOSTER STANDS ON ONE LEG / NEEDLE UNDER THE SEA / BRUSH
KNEE, PUNCH TO THE CROTCH
72
STEP FORWARD WITH THE BIG DIPPER / TURN AROUND, DRIVE AWAY THE MONKEY / SHOULDER
THROUGH THE BACK / STEP FORWARD, CATCH THE SPARROW BY THE TAIL
73
RETREAT TO SITTING TIGER POSTURE / PLAY THE LUTE / ADVANCE, PARRY, BLOCK, PUNCH / SINGLE
WHIP, LOW POSTURE
74
SPIN, SWINGING LOTUS KICK / WHITE CRANE SHOWS ITS WINGS / STEP FORWARD, CATCH THE
SPARROW BY THE TAIL / STEP FORWARD WITH THE BIG DIPPER
75
BEND THE BOW, SHOOT THE TIGER / OPENING HANDS / SINGLE WHIP / RETREAT TO SITTING TIGER
POSTURE
76
STEP FORWARD, PARRY, BLOCK, PUNCH / CLOSING HANDS / CLOUDING HANDS / SPIN, SWINGING
LOTUS KICK
77
SEALING SHUT / BRUSH KNEE IN A CROSSED STANCE / RISING UP AND REACHING OUT TO THE HORSE /
BEND THE BOW, SHOOT THE TIGER
78
CROSSED HANDS / PLAY THE LUTE / PALM STRIKE TO THE FACE / STEP FORWARD, PARRY, BLOCK,
PUNCH
79
CLOSING POSTURE / THREE THROUGH THE BACK / CROSSED-BODY SWINGING LOTUS KICK / SEALING
SHUT
80-
/ OPENING HANDS / BRUSH KNEE, PUNCH TO CROTCH / CROSSED HANDS
81-
/ CLOSING HANDS / STEP FORWARD, CATCH THE SPARROW BY THE TAIL / CLOSING POSTURE
82- / SINGLE WHIP / SINGLE WHIP /
83- / CLOUDING HANDS / LOW POSTURE /
84--

/ RISING UP AND REACHING OUT TO THE HORSE / STEP FORWARD WITH THE BIG DIPPER /
85- / CROSSED-BODY SWINGING LOTUS KICK / RETREAT TO SITTING TIGER POSTURE /
86- / ADVANCE, PUNCH TO THE CROTCH / SPINNING RETREAT, SWINGING LOTUS KICK /
87- / RETREAT, TUCK IN THE ROBE / BEND THE BOW, SHOOT THE TIGER /
88- / OPENING HANDS / STEP FORWARD, REACHING OUT TO THE HORSE /
89- / CLOSING HANDS / PALM STRIKE TO THE FACE /
90- / SINGLE WHIP / TURN AROUND, TORSO-FLUNG PUNCH /
91- / LOWERING FROM SINGLE WHIP / STEP FORWARD, RISING UP AND REACHING OUT TO THE HORSE /
92- / STEP FORWARD WITH THE BIG DIPPER / STEP FORWARD, CATCH THE SPARROW BY THE TAIL /
93- / STEP BACK TO RIDE THE TIGER / CLOSING POSTURE /
94-- / TURN-TO-THE-CORNER SWINGING LOTUS KICK / /
95-- / BEND THE BOW, SHOOT THE TIGER / /
96-- / DOUBLE RUSHING PUNCHES / /
97-- / PASSIVE & ACTIVE MERGE INTO ONE / /
98-- / RETURNING TO A STATE OF NONPOLARITY / /

Section Four: A Study of the Names & Enumeration of the Postures in the Taiji Boxing Solo Set

Taiji Boxing is a style of martial arts. Its transmission is attributed to Zhang Sanfeng of the Song Dynasty. It was
passed down through many hands over the centuries covering the three dynasties of Yuan, Ming, and Qing, up to
now. In recent years, martial arts have been put strongly in the spotlight, and learning Taiji is now so in vogue that
scholars are studying the boxing art and writing about more and more with each day. I am not very bright, but I did
learn Taiji Boxing from Yang Chengfu for several years. I also purchased Sun Lutangs A Study of Taiji Boxing [1921],
along with Chu Minyis Taiji Boxing Photographed [1929] and Chen Weimings The Art of Taiji Boxing [1925], and I
pondered upon their contents constantly until I deeply understood.
Suns set amounts to ninety-eight postures. The names of the postures mostly concur with the other two books, but
there are some names which differ, such as: NONPOLARITY, GRAND POLARITY, OPENING HANDS, CLOSING
HANDS, THREE THROUGH THE BACK, as well as STEP SUCCESSIVELY, PUNCH, then TURN AROUND,

DOUBLE KICK, and RIGHT THROUGH-THE-BACK PALM, DOUBLE RUSHING PUNCHES, PASSIVE & ACTIVE
MERGE INTO ONE, RETURNING TO A STATE OF NONPOLARITY.
Chus set has ninety-three postures, five less of a count than Suns, but the names are actually the same as Chens,
except for PALM STRIKE TO THE FACE, CROSSED-BODY SWINGING LOTUS KICK. The rest that outnumber
Chens are all postures that have been subdivided into further postures.
Going by my own experience, it seems to me that Chens set is the most authentic version. Doubters might say:
Based on what grounds can you claim that?
Since the art uses Taiji as its name, it of course takes the concepts of the grand polarity and eight trigrams as its
foundation, but the count of the postures does not add up to the sixty-four hexagrams that come from the eight
trigrams [eight by eight], instead the true count of the Daoists: nine by nine [making eighty-one]. In this way, it fits
with its status as an invention of Zhang Sanfeng.
Doubters might also say: Chens list of movements counts up to only seventy-nine postures, but you say there are
eighty-one. What is your reasoning for this?
In Chen Weimings book there are actually eighty-one postures, because after the first [and second] CAPTURE
THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, there should be a CATCH THE SPARROW BY THE TAIL,
which [in the case of the first] then connects into GUARDING PUNCH UNDER ELBOW.
This is demonstrated in Chus set, in which the second [as well as the first] CAPTURE THE TIGER AND SEND IT
BACK TO ITS MOUNTAIN adds a CATCH THE SPARROW BY THE TAIL, which is then able to connect into
DIAGONAL SINGLE WHIP. Chens set is according to Yang Chengfus. When performing this set, it should always
have both of those instances of CATCH THE SPARROW BY THE TAIL. Practitioners of Yang Style Taiji can also
testify to this, so I am not just making it up.
Doubters then might also say: You praise Chens set as being the most authentic Taiji. I have another question.
Please explain and dispel my doubts. After the second NEEDLE UNDER THE SEA, SHOULDER THROUGH THE
ARM is again followed by TORSO-FLUNG PUNCH. Why is it that in Chus set, that does not happen? Also, there is a
STEP FORWARD, CATCH THE SPARROW BY THE TAIL & SINGLE WHIP, the two postures linked together as one.
What is the reason that in the same spot in Chus set they are divided into two?
To sum it all up simply, the major principle in the Taiji Boxing solo set is that there be a continuous flow
throughout, and so there is no distinguishing of the postures as being separate or joined up with each other. In the
writings of the experts, this seems to be the essential rule.
As for whether or not there is the second TORSO-FLUNG PUNCH, there is according to what I learned, and the
SINGLE WHIP seems to me to be its own posture. But during the performing and transitioning of the postures
throughout the set, such reasoning ought to be set aside, for the movement and method of the TORSO-FLUNG
PUNCH is almost the same as in the PARRY, BLOCK, PUNCH that follows it. So whether it is considered a separate
movement or part of the PARRY, BLOCK, PUNCH, there are still eighty-one postures.
As the set conforms to the true meaning of Zhang Sanfengs idea of the elixir being built up through going to the
ninth repetition [i.e. countless repetitions, implicitly involving nine repetitions of nine repetitions nine by nine],
Yang Style Taiji surely remains in the position of being the most authentic, though I will leave it up to wiser people as
to whether this is true or not.

CHAPTER TWO: THE VARIOUS TECHNIQUES PRACTICED IN TAIJI BOXING

Section One: Orientation Diagram

Generally in practicing a boxing set, you need only distinguish your orientation to keep yourself from going the wrong
way during practice. Thus I have supplied a compass [which would be more useful throughout the explanations of the
movements if it was upside down]:

W | E
|

Explanation for the diagram:

This boxing art is made of continuous uninterrupted flow. However, this version of the Taiji Boxing set is very
lengthy, and its hand techniques and postures are often repeated. It accords with Chen Weimings version. Students
who fear that it is too long and complicated are generally just too shy to ask questions. But here is a simple standard
to work from when teaching it:
1. Do not violate the rules set down by earlier generations.
2. Also do not violate scientific principles.
3. Pay attention to the mentality of ordinary students.
When practicing the various techniques, the first thing to do is get properly positioned in order to clarify your
practice with a stable starting point. Furthermore, in the posture of standing at attention, pay attention to each of the
essentials included with the photo below [photo 1]:


1. Face the south, your back to the north.

2. Straighten your body and stand erect.

3. Your arms hang straight down, but slightly bent, in a natural manner.

4. Your heels stand next to each other on a straight line, but the toes of your feet are about sixty degrees apart.

5. Your head presses up, your neck straightening. Sink your shoulders and contain your chest. Tuck in your tailbone
and stand with your legs together.

6. Your gaze concentrates spirit straight ahead. Your tongue touches your palate just behind your upper teeth.
Breathe through your nose in order to keep yourself from inhaling dust.

Section Two: On the Footwork Charts for Each Segment

For any who practice boxing arts, an understanding of how to use hand, eye, body, technique, and stepping is the
basic course of training. This is similar to the five kinds of abilities in the military infantry, cavalry, artillery,
engineering, resupply each having a specific function, but all functioning together. If any of these five parts are
lacking, there can be no success. As for the five abilities in boxing arts, not only will there not be success if one part is
lacking, but in every movement and step they cannot be departed from for even a moment.
For your hands to attack, your body to evade, or your steps to suit your advancings, always use the stepping as the
standard. This is why every boxing set pays attention to how the feet are positioned and how directions are faced.
These things are extremely important, for if you are not strict about the way the movements are mapped out, then the

methods of advance and retreat, attack and defend, would lose their basis. Therefore beyond providing the
numbering and names of the postures, function explanations, movement descriptions, and added remarks on the
techniques, I have also added segment-by-segment footwork diagrams so that the direction of a technique, the
distance of a step, and the size of a stance will have a regulated measure.
I present the complete Taiji Boxing solo set according to its natural transition points, divided into twelve segments,
each segment being a line of the set, each line having a certain amount of movements, which are each numbered, each
numbering representing a posture and its name, shown on the charts in order for you to be able study from them.
Notice that set starts from a center line. The first five segments move east from the center (moving to the left from
the starting point) and the latter seven segments move west from the center (moving to the left from the starting
point).
The segments are presented one at a time in order to be clear at a glance. If the entire set was shown on a single
chart, then the back and forth of the steps would make it too complicated to understand.
The footwork charts show both the left and right feet, and the number of each posture [which is unfortunately
mostly invisible]. As one posture may contain several movements, the same number may appear several times.
Arrows at the ends of dotted lines show the next movement so that you can follow the stepping process rather than
become frustrated in trying to figure it out.
These charts are around ten percent to scale of an ordinary persons height and length of step. Though a persons
height or the size of ones step may be different, they are of a similar proportion, so you may use your own body as a
gauge.
In addition to the twelve footwork charts, below there is also a listing of the orientations for all of the segments,
and how many postures and movements occur in each of them. I hope experts will point out any mistakes, for which I
would feel fortunate indeed.

LIST OF THE SEGMENTS WITH THEIR ORIENTATIONS, POSTURE NAMES, AND THE COUNT OF THEIR
POSTURES & MOVEMENTS

Segment / orientation / posture names from beginning to end of the segment / posture and movement count

Segment One: facing to the south, back to the west, traveling from the starting point on the center line to the east,
twelve postures, thirty-eight movements

1. 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. LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE

9. PLAY THE LUTE

10. ADVANCE, PARRY, BLOCK, PUNCH

11. SEALING SHUT

12. CROSSED HANDS

Segment Two: traveling from the east to the center line, thirteen postures, thirty-eight movements

13. CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN


14. DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL

15. GUARDING PUNCH UNDER ELBOW

16. LEFT & RIGHT 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. SHOULDER THROUGH THE ARM

23. TORSO-FLUNG PUNCH

24. STEP FORWARD, PARRY, BLOCK, PUNCH

25. CATCH THE SPARROW BY THE TAIL

Segment Three: traveling from the center line to the east, three postures, eleven movements

26. SINGLE WHIP

27. LEFT & RIGHT CLOUDING HANDS

28. SINGLE WHIP

Segment Four: traveling from the east to the west, five postures, eleven movements

29. RISING UP AND REACHING OUT TO THE HORSE

30. KICKING TO THE LEFT & RIGHT

31. TURN AROUND, PRESSING KICK

32. LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE

33. ADVANCE, PLANTING PUNCH

Segment Five: traveling from the west to the center line, eleven postures, twenty-one movements

34. TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE

35. STEP FORWARD, PARRY, BLOCK, PUNCH

36. PRESSING KICK

37. LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER

38. TURN BACK, PRESSING KICK

39. DOUBLE WINDS THROUGH THE EARS


40. LEFT PRESSING KICK

41. TURN AROUND, PRESSING KICK

42. STEP FORWARD, PARRY, BLOCK, PUNCH

43. SEALING SHUT

44. CROSSED HANDS

Segment Six: traveling from the center line to the west, five postures, twenty-four movements

45. CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

46. DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL

47. DIAGONAL SINGLE WHIP

48. LEFT & RIGHT WILD HORSE VEERS ITS MANE

49. CATCH THE SPARROW BY THE TAIL

Segment Seven: staying in the same area and moving to the four corners, three postures, thirteen movements

50. SINGLE WHIP

51. MAIDEN WORKS THE SHUTTLE

52. STEP FORWARD, CATCH THE SPARROW BY THE TAIL

Segment Eight: traveling from the west to the center line, three postures, fifteen movements

53. SINGLE WHIP

54. LEFT & RIGHT CLOUDING HANDS

55. SINGLE WHIP, LOW POSTURE

Segment Nine: traveling from the center line to the west, ten postures, twenty-six movements

56. GOLDEN ROOSTER STANDS ON ONE LEG

57. LEFT & RIGHT 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. SHOULDER THROUGH THE ARM

64. STEP FORWARD, PARRY, BLOCK, PUNCH


[65. ADVANCE, CATCH THE SPARROW BY THE TAIL]

Segment Ten: traveling from the west to the center, three postures, eleven movements

66. SINGLE WHIP

67. LEFT & RIGHT CLOUDING HANDS

68. SINGLE WHIP

Segment Eleven: traveling from the center line to the west, four postures, ten movements

69. RISING UP AND REACHING OUT TO THE HORSE

70. CROSS-SHAPED KICK

71. BRUSH KNEE, PUNCH TO THE CROTCH

72. CATCH THE SPARROW BY THE TAIL

Segment Twelve: traveling from the west to the center line, nine postures, fifteen movements

73. SINGLE WHIP, LOW POSTURE

74. STEP FORWARD WITH THE BIG DIPPER

75. RETREAT TO SITTING TIGER POSTURE

76. SPIN, SWINGING LOTUS KICK

77. BEND THE BOW, SHOOT THE TIGER

78. STEP FORWARD, PARRY, BLOCK, PUNCH

79. SEALING SHUT

80. CROSSED HANDS

81. CLOSING POSTURE

Overall count: twelve segments

traveling from the east to the center line happening twice,

traveling from the west to the center line happening three times,

traveling from the center line to the east happening twice,

traveling from the east to the west happening once,

traveling from the center line to the west happening three times,

staying in one area happening once.

There are eighty-one postures, two hundred thirty-three movements.

There are two postures that happen eight times:


CATCH THE SPARROW BY THE TAIL

SINGLE WHIP

There is one posture that happens six times:

PARRY, BLOCK, PUNCH

There are six postures that happen three times:

WHITE CRANE SHOWS ITS WINGS

RAISE THE HANDS

BRUSH KNEE IN A CROSSED STANCE

SEALING SHUT

CROSSED HANDS

LEFT & RIGHT CLOUDING HANDS

There are ten postures that happen twice:

PLAY THE LUTE

LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE

CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY

DIAGONAL FLYING POSTURE

NEEDLE UNDER THE SEA

SHOULDER THROUGH THE ARM

RISING UP AND REACHING OUT TO THE HORSE

TURN AROUND, PRESSING KICK

DIAGONAL WHIP, LOW POSTURE

There are twenty-one postures that do not get repeated:

BEGINNING POSTURE

GUARDING PUNCH UNDER ELBOW

KICK TO THE LEFT & RIGHT

ADVANCE, PLANTING PUNCH

WHITE SNAKE FLICKS ITS TONGUE

PRESSING KICK


LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER

TURN BACK, PRESSING KICK

DOUBLE WINDS THROUGH THE EARS

LEFT PRESSING KICK

WILD HORSE VEERS ITS MANE

MAIDEN WORKS THE SHUTTLE

GOLDEN ROOSTER STANDS ON ONE LEG

CROSS-SHAPED KICK

BRUSH KNEE, PUNCH TO THE CROTCH

STEP FORWARD WITH THE BIG DIPPER

RETREAT TO SITTING TIGER POSTURE

SPIN, SWINGING LOTUS KICK

BEND THE BOW, SHOOT THE TIGER

CLOSING POSTURE

TORSO-FLUNG PUNCH.

In the entire set, there is a total of forty different postures.

Section Three: Practicing the Various Techniques

To facilitate easier learning, ignore the repetitions in the set and practice the individual postures, such as CATCH
THE SPARROW BY THE TAIL, toward different directions around you. Practicing the individual postures rather than
merely doing the repetitions that occur throughout the set will give a more focused and refined training. Once you are
skillful at the individual postures, link them together into the complete set, and thereby the set will be very easy
instead of seeming dauntingly long and complicated.
This is similar to the process of becoming literate. Start with learning correct pronunciation and identifying written
words, then move on to sentence building and compositional writing. It is the same in learning a martial art, and thus
the process of literacy and the training of martial arts follow the same principle.

SEGMENT ONE twelve postures / thirty-eight movements

Posture 1

Name of the technique:

BEGINNING POSTURE

Function:


This is a posture of preparation, for focusing the whole body in readiness for the postures that follow. It is the opening
posture of the Taiji boxing set.

Description of the movement:

From a posture of standing at attention, your left foot goes out a half step to the east, the distance between your feet
about shoulder width. Standing straight, your whole body has a natural bearing. Your shoulders have an energy of
loosening. Your palms are facing inward and have an energy of exuding power. Your gaze is straight ahead. Your feet
are standing parallel, pointing to the south. See photo 2:

Remarks on the technique:

This type of boxing art is a matter of having a singleness of energy everywhere and of being in a state of emptiness,
without thoughts or ideas. Its substance lies in using intention, and so you are not to have the slightest attitude of
forcing things to happen. You must seek understanding through these principles, and thereby you will comprehend
naturalness, the secret to Taiji Boxing.

Posture 2

Name of the technique:

CATCH THE SPARROW BY THE TAIL

(This posture is divided into twelve [eleven] movements.)

Function:

This trains the technique sections of lifting until level, pushing down, ward-off beginning, ward-off finishing, rollback
beginning, rollback finishing, press out, level push, catching to the right, and catching to the left.

Description of movement 1:

Continuing from BEGINNING POSTURE, your feet do not move from their location, remaining spread apart in a

posture of standing at attention, as your arms arc slowly forward and upward until raised up to shoulder level, your
hands shoulder-width apart, the backs of the hands facing upward, wrists bending downward, palms and fingers
hanging. Loosen your shoulders and drop your elbows. Straighten your neck and press up your headtop. Relax your
entire body, not using the slightest bit of confused energy or awkward effort, moving instead by way of intention.
Your gaze is to the south. See photo 3:

Description of movement 2:

Continuing from movement 1, your feet still not moving from their location, your arms slowly go inward, slightly
bending to make a circular shape, your tigers mouths facing each other to also produce a circular shape, your hands
gradually pushing down together until in front of your navel. As for your upper body, contain your chest and pluck up
your back. Your hips sink down, knees bending. Your gaze is still to the south. See photo 4:

Description of movement 3:


Continuing from movement 2, your hips twist to the right, your feet going along with your body by pivoting about an
eighth of the way to the west, your right foot filling, left foot emptying. At the same time, your right hand goes along
with the movement by lifting up, forearm bent in and elbow dropped, raising level to the west, palm facing inward,
arm making a semicircle shape. Your left hand also goes along with your body as it twists to the right, the forearm
rotating so the palm is facing inward right in front of your solar plexus, the arm making a half moon shape, bent level
in front of your body. This is the first part of the ward-off technique. See photo 5:

Description of movement 4:

Continuing from movement 3, your left foot reaches out to the southeast and your hips slowly twist to the southeast,
your left knee bending, your right leg straightening, its toes turning along with the movement to point to the south. At
the same time, your left arm lifts up, going out to the southeast with a ward-off, raised level in front of your chest,
palm facing inward, arm bent to make a semicircle shape, as your right arm, bent above, slowly lowers, palm facing
the ground, the arm parallel with your right ribs and right leg. The movement of your body and legs has to go along
with the movement of your torso, moving gradually. Contain your chest and pluck up your back, loosen your waist
and press up your headtop these are requirements in every movement of this boxing set. Your gaze is to the
southeast. See photo 6:


Description of movement 5:

Continuing from movement 4, your feet not moving from their location, your torso twists to the left until squared to
the east. At the same time, your right arm goes along with your torso by pulling inward across to the east to be
horizontal in front of your chest [abdomen] while your left wrist turns over so the palm is facing downward, your
palms facing each other above and below, your arms making a uniformly rounded shape as though holding up a ball.
In every movement, whether you are going up or down, left or right, forward or back, you should be moving
everything in unison, and there should be no moments of going faster or going slower. Let your standard be evenness,
and thus you will not be violating the real meaning of Taiji Boxing. See photo 7:

Description of movement 6:

Continuing from movement 5, your right foot reaches out to the west as your hips twist to the right, and your right leg
bends, your left leg straightening, your heels turning toward the northeast. At the same time, your right shoulder
[arm] lifts, warding off to the southwest, the wrist turning so the palm is facing inward, the arm bent to make a
rounded shape at shoulder level, as your left arm assists the ward-off of your right hand, the wrist turning so the palm
is facing your right wrist, your hands neither touching nor coming away from each other, as though carrying an
object. Your gaze is to the southwest. See photo 8:

Description of movement 7:

Continuing from movement 6, your right wrist turns so the palm is facing upward [forward], as though catching a
ball, and you will arc to the left with a rollback toward your chest, your right leg straightening, left leg bending. See
photo 9:

Your hips now twist to the left, your arms going along with the turning of your torso, your right arm lifting to be
raised level in front of your chest, making a rounded shape, palm facing inward, your left wrist turning so your palms

are aligned with each other, as though carrying an object, your left palm facing your right forearm, the tigers mouth
in line with your left shoulder, elbows dropped. Your torso is turned to be facing to the east, your gaze level to the
east. See photo 10:

Description of movement 8:

Continuing from movement 7, your hips twist to the right, your left leg straightening, right leg bending, as your hands
go along with your body by warding off to the west, your hands still as though carrying an object, your right arm
raised horizontally in front of your right shoulder, making a half moon shape, your left arm bent and hanging in front
of your chest. Your gaze is to the southwest. See photo 11:

Description of movement 9:

Continuing from movement 8, containing your chest and plucking up your back, your hips absorb to the rear, your
right leg straightening, left leg bending, as your hands deflect away to the sides, going along with the withdrawing of

your torso, your wrists turning so that both palms are facing to the southwest, fingers spread apart and pointing
diagonally upward, bending back to make a rounded shape. Your gaze is level. See photo 12:

Description of movement 10:

Continuing from movement 9, your torso sends out to the southwest, your arms going along with it by pushing out, as
though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders sinking and
elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of your hips,
your right leg going from straight to bent, your left leg going from bent to straight, making a bow stance. Your gaze is
level. See photo 13:

Description of movement 11:

Continuing from movement 10, your wrists bend downward as your hips twist to the left, your arms going along with
the movement by catching across to the left, seeming straight but not straight, bent but not bent, each making

rounded shapes at shoulder level. At the same time, your left leg switches from straight to bent and your right leg goes
from bent to straight, making a left bow stance. Your torso is facing to the east, your gaze level to the east. See photo
14:

Remarks on the technique:

This first iteration of CATCH THE SPARROW, is divided into eleven movements, shown in twelve photos, which can
be considered quite a detailed analysis. Although its movements are divided, its spirit must not be: there is an
intention of continuousness throughout. But in order for you to learn it and deeply realize its ideas, I have gone to the
trouble of explaining it in this way.
Every movement in the Taiji set treats waist as axle, limbs as wheel. With the turning of the axle, the wheel turns
naturally, melting away confused energy and awkward effort.

Posture 3

Name of the technique:

SINGLE WHIP

Function:

This is a method of pulling in with a hook and pushing with a palm.

Description of movement 1:

Continuing from movement 11 of CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the
right, your right arm going along with the movement of your body, the hand pulling in with a level circle from left to
right, changing to a hook hand raised level to the right, as your left hand hangs down and arcs from the lower left,
passes in front of your body, and scoops up until at your right ribs, palm facing upward. Your right leg switches from
straightening to standing and your left leg switches from bending to hanging, making a posture of standing [onelegged]. Your gaze is to the west. See photo 15:


Description of movement 2:

Continuing from movement 1, your hips twist to the left, your left foot taking a step out to the east, making a stance of
left leg a bow, right leg an arrow. At the same time, your left arm scoops from your right ribs to your left [right]
shoulder, the hand turned [to be facing to the left], then slowly reaches out to the east with an intention of a level
push, the tigers mouth aligned with your left shoulder, your right hand remaining a hook, the arm slightly lifting,
staying level to the right. Your shoulders should loosen, your elbows should drop, your chest should be contained,
your back should be plucked up, and your waist should be lively. Your neck is upright, your gaze level. See photo 16:

Remarks on the technique:

In this posture, start by using your right hand to pull in, luring to the left [right], and your left hand goes inward with

a wrapping energy, stopping in front of your right ribs, the elbow embracing your [left] ribs. You are now in a posture
of preparing and storing. Your left foot steps to the east and your torso correspondingly twists. As your palm slowly
extends to the east, you must sink the shoulder and drop the elbow. Your gaze goes toward each hand, following along
with the turning of the movement. By sinking and dropping, you will be able to get energy to course through to your
elixir field. Your left hand turns over at the wrist, takes advantage of the moment, leading out your forearm and
elbow, causing the opponent to lose his balance, and then strikes as a palm, making the distinction between victory
and defeat clear.

Posture 4

Name of the technique:

RAISE THE HANDS

Function:

This is a method of neutralizing by pressing and pushing.

Description of movement 1:

Continuing from movement 2 of SINGLE WHIP, your feet go along with your hips by pivoting to the southwest, your
left leg staying bent, your right foot slightly lifting and reaching out to the southwest, heel touching down, toes
slightly lifted, front foot empty, rear foot full. At the same time, your left arm goes along with your torso by pushing
across from the left to the right until the elbow is embracing the ribs, fingertips pointing upward, close to your right
arm, your right hand releasing its hook shape, wrist turning so the fingertips are pointing upward, pressing to the left
then lifting up in front with the arm hanging and making a rounded shape. Your hips are sitting down, shoulders and
elbows sinking. Your gaze is toward your right hand. See photo 17:

Remarks on the technique:

This posture is a movement for training expanding and contracting in your waist, legs, and the joints of your whole
body. If an opponent suddenly attacks in front of you or from above, push on his elbow and press out, or neutralize
his attack away and push to his chest, or use your left hand to push on his wrist and your right hand to strike to his

upper body. Whatever the movement, your whole body has to have the ability to expand and contract in good
coordination, a result which will be manifested through loosening your waist, forcelessly pressing up your headtop,
sinking your shoulders, and dropping your elbows. Your ribs, waist, and abdomen should all make an energy of
drawing in. This is the idea of energy coursing through to your elixir field.

Posture 5

Name of the technique:

WHITE CRANE SHOWS ITS WINGS

Function:

This is a method of warding off while pushing away, lifting up while hanging down.

Description of movement 1:

Continuing from RAISE THE HANDS, your right foot slightly slides forward a half step, turning its toes [to point to
the southeast], and changes from empty to full. Your left foot goes along with your right foot by changing from full to
empty. Your knees slightly bend and your hips slightly turn to be squared to the southeast. At the same time, your
right arm goes from above in front of you by slowly arcing downward to hang beside the hip, palm facing upward,
fingers slightly bent, while your left palm turns to face downward without leaving its position. See photo 18:

Description of movement 2:

Continuing from movement 1, your hips turn to the left as you sit down onto your right leg, your left leg still bent, heel
lifted, toes touching down. At the same time, your right arm arcs a half circle upward from the rear, lifting to make a
semicircle shape, palm facing downward, as your left arm pushes down, palm facing downward, to be placed in front
of your left knee, also making a semicircle shape, your upper body going along with the twisting of your hips. Your
gaze is to the east. Your arms are spread diagonally above and below, resembling a white crane with its wings spread.
See photo 19:


Remarks on the technique:

As in every posture, move by way of intention. The arcing of your arms is driven by the movement of your body as a
whole. Contract and then extend, spreading open naturally and without the slightest effort. This also causes your
lower back to relax and energy to collect within, as in the principle that energy sticks to your back and gathers in the
bones. This will enable you to reach the peak of heath.

Posture 6

Name of the technique:

BRUSH KNEE IN A CROSSED STANCE

Function:

This is a method of developing suppleness in the arms and exercising the waist and knees.

Description of movement 1:

Continuing from movement 2 of WHITE CRANE SHOWS ITS WINGS, your torso twists to the right, your left foot
and your arms turning along with it, your left palm going upward, wrist turning so your palms are aligned toward
each other, your hands as though carrying a large balloon in an arc from left to right, your arms switching above and
below, your left forearm horizontal in front of your chest, palm close to your right upper arm, your right arm hanging
down, palm facing upward. Your gaze follows along with the arcing of your arms. See photo 20:


Description of movement 2:

Continuing from movement 1, your arms as though holding a balloon arc from right to left. While your left foot takes
a step out to the northeast, knee bending, your right leg straightening, your right arm goes from beside your right ear
with a level push forward, fingertips pointing upward, the arm making a rounded shape, and your left arm pushes
downward past your left knee to be in front of [beside] the thigh. Your torso is turned to the east, your gaze level. See
photo 21:

Remarks on the technique:

This posture stretches the arms and opens up the chest. When the opponent attacks me, I use my left hand to brush
aside and my right palm takes advantage of the opportunity to strike him. When practicing this posture, you have to

settle your waist and sink your body, and the arcing of your arms is driven by power from your hips, not a matter of
the hips being moved by the limbs. The paths that your hands pass along make two arcs, slowly going from left to
right, then from right to left, and then one hand is pushing forward and the other pushing downward.

Posture 7

Name of the technique:

PLAY THE LUTE

Function:

This is a method of livening the stepping, loosening the waist, and exercising the arms.

Description of movement 1:

Continuing from movement 2 of BRUSH KNEE IN A CROSSED STANCE, your right foot moves forward, closing in
behind your left heel. At the same time, your right arm withdraws inward and your left arm extends forward. Tuck in
your tailbone and loosen your waist. Your gaze is still level. Your arms are situated as right arm above, left arm below,
the fingers of both hands slightly raised. Your right knee is slightly bent. See photo 22:

Description of movement 2:

Continuing from movement 1, your right foot stands full and your left leg extends to the east, heel touching down,
toes slightly lifted, right knee bent, left leg straight, making a stance of right leg full, left leg empty. At the same time,
your left arm scoops forward and upward, the palm lifting into a pushing posture, as your right hand shrinks back
beside your left arm, both arms making semicircles. Your gaze is to your left palm. See photo 23:


Remarks on the technique:


This posture divides into two movements to make the process of movement clearer. Although they are presented as
two movements, your hands and your whole body must move continuously from one movement to the other without
any pausing. This posture has the effect of increasing the ability of the arms to extend and withdraw. If the opponent
grabs my right hand, then I will shrink it in, drawing it back to my chest, as my left hand scoops upward from below
to strip away his grab and take advantage of the opportunity to attack his shoulder.

Posture 8

Name of the technique:

LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE

Function:

This is a method of developing suppleness in the arms and exercising the waist and knees.

Description of movement 1:

Continuing from movement 2 of PLAY THE LUTE, with your left toes touching down, the heel turns to the left, right
leg staying bent but the foot pivoting to the right, your torso going along with your feet by twisting to the right. At the
same time, your left hand withdraws, palm facing downward, making a level half arc to bring your left arm across in
front of your chest, the palm in line with your right shoulder, as your right arm hangs down from in front of you,
passing the hip to be beside your right thigh, the back of the hand making a rounded shape. See photo 24:


Description of movement 2:

Continuing from movement 1, your torso turns to the northeast as your left leg takes a step out to the northeast, the
knee bending and the leg becoming full, your right knee going from straight to bent. At the same time, your left arm
pushes downward from in front of your shoulder, brushing until beside your left leg, palm facing downward, as your
right arm lifts from below, passes in front of your right ear, and attacks with a push to the east. Your gaze goes along
with the arcing movement to be looking toward your palm. See photo 25:

Description of movement 3:

Continuing from movement 2, your torso twists to the left, your right heel slightly turning to the south, as your right
arm withdraws bending level in front of your chest, palm facing downward, and your left wrist turns so the palm is

facing upward, hanging beside your left ribs, making a rounded shape, your palms aligning with each other above and
below. Your torso is turned to the northeast, your whole body relaxed, your gaze to the northeast. See photo 26:

Description of movement 4:

Continuing from movement 3, your torso turns to the east as your left leg takes a step out to the southeast. At the
same time, your left arm goes upward from below, making a circle that passes in front of your ear and slowly pushes
to the east, as your right hand goes downward from in front of your body, brushing past your right knee to be beside
the thigh. Contain your chest and pluck up your back. Your gaze is toward your left palm. Your legs are in a stance of
front leg a bow, rear leg an arrow. The movement of your arms progresses in accordance with the turning of your
waist. See photo 27:

Description of movement 5:

Continuing from movement 4, your feet not changing their position, your hips slightly turn to the right as your left
hand, the wrist turning downward, goes from in front to the right, pushing across in front of your left shoulder, palm
facing downward, and your right arm pulls in downward and to the rear, the wrist turning so the palm is facing
upward. Your torso is turned to the south, your gaze level. See photo 28:

Description of movement 6:

Continuing from movement 5, your left leg takes a step to the northeast, comes down full, knee bending, your right
leg going along with your hips by slowly straightening. At the same time, from the lower right to the southwest, your
right shoulder [arm] lifts up, passes beside your ear, and pushes to the east, as your left hand pushes downward,
brushing past your left knee to be beside the thigh. Your torso is turned to the [east], your gaze to the east. See photo
29:

Remarks on the technique:


Taiji Boxings BRUSH KNEE IN A CROSSED STANCE emphasizes settling the waist, loosening the shoulders, and
stretching out the arms. The speed that your hands move has to be in direct proportion to the speed that your hips
turn. Your gaze is absorbed in the rising and lowering of your hands, but is neither overly focused nor unfocused on
them.

Posture 9

Name of the technique:

PLAY THE LUTE

Function:

Same as in Posture 7.

Description of the movement:

Continuing from movement 6 of LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE, your right foot closes in
toward your left heel, knee slightly bent, then your left foot extends a half step to the east. At the same time, your left
arm extends as your right arm withdraws, your left arm scooping forward and upward from below, the wrist turning,
fingertips pointing upward, your right arm withdrawing to be horizontal in front of your chest, palm close to your left
elbow, fingers lifted up, your hips twisting. Loosen your shoulders and drop your elbows, both arms making rounded
shapes. Your gaze is level. See photo 30:

Remarks on the technique:

This posture is the same as in Posture 7, except that in that case it is coming from a [BRUSH KNEE preceded by]
WHITE CRANE, whereas here it is coming from a full BRUSH KNEE. The basis of the posture is thus slightly
different, but there is no substantial difference to the action of the arms, stance, or footwork. Transitioning into it
therefore mostly the same as in Posture 7, but whereas in Posture 7 it is divided into two movements, in this posture
it is simply presented as one, sparing you thought and time.

Posture 10


Name of the technique:

ADVANCE, PARRY, BLOCK, PUNCH

Function:

This is a method of subtly using parrying and blocking to neutralize the opponent.

Description of movement 1:

Continuing from PLAY THE LUTE, your left heel turns to swing the toes toward the north and ball of your right foot
turns to swing the heel toward the south, your waist turning as your hips sit down, your knees bending downward to
make a sitting posture. At the same time, your arms rotate so that your left palm is facing downward, horizontal in
front of your chest, and your right palm is facing upward, horizontal in front of your navel. Your torso is turned to be
facing to the north, your gaze level to the east. See photo 31:

Description of movement 2:

Continuing from movement 1, your feet not moving from their location, your torso slightly turns to the east as your
right fingers roll up into a fist and the forearm rotates at the elbow, flinging outward from your chest, your left palm
going along with the turning over of your right fist by slightly withdrawing to the west. Your gaze is level to the east.
Loosen your shoulders and drop your elbows. Your hips relax as they twist. See photo 32:


Description of movement 3:

Continuing from movement 2, your right foot takes a half step out to the east, toes swung out toward the south, your
hips turning to the right, your legs bending downward. At the same time, your left arm does a level downward push to
the east, fingertips pointing upward, the arm making a rounded shape, your right fist withdrawing toward your chest
to be placed at the right side of your waist, the pulse area facing upward. Your gaze is level to the east. See photo 33:

Description of movement 4:

Continuing from movement 3, your left foot takes a step out to the east, coming down fully, the knee bending, your
right leg straightening, making a stance of front leg a bow, rear leg an arrow. At the same time, your right fist extends
a strike to the east, the center of the fist facing upward, your left palm withdrawing to guard beside your right arm.
Contain your chest and pluck up your back. Your gaze is level to the east. See photo 34:


Remarks on the technique:

Taiji Boxing uses parrying and blocking to subtly neutralize, and the punch to skillfully attack. In training this for
practical application, there is always an extra degree of spirit. The flinging and blocking defends from the left, and the
advancing and striking turns from the right. Loosen your waist and drop your elbows. Contain your chest and pluck
up your back. The nimble turning of the waist makes the technique especially skillful.

Posture 11

Name of the technique:

SEALING SHUT

Function:

This is a method of blocking the opponent and sealing him off.

Description of movement 1:

Continuing from movement 4 of ADVANCE, PARRY, BLOCK, PUNCH, your hips sit to the right rear, your waist
absorbing inward, your right leg bending downward, your left leg straightening. At the same time, your right fist
extends, becoming a palm, the palm facing upward, and goes along with your torso by withdrawing to the rear, as
your left arm arcs to be below your right shoulder and reaches out forward, palm facing upward, with an intention of
blocking the opponent. Your gaze is level. See photo 35:


Description of movement 2:

Continuing from movement 1, your forearms rotate in unison, turning your wrists, deflecting aside to the left and
right, and withdrawing to the rear, palms facing forward, fingers slightly bent, your right leg staying bent, left leg
straight, as you contain your chest and pluck up your back. Your gaze is forward and level. See photo 36:

Description of movement 3:

Continuing from movement 2, your torso and hips send out to the east, your arms going along with your torso by
slowly doing a level push to the east, as your legs switch roles, left leg switching from straight to bent, right leg
switching from bent to straight, making a stance of front leg a bow, rear leg an arrow. See photo 37:


Remarks on the technique:

If my right punch gets blocked by the opponent, I send my left hand to carry under my right shoulder and across to
neutralize him, then I withdraw my arms to protect my upper body and take advantage of the opportunity to push to
his chest.

Posture 12

Name of the technique:

CROSSED HANDS

Function:

This is a method of defending above and below.

Description of movement 1:

Continuing from movement 3 of SEALING SHUT, your torso turns to the right as your right leg bends, your hips
sinking down, making a four-level stance with your left foot full, right foot empty. At the same time, your arms go
along with your torso by going to the upper right, deflecting to the sides as you turn to face forward, both palms facing
forward, arms making a full moon shape. Your gaze is level. See photo 38:


Description of movement 2:

Continuing from movement 1, your arms go along with your torso by spreading apart in unison from above to the
sides and slowly pushing down until in front of your crotch, both palms facing inward, as though carrying the moon.
Your legs go along with your hips by bulging outward, your left foot empty, right foot full, thighs still sinking down.
Contain your chest and pluck up your back. Your gaze is level. See photo 39:

Description of movement 3:

Continuing from movement 2, your legs slowly straighten to be standing, your feet gathering inward until at shoulder
width, making a parallel stance, as your hands cross, palms facing inward, your arms going along with your body by
slowly raising up from below, crossing with a rounded embrace in front of your chest. Your gaze is to the south. See
photo 40:


Remarks on the technique:

In this posture, your arms arc along with your torso, moving to the sides, upward and downward. As your arms go
downward from above and upward from below, the space they pass through spans a large diameter inside and out,
and when your hands come up, they are crossed, making a full moon shape, as though embracing an object.

Route of Segment One: traveling from the center line to the east
South

East + West

Starting point on the center line

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:


1. 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. LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE

9. PLAY THE LUTE

10. ADVANCE, PARRY, BLOCK, PUNCH

11. SEALING SHUT

12. CROSSED HANDS

SEGMENT TWO thirteen postures / thirty-eight movements

Posture 13

Name of the technique:

CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

Function:

This is a method of beginning and continuing [into the following posture].

Description of movement 1:

Continuing from movement 3 of CROSSED HANDS, with your arms still roundly embracing (as though holding a
tiger), your torso turns to the northwest, your right hand pushing diagonally downward to the northwest, your [left]
hand going along with the turning of your torso by propping diagonally upward to the southeast, your right foot going
along with your right hand by retreating a step to the northwest (with an intention of sending back to a mountain).
The weight is now sitting onto your left leg, your right leg empty and straight, your left leg full and bent. Your gaze is
to the northwest. See photo 41:


Description of movement 2:

Continuing from movement 1, your torso turns to the northwest, your left hand going along with the turn by pushing
from beside your ear to the northwest, palm facing forward. As your hips turn, your left leg straightens, your right leg
bending, and your right hand is pushing downward to the outside of your right leg, palm facing downward. Your gaze
is to the northwest. See photo 42:

Remarks on the technique:

This posture continues into CATCH THE SPARROW BY THE TAIL. In performance, these two postures are actually
to be linked together as one, and it is not necessary to divide them except to learn the set in the first place. The reason
for this was explained in Chapter One, Section Six [Four]. Pardon me for not repeating the explanation here. You may
consult that chapter.


Posture 14

Name of the technique:

DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL

Function:

This is for training the transformations of ward-off, rollback, press, and push.

Description of movement 1:

Continuing from movement 2 of CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, your legs staying
as they are, your left wrist turns so the palm is facing upward, your right arm going from below, wrist turning, arcing
upward to be raised level, palm facing downward, your palms aligned with each other above and below, as though you
are carrying an object, and with an intention of doing a rollback toward your chest. See photo 43:

Description of movement 2:

Continuing from movement 1, as you do a rollback to the left in front of your chest, your hips twist to the southeast,
then your right arm lifts to be level, palm facing upward, and your left arm wards off outward, palm facing downward,
the wrist turning so your palms are aligned with each other, still as though carrying an object. At the same time, your
left leg switches to bending, your right leg straightening. Your gaze is to the southeast. See photo 44:


Description of movement 3:

Continuing from movement 2, your torso turns to the northwest, your right hand going along with it by lifting up,
palm facing inward, and warding off to the northwest, your left arm slightly turning so your palms are aligned with
each other as you do a pressing push. Your legs at the same time switch from straight to bent and bent to straight, one
emptying as the other fills. See photo 45:

Description of movement 4:

Continuing from movement 3, with your right leg straightening and your left leg bending, your hands deflect away to
the sides, fingertips pointing upward. Your torso has to be facing to the northwest. Your arms are bent, lifted level in
front of your chest. In this posture, pay attention to the essential principles of containing your chest, plucking up your
back, loosening your waist, and dropping your elbows. Your gaze is still to the northwest. See photo 46:


Description of movement 5:

Continuing from movement 4, your torso and hips send out to the northwest, your hands going along with your torso
by pushing to the southwest, your arms making a half moon shape, palms facing slightly forward, fingers still pointing
upward, your left leg going from bent to straight, your right leg going from straight to bent. Your gaze is level to the
northwest. Pay attention to sinking your shoulders, dropping your elbows, and containing your chest. See photo 47:

Description of movement 6:

Continuing from movement 5, your wrists hang downward, arms raised level, and with your right arm curved more
outward, left arm curved more inward, do a rollback across to the east. At the same time, your torso twists to the
southeast, your left leg switching from straight to bent, your right leg switching from bent to straight. Your gaze is to
the southeast. Pay attention to sinking your shoulders, dropping your elbows, and loosening your waist. See photo 48:


Remarks on the technique:

The six movements in this posture are the same as in the earlier CATCH THE SPARROW, but the orientation as well
as the postures that precede and follow in this case are different, making the beginning and finishing movements also
different. In order for beginners to more easily understand, I have allowed these descriptions to become rather wordy
for added clarity.

Posture 15

Name of the technique:

GUARDING PUNCH UNDER ELBOW

Function:

This is a method of transitioning.

Description of movement 1:

Continuing from movement 6 of DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL, your right arm goes from
outward on the left into an inward level circle, rolling back, brushing level to the right until raised to the northwest,
the palm slightly drooping forward, as your left hand hangs down and coils a circle from the lower right, the palm
scooping up until at the right side of your waist. At the same time, your hips twist to the right, your left leg bending
and lifting, your right leg straightening and standing. Your gaze is level to the northwest. See photo 49:


Description of movement 2:

Continuing from movement 1, your left heel comes down to the southeast, toes slightly lifted, as your right leg slightly
bends, making a left reverse bow stance. At the same time, your torso twists to the left as your left hand goes from
your waist, passes in front of your right shoulder, the palm turned to be facing to the left, then arcs to the east, and
slowly pushes out, your right arm still raised level to the right. Your gaze is to the east. See photo 50:

Description of movement 3:

Continuing from movement 2, your right foot follows forward toward your left foot, taking a half step to the south,
toes pointing to the southeast, and your left foot also reaches out forward a half step, toes slightly lifted, your right
knee slightly bent, your hips turning to the east, as your right arm goes from the upper right and pushes down to the
southeast, drawing a large arc, your left arm meanwhile taking a path inward and scooping upward. At the same time,

your right hand grasps into a fist, the center of the fist facing upward, and your left elbow bends, fingers pointing
upward, palm facing to the south, your right fist hidden below your left elbow. Your gaze is level to the east. See photo
51:

Remarks on the technique:

As your whole body turns around, your hands and feet move in unison, moving gradually, not showing the slightest
bit of confused energy or awkward effort.

Posture 16

Name of the technique:

LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY

Description of movement 1:

Continuing from movement 3 of GUARDING PUNCH UNDER ELBOW, your right fist releases and goes below your
left elbow, arcing to the rear and upward until level to the southwest, as your left hand extends level, palm facing
slightly forward. Your torso turning slightly to the right, your gaze is toward your right hand. See photo 52:


Description of movement 2:

Continuing from movement 1, your right hand arcs upward from the west until beside your right ear and the palm
pushes to the east, as your left foot retreats a half step to the rear and the knee bends, your right leg straightening,
toes slightly lifted, the weight sitting entirely onto your left leg. At the same time, your left wrist turns over and the
hand arcs downward to be at your waist, palm facing upward, your right toes turning to point to the east. See photo
53:

Description of movement 3:

Continuing from movement 2, your right pushing palm staying where it is, your left hand arcs from your waist to the
rear to be level to the west, making a horizontal east-west line with your right arm, palm facing upward, your upper
body turning slightly to the left, your feet slightly pivoting toward the north. Your gaze is toward your right hand. See
photo 54:


Description of movement 4:

Continuing from movement 3, your left hand arcs from the rear until beside the ear, then the palm pushes to the east,
as your right wrist turns over and the hand arcs downward to be at the right side of your waist, palm facing upward.
At the same time, your right foot retreats a half step to the rear, and the knee bends, your left leg straightening, the
weight sitting entirely onto your right leg, your left foot pointing to the east, slightly lifted. Your gaze is to the east. See
photo 55:

Description of movement 5:

Continuing from movement 4, your left wrist turns over and the hand extends level, palm facing upward, as your right
hand arcs to the rear, raising to be level to the west, palm facing upward, making a horizontal east-west line with your
right [left] arm. Your torso goes along with the movement by twisting to the right, your feet also pivoting to the right,
your gaze turning to look toward your right palm. See photo 56:


Description of movement 6:

Continuing from movement 5, your right hand arcs from the west until beside your right ear, then the palm pushes to
the east, as your left foot retreats a half step to the rear and the knee bends, your right leg straightening, the weight
sitting entirely onto your left leg. At the same time, your left wrist turns over and the hand arcs downward, drawing in
to be at the left side of your waist, palm facing to the east, your right toes slightly raised. Your gaze is to the east. See
photo 57:

Remarks on the technique:

In this posture, your feet are front foot empty, rear foot full, and your arms are one going out, one coming in, the
shape like a wheel. As your left hand goes out, your right foot retreats, and vice versa, one side emptying, one side
filling.

Posture 17


Name of the technique:

DIAGONAL FLYING POSTURE

Function:

This is a method of switching to an attack.

Description of movement 1:

Continuing from movement 6 of RETREAT, DRIVING AWAY THE MONKEY, your torso twists to the left as your left
hand goes from the left side of your waist, arcing upward to the west to be in front of your left shoulder, [your right
hand arcing down in front of your torso,] your palms aligned with each other above and below as though holding a
ball, your left palm facing downward, your right palm facing upward. Your feet also go along with the turning of your
hips, left foot filling, right foot emptying. Your gaze is to the east. See photo 58:

Description of movement 2:

Continuing from movement 1, your right hand turns along with your right foot as it steps to the southwest, propping
up with the arm angled diagonally upward, your left hand pushing downward to the northeast, palm facing diagonally
downward. At the same time, your right foot takes a step out to the southwest and the knee bends, your left leg
straightening. Your gaze is to the southwest. See photo 59:


Remarks on the technique:

In this posture, if an opponent attacks from above on my right side, I turn around and take advantage of the moment
before his attack arrives by quickly using my arms to do an action of opening, either propping up his arm or striking
diagonally to his back, stepping into his space with my right foot, causing him to lose his balance. This is a method of
switching a defensive position into an offensive one.

Posture 18

Name of the technique:

RAISE THE HANDS

Function:

This is a method of pressing and pushing.

Description of the movement:

Continuing from movement 2 of DIAGONAL FLYING POSTURE, your left foot gathers in to be close to your right
heel, then your right foot takes a half step out to the southwest, your left leg bending, right leg straightening, heel
touching down. Your hands are coming together inward, arms making a rounded shape, fingers at shoulder level,
your left hand going from the rear and closing in toward the inside of your right elbow, the fingers of both hands
pointing upward. Your gaze is to the southwest, the weight sitting fully onto your left leg. See photo 60:


Remarks on the technique:

This posture is the same as in Posture 4, but in that case transitioning from SINGLE WHIP and in this case
transitioning from DIAGONAL FLYING POSTURE. Although the posture is the same, the transition is different, and
so the application would also be different.

Posture 19

Name of the technique:

WHITE CRANE SHOWS ITS WINGS

Function:

This is a method of warding off while pushing away, lifting up while hanging down.

Description of movement 1:

Continuing from RAISE THE HANDS, your right foot slightly advances a half step, turning its toes to point to the
southeast, and changes from empty to full. Your left foot goes along with your right foot by changing from full to
empty. Your knees are slightly bent. At the same time, your right arm goes from in front of you by arcing to hang
downward, palm facing upward, as your left hand goes along with the turning of your torso to be horizontal in front of
your chest, palm facing downward. See photo 61:


Description of movement 2:

Continuing from movement 1, your hips turn to the left as you sit down onto your right leg, your left leg slightly bent,
heel lifted, toes touching down. At the same time, your right arm arcs a half circle upward from the rear, lifting to
make a semicircle shape, palm facing downward, as your left arm pushes down, palm facing downward, to be placed
in front of your left knee, also making a semicircle shape, your upper body going along with the twisting of your hips.
Your gaze is to the southeast [east]. See photo 62:

Remarks on the technique:

Same as in Posture 5.

Posture 20

Name of the technique:

BRUSH KNEE IN A CROSSED STANCE

Function:

This is a method of developing suppleness in the arms and exercising the hips.

Description of movement 1:

Continuing from movement 2 of WHITE CRANE SHOWS ITS WINGS, your torso twists to the right, your left foot
and your arms turning along with it, your left palm going upward, wrist turning so your palms are aligned toward
each other, your hands as though carrying a ball in an arc from left to right, your arms switching above and below,
your left forearm horizontal in front of your chest, palm close to your right upper arm, your right arm hanging down,
palm facing upward. Your gaze follows along with the arcing of your arms. See photo 63:

Description of movement 2:

Continuing from movement 1, your arms as though holding a ball arc from right to left. While your left foot takes a
half step out to the northeast, knee bending, your right leg straightening, your right arm goes from beside your right
ear with a level push forward, fingertips pointing upward, the arm making a rounded shape, and your left hand
brushes downward past your left knee to be beside the thigh. Your torso is turned to the northeast, your gaze level to
the east. See photo 64:


Remarks on the technique:

Same as in Posture 6.

Posture 21

Name of the technique:

NEEDLE UNDER THE SEA

Function:

This develops flexibility in the lower back.

Description of movement 1:

Continuing from movement 2 of BRUSH KNEE IN A CROSSED STANCE, your right foot slides forward a half step to
the east and your left foot withdraws a half step, toes touching down, as your arms go along with your lower back by
withdrawing toward your chest. See photo 65:


Then incline forward and diagonally downward, your right fingers pointing diagonally forward, palm facing to the
left, your left hand guarding at your right [arm], palm facing downward. Your gaze is forward and level. See photo 66:

Remarks on the technique:

Although your back is bending, inwardly focus on straightening. You must not bend over too far, which would ruin
the technique. The weight is sitting onto your right leg. This posture may be divided into two movements, but the
movement from one to the other is continuous.

Posture 22

Name of the technique:

SHOULDER THROUGH THE ARM

Function:

This is a method of training power in your upper back to go through your arm and fingers.

Description of movement 1:

Continuing from NEEDLE UNDER THE SEA, your feet not moving from their location, your arms withdraw toward
your chest, your upper body slightly turning to the right as your back pulls up, going along with your arms as they
make a posture of storing and waiting to issue. See photo 67:

Description of movement 2:

Continuing from movement 1, your right foot stays where it is as your left foot takes a half step out to the southeast,
the knee bending, your right leg straightening. Your arms go along with your waist and legs by pushing out to the
southeast, your right palm positioned in front of your forehead, your left palm taking advantage of the opportunity to
push out to the upper left corner, both palms facing forward, fingertips pointing toward the southeast. Your gaze is
toward your left palm. See photo 68:


Remarks on the technique:

In this posture, train power from your upper back to go through your arm and surprise the opponent, emitting from
your palm to control him. When performing this posture, let your two arms function as one. The power in your palms
comes from your hips as well as the shoulder and elbow. Power courses through to the palm.

Posture 23

Name of the technique:

TORSO-FLUNG PUNCH

Function:

This is a method of evading and flinging out a punch.

Description of movement 1:

Continuing from movement 2 of SHOULDER THROUGH THE ARM, your right foot pivots toward the south, the
weight still sitting onto your left leg, as your left elbow bends, the arm arcing to the south, palm facing outward, and
your right elbow bends, the arm arcing to the west, the palm grasping into a fist, the center of the fist facing
downward. Your gaze is turned to the west. See photo 69:


Description of movement 2:

Continuing from movement 1, your right foot takes a step out to the northwest, your hips twisting to the right, your
right knee turning along with them, your left leg straightening. Your right fist goes along with the turning of your
waist by rotating at the elbow to arc through a full circle, first flinging to the west, the center of the fist facing upward,
then gathering in to be stored at the right side of your waist, as your left palm arcs over your right fist and pushes out
to the west. The weight sitting onto your right leg, your gaze is to the west. See photo 70:

Remarks on the technique:

This posture works the nimbleness of the hips, turning and flinging out a backfist to prevent the opponents attack.
The method of applying the technique is to use the evasive turn to neutralize him and the reaching palm to strike him.

Posture 24


Name of the technique:

STEP FORWARD, PARRY, BLOCK, PUNCH

Function:

This is a method of advancing to neutralize and strike the opponent.

Description of movement 1:

Continuing from movement 2 of TORSO-FLUNG PUNCH, your right arm lifts from your waist, the fist becoming a
palm, the palm facing downward, as your left wrist rotates so the palm is facing upward, your palms aligning with
each other, as though carrying an object, and doing a rollback toward your chest. At the same time, your hips twist
and you sit onto your left leg, your right leg going from bent to straight, your left leg going from straight to bent. Your
gaze is level. See photo 71:

Description of movement 2:

Continuing from movement 1, your palms arc downward from your chest to the forward left, your torso turning to the
left. Then your right foot lifts, toes swinging out to the northwest, and comes down fully, your torso twisting to the
right and going onto your right leg, your left toes pivoting so the knee braces behind your right knee, both knees
slightly bent, as your right fist becomes a palm and rotates from the elbow, moving in an arc from left to right,
parrying until at the right side of your waist, your left palm guarding at your right arm, rotating into a level push to
the west. Your gaze is level to the west. See photo 72:


Description of movement 3:

Continuing from movement 2, your left foot takes a step out to the west, coming down fully, your right leg
straightening, making a stance of left leg a bow, right leg an arrow. At the same time, your right elbow draws back and
then the fist thrusts out to the west along your left palm, which guards at your right arm, your torso twisting from
right to left. Your gaze is level to the west. See photo 73:

Remarks on the technique:

This posture is the same as in Posture 10, except in that case it is divided into four movements, because it transitions
from PLAY THE LUTE, whereas in this case it transitions from TORSO-FLUNG PUNCH, and as a result it has only
three movements.

Posture 25

Name of the technique:

ADVANCE, CATCH THE SPARROW BY THE TAIL

Function:

This is a method of transitioning.

Description of movement 1:

Continuing from movement 3 of STEP FORWARD, PARRY, BLOCK, PUNCH, your right foot advances a step to the
west and comes down fully, the knee bending, the weight sitting onto your right leg, your left leg straightening. At the
same time, your right fist loosens and becomes a palm, the wrist turning so the palm is facing downward, your left
arm extending, palm facing upward, your hands as though catching a ball. Your gaze is to the west. See photo 74:

Description of movement 2:

Continuing from movement 1, your arms do a rollback toward your chest, arcing to the left, your right leg
straightening, left leg bending. At the same time, your hips twist to the left, your arms going along with the turning of
your torso, your right arm lifting to be raised level in front of your chest, making a rounded shape, palm facing
inward, your left wrist turning so your palms are aligned with each other, elbows dropped. Your torso is turned to be
facing to the east, your gaze to the east. See photo 75:


Description of movement 3:

Continuing from movement 2, your hips twist to the right, your left leg straightening, right leg bending, as your hands
go along with your body by warding off and pressing to the west, your hands still as though carrying an object, your
right arm raised horizontally in front of your right shoulder, making a half moon shape, your left arm bent and
hanging in front of your chest. Your gaze is to the southwest. See photo 76:

Description of movement 4:

Continuing from movement 3, your hips absorb to the rear as you contain your chest and pluck up your back, your
right leg straightening, left leg bending, the weight sitting fully onto your left leg. At the same time, your hands deflect
away to the sides, going along with the withdrawing of your torso, your wrists turning so that the palms are facing to

the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. You
have to sink your shoulders and drop your elbows. Your gaze is still to the southwest. See photo 77:

Description of movement 5:

Continuing from movement 4, your torso sends out to the southwest, your hands going along with it by pushing to the
southwest, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders
sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of
your hips, your right leg going from straight to bent, your left leg going from bent to straight, making a right bow
stance. Your gaze is to the southwest. See photo 78:

Description of movement 6:

Continuing from movement 5, your wrists bend downward as your hips twist to the left, your arms going along with

the movement by doing a rollback across to the left, seeming straight but not straight, bent but not bent, each making
rounded shapes at shoulder level. At the same time, your left leg switches from straight to bent and your right leg goes
from bent to straight, making a left bow stance. Your gaze is to the east. See photo 79:

Remarks on the technique:

Same as in Posture 2, but the transition is slightly different. The first movement turns it into ADVANCE, CATCH THE
SPARROW, but the rest is the same.

Route of Segment Two: traveling from the east to the center line
South

East + West

Starting point on the center line

North


Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

13. CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

14. DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL

15. GUARDING PUNCH UNDER ELBOW

16. LEFT & RIGHT 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. SHOULDER THROUGH THE ARM

23. TORSO-FLUNG PUNCH

24. STEP FORWARD, PARRY, BLOCK, PUNCH

25. CATCH THE SPARROW BY THE TAIL

SEGMENT THREE three postures / eleven movements

Posture 26

Name of the technique:

SINGLE WHIP

Function:

This is a method of pulling in with a hook and pushing with a palm.

Description of movement 1:

Continuing from movement 6 of ADVANCE, CATCH THE SPARROW BY THE TAIL, your hips then twist from the
left to the right, your right arm pulls from outward on the left into a level circle to the right, the palm changing to a
hook hand raised level to the right, as your left hand hangs down and arcs from the lower left, the palm scooping up
until at your right ribs. Your right leg switches from straightening to standing and your left leg switches from bending
to hanging, making a posture of standing [one-legged]. Your gaze is to the west. See photo 80:


Description of movement 2:

Continuing from movement 1, your right arm remains raised level to the right as your left palm goes from the right
side of your waist to pass in front of your right shoulder, fingers pointing upward, wrist turned, then slowly reaches
out to the east as a pushing palm. At the same time, your left foot steps forward to the east, making a stance of left leg
a bow, right leg an arrow, your hips going along with the movement of your body by twisting to the left. Your gaze is
to the east. See photo 81:

Remarks on the technique:

Same as in Posture 3.

Posture 27

Name of the technique:

LEFT & RIGHT CLOUDING HANDS

Function:

This is a method of neutralizing the opponent and shielding the body.

Description of movement 1:

Continuing from movement 2 of SINGLE WHIP, your right hook hand loosens and becomes a palm, and the hand
sinks down and goes along with your waist by arcing to the left until in front of your left shoulder, palm turned to face
inward, as your right foot goes along with your right arm by shifting a half step to the east, toes touching down close
to your left foot. Then your left hand loosens, the wrist turning over so the palm is facing downward, and goes along
with your waist by lowering and arcing to the right until in front of your lower abdomen, palm facing upward. Your
gaze is level. See photo 82:

Description of movement 2:

Continuing from movement 1, your torso twists to the right, your arms going along with your torso, palms still facing
inward, as the toes of both feet turn to the right, your knees slightly bent. Your gaze is to the west. See photo 83:


Description of movement 3:

Continuing from movement 2, your left foot takes a sideways step to the east and your torso twists to sit onto your left
foot. At the same time, your left hand goes from the lower right, passes along your right side, and arcs until in front of
your left shoulder, palm facing inward, as your right hand arcs from in front of you, clouding until in front of your
abdomen. Your knees are slightly bent. Your gaze is level. See photo 84:

Description of movement 4:

Continuing from movement 3, your torso twists to the left as your left [right] hand goes from in front of your shoulder
[abdomen], going along with your torso by arcing upward, clouding until in front of your left shoulder, palm facing
inward, [and your left hand goes from above, arcing until in front of the left side of your abdomen.] At the same time,
your right foot goes close to your left foot, toes touching down, and your knees are slightly bent. Your gaze is level. See
photo 85:


Description of movement 5:

Continuing from movement 4, your torso twists to the right, your arms going along with your torso, your knees
staying bent. Your gaze is level. See photo 86:

Description of movement 6:

Continuing from movement 5, your left foot takes a sideways step to the east, your torso twists to sit onto your left
foot, your knees slightly bent. At the same time, your left hand arcs from below, passing along your right side, until in
front of your left shoulder, palm facing inward, as your right hand arcs from in front of you, clouding until in front of
your abdomen. Your gaze is level. See photo 87:


Description of movement 7:

Continuing from movement 6, your torso twists to the left as your left hand goes from in front of your shoulder, going
along with your torso by arcing downward, clouding until in front of your abdomen, as your right hand goes from in
front of your abdomen, passing along your left side, arcing upward, clouding until in front of your left shoulder, palm
facing inward. At the same time, your right foot goes close to your left foot, toes touching down, and your knees are
slightly bent. Your gaze is level. See photo 88:

Description of movement 8:

Continuing from movement 7, your torso twists to the right, your arms going along with your torso, palms still facing
inward, as the toes of both feet turn to the right, your knees staying bent. Your gaze is level. See photo 89:


Remarks on the technique:

In this posture, your hands circle like wheels, your hips like an axle. As your left hand circles to be in front of your
right shoulder, your right hand extends, and as your right hand circles to be in front of your left shoulder, your left
hand extends. When clouding with your right hand, your gaze goes along with your waist to the right, and when
clouding with your left hand, your gaze goes along with your waist to the left. When clouding with your left hand, sit
onto your left leg, and when clouding with your right hand, sit onto your right leg.
In the entire set, this posture gets repeated to be performed three times. However, in the first and third
performances of the posture the clouding is done three times, whereas in the second it has to be done four times. The
purpose of this is to keep it consistent with the WILD HORSE, which veers its mane four times, and thus there is a
clouding happening four times to correspond well with it. The other two occasions of CLOUDING HANDS, prior to
and later than the second one, each do three cloudings to match the count of steps [three] in RETREAT, DRIVING
AWAY THE MONKEY. When learning this set, pay close attention to this feature.

Posture 28

Name of the technique:

SINGLE WHIP

Function:

This is a method of transitioning.

Description of movement 2:

Continuing from movement 8 of CLOUDING HANDS, your right forearm rotates for the hand to hang down in an arc
going downward from above, and raises level to the right, the palm becoming a hook hand, and your left hand arcs
from your waist until in front of your right shoulder, palm turned to be facing to the left, fingertips pointing upward,
then slowly reaches out to the east as a pushing palm. At the same time, your left leg lifts and goes along with your left

hand by taking a step out to the east, your hips going along with the movement of your body by twisting to the left.
Your gaze is toward your left palm. See photo 90:

Remarks on the technique:

Same as in Posture 3, except the transition is different.

Route of Segment Three: traveling from the center line to the east
South

East + West

Starting point on the center line

North

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

26. SINGLE WHIP

27. LEFT & RIGHT CLOUDING HANDS

28. SINGLE WHIP

SEGMENT FOUR five postures / eleven movements

Posture 29

Name of the technique:

RISING UP AND REACHING OUT TO THE HORSE

Function:

This is a method of withdrawing a step and raising your body to neutralizing the opponent.

Description of the movement:

Continuing from SINGLE WHIP, your right hand arcs upward from the right rear, passes beside your right ear, and
reaches out to the east, palm facing downward, as your hips twist to the left, your left hand going along with your
waist by withdrawing to be placed below your left ribs, palm facing upward. At the same time, your right foot takes a
lively step forward, the ball of the foot turning to the left, knee slightly bent, and your left foot withdraws, toes
touching down, the leg straightening, your hips sinking down, your torso turning to the east. Your gaze is level. See
photo 91:

Remarks on the technique:

In this posture, one arm extending as the other withdraws supplies the use of the technique. Your arms extend and
withdraw in unison, a method of reaching out toward the opponent. In raising your body and withdrawing a step,
absorbing and shooting out at the same time, the key lies in the transformation between attacking and defending. The
idea in the posture is of a rider examining a saddle.

Posture 30

Name of the technique:

KICKING TO THE LEFT & RIGHT

Function:

This is a method of reversing a situation by way of a kick.

Description of movement 1:

Continuing from REACHING OUT TO THE HORSE, your left foot steps out diagonally to the northwest and the leg
straightens, your right knee still bent, as your left hand extends diagonally upward to the southeast, palm facing
downward, your right hand turning over so the palm is facing upward, your palms closing in toward each other as
though carrying a ball, as in the rollback posture. See photo 92:

Then your hips twist to the northwest, your left knee bending, your right foot gathering in to be by your left foot, the
knee bending downward, toes touching down. At the same time, your arms do a rollback toward your chest, then lift
up, hands crossed in front of your chest, palms facing slightly inward. Your gaze is to the northeast, your torso facing
to the northeast. See photo 93:


Description of movement 2:

Continuing from movement 1, your arms slowly push out to the left and right, palms facing inward, as your left leg
slowly straightens to be standing and your right leg lifts, and once level, the foot spreads away to the southeast,
flattened out and raised to the right, toes pointing downward. At the same time, your arms are bracing open to the left
and right, right arm raised level to the right, left arm raised above to the northwest, palms facing outward. Your torso
is slowly straightening up, facing to the northeast, your gaze toward your right foot. See photo 94:

Description of movement 3:

Continuing from movement 2, your right foot arcs to the right rear, coming down to the southwest, the leg still
straight, your left knee bending downward, as your arms go to the upper left and then arc downward together, palms
aligned toward each other, making a rollback posture. See photo 95:

Then your hips twist to the right, your right foot pivoting to the right, your left foot gathering in toward your right
foot, toes touching down, both legs again slightly bending downward. At the same time, your arms go along with the
turning of your body, then go upward with a rounded embrace, hands crossed in front of your chest, palms facing
slightly inward. Your torso is facing to the south, your gaze to the east. See photo 96:

Description of movement 4:

Continuing from movement 3, your right leg slowly straightens to be standing as your left leg lifts to be level and the
foot spreads away to the east, toes pointing toward the ground. At the same time, your arms slowly push open to the
left and right, palms facing slightly inward, left arm raised level, right arm raised diagonally above, palms facing
outward. Your torso is facing to the south, your gaze to the east. See photo 97:


Remarks on the technique:

This posture is for responding to sudden attacks from opponents forward and behind. I use a hand to meet an
opponent while using a foot to strike to his ribs, hand and foot issuing in unison, causing him to be unable to deal
with what is happening above and below at the same time, ensuring victory to me.

Posture 31

Name of the technique:

TURN AROUND, PRESSING KICK

Function:

This is a method of turning around to drive away an opponent.

Description of movement 1:

Continuing from movement 4 of KICK TO THE LEFT & RIGHT, your left foot swings to the left rear as your right foot
turns a hundred and eighty degrees to the left rear, your left toes touching down, both knees slightly bent. At the same
time, your arms raise high, then spread apart to the left and right, arcing downward, passing in front of your body,
crossing, and lift up crossed in front of your chest. Your torso is facing to the north, your gaze to the west. See photo
98:


Description of movement 2:

Continuing from movement 1, your left thigh lifts to be level, your right leg straightening, then your arms push away
to the left and right as your left foot presses out to the west, toes pointing upward, the sole of the foot seizing the
chance to press to the opponents ribs, your arms propping away his hands. Your torso is still facing to the north, your
gaze to the west. See photo 99:

Remarks on the technique:

In this posture, if an opponent suddenly attacks from behind, I turn around to deal with him, using my [left] hand to
coil around his hand and taking advantage of the opportunity to kick to his midsection. Or if he attacks in front, I
dodge to the rear. This is an example of avoiding the full and attacking the empty [Art of War, chapter 6].

Posture 32

Name of the technique:

LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE

Function:

This is a method of blocking and striking the opponent.

Description of movement 1:

Continuing from movement 2 of TURN AROUND, PRESSING KICK, your left foot comes down to the southwest as
your left hand withdraws to be horizontal in front of your right shoulder, palm facing downward, your right hand
arcing and turning so the palm is facing upward, your palms aligning with each other above and below as though
carrying a ball. Then your hips twist to the left, your right [left] knee bending, your right leg straightening, as your left
hand goes from in front of your shoulder, downward in front of your left knee, pushing down and brushing until
beside the thigh, your right arm arcing upward from behind, passing in front of your right ear, and pushing to the
west, your arms making a rounded shape. Your torso is facing to the west, your gaze level. See photo 100:

Description of movement 2:

Continuing from movement 1, your torso twists to the left, your wrists turning, your right arm going across in front of
your chest, palm facing downward, horizontal in front of your left shoulder, your left arm hanging beside your left
ribs, palm facing upward, your palms aligning with each other above and below as though holding a taiji symbol, your
arms going along with the twisting of your torso by rolling back to the left. Your torso is inclined to the southwest,
your gaze to the west. See photo 101:


Description of movement 3:

Continuing from movement 2, your right foot takes a step out to the northwest and the knee bends to almost a ninetydegree angle, your left leg straightening, making a stance of front leg a bow, rear leg an arrow. At the same time, your
hips turn to the right rear, your right arm pushing down from in front of your chest, brushing past the front of your
right knee to be placed beside the thigh, palm facing downward, as your left arm arcs from below, passing in front of
your left ear, and pushing to the west, your arms making a rounded shape. Your torso and gaze are both directed to
the west. See photo 102:

Remarks on the technique:

Same as in Postures 6 and 8, except the direction and preceding posture is different. The essential points are all the
same as before, and so are not repeated here.


Posture 33

Name of the technique:

ADVANCE, PLANTING PUNCH

Function:

This is a method of neutralizing the opponent and suddenly attacking.

Description of the movement:

Continuing from movement 3 of BRUSH KNEE IN A CROSSED STANCE, your left foot takes a step out from the
southwest to the west, making a stance of front leg a bow, rear leg an arrow, your right leg going from bent to straight,
your left leg going from straight to bent. At the same time, your left arm withdraws so the tigers mouth is in front of
your right shoulder then slowly goes in front of your left knee, brushing and pushing downward, as your right arm
withdraws to your waist, wrist turning, then curls up a fist and slowly goes forward and diagonally downward with a
planting punch. Your torso is facing to the west, your gaze toward your fist. See photo 103:

Remarks on the technique:

If an opponent strikes to my chest, I use my left hand to brush it aside and my right fist to return a strike.


Route of Segment Four: traveling from the east to the west
South

East + West

North

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

29. RISING UP AND REACHING OUT TO THE HORSE

30. KICKING TO THE LEFT & RIGHT

31. TURN AROUND, PRESSING KICK

32. LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE

33. ADVANCE, PLANTING PUNCH

SEGMENT FIVE eleven postures / twenty-one movements

Posture 34

Name of the technique:

TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE

Function:

This is a method of head and tail responding together.

Description of the movement:


Continuing from ADVANCE, PLANTING PUNCH, your feet not moving from their location, your left hip sits down,
your waist turning to the right, your torso turning to the north, your face looking to the east, your gaze level. At the
same time, your right wrist turns [so the center of the fist is facing downward] as the arm lifts up to be bent level in
front of your chest, your left arm going from in front of you, raising high to be in front of you to the upper left, the
arm bending to make a round shape, the palm facing outward. See photo 104:

Remarks on the technique:

This is a posture of continuing transformation. If an opponent suddenly attacks from behind me, I turn around,
turning my gaze to deal with it. This is described as the snake of Mt. Chang [Art of War, chapter 11] Strike its
tail, its head responds

Posture 35

Name of the technique:

STEP FORWARD, PARRY, BLOCK, PUNCH

Function:

This is a method of parrying and blocking to neutralize the opponent.

Description of movement 1:

Continuing from WHITE SNAKE FLICKS ITS TONGUE, your right foot lifts with the toes swinging toward the east,
the foot coming down with the toes pointing toward the south, the ball of your left foot pivoting the foot to the left, as
your knees slightly bend, right knee in front, left knee behind it. At the same time, your torso twists to the right, your
right elbow rotating upward from below so the center of the fist is facing upward, and with the shoulder loosening,
your right arm draws back to be at your waist, your left hand going along with the movement by pushing down to
guard to the outside of your right arm, then once your right elbow has turned over, your [left] wrist turns so the
fingertips are pointing upward, and pushes to the east. Your torso is facing to the southeast, your gaze to the east. See
photo 105:


Description of movement 2:

Continuing from movement 1, your left foot takes a step out to the northeast, the knee bending downward, your right
leg straightening, making a stance of front leg a bow, rear leg an arrow. At the same time, your right fist does a
straight thrust to the east from your waist, your left palm withdrawing to guard beside your right arm, fingers still
pointing upward. Your torso is turned to be facing to the east, your gaze level. See photo 106:

Remarks on the technique:

In movement 1 of this posture, pay attention to the essentials of loosening your shoulders and waist, and of
containing your chest and plucking up your back. This technique is a subtle method of responding to the opponents
changes. In movement 1, do not make yourself subject to his plans, continue right into thrusting out your fist with the
expectation of striking a vital area [i.e. solar plexus].


Posture 36

Name of the technique:

PRESSING KICK

Function:

This is a method of training leg strength.

Description of the movement:

Continuing from movement 2 of PARRY, BLOCK, PUNCH, your left foot staying where it is, your right foot withdraws
to be beside your left foot, toes touching down, the knee bending downward, your torso twisting to the left, as your
right fist opens and your arms go upward from in front of you, higher than your headtop, then arc in circles
downward to the left and right. See photo 107:

Once your hands cross in front of your solar plexus, they lift up in front of your chest, and your right foot lifts and
presses out to the southeast, toes pointing upward, your right leg straightening, as your arms go along with your right
foot by bracing open to the left and right, fingertips pointing upward, palms facing slightly inward, your left arm
raised up slightly bent, palm facing outward. Your gaze is toward your foot, your torso facing to the northeast. See
photo 108:


Remarks on the technique:

Your arms go upward from in front of you, higher than your headtop, to respond to the opponents hand, then they
arc to the sides and downward, and you lift your leg to store up power with a quality of a sword being unsheathed or a
crossbow loaded, of being unbeatable after but a single shot. The method of this posture is like a rukh spreading its
wings, and then like an eagle seizing a chicken with precision, with but a single flap of wings. Take advantage of the
opportunity to harvest the pressing kick skill. This is a key skill in martial arts. Practitioners look to it repeatedly.

Posture 37

Name of the technique:

LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER

Function:

This is dodging from side to side to avoid the full force of an attack.

Description of movement 1:

Continuing from movement 2 of PRESSING KICK, your right foot withdraws to the northwest, coming down to the
left rear of your left foot, and your left foot then advances a step to the northwest, the knee bending, your right leg
straightening, making a stance of left leg a bow, right leg an arrow in a reverse bow stance. At the same time, your left
arm swings from the upper left to the right, and once your hands are close together, your arms arc from the upper
right downward to the left, as you sit downward at your left hip, your torso twisting to the left, and your arms then lift
up, your left arm raising high to be forward to the upper left, the arm making a half moon shape, your right arm
lifting until raised level in front of your chest, your hands grasping into fists in unison. Your torso goes along with the
movement, turning to be squared to the northeast, your gaze to the southeast. See photos 109 & 110:


Description of movement 1:

Continuing from movement 1, your right foot lifts and makes an adjusting step, coming back down where it was, then
the knee goes from straight to bent, your left leg going from bent to straight. At the same time, your fists release and
your arms arc from the upper left downward to the right, as you sit downward at your right hip, your torso twisting to
the left [right], and your arms then lift up, your right arm raising high to be forward to the upper right, the arm
making a half moon shape, your left arm lifting until raised level in front of your chest, your hands grasping into fists
in unison. Your torso goes along with the movement, turning to be squared to the southeast, your gaze to the
northeast. See photos 111 & 112:


Remarks on the technique:

This posture is the ARHAT SUBDUES THE TIGER posture from Shaolins Eighteen Postures. It strengthens the waist
and kidneys, and so it is an essential exercise for health. It is also an essential method that martial artists use for
dodging from side to side to avoid the full force of an attack.

Posture 38

Name of the technique:

TURN BACK, PRESSING KICK

Function:

This is a method of fake defense, real attack.

Description of movement 1:

Continuing from movement 2 of LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER, your right foot
withdraws to be beside your left foot, toes touching down, both knees slightly bending. At the same time, your arms
raise up, your left fist opening and going higher than your headtop, and your arms make circles that arc downward to
the left and right, then gather in front of your body. Your torso is facing to the northeast, your gaze to the east. See
photo 113:

Description of movement 2:

Continuing from movement 1, your right foot lifts and presses to the southeast, toes pointing upward, your left leg
standing straight, your arms bracing open to the left and right, fingertips pointing forward, palm facing inward, your
left arm raised to the left, slightly bent to make a rounded shape. Your gaze is to the east, your torso still facing to the
northeast. See photo 114:


Remarks on the technique:

If an opponent attacks my upper body, I use both arms to protect in front and above, turning my body away to evade
it, but this is a fake retreat. Then I turn my body back and lift my leg to deliver a real attack. The retreat is a false
rather than a real retreat with the real idea being to draw him into an ambush. I deeply hope that martial arts
practitioners will give attention to the terms empty and full [in this case meaning false and real], for they are the
most useful in the art.

Posture 39

Name of the technique:

DOUBLE WINDS THROUGH THE EARS

Function:

This is a method of defending and countering.

Description of movement 1:

Continuing from movement 2 of TURN BACK, PRESSING KICK, your right foot withdraws, the lower leg hanging
straight down, upper leg still raised level in front. At the same time, your arms come together forward, raised up, then
arc downward, passing along the sides of your right thigh, palms facing slightly forward, arms hanging down. Your
torso is squared to the southeast, your gaze level. See photo 115:

Description of movement 2:

Continuing from movement 1, your right foot then comes down to the southeast, the knee still bent, your left leg
straightening, making a stance of front leg a bow, rear leg an arrow. At the same time, your arms go to the rear and
arc upward, then go forward and diagonally upward from the sides, your hands grasping into fists to be placed in
front of your forehead, your arms having made a large circle. Your gaze is level, your torso squared to the southeast.
See photo 116:


Remarks on the technique:

Continuing from TURN, PRESSING KICK, if the opponent outsmarts my use of it, I withdraw my foot, sending both
my hands downward to defend by brushing aside, then take advantage of the opportunity to advance, attacking with
fists striking inward toward his temples or ears double winds through the ears.

Posture 40

Name of the technique:

LEFT PRESSING KICK

Function:

Same as in Posture 38.

Description of movement 1:

Continuing from movement 2 of DOUBLE WINDS THROUGH THE EARS, your fists open, your arms go upward
from in front of your forehead, spread apart to the left and right, and circle to be in front of your abdomen, palms
facing outward. At the same time, your left foot withdraws to be by your right foot, toes touching down, making a T
stance, your right knee still bent, your waist loose but straight as you forcelessly press up your headtop. Your gaze is
to the east. See photo 117:


Description of movement 2:

Continuing from movement 1, your right knee slowly straightens as your left foot lifts up and then presses out to the
east, toes lifted up, your arms bracing open to the left and right, your left arm raised to the side, slightly bent to make
a rounded shape, your palms spreading apart toward the east and west. Your gaze is still level to the east. See photo
118:

Remarks on the technique:

In this posture, if an opponent attacks to my rib area from the side, I respond to it to the side, using a hand to coil
around his hand and a foot to do a pressing kick to his ribs. For a physiological consideration, this posture promotes
health by loosening the waist and encouraging digestion.

Posture 41


Name of the technique:

TURN AROUND, PRESSING KICK

Function:

Same as in Posture 38.

Description of movement 1:

Continuing from movement 2 of LEFT PRESSING KICK, your torso and leg spin around from east to west on the ball
of your right foot, your left foot then coming down with the knee slightly bent, your right toes touching down, leg
slightly bent. Your arms go along with the spin of your body by going from above to the left and right, slowly arcing a
half circle downward to be in front of your abdomen. Your waist should be loose, your neck should be straight, and
your body should be upright. Your gaze is to the west. See photo 119:

Description of movement 2:

Continuing from movement 1, with your left foot full, your right foot lifts up and presses out to the east, your arms
going from in front of your body and bracing open toward the east and west. Use your right hand to connect to the
opponents elbow or wrist. Your gaze goes along with the turning of your torso to be level to the east. See photo 120:


Remarks on the technique:

This posture is a sideways technique, a method of avoiding his fullness and invading where he is empty by turning on
a pivot point. To spin around on the ball of the foot, thereby changing the whole situation, is truly a treasure in boxing
arts.

Posture 42

Name of the technique:

ADVANCE, PARRY, BLOCK, PUNCH

Function:

This is a method of parrying and blocking to neutralize the opponent.

Description of movement 1:

Continuing from movement 2 of TURN AROUND, PRESSING KICK, your right hand withdraws downward from the
east and arcs upward to the west until in front of your left shoulder, as your left hand goes from above, arcing
downward to the east. At the same time, your right leg withdraws, toes swinging outward, and comes down fully, the
toes pointing toward the south, your knees sinking down, your left knee touching the back of your right leg, your torso
turning to the right, your left palm pushing to the east, your right palm becoming a fist, drawing back toward your
chest, and arriving at your waist, your legs sitting crossed at the knees. Your gaze is level to the east. See photo 121:


Description of movement 2:

Continuing from movement 1, your left foot then takes a step out to the northeast, coming down fully, the knee
bending, your right leg straightening, making a stance of front leg a bow, rear leg an arrow, as your right fist thrusts
out from your waist, your left palm withdrawing to guard beside your right arm. Your chest should be contained and
your back should be plucked up. Your gaze is to the east. See photo 122:

Remarks on the technique:

This posture is the same as in Posture 10, but in that case it continues from PLAY THE LUTE, whereas this time it
continues from TURN AROUND, PRESSING KICK. As the preceding movement is different, the orientation may get
slightly altered. When there are repetitions in the Taiji Boxing set, you have to take notice of what the preceding and
following postures are, for it may cause the function of the original posture to have some slight variation.


Posture 43

Name of the technique:

SEALING SHUT

Function:

This is a method of blocking the opponent and sealing him off.

Description of movement 1:

Continuing from movement 4 of ADVANCE, PARRY, BLOCK, PUNCH, your hips sit to the right rear, your waist
absorbing inward (meaning you are containing your chest and plucking up your back), your right leg bending
downward, your left leg straightening. At the same time, your hands [right fist] extends, becoming a palm, the palm
facing upward, and goes along with your torso by withdrawing to the rear, as your left arm arcs to be below your right
arm and reaches out forward with an intention of blocking the opponent. Your hips are sinking down, your gaze to the
east. See photo 123:

Description of movement 2:

Continuing from movement 1, your forearms rotate in unison, turning your wrists, deflecting aside to the left and
right, and withdrawing to the rear as you contain your chest and pluck up your back, your palms facing forward,
fingers slightly bent. See photo 124:


Then do a level push to the east, your arms seeming rounded into half moon shapes, your torso and hips sending out
to the east, your left knee bending, your right leg straightening, making a stance of front leg a bow, rear leg an arrow.
See photo 125:

Remarks on the technique:

If the opponent neutralizes my right fist, I take advantage of the opportunity to coil around my right arm, my left
hand carrying along my elbow and protecting my arm, causing him to disconnect his hand. He switches to attacking
with his other hand, so I withdraw my body, gathering inward, and use both of my hands to seal him off, taking away
his ability to advance. Such is the effectiveness of sealing him off completely.

Posture 44

Name of the technique:

CROSSED HANDS

Function:

This is a method of defending above and below.

Description of movement 1:

Continuing from movement 2 of SEALING SHUT, your torso turns to the right as your right thigh sinks down,
making a four-level stance with your right foot empty, left foot full. At the same time, your arms go along with your
torso by going to the upper left [right], deflecting to the sides as you turn to face forward, both palms facing forward,
arms making a full moon shape. Your gaze is level. See photo 126:

Description of movement 2:

Continuing from movement 1, your arms go along with your torso by spreading apart in unison from above to the
sides and slowly pushing down until in front of your crotch, both palms facing inward, as though carrying the moon.
Your legs go along with your hips by bulging outward, your left foot empty, right foot full, thighs still sinking down.
Contain your chest, pluck up your back, and loosen your waist. Your gaze is level. See photo 127:


Description of movement 3:

Continuing from movement 2, your legs slowly straighten to be standing, your feet gathering inward until at shoulder
width, making a parallel stance, as your hands cross, palms facing inward, your arms going along with your body by
slowly raising up from below, crossing with a rounded embrace in front of your chest. Your gaze is level to the south.
See photo 128:

Remarks on the technique:

In this posture, your arms arc along with your torso, moving to the sides, upward and downward. As your arms go
downward from above and upward from below, the space they pass through spans a large diameter inside and out,
and once your hands come up from below, they cross, making a full moon shape, as though embracing an object such
as the taiji symbol.


Route of Segment Five: traveling from the west to the center line
South

East + West

Starting point on the center line

North

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

34. TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE

35. STEP FORWARD, PARRY, BLOCK, PUNCH

36. PRESSING KICK

37. LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER

38. TURN BACK, PRESSING KICK

39. DOUBLE WINDS THROUGH THE EARS

40. LEFT PRESSING KICK

41. TURN AROUND, PRESSING KICK

42. STEP FORWARD, PARRY, BLOCK, PUNCH

43. SEALING SHUT


44. CROSSED HANDS

SEGMENT SIX five postures / twenty-four movements

Posture 45

Name of the technique:

CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

Function:

This is a method of beginning and continuing [into the following posture].

Description of movement 1:

Continuing from movement 3 of CROSSED HANDS, with your arms still roundly embracing (as though holding a
tiger), your torso turns to the northwest, your right foot going out at a forty-five degree angle to the northwest (with
an intention of sending back to a mountain), your right hand pushing diagonally downward to the northwest, your
[left] hand going along with the turning of your torso by propping diagonally upward to the southeast. The weight is
now sitting onto your left leg, the leg bent and full, your right leg straight and empty. Your gaze is to the northwest.
See photo 129:

Description of movement 2:

Continuing from movement 1, your torso turns to the northwest, your left hand going along with the turn by pushing
from beside your ear to the northwest, palm facing forward. As your hips turn, your left leg straightens, your right leg
bending, and your right hand is pushing downward to be beside your right thigh, palm facing downward. Your gaze is
to the northwest. See photo 130:


Remarks on the technique:

Same as in Posture 13.

Posture 46

Name of the technique:

DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL

Function:

This is for training the transformations of ward-off, rollback, press, and push.

Description of movement 1:

Continuing from movement 2 of CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, your legs staying
as they are, your left wrist turns so the palm is facing upward, your right arm going from below, wrist turning, arcing
upward to be raised level, palm facing downward, your palms aligned with each other above and below, as though you
are carrying an object, and with an intention of doing a rollback toward your chest. See photo 131:


Description of movement 2:

Continuing from movement 1, as you do a rollback in front of your chest, your hips twist to the southeast, then your
right arm lifts to be level, palm facing upward, and your left arm wards off outward, palm facing downward, the wrist
turning so your palms are aligned with each other, still as though carrying an object. At the same time, your left leg
switches to bending, your right leg straightening. Your gaze is to the southeast. See photo 132:

Description of movement 3:

Continuing from movement 2, your torso turns to the northwest, your right hand going along with it by lifting up,
palm facing inward, and warding off to the northwest, your left arm slightly turning so your palms are aligned with
each other as you do a pressing push. Your legs at the same time switch from straight to bent and bent to straight, one
emptying as the other fills. See photo 133:


Description of movement 4:

Continuing from movement 3, with your right leg going from bent to straight and your left leg going from straight to
bent, your hands deflect away to the sides, fingertips pointing upward. Your torso has to be facing to the northwest.
Your arms are bent, lifted level in front of your chest. In this posture, pay attention to the essential principles of
containing your chest, plucking up your back, loosening your waist, and dropping your elbows. Your gaze is still to the
northwest. See photo 134:

Description of movement 5:

Continuing from movement 4, your torso and hips send out to the northwest, your hands going along with your torso
by pushing to the southwest [northwest], your arms making a half moon shape, palms facing slightly forward, fingers
still pointing upward, your left leg going from bent to straight, your right leg going from straight to bent. Your gaze is

level to the southwest. Pay attention to sinking your shoulders, dropping your elbows, and containing your chest. See
photo 135:

Description of movement 6:

Continuing from movement 5, your wrists hang downward, arms raised level, and with your right arm curved more
outward, left arm curved more inward, do a rollback across to the east. At the same time, your torso twists to the
southeast, your left leg switching from straight to bent, your right leg switching from bent to straight. Your gaze is to
the southeast. Pay attention to sinking your shoulders, dropping your elbows, and loosening your waist. See photo
136:

Remarks on the technique:

This posture continues from CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, making a count of
eight movements if they are combined into a single posture. But in order to learn the set, it is necessary to divide

them. The reason for this was explained in Chapter One, Section Six [Four]. Pardon me for not repeating the
explanation here.

Posture 47

Name of the technique:

DIAGONAL SINGLE WHIP

Function:

This is a method of pulling in with a hook and pushing with a palm.

Description of movement 1:

Continuing from movement 6 of CATCH THE SPARROW BY THE TAIL, your right arm pulls from outward on the
left into an inward level circle to the right, to the northwest, your right palm changing to a hook hand, as your left
hand hangs down and arcs from the lower right [left], the palm scooping up until at your right ribs, palm facing
upward. At the same time, your hips twist from the left to the right, your right leg fills and goes from straightening to
standing, and your left leg empties and goes from bending to hanging. Your gaze is to the northwest. Pay attention to
the key principles of containing your chest and loosening your waist. See photo 137:

Description of movement 2:

Continuing from movement 1, your right leg straightens as your left leg advances a step to the south and comes down
fully, your left hand going from the right side of your waist to pass in front of your right shoulder, fingertips pointing
upward, wrist turned, then slowly reaching out to the south as a pushing palm, your right hook hand still raised level
to the right. At the same time, your torso and hips twist to the south, your gaze going along with the movement to be
level to the south. Your feet switch emptiness and fullness, making a stance of left leg a bow, right leg an arrow. See
photo 138:


Remarks on the technique:

Same as in Posture 3, except the direction is different.

Posture 48

Name of the technique:

WILD HORSE VEERS ITS MANE

Function:

This is a method of neutralizing the opponent.

Description of movement 1:

Continuing from movement 2 of DIAGONAL SINGLE WHIP, your torso and hips twist slowly to the left as your right
arm hangs down, the hook hand changing to a palm, and goes along with your torso to be by your left hip. At the same
time, your left wrist turns, the arm bending across to bring the hand in front of your left shoulder, palm facing
downward, your palms aligned with each other above and below. Your left foot is full and your right foot is empty,
toes touching down. Although your right shoulder has to be turned to point to the west, your gaze is to the southwest.
See photo 139:


Description of movement 2:

Continuing from movement 1, your right foot takes a step out to the northwest and your torso twists as your right arm
goes upward from the lower left to the northwest, blocking aside the opponents hand, the hand making an arc in
front of your left [right] shoulder, palm facing inward. At the same time, your left hand sinks down from above,
passing in front of your body, the palm pushing down beside your [left] hip. Your gaze goes along with the arc of your
right palm to the northwest. These two movements form the WILD HORSE posture on the right side. You must pay
attention to the essential principles of loosening your shoulders, dropping your elbows, containing your chest, and
plucking up your back. See photo 140:

Description of movement 3:

Continuing from movement 2, your torso and hips twist to the left [right], your left heel lifting, and your left arm goes
along with your torso to be by your right hip, palm facing upward. At the same time, your right wrist turns, the arm
bending across to bring the hand in front of your right shoulder, palm facing downward, your palms aligned with each
other. Although your left shoulder turns to point to the west, your gaze is still to the west [northwest]. Your left foot is
full, the knee bent, and your right foot is empty, the leg straight. See photo 141:

Description of movement 4:

Continuing from movement 3, as your left arm goes upward from the lower right to the southwest, blocking aside the
opponents hand, your hand makes an arc in front of your left shoulder, palm facing inward. At the same time, your
right hand sinks down from above, passing in front of your body, the palm pushing down beside your right thigh.
With your torso twisting determinedly to the southwest, your left foot has taken a step out to the southwest, and your
feet switch emptiness and fullness, making a stance of left leg a bow, right leg an arrow. Your gaze is to the southwest.
Movements 3 and 4 form the WILD HORSE posture on the left side. See photo 142:


Description of movement 5:

Continuing from movement 4, it is the same as in movement 1. See photo 143:

Description of movement 6:

Continuing from movement 5, it is the same as in movement 2. See photo 144:

Description of movement 7:

Continuing from movement 6, it is the same as in movement 3. See photo 145:


Description of movement 8:

Continuing from movement 7, it is the same as in movement 4. See photo 146:

Remarks on the technique:

This posture is divided into left and right verions, each done twice, for a total of four performances of the posture.
One may wonder: Why does it pile up these repetitions? Because this boxing technique was constructed with some
careful considerations. What are these considerations? Please talk through the details to dispel my confusion.
1. When a boxing arts technique is done to the left and right, it is so that you will learn it well on both sides, making
it a technique you can rely on in an emergency.
2. It has an intention of balanced physiological development, keeping you from becoming lopsided in your

training.
3. A boxing arts technique should contain: i. methods of advance and retreat, attack and defense, ii. the four
compass and four corner directions, not just a tendency for going in only one direction, and iii. a clear start and
finish, for which there has to be a quality of consistency from beginning to end.
4. In going forward and back, left and right, far or near, there has to be evenness. Thus this technique does not
expire in the quest for perfection, repeating its performance over and over in order to fulfill a complete boxing art, in
accordance with the taiji concept [of completeness rather than overemphasis or one aspect or other].

Posture 49

Name of the technique:

CATCH THE SPARROW BY THE TAIL

Function:

This is for training ward-off, rollback, press, and push.

Description of movement 1:

Continuing from movement 8 of WILD HORSE VEERS ITS MANE, your feet not moving from their location, your
torso twists to the left, your left wrist turning so the palm is facing inward, the forearm horizontal in front of your
chest, as your right arm goes along with your torso, the wrist turning so the palm is facing upward, scooping to the
left until at your left hip. See photo 147:

Then your right foot advances a step to the west and comes down fully, the knee bending, the weight sitting onto your
right leg, your left leg straightening. Your torso and hips go along with the action of your left [right] foot by twisting to
the right, while your right hand goes from beside your left hip, the wrist turning, the arm lifting with a ward-off to the
right, your left wrist turning so the palm is facing to the right, your palms aligning with each other to the left and
right. Your gaze is to the west. See photo 148:


Description of movement 2:

Continuing from movement 1, do a rollback toward your chest, arcing to the left, your right leg relaxing and
straightening, your left leg bending. At the same time, your hips twist to the left, your arms going along with the
turning of your torso, your right arm lifting to be raised level in front of your chest, making a rounded shape, palm
facing inward, your left wrist turning so your elbow is hanging in front of your chest, palms aligned with each other,
as though carrying an object, elbows sinking down. Your torso is turned to be facing to the east, your gaze to the east.
See photo 149:

Description of movement 3:

Continuing from movement 2, your hips twist to the right, your left leg straightening, right leg bending, as your hands
go along with your body by warding off and pressing to the west, your hands still as though carrying an object, your

right arm raised horizontally in front of your [right] shoulder, making a half moon shape, your left arm bent in front
of your chest. Your gaze is to the southwest. See photo 150:

Description of movement 4:

Continuing from movement 3, your hips absorb to the rear as you contain your chest and pluck up your back, your
right leg straightening, left leg bending, the weight sitting fully onto your left leg. At the same time, your hands deflect
away to the sides, going along with the withdrawing of your torso, your wrists turning so that the palms are facing to
the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. You
have to sink your shoulders and drop your elbows. Your gaze is level to the southwest. See photo 151:

Description of movement 5:

Continuing from movement 4, your torso sends out to the southwest, your hands going along with it by pushing to the
southwest, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders
sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of
your hips, your right leg going from straight to bent, your left leg going from bent to straight, making a right bow
stance. Your gaze is level to the southwest. See photo 112 [152]:

Description of movement 6:

Continuing from movement 5, your wrists bend downward as your hips twist to the left, your arms going along with
the movement by doing a rollback across to the left, seeming straight but not straight, bent but not bent, each making
rounded shapes at shoulder level. At the same time, your left leg goes from straight to bent and your right leg goes
from bent to straight, making a stance of left leg a bow, right leg an arrow. Your gaze is to the east. See photo 153:

Remarks on the technique:

Same as in Posture 2, but the transition is slightly different.

Route of Segment Six: traveling from the center line to the west
South

Starting point on the center line


East + West

North

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

45. CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

46. DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL

47. DIAGONAL SINGLE WHIP

48. LEFT & RIGHT WILD HORSE VEERS ITS MANE

49. STEP FORWARD, CATCH THE SPARROW BY THE TAIL

SEGMENT SEVEN three postures / thirteen movements

Posture 50

Name of the technique:

SINGLE WHIP

Function:

This is a method of pulling in with a hook and pushing with a palm.


Description of movement 1:

Continuing from movement 6 of CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the
right, your right arm pulls from outward on the left into a level circle to the right, the palm changing to a hook hand
raised level to the right, as your left hand hangs down and arcs from below, the palm scooping up until at your right
ribs. Your right leg switches from straightening to standing and your left leg switches from bending to hanging,
making a hanging stance. Your gaze is to the west. See photo 154:

Description of movement 2:

Continuing from movement 1, your right arm remains raised level to the right as your left palm goes from the right
side of your waist to pass in front of your right shoulder, fingers pointing upward, wrist turned, then slowly reaches
out to the east as a pushing palm. At the same time, your left foot steps forward to the east, making a stance of left leg
a bow, right leg an arrow, your hips going along with the movement of your body by twisting to the left. Your gaze is
toward your left palm. See photo 155:


Remarks on the technique:

Same as in Posture 3.

Posture 51

Name of the technique:

MAIDEN WORKS THE SHUTTLE

Function:

This is a method of taking advantage of a gap to smash the opponent.

Description of movement 1:

Continuing from movement 2 of SINGLE WHIP, your torso and hips twist to the left as your hook hand changes to a
palm and quickly hangs down, going along with your torso by arcing to the left to be beside the left side of your waist,
palm facing upward. At the same time, your left wrist turns so the palm is facing downward, your palms aligning with
each other above and below as your left arm bends across at shoulder level. Your left leg stays bent, your right leg
loosening. Your gaze is the southeast. See photo 156:

Your hips then twist to the right, your right knee bending, your left leg straightening, as your right arm goes from
below, passing in front of you and warding off to the right, lifting to be in front of your forehead, palm facing to the
southwest, and your left arm goes along with the turning of your torso, the palm threading out to the southwest, your
right palm facing to the northwest. Your gaze is to the southwest. See photo 157:

Description of movement 2:

Continuing from movement 1, your right toes turn to the right, your left foot goes from the east toward your right foot
and advances a step to the southwest corner, coming down fully. With your torso turning from your hips, your right
arm at the same time arcs back from in front of your forehead until in front of your ear, then threads out with a push
to the southwest, fingertips pointing upward, the forearm and shoulder making a rounded line, as your left arm arcs
from in front of you, lifting to ward off in front of your forehead, palm facing outward. You are in a crossed stance
with your left leg a bow, right leg an arrow. Your gaze is to the southwest. See photo 158:


Description of movement 3:

Continuing from movement 2, the position of your feet does not change, but they switch their roles of empty and full
as your toes turn and your right foot shifts to the southeast corner. At the same time, your wrists turn for the palms to
align with each other above and below as though holding something up, your torso and hips turning around to the
right, your right arm going from hanging down, passing in front of your body, arcing toward the southeast corner,
lifting to ward off upward, palm facing outward, as your left arm arcs a half circle downward, passing in front of your
left ear, the palm then threading to the east [southeast], fingertips pointing upward, making a rounded line with your
left shoulder. Your legs are making a right crossed stance. Your gaze is to the southeast. See photos 159 & 160:


Description of movement 4:

Continuing from movement 3, your right toes turn, your torso and hips going along with the leftward turning of your
right foot, as your right wrist turns so the palm is facing downward, and your left arm hangs down, the wrist turning
so the palm is facing upward, the arm bent in front of your body, your palms aligning with each other above and
below. See photo 161:

Your left foot advances a step to the northeast corner, coming down fully, as your left arm arcs upward from below,
warding off upward to the northeast corner, palm facing outward in front of your forehead, and your right palm arcs
upward to be beside your right ear, wrist turning, then threads out as a pushing palm to the northeast corner,
fingertips pointing upward, arm making a rounded shape. Your legs are making a left crossed stance, left foot full,
right foot empty. Your gaze is to the northeast. See photo 162:


Description of movement 5:

Continuing from movement 4, your torso and hips twist to the right, then your right foot shifts to the northwest
corner and comes down fully, your left leg relaxing into a right crossed stance, right leg bending, left leg straightening.
At the same time, your wrists turn for the palms to align with each other above and below, your right arm going along
with your body as it turns around, passing in front of your body, arcing upward to ward off in front of your forehead,
palm facing inward, as your left palm arcs downward until beside your left ear and then threads out as a pushing
palm to the northwest, fingertips pointing upward, making a rounded line with your left shoulder. Your gaze is to the
northwest. See photos 163 & 164:


Remarks on the technique:

This posture is Taiji Boxings most ingeniously unreadable movement, suddenly disappearing then suddenly
appearing, going to the left then going to the right, causing the opponent to be unable to fathom what is going on. It is
called maiden works the shuttle because it is analogous to the quick skillfulness of that activity.
This posture only goes to the four corners, the technique divided into four movements of the feet. So why is it
explained divided into five movements and shown with nine photos? The first movement carries over from the
previous posture with a turning after SINGLE WHIP. If that movement is not set off on its own, I greatly fear that
beginners would not understand the change of direction. Adding attention to that movement makes it easier to
understand the reason for that turn.

Posture 52

Name of the technique:

CATCH THE SPARROW BY THE TAIL

Function:

This is for training the four techniques of ward-off, rollback, press, and push.

Description of movement 1:

Continuing from movement 5 of MAIDEN WORKS THE SHUTTLE, your wrists turn so the palms are aligned with
each other above and below, rolling back toward your chest as your hips turn to the left, your right foot relaxing as
your left foot goes out a half step forward past your right foot. See photo 165:

Then your right foot advances a further step to the west, the knee bending downward, your left leg straightening,
making a stance of right leg a bow, left leg an arrow. At the same time, your arms lift up, forearms rotating so the
palms are aligned with each other forward and back, your arms bent across in front of your chest, warding off and
pressing to the west, your hands as though carrying an object, your right arm bent and level in front of your right
shoulder, your left arm bent and hanging in front of your chest. Your gaze is to the southwest. See photo 166:

Description of movement 2:

Continuing from movement 1, your right wrist turns so the palm is facing downward, your left wrist turning so the
palm is facing upward, as though you are catching a ball, and you will arc [to the left] with a rollback toward your
chest. See photo 167:

Your right leg straightens, your left leg bending, your hips twisting to the left, your arms going along with the turning
of your torso, your right arm lifting to be raised level in front of your chest, making a rounded shape, palm facing
inward, your left wrist turning so your palms are aligned with each other, elbows dropped. Your torso is turned to be
facing to the east. See photo 168:

Description of movement 3:

Continuing from movement 2, your hips twist to the right, your left leg straightening, right leg bending, as your hands
go along with your body by warding off and pressing to the west, your hands still as though carrying an object, your
right arm raised horizontally in front of your right shoulder, making a half moon shape, your left arm bent in front of
your chest. Your gaze is to the southwest. See photo 169:


Description of movement 4:

Continuing from movement 3, your hips absorb to the rear as you contain your chest and pluck up your back, your
right leg straightening, left leg bending, the weight sitting fully onto your left leg. At the same time, your hands deflect
away to the sides, going along with the withdrawing of your torso, your wrists turning so that the palms are facing to
the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. You
have to sink your shoulders and drop your elbows. Your gaze is to the southwest. See photo 170:

Description of movement 5:

Continuing from movement 4, your torso sends out to the southwest, your hands going along with it by pushing to the
southwest, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders

sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of
your hips, your right leg going from straight to bent, your left leg going from bent to straight, making a right bow
stance. Your gaze is to the southwest. See photo 171:

Description of movement 6:

Continuing from movement 5, your wrists bend downward as your hips twist to the left, your arms going along with
the movement by doing a rollback across to the left, seeming straight but not straight, bent but not bent, each making
rounded shapes at shoulder level. At the same time, your left leg goes from straight to bent and your right leg goes
from bent to straight, making a left bow stance. Your gaze is to the east. See photo 172:

Remarks on the technique:

Same as in Posture 2, but the transition is slightly different.


Route of Segment Seven: staying in the same area and moving to the four corners
South

East + West

Starting point on the center line

North

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

50. SINGLE WHIP

51. MAIDEN WORKS THE SHUTTLE

52. SINGLE WHIP [CATCH THE SPARROW BY THE TAIL]

SEGMENT EIGHT three postures / fourteen movements

Posture 53

Name of the technique:

SINGLE WHIP

Function:

This is a method of pulling in with a hook and pushing with a palm.

Description of movement 1:

Continuing from movement 6 of CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the
right, your right arm pulls from outward on the left into a level circle to the right, the palm changing to a hook hand
raised level to the right, as your left hand hangs down and arcs from the lower left, the palm scooping up until at your
right ribs. Your right leg switches from straightening to standing and your left leg switches from bending to hanging,
making a hanging stance. Your gaze is to the west. See photo 173:

Description of movement 2:

Continuing from movement 1, your right arm remains raised level to the right as your left palm goes from the right
side of your waist to pass in front of your right shoulder, fingers pointing upward, wrist turned, then slowly reaches
out to the east as a pushing palm. At the same time, your left foot steps forward to the east, making a stance of left leg
a bow, right leg an arrow, your hips going along with the movement of your body by twisting to the left. Your gaze is
toward your left palm. See photo 174:

Remarks on the technique:


Same as in Posture 3.

Posture 54

Name of the technique:

LEFT & RIGHT CLOUDING HANDS

Function:

This is a method of neutralizing the opponent and shielding the body.

Description of movement 1:

Continuing from movement 2 of SINGLE WHIP, your right hook hand releases and becomes a palm, and the hand
sinks down and goes along with your waist by arcing to the left until in front of your right [left] shoulder, palm turned
to face inward, as your right foot goes along with your right arm by shifting a half step to the east, toes touching down
close to and parallel with your left foot. Then your left hand loosens, the wrist turning over so the palm is facing
downward, and goes along with your waist by lowering and arcing to the right until in front of your lower abdomen,
palm facing upward and aligned with your right palm. Your gaze is level. See photo 175:

Description of movement 2:

Continuing from movement 1, your torso twists to the right, your arms going along with your torso, palms still facing
inward, as the toes of both feet turn to the right, your knees slightly bent. Your gaze is to the west. See photo 176:


Description of movement 3:

Continuing from movement 2, your left foot takes a sideways step to the east and your torso twists to sit onto your left
foot. At the same time, your left hand goes from the lower right, passes along your right side, and arcs until in front of
your left shoulder, palm facing inward, as your right hand arcs from in front of you, clouding until in front of your
abdomen. Your knees are slightly bent. Your gaze is level. See photo 177:

Description of movement 4:

Continuing from movement 3, your torso twists to the left as your right hand goes from in front of your shoulder
[abdomen], going along with your torso by arcing upward, clouding until in front of your left shoulder, palm facing
inward, and your left hand goes from above, arcing until in front of the left side of your abdomen. At the same time,
your right foot goes close to your left foot, toes touching down, and your knees are slightly bent. Your gaze is level. See
photo 178:


Description of movement 5:

Continuing from movement 4, the movement is the same as in movement 2. See photo 179:

Description of movement 6:

Continuing from movement 5, the movement is the same as in movement 3. See photo 180:


Description of movement 7:

Continuing from movement 6, the movement is the same as in movement 4. See photo 181:

Description of movement 8:

Continuing from movement 7, the movement is the same as in movement 5. See photo 182:


Description of movement 9:

Continuing from movement 8, the movement is the same as in movement 6. See photo 183:

Description of movement 10:

Continuing from movement 9, the movement is the same as in movement 7. See photo 184:


Description of movement 11:

Continuing from movement 10, the movement is the same as in movement 8. See photo 185:

In this posture, cloud your hands for a total of four times. Your right foot shifts sideways four steps, and so you are
performing fully eleven movements in accordance with the footwork. When learning this posture, if you just follow
along with the dotted lines in the photos, you will then not end up leaving out any movements, and thus you will not
have reason to complain this is too complicated.

Remarks on the technique:

This posture is the same as in Posture 27, except that in that case the technique is performed only three times, and so
it has a count of eight movements, whereas in this case the technique is performed four times, and so there is a count
of eleven movements. The reasoning for this was explained clearly in the remarks to Posture 27.
In practicing Taiji Boxing, the action of clouding hands is the most difficult movement to train. Its movement
uses the hips as an axle, and the arms, elbows, hands, legs, knees, and feet become the wheel. Furthermore, there is a
constant quality of straight but not straight, bent but not bent. This technique requires a sense emptiness and
fullness, and so without a deep degree of training, you will not be able to succeed at it. Some fail because they are
either too loose or too stiff, others because they stick out their buttocks and lean their bodies. Or they move the torso
but not the feet, or they move the hands but not the legs, or the limbs are moving but there is no liveliness to the
torso, or the torso is moving but the limbs are not moving in coordination with it. If you want to obtain the knack of
this art, you must seek it by way of an upright body, concentration of spirit, and gathering of energy.

Posture 55

Name of the technique:

SINGLE WHIP, LOW POSTURE

Function:

This is a method of loosening your waist and opening up your hips.

Description of movement 1:

Continuing from movement 11 of CLOUDING HANDS, your right forearm rotates for the hand to hang down in an arc
going downward from above, and raises level to the right, the palm becoming a hanging hand, and your left hand arcs
from your waist until in front of your right shoulder, palm turned to be facing to the left, fingertips pointing upward,
then slowly reaches out to the east as a pushing palm. At the same time, your left leg lifts and goes along with your left
hand by taking a step out to the east, your left knee bending, right knee straightening, making a left bow stance, your
hips going along with the movement of your body by twisting to the left. Your gaze is to the east. See photo 186:

Description of movement 2:

Continuing from movement 1, your right leg sinks down, your hips sitting down to the right, your left leg

straightening and lowering into a pouncing stance. At the same time, your left arm goes along with your body sinking
down to the rear and makes a parallel line with your left leg, the palm positioned above the top of your left foot, your
right hand remaining as a hook hand raised level to your right. Your gaze is still to the east. See photo 187:

Remarks on the technique:

This posture trains the larger muscles of the hip area, leading to an unhindered flexibility. The technique will thereby
be easier to make use of in an actual situation. In terms of physiological health, your hip joints will be opened up, and
the muscles of your waist will receive a great deal of flexibility exercise. For an excellent method of training the
muscles and bones of your hip area, this posture seems to be among the easiest of means. Pay attention to these
things: your buttocks should not stick out, your upper body should not lean forward, your neck should not stiffen,
your shoulders should make a straight east-west line rather being one higher than the other, your torso should be
straight, your waist should loosen, and your head should be upright. For the action to have a nimbleness, there is to
be neither stagnancy nor lack of control. Let roundness and continuousness be your standards, and then you will get
the knack of it.


Route of Segment Eight: traveling from the west to the center line
South

East + West

Starting point on the center line

North

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

53. SINGLE WHIP

54. LEFT & RIGHT CLOUDING HANDS

55. SINGLE WHIP, LOW POSTURE

SEGMENT NINE ten postures / twenty-six movements

Posture 56

Name of the technique:

GOLDEN ROOSTER STANDS ON ONE LEG

Function:

This is a method of taking advantage of opportunity to defeat the opponent.

Description of movement 1:


Continuing from SINGLE WHIP, LOW POSTURE, your hips lift to the left, your left leg going from straight to bent,
then straightening again as your right leg goes along with your body by lifting in front, as if to do a toe kick to the
opponents belly, the lower leg hanging down. At the same time, your right hand changes from hook to palm and
scoops upward, elbow bent in front of your body, fingertips pointing upward, so that your right elbow and right knee
are pointing toward each other, while your left arm goes along with your body by drilling upward and forward, then
coiling to the rear, and then pushing down to the outside of your left hip, palm facing downward. Your body is
standing straight. Your gaze is to the east. See photo 188:

Description of movement 2:

Continuing from movement 1, your right leg retreats a half step to the west, stands stably, and then your left leg lifts,
as if to do a toe kick to the opponents belly, the lower leg hanging down. At the same time, your left hand goes
forward, scooping up, elbow bent, fingertips pointing upward, so that your left elbow and left knee are pointing
toward each other, while your right arm goes forward and downward, the hand pushing down to the outside of your
right thigh, palm facing downward. Your body is standing straight. Your gaze is to the east. See photo 189:


Remarks on the technique:

In this posture, the lifting, lowering, twisting, and turning of your legs and hands are actually a matter of the bending
and extending of your hips, whereas the ability of your legs to stand stably entirely depends on the solidity of your
balance. When a practitioner of Taiji Boxing is able to be solidly balanced, then whenever he issues, it will be on
target, and every time he gets to the target, he defeats the opponent. Even if the opponent attacks me, I am not
attacked by the opponent. I am in a state of after Mt. Tai has avalanched and before the fierce tiger has run away
from it. Because of my balanced state, I am not sent into confusion by the opponent.

Posture 57

Name of the technique:

LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY

Function:

This is a method of retreating while driving away an opponent.

Description of movement 1:

Continuing from movement 2 of GOLDEN ROOSTER STANDS ON ONE LEG, your right wrist turns over so the palm
faces upward and arcs a half circle to the rear, raising to be at shoulder level, as your left arm extends forward and
level, the wrist turning over so the palm is facing upward, raised to make a horizontal line with your right arm. At the
same time, your left foot retreats a half step to the rear. When it comes down fully, your right leg will straighten, toes
slightly lifted, heel touching down, your hips sinking. Your torso turning slightly to the right, your gaze is to the east
[west]. See photo 190:

Description of movement 2:

Continuing from movement 1, your right hand goes upward from the west, passing in front of the ear, and the palm

pushes to the east, as your left wrist turns over and goes from the front to the rear, drawing in until at the left side of
your waist, palm facing to the east. At the same time, your hips sink down, your torso turning to the left, your left
knee slightly bending, toes slightly lifted, heel touching down, thighs parallel with each other. Your gaze is to the east.
See photo 191:

Description of movement 3:

Continuing from movement 2, your right pushing palm staying where it is, your left hand arcs from your waist to the
rear, lifting to be level to the west, making a horizontal east-west line with your right arm, palm facing upward, your
upper body turning slightly to the left, your feet slightly pivoting toward the north. Your gaze is to the east. See photo
192:

Description of movement 4:

Continuing from movement 3, your left hand arcs from the rear until beside the ear, then the palm pushes to the east,

as your right wrist turns over and the hand goes downward to be at the right side of your waist, palm facing to the
east. At the same time, your right foot retreats a half step to the rear, and the knee bends, your left leg straightening,
the weight sitting entirely onto your right leg, your left foot pointing to the east, slightly lifted. Your gaze is to the east.
See photo 193:

Description of movement 5:

Continuing from movement 4, your left wrist turns over and the hand extends level, palm facing upward, as your right
hand arcs to the rear, raising to be level to the west, palm facing upward, making a horizontal east-west line with your
left arm. Your torso goes along with the movement by twisting to the right, your feet also pivoting to the right. Your
gaze is to the west. See photo 194:

Description of movement 6:

Continuing from movement 5, your right hand arcs from the west until beside your right ear, then the palm pushes to

the east as your left foot retreats a half step to the rear and the knee bends, your right leg straightening, the weight
sitting entirely onto your left leg. At the same time, your left wrist turns over and the hand arcs downward, drawing in
to be at the left side of your waist, palm facing to the east, your right foot pivoting to point to the east. Your gaze is to
the east. See photo 195:

Remarks on the technique:

In this posture, your feet are front foot empty, rear foot full, and your arms are one going out, one coming in, the
shape like a wheel. As your left hand goes out, your right foot retreats, and vice versa, one side emptying, one side
filling. In this posture, there is both looking forward and looking back. This is almost the same as the previous time
[Posture 16], except that the transition [coming in this case from GOLDEN ROOSTER] is slightly different.

Posture 58

Name of the technique:

DIAGONAL FLYING POSTURE

Function:

This is a method of switching to an attack.

Description of movement 1:

Continuing from movement 6 of RETREAT, DRIVING AWAY THE MONKEY, your torso twists to the left as your left
hand goes from the left side of your waist, arcing upward to the west to be in front of your left shoulder, your right
hand going along with your waist by arcing until in front of your torso, your palms aligned with each other above and
below as though holding a ball, your left palm facing downward, your right palm facing upward. Your feet also go
along with the turning of your hips, left foot filling, right foot emptying. Your gaze is to the east. See photo 196:


Description of movement 2:

Continuing from movement 1, your right hand turns along with your right foot as it steps to the southwest, propping
up with the arm angled diagonally upward, your left hand pushing downward to the northeast, palm facing diagonally
downward. At the same time, your right foot takes a step out to the southwest, and the knee bends, your left leg
straightening. Your gaze is to the southwest. See photo 197:

Remarks on the technique:

In this posture, if an opponent attacks from above on my right side, I turn around and take advantage of the moment
before his attack arrives by quickly using my arms to do an action of opening, either propping up his arm or striking
diagonally to his back, also stepping into his space with my right foot, causing him to lose his balance. This is a
method of switching a defensive position into an offensive one.


Posture 59

Name of the technique:

RAISE THE HANDS

Function:

This is a method of pressing and pushing.

Description of the movement:

Continuing from movement 2 of DIAGONAL FLYING POSTURE, your left foot gathers in to be close to your right
heel, then your right foot takes a half step out to the southwest, your left leg bending and sitting full, your right leg
straightening, heel touching down. Your hands are coming together inward, arms making a rounded shape, fingers at
shoulder level, your left hand going from the rear and closing in toward the inside of your right elbow, the fingers of
both hands pointing upward. Your gaze is to the southwest, the weight sitting fully onto your left leg. See photo 198:

Remarks on the technique:

Same as in Posture 59.

Posture 60

Name of the technique:

WHITE CRANE SHOWS ITS WINGS

Function:

This is a method of warding off while pushing away, lifting up while hanging down.

Description of movement 1:


Continuing from RAISE THE HANDS, your right foot slightly advances a half step, turning its toes to point to the
southeast, and changes from empty to full. Your left foot goes along with your right foot by changing from full to
empty. Your knees are slightly bent. At the same time, your right arm goes from in front of you by arcing to hang
downward, palm facing upward, as your left hand goes along with the turning of your torso to be horizontal in front of
your chest, palm facing downward. See photo 199:

Description of movement 2:

Continuing from movement 1, your hips turn to the left as you sit down onto your right leg, your left leg slightly bent,
heel lifted, toes touching down. At the same time, your right arm arcs a half circle upward from the rear, lifting to
make a semicircle shape, palm facing downward, as your left arm pushes down, palm facing downward, to be placed
in front of your left knee, also making a semicircle shape, your upper body going along with the twisting of your hips.
Your gaze is to the east. See photo 200:


Remarks on the technique:

Same as in Postures 5 & 19.

Posture 61

Name of the technique:

BRUSH KNEE IN A CROSSED STANCE

Function:

This is a method of developing suppleness in the arms and exercising the hips.

Description of movement 1:

Continuing from movement 2 of WHITE CRANE SHOWS ITS WINGS, your torso twists to the right, your left foot
and your arms turning along with it, your left palm going upward, wrist turning so your palms are aligned toward
each other, your hands as though carrying a ball in an arc from left to right, your arms switching above and below,
your left forearm horizontal in front of your chest, palm close to your right upper arm, your right arm hanging down,
palm facing upward. Your gaze follows along with the arcing of your arms. See photo 101 [201]:

Description of movement 2:

Continuing from movement 1, your arms as though holding a ball arc from right to left. While your left foot takes a
step out to the east [northeast], knee bending, your right leg straightening, your right arm goes from beside your right
ear with a level push forward, fingertips pointing upward, the arm making a rounded shape, and your left hand
pushes downward past your left knee to be beside the thigh. Your torso is turned to the northeast, your gaze level to
the east. See photo 202:


Remarks on the technique:

Same as in Postures 6 & 12.

Posture 62

Name of the technique:

NEEDLE UNDER THE SEA

Function:

This develops flexibility in the lower back.

Description of movement 1:

Continuing from movement 2 of BRUSH KNEE IN A CROSSED STANCE, your right foot slides forward a half step to
the east and your left foot withdraws a half step, toes touching down as your arms go along with your lower back by
withdrawing toward your chest. See photo 203:


Then incline forward and diagonally downward, your left [right] fingers pointing diagonally forward, palm facing to
the left, your left hand guarding at your right arm, palm facing downward. Your gaze is forward and level. See photo
204:

Remarks on the technique:

Same as in Posture 21.

Posture 63

Name of the technique:

SHOULDER THROUGH THE ARM

Function:

This is a method of training power in your upper back to go through your arm and fingers.

Description of movement 1:

Continuing from NEEDLE UNDER THE SEA, your feet not moving from their location, your arms withdraw toward
your chest, your upper body slightly turning to the right as your back pulls up, going along with your arms as they
make a posture of waiting to issue. See photo 205:

Description of movement 2:

Continuing from movement 1, your right foot stays where it is as your left foot takes a half step out to the southeast,
the knee bending, your right leg straightening. Your arms go along with your waist and legs by pushing out to the
southeast, your right palm positioned in front of your forehead, your left palm taking advantage of the opportunity to
push out to the upper left corner, both palms facing forward, fingertips pointing toward the southeast. Your gaze is
toward your left palm. See photo 206:


Remarks on the technique:

Same as in Posture 22.

Posture 64

Name of the technique:

STEP FORWARD, PARRY, BLOCK, PUNCH

Function:

This is a method of advancing to neutralize and strike the opponent.

Description of movement 1:

Continuing from movement 2 of SHOULDER THROUGH THE ARM, your torso twists to the right, as your right leg
lifts, toes swung out to the northwest, and comes down fully. At the same time, your right arm turns over from the
elbow, the palm becoming a fist, and does a parrying block to the right, then goes along with the turning of your hips,
the fist placed at the right side of your waist, as your right [left] hand withdraws downward, passing in front of your
left ear, and pushes to the west, your left toes pivoting the foot to the northwest, your knees bending downward, your
hips sinking down. Your gaze is to the east, your torso facing to the north. See photo 207:

Description of movement 2:

Continuing from movement 1, your left foot takes a step out to the west, coming down fully, the knee bending, your
right leg straightening, making a stance of left leg a bow, right leg an arrow. At the same time, your right fist does a
level thrust to the west from your waist, your left palm slightly drawing back, fingertips pointing upward, to guard at
your right arm. You are now in a left crossed stance. Your gaze is to the west. See photo 108 [208]:


Remarks on the technique:

This posture is almost the same as in Postures 10 and 24, the transition being slightly different. The function stays the
same, but the posture being repeated with a different transition means the movement within it gets slightly adjusted.
If we make a generalization that the posture is just the same as before, we would unavoidably end up at odds with the
actual situation. Therefore I have tirelessly described it again in detail in order for you to have a standard explanation
to learn by.

Posture 65

Name of the technique:

ADVANCE, CATCH THE SPARROW BY THE TAIL

Function:

This is a method of transitioning.

Description of movement 1:

Continuing from movement 2 of STEP FORWARD, PARRY, BLOCK, PUNCH, your right foot advances a step to the
west and comes down fully, the knee bending, the weight sitting onto your right leg, your left leg straightening. At the
same time, your right fist loosens and becomes a palm, the wrist turning so the palm is facing upward, your left wrist
turning so the palm is facing downward. Your wrists then turn so your right palm is now facing downward and your
left palm is facing upward, as though you are catching a ball, and you will do a rollback toward your chest, your right
leg again straightening, left leg bending. Your gaze is to the west. See photo 209:


Description of movement 2:

Continuing from movement 1, your hips twist to the left, your arms going along with the turning of your torso, your
right arm lifting to be raised level in front of your chest, making a rounded shape, palm facing inward, your left wrist
turning so your palms are aligned with each other, elbows dropped. Your torso is turned to be facing to the east. See
photo 210:

Description of movement 3:

Continuing from movement 2, your hips twist to the right, your left leg straightening, right leg bending, as your hands
go along with your body by warding off and pressing to the west, your hands still as though carrying an object, your
right arm raised horizontally in front of your right shoulder, making a half moon shape, your left arm bent and
hanging in front of your chest. Your gaze is to the southwest. See photo 211:


Description of movement 4:

Continuing from movement 3, your hips absorb to the rear as you contain your chest and pluck up your back, your
right leg straightening, left leg bending, the weight sitting fully onto your left leg. At the same time, your hands deflect
away to the sides, going along with the withdrawing of your torso, your wrists turning so that the palms are facing to
the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. You
have to sink your shoulders and drop your elbows. Your gaze is level to the southwest. See photo 212:

Description of movement 5:

Continuing from movement 4, your torso sends out to the southwest, your hands going along with it by pushing to the
southwest, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders
sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of

your hips, your right leg going from straight to bent, making a right bow stance. Your gaze is to the southwest. See
photo 213:

Description of movement 6:

Continuing from movement 5, your wrists bend downward as your hips twist to the left, your arms going along with
the movement by doing a rollback across to the left, seeming straight but not straight, bent but not bent, each making
rounded shapes at shoulder level. At the same time, your left leg switches from straight to bent and your right leg goes
from bent to straight, making a left bow stance. Your gaze is to the east. See photo 214:

Remarks on the technique:

Same as in Posture 25.


Route of Segment Nine: traveling from the center line to the west
South

East + West

Starting point on the center line

North

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

56. GOLDEN ROOSTER STANDS ON ONE LEG

57. LEFT & RIGHT 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. SHOULDER THROUGH THE ARM

64. STEP FORWARD, PARRY, BLOCK, PUNCH

65. STEP FORWARD, CATCH THE SPARROW BY THE TAIL

SEGMENT TEN three postures / eleven movements


Posture 66

Name of the technique:

SINGLE WHIP

Function:

This is a method of pulling in with a hook and pushing with a palm.

Description of movement 1:

Continuing from movement 6 of CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the
right, your right arm pulls from outward on the left into a level circle to the right, the palm becoming a hook hand
raised level to the right, as your left hand hangs down and arcs from the lower left, the palm scooping up until at your
right ribs. Your right leg switches from straightening to standing and your left leg switches from bending to
straightening [hanging], making a right bow stance [a hanging stance]. Your gaze is to the west. See photo 215:

Description of movement 2:

Continuing from movement 1, your right arm remains raised level to the right as your left palm goes from the right
side of your waist to pass in front of your right shoulder, fingers pointing upward, wrist turned, then slowly reaches
out to the east as a pushing palm. At the same time, your left foot lifts and steps forward to the east, making a stance
of left leg a bow, right leg an arrow, your hips going along with the movement of your body by twisting to the left.
Your gaze is to the east. See photo 216:


Remarks on the technique:

Same as in Posture 3.

Posture 67

Name of the technique:

LEFT & RIGHT CLOUDING HANDS

Function:

This is a method of neutralizing the opponent and shielding the body.

Description of movement 1:

Continuing from movement 2 of SINGLE WHIP, your right hook hand releases and becomes a palm, and the hand
sinks down and goes along with your waist by arcing to the left until in front of your left shoulder, palm turned to face
inward, as your right foot shifts a half step to the east, toes touching down close to your left foot. Then your left hand
loosens, the wrist turning over so the palm is facing downward, and goes along with your waist by lowering and
arcing to the right until in front of your lower abdomen, palm facing slightly upward. Your gaze is level. See photo
217:


Description of movement 2:

Continuing from movement 1, your torso twists to the right, your arms going along with your torso, palms still facing
inward, as the toes of both feet turn to the right, your knees slightly bent. Your gaze is to the west. See photo 218:

Description of movement 3:

Continuing from movement 2, your left foot takes a sideways step to the east and your torso twists to sit onto your left
foot. At the same time, your left hand goes from the lower right, passes along your right side, and arcs until in front of
your left shoulder, palm facing inward, as your right hand arcs from in front of you, clouding until in front of your
abdomen. Your knees are slightly bent. Your gaze is level. See photo 219:


Description of movement 4:

Continuing from movement 3, your torso twists to the left as your left [right] hand goes from in front of your shoulder
[abdomen], going along with your torso by arcing upward, clouding until in front of your left shoulder, palm facing
inward. At the same time, your right foot goes close to your left foot, toes touching down, and your knees are slightly
bent. Your gaze is level. See photo 220:

Description of movement 5:

Continuing from movement 4, the movement is the same as in movement 2. See photo 221:


Description of movement 6:

Continuing from movement 5, the movement is the same as in movement 3. See photo 222:

Description of movement 7:

Continuing from movement 6, the movement is the same as in movement 4. See photo 223:


Description of movement 8:

Continuing from movement 7, the movement is the same as in movement 5. See photo 224:

Remarks on the technique:

Same as the earlier occasion [Posture 27].

Posture 68

Name of the technique:

SINGLE WHIP

Function:

This is a method of transitioning.

Description of the movement:

Continuing from movement 8 of CLOUDING HANDS, your right forearm rotates for the hand to hang down in an arc
going downward from above, and raises level to the right, the palm changing to a hook hand, and your left hand arcs
from your waist until in front of your right shoulder, palm turned to be facing to the left, fingers pointing upward,
then slowly reaches out to the east as a pushing palm. At the same time, your left leg lifts and goes along with your left
hand by taking a step out to the east, your hips going along with the movement of your body by twisting to the left.
Your gaze is toward your left palm. See photo 225:

Remarks on the technique:

Same as in Posture 3.


Route of Segment Ten: traveling from the west to the center
South

East + West

Starting point on the center line

North

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

66. SINGLE WHIP

67. LEFT & RIGHT CLOUDING HANDS

68. SINGLE WHIP

SEGMENT ELEVEN four postures / ten movements

Posture 69

Name of the technique:

RISING UP AND REACHING OUT TO THE HORSE

Function:

This is a method of withdrawing a step and raising your body to neutralizing the opponent.

Description of the movement:

Continuing from SINGLE WHIP, your right hand arcs upward from the right rear, passes beside your right ear, and
reaches out to the east, palm facing downward, as your hips twist to the left, your left hand going along with your
waist by withdrawing to be placed below your left ribs, palm facing upward. At the same time, your right foot takes a
lively step forward, the ball of the foot turning to the left, knee slightly bent, and your left foot withdraws, toes
touching down, the leg straightening, your hips sinking down, your torso turning to the east. Your gaze is level. See
photo 226:

Remarks on the technique:

Same as in Posture 29.

Posture 70

Name of the technique:

CROSS-SHAPED KICK

Function:

This is a method of having awareness both in front and behind.

Description of movement 1:

Continuing from REACHING OUT TO THE HORSE, your left hand goes from below your ribs, passing over your
right arm, and goes diagonally upward to the east as a threading palm, thrusting out to the opponents throat, palm
facing upward, your right hand withdrawing to guard below your left elbow, palm facing upward, your hips twisting
to the right. (Then your left toes will turn to the right, coming down fully, the leg straightening, your right knee
slightly bending, toes touching down, and your gaze will follow along with the arc of your palm to look to the west.)
See photo 227:


Description of movement 2:

Continuing from movement 1, your right hand goes from below your elbow, the wrist turning over, arcing past the
front of your body to block across to the west, palm slightly facing to the southwest, your left wrist turning so the
palm is slightly facing to the southeast. At the same time, your right foot lifts and presses out with the heel to the
opponents rib area, your left leg straightening. Your arms are spread level to look like a cross. See photo 228:

Remarks on the technique:

For this cross-shaped kick, your hands are spread apart like a cross. To the front it can strike to the opponents
throat, and to the rear it can prevent a surprise attack. Take advantage of the opportunity to lift your leg and press to
his right ribs. This is described as seeing both forward and back, you are not subject to your enemys plans, meaning
you can be equally aware of both front and behind.


Posture 71

Name of the technique:

BRUSH KNEE, PUNCH TO THE CROTCH

Function:

This is a method of turning your torso to continue into a strike.

Description of the movement:

Continuing from movement 2 of CROSS-SHAPED KICK, your right palm becomes a fist, the elbow bending, and arcs
inward then outward, parrying aside to the rear and drawing in to your waist, then quickly striking forward toward
the opponents crotch, as your left hand goes from the upper left, passing through the upper right, and arcing
downward to brush past your left knee, palm facing downward. At the same time, your right foot comes down to the
west, toes swung out toward the north, coming down fully, the knee slightly bending, making a crossed stance, and
then your left foot advances a further step to the west, coming down fully, knee bending, as your right leg relaxes and
straightens, now making a left crossed stance. Your hips first sink to the right, then twist to the left. The actions of
fist, legs, and torso are in a measured and uniform rhythm. With your body slightly leaning forward, your gaze goes
along with the movements of your foot and fist to be looking to the west. See photos 229 & 230:


Remarks on the technique:

The application of this posture is to brush aside the opponents hand and attack his lower body. Emphasize the
movement of your torso to drive the actions of pressing down to the right and raising on the left, then frustrating on
the left and shocking on the right. This exercises the use of the hips as a pivot to rotate the torso. Contain your chest,
which also requires plucking up your back, and sink your shoulders, which also requires dropping your elbows. Thus
application will be nimble and transformation will be lively. But it is best not to strike in this fashion without good
reason.

Posture 72

Name of the technique:

STEP FORWARD, CATCH THE SPARROW BY THE TAIL

Function:

This is for training ward-off, rollback, press, and push.

Description of movement 1:

Continuing from movement 2 of BRUSH KNEE, PUNCH TO THE CROTCH, your right fist becomes a palm, the wrist
turning so the palm is facing upward, as your left wrist turns so the palm is facing downward, as though you are
catching a ball. Then your right foot advances a step to the west and comes down fully, the knee bending, your left leg
straightening, your torso and hips going along with your right leg by turning to the right. Your wrists then turn so
your palms switch positions above and below, and you will do a rollback toward your chest, your right leg again
straightening, left leg bending. Your gaze is to the west. See photo 231:


Description of movement 2:

Continuing from movement 1, your hips then twist to the left, your arms going along with the turning of your torso,
your right arm lifting to be raised level in front of your chest, making a rounded shape, palm facing inward, your left
wrist turning so your elbow is hanging in front of your chest, palms aligned with each other, as though carrying an
object, elbows sinking down. Your torso is turned to be facing to the east, your gaze to the east. See photo 232:

Description of movement 3:

Continuing from movement 2, your hips twist to the right, your left leg straightening, right leg bending, as your hands
go along with your body by warding off and pressing to the west, your hands still as though carrying an object, your
right arm raised horizontally in front of your right shoulder, making a half moon shape, your left arm bent and
hanging in front of your chest. Your gaze is to the southwest. See photo 233:


Description of movement 4:

Continuing from movement 3, your hips absorb to the rear as you contain your chest and pluck up your back, your
right leg straightening, left leg bending, the weight sitting fully onto your left leg. At the same time, your hands deflect
away to the sides, going along with the withdrawing of your torso, your wrists turning so that the palms are facing to
the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. You
have to sink your shoulders and drop your elbows. Your gaze is level to the southwest. See photo 134 [234]:

Description of movement 5:

Continuing from movement 4, your torso sends out to the southwest, your hands going along with it by pushing to the
southwest, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders

sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of
your hips, your right leg going from straight to bent, your left leg going from bent to straight, making a right bow
stance. Your gaze is level to the southwest. See photo 235:

Description of movement 6:

Continuing from movement 5, your wrists bend downward as your hips twist to the left, your arms going along with
the movement by doing a rollback across to the left, seeming straight but not straight, bent but not bent, each making
rounded shapes at shoulder level. At the same time, your left leg goes from straight to bent and your right leg goes
from bent to straight, making a left bow stance. Your gaze is to the east. See photo 236:

Remarks on the technique:

CATCH THE SPARROW BY THE TAIL occurs throughout the set eight times, transitioning once from BEGINNING

POSTURE, twice from CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, twice from STEP
FORWARD, PARRY, BLOCK, PUNCH, once from WILD HORSE VEERS ITS MANE, once from MAIDEN WORKS
THE SHUTTLE, and once from BRUSH KNEE, PUNCH TO THE CROTCH. They are all the same as the first time,
but the transitions are not the same, and so the movements into it and out of it are slightly different. Therefore I have
gone to the trouble of explaining it in detail each time in order for you to learn it without ending up sighing in
confusion.

Route of Segment Eleven: [traveling from the center line to the west]
South

East + West

Starting point on the center line

North

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

69. RISING UP AND REACHING OUT TO THE HORSE

70. CROSS-SHAPED KICK

71. BRUSH KNEE, PUNCH TO THE CROTCH

72. STEP FORWARD, CATCH THE SPARROW BY THE TAIL

SEGMENT TWELVE nine postures / fifteen movements

Posture 73

Name of the technique:

SINGLE WHIP, LOW POSTURE

Function:

Same as in Posture 55.

Description of movement 1:

Continuing from movement 6 of CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the
right, your right arm pulls from outward on the left into a level circle to the right, the palm changing to a hook hand
raised level to the right, as your left hand arcs from the lower left, the palm scooping up until at your right ribs, your
left leg lifting and hanging, your right leg switching to a posture of standing [one-legged]. Your gaze is to the west. See
photo 237:

Description of movement 2:

Continuing from movement 1, your right arm remains raised level to the right as your left palm goes from your waist
to pass in front of your right shoulder, fingers pointing upward, wrist turned, then slowly reaches out to the east as a
pushing palm. At the same time, your left foot comes down with a forward step to the east, going from a hanging leg
to a bending knee. See photo 238:


Description of movement 3:

Continuing from movement 2, your hips then sink down toward the west, your right leg switching from straight to
bent, the weight sitting onto your right leg. At the same time, your left arm goes along with the sinking of your hips
and makes a parallel line with your left leg, the palm positioned above the top of your left foot, your right hand
remaining as a hook hand raised level to your right. Your gaze is still to the east. See photo 239:

Remarks on the technique:

Although the posture is the same as in Posture 55, the transition into it is different. But despite some slight
differences in the movements, the main posture is the same. The SINGLE WHIP posture gets performed repeatedly
throughout the set, a total of ten times, transitioning seven times from CATCH THE SPARROW BY THE TAIL and
three times from CLOUDING HANDS. Among these two kinds of transitions, there is also the version of SINGLE

WHIP, LOW POSTURE. When a posture is the same but there is a difference of movement, look into the transitions
that precede and follow it in order to see how to prepare for it, for it is then a situation of the transformations being
themselves transformable.

Posture 74

Name of the technique:

STEP FORWARD WITH THE BIG DIPPER

Function:

This is a method of meeting the opponents attack.

Description of the movement:

Continuing from the third movement of SINGLE WHIP, LOW POSTURE, your hips rise to the left [i.e. forward], your
torso twisting to the left, while your left leg goes from straight to bent, your left hip sinking down. Then your right
foot goes along with your body by taking a half step out to the east, toes touching down, knee slightly bent, your right
toes making a T shape with your left foot. The weight of your whole body is supported on top of your left leg. At the
same time, your left palm scoops forward and upward as your right hook hand quickly goes along with your right leg
by scooping upward to the east. Your forearms cross in front of your body, making a Big Dipper [i.e. saucepan] shape,
your hands becoming fists at shoulder level, the centers of the fists facing diagonally upward. Sink your shoulders,
drop your elbows, and loosen your waist. Your gaze is to the east. See photo 240:

Remarks on the technique:

The opponent in front of me attacks from above, so I meet it and send it away upward, my hands propping up. Or I
may strike with my [right] fist and kick with my [right] leg.

Posture 75

Name of the technique:

RETREAT TO SITTING TIGER POSTURE

Function:

This is a method of rending to neutralize the opponent.

Description of the movement:

Continuing from STEP FORWARD WITH THE BIG DIPPER, your right hand goes downward to the right side and
makes a full circle until positioned in front of your forehead, palm facing outward, while your left hand goes
downward to the left, rending aside, until the palm is positioned beside your left thigh. Both wrists are turned
outward, palms facing slightly to the east. At the same time, your right leg retreats a step to the east, the knee bends,
and your left heel lifts, toes touching down. Your hips sink and your torso goes along with your hips by turning to the
right, making a sitting tiger posture. Your gaze is to the east. See photo 241:

Remarks on the technique:

This is a method of meeting the opponent. If the opponent attacks with a double-hand push, I deal with it by
retreating while sticking upward with one hand and rending downward with the other, causing all of the opponents
power to land on nothing. This is called controlling the opponent and not being controlled by the opponent [Art of
War, chapter 6].

Posture 76

Name of the technique:

SPIN, SWINGING LOTUS KICK

Function:

This is a method of spinning around and doing a swinging kick.

Description of movement 1:


Continuing from RETREAT TO SITTING TIGER POSTURE, do a complete spin around to the right rear on the ball of
your right foot, your left foot lifting and going along with the rightward turn by doing a sweeping action all the way
around from east to west to northeast, lowering to the northeast corner, knee bending, coming down fully, your right
leg straightening, and your left hand lifts up to be positioned in front of your forehead, the back of the hand aligned
with your right palm. As your torso spins around, your hips are sinking down. Your gaze is to the east. See photo 242
[which shows the position of the hands while only halfway through the spin]:

Description of movement 2:

Continuing from movement 1, your left leg straightens as your right leg quickly lifts and does a swinging kick from the
upper left to the right (called an along-with-the-wind kick), your palms at the same time striking the top of your
right foot. Your gaze is to the east. See photo 243:

Remarks on the technique:

This posture attacks above with WIND SWAYS THE LOTUS and has been described as softening the waist so much
it seems boneless. To let go and let the entire body be a single hand can describe the subtlety of this posture.

Posture 77

Name of the technique:

BEND THE BOW, SHOOT THE TIGER

Function:

This is a method of seizing the opportunity with a thrusting strike.

Description of the movement:

Continuing from movement 2 of SPIN, SWINGING LOTUS KICK, your right leg lowers to the southeast corner,
coming down fully, the knee bending, your left leg straightening, making a stance of right leg a bow, left leg an arrow.
At the same time, your arms go along with the lowering of your right leg, then arc upward to the right, your palms
grasping into fists, your right fist lifting until in front of your right ear, sticking to the opponents wrist, your left fist
passing in front of your right ribs and then doing a thrusting strike to the southeast, your hips sinking down, your
torso turning first to the right and then to the left. Your gaze is to the east. See photo 244:

Remarks on the technique:

This posture continues from the previous three postures to form a single posture [from BIG DIPPER to SHOOT
THE TIGER forming the finale of the set]. To aid this particular posture, fulfill the qualities of attack and defense,
advance and retreat. The whole set will thus have a continuous flow.
If you feel a need to arbitrarily add or subtract postures, not only would this violate the original intentions of the
creators of the Taiji Boxing set, I doubt it would tally with the standards of most other boxing arts either. Consider
this point well, and then the future of our martial arts will be almost assured.

Posture 78

Name of the technique:

STEP FORWARD, PARRY, BLOCK, PUNCH

Function:

Same as in Posture 64.

Description of movement 1:

Continuing from BEND THE BOW, SHOOT THE TIGER, your hips turn to the left as you sit onto your left leg, your
right leg straightening, left leg bending. At the same time, your fists change to palms and do a rollback from forward
in the upper right toward your chest, your torso turning to the left while your hands are rolling back to be beside your
left ribs. See photo 245:

Then your right foot lifts, the toes swinging out to the south, and the knee bends as it comes down fully, your left foot
emptying and pivoting on the ball of the foot, heel lifted, your left knee touching the back of your right knee, your
torso turning to the right, hips sinking down, the weight sitting onto your right leg. At the same time, your right palm
grasps into a fist, rotating at the elbow so the palm is facing upward, and goes from your left ribs, flinging aside to the
right until at the right side of your waist, your left palm going along with the arcing of your right arm by reaching out
to the east from your chest, blocking away the opponents hand. Your gaze is to the east. See photo 246:


Description of movement 2:

Continuing from movement 1, your left foot takes a step out to the east, the knee bending, the foot coming down fully,
your right leg relaxing and straightening. At the same time, your right fist does a level thrust to the east from your
waist, your left arm slightly drawing back to guard beside your right arm, fingertips pointing upward, your torso
turning to the left. Your gaze is to the east. See photo 247:

Remarks on the technique:

This posture occurs six times throughout the set, but every time it transitions from a different posture. Despite those
different postures, the technique stays the same.

Posture 79

Name of the technique:


SEALING SHUT

Function:

This is a method of blocking the opponent and sealing him off.

Description of movement 1:

Continuing from movement 4 of STEP FORWARD, PARRY, BLOCK, PUNCH, your hips sit to the right rear, your
waist absorbing inward (meaning you are containing your chest and plucking up your back), your right leg bending
downward, your left leg straightening. At the same time, your right fist becomes a palm, and goes along with your
torso by withdrawing to the rear, your left arm arcing to be below your right arm and reaching out forward with an
intention of blocking the opponent. Your hips are sinking down, your gaze to the east. See photo 248:

Description of movement 2:

Continuing from movement 1, your forearms rotate in unison, turning your wrists, deflecting aside to the left and
right, and withdrawing to the rear as you contain your chest and pluck up your back, your palms facing forward,
fingers slightly bent. See photo 249:


Then do a level push to the east, your arms seeming rounded into half moon shapes, your torso and hips sending out
to the east, your left knee bending, your right leg straightening, making a stance of front leg a bow, rear leg an arrow.
See photo 250:

Remarks on the technique:

This is the third appearance of this posture, performed the same way as the previous times.

Posture 80

Name of the technique:

CROSSED HANDS

Function:

This is a method of defending above and below.

Description of movement 1:

Continuing from movement 2 of SEALING SHUT, your torso turns to the right as your right thigh sinks down,
making a four-level stance with your right foot empty, left foot full. At the same time, your arms go along with your
torso by going to the upper right, deflecting to the sides as you turn to face forward, both palms facing forward, arms
making a full moon shape. Your gaze is level. See photo 251:

Description of movement 2:

Continuing from movement 1, your arms go along with your torso by spreading apart in unison from above to the
sides and slowly pushing down until in front of your crotch, both palms facing inward, as though carrying the moon.
Your legs go along with your hips by bulging outward, your left foot empty, right foot full, thighs still sinking down.
Contain your chest, pluck up your back, and loosen your waist. See photo 252:


Description of movement 3:

Continuing from movement 2, your legs slowly straighten to be standing, your feet gathering inward until at shoulder
width, making a parallel stance, as your hands cross, palms facing inward, your arms going along with your body by
slowly raising up from below, crossing with a rounded embrace in front of your chest. Your gaze is level to the south.
See photo 253:

Remarks on the technique:

This is the third performance of this posture, its movements and transitions all the same as before.

Posture 81

Name of the technique:

CLOSING POSTURE

Function:

This is for concluding the whole set of postures.

Description of the movement:

Continuing from movement 3 of CROSSED HANDS, your hands spread apart to the sides and slowly sink down,
palms facing downward until they are beside your hips, thereby returning you to your original position in the
BEGINNING POSTURE. Your left foot will then gather in to the right, making an attention stance. See photo 254:


Remarks on the technique:

As this posture concludes the full set of boxing techniques, you should give it special attention. Consolidate your spirit
and rest your thoughts. Quiet your mind and relax your intent. The continuity running through the whole exercise
must not be allowed to slip away. Withdraw your mind, collecting your energy and putting it back into your elixir
field, returning you to a condition of taiji [i.e. a perfect balanced state]. You have hereby obtained the whole set from
start to finish.

Route of Segment Twelve: traveling from the west to the center line

South

Starting point on the center line


East + West

North

Map key: toes / heel / right foot / left foot / from a certain step to another

Technique names in sequence:

73. SINGLE WHIP, LOW POSTURE

74. STEP FORWARD WITH THE BIG DIPPER

75. RETREAT TO SITTING TIGER POSTURE

76. SPIN, SWINGING LOTUS KICK

77. BEND THE BOW, SHOOT THE TIGER

78. STEP FORWARD, PARRY, BLOCK, PUNCH

79. SEALING SHUT

80. CROSSED HANDS

81. CLOSING POSTURE

PART TWO: DISCOURSES FROM VARIOUS TAIJI BOXING EXPERTS

Here is a selection of writings by various Taiji Boxing experts, gathered together in order for people researching this
body of knowledge to have materials to draw from. Understanding the core of the art will cause practitioners to be not
only concerned with training the body, but also cultivating the temperament, for which it has the greatest
effectiveness. I therefore present these selections below so that your Taiji Boxing may improve both endlessly and
intelligently.

CHAPTER ONE: HU PUANS THE VALUE OF TAIJI BOXING IN PHYSICAL EDUCATION

(from Eastern Variety Magazine, Volume 30, #20 Special Physical Education Issue [Oct 16, 1933])

If we wish to discuss Taiji Boxings value as physical education, we must first discuss its principles of movement, and
in order to do that, we must first explain why it is named Taiji. Taiji Boxings movements are a whole-bodied
exercise rather than the exercising of isolated parts. Its value as physical education lies in this whole-bodied quality.
Furthermore, Taiji Boxings movements make a mild kind of exercise rather than a strenuous one. Its value as
physical education also lies in this quality of mildness.
This whole-bodied mild exercise makes a continuous taiji movement [i.e. circular as in the spinning taiji
symbol]. Surely this makes the name Taiji Boxing quite clear, and then an understanding of these two qualities of
exercise will naturally fall into place. It is nothing mysterious, no special skill, just the natural movement of the body

without at all forcing anything to happen within it.


The intent of this article is first to explain the name of the art, then describe its principles of movement, and then
to discuss its value as physical education.

1. The Name Taiji Boxing

As for the actual origin of Taiji Boxing and who created it, although there are some fragmentary records, they are not
sufficient to provide us with any convincing truth, and so there is much controversy over this point. However, this
article only makes use of the principles of Taiji Boxing movement to explain the significance of the name Taiji. I will
not discuss here any bizarre or strained interpretations, nor employ specific terminology from the art nor its poetic
instructions, which would only confuse the issue. I will also not take into account whether or not I am really in touch
with the original intention of using the name Taiji when the art was founded. I will only explain with the notion of
making explanation understandable and the hope that it will make sense to everyone.
Looking into the term taiji [grand polarity], it comes from the commentary section to the Book of Changes,
which says: Change has a grand polarity. This generates the dual aspects. The dual aspects then generate the four
manifestations. And the four manifestations generate the eight trigrams. Let us interpret the content of these four
sentences in somewhat clearer language: the dual aspects, four manifestations, and eight trigrams all come from the
grand polarity, and so the grand polarity is the motive power of them all. Therefore the movements of the dual
aspects, four manifestations, and eight trigrams are based on the movement of the grand polarity.
The universe is a grand polarity, and the human body is also a grand polarity. The belly represents the grand
polarity, the two sides of the waist represent the dual aspects, the two arms and two legs represent the four
manifestations, and the upper and lower sections of each limb represent the eight trigrams. The motive power of the
universe lies in the Grand Polarity, and the motive power of the human body also lies in a grand polarity. Therefore
the movements in Taiji Boxing are not the movements of the hands and feet, but the movements of the waist, and not
really even the waist, but the abdomen.
The abdomen is the most central part of the entire body. When this area moves, every part of the body moves.
Other kinds of exercise emphasize the arms, or emphasize the legs, or emphasize the torso. Emphasizing parts will
diminish the whole-bodied quality, either leading to uneven coordination or even resulting in making the art
unlearnable as you unavoidably fall into the error of lopsided development. In the exercise of Taiji Boxing, when there
is no movement, no part is moving, and when there is movement, the whole body is moving. Therefore when there is
any movement, if every part is not moving, it is not Taiji. With the abdomen being the central point, then when it is
moving, the movements of the two sides of the waist, the arms, and legs do not need to be in a rush.
For other kinds of exercise that emphasize arms or legs or torso, when one part is working on its own, it will have
to use strenuous effort in order to be achieve what it is trying to do. Movement in Taiji Boxing depends entirely on
movement initiated from the central point (i.e. movement of the abdomen). It is not necessary to use any strenuous
effort, for whole-bodied movement involves every part. Externally it appears extremely mild, and internally there is a
continuous unbroken energy, a lengthening of the breath. Thus if a movement exhibits the attitude of sword
unsheathed, crossbow loaded, it is not Taiji. Once this is clear, you will understand that whole-bodied movement and
mild movement both tend toward naturalness.
The reason Taiji Boxing is called Taiji Boxing is because it is always the movement of a grand polarity, or in other
words always move from the center.

2. Taiji Boxings Movements

Taiji Boxing is all about moving with centeredness, as I have already made clear in the previous section. Now, how
does one achieve centered movement? Without adding more detailed explanation, it would not be easy to understand.
In learning Taiji Boxing, there is first of all a three-word formula: loose, firm, concentrated. What is meant by
loose? The body should be loose. What is meant by firm? The energy should be firm. What is meant by
concentrated? The spirit should be concentrated. If your body is loose, your energy is firm, and your spirit is
concentrated, you will gradually be able to achieve centered movement.
However, before these terms are explained so you may understand why they are used, you have to be at a certain
level of learning in order to be able to experience them yourself. I will now go through these terms to explain the
reasoning of why you will thereby be able to achieve centered movement. To make them easier to understand, they
are described individually below.

i. Your body should be loose.

Looseness is easy to understand. It simply means using no effort. If you use any effort, your movement will not be
able to be natural, and by focusing on the exerting of a single part, every part is sure to fall out of synch. If you do not
use any effort at all, you are in accord with your bodys natural movement. Throughout your body, there will be
movement in every part, and it will also be even and consistent. Slowly bring your movements into a state of
centeredness, and then after a long time, centered movement will be the result. In the beginning of learning Taiji
Boxing, this cannot be done without loosening. Loosening is the first stage of the training.
The human body requires blood circulation. If you forcefully put forth effort, it will result in an excess of
circulation, producing a contrary effect which will instead cause the body harm. To forcefully put forth effort is
hardness, which is called awkward effort. Even if an awkward effort is powerful, it is isolated in one area of the
body, and will not achieve a state of centeredness. To not put forth any effort is softness, which is called sinking
energy. Even if a sunken energy is feeble, it is the strength of the whole body, and so is able to obtain a state of
centeredness.
When learning Taiji Boxing, there is a mantra to keep in mind: Go from spreading open to binding tight. To
spread open means moving without putting forth effort. To bind tight means your movement is reaching a state of
centeredness.

ii. Your energy should be firm.

Firmness is easy to understand. It simply means not being scattered. If you do not use any effort at all, you will
indeed be loose. However, if your body is loose but your energy is not firm, then your body would not be equipped to
defeat illness, rendering even your looseness into a mere boast. But with your body loose and your energy firm, then
even though your body is putting forth no effort, your energy is nevertheless not scattered, and so your movement is
able to be organized. With your movement organized, your whole body will then be able to function as a whole,
naturally bringing your movement into a state of centeredness.
Firmness is the second stage of training. How can you get energy to be firm? Simply by sinking energy to your
abdomen and not allowing it to float up. However, deep breaths expanding lung capacity is different from the
diaphragm pressing down. When practicing the solo set, your shoulders should hang, your elbows should drop, and
your waist should settle. Then after a long time, energy will naturally sink down. This is what is meant by
[from Daodejing, chapter 3] empty mind, full belly. With your abdomen full and your energy firm, your body will
then have balance. No matter what kind of movements your hands or feet make, balance lies entirely in your
abdomen. Obtaining balance, your movement will be smooth. Thus it is said: When your energy is firm, your body
will naturally be stable.

iii. Your spirit should be concentrated.

The word concentrated is easy to understand. Simply put, when inside and out join together, then concentration
can be assured, the body loose, the energy firm. If inside and out do not join together, then you would be completely
incapable of the condition of where your mind arrives, your body arrives. But once inside and out are joined
together, then body and mind will function as one.
Concentration of spirit is Taiji Boxings third stage of training. What is meant by inside and out joined together?
The hand is united with the foot, the elbow united with the knee, and the shoulder united with the hip. These are the
three external unions. Mind is united with the intention, the intention united with the energy, and the energy united
with the power. These are the three internal unions. Internal and external combined makes the six unions. With
the six unions, the body is centered. With the body centered, the spirit is elevated.

3. The Value of Taiji Boxing in Physical Education

The purpose of physical education is to make the body strong, energy abundant, and the spirit full. If you are able to
make use of a method of exercise and achieve these three effects, you can indeed be considered to have an aptitude for
physical training. However, we have to make some distinctions:
Strength is not the same as fierceness. Strengthening is a matter of mild movement. Fierceness is a matter of
violent actions.
Abundance is not the same as overexcitement. Abundance is a matter of the genuine energy that endures.
Overexcitement is a matter of the temporary energy that lasts but a while.
Fullness is not the same as overflowing. Fullness is a matter of the sincerity within an outward shape. Overflowing
is a matter of being noticeable on the outside but spent on the inside.
True physical education should make your body strong but not fierce, your energy abundant but not overexcited,
and your spirit full but not overflowing. Other kinds of exercise may bring results quickly, but they are gained
incautiously, and the errors of fierceness, overexcitement, and overflowing are unavoidable. In the exercise of Taiji
Boxing, these three kinds of errors can be deemed worthless.
The movements of Taiji require first of all that your body be loose. Through loosening your body over a long
period, it will naturally be strong, and even if not strong, certainly not fierce.
Then there is firmness of energy. Through firming energy over a long period, it will naturally be abundant, and
even if not abundant, certainly not overexcited.
And then there is concentration of spirit. Through concentrating spirit over a long period, it will naturally be full,
and even if not full, certainly not overflowing. It has the benefits of exercise without the harms, and so it is extremely
suited to the aims of physical education.
There is a large difference between exercise and sports. Let us discuss this point in the context of physical
education. The exercise of Taiji Boxing seems superior to all exercises, not only because of the pros and cons
discussed above, but because of some obvious things:
Sports require a large space and special equipment, not to mention a gathering of many people. While in school,
you can still participate every day, but once you leave school, you may only be able to engage in it a few times a year.

In the exercise of Taiji Boxing, the size of the space does not matter, nor the number of people. All can participate,
and there is no special equipment required at all.
Other types of exercise such as soccer, running races, and so on, are actually overly strenuous. Since not everyone
is able to participate, the outcome is merely a small number of specialized athletes. Within an educational institution,
this kind of specialization of a small number of athletes distracts them away from the rest of their schoolwork as they
get more and more focused on their sport, and this does not seem to really suit the intention of physical education.
Chinese people are often weak and should be strengthened, and so exercise should be widespread. If we cannot
spread exercise and instead rely on making small numbers of specialized athletes, even if we make great
achievements in sports and can thereby boost our international reputation, we would still not be able to strengthen
our nations people.
Furthermore, such strenuous activities can only be participated in by people in their twenties or thirties, and once
they are in their forties or fifties, they are told to retire from it. A persons time in the sport is but a mere ten years. A
requirement of exercise should be that it not be limited to people in their twenties and thirties. Moreover, overly
strenuous exercise is instead a hindrance to the health of the body. After every major sporting event, there are
inevitably a number of athletes who find they have been injured in some way.
Consequently, the exercise of Taiji Boxing has three kinds of benefits:
i. It does not require a large space or special equipment, and so it is economical.
ii. Everyone can practice it, and so it can be widespread.
iii. It can be practiced from youth to old age, and so it can be a lifelong activity.
As for sports among forms of exercise, such activities of course have value for dealing with the protracted weakness
of our nation, and they ought to be recommended in order to increase our national prestige. But as a form of physical
education, the exercise of Taiji Boxing truly holds a place that is not to be sneered at. However, it is rather difficult to
learn, and so although it has value in physical education, it may forever have a struggle to flourish in the real world.
I have another three-word formula for learning the secrets of Taiji Boxing: focus, unification, gradualness. But
there is no more room in this article, so pardon me for not explaining further here.

CHAPTER TWO: JIANG RONGQIAOS ANNOTATIONS TO WANG ZONGYUES TAIJI BOXING TREATISE [final
chapter from Yao Fuchun & Jiang Rongqiaos Taiji Boxing Explained, 1930]

EXPLANATIONS TO THE TAIJI BOXING MANUAL [commentary by Tang Shilin]

This boxing manual was written by Wang Zongyue in the early Qing Dynasty, but it has been passed down to the
present day through retranscription, and so the text inevitably has errors. Therefore the Taiji Boxing Treatise that has
been commonly used in instruction often has phrases that cause people confusion. Yao Fuchun and I obtained a
handwritten copy from Tang Shilin, together with his detailed commentary. Of the original text, about a third of it
had not yet been shared with the world. All of these Taiji secrets are specially presented below to share with all who
are interested, annotated with explanations under each piece of original text.

SONG ONE

Extend your neck and draw up your headtop, your arms both loosening.
Strongly bind energy downward, bracing it upward at your crotch.
Sound it from your gut when you express power, beating with your fists.
While your toes grip the ground, your upper body bends like a bow.
(Wordings such as sound it from your gut and strongly bind are indeed in the original text.)

Forcelessly press up your headtop. Sink energy to your elixir field. Lift your headtop and suspend your crotch. Do
this by means of mental strength. Loosen both sides of your back and then the energy will be sealed in.

When practicing the set, in every posture you have to have an intention of forcelessly pressing up your headtop and
sinking energy to your elixir field. Forcelessly means there is intention coursing through from your chest area.
Press up your headtop means that your head and neck are upright. Repeatedly focus energy at your elixir field.

Lifting your headtop causes your tailbone to align with your neck and head, having an intention of lifting up. To
suspend your crotch means to hold on to the energy concentrated at your elixir field and not let it leak out. Tuck in
your rectum as if you are trying to keep yourself from defecating. By mental strength is meant that these things are
to be done entirely by use of intention and not with an awkward effort. Energy will thus be kept in.

Open and close as you push, embracing in front of your chest. The Big Dipper posture rotates like a wheel, using
softness rather than hardness.

With every open and close, or every moment of rollback and push, there is always an energy of extending and
contracting. An action of issuing seems to come with an embracing. In the Big Dipper posture, the position of your
hands and feet will look like a wheel as they go along with the movement of your waist. There will seem to be
hardness at first, but there is actually pure softness.

If he takes no action, I take no action, but once he takes even the slightest action, my intention has already acted.

When encountering an opponent, if he takes no action, I also do nothing. If he takes the slightest action, there will be
a direction within his intention, and so my intention will already be moving along the path he wants to take, and I will
then take the initiative before he does. This is not a matter of knowing both the opponent and oneself, but the
sublime skill of being able to know what is going on without visual or auditory cues.

From foot through leg to body, develop a single flow. Be like a turning falcon, or a cat catching a mouse.

Based entirely from your feet, issue through your legs to your body, and then from your waist to your headtop,
practicing to make a single flow. A falcon is an eagle that rolls up into a ball and turns unpredictably. This is also like
the energy of the taiji symbol. Go along with the movement of your intention and do not pause. To be like a cat
catching a mouse, does not mean speed. It actually means storing up power in stillness, then acting with your hands,
feet, and mind in complete unison, purely a movement of spirit.

Issuing is like loosing an arrow from a bow. Properly align your limbs. Your steps should be nimble and
coordinated. Your stepping should be smooth and even.

An action of issuing is like fully drawing a bow so that the arrow easily hits the mark. With your head and neck
upright, and your limbs properly aligned, you will naturally be comfortable. When you step, you should do so with
nimbleness and coordination. Whatever the movement, you must not be either leaning or sluggish. Whatever your
footwork, it should be in good order. This is what is meant by stepping should be smooth and even.

SONG TWO

Move lightly and nimbly, spirit gathering within.


Show no interruption in the movement, for it should be continuous.
When your left has to do something, your right also has something to do, for empty and full have their places.
When your upward intention contains a downward, bad habits return [i.e. it brings stiffness to the opponents
posture].

Once there is any movement, your entire body should be nimble and alert. There especially needs to be connection
from movement to movement.

When practicing the set, the less you use exertion, the more you will develop internal power, and your whole body will
naturally be lively and nimble. By connection is meant that all of the postures should link together continuously.
Without this connection, the postures will have pauses. With such pauses, gaps will appear that can be taken
advantage of. This is the most forbidden thing in Taiji.

Energy should be roused and spirit should be collected within. Do not allow there to be pits or protrusions

anywhere, breaks in the flow anywhere.

Energy being roused has to do with natural deep breathing. You must not hold your breath. If you concentrate spirit
and gather willpower, your intention will be focused. When practicing the set, you have to have a calm mind and a
harmonious energy for movement, posture, and intention to be uniform. You must never have areas that are caving in
or sticking out, nor moments of stopping and starting. If your mind is not stable, your posture is not stable, and it will
be easy for an opponent to control you. If you are stopping and starting, it will be easy for him to take advantage of it.
These are both errors in Taiji.

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.

When practicing the set, mind is united with intention, intention is united with energy, and energy is united with
power. Power is issued first from your feet through your legs, then goes to your waist, then courses through your neck
and to your headtop, also reaching through your arms, wrists, and to your fingertips, all as a single complete flow.
Then when encountering an opponent, regardless of whether you are advancing or retreating, you will carry out
everything exactly as you imagine. The principle of everything coming from the feet is also true in Xingyi and Bagua,
but in Taiji especially it must not be neglected.

If you miss and your body easily falls into disorder, the problem must be in your waist and legs, so look for it there.

If your upper body and lower are not coordinated with each other, your hands will be moving while your feet are not
moving [or vice versa], and you will thus be off in terms of timing or position. Consequently your body will be
maneuvering in disorder and you will get no benefit from the practice. The error is surely in the waist and legs, and
should be sought 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 rip out a plant. You thereby add a setback to the
opponents own intention, thus he cuts his own root and is defeated quickly and certainly.

If you want to go up, down, left, right, forward, back, there always has to first be movement in your waist and legs, as
explained above, and this is always a matter of using mind and intent rather than flesh and bones. With your
intention focused, you will have the subtlety of moving in any direction as the situation requires. But if your intention
is not focused, it will be easy for the opponent to find his way through a gap. If you wish to attack his upper body, you
should first have an intention that is downward, causing him to have difficulty understanding what you are doing. It
is like with a plant, which you tug first from the root in order to break it. Show him you are going in one direction in
order to trick him into the other. To go upward, imply downward. To go downward, imply upward.


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.

When practicing the set, you should distinguish where there is emptiness and where there is fullness. Where the
opponent fills, I empty, and where he becomes empty, I suddenly fill. Although each place has a part that is empty
and a part that is full, I understand where the emptiness is and the fullness, and that everywhere there is this
condition of an emptiness and a fullness. Where he becomes heavy, I lighten, neither coming away nor crashing in,
and thus I am halfway there. When practicing the set, one aspect of it is the movement, while another aspect is the
breathing. The movements should be natural and linked together. The limbs and whole body should everywhere have

a sense of void. Although there is a state of void, there is also a capacity for connection. It is like the many joints of a
centipede, one part moving and the other parts nimbly following, entirely without the error of discontinuity. Taiji also
has this principle.

SONG THREE

Focus on your elixir field to smelt internal skill.


Within heng [when exhaling] and ha [when inhaling], there are endless subtleties.
With passive and active dividing in movement and blending in stillness, bend and extend.
Responding slowly to slowness and quickly to quickness, the theory will be realized.

Focusing on the energy of your elixir field returns you to a primal state in which you can use the two types of
breath: heng and ha.

Sink energy to your elixir field and do not let it leak out, as though your hands are tightly hugging something. To
develop a primal state is to reflect your light back into yourself, to replace water with fire, restoring you from your
acquired condition back to your innate condition. As long as this primal state is not dispelled, your hands will issue
solidly, shooting out energy calmly and yet with great reach. Anyone who tries to defend against it will be swept away.
This is heng. Ha means inhaling. It is called lifting [i.e. tucking in your tailbone], shrinking [i.e. drawing your
abdomen inward], and gathering [i.e. storing up power]. When encountering an opponent, your limbs and intention
all draw in, causing the opponent to rise up, or to lose his balance and naturally topple.

Taiji [grand polarity] is born of wuji [nonpolarity], and is 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.

When the passive and active aspects cannot be distinguished, that is the state of nonpolarity. From nonpolarity arises
grand polarity, in which passive and active, or emptiness and fullness, become distinguishable. As soon as I make a
movement, passive and active become distinguishable grand polarity. Once I cease moving, there is utterly no sign
of either of the aspects, and so they have become indistinguishable nonpolarity. When encountering an opponent, I
know what he is doing when he moves, and I go along with his movement as he advances, conforming to his every
breath. Even if he moves merely in thought, I still get there first.

He is hard while I am soft this is yielding. His energy is coarse while my energy is smooth this is sticking.

When an opponent uses hardness to attack, I use softness to neutralize it. This is called yielding. He is hard while I
am soft, and so his power is rendered ineffective. This is called coarsening. As his energy becomes coarse, my
energy becomes smooth. I take advantage of his condition and stick to him, and thus I always win.

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 work your
way toward something miraculous. But unless you practice a lot over a long time, you will never have a
breakthrough.

When he moves fast, I use quickness to respond to it. When he moves slowly, I use leisureliness to follow along with
it. Since my speed is based on his speed, naturally I am able to stick to him without disconnecting. I sink my
shoulders, drop my elbows, and hold my hands upright. This can describe the relationship between fast and slow.
Although the direction of his movement changes randomly, the principle of sticking and following keeps me moving
in tandem with his whims. The more you practice, the more skill you will gain, and gradually you will reach the point

of identifying energies. From identifying energies, you will gradually become transformed, and after training over a
longer and longer period, it will suddenly all become clear, and your skill will seem divine.

SONG FOUR

Suddenly appearing and disappearing the more he advances, the farther away you seem.
When a feather cannot be added to you, you have reached the Way.
The slow being defeated by the fast has no resemblance [to skill that has been trained].
When four ounces moves a thousand pounds, you are neutralizing sublimely.

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 practicing the set, your body should be upright, not leaning to either side. Suddenly empty and disappear. Then
suddenly fill and reappear. Change unpredictably, your actions never the same. If the opponents hand goes out with
fullness to my left side, my left side sticks and connects to him, and immediately becomes empty. If his hand goes out
with heaviness to my right side, my right side sticks and connects to him, and immediately lightens. Emptying and
lightening neutralize power. Any use of resistant force is an error in Taiji. To instead always keep him guessing and
missing is the ideal.

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.

When an opponent attacks above, he feels I am too high to climb up to, and that no matter how high he goes, he
cannot get there. When he attacks below, he feels I am too low to find, and that no matter how much he sinks in, I am
like an ever-deepening ocean. When he closes in to attack with his hands or feet, he feels I am getting farther away,
and that he cannot reach me. When he retreats, he feels I am following him back, crowding ever closer, and that he
cannot get away. When a beginner reads these things, he might at first doubt every word, but he will come to
understand in a relatively short time, and naturally be able to obtain both the theory and the method.

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.

Taiji Boxing achieves the sublime. It truly has awareness of things that are unseen and unheard. Neither coming away
nor crashing in, the slightest touch is responded to. Even if the weight of a feather or a hair is added, or if a mosquito
or fly lands on you, you will still be able to anticipate it and not allow it to make contact, such will be your sensitivity
of perception. My opponent is not able to understand my actions, whereas I am able to be prepared for any direction
he goes. Thus I naturally will win every fight I am in, seizing victory with any attack I make. Start from the basics,
progress through the process, and then you will reach this condition.

There are many other schools of boxing arts besides this one. Although the postures are different between them,
they generally do not 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.

In martial arts, there are so many styles, and although they all have their stylistic differences, they all tend to use
strength to bully weakness and fast hands to defeat slow hands. Whenever those with strength are fighting against
those without strength, or those with fast hands are defeating those with slow hands, as if I have encountered
someone with ten times my strength and am standing in a position of apparent defeat, this is always a matter of the
ability an individual was already born with, not really learning that is gained from a reasoned method.

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.

By practicing Taiji Boxing, you will achieve a state of void. The ingenuity of it is the ability to use four ounces worth
of strength to deflect away a thousand pounds of strength. A man who has climbed to a great age can defend himself
against many opponents because of this concept. It is absolutely not a matter of strength and speed to be able to seize
victory. The standing posture is like a balanced scale. With your head and neck upright, energy sinks to your elixir
field. Perform the postures with roundness, using your waist as an axle, and then your arms and legs will naturally be
moving as lively as a wheel. If an opponent uses force and I relax my strength, then even if he uses great force, I can
still neutralize and yield. This is a case of dropping one side, keeping me able to move. If he uses force and I also
apply force, this is a situation of two people resisting against each other, and ultimately the one with the greatest
strength would be the winner. This is a case of equal pressure, in which I would end up getting stuck. It is the greatest
thing to avoid in Taiji.

We often see one who has practiced hard for many years yet is unable to perform any neutralizations and is
generally 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 passive does not depart from the active and the active does not depart from the
passive, for the passive and active exchange roles. Once you have this understanding, you will be identifying
energies.

When someone has been training for a number of years, practicing until he is otherwise very skillful, and yet is not
able to carry out neutralizations, sending out his hands only to end up under his opponents control, he has still not
understood the error of double pressure. If you wish to avoid the error of double pressure, you have to understand
the passive and active aspects. Passive and active means emptiness and fullness, as well as indirect and direct. When I
encounter an opponent, if I feel a situation of double pressure, I then sink away one side so there is both emptiness
(passive) and fullness (active). When he empties, I fill. When his pressure becomes heavy, mine lightens. When
sticking, it is easy to yield. By yielding, you are able to stick. Indirect techniques can become direct, and direct
techniques can immediately be changed to become indirect. Indirect, direct, empty, full, none of these come from
myself, they are all changes I make according to the opponents actions. Able to stick and yield, knowing both passive
and active, you will then be able to deal with opponents effortlessly, and it can be said that you are 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.

Able to stick and yield, knowing passive and active, you are thus at the level of identifying energies, but you still have
to practice every day. The more you practice, the more you progress. Through personal revelation and contemplation,
there is a process of mental smelting producing castings of hand techniques, eye movements, body maneuvering, and
footwork. When the mind moves, intention arrives, and the hands and feet follow, you will be doing everything as you
please, and all of it will turn out as you wish. In Taiji Boxing, when you fight with an opponent, you are entirely in the

passive role, not the role of the initiator. Whatever the movement, you always move according to the direction of his
movement. Do not allow a situation of double pressure, instead give attention to dropping one side. If you use fixed
techniques to attack the opponent, stubbornly resisting against him, this is a matter of ignoring what is already at
hand to seek something out of reach, easily giving him control over you. Since to miss by an inch is to lose by a mile,
therefore the finest subtleties in Taiji must not be neglected. If you have any indifference toward them, the art will
die, the keys to it lost. Students should regard these principles as jade rules and golden laws [i.e. perfect precepts
that cannot be altered].

This essay contains one crucial sentence after another and does not have a single word that does not enrich and
sharpen its ideas. But if you are not smart, you will not be able to understand it. The founder did not lightly teach
the art, not just because he was discriminating over accepting students, but also because he did want to go to the
effort only to have it wasted.

SONG FIVE

Ward-off, rollback, press, and push are the four cardinal directions [i.e. the four primary techniques].
Pluck, rend, elbow, and bump are the four corner directions [i.e. the four secondary techniques].
They are associated with the eight trigrams Qian, Kun, [Kan, Li,] and [Sun,] Zhen, Dui, [Gen].
Advance and retreat, stepping left and right, and staying put these are associated with the five elements.

Long Boxing: it is like a long river flowing into the wide ocean, on and on ceaselessly

There is a northern style of the Long Boxing set and a Guangping Village style of it. Although there are differences in
the postures, the principles are the same. People nowadays often consider the Thirteen Dynamics to be the Long
Boxing set, little realizing that the Long Boxing set goes beyond just those thirteen. Wang Zongyue says in his songs:
[first line of Song 1:] Extend your neck and draw up your headtop, your arms both loosening. [first line of Song 3:]
Focus on your elixir field to smelt internal skill. [first four of the Twenty Words:] There is scattering, flashing,
carrying, rubbing, All of these concepts have to do with this particular kind of long boxing.

THE THIRTEEN DYNAMICS

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 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 water, fire, metal, wood, and earth.

This relates to the writings of Zhang Sanfeng. He wanted all the heroes in the world to live long and not merely gain
skill.

SONG SIX: 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 nimble 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.

Energy sticks to your back and gathers in your spine. In the stillness or movement of your whole body, your
intention should be on the storing of spirit rather than the gathering of energy. If you are fixated on the energy,
your movement will become sluggish.

Energy sinks to your elixir field, causing it to stick to your back. The action of tucking in your rectum gathers the
energy into your spine, and it can then go through your neck and directly to your headtop. In stillness, movement
stirs. Movement involves the whole body and not just one area. Your intention belongs on gathering energy by
storing spirit. When your spirit is sufficient, the energy will be complete anyway, and you will naturally transform as
you wish. By all means avoid deliberately gathering energy, for if you are fixating on energy, your movement will
become sluggish. You would then not only be falling into the habits of the external stylists, you would also be causing
yourself terrible harm, and so you cannot afford to be incautious.

The three internal unions join with the three external unions.

Mind is united with the intention, the intention united with the energy, and the energy united with the power. These
are the three internal unions. The hand is united with the foot, the elbow united with the knee, and the shoulder
united with the hip. These are the three external unions. Together they make the six unions.

THE TWENTY-WORD FORMULA

Scattering, flashing, carrying, rubbing, reserving,


sticking, following, arresting, grabbing, reversing,
softening, warding, dragging, breaking, covering,
pinching, falling, continuing, pressing, spreading.

[1] Scattering [pi]: to spread, to open, to rend apart.


From Historical Records [chapter 1]: [The Yellow Emperor] cut open hills to build roads.
[From the Books of Han bios, part 22:] [When a shin swells thicker than the thigh,] if it does not burst, it should
be split open.
From the Books of Han [bios, part 21]: [Nowadays people can] open their hearts and show their feelings.
From the poetry of Wang Jun [On Reciting Poems in the Parasol Tree Courtyard]: Thin leaves can get
scattered.
From the poetry of Sima Xiangru [Historical Records, annals of Xiang Yu]: [King Xiang shouted Charge!] and
the Han army scattered.

From the Books of Han [Later Han bios, part 22]: [Peasants do not know rules,] they just open up and reveal
their hearts.
In Taiji Boxing, spreading away from the side to then advance is scattering. This is the most common action in
the Taiji Long Boxing set, even though it is not a very common occurrence amongst the Thirteen Dynamics.

[2] Flashing [shan]: to evade, turning the body sideways to avoid something commonly called dodging. When
something happens in the blink of eye, the word means flashing.
From Brief History of Wei [book 14]: During the day, there was often a glint of them to be seen flashing through
the cracks of the walls.
From the poetry of Du Fu [Looking Around for a Way to the Temple]: With flickering flashes, the river rapids
frothed.
From the Books of Sui [book 51]: [He heard their bows release like thunder,] then saw them flash past on their
horses like lightning.
These quotes give an analogy of speed. In Taiji Boxing, flashing is when you turn to the side to yield to something
rather than crashing against it, but at the same time sticking with it rather than coming away from it, for it is not a
matter of completely emptying.

[3] Carrying [dan]: to bear, to take the burden.


From Strategies of the Warring States [book 1 of Qin, chapter 2]: Carrying books and bags
From Zuos Commentary to the Spring & Autumn Annals [22nd year of Duke of Zhuang]: He relaxed from his
burden.
From Guanzi [chapter 20]: They bear the burden.
In Taiji Boxing, this is a matter of dealing with a sudden attack. Waiting for the instant the opponent connects and
receiving his attacking force by loosening downward to neutralize his energy is called carrying. It is not really a
matter of doing carrying blocks against his strikes, or of hoisting aside his hands or feet.

[4] Rubbing [cuo]: hands rubbing against each other.


From the poetry of by Lu You [Spring Day]: The willow leaves are so delicate, they hardly seem to rub against
each other.
In Taiji Boxing, I rub my hand, wrist, forearm, or elbow against the opponents hand, wrist, forearm, or elbow to
test the direction of his energy. If he is advancing, I retreat, and if he is retreating, I take advantage of the opportunity
and attack. I stick to him without breaking away, keeping an idea of roundness and rolling.

[5] Reserving [qian]: using less, so that you are able to keep something in store when testing your opponent. When
your hand goes out, you must not use everything you have. Always save something of equal measure. Otherwise with
a single issuing, you would have nothing left, and that would not be Taiji.

[6] Sticking [nian]: to adhere, to stain, to connect, to glue.


From the poetry of Han Yu [Bitter Cold]: [When the snow suddenly clears,] the soil is greasy and sticky.
From the poetry of Yang Weizhen [Concubines Stockings]: Perfume sticking around in the golden lamplight,
reminding me of a small purse.
In Taiji Boxing, bind to him without breaking away, neither reaching nor separating. As his energy coarsens, my
energy becomes smoother, adapting to the situation.

[7] Following [sui]: to go along with, to abide by, to comply with.


From the Book of Rites [chapter 6]: [When walking in the road,] a young man follows behind a man when the
man is around his fathers age.
From the Book of Changes [hexagram 17]: There is greatness in going along with the times.
From the poetry of Du Fu [Northern Expedition]: When putting on make-up in the morning, abide by the
easiest way to apply it.
From the Books of Han [bios, part 67]: He sought there for supporters and followers.
In Taiji Boxing, the opponent initiates and I play the passive role, following along with what he is doing, and so I
move as he moves and keep pace [Zhuangzi, chapter 21].

[8] Arresting [ju]: to hold, to keep.


From the Book of Documents [document 38]: Arrest them all and return them here to the royal court.
From the writings of Wang Anshi [Letter to Wang Fengyuan]: We government officials are kept so busy.
From the Book of Rites [chapter 1]: [Whenever you clean up after an elders mess,] you must put the brush on top
of the basket, hold your sleeve over it and leave.
In Taiji Boxing, this has to with taking advantage of a situation by seizing the opponents hand, foot, forearm, or
wrist.

[9] Grabbing [na]: to seize, to drag in.


From the Historical Records [book 11]: The armies of the Han and the Xiongnu grappled [chaotically grabbed at]
each other.
To seize any part of the opponent is grabbing, to seize and poke his acupoints is also grabbing, and to seize an
opportunity to pull him in is also deemed to be grabbing.

[10] Reversing [ban]: to restrain, to hold, to seize control.


From Gongyang Gaos Commentary to the Spring & Autumn Annals [1st year of Duke of Yin]: The officials all
controlled Yin and then established him in his position.
From the writings of Zhuge Liang [Letter to Xiongjin in Commentary to the Waterways Classic, book 17]: It
will be sufficient to gain control over the enemys position.
In Taiji Boxing, to restrain any part of the opponent or to seize the opportunity to take control are both called
drawing.

[11] Softening [ruan]: to become supple.


From the poetry of Wang Wei [A Gift to Daoist Master Jiao of Mt. Tai]: Sometimes a soft-made cart comes down
the road.
From the poetry of Bai Juyi [Deep into Spring]: Cattails tangle the wheels of soft-made carts.
From the Books of Han [book 48, bio of Jia Yi]: One who sits always in soft seats is not qualified [to be appointed
to a high position].
From the poetry of Shi Jianwu [The Dinner Party]: Wine enters the body and gives it a ruby-blushed softness.
From the New Books of Tang [bios, part 116]: He lives a lazy soft life.
In Taiji Boxing, there must be no use of awkward effort, instead a quality of listening with a natural sticking energy
in order to neutralize the opponents power.

[12] Warding off [peng]:

Explained in Chapter Nine [of the 1930 book].

[13] Dragging [lou]: to tug, to grab.


From Mengzi [chapter 6b]: They dragged forth the feudal lords to punish the feudal lords.
To grab and tug the opponents wrist or forearm so that he cannot escape is called dragging.

[14] Breaking [cui]: to snap, to frustrate.


From the Historical Records [chapter 47]: [Mountains crumble,] roof beams break, [and philosophers wither.]
From the poetry of Sima Guang [Seeing off Zhao Diancheng for His Trip Back to Chengdu]: It is an emptiness
that makes the heart break.
From the History of the Southern Dynasties [book 1]: [The emperor ordered attack,] and the whole enemy force
was broken.
From the History of Song [bios, part 9]: We often broke through and captured our enemies.
From the Books of Jin [bios, part 40]: He sent his troops to Wuchang to keep it from being broken like a dying
tree.
In Taiji Boxing, one can break hardness with softness: upon obstructing an opponents attack, taking advantage of
the opportunity while he stiffens in response, and snap his structure. This situation is called breaking.


[15] Covering [yan]: to hide, to conceal.
From the Book of Rites [chapters 6 & 2]: Gentlemen will stay hidden indoors [during the peak of both summer
and winter] The officials will not cover [i.e. ambush] a whole herd [during a spring hunt].
From Lessons for Governing [part 184]: It would be like covering ones own ears while stealing a bell [in an
attempt to keep other people from hearing it. (i.e. futile)]
There is also a modern saying: Cover yourself against a flying arrow.
In Taiji Boxing, to cover yourself to evade an opponents attack or to seal off his attack to neutralize his power are
both called covering.

[16] Pinching [cuo]: to take, to pick.


From the Zhong Yong: [The earth right in front of you] is nothing but a pinch of dirt.
From the Books of Han [bios, part 32 bio of Sima Qian]: [Select from the best of the Confucianists and
Mohists,] then take a pinch from the essentials of the Semanticists and Legalists.
In Taiji Boxing, when you use your fingers to seize some part of the opponents body or to attack his acupoints, it is
called pinching.

[17] Falling [zhui]: to lower, to drop.


From Liezi [chapter 1]: There was a man from Qi who worried the whole world would fall away.
From Zhuangzi [chapter 19]: [When a drunk] falls [out of a carriage,] he does not even notice.
From the Spring & Autumn Annals [25th year of Duke of Zhao]: [The ministers] do not dare to let their tasks fall
away.
From the Lun Yu [19.22]: [The ways of Kings Wen and Wu] have not yet fallen into the dirt.
In Taiji Boxing, There always has to be a quality of falling. Whenever an opponent pulls on me, I sink my shoulders
and let my elbows fall as if they weigh many tons, and thereby when I take advantage of a gap and attack, I will always
be responding effectively.

[18] Continuing [xu]: to connect, to flow.


From the Historical Records [part 7]: This is merely a continuation of the behavior of the Qin emperor.
From the poetry of Bai Juyi [Lutes Playing]: The heads droop in concentration as the hands continuously
strum.
From the poetry of Du Fu [A Gift of a Song for Wang Yiyin after Recovering from Illness]: [Unicorn horns and
phoenix beaks are things we never see,] but to reconnect a bowstring with glue is close to experiencing such marvels.
In Taiji Boxing, if you are able to identify energies, then you can talk of flow. By sticking without disconnecting,
every posture will be linked together. Your energy will seem unbroken and your intention will maintain continuity.

[19] Pressing [ji]:

Explained in Chapter Nine [of the 1930 book].

[20] Spreading [tan]: to open, to expand. A display of reaching out the hand to take control is called spreading. Taiji
has the energies of opening and closing. To close but not open is too constricting of an energy. To send out the hands
too timidly is equally an error in Taiji. Nowadays there is an explanation from Open & Close Taiji [referring to Hao
Style or Sun Style]: upon opening, everything opens. It is not merely a matter of issuing by extending, but also an
ability to express with solid and substantial power.

The joints are to be naturally aligned. An energy of opening reaches to the extremities and has to do with the active
aspect. An energy of closing then drapes over every gap, mirroring the active aspect [as the passive aspect]. Passive
and active are thus made distinct. Opening and closing draws the opponent in to land on nothing. The extent of his
skill, his experience or inexperience, is thereby made clear. Whether you get the knack of this or not depends on a
mentality of maintaining naturalness.

With the joints working in concert, the movements are nimble. An energy of opening seems to reach to the
extremities, extending as far as it can, and has to do with the active aspect. An energy of closing then seems to drape
over every gap, mirroring the active aspect as the passive aspect. Passive and active are by this means made distinct
from one another. Opening and closing draw the opponent in, and whether advancing or retreating, rising or
lowering, nullifies all of his techniques. This also reveals his awareness of general or specific targets, how fluid or
stuck his actions are, and how long he has trained. To be skilled means that he has trained his spirit to return to
emptiness, and thus he is able to execute techniques perfectly, sending out his hands on target. To be unskilled means
that though he may have practiced for a long time, his actions are sluggish or excessive, and he sends out his hands
with no result. The problem is whether you will achieve the knack of this or not. You have to have a mentality of
naturalness in order to get there.

Equal his force, pound for pound, ounce for ounce, neither coming away nor crashing in. Your fingers should be
gathered together. Furthermore, your joints should be correctly placed. There should be combining, concaving,
extending, liveliness, stillness, and grabbing the ground.

If an opponent issues a pound of force against me, I use a pound of force in response. If he issues an ounce of force
against me, I likewise use an ounce of force to go along with him. Although these are equal forces, it is not a matter of
resistant force. Therefore examine his energy with an intention of sticking and following. You will then be without the
error of double pressure, and thus naturally you will be neither coming away nor crashing in. The tigers mouth
should be round, the thumb spread away from the other fingers, and they should be bent as though grabbing a ball.
This is what is meant by gathered together. The middle joints [elbows and knees], tip joints [wrists and ankles], and
root joints [shoulders and hips] should all be comfortable and properly placed. Every part needs to cooperate with
every other part. Your shoulders and chest should form a concave shape. Your hands, feet, arms, wrists, and so on,
should all stretch out. This does not mean you cannot extend further when you issue, but that your shoulders loosen
and your elbows sink. Although there has to be a nimble liveliness to your limbs and your whole body, you
nevertheless have to be seeking stillness within movement. And then once you have a quality of stillness, you still
have to be moving. With the breath always moving, you will naturally be without the problems of rashness and risktaking. While advancing and retreating, always be very nimble, and yet with an idea of grabbing the ground.

The three tips align with each other: above the tip of the nose, middle the fingertips, below the toes. You will
thus be able to attend well to primal energy. Neither rushing nor getting stuck, subtlety will lead to skill. Keep this
firmly in mind.

When practicing the set, the fingertips, nose, and toes should be aligned with each other in every posture. Then you
will be able to attend well to primal energy. When your primal energy is not scattered, you will not have the problem
of forcing your way and rushing, nor the worry of getting slowed down and stuck. With such subtlety, your skill will
be pure. It is essential to keep this in mind.

Be able to regard your hand as a spear. Be still as a mountain, then move like a thunderclap. After several decades
of training, all talk of being invincible will become true. If he attacks high, gaze high. If he attacks low, respond low.
If he advances to attack, ride his advance. If he retreats to attack, follow his retreat. Stay constantly close to him
amidst the inconstant rising and falling, sticking to him without coming away. While your fists attack, stand
rooted.

Be able to regard your hand as a spear. This does not really mean your hand will be the equal of a long spear, but
that your hand can function like a spear. Stand aloof and still, stable as Mt. Tai. When you move, be like a
thunderclap, too sudden for one to cover his ears or eyes. If you practice in this way for several decades, then
whenever you fight with opponents, they will indeed be invariably defeated. If an opponent attacks me from above, I
take advantage of his incoming energy, meeting it and neutralizing it by also sending my intention upward. If he
attacks me from below, I respond from below. If he advances, I exploit it. If he retreats, I follow. Whether upward or

downward, I follow along with him. Whether forward or back, I stay close to him, always flowing with him. To stand
rooted means that your whole body must have a good stance.

UNDERSTANDING HOW TO PRACTICE THE THIRTEEN DYNAMICS

Use mind to move the energy. But you have to be calm. Energy is then able to collect in the bones. Use energy to
move your body. But the movements must be smooth. Your body can then easily obey your mind.

Wherever energy goes, mind and intention will also go. Therefore put your mind on moving the energy. But your
mind and intention, hands and feet, all have to be calm so that energy will be able to collect in the bones. [Once
energy can collect in the bones,] then skill will be daily refined and you will be able to move energy throughout your
whole body. For energy to move through your whole body, there must be smoothness everywhere. There cannot be
the slightest obstruction. Once this is understood, your changes will happen as you wish, and will not be random.

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 nimble and your headtop will be pulled up as if suspended. The
mind must perform alternations nimbly, and then you will have the qualities of roundness and liveliness. Thus it is
said[also in the Song]: Pay attention to the alternation of empty and full.

If you put energy down into your elixir field and keep your headtop and neck upright, then spirit will naturally be
raised up. Your movements will thereby happen as you wish and you will certainly lack the errors of being too slow or
heavy. Thus it is said: your headtop will be pulled up as if suspended. When you encounter an opponent, if your
mind and energy are performing alternations nimbly, you will naturally be free of awkward effort. Without awkward
effort, you will be able to be as rounded and lively as you please. With the qualities of roundness and liveliness, you
will alternate between emptiness and fullness always as you intend.

When issuing power, you must be calm and relaxed, concentrating it in one direction. Your posture must be upright
and comfortable, bracing in all directions.

When issuing power, you have to be calm, and everywhere the power has to be loosened. You must not allow your
thoughts to wander, and then you can be focused, your intention concentrated. Even if an opponent takes you by
surprise, be it above or below, from in front or behind, from the left or right, you will be able to deal with it as you
please. With your spirit concentrated, your intention and energy will always arrive together. With your headtop, neck,
and body upright, you will be able to be well-balanced, energy sinking to your elixir field, and your whole body will be
natural and comfortable. With your intention stable and your stance steady, you will have more than enough to brace
in all directions.

Move energy as though through a winding-path pearl, penetrating even the smallest nook. Wield power like
tempered steel, so strong there is nothing tough enough to stand up against it.

Move energy throughout your whole body just like a string through beads, winding through to all of your limbs and
every part of your body, even to the smallest place. While your intention focuses but has not yet arrived, energy goes
from your spine, through your neck, to the crown of your head, and then back down from your chest to your elixir
field, making a complete taiji circle. Taiji Boxing makes use of internal power rather than awkward effort. When
power is released, it seems to have no strength, and yet it is actually like tempered steel. No matter how hard the
opposition, it always gets broken.

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.

The shape of the movements is like a falcon capturing a rabbit, in that it is unpredictable just when the falcon will

drop from its circling, and the mentality of that moment is like cat pouncing on a mouse. With a quality of stillness, it
is as though you are testing the opponent, storing up power and waiting for the right moment to issue against him.
While in a state of stillness, be like a mountain, lofty and motionless, a condition that could be described as calm
strength. While moving, be like a river, its waves rising and falling constantly, a condition of flowing unceasingly.

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 the spine. Step according to your bodys adjustments.

To store power and wait in ambush is like a fully stretched bow. When power is issued suddenly, it is just like an
arrow being released. Use sticking to neutralize the opponents power, a matter of curving, then once he has been
neutralized, you must take advantage of the opportunity and directly attack. This is what is meant by seeking to be
straightening within curving. Once there is a gap to exploit, stored power can issue into it fully. Loosen your
shoulders, contain your chest, and send energy to your elixir field. When you send your hands against the opponent,
your power will hasten from your spine to your fingertips. Posture, direction, rotation, and footwork should all
comply with what your torso is doing.

To gather is to release and to release is to gather. 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.

Sticking is gathering. Attacking the opponent is releasing. Stick stick and then when the moment is favorable,
you may release power. Even if you are on target, continue to stick to him without letting go. Your power seems to
finish, [but your intention stays connected to him.] The meaning of folding is that your movement is changing both
horizontally and vertically. To then be moving back and forth while moving horizontally and vertically makes
emptiness and fullness that much more indefinite, and so you have to stay aware. While advancing and retreating,
you must have varying footwork. As advance and retreat alternate, obviousness and surprise generate each other.
Advancing can also be a retreat, for even in retreat you can attack.

SONG SEVEN

From extreme softness, extreme hardness comes naturally.


When the movement is like drawing silk, at every point there is clarity.
Through opening up then closing up, you will gain a refined subtlety.
Await the moment, then make your move, stepping like a cat.

Extreme softness begets extreme hardness. Your ability to be nimble 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 softer you perform the postures, the more you increase the internal power. Practicing in this way will then
produce extreme hardness from extreme softness. This does not mean hardness without softness, instead the genuine
hardness contained within softness. Natural breathing is based in the sounds of heng and ha. Energy follows
intention, and thereby you will advance and retreat with nimbleness. Cultivate energy by using deep breathing,
causing it to return directly to your elixir field. This is the noble energy [that Mengzi spoke of]. It gradually sinks
down and can maintain you forever. The breath of external stylists cannot get all the way through, going no further
than the Zhongwan acupoint [halfway between solar plexus and navel]. They constantly gather in their breath to swell
their abdomens, which over time will cause energy to stagnate and ones bearing to become stiff. If you can get your
intention to guide energy to your elixir field, then after a long time, energy will fill your entire body. When
encountering an opponent, bend your limbs to store power and await the moment to act. Then when you issue, you
are sure to reach the target, for he will be unable to evade you.

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.

The mind is the commander, giving its orders to the energy, which is the flag that waves the commands, instantly
distributing instructions to the four limbs. These are the five central soldiers and four sentries [i.e. those serving the
general and those serving his subordinate, analogous to the major organs and the four limbs of the body]. The waist is
the large banner standing upright amidst the army, not teetering in any direction, controlling the movements of the
hands and feet. Use this process of passing the orders along to defeat opponents. Whether practicing the solo set or
pushing hands, there has to be opening and closing. Once the methods of opening and closing are obtained, every
part will feel livened and you will move as you please. To strive to close up does not mean the movement gets
stubbornly smaller or faster, simply that you are to gather in more compactly after having opened up. The idea is to
have ability in both releasing and withdrawing, as in [from the Zhong Yong:] [Sending out, it goes beyond the ends
of the universe.] Rolling in, it stores away tightly In movement, spread open. In stillness, close up again.

It is also said:
First in the mind, then in the body. The abdomen relaxes completely and then energy collects in the bones. 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.

Taiji Boxing uses mind as foundation, body as function. It is the same as the modern concept of central control and
provincial assistance. Your belly must naturally loosen for energy to sink down, and then it will be able to gather in
your spine. With energy collected into your bones, your spirit will naturally be comfortable and your body will be at
ease in every part. With a quality of complete stillness, you will neither overdo nor underdo anything. Keep this
principle always in mind and never sneer at it. Inside and outside combine, linked as a single energy. Therefore when
hands and feet move, mind and intention are also moving, and when mind and intention become still, hands and feet
also become still. If you practice for a long time, you will be able to achieve this subtlety.

As the movement leads back and forth, energy sticks to your back and gathers in your spine. Inwardly bolster spirit
and outwardly show ease. Step like a cat and move energy as if drawing silk.

When fighting with an opponent, advance and retreat are inconstant, thus while movement goes back and forth it is
very easy for energy to float up. When your energy floats, your stance will lighten and it will be easy for the opponent
to affect you. You must loosen your shoulders, contain your chest, sink your energy, and tuck in your rectum. Energy
will gather in your back, move along your spine and enter every part. When your energy is complete, your spirit is
naturally strong, but you should still exhibit a leisurely calm, as if you have nothing to do. The footwork as you
perform the postures should be like the steps of a cat, nimble and silent. The movement is unceasing, the energy that
of drawing out silk, continuous and connected. You will then not have the error of stopping and starting.

Throughout your body, your mind should be on the spirit rather than on [forcing] the energy. This is because if you
have only [acquired (i.e. forced)] energy, there will be no power, for without [innate] energy, there will nothing but
hardness. The energy is like a wheel and the waist is like an axle. Seem to loosen but not yet loosen, about to express
but not yet expressing. When your power finishes, your intent of it continues

Throughout your body, the idea is always to make use of spirit rather than put forth any awkward effort. If you focus
in your practice on moving energy by way of pushing out your diaphragm, then even if there is energy, there will be
no internal power. This is because it is impure acquired energy rather than potent innate energy, the result being
hardness that will not soften. While breathing to cultivate energy, it circulates like a wheel, rotating and alternating. If
your waist is like an axle, it acts as a central pivot point which can send innate energy everywhere in your body
without any obstruction. When you encounter an opponent, seem to loosen but not yet loosen, about to release but
not yet releasing, always sticking, adhering, connecting, and following. Aim for the opponents moment of advance or

retreat. Concentrate spirit, store power, and when a gap appears, issue. Once you release power, it then seems
finished, but your mind and intent are still not finished with it.

These original texts are attributed to Wang Zongyue. Yao Fuchun and I obtained a handwritten document from the
reign of Emperor Qianlong [17361796] and a block-printed text from 1875. They differ from modern texts in some
small ways, but their principles and methods the same.

CHAPTER THREE: YANG CHENGFUS TEN ESSENTIALS OF TAIJI BOXING [from Chen Weimings Art of Taiji
Boxing, 1925]

1. FORCELESSLY PRESS UP YOUR HEADTOP

By press up your headtop is indicated that the appearance of your head is upright and spirit penetrates to your
headtop. You must not use exertion. If you use exertion, your neck will be straining, and energy and blood will be
unable to flow through. There must be an intention of being forceless and natural. If you do not have this quality of
forcelessly pressing up your headtop, then spirit cannot be raised.

2. CONTAIN YOUR CHEST & PLUCK UP YOUR BACK

To contain your chest means your chest is slightly shrugged inward, causing energy to sink to your elixir field. Your
chest must not stick out. If it sticks out, then energy will swarm to your chest area, resulting in your upper body being
heavy and your lower body being light, and your heels will easily float up. To pluck up your back means energy
sticks to your back. If you can contain your chest, then you will automatically be able to pluck up your back. If you can
pluck up your back, then you can issue power from your spine and be invincible.

3. LOOSEN YOUR WAIST

The waist is the controller of the whole body. If you can loosen your waist, then your feet will have strength, and your
stance will be stable. The transformations between empty and full all come from the turning of your waist. Thus it is
said [in the Thirteen Dynamics Song] that the command comes from your lower back, and if you do not have the
advantage, the problem must be in the waist and legs, so look for it there.

4. DISTINGUISH BETWEEN EMPTY & FULL

In the Taiji boxing art, distinguishing empty and full is of prime importance. If the weight is on your right leg, your
right leg is full and your left leg is empty. If the weight is on your left leg, your left leg is full and your right leg is
empty. If you can distinguish empty and full from each other, movements will be light and nimble, not at all
strenuous. If they cannot be distinguished, your steps will be heavy and sluggish, your stance will naturally be
unstable, and it will be easy for an opponent to pull you off-balance.

5. SINK YOUR SHOULDERS & DROP YOUR ELBOWS

To sink your shoulders means your shoulders loosen and hang down. If they cannot loosen and hang, they will end
up lifting, then energy will also follow them upward, and your whole body will have no strength. To drop your
elbows means an intention of loosening your elbows to drop them downward. If your elbows are lifted up, your
shoulders cannot sink, and you will not send the opponent far. It would be more like the interrupted power of
external styles.

6. USE INTENTION, NOT EXERTION

A Taiji essay [Li Yiyus Five-Word Formula] says: This is entirely a matter of using intention, not exertion. When
practicing Taiji Boxing, your whole body should be loosened. If you do not allow there to be the slightest bit of clumsy
effort clogging up the spaces between your muscles and bones, vessels and meridians, and which would tie you up in
knots, then you can be nimble and adaptable, rounded and unhindered. You may ask: If one does not exert oneself,
how can one get stronger? A persons body has energy channels like irrigation canals. When a canal is unblocked, the
water can move, and when the channels are not closed off, energy can flow. If your whole body is stiff, it is as though
the channels have been filled in, and thus the energy and blood become stagnant, the movement becomes awkward,
and your whole body will be affected by but the tug of a hair. If you use intention instead of exertion, then wherever
your intention goes, energy will arrive. If energy and blood are flowing, everyday coursing through, circulating
through your whole body without a moment of stagnation, then after practicing for a long time, you will obtain
genuine internal power. Another Taiji essay [Understanding How to Practice] says: Extreme softness begets extreme
hardness. One who is skilled in Taiji has arms like silk wrapped around iron and they feel very heavy. When
practitioners of external styles use exertion, it is obvious they are exerting themselves, and when they do not use
exertion, they are very light and floating. It can be seen that their strength is an external and superficial strength. The
strength of external styles is the easiest to take advantage of, therefore do not esteem it.

7. YOUR UPPER BODY & LOWER COORDINATE WITH EACH OTHER

The meaning of this is stated in a Taiji essay [Essays, part 1]: 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. Your hands move, your waist moves, your feet move, and even your gaze also goes along with
the movement. If it is like this, then you can say your upper body and lower are coordinating with each other, but if
there is one part that is not moving with all the rest, then you are in disorder.

8. INSIDE & OUT JOIN WITH EACH OTHER

Taiji training is all about the spirit. Therefore it is said [in an earlier version of Understanding How to Practice]:
Your spirit is the general and your body is the army. If your spirit can be lifted, naturally the movement will be
nimble. There is nothing more to the solo set than emptiness and fullness, and expansion and contraction.
[Expansion is not only a matter of hands and feet. The intention also expands.] Contraction is not only a matter of
hands and feet. The intention also contracts. If you can merge inside and outside into a single unit, there will be
entirely no distinction between them.

9. THE MOVEMENTS ARE LINKED TOGETHER WITHOUT INTERRUPTION

In external styles of boxing arts, their strength is only the clumsy strength of acquired habit. Therefore there is a start
and a stop, a continuing and an interrupting. It is when old force is spent and new force is not yet initiated that is the
easiest moment for an opponent to take advantage of. Taiji uses intention, not exertion, and so from beginning to
end, it is continuous without interruption, recycling endlessly. A primary text [Essays, part 1] says: It is like a long
river flowing into the wide ocean, on and on ceaselessly. It is also said [in Understanding How to Practice]: Move
energy as if drawing silk. These words describe a continuous flow throughout.

10. WITHIN MOVEMENT, SEEK STILLNESS

External styles of boxing arts look upon jumping and posing as ability. Practitioners spend all of their energy, and
therefore after practicing are always panting for breath. Taiji uses stillness to control movement, and although
moving, seems yet to be in stillness. Therefore when practicing the solo set, the slower the better. When it is slow,
your breath will be deep and long, energy will sink to your elixir field, and there will naturally be no excessive rise in
heart-rate. Students who are attentive and realize through experience will all get the idea.

CHAPTER FOUR: A COUPLE OF ESSAYS FROM SUN LUTANGS A STUDY OF TAIJI BOXING [1921]

1. Authors Preface

When the universe began, the primordial energy started flowing. States of movement and stillness separated and
combined, giving rise to all things, expressing acquired phenomena. The innate primordial energy was endowed with
acquired form. Acquired form still contained within it the innate primordial energy. Therefore human beings are an
embodiment of innate and acquired combined into one. People naturally have thoughts and passions, and an
irregularity to their passive and active aspects. Their innate primal energy gradually fades and their acquired energy
grows in its place.
As the active aspect wanes, the passive aspect flourishes, and then the six kinds of atmospheres affect us (windy,
cold, hot, damp, dry, smoky) and the seven kinds of emotions are felt [joy, rage, worry, obsessiveness, grief, fear,
shock]. The body gets increasingly weakened and illnesses repeatedly arise. Ancient people worried about this, and so
they experimented with medicines to dispel their ailments and silent meditations to nourish their minds. They also
wondered whether movement and stillness could not be used together, and so they also invented boxing arts in order
to seek a restoration of their natural energy.
Later, when Damo traveled east to share the Way, he came to the Shaolin Temple in Henan. He worried the monks
were damaging their spirit from sitting in extended meditation, for they appeared haggard and emaciate. Therefore
he put forth the theory of smoothness and coarseness, of passive and active, explained about the primal energy of the
innate condition, and wrote the Sinew Changing Classic and the Marrow Washing Classic to teach people how to
practice in order to invigorate their bodies. Then in the Song Dynasty, Yue Fei built upon the essence of the two
classics to create Xingyi Boxing, suitable for practical use, and the principles of Bagua Boxing were also contained
within them. This was the origin of the boxing arts of the internal school.
In the Yuan Dynasty, during the reign of Emperor Shundi [13331370], Zhang Sanfeng, a Daoist of Wudang,
noticed that those who were both cultivating elixir and practicing boxing arts were using an inappropriate degree of
acquired strength and were thus unable to achieve an energy of centered harmoniousness, resulting in harm to their
elixir and a diminishing of their primal energy. Thus he abided by the principles of the Sinew Changing and Marrow
Washing, applied the form of Zhou Dunyis Explanation to the Taiji Diagram, seized upon the theory in the He
River Diagram and Luo River Document, as well as the reasoning from the Book of Changes, adopting their mentality
of naturalness, and made the Taiji boxing art, revealing the secrets of nurturing the body.
This art makes use of acquired postures, but not of acquired strength. In every movement and stillness, it is
entirely natural, never emphasizing animal vigor, for its purpose is to transform energy into spirit. The art contains
the subtleties of the single principle, two energies, three realms, four manifestations, five steps, six unions, seven
stars, eight trigrams, and nine palaces. It goes from the single principle to the nine palaces, then returns to the single

principle [the same idea as with Guo Yunshens Nine Palaces stepping chart].
The single principle is the energy of centered harmoniousness within your belly during the starting position of
the boxing set. This is the grand polarity.
The two energies are your bodys postures of movement and stillness. These are the dual aspects.
The three realms are those of head, hand, and foot, or the upper, middle, and lower.
The four manifestations are: advancing, retreating, going to the left, and going to the right.
The five steps are: advance, retreat, left, right, and staying in the center.
The six unions are the three internal unions essence united with spirit, spirit united with energy, energy united
with essence and the three external unions shoulder united with hip, elbow united with knee, hand united with
foot merged together as one to make six unions.
The seven stars are: the head, hand, shoulder, elbow, hip, knee, and foot.
The eight trigrams are: warding off, rolling back, pressing, pushing, plucking, rending, elbowing, and bumping.
The nine palaces are the eight hand techniques plus centeredness.
Zhang used the He River Diagram and the Luo River Document as the basis, the eight trigrams and nine palaces as
the framework, as well as using the five elements for the embodiment, and the seven stars and eight trigrams for the
function, in order to create this Taiji boxing art. Its profound subtleties were detailed in the treatise of Wang Zongyue
of Shanxi. It thereafter branched off into different styles, each with its own ideas and variants of the postures.
In the Qing Dynasty, during the reigns of Emperor Daoguang [18201850] and Emperor Xianfeng [18501861],
there was a Wu Yuxiang of Guangping. He heard that in the village of Zhaobao, Huaiqing Prefecture, Henan, there
was a Chen Qingping who was an expert at the art, and unswayed by the distance, he went to personally call upon
him. He subsequently learned from Chen for several months and obtained the method. He later taught it to Li Yiyu,
who would write the Five-Word Formula. Li then taught the art to Hao Weizhen, who studied it for several decades
and deeply grasped its subtleties.
I received instruction from Hao, practicing daily for several years, and came to somewhat understand the general
principles within the art. I also deeply pondered upon my own experiences from my previous training, and then the
three arts of Xingyi Boxing, Bagua Boxing, and Taiji Boxing merged to become a single essence. This single essence is
yet separated into the three distinct systems. The postures of the three systems are different, but their principles are
the same.
Previous generations passed these arts down only by way of oral instruction
and did not make specialized books about them. Whenever theories did happen to get written down, it was often by
someone who was not really a practitioner anyway. Even though my skill is still merely crude, I have ventured to
make books about Xingyi, Bagua, and Taiji. The postures within this book are represented by both photographs and
explanations, so that all those who have an ambition toward this art can have a model to imitate. If you do your best,
you will after a long time obtain its wonders without too much difficulty. The authentic theory within this book has
been transmitted through various masters, and since I do not possess a very literary style of writing, you will find it
accessible. Wherever I have made mistakes, I hope you will pardon me, and I would be grateful for corrections.

2. The Name Taiji Boxing

Once conceived, a person is imbued with a nourishing primordial energy, which does not veer in any direction from
its function, for it is balanced and does not leak away. It is perfect and complete. It is genuine active energy, so it is
considered an energy of centered harmoniousness. This energy tends to fill the limbs and bones, no place where it is
not there, no moment when it is not so, both internally and externally, flowing unceasingly.
Consequently the expanding and contracting, movement and stillness of this art come from this energy. The
marvels of releasing and extending, gathering and shrinking, come from this energy. Expanding is [releasing,]
extending, and movement. Contracting is gathering, shrinking, and stillness. Expanding is active. Contracting is
passive. Releasing, extending, and movement are active. Gathering, shrinking, and stillness are passive. Expanding
and contracting are a continuous movement of passive and active, a taiji continuousness.
Taiji is continuousness. Continuousness is Taiji. In terms of the theory, it is a grand polarity. In terms of the
function, it is a continuousness. When it is time for active, then active. When it is time for passive, then passive. When

it is time for upward, then upward. When it is time for downward, then downward. Active, then passive. Passive, then
active. Continuously moving, yet always stabilized, expanding and contracting happen naturally, always moving from
a point at the center between them [not a physical point, rather a center of principle unifying and integrating the two
phenomena], which is a grand polarity. Ancient people could not explain it to others, but it is this. They were not able
to write in books, yet still it is this.
You can expand and contract, movement and stillness trading places. If you understand this principle clearly, then
you can within each posture combine edge and center, and obtain its marvelous effects. A surrounding edge
represents a formed empty circle. A rubbed-in center represents a formless full circle. These two are the principle of
empty and full in Taiji Boxing. Its postures within are empty, then not empty, not empty, then empty. This energy
circulates unimpeded, nimbly, and without pattern, neither caving in nor bulging out. [From the Zhong Yong:]
Sending out, it goes beyond the ends of the universe. Rolling in, it stores away tightly Its changes are
inexhaustible, for in using it, it is never used up, and all of it is learning of substance. Herein lies the reason Taiji
Boxing has its name.

CHAPTER FIVE: CHEN ZHIJINS ESSAY TAIJI BOXINGS MORAL QUALITIES & FUNCTIONS [a revised version
based on the one that appears in Chen Weimings Taiji Sword, 1928]

Taiji Boxing descends from Wudang. The founder was Zhang Sanfeng, who observed a fight between a magpie and a
snake, which gave him a sudden realization, and so he developed this boxing art. He worried that those who
cultivated the Way were meditating so deeply that their blood was becoming perilously stagnant.
While walking in the mountains and sleeping in the open, he would suddenly find himself at risk from wild
animals. Hence because of his wisdom from having observed the magpie-versus-snake duel, he imitated the agile
leaping of the birds and beasts. Then by modeling upon the natural principles of the universe, making use of the taiji
concept with its passive and active aspects, he created Taiji Boxing to pass down to the world.
After practicing it for a long time, you will obtain the benefit of prolonged life, as it says in the Song [of Thirteen
Dynamics]: What is emphasizing the use of intention going to lead you to? To a longer life and a longer youth.
When practicing the solo set, act only by way of spirit, and do not emphasize awkward effort, as it says in the Song:
Whether we are discussing in terms of theory or function, what is the constant? It is that mind is sovereign and body
is subject.
The most important as well as the most difficult thing is [as the Song says]: The tailbone is centered and spirit
penetrates to the headtop, thus the whole body will be nimble and the headtop will be pulled up as if suspended. This
is the key point to pay attention to. It is not something those of shallow learning will be able to understand or do, but
if you keep working at it, you will be able to succeed. For students who have a mentality of constancy, an ability to
persevere, their sincerity is enough to do anything. This is even more necessary in the case of boxing arts.
When Zhang wandered all over China, he felt pity for the feebleness of scholars. When they were subjected to the
violence of bullies, they had nothing with which to withstand them. Thereupon he handed down to the world the
strategies of using softness to defeat hardness, of using weakness to overcome strength, of the one who puts forth no
effort winning against the one putting forth effort, of borrowing the opponents energy and taking advantage of his
momentum. Since then, Taiji Boxing has become prominent in the world, and has become known as the Wudang

school, which emerged from Shaolin.


To obtain this boxing art is like winning a rare treasure, and so do not be willing to pass it on to people casually.
You must deeply know their virtue of conduct and sense of personal integrity. Also they are to be treated to many
years of exacting inspection before you can be willing to teach them its secrets. On his deathbed, Yang Luchan told his
son Banhou to begin passing down their secrets. When Banhou heard this, he was overjoyed, but said to his
classmates: I will wait until you have all trained to the point of skill, then I will tell all of you. If skill has not yet been
reached, I wont pass on the secrets, because you would still not be able to understand anyway.
Actually, learning ultimately comes down to oneself, as it says in the Song [of Thirteen Dynamics]: Beginning the
training requires personal instruction, but mastering the art depends on your own unceasing effort. For the most
part, students rarely have perseverance and always blame the teacher for not passing on the secrets. If you do not
work hard, you will gain nothing even if you have the secrets. If you do work hard, you will be able to develop skill,
and someday you will naturally have a breakthrough.
Beyond their learning of the art, students must abide by certain rules. If they were to violate these rules and be
found out by their teacher, then no matter how much work they had put into their training, the teacher would
withdraw from giving further instruction. And once the instruction had ceased, it would be no different from not
learning in the first place. These rules are:
1. I cannot become a bodyguard, protecting caravans and courtyards.
2. I cannot become a street performer, making money off its exhibition.
3. I cannot become an outlaw hiding in the forest.
[In other words, the purpose of this stuff is not to enable you to become a cop, a movie star, or a criminal.]
From these points it can be seen that a person without moral integrity will not be able to learn it, and also that a
person without a great deal of perseverance will not be able to learn it. Those who have learned it have been able to
transform their temperaments, and so those who are hot-tempered or in a hurry can be made moderate and
composed.
When practicing the solo set, your whole body loosens, you comply with what is natural, movement is rounded and
smooth, energy sinks to your elixir field, and your mind empties, all thoughts vanishing, like in Zhuangzis butterfly
dream, in which there is no distinction between man and butterfly [Zhuangzi, chapter 2]. After you have finished
practicing, you will not know whether or not you have practiced. When through your practice you have attained this
state, what flaw is there that you cannot cast off? This will not only be the case for yourself, but for onlookers, who
will unwittingly be calmed and transformed along with you.
When practicing the solo set, you cannot be naked. Do not gnash your teeth or stare hard with your eyes. Do not
shout aggression or make strange cries. When sparring: If he takes no action, I take no action, but once he decides to
act, I have already acted. In other words, neither get ahead of him nor fall behind.
As for Taiji Boxings functions, those who are without illness can be made forever free of illness, and even those
who are scourged with severe chronic ailments can all be rid of them. You owe it examination.

CHAPTER SIX: CHEN WEIMINGS EXPERIENCE OF TEACHING TAIJI BOXING

I established the Achieving Softness Boxing Society to give instruction in Taiji Boxing over five years ago and its
membership is now over a thousand, a good three quarters of whom have come because of illness. We Chinese are
often ill, and in the last five years I have seen it to be generally the case that those with illness have bodies that have
become stiff and those without illness have bodies that are instead soft. Also, those with mild temperaments are
typically soft, whereas those with stubborn dispositions tend to be hard, easily moved to anger, everything bringing
illness to their bodies.
Laozi said [Daodejing, chapter 76]: Softness accords with life. Hardness accords with death. For example, when
a tree has soft branches, they are difficult to break, and it is sure to thrive, but a withered tree is brittle and doomed to
die. This is something everyone understands, and yet for some reason no one acts according to it.

It is the case that regardless of old or young, mildness brings less illness and forcefulness brings more illness.
There can surely be no doubt of this. The entire body of a newborn is soft, a pure vitality that makes him robust.
There is then a gradual hardening, and once he is old, he has become more and more stiff, slowly going from life
toward death. Taiji Boxing is an art of turning hard people back into soft people, a way of reversing them away from
death and toward life, as it is said [DDJ, 28]: Return to the state of an infant.
It says in the Taiji Boxing Treatise: Miss by an inch, lose by a mile. If the postures are not accurate, results will
come more slowly. But in teaching people, be they young or old, ill or healthy, it is also necessary to take into
consideration the age of the body to then give them the most appropriate means of instruction. This will cause
students to have interest in the material rather than a sense of hardship, gently guiding them toward a path of health.
In this way, all have obtained results.
Mister Gu Shengwu was suffering from irritability at home, the merest word out of place moving him to anger.
After practicing the art for just over a year, his temperament became milder, his whole family remarking on the
difference. Miss Xu Sumei recently had a digestive ailment that rendered her incapable of eating and drinking. After
practicing for just a couple of months, she is now able to enjoy meals.
Taiji Boxing is capable of transforming the temperament and strengthening the body. Although it brings about
such results, I hope my compatriots will practice it while free of sickness and not wait until they are incurably ill to
start giving attention to learning Taiji Boxing. It would be still effective, but it would be too late to have prevented the
illness that is already there.

Brennan Translation

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YIN YUZHANGS SABER MANUAL
THE CORRECT PATH OF YIQUAN

XIANG KAIRANS TAIJI EXPERIENCE


Posted on July 31, 2016by Paul Brennan

MY EXPERIENCE OF PRACTICING TAIJI BOXING


by Xiang Kairan
[written in 1929, published in Wu Zhiqings Authentic Taiji, 1936]
[translation by Paul Brennan, July, 2016]

In 1907, I was in Japan visiting a friend from Hebei, and I happened to hear him talking about northern practitioners
of boxing arts: There are several major schools, such as Bagua Boxing, Xingyi Boxing, Taiji Boxing, as well as Yue
School Sanshou, and another system produced from it called Yue School Continuous Boxing.
Although beyond these there are many more styles, there are fewer practitioners of them and so they have been

unable to build themselves up into fully fledged systems, and when I heard his words, I only knew of these major
names anyway. Each system has its own batch of techniques, its own distinguishing characteristics, and belongs to a
particular place. But because my Hebei friend was unable to perform each of them for me to look at, I could not get to
know them.
Then in 1903 [1913], I met two of Li Cunyis students, Ye Yunbiao and Hao Haipeng, and was then able to see a
portion of Xingyi Boxing and Bagua Boxing. I still had not seen Taiji Boxing, but I once listened to them talking about
its concepts, causing me to yearn for it that much more.

A number of years passed and I still had no opportunity to make the acquaintance of a friend who was a decent
practitioner of Taiji Boxing. Not only was I unable to study it, I began to feel I would never be able to achieve the goal
of even seeing it. Then in May, 1925, fortunately Chen Weiming came to Shanghai from Beijing with the Yang familys
transmission of Taiji Boxing, establishing an Achieving Softness Boxing Society expressly to teach it to people. I
took this opportunity and engaged in the study for several months.
Then unexpectedly during the course of this education, Wang Zhiqun, who had taught me boxing arts twenty years
previously, arrived in Shanghai. By this time, I had not seen him for several years and I had heard only that he was in
Beijing. I was so intent upon the study of Taiji Boxing, and due to the deep earnestness I felt for this basic goal, I
could not decide which person it would be easier for me to achieve success from, so I also studied with Wang.
As for the Taiji Boxing he had trained in and that of Chen Weiming, Chen learned from Yang Chengfu and Wang
learned from Wu Jianquan, both of whom had learned from the second generation of students in the lineage of Yang
Luchan. Although it is the same branch of the same school, two people teaching a boxing art will naturally have
differences. I was very uncertain at that time and did not dare to casually judge who was right and who was wrong.
My goal was just to study boxing arts, and so I was incapable of being biased toward any style, that much more so in
the case of the Taiji boxing styles, which had emerged from the same school.
I was only concerned with facilitating my studies, and since Wang was staying in my home, it was convenient to
focus on learning from him. I also often pushed hands with Chen at that time, but before long I left Shanghai to
return to Hunan. In Hunan I could not find a practitioner of Taiji Boxing, no one for me to push hands with, and so
the only thing I could do was practice by myself.

In July, 1928, I followed the Hunan army to Beijing, from that time now called Beiping. Because the government
moved the capital city to Nanjing, the Beijing economy fell into a depression, influencing some famous practitioners
of Taiji Boxing, such as Yang Chengfu and Wu Jianquan, to follow better conditions to Nanjing or Shanghai, where I
have met several such teachers. But there are still equally prestigious people in the north, such as Xu Yusheng and Liu
Enshou, who have both studied Taiji Boxing for many years.
The postures they practice are similar mainly to the teachings of Wu Jianquan. I therefore also spent some days
learning from Xu and Liu. Xu has learned from Wu, Yang, and other Taiji Boxing experts who all went south. He set
up a Physical Education School, but unable to find an expert instructor of Taiji Boxing, has put his reliance into the
people of Chen Family Village in Wen County, Henan, specifically inviting Chen Jifu.
Tradition has it that Yang Luchan had gone to Chen Family Village to learn Taiji. His teacher was called Chen
Changxing, and people have carried on his teaching to this day. Presently in Chen Family Village, there are few people
who do not practice boxing arts, and what they practice is always Taiji, there being no other kind of boxing art

popular in that area.


The Physical Education School therefore invited a member of the Chen clan. Chen Jifu is not yet forty years old,
has practiced Taiji Boxing since childhood, and has never practiced any other boxing art. After arriving in Beiping,
not only is he teaching in the school, there are also many people who have invited him to teach in their own homes.
When I heard about such a noteworthy person, I had to take a look. I was then recommended by Xu to come to the
School and see this unique boxing art and its pushing hands, and to discuss with the man for a while.
If might have been better if I hadnt. After meeting him, I was left even more confused than before, because this
authentic version of Taiji Boxing is not only entirely different in appearance from Wu Jianquans teachings, but also
completely dissimilar to Yang Chengfus. Even the names of the postures are not the same.

Despite some postural distinction between the teachings of the Wu and Yang families, their opening posture has the
same name CATCH THE SPARROW BY THE TAIL. In the version Sun Lutang learned from Hao Weizhen, the
opening posture is called TUCK IN THE ROBE [lan za yi], similar in sound to CATCH THE SPARROW BY THE TAIL
[lan que wei], and regardless of who changed the pronunciation, the sounds are still not that far apart.
As for Chen Jifus opening posture, it is called ARHAT POUNDS THE PESTLE, and although his set contains a
posture called TUCK IN THE ROBE, the movements of his hands and body bear no resemblance to the CATCH THE
SPARROW BY THE TAIL of either the Wu or Yang schools, nor to Sun Lutangs TUCK IN THE ROBE.
Furthermore, throughout Chens postures there are many different names, such as BLUE DRAGON LEAVES THE
WATER, DOUBLE-HAND PUSH, IMMORTAL MAKES A GRAB, SMALL CATCH & HIT, BECKONING IN FRONT &
BEHIND, IRON FORK [DROP AND EXTEND], CATCHING THE EARTHWORM, or CANNON STRAIGHT AHEAD.
There are also many Wu / Yang names that do not appear: Instead of SEALING SHUT [ru feng si bi], there is SIX
SEALED & FOUR SHUT [liu feng si bi]. SINGLE WHIP [dan bian] is TRANSMUTING ELIXIR [dan bian],
RETREAT, DRIVING AWAY THE MONKEY [dao nian hou] is REVERSE TWISTING FOREARMS [dao nian gong],
SHOULDER [FAN] THROUGH THE ARMS [jian (shan) tong bi] is DODGE THROUGH TO BE BEHIND HIM [shan
tong bei], KICK TO THE RIGHT SIDE [you qi jiao] is RIGHT INSERTING [you cha], KICK TO THE LEFT SIDE [zuo
qi jiao] is LEFT INSERTING [zuo cha], TURN AROUND, PRESSING KICK [zhuan shen deng jiao] is PRESS WITH A
HEEL [deng yi gen zi], CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN [bao hu tui shan] is COVER
YOUR HEAD AND PUSH THE MOUNTAIN [bao tou tui shan], and CLOUDING HANDS [yun shou] is CIRCLING
HANDS [yun shou]. The sounds are close, but the patterns of movement are very different.
Then I noticed that his pushing hands consists of only the same-side [i.e. opposite-step] moving-step method,
meaning that when one person has his left foot forward, the other person has his right foot forward [whereas Wu and
Yang practitioners tend to practice this primarily with the same foot forward], warding off and pressing with an
advancing step, rolling back and pushing with a retreating step.
I asked him: How many patterns does your pushing hands have?
He said: Just this one.
Then I asked: Is there no fixed-step version, with the feet not moving?
No.
Is there no four-corner advancing and retreat exercise like the large rollback?
No.
I thought this was quite strange. What Yang Luchan learned from the Chen Family Village has gone through a
mere three generations. How is it that Chen Jifus teaching differs so much?

The Yang familys practice methods seem more comprehensive. Yang family pushing hands patterns go from the easy
to the difficult, with a total of four kinds of exercises:

[1] First there is single-handed connecting and drawing in for developing dexterity in sticking and yielding.
[2] Then there is the exercise for the four techniques of ward-off, press, rollback, and push, which uses both hands,
the feet fixed in place, the advancing and retreating happening with only the body and hands.
[3] Then there is moving-step advancing and retreating.
[4] And then there is four-corner advancing and retreating, called large rollback.
The footwork, body movements, and hand techniques become gradually more complex, causing the practitioner to
be able to advance and retreat more efficiently, to be always in control in every situation and never controlled by the
opponent.
If there was only the moving-step method, beginners would find it difficult to stick and yield. If instead there is
training at an appropriate level, moving steps will feel effortless when the time comes, the hips will develop genuine
skill, and once the next level is sought, there will only be the worry that it might be too easy.
The principles of Taiji Boxing are different from those of other boxing arts. Taiji emphasizes sticking and yielding,
the principle of neither coming away nor crashing in. Sticking means not coming away. Yielding means not crashing
in. This concept is easy to speak of, but very difficult to achieve.
To stick and yield with one part is fairly easy, but to stick and yield with the involvement of the whole body is more
difficult. If you want efficient whole-bodied sticking and yielding, this is not achievable without the large rollback
exercise. The large rollback exercise was most likely not created by the Yang family, so presumably it was something
that Chen Jifu had not yet learned, and thus his method is again not as complete as the Yang familys.

As a result of my personal research into Taiji Boxing, I am deeply convinced as to the meticulousness of the boxing
theory and the thoroughness of the boxing techniques, and that the practicing of it is a case of pros without cons,
something other boxing arts are not capable of.
In recent years, the government has been promoting martial arts, establishing a Martial Arts Institute in the capital
[Nanjing], followed by Institutes being established in every province. Within the Nanjing Institute, material is divided
into the two schools of Wudang and Shaolin. Taiji Boxing makes up the major portion of the Wudang curriculum.
Because of this, Taiji Boxings influence has gradually invaded Nanjing, where practitioners of it become more
numerous by the day.
After the first martial arts competition in Nanjing [October, 1928], it was noticed that those who specialized in
Taiji Boxing often did not win. But among challengers from Beiping who did win, although seventy-five percent had
trained in Taiji, those participants had not stated that Taiji Boxing was their specialty. (During the Martial Arts
Institutes tournament, participants had to declare what martial arts they had trained in and what their specialty
was.) Consequently, ordinary people tend to be skeptical about Taiji Boxing, and in fact are so critical of Taiji boxers
that, sure enough, they are on the verge of mockery.
Usually those who have practiced Taiji have only faced Taiji practitioners of an equal level, and they end up
themselves doubting that Taiji can be used for practical application. As I am so confident in Taijis exponents, I now
must put forth my personal experience and understanding of Taiji Boxing. Perhaps I will thereby explain the doubts
of some people, enhance the belief of others, and will at least provide some evidence for those who are interested.
In this piece, there will sometimes be jargon that the layman will find confusing, but it is part of my writing flow,
for I merely seek to convey my thoughts. As this is an unrevised text, please forgive me. [Since Xiang was the kind of
writer who pushed himself to write a large amount of material in a single sitting, it is a possibility that this entire
piece was written in one day, which might explain its somewhat rambling nature.]

I feel that among the various boxing arts, Taiji Boxing is the most difficult to apply. Why is this? Practitioners of other
kinds of boxing arts do not seem to have a deep level of skill, training only for fighting, intent upon equaling

opponents physically, and undergo less training for health. Taiji Boxing practitioners, on the other hand, do not
emphasize strength. The beginning of the training goes on for over a year, yet physical strength does not appear to
develop much further than that of an ordinary person. Because the physique does not get bulked up, Taiji Boxings
applications have nothing like the simplicity of the postures in other boxing arts, which are easy to comprehend.
The beginning of the training for everybody in Taiji Boxing takes three to five years of hard work. Beyond the fixed
patterns of pushing hands, if the rest of the techniques throughout the solo set are each taught and explained, I fear
that very few practitioners would be able to make sense of them anyway. And if you are unable to understand the Taiji
Boxing techniques you have been practicing, how are you supposed to be able to apply them?
When practitioners of other kinds of boxing arts start to compete against opponents, even if they are unable to
grasp the techniques they have been learning, there is nevertheless not the slightest confusion when they apply them.
This is because during their ordinary training, their sideways thrusts and straight strikes become habitual, and then
they only make use of these habits. Adding on top of that their vigor and directness, they are always capable of
defeating opponents.
For practitioners of Taiji Boxing, this is not the case. During ordinary practice, slowness is the main principal, and
not using any exertion is the key to it. However, the solo set from beginning to end is performed continuously without
pause. Techniques such as PARRY, BLOCK, PUNCH and PUNCH TO THE CROTCH seem obvious, but when
practicing them there is no interrupting of the energy, and so when applying them there will naturally be difficulty in
having any power.

Human beings innately have in their hands and feet a self-defensiveness, as well as an awareness of how to grab
someone. Children who do know any boxing arts sometimes get into fights, yet they understand how to smack to the
head, lifting a hand and lashing out, and the kid on the receiving end also knows how to dodge and hit back.
When Taiji Boxing is not trained to the point of applicability, it is risky to go compete with someone. Not only
would you not be able to attack the opponent, sometimes you would not even know how to protect yourself, rendering
it all useless. Or if you stay in the same type of posture and receive all of his attacks, you would be like the mediocre
boxers described in old novels, who have only the skill of parrying, no word of them achieving any counterattack.
As for practitioners of Taiji Boxing who have never practiced it properly, they do not even have skill in parrying
attacks. This is because within Taiji Boxing there actually are no techniques specifically for parrying. But without
techniques of parrying, how would an opponents attacks not be getting through? To explore this question, we first
need to gain a clear understanding of Taiji Boxing theory.

The terminology in various other boxing arts often does not have much relation to the techniques. But there is a term
in Taiji which fully encapsulates the meaning of this boxing art, for a taiji is simply a circle. [According to this
explanation, we could thus translate Taijiquan as Circle Boxing, Circular Boxing, Circularity Boxing, Circuitous
Boxing, or perhaps Round Boxing, Roundness Boxing, Roundabout Boxing, etc.] Taiji Boxing is likewise an endless
circularity, linking up all the techniques into a single theme. Whatever way a hand or foot moves, there can never be
separation from this circularity. To depart from this circularity is to violate the taiji theory.
Then to refine this idea a little, it is not only that the movement of the hands and feet cannot depart from being
circular. If the four limbs and the body as a whole are not moving, nothing is happening, but once they are moving, no
part may depart from moving with roundness. The parries in Taiji Boxing thus become attacks, and so the attacks are
also parries.
One who is unable to use Taiji Boxings techniques to attack an opponent would be completely unable to use its
techniques to parry. This is because they are always moving with circularity. Within this circle, half the circle is parry,
half the circle is attack. The deeper the skill, the smaller the circle, and sometimes the rotation is not even seen,
showing a peak of ability in parry and attack.

That is why a practitioner of Taiji Boxing while pushing hands gives tremendous attention to the skill of listening
to energies. The phrase listening to energies is the specialty of Taiji Boxing. Its meaning has nothing to do with
listening with the ears, but with listening with the skin. Put simply, it is the training of a keener sensitivity of touch.
If your skin can listen for the direction of the opponents energy, then you can go along with his incoming force,
using half a circle to parry, then the rest of the circle to attack. It says in the Taiji Boxing Treatise [Classic]: Sticking
is yielding and yielding is sticking. That statement is exactly this principle. It explains the reason for Taiji Boxings
difficulty of application, and why Taiji Boxing practitioners who have a combative personality and a competitive
mentality always end up so inferior to practitioners of other kinds of boxing arts.

Although pushing hands with fellow students is a method of training practical application, the fixed rules of pushing
hands are not the same as in typical competition. You will not necessarily be able to put your pushing hands skills to
use when competing with others. If you obtain your sense of application entirely from practice, rarely engaging in
friendly competition with practitioners of other kinds of boxing arts, then after about a decade of training, you may
enjoy a level of renown, and once you have been put on such a pedestal, you will become increasingly even less willing
to compete with others. This is the major defect of Taiji Boxing practitioners. There are practitioners of other kinds of
boxing arts who have also not been able to avoid this flaw, but they are not as widespread as those Taiji Boxing
practitioners.
To use Yang Chengfu as an example, he received his familys Taiji tradition, put half his lifetime into working at it,
taught many students who talk about his skills, and there are people within the Beiping martial arts community who
would not dare to criticize him in any way. The Yang familys Taiji Boxing postures are more spread out then those
taught by Wu Jianquan, with larger stances. In the beginning of the training, it is easy to increase internal power. As
Yang Chengfus body was tall and big, he naturally possessed a strength that was not meager, and so with the addition
of his familys boxing art, he should have been able to be proclaimed the top hero for a while.
After I arrived in Beiping, I investigated the result. Although there are within the Beiping martial arts community
those who know of Yang Chengfus reputation, there are few who know what level his skill was at, because he lacked
fighting experience. To only practice Taiji Boxing and go without experience of sparring is not adequate. Taiji Boxing
especially requires a great deal of sparring experience, for it is otherwise quite difficult to be able to tell if one is
succeeding in it. Practitioners of Taiji Boxing by all means must not overlook this sparring experience aspect.

Those who engage in boxing arts competition know there is an indispensable quality: speed. When practicing Taiji
Boxing, why is there instead the idea of the slower the better? This principle is inevitably distrusted by practitioners
of other kinds of boxing arts, but it is also misunderstood by practitioners of Taiji Boxing. It has to be understood that
the solo set is entirely a matter of foundation training, of building essential skills, which are listed below:

1. Clearly distinguishing between emptiness and fullness:


It says in Wang Zongyues Taiji Boxing Classic: If you drop one side, you can move, but 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 and is generally under the opponents control, and the issue here is that this error of double pressure
has not yet been understood.
By double pressure is meant that one is not clearly distinguishing between emptiness and fullness. I have noticed
that typical practitioners of Taiji Boxing usually interpret the principle of double pressure as both feet pressing

against the ground in unison, making an equal pressure, whereas with one foot empty and one foot full, there is no
doubling of the pressure. Both hands attacking in unison may also make an equal pressure, whereas with one hand
empty and one hand full, there is again no doubling of the pressure. If that is all there is to it, then why should the
double pressure error be hard to grasp? Why after many years of ardent practice would one still be incapable of
comprehending such a small idea?
I know from my own experience that double pressure cannot be only an issue of two hands or two feet. Even down
to a single finger, you still have to distinguish clearly between emptiness and fullness. If you use a single finger to
connect with an opponent without knowing how to distinguish between emptiness and fullness, you will make the
double pressure error. While practicing the solo set, throughout the limbs and entire body, from head to heel,
emptiness and fullness circulate. Even in a single hand, emptiness and fullness alternate with each other. The scale
gets ever more compact and subtle.
From beginning to end, everywhere there is a roundness, and everywhere there is a corresponding emptiness and
fullness. If there is an area as much as an inch that has not been given attention, this tiny area will inevitably possess
the error of double pressure. How then could practicing in this manner be done quickly? Practicing the set just once
in this way is more effective than rushing through it ten or twenty times.

2. Increasing internal power:


Taiji does not exhibit the use of effort in other boxing arts. How then can we compete with opponents? Really now,
if we should not use any force at all, will we be able to summon the hundred and something pounds of pressure it
takes to knock down a powerful opponent? The Classic contains the phrase four ounces of force to move his of a
thousand pounds. This only describes a smaller force overcoming a larger one, for surely four ounces of force cannot
mean no force at all. When practicing the solo set, you must put forth no effort, for if the movements are performed
with thoughtless haste, in the manner of other kinds of boxing arts, you would be finished in under a minute. How
then would that develop internal power?
The movements are instead to be performed so slowly, as well as in a continuous flow to the end, no pausing
throughout, that it will take at least seven or eight minutes. Such ceaseless motion of the four limbs and hundreds of
bones will naturally be able to increase strength. If we compare this means of increasing strength to the training of
other kinds of boxing arts, with their heaving of weights and hitting of sandbags, it is completely different.
This kind of strength, called internal power by experts, is whole-bodied movement. The key is that wherever the
whole body is applied, the whole is concentrated at a single area, not just relying on the shoulders or back, hands or
feet. When this kind of internal power touches an opponents body, being different from ordinary strength, it can
cause him to feel like he has received an electric shock.

[3] There is still another part of the theory that requires slowness, which those of us who study Taiji Boxing have to
understand and give attention to: the principles in Wang Zongyues Taiji Boxing Classic of your headtop pressing up
naturally and energy sinking down to your elixir field. Although other kinds of boxing arts discuss energy sinking to
the elixir field, it is merely a case of practicing with expressive eyebrows and angry eyes, a thudding pulse, and the
energy gets sent upward instead. I fear this will not work. How can you get your energy to be sinking thoroughly into
your elixir field? Just let it be there and seal in it, or use an intention of sinking downward.

Taiji Boxing was passed down from Zhang Tong [Sanfeng] of Liaoyang. In the first year of Emperor Hongwus reign
[1368], he summoned Zhang, but the road from Wudang was blocked. Zhang dreamed during the night that the
Dark Warrior Emperor [i.e. a Daoist god of war] taught him a boxing method, and he then defeated the bandits.
His boxing art was thereafter branded Wudang School, and it was passed down to Song Yuanqiao, Zhang Songxi,
and seven others.
Zhang Sanfeng, called Junshi, was a scholar during the end of the Yuan Dynasty who wrote poetry and was an
expert at calligraphy and painting. During the first year of Emperor Zhongtongs [Kublai Khan] reign [1260], Zhangs
unusual talents were recognized by the emperor, and he was appointed Scholar-Official for Zhongshan. But because

he admired the work [nature paintings] of Ge Zhichuan, he was inspired to abandon his official career and cultivate
the Way at Mt. Baoji. The mountain has three peaks [san feng], hence he was dubbed the Three Peaks Master.

Chinas Daoist limbering arts all focus on the elixir field. In the human body, there are three elixir field areas. The
first is at the crown of the head. Daoists consider this to be the place where spirit is stored. The Yellow Courtyard
Classic says: He who wishes to be immortal cultivates himself at Kunlun. This mountains name is a metaphor for
the headtop. The second is at the Zhongwan acupoint [between the navel and the solar plexus]. Daoists consider this
to be the place where energy is stored. The third is below the navel. Daoists consider this to be the place where
essence is stored.
Your headtop pressing up naturally means that your headtop seeks a naturalness, a spirit arising from your elixir
field in a contemplative quietude. Energy sinking down to your elixir field means sinking energy below your navel,
seeking a sense of fullness. The Yellow Courtyard Classic also says: When breathing, take outside air into the elixir
field and see how long you can keep it there. The length of the ordinary persons breath is short and only goes as
deep as the belly (i.e. meeting the diaphragm [but not expanding it]) and cannot make it to the elixir field, thereby
reducing the volume of the lungs, consequently draining away strength and increasing weakness, and this has a huge
influence on ones life span.
Taiji Boxing can be considered a kind of Daoist limbering art. Daoist breathing arts are usually done as a seated
meditation. A limbering art is therefore a moving meditation. Regardless of seated meditation or moving meditation,
full attention should be given to collecting spirit into the upper elixir field while receiving energy into the lower elixir
field.
Laozi, the founder of our nations Daoism, once said [Daodejing, chapter 3]: Empty your mind, fill your belly.
Likewise, there is an intention of the upper elixir field seeking emptiness and the lower elixir field seeking fullness.
When practicing the solo set, if the movements are too fast, your thoughts will be in disorder and your breathing will
be hurried, and then how will you be able to get your headtop to be pressing up naturally?
As for the result of sinking energy to the elixir field, we have to understand that the distinctions between Taiji
Boxing and other kinds of boxing arts do not lie in differences of body movement, hand technique, or footwork, but
are instead entirely a matter of being able to give attention to collecting spirit and receiving energy during practice.
Therefore the classics also say [from the Thirteen Dynamics Song]: Your tailbone is centered and spirit penetrates to
your headtop, thus your whole body will be nimble and your headtop will be pulled up as if suspended. If you do not
understand that you are to work upon this principle, and you concentrate instead on the movements of the body,
hands, and feet, then how would you be any different from an external stylist?
According to my own personal experience of practice, it is best before going through the solo set to spend some
time in silent sitting. This kind of meditation method is not like a Daoist [Buddhist] version involving closing off the
senses to merely hide oneself in silent contemplation intent upon clearing away karma, but is instead abdominal
breathing that draws energy into the lower elixir field. After this seated meditation, the practice is then calm.
While practicing, the most important thing to pay attention to is that the entire body be relaxed. There must not be
a single inch of your body that you allow to put forth effort as you go through the movements of bending and
extending, going forward and back, and turning around. It is just like a cloud moving through the sky, without the
slightest interruption or stagnation. From beginning to end, there must be no pauses and no edges. There also must
not be any sudden speeding up or slowing down, and no resemblance to practicing external styles.

Some techniques may benefit from knowing what the application is, or what targets to attack, or which response
should be expressed, but while this kind of visualization is indispensable in the practice of other kinds of boxing arts,
it is really not necessary when practicing Taiji Boxing. If you obsess over such visualizations, then you will restrict
your own progress, because ultimately your envisionings will not be what happens in reality, for they represent only a
portion of the potential outcomes. For instance, a practitioner of other boxing arts who is an expert only at using his
elbows, or perhaps his legs, could not succeed. Taiji Boxing, however, is composed entirely of circles.
Within the solo set, there is actually no separation between techniques of attacking and techniques of parrying, and
so it can be said the whole set has no techniques of attacking or parrying, or that the techniques throughout the set
are all methods of both attacking and parrying. If a person who overthinks wants to separate the techniques in the
solo set into which ones are attacks and which ones are parries, he would get only a hundredth of a percent of their
uses, and would merely be reducing his options to methods of attacking and parrying.
I have seen a Taiji Boxing instructor who teaches groups for a living getting asked by his students about how to use
the techniques in the solo set. Forcing himself to come up with explanations, he said that FAN THROUGH THE
ARMS uses the right hand to parry the opponents hand and uses the left hand to strike out to his chest [instead of the
two actions working simultaneously], and also that NEEDLE UNDER THE SEA uses the right forefinger to poke
through to the opponents anus, because the anus is also called under the sea, therefore NEEDLING UNDER THE
SEA. Good grief.
Explaining Taiji Boxing applications in this way, then how are the applications not stupid and unreasonable? This
kind of person can be described as not understanding Taiji Boxing theory.

Someone may ask: You say that in Taiji Boxing, we should not move fast nor put forth effort, and that during
ordinary practice we should not visualize which movements are attacks and which are parries. So then what are we
supposed to do when competing with opponents?
To which I say:
We practitioners of boxing arts, whether practicing Taiji or some other boxing art, should all understand the
meaning of the word fast. It does not mean that the hands are extending and withdrawing rapidly, nor that the feet
are advancing and retreating rapidly. Of the hands and feet, the level of speed in extending, withdrawing, advancing,
and retreating, except in the case of old and decrepit people, or weak and crippled people, is generally not that
different for most of us.
It must be understood that the distinction between fast and slow is really a matter of vision, meaning that the
distinction is whether or not you can quickly spot opportunity. If the opponent is not showing an opportunity that can
be taken advantage of, and your hands and feet are constantly striking at his body, not only would you not be issuing
with any effective power, it would undoubtedly turn the tables and give him opportunity to attack you.
During sparring, what is meant by opportunity? The instant the opponent loses his balance is an opportunity.
When you spot an opportunity, take advantage of it and attack, and thus you will be able to defeat him. But it will not
be a sure thing by itself, and so as long as you do not lose the position or direction, it will then be effective.
Even though the opponent has lost his balance, you still have to analyze his error in order to ascertain from what
position and to which direction you are to attack, and then you will be able to use little effort and yet achieve great
results. But if the direction and position are not yet determined, his loss of balance may instead cause you to get
attacked in response.
While sparring, when there is an opportunity to attack, the moment is always up for grabs to either one of you. The
only hardships are that your eyes may not be able to spot it, or that sometimes you will spot it too late and the
opportunity will have passed, or that sometimes the position and direction are off, rendering your attack ineffective,

and again the opportunity is missed.


To practice listening to energy in pushing hands is mainly a matter of seeking opportunity, and of selecting
opportunity based on attacking from the right position and the right direction. As long as your eyes are able to not
miss the opportunity, then your attack will also not miss the direction. Your martial skill will thus be superb, and will
not at all depend on speed in your hands and feet.
Discerning whether your achievement is deep or shallow, whether your skill is high or low, will lie entirely with this
principle. If you do not wait for opportunity, and do not sense the right direction and position, your performance
could only be regarded as hitting and grappling like a savage.
Within the practice of other kinds of boxing arts, there is always a self-reliance of strength and stubbornness,
training to make a habit of two or three techniques instead of paying attention to what his opponent is up to. Blindly
sending his hands into sideways thrusts and straight strikes, he is frequently able to win, and consequently earns
some fame. But practitioners of Taiji Boxing are not able to produce such men of talent. This is because Taiji Boxing
trains to put forth no effort.

Beyond practicing the solo set, there are several kinds of pushing hands patterns. Those who want to train should
work from fundamental skills rather than become obsessed with a particular exercise. In learning external styles of
boxing, there are exercises such as hitting posts and pushing sandbags. Someone may ask: When practicing Taiji
Boxing, if we have any spare energy to put into such exercises, would it not be beneficial rather than
counterproductive?
To which I say:
How would it not be counterproductive, even greatly so? Taiji Boxing uses roundness as the foundation, and so
when practicing the solo set, make sure to loosen your whole body. After a long time, you will naturally be able to
have an unimpeded roundness. But if you let yourself put forth so much as an inch of effort, you would inevitably end
up with stagnancy, surely even more so if you are also hitting posts and pushing sandbags, which focus particularly on
using brute strength.
By practicing Taiji Boxing, you will gain an elastic energy. But by hitting posts and pushing sandbags, you will
merely gain a directness of force. Taiji Boxing especially avoids using direct force. When someone who habitually uses
direct force practices Taiji Boxing, he has to gradually get his directness of force to transform into an elastic energy.
Once this process of transformation has been completed, he will then be able to obtain the subtleties of Taiji. When
training in Taiji, how can one simultaneously be training the fundamentally opposite quality of directness of force?

Or someone may ask: Usually when practicing Taiji Boxing, no attention is paid to stances. Also when practicing the
solo set, there is entirely no putting forth of effort. Because the strength of the lower body grows very slowly, when we
start competing with other people we are always inflicted with instability in the lower body, and it is easy to become
affected by the opponent. The result of hitting posts and pushing sandbags is only that we will increase directness of
force, certainly an obstruction to Taijis fundamental roundness. But if instead we are only simultaneously engaging
in stance training to get the lower body to increase its level of stability, this ought to be a situation of pure benefit and
no harm, right?
To which I say:
You really should not engage in this activity of adding unnecessary features that will only end up destroying what
you are trying to achieve [to draw a snake and then add feet to it]. You have to know whether or not your lower body

is stable. While practicing the solo set, it is entirely a matter of whether or not you are able to actually sink energy to
your elixir field. If you are at a reasonable level in the training, you will certainly be capable of giving attention to
energy sinking to your elixir field within each breath, and then your lower body will surely always fulfill the principle.
There is another layer to this principle which you should also understand. When you are competing with an
opponent, if you are easily affected by him or compelled to retreat, the problem is not really a lack of stability in your
lower body, rather a lack of liveliness in your waist and thighs. If your waist and thighs are able to be lively, then you
will stand and walk as you please. When you are not crashing against the opponent, how would he be affecting your
lower body or compelling you to retreat?
In external styles of boxing, there are always techniques of using hard power to strike an opponent, and they lack
the principle of neither coming away nor crashing in. In the beginning of the training in those arts, it is necessary to
emphasize stance training. But the waist and thighs also have to be able to be lively. If your waist and thighs really
have no skill, your feet may be standing on the ground and your whole body may be standing firmly, but stability will
not be achieved at all. If I hammer two posts into the ground, then tie your legs to them, I will still be able to knock
you over just as easily.
I once saw a martial arts master who, with both feet standing or even with one foot raised, had five or six strong
men push and pull at him, but they could not move him. The spectators were all surprised by how solid his stance
was. The raised foot had nothing at all to do with it. It was entirely based on the alertness of his waist and thighs. He
was able to lead the strength of those men into a state of emptiness. The Taiji Boxing classics [Playing Hands Song]
calls this guiding him in to land on nothing, though the technical term is neutralizing energy.
The more you clash with an unyielding area, the more you demonstrate the effectiveness of its strength. Take for
example bullets or cannon shells. The more they are fired at a solid area, the more opportunity is given to the enemy
to rush in. This principle is very easy to understand and illustrates why Taiji Boxing does not use strength as its
foundation. You must train to become extremely soft and supple. Using the principle of neither coming away nor
crashing in, you cause the opponent to be unable to make use of his strength, no matter how great. If you are engaged
in stance training, with the goal of opponents pushing or pulling at you without making you budge, how is this not
contrary toward the principle of neither coming away nor crashing in? If there was a necessity in Taiji Boxing for
stance training, then surely previous generations would have taught standing methods before teaching pushing hands
methods.

I have often see that when practitioners of Taiji Boxing are doing pushing hands, specifically when they are engaged
in free play, beyond the exercise for the four techniques of ward-off, rollback, press, and push, they often become
constricted, causing them to lose the flow that is in the pushing hands sequence. Those who have not yet trained the
sequence to the point of familiarity always become stagnant because they do not understand how to yield, impeding
their movements in every way.
The technical term for this is seizing, an idea of seizing without letting go. When this kind of tendency cannot be
gotten rid of, they are only able to practice one aspect of the exercise, and are unable therefore to train in the
fundamentals. The benefit of fundamental training is that it makes it easier to understand the methods of switching
between standing and stepping, and can also increase tactile sensitivity.
Regardless of what kind of skill, it is always the case that practice can produce skillfulness. But while one aspect is
seizing, which amounts to sticking, the other aspect is yielding. Of course practice can lead to skillfulness, but if you
are only practicing one aspect, how can you be training the fundamentals?
The depth of your skill is entirely a matter of whether or not you can stick and whether or not you can yield, and so
if you are not at a decent level of skill, then you may understand the methods of sticking and yielding, and yet still be
in a condition of having no sticking in your sticking and no yielding in your yielding.

The basic practice is the pushing pattern for ward-off, rollback, press, and push, and it is to be analyzed
conscientiously. You must not be casually or indifferently attending to it, for then your techniques will be imprecise.
Pushing hands is also a taiji circle. Within the circle are the four specific techniques of ward-off, rollback, press, and
push. Ward-off / press makes half the circle, and rollback / push makes the other half of the circle. They are linked

together to make the circle, so if one technique is slightly off, then the whole circle breaks down.
Within the larger circle made by these four techniques connecting, wherever you and your opponent make contact
with each other, there is also a smaller circle for each hand. And within that smaller circle, there is also a division: half
the circle is sticking, half the circle is yielding. Both hands are sticking and yielding simultaneously. Emptiness and
fullness have to be clearly distinguished. If not, then you will commit the error of double pressure.
Once your hands are distinguishing clearly between emptiness and fullness, then you can move on to focusing on a
single hand, the fullness within its emptiness, the emptiness within its fullness. Otherwise, within a single hand, you
would again be committing the error of double pressure, equal to the error of double pressure with two hands.

Whether you are practicing the solo set or pushing hands, you must always pay attention to your tailbone and spine,
for this is the area where movement originates. Your spine has to be upright, neither leaning nor inclining, because
movement has to start from your tailbone. You are thus able to use your body to move your limbs, rather than using
your limbs to move your body. When your tailbone is rounded in, then the roundness of every part will be able to
stick and yield. If your tailbone is not involved, then the roundness of every part will be ineffective at sticking and
yielding.
The moment a practitioner of Taiji Boxing who has not been practicing it long hears these words, he is sure to
become perplexed, but if he continues to practice long enough, there will naturally come a time in which they
suddenly become clear. If an instructor cannot get the student to give attention to these things, yet the student is
intelligent enough and is able to do the hard work, he will perhaps one day comprehend it on his own, but he would
otherwise be caused to go his whole life without understanding the theory. This is why martial arts practitioners value
being able to obtain a noteworthy teacher. For those who wander through information, or seek to learn by practicing
with friends, it cannot be done without the advice in the classics.

When practitioners of external boxing arts get halfway through some Taiji training, they typically decide that they will
no longer practice their external arts, and then their progress in their external arts instead becomes twice as fast as
before they started practicing Taiji. If they did not previously understand how to use their techniques, now they do. If
they used to get stiffness in their shoulders and back, unable to transform their energy, now it courses through to
their limbs, gradually changing into something more orderly.
And when people who have practiced Taiji Boxing for a while then switch to practicing external boxing arts, they
strongly feel that the movements are easy because the movements of Taiji Boxing are whole-bodied rather than
emphasizing any one part. As it is said [from How to Practice]: If one part moves, every part moves, and if one part is
still, every part is still.
Although the movements in external styles are not necessarily restricted to working just one area, they each have a
specific target and a specific function. Whether using a fist, palm, shoulder, elbow, hip, or knee, once a posture
appears, it is always obvious what it is for, and therefore the power expressed is unsubtle. When practicing such
movements, it is easy to imagine how they are applied, and thus it is easy for the practice to produce enjoyment, and
easy to feel as if there is noticeable progress.
The Taiji Boxing solo set from beginning to end is comprised of over a hundred techniques, and any indication of
how they are to be applied can very rarely be sought. You can indulge in coming up with strained interpretations of
how a technique is supposed to be applied, but because it has a continuous energy, the focus for its path of power
cannot be found. Because of this, you can receive throughout your body the effect of a rounded liveliness. This is not

restricted to either internal or external styles, for both can give first priority to a rounded liveliness.
With that as the key factor, every technique can work. Therefore when practitioners of external boxing arts switch
to practicing Taiji Boxing, it is to increase their level of rounded liveliness, with the result that they will feel they are
progressing faster. External styles of boxing all have techniques in which both hands strike out in unison, or a hand
goes out with a kick at the same time. This violates the principle of focusing the path of power. In appearance, Taiji
Boxing postures seem to perform this kind of double-attack technique quite often, but actually they have a
methodology of such movements being more successive than simultaneous.
However, practitioners have to pay it special attention. Teachers particularly need to be aware of these moments,
for they have to carefully explain that within any given posture there is one hand which is leading and one which is
following, and should also explain for a single hand which part of it starts with emptiness and which part of it ends up
with fullness, and how this can then cause the path of power to circulate, forming a completely gapless roundness. If
such things are even slightly overlooked, you will commit the error of double pressure without even noticing.
Why does the art forbid double pressure? Because it hinders the path of power from being focused. Do not be
worried about having no power, only be concerned that the power be whole-bodied. You must not arbitrarily focus
power at a specific point, only to waste your energy. Seeking the place where you can focus power is already difficult
enough. And so how could you overlook the error of double pressure? You would only end up obstructing your path of
power yourself.

When practicing or applying an external boxing art, it is common to turn the body sideways to reduce the target area
that the opponent can attack, and also to increase the reach of the hand. This is very suitable as a boxing principle
and for mechanical motion, but not for Taiji Boxing. This is because both hands form a roundness, supporting each
other. You must not make the error of inclining to one side or the other. As it says in the classics [from the Thirteen
Dynamics Song]: Your tailbone is centered.
Or we could say: Chest squared to the opponent. But then would the opponent not have a convenient opportunity
to attack? I say that of the whole body, from head to heel, there is no place exempt from attack, and so it all comes
down to ones skill level. For this reason, Taiji practitioners have to contain the chest and pluck up the back in order
to guard against the opponent using a kind of technique that would attack the chest. The only worry in all Taiji Boxing
techniques is that the opponent might not be willing to attack the chest, for once his hand approaches the chest area,
it is then always an opportunity for the Taiji practitioner to attack at will.
Nowadays there are people who cater to the superficially minded, who willfully adjust Taiji Boxing postures to have
the body facing more sideways or enlarge the stance, making it similar to external boxing arts. The postures
sometimes have overly expressive eyebrows or glaring eyes, or the fists grasp so tight they appear as vicious as talons.
One thereby considers himself to have become extremely agile [a rabbit bolting as a falcon descends], little realizing
that the Taiji Boxing principles have become ever more distant from his practice, and that in the future he will be
passing down something erroneous, something that has surely lost Taijis sense of balanced ease and the internal
schools flavor of moderation.

People these days all talk of Taijis thirteen postures: the eight techniques of warding off, rolling back, pressing,
pushing, plucking, rending, elbowing, bumping, and the five placements of stepping to the left, stepping to the right,
stepping forward, stepping back, staying in the center. This is an interpretation so forced as to be beyond belief.
Warding off, pressing, pushing, and so on, are merely eight kinds of hand techniques. Whoever specializes in
practicing Taiji Boxing is nevertheless incapable of performing each of these eight kinds of techniques in a coherent
way to demonstrate them to people, for they can only be analyzed according to their appearance during pushing
hands. But as a matter of fact, even if you could only have these eight terms, you would still get some of the idea of
their functions.
As to whether these eight techniques should be taught to students to supply them with practice material, I know

that all noteworthy teachers of Taiji Boxing do not use this postures description. We can only go as far as calling
them eight kinds of hand techniques and are really not able to consider them to be eight postures, because the
postures do not have fixed postures for people to adhere to. But if we step back from such a description, then each
technique has its own ingenious method.
As for the five postures of stepping forward, back, left, right, or staying in the center, this is even more
nonsensical and silly. As if any other kind of boxing art does not have moving forward and back, moving left and
right, and staying put, just what fixed postures are there to Taijis forward, back, left, right, and center? When ancient
people named a kind of technique, surely they did not do it this way with something unrelated to reality. There had to
have been another thirteen postures and its techniques were lost or the names got changed. Indeed, let us from now
on spread the Taiji solo set without calling it thirteen postures.

Li Ruijiu of Shanghai once engaged a boxing arts instructor, a Mr. Meng, who excelled in an art called Silken Boxing.
It has a solo set of altogether eight sections. There are also two-person pushing hands patterns quite similar in intent
to those of Taiji.
I have heard that Meng worked as a bodyguard in Shandong and Henan. He had an abundant brawny strength and
he was especially skilled at the single saber, and so he gained a noticeable fame. Meng was young and overbearing.
Arrogant about his skill, he was dismissive toward his peers.
One day, he had stopped his horse to stay at an inn for the night. There he was discussing martial arts with some
fellows, but with an air of being the only one there, when suddenly an old man with bright white hair who was staying
at the same inn gave a sneering laugh beside them, a look of disdain on his face.
Meng could not endure it and angrily said to the old man: Being as decrepit as you are, what would you know
about fighting? And dont use your age as an excuse, or youll give me no choice [but to give you a beating].
The old man calmly said: Among the mighty are those who are mightier. In martial arts, no one presumes to
praise his own ability. But because you are young, you think you know everything [do not know the scale of the
world], and so you are unaware of how ridiculous you are. Why be upset about it?
Meng was again unable to tolerate this. He felt compelled to challenge him and the old man did not decline. As
soon as Meng extended his hand, he fell down several paces away. He had no idea what kind of technique the old man
had performed to be able to drop a person so cleanly. Meng then considered the mans age and thought he probably
could not handle a flurry of strikes. So he sent out his hand without fully extending this time and exerted all of his
strength.
Suddenly he found himself nearer to the old mans body than he expected to be,
and his hands and feet seemed as though they were tangled in cobwebs, unable to apply his strength and unable to get
away. Flustered and frustrated, his whole body was pouring with sweat. He saw how the old mans arms rubbed back
and forth as though he was playing with a ball, how he had a leisurely manner instead of the typical competitive
bearing. Meng then knew the man was unbeatable. He knelt down and asked to become his student.
The old man said: Okay, but only if you quit your job and work for me in my trading business. Meng was in such
earnest to receive instruction that he indeed abandoned his job and began transporting goods for the old man among
the mountains of Shaanxi. But after two and a half years, the old man died of illness, and Meng had still not obtained
the full transmission.
According to what Meng told to people while in Shanghai, his teachers solo set originally had thirteen sections.
Over the course of two and a half years, he only received eight, and so the other five sections have been lost. I have
heard that Taiji was formerly known as Silken Boxing. What Meng practiced was also called Silken Boxing, and it just
happened to have thirteen sections. I wonder if it is these that are Taijis thirteen posturings.

There is also Zimen Boxing, which is currently in vogue in Jiangxi. Its body movement, hand techniques, and
footwork are very similar to Taiji Boxing, and it likewise has eight basic techniques. And then there is also Yumen

Boxing, which has a set in twelve sections. In application it is especially similar to Taiji, including two-person pushing
hands patterns. Xiong Doushu of Jiangxi trained in the Yumen art for over ten years. In the year before last, I met
him at Hangao [a mountain in northern Hubei], and we talked about the Yumen Boxing principles of the hands
maintaining connection and drawing in the opponent. During practice, there is emphasis on slowness and not putting
forth effort. Unfortunately, its practitioners know nothing about the arts history.

There are so very many styles of our boxing arts. Throughout the whole nation, there are dozens within a single
province, even within a single county. This being the case in the boxing arts world, there ought to be a great many
talented people, and who are thus producing a lot of ability in others. I have carefully studied the results and have to
come to know that in this spreading of all sorts of boxing arts, it is by no means a sure thing that they are being taught
by competent people. Many are simply relying on the fame of their teacher.
Within the last two or three decades, they have disseminated dozens of boxing arts. Even though they proclaim
their art has been passed down from some ancient figure, such as Yue Fei or Damo, there are also some who claim it
to be from Sun Wukong or the Maitreya Buddha. All their techniques are in fact more similar than they are unique,
and within any solo set, there are only a few techniques that conform to boxing principles and have practical function.
Why would these teachers go to so much trouble to create such a variety of postures? Simply to solicit customers!

To learn a boxing art in the north, you do obeisance to a teacher and study with him for an indefinite period. Those
who are devoted may engage a teacher to live in their home or they might leave home to live in the teachers house. To
put in three to five years of continuous training is quite common.
In the south, it is often more limited. You can either engage a teacher to live in your home or you can learn from a
teacher who has reserved a warehouse space to teach students, holding the space for thirty or forty days, fifty days at
the most. Once the time has expired, the students all disperse, and if you wish to continue training, another space has
to be reserved.
The students enter the space on the first day, disperse on the last day, and in the meantime they have to train hard
day and night with the goal of being able to apply the art once they leave the building. After going through two or
three of these warehouse sessions, if you are still not able to defeat ruffians, then your teacher will fall into disrepute.
In the case of Taiji Boxing, it is really not possible to calculate how many days it will take to get results. For other
boxing arts with highly refined principles and very detailed techniques, it is just as difficult for foundation and
function to be completed within the space of a hundred days.
It is always the case that among practitioners of boxing arts, many of them are crude individuals who would not
understand this point. If after two or three sessions of warehouse training, they are still unable to defeat opponents,
they do not find the fault in the teachers skill level not being high enough, and instead assume the teacher is holding
back some of the transmission.
When teachers expect their students to get results according to a schedule, the genuine art gets put aside in favor
of a few select techniques, then it gets distorted into the superficial movements of itinerant performers, until a solo
set becomes created that is steeped in the common superstitious traditions of ancient people.
When the postures are simple and easy to practice, people with decent intelligence can learn it in just over a week.
After a mere half month of instruction, they leave the warehouse with what they have gained and are surprised by
their ability to beat up ruffians, the teachers fame consequently rises, and they continue to practice for a number of
days. But people who tire of old things and always want new things will not continue to practice after about a year
unless changes are made to the set.

In Pingjiang, there was a famous boxing master called Pan Houyi. When he was thirty, he started teaching boxing arts

to make a living, all the way until his death at the age of eighty. Altogether he taught more than three thousand
students, but having passed down his solo set in dozens of different variations, there are barely ten people who
obtained the true transmission. This was not really because he was keeping anything secret. When students seek
quick results, this is the inevitable outcome.
Nowadays there are also dozens of teachers of what Pans disciples transmitted, passed down through many hands
over the course of four hundred years. The name of the art has repeatedly changed. How can we even know that Mr.
Mengs Silken Boxing or Mr. Xiongs Yumen Boxing do not have the same origin as Taiji?

Yang Luchans art is only a hundred years old, but already his teachings are very different from Chen Jifus. For that
matter, Wu Jianquan learned from the Yang family, and yet his version is distinct from Yang Chengfus.
Even more peculiar is that Yang Chengfus elder brother Yang Mengxiang [Shaohou] learned in the very same
family, and yet his Taiji is only practiced as a broken-energy version, each technique expressing power, releasing a
vocalized thumping no different from external styles of boxing. And apart from Yang Mengxiang, there is no other
Taiji Boxing practitioner in Beiping using broken energy. I once asked Chen Jifu if among the practitioners in the
Chen Family Village there is a version that practices broken energy. He said there is not.
I think that if it is considered good for Taiji to be practiced with broken energy, then it would be to miss the whole
point of Taiji theory. It would turn a limitlessness of technique into a limited set of techniques, and this would do
more harm than good to the future of Taiji Boxing.

It is the habit of the people of our nation to delight in venerating our forefathers and sneering at our contemporaries.
Because of this, although the martial arts world is replete with creative and talented people, what they have invented
and developed we do not dare to accept. Instead we always put our trust in ancient people who have passed things
down secretly within their families, or who have received instructions in a dream. To find this type of situation in
books and records is not rare at all.
As for the boxing art that Zhang Sanfeng passed down, how could we know that he did not create it himself?
Though there is insufficient evidence to support the idea, it is believed that he received his art in a dream from the
Dark Warrior Emperor. People nowadays practice martial arts from dawn to dusk for years or even decades and still
find it difficult to achieve the level they wish. Zhang Sanfeng received his art from a spirit in a dream, and then
immediately used it to defeat bandits. Is there really such a difference of intelligence and ability between ancient and
modern people? Zhang Sanfeng taught his art to Song Yuanqiao, Zhang Songxi, and seven others, but no detailed
records of his techniques were passed down.
Within Huang Baijias Boxing Methods of the Internal School, there is the five-word secret: focused, potent,
expedient, sticky, precise. There are also secrets within Secrets of the Shaolin Boxing Arts by a certain venerable
monk [including another and somewhat similar five-word secret: sealing, grabbing, slanting,
tensing, cutting]. The most popular boxing art is now Taiji, but these five words have not been taught as part of it.
I think that boxing arts should use refined principles and tested techniques, and that the criteria should be that
they do not violate the principles of physiology or mechanics. There is no need to make strained interpretations or
trust the hyperbole of ancient people. Just because a tailor might bow to his statue of the Yellow Emperor or a
carpenter has a shrine to his patron saint Lu Ban, there is no reason to think that actually means anything.

When the Nanjing Martial Arts Institute was opened, I was in Hankou [in eastern Hubei], where I noticed in a
newspaper that they were dividing their curriculum into two schools Wudang and Shaolin and appointing
specialists for each of them. For Wudang to be isolated like this in the promotion of our martial arts is really not a
good idea, and so I sent a letter to a friend in Nanjing who was working at the Institute, discussing in detail the pros
and cons.
While I have nothing against division of skills, for divisions create competition, and competition produces
progress, this is not true in the case of martial arts. Whichever of our nations martial arts, too few records have been
passed down, the arts have been passed through too many hands over time, and students are hardly ever able to
understand the literature.
Certain styles were passed down from certain people, but so long ago that it cannot be verified, unlike schools of
painting and literature, for which there is no confusion. The categorizing of the two branches as Wudang and Shaolin
has been made on the basis of ignoring the records of other martial arts. But whether or not what is being spread
these days can actually be classified as Wudang or Shaolin, how could these two branches be able to comprise all of
Chinese martial arts, including those that were transmitted by itinerant performers, or martial artists who taught
their skills to make a living. In order to cater to our national habit of venerating ancient people, we have arbitrarily
dragged forth ancient figures known to everyone, even to women and children, and assigned them the roles of
founders of our arts simply for the sake of advertizing.
In the south there is a Qi Family Boxing, said to be passed down from the Sage Equal to Heaven [Qi Tian
Dasheng one of the names for Sun Wukong, the mythical Monkey King]. There is also a Maitreya Boxing, said to be
passed down by the Maitreya Buddha [which would presumably have involved another tutorial in a dream]. These are
far more ridiculous claims than that of Shaolin being passed down from Damo.
When people have received their knowledge through actual instruction, and are not using it as a means for making
a living through either performing or teaching, their great respect for their art is not unreasonable. What is
reproachable is when people contentiously pledge their lives to their tradition, for by this means, all the schools and
styles become jealous of each other and hate each other. After a thousand centuries, there is no telling how much
trouble would be caused by such behavior, or how many lives would have been ruined.
Such people have a limited knowledge, as well as a mentality of taking advantage of their forefathers in order to
advertize themselves, a flaunting that cannot be admonished enough. And we can only blame gentlemen such as
Zhang [Zhijiang] and Li [Jinglin] for having the ambition of promoting martial arts without also thinking of doing
away with the vice of schools factionalizing. [Xiang clearly has no problem using generic descriptions such as
internal and external, and so he is only taking issue against the pigeonholing of these arts into categories based
arbitrarily around the names of places or personages, because it is too easy to give a mindless allegiance to them.]

Within martial arts, Taiji Boxing has the most interest and value as a subject of study, and so it should be given its fair
share of attention in the promotion of martial arts. But we certainly should not turn Taiji into the universal boxing
arts study. We can only set up a special Taiji Boxing department within the martial arts institutes.
Those who are not ambitious for advanced studies and are not sufficiently bright should not bother training in it
because its principles are so profound and its techniques are so complex. No matter how nimble a body or clever a
mind that a person may have been born with, it is not something that can be succeeded at after a mere year or so of
practice. And if a beginner cannot develop adequate interest to keep training, there is no way to succeed in any of the
skills.
If they instead practice other kinds of boxing arts, they can train diligently from dawn to dusk without needing to
use their brains, and in a decent amount of time, they will have a considerable level of achievement. In the practice of
Taiji Boxing, unless you have a very detail-oriented mentality and give it a lifelong commitment, you will only by

chance become even partially functional at it, like practitioners of external boxing arts who devote themselves to
mastering just a few particular techniques.
As it says in the Classic: By absorbing through experience and by constantly contemplating, gradually you will
reach the point that you can do whatever you want. This indicates that unless you are meticulously mindful, you
cannot practice Taiji Boxing. This mention of a meditative contemplation causes no contradiction as a boxing art, for
its mentality of meditative imagination places Taiji within the internal school. And as it focuses on the upper and
lower elixir fields, it is thereby akin to the Daoist limbering arts.
However, when those who discuss Taiji nowadays look for a reason that it is called taiji, they typically invoke the
eight trigrams, the interrelations of the five elements, the changes between the passive and active aspects, and some
strained interpretation of the content in the Book of Changes.
Thus I suspect that although the theory is lofty, its reality lies in its eight techniques of warding off, rolling back,
pressing, pushing, and so on, which do not even have fixed postures. I mean, what do they really have to do with the
eight trigrams anyway?
As for moving forward, back, left, right, or staying centered, these things are not really described in the postures of
the Taiji solo set. Furthermore, there is no boxing art that does not have these five things, and their association with
the five elements is especially vague.
And Taiji Boxing of course gives attention to changes between the passive and active aspects. How could any
boxing art not? The strong points of Taiji Boxing that are lacking in other kinds of boxing arts have nothing at all to
do with this abstract concept.
In our modern age of flourishing science, we encourage research which should be based on reality and appraisal of
facts, rather than getting carried away by the claims of previous generations or hastily accepting the statements of
celebrated people.
The amount of work I have put into Taiji Boxing is quite superficial, but I have memorized the methods and
terminology, and have keenly observed practitioners. If teachers and students were actually not learning that the
eight hand techniques and the five kinds of steps are specific postures and positions, this alone could elevate the
practice of many people. It would then be obvious to them that these terms cannot mean thirteen postures, and that
the thirteen postures cannot be stretched into being representations of the eight trigrams and five elements. I do
not know of any of my fellow colleagues also raising doubts about this, and I am curious why they have not.

Yang Chengfu and Wu Jianquan are equally renowned in Beiping as Taiji Boxing experts. It has been said: Yang
Chengfu is good at shooting people away but not good at neutralizing, whereas Wu Jianquan is good at neutralizing
people but not good at shooting them away. Therefore both of these men have a shortcoming, but if they were strong
in both qualities, then they would be at the peak of Taiji skill.
To which I say:
It happens that some people possess the theory but really cannot understand its reasoning. Issuing and
neutralizing only seem to be two things but are actually one, and so you cannot issue without being able to neutralize,
nor neutralize without being able to issue. As it says in the Classic: Sticking is yielding and yielding is sticking.
However, a person with a hefty build and abundant strength will have an easy time throwing people far away and
cleanly. Yangs body is big and tall, and it is known that when he does pushing hands with his students, he often likes
to test his issuing power. Therefore his students all describe him as being good at issuing.
Wus personality is gentlemanly and very urbane. Regardless of who he is pushing hands with, he is always only
defensive, never crowding or grabbing his partner, and so his partner is never crowding or grabbing him. I have heard
that while he was teaching Taiji Boxing at the Beiping Physical Education School, whenever any of his young and
strong students were trying things on him during pushing hands, Wu would only neutralize to thwart their attempts,
and never once threw them away. Therefore people suspect that he is only good at neutralizing and not good at
issuing.
I say that if Wu is often issuing, but is not able to make his opponent move, or move away very far, then we could
suspect that he is not good at issuing. That Wu is never throwing people away is evidence of a polite temperament,
indicating that he does not wish to be issuing without good reason, which would only provoke resentment on the part

of his partner, and it does not mean he is not good at issuing.


I came north too late to meet either Yang or Wu [both men having just moved to Shanghai], but I firmly believe
they are both pure exponents of Taiji Boxing in our time, uninfluenced by other kinds of boxing arts. As for discussing
their achievements, I cannot really judge the degree of their skill.
Among the external boxing arts that are currently in vogue are people who seek Taiji Boxing experts such as these
two gentlemen. I fear it will not be easy to get them, for unfortunately those who promote boxing arts do not know
how to look for talent: neither of those gentlemen are to be found at the Nanjing Martial Arts Institute.

When Yuan Shikai ran the government [1912-1916], within the generals office was a Song Shuming, who claimed to
be a descendent of Song Yuanqiao, and he was considerably skilled in the Taiji boxing art. During that time, famous
boxing artists in Beijing such as Wu Jianquan, Liu Enshou, Liu Caichen, and Ji Zixiu all invited him to teach. I do not
know what kind of skills they studied from him, but Songs students have not been able to teach his art to other
people.
Ji Zixiu, who was at that time already more than sixty years old, relates that Song said: Some boxing arts
practitioners feel that new generations are inferior to earlier ones. Even if students are unable to put in the hard work
of training, it is teachers not openly sharing with others that is the biggest reason why these skills are falling into
oblivion together. Therefore lets not dismiss the older gentlemen, instead we should salute them and seek their
advice, and then some day their teachings will be passed on to still others. If once it has been learned it does not then
get passed down to anyone during that lifetime, will it be taught to ghosts in the afterlife?
But he then followed this with only a criticism, for people who went to learn from Song come away with little,
because his training was too profound. When your students are not able to teach further students, this is hardly any
better than not being willing to teach people in the first place.

Each style of Taiji Boxing has its idiosyncrasies in the performance of the solo set, but whatever the differences in the
hand techniques and postures, there has to be a continuous flow from beginning to end, no stagnation throughout. In
the principles of whole-bodied sensitivity and energy sinking to the elixir field, they are unanimous.
By relying on these principles, you will also be able to constantly pay attention to the passive and active aspects
the alternations between emptiness and fullness and thereby avoid the error of double pressure. Even without
guidance from a knowledgeable teacher, it can someday all make sense to you.
If you practice the solo set, practicing until there is genuine skill, then your pushing hands will easily progress, and
it will not be difficult to stand out from the crowd. If you do not do the hard work of practicing the solo set and
instead focus on seeking function within pushing hands, then no matter how clever you are, you will only achieve skill
in your hands. Developing skill through the rest of your body would have been curtailed.

I have been practicing the Taiji solo set since May, 1925, just over four years ago. In the course of that time, the set
has gone through four revisions, because each person I have learned from has adjusted it to the version they teach. I
believed at the time that their changes were necessary, but once I had practiced to the point of skill, I then realized
these four versions of the solo set are different only in terms of superficial movements. The spirit is not at all
different. But because each persons way of teaching is different, they slander each other, especially when they have
not personally experienced someones teaching, and when they have not let go of the vice of sectarian bias.
Practitioners of Taiji Boxing always have it in mind to look down on the training in external boxing arts and say
that Taiji Boxing theory is more refined than that of external styles. However, the external arts nevertheless have an
advantage. If you practice Taiji Boxing, but have not yet reached the point of being able apply it, then it is no better
than any external style. The results of the recent competition in Nanjing verify that Taiji Boxing practitioners have a
harder time applying their art than do practitioners of external styles.

[Included below is a related piece in which Xiang further elaborates on his experience of Taiji. Written in 1955, two
years before his death, it was later published within the 1980s reprints of his novels.]

ON STUDYING TAIJIS PUSHING HANDS

by Xiang Kairan

Among practitioners of Taiji Boxing, everyone understands that the solo set is for developing a foundation and that
pushing hands is for training function. But are practicing foundation and function two different matters? Answering
this question requires us to first understand just what Taijis foundation and function are.
To develop a foundation, you cannot do without the Thirteen Dynamics, and to train the function, you again
cannot do without the Thirteen Dynamics. Remove the Thirteen Dynamics, then there is no Taiji Boxing, and there is
also no pushing hands. The thirteen dynamics are: warding off, rolling back, pressing, pushing, plucking, rending,
elbowing, bumping, advancing, retreating, stepping to the left, stepping to the right, and staying in the center.
Everyone also knows this, but are practitioners of Taiji Boxing and its pushing hands paying any attention to each of
these thirteen movements?
Certainly there are many who understand that it is important to pay attention to these things, but there are still
more who only know how to follow along mechanically rather than attend to them mindfully. And those who do not
understand the hard work involved in the Thirteen Dynamics dare to talk about practicing foundation without having
grasped the foundation, and about practicing function without having grasped the function. This is why it is said in
the Thirteen Dynamics Song: If you pay no heed to these 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.
Practicing the solo set is the foundation of practicing the function in pushing hands, and practicing pushing hands
is the understanding of the function in the solo set. It can be said that the whole of the foundation is all function, and
also that the whole of the function is all foundation.
According to this explanation, whether practicing the solo set or pushing hands, is there any distinction? Yes, for I
consider the Taiji Boxing theory as set down in a previous generation to be specifically addressing pushing hands
[rather than the solo practice]. I present it below, annotating it line by line, then drawing it all together into a
summary, followed by my personal experience of studying pushing hands.

The Taiji Boxing Classic says:


He is hard while I am soft this is yielding. My energy is smooth while his energy is coarse this is sticking.

By hard is meant an intention of attack, not really hardness of strength or power. For instance, the two pushing
hands actions of warding off and pressing are energies of attack. By soft is meant an intention of defense, not really
softness as in weakness or suppleness. For instance, the two pushing hands actions of rolling back and pushing are
defensive energies.
Hardness and softness are merely synonyms for the contrast between attack and defense.
It is entirely a matter of using intention and energy rather than attacking with hard power. The opponent closes in on
me using the two attacking actions of warding off and pressing, so I neutralize his attack by using the two defensive
actions of rolling back and pushing. Such actions are an example of yielding.
By smooth and coarse is meant the distinction between being properly positioned and improperly positioned.
If can I keep my balance and be properly positioned, I feel a sense of smoothness, but he loses his balance and upsets

his position, and so he instead feels a sense of coarseness. When I close in on him using warding off or pressing with
an intention of upsetting his position, such actions are an example of sticking.

If he moves fast, I quickly respond, and if his movement is slow, I leisurely follow.

This is purely describing defensive technique. You must not make the mistake of thinking that it means you are giving
away control, just that your speed accords with his. You must understand that the attack is up to him and the defense
is up to you. If you can follow along with his speed and deal with him calmly, without affecting your balance, you can
say you have achieved skillfulness in Taiji pushing hands.

If he puts pressure on my left side, my left side empties, or if he puts pressure on my right side, my right side
disappears.

Taiji Boxing is just a manner of movement through pivoting. As it says in Understanding How to Practice: The body
is like a wheel. The waist is like an axle. If your body is behaving like a wheel, then pressure on your left turns you to
the left, and pressure on your right turns you to the right. This is a commonsense principal, effortlessly understood.
However, if you wish to practice to the point of skillfulness, your hands performing a technique exactly as you wish it
to happen, this is something that is not so easy.

If he tries to find me above, he has to keep reaching higher, or if he tries to find me below, he has to keep reaching
lower. When he advances, he cannot get to me, but once he retreats, he cannot get away from me.

The above, below, and advancing all have to do with drawing in his energy so he lands on nothing. In other words, if
his attack is upward, I draw him in so that he continues still higher; if his attack is downward, I draw him in so that
he continues still lower; if his attack is forward, I draw him in so that he continues still farther. In all of these
instances, I go along with his incoming force, drawing in so that it goes nowhere. I do not resist or try to interrupt his
force. The statement about retreating has to do with having no hope of escape. If he were to advance as I retreat, then
I would be putting myself into an urgent situation. Regardless of practicing the solo set or pushing hands, by all
means avoid directly advancing or retreating.
It says in Understanding How to Practice: In advancing and retreating, there must be variation. This expresses
the idea that you should not directly advance or retreat. For example, the advance of BRUSH KNEE IN A CROSSED
STANCE requires footwork that inclines toward the left and right, and in the retreat of RETREAT, DRIVING AWAY
THE MONKEY, you are also switching steps left and right. The rest of the movements that involve advancing or
retreating are all the same situation. Since you are switching feet [rather than stepping back with both feet],
retreating has a quality of advancing, and so it is not a real retreat. A real retreat results in failure. Thus it is said in
the old boxing manuals that an advance is an advance, and a retreat is also an advance. It says in [Qi
Jiguangs] New Book of Effective Methods [chapter 12]: Constantly advancing, you will be invincible.

A feather cannot be added and a fly cannot land.

This means that pushing hands has to be trained until your sense of touch is so keen that whenever anything even as
light as a feather or a fly lands on you, you will be able to be so aware of it that you do not allow it to land on you. The
feather will not come to a stop because there is not a stable area on you to hold it, and the fly has no stable area to
place its feet and so it will continue to flap its wings in search of another place to land. This is an exaggerated
depiction of the sensitivity in Taijis pushing hands. The idea is that you do not allow an opponent to borrow any force
from you at all, and this is the most important principle in pushing hands.

He does not know me, only I know him.

This is the highest level of skill in pushing hands. Applying pushing hands depends on training sensitivity. The jargon
for this is listening to energies, which means using the hands, particularly the fingertips, to seek into the opponents
movement and discover the direction of his intention and the path of his power. My intention is thereby always ahead
of his, rendering him too late to defend himself.
Chen Xin of the Chen Family Village, Wen County, Henan, wrote a Taiji Boxing essay in which there are these two
superb phrases regarding pushing hands: Through mindfulness, I know his attack. Through craftiness, I conceal my
counter. Mindfulness is a matter of making use of the nerves in my hands to find out his incoming force, then I rely
on craftiness to hide my counterattack from him. It is by this means that I achieve the condition of he does not know
me, only I know him.

If you drop one side, you can move. But if you have equal pressure on both sides, you will be stuck.

These two phrases provide the most important thing to pay attention to while practicing pushing hands, and you
must constantly engage in the actual activity in order to experience it. If you do not understand this principle, you will
not really have an understanding of Taiji Boxing, merely going as far as getting a glimpse of it. Unless you put several
years of hard work into pushing hands, you will still have no way of responding to circumstances. Once these two
phrases are explained, it turns out they are actually very ordinary and easily understood.
As was already mentioned: The body is like a wheel. The waist is like an axle. Think of the way a wheel touches
the ground. Are there two points of pressure? If there were two, it would not be able to move. Thus it says in the Taiji
Boxing Classic [Treatise]: Do not allow there to be cracks or gaps anywhere, pits or protrusions anywhere. With
cracks or gaps, pits or protrusions, there can be no roundness, and without roundness, there will be double pressure.
There are people who interpret double pressure as meaning both feet pressing the ground in unison or both
hands attacking in unison, and that being single-footed or single-handed makes single pressure. This interpretation
is utterly in error. We have to understand that a condition of single pressure or double pressure has nothing to do
with external posture, but with internal substance.
Taiji Boxing is nothing more than a central axis exercise. If you find your center, then every point of contact will
become rounded and you will thereby have a single pressure everywhere, whereas if you do not find your center, then
every path of contact will become obstructed and you will thereby have a double pressure everywhere not only a
matter of double feet or double hands, but of a single finger being unable to avoid a state of double pressure.
Chen Xins essay expresses the idea supremely: Once your training is at an exquisite level, there will be roundness
in the microscopic places as well. Circles all have a central axis point, and due to the roundness that radiates from
this center, there are no cracks or gaps anywhere, pits or protrusions anywhere. So where would there be doubling
of pressure?

In sticking there is yielding and in yielding there is sticking.

A taiji [grand polarity or grand pivot] is the central point of a circle. The half of the circle that rotates outward is
active, and the half of the circle that rotates inward is passive. The active half performs sticking and attacking, and the
passive half performs yielding and defending. Sticking is also a preparation for yielding, and yielding is also a
preparation for sticking, leading us right into:

The active does not depart from the passive and the passive does not depart from the active.

The passive and active exchange roles. Once you have this understanding, you will be identifying energies.

Concepts such as passive and active, sticking and yielding, hardness and softness, adhering and following, are all

synonyms for the two actions of attacking and defending. Inside attacking lies defending, and inside defending lies
attacking. Thus they exchange roles. Understanding this principle will bring you to the level of identifying energies:

Once you are identifying energies, then the more you practice, the more efficient your skill will be.

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.

Taiji pushing hands is a matter of adapting to the situation, and so there must be absolutely no planning ahead, just
responding to the opponent. This quote also highlights the necessity to have a condition of liveliness and nimbleness.
You will then be able to be following along with the opponent, sticking and yielding without the slightest hindrance.
And yet there are many people who think that letting go of your plans to respond to the opponent actually means
examining his attack pattern in order to find a way to deal with it beforehand, again ignoring what is present in favor
of what is not.

This series of quotes is from the Taiji Boxing Classic by Wang Zongyue of Shanxi, the theme of which is the principles
of pushing hands. It forms the most profound and precise set of theory in Taiji Boxing. Unless you absorb it
meticulously, you will never learn anything.

It says in Understanding How to Practice: When issuing power, you must sink and relax, concentrating it in one
direction. To issue power, you have to issue power during pushing hands in order to train the power, and then you
will be able to sink and relax. You then also have to have the two conditions of sinking and relaxing when issuing in
order for it be a case of internal power rather than awkward effort.
Although the idea of concentrating it in one direction appears to be quite simple, it contains all three key factors
of timing, position, and direction. If one of these parts is incorrect, then the internal power generated from sinking
and relaxing will not be issued cleanly and precisely. Consequently it is necessary during pushing hands to, for one
thing, be prepared to receive his issued power without yielding or neutralizing, and for another, to be dedicated to
issuing in accordance with the principles. Once you have practiced to the point of skill, you will then be able to issue
right at the moment of contact, and your issuing will be on target.

It says in the 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. Warding off, rolling back, pressing, and pushing
are the names of the four actions within the concept of within curving, seek to be straightening. But within these
four actions are contained the nine further actions of plucking, rending, elbowing, and bumping, advancing,
retreating, stepping to the left, stepping to the right, and staying in the center. And so to say that ward-off, rollback,
press, and push must be taken seriously amounts to saying that the Thirteen Dynamics must be taken seriously.
The first line of the Thirteen Dynamics Song Do not neglect any of the thirteen dynamics, means that you
should take them all seriously. If you can put your waist in charge of your movement, there will naturally be

coordination above and below. Able to coordinate your upper body and lower body with each other, you will thus
have the ability to neutralize an opponents attack, and because of this, the opponent will hardly find a way in. Its
second line their command coming from your lower back. has exactly this meaning.
[Again from the Playing Hands Song:] 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. Going along with the
opponents incoming force, I draw him in toward an empty place. Drawing him in merges with my opportunity to
counter, so I then send out my attack. There are two meanings to the term drawing in: 1. to guide his force
according to the direction it is already going, 2. to deliberately show a weak spot [a broken seam] in order to induce
him into rashly advancing. It says in Chen Xins essay: Tricking him into an empty cage, you then only need to
rotate. To trick him into an empty cage is the same thing as drawing him in to land on nothing, and rotate is
the moment of sending out your attack.
It was said by a previous generation: Pushing hands simply comes down to the concept of neither coming away
nor crashing in. Not coming away means not separating from the opponents hands, and not crashing in means not
resisting against his hands. Within this are the four actions of sticking, connecting, adhering, following. Sticking and
adhering have to do with not coming away. Connecting and following have to do with not crashing in. In other words,
when the opponent advances, I use connecting and following, and when he retreats, I use sticking and adhering.
The Playing Hands Song may be a basic and very stripped down rendition of principles, but without receiving
personal instruction, it would be of no more use than getting explanations based on a set of drawings. Thousands
upon thousands of words would still be of no benefit.
It is said in the Thirteen Dynamics Song: Beginning the training requires personal instruction, but mastering the
art depends on your own unceasing effort. Why your own effort? This simply means that as long as you are
practicing in accordance with the above principles, you are able to do the work by yourself, whereas if you ignore the
principles, your effort would be in vain.
It says in the Boxing Classic by Li Changluo of Pingjiang: To learn but not practice betrays the work of the
teacher. To practice but neglect the theory makes a mockery of the art. It can be seen from this that practicing
pushing hands requires taking these principles seriously.

Above are the most widespread principles known to ordinary enthusiasts of Taiji Boxing, with a brief commentary
added. Because my learning is limited, my comments may not necessarily be correct, but I will be so bold as to pledge
to all who care that all of those ideas were told to me by noteworthy teachers, and then embellished by my own
practical experience of thirty years. I will now present some conclusions I have reached from my experience, and my
process of learning Taiji pushing hands during those thirty years, supplying a brief account for those who love
pushing hands to refer to.

Among those of us who practice Taiji Boxing, why do we find it necessary to practice pushing hands? This question is
very easy to answer: the reason is that the functional value of the more than a hundred movements in the solo set
emerges entirely through experiencing pushing hands. However, we do acknowledge that pushing hands is different
from sparring and two-person sets, and we always keep in mind that wrestling is not the same as pushing.

Pushing hands methods generally can be divided into four types:


1. single-hand fixed-step,
2. double-hand fixed-step,
3. moving-step (or stepping to the nine palaces),
4. large rollback.

[1] The single-hand fixed-step exercise is very rarely practiced nowadays, but we should actually take it seriously
because single-hand pushing is indispensable for beginners. The practice method is very simple: both partners use a
single hand, one sticking while the other is yielding. Nevertheless, regarding the early stage of listening to energies,
and for developing skill in the waist and thighs, it is very helpful indeed.

[2] The double-hand fixed-step pattern is what is in vogue nowadays. The pushing hands principles as described

above are all related to this pattern. This kind of pushing method is the fundamental training for developing skill. The
functional value of Taiji Boxing depends on building a solid foundation through this pushing hands pattern. In the
beginning, seek for your upper body and lower to be working in unison, for advancing, retreating, and turning to be
nimble, and it is okay for the movements to be somewhat brisk. Step forward and drill the techniques of ward-off,
rollback, press, and push. You stick when I am yielding. I stick when you are yielding. You must not move too fast, for
then your sticking and yielding will not be consistent, each of the techniques will easily become neglected, and there
will be no involvement of the intention to seek and listen to energy. Below are listed the four most important keys to
this training:

i. There has to be slowness:


Regardless of sticking or yielding, always work inch by inch to seek his energy and listen to it, never rashly
skipping over even the tiniest place.

ii. There has to be roundness:


Your hands especially need to avoid moving into positions that make right angles. You must at every point
maintain a curved condition.

iii. There has to be stability:


This refers to the fixed-step exercise. You may switch your feet, but not start walking, for the objective in pushing
hands lies in the importance of building a solid foundation in your waist and thighs. When your partner closes in, you
can only use settling onto your [rear] thigh and yielding with your waist to dissolve his incoming force. Practicing this
over a long period of time, your waist and thighs will naturally develop skill.

iv. There has to be nearness:


Generally, when you are seeking his energy in order to listen to it, and to develop skill in your waist and thighs, you
have to get sufficiently near him in order for it to feasible.

[3] Moving-step pushing hands:


Two advancing steps, two retreating steps, both partners not changing their direction. For my part, I do a ward-off
with an advancing step and a press with an advancing step. For your part, you do a rollback with a retreating step and
a push with a retreating step. The movements then recycle indefinitely. In order for the advancing and retreating in
this exercise to be nimble, you must not change direction [i.e. both people are walking the plank], and thereby you
will be able to ensure skill development in your waist and thighs.

[4] Large Rollback:


Four advancing steps, four retreating steps, both partners advancing and retreating toward the four corners. For
my part, I do a ward-off with an advancing step, an elbow with an advancing step, a press with an advancing step, and
a bump with closing step. For your part, you do a rollback with three retreating steps, then switch to coming around
behind me with a step that involves the triple actions of pluck, rend, and push. Because the retreat has several steps, it
is an enlarged rollback.

Regardless of which pushing hands pattern you are practicing, you must avoid putting aside the principles and
forcefully attacking, and you must never entertain any notion of winning or losing.

Collected above are ideas regarding pushing hands according to various schools. While they all have principles they
emphasize, their theories are not that different from each other. For those of us who practice and study pushing
hands, it seems like we have to deeply understand and intensively study in order to get it right. But it is not really
necessary for us to do so. It is only necessary for us to focus on a single principle, scrutinize it until that one is

understood, and then the rest of them will fall into place. This is the rationale of practice a lot over a long time and
then one day you will have a breakthrough.
For an analogy, think of a room with several doorways. If you want to enter the space, you only need to use one of
them. But while one door is all you need, if you cannot get through it you will never get in at all. We also have to
understand that the height or craftsmanship of the door is not relevant. When on the eastern end of the room, the
eastern doorway gets walked through. When on the western end of the room, the western doorway gets walked
through. We each simply go through the nearest one.
The same is true for studying the principles. You only have to pick the one makes the most immediate sense to you
and is the easiest for you to realize in your practice, and then by delving further into it, it will become a key to the rest.
This is like a hunting dog pursuing an animal. Once it has aimed its snout, it never gives up till the kill.

Here is the process I myself went through in learning pushing hands:

In 1923 [1925], I was in Shanghai, and I started learning Taiji Boxing from Chen Weiming. Though both he and his
teacher Yang Chengfu were particularly fond of crowding in with the actions of warding off and pressing, Chen did
not then issue any power, he merely caused me to end up in a position in which I could not transmit power through
my body and became stuck, unable to yield, much less neutralize. I felt this was the most difficult phase in the
beginning of my pushing hands training.

When Wang Runsheng later came to Shanghai, I also learned from him, practicing the Wu familys solo set. When I
used Chen Weimings method of crowding with warding off and pressing, Wang disrupted my posture of attack so
easily. After all I had studied so far, I then discovered that my sense of touch was just too slow. He attacked when he
pleased, with whatever technique he pleased, and always so quickly, whereas I always waited too long, until the point
that I noticed I could not express any power anyway, for I was already off balance, unable to yield or neutralize.
I asked Wang: During pushing hands, what kind of attacking does Wu Jianquan do?
He said: Wu hardly ever attacks. But if you tried some method of attacking him, he would right away cause you to
be unable to use any power or hardly even move. For this reason, people generally say that Yang focuses on issuing
and Wu focuses on neutralizing. Really though, issuing is neutralizing, because if you cant neutralize, then you wont
be able to issue either. But since both of these men have their own personalities, it follows that the methods they use
would be different as well.

In 1929, I was in Beijing, and I learned pushing hands from Xu Yusheng. His Taiji Boxing was learned from Song
Shuming, passed down from Song Yuanqiao. It focuses on opening and closing coordinating the breath with each
movement. He always emphasized awareness of the Thirteen Dynamics, particularly pointing out that staying
centered was the basis of the rest, because it is necessary in every technique to be centered in order to issue.
He also gave attention to the five-word secret in Huang Baijias Boxing Methods of the Internal School: focused,
sticky, expedient, potent, precise, and stated that precise was the most important of them, explaining that each
movement has to be performed exactly as it would be applied. Therefore his pushing hands exhibited the greatest
capacity for using the movements from the solo set. Alas, as he was during that time the director of the Beijing
Martial Arts Institute and also of the Beijing Physical Education School, his work kept him extremely busy, and so he
could not talk over techniques with me very often. But he introduced me to Liu Enshou, who then gave me special
instruction in pushing hands.


Lius Taiji Boxing was also learned from Song Shuming, but his pushing hands was different yet again compared to
the teachers above. Suddenly there was a lightness, then suddenly a heaviness. One moment he was far away, then
out of nowhere he was close to me. He constantly rendered me incapable of connecting and following, incapable of
sticking and adhering. Sometimes he would abruptly lift, and I would be lifted up all the way down to my heels.
Sometimes he would abruptly withdraw, and I would topple forward into an emptiness.
Three months of this passed by, and by then I had little by little gotten used to it and was no longer so fooled by his
lures. Having previously trained in external styles of boxing, sometimes when I felt cornered I would lash out with an
external style technique, and he would instantly draw everything to a halt, then tell me: Pushing hands is a kind of
training method, not sparring. You cant have a competitive mentality. Its not about win or lose. If it was a win or lose
struggle, we would both be using varying postures, never deliberately standing in one place waiting for each others
attack.
Once I had heard these words, I became rather ashamed, deeply feeling that I should not have any notions of win
or lose while pushing hands, and that I should not disregard principles in favor of scoring cheap shots. In terms of the
art, I was breaking the rules. In terms of society, I was being impolite. In terms of personal character, I was behaving
dishonorably.

In 1934, in Changsha, a classmate and I were pushing hands while Wang Runsheng was off to the side observing us.
He suddenly commented: Why do you both do pushing hands without any opening and closing?
I hurried to a stop and asked him: All the time you were teaching me pushing hands, you never once mentioned
opening and closing, so could you teach us now where to find it?
He said: It says in the classics [from How to Practice]: Your ability to be nimble lies in your ability to breathe. It
follows that your ability to breathe lies in your ability to open and close. You just havent noticed this concept on your
own.
I said: I was already worried long ago about how that statement made no sense to me. But what do you mean that
breathing depends on opening and closing? Isnt someone who cant breathe a dead person?
He smiled and said: No, no, youre not getting it. Everyone breathes with a natural breath, which is not the
breathing of a martial artist. If a martial artist is not able to coordinate his breath, then he is not able to breathe. This
point is vital. Whenever you read something commending the performance of a martial artist, theres a couple
phrases that constantly appear: no reddening of the face, no panting of the breath. When you were both pushing
hands a moment ago, your breath was panting, and the reason for it is that you werent paying any attention to your
breath.
I said: Xu Yusheng once said to me that while practicing the solo set there should be coordination of opening and
closing with the exhaling and inhaling. I overlooked this comment when he said it, and then I never went to him to
ask him what he meant. On top of that, I had no idea that there is also opening and closing in pushing hands, or that
it likewise is supposed to be coordinated with the breath.
Wang said: When you started learning, I could not yet talk about this action, because then it wouldve been too
complex, too difficult to physically realize. But now it is time for you to work at opening and closing with exhaling and
inhaling, otherwise you will not be able to progress. He then gave a few examples within the solo set, such as
warding off and pressing are cases of opening, whereas rolling back and pushing are cases of closing.
I thereupon looked for opening and closing every time I was practicing the solo set. After looking for it for a few

days, I was sure I had found it, so I showed my set to Wang.


As soon as I was performing CATCH THE SPARROW BY THE TAIL, he grinned and said: Stop doing it that way.
When you open, you do not fulfill opening, and when you close, you do not fulfill closing. He happened to be
holding a collapsible fan at that moment. Flicking it open and flicking it closed, he asked: Whats causing this
opening and closing?
I said: Your hand.
He shook his head, pointed at the fans hinge, and said: It requires this thing in order to be able to open and
close. Then he pointed to a door and said: That door also needs a hinge to open and close. And because you havent
found your hinge, of course your opening doesnt fulfill opening and your closing doesnt fulfill closing.
I asked: So wheres my hinge?
He said: You have to find it for yourself. If I give you the answer, you wont listen to it.
For the sake of this hinge concept, I threw myself into an intensive study of everything to do with Taiji Boxing
theory until I was steeped in it. And then it clicked I finally understood that the hinging lies at the waist.
So I then started looking for opening and closing from this context, adjusting most of the transitions throughout
the solo set, until I eventually discovered there were multiple openings and closings within every single movement,
and that they were always aligned with the breath. As the movements became more and more detailed, their
durations became longer and longer.

Because Wang at that time was teaching in Hunan University, it was too difficult for us to meet. But then I bumped
into him half a year later and promptly showed him what I had been practicing.
He smiled, nodded, and said: Not quite, but almost. Your understanding is merely that the waist controls the
movement, but you are not noticing that statements [from the classics, in this case the Thirteen Dynamics Song] such
as the command coming from your lower back and at every moment, pay attention to your waist indicate the
center of the waist area [i.e. the lumbar region of the spine]. You have to understand that this is a description of the
lifeblood of Taiji Boxing. This area also supplies the source of the name Taiji Boxing [being a central circularity of
movement]. If you dont get this, within the Thirteen Dynamics it is centeredness that will remain hidden to you.
Furthermore, you will have no way of experiencing the concept of if one part moves, every part moves, and if one part
is still, every part is still. However, this principle is pretty obscure. Its difficult to understand, even more difficult to
actually experience. It if were explained to beginners, not only would it be of no help, it would counterproductively
lead them to doubt the art. Previous generations for this reason did not casually give out such information. Its not
that they were worried about people knowing it, but that they were worried people would not understand.
Upon hearing these penetrating insights, I nearly wept with gratitude.

As for the principles and processes that I have explained above, I feel they express the supreme cultural heritage
within our nations physical exercise traditions, and that I ought to share this wisdom publicly. There are many
practitioners of Taiji Boxing and many books about it, but texts focusing on theory, especially pushing hands theory,
which give a systematic exploration, an endeavor of research recorded for all to study, are still too rare. Thus I have
written this piece to supply Taiji Boxing aficionados with some reference material.

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