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Tai chi

From Wikipedia, the free encyclopedia


This article is about the Chinese martial art. For the philosophical concept, see Taiji (philosophy).
For people with the name "Taichi", see Taichi (name). For other uses, see Taiji (disambiguation).
"Tao Chi" redirects here. For the Chinese landscape painter, calligrapher and poet, see Tao Chi
(painter).

t‘ai chi ch‘üan / tàijíquán


(太極拳)

The lower dantian in Taijiquan:

Yin and Yang rotate, while

the core reverts to stillness (wuji)

Yang Chengfu in a posture from

the Yang-style t'ai chi ch'uan solo form

known as Single Whip c. 1931

Also known as t‘ai chi; tàijí

Focus Chinese Taoist


Hardness Forms competition,

Light contact (pushing hands, no strikes),

Full contact (strikes, kicks, throws, etc.)

Country of origin China

Creator Said to be Zhang Sanfeng

Famous practitioners Chen Wangting,

Chen Changxing,

Chen Fake,

Yang Luchan,

Yang Chengfu,

Wu Ch'uan-yu,

Wu Chien-ch'uan,

Wu Yu-hsiang,

Sun Lu-t'ang,

Wang Pei-sheng

Olympic sport Demonstration only

Tai chi

Tàijí quán in Traditional (top) and Simplified (bottom) Chinese

characters

Traditional Chinese 太極拳

Simplified Chinese 太极拳

Literal meaning "Supreme Ultimate Boxing"


[show]Transcriptions

Part of a series on

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 v
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 e

Tai chi (taiji), short for t'ai chi ch'üan (taijiquan; 太极拳), is an internal Chinese martial
art practiced for both its defense training and its health benefits. The term taiji refers to a
philosophy of the forces of yin and yang, related to the moves. Though originally conceived as a
martial art, it is also typically practiced for a variety of other personal reasons: competitive
wrestling in the format of pushing hands (tui shou), demonstration competitions, and achieving
greater longevity. As a result, a multitude of training forms exist, both traditional and modern,
which correspond to those aims with differing emphasis. Some training forms of tàijíquán are
especially known for being practiced with relatively slow movements.
Today, tai chi has spread worldwide. Most modern styles of tai chi trace their development to at
least one of the five traditional schools: Chen, Yang, Wu (Hao), Wu, and Sun. All of the former, in
turn, trace their historical origins to Chen Village.

Contents
[hide]

 1Overview
 2Name
o 2.1Historical origin
 3History and styles
o 3.1Tàijíquán in the United States
o 3.2T‘ai-chi ch‘üan lineage tree
 3.2.1Modern forms
o 3.3Tàijíquán today
 3.3.1Tàijíquán as sport
 4Philosophy
 5Training and techniques
o 5.1Solo (taolu, neigong and qigong)
 5.1.1Qigong versus tàijíquán
o 5.2Partnered (tuishou and sanshou)
o 5.3Weapons
 6Health
 7Seated tai chi
 8Legends and anecdotes
 9Attire and ranking
 10Tai Chi as a generic brand
 11See also
 12References
 13Further reading
o 13.1Books
o 13.2Magazines
 14External links

Overview[edit]
The concept of the taiji ("supreme ultimate"), in contrast with wuji ("without ultimate"), appears in
both Taoist and Confucian Chinese philosophy, where it represents the fusion or mother[1] of yin
and yang into a single ultimate, represented by the taijitu symbol . Tàijíquán theory and
practice evolved in agreement with many Chinese philosophical principles, including those of
Taoism and Confucianism.
Tàijíquán training involves five elements, taolu (solo hand and weapons
routines/forms), neigong and qigong (breathing, movement and awareness exercises and
meditation), tuishou (response drills) and sanshou (self defence techniques). While tàijíquán is
typified by some for its slow movements, many styles (including the three most
popular: Yang, Wu and Chen) have secondary forms with faster pace. Some traditional schools
teach partner exercises known as tuishou ("pushing hands"), and martial applications of the
postures of different forms (taolu).
In China, tàijíquán is categorized under the Wudang grouping of Chinese martial arts[2]—that is,
the arts applied with internal power.[3] Although the term Wudang suggests these arts originated
in the Wudang Mountains, it is simply used to distinguish the skills, theories and applications
of neijia (internal arts) from those of the Shaolin grouping, or waijia (hard or external) styles.[4]
Since the earliest widespread promotion of the health benefits of tàijíquán by Yang
Shaohou, Yang Chengfu, Wu Chien-ch‘üan and Sun Lutang in the early 20th century,[5] it has
developed a worldwide following of people, often with little or no interest in martial training, for its
benefit to personal health.[6] Medical studies of t‘ai-chi support its effectiveness as an
alternative exercise and a form of martial arts therapy.
It is purported that focusing the mind solely on the movements of the form helps to bring about a
state of mental calm and clarity. Besides general health benefits and stress
management attributed to tàijíquán training, aspects of traditional Chinese medicine are taught to
advanced students in some traditional schools.[7]
Some other forms of martial arts require students to wear a uniform during practice. In general,
tàijíquán schools do not require a uniform, but both traditional and modern teachers often
advocate loose, comfortable clothing and flat-soled shoes.[8][9]
The physical techniques of tàijíquán are described in the "T‘ai-chi classics", a set of writings by
traditional masters, as being characterized by the use of leverage through the joints based on
coordination and relaxation, rather than muscular tension, in order to neutralize, yield or initiate
attacks. The slow, repetitive work involved in the process of learning how that leverage is
generated gently and measurably increases, opens the internal circulation (breath, body
heat, blood, lymph, peristalsis).
The study of tàijíquán primarily involves three aspects:

 Health: An unhealthy or otherwise uncomfortable person may


find it difficult to meditate to a state of calmness or to use
tàijíquán as a martial art. Tàijíquán's health training, therefore,
concentrates on relieving the physical effects of stress on the
body and mind. For those focused on tàijíquán's martial
application, good physical fitness is an important step towards
effective self-defense.
 Meditation: The focus and calmness cultivated by the meditative
aspect of tàijíquán is seen as necessary in maintaining optimum
health (in the sense of relieving stress and
maintaining homeostasis) and in application of the form as a soft
style martial art.
 Martial art: The ability to use tàijíquán as a form of self-
defense in combat is the test of a student's understanding of the
art. Tàijíquán is the study of appropriate change in response to
outside forces, the study of yielding and sticking to an incoming
attack rather than attempting to meet it with opposing
force.[10] The use of tàijíquán as a martial art is quite challenging
and requires a great deal of training.[11]

Name[edit]
Tàijíquán and T‘ai-chi ch‘üan are two different transcriptions of three Chinese characters that are
the written Chinese name for the artform:
Characters Wade–Giles Pinyin Meaning
太極 t‘ai chi tàijí the source, the beginning
拳 ch‘üan quán fist, boxing

Despite the one Chinese spelling, 太極拳, there are two different spellings in the English usage,
one derived from the Wade–Giles and the other from the Pinyintranscription. Most Westerners
often shorten this name to t‘ai chi (often omitting the aspirate sign—thus becoming "tai chi"). This
shortened name is the same as that of the t‘ai-chi philosophy, sometimes causing confusion of
the two. The chi in the name of the martial art may also be mistaken for ch‘i, (qi 氣) the "life
force," especially as ch‘i is involved in the practice of t‘ai-chi ch‘üan.
Most Chinese, including many professional practitioners, masters, and martial arts bodies (such
as the IWUF[12]), use the Pinyin version.
Historical origin[edit]
From a modern historical perspective, when tracing tàijíquán's formative influences
to Taoist and Buddhist monasteries, there seems little more to go on than legendary tales.
Nevertheless, some traditional schools claim that tàijíquán has a practical connection to and
dependence upon the theories of Song dynasty Neo-Confucianism (a conscious synthesis of
Taoist, Buddhist, and Confucian traditions, especially the teachings of Mencius).[4] These schools
believe that tàijíquán's theories and practice were formulated by the Taoist monk Zhang
Sanfeng in the 12th century, at about the same time that the principles of the Neo-Confucian
school were making themselves felt in Chinese intellectual life.[4] However, modern research
casts serious doubts on the validity of those claims, pointing out that a 17th-century piece called
"Epitaph for Wang Zhengnan" (1669), composed by Huang Zongxi (1610–1695), is the earliest
reference indicating any connection between Zhang Sanfeng and martial arts whatsoever, and
must not be taken literally but must be understood as a political metaphor instead. Claims of
connections between tàijíquán and Zhang Sanfeng appeared no earlier than the 19th century.[13]
History records that Yang Luchan trained with the Chen family for 18 years before he started to
teach the art in Beijing, which strongly suggests that his art was based on, or heavily influenced
by, the Chen family art. The Chen family are able to trace the development of their art back
to Chen Wangting in the 17th century. Martial arts historian Xu Zhen believed that the Taiji of
Chen Village had been influenced by the Taizu changquan style practiced at the nearby Shaolin
Monastery, while Tang Hao thought it was derived from a treatise by the Ming dynasty general Qi
Jiguang, Jixiao Xinshu ("New Treatise on Military Efficiency"), which discussed several martial
arts styles including Taizu changquan.[14][15]
What is now known as tàijíquán appears to have received this appellation from only around the
mid of the 19th century.[13] A scholar in the Imperial Court by the name of Ong Tong He witnessed
a demonstration by Yang Luchan at a time before Yang had established his reputation as a
teacher. Afterwards Ong wrote: "Hands holding Taiji shakes the whole world, a chest containing
ultimate skill defeats a gathering of heroes." Before this time the art may have had a number of
different names, and appears to have been generically described by outsiders as zhan quan (沾
拳, "touch boxing"), Mian Quan ("soft boxing") or shisan shi (十三式, "the thirteen
techniques").[citation needed]

History and styles[edit]


See also: History of Chinese Martial Arts
There are five major styles of tàijíquán, each named after the Chinese family from which it
originated:

 Chen style (陳氏) of Chen Wangting (1580–1660)


 Yang style (楊氏) of Yang Luchan (1799–1872)
 Wu Hao style (武氏) of Wu Yuxiang (1812–1880)
 Wu style (吳氏) of Wu Quanyou (1834–1902) and his son Wu
Jianquan (1870–1942)
 Sun style (孫氏) of Sun Lutang (1861–1932)
The order of verifiable age is as listed above. The order of popularity (in terms of number of
practitioners) is Yang, Wu, Chen, Sun and Wu/Hao.[4] The major family styles share much
underlying theory, but differ in their approaches to training.
There are now dozens of new styles, hybrid styles, and offshoots of the main styles, but the five
family schools are the groups recognized by the international community as being the orthodox
styles. Other important styles are Zhaobao tàijíquán, a close cousin of Chen style, which has
been newly recognized by Western practitioners as a distinct style, the Fu style, created by Fu
Chen Sung, which evolved from Chen, Sun and Yang styles, and also incorporates movements
from Baguazhang (Pa Kua Chang)[citation needed] and the Cheng Man-ch'ing style which is a
simplification of the traditional Yang style.

Wu-style master Eddie Wudemonstrating the form "Grasp the bird's tail" at a tournament in Toronto,
Ontario, Canada

Most existing styles can be traced back to the Chen style, which had been passed down as a
family secret for generations. The Chen family chronicles record Chen Wangting, of the family's
9th generation, as the inventor of what is known today as tàijíquán. Yang Luchan became the
first person outside the family to learn tàijíquán. His success in fighting earned him the nickname
Yang Wudi, which means "Unbeatable Yang", and his fame and efforts in teaching greatly
contributed to the subsequent spreading of tàijíquán knowledge. [citation needed] The
designation internal or neijia martial arts is also used to broadly distinguish what are known as
the external or waijia styles based on the Shaolinquan styles, although that distinction is
sometimes disputed by modern schools. In this broad sense, all styles of t'ai chi, as well as
related arts such as Baguazhang and Xingyiquan, are, therefore, considered to be "soft" or
"internal" martial arts.
Tàijíquán in the United States[edit]
Choy Hok Pang, a disciple of Yang Chengfu, was the first known proponent of tàijíquán to openly
teach in the United States in 1939. Subsequently, his son and student Choy Kam Man emigrated
to San Francisco from Hong Kong in 1949 to teach t‘ai-chi ch‘üan in San Francisco's Chinatown.
Choy Kam Man taught until he died in 1994.[16][17]
Sophia Delza, a professional dancer and student of Ma Yueliang, performed the first known
public demonstration of tàijíquán in the United States at the Museum of Modern Artin New York
City in 1954. She also wrote the first English language book on t‘ai-chi, "T‘ai-chi ch‘üan: Body
and Mind in Harmony", in 1961. She taught regular classes at Carnegie Hall, the Actors Studio,
and the United Nations.[18][19]
Another early practitioner of tàijíquán to openly teach in the United States was Zheng
Manqing/Cheng Man-ch'ing, who opened his school Shr Jung t‘ai-chi after he moved to New
York from Taiwan in year 1964. Unlike the older generation of practitioners, Zheng was cultured
and educated in American ways,[clarification needed] and thus he was able to transcribe Yang's dictation
into a written manuscript that became the de facto manual for Yang style. Zheng felt Yang's
traditional 108-movement long form was unnecessarily long and repetitive, which makes it
difficult to learn and make progress.[citation needed] He thus created a shortened 37-movement version
and taught that in his schools. Zheng's form became very popular and was the dominant form in
the eastern USA until other teachers started to emigrate to the USA in larger numbers in the
90's. He taught until his death in 1975.[20]
T‘ai-chi ch‘üan lineage tree[edit]
Note:
 This lineage tree is not comprehensive, but depicts those
considered the "gate-keepers" and most recognised individuals
in each generation of the respective styles.
 Although many styles were passed down to respective
descendants of the same family, the lineage focused on is that
of the martial art and its main styles, not necessarily that of the
families.
 Each (coloured) style depicted below has a lineage tree on its
respective article page that is focused on that specific style,
showing a greater insight into the highly significant individuals in
its lineage.
 Names denoted by an asterisk are legendary or semi-legendary
figures in the lineage; while their involvement in the lineage is
accepted by most of the major schools, it is not independently
verifiable from known historical records.
 v
 t
 e

Key:

(张三丰)
Direct Zhang
Solid Sanfeng*
teacher-
lines c. 12th
student.
century
NEIJIA

Dashe Individual(s) Various Legendar


d lines omitted. Daoists y figures

Partial (王宗岳)
influence Wang
Dotted
/taught Zongyue*
lines
informally TAIJIQUA
/limited time. N

Dashe Branch
d cross continues.

(陈王庭)
Chen (蒋法)
Wangting Jiang Fa
1580–1660 Zhaobao
CHEN- -style
STYLE

(邢喜怀
(陈汝信) (陈所乐)
)
Chen Chen
Xing
Ruxin Suole
Xihuai
2nd gen. 2nd gen. 2nd gen.
Chen Chen Zhaobao

(张楚臣)
(陈大鹍) (陈大鹏) (陈光印) (陈恂如) (陈正如) Zhang
(陈申如)
Chen Chen Chen Chen Chen Chuchen
Chen Shenru
Dakun Dapeng Guangyin Xunru Zhengru 3rd gen.
3rd gen.
3rd gen. 3rd gen. 3rd gen. 3rd gen. 3rd gen. Zhaobao
Chen
Chen Chen Chen Chen Chen

(陈敬伯)
Chen
(陈善通) (陈善志) (陈继夏) Jingbo
(陈节)
Chen Chen Chen 4th gen.
Chen Jie
Shantong Shanzhi Jixia Chen
4th gen.
4th gen. 4th gen. 4th gen. 4th gen.
Chen
Chen Chen Chen Zhaobao

(陈公兆) (张宗禹)
(陈秉旺) Chen Zhang
(陈秉奇) (陈秉壬)
Chen Gongzha Zongyu
Chen Chen
Bingwang o 5th gen.
Bingqi Bingren
1748–? 1715– Zhaobao
5th gen. 5th gen.
5th gen. after1795
Chen Chen
Chen 5th gen.
Chen

(陈长兴) (陈有本) (张彦)


Chen Chen Zhang
Changxin Youben Yan
g c. 19th 6th gen.
1771– century Zhaobao
1853 6th gen.
6th gen. Chen
Chen Chen
Chen Old Small
Frame Frame

(杨露禅) (陈清萍)
Yang Chen
(陈耕耘)
Luchan Qingpin
Chen
1799–1872 g
Gengyun
YANG- 1795–
7th gen.
STYLE 1868
Chen
Guang Ping 7th gen.
Yang Chen
Yangjia 7th gen.
Michuan Zhaobao

(武禹襄)
Wu
Yuxiang
1812–
(杨班侯)
1880
Yang
WU
Banhou
(杨健侯) (HAO)-
1837–
Yang STYLE(
(王兰亭) 1892
(陈延熙) Jianhou 他招远)
Wang 2nd gen.
Chen 1839–1917 He
Lanting Yang
Yanxi 2nd gen. Zhaoyua
1840–? 2nd gen.
8th gen. Yang n
2nd gen. Guang
Chen 2nd gen. 1810–
Yang Ping
Yangjia 1890
Yang
Michuan 8th gen.
Yang
Small Zhaobao
Frame Zhaoba
o He-
style

(李亦畬)
Li Yiyu
(王矯宇 1832–
(陈发科) (杨少侯) ) 1892
Chen (杨澄甫) Yang Wang 2nd gen.
(吴全佑)
Fake (李瑞东) Yang Shaohou Jiaoyu Wu
Wu
1887– Li Chengfu 1862– 1836– (Hao)(和
Quanyou
1957 Ruidong 1883–1936 1930
1834–
1939 庆喜)
9th gen. 1851– 3rd gen. 3rd gen. 3rd gen. He
1902
Chen 1917 Yang Yang Guang Qingxi
1st gen.
Chen Li-style Yang Big Yang Ping 1857–
Wu
New Frame Small Yang 1936
Frame Frame 9th gen.
Zhaobao

(陈照丕) (陈照奎) (張欽霖) (杨振铎) (傅仲文) (郑曼青) (吴鉴泉) Kuo (郝為真)


Chen Chen Zhang Yang Fu Zheng Wu Lien Hao
Zhaopi Zhaokui Qinlin Zhenduo Zhongwe Manqing Jianquan Ying Weizhen
1893– 1928– 1888– b. 1926 n 1902– 1870– 1895– 1849–
1972 1981 1967 4th gen. 1903– 1975 1942 1984 1920
10th gen. 10th gen. 3rd gen. Yang 1994 4th gen. 2nd gen. 4th gen. 3rd gen.
Chen Chen Yangjia 4th gen. Yang Wu Guang Wu
focused focused Michuan Yang Short WU- Ping (Hao)(郑
on on Beijing (37) STYLE Yang 悟清)
Chen Old Chen New (24) form Form 108 Form Zheng
Frame Frame Wuqing
1895–
1984
10th gen.
Zhaobao

(孙禄堂 (郝月如)
) Hao
(吴公儀)
Sun Yueru
Wu
Lutang 1877–
Gongyi
1861– 1935
1900–
1932 4th gen.
1970
SUN- Wu
3rd gen.
STYLE (Hao)
Wu

(王延年) (孙剑云 (郝少如)


Wang (鄭天熊) ) Hao
(吴雁霞)
Yannian Zheng Sun Shaoru
Wu
1914– Tianxion Jianyun 1908–
Yanxia
2008 g 1913– 1983
1930–
5th gen. 1930– 2003 5th gen.
2001
Yang 2005 2nd gen. Wu
4th gen.
4th gen. Wudang Sun (Hao)
Wu
Yangjia -style
Michuan

(孙永田
(刘积顺)
(陈小旺) )
(陈小星) (吴光宇) Liu
(杨军) Sun
Chen Jishun
Chen Wu Yongtia
Xiaowan Yang Jun b. 1930
Xiaoxing Guangyu n
g b. 1968 6th gen.
b. 1952 b. 1946 b. ?
b. 1945 5th gen. Wu
11th gen. 5th gen. 3rd gen.
11th gen. Yang (Hao)
Chen Wu Sun
Chen
WU
SUN-
CHEN- YANG- WU- (HAO)-
STYLE
STYLE STYLE STYLE STYLE

Modern forms[edit]
The Cheng Man-ch‘ing (Zheng Manqing) and Chinese Sports Commission short forms are
derived from Yang family forms, but neither is recognized as Yang family tàijíquán by standard-
bearing Yang family teachers. The Chen, Yang, and Wu families are now promoting their own
shortened demonstration forms for competitive purposes.

(杨澄甫)
Yang Chengfu
1883–1936
3rd gen. Yang
Yang Big Frame

(郑曼青)
Zheng Manqing Chinese Sports Commission
1902–1975 1956
4th gen. Yang Beijing (24) Form
Short (37) Form

1989
42 Competition Form
(Wushu competition form
combined from
Chen, Yang, Wu & Sun styles)

Tàijíquán today[edit]

Outdoor practice in Beijing's Temple of Heaven.

See also: World Tai Chi and Qigong Day


In the last twenty years or so, tàijíquán classes that purely emphasise health have become
popular in hospitals, clinics, as well as community and senior centres. This has occurred as
the baby boomers generation has aged and the art's reputation as a low-stress training method
for seniors has become better known.[21][22]
As a result of this popularity, there has been some divergence between those that say they
practice tàijíquán primarily for self-defence, those that practice it for its aesthetic appeal
(see wushu below), and those that are more interested in its benefits to physical and mental
health. The wushu aspect is primarily for show; the forms taught for those purposes are designed
to earn points in competition and are mostly unconcerned with either health maintenance or
martial ability. More traditional stylists believe the two aspects of health and martial arts are
equally necessary: the yin and yang of tàijíquán. The tàijíquán "family" schools, therefore, still
present their teachings in a martial art context, whatever the intention of their students in
studying the art.[23]
Tàijíquán as sport[edit]
In order to standardize t‘ai-chi ch‘üan for wushu tournament judging, and because many tàijíquán
teachers have either moved out of China or had been forced to stop teaching after the Chinese
Civil War in 1949, the government sponsored the Chinese Sports Committee, who brought
together four of their wushu teachers to truncate the Yang family hand form to 24 posturesin
1956. They wanted to retain the look of tàijíquán, but create a routine that would be less difficult
to teach and much less difficult to learn than longer (in general, 88 to 108 posture), classical, solo
hand forms. In 1976, they developed a slightly longer form also for the purposes of
demonstration that still would not involve the complete memory, balance, and coordination
requirements of the traditional forms. This became the "Combined 48 Forms" that were created
by three wushu coaches, headed by Men Hui Feng. The combined forms were created based on
simplifying and combining some features of the classical forms from four of the original styles:
Chen, Yang, Wu, and Sun. As tàijíquán again became popular on the mainland, more
competitive forms were developed to be completed within a six-minute time limit. In the late
1980s, the Chinese Sports Committee standardized many different competition forms. They
developed sets to represent the four major styles as well as combined forms. These five sets of
forms were created by different teams, and later approved by a committee of wushu coaches in
China. All sets of forms thus created were named after their style: the "Chen-style national
competition form" is the "56 Forms". The combined forms are "The 42-Form" or simply the
"Competition Form". Another modern form is the "97 movements combined t‘ai-chi ch‘üan form",
created in the 1950s; it contains characteristics of the Yang, Wu, Sun, Chen, and Fu styles
blended into a combined form. The wushu coach Bow Sim Mark is a notable exponent of the "67
combined form".
These modern versions of tàijíquán have since become an integral part of
international wushu tournament competition, and have been featured in popular movies, starring
or choreographed by well-known wushu competitors, such as Jet Li and Donnie Yen.
In the 11th Asian Games of 1990, wushu was included as an item for competition for the first
time with the 42-Form being chosen to represent t‘ai-chi ch‘üan. The International Wushu
Federation (IWUF) applied for wushu to be part of the Olympic games, but will not count
medals.[24]
Practitioners also test their practical martial skills against students from other schools and martial
arts styles in tuishou ("pushing hands") and sanshou competition.

Philosophy[edit]
Main article: T'ai chi ch'uan philosophy
The philosophy of tàijíquán is that, if one uses hardness to resist violent force, then both sides
are certainly to be injured at least to some degree. Such injury, according to tàijíquán, is a natural
consequence of meeting brute force with brute force. Instead, students are taught not to directly
fight or resist an incoming force, but to meet it in softness and follow its motion while remaining in
physical contact until the incoming force of attack exhausts itself or can be safely redirected,
meeting yang with yin. When done correctly, this yin/yang or yang/yin balance in combat, or in a
broader philosophical sense, is a primary goal of tàijíquán training. Lao Tzŭ provided
the archetype for this in the Tao Te Ching when he wrote, "The soft and the pliable will defeat the
hard and strong."
Traditional schools also emphasize that one is expected to show wude ("martial virtue/heroism"),
to protect the defenseless, and show mercy to one's opponents.[5]
Training and techniques[edit]
The core training involves two primary features: the first being taolu (solo "forms"), a slow
sequence of movements which emphasize a straight spine, abdominal breathing and a natural
range of motion; the second being different styles of tuishou ("pushing hands") for training
movement principles of the form with a partner and in a more practical manner.
Solo (taolu, neigong and qigong)[edit]
Further information: List of t'ai chi ch'uan forms

Painting in Chenjiagou, illustrating taolu according to the Chen style of tàijíquán.

The taolu (solo "forms") should take the students through a complete, natural range of motion
over their centre of gravity. Accurate, repeated practice of the solo routine is said to retrain
posture, encourage circulation throughout the students' bodies, maintain flexibility through their
joints, and further familiarize students with the martial application sequences implied by the
various forms. The major traditional styles of tàijíquán have forms that differ somewhat in terms
of aesthetics, but there are also many obvious similarities that point to their common origin. The
solo forms (empty-hand and weapon) are catalogues of movements that are practised
individually in pushing hands and martial application scenarios to prepare students for self-
defence training. In most traditional schools, different variations of the solo forms can be
practised: fast / slow, small-circle / large-circle, square / round (which are different expressions of
leverage through the joints), low-sitting / high-sitting (the degree to which weight-bearing knees
are kept bent throughout the form), for example.
Breathing exercises; neigong (internal skill) or, more commonly, qigong (life energy cultivation)
are practiced to develop qi (life energy) in coordination with physical movement and zhan
zhuang (standing like a post) or combinations of the two. These were formerly taught only to
disciples as a separate, complementary training system. In the last 60 years they have become
better known to the general public.
Qigong versus tàijíquán[edit]
Main article: Qigong
Qigong involves coordinated movement, breath, and awareness used for health, meditation, and
martial arts training. While many scholars and practitioners consider tàijíquán to be a type
of qigong,[25][26] the two are commonly distinguished as separate but closely related practices,
with qigong playing an important role in training for tàijíquán, and with many tàijíquán movements
performed as part of qigong practice. The focus of qigong is typically more on health or
meditation than martial applications. Internally the main difference is the flow of qi. In qigong, the
flow of qi is held at a gate point for a moment to aid the opening and cleansing of the
channels.[clarification needed] In tàijíquán, the flow of qi is continuous, thus allowing the development of
power for the use by the practitioner.
Partnered (tuishou and sanshou)[edit]
Two students receive instruction in tuishou ("pushing hands"), one of the core training exercises of t‘ai-chi
ch‘üan.

Tàijíquán's martial aspect relies on sensitivity to the opponent's movements and centre of gravity
dictating appropriate responses. Effectively affecting the opponent's centre of gravity immediately
upon contact, is trained as the primary goal of the martial t‘ai-chi ch‘üan student.[7] The sensitivity
needed to capture the centre is acquired over thousands of hours of first yin (slow, repetitive,
meditative, low-impact) and then later adding yang (realistic, active, fast, high-impact) martial
training through taolu(forms), tuishou (pushing hands), and sanshou (sparring). Tàijíquán trains
in three basic ranges: close, medium and long, and then everything in between. Pushes and
open-hand strikes are more common than punches, and kicks are usually to the legs and lower
torso, never higher than the hip, depending on style. The fingers, fists, palms, sides of the hands,
wrists, forearms, elbows, shoulders, back, hips, knees, and feet are commonly used to strike,
with strikes to the eyes, throat, heart, groin, and other acupressure points trained by advanced
students. Chin na, which are joint traps, locks, and breaks are also used. Most tàijíquán teachers
expect their students to thoroughly learn defensive or neutralizing skills first, and a student will
have to demonstrate proficiency with them before offensive skills will be extensively trained.
In addition to the physical form, martial tàijíquán schools also focus on how the energy of a strike
affects the other person. A palm strike that looks to have the same movement may be performed
in such a way that it has a completely different effect on the target's body. A palm strike that
could simply push the opponent backward, could instead be focused in such a way as to lift the
opponent vertically off the ground, breaking his/her centre of gravity; or that it could terminate the
force of the strike within the other person's body with the intent of causing internal damage.
Most aspects of a trainee's tàijíquán development are meant to be covered within the partnered
practice of tuishou, and so, sanshou (sparring) is not as commonly used as a method of training,
but more advanced students sometimes do practice by sanshou. Sanshou is more common to
tournaments such as wushu tournaments.
Weapons[edit]
Taijijian
A pair of jian with their scabbards.

Wushu jian pair event at the 10th All China games.

Variations of tàijíquán involving weapons also exist. The weapons training


and fencing applications employ:

 the jian, a straight double-edged sword, practiced as taijijian;


 the dao, a heavier curved saber, sometimes called a
broadsword;
 the tieshan, a folding fan, also called shan and practiced
as taijishan;
 the gun, a 2m long wooden staff and practiced as taijigun;
 the qiang, a 2m long spear or a 4m long lance.

A matched set of two feng huo lun.

More exotic weapons still used by some traditional styles include:

 the large dadao and podao sabres;


 the ji, or halberd;
 the cane;
 the sheng biao, or rope dart;
 the sanjiegun, or three sectional staff;
 the feng huo lun, or wind and fire wheels;
 the lasso;
 the whip, chain whip and steel whip.

Health[edit]
A Chinese woman performs Yang-style tàijíquán

Tai chi has been reported as being useful in treating a number of human ailments, and is
supported by a number of associations, including the National Parkinson
Foundation and Diabetes Australia. However, medical evidence of effectiveness was lacking and
in recent years research has been undertaken to address this.[27][28] A 2017 systematic review
found that it decreased the risk of falls in older people.[29]
A 2011 comprehensive overview of systematic reviews of tai chi recommended tai chi to older
people for its various physical and psychological benefits. There was no conclusive evidence of
benefit for any of the other conditions researched, including Parkinson's
disease, diabetes, cancer and arthritis.[27]
A 2015 systematic review found tai chi could be performed by those with chronic medical
conditions such as chronic obstructive pulmonary disease, heart failure,
and osteoarthritis without worsening shortness of breath and pain, and found favorable effects on
functional exercise capacity in people with these conditions.[30]
In 2015 the Australian Government's Department of Health published the results of a review of
alternative therapies that sought to determine if any were suitable for being covered by health
insurance; t‘ai-chi was one of 17 therapies evaluated for which no clear evidence of effectiveness
was found.[28]

Seated tai chi[edit]

Seated Tai Chi demonstration Author Cynthia W. Quarta "Tai Chi in a Chair" (2001) Fair Winds Press.

Traditional tai chi was originally developed for self-defense, but tai chi has evolved into a graceful
form of seated exercise that's now used for stress reduction and a variety of other health
conditions. Often described as meditation in motion, seated tai chi promotes serenity through
gentle, flowing movements. Worthy of note is the growing popularity of seated tai chi exercises
touted by the medical community and researchers. Seated tai chi is based primarily on the Yang
short form, and is being used by the general public, medical practitioners, and tai chi instructors
in a growing elderly population. It would have been possible to simply take the well-known yang
short form and redesign it for seated positions. There is, however, the matter of the integrity of
the form itself. Within any tai chi form, there lies a certain inherent logic and purpose to each of
the movements. The synchronization of the upper body with the steps and the breathing exists in
a very carefully crafted order developed over hundreds of years, and the transition to seated
positions is an important factor in the movements themselves. Research has shown that seated
tai chi techniques can make big improvements to a person's physical and mental well being.
Marked improvements in balance, blood pressure levels, flexibility and muscle strength, peak
oxygen intake, and body fat percentages can be achieved.[31]

Legends and anecdotes[edit]

Yang Chengfu utilizing one of the many possible applications of the Single Whiptechnique.

 During the Qing dynasty, a man named Wang Yuanwai living in


Beipinggao village (about 10 kilometres (6.2 mi) east of
Chenjiagou), was threatened with death by a gang of
highwaymen with bladed weapons, unless he surrendered his
valuables. He sent for assistance from Chen Suole (see the
lineage tree above), who was away according to his sons Chen
Shenru and Chen Xunru – despite their being only around fifteen
and sixteen years old, the boys volunteered their own help
instead. They convinced the messenger to tell Wang Yuanwai to
give the bandits liquor, discussed a plan and that night, traveled
to the Wang residence in Beipinggao, where they jumped over
the fence of the rear garden and there found Wang Yuanwai. He
told them that the highwaymen, numbering around twenty, were
drunken in his guest hall. While peeping in, Shenru pushed
Xunru into the hall and extinguished several candles by throwing
a bunch of peas at them. Xunru leapt onto beam and taunted,
the panicked bandits who had seemingly started fighting each
other, saying, "So you still will not hand over your weapons and
surrender? Gods number one and two are here." Some tried to
escape the frenzy, but were attacked by Shenru, who was still at
the door.[32]
 In the 1940s, a man known as "Big Spear Liu" came to
Shanghai's "big world," the city's major performance and
entertainment centre. Liu asked the doorkeeper, "Are there any
good hands around here?", looking for a skilled opponent to
challenge. The doorkeeper told "Big Spear Liu" of Tian
Zhaolin (student of Yang Jianhou). With that Liu set off to find
him. He found Tian Zhaolin and immediately demanded to spar
by each striking the other three times, to which Tian Zhaolin
responded that it may not be necessary. He said, "Just let me
touch you. If you can tolerate my touch, you win." Liu, sensing a
fool and an effortless victory, immediately agreed. The two men
approached and Tian Zhaolin reached out his hand to touch
Liu's chest. Within a few moments, Liu's facial muscles started
to contort. Soon he grimaced and his face showed signs of
intense pain. Spear Liu pulled away and, after recovering,
commented, "I have travelled throughout five provinces and
various cities but until today I have never seen such a profound
skill." Energy, including that of taijiquan, may be thought of as
transmission by wave. Earlier generation adepts in taijiquan had
an expression—"hitting the cow on this side of the Mountain."
This phrase referred to hitting an opponent's front side with the
pain and effect being felt on the back side. In years past, people
who sparred with Yang Shaohou often described him as also
having an energy like electricity. That is, it caused very painful
sensations in the muscle and even on the skin surface. Tian
Zhaolin, coming from that background, also knew this method.[33]
 In 1945, Hu Yuen Chou, a student of Yang Chengfu, defeated a
Russian boxer by TKO in a full-contact match in Fut San, China.
 At the age of 60, Huang Sheng Shyan demonstrated his
abilities in taijiquan by defeating Liao Kuang-Cheng, the Asian
champion wrestler, 26 throws to 0 in a fund raising event
in Kuching, Malaysia.[34]

Attire and ranking[edit]

Master Yang Jun in demonstration attire that has come to be identified with taijiquan

In practice traditionally there is no specific uniform required in the practice of tàijíquán. Modern
day practitioners usually wear comfortable, loose T-shirts and trousers made from breathable
natural fabrics, that allow for free movement during practice. Despite this, t‘ai-chi ch‘üan has
become synonymous with "t‘ai-chi uniforms" or "kung fu uniforms" that usually consist of loose-
fitting traditional Chinese styled trousers and a long or short-sleeved shirt, with a Mandarin
collar and buttoned with Chinese frog buttons. The long-sleeved variants are referred to as
Northern-style uniforms, whilst the short-sleeved, Southern-style uniforms. The colour of this
clothing is usually, all white, all black, black and white, or any other colour, mostly being either all
a single solid colour or a combination of 2 colours: one colour being the actual clothing and the
binding being a contrasting colour. They are normally made from natural fabrics such
as cotton or silk. These uniforms are not a requirement, but rather are usually worn by masters &
professional practitioners during demonstrations, tournaments and other public exhibitions.
There is no standardized tàijíquán ranking system, except the Chinese Wushu Duan wei exam
system run by the Chinese wushu association in Beijing. However, most schools do not use belt
rankings. Some schools may present students with belts depicting rank, similar
to dans in Japanese martial arts. A simple uniform element of respect and allegiance to one's
teacher and their methods and community, belts also mark hierarchy, skill, and accomplishment
of practice in one school's style and system. During wushu tournaments, masters and
grandmasters often wear "kung fu uniforms" which tend to have no belts. Wearing a belt
signifying rank in such a situation would be unusual.

Tai Chi as a generic brand[edit]

Taijiquan form (Taijiquan Taolu) at the Associació Catalana de Choy Li Fut, Tai Chi Chuan i Chi Kung.

From roughly the mid-1990s onward, Tai Chi has gained a popularity in some countries to the
point of it becoming nearly as known as a health-oriented practice as Yoga. In fact, in modern
times it is even more known for such benefits and methods of practice than it is known for its
original purpose[citation needed].
A new phenomenon (since the 2000s) is of various martial arts styles claiming a historical
relationship or otherwise with Taiji Quan, because of its popularity. A branch of Lama Pai known
as "Tibetan White Crane" had popularized a slow-movement form by naming it "Needle in
Cotton" (a common term describing Taiji Quan mechanics), and referring to its practice as "Tai
Chi". However, there is no relationship between these arts, historic or otherwise. A similar
phenomenon occurs with the usage of the art's name as a universal brand for promoting various
fitness programs, books and videos. There is, for instance, a book that describes how to use the
training principles of Tai Chi to run better.[35] Regardless of the questions of whether such claims
are viable, these are all new trends, which historically were not endorsed or promoted by
teachers of the art.

See also[edit]

 China portal

References[edit]
1. Jump up^ Cheng Man-ch'ing (1993). Cheng-Tzu's Thirteen
Treatises on T'ai Chi Ch'uan. North Atlantic Books.
p. 21. ISBN 978-0-938190-45-5.
2. Jump up^ Sun Lu Tang (2000). Xing Yi Quan Xue. Unique
Publications. p. 3. ISBN 0-86568-185-6.
3. Jump up^ Ranne, Nabil. "Internal power in Taijiquan". CTND.
Retrieved 2011-01-01.
4. ^ Jump up to:a b c d Wile, Douglas (2007). "Taijiquan and Taoism
from Religion to Martial Art and Martial Art to Religion". Journal of
Asian Martial Arts. Via Media Publishing. 16 (4). ISSN 1057-8358.
5. ^ Jump up to:a b Wile, Douglas (1995). Lost T'ai-chi Classics from
the Late Ch'ing Dynasty (Chinese Philosophy and Culture). State
University of New York Press. ISBN 978-0-7914-2654-8.[page needed]
6. Jump up^ Morris, Kelly (1999). "T'ai Chi gently reduces blood
pressure in elderly". The Lancet. 353 (9156):
904. doi:10.1016/S0140-6736(05)75012-1.
7. ^ Jump up to:a b Wu, Kung-tsao (2006). Wu Family T'ai Chi Ch'uan
(吳家太極拳). Chien-ch'uan T'ai-chi Ch'uan Association. ISBN 0-
9780499-0-X.[page needed]
8. Jump up^ Lam, Dr. Paul. "What should I wear to practice Tai
Chi?". Tai Chi for Health Institute. Retrieved 2014-12-29.
9. Jump up^ Fu, Zhongwen (2006-06-09). Mastering Yang Style
Taijiquan. Louis Swaim. Berkeley, California: Blue Snake
Books. ISBN 1-58394-152-5.[page needed][dead link]
10. Jump up^ Wong Kiew Kit (November 1996). The Complete Book
of Tai Chi Chuan: A Comprehensive Guide to the Principles.
Element Books Ltd. ISBN 978-1-85230-792-9.
11. Jump up^ "Tai Chi Push Hands". Northwest Fighting Arts.
12. Jump up^ [1]
13. ^ Jump up to:a b Henning, Stanley (1994). "Ignorance, Legend and
Taijiquan". Journal of the Chen Style Taijiquan Research
Association of Hawaii. 2 (3).
14. Jump up^ "presents... TAIJIQUAN - Origins and Development of
Taijiquan". Chinafrominside.com. Retrieved 2016-08-20.
15. Jump up^ "presents... TAIJIQUAN - Brief Analysis of Chen Family
Boxing Manuals". Chinafrominside.com. Retrieved 2016-08-20.
16. Jump up^ Choy, Kam Man (1985-05-05). Tai Chi Chuan. San
Francisco, California: Memorial Edition 1994.
17. Jump up^ Logan, Logan (1970). Ting: The Caldron, Chinese Art
and Identity in San Francisco. San Francisco, California: Glide
Urban Center.
18. Jump up^ Dunning, Jennifer (July 7, 1996), Sophia Delza
Glassgold, 92, Dancer and Teacher, New York Times
19. Jump up^ Inventory of the Sophia Delza Papers, 1908-
1996 (PDF), Jerome Robbins Dance Division, New York Public
Library for the Performing Arts, February 2006
20. Jump up^ Wolfe Lowenthal (1991). There Are No Secrets:
Professor Cheng Man Ch'ing and His Tai Chi Chuan. North
Atlantic Books. ISBN 978-1-55643-112-8.
21. Jump up^ Yip, Y. L. (Autumn 2002). "Pivot – Qi". The Journal of
Traditional Eastern Health and Fitness. Insight Graphics
Publishers. 12 (3). ISSN 1056-4004.
22. Jump up^ "SGMA 2007 Sports & Fitness Participation Report
From the USA Sports Participation Study". SGMA. p. 2. Archived
from the original on 2012-12-10. Retrieved 2007-08-18.
23. Jump up^ Woolidge, Doug (June 1997). "T'AI CHI". The
International Magazine of T'ai Chi Ch'uan. Wayfarer
Publications. 21 (3). ISSN 0730-1049.
24. Jump up^ "Wushu likely to be a "specially-set" sport at Olympics".
Chinese Olympic Committee. 2006. Retrieved 2007-04-13.
25. Jump up^ Yang, Jwing-Ming (1998). The Essence of Taiji Qigong,
Second Edition : The Internal Foundation of Taijiquan (Martial
Arts-Qigong). YMAA Publication Center. ISBN 978-1-886969-63-6.
26. Jump up^ YeYoung, Bing. "Introduction to Taichi and Qigong".
YeYoung Culture Studies: Sacramento, CA <http://sactaichi.com>.
Retrieved 2012-01-16.
27. ^ Jump up to:a b Lee, M. S.; Ernst, E. (2011). "Systematic reviews
of t'ai chi: An overview". British Journal of Sports
Medicine. 46 (10): 713–
8. doi:10.1136/bjsm.2010.080622. PMID 21586406.
28. ^ Jump up to:a b Baggoley C (2015). "Review of the Australian
Government Rebate on Natural Therapies for Private Health
Insurance" (PDF). Australian Government – Department of
Health. Lay summary – Gavura, S. Australian review finds no
benefit to 17 natural therapies. Science-Based Medicine. (19
November 2015).
29. Jump up^ Lomas-Vega, R; Obrero-Gaitán, E; Molina-Ortega, FJ;
Del-Pino-Casado, R (September 2017). "Tai Chi for Risk of Falls.
A Meta-analysis". Journal of the American Geriatrics
Society. 65 (9): 2037–
2043. doi:10.1111/jgs.15008. PMID 28736853.
30. Jump up^ Chen, Yi-Wen; Hunt, Michael A.; Campbell, Kristin L.;
Peill, Kortni; Reid, W. Darlene (2015-09-17). "The effect of Tai Chi
on four chronic conditions – cancer, osteoarthritis, heart failure
and chronic obstructive pulmonary disease: a systematic review
and meta-analyses". British Journal of Sports Medicine: bjsports–
2014–094388. doi:10.1136/bjsports-2014-094388. ISSN 1473-
0480. PMID 26383108.
31. Jump up^ Quarta, Cynthia W. (2001). Tai Chi in a Chair (first ed.).
Fair Winds Press. ISBN 1-931412-60-X.
32. Jump up^ The Chen family chronicles[page needed]
33. Jump up^ Clark, Leroy; Sun, Key. "Tian Zhaolin: A Legacy of
Yang Taiji". Art-of-Energetics.com. Retrieved 2012-09-01.
34. Jump up^ "THE TAIJI JOURNEY OF HUANG SHENG-SHYAN".
Archived from the original on 2008-06-12. Retrieved 2008-12-03.
35. Jump up^ "Chi Running". Chi Running. Retrieved 2016-08-20.

Further reading[edit]
Books[edit]

 David Gaffney & Davidine Siaw-Voon Sim (2014). "The Essence


of Taijiquan". Amazon Createspace. ISBN 978-1500609238.
 Jonathan Bluestein (2014). Research of Martial Arts. Amazon
CreateSpace. ISBN 978-1499122510.
 Yang, Yang (2008). Taijiquan: The Art of Nurturing, The Science
of Power. Zhenwu Publication; 2nd edition. ISBN 978-0-
9740990-1-9.
 Bruce Frantzis (2007). The Power of Internal Martial Arts and
Chi: Combat and Energy Secrets of Ba Gua, Tai Chi and Hsing-
I. Blue Snake Books. ISBN 978-1583941904.
 Davis, Barbara (2004). Taijiquan Classics: An Annotated
Translation. North Atlantic Books. ISBN 978-1-55643-431-0.
 Eberhard, Wolfram (1986). A Dictionary of Chinese Symbols:
Hidden Symbols in Chinese Life and Thought. Routledge &
Kegan Paul, London. ISBN 0-415-00228-1.
 Choy, Kam Man (1985-05-05). Tai Chi Chuan. San Francisco,
California: Memorial Edition 1994.
 Wile, Douglas (1983). Tai Chi Touchstones: Yang Family Secret
Transmissions. Sweet Ch'i Press. ISBN 978-0-912059-01-3.
 Bond, Joey (1999-06-01). See Man Jump See God Fall: Tai Chi
Vs. Technology. International Promotions Promotion
Pub. ISBN 9781579010010.
Magazines[edit]

 Taijiquan Journal. 2008. ISSN 1528-


6290 http://www.taijiquanjournal.com. Missing or
empty |title= (help)
 T'ai Chi Magazine. Wayfarer Publications. 2008. ISSN 0730-
1049 http://www.tai-chi.com. Missing or
empty |title= (help) Bimonthly.

External links[edit]
Wikimedia Commons has
media related to Tai Chi
Chuan.

Look up tai chi chuan in


Wiktionary, the free
dictionary.

Wikiquote has quotations


related to: Tai chi chuan

Videos of the major styles

 Yang Zhenduo's Yang-style at YouTube


 Wu Yinghua's Wu Jianquan style
 24-form Beijing form
 108-form Yang-style t‘ai-chi ch‘üan
 Wu (Hao)-style t‘ai-chi Online Study
Videos of strength and fighting techniques of t‘ai-chi ch‘üan

 Huang Sheng Shyan defeating Liao Kuang-Cheng. Liao Kuang-


Cheng, a championed wrestler at the time, loses 26-0 to Huang
Sheng Shyan.
 Chen Xiaowang resists a Chinese strongman. The strongman
can push a 25-ton truck 100 meters, yet cannot push Master
Chen (over 60 years old) out of a small t‘ai-chi circle.
 Various styles of tuishou and sanshou.

[show]

Qigong

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Contemporary wushu

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Martial arts

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