Cultivating the Civil and Mastering the Martial:

The Yin and Yang of Taijiquan

Copyright © 2016 Andrew Townsend
All rights reserved. No part of this book may be reproduced by any means,
graphic, electronic, or mechanical including photocopying, recording, taping,
or by any information storage retrieval system without the express permission
of the author except in the case of brief quotations embedded in critical
articles and reviews.
ISBN-13: 978-1523258536
ISBN-10:1523258535
 For my teacher and friend, Dr. Jesse Tsao.
Thank you for sharing your knowledge, wisdom,
and experience with me and all of your students.
You are a true inspiration for all practitioners of taijiquan.
 Contents
Preface
Acknowledgements
Introduction
Chapter One – The Theoretical Foundation of Tajiiquan
Chapter Two – Taijiquan and Taosim
Chapter Three – Song – The First Principle
Chapter Four – Stretching Exercises
Chapter Five – Loosening and Silk-Reeling Exercises
Chapter Six – Zhan Zhuang Standing to Enhance Root
Chapter Seven – The Principles and Practive of Qi Cultivation
Chapter Eight – The Principles and Practive of Qi Circultation
Chapter Nine – The Fundamental Principles of Taijiquan
Chapter Ten – The Individual Postures of Taijiquan
Chapter Eleven – Understanding and Training Defensive Jin
Chapter Twelve – Understanding and Training Offensive Jin
Chapter Thirteen – The Principles and Practice of Pushing Hands
Chapter Fourteen – The Martial Applications of Taijiquan
Chapter Fifteen – The Principles and Practive of the Taiji Jian
Chapter Sixteen – The Principles and Practive of the Taiji Dao
Chapter Seventeen – Taijiquan as a Spiritual Practice
Chapter Eighteen – Taoist Alchemy and the San Pao
Bibliography
 Preface

Hundreds of books have been written on the subject of taijiquan. Many of

these books are excellent in content and provide essential information for any
serious student of the art. Some were written by members of the original
Chinese families responsible for developing and promoting the art and others
by their close disciples. Still others have been written by serious taijiquan
scholars. The bibliography that accompanies this book provides a
comprehensive selection of these books.
Given the plethora of excellent books on the subject, one might question the
necessity of yet another book. The motivation for this book arose from my
many years of experience in the taijiquan community. Sadly, my experience
has been that most of the teachers and students with whom I have had contact
do not embody the true essence of the art. The unique contribution of this
book is to foster an understanding of the vital core of the art taijiquan.
Many Occidental teachers teach the form and talk about concepts such as
song, qi, the dantien, and the balance of yin and yang. However, in most
cases their understanding of these important principles is conceptual rather
than experiential. If teachers don’t embody these important qualities, how can
their students ever hope to incorporate these principles and qualities into their
own practice?
The current state of affairs is that most Occidental teachers (and many
Chinese teachers as well) spend a limited time studying with this or that
“master” and then establish themselves as teachers in their own right. It is
now possible to attend a week-long or even a weekend workshop where one
can become certified as a taijiquan instructor.
These so-called teachers may know the form and may have a passing
familiarity with the underlying principles of taijiquan, but they have not
invested the time and effort (gongfu) necessary to develop a deep
understanding of taijiquan and, more importantly, to embody the essence of
the art in their own practice. In this way, the true art of taijiquan has become
diluted to the point that very few people practice the art correctly. Without
proper instruction and guidance, the general level of taijiquan that one
encounters today is of a very low caliber.
This is true in both empty-hand forms and weapons forms and also in pushing
hands. You only need attend a local or even a national Chinese martial arts
competition to see how diminished both the form and pushing hands have
become. Gold medalists perform the form with little or no regard for the
underlying principles established by the originators of the art: their knees
extend forward past their toes; their heads move one way while their torso
moves another; they bob up and down like buoys in a choppy sea; and
nowhere is seen the movement of qi or the underlying expression of jin.
As if the form competitions aren’t bad enough, just walk over to the area set
aside for pushing hands competition. There you will see the participants
shoving and grappling like junior varsity wrestlers, sweat popping out on
their foreheads and staining their shirts. The idea of four ounces deflecting a
thousand pounds flies out the window at the first contact between the two
participants. The principle of yielding oneself to follow the other is nowhere
to be found. The first player to shove the other out of the circle wins; that’s
all there is to it.
The root cause of this dilution of the art is the manner in which taijiquan is
taught today. The reality is that the true essence of any style taijiquan cannot
be conveyed in a classroom setting. Even a high-level taijiquan master
cannot transmit the essential knowledge of his art to a large group of
students. The reasons for this are varied. First, the instruction must be tailored
to each individual student depending upon his or her ability and level of
development. Second, not all students are worthy of receiving the essence
and true transmissions of the art. The old expression, “casting pearls before
swine,” is apropos here. Lastly, true qi circulation and jin power must be
demonstrated and subsequently transmitted directly from master to disciple.
This clearly cannot be accomplished in a group setting, even if the students
are all adept and open to receiving this transmission.
Even highly-developed teachers with a direct lineage relationship to one of
the original taijiquan families can only transmit the full extent of their
knowledge and skill to a very limited number of close disciples. This special
relationship with their masters establishes such disciples as “indoor” or
“inner courtyard” students. This term is bestowed upon them because they
have been invited into the home or the courtyard of their teacher for private
and sometimes secret instruction. Such special status is often limited to
family members or trusted individuals close to the family. It is very rare for a
Westerner to be accepted as an indoor student.
I have been fortunate to have studied with a number of excellent Western and
Chinese teachers. Of all these excellent teachers, however, two individuals
have had the most profound impact on my understanding and practice of
taijiquan. They are Master James Huang of Honolulu and Grand Master Jesse
Tsao of San Diego. Each, in his own way, has provided me with the general
understanding and insights as well as specific instruction and guidance that
can only come from a personal relationship.
I had the great fortune to meet and study with Master Huang more than
twenty years ago. At that time he was not offering formal classes in taijiquan.
Instead, he was a well-respected practitioner of traditional Chinese medicine
and gained his livelihood from treating his many patients, a practice which he
continues to this day. Master Huang studied with one of Professor Cheng
Man-ch’ings indoor students in Taiwan. He subsequently moved to Honolulu,
where he continues to practice and teach the Cheng Man-ch’ing 37 posture
form, which emphasizes relaxation and qi circulation. Master Huang’s
cultivation of qi and skill in pushing hands is of a very high level. At that
time, I had not experienced anything that compared with Master Huang’s
skill and depth of understanding of the underlying principles of taijiquan.
During that period of my life I was split between living in San Diego and
Oahu. I had been working with a Chinese Wu style taijiquan master in
Honolulu whenever I was on the island. He mentioned that, as a student of
Yang style taijiquan, I would benefit greatly from studying with Master
Huang. He suggested that I introduce myself to Master Huang and see if he
would allow me to study with him privately.
I met Master Huang in a local park where he practiced his taijiquan on
Saturday mornings. When he had finished doing his two rounds of the form, I
introduced myself, and he asked me to do the form. I began the opening
movement and transitioned into Ward-off Left. In less than a thirty seconds
he asked me to stop. He made a “tsk”ing sound three times and then said,
“Your taiji is no good.”
This was very unsettling for me, and I thought at first that Master Huang had
dismissed me out of hand. However, Master Huang went on to say that it was
clear that I was a diligent student and that my taijiquan could be improved.
He informed me that he would accept me as his student and that he would
teach me, as he called it, the “true taiji.”
Thus began the most intensive training of my career as a taijiquan student. I
met privately with Master Huang three times a week as well as on Saturday
mornings, when other individuals would gather to follow silently and
respectfully along with Master Huang. When I was not working directly with
Master Huang, I practiced on my own, incorporating his daily lessons into
my form.
Master Huang instructed me to practice two hours daily to reverse the
destructive effects of my other passion: surfing. He cautioned me at the
beginning of my study with him that surfing was “not good for taiji.” I
pleaded with Master Huang to allow me to continue surfing, as it was as
important to me as my taijiquan practice. In his simple but pragmatic way,
Master Huang reached a compromise: “One hour surfing; two hours taiji.”
In our private sessions, Master Huang corrected my form, posture by posture.
For each posture, he laid his hands on my body, tracing the pathway of the qi
as it was supposed to travel through the various meridians. I could literally
feel his qi flowing up my legs, across my back, over my shoulders, and down
my arms and into my fingers. He explained to me that only by transmitting
his qi into my body would I know what the proper flow of qi felt like. Then I
could begin working on mobilizing my own qi along those same pathways.
When Master Huang and I would study together in the various parks around
Honolulu, we would sometimes observe other groups of taijiquan students
working with their teachers. Master Huang was invariably dismissive of these
teachers and their students. He would make his now-familiar “tsk”ing sound
and say “Not true taijii.”
I remember once, in particular, we watched a beautiful Chinese woman
dressed in traditional flowing white garments leading her students through
some taijiquan form practice. Her movements were lovely, graceful, and very
fluid. Master Huang, however, had only this to say: “Not taijii. Dancing.” To
Master Huang, this was the worst type of criticism. Anything that lacked the
true essence and spirit of taijiquan was, to him, nothing more than dancing.
Whenever Master Huang referred to someone's taijiquan as “dancing,” he
meant that their form was strictly external. It lacked the qualities of song and
rootedness. Most importantly, there was no inner movement of qi. Without
these internal qualities, which are the essence of true taijiquan, their form
was empty. Such performances were simply that, performances devoid of
substance, merely dancing to the strains of some unheard music. This type of
taijiquan was not to be regarded in the same light as the transcendent art he
was conveying to me.
The most important lesson that I learned from Master Huang is that, as
students of taijiquan, we are also students of Taiji. This lesson was imparted
to me on a specific occasion and made an impression upon me that has
permeated every aspect of my life. Master Huang and I would normally meet
in the mornings to practice taijiquan and pushing hands in a small park
before he attended to his patients. Often, after practicing the form and playing
pushing hands, we would sit on a bench under a shady tree and meditate for a
while. One morning after meditating, Master Huang noticed a neighborhood
cat slowly and silently approaching a bird that was perched in one of the
lower branches of a nearby tree. The cat moved with such precision and grace
that it reminded me of a leopard stalking an antelope.
Master Huang turned to me and said, “Look at that cat. It is doing taiji.” We
both watched the cat and marveled at how it moved, advancing with “cat
steps” just like Master Huang had taught me to advance in the form.
Eventually the bird became aware of the cat’s intentions, ruffled its feathers,
and flew off squawking indignantly. The formerly-stalking feline transformed
itself back into a simple house cat and sauntered off nonchalantly.
Master Huang then looked at me and made a pronouncement that I will
remember for the rest of my life. He said simply, “Everything is Taiji.” We
sat together for a few moments with this weighty statement settling into the
silence. Then Master Huang spoke again, “Everything is Taiji.” At this time I
had been studying with Master Huang for several months, and I had come to
realize that when he repeated himself, which was not often, it indicated that I
was to pay special attention to what he had said or had shown me. In this
particular instance he made no further comment.
In order to convey the significance of this deceptively simple statement, I
need to digress from my story and clarify the difference between Taiji and the
martial art of taijiquan. According to ancient Chinese philosophy, Taiji is
born out of the formless void when it begins to move and divides into heaven
and earth. Heaven and earth possess the characteristics of yang and yin
respectively and are the progenitors of “the ten thousand things,” which is to
say all of creation. Taiji also includes the underlying principles from which
the laws of nature are derived. As such, Taiji governs the natural universe.
In the world view of the ancient Chinese philosophers, humankind occupies a
unique position between heaven and earth. According to Taiji theory, humans
are also governed by the principles of Taiji. By formulating an overarching
explanation of both the natural world and society, Taiji theory provides us
with a complete and comprehensive perspective on life and the cosmos. Taiji
theory represented to the ancients what the Big Bang theory, combined with
Universal Field theory, is to modern-day physicists. As its name implies, the
martial art of taijiquan is based upon the principles of Taiji. The Chinese
character for quan is usually translated as “fist” and may be more generally
interpreted as “fighting style.” So, taijiquan is the fighting style based upon
Taiji, the Supreme Ultimate, and may thus be translated as “supreme ultimate
fighting style.”
Returning to the words of Master Huang, whenever Master Huang used the
words, “taiji,” he was referring to our art, taijiquan. The entire time we spent
together he never used the art’s full name, “taijiquan.” This is common in the
world of martial arts, where “taiji” is recognized to mean “taijiquan.” At the
time when Master Huang made his simple statement “Everything is Taiji,” I
assumed he was referring to the martial art that he was teaching me.
As time has passed, however, and as I have gained both wisdom and a
broader perspective, I now believe that Master Huang was, in fact, referring
to Taiji. This is why I capitalize “Taiji” in the statement, “Everything is
Taiji.” For me, everything is, indeed, Taiji. The martial art of taijiquan, while
extremely important in my life, is secondary to the study of Taiji, which is
the Tao, or way, of my life.
Over the ensuing years, I have found Master Huang’s simple statement,
“Everything is Taiji,” to be the catch-phrase of my life. I have striven to
incorporate his words into my daily practice. This underlying concept has
guided my studies in Taoism, taijiquan, and qigong. More importantly, this
insight has provided me with a foundation for living my life, observing and
respecting nature, and interacting with family, friends, students, co-workers,
and the people with whom I come into contact on a daily basis.
It is evident to me that any student of taijiquan must also study the Tao and
in so doing must, by virtue of the sincere practice of this art, reach the
obvious conclusion that “Everything is Taiji.” As Taoists, we must recognize
that, ultimately, nature and the cosmos are neither benign nor malignant. The
universe follows a natural order, and that order is governed by Taiji. Studying
nature and observing the natural order with an open mind is an excellent way
to understand Taiji. Recognizing the influence of Taiji in all natural
phenomena enables one to accept with equanimity both good fortune and
calamity, abundance and scarcity, youth and old age, living and dying.
The natural world can teach us many of the lessons we need to learn in order
to live in harmony and balance. For this reason, it is highly beneficial to live
in an environment where nature can be observed on a daily basis. Ideally, one
should live in the mountains, by a lake or a river, or by the ocean. The
presence of clean air and the influence of water are highly beneficial to our
physical, mental, and spiritual well-being.
The opportunities for enjoying nature are plentiful if you are motivated to
take advantage of them. Engaging in outdoor activities is both healthful and
life-renewing. However, as students of taijiquan, we should learn to observe
nature from the perspective of yin and yang, heaven and earth, strength and
weakness, fullness and waning. Everything in nature teaches us about Taiji.
Open your eyes and open your mind. You will see that, truly, “Everything is
Taiji.”
Once you perceive that “Everything is Taiji,” you will naturally begin to
incorporate the principles of Taiji into your daily taijiquan practice. With this
realization, you will find yourself effortlessly seeking a balance between yin
and yang, empty and full, advance and retreat, movement and stillness. The
ultimate goal of our martial art is the embodiment of the principles of Taiji in
our practice. As we practice the form, pushing hands, or standing meditation,
we should strive to practice not only taijiquan, but also Taiji, the Supreme
Ultimate.
Since studying with Master Huang some twenty years ago, I have dedicated
myself to the study and practice of what he called “the true taiji.” I have
endeavored to live up to his teaching and also to the teaching of all the
original taijiquan masters and their disciples. Over the years I have learned
much and have had to correct many mistakes along the way. As mentioned
previously, I have also had the great fortune to have studied with a number of
excellent and accomplished teachers, especially Grandmaster Jesse Tsao, who
has been my teacher for the past thirteen years. When I began my studies
with Grandmaster Tsao, I expanded my study of the art to include the Chen,
Wu (Chian-chuan), and Sun styles of taijiquan.
Whereas Master Huang taught me the essence of taijiquan, Grandmaster
Tsao taught me the practical, hands-on applications of the postures as well as
the footwork and strategies for employing those postures in actual combat.
What I initially learned from Dr. Tsao was the self-defense side of the art, its
martial aspect. Interestingly, with the passage of time, Dr. Tsao has begun to
emphasize more and more the internal aspect of taijiquan and its relationship
to the Tao, which represents the civil aspect of the art. Taken together, the
civil and the martial components of taijiquan comprise a unique and
complete system of personal cultivation and martial skill that have earned this
art the deserved title of “supreme ultimate fighting style.” It is the premise of
this book, based upon the inspiration of Dr. Tsao’s teaching, that only when
practitioners combine both the civil and the martial aspects of the art can they
truly understand the sublime art of taijiquan.
More than any other teacher I have met, Dr. Tsao embodies the true spirit of
taijiquan. His knowledge of the art is encyclopedic. There are few individuals
who have mastered multiple family styles of taijiquan. Dr. Tsao is able to
effortlessly switch from one style of taijiquan to another and from one
weapon to another. He expresses the underlying distinct characteristic of
whichever style of taijiquan or weapon he is practicing at that moment. As a
designated Grandmaster of the Chen style of taijiquan, which is the original
style of taijiquan, Dr. Tsao is able to integrate the basic principles and
concepts of taijiquan that underlie all family styles of taijiquan. It is this
integrated understanding of these underlying principles that Dr. Tsao is able
to convey to all his students, no matter what style of taijiquan they practice.
In essence, Dr. Tsao presents what in physics would be considered to be a
Unified Field theory of taijiquan. Although practitioners of individual styles
of taijiquan are able to reach a level of practice and understanding that may
be categorized as mastery of the art by fully grasping and integrating the
principles and methods of the art, the study and practice of multiple family
styles of taijiquan broadens the student’s understanding and appreciation of
those principles and methods. Of all the lessons that I have learned from Dr.
Tsao, the most significant has been the ability to perceive and appreciate the
similarities among the various family styles of taijiquan, rather than focusing,
as many practitioners do, upon the apparent differences among the family
styles.
Many students of taijiquan who read the Taijiquan Classics and the other
literature on this art claim to have grasped the principles presented therein.
The truth is that most of these “armchair stylists” have not put in the effort
(gongfu) necessary to incorporate these principles into their practice. Be wary
of anyone, be it a teacher or a fellow student, who pontificates on the
principles expressed in the Classics but whose taijiquan is at a very low
level. In his seminal work, The Essence and Applications of Taijiquan, Yang
Cheng-fu warned the reader to pay attention to practice. He added that the
commentary that accompanied the photos in his book were not just writing
for the sake of writing. To this, I would add that the commentary is not just
reading for the sake of reading. In order to appreciate any book on the art of
taijiquan, one must study and put into practice what one reads. Otherwise, the
knowledge gained from reading will remain theoretical and therefore will be
useless in practical application.
Here is a cautionary tale regarding an individual whom I met several years
ago. This individual had learned the Cheng Man-ch’ing form in the early
seventies from one of Professor Cheng’s Western students who had opened a
school in New York City. This individual told me that he attended the school
for about six months and then went off “to do his own thing.” He further
revealed that he had taught taijiquan at the local YMCA for a time. He then
related to me that, although he had practiced the form every day for more
than thirty years, he had never felt nor did he believe in qi. Without realizing
that I would hurt his feelings, I exclaimed “That’s tragic!” I could tell right
away that I had offended him, and I made no additional comment on the
subject. However, this individual is typical of the vast majority of taijiquan
students who never receive the depth and breadth of instruction that is
required in order for their art to be complete.
To this end, I have undertaken the project of writing this book for all students
of taijiquan. I have attempted to present a comprehensive explanation of both
the principles of taijiquan as well as to include a sequential program of
training exercises that will enable the student to master the true essence of
this marvelous and incomparable art. I have spent many years in the study of
this taijiquan, and I have internalized the lessons I have learned, not only
from my excellent teachers but also from an intensive study of the available
literature on this subject and my own intensive investigation into the
principles and practice of taijiquan.
As a result of the invaluable instruction of my teachers and my own study, I
have developed a curriculum suitable for any student of taijiquan. The
purpose of this book is to present in principle and practice the separate
elements which collectively comprise the multi-dimensional art of taijiquan. I
acknowledge that all of us are on the path together. My own journey still has
far to go. I do not claim that my knowledge and understanding are complete,
and I strive daily to increase my knowledge and to improve my practice.
Nevertheless, I humbly offer to share my current understanding and practice
with all students of taijiquan. I hope you will join me on our shared journey
of knowledge, discovery and mastery of the art.
 Acknowledgements

This book is the result of more than a quarter-century of research, self-study,

practicing with countless taijiquan brothers and sisters, and most importantly
the transmitted knowledge and wisdom of my many teachers, both Chinese
and Western.
First and foremost, I acknowledge the debt I owe to my present teacher,
Grandmaster Dr. Jesse Tsao. Dr. Tsao has been the inspiration and the source
my understanding regarding the principles and the practice of taijiquan for
the past thirteen years. Without his technical instruction and his depth of
knowledge, I would have little to share with readers of this book. His
knowledge of the main family styles of taijiquan, in particular the Chen
family style, of which he is a lineage holder, is encyclopedic. He is also very
knowledgeable in the field of TCM and the meridian system and has
provided me with many insights on the manner in which the art of taijiquan
enhances the health and vitality of practitioners through improving qi
circulation.
I also wish to pay tribute to Master James Huang, of Honolulu, Hawaii.
Although I only spent a brief three months studying with Master Huang, his
personal instruction helped me to make the transition from an interested
amateur to a serious practitioner. It was his specific guidance and inspiration
that set me upon the path of intense daily practice and deeper investigation
into the extant literature on all aspects of the art of taijiquan. I am very
fortunate to have had the opportunity to study with Master Huang at just that
moment in my life when his instruction and inspiration had the greatest
impact.
I am also indebted to the many other taijiquan teachers who have guided and
inspired me during my journey as a student of this challenging and
fascinating martial art. Without their excellent and dedicated instruction, I
would not be in a position to pass along the limited knowledge that I have
acquired over the past twenty-six years.
I must also acknowledge my fellow taijiquan brothers and sisters. Some I
have known and practiced with for many years; others were only brief
acquaintances; still others are newly-found friends that, hopefully, will
remain in my life for many years to come. So many of my taijiquan brothers
and sisters have shared with me their own personal insights, knowledge,
teaching methods, methodologies, secrets, and overall wisdom regarding the
art of taijiquan. I feel a particular bond to those fellow students of
Grandmaster Tsao. Although we only get together several times a year, they
also share my affection for and dedication to our mutual teacher.
I also wish to acknowledge my own students from who I have learned so
much. There is a saying that “Only when one teaches does one truly learn.”
In this regard, I have learned much from my students. For this reason, I wish
to extend my sincerest thanks to all my students, both past and present.
I also wish to express my thanks for the skill, professionalism, and most of all
patience of the photographer who took the excellent photographs that
accompany this book. Meggan Harper is a martial artist, yoga instructor, and
skilled professional photographer. Her knowledge and understanding of the
human form and sensitivity to the subject at hand resulted in the high-quality
photographs that clarify many of the concepts, principles, and applications of
the art of taijiquan.
Finally, I have withheld the most important acknowledgement for the
individual who is most prominently displayed in the photographs in this
book: my beautiful, talented, and highly photogenic wife, Deya. Deya is my
constant companion, my friend, my inspiration, my joy, and my daily
taijiquan training partner. As can be seen from the photographs that
accompany this book, she is at once beautiful, graceful, poised, grounded,
and deceptively strong. These are precisely the qualities necessary for
practicing the art of taijiquan. Without Deya’s daily assistance, inspiration,
and enduring patience, this book would still remain on the hard drive of my
computer.
 Introduction

Millions of people worldwide practice some form of taijiquan due to its

versatility as a martial art, a system of exercise, and as a method of personal
development. Many students are drawn to the art of taijiquan due to its
elegant, flowing movements. It appears so graceful and fluid. Others are
attracted to the art due to its reputation for improving health, increasing
vitality, and extending longevity. Still others are interested in taijiquan as a
practical system of self-defense. Unlike many other martial arts, taijiquan is
based upon both theoretical and philosophical foundations. The theorectical
foundation include Taiji theory, Five Elements theory, and Baqua theory,
from which the I Ching is derived. The philosophical foundation is derived
primarily from Taoism, but the influence of Confucian philosophy is also
present.
As every student of taijiquan knows, there are a variety of styles of taijiquan.
Many of these styles were developed by and then held closely within the
ranks of specific Chinese families and closely related disciples. The main
family styles of taijiquan include the following: Chen style (which includes
the Old Frame, the New Frame, and the Small Frame), Yang style (which is
derived from Chen style and includes many variations in form), the Wu Yu
Xiang style (derived from the Yang and Chen styles), the Wu Chian-chuan
style (derived from the Yang style), and the Sun style (derived from the Wu
Yu Xiang style as well as xinyi quan and bagua zhang).
Each style uniquely reflects the character of the individual(s) who developed
the style and also the historical and cultural period in which the style was
created. While there are definite differences between the various styles, there
are central principles which underlie all styles. In order to understand and
master taijiquan, it is important to have at least a basic comprehension of
these principles.
Different practitioners are drawn to the specific qualities of the varying
family styles of taijiquan, such as the Chen style, Yang style, Sun style, etc.
The popularity of Yang style taijiquan is due in part to its expansive, slow-
moving, and even-paced quality. The solo form of this style is relatively easy
to learn and to practice and provides a method of physical exercise that is
accessible to individuals of all ages and abilities. The Chen style of taijiquan,
with its stamping, leaping, and sudden, explosive punches and kicks, may
appeal to those individuals who are interested in the martial aspects of the art.
Still others are attracted to the meditative aspect of the art and may be
interested in the Wu style taijiquan.
All of these reasons for studying and practicing taijiquan are valid, although
most students simply focus on a single aspect of the art or upon a single
family style. This is understandable, especially given the limitations of time
and energy of the majority of taijiquan practitioners who may only be able to
devote twenty minutes or so on a daily basis to their practice. However, if
one desires to become a dedicated student of taijiquan, it is necessary to
study and practice all aspects of the art. This means not only practicing the
forms (both empty-hand and weapons), but also studying the underlying
philosophy and principles of the art, learning how to cultivate and mobilize
the qi, and mastering the martial applications of the postures as well as
engaging in pushing hands practice and actual sparring. Additionally,
exploring multiple family styles will foster a broader understanding of the art.
This is a daunting curriculum and requires a sincere and dedicated
commitment of time and energy.

The Civil and the Martial Aspects of Taijiquan

When the original creators of taijiquan developed their various forms, they
lived in an era during which one could study and practice martial arts as a
vocation. The Chen family members of the seventeenth century had to defend
their village from bandits. Yang Lu-chan, the originator of Yang style
taijiquan, reputedly worked as an armed body guard and was widely
acclaimed for his martial prowess. Sun Lutang was an officer in the Chinese
army and fought against the Japanese. Unfortunately, the original empty-hand
and weapons forms developed by these stalwart martial artists are generally
no longer available to us. However, it is almost certain that those forms and
the methods employed to train them were much more martial and rigorous
than the forms and training methods practiced today.
It is important to note that, although the original styles of taijiquan were
developed as fighting systems, an emphasis was placed on the health benefits
derived from practicing this unique martial art. Yang Cheng-fu recorded that
his grandfather, Yang Lu-chan, was concerned with the general lack of
physical conditioning of his students in the capital of Peking, who were used
to a sedentary lifestyle. Yang Lu-chan noted that the health and vigor of
individuals who studied his taijiquan improved and that they became robust
and healthy as a result of practicing taijiquan.1
Yang Cheng-fu himself wrote that the true purpose of practicing taijiquan
was not to engage in fighting but rather to increase the store of people’s good
health, prevent disease, and to increase their natural lifespans.2 Scholars of
taijiquan agree that Yang Lu-chan and, later, Yang Cheng-fu each modified
the original, more aggressive and overtly martial style of the art in order to
make it more accessible to the members of the imperial court.
Similar modifications were made by subsequent members of the Chen family.
The original taijiquan created by Chen Wangting contained seven forms,
including a long form consisting of 108 postures and a shorter Cannon Fist
set. The original seven sets were compressed by a succeeding Chen family
member (Chen Changxin) into the two contemporary Chen style routines, the
I Lu and Er Lu. Another Chen family member (Chen Youben) created a
modified routine based upon the original forms, but he dispensed with the
more difficult movements, along with some of the more explosive ones. This
routine became known as the Small Frame to distinguish it from Chen
Changxin’s Old Frame.3 More recently, the famed Chen Fake further
modified the two routines of the Old Frame (Laojia) with the intention of
emphasizing the martial elements of the forms and created the New Frame
(Xinjia).
There is less dilution of the Wu, Wu/Hao, and Sun styles, due to the fact that
origins of these styles date only to the middle of the nineteenth century. Still,
a number of the forms and drills developed by Wu Yu Xiang, Wu Chian-
chuan, and Sun Lutang are no longer widely practiced. Although we may
regret the loss of the more martial elements of the original taijiquan forms
and training methods, each of the five major family styles contains a
complete and comprehensive system that includes martial applications as
well as physical culture and spiritual development.
Taijiquan enjoys a unique status within the martial arts community due to its
dual emphasis upon the “civil” and the “martial.” The original forms of
taijiquan as practiced during the Qing dynasty certainly included both of
these elements. Whereas most other styles of martial arts in this era were
concerned with developing external martial ability, the training practices of
the taijiquan masters during that period were directed specifically toward
cultivating the qi and elevating the spirit of vitality, or shen.
In particular, the Chen and Yang families borrowed extensively from the
Taoist tradition in order to create a holistic system of both external forms and
internal practices, such as zhan zhuang, qigong, and Taoist meditation. The
later Wu, Wu/Hao, and Sun style originators followed this tradition of basing
their arts on the principles of Taoism, Taiji theory, Five Elements theory, the
Bagua and the I Ching. Any student of taijiquan, therefore, should study both
the martial and civil components of the art along with a detailed study of the
underlying principles of Taoism, Taiji theory, Five Elements theory, the
Bagua and the I Ching.
The literature attributed to the Yang family of this era makes several key
references to both the civil and the martial aspects of the art.4 These
documents also clarify that the term “civil” refers to both the health aspect of
the art and to its spiritual aspect. As revealed in these documents, the civil
aspect of the art entailed the cultivation of the internal, and the martial aspect
dealt with the external. It was taught that cultivating both of these facets of
the art would unite the internal and external. The integration of the internal
with the external in the practice of taijiquan was held to be the highest level
of achievement.
The internal, or civil, aspect of taijiquan involves the cultivation of the ching,
qi and shen, which are the three essences of every human being. Together
they are considered to be the three Taoist treasures, or san pao. These Three
Treasures are discussed in greater detail in the chapters on qi cultivation and
qi circulation presented later in this book. To summarize here, ching is one’s
sexual essence; qi is the energy which sustains life; and shen is the personal
vitality or spirit of an individual. The disciplining of these three essences is at
the heart of Taoist practice and is accomplished through various meditative
techniques. With regard to spiritual development, it was held that Taoist
meditation and the practice of taijiquan shared a very close relationship.
Within the framework of both the Yang and the Chen family’s training
regimens during this era, physical culture entailed not only the physical
exercise of practicing the postures, which was considered to be external
physical culture. It also involved internal practices such as standing
meditation (zhan zhuang) and cultivating the Three Treasures through the
practice of Taoist meditation. It is known that Chen Wangting combined
martial arts from Shaolin and other styles with the Taoist techniques of
daoyin and tuna in order to create an art that combined internal and external
cultivation.
In a similar vein, Sun Lutang developed his style of taijiquan by integrating
the physical movements of xinyi quan, bagua zhang, and taijiquan with the
internal movement of the qi and the alternation of opening and closing,
stillness and movement, which collectively he felt were the highest level of
martial accomplishment.5
Clearly the civil and the martial aspects of the art of taijiquan were
considered to be of equal importance to the taijiquan masters who created
and later modified the art. They had a clear vision of what it meant to reach
the highest level of achievement, and this vision clearly included the
cultivation of both the civil and the martial. The cultivation of the civil
entailed internal gongfu through the practice of various Taoist techniques.
The cultivation of the martial required external gongfu in the form of
practicing the postures, training in weapons, and engaging in pushing hands,
dalu and sparring.
Yang Cheng-fu stated that the ability to cultivate oneself both physically and
spiritually represented civil accomplishment.6 The ability to defend oneself
without spiritual cultivation was martial accomplishment. The ability to both
defend oneself and cultivate oneself physically and spiritually represented the
highest level of accomplishment, as it integrated both the civil and the
martial. He taught that this was the true method of taijiquan. The concept of
self-cultivation in this context refers to the cultivation of the ching, qi and
shen. The cultivation of the qi takes precedence, as the cultivation of the
other two depends on the strength and quality of the qi. Chapter Seven of this
book presents a detailed discussion of the subject of qi and its cultivation.
It is important to understand that the art of taijiquan is based upon the
cultivation and subsequent circulation of the qi. Fu Zhong-wen, perhaps
Yang Cheng-fu’s most renowned disciple, wrote that the practitioner should
concentrate at first on integrating the inner and the outer (the internal and the
external).7 Further, one should utilize the yi (the intention) rather than
strength. He also emphasized the importance of sinking the qi to the lower
dantien while maintaining a light and insubstantial energy at the top of the
head.
In his book, Gateway to the Miraculous, Wolfe Lowenthal wrote that Prof.
Cheng Man-ching’s teacher, Yang Cheng-fu, would often instruct his
students in the “first principle” of taijiquan. Sometimes Yang Cheng-fu
would claim that the first principle is: “Guard the mind and the qi in the
dantien.” At other times, Master Yang would tell his students that the first
principle is: “A light and insubstantial energy lifts the crown of the head.”8
When questioned by his own students as to which of these two first principles
was first, Prof. Cheng’s response was that both were important. That is to
say, there is no separating the two principles; they are two sides of the same
coin. “Sinking the qi to the dantien” is what happens internally within the
lower half of the body, and “A light and insubstantial energy rises to the
crown of the head” is what happens internally in the upper half of the body.
Once the student comes to realize that both principles are essential to the
proper practice of taijiquan, the student will have entered the inner courtyard
of the art and can begin to make meaningful progress. Failing to reach this
realization, the student will always remain at the outer gate. No matter how
many years the student studies the form, weapons, or pushing hands, his
practice will always be external, and he will only reach a low level of
accomplishment. For this reason, students of the art of taijiquan should make
every effort to discover for themselves the underlying principles of the art
and to apply themselves diligently to integrating those principles into every
aspect of their practice.
The question then arises: “How should the student proceed?” In his book,
Mastering Taijiquan, Fu Zhong-wen provided the answer.9 He wrote that one
must begin by learning each of the postures of the form. Studying the form is
the external side of beginning practice. In conjunction with studying the
form, the student should begin self-cultivation, starting with learning to “sink
the qi to the dantien.” This represents the internal side of preliminary
practice. Once the student has acquired the ability to sink the qi to the
dantien, he or she can progress to more advanced meditative practices which
are intended to mobilize and circulate the qi up the spine and out to the
extremities of the body.

Practicing Taijiquan for Health

At present, there are many, mainly older, students who say, “My doctor told
me to take up taijiquan. I’m not interested in learning how to use taijiquan
for fighting. I’m only interested in the health benefits.” The response to this
statement is that the art of taijiquan conveys many health benefits. Anyone
who undertakes the study of this art for whatever motivation should be
applauded. The health benefits of practicing taijiquan are well-documented.
See The Harvard Medical School Guide to Tai Chi for more information on
the research into the health benefits of taijiquan.10
However, even those individuals who are interested solely in the health
benefits should understand that the benefits derived from practicing taijiquan
are a result of both external and internal physical culture. The external
physical culture derives from the stretching and loosening exercises and the
gentle but stimulating movements that occur while practicing the form.
Taijiquan form practice is a deceptively challenging type of physical
exercise. The slow transitions from one posture to the next, as well as the
momentary pauses in postures that place the weight primarily on one leg,
cause the muscles of the legs to develop greater strength and endurance.
Traditional Chinese Medicine considers the legs to act as a second heart in
that, when exercised, they induce increased blood circulation. In China it is
said that, if you become healthy and robust by practicing taijiquan in your
youth, then in old age you can succeed in illuminating your spirit and
strengthening your qi. In this way, you will experience an old age that is free
of disease and suffering and can experience an “eternal spring” of health and
vitality.
Even if one is only interested in practicing taijiquan solely for health, it is
important to consider the martial applications of the individual postures
within the form. The physical shape of each posture is derived from its
martial application. If students ignore the martial application of a posture,
they are likely to get the shape wrong. If the shape is wrong, then the body
won’t be receiving the maximum physical benefit from the posture. Also, if
there are errors in the posture, such as permitting the knee to travel forward
of the toes in the bow stance, it is possible for students to injure themselves.
Yang Cheng-fu commented on this very issue. He stated that learning the
martial applications of taijiquan is indispensable. He counseled that even
those students who were primarily interested in the health benefits of
taijiquan also needed to study the martial applications.11
As beneficial as the process of stretching and moving through the form can
be, the true health benefits of taijiquan are the result of increased qi
circulation. The ancient Taoists discovered that where the mind goes the qi
follows. During form practice, students learn to direct their awareness, that is
to say their concentrated mind, on specific areas of the body such as the
substantial hand or the weighted foot in each posture. This focused attention
of the mind causes localized qi to accumulate in specific parts of the body.
Such localized qi can have a revitalizing and healing effect on that region
body.
However, if students can learn to focus their awareness on the abdomen and
to accumulate their qi in the lower dantien, then they can begin to increase
their overall store of qi, which is the source of Nourishing Life. If students
further learn how to use the mind to guide the qi up the spinal column and out
to the body’s extremities, they will be able to use their qi to revitalize and
rejuvenate their organs, tissues and bones. In this way, a host of illnesses can
be prevented and even reversed.
The original taijiquan masters taught that the Way of Nourishing Life is
based upon the cultivation and circulation of the qi.12 For this reason, even
students for whom the primary motivation is the improvement of their health
should concern themselves with both the internal and the external aspects of
the art of taijiquan: that is to say both the civil and the martial.

Practicing Taijiquan as a Martial Art

In order to practice the martial aspect of taijiquan correctly, it is important to
understand the theoretical foundations of the art. As stated previously, the art
of taijiquan is based upon the theories of Taiji, the Five Elements, and the
Bagua. The Original Thirteen Postures of taijiquan were derived from the
Eight Gates of the Bagua, and the Five-Style Steps were derived from Five
Elements theory. In the Taijiquan Ching, which is one of the Taijiquan
Classics, Chang San-feng, the putative creator of taijiquan, wrote that Ward-
Off, Rollback, Press, Push, Pull-Down, Split, Elbow-Stroke, and Shoulder-
Stroke are derived from the Eight Gates of the Bagua, which encompass the
eight directions. Advance, Retreat, Look Left, Gaze Right, and Central
Equilibrium are called the Five Steps, which relate to the elements of metal,
wood, water, fire, and earth, respectively.13
Students who wish to master the martial applications of taijiquan must begin
by studying the postures of Ward-Off, Rollback, Press, Push, Pull-Down,
Split, Elbow-Stroke, and Shoulder-Stroke and the five stepping methods of
Advance, Retreat, Look Left, Gaze Right, and Central Equilibrium. The
postures of Ward-Off, Rollback, Press and Push are referred to collectively as
the Four Sides. The Four Sides are trained primarily in tuishou, or pushing
hands, specifically within the formalized double pushing hands exercise. The
postures of Pull-Down, Split, Elbow-Stroke and Shoulder-Stroke are known
together as the Four Corners. The Four Corners are trained mainly through
the practice of dalu, or large rollback. The Five Steps are trained in moving-
step pushing hands as well as in dalu.
It is clear that students must not only study the individual postures of the
form but also need to learn how to apply them through the practice of two-
person exercises. The importance of both cannot be overlooked. For this
reason there are chapters in this book that cover both the martial applications
of the individual postures as well as the practice of pushing hands. Students
interested in mastering the martial application of taijiquan should study the
information contained in these chapters carefully and practice the techniques
described therein diligently.
Within the world of Chinese martial arts, a distinction is made between
fighting styles that employ hard, external force and fighting styles that rely
upon soft, internal energy. The former, which include Shaolin kung fu and
wing chun, are referred to as “hard” or “external” styles. In contrast, the
latter, including taijiquan and xingyi quan, are considered “soft” or “internal”
styles. The internal martial arts forego the application of hard force to strike,
block or kick in favor of neutralizing and redirecting the attacker’s energy.
The main distinction between hard and soft styles is that hard styles rely upon
physical strength, quickness, and agility to overcome those individuals who
are weaker, slower, or less agile. Techniques definitely do come into play in
hard styles, but between two individuals who have learned the same
techniques, the stronger, quicker, and more nimble will usually prevail.
Taijiquan practitioners, on the other hand, rely upon the skills of neutralizing
and deflecting, in which subtlety and skill are used to overcome brute force.
One doesn’t need great strength to deflect a force of a thousand pounds using
only four ounces of skill.
This does not mean that soft styles do not incorporate punches and kicks. It is
more that these offensive weapons are powered by internal energy, or jin,
rather than by hard, muscular force, or li. Surprisingly, a punch delivered
with the explosive power of fa jin, which uses little or no muscular force, is
much more devastating than a traditional punch powered by raw, muscular
force. If you understand the nature of strength and jin, you will know the
difference between using strength and mobilizing qi in order to issue jin.
Issuing jin in the ligaments and tendons is vastly different from relying upon
muscular strength.
Just as the civil aspect of taijiquan dependents on the cultivation and
circulation of the qi, so too the martial aspect of the art relies on the
application of qi in the form of jin. The training and the application of jin will
be presented in Chapter Ten and Chapter Eleven of this text. As will be
discussed in these chapters, there are a number of different types of jin
employed in taijiquan. Some jin are offensive and some are used for sensing,
understanding, and neutralizing an opponent’s attack.
As will be explained in Chapter Eleven, there can be no jin without the
correct training in qi cultivation and circulation. Without jin, the softness of
taijiquan will be of little or no use in martial applications. What is necessary
is the condition referred to as “steel wrapped in cotton.” The external softness
of the skin and muscles is supported by the internal hardness of the bones and
the tendons and ligaments which support them. The original taijiquan masters
sought to develop this quality in which internal hardness was hidden beneath
external softness.
The notion of hardness concealed within softness is one of the key features of
the martial aspect of taijiquan. Most beginning students of this art
understand, at least intellectually, the concept of the soft overcoming the
hard. It is fairly easy to demonstrate how to use Rollback, for example, to
deflect the force of a thousand pounds with the proper application of a
corresponding force of only four ounces. What is more difficult to
understand, let alone attain, is how to achieve the quality of steel wrapped in
cotton. This requires years of internal gongfu, beginning with learning how to
sink the qi to the dantien.
In order to master the martial application of taijiquan, students must learn to
internalize the foundational principles that underlie the practice of the art.
These important fundamental principles are presented and discussed in detail
in Chapter Nine of this book. Therefore, all students of the martial application
of taijiquan should make the commitment of time and energy to understand
and internalize the fundamental principles of the art. Additionally, studying
the principles must be accompanied by the internal cultivation of qi and jin
coupled with the analysis and application of the external applications of the
form in pushing hands and sparring practice. Only when these internal and
external elements are perfected can one be said to have mastered the martial
aspect of the art of taijiquan.

Practicing Taijiquan for Spiritual Development

No discourse on the art of taijiquan would be complete without addressing
the spiritual aspect of the art. Because the fundamental principles of this art
involve the internal cultivation of qi and the elevation of the shen, or spirit of
vitality, taijiquan is very similar to certain forms of Taoist meditation.
Indeed, many individuals consider the practice of taijiquan to be a “moving
meditation.” For this reason it is said that taijiquan includes both stillness in
movement and movement in stillness.
The stillness in movement occurs when practicing the form and, at a higher
level of attainment, also in pushing hands and even during sparring. The body
and the qi move, but the mind remains calm and tranquil. When engaged in
the internal training methods of self-cultivation described previously, the
individual is externally still but the qi moves. Eventually, when one practices
at a high level of development, the qi moves on its own whether practicing
the form or in meditation, and the mind is concentrated only on the shen.
As stated previously, this level of self-cultivation requires a serious
commitment to the internal practices of qi cultivation, qi circulation, and the
cultivation of the san pao, or Three Treasures. These Taoist practices
constitute the internal, or civil, aspect of training in taijiquan. In particular,
one must learn and practice the two qi circulation techniques: the
Microcosmic Orbit (also called the “Small Heavenly Circle”) and the
Macrocosmic Orbit (also known as the “Large Heavenly Circle”).
Additionally, one may want to include the practice of the Taoist alchemy, in
which the ching, qi and shen are cultivated and refined together.
These techniques are usually performed while seated and are thus referred to
as “seated meditation.” The ultimate attainment of Taoist meditation is the
merging of the individual Te, or spirit, with the Tao. The Taoists referred to
this as the state of enlightenment. Prior to this final attainment, however,
there are a number of lesser but nonetheless notable attainments. The first of
these is the ability to guard the mind and the qi in the dantien at all times.
When this state is reached the mind will be calm and tranquil. A calm and
tranquil mind is much to be desired and is the pursuit of many meditators.
The development of mental tranquility is a significant accomplishment.
However, it is only a stepping stone to greater attainments. The next level of
attainment is the ability to circulate the qi at will throughout the entire body.
When this macrocosmic circulation has been achieved, the cultivator will
have the benefit of a bright and lively qi that circulates through the body like
“silk thread pulled through a nine-holed pearl.” The result of this circulation
is a long and healthy life: an “eternal springtime of youth,” as referred to in
the Song of the Thirteen Postures, another of the Taijiquan Classics.14
The ancient Taoists believed that it was possible to extend human life for
centuries and even to become immortal. There are numerous legends of
Taoist adepts who lived for many hundreds of years. The Taoist literature
even celebrates achieved masters who reached the ultimate goal of
immortality. However, it is important to understand that the term
“immortality” here may be viewed in two ways. In one sense, immortality
does refer to physical life. It is unlikely that any Taoist master actually
achieved this physical goal. However, we can also consider immortality to
mean that the individual’s spirit has become eternal. We can refer to this as
the spiritual state of immortality. Many Taoists believe that, if one’s great qi
is properly nourished and not damaged, it will endure forever.
Even if one does not reach the final spiritual realization of enlightenment or
immortality, the achievement of just the first attainment, that of guarding the
mind and the qi in the dantien, is a noble spiritual goal, and one that is within
the reach of any dedicated practitioner of the art of taijiquan. Further
attainments, such as the Macrocosmic Orbit, Macrocosmic Orbit, and the
refinement of the ching, qi and shen are also worthy goals and are within the
reach of human endeavor.
Concerning the path of self-cultivation, Yang Cheng-fu taught that one day’s
effort yields one day’s benefits; one year’s effort yields one year’s results;
and a lifetime of practice yields a lifetime of blessings.15 These simple words
from the Yang family member who bequeathed to the world the system of
taijiquan that many practice today should inspire any dedicated student of the
art to persevere in both the external and internal aspects of the art.

A Holistic Approach to the Study of Taijiquan

With regard to the practice of taijiquan, it is important to adopt a holistic
approach. Just as “Everything is Taiji,” so is the art of taijiquan part of Taiji.
It seems so obvious: taiji is Taiji, right? And yet, when a student begins to
study this complex and multi-faceted art, it is easy to get caught up in the
individual components, such as learning the empty-hand form, then learning
the sword form, moving on to the practice of pushing hands, and so on. As
the saying goes, the student can’t see the forest for the trees.
Rather than viewing the art as a collection of specific practices, i.e. the
empty-hand form, weapons, pushing hands, sparring, etc., try viewing the art
in its entirety. Seek to incorporate the inner essence of the art into every
aspect of your practice. Be soft, be yielding, be expansive, guard the mind
and the qi in the dantien at all times, suspend the head-top and elevate the
shen. When practicing any particular component of taijiquan, practice the
complete art.
Once you understand that standing meditation, qigong practice, the stretching
and loosening exercises, the empty-hand form and the weapons forms
practice, along with pushing hands play and sparring, are all threads that
make up the whole cloth of the art, you will begin to perceive that taijiquan is
one complete and comprehensive art. So how do you learn to weave the
individual threads of your practice into the whole cloth that comprises the art
of taijiquan? Continuing with the cloth analogy, you need to have all the
threads available. Without the complete array of threads, rather than winding
up with the whole cloth, you will only end up with “holey” cloth.
The threads of taijiquan include the empty-hand form, weapons forms, and
two-person exercises such as pushing hands, dalu, and sparring. However,
these three aspects of the art are not enough. You also need to include
stretching and loosening exercises, standing practice, and, most importantly,
internal qigong or Taoist meditation. Finally, it is essential to study the
Taijiquan Classics as well as the works of taijiquan masters and their close
disciples. These invaluable treatises and texts provide the explanations for the
theoretical and philosophical foundation upon which the art of taijiquan is
based.
As stated previously, taijiquan combines both theoretical and philosophical
foundations that include Taiji theory, Five Elements theory, and Bagua
theory. If one truly wishes to understand and master taijiquan, it is important
to have at least a basic comprehension of these topics, which are explained in
Chapter One. Chapter Two addresses the relationship between Taoism and
taijiquan. Hopefully the information provided in these two chapters will
increase your appreciation of the theory and philosophy that underlie the art
of taijiquan.
The chapters included in this book build upon each other and are organized in
a logical order. It is recommended that you use the book for its intended
purpose and follow the chapters as presented. It is also important to follow
the recommended duration for the practice of each series of training exercises
before moving on to the next stage of development.
This is particularly important with regard to the practice of zhan zhuang
standing meditation and the Taoist exercises for cultivating and circulating
the chi. In the past, these practices were closely guarded and specifically not
taught to Westerners. Fortunately, over the past fifty years a wealth of
information regarding Taoist meditation and alchemical practices has been
made available to all students of Taoism and taijiquan. The availability of
this information, as well as accessibility to masters who are willing to impart
their knowledge of these practices, permits all students to cultivate the civil,
or spiritual, side of the art of taijiquan.
To this end, Chapters Seven and Eight provide a detailed discussion of qi
cultivation and circulation and outline specific Taoist practices which enable
the student to accomplish both the Microcosmic and Macrocosmic Orbits.
Chapter Eighteen further explores the practice of taijiquan as a spiritual
practice that can ultimately lead to the highest civil goal, which is spiritual
enlightenment. Chapter Nineteen further expands upon this topic and
discusses specific Taoist teachings on spirituality and the attainment of
enlightenment through Taoist meditative practices.
With regard the to the martial aspect of taijiquan, the ability to emit jin is
what distinguishes a true taijiquan practitioner from one who simply knows
the sequence of the movements of the form and can roughly push and resist
when playing pushing hands. The ability to issue jin is based upon the ability
to be song. In order to assist the reader in developing these skills, Chapter
Four discusses song training, or song gong, in great detail. The development
and training of jin for both defensive and offensive applications is covered in
Chapter Twelve and Chapter Thirteen.
One cannot attain a high level of skill in the art of taijiquan without a deep
understanding of the principles of song, rooting, qi cultivation, the inter-play
of yin and yang, the martial applications of the postures, and intensive study
of the principles outlined in the Taijiquan Classics. Yang Cheng-fu himself
stated that the essence of taijiquan is not found in the external postures, but
rather in the principles, the internal energy, and the qi. Only when the one has
grasped these principles and has incorporated them into one’s practice can
one’s art be complete.
The above skills relate to the form only. If one additionally wishes to achieve
mastery in pushing hands, one must undertake further training and study to
develop sensitivity and competence in the use of a variety of jin. Some of this
training can be accomplished working on your own, but you will need to train
with partners on a regular basis in order to succeed in this endeavor. The ten-
to-twenty minutes of unstructured pushing hands practice that follows a
typical taijiquan form class will not provide you with sufficient experience.
Separate chapters are included in this book on the topics of martial
applications, the development and use of jin, and pushing hands. This
material will provide those readers interested in the martial aspect of
taijiquan with guidance for developing skill in these areas.
Finally, in order to be truly well-rounded in taijiquan you should learn and
acquire skill in at least the straight sword, or jian, and the saber, or dao.
Chapter Sixteen presents information on training and practicing with the taiji
jian. This chapter also discusses two-person practice with the jian, since it
can be argued that sword sparring represents the epitome of taiji skill.
Chapter Seventeen presents the principles and training techniques for
handling the taiji dao.
This is a challenging curriculum. In terms of your own personal progress,
don’t be too eager to move ahead before you have developed the appropriate
level of qi development and circulation. The development of song and the
cultivation of qi cannot be rushed. In order to address all these areas of study,
a dedicated student will need to spend at least one hour per day practicing the
following: zhan zhuang standing, qi cultivation and circulation, stretching
and loosening exercises, training the individual postures of the form, flowing
the form, jin training, weapons training, and pushing hands drills. One should
also spend at least a half hour per day reading from the works of the original
taijiquan masters and their disciples, scholarly interpretations of the
Taijiquan Classics and books like this one in order to deepen your
understanding of the underlying principles of the art.
 Chapter One

The Theoretical Foundation of Taijiquan

As explained in the Introduction, the art of taijiquan is predicated upon three

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

Taiji Theory
Taiji theory has its roots in ancient Chinese philosophy, and its origin dates
back at least 2500 years. It is likely that the basic concepts of Taiji theory are
rooted in Chinese mysticism which predates formal Chinese philosophy by
many thousands of years, although there are no historic records to document
this.
Students of taijiquan should be concerned with Taiji theory as it lies at the
very center of their art. Yang Cheng-fu taught that the entire universe is one
great Taiji, and that the human body is a small Taiji. As practitioners of the
art of taijiquan, it is, therefore, important to understand what Taiji theory
encompasses and how this theory relates to the study of the art that bears its
name.
The Chinese characters which make up the word Taiji (or T’ai Chi in the
Wade-Giles system) are usually translated as “supreme ultimate.” This
translation, however, does not capture the deeper meaning of Taiji theory. An
alternative translation, “grand terminus,” is more indicative of the
significance of both Taiji theory and of the Taiji symbol, which will be
addressed later in this section.
A terminus is a beginning or ending point. Think of a bus terminal or a train
station. Journeys, both literal and figurative, begin and end at such locations.
Similarly, in Taiji theory the two mutually supportive energies of yin and
yang have their beginnings and their endings within Taiji. Indeed, Taiji
theory is based on the interplay of yin and yang, and any discussion of Taiji
theory must explore the concept of yin/yang in detail.
Taiji theory is based upon the concept of the duality of yin and yang, which
are customarily represented as polar opposites. However, treating yin and
yang simply as opposing energies or qualities does not completely capture the
essence of the relationship between them. Nonetheless, it is beneficial to
consider these two energies as dialectically opposed for now. Within Chinese
philosophy, yang is typically associated with the following entities and
qualities: heaven, sun, fire, day, light, heat, dry, masculine, strength,
exhalation, and expansion. Yin, on the other hand, is associated with: earth,
moon, water, night, darkness, cold, wet, feminine, weakness, inhalation, and
contraction.
According to this representation, yin and yang oppose each other and strive to
succeed or overthrow one another. However, because each is equally
powerful, neither can succeed in dominating the other, and so their mutual
interaction continues in an infinite interplay of opposing energies. This
concept is best illustrated by considering the cycle of day and night, each
following the other but neither able to suppress the other.
Although yin and yang are in opposition, Taiji theory posits that they are also
mutually supportive. For example, day supports night; man supports woman
(or, more realistically, woman supports man!); inhalation supports exhalation.
Within the art of taijiquan, yang relates to the substantial and yin relates to
the insubstantial. One of the fundamental principles of taijiquan is to
“distinguish between the substantial and the insubstantial.” For example, the
Yang style posture of Ward-Off, shown below in Figure 1-1a is a yang
posture, while its counterpart, Rollback, depicted in Figure 1-1b, is a yin
posture.
Figure 1-1a
Figure 1-1b
However, the relationship between yin and yang pervades every aspect of our
art. Consider the posture of Ward-off Right, shown above in Figure 1-1a;
although it is a yang posture, it contains both yin and yang aspects. Further,
the yin aspect of the posture supports the posture’s primarily yang role. The
right arm is substantial, or yang, while the left arm is yin. The left, downward
facing yin arm supports the right, outward facing yang arm. Similarly, the
right, warding-off arm is supported by the yielding, or yin, left leg.
Furthermore, the substantial, or yang, right leg is balanced by the counter-
weight of the yin left arm.
The spiraling chan ssu jin energy characteristic of Chen style taijiquan also
contains both yin and yang energies. The energy of chan ssu jin can be
divided into two aspects, ni chan and shun chan, which together constitute a
complete circle. Shun chan encompasses the first half of the circle and is used
for neutralizing or redirecting an incoming force. Ni chan comprises the
second half of the circle and is employed to control an opponent using his
own energy against him. According the yin/yang theory, shun chan is yin, and
ni chan is correspondingly yang. Figure 1-2 depicts these complimentary
spiraling energies in the movements of the hands in silk-reeling training as
they trace the Taiji symbol. The diagram on the left represents the left hand’s
movements, while the diagram on the right depicts the right hand’s
movements. As either hand moves up from the bottom of the diagram to the
top, it is executing shun chan; and when either hand turns down at point 3, it
switches to ni chan.
Figure 1-2
In Sun style taijiquan, the interplay of yang and yin are seen most clearly in
the opening and closing movements which are a distinguishing feature of this
style. In his classic treatise on taijiquan, A Study of Taijiquan, Sun Lutang
explained that opening is employed to expand and to move, whereas closing
is used to contract and to be still. Opening, expanding, issuing, or moving is
yang and closing, withdrawing, contracting, or becoming still is yin.17 Figure
1-3, shown below, depicts the complementary postures of Opening Hands
and Closing Hands in the Sun style of taijiquan.
Figure 1-3
Wu style taijiquan similarly employs the dual concepts of rou and gan in
order to express the coaction yin and yang in both the form and in tuishou.
Wu Chian-chaun, emphasized the special quality of the interaction of rou
(softness) and gan (power) which is in accord with the theory of the mutually
supporting energies of yin and yang.18 Figure 1-4 illustrates this mutual
relationship between yin (figure in white) and yang (figure in black) during
tuishou, or pushing hands.
Figure 1-4
You should discover these balanced yin/yang relationships in every posture
of your form. Indeed, this is such an important consideration in mastering the
art of taijiquan that Chapter Eleven is dedicated to explaining these
relationships within specific postures taken from a variety of family taijiquan
styles.
When discussing the properties of yin and yang, it is important to recognize
that there is no inherent “yinness” or “yangness” in a concrete sense. You
cannot see yin; you cannot taste or smell yang. However, one can detect the
yin quality of the color green as compared to the yang quality of the color
red, for example. Also, you can clearly taste the yang quality of a jabanero
chile as compared to the yin quality of a cucumber. Furthermore, yin and
yang are not absolute. It is possible for one thing to be more yang than
another. When comparing two red colors, for example, you can determine
that one is more yang than the other.
Clearly, the qualities of yin and yang are relative, both to each other and to
themselves. Considering the example of day and night, it would be pointless
to say that day is yang if night did not exist to be yin in contrast. So, the yang
quality of day is relative to the yin quality of night. Moreover, within both yin
and yang, there can be gradations. Something can be more or less yang than
another thing. This is equally true of the quality of yin. For example, although
day is considered to be yang, the weak daylight experienced in northern
climes during the winter months is clearly less yang than the long, hot days of
those same locales during the summer months.
Taiji theory dictates that yin and yang should exist in equilibrium, with
neither dominating the other. While yin and yang ideally coexist in balance
and harmony, it is possible for one to temporarily overwhelm the other. This
is evident with regard to the weather. If the sun shines unimpeded on a region
for too long, the land becomes hot and dry, and the ocean temperature rises.
This is an excess of yang. However, eventually the rising temperature of the
ocean will cause evaporation, creating clouds that will in turn coalesce into
thunderstorms. The relative heat differential between the land mass and the
ocean will create wind currents that will drive the thunderheads onto the land,
where they will generate rain, thus obscuring the sun and cooling the land.
Ultimately, the natural environment will be brought back into balance. This
concept of excess returning to equilibrium is a key principle of Taiji theory.
As you are probably aware, the Chinese written language is based upon
ideograms. From the earliest examples of Chinese writing, the Chinese have
relied upon symbols not only to stand for actual objects, such as “man,”
“tree,” and “mountain,” but also to represent abstract concepts. One symbol,
more than any other from Chinese culture, has become universally
recognized: the Taiji symbol. This symbol, an example of which is shown
below in Figure 1-5, represents the interplay of yin and yang within Taiji.
Figure 1-5
Conveyed within the twin semicircles of the Taiji symbol are the mutual
production of yin and yang, the complementary exchange of hard and soft,
the thousand changes, and ten thousand transformations. This is the basis for
taijiquan. Indeed, taijiquan is the embodiment of the Taiji symbol. Besides
the representation of the Taiji symbol shown in Figure 1-5, there are
numerous symbolic depictions of Taiji. The representation presented above is
one of the most common and includes several features important to Taiji
theory. The first prominent feature is the division of the circle into two equal
portions. The white half on the left represents yang, which is symbolic of
light, day, the sun, etc. The black half on the right represents yin, which is
represents of darkness, night, the moon, and so on.
Another prominent feature of the Taiji symbol as presented above is that the
circle is not merely divided vertically into two perfect semicircles. Instead,
the white half bulges slightly into the right half at the top of the circle,
whereas the black half bulges slightly into the left half at the bottom of the
circle. The curved aspect of each semicircle is meant to indicate that there are
times when yang dominates yin and times when yin dominates yang. Taken
as a whole, however, it is apparent that yang and yin coexist in perfect
harmony and balance.
The curvilinear shape of the yang portion of the Taiji symbol also represents
the concept of yang arising out of extreme yin. At the bottom of the circle,
when yin has reached its maximum, yang emerges, albeit weakly at first.
Yang then grows in strength on the left-hand side of the circle to a point
where yin and yang are balanced (in the center of the circle.) Ultimately, yang
reaches its zenith, a condition known as “extreme yang,” at the top of the
circle. Just as extreme yin is unsustainable, so extreme yang gives rise to
weak yin, which follows a parallel progression on the right-hand side of the
circle.
We find ample evidence of extreme yang giving rise to weak yin and vice-
versa in the transitions between the postures of the form. Consider the
transition from the Yang style posture of Ward-Off Right into the posture of
Rollback, presented previously in Figures 1-1a and 1-1b. As discussed above,
when one completes the Ward-Off Right posture, the right hand is in a yang
state. Even though this hand is supported by the left, yin hand, its yang state
cannot be maintained for long. However, rather than directly withdrawing the
hand, the practitioner allows it to become even more yang by extending it
slightly out and to the right.
At this point, the right hand as well as the entire Ward-Off posture has
reached a point of extreme yang, which cannot be sustained. The practitioner
must withdraw from this position of extreme yang and transition into
Rollback. The right hand becomes yin, as does the right leg; and the
previously yin left hand takes over the substantial, or yang role as we
intercept and guide the opponent’s energy down and to our left. Similarly, the
left leg assumes the yang role previously held by the right leg, which now
becomes yin or insubstantial.
A similar transformation from yang to yin occurs during the Chen style
transition from Lazily Tying the Coat into Six Sealing and Four Closing. In
the finished position of Lazily Tying the Coat, the right hand is substantial, or
yang, and the left hand is yin in support of the right hand. Taking into account
the chan ssu jin aspect of this posture, the outward spiraling energy (ni chan)
has reached its apex in the leading edge of the right hand. The right hand is
then pulled back and withdrawn to return the spiraling energy into the
dantien (shun chan). This corresponds to the yin portion of the Taiji circle. At
the same time, the left, or yin hand, turns over and becomes more yang as we
step outward into the new posture of Six Sealing and Four Closing. This can
be readily observed in the sequence illustrated below in Figure 1-6.
Figure 1-6
In Chen style taijiquan, the legs must also be assigned yang (substantial) and
yin (insubstantial) roles in each posture. Especially during the transitions
between postures, the changes between substantial and insubstantial that
occur between the two legs reflect the interchange of yin and yang in the
lower portion of the body. Throughout the practice of the form, one leg must
be substantial, supporting the larger portion of the body’s weight, while the
other is insubstantial and acts in support of the substantial leg. This unequal
distribution of the body’s weight enables the practitioner to easily transfer the
weight from one leg to the other when transitioning between postures.
As the preceding examples illustrate, in addition to distinguishing between
yin and yang within the postures themselves, students of taijiquan need to be
able to make the transitions from yang to yin and from yin to yang during the
transitions from one posture to the next. Chapter Ten, which presents
individual postures and their transitions, will assist you in developing this
essential skill.
Yet another significant feature of the of the Taiji symbol shown in Figure 1-5
is the location of a smaller circle of contrasting color within each of the larger
semicircles. Located at the top of the white yang semicircle is a small, black
yin circle. Similarly, located at bottom of the black yin semicircle is a small,
white yang circle.
The pictorial representation of Taiji provided by the simple Taiji symbol
allows us to visually apprehend many of the principles of Taiji theory. A
second alternative translation of the Chinese characters that comprise Taiji is
“great union.” The great union of yin and yang is readily apparent within the
Taiji symbol. This is especially true if the two curvilinear semicircles, with
the smaller inscribed circles, are viewed as a pair of fish. With a bit of
imagination, these two semicircles, each with a small circle located within,
appear to be a pair of intertwined fish, swimming in an infinite circle. The
two fish, one male and one female, are forever joined in a cosmic dance, one
chasing the other into infinity.
Figure 1-7
The significance of the two small circles within the larger semi-circles is as
follows. Taiji theory specifies that within yang there is always some yin, and
that within yin there is always some yang. It is the presence of this small
amount of yin at the point of extreme yang that allows yin to emerge on its
own. Equally, the presence of a small amount of yang within extreme yin
enables yang to emerge on its own.
The presence of yin within yang and vice-versa is an important concept in
tuishou (pushing hands), especially within the execution of the push. If we do
not withhold some of the energy of the push, whether it be li strength or
internal fa jin power, a skilled opponent will be able to borrow the yang
energy of the push and use it to roll us back. However, by keeping some
reserve, or yin, in the push, we are able to detect if the opponent is attempting
to borrow our pushing energy and can instead change the push into shoulder
stroke or some other response to their attempt to roll us back. In so doing, we
learn not to overcommit to our attack.
Yet another element of Taiji theory suggested by the Taiji symbol is that of
movement or change. In the traditional Taiji symbol, the white yang
semicircle seems to rise up from the bottom of the symbol, while the yin
semicircle appears to descend downwards. The image of the two fish, shown
above, represents this sense of motion even more graphically.
Change is the inherent nature of the universe. Without movement and change,
the universe would not exist. Taiji theory states that Taiji emerged from Wuji,
the formless void, when Wuji began to move. This movement generated Taiji,
which consisted of heaven and earth, whose characteristics are yang and yin
respectively. This transition is depicted in Figure 1-8 below. The interplay of
heaven and earth gave rise to humankind (“man” in traditional Chinese
philosophy). From these original three arose all “the ten thousand things”
which make up the cosmos.
Figure 1-8
When we practice the taijiquan form, we begin by standing in wuji posture.
Within this posture, there is no distinction between yin and yang. There is no
substantial leg and no insubstantial leg; no substantial arm and no
insubstantial arm. There is no separation between the upper body and the
lower body. Most importantly, there is no movement. The entire body is still.
Nonetheless, the potential for movement is present within this wuji posture.
Indeed, the Classics state that the entire form is contained within the
beginning wuji posture. Sun Lu-tang commented specifically upon the
importance of reaching a state of complete calm and emptiness by standing in
the wuji posture for some period of time before stepping out into the taiji
posture to commence the form.
Once we have the idea in our heart/mind to begin the form, the simple
intention of moving spurs yin and yang to separate. If we move from the taiji
posture directly into Ward-Off Left, as the form developed by Yang Cheng-
fu originally did (that is to say, without the raising and lowering of the hands
that one normally associates with the opening of the Yang style form), then
one side of the body becomes yang and the other side becomes yin as
described previously. Further, the extreme yang of Ward-Off Left gives rise
to a slight neutralizing, or yin aspect to the left side as we transition into
Ward-Off Right. Throughout the form yang arises and diminishes, giving rise
to yin, and vice-versa.
Regardless of family style, all styles of taijiquan share the common feature
that the sequence of postures transitions from yang to yin and from yin to
yang. One begins the form by standing quietly in wuji posture and then
transitions into the commencement of the form, proceeding from one posture
to the next, on and on until one reaches the conclusion of the form, finishing
by settling once again into wuji posture. Thus it is apparent that the taijiquan
form truly is an embodiment of Taiji theory. When one practices the form,
one is actually practicing Taiji.

Five Elements Theory

Over four thousand five hundred years ago, the mythical Chinese Yellow
Emperor purportedly wrote a treatise, the Classic of Internal Medicine, in
which he described the attributes and actions of the Five Elements, wu xing,
as they relate to the major organs of the human anatomy. The Five Elements
are: wood, fire, earth, water, and metal. Each element has a special quality
and influence upon the natural world and is associated with a particular
season.
According to Five Elements theory, wood is associated with expansion, the
season of spring, and the direction east; fire is associated with ascension, the
season of summer, and the direction south; earth is associated with stability,
the period of change between each of the seasons, and the direction center;
water is associated with descending, the season winter, and the direction
north; and metal is associated with contraction, the season autumn, and the
direction west.
The individual Five Elements are said to be both creative and destructive of
one another. For example, wood is created by water but destroyed by metal,
since trees are nourished by water but can be cut down with metal axes.
Elements are said to be attracted to the element which creates it and to fear
the element that can destroy it.
With regard to Chinese traditional medicine, each element is associated with
both a yang organ and a yin organ. So, for example, the heart (yin) and the
small intestine (yang) are associated with fire. Based upon the principles of
mutual creation and destruction, an ailment in one organ may be due to an
excess or a deficiency in another organ. Often the treatment of an illness is
based upon identifying the excesses or deficiencies of the mutually
supportive or destructive organs associated with the organ causing the illness.
Treatment of the illness may involve stimulating or calming the associated
organs through herbal remedies, massage, and acupuncture.
Five Elements theory is integral to the study of taijiquan. Five Elements
theory is related to taijiquan primarily through the stepping directions
associated with each of the elements. (Note: these stepping directions are not
to be confused with the cardinal directions associated with each element. The
stepping directions will be presented in detail in Chapter Eleven.) Stepping
forward (Advance) is associated with metal; stepping backward (Retreat) is
associated with wood; stepping to the left (Look Left) is associated with
water; stepping to the right (Gaze Right) is associated with fire; and keeping
to the center (Central Equilibrium) is associated with earth. Together, these
five directions constitute the Five Steps of the Original Thirteen Postures of
taijiquan.
In the Taijiquan Classics, the treatise attributed to Chang San-feng
specifically identifies these Five Steps, which can be observed throughout the
taijiquan forms. The following are specific examples:

Advance: Brush Knee, Twist Step (Yang style); Advance Step, Deflect,
Parry and Punch (Sun style); Six Sealing and Four Closing (Chen style)
Retreat: Step Back to Repulse Monkey (Yang and Wu styles); Retreat
Step and Lazily Tying the Clothes (Sun style); Step Back and Whirl
Arms (Chen style)
Look Left: Wave Hands Like Clouds (Yang and Wu styles); Single
Whip (Sun style); Dash Leftward (Chen Style)
Gaze Right: the turning to the right in Wave Hands Like Clouds (Yang
and Wu styles); Jade Lady Works the Shuttles (Sun style); Dash
Rightward (Chen style)
Central Equilibrium: the Opening and Closing postures of the various
styles.

The importance of the Five Steps is apparent in the overall choreography of

many of the traditional taijiquan solo forms. In most styles, if you place a
small marker under your feet before beginning the form and follow the steps
correctly, you should finish up with your feet over the marker at the
completion of the form. This is one more indication of the intelligent design
of the forms that we have inherited from originators of taijiquan.

Bagua Theory
When the ancient Chinese wanted to represent the concepts of yin and yang,
they chose simple ideograms. They employed a single, unbroken horizontal
line to represent yang and a broken horizontal line to represent yin. See
Figure 1-9 below.
Figure 1-9
The ancient Chinese sages realized that by combining these yin and yang
lines, they could represent various situations. By combining two lines, we get
the following four groupings:
Figure 1-10
These same ancient sages realized that four descriptive categories were
insufficient to describe all natural events and human affairs, so they added a
third line to create eight unique groupings. These groupings, known as
trigrams, became the Bagua. The eight trigrams are presented below, along
with their Chinese names, their shape names, and the aspect of nature which
they represent:

In its infancy, the art of divination, or geomancy, relied upon the eight
trigrams in order to predict the future as well as to advise on the action to be
taken in a given situation. However, eight situations proved very limiting, so
the eight trigrams were further arranged into pairs, giving rise to sixty-four
hexagrams. The sixty-four hexagrams formed the basis of the I Ching, or
Book of Changes, which has served as the standard tool for divination in
China for more than 2,500 years.
Each of the sixty-four hexagrams are named and described in the I Ching
along with a short commentary on the meaning and application of the
hexagram to various situations. Skilled geomancers would employ the I
Ching after performing a ritualized ceremony involving the casting of yarrow
stalks to help decide upon a course of action arising out of a given situation
or even to predict the future.
The I Ching describes the formation of the eight trigrams, or Bagua, as
follows: First there was the Taiji, or the Grand Terminus, which generated
the two forms, or Liung-Yi. Those two forms generated the four symbols, or
Ssu-Hsiang. Those four symbols divided further to generate the eight
trigrams, or Bagua.
Figure 1-11
The sixty-four hexagrams became the basis for the I Ching, which is the most
widely referenced book in classical Chinese culture. However, the basic eight
trigrams of the Bagua also remained very influential in Chinese thought. The
relationships between the eight trigrams and their application to natural
phenomena as well as to human affairs forms the basis of Bagua theory,
which has had a significant influence upon classical Chinese culture.
The Chen family adapted Bagua theory to provide a theoretical construct
which, in conjunction with the Five Steps, provided a classical theoretical
foundation for the Original Thirteen Postures. This knowledge was passed on
to Yang Lu-chan from Chen Chang-xing and became a cornerstone of Yang
style taijiquan. Yang Chen-2 explicitly stated in his The Essence and
Applications of Taijiquan, that taijiquan is based upon the Taiji theory and
Bagua theory, and also specifically referred to the I Ching.19
The eight trigrams were referred to as the “eight gates,” and each gate was
assigned a posture from the Original Thirteen Postures along with a cardinal
point. According to the Yang family classification scheme, the eight trigrams
were assigned as follows:

The postures of Peng (Ward-Off), Lu (Roll-Back), Ji (Press) and An (Push)

are referred to be the Four Sides, as they relate to the four cardinal points of
the Bagua. See Figure 1-12. The postures of Kao (Shoulder-Stroke), Chou
(Elbow-Stroke), Tsai (Pluck) and Lieh (Split) are assigned to the Four
Corners, as represented in Figure 1-13.
Figure 1-12
Figure 1-13
As stated in the Introduction, Chang San-Feng referred to the eight postures
described above in his Treatise on Taijiquan. He called Ward-Off, Rollback,
Press and Push “the four cardinal directions,” which the Yang family referred
to as the Four Sides, and named Pull-Down, Split, Elbow-Stroke, and
Shoulder-Stroke as “the four diagonals,” which the Yang family referred to
as the Four Corners.20
Within Chen style taijiquan, the bafa, or eight kinetic movements, are central
both to the postures and to tuishou practice. The bafa comprise the eight
basic intrinsic energies (jin) from which the individual techniques of Chen
style taijiquan are generated. These eight basic intrinsic energies are also the
basis of Chen style pushing hands and martial applications. As such, the eight
kinetic movements are fundamental to Chen style taijiquan.21
Students should study and practice the martial application(s) of each posture
in the taijiquan form. It is difficult to truly understand a martial application
by reading about it and studying photos in a book or even watching videos
demonstrating the application. Despite these limitations, Chapter Fourteen
provides an explanation of the martial application(s) of a number of the
postures taken from different family styles as a point of study and reference.
Even if you never intend to use your taijiquan for self-defense, a thorough
understanding of the martial application of each posture will help you
understand the physical structure of the posture and may assist you in
eliminating postural defects.

Conclusion
This chapter has provided a basic introduction to the theoretical foundation of
the martial art of taijiquan. This foundation is based upon Taiji theory, Five
Elements theory, and Bagua theory. The coverage of each of the three
theories presented here is by no means complete. For further discussion of
each of these theories, the reader is referred to Jou Tsung Hwa’s excellent
text, The Tao of Tai-Chi Chuan. While there is great controversy among
scholars of taijiquan as to when and who originally attributed these theories
to taijiquan, it is nonetheless clear that the all the major family traditions
consider Taiji theory, Five Elements theory, and Bagua theory to be
fundamental to their art. Understanding the theoretical foundations of
taijiquan will add depth and dimension to your understanding and practice of
this sophisticated and complex martial art.
As fundamental as these three theories are to the art of taijiquan, in many
ways the philosophical foundation provided by Taoism, particularly the Tao
Te Ching, is even more important to the formulation and development of
taijiquan. The following chapter presents an introduction to the relationship
between Taoism and taijiquan. Along with Taiji theory, Five Elements
theory, and Bagua theory, an appreciation of the philosophy of Taoism is
essential to understanding the art of taijiquan.
 Chapter Two

Taijiquan and Taoism

The art taijiquan stands upon two pillars, one theoretical and one
philosophical. The theoretical foundation is derived from Taiji theory, Five
Elements theory and Bagua theory, which were presented in the previous
chapter. The philosophical foundation of taijiquan is based primarily on
Taoism, particularly the seminal writings of Lao Tzu as recorded in the Tao
Te Ching. The close relationship between taijiquan and Taoism manifests
itself through numerous references to Lao Tzu and the Tao in the Taijiquan
Classics as well as in the writings of the original masters, their descendants
and their disciples. Professor Cheng Man-ch’ing, a disciple of Yang Cheng-
fu, often stated that the fundamental principles of taijiquan were derived from
the teachings of Lao Tzu.22
The influence of Taoism also can be seen in the circular movements and in
the continual interchange of hard and soft, open and closed, substantial and
insubstantial that occur in Chen style taijiquan. The principles that underlie
Chen taijiquan theory closely reflect the Taoist ideas of the separation of yin
and yang and distinguishing between insubstantial and substantial.
One of the key concepts of Taoism is that softness overcomes hardness. This
is also a key concept in taijiquan. The legend of the origin of taijiquan
recounts that Chang San Feng, a Taoist hermit, witnessed a bird attacking a
snake. Rather than rigidly resisting the bird’s attacks, the snake evaded the
bird's beak and talons by withdrawing, coiling, and then suddenly striking.
Figure 2-1
From this incident, Chang San Feng reputedly developed a complete martial
art based on the concept of soft overcoming hard. From his observation of the
combat between the bird and the snake, he received a revelation. The coiled
form of the snake was like the Taiji symbol and the actions of the snake
embodied the principle of the soft overcoming the hard. When the crane
attacked the snake’s head, it withdrew its head and counter-attacked with its
tail. If the crane attacked the snake’s tail, it withdrew its tail and struck with
its fangs. According to legend, Chang San Feng developed taijiquan based
upon the sinuous movements of the snake.
As many taijiquan masters of his generation, Sun Lutang also ascribed the
origin of taijiquan to Chang San Feng. In his book, A Study of Taijiquan, he
related that Chang San Feng cultivated the Tao at Wu Dang Mountain. He
stated that Chang San Feng practiced the Taoist practices of Tendon
Changing and Marrow Washing, as well as utilizing Zhou Zi’s Taiji symbol.
Sun Lu-tang claimed that Chang San Feng followed these natural principles
in order to develop the art of taijiquan.23
Modern historians and scholars of the art of taijiquan dismiss the origin myth
of Chang San Feng and attribute the actual development of taijiquan to the
Chen family, beginning with the Chen Wangting in the 17th century AD.
Regardless of its origins, it is undeniable that the art of taijiquan is deeply
imbued with principles and concepts derived from Taoist philosophy. When
you practice the art of taijiquan you are, in essence, following the Tao or
“Way” of the natural world. For this reason, all students of taijiquan should
at least read the Tao Te Ching and attempt to internalize the wisdom of this
ancient handbook of Taoist philosophy. This chapter provides a brief
background on Taoism and relates the concepts and principles of Taoism to
the art of taijiquan.

The Origins of Taoism

Formally, Taoism has its origins in the Tao Te Ching, attributed to Lao Tzu
and written in the 4th century B.C. The title “Lao Tzu” means “Old One” or
“Master.” Lao Tzu was purportedly a government scribe named Li Er who
retired from government service at the age of ninety to withdraw to the
mountains and live the life of a hermit. Modern scholars question whether
Lao Tzu existed as a single individual. Rather, it is generally accepted that
the Tao Te Ching is composed of the previously recorded insights of various
Taoist sages.
Figure 2-2
The roots of Taoist thought and practices almost certainly predate this pivotal
text by thousands of years. The principles of yin and yang and the concept of
qi as the primary energy of both nature and human beings date back to the
earliest recorded Chinese writing. It is probable that ancient Chinese shamans
and healers engaged in practices that are the precursors of modern Taoist
exercises and internal alchemy.
It should be noted that, while the Tao Te Ching is the first recorded collection
of Taoist thought, it was by no means the last. Several centuries later, another
famous Taoist sage, Chuang Tzu, recorded a number of chapters clarifying
the Tao Te Ching while also adding his own insights. Later Taoist sages,
particularly the Huainan masters, wrote treatises on Taoist thought and
practices. Collectively these writings are referred to as the Taoist Canon.
Philosophical Taoism is not a religion. Instead, Taoism is a world view that
includes both the origin of the universe as well as an explanation of how
everything in creation functions. Taoism existed for centuries as both a
philosophy and as a prescription for living in harmony and balance with
nature. However, as with many philosophies, there were attempts to cloak the
basic principles of Taoism in religious garb. Taoist gods and spirits were
created, partly based upon the gods of folk religions of the time. Rituals were
established, holy days declared, and temples constructed to support religious
practices.
For this reason, contemporary scholars of Taoism classify Taoism according
to whether it is practiced primarily as a philosophy or as a religion. Most
Westerners today are drawn to Taoism as a philosophy and a way of life
rather than to the religious trappings that grew up around Taoism.
Accordingly, in this book Taoism will be presented in its philosophical form,
devoid of any religious implications.
The fundamental concept of Taoism is that there exists an indefinable and
intangible driving force that both created and governs everything in the
universe. This ineffable force is referred to as the Tao. The Tao is both the
unseen ruler of creation as well as the set of principles upon which the laws
of nature and humankind are based. The Tao is unseen and unfathomable.
However, the effects of the Tao are everywhere. There is nowhere that the
Tao does not reach.
Taoism and Taiji theory are closely related. Just as it can be said that
“Everything is Taiji,” it can also be said that “Everything is the Tao.” The
difference is that Taoism goes beyond Taiji theory as both a theoretical
construct and a philosophy. Taoism is both a description of the world and a
prescription for how to live in it. Both Taiji theory and Taoism encompass
heaven, earth and humanity. However, while Taiji theory deals primarily with
heaven and earth as the archetypes of yang and yin, Taoism is more
concerned with human beings in relation to heaven and earth.
The Chinese character for tao is often translated as “the way.” This suggests
that the Tao is a path to be followed. However, such a strict interpretation of
the Tao is misleading. How can one follow an invisible path? If one wants to
think of the Tao as “the Way,” then it is best to use this term to refer to “the
Way of nature,” or “the Way of creation.” We can even consider the Tao to
be “the Way of humanity.”
The Chinese character for tao consists of two radicals (smaller sub-
characters.) The first of these is “foot” and the second is “head.” This gives
the character for tao several connotations. One understanding is that the
“head,” or consciousness, follows the “foot,” or path. This can be interpreted
as “the conscious following of the Way.” Another interpretation of the
character tao is that of wholeness, that is to say “from head to foot.” In this
definition, “head” represents heaven, and “foot” represents earth. So, the Tao
may be defined as heaven and earth united, much in the sense that Taiji unites
heaven and earth, yang and yin.

The Principles of Taoism

The character tao can also be translated as “principle.” This interpretation
may be more suggestive of the true nature of the Tao. Scholars sometimes
rely on the notion of a “first principle.” A first principle is the seminal
concept from which a philosophy or science or even an art form arises. In the
case of Taiji theory, the first principle is the polarity of yin and yang. From
this first principle, all other principles of Taiji theory can be derived.
The difficulty in defining Taoism from a first principle is that the first
principle of Taoism can be found in the Tao Te Ching itself: “The Tao that
can be told is not the eternal Tao.” That is to say, if you can describe what the
Tao is, then that is not the true Tao. The only way to know the Tao is to open
one's awareness to the Way of creation. In this manner, one can experience
the Tao.
Although the underlying nature of the Tao is indescribable, Taoism
nonetheless does provide us with a set of fundamental principles that both
describe natural phenomena and aid us in understanding the affairs of human
beings. These include the principles of balance and harmony and the
existence of cyclic change in nature. Other principles include the concept of
wu wei, or inaction, and the concept of yielding, or of softness overcoming
hardness.
The Tao teaches us to seek balance both within ourselves and with our
natural and social environments. We need to learn to consume a balanced
diet, engage in activity and rest in equal measure, and to be moderate in our
daily habits. Because the natural order is one of balance and harmony,
Taoists often seek out mountains, forests, lakes and streams where they can
observe nature and live in harmony within a natural setting. While this may
not be practical in modern society, it is advisable to place oneself in natural
surroundings as often as possible.
One way to place yourself in harmony with nature is to make a practice of
observing natural phenomena, such as birds in flight, leaves changing color in
autumn, bulbs blooming in spring, the changing weather, etc. Try to discern
the ever-changing patterns of nature and how the natural world functions
harmoniously. See if you can identify natural patterns in your own life:
waking and sleeping, eating and evacuating; work and play; simply breathing
in and out. Make every effort to align yourself with the natural rhythms of
life. See Taiji in everything. In this way, you will engage in consciously
living the Tao.
Wu wei, a fundamental principle of Taoism, is the principle of inaction. This
important concept has defined much of Chinese thought and culture and
continues to do so even today. Inaction is a broad concept and includes the
notions of patience, forbearance, and constraint. For example, in China it is
considered inappropriate to show emotion. Love, excitement, pride, and
anger may be felt internally, but should not be overtly expressed, as these
“excessive” emotions upset balance and harmony.
The principle of wu wei is also a key concept in taijiquan. In particular, we
are counseled to forgo brute force when confronting an opponent. Rather, we
learn how to use the opponent’s force against him. This is the technique of
“deflecting a force of a thousand pounds with a counterforce of four ounces.”
Another way of looking at this is to respond to the opponent’s yang with yin.
Yang is associated with action and yin is associated with inaction. In this way,
the art of taijiquan adheres to the principles of both Taiji theory and Taoism.
The principle of wu wei espoused by Taoism is related to the concept of Wuji
described in Taiji theory. From Wuji, which is formless and inactive, arises
Taiji, which encompasses heaven and earth. Heaven and earth in turn
generate humankind and “the ten thousand things” of creation. So, from
nothingness and inaction, the entirety of creation is formed. Just as Wuji is
the foundation of Taiji, so it can be said that wu wei is a cornerstone of Taoist
philosophy.
The virtues of the Way of inaction are extolled in the Tao Te Ching. In Verse
37, Lao Tzu states unambiguously:

The Tao in its regular course does nothing,

And so there is nothing that it does not do.24

This simple statement, consisting of a brief ten words, defines the principle of
wu wei concisely.
Another cornerstone of Taoism is the principle of yielding, of softness
overcoming hardness. In verse 36 of the Tao Te Ching, Lao Tzu states, “The
soft and weak overcomes the hard and strong.”25 The meaning of this simple
statement is that it is better to be yielding than to be rigid. When using
taijiquan for self-defense, if your opponent use hard force, you should
employ softness to neutralize it. When your opponent attacks fiercely, you
should rely upon stillness and yielding to neutralize the attack. Extreme
softness and stillness are the embodiment of yin. When extreme yang
encounters extreme yin, the yang will always be defeated.
There are numerous references to this principle in the Tao Te Ching. Verse
76 states:
Man at his birth is supple and weak;
 at his death, stiff and hard.
Trees and plants are born tender and pliant;
at their death, dry and withered.
Firmness and strength are the concomitants of death;
softness and weakness, the concomitants of life.
Hence, he who relies on the strength of his force
does not conquer.
And a tree that is strong will not fill out the outstretched arms
and thereby invites the feller.
Therefore the place of what is firm and strong is below,
and that of what is soft and weak is above.26

The Taoist metaphor for softness is water. While water possesses the quality
of softness, the power and destructiveness of water cannot be overlooked.
The Tao Te Ching expresses this concept succinctly in Verse 78:
There is nothing in the world
more soft and weak than water.
Yet for attacking things that are firm and strong,

there is nothing that can surpass it.

Everyone knows that the soft overcomes the hard;
and the weak overcomes the strong.
Words that are strictly true seem to be paradoxical.27

The image of water as both yielding and overcoming hardness is central to

taijiquan. There is an ancient Chinese aphorism: “Water both floats and
destroys boats.” When you are as yielding as water, no incoming force can
harm you. Skilled taijiquan practitioners learn to absorb a blow much as a
body of water can accommodate the weight of a boat. On the other hand, the
force of strongly surging water can overturn and sink a boat. Just so, the
surging power of a punch or push that rises out of the ground can send an
opponent flying.
The principle of yielding is central to the martial aspect of taijiquan. When
faced with an opponent’s incoming force, the practitioner yields to it and
redirects the force so that it is neutralized. The Taijiquan Classics refer to this
as “leading into emptiness.” The skill of yielding enables a smaller, weaker
player to overcome a larger, stronger player with lesser skill. This is the
epitome of the art of taijiquan.
The Taijiquan Classics state that when the opponent is hard, you should be
soft. This is known as tsou (yielding). If the opponent’s movement is quick,
then you should respond quickly; if his movement is slow, you should
respond slowly.
The relevance of the Tao Te Ching to the art of taijiquan can best be
summarized succinctly by the concise wording of Chapter Forty-three:
The softest thing in the world
dashes against and overcomes the hardest.
That which is insubstantial
enters where there is no crevice.
I know hereby what advantage belongs to doing nothing.
There are few in the world who attain the teaching without words,
and the advantage arising from non-action.28

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

The Three Treasures of Taoism

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

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

Song - The First Principle

It has been said that Yang Cheng-fu constantly exhorted his students to
“relax.” Professor Cheng Man-ch’ing, one of Yang Cheng-fu’s disciples,
recounted that his teacher must have repeated the instruction to “relax” many
times each day.29 Yang Cheng-fu taught that the entire body had to be relaxed
in order for the postures to be correct. There is an expression in the taijiquan
community that relates to this: “Ninety-nine percent relaxed is one hundred
percent wrong.” Indeed, it is not an exaggeration to state that the first
principle of tajiquan is to be relaxed.
The original Chinese word employed by both the Yang and Chen families to
denote the concept of “relaxation” is song (also transliterated as sung).
Unfortunately, if one takes the literal translation of song to mean “relax,”
then one misses entirely the point of this seminal principle of the art of
tajiquan. It is important for students of tajiquan to understand the true
meaning of the word song and also to distinguish between song and “relax.”
The term song conveys the sense of openness, fullness, expansion, and
sinking down into the earth while simultaneously welling up from the earth.
Song also entails loosening the ligaments and tendons which hold the skeletal
system together. In this sense, one can use the word “relax” as it relates to the
muscles, tendons and ligaments. It is important, however, to distinguish
between relaxing and collapsing. When relaxing the muscles and loosening
the ligaments and tendons, we don’t want to collapse our physical structure.
Rather, we want to substitute soft internal energy, or jin, for hard external
energy which involves muscular tension.
The concept of song is central to all styles of tajiquan. Chen Zhenglei, a
contemporary Chen family lineage holder, also teaches that, in order to
achieve the state of song, the practitioner must relax the whole body. All the
components of the body, including the muscles, the skeletal structure, the
internal organs, the skin and even the hair must all relax. Chen Zhenglei
refers to development of song as yangsong gong.30 Other Chen family
members employ the term fansong. In Chen style training, the quality of song
is considered to have four components: relaxation of the mind, extension and
expansion of the ligaments and tendons, sinking the energy and the weight
into the lower half of the body, and pliancy (which implies the ability to
move with agility.)
With regard to the opening of the joints through the loosening of the
ligaments and tendons, there are nine primary joints to loosen: the wrists, the
elbows, the shoulders, the ankles, the knees, the hips, the back, the waist, and
the neck. In fact, all the joints in the body, as well as the muscles and
tendons, should be loosened and stretched. This expansion should extend
even to the joints of the fingers and the toes.
Many students misunderstand the concept of song and fall into the bad habit
of “spaghetti arms,” wherein one or both arms are held limp, like cooked
spaghetti. Consider for a moment the Beginning posture from the Wu (Chian-
chuan) style taijiquan, (which is the equivalent of Ward-Off Left in
traditional Yang style taijiquan). The left arm should be relaxed, but not so
relaxed that it can’t repel, or ward off, an intruder. Similarly, the right arm
should be held up in a supportive position behind the right arm, relaxed but
able to come to the aid (both structurally and energetically) of the left arm in
order to ward off an attack.
In order to provide the proper structure and internal energy in this posture,
the arms must be song, not limp. This means that the joints of each arm
(shoulder, elbow and wrist) must be open; the ligaments and tendons of the
arm must be loose but connected; and the internal energy, peng jin in the case
of the left arm, must flow freely and fully through the arm and into the hand.
Song is often associated with the related concept ch’en, translated as “sink.”
Sinking means to allow the entire weight of the body to sink down into the
feet. This creates a sense of stability and rootedness. The upper body is light
and insubstantial, while the lower body, the legs and feet in particular, are
heavy and substantial. If one can relax completely, then this is ch’en. When
the muscles, ligaments and tendons relax completely, then the whole body
sinks down.
From the above we see that song actually consists of being both relaxed and
sunk. Basically, ch’en and song are the same thing. One cannot be song
unless one is able to sink, and one cannot sink unless one is able to be song.
This concept is also central to the principle of fansong in the Chen style.
When properly executed, sinking creates the quality of heaviness, or zhong. It
is not hard or rigid, but is characterized by external softness supported by
internal strength.
The importance of song cannot be over-emphasized in the practice of
tajiquan. Song relates to all aspects of our art, from practicing the form, to
engaging in pushing hands, playing with weapons, and emitting jin. This
chapter includes several basic standing exercises designed to assist you in
developing these dual qualities. However, it is necessary first to explore this
important principle of tajiquan in more detail.
The ability to be song is necessary in order for the qi to fill the lower dantien
and circulate throughout the body. Qi travels through the body via twelve
meridians and eight channels. Many of the meridians and channels pass
through the joints of the body. As such, if the joints of the body are bound up
or tight, then the qi will not be able to flow freely.
The Taijiquan Classics state that the mind moves the qi and the qi moves the
body. Since the art of tajiquan relies upon the flow of qi, and the flow of qi
depends upon the joints being loose and open, it is essential that we learn to
be song if we want to promote the circulation of qi. Proper and unrestricted qi
flow is the basis for both the practice of tajiquan as well as overall good
health and longevity.
Song is also essential if we want to develop the underlying power of tajiquan.
In martial arts terminology, tajiquan is classified as an internal martial art.
That means that our art relies upon internal power, or jin, rather than external
force, or li. Li can be thought of as brute or muscular force.
Think of the most basic form of attack in tuishou: the push. One who has not
mastered internal power will attempt to push his opponent using the
shoulders and arms and possibly leaning into the opponent as well to gain
additional leverage. While such an attack may prove effective against an
inexperienced opponent, an advanced student of tajiquan will easily detect
and neutralize such a primitive attack and redirect the attacker’s energy in
such a way as to send him flying backward, repelled by his own brute force.
The proper way to push an opponent is to connect with her center, follow her
to a place where she is vulnerable, and then use internal power, or jin, to
propel her backward. When using jin, the muscles are not engaged, the body
does not lean into the opponent, and there is no hard, physical force to be
borrowed by the opponent. Rather than relying upon muscular tension, jin
relies upon the compressed qi in the ligaments and tendons and especially in
the spine. When this compressed qi is suddenly released, it is experienced by
the opponent as a powerful, almost electric force that is almost impossible to
neutralize. (The term “almost impossible” is used here, because very
advanced tajiquan practitioners are able to receive and neutralize jin, based
upon their high degree of song.)
Jin is the highest skill in the art of tajiquan and is not developed in a day, a
month, or a year. It takes many years to fully develop jin to the point that it
can be employed effortlessly in martial applications. Further, it is an
oversimplification to simply talk about jin, as there are many types and
applications of jin. Since the development and application of jin rely upon
one being song, it makes sense that one should start with learning how to be
song. Over centuries of experimentation and investigation, the taijiquan
masters of old developed various exercises and practices intended to develop
the quality of song. Collectively, these practices are often referred to as song
gong, which may be translated as song cultivation.
The foundation of song is proper posture, which relies upon correct postural
alignment. Correct postural alignment is essential for the ligaments and
tendons to be loose and flexible. The Ten Essentials of Yang Cheng-fu
instruct us to lift the head as if suspended from above, drop the chin slightly,
hollow the chest, raise the back, sink the shoulders, drop the elbows, hang the
hands from the wrists, tuck in the pelvis, loosen the waist and the kua, and
round the crotch.
The best way to begin practicing correct postural alignment is to assume the
wuji posture. Figures 3-1a and 3-1b illustrate proper standing in wuji posture
from both a frontal and side view. Note in particular that the ears, shoulders,
elbows, wrists, hip bones, and ankles are vertically aligned in Figure 3-1b.
This alignment allows the joints to sit one on top of the other. The only joints
that do not conform to this vertical alignment are the knees. We need to have
a slight hollowing of the knee joints when standing in wuji posture.
Otherwise, the knees will be stiff and our stance will be too rigid.
Figure 3-1a
Figure 3-1b
Of particular importance when standing in wuji posture is that the pelvis be
leveled and the coccyx be tucked under. This allows the spinal column to be
lengthened. Many individuals describe the proper alignment of the spine as a
column of vertebrae stacked one on top of the other. However, this analogy is
somewhat misleading. While it is true that proper spinal alignment relies on
the vertebrae being “stacked,” the stack is not perfectly linear. Our vertebrae
should not line up like a stack of poker chips.
The spine has a natural curve to it which should be maintained whenever we
are erect. So, the vertebrae are stacked, but slightly off-center one from the
next. We can think of the spine as a series of Jenga blocks, each one slightly
off-center from the one below, but all supporting one another.
Consider the drawing of the spinal column in Figure 3-2. You can easily
observe the natural curvature of the spinal column. In fact, the spinal column
actually consists of three curves, the cervical curve in the neck region, the
thoracic curve in the upper back, and the lumbar curve in the lower back.
Collectively these three curves comprise the overall curvilinear shape of the
spinal column.
You can also see that the top of the spinal column is vertically aligned with
the coccyx. When we say that the spine should be straight and the vertebrae
should be “stacked,” this is the image that we should visualize. The curvature
of the spine also enables the spine to act like a shock absorber, which enables
the spine to store and release energy.
Figure 3-2
Exercise 1: In this first exercise, you are going to stand in wuji and work on
aligning the head, the shoulders, the elbows, the wrists, the spine, the pelvis,
the knees, and the ankles. To begin, you need to stand with feet parallel and
hip-width apart. Most people think they are standing with their feet hip-width
apart, but typically their feet are wider, approximately shoulder width apart.
To ensure that your feet are, indeed, hip-width apart, begin with your two feet
together as shown in Figure 3-3a. Now, rotate your right foot ninety degrees
outward by pivoting on the right heel until the feet are in the position
indicated in Figure 3-3b. Next, pivot on the ball of the right foot and swing
the right heel backward until it is behind and parallel with the left foot, as
shown in Figure 3-3c. Finally, slide the right foot forward until it is even with
and parallel to the left foot, as shown in Figure 3-3d.
Look down and make sure that your feet are parallel. People commonly think
that their feet are parallel when, in fact, there feet are somewhat splayed
outward. It is imperative when standing in wuji posture that the feet are
perfectly parallel. Standing with the feet splayed out even slightly puts undue
stress on the knees and hips and will prevent the body from attaining proper
alignment.
Now that your two feet are parallel and hip-width apart, you can address the
vertical alignment of the body. This requires you to work simultaneously on
the skeletal structure and the soft tissues. The soft tissues, which include the
muscles, tendons, ligaments, and the fascia, maintain the alignment of the
skeletal structure. When the bones and joints are properly aligned, the
muscles, ligaments, and tendons which hold the bones and joints in place
don’t need to work as hard in order to maintain your overall vertical shape.
Only then are these soft tissues able to lengthen and relax. In complementary
fashion, when the muscles, ligaments, and tendons are relaxed, the joints can
open and the bones can find their proper alignment.
The goal in postural alignment is to establish an overall straight line from the
head down to the feet. In order to accomplish this, you will need to stretch
out and lengthen the spinal column by elongating the curvature of the spine.
Note, you don’t want to eliminate the curvature altogether, but rather to “seek
the straight in the curved.” Lengthening the spinal column means drawing out
the three individual curves: the cervical, thoracic and lumbar curves
mentioned previously.
Although you want to align your skeletal structure from the top of the head to
the feet, it is best to start with the pelvis. Most people stand naturally with
their pelvis rocked slightly forward. To correct this, you should begin by
consciously tucking your pelvis under by engaging your hip flexors and your
abdominal muscles. This will reduce the lumbar curve. You don’t want to
force the tucking, but a slight tension in your core will probably be needed in
order to level the pelvic bowl.
Next, you can work on suspending your head. The classic example given by
Cheng Man-ch’ing is to imagine that the head was held aloft by a long queue
of braided hair. Those of us who are “queueless” will have to imagine a string
attached to the top of the head. As with the pelvis, most of us don’t have a
level head-top. However, unlike the pelvis, which is typically tilted forward,
most of us jut our chin out, tilting the head backward and placing undue
strain on the neck. So, you need to tuck your chin under in order to level the
top of your head. This will lengthen your neck and reduce the cervical curve.
Now that your pelvis and head are level, you need to work on your shoulders.
Another postural defect that most individuals need to overcome is holding the
shoulders back so that the shoulders are behind their ears. This is the typical
military posture, in which the shoulders are thrown back and the chest is
jutted forward. You may need to reverse this military posture by relaxing and
dropping the shoulders, slightly rounding the shoulder yoke, and hollowing
the chest. This will reduce the thoracic curve which will result in lengthening
the entire curvature of the spine.
If possible, stand sideways to a full-length mirror so you can check to see that
your shoulders and ears are vertically aligned. It is very helpful to use a
mirror at the beginning when practicing standing exercises. Many of us need
the visual cues provided by a mirror in order to see and correct the various
misalignments in our structure. Once you learn what it feels like to stand in
alignment by checking yourself in the mirror, you can perform an overall
body alignment with your eyes closed and allow yourself to “see” the body
with your inner eye: that is to say, through your own self-awareness.
Once your shoulders are relaxed and aligned with your ears, you can hang
your arms at your sides, relaxing both the elbows and the wrists and allowing
the fingers to extend somewhat from the hands. Now your ears, shoulders,
elbows, and wrists should be aligned as in Figure 3-1b.
While maintaining the vertical alignment of the upper body, you can begin to
work on relaxing your thighs and rounding your crotch. Soften your knees
and imagine that there is a tennis ball behind each knee. This will bring the
knees slightly forward. The knees are the only joints that do not align
vertically in the wuji posture. However, the ankles should line up with the hip
bones, which in turn should line up with the shoulders, the ears, the elbows,
and the wrists.
When standing in wuji, or for that matter when practicing any aspect of
tajiquan, it is best to curl the tip of the tongue upward to rest against the soft
palate in the roof of the mouth (located just behind the upper front teeth.)
This connects two major qi channels, also called “vessels,” in the body: the
Governing Vessel (du mai) in the back and the Conception Vessel (ren mai)
in the front. The importance of these two “extraordinary vessels” will be
explained in Chapter Eight, but suffice it to say that connecting these two
vessels facilitates the uniform and continuous flow of qi during the practice
of both standing meditation and moving tajiquan.
Once you have placed all the joints into their proper alignments, you should
continue to stand in wuji posture for at least five minutes per session. As you
stand in wuji posture, you can make slight adjustments to your posture as you
scan your body looking for any defects. Scan internally and try to feel if any
part of the body is out of alignment. Rock slightly to and fro on your feet and
shift your weight from side to side in order to determine the correct weight
distribution. Adjust your head, shoulders, back, pelvis, hips, knees, elbows,
wrists and ankles until you find the proper postural alignment that allows you
to stand with minimal effort in order to maintain your upright posture.
At this stage of your standing practice, you should focus your awareness
solely on your alignment. Breathe naturally without placing undue attention
on the breath. Eventually, you can use the wuji posture to practice Taoist
breathing and other meditative practices. However, you first must master the
simple act of standing effortlessly. This takes time and effort (gongfu) and
progresses gradually over time.
You should incorporate wuji standing into your daily tajiquan practice. The
best time to stand in wuji is after your warm-up exercises but before form
practice. Having completed your warm-up exercises, your body will be
loosened sufficiently for you to be able to correctly align the joints. Doing
your form practice after standing in wuji posture enables you to better
perform each of the postures of the form. It is said that Sun Lu-tang
interspersed periods of standing in wuji posture with rounds of the form,
practicing in this manner for as much as eight hours per day. From this
example, it is clear that standing in wuji posture supports the practice of the
form.
Standing in wuji takes practice, patience, and diligence. The key to success is
continuity. Try to stand for at least five minutes daily. You can increase the
time spent standing as you feel more comfortable holding the wuji posture
without feeling fatigue. As you stand regularly in wuji posture, you will find
that you are able to stand longer and with less effort. Eventually, you will be
able to locate and eliminate the various tensions that cause your ligaments
and tendons to be tight. Standing in wuji literally teaches you to relax and let
go of tension and stiffness. This is the first step in learning to become song.
Exercise 2: Exercise 2 builds upon the work accomplished in Exercise 1.
You should spend at least a week simply standing in wuji as described in the
preceding exercise before proceeding to the second exercise. Remember to be
patient with your practice. The vertical alignment of the joints described in
Exercise 1 is essential to making headway in Exercise 2. You will know you
are ready to advance to the second exercise when you are able to stand
comfortably in wuji posture for at least five minutes without feeling tension,
strain, or needing to come out of the posture because you can’t hold it any
longer.
In Exercise 1, the goal was to learn the technique of stacking the components
of the body one on top of the other. The head was stacked upon the torso; the
upper arms were stacked upon the lower arms, and the lower arms were
stacked upon the wrists; the individual vertebrae of the spinal column were
stacked on top of each other; the torso was stacked upon the pelvis; the pelvis
was stacked upon the thighs; the thighs were stacked upon the knees; and the
shins were stacked upon the ankles.
In this exercise, while standing in wuji posture you will learn how to allow
the weight of each of the body’s components to sink, or fall into, the next
lower component. The key element of this exercise is that the combined
weight of all components above a given joint will fall into that joint. This
involves a process that may be referred to as “releasing, and then releasing
again.” In order to accomplish this sequential releasing, you will begin with
the head and work your way down to the feet.
The sequence is as follows: the weight of the head falls into the neck joint;
the weight of the upper arm falls into the elbow; the weight of the upper and
lower arms falls into the wrists; the weight of the entire arms plus the hands
falls into the fingers. Next, the combined weight of the head, both arms, and
the torso falls into the hip joints; the weight of the head, arms, torso, and
pelvis falls into the two thighs. Then, the combined weight of the head, arms,
torso, pelvis, and thighs will be transferred into the lower legs. The next to
the last step is to open the ankle joints and to allow the entire weight of the
body to fall into the two feet equally while standing at hip-width apart as
described previously.
Think of the individual joints of the body as functioning like gates. By
relaxing the neck joint, you are able to open the neck gate and enable the
weight of the head to fall into the upper back; by relaxing the hip joints, you
allow the weight of the upper body to fall into the lets, etc. What you are
doing in this exercise is opening gates, one after the other, until all the gates
of the body have been opened and the combined weight of the body has
fallen into the feet. The ankle joint is the last major joint in the body, so you
should be finished at this point, right?
In fact, there is one more gate that you need to open. This gate is not a joint
in the physical sense. Instead, it is an “energy gate.” There a number of
energy gates in the body, and you need to discover and learn how to open
each of them in order to attain a high level of skill in the art of tajiquan. The
energy gate you will be working with here is the yongquan point located on
the sole of each foot. Figure 3-4 shows the location of the yongquan point.
Figure 3-4
Having opened all the other gates of the body, and with the combined weight
of the body evenly distributed between the two feet, the final step is to open
the yongquan point in each foot and to allow the combined weight of the
body to fall into the ground. This is no easy task and requires both physical
relaxation of the muscles in the feet as well as mental concentration to open
the yongquan points.
In order to relax the muscles of the feet, lightly press the entire bottom of the
foot onto the surface on which you are standing. You can do this either
barefoot or shod, as long as you are wearing shoes that are comfortable and
non-restrictive. Allow the muscles in each foot to soften and simultaneously
widen and lengthen. Try to imagine each foot as a hand and spread the
“palm” of the foot outward and then press it downward gently yet firmly.
Make sure that the foot is not weighted solely (no pun intended) over the toes
or the heel, nor pressed too much either on the outer or inner edge of the foot.
You want the entire underside of each foot to bear fifty percent of the weight
of the body. In this way, it is easier for the yongquan points in both feet to
open.
Using the power of your heart/mind, or hsien, imagine that each yongquan
point is an energy vortex that you are opening to allow yourself to connect to
the energy of the earth. Visualize the vortex in each foot opening and
expanding. Try to feel the energy of the body dropping down through these
two vortices and combining with the earth’s energy.
The process of sinking the combined weight of the body through the feet and
into the ground is called “rooting.” When you practice rooting, you are
figuratively planting roots into the ground. This gives the body greater
stability. Learning to open the yongquan points is one of the most important
steps in developing true skill in tajiquan. This takes time and mental effort.
However, you will know when it happens, because you will actually feel the
two yongquan energy gates opening. Initially you may feel a spongy feeling
in the balls of the feet, followed by a tingling in the yongquan points.
Eventually you will feel the earth’s energy welling up into these points. For
this reason, the yongquan points are referred to as the “Bubbling Well”
points.
To begin your rooting practice, assume the wuji posture as described in
Exercise 1. Then use the following instructions to open each of the major
structural gates in the body. You may want to record these instructions so you
can listen to them while you practice. In this way you won’t have to
concentrate on remembering the sequence and can focus instead on simply
relaxing and loosening each section of the body.

Breathe in, breathe out, and relax your neck. Allow the weight of your
head to fall onto your shoulders.
Breathe in, breathe out, and relax your shoulders. Allow the weight of
your shoulders to fall into your upper arms.
Breathe in, breathe out, and relax your upper arms. Allow the combined
weight of your upper shoulders and upper arms to fall into your elbows.
Breathe in, breathe out, and relax your elbows. Allow the combined
weight of your shoulders and upper arms to fall into your forearms.
Breathe in, breathe out, and relax your wrists. Allow the combined
weight of your shoulders, upper arms and forearms to fall into your
hands.
Breathe in, breathe out, and relax your finger joints. Allow the combined
weight of your shoulders, upper arms, forearms and hands to fall into
your fingers.
Breathe in, breathe out, and relax your neck. Allow the combined weight
of your head and shoulders plus your arms and hands to fall into the
upper back.
Breathe in, breathe out, and relax your upper back. Allow the combined
weight of your head, shoulders, arms and upper back to fall into your
middle back.
Breathe in, breathe out, and relax your middle back. Allow the
combined weight of your head, shoulders, arms and upper and middle
back to fall into your lower back.
Breathe in, breathe out, and relax your lower back. Allow the combined
weight of your torso to fall into the pelvis.
Breathe in, breathe out, and relax your hip joints. Allow the combined
weight of your torso and your pelvis to fall into your thighs.
Breathe in, breathe out, and relax your knee joints. Allow the combined
weight of your torso, pelvis and your thighs to fall into your lower legs.
Breathe in, breathe out, and relax your ankles. Allow the combined
weight of your body to fall into your feet.
Breathe in, breathe out, and relax the yongquan points in your feet.
 Allow the combined weight of your body to fall through the yongquan
points and into the ground.

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

Conclusion
The importance of song is fundamental to the study of taijiquan. Whether
you practice taijiquan for exercise, health, longevity, or as a martial art, the
benefits you derive will largely depend upon your ability to be song. As with
the qualities of yin and yang, song is a relative state. Yang Cheng-fu taught
his students that they had to pass through definite stages over a many years of
practice.31 Chen Xiaowang also places great emphasis on the developmental
progression of the practitioner through the “Five Levels of Skill.”32
Although we say that song is relative and that one can become more song
over time, song can also be considered to be a discrete state. In this sense,
one is either song or not song. This is just one more example of the
seemingly contradictory aspects of the art of tajiquan. Recall the dictum from
the beginning of the chapter that “Ninety-nine percent song is one hundred
percent wrong.” Despite this strict assessment, however, you should not be
discouraged with the incremental nature of your progress. It simply means
that you must practice faithfully as the ancients taught: every day, morning
and evening, winter and summer. In this way, your success will be assured.
This chapter has described the principle of song and has introduced the
simple practice of standing in wuji posture as a tool for developing song and
rootedness. Although you can increase your ability to be song through
standing exercises, standing alone is not sufficient to become completely
song in all aspects of the body. The ability to be song not only requires
proper alignment through relaxation and sinking down. It also depends upon
the ligaments, tendons and sinews of the body being stretched and loosened.
In order to accomplish this, the students of tajiquan must engage in a daily
routine of stretching and loosening exercises.
Chapter Four, which follows, provides a simple but effective stretching
routine. Chapter Five includes instructions on how to perform the five
loosening exercises developed by Huang Sheng Shyan. Chapter Five also
presents a series of exercises known as “silk-reeling.” Through the daily
practice of the exercises presented in these two chapters, you will gradually
be able to lengthen, strengthen and loosen the muscles, ligaments and
tendons, which will, in turn, enable you to deepen your ability to be song.
 Chapter Four

Stretching Exercises

After several years of studying taijiquan, many students still appear wooden
and mechanical when practicing the form. Accordingly, they lack skill in
neutralizing their partners’ energy during pushing hands and instead hide this
defect by stiffly resisting any attack and attempting to crudely repel their
opponents using hard, muscular force. The fault in such cases often lies in the
underlying rigidity of their musculoskeletal system. They are unable to relax
tight muscles and ligaments and must learn how to loosen stiff tendons and
joints.
In order to become song, one must first become supple and limber. This is
challenging, especially for individuals who have led a sedentary lifestyle,
causing their ligaments and tendons to shrink and their joints to become tight
with disuse. However, not only sedentary individuals have difficulty in
loosening up. Many individuals who have been very active find that the same
over-developed musculature that is the result of their active lifestyle actually
becomes a hindrance when attempting to stretch and loosen the muscles,
ligaments, and tendons. The same joints that have become tight in the case of
sedentary individuals through underuse can become similarly bound up in the
case of active individuals as a result of overuse.
The secret to developing supple and flexible ligaments and tendons and to
opening all the joints of the body is to engage in a regular and extensive
regimen of stretching and loosening exercises. Most tajijquan instructors
allocate a segment of each class to such exercises. However, in many cases
the perfunctory ten minutes or so of gentle stretching is insufficient to
overcome the accumulated years of tension and stiffness brought about by
poor posture and inactivity or excessive muscular development. To further
worsen matters, most students neglect stretching at home altogether and only
practice the form when not in the classroom. Unfortunately, such students
typically spend no more than ten minutes stretching once or twice per week.
A suitable warm-up routine should consist of two portions: a stretching
session lasting about fifteen minutes and a loosening session lasting another
ten to fifteen minutes. This chapter presents a comprehensive stretching
routine, which will be described in detail in the following section. Chapter
Five presents the loosening routine, which includes a series of loosening
exercises followed by a sequence of chan ssu jin, or silk-reeling exercises.
This combined stretching and loosening routine, or a similarly
comprehensive stretching and loosening routine, is recommended for all
students who are serious about improving their tajijquan practice.
You may want to go through the stretching routine gently for the first few
times in order to get a feel for each exercise and to determine how far you can
stretch without undue strain. You may also choose to undertake the stretching
and the loosening routines separately to avoid becoming overtired (and
overwhelmed). Carefully begin to stretch the muscles, ligaments and tendons
a little past their normal limits in order to increase your range of motion. You
don’t want to overdo it and run the risk of injury. Take it slow and easy; you
will know when you can push yourself a little further. Realistically, you
should begin to see some increase in flexibility and range of motion within
about two weeks. What you’re seeking here are gains measured in
millimeters, not inches.
Try to make stretching and loosening a regular part of your daily taijiquan
practice. You should strive to perform each of the exercises with the same
awareness and concentration that you dedicate to the form. For example,
when you are standing in order to perform neck rolls, stand as if you are
preparing to begin the form. Concentrate on rooting the feet and relaxing the
upper body. When you are standing in bow stance in order to swing the arms
to loosen the shoulders, make the bow stance long, wide, and deep. When
rotating the arms like propellers to loosen the elbows, engage the entire torso.
Maintain your focus on each exercise and don’t allow your attention to drift
off. Be present with each exercise, conscious of your body and how each
joint works (or doesn’t) the way it is supposed to.
It is best to stretch before loosening, and to stretch and loosen before
commencing form practice. If you only have a little time and you want to
launch directly into form practice, at least do a little stretching and loosening
first. That way you will not only avoid the risk of injury but will also enable
the qi to flow more freely and thereby receive greater benefit from your form
practice.

The Stretching Routine

The following stretching routine includes exercises designed to strengthen,
lengthen, and loosen all the joints of the body. The routine starts with the
neck and works its way systematically down to the toes. Having gently
stretched the body from head to toe, the routine moves on to additional
exercises designed to open the groin, strengthen the legs, and provide overall
flexibility in the lower body. Photographs have been included where a written
description is insufficient.
As you execute each of these stretching exercises, be sure to breathe
normally. Don’t hold your breath as you stretch. It is best to breathe in and
out through the nose rather than through the mouth. Take long, slow breaths,
and allow your body to relax into the stretches.

1. Neck rolls - Stand erect with your feet parallel and hip width apart.
Drop your head forward and proceed to rotate it to the right, back, to the
left, and forward again. Keep the motion circular and smooth. Repeat
eight times clockwise and then reverse and perform eight repetitions in a
counter-clockwise direction.
2. Turn your head left and right: Remain standing and look straight
ahead. Turn your head to the left until you feel a slight strain on the right
side of your neck. Keep your head level. Hold for an eight-count and
then return your head to look straight ahead. Now perform the same
exercise looking to the right. Repeat each side one time.
3. Tilt your head left and right: Position your head to look straight ahead.
Push your right shoulder down slightly and then tilt your head over to
the left side until you feel a slight strain in your right shoulder and neck.
Hold for an eight-count and then return your head to look straight ahead.
Now perform the same exercise tilting your head to the right. Repeat
each side one time.
4. Tilt your head front and back: Look straight ahead. Push both of your
shoulders down slightly and then tilt your head forward until you feel a
 slight strain in the back of your neck. Hold for an eight-count and then
return your head to look straight ahead. Now perform the same exercise
by tilting your head backward until you feel a slight strain in the front of
your neck. Repeat forward and backward one time.
5. Shoulder shrugs: Stand erect as before and pull both of your shoulders
up as high as you can. Inhale and hold the breath and your shoulders in
place for an eight count. Exhale and simultaneously release all the
tension in your shoulders, dropping them down with an audible “Ha!”
sound. Repeat a total of four times.
6. Rotate both shoulders forward: Stand erect with feet hip width apart.
Rotate both of your shoulders forward simultaneously. Make as large a
circle with your shoulders as you can. Repeat for a total of eight times.
7. Rotate both shoulders backward: Perform the same exercise as above
but change direction to roll your shoulders backward eight times.
8. Rotate alternate shoulders forward: Perform the forward shoulder
rotation with one shoulder leading the other. Both of your shoulders
should be in motion, but out of sync by 180 degrees. Repeat for a total
of eight times.
9. Rotate alternate shoulders backward: Perform the same exercise as
above but change direction to alternately roll your shoulders backward
eight times.
10. Swing your arms forward and backward: Stand in a left bow stance
(archer’s stance) with your left foot forward. Loosen your right shoulder
and swing your right arm forward in a large, vertical circle as shown in
Figure 4-1. Repeat for a total of eight times. Next, reverse the direction
of your swinging arm to make circles in reverse for a total of eight
backward circles. Change to a right bow stance and repeat the exercise
with your left arm.
Figure 4-1
11. Horizontal elbow circles forward and backward: Stand erect with
your feet hip width apart. Hold both of your arms in front of your body
at chest height as shown in Figure 4-2. Circle your arms horizontally
outward, one following the other, for a total of eight times. Imagine that
your arms are the blades of an old-fashioned reel lawn mower. Now
reverse the direction of the circles and repeat for a total of eight times.
Figure 4-2
12. Vertical elbow circles clockwise and counter-clockwise: From the
preceding exercise, change your arms to a vertical orientation and make
vertical circles clockwise with one arm following the other a half-circle
behind. See Figures 4-3a and 4-3b. Imagine that your arms are twin
propellers. Repeat for a total of eight clockwise circles. Now reverse the
direction of the vertical circles and perform eight counter-clockwise
circles.
Figure 4-3a
Figure 4-3b
13. Fling your arms outward: Stand erect with your feet hip width apart.
Bend down slightly allowing your arms to hang downward. Imagine that
you are dipping your hands in a washbasin filled with water. Now rise
up quickly and, as your legs straighten, bring your arms in slightly to
your body and then fling them outward as if you are flicking water off
your fingers. Repeat for a total of four times. See Figures 4-4a and 4-4b.
Figure 4-4a
Figure 4-4b
14. Fling your arms downward: Stand erect with your feet hip width apart.
Rise up and circle your arms out, around, and then in upward. Drop
down quickly and fling your arms downward as if you are trying to flick
something sticky off your fingers. Repeat for a total of four times. See
Figures 4-5a and 4-5b.
Figure 4-5a
Figure 4-5b
15. Wrist rolls: Stand erect with your feet hip width apart. Clasp your
hands together lightly with the fingers interlaced. Roll your hands
around the wrists eight times clockwise. Change direction and repeat
eight times counter-clockwise.
16. Figure Eights: Stand erect with your feet hip width apart. Extend your
arms out from the shoulders and rotate your arms so that your two wrists
are facing each other. Form mirror-image figure eights with each hand,
concentrating on the circular motion of the wrists. Perform eight series
of figure eights. Reverse the direction of each hand and repeat for a total
of eight figure eights.
17. Push your wrists down: Stand erect with your feet hip width apart.
Clasp your hands together at chest height as if you are praying. Keeping
your hands vertical and together (don’t let them drift forward or apart)
pull your hands down until you feel a slight strain in your wrists. Try not
to lift your shoulders as you do this exercise. Hold for an eight count.
Repeat four times.
18. Pull your wrists up: Turn your hands over with the fingers pointing
down. Pull your hands up until you feel a slight strain. Again, don’t let
your hands drift outward or separate, and be sure not to engage your
shoulders. Hold for an eight count. Repeat four times.
19. Turn your wrists in: Now point your hands outward. Turn your hands
over to point inward until you feel a slight strain in your wrists. Hold for
an eight count. Repeat four times.
20. Fingertip pushups: Place the tips of the fingers of each hand in contact
with the fingertips of the other hand. Keep your palms apart.
Maintaining some tension in the fingers, press your palms together,
separating the fingers and splaying them outward. Hold for an eight
count. Repeat four times.
21. Shake it out: Stand erect with your feet hip width apart. Allow your
arms to hang down from your shoulder sockets. Bounce gently up and
down and allow your arms to shake with the movement of the torso.
Completely loosen your arms from the shoulders down to the fingers
with each “shake”. Repeat for a total of eight “shakes.”
22. The bear wakes up: Stand erect with your feet shoulder width apart.
Hang your arms down at your sides. Now rotate your hips and shoulders
first to one side and then the other. Allow your arms to swing up and
wrap around your torso to lightly tap front and back. Imagine that you
are a bear emerging from hibernation and want to work out the kinks by
slapping yourself awake. Don’t force your arms; instead allow them to
remain loose and use the centrifugal force of the rotation of your torso to
propel your arms. See Figures 4-6a and 4-6b.
Figure 4-6a
Figure 4-6b
23. Forward bends: Stand erect with your feet hip width apart. Inhale and
raise your hands high overhead. Now exhale and bend forward, leading
with your head, until your hands are hanging straight down. Relax your
neck and your lower back. Hang for an eight count, breathing naturally.
Then, inhale and roll up, leading with your lower back and stacking the
vertebra one on top of the other until you are again standing erect. Float
your arms over your head and repeat once more. See Figure 4-7.
Figure 4-7
24. Twisting forward bends: Stand with your feet hip width apart and float
your arms over your head. Twist to your right and bend forward as
before. Hang downward with your hands on the right side of your feet
and relax. See Figure 4-8. Breathe naturally and hold for an eight count.
Now, while still bending over, rotate forward until you are hanging with
your hands in front of your feet. Then, slowly roll up one vertebra at a
time as in the preceding exercise.
Figure 4-8
25. Backward bends: Stand with your feet hip width apart and press your
palms against your lower back, fingers facing downward. Use your
palms to push your pelvis forward. Then lean back slightly. See Figure
4-9. Don’t lean backward too far until you are sure of your own
limitations. Hold for an eight count and breathe naturally. Using your
palms to support your lower back, slowly return to an upright position.
Repeat one time.
Figure 4-9
26. Side bends: Stand with your feet wide apart. Place your left hand on
your left hip with the fingers forward and the thumb behind. Raise your
right hand over your head with the palm facing up. Try to maintain a
curve in your right arm. See Figure 4-10. Now press your pelvis
sideways toward the right as you incline your torso over to the left. The
trick here is to push your pelvis sideways before inclining your torso.
Hold for an eight count. Return to vertical, reverse your hands, and
perform the exercise pushing your pelvis to the left as you incline your
torso to the right. Repeat the exercise one additional time on each side.
Figure 4-10
27. Hip circles: Stand with your feet hip width apart and place the palms of
both hands on your hips. Bend your knees slightly and then rotate your
hips in a clockwise direction. Try to keep your torso and especially your
head erect as you rotate your hips. Complete eight clockwise circles and
then reverse and complete eight counter-clockwise circles.
28. Knee circles: Stand with your feet together and place the palms of both
hands over your knees with the fingers pointing down. Bend your knees
between fifteen and forty-five degrees, depending upon your level of
flexibility. Using your palms to support your knee joints, press your
knees together and then rotate your two knees as a single unit in a
clockwise direction for eight rotations. Rise up and then bend down
again and rotate your knees together in the counter-clockwise direction
for eight rotations.
29. Push your knees back: From the preceding exercise, keep your palms
on your knees and rise up. Press your knees backward, extending your
legs fully. Hold for an eight count.
30. Squat down: From the preceding exercise, squat down as low as you
are able without placing undue strain on your knees. Again, use your
two hands to both support your knees and press them together. If you
can squat all the way down to rest your buttocks on your ankles that is
ideal. If not, use the strength in your thighs to support yourself in the
squatting position. See Figures 4-11a and 4-11b for both options. Hold
for an eight count and then rise up.
Figure 4-11a
Figure 4-11b
31. Ankle circles: Stand with your feet approximately hip width apart but
with your right leg extended forward and outward as shown in Figure 4-
12. Place the toes of your right foot on the ground. Rotate your right foot
around the ankle joint for a total of eight rotations. Repeat for your left
foot and ankle.
Figure 4-12
32. Achilles’ tendon stretches: Stand in the same posture as the previous
exercise. This time place the heel of your right foot on the ground. Lean
forward and grasp the toes of your right foot with both hands and pull
upward. See Figure 4-13. If you are unable to reach your toes with either
hand, grasp your ankle or even your calf and pull up. Hold for an eight
count and then release. Change legs and repeat on the left side.
Figure 4-13
33. Bent toe stretches: Stand with your feet hip width apart. Then extend
your right foot backward approximately two feet. Place the toes of your
right foot on the ground and then lift the right heel off the ground. Bend
both knees approximately forty-five degrees and sink down. This will
cause your right toes to flex. Bounce and flex the toes of your right foot
eight times. Then change legs and repeat for the toes of your left foot.
34. Hamstring stretches: Stand close to a wall and place your hands on the
wall at approximately shoulder height. Place your left foot and knee
against the wall. Extend your right leg backward as shown in Figure 4-
14. Press your left knee against the wall and push your right heel
backward to create a lengthening of your right leg. Hold for an eight
count. Reverse the stance and repeat with your left leg extended
backward.
Figure 4-14
35. Achilles’ tendon stretches: Stand on a door ledge or similar elevation
(not too high). The photo shown in Figure 4-15 employs a specially-
designed apparatus for performing this stretch. Hold onto the door frame
or a banister if possible. Placing all the weight on your right foot, press
the heel of your left foot downward to create a stretch in the sole of your
left foot. Hold for an eight count. Reverse feet and repeat.
Figure 4-15
36. Triangle forward bends: Stand with the feet slightly wide apart. Bend
forward and place both of your palms on the floor at approximately
shoulder width. Lean forward and downward, supporting your weight
with your hands as shown in Figure 4-16. Try to separate your feet a few
more inches by duck walking them further apart. Hold for an eight
count. Now walk your feet closer together until they are approximately
shoulder width apart. Then come up by rolling up one vertebra at a time.
Figure 4-16
37. Hip flexor stretches: Stand with your feet hip width apart. Place the
entire weight of your body on your right foot and lift your left knee up
until the thigh is parallel with the ground. Allow your left shin and foot
to hang down naturally as in Figure 4-17a. Now, keeping the thigh
parallel to the ground, rotate your entire left leg outward ninety degrees
until it is in the position shown in Figure 4-17b. Drop your foot to the
ground and bring your foot back to hip width distance facing forward.
Repeat for a total of eight times. Then change legs and repeat, standing
on your left leg and lifting and rotating your right leg eight times.
Figure 4-17a
Figure 4-17b
38. Extended leg toe circles: Stand with your feet hip width apart. Place the
entire weight of your body on your right foot and bend your right knee
slightly. Extend your left leg forward with the toes pointing out. Hold
your arms out to your sides for balance as shown in Figure 4-18. Make
small vertical circles, approximately twelve inches in diameter, in the air
with the toes of your left foot. Make eight clockwise circles and then
reverse to make eight counter-clockwise circles. Change legs and repeat.
Figure 4-18
39. Heel kicks: Stand with your feet hip width apart. Place the entire weight
of your body on your right foot and bend your right knee slightly. Raise
your left leg until your left thigh is parallel with the ground. Allow your
left shin and foot to hang down naturally. Cross your arms in front of the
body with your left arm in front. Now lift your left foot up with the
entire sole of the foot facing outward as in Figure 4-19a. Then extend
your left foot slowly outward, leading with the heel, to execute a slow-
motion heel kick. At the same time, open your arms in two crescent-
shaped curves to finish in the position shown in Figure 4-16b. Hold a
few seconds in this extended position. Then withdraw your extended left
leg and return your arms back to the position shown in Figure 4-19a.
Repeat for a total of eight times and then change legs and perform eight
slow-motion heel kicks with your right leg.
Figure 4-19a
Figure 4-19b
40. Crescent kicks: Stand with your feet hip width apart. Angle your right
foot outward approximately thirty degrees. Place the entire weight of
your body on your right leg and bend your right knee slightly. Lift your
left leg up with the toes pointed outward and sweep it first to the right
side of your body and then across your body to the left side in a
sweeping crescent-shaped curve. The apex of the curve should reach at
least shoulder height. As the leg is sweeping up, over and across the
body, extend your arms outward palms down and try to slap the bottoms
of both sets of fingers with the tops of your left toes. See Figures 4-20a
and 4-20b. Repeat for a total of eight times and then change to the other
leg for an additional eight repetitions.
Figure 4-20a
Figure 4-20b
41. Cross-legged squats: Begin with your feet hip width apart. Step out
with your left foot and place it on the ground turned outward
approximately thirty degrees. Bend your left knee approximately thirty
degrees. Now bend your right knee and squat down until your right knee
is nestled behind your bent left knee. Continue to squat down until you
can sit down with your right buttock resting upon the elevated heel of
your right foot. Rest your hands comfortably on top of your left knee.
See Figure 4-21a. If you can’t sit down completely, don’t worry about it.
Just support the weight of your body using the muscles of your right
thigh and left calf. Every time you perform this exercise, try to sink a
little lower. Eventually you will be able to sit with the right buttock
resting on your right heel. As an additional challenge, before sitting
down, extend your arms outward and cross your left arm over the right.
Grasp both of your hands together with the fingers interlaced. Then, as
you sit down, fold your arms back toward your body so that your
clasped hands are pointing up with your right hand forward as in Figure
4-21b. Repeat twice on each leg. Please note that, if you feel any strain
or sharp pain in either knee, rise up and try again holding on to a chair or
other stable object and lower yourself again slowly. If the pain persists,
skip this exercise.
Figure 4-21a
Figure 4-21b
42. Squatting hurdler’s stretches: Stand with your feet wide apart and
pointing outward as in a duck stance. Bend your right knee and squat
down onto your right foot while extending your left leg. Squat as low as
you are comfortable. Try to keep your upper body erect. See Figure 4-
22. Repeat twice on each leg. As in the preceding exercise, if you feel
any strain or sharp pain in either knee, rise up and try again holding on
to a chair or other stable object and lower yourself again slowly. If the
pain persists, skip this exercise.
Figure 4-22
43. Standing hurdler’s stretches: Find a parallel bar, the back of a high
couch, or a counter-top. Stand on your right leg with your right toes
parallel to the bar and approximately three feet apart. Lift your left leg
up and place the heel of your left foot on the bar. Lean forward and wrap
the fingers of both hands around the erect toes of your left foot. See
Figure 4-23. Hold the stretch for an eight count. Release your hands and
then release the heel of your left foot from the bar. Lower your left leg.
Repeat twice on each leg.
Figure 4-23
This completes the stretching routine, which will serve to lengthen, loosened
and, for some muscle groups, strengthened all the major muscles, ligaments
and tendons of the body. In addition to this stretching routine, it is highly
recommended to include the loosening and silk-reeling exercises presented in
the following chapter prior to beginning your standing and solo form
practice.

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

Loosening and Silk-Reeling Exercises

The preceding chapter presented a series of exercises designed to stretch and

lengthen all the major muscle groups, joints, tendons, and ligaments of the
body. The purpose of this stretching routine is to open the joints and stretch
the muscles and their associated connective tissues. Stretching the body prior
to practicing taijiquan serves two purposes. The first is to prepare the body
for the movements performed during the taijiquan form. Depending upon the
family style and the intensity with which one practices, individual postures
can overextend certain muscles and joints in the body. Therefore, stretching
prior to practice can aid in avoiding injury.
A second function of any stretching routine is to open up the joints so that the
qi can flow unobstructed through the meridians that pass through those joints.
While stretching is essential to the free flow of qi throughout the body,
stretching alone is not sufficient to open the joints of the body completely. In
order to fully open up the joints of the body, stretching should be combined
with some type of loosening routine. Loosening routines, such as the five
loosening exercises presented below, employ smooth, continuous, repetitive
movements in conjunction with the coordinated opening and closing of the
related joints from the upper and lower portions of the body.
Another category of movements, chan ssu jin, or silk-reeling exercises, is
also very important in facilitating the movement of the qi through the body.
These exercises are very similar in purpose to the loosening exercises
referred to in the preceding paragraph. However, unlike simple loosening
exercises that merely open the joints, silk-reeling exercises focus more on the
sequential opening and closing of the joints combined with the directed
movement of the qi. As such, silk-reeling exercises are somewhat more
advanced than simple loosening exercises.
A good warm-up routine will include all three: stretching, loosening, and
silk-reeling. Having spent at least ten to fifteen minutes on each of these three
types of preliminary exercises, the practitioner will be sufficiently stretched
out and loosened up and will have accumulated sufficient qi to derive the
maximum benefit from his or her taijiquan practice. Indeed, if we remind
ourselves that “Everything is Taiji,” then we can (and should) consider the
warm-up exercises to be as much a part of our taijiquan practice as
performing the actual form, weapons, pushing hands, etc.

The Six Harmonies

When a novice taijiquan practitioner steps through the individual postures of
the form, she is typically preoccupied with the grosser aspects of the
movements. Where does the left hand go? Where does the right foot go? How
should she distribute her weight, etc? This is understandable, as the
movements at first seem rather complicated. However, this preoccupation
with “getting it right” focusses her attention on large-scale movements. When
we practice taijiquan, we need to pay attention to the details of each
movement. Rather than simply moving the arm or the leg as a unit, we need
to begin to think of how each joint in that limb (be it an arm or a leg) moves
in relationship to the other joints in that limb. We also must consider the
relationship of that limb relative to the other limbs of the body. Additionally,
we should be aware of how the upper body moves in concert with the lower
body.
The Taiji Classics state that “When one part moves, everything moves.” This
important principle applies to every movement of the form. However, the
movement of “everything” needs to be coordinated; otherwise the movement
of the physical body will not support the underlying movement of the qi. If
the qi does not move in conjunction with the body, there will not be any
resulting power associated with the body’s movement. Externally the
movement will appear stiff and clumsy, and internally the movement will be
lifeless. In order to ensure proper movement of the body externally and
correct movement of the qi internally, the practitioner must pay attention to
the Six Harmonies.
The Six Harmonies reflect the relationships between the joints of the limbs
and also between the mind, the qi, and the emitted power. The relationships
between the joints are referred to as the Three External Harmonies, or wai
san he. The Three External Harmonies are: the shoulders in harmony with the
hips; the elbows in harmony with the knees; and the wrists in harmony with
the ankles. The Three Internal Harmonies, or li san he, are: the mind (xin) in
harmony with the intent (yi); the intent in harmony with the qi; and the qi in
harmony with the emitted power, or jin. The Three Internal Harmonies will
be discussed in greater detail in subsequent chapters. In this present chapter,
the focus will be on the Three External Harmonies and how we can
incorporate them into our taijiquan practice.
Before addressing the interrelationships between the individual joints of the
body, it is helpful to identify the joints that are involved in those
interrelationships. In taijiquan we work with nine different joints (in fact,
there are more than nine joints if we take into account the individual
vertebrae in the spine as well as the joints in the fingers and the toes.) The
three joints in the arm are the shoulder, the elbow and the wrist; the three
joints in the leg are the hip, the knee and the ankle; and the three joints in the
torso are the waist, the back, and the neck. The back itself is often further
subdivided into the lower, middle and upper back.
The Three External Harmonies require that the movements of the shoulders
be coordinated with the movements of the hips; the movements of the elbows
be coordinated with the movements of the knees; and the movements of the
wrists be coordinated with the movements of the ankles. The function of the
torso and the waist is to work together like an axle and a hub, thereby
connecting the upper and lower limbs of the body and allowing them to turn
freely from side to side. This corresponds to the imagery from the Taiji
Classics: “Stand like a balance; turn like a wheel.”
Having identified the major joints in the body and defined the relationships
between the joints of the upper and lower limbs, we can now consider how
those relationships should be incorporated into the individual movements of
the taijiquan form. Several examples from different family styles will clarify
this issue. For the first example, consider the transition into Brush Knee
Twist Step (right side) from the Sun style. As the practitioner moves into the
finished posture, the left hand pushes forward as the left foot steps up. In this
case, the wrist of the left hand is coordinated with the ankle of the left foot.
See Figures 5-1a and 5-1b below.
Figure 5-1a
Figure 5-1b
The coordination between the movement of the wrist joint of the left hand
and the ankle joint of the left foot is just one of the many coordinated
movements that occur in the Brush Knee Twist Step posture as illustrated
above. Additionally, the movement of the right hand must be coordinated
with the movement of the right foot, the elbows and knees on each side of the
body must move in a coordinated fashion, as must the shoulders and the hips.
In this way, the entire upper body is coordinated with the lower body. Also,
the right side of the body is coordinated with the left side of the body, thereby
balancing the yin and yang on the left and right sides.
A second example, taken from the Wu Chian-chuan style of taijiquan,
illustrates how all three of the external harmonies come into play to store and
transmit power, or jin, in the posture of Step Up, Diverting and Blocking Fist.
In the transition to the final position of this posture, the practitioner stores
potential energy in the bent right leg, the waist (which is turned somewhat to
the right), and the bent right arm. This can be seen clearly in Figure 5-2a
below.
Figure 5-2a
Figure 5-2b
In order to emit the jin required to power the punch, the practitioner shifts
forward onto the previously unweighted left leg. Power is transmitted up
from the right leg, through the waist as it turns forward, and into the right arm
as it straightens out into the punch. This accords with the Taijiquan Classics,
which state that power originates in the leg, is transferred by the waist, and is
expressed in the arm and hand. The power created from the right leg and the
waist should be transmitted through the body to the fist.
In the transition from the position shown in Figure 5-2a to the final posture
shown in Figure 5-2b, the three joints of the right leg work in conjunction
with the three joints in the right arm as the leg and the arm straighten and
extend forward. There is a similar correspondence between the three joints in
the left leg and the three joints in the left arm. Both the left leg and the left
arm are initially extended but fold at the knee and the elbow respectively as
the punch is delivered on the right side of the body.
As you can see from the preceding two examples, it is very important to be
aware of the Three External Harmonies and to integrate the unified
coordination of the joints in the legs and the arms into every posture of the
form, regardless of the style of taijiquan you practice. The question then
arises, how does one train to develop the kinesthetic sense of the proper
coordination between the hips and the shoulders, the knees and the elbows,
and the ankles and the wrists?
One way to train the body to move in a coordinated fashion is to engage in
simple, repetitive movements that emphasize the correspondence between the
joints of the legs and the arms. In particular, the loosening exercises and the
silk-reeling exercises introduced in the following sections of this chapter will
help you develop the appropriate body awareness and the ability to
coordinate the harmonious movement of the arms and legs. With sufficient
practice, these deceptively simple movements will help you incorporate the
Three External Harmonies into all the movements of your taijiquan form.

Huang Sheng Shyan’s Five Loosening Exercises

Grandmaster Huang Sheng Shyan, who passed away in 1992, was one of the
most famous and arguably the most accomplished of Professor Cheng Man-
ch’ing’s students. Grandmaster Huang was renowned for his softness, root,
and the ability to push students for dozens of yards without moving his arms.
His fa jin was the stuff of legend. Perhaps more than any other practitioner of
taijiquan of the twentieth century, he embodied the concept of steel wrapped
in cotton.
Grandmaster Huang developed a series of five loosening exercises intended
to open up all the major joints of the body while simultaneously loosening
and lengthening the ligaments and tendons. This section presents a written
description accompanied with a few photos to illustrate these five simple
exercises. However it is highly recommend that you seek out videos of
Grandmaster Huang performing them in person in order to gain a true
appreciation of how loose Grandmaster Huang was, even into his later years.
It is difficult to represent such a dynamic practice as loosening all the joints
of the body in a written description. There are many subtleties involved in
these deceptively simple-looking movements. Furthermore, the transitions
which Grandmaster Huang performs in switching from one exercise to the
next are rather difficult to describe or to document in photographs. For this
reason, the written instructions and photos of these exercises cannot convey
the full detail of how to perform them. Please consider the following to be a
simplified version of the exercises. Again, you are encouraged to seek out
videos of Grandmaster Huang performing these exercises. Such videos are
readily available online.
Before reading the specific instructions below, please note that it is extremely
important to be completely loose and relaxed when performing them. In
particular, you need to allow your arms to hang from the shoulders like
strands of heavy rope. Imagine that your hands are knots tied at the ends of
the rope. As you swing your arms, allow the centrifugal force created by the
waist and hips as they twist from side to side or swing forward and back to
control the movement of the arms and hands. In particular, don’t force the
arms to swing higher or farther forward than their own momentum will carry
them.
When performing each of these loosening exercises, be mindful of the Three
External Harmonies at all times. Be especially aware of the opening and
closing of the individual joints in the arms and the legs. When rising up, the
legs straighten up from the ankles, the knees, and then the hips. When the
arms extend, begin with the shoulders, then the elbows, and finally the wrists.
When sinking down, the process is reversed. First the wrists drop, then the
elbows, and finally the shoulders. Similarly in the legs, the sinking begins in
the hips, then the knees, and lastly the ankles.
Loosening Exercise 1: To begin, stand with your feet together. Then step out
with your left foot and stand in a shoulder-width parallel stance. Allow your
arms to hang loosely in front of your torso with your hands crossed at the
wrists. Relax and round the shoulders and pull in the chest slightly, thereby
raising the back. Sit down into your stance and then push up from your feet to
elevate your torso. Use the upward momentum to float your arms up and out
to the sides. See Figure 5-3a.
Slowly rotate your entire torso from side to side, moving only from the waist.
It is crucial that the rotation come from the waist and hips and not the
shoulders. Also, don’t allow your head to rotate more than your shoulders or
your waist. A good rule of thumb here is: “Nose and navel in alignment.”
As you rotate continuously and smoothly from side to side, allow your
loosely hanging arms to swing slowly downward and then upward in the
following fashion: as you rotate to the left, your left arm swings up behind
the torso while your right arm swings up and across the front of the torso.
Don’t exaggerate this swinging motion, but allow your arms to move
according to the centrifugal force provided by the waist rotation.
As you complete the rotation to one side and return to face forward, allow
your arms to return to the sides of your body and to extend laterally outward
and upward to no more than shoulder height. Then continue rotating to the
opposite side, drawing your arms down before swinging up once more with
one arm in front and one arm behind the torso. Figure5-3b shows a left-side
rotation. Pay particular attention to the position and height of the arms in
each photograph. Continue rotating and swinging the arms side to side for at
least two minutes.
Figure 5-3a
Figure 5-3b
This exercise works the entire torso, from the shoulders on down to the hips.
The key to this exercise is to loosen the shoulder joint as much as possible. If
the shoulder joint is loosened, the arms will swing naturally and the elbows
and wrists will follow without strain or effort. Also, this exercise alternately
opens the hip region, known as the kua, on each side of the body. The kua
must be actively engaged in order to rotate the waist. Try as much as possible
to release any muscular tension in this region as you continue to rotate your
waist.
Loosening Exercise 2: Stand as before in a shoulder-width parallel stance
with your arms hanging loosely at your sides. This time, you will simply sink
down and then rise up by first sinking into your hips, your knees, and your
ankles slightly and then extending them to elevate your torso. By performing
this simple compression and expansion of the hips, knees, and ankles, you
will set up a pumping action that will cause your torso to rise up like a Jack-
in-the-Box. Each time you rise up, allow your arms to swing up and outward
laterally to no more than shoulder height. As you drop down and compress
your knees, permit your arms to swing back down and cross in front of your
body. Figures 5-4a and 5-4b show the upward and downward positions of this
exercise.
Figure 5-4a
Figure 5-4b
It is best if you change which hand is in front with each time your arms cross
in front of your torso in the descending posture. This will balance out the yin
and yang energies in each arm. Perform this simple pulsing movement, rising
and falling while simultaneously swinging the arms up and out and then
down and across the torso, for at least two minutes. This exercise continues to
work the shoulders as well as the elbows and wrists. However, this exercise
also engages the hips, the knees, and the ankles. The pumping action of the
thigh and calf muscles gently lubricates the hip joints, the knee joints, and the
ankle joints as they alternately close and open.
Loosening Exercise 3: Stand in a hip-width parallel stance with your arms
hanging loosely at your sides as in the preceding two exercises. While
looking straight ahead, swing your hips alternately forward and backward.
Use this rocking action to create the momentum necessary to swing one arm
forward while the other arm swings backward as follows: as the left hip rocks
forward, allow the left arm to swing forward and up to no more than chest
height; simultaneously allow the right arm to swing backward and up to
approximately the height of the lumbar region. Figure 5-5a shows the
position of the arms with the right side of the pelvis rocked forward. Figure
5-5b shows the position on the opposite side of the body.
Figure 5-5a
Figure 5-5b
This exercise involves the opening and closing of the kua on either side of the
waist. As you swing the left arm up, you sink into the right hip and close the
right kua while you simultaneously open your left kua. In order to withdraw
the left arm, you begin to sit into your left hip and close the left kua as you
open your right kua. The act of sitting into one hip and closing the kua on that
side as you open the kua on the opposite side creates a pendulum effect that is
expressed in the swinging forward and backward of the two arms.
Repeat this simple rocking from side to side with the arms alternately rising
in front and then behind for two minutes. If you observe yourself in a full-
length mirror, you will appear somewhat like a chimpanzee walking on two
legs (without the stepping part, of course.) This is a good image for what this
exercise feels like internally. Here again you are working on your shoulders,
elbows and wrists while simultaneously loosening the muscles in the hips,
and the waist. You should feel an almost springy sensation, as if you had a
“spring in your step” (again, without actually stepping.)
Loosening Exercise 4: Stand with your feet hip width apart. Allow your
arms to float laterally outward and upward to shoulder height. Then collapse
your forearms in toward the chest until you can press your hands gently
together as in prayer. Bend your knees as deeply as you can and then incline
your torso forward to rest your elbows upon your knees. Now place the flat of
each palm on the ground with the fingers pointing straight away from your
body.
With your palms supporting the weight of your body, unbend your knees to
cause your legs to straighten and your buttocks to lift up. Essentially you are
creating a forward bend with your torso bent over, head hanging down like a
weight suspended from a string, your shoulders loose, and the weight of your
upper body supported by your hands. See Figure 5-6. Now rock your
shoulders from side to side as follows: first the right side rocks up while the
left side rocks down and then the left side rocks up while the right side rocks
down. Repeat for thirty seconds.
Figure 5-6
Remain bent over and rotate your hanging torso from side to side. With each
rotation allow your arms and hands to swing from side to side as follows: as
you rotate your torso to the right, allow the right hand to swing around behind
the right calf while the left hand swings in front to tap the right shin; as you
rotate your torso to the left, allow the left hand to swing around behind the
left calf while the right hand swings in front to tap the left shin. See Figures
5-7a and 5-7b.
Figure 5-7a
Figure 5-7b
Repeat for thirty seconds and then come to rest. Bend your knees again and
allow your forearms to rest on your knees as with the beginning of the
exercise. Then rise up slowly to your full height. Stand quietly for a few
seconds and breathe normally. Then repeat the entire exercise a second time.
This exercise emphasizes loosening and lengthening the spinal column. By
curving the spine and bending forward, you are also working on relaxing the
muscles of back, particularly the muscles of the upper and lower back.
Important note: if you are unable to place your palms flat on the ground when
bending forward and rising up, place your palms on your knees or grasp your
shins to support the body's weight. You may also place your hands on top of
yoga blocks for support.
Loosening Exercise 5: Stand with your feet hip width apart. Pivoting on the
heel of your right foot, turn your right foot in slightly. Shift the majority of
the weight of your body onto your right foot and empty your left foot. Next
pivot on the heel of your left foot and turn it out ninety degrees as shown in
Figure 5-8a. Try to square your entire torso to the left. Now, slowly transfer
the majority of the weight of your body onto your left foot. Don’t allow your
left knee to extend beyond the toes of your left foot. See Figure 5-8b. Take
about ten seconds to make the weight transfer and then retreat onto your right
foot just as slowly. Repeat for a total of three times.
Figure 5-8a
Figure 5-8b
Now, rotate your left foot forward and adjust your right foot so you are again
standing in a parallel stance with both feet facing forward. Perform the same
exercise to the right side. This exercise isolates the kua and the waist on each
silde and also trains you to relax the groin in order to transfer the weight from
one leg to the other. Since all the transitions in the taijiquan form entail
weight shifts, this simple exercise will really help you maintain a state of
song when performing the form.

Silk-Reeling Exercises
As a final warm-up exercise, it is beneficial to finish with anywhere from five
to ten minutes of silk-reeling, or chan ssu jin. As the Chinese name implies,
chan ssu jin is a form of energy. It is the soft energy of pulling a silk thread
off a silkworm’s cocoon. Imagine that you have a silkworm’s cocoon pinned
to a rotating spindle. If you can grasp the end bit of silken thread between
your thumb and forefinger, you should be able to unwind the cocoon by
pulling with a gentle but steady pressure on the silk thread. As you pull
continuously, the cocoon gently rotates and the silk thread slowly grows
longer and longer. The trick is to pull with a steady and even pressure. You
can’t jerk the thread or speed up and slow down; otherwise the delicate silken
strand will break.
Silk-reeling exercises emphasize the internal energy we want to develop and
express in our tajijquan practice. That is to say, we want our outer
movements to reflect the inner qualities of slowness, constancy, and rotation.
In Chen style tajijquan, chan ssu jin is an important and separately-trained
skill that is reflected outwardly in the coiling and uncoiling of the torso and
the extremities in many of the movements. The coiling movements of chan
ssu jin often precede the sudden strikes and kicks of this style of tajijquan,
especially in the more explosive Canon Fist form.
While external coiling and explosive movements are not part of the Yang,
Wu and Sun styles of taijiquan, nonetheless many of the postures of these
styles do involve circular rotation and winding up prior to opening and the
releasing of jin, albeit in a slower manner. For example, when setting up to
perform Brush Knee and Twist Step Left in Yang style, we first rotate the
waist to the right and draw up the left arm to the right shoulder in preparation
to step out with the left foot and subsequently unwind the waist. The right
arm is also wound up to the right ear, much as a pitcher performs a wind-up
prior to throwing a pitch. The unwinding of the waist provides the
momentum for the left arm to brush down and the right arm to push forward.
Similar winding and unwinding occur in the Wu Chiang-chuan style as well.
Although such winding and unwinding is not as overtly expressed in the Sun
style, the characteristic opening and closing of this style also lends itself to
the practice of silk-reeling, as will be demonstrated in Silk-Reeling Exercise
1.
Whereas in taijiquan form practice the feet are constantly engaged in
stepping, when practicing silk-reeling exercises we adopt a fixed stance. You
can actually employ the movements from any taijiquan form to train silk-
reeling. You could, for example, stand in a left bow stance and repeat the
motion of Brush Knee and Twist Step Left from the Yang style. This would
entail repeatedly winding up the movement and then unwinding to complete
it. The following three silk-reeling exercises adapt a single posture from each
of the Sun, Yang, and Chen styles as the basis for training the Three External
Harmonies and the use of the intent (yi) to lead the qi into the extremities.
The additional exercises presented in Silk-Reeling Exercise 4 and Silk-
Reeling Exercise 5 are not specific to any style, and can be practiced
effectively by adherents of all family styles of taijiquan.
Silk-Reeling Exercise 1: One of the characteristic movements (actually a
pair of “postures”) from the Sun style is the sequence of Opening Hands and
Closing Hands, which appears a total of thirteen times in the traditional long
form of this style. We can adapt this sequence to the practice of silk-reeling
by repeatedly performing Opening Hands followed by Closing Hands, as
shown in Figures 5-9a through 5-9c. These two movements are deceptively
simple. Externally, not much appears to take place aside from the separating
and then the returning of the open hands to their original position in front of
the chest. However, internally the intent (yi), is directing the qi to expand and
contract while simultaneously creating the mutually supporting feelings of
fullness and subsequent emptiness within the body.
To perform this sequence, stand in a narrow parallel stance. Using as little
external muscular tension as possible, raise your forearms up with your
elbows hanging down and your open palms held up facing each other as
shown in Figure 5-9a. Sun Lutang indicated that your thumbs should be
approximately one inch apart at this point. Use the technique of abdominal
breathing to expand your torso like blowing up a beach ball. The expansion
of your torso (not just the chest, as would occur in “chest breathing”) will
cause your hands to separate outward to a distance of approximately eighteen
to twenty-four inches apart. Use your intention (yi) to send the qi up from
your dantien and outward into your arms and hands as they separate. At the
same time, direct the yi to create an overall sense of expansion and fullness
throughout your entire body. When separating your hands, keep the image of
pulling strands of silk between fingers and thumbs of each hand. Your
posture should now resemble Figure 5-9b.
Figure 5-9a
Figure 5-9b
Figure 5-9c
Having fully expanded your torso and opened your hands on the inhalation,
allow the breath to naturally flow out. This will cause your torso to collapse
inward somewhat. Accompanying the exhalation, use the yi to draw the qi
back from your hands and into your arms and lead it down into your dantien.
Your hands will be drawn back to their original position, as shown in Figure
5-9c. When the exhalation has completed, your body should feel temporarily
empty, light and nimble. You may repeat the sequence of Open/Close for
several minutes or longer if you are so inclined. The goal is to achieve a
feeling of overall lightness and looseness in your upper body that is
accompanied by a sense of sinking and heaviness in your lower body.
Sun Lutang taught that one should not only be aware of the Three External
Harmonies, but should also harmoniously link the mind with the qi and the qi
with the power, or jin. When practicing this simple silk-reeling exercise, be
sure to use the yi to lead the qi according to the instruction from the Taiji
Classics: “The mind leads the qi (yi yi yin qi.)”
Silk-Reeling Exercise 2: The posture from the Yang and Wu styles most
suitable for silk-reeling training is Cloud Hands. This posture, which is really
a continuous sequence of movements, utilizes the turning of the waist in both
directions and therefore lends itself particularly well to silk-reeling training.
The description and photos that follow are taken from the Yang style. The
Wu style version would be very similar, with the inclusion of the
characteristic sideways inclination that occurs in the Wu style Cloud Hands.
The actual performance of the Cloud Hands silk-reeling exercise is also
deceptively simple. Stand with your feet parallel and hip width apart. First
shift your weight onto your left leg and rotate your waist to the left. Next
raise up your right arm horizontally in front of your chest as if to begin the
Cloud Hands sequence. Your left arm should curve down and in front of your
waist. See Figure 5-10a.
You are now wound up in preparation to wave your hands like clouds as they
pass across the front of your body. Shift your weight onto your right leg, then
slowly rotate your waist to the right. Use the waist rotation to draw your right
arm across your torso in a horizontal path while your lower, left hand draws
an arc across your waist and groin. Figure 5-10b shows the intermediate
position as the right arm has travelled halfway across the torso. Continue
rotating to the right and allow your right arm to extend laterally out to the
right, with the palm finishing facing down as shown in Figure 5-10c. In this
finished position, you have fully unwound the waist energy stored in the
initial position (Figure 5-10a).
Figure 5-10a
Figure 5-10b
Figure 5-10c
This completes one half of the Cloud Hands movement. Then change the
position of the arms to set up for the return rotation back to the left. See
Figure 5-10d. You are now wound up on the right side of your body, and can
proceed to unwind to the left as shown in the sequence from Figures 5-10d
through 5-10f. Note that unwinding to the left involves a weight shift onto
your left leg and the turning of your waist to the left in a mirror image of the
unwinding to the right. This will complete the second half of the Cloud
Hands movement.
Figure 5-10d
Figure 5-10e
Figure 5-10f
The above instructions describe the movement of Cloud Hands in the actual
Yang style form with one crucial difference: the feet don’t move. This means
that you can repeat the sequence of Cloud Hands indefinitely (although three
to five minutes should suffice.) The purpose of the exercise is to train a
number of important principles of taijiquan without the distraction of having
to concentrate on stepping.
First of all, you want to concentrate on the qualities of slowness, steadiness,
and softness in the movement of both the waist and the arms. The pace of
your hands as they move across your body should be constant. Imagine that
each hand is connected to a silkworm’s cocoon. Try to pull the silk thread off
each cocoon without causing any breaks.
Second, you want to focus your attention on shifting your weight and rotating
your waist. Many teachers instruct their students to combine the weight shift
and the waist turn into a single coordinated movement. In practical terms, it is
best to first shift the weight and then turn the waist. The act of shifting the
weight onto the opposite leg first provides a more stable vertical axis for
performing the waist turn. When performing this movement, the sequence
should be to shift the weight and then turn the waist. Remember that the
power and grace of this movement is generated in the legs and controlled by
the waist, and is only expressed through the lightest and gentlest movements
of the hands.
Third, you want to embody the principle: “When one part moves, the entire
body moves.” That is to say, once you have performed the weight shift, as
you execute the waist rotation the entire torso, arms included, moves as a
single unit. In particular, you don’t want your head to move independently of
your torso. Again, the instruction “Nose and navel in alignment” is helpful
here. In particular, many students get caught up in following the hands with
the eyes, especially at the conclusion when the leading hand drifts out to its
full lateral extension. This is incorrect and should be avoided. Doc Fai
Wong’s injunction “Don’t be a palm reader!” applies in this exercise.
Although the principle “When one part moves, the entire body moves.”
applies to this and all of the movements in taijiquan, this does not mean that
the arms and the hands should not complete their trajectories across the body.
In fact, it is correct for the leading hand and especially the fingers of that
hand to drift out to the side at the conclusion of the waist turn. They are
simply completing the motion set up by the turning of the waist. Similarly,
the downward arm should allow the momentum of the waist turn to draw it
upward at the conclusion of the movement in preparation for the turning of
the waist in the opposite direction.
While the analogy of drawing silk from a cocoon is apt when describing the
motion of the hands in Cloud Hands, it may also be helpful to employ the
image of the hands as two Chinese brushes making elegant strokes in the air.
Imagine dipping the fingers of each hand into a pot of ink and then making
sweeping brush strokes on an invisible sheet of rice paper suspended in the
air in front of you.
As a variation on this exercise, you can train in a lower horse-riding stance.
In this case, you will need to turn your feet out slightly. Otherwise, the
completion of the waist turn will place undue strain on the knees. Just as the
instruction “Nose and navel in alignment” applies to the torso, so should the
instruction “Knee and ankle in alignment” apply to the joints of the leg.
Training in a low, horse-riding stance will strengthen the legs and increase
your endurance. It also will help you to develop the quality of song.
Silk-Reeling Exercise 3: As stated at the beginning of this section, silk-
reeling energy, or chan ssu jin¸ is a characteristic feature of Chen style
tajijquan and is part of the intelligent design of Chen Wangting’s original
martial art. Chen Wangting combined hard and soft movements and
incorporated both internal twining and external coiling into the individual
postures of his art.
The source of the spiraling movements of the body (the external) is the
internal turning of the lower dantien. The technique of turning the lower
dantien takes time to develop. This topic will be addressed separately in
Chapter Seven, which deals with qi cultivation. Suffice it to say that, at this
stage of your training, you should be aware of the lower dantien as you
practice Chen style silk-reeling exercises, and you should strive, according to
your level of development, to employ internal dantien rotation in order to
drive the turning of the waist, which in turn will drive the spiraling
movements in the arms and legs.
In order to execute silk-reeling correctly in the Chen style, you must also be
cognizant of the two phases of every silk-reeling movement. These are
referred to as shun chan and ni chan. Shun chan represents the collecting of
the internal energy, or qi, from the extremities back into the lower dantien. Ni
chan completes the cycle by sending the qi out into the extremities. In both
shun chan and ni chan, the qi follows spiral pathways as it draws inward or
expands outward.
The spiral pathways followed in the shun chan and ni chan hemicycles are
often represented in drawings such as the one reproduced below in Figure 5-
11
Figure 5-11
The following silk-reeling exercise is well-known and commonly-practiced in
the Chen style of tajijquan. Chen Zhenglei refers to this exercise as Single
Wave Hand in his book, Chen’s Taichi for Health and Wellness.33 Unlike the
Yang style Cloud Hands silk-reeling exercise described in the preceding
section, this exercise is performed on either the left or the right side
separately. In this example, the left side will be presented. The right side can
be performed in a mirror image and will not be included here.
To begin, stand in a Chen style left bow stance. The body’s weight should
fall sixty percent onto your left (substantial) leg and forty percent on your
right (insubstantial) leg. Rest your right hand on your right hip and extend
your left arm outward on your left side with the palm facing out as shown in
Figure 5-12a. Turn your head slightly to the left and direct your gaze toward
your left hand. From this position, shift the body’s weight onto your right leg
and curve your left hand down in front of your abdomen to the position
shown in Figure 5-12b. This should be accomplished in a downward
scooping motion.
Continue to rotate your left arm through the circular path upward and to the
right side of your body with the palm of your left hand facing out and to the
right. Your head should now be turned slightly to the right with the gaze
fixed upon your left hand as shown in Figure 5-12c.
From this position, shift the body’s weight back onto your left leg and use
your waist to turn your torso back toward the left side of your body. Allow
your left arm to drift horizontally across the front of your body in conjunction
with the turning of your torso until your left hand reaches the level of your
left shoulder. At this point, your left knee should be aligned vertically over
your left ankle. See Figure 5-12d. This is as far as your body should move to
the left. To complete the movement, allow the momentum of the weight shift
and the waist turn to direct the movement of your left hand up and out to the
left as if pivoting on the left elbow until it returns to its original position
shown in Figure 5-12a.
Figure 5-12a
Figure 5-12b
Figure 5-12c
Figure 5-12d
The above sequence constitutes one repetition of the Left Single Wave Hand
exercise with the inclusion of both the shun chan and ni chan hemicycles.
The movement of your left arm and hand from the position shown in Figure
5-12a through Figure 5-12c constitutes the shun chan half of the cycle. The
passage of your left arm and hand back from Figure 5-12c through Figure 5-
12d and ending in the beginning position shown in Figure 5-12a comprises
the ni chan half of the cycle. Remember to drive the movements with your
legs and direct the movement of your hand using your waist rather than
simply turning your shoulder. Keep in mind the Three External Harmonies
and the sequential opening of the three joints in the legs and the three joints
in the arms.
When performing the movements of the Left Single Wave Hand exercise,
attempt to use your yi to rotate the lower dantien in order to direct the turning
of your waist and torso and the curving movement of your arm and hand. If
you are unable to accomplish this at your present level of ability, don’t be
discouraged. Simply try to perform the movements smoothly and with
coordination and continuity. As you develop greater awareness of the lower
dantien and the circulation of your qi, you will eventually develop the ability
to rotate the loweer dantien and circulate the qi at will in order to drive the
external movements of this silk-reeling exercise.
Silk-Reeling Exercise 4: Another silk-reeling training exercise entails using
one hand to trace the pattern of the Taiji symbol. This training exercise is
common in Chen style, in which the hands are specifically engaged in
twining and spiraling movements, but is just as relevant to any other style.
Figures 5-13a and 5-13b depict the patterns for both the right and the left
hands.
Figure 5-13aFigure 5-13b
A good way to practice this exercise is to attach a large poster of the Taiji
symbol to a wall at torso height. Select the hand you want to employ and
trace the symbol as shown in the illustration above, beginning at the bottom
of the symbol. Follow the pattern in Figure 5-13a for the left hand and use the
pattern in Figure 5-13b for the right hand. The key to performing this
exercise correctly is to keep the wrist loose and flexible and to rotate the wrist
as it traces the pattern. It is helpful to imagine that your fingertips are the
bristles of a calligraphy brush tipped with ink and that you are tracing the
Taiji symbol with them, much as you would paint the symbol using brush and
ink.
Once you are able to trace the pattern by following the Taiji symbol on the
wall, you can dispense with the visual aid of the poster and simply trace the
Taiji symbol in the air. Also, as you become more proficient in using your
wrist to direct your fingers in tracing the pattern, you can engage your entire
torso in guiding the movement of your hands and fingers. Eventually you
should initiate the motion from your feet. As with the preceding exercise, you
should feel your intrinsic energy coiling up out of the feet, spiraling up the
legs and torso, and then coiling around the arms and out into the wrist and the
hands as you trace the pattern of the Taiji symbol. You should have the sense
that your entire body is involved in tracing the Taiji symbol
Make sure you train equally with both hands, as you want to balance silk-
reeling energy on both sides of the body. If you are ambitious, you can try the
same exercise while tracing the Taiji symbol with the toes of each foot. This
trains silk-reeling energy in the lower extremities and is very helpful in
loosening the sinews of the ankle. This also develops strong legs and good
overall balance, since you will need to stand on one leg while the other leg is
elevated as the foot and the toes coil around the Taiji symbol.
Silk-Reeling Skill Training Exercise 5: As a final silk-reeling skill training
exercise, you may want to try working with the taiji ball. There are many
exercises that one can practice with the taiji ball. The exercise presented here
will provide you with an introduction to this type of silk-reeling training. You
can investigate this subject on your own if you find this introductory exercise
valuable. In actual practice, a taiji ball should measure approximately eight
inches in diameter. Also, traditionally the taiji ball was constructed of wood
and often wrapped in a metal covering such as brass. However, to begin with
you can work with a child’s inflatable ball until you get the hang of moving
the ball in your hands. Once you become comfortable with the basic
movements, you can look for a wooden ball that will fit into your hands
comfortably.
To begin, stand with your feet between hip width and shoulder width apart.
Hold the ball between your two palms, paying particular attention to the two
lao gong points in your palms as they press against the ball. See Figure 5-
14a. Before moving your torso, try rolling the ball around between your two
palms using a gentle pressure to rotate the ball. You can turn the ball over
from top to bottom and also from one side to the other. Once you are
comfortable moving the ball within your two hands, try twisting to your right
side and simultaneously rotating the ball so that your left hand is on top and
your right hand is underneath as shown in Figure 5-14b. At this point the
body’s weight is shifted onto your right leg, and your torso is turned to the
right.
Now begin to shift your weight onto your left leg as you rotate your waist and
turn your torso to the left. Simultaneously begin rotating the ball between
your hands so that, as you face forward, the ball is held between your hands
as in the beginning position. See Figure 5-14c. As you continue rotating your
waist and turning your torso to the left, keep turning your hands so that, when
you complete the waist turn to the left, your right hand will be on top and
your left hand will be underneath as shown in Figure 5-14d.
Figure 5-14a
Figure 5-14b
Figure 5-14c
Figure 5-14d
Continue shifting your weight, rotating your waist, turning your torso, and
moving the ball from side to side until you can complete the changes fluidly
and continuously. As with the preceding exercises, try to open all nine of the
joints consecutively; focus on shifting your weight and rotating your waist.
Be conscious of the coiling of your hands as they turn the ball over from one
side to another and keep the image of pulling silk as your turn the ball.
This basic exercise of turning over the ball is the simplest pattern you can
perform with the taiji ball. You can experiment with more complex patterns
and rotations which engage your hands, your arms, and your entire torso. You
can, for example, stand in a bow stance and move between Rollback and
Press while holding and rotating the ball between your two hands. The
variations are endless and fascinating. When you become accustomed to
working with an inflatable ball, you can switch over to a solid wooden ball
(these can be found online) in order to deepen your taiji ball gongfu.

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

Zhan Zhuang Standing to Enhance Root

Chapter Three introduced the topic of song and suggested that one way to
develop song is to stand in wuji posture on a daily basis. Chapters Four and
Five presented a complete warm-up routine consisting of stretching,
loosening, and silk-reeling exercises to further enhance your ability to
become song. Now it is time to take your practice to the next level through
the introduction of zhan zhuang.
The term “zhan zhuang” translates roughly as “standing post.” Zhan zhuang
practice entails standing still and rooted, like a post planted deep into the
ground. Zhan zhuang is common to many Chinese martial arts and is not
unique to taijiquan. Rather, it is a universal practice that confers benefits to
practitioners of all martial arts
Whether you practice taijiquan for health or for its martial applications, zhan
zhuang practice will greatly enhance the results you will obtain from this art.
The health benefits derive from both the improved cardiovascular function
resulting from working the legs as well as the increased qi flow which
improves the health of all the organs of the body. The martial benefit that is
obtained from this practice arises out of the rooting ability which accrues
over time. In addition, the ability to store and issue energy (fa jin) is directly
related to the circulation of qi.
The practice of zhan zhuang may employ a variety of taijiquan postures,
including the wuji standing posture introduced in Chapter Three. This chapter
presents several new standing postures. Here the emphasis is not only on
sinking down into the postures but also on the internal processes that take
place when standing in the postures. In addition, the topic of rooting is
discussed in greater detail. The mental gongfu that is needed in order to open
the qi channels and meridians that permeate the body is also examined.
Finally, some of the spontaneous experiences which may arise out of the
practice are explored.
Although not all taijiquan teachers include zhan zhuang as part of their
curriculum, many taijiquan practitioners do include zhan zhuang as part of
their training. Those who do include such training universally report that their
overall skill and understanding of the art is enhanced. There is a saying in the
taijiquan community: “No standing; no understanding.”
Zhan zhuang practice is also frequently included in the study of qigong.
Qigong is the internal cultivation and subsequent circulation of qi. Chapters
Seven and Eight present some specific qigong exercises that require the
practitioner to stand in the zhan zhuang posture of Embracing the Tree. While
zhan zhuang conveys benefits on its own without including qigong
techniques, the combination of qigong and zhan zhuang provides the best
results.
Students often ask: “Where is the best place to practice zhan zhuang?” The
simple answer is that, wherever you are, you can stand. However, in practical
terms, it is best to practice zhan zhuang in a tranquil location where you are
unlikely to be disturbed or draw attention to yourself. If weather permits, a
scenic outdoor spot may inspire you to stand longer. Many practitioners
prefer to stand adjacent to a large tree in order to take advantage of the tree’s
deep roots in order to lead their own roots downward into the ground. With
regard to the ground, it is good to begin by standing on level ground and
better to stand on raw earth, grass, or a wooden floor as opposed to standing
on concrete or carpeted flooring. Wear warm clothing and try to wear a long-
sleeved shirt and long pants in order to keep the qi close to the skin. You can
wear any flat-soled shoes or you can stand barefoot if weather permits.
Once you begin spending time in standing practice, you may be tempted to
cut back on the time you spend in the stretching and loosening exercises
presented in the preceding chapters. This would be a mistake. The stretching,
loosening, and silk-reeling exercises are the external aspect (waidan) of your
training, whereas zhan zhuang represents the complementary, internal
component (neidan) of your training. Neither is as effective practiced
separately as when practiced in conjunction.
Embracing the Tree
After you have been practicing standing in wuji posture for at least one
month, you can elevate your standing practice by adopting a slightly more
challenging posture. The Embracing the Tree posture takes its name from the
position of the arms, which are held up and circle outward as if embracing a
tree. Some practitioners refer to this posture as “holding the ball.”
Figure 6-1a illustrates the basic posture as seen from the front. In particular,
note the height of the hands and the fact that the elbows are dropped down
slightly. You want your hands to be held up around chest height, palms
facing in, fingers relaxed but not curled, with a small gap between the fingers
of your left and right hands. Be sure to keep your elbows dropped. Mid-torso
height is a good level for your elbows; any higher and you place strain on
your shoulders, which in turn will restrict the flow of qi down and out into
your arms and hands.
Figure 6-1b shows the Embracing the Tree posture as seen from the side.
Notice that the knees are flexed to a greater extent than in the wuji posture
introduced in Chapter Three. As you practice more advanced postures in zhan
zhuang you should begin dropping down into your legs, engaging the thighs
and calf muscles. This will increase your leg strength and also assist in
developing root. There is another expression related to zhan zhuang in the
martial arts community: “No burn, no earn.”
Figure 6-1a
Figure 6-1b
With regard to the width of the feet, there are three basic stances: narrow, hip
width, and shoulder width. It is best to start off standing with your feet hip
width apart. As your stamina and leg strength improves, you can widen your
stance to shoulder width. A narrow stance is actually more challenging than a
hip width or shoulder width stance and should be reserved for advanced
standing practice.
To begin, stand with your feet together and your hands hanging down
comfortably at your sides. Shift your weight onto your right leg and step out
to hip width with your left foot. Place the weight onto your left leg until you
come to a 50/50 weighted stance. Flex your knees somewhat and round the
groin. Drop down into your legs and lower your buttocks as if you are sitting
onto a high stool. Level the pelvic bowl, drop the shoulders, round the back,
and hollow the chest.
Once your body is settled, float your arms up and outward in front of your
body as if you were performing the opening of the taijiquan form. Then,
rotate your wrists so the backs of your hands are facing forward. Finally, drop
your elbows slightly and allow your hands to remain suspended
approximately two feet in front of your chest. Don’t let the fingers of your
two hands touch, but allow them to point toward each other with a gap of
about an inch between the two index fingers. Although some practitioners
maintain a wider gap, up to a foot between the fingers, it is better at the
beginning to keep the fingers of your two hands fairly close together. This is
due to the fact that it is easier to feel the qi connection between the two hands
when the fingers are nearer to each other. It is important that the thumbs also
point in toward each other and do not stick up. You want to establish a qi
connection between all the fingers (including the thumbs).
When standing in zhan zhuang, you can either close your eyes or leave them
open. Most beginners prefer to close their eyes during the initial stage of zhan
zhuang practice, as it enables them to direct their awareness inward. If you do
opt to leave your eyes open, place your gaze on something in the distance.
You should also “soften the gaze.” This means that you should not
concentrate the vision on any particular object. Some practitioners say that
closing the eyes during zhan zhuang practice promotes serenity, whereas
opening the eyes and gazing out into the middle distance enhances the martial
spirit, which is expressed through the eyes.
Once you are in the Embracing the Tree posture, go through the joint-by-joint
relaxation exercise described in Chapter Three until you have relaxed and
opened all the joints of your body. Allow the full weight of your body to drop
through your feet and into the ground by opening the yongquan points in the
feet.
Now the real work begins. You are going to engage in neigong, which is
internal effort. This internal work is presented below in four stages. It is best
to spend considerable time, several weeks or more, on each stage before
proceeding to the next one. As you become more comfortable with each new
stage of your standing practice, you should also increase your standing time
according to the recommendations included in the following instructions.
Stage 1 – Opening the Joints: In this stage you will focus your intention on
opening all the joints of your body. If you have been standing daily in wuji
posture, you are already familiar with the overall body relaxation exercise
introduced in Chapter Three. This relaxation exercise is a helpful way to
create an overall state of relaxation. However, it is not intended to target
specific regions of the body to facilitate their complete opening.
At this new stage of your development, you need to begin focusing on
opening specific joints as completely as possible. This is a process that takes
place over time and cannot be accomplished in one or two sessions of zhan
zhaung. The ultimate goal of this lengthy process is to create a body that is as
relaxed and pliant as that of an infant.
To reach a deeper and more fundamental level of relaxation and to focus on
opening specific joints in the body, you will need to increase the time of
standing from five minutes per day to ten minutes per day. If your arms get
too tired, drop them down for a brief respite and continue to stand in the basic
wuji posture for a minute or so before raising them up again to embrace the
tree. If you do need to rest your arms, be sure to relax your shoulder muscles
before raising the arms again.
In this stage of practice, there are two specific parts of the body that require
particular attention. These are the shoulder joints and the hips joint, which are
the two most important joints in taijiquan and are also the most difficult to
open up. It is best to start with the opening of the shoulder joints. In order to
open and loosen your shoulder joints, you will need to work on the entire
shoulder girdle. This is a group of muscles, ligaments, and tendons that
surround each shoulder joint and that both support the joint as well as enable
it to move in a variety of directions. Orthopedists generally agree that the
shoulder is the most complex joint in the body.
The shoulder girdle includes a number of important muscles, such as the
pectoralis major and pectoralis minor, the rhomboid, and the trapezius, to
name a few. You can find many excellent illustrations of the shoulder girdle
online. Basic familiarity with the anatomy of this area will assist you in your
efforts to loosen and open the shoulder joints.
Rather than focus on specific muscles, it is more useful to focus on the five
sub-regions of the shoulder girdle: the anterior or front, the superior or top,
the outer side, the inner side, and the posterior or back. Your task is to relax
each of these five sub-regions in turn, beginning with the posterior sub-
region. It is important to work on all of the five sub-regions in each standing
session. You need to ensure that the overall relaxation of this area is balanced
and complete. Otherwise, you may create imbalances that will lead to
postural problems and blockages to the free flow of qi. When addressing the
shoulders, you can work on each shoulder separately, or you can address both
shoulders at the same time. In the beginning, you will want to work on one
sub-region at a time, advancing through the five sub-regions as described
below.
To begin, stand in the Embracing the Tree posture and perform the overall
body relaxation exercise. Spend several minutes establishing your connection
to the ground through the yongquan points in your feet. Now, bring your
awareness to bear on your shoulder region. First, feel the entire shoulder
region. Perform an overall scan of the region, looking for stiffness, tightness,
pain, numbness, or any other indication of physical or mental tension.
Next, place your awareness specifically on the posterior sub-region. Focus on
the area underneath the shoulder blades. Use your intention to relax the
muscles and ligaments that bind the shoulder blade to the rest of the shoulder
girdle. Use your breath to assist you in this endeavor. Inhale into the area and
then exhale as you direct the muscles and ligaments to relax. You can
imagine that you have a small balloon inserted behind each shoulder blade.
Inflate the balloon on the inhale to expand the tissues and deflate the balloon
on the exhale to relax the tissues. Do this for several minutes until you feel
the muscles, ligaments, and tendons begin to relax and to release any stored-
up tension in this area.
Now move onto the tops of the shoulders. Focus on relaxing and releasing the
muscles and ligaments in this sub-region. Again, you can use the balloon
imagery here to inflate and expand and then deflate and relax the tissues of
this region. Spend several minutes on this region as well before moving on to
the front sub-region.
The anterior sub-region contains several important muscles associated with
shoulder function. Some are accessible from the surface; that is to say that
you can feel and manipulate them easily with your fingers and hands using
basic massage techniques. Others are deeper and much more difficult to reach
using standard massage techniques. That is why zhan zhaung is so important
in achieving the deep release we are striving for.
Superficially, the muscles and ligaments that create the visible indentation
below the top of the shoulder in this sub-region are referred to as the
“shoulder nest.” It is very important that you relax the shoulder nest as this
will open the entire shoulder joint and provide greater flexibility and range of
motion. Use the breath and the balloon imagery to relax this region. Then,
before moving on to the inner and outer sub-regions, place your awareness
deeper into this area and work on relaxing and releasing the deeper muscles
of this sub-region. There is much work to be done here. You will need to
devote multiple sessions to the shoulder area in order to achieve the desired
result of song in the shoulder area.
Finally, move on to the inner and outer sub-regions, working on the outer
sub-region first and then on the inner sub-region. Use the breath and the
balloon imagery to relax and release the muscles, ligaments, and tendons in
each of these sub-regions. When employing the balloon imagery on the inner
sub-region, you can actually allow the arm to expand outwards slightly with
the inflation of the balloon.
You should spend a week or more standing in zhan zhuang and working
solely on the shoulder girdle and opening the shoulder joint on each side of
the body. One sign that you are making progress is that your hands will hang
lower at your sides when you stand in wuji posture. When you feel
comfortable with the progress that you have made in opening your shoulders,
you can move on to the elbow joints and then proceed to the wrist joints. You
can view the anatomy of these two joints online, but they are both relatively
simple joints to open using the techniques described above. Professor Cheng
Man-ch’ing used to tell his students that, once the shoulder joints were
opened, the elbow and wrist joints were easy to open by comparison.
The other major joints that need to be addressed in this stage of standing
practice are the hip joints. Like the shoulder joints, the two hip joints are
surrounded by another girdle, which is referred to as the “pelvic girdle.” As
with the shoulder girdle, the pelvic girdle consists of a number of muscles,
ligaments, and tendons. The muscles involved on each side of the pelvic
girdle include the iliacus and the psoas muscles, the hip flexors, the
abductors, the adductors, and gluteal muscles. That’s a lot of muscle, and it’s
all connected through complex attachments of ligaments and tendons, many
of which are typically either frozen or tight.
Your job is to work on loosening and releasing these muscles and their
associated ligaments and tendons. Similar to the shoulder joints, the each hip
joint consists of sub-regions on each side of the pelvic bone. In this case there
are four sub-regions that should be considered: the anterior, inner, outer, and
posterior. When working on the hip joints, you should begin with the anterior
sub-region of each hip. This sub-region includes both the psoas and the
iliacus muscles. If these muscles are tight, they tend to tilt the pelvis forward,
which causes the hip joint to bind up. This in turn reduces flexibility and
range of motion. From a martial aspect, this means that you are not free to
rotate and neutralize effectively using Rollback for example
The difficulty in working with both the psoas and the iliacus muscles is that
they are deep muscles and are not easily accessible using traditional massage
techniques. That means you are going to have to use neigong, or internal
effort, in order to work on loosening them in order to open up the hip joints.
As with the shoulder joints, you will address these deep muscles through
standing in the Embracing the Tree posture.
To begin, assume the Embracing the Tree posture and settle yourself using
the overall body relaxation sequence. Stand for several minutes and allow
yourself to sink into the earth through the yongquan points in your feet. As
you do so, try to round the crotch by exerting a slight outward pressure on
each inner thigh. The groin area may be likened to an inverted bowl. The
rounder the bowl, the more open the groin. In fact, you have two bowls in the
mid-section of the body. The first is the upright pelvic bowl, which sits on the
overturned bowl created by rounding the crotch. You want both of these
bowls to be as round and as level as possible.
Now you can address the anterior sub-region of the pelvic girdle. The trick to
loosening and lengthening the muscles, ligaments, and tendons in this region
is to create dynamic tension. That is to say, you need to pull up with your
lower abdominal muscles while simultaneously pulling down with the
muscles of your upper thighs. This is a bit like pulling taffy, in which you
pull from both ends to stretch out the taffy in the middle. At the same time as
you are pulling up with your abs and down with your quads, you should
imagine the tissues in between as stretching out like the taffy in the taffy-
pulling analogy.
While it may seem counter-intuitive to employ muscular tension in order to
develop song, this is exactly what you need to do. Of course, you don’t want
to use excessive strength when engaging the muscles above and below the
pelvis, as this will negate any opening you gain in the pelvic girdle itself.
Spend several minutes trying to find the right degree of tension while
simultaneously relaxing the underlying tissues that connect the front of the
thigh bone to the pelvis. Over the course of several zhan zhuang sessions you
should begin to feel these underlying muscles, ligaments, and tendons begin
to release and lengthen.
Next, move on to the posterior sub-region. Again, you will need to employ
dynamic tension here to level the pelvic bowl from the back. Assuming that,
like most people, your pelvic bowl is tipped forward, you will need to pull it
down from the back by engaging your gluteal muscles. However, if you only
tense these muscles you will not achieve the desired result of permanently
releasing the pelvis. Therefore, at the same time as you are pulling down with
your buttocks you need to exert a certain degree of tension in the muscles of
your abdomen in order to pull up on your pelvis and counteract the
downward pulling effect of tightening your buttocks.
As with the dynamic tension created in the anterior sub-region, this requires a
delicate balancing act between the muscles of your abdomen and your
buttocks. You will know that you have reached the proper balance when your
pelvic bowl appears to hang or float in the level position without undue
strain. Because of the complexity of both the anterior and posterior sub-
regions of the pelvic girdle, you should spend at least three minutes on these
sub-regions in each zhan zhuang session devoted to this area.
The inner and outer sub-regions of the pelvic girdle are addressed similarly to
the inner and outer sub-regions of the shoulder girdle. They are much less
complicated and can be addressed in a straightforward fashion once the
pelvic bowl has been leveled by balancing out the anterior and posterior sub-
regions.
To restate, both the shoulder region and the hip region are very complex, and
each will require multiple sessions of zhan zhuang in order to fully address
any issues you may have. You should expect to spend from one to two weeks
on each area before moving on to the other areas of the body. This assumes
that you do not have any specific injuries in either of these two areas. There
is a school of thought that believes that even long-standing injuries can be
either healed or at least ameliorated through zhan zhuang. Whether or not
zhan zhuang will be efficacious in addressing such issues in your case, it is
certain that you will derive overall benefits from standing in zhan zhuang and
working on opening the joints.
Once the hip joints are opened, you can move down to the knees and the
ankles. Although each of these joints are easier to work on than the hip joints,
nonetheless you will probably need to spend a bit more time on the knee
joints than on the elbow, wrist and ankle joints. Like the shoulder joints and
the hip joints, the knee joints are also rather complex. You should review the
anatomy of the knee joint before working on your knees in zhan zhuang. In
order to open the knee joints, you can use the expansion/contraction balloon
imagery presented above.
As part of your zhang zhuang practice at this stage, be sure to address all the
major joints of the body. Don’t neglect the cervical (neck) joint or the sacral
joint at the base of the spine. When working on the neck region, you need to
be very careful not to push up with force as you attempt to lengthen and open
the vertebrae in the neck. When standing in zhan zhuang and working on the
neck region, it is best to imagine that the head is suspended like a helium
balloon. One by one, allow each vertebra to gently separate from the one
below as the head floats up.
With regard to the sacrum, you may employ a small amount of muscular
force as you tuck your tailbone under. This is usually accomplished in
conjunction with the leveling of the pelvis. You may want to visualize
attaching a four-ounce fishing weight to the bottom of your spine. Imagine
the weight of your sacrum gently pulling downward on the base of your
spine.
You will also want to spend some time working on your upper, middle and
lower back in order to lengthen and straighten your spinal column. When
standing in zhan zhuang, you can concentrate on each region of your spine
separately. Starting with your lower back, imagine each vertebra as pulling
up gently in order to create a small space between itself and the vertebra
below. Again, be careful to use imagination and the intent rather than
muscular force in order to separate the vertebrae in your spine. You can
employ the balloon imagery here. Imagine that there is a small balloon
occupying the space between two vertebrae. Use your breath and your
imagination to inflate the balloon and so increase the space between each pair
of vertebrae.
Overall, you should spend at least one month in this first stage of your zhan
zhuang practice before moving onto the second stage, which entails
deepening your root. Remember that you have a lifetime ahead of you and
nothing to be gained by moving on to the next stage of your development
before the present work is completed. Have patience and focus on what you
are trying to accomplish in each stage rather than anxiously rushing on to the
next stage of your training.
Stage 2 – Deepening Your Root: Once you have achieved noticeable
progress in opening all the joints of the body, you are ready to continue on to
the second stage of zhan zhuang practice: deepening your root. Of the many
rewards derived from zhan zhuang, this benefit most directly relates to the
martial aspects of taijiquan. Rooting clearly is relevant to fixed-step pushing
hands practice, but “moving root” is also important in moving-step pushing
hands as well as in sparring.
Both wuji standing and the zhan zhuang standing described above entail a
certain degree of rooting. Now, however, you will really begin to extend your
roots deep into the ground. The reason for postponing rooting practice until
you have completed the practice of opening all the joints of the body is that
you need to be able to allow the full weight of the body to sink down into
your feet and then be transferred further into the ground through the
yongquan points. This can only take place when the joints are sufficiently
open to allow the weight to fall through them and into your feet. The process
of dropping down into your feet should proceed sequentially from your neck
and shoulders, down through your upper, middle and lower back, further
down through your sacro-illiac joint and into your hips, from your hips down
through your knees, and finally into your ankles and feet.
Rooting practice requires absolute relaxation and openness throughout the
entire body along with deep mental concentration on the task of dropping the
weight of the body down into the ground. This internal work, or neigong, is
not easy to achieve and will require many days and even weeks to accomplish
completely. However, the benefits to be derived from attaining a deep root
are well worth the effort. It is important to understand that, in order to deepen
your root, it is necessary to increase your standing time in this stage from ten
to fifteen minutes per session.
The reason for this is that root grows slowly, just like the roots of a tree. The
longer you stand in each session, the deeper your root will penetrate into the
ground. If you stand for five minutes, you will create a root “five minutes”
deep. If you stand for fifteen minutes, you will create a root “fifteen minutes”
deep. Dedicated students of the Chinese martial arts will often stand for up to
an hour in order to develop truly deep and penetrating roots.
To begin working on deepening your root, stand in the Embracing the Tree
posture. Go through the overall body relaxation exercise. At this stage of
your development, you should be able to fully open all the joints of the body
in just a few minutes. Now when you stand, you don’t have to work on
releasing the individual joints anymore. Instead, you can place your
awareness on your feet, paying particular attention to the yongquan points.
However, you should also be aware of the toes, the heel, and the outer and
inner edges of each foot.
Some practitioners advocate distributing the weight over the entire bottom
surface of the foot. This is a basic way to stand. However, if you shift your
weight just slightly forward of the center of the foot, you will place additional
pressure on the yongquan point. The additional pressure will aid in opening
this energy gate. You will need to experiment during standing in order to
determine what weight distribution works best for you. You can do this by
ever-so-slightly shifting forward and backward, paying close attention to
whether you feel more stable and grounded as the weight shifts from back to
front. You can also roll each foot from side to side, again with the purpose of
finding your own personal “center” within each foot.
The most important aspect of this stage of zhan zhuang training is that you
send your awareness down below the ground and not focus on the bottom
surface of the foot nor on the surface of the ground (or floor) upon which you
are standing. Start by placing your awareness (or your intention, if you will)
an inch or so below the ground. Use your will to drop your weight through
each foot until it reaches the spot directly below the ground where you are
standing. Stand like this for five minutes or so. Then transfer your awareness
even deeper, say two to three inches below the ground. Again, drop the
weight of the body down to the point below each foot where you have placed
your awareness. Stand for another five minutes or so with your root sinking
to this depth. Finally, try dropping your awareness down six inches into the
ground and stand with your roots at this depth for a final five minutes. In this
way you can gradually extend your roots deeper into the ground.
With each rooting session you should try to extend your roots a little deeper.
The goal is to sink your roots down at least a foot. The deeper the better. As
you stand in zhan zhuang with your attention focused on rooting, you will
likely feel your body getting both heavier and lighter. How can this
seemingly contradictory state of the body exist? The heaviness is the result of
the weight sinking down. You will feel this heaviness primarily in your lower
body, but this sensation may well rise as high as the midriff. The lightness is
the result of the qi spontaneously and naturally rising upward. This lightness
will be felt mostly in your upper torso and particularly in your arms,
shoulders, neck and head.
Both the sensations of heaviness and of lightness are signs of overall
progress. However, you should not intentionally try to become either heavy
or light. Just focus on dropping the weight of the body into your feet, opening
the yongquan points, and allowing the body’s weight to fall through your feet
and into the ground as described above. In zhan zhuang practice, there is no
trying, only allowing.
You may also experience a variety of sensations associated with opening the
yongquan points. These may include warmth, tingling, and a sense that the
energy of the earth is rising up into your feet through the yongquan points.
Remember that the yongquan point is referred to as the “Bubbling Well.”
Once the Bubbling Well points are opened, the qi of the earth will naturally
rise up to fill your feet. Eventually this qi will rise up from your feet and into
your lower extremities, eventually reaching the level of your lower dantien.
As with Stage 1, you should spend some time in Stage 2 of zhan zhuang
practice. It is recommend that you spend at least two weeks in this stage
before moving onto Stage 3. The deeper your roots, the easier it will be to
stand for longer periods in the later stages of practice. It is important to
understand that the longer you are able to stand while you are learning to
focus your awareness on the breath, the dantien and the qi in Stage 3, the
more your overall taijiquan practice will improve.
Stage 3 – Focusing the Awareness on the Dantien and the Breath: Having
developed the ability to open and loosen the joints of the body and also
having arrived at the point in your practice where you can extend your roots
into the ground, you are now ready to direct your focus on the lower dantien
and the breath. The lower dantien is the energy center located approximately
three finger widths below the navel and approximately two finger widths
behind the muscles of the abdominal wall.
Use the technique known as abdominal breathing (also called “baby
breathing” or “Buddhist breathing”) to inflate your abdomen as you inhale
and to deflate your abdomen as you the exhale. Keep your mind quietly
focused on your breathing and the lower dantien energy center. Spend at least
five minutes standing in the Embracing the Tree posture, breathing naturally
and easily into your lower dantien region. Your breath should be long, slow,
thin, quiet, and deep. Try counting slowly to eight on each inhalation and
using another eight-count on the exhalation.
If your attention wanders, bring it back to the breath and the lower dantien.
At this stage of your practice, don’t get caught up in what the rest of your
body is doing. If your arms begin to ache or tremble, just ignore them. Even a
beginner can put up with a little discomfort in the arms for at least five
minutes. If you find your arms tiring easily, it is often a sign that your elbows
are too high. Try dropping them down a bit more.
Practice in this way for five minutes a day until you can stand comfortably
without tiring and without losing the focus on your breath and the lower
dantien. Pay attention to the sensations in your abdominal region. Do you
feel this region getting warmer? Do you feel as if the lower dantien is
expanding, contracting, or starting to rotate on its own or in conjunction with
the breath? Do you feel energy beginning to radiate outward or upward from
the lower dantien?
These are all indications that the qi is starting to accumulate in the lower
dantien. Although these are common signs of qi development, don’t be
concerned if you do not experience any of these sensations at the beginning
of your practice. Each individual develops at his or her own pace, and it does
no good to try to force the qi into the dantien. Just let it develop naturally.
Once you are able to maintain your stance naturally and your focus easily,
you can move on to the next level of energy awareness. As you stand in the
Embracing the Tree posture, imagine the qi rising up your back to the dazhui
point in your upper back, midway between your two shoulder blades. Move
the qi up your spine on the inhale; then move it across the tops of your
shoulder blades, over your shoulders, down your arms and into your hands
and fingers on the exhale.
At first you probably won’t feel any energy movement. Instead you will have
to rely upon your imagination. Eventually you will begin to feel the qi rise
out of the lower dantien and move up your spine. The qi may move either
slowly or it may seem to surge up. Allow the qi to move at its own pace, but
be sure to coordinate the movement of the qi with your breath as described in
the preceding paragraph.
Some students initially have difficulty moving the qi up their spine and out
into their arms. This may be due to blockages in their spine or in their
shoulders. It may also be due to their reliance upon the analytical mind rather
than drawing upon the power of the hsien or heart/mind. Rather than thinking
about qi in the abstract, try imagining the qi as heat, or light, or electricity.
Lead the light or the heat or the electricity with your imagination. Let the
movement of the qi be a challenging game instead of a difficult task.
You will know that you have met with success in this endeavor when you
begin to feel a tingling sensation in the fingers of your hands. You may even
feel the energy extending outward from the fingers and meeting in the space
between your two hands. This normally occurs first in the space between the
two middle fingers, as they are closest to each other. Eventually the gaps
between the other fingers will fill with energy as well. The two thumbs are
usually the last digits to participate in this energetic connection. Be sure that
you don’t have any tension in the thumbs. They should point toward each
other just like the other fingers and should not stick up at an angle from the
back of your hands.

Empty Stance and Single Leg Postures

Both the wuji posture and the Embracing the Tree posture are equally-
weighted postures. That is to say that the weight of the upper body is
distributed evenly between the two legs and the feet. We say that these are
“50/50” postures. These 50/50 postures are great for working on issues such
as opening the joints, concentrating the breath and the qi in the dantien, and
moving the qi up the spine and out to the arms. As you have seen, you can
even use these postures to deepen your root.
While these 50/50 postures can be used for martial arts training, they are
more appropriate for pursuing the civil aspect of zhan zhuang. This means
that such postures are typically employed by those individuals seeking either
to improve their health or to enhance their spiritual awareness. Recall that, if
you are practicing zhan zhuang for health or spiritual reasons, you may want
to close your eyes during your standing practice. This will enable you to
focus your awareness inward. If, on the other hand, you are intent on
increasing your martial ability through zhan zhuang, then you should keep
your eyes open. You can either soften your gaze as mentioned previously, or
you can actually gaze out with focused intent.
In addition to equally-weighted postures, it is important that you become
familiar with single-weighted postures, especially if your intent is to improve
your martial ability. The simplest single-weighted postures are empty stance
postures. In these postures, you stand with the weight entirely (or as close as
you can come) on the back leg and simply touch the toe or the heel of the
front foot on the ground.
The purpose of the connection of the front foot with the ground is to provide
both stability and added root. Even though the back foot is bearing most, if
not all, of the weight, nonetheless you want both feet to maintain an energetic
connection with the earth. This is especially true if you are training for
martial ability.
While any of the taijiquan empty stance postures, such as White Crane
Spreads Its Wings or Lifting Hands, are suitable for zhan zhuang practice,
most practitioners begin with an empty stance version of Embracing the Tree
as shown in Figure 6-2. You will need to make a small adjustment to your
feet when adapting the Embracing the Tree posture for standing in an empty
stance. Your back foot will need to be angled out to approximately thirty
degrees to facilitate placing all the weight of the body in your back leg and
foot. Also, your front foot should be placed in line with either the heel or the
instep of your back foot. If there is any horizontal distance between your two
feet it will create lateral instability that will prevent you from sinking fully
onto your back leg.
Figure 6-2
You can use this modified Embracing the Tree posture for zhan zhuang
practice to enhance your root or to channel the qi. To begin with, stand first
on one side for five minutes and then make a smooth transition onto the other
leg for an additional five minutes. Work up to the point where you can stand
in each back-weighted posture for ten minutes, extending your overall zhan
zhuang session to a full twenty minutes. This is a real challenge, and you will
need to work up slowly to standing in the empty stance version of the
Embracing the Tree posture. If you push yourself, you are likely either to get
discouraged or to run the risk of leg cramps.
Try to make smooth transitions from one weight-bearing leg to the other. For
example, to make the transition from your right back-weighted leg, first
withdraw your left front leg as in a withdrawing center step. Then step out
with your left foot at a diagonal with your foot angled outward approximately
thirty degrees. Finally, shift your weight onto your left leg and bring your
right leg forward to place the toes of your right foot down in front of the
instep of the your foot. Execute this change like a cat walking. Also, when
making the transition, try to keep your arms up and don't let them droop
down.
It is beneficial at this stage to keep your eyes open when training standing in
an empty stance. If you are interested more in civil cultivation, you can allow
your gaze to extend to the horizon. However, for martial purposes, it is better
to focus your eyes on the space between the fingers. After standing for fifteen
or twenty minutes you may be surprised by what you see.
Having reached the point where you can stand comfortably in the modified
Embracing the Tree posture with all the weight on your back leg, you should
be able to lift your front foot off the ground and continue to stand on one leg
with little difficulty. To begin with, try lifting your front foot just a few
inches off the ground as shown in Figure 6-3. Again, you may have to go
back to standing for just a few minutes per side, but eventually you should be
able to work up to ten minutes per side in this posture.
Figure 6-3
When you feel comfortable standing on one leg with the empty leg elevated
off the ground a few inches, try for more challenging postures, such as the
posture illustrated in Figure 6-4. This advanced posture really puts the
weight-bearing leg through its paces. Interestingly enough, this posture also
strengthens the elevated leg. Try standing in this posture and you will quickly
see that it is not easy to hold up the elevated leg, especially when it is bent as
in these more advanced stances.
Figure 6-4
Single leg standing is especially helpful for training martial ability. When one
has developed to the point that the weight of the entire body can be rooted in
a single leg, the advantages in pushing hands and sparring are enormous. One
is free to rotate the torso around the weighted leg, providing a greater range
of motion for neutralizing. Also, when one is able to stand rooted on one leg,
the other leg is free to kick or to step in or to retreat depending upon the
opponent’s actions.

Zhan Zhuang and Taijiquan Postures

As stated previously, not all taijiquan teachers include zhan zhuang as part of
their curriculum. However, there is some evidence that zhan zhuang was, at
one time, part of traditional Chen and Yang style taijiquan training. In his
translation of Chen Kung's Cultivating the Qi, Volume One, Stuart Olson
presents material that purports to be part of a Yang family training manual.
Section Six of this document describes the practice of zhan zhuang as
including two types of ch’uang pu (standing post) stances: ma pu (horse-
riding stance) and ch’uan tzu (cat stance, or empty stance). In this document
it states that in the past the beginning student would stand in these two
stances in order to develop jin (intrinsic energy) in the lower extremities (feet
and legs).34
At the end of this treatise, Chen Kung presented line drawings of a number of
Yang style taijiquan postures which can be employed for zhan zhuang
training. These include Lifting Hands, Ward-Off, Rollback, Press, Push,
Repulse Monkey, Diagonal Flying, and Strike the Tiger. Chen Kung further
went on to state that such single posture standing would continue for up to
ten years, resulting in the cultivation of mind/intent, spirit, and qi.35
Whether the practice of zhan zhuang is part of traditional taijiquan training or
not, it is clear that holding specific individual postures for an extended
duration will bring increased rootedness, song, and a better understanding of
the internal dynamics of each posture both in terms of energy flow and the
balance between the substantial and insubstantial aspects of the posture. You
would do well to heed the above advice and practice each of the main
postures of your form separately by adapting them individually for zhan
zhuang standing.
Conclusion
Although zhan zhuang practice may appear physically challenging at first, if
you are willing to work at it both physically and mentally, the benefits you
receive will more than repay your investment in the long run. The reward
from zhan zhuang standing is directly related to the time you spend, both on a
day-to-day basis and over time. As indicated previously, there is a clear
correspondence between five minutes standing and “five minutes root.”
There is a similar relationship between fifteen minutes standing and “fifteen
minutes root.” It is also valid to say that one day’s standing results in one
day’s worth of root and one year’s standing results in one year’s worth of
root.
With our busy lives caught up in work, family, and other responsibilities, we
often find ourselves pressed for time. Because zhan zhuang appears
superficially to be the least glamorous aspect of our training, we may be
tempted to drop it from our daily taijiquan practice. If you find yourself
squeezed for time, at least try to put in a minimum of five minutes per day
devoted to this training. Perhaps you can find time for longer zhan zhuang
sessions on the weekends. However, do realize that it is better to do a little
standing every day than to stand for one long session once per week.
Remember that the best way to deepen your roots and to become song is to
spend time standing. Although it may seem contradictory, the best
preparation you can undertake for flowing the form is to stand still first.
Recall what the Classics say about Taiji arising out of Wuji. First there is
stillness, then movement can begin. Learn to be as still as a mountain, then
you can flow like a mighty river.
It is equally important to undertake the challenge of mentally directing the qi
to move up the spine and out to the arms and hands while standing in the
Embracing the Tree posture. The art of taijiquan requires that the practitioner
be able to mobilize the qi in order to move the body. In the following
chapters you will learn how to cultivate and mobilize your qi more effectively
through various qigong practices.
As you will see, some of the exercises presented in the next two chapters
involve movement, just like the form. Others are performed while either
sitting or standing still. These neigong practices are frequently performed
while standing in zhan zhuang. It makes sense, therefore, to begin these
practices only after you have been standing for several months or more. The
good news is that you will be able to combine zhan zhuang with qi
cultivation and mobilization. So, while you will be adding another aspect to
your training, you won't be increasing the overall time you spend in your
training sessions.
 Chapter Seven

The Principles and Practice of Qi Cultivation

The Taijiquan Classics provide us with many important principles that guide
the practice of taijiquan:

When one part moves, the entire body moves.

Stand like a balance, turn like a wheel.
The motion should be rooted in the feet, released through the legs,
controlled by the waist, and manifested through the fingers.

The principles contained within the Classics, along with the essential points
expounded by the founders of taijiquan, provide the framework for the
practice of our art. Underlying all these principles, however, are two
fundamental touchstones:

Guard the mind and the qi together in the dantien.

The mind moves the qi, and the qi moves the body.

If a student adheres to all the other principles of taijiquan but ignores these
two, his or her practice will lack the true essence of the art. That is to say, it
will not be the true taijiquan as practiced by the originators of the different
styles of this unique, internal martial art.
In his Thirteen Treatises on T'ai Chi Ch'uan, Cheng Man-ch’ing included a
chapter entitled “Developing the Qi to Attain Suppleness.” This chapter
includes a reference to the Tao Te Ching, in which Lao-tzu described the
process of developing the qi in order to achieve suppleness. Professor Cheng
concluded that the appropriate location in the body to develop the qi is the
lower dantien.36
Chen Zhenglei also explains the importance of accumulating the qi in the
lower dantien. He emphasizes the importance of being naturally relaxed and
calm while coordinating the movements of the entire body. When the body is
in motion, all of the components of the body must move in a coordinated
manner. When the body stops moving, all of the components of the body
need to settle together into stillness. He further explains that the breathing
and the movement should be coordinated under the direction of the mind, or
yi. He emphasizes the necessity for persistent and ongoing practice in order to
reach the state in which the qi accumulates in the dantien. From this focussed
practice, the qi will become substantial and powerful.37
As was asserted in the Introduction, the vast majority of taijiquan
practitioners do not keep their awareness in the dantien, nor do they actively
direct the qi in order to move the body. These individuals may be relaxed,
they may have acquired some limited root, and they may even have
developed a certain degree of song. However, without the ability to cultivate
and mobilize the qi, their taijiquan practice will forever remain at a
superficial level.
It is essential to be relaxed, rooted, and song when performing the form.
These are important qualities in the practice of taijiquan and are prerequisites
for the cultivation and mobilization of qi. Just as relaxation is essential for
developing song, so song is an essential condition for cultivating and
mobilizing the qi. Students who have learned to relax, established some root,
and developed a degree of song can justifiably be proud of their
accomplishment. However, they should not stop at this point but rather need
to advance forward to the real gongfu of qi cultivation and mobilization.
Many students report experiencing a warmth and tingling in the hands and
fingers at some point in their study of taijiquan. Although this is a good sign,
it is nothing more than the presence of localized qi. The phenomenon of
localized qi will be addressed in the following section. Experiencing
localized qi, however, is not the same as cultivating the qi in the dantien and
then mobilizing and circulating the qi out to the extremities of the body. To
accomplish this takes months and even years of serious gongfu, preferably
under the tutelage of a knowledgeable and experienced teacher.

Understanding Qi
Before one can learn to cultivate and mobilize the qi, one must first
understand what qi is. According to Chinese tradition, qi is an invisible yet
tangible energy that permeates the universe. The ancient Chinese believed
that everything in the universe, both living and inanimate, contains qi. With
regard to living entities such as plants and animals, qi can be considered to be
the basic life-force which supports existence. If the qi is weak, the individual
(plant or animal) will be weak. If the qi ceases to function entirely, the entity
will die.
One may well ask how inanimate objects can contain qi if qi is considered to
be a life-force. The answer is that the qi of inanimate objects is contained
within the energy that inhabits those objects. An analysis of the Five
Elements reveals how inanimate objects are embued with their own unique
type of qi. Wood for example, can be burned, releasing its qi as heat. Water’s
qi has the power to dissolve small objects and even to wash away large
boulders. A rock’s qi may be bound up in the minerals it contains. For
example, iron ore can be melted to release the metal contained within it.
There are many ways to categorize qi. However, the most common
classification is to refer to the three categories of qi as follows: heaven qi,
earth qi, and human qi. These three types of qi are collectively referred to as
the Three Treasures of the universe, or san pao. It is important to understand
these three types of qi and to know how to combine them harmoniously.
Heaven qi, or tian qi, consists of the heavenly forces that exert their influence
upon humans and the earth. It has long been known that heavenly bodies,
such as the sun, the moon and the stars, all influence both the earth and the
individuals that inhabit the earth. Heaven qi is present in both sunshine and
moonshine (especially the liquid variety!) Exposure to heaven qi in the right
amount is essential to our health and vitality.
Heaven qi is also present in the air that we breathe. Clearly, the quality of the
air we breathe has direct influence upon our health and well-being. Chinese
Traditional Medicine counsels us to avoid air that is too dry, too humid, too
hot or too cold. We must also avoid breathing air that contains harmful
substances, such as pollution or sulfurous vapors, etc.
The ancient Chinese believed that heaven qi was responsible for the weather,
particularly such events as typhoons and tornadoes, and also influenced the
tides. Astrologically speaking, heaven qi was also thought to influence
human affairs. The Chinese developed elaborate systems of divination in
order to understand and predict the influence of heaven qi on present and
future events. The I Ching is the best known of these systems.
Below heaven is earth. Earth qi, or di qi, is influenced by heaven qi, although
earth qi also acts independently from heaven qi. Earth qi includes the earth's
magnetic field as well as geothermic energy. Earth qi also encompasses the
energy contained in rivers, oceans, lakes, mountains, and forests. As with the
weather, the ancient Chinese believed that natural disasters such as
earthquakes, landslides, floods, and tidal waves were the result of imbalances
in earth qi. The well-known art of geomancy, or feng shui, is based upon the
study of earth qi.
Humankind stands between heaven and earth. As such, human qi, or ren qi, is
influenced by both heaven qi and earth qi. As stated previously, human qi is
affected by the quality of the air we breathe (kong qi), the food we eat (gu qi)
and the water we drink. Human qi is further categorized as pre-birth qi (hsien
t'ien qi) and post-birth qi (hou t'ien qi). Pre-birth qi is the qi we receive from
our parents. In modern scientific terms, pre-birth qi is the equivalent of our
DNA. Post-birth qi is the qi that animates our lives and which is influenced
by heaven qi and earth qi and also the qi of air, food and water.
We can do nothing to change our pre-birth qi, although there are exercises we
can perform to maintain the vitality of our pre-birth qi. Our post-birth qi, on
the other hand, is largely under our control. We can engage in practices that
nourish this qi, such as breathing good, fresh air; eating healthy, nourishing
food in the proper quantities; drinking pure, clean water; and engaging in
stimulating and invigorating exercise. We can also choose to live in
environments where the qi of heaven and earth exerts a healthy influence
upon us, such as in the mountains or beside a lake or the ocean.
As well as these natural activities, we can also engage in specific exercises
designed to enhance and nourish our qi. The ancient Chinese sages developed
many such exercises, which are collectively known as qigong. Several of
these exercises will be introduced in the following sections of this chapter.
In addition to devising qigong exercises, the venerable Chinese sages were
able to map out the pathways within the human body along which the post-
birth qi travels. They were also able to analyze human anatomy and establish
the relationships between the various organs. Organs were classified as either
yang or yin, and the qi pathways, or meridians, associated with each organ
were identified. The science of Traditional Chinese Medicine is based upon
these organ classifications and the meridians associated with them.
Diagnoses for various illnesses were developed based upon the knowledge of
the organs and their relationships. Specific treatments involving the
placement of needles at key acupoints along the meridians were devised.
Herbal remedies were also created based upon the special healing qualities, or
qi, of certain plants and animal parts. In addition, specific qigong exercises
were established for the purpose of stimulating or strengthening individual
organs in order to combat diseases and deficiencies within the body.
In addition to qi, each human being possesses two other vital energies or
essences: ching and shen. Ching is the sexual energy which enables
procreation. Ching is normally associated with the testes in men and with the
ovaries in women. Shen is the spiritual energy that each human possesses.
This is not the same concept as the Western notion of the soul. Rather, one’s
shen is their spirit of vitality, that is to say the brightness of their personality,
the essence of their being. Someone who has a vibrant shen is said to have a
“great spirit.”
As with heaven, earth, and humanity, which together make up the Three
Treasures of the universe, qi, ching, and shen make up the Three Treasures of
humankind. These three human treasures are mutually supportive and
dependent upon one another. It is said that ching supports qi, qi supports
shen, and shen supports ching. This circular, tripartite relationship is referred
to as the Three Internal Harmonies. One style of qigong, which is internal,
seeks to strengthen and unite these Three Treasures.
When the qi, ching, and shen are united, the spirit of vitality rises to the upper
energy gate located on the top of the head (the bai hui, or Heaven's Gate),
resulting in a state of elevated spiritual awareness and ultimately in
enlightenment. The Taoists refer to this union as “the three flowers meet on
the top” (san hua ju ding).
Just as pre-birth qi is associated with either the testes or the ovaries, post-
birth qi is associated with the kidneys. It is said that the kidneys are the
source of post-birth qi. For this reason it is important to maintain the health of
the kidneys above all other organs. Many qigong exercises are intended
specifically to strengthen and energize the kidneys in order to generate
strong, healthy post-birth qi. Note: for the rest of this discussion, the term
“post-birth qi” will be abbreviated to “qi.” When the term “qi” is used
without any qualification, it is assumed to mean “post-birth qi.”
Although qi is generated in the kidneys, it is stored in the lower dantien. As
discussed previously, the lower dantien is the energy center located in the
abdominal cavity. It is situated three finger widths below the navel and two
finger widths toward the interior. This Chinese term is often translated as the
“field of immortality” or the “field of elixir” where “elixir” refers to the “qi.”
There are many qigong exercises whose purpose is to increase the store of qi
in the lower dantien.
Within the human body, there are three circulatory systems: the qi circulatory
system, the blood circulatory system, and the lymph circulatory system. The
qi and blood circulatory systems are closely related. In Cultivating the Ch’i,
Chen Kung stated that, between the blood and the qi, the qi is the more
important in that the qi serves as the master to the blood because it directs the
blood to reach all the tissues of the body.38
The close relationship between the blood and the qi is often referred to in
China as the relationship between a brother and a sister. In this analogy, the
qi is the brother and the blood is the sister. Traditional Chinese Medicine is
based on the premise that the qi leads the blood. Where the qi goes the blood
follows. If the qi is blocked or stagnant, then there will be a deficiency of
blood in that region of the body. Also, if the qi flow stops completely, then
the individual will die.
Although the qi will flow naturally of its own accord, it may become
subjected to blockages as stated above. These blockages can be released
through acupuncture. It is also possible to open qi blockages through either
external qigong exercises or through internal qigong exercises. The basis for
both external and internal qigong is the principle of yi yi yin qi, “the mind
leads the qi.” Just as where the qi goes the blood follows, it is also true that
where the mind (intention) goes, so the qi follows.
The mere mental act of focusing the intent on a particular region of the body
can cause an increased accumulation of qi in that region. When the qi flows
strongly to a specific location, the blood naturally follows. It is this increased
blood flow that individuals sometimes experience as warmth or tingling when
practicing taijiquan. This sensation most frequently occurs in the fingers and
palms of the hands. Although this is a valid experience, it is not a direct
experience of the qi, but rather the experience of the blood following the qi.
Furthermore, the qi that is experienced in these cases is localized qi.
Localized qi is important and can be useful in both martial applications and in
healing. However, if we want to master qi cultivation and mobilization, we
need to learn to work with the qi in the lower dantien. Without learning how
to cultivate the qi in the lower dantien and then mobilize and circulate this qi
throughout the body, our experiences of the qi will only be of the local
variety. Hence we say that the experience of qi is superficial as opposed to
deep and all-pervasive. The exercises presented in the final two sections of
this chapter are intended to be used for this purpose, i.e. to aid in cultivating
the qi in the lower dantien and then to circulate the qi out from this field of
elixir.
To conclude this discussion of qi, we need to consider one final topic. Some
people mistakenly believe that there are two types of qi: yin qi and yang qi.
This is incorrect. There is only qi. However, it is true to say that all qi,
whether it be derived from heaven, earth, or an individual, may have the
quality of being yin or yang.
We see this everywhere in nature. For example, the fierce rays of the midday
sun are said to be yang, whereas the cold light of the moon may be
considered to be yin. The same is true of the qi in the human body. The qi
that travels within the stomach meridians is normally yang in nature. On the
other hand, the qi that travels within the kidney meridians is normally yin in
nature. If, for some reason, the qi in the kidney meridians becomes yang in its
aspect, then the kidneys will become overheated and disease will arise.
Disease in the kidneys may also arise if the qi in the kidney meridians
becomes too yin. Thus it is important not only to have strong qi overall but
also to have the right quality of qi in each of the meridians. Again, many
qigong exercises have been devised to both strengthen and balance the qi
associated with specific organs so that it is neither too yin nor too yang.

The Qi and the Breath

No discussion of qi and qigong would be complete without discussing the
association between the qi and the breath. Within the human body, the qi and
the breath are closely related. It is not an exaggeration to state that without
the breath there would be no qi. The relationship between the breath and the
qi is two-fold. First, the breath is necessary for the creation of qi. Second, just
as the qi leads the blood, so the breath can be used to lead the qi. We will
consider each of these aspects of the breath in turn.
As stated previously, our post-birth qi is created from the air that we breathe
(kong qi) as well as the food that we eat (gu qi) and the water that we drink.
Kong qi comes from heaven, and food and water come from the earth. The qi
of heaven and the qi of earth are combined to generate our human qi. From
this you can see that it is important to learn how to breathe properly in order
to provide the body with the best kong qi. Of course, we want to breathe
where the air is clean and pure and not stagnant or polluted. It is also
important to breathe in air that is neither too hot or cold, nor too moist or dry.
In order to employ the breath to aid in cultivating the qi, you will need to
learn how to breathe properly. There are two main breathing techniques that
can be used to increase your absorption of kong qi and also to help
concentrate and lead the post-birth qi. These are abdominal breathing and
reverse breathing. These two breathing techniques are also referred to as
Buddhist breathing and Taoist breathing. Although reverse breathing is
specifically called “Taoist breathing,” both of these breathing techniques are
used in Taoist meditation in order to cultivate the qi.
Abdominal Breathing: In this section we will explore the simpler of these
two breathing techniques: abdominal breathing. Abdominal breathing is
intended to enhance your ability to extract kong qi from the air. This
breathing exercise is simple to perform and highly effective. You can
consider this exercise to be the preliminary exercise to the more extensive
qigong exercises presented in later in this and the following chapter.
Abdominal breathing is also called “baby breathing.” As its name implies,
abdominal breathing involves breathing into the abdomen. This is contrary to
the way in which most adults breathe, which involves inflating the chest.
Infants, on the other hand, naturally breathe into the abdomen, hence the
alternate name for this type of breathing. Abdominal breathing is not unique
to Taoism and is also employed in Buddhist meditation. Other spiritual
traditions incorporate abdominal breathing into their practices as well.
Abdominal breathing has the benefit of engaging the entire thoracic cavity in
the breathing process. As mentioned above, most adults only breathe into the
upper thoracic cavity, thereby filling only the upper third of the lungs. The
consequences of this chest breathing are two-fold. First, only the upper
portion of the lungs are presented with fresh air from which to extract oxygen
(and kong qi). The second consequence is that the air in the lower two-thirds
of the lungs is not exchanged and becomes stagnant and stale.
Abdominal breathing can be practiced in one of three positions: lying down,
sitting, or standing. If you are unaccustomed to this style of breathing, it is
recommend that you start with the prone position. Figure 7-1 illustrates this
position. Note that the hands are placed over the abdomen, one on top of the other, with the palms
gently pressed against the navel.
Figure 7-1
Begin by lying down face up and placing the hands over the abdomen as
shown in Figure 7-1. Perform the overall body relaxation exercise and
breathe normally for several minutes to relax the body and calm the mind.
Then, place your awareness on the abdominal cavity, specifically under your
hands. Inhale slowly and deeply through your nose. Your inhalation should
be long, slow, quiet, and continuous.
As you inhale, draw your diaphragm down and at the same time gently
extend your abdomen so that your hands lift up slightly. See Figure 7-2. At
the same time, try to draw the breath all the way down to the bottom of your
lungs. This will fill the bottom third of the lungs.
Figure 7-2
Once you have extended the abdomen, continue inhaling and fill the middle
lungs. You should feel your ribs lifting and expanding outward. Finally,
inhale into the upper lungs. This will cause your chest to expand outward
slightly as well. When you first begin this breathing exercise you don’t want
to fill the lungs completely, as this will result in straining. However, you do
want to fill them to as much as eighty percent capacity. Having filled your
lungs to this eighty percent capacity, your entire thoracic cavity will be
expanded and open.
When you have filled the lungs to your comfort level, begin to exhale. Exhale
through the mouth. Again, your exhalation should be long, slow, quiet and
continuous. Allow all the air to escape the lungs. Relax the muscles of the
upper thoracic cavity, then the ribs, and finally the lower thoracic cavity. The
diaphragm will ascend of its own accord, and the abdominal wall will
collapse slightly. You should notice that your hands drop down slightly at the
end of the exhalation as shown in Figure 7-3.
Figure 7-3
Normally your exhalation is shorter than your inhalation. It may assist you to
count on the inhalation and again on the exhalation in the following manner:
slowly count to eight as you inhale; then slowly count to six as you exhale.
Be sure not to hold your breath between the inhalation and the exhalation.
You want the breath to be continuous, or “one breath” as the Taoists say.
One of the goals of abdominal breathing is to balance the inhalation and the
exhalation. To this end, you should eventually use the same count on both the
inhalation and the exhalation. Keep this in mind as you continue practicing
abdominal breathing. Also remember that you should not strain or feel out of
breath at any point. If the eight/six count doesn’t work for you, find a count
that is comfortable.
As for the duration of practice, this will also depend upon your conditioning
and prior experience. You should practice abdominal breathing initially for
five minutes or so. Later you can work up to longer periods of breathing.
Also, once you are comfortable performing abdominal breathing in the prone
position, move up to a seated posture, as shown in Figure 7-4. Eventually you
want to practice abdominal breathing in the standing posture illustrated in
Figure 7-5.
Figure 7-4
Figure 7-5
When practicing abdominal breathing, you should concentrate initially on the
breath. However, once you find it natural to breathe into the abdomen, you
should allow your attention to become focused on the lower dantien instead.
This is called “breathing into the dantien” and is the first step in learning to
cultivate the qi. When breathing into the lower dantien, you should imagine
that the lower dantien becomes expanded on the inhalation and contracted on
the exhalation. This is done with your intent, or yi.
Note: there are actually three dantien energy centers in the human body. All
references in this chapter to the “dantien” without any qualifying adjective,
refer to the lower dantien as described previously in this book. Later in this
chapter the middle dantien and upper dantien energy centers will be
discussed.
Chen Kung stated that each person has both mind/intent and qi, which are
invisible and formless.39 These two are related as follows: where the
mind/intent (yi) goes, the qi will follow. So, by placing the yi on the dantien,
the qi is naturally drawn to the dantien, where it accumulates and becomes
condensed.
At some point you may feel the presence of the qi in the dantien. This area
may feel warm or become slightly expanded. You may feel a tingling
sensation or you may even feel that the dantien is moving. These are all valid
experiences, but they are neither to be encouraged nor discouraged. Simply
keep the awareness intently on the dantien and allow the breath to flow in
and out.
After you are able to engage in abdominal breathing comfortably for ten to
twenty minutes at a time, you can incorporate abdominal breathing into your
zhan zhuang sessions. This will enable you to kill two birds with one stone,
so to speak. Try standing in the Embracing the Tree posture, either with the
weight evenly distributed between the two legs or in the back-weighted cat
stance version of this posture. Instead of focusing on song and rooting, which
should now occur naturally, perform the abdominal breathing exercise and
concentrate on the dantien.
Standing in zhan zhuang while performing abdominal breathing and
concentrating on the dantien is a gateway practice to more advanced practices
such as the Microcosmic Orbit and the Macrocosmic Orbit. Realistically, you
should spend at least a month standing in zhan zhuang while focusing on
your breathing and concentrating your awareness on the dantien prior to
beginning these more advanced practices.
This section has presented the simplest and most effective breathing exercise
for individuals with limited or no prior experience in Taoist breathing
practices. While this exercise appears simple, the benefit of bringing the
breath and the yi together in the dantien is significant. Once you can hold the
mind/intent steadfastly on the dantien, you can begin to cultivate the qi in this
field of elixir. This is the first step in the practice of many more advanced
qigong exercises.
Reverse Breathing: The second Taoist breathing technique, known as
“reverse breathing,” is a more advanced technique in which the diaphragm is
drawn up and the abdominal muscles are contracted on the inhalation, with
the opposite taking place on the exhalation. This is the reverse of the
abdominal breathing technique presented above, which is why it is called
“reverse breathing.”
Reverse breathing, which is also specifically referred to as “Taoist
breathing,” is an advanced technique that involves not only the breath but
also requires concentrated control over the muscles of the abdominal cavity
and the perineum. Reverse breathing is often employed in an advanced Taoist
practice known as “fire and water reversing,” or the reversal of yin and yang.
This practice is performed in order to unify the ching and the qi and to cause
their united energies to rise to the upper dantien in order to merge with the
shen. This process is referred to as Taoist alchemy, which will be presented
in detail in Chapter Eighteen.
Having accustomed yourself to abdominal breathing, you may find reverse
breathing counter-intuitive at first. However, you should develop some skill
in this alternate breathing technique because it is very useful in both Taoist
meditation and in the martial applications of taijiquan. In particular, the Chen
style of taijiquan makes use of reverse breathing when issuing explosive fa
jin energy.
Unlike abdominal breathing, it is best to begin your practice of reverse
breathing by sitting upright in a chair or in a cross-legged posture. Close the
eyes, place the tongue on the roof of the mouth, and perform the overall body
relaxation exercise. Once you have settled down, start an inhalation by
pulling the diaphragm up into the middle thoracic cavity just under the ribs
and simultaneously contracting the abdominal muscles.
You will find that the breath fills the upper thoracic area and causes the chest
to expand somewhat. If you just stop the inhalation at this point, you will
miss the final stage of the inhalation. Continue inhaling and roll the
diaphragm outward toward front of the ribs and down toward the navel,
thereby filling the middle and lower portions of the lungs. The abdomen will
also expand to accommodate the inflation of the lungs.
Without pause begin to exhale by deflating the lungs, starting with the upper
lungs and then working down to the middle and lower lungs. The upper, then
the middle, and finally the lower thoracic cavity will contract with the
exhalation. With the reverse breathing technique it is easier to balance the
inhalation with the exhalation, so you should be able to work with an
eight/eight count to regulate the inhalation and exhalation of the breath.
As with abdominal breathing, start with five minutes per session and work
your way up to ten minutes per session. Reverse breathing requires greater
concentration than abdominal breathing as it engages your muscles in ways
that you may be unaccustomed to. If at any point you feel that you are
straining or find yourself out of breath, take a break and just breathe
normally.
Because reverse breathing is especially useful in martial applications, you
will need to learn how to engage in reverse breathing while standing in zhan
zhuang. For this reason you should extend your practice to include a standing
version of reverse breathing. The use of reverse breathing in martial
applications will be discussed in Chapter Fourteen.

The Practice of Qigong

The term “qigong” is an abbreviation of “qi gongfu.” As you know, gongfu
refers to the effort or work one puts into any given endeavor. When that
endeavor is the cultivation of qi, we call it “qigong.” The practice is qigong
dates back at least 4,500 years and is as ancient as Chinese culture. Although
the term “qigong” is relatively modern, many of the earliest recorded Chinese
scrolls include references to practices that we now consider to be qigong
exercises.
In general, qigong practices can be divided into two categories. The first
category entails specialized physical movements that are performed with the
intent of both strengthening the body as well as causing the qi to move in
specific ways. These types of exercises are referred to as “external” qigong,
or waidan qigong. Examples of some of the more popular external qigong
exercises include the Eight Pieces of Brocade (baduan jin), Dragon’s Gate
qigong, and the Five Animal Frolics (wuxi xing). Figure 7-6 shows drawings
of the Eight Pieces of Brocade, and Figure 7-7 includes representations of the
Five Animal Frolics. Because external qigong exercises are beneficial to the
practice of taijiquan, a discussion of the Eight Pieces of Brocade is presented
at the end of this chapter.
Figure 7-6
Figure 7-7
In contrast to external qigong, there are many qigong exercises which are
performed in a stationary position. In these internal qigong practices, or
neidan qigong, the qi is cultivated and mobilized internally using the yi and
the breath. One may observe the practitioner from the outside and not be
aware of the intense gongfu that is taking place within. Because only mental
effort is involved, it is important for the mind to be calm and focused in order
for this type of qigong to be successful.
The practices that have been presented up to this point, which have included
simple standing in wuji posture, standing in more advanced zhan zhuang
postures, and performing abdominal and reverse breathing, may be
considered to be preliminary internal qigong exercises. These various
exercises should have prepared you to engage in this next level of practice.
By now you should have established some degree of song and root, and you
should be able to keep your mind fixedly on the dantien. Your mind should
be both calm and clear and ready to gather and mobilize the qi. The training
presented in the following section is designed to lead you through the process
of cultivating the qi internally. As such, this is a neidan qigong exercise.

Cultivating the Qi Internally

To continue with your training, you will now begin to cultivate the qi in the
dantien. This is a logical progression of the work you have been doing up to
this point. Again, you can perform this new training in a prone position,
sitting, or standing, depending upon your preference. As with the abdominal
breathing exercise, you may want to begin initially in the prone position.
Start by closing your eyes to focus your awareness inward. Place your tongue
on the roof of your mouth. Perform the overall body relaxation routine. Then
begin abdominal breathing. Place your awareness on the dantien. As you
inhale, imagine that you are drawing the qi out of the kidneys and into the
dantien. The qi should travel from the kidneys located on either side of the
small of the back on two slightly downward converging paths to join together
in the dantien. When you exhale, imagine that the qi you have drawn into the
dantien is settling and collecting there. On each subsequent cycle of breath
imagine the store of qi increasing.
You will need to use both your breath and your yi to guide the qi from the
kidneys into the dantien. The role of the imagination in this exercise is very
important. There is a traditional expression used to describe this practice:
“First in the mind and then in the body.” This means that you first have to
imagine the qi moving out of the kidneys and into the dantien. Eventually,
what you have been imagining will become reality as the qi accumulates in
the dantien.
It is also said: “The mind moves the qi.” It is essential to learn to use your
mind to lead the qi where you want it to go. Your mind must be calm, clear,
and focused in order to lead the qi. If the mind (yi) is weak, the qi will not
follow it, just as people will not follow a weak leader. In order to cultivate the
qi, you must first train the mind to be calm and focused. That is why the zhan
zhuang and abdominal breathing exercises introduced previously are very
important as preliminary exercises to internal qigong practice.
Eventually the qi will actually follow your intention, and you will feel it
moving and collecting in the dantien. Try to imagine the qi accumulating into
an ever-increasing ball of energy or light. As this qi ball grows in size, the
dantien will expand. Initially you may sense the dantien as a single point or a
small sphere the size of a pea. However, as you are able to accumulate more
and more qi in the dantien, eventually the dantien should expand to the size
of a grapefruit.
The process of accumulating the qi in the dantien may take days, weeks, or
even months; you simply have to be patient and put in the necessary gongfu
in order to make it happen. As with prior practices, start off slowly,
practicing for no more than five minutes per session. Work up to at least ten
minutes per day. You should also progress from lying down to sitting and
then standing in zhan zhuang while cultivating the qi.

Cultivating the Qi Externally

Although the internal cultivation of the qi is essential, this type of neidan
practice works solely on the level of the human, post-birth qi. Recall that
there are three types of qi in the universe: heaven qi, earth qi, and human qi.
One should not ignore the benefits to be derived by accumulating the qi of
heaven and the qi of earth through the means of waidan qigong practices such
as the Eight Pieces of Brocade. Millions of individuals in China and
worldwide practice this popular qigong routine on a daily basis in order to
maintain their health and vitality as well as to increase their lifespans.
Although many taijiquan instructors believe that practicing the taijiquan
form is a type of qigong and do not feel the need to include a special qigong
routine as part of their classroom instruction, it is highly recommended to
include some type of external qigong in your the daily practice prior to
practicing the taijiquan form. Practicing external qigong serves as a great
warm up and gets the juices flowing for the more demanding form practice to
follow.
To this end, the following is a brief description of the Eight Pieces of
Brocade external qigong set along with a series of photographs depicting the
individual postures within the set. One additional benefit to learning the Eight
Pieces of Brocade is that, should you become ill or injured and unable to
practice the traditional taijiquan form, you will still have a healthful routine
that you can perform which is not too physically challenging. Also, the
energy that you create internally, along with the heaven and earth energy that
you gather externally, will aid considerably in your recovery.
The Eight Pieces of Brocade set consists of the repetition of eight different
movements or postures. Each movement should be repeated eight times, for a
total of sixty-four repetitions (eight eights). It is best to breathe in through the
nose and out through the mouth just as in practicing the form. Try to
coordinate the breathing with the movements as follows: when gathering the
hands inward or bending forward, breathe in; when reaching up or out,
breathe out. The following, in order, are the eight individual postures.
Two Hands Holding Up Heaven: This movement is performed in order to
gather heaven and earth energy and also to stimulate the Triple Heater
(sanjiao). The Triple Heater is not an actual organ, but consists of three
organs and their associated systems: the heart and the circulatory system, the
lungs and the respiratory system, and stomach and the digestive system.
Because the Triple Heater is involved in three main bodily functions, this
exercise is an overall tonic for the body and balances the energy of all the
major organs.
To begin, stand with your feet hip width apart and then bend your knees to
squat down slightly while gathering your hands together, palms facing up, to
scoop up the qi of earth as shown in Figure 7-8a. Then stand up and bring the
hands up the midline of the torso, continuing up past the throat and face.
When the hands reach the level of the eyes, rotate the hands outward 180
degrees so the palms face up toward heaven. Continue to lift your hands
above the head until you feel a slight stretching in your arms. Also, stretch up
with the rest of your body (legs, torso and neck) and look upward toward
your hands.
This is the Two Hands Holding Up Heaven posture. See Figure 7-8b. Gather
the qi of heaven into the two hands before circling them outward to the sides.
Relax the upstretched body and slowly drop the arms and hands back to the
original position with the knees bent slightly and the hands scooping together
in front of the thighs.
Figure 7-8a
Figure 7-8b
The breathing for this exercise should occur as follows: Inhale as you raise
your hands up to the level of your heart. Exhale as your hands continue to
rise up and then turn over to face upward. Inhale again as you lower your
hands out and downward to the level of your heart. Finally, exhale as your
arms continue to lower to their original position.
Try to engage your imagination throughout this exercise. When bending
down, imagine scooping up the qi of earth. As you rise up, imagine that you
are pulling the qi of earth up and into the organs of your body, beginning
with the sexual organs and ending with the brain. When your hands are
stretched upward over your head, imagine that you are gathering up the qi of
heaven. As you lower your arms back down, carry some of this heaven qi
with you and then merge it together with the earth qi that you gather at the
beginning of the next cycle. Repeat the complete cycle eight times.
Draw the Bow to Shoot the Arrow: This movement is performed in order to
open the chest and also to stimulate the lungs. This exercise strengthens the
muscles of the arms, abdomen, back and legs and promotes overall good
health and vitality. The benefit to the legs is due to the fact that it is
performed in a horse-riding stance (ma pu), the lower the better.
Begin by separating your legs to shoulder width or wider. You may want to
angle your toes out slightly toward each side in order to facilitate squatting
down into a horse-riding stance. Cross your arms in front of your chest with
your right hand in front. Lightly clench your right fist with the index finger
extended and lightly clench your left fist as shown in Figure 7-9a. Turn your
torso to face the right. Now squat down into the horse-riding stance as you
separate the two arms. Expand your chest and stretch out your right arm fully
but don’t pull your left hand further back than the armpit.
This is the Draw the Bow to Shoot the Arrow position. See Figure 7-9b. Hold
the stretch for a moment; then drop the arms down to cross in front of the
legs and rise back up. As you rise up, lift the crossed arms up in front of the
torso, this time with the left hand in front. The breathing for this exercise is
straightforward: When you gather in the arms, you inhale. As you expand the
chest and extend the arms outward, you exhale. Repeat the exercise on the
left side. Perform a total of eight repetitions on each side.
Figure 7-9a
Figure 7-9b
As in the preceding exercise, you want to engage your imagination here.
When you are drawing the bow on the right side, pretend that the right hand
is holding the bow and the left hand is drawing back the bowstring. See if
you can’t feel the tension in the bent bow in the right hand and arm and the
tension of the drawn bowstring in the left hand and arm. Imagine releasing
the bowstring to shoot the arrow as you relax the arms and drop them down,
Separate Heaven and Earth: This movement is performed in order to gather
qi from both heaven and earth and also to stimulate the stomach and the
spleen. This exercise stretches the torso and balances the left and right sides
of the body. It is an overall tonic for the system.
Stand with your feet hip width apart and place your hands together in front of
your groin with the palms facing up and the fingers facing each other. Then
raise your right hand with the fingers pointing upward and trace the midline
of your body; turn the right palm over as your right hand passes in front of
your eyes and then rotate it to face upward toward the sky as you stretch your
entire body upward. Simultaneously turn your left hand to face downward
and push your left palm down along the front of your left thigh.
Simultaneously extend your right hand up and your left hand down. This is
the Separate Heaven and Earth posture. See Figure 7-10a.
Turn both hands over so that the palm of your right hand faces downward and
the palm of your left hand faces upward. Pause in this position for a moment
while you gather heaven qi in your right hand and earth qi in your left hand.
Then retract your right hand by passing it down the midline of your body
with the palm facing downward. At the same time, pull your left hand upward
with the palm facing up. As your hands pass each other they exchange roles,
and your left hand reaches up to heaven while your right hand presses down
toward earth as shown in Figure 7-10b.
Figure 7-10a
Figure 7-10b
The breathing for this exercise is as follows: When the hands travel toward
each other, you inhale. When the hands separate and travel away from each
other, you exhale. Repeat eight times on each side. This exercise not only
gathers heaven and earth qi, but the hand that gathers heaven qi when
reaching up on one side changes over to gather earth qi when pushing down
on the other. On each side, one hand is yang and one is yin. The hands
exchange roles as they pass each other during the transition from one side to
the other. This promotes the overall balancing of body’s qi on the left and
right sides.
Wise Owl Looks Right and Left: This movement is performed in order to
stretch and exercise the muscles of the neck. It also exercises the muscles that
control the movement of the eyes. The flattening and outward rotation of the
hands helps relieve tension in the wrists. This exercise is very good for those
who spend long periods of time working at a computer or talking on the
phone.
Stand with your feet hip width apart and place your hands in front of your
groin with the palms up and the fingers facing each other. Raise your hands
up to the level of your navel and then turn them over to point palm down and
press them down toward the earth. See Figure 7-11a. When your arms are
pressed down in front of your thighs, turn them outward away from each
other as far as you can. Simultaneously turn your head to look to the right.
This is the Wise Owl Looks Right posture. See Figure 7-11b. Hold for a
moment and then return your hands to point inward with the fingers facing
each other again. Turn the palms over and raise your hands up to the level of
your navel again to repeat the exercise. This time, however, turn the head to
gaze to the left. Breathe in as you bring the hands in, and breathe out as the
hands turn outward. Repeat the exercise eight times on each side.
Figure 7-11a
Figure 7-11b
When performing this exercise, use your imagination to pretend that you are
an owl perched in a tree and are looking left and right to peer into the night.
Engage not only your neck and your hands but also your eyes as you scan
both left and right seeking out prey. You can turn this exercise into a rooting
exercise if you gently press the soles of your two feet into the ground and
open the two yongquan points to connect to the earth each time you flatten
your hands and turn them outward. If you also open the laogong points in the
hands and connect them energetically to the earth as you open and connect
the yongquan points to the earth, you will be emulating a four-footed animal.
This is an especially effective method for deepening your overall rootedness
and enhancing your connectedness to the earth.
Shake the Head and Wag the Tail: This movement is performed in order to
stimulate the heart and lungs. In particular, this exercise expels excess qi
from the heart. The heart is a yin organ, and the build-up of too much qi in
this organ can generate “heart fire” causing the heart to become yang, which
is detrimental to both the heart and the overall health.
Stand with your feet at least shoulder width apart; a bit wider is even better
for this exercise. Toe out slightly toward each side. Place your hands on your
hips with the thumbs facing forward and the fingers splayed out backward
toward the kidneys. Bend forward and incline your head toward your right
knee. Flex your right knee in order to shift your weight onto your right leg
and extend your left leg. At the same time slide your left hand down your left
thigh until it reaches the knee or slightly lower. See Figure 7-12a. Now swing
your head in an arc over to your left knee. Pull your head up along the left
side of your body and slide your left hand back up your left thigh to rest
again on your left hip.
Repeat the exercise by bending forward and inclining your head toward the
left, as shown in Figure 7-12b. Breathe in as you rise up, and breathe out as
you drop down and swing the torso from one side to the other. Perform eight
repetitions on each side.
Figure 7-12a
Figure 7-12b
If you have ever witnessed the Lion Dance at a Chinese festival, you will
understand the imagery behind the name of this exercise. When you are
performing this movement, imagine you are a dancer inside a lion costume
and that you are repeatedly bending forward to shake your head from one
side to the other while simultaneously wagging your tail in the opposite
direction.
Touch the Heels and Grab the Earth: This movement is performed in order
to gather earth energy and to strengthen and replenish the qi in the kidneys.
The forward bend and the downward stretch of this exercise stretches the
entire spinal column. Rising up brings oxygenated blood to the brain.
Stand with your feet hip width apart. Place your hands over your dantien in a
triangle pattern as shown in Figure 7-13a. Now separate your hands and slide
them around the Belt Channel to place them over the kidneys with the thumbs
facing forward and the fingers splayed out behind. Draw your hands down
over your buttocks, past the back of your thighs and your calf muscles and
down to your heels. See Figure 7-13b. This is the Touch the Heels and Grab
the Earth position. Stay bent forward for a moment before sliding your hands
around to the front of your feet. Then draw your hands back over the tops of
your feet and then up to their original position over the dantien. Breathe in as
you rise up and exhale as you bend forward. Repeat for a total of eight times
on each side.
Figure 7-13a
Figure 7-13b
In this exercise you should imagine that you are drawing the earth’s qi up the
legs to store it temporarily in the dantien. Then you draw the qi out of the
dantien and transport it through the Belt Channel to the kidneys. Earth qi has
a yin quality, and you want to use this yin qi to replenish and revitalize the
kidneys, which are yin organs.
Punching with Angry Eyes: This movement is performed in order to
increase overall vitality and to tone the muscles of the chest and arms. It also
revitalizes the liver. This exercise can be performed either slowly or rapidly,
depending upon your condition and disposition. When performed quickly, the
punching motion should conclude with a sudden snap at the end to complete
the punch. Whether you perform this exercise slowly or quickly, you should
glare fiercely with the eyes at the moment when you clench the punching fist.
This is the Punch with Angry Eyes position.
The eyes are associated with the liver, and when you glare fiercely, you
dispel anger and built-up tension that can adversely affect your liver.
Punching out energetically while performing this exercise quickly causes the
heart rate to accelerate, which is beneficial for overall conditioning. One note
of caution here: Don’t extend the arm all the way out if you are punching
energetically, as you can injure your elbow and shoulder joints. Be sure to
hold the punch just a little and to snap the fist at the end to stop the energy of
the punch from jerking the arm forward.
To begin, stand with your feet at least shoulder width apart. Settle down into
a horse-riding stance. The wider the feet and the lower the stance the better.
Place both hands at the hips and lightly clench them into fists with the curled
fingers facing upward. See Figure 7-14a. Use the power of your waist to twist
your torso to the right while punching out from the hip with your left fist. As
your left fist reaches the end of the punch, rotate it counter-clockwise ninety
degrees and squeeze the fingers tightly together. See Figure 7-14b. Open the
fist and rotate your torso back to its original position. As you withdraw your
open hand, curl it lightly into a fist to rest at the hip. Breathe in as you
withdraw the punching hand and breathe out as you extend the punching
hand. Repeat on each side for a total of eight times per side.
Figure 7-13a
Figure 7-13b
When performing this exercise, it is up to you whether you are going to
punch out in a slow, controlled motion or punch out quickly. If you are
unaccustomed to executing fast punches, start off slowly and gradually
increase the speed of your punches. Whatever you do, don’t punch from the
shoulder. The punch should come from the waist and should involve very
little muscular tension. If you choose to punch vigorously, the power of the
punch should come from the rotation of the waist in combination with the
turning over of the fist and the clenching of the fingers at the very last
moment of the punch. This type of punch is known as a “snap punch” in
martial arts. It is very effective as an offensive weapon and also entails no
risk of injury to the shoulder or elbow joint when executed properly.
Regardless of whether you punch in slow motion or with vigor, imagine that
you are punching an actual opponent. Use your eyes to gaze aggressively
outward toward this imaginary adversary. Allow the spark of your martial
spirit, your shen, to shine from your eyes. Just as the punch can dispel
physical tension, the angry glare from your eyes can dispel mental or
emotional tension.
Bouncing on the Toes: This movement is performed in order to get rid of
stagnant qi and to balance out the heaven, earth and human qi that has built
up as a result of practicing the previous seven exercises. Bouncing on the toes
also activates the yongquan points on the bottoms of the feet and the shaking
of the body invigorates all the organs. As such, this exercise is also a great
overall cleanser for the body.
Stand with your feet hip width apart. Place your hands at your sides as shown
in Figure 7-15a. Rise up on the balls of your feet and clench your fists tightly.
See Figure 7-15b. Hold this position for a brief moment before dropping
down suddenly onto the soles of your feet. Simultaneously release the
clenched fists and extend the fingers downward. You can combine this
movement with a cleansing breath if you like. When rising up, inhale. Hold
your breath at the top of the movement and then expel it forcefully, making a
“ha!” sound as you land hard on the soles of your feet. Repeat for a total of
eight times.
Figure 7-15a
Figure 7-15b
This exercise completes the Eight Pieces of Brocade set and acts as both a
cleansing and a balancing activity. Having completed the full set, you should
feel both energized and relaxed. You can stop at this point and go about your
daily activity, or you can use the qi you have built up to perform the empty-
hand form or one of the weapons forms. You should find your forms practice
to be more energetic and alive as a result of the increased qi circulating
throughout your body.

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

The Principles and Practice of Qi Circulation

As explained in the preceding chapter, it is important to understand the role

of qi cultivation in the practice of taijiquan. The purpose of the waidan and
neidan qigong techniques presented in that chapter is to cultivate the qi in the
dantien, which is the first level of attainment in qigong practice. Qi
cultivation is not an end in itself, however. Instead, it is a necessary
prerequisite to the circulation of the qi throughout the body.
The Song of the Thirteen Postures, which is one of the Taijiquan Classics,
instructs us that the qi should be circulated throughout the body without the
slightest break or obstruction.40 The Expositions of Insights into the Practice
of the Thirteen Postures, another of the Taijiquan Classics, advises the
practitioner to circulate the qi through the body as if passing a silken thread
through a pearl with nine passages without interruptions or breaks.41
Only when the qi circulates freely without obstruction can you use it to heal
and revitalize the body. This is the civil aspect of the art of taijiquan. From
the martial perspective, it is the free and unobstructed circulation of qi, under
the control of the mind, or yi, that gives rise to internal strength, or jin.
The unobstructed circulation of the qi throughout the body as through a nine-
holed pearl is a common theme within the Taijiquan Classics. The original
taijiquan masters emphasized that the internal strength of taijiquan comes not
from the muscles and the skin (i.e. external force) but rather from the sinews
and the bones. Through the development of external softness one is able to
circulate the qi. It is the circulation of qi that gives rise to the resulting
internal hardness of the sinews and the bones. Yang Cheng-fu, in his Ten
Essentials of Taijiquan, stated that by daily circulating the qi throughout the
body without interruption the practitioner would reach the state of hardness
that results from softness. This condition is often referred to as “steel within
cotton.”42
Developing the ability to circulate the qi requires time, effort, and patience.
Over many centuries, the Taoist adepts developed a sequence of
progressively complex exercises for the purpose of mobilizing and circulating
the qi. The timeline for this progression will vary from individual to
individual. At a minimum, you should plan on spending at least three months
on this challenging undertaking. Depending upon your rate of progress, it
may take substantially longer. The one axiom that is consistent for all
individuals is that the process cannot be rushed. Trying to progress too
quickly will only result in incomplete development and wasted effort.
The process entails learning how to move the qi in a series of increasingly
greater circular rotations or orbits. The first rotation takes place within the
lower dantien. (Note: for the purposes of this chapter, all references to “the
dantien” will refer to the lower dantien.) Once you are able to rotate the qi
within the dantien, you will then move on to the Small Heavenly Circle, also
called the “Microcosmic Orbit.” This, in turn, will be followed by the Large
Heavenly Circle, which is usually referred to as the “Macrocosmic Orbit.” At
each stage of development, you will know that you are ready to move on to
the next stage when you are able to feel the qi circulating through the
intended orbit under the direction of the mind, or yi.
In order to facilitate these circular rotations, you will need to master the
technique of reverse breathing. This breathing technique, introduced in the
preceding chapter, is often referred to as Taoist breathing. As its name
implies, reverse breathing is the “reverse” of abdominal breathing. Although
you can practice dantien rotation and the Microcosmic and Macrocosmic
circulations using abdominal breathing, the direction of abdominal breathing
is contrary to these rotations. It may take some time to accustom yourself to
the technique of reverse breathing. However, in the end you will find your
progress will be greatly enhanced in making the progressively larger rotations
if you practice them while engaging in reverse breathing.
As a final comment before proceeding to the specific training exercises, it
should be noted that there are numerous variations upon each of these
exercises. This is due in part to the multiple Taoist sects that practice and
teach these exercises. Although there is no one correct way to practice these
exercises, the methods presented in this book are the most beneficial to the
practice of taijiquan, as they lead to circuits that conform internally to the
external postures in the form and to the martial applications of those postures.

Reverse Breathing
As noted in the preceding chapter, there are two main types of breathing that
are employed in qi cultivation. The first and more natural of these breathing
techniques is abdominal breathing. As you may recall from that chapter,
abdominal breathing is sometimes referred to as “baby breathing,” because
this type of breathing in adults duplicates the natural breathing of newborns
and infants.
Abdominal breathing is very relaxing, which is why it is often the first
breathing technique taught to beginning qi cultivators. Abdominal breathing
draws the awareness down into the lower abdomen, which is where the lower
dantien is located. For this reason, abdominal breathing is helpful in training
practitioners to focus their yi on the dantien.
The problem with relying solely on abdominal breathing is that abdominal
breathing draws the awareness down on the inhalation and up on the
exhalation. There are times when we want our awareness to ascend on an
inhalation and to descend on an exhalation. This is the case in when
practicing dantien rotation and the Microcosmic Orbit. For this reason, it is
important to learn the breathing technique employed by the Taoists in the
practice of these and other qi cultivation exercises.
The principle behind reverse breathing is quite simple. Instead of pushing
down and forward with the diaphragm when inhaling, the diaphragm initially
is pulled upward and inward. For this reason, during reverse breathing the
lungs fill from the top downward. On the exhalation, the diaphragm is
allowed to relax and return to its original position. This allows the lungs to
deflate, which in turn causes the breath to escape the lungs in an exhalation.
Dr. Yang, Zwing-Ming provides an explanation of reverse breathing in his
book, The Essence of Taiji Qigong, in which he explaines that, with reverse
abdominal breathing you withdraw the abdomen and hold up the huiyin when
you inhale, and then expand the abdomen and gently relax your huiyin when
you exhale.43
Although the principle is relatively easy to grasp, you will probably need
some time to master this breathing technique, especially after having recently
learned and become comfortable with the technique of abdominal breathing.
When first practicing reverse breathing, it is best to sit upright in a chair or on
a cushion with your legs crossed. It is important to keep your spine erect and
to hold your head up with the crown horizontal and the chin slightly tucked
under. It is also important to place your tongue against the upper palate,
located on the roof of your mouth. This will prevent you from breathing
through the mouth and will also keep your mouth from drying out.
Begin by taking a few deep abdominal breaths to settle your body and your
mind. Then switch to reverse breathing as follows: Use your abdominal
muscles to pull in and lift the diaphragm up and at the same time pull it back
toward your spine. Fill your lungs by inflating them from the throat
downward. As the lungs inflate, you will need to rotate your upper abdominal
muscles forward and outward in order to accommodate the air that begins to
fill the lower lungs. At first, you may only be able to fill the upper lungs.
However, with practice you will learn to make your inhalations longer,
thereby filling the lungs all the way.
When you feel pressure building up in the lungs due to their expansion and
the need to exhale arises, simply relax the abdominal muscles and allow your
diaphragm to drop. Releasing the tension in your abdominal muscles and
relaxing your diaphragm will cause your inflated lungs to deflate
automatically. This will result in an exhalation. In the initial stage of this
practice, it is only necessary to focus on the inhalation, as the exhalation is a
natural process and needs no special attention on your part.
When you are first learning how to engage in reverse breathing, the
inhalation phase of a reverse breath will take longer than the exhalation
phase. Once you learn to regulate your breathing, however, you should strive
to slow down the exhalation until both the inhalation and exhalation are of
equal duration. You might try counting on the inhalation and then slowing
down the exhalation to the same count. A six-count is a good starting point.
With a slow six-count, you will take six seconds to inhale and six seconds to
exhale. This equates to five breaths per minute, which is slightly less than the
normal breath rate for an adult at rest. Over time, you can increase the
duration of both the inhalation and the exhalation.
As taijiquan practitioners, we want to go beyond normal breathing. Try increasing the duration of each
 eight-count and match that count on the exhalation. When you
inhalation to an
feel that you can comfortably extend your inhalations and exhalations to a
slow eight-count, extend your durations to a ten-count. This will slow your
breathing down to three breaths per minute. This is a good goal to strive for,
as it will provide you with the time you need on a single breath in order to
visit all the important energy points on the Microcosmic Orbit.
As your breathing slows, you will find that your heart rate and metabolic rate
slow down as well. For this reason, the ancient Taoists referred to this style
of breathing as “tortoise breathing.” Tortoises are venerated in China, as they
live a long time and are perceived to be both calm and humble. The tortoise is
frequently employed in Chinese literature and art to represent longevity. You
will also notice that, when engaging in reverse breathing, the chest hollows
out slightly and the back raises and rounds out a bit, just like a turtle’s
carapace. Recall that hollowing the chest and raising the back are included in
Yang Cheng-fu’s Ten Essential points.
It is important to spend the time necessary to master reverse breathing before
attempting the qi circulation exercises presented in the remainder of this
chapter. Most individuals can become proficient in reverse breathing in as
little as one or two sessions. It is recommended that you practice reverse
breathing until you can at least maintain a six-count on both the inhalation
and the exhalation before proceeding. A six-count for inhalation and another
six-count for exhalation is sufficient for practicing dantien rotation. As you
practice dantien rotation over time, try to extend the duration of your
inhalation and exhalation to an eight-count in preparation for practicing the
Microcosmic Orbit.

Rotating the Dantien

The purpose of the exercises presented in the previous chapter is to
accumulate sufficient qi in the dantien such that the dantien expands and fills
with qi. When you feel that your dantien has expanded to the size of a
grapefruit, you can begin the process of mobilizing the qi that you have
accumulated. Eventually you will learn to move the qi out of the dantien and
up into the spine. To begin with, however, you must learn how to circulate
the qi by rotating the dantien within the abdominal cavity.
As with moving the qi from the kidneys into the dantien, learning to rotate
the dantien requires the focused intent of your yi. You can also use your
breath to assist you in this exercise. As in the previous exercises, you may
practice dantien rotation in either a seated or a standing posture, but it is best
to start off in a comfortable seated position.
To begin, sit or stand comfortably and perform the overall body relaxation
routine. Start with abdominal breathing and place your intent on the dantien.
Spend a few minutes using your mind to lead the qi from the kidneys into the
dantien until you have expanded the dantien to roughly the size of a
grapefruit.
When you are comfortably relaxed and your dantien has expanded to the size
of a grapefruit, begin to employ reverse breathing along with your
imagination to rotate the dantien like a slowly spinning sphere. The easiest
direction to rotate the dantien sphere is upward, forward, downward, and then
backward. This is referred to as “forward rotation.” Try using your
imagination to rotate the dantien in the forward direction. Use your breathing
to assist you. On the inhalation, roll the dantien upward and then forward. On
the exhalation, continue the rotation of the dantien downward and then
backward.
You may need to give your dantien a little nudge in order to get it started.
Use your concentrated yi to mobilize the qi in the dantien and create a
forward momentum that will cause the dantien to rotate. See Figure 8-1 for a
visual representation of this rotation.
Figure 8-1
When you first begin this practice, you will need to rely upon reverse
breathing to guide the rotation of the dantien. We can liken the breath to the
mechanical rabbit that is employed at dog tracks to encourage the greyhounds
to run. Using the breath to assist you is useful in the initial stage of dantien
rotation. Eventually, however, you should be able to rotate the dantien using
just your yi without relying on reverse breathing.
Whether you use your breath as an aid or work directly with your yi, you
should begin with five minutes or so and then slowly increase your time of
practice up to ten minutes. Also, it is important to be able to rotate the
dantien in either the seated or standing position. If you began your practice
sitting down, at some point it will become necessary to shift to a standing
posture, such as the wuji posture or the Embracing the Tree posture. The
reason for this is that eventually you will be incorporating dantien rotation
into both your form practice and in two-person training, such as pushing
hands.
Continue working on the forward rotation of the dantien until you can easily
keep the dantien rotating for up to ten minutes. As with the preceding
exercise, the amount of time it takes you to accomplish this will depend upon
the strength of your yi and the commitment you make to this practice. After
you have mastered the forward rotation of the dantien, try reversing the
rotation. Because you have been so focused upon the forward rotation of the
dantien, it will take some time before you are able to change the direction of
the dantien rotation. Keep at it until you can accomplish this reverse rotation
as easily as you do the forward rotation. Your ultimate goal is to be able to
rotate the dantien in either direction at will. When you have attained this
goal, you will be ready to advance to the next level of internal qigong
practice, the Microcosmic Orbit.

The Microcosmic Orbit

Practicing the Microcosmic Orbit, or Small Heavenly Circle, builds upon the
qi cultivation and mobilization exercises described previously, especially the
ability to rotate the dantien. As the words “orbit” and “circle” suggest, the
Microcosmic Orbit is a circular path along which the qi is directed in order to
circulate the qi through two major qi channels within the torso.
These two channels, or vessels as they are referred to in Traditional Chinese
Medicine, are the Governor Vessel (du mai) and the Conception Vessel (ren
mai). The difference between the wording “channel” and “vessel” is subtle
but important in this discussion. In TCM there are twelve qi meridians that
are associated with the various organs within the body. The qi normally
travels along these meridians in order to stimulate and maintain the health of
the entire body. Additionally, there are eight exceptional vessels where qi is
stored and regulated. They are called “vessels” because they contain reserves
of qi, much as a water jug is a vessel for storing reserves of water.
When practicing the Microcosmic Orbit, we don’t just want to store qi in the
Governor Vessel and Conception Vessel. Rather, we want to mobilize the qi
and direct it to travel through them. So, rather than thinking of them as
vessels, it is more appropriate to conceptualize them as channels. In fact, it is
even better to visualize these extraordinary vessels as two canals, because we
must learn to open specific energy gates, or locks if you will, along each of
these channels.
In order to perform the Microcosmic Orbit, you will need to know the
location and the anatomy of both the Governor Channel and the Conception
Channel. Figure 8-2 illustrates the location of these two channels within the
torso. The Governor Channel travels down from the lower dantien to the
lowest point in the torso at the perineum, or huiyin point. From there, it
circles back up to join the spinal column at the coccyx, or weilu point.
Continuing on up the spine, it passes through the mingmen, or Life Gate, and
then on up the spine to the juncture of the torso and the neck at the yuchen, or
Jade Pillow. From the yuchen, the Governor Channel continues on up and
over the head, where it encounters the niwan point at the crown and then
passes down the front of the face to terminate at the raphe, or the hollow just
above the upper lip.
Figure 8-2
As you can see, this is a complex route. While it is helpful to become familiar
with the names and locations of the individual acupoints and energy gates
located along the Governor Channel, it is only necessary for you to
understand this channel in general terms. As its name implies, the Governor
Channel is charged with “governing” all of the yang meridians. As such, it is
a yang vessel. By definition, yang energy rises, so the qi in the Governor
Channel ascends from the huiyin point up and over the head and then down to
the raphe (the small indentation above the upper lip).
The Conception Channel is noticeably shorter than the Governor Channel but
is just as important in its supervisory role over all the yin meridians. The
Conception Channel connects to the Governor Channel through the tongue
and runs downward along the midline in the front of the torso until it reaches
the lower dantien. The Conception Channel is related to the uterus in women
and the testes in men and is therefore responsible for reproduction. The
Conception Channel is a yin channel. Just as yang energy rises, so yin energy
descends. Thus, having passed from the Governor Channel to the Conception
Channel at the junction provided by the tongue, the qi descends along this
channel back down to the lower dantien and completes the Small Heavenly
Circle, or Microcosmic Orbit. The ancient Taoists referred to this cycle as
“Yang ascends and yin descends.”
Now that you can visualize the Governor Channel and Conception Channel
and are able to understand how they are connected, you can begin circulating
the qi within the Microcosmic Orbit. As with the previous neidan exercises,
you will rely primarily upon your yi, with assistance from your breath, to lead
the qi through this orbit.
In the beginning, it is best to practice the Microcosmic Orbit in a seated
position. This is because you will be training the qi to rise and fall with your
breath. It is much easier to train the qi to ascend and descend if your torso is
in the upright position. When seated, it is important to hold the spine erect.
Cheng Man-ch’ing advised taijiquan practitioners to make their spine upright
in order for the qi to circulate correctly throughout the body.44 The preference
of a seated posture over standing is due to the fact that even the most relaxed
individual must engage in some muscular tension to remain upright when
standing. When beginning to practice the Microcosmic Orbit, it is preferable
to eliminate all tension in the torso and neck.
As for the position of the legs, you have several options. The simplest and
most comfortable position for the majority of individuals is to sit in a chair or
on a bench with the spine held erect and away from the back of the chair.
Alternatively, you can sit cross-legged on a sofa or a meditation cushion. You
can sit in the tailor’s pose (legs crossed in front), in half lotus or in full lotus.
The full lotus seated posture is the most desirable as it places the yongquan
points in the feet closest to the dantien. However, this posture may not be
manageable for you and is not necessary for the practice to be effective.
When sitting rather than standing or lying down, the position of the hands
arises. In seated postures, it is best if the two hands are connected rather than
resting separately upon the thighs. The method for holding the hands is one
of personal preference. You can rest one hand on top of the other with both
palms up and the thumbs touching; you can clasp the hands together as in
shaking hands; or you can place the hands together in one of the Taoist or
Buddhist mudras.
A special mudra that provides an energetic connection between the hands is
the “Taoist knot.” To hold the hands in this mudra, place your left hand palm
up and connect the pad of the thumb to the tip of the middle finger, as shown
in Figure 8-3a. The thumb and middle finger of your left hand are now
connected energetically. Then press the pad of your right thumb into the
laogong point of your left hand. Place the tip middle finger of your right hand
against the back of your left hand. The thumb and middle finger of your right
hand will connect energetically through the laogong point of your left hand.
See Figure 8-3b.
Figure 8-3a
Figure 8-3b
When practicing neidan qigong or Taoist meditation, the question arises:
“Should the eyes be open or closed?” The answer to this question depends
upon the purpose of your practice. If you are practicing specifically for a civil
purpose, either for health or spiritual development, then you should “draw the
drapes” and close the eyes. On the other hand, if the intent of your practice is
to develop martial ability, then you want to practice with eyes open.
The reason for either closing or opening the eyes relates to the role of the
eyes in projecting the shen, or spirit of vitality. When meditating for health or
spiritual development, you want to turn the spirit of vitality inward for inner
cultivation. If you are meditating to enhance your martial spirit, then you
want to project the spirit of vitality outward through the eyes. In general,
whatever your intention, you should begin the practice of any new neidan
qigong exercise by closing the eyes so you can limit the distractions
presented by the outside environment and focus your awareness on the task
you are trying to accomplish.
Before beginning this or any other Taoist neidan practice, recall the
importance of placing the tip of your tongue on the upper palate. This creates
the energetic connection between the Governor Channel and the Conception
Channel. You will be breathing in and out through your nose as you use your
breath to lead the qi through these two channels. As you proceed with your
practice, you may find that saliva builds up under your tongue. This is to be
expected and is viewed as a sign that the qi is flowing without hindrance
along the Governor Channel and into the Conception Channel as it passes
through the tongue.
When the saliva builds up to a point where it may overflow the bottom half of
your mouth, take a brief moment to swallow the saliva down into your
stomach. Don’t be squeamish here. The Taoist believe that this “sweet saliva”
is especially beneficial for digestion and overall health and place great value
on producing and swallowing it.
To begin practicing the Microcosmic Orbit, first sit comfortably, close your
eyes, and complete the overall body relaxation exercise. Then focus your yi
on the dantien and gather the qi into the dantien from the kidneys until it is
full. Begin rotating the dantien using your breath as described in the
preceding section. Once the dantien is rotating under the control of your yi
and your breath, you can begin to lead the qi out of the dantien and into the
Governor Channel. You can do this by extending the rotation of the dantien
forward and downward on an inhalation.
Begin by leading the qi down to the huiyin point on the perineum (the spot
between the genitals and the anus) at the bottom of your torso. Continue
backward and slightly upward to reach the weilu at the bottom tip of your
spinal column (the coccyx). Then draw the qi upward with the inhalation to
pass by the mingmen, the yuchen, over your head to the niwan, and then
down your face to the raphe. This all occurs with a single inhalation. Try
moving the qi through the Governor Channel using an eight count with the
inhalation. Follow the diagram shown in Figure 8-2.
Without pausing, begin exhaling and pass the qi through your tongue to
connect with the Conception Channel. Lead the qi down your chin and the
front of your neck and into your upper, middle and lower torso until it
reaches the navel. Then lead the qi back into the dantien. Again, this occurs
on a single exhalation. Since the length of the Conception Channel is shorter
than that of the Governor Channel, try using a six count with the exhalation.
Again use the diagram shown in Figure 8-2 as a guide.
As with the preceding exercises, it is important to employ your imagination
and to engage your intention at the beginning of this practice. You probably
won’t feel the qi moving at first. Don’t be discouraged. If you wish, you can
imagine the Microcosmic Orbit as the It’s a Small World ride at Disneyland.
Imagine that your qi is a boat floating along the Governor Channel and then
connecting with the Conception Channel at the half-way point. In this
analogy, the countries that you encounter along the way are the various
acupoints and energy gates located on the Governor Channel and Conception
Channel. Over time and with extended practice, you will actually begin to
experience the qi travelling up the Governor Channel, passing through the
tongue and crossing into the Conception Channel, and then finally
descending back down to its origin in the dantien.
You will need to employ your yi to control your breath and your breath to
lead the qi. Practice diligently every day, starting with five minutes per
session and working up to ten minutes per session. Maintain your
commitment to the practice, even if your progress is slow. You may
encounter blockages, especially at the weilu point at the base of the spine, the
mingmen gate in the lower back, or in the yuchen point in the back of the
neck. The Taoists refer to these three sticking points as the Three Barriers, or
san guan.
This is where the real gongfu takes place. It is necessary to focus your
awareness on these blockages and gently work on opening them with your yi.
Whatever you do, don’t try to forcibly break through these blockages, as that
will result in straining (either physically or mentally) and may possibly cause
physical or psychic injury. Just be patient and believe that you will eventually
succeed in your endeavor. As encouragement, recall that legions of Taoist
masters and qigong practitioners have undertaken and mastered this same
Microcosmic Orbit. If they can do it, then so can you.
Learning to lead the qi at will through the Microcosmic Orbit is a major
milestone in your study of taijiquan. This neidan practice is essential to the
overall goal of circulating the qi during form practice, weapons practice, and
in pushing hands and sparring. Remember that the art of taijiquan involves
both stillness in movement and movement in stillness. When we perform the
connected postures of the form, we are practicing stillness in movement.
When we practice neidan exercises, especially the Microcosmic Orbit and the
Macrocosmic Orbit, we are practicing movement in stillness.
As a final point on the subject of Microcosmic Orbit, once you feel
completely confident in your ability to lead the qi through the Small
Heavenly Circuit in the seated posture, you should advance to performing
this circuit while standing in zhan zhuang, especially in the Embracing the
Tree posture. Begin practicing the Microcosmic Orbit while standing in the
Embracing the Tree posture and then step up (literally) to the modified
Embracing the Tree posture with the weight of the body supported primarily
on one leg. Try practicing the Microcosmic Orbit for five minutes on each leg
for a total of ten minutes of practice per day.
The reason for practicing the Microcosmic Orbit during zhan zhuang is to
accustom yourself to circulating the qi while standing. Ultimately, the goal of
practicing both the Microcosmic Orbit and the Macrocosmic Orbit is to be
able to circulate the qi while practicing taijiquan. If you are only able to
circulate the qi while seated, it may help you improve your health and
vitality, but it won’t do you any good in a situation where you are called upon
to defend yourself. We are, after all, training in both the civil and the martial
aspects of taijiquan.
Students often ask when they can move on to the Macrocosmic Orbit. The
answer is that it depends upon each individual’s progress in practicing the
Microcosmic Orbit. If you are able to stand in zhan zhuang for up to ten
minutes and maintain a continuous, unobstructed flow of qi through the
Governor Channel and the Conception Channel, then you are ready to
advance to the practice of the Macrocosmic Orbit. Don’t be in a hurry to
move on to the Macrocosmic Orbit, however. Students are usually required to
spend at least three months practicing the Microcosmic Orbit in zhan zhuang
before being allowed to proceed with training in the Macrocosmic Orbit. If
you are studying on your own without the assistance of a teacher, let this be
your guideline as well.

The Marocosmic Orbit

The Macrocsomic Orbit, or Large Heavenly Circle, extends the range of the
qi circulation that you have developed in the Microcosmic Orbit. Whereas the
Microcosmic Orbit only circulates the qi within the torso, the Macrocosmic
Orbit circulates the qi out to the arms and the legs as well. Note that when the
words “arms” and “legs” are used here it is implied that the hands and fingers
and also the feet and toes are included in these extremities. Ideally, in each
circuit of the Macrocosmic Orbit the qi will reach all the way to the fingers
and the toes.
The Macrocosmic Orbit circulates the qi in three directions: around the torso,
out the arms, and down into the legs. It is best to consider the Macrocosmic
Orbit to be a series of smaller circuits that collectively form one complete,
larger circuit. Figure 8-4 illustrates the overall circulation of the qi within the
Macrocosmic Orbit.
Figure 8-4
As you can see from the above illustration, the smaller circuits that comprise
the Macrocosmic Orbit consist of the circulation of the qi through the
Microcosmic Orbit combined with the circulation of the qi through the arms
and the circulation of the qi through the legs. Each arm forms a complete
circuit as does each leg. Taken in total, there are actually five separate
circuits of qi in the Macrocosmic Orbit. However, we normally think of the
circulation of the qi through the two arms as one circuit and the circulation of
the qi through the legs as another circuit. Combined with the Small Heavenly
Circle, that makes a total of three smaller circles that comprise the Large
Heavenly Circle.
Compared to the Microcosmic Orbit, there is quite a lot going on in the
Macrocosmic Orbit. Directing the qi through three separate circuits
simultaneously requires total concentration and the ability of the yi to
command the qi with complete control. This, in turn, depends upon both
calmness and firmness of resolve within the mind. If the mind wavers, then
the qi will falter as well. Also, if the mind fixates on any one point in the
body, then the qi will stop in that same location. This can cause stagnation,
making it even more difficult to complete the circuit. As with the
Microcosmic Orbit, you must employ your yi and your breath, working
together, to remove any blockages to the smooth and free circulation of the
qi.
Because the Macrocosmic Orbit is much more complicated than the
Microcosmic Orbit, it is best to approach its development in stages. When
beginning a new stage, first start off in a seated posture. Make sure that you
can complete the circulation of qi comfortably while seated. Then move on to
standing in either the equal-weighted or modified stance of the Embracing the
Tree posture and continue practicing the circulation of the qi for that
particular stage of development. Only when you can circulate the qi as
specified for a given stage of development in both the seated and standing
postures should you move on to the next stage.
It is best to begin by focusing only on either the arms or the legs. Once you
are able to complete the circuit of qi in the arms and the legs as separate
circuits, you may address the coordination of the three circuits together. In
general, the complete circuit of the qi in either the arms or the legs is as
follows: Inhale to the inside or back of the limb all the way to the extremity
of that limb and exhale from the extremity back up the outside or front of the
limb.
For the arms, this means sending the qi down the inside of the arm to the
laogong point on the inhale and leading the qi out to the fingers and then over
to the back of the hand and up the outside of the arm on the exhale. For the
feet you follow a similar circuit; direct the qi down the back of the leg to the
yongquan point on the inhale and then send the qi out to the toes, over the
back of the foot and up the leg on the exhale.
The Macrocosmic Orbit – Stage One of Development: Let’s first address
the qi circulation in the arms. The circulation of the qi in the arm circuit
begins involves the middle dantien. Up to this point, you have only worked
with the lower dantien, but you now need to familiarize yourself with the
location of the middle dantien as well. The middle dantien is located in the
center of the upper thoracic cavity as shown in Figure 8-5 below.
Figure 8-5
Assuming that you are seated comfortably with your hands folded in your
lap, close your eyes and perform the overall body relaxation exercise. Place
your awareness in the lower dantien. On the inhalation, lead the qi up from
the lower dantien into the middle dantien and then direct the qi outward from
the middle dantien to your armpits. Then guide the qi down the inside of your
arms finishing at the laogong points on your two palms. On the exhalation,
lead the qi from the laogong points out to your fingers and then up the backs
of your hands and then continue leading the qi up the outside of your arms,
across the shoulders, and back to the middle dantien. Finally, allow the qi to
drop down from the middle dantien and return to the lower dantien. See
Figure 8-6 for an illustration of this circuit.
Figure 8-6
When circulating the qi through the arm circuits, some practitioners actually
cross the qi over from one hand to the other when completing each arm
circuit. This is depicted in Figure 8-6 by the arrows indicating the small
circular flow in the two clasped hands. If you feel comfortable with this, you
can try leading the qi down the inside of one arm to the laogong point in the
hand, then transferring the qi over to the fingers of the opposite hand and
leading the qi back up the outside of the opposite arm. This crossover is
optional, however, and is not required for the arm circuit to be completed
correctly.
This completes the arm circuit of the Macrocosmic Orbit. Continue practicing
for as many days as it takes to complete the arm circuit in the seated position.
Then move into the Embracing the Tree zhan zhuang posture and practice
completing the arm circuit while standing. Recall that, when holding your
arms outward in the Embracing the Tree posture, your hands don’t actually
touch. If you want to perform the optional energetic crossover of the qi as
described in the preceding paragraph you will need to send the qi across the
empty space between the extended fingers of your two hands. Again, this is
not necessary for the completion of the arm circuit in the standing posture.
The Macrocosmic Orbit – Stage Two of Development: When you are
successfully able to lead the qi through the arm circuit, you are ready to begin
working on the leg circuit. The leg circuit works with the lower dantien, with
which you are already familiar. As with circulating the qi into the arms, you
should begin in the seated posture. Close the eyes and perform the overall
body relaxation exercise. Place the awareness on the lower dantien. On the
inhalation, lead the qi out of the lower dantien and down to the huiyin point
located at the perineum. Continue leading the qi down the backs of your legs
until it reaches the yongquan points located on the soles of your feet.
On the exhalation, guide the qi out to your toes and then return the qi over the
tops of your feet and back up the front of your legs. Continue to lead the qi
through the inguinal creases at located in your groin and finally back to the
lower dantien. Figure 8-7 illustrates the complete circulation of the qi in the
legs.
Figure 8-7
As with the arm circuit, you should begin the practice of circulating the qi
into your legs by sitting in a chair or cross-legged. Once you are able to
complete the leg circuit smoothly and without impediment, then you can
progress to circulating the qi in your legs while standing in zhan zhuang.
When you are able to stand for five minutes on each side of the modified
Embracing the Tree zhan zhuang posture while practicing either the arm
circuit or the leg circuit, you will be ready for the third and final stage of
development in the practice of the Macrocosmic Orbit. Remember that there
is no need to hurry this process along. It is better to be certain of your ability
to circulate the qi in either the arm circuit or the leg circuit separately before
you try to combine these two circulations with the Small Heavenly Circle to
complete the Large Heavenly Circle.
The Macrocosmic Orbit – Stage Three of Development: In this, the final
stage of development of the Macrocosmic Orbit, you will combine the three
circuits that you learned previously into a single, continuous flow of qi that
includes your torso, your two arms, and your two legs. In order to perform
this grand circulation, you will need to be able to separate the qi stored in the
lower dantien into three “portions.” One portion will be used to complete the
circuit in your legs; one portion will be used to complete the circuit in your
arms; and one portion will be used to complete the Small Heavenly Circle in
your torso. Additionally, the portions for your legs and your arms must be
further separated in order for the qi to flow into each leg and each arm
individually.
As stated in the introduction to the Macrocosmic Orbit, you will need total
and complete control of your qi in order to accomplish this. That means that
your yi will need to be both calm and focused. By this stage in your
development you should be able to concentrate your yi to lead your qi at will.
You will only be able to accomplish this final stage of development if your
mind is clear and your resolve is firm.
It may assist you to think of your qi to be separated as a large lump of dough
from which you want to make one medium-size loaf and four smaller-sized
loaves of bread. You will first separate the “dough” (your qi) in the lower
dantien, leaving one third for the leg circuit while moving the other two-
thirds up the Governor Channel on the inhale. At the middle dantien, you will
further divide your qi into two equal portions. You will leave one portion in
the middle dantien for the arm circuit and continue leading the other portion
up the remainder of the Governor Channel to join the Conception Channel
and complete the Small Heavenly Circle. At the same time as the final third
portion of your qi is circulating through the Small Heavenly Circle, you must
further divide the qi in the lower dantien into two equal portions to send
down each leg. Similarly, you need to divide the qi remaining in the middle
dantien into two equal portions to be directed down into the two arms.
You now have a blueprint of how to divide the qi for the three smaller
circuits that comprise the Large Heavenly Circle. Attempting to circulate the
qi through the three circuits simultaneously can be a daunting task for the
novice meditator. For this reason, you may want to work with only two of the
three circuits at the beginning. To employ another analogy, maintaining the
circulation of qi in all three circuits simultaneously is like juggling three balls
at the same time. When learning the skill of juggling, beginning students are
often advised to start off juggling two balls at a time.
If you follow this strategy, you can begin with the arm circuit and the Small
Heavenly Circle simultaneously. Next you may attempt the leg circuit and the
Small Heavenly Circle together. Later you can try just the arm and leg
circuits without attempting the Small Heavenly Circle. Eventually, however,
you are going to have to keep all three circuits moving concurrently. In a
way, learning the Macrocosmic Orbit is like learning how to juggle three
balls at the same time, where the arm circuit, the leg circuit, and the Small
Heavenly Circle are analogous to the three balls. This is going to require
time, effort, and the recognition that you won’t be able to do it perfectly right
away. To continue with the juggling analogy, you are going to drop one or
more balls many times. Don’t allow yourself to become discouraged; you
need to remain motivated and focused on the task at hand. Work tirelessley
on keeping those balls (i.e. circuits) going round and round. Eventually there
will come a moment where all the circuits will seem to be rotating of their
own accord. That is when you will realize that you have accomplished the
complete Macrocosmic Orbit.

A Modified Macrocosmic Orbit for Martial

Applications
The Large Heavenly Circle described in the preceding section is a very
challenging practice. It is not to be undertaken lightly and requires a deep
commitment on the part of the student in order to master the intricacies and
complexities of the three circuits and to perform them simultaneously with
one continuous flow of qi. The successful completion of the Macrocosmic
Orbit represents a high level of attainment in the Taoist arts. The benefit that
accrues from the mastery of this practice is that eventually, after months and
years of practice, you will be able to lead your qi anywhere in the body using
your yi alone. You can use this unobstructed qi for self-healing and for
healing others. You can also use the circulation of qi in pushing hands and in
martial applications as will be discussed in Chapters Thirteen and Fourteen of
this book.
Because it is so difficult to completely master the full Macrocosmic Orbit,
this section presents a shortcut to practicing Macrocosmic Orbit. In his book,
There Are No Secrets, Wolfe Lowenthal recounts that Professor Cheng Man-
ch’ing would often begin a discussion of some important point with the
following words, “There are no secrets to the art of taijiquan, but if there
were...” To paraphrase Prof. Cheng here, with regard to the Macrocosmic
Orbit, it may be said that, “There are no shortcuts to the practice of the
Macrocosmic Orbit, but if there were...”
The modified Macrocosmic Orbit presented in this section is actually one-
half of the complete Macrocosmic described in the preceding section. It
includes exactly half of each of the three circuits: one-half of the leg circuit,
one-half of the arm circuit, and one-half of the Small Heavenly Circle. The
secret to the effectiveness of this modified Macrocosmic Orbit is the selection
of which half of each circuit is included.
In essence, the modified version of the Macrocosmic Circuit includes the
second half of the leg circuit combined with the first half of the Small
Heavenly Circle and the first half of the arm circuit. There is one additional
twist here; the direction of the qi flow in the arms and the legs is reversed.
For the legs, the qi flows up the legs on the in-breath; for the arms, the qi
flows down the arms on the out-breath. The verbal description of this
modified Macrocosmic Orbit is actually more complicated than the
execution, which is represented pictorially in Figure 8-8 shown below:
Figure 8-8
To complete the modified Macrocosmic Orbit, begin by inhaling and leading
earth qi up from the yongquan points in your feet and along the backs of your
legs. Join this earth qi with the post-birth qi accumulated in the lower
dantien. Continue to inhale and guide this combined qi up the Governor
Channel to the middle dantien, specifically the dazhui point located between
your two shoulder blades in the middle of your upper back. From there, begin
to exhale and lead the qi into your armpits and down your arms to terminate
at the laogong points in your two palms.
As you can see from the above illustration, as well as from the verbal
description, the modified Macrocosmic Orbit is not actually an orbit at all.
The qi does not recirculate back to either the middle dantien or lower dantien.
As such, this modified “orbit” simply provides a one-way flow of qi from the
yongquan points in the feet to the laogong points in the hands. Because the qi
does not recirculate, this modified Macrocosmic Orbit is not suitable for the
civil practices of self-healing or spiritual development. However, the directed
flow of the qi from the yongquan points to the laogong points can be used to
project your qi upward from the ground and outward to your hands.
This modified Macrocosmic Orbit is especially effective in supporting
martial applications, such as Brush Knee Twist Step as shown above or in
Withdraw and Push. When executed rapidly, the sudden upward and outward
flow of the qi can be expressed as fa jin. This is the source of power for Chen
style postures, such as Hidden Thrust Punch or Linking Cannons. Whereas
the complete Macrocosmic Orbit is more civil in its aspect, the modified
Macrocosmic Orbit is more suitable for martial applications. Also, as it is
much easier to learn and master the modified Macrocosmic Orbit, it may
appeal to those students whose interest in taijiquan inclines toward the
martial rather than the civil.

Conclusion
In this chapter you have been exposed to several techniques that can be
practiced in order to mobilize and to circulate the qi throughout the body. It is
important to remember that these techniques will only be effective if your
mind is calm and focused. In his book, The Essence of Taiji Qigong, Dr.
Yang, Jwing-ming emphasizes the importance of being emotionally calm and
employing the intention, or yi, to lead the qi during the practice of qigong.45
A calm and focused mind leads to the accumulation and subsequent
circulation of the qi in meditation. However, our ultimate goal as
practitioners of taijiquan is to lead the qi into the extremities while practicing
the empty-hand and weapons forms as well as employ qi circulation in order
to issue intrinsic energy, or jin, during pushing hands and sparring. In
Cultivating the Qi, Volume One, Chen Kung wrote of the need to cultivate the
mind and body simultaneously; otherwise the training of seated meditation
alone accomplishes little.46
It is essential to recognize that the attainment of skill in the art of taijiquan is
dependent upon cultivating both the mind and the body simultaneously. That
is to say that both the civil and the martial aspects of the art are to be
developed equally. Avoid focusing on only one aspect of the art at the
detriment of the other. Also be wary of the temptation to “take the door of
shortcuts.” Student who truly desire to excel in this art would be well-served
to heed Chen Kung’s invaluable advice.
The following chapter presents many more important pieces of advice from
the original taijiquan masters as well as their disciples. These precious words
of wisdom collectively form the fundamental principles of the art of
taijiquan. No one can seriously study taijiquan without understanding and
internalizing these fundamental principles. Just as the civil and the martial
complement one another, so the principles and the practice support one
another.
 Chapter Nine

The Fundamental Principles of Taijiquan

As has been previously discussed, taijiquan differs from most other martial
arts in that it includes both civil and martial components. The civil
component consists of the health benefits that accrue from the physical
movements involved in practicing the form as well as the circulation of the qi
throughout the body. At the highest level of attainment, the civil component
also results in the elevation of the spirit, leading to enlightenment and
immortality. The martial component consists of the martial applications
embedded within the empty-hand form as well as the various weapons forms.
These applications are trained via tuishou (pushing hands), dalu, and
sparring.
The breadth and depth of the art of taijiquan is due to its tripartite
foundations in philosophy, theory and principles. The philosophical
foundation of the art is Taoism, and the theoretical foundation comes from
Taiji theory, Five Elements theory, and Bagua theory. These philosophical
and theoretical foundations have already been addressed in previous chapters
of this book. This chapter presents the third foundational column of the art of
taijiquan: the fundamental principles that underlie the art and that distinguish
it from other martial arts in both character and quality.
These fundamental principles can be found in the written, formerly secret,
documents of the Chen and Yang families, along with subsequent published
texts produced by later members of the Chen and Yang families and those of
the Wu family and of Sun Lutang. We also have access to a number of texts
written by the close disciples of these family members, such as Fu Zhongwen
and Cheng Man-ch’ing (of the Yang family lineage) and Ma Yueh-liang and
Zee Wen of the Wu Chian-chuan family lineage, to name just a few. Finally,
we have the collective writings of a number of taijiquan scholars of the
eighteenth and nineteenth centuries, such as Wu Yu-hsiang and Wong
Chung-yua, which are commonly referred to as the Taijiquan Classics.
The principles expounded by the founders of the various family styles of
taijiquan formulate the basic concepts of the art as well as provide specific
guidance for its practice and application. No student of taijiquan should
practice this art without also studying the principles that form its foundation.
Yang Cheng-fu himself stated that the true essence of taijiquan is not found
in the external postures of the form, but is based upon the principles, the
internal energy, and the movement of the qi. Only when practitioners have
understood the principles of taijiquan and thoroughly assimilated them into
their practice will their art be complete.47
This chapter provides a general introduction to the fundamental principles of
the art of taijiquan. Dedicated students of this art are encouraged to obtain
copies of the texts listed in the bibliography of this book and to study the
principles presented therein diligently and frequently. However, more
importantly than simply reading about the fundamental principles of
taijiquan, students of this art must strive earnestly and constantly to
internalize these concepts and guidelines in their daily practice. It is further
recommended that practitioners expand their investigation of the principles of
the art beyond their particular family style of taijiquan. While it is true that
each family style has its distinguishing characteristics, the principles that
underlie the art of taijiquan are, for the most part, universal and applicable to
all family styles.
Before continuing on to a discussion of the individual principles of taijiquan,
one further issue must be addressed. Throughout the writings of the
originators of our art and their disciples as well as within the Taijiquan
Classics, there are references to the “other,” or to the “opponent,” or to
“him.” These references apply specifically to either the martial applications
of the art or to the practice of pushing hands. Because each of these topics is
considered in a separate chapter, the principles of taijiquan that pertain
specifically to the practice of pushing hands or to the martial applications will
be presented in Chapters Thirteen and Fourteen, which address these two
topics in greater detail. In the present chapter, the discussion is limited to
those principles that are more general in nature. These general principles
apply to all aspects of the art of taijiquan, including empty-hand form
practice, weapons practice, pushing hands, and martial applications.

First Principles
The concept of first principles, which is widely employed in both philosophy
and science, was introduced in Chapter Two. To review, first principles are
the seminal concepts from which a philosophy or science or even an art form
arises. Every teacher of taijiquan likes to identify one or more fundamental
principles of the art and elevate them to the status of first principles. Chapter
Seven identified two touchstones for the art of taijiquan:

Guard the mind and the qi together in the dantien.

The mind moves the qi and the qi moves the body.

Without a thorough understanding and application of these two defining

principles, no matter how many other principles of this art students may
adhere to, they will fail to attain the essence of art of taijiquan. The principles
and the techniques for cultivating and circulating the qi were presented in the
preceding two chapters. It is important to recognize that cultivating and
circulating the qi is integral to and inseparable from the correct practice of
taijiquan in every aspect of the art. Without the cultivation of the qi, there can
be no circulation of the qi, and without the circulation of the qi, the form will
be empty. An empty form has no essence, no life. There can be no benefits,
neither civil nor martial, to be derived from practicing an empty form. One
might as well take a walk in the park or go out ballroom dancing.
Yet a third first principle is: “An intangible and lively energy lifts the crown
of the head.” This is one of the original Ten Important Points identified by
Yang Cheng-fu in his The Essence and Applications of Taijiquan.48 This is
also an important principle in the Chen style of taijiquan and can be found in
the writings of the Wu family members and those of Sun Lutang as well.
Elaborating upon this principle, Yang Cheng-fu stated that the head must be
held up by elevating the spirit of vitality rather than through the use of
strength. The use of strength will cause the muscles of the neck to become
stiff and will and inhibit the flow of qi and blood. If the practitioner relies
upon muscular strength to hold up the head, then the energy of vitality will
not be able to rise.49
The crown of the head, also referred to as the “head-top,” is the site of an
important energy gate, the baihui, which is considered in Taoism to be the
Heaven’s Gate. This energy gate is also the location of the acupuncture point
known as the niwan. When the practitioner leads the “intangible and lively
energy” up to this energy gate, the shen, or spirit of vitality, is raised.
When the shen is raised, the practitioner experiences an increased awareness
and greater sensitivity. The benefits of this expanded consciousness are both
civil and martial. The civil aspect is the spiritual elevation that occurs when
the shen is raised. The martial aspect is the greater sensitivity and awareness
that together enable the practitioner to sense and respond to any attack before
it has the chance to inflict damage.
Although it is easy to imagine a light and intangible energy liftng the head-
top, it is very difficult to accomplish this correctly in practice. The lifting
must be achieved energetically and not through the application of muscular
tension. Muscular tension will cut off the flow of qi rising up from the spinal
column and into the upper dantien. Cheng Man-ch’ing offered the image of
being suspended from heaven by a string connected to the point in the center
of the skull.50
An additional benefit of suspending the head-top is that the spine becomes
elongated. Recall from Chapter Three that the spine has a natural curvature.
This curvature typically becomes compressed over time due to fatigue, age,
and lack of proper exercise. By energetically lifting the crown of the head, we
create a gentle pulling up of the spine, helping to elongate the spinal column
and to restore its natural curvature. Concerning the spine, Professor Cheng
indicated that, if the head is held upright as if suspended from heaven, the
spine will be erect. According to Taoist philosophy, the spine is considered to
be the “Pillar of Heaven.” Misalignment and/or compression of the vertebrae
in the spinal column are responsible for many ailments and illnesses.51
Regarding Cheng Man-ch’ing, Wolfe Lowenthal wrote that Professor Cheng
talked about Three Treasures. These are not the same Taoist Three Treasures
known as the san pao, but are, instead, Professor Cheng’s own first
principles. The first of these treasures is the intangible and lively energy that
lifts the crown. Professor Cheng’s second treasure is the Bubbling Well, or
yongquan point, located in the sole of the foot. The third treasure is the
guarding of the qi and the yi together in the dantien.52
Professor Cheng’s second treasure, the Bubbling Well, is the energy gate that
connects one to the qi of the earth. This has already been discussed at some
length in Chapter Six. Focusing one’s awareness on the Bubbling Well points
in the feet allows the individual to establish rootedness, which Professor
Cheng referred to as one’s connection with the ground.53 As stated
previously, the quality of rootedness, along with the quality of song,
distinguishes the true practitioner from one who only imitates the art of
taijiquan.
As an additional comment on Cheng Man-ch’ing’s first two treasures, if we
consider both the baihui and the yongquan points to be energy gates, then it is
possible to imagine that the student who has successfully opened both gates
will be connected simultaneously to heaven and to earth. This is the ideal
state of each human being and completes the trinity of heaven, earth and
humanity from the perspective of Taoist philosophy.
Finally, regarding the quality of song, one may well ask whether this should
also be included in the first principles of taijiquan. Rather than consider song
to be a first principle, however, it is preferable to treat both rootedness and
song as prerequisites to the correct practice of this art. Put succinctly, there is
no point in exploring and attempting to internalize any of the fundamental
principles of the art of taijiquan unless one has first established some
capacity for rootedness and song. As such, the topics of song and rootedness
were presented in Chapters Three and Six of this book, where each topic was
discussed at some length. However, as you will see, all the past and current
masters of the various family styles of taijiquan consider song to be an
essential principle of their art.

Chen Zhenglei’s Key Points and Specific

Requirements
The material presented in the preceding chapters has established the
foundation for the current discussion of the fundamental principles of our art.
In this and the following sections, the important principles of taijiquan as
identified by past and present masters of the various family styles will be
summarized, beginning with Chen style. Listed below are the “Key Points
and Specific Requirements” outlined by Chen Zhenglei in his book Chen’s
Taichi for Health and Wellness.54 Grandmaster Chen Zhenglei is an 11th
generation lineage-holder of Chen style taijiquan and is an ambassador of
Chen style taijiquan both within China and worldwide. As you will see, his
“Key Points and Specific Requirements” are relevant to all styles of
taijiquan.
1. Relax the body and calm the mind: Here again we see the emphasis
placed upon the importance of being relaxed, or song. The practitioner must
relax the whole body; not only the muscles but the bones, the internal organs,
the skin, and even the hair must all relax completely.55 The skill of relaxation
derives from the exercises that were presented previously in this book.
However, it is one thing to become song while standing still; it is another to
be able to maintain this state of relaxation while performing the movements
of the form or in practicing pushing hands and in actual combat. It is
imperative to maintain the state of song while engaging in every aspect of the
art of taijiquan. To this end, we must also calm the mind and eliminate all
distractions when practicing the form or engaging in martial applications.
Cheng Zhenglei also stresses adhering to the Law of Nature when practicing
taijiquan. The Law of Nature means that one must execute the postures
without holding the breath or applying muscular strength. Rather, the
practitioner must perform the movements of the form while breathing
naturally.56
2. Connect the mind and the qi; coordinate the body and the spirit: Once
more we see the importance of the principle: yi yi yin qi. According to Chen
Zhenglei, the mind moves first; the qi follows; and the strength reaches the
extremities.57 To extend the principle of “The mind leads the qi,” we can say
that “The mind leads the qi, and the qi leads the li.” Here, the term li is
translated as strength. The term “li” normally refers to muscular strength, but
in this case the term “li” is expanded to include the pliable, springy strength
that issues from the tendons and ligaments and is more commonly thought of
as jin. In Chen style taijiquan there is a coordination not only between the
mind and the qi but also between the qi and the jin. This is true for all types
of jin, but especially the explosive fa jin energy that is expressed in the fast
punches and kicks of this style.
In his discussion of coordinating the mind and the qi, Chen Zhenglei also
addresses the importance of proper breathing. In general, it is best to inhale
when closing and to exhale when opening; to inhale when leading in and to
exhale when releasing out; to inhale when rising and to exhale when
descending; to inhale when storing power and to exhale when releasing
power.58
3. Stay upright and centered; divide emptiness and solidness clearly: This
is the principle of central equilibrium, or zhong ding. In order to maintain
central equilibrium, one should stand straight and neither incline forward nor
lean backward. Neither should one tilt to one side, nor stoop down. The head
should be kept level and suspended; the shoulders should be relaxed; the
elbows should be dropped; the tailbone should be tucked under; and the waist
should be level. Additionally, one needs to distinguish between emptiness
and solidness in every movement and in every aspect of the body. Emptiness
is yin, and fullness, or solidness, is yang. The practitioner must be able to
distinguish yin from yang, as this is the essence of taijiquan.
Finally, Chen Zhenglei instructs us in the classic principle of taijiquan:
“When one part moves, the entire body moves.” He counsels practitioners to
pay particular attention to the coordination of the body as a whole.
Specifically, the hands, the eyes, the torso, and the footwork should all be
coordinated. In addition, the three essences (the ching, the qi, and the shen)
should coordinate with the li (the strength).59

Additional Principles from Chen Style Taijiquan

As stated in the previous section, the principles outlined above in Chen
Zhenglei’s “Key Points and Specific Requirements” are relevant to all styles
of taijiquan. This makes sense, as Chen style taijiquan is the basis for all
other styles of taijiquan, and certain of the principles that define Chen style
taijiquan should apply to all styles of taijiquan. However, there are
characteristics of Chen style taijiquan that are either not present or are not
obvious in other styles of taijiquan. One such characteristic is the quality of
“steel wrapped in cotton.” Although Yang Cheng-fu was said to have
exhibited this quality in his pushing hands skill, this principle is not generally
emphasized in the Yang style nor in the Wu and Sun styles of taijiquan.
What is unique about the Chen style is that the training proceeds from soft to
hard and back to soft again. Thus, beginning practitioners of Chen style
taijiquan are instructed to be soft and pliant, just as Lao Tzu counsels in the
Tao Te Ching:
 Man at his birth is supple and weak;
at his death, stiff and hard.
Trees and plants are born tender and pliant;
at their death, dry and withered.
Firmness and strength are the concomitants of death;
softness and weakness, the concomitants of life.
Hence, he who relies on the strength of his force
does not conquer.
And a tree that is strong will not fill out the outstretched arms
and thereby invites the feller.
Therefore the place of what is firm and strong is below,

and that of what is soft and weak is above.60

Practitioners of Chen style begin with songgong and silk-reeling exercises
such as those described in Chapters Three, Four, and Five to develop
softness. They then proceed onto fa jin training, as will be described in
Chapter Twelve. Finally, they learn how to integrate softness and hardness to
develop the quality of steel wrapped in cotton. This requires a return to
softness in which hardness is concealed. The process for developing this
internal development is as follows: from relaxation to softness; from softness
to firmness; and finally from firmness back to softness. The result is the
coexistence of softness and firmness with each complementing the other. In
application, Chen style employs quick actions that are both preceded by and
followed by slow ones. This is in keeping with the principle that when the
opponent moves slowly, you move slowly, and when the opponent moves
quickly, you move even more quickly.61
The principle of matching the speed of your movements to that of your
opponent corresponds to the Taijiquan Classics: When the opponent moves
fast, you move faster, and when he moves slowly, you move slower. In this
way, you will always match the movements of your opponent.62 The Classics
also state that if the opponent doesn’t move, you don’t move. If the opponent
makes even the slightest movement, you will have already moved
accordingly.63
The alternation of slow and fast movements is a distinguishing characteristic
of Chen style taijiquan and is based upon the coordination of softness and
firmness. Another distinguishing characteristic of Chen style is the
combination of hard (gang) and soft (rou). Although gang is translated as
“hard,” it is, in actuality, a springy force (dan buang jin) that is generated
through the process of silk-reeling (chan ssu jin). The softness of rou is not
limp and lifeless, but is pliant, full, and resilient.64
Another distinguishing characteristic of Chen style taijiquan is the spiraling
nature of the movements. This can be seen externally in both the movements
of the arms and hands and also of the legs. However, the true spiraling
movement that occurs when a skilled practitioner of Chen style taijiquan
performs the movements of the form (or engages in pushing hands or
sparring) takes place internally and involves the movement of the qi through
the jingluo of the body. The coiling and spiraling movement of the qi
(internally) and of the body (externally) is the legacy of Chen Wangting (the
founder of the family style), who spent much time investigating the jingluo
and the movement of the qi throughout the channels and meridians that make
up the qi circulatory system within the human body. Chen Wangting created
his martial art based upon twining, coiling and arcing movements that are
generated by the turning of the waist. The energy released by these
movements passes through to the jingluo and the jingmai. The movements of
Chen style are alternatively expanding and contracting, opening and closing,
firm and soft.65
The twining, coiling and arcing movements referred to in the above
paragraph are generated from the silk-reeling skill that is developed not only
through the practice of the form but also by repetitively practicing silk-
reeling drills such as the ones introduced in Chapter Five of this book. As you
will recall from the discussion of silk-reeling presented in that chapter, the
skill of silk-reeling is not limited to Chen style taijiquan. The concept of
moving the qi through the jingluo and the jingmai of the body can be applied
to any style of taijiquan. The external coiling and spiraling may not be
discernible in other styles, but the internal circulation of the qi should be an
important principle to be followed in the practice of all styles of taijiquan.
For his investigation into and his development of this central principle, all
practitioners of taijiquan should be grateful to Chen Wangting, founder of the
art of taijiquan.

Yang Cheng-fu’s Ten Essentials

There is a well-known set of fundamental principles that practitioners of
Yang style taijiquan refer to as “The Ten Essentials” of Yang Cheng-fu.
These ten essential principles are enumerated and elaborated upon in Fu
Zhong-wen’s Mastering Taijiquan in a chapter titled “The Ten Essentials of
Taijiquan Theory.” Fu Zhong-wen, a close disciple of Yang Cheng-fu, wrote
at the end of that chapter that the Ten Essentials were dictated by Yang
Cheng-fu to his disciple, Chen Wei-ming, and were a direct transmission
from him. These ten essentials are summarized below:
1. An intangible and lively energy lifts the crown of the head: This
principle was introduced and discussed in the beginning section of this
chapter. It should be noted that, of all the fundamental principles, this
essential was selected by Yang Cheng-fu to appear first in the list. This is not
the result of random selection, and practitioners of every style of taijiquan
should devote themselves to internalizing this concept and putting it into
practice in all aspects of their practice.
2. Contain the chest and raise the back: This principle refers to reversing
the military posture favored in the West in which one sticks one’s chest out
and pulls the shoulders back. This is sometimes referred to as “puffing up the
chest,” in reference to the behavior of rooster intent on attracting hens and
intimidating rivals. The problem with this posture is that it creates muscular
tension in the chest and shoulders while at the same time reversing the natural
curvature of the spine. Sticking the chest out and holding the shoulders back
impedes the flow of qi and blood, which is bad for one’s health and also runs
counter to the principle of circulating the qi throughout the body. The puffing
up of the chest also causes one to become top-heavy, which means that it is
very easy to become uprooted.
In opposition to this puffed up posture, the correct manner for holding the
torso is to round the shoulder yoke slightly; hollow out the chest; and raise
the spine. For those individuals who have been standing at attention for much
of their lives, this will require concentrated postural adjustment in order to
undo old habits. Here is one test for correct posture: Stand sideways in front
of a mirror and observe your shoulders in relation to your ears. If your
shoulders are positioned behind your ears, then your shoulders are pulled too
far back. You will need to work on rounding the shoulder yoke in order to
bring them in line with the ears.
3. Relax the waist: It is important to understand that when Yang Cheng-fu
referred to the waist, he was not just speaking about the Western concept of
the waistline. Rather, according to Chinese anatomy as understood by the
original taijiquan masters, the waist, or yao, encompasses the region
extending from the small of the back down to the hips and includes the kua as
well. In fact, this region is sometimes referred to as the “yaokua.” Students
should keep this expanded notion of the waist in mind when considering and
attempting to internalize this important principle.
The waist is the key to flexibility and mobility in the practice of taijiquan.
One needs to be flexible in the waist in order to practice the signature
movement of Yang style taijiquan, Rollback, effectively. While it is
relatively easy to roll back on the open side of the body (i.e. the side where
the bow stance is open), it is quite another to be able to roll back on the
opposite side of the body. Many students are so bound up in the waist that
they are unable to roll back to the off side.
The waist is also the source of the transitions from posture to posture in the
Yang style taijiquan form. Nowhere is this more evident than in the sequence
of Wave Hands Like Clouds. If the waist is tight, then the transitions from
one side to the other will not flow smoothly, and the dictum of “nose and
navel in alignment” cannot be observed. The cure for a tight waist is to
engage in a daily series of stretching and loosening routines such as the ones
presented in Chapter Four and Chapter Five. Failure to attend to tightness in
the waist will forever limit the student to stiffness in the form and the
inability to neutralize attacks in pushing hands and sparring.
4. Distinguish the insubstantial and the substantial: Yang Cheng-fu’s
commentary on this essential is worth noting here. He stated that the
distinction between the insubstantial and the substantial should be taken as
the first principle of taijiquan.66 Here we find yet another first principle. One
might well wonder, “How many first principles are there?” When any of the
past masters referred to a first principle, they were simply drawing our
attention to the significance of the principle or concept at hand. It can be said
equally of the Ten Essentials that they are all first principles.
In order to distinguish between the insubstantial and the substantial, students
must first understand what each term refers to. Anatomically, the definition is
relatively straightforward: the weight-bearing leg is the substantial leg,
making the lesser-weighted leg the insubstantial leg. In a bow stance, for
example, the front leg is substantial and the back leg is insubstantial. With
regard to the arms, usually the upraised or outstretched arm is substantial and
the lower or downward pointing arm is insubstantial. So, for example, in
Ward-Off Left, the left arm is substantial and the right arm is insubstantial.
On the physical level, being able to distinguish between the substantial and
the insubstantial aids in the transitions between postures. In the example of
Wave Hands Like Clouds, when turning to the left, you use the substantial
left leg as the pivot point for the waist turn. When returning to the right, you
must first shift your weight onto the right leg to make it substantial prior to
executing the waist turn to the right. The importance of being able to
distinguish between the substantial and the insubstantial cannot be over-
emphasized. To cite Yang Cheng-fu again from his commentary on this
point, if practitioners are unable to distinguish the substantial from the
insubstantial, their movements will be heavy and sluggish, their postures will
be unsteady, and they will be easily uprooted by their opponent’s.67
As important as it is to distinguish between the substantial and the
insubstantial on the physical level, it is even more important to be able to
distinguish between these two qualities on an energetic level. For example,
keeping a light and intangible energy at the head-top creates an overall sense
of lightness, or insubstantiality, in the upper body. At the same time, placing
ones awareness on the dantien and on the yongquan points of the feet directs
the energy of the body downward, making the lower half of the body more
substantial. This creates an overall feeling of song and rootedness and allows
one to be nimble and responsive to the changes of the opponent.
5. Sink the shoulders and drop the elbows: With regard to the military
posture referred to in the second point above, when the shoulders are lifted
up, the qi and the blood are constricted in their flow out to the arms.
Additionally, the increased tension and tightness in the shoulders restricts
their flexibility and range of motion. Obviously, this is not a desirable state.
The way to counteract this is to sink the shoulders. This is a difficult
undertaking and requires much time and work to accomplish successfully.
Once again, the solution lies in stretching and loosening exercises. Standing
in zhan zhuang is also highly effective in opening the shoulder joints and
helping them to become song.
Cheng Man-ch’ing used to say that the shoulders were the most difficult joint
in the body to open. Professor Cheng claimed that once the shoulder joint has
been opened, the other eight joints of the body will be much easier to open.68
Professor Cheng outlined the process for loosening the shoulders, as well as
the other joints, as follows: first the tendons must become loose, and then one
can loosen the joints that connect the bones. He stated that, when the tendons
are tight, the jin will be released in an angular fashion. When the tendons and
joints are loose, the jin will be released in a natural way. He further
commented that the tightness in our tendons and joints is the result of bad
habits, and that we must work at reversing the effect of those habits by
loosening the tendons and joints.69
Dropping the elbows is essential for sinking the shoulders. It is very difficult
to sink the shoulders if the elbows are held high. Often you will see students
holding postures such as Ward-Off with their forearms held up parallel to the
ground. Study, in contrast, the photos of Yang Cheng-fu, Fu Zhong-wen, or
Cheng Man-ch’ing in either Ward-Off Left or Ward-Off Right, and you will
see a graceful uplifting of the ward-off arm. That is because their elbows are
dropped. The same can be said of any of the postures in the form. When the
elbows are held up, the qi cannot flow into the arms and out to the hands and
fingers. Any postural defect which inhibits or blocks the flow of qi to the
extremities is to be avoided. Students of the art of taijiquan should heed this
essential point and pay strict attention to both the shoulders and the elbows
when practicing the form.
6. Use consciousness, not strength: Of all the Ten Essentials, Yang Cheng-
fu commented at greatest length regarding this principle. Taking his
commentary literally, it appears that he was discussing the use of
consciousness, rather than strength, in the context of martial applications. He
even referred to “practitioners of external martial arts” who rely superficial
strength as opposed to employing the intent, or yi. Regarding the use of
external strength, he wrote that relying upon strength rather than using the yi
to direct the internal energy was not worthy of respect.70
Although Yang Cheng-fu was referring to the martial applications of the art,
one must apply this essential principle to the practice of the solo form as well.
Take, for example, the posture White Crane Spreads Its Wings. Externally the
right arm is lifted up. Beginning students accomplish this by flexing the
muscles of the shoulder region: the latissimus dorsi, the deltoids, etc. The
contracting of the muscles required to elevate the arm above the shoulder
creates constriction in the flow of qi and blood, which is an undesirable
consequence of elevating the arm.
More advanced students of the art use their consciousness, that is to say, their
intent, to direct the qi into the arm and the hand according to the principle:
“Use the mind to move the qi and the qi to move the body.” In this way, the
shoulder remains song and the qi and blood are free to flow outward to the
fingertips. The principle of using consciousness rather than strength must be
applied to every aspect of the art, both civil and martial. Otherwise the
practice will be based upon external force rather than internal energy and will
not be worthy of respect.
7. Upper and lower follow one another: This principle can be summarized
by a well-known line from the Taijiquan Classics: “When moving, there is no
part that does not move.”71 Another oft-quoted line from the Classics, this
time from the Taijiquan Treatise by Chang San-feng, states: “In motion all
parts of the body must be light, nimble and strung together.”72 Yang Cheng-fu
added that, if the entire body does not move in a coordinated fashion, then the
form will be scattered and confused.73
One must pay attention to the movement of the hands and feet and also to the
movements of the arms and legs. These movements should be coordinated.
Also, the rising and falling of opposite hands must be integrated. To continue
with the example of White Crane Spreads Its Wings, as the right hand rises
up, the left hand curves down. The upward arc of the right hand should be
coordinated with the downward arc of the left hand so that they complete
their appointed trajectories at the same moment. Additionally, the lifting up
and the subsequent touching down of the left foot should also be
synchronized with the motion of the two arms.
With regard to the upper body, the torso and the head must also move in
concert. The guideline “nose and navel in alignment” applies here. When the
nose and navel are in alignment, the head does not move independently of the
torso. The eyes should be included in this maxim. Many students turn the
head to follow the trailing hand with the eyes in movements such as Step
Back to Repulse Monkey. This is a mistake on two levels. First, it breaks the
axiom of “nose and navel in alignment.” Secondly, from a strictly martial
perspective, the opponent you are trying to repulse is standing in front of you.
Why would you want to look away when trying to repel him? To borrow the
advice of Grandmaster Doc Fai-wong: “Don’t be a palm reader.” Keep your
eyes and your awareness focused on the objective of the posture.
8. The Internal and he external are united: This important principle relates
to the use of internal energy to control external movement. The Taiji Treatise
of Wu Yu-hsiang, another of the Taijiquan Classics, advises the practitioner
to employ the mind to direct the internal energy. The internal energy must
sink and be attached to the tendons and bones and must circulate smoothly
and completely throughout the entire body. Eventually, the internal energy
can be directed to any specific part of the body at will.74
The question arises as to how one learns to use the mind to exercise the
internal energy. The answer is that one must practice the neidan techniques
introduced in Chapter Seven and Chapter Eight. This principle makes it
absolutely clear that the practitioner must develop the connection between the
mind, or yi, and the internal energy, or qi. The key here is the four-character
Chinese phrase: yi yi yin qi which translates as “Use the mind to move the
qi.” Failure to develop the internal gongfu of the mind and the qi will result in
the execution of the external without the internal.
Once the mind is able to lead the qi, then one can direct the qi to move the
body. In this way, the internal and the external are united. The Taijiquan
Classics state: “The mind is the commander, the qi is the flag, and the waist
is the banner.”75 It is also written that movement must be “First in the mind,
then in the body.”76 These statements from the Expositions of Insights into the
Practice of the Thirteen Postures, another of the Taijiquan Classics
composed by Wu Yu-hsiang, make it clear that the movements of the form
are generated first in the mind (the commander) and then are executed by
directing the qi (raising the flag to instruct the troops) to move the body (i.e.
the waist in this example). Of this relationship between the mind and the qi
(the internal) and the waist and the body (the external), Yang Cheng-fu
commented that, when the practitioner is able to unite the internal with the
external, then there is complete unity.77
9. Linked without breaks: This essential point comes directly from the
Taijiquan Treatise attributed to Chang San-feng. The complete translation is:
“Let the postures be without breaks or holes, hollows or projections, or
discontinuities and continuities of form.”78 Yang Cheng-fu stated that this
means that the flow of qi should be continuous from the beginning of the
form to its completion, “like a great river rolling on unceasingly.”79 Yang
Cheng-fu also made reference to another frequently quoted line from the
Classics: “Move the energy as though drawing silk (from a cocoon).”80
When practicing the form, students should keep one of these two images in
mind. For example, from the moment the practitioner extends the qi into the
arms in the opening posture, the movement of the qi should flow on
continuously without pause or breaks, just like the steady flow of the Yellow
River as it travels from its source in the Kunlun Mountains down to the China
Sea.
Alternatively, students can imagine that the fingers of each hand gently grasp
a silken thread connected to a silkworm’s cocoon. As they move their hands
through the various postures and transitions of the form, they must
continually and steadily pull the thread from each of the two cocoons. Any
sudden movement or stopping and starting again will cause the threads to
break. The above imagery is suitable for describing the external movements
of the form. However, one must also be cognizant of the internal movements
of the form. The qi itself must move continually and without interruption or
hindrance through the meridians of the body. On this subject Wu Yu-hsiang
wrote that the qi should be circulated throughout the body as if a silk thread
being passed through a nine-holed pearl so that there is no part of the body
that it cannot reach.81
As with the question posed in the discussion of the preceding essential
principle, one may well ask how to train the qi to move through the body
without breaks. Although there are individuals who believe that this can be
accomplished through dedicated practice of the solo form, the ability to direct
and circulate the qi is best trained in neidan qigong practices such as those
outlined in Chapter Seven and Chapter Eight. Regardless of whether one
trains the circulation of the qi through form practice directly or through
Taoist cultivation practices, it is essential that the qi move continuously and
without impedance from the beginning until the final, closing posture of the
form. Anything less will result in a form that lacks the internal movement of
the qi, which is the essence of taijiquan.
10. Seek stillness in motion: One of the Taijiquan Classics entitled Song of
the Essence and Application of Taijiquan instructs us that “Movement arises
from stillness, but even in movement there is stillness.”82 The phrase
“movement arises from stillness” refers to the Taoist concept of Taiji arising
out of Wuji. In the solo form, we begin in the wuji posture. At this point, prior
to stepping out into the taiji posture and lifting the hands to begin the form,
there is only stillness. Once we begin to move, yin and yang separate and the
taijiquan form begins.
Within the form, the hands move to and fro, the feet step in and out, and the
transitions are many and varied. Both the external (the body) and the internal
(the qi) are in constant and uninterrupted motion. Only the mind remains
calm and still. The body is like the troops on a battlefield. They move about
under the instruction of their local commander (the qi) who waves a banner to
lead them from one location to another. Only the general (the mind), seated
upon his horse on the distant hilltop, remains stationary. He must maintain a
calm demeanor and steady discipline in order to oversee the entire battle.
The Taijiquan Lun of Wang Tsung-yueh includes the line “Be as still as a
mountain, move like a great river.”83 This lyrical instruction captures the
essence of the meaning of the phrase “seek stillness in motion.” Taijiquan is
sometimes referred to as a “moving meditation.” This is an apt description in
that the physical motion of the body is directed by a calm and steady mind.
The mind directs the qi while in a state of heightened awareness that results
from suspending the head-top and elevating the spirit of vitality. Yang
Cheng-fu stated that the practice of taijiquan employs stillness to direct
movement. Even in movement there is stillness. He explained that, when
practicing the form, the slower one moves the better one is able to experience
stillness within movement. By performing the movements slowly and at a
steady pace, the breathing will become long and deep, and the qi will
naturally sink to the dantien.84
Although taijiquan is a martial art, the solo form is practiced slowly at first so
that beginning students can develop the ability to use the mind to lead the qi
and the qi to lead the body. It takes many months and even years to
accomplish this to the point where the conscious mind does not have to
actively lead the qi; instead the qi travels of its own accord as the
requirements of the form dictate. When this occurs, one can practice the form
without having to focus the attention upon the movements, and, in the words
of T. T. Liang: “The mind can take a vacation.” This is the true meaning of
moving meditation, of seeking stillness in movement.
Cheng Man-ch’ing’s Explanation of the Oral
Secrets
In his Thirteen Treatises on Taijiquan, Cheng Man-ch’ing recorded twelve
secrets that were transmitted orally to him by Yang Cheng-fu. These oral
transmissions should be studied in conjunction with the Ten Essentials
transmitted by Yang Cheng-fu to Chen Wei-ming. There is some degree of
overlap between these two sets of fundamental principles. However, a
number of Cheng Man-ch’ing’s twelve secrets do differ from the Ten
Essentials. Of those that are different, five relate to pushing hands and will be
discussed separately in Chapter Thirteen. Listed below are those principles
which are general in nature and which do not coincide with any of the
preceding Ten Essentials.
Sink (ch’en): Sinking means allowing the entire weight of the body to sink
down into the lower extremities (i.e. the legs and the feet) and leads to
rooting. Recall that rooting and song are the qualities of a true taijiquan
practitioner. Cheng Man-ch’ing commented that, in essence, ch’en and song
are the same.85 Professor Cheng also noted that the opposite of ch’en is
floating, which is the antithesis of taijiquan. If students of this art fail to
develop the dual properties of song and ch’en, then their practice will have a
floating, disconnected quality and will not embody the true feeling of the art.
The best way to develop sinking is to stand in zhan zhuang. There is simply
no short-cut to achieving this quality. One simply must put in the time and
effort of standing in order to acquire this skill. This topic has been addressed
in detail in Chapter Six of this book and therefore does not require additional
commentary here.
The millstone turns but the axle doesn’t turn: The Taijiquan Classics
state: “The waist is like the axle and the qi is like the wheel.”86 It is also
written in the Classics: “Stand like a balance and rotate actively like a
wheel.”87 These two statements express the dual concepts of central
equilibrium and rotation, which together produce centrifugal force. The
vertical line from the niwan point in the top of the head down to the huiyin
point between the legs creates the axis around which the torso can rotate.
This rotation creates a centrifugal force that can be used to repel an opponent.
The most obvious application of the use of centrifugal force to throw off an
opponent is that of Wave Hands Like Clouds. The upper arm is held in a
Ward-Off position, creating the rim of the wheel. The shifting onto the
substantial leg creates the pivot point. The waist then acts as the axle and the
torso rotates like a wheel to spin the opponent off in the direction of the
angular rotation.
Although not as apparent, this same principle is at work in a number of other
postures, in particular the postures of Rollback and Single Whip. Students
should pay close attention to the principle of the axle and the wheel and train
its application diligently. The best training technique for developing the
turning of the waist are the silk-reeling exercises presented in Chapter Five of
this book. Professor Cheng wrote of this secret transmission that, once he
fully understood this principle, he made daily improvements in his practice.88
In practicing the form the body should be level and upright: Cheng Man-
ch’ing commented that this simple principle was easy to understand but
difficult to put into practice.89 Essentially, this is a proscription against the
faults of leaning and butting (inclining the head forward). The Taiji Treatise
of Chang San-feng instructs the practitioner not to lean in any direction.90 Wu
Yu-hsiang wrote as well that the upright body must be made to be stable and
comfortable in order to support movement in any of the eight directions.91
There are three important postural requirements to observe here. First, the
head should be level (i.e. no butting). Second, the torso should be erect and
vertically aligned from the niwan to the huiyin (no leaning). Third, the waist
should be level, meaning that the pelvis should not be tilted forward. When
the head and torso are held level and upright and the pelvic bowl is level,
then the body will be stable and comfortable. This will allow the qi to sink to
the lower dantien and the shen to be raised to the head-top.
The image of the axle is helpful here. Imagine a millstone rotating
horizontally around a vertical axle. If the axle is tilted off to one side, then the
millstone will not rotate properly. In order for the millstone to grind
efficiently, the axle must be perfectly aligned. This is why the metaphor of
the millstone appears throughout the Taijiquan Classics. In order to execute
the postures of the form correctly we must to stand like an axle and turn like
a millstone.
Wu Chian-chuan’s Mental and Bodily Preparations
In the book co-authored by Wu Ying-hua and Ma Yueh-liang (daughter and
son-in-law respectively of Wu Chian-chuan) entitled Wu Style Tai Chi
Chuan, there is a chapter under the heading “Mental and Bodily
Preparations”. In this chapter, the authors outline the mental and physical
preparations (i.e. the “state of mind” and “state of body”) described by Wu
Chian-chuan that should be adopted by all taijiquan practitioners. The
authors stated that there are specific mental and physical preparations that
must be observed when beginning to practice the form. They also stressed the
importance of studying and understanding the true meaning of the Taijiquan
Classics.92
The Mental Preparations:93 The mental preparations for the practice of the
taijiquan form include the following five qualities: stillness, lightness,
exactness, slowness, and perseverance. The stillness referred to here is the
calming of the mind, which is likened to stilling the turbulent water of a great
river. Calming of the mind enables calming of the body and also results in
calming of the spirit.
The quality of lightness means that no unnecessary force or effort is used in
order to execute the movements of the form. One should be so light and
sensitive that “If the left side is weighted, you are ready to change to empty
the left. If the right side is weighted, you are ready to empty the right. A
feather cannot be added, nor can a fly alight without upsetting equilibrium.”
This is a famous quotation from the Taijiquan Classics, and is one of the
catch phrases of taijiquan.
Slowness is relative to the practitioner’s level of development and skill. It is
recommended to take between twenty-five to forty minutes to perform the
traditional Wu style long form. The authors indicated that the more
experienced the practitioner, the longer the form should take. Less
experienced practitioners were recommended to complete the form within the
twenty-five minute time frame.
Exactness means that the practitioner must pay attention to even the smallest
details of each posture and the transitions that lead from one posture to the
next. In particular, the practitioner needs to pay attention to the following
details: First, the body must be straight and centered; second, the distinction
between empty and solid should observed in every posture of the form; third,
the flow of qi should be continuous and without pause; and last, the
expression of jin should be steady, distinct, and aimed in one direction.
Perseverance means that the practitioner must practice diligently and
regularly and should not become discouraged or lethargic with regard to his
or her practice. Heed the commentary of the original taijiquan masters: One
day’s practice, one day of results; one month’s practice, one month of results;
one year’s practice, one year of results; a lifetime’s practice, a lifetime of
results.
The Bodily Preparations:94 The physical preparation for practicing the form
as outlined by Wu Chian-chuan parallels that of Yang Cheng-fu. This makes
sense, as Wu’s father, Quan Yu, studied with Yang Lu-chan, the founder of
the Yang family style of taijiquan. Nonetheless, these essential physical
preparations bear repeating here. They are as follows: suspend the head-top
(hui lin din jin); hollow the chest and lift the upper back (han shan ba bei);
sink the shoulders and drop the elbows; sink the qi down to the dantien (qi
shen dantien); center the coccyx and straighten the spine; relax the waist and
drop the buttocks; and round the crotch.
The importance of suspending the head-top has already been stressed. The
authors of this text cite the importance of suspending the head-top, which has
the effect of elevating one’s spirit of vitality and promoting lightness and
agility. They state that this structural element should be present in all the
postures of the form. Suspending the head-top should coincide with the
centering of the coccyx (weilu). When performed concurrently, these two
postural corrections serve to lengthen the spine, causing the spine to be more
flexible and also to enable the shen to rise up to the upper dantien.
Sinking the chest and raising the upper back counteracts the tendency to puff
up the chest and compress the upper back in what has already been referred
to as the military posture. This military bearing is undesirable because it
hinders the qi from circulating smoothly in the body and prevents the
movements from being performed with lightness and agility. Sinking the
shoulders and dropping the elbows also promotes the flow of the qi into the
upper extremities and has the added benefit of protecting the ribs from attack.
The purpose of relaxing the waist and dropping the buttocks is to enable the
waist to turn freely and without impediment. It is essential for the practitioner
to understand that the waist is the commander for all the movements in
taijiquan. Only when the waist is loosened can all the movements be
executed with agility and coordination. Rounding the crotch must accompany
the relaxing of the waist and the dropping of the buttocks. The practitioner
should adopt the posture of a cowboy who is used to sitting astride a horse;
thus the derivation of the term, “horse-riding stance.”
The final bodily preparation is to sink the qi to the dantien (qi shen dantien).
This is accomplished both through the use of the yi and also through the
method of abdominal breathing. Unless the qi is drawn down into the
dantien, the practitioner will tend to float during practice and will not be able
to connect to the ground and from there be able to transfer the power from the
feet, up the legs, through the waist, and into the arms and fingers. That is to
say, without first sinking the qi into the dantien, practitioners will not be
practicing the true taijiquan and will be merely dancing their way through the
form.
At the conclusion of this section on the Mental and Bodily Preparations, the
authors stated that only when the mental and bodily preparations are
performed correctly will there be favorable results from the practice of the
taijiquan form. Every student of the art must keep these principles in mind
when preparing to practice the form.

Sun Lutang’s The Meaning of Taijiquan

In his famous book, A Study of Taijiquan, Sun Lutang included a brief
chapter titled “The Meaning of Taijiquan.” In this short chapter, Sun
described the defining characteristics of his style of taijiquan, which included
influences from Chen and Wu/Hao style taijiquan as well as xinyi quan and
bagqua zhang. His central premise was that the qi must flow unimpeded out
to the four corners of the body, and that the qi must penetrate the bones in
order to nourish the body. A central principle of Sun style taijiquan is that the
internal and the external must be united in a single expression of qi.
Another key principle of Sun style taijiquan is the emphasis on maintaining
the continuous flow of the qi within the form. Throughout his commentaries
on the individual postures of the traditional long form, Sun Lutang made
frequent references to the qi and the importance of the movement of the qi
from the dantien out to the extremities. Sun concluded his brief opening
chapter with the instruction that the qi must be allowed to circulate
throughout the body without obstruction. It must be round, full, and lively
without angles. It must be without excess or deficiency. When the qi is
manifest, the Six Harmonies are complete. When the qi returns to the lower
dantien, it is hidden as a treasure within. Sun concluded by stating that the
ability to circulate the qi throughout the body and to retain the qi in the
dantien is the essence of taijiquan.95
Of singular importance to practitioners of this style of taijiquan are the
complementary actions of opening and closing. The dual postures of Opening
Hands and Closing Hands occur repeatedly throughout the traditional Sun
style long form. Regarding the complementary actions of opening and
closing, Sun wrote that the movement and stillness of the postures both have
the centralized flow of qi as their source. To open is to extend and to move.
To close is to contract and to be still. Opening is yang and closing is yin. To
issue, extend, or move is yang. To withdraw, contract, or become still is yin.
The cycle of opening and closing is like the one flow of qi passing through
the cycles of yin and yang.96
Although the individual postures and transitions of Sun style taijiquan may
appear externally different from other styles of taijiquan, the underlying
principles are the same. It is important for practitioners of all styles to be able
to recognize the foundational principles that link all styles together. For
example, if practitioners of another style investigate carefully, they are
certain to discover opening and closing embedded in their particular style. No
matter what style of taijiquan you practice, if you keep these fundamental
principles in mind when practicing the form or other aspects of your art, you
will be practicing the true taijiquan as conceived and established by the
progenitors of your style and passed down through their descendants and
disciples.

Additional Principles from the Taijiquan Classics

In addition to the fundamental principles transmitted by the developers of the
different styles of taijiquan and their disciples, there are other sources of
taijiquan wisdom. These are collectively referred to as the Taijiquan
Classics. Many of the Classics contain the same principles as the ones
presented in the previous sections of this chapter. Perhaps the wording or the
metaphors used are different, but the underlying principles are the same. The
following material includes a small survey of those fundamental principles of
the art of taijiquan that have not been discussed previously in this chapter. As
stated at the beginning of this chapter, a discussion of principles that directly
relate to pushing hands or martial applications will be deferred until later in
this book.
The motion should be rooted in the feet, released through the legs, controlled
by the waist, and manifested through the fingers:97 This statement comes
from the Taijiquan Treatise attributed to Chang San-feng and is one of the
most frequently quoted lines from the Taijiquan Classics. The term “motion”
referred to here has also been translated as “internal energy” or “jin.” This is
the formula for generating power for martial applications. However, when
performing the solo form, it is also the prescription for moving the qi so that
the arms and hands above are connected to the legs and feet below (upper and
lower are united.)
An example from the Yang style solo form, Ward-Off Left, may be employed
to illustrate the circulation of the qi from the feet out to the fingers. When
making the transition from the Opening posture to Ward-Off Left, one first
places the weight onto the right leg and makes a connection with the
yongquan point in the right foot to the qi of the earth. Stepping out with the
empty left leg, one transfers the weight from the right leg onto the left leg
while simultaneously raising up the left arm into the peng posture of Ward-
Off Left. The compressed qi that was stored, or rooted, in the right foot
travels up, or is released from, the right leg and is controlled and directed by
the turning of the waist to move up the spine, across the shoulder and into the
left arm to be manifested through the fingers of the left hand.
In every posture there should be a similar transfer of stored or rooted energy
from the ground up through the legs. This energy is then given direction by
the turning of the waist and is subsequently guided up the spine and out into
the arms and the hands. The challenging task of every practitioner is to
investigate these qi flows for each and every posture of the solo form. To
assist in this task, the following chapter provides detailed descriptions and
photographs for a number of the postures from the solo forms of the Chen,
Yang, Wu (Chian-chuan), and Sun styles that identify these internal energy
pathways.
Chang San-feng elaborated upon this principle by explaining that the feet,
legs, and waist must act together simultaneously. No matter what action is
being performed, the timing and position must be correct. If the timing and
position are not correct, body will be disordered. In all such cases, the defect
will be found in the legs and the waist.98 This is in accordance with the
principle: “When one part moves, the whole body moves.”
This concept is referred to as “single-body movement.” While single-body
movement can be accomplished without moving the qi, such movement
would be purely external and would appear wooden and mechanical. It is the
continuous flow of qi from the feet all the way to the hands which imparts a
sublime elegance to the form. This can only occur when the internal and the
external are connected. Chang San-feng also describes the consequences of
failing to distinguish between the insubstantial and the substantial,
specifically in the legs. If one cannot identify the substantial leg and use that
leg to transfer the internal energy via the waist, then the stepping will be
clumsy and the resulting movement of the body will be disordered.
If there is up, there is down; if there is forward, there is backward; if
there is left, there is right:99 This principle relates to the balance of opposing
energies within the postures of the form. Consider, for example, the posture
of White Crane Spreads Its Wings, which occurs in a number of different
styles. The right arm and hand are directed upward. This, in turn, is offset by
the left arm and hand, which are directed downward. These two energy
vectors counter-balance each other and maintain the overall balance of the
body.
The same can be said of the directions right and left. In the posture of Part the
Wild Horse’s Mane, Right, for example, the energy on the right side of the
body is counter-balanced by the energy on the left side of the body. Many
students simply dangle the left hand in this posture without putting any
energy into it. This is a mistake and violates the principle that, “If there is
right, then there is left.”
It is clear from the two examples cited in the preceding paragraphs that
students must obey the principle of the balance between up and down, left
and right, and forward and backward in the individual postures within the
form. However, this same principle applies when executing the transitions
between postures. To illustrate this, consider the transition from Ward-Off
Right to Rollback in Yang style taijiquan. When we want to roll backward to
the left corner, we first extend the right, ward-off arm diagonally forward to
the right corner. This embodies the principle: “To go left, first go right.”
Sometimes the changes in direction are not so obvious, but they should at
least be expressed energetically. Examine the transition from Lifting Hands
to White Crane Spreads Its Wings from the Yang style. We want the right
arm to rise up (the upward spreading wing), so we first drop it downward and
shift forward slightly into the transitional Shoulder Stroke posture. From
there we continue into the posture of White Crane Spreads Its Wings and
raise the right arm upward to deflect an incoming attack to our right side.
This transitional sequence conforms to the principle that dictates, “To go up,
first go down.”
In the curved seek the straight: The Taijiquan Lun, written by Wang
Tsung-yueh, includes the sentence: “It is not excessive or deficient;
accordingly when it bends, it then straightens.”100 Later in this Lun it is
written: “In the curved seek the straight, store, then release.”101 Both of these
instructions contain meaning on two levels, the external and the internal.
Let’s consider each of these two dimensions separately, beginning with the
external.
In all the postures of the form, the limbs should express curved shapes. The
spine should also contain an ‘S’ curve. Taken together, the four curves of the
limbs plus the elongated curvature of the spine constitute the Five Bows.
These will be addressed in greater detail in the following chapter. For now,
consider the application of the Five Bows in the posture Single Whip in Chen
style taijiquan. If we analyze the right arm and left arms individually, we can
see that the elbow of each arm is dropped somewhat, creating a gentle curve
in each arm that resembles the curve of a bow. Additionally, the two arms,
connecting across the shoulder yoke, together form a larger curve. The spine
is erect, but, due to the opening of the two kua and the sinking of the torso
onto the wide horse-riding stance, the spine itself is gently curved, forming
another bow. Finally, each of the legs individually form bows, and the
roundness of the crotch (dang) connecting the two legs forms yet another
bow. So, in this one posture we see how the seemingly straight lines formed
by the arms and the legs as well as the spine actually are curved in shape.
Energetically, we must also seek the straight in the curved. This has to do
with the issuing of jin, or intrinsic energy. The Taijiquan Lun also includes
the statement: “The jin is stored (having a surplus) by means of the
curved.”102 If we continue with the example of the left arm in Single Whip,
we see that it contains jin stored in the curvature of its bow. The Lun also
states: “Store up the jin (internal strength) like drawing a bow.”103 If we were
to actually attack an opponent using the left hand, this stored jin would be
released as if snapping a whip. This is the application of the principle:
“Release the jin like releasing an arrow.”104 Because the ability to store and
issue jin is an essential skill in the martial application of taijiquan, this topic
will be discussed in greater detail in Chapter Eleven and Chapter Twelve.
Walk like a cat:105 Cat walking is often one of the first exercises taught to
beginning students of taijiquan. This deceptively simple exercise teaches
students to be aware of their bodies and to control the movement of their legs
by consciously identifying and moving the individual muscles required to
advance their feet when stepping forward. This exercise also teaches students
how to walk properly without falling onto their extended foot. In order to
walk like a cat, students need to be able to distinguish between the
insubstantial and the substantial leg at all times.
Often, when inexperienced students step through the form, you can hear the
distinctive clunk as their stepping foot falls onto the floor. This is a defect in
stepping that results from not having learned how to walk like a cat. One way
to overcome this defect is for students to imagine that they are crossing a
frozen pond. If they were to walk across the ice as they are accustomed to
walking normally, that clunk might turn into a crunch as they break through
the ice. It is better to place each step gingerly and with sensitivity before
committing the full weight of the body onto the stepping foot.
Cat walking also requires that the student to learn how to place the weight
completely upon the substantial leg in order to step out weightlessly with the
insubstantial leg. Initially, the student will only be able to take short steps
forward without committing the error of falling onto the advancing foot. It
takes greater skill and leg strength to take longer strides. This is especially
true in the form, where we are continually stepping forward and backward
and even out to the corners. One indication of a practitioner’s skill is the
length of his or her steps when executing the form.
In order to increase the length of his or her the stride and still walk like a cat,
the student must learn to sink into the substantial leg, lowering the entire
body somewhat. This requires not only strength in the thigh and calf muscles;
it also requires the student to open the kua. This is the real secret to walking
like a cat. Most students focus on the leg itself, but unless the kua is opened
first, it will be difficult to move the leg freely and step out lightly. Opening
the kua is best accomplished through stretching and loosening exercises such
as the ones presented in Chapter Four of this book.
Abraham Liu, a senior student of Cheng Man-ch’ing, used to exhort his
students to “go lower and step out longer.” Master Liu would quote his
fellow senior student, Ben Lo, on this subject: “No burn, no earn.” Legs
would burn, grimaces could be seen on straining faces, and groans could be
heard. Nonetheless, those students who persisted, who put in the effort
required to go lower and step out longer, gained valuable strength and
mobility and could be seen cat walking around the studio like leopards and
tigers. It was quite a sight to behold.
The form is like that of a falcon about to seize a rabbit, and the shen
(spirit) is like that of a cat about to catch a rat:106 This sentence, taken
from the Taijiquan Lun of Wang Tsung-yueh, expresses the martial aspect of
the solo form. The civil aspect of the form is to treat the movements as a
moving meditation. A different approach is to practice the form as if facing
an imaginary opponent. Imagine that each transition and each finished
posture is directed toward an opponent. Zeng Weiqi, who co-authored the
book Wu Style Taijiquan with Wang Peisheng, wrote that, when one practices
the taijiquan solo form, one should visualize engaging with an opponent.
Only by visualizing the martial application of each posture can one have the
possibility of employing the postures in actual combat.107
For example, when executing Two Fist Blow Ears (Box the Ears) in either
the Wu or the Yang style, you may want to visualize stepping into an
imaginary opponent with the right leg and striking both of his ears fiercely
with clenched fists. The trick here is performing this devastating attack in the
mind only and not in the body. We don’t want to exhibit any tension in the
muscles of the arms or the shoulders. Nor should the fists be tightly clenched.
Rather than demonstrate the power of the double-fist strike externally with
force, we express it internally through our spirit of vitality. Outwardly our
demeanor is calm, and the posture is soft and relaxed. Internally, our spirit of
vitality is raised and our intent is focused. It is the yi that is like a falcon
about to seize a rabbit or a cat about to catch a rat.
The only external evidence of our martial intent in this posture can be found
in the eyes. It is often said that the eyes are the windows to the soul. As such,
we can use our eyes to express the internal martial spirit of the shen, even
while we maintain the external softness of the posture. This is like steel
wrapped in cotton. The steel in this case is the martial intent of the yi,
whereas the cotton is the softness of the skin and the relaxed muscles.
Students who desire to internalize the martial aspect of the art must practice
the form with this martial spirit, imagining that every posture has application
and visualizing those applications as they flow through the solo form.
Extension and contraction, opening and closing, should be natural:108
Many of the principles found in the Taijiquan Classics, as well as in the oral
transmissions of the original taijiquan masters, deal with the connections
between opposites: internal and external, substantial and insubstantial, upper
and lower, left and right, up and down, etc. These are all simply
manifestations of the underlying relationship between yang and yin, which
are derived from Taiji.
This principle from the Song of the Thirteen Postures, of unknown origin, is
another example of the relationship between opposites. The connection
between expansion and contraction and opening and closing can be found in
every posture of the form, regardless of family style. Extension is yang;
contraction is yin. Likewise, opening is yang and closing is yin. This concept
has already been discussed in the section on Sun Lutang’s “The Meaning of
Taijiquan” presented earlier in this chapter. However, the concept is so
fundamental to the correct practice of taijiquan that it bears repeating in this
context.
Every posture in the solo form includes both extension and contraction,
opening and closing. In general, a posture will finish in either an extended
and open position or a contracted and closed position. Examples of postures
that are open include Single Whip and White Crane Spreads Its Wings.
Examples of postures that are closed include Six and Sealing Four Closing
and Hit the Tiger.
Even if a posture is considered to be open and extended, the transition to the
final shape of the posture will likely contain contraction and closing. This is
evident in the transition to Single Whip, in which the two hands are drawn in
with the right hand forming the hook and the left hand supporting the right
elbow. Similarly, with postures that are considered closed, such as Six
Sealing and Four Closing, the transition to the finished posture will include
both extension and opening. The transition from the posture of Lazily Tying
the Coat to the posture of Six Sealing and Four Closing in the traditional
Chen form includes opening and circling of the two arms, as if graciously
inviting a guest into one’s home. This is like the petals of the Venus fly trap
that open invitingly and then close with finality once the fly has entered the
trap.
Students of taijiquan should observe the continual changes from open to
close and from extension to contraction as they move from one posture to the
next during the execution of the solo form. These same transitions with
openings and closings, extensions and contractions are also evident in the
practice of the weapons forms. In general, the myriad changes of open and
close, extension and contraction reflect the constant transition from yang to
yin, and yin to yang, continuously expressing the dynamic nature of the Taiji
circle.
Avoid the fault of double-weighting: All beginning students of taijiquan are
warned against committing the fault of double-weighting. Initially, this is
understood to mean that the student should not place the weight of the body
evenly on both feet. The only postures within the solo form in which this is
permitted are the Opening and Closing postures. These postures are
considered to be either the initiation or the cessation of Taiji, in which the
movement of the form rises out of or returns to the state of Wuji. For all other
postures, the weight is unevenly distributed between the two feet, with one
leg acting as the substantial leg and bearing a greater percentage of the
weight and the other leg serving as the insubstantial leg and bearing a lesser
percentage of the weight.
Double-weighteding can also occur in the arms. In almost all of the postures,
one arm can be identified clearly as the substantial arm whereas the other arm
functions in a supportive role. Even in Withdraw and Push, or Six Sealing
and Four Closing, where both arms appear to be pushing forward equally, the
student is advised to place more emphasis energetically on one or the other
arm to avoid the fault of double-weighting in the arms.
Additionally, double-weighting occurs when both the arm and the leg on the
same side of the body are substantial. There should always be a cross-body
coordination between the arms and the legs. That is to say, if the left arm is
substantial, then the right leg should be substantial and vice-versa. Typically,
the insubstantial arm is the one on the same side of the substantial leg, i.e. if
the right leg is substantial, the left arm is substantial.109
The Taijiquan Classics state that the way to avoid the fault of double-
weighting is to know yin and yang. What this signifies is that one must be
able to distinguish between the insubstantial and the substantial in both the
arms and the legs. Not only must one avoid the fault of double-weighting on
the physical level, one must also avoid the fault of double-weighting on an
energetic level. This means that the yin and yang of the internal energy must
also be distinguished and directed accordingly. The yang energy in the
substantial arm must be balanced with the yin energy in the insubstantial arm.
The same can be said of the legs. Finally, the upper and lower body must be
separated energetically, with the lower body being heavy and full while the
upper body is light and empty.
The fault of double-weighting also arises in the interaction of pushing hands
and is the most common reason why individuals are unable to uproot others
and are so vulnerable to being uprooted themselves. The Taijiquan Classics
state that anyone who has practiced taijiquan for many years and yet is
always controlled by his opponent has not understood the fault of double-
weighting.110 This issue will be discussed in greater detail in Chapter
Thirteen, which focuses on pushing hands.
From the greatest softness comes the greatest hardness:111 The subtlety of
the art of taijiquan lies in using softness to overcome hardness. We
accomplish this through neutralizing and deflecting the force of a thousand
pounds with four ounces of counterforce. In order for this approach to be
successful, we must learn to relinquish all hard physical strength and to
become soft and yielding. This in turn depends upon the muscles, tendons
and ligaments becoming relaxed and pliant, which in turn results in the
opening of the joints and their ability to allow incoming force to pass through
them without resistance.
We begin by developing softness in the muscles, ligaments, and tendons.
When we achieve this level of softness and flexibility, the qi is able to
penetrate into the vertebrae of the spine and the bones of the limbs. Once this
takes place, the marrow of the bones is replenished and the bones themselves
become hard and dense. If a skilled taijiquan practitioner is struck on the arm
or the leg, the blow will do no damage to the practitioner but will result in the
attacker being injured as a result of striking something hard. This is called
“steel wrapped in cotton” and occurs naturally as a result of many years of
sinking the qi to the dantien and then circulating the qi throughout the tissues
of the body, including the vertebrae of the spine and the bones of the arms
and legs.
This internal hardness is a special quality resulting from the dedicated
practice of taijiquan. Other martial artists train to harden their skin and their
bones by repeatedly striking their limbs (and even their heads) against objects
such as wooden logs or buckets filled with mung beans or sand. Additional
training techniques employ special poultices and liniments intended to
toughen the skin. Only the art of taijiquan can generate internal hardness
through the practice of external softness. This is why the internal art of
taijiquan is considered superior to those external martial arts.
No shape no shadow. Entire body transparent and empty:112 This
principle is not so much a principle as it is a description of the transcendent
state of the individual when practicing taijiquan at a high level of
accomplishment. These two sentences come from the Song of the Real
Meaning. This song provides an expressive description of the internal state of
the stylist while practicing taijiquan. The mind and spirit of such a
practitioner (the yi and shen) are so refined and free from extraneous thoughts
and preoccupations that they have no shape and cast no shadow over the
perfection of the form. That is to say that the form, and the yi and shen of the
person performing it, are flawless.
Obviously, even the most advanced practitioner cannot not become
physically transparent and empty. However, the state of mind of the skilled
practitioner can and does express these qualities. The Song of the Real
Meaning is brief. In total it contains eight lines, each of which conveys an
image of a particular quality that should be exhibited when practicing
taijiquan.
The final three lines in this song state that one should be as clear as a
fountain, as peaceful as calm water, as turbulent as a mighty river, as fierce as
a stormy ocean. One should devote one’s whole being to developing one’s
spirit.113 These concluding lines describe how the yi and the shen are clear
and peaceful, while the qi that flows throughout the body is abundant and
powerful. The final line of the song emphasizes the spiritual aspect of the
practice of taijiquan. At the highest level, the practice of taijiquan transcends
the realm of the martial and ascends to the highest level of the civil, that of
spiritual cultivation.
As Master Huang used to say, “Change your taiji; change your life.” When
dedicated students apply themselves whole-heartedly to the practice of “true”
taijiquan, their whole life can become elevated to the realm of spiritual self-
cultivation. This topic will be addressed in the final two chapters of this book.

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

The Individual Postures of Taijiquan

For the majority of taijiquan practitioners, the solo, or empty-hand, form

constitutes the greatest part of their involvement with the art. Even for those
of practitioners whose interest extends to weapons, pushing hands and
sparring, the solo form represents the cornerstone of their practice. For this
reason, it is critical to practice the form correctly. The correct practice of the
form entails two separate yet integrally related components: the internal and
the external. The internal aspect of the form involves the use of the yi to lead
the qi, which in turn directs the movements of the body. The external aspect
of the form consists of the postures themselves and the transitions that
connect them into a continuously flowing sequence.
When discussing the individual postures of the traditional empty-hand form,
it is important to realize that each posture as shown in a photograph or
described in writing is merely a fixed point in a continuous flow of
movement. Fu Zhong-wen, a close disciple of Yang Chen-fu, referred to
these fixed points as dingdian. In the past, students would hold individual
postures from the form much as we hold postures when standing in zhan
zhuang. However, for most modern practitioners of taijiquan, each individual
posture is merely a freeze-frame extracted from a continuous video that
constitutes the form. Continuing with the video analogy, if the individual
freeze-frame images that represent the fixed postures are not correct, then the
overall form obviously will not be correct.
Taken in this context, it is important to recognize that each posture occurs in
relationship to the posture that precedes it and the posture that follows it. The
transitions from one posture to the next are just as important as the postures
themselves. As difficult as it is to provide clear, written descriptions of each
posture, it is even more challenging to furnish concise, intelligible
descriptions of the transitions between postures. For this reason, this chapter
will focus primarily on the details of the postures themselves.
The preceding chapters presented in detail both the principles and the neidan
practices that enable the student to guard the yi and the qi in the dantien; lead
the qi up the spine and around the torso via the Microcosmic Orbit; and
finally to lead the qi out into the extremities via the Macrocosmic Orbit. The
student must be aware at all times of the qi and must be able to lead it to the
proper location within the body using the focused power of the mind. This
chapter will describe the specific pathways that the qi should follow in order
to reach the extremities in various postures.
In addition to describing the path of the internal energy for each posture, the
physical structure of each selected posture will be described. Each posture
has a specific shape that defines the posture in terms of both its form and its
application. Yang Cheng-fu stated that only when the individual postures are
correct and the principles are understood would the practitioner truly be
practicing taijiquan. He added that, if the postures are not correct and the
inner principles are not understood, then even if the postures resemble
taijiquan, there is no actual difference from external martial arts.114
The shapes of the postures are important for two reasons. First, each posture
derives its basic shape from the martial application for which it is intended.
This represents the martial aspect of the posture. If the posture’s shape is
incorrect, then the martial application will be ineffective. Chen Zhaokui
explained that every posture should be correct and that the martial application
of every posture should be clear. When the practitioner is able to visualize the
martial application of each posture, then the posture will incorporate every
aspect of the body correctly.115
Second, if the posture is structurally incorrect, the qi may not be able to flow
in an unobstructed path out to the extremities. This will limit the health
benefits of the posture, which relate to the civil aspect of the posture. It is
also important to understand that if the structure of the posture is faulty, the
practitioner may actually do harm to his or her joints. One example of this is
the practitioner who extends the front knee over the toes when holding a bow
stance. Over time, this bad habit is likely to damage the cartilage and the
tendons associated with the knee joint.
Despite the importance of performing the postures properly, many
practitioners fail to do so. They commit the errors of leaning, butting,
overextending, failing to distinguish between substantial and insubstantial,
lifting the shoulders, raising the elbows, holding the hands improperly, or
placing the feet incorrectly. This may be due to a number of factors,
including incorrect understanding or improper instruction.
Unfortunately, incorrect postures are very difficult to correct. Fu Zhong-wen
commented upon this sad state of affairs, which was just as prevalent in his
era as it is today. He wrote that, while it is easy for practitioners to imitate the
form in rote fashion, they in fact never mastered the secrets of taijiquan. A
close examination of any specific posture revealed that every aspect of the
posture was flawed. He lamented that even if the master corrected these
postural defects in the morning, they reappeared the same evening. Fu
Zhong-wen concluded by stating that to study taijiquan is easy but to correct
taijiquan is difficult.”116
It requires a certain degree of humility on the part of practitioners to accept
that they may not have been performing the postures correctly, especially if
they have been practicing for a long time. There are individuals with one,
five, ten and even more years of experience who continue to perform one or
more of the postures in their form incorrectly. This is analogous to a tennis
player who has been playing with an incorrect grip or a golf player who has
been swinging the club incorrectly. Such persistent bad habits will require
constant correction and focused attention in order to be reversed.
Obviously, it is best to work with a knowledgeable teacher who understands
the underlying principles as well as the correct structure of each posture.
However, in the absence of a skilled teacher, one can engage in self-analysis
and self-correction by working independently. Two invaluable aids for self-
study are a full-length mirror and either a still or a video camera. Full-length
mirrors, plate glass windows, and other reflective surfaces are very helpful in
enabling practitioners to analyze their postures and make any necessary
corrections when working without the guidance of a teacher. Also helpful are
still photos and videos that friends and fellow practitioners may take or
record. Sometimes photos and videos can facilitate insights and
breakthroughs that neither a teacher nor viewing oneself in the mirror can
provide.
The following material presents detailed descriptions of the correct internal
and external aspects of selected postures taken from the solo forms of the
Chen, Yang, Wu (Chian-chuan) and Sun styles of taijiquan. The purpose of
this chapter is to provide practitioners with a basic understanding of both the
external and internal aspects of specific postures. Once a practitioner
understands the basic principles to be applied in a specific posture, he or she
should be able to extrapolate from that particular posture and should then be
able to apply the same principles to any other posture in the form.
It is helpful to have access to a book that provides both textual descriptions
and photographic images of each of the postures in the entire solo form. For
this reason, it is highly recommend that practitioners obtain a reference text
for their preferred style of taijiquan. The bibliography that included in this
book includes excellent reference books that contain photos and/or drawings
of past or present masters of each of the styles presented in this chapter.
In order to make this chapter relevant to any taijiquan stylist, the presentation
of the selected postures will begin with an analysis of the Original Thirteen
Postures of taijiquan. These consist of the Eight Gates (bamen) or intrinsic
energies: peng, lu, ji, an, chou, kau, lieh, and tsai, or Ward-Off, Rollback,
Press, Push, Elbow-Stroke, Shoulder-Stroke, Split, and Pluck; plus the Five
Steps (wubu): Advance, Retreat, Look Left, Gaze Right, and Center Step. The
Original Thirteen Postures are said to have been created by the mythical
Taoist figure, Chang San-feng. However, the actual source of these thirteen
postures is shrouded in the mists of martial arts legend and conflicting
historical records.
What is certain is that Chen Wangting, the founder of the Chen family style
of taijiquan, which we now know is the origin of all present styles of
taijiquan, included elements of these basic thirteen postures in his original
forms. As explained in Chapter One of this book, the significance of the
Original Thirteen Postures derives from the close association between the art
of taijiquan and both Bagua theory and Five Elements theory.
The following analysis of the Original Thirteen Postures begins with four
postures selected from the traditional Yang style of taijiquan. These four
Yang style postures represent each of the Four Sides of the Eight Gates:
peng, lu, ji and an. Four postures representing the Four Corners of the Eight
Gates: chuo, kau, lieh, and tsai have been selected from the Wu (Chian-
chuan) style of taijiquan. To represent the Five Steps, five postures from the
Sun style of taijiquan are included. These decisions are somewhat arbitrary,
as it is possible to find postures from any of the major styles of taijiquan to
represent each of the Eight Gates and the Five Steps.
In addition to the thirteen postures chosen from the Yang, Wu and Sun styles
of taijiquan, several representative postures from the Chen style of taijiquan
are included to complete the chapter. Obviously, it is not possible in the
limited space of a single chapter to include every posture from every family
style of taijiquan. Rather, it is the goal of this chapter to provide both a
written and a photographic explanation of how the principles of taijiquan
presented in the preceding chapter may be applied to the individual postures
of any style of taijiquan. As stated previously, an intelligent and detailed
analysis of the photographs and written explanations presented in this chapter
should enable the reader to extrapolate to those postures of each style not
covered here.
With regard to the presentation of the postures from the different family
styles, the postures presented in this chapter are based upon photographs of
specific individuals representing the different families as follows: Yang
Zhenduo for Yang style; Wu Ying-hua for Wu (Chian-chuan) style; Sun
Lutang for the Sun style; and Chen Zhenglei for the Chen style. Despite the
attempt to correctly duplicate the postures of these past and present masters,
there may be some readers who will claim that the postures are not correct.
To those critics, the response is that every effort has been made to present
these postures as the written and photographic record describes them.

Selected Postures from Yang Style Taijiquan

Before presenting the selected postures from the Yang style, it is necessary to
identify certain key points that must be incorporated into every posture of this
or any other style of taijiquan. First and foremost, the overriding principles to
be obeyed in every posture, regardless of family style, are the three First
Principles outlined in the preceding chapter. The first of these is: “Guard the
mind and the qi together in the dantien.” Second is: “An intangible and lively
energy lifts the crown of the head.” The third principle to be observed is:
“The mind moves the chi and the qi moves the body.”
In addition to these essential principles, the following are the five points that
should be observed in order to ensure that the postures are structurally correct
and to enable the proper circulation of qi to the extremities. These five points
are best explained by referring to the drawing in Figure 10-1, which is shown
below:
Figure 10-1
1. One central axis: Make sure that the niwan point at the crown aligns
with the huiyin point located at the perineum. This requires that the
weilu point located at the coccyx be tucked under. The alignment of the
niwan and the huiyin creates a central vertical axis around which the
waist and torso can rotate. Establishing this central axis allows the
student to “stand like a balance and turn like a wheel.”
2. Keep the two bowls level: The two bowls refer to the pelvis, which can
be visualized as an upright bowl, and the crotch, which can be thought
of as an overturned bowl. These two bowls were introduced in Chapter
Six. Recall that if either of these bowls are tipped forward or backward,
the physical structure will become misaligned both horizontally and
vertically.
3. Open the three gates of the spinal column: These three gates are the
energy gates located along the Governor Channel: the niwan, the
yuchen, and the weilu (known respectively as the Heaven’s Gate, the
Jade Pillow and the Sea Bottom Cavity.) The ability to open these three
energy gates depends upon the previous two points as well as being able
to lengthen the spine and suspend the head-top from above. At first, the
idea of the three gates will be just that, an idea. However, over time you
should begin to feel these energy gates opening and then the qi will
begin to flow through them as it travels up the spinal column to circulate
out to the arms, hands and fingers.
4. Place your awareness on the four energy gates in the extremities:
These are the two laogong points in the palms of the hands and the two
yongquan points in the soles of the feet. Keeping your awareness fixed
on the yongquan points enables you to focus on your stance. Is it correct
in distance and width? Are the feet pointed in the correct direction? Of
course, an added benefit of placing the awareness in the yongquan
points is that it helps you to maintain your root. Similarly, by placing
your awareness in the laogong points, you are able to focus on the
positions of the two hands. Where should they be held? How are the
hands related energetically to the rest of the body in that particular
posture?
5. Store and release energy from the five bows: The five bows consist of
the two arm bows, the two leg bows, and the spinal bow. In every
posture there must be a curvature to each of the arms as well as in each
 of the legs. Neither the arms nor the legs should be extended fully. Full
extension of either the arms or the legs indicates that you have
overcommitted in one direction. If you are overcommitted, it is easy for
the opponent to borrow your energy and uproot you. Instead, if the arms
and legs are curved, you are able to store energy to be released as jin.
Also, the curvature in the arms helps to cushion any incoming force,
while the curvature in the legs allows the legs to act like shock
absorbers.

Concerning the breath, the breathing technique when performing the form is
somewhat different than the breathing technique that was introduced in
Chapter Seven. In neidan practices, the breath is both drawn in and expelled
out through the nose. When practicing the form, the breath should be inhaled
through the nose but exhaled through the mouth. The mouth should appear to
be closed, but must maintain a slight opening through which the breath can
be exhaled. Regarding this point, Fu Zhong-wen wrote that the mouth seems
to be open but is not really open. He instructed the practitioner to breathe
naturally by inhaling through the nose and exhaling through the mouth. If this
natural breathing produces saliva, it should be swallowed, as this saliva is
very regenerative.117
Beginning students are counseled to follow Fu Zong-wen’s advice and to
breathe in a natural way. When learning the postures and transitions initially,
it is not necessary to focus one’s attention specifically on the breath.
However, more advanced students should become aware of the role of the
breath in executing the postures. In general, one should inhale on a
withdrawal or a closing and exhale on an expansion or opening. The specific
breathing for each posture will be described in the discussion related to that
posture in the sections below.
Ward-Off Left: The Ward-Off posture, on either the left side or the right
side, represents one of the Four Sides of the Eight Gates of the Bagua. As
stated previousy, the Four Sides are Ward-Off, Rollback, Push and Press. The
Chinese terms for these postures are peng, lu, ji and an. The Ward-Off
posture relies upon expansive peng jin energy to protect the body by warding
off a frontal attack. Peng energy feels like a large, inflated ball held in front
of the chest. If someone were to push against this ball or attempt to strike it,
they would be repelled by the expansive energy stored within the ball.
Like an inflated ball that utilizes the stored energy of the compressed air
contained within it, peng relies upon the stored energy that is “compressed”
within the ward-off arm. The secret to employing peng effectively is to
eschew physical strength or force in favor of expanding one’s intrinsic energy
out into the warding off arm. Perhaps more than any other posture, Ward-Off
relies upon the stored energy of the Five Bows to repel an incoming force.
The student must keep the idea of peng in mind when holding either the
Ward-off Left or Ward-off Right posture.
Figure 10-2a shows the posture of Ward-Off Left. To hold this posture
correctly, the practitioner should stand in a bow stance with the left foot
pointing forward and the right foot pointing out at about a forty-five degree
angle. Figure 10-2b shows the positioning of the feet for this posture. In this
posture, the left leg is considered to be the weight-bearing leg. The student
should place between sixty and seventy percent of the body’s weight on this
leg, with between thirty to forty percent of the weight reserved in the back
leg.
Figure 10-2a
Figure 10-2b
Note that the feet form a rectangle that is longer than it is wide. This
rectangle defines the limits of the posture. In particular the ward-off arm, in
this case the left arm, should not extend beyond the forward edge of this
rectangle. Note also that the shin of the front leg is vertical and not extended
forward beyond the toes of the front foot. If either the left arm or the left knee
extends beyond the front edge of this rectangle, then the student will be
overextended. Overextension should be avoided for two reasons. First, when
you are overextended, it is easy for an opponent to borrow your energy and
uproot you. Second, by overextending the knee, you run the risk of injuring
your knee.
For all postures except the Opening and Closing postures, the student must be
able to distinguish between the substantial arm and the insubstantial arm. In
Ward-Off Left, the left arm, which expresses peng energy, is substantial,
while the right arm is insubstantial. In this case, the left arm is considered to
be yang and the right arm is said to be yin. This corresponds to the qi flow,
which is directed to the outside of the left arm and to the back of the left
hand. The qi flow for the right arm is down the inside of the arm and into the
palm of the right hand.
Likewise, the practitioner must be able to distinguish the substantial leg from
the insubstantial leg. Recall that the leg bearing the majority of the body’s
weight, which in this case is the left leg, is be considered to be the substantial
leg. As has been discussed previously, if the substantial arm and the
substantial leg are on the same side of the body, this creates a situation of
double-weighting, which causes the practitioner to become overcommitted on
that side. Nonetheless, in certain postures, including the posture of Ward-Off
Left, both the substantial leg and the substantial arm are located on the same
side of the body. In order to compensate for the substantial left arm and the
substantial left leg in the Ward-Off Left posture illustrated in Figure 10-2a
above, there must be a strong energetic connection downward from the rear,
right leg into the ground. Although the back leg in Ward-Off is technically
insubstantial, its role in counterbalancing the substantial left arm and
substantial left leg is significant.
In the case of Ward-Off Left, it is the right leg that provides both structural
and energetic support to the ward-off energy in the left arm. If an opponent
were to push against the left arm, the energy of that push would be directed
through the body, down into the back, right leg, and then into the ground. It is
primarily the right leg that provides the root for the ward-off energy of Ward-
Off Left. The front, left leg, which indeed bears a greater percentage of the
weight, acts as the pivot point in case one needs to turn in order to redirect
the incoming energy of the opponent to either the left or right side of the
body.
When considering the role of the two legs in any posture, it is useful to think
of one leg as the “stake” and one leg as the “pillar.” In this case, the right leg
is the stake: it is planted deep into the ground and acts like a buttress. The left
leg serves as the pillar. The pillar is perfectly vertical, and permits rotation,
whereas the stake may be planted at an angle in order to better receive the
incoming energy of a push. When one leg serves as the pillar, the the foot of
that leg connects to the ground via the yongquan point. The foot of the leg
that acts like the stake is connected to the ground through the heel.
In the posture of Ward-Off Left, the jin flows up the back of the right leg,
continues up the spine, crosses over to the left shoulder and then flows out
the back of the right arm and into the back of the right hand. This continuous
arc of energy provides the peng jin that enables one to ward-off or repel a
frontal attack. This corresponds to the adage from the Taijiquan Classics
which states that the energy is rooted in the feet, released by the legs,
controlled by the waist, and expressed in the arms and the hands. It should
also be recognized that this same path can be followed downward in order to
root an incoming push. In this case, the energy is received in the hand and
arm, is controlled (directed downward) by the waist, absorbed by the (right)
leg, and rooted into the ground through the (right) foot.
With regard to the arms and hands, many students only pay attention to the
front, left arm and hand in the posture of Ward-Off Left. Consequently, their
right arm and hand can be seen dangling uselessly at their right side.
Although the right arm is insubstantial, this does not mean that the arm and
hand have no energetic role in the posture. There must be a complementary
flow of energy up the inside of the left leg, up the spine, into the right armpit,
and finally down the inside of the right arm to the laogong point in the palm
of the right hand. Just as the yongquan point of the left foot and the heel of
the right foot are energetically connected to the ground, so too is the laogong
point in the palm of the right hand connected energetically to the ground.
This energetic connection through the laogong point of the right palm to the
ground enhances the root provided by the left and right feet. An additional
function of the downward curving right arm and hand is to provide protection
to the right thigh and groin from any low punches or sweeping kicks directed
to that side of the body. This protection is only present if the right arm and
hand also contain peng energy.
Recall that Ward-Off is one of the Four Sides. As such, this posture should
face forward. This requires that both the hips and the shoulders be squared
off to the forward direction. Although many practitioners correctly hold the
ward-off arm in front of their bodies, they get lazy and don’t fully square
their hips and their shoulders when completing this posture. If the hips and
shoulders are not facing forward along with the warding off arm, then the full
effect of peng energy cannot be expressed. The peng jin of Ward-Off is the
combined jin of the whole body, not just of the arm. Rather than thinking of
only the arm as containing peng, it is best to think of the entire body as an
inflated ball. In this way, one is able to use the whole body to ward off an
opponent.
It is necessary for the practitioner to carefully analyze both the physical
structure and the internal energy of the Ward-Off Left posture. The
practitioner should be able to determine the balance between substantial and
insubstantial on both the physical and the energetic levels. If the substantial
and the insubstantial are not balanced, yang and yin will not be in harmony,
and the posture will suffer from a variety of faults, such as being one-sided,
double-weighted, off-balance, overextended, etc.
Ward-Off postures are considered to be open postures. This relates to the
principle of Open/Close, which will be discussed further in the subsequent
section on Rollback. With regard to the breath, since Ward-Off Left is an
open posture, the posture should be completed on an exhalation. The
inhalation that precedes this exhalation should take place during the transition
from Opening posture to Ward-Off Left.
Ward-Off Right: Ward-Off Right incorporates the same concepts as
described in Ward-Off Left above. The only difference has to do with the
position of the insubstantial left hand, which is held up in support of the
substantial right hand. The positioning of the two hands for this posture is
represented in Figure 10-3 shown below. One point to attend to in Ward-Off
Right is that the space between the laogong points of the two hands should
contain an energetic ball. Although the two points do not have to align
physically, they should nonetheless connect energetically.
Figure 10-3
As with Ward-Off Left, Ward-Off Right is an open posture and should also
be completed with an exhalation. The preparatory inhalation takes place
during the transition between Ward-Off Left and Ward-Off Right. Note that,
since two open postures follow each other, the transition between them must
include a closing both energetically and physically. This closing action
occurs during the transition between the two Ward-Off postures, when arms
come together to hold the taiji ball on the left side of the body and the right
foot steps in slightly.
Ward-Off Right is the first posture in the four-posture sequence in the Yang
style form known as Grasp the Sparrow’s Tail. The complete sequence
consists of the following: Ward-Off Right, Rollback, Press, and Push, which
includes the energies of peng, lu, ji, and an respectively. Many teachers make
the mistake of trying to relate the name of this sequence to an actual martial
application, such as using Rollback to grasp the tail of a bird and pull it
backward. This is unfortunate, since the phrase Grasp the Sparrow’s Tail has
nothing to do whatsoever with the four postures or their applications.
The derivation for the name, Grasp the Sparrow’s Tail, has been examined by
scholars who have studied this point. Stuart Olson provides a good
explanation for the derivation of this term in his book, The Intrinsic Energies
of Taijiquan.118 His explanation for this term is that at some point the Yang
family desired to come up with unique names for the postures, which had
been modified from the original Chen style. One of the Yang family members
(or more likely one of their literate students) invented new ideographs to
represent certain of the postures.
The ideograph that was created to represent peng included two sub-
characters. One sub-character looked like a hand and the other was shaped
like a stylized bird’s tail. Those literate Chinese who had never seen this new
ideograph interpreted it to mean “grasp the bird’s tail.” Thus, in Yang style,
peng, and later the entire sequence of peng, lu, ji and an, became known
collectively as Grasp the Sparrow’s Tail. As a result, this poetic term became
part of the lexicon of Yang style taijiquan and is used universally today, even
though the phrase bears no relationship to the applications of the postures in
the sequence. It would be best if students of Yang style taijiquan not
perpetuate the incorrect interpretation of the name, Grasp the Sparrow’s Tail.
Ward-Off Right maintains the same structural and energetic principles that
apply in Ward-Off Left. The only difference between Ward-Off Left and
Ward-Off Right is the position of the insubstantial hand. In Ward-Off Left,
the insubstantial hand is the right hand, which is held in a guarding position
adjacent to the right thigh where it protects the thigh and the groin against an
opponent’s crescent kick. In the Ward-Off Right posture, the insubstantial
hand is the left hand, which is held just back of the substantial right hand as
shown in Figure 10-3. Although the two laogong points of the two hands are
not necessarily aligned physically, they should support each other
energetically. In particular, the pressing jin of the left hand supports the ward-
off jin of the right hand.
Rollback: Rollback is considered to be the signature move of Yang style
taijiquan. Rollback is visibly the most obvious expression of the neutralizing
aspect of taijiquan. Rollback incorporates the intrinsic energy of lu jin. Many
beginning students misunderstand the concept of intrinsic energy, or jin, and
consider jin to be explosive, or at least expansive, and only used for offense.
They typically think of fa jin or peng jin when conceptualizing intrinsic
energy. However, as you will learn in Chapter Eleven, there are many
different types of jin, and lu jin is one of the first intrinsic energies that you
need to understand and internalize if you want to practice taijiquan correctly.
Lu jin is a specific type of neutralizing energy, or hua jin. It represents
another of the Four Sides and also underlies the second posture in the
sequence of Grasp the Sparrow’s Tail. Rollback, which is considered to be a
closed posture, follows Ward-Off Right, which is considered to be open by
contrast. Recall from Taiji theory that extreme yang gives rise to weak yin.
This is important to understand when transitioning from Ward-Off Right into
Rollback. Figures 10-4a through 10-4c illustrate this transition into the
finished posture.
Figure 10-4a
Figure 10-4b
Figure 10-4c
Note in Figure 10-4a that the yang energy of peng jin has been expanded
outward and slightly to the right. This is the ultimate expression of the peng
energy of Ward-Off Right and represents a state of extreme yang. One cannot
expand any further without seriously overextending. At this point, the
extreme yang of Ward-Off Right must give rise to the weak yin that signals
the beginning of Rollback. The body begins to withdraw, leading the two
arms backward and downward on the left side of the body to terminate in the
position shown in Figure 10-4c.
The transition from Ward-off Right to Rollback involves the principle of
Open/Close. Recall that Open and Close are related in much the same way as
yang and yin. Throughout the form, open postures are followed by closed
postures, just as closed postures are followed by open postures. In this case,
Ward-Off Right is an open posture, and Rollback is a closed posture. Thus,
the principle of Open/Close is upheld in the sequence of Ward-Off Right and
Rollback.
The transition from Ward-Off Right to Rollback also includes an element of
Store/Release. If you look carefully at Figure 10-4a you will see that the torso
has rotated about thirty degrees to the right. This rotation creates a degree of
torque in the waist that may be referred to as the “wind-up.” The rotational
energy stored in the wind-up is then released at the beginning of the Rollback
movement and adds power to the waist rotation that causes the body to roll
backward onto the back leg. Note also in Figure 10-4c that, although the feet
have not moved, the weight distribution has shifted onto the back leg.
Energetically, the peng energy of Ward-Off Right continues to flow out to the
hands as yang expands to extreme yang, as can be seen in Figure 10-4a. In
Figure 10-4b, the energy of peng converts to lu and returns back down and
into the legs as extreme yang gives rise to weak yin. This weak yin in turn
grows into the fully developed yin of Rollback, which reaches its maximum
in Figure 10-4c. Remember to turn the torso backward by rotating the waist,
not by turning the shoulders. Store the compressed energy created by rolling
backward and shifting the weight onto the back leg in the heel of the left foot.
As with all postures that include transitions between Open and Close or Close
and Open, the breath coincides with the opening and the closing. On the close
there is an inhalation and on the open there is an exhalation. Since Rollback
is a closed position, you should inhale as you Rollback. Use the inhalation to
guide the intrinsic energy from the outstretched hands shown in Figure 10-4a
back down and into the legs and feet as shown in Figure 10-4c.
The finished posture of Rollback is illustrated in Figure 10-4c. This
represents the position of the body after rolling back an opponent from a
frontal attack. In this position, the imaginary frontal attack has been
neutralized and the hypothetical opponent has been rolled back to the left side
of the body. It is apparent that the substantial leg is the left, weight-bearing
leg, and the insubstantial leg is the front, right leg. The substantial arm is the
left arm, which has been used to connect to the opponent and roll him back.
The right hand has functioned in a supportive roll in assisting in the rolling
back of the opponent, so it is the insubstantial arm.
Note that throughout the transition from Ward-off Right into Rollback, the
torso is maintained in an upright position, with the niwan and the huiyin
points in alignment. There is no leaning or bending over to the left side of the
body. The upright torso acts as the vertical axle and the waist as the wheel in
facilitating the rotational action of rolling back. The other four postural points
introduced at the beginning of the section on Yang style postures are also
evident. As stated at the beginning of this section, it is important for
practitioners to review each of these five points when correcting individual
postures. As suggested previously, reviewing one’s postures in a floor-length
mirror is helpful in making such self-corrections.
Press: The posture of Press represents another of the Four Sides. Like Ward-
Off, Press is used to repel an opponent. The difference, however, is that Press
is more focused in its effect. Press relies upon the concentrated energy of ji
jin. Although Press can be performed with any part of the body, in the
sequence Grasp the Sparrow’s Tail, Press is implemented using either the two
hands pressed together or the inside hand pressed against the outer forearm.
See Figures 10-5a and 10-5b.
Figure 10-5a
Figure 10-5b
When the two hands are pressed together, as in Figure 10-5a, the combined
energy of the two laogong points can be issued into the opponent. This
creates a more concentrated form of ji jin that can cause serious injury to the
opponent if issued against his sternum or ribs. A gentler and kinder approach
is to place the laogong point of the inner palm against the inside forearm of
the outer arm, as illustrated in Figure 10-5b. This method employs the entire
forearm as the pressing surface, which spreads out the ji jin and is less likely
to cause serious injury to the opponent when the jin is issued.
Press is an open posture and follows Rollback, which is a closed posture.
This conforms to the principle of Open/Close or, in this case, Close/Open.
The transition from Rollback to Press occurs when the yin of Rollback
reaches its maximum and transforms into weak yang. This can be seen in the
setup for Press, which is depicted in Figure 10-5c. The leading arm in the
Rollback movement is the left arm. As the practitioner rolls back into
position 10-5c, the intrinsic energy of lu is stored in the heel of the back foot.
The energy that is stored in the rear leg is then gathered in the two arms. This
is like drawing back the two arm bows. This stored energy is finally released
as ji jin in the Press posture depicted in Figure 10-5d.
The action of the waist in Press is critical. In Rollback, the waist was used to
turn the torso to the side. When this rotation reaches its furthest point, the
hips begin to rotate back toward the front. The forward rotation of the waist
and hips imparts centrifugal force to the left arm and causes it to swing
around in an upward arc to the position shown in Figure 10-5c. The rotation
of the left arm upward occurs at the end of the inhalation that began with
Rollback. Finally the breath is exhaled as the hands press forward in Figure
10-5d.
Figure 10-5c
Figure 10-5d
Like Ward-Off, the hips and shoulders in Press should be squared off to give
maximum effect to the ji jin issued by the two hands or the hand/forearm
connection described above. Figure 10-5d shows the final position of the
Press posture. As with Ward-Off, don’t allow the pressing hands or
hand/forearm connection to extend beyond the toes of the front foot to avoid
the error of overextending.
Because the feet have not moved since the beginning of the Grasp the
Sparrow’s Tail sequence, you don’t have to concern yourself with placement
of the feet as you transition from Rollback into Press. However, do make sure
to distinguish between the substantial and the insubstantial in both the arms
and the legs. With regard to the arms, the right arm is substantial and the
supporting left arm is insubstantial. As with the Ward-Off Left and Ward-Off
Right postures, the front leg bears more weight than the rear leg. However,
again as in the two Ward-Off postures, it is the rear leg that is generates the
jin by supplying the upward energy from the ground to support the energy of
Press.
Push: The posture of Push represents the fourth of the Four Sides and
employs an jin, or Push energy. The application of an jin is to intercept an
opponent’s incoming attack and to push it downward and then upward and
forward in order to prevent it from reaching your body. Push is the
appropriate response to use when the opponent attacks with Press. Many
students of Yang style taijiquan do not realize that Push includes a downward
component and simply apply Push as a linear, horizontal force.
In addition to the downward aspect of Push, the posture of Push in the Grasp
the Sparrow’s Tail sequence also includes a withdrawal prior to the execution
of the push. This component of the movement is demonstrated in Figure 10-
6a. The purpose of the withdrawal is to entice the opponent to overcommit to
his attack. Combined with the downward aspect of Push, the withdrawal
neutralizes the incoming energy and causes it to dissipate. The neutralization
that occurs in Figure 10-6a occurs on both a physical and an energetic level.
This neutralization is accomplished by inhaling on the withdrawal while
drawing the opponent’s energy downward through the arms, into the spine,
and then down into the back leg and into the heel of the back foot. In order to
accomplish this without using force, you need to attach energetically to the
opponent’s body (or hands, arms, etc.) and gently lead him inward and
downward using a small amount of downward pressure to neutralize the
onslaught of his frontal attack. It is important to understand that the intrinsic
energy of an jin includes both a downward and a horizontal component. The
downward component of Push occurs during the withdrawal and can be seen
in Figure 10-6b. Once the opponent has expended his energy without effect,
he will realize that he is overextended and will attempt to retreat. At this
point, you can connect with his body and add the horizontal component of
Push to send him flying backward. See Figure 10-6c.
Figure 10-6a
Figure 10-6b
Figure 10-6c
Cheng Man-ch’ing referred to the combination of withdraw and push as ti
fong. This technique is highly effective in pushing hands. The correct
application of ti fong enables a smaller player to push a larger player with
apparent ease by adding his own pushing energy to the larger player’s
retreating energy. The smaller player only has to add a small amount of
additional energy in order for the resulting push to have a powerful effect.
Again, the key here is to adhere to the principle of using four ounces to repel
a thousand pounds.
The posture of Push contains both Close and Open. As such, it is complete in
and of itself. Recall that Press is an open posture. If Push were to follow
Press without the withdrawal component, together they would constitute two
sequential open postures. This would violate the principle of Open/Close.
However, by incorporating the withdrawal between Press and Push (Figures
10-6a and 10-6b), the two postures of Press and Push constitute a sequence of
Open, Close, and Open, and the integrity of the principle is maintained. The
breath in this case follows the principle of inhaling on the withdrawal and
exhaling on the push. In accordance with the breath, the intrinsic energy is
withdrawn into the back leg as hua jin on the inhale and expressed outward
as an jin on the exhale.
As with Press, it is important for both the hips and the shoulders to be
squared off to the front in order for the push to achieve its maximum effect.
With regard to the substantial and insubstantial legs, the front leg is the
substantial and the back leg is insubstantial, just as in the postures of Ward-
Off and Press. The back leg functions like a spring: it is loaded, or
compressed, on the withdrawal and unloaded, or released, on the push. In the
push phase, in which both arms appear to be equal, we can look to the legs in
order to determine which arm is substantial and which is insubstantial. Since
the right leg is energetically substantial, we must treat the left arm as
substantial and the right arm to be insubstantial. The practitioner needs to be
careful not to emit jin equally in both arms in order to avoid the fault of
double-weighting.
Recall that when energy is expended equally on both sides of the body, the
result is double-weighting. Most students know not to be double-weighted in
the legs, but ignore the injunction against being double-weighted in the arms,
especially when applying Push. A double-weighted push is just as bad as a
double-weighted stance in that the person applying the push is easily
controlled. If both sides are full, how can one neutralize an opponent’s
counterattack? For this reason, it is important to push primarily with one arm
and employ the other arm in a supporting role only.

Selected Postures from Wu Style Taijiquan

Because the Wu (Chian-chuan) style of taijiquan developed from the Yang
family style of taijiquan, it is understandable that these two styles share many
of the same characteristics and qualities. A number of the postures in the long
forms of the two styles even have the same names. However, there are also
noticeable differences between the postures of the two styles. Despite these
apparent differences, the postures of the Wu style contain the same essential
elements that fully express the original characteristics of Yang style
taijiquan: agility, smoothness, an even pace, and continuity.
As with Yang style taijiquan, Wu style taijiquan is fundamentally based
upon the dual foundations of Bagua theory and Five Elements theory.
Accordingly, there are postures in the traditional solo form that are imbued
with the intrinsic energies of Ward-Off, Rollback, Press, Push, Split, Pluck,
Elbow-Stroke and Shoulder-Stroke. Having already presented postures from
the Yang style that are representative of the Four Sides: the postures of Ward-
Off, Rollback, Press and Push, this section will present four postures from the
Wu style that represent the Four Corners: the postures of Split, Pluck, Elbow-
Stroke and Shoulder-Stroke.
Remember that, as with any style of taijiquan, when performing postures
from the Wu style, one must always adhere to the principles presented in the
preceding chapter. In particular, one must pay attention to the Wang Pei-
sheng’s instruction that before making any movement, first lift your head
lightly and loosen the joints, especially the shoulder joints and the hip
joints.119 Also be aware that, whichever posture you are performing, you must
adhere to the general principle that your arms and legs should move in a
coordinated manner and that your shoulder should move in unison with your
hip, your elbow should move in conjunction with your knee, and your hand
should move in with coordination with your foot.”120
One additional point should be made here regarding the characteristic leaning
that occurs in a number of Wu style postures. This leaning is accomplished
by straightening the back leg and aligning the spine and the torso with the
inclined angle of the leg to form a straight, diagonal line. At first glance, this
inclined posture would seem to violate the principle of zhong ding, or Central
Equilibrium. However, there are several underlying justifications that support
this seemingly unorthodox postural inclination. First, by straightening the
entire body, from the foot up to the head-top it is easier for the qi to circulate
throughout the body.121 Additionally, by maintaining a straight line from the
back leg up to the neck and head, any stress or muscular tension in the lower
back is relieved. It is said that, of all the styles of taijiquan, the Wu style is
best for those who suffer from lower back pain. Finally, the forward leaning
that occurs in many of the Wu style postures supports the martial application
of those posture, in particular the injunction to follow your opponent’s
closing without allowing him the opportunity to change to opening.122
Parting the Wild Horse’s Mane: The posture of Parting the Wild Horse’s
Mane in Wu style incorporates three of the Four Corner’s intrinsic energies
of taijiquan: lieh, chou, and kao. However, this discussion will focus on the
intrinsic energy of of lieh, or Split. The posture of Parting the Wild Horse’s
Mane includes an initial closing in as shown in Figure 10-7a. This closing is
followed by an opening at the conclusion of the posture illustrated, which is
evident in Figure 10-7b. Note: this posture occurs in both a left and a right
configuration. The transition from the closed posture in Figure 10-7a into the
open posture of Figure 10-7b is accomplished by a diagonal stepping out with
the right foot. This results in the final posture being completed to the corner
direction of northwest. In the traditional Wu style form, this posture occurs
three times, twice to the northwest and once to the southwest.
Figure 10-7a
Figure 10-7b
Within the posture of Parting the Wild Horse’s Mane, the intrinsic energy of
lieh, or Split, is expressed in the transverse movement of the two arms and
hands. The substantial right arm is directed upward and outward, with the
palm of the right hand facing up toward heaven (a yang orientation). The left,
insubstantial arm is directed downward, with the palm of the left hand facing
down toward earth (a yin orientation). The up-reaching right arm (the
substantial arm) is offset by the downward energy of the insubstantial, left
leg, which acts as the stake in this posture. The lower left arm, which serves
in a supportive role and is insubstantial, is linked energetically to the right leg
(the substantial leg), which serves as the pillar in this posture.
Without entering into a detailed description of the martial application of this
posture, which will be addressed at length in Chapter Fourteen, the intrinsic
energy of lieh in this posture is evidenced by the splitting apart of the two
arms, as stated in the preceding paragraph. The left hand, which was held
over the right hand in the preparatory posture shown in Figure 10-7a, is used
to intercept the opponent’s left arm and draw it down and across the
practitioner’s body. Simultaneously, the right arm, which was folded under
the left arm, is raised in an upward arc to attach to the opponent’s torso
across his upper chest. The right hand faces up and contains yang energy. As
such, it is the substantial hand. The left hand, which faces down, contains yin
energy and is connected to the earth to aid in offsetting the heaven energy of
the right hand. The left hand, therefore, is considered to be the insubstantial
hand. The two legs act in harmony with the two arms: the right leg is the
substantial leg and the left leg is the insubstantial leg.
The opposing angular direction of the two arms effectively splits the
opponent, causing him to bend backward at the waist and to fall over. This is
facilitated by the practitioner’s right leg, which has cleverly stepped in and
behind the opponent’s left leg, serving as a fulcrum over which the opponent
will trip when tilted backward by the splitting action of the two arms.
The bifurcated energy of lieh in this application adheres to the Taijiquan
Classics, which state that: “Where there is an up there must be a down, and
where there is a right there must be a left.” The upward and rightward thrust
of the right, substantial arm is matched by the downward and leftward pull of
the left, insubstantial arm. Also, as the two photos in Figure 10-7a and Figure
10-7b reveal, the final, open posture of Parting the Wild Horse’s Mane is
preceded by the closed preparatory posture in which the two arms are folded
in next to the body. The closed position of the two arms in Figure 10-7a is
like that of two spring-loaded blades that are held closed until the moment of
release, when they spring open. This is the splitting energy that is expressed
in the finished posture of the Parting the Wild Horse’s Mane posture.
Needle at the Bottom of the Sea: The intrinsic energy of tsai, or Pluck
(sometimes referred to as Pull-down), is employed in the posture of Needle at
the Bottom of the Sea. In this posture, the right hand is used to intercept and
grasp the opponent’s right wrist and then to pull it downward, causing the
opponent to bend forward under the practitioner’s control. The action of
Pluck is preceded by a gathering movement in which the practitioner
connects with the incoming punch of an imaginary opponent, as portrayed in
Figure 10-8a.
Having connected with the opponent, the practitioner proceeds to pull him
downward as illustrated in Figure 10-8b. The power of the downward pulling
is provided by the bending of the waist and does not come from either the
arm or the shoulder. Thus, one relies upon the bending power of waist and
legs rather than the muscular strength of the arm or the shoulder.
Energetically, this is accomplished by using the yi to lead the qi forward and
then down through the right arm and into the fingers of the right hand. The
sinking of the right hand is accomplished primarily by bending the waist.
This application demonstrates the technique of using tsai force (plucking).
Bending at the waist increases the strength of the plucking energy.123
It is very important when performing this posture to lead the qi into the
fingers of the right hand. At the same time, the practitioner must also direct
some of his awareness backward and down into the right leg in order to
anchor the posture. Otherwise, the practitioner may topple forward at the
conclusion of the posture.
Figure 10-8a
Figure 10-8b
As can be seen in the completed posture represented in Figure 10-8b, the
right side is substantial and the left side is insubstantial. The role of the left
arm is to support the pulling down energy of the right hand. The left leg is
poised, ready to step forward or kick as needed. The left foot touches down
lightly with only the toes and ball of the foot in contact with the ground. This
lightness and agility, which are characteristic features of Wu style taijiquan,
allow for the nimble transition into the subsequent posture of the traditional
Wu style form, Fan Through the Back.
Cross Hands and Step Up to Form Seven Stars: Because the shapes of the
Wu style postures are somewhat rounder and fuller, and the transitions
between postures are more fluid than in other styles of taijiquan, it is not
always easy for the inexperienced practitioner to discern the various intrinsic
energies that are hidden in the postures and their transitions. Indeed, Wu
Ying-hua and Ma Yueh-liang advise practitioners of this style of taijiquan to
avoid overtly expressing the intrinsic energies contained within the individual
postures.124 However, if one investigates each posture and the transition that
precedes it, it can be discerned that every posture and transition include
multiple intrinsic energies.
The descriptions of the postures provided by Wu Ying-hua and Ma Yueh-
liang in their book, Wu Style Taijiquan – Forms, Concepts and Applications
of the Original Style, and also those of Wang Peisheng and Zeng Weiqi in
their book, Wu Style Taijiquan, contain detailed explanations of the intrinsic
energies and martial applications involved in each posture and transition.
Practitioners of this style of taijiquan are referred to these two important
references for further information regarding the underlying energies and the
martial applications of the individual postures of Wu style taijiquan.
Of all the eight intrinsic energies from the Bagua, Elbow-Stroke (chou) is the
least obvious in Wu style taijiquan. However, the application of Elbow-
Stroke can clearly be seen in the posture Cross Hands. It is also evident in the
posture Step Up to Form Seven Stars. The name of the latter posture gives a
hint to the embedded application of Elbow-Stroke, as the Seven Stars of
Chinese martial arts refer to the seven striking surfaces of the hands, the
elbows, the shoulders, the head, the hips, the knees, and the feet. The position
of the elbows as potential striking surfaces is most evident in the posture
Cross Hands, shown in Figure 10-9 below, but is also manifest in a less
obvious way in the posture of Step Up to Form Seven Stars, which is
illustrated in Figure 10-10. In both postures, the crossing of the forearms
gives the impression of creating a defensive posture of blocking an incoming
attack. However, in either posture the hands or the elbows can be used in
offense. When your hands are crossed at the wrists you can attack the
enemy’s face with either the edges of the hands or the elbows.125
Figure 10-9
Figure 10-10
Because the forearms are crossed in both Cross Hands and in Step Up to
Form Seven Stars, these two postures employ the “closed door” method when
used in actual combat. In keeping with the principle of Open/Close, each of
these postures is both preceded and followed by an open posture. Also, in
both postures, the principle of Central Equilibrium, or zhong ding, must be
maintained. In the posture of Cross Hands, the center of the body is located
above the two parallel feet, each of which bears fifty percent of the body’s
weight. In the posture of Step Up to Form Seven Stars, the two feet form an
empty stance, with the back, right foot supporting the body’s weight. In this
posture, the center of the body is located above the point equidistant between
the front and the rear feet. The roles of the substantial leg and the
insubstantial leg in this posture are distinct.126
Flying Oblique: Similar to the posture of Part the Wild Horse’s Mane, the
posture of Flying Oblique contains several of the intrinsic energies from the
Four Corners. In this discussion, the emphasis will be on the intrinsic energy
of kao, or Shoulder-Stroke. As its name suggests, the posture of Flying
Oblique is executed by inclining the torso toward the northeast corner, just as
is the first Part the Wild Horse’s Mane posture. As in the first Part the Wild
Horse’s Mane posture, it includes the directionality of a corner. However, in
Part the Wild Horse’s Mane, the power of the attack comes primarily from
the Split energy; in the case of the Flying Oblique posture, the attack employs
the energy of Shoulder-stroke.
The preparation for completing the Flying Oblique posture is presented in
Figure 10-11a, shown below. From this closed posture, the left foot steps out
toward the northeast as shown in Figure 10-11b. The left palm extends
diagonally upward toward the northeast; at the same time, the right palm is
directed diagonally downward toward the southwest. The right palm contains
the intrinsic energy of tsai, while the left shoulder expresses the intrinsic
energy of kao. The martial application of this posture is that, if an opponent
punches with his right fist, you first divert it with your right palm using tsai
force (plucking). At the same time, you extend your left arm toward his
armpit and then attack him with your shoulder using the kao force (bumping
with your shoulder).127
Figure 10-11a
Figure 10-11b
As with the other three intrinsic energies of the Four Corners: Split, Pluck,
and Elbow-Stroke, the power of the Shoulder-Stroke in the Oblique Flying
posture is generated by the coordinated movement of the upper and lower
body, in this case the left hip and left shoulder. If one attempts to shoulder
stroke an opponent using only the power of the shoulder, the attack will be
weak and without effect. Only when the strength is extended leg, controlled
by the the waist, and then issued from the shoulder will the shoulder stroke
prove effective in uprooting the opponent.
With regard to the distribution and quality of the qi in the Flying Oblique
posture, it is similar to that in the Parting the Wild Horse’s Mane posture.
The upper hand (in this case the left hand) is held palm up toward heaven and
contains yang qi. The lower hand (the right hand) is held palm down toward
earth and is therefore yin in nature. The two energies of yang and yin
mutually support and offset each other. It is important to distinguish between
yang and yin, substantial and insubstantial, in this and in every posture of the
Wu style empty-hand form.

Selected Postures from the Sun Style

As you will recall from the introduction to this chapter, the Original Thirteen
Postures of taijiquan are based upon elements of both Bagua theory,
specifically the Eight Gates (bamen), and Five Elements theory, in particular
the Five Steps (wubu). The preceding two sections presented selected
postures from the Yang and Wu styles of taijiquan in order to illustrate the
applications of the intrinsic energies of the Eight Gates. This section will
focus on the Five Steps and will draw upon examples from the Sun style in
order to explain and demonstrate the application of these stepping techniques.
To review, the Five Steps are Advance (jing bu), Retreat (tui bu), Gaze Right
(you pan), Look Left (zuo gu), and Central Equilibrium (zhong ding).
While stepping gracefully and nimbly is important to all styles of taijiquan,
skill in stepping is an integral aspect of Sun style taijiquan. This is due in
large part to Sun Lutang’s background in both xingyi quan and bagua zhang.
Each of these internal martial arts fundamentally relies upon stepping for its
unique character. In xingyi quan, the dominant method of stepping is linear in
nature and employs primarily the power derived from Advance (jing bu). In
contrast, bagua zhang relies mainly upon circular stepping in either the
clockwise direction, which entails the technique of Gaze Right (you pan), or
the counter-clockwise direction, which utilizes the technique of Look Left
(zuo gu). Additionally Sun Lutang incorporated the stepping techniques of
Retreat and Central Equilibrium from the Wu/Hao style of taijiquan.
Hands Strum the Lute: In Sun style taijiquan, the posture of Hands Strum
the Lute incorporates the stepping technique of Retreat. Because this posture
is employed as a transitional posture throughout the traditional Sun style solo
form, it is valuable to explore the structure and dynamics of this posture in
more detail. The completed posture is represented in Figure 10-12.
Figure 10-12
As can be seen, the front (left) foot lightly touches the ground, and the back
(right) foot bears the weight of the body. The center of gravity is located to
the rear. This is an example of the empty stance in the Sun style taijiquan.
Sun Lutang’s commentary on this posture included the statement that the
body’s center of gravity moves to the rear, while the yi and the qi remain
stable. There must not be any tilting or leaning. The posture of Hands Strum
the Lute represents a momentary pause in the energetic flow of the form,
allowing the spirit and the qi to stabilize. Sun Lutang added that the entire
posture must be correct, with no disorder in any part. He counseled
practitioners to reflect seriously upon this important point. 128
In order for there to be no disorder, the practitioner must strictly adhere to the
principle of Central Equilibrium. As stated previously, this principle is
fundamental to the practice of Sun Style taijiquan. Practitioners of this style
must ponder this principle deeply. The correct way to maintain Central
Equilibrium while stepping in Sun style taijiquan (or any other style of
taijiquan, for that matter) is to move from the center. Sun Lutang commented
upon the method of stepping in his the treatment of the posture Appearing to
Seal and Close. Students of Sun style taijiquan should investigate this
technique and learn to incorporate it into their practice of this style.
With regard to the two hands, the left hand is the substantial hand, with the
right hand acting in support. The martial application of this posture is one of
grasping or sealing and employs the intrinsic energy of na jin, which can be
translated as grasping or sealing. The practitioner can imagine trapping the
opponent’s right arm between his own two extended arms to apply the arm
bar method of chin na, or joint locking. The practitioner’s left hand grasps the
opponent’s right elbow, while his right hand connects to the opponent’s right
wrist.
Energetically, the yang qi in the practitioner’s left hand is directed inward
toward the center in order to meet energetically with the yin qi in his right
hand. This effectively seals the opponent’s arm in an arm bar joint lock and
provides the practitioner with a practical means of controlling the opponent.
The balance of yang and yin in the hands prevents the practitioner from being
double-weighted in the arms. This energetic equilibrium, along with the fact
that the center of gravity has moved to the rear, creates an overall sense of
balance and harmony in what might otherwise be an over-extended posture.
Sun Lutang wrote of this posture that the entire body should be light and
nimble. The internal and the external must be united by a single qi as the
body moves backward.129
Tim Cartmell, the individual who translated Sun’s commentaries into
English, clarified this point by adding that practitioners should feel as if they
are moving backward against the current of a stream. However, during the
backward movement, the intention must be directed toward the front.130 This
imagery is apt for all styles of taijiquan. If we analyze the reason why any
martial artist would engage in the stepping technique of Retreat, it is obvious
that any retreat is in response to an advance on the part of the opponent.
While the practitioner must be aware of the space behind him in order to step
back with confidence, his primary focus must be on the advancing opponent.
Any lapse in forward awareness is likely to present an opening for the
opponent to engage with and possibly overpower the practitioner.
Advance Step, Deflect, Parry and Punch: Due to the influence of xingyi
quan, many of the postures in Sun style taijiquan employ the forward-
stepping technique of Advance (jing bu). In Sun style, the forward step of the
leading foot is normally accompanied by a following step made by the
trailing foot. The reason for the following step is to add the momentum of the
forward shift in the body’s mass to the attacking energy in the hands.
In the Sun style posture of Advance Step, Deflect, Parry and Punch, the
martial application of the hands is expressed in the combination of deflecting,
parrying, and punching. It is the final technique of punching with the right
hand that is enhanced by the momentum provided by the following step of
the right foot. The initial advance is made with the left foot, which transitions
the practitioner from the preceding posture, Hands Strum the Lute, shown
above in Figure 10-12. This advance step initiates the first two hand
techniques of deflect and parry. The advance step of the left foot closes the
gap between the practitioner and the opponent. That is the purpose of the
stepping technique of Advance.
When the final hand technique of punch is executed, the momentum of the
body is added to the energy of the punch through the additional follow-up
stepping of the right, trailing foot. As can be seen in Figure 10-13, this results
in a somewhat narrower stance than is employed in other styles of taijiquan.
However, because the Advance stepping in Sun style is light, agile and
nimble, there is no defect in the resulting stance. It must be noted, however,
that the ability to maintain a short stance without the tendency to topple
forward or lean backward requires strict adherence to the principle of zhong
ding, or Central Equilibrium. This is another indispensable characteristic of
Sun style taijiquan. At the conclusion of his commentary on this posture, “A
Study of Advance Step, Deflect, Parry and Punch,” Sun Lutang wrote that the
entire body should be centered and that the yi and the qi should be in
harmony according the Three Internal Harmonies.131
Figure 10-13
Sun’s commentary on this posture warrants additional clarification. When
Sun Lutang stated that the intent and the qi should be in balance, he was
alluding to the phrase yi yi yin qi from the Taijiquan Classics: “The mind
(intent) moves the qi.” In order to understand the movement of the qi in this
posture, we must refer to the previous posture of Hands Strum the Lute
(Figure 10-12). In this posture, the left and right hands express the energy of
na jin. The left, predominant hand is yang and the right, supporting hand is
yin. In the transition from Hands Strum the Lute to Advance Step, Deflect,
Parry and Punch, the practitioner must employ the mind to intentionally
exchange the yang qi in the left hand into yin qi, and the yin qi in the right
hand into yang qi, which is then directed to the knuckles of the right fist. The
martial intent changes from that of na jin (sealing) to that of fa, jin (issuing).
Single Whip: The posture of Single Whip appears in all styles of taijiquan.
The Sun style version of this posture is different in that, unlike the front-
weighted posture in the Yang, Wu (Chian-chuan) and Chen styles, in the Sun
style the Single Whip posture is back-weighted, with sixty percent of the
body’s weight supported by the right leg. The eyes are directed toward the
fingers of the right hand. The concentration of the weight on the right leg
accompanied by the right-ward direction of the eyes distinguishes the Sun
style Single Whip posture from other styles of taijiquan, as can be seen in
Figure 10-14 below.
Figure 10-14
In the commentary that accompanies this posture, Sun Lutang emphasized the
shape of the space between the legs (the dang) as being round and full.
Additionally, he stated that the body must remain upright, and the shoulders
should be relaxed and open. At the same time, the legs must also be relaxed
and open. When the shoulders and the legs are relaxed and open, the
abdomen will also be able to relax and open. In this state, the qi will penetrate
and gather in the bones.132
The above statement could just as easily be used to describe the state of song
that is achieved in the body during zhan zhuang standing practice. Indeed, the
moment of settling that occurs at the conclusion of every posture in Sun style
can be likened to a brief period of standing meditation. It is a little-known
fact that, in his later years, Sun Lutang interspersed periods of zhan zhuang
standing between each of the postures of his form practice.
In this way, Sun style taijiquan epitomizes the concept of stillness within
movement that is a defining characteristic of true taijiquan practice. Sun
Lutang concluded his commentary on this posture with the injunction to
avoid attempting to suddenly force the qi in downward; instead, the
practitioner should use the intention to direct the qi down into the dantien.133
As stated above, this advice could just as easily be applied to the practice of
zhan zhuang standing meditation. Begin with qi shen dantien: “Guard the
mind and the qi in the dantien.” Once the qi has gathered in the dantien, the
practitioner can move the qi out into the bones and the extremities. With
many years of accumulated practice, the bones will become dense and hard,
while the muscles, ligaments and tendons will become soft and pliant.
Eventually the practitioner will achieve the refined quality of “steel wrapped
in cotton.”
Brush Knee Twist Step (Left): The Sun style posture of Brush Knee Twist
Step is executed both to the left and the right sides. In this section the left side
of the posture will be discussed. The same principles and structural
considerations apply equally when the posture is executed by stepping out to
the right. The transition to the Brush Knee Twist Step, Left posture is
initiated at the conclusion of the matched postures of Open Hands and Close
Hands. (Note: some Sun stylists consider the postures of Open Hands and
Close Hands to be a single posture – Open/Close Hands.) The posture of
Close Hands is represented below in Figure 10-15. Figure 10-16 shows the
completed posture of Brush Knee Twist Step (Left).
Figure 10-15
Figure 10-16
The transition from Close Hands to Brush Knee Twist Step, Left is initiated
by stepping sideways with the left foot. Thus, this posture incorporates the
stepping method of Look Left. The body’s weight is shifted onto the left leg
and the torso rotates from the waist until it is facing east (a ninety degree
rotation from the direction south, which is the direction of Open/Close
Hands). As the torso rotates, the left hand brushes down across the left side of
the waist and upper thigh as shown in Figure 10-16. As the left hand
completes its downward arc, the right foot executes a following step to rest
adjacent to the left shin. This following step is accompanied by the forward
pushing of the right arm and hand until the right hand reaches the final
position depicted in Figure 10-16.
In this position, the right hand is yang, and the left hand is yin. The
substantial, right hand is connected energetically to the substantial, left leg.
The right hand conveys the intrinsic energy of fa jin, or issuing. The issuing
energy in the right palm is counter-balanced by the connection of the left, yin
palm to the earth. Without the grounding energy of the left palm and the right
leg, the issuing energy of the right palm would cause the practitioner to be
over-extended.
One must be careful when performing Brush Knee Twist Step, Left not to
overdo the pushing out of the right palm. The martial application of this
posture is two-fold; first to clear a low punch or a kick with the left hand, and
second to execute a palm strike with the right palm. The following step with
the right foot provides additional power to the palm strike. Recall, however,
that in performing the solo form the martial applications should be hidden.
There is a tendency, especially among those practitioners with backgrounds
in external martial arts, to let the martial application take over when engaged
in performing this posture.
In his commentary on this posture, Sun Lutang advised the practitioner to
hold up the right hand as if gently lifting up a paper lantern.134 He added that
the posture must be round and full, while the spirit remains tranquil and still.
This conforms to the principle of stillness in movement, which easy to
describe and very difficult to accomplish. Sun Lutang concluded his
commentary on this posture with the instruction that, although this imagery is
only a metaphor, it is up to the practitioners to use their intelligence to grasp
the underlying significance of the metaphor.
Wuji: The first posture in the traditional Sun style solo form is wuji. Sun’s
commentary on this posture, entitled “A Study of Wuji”, is the most
protracted of all his commentaries. His commentary begins with the
explanation that the wuji posture is the natural state that occurs before the
practitioner begins the form. In that state, the mind is without thought; the
intent is without motion; the eyes are without focus; the hands and feet are
still; the body makes no movement; yin and yang are not yet divided; the
clear and the turbid have not yet separated; and the qi is united and
undifferentiated.135
The posture of wuji, which is represented in Figure 10-17, is the epitome of
zhong ding, or Central Equilibrium. The body is upright; the head-top is
suspended; the shoulders and elbows hang down; the waist is relaxed; and the
weight of the body is centered over the two feet, which are connected to the
ground as if you are standing on sand.136 There is no leaning forward, no
bending backward, no tilting to one side or the other.

Figure 10-17
When beginning taijiquan students first read about the Original Thirteen
Postures in the Taijiquan Classics, they often set about identifying the
postures in the their particular style that are associated with each of the
Original Thirteen Postures. In their naiveté, they often conclude that the
posture of wuji, which occurs at the beginning of the form, must be the
posture that represents the thirteenth original posture, that of Central
Equilibrium. In actuality, the so-called “posture” of Central Equilibrium
occurs not in a single posture, but rather is present throughout the form and in
every posture. Ping-Siang Tao, author of the beautifully written and highly
informative book, Taiji Push Hands – The Secret of Qi in Taiji Quan,
explained that being stable like a mountain is zhong ding. In actuality, real
zhong ding is present at all times and in every posture.137
Clearly, zhong ding is more a quality of practice rather than a specific
posture. The quality of Central Equilibrium is a recurrent theme in Sun
Lutang’s commentaries on the postures of his style of taijiquan. Indeed, it
can be said that the quality of zhong ding is one of the defining characteristics
of this style of taijiquan. Other styles emphasize roundness, or fullness, or
spiraling energy. These are all important qualities in Sun style as well. But, as
the photos in this section and Sun’s own commentaries reveal, it is the special
quality of Central Equilibrium which stands out among all other
characteristics of this style.

Selected Postures from the Chen Style

Members of the Chen family have been documented historically as being the
founders of the art we know today as taijiquan. As such, Chen style taijiquan
has much to offer to all practitioners who value the art in both its civil and
martial aspects. Due to subsequent modifications made by individuals from
outside the Chen family, such as Yang Luchan, Chuan Yu (father of Wu
Chian-chuan), Hao Wei Zhen (teacher of Wu Yu Xiang), Sun Lutang and
others, the various non-Chen styles of taijiquan appear, on the surface, to
have little in common with the art practiced by the Chen family. However, it
should be noted that even the taijiquan practiced today by the representatives
of the Chen family is not that of the founder, Chen Wangting.
Regardless of the modifications to the Chen Wangting’s original forms, the
Chen style that we know today embodies all of the principles of taijiquan that
were presented in the preceding chapter. In particular, Chen style taijiquan
places great importance upon the following: strict adherence to the principle
of Central Equilibrium; emphasis on distinguishing between substantial and
insubstantial; cultivation of the qi in the dantien and its circulation
throughout the body via the jingluo and the jingdian; insistence upon song as
the prerequisite for the proper execution of the postures; integration of the
joints of the body in accordance with the Three External Harmonies;
integration of the ching, qi and shen in accordance with the Three Internal
Harmonies; coordination of Opening and Closing; and reliance upon softness
to overcome hardness. These and other principles are central to all styles of
taijiquan and owe their origins to the insights and genius of Chen Wangting
and his descendants.
While Chen style taijiquan does share much in common with other, later
styles of taijiquan, it is also important to identify and acknowledge those
characteristics of the Chen style that distinguish it from other styles. One
such characteristic is the variation of the soft and hard, slow and fast
movements that occurs throughout the form. Indeed, the combination of hard
(gang) and soft (rou) is the essence of Chen style taijiquan. The variations in
speed are necessary in order to implement the martial applications of the
postures.138 Modern-day Chen style forms still contain the leaping, explosive
punching, twisting and spinning, and rapid kicks that must have been present
in the original forms of Chen Wangting. For this reason, Chen style has an
obvious appeal to those enthusiasts whose interests lean toward the martial
aspect of taijiquan.
Another distinguishing characteristic of Chen style is the spiraling energy of
chan ssu jin, or silk-reeling energy. The external expression of this spiraling
energy can be seen in the winding and unwinding of the arms as they make
their transitions from one posture to the next. In skilled practitioners, the
coiling can be seen to take place throughout the entire body, as the energy
springs from the feet, spirals up the legs, and twists out from the waist and
torso to pulse outward like a shock wave through the arms and into the hands
in the expression of fa jin in postures such as Covering Hand Punch.
Yet a third unique characteristic of Chen style taijiquan is the alternation of
high and low postures. The other, derived styles do include some low
postures, but the low postures are not traditionally executed as close to the
ground as those in the Chen style. Also, unlike Chen style, the remaining
postures are all performed at the same height. Raising and lowering of the
torso, except in the case of specific low postures, is considered to be an error
and is generally thought of as a defect on the part of the practitioner. Not so
in Chen style, where rising up and sinking down as a method of storing and
releasing energy are integrated into many of the postures of the form.
Finally, the postures of the Chen style are typically performed with longer
and lower stances than those of other styles of taijiquan. Many of the Chen
style postures rely upon either a forward bow stance or a lateral bow stance.
Forward bow stances also occur in the later, derived styles, but are typically
held higher and shorter than in Chen style. In the case of forward bow
stances, the weight is typically supported by the forward leg. In the case of
lateral bow stances the weight may be either primarily on the right or the left
leg, depending upon the application.
The distinguishing characteristics of Chen style taijiquan that make it such a
dynamic and exciting martial art present difficulties for anyone attempting to
document the postures of this style in print. Even sequential photographs do
not convey effectively the storing and releasing of energy, the coiling of the
body, and the explosive release of jin at the conclusion of a fast kick or
punch. The only way to fully appreciate the unique quality of a properly
executed Chen style sequence is to view it continuously, either in a video
recording or, preferably, as a live performance. Despite the obvious
limitations of print media in accurately depicting Chen style postures, this
section presents four representative postures from this style for the purpose of
illustrating some of the underlying principles and distinguishing
characteristics of this style.
The postures presented here come from the opening section of the Chen style
Old Frame (lao jia) First Routine (i lu). They have been selected because they
appear, either in name or in function, in one or more of the later, derived
styles. Therefore, these four postures are relevant to practitioners of any style
of taijiquan. Practitioners of later styles can benefit from discovering and
understanding the roots of their own style of taijiquan by reviewing these and
other postures from the original, Chen style.
Lazy About Tying the Coat: The posture of Lazy About Tying Coat is
worth studying in that it includes one of the five stepping techniques, Gaze
Right (you pan), as well as incorporating the Four Side energies of Ward-Off,
Rollback, Press, and Push in addition to two of the Four Corner energies –
Shoulder-Stroke and Elbow-Stroke. The finished posture, shown below in
Figure 10-18d, does not depict the complex series of movements that in the
limbs and the torso that precede it. Even the freeze-frame photographs in
Figures 10-18a, 10-18b, and 10-18c can only reveal a small portion of what
takes place between the preceding posture, Buddha’s Attendant Pounds the
Mortar, and the finished posture of Lazy About Tying Coat.
Figure 10-18a
Figure 10-18b
Figure 10-18c
Figure 10-18d
The posture shown in Figure 10-18a represents the initial transition from the
posture of Buddha’s Attendant Pounds the Mortar. Here the two hands
separate into yang (right hand) and yin (left hand). The weight also shifts
initially to the right as the waist turns slightly to the left. Concurrent with the
waist turn, the right hand curves out and up as the right fist opens and the left
hand brushes slightly outward to the left.
From this initial position, the two arms each perform vertical rotations that
appear as if two semicircules in order to arrive at the position shown in
Figure 10-18b. The circling of the two arms is accompanied by a spiraling in
the torso that rises out of the left, substantial leg and is controlled by the
waist and directed out to the arms. The second half of the right-hand circle
contains the intrinsic energy of Rollback, while the second half of the left-
hand circle contains the intrinsic energy of Push. Then, as the hands come
together and cross over, they contain Ward-Off energy. The crossed hands
can also be used at this point to apply the intrinsic energy of Press.
At the conclusion of the two arm circles, the practitioner shifts the weight to
the left in order to perform a side step out to the right. In Chen style, this type
of side step is accomplished with the heel of the stepping foot moving out
just above the floor and with the toes pointed upward up.139 This side
stepping should be initiated at the conclusion of the closing movements of the
two arm circles. This position is similar to the conclusion of a baseball
pitcher’s windup routine and represents a state of storing prior to issuing.
From the position shown in Figure 10-18b, the practitioner shifts the weight
onto the right leg. The rightward movement of the body initially provides the
opportunity to apply Shoulder-Stroke as the shoulder and hip move in
concert. However, as the body continues to shift to the right, the energy of
Shoulder-Stroke gives way to Elbow-Stroke as follows: When the jin reaches
the shoulder the shoulder stops moving and the jin transfers into the elbow to
deliver the elbow strike.140
Having shifted the weight primarily onto the right leg, the right arm is
permitted to wave out to the right with the wrist, hand and fingers continuing
the rightward momentum generated by the left leg, waist, right hip, right
shoulder and right elbow. The left hand floats down to rest on the left hip as
shown in Figure 10-18d. In his commentary on this finished posture, Chen
Zhenglei writes that the practitioner must loosen the hips and sink the waist
while opening and rounding the crotch. The right leg is solid and the left leg
is empty. The body should be upright and centered. The posture should be
extended and comfortable.141
The finished stance in Lazy About Tying Coat is a lateral bow stance in
which the weight is borne primarily by the right leg. As was stated
previously, the lateral bow stances of Chen style are typically lower and
longer than in other styles. In order to accommodate the lower and wider
stance in Lazy About Tying Coat, the practitioner must loosen the hips and
sink the waist while simultaneously opening and rounding the crotch. Failure
to loosen the hips, sink the waist, and open and round the crotch will result in
the practitioner’s inability to make the posture extended and comfortable.
The posture Lazy About Tying the Coat appears under the same name in the
Wu/Hao and Sun styles of taijiquan. There is no similarly named posture in
either the Yang or Wu (Chian-chuan) styles. However, the sequence of Grasp
the Sparrow’s Tail, which occurs in these two styles at essentially the same
point at the beginning of the respective forms, bears striking resemblance to
Lazy About Tying Coat due to its inclusion of the Four Sides energies of
peng, lu, ji, and an. As stated previously, there is some controversy over the
derivation and meaning of the term Grasp the Sparrow’s Tail. Regardless of
the actual (or imputed) meaning of the term, it is very likely that Yang
Luchan modified the sequence of movements contained within the original
Chen style posture of Lazy About Tying Coat in order to create the sequence
in Yang style taijiquan that we know today as Grasp the Sparrow’s Tail.
Six Sealing and Four Closing: The next posture in the traditional Chen style
First Routine is the posture of Six Sealing and Four Closing, liu feng si bi
(sometimes romanized as ru feng si bi). This posture, known by different
English names, but all designated liu feng si bi in Chinese, occurs in all the
derived styles (“Apparent Close” in Yang and Wu (Chian-chuan) styles,
“Appearing to Seal and Close” in Wu/Hao and Sun styles). In every style, the
sealing and closing are accomplished by the two hands working together in
concert. This action involves the two hands gathering in a large opening
movement that is subsequently followed by a smaller closing movement. In
the Chen style, as in the Sun style, the closing and sealing of the hands is
enhanced by a following step. The entire sequence is represented below in
Figures 10-19a through 10-19d.
Figure 10-19a
Figure 10-19b
Figure 10-19c
Figure 10-19d
The downward, curvilinear movement of the arms as depicted in Figures 10-
19a through 10-19b is reminiscent of a koi fish’s tail as it swims lazily about
in the pond. The sweep of the koi’s tail follows the movement of its body,
just as the sweep of the practitioner’s arms follows the shifting of the weight
from the right leg to the left leg and the concurrent turning of the waist from
right to left. The external shifting and turning is accompanied internally by
spiraling in and down in order to store the intrinsic energy in the left leg and
foot.
In the final movement of the sequence, shown in Figure 10-19d, the stored
energy is allowed to spiral up out of the left leg to be directed toward the
right by the turning of the waist and torso and finally to be expressed, or
issued, by the arms and hands. The following step executed by the trailing,
left leg adds momentum to the release of the stored energy. In this way, the
complete sequence incorporates both the shun chan and ni chan turnings of
chan ssu jin. The principle of Open/Close is preserved. At the conclusion of
this posture, Chen Zhenglei instructs the practitioner to coordinate the jin
with the settling of the body.142
In the solo routine, this posture is performed in a relaxed and controlled
manner. However, in actual combat, such an action could be employed to
quickly step inside the opponent’s defensive perimeter and then close the
opponent’s offensive capability and to seal the opponent’s avenues of escape.
In this way, the opponent would be rendered defenseless and incapable of
counter-attacking.
White Crane Spreads Its Wings: The posture of White Crane Spreads Its
Wings is present in all major styles of taijiquan. The final position of the
Chen style version, shown below in Figure 10-20b, appears very similar to
those of the Yang and Wu (Chian-chuan) styles. What distinguishes the Chen
style version of this posture are the intricate inward and outward turnings of
the arms and the rotation of the torso that occur during the transition to the
finished posture in White Crane Spreads Its Wings.
Figure 10-20a
Figure 10-20b
These intertwining movements are too complex to depict photographically
and too difficult to describe accurately in writing. Nevertheless, there are
some key characteristics of the posture and the transitional movements that
can be addressed through the use of photographs and text. In particular, the
directional movements of the arms and torso can be divided into closing and
opening movements. Starting from the transitional position shown in Figure
10-20a above, the arms have been turned downward and inward and the torso
has been turned to the left from their open positions at the conclusion of the
preceding posture, in this case the second occurrence of Buddha’s Attendant
Pounds the Mortar.
From the positions shown in Figure 10-20a, the arms and hands, guided by
the movements of the legs, waist, and torso, perform small outward and then
inward turnings in order to terminate in the larger, open arcs shown in Figure
10-20b. Chen Zhenglei’s comment on this posture includes the instruction to
press the left palm down beside the left hip with the palm facing down. At the
same time, lift and push the right palm up and outward to the right with the
palm facing out.143
Beginning with the conclusion of the posture of Buddha’s Attendant Pounds
the Mortar (not shown here), the arms and torso close inward. Then the arms
open upward and downward simultaneously. In this way, the posture of
White Crane Spreads Its Wings contains both the opening and closing
movements required by the principle of Open/Close. During the shun chan
(closing) phase, the qi is drawn back into the dantian. In the ni chan phase,
the qi stored in the dantian is directed outward to the arms and hands
according to Chen Zhenglei’s instruction as explained in the preceding
paragraph.
Up to this point, the breathing component of the postures of has intentionally
been overlooked. However, proper breathing is important in the correct
execution of the postures of any style of taijiquan and is especially crucial in
the Chen style. This is due to the coordination of the breath with the inward
and outward spiraling that takes place in the shun chan and ni chan phases of
chan ssu jin. In Chen style taijiquan, chan ssu jin is present in the execution
of every posture in Chen style taijiquan. Therefore, correct breathing is
essential to the proper execution of the postures in this style. On this topic,
Chen Zhenglei instructs the practitioner to inhale when closing and to exhale
when opening. When inhaling and closing, the qi should be withdrawn from
the extremities into the lower dantien. In contrast, when opening and
exhaling, the practitioner directs the qi outward from the dantian to the finger
tips.144
Covering Hand Punch: The posture of Covering Hand Punch is
representative of the explosive fa jin energy that is characteristic of Chen
style taijiquan. Indeed, this is one of the signature postures of the Second
Routine (er lu), which is known by the descriptive name, “Cannon Fist” (pao
cui). Covering Hand Punch, also translated as Hidden Thrust Punch, involves
the storing of energy and its subsequent sudden release. The storing phase,
shown below in Figure 10-21c, not only entails the storing of the potential
energy for the resulting punch, but also the hiding of the fist next to the right
hip. There is a sense that the opponent is unaware of the power that is about
to be unleashed upon him as demonstrated in Figure 10-21d.
Figure 10-21a
Figure 10-21b
Figure 10-21c
Figure 10-21d
The complete sequence, which begins with the transitional posture shown in
Figure 10-21a, consists of a series of opening and closing movements. In
Figure 10-21a, the arms open outward to the sides. The hands are then drawn
inward and pressed downward (see Figure 21-b). Chen Zhenglei advises the
practitioner to use the entire body to provide the momentum for motion of the
arm.145 From this position, the practitioner draws the right hand back and
forms the hidden fist, as depicted in Figure 10-21c. This drawing back of the
right fist, which is a closing movement, is accompanied by the corresponding
extension of the left hand, which is an opening movement. The two opening
and closing movements of the left and right hands is coordinated with the
storing of the energy in the right leg. Inhale and store the power in the right
leg with the potential to release.146
In the final position (Figure 21-d), the energy stored in the right leg is
released, causing the body to rotate slightly to the left while driving the right
arm forward to deliver the punch. Simultaneously, the left arm is drawn back
in order to deliver a backward elbow strike with the left elbow. All of these
actions occur simultaneously and rapidly, as is appropriate when issuing
explosive fa jin. Chen Zhenglei’s commentary on the final release of energy
explains that, at the time of releasing fa jin, the practitioner must rotate the
waist and open the crotch. The right fist must punch out with sudden
explosive power. Both the forward punch and elbow strike to the rear issue
jin simultaneously in coordination with the movement of the whole body.147

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

Understanding and Training Defensive Jin

Within taijiquan circles, you will occassionaly hear practitioners discussing

the seemingly mystical power of intrinsic energy, or jin. You may also have
read about or heard tales of past masters whose jin was so powerful that they
could send opponents flying with barely a touch. It is even rumored that some
highly-skilled masters in the past could repel an opponent by simply sending
their energy out through their hands at a distance. While the use of jin may
seem mysterious to the uninitiated, the power of jin is really very simple to
comprehend once the student comes to understand the relationship between
the yi, the qi, and jin.
The simplest explanation is that jin is manifest qi. That is to say, when the qi
is able to penetrate to the muscles and the tendons, the qi can enliven those
tissues and enable them to fire quickly. Then the muscles and tendons can
seem to generate great power quickly and with little perceptible movement.
That is why an accomplished taijiquan master is able to propel an opponent
great distances with hardly any apparent effort.
While such displays of internal power are impressive, they tend to distract us
from the true character of taijiquan. Our art is predicated upon the principle
of the soft overcoming the hard. We are taught to use four ounces to deflect a
thousand pounds and to borrow the opponent’s energy in order to uproot him.
For this reason, it is far better to study defensive skills before attempting to
master the more impressive offensive skills.
Because it is so important to train defensive jin before attempting to develop
offensive jin, the subject of jin training has been divided into two separate
chapters in this book. This chapter is devoted to discussing the understanding
and training of defensive jin, and the following chapter will focus on the
training of offensive jin.
The present chapter includes a general explanation of jin, describes the
various types of defensive jin, and includes a series of training exercises
designed to help students explore and develop defensive jin skills on their
own. While this material may seem esoteric, it is based upon sound principles
and can be learned by any individual who is willing to put in the gongfu
necessary to develop these skills. The only limitation is that jin training does
require working with other individuals. The development of defensive jin
skills such as Sticking/Adhering jin (chan nien jin), Listening jin (ting jin),
Interpreting jin (dong jin), Receiving jin (tsou jin) and Neutralizing jin (hua
jin) cannot be accomplished independently, and partner training is essential.

Understanding the Concept of Jin

There are many different types of jin. The Chinese character for jin is often
translated as “intrinsic energy.” This term can be misleading if we interpret
the word “energy” to mean something that has movement or is expressed
outwardly. Since many jin are not visibly perceptible, the use of the word
“energy” to describe them seems counter-intuitive. Especially in the case of
defensive jin such as Neutralizing jin, it is more appropriate to refer to the
proper application of jin as “skill.” However, since one of the best references
on the subject of jin employs the term “intrinsic energy,”149 this term will be
employed synonymously with the term “skill” when referring to jin in this
book.
As stated previously, the various types of jin may be categorized as either
defensive or offensive. The offensive category of jin includes the sudden and
powerful fa jin referred to at the beginning of this chapter. Other offensive jin
are softer but still powerful, such as an jin (the jin applied in Push). Offensive
jin are employed to repel or even to injure an opponent. Defensive jin include
Sticking/Adhering jin, Listening jin, Interpreting jin, Receiving jin, and
Neutralizing jin. These defensive jin may not at first seem to fit the novice’s
understanding of jin at all. However, defensive jin form the foundation from
which all offensive jin are issued.
It is crucial to understand and train the skills of defensive jin if one wishes to
develop offensive jin skills. The reason for this is straightforward. In order to
issue fa jin, for example, the practitioner must first establish a connection to
the opponent (through sticking and adhering). Having established this
connection, the practitioner then needs to listen to the opponent in order to
identify where he is full and where he is empty. Next the practitioner must
interpret and understand the opponent’s intention as well his physical and
energetic structure. Only then can the practitioner issue fa jin effectively to
send the opponent flying away. Failure to connect with, listen to, and
interpret the opponent’s intention is likely to result in the practitioner’s fa jin
landing upon emptiness.
Since jin can be either offensive or defensive, and since many jin do not
directly involve issuing, it is appropriate to think of the term “jin” broadly as
“skill” rather than more narrowly as manifest power. This term is preferable,
as it conveys both the true meaning of the concept of jin as well as the gongfu
necessary to develop and employ jin effectively. It is much more suggestive
in English to use the terms “Listening skill” or “Understanding skill” rather
than the terms “Listening intrinsic energy” or “Understanding intrinsic
energy.” However, once you appreciate the true nature of jin, you can use the
terms “skill” and “intrinsic energy” interchangeably.
At least one respected author and translator of original treatises on taijiquan
shares this position. In his “Translator’s Introduction” to Fu Zhong-wen’s
Mastering Yang Style Taijiquan, Louis Swaim wrote that if jin is considered
to be merely a type of strength or technique, then it would be difficult explain
such subtleties as ting jin (Listening jin) or dong jin (Understanding jin).
Louis Swain stated that he preferred a definition of jin as the integration of
strength and sensitivity. In this definition of jin, the concept of sensitivity
encompasses the important element of mind/intent (yi), which is essential to
all types of jin.150
The relationship between jin and mind/intent referred to above is central to
one’s understanding and development of jin skill. By now you should be well
aware of the importance of using the yi both to cultivate and to circulate the
qi. The focused intent is equally important in developing and utilizing jin.
Stuart Olson, another renowned author and translator of important original
Chinese works related to taijiquan, wrote in his “Translator’s Introduction” to
Chen Kung’s The Intrinsic Energies of Taijiquan that the mind/intent, or yi,
is an essential component of jin.151
The utilization of mind/intent in the application of jin is essential for both
offensive and defensive jin. Consider once again the ability to issue fa jin.
Because the issue of fa jin is so sudden, it must be directed solely by the yi.
One cannot analyze and ponder over the issuing of fa jin as one would a
chess move or even a martial action such as a punch or a sweeping kick.
When the moment is right, one must strike swiftly and suddenly, “like a hawk
seizing a rabbit, or a cat catching a rat.”
Even using jin defensively requires the use of mind/intent, or yi, in order to
prove effective. As an example, examine the meaning of the classic phrase,
“Use four ounces to deflect a thousand pounds.” Cheng Man-ch’ing
explained that this principle relates to the non-use of force. He stated that the
non-use of force entails not receiving the force of another’s attack. This
requires the practitioner to employ neutralize (hua jin) the opponent’s
incoming force rather than resisting it. Professor Cheng stated that this
principle is fundamental to the art of taijiquan.152
When Cheng Man-ch’ing employed the term “non-use of force” in this
context, he was referring directly to the use of mind/intent. It is the
mind/intent that recognizes the incoming force of a thousand pounds and
understands intuitively how to redirect tht force by guiding it skillfully off to
one side using Rollback, or lu jin. On this same topic, Cheng Man-ch’ing
wrote that the use of qi and jin in taijiquan depends on both being
continuously circulated throughout the body without blockages or
restrictions.153
From this you can see that the yi is important in the development and
utilization of defensive jin such as Sticking/Adhering jin, Listening jin, and
Understanding jin. Each of these jin relies upon the focused power of the
mind and the will. How can one listen or understand the intention of an
opponent if the mind is not clear and concentrated. Chen Kung wrote that, in
order to utilize jin, the mind must be tranquil, with no thought of attacking.154
This relates directly to the Taoist principle of non-doing, or wu wei.
Closely related to the use of the yi in the development and application of jin
is the special quality of the shen as it relates to the utilization of jin. As has
been stated previously, the shen represents an individual’s spirit of vitality.
Stuart Olson wrote that the shen is expressed by the eyes and that jin
(intrinsic energy) is expressed through the hands and fingers.155 A person’s
shen can attain different levels of development. The highest level of
development is shen ming, which is akin to enlightenment. An individual
who possesses shen ming experiences mental clarity and inner peace. When
such an individual faces a situation in which he needs to utilize his taijiquan
skill for self-defense, his mind will not be clouded by doubt or indecision.
Intuitively and instantly he will sense the nature and direction of any attack
and will react accordingly, applying whichever jin is appropriate to the
situation.
The development of jin depends upon three prerequisite capabilities: the
ability to cultivate and circulate the qi; the ability to be song; and the ability
to be rooted. Without these three essential abilities, you won’t be able to
develop even the most basic jin skill. This is why the practices of loosening,
stretching, zhan Zhuang, and Taoist meditation are of such importance to
your overall development as a student of taijiquan.
With regard to the necessity of cultivating and circulating the qi as a
prerequisite for jin training, Dr. Yang Jwing-Ming explained that it is
necessary first to train the qi by practicing the Microcosmic Orbit and the
Macrocosmic Orbit. Once sufficient qi has been accumulated in the lower
dantien, it can be drawn up from the Sea Bottom cavity and can be directed
up the spine and out to the hands and fingers. He further explained that when
qi from the lower dantien is used to support the tendons, the jin can reach a
high level. He referred to this high-level jin as “nei jin” (internal jin) and
stated that the development of nei jin is the jin that is used by skilled
taijiquan practitioners.156
Of equal importance with the cultivation and circulation of the qi in the
development and application of jin is the ability to be song. Song is not a
technique or a skill that can be learned in a weekend seminar. Instead, song
must be developed and cultivated over time, as explained in Chapter Four.
Song training imparts an elasticity and a pliability to the tendons and sinews
of the entire body. It is this elasticity and pliability that enables one to issue
jin suddenly and also to be able to absorb and neutralize incoming energy.
Concerning the importance of song in the application of jin, Stuart Olson
commented that jin is the result of becoming song in the sinews and tendons.
When the sinews and tendons are song, they become elastic, and, when this
elasticity is employed correctly, the sinews and tendons can release elastic
kinetic energy just like snapping a rubber band.157
Song is also necessary to the utilization of defensive jin such as hua jin. The
ability to either absorb or deflect an opponent’s incoming energy depends
upon the body being relaxed and the joints being open and loose. Recall the
old saying that “drunks don’t get hurt falling down.” Although this is not
always true, it is based upon the observation that, because they are relaxed,
individuals who are intoxicated are less likely to be stiff and rigid when they
fall. This enables their bodies to absorb the impact of a fall. In a similar way,
a martial artist who is relaxed and loose can absorb blows that would
seriously injure a frightened and therefore stiff and tense individual.
Additionally, when one’s joints are loose and relaxed, it is much more
difficult for an opponent to apply joint locking techniques.
Just as important as it is to be song in the body, it is equally important to be
song in the mind. The mind should be relaxed and open. This enables the qi
to rise up and stimulate the shen. When the spirit of vitality is stimulated, it
becomes clear and expansive. This in turn endows one with the ability to
perceive and react to any threat and to employ the appropriate energetic
response in a relaxed and highly effective manner.
Finally, one must consider the subject of rootedness when discussing the
development and application of jin. The Five Character Secret, written by Li
I-yu, revealed that, in order to issue fa jin, it is necessary to have root. This
text includes the statement that the jin starts from the foot, is commanded by
the waist, is discharged through the spine and back, and is manifested in the
fingers.158
This same principle appears in the Taijiquan Treatise attributed Chang San-
feng. In his commentary on the Taijiquan Treatise, Yang Lu-chan stated that
jin originates in the feet, travels up the legs and arrives at the waist. It then
travels up the spine and across the shoulders and is expressed in the hands
and fingers. In support of the jin, the entire body must be connected by a
single flow of qi. In this way, whether one is engaged in advance or retreat,
one’s jin will be infinite.159
Rooting not only provides the connection to the earth necessary to issue jin.
Rooting also establishes a firm foundation from which to turn the waist in
yielding and neutralizing, as when executing Rollback. Due to the importance
of rooting in issuing jin and in neutralizing an opponent’s attack, it is clear
that every student of taijiquan must develop a deep and firm root. Having
root also enables the practitioner to directly withstand an opponent’s push.
One only needs to watch videos of past and present masters effortlessly
rooting the combined pushing power of a long line of straining students to
understand the importance of root as a fundamental skill in the art of
taijiquan.
Although he did not specifically identify the qualities of song and rootedness,
Chen Kung summarized the characteristics necessary for the development of
jin by stating that externally the practitioner must be light, nimble, and
mentally tranquil. Internally, the practitioner’s qi needs to be clear, bright,
and circulated throughout the body. Chen Kung concluded that these
requirements are fundamental to the correct method for developing and
applying jin.160
Despite the obvious importance of qi cultivation and circulation, song, and
rootedness to the development and training of both defensive and offensive
jin, many students “seek the far and forsake the near.” They mistakenly
believe that they can jump right into jin training without devoting the
requisite time and effort (gongfu) of developing song and root or of learning
how to cultivate and circulate the qi through the Small Heavenly Circle and
the Large Heavenly Circle. The simple truth is that there are no shortcuts to
be found when it comes to jin development and training. This is a five-year,
ten-year, and even a lifetime process. Jin training is not to be undertaken
lightly nor with expectations of sudden, magical power. The training is often
tedious and difficult.
The information and training exercises included in this and the following
chapter have been provided for those students of taijiquan who have already
put in the months or years of zhan zhuang standing, Taoist meditation, and
other preparatory work and who have established the foundations necessary
to begin jin training. You may find the material presented in these two
chapters fascinating and may therefore be tempted to skip over the previous
material in an attempt to jump right into jin training. However, if you ignore
the training regimen described in the preceding chapters and attempt to
pursue jin training without the proper foundation, your efforts will come to
nothing and your time will be wasted. You would be better off studying a
hard martial art like Shaolin kung fu that will produce some superficial
martial skill in a few months.
The Five Basic Defensive
In his work, The Intrinsic Energies of Taijiquan, Chen Kung identified thirty-
eight different intrinsic energies, or jin, that were known to the Yang family
at the time of his writing. Having identified these thirty-eight different types
of jin, he subsequently provided detailed descriptions of twenty-five separate
jin. The other thirteen remain undocumented and are likely lost to modern
students of the art. Regarding the various types of jin, Chen Kung wrote that
taijiquan jin include Adhering/Sticking jin, Listening jin, Interpreting jin (i.e.
Understanding jin), Receiving jin, and Neutralizing jin. He advised the
practitioner who wishes to master jin to study these five jin and to become
skilled in their application. He added that, once the practitioner has mastered
these five jin, then he or she will comprehend “the wonderful mystery” of
taijiquan.161
Of all the various jin documented in Chen Kung’s text, the five defensive jin
of Sticking/Adhering, Listening, Interpreting, Receiving, and Neutralizing are
the most important. Without the ability to make and maintain a connection to
the opponent, it will be difficult to either neutralize his incoming energy or
issue your own energy into him. Similarly you need to develop good listening
skill in order to sense the opponent’s intention as well as the direction and
degree of his attack in order to be able to neutralize such an attack. Even if
you are able to connect to an opponent and listen to his intention, if you are
not able to interpret his intention and understand how to respond, then that
connection will provide you with little or no advantage. Only after you have
sensed and understood the opponent’s intention, will you be able to receive
his energy and neutralize it.
Without first having neutralized an opponent’s attack, you should not attempt
any offensive response. Otherwise, you will be meeting force with force.
When force is used to counteract force, the stronger and more agile opponent
will be victorious. The Taijiquan Classics caution that there is always
someone stronger and quicker than ourselves. It is foolish, therefore, to rely
upon strength and agility when dealing with unknown opponents. It is better
to master the art of defensive jin. Then you will be able to deal with any
opponent, no matter how strong or quick he may be. For this reason, Chen
Kung selected Sticking/Adhering, Listening, Interpreting, Receiving, and
Neutralizing as the first five jin to be described in his treatise on intrinsic
energy.
Sticking/Adhering Jin: Sticking/Adhering jin, or chan nien jin, refers to the
ability to establish and maintain both a physical and an energetic connection
to the opponent. This is a very subtle skill and one that takes time to develop.
Sticking/Adhering is often discussed in conjunction with Connect/Follow
(lian sui jin). Collectively, these four related jin describe the ability to attach
oneself to another and either to follow or to lead him in any direction, be it
up, down, forward or backward. Chapter Four of the Yang Family Forty
Chapters explains that sticking means lifting up the opponent; adhering
means attaching to the opponent; connecting means not separating from the
opponent; and following means responding to the opponent’s movements.
Although the four skills are related, each is subtly different from the other
three.162
Sticking and adhering have to do with controlling the opponent through your
physical and energetic attachment to him. Connecting and following, on the
other hand, have to do with following the opponent as he either attempts to
penetrate your center or to elude your attack. Perhaps the most common
mistake beginners make when playing pushing hands is to disconnect from
their partner, either when they think their push is completed or when they
attempt to escape from their partner’s push.
Chen Kung wrote that the nei jin skill of Sticking/Adhering jin is an absolute
requirement for high-level skill in taijiquan and is developed through the
practice of pushing hands, or tuishou.163 Chen Kung stated that true
Sticking/Adhering jin means that the connection cannot be broken. Your
opponent should feel like you are glued to him and that he cannot disconnect
from you. This is a disconcerting feeling, as anyone who has tried to remove
pine sap or glue from their fingers can attest.
Students often ask: “How do I develop Sticking/Adhering jin?” This skill
seems almost magical to the novice. However, the reality is that
Sticking/Adhering jin is the result of being able to send the qi out to the skin
through the myriad of small qi vesicles, known as luo, that branch off from
the main qi meridians, or jingluo. When the qi reaches the skin, it can attract
and connect to the skin of another individual. If the qi is sufficiently strong, it
can actually penetrate into the tissues of another and thereby enable you to
attach yourself to that individual in a way that cannot be easily discarded. The
imagery of the hooks and loops of Velcro is an apt way to visualize the action
of Sticking/Adhering jin.
To develop Sticking/Adhering skill, you must first learn to cultivate and
circulate the qi according to the training techniques introduced previously in
Chapter Seven and Chapter Eight. You should also investigate the technique
of “skin breathing” in which you learn to “breathe” through the pores of your
skin. These nei dan techniques will enable you to send your qi out to your
skin and therefore allow you to stick and adhere to another individual. As
important as the preliminary practices of learning how to direct the qi to the
skin are in the development of Sticking/Adhering jin, you must also train this
skill by working with willing partners during specialized two-person
exercises. Later in this chapter you will be introduced to some simple training
exercises that you can practice to aid in the development of this very subtle
and elusive skill.
Listening Jin: Listening jin, or ting jin, is the ability to sense, or “listen to,”
the movement of energy in another person. This ability is usually manifested
when one has established a connection to one’s partner when playing pushing
hands. However, at a higher level one can sense the movement of energy in
an opponent even from a distance. This is a crucial skill in sparring or in
actual self-defense situations where it is not always possible to connect
physically to an opponent prior to his attack.
In order to develop Listening jin to a high level, you must first realize that an
opponent’s physical movement is always preceded by the mobilization of the
energy necessary to activate his muscles. This in turn is preceded by ideation
on the part of the opponent. He first thinks of what he is going to do, his brain
then sends the electrical impulses to the muscles, and lastly the muscle fibers
respond by firing to initiate the movement. At a low level of Listening skill,
you are able to sense the muscles right when they fire. If you are quick, it is
possible to react to this very early muscular response and avoid the attack.
However, if you just a bit late in responding, the opponent’s attack will meet
with success.
If you can read the actual electrical impulses that precede muscular response
as they travel down the arm or leg, or even as they travel over the shoulder or
across the hip, then you will have more time to respond to and thwart the
opponent’s attack. This is what is meant by “The opponent leaves first, but I
arrive first.” If we recognize that qi leads the electrical impulses, then what
we are really speaking of here is sensing the opponent’s qi as it mobilizes the
muscles. This represents the middle level of development of Listening jin.
It is said: “The mind moves the qi.” This is the meaning of the four-character
phrase: yi yi yin chi. It is also said: “First in the mind, then in the body.”
Based upon these two statements, it follows that the highest level of Listening
jin is to be able to “read” the opponent’s mind. This requires a highly
developed mental state that borders on the transcendent. This state of
consciousness has been referred to previously as shen ming. Chapter Three of
the Yang Family Forty Chapters refers to this ability by stating that, in order
to develop Listening jin, practitioners must first develop conscious movement
in themselves. Only then they will naturally be able to “hear” conscious
movement in others. If practitioners attempt to hear conscious movement in
others without having first learned to listen to their own movements, then
they are destined to failure. This important chapter from the Yang Family
Forty Chapters also states that only by first developing Listening jin will
practitioners be able to subsequently develop Interpreting jin.164
Listening skill is dependent upon two important requirements. The first
requirement is the ability to send the qi out to the skin as described in the
preceding discussion of Sticking/Adhering jin. Chen Kung wrote that
listening to the conscious movement of another requires “listening” through
the surface of the skin rather than with the ears. Because Listening jin
requires direct contact with another, this skill is dependent upon
Sticking/Adhering skill.165
The second requirement for developing Listening jin is the ability to be song
in both the body and the mind. If your muscles and sinews are tight, the qi
cannot flow out to the skin, and you will lose your “ears,” as it were. Also, if
you are mentally tense or afraid, you also won’t be able to “hear” the
opponent’s intention. Chen Kung further wrote that, in order to develop
Listening jin, one must first rid oneself of external force and learn to loosen
and relax the waist and the legs. Further, he instructed practitioners to
practice mental tranquility, cultivate the qi, and concentrate the shen. Without
acquiring these prerequisite qualities, the practitioner won’t succeed in
developing Listening skill.166
As with Sticking/Adhering jin, Listening jin must be developed through two-
person exercises. Of course, these exercises will only serve if you are also
incorporating the neidan practices of qi cultivation and qi circulation as well
as standing in zhan zhuang as part of your training regimen. Later in this
chapter you will learn several two-person training exercises intended to assist
in the development of Listening jin. You should spend time developing this
skill, as it is a prerequisite to the more advanced skill of interpreting and
understanding.
Interpreting Jin: Interpreting jin, or dong jin, is the ability to interpret an
opponent’s intention and to understand what he is planning to do. This skill is
also referred to as Understanding jin. Having interpreted and understood an
opponent’s intention, you have the freedom to react in any number of ways.
For example, if you are connected to an opponent in pushing hands and you
sense from his qi mobilization that he is about to push you, you can prepare
to receive and neutralize the push. Alternatively, prior to his actual push, you
can use that split second when he is about to push to step in and push him
first, as in: “The opponent leaves first but I arrive first.”
Chapter Fifteen of the Yang Family Forty Chapters states that employing
Interpreting jin depends on the ability of the practitioner to sense and respond
to the conscious movements of the opponent. Once the practitioner is able to
sense and respond to the movements of the opponent, then his or her own
movements becomes extremely responsive.167
At a high level, Interpreting skill enables you to measure the feet, inches,
hundredth parts, and thousandth parts in hand techniques.168 References to
“the feet, inches, hundredth parts, and thousandth parts” appear in several of
the Taijiquan Classics and refer to the skill of interpreting energy. This high-
level ability is attained after reaching the level of spiritual illumination and
allows the practitioner to apply offensive jin such as Controlling jin,
Grabbing jin, Seizing jin, and Sealing jin.169
The full development of dong jin occurs over many decades of pushing hands
and sparring practice. Regarding dong jin, Chen Kung wrote that Interpreting
skill is the most important skill in taijiquan. The ability to interpret your own
energy and that of your opponent is a significant achievement in your
taijiquan training. Chen Kung stated that those individuals who study
taijiquan without developing Interpreting skill will find it difficult to progress
in their taijiquan training.170
Receiving Jin: Receiving jin, or tsou jin, is the skill of allowing an
opponent’s incoming energy to advance without finding anywhere to land.
Receiving jin is often referred to as “yielding.” You may have heard the
phrase “leading into emptiness.” That is exactly what Receiving jin
accomplishes. The opponent should feel that when he moves forward he
cannot reach you. This is what is meant by the phrases in the Taijiquan
Classics “advancing, the distance seems incredibly longer;” and “suddenly
appear, suddenly disappear.”171 The Song of Sparring instructs practitioner to
draw the opponent in so that his energy lands on nothing and to deflect his
incoming force of a thousand pounds with a reciprocal force of four
ounces.172
The key to Receiving jin is to give up all resistance and learn to follow the
opponent’s energy. Rather than resisting his advance, you allow it to proceed
and thereby lead him into overcommitting to his attack. The opponent
expects to find something solid when he attacks. That is to say, he is
expecting you to resist. However, if you do not provide him with anything
solid and instead lead him into emptiness, he will lose both his balance and
his root. This condition is known as “floating.” At that point, it will be easy
for you to control him and either push him backward or continue to lead him
past your body using Rollback.
Receiving jin is a defensive jin. However, as the preceding example
illustrates, Receiving jin is often utilized as a setup for the application of
offensive jin. The technique of ti fong, which is employed in the two-part
action of withdraw and push, is an example of tsou jin followed by an jin
(Push jin). To utilize this technique, you allow the opponent to apply his own
push on your arms. Instead of resisting his push, you empty the chest,
providing you with space to withdraw the arms and suddenly disappear. This
will cause the opponent to float and lose his balance. You then respond with
your own push, which may be accompanied by stepping in, in order to
suddenly appear with devastating effect.
Neutralizing Jin: Neutralizing jin, or hua jin, is the signature jin of
taijiquan. If practitioners do not understand the method and use of
neutralizing, then their study will have failed to grasp the essence of the art.
Neutralizing is based upon the principle of the soft overcoming the hard and
employs the circle to counter the straight. It is the key to the ability to deflect
an incoming force of a thousand pounds with a corresponding force of only
four ounces. The Taijiquan Treatise attributed to Chang San-feng instructs
the practitioner to stand like a balance and to rotate actively like a wheel. The
practitioner is cautioned to avoid the fault of being double-weighted, which
will prevent the practitioner from sinking to one side or another in order to
neutralize the opponent’s incoming force.173
The concept of standing like a balance means that one is so sensitive that a
feather cannot come to rest nor a fly alight without causing a reaction on the
part of the practitioner. As soon as an opponent places the slightest pressure
on any part of your body, you should react like a balance beam. If the
opponent applies pressure on the right, you empty the right and become full
on the left. If your left side becomes heavy (i.e. is pushed upon), you become
light on the left and heavy on the right. In this way, there will be no
resistance to the opponent’s attack.
The sensitivity of a balance beam must be accompanied by the rotation of the
waist, which is referred to above as “actively rotate like a wheel.” This
concept utilizes the principle of centripetal force. When the opponent’s
incoming force contacts our body, we instantly respond and rotate like a
millwheel grinding fast or slow depending upon the suddenness or slowness
of his attack. Whether fast or slow, our turning deflects the opponent’s
incoming force (inertia) and sends it off in a tangent to our body.
Figure 11-1
The Song of the Free Circle expresses this principle succinctly be stating that
the principle of the free circle represents the highest level of skill.174
The concept of the circle deflecting the inertia of an incoming vector is easy
to visualize in two dimensions. However, in reality our bodies are three-
dimensional in nature. For this reason, it is more instructive to think of
Neutralizing jin as employing a sphere rather than a circle in order to deflect
an incoming force. The concept of the sphere is explained by Ping-Tsian Tao
in his book, Taiji Push Hands – The Secret of Qi in Taijquan. He wrote that
one should consider the body to be like a weightless sphere. If a weightless
sphere is floating in the air, it will respond to the slightest contact by moving
away from the point of contact. If you can imitate a weightless sphere
floating in space, then your movements naturally will become light and
lively.175
Beginning students are often taught to imagine holding a beach ball between
their bodies and their outstretched arms when standing in Ward-Off posture.
The image of the inflated beach ball is instructive here. The compressed air
contained within the ball acts as a buffer between the practitioner and the
imagined opponent. If the opponent pushes against the ball, it may become
slightly more compressed, but it still will not permit the opponent to penetrate
the protective space contained within the ball. Moreover, if the student
simply rotates his waist, the opponent will spin off in the direction of rotation
of the waist. This is an example of the application of Neutralizing jin.
There is a secret to hua jin that is revealed by the preceding example. The
secret is that if the beach ball is not sufficiently inflated, then the
neutralization provided by the waist rotation will prove ineffective. As you
know, the inflation of the imaginary beach ball comes from the intrinsic
energy of Ward-Off, or peng jin. Chen Kung wrote that, in order to apply
Neutralizing skill, one must incorporate a little Ward-Off (peng) energy.
Without the application of Ward-Off energy, one will not be able to
neutralize effectively.176
Neutralizing always employs the principle of the circle (or the sphere).
However, as one becomes more adept at sensing the opponent’s energy, one
can make the circle smaller and smaller until it is seemingly imperceptible.
Chen Kung added that neutralization may employ either a large or small
circle. The more skilled the practitioner, the smaller the circle used to
neutralize an opponent’s incoming force.177
As with Receiving energy, Neutralizing energy is usually followed up with
some type of counterattack. The Taijiquan Classics say that within
neutralization there is attack, and that within attack there is neutralization. It
is also said that, after drawing the opponent in and neutralizing his energy,
one should issue power.178 This is the yin and yang of taijiquan. Many
students of taijiquan place too much emphasis on neutralizing and not
enough attention on counterattacking. In this way, their practice becomes
unbalanced. This one-sided approach becomes apparent when these students
play pushing hands. They are very effective at neutralizing opponents’
attempts to push them but are unable to uproot and push their opponents. For
this reason, students must study both neutralizing and issuing.
Additional Types of Jin: The preceding sections describe the five basic
defensive jin that can be employed to neutralize an opponent’s attack. As
mentioned previously, once the opponent’s attack has been neutralized, one
can apply any of a number of offensive jin to repel or injure him. A survey of
offensive jin will be presented in the following chapter. Additionally, there
are other, more advanced jin that may be investigated by students of
taijiquan. Such jin are beyond the scope of this book. However, you may
want to refer to Stuart Olson’s translation of Chen Kung’s book on the
Essential Energies of Taijiquan for explanations of these additional jin.
Chen Kung’s book also includes descriptions of eight additional jin that do
deserve treatment in any comprehensive book on taijiquan. Those are the jin
that correspond to the eight postures derived from the Bagua. To review, the
postures of the Four Sides are Ward-Off, Rollback, Press, and Push (peng, lu,
ji and an respectively). The four jin associated with these four postures are
peng jin, lu jin, ji jin and an jin. The postures of the Four Corners are Pull-
Down, Split, Elbow-Stroke, and Shoulder-Stroke (tsai, lieh, chou and kao
respectively). The four jin associated with these postures are tsai jin, lieh jin,
chou jin and kao jin. The importance of these jin should not be overlooked.
These eight postures and the jin that support them will addressed at length in
Chapters Twleve and Thirteen of this book, in which pushing hands and the
martial applications of selected postures will be discussed.

How to Train Defensive Jin

The training regimen for developing defensive jin follows the same sequence
in which the jin were introduced in this chapter. That is to say, you first train
Sticking/Adhering jin; next you train Listening jin; after that you train
Interpreting jin; following that you train Receiving jin; finally you train
Neutralizing jin. In order to train Sticking/Adhering, Listening, Interpreting,
Receiving, and Neutralizing jin, you will need to work with cooperative
partners. Try to find time each week to work with a partner in order to
develop these skills. The more time you devote to this training, the faster
your defensive jin skills will develop. Also, try to work with multiple
partners. The greater the number of partners you are able to work with, the
better your skills will become.
Sticking/Adhering Skill Training Exercise 1: This first exercise is a
cooperative two-person exercise. You and your partner stand in opposing
right bow stances with the right feet aligned and the right arms held up
horizontally in Ward-Off position with the backs of the hands touching. This
pairing is shown in Figure 11-2a. Since this is an exercise to train
Sticking/Adhering skill, imagine that each of you has a piece of Velcro glued
to the back of your right hand. Let’s say that you have the loops piece and
your partner has the hooks piece. Once your hands connect, you must both
maintain the connection created by the two pieces of Velcro.
You initiate the exercise by advancing your arm forward and slightly to the
left. Use your whole body, especially your legs and your waist, to initiate this
movement just as you would in the form. Your partner must match your
movement exactly by retracting her arm back and to her right. Don’t advance
too far; just a few inches will suffice at the beginning stage of this exercise.
When you have advanced as far as you feel comfortable, your partner should
take over. She, in turn, should advance forward and slightly to her left as you
retreat back and to your right. Continue this circling exercise without
breaking the pattern or the connection between the backs of the hands. The
complete sequence is reproduced in Figures 11-2a through 11-2d below.
Figure 11-2a
Figure 11-2b
Figure 11-2c
Figure 11-2d
There are several points that both partners should observe when practicing
this exercise. The first is that each of you should be projecting your qi into
your right arms and out the backs of the right hands. You want to feel your qi
expanding out to the back of your hand and making it feel sticky. The second
is that the contact between the two hands must be light and agile, not
forceful. Sticking/Adhering energy is sensitive and very tactile; it does not
rely upon muscular tension or strength. The third is that this is a completely
cooperative exercise. It is up to each of you to maintain the connection
between the backs of the hands. Do not attempt to elude your partner or cause
her to lose her connection to you. Neither of you controls the circling motion
of the two arms. Rather, the two of you cooperatively maintain this motion.
After circling on one side for three to four minutes, pause and then change to
your left sides. Reestablish the connection between the backs of the two left
hands and repeat the circling on the left side for another three to four minutes.
If possible, try repeating this exercise with different partners. The more
partners you can work with the more quickly you will develop
Sticking/Adhering skill.
Sticking/Adhering Skill Training Exercise 2: In this exercise you will work
with a partner as in the previous exercise. Both of you will take a right bow
stance, and both will hold up your right arms in Ward-Off position with the
backs of the two right hands connected. Although this second exercise is also
a cooperative exercise, one of you will assume the leading role and the other
will act as the follower. Let’s say that you will start off in the leading role.
You begin the circling exercise as in Exercise 1. In this exercise, however, it
is the job of your partner to stick to the back of your hand and to follow your
hand as you circle. She does not contribute to the circling motion at all. This
means that you must initiate both the advance and the retreat. Her role is
simply to maintain the connection between the backs of the two hands and to
follow your movement passively.
Continue circling for three to four minutes with you taking the active role and
your partner assuming the passive role. Then, without changing sides, change
roles. Now your partner will initiate and control the circling motion while
you passively follow her lead. Although you are not initiating the movement,
you must nonetheless follow her movements without breaking off the
connection between the hands. What may seem at first to be merely a passive
role is actually very active in that you must pay close attention to the
movements of your partner as well as the energetic connection established
between the two hands.
Again, it is important for both of you to send qi out to your Ward-Off arms
and especially to the skin on the backs of your right hands. Make the hands as
sensitive as you can. No matter how the active partner moves, the passive
partner must remain attached to the active partner’s hand. This exercise
primarily benefits the passive partner, although both of you will improve
your Sticking/Adhering jin no matter which role you play. Be sure to adopt
both roles on each side until each partner is comfortable with the passive role.
Sticking/Adhering Skill Training Exercise 3: In this third version of the
circling exercise, the active partner now directs his or her arm upward or
downward as he or she circles the Ward-Off arm. Figures 11-3a through 11-
3d show one such pattern. Again, the job of the passive partner is to maintain
the connection between the backs of the hands at all times. It is important that
the passive partner not attempt to anticipate the movement of the active
partner. He or she must remain completely passive and rely only on the
stickiness in the back of the hand to maintain the connection to his or her
partner. The active partner can vary the circling pattern as he or she wishes as
a way to challenge the passive partner’s ability to stick and adhere.
Figure 11-3a
Figure 11-3b
Figure 11-3c
Figure 11-3d
As a final comment to these exercises, it is important to understand that these
are not pushing hands exercises. Although superficially they may appear to
be pushing hands exercises, the purpose here is different. It is better to
consider these exercises to be sticking hands drills rather than pushing hands
drills. Of course, the best pushing hands players always use sticking hands,
but they are also using many other skills as well. You should practice these
Sticking/Adhering exercises with multiple partners until you can circle
comfortably with any variations while maintaining a constant connection
between the the back of your hand and the back of your partner’s hand.
Listening Skill Training Exercise 1: Having attained some skill in
Sticking/Adhering, you can move on to the next level of defensive jin
training, that of Listening skill. In this first Listening skill exercise, you will
work with a partner as in the previous Sticking/Adhering skill exercises. As
with the second and third of those exercises, one partner will be the active
partner with the other partner assuming the passive role. Again, start off by
standing in a right bow stance while facing your partner, who should also be
in a right bow stance. Each of you should hold up your right arm in Ward-Off
with the backs of the hands connected as before. You, as the active partner,
should begin to circle horizontally forward and backward. This time,
however, your partner should not only maintain the connection between the
two hands but should also listen to the movement of your right hand and try
to match it by moving her own right hand in response. Although she is the
passive partner, she now assumes a more proactive role in attempting to
match your movement.
The ability to listen to a partner’s movement does not take place in the mind.
Rather, it takes place in the back of the hand. The listening partner must
focus her mind/intent and her qi on the back of her right hand and “listen”
through her skin. This will take some practice, but eventually she should
“hear” (feel) your movement in her hand. She should then respond to your
movement by moving in concert with you.
To begin with, you should keep the circles smooth and consistent so both
partners can develop their listening abilities. Trade roles and change sides
until each of you are able to follow the other’s smooth and consistent circling
pattern. Once both of you are comfortable listening to and following closely
as passive partners, the active partner can begin to change up the circling
pattern so as to challenge the passive partner’s ability to hear the changes and
respond accordingly. You should continue practicing this exercise with your
partner(s) for multiple sessions. It is highly unlikely that either of you will
master this skill completely in a single session. Indeed, it takes months and
even years to fully develop Listening skill. This is an exercise that you can
add to your two-person practice on an ongoing basis.
Listening Skill Training Exercise 2: In this second exercise you and your
partner will be changing your hand positions as the circle advances and
retreats. To begin, you will both stand in right bow stances. Your partner will
hold her hand up in Ward-Off position. You, as the active partner, will hold
your right arm up in a single-handed push position and will place the palm of
your right hand against the wrist joint on the back of your partner’s hand. See
Figure 11-4a.
You should initiate the circle by advancing and gently pushing your partner’s
hand toward her torso. She must listen to this push and respond by sitting
back onto her rear, left leg and rotating her waist slightly to her left in retreat.
Be sure not to push your partner too hard and overpower her. To begin with,
only push in a few inches or so. Then, continue the circle by retreating
backward to your initial position. The entire sequence is represented in
Figures 11-4a through 11-4d. Your partner’s task is to sense the change in
your movement as you begin to retreat and to follow you back to the starting
point. As before, keep the circling movement slow and continuous as first to
allow your partner to develop her listening skill.
igure 11-4a
FFigure 11-4b
Figure 11-4c
Figure 11-4d
As you both develop more confidence in this new hand connection, you as
the active partner can change the direction and speed of the circle in order to
challenge your partner to really listen to your movements and not simply to
anticipate them. Be sure to change roles and change stances from left to right.
Continue this exercise over multiple sessions and, if possible, with multiple
partners.
Listening Skill Training Exercise 3: In this third Listening skill training
exercise, you both will be modifying your hand positions as the circle
advances and retreats. As the active partner, you will start off as in Listening
Skill Training Exercise 2 above. Your partner will hold up her right arm in
Ward-Off and you will connect to the back of her wrist with your right palm.
You will maintain this connection as you advance forward, pushing her with
gentle pressure and causing her to retreat. When you feel you have pushed
her to her limit you will then turn your right hand over and assume a Ward-
Off position with your right arm and hand.
Your partner’s job is to listen to this change in hand position and to respond
by turning her own hand over and placing the palm of her right hand against
the back of your right wrist. Even though she is now in push position, she
should still be passive and not attempt to push you backward. You, as the
active partner, initiate your own retreat as she follows you. The complete
sequence is reproduced in Figures 11-5a through 11-5d.
Figure 11-5a
igure 11-5b
Figure 11-5c
Figure 11-5d
The major addition to this exercise is the hand change. Now the passive
partner must not only develop listening in the back of her hand but also in the
palm of her hand, particularly the laogong point. This will take some getting
used to, so proceed slowly here. As with the previous exercises, once you are
both comfortable with the addition of the hand changes, the active partner can
vary the circling while the passive partner continues to focus her awareness
on her listening skill.
Listening Skill Training Exercise 4: In this Listening skill training exercise,
you will repeat the hand changes introduced in the previous exercise.
However, in this exercise you and your partner will exchange roles with each
hand change. To begin, you as the active partner will place the palm of your
right hand against the back of your partner’s wrist as she holds up her right
arm in Ward-Off. You advance by gently pushing her arm backward. She, in
turn withdraws and turns slightly to the left until she reaches the limit of her
ability to retreat. She then turns over her hand and initiates Push. At this
point, you become the passive partner and she the active partner. It is your
job to roll your hand over into Ward-Off and then listen to her as she begins
to push forward, causing you to withdraw.
You will both continue circling, each assuming the active role when
advancing and the passive role when retreating. Keep the circle horizontal
and consistent in speed until you are both comfortable with the changing of
the hand positions and the active/passive roles. Start off slowly and work up
to increasing the circling speed as you both gain confidence. Be patient with
each other and help each other master the hand changes as well as the
changes from the active to the passive role. When you both feel comfortable
circling horizontally, change the angle and direction of the circle. Also, be
sure to change from right feet forward to left feet forward.
As a variation, keep the circle going and add a transitional step when you
change over from right bow stance to left bow stance. As you change stances
from right to left, you will also need to coordinate changing the arms and
hands from right to left. There will likely be some stumbling and tangled
arms at first, but soon you both will get the hang of making the transition
from one side to the other smoothly. At first, you will both want to agree as
to when the changeover is to occur. One of you can announce, “Okay, get
ready to change sides.” Then, when the partner has acknowledged her
readiness, you can say, “change,” and you can step forward as she steps
backward into the new stance. After successfully completing a number of
changes, either partner can initiate a stance change without prior warning.
This will challenge the other partner’s listening skills.
Listening jin is an extremely important skill and takes time to develop. Try to
work with as many partners as possible, since each individual will feel
different. Remember that, although you are working with a partner, you are
actually mainly working with yourself. You should focus more on your own
sensitivity in these exercises rather than on what your partner is doing. Use
your mind/intent and focus your qi on the point of contact with your partner.
Learn to listen first with your hand (either the back of the hand or the palm)
and then extend your listening ability into the entire arm. Whatever you do,
don’t try to listen with your analytical mind, as this will only retard your
development.
As you continue to develop Listening skill, you will reach a point at which
you can sense not only the external movement of your partner’s hand and arm
but also the internal movement of her qi. Recall that the movement of the qi
precedes the movement of the body. When you can hear the qi moving, you
will be able to know in advance what the arm is going to do. This will give
you a distinct advantage in both pushing hands and in sparring. However, this
highly-developed skill takes years to develop. Don’t expect to be able to hear
your partner’s qi moving after only a few practice sessions. Just keep this
goal in mind as you practice diligently day after day, week after week, month
after month, and year after year. Remember that skill grows with practice.
The Classics tell us that “The more practice, the more skill.”
Interpreting Skill Training Exercise 1: Interpreting skill follows upon
Listening skill. You will only be able to interpret and understand an
opponent’s attack once you are able to listen to his intention. Interpreting
skill involves not only understanding the opponent’s intention but also
responding to it appropriately. Although Interpreting skill can be successfully
applied to any single point of contact, it is best trained through two points of
contact using the technique of triangulation.
To train Interpreting skill using the technique of triangulation, your partner
will need to place both of her hands on your ward-off arm. If you start off in
a right bow stance with your right arm held up in Ward-Off, she should place
the palm of her right hand against the back of your right wrist. She will then
place the palm of her left hand against your right elbow. Your partner will
now have both hands connected to your right, ward-off arm in a two-handed
Push posture. See Figure 11-6a.
In this first Interpreting skill training exercise, your partner should push
against your ward-off arm with uneven pressure. She should push more with
her right hand than with her left hand. In response to this uneven push, you
will then turn your waist slightly to the left and guide her energy off to your
left side as shown in Figure 11-6b. This will require that you maintain peng
energy in your ward-off arm and that you use your waist and not your upper
body to effect the turn to the left. Having correctly listened to and interpreted
her uneven push, you should then sit back slightly and circle in to position
shown in Figure 11-6c. To finish off, shift forward and circle back out to the
starting position as shown in Figure 11-6d. The entire sequence is presented
below.
Figure 11-6a
Figure 11-6b
Figure 11-6c
Figure 11-6d
Remember that this is a cooperative exercise. Your partner should push
gently enough to allow you to turn your waist in order to deflect her push.
She should not attempt to uproot you. Her job is to allow you to interpret and
then respond to her uneven push, not to cause you to lose your structure or
your balance. Your job is to interpret the direction of her push from her two
points of contact using triangulation. This requires you to listen to the
pressure of her two hands and to sense which of her two hands is fuller.
Sensing that her right hand is fuller provides you with the understanding of
the direction of her push, which in turn enables you to respond by deflecting
her push off to the left side of your body. This takes you to the position
shown in Figure 11-6b.
Once you have listened to, interpreted, and deflected your partner’s uneven
push, she should refrain from pushing. Her job in assisting you to interpret
her push is now finished. To complete the sequence, you then sit back
slightly on your left leg and circle your ward-off arm inward to the position
shown in Figure 11-6c. From there you shift your weight back to your front
leg and circle your ward-off arm back to the starting position as in Figure 11-
6d. Your partner should follow this circling passively until it is completed
whereupon she should initiate another uneven push to your left side.
Repeat this circling process until you are able to sense and respond to her
uneven pushes fluidly and smoothly. Then change roles, with your partner
holding up her right arm in Ward-Off arm while you apply uneven pushes
with your right palm using more pressure than your left. Once you are both
comfortable interpreting uneven pushes to the left side, switch to left bow
stances and try the same exercise, this time with the active player applying
more pressure with his or her left palm. When standing in a left bow stance,
this means that the interpreter will now have to turn to the right in response to
the uneven pushes.
Interpreting Skill Training Exercise 2: This second Interpreting skill
training exercise is a variation of the first exercise. You and your partner will
stand in right bow stances as before. You will hold up your right arm in
Ward-Off, and she will connect her two palms to your wrist and elbow as
shown in Figure 11-7a. This time, however, she will apply an uneven push by
exerting more pressure with her left palm. Your job is to interpret this uneven
push and recognize that you need to turn your body to the right in order to
effectively deflect her push. See Figure 11-7b. Having deflected her uneven
push off to the right side of your body, you sit back slightly into the posture
shown in Figure 11-7c and then circle back to the position shown in Figure
11-7d accompanied by a weight shift back onto your front leg. The complete
sequence is shown below.
Figure 11-7a
Figure 11-7b
Figure 11-7c
Figure 11-7d
In a sense, this is a mirror image of the response to an uneven push with the
right hand applying more pressure. When the pressure is uneven on the
partner’s right side, you turn your waist to the left to deflect the push. When
the pressure is uneven on the partner’s left side, you turn your waist to the
right to deflect the push. You will probably find it easier to turn the waist to
the left when standing in a right bow stance. This waist turn corresponds to
the waist turn of Rollback when standing in a right bow stance and is more
natural. Turning the waist to the right when standing in a right bow stance is
equivalent to rolling back to the offside of the torso and is likely to feel
somewhat unnatural to begin with.
You should practice turning the waist to the offside in both a right bow stance
and a left bow stance until you are able to deflect uneven pushes to the
offside no matter which bow stance you are holding. Also, make sure that
each partner spends equal time as both the pusher and the interpreter.
Interpreting Skill Training Exercise 3: In the two preceding exercises, your
partner intentionally applied uneven pushes to one or the other side of your
ward-off arm. This provided you with the opportunity to listen to the uneven
pressure and to interpret the directionality of the push. You then responded to
this directionality by turning the waist away from the push in order to lead
your partner off to one or the other side of your body. In this exercise, your
partner will exert pushing pressure equally through both palms. As the
interpreter in this exchange, your job remains the same: listen to the pressure
in the two palms, interpret the direction of the push, and respond accordingly.
The only difference between this exercise and the previous two exercises is
that you won’t be able to deflect your partner’s push by turning your waist.
Instead, you must withdraw your ward-off arm by hollowing out your chest
in order to neutralize her push. The hollowing out of the chest is
accompanied by sitting back onto your left leg. Hollowing out the chest and
sitting back onto the rear leg creates the empty space necessary to neutralize
the incoming push. This withdrawal position is shown in Figure 11-8b.
Having neutralized your partner’s push, you circle your ward-off arm
downward slightly to the position shown in Figure 11-8c before circling the
arm back up to the initial Ward-Off position. As you circle your ward-off arm
back up, you will again shift your weight forward onto your front, right leg.
As with the preceding two exercises, your partner should refrain from
pushing forward once you have successfully interpreted and responded to her
push. Again, it is her job to provide just enough pressure for you to interpret
it and react to it. She should not try to push you off or cause you to lose your
balance. Also, she should cooperate with you as you circle your ward-off arm
down and then back up again in order to return to your initial positions.
Figures 11-8a through 11-8d show the complete sequence of this exercise.
Figure 11-8a
Figure 11-8b
Figure 11-8c
Figure 11-8d
As with the preceding two Interpreting skill exercises, be sure to practice this
drill in both right and left bow stances and make sure to change roles so that
both partners have the opportunity to act as both the interpreter and the
pusher.
Interpreting Skill Training Exercise 4: The three previous Interpreting skill
exercises are designed to help you learn how to interpret specific pushes. In
essence, there are really just three ways an opponent can push you from the
front. Her push can either be directed toward your center or directed toward
either the left or the right side of your body. If her push is aimed directly
toward your center, you must interpret the equal pressure from both her
palms and neutralize by hollowing out and sitting back onto your rear leg. If
her push is uneven on the left, then you employ a waist turn to the right to
deflect the push. Similarly, if her push is uneven on the right, then you
employ a waist turn to the left to deflect the push.
The same basic strategy applies in self-defense situations. If an attacker
attempts to punch or kick you, their punch or kick will have directionality.
You must sense the attacker’s intention and interpret the directionality of the
attack. Once you understand the direction of the punch or kick, you can
attach to the opponent’s arm or leg and rotate your waist to deflect the punch
or kick. If the attack is straight on, such as when the attacker attempts to push
you backward or to grab you with both arms, you will be able to interpret this
frontal attack. Your response in such instances should be to step back
slightly, hollow out your chest and push the opponent’s arms down before
circling back up, stepping in, and pushing the attacker away.
In order to train Interpreting skill to meet with any push or frontal attack, you
need to work with your partner by having her randomly vary the direction of
her pushes. The two of you will begin by taking right bow stances. You will
hold up your right arm in Ward-Off and she will attach her two palms to your
right wrist and elbow. It is her job to apply whichever push she chooses:
either uneven to the right, uneven to the left, or straight ahead. As the
interpreter, your job is to listen carefully, interpret the directionality of the
push, and react accordingly.
This will take some getting used to and will require feedback on the part of
your partner. If, for example, your partner applies an uneven push with her
right palm exerting more pressure, but you mistakenly interpret her push and
turn your body to the right, she should stop and correct you by informing you
that the pressure came from her right palm and not her left. The same applies
to uneven pushes with the left palm exerting more pressure or when both
palms apply pressure equally. Learning to listen to, interpret, and react
appropriately to a partner’s pushes takes months and even years to
accomplish. Don’t be frustrated or give up if you don’t master this
challenging skill in just a few practice sessions. Keep at it and remember to
work with as many different partners as possible.
The following analogy will serve to illustrate the importance of working with
multiple partners: When learning a new language, the more people you speak
with the easier it will become to communicate with anyone you meet. If you
speak with the same individual all the time, you will become accustomed to
their voice and may not be able to understand others when you speak with
them. The same applies to Listening and Interpreting skill. You need to
realize that each individual has their own energy signature and will sound
different to you. For this reason you should attempt to practice with different
partners in order to broaden your interpreting skills.
Receiving Skill Training Exercise 1: Receiving jin is the ability to receive
an opponent’s incoming energy without allowing that energy to move you or
cause you to be uprooted. This first Receiving skill training exercise is
intended to assist you in developing the skill of hollowing out in order to
create an empty space to receive the opponent’s energy. For this exercise,
you and a partner will be working with a large, inflatable ball, such as a
beach ball or an exercise ball.
Both you and your partner will stand in a right bow stances separated by
approximately one foot in distance. Hold the ball suspended between you and
your partner as indicated in Figure 11-9a. You will begin by pushing the ball
horizontally forward toward your partner. In response, she must hollow out
her chest and raise her back in order to create a space for the ball. She may
also need to sit back onto her left leg to create additional space as necessary.
This is shown in Figure 11-9b. Your partner should have the sense that she is
creating a large letter ‘C’ with her torso. It is also helpful to think of matching
the shape of the ball with the upper body in order to accommodate the ball’s
intrusion. It is important in this exercise not to stick out one’s buttocks while
hollowing out the back. It is also essential to maintain a vertical alignment
between the niwan point in the head and the huiyin point located between the
legs while creating the empty space necessary to receive the incoming
energy.
After your partner has received the incoming energy of your advance, she
then pushes through the starting position and into your space. You must
receive her incoming energy in turn by hollowing out your body to create
space for the ball. Again, try to match the roundness of the ball with a
corresponding roundness in your upper body without sacrificing central
equilibrium. The entire sequence is represented below in Figures 11-9a
through 11-9d. As with the preceding two-person exercises presented in this
chapter, you should practice this exercise equally in both the right bow stance
and the left bow stance.
Figure 11-9a
Figure 11-9b
Figure 11-9c
Figure 11-9d
When practicing these exercises you should focus your awareness on the
sequential opening of the joints. Recall that there are nine main joints in the
body: three in the legs, three in the spine and three in the arms. As you
receive the incoming ball, begin by opening the wrist joints, the elbow joints
and the shoulder joints. Then, in order to create the letter ‘C,’ you must open
the three joints of the spine: the neck and upper back, the middle back, and
the lower back. Finally, you may need to open the joints in the legs, starting
with the hips and then the knees, and finally the ankles.
Receiving Skill Training Exercise 2: This Receiving skill training exercise
is an extension of the preceding one. Here you will substitute a smaller,
heavier ball for the large, inflatable ball. An eight or ten pound medicine ball
will work for this exercise. Lacking a medicine ball, you can substitute any
soft, heavy object weighing around ten pounds. If you do not have a medicine
ball, you can create one easily from an old basketball by filling it with sand.
Check online for instructions on how to make your own medicine ball.
To proceed with this exercise, you and your partner should stand in right bow
stances about two feet distant from each other. You begin by holding the
medicine ball as shown in Figure 11-10a. Your partner stands ready to
receive the ball as shown in the same illustration. You then toss the medicine
ball gently toward your partner’s midsection. She catches the medicine ball
by receiving it in her arms and then hollowing out her chest, raising her back,
and sitting back on her left leg. In this way, she receives the ball and absorbs
its incoming momentum. This is shown in Figure 11-10b. Having caught the
ball successfully, she then pushes off her back leg, extends her arms and
tosses the medicine ball back to you. You, in turn, catch the medicine ball
using the same technique. The entire sequence is represented in Figures 11-
10a through 11-10d.
Figure 11-10a
Figure 11-10b
Figure 11-10c
Figure 11-10d
Continue tossing and catching the medicine ball until each of you can catch
the ball without any tension or resistance. The key to this exercise is to keep
the arms and shoulders soft and loose and to absorb the medicine ball’s
incoming energy by hollowing out the chest, elongating the spine, and sitting
onto the back leg. Keep in mind, however, the importance of maintaining
central equilibrium. Don’t bend forward or lean backward when throwing or
receiving the medicine ball. Be sure to perform this exercise equally in both
right and left bow stances.
Receiving Skill Training Exercise 3: The preceding two Receiving skill
training exercises are designed to train you to hollow out the chest, raise the
back, and sit into the back leg in order to receive an opponent’s incoming
energy without compromising your central equilibrium. This type of response
should be used whenever an opponent attacks you directly from the front.
Recall from the Interpreting exercises presented previously in this chapter
that an opponent’s energy may directed straight toward you or may include a
cross-body component. If, for example, the opponent’s pushing energy is off-
center to your left side, you should roll back onto your back leg and deflect
his energy to your left. Similarly, any attack that is off-center to your right
side should be rolled back to your right.
In order to train Receiving skill for an off-center attack you will again work
with a partner and a medicine ball. Stand as before in right bow stances
separated by about two feet. You stand ready to toss the ball as previously.
Your partner stands with her arms held in the position shown in Figure 11-
11a. She has her right hand up and her left hand under it in anticipation of
receiving the ball across the left side of her body. To assist her in training to
receive an off-center attack, you toss the ball slightly across her body toward
her left side. She catches the ball as before with her two hands and then
simultaneously sits back onto her left leg and turns her waist slightly to the
left as shown in Figure 11-11b.
After receiving the medicine ball, your partner should then return to the
forward position and use the momentum of moving forward to toss the ball
across your body to your left side. You, in turn, receive the ball by opening
your arms with the right hand on top and the left hand underneath and then
sitting back onto your left leg and turning your waist to the left. See Figures
11-11c and 11-11d. Continue this sequence until each of you can receive the
ball comfortably.
Figure 11-11a
FFigure 11-11b
Figure 11-11c
Figure 11-11d
The exercise described above will enable you to receive an incoming force
that is off-center on the left side of your body when standing in a right bow
stance, and is the equivalent of performing Rollback in the Yang style
sequence of Grasp the Sparrow’s Tail. Now you need to train to receive an
incoming force that is off-center to the right side of your body when standing
in a right bow stance. Begin with your partner as before by standing in right
bow stances separated by approximately two feet of distance. You hold the
medicine ball as before. This time, however, your partner holds her left hand
up and her right hand underneath. You then toss the ball slightly to the right
side of her body. She must catch the ball between her two outstretched hands
while simultaneously sitting onto her back, left leg and turning her waist
slightly to her right. Your partner then returns to her original right bow stance
and tosses the ball to your right side, which you will then catch as you turn to
your right.
Be sure to practice throwing and catching the ball to both sides of the body.
Once both you and your partner are comfortable receiving the energy of the
medicine ball on either side of the body while standing in right bow stances,
switch to left bow stances and repeat the drill by throwing and catching the
medicine ball on either side of the body. It is important to practice this
training exercise in both a right and a left bow stance. When playing pushing
hands or engaging in sparring, not to mention in an actual attack, you won’t
have the luxury of deciding which foot will be forward when a push, a punch,
or a kick will be aimed at your body.
Neutralizing Skill Training Exercise 1: The preceding exercises in this
chapter have trained you in Sticking/Adhering skill, Listening skill,
Interpreting skill, and Receiving skill. This final set of exercises will train
you in the development of Neutralizing jin, or hua jin. As stated earlier in this
chapter, Neutralizing jin relies upon the jin of Sticking/Adhering, Listening,
Interpreting, and Receiving. Because Neutralizing jin is an advanced
defensive jin, you should only proceed to Neutralizing skill training once you
feel you have achieved a basic level of competence in these other defensive
skills.
Neutralizing jin may be expressed either externally or internally. This first
exercise will train you to use external neutralization to nullify an opponent’s
straight-on attack. To begin, you and a partner will stand facing each other in
right bow stances as shown in Figure 11-12a. You will hold up your right arm
in Ward-Off, and your partner will connect to your wrist and elbow with her
right and left hands respectively. This is similar to the beginning of the first
Interpreting skill exercise. The only difference is that now you will connect to
your partner’s right elbow with your own left hand as indicated in Figure 11-
12a.
Your partner begins by pushing evenly with both hands into your midsection.
You receive this incoming push just as you did when receiving the incoming
force of the inflatable ball. You withdraw your arms while you
simultaneously hollow out your chest, raise your back, and sit back onto your
left leg. In this exercise, you will add the external neutralizing skill of circling
your ward-off arm around in order to place your right hand upon your
opponent’s left wrist. You will simultaneously circle your left arm around to
place your left hand over her right wrist. As you come to the end of the empty
space created by your withdrawal, you gently push down with both your
arms. This will neutralize the horizontal force of your partner’s incoming
push. This position is shown in Figure 11-12b.
Having neutralized your opponent’s incoming push, you then follow her as
she retreats back to her original position. You then provide her with an
opportunity to practice neutralizing by gently pushing toward her midsection
and allowing her to neutralize your push as shown in Figures 11-12c and 11-
12d.
Figure 11-12a
Figure 11-12b
Figure 11-12c
Figure 11-12d
This Neutralizing skill training exercise relies upon the gentle pushing down
of the opponent’s hands to change the direction of her push and thereby to
neutralize it. Since this technique does employ a small amount of force to
counteract the opponent’s force, it is considered to be an external form of
neutralization. Even though you are utilizing external force to effect the
neutralization, you want to be as soft and yielding as possible. As you
practice this exercise with your partner, each of you should strive to use less
force with each attempt at neutralization. You want to reach the point where
each of you is using no more than four ounces of downward pressure in order
to neutralize the opponent’s incoming force.
Neutralizing Skill Training Exercise 2: In this second Neutralizing skill
training exercise, you will learn how to neutralize an opponent’s push that is
off-center to your left side. To begin, stand with your partner in the positions
shown below in Figure 11-13a. This time your partner will exert an uneven
push by pushing a little harder with her right hand than with her left hand. In
response to this off-center push, you circle your right arm down and then
back up and around your opponent’s left arm to connect to her left elbow. At
the same time, you disconnect your left hand from her right elbow and
reconnect with the back of her right wrist.
Having established two new points of connection with your opponent, you
then sit back onto your rear, left leg and turn your torso slightly to your left
by rotating your waist. As you sit back and turn your torso, your arms should
lightly guide your opponent’s two arms across the left side of your body, as
shown in Figure 11-13b. The goal here is to use the rotation of your waist and
a small amount of pressure from your right hand to neutralize her push.
After you have neutralized her push, allow her to withdraw and follow her
back to the starting position as shown in Figure 11-13c. In this illustration,
she holds her right arm up in Ward-Off and connects to your right elbow with
her left palm while you push against the wrist and elbow of her ward-off arm
with your two palms. As you gently push against her ward-off arm, be sure to
exert more pressure with your right hand than your left so she can practice
neutralizing your off-center push to the position shown in Figure 11-13d. In
this way, each of you will have the opportunity to practice neutralizing off-
center pushes to your left side when standing in a right bow stance.
Remember to switch sides and practice neutralizing off-center pushes to the
right side when standing in a left bow stance.
Figure 11-13a
Figure 11-13
Figure 11-13c
Figure 11-13d
Neutralizing Skill Training Exercise 3: In the preceding exercises you
began to develop Neutralizing skill by neutralizing off-center pushes to the
open side of the body. In this exercise you will train Neutralizing skill in
order to neutralize an incoming force to the offside of your body. When
standing in a right bow stance, this involves receiving and neutralizing an off-
center force to your right side. This neutralization is a bit more difficult to
accomplish as it requires you to close the offside kua more than when
neutralizing to the other side of the body.
To begin, both you and your partner should stand in right bow stances facing
each other. You will hold up your right arm in Ward-Off, and your partner
will connect her two hands to your ward-off arm. You, in turn, will connect
your left hand to her right elbow. These positions are reproduced in Figure
11-14a. To begin, your partner pushes on your ward-off arm with slightly
more force in her left hand. In response you slide your left hand up from her
right elbow onto the outside of her upper right arm. At the same time, circle
your right arm around the outside of her right hand so that your right palm
covers her right wrist. Then sit back onto your rear, left leg and
simultaneously turn your torso to your right. You will not only need to rotate
your waist to the right, but you will also need to close your right kua by
deepening the right inguinal crease in your groin. Use the waist rotation and
the turning of your torso to gently guide your partner across your body to the
right side. This is represented in Figure 11-14b.
As with the preceding two Neutralizing skill training exercises, your goal is
to neutralize your partner’s incoming force with a maximum of four ounces
of pressure upon her right arm and wrist. The neutralization is primarily
accomplished by sitting back onto the rear leg and turning the torso. After
you have neutralized her off-center push to your right side, allow her to
withdraw to the starting position. Change hand positions and assume the
pushing role as she receives an off-center push to her right side. This is
shown in Figures 11-14c and 11-14d. Continue practicing on the right side
until both of you feel comfortable neutralizing off-center pushes to the right
side of the body while standing in a right bow stance. Then change to left
bow stances and continue with this exercise.
Figure 11-14a
Figure 11-14b
Figure 11-14c
Figure 11-14d
Neutralizing Skill Training Exercise 4: The preceding three exercises relied
upon the application of a small amount external force in order to neutralize an
opponent’s incoming force. These three exercises are intended to train the
development of external neutralization. External neutralization is valuable
and necessary in the practice of taijiquan, but it is not the highest level of
neutralization that can be attained in this art. In this final Neutralization skill
training exercise, you will work on developing internal Neutralization skill.
Once you are able to employ internal neutralization, you can either use this
skill on its own or combine it with external neutralization to effectively
neutralize even very powerful incoming attacks.
Internal Neutralization skill training begins with you and your partner
standing in right bow stances. You hold up your right arm in Ward-Off
position and your partner places her two hands on your right arm at your
wrist and elbow. She then begins to exert pressure evenly against your ward-
off arm. See Figure 11-15a. Your job is to allow your opponent’s incoming
force to be absorbed by your entire body without either resisting or collapsing
your structure. At first, this will seem difficult, and you will find yourself
stiffening up. Your partner’s task is to tell you when she feels you becoming
rigid. She then needs to reduce her pressure and allow you to relax your
tension. Then she should begin gently reapplying pressure.
In order to neutralize her incoming force without either stiffening up or
collapsing, you must maintain peng energy in your ward-off arm. This,
however, is not enough. You must also become song in the shoulder joints,
the spine, the waist, the hip joints, the knee joints, and the ankle joints in
order to allow your partner’s incoming energy to flow from your ward-off
arm through your shoulder, down your spinal column, through your hips,
down your legs, and into your feet. You should practice receiving and
neutralizing your partner’s pressure until you can absorb an incoming force
of up to twenty or thirty pounds of pressure. Be sure to switch roles and also
to change from right to left bow stances.
After you have developed some skill in neutralizing your partner’s pressure
on your ward-off arm, drop both your arms down to your sides and have her
push directly upon your shoulders as shown in Figure 11-15b. Again, you
should relax and open the shoulder joints, the spinal column, the waist, the
hip joints, the knee joints, and the ankle joints in order to allow her incoming
force to pass through your body and down into your feet without either
resisting or collapsing.
If your partner feels you getting stiff, she should inform you and reduce her
pressure until you are able to relax into her push. Equally, if you feel yourself
collapsing or coming off your front foot, ask your partner to allow you to
reset and then have her begin pushing again. The secret to this exercise is
complete cooperation and communication between the two partners.
Once you feel that you can neutralize your partner’s pushes standing in a bow
stance, stand and face your partner in a parallel, or horse-riding stance (ma
pu) while holding up your right arm in Ward-Off. Your partner still gets to
stand in either a right or a left bow stance while placing her two hands against
your ward-off arm as shown in Figure 11-15c. You, however, must now
focus on absorbing her pushes directly down into your two parallel feet
without resisting, collapsing, or being pushed backward.
Your partner needs to be very sensitive here and should not apply more
pressure than you are able to absorb. To begin with, your partner should push
more in a downward direction rather than straight forward in order to assist
you in drawing her force down into your feet. Gradually, she should change
the direction of her pushes so that eventually she is pushing straight through
you. Your task is to redirect these horizontal pushes through your arm and
shoulder and then down your spine and legs and into your feet.
As a final modification of this exercise, stand in parallel stance with both
arms at your sides and permit your partner to push directly against your
shoulders as shown in Figure 11-15d. Again, your partner should start off
with very gentle pressure directed somewhat downward until you are able to
absorb and neutralize her pressure without stiffening, collapsing or being
pushed off. Then she should increase her pressure and alter the direction of
her pushes so that her force is coming straight into your shoulders.
Figure 11-15a
Figure 11-15b
Figure 11-15c
Figure 11-15d
The training of internal Neutralization skill described above helps you
develop the ability to receive and neutralize an opponent’s incoming force by
allowing the force to pass through your body and into the ground. As stated
previously, this requires both strong roots and the ability to be song
throughout the body. When the opponent’s force is neutralized in this
fashion, you will feel the force passing through your body and into the
ground through the yongquan points in your feet. This helps to develop your
roots. The more song you become, the deeper your roots will penetrate into
the ground. When your partner pushes against your shoulders and you allow
her incoming force to pass through your body and into the ground, this is a
process referred to as “feeding your roots.”
Training and developing internal Neutralization skill in this manner is an
ongoing process. You won’t master this skill in a day, a week, or even a year.
Although such training may seem boring at first, you should try to train this
skill several times each week for at least fifteen minutes per session. Without
internal and external Neutralizing skill, you will never be able to successfully
engage in pushing hands, sparring, or the martial applications that constitute
the martial aspect of taijiquan.

Conclusion
This chapter introduced the subject of jin and specifically described the
defensive jin of Sticking/Adhering, Listening, Interpreting, Receiving, and
Neutralizing. The main thrust of this chapter was to provide training exercises
to assist you in the development of these five defensive jin. The application
of defensive jin comes into play during pushing hands, sparring, and the
martial applications of the postures of taijiquan.
Defensive jin such as those described in this chapter are essential to the
execution of offensive jin, such as fa jin. Yang Jwing-Ming summarizes this
succinctly in his discussion of Neutralizing jin, in which he states that one
must neutralize an opponent’s incoming force before one attempts to
counterattack. If the opponent’s force is not neutralized effectively, how can
one’s own counterattack be expected to succeed?179
The importance of developing defensive jin cannot be overemphasized. You
need to be able to stick and adhere, listen to, interpret, yield, and neutralize
your opponent’s attack. Otherwise you will be at her mercy. Your first
response to any attack should be to apply these defensive jin in the following
order: first stick to the opponent’s attacking arm or leg; then listen to and
interpret her intent; yield to her incoming force; and finally neutralize that
force through a combination of internal and external neutralization. Often
simply applying defensive jin will be sufficient to nullify the opponent’s
attack and to discourage her from further aggressive action. However, if the
opponent continues to attack you, you may need to respond with offensive jin
in order to prevent her from doing you harm. In such cases, you will need to
follow up your defensive jin by applying offensive jin.
Offensive jin are discussed in the following chapter. There you will learn
about more aggressive jin such as Issuing jin, Drilling jin and Seizing jin.
These and other offensive jin may be applied with devastating effect when
dealing with aggressive and non-compliant opponents. While the defensive
jin discussed in this chapter may be likened to the yin aspect of taijiquan,
these offensive jin represent the yang side of the art. It is essential that you
learn both sides of the art. Otherwise, your development and understanding of
the martial applications of taijiquan will be incomplete. Far too many
students only study the defensive applications of this art with the result that
their skill is one-sided.
There are also practitioners who tend toward the opposite extreme and focus
exclusively on the training and development offensive jin. These individuals
typically are drawn to the martial aspect of taijiquan and usually come from a
background in other hard styles of martial arts. Individuals who ignore the
training of defensive jin in favor of only training offensive jin will never
plumb the depths of the art, and their development and application of
offensive jin will always remain at a superficial level. As with individuals
who only engage in defensive jin training, their skill will also be one-sided
and therefore limited.
The essence of taijiquan is that it is a balance of yin and yang, of defense and
offense. Without the yin of defensive jin, the yang of offensive jin will be
incomplete and lacking in balance. Remember that the Taiji symbole contains
both yin and yang in equal measure. As you train and develop jin, be sure to
train both defensive jin and offensive jin equally. Only then can you begin to
fathom the true taijiquan as practiced by the past and present masters of the
art.
 Chapter Twelve

Understanding and Training Offensive Jin

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

Understanding Offensive Jin

The literature surrounding taijiquan is full of tales regaling the highly-
developed skill of past taijiquan masters. Fu Zhong-wen wrote of Yang
Cheng-fu that his skill in pushing hands, in particular his skill at neutralizing
and in fa jin, was unsurpassed. Fu further stated that Yang Cheng-fu
exhibited the quality of the softness of cotton containing a bar of steel.
Although Yang Cheng-fu seemed to move very slightly, his power reached
“exceedingly far,” and the energy was released “with extreme swiftness.”
Those who were on the receiving end of his fa jin were sent “soaring and
tumbling into the air.”180
Chen Wanting, founder of the Chen family style of taijiquan, was said to
have defeated more than one thousand bandits. There is a story regarding Sun
Lu Tang in which he purportedly chased a bandit across a harvested field of
grain in which only the stalks remained. Sun supposedly raced across the
field in pursuit of the bandit, stepping only upon the tops of the stalks. He
was also reputed to be able to run up tall, vertical walls before somersaulting
in the air and landing back on the ground. Similar stories are told about Wu
Chian-chuan and other past members of the Chen, Yang, Wu and Sun
families. These legendary tales may at first seem apocryphal until one
realizes that there are masters of the art today who have also attained this
high level of skill.
As stated at the beginning of this chapter, offensive jin such as fa jin rely
upon the prior application of defensive jin. This will be made clear as each of
the offensive jin are explored in greater detail in the remainder of this
chapter. It is also important to understand that fa jin is only one of the many
offensive jin that underlie the martial applications of taijiquan. This chapter
presents several of the basic offensive jin of this art. Other, more advanced
offensive jin will need to be explored by students on their own, as they are
beyond the scope of this book.
Issuing Jin: Issuing jin, or fa jin, is the specialized skill of issuing sharp,
sudden energy into an opponent. This is the fabled jin for which the original
founders of taijiquan were renowned. The development of fa jin is a high-
level achievement, but it is definitely within the reach of any dedicated
student of taijiquan who is willing to put in the time to train this jin and learn
how to apply it correctly.
Fa jin is based upon the principle of store and release. The Taijiquan Classics
state that internal power should be condensed, or stored, like pulling a bow,
and should be projected, or issued, like releasing an arrow.181 In The Secret of
Withdraw and Release it is written you should draw the opponent’s power in
near your own body in order to borrow (store) his power. Yang Zwing-Ming
clarifies this by explaining that when you neutralize an opponent’s attack you
first draw him into you somewhat. This allows you to accumulate energy in
your own posture, just as when drawing a bow or compressing a spring. At
the same time, you accumulate qi in your lower dantien and attach it to your
spine. These complementary actions should be accompanied with an in-
breath, as storing takes place on an inhalation.182
The images of the drawn bow and the coiled spring help us to understand
how jin is stored in the body. Recall that the body contains five bows: the two
leg bows, the two arm bows, and the bow of the spine. At the lowest level of
development, the jin is stored in the leg bows. The opponent’s incoming
force is received in the arms and is directed downward in order to compress
the legs. This requires that the entire body be relaxed and song so that the
incoming energy can be absorbed all the way down to the yongquan points in
the feet. There cannot be any resistance or stiffness in the body. If there is
resistance or stiffness, the incoming force will find a place to discharge and
you will be uprooted and sent flying instead of being able to receive and store
that energy for subsequent release.
When the opponent’s energy has been absorbed into the legs, the leg bows
will have been drawn. You can also think of the legs as two springs that have
been compressed. The compression of the spring in one of the legs is
depicted in the drawing presented below in Figure 12-1.
Figure 12-1
Once the jin has been stored in the legs, it can be released. In his commentary
on The Secret of Withdraw and Release, Yang Zwing-ming states that having
neutralized the incoming force of the opponent, you should counterattack by
relaxing and emitting jin the way a drawn bow releases its tension to shoot an
arrow.183 The release of the stored energy follows the dictates of the
Taijiquan classics: “The internal energy roots in the feet, transfers through
the legs and is controlled from the waist, moving eventually through the back
to the arms and fingertips.”184 This release of stored energy is represented
below in Figure 12-2.
Figure 12-2
The storage and release of energy in the legs is not accomplished by the mere
compression of the muscles. Rather, the storage and release is effected
through the compression and subsequent expansion of the sinews. When the
authors of the Taijiquan Classics use the term “sinews,” they are referring to
the tendons and the ligaments. Chapter Thirteen of the Yang Family Forty
Chapters states that power (jin) is generated by the tendons, and strength (li)
is generated by the bones.185 Here the term “bones” refers to muscular
strength. It is important to distinguish between muscular strength and the
compression and expansion of the tendons and ligaments. Muscular strength
is based upon hard force, whereas the compression and expansion of the
sinews is based upon the ability to be song.
When releasing the energy stored in the leg bows, a caveat must be heeded. It
is important to remain sunk into the legs (ch’en) and to avoid the error of
springing up as one releases the energy. The energy travels up the legs and
the spine and out the arms, but this passage is internal rather than external. If
you spring up out of the legs, you will lose your root. Similarly, if you allow
the energy traveling into the arms to project your body forward or your arms
outward, then the opponent will be able to borrow your forward momentum
and pull you off your stance. Most beginning students make the mistake of
springing up and forward out of their stance when attempting to issue energy
from the legs. It is helpful to ask others to observe you or to observe yourself
in a mirror when practicing this technique in order to avoid the error of rising
up or leaning forward when emitting fa jin from the legs.
Of the five bows in the body, the two leg bows are the largest and the most
powerful. However, relying solely upon the legs to store and release energy
represents a relatively low level of fa jin development. One may ask, where
else can the energy be stored and released? The Taijiquan Classics tell us that
the transfer of power comes from the spine.186 The Classics also instruct us to
condense the qi in the spine. If you can store energy in the spine as well as in
the leg bows and then release the combined energy of the two leg bows and
the spine bow in rapid succession, your fa jin will be much more powerful
than merely issuing stored energy from the leg bows.
Storing and releasing jin in the bow of the spine along with the leg bows
represents a middle level of fa jin development. The next level of fa jin
development utilizes the arm bows in conjunction with the leg bows and the
spine to store and release energy. The energy stored in the arms is a
combination of the opponent’s incoming energy and your own condensed qi
which has been stored in the sinews of the arms and shoulders.
There is one more level of fa jin development to consider. This is the release
of energy from the hands and the fingertips alone. When energy is emitted
directly from the hands, the pathway of the emitted energy is relatively short.
This creates a much more sudden and disruptive release of energy that is felt
by the opponent as an electric jolt. Issuing directly from the hands and fingers
is the shortest and most sudden way to emit fa jin. To the recipient of this
type of fa jin, it feels like sticking one’s fingers into an electric socket. It is
quite literally shocking. Huang Sheng-shyan, who was renowned for his fa
jin, used to demonstrate this ability by sitting on a chair and issuing fa jin into
his students by simply touching them with his hands. The purpose of these
demonstrations was to show that his legs were not involved in the process.
Obviously, when one is able to issue fa jin directly from the hands and
fingers, one is no longer relying upon the borrowed energy of the opponent.
So where does the energy come from? The answer is that the highest level of
fa jin relies upon the immediate and instant release of concentrated qi. This,
in turn, depends upon years of neidan qigong training in which the
practitioner has learned to condense the qi and direct it to any part of the
body at will.
In addition to the principle of storing and releasing, Chen Kung wrote that in
order to issue jin into an opponent, three essential points must be present:
opportunity, direction, and timing.187 If any of these elements are lacking or
are not executed correctly, the issuing will be ineffective.
Opportunity means that the opponent must present a suitable point of impact
when issuing energy. That is to say that the opponent must present a locus of
resistance or stiffness. It will do no good to issue fa jin where the opponent is
soft or empty. When working with relatively inexperienced opponents, it is
easy to find resistance and stiffness. However, with more skilled opponents
you may be required to manufacture resistance on their part. This can be
accomplished by applying Shaking jin, Grasping jin, Seizing jin, Freezing jin,
or Interrupting jin. These are advanced jin and should be attempted only after
mastering the jin presented in this chapter. Ideal opportunities for issuing fa
jin occur when the opponent has attempted and failed in his attack and finds
himself stuck. If, for example, you can deflect an opponent’s attack and cause
him to turn his shoulder or back to you, these points provide excellent
opportunities to issue fa jin.
The direction for issuing fa jin is also important. The Classics instruct us to
“seek the straight in the curved.” When you withdraw to lead an opponent in,
you should employ roundness and a curved path. This is the curvature of the
bow. However, when you release this stored energy, the release must follow a
straight path, like an arrow shooting forward. The direction of your release
must be straight through the point of the opponent’s resistance. If the
direction is not precise, your energy may be deflected in turn, which will
place you in a disadvantageous position.
When issuing fa jin, it is also important to pay attention to the opponent’s
stance. In practical terms, you don’t want to release your energy directly
toward the opponent, as that will enable him to root your energy into his back
leg. If you can identify a weak point in his stance, you can direct your fa jin
at an angle that takes advantage of this weakness. In this way, your fa jin will
have maximum effect.
With regard to the timing of your release, you should release when the
opponent has failed in his attempt to attack you but has not yet recovered
from his failed attempt. This is the timing of the opponent. You must also
look to your own timing. For example, if you are releasing energy stored in
the leg bows, you must coordinate the release of the leg energy with the
turning of the waist and the extension of the arms and hands. Yang Zwing-
ming’s comments on The Secret of Withdraw and Release emphasize the
importance of correct timing in the release of fa jin. He writes that timing is
essential in order to release jin effectively. Unless you are able to seize the
proper moment to issue jin, it will be clumsy and ineffective, and the
opportunity for issuing jin will be lost. Just as with shooting an arrow to
strike a moving target, both the timing of the release and the accuracy of the
aim are crucial.188
In conclusion, Issuing jin relies upon the principle of store and release. How
the energy is stored and released depends upon the level of development. At a
low level of development, the energy is stored and released from the sinews.
At the highest level of development the energy is stored as condensed qi and
the issue is almost electric in is character. Regardless of how the energy is
stored and released, it must be issued when the appropriate opportunity
arises, in the right direction, and with correct timing. If any of these elements
is lacking, the release of fa jin will fail to meet its objective, and the issuer
may find himself at the mercy of his intended victim. For this reason it is
essential to train fa jin and to practice with cooperative partners before
attempting to use this energy against actual opponents.
Seizing Jin: Seizing jin, or na jin, is an advanced jin that can be used either
defensively or offensively. The martial application of Seizing jin is often
referred to as “chin na.” In Western terminology the term “chin na” refers to
the use of joint locks to control or injure an opponent. Chen Kung wrote that,
in order to seize an opponent you must seize his joints, such as his wrists,
elbows or shoulders. If you do not correctly seize the opponent’s joints, when
you join with him, he may seize your own joints instead.189
Seizing jin is a good example of when it is necessary to interpret the term jin
as “skill.” Seizing skill involves knowing both where to seize an opponent
and how to seize him. The “where” typically involves the joints of the
fingers, the wrists, the elbows, or the shoulders. Often you will seize the
opponent at two different joints simultaneously. An example of this is the
joint lock known as an “arm bar.” In this type of joint lock, you seize the
opponent’s wrist and elbow in order to make his entire arm as stiff as a bar of
iron, which gives you complete control over his arm. Since his arm is
connected through his shoulder to his torso, it also gives you complete
control over the opponent’s body and not just his arm.
The “how” of seizing must be learned through experience working with a
knowledgeable instructor and willing partners. Typically, you will seize an
opponent by grasping one of his joints in one of your hands. As stated in the
preceding paragraph, you may also want to grasp two separate joints, one
with each hand. Seizing can be accomplished using only your fingers or your
entire hand. At advanced skill levels you can actually seize with your
forearm, your elbow, your upper arm, or your shoulder.
Once you have attached to the opponent’s joint(s) with your hands, you use
the rotational movement of the waist and the legs to put on the joint lock. Do
not try to simply twist his joint(s) with your hands. This is not the skill of
Seizing jin. Chen Kung specifically cautioned against this type of forceful
seizing. He instructed that the power of the seizing must come from the legs
and the waist. You should attach to the opponent’s joint(s) without forcefully
grabbing him. If you roughly grab his joints, he will be able to easily elude
your grasp.190 True seizing is accomplished through the application of
mind/intent and attaching using the defensive skills of chan nien explained in
the previous chapter. Yang Zwing-Ming concurs, stating that when
controlling an opponent, your touch must be light and agile. If your
movements are heavy, your opponent will easily detect them and be able to
elude your attempt to seize him.191
Beginning students typically make the mistake of trying to lock up the
opponent by simply grasping his joint(s) and then twisting with the hands or
forearms. As explained in the previous paragraph, an experienced taijiquan
practitioner can easily escape such clumsy attempts at seizing. This also
brings up an important aspect of seizing. The individual who is applying the
joint lock must do so subtly and without alerting the opponent of his
intention. If the opponent becomes aware of your attempt to seize him before
you are able to do so, he may elude you and possibly turn the tables by
seizing you instead. When advanced practitioners practice Seizing skill, it
becomes a game of not only applying joint locks but also of eluding their
opponents’ attempts to apply a lock. For every joint lock, there is a counter,
and for every counter, there is another counter.
As a final caution regarding Seizing skill, be very careful how you practice
these techniques and with whom you practice them. You don’t want to
unintentionally injure someone, nor do you want to suffer injury yourself.
You should only practice Seizing jin, or chin na, under the tutelage of a
knowledgeable and experienced teacher and only with partners who know the
limits to which these techniques can be applied without causing injury.
Chen Kung advised that it is normally not necessary to complete the
application of Seizing jin to the point of causing irreversible damage to an
opponent. It is better to cause the opponent temporary discomfort in order to
discourage him from attacking further. Chen Kung wrote that this is the Tao
of the wise individual. Joint locks and other damaging offensive jin should
only be resorted to in situations in which your life or the life of someone you
are with is in jeopardy.
Drilling Jin: Drilling jin, or tsuan jin, is a very specific type of jin that is
similar to the spiraling energy of Silk-Reeling jin. However, while Silk-
Reeling jin is smooth and continuous, Drilling jin is sharp and sudden.
Drilling jin is used to penetrate an opponent’s skin in order to damage the
underlying tissues or organs. Chen Kung wrote that Drilling jin is used when
first coming into contact with an opponent’s skin. It is as if drilling into
wood, which employs circular, torque-like action. This type of jin penetrates
deep into the opponent, and is capable of causing serious injury to the
opponent’s internal organs.192
Because Drilling jin is a penetrating jin, it is not appropriate for either
pushing hands or sparring practice. However, it can be very devastating in an
actual self-defense application, especially if this jin is applied at certain
acupoints that correspond to specific organs. There are also certain openings
in the body, referred to as “cavities,” where it is easy to penetrate into the
internal structure of the body. The solar plexus is one such cavity; the eye is
another. When one strikes a cavity, such as the solar plexus, this is called a
“cavity strike.” If the cavity strike is accompanied by Drilling jin, then the
cavity strike can cause serious injury or even death. Usually strikes to
acupoints and bodily cavities are accomplished using either one or two
knuckles, one or more rigid fingers, or an elbow. These become the “drill
bits,” so to speak, through which the drilling action is concentrated. The
“hook hand” in Single Whip is a modification of the crane’s beak that is
employed in Shaolin kung fu to execute cavity strikes. This hook hand in
taijiquan is a vestige of the art’s roots in hard style Chinese martial arts.
Chen Kung counseled beginning students not to attempt to apply Drilling jin,
as they might inadvertently injure another individual. He further added that,
without instruction from an experienced and reputable teacher, it is
impossible to learn how to apply Drilling jin correctly and safely. Although
Drilling jin is both dangerous and difficult to master, it is important to
understand the function and purpose of this offensive jin. For this reason,
Drilling jin along with Seizing jin and Sealing jin, have been included in this
chapter for the purpose of exposing the reader to the full range of offensive
jin that are included in the arsenal of taijiquan. It is recommend that any
student who wishes to study and become proficient in the martial application
of these offensive jin seek out an experienced and reputable teacher who can
explain these advanced offensive jin and teach them in a controlled and safe
environment.
Breaking Jin: Breaking jin, or quan jin, is an offensive jin that is used to
break an opponent’s bones. Like Drilling jin, this jin should not be applied in
either pushing hands or sparring. This jin should be reserved for use in
serious, life-threatening situations in which prior attempts to neutralize and
discourage an opponent from further aggression have failed. Breaking jin is
included in the thirty-seven jin identified by Chen Kung in his The Intrinsic
Energies of Taijiquan. However, it is not one of the twenty-five jin upon
which he elaborated further. The knowledge and application of Breaking jin
comes to us from other Chinese martial arts. This jin is included in the
present chapter for both historical reference and also because this jin may
actually save your life at some point. Having stated this, it is extremely
important that you study and develop this very dangerous skill under the
guidance of a knowledgeable and experienced teacher.
Breaking jin can be applied using the fist, the side of the hand, the palm, the
forearm, the foot, the shin, and even the head. The simplest application of
quan jin is to use either the fist or the forearm to fiercely strike against an
opponent’s bones. Great care must be taken when applying Breaking jin not
to break your own bones as well. For this reason, the breaking surfaces
employed in applying this jin must be trained so as to harden them to the
point of steel. This requires much time and effort. Until you have developed
this level of hardness, it is pointless to attempt to use Breaking jin in an
actual self-defense application.
In external martial arts systems, training hardness is accomplished by
repeatedly striking increasingly harder surfaces with the various body parts,
such as the fist or the forearm. In the past, external martial artists began by
punching into buckets filled with sand and then progressed to buckets full of
mung beans. They then punched wooden posts wrapped with cloth before
finally punching the posts without protection. Similar techniques were used
to harden the forearms, the shins, the feet, and even the head. These external
martial artists also applied tinctures and liniments to the skin in order to
harden the skin and the underlying tissue.
The problem with such external training techniques is that they not only
harden the underlying bones and tissues but they also harden the skin as well.
Once the skin is hard, it loses its sensitivity. When the skin is hardened, the qi
can’t reach the surface; when the qi can’t reach the surface of the skin, there
can be no Sticking/Adhering, no Listening, and therefore no Interpreting
skill. The question then becomes “How can one harden the bones without
making the skin hard as well?”
The taijiquan masters in the past discovered how to do just that. They were
able to develop the quality of extreme hardness contained within extreme
softness, a condition referred to as “steel wrapped in cotton.” This quality is
developed through many years of neigong training in which the qi is
circulated out to the skin in order to developed sensitivity. At the same time,
the qi is also condensed into the bones, reaching the marrow in order to
harden the bones from the inside out. If you train for many years according to
the techniques outlined in chapters Three through Eight in this book, you will
eventually develop this quality in yourself.
When skilled taijiquan practitioners use Breaking jin, their application is
somewhat different than that of external martial artists. For example, when an
external martial artist attempts to break a board or stack of bricks, he is taught
to focus his mind at a point beyond the board or the last brick and to drive his
fist through the board or the stack of bricks. In taijiquan, there is a saying:
“The yi stops but the energy does not stop.” With regard to Breaking jin, this
means that you should fix your mind on the thing you want to break, be it a
bone or a joint. You strike with your fist, or forearm, etc. to that point. At the
moment of impact, you issue Breaking jin, which then continues on through
the bone or the joint. It is the jin and not the fist, forearm, etc. that
accomplishes the breaking of the bone or the joint. Because internal Breaking
jin relies upon issuing rather than physical force, it is much more difficult to
develop this skill to a high level.
Additional Offensive Jin: In addition to the jin of Issuing, Seizing, Drilling,
and Breaking, there are several other offensive jin that may be employed in
actual self-defense applications. These advanced jin have intriguing names
such as Separating jin, Frozen jin, Wiping jin, Peeling jin and Shaky/Coiling
jin to name a few. The study of these advanced jin is beyond the scope of this
book. If you really want to explore the depths of the martial aspect of
taijiquan, you will need to find a high-level master of the art and commit to
studying with him or her for many years in order to be introduced to these
advanced skills.
While it is entertaining to consider these advanced jin as an intellectual
pursuit, the truth of the matter is that you don’t need to spend years mastering
advanced offensive jin in order to apply the art of taijiquan for pushing
hands, sparring, or self-defense. The two most basic offensive jin of Issuing
and Seizing will serve you well in the practice of the martial aspect of our art.
There is an expression, “ting, hua, na, fa” that can be translated as “listen,
neutralize, seize, issue.” This is the basic sequence used in the offensive
application of any taijiquan technique. First, one must listen to (and
understand) the nature of the opponent’s attack. Then, one must neutralize
that attack. Having neutralized, one can take advantage of the opponent’s
resulting vulnerable position to seize and control him. Finally, one can issue
fa jin to repel (or injure) the opponent.
Once you have mastered this simple formula, you will be able to apply the
offensive jin of na and fa effectively in pushing hands and sparring. If
necessary you will be able to use the techniques of both chin na and fa jin
and in order to discourage or even incapacitate an opponent in an actual self-
defense situation. For this reason, this chapter only includes training
exercises for fa jin and na jin. As stated previously, if you are interested in
learning how to develop and apply more advanced offensive jin, you should
seek the tutelage of a knowledgeable and experienced master to teach you
these esoteric jin.

How to Train Offensive Jin

Offensive jin training takes a different direction from defensive jin training.
Whereas defensive jin training primarily requires the cooperative interaction
of two partners, many of the offensive jin training techniques can be
practiced individually. This makes it much easier and more convenient to
practice and develop these skills. Of course, from time to time you will want
to test your level of development by pushing hands or sparring with other
individuals. When attempting to apply offensive jin with partners, be certain
that you and your partner both know what you are doing, what the safety
limits are, and practice under the guidance of a teacher who can intercede if
either of you crosses over the line from safety to risking injury.
Fa Jin Training Exercise 1: In this first fa jin training exercise, you will
develop the ability to issue energy suddenly by punching out with either the
right or the left fist. Although most taijiquan empty-hand forms only include
a right fist punch, you should train punching with both fists in order to
maintain energetic and physical balance between both sides of the body. For
the sake of brevity, only the right fist punch will be presented here.
In this exercise, the punch will be issued from a forward bow stance.
However, once you become proficient with punching out of a forward bow
stance, you can also practice punching from a parallel horse riding stance (ma
bu). This makes it possible to alternate punching from either side of the body
without having to change stances.
To begin, stand in a left forward bow stance. Drop your right fist down next
to your right hip and extend your left arm outward with the palm angled
upward and the fingers facing forward. Do not tighten the right fist at this
point. Instead, loosely close the four fingers of the right hand and cover them
with the thumb. Your right arm should be loose and relaxed, but should also
conform to the shape of a drawn bow. Your left arm should be extended
forward at chest height. See Figure 12-3a.
Sink into your rear, right foot and bend the right knee to draw the right leg
bow. Level your pelvis to draw the spine bow. Rotate your waist in a
clockwise direction in order to turn the torso approximately thirty degrees to
the right, as shown in Figure 12-3b. Then punch forward quickly, turning
your waist to face forward and unleashing the energy stored in the rear leg,
the spine, and the right arm. At the same time, pull back your left arm. Figure
12-3c shows the body as it begins to shift forward.
As you rotate your waist and shift your body forward, rotate your fist one
hundred and eighty degrees so that the knuckles are horizontal with the
thumb facing downward. Just as your right arm reaches its full extension,
clench your right fist tightly in order to strike out with power. At the same
time, issue energy upward from the rear leg, through the spine, forward into
the right arm, and outward into the knuckles of the clenched right fist. Figure
12-3d shows the finished posture of the punch.
Figure 12-3a
Figure 12-3b
Figure 12-3c
Figure 12-3d
Be sure not to use any shoulder strength when punching out. The power for
the punch comes entirely from the extension of the rear leg and the turning of
the waist. You will need to tense your right forearm slightly as you clench the
fist in the final moment of issuing the stored internal energy. The tightening
of the muscles in the forearm and the clenching of the fist act together to
compress the jin like squeezing toothpaste from a tube. It is important that the
entire body, other than the tensed right forearm and the clenched right fist,
remains relaxed and loose throughout the punch. If you have executed the
punch correctly, your right fist will vibrate as you complete the punch.
When issuing jin, it is important to incorporate proper breathing. Be sure to
inhale down into the abdomen as you store energy and to exhale fully as you
release and issue energy. The inhalation should take place through the nose,
but the exhalation should be through the mouth. You may want to make a
brief, sudden sound as you complete the punch. Traditionally, Chen family
members used the sound of “ha” when issuing jin. This served both to
intensify the release of the breath and also to startle their opponents.
Practice punching repeatedly until you can issue jin and make the clenched
right fist vibrate without any additional bodily tension. Remember to practice
punching from both sides of the body. Your opposite side punch may feel
awkward at first. If necessary, spend more time punching with your non-
dominant fist until you can issue jin with equal power and suddenness on
either side of the body.
Fa Jin Training Exercise 2: In this second fa jin training drill, you will
begin to develop the ability to issue energy to both fists simultaneously. It is
said that when Chen Wangting punched forward with both fists, he would
first withdraw his two fists into the sleeves of his tunic. When he punched
forward, his two fists would shoot out of his sleeves like twin cannon balls.
The sharp sound made by the snapping of his fists as they emerged from the
loose fabric of his sleeves sounded like the double report of two cannons
firing simultaneously. This is the source of the designation “Cannon Fist,” or
“Double Cannons,” which is associated with Chen family taijiquan.
As with the preceding drill, you can train punching with double fists in either
a right or a left forward bow stance. The left forward bow stance will be
employed in this example. To begin, stand in a left bow stance with the two
arms held up in front of the body as shown in Figure 12-4a. You next sit back
into your rear, right leg in order to draw the right leg bow. You will also need
to rotate your waist clockwise to store rotational energy in the waist and the
right kua. Tuck your tailbone under to level the pelvis and draw the spine
bow. As you sit back and rotate your waist to the right, draw in your two
arms and form loosely closed fists with both hands. Your right hand should
be held above your left hand. Rotate your two wrists so that the knuckles of
both hands face inward, as shown in Figure 12-4b.
To release the internal energy stored in the rear leg bow, the spine bow, and
the two arm bows, extend your rear leg and rotate your waist in a counter-
clockwise direction in order to transfer your weight onto your front leg and
turn your torso to face forward. Figure 12-4c shows this transitional
movement. Finally, snap your two fists outward as you release the energy
stored in the rear leg bow, the spine bow, and the two arm bows. As the two
fists are propelled forward, rotate your wrists so that the knuckles of the two
hands face forward. This will impart a spiraling energy to the double punch.
At the final moment of release, clench both fists and tense the two forearms
to issue jin into knuckles of the two hands. Release the breath through your
mouth with a sudden “ha” sound. See Figure 12-4d.
Figure 12-4a
Figure 12-4b
Figure 12-4c
Figure 12-4d
You should practice storing and releasing energy in this fashion for at least
eight times in both the left and right forward bow stances. When practicing in
the right bow stance, your left fist will be forward of your right fist. This may
feel a bit awkward at first if your right hand is dominant. Practicing fa jin
drills on both sides of the body is one way to lessen your dependence upon
your dominant hand.
Fa Jin Training Exercise 3: This fa jin training exercise focusses on the
action of issuing energy to strike with the elbow. Recall that Elbow-Stroke
(tsou) is one of the Original Thirteen Postures. As was explained in Chapter
One, the Original Thirteen Postures are not really postures, but are martial
techniques. Regarding the technique of Elbow-Stroke, there are several ways
to strike with the elbow. You can use the elbow like a battering ram and
strike horizontally; you can slam the elbow downward like a hammer; or you
can swing the elbow upward is if delivering an uppercut. A well-aimed elbow
strike can be delivered with devastating effectiveness against an opponent in
a martial situation.
In this example, the elbow strike will be delivered horizontally. This is the
easiest of the three elbow strikes to train. To begin this exercise, stand in a
right sideward bow stance. Because you will not be engaging the left arm,
you can rest the left hand comfortably upon your left hip. Hold your right
forearm horizontally with the elbow adjacent to your right hip and the right
hand near the left hip. Your right palm should be facing inward, as shown in
Figure 12-5a.
In order to store internal energy in the left leg bow, sit back onto your left
leg. At the same time, withdraw your right forearm horizontally to your left
and rotate your right wrist so that the palm of your right hand faces
downward. Although the primary source of the internal energy comes from
the leg bow, you will also employ the waist in this drill, so also need to turn
the waist about twenty degrees to your left. Be sure to inhale as you sit onto
the left leg and withdraw the right arm. See Figure 12-5b.
To release the energy stored in the left leg bow and the right arm bow,
transfer the weight quickly from the left leg into the right leg, turn the waist
twenty degrees to the right, and shoot the right forearm forward. Figure 12-5c
shows the position of the body as it begins to move from left to right. Finally,
allow the momentum of the weight shift to send the right forearm further to
the right until the palm of the right hand reaches the edge of the right ribcage.
As the right elbow reaches its final position. The dual rotations of the waist
adds an element of spiraling energy to the elbow strike. As you issue energy,
exhale suddenly with a “ha” sound. See Figure 12-5d.
Figure 12-5a
Figure 12-5b
Figure 12-5c
Figure 12-5d
Practice this exercise for a minimum of eight times on the right side and then
switch stance and perform for an additional eight strikes on the left side. It is
especially important when practicing this exercise that you avoid engaging
the shoulder on the striking side of the body. All the energy must be directed
into the leading edge of the elbow, while the rest of the body remains loose
and relaxed.
Fa Jin Training Exercise 4: In this fa jin training exercise, you will train the
martial application of Shoulder-Stroke (kao). Shoulder-Stroke can be
delivered with the side of the shoulder, the front of the shoulder, or the back
of the shoulder. In a martial situation, bumping or striking an opponent with
the shoulder can be used to escape from an opponent who has attempted to
enclose you by wrapping his arms around your upper body in a bear-hug type
of embrace.
In this example, the side of the shoulder will be employed to issue energy
from the right shoulder. To begin, stand in a right forward bow stance. As
with the elbow strike fa jin training exercise, you won’t be utilizing the left
arm or shoulder, so you can rest your left hand comfortably upon your left
hip. Place your right arm in front of your torso as shown in Figure 12-6a
below. You first load the left leg bow as done previously in the elbow
striking exercise. As you sit back onto your left leg, draw in your right
shoulder somewhat. At the same time, rotate your waist slightly to your left.
Accompany the withdrawal of the body with an inhalation. See Figure 12-6b.
To release the energy stored in the left leg bow, extend the left leg suddenly
as you transfer your weight quickly forward into your right leg. At the same
time, rotate your waist to the right and allow your withdrawn right shoulder
to expand outward to the right side. Figure 12-6c presents a snapshot of this
transitional movement. Finally, issue energy into the outer edge of the right
shoulder as you complete the weight transfer from the left leg into the right
leg. Exhale with a sharp “ha” sound as you issue energy suddenly out to the
right shoulder. See Figure 12-6d.
Figure 12-6a
Figure 12-6b
Figure 12-6c
Figure 12-6d
Practice this exercise for a minimum of eight times on each side of the body.
When practicing this drill, it is essential that you do not tense your shoulder
at the moment when the energy is issued. Tensing the shoulder will impede
the passage of jin from the back and into the shoulder. Unlike the action of
Elbow-Stroke, which is sharp and focused, the action of Shoulder-Stroke is
more diffused, and the energy that is released is spread over a larger surface
area. For this reason, the martial application of Shoulder-Stroke is sometimes
referred to as “Shoulder-Bump.”
Fa Jin Training Exercise 5: Another way to train fa jin is to practice the
form quickly. In Chen style, this will entail learning the er lu, or second form,
of the lao jia (Old Frame). This second form, also known as “Cannon Fist,”
will help you develop and deliver fa jin. The fa jin in this form is
accompanied by chan ssu jin that is developed through the practice of the
first form (i lu). The Wu (Chian-chuan) family style also includes a fast set,
although most teachers of this style do not teach it. There are, however, a
number of Wu stylists with direct lineage to Wu Chian-chuan who are still
practicing and teaching the fast form.
Within the Yang family, practicing the fast form (or “fast set” as it is
sometimes called) is somewhat controversial. It is clear that, in the past, the
Yang family members practiced a fast form. What that form consisted of is
the subject of much debate. The Dong family claims that their progenitor,
Tung Ying Chieh, who was a student of Yang Cheng-fu, developed a fast set
with the approval of Yang Chen-fu, since the original fast set of Yang Lu-
chan apparently had been lost. Who is to say what the true story is? However,
it doesn’t really matter what the origin of the fast set is as long as you
understand its purpose, which is to train fa jin. In fact, the Dong family also
refers to the fast set as the “fa jin set.”
If you do decide to practice a fast set from a style other than Chen, be sure to
understand that the fast form is not just doing the form fast. Instead, there is a
variation in speed from slow to fast and back to slow again. In this way, the
fast form shares the speed changes which are one of the primary
characteristics of Chen style taijiquan. For example, when performing the
Dong family fast set, you must be aware of when to move slowly and when
to speed up and issue fa jin. Obvious points for issuing jin are the postures of
Push, Press, Brush Knee, Flash Arms, Advance, Deflect Downward, Parry
and Punch, Strike the Tiger, etc.
If you are unable to find a qualified teacher with whom to study the fast form
from your family style, you can isolate specific movements and perform them
repeatedly while focusing on issuing jin at the appropriate moment. For
example, you can perform the movements of Press followed by Withdraw
and Push from the traditional Yang style form as you step across the room.
This sequence would proceed as follows: First, stand in a right bow stance
and withdraw the arms as if performing Rollback. When you complete the
Rollback, circle the arms up and across the body with the left palm placed
inside the right wrist in preparation to execute Press. Square up the hips,
shoulders and arms and then perform a quick step forward with the right foot,
while extending the back, left leg. As you complete the forward step and
extend the rear leg, suddenly issue fa jin into both the left palm and the right
forearm as if you were connecting with an opponent’s chest.
To perform the next step in the sequence, relax and withdraw the arms
inward and downward on each side next to the ribs. Then, step forward again
with the right foot, execute a following step with the rear, left foot, and
quickly extend the arms up and outward as if pushing the chest of an
opponent. Issue fa jin suddenly into the laogong point in each palm as you
extend the rear, left leg. Finally, relax the two arms and roll them back in
preparation for another press. See Figures 12-7a through 12-7d for the full
sequence. Repeat this process as you advance across the room. Then turn
around, switch to a left bow stance and repeat the process to cross the room
again to your original starting position.
Figure 12-7a
Figure 12-7b
Figure 12-7c
Figure 12-7d
Practicing the fast form, or simply isolating specific sections of the form and
practicing the movements quickly with an emphasis on issuing fa jin, will
help you develop issuing skill. However, you must practice with the correct
frame of mind and divest yourself of all external force. You must be
completely relaxed, especially in the shoulders. If you are at all tense, you
will not be able to issue fa jin, and you will simply wind up practicing the
form fast, with little or no benefit. If at all possible, try to study videos of past
and present masters practicing the fast form. Also, ask someone to record you
on video as you practice the fast form so you can analyze whether you are
loose and relaxed or tense and forceful. If you have any doubt as to whether
you are practicing correctly, it is better to forego fast form training until you
can find a knowledgeable teacher to instruct you.
Chin Na Training Exercise 1: In order to train Seizing jin, you will need
something to seize. Obviously the most realistic thing to seize would be a
partner’s arm or hand. However, partners are not always available, and
partners who are willing to be seized, especially inexpertly by a beginner, are
rare indeed. For this reason, it is convenient to practice seizing using an
apparatus such as a short wooden stick. A piece of bamboo of approximately
one to one-and-a-half inches in diameter and measuring around two feet in
length is ideal. However, if you don’t have access to a piece of bamboo, you
can use a wooden dowel, a length of broomstick, or even a piece of PVC
tubing.
Traditionally, the piece of wood used to practice seizing was referred to as a
“ruler.” The ruler is a very useful tool in training a number of both offensive
and defensive jin. The taiji ruler, or taiji bang, has been used in China for
centuries to train chin na skill as well as to develop the ability to issue qi out
the hands in qigong training. There are many taiji ruler training exercises,
several of which are described in this section.
To begin, stand in a parallel stance with your feet between hip width and
shoulder width apart. Hold the ruler away from your body parallel to the
ground at about waist height. You should grip the ruler lightly in both hands
with the palms and fingers wrapped around the ruler and the backs of the
hands facing up. See Figure 12-8a. Alternately rotate one hand forward and
the other hand backward using the wrists to accomplish the hand rotations.
As you rotate your hands in opposite directions, squeeze them against the
surface of the taiji ruler. See Figure 12-8b. You should have the sense that
you are wringing water out of a wet towel. This will create a twisting effect
on the ruler. However, since one hand is twisting forward and the other is
twisting backward, the ruler should remain stationary. Nonetheless, you will
be creating a rotational torque on the ruler. If the ruler were an opponent’s
arm, he would definitely feel this torque, which would be uncomfortable, to
say the least.
Figure 12-8a
Figure 12-8b
As a variation of this exercise, hold the ruler vertically with the backs of the
hands facing forward as shown in Figure 12-9a. Twist the left hand counter-
clockwise and the right hand clockwise while you squeeze your hands against
the ruler. See Figure 12-9b. Hold this position for around twelve seconds and
then release the tension in the wrists. Relax for another twelve seconds and
then repeat the twisting motion and the squeezing of the two hands. Continue
in this fashion for several minutes. When twisting the hands, try not to rely so
much on the hands. Instead, begin the twisting motion in the forearms and
down into the wrists. Also, don’t use too much force. If the wrist and forearm
of each arm twist equally in opposing directions, you will only need to
employ a small amount of muscular strength in order to create sufficient
rotational torque.
Figure 12-9a
Figure 12-9b
A more challenging variation of the above exercise is to reverse the two
hands as shown in Figure 12-10a. Then rotate the hands in opposite
directions. This will definitely cause your wrists to stretch and will strengthen
the ligaments and tendons in the wrists and hands, as can be seen in Figure
12-10b. Without changing hand positions, now turn the ruler over so the
opposite hand is on top and repeat the rotation of the hands. Change back and
forth, holding the ruler first with one hand on top and squeezing and then
turning the ruler over and squeezing with the other hand on top.
Figure 12-10a
Figure 12-10
Chin Na Training Exercise 2: When practicing chin na, it is very helpful to
know what it feels like to be seized. For this reason, you should practice
seizing techniques on yourself. These techniques, of necessity, will be of the
one-handed variety. However, you will be surprised at the number of
different joint locks that you can practice on yourself using only one hand to
lock up the opposite hand, wrist, elbow and shoulder. Practicing joint locks
on yourself also has the added benefit of strengthening the opposite arm and
of training you to receive joint locks without injury to yourself. Just be sure
that you don’t overdo it. Start off very gently and work up to the amount of
rotational torque that you can withstand without harming yourself.
To begin, stand in a parallel stance and seize the fingers of your left hand in
your right as shown in Figure 12-11a. Using the rotational torque of your
right forearm and wrist, wring out the left hand just as if you were wringing
out a twisted up towel. You will find that you don’t need much rotational
torque in order to create the effect you are looking for. Hold the twist for ten
seconds and then release. Repeat for five times. Then turn the left hand over
and twist it with your right hand in the opposite direction See Figure 12-11b.
Hold for ten seconds and repeat for five times. Move up to the left wrist and
repeat both twists on the wrist. Then change hands and repeat all the locks on
the right hand and wrist.
Figure 12-11a
Figure 12-11b
Next you will use the right hand to lock up the left hand when the left arm is
held up vertically and the palm facing in. See Figure 12-12a for the first
application. After you have twisted the left hand in one direction, reverse the
position of the left hand so the palm faces out and apply a twisting motion in
the opposite direction, as shown in Figure 12-12b. Then switch to the left
wrist and again practice twisting in both directions by reversing the direction
of the left hand from facing in to facing out.
Figure 12-12a
Figure 12-12b
Finally, hold the left forearm downward with the palm facing away and grip
the left hand with the right hand as shown in Figure 12-13a. Twist the left
hand forward to create the joint lock. See Figure 12-13b.Hold for ten seconds
and then release. Repeat for five times. Then rotate the left arm so the palm
faces in and try twisting the left arm in the opposite direction.
Figure 12-13a
Figure 12-13b
You can find lots of ways to practice chin na on yourself. As cautioned at the
beginning of this section, take it easy and don’t be overly eager at first. Be
sure to practice all these self-applied locks carefully! Work up to the level
where you can support the lock without causing injury. The self-locking
techniques presented here are just a few examples to give you the idea of how
to practice on yourself. There are many other variations that you can develop
on your own.
Chin Na Training Exercise 4: In this next of Seizing skill exercise, you will
practice with a (hopefully willing) partner. You should only attempt these
exercises after you have practiced on yourself, since you will have a better
understanding of what it feels like to have a joint lock applied to your arm or
hand. You will realize that it only takes a little rotational torque to achieve a
joint lock, and you are much less likely to overdo it and cause injury to your
partner once you have practiced on yourself. Remember, if you injure your
partner, you won’t have anyone to practice with. You should also take into
account that, however hard your lock your partner, she is going to apply the
same amount of force on you. So, take it easy! Don’t get carried away here.
You can begin by practicing the same one-handed joint locks on your partner
that you have practiced on yourself. Again, you are advised you to start off
very gently at first. Use rotational force rather than brute strength and slowly
increase the rotation until your partner indicates that the lock is in place. Then
back off slightly and keep the lock on for ten seconds or so. Practice with
both hands and change roles often so as not to overtax any single joint. Once
you and your partner are comfortable applying single-hand joint locks on
each other, you can move on to two-handed locks. When applying double-
handed locks on a partner, it is even more important that you proceed slowly
and carefully. It is very easy to injure someone unintentionally when twisting
their arm in two directions simultaneously.
A simple two-handed joint lock is shown in Figure 12-14a. You lightly grip
your partner’s left hand with your right hand and place your left forearm
under his left elbow. Apply a gentle downward pressure with your right hand
while simultaneously applying a gentle upward pressure with your left
forearm. At the same time, you can add a clockwise twisting motion with
your right hand. This combines both bending and twisting to create a very
effective arm bar joint lock on your partner’s left arm. As you apply the
upward pressure on your partner’s left arm, he will of necessity rise up in
order to relieve this pressure. Be sure not to apply too much pressure and to
release the lock as soon as your partner indicates that the lock is on. See
Figure 12-14b. Practice this lock on both sides and change partners
frequently so as not to overstretch the tendons and ligaments in either arm.
Figure 12-14a
Figure 12-14b
A variation of the arm bar is to lightly grip your partner’s left hand again in
your right hand while placing your left forearm above his left elbow as shown
in Figure 12-15a. This time, twist his left hand counterclockwise to extend
his left forearm and then apply a downward pressure with your left forearm.
This creates another type of arm bar. However, this time your partner will be
forced to bend down in order to relieve the downward pressure. See Figure
12-15b. As with the preceding arm bar, be sure to use very gentle pressure
and to desist once your partner has indicated that the lock is on.
Figure 12-15a
Figure 12-15b
When training chin na skill, you should keep in mind that you are still
practicing taijiquan. Be sure to use softness and roundness rather than
muscular force and tension. Apply your chin na techniques gently and with
rotation. Above all, avoid jerking or hard force. Adhere to Yang Jwing-
ming’s caution here, in which he instructs students who practice chin na to
avoid hurting each other when practicing these techniques. He advises chin
na practitioners to control their power. As Yang Jwing-ming reminds us,
experienced martial artists always know how to control their power are able
to determine how far to apply a chin na technique to avoid permanently
injuring their sparring partners.193

Conclusion
Many martial arts schools teach hundreds of applications, which their
students spend dozens of years learning. However, masters of these arts will
tell you that in an actual self-defense situation, they are likely resort to only a
handful of their most basic defensive and offensive applications. Those are
the applications that they have studied most extensively and are, therefore,
the most instinctive. This is also the case in the application of jin. If you can
use Sticking/Adhering jin, Listening jin, Interpreting jin, Receiving jin, and
Neutralizing jin effectively for defense and Issuing jin and Seizing jin for
offense, you will be able to defend yourself in any situation that requires you
to confront one or more aggressors.
The defensive and offensive jin identified in the sequence ting, hua, na, and
fa constitute an arsenal of intrinsic energies, or jin, that give the art of
taijiquan its unique character. Along with the aspect of song and principle of
guarding the yi and the qi in the dantien in coordination with the circulation
the qi throughout the body, it is these jin that constitute the essence of the art.
All students who wish to master the martial art of taijiquan should undertake
the study of these jin as part of their training. Chen Kung wrote that to reach
the top you must begin at the bottom, and to travel far you must begin at the
near.194
This chapter has provided not only a theoretical description of the basic
offensive jin of taijiquan, it has also included training exercises designed to
assist students in the development of Issuing jin and Seizing jin. Many of
these exercises are solo exercises, although several do require a willing
partner. These training exercises, while essential, are not the end of the road,
however. They merely open the door to the actual application of these jin. In
order to learn how to apply both defensive jin and offensive jin, you will need
to engage in two-person practices such as pushing hands and sparring. To
continue with the travelling metaphor employed in the preceding paragraph,
the next step on your journey is to begin practicing pushing hands with
willing and cooperative partners. It is through this practice that you will
really begin to develop and learn to apply both the defensive jin introduced in
the previous chapter and the offensive jin described in this chapter.
The following chapter introduces the principles and the practice of pushing
hands, or tuishou. In that chapter, you will be introduced to those principles
of taijiquan which relate specifically to the relationship between the taijiquan
practitioner and an opponent. In addition, you will be introduced to a number
of tuishou patterns which will enable you to put the principles of pushing
hands into practice. Finally, you will be given some helpful hints and
suggestions for improving your free-hand pushing hands skill.
 Chapter Thirteen

The Principles and Practice of Pushing Hands

Any student who wishes to study taijiquan as a martial art should spend time
developing and refining the skill of pushing hands. Pushing hands, or tuishou,
is not an end in itself. Rather, it is a training exercise that is practiced in order
to develop the skills of Sticking/Adhering, Listening, Interpreting, Following,
and Neutralizing. The practice of pushing hands also helps to develop the
Four Sides skills of Ward-Off, Rollback, Push, and Press as well as the Four
Corners skills of Pull-Down, Split, Shoulder-Stroke, and Elbow-Stroke.
Additionally, moving step pushing hands trains the practitioner in the
stepping skills of Advance, Retreat, Look Left, Gaze Right, and Central
Equilibrium. Taken together, the Four Sides and Four Corners along with the
Five Steps constitute the Original Thirteen Postures enumerated in the
Taijiquan Classics.
For this reason, it is important to master pushing hands if one seeks to
understand and practice the true taijiquan of the masters of old. Given the
importance of pushing hands to the development of high-level taijiquan skill,
it is surprising how few teachers emphasize this aspect of the art. Many of
those who do include pushing hands practice in their curriculum allow, and
even encourage, their students to engage in fierce shoving matches. In these
schools, one participant pushes forcefully against a partner who stubbornly
refuses to budge in the name of rooting.
True pushing hands has nothing to do with either pushing in the Western
sense of the word or of stiffly resisting as a form of so-called “neutralizing.”
Instead, the goal of pushing hands practice is to develop softness, sensitivity,
and skill in neutralizing. The softness, sensitivity, and neutralizing skill
developed through pushing hands practice can then be employed in sparring
and, more importantly, in actual self-defense situations.
In his popular and influential book, The Tao of Taijiquan, Jou Tsung Hwa
included an excerpt from an earlier work by Yang stylist Chen Yen-lin. In
this work Chen stated that the basis of all achievement in taijiquan is the
practice of pushing hands. He advised all practitioners to spend as much time
as possible practicing and studying pushing hands. Jou Tsung Hwa himself
stated that understanding the principles of pushing hands enables one to
balance yin and yang in in all aspects of life. In this way, the quality of life as
a whole will be enhanced.
Ma Yueuh-liang stated that practicing the form is the way of self-practice,
while practicing pushing hands is the way for two people to train
cooperatively. He added that the practice of the solo form is the foundation,
and pushing hands is the application. On the subject of pushing hands, Sun
Lutang stated that the solo form is the body and pushing hands is the use.
Together, the body and the use form a complete art. According to Sun,
practicing the form is the gongfu of understanding the self, and practicing
pushing hands is the gongfu of understanding others. The concept of
understanding others through the practice of tuishou is said to have originated
with Chen Wanting, the founder of Chen style taijiquan. In the Song of the
Canon of Boxing he wrote: “Nobody knows me, while I know everybody.”
Chen Xiaowang, a contemporary Chen style grandmaster, stresses the
importance of pushing hands in developing true taijiquan skill. He has stated
that pushing hands and form training are inseparable. Any defects in the form
will be revealed during pushing hands as a weakness that can be taken
advantage of by an opponent. According the Chen Xiaowang, pushing hands
is the only way of reliably testing the effectiveness of one’s solo form.
From the words of these masters, we can see that pushing hands practice is
essential to the complete mastery of the art of taijiquan. Individuals who only
practice the solo form have no way of really testing their gongfu. Externally,
their solo form may appear technically correct, fluid, and graceful. However,
as Ping-Siang Tao expressed it, these same practitioners often find
themselves being dominated when playing pushing hands. For this reason, all
serious taijiquan practitioners should engage in regular pushing hands in
order to test themselves. Practicing pushing hands enables one to measure the
degree of one’s own achievement in becoming, as Dr. Tao puts it: light,
nimble, and strung together.
It is important, however, that students do not engage in pushing hands until
they have a good foundation in the traditional solo form. It is difficult to
attempt to incorporate the principles of taijiquan in pushing hands until the
student already has learned to incorporate those principles when moving
through the solo form. Further, once students are introduced to the activity of
pushing hands, their initial practice should be limited to engaging in
repetitive two-person drills such as those introduced in Chapter Eleven. After
developing some rudimentary skill in these simple drills, students can
advance to one or more standardized patterns such as the Four Hands pattern
described later in this chapter.
Practicing repetitive pushing hands patterns, both with single hands and with
double hands, helps to develop the skills of Sticking/Adhering, Listening,
Interpreting, Following, and Neutralizing. Only after an extensive period of
practicing the solo form and pushing hands patterns should the student begin
to engage in freestyle pushing hands. Those students who have already been
practicing freestyle pushing hands without sufficient exposure to formalized
pushing hands patterns would do well to find a teacher or a partner who
knows these patterns. Such students are advised to learn and practice these
basic patterns in order to overcome the deficiencies and bad habits that they
have developed through the practice of undisciplined pushing hands play.
There are a number of important principles that should be observed whenever
practicing pushing hands. These are discussed in the following section.
Unless students heed the principles delineated by the masters and also those
elucidated in the Taijiquan Classics, they are unlikely to make any
meaningful progress in the practice of pushing hands.
It is often difficult for individuals with five or ten years of freestyle pushing
hands experience to admit that their pushing hands skills are limited and that
they need to learn the basic skills of pushing hands. However, in many cases
that is exactly what must take place in order to unlearn bad practices and to
develop the proper skills (and attitude) necessary for the correct practice of
pushing hands. This is analogous to individuals who learned to play tennis
without proper instruction at the beginning stages. Such individuals may be
competent tennis players, but they are likely to have many bad habits and
also to have gaps in their skill set that only can be addressed through
corrective instruction from a skilled tennis professional. Whether you fit into
the category of a beginner who is just attempting to learn pushing hands or
consider yourself to be an old hand at this practice, you will be well-served to
review the following section which explains the principles of pushing hands.
It would also be beneficial at this stage to review the two-person exercises
outlined in Chapter Eleven. Finally, you should learn and practice the basic
pushing hands patterns presented at the end of this chapter.

The Principles of Pushing Hands

In discussing the subject of pushing hands, it is important to adhere to the
basic principles of taijiquan. These principles were outlined in Chapter Nine.
Such principles as “a light and lively energy suspends the headtop” and
“guard the mind and the qi in the dantien” apply equally to both the solo form
and pushing hands. Students should always keep the fundamental principles
of the art in mind when practicing pushing hands. Indeed, it is said that one
should practice pushing hands as if one were practicing the solo form.
However, in addition to the fundamental principles that apply to practicing
the solo form, there are also certain principles that pertain directly to the
practice of pushing hands. The following are some of the more important
principles of pushing hands.
Maintain Central Equilibrium: Of all the principles that relate to the
practice of pushing hands, one of the most important is: “Maintain central
equilibrium.” The principle of central equilibrium is integral to all aspects of
taijiquan. This important principle was introduced in Chapter Nine, but it
bears reviewing here as it is particularly relevant to the practice of pushing
hands. When considering the concept of central equilibrium, it is helpful to
think about the function of a revolving door. The revolving door has a
central, vertical axis around which the four door panels rotate. If the
revolving door is properly aligned and well-lubricated, the gentle pressure of
a child’s hand against one of the door panels is enough to cause the entire
four-door structure to revolve. This is in accordance with the line from the
Taijiquan Classics: “So light an object as a feather cannot be placed, and so
small as a fly cannot alight.”
If you extend the principle of the revolving door to any door, you will realize
that, in order for a door to function properly, it must be vertically aligned. If a
door is not properly hung on its hinges, it will lean in one direction or
another. This will impede the door’s ability to open and close easily.
Similarly, when individuals practice pushing hands, they must be free to turn
to either side in order to execute Rollback in order to neutralize incoming
pushes. The Classics caution us not lean in any direction. We are advised
instead to use the waist like a mill wheel, “grinding fast and slow.” Figures
13-1a and 13-1b illustrate the proper technique for rotating the waist while
maintaining central equilibrium in order to Rollback and neutralize an
incoming push. Note that the player in white maintains her central axis while
the player in black has lost his central equilibrium.
Figure 13-1a
 Figure 13-1b

Leaning backward or bending forward at the waist are referred to as the dual
errors of “leaning and butting.” These and other deficiencies, such as double-
weighting, are to be avoided when practicing any aspect of taijiquan. Each of
these errors is addressed individually in this chapter. As a general rule, when
practicing pushing hands one should avoid any posture that is not present in
the empty-hand form. When practicing the empty-hand form, the practitioner
does not lean forward or backward, so why would she do so when playing
pushing hands?
Unfortunately, many experienced pushing hands players resort to bending at
the waist in order to hollow out or lean backward in an attempt to evade an
opponent’s incoming force. While such efforts may yield the immediate
benefit of avoiding getting pushed off, this style of Gumby pushing hands
directly violates the principle of maintaining central equilibrium as can be
seen in Figures 13-1c and 13-1d. Figure 13-1c illustrates the error of leaning,
and Figure 13-1d portrays the error of butting.
Figure 13-1c
Figure 13-1d
Individuals who rely primarily upon this style of pushing hands may
experience some initial success and even some renown as skilled players.
However, these same individuals will never advance to higher levels of skill
in which the waist and the kua are employed in order to neutralize an
opponent’s incoming force. More advanced pushing hands players will know
to simply follow the retreating player’s center until he has no more capacity
to hollow out or lean backward. Then, a small amount of pressure will suffice
to topple such individuals, who have no real root and who have compromised
their structure.
Be Light, Nimble, and Threaded Together: The Taijiquan Classics instruct
us to be light, nimble, and threaded together so that the qi can penetrate the
body like a silken thread passing through a nine-holed pearl. Ping-Siang Tao
uses the phrase “light, nimble, and threaded together” to describe the basic
qualities of taijiquan. While these qualities are important in the practice of
the solo form, they are essential in pushing hands practice.
Lightness is necessary for the development of Listening skill, or ting jin. We
must become so light that “a feather cannot be placed nor a fly alight.”
Lightness is developed through the use of the yi to lead the qi to the
extremities. Techniques such as opening the pores and feeling the hairs on
one’s skin can be utilized to develop lightness and sensitivity. However, real
progress in developing lightness can only be made by working with willing
partners while practicing pushing hands patterns.
Nimbleness means that we immediately respond to any touch or pressure. “If
the opponent attacks the right, immediately empty out the right and fill in the
left. If the left side is attacked, empty the left and fill the right.” This principle
relates directly to the origin legend of taijiquan, in which Chang San-feng
observed a bird attacking a snake. When the bird attempted to strike at the
snake’s head, it withdrew its head and whipped around to attack with its tail.
When the bird strove to peck at the snake’s tail, it withdrew its tail and
counterattacked with its head. As with lightness, the best way to develop
nimbleness is to practice pushing hands patterns.
Being threaded together means that all of the joints of the body, from the
ankles and toes out to the wrists and fingers, must be connected together like
links in a chain. The chain is a good analogy to use when practicing pushing
hands. When yielding and neutralizing, one should allow each link in the
chain to give way individually, starting with the wrists and working
backward through the elbows, the shoulders, the spine, the waist, the hips, the
legs and finally the ankles. When issuing jin, the links should be connected as
if welded together at the moment of issuing the jin. Otherwise, the jin will be
loose and disconnected. It is important, however, only to weld the links
together for the briefest moment in time, otherwise one will become stiff and
unresponsive to the opponent’s counter-attack.
Don’t insist; don’t resist: Another important principle of pushing hands is:
“Don’t insist; don’t resist.” This principle warns the practitioner against
insisting on pushing the opponent when the act of pushing does not produce
the desired result. Consider, for example, the student who wishes to push her
partner’s front, ward-off arm in an attempt to uproot him. However, if her
partner has a good root and has sufficient peng jin in his arm, her initial push
will have no effect. Should she continue to push against her partner’s arm, he
is likely to turn and roll her back, or alternatively he can ti fong by leading
her into emptiness and then repelling her backward. In either case, her partner
will be borrowing the energy which she has foolishly provided to him. Rather
than insisting on pushing against his ward-off arm, she should desist pushing
against his arm and look for a place to push where her partner is empty rather
than full.
The second half of this principle is equally important. Consider the partner
who uses his ward-off arm to resist his partner’s push. While Ward-Off is an
important skill, it should not be used to resist an incoming push. Rather,
Ward-Off is a way to initially receive a push and then to redirect it. If the
individual using Ward-Off resists his partner’s push, she may be strong
enough to overcome his resistance and push him over anyway. Further, by
standing resolutely in a fixed-position and relying upon his ward-off arm and
his root to resist his partner’s push, the individual creates a situation in which
he is committed to this position. He cannot easily give up his Ward-Off
stance for fear of being pushed off. In essence, he is stuck. He may not be
pushed off, but neither is he free to change to any other position in order to
take advantage of his partner’s potential weaknesses.
When two partner’s engage in the contrary behavior of insisting and resisting,
both partners are stuck. In such cases, if the pusher is stronger, she will
eventually overcome the partner who is resisting. If the individual resisting
has a better root and a stronger ward-off arm, he will be able to stand there all
day without getting pushed off. However, neither is the victor here as neither
has given up their ego in order to “follow the other.”
Give up yourself to follow the other: This important principle is what
distinguishes taijiquan from external styles of martial arts such as Shaolin
kung fu, the Japanese art of karate, or the Korean art of tae kwan do. The
principle of giving up oneself to follow the other is a logical extension of the
principle: “Don’t resist; don’t insist.” When the practitioner commits to give
up herself (i.e. her own intention to push her partner) and instead to follow
her partner, she no longer places herself in an adversarial role relative to her
partner. In this way, she is free to react to whatever action her partner takes.
If her partner acts offensively and attempts to push her, she can follow his
energy and redirect it so that it has no place to land. If her partner attempts to
withdraw in reaction to his failed attempt to push her, she merely follows him
to a place where retreat no longer serves and he feels stuck. Often times, at
such a juncture her partner will seek to extricate himself from his awkward
position and will uproot himself. Even if her partner does not uproot himself,
she will be able to borrow his retreating energy in order to uproot him with
minimal effort on her part.
If one player ignores this principle and insists upon pushing his partner, she
will be able to borrow the energy of his push to either roll him back or
recirculate the energy of his push back into him. In either instance, his
insistence on pushing will lead to his own defeat. In a similar vein, if he
resists his partner’s attempt to push him, he will become rigid and stuck. In
this case, it will be easy for an experienced player to take advantage of his
stiffness and rigidity and to uproot him. Only by giving up himself and
following his partner in whatever action she takes will he be able to apply the
skills of Sticking/Adhering, Listening, Interpreting, Following, and
Neutralizing. Without the willingness to give up himself and follow his
partner, the insistent player will be left to rely upon brute force to overcome
his partner and clumsy attempts to escape from her advances.
Practice Listening to Force: The ability to “follow the other” requires one to
be able to hear what the other is doing. Although we use the word “hear” to
describe this ability, what is actually being sensed is the subtle movement and
even the intent of the other person. This so-called “hearing” is accomplished
through the sensitivity of the skin. Our skin must become our ears. Dr. Tao
stated that Listening jin is a crucial skill in the practice of pushing hands. He
explained that listening is not simply a matter of feeling with the hands.
Rather, it is an expanded tactile awareness that involves all of the sensory
nerves of the skin over the entire surface of the body.
In order for our skin to become our ears, we must become completely song.
Not only must we become song in the body, we must also become song in the
mind. If the muscles, ligaments, and tendons of the body are stiff, then the
skin can’t relax. In a similar fashion, if the mind is preoccupied, focused on
winning, or fearful of losing, then the mind can’t relax. Only when both the
body and the mind are relaxed can we “hear” the opponent’s subtle
movements and interpret his intent.
Ma Yueh-liang also wrote regarding what he referred to as the ability to
“listen to force.” He stated that, in order to understand the opponent’s force,
one must rely primarily upon the sensitivity of feeling. This sensitive feeling
is a type of intrinsic energy, or jin, and is only fully developed after many
years of practicing taijiquan. Ma referred to this sensitivity feeling as
“audible strength,” which he explained is closely connected to peng jin.
The audible strength to which Ma Yueh-liang referred requires many years to
develop. However, it is definitely attainable by all students of taijiquan who
practice pushing hands on a consistent basis. This is also in accordance with
Dr. Tao’s own experience. He wrote that, after many years of practice, the
practitioner will develop an invisible web or net that covers the entire body.
This web is sometimes referred to as “guardian qi,” or wei qi. When one’s
wei qi is sufficiently developed, it is possible to sense an incoming force even
before that force connects with the skin. At this advanced level of Listening
skill, it is easy for the practitioner to know others without being known by
them.
While it is absolutely imperative to work with partners in order to develop
Listening skill (ting jin), practicing the solo form can play an important
supporting role. If practitioners pay particular attention to the feeling of the
air on their skin as they move through the form, they can begin to develop a
degree of what may be termed “skin sensitivity.” Over time, they can even
feel the air as it gently touches the hairs on their neck, arms, and hands
(assuming that they are wearing short sleeves.) This training technique is
related to the approach to practicing taijiquan known as “swimming in air.” If
practitioners can develop sufficient sensitivity to feel the air against their skin
while performing the solo form, they should have no difficulty feeling
another person’s touch on their skin when practicing pushing hands.
Use softness to overcome hardness: This key principle relates to the
requirement of being light, nimble, and threaded together. According to Dr.
Tao, anything that is not light, nimble, and threaded together is brute force.
The quality of softness derives from the ability to be song. One must first be
song in the arms. Many push hands players are tight in the arms. This error
usually can be traced to tightness in the shoulders and, to a lesser degree, in
the elbows. Next one must be song in the waist and the hips, specifically in
the area known as the kua. Individuals who are song in the arms but are
unable to turn aside effectively in order to neutralize pushes are usually tight
in the waist and the hips. Lastly, one must be song in the legs. Failure to
achieve song in the legs is normally the result of stiffness in either the knees
or the ankles. Stiffness in the knees is often due to weakness in the thighs,
whereas stiffness in the ankles may be due to weakness in the calf muscles.
Stiffness in the arms, the waist and hips, and the legs can only be eliminated
through the consistent practice of song gong. This practice includes
stretching, loosening, and standing in zhan zhuang meditation. There are no
shortcuts, and the benefits accrue over time. The concept of song and the
practices that are proven to develop song were presented in chapters Three
through Six. One specific benefit of standing in zhan zhuang is that the
muscles of the thighs and calves become stronger. This takes the pressure off
the knee and ankle joints and allows them to move more freely in order to
assist the waist and the hips in neutralization.
Song gong training is essential to attaining success in the practice of pushing
hands. Those individuals who are unwilling to invest in song gong will
invariably continue to encounter problems with stiffness and the inability to
neutralize their opponent’s pushes. However, those individuals who make the
effort to train song gong will, in time, enter “the gateway to the miraculous.”
They will achieve the ability to neutralize and transform their opponents’
incoming energy without resorting to stiff resistance. Further, they will be
able to push opponents at will without relying upon brute force, or li.
Recall that, in taijiquan, there exist both rou (softness) and gang (hardness).
In the practice of pushing hands, one must apply the principle of softness
overcoming hardness. This is achieved by diverting the opponent’s force in
order to make it empty. Having neutralized the opponent’s incoming force,
one can seize the advantage of a favorable position for counterattack. It is
important to recognize that rou is a type of strength, just as gang is a type of
strength. The difference between rou strength and gang strength, specifically
with regard to pushing hands, is that rou strength is reserved and not exposed
to the opponent. The key to rou strength is peng jin. Peng jin is the first jin
that should be applied whenever one comes in contact with an opponent.
It is essential to apply peng jin rather than hard force, or li, whenever one is
engaged in pushing hands with an opponent. It is the ability of experienced
tuishou players to utilize rou strength, both in neutralizing and transforming,
and also in pushing that enables them to use softness to overcome hardness.
Failure to utilize softness to overcome hardness will limit the practitioner to
the level of employing “old buffalo force.”
Use a force of four ounces to deflect a thousand pounds: One way to apply
the principle of using softness to overcome hardness s to follow the corollary
principle of using a force of four ounces to deflect a thousand pounds. There
is a close relationship between these two principles. Taijiquan emphasizes
both using softness to overcome hardness and using four ounces to throw off
a thousand pounds. The technique of using a force of four ounces to deflect a
thousand pounds involves applying the principle of centripetal force. The
image of a floating sphere, such as an inflated beach ball, can help to
visualize this principle. If a beach ball is floating in the air and someone
attempts to bat at it, the ball will simply rotate in the direction of the hand’s
trajectory, and the hand will essentially land on nothing. Even if the hand
strikes the ball directly in line with the ball’s center, the ball will simply be
propelled away. In either case, the ball is not damaged nor is it deformed
from its spherical shape.
When practicing pushing hands, if one player receives another’s push, no
matter how forceful, she should apply Listening skill in order to measure the
strength and directionality of the push. This is referred to as “strength
perception.” Having listened to and understood her opponent’s strength (and
thus his intention), she can neutralize the incoming force by turning her body
in a direction that will deflect his force away from her center. In so doing, she
may need to assist in this neutralization with a slight pressure from one or
both of her hands. (See Figures 13-2a and 13-2b below.) However, the
assisting pressure that she employs should not “weigh” more than four
ounces. If she applies more than four ounces, her opponent may be able to
use this additional strength to support himself and recover from his initial
error.
Figure 13-2a
Figure 13-2b
The application of the dual principles using softness to overcome hardness
and applying a force of four ounces to deflect a thousand pounds enables the
skilled pushing hands player to lead the opponent into emptiness. Leading the
opponent into emptiness is the skill of neutralizing and transforming an
opponent’s attack so that it has nowhere to land. Usually this results in the
opponent being placed in a disadvantageous position, providing the
neutralizing player the opportunity to counterattack with great effectiveness
while relying upon very little physical strength.
Maintain two points of contact: Another important principle in pushing
hands is to maintain two points of contact with your partner at all times.
Whether you are practicing formalized patterns or engaging in freestyle
pushing hands, you should always have either your two hands or one hand
and a forearm or elbow in contact with your partner. Ideally you should have
one hand in contact with the back of your partner’s wrist and the other in
contact with your partner’s elbow. This position is shown in Figure 13-3a. In
this way, you can redirect an incoming push by either deflecting his hand
(using his wrist) or redirecting his arm (using his elbow). These two points of
contact can also be used to apply a joint lock to the partner’s arm, which will
enable you to connect to his center and thereby give you control over him.
See Figure 13-3b.
Figure 13-3a
Figure 13-3b
Since controlling your partner’s wrist and elbow puts him at a disadvantage,
most experienced pushing hands players will move their hand or forearm so
as to remove any solid connection to these two joints. However, if you are
adroit you can still maintain contact with one or both of his forearms with
your two hands even as he attempts to elude you. Even better would be if he
drops his guard and allows you to make contact with his upper arm or torso
with one or both of your hands. If you can slip past his guard and place both
of your hands on his upper body, you will be in an advantageous position to
apply either Push or Press against him.
Be aware, however, that you should never disconnect in order to change
points of contact. The error of separation results from disconnecting with the
opponent. Separation is undesirable, as it means that the ability to listen to
and respond to the opponent’s changes has been temporarily suspended. If,
for example, you have one hand on your opponent’s forearm and you see an
opening on his chest, don’t separate your hand from his forearm and then
place it on his chest. During the time when you are disconnected, your
opponent may take advantage of this temporary gap in connection to
counterattack according to the adage: “My opponent leaves first but I arrive
first.” In order to reach a more advantageous point of connection, you must
be sneaky and slide your hand up from your opponent’s forearm to his upper
arm or chest.
Following the same principle, you should never disconnect with your
opponent in order to remove one of his hands from a point on your arm or
body that you consider to be threatening. If, for example, he has placed a
hand on your shoulder and you want to remove it, don’t separate your
opposite hand from its point of contact in order to wipe his hand off your
shoulder. When you disconnect your hand, he can use that moment of
disconnection in order to issue into your shoulder and uproot you. Instead,
turn your body and slide your opposite hand into a position where you can
wipe his hand off your shoulder.
Avoid the errors of leaning and butting: As stated in the section on
maintaining central equilibrium, the Taijiquan Classics advise us to avoid the
errors of leaning and butting. Leaning means that the entire torso is inclined
either forward or backward. Butting is defined as leading with the head,
which means that the head is tilted forward. These are errors of deviation
from the vertical alignment of the head-top, or baihui, with the perineum, or
huiyin. In order to rotate freely, the head-top must be vertically aligned with
the point in the crotch between the two legs known as the perineum, or
huiyin. These two points are represented in Figure 13-4, shown below:
Figure 13-4
If you lead with the head, then the head will act as a weight and will cause the
entire torso to become misaligned. If your opponent senses that your head is
tilted forward, she can use this to easily pull you forward and uproot you. See
Figure 13-5a. If you lean your entire torso forward, the effect is magnified
and it will be that much easier for your opponent to pull you forward as
shown in Figure 13-5b. Leaning to either side or leaning backward in order to
avoid being pushed are equally dangerous as these structural misalingments
make it much easier for your opponent to push or pull you in the direction of
your leaning. More importantly, once you have butted your head or leaned
your torso, you lose your central axis and thus the ability to turn the waist
“like a millwheel, grinding fast and slow.”
Figure 13-5a
Figure 13-5b
Butting may be considered to be a venial sin in the realm of pushing hands.
Leaning forward or backward, however, must be treated as a mortal sin and
should be avoided at all costs. In the Yang Family Forty Chapters, it is
explained that either bending forward or bending backward represents a
serious flaw. Bending over from the waist usually results from an opponent’s
attempt to push or pull you down. In response to such attempts, you must
sink your entire body down rather than simply bending forward from the
waist. This requires you to open your hip joints and bend your knees in
response to the downward force of the opponent. This sinking down will
maintain your vertical central axis. At the same time as you sink downward
you should rotate the torso around its central axis in order to deflect the
downward force of your opponent’s push or pull. The correct responses to
either being pushed downward or pulled forward are illustrated in Figures 13-
5c and 13-5d.
Figure 13-5c
Figure 13-5d
Avoid the fault of double-weighting: The Taijiquan Classics advise us to
avoid the fault of double-weighting. Double-weighting is often viewed as the
error of distributing the weight equally between the two feet. This equal
weight distribution occurs at the beginning and ending of most solo forms.
However, during the remainder of the form, the weight should not be evenly
distributed between the two feet. Rather, one foot should bear a greater
percentage of the weight, with the other bearing less. This conforms to the
principle: “Distinguish the substantial from the insubstantial.”
The reason for placing most of the weight in a single leg is that the weight-
bearing leg serves as a vertical axis that permits the waist and torso to rotate
horizontally. When one stands with the weight evenly distributed between the
two legs, it is more difficult to react to an attack (or, in the case of pushing
hands, a push) to one or the other side of the body. Instead, one is caught flat-
footed, as it were. The T’ai Chi Lun of Wang Tsung-yueh explains that
sinking to one side is responsive and that being double-weighted is sluggish.
Wang stated explicitly that practitioners who are unable to neutralize their
opponent’s incoming force have not overcome the fault of double-weighting.
Most practitioners of taijiquan know to avoid the fault of double-weighting in
their legs. However, when engaged in pushing hands it is also important to
avoid the same fault in the hands and arms. This error is particularly common
when an inexperienced player attempts to push her partner. Even if she has a
good position from which to push, say with both arms placed against the
partner’s forearm, if she pushes forward equally with both hands, then she is
guilty of double-weighting. A more experienced partner will simply turn his
body to one side and lead her into emptiness or respond with Withdraw and
Push in order to redirect her own push back upon her. When using both hands
to execute a push, the proper technique is to push primarily with one hand
and use the other hand as a supporting hand. In this way, if the opponent
attempts to turn to one side to neutralize the push, the pushing hand can
release its forward momentum and the supporting hand can then intercede to
capture the opponent in the act of turning. Figures 13-6a and 13-6b
demonstrate the proper use of the hands in Push.
Figure 13-6a
Figure 13-6b
The ability to push with one hand while reserving the other hand in a
supportive role is one of the most difficult concepts for a novice player to
apprehend. This skill is based upon the principle outlined previously of
maintaining two points of contact at all times. Maintaining two points of
contact in turn relies upon the skill of Sticking/Adhering, which was
described in Chapter Eleven. As stated in that chapter, the skill of
Sticking/Adhering gives rise to the skills of Listening and Interpreting. When
the student is able to listen to her partner’s changes and to interpret, or
understand, his intention, then she will be able to use her two hands
effectively in either offense (Push, Press, Split, etc.) or in defense (Ward-Off,
Rollback, Pull-Down, etc.). No matter what response she utilizes, she must be
conscientious in avoiding the fault of double-weighting when applying her
two hands to her partner’s arms or body. She must always keep one hand
substantial and the other hand insubstantial when applying various hand
techniques.
Stand like a balance and rotate actively like a wheel: This statement from
Wang Tsung-yueh’s T’ai Chi Lun occurs in the same stanza of as the
statement referring to the fault of double-weighting. From the placement of
these two statements together in the same stanza, it is clear that they are
closely related. One may consider the two principles as corollaries. The
instruction to “stand like a balance and rotate actively like a wheel” relates to
the concept of “sinking to one side,” which is the opposite of being double-
weighted. As stated in the preceding section, when one sinks to one side, the
supporting leg on that side serves as the foundation for the vertical axis
around which the waist and torso can rotate horizontally.
The vertical axis created by the weight-bearing leg allows the body to stand
like a balance scale. A balance scale is a measuring device with a central,
vertical axis and a horizontal beam from which two weighing pans are
suspended by thin chains at opposite ends of the beam. The two sides of the
horizontal beam are analogous to the two arms that extend from the torso. If
so much as a feather’s weight is placed upon either of the arms, a sensitive
practitioner will immediately respond. In the case of the balance scale, one
arm of the scale will tip down and the other will lift up. In the case of the
experienced pushing hands practitioner, the response will be to rotate actively
like a wheel. This rotation refers to the turning of the waist and torso. In this
way, one can neutralize an incoming force, deflecting even a thousand
pounds with a counterforce of only four ounces. If the student is unable to
stand like a balance and rotate actively like a wheel through the fault of
double-weighting, she will be unable to execute Rollback and neutralize the
incoming force of either Push or Press.
The substantial and the insubstantial should be clearly differentiated:
This instruction from the Taijiquan Classics relates to the preceding
principle. When the practitioner stands like a balance, she must be able to
distinguish which of her arms is receiving more pressure from her opponent.
Let’s say that she is standing in a right bow stance with her right arm held up
in Ward-Off. Her partner places his two hands upon her right forearm with
his right hand pressing against the back of her wrist and his left hand cupping
her elbow. His intention is to push her. However, because he wants to avoid
the fault of double-weighting, he pushes with his right hand and reserves his
left in a supportive capacity. In this situation, she correctly distinguishes that
her partner’s right hand is substantial and executes Rollback to her left side,
thereby neutralizing his push. Were her partner to push with his left hand, she
would identify that hand as being substantial and would execute Rollback to
her offside (i.e. her right side). Refer to the photos in Figures 13-2a and 13-2b
for examples of both open side and offside Rollback.
The ability to distinguish between an opponent’s substantial and insubstantial
hands enables one to be able to rotate actively like a wheel in order to turn
and deflect an incoming push. However, what happens when an
inexperienced opponent pushes with equal force in both hands? In this case,
the correct response is to execute Withdraw and Push. That is to say that the
student should allow the incoming push to enter without resisting and to lead
her partner into emptiness. This is usually accomplished by hollowing out the
torso while simultaneously attaching to the attacker’s two arms. Once her
partner’s incoming push has been neutralized and he has lost his root, she
will be free to return his energy back to him in the form of her own push.
This is the technique of ti fong which was taught by Prof. Cheng Man-ch’ing.
Figures 13-7a and 13-7b illustrate how to apply the technique of ti fong in
pushing hands. When applying the technique of ti fong, the practitioner may
simultaneously step in with her front leg to assist in applying her push. Prof.
Cheng was notorious for stepping in to add additional momentum when he
executed ti fong. Stepping in is not necessary, however, in order for this
technique of ti fong to be effective, as the photograph in Figure 13-7b
illustrates.
Figure 13-7a
Figure 13-7b
When practicing pushing hands, the principle of “distinguish the substantial
from the insubstantial” applies to both offense and defense. It is important not
to push against any substantial part of the opponent’s body. Rather, it is the
job of the practitioner to identify places where the opponent is insubstantial.
These points may be viewed as holes, places where the opponent is empty
rather than full. These holes are analogous to the tiny fissures within a granite
cliff face into which water can seep. When the water freezes, the pressure of
the expanding ice causes cracks to develop in the granite, and eventually rock
slabs separate and fall from the face of the cliff. Similarly, the practitioner
penetrates the holes in her partner’s defensive posture and then expands using
peng jin, an jin, or ji jin in order to open up his defenses and uproot him.
Empty the left whenever a pressure appears, and similarly the right:
This principle is really an extension of the preceding principles. Obviously,
when engaging in pushing hands, you don’t want to resist any pressure
applied by the opponent. The correct response when pressure (such as a
pressing hand) builds up on the left side of your body (say the left arm or
shoulder) is to rotate the waist like a wheel in order to deflect this pressure. It
is said: “A feather cannot be placed, and a fly cannot alight.” When
practicing pushing hands, try to imagine that your entire body is made up of
silk cloth. If someone were to push against a piece of silk cloth, the cloth
would simply fold with the pressure of the push. The cloth lacks the capacity
for resistance. Similarly your body should fold and give when any pressure
applied to it.
The trick to this is to fold in such a way as to both lead the opponent into
emptiness while at the same time improving your own position. Many
beginning pushing hands players only understand the concept of softness and
yielding without understanding that retreating must lead to a position of
advantage. By yielding and retreating without seeking advantage, they allow
their partners to back them into a corner from which there can be no escape.
The Classics state that “If your emptiness does not conceal fullness, it is not
effective emptiness.” It is also said that that “Advance includes retreat, and
retreat includes advance.” The sequence depicted below in Figures 13-8a
through 13-8d illustrate how to yield in order to obtain a more advantageous
position.
Figure 13-8a
Figure 13-8b
Figure 13-8c
Figure 13-8d
There is no single technique that students can learn in order to yield in such a
way as to both lead the opponent into emptiness and simultaneously improve
their own position. Rather, this is a guiding principle that should be followed
whenever practicing pushing hands. Students must learn through trial and
error which yielding techniques work to their advantage and which
techniques result in being backed into a corner. The most important thing is
to continue practicing with the principles foremost in mind and to learn from
the many mistakes that they invariably will make as they advance in the
pursuit of excellence in pushing hands.
Don’t push outside of the square: The concept of the square as defined by
the two feet when standing in a bow stance was introduced in Chapter Ten.
As was explained in that chapter, the so-called “square” is actually a
rectangle. The leading edge of the rectangle is delineated by the position of
the toes of the front foot, and the trailing edge is delineated by the heel of the
back foot. In Chapter Ten it was explained that, when executing the posture
of Push, neither the front knee nor the palms should extend beyond the toes
of the front foot. This is contrary to the postures assumed by many taijiquan
practitioners in which both the knees and the palms can be seen to extend far
beyond the toes of the front foot when executing the Push posture. Figure 13-
9a shows the correct position of the front knee and the palms in the position
of Push.
When the palms extend beyond the toes of the front foot in the execution of a
push, the practitioner is said to be “pushing outside of the square.” This error
is not immediately evident when performing the solo form. However, this
fault has direct consequences when practicing pushing hands. When the
palms (and often the entire forearms) extend beyond the toes of the front foot,
it creates a situation in which the opponent can easily borrow the forward
energy of the extended upper limbs and can pull the errant pusher off his or
her root. Pushing outside of the square is an example of overextending, which
should be avoided at all costs. Figure 13-9b illustrates the an example of
applying a push in which the front knee and the palms of the hands have been
allowed to extend beyond the front toes. Figures 13-9c and 13-9d
demonstratesthe consequences of “pushing outside the square” and allowing
the opponent to borrow one’s energy.
Figure 13-9a
Figure 13-9b
Figure 13-9c
Figure 13-9d
Some practitioners justify their overextended Push postures in the solo form
by claiming that the opponent has already been pushed and that the position
of their palms is the result of following the opponent as he is pushed
backward. However, the Taijiquan Classics state: “The energy (jin) is
broken, but the mind is not broken.” The meaning of this sentence is that the
energy of Push (an jin) breaks off at the front of the foot so as not to be
borrowed. The intent, or yi, however, does not break off and continues to
follow the opponent as he is pushed backward. Further, if one has developed
even a rudimentary ability to issue (fa jin) into the opponent, there is no
reason for the palms to extend beyond the toes of the front foot in order to
send the opponent flying backward as a result of executing a push.
The injunction not to push outside of the square applies equally to the
postures of Ward-Off and Press in the solo form and also to the execution of
Ward-Off energy (peng jin) and Press energy (ji jin) in pushing hands. The
explanation is the same as for executing Push. The practitioner should not
provide excessive forward momentum that can be borrowed by the opponent
when executing either Ward-Off or Press. What is not as obvious is that the
practitioner should pay equal attention when executing Rollback. It is just as
dangerous to rollback beyond the rear boundary of the square as it is to push
forward outside of the square. If the practitioner executes a large rollback, the
opponent may be able to follow her by stepping in as she rolls back, thereby
uprooting her by combining his forward momentum with her backward
momentum.
If the practitioner chooses to execute a large rollback in response to a
dramatic forward attack on the part of the opponent, she should accompany
such a rollback with a backward step. The practice of dalu, or “large
Rollback,” was developed specifically for practicing the execution of a large
rollback accompanied by a backward step. However, in most cases it is not
necessary when practicing pushing hands to step backward when executing
Rollback as long as the practitioner conforms to all the principles of pushing
hands and plays accordingly.
The entire body is hands: One of the most common mistakes made by
students when they begin to practice pushing hands is to push with their arms
and hands and not with the body. This stems from the Western notion of
pushing, in which arms and hands are the primary tools employed in pushing
an object. At best, we might add the shoulders and the back when the arms
and hands alone are not strong enough. Of course, as any professional
strongman or weight-lifter will tell you, the key to pushing is found in the
legs rather than in the hands and arms. The The Essentials of the Practice of
the Form and Push-hands by Li I-yu explains that the jin rises from the feet,
is powered by the legs, is commanded by the waist, is moved through the
shoulders and the arms, and is expressed in the hands. The upper part of the
body connects to the two arms and hands, and the lower part of the body
follows the legs and feet.
When pushing, beginning students only employ the hands or maybe a
combination of the hands and the arms. Gradually they must learn to push
from the ground by pushing up from their feet. The trick to pushing out of the
ground is to push down into the back heel while simultaneously pushing up
with the leg. Once students know how to push out of the ground, they can
begin to incorporate the waist and the kua into their pushes. Finally, they
learn how to integrate the feet, the legs, the waist (in conjunction with the
kua), and the back in order to execute pushes that involve the entire body.
When the force of the entire body can be directed into the arms and the
hands, then the entire body functions like a hand. Partners who experience
this type of push describe it as the sensation of being overcome by a powerful
wave. Just as an ocean wave can be an irresistible force that is simultaneously
soft and powerful, a push executed by a practitioner who uses her whole body
as a hand is equally overpowering.
If the opponent’s movement is quick, then quickly respond; if his
movement is slow, then follow slowly: This principle follows as a
consequence of giving up oneself to follow the other. Through the practice of
formalized pushing hands patterns, the student learns to match her
movements to those of her partner. In the Four-Hands pattern, also known as
“sawing the log,” two partners take turns executing peng, lu, an and ji while
moving to and fro. These matched movements have been likened to two
woodsmen using a two-handed saw in order to saw a log in half as depicted
in Figure 13-10. In order for the saw to pass smoothly through the tough
wood, they must evenly match their pulling and pushing. If one woodsman
pushes harder than his partner pulls, the saw’s teeth will become stuck in the
wood. The same result occurs if one of the woodsmen pulls harder than his
partner is pushing.
Figure 13-10
When playing freestyle pushing hands, the same axiom applies. If the student
moves quickly while her partner moves slowly, she will disconnect from him.
This violates the principle of maintaining two points of connection at all
times. If, on the other hand, her partner moves quickly while she continues to
move slowly, then he will be able to gain the advantage and she will find
herself trapped. For this reason, experienced pushing hands practitioners pay
close attention to even the smallest movements of their partners in order to
respond either quickly or slowly to changes in both position and speed of
their partners’ movements.
The opponent does not know me; I alone know him: If pushing hands
players learn to follow all the principles outlined above, they will attain the
exemplary condition referred to by Chen Wangting: “The opponent does not
know me; I alone know him.” This principle can be considered to be the
ultimate goal of pushing hands. If practitioners can master this one principle,
they will have no need for all the other principles. Of course, acquiring this
ability takes many years of dedicated practice. The result, however, is the
ability to fathom the intent of the opponent while hiding one’s own intent
from the opponent. The Taijiquan Classics state: “To become a peerless
boxer results from this.”
The ability to know the opponent arises from a highly-developed
combination of Sticking/Adhering, Listening, and Interpreting skill. Chapter
Fifteen of the Yang Family Forty Chapters describes this level of interpreting
skill as approaching the level of spiritual illumination. Once the practitioner
has developed his or her senses to respond to the changing conditions on the
part of the opponent, the practitioner’s mind achieves perfect clarity, the
practitioner’s entire body becomes highly sensitive, and the practitioner’s
movements become dexterous and responsive. When the practitioner’s skill
reaches this level, he or she can move intuitively and without thinking.
The above description details the marvelous skill of Interpreting energy that
is acquired when the practitioner attains the level of “spiritual illumination.”
The ancillary skill of hiding one’s own intention is just as important and also
results from the spiritual illumination that can be achieved after many years
of concentrated practice. The obvious question that arises from these two
points is: “How does one develop such high-level skill?” The answer is
actually fairly simple. In order to know the opponent, you must know where
his center is located. If you can locate his center and control it, then you will
“know” him and be able to do with him what you wish without effort. To this
end, you should constantly be seeking out your partner’s center when
practicing pushing hands. At the same time, you must make every effort to
hide your own center from your partner’s attempts to find it.
Initially, your attempts to find your partner’s center are likely to be clumsy
and ineffective. Your attempts to hide your own center also may prove to be
ineffectual at first. However, with time you will become more astute at
finding your partner’s center while simultaneously becoming more skillful in
hiding your own center. As you become more adept at finding and controlling
your partner’s center, you will discover that you require less and less effort
(read “force” here) in order to uproot and move him wherever you desire.
Your partner will also realize that your partner has greater difficulty in
locating your center and therefore will be less and less likely to uproot you
and move you.

The Basic Four Hands Pattern

As stated at the beginning of this chapter, pushing hands training begins with
the practice of formalized, two-person patterns. These patterns are intended to
teach beginning students the basic skills of Sticking/Adhering, Listening,
Interpreting, Following, and Neutralizing. As you will recall, Chapter Eleven
introduced a number of two-person exercises intended to develop just these
skills. As it turns out, these simple two-person drills are actually part of the
repertoire of pushing hands patterns that have been employed for centuries to
teach the basic skills required for more advanced, freestyle pushing hands
practice.
All students who wish to study the art of pushing hands should spend
considerable time practicing these training exercises with cooperative
partners. If students only attend class once or twice per week, they should
continue with these basic drills for at least three months before advancing
onto the more advanced Four Hands pattern presented in this section. The
Four Hands pattern depends upon the basic skills of Sticking/Adhering,
Listening, Interpreting, Following, and Neutralizing that are developed
through practicing these simple drills. Without these basic skills, it will be
difficult to execute the Four Hands pattern smoothly and with the appropriate
level of understanding and awareness of the underlying principles involved.
The Four Hands pattern is one of the most widely practiced of all pushing
hands patterns. Practicing this pattern is intended to assist students in
developing the Four Sides skills of Ward-Off, Rollback, Press, and Push.
There are numerous variations on this pattern. The version of the Four Hands
pattern presented here may differ somewhat from the basic Four Hands
pattern that you or your teacher practices. As long as the Four Hands pattern
that you practice includes the Four Sides skills of Ward-Off, Rollback, Press,
and Push it should suffice for training purposes.
The best way to describe any pushing hands pattern is to designate one
partner as “Partner A” and the other partner as “Partner B”. To begin, both
Partner A and Partner B face each other in right bow stances. Partner A (in
black) stands with his two forearms crossed horizontally in front of his body
in the position of Press. Note that the right forearm is outside, with the right
palm resting against the outside of left elbow. The left forearm is on the
inside with thumb and index finger of the left hand notched against the inside
of the right elbow. Partner B (in white) places her two hands upon Partner
A’s right forearm with her right palm covering Partner A’s right wrist and her
left palm pressing against the top of Partner A’s right elbow as shown in
Figure 13-11a. In this frozen vignette, Partner A is executing Press and
Partner B is preparing to execute Push in response. This is the starting
position for beginning the pattern.
To initiate the sequence, Partner B pushes down on Partner A’s crossed
forearms. Partner A responds by separating his right forearm and circling it
down and then up in a counter-clockwise direction until his right palm comes
to rest under Partner B’s left elbow. Partner A’s left arm is now in Ward-Off.
Partner B responds to Partner A’s change by circling her right arm up and
down in a clockwise direction until her right hand rests in the crook of her
left elbow. The new position is shown in Figure 13-11b.
Partner A then uses his connection to Partner B’s left elbow with his right
palm along with the connection of his left wrist to Partner B’s left palm in
order to execute Rollback. Partner B’s response to Partner A’s Rollback is to
follow Partner A’s left wrist with her left hand and allow it to be guided
across her body until the palm of her left hand comes to rest in front of her
right elbow. Partner A has now completed his Rollback, and Partner B is now
in Press, as shown in Figure 13-11c.
Finally, Partner A turns both his palms outward and drops them onto Partner
B’s crossed forearms, with his right palm resting on top of Partner B’s left
elbow and his left palm resting on top of Partner B’s right wrist. In this
position, Partner A is now prepared to execute Push while Partner B remains
in Press. See Figure 13-11d below. When Partner A executes Press, Partner B
will change to Ward-Off and the sequence will repeat on the opposite side.
Figure 13-11a
Figure 13-11b
Figure 13-11c
Figure 13-11d
The sequence described above only relates to the changing hand positions.
There is also a concomitant shifting of the weight that accompanies the
changing hand positions. For example, when Partner A performs Rollback, he
shifts his weight backward. As he completes his Rollback and changes his
hands and executes Push, he shifts forward onto his front foot.
Some individuals incorporate a slight lifting of the toes of the front foot when
performing Rollback. This is an adaptation from the Wu style and is optional.
However, what is not optional in this version of the Four Hands pattern is the
shifting of the weight to and fro, just as the two woodsmen do when sawing
the log. It is also important to maintain a vertical axis even while shifting
forward and back. In this way, the two partners reinforce the principles of
central equilibrium, avoiding the fault of double-weighting, and focusing on
sitting back to neutralize the opponent’s incoming force.
You may have noticed that, in this simple Four Hands pattern, Rollback does
not involve turning of the waist. The two partners remain facing each other
squarely during the entire interchange. It is true that, in the form, Rollback
entails turning the waist. However, in this most basic of pushing hands
patterns, the skill that is being trained is the connection of the hands and the
shifting of the weight. In other, more advanced patterns, turning the waist and
creasing the kua assume a more significant role.
At some point in this pattern, each partner executes the sequence of Ward-
Off, Rollback, Push, and Press. The order of these four movements is the
same for each partner. In this way, the Four Hands pattern emphasizes the
basic skills of the Four Sides. The sequence of these four movements is
slightly different than that practiced in the solo form. Recall that the sequence
of movements in Grasp the Sparrow’s Tail is Ward-Off, Rollback, Press, and
Push. In practical application, the order in which the movements would be
executed would depend upon the opponent’s movements and changes. Just as
solo forms are meant to be training tools for actual combat, pushing hands
patterns are intended to serve as training tools for freestyle pushing hands.
Within the Four Hands pattern, the postures should be matched to each other
as follows: Ward-Off should be matched with Rollback; Press should be
matched with Push; Rollback should be matched with Ward-Off; and Push
should be matched with Press. In this way, each of the Four Sides postures
has its own counterpart. By following these posture pairings, two partners can
execute the Four Hands pattern as a continuous interchange, each giving up
him or herself and responding smoothly and fluidly to the changes of the
other without flaws or breaks. Students should practice this pattern over a
period of several months until they can execute the pattern with multiple
partners without having to think about the individual movements and instead
being able to flow the pattern effortlessly.
Be sure to practice this pattern in both a right bow stance and a left bow
stance, and to change the sides to which you circle the arms. With this
pattern, you can circle the arms to either side, regardless of whether you are
standing in a right bow stance or a left bow stance. The changeover from
circling the arms to the right side and switching to circling the arms to the left
side is too complicated to present in either text or photographs. This
changeover is best learned from a more advanced player who knows this
pattern well and who can teach you the changeover. Once you know the basic
pattern and the changeover, you can combine the changeover with stepping to
simultaneously switch from a right bow stance to a left bow stance as you
change the direction of the arm circles. This may entail some initial
confusion, but once you master the simultaneous changeover of the arms and
the legs, it is a very impressive display of pushing hands ability and will
represent a major milestone in your pushing hands progress.

The Double Rollback Pattern

As was stated in the preceding section, the basic Four Hands pattern does not
employ the turning of the waist when executing Rollback and instead relies
upon sitting back into the rear leg. It is important, however, to train turning
the waist and creasing the kua when executing Rollback. Sitting back into the
rear leg will only serve to neutralize pushes from an individual who is not
skilled in Sticking/Adhering and Following. A skilled practitioner who is
adept in applying these intrinsic energies will be able to attach to and follow
any inexperienced player who seeks to escape from being pushed simply by
sitting back onto the rear leg.
For this reason, it is important to train turning the waist and creasing of the
kua when executing Rollback. In this way, you will learn to “stand like a
balance and turn like a wheel.” You may recall that Rollback may be
executed on either side of the body. For example, when you are standing in a
right bow stance and you roll back to your left side, this is the open side for
Rollback. See Figure 13-12a. If you roll back to your right side, this is
considered to be the offside Rollback, as it requires you to roll back to your
right side. See Figure 13-12b.
Figure 13-12a
Figure 13-12b
In most styles of taijiquan, the solo form does not include a rollback to the
offside. However, in pushing hands, sparring, and certainly in fighting, you
do not have the luxury of choosing which side onto which you will roll back.
Instead, the decision is made for you by your opponent. Recall the principle:
“Empty the left whenever a pressure appears, and similarly the right.” If you
are standing in a right bow stance, and your opponent applies pressure to
your left side, you empty your left and execute the standard rollback.
However, if you are in a right bow stance and your opponent applies pressure
to your right side, you must empty your right side and execute an offside
rollback.
For this reason, it is important to train at least one basic pushing hands
pattern that includes a rollback to each side of the body. The pushing hands
pattern presented in this section, which will be referred to as the Double
Rollback pattern, includes two rollbacks, one to the left side and one to the
right side. The pattern also includes Ward-Off, Push, and Press. If you begin
in a right bow stance in Ward-Off posture, the sequence will be as follows:
Ward-Off Right, Rollback Right (the offside), Rollback Left, Push, and Press.
Your partner will initiate the pattern, beginning with Push, followed by Press,
Ward-Off Right, Rollback Right, and Rollback Left. The complete pattern is
presented in Figures 13-13a through 13-13f, shown below.
Figure 13-13a
Figure 13-13b
Figure 13-13c
Figure 13-13d
Figure 13-13e
Figure 13-13f
In this particular pattern, the first rollback (the offside rollback) is performed
by Partner A (in black) in response to the Partner B’s (in white) Push, as
shown in Figure 13-13b. Partner A attaches his left hand to Partner B’s right
elbow, creases his right kua, and turns his waist to the right. Sensing that her
push has been neutralized, the Partner B then changes to Press and tries to
attack Partner A’s center. Partner A must quickly change his hands to the
position shown in Figure 13-13c. Partner A will then perform another
Rollback to his left side by creasing his left kua, sitting onto his back, left leg,
and turning his waist to the left. Having neutralized both Partner B’s Push
and her Press, Partner A then squares to the front and applies his own Push.
Partner B initially responds to Partner A’s Push by changing to Ward-Off,
and then redirects his Push to her own right side by executing Rollback
Right. Partner A then changes to Press, which Partner B counters by
executing Rollback to her left side. When her left-side Rollback has
neutralized Partner A’s Press, Partner A changes back to Ward-Off, Partner B
changes back to Push, and the pattern repeats.
As with the Four Hands pattern, be sure to practice this pattern with both
partners standing in left bow stances as well as right bow stances. You don’t
want to become accustomed to always playing with your right foot forward,
which favors the right hand in Ward-Off and Press and which favors the left
side of the body when executing the standard Rollback to the left. Although
in pushing hands you can select which foot you put forward, in sparring,
fighting, and life in general, your opponent, the terrain on which you are
standing, or just happenstance will determine which foot you must put
forward when responding to an attack, or slipping on an icy walkway, or
sliding down a treacherous slope when hiking. It is essential to be well-
balanced in all aspects of your life, including your pushing hands practice.
As a practitioner of taijiquan who is interested in pursuing the martial side of
the art, you should be aware that pushing hands patterns, such as the Four
Hands pattern and the Double Rollback pattern, are part of the rich tapestry of
the art. These patterns were developed hundreds of years ago and have been
practiced by legions of students and masters over the centuries. All the main
styles of taijiquan have their own repertoire of pushing hands patterns,
including the Four Hands pattern. The Wu (Chian-chuan) system practices
thirteen separate pushing hands patterns, each of which is intended to develop
a different skill that can be applied in freestyle pushing hands. If you are
serious about improving your pushing hands ability, you would benefit
greatly from seeking out a knowledgeable teacher to provide additional
instruction in pushing hands patterns.

Deepening Your Root

Second only to developing the skill of being light, nimble, and threaded
together, the ability to maintain a solid root is critical to success in pushing
hands. The ability to establish and maintain a rooted connection between the
feet and the ground enables the practitioner to yield and neutralize without
being pushed off. Recall the instruction from the Taijiquan Classics: “Stand
like a balance and turn like a wheel.” If a balance scale is not connected to a
stable base, then it will simply topple over when even a small amount of
weight is placed upon one of the pans. In a similar way, if you do not have a
solid base (i.e. root), then no matter how skillfully you turn the waist to
neutralize, you won’t be able to deflect an incoming force. This is because
your vertical axis is not firmly rooted into the ground.
In Chinese culture, the bamboo is highly regarded for its ability to bend and
to yield even to the strongest wind, the taifun (Romanized as “typhoon). This
is due in part to the flexibility of the bamboo bole, which bends ever so
slightly at each joint, enabling it to flex like a giant bow under the force of
the wind. However, flexibility alone is not sufficient to permit the bamboo to
give way to the wind’s strength. The bamboo also must have excellent roots;
otherwise, the wind would easily topple the bamboo bole no matter how
flexible it is. The image of the bamboo yielding to the mighty taifun serves as
an apt metaphor to the way in which tuishou players must both yield to and
root an opponent’s powerful push.
A strong root is equally important when issuing energy, as in pushing or
striking. One of the most common mistakes beginners make, both in the solo
form and in pushing hands, is allowing their back heel to disconnect from the
ground. In the form, this can be seen when these practitioners execute
postures such as Withdraw and Push or Six Sealing and Four Closing. When
playing pushing hands, these same practitioners often over-extend when
pushing, again as evidenced by the fact that their rear heel leaves the ground.
In both cases, this happens because they have no rear root.
Given the importance of good rooting technique in both the solo form and in
pushing hands, it is surprising how little time most taijiquan practitioners
devote to growing their root. Chapter Eleven introduced a set of two-person
exercises under the heading of “Neutralizing Skill Training Exercise 4.”
Recall that one partner was the “pusher” while the other partner took the role
of the “receiver.” The pusher’s job was to apply gradual pressure on the
receiver’s shoulders, and the receiver’s task was to absorb the energy of the
push by allowing it to pass through the joints of the body. In those exercises,
the receiver focused primarily upon the skill of internal neutralization by
maintaining song in the shoulders, hips, knees, ankles and feet. The ability to
be song is critical to the ability to establish a strong connection to the earth.
You can employ those same exercises as a method of deepening your root.
To do so, you will not only allow the pusher’s energy to pass through the
joints of the body, but you will now incorporate the concept of passing the
energy through your feet and into the ground. This entails the ability to open
the yongquan points in the feet and to imagine that the pushing energy is
being directed through the Bubbling Well point in each foot and down into
the earth. As you become more confident in your ability to pass the pusher’s
energy through your feet and into the ground, you will actually begin to feel
the sensation of your roots growing down into the earth. Your feet may feel
heavy, as if they are encased in blocks of concrete. Alternatively, your feet
may feel like extensions of the earth, and your legs may begin to feel like tree
trunks growing up out of the earth. That is what real rooting feels like.
If you don’t have a partner to work with on a consistent basis, you can still
work on deepening your root through your zhan zhaung standing practice by
employing the techniques of song gong that were introduced in Chapter Six.
As you stand in zhan zhaung, concentrate on projecting your root deep into
the earth. At first, you can try for an inch or two of penetration into the earth.
Over time you should be able to send your roots down at least a foot.
If you practice the rooting exercises described in chapters Six and Eleven,
you will discover that, as you deepen your root, you will find it easier to relax
when playing pushing hands. Once you are confident in your root, you won’t
feel threatened when your partner attaches to your body and attempts to push
you. For this reason, it is important to allocate at least five minutes of your
daily practice to developing and deepening your root. This rooting gongfu
will enable you to cultivate the feeling of rootedness in both your solo form
and pushing hands practice.

Ting, Hua, Na, Fa

There is a four-character Chinese phrase that succinctly expresses the
sequence of effectively receiving and then returning an opponent’s attack
using the principles of taijiquan: ting, hua, na, fa. As you may recall, ting
refers to Listening skill. This important skill has already been discussed at
length in this and previous chapters. It is worth noting in this context that
Listening skill is the first skill to be employed when connecting with an
opponent. Only through listening and understanding can the pushing hands
player sense the opponent’s intention. If the player doesn’t grasp the
opponent’s intent, how can she properly respond?
The second character in the phrase is hua, or neutralize. The ability to
neutralize an opponent’s attack is a core skill in taijiquan. Indeed, it is what
separates taijiquan from most other styles of martial arts. Although
neutralization is integral to every aspect of taijiquan, it is essential when
practicing pushing hands. Dr. Tao wrote that when playing pushing hands,
one must be be able to yield completely and to neutralize completely. When
the opponent attacks, you must yield and neutralize fully and completely
without any trace of resistance.
As discussed in Chapter Eleven, neutralization can be classified as either
external or internal. External neutralization involves the use of the body to
redirect incoming force and lead it into emptiness. This usually entails
creasing the kua and turning the waist and may also include the use of the
hands to guide or deflect the opponent’s attack to one side or the other.
Internal neutralization relies upon the ability to lead the opponent’s attacking
force through the body and into the ground. Examples of both external and
internal neutralization were presented in Chapter Eleven. Clearly, internal
neutralization requires a higher level of skill and depends upon the
practitioner’s capacity to root, as described in the preceding section.
In a practical application, such as pushing hands, sparring, or actual combat,
your ability to neutralize an opponent’s attack will involve both external and
internal neutralization. For training purposes, however, you can initially
separate these two facets of neutralization and develop them individually.
The two-person neutralizing exercises presented in Chapter Eleven are
designed to aid in the development of basic neutralizing skills. It would be
beneficial to review and repeat those exercises before attempting the
exercises presented in this section.
Both ting and hua are considered to be defensive jin, and their development
and utilization were discussed in Chapter Eleven. Na and fa, on the other
hand, are clearly offensive in their application. These and other offensive jin
were described in Chapter Twelve. The Chinese character “na” may be
translated in different ways. In this case, the best translation is “control.”
When playing pushing hands, the objective is to control your opponent’s
center while preventing the opponent from controlling your own center.
In the four-character expression “ting, hua, na, fa,” you will notice that na
follows hua. This is in accordance with the very essence of taijiquan.
Taijiquan practitioners never initiate an attack. Rather, they wait for the
opponent to attack and then to utilize the opponent’s attack to defeat him.
Whether in pushing hands, sparring, or actual combat, the correct approach is
to use Listening skill and Neutralizing skill to lead the opponent into
emptiness. At that point, the opponent will be at a disadvantage in terms of
his structure and his root, both of which will almost certainly have been
compromised. It is a simple matter to control an opponent whose structure
has been compromised and whose root has been broken. The scenarios
presented below will demonstrate different methods for applying na in order
to control an opponent whose attack has been neutralized.
The final character in the four-character expression is “fa.” As described in
Chapter Twelve, fa is usually translated as “issue.” There are many ways to
issue jin. The simplest is to either employ an (Push) or ji (Press). If you are
able to effectively control your partner in pushing hands with one or both of
your hands, you can use the hand(s) to execute Push to send him backward. If
you are able to obtain the advantageous position of placing both your hands
together and connecting with some part of your opponent’s body, you can
employ Press against him. The use of both Push and Press are illustrated in
the scenarios described below.
These scenarios encapsulate what might take place during actual freestyle
pushing hands. By rehearsing specific situations and training the proper
responses, pushing hands players ingrain appropriate reactions within their
muscle memories so that they can relax and respond naturally when engaged
in unstructured pushing hands play. Although it is often said that there are no
techniques in taijiquan, it is nonetheless true that certain types of pushes,
attacks, etc. do recur when playing pushing hands. Knowing how to read a
given situation and respond appropriately helps one build the confidence and
competence to play without the need to anticipate and plan for the opponent’s
attack when engaged in freestyle pushing hands.
For this reason, it is valuable to stage certain scenarios and to practice them
repeatedly. When working in pairs, one partner will assume the role of the
pusher while the other employs the sequential response of ting, hua, fa and
na. After several repetitions, the partners should reverse roles. It is also
important to practice each of these scenarios on both sides of the body in
order to avoid developing a preferred side for playing pushing hands.
Scenario 1: In this scenario, Partner A (in black) will simulate pushing
against Partner B’s left shoulder with his right palm, as shown in Figure 13-
14a. Partner A should direct his push in an attempt to push Partner B
backward and off her back foot. In accordance with the four-character
expression, Partner B’s first reaction to Partner A’s initial contact should be
to listen and judge both the directionality and “weight” of his push. If Partner
B has listened and fathomed the direction of Partner A’s push, she can then
respond by hollowing out her chest, sitting back onto her left leg, and gently
attaching to Partner A’s right wrist with her left hand and attaching to his
right elbow with her right palm. As Partner B sits back onto her left leg, she
should employ a combination of external and internal neutralization to lead
Partner A’s right palm into the empty space created by hollowing out her
chest and shifting backward. This position is depicted in Figure 13-14b.
Figure 13-14a
Figure 13-14b
Figure 13-14c
Figure 13-14d
Note that, in Figure 13-14b above, Partner B has not only drawn Partner A’s
arm into emptiness, she has also directed it slightly downward as well. This
has caused Partner A to bend forward at the waist and to compromise both
his structure and his central equilibrium. Because Partner A’s arm has also
been straightened by Partner B’s retreat, he is now overextended and his back
root is weakened. Partner B, on the other hand, has maintained her central
axis and has strengthened her back root by borrowing Partner A’s forward
energy and storing it in her left leg.
Having neutralized Partner A’s push, Partner B can now control his center.
She simultaneously applies a slight upward pressure on Partner A’s right
elbow and a slight downward pressure on Partner A’s right wrist. This creates
an “arm bar” joint lock, and gives Partner B control over Partner A’s entire
right arm. Partner B must be careful here not to apply too much pressure, as it
is easy to cause pain and even injury when applying an arm bar joint lock on
an opponent. If Partner B not only applies the correct pressure to Partner A’s
wrist and elbow but also incorporates a slight lifting up of Partner A’s locked
arm, she will be able to fully control not only Partner A’s arm but also his
shoulder and even his torso. This is shown in Figure 13-14c above.
Once Partner B is in control of Partner A’s right arm, shoulder and torso, she
can then issue by releasing the energy stored in her back leg while at the
same time projecting both her arms upward and forward toward Partner A’s
centerline. If Partner B does this gently, Partner A will be softly but
effectively pushed backward as represented in Figure 13-14d. However, if
Partner B chooses to release her back leg energy and extend her arms
suddenly, then Partner A will be sent flying backward for several yards in a
striking display of fa jin.
Scenario 2: This scenario simulates a situation that often arises when playing
freestyle pushing hands, especially when playing with less-experienced,
overly-aggressive opponents. These opponents mistakenly believe that if they
can connect both of their hands to your upper arms, they will be able trap you
and push you backward. In fact, if you understand the principle of ting, hua,
na, and fa, then you can turn their ill-conceived attempt to push you to your
own advantage.
To set up this scenario, Partner A (in black) and Partner B (in white) should
face each other in left bow stances. Partner A attaches both of his palms to
Partner B’s upper arms in an attempt to control her center, as shown in Figure
13-15a below. Partner A then uses his two hands to push against Partner B’s
upper arms in an attempt to pin them back behind her shoulders. In this
simulated exchange, Partner A should push forward with equal force in both
hands. As in the previous scenario, Partner B’s first response should be to
listen to the directionality and the amount of force behind Partner A’s push.
Having measured Partner A’s push and detected forward directionality in
Partner A’s two hands, Partner B should neutralize by shifting back slightly,
sinking into her root, and drawing Partner A into emptiness. This position is
illustrated in Figure 13-15b.
It is important that Partner B not allow Partner A to push her arms behind her
shoulders. To avoid this disadvantageous situation, Partner B should sink her
shoulders and drop her elbows as she settles into her root and withdraws.
This requires that her shoulders and upper arms remain relaxed. If she
exhibits any tension or stiffness in the shoulders and upper arms, Partner A
will be able to use that tension or stiffness in order to push her upper arms
behind her shoulders. It is very difficult to escape from this position, and it is
best to avoid having one’s arms be pinned back.
Once Partner B has neutralized Partner A’s push, she can slip her own two
hands under Partner A’s hands in order to connect to Partner A’s body in the
posture of Press. With her hands connected to Partner A’s torso and her hips
squared toward the front, she is now in a position to control A’s center. This
new position is shown in Figure 13-15c. After obtaining the advantageous
position depicted in Figure 13-15c, it is a simple matter for Partner B to
execute Press against Partner A’s upper body and to issue energy in order to
propel him backward. Again, the suddenness and extent of issuing is up to
Partner B. Since she controls Partner A’s centerline, it will only take a small
amount of pressing energy (ji jin) to uproot him. However, should she choose
to do so, she can issue fa jin against Partner A’s body to send him flying
backward. The final outcome of this scenario is presented above in Figure 13-
15d.
Figure 13-15a
Figure 13-15b
Figure 13-15c
Figure 13-15d
Freestyle Pushing Hands
So far, all the two-person exercises presented in this book have relied upon
mutual cooperation between the two partners. These exercises have shared
the common purpose of training both participants in the development of a
particular skill. Unfortunately, real combat does not involve mutual
cooperation. Whether in freestyle pushing hands, sparring, or actual fighting,
both individuals are intent on imposing their will upon their opponent.
In order to master the martial aspect of taijiquan, we must train the ability to
use this art both to defend ourselves and to overcome opponents if necessary.
In most other martial art systems, the way to train in both defense and offense
is to practice sparring. There is an inherent danger in sparring, however.
Ping-Siang Tao wrote of this in his book, Taiji Push Hands – The Secret of
Qi in Taiji Quan. He stated that, in order for any martial art to be useful, it
must be practiced with partners. However, if the practitioners begin actual
sparring too soon, it is possible for them to become injured before they
acquire the listening and neutralizing skills necessary to avoid being
controlled by their opponents. For this reason, it is important to begin with
lightness and softness along with yielding and neutralizing by practicing
pushing hands, which is the safest way to acquire these skills.
Freestyle pushing hands is the practice of engaging with a partner in order to
train the martial skills of taijiquan without employing striking, kicking, joint
locks, or take-downs. Freestyle pushing hands does permit pushing, pressing,
splitting, pulling down, shoulder stroking and even elbow stroking, as long as
these last two don’t cause injury. Freestyle pushing hands is competitive in
the sense that each player attempts to control their opponent while remaining
free from their opponent’s control. This is in keeping with the principle:
“Only I know the other; he does not know me.” Nonetheless, freestyle
pushing hands is also a cooperative enterprise, since there are agreed-upon
conventions, and neither party is trying to injure the other.
Most individuals who engage in freestyle pushing hands do so with the
objective of pushing their opponents off without getting pushed off
themselves. However, this is contrary to the intent and spirit of taijiquan.
When playing pushing hands, the correct approach is to practice lightness,
softness, yielding, and neutralizing. You should measure your success in
terms of how well you use softness and lightness in order to yield and
neutralize your opponent’s pushes, rather than taking pride in how often you
pushed your partner off. A good rule of thumb in playing pushing hands is to
neutralize ten pushes for every time you push your partner off. In this way,
you will develop good rooting, yielding, and neutralizing skills. Once you
have mastered those skills, it is really very easy to uproot, control, and push
opponents when the opportunity arises.
Freestyle pushing hands can be practiced under different sets of constraints.
The simplest form of freestyle pushing hands, called “fixed-step pushing
hands,” requires that the two players remained fixed in their stances.
Technically, if either player shifts a foot or lifts a foot off the ground, that
player is judged to have been bested in the interchange. The second category
of freestyle pushing hands is known as “restricted-step pushing hands.” In
this type of pushing hands, either player may take one step backward or
forward in order to attack or retreat. The other player is permitted to match
the single step of the player who initiates the stepping. In the third category
of freestyle pushing hands, which is sometimes referred to as “moving-step
pushing hands” and is also called “unrestricted pushing hands,” partners are
free to take multiple steps in any direction. In some instances, a ring or
square may be delineated, and if either partner steps outside the designated
space, that is considered to be a defeat.
Fixed-step Pushing Hands: As stated in the preceding paragraph, the fixed-
step form of freestyle pushing hands limits each player to standing in a fixed
stance. In the Chen style, this type of pushing hands is referred to as “dingbu
tuishou.” Although this may be the most constrained of the three forms of
freestyle pushing hands defined above, it offers many training advantages
over the other two forms. Because the two players are not permitted to step or
to move their feet in any manner, they are able to concentrate on what are
referred to as “hand techniques.” You may have noticed that, when learning
the movements of a new posture, it is easier to start off learning the hand
movements first and to add the stepping movements only after you become
comfortable with the hand movements. The same holds true when initially
learning to play freestyle pushing hands.
A second benefit conveyed by requiring the players to remain in static
stances is that it helps to develop the skill of rooting. In order to maintain the
two feet in a fixed position, a player must learn to absorb the opponent’s
pushes and to rely upon rooting when neutralizing and yielding. The ability to
stand like a balance and turn like a wheel is developed through the practice of
fixed-step pushing hands.
One disadvantage of fixed-step pushing hands is that it can lead to bad habits.
When individuals are unable to move their feet in order to retreat from a
strong push, they may bend backward from the waist in order to avoid being
pushed off. This style of Gumby pushing hands, depicted previously in
Figures 13-1c and 13-1d, is very common in the West, where emphasis is
placed on not getting pushed off rather than “investing in loss.” When
playing fixed-step pushing hands, if one is unable to use the waist effectively
in order to neutralize a strong push, it is better to step back while maintaining
an upright posture rather than to stand determinedly in place as one bends
backward like piece of half-cooked linguine. Always remember that, if your
body’s posture doesn’t resemble one of the postures in the solo form, it has
no place in pushing hands.
Whether engaging in fixed-step or any other form of freestyle pushing hands,
partners must agree upon a convention for initiating each interaction. It is
very common to adopt the “three circle rule” in which the partners
cooperatively perform three repetitions of a standard pattern before
attempting to push or otherwise control their opponent. This is yet another
reason to learn at least one pushing hands pattern before moving on to
freestyle pushing hands. Having completed the three repetitions, players are
free to employ any of the hand techniques permissible in freestyle pushing
hands. Many players immediately attempt to seize the advantage as soon as
the third repetition of the pattern is completed. However, it is wise to heed the
wisdom of Miyamoto Musashi, author of The Three Rings, the classic
Japanese text on the use of the sword: “The first one to draw his sword is the
one who gets cut.”
It is better to allow your opponent to attempt to push you first rather than
immediately trying to push your opponent. In this way, you will be able to
measure the opponent’s strength and also his weakness. You can then utilize
yielding and neutralizing to lead him into a disadvantageous position. Having
listened and neutralized (ting and hua), you can then seize and issue (na and
fa) as you wish. This is the correct way to practice fixed-step pushing hands.
Restricted-step Pushing Hands: After students are comfortable playing
fixed-step pushing hands, they can progress to the practice of restricted-step
pushing hands. As the name implies, restricted-step pushing hands “restricts”
each player to taking a single step. Further, the stepping can only be forward
or backward (i.e. Advance or Retreat). The purpose of restricted-step pushing
hands is to train practitioners in the skills of “stepping in” and “matching.” In
the Chen style, practitioners may take more than one step forward or
backward, but are restricted to stepping forward or backward along a linear
path. This type of pushing hands is called “huanbu tuishou.”
In restricted-step pushing hands, the individual who steps in gains additional
momentum from the forward step. This momentum may be added to the
power generated from Push, Press, Elbow-Stroke, or Shoulder-Stroke. The
individual who is receiving such power creates additional space by stepping
back and matching the forward step of the attacker. This enables the
receiving individual to yield and neutralize the attacker’s power without
compromising her space. The stepping in and stepping back of the two
players is depicted below in Figures 13-16a through 13-16d.
Figure 13-16a
Figure 13-16b
Figure 13-16c
Figure 13-16d
In the above photographs you will notice that the stepping in of the individual
who is advancing is matched by the stepping back of the individual who is
retreating. The complete event, which takes place very quickly, has been
reproduced in four freeze frames in order to show the step-by-step sequence,
which is as follows. Assume that both players are facing each other in right
bow stances, as depicted in Figure 16-13a, In Figure 16-13b, Partner A (in
white) steps forward approximately eighteen inches with her forward, right
foot, and Partner B (in black) matches Partner A’s forward step by initially
retreating approximately eighteen inches with his back, left foot. In Figure
13-16d, Partner A executes a following step by sliding her left foot up to
maintain the original distance between her two feet. At the same time, Partner
B slides his front, right foot backward to regain his original bow stance.
The best way to begin training in restricted-step pushing hands is to work
cooperatively with your partner. Designate one partner as the individual who
will be advancing and the other partner as the individual who will be
retreating. Start by standing in matching bow stances and circling the hands
in an agreed-upon pattern, such as the Four Hands pattern introduced
previously. After three circles, which you may want to count aloud, the
advancing partner will step in as the retreating partner steps back. Repeat the
process by completing three more circles of the pattern and then stepping
forward and backward as before. The two partners can begin at one end of a
long room until they reach the other end. Then the partners can reverse roles,
and the process can be repeated back across the room in the other direction.
At this point in the training process, neither partner should attempt to push or
rollback the other. Instead, the partners should concentrate on striving to
match each other’s movements smoothly and fluidly. The purpose of this
exercise is to develop sensitivity and agility, especially on the part of the
individual who is stepping back.
After both partners have become equally familiar with stepping in and
retreating backward, they can dispense with counting of the preliminary
circles. One player will still assume the role of the advancer with the other
taking on the role of the retreater. However, now the advancer may step in at
any time without giving any warning. The retreater must sense the intention
of the advancer and match her step. If the retreater is not paying attention or
is not sufficiently sensitive to the subtle movements that precede the
advancer’s forward step, he may be caught off guard and will likely get
pushed backward. Conversely, if he is overly cautious and steps back before
the advancer steps in, he will lose contact with his partner, which is also
undesirable. In either case, the two players will need to reset their bow
stances and begin anew.
At some point, the two players can dispense with the roles of advancer and
retreater. As before, they will stand facing each other in matching bow
stances and will begin circling hands as in fixed-step freestyle pushing hands.
However, without warning either player may elect to step in and attempt
some form of attack, such as a push or a press. The other player must be able
to sense the impending attack and match the attacker’s advance by stepping
back while employing yielding and neutralizing in order to negate the attack.
The player stepping back may utilize Rollback, Split, or Pull-Down in order
to borrow the attacker’s forward momentum and use it to uproot him.
As a final note on restricted-step freestyle pushing hands, it is permissible for
each player to quickly repeat the sequence of stepping in as long as he
permits his partner to step back each time. This can also be practiced as a
drill. For example, two partners can take turns being the advancer, with the
advancer taking a pre-determined number of forward steps to be matched by
the same number of backward steps on the part of the retreater.
Once both partners become familiar with the basic sequence of stepping in or
retreating, they may elect to permit the advancer to switch from a right bow
stance to a left bow stance as she advances. This requires the retreater to
switch bow stances as well. Additionally, both players will need to reverse
their hand positions, as shown in the sequence illustrated below by Figures
13-17a through 13-17d.
Figure 13-17a
Figure 13-17b
Figure 13-17c
Figure 13-17d
Moving-step Pushing Hands: Unlike fixed-step or restricted-step pushing
hands, in moving-step pushing hands there are no limitations placed upon the
players, and they are permitted to step in any direction and as many times as
they please. In the Chen system, this type of pushing hands is called
“luancaihu tuishou.” In order to play the game of moving-step pushing hands
effectively, both players need to be light, agile, nimble, and responsive. Each
player must be attuned to the stepping of his partner and must respond
according to his partner’s stepping direction: forward, backward, left, or
right. As such, moving-step pushing hands incorporates the Five Steps
(Advance, Retreat, Look Left, Gaze Right, and Central Equilibrium) which
are part of the Original Thirteen Postures of taijiquan.
All the hand techniques may be employed in moving-step pushing hands. In
addition, some schools allow the participants to incorporate tripping and leg
sweeps in order to uproot the opponent. There are even schools that permit
grappling and throwing in order to take the opponent down. These techniques
are actively practice in Chenjiagou (the Chen village, where Chen style
taijiquan is taught according to tradition).When the foot techniques of
tripping and sweeping, along with the hand techniques of grappling and
throwing, are added to the mix, the practice of moving-step pushing hands
becomes another art, that of Chinese wrestling (shuai jiao). If one wishes to
practice this art, it is best to do so under very careful supervision, as injury to
either oneself or one’s partner is an ever-present danger. Also, unless both
players are very skillful and mindful of the true objective of this type of play,
they can easily resort to raw muscular strength and body mechanics in order
to sweep, trip, grapple and/or throw their opponent to the ground.
Moving-step pushing hands helps to develop the martial skills of taijiquan.
The only limitation is that the participants must still maintain two points of
contact with the hands. All the hand techniques and the stepping techniques
of the Original Thirteen Postures may be employed. Striking with the hands
and kicking with the feet are not permitted. Nonetheless, the practice of
moving-step pushing hands comes close to free sparring or actual combat
without involving the risk of injury from getting punched or kicked.
However, as stated in the preceding paragraph, if grappling, throwing,
tripping, and sweeping are involved, the risk of injury increases significantly.
For these reasons, masters from the original families and their disciples
developed several different approaches to two-person moving-step interaction
in order to train martial skills without risking injury to the participants. Two
widely-practiced two-person training techniques evolved: sanshou and dalu.
These training routines are discussed briefly in the following two sections.

Sanshou
For those individuals who are interested in moving-step pushing hands but
are concerned about the possibility of injury, a related two-person exercise,
called “sanshou,” may be practiced instead. In sanshou, partners follow a set
pattern of movements in which each player has an assigned role. For
example, one player steps forward in order to execute a stylized attack, such
as a punch, while the other player matches the attacker’s advance and
employs the programmed response, such as Rollback. Many individuals will
find that this stylized, two-person approach to stepping and matching may
satisfy their interest in moving-step pushing hands without running the risk of
personal injury to themselves or their partners. There are a number of two-
person sanshou sets. The photographs presented below in Figures 13-18a
through 13-18d illustrate several of the matched movements taken from the
Yang style two-person set developed by T. T. Liang, a disciple of Professor
Cheng Man-ch’ing.
Figure 13-18a
Figure 13-18b
Figure 13-18c
Figure 13-18d
Individuals who are interested in learning sanshou will need to seek out a
qualified and experienced teacher. Unfortunately, here in the West there are
very few taijiquan schools that include sanshou in their curriculum. It is
possible for experienced taijiquan practitioners to learn a sanshou routine by
following an instructional video if no qualified instructor is available. The
sanshou routine referred to above, for example, includes eighty-eight two-
person interactions. It will take two individuals, working cooperatively
together, anywhere from three to six months to learn the movements of this
routine and to be able to execute it smoothly and with good control.

Dalu
Dalu is another two-person practice that involves stepping. The term “dalu”
is usually translated as “Large Rollback.” Dalu routines are intended to train
the Four Corners hand techniques of Pluck, Split, Elbow-Stroke and
Shoulder-Stroke. In some ways, dalu is similar to sanshou. Each player has a
specific role in the two-person interactions. However, in dalu there are only
four basic interactions, illustrated in Figures 13-19a through 13-19d below.
Also, in dalu the primary stepping directions are toward the four corners
(northeast, southeast, southwest, and northwest) rather than the four sides
(north, east, south and west). Yang Chengfu wrote that “four corners pushing
hands” refers to the directions of dalu, and that the stepping should proceed
toward the four corners. In this way, dalu is different from the cardinal
directionality of moving-step pushing hands. Taken together, moving-step
push hands and dalu address all eight sides of the Bagua symbol.195
In dalu, each action has a pre-determined response. For example, when one
partner executes tsai the other partner responds with kao. The stepping is also
matched. When one partner steps backward to execute tsai, the other partner
steps forward diagonally to execute kao. In this aspect, dalu differs from
other moving-step routines and trains a very important stepping technique.
Rather than stepping directly to the rear in order to neutralize an attack,
which does not change the dynamic between the two individuals, in dalu the
individual who retreats actually steps back diagonally in order to gain a more
advantageous position relative to his partner. This can be seen in the
photographs shown in the sequence below. The attacking partner must then
adjust her step accordingly.
In a single sequence of dalu, each partner assumes the role of both attacker
and defender. In the first half of the sequence, the partner who initiates the
attack advances three steps. If both partners are facing each other in left bow
stances, as shown in Figure 13-19a, Partner A will advance with her right
foot and attempt to strike with her right hand. See Figure 13-19b. Partner B
will step back with his right foot while pivoting on his left foot and rotating
his waist to turn away from Partner A’s advance. This first rotation should
complete a clockwise turning of forty-five degrees.
While stepping back, Partner B will also intercept Partner A’s right hand with
his own right hand, as shown in Figure 13-19b. Partner A will then take
another step, this time with her left foot, in order to adjust her position
relative to Partner B. Partner A must adjust the direction of her second step
by forty-five degrees in order to be square relative to Partner B. This is
shown in Figure 13-19c. Partner B does not step at this point, as Partner A’s
second step is an adjusting step rather than an advancing step.
Finally, Partner A steps in with her right foot and attempts to execute
Shoulder-Stroke. Partner B responds by stepping back again with his right
foot, again pivoting forty-five degrees in a clockwise direction, and executes
Pulldown by attaching to Partner A’s right wrist with his own right hand and
connecting to Partner A’s right elbow with his left hand. See Figure 13-19d.
Figure 13-19a
Figure 13-19b
Figure 13-19c
Figure 13-19d
When Partner A realizes that her attempt to apply Shoulder-Stroke has been
neutralized by Partner B’s Pulldown, Partner A will step back with her own
right foot, and Partner B will step forward with his right foot and attempt to
strike with his right hand. This begins the second half of the sequence, with
the roles of attacker and defender reversed. Each half of the sequence of
attack and retreat completes an arc of forty-five degrees. When the entire
sequence has been completed, with each partner assuming the role of both
attacker and defender, they will have stepped through an arc of ninety
degrees, which is a quarter of a full circle.
If the partners begin facing each other in a north/south configuration, then
one partner will wind up facing the southwest, while the other partner faces
to the northeast. This completes the first half of the sequence. The partners
then reverse rolls to complete the second half of the sequence. At this point,
the partners will be facing east and west. If the sequence is repeated again,
the partners will have switched their original orientations and will now be
facing south/north. A total of four sequences will return the partners to their
original positions.
It is difficult to explain in detail how the dalu sequence is executed, as
anyone who has read either Yang Chengfu’s or Fu Zhongwen’s descriptions
can attest. Even photographic sequences, such as the one presented above, do
little to clarify written descriptions of this form. The best way to learn dalu is
to receive instruction from a qualified and experienced teacher. As with
sanshou, it may be possible for experienced taijiquan practitioners to learn
the basic sequence of dalu from an instructional video. However, unlike
sanshou, the sensory learning that takes place when practicing dalu with an
experienced teacher cannot be replicated in a video.
Dalu requires precise timing and appropriate responses. Also the
directionality of both the advancing steps and retreating steps is difficult to
convey precisely, even in a video. Nonetheless, dalu is an important practice
for those who are interested in mastering the complete complement of martial
skills in taijiquan. For this reason, it is important to make the effort to
encounter and train with a teacher or advanced practitioner who can impart
the Four Corners skills to you through hands-on training.

Conclusion
For those who seek to master the martial aspect of taijiquan, the various
practices of pushing hands described in this chapter represent the gateway. It
is absolutely crucial to study pushing hands in order to understand the
essence of taijiquan as a martial art. As Yang Chengfu wrote in The Essence
and Applications of Taijiquan, the martial art of taijiquan employs pushing
hands in order to convey the meaning of its applications.196 Although
practicing pushing hands is an essential step in acquiring martial mastery in
taijiquan, it is important to understand that tuishou, in and of itself, does not
directly train the martial applications of taijiquan. Rather, tuishou helps
practitioners to develop the sensitivity, lightness, nimbleness, and
responsiveness that are necessary to the application of the taijiquan postures
in actual combat.
Practicing basic pushing hands patterns trains the muscle memory and the
sensitivity that enables partners to both listen to and respond to various
attacks that may be encountered in actual sparring or combat. Fixed-step
pushing hands helps players develop root and the ability to neutralize without
relying upon stepping back to avoid an attack. Limited-step pushing hands
begins to develop the ability to either step forward in order to gain advantage
or to match an attacker’s advance by stepping backward. Moving-step
pushing hands simulates the unrestricted stepping that individuals would
encounter were they to be engaged in either sparring or combat. Finally, the
stylized sequences of sanshou and dalu aid in training both the stepping
methods and the hand techniques which would be employed in sparring or
fighting.
Having emphasized the importance of pushing hands practice in developing
basic hand techniques and stepping skills, it must be stated unequivocally that
pushing hands practice will not prepare the practitioner to apply taijiquan in a
martial setting. In order to use the principles and applications of taijiquan in
either sparring or real combat, it is necessary to practice the individual
postures in two-person drills and then in unstructured two-person sparring.
This is a challenging proposition and absolutely requires the supervision and
guidance of an experienced teacher. It also demands that partners be willing
to subject themselves to some rough treatment. Of course, if the individuals
engaged in such training have extensive backgrounds in pushing hands, they
will have developed a degree of softness and sensitivity that will enable them
to both give and take the simulated attacks and defenses that must be
practiced in order to apply the principles and postures that have been
rehearsed thousands of times during both solo form and pushing hands
practice.
The following chapter presents the martial applications of a number of
postures that have been chosen from the Chen, Yang, Wu (Chiang-chuan),
and Sun styles of taijiquan. These applications will prove instructive whether
you want to actively practice them to develop martial ability or merely have a
more academic interest in the martial applications of taijiquan. Even those
individuals who do not actively seek to master the martial applications of
taijiquan will find it interesting to see how the empty-hand postures that they
have been practicing for many years can be applied in actual combat
situations. It is recommended that all practitioners of the martial art of
taijiquan have at least a working familiarity with the martial applications of
the form that they practice. To exclude the martial applications from the
study of the taijiquan is to diminish it as a martial art and limit it to the
superficial level of mere physical exercise. One would be just as well-served
by practicing yoga, Pilates, or aerobic dancing.
 Chapter Fourteen

The Martial Applications of Taijiquan

As students of taijiquan, it is important to acknowledge that the art we

practice today has its roots in the millennia-old tradition of Chinese martial
arts. Modern scholars have traced the roots of the art of taijiquan back at least
a thousand years to various styles and schools of martial arts in ancient
China. Many of these styles are now known only through historical records,
as their actual practice has been lost due to the depredations of wars, dynastic
turnovers, and shifting cultural values. In the preface to his informative text,
Tai Chi Chuan in the History of Martial Arts, Martin Broedicker quoted from
The Great Learning (Daxue): “All things have roots and branches.” He
commented that we can see the branches of taijiquan, but the roots are hidden
in “the mists of time.”197
Authors such as Martin Broedicker and Sal Canzonieri, whose The Hidden
History of the Chinese Internal Martial Arts includes the internal martial arts
of baqua zhang and xinyi quan in its coverage, provide a fascinating
historical perspective with regard to the development and evolution of
taijiquan as a distinctive martial art. Dr. Yang, Zwing-ming’s book,
Advanced Yang Style Tai Chi Chuan, provides a concise summary of the
martial styles that preceded and influenced the martial art that we know today
as taijiquan. While it is interesting from a layperson’s perspective to read
these historical accounts, what is more important is to understand and
appreciate the martial tradition from which the modern art of taijiquan
developed.
As stated in the Introduction to this book, anyone who seeks to master the art
of taijiquan must appreciate and study both the civil and the martial aspects
of the art. While it is possible to practice taijiquan solely for its health
benefits or to utilize the empty-hand and weapons forms as a method of
moving meditation, failing to study the martial applications of the art and to
develop martial proficiency means that the practitioner has ignored both the
historical tradition and the underlying purpose of the art.
Many teachers assert that learning the martial applications of the postures and
the various weapons is not essential in order to derive the health benefits of
taijiquan. They claim that the study of martial applications has limited
appeal, and that instruction in the martial applications is inappropriate for
many venues in which taijiquan is taught (i.e. fitness centers, YMCAs, senior
centers, etc.) Although there is merit in simply presenting taijiquan as a
system of healthful movements that benefit mind, body, and spirit, even
individuals who undertake the study of taijiquan for health and/or spiritual
development will gain a deeper understanding of the movements if the
martial applications of those movements are demonstrated.
Experienced taijiquan teachers realize that form follows function. When
students understand the martial function of a posture as it relates to the shape
of the arms and the position of the feet, they are more likely to hold the
posture correctly. Because the shape of each posture conveys its unique
health benefit in terms of stretching and opening the joints, strengthening the
legs, improving balance and coordination, and directing the flow of qi, it is
essential that students learn the proper physical structure for each posture. To
this end, even beginning students are more apt to perform the postures
correctly if they recognize and can incorporate the martial applications into
the individual postures of the form.
Understanding and properly executing the transitions between postures is
equally important in mastering both empty-hand and weapons forms. In
practical terms, the execution of a particular taijiquan form has more to do
with the transitions than with the fixed postures. It is within the transitions
that the five stepping techniques are employed. It is also in the transitions that
yielding and neutralizing take place and attaining an advantageous position is
achieved. Explaining in martial terms why the transition to a particular
posture requires forward or reverse stepping, as well as the length or width of
the resulting stance, will enable students to better execute the transition
correctly.
Although it is important to study and understand the martial applications of
the postures, there is an inherent danger in this study. The danger is that the
student becomes focused on specific techniques and loses sight of the
underlying principles of taijiquan. It is of no benefit to understand rationally
the purpose of Ward-Off in maintaining a defensive position if the
practitioner employs rigidity in holding up the ward-off arm and maintains
stiffness in the legs.
It is equally important that students recognize that each posture typically
contains multiple applications. For example, in the posture of White Crane
Spreads Its Wings, the empty foot may be employed to kick the opponent’s
kneecap with the toe, strike with the opponent’s thigh with the heel, knee the
opponent in the groin, or trip the opponent by sweeping the opponent’s
leading foot. And those are just several applications that may be applied with
the empty foot. The applications of the arms in this posture are just as varied.
Students often ask: “How many different applications does this posture
have?” An experienced teacher will answer “Dozens.”
If it is true that principles are more important than techniques and that every
posture contains many applications, then the question arises: “How can one
begin the study of the martial applications of taijiquan?” The answer is that
one begins simply. Students who wish to learn the martial side of the art must
study with an experienced teacher. That teacher will introduce one
application at a time, focusing upon the underlying internal principles that
support the application of the posture. Students should practice that single
application with the teacher and with each other, adhering strictly to the
application of internal power rather than relying upon external strength. Over
time, additional applications for each posture will be introduced. In general,
learning a comprehensive set of martial applications for a traditional long
form takes several years to complete.
Many books and videos have been produced with the purpose of
demonstrating and explaining the martial applications of taijiquan.
Acknowledging that there are differences in family styles and that each style
applies its postures uniquely, the following material is presented in the
interest of providing an overview of the martial applications of taijiquan. A
variety of postures from the Chen, Yang, Wu (Chian-chuan), and Sun styles
are included, with one or two applications described and depicted
photographically for each style. This material is not intended to be a
comprehensive treatment of the martial applications of the art of taijiquan.
Such an endeavor is beyond the scope of this, or any single, book.

Chen Style Martial Applications

As the original style of taijiquan, Chen style taijiquan is, in many ways, more
closely related to hard style martial arts than the later, derived family styles of
taijiquan. Chen style includes fast strikes and kicks and intersperses slow,
gathering movements with quick, opening movements intended to issue jin.
In particular, the influence of Shaolin temple martial arts can be seen in both
the postures and their names, starting with the posture of Buddha’s Warrior
Attendant Pounds the Mortar. Many of the martial applications of Chen style
postures are intended to injure or incapacitate the opponent. For these
reasons, many practitioners of taijiquan consider Chen style to be more
openly martial than other styles. This distinction is more superficial than
actual, as each of the family styles includes applications that are intended to
render an opponent incapable of further attack.
One key feature of all styles of taijiquan is that any pushing, striking,
kicking, locking up, or throwing over is always preceded by a preliminary
neutralization of the opponent’s attack. This is apparent in the martial
applications of the Chen style of taijiquan as well. In Chen style, however,
neutralization and yielding are often short and quick, and may not be as
apparent as in other styles of taijiquan. Thus, when those not familiar with
the intricacies of Chen style taijiquan observe this style in martial
applications, their impression is often that Chen style is more overtly
aggressive than other styles of taijiquan. In the following examples, both
yielding/neutralizing and attack play equal roles. Each example includes both
rou and gang, soft and hard. It is important to recognize the role of both rou
and gang in every martial application of Chen style taijiquan.
Buddha’s Warrior Attendant Pounds the Mortar: The posture of
Buddha’s Warrior Attendant Pounds the Mortar is a signature posture of
Chen style taijiquan. This posture occurs at the beginning of both the yi lu
and er lu of the laojia (first and second routines of the Old Frame). Figures
14-1a and 14-1b depict the solo execution of this posture. The raising of the
right knee and right fist are shown in Figure 14-1a. These initial movements
are executed slowly; however, the dropping of the right foot onto the ground
and the “pounding” of the right fist into left palm, as shown in Figure 14-1b,
are performed quickly, resulting in the stamping of the right foot and the hard
punching of the right fist into the left palm.
Figure 14-1a
Figure 14-1b
As with all taijiquan postures, there are numerous martial applications
contained within this simple posture. This posture may be employed in
response to a punching attack on the part of an opponent. If the opponent (in
black) throws a high punch with his right hand, the practitioner (in white)
may respond by turning to the side and intercepting the opponent’s right wrist
with her own right hand while simultaneously connecting her left hand to the
outside of the opponent’s upper arm. This provides the practitioner with two
points of contact with the opponent’s outstretched right arm. These two
points of contact may be used to apply a joint lock, thus neutralizing the
opponent’s attack. Having locked the opponent’s arm, the practitioner may
then step forward in order to throw the opponent backward.
Alternatively, eschewing a joint lock, having neutralized the opponent’s
attack, the practitioner can apply a knee strike to the opponent’s groin which
is likely to temporarily incapacitate him. To further injure the opponent, the
practitioner can strike the opponent’s ribs with her right elbow and/or strike
the opponent’s lower jaw with an uppercut with the right fist, as indicated in
Figure 14-1c. Finally, the practitioner can stomp down on the opponent’s left
instep with her right heel, as indicated in Figure 14-1d.198 The bones in the
feet are small and easily broken. It is very easy to be injure an opponent by
stamping upon his foot, which renders him incapable of further aggressive
action. Anyone who has dropped a heavy object onto their foot will recall
how painful and incapacitating such an injury can be.
Figure 14-1c
Figure 14-1d
Lazy About Tying the Coat: This is another signature posture of Chen style
taijiquan. This posture appears quite relaxed, but it has several martial
applications. One key feature of this posture is that the upper body, especially
the left arm, is soft and seemingly unengaged. The power of this posture
derives from the stepping, the width of the resulting lateral bow stance, and
the turning of the waist. This posture also incorporates the shun chan and ni
chan movements of chan ssu jin. Although it is difficult to portray these
qualities in still photography, collectively they are the key to applying this
posture effectively.
Figures 14-2a depicts the transition from the posture of Buddha’s Warrior
Attendant Pounds the Mortar and Figure 14-2b shows the finished posture of
Lazy About Tying the Coat. In Figure 14-2a, the practitioner circles the arms
in preparation for gathering in. This represents the shun chan phase of the
Silk-Reeling energy. In Figure 14-2b, the practitioner steps out to the right
settles into a wide, lateral bow stance, turns the waist to the right, and extends
the right arm in a slight arc up and to the right. This is the ni chan phase of
the Silk-Reeling energy.
Figure 14-2a
Figure 14-2b
The primary application of this posture is to intercept an opponent’s right-
handed punch to the chest. The purpose of the circling of the arms as depicted
in Figure 14-2a of the solo form now becomes apparent in Figure 14-2c.
Having deflected and neutralized the opponent’s attack using shun chan, or
coiling in, the practitioner is free to step in on the opponent and insert her
knee into the opponent’s crotch. At the same time, the practitioner can
execute Elbow-Stroke with her right elbow against the opponent’s right ribs,
as shown in Figure 14-2d. The energy stored in shun chan is issued outward
in ni chan to deliver the chou jin of Elbow-Stroke.
Figure 14-2c
Figure 14-2d
Alternatively, the practitioner, having neutralized the attack, can step in on
the opponent and use the leverage of her right arm, combined with the
turning of her waist, in order to unbalance and to throw over the opponent, as
can be seen in Figures 14-2e and 14-f. The action of stepping in and
employing the opponent’s arm as a lever is a classic Chen style technique
which is used to great advantage when combined with a waist turn. This
technique can be used to make the opponent lose his balance while striking
above in order to render him incapable of further attack.199
Figure 14-2e
Figure 14-2f
White Crane Spreads Its Wings: The posture of White Crane Spreads Its
Wings is present in all the major family styles of taijiquan. In some styles,
the bird is referred to as a “goose” or a “swan;” however, the basic shape of
the posture and the intrinsic energy of lieh, or split, remains the same. If one
understands the martial application(s) of White Crane Spreads Its Wings in
one family style, it is easy to identify the same application(s) in the postures
of other styles.
Figures 14-3a and 14-3b illustrate the transition into and the finished posture
of White Crane Spreads Its Wings in Chen style taijiquan. In Figure 14-3a,
the practitioner is shown in the transition from the posture of Buddha’s
Attendant Pounds the Mortar. The practitioner sits back onto the right leg
forming a cat stance and circles the arms outward. In the final posture, shown
in Figure 14-3b, the right arm is lifted up above the right shoulder while the
left arm has arced down adjacent to the left thigh.
Figure 14-3a
Figure 14-3b
White Crane Spreads Its Wings employs the intrinsic energy of Split as the
primary martial application. This can be illustrated in the sequence of
photographs shown in Figures 14-3c and 14-3d. In the first photo in the
sequence, the opponent attempts to punch practitioner’s face or chest. The
practitioner responds by stepping backward with her right leg in order to
yield to the opponent’s attack such that the punch lands on nothing. In the
second photo (Figure 14-3d), the practitioner uses her two arms to open up
the opponent by employing Split, or lieh, energy. Having exposed the
opponent’s chest, the practitioner is free to step into the opponent in order to
strike his chest or kick him in the groin. The energy of Split can also be
employed with a waist turn in order to topple the opponent onto the
ground.200
Figure 14-3c
Figure 14-3d
Double Cannon Fists: The Chen style posture of Double Cannon Fists is
another signature posture of this style. It has various names, such as
“Cannons to the Face,” “Cannons Overhead,” and “Taiji Cannons.” This
explosive posture is so indicative of the Chen style that the second routine of
the Old Frame is often referred to as Cannon Fists, or pao cui. The solo form
of Double Cannon Fists is illustrated in Figures 14-4a and 14-4b. The first
movement, shown in Figure 14-4a, is a neutralizing action, and the hands
execute closing rotations as the practitioner performs a centering step. In the
second photograph, shown in Figure 14-4b, the practitioner steps out, and the
stored energy of the leg and the waist is released rapidly, sending the two
arms outward to issue fa jin simultaneously from both fists. It was said that,
when Chen Wangting would execute this movement, he would first withdraw
his fists into the sleeves of his silken tunic. When he released the fa jin into
the two fists, the noise they made as they exploded out of the sleeves sounded
like a pair of cannons firing off a double round.
Figure 14-4a
Figure 14-4b
The primary martial application of this posture is to intercept an opponent’s
attack using yielding and neutralizing, as shown in Figure 14-4c. This
yielding and neutralizing enables the practitioner to borrow the opponent’s
energy, which is stored in the legs and the waist. Finally, the stored energy is
released suddenly as the practitioner strikes the opponent’s chest, as indicated
in Figure 14-4d.201 Alternatively, in a gentler version of this technique, the
practitioner can connect the two fists to the opponent’s chest and then propel
him backward. It should be noted that the fa jin power of the Double Cannon
Fists attack is augmented by the forward momentum obtained by stepping
into the opponent’s frame, as indicated in Figure 14-4d. The technique of
stepping in is present in all styles of taijiquan, but is often not as apparent as
it is in Chen style, especially in those movements in which the stepping in
and the issuing of fa jin are combined dramatically, such as in the Double
Cannon Fists posture.
Figure 14-4c
Figure 14-4d
Yang Style Martial Applications
Compared to Chen style taijiquan, the Yang style taijiquan that is practiced
today is less overtly martial in appearance. Although originally derived from
Chen style, modern Yang style taijiquan has undergone a number of
modifications by the various lineage holders, beginning with Yang Lu-chan
and especially with Yang Cheng-fu. Several interpretations have been offered
to explain the dilution of the martial elements of Chen style in the early
development of Yang style taijiquan. It is claimed that Yang Lu-chan
eliminated many of the more challenging movements from the original Chen
style in order to accommodate the imperial family members who studied with
him and who were unaccustomed to rigorous physical activity. Others
theorize that many of the adjustments made by both Yang Lu-chan and Yang
Cheng-fu were intended to disguise the martial aspect of the art in order to
make it appear less threatening to the Manchu rulers of the era. Proponents of
Yang style like to say that the martial applications are still in the form, they
are merely hidden.
Although the pace of modern of Yang style taijiquan is slow, steady, and
even, it is almost certain that the taijiquan of Yang Lu-chan and his sons,
Yang Ban-hou and Yang Chien-hou, included changes in pace and sudden
punches and kicks. There are still adherents of the variants of taijiquan
handed down by Yang Ban-hou and Yang Chien-hou, and their versions of
Yang style taijiquan are clearly more martial in tenor than the taijiquan
attributed to Yang Cheng-fu and practiced by the large majority of Yang
stylists today. Despite the external differences between variants, all variations
of Yang style taijiquan include certain commonalities, one of which is the
inclusion of the sequence, Grasp the Sparrow’s Tail.
Grasp the Sparrow’s Tail: The sequence of Yang style postures collectively
known as “Grasp the Sparrow’s Tail” includes the following: Ward-Off,
Rollback, Press, and Push. These four postures contain within them the
intrinsic energies of the Four Sides, i.e. peng, lu, ji, and an. As its name
suggests, the posture of Ward-Off employs peng energy in order to withstand,
or ward-off, an opponent’s attack. Figure 14-5a illustrates the posture of
Ward-Off Left as it appears in the solo form. In Figure 14-5b, the practitioner
is employing Ward-Off in order to hold off an opponent who is seeking to
overcome her with force.
Figure 14-5a
Figure 14-5b
It is important to note that peng energy is full and springy, not stiff and rigid.
When executed properly, the practitioner can withstand a great deal of
incoming force without any semblance of stiff resistance. Yang Cheng-fu
wrote that, in applying Ward-Off, one must use horizontal energy (peng jin)
to ward off in both a forward and an upward direction. One must not be stiff
or wooden. Once the opponent’s strength has been neutralized, his position
will become unstable and he can be easily overcome.202
The second posture in the Grasp the Sparrow’s Tail sequence is Rollback.
The posture of Rollback employs the intrinsic energy of lu and is used to
intercept and divert an opponent’s incoming force. Figure 14-5c depicts the
posture of Rollback in the solo form. Notice that the practitioner is sitting on
her back leg and has turned her waist somewhat to the right. The primary
martial application of this posture is shown in Figure 14-5d. In this photo, the
opponent appears to be tipping forward and is likely to fall onto the ground at
the completion of the movement.
Figure 14-5c
Figure 14-5d
It is important to understand that the practitioner has not pulled the opponent
forward. Rather, the practitioner has merely “opened the gate to let the robber
in.” This means that the opponent has applied too much force in an attempt to
overwhelm the practitioner, and the practitioner has simply shifted her weight
and turned her waist in order to guide the opponent in the direction of the
opponent’s attack. However, since there is nothing left to attack, the
opponent follows his own energy and is defeated by his own aggressive
behavior. Rollback is a defining posture of Yang style taijiquan and serves to
embody the Taoist principles that underlie this style of taijiquan.
Yang Cheng-fu wrote of the application of Rollback that the entire body sits
on the rear leg. The rear foot becomes full and the forward foot becomes
empty. If the opponent attacks at this time, then one should lead him across
the chest. As the neutralizing energy of Rollback engages, then the
opponent’s feet will be uprooted. His body will then follow, and he will fall
away at an incline.203
Following Rollback, the next posture in the sequence of Grasp the Sparrow’s
Tail is Press. Press utilizes the concentrated energy of ji for the purpose of
initiating a counter-attack. In the solo form, Press is executed using both
hands connecting to the same point on the opponent’s body. This can be seen
in the solo form posture and also the application, as shown in Figures 14-5e
and 14-5f respectively. The most common point for applying Press is against
the opponent’s torso, but Press can also be applied to the opponent’s
shoulder, back, or any other part of his body.
Figure 14-5e
Figure 14-5f
Yang Cheng-fu stated that Press is to be applied as the opponent is attempting
to escape from being rolled back. He wrote that the palm of the left hand
should adhere to the right arm or wrist and should then advance forward,
connecting to the opponent’s body. Having connected to the opponent, the
practitioner should issue Press (ji) to him, causing the opponent to be dropped
smoothly to the ground.204
The final posture in the Grasp the Sparrow’s Tail sequence is Push, which
employs the energy of an. The posture of Push in the solo form is illustrated
in Figure 14-5g. An, or push energy, has two directions. The first is a
downward pushing, which is frequently used to push down on the opponent’s
horizontal arm(s) in order to redirect the energy of his attack. For example,
push-down can be used to redirect and neutralize an opponent’s Press attack.
This application is shown in Figure 14-5h.
Figure 14-5g
Figure 14-5h
The second direction of an energy is a horizontal pushing. This horizontal
pushing is employed after neutralizing the opponent’s attack by pushing
downward. Because the opponent’s initial horizontal attack has been
neutralized by pushing down, the horizontal component of Push can be
applied with great effect in order to send the opponent flying backward with
little apparent effort. See Figures 14-5i and 14-5j below.
Figure 14-5i
Figure 14-5j
The power of Push comes not from the arms, but rather from the momentum
of the body as it shifts from the back leg to the front leg. The secret to
executing a successful push is first to cause the opponent to lose his root and
then to push off the back leg to engage the entire body in the push. Yang
Cheng-fu instructed the practitioner to extend the rear leg and waist (which
includes the lower back) while attacking forward. He advised practitioners to
include a fierce expression in the eyes in accordance with the forward
movement of the push. Then the opponent will lean backward and be thrown
away.205
Single Whip: Like the posture of White Crane Spreads Its Wings, the posture
of Single Whip is present in all the major family styles. Because the martial
applications of this posture are essentially the same in all styles, it is
instructive to examine this Yang style posture and its martial applications.
The photographs in Figures 14-6a and 14-6b, shown below, correspond to the
illustrations and the video footage of Fu Zhong-wen in his preparation and
execution of the Single Whip posture in the solo form. The practitioner,
having completed the posture of Push to the west, sits onto his back leg and
turns the torso back toward the south. The arms arc up and around in
accordance with the movement of the torso. This transitional movement
serves the purpose of intercepting and neutralizing any incoming attack. The
practitioner then executes a centering step and gathers in the arms in
preparation for striking. In Figure 14-6a, the practitioner “sends out the hook”
by forming the right hand into a hook and extending it outward.
Subsequently, in Figure 14-6b, the practitioner steps out to the east and
extends the right arm with the hand forming a hook while the left arm is
employed to deflect and/or strike to the front in a “whipping” motion.
Figure 14-6a
Figure 14-6b
There are multiple martial applications associated with this posture. In Figure
14-6c, the practitioner uses her right, hook hand in order to capture the
opponent’s fist and turn it over to render it harmless. In Figure 14-6d, the
practitioner steps in on the opponent and strikes the opponent in the chest
with the knife edge of her left hand.
Figure 14-6c
Figure 14-6d
Carry Tiger to Mountain: The Yang style posture of Carry Tiger to
Mountain has a rather dramatic name. However, once the practitioner
understands the martial application of this posture, the significance behind
this imaginative name becomes apparent. This posture follows the pauses that
occur between the three sections of the traditional Yang style long form. The
first and second section and the second and third section of the long form are
punctuated by the posture of Crossing Hands, which is then followed by the
posture of Carry Tiger to Mountain. Figures 14-7a and 14-7b depict the
transition from Crossing Hands to the finished posture of Carry Tiger to
Mountain in the solo form.
Figure 14-7a
Figure 14-7b
Figure 14-7a shows the practitioner in the posture of Cross Hands. From this
initial position, which faces south, the practitioner turns to the southwest
while maintaining the arms in the crossed position. This position provides a
good defense against an incoming strike. Subsequently, the practitioner opens
the hands and circles the arms down and up, with the left hand held by the
left ear and the right hand ready at the left shoulder. The circling of the arms
is accompanied by centering the right foot next to the left, substantial foot.
Finally, in Figure 14-7b, the practitioner steps out on a diagonal to the
southwest and appears to execute a brush knee and single-hand push to that
direction. Notice the position of the right hand in Figure 14-7b, in which the
palm is facing up rather than down, as it would in the posture of Brush Knee.
The reason for this upward facing palm will become apparent in the
following explanation of the application of this posture.
Although the finished posture of Carry Tiger to Mountain appears similar to
the posture of Brush Knee Twist Step, the primary martial application of this
posture differs from that of Brush Knee. The main distinction has to do with
the greater rotation of the torso. The photographs shown below in Figures 14-
7c and 14-7d illustrate how the torso rotation in Carry Tiger to Mountain is
used to throw the opponent over onto his left side. In Figure 14-7c, the
practitioner receives and neutralizes the opponent’s incoming left fist.
Having neutralized the opponent’s attack, the practitioner turns back to her
right side in order to draw the opponent in. Her right hand grasps the
opponent’s left fist and turns it over to execute a wrist lock, which lifts the
opponent up and severs his root. Once the opponent is uprooted and his
structure is broken, the practitioner steps in behind the opponent’s left leg.
The practitioner then unwinds her torso and uses her right leg as a lever in
order to topple the opponent over onto his left side, as depicted in Figure 14-
7d.
Figure 14-7c
Figure 14-7d
This application uses the stored rotational energy of the waist along with the
principle of the lever (the practitioner’s right leg) in order to throw the
opponent down onto the ground. This technique can be employed effectively
by a smaller, weaker practitioner against a larger, stronger opponent because
the wrist lock that has been applied to the opponent’s left hand causes the
opponent to float. Once the opponent is floating on his feet, he becomes easy
to move through space. In this sense, the practitioner has gained the ability to
“carry the tiger to the mountain,” which, under different circumstances,
would be a very daunting task.
Needle at Sea Bottom: The Yang style posture of Needle at Sea Bottom
derives its name from the image of thrusting a needle downward to the
bottom of the sea. In the solo form, this is one of two postures in which the
torso is permitted to bend at the waist, the second being the posture of
Planting Punch. (Note: although many individuals execute the posture of
Snake Creeps Down by bending forward at the waist, this is not correct; in
the posture of Snake Creeps Down, the torso should remain upright.)
In the traditional long form, the posture of Needle at Sea Bottom follows the
posture of Brush Knee Twist Step in the second and third sections of the
form. Having completed the Brush Knee posture, the practitioner makes a
half-step forward and extends the right arm is if making the gesture of
shaking someone’s hand. The extended hand is then withdrawn as the
practitioner steps back and gathers the formerly-extended hand up to the right
ear while the left hand is brought up to the right shoulder. Finally, the left
hand is brushed down across the left knee and the right hand is plunged
downward while bending forward at the waist and gently touching down with
the toes of the left foot. The beginning and ending movements of this posture
are presented below in Figures 14-8a and 14-8b.
Figure 14-8a
Figure 14-8b
The posture of Needle at Sea Bottom has multiple martial applications. The
following photographs in Figures 14-8c and 14-8d demonstrate one such
application that incorporates tsai, or Pull-Down, energy. In Figure 14-8c, the
practitioner center-steps backward and intercepts the opponent’s incoming
left hand as it attempts to strike the practitioner in the chest. Having joined
with the opponent, the practitioner then settles onto her right leg and draws
the opponent’s left arm forward and slightly upward. This raises the opponent
up on his toes and causes him to float.
In Figure 14-8d, the practitioner bends at the waist and uses the downward
momentum of her torso to pull the opponent down and forward while
simultaneously applying a joint lock (chin na) to the opponent’s right arm. In
this way, the practitioner has neutralized the opponent’s attack and has placed
the opponent under her control. In his commentary on this posture, Yang
Cheng-fu wrote that the movement’s purpose is like employing a needle to
probe the sea bottom. Although the opponent may want to pull or struggle,
his attempts to eradicate himself will ultimately meet with defeat. Once the
opponent’s root has been severed, it will be easy to take advantage of his
emptiness and to advance and attack him.206
Figure 14-8c
Figure 14-8d
Wu Style Martial Applications
It has been said that, of the main family styles of taijiquan, the Wu (Chian-
ch’uan) style places the most emphasis upon the use of the spine and the
waist in conjunction with the principle of central equilibrium. The spine,
which is elongated in Wu style, provides for central equilibrium and also
stores and issues jin. The waist functions as a wheel revolving around an axle
and produces the variations (i.e. changes) that enable the practitioner to yield
and neutralize in defense and to control and issue when attacking.
Wu Gong-Zao’s The Lecture of Taijiquan elucidated the Wu style emphasis
upon the spine and the waist as the foundation for all movements, be they in
the solo form or in martial applications. He wrote that, among the Original
Thirteen Postures of taijiquan, Central Equilibrium (zhong ding) is the most
important. According to Wu Gong-Zao, the other twelve postures, such as
peng, lu, ji, and an, are of secondary importance. The specific techniques do
not depend upon a definite position, and all of the martial applications are
derived from Central Equilibrium. The jin (i.e. power) originates from the
spine and is controlled by the waist. One must pay attention to the waist in
every movement, since the waist is the hinge upon which the body rotates.207
One of the key elements found in many of the martial applications of Wu
style is the reliance upon the principle of the fulcrum and the lever. If the
fulcrum can be situated correctly and the lever can be applied with the
appropriate length, it will be easy to uproot the opponent and to propel him
backward or to topple him onto his side. Another distinguishing feature of
Wu style martial applications is the emphasis upon the back foot. Just as the
Classics say that the jin is rooted in the feet, Wu stylists add that it is
essential to issue the energy from the bottom up by pressing the heel of your
rear foot with a “snap against the ground.”208 The emphasis upon the pressing
of the rear heel into the ground is especially evident in the Wu style posture
of Brush Knee Twist Step, as illustrated in the following section.
Brush Knee Twist Step: The Wu style posture of Brush Knee Twist Step is
more linear and direct than the associated posture in Yang style. Also, the
practitioner appears to incline or lean forward somewhat. See Figure 14-9b.
Those who are not familiar with the underlying energy vectors of this posture
may be tempted to argue that this characteristic forward leaning violates the
principle of central equilibrium. However, in martial applications the forward
leaning is offset by the downward pressure of the rear heel, so central
equilibrium is maintained. The wind-up and the completed posture of Brush
Knee Twist Step Left Side are shown below in Figures 14-9a and 14-9b.
In Figure 14-9a, the practitioner has closed up and executed a withdrawing
step with the left foot in preparation to step out into a bow stance on the left
side. In Figure 14-9b, the practitioner has stepped out with the left leg. As the
practitioner shifts her weight onto her left foot, she simultaneously brushes
her left knee with her left hand and extends her right arm forward, leading
with the outer edge of the right hand.
Figure 14-9a
Figure 14-9b
The primary martial application of Brush Knee Twist Step is two-fold.
Initially, the practitioner intercepts a combined punch and kick by the
opponent as shown in Figure 14-9c. Having neutralized the opponent’s
attack, the practitioner closes with the opponent in order to connect with his
center. Finally, the practitioner steps through the opponent’s position and
combines the forward momentum of her torso with a downward pressing of
the heel of the rear foot to propel the opponent backward as shown in Figure
14-9d.
Figure 14-9c
Figure 14-9d
The practical application of this posture is to counter an opponent who has
failed in his attempt to kick the practitioner with his right foot. When he
subsequently drops down onto this foot, this presents an opportune moment
for the practitioner to thrust her left leg close to the inner side of his right leg.
Simultaneously she can deliver a blow with her right hand at his chest or
face. The opponent will be thrown off a good distance.
Golden Cock Stands on One Leg: The Wu style posture of Golden Cock
Stands on One Leg is similar in form and application to the Yang style
posture of the same name. This posture follows the posture of Downward
Single Whip in the traditional long form. The transition and completion of
this posture are depicted in Figures 14-10a and 14-10b, shown below. Figure
14-10a shows the transition upward from the posture of Downward Single
Whip. As the practitioner rises up, the body is rotated slightly to the left. This
provides the wind up for the release into the final posture, shown in Figure
14-10b. Here we see the use of the torsional energy of the waist and the
rotation of the torso around the central axis.
Figure 14-10a
Figure 14-10b
The primary martial application of this posture is to intercept the opponent’s
attempt to grab with his left hand or strike with his right fist. In Figure 14-
10c, the opponent has attempted to punch the practitioner with his right fist.
The practitioner intercepts the opponent’s extended right arm with her left
hand and lifts it upward as she shifts her weight forward and rotates her torso
slightly to her left. At the same time, she uses her right hand to connect with
the opponent’s left forearm, drawing it downward and to his left. These two
actions spread aside the opponents two arms and exposes his torso. Having
neutralized the opponent’s attack and rendered him defenseless, the
practitioner applies upward pressure on the opponent’s right arm, which lifts
him up onto his toes and causes him to float. Finally, the practitioner raises
her left leg to strike the opponents groin with her foot, as shown in Figure 14-
10d.
Figure 14-10c
Figure 14-10d
Flying Oblique: The Wu style posture of Flying Oblique, also known as
“Diagonal Flying,” derives its name from the directionality of the body,
which is on a diagonal to the linear path followed by the majority of the
movements in the form. As with all the postures of Wu style, the posture of
Flying Oblique includes both closing and opening. This posture follows the
posture of Step Back to Repulse Monkey in the traditional long form and
employs the principles of expanding and contracting, or the opening and
closing of one’s two arms, much like an eagle that spreads its wings as it flies
across the sky.
The transition into and the completed posture of Flying Oblique are presented
below in Figures 14-11a and 14-11b. In Figure 14-11a, the practitioner shifts
her weight onto her right leg, rotates her torso to the right, and crosses the
arms in a closing posture. From this closed position, the practitioner shifts her
weight onto her left leg and unwinds her torso to the left side while
simultaneously uncrossing the two arms, with the left arm extending up and
to the left and the right arm extending down and to the right. See Figure 14-
1b.
Figure 14-11a
Figure 14-11b
The primary martial application of Flying Oblique employs the principle of
leverage in order to topple the opponent onto his side. In this case, the initial
neutralization occurs when the opponent attempts to attack with left arm. The
practitioner intercepts the opponent’s left arm and ties him up, as represented
in Figure 14-11c. This causes the opponent to become unbalanced and
compromises his structure. The practitioner then places her left arm under the
opponent’s left armpit while controlling his left fist with her right hand.
Finally, the practitioner steps her left foot behind the opponent’s left leg and
uses her left knee as the fulcrum to topple the opponent onto his right side by
extending her left arm upward and outward, elongating her spine, and
unwinding her waist. The result is depicted in Figure 14-11d, shown below.
In this application, the principle of leverage can be plainly seen. Combined
with the rotational energy of the waist and the elongation of the spine, this is
a very effective counter-attack. Care should be taken when practicing the
martial application of this posture, however, as it is possible to injure the
partner. As Wang Pei-sheng wrote, it is better to know how to perform this
technique and yet try avoid using it.209
Figure 14-11c
Figure 14-11d
Double Swing Lotus: The Wu style posture of Double Swing Lotus includes
a sweeping crescent kick. This type of kick is known as a “swing lotus kick”
because the transverse kicking is like the wind swinging the leaves of the
lotus.210 As the kicking foot travels in a crescent-shaped path from the left to
the right side, it strikes the undersides of both extended palms. For this
reason, this type of crescent kick is referred to as a “double lotus kick.” The
set-up and the crescent kick are represented in Figures 14-12a and 14-12b,
shown below.
Initially, the practitioner is facing west, having successfully dispatched an
opponent in that direction. Sensing that a new opponent is about to attack
from behind, the practitioner spins and turns one hundred and eighty degrees
to face the new threat from the east. The practitioner’s arms are held up in a
defensive posture, as shown in Figure 14-12a. The practitioner then lifts the
right leg with the leg extended diagonally across her body and then proceeds
to sweep the extended leg from left to right while striking the undersides of
both extended palms with the pointed instep of the right foot. See Figure 14-
12b. When executed correctly, the sweeping foot will make two distinct
slapping sounds as it strikes first the left palm and then the right palm.
Figure 14-12a
Figure 14-12b
The martial application of this posture is to strike the opponent’s rib cage or
upper thigh with the swinging lotus kick. The two arms are used at first to
intercept and to neutralize the opponent’s attempt to attack from behind with
his right hand, as shown in Figure 14-12c. The practitioner then locks the
opponent’s right arm and turns him away. Having disabled the opponent and
exposed his right rib cage, the practitioner executes a swinging lotus kick
with her right foot to strike the opponent’s right thigh. At the same time, the
practitioner may execute a strike to the opponent’s head with her right hand,
as shown in Figure 14-12d below.
Figure 14-12c
Figure 14-12d
Sun Style Martial Applications
Sun style taijiquan has its roots in the three internal martial arts of taijiquan
(from both Chen and Wu/Hao styles), xinyi quan, and bagua zhang. Due to
the influence of xinyi quan, Sun style is more linear and compact than other
styles of taijiquan. Also, the principle of Opening/Closing predominates
throughout the solo form and in the martial applications of this style. Sun Lu-
tang taught that the source of Opening and Closing is “an Original Qi.” Sun
wrote that this centralized qi encompasses the entire body and is ever-present.
Both the internal and external are united in a single qi, which flows
ceaselessly without break. The opening and closing and the movement and
stillness of martial forms have this qi as their foundation211
When applying the martial applications of Sun style taijiquan, it is essential
to understand and to incorporate the principle of Opening/Closing. Failing to
do so, the practitioner will be forced to rely upon physical strength rather
than the “one qi,” which is lively and active rather than stagnant and clumsy.
In some sense, Sun style taijiquan is the most subtle of all the major styles of
this internal art. The movements, while compact, contain all that is necessary
for both defense and attack. Although a small man, even at an advanced age
Sun Lu-tang was able to neutralize and throw off much larger, stronger, and
younger opponents with apparent ease. His martial ability can only be
attributed to his mastery of qi cultivation and circulation. It is to be hoped
that Sun’s martial prowess will serve as an inspiration for those practitioners
who are committed to the use of softness and internal jin in martial
applications without resorting to external strength.
Hands Strum the Lute: The Sun style posture of Hands Strum the Lute
bears some resemblance to the similarly-named Yang and Wu style postures.
The primary martial application of this posture is the same in all three styles.
However, the execution of this posture in Sun style is more subtle in its
approach. As in the Yang and Wu styles, in the traditional solo form of Sun
style the posture of Hands Strum the Lute follows the posture of Brush Knee
Twist Step on the left side. The transition from Brush Knee Twist Step to the
final posture of Hands Strum the Lute is presented in Figures 14-13a and 14-
13b below.
In Figure 14-13a, the practitioner places the weight on the left leg and
extends the arms forward with the right arm extended farther than the left.
This is an open posture. Unlike the Yang and Wu styles, there is no forward
stepping, merely a settling of the weight onto the left leg. In Figure 14-13b,
the left leg steps back and the practitioner sits onto the right leg and
withdraws the right arm while extending the left arm. The arms move in
opposition, much like the tie rods on opposite sides of a locomotive. This is
the closing segment of the posture in which movement returns to stillness.
Figure 14-13a
Figure 14-13b
As stated in the introduction to this posture, the martial application of Hands
Strum the Lute is the same in Sun style as it is in either the Yang style or the
Wu style. In response to the opponent’s attempt to grab the practitioner’s
right hand, the practitioner extends her right arm, offering up her arm and
allowing the opponent to have what he wants. See Figure 14-13c. However,
the practitioner does not give up her foundation, which remains fixed on her
forward, left leg. Having given up her arm but not her root, the practitioner
then sits back onto her rear, right leg. This draws the opponent forward and
causes him to lose his own root. At the same time, the practitioner withdraws
her right arm while extending her left arm. The practitioner’s right hand
grasps the opponent’s left wrist and her left hand controls the opponent’s left
elbow, creating an arm-bar joint lock. As the practitioner presses her two
arms toward her center, the effect of the joint lock is to rend the tendons of
the opponent’s left elbow and incapacitate him, as can be seen by the
opponent’s expression of pain in Figure 14-13d, shown below.
Figure 14-13c
Figure 14-13d
As a note of caution, extreme care must be observed when practicing this
martial application, as even a small amount of pressure on the opponent’s
(read partner here!) elbow can prove painful and may even result in
permanent injury. Be sure to practice only with willing partners and agree
upon a signal as to when to stop applying pressure.
Advance Step, Deflect, Parry, and Punch: As with the preceding posture,
the Sun style posture of Advance Step, Deflect, Parry, and Punch shares both
the name and the application of similar postures in the Yang and Wu styles.
Because of the influence of xinyi quan, however, the Sun style posture of
Advance Step, Deflect, Parry, and Punch is more compact, and the energy
expressed in the solo form is subtler and more internalized. As the name
implies, this posture consists of four distinct actions, each of which has its
own martial application. Because the first two actions are performed
simultaneously, the photographs in Figures 14-14a and 14-14b will serve to
illustrate the posture in the solo form.
In Figure 14-14a, the practitioner steps forward with the left foot and uses the
right hand to deflect upward and outward. These two movements correspond
to the “Advance Step, Deflect” elements of the posture. In the “Parry”
component of the posture, the left hand is brought up as if brushing away an
imaginary opponent’s hand.212 Finally, in Figure 14-14b, the right hand forms
a fist and then punches up and outward at chest level while the left hand is
drawn back toward the chest. At the same time, the practitioner executes the
signature “follow step” and steps up with the right foot. Sun Lu-tang wrote
that, as the right hand punches forward, one should not force the shoulders
downward. Rather, the shoulders and the legs as well as the torso should
remain relaxed and be full of qi. In this way, the body’s central equilibrium
will be maintained throughout the execution of the posture.213
Figure 14-14a
Figure 14-14b
As its name suggests, the posture of Advance Step, Deflect, Parry, and Punch
includes the defensive applications of deflecting and parrying an opponent’s
strikes as well as the offensive action of punching an opponent in the chest.
What makes this application so effective, however, is the preliminary act of
stepping in on the opponent. Most martial arts counsel maintaining distance
from the opponent, staying just outside the range of his arms. However, in the
application of Advance Step, Deflect, Parry, and Punch, the practitioner steps
inside the opponent’s attack and closes with him. This tends to unsettle the
opponent and also to mitigate the power of his punches, as most martial
artists rely upon extension in order to deliver powerful punches.
When stepping in on an opponent, the opportune moment is when he has just
thrown one punch but has not yet had a chance to set himself before
delivering a second punch with the opposite arm. In Figure 14-14c, the
practitioner steps inside the opponent’s right punch and uses her right arm to
deflect the opponent’s punch to his left side. Having deflected the opponent’s
left-hand punch, the practitioner responds to the opponent’s attempt to throw
a left-hand punch by parrying with her own left hand. Having neutralized
both of the opponent’s hands and opened up his center, the practitioner
executes a xinyi quan style punch to the opponent’s chest. See Figure 14-14d.
Xinyi quan style punches only travel a short distance. The power of the punch
results from the release of fa jin in combination with the forward momentum
provided by the follow up step with the back (in this case, right) foot.
Figure 14-14c
Figure 14-14d
Pass through the Back: The Sun style posture of Pass through the Back,
also known as Fan thought the Back and Flashing Arms, is similar to the
posture of Fan through the Back found in both the Yang and Wu styles. In
these family styles, the posture of Fan through the Back follows the posture
Needle at Sea Bottom. However, in Sun style the two postures are combined
together and are collectively named “Pass through the Back.” In this section,
only the actually passing through the back portion of the posture will be
examined, as the martial application of bending forward to pluck the needle
from the sea bottom is essentially the same in both the Sun and the Yang
styles.
Unlike in the Yang and Wu styles, in Sun style, the posture of Pass through
the Back includes both a left and a right side. Figures 14-15a and 14-15b
illustrate the left side of the Pass through the Back posture in the traditional
Sun style solo form. The transition begins with the initial step of plucking the
needle from the sea bottom, as shown in Figure 14-15a. From this position,
the practitioner rises up and lifts the right arm up above the head in a curving
arc while holding the left arm close to the chest. The practitioner then steps
forward with the left foot and extends the left arm with the palm facing
forward. The right arm maintains its position of guarding the head. See
Figure 14-15b.
Figure 14-15a
 Figure 14-15b

As with all postures in taijiquan, this posture contains within it multiple

martial applications. In this discussion, the application of flashing arms will
be presented. Assume that the practitioner has bent forward for the purpose of
applying Pull-Down against an opponent’s strike. At that point, the opponent
will also be doubled over, which serves to compromise the opponent’s
structure, as shown in Figure 14-15c. The opponent will attempt to rise up in
order to recover his central equilibrium. As he does so, the practitioner
follows the upward momentum of the opponent’s retreat by stepping in on
the opponent with her left foot, lifting the opponent’s left arm with her right
hand, and applying a palm strike with her left hand to the opponent’s chest.
See Figure 14-15d. Such a palm strike, when supplemented with the
momentum of the body that results from stepping in, can cause serious injury
or even result in the opponent’s death. As with all martial applications, care
should be exercised when training this application. It is best to simply make
contact with your training partner and not actually deliver the palm strike to
his chest with any impact.
Figure 14-15c
Figure 14-15d
Right Thrust Kick: The Sun style includes a number of kicking postures,
one of which is the posture of Right Thrust Kick. Right Thrust Kick is a heel
kick, which is to say that the power of the kick is delivered through the heel
of the foot. Heel kicks are executed by first lifting the knee and then
extending the foot with the heel in the lead. In the traditional Sun style long
form, the posture of Right Thrust Kick follows the posture of Left Lifting
Foot, which is a toe kick. In toe kicks, the power of the kick is directed
toward the toes rather than into the heel. The posture of Right Thrust Kick in
the solo form is presented below in Figures 14-16a and 14-16b.
In Figure 14-16a, the practitioner stands on the left leg and lifts up the right
knee to the level of her waist in preparation for executing the kick. Note that
the left foot is angled out to the left in order to form a stable base. The
practitioner then quickly thrusts out the lower part the right leg with the toes
pointing up and the heel extended in a kicking motion. At the same time, the
arms straighten out with the left hand extending forward and the right hand
extending diagonally backward, as shown in Figure 14-16b. Note that each
hand forms a knife edge as it extends.
Figure 14-16a
Figure 14-16b
The martial application of a heel thrust kick is to use the heel as a weapon,
thrusting it into the opponent’s knee, thigh, groin, abdomen, or ribs. In this
application, the intent is not to strike with the heel so much as it is to place
the heel onto the intended target and then thrust outward. In a sense, a thrust
kick is a push that is executed with the heel of the foot rather than with the
hand. Often times, a thrust kick will be combined with a hand strike to the
opponent’s face in order to distract him from the incoming kick. Figures 14-
16c demonstrates the use of the Right Thrust Kick to attack the opponent’s
abdomen
In Figure 14-16c, the practitioner has stepped in on the opponent and
intercepted the opponent’s striking right hand. The practitioner then lifts up
her right knee and places her right heel against the opponent’s lower
abdomen. To complete the kick, the practitioner thrusts forward with her
right leg while delivering a palm strike to the opponent’s face with her left
hand. The effect of the thrusting kick is to send the opponent stumbling
backward from the force of the kick, which acts like a push to the opponent’s
center of mass.
Alternatively, the surface of the extended leg may be employed as a weapon,
as can be seen in Figure 14-16d, shown below. In this case, the practitioner
neutralizes the opponent’s right hand punch and turns him to expose his right
side. She then strikes his right shoulder with her left hand while using the
outside of her right leg to execute a sweeping strike at his exposed right
flank. The combined actions of extending his right arm, striking his right
shoulder with her left hand, and sweeping with her right leg are certain to
uproot the opponent and cause him to topple over onto his left side.
Figure 14-16c
Figure 14-16d
Conclusion
As the examples in this chapter have illustrated, the martial art of taijiquan
can be very effective when used for self-defense. It is important to note that
the applications presented in this chapter, and, indeed, all martial applications
of taijiquan, are always employed in response to an opponent’s attack. That
is why we use the term “self-defense” when describing taijiquan as a martial
art. It is important to recognize that the martial applications embedded in the
various postures are intended to be applied against individuals who attack
with stiff, external force, such as the punching, kicking, and grabbing attacks
favored by practitioners of hard-style martial arts.
In taijiquan, we eschew strength and speed and rely instead on softness and
sensitivity. In so doing, we gain the ability to detect an opponent’s intention
and to deflect an attacking force of a thousand pounds with only four ounces
of reciprocal force. The advanced practitioner who truly embodies the
principles of taijiquan has no fear of larger, stronger, or younger opponents
and feels secure in the knowledge that “The opponent does not know me. I
alone know him.”
Students who are interested in learning the martial applications of taijiquan
frequently ask: “When can I begin learning how to fight?” The way this
question is phrased is revealing. It is akin to a pre-teen girl asking her mother
when she can begin wearing makeup. Like the pre-teen, they are too eager to
grow up. Learning to use taijiquan for self-defense is a process and should
not be rushed. First one needs to learn the form, then one needs to learn the
basics of pushing hands, after which one needs to deepen one’s
understanding of jin. It is then recommended that the student learn a fast
taijiquan set. From there it is appropriate to begin studying moving step and
freestyle pushing hands. Only after proceeding through all these stages
should the student begin to practice the martial applications of taijiquan
under controlled conditions. After at least a year of practicing the martial
applications for the individual postures, one can proceed to the practice of
sparring.
In his book, Advanced Yang Style Tai Chi Chuan, Dr. Yang, Zwing-ming
outlined a training sequence for those individuals interested in learning the
martial aspect of taijiquan. His recommended sequence includes twenty-two
separate stages for training in the martial art of taijiquan.214 Only after the
student has gained proficiency in the first twenty-one stages does he
recommend engaging in free fighting. One reason for this is that, until one
has overcome the tendency to rely upon hard, stiff force in order to control
and overcome an opponent, the applications will not really embody the
principles of taijiquan. This is especially true for individuals who have prior
experience in other, hard-style of martial arts.
This does not mean that students should not become familiar with the martial
applications of the individual postures of the empty-hand form, however. The
Song of the Thirteen Postures instructs us to study the function of each
posture carefully and with deliberation.215 Even Dr. Yang, Zwing-ming
recommends analysis of the martial applications of the postures once the
student has learned the solo form. So, how does one begin to study the
function of each posture? The best format is to work with a knowledgeable
instructor in a group setting. In such an environment, it is possible to work
with others in slow motion, practicing various responses to pre-determined
attacks in order to understand the application(s) of each posture in the form.
Under strict supervision, students typically begin at one-quarter speed and
then proceed to half speed. When practicing martial applications with willing
partners at greater than half speed, it is a good idea to don lightweight
sparring gloves in order to avoid painful blows. After some time working at
three-quarter speed and full speed, advanced students can remove the gloves
and practice individual martial applications at full speed.
It is important to always work cooperatively with willing partners and to be
humble and respectful at all times. It is also recommended to work with a
variety of partners. The more partners you practice with, the more experience
you will gain. As a student of the martial applications of taijiquan, you
should study the empty-hand postures and investigate their martial
applications. By working with cooperative partners and a knowledgeable
instructor, over time you will slowly gain martial prowess. Only then will
you begin to fathom the true meaning of taijiquan, which translates as “taiji
fist.”
 Chapter Fifteen

The Principles and Practice of the Taiji Jian

The use of weapons in Chinese martial arts has a long and venerable history.
Indeed, it is no exaggeration to state that Chinese martial arts as we know
them today began with the development of and training in various types of
personal weapons. The weaponry developed in ancient China until the
invention of gunpowder included a vast array of both cutting and blunt
weapons and also included the bow and arrow as well as various throwing
weapons. Because Chinese history and culture extend backward into the
Bronze, Iron, and Stone Ages, the long history of the development of
weaponry in China has given rise to a wide range of different types of
weapons used in martial conflict.
The weapons used in the earliest times in China almost certainly evolved
from hunting weapons, such as the bow and the spear, and also from certain
agrarian tools, such as hoes, sickles, scythes, shovels, axes, and the like. As
Chinese society and culture evolved out of early primitive agrarian
settlements, struggles over land and resources inevitably arose, and conflicts
ensued. This gave rise to the formation of armed groups that banded together
for self-defense as well as for attacking and pillaging. As civil society
progressed, these small bands grew into formal armies who served local
warlords, regional leaders, and ultimately the emperor.
With the evolution of civil society, armed conflicts became more common
and weapons intended strictly for war were developed. Swords, both single-
and double-edged, were designed specifically as weapons of war. Halberds
evolved out of simple axes, and the primitive hunting bow matured into a
sophisticated long-distance weapon. The basic training of soldiers would
certainly have included practice in the use of swords, spears, bows, and
halberds. Hand-to-hand combat would also have been included in a soldier’s
training, but only as an adjunct to weapons training. The training of empty-
hand fighting would have been secondary to weapons training. Martial
engagements would have been fought first with bows, then with halberds, and
subsequently with short-range weapons such as swords. Hand-to-hand
fighting would only occur in close quarters, and even then only if a soldier
somehow lost the use of his sword or saber.
When most of us think of Chinese martial arts, we don’t immediately think of
armed soldiers involved in large-scale military engagements. Rather, we
visualize some form of solo martial art, such as Shaolin or White Crane style
kung fu, or taijiquan, bagua zhang, or xinyi quan. We typically identify these
empty-hand fighting systems as “traditional Chinese martial arts.” It is
important to understand that the weapons forms practiced in these traditional
Chinese martial arts have their origins in the art and science of warfare.
Weapons such as the bow, the halberd, the spear, the sword, and the saber all
have practical application for the purpose of cutting, stabbing, shooting, or
bludgeoning one or more opponents while engaged in group combat.
If we exclude from this discussion the bow and throwing weapons, then we
can focus on the weapons most commonly practiced in traditional Chinese
martial arts. These weapons may be classified according to their length as
follows: short weapons, such as sticks, knives, fans, hammers, edged rings,
and scythes; medium-length weapons, such as swords, sabers, canes, and
short staffs; and long weapons, such as spears, halberds, staffs, and long
poles. Most traditional Chinese martial arts systems will include training in a
variety of weapons from each of these three categories.

The Weapons of Taijiquan

As has been stated elsewhere in this book, the developers of the original
family styles of taijiquan were serious martial artists and/or skilled military
men. At some point in their lives, Chen Wangting, Yang Lu-chan, Sun
Lutang, and Chuan Yu (father of Wu Chian-chuan) each were commissioned
to serve as military officers or worked as professional bodyguards for
wealthy merchants. In the era in which these individuals lived, weapons such
as spears, straight swords, and sabers were the stock-in-trade for these two
professions. In particular, the straight sword, or jian, the saber, or dao, and
the spear, or qiang, were the principle weapons employed by military officers
and professional bodyguards.
There are many stories recounting the skills of these and other members of
the founding taijiquan families. Chen Wangting was a military officer who
served the emperor during the Ming dynasty. In addition to empty-hand
forms, Chen Wangting developed training methods for the spear, the saber,
the sword, the halberd, and the long-pole. Yang Lu-chan also was renowned
for skill with the spear. It is said that he could pick up light objects using his
spear to adhere to the object and then toss it up into his hand.216 Another story
claims that he once used his spear to tear down the wall of a house that was
on fire in order to stop the fire from spreading. Not much is known about
Yang Lu-chan’s sword skill, but his grandson, Yang Cheng-fu was well-
known as a skilled swordsman. In particular, he was known for his use
Sticking/Adhering energy (chan nien jin) in sword fighting.217
Chuan Yu, the originator of the Wu (Chian-chuan) style of taijiquan, was a
Manchurian military officer who was directly responsible for protecting
members of the imperial family. It is reported that he was a master at
shooting the bow while galloping on horseback.218 Sun Lutang was proficient
in both the straight sword and the spear and wrote treatises on each of these
weapons. Like Chuan Yu, he was also an excellent horseman and could
throw small round projectiles with deadly accuracy as he rode bareback on a
galloping horse.
The primary weapons taught in most taijiquan systems include the straight
sword, the saber, and the spear. Some systems also include the use of other
items from daily life, such as the fan, the flute, and the cane, which can
double as weapons if the need arises. The halberd, or kwan dao, is also taught
in the Chen style system. Additionally, all of the original systems included
training in the long pole. However, this training continues today only in the
Chen and Wu family styles. The material presented in this chapter will focus
on the principles and applications of the straight sword. The following
chapter will present the principles and applications of the saber. Individuals
who are interested in training in other taiji weapons, such as the cane, the
spear, or the halberd, are encouraged to seek out knowledgeable teachers who
have mastered these weapons.
Of all the weapons that were used by martial artists in the past, the jian
enjoys the greatest popularity among modern practitioners of taijiquan. This
is likely due to the elegance and beauty of the taiji jian forms that have
survived in the various family styles of taijiquan. The taiji jian permits the
practitioner to express the martial spirit of taijiquan and to feel some
connection to the past generations of taijiquan masters who literally “lived by
the sword.” Because of the leaps and jumps, the vigorous thrusts and parries,
and the combination of both high, one-legged postures and low, squatting
postures, practicing the taiji jian also conveys greater health benefits than
simply practicing the empty-hand form.
When discussing the art of the taiji jian, it is important to acknowledge the
influence of Taoism in general and the Taoist masters of Wudang Mountain
in particular. The Taoist martial arts tradition is somewhat different from the
taijiquan martial arts tradition. However, it is clear that the original taijiquan
masters, such as Chen Wangting and Yang Lu-chan, were aware of and were
influenced by Taoist philosophy and Taoist practices. It is quite likely that
these influences also included the sword techniques practiced by the Taoist
monks who lived on Wudang Mountain.
What is certain is that the taiji jian forms practiced today incorporate some of
the movements and techniques that were derived from the Taoist Wudang
sword forms. There is some specific evidence to support this, such as the
statement by Chen Wei-ming, included in the Preface to his book, Taiji
Sword and Other Writings, in which he described an encounter with the
famous General Li Jing-lin, who was a renowned Wudang sword master. He
recouned a story in which he met General Li, who provided him with a
demonstration of the taiji jian. Chen Wei-ming wrote that General Li’s
swordsmanship was similar to that of Yang Cheng-fu in that he practiced the
Listening energy (ting jin) of taijiquan. He noted, however, that General Li’s
sword was not constantly in contact with that of his partner and that at times
he would separate his sword from that of his partner. Chen commented that
this was actually the Wudang Mountain style of jian. Chen concluded that,
with what he learned from Yang Cheng-fu and additionally from General Li,
he had a more thorough and complete knowledge of the essence and the use
of taiji jian.219
For those taijiquan practitioners who are familiar with the principles and
applications of the taiji jian, the above excerpt is revealing. Elsewhere in his
book, Chen Wei-ming referred to Yang Cheng-fu’s sticking skill when using
the sword. Yang Cheng-fu’s disciple, Cheng Man-ch’ing, was also renowned
for his sticking skill when sword sparring with his students. In this way, taiji
jian sparring is similar to taijiquan tuishou (pushing hands) in that the
practitioner connects the flat side of the jian to the blade (either cutting edge
or flat side) of the partner’s jian in order to “listen to” the partner’s sword.
This, in turn, enables the practitioner to “hear” the partner’s intention.
Moreover, by extending the qi into the blade of the jian, the practitioner can
stick and adhere to the partner’s blade so as to control the partner’s jian,
rendering his attempts at either attacking or defending ineffective.
The sword fighting techniques employed by the practitioners of Wudang
Mountain, on the other hand, do not rely primarily upon connecting with the
opponent’s sword in order to listen to and understand the opponent’s
intentions. “Listening” is accomplished through the eyes and the ability to
sense the opponent’s intentions through the subtle movements of his body
and his sword. Because the practitioner’s sword is not connected to the
opponent’s sword, the movements in Wudang sword are typically larger,
faster, and more nimble than the movements found in the empty-hand forms
of taijiquan. Many of the movements of the Wudang sword have become
incorporated into the extant taiji sword forms; thus, those forms are also
much larger, swifter, and more agile than the empty-hand forms.
In his description of the art of taiji jian, which is included in his preface to
Chen Wei-ming’s book, Hu Yunyu wrote that, when the sword goes straight,
nothing stands before it; when raised, nothing lies above it; when pressed
down, nothing lies below it.220 Hu’s poetic description of the use of the taiji
jian is reminiscent of the statement in the Taijiquan Classics, in which it is
written: “If the opponent raises up I am taller; if he sinks down, then I am
lower; advancing, the distance seems incredibly longer; retreating, the
distance seems inescapably short.”221 From these two descriptions, one
describing the art of the taiji jian and one describing the art of taijiquan, we
can see clearly the parallel between the two art forms. As a practitioner of the
taiji jian, one must continually seek to incorporate the principles of taijiquan
into the art of the sword.

The Jian and Its Component Parts

The straight sword, or jian, is the most commonly trained weapon in
taijiquan. Technically, when referring to the jian or any other weapon, one
should use the term “taiji” “rather taijiquan,” as the “quan” in “taijiquan”
refers to the “fist,” or “empty hand.” When the jian is practiced as part of
one’s taiji practice, it is referred to as the taiji jian and not the taijiquan jian.
The jian is a medium-range weapon and was traditionally reserved for the use
of officers and imperial officials. It is sometimes referred to as “the scholar’s
weapon.” The jian may be employed for both stabbing and cutting in offense
and for both blocking and deflecting in defense. To use the jian effectively,
the practitioner needs to combine deftness, agility, cleverness, and great
sensitivity. Originally, straight swords were short and heavy and were used
primarily for cutting and hacking and only secondarily for stabbing.
However, as the blades became more refined and lighter in weight, the
lengths of the blades increased, enabling the wielder to attack with the point
of the blade of the jian, which was longer than the curved blades of
broadswords and sabers. These shorter, curved single-edged blades are
collectively referred to as dao in Chinese martial arts.
By reducing the thickness and width of the blade, as well as by using lighter
metal allows, sword smiths were able to increase the overall length of double-
edged straight swords relative to shorter, thicker, and heavier single-edged
swords. As stated in the previous paragraph, the increased length of the jian
provided an advantage over the shorter curved dao, allowing the swordsman
to stand out of range of the dao wielder’s slashing attack while still enabling
him to stab with the point of his jian. However, this advantage came with a
price. The jian sacrificed strength in favor or length. This meant that, edge-
to-edge, a dao was likely to overpower a jian and even cause it to break.
For this reason, the techniques for employing the jian differed from those
employed in using the dao. The dao was (and still is) a much less
sophisticated weapon. It is essentially a slashing weapon and relies upon
strength and a straight line of attack for its effectiveness. In order to fight
effectively against an individual wielding a dao, the swordsman who holds a
jian must avoid any direct edge-to-edge contact between the swords. In
essence, he must not attempt to meet force with force. Rather, a swordsman
employing a jian needs to evade the slashing attacks of the dao through
agility and cunning. Any contact between the two types of swords must be
limited to the flat edge of the jian connecting the flat edge of the dao.
Chen Zhenglei quotes a traditional saying from the Chinese martial tradition:
Practice the saber (dao) like a powerful tiger; practice the sword (jian) like a
floating dragon. In this way, the individual movements of the sword must be
connected like flowing water.222 Ideally, the swordsman who fights with a
jian uses feints to entice the swordsman wielding a dao to initiate an attack.
The jian swordsman then evades the dao’s slashing attack and subsequently
lunges in with a rapid, stabbing attack. In cases where the jian swordsman
must connect with the opponent’s dao, he uses the flat side of his jian to
connect with the flat side of the dao and then deftly deflects the angle and
direction of the blade’s slashing attack. This approach is in keeping with the
taijiquan principles of “leading into emptiness,” “using softness to overcome
hardness,” and “repelling a force of a thousand pounds with a corresponding
force of four ounces.”
When two individuals are both engaged in swordplay involving the use of the
jian, the same principles apply. However, since both swordsmen wield
weapons of equal length, the techniques and strategies become even more
refined. Because the thickness and width of the two blades are more closely
matched, some edge-to-edge contact may be permitted. Too much edge-to-
edge contact will damage the finely sharpened edge of the blade, however, so
the main contact between two straight swords should still take place with the
flat of the blades. Again, rather than employing force against force, the
skilled swordsman will use the flat of his blade to deflect and redirect the
angle of his opponent’s attack.
In order to appreciate the proper use of the jian, it is important to understand
the various elements that make up a jian. Figure 15-1 illustrates a typical jian.
A jian consists of a double-edged blade (jiannti), a guard (hushou), a handle
(jianba), and a pommel (jiantan). A tassel (jianpao) is often attached to the
pommel, which is sometimes simply referred to as the “tassel holder.” Of
course, when speaking of the straight sword, it is important to include the
sword’s sheath, or scabbard (jianqiao).
 Figure 15-1

The blade, or jianti, of a jian consists of three distinct sections, each with its
own function. The forward section, which is the thinnest, sharpest and most
flexible, is the qianren. This portion of the sword is used for cutting and
stabbing. The qianren includes the sword tip, or jianfeng. The middle section,
which is the longest section, is the zhongren. This section is used for blocking
and deflecting. Recall that it is best to use the flat side of this section when
engaged in defending. The section of the blade closest to the guard is the
jiangen, or root of the jian. This portion of the sword is typically not
sharpened and is used in conjunction with the guard as a last line of defense
against an opponent’s attack.
Ideally, an opponent’s blade would never reach the jiangen nor the hushou.
However, should an opponent find an opening in your defenses, you must be
able to employ your jian’s root and guard to capture his blade and render it
harmless before it has a chance to touch your body. Learning to use the three
sections of the jianti is an important part of any sword practitioner’s training.
Modern straight swords come in three basic weights: combat steel, spring
steel, and wushu steel. Combat steel swords are the heaviest and are meant to
simulate the weight and heft of an actual jian that might have been used in
combat in the era before the advent of gunpowder. Unless the blade of a
combat steel jian is very finely forged, it is likely not to be flexible even at
the tip. The blade most commonly used for taiji jian practice is made from
spring steel. Spring steel blades have quite a bit of flexibility in the qianren,
less flexibility in the zhongren, and almost no flexibility in the jiangen.
Wushu steel blades are extremely flexible and can even be bent completely
back upon themselves. These blades are not practical for actual jian training,
and are used primarily for showy demonstrations in which the blade is made
to vibrate dramatically. They are also used in two-person sword training in
which neither participant is likely to be injured from such a malleable blade.
The overall length of the jian is determined primarily by the length of its
blade. Ideally, the length of the jian should reach from the hand to the ear
when the sword is held as shown in Figure 15-2. The balance of the jian is an
important consideration. A sword that is too heavily weighted toward the
front will make it difficult to maintain the tip in an upright position when
executing the various postures. Unless a particular posture requires that the
tip be pointed downward, there is a common admonition in taiji jian practice:
“Don’t let your tip dip.” Ideally, the combined weight of the sword’s guard,
grip, and pommel will serve to offset the weight of the blade itself. A well-
balanced jian will balance nicely on two outstretched fingers placed
approximately three inches forward of the guard.
Figure 15-2
How to Hold the Jian
When holding the jian, there are a variety of different grips that are
employed, depending upon the purpose to which the sword is being used at
that moment. The term “wojian” refers to any method for gripping the jian
and defines the relationship between the sword and the hand holding the
sword. It is essential to hold the jian correctly in order to execute the various
sword techniques that will be presented later in this chapter. The following
information refers to individuals who are right-handed. Individuals who
normally hold the jian in their left hand will need to reverse the directions
presented here.
The most commonly used grip is similar to the grip used when shaking
someone’s hand or when holding a tennis racket. The handle is held naturally
in the hand with the thumb wrapped around the top and the fingers wrapping
around the outside of the handle. See Figure 15-3a. Unlike a firm handshake
or the determined grip that holds a tennis racket, however, the hand does not
grip the sword firmly with all four fingers. Instead, the thumb and the middle
two fingers of the hand contact the jianba firmly, with the remaining two
fingers only loosely connected to the handle. In his book, The Major Methods
of Wudang Sword, Huang Yuan-xiou identified to methods for holding the
jian. The first method, which is more common, is si ba jian, which translates
as “dead-grip sword.” In Wudang sword, the sword is held loosely, which is
called huo ba jian, translated as “live-grip sword.” He explained that the live-
grip enables the swordsman to manipulate the sword with an agility and
dexterity that a swordsman who uses the dead-grip can never achieve.223
When held in this fashion, with the elbow dropped comfortably down by the
lower ribs, the sword will have an upward inclination, as shown in Figure 15-
3b. This is to the correct way to hold the jian. As stated previously, the sword
holder should adhere to the dictum: “Don’t let your tip dip.” Except when
intentionally thrusting downward with the sword or when cutting
horizontally, you want the tip of the sword to point upward at all times.
Figure 15-3a
Figure 15-3b
Other grips are employed when turning the blade of the sword sideways for
cutting. Figure 15-4a shows the grip in which the thumb of the hand is up,
and Figure 15-4b shows the grip in which the thumb is pointing down. These
two grips are often alternated as the sword is used to cut horizontally first
across the left side of the body and then back across the right side of the
body. See Figures 15-4c and 15-4d.
Figure 15-4a
Figure 15-4b
Figure 15-4c
Figure 15-4d
The sword may also be used to cut upward or to block an overhead strike. In
the former case, the natural grip shown in Figure 15-3a may be reversed by
rotating the wrist clockwise one hundred and eighty degrees such that the
thumb is on the outside of the jianba and the fingers are on the inside. See
Figure 15-5a. This will enable the sword to be lifted up in an upward cutting
arc, as shown in figure 15-5b. The wrist can also be rotated one hundred and
eighty degrees counter-clockwise as shown in Figure 15-5c. This grip is often
used when holding the jian over the head either to thrust down onto an
opponent or to block an opponent’s overhead attack. See Figure 15-5d.
Figure 15-5a
Figure 15-5b
Figure 15-5c
Figure 15-5d
When holding the sword in the right hand, the left hand is often used to
support the grip by placing the first two fingers of the left hand against the
inside of the right wrist, as shown in Figure 15-6a. The thumb of the left hand
and the remaining two fingers of the left hand are curled under and joined
beneath the hand. When the two fingers of the empty hand are held against
the wrist of the hand holding the jianba, the empty hand is referred to as the
“sword helper,” or jianfa.
When the empty hand is held in the same shape but is not connected to the
wrist of the hand holding the sword, as illustrated in Figure 15-6b, it is
known as the “sword finger,” or jianjue. This hand position is also sometimes
called the “secret sword hand” since it can be used as second, “hidden”
weapon, as will be described in the following section.
Figure 15-6a
Figure 15-6b
The sword helper hand provides both physical and energetic support when
either cutting or blocking. See Figures 15-7a through 15-7d below.
Figure 15-7a
Figure 15-7b
Figure 15-7c
Figure 15-7d
There are other sword holding positions, including several two-handed grips
that may be utilized when pressing or thrusting forward forcibly against an
opponent’s weapon, either in defense or for attacking. See Figures 15-8a and
15-8b. The two-handed grip is employed during various postures in the Chen
style taiji jian practice, such as The Black Dragon Whips Its Tail.
Figure 15-8a
Figure 15-8b
Two other grips should also be mentioned. The first is the resting grip, in
which the sword is actually held pointing upward in a “port arms” position.
In this resting grip, the sword is held in the left hand and rests against the
outside of the left arm, as shown in Figure 15-9a. The second grip is similar
to the first, but the sword is held in a reversed positon, or fanwo, with the
sword resting against the inside of the left arm, as illustrated in Figure 15-9b.
In the taiji jian tradition the practitioner always begins by holding the jian in
the left hand.224
Figure 15-9a
Figure 15-9b
The Principles of Taiji Jian Practice
The principles of taijiquan apply whether performing the empty-hand form or
practicing the taiji jian. In particular, the fundamental principles outlined by
Yang Cheng-fu that relate to the structure of the body should be attended to.
These include the following, among others: “An intangible and lively energy
lifts the crown of the head.” “Contain chest and raise the back.” “Relax the
waist.” “Sink the shoulders and drop the elbows.”
One should also follow the guidance provide by Chen Zhenglei in which he
counsels the practitioner to pay attention to physical coordination as a whole.
In particular, the hand, eye, body, and footwork should all be coordinated. It
is essential that the qi, shen and jin should all be coordinated.225 In the sword
form of the Chen style in particular, the alternation between hard and soft
(gang and rou) come into play, as gentle, sweeping movements of the sword
are interrupted by swift, fierce attacks that result in the practitioner’s fa jing
being expressed in the sudden shaking of the sword, which vibrates all the
way out to the tip. This sword style employs nimble and solid footwork, the
interchange of soft and hard, and slow moves interspersed with fast ones.
Real attacks are hidden in fake moves and fake moves transform into real
attacks.
In addition, it is important to recognize that the power delivered to the sword
when striking, cutting, thrusting, stabbing, deflecting, or blocking must all
come from the legs and the waist and not from the shoulders. In particular,
the turning of the waist and the torso are especially important when cutting
from side to side. The movements of the individual wielding the sword and
the sword itself must become one movement, such that the power delivered to
the sword is a direct result of the power generated by the sinuous and circular
movement of the body. Zhang Yun wrote that, when practicing taiji jian, the
movements of the waist should be larger than they are in when practicing the
empty-handed form. Therefore, practicing the jian provides an especially
good opportunity to increase your awareness of the movements of your
waist.226
When handling the taiji jian, it is important that the sword be treated as an
extension of the arm and the hand that is holding the sword. Just as it is true
in pushing hands that “the hand is not a hand, the body is a hand,” it can
equally be said that “the sword is not a sword; the body is the sword.” In this
analogy, the arm that holds the sword must be treated as an extension of the
torso, which in turn is connected to the waist, the legs, and the feet. One does
not cut, thrust, slice, stab, block, or parry with the sword, but rather with the
arm that holds the sword. Moreover, the arm that holds the sword does not
move independently of the body. When cutting, the movement begins with
the feet, is powered by the legs, controlled by the waist, directed into the arm,
and expressed in the motion of the sword. The same is true for all the
movements of the sword. This is the key to using the jian correctly according
to taijiquan principles.
Regarding the union of the body with the sword, the famous General Li Jing-
lin wrote that the essence of practicing the sword lies in moving the body like
a swimming dragon. He stated that, after practicing for a long time, the
practitioner’s body fuses with the sword, and the sword then fuses with the
practitioner’s shen.227
In order for the waist and legs to effectively transfer power into the sword,
the entire body must be correctly aligned. In particular, the line from the
baihui point on the top of the head must be aligned with the huiyin point
between the legs. This is in accordance with the principle of zhong ding, or
Central Equilibrium. When standing upright, this will allow the torso to
function as a vertical axis, thus enabling waist to transfer maximum power
into the extended arm and sword to cut horizontally from side to side. You
will also derive the greatest height when lifting the sword overhead if the
torso is vertically aligned.
When practicing taiji jian forms, there are postures in which the torso is
inclined forward, such as in thrusting downward to stab or to block. Even in
these inclined postures, it is important to maintain the linear alignment
between the baihui and the huiyin. This will allow for the most direct transfer
of power into the tip of the blade when thrusting and will provide the greatest
stability when blocking.
There is a principle of taijiquan pushing hands that states: “Don’t apply more
than four ounces of pressure against an opponent’s body, and don’t allow
more than four ounces of pressure to build up on your body.” This is a
corollary of the fundamental principal of taijiquan which instructs the
practitioner: “Use four ounces of force to repel a thousand pounds.” These
two principles may be adapted to sword fighting as follows: “Don’t apply
more than four ounces of pressure on the opponent’s blade, and don’t allow
more than four ounces of pressure to build up on your own blade.”
Recall that, in taiji jian practice, it is permissible and often desirable to
connect the two blades when sparring. This allows you to listen to your
opponent’s blade and also to control it. However, if you apply too much
pressure against the opponent’s blade, he will be able to borrow that pressure
and use it either to deflect your sword and to circle in to cut you or simply to
follow the line of rigidity of your sword in order to strike at your wrist. On
the other hand, if your opponent begins to build up pressure on your blade, he
may be able to cause your blade to be collapsed inward against your body,
which will diminish the effectiveness of your defense. As you feel pressure
building up on your blade, you must move your body (and hence your sword)
in such a way that your opponent’s blade is drawn into emptiness. Having
redirected your opponent’s attempt to penetrate your defense, you will be free
to attack him where he has become open.
In his book, The Art of Chinese Swordsmanship – A Manual of Taiji Jian,
Zhang Yun outlines what he refers to as “Techniques of Taiji Jian.” These
“techniques” are actually qualities that should be maintained whether
practicing the taiji jian forms or engaging in sparring. These qualities are:
relaxation, smoothness of movement, nimbleness of movement, stability,
emptiness, and integration.228 These are also qualities that should be
expressed whenever practicing the empty-hand forms or playing pushing
hands. However, as the taiji jian is an extension of the body, the forms and
applications are much bigger than the empty-hand forms and applications. An
error or fault that may imperceptible in an empty-hand form is likely to
become apparent when it occurs while handling the sword. For this reason,
one must pay particular attention to the development and expression of these
qualities when practicing with the taiji jian.
The six qualities listed above are all crucial for the proper performance of
both taijiquan and the application of the taiji jian. When practicing with the
jian, the quality of nimbleness is especially important. This is because
stepping, jumping, standing on one leg, and squatting down are all performed
on a larger scale and are often executed relatively quickly compared to the
empty-hand forms. Indeed, lively and active stepping is a characteristic of
taiji jian (and even more so in the Wudang Mountain style of jian). This
makes sense, as the consequences of stepping too slowly or taking steps that
are not long enough are severe (i.e. one may be cut or stabbed if one is not
able to elude or evade the opponent’s attack.) The movements of the sword
are also much bigger than the movements in the empty hand forms, so
nimbleness and agility are required in the handling of the sword as well as in
the feet.

Preliminary Taiji Jian Exercises

One of the objectives when practicing the taiji jian is to extend the qi into the
blade. Ideally, the qi should reach all the way to the tip, or jianfeng. This
requires a high level of qi development and should only be attempted by
individuals who have mastered the ability to circulate the qi into the palms
and the fingers during empty-hand form practice. For this reason, taiji jian
practice is normally only introduced to students after they have practiced the
empty-hand form and zhan zhuang for several years. In addition to directing
the qi into the blade, the sword practitioner must also send a comparable flow
of qi into the extended two fingers of the sword hand, or jianjue. In actual
combat, a skilled taiji jian practitioner is able to attack not only with the jian
but also to injure the opponent by penetrating his acupoints with the fingers
of his jianjue. According to tradition, the sword finger can be used to attack
the opponent at key acupuncture points.229
Standing in zhan zhuang while holding the jian: Developing the ability to
extend your qi into the blade of the jian takes time and effort. There is a
standing practice that you can use to help develop the ability to direct your qi
into the blade of the jian. As you will see, this practice has been adapted from
the practice of zhan zhuang. This practice not only enables you to extend
your qi into the metal of the sword, but will also assist you in directing your
qi into the two extended fingers of the sword hand as well.
To undertake this practice, stand in a shoulder-width parallel stance and hold
your jian in your right (or your dominant) hand. Extend your jian outward,
downward, and pointed in toward the center as shown in Figure 15-10.
Extend your left, sword finger hand downward, outward and pointed inward
on the opposite side of your body. Draw an imaginary line from the two
extended fingers of your sword finger hand to meet at the vertex of a similar
imaginary line drawn from the tip of the jian. Imagine extending you qi down
both arms, into the hands, and down the imaginary lines of flux that you have
drawn with your mind.
Figure 15-10
In order for the qi to flow down your arms and into your hands, you must
observe the principles outlined in the previous section of this chapter. In
particular, you must be relaxed (song) in the shoulders and arms with the
elbows dropped and the arms somewhat rounded. You will need to sink into
your hips and absorb the weight of the body into your legs and feet. Try to
open your two yongquan (Bubbling Well) points so that the qi of earth surges
up from the ground and enters your body. Direct this qi to flow up from the
ground to reach the shoulders and then down the arms, through the hands,
and outward. The qi of the right hand will flow into the metal of the blade,
and the qi in the two extended fingers of the left hand will extend out into
space along the flux line described above.
It is important to recognize that the steel of the jian’s blade (jianti) extends up
into the handle (jianba) via the tang. So, whenever you grip the sword
handle, you are actually holding a piece of the steel that extends out into the
blade. Be careful not to grip the jianba too tightly, or this will prevent the qi
from leaving your hand and entering the tang. When holding the jian in the
position indicated in Figure 15-10, you must visualize sending your qi
through the wood (or other material) of the jianba and penetrating into the
steel of the tang. From there, you can use your imagination to direct your qi
down the metal of the blade all the way to the tip (jianfeng).
At first, the only thing you are likely to feel is the additional weight of the
sword. For this reason, it is best to limit your early standing sessions to just a
few minutes. At all costs, you must resist the temptation to engage the
muscles of your shoulders and arms in order to hold the sword in the proper
position. Rely solely upon your qi, your imagination, and your will to keep
the sword suspended in space as shown in Figure 15-10. When you are no
longer able to hold up the sword without engaging in muscular tension, lower
both arms gently and take a break.
Eventually, you will find that the sword becomes lighter and lighter, and your
qi becomes stronger and more palpable. At some point, you will begin to
experience the electrical tingling in the hand holding the sword as your qi
reaches the hand and penetrates into the steel of the tang. Over time, you will
actually come to feel the strong current of qi as it passes into the tang and
down the blade of the jian to reach the jianfeng.
As you engage in this practice, don’t neglect the qi flow into the opposite arm
the two extended fingers of the sword hand. Proper handling of the jian
requires that the qi flows equally into both the jian and the jianjue (the sword
hand). Once you are able to send your qi into both the sword and the sword
hand, you will be ready to learn the individual sword applications, as
described in the following section.
Working with the tassel: Although only briefly mentioned so far, the sword
tassel can (and should) be an important component of the jian with regard to
fighting applications. Many beginning taiji jian practitioners find the tassel to
be a hassle. It seems to wrap around the wrist or the handle of the sword at
the most inopportune times. This is only because the practitioner has not yet
learned to move the handle of the sword in conjunction with the wrist such
that the tassel follows along behind or below the handle, rather than
becoming wound up around the handle.
Although the temptation to remove the tassel when learning the jian is strong,
this temptation should be resisted. This caution may run counter to your
teacher’s advice. However, if you remove the tassel early on in your jian
training, you will likely never master the correct technique for moving the
wrist and the handle as a single unit. Later, when you re-attach the sword
tassel, you will find that the problems that beset you at the beginning of your
practice will return to frustrate you. It is better to learn from the beginning
how to move the sword correctly so that the tassel follows the movement of
the handle throughout the form.
One concession you may make is to begin with a relatively short tassel. As
you become comfortable working with a shorter tassel, you can advance to a
longer tassel. T. T. Liang, who was one of Cheng Man-ch’ing’s senior
students, was recognized as a taiji jian master in his own right. His specialty
was the sword tassel. He used an especially long tassel, and the grace with
which he drew beautiful arcs with his tassel when performing the taiji jian
form was breath-taking to behold.
The tassel is not just a pretty decoration, however. Once you master the
tassel, you can use it offensively to distract and even directly strike the
opponent. Defensively, the tassel can be used to wrap around your
opponent’s wrist and so render his sword useless. Rather than viewing the
tassel as an impediment to your sword practice, consider it instead to be your
secret weapon. For this reason, you should spend time practicing basic sword
movements and focusing on moving the tassel in such a way that it follows
the sword handle without becoming tangled up or wrapped around the handle
or your wrist. The following are several basic exercises that will not only
improve your overall taiji jian skill but will help you to learn how to move
the sword without entangling the tassel.
Cutting with the jian horizontally: The ability to cut horizontally from side
to side is a basic skill in taiji jian practice. The two alternating grips used in
horizontal cutting were described previously. See Figures 15-4a and 15-4b.
Horizontal cutting can be performed either with or without the support of the
sword helper hand, or jianfa. In this example, the jianfa will be employed to
assist in executing the horizontal cutting strokes.
To begin, stand in a left bow stance and hold the jian with the right thumb up
and the sword helper hand on top of the right wrist. Turn your waist to the
right and allow the sword to float out to the right side, as shown in Figure 15-
11a. Push out of your back heel (don’t let the heel come off the ground) and
rotate your waist counter-clockwise. Use the power of the rear leg and the
waist rotation to turn your torso to the left and draw the sword horizontally
across your body from the right side all the way over to the left side of your
body, as shown in Figure 15-11b. Pay attention to the tip of the sword, and
don’t allow it to drop down below the level of your right wrist (i.e. “Don’t let
your tip dip.”)
Once you have cut horizontally from right to left, rotate your right wrist one
hundred and eighty degrees counter-clockwise so that the thumb of the right
hand is under the handle of the sword. Slide your sword helper hand on top of
your right wrist. See Figure 15-11c. Now, push off the ball of your front foot
and rotate your waist clockwise. Use the power of the front leg and the waist
turn to rotate your torso and cut horizontally across your body from left to
right. See Figure 15-11d. Repeat the sequence for a minimum of twenty cuts
(ten to the left and ten to the right).
As you make your horizontal cuts from side to side, you should monitor the
path of the sword tassel. Ideally, the tassel will continue to hang downward
and will sway smoothly from side to side as you move the handle from one
side of your body to the other. If the tassel begins to swing upward on either
side, then your movements are too fast and/or jerky. Let the tassel be your
guide when cutting horizontally. When the tassel flows in a continuous
curvilinear path while continuing to hang downward, you will know that you
are making your horizontal cuts correctly.
Figure 15-11a
Figure 15-11b
Figure 15-11c
Figure 15-11d
Rotating the jian vertically: Another important skill in taiji jian is the
ability to turn the jian vertically through space. This vertical rotation may be
accomplished in either the forward or the backward direction. During the
vertical rotation, the blade of the jian completes a full three hundred and sixty
degree circle. This practice is also referred to as “spinning the sword.” The
ability to rotate the blade vertically in either the forward or the backward
direction is used in both cutting downward and upward and also in blocking
and deflecting. In order to spin the sword freely, you must maintain a loose
but firm grip on the handle of the jian.
To spin the jian forward, stand in a left bow stance. Hold the jian in the right
hand, using the grip shown in Figure 15-3a. Now cover the top of the wrist
with the sword helper. Your jian should point upward and forward at
approximately forty-five degrees of elevation. See Figure 15-12a. When you
are ready the spin the jian forward, drop your right wrist and elbow down
slightly to impart downward momentum to the jian. Allow the jian to drop
downward until the tip is pointing diagonally forward and downward. See
Figure 15-12b. Then, with a flick of your right wrist, guide the blade around
to the back and then upward until the tip is pointing horizontally behind you.
This position is depitcted in Figure 15-12c. Finally, give another flick of your
right wrist to bring the blade of the sword back to its original starting
position, as shown in Figure 15-12d. This constitutes one vertical circle.
During the entire forward rotation, your sword helper hand should remain
attached to the top of your right wrist. Also, be aware of the backward and
upward path of the blade. Don’t allow the blade to drift away to the side of
your body. Ideally, you should feel the side of the blade brush against your
right shoulder as the blade swings behind and then back up and around.
Figure 15-12a
Figure 15-12b
Figure 15-12c
Figure 15-12d
The reverse spinning of the jian is accomplished in a similar manner. Again,
stand in a left bow stance and hold the jian in the same grip as for spinning
the sword forward. Point the tip of the blade forward and upward at a forty-
five degree angle as in the preceding exercise. Give a slight upward pull with
your right wrist and elbow to impart an upward momentum to the jian. Allow
the blade of the jian to continue upward until the tip points straight up. Then,
loosen your grip just slightly and permit the blade to fall backward behind
you. When the jian is pointing horizontally straight back, turn your wrist over
quickly and bring the sword down and forward until it returns to its starting
position.
When spinning the sword either forward or backward, you again must pay
attention to the sword tassel. If your wrist action is smooth and fluid and if
you impart sufficient momentum to the sword at the beginning of the
rotation, then the tassel will swing upward and then around between your
right hand and the right side of your body. If your tassel becomes entangled
or wrapped around your right hand, then you will need to continue to work on
refining the action of your right wrist.
Don’t become discouraged if your tassel doesn’t seem to cooperate at first.
More importantly, don’t remove the tassel! As stated previously, the tassel is
an important learning aid. If you can’t spin the sword without fouling the
tassel, then that means you’re not ready to advance to the next training
exercise. Just keep at it and learn from your mistakes until you can spin the
sword vertically in either the forward or the backward direction while the
tassel follows obediently behind like a well-trained heeler.
Painting flowers with the jian: One training method that has been used by
beginning jian practitioners for centuries is the technique of “painting
flowers” with the tip of the jian. Essentially, this training technique involves
extending the jian in front of the body and using the movement of the elbow
and wrist in order to “paint” various shapes in space by visualizing the tip of
the jian as a calligraphy brush. There are many different shapes that can be
painted. Each shape is considered to be a “flower.”
The simplest shape, or flower, that one can paint is a circle. It is best to begin
with a larger circle and then slowly make the circumference of the circle
smaller and smaller. You can use any stance and grip, but the right bow
stance works well with a flat sword grip (i.e. the flat side of the blade
horizontal to the ground with the fingers curled under and the thumb up. See
Figure 15-5b). Extend the jian out in front of your body and use your elbow
and wrist to “stir” the jian in a clockwise direction. Focus on the tip of the
jian and try to draw smooth, round circles with the tip that are roughly
eighteen inches in diameter. You may want to pick a spot on a wall in front of
you that can serve as the center of the circle. To begin with, you may also
want to support your grip hand (normally the right hand) with your sword
helper hand.
Be mindful of the sword tassel. When the sword tassel is moving smoothly
like a pendulum, you can begin to reduce the circumference of the circles,
drawing ever tighter circles until there is almost no movement in the tip of the
jian. Once you can make smooth, round, and increasingly smaller circles in
the clockwise direction, begin to reverse the direction outward in the counter-
clockwise direction. Increase the size of your counter-clockwise circles until
you again are drawing circles that are roughly eighteen inches in diameter.
After you have practiced sufficiently that you feel comfortable drawing
circles, you can proceed to more complex shapes, such as spirals, figure
eights, clover leaves, and even tracing the taiji symbol. As when painting
simple circles, let your tassel be your guide. The tassel should hang down and
swing like a pendulum in response to the movements of your elbow and
wrist. As you draw increasingly complicated shapes in space, be sure not to
let your tip dip. Focus on a point in space that is your target and draw shapes
that are centered on that fixed target. In actual sword fighting, the target is
frequently the opponent’s chest, but may be his wrist, arm, upper thigh, etc.

Taiji Jian Applications

Just as there are thirteen “postures” or techniques in taijiquan, there are also
thirteen basic techniques in taiji jian. These are ji (hit or strike), ci (thrust), gi
(block), xi (clear/wash), chou (draw/pull), dai (deflect), ti (raise/cut upward),
beng (explode/burst), pi (chop/split), jieh (intercept), jiao (stir), ya (press
downward) and dian (point). Each of these techniques is applied to
accomplish a specific objective either when practicing the jian solo form or
when sparring with a partner.
Note: different jian authorities identify the thirteen jian techniques in
different orders and sometimes with different names. The reality is that there
are more than thirteen distinct jian techniques. Over the centuries, many
sword techniques were created by different sword masters representing
different Wudang and other schools of sword practice. For this reason, there
is quite a bit of confusion in terminology when referring to different sword
techniques. Often, the same basic technique has several different names.
Occasionally, even techniques with the same name can be quite different
from each other. In recognition of these variations, the above list was
combined from various authoritative sources.
It is important to realize that, due to the afore-mentioned authoritative
differences, the following names and descriptions vary from source to source.
An example of this is the technique of dai, which is variously described as
“deflect,” “carry,” or “take along.” The definitions of the thirteen techniques
presented below have been selected as representative of the complete arsenal
of taiji jian techniques. In his commentary on Huang Yuan-xiou’s The Major
Methods of Wudang Sword, Master Chang Wu Na stated that the thirteen
techniques of the Wudang jian were culled from a list of thirty-four by
General Li Jing-lin. He narrowed the list to thirteen in order to conform to the
thirteen basic skills, or techniques, of taijiquan.230 If the practitioner is able to
master the specific techniques presented in this chapter, then additional
techniques, or modifications of these techniques, will present no great
challenge.
Ji: The technique of ji, or hit, is used to strike with the tip or the front edge of
the sword. This technique may be applied by cutting upward, downward, or
horizontally and is the most common technique employed in attacking with
the jian. An example of ji is the Chen style jian posture of The Phoenix
Spreads Its Wings, shown below in Figure 15-13a below. The application of
this posture is presented in Figure 15-13b. Chen Zhenglei wrote that the
application for this posture entails swinging the sword backward and up in
order to attack the crotch or the throat with the tip of the sword.231
Figure 15-13a
Figure 15-13b
Ci: The technique of ci, or thrust, is used to thrust forward (or backward)
with the tip of the sword in order to stab the opponent. An example of this
occurs in the Wu style jian posture of White Snake Flicks Its Tongue,
represented in Figure 15-14a, shown below. When thrusting with the sword,
the most important aspect of the technique is that the tip of the jian should
always move in a straight line. If the line of attack is not straight, the blade of
the sword may bend or break. When executing ci, the shen must be focused,
and the internal force must come from the back and the legs. An application
of ci is presented in Figure 15-14b.
Figure 15-14a
Figure 15-14b
Gi: The technique of gi, or block, is used defensively to block an opponent’s
weapon. This technique may be used against a variety of weapons, such as
another jian, a dao, a staff, or a spear. Gi should always be executed with the
flat side of the sword and never with the blade edge. Blocking with the edge
of the blade runs the risk of damaging the cutting edge. When blocking, it is
important not to resist the force of the opponent’s weapon. The most
important aspect of this technique is that the sword stick to and follow the
opponent’s weapon lightly without employing heavy force. Instead of using
force to resist force, the proper application of gi is to guide the opponent’s
weapon away from its original line of attack. Alternately, the practitioner can
step to one side while blocking in order to evade the direction of the attack.
An example of gi is the Chen style jian posture of The Golden Rooster
Stands on One Leg. The solo posture is shown in Figure 15-15a, with an
application of this technique presented in Figure 15-15b.
Figure 15-15a
Figure 15-15b
Xi: The technique of xi, or clear, is used clear away an opponent’s weapon.
This technique is also referred to as “wash,” in that the jian is used to wash
away to opponent’s weapon. The movement of the tip should create the
impression that it has been plunged into a body of water and is being washed
with a circular motion. The technique of xi is employed when circling the
sword around the body, as in the Wu style jian posture of Dragonfly Skims
the Water. See Figures 15-16a and 15-16b illustrate the solo posture and its
application.
Figure 15-16a
Figure 15-16b
Chou: The technique of chou, or draw, is used to pull the cutting edge of the
jian across an opponent’s arm, leg, or even their torso. This technique
depends upon the sharpness of the blade, so that even the slightest contact
between the edge of the blade and the opponent’s clothing or skin will be
sufficient to cut him. The jian is first extended, and the cutting edge of the
blade is placed onto the opponent’s arm, leg, torso, neck, etc. The blade of
the jian is then drawn along the surface by pulling the jian back toward the
practitioner’s center. In essence, the opponent receives a serious “paper cut”
delivered by the jian’s sharpened blade. The internal force for chou comes
from the body and should be released quickly. The touch of the sword must
be so light that the opponent is unaware of being touched. The ensuing pull
and cut must be made with speed and agility. Figure 15-17a illustrates the
technique of chou in the Yang style jian posture of Detain and Come
Forward, while Figure 15-17b illustrates how the horizontal cutting of chou
may be implemented in combat.
Figure 15-17a
Figure 15-17b
Dai: The technique of dai, or deflect, is used defensively in order to redirect
the opponent’s attack. This jian technique can be applied against another jian
or any other type of weapon. When employed against another jian, the
technique of dai is best applied by connecting the flat edge of the blade
against the flat edge of the opponent’s blade, as shown in Figures 15-18a and
15-18b, which demonstrate the Yang style jian posture of Whirlwind Right.
When deflecting, it is important that the angle is correct. Applying dai with
the proper angle will make the technique more efficient and will reduce the
amount of force needed to deflect the opponent’s weapon.
Figure 15-18a
Figure 15-18b
Ti: The technique of ti, or raise up/cut, is employed to cut upward with the
leading edge of the jianti (blade of the jian). The internal force of ti comes
from the arm and the body. Its effectiveness depends much more on its
accuracy than its power. Normally, the upward cutting arc of the jian is
executed with the grip shown in Figure 15-4a, in which the thumb is on top
and the palm faces outward. However, the technique of ti can also be
executed with the reverse grip, shown in Figure 15-19a. Chen Zhenglei wrote
that the movement of the jian in Protecting the Knee is to circle the sword on
the side of the body. The practitioner should coordinate the circling of the
sword with movement of the body. The jian should be first move upward and
then downward in a curve.232
Figure 15-19a
Figure 15-19b
Beng: The technique of beng, or explode, is a quick movement executed by
snapping the wrist up to raise the tip of the jian in order to cut the opponent.
Dr. Yang Zwing-ming explains that the technique of beng should be quick
and small but also powerful. Because the movement is small and sudden, the
force should originate from the forearm and the wrist.233 The technique of
beng can be seen in the transition from Blue Dragon Offers Its Claws to
Phoenix Nods Its Head in the Sun style taiji jian form. This movement and its
application are presented below in Figures 15-20a and 15-20b.
Figure 15-20a
Figure 15-20b
Pi: The technique of pi, or chop, employs the edge of the jian to chop down
against the opponent’s exposed wrist, arm, torso, or leg. Because pi is
intended to rend an opponent’s limbs or torso, the middle of the blade must
be utilized, as it is thicker and heavier. Pi is used much as a butcher would
chop a piece of meat. In order to be effective, the internal force must be
delivered from the legs to the waist and then to the back and the arm.
Because pi involves a large movement, its execution must be performed
quickly and suddenly. An example of the application of pi is Turn and Chop
with Sword from the Chen style taiji jian form, shown below in Figures 15-
21a and 15-21b. Regarding the application of this posture, Chen Zhenglei
wrote that if an opponent attacks from behind, the practitioner must turn
quickly in order to step forward and chop downward.234
Figure 15-21a
Figure 15-21b
Jieh: The technique of jieh, or intercept, is used to intercept an opponent’s
weapon with the flat edge (jianren) of the jian. Normally, the application of
jieh accompanies the act of shifting backward or dodging to one side in order
to elude the opponent’s attack while simultaneously “leading him (or his
weapon) into emptiness.” Jieh should never be used to block the cutting edge
of an opponent’s weapon and is best applied with the flat edge of the jian
against the flat edge of the opponent’s weapon, be it another jian, a dao, or a
spear. The technique of jieh is a common and useful technique. Once the
opponent has committed to an attack, you must evade the attack and then
then intercept his weapon with the blade of the jian. An application of jieh
can be seen in the Wu style posture of Tiger Crouches at the Front Door,
illustrated below in Figures 15-22a and 15-22b.
Figure 15-22b
Figure 15-22b
Jiao: The technique of jiao, or stir, is employed to impart a spiraling energy
against the opponent’s weapon. This technique may be used to dramatically
spin the opponent’s jian out of his hand. This is a powerful technique that
requires the integration of both external strength and internal energy. Ideally,
when the jian touches the opponent’s weapon, stirring energy should cause
him to drop his weapon.235 The technique of jiao is not expressly seen in most
taiji jian forms, but its application can arise out of a number of form postures,
such as the Yang style taiji jian posture of The Cat Catches the Rat, shown
below in Figures 15-23a and 15-23b.
Figure 15-23a
Figure 15-23b
Ya: The technique of ya, or press downward, employs the flat side of the jian
to press down upon the opponent’s weapon in order to control it. When
applying ya, be sure to use the weight of the body and not just press
downward with the arms and shoulders. The downward pressure should feel
irresistible to the opponent, who should feel that his weapon has become
immobilized. For this reason, you may want to employ a double-handed grip,
such as those illustrated in Figures 15-24a and 15-24b. Dr. Yang explains that
ya is not a very common technique. He cautions that the downward pressure
should not be held for too long. Instead, the practitioner must change very
quickly to another technique so that the continuity and flow of the
movements is not impeded.236 This technique is employed in the Yang style
taiji jian form prior to lifting the sword up in the posture of White Ape
Presents Fruit. See Figures 15-24a and 15-24b.
Figure 15-24a
Figure 15-24b
Dian: As its name suggests, the technique of dian, or point, is very precise.
The name of this technique is also sometimes translated as “dot,” as in the
expression, “dot the ‘i’.” The dot over the letter ‘i’ is both small and precise
in its location. Although the technique of dian may be applied in any sparring
situation, it is most often employed to attack the wrist of the opponent’s
sword hand. This can be accomplished by attacking from slight downward
angle, or by attacking upward. An example of an upward attack aimed at the
opponent’s wrist can be clearly seen in the photographs shown in Figures 15-
25a and 15-25b, in which the practitioner demonstrates the posture of Step
Forward and Point at Attacker’s Wrist, which is included in the Wu style
postural sequence of Turn Back While Pricking Lightly Up.
Figure 15-25a
Figure 15-25b
Two Person Jian Practice
The techniques described in the preceding section represent the basic taiji
jian skills that are employed in both the solo forms and also in sparring and
actual fighting. As with empty-hand taijiquan applications, the best way to
develop proficiency in the jian is to perform the taiji jian form(s) many
thousands of times. However, at some point it is necessary to touch swords
with a partner in order to attain a higher level of skill. As with the solo jian
practice, there are several basic two-person drills that you can practice with a
partner in order to develop sensitivity and responsiveness to another person’s
sword.
Having acquired some sensitivity to the touch of another sword, the next step
is to learn to “read” another’s sword from a distance and to respond
accordingly. The best way to train this skill is to practice a choreographed
two-person set. Such two-person taiji jian sets are similar to the two-person
empty hand taijiquan sets that are known as sanshou. Two-person taiji jian
sets are relatively rare. One of the best examples is the two-person set
performed by T. T. Liang, which he called the “sancai” (three powers) sword
fencing set.
Once the jian practitioner has spent some time (at least six months)
developing sword sensitivity and correct timing through the practice of two-
person drills and a choreographed two-person taiji jian set, he or she may
begin unstructured sword sparring, or fencing. Some teachers introduce
sword sparring early on and employ wooden swords wrapped with foam
padding. While this type of so-called “sparring” is entertaining, it is actually
detrimental to the development of real jian sensitivity and responsiveness. It
is better to be patient and practice the two-person drills and the two-person
choreographed set with unprotected swords. The edges of most practice
swords are dull enough that even the occasional contact with the skin is
unlikely to result in an actual cut. The lightness and sensitivity provided by a
steel jian simply cannot be reproduced with a heavy, bulky wooden
“sparring” sword that has been wrapped in foam.
Two-Person Jian Drill 1: There are a variety of two-person drills that have
been developed for the purpose of training jian sensitivity and
responsiveness. These drills are practiced with the flat part of the blades in
constant contact. The simplest drill is practiced by two participants standing
in matched right bow stances with the swords connected initially as shown in
Figure 15-26a. Note the position of the sword finger hand, which is extended
backward to offset the forward extension of the jian.
In this drill, one individual, Participant A, shifts her weight forward and
extends her sword in order to execute the technique of pi in a downward and
forward motion. Participant B responds with jieh, shifting his weight
backward and pointing his sword upward in order to redirect A’s jian away
from her initial line of attack. See Figure 15-26b. Participant B then shifts his
weight forward while Participant A shifts backward. This is similar to the
pushing hands drill known as “sawing the log,” in which the two players shift
back and forth while interacting with their hands such that the distance
between them remains the same, and the pushing and neutralizing forces in
the hands and arms are perfectly balanced. In the case of the taiji jian drill,
the two swords should maintain contact in the middle portion of the blade,
and the flat sides of each jian should only slide back and forth a few inches as
the two participants shift forward and backward.
Figure 15-26a
Figure 15-26b
Two-Person Jian Drill 2: In this drill, the participants will begin as before
with the flat sides of their swords in contact at approximately the midpoint.
This time, however, Participant A will step forward with her right foot as she
advances with to execute pi. Participant A will then follow up with her left
foot to maintain the correct distance between the feet. Participant B must
match Participant A’s advance by first stepping back with his left foot and
then drawing his right foot back as he executes jieh. Participant B then
advances to execute pi as Participant A retreats and executes jieh. This drill
begins to engage the sensitivity required to step forward and backward in
response to another fencer’s movements. The following drill continues to
develop stepping skill when working with the jian.
Two-Person Jian Drill 3: Once you and your partner are comfortable
stepping forward and backward with matched steps and connected swords,
you can proceed to continuous stepping with the two swords attached. In this
drill, one participant will advance continuously in a circular path while the
other participant steps backward, matching her partner’s steps. In this
exercise, neither participant will execute an attack or a defense with the jian.
Rather, the objective of this drill is to develop the agility and sensitivity
necessary to match another’s stepping. The jian is employed to sense the
other fencer’s movements.
To begin, the two participants face each other as shown in Figure 15-27a. The
two swords are placed against each other as in the preceding two drills.
Participant A initiates the drill be stepping out toward Participant B. As
Participant A steps out, she applies a slight but perceptible pressure against
the flat edge of Participant B’s jian. Participant B responds to Participant A’s
advance, which he is able to sense through her jian, by stepping back
obliquely, again to A’s right. Participant A then takes another step forward,
adjusting the angle of her stepping to match the Participant B’s new position.
As Participant A advances, she presses gently against Participant B’s jian, to
which Participant B responds with another oblique step backward. See Figure
15-27b. It is important to alternate the steps, i.e. A should first advance with
the right foot and then with the left foot, while B retreats first with the left
foot and then with the right.
The two participants continue circling each other until such time as
Participant B chooses to reverse his role and switches over to advancing.
Participant A must sense that Participant B has switched from defense to
offense, and must immediately assume the role of defender. This transition
should occur smoothly and without a break in stride by either partner. This
drill requires great sensitivity, especially on the part of the individual who
switches over from defense to offense. In this case, Participant B should not
attempt to switch to offense while Participant A is still stepping forward or
pressing against his jian. Participant B needs to find that tiny gap in
Participant A’s advance during which he can step in on Participant A without
their two bodies moving forward at the same time or their two swords
pressing at the same time. This drill may take both partners some time to
master. Care must be taken, especially when making the transition from
defense to offense, so that neither partner walks into the other’s jian.
Figure 15-27a
Figure 15-27b
Additional Two-Person Jian Drills: In addition to training pi and jieh, you
and your partner can practice any of the other thirteen taiji jian techniques in
matched, predetermined attack/response patterns. For example, one partner
can execute chou (draw horizontally) while the other partner counters with xi
(clear). Completing xi, the second partner executes chou while the first
partner counters with xi. Another drill might involve Participant A attacking
with ci (thrust) while Participant B responds with dai (deflect). With each of
these paired techniques, it is best to begin in stationery positions until the
techniques become familiar to each participant. Then, the two partners can
proceed to single stepping forward and backward. Once both players become
comfortable with the timing and stepping, they can advance to circling while
practicing the techniques.
Free Sparring: The highest level of two-person taiji jian practice is free
sparring, or fencing. When practicing free sparring, it is not necessary to
maintain the two swords in constant contact. Instead, the players may employ
any of the thirteen techniques, such as ci or beng to attack each other.
Defensively, players must respond to their partner’s attacks using appropriate
taiji jian techniques, such as dai or gi. However, more important than the
movements of the arm, wrist, and sword are the intricate stepping and turning
of the torso that must accompany any attack or defensive maneuver. It does
no good to execute dai with the arm, wrist, and jian if the torso is still
exposed to the opponent. So, when executing dai in response to ci, you must
step obliquely and turn your torso away from your opponent’s thrust in order
to effectively deflect his jian and remove yourself from the angle of his
attack.
One way to prepare to engage in free sparring is to practice a choreographed
two-person fencing set with a partner. Although few taijiquan instructors are
qualified to provide instruction is two-person fencing, if you are dedicated
and diligent, you can locate a video of a two-person fencing set. With
sufficient patience and regular practice sessions, you and a partner should be
able to master a short, two-person taiji jian fencing set in three to four
months. The sheer joy and the sense of controlled freedom that comes from
flowing together with another taiji jian player is difficult to express in words
and must be experienced personally in order to be appreciated. In some sense,
this is the highest expression of the martial art of taijiquan and can even
transport the two players into the spiritual realm of the art.
Conclusion
The study and mastery of the taiji jian requires a lifetime of dedicated
practice. As with the empty-hand forms and tuishou (pushing hands) aspects
of taijiquan, there are many principles and techniques that must be learned
and practiced until they become completely integrated into your taiji jian
practice. Many of these principles and techniques are unique to the taiji jian.
However, the fundamental principles of taijiquan must also be incorporated
into the practice of the taiji jian. Principles such as xu lin ding jin, “a light
and lively energy elevates the head-top,” must be observed at all times when
handling the taiji jian. In this way, the practice of the taiji jian will reinforce
your taijiquan practice and vice-versa.
In addition to learning the principles and techniques of the taiji jian, one
needs to truly master the skill of “knowing the other.” Although this skill is
important in taijiquan two-person activities such as pushing hands and free
sparring, it is absolutely essential in the art of the taiji jian. If you misread
your opponent when playing pushing hands or empty-hand sparring, the
worst that can happen is that you may get pushed off or punched in the face.
If you misjudge your opponent’s intention and fail to counter his attack
during fencing, you might actually get cut or stabbed. For this reason, taiji
jian free sparring requires a much higher level of skill and awareness, not
only of yourself but also of your opponent.
Perhaps the highest accomplishment in the civil aspect of the practice of the
taiji jian is the cultivation and extension of the qi into the blade of the jian.
This ability takes many years and even decades to develop fully. Taiji jian
masters who are able to extend their qi into the blade of the jian are thereby
able to use sticking energy for the purpose of attaching to and controlling
their opponent’s blade, rendering it useless for either attack or defense. There
is a tale of General Li Chin-lin, renowned as the best sword fighter in China
at that time. General Li encountered an elderly gentleman who agreed to spar
with him. Employing only a long-stemmed tobacco pipe, the old man
attached the wooden stem of his pipe to the edge of General Li’s sword. No
matter how much General Li tried, his attempts to free himself were to no
avail. It is reported that the old man in this story was none other than Yang
Pan-hou, one of the sons of Yang Lu-chan, the founder of the Yang family
style of taijiquan.
The question naturally arises among beginning and intermediate taijiquan
practitioners as to when, and even if, they should commence taiji jian
practice. The answer to the “when” component of this question is that it
depends upon the level of skill of the practitioner. However, normally one
should not begin taiji jian practice until one has completed training in the
traditional long form and has developed some facility with pushing hands.
For most individuals, this will require several years or more of dedicated,
regular practice.
As to whether it is essential to practice the taiji jian (or any other weapon, for
that matter) in order to develop a high level of taijiquan skill, the answer is
that such practice is not essential, especially if one is mainly interested in
practicing taijiquan for health. However, as has been explained in this
chapter, practicing the taiji jian will definitely enhance one’s understanding
and appreciation of the martial art of taijiquan. Because taiji jian forms are
more athletic and physically demanding than empty-hand forms, taiji jian
practice will also convey greater health benefits than simply practicing the
empty-hand forms. Finally, because, at the highest level, the practice of the
taiji jian requires the practitioner to extend his or her qi into the blade of the
jian, adding taiji jian practice to your daily training routine will accelerate
your qi cultivation and circulation, which is one of the principle goals of
taijiquan.
 Chapter Sixteen

The Principles and Practice of the Taiji Dao

The preceding chapter presented a brief history of the development of hand-

held weapons in the Chinese martial arts tradition. The principle weapons of
Chinese martial arts, such as the straight sword, the curved sword, the spear,
and the halberd, evolved from the primitive cutting and stabbing implements
of early Chinese warfare to the sophisticated weaponry in use during the
Ching dynasty. The development of these weapons parallels the advances in
metallurgy from bronze to iron to steel and occurred over several millennia
and across many dynasties, as documented by both historical records and
archeological discoveries. Metallurgical advancements enabled swordsmiths
and weapon makers to develop stronger, lighter weapons with increasingly
sharper edges. As metals became stronger and lighter, the length of weapons
also increased, providing their handlers with a marked advantage over arms-
bearers whose weapons were shorter and heavier.
As explained in the previous chapter, traditional martial arts in China evolved
out of the martial tradition of weapons training and usage. In modern martial
arts training regimens, students begin training with empty-hand techniques
and forms. Only after these students have demonstrated some proficiency
with empty-hand techniques and forms are they provided instruction in
weapons, such as the straight sword, the saber, and the spear. In his foreword
to Zhang Yun’s The Complete Taiji Dao, Strider Clark wrote that it is
important to understand that, in the martial tradition of China prior to the
development of the gun, this process was reversed. Weapons skills were more
important and were therefore taught and practiced intensively. An
individual’s success depended upon proficiency with a variety of weapons
because, without weapons skills one could be killed or seriously injured.
Over time, the martial arts tradition in China evolved to include training in in
empty-hand fighting. The empty-hand techniques borrowed heavily from the
techniques learned in weapons training, as soldiers were already familiar with
such techniques.237
Within Chinese military history, four weapons assumed primacy. These were
the straight sword (also referred to as the double-edged sword), or jian; the
curved, single-edged sword, or dao, which, in the European martial tradition,
is referred to as a saber or broadsword; the spear, or qiang; and the halberd,
or kwan dao. As Chinese martial arts developed into specific systems, such as
shaolin kung fu, white crane, and the internal martial arts of xingyi quan,
bagua zhang, and taijiquan, these and other weapons were included within
those systems. The major family styles of taijiquan all include training in the
use of three weapons: taiji jian, taiji dao, and taiji qiang. The Chen style of
taijiquan also includes training in the use of the kwan dao.
In Chinese martial arts, the three weapons, jian, dao, and qiang are often
categorized as follows: The jian is considered to be the scholar’s weapon, due
to its subtlety and finesse in application. The dao is respected as the warrior’s
weapon because of its directness and power. The qiang is held to be the
king’s weapon, because it requires great agility and nimbleness in its
application. Each weapon has its strengths and special requirements for
proper usage. Over thousands of years, specific principles and techniques
have been developed for training and fighting with each of these three
weapons. It is important to recognize, however, that when these weapons are
practiced as part of a taijiquan system, their principles and usage must
conform to the basic principles of taijiquan. For this reason, in this book the
straight sword is referred to as the “taiji jian;” the saber is referred to as the
“taiji dao;” and the spear is referred to as the “taiji qiang.” When these
weapons are discussed outside of the context of a family system of taiji, they
are simply known as the “jian,” the” dao,” and the “qiang.”
The preceding chapter addressed the subject of the taiji jian in some detail.
This chapter will focus on the taiji dao. As with the treatment of the taiji jian
presented in the previous chapter, this chapter will consider the taiji dao as an
extension of the empty-hand art of taijiquan. It is important to understand
that, although the taiji dao includes its own principles and techniques, these
principles must, by definition, derive from and accord with the basic
principles of taijiquan.
The History and Development of the Taiji Dao
Just as the carbine became the preferred weapon of infantrymen throughout
the many conflicts that arose in Europe during the 19th and 20th centuries, the
dao was the preferred weapon of infantrymen in Chinese warfare prior to the
advent of the widespread use of firearms. As Zhang Yun explained, straight
swords were initially more prevalent than curved swords because of the
relative ease of their manufacture. However, with improvements in materials
and metal-working techniques, curved swords such as the traditional
broadsword, and later the saber, became the standard military sword,
supplanting the straight sword.238
This favored position was the result of the increased use of mounted soldiers
and specifically the development of pommeled saddles and stirrups. A
mounted soldier’s most effective method of attack is to ride through a throng
of infantrymen while employing a curved saber to chop and slice at foot-
soldiers as he swivels from one side of his saddle to the other. Longer,
straight swords are clumsier and less effective when used by mounted
warriors.
As cavalrymen began to adopt the curved shape of the dao, infantrymen
followed suit. However, the curved swords adopted by the infantry differed in
length, width, and thickness from those employed in the cavalry. The foot-
soldiers’ swords were typically shorter, wider, and thicker than the relatively
longer, narrower, and thinner swords of their horse-mounted counterparts.
This distinction can be seen in the swords of mounted cavalrymen and foot-
soldiers the world over. In Europe, prior to the advent of the long gun,
cavalrymen employed longer, narrower, and thinner curved swords that were
known as “sabers,” whereas foot-soldiers employed shorter, wider, and
thicker curved swords which we typically distinguish be calling
“broadswords.”
The widespread adoption of the curved sword as the weapon of choice in
Chinese armies was also due to the fact that the dao is a relatively simpler
weapon to train and use. Just as the crossbow requires less training and skill
to employ than the longbow, so the curved single-edged sword requires less
training and skill to use effectively than a double-edged straight sword.
Because it only required forging an edge on one side, shorter, curved swords
were also easier and cheaper to manufacture than straight swords, which were
edged on both sides of the blade. For this reason, the two most widely-used
weapons for the common soldier were the broadsword and the crossbow. The
straight, double-edged sword, or jian, became an officer’s weapon. The
design and style of an officer’s jian denoted his rank and status.
In Chinese mythology, the god Tsang Her is the god directly associated with
the dao. The name Tsang Her conveys the meaning “kills whatever it
touches.” The association of the dao with the god Tsang Her is significant.
The dao was and still is a formidable weapon. It use and purpose is to kill or
dismember an opponent quickly and efficiently. In mass combat, it was not
unusual for a skilled warrior to dispatch dozens of opponents within a single
battle. Successful combatants lived to fight another day. Less skilled soldiers
typically had a brief career that ended violently and often permanently.
In addition to the dao and the crossbow, a third weapon arose as an infantry
weapon due to the advent of cavalry as an element of organized Chinese
warfare. This was the kwan dao (guan dao), the development of which is
attributed to the famous General Kwan Yu (Guan Yu). The kwan dao is a
long-handled dao with a fairly short blade. In European warfare, this weapon
is known as the “halberd.” The kwan dao, or halberd, was employed by foot-
soldiers for the purpose of incapacitating mounted horsemen by chopping at
the legs of their horses. These weapons were commonly referred to as “horse
cutters.” Figure 16-1 shows an example of a modern kwan dao.
Figure 16-1
There are many different types of Chinese curved swords, or dao. In general,
dao can be classified according to the length of the blade, the length of the
handle, and the shape of the blade. In this chapter, the two types of dao that
will be presented are the broadsword and the saber. Both of these swords
have medium-length blades measuring between twenty-four and thirty inches
and short handles measuring approximately six inches in length. The handles
of these swords are curved rather than straight, in contrast with the handles of
jian swords.
Although the term “dao” is used to refer to both sabers and broadswords in
Chinese martial arts, the distinction between the two types of curved swords
is significant, especially with regard to the special curved swords employed
in taijiquan systems. The taiji saber is a longer, narrower, and thinner curved
sword than is the more common broadsword that is typically employed in
other traditional Chinese martial arts. Additionally, the taiji saber has a ring
pommel and is often sharpened on both sides of the sword head. The photos
in Figures 16-2a and 16-2b illustrate a taiji saber and a traditional Chinese
broadsword, respectively. The differences between these two weapons is
clearly apparent in these two photos.
Figure 16-2a
Figure 16-2b
Both the saber and the broadsword illustrated above are considered to be yao
dao. The Chinese word, yao, refers to the waist. As such, yao dao are swords
that are meant to be carried by attaching the scabbard to a sash worn around
the waist. The shapes of the blades of the saber and the broadsword became
somewhat standardized by the advent of the Ching dynasty (the last dynasty
in China). The saber depicted in Figure 16-2a above is sometimes referred to
as a “willow leaf dao” because its blade resembles a willow leaf. (Note:
author Zhang Yun states that the taiji dao, or saber, is distinct from the
willow leaf dao. However, other authorities do consider the taiji dao to
conform to this design.) The broadsword shown in Figure 16-2b is classified
as an “oxtail dao” because of its wider head, reminiscent of the tuft of hair
found at the end of an ox’s tail.
In his introduction to the Wu style Thirteen Posture Taiji Dao set (taiji shisan
dao), Zhang Yun presents an informative explanation of the origins of this
set, which he states was initially practiced by both Yang and Wu stylists in
the middle of the nineteenth century in Beijing. He attributes the creation of
this set to either Yang Luchan or one of his sons or disciples. He adds that
Wu Chiang-chuan, who studied with Yang Luchan before creating the Wu
style of taijiquan based upon Yang’s teachings and those of his father, Quan
Yu, is known to have taught this form. According to Zhang Yun, this form
was derived apart from any extant Chen family broadsword forms at the time
and is unique to the Yang (and later Wu) style of taijiquan.
The taiji dao set that was practiced in the nineteenth century was based upon
a set of thirteen postures. The names of these thirteen postures are:239

1. Seven Stars, Ride Tiger, and Hand over Dao

2. Dodge and Focus, Jump and Move, Excite Mind and Qi
3. Guard Left and Right, Opening and Extending Two Times
4. White Crane Spreads Its Wings and Wuxing Palm
5. Wind-swept Lotus Flower Hidden beneath Leaves
6. Fair Lady Works the Shuttles Eight Times
7. Three Stars Open and Close Freely and Naturally
8. Double Kick and Strike Tiger
9. Slant and Twist Body Sideways, Diagonal Block, and Mandarin Duck
Kick
10. Push a Boat along with the Tide, Raise the Sword Like a Whip, and Use
 It Like a Punt-pole
11. Swim and Leap over the Dragon Gate
12. Assume a Low Position with Three Integrations and with Free and
Natural Changes
13. Bian He Carries Jade Like a Phoenix Returning to Its Nest.

These rather elegant and evocative posture names were interwoven into a
thirteen stanza poem. Although the names of the thirteen postures are still
utilized by practitioners of both the Yang and Wu styles, the actual postures
themselves have apparently undergone substantial changes since the time
when Fu Zhongwen and Yang Ban-hou practiced these sets. This is
evidenced by photographic depictions of Fu Zhongwen in the book, Taiji
Saber, written by Cai Longyun, and translated by Paul Brennan.240 There is
also a taiji dao set practiced by adherents of the Guangping Yang style of
taijiquan that is reportedly the same as the set practice by Yang Ban-hou.
Both of these sets are substantially shorter in duration and more direct in their
use of basic dao techniques.
Regardless of the changes that have taken place during the past century, it is
clear that practitioners of both the Yang and Wu styles of taiji dao developed
a unique approach to the use of the dao that was based upon the principles of
taijquan and which may also have incorporated skills borrowed from the
Wudang school of swordsmanship. Because the Yang and Wu styles of
taijiquan are less explosive than the Chen style of taijiquan, a unique sword
design that expressed the subtleties of these styles was required. This led to
the development of the taiji dao, or saber, which differs in a number of
characteristics from what Zhang Yun refers to as “the common dao,” or “the
common broadsword.” He explained that, by the end of the Ching dynasty,
the most prevalent dao found in most martial arts schools were nu wei dao, or
oxtail swords. Oxtail dao, or what we would label “ordinary broadswords,”
have shorter blades and handles than taiji dao. Further, unlike many taiji dao,
they do not typically have an upper edge. Due to the differences in the shape
of a taiji dao compared to a regular dao, some sword techniques specific to
the practice of taiji dao will vary depending on whether one is using a taiji
saber or a standard broadsword.241
It is important to note that practitioners of Chen style taijiquan typically
employ a “common broadsword” when performing the taiji dao set.
Depending upon the school, it is not uncommon to find practitioners of Yang
and Wu styles employing broadswords as well in their taiji dao practice.
Because the Sun style of taijiquan is derived in part from bagua zhang and
xingyi quan, each of which have their own broadsword sets, the Sun style of
taiji dao also uses a broadsword. Whether you choose to practice the taiji dao
with a broadsword or a saber will depend partly upon your preference and
partly upon the style of taijiquan that you practice. Of course, you should
always defer to the preference of your teacher, especially if you are studying
under a lineage holder of a traditional family style of taijiquan.

The Underlying Principles of the Taiji Dao

As with the taiji jian, it is important to observe all the principles of the art of
taijiquan when practicing the taiji dao. In his highly informative book, The
Complete Taiji Dao: The Art of the Chinese Saber, Zhang Yun wrote that
taijiquan and taiji dao skills are essentially the same, because, when used
correctly, the dao becomes an extension of the practitioner’s body. He stated
that, at the highest level, the correct practice of taiji dao requires that the
practitioner adhere to the principles found in taijiquan.242
This is especially true when employing a broadsword, which is likely to be
heavier and more unwieldy than a saber. Because taiji dao sets employ more
angular diagonal cutting or downward chopping movements as well as
upward blocking movements, there is a tendency upon the part of the
practitioner to rely upon physical strength rather than proper body mechanics
when executing the individual postures of these sets.
When performing diagonal cutting, downward chopping, or upward blocking
movements, the principle of maintaining central equilibrium, or zhong ding,
along with the principle of suspending the head-top (xu lin ding jin), is of
preeminent importance. Remember also the principle of the waist turning like
a millwheel around its axis. The upright torso must serve as the central axis
around which the torso, and therefore the dao, revolves. The power of the
dao should be derived from the turning of the waist and not from the isolated
actions of the shoulders and the arms. This requires the practitioner to sink
the shoulders and drop the elbows and also to relax the waist.
In order to employ internal power rather than external strength when using
the dao, the practitioner must recall at all times the instruction provided in the
Taijiquan Treatise, attributed to Chang San-feng, which states that the
motion should be rooted in the feet, released through the legs, controlled by
the waist, and manifested through the fingers.243 It is also important to ensure
that the upper and lower body function together, with the upper following the
lower. If one is able to issue internal power, or jin, from the ground up, then
there will be no need to rely upon external physical force, or li, in order to
issue power into the blade of the dao.
In order to practice the taiji dao correctly, you must adhere to the tenets of
taijiquan throughout the form. These include the following, which were
presented in Chapter Nine.

Guard the mind and the qi together in the dantien.

The mind moves the qi and the qi moves the body.
Seek stillness in motion.
Use consciousness, not strength.
First in the mind and then in the body.
The movements must be light, nimble, and threaded together.
Distinguish between substantial and insubstantial.

In addition to the general principles of taijiquan which must be applied when

practicing taiji dao, there are principles specific to the dao which also must
be considered.
The dao is like a ferocious tiger: The primary function of the dao is for
chopping. According to Zhang Yun, the handling of the dao demands a
strong spirit and great courage. The swordsman must employ determination
and valor in order advance quickly and with agility.244 When employing the
dao in attacks, there can be no hesitation or temerity. Whether chopping
downward, cutting diagonally, or thrusting forward, the movements must be
straight, precise, and powered by the entire body. The practitioner must
exhibit a fierce spirit of vitality in which the focus of the attack should be
directed toward the leading edge of the dao. The eyes should shine brightly
with intent.
Distinguish between the substantial and the insubstantial: When
employing the dao in combat, the swordsman must be able to determine
which of the opponent’s moves represent real attacks and which are feints
intended to deceive and mislead. To a large degree, this means that the
swordsman needs to have ample experience and great sensitivity to the
movements of the opponent. One way to understand and recognize which
attacks are real and which are feints is to practice these techniques oneself.
When training in the dao, the practitioner must practice both actual attacks
and feints. In offense, one should vigorously attack the opponent’s weak
points and avoid attacking where he is strong. In the face of a strong defense,
the swordsman should employ deception and misdirection in order to cause
the opponent to drop his guard.
In defense, one must recognize false attacks and not be misled by them. The
skilled swordsman defends against substantial attacks by being insubstantial.
Either through the turning of the body combined with nimble stepping or
through connecting with the opponent’s weapon and deflecting his line of
attack, the swordsman must avoid direct attacks and lead the opponent into
emptiness. Once the opponent’s attack has been neutralized, the swordsman
may attack at the point where the opponent has become insubstantial.
Forsake the near to seek the far: Remember that the dao is a relatively
short weapon, especially when used against a longer weapon, such as a spear,
a staff, or a halberd. When fighting against longer weapons, there is a
tendency to become fixated upon the tip of the opponent’s weapon. If one
only defends against the spear’s point, for example, then there will be no
chance of attacking the individual wielding the spear. Zhang Yun wrote that
the primary challenge for anyone training with a short weapon is learning
how to use it effectively against an opponent wielding a long weapon. In
theory, the opponent with the long weapon should hold the advantage,
because the fighter with the long weapon can always reach farther than the
fighter armed with a short weapon.245 Therefore, in order to prevail against a
long weapon when employing a broadsword or saber, the practitioner must
rely upon a number of skills.
First, and foremost, the practitioner must maintain a calm mind and not
become distracted by the movements of the tip of the spear (or other long
weapon). Instead, the practitioner must focus on the movements of the spear
wielder’s hands and body. Employing deftness with the blade of the dao and
nimble stepping, the practitioner must neutralize the spearhead while stepping
in close enough to attack the spear holder’s hands and/or body. The
swordsman must recognize the briefest of opportunities that arise when the
spear’s forward attack has been neutralized and the spear holder’s next attack
has not yet been mobilized. This is the moment when a swift and sudden
counter-attack will meet with success.
When sparring with another swordsman who is using either a dao or a jian,
the same basic principle applies. The primary targets should be the
opponent’s wrists, arms, and legs. If the practitioner becomes preoccupied
with the tip of the opponent’s weapon, then he will eventually be cut. The
strategy of fighting blade against blade is to neutralize or redirect the
opponent’s blade and attack the opponent’s body. Because the hands are
closest, it is best to attack the opponent’s hands and wrists. If you are able to
seriously injure the opponent’s sword hand, the contest will be effectively
concluded, and you can proceed to deal with the next opponent. Remember
that the principle goal of the dao is to dispatch each opponent as quickly and
efficiently as possible. It is not necessary or even advisable to behead each
opponent or cleave off entire limbs as long as the opponent is rendered
incapable of further attack.
Alternate soft and hard: The concept of rou (soft) and gang (hard) was
introduced in Chapter Nine. As you may recall, the alternation of rou and
gang is a key principle in Chen style taijiquan. In empty-hand practice, hard
punches and kicks that express fa jin are interspersed among softer, gentler
movements that incorporate silk-reeling, or chan ssu jin. This is because
taijiquan utilizes both defense and offense. Indeed, a key characteristic of
taijiquan is that defense contains offense and offense contains defense. This
is in accordance with Taiji theory, which stipulates that within yang there is a
small amount of yin, just as within yin there is the presence of a small amount
of yang.
When practicing the art of the taiji dao or when engaged in actual sparring
against another swordsman or an opponent with a long weapon, it is
imperative to employ both hard and soft techniques. The power and the
momentum of the dao is generated by the alternation of soft and hard
movements, such as the when the reversing movements of the dao in defense
of an onslaught of a spear attack is suddenly transformed into a forward
thrusting strike with the head of the dao. As Zhang Yun wrote, it is essential
to learn how to combine hard and soft qualities and how to change hard to
soft in order to control the rhythm of your movements. The ability to change
from soft to hard (rou to gang) will greatly improve your taiji dao skill.246
Suddenly appear and suddenly disappear: This principle follows directly
upon the previous principle. You will note that in most taiji dao sets,
offensive and defensive moves are interwoven into the form. If one simply
uses the dao offensively, employing only cutting, chopping, and thrusting,
the opponent will quickly sense the rhythm of your offense and will be able
to penetrate the brief pauses between one attacking movement and the next.
Further, if you only know how to attack with the dao, how will you be able to
defend yourself against an equally aggressive opponent?
The most skillful swordsmen know the secret of “suddenly appear and
suddenly disappear.” They recognize that the best way to confuse and
therefore to overcome an aggressive attacker is to suddenly disappear,
causing the opponent’s blade to fall onto emptiness. At the moment when the
opponent’s blade is empty, that is when the skilled swordsman will swiftly
and decisively counterattack with devastating consequence. To suddenly
disappear creates vulnerability by neutralizing the opponent’s attack. To
suddenly appear takes advantage of that vulnerability by attacking before the
opponent has a chance to marshal his next attack.
Stick, adhere, connect, and follow: This is a four-character phrase (chan
nien lian sui) that is found in the Taijiquan Classics and in much of the
literature associated with the practice of taijiquan. As was explained in
Chapter Eleven, each of these individual words in Chinese denotes a distinct
type of defensive jin. Chan refers to a special type of sticking that includes an
upward lifting energy. Nien means to adhere in such a fashion that the
opponent feels that he cannot break the connection. Lian may be translated as
“connect to” or “link to” in a manner that prevents the connection between
two objects from being broken. Finally, sui means to follow so closely that
the opponent cannot escape pursuit.
Recall from Chapter Eleven that the concept of jin is best broadly defined as
“skill” or “ability” rather than more narrowly as “internal force.” These four
different but closely related defensive skills are critically important when
employing the dao in sparring or in actual combat. These four jin are
particularly relevant to the use of the dao in defense against long weapons,
such as the spear. One must be able to stick, adhere, and connect to the shaft
of the spear in such a manner as to divert the spearhead’s line of attack. Only
then can the swordsman follow the shaft downward toward the opponent’s
hands, where a sudden counter-attack will be effective.
The sword is an extension of the body: This statement is equally valid
whether one is wielding a jian or a dao. In order for one to employ the dao as
an extension of the body, the practitioner must exercise the Six Harmonies.
The Six Harmonies include the Three Internal Harmonies and the Three
External Harmonies. The Three Internal Harmonies are: the yi leads the qi;
the qi leads the jin (internal strength); and the jin leads the li (external
strength). The li is the outward expression of the movement of the body,
which is linked together according to the Three External Harmonies: the
ankles lead the wrists; the knees lead the elbows; and the hips lead the
shoulders. In reference to the Six Harmonies, Zhang Yun wrote that the
sword must become a natural extension of the practitioner’s arm, and the
sword’s movements must become integrated with all the movements of the
practitioner’s body.247 This is in keeping with the teaching of Yang Zhenduo,
who instructed that the waist is the dominant factor in leading all the
movements. The arms follow the body’s turning, and the saber follows the
arm’s movement.
The sword and the empty hand support each other: There is a tendency
among beginning students of the sword arts to focus upon the sword and to
neglect the empty hand. Such students believe that the entire array of
offensive and defensive movements in the form are executed solely with the
sword. As was explained in Chapter Fifteen, when wielding the jian, the
empty hand can play a variety of supporting roles, both for counterbalancing
the extended sword-bearing arm and also for engaging in actual attacks
against an opponent’s acupoints using the two fingers of the secret sword
hand. The supporting role of the empty hand is even more important when
fighting with a dao.
The empty hand may be used to counterbalance the momentum of the dao
when cutting, chopping, or thrusting forward. Additionally, the empty hand
may attach to the back of the sword to apply additional pressure to the dao
when blocking or warding off. The empty hand may be employed to distract
the opponent by feinting blows or grabs, or the empty hand may be used to
actually attack or grab the opponent. Most significantly, the empty hand may
be used to grab the shaft of the opponent’s weapon, thus rendering it
harmless. This approach is especially useful when fighting against an
adversary wielding a spear. As Zhang Yun wrote, using the taiji dao properly
is dependent upon your empty-hand skills, so taiji dao practice must focus on
these skills as well as upon skills that are specific to the taiji dao.248

The Individual Components of the Dao

In general, the components of a curved sword are similar to those of a straight
sword. The dao includes a blade (daoti), a handle (daobing), and a scabbard
(daoqiao). The blade consists of a head (daotou), a body (daoshen), and a
root (daogen). The head of the blade includes the sword’s tip (daojian) and
both the upper (shangren) and lower (qianren) edges. In some dao, both the
shangren and the qianren are sharpened to provide both upward and
downward cutting surfaces. The handle of the dao includes the guard
(hushou), the grip (daoba), and the pommel (daohuan). The pommel of a taiji
saber is normally a ring pommel, whereas the handle of a broadsword is
typically blunt with a small ferrule through which a brightly colored scarf is
often attached.
The type, length, and weight of the sword you select for your taiji dao
practice will depend upon several factors. Principal among these are your
height, age, and general level of fitness, as well as the family style of
taijiquan that you practice. The Chen and Sun style dao forms employ more
chopping and blocking moves. As such, a traditional Chinese broadsword,
such as the one depicted in Figure 16-1b, is appropriate for these dao
routines. The Yang and Wu (Chiang-ch’uan) taiji dao forms employ more
cutting and stabbing movements combined with nimble stepping. In this case,
a taiji saber, like the one shown in Figure 16-1a will prove to be more
suitable.
Regarding the length of the dao, if you are using a broadsword, you will want
the tip of the sword to reach your shoulder when held in the beginning
position at the opening of the form (qi shi), see Figure 16-3a. If you are using
a saber, you will want a longer blade. In this case, the tip of the sword should
extend upward to the level of your throat, as shown in Figure 16-3b. Note:
some practitioners prefer longer blades for both the broadsword and the
saber. You should rely upon the direction of your teacher. If you are selecting
a sword for practice without the guidance of a teacher, it is always better to
begin with a shorter blade. You can always acquire a longer blade once your
proficiency with the dao improves.
Figure 16-3a
Figure 16-3b
As with the jian, the types of dao produced for practicing contemporary
Chinese martial arts come in three weights, or flexibilities. These are
categorized as combat steel, spring steel, and wushu steel. As was explained
in Chapter Fifteen, combat steel swords are the heaviest and are meant to
simulate the weight and heft of an actual dao that might have been used in
combat prior to the advent of gunpowder. This type of dao is likely to be too
heavy and unwieldy for the beginning taiji dao practitioner and should be
avoided until one has gained greater strength and proficiency at wielding the
dao. The type of blade most commonly used for taiji dao practice is made
from spring steel. Spring steel blades have quite a bit of flexibility in the
daotou, less flexibility in the daoshen, and almost no flexibility in the
daogen.
Wushu steel blades are extremely flexible and can even be bent completely
back upon themselves. Some teachers, even famous ones, employ
broadswords made with wushu steel blades for the purpose of demonstrating
fa jin when sending energy to the tip of the sword. However, these blades are
not appropriate for actual dao training and should be reserved for showy
demonstrations in which the blade is made to vibrate dramatically. They may
also be used in two-person demonstrations in which neither participant is
likely to be injured from such a malleable blade. It should be noted that most
martial arts competitions do not permit the use of such flimsy swords and
require that the blade of the sword be able to support the entire weight of the
sword when placed vertically with the tip touching the floor.
The subject of a sword’s balance was introduced in the preceding chapter.
The issue of balance when selecting a sword for taiji dao practice is even
more important than in choosing a jian. This is especially true if you will be
using a standard martial arts broadsword. These swords are typically very
heavy in the blade, without sufficient counterweighting in the handle and
pommel. For this reason, it may be better to select a lighter broadsword in the
beginning and progress to a heavier one once the basic skills of handling the
sword have been developed. As with the jian, the ideal balance point is for
the sword to remain level when supported by two outstretched fingers placed
approximately three fingers’ width forward of the guard. This same rule of
thumb applies equally to a saber. Although the saber’s blade is narrower and
thinner, its increased length must also be taken into account when
considering the sword’s overall balance.
Most Chinese broadswords have one or more sashes or scarves attached to
the ferrule that is affixed to the pommel. These scarves traditionally were
used to distract the opponent. Sometimes small knife points would be tied to
the ends of the scarves so that they could be used to strike or cut the
opponent. In modern times, the scarves serve to brighten up and enliven the
appearance of the broadsword’s movements. Whether you attach several
scarves or a sash to the pommel of your broadsword will depend upon your
personal preference. However, you should avoid attaching anything to the
ring pommel of a taiji saber, because the ring pommel has special
significance and usage, as will be explained later in this chapter.

How to Hold the Dao

In order to wield the dao effectively, one must first learn how to hold it
properly. There are a variety of different grips that are employed in holding
the dao. The term wojian was introduced in the preceding chapter and refers
to the manner in which the swordsman grips the jian. A similar term,
“wodao,” is used when referring to grips used in holding the dao. Many of
these grips are the same as those employed in handling the jian. This makes
intuitive sense, as many of the basic sword techniques, such as cutting,
stabbing, deflecting, and blocking are common to both the jian and the dao.
One distinction between the jian and the dao is that the thicker, wider blade
of the dao makes it especially suitable for chopping. In order to impart
maximum power into the dao when chopping, the swordsman will often
adopt a two-handed grip. The main difference between the dao and the jian,
however, is that the dao is a single-edged sword, whereas the jian is
sharpened on both edges. The unsharpened back edge of the dao provides a
surface against which the empty hand can be placed to reinforce techniques
such as blocking, warding off, and pressing.
The following information describes the principal methods for holding the
dao. In these examples, the dominant hand is presumed to be the right hand.
Obviously, those practitioners who are left-handed will need to reverse the
hand positions as shown in the illustrations.
The basic grip for holding the dao is the same as for the jian. Whether you
are working with a broadsword, which typically has a disk-shaped guard, or a
saber, which normally has an S-shaped guard, you will grip the dao as if you
were shaking hands with another individual. The thumb side of the hand is
up, and the curled fingers are on the bottom of the sword’s handle. When
held in this fashion, the blade of the dao will be pointed upward at a forty-
five degree angle. Figures 16-4a and 16-4b illustrate this type of grip when
holding a broadsword and a saber, respectively. In both photographs, you will
notice that the houkou, or tiger’s mouth (the space between the thumb and
index finger) fits snugly against the guard. This type of grip is used for
downward attacks, such as chopping or diagonal cutting, and also for
stabbing and pecking. This same grip may also be employed for upward
cutting in the case of the taiji saber, in which the upper edge of the saber’s
head is also sharpened.
Figure 16-4a
Figure 16-4b
If you rotate your wrist ninety degrees clockwise or counter-clockwise, you
will convert this vertical grip to a horizontal grip. See Figures 16-5a and 16-
5b. In Figure 16-5a, the wrist has been rotated ninety degrees in the
clockwise direction, such that the back of the hand faces down and the thumb
and curled fingers are facing up. In a similar fashion, in Figure 16-5b, the
wrist has been rotated ninety degrees in the counter-clockwise direction, such
that the back of the hand faces up and the thumb and curled fingers face
downward. The primary function of a horizontal grip is horizontal cutting.
When the thumb and fingers are up, the horizontal cut is a straight cut,
similar to a forehand stroke in tennis. When the thumb and fingers face
downward, the horizontal grip is referred to as a reverse horizontal grip and is
employed in reverse cutting, which in tennis would be analogous to a
backhand stroke.
Figure 16-5a
Figure 16-5b
If the wrist is rotated a full one hundred and eighty degrees from the standard
grip, such that the position of the houkou faces upward instead of downward,
the grip becomes a reverse vertical grip. There are two reverse vertical grips,
depending upon whether the wrist is rotated in the clockwise or counter-
clockwise direction. Figures 16-6a and 16-6b illustrate both of these reverse
vertical grips. When the wrist is rotated one hundred and eighty degrees in
the clockwise direction, the dao may be employed in an upward cutting
motion and also in a direct thrusting direction. When the wrist is rotated one
hundred and eighty degrees in the opposite direction, the sword may be used
either for blocking or for thrusting. In these instances, the sword is usually
held in an overhead position.
Figure 16-6a
Figure 16-6b
As stated previously, the design of the dao lends itself to a variety of
chopping movements. As anyone who has utilized a hatchet understands,
chopping may be accomplished with a single-hand grip as long as the wood
being cut is not too thick. However, an axe is a much more effective tool
when chopping larger pieces of wood. The use of an axe requires a double-
hand grip. Similarly, the most effective chopping motion when employing a
dao is accomplished with a double-hand grip. Many broadswords and sabers
are intentionally manufactured with longer handles for the specific purpose of
accommodating a double-hand grip. Figures 16-7a and 16-7b show a double-
hand grip using both a broadsword and a taiji saber. Note that the taiji saber’s
handle more easily accommodates a double-hand grip due to its greater
length.
Figure 16-7a
Figure 16-7b
As stated previously, one of the distinguishing characteristics of the dao is
that it has a wider, thicker blade that is only sharpened on the leading edge.
The back edge may therefore be used as a surface for pressing with the non-
dominant, empty hand. Almost all of the single-handed grips described in this
section may be supported in this manner. Figures 16-8a through 16-8d
portray four such double-hand grips. Gripping the sword in this manner
facilitates basic dao techniques such as blocking, warding off, and cutting.
Figure 16-8a
Figure 16-8b
Figure 16-8c
Figure 16-8d
Basic Taiji Dao Skills
Prior to learning any taiji dao set, it is important to spend some time
developing and perfecting the basic skills of handling the dao. Clearly, the
beginning taiji dao practitioner must learn and become comfortable with the
various methods for holding the dao presented in the preceding section.
Additionally, the beginning practitioner should learn the basic sword strokes
that are the foundation of the arsenal of dao techniques. These include
chopping, cutting, thrusting, blocking, warding off, and deflecting. In his
modern classic, Chinese Single Broadsword – A Primer of Basic Skills and
Performance Routines for Practitioners, Xie Zhikui wrote that, when
beginning to study the broadsword, one should first practice basic
broadsword skills. By practicing the basic movements, students gradually
strengthen their grip, increase the flexibility in their wrists, and become
accustomed to the use of the various methods for gripping the sword.249
Over several thousand years, training techniques intended to develop these
basic skills have been refined to the point that a beginning taiji dao
practitioner has many skill-building drills to choose from. The following
simple drills will provide the novice swordsman with the tools necessary to
develop the skills required to practice a complete taiji dao set.
Holding the dao in the resting position: The first skill is learning to hold
the dao in the resting position. There are several methods employed for
holding the dao in the resting position. Figures 16-9a and 16-9b show the
method for holding the broadsword and the saber, respectively, in the
forward-facing resting position. When holding the dao in this resting
position, the sword is held in the non-dominant hand with back edge of the
sword resting against the forearm, upper arm, and shoulder on the non-
dominant side. When held in this fashion, the leading, or sharpened edge,
faces forward. When holding the sword in the non-dominant hand (in this
case, the left hand), the sword is held between the index and the second
finger, with the thumb wrapped around the guard. Note that, due to the
different shapes of the guards, the position of the thumb on the guard is
slightly different when holding a common broadsword as opposed to a taiji
saber.
Figure 16-9a
Figure 16-9b
It is important to become familiar with holding the dao in the non-dominant
hand, as several of the dao sets require that the sword be handed off from the
dominant hand to the non-dominant hand in order to execute one or more
postures. The ability to handle the sword in either hand enables the
swordsman to be more versatile in his attacks and also begins to develop the
ability to work with two swords at the same time in preparation for the
practice double-dao sets. Figures 16-9c and 16-9d illustrate two additional
methods for holding the dao in the resting position. In Figure 16-9c, the
sword is held behind the non-dominant arm so that the sword remains hidden
from the front. When holding the dao in this position, it is important that the
leading edge of the blade faces away from the body to avoid possibly being
cut by the sharpened edge of the blade. In Figure 16-9d, the sword is held in
the dominant hand, but the blade of the sword rests upon the forearm of the
non-dominant hand. Again, be sure that the leading edge of the blade faces
away from the body. Figures 16-9e and 16-9f present two further methods for
holding the dao in the resting position using the dominant hand.
Figure 16-9c
Figure 16-9d
Figure 16-9e
Figure 16-9f
It is important to be able to hold the dao in one of the resting positions shown
above, as this will establish comfort and familiarity with the weapon. Also,
this basic skill will provide you with some sense of connection to the
countless warriors and martial artists of the past who would often be required
to hold their swords in a resting position for many hours while standing guard
or preparing for battle.
Spinning the dao: Many of the transitions between postures in the various
dao sets require that the dao be turned over rapidly. This may occur when
advancing and executing a series of chops or, alternatively, when a forward
advancing thrust needs to be followed quickly by stepping back and
executing a block. In order to develop the ability to turn the sword over
rapidly, you should practice the next two drills. In the first drill, you will
learn to spin the dao in a forward vertical circle. In the second drill, you will
practice spinning the dao in a backward vertical circle. These two drills are
essentially the same as the drills presented in Chapter Fifteen for spinning the
jian. They are presented again in this chapter for the sake of completeness, as
the ability to spin the sword is an essential skill in the overall use of the dao.
It is important to master these two vertical circles. In particular, when training
either forward or backward vertical circles, try to keep the edge of the sword
adjacent to the torso. The sword should swing as close to the shoulder of the
dominant hand as possible without actually brushing it. This will require
some practice and also a certain level of flexibility in the wrist and elbow of
the dominant hand.
To spin the dao in a forward vertical circle, stand in a left bow stance and hold the dao as shown in
Figure 16-10a. Loosen your grip and allow the weight of the sword’s head to draw the tip forward and
downward, as shown in Figure 16-10b. Next, employ the downward momentum of the sword to rotate
your wrist one hundred and eighty degrees in the clockwise direction, such that the sword hangs
pointing downward and behind you. At this point, you should only be gripping the handle with your
thumb and index finger. See Figure 16-10c. Finally, give a flip of the wrist and swing the sword
backward and then upward until it reaches the position shown in Figure 16-10d. To complete the spin,
draw the sword forward until it returns to the initial position indicated in Figure 16-10a.
Figure 16-10a
Figure 16-10b
Figure 16-10c
Figure 16-10d
To spin the sword in a backward vertical circle, the steps are similar. Figures
16-11a through 16-11d depict the complete sequence. The only difference is
in the transition from the position of the sword in Figure 16-11c, in which the
leading edge faces up, to the position of the sword in Figure 16-11d, in which
the leading edge of the sword faces down. This will require a quick flip of the
wrist in order to turn the sword over from the leading edge up position to the
leading edge down position.
Figure 16-11a
Figure 16-11b
Figure 16-11c
Figure 16-11d
Wrapping the sword around the head: One of the more distinctive moves in the repertoire of the dao
is wrapping the sword around the head, usually referred to as “wrapping the sword.” This technique is
also called “entwining the head” or “binding the head.” These names are somewhat misleading, as the
sword actually wraps around the entire torso and not just the head. When performed properly and
rapidly, this movement is both impressive and practical. The purpose of wrapping the sword around the
head (and the torso) is two-fold. First, by placing the sword against the back, with the leading edge
facing outward, one can block or deflect an attack from behind. A second function of wrapping the
sword is to distract or surprise an adversary in front of you. In order to practice wrapping the sword,
you will want to hold the dao initially in an upward-pointing position as shown in Figure 16-12a.
Follow by angling the sword diagonally across the body as indicated in Figure 16-12b. Next, allow the
sword to swing behind the shoulder of the non-dominant side. This will require the dominant shoulder
to be loose and the dominant elbow to raise up. At this point, the sword should be vertical with the tip
pointing downward. See Figure 16-12c. Circle the sword behind the torso until it is suspended
vertically downward behind the dominant shoulder, as depicted in Figure 16-12d. Finally, draw the
sword forward back to its initial position in Figure 16-12a.
Figure 16-12a
Figure 16-12b
Figure 16-12c
Figure 16-12d
As with spinning the sword, you want the complete circle to be smooth and
continuous. You should also strive to maintain the sword suspended
vertically with the tip pointing downward as it wraps around and behind the
torso. Once you are able to wrap the sword around your head and torso
without banging your head with the handle or guard or twisting your arm
awkwardly, you should try wrapping the sword in the opposite direction. It is
important to practice wrapping the sword in either direction until you can
execute these two movements cleanly and effortlessly. Dexterity in wrapping
the sword is an indication of a swordsman’s overall skill in handling the dao.
Practicing horizontal cutting: The techniques for horizontal cutting with the
dao are essentially the same as for horizontal cutting with the jian. Horizontal
cutting is performed by rotating the sword to a horizontal position by turning
the wrist ninety degrees in either the clockwise or counter-clockwise
direction, as explained in the section on holding the dao. (See Figures 16-5a
and 16-5b). To cut horizontally from right to left (assuming the right hand is
the dominant hand), you must first rotate the wrist ninety degrees in a
clockwise direction in order to turn the sword so that the leading edge faces
to your left side. This is best accomplished when standing in a left bow
stance. See Figure 16-13a. You can then use your waist to turn your torso
from right to left. This will cause the sword to travel in a horizontal path from
the right side of your body to the left side of your body. See Figure 16-13b.
Figure 16-13a
Figure 16-13b
To practice cutting horizontally from left to right, first change to a right bow
stance. Then rotate the wrist so the sword is horizontal with the leading edge
of the blade facing to your right as shown in Figure 16-13c. Use your waist to
rotate your torso to the right, resulting in a horizontal cutting motion from left
to right, depicted below in Figure 16-13d.
Figure 16-13c
Figure 16-13d
As you become more comfortable cutting from right to left and left to right,
you should practice stepping across a long hall, alternately stepping and
cutting from one side to the opposite side. This basic drill will serve you in
good stead as you begin to practice the thirteen taiji dao techniques presented
below in preparation for learning a complete taiji dao set.
Practing wrapping and cutting: After you have developed some
competence in both wrapping the sword around the head and cutting
horizontally, you can proceed to combine these two actions. Initially you will
chop diagonally downward with the leading edge of the dao, and then finish
with a horizontal cut. The power of the final horizontal cut comes from the
elevated starting position of the sword and the diagonal downward direction
of the dao. This power can be augmented by the whirling momentum
imparted to the sword by wrapping it around the head. Figures 16-14a
through 16-14d illustrate a right-to-left horizontal cut that is preceded by
wrapping the sword around the torso from left to right.
Figure 16-14a
Figure 16-14b
Figure 16-14c
Figure 16-14d
Having completed a wrapping horizontal cut from right to left, you should immediately practice using
the reverse wrapping with a horizontal cut on the opposite side of the body. This sequence of
movements is shown below in Figures 16-15a through 16-15d. In this instance, the horizontal cutting is
preceded by wrapping the sword around the torso from right to left and then cutting horizontally from
left to right.
Figure 16-15a
Figure 16-15b
Figure 16-15c
Figure 16-15d
The Thirteen Taiji Dao Techniques
As with the taiji jian, there are thirteen basic taiji dao skills, or techniques.
The thirteen taiji dao techniques are: che (slice), kan (chop), gi (block), peng
(ward-off), ya (press down), jieh (intercept), pi (split), ci (stab), xie (sweep),
xi (brush), lan (parry), ge (cut off), and ti (upwards stoke). These techniques
have been developed over millennia of use in both large-scale combat and
one-on-one fighting. The shape and overall design of the dao dictate many of
these techniques. It is important to understand that the specific number and
names of these techniques vary from one family style to another, and
differences can be found even within family styles depending upon the
background and lineage of individual masters. However, if you become
familiar with the thirteen dao techniques presented below, you will have
developed a solid foundation of dao skills that will enable you to practice any
specific set of dao postures with confidence and proficiency.
Slice: The technique of Slice, or che, involves employing the leading edge of
the blade to slice across the opponent’s body. An example of this technique
can be found in the Chen style dao posture of Sever the White Snake with
Horizontal Chop. The solo posture is presented in Figure 16-16a, and the
application of this technique is shown in Figure 16-16b. Chen Zhenglei’s
commentary on the application of this posture states that, if the opponent
attacks your right chest, you should attach to the opponent’s weapon and then
turn and step in to cut across the opponent’s waist horizontally.250
Figure 16-16a
Figure 16-16b
Chop: The technique of Chop, or kan, is the most forceful of all the dao
techniques. Chopping is performed in a diagonal downward direction. The
most common application is to chop diagonally downward from the upper
right of the body to the lower left of the body (assuming the swordsman is
right-handed), but may also be executed diagonally downward from left to
right. It is important when employing the technique of chop that the power
come from the legs and the waist and not be dependent solely upon upper
body strength. In order to impart additional momentum, chopping is often
preceded by wrapping the sword. For example, when chopping diagonally
from right to left, the dao would first be wrapped around the torso from left
to right.
Chopping may be applied directly to the opponent’s body, but the primary
application of kan is to chop at the shaft of a long weapon, such as a spear,
staff, or halberd. Zhang Yun advised practitioners that, when using the
technique of kan, it is best to chop at the middle or lower section of your
opponent’s spear shaft. Since the head of the spear can be made to move very
quickly, the shaft of the spear closest to the opponent’s hands will make an
easier target.251
The technique of Chop is utilized in the postural sequence, Three Stars Open and Close, of the Yang
style Thirteen Posture Broadsword form. The movement within this posture that illustrates a downward
chop is presented in Figure 16-17a. The application of this movement against a spear is shown in
Figure 16-17b.
Figure 16-17a
Figure 16-17b
Block: The technique of Block, or gi, is employed in order to stop a fierce
attack on the part of an adversary. Although the two appear to be the same
externally, the usage of gi is different in character and in application from the
technique of Ward-Off, which is presented below. Block entails the use of
force against force. Although this appears to violate the Taoist prohibition of
employing force against force, the utilization of blocking force is required
when the ferocity of the opponent’s attack is so great that only an application
of a similar counterforce will prevent the attack from causing injury or death.
However, the technique of gi must also include sticking, adhering, connecting
and following. In this way, the initial force of the block can be converted to
one’s advantage by gaining control over the opponent’s weapon once his
initial attack has been thwarted.
Figure 16-18a portrays the posture of Block Vertically and Look to the Left, which occurs in the Wu
Style postural sequence, Guard Left and Right, Opening and Extending Two Times. The application of
this posture is depicted in Figure 16-18b. In this application, the flat side of the dao is initially
employed to block the attacker’s spear. In his commentary on the application of this posture, Zhang
Yun wrote that when your opponent attacks your chest with a spear, you should lightly attach your
sword to the shaft of his spear. As soon as you make contact with his spear, you should turn your right
wrist inward. This will cause the sharp edge of your sword to face backward. The turning of your sword
should block your opponent’s spear to the left.252
Figure 16-18a
Figure 16-18b
You will notice that, in the photos presented above, the practitioner is
blocking with only one hand. Depending upon the force of the attack and the
position of the body relative to the opponent, it may be advantageous to
provide additional support by placing the empty hand against the back edge
of the dao when employing the technique of Block against a fierce attack.
Ward-Off: The technique of Ward-Off, or peng, is used to ward off an
opponent’s attack. The technique of Ward-Off is softer than that of Block and
includes an outward, expansive component associated with the intrinsic
energy of peng. The posture of Smoothly Push Sword Forward in Left Bow
Stance, which also appears in the Wu style postural sequence of Guard Left
and Right, Opening and Extending Two Times, employs the technique of
peng. Figure 16-19a illustrates the solo posture, and Figure 16-19b portrays
its application against a spear.
When practicing Ward-Off, it is helpful to employ the empty hand in support of the forward direction
of the peng energy. This use of two hands when warding off is similar to the posture of Press from the
Yang style sequence of Grasp the Sparrow’s Tail. Zhang Yun explained that the application of this
posture is to place your left hand on the back of your sword and push it against the shaft of your
opponent’s spear. Then, no matter how quickly your opponent steps back or retracts his spear, you must
maintain contact with his spear while sliding your sword down the shaft to attack the opponent’s
hand.253
Figure 16-19a
Figure 16-19b
Press Down: The technique of Press Down, or ya, enables the practitioner to control the opponent’s
weapon by pressing downward against it. The most common application of Press Down is to press
down upon the opponent’s weapon with either the flat side of the dao or the sharpened edge of the dao.
The technique of Press Down is similar to the intrinsic energy of ji, or Press, in taijiquan. In order to
employ the technique of Press Down when using the dao in sparring or combat, you use your empty
hand to establish two points of contact with the blade of the dao. Figures 16-20a illustrates the
technique of Press Down in a movement taken from the Sun style taiji dao set. Figure 16-20b
demonstrates how this technique can be applied against the head of a spear. Note that, once the
spearhead has been pushed downward, it may be possible to step onto the spearhead on order to render
it useless and to then quickly step forward in order to strike directly at the spear-holder’s body.
Figure 16-20a
Figure 16-20b
Intercept: The technique of intercept, or jieh, is used to quickly attack the
opponent’s wrist as he attempts to stab you with his sword. This technique is
only effective against another sword, however, and should not be directly
applied against a long weapon such as a spear. In order to intercept a linear
attack, you will need to counterattack from above, below, or sideways. When
intercepting from above, you may wish to bend your wrist in such a way that
the point of your sword points downward toward your opponent’s wrist. In
this special case, the method of intercepting is called “Peck,” or dian.
Figure 16-21a shows the solo posture of Intercept Downward with Right Bow Stance from the Yang
family’s dao set. The application of this posture, presented below in Figure 16-21b, shows the
practitioner employing the tip of the dao to peck at the wrist of an opponent who has attempted to stab
her with his jian. Although pecking can be accomplished with a broadsword, this technique is most
effective using the narrower, longer blade of a taiji saber.
Figure 16-21a
Figure 16-21b
Split: The technique of Split, or pi, is similar to the technique of Chop.
However, whereas Chop has a diagonal component, Split employs a direct,
downward chopping motion. Imagine that you want to cut down a tree. You
would use the technique of Chop, which has a diagonal direction, in order to
cut into the trunk of the tree with your axe. However, once you have cut
down the tree and sectioned the trunk into lengths suitable for your fireplace,
you would need to split the logs into quarters for faster burning. In this case,
you would use a direct downward stroke of your axe in order to split the logs
lengthwise along the grain of the wood. The technique of Split has the same
effect when applied with the dao.
Figures 16-22a and 16-22b portray the posture taken from the Yang style dao set performed by Fu
Zhongwen. This movement occurs in the posture of Look Left and Right and Spread Apart to Both
Sides. Fu’s commentary regarding the conclusion of this posture includes the instruction to employ a
straight downward chop with the cutting edge facing downward as your left palm raises up to be level
to the left side, fingers pointing upward.254
Figure 16-22a
Figure 16-22b
As with the technique of Chop, the technique of Split can be employed
against a long weapon. Alternatively, Split may be used to attack the head or
limb of an opponent whose sword has been rendered ineffective due to a prior
offensive move such as the technique of Intercept or Peck, discussed
previously. When employed against an opponent’s spear, the technique of pi
can literally split the spear’s shaft in two. Split is also a devastating and often
deadly strike when used against an already wounded or unarmed adversary in
mortal combat.
Stab: As the name suggests, the technique of Stab, or ci, employs the tip of
the blade to stab at the opponent. When stabbing or thrusting, the blade of the
sword may be held either vertically or horizontally. Since only the tip of the
sword is involved in the stabbing action, when held vertically, the sword may
be held in either the standard or reverse grip. When stabbing, it is best to
direct the sword linearly such that the tip of the sword travels straight and
true and covers the shortest distance in order to reach its target. In keeping
with taijiquan principles, the offensive technique of ci normally follows upon
a defensive technique in which the adversary’s weapon has been neutralized
or deflected. Such techniques usually are executed in a curvilinear path. In
this way, the action of stabbing conforms to the two principles: “Seek the
straight in the curved.” and “Within defense there is offense.”
Figure 16-23a illustrates the solo posture of Turn Body Back and Push Sword
to Thrust Forward, which occurs in the postural sequence of Wind-swept
Lotus Flower Hidden Beneath Leaves, taken from the Wu style taiji dao set.
Note that, because this set employs the taiji saber, the thrusting action is
accomplished with a two-handed grip in which the non-dominant hand
pushes against the ring pommel of the saber. Zhang Yun wrote that, when
executing the thrust in this posture, you should use both hands to thrust your
sword toward your opponent’s chest.255
The photograph in Figure 16-23b demonstrates the application of this technique. Due to the longer
reach provided by the taiji saber, it is possible to employ the technique of ci against an opponent
wielding a spear as long as you are able to evade the initial thrust of the spear head and step inside the
spear-holder’s extended range. The extra-long handle of the taiji saber and the use of the non-dominant
hand to press against the ring pommel also add to the length of the saber’s blade, enabling the
practitioner to employ this technique against a spear-holder.
Figure 16-23a
Figure 16-23b
Sweep: The technique of Sweep, or xie, is used to sweep the opponent’s
weapon away, thus creating an opening for a counterattack. This technique is
similar to a cutting technique called xiao, in which the blade of the dao is
employed first to scoop away the opponent’s weapon in order to execute a
slicing cut against the opponent’s limb or torso. Figures 16-24a and 16-24b
illustrate the application of the technique of xie in the process of wrapping the
sword in order to sweep the opponent’s spear away. This sweeping motion is
then followed by a downward-arcing cut against the spear-holder’s left
shoulder. This technique can be found in most taiji dao sets. The photographs
presented below are excerpted from the Sun style broadsword set.
Figure 16-24a
Figure 16-24b
Brush: As its name suggests, the technique of Brush, or xi, is used to brush
the opponent’s weapon away from its intended path. For example, if the
opponent attempts a downward thrusting attack with a spear in order to pierce
the practitioner’s thigh, the practitioner can use the flat side of the blade of
the dao in order to attach to the shaft of the opponent’s spear. Then, using the
combined intrinsic energies of chan, nien, lian, and sui, the practitioner can
control the opponent’s spear in order to brush it away from the practitioner’s
body, thereby rendering the opponent’s thrusting attack harmless.
Figure 16-25a portrays the solo posture of Brush Away Grass to Search the
Snake from the Chen style taiji dao set. In this instance, the empty hand is
employed to reinforce the blade of the dao in order to brush away the head of
a spear that has been thrust forward and downward to attack the practitioner’s
leg. The application of this technique is depicted in Figure 16-25b. Although
this application appears to be a block, Chen Zhenglei explained that the
technique must employ sticking rather than forceful blocking. Regarding the
application of this posture, he wrote in his book, Chen’s Taichi Sword, Saber
& Baton, that the sword must attach softly to the opponent’s weapon instead
of using a hard blocking force.256
Figure 16-25a
Figure 16-25b
Parry: The technique of Parry, or lan, uses the flat edge of the dao to parry
an opponent’s attack. Parry can be used to meet and turn aside an attack from
any direction. The technique of lan is usually combined with the related
technique of dai, or Deflect. Regarding this technique, Zhang Yun wrote that
this skill is most effective when used against a wooden staff or spear.
Because lan involves connecting to the opponent’s weapon with the edge of
your sword, it is usually not advisable to use this skill to block a metal
weapon directly, as a direct edge-on block is likely to damage your sword. It
is essential to avoid any contact between metal blades that results in a
clanging sound, as this violates the principle of taijiquan that prohibits the
use of force against force.257
The photograph in Figure 16-26a shows the posture of Raise Left Knee,
Block, and Let Sword Hang within the postural sequence of Guard Left and
Right, Opening and Extending Two Times, which occurs in the Wu style taiji
dao set. The application of this posture is portrayed in Figure 16-26b.
Figure 16-26a
Figure 16-26b
Cut Off: The technique of Cut Off, or ge, is used in a quartering stroke. This
technique is intended to sever limbs. As such, the technique of ge employs a
diagonal downward chopping motion with the blade of the sword. It is not
easy to sever a limb with a single stroke of the sword. In order to impart
greater power to the chopping motion, the practitioner can lower his entire
body, thereby adding the momentum of dropping down to the power of the
downward sword stroke. This is apparent in the Chen style sequence of Three
Rings around the Sun. In this sequence, the practitioner jumps and spins with
the body and then sits into the posture. The jumping, spinning, and downward
cutting are repeated three times.
Within each repetition of this posture, the body rotation and the sitting action
impart momentum (rotational and downward) to the downward cutting action
of the sword. See Figures 16-27a and 16-27b. Chen Zhenglei’s commentary
on the application of this sequence explains that this technique may be used
against multiple opponents. Each turning of the sword can be used to sweep
an opponent’s lower body. The skipping, jumping, and dropping down into a
sitting posture are employed to initially evade a new opponent and then to
attack his lower body until all three opponents have been dispatched.258
Figure 16-27a
Figure 16-27b
Upwards Stroke: The technique of Upwards Stroke, or ti, employs the
sharpened edge of the dao to slice upwards using a lifting motion. Unless the
shangren of the dao is sharpened, then this technique will require a reverse
vertical grip so that the leading edge of the sword is facing upward. Recall
that the taiji saber is specifically designed with a sharpened shangren. When
using a taiji saber, it is possible to apply the technique of Upwards Stroke
using the normal vertical grip. This enables the practitioner to impart a quick,
upward stroke with a mere flick of the wrist.
The following photograph, presented below in Figure 16-28a, is taken from
the Yang style postural sequence of White Crane Spreads its Wings. In this
photograph, the practitioner has completed a sweeping upper cut using the
leading edge of the blade. The application of this posture can be seen in
Figure 16-28b.
Figure 16-28a
Figure 16-28b
Conclusion
As with the taiji jian, the practice of the taiji dao should not be considered as
a separate, isolated endeavor. Rather, the practice of any of the weapons
included in your taiji family style should be treated as one more component
of a multi-faceted martial art. Adding a taiji dao set to your daily taijiquan
regimen will further enhance all areas of your practice. The additional skills
and physical conditioning that will develop as a result of daily taiji dao
practice will carry over into both your empty-hand form and pushing hands
play.
As the title of this book conveys, the art of taijiquan includes both a civil and
a martial aspect. These two apparently contradictory facets of the art are
actually complementary, just as the seemingly opposite qualities of yin and
yang are harmoniously present within all of nature. You may choose to
consider your empty-hand form practice to comprise the civil component of
your taijiquan practice and to treat pushing hands, sparring, and weapons
training as the martial component. It is important, however, to adopt the
mind-set that the civil and the martial elements of your daily training serve
mutually to support not only each other, but also the greater, over-arching
goal of becoming a true master of the art of taijiquan.
It is of little value to develop skills individually in empty-hand forms,
pushing hands, sparring, and weapons, if one remains limited in one’s overall
skill and understanding. Superficially, there is justifiable merit in mastering
the empty-hand form, pushing hands, the taiji jian, and the taiji dao. Many
taiji practitioners have, indeed, reached admirable skill in these areas.
However, to become a “jack of all trades and a master of none” is merely a
mundane accomplishment in the overall study that is required to master
taijiquan. If all these various skills are not integrated and developed in order
to lead to a higher level of attainment, both in terms of martial mastery and
civil cultivation, then the practitioner will have missed the true reason for
studying the art of taijiquan.
The final two chapters of this book address the higher level of civil
cultivation that can be achieved as a result of practicing not only the specific
skills of taijiquan referred to above but also the practice of the alchemical
Daoist neigong arts. These are the esoteric and little-understood practices that
have the potential to enable the aspirant to develop true internal power and
ultimately to achieve the goal of spiritual enlightenment. Without striving for
and finally achieving these dual attainments, one’s practice, however
dedicated, will remain limited in its scope and accomplishment. To achieve
true mastery in taijiquan, one must master both the internal as well as the
external, such that the internal and external become one. Only then can the
practitioner achieve the state of Taiji. Ultimately, even the state of Taiji must
give way to the state nothingness that is Wuji. This is true accomplishment:
the attainment of spiritual enlightenment.
 Chapter Seventeen

Taijiquan as a Spiritual Practice

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

Spirituality and Enlightenment

In order to understand how the practice of taijiquan can lead to spiritual
enlightenment, it is necessary to define what the terms “spiritual” and
“enlightenment” mean in the context of the cultural milieu within which the
art of taijiquan was developed. By definition, the term “spirituality” concerns
itself with that most intangible aspect of human existence, the spirit. The
human spirit, which is often called “the soul,” has been defined differently
within the many diverse spiritual traditions, but all of these traditions share
the same basic precept. The underlying principle of all spiritual traditions is
that there exists within each of us that which, while it cannot be touched or
measured, is the essence of our individuality. This inherent essence is
typically referred to as the “spirit” or the “soul.” Some traditions posit that
only human beings possess a soul and further postulate that the human soul is
immortal.
Western spiritual traditions, including Judaism, Christianity, and Islam,
specifically define the existence of the human soul in term of its relationship
to a supreme deity. Within these spiritual traditions, the goal of spirituality is
to unite the individual soul with God. We can say that any spiritual tradition
that introduces the notion of God may be termed a religion. Within such
religious traditions, the concept of enlightenment refers to the communion of
the soul with God.
The three primary spiritual systems that influenced traditional Chinese
culture are essentially non-theistic. Although many Westerners regard these
spiritual systems as religions, this apprehension is mistaken. While it is true
that folk religions deifying Confucius, Lao Tzu, and the Buddha have
evolved over time, the initial teachings of these great sages did not postulate
the existence of God. Rather, each of these philosophers expounded upon the
nature of the human soul, or spirit, as an inherent quality of human existence.
The goal of spirituality in the traditions of Confucianism, Taoism, and
Buddhism is one of individual self-discovery and the refinement of the spirit.
Enlightenment in these traditions is expressed in terms of self-awareness,
which is fundamentally different from the concept of God-awareness that is
the basis of any relationship between the human spirit and God.
Although each of the three aforementioned spiritual traditions incorporates
some concept of the spirit, or soul, the concept differs somewhat from one
tradition to the next. Given the different conceptions of what constitutes the
soul, it is no wonder that the paths toward spiritual development and ultimate
enlightenment also vary from tradition to tradition. To further confuse the
issue, there are conceptual and pedagogical divisions within each of the three
major spiritual traditions. For example, within Buddhism there is the major
division between the Theravada and Mahayana sects. Further factions exist
within each of these major sectarian groups. Similar divisions exist within the
Taoist spiritual tradition.
In addition to Confucianism, Taoism, and Buddhism, the role of the Indian
yogic tradition, or Vedanta, must also be considered. There is recorded
historical evidence that Indian yogis traveled to China and spread their
teachings there. However, the greatest influence of the Indian spiritual
tradition resulted from the intermingling of yogic practices with Buddhism
that are evident in Tibetan Buddhism. In particular, the mystic practices of
Tantric Yoga, which emphasized the refinement of the ethereal body and the
regulation and stimulation of the chakras, strongly impacted Tibetan
Buddhist practices, especially with regard to the development of supernatural
powers and the ability to intentionally direct the spirit to leave the body at the
time of death.
Many of the practices of Tantric Yoga and Tibetan Buddhism were absorbed
into the Taoist tradition. For example, several of the energy gates involved in
the Microcosmic Orbit correspond to chakras that are documented in Tantric
literature. Also, the Taoist reverse breathing technique is similar to the pranic
breathing technique of Tantric Yoga. Most significant is the shared belief in
the existence of one or more non-physical bodies that exist on energetic
levels and that vibrate at frequencies above those of the physical body.
The Indian yogis, the Tibetan Buddhists, and the Taoist adepts all sought to
refine their energy bodies through meditative and other esoteric practices,
including the ingestion of herbs and the adoption of restrictive diets. It was
believed that, by refining their ethereal bodies, these individuals would be
able to achieve transcendent states in which their essential, non-material
nature would be revealed. These heightened states of consciousness would, in
turn, lead to nirvana or enlightenment, thus liberating their spiritual essence
from dependence upon the physical body. In this way, these practitioners
sought to achieve immortality, if not physically then at least spiritually.
While there is much commonality among the concepts and practices within
the Eastern spiritual traditions, there are numerous differences between them
as well. These differences occur not only in terms of philosophical precepts
but also within the specific spiritual techniques practiced by each tradition.
The specific spiritual practices that were developed within these separate
traditions were intended to elevate the human spirit with the ultimate goal of
attaining enlightenment.
As the word implies, “enlightenment” means to “shed light upon” or “bring
to light.” Taken less literally, enlightenment implies arriving at an
understanding or a realization. When used in the context of spirituality,
enlightenment refers to self-awareness: the realization of the true nature of
the soul. As stated in the preceding paragraphs, the Indian yogis, the Tibetan
Buddhist monks, and the Taoist alchemists all sought spiritual enlightenment,
liberation from the cycle of reincarnation, and immortality through the
refinement of their energy bodies.
Within both the Shaolin Buddhist tradition and the Taoist tradition in China,
a number of the esoteric practices were developed for the purpose of refining
the spirit or, more precisely, the spirit body. These practices were maintained
secretly within the Shaolin and Taoist monastic communities and were only
shared with those individuals who demonstrated the sincerity and strength of
character necessary to undertake the arduous and lengthy process required to
bring such practices to fruition. It has been asserted that the originators of
taijiquan had at least some familiarity with the esoteric Shaolin and Taoist
practices that were involved in the cultivation and refinement of the spirit
body. Further, as will be presented in the following two sections, there are a
number of veiled references to such practices in the writings of the founders
and those who chronicled the early development of taijiquan.

The Role of Spirituality in the Development of

Taijiquan
As stated in the preceding section, Taoism, Confucianism, and Buddhism
were the three major philosophies that influenced all facets of Chinese
culture, including the martial arts. All three ideologies collectively shaped the
concepts of spirituality and enlightenment as perceived by the founders of the
art of taijiquan. Of these three, Taoism exerted the most influence, as can be
seen by the many references to the Tao in general and to the writings of Lao
Tzu in particular within the early literature associated with the development
of taijiquan. However, the influence of Buddhism, as practiced in the Shaolin
temple, is also in evidence, as the names of various Chen style postures, such
as Buddha’s Warrior Attendant Pounds the Mortar, suggest.
The image of the warrior priest (or monk) is not unique to Chinese culture.
One only has to recall the role of the Knights Templar during the Christian
crusades in order to see this theme repeated in Western history. The notion of
a righteous hero who fights to uphold a spiritual or religious ideal and who
champions virtue and protects the down-trodden holds a universal appeal.
Throughout much of China’s history, bandits and unscrupulous warlords
were the norm, and the defense of commercial enterprises and civil
establishments, such as merchant caravans, the local village, or the nearby
temple, fell to those who trained in martial arts and employed their skill to
uphold social order. Chinese literature and folklore abound with tales of the
heroes of old who, through superior martial skill and impeccable virtue,
vanquished packs of bandits or marauding renegades and rescued their
village, benefactor, or romantic interest from impending destruction,
destitution, or degradation.
Similar tales are told about the progenitors of each of the family styles of
taijiquan. The Chen family tradition tells us that Chen Wangting was well
known for his martial skill as an escort for wealthy merchants and is said to
have defeated numerous armed bandits in this role. Chen Wangting, the
founder of Chen style taijiquan, was both a famous martial artist and a
scholar who at one time served the emperor in a civil capacity.
The founder of the Yang style of taijiquan, Yang Luchan, was considered the
consummate boxer of his era. Because he never lost a contest and had no
rival, he earned the title Yang Wu-Ti, which translates as “no rival.” Despite
his reputation for martial prowess, Yang Luchan was equally renowned for
not seriously injuring his opponents. This reflects a gentleness and nobility of
spirit that all taijiquan practitioners would do well to emulate. Sun Lutang,
creator of the Sun style of taijiquan, was another famed martial artist who
was equally skilled in the martial arts and in classical Chinese literature.
There are many tales recounting the martial feats of Sun Lutang as he
defeated and apprehended bandits or demonstrated extraordinary skill in
horseback riding or in running up vertical walls.
All of the founders of the different family styles of taijiquan either recorded
their principles and insights directly or had their teachings recorded by close
disciples. In many cases, either the masters themselves or the individuals who
recorded the words of the masters were classically trained in Chinese
literature. The founding members of the five main families, along with their
close disciples, left records that indicate, either directly or through veiled
references, a deep understanding of the I Ching along with the Tao Te Ching
and other works included in the Taoist Canon.
Yang Cheng-fu wrote that the art of taijiquan is based upon Taiji theory,
Bagua theory, and the Book of Changes.259 There is some debate as to Yang
Cheng-fu’s literacy. However, whether he could read and write, or instead
relied upon the literacy of disciples such as Cheng Man-ch’ing, he
nonetheless exhibited a working knowledge and understanding of the basic
principles of Confucianism and Taoism. Moreover, Yang Cheng-fu almost
certainly received training in Taoist alchemical practices from his uncle,
Banhou, whose skill was second only to Luchan’s.
The skill exhibited by all the Yang family members was extraordinary, but in
particular the martial abilities of Yang Luchan and those of his sons, Banhou
and Jianhou, bordered upon the supernatural. The extent of their development
was evidenced not only in their martial exploits but also in the manner in
which they conducted their lives. It is said that Yang Jianhou engaged in
secret Taoist practices. It was reported that he practiced inner force training at
night and that he made a sound like thunder as he lay in bed. It was further
recorded that he passed away peacefully, having had a premonition of his
death a few hours ahead of time.260
Within the writings of the Yang family members and their disciples, there are
several direct references to the relationship between taijiquan and spirituality.
For example, Yang Cheng-fu quotes his grandfather, Luchan, as having said,
that taijiquan was created by Chang San-feng and that the art is based the
natural phenomena that arise out of Taiji.261 According to the account given
by Yang Cheng-fu, his grandfather believed that the movements of taijiquan,
when practiced with the proper mental and physical training, enable the
practitioner to elevate his or practice to the level of spirituality.
The writings of other founders, such as Sun Lutang, also make references to
Taoist principles and alchemical practices. As many of his contemporaries,
Sun Lutang attributed the invention of taijiquan to Chang San-Feng.
According to Sun Lutang, Chang San-feng initially practiced hard martial
arts. Due to injuries resulting from overexertion, he subsequently engaged in
Taoist practices, including the Tendon Changing and Marrow Washing. In
addition, he tirelessly investigated the ever-changing movements of yin and
yang as represented in the Taiji symbol. Sun Lutang wrote that, from
studying these changes, Chang San-feng came to understand the principles of
qi flow and the interchanges of yin and yang and the movement of the qi
throughout the body. In this way, he invented the internal martial art that we
now know as taijiquan.262
The above tale once again recounts the origin myth of taijiquan, which in the
past commonly attributed the creation of taijiquan to the legendary Chang
San-feng. As has been previously stated in this book, whether the Taoist sage
Chang San-feng actually existed may be debated. However, his role in the
origination of the martial art of taijiquan has been historically refuted.
Nevertheless, his status as the legendary founder of taijiquan serves to link
the art with many key Taoist practices as well as to the theories of Taiji and
Bagua. In particular, the references in the early literature of taijiquan to the
cultivation of the dantien, the practices of Tendon Changing and Marrow
Washing which were part of Shaolin kung fu training, and the pre-heaven and
post-heaven states all indicate that the art of taijiquan was heavily influenced
by both Taoist and Shaolin Buddhist principles and practices.
On topic of spiritual cultivation, Sun Lutang further stated that taijiquan does
not rely upon the use of force, but rather emphasizes the cultivation of the qi
until it transforms into spirit.263 Once again, the writings of a founder of one
of the major styles of taijiquan supports the principle that the effectiveness of
taijiquan as a martial art ultimately depends upon inner cultivation rather
than the application of physical strength and technique, and that this inner
cultivation ultimately leads to the elevation of the spirit.
Clues to the Methods of Spiritual Cultivation in
Taijiquan
Based upon the writings of the original founders of taijiquan, we can be
fairly certain that they understood the principles and practices of the
prevalent spiritual traditions of their day. As to whether they actually
practiced the techniques of Taoist alchemy or the Buddhist Tendon Changing
and Marrow Washing techniques, the evidence is less clear. However, given
the seemingly supernatural powers and abilities that these founders were said
to have possessed, it appears highly likely that the past masters must have
engaged in some form of esoteric alchemical practices aimed at cultivating
these abilities.
Although there are tantalizing references to practices such as the conversion
of qi into shen, the integration of pre-birth and post-birth qi, and other Taoist
alchemical processes in the original writings of the past masters, the best
clues to the cultivation methods practiced by these masters and their disciples
are to be found in the collective works of the Taijiquan Classics. It is in the
Classics, for example, that we find more specific references to the Taoist
practice for refining the qi in order to elevate the shen. However, even the
descriptions of this and other practices are often couched in metaphorical
terms, which makes it challenging for modern Western readers to infer the
underlying practices to which the authors of the Classics were referring.
Regarding the guarded language frequently found in the Classics, one well
may wonder, why all the secrecy? Why not openly reveal the methods and
techniques for self-cultivation that would lead others to the development of
supernatural powers? Didn’t the masters want to share their knowledge with
the greater martial arts community? The answer to this question, in a word, is
no, they did not. There were significant reasons for keeping these practices
secret, not the least of which was to protect their own reputations. What value
would it have been to be known as “no rival” if other martial artists could
attain the same level of skill? Remember that these original masters derived
their livelihoods initially from working as armed escorts and later as martial
arts teachers. In order to maintain their status in both these capacities, they
regularly needed to demonstrate their superior martial skills.
Another reason for guarding the secrets of their esoteric practices was to keep
such practices out of the hands of those individuals who might employ them
to gain powers that they could then use for unscrupulous purposes. Only
those individuals who had studied for many years and demonstrated high
moral character and respect for their masters were rewarded with the
privilege of these hidden, mystical techniques. On the whole, such practices
were revealed only to family members and, in rare circumstances, close
disciples. This ensured the proper transmission of the techniques down
through the generations.
Fortunately for those of us living in a more open society, a number of modern
Taoist adepts and contemporary taijiquan masters have been willing to
divulge the formerly-secret techniques used in the past for developing martial
mastery and cultivating spiritual awareness. In addition, several important
Chinese texts describing a number of esoteric Taoist and Buddhist practices
recently have been translated into English.
Before examining these techniques, however, let’s first investigate some of
the clues to their practice as revealed, albeit in veiled terms, in the Taijiquan
Classics. By seeking out and attempting to understand these obscure
references, we can verify that the alchemical practices that have been made
available to us today are, indeed, the same ones that were employed by the
past masters to achieve their seemingly magical powers.
Louis Swaim wrote about the apparent references to Taoist principles and
practices that appear throughout the Classics in his translation of Fu
Zhongwen’s Mastering Yang Style Taijiquan. In his discussion of the topic of
self-cultivation, he suggested that, due to the presence of Taoist principles
throughout the Taijiquan Classics, the art of taijiquan is clearly intended as a
method for self-cultivation.264
We can begin our survey of the Taijiquan Classics by examining the Taiji
Treatise, attributed to Chang San-feng. The second verse of this treatise states
that the internal energy, or qi, should be enlivened and that the spirit, or shen,
should be “condensed” in the lower dantien. This verse corresponds to the
three character instruction qi shen dantien, “place the spirit and the qi in the
lower dantien.”265 This critical practice serves as the foundation upon which
three important spiritual practices are based. The first is the Taoist neigong
practice of directing the qi upward along the pathway of the Thrusting
Channel to the yintang acupoint, which is associated with the upper dantien
and which corresponds to the ajna, or Third Eye Chakra. The second practice
is that of vibrating the qi, which helps us to attune ourselves to the vibrational
frequency of our energy body. The third practice refers to the Shaolin
Buddhist internal training system known as Marrow Washing qigong. Each
of these practices will be addressed later in this chapter.
In Taoist neigong practices, it is essential to elevate the spirit of vitality, or
shen. The shen is what shines brightly from the eyes of individuals whose
spirit is full and refined. When one has a strong martial spirit, this is the result
of their shen being elevated due to the power of their qi. In order to use the qi
to elevate the shen, one must first practice the Microcosmic and Macrocosmic
circulations. One can then use the Taoist technique of reverse breathing to
condense the qi within the lower dantien. Once condensed, the qi can be
directed under internal pressure into the marrow of the long bones and into
the spinal column. Finally, one learns to guide the condensed qi up the
Thrusting Channel and lead it directly to the brain in order to elevate the
shen.
Another early classic, the Taiji Lun, written by Wang Tsung-yueh, describes
the theory of natural awareness, which is developed through the dedicated
practice of taijiquan over a long period of time.266 The natural awareness that
Wang Tsung-yeh referred to in this text is the awareness of one’s intrinsic
nature. It is possible to attain a highly developed sense of self-awareness
through the proper practice of taijiquan. The key point to note here is that, in
order for our taijiquan practice to serve as a vehicle for spiritual
development, we must practice with the proper intent and diligence. Our
intention, our yi, must be focused on the circulation of the qi throughout the
entire body, like passing a silken thread through a nine-holed pearl. In this
way, our taijiquan practice becomes a mindful meditation. Over time, the
mindfulness that we develop through the daily practice of taijiquan will
naturally extend into the rest of our waking activities and even into our sleep
and dream states.
If you are at all familiar with Buddhism, you will know that Right
Mindfulness is one of the eight practices of the Eightfold Path, which leads to
the liberation of the soul. Recall that one interpretation of the Chinese
character, “tao,” is “path.” So, Right Mindfulness, accomplished in taijiquan
through the sharpening of the yi, is part of the Tao of spiritual development.
Within the Buddhist spiritual tradition, there are specific practices, such as
Vipasana meditation, that are intended to assist us in developing Right
Mindfulness. As it turns out, we already possess just such a tool in the
practice of taijiquan. However, our taijiquan practice must have the correct
focus if it is to bring about the spiritual transformation that we are seeking. In
the Exposition into the Practice of the Thirteen Postures, another of the
Taijiquan Classics, Wu Yu-hsiang instructed practitioners to use the mind to
cultivate internal energy.
In his commentary on this classic, Waysun Liao provides further
clarification. The practitioner must develop the ability to use the mind (yi) to
lead the internal energy (qi) to any part of the body. At an advanced level, the
practitioner will be able to condense the internal energy into the bone
marrow. Once the practitioner has reached this level, he or she will be able to
generate concentrated internal energy, or jin.267
In the next stanza of the Exposition, Wu wrote that the internal energy must
be circulated smoothly and without obstructions. Only then will the internal
energy follow the guidance of the will, or heart/mind (hsien).268 In these two
stanzas, Wu provided an important insight into to how the qi should be
directed to move throughout the body. He stated that the practitioner must use
the intention and the will to drive the qi in order to circulate the qi throughout
the body. That is to say that the qi must have power, the power that results
from the qi being condensed within the dantien.
This is similar to an automobile’s engine. The engine provides the power.
However, it is up to you to drive the car where you want it to go. You use
your intention (yi) and your will (hsien) to control the power of the engine by
turning the steering wheel and pressing the accelerator. You need both the
power of the engine along with your intention and will to make the car go
where you want.
To continue with the Exposition, the translation by Benjamin Pang Jeng Lo
gives a slightly different take on Wu Yu-hsiang’s important treatise. He states
that the qi adheres to the back and permeates the vertebrae. When the
practitioner relaxes fully and breathes into the abdomen, the qi is able to
penetrate into the bones. Then, external softness will lead to internal
hardness, and the practitioner will achieve the quality of “steel wrapped in
cotton.”269
From the preceding three references, we see that Wu Yu-hsiang reiterated the
concepts presented in the original Taiji Treatise of Chang San-feng. This is
not simply a coincidence, as several taijiquan scholars have suggested that
the original Taiji Treatise (attributed to Chang San-feng) was actually written
by Wu Yu-hsiang. What is significant here is that the concepts of the mind
leading the qi and directing the qi to permeate the spine and to penetrate the
marrow of the bones are all central to the development of the shen (the spirit
of vitality), which results in the Taoist ideal: “The softest will then become
the strongest.” These concepts were well known to the individuals who
originated the art of taijiquan, and help to explain how the founders were
able to achieve such impressive martial skills as well as reach the highest
levels of spiritual development.
The Essentials of the Practice of Form and Push-Hands, written by Li I-yu,
reaffirms the practices alluded to in the preceding Taijiquan Classics. Li I-yu
stated that, in order to eliminate holes and protuberances, the practitioner
must excite and expand both the qi and the shen. This requires concentrating
the qi such that it is able to penetrate the bones and elevate the shen.270 In this
stanza, Li I-yu reiterated the sequence for elevating and refining the shen that
had been divulged in earlier Taijiquan Classics by Wang Tsung-yueh and Wu
Yu-hsiang. Throughout the Taijiquan Classics, references are made to the
actions of concentrating and exciting the qi, condensing the qi into the bones,
and elevating the shen. From these references we can infer that the original
taijiquan masters engaged in practices that produced these results. What the
Taijiquan Classics do not reveal, however, are the actual practices that
produce such results. However, we do have modern documents and living
masters who can aid us in discovering and mastering those previously secret
practices.
The remaining material in this chapter will describe several specific Taoist
and Shaolin practices that are intended to achieve the elevated spiritual states
alluded to in the Taijiquan Classics. The chapter that follows will continue
this discussion by detailing the practices of Taoist alchemy that enable self-
cultivators to transmute the ching and qi in order to refine and elevate the
shen. The shared goal of these practices is to reveal the innate spiritual nature
that resides in each of us and, once realized, to merge that spiritual nature
with the Tao.
Taijiquan as a Moving Meditation
Taijiquan is sometimes referred to as a “moving meditation.” This is an apt
description in that, although the body is in motion, the outer movements are
accompanied by an inner calmness that reflects a relaxed and tranquil state of
mind. Another way to refer to the practice of taijiquan is “stillness in
motion.” While both these descriptions are appropriate, it is helpful to borrow
a term from Buddhism and consider the practice of taijiquan as a form of
“mindful meditation.”
As stated previously in this chapter, Right Mindfulness is one of the eight
practices that collectively comprise the Eightfold Path. Past Buddhist masters
devised a number of specific meditative practices intended to promote Right
Mindfulness. One approach to Right Mindfulness that many practitioners find
helpful is the Vipassana practice of mindful meditation. Essentially, mindful
meditation focuses the meditator’s awareness on the present moment.
Mindful meditation is often practiced in a seated posture. Mindful meditation
may also be experienced while walking. However, the walking that takes
place during mindful meditation is different from normal walking.
Mindful walking is a favorite practice of the well-known Buddhist monk,
Thich Nhat Hanh. When walking mindfully, each step is executed with the
full awareness of the action of stepping. The practitioner is mindful of
sinking the weight into one foot, lifting the other foot off the ground, moving
that foot through space, placing the foot onto the ground precisely, and then
placing the body’s weight onto that foot. Although the awareness is directed
to the movement of the feet, the practitioner is also aware of the external
surroundings and the inner feelings that are being experienced. While the
practitioner is engaged in the activity of walking, there are no thoughts of the
past or the future. Only the present moment is experienced in all its clarity
and fullness.
As any experienced taijiquan practitioner can attest, the above description
also can be applied to the practice of taijiquan. If we choose to practice
taijiquan as a mindful meditation, it is important to determine in advance
what we should be mindful of. Although there are a myriad of details that we
can focus on, there are three basic levels of awareness that can be achieved
when practicing taijiquan. The first level of awareness is the concentration of
the mind on the physical body. The second, more advanced level is to use the
yi to direct the qi according to the four-character instruction, yi yi yin qi: “The
mind moves the qi.” The third, and most advanced, level is to place the
awareness on the shen, the spirit of vitality.
At this point in your taijiquan practice, you should have achieved the first
level of mindful meditation when practicing both the solo form and weapons
forms. That is to say, you should be able to focus your awareness on the
correct physical structure of the body. You will know that you have reached
this level of awareness when your movements adhere to each of Yang Cheng-
fu’s Ten Important Points for the practice of taijiquan.271
The second level of mindful meditation relies upon the practitioner’s gongfu
in the cultivation and circulation of the qi. Until the practitioner has invested
the time and effort in the practices of qi cultivation and circulation described
in Chapter Seven and Chapter Eight, there is no point in attempting to
practice taijiquan while focusing the awareness on the movement of the qi.
However, if the practitioner has reached this level of cultivation, then he or
she should begin employing the yi to direct the movement of the qi
throughout the entire form. In each posture, the practitioner should be aware
of the appropriate pathways for circulating the qi and should intentionally
direct the qi through those pathways. The awareness should concentrate
solely on the movement of the qi and should not be directed to any other
aspect of the practice.
Because the qi must be abundant and excited and the yi must be concentrated
and resolved, it is best to stand in wuji posture for some time prior to
commencing the form. The past masters would often stand for several
minutes or longer before internally separating their unified qi into yin and
yang. In the first chapter of A Study of Taiiquan, which is titled “A Study of
Wuji,” Sun Lutang stated that, during the period of standing in wuji posture
prior to beginning the form, the practitioner should stand quietly and be
empty both internally and externally. Tim Cartmell, who translated this work,
appended his own commentary to Sun’s description. Mr. Cartmell stated that
the time required to reach this level of stillness (ru jin), will vary with the
practitioner, but suggests that a time period of twenty minutes.272
As you can see from the above recommendation, it is essential to spend an
appropriate amount of time standing in wuji posture prior to commencing the
form. If necessary, you should review the material presented previously in
Chapter Three, which introduces the topic of song gong and discusses what
should take place when standing in wuji posture. As to the amount of time
that one should spend standing in this posture prior to initiating the separation
of yin and yang at the beginning of the form, one should rely not only upon
the feeling of ru jin but should also actively feel that the qi within the dantien
has become abundant and excited.
If the feeling of ru jin and the excitation of the qi can be achieved in five
minutes, one minute, or even thirty seconds, then it is permissible to begin
the form. If after twenty minutes the desired physical stillness and mental
calmness along with the excitation of the qi in the dantien referred to in the
preceding paragraph have not been established, then this should be taken as a
sign that it is not the appropriate time to practice the form. It would be better
to engage in some other physical activity, such as walking or practicing the
Eight Pieces of Brocade qigong exercise.
If one cannot yet attain the physical and mental states described above, then
one should continue practicing song gong along with the qi cultivation
exercises outlined in Chapter Seven and Chapter Eight. There is no point in
attempting to be mindful of the movement of the qi during the form if the qi
is not sufficiently strong and abundant or if the yi is not adequately developed
and accustomed to the task of leading the qi from the dantien out to the
extremities. Only additional time spent practicing song gong will prepare the
practitioner to engage in mindful meditation at this level.
The above discussion, which presents the general idea of mindfully
meditating on the circulation of the qi, is rather simplistic. As you are aware,
the qi doesn’t just go to a single part of the body when completing a
particular posture. In actual practice, the qi is directed to each of the four
extremities when completing a posture. Further, the quality of the qi in each
extremity may be classified as either yin or yang depending upon the martial
application of the posture. So, for example, in the Yang style posture of
Ward-Off Right, shown in Figure 17-1a below, the qi that is directed toward
the outside of the right arm is yang in nature. In contrast, the qi directed down
the inside of the left arm and palm is yin. The qi that is sent down the right
leg is yang, and the qi delivered to the left leg is yin.
In the posture of Ward-Off Right, both the right arm and the right leg are
considered to be yang, whereas the left arm and left leg are considered to be
yin. At first, this distribution of yang qi and yin qi appears to contradict the
principle of balancing yang and yin, since both the extremities on the right
side of the body (i.e. the arm and the leg) are yang and both the extremities
on the left side of the body are yin. This would appear to result in the
condition of double-weighting on the right side. However, postures such as
Ward-Off Right are essential from a martial perspective, as there are times in
which one side of the body must be full while the other side of the body is
empty. Taken together, the right and left sides of the body do conform to the
requirement that yang and yin be maintained.
There are, however, many taijiquan postures in which the right leg is yang and the right arm is yin,
counter-balanced by yin in the left arm and yang in the left leg and vice-versa. An example of such a
posture is the Yang style posture of Left Brush Knee, Twist Step, presented below in Figure 17-1b. In
this posture, the right arm is considered to be yang; the left arm is considered to be yin; the left leg is
considered to be yang; and the right leg is considered to be yin. In this case, yang and yin are balanced
in both the upper and the lower extremities, and the body in its entireity maintains an overall balance
between yang and yin energies. When analyzint the distribution of yang qi and yin qi in a given posture,
it is important to consider the martial application of the posture and to seek the overall harmony of yang
qi and yin qi throughout the entire body, rather than simply focusing upon one half of the body, such as
the upper or lower extremeties or on only one or the other side of the body.

Figure 17-1a

Figure 17-1b

In order to execute each posture with the correct distribution of qi, one must
not only know the martial application of each posture of the form, one must
also know where to direct the qi and what quality of qi (i.e. yang or yin)
should be sent to each extremity. This requires a thorough understanding of
each posture and also the ability to engage the yi to direct the qi.
Additionally, the transitions from posture to posture must be clearly
understood, as they require that the qi that was previously directed to each
extremity be withdrawn into the dantien before being redirected outward
again in support of the next posture. This in turn entails strictly following the
principle of Open/Close and a clear grasp of the principle of distinguishing
between the substantial and the insubstantial.
The drawing in and the subsequent extending of the qi as one posture
transitions into another may be illustrated by considering the transition from
the Chen style posture Lazy About Tying the Coat into the posture of Six
Sealing and Four Closing. At the conclusion of the posture of Lazy About
Tying the Coat, the substantial (or yang) qi has been extended outward
toward the outer edge of the right hand as well as down into the right leg and
the toes of the right foot. Correspondingly, the yin qi is held in the left hand
and in the left leg and the heel of the left foot. The finished posture of Lazy
About Tying the Coat is represented in Figure 17-2a.
In order to initiate the transition into the posture of Six Sealing and Four
Closing, the hands are withdrawn in a counter-clockwise circle toward the
center in conjunction with the weight shifting from the right leg back onto the
left leg. In this closing phase, the qi is likewise withdrawn from the hands
and feet and spiraled back into the dantien. See Figure 17-2b.
As the transition continues, the hands continue circling down and then up and
forward toward the right, and the qi is issued from the dantien and spiraled
outward toward the palms in a double push gesture. This is supported by the
shifting of the weight back onto the right leg and the attendant stepping to the
right with the left foot, as shown in Figure 17-2c.
Figure 17-2a
Figure 17-2b
Figure 17-2c
The above description of the circulation of the qi in the transition from the
posture of Lazy About Tying the Coat into the posture of Six Sealing and
Four Closing constitutes one cycle of chan ssu jin, or silk-reeling energy.
This cycle includes both the gathering, or shun chan, phase, and the issuing,
or ni chan, phase. Normally, Chen stylists practice silk-reeling by repeating a
single cycle, such as the one described above. However, when practicing the
empty-hand form as a mindful meditation, the silk-reeling must proceed from
posture to posture, from one cycle of shun chan/ni chan directly into the next
cycle, continuing on until the entire form has concluded.
The challenge of performing the solo form with the awareness centered on
the qi becomes one of continually circulating the qi throughout the entire
form “without breaks or holes, hollows or projections, or discontinuities.”
From the moment one steps out from the wuji posture and begins to separate
yin and yang at the commencement of the form, the yi must direct the qi to
flow continuously, “like a great river rolling on unceasingly.” If at any point
in the execution of the form the practitioner loses the sensation of the
movement of the qi, he or she should terminate that round of the form and
begin anew. However, prior to initiating another round of the form, the
practitioner should identify what caused the qi to stop flowing. Was it due to
a lapse in concentration or was it related to a blockage somewhere in the
body?
Lapses in concentration are likely to occur whenever a beginner practices any
type of mindful meditation. Even seasoned meditators occasionally
experience such lapses. When engaged in other forms of mindful meditation,
such as when meditating on the breath or when engaged in mindful walking,
it is easy to begin anew. All one needs to do is to take another breath or
another step forward. However, when the taijiquan form is used as the
vehicle for practicing mindful meditation, it is necessary to begin the entire
form again.
There are no shortcuts to this type of mindful meditation. One should not, for
instance, “take up where one left off.” That is to say, if the practitioner is
performing the Wu style solo form and finds that, at the point of executing
Fist Under Elbow, she has lost the sensation of the qi, it would be cheating to
return to the position of Cross Hands in order to begin again. The only way to
train the complete and continuous circulation of the qi throughout the entire
performance of the form is to start at the beginning and continue on without
any discontinuities until the form is complete. It is best to think of the qi at
the beginning of the form as a tiny stream born high in the mountains that
gathers strength and momentum as it flows onward like a mighty river until it
reaches its final destination where the river meets the sea.
Although practicing the form while focusing the awareness on the qi without
breaks or discontinuities is a significant achievement, it is not the ultimate
attainment of taijiquan. In his classic, Expositions into the Practice of the
Thirteen Postures, Wu Yu-hsiang wrote that focusing only on the qi will
cause the mind to become “stagnant.” Wu explained that the practitioner must
make the ching shen firm, while maintaining external calmness. Wu further
added that the yi must rely upon the ching shen and not be focused on the qi.
If the mind is concentrated on the qi, the qi will become stagnant. However,
when the mind is focused on the ching shen, the resulting strength, or li, will
become like “pure steel.”273
This important exposition from Wu Yu-hsiang’s treatise gives rise to several
questions: Isn’t qi a good thing? Shouldn’t we strive to cultivate the qi? How
can concentrating the yi on the qi lead to stagnation of the qi? Also, isn’t li
external strength? If so, shouldn’t we be striving to develop jin and not li?
And, finally, how can there be pure steel without first cultivating and
circulating the qi? We can begin to answer these questions by further
investigating Wu’s treatise, in which he stated that, when the ching shen is
raised, there is no fault of heaviness. One must become light in order to
elevate the ching shen. This is accomplished by suspending headtop.274
The key concept to be understood is the notion of raising the ching shen, the
spirit of vitality. The term “ching shen” employed by Wu Yu-hsiang is
referred to elsewhere in Taoist literature as hsien shen. This is the purified
shen that is the result of the Taoist alchemical process of transmuting the
ching and the qi in order to refine the shen. When the ching shen is raised, the
awareness is no longer focused on the circulation of the qi. Focusing on the qi
limits the awareness, preventing the practitioner from being simultaneously
calm and agile. When the mind is fixed on one thing, even if that thing is the
qi, then it becomes stagnant and heavy. In relation to this, the reliance upon
qi to support jin is not the highest level of jin. At the highest level, issuing jin
is accomplished by the yi alone. This is only possible when the ching shen
has been elevated to reside in the upper dantien, situated behind the yintang
acupoint.
The term, “pure steel,” in this discussion refers to the refinement of the jin
that takes place when the qi is condensed into the bones, especially the
vertebrae in the spine. The Taijiquan Classics refer to the process of
cultivating the jin of pure steel as if creating the blade of a fine sword. The
metal is hammered, reheated, and hammered again until all the impurities are
eliminated in order to forge a blade that is indestructible.275
Several techniques for condensing the qi into the bones and elevating the
spirit of vitality will be presented in the following sections of this chapter.
Assuming that one has achieved the level of spiritual cultivation that enables
one to raise the spirit of vitality into the upper dantien, practicing the form, or
any activity for that matter, becomes the highest form of mindful meditation.
At this level of attainment, one is mindful of one’s own spirit and becomes
conscious of one’s own consciousness.
In the yogic spiritual tradition, the awareness of one’s own essential nature is
called “pure consciousness,” or “cosmic consciousness” This is considered to
be a transcendent state of awareness, what the Taoists refer to as “natural
awareness.” Maharishi Mahesh Yogi, who introduced Transcendental
Meditation to the West, was once asked about taijiquan. He replied that it
would be possible to transcend while practicing taijiquan. He was aware that
any thought or activity, if experienced at a sufficiently subtle and refined
level, could serve as a vehicle for focusing consciousness onto itself. In TM,
the vehicle for refining the consciousness is the mantra. In taijiquan, the
vehicle for refining consciousness is the form itself. In either practice, when
either the mantra or the form disappears and all that is left is pure
consciousness (i.e. pure ching shen), then one transcends the limitations of
ordinary consciousness and experiences cosmic consciousness, which reveals
one’s essential spiritual nature.

The Shii Soi Ching

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

Stimulating the Fascia

In his presentation of the Shii Soei Ching, Dr. Yang describes two specific
techniques for cleansing and stimulating the marrow of the bones: beating
stimulation and bone marrow breathing. Beating stimulation is a waidan
practice that involves external stimulation of the muscles and fascia in order
to invigorate the bone marrow. Bone marrow breathing is a neidan practice,
that is to say that it is practiced internally by engaging the yi to direct the qi.
Beating stimulation employs various appliances such as stone pestles,
wooden sticks, wooden balls, bean bags, etc. in order to gently (and later not
so gently) beat and vigorously massage the surface of the body in order to
stimulate the underlying muscles and fascia. Yang Zwing-Ming wrote that
fascia training is the key for successful Yi Gin Ching training.276 Dr. Yang
cited the “The Fascia Kung” chapter of the Shii Soei Ching in which it is
written that one must train the fascia in order to change the tendons. In order
to train the fascia, one must begin by training the qi. This requires the
practitioner to first clean the qi and make it harmonious; subsequently the
practitioner must be able to transport the qi to the fascia and tendons.277
The purpose of beating and massaging the skin and the underlying tissues is
to stimulate local blood flow. The blood that is attracted to the area of
stimulation is accompanied by qi. This qi is then directed by the yi to
penetrate the pores of the bones and so enter the marrow. Ideally, you will be
able to work with a partner who can perform the beating and massaging,
although it is possible to stimulate most areas of the body without assistance.
If beating the body with sticks and bean bags or massaging with balls and
stone pestles seems a bit extreme for your sensibilities, you can try the
alternate technique of fascia massage, which has gained much popularity in
exercise and physical therapy circles. Fascia massage employs traditional
massage techniques as well as foam rollers and tennis balls to massage the
fascia tissue that lies between the skin and the underlying muscles. Fascia
massage is much gentler than beating, and can provide many of the same
results without the associated discomfort and risk of injury.
A detailed presentation of fascia massage is beyond the scope of this book.
However, the photographs presented below will give you some idea of how
you can practice fascia massage on yourself. A short, smooth wooden rod,
such as a cane or a taiji bang is very effective in providing the gentle rolling
pressure that is required for fascia massage of the limbs. A foam roller may
be employed on the torso, the neck, the hips, and even the calves and thighs.
Many individuals find relief from a variety of ailments, such as backache,
arthritis, poor circulation, fibro-myalgia, etc.
You can use the technique of rolling with a wooden rod or a foam roller in
order to stimulate the fascia surrounding the muslcles of the arms, the legs,
the pelvis, the ribs, the scapula, and the vertebrae of the spine. Figures 17-3a
and 17-3b illustrates how to use either a taiji bang or a foam roller to gently
stimulate the fascia covering the muscles of the thigh. There are a number of
techniques that can be applied to various parts of the body when working
with either a short rod or a foam roller. You can find detailed instructions
online or in books that explain the process of fascia stimulation. One such
book is The Melt Method, by Sue Hitzmann.
Figure 17-3a
Figure 17-3b
The complementary practices of fascia stimulation and bone marrow
breathing, described below, serve to improve the quality of the blood,
strengthen the immune system, and enhance the qi. Individuals often notice
increased energy and vitality and more abundant and powerful qi after as
little as a week of regular practice of these efficacious techniques. After
around three months, these changes will become integrated into both your
physical and energy bodies, and you will begin to experience greater health,
vitality, energy, and resistance to diseases.

Condensing the Qi into the Bones

The practice of condensing the qi into the marrow of the bones was
documented over a thousand years ago in the Shii Soei Ching. In his
commentaries on this treatise, Dr. Yang explains the importance of our bone
marrow in maintaining optimal health. As you may be aware, our bone
marrow is responsible for producing both red and white blood cells. Red
blood cells have the important task of transporting oxygen to all the tissues of
the body, especially the oxygen-consuming neurons of the brain, which
typically require ten times more oxygen than other cells in the body. White
blood cells are one of the primary components of our immune system and are
also extremely important in maintaining our overall health.
In Traditional Chinese Medicine, the qi and the blood are considered to be
“brother and sister.” If the blood is healthy, then the qi will be healthy and
vice-versa. For this reason we want the marrow in our bones to be healthy
and abundant. One way to ensure this is to employ our qi in order to augment
and promote the overall vitality of the bone marrow.
Dr. Yang wrote that there are two ways the qi can be led into the marrow
when practicing bone marrow breathing. The first method is to lead the qi
into gaps between the bones (i.e. the joints). The other approach is to lead the
qi directly into the bones through the millions of small qi channels, called
“luo.”278 Of these two techniques, the method of leading the qi into the bones
laterally via the luo is easier to visualize and to put into practice. The method
of leading the qi into the bones through the joints is more difficult and will
not be discussed here. You may want to investigate this alternate form of
bone marrow breathing on your own. Please refer to Dr. Yang’s excellent text
for further instruction.
In order to employ this second method of leading the qi into the bones, it is
important to understand the role of the luo. The qi circulates throughout the
body following the twelve main qi meridians. Qi is also stored and may flow
into and out of the eight extraordinary qi channels. The twelve meridians and
the eight extraordinary channels correspond to the arteries and veins of the
circulatory system. However, just as the blood must be able reach every
tissue in the body via the small capillaries that are connected to the arteries,
so the qi must be able to penetrate to every point of the body, including the
bones. This is the function of the luo. The luo are analogous to the capillaries
in the blood circulatory system.
The luo deliver the qi to the surface of the bones. As you may be aware,
bones are porous. It is possible for the qi to enter the bones through these
surface pores and so to penetrate to the marrow situated at their centers.
However, when the qi is weak, it will only penetrate to the marrow at a low
volume. Without a strong supply of qi to invigorate the marrow, it becomes
fatty and debilitated, thus affecting the quality of the blood.
When the qi is strong, on the other hand, it is possible to use the yi to direct
the qi to condense into the marrow with great force and volume. This will
revitalize the marrow and strengthen the blood. The Taoists refer to this
process as “cleansing the marrow.” Condensing the qi into the bones
produces the added benefit of strengthening and hardening the bones until
they have the quality of steel.
Bone marrow breathing is best practiced on the long bones, such as the
fingers, toes, forearms, upper arms, shins, and thighs. With long bones, such
as the thigh bone, it is also easier to apply the external pressure that initially
accompanies the mental imagery of condensing the qi into the bone. The ribs
are technically long bones, so you can practice bone marrow breathing into
the ribs as well, as you will discover in Bone Marrow Breathing Exercise 3
described below. Bone marrow breathing does not work well with flat bones,
such as the scapula, pelvis, and skull. Although these bones do contain
marrow, the marrow is different from that of the long bones and the bones
themselves are denser and more difficult to penetrate through the technique
of bone marrow breathing.
Consider the technique of condensing the qi into a specific bone by passing
the qi through the pores on the surface of the bone. This requires that the qi
first be pressurized by practicing the Taois of reverse breathing technique
described in Chapter Eight. Once the practitioner has learned to pressurize the
qi through the process of reverse breathing, the qi can be lead to the pores on
the surface of the bone, and then the qi can be directed to penetrate to the
marrow at the bone’s center. On the inhale, the yi leads the qi to the surface
of the bone, where it attaches to the pores. On the exhales, the qi is
“squeezed” through the pores in order to penetrate the marrow at the bone’s
center.
Bone Marrow Breathing Exercise 1: It is best to start small when beginning
the practice of bone marrow breathing. You can begin with the phalanges (the
finger bones of the hand). For example, wrap the first three fingers and thumb
of your right hand around the phalanges of your left thumb as shown in
Figure 17-4a. Inhale using reverse breathing and use your yi to direct the qi to
surround the thumb bone. As you exhale, gently squeeze your wrapped
fingers and the thumb of your right hand around your left thumb and imagine
the qi being condensed into the bone. You may use the illustration depicted in
Figure 17-4b as a mental guide. You will feel the gentle squeezing pressure,
and you may be able to feel the qi penetrating the bone and stimulating the
marrow.
Figure 17-4a
Figure 17-4b
Repeat this process for eight squeezes. Proceed one-by-one to condense the
qi into each of the fingers of both hands. This practice should take you ten
minutes or more. When you are beginning, you should work with each finger
individually. Obviously, if you work on each finger individually, as well as
each toe individually, by the time you get to the arms and legs, you will have
spent quite a lot of time. Instead, the practice of working on the individual
fingers of the hands is to accustom you to the practice of condensing the qi
into the bones using gentle external pressure in order to condense the qi into
the bones. Once you are comfortable with the process, you can address all the
fingers of a single hand at the same time using the technique that will be
described in Bone Marrow Breathing Exercise 2.
After you have developed some sense of how to breathe the qi into the bone
marrow of the fingers, you can proceed to work on the two bones in the
forearm, the radius and the ulna. Because you won’t be able to wrap your
fingers around the entire length of the forearm at one time, you will work up
the forearm in sections. Begin by wrapping the fingers of the entire right
hand around the portion of the left forearm closest to the wrist as shown in
Figure 17-5a. Apply the same technique to this portion of the forearm that
you applied to the fingers. Employ the technique of breathing and squeezing
this portion of the forearm eight times. Visualize the qi penetrating into the
bones of the radius and the ulna in the region covered by your opposite hand.
See Figure 17-5b.
Figure 17-5a
Figure 17-5b
After eight squeezes, release the fingers of your right hand and move them up
a hand’s width on the left forearm. Repeat the process for eight breaths and
then move up the left forearm again. By positioning the fingers around the
circumference of the forearm at three separate locations, you should be able
to include the entire length of the forearm in a total of twenty-four squeezes.
Be sure to work on both arms equally. After you are comfortable working on
the radius and ulna of each arm, you can move up to the larger humerus bone
located in the upper right arm. As with the bones in the forearm, you will
need to address this bone in three stages, starting with the portion of the
upper arm closest to the elbow. Once you have finished with the upper right
arm, you can apply the same method of breathing and squeezing to the upper
left arm.
When you can condense qi into all the bones of the fingers and the arms,
begin working on the bones in the toes, the shins, and the thighs. Bone
marrow breathing can be time-consuming. For this reason, you may choose to
address a different region of the body each day. For example, on one day you
may concentrate on the toes and the legs. On another day you may focus your
practice on the fingers and the arms. Remember that, by condensing the qi
into the bones, you are not only improving the health of your bone marrow,
you are also revitalizing the entire body by enhancing the quality of your
blood and your qi.
Bone Marrow Breathing Exercise 2: Once you feel comfortable directing
the qi into the marrow of the bones of the fingers, arms, toes, and legs using
gentle external pressure, you may begin bone marrow breathing with mental
intention alone. This will enable you to treat an entire long bone, or even
several long bones, with a single breath. As an example, try working with all
the fingers of a single hand. For this practice, it is helpful to employ the
Embracing the Tree posture as shown in Figure 17-6a.
Using reverse breathing, breathe in and visualize the qi adhering to the pores
of all the fingers of one of your hands. On the exhale, use your yi to direct the
qi inward to the marrow of each finger simultaneously. See Figure 17-6b.
Repeat this process for eight breaths. After eight breaths, the fingers should
begin to feel warm and/or tingly. Then, shift your attention to the fingers of
the opposite hand. Perform the same exercise on the fingers of that hand.
Figure 17-6a
Figure 17-6b
Next, move up to the forearms and perform eight breaths while concentrating
on directing the qi into the marrow of both the ulna and the radius of one arm.
Having completed the eight breaths on one side, repeat the process on the
other forearm. Then move up to the humerus and perform eight breaths on
one arm and then the other. Repeat the same basic sequence for the toes, shin
bones, and femur, working first on one foot or leg and then the other. If you
perform eight breaths on each set of long bones, the entire process should
take approximately twenty minutes.
After a week of practice, you can reduce the time by half if you are able to
address both sides of the body at the same time. That is to say, when you
work on the fingers, direct the qi to enter the bones of the fingers of both
hands simultaneously. You can address the other long bones in a similar
fashion.
Bone Marrow Breathing Exercise 3: In this exercise, you will focus on the
ribs. The ribs are a special category of long bone in that they are curved and
connected together by muscles, tendons, and ligaments. Because of their
interconnectivity and curvature, it is difficult to isolate individual ribs for the
purpose of bone marrow breathing. For this reason, it makes sense to work
with the entire rib cage as a single unit when practicing bone marrow
breathing with these long bones. Although more difficult than the previous
two exercises, it is important to include the ribs when engaging in bone
marrow breathing. This is due to the manner in which the ribs attach to the
spine. As you know, the spine is pivotal in both the martial and the civil
aspects of taijiquan. Practicing bone marrow breathing into the rib bones will
facilitate the practice of attaching the qi to the spine, which will be explained
in the following section.
The practice breathing into the marrow of the ribs is similar to that of Bone
Marrow Breathing Exercise 2. However, because of the relationship between
the ribs and the lungs, it is best to use abdominal breathing when practicing
bone marrow breathing into the rib bones. To begin, stand in the zhan zhuang
posture of Embracing the Tree shown above in Figure 17-6a. Unlike the
previous two bone marrow breathing exercises, you will employ the
technique of abdominal breathing in this exercise. On the inhale, direct the qi
from the dantien to the surface of each of the ribs. Use the outward pressure
of the inflated lungs against the rib bones to pressurize the qi. On the exhale,
use your yi to lead the pressurized qi into the interior of the rib bones where
the marrow is located. Repeat for a total of twenty-four times.
The technique of abdominal breathing alternately expands and contracts the
muscles, ligaments, and tendons that connect the individual rib bones
together. This breathing technique also lifts and lowers the entire rib cage and
gently massages the organs of the upper torso, including the heart, lungs,
stomach, liver, spleen, and thymus gland. As you continue to practice bone
marrow breathing into the rib bones, it is a good idea to focus your awareness
on the intersections of the ribs with the vertebrae of the spine. This awareness
will assist you when you proceed to the following exercise, in which you will
practice attaching the qi to the spine.

Attaching the Qi to the Spine

Bone marrow breathing is effective in stimulating the marrow of the long
bones. However, it is difficult to direct the qi into the marrow of the
individual vertebrae that comprise the spine, as these small bones are hollow
at their centers. To address this issue and also to prepare themselves for
further self-cultivation techniques, the ancient Taoists discovered and
perfected the technique of attaching the qi to the spine. Attaching the qi to the
spine supports both the martial applications of taijiquan as well the civil goal
of self-cultivation.
Recall that the body contains five bows, of which one is the spinal bow.
When the spinal bow is drawn (i.e. its overall curvature is increased) it
becomes a source of elastic potential energy. The stored elastic potential
energy can then be released in support of martial applications, such as
executing a push. If the qi can be attached to the spine and can then be
released suddenly, the potential energy stored in the curvature of the spine
will be augmented by the sudden release of the stored qi. This is the
explanation for the issuing of fa jin.
Attaching the qi to the spine also serves another purpose. By attaching the qi
to the surface of the vertebrae and then directing the qi to penetrate into the
centers of the vertebrae, the practitioner stimulates and fills the Thrusting
Channel, which runs up the center of the spinal column. The Thrusting
Channel is one of the eight extraordinary qi channels that, in conjunction with
the twelve meridians and the countless luo, constitute the qi circulatory
system. It is the Thrusting Channel that is employed in raising the shen,
which is the goal of all Taoist practitioners. Refining and raising the shen will
be discussed in detail in the following chapter, which addresses the subject of
Taoist alchemy. For the purposes of this discussion, it is sufficient to
recognize the importance of attaching the qi to the spine as a preliminary
exercise in support of this goal.
Attaching the qi to the spine is a natural progression from Bone Marrow
Breathing Exercise 3, in which the qi was lead into the marrow of the rib
bones. In order to attach the qi to the spine, you will again employ the
technique of reverse breathing. The inhalation draws the qi to the surfaces of
the individual vertebrae. On the exhalation, the yi directs the qi to penetrate to
the centers of the vertebrae, where the nerves of the spinal cord are located.
See Figure 17-7.
Figure 17-7
When first learning how to attach the qi to the spine, it is helpful to work on
the region of the spinal column that includes the articulations (connections) to
the ribs. You can use these rib articulations to help you visualize the locations
of the vertebrae. The ribs can serve as vectors, or pathways, for the qi to
follow as you direct the qi inward toward the vertebrae of the spine. Figure
17-8 depicts these articulations.
Figure 17-8
You can address the entire thoracic region of the spine as you practice
attaching the qi to the surfaces of the thoracic vertebrae on the inhalation and
then directing the qi to penetrate into the centers of these vertebrae on the
exhalation. Try for a total of twenty-four breaths. At the conclusion of this
sequence, you are likely to feel the entire thoracic area as expansive, and the
thoracic region of the spinal column may be sensed as a pillar of energy. This
entire region may also become warm or tingly, and the thoracic portion of the
spinal column may even begin to vibrate or pulse with energy. These are all
good signs.
Although the thoracic region of the spine is the easiest to work with due to its
connection to the ribs, it is important to include the cervical, lumbar and
sacral portions of the spinal column as well. The yuchen, or Jade Pillow, is
located just above the first cervical vertebra in the cervical region of the
spinal column; the mingmen, or Life Gate, is located within the lumbar region
of the spinal column; the weilu, or Rising Yang point, is situated at the
coccyx, which is located at the bottom of the sacral portion of the spinal
column. These are three important energy enters and are involved in the
execution of both the Microcosmic Orbit and the Macrocosmic Orbit.
Additionally, you will want to be aware of the dazhui acupoint is located in
the thoracic region when you work on this portion of the spinal column.
Figure 17-9 provides both lateral and posterior views of entire spinal column,
which you can use as a general guideline for identifying the four sub-regions.
Figure 17-10 identifies some of the important energy points located along the
course of the Microcosmic Orbit.
Figure 17-9
Figure 17-10
A good way to begin the complex process of attaching the qi to the spine is to
practice on each of the four sub-regions of the spine individually, employing
twenty-four reverse breaths to direct the qi into the group of vertebrae
situated in each of the four sub-regions. Once you are comfortable addressing
each segment of the spine separately, you can begin to combine two or more
sub-regions until you are able to attach the qi to the entire length of the spine
in a single breathing cycle. When you have reached this point, you can
stimulate and penetrate all of the vertebrae of the spine in a single sequence
of twenty-four breaths.

Brain Washing
In addition to practicing condensing the qi into the bones in order to cleanse
and stimulate the marrow, the Shaolin monks also practiced a technique
which enabled them to lead the qi directly to the brain in order to activate and
“wash” the tissues of the brain. As you may be aware, the brain is the largest
consumer of blood. Even a brief interruption of blood supply to the brain can
result in permanent brain injury. The main job of the blood is to supply
oxygen to the tissues. If we can increase the oxygen level of the blood, we
can supply a greater amount of oxygen to the all the tissues of the body. This
is especially important for the neurons of the brain, which require as much as
ten times more oxygen than other tissues of the body.
Recall that, in TCM, the relationship between the qi and the blood is
considered to be that of a brother and sister. Where the qi goes, the blood
follows. If we can direct the qi to the brain, then the blood will naturally be
drawn to the brain as well. Additionally, if the blood has been strengthened
and purified through the process of cleansing the bone marrow, the oxygen-
rich blood will be able to nourish and cleanse the tissues of the brain.
The Shaolin monks discovered a direct pathway for transporting the qi to the brain: the Thrusting
Channel. Figure 17-11, shown below, depicts the course of the Thrusting Channel, indicated by the
letters A, O, N, M, and P. The Thrusting Channel is located in the center of the torso. It begins at huiyin
energy gate (the letter A in Figure 17-11). The huiyin is an important energy gate in that it is situated at
the confluence of the Conception Channel (A, L, K, J, I, and H) and the Governor Channel (A through
H).
Figure 17-11
The technique of leading the qi up the Thrusting Channel and into the brain is
similar to the previous self-cultivation techniques introduced in this book in
that it employs the yi to guide the qi. This is a neidan technique and requires
both tranquility and focused intent. This focused meditation is best performed
either seated or standing in wuji posture. This technique should not be
attempted lying down, as the spinal column needs to be vertical in order to
direct the qi to rise up the Thrusting Channel.
To begin, settle yourself in either a seated or a standing posture. Be sure to
level the pelvic bowl and also suspend the headtop. It is important that the
spine be elongated and not compressed during this meditation. Take ten deep,
relaxing abdominal breaths to calm the mind while at the same time guarding
the yi and the qi together in the dantien.
Once you feel settled and relaxed in body and mind, switch to reverse
breathing. With each inhalation, pull up lightly on the perineum and the anus
as you mentally draw the qi up from the huiyin to travel from point A all the
way up to point P. Dr. Yang, Zwing-Ming states that, in the exercise of brain
washing, the keys to success are the yi, the breathing, and the huiyin.279 With
each the exhalation, allow the qi to diffuse out to all the tissues of the brain.
When exhaling, you should also relax the perineum and the anus. This differs
from Dr. Yang’s instruction, which is to continue to hold up the perineum
and the anus during both the inhalation and the exhalation.
When you first begin this practice, try for a total of twenty-four breaths. If at
any time you feel light-headed, revert to regular abdominal breathing and
suspend the movement of the qi from the huiyin to the brain. Once you have
regained your focus, you can resume reverse breathing and continue the
practice. Over time, you will develop the ability to continue this focused
meditation for up to twenty minutes. The result of practicing for even five
minutes at a time will be increased alertness, broader awareness, and more
focused attention. You may feel that your brain is larger and that your
consciousness has expanded beyond the physical limits of your cranium. As
you increase the length of your practice, these positive sensations will
become amplified and will accrue over time.
After several weeks of practice, you can enhance your brain washing focused
meditation by incorporating the “heng” and “ha” sounds into your inhalations
and exhalations. The “heng” and “ha” sounds are normally vocalized when
practicing the form or applying martial techniques. The purpose of the
“heng” sound is to gather and store the jin. The “ha” sound is employed to
amplify and focus the power when the jin is released. However, these two
sounds may be repeated silently when practicing reverse breathing. When
reverse breathing while engaged in brain washing focused meditation, you
silently repeat the sound, “heng”, as you draw the qi up the Thrusting
Channel on the inhalation. On the exhalation, as the qi is diffused throughout
the brain, you silently express the “ha” sound.
When practicing brain washing focused meditation, you may feel sensations
at the special points located at either the Third Eye Chakra (the yintang
acupoint) or the Crown Chakra (the niwan acupoint). These important energy
gates are often activated during the process of brain washing focused
meditation. As you will discover in the following chapter, the Third Eye
Chakra is the home of the shen, which the Taoists refer to as the Shen Valley.
Brain washing focused meditation is one of the techniques employed by
Taoist adepts in order to elevate the shen, which is one of the primary goals
of Taoist alchemy.

Conclusion
This chapter has introduced the topic of spiritual development and has
suggested that the founders of the various family styles of taijiquan were not
only martial artists but also spiritual cultivators who practiced esoteric and
formerly-secret methods for refining and elevating the spirit of vitality, or
shen. The basic concepts of spirituality and enlightenment were discussed as
a foundation for introducing the possibility of employing taijiquan as a path
for spiritual development. It is important for all individuals who seek to
follow a spiritual path to know where that path will lead.
All spiritual traditions have the same ultimate goal, which is to reveal the true
self and to unite that self with universal consciousness. In the yogic tradition,
the self is the atman, and is revealed primarily through the practice of
meditation. The state of self-awareness that results from this practice is
known in the yogic tradition as “cosmic consciousness.” Once the atman is
revealed, the final step is to unite the atman with brahman, or universal
consciousness.
The Buddhist tradition seeks to resolve the duality of the self and the non-
self. When this duality is resolved, one’s true self, or buddha nature, is
revealed. The realization that duality is an illusion results in the state of
enlightenment, or nirvana. This, in turn frees one from the karmic wheel of
birth, death, and rebirth.
The goal of the Taoist tradition is to elevate the shen in order to reveal the Te.
Waysun Liao defines the “Te” as that small piece of the Tao that resides in
each individual. Once the Te is revealed, it can then merged with the Tao in
order to complete the process of spiritual development that results in
enlightenment. The means for elevating the shen to reveal the Te and for
merging the Te with the Tao are contained within the alchemical practices
developed by the venerable Taoists sages of the past.
The practice of taijiquan, in and of itself, has the potential to elevate the
spirit, or shen, and to enable practitioners to realize their innate nature, their
true self. This chapter has demonstrated how, by practicing the form with
focused intent, one can not only cultivate and circulate the qi but also refine
and elevate the shen. The refinement and elevation of the shen can lead one
to a transcendental state of awareness. Although it is possible to achieve such
a state by engaging solely in taijiquan, it is helpful to supplement the practice
of taijiquan with additional exercises whose purpose is to strengthen the qi
and to refine the shen.
The Shaolin Buddhist practices described in the Shii Soi Ching, several of
which were presented in this chapter, may be used to strengthen the qi by
stimulating and cleansing the bone marrow. The practice of brain washing,
also described in the Shii Soi Ching, enables the practitioner to stimulate the
neurons of the brain in order to support a strong and vital shen. The practices
of bone marrow cleansing and brain washing as presented in this chapter will
result in healthy, abundant qi and a strong and vibrant shen. This will result
in a healthy body and mind. Along with the Microcosmic and Macrocosmic
circulations, these exercises may be considered to be preliminary activities to
the more demanding practices of Taoist alchemy, which are presented in the
following chapter.
If your interest lies in the dual benefits of improved health and increased
vitality, you can forgo any further self-cultivation practices. With the
continued and dedicated practice of the exercises presented in this chapter,
you will certainly attain this commendable goal. However, if you wish to
pursue self-cultivation with the aim of spiritual enlightenment, then you will
need to engage in the Taoist alchemical practices described in the following
chapter. Through these practices, you will discover how to transmute the
Three Treasures of the ching, qi, and shen in order to reveal the Te and merge
it with the Tao in order to attain the ultimate goal of spiritual practice, the
state of enlightenment.
 Chapter Eighteen

Taoist Alchemy and the San Pao

Chapter Seventeen introduced the concept of using the practice of taijiquan

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

The San Pao

The cultivation and refinement of the san pao are essential to the Taoist
practice of self-cultivation, the goal of which is to attain enlightenment and
immortality. Collectively, the san pao enable us to live, to thrive, to
procreate, and to develop physically, mentally, and spiritually. In his
commentary on Awakening to Reality, one of the works in the Taoist Canon,
Wang Mu wrote that the essence (ching), breath (qi), and spirit (shen) are the
major components of life. He reaffirmed that these three essences are
regarded by Taoists as the Three Treasures, and he further stated that the
health of the body is dependent upon these Three Treasures. He warned that
if they become depleted, the health and vitality of the body will suffer.281
For this reason, it is important to cultivate and nourish these essences and not
deplete or damage them. The Jade Emperor’s Mind Seal Classic, translated
by Stuart Olson, includes a line which explains that the “meeting” of the
Three Treasures creates life, and that their “parting” results in death.282 Mr.
Olson expands upon this statement by explaining that the refinement and
transformation of the Three Treasures enables one to attain immortality.283
Each of the Three Treasures serves an essential purpose in supporting our
existence. First and foremost, we owe our life to the procreative power that
derives from the ching of our parents. Without our father’s sperm and our
mother’s egg, we would not have been conceived. When we are born and
mature, we begin to produce our own ching. Women already have the
potential for procreation in the eggs residing in their ovaries at birth. Men
typically begin producing sperm as they make the transition into adolescence.
Although our individual ching is related to either our eggs or our sperm, our
ching essence is more complex. A more detailed explanation of ching and its
cultivation and refinement will be provided later in this chapter.
The subject of qi and its cultivation and refinement has been covered
extensively in the preceding chapters of this book. However, it is important to
reiterate that qi is indispensable for our existence. Moreover, the quality and
duration of our existence are directly related to the quality and quantity of our
qi. The cultivation and refinement of the qi is of central importance in almost
all Taoist practices. As you may recall, we possess two distinct types of qi,
our pre-birth qi and our post-birth qi.
Our pre-birth qi comes to us from our parents and cannot be augmented after
birth. The Taoists developed specific practices designed to preserve rather
than dissipate our pre-birth qi. However, the larger part of Taoist qi
cultivation practices are intended to strengthen, augment, and refine our post-
birth qi. This topic will be discussed in some detail later in this chapter under
the heading of Taoist Alchemy.
The shen is perhaps the most difficult of the Three Treasures to define
accurately. This is because the shen is the most subtle of the three essences. It
is also because the shen is not simply defined as a single quiddity, but rather
consists of three spiritual energies. Stuart Olson identifies these three spiritual
energies as the ming shen (bright spirit), hsien shen (heart/mind spirit), and
ling shen (immortal spirit). He further explains that the ming shen is related
to the qi, the hsien shen is associated with the ching, and the ling shen is
associated with the spiritual self. Strengthening the qi causes the ming shen to
become bright; restoring the ching causes the hsien shen to manifest itself;
and transforming the ling shen results in immortality.284
When considering the Three Treasures, it is important to understand that,
although each of these three essential essences are different and have their
own source and purpose, these three essences are also interdependent and
mutually supportive. The Yi Gin Ching, which was introduced in the
preceding chapter, states that the ching must be abundant and the shen should
be complete. Then the qi will naturally be full and “round.” When the shen
and the qi are plentiful, the life-force will not be extinguished.285
The Taoists believed that the san pao were integrally related. The Su When
Ching, another Taoist text, states that the qi is produced from the ching, and
the shen is produced from the qi. The Liu Ching (translated as “The
Classification Classic”) supports this relationship by stating that the
refinement of the ching results in the refinement of the qi, and that the
refinement of the qi results in the refinement of the shen.286 The Taoists posit
that the ching is the source of the qi, and the qi is the source of the shen. The
Hsien Tao Ching Tso Ching further clarifies that it is the ching and qi
together that generate and support the shen. This text explains that when the
shen is unified with the ching and qi, a single unified substance is produced
that establishes life. With regard to the shen, both the ching and qi must be
unified in support of the shen. If the ching and qi disperse, the shen will
perish.287
According to the Taoist sages, there is a hierarchical relationship between the
ching, qi, and shen. Regarding the relationship between the Three Treasures,
Wang Mu explained that, according to the alchemical texts, ching, qi, and
shen constitute a single entity, rather than individual essences. Nevertheless,
as far as the Taoist alchemical practices are concerned, it is necessary to
separate them and cultivate them sequentially.288 In one sense, this is correct.
In order to strengthen and increase the qi, the ching must be stimulated. In
order to refine and elevate the shen, the qi must be cultivated.
The hierarchical relationship between the ching, qi and shen is an
oversimplification, however. As the Yi Gin Ching instructs, both the qi and
the shen are employed in the stimulation and retention of the ching.
Similarly, in order to cultivate the qi, both the ching and the shen must be
engaged. In a larger sense, the shen is the general that oversees the cultivation
and ultimate transformation of both the ching and the qi. The ching and the qi
also share a special relationship. Both ching and qi are mutually
interdependent and neither can exist without the other.289 It is said that the
essential nature of ching is yin contained within yang, whereas qi relies upon
yang contained within yin. In this way, ching and qi are like the two halves of
the Taiji symbol. On one side of the Taiji symbol there is a white semicircle
with a small black circle inscribed. This side represents yang. Ching is
primarily yang, but is supported by the yin of qi. The other side of the Taiji
symbol is a black semicircle with a small white circle inscribed. This side
represents yin. Qi is primarily yin, but is supported by the yang of ching. In
this way, the two essences are interdependent and mutually supportive.
The early Taoists developed a number of practices for cultivating and
transforming the three essences for the purpose of attaining the dual goals of
enlightenment and immortality. They believed that it was possible to cultivate
and transmute the ching and the qi in order to create a magic elixir within the
dantien. The internal “consumption” of this magic elixir would enable them
to refine and elevate the shen. The refinement and elevation of the shen
would, in turn, reveal their inner spiritual nature. The Taoists referred to this
as the “true nature,” which Waysun Liao has labelled the “Te,” and which
Stuart Olson refers to as “original nature.” Revealing the Te would further
enable practitioners to unite the Te with the Tao and would result in spiritual
enlightenment and immortality.
Collectively, these practices are referred to as “Taoist alchemy.” It is
important to recognize that, in order to successfully engage in the practice of
Taoist alchemy, the practitioner must possess a healthy body, an agile mind,
and a willing spirit. Wang Mu stated that, in the initial stage of alchemical
practice, it is important to replenish the basic constituents of the body. Unless
the basic constituents of the body are strong and abundant, it is fruitless to
undertake the latter stages of alchemical refinement.290 To this end, one
should first and foremost attend to the health of the body and the mind by
addressing the issue of lifestyle choices that can either aid or hinder one’s
self-cultivation practice.

The Importance of a Healthy Lifestyle

In Tao: The Way of God, Master Waysun Liao states that there are three parts
that make us who we are: our physical body, our life energy, and our spiritual
nature.291 The life energy he is referring to is our qi. Our spiritual nature is
something that he calls our “Te.” According to Master Liao, our Te is the
individual portion of the infinite energy that pervades the universe. This
universal energy, along with the laws that govern how that energy manifests
itself, is what we perceive and identify as the Tao. In order to bring our Te
into harmony with the Tao, we need to strengthen and refine our qi. To do so,
we must first nourish and support our physical body.
Master Liao cautions us that, since our physical bodies enable us to have life
energy, we must take care of our physical health. 292 This makes perfect
sense. Recall that the past Taoists masters identified different types of qi.
Within the human body, we have pre-birth and post-birth qi. Although we
can care for and conserve our pre-birth qi, we cannot augment it. Our post-
birth qi, on the other hand, is completely within our control. We can increase
this post-birth qi and enhance its quality in a number of ways, including
proper nutrition, suitable exercise, ingesting special herbs, receiving
acupuncture and other holistic treatments, training in qigong and taijiquan,
and practicing other special techniques intended to refine and increase our qi.
Nourishing and strengthening the body aids in the production of qi, which
can be employed to the refine and elevate the shen. For this reason, both the
Buddhist monks of the Shaolin temple and the Taoist adepts who followed
the Heaven’s Gate method sought to practice both physical and spiritual
cultivation. Dr. Yang, Zwing-Ming wrote in his commentary on the Yi Gin
Ching that the mutual cultivation of the physical body and the spiritual body
is called shing ming shuang shio, which translates as “double cultivation of
the human body and the spiritual nature.” According to the Yi Gin Ching, in
order to attain enlightenment one needs a strong and healthy body to serve as
the physical foundation for spiritual cultivation.293
All of the above methods for increasing and enhancing our post-birth qi fall
under the umbrella of lifestyle choices. In general, those activities and
practices that are considered to be part of a healthy lifestyle result in
improving our post-birth qi. Those activities and practices that are generally
deemed to be unhealthy are damaging to our post-birth qi. Since our spiritual
development depends upon the amount and the condition of our qi, it stands
to reason that we should strive to adopt a healthy lifestyle and to avoid those
activities that can damage or diminish our qi.
It is beyond the scope of this book to provide detailed instruction in proper
nutrition. However, it is worthwhile to point out the importance of providing
the body with the nutrients it needs, both of the highest quality and in the
appropriate quantity. When approaching the concept of nutrition, it is
valuable to consider the role of the Triple Burner, which is central to
Traditional Chinese Medicine. The Triple Burner is sometimes mistakenly
referred to as the stomach, lungs, and heart. However, it is best to consider
the Triple Burner to be a combined super-system that consists of the
individual digestive, pulmonary, and circulatory systems. It is these three
systems that are collectively involved in digesting food, breathing in air,
absorbing nutrients and oxygen into the bloodstream, and circulating those
absorbed nutrients and oxygen to the tissues of the body, especially the brain.
Clearly, if any of the three primary organs (i.e. the heart, the lungs, and the
stomach) associated with the Triple Burner are defective, the overall health of
the body will be affected. Also, the health of the body can be positively or
negatively impacted by the food that is ingested and the air that is inhaled.
Since our post-birth qi is generated from the food we eat, the water we drink,
and the air we breathe, it is incumbent upon us to consume high quality food,
drink the purest water, and to breathe in clean air that has not been
contaminated by impurities or depleted of its oxygen. One should also be
careful not to overload the stomach with excess food or drink. There is a
Taoist guideline that, upon finishing a meal, the stomach should be filled
with three thirds: one third food, one third water, and one third air (which is
to say one third empty).
Exercise is almost as important as proper nutrition in terms of maintaining
the body in an optimal state of health. By exercising regularly, we help to
maintain the health of the heart and the circulatory system. Also, by
strengthening the muscles, tendons, and ligaments, we provide the
reinforcement required by the joints to support the weight of the body and
enable it to function correctly. However, as with nutrition, it is important to
determine the proper type and amount of exercise. Lifting heavy weights, for
example, may in the long run do greater damage to the joints than the
immediate benefit provided by increasing muscle strength. Also, overly-
developed muscles can impede the flow of qi to the extremities of the body. It
is best to select those forms of exercise that provide gentle but continual
demands upon the heart and lungs and which do not overly stress the joints
and connective tissues.
Proper rest is also essential to the body’s healthy functioning. Our waking
activities place stress on the body and also cause a buildup of toxins, such as
uric acid, within our tissues. When we rest, especially during sleep, our
bodies engage in regeneration and elimination at a cellular level. Chinese
Traditional Medicine divides the twenty-four hour day into twelve two-hour
segments. Each two-hour segment is utilized by one of the organs for
rejuvenation and replenishment. See Figure 18-1 below:
Figure 18-1
Consider what happens when you have insomnia. Let’s say that you awaken
at 2:15am and can’t fall back to sleep. You decide to turn on the bedside
lamp and read a book. As you can see from the above chart, the period
between 1:00 am and 3:00 am is utilized by the liver for cleansing and repair.
What you may not know is that the eyes are associated with the liver. If you
engage your eyes between the hours of 1:00 am and 3:00 am, you disrupt the
rest cycle of the liver and thereby reduce its effectiveness throughout the rest
of the day. Similarly, you will note that the large intestine in engaged in
regeneration and elimination during the hours of 5:00 am until 7:00 am. If
you are a “regular” individual, you may find that you normally need to
evacuate your bowels toward the end of this cycle. Also, from the above
chart, you can see that the best time to sleep is between the hours of 9:00 pm
and 7:00 am.
Although the chart displayed above does not mention the brain, this vital
organ also needs to rest and regenerate itself. Individuals who routinely do
not receive sufficient sleep will become sleep deprived and will suffer a
number of physical and mental disorders if this condition persists for more
than a few days’ time. Both deep sleep and dreaming are important in
maintaining good psychological and emotional health. While each individual
has his or her own sleep requirements, the one common factor among all of
us is that we typically underestimate the amount of sleep we need. As a
result, most individuals in modern society are chronically sleep deprived and
suffer the consequences of diminished physical and mental capacity. This
affects the quality of their qi, which in turn affects their ability to engage in
meaningful spiritual development.
Providing the body with proper nutrition, pure water, clean air, appropriate
exercise, and sufficient rest are all important to the overall health of the body
and collectively contribute to strong and vital post-birth qi. Even though we
may ensure that the body receives its full complement of these necessary
factors, if we coincidentally engage in activities that weaken or damage the
body, then our qi will be adversely affected. We can think of the body as
receiving either positive or negative inputs. Good food, pure water, clean air,
proper nutrition, and sufficient rest are all positive inputs. We want to
maximize the positive inputs that our bodies receive in order to preserve and
strengthen our qi. Conversely, stimulants and depressants, such as caffeine,
alcohol, nicotine, recreational and even many prescription drugs are all
negative inputs. We should strive to restrict or eliminate all negative inputs
that can harm the body and damage our qi.
Another negative input is stress. Many individuals who desire to follow a
healthy lifestyle and pursue spiritual development are limited in their
progress due to excessive stress in their lives. The source of their stress may
be either external or internal. External stressors include work, family,
financial obligations, daily traffic, etc. Internal stressors may be related to the
pressure to succeed, concern about personal relationships, childhood trauma,
and any number of psychological phobias or conditions. As you are probably
aware, it is often easier to manage external stressors than it is to identify and
eliminate internal stressors.
Most of us are affected to some degree by external stressors on a daily basis.
An example of an external stressor is work-related stress. We can either let
those external stressors overwhelm us or we can discover ways to avoid or to
manage them. By comparison, internal stressors are often more complicated
to deal with. However, if we are sufficiently self-aware, we can identify these
stressors and seek out techniques that will enable us to confront and
overcome them. It is also important to recognize that by increasing our
body’s physical health we are better able to address any psychological or
emotional issues that we are dealing with.
As a final consideration, it is necessary to regulate the amount and quality of
your sexual activity. This is a touchy subject. Traditionally, Taoists adepts
refrained completely from sex. Sexual release, especially for men, affects the
sexual essence, or ching, that is associated with the male sperm and seminal
fluid. Excessive ejaculation in men can damage the ching, especially as men
age. Even with young men, excessive ejaculation can prove to be debilitating.
As will be explained subsequently, the sexual essence, both in men and in
women, is an important ingredient in the Taoist alchemical practice in which
the qi and the ching are refined together in the cauldron of the dantien in
order to produce a special spiritual essence known as ching qi. This highly
refined qi can only be produced if both the qi and the ching are strong and
abundant.
One also must guard against engaging in sexual activity with multiple
partners or with partners whose character may not be of the highest moral
fiber. When we engage in sex with another individual, we absorb some of
that individual’s psychological, emotional, and spiritual energy. If that
individual’s energy is clouded or contaminated with negativity, then some of
that negative energy will transfer to us.
Each individual must know his or her capacity for sexual activity and must
also gauge whether his or her partners are appropriate for sexual intercourse.
Those who are engaged in the process of spiritual growth and development
must pay special attention to their sexual activities. It is important to
determine how much and with whom we choose to engage in sexual activity
in light of how committed we are to our spiritual journey. In the case of sex,
the aphorism “less is more” is especially apt.

The Importance of the Foundational Practices

The Taoist approach to spiritual development is analogous to the process of
building a house. The construction of a house begins with laying a strong and
stable foundation. The walls are then constructed. Finally, the roof is raised.
According to this analogy, cultivating strong and abundant qi is like laying
the house’s foundation. Until the foundation has been established, it is
pointless to begin erecting the house’s walls.
With regard to Taoist spiritual cultivation practices, it is essential to spend the
time and effort (gongfu) required to establish the necessary reservoir of
strong and abundant qi before proceeding to engage in those practices that
utilize the qi to refine the shen. In the analogy of constructing a house,
refining the shen is the equivalent of erecting the walls of the house. At a
certain point of refinement, the elevated energy of the shen can be
concentrated and focused on the yin tang energy gate in order to illuminate
the Te. The process of illuminating the Te and merging it with the Tao is akin
to raising the roof in the house construction analogy.
As you can see, the entire transformational process starts with the foundation,
which is the cultivation of strong and abundant qi. That is the purpose of the
exercises that have been presented in this book in chapters Three through
Eight. To review, the first step is to practice song gong in order to develop
the ability to be completely song throughout the entire body. Song gong
practice includes both external exercises, such as the stretching and loosening
exercises presented in chapters Four and Five, as well as the neigong exercise
of zhan zhuang standing described in Chapter Six.
Having developed the ability to be song, practitioners then proceed to the
exercise of cultivating the qi by practicing abdominal breathing and focusing
the yi on the dantien. When they are able to employ the yi to gather and
concentrate the qi in the dantien, according to the Taoist instruction qi shen
dantien, they can then begin the exercise of rotating the dantien. Once
practitioners can rotate the dantien at will in any direction, they are ready to
commence circulating the qi through the Microcosmic Orbit pathway. Only
after practitioners have reached the stage in which the qi can be directed to
circulate freely and without impediment through the complete circumference
of the Microcosmic Orbit should they attempt the final foundational exercise
of circulating the qi out to the extremities via the Macrocosmic Orbit.
The above process involves a number of sequential steps and requires a
serious commitment of time and a substantial expenditure of both physical
and mental effort. For those individuals who are not disposed to devote the
time and effort necessary to complete these foundational exercises, there is
simply no point in attempting the Taoist spiritual practices presented in the
remainder of this chapter. There are no shortcuts on the path of spiritual
development. To return to the analogy of building a house, if you attempt to
erect the walls on top of a scraped earth surface, they surely will not stand on
their own. Why would you even attempt such folly? To attempt the following
exercises without first establishing the foundation of a strong and abundant qi
that you can intentionally circulate throughout your body will prove equally
futile.
You may well ask: How will you know when you are ready to proceed? The
answer is that, if you are completely honest with yourself, you will know at
the level of feeling when your qi is strong and abundant. You will further
know when you are truly able to employ your yi to circulate the qi throughout
the body. Here’s a simple test. Think of an orange for a moment. Imagine
holding the orange in your hand, smelling its pungent, citrous aroma and then
peeling back the rind and tasting that sweet, slightly acidic flavor that is
uniquely “orange.” You can do this, can’t you? That’s the power of your
mind: the ability to instantly conjure up the image, texture, scent, and flavor
of an orange.
OK, now think about concentrating your qi in your dantien. Is it there right
now, as soon as you intend it to be? Is it strong and abundant? If so, then next
direct your qi to the index finger of your right hand. Did your qi shoot
directly to your finger? Can you feel the qi tingling there, ready to do your
bidding? Could you place your index finger on the acupoint of a friend or
relative and transmit healing energy into that individual?
If you answered “no” to any of these questions, then you are not yet ready to
proceed to the higher-level training exercises presented in the remainder of
this chapter. Don’t be discouraged by this. Just recognize that the process of
building a strong foundation takes time and commitment. Keep working on
the foundational exercises presented in chapters Three through Eight until
such time as you have cultivated your yi and your qi to the degree that you
can instantly direct your qi to any point in your body. Only then should you
attempt the following spiritual cultivation exercises. The Yi Gin Ching
includes the instruction to practice the Microcosmic Orbit until the qi in both
the Conception Vessel and the Governing Vessel is full and abundant. This is
the fundamental preliminary condition for beginning the practice of
cultivating the spirit (shen) and attaining immortality. If the practitioner does
not engage in this initial practice, there will be no foundation for “learning
the Tao.”294

An Overview of Taoist Alchemical Practices

All of the Taoist and Shaolin Buddhist techniques and exercises presented up
to this point have related in some way to the cultivation, circulation, and
utilization of the qi. In his translation of the Jade Emperor's Mind Seal
Classic, Stuart Olson writes that the basis for contemporary Taoist practices
is the process of yang hou. Yang hou is the process of accumulating and
circulating qi. He adds, however, that yang hou alone is insufficient to reach
the highest level of spiritual cultivation.295 In addition to accumulating and
circulating the qi, the process of spiritual development further involves
refining and raising the shen to reveal the Te and ultimately merging the Te
with the Tao.
Cultivating the qi bestows both martial and civil benefits. The martial
benefits derived from qi cultivation have been discussed at length in the
preceding chapters. The civil benefits, which have also been discussed in
detail throughout this book, include optimal health, greater vitality, and
increased longevity. We can refer to this type of martial and civil
development as self-cultivation.
For many taijiquan practitioners, the martial and civil benefits obtained from
the various qigong and Taoist practices introduced previously are more than
sufficient reward for the self-cultivation, or gongfu, that they have
undertaken. However, in order to attain the highest level of civil cultivation,
that of spiritual enlightenment, it is necessary to engage in additional Taoist
neigong practices. The goal of these practices is the refinement and elevation
of the shen in order to reveal one’s innate spiritual nature, or self. Having
revealed the self through the refinement and elevation of the shen, the final
step on the path of enlightenment is to merge the self, or Te, with the Tao.
This is the ultimate goal of self-cultivation.
When discussing self-cultivation, one must be careful to define what is meant
by the “self.” In one sense, the term “self” refers to one’s personhood.
Western psychologists would call this the “ego”, or, to be more precise, the
id, ego and super-ego complex. Your personhood includes your personality,
your physical body, your emotions, your past experiences, and your
awareness of who you are. All of these things, taken collectively, are your
“self.”
This description of the self leaves out one significant aspect of your
existence: there is no mention of the individual’s spiritual nature.
Unfortunately for most of us, this spiritual nature, which is connected directly
to the Tao, has been obscured. It is still there, but most of us are simply
unaware of its existence. As was stated earlier, Master Waysun Liao refers to
this piece of the Tao that resides in each of us as our “Te.” If we employ the
Taoist alchemical techniques described below, we can re-awaken our
sleeping Te.
When our self becomes aware of our Te, our innate spiritual being, then we
are said to be spiritually self-aware. What was once obscured has been
revealed through the light of self-revelation. This, in itself, is a state of
enlightenment, but it is not the ultimate enlightenment. True enlightenment
occurs when we reunite our Te with the Tao from whence it originated.
The ancient Taoists adepts devised a detailed process for awakening the Te
and subsequently uniting the individual Te with the Tao. The Taoist sages
employed the allegory of conceiving and nurturing a “spirit baby” to describe
this process. When nurtured to maturity, the spirit baby gives rise to a fully-
developed spiritual body. The entire process takes a number of years to
complete. You can read about the process of conceiving, nurturing, and
raising the spirit baby in a number of texts, such as Dr. Yang, Zwing-Ming’s
Muscle/Tendon Changing and Marrow/Brain Washing Chi Kung, Stuart Alve
Olson’s The Jade Emperor’s Mind Seal Classic, Wang Mu’s Foundations of
Internal Alchemy, Liu Yiming’s Cultivating the Tao – Taoism and Internal
Alchemy, and Jou Tsung Hwa’s The Tao of Meditation. Master Waysun Liao
also refers to the process of conceiving and raising the spirit baby in his book,
Tao, the Way of God.
To many Westerners, the idea of conceiving a spirit baby and nurturing it
within the abdominal cavity may seem foreign and therefor difficult to
imagine. However, the basic Taoist practices that underlie the allegory of the
spirit baby can be employed without having to rely upon the image of a baby
growing in one’s abdominal cavity. Instead, one can simply complete the
process of transforming the Taoists’ Three Treasures of the ching, qi, and
shen into the Te. The transformations required to refine these Three
Treasures, or san pao, are often referred to as Taoist alchemy.
The term “Taoist alchemy” refers to the practice of transmuting the essences
of ching, qi, and shen for the purposes of self-cultivation and spiritual
development. According to surviving Taoist texts, the early Taoist sages were
intent on compounding potions that would extend their physical lives. They
believed that increasing their lifespans would provide them with more time to
complete the lengthy process of attaining spiritual enlightenment. Their
efforts lead to many important discoveries in herbal medicine, but they were
not successful in discovering the “pill of immortality.” Fortunately, later
Taoist adepts abandoned their quest for a physical pill of immortality and
turned their efforts inward. These intrepid sages ultimately discovered the
secret methods that enabled them to refine their own internal essences for the
purpose of attaining higher states of awareness and achieving spiritual
enlightenment.
The Taoist alchemical practices that these sages discovered are both
challenging and time-consuming, and they should not be undertaken casually.
Only those individuals who are disciplined and committed to achieving the
goal of spiritual enlightenment should engage in these practices. There is a
line in The Jade Emperor’s Mind Seal Classic that states that the process of
self-cultivation requires great effort.296
Stuart Alve Olson elaborated upon the difficulties associated with the practice
of Taoist alchemy in his commentary on The Jade Emperor’s Mind Seal
Classic. He wrote that one should not embark upon the process of spiritual
cultivation lightly. Although many contemporary books on Taoist alchemy
discuss the process of accumulating the qi in the dantien and of elevating the
shen in general terms, these texts are not complete in their descriptions of the
actual practices required to achieve these two goals. Most contemporary
books on the subject of Taoist alchemy are based upon earlier Taoist texts.
These original texts presented diagrams depicting the overall processes of
cultivating and circulating the qi and of elevating the shen, but did not
include detailed descriptions of these esoteric practices.297
Indeed, the original Taoist texts, even when translated into English, are
difficult for Westerners to grasp. They are replete with allegory, symbolism,
and allusions to obscure practices. Fu Jinquan, a seventeenth century Taoist
scholar, wrote that the alchemical texts are fraught with subtlety, allegory,
allusion, metaphor, and intentional deception.298 Wang Mu explained that the
Taoist alchemical methods were closely-guarded secrets and that the most
important points were not written down, but rather were transmitted orally
from master to disciple.299
Despite the obscurities present in the original texts, they serve as valuable
references for the modern practitioner who seeks to follow the footsteps of
the venerable Taoist adepts who developed the alchemical practices for
transmuting the essences and achieving enlightenment. Wang Mu concluded
by stating that the Taoist alchemical practices ultimately result in acquiring
Nourishing Life (yang sheng). The benefits, both physical and spiritual, of
procuring Nourishing Life are certainly worth the gongfu required to acquire
it.300
In order to understand how neidan Taoist alchemy is able to transform, or
transmute, the essential essences of ching, qi, and shen, it is necessary to
realize that each of these essences has its own vibrational energy. The
vibrational energy of each essence is dependent upon the energy gate, or
chakra, with which that essence is associated. The vibrational energy of your
ching, for example, is at a relatively low frequency because your ching is
associated with the Root Chakra located at the huiyin energy point. The Root
Chakra is your lowest chakra and has the lowest vibrational frequency of all
the chakras. By comparison, your qi has a higher frequency than your ching.
The qi is associated with the Sacral Chakra. This chakra is located in the area
of the lower dantien. The Sacral Chakra has a higher vibrational energy than
the Root Chakra, but its vibrational energy is still at a relatively low
frequency compared with the other, higher chakras. Your shen is associated
with the Third Eye Chakra, situated at the yintang point, which has a much
higher vibrational frequency than either the Root Chakra or the Sacral
Chakra. Figure 18-2 indicates the location of the seven chakras of the yogic
spiritual tradition.
Figure 18-2
Taoist alchemy involves raising the vibrational energy of one essence so as to
transmute it into the next higher essence. For example, in order to transmute
your ching into qi, you must raise the vibrational frequency of your ching to
that of your qi. There is a logical extension to this concept, which is that the
more of one essence you possess, the more of the next higher essence you
will be able to produce. For this reason, the Taoists devised techniques for
not only transmuting one essence into another but also for increasing the
amount of each essence.
The process of transforming the san pao involves four stages. Wang Mu
enumerated them as follows:

1. Laying the foundations (zhuji);

2. Refining the ching to transmute it into qi (lianching huaqi);
3. Refining the qi to transmute it into shen (lianqi huashen);
4. Refining the shen to return to emptiness (lianshen huanxu).301

The first stage, laying the foundations, entails restoring the depleted ching, qi,
and shen until they reach a state of abundance. In particular, it is important
for the ching, or sexual essence, to be abundant and for the qi to be strong
and capable of circulating freely throughout the body. The foundational
practices referred to above and described more fully in chapters Three
through Eight of this book are essential prerequisites for the Taoist
alchemical practices presented below. Restoring the ching to the level
necessary for the transformation into qi is discussed later in this chapter.
Technically, Taoist alchemy begins with the second stage of cultivation. In
this stage, the sexual essence, or ching, is stimulated and transmuted in order
to augment the qi. In the third stage, the qi is refined and transmuted into
shen. In the fourth stage, the refined shen, known as the ching shen, is
returned to emptiness.
Each of the three alchemical stages (stages two through four) takes place in
one of the three dantien. The transformation of ching into qi takes place in
the lower dantien, which is associated with the Sacral Chakra. The
transformation of the qi into shen takes place in the middle dantien, which is
associated with the Heart Chakra. Finally, the transformation of shen into
emptiness occurs in the upper dantien, which is situated at the yintang
acupoint. This important energy point corresponds to the Third Eye, or Brow
Chakra. This point is also referred to as the “shen valley” and is the residence
of the revealed self. Figure 18-3 depicts the three dantien and their role in the
transformation of the san pao.
Figure 18-3
The material that follows will describe the Taoist techniques for each of these
three stages of spiritual development. The actual techniques presented in this
chapter have been culled from a number of sources, including those identified
above. In particular, these techniques have been simplified to make them
accessible to all individuals. The original Taoist methodology for practicing
these alchemical exercises involved special dietary restrictions, secret rituals,
Tantric-like sexual practices, and other monastic activities that would be
restrictive in today’s society.
In his commentary on The Jade Emperor’s Mind Seal Classic, Stuart Olson
wrote that, for modern Western practitioners, the more extreme Taoist
practices that entail ingesting herbs, abstaining from grains, and engaging in
esoteric sexual practices are not necessary. Rather, the same results can be
achieved through the process of meditation, which he refers to as the
“tranquility method.” This is the method that will be employed for each of
the four stages of Taoist alchemical transformation described in the
remainder of this chapter.
If one completes the three stages for transmuting the ching, qi, and shen,
one’s shen will come to reside in the shen valley and the Te will be revealed.
This is the state of self-awareness, which the yogic tradition refers to as
“cosmic consciousness.” Recall, however, that achieving self-awareness is
not the final goal of spiritual development. In order to achieve full
enlightenment, the Te must be merged with the Tao. This is the final Taoist
practice, which involves opening the Heaven’s Gate (baihui) located at the
top of the head. This energy gate corresponds to the Crown Chakra in the
yogic spiritual tradition.
Opening the Heaven’s Gate allows the Te to merge with the Tao. This results
in universal awareness, not only of the individual spiritual self but also of the
Tao. In the yogic tradition, this state of awareness is called “universal
consciousness.” The method for opening the Heaven’s Gate and merging the
Te with the Tao is a separate process and will be explained in the final section
of this chapter. Those who are able to reach this level of spiritual
development will have achieved the highest attainment of Taoist alchemy.
The practice of Taoist alchemy is long and involved. As stated previously,
there are no shortcuts on the path to enlightenment. The Taoist sages
developed specific waidan and neidan practices for completing each stage of
cultivation. These practices will be discussed in the sections that follow.
However, prior to discussing the individual stages of Taoist alchemy, one
additional practice needs to be introduced. This is the practice of the reversal
of kan and li, also known as the “reversal of fire and water.” This Taoist
practice is central to the alchemical practices employed by the Taoist for
refining and transmuting the three essences.

The Reversal of Kan and Li

In order to accomplish the task of transmuting the ching into qi, it is
necessary to have a strong and abundant reservoir of ching. However, as
Stuart Olson points out, simply cultivating the ching through waidan and
neidan practices is not enough. The ching must also build up pressure. When
the ching is pressurized, it will be able transform itself into qi. The question
then arises: “How can one pressurize the ching to the point where it can be
employed in the Taoist alchemical process of refining the ching qi?”
As it turns out, we can turn our lower dantien into a pressure cooker by
practicing a technique developed by the ancient Taoist adepts. This technique
is called “the reversal of kan and li.” The two Chinese characters, kan and li,
refer to the elements of water and fire respectively. In Chinese Traditional
Medicine, these elements are associated with the kidneys and the heart.
Anatomically, the kidneys are locate below the heart. This positions water
below fire, which is the natural placement of these two elements. This is
explained by the fact that the normal course, or direction, of water is to flow
downward. Conversely, the normal course of fire is to rise upward.
In his book, Muscle/Tendo Changing and Marrow/Brain Washing – The
Secret of Youth, Dr. Yang, Zwing-Ming presents an excerpt from a Taoist
document entitled, The Yi Gin Ching Training Secret. In that document, it is
written that the secret to elevating the shen is to place fire under water. If fire
is not constrained by water then it will fly away, and one’s efforts will come
to naught.302
As you know, water is considered to be yin whereas fire is held to be yang.
Water proceeds downward toward earth, whereas fire is directed upward
toward heaven. Through the neidan practice of focused meditation, we
employ the yi to control the natural divergence of water and fire by reversing
the normal placement of the elements of kan and li. Imagine an iron cauldron
containing water that has been placed over a fire. When fire is situated below
water, steam is generated. Normally, the steam generated by boiling water
simply rises into the air, where its energy is dissipated. However, if the steam
can be captured and contained within an enclosed space, then it will become
pressurized. This is the function of a pressure cooker. The pressurized steam
can then be used to heat up and cook the contents of the pot.
Figure 18-4
Figure 18-4, shown above, depicts an iron cauldron containing water that has
been placed over a flame. You can see the steam rising from the cauldron. In
this illustration, the image of the cauldron is surrounded by the eight trigrams
of the Bagua symbol. The trigram representing li, or fire, has been
intentionally located at the bottom of the Bagua symbol, with the trigram for
kan, or water, placed at the top of the symbol. The positions of these two
trigrams are reversed from their usual placement when drawing the Bagua
symbol. The image of the cauldron sitting above a fire inscribed within the
Bagua symbol represents the reversal of kan and li.
Cheng Man-ch’ing wrote in his Thirteen Treatises on Taijiquan that the
dantien can be likened to a stove. The heart is the fire that heats the stove,
and the water is placed in a pot on top of the stove. The fire heats the water
and the water helps control the fire.303 Professor Cheng wrote of this practice,
which he referred to as the “coupling of the heart and the kidney.” He
concluded with the warning that one cannot master the reversal of fire and
water in a short amount of time. More importantly, the reversal of fire and
water cannot be achieved through force. However, if one does succeed in
reversing fire and water, one will enjoy longevity and good health.304
The ancient Taoists learned how to replicate this situation internally by
intentionally leading the fire energy of the heart downward and drawing the
water energy of the kidneys upward. The yang fire energy of the heart was
then used to heat up the yin water energy of the kidneys in order to generate
pressurized ching. Recall that in order to boil water you need a cauldron.
Also, in order to pressurize the resulting steam you need a confined space.
Within the Taoist practice of the reversal of kan and li, the lower dantien
serves these dual purposes.
Stuart Olson included material from The Way of Immortals Tranquil Sitting
Classic in his book, The Jade Emperor’s Mind Seal Classic. Within the
Tranquil Sitting Classic is a chapter entitled, “The Three Treasures of
Immortality,” which explains the role of the reversal of kan and li in Taoist
alchemy. According to this classic, healthy blood, associated with the heart,
is transmuted into into ching. The ching, which resides in the kidneys, then
transmutes into qi, which dwells in the qihai (the ocean of qi in the lower
abdomen). The process of transmuting the ching into qi generates heat. The
qi then relies on this heat to transmute itself into shen. Finally, the shen
transmutes itself back to its primal condition, yuan shen.305
Sun Lutang alluded to the practice of reversing kan and li in his book, A
Study of Taijiquan. He referred to the reversal of fire and water as “inverse
movement.” He explained that this method inverts the positions of qian
(heaven) and kun (earth). The qi is purified until it reverts to its pre-heaven
state. In this way, the qi is transformed fills the dantien.306
The effectiveness of the practice of the reversal of kan and li depends upon
the proper balance of kan and li, of water and fire. This may be seen in the
analogy of the cauldron. If there is too much water in the cauldron, the fire
below will have difficulty heating it up. Similarly, if the fire is too weak, it
won’t have the strength to boil the water and convert it to steam. On the other
hand, if the fire is too strong or there is not enough water in the cauldron,
then the steam that will be produced will either be dissipated quickly or will
be too diffuse to provide any real power. So, not only must we engage in the
practice of the reversal of kan and li, we also must regulate kan and li so that
they are balanced.
In order to regulate the levels of kan and li, one must look to various lifestyle
factors, such as diet, exercise, rest, amount of sexual activity, stress levels,
etc. Because kan and li are expressions of the underlying qualities of yin and
yang, we need to be sure to balance our yin and yang internally. As already
stated, lifestyle factors play a significant role in the overall equilibrium of yin
and yang energy in our bodies. However, we can also engage in qigong and
taijiquan in order to balance yin and yang internally. Another way to balance
our yin and yang energy internally is to receive acupuncture treatments and/or
ingest herbal medicines to assist us in achieving the required balance between
yin and yang, kan and li.
The actual practice of reversing kan and li is accomplished by employing the
heart/mind (hsien) and the intent (yi) to reverse the fire and water energies in
the abdominal cavity. Dr. Yang, Zwing-Ming identifies the area where the
reversal of fire and water takes place as the “huangting cavity.” He wrote
that, in Taoist practices, the huangting is considered to be where the spirit
baby is conceived.307 The huangting cavity that Dr. Yang wrote about
encompasses the lower dantien. If the lower dantien can be expanded, it will
fill the huangting cavity. For this reason, if you concentrate on expanding the
lower dantien when practicing the reversal of kan and li, the results will be
the same as if you were focusing on the huangting. For all intents and
purposes, the fully expanded lower dantien, the huangting and the qihai are
the same. Accordingly, the remainder of this discussion will refer to the
lower dantien, or simply as the dantien, as the location where the ching is
refined into ching qi.
The technique of reversing kan and li can be practiced in either a seated or
standing posture, but should not be attempted lying down, as this will not
place fire directly under water. To begin, settle the body and calm the mind.
Perform ten deep, slow, relaxing abdominal breaths. Allow the mind to reside
in the lower dantien. Use the will and the intention to expand the dantien
until it reaches the size of a grapefruit. Again using the will and the intention,
fill the dantien by drawing in yin qi from the kidneys, which are associated
with the element of water.
Once you are able to expand the lower dantien and fill it with yin qi, you are
ready to reverse kan and li. This will require that you employ the Taoists
technique of reverse breathing that was introduced in Chapter Eight. As you
inhale, draw your diaphragm in toward your spine and then lift it up toward
your sternum. At the same time, imagine that you are pulling the water
energy of your kidneys upward. You can aid in the action of pulling up the
water energy by gently pulling up the perineum and the anus, as in the
previous exercises.
On the exhale, push your diaphragm out to the front and then down toward
your navel. As you exhale, visualize sending the fire energy of your heart
down toward the bottom of your abdominal cavity. The flow of your breath
on the inhalation and exhalation should follow an elliptical path, beginning at
the bottom of the abdominal cavity and rising up the back of the abdominal
cavity during the inhalation and then transecting the abdominal cavity at the
top before returning down the front of the abdominal cavity on the
exhalation. Figure 18-5 illustrates the reversal of kan and li in relation to the
heart and the perineum.
Figure 18-5
Each cycle of reverse breathing draws more kan into the dantien while, at the
same time, placing more li under the dantien. The exhalation also acts like a
bellows to fan the flames of the fire energy. As you continue with reverse
breathing, if your will is strong and your intent is focused, you will feel
pressure building up in the dantien. This is an indication that the qi is
becoming pressurized. At the beginning of your practice, try to continue this
reversal process for a minimum of five minutes. You should continue until
you feel the pressure build within the dantien.
If at any point you feel light-headed, you should pause the reverse breathing
and breathe normally until the light-headed sensation subsides. Also, if the
pressure within the dantien becomes too uncomfortable, revert to normal
abdominal breathing until the pressure diminishes somewhat. However, a
certain discomfort is to be expected at the beginning of your practice until
you become accustomed to the sensation of pressure in the abdominal cavity.
As an additional note of caution, it is important to be aware of the perineum
and the anus when engaging in reverse breathing. A small amount of pulling
up of the perineum and tightening of the anus are required in order to create
the bottom of the confined space needed to pressurize the qi in the dantien.
This confined space is delineated by the perineum and the anus at the bottom
of the abdominal cavity and the diaphragm at the top of the abdominal cavity.
However, if the lifting of the perineum and the tightening of the anus is taken
to extremes, it can lead to a hernia or hemorrhoids. One needs to be aware of
the need for a certain level of pulling up and tightening, but should not
exaggerate these actions. Also, it is important not to focus the attention on the
perineum or the anus, but to concentrate instead on the action of the fire
heating the water and the resulting “steam” which is the pressurized qi that
builds up in the dantien.
As you become more accustomed to reverse breathing and the placement of
fire below water in the dantien, you can increase both the duration of your
practice and also the amount of pressurized qi that you can contain in the
dantien. When you have reached the point where you can sustain the reversal
of kan and li for twenty minutes and feel that your pressurized qi has
expanded the dantien to fill the entire abdominal cavity, then you have
achieved the purpose of this exercise. You can then proceed to employ your
pressurized dantien in order to transmute your ching for the purpose of
refining and strengthening your qi.

Transmuting the Ching

The first stage in the Taoist alchemical process of creating the spirit baby is
to transmute the ching, or sexual essence, in order to strengthen the qi. The
purpose of this step is to both augment and refine the qi. The Taoists believed
that the amount of post-birth qi available to human beings through the normal
processes of consuming food and breathing air was insufficient for the task of
refining and elevating the shen. As stated above, they sought out methods for
increasing the qi through various external (waidan) and internal (neidan)
cultivation methods. These ancient Taoist sages borrowed techniques from
the Shaolin Buddhists as well. The techniques for stimulating the ching and
transmuting the ching into qi were documented in the Shii Soi Ching,
attributed to the Buddhist monk Da Mo.
The original Taoists and Buddhists who practiced the techniques for
stimulating the ching and transmuting it into qi believed that the ching
consisted of the sperm and seminal fluid in men and the unfertilized eggs and
vaginal secretions in women. The Shii Soi Ching does not address the process
of transmuting ching into qi for women. This is not a problem, however, as
the techniques described here apply to men and women equally.
The early Taoist and Buddhist practitioners did not have the knowledge
revealed to us by modern Western medicine. Medical science tells us that our
sexual essence is not based directly on our sexual fluids. Rather, our sexual
potential is regulated by hormones such as testosterone and estrogen. Sexual
fluids such as semen or vaginal secretions are merely the visual evidence of
our hormone levels. Rather than working at the gross level of the sexual
fluids, we can focus our practice on managing our hormone levels. This can
be accomplished through a variety of practices, including diet, exercise,
external stimulation, and focused meditation on the sexual organs.
There is one further, more subtle aspect of our sexuality. This occurs at the
ethereal level, that is to say, at the level of our energy body which is where
the chakras reside. At this subtle level, our sexuality is determined by the
vibrational frequency of our Root Chakra. In Taoist terms, this relates to the
amount of yang energy that is concentrated at the huiyin. The huiyin is
considered to be the meeting place of the yin meridians in TCM. By raising
the vibrational frequency of the Root Chakra (or moderating the amount of
yang energy in the yin meridians), we can alter our sexual essence and use it
to supplement our reserves of qi.
The Taoists and Buddhist believed that the more ching one had to work with,
the more qi the individual would be able to generate by transmuting the ching
to qi. They therefore sought to increase the amount of sperm and semen in
order to augment their ching. We know today that what we really want is to
increase our hormone levels if we want to increase our sexual energy. Studies
have shown that increasing testosterone levels in males, for example, results
in increased sperm counts. Raising the level of estrogen increases libido in
women. It is important for both men and women to be aware of their
hormonal levels. We want our hormone levels to be healthy so that we can
enjoy vigor and vitality as we age. However, hormone levels do decline
somewhat as we grow older. As such, it may not be appropriate for a sixty-
year-old man to strive for the testosterone level of an eighteen-year-old
youth.
In addition to aging however, there are many factors that may contribute to
low hormone levels in both men and women. These include poor diet,
insufficient exercise, lack of sufficient sleep, stress, alcohol and nicotine
consumption, and exposure to environmental toxins. By extension, it is
possible for both men and women to raise their hormone levels by improving
their diet, taking special supplements, increasing their level of exercise,
getting enough rest, reducing stress levels, eliminating alcohol and nicotine,
and avoiding environmental toxins. Although a discussion of nutritional
supplements is beyond the scope of this book, it is worth investigating this
topic for those individuals who wish to increase their hormone levels
naturally without resorting to pharmaceutical agents such as testosterone
creams or estrogen patches.
One method for increasing one’s hormone levels is external massage. The
Shii Soi Ching includes a number of specific techniques for stimulating the
testicles. For the sake of discretion, these specific techniques will not be
presented here. However, it is advisable for both men and women who want
to increase their hormone levels to include massage of the sexual organs as a
component of their training. Men should focus their efforts on the testicles
rather than the penis. Techniques for massaging the testicles can be found in
a number of different sources, including online and in Dr. Yang’s translation
of the Shii Soi Ching. Don’t become obsessed with this practice, however.
Five minutes per day should suffice.
For women, a variety of approaches are available for elevating and regulating
estrogen levels. These include consuming specific foods such as soy, seeds,
and nuts; taking natural dietary supplements; using aromatherapy; and
massaging of particular areas, such as the bottoms of the feet, the region of
the abdomen containing the ovaries, and the hands. Massaging with oils
infused with natural phytoestrogens, such as sage, coriander, and lavender,
also may help in elevating estrogen levels naturally. Because women have
more area to cover, they may engage in up to fifteen minutes of massage per
day, especially if they have a partner who can assist with massaging the feet
and the abdomen.
It is important for both men and women to exercise caution and common
sense when regulating their hormone levels. Be very wary of products that
promise rapid increases in either male or female hormone levels, or claim to
restore one’s sexuality to the level of an eighteen-year-old. Seek the advice of
your medical practitioner or a naturopath if you are at all unsure as to how to
proceed. However, diet, nutritional supplements (when used in moderation),
increased exercise (especially taijiquan and qigong), more sleep, reduction of
stress levels, the elimination of alcohol and nicotine, and especially daily
massage of the sexual organs will all serve to bring your hormone levels up
to a healthy level. These are all waidan methods.
It is also advisable to practice specialized meditation with the focus on the
sexual organs. This can be accomplished in several ways. One method, which
is appropriate for both men and women, is to focus on the Root Chakra (or
the huiyin). You can practice this meditation in either a seated or a standing
posture (lying down is not recommended for this type of meditation.)
To begin, allow yourself to settle into your preferred posture by taking ten
relaxing abdominal breaths. Next, focus your awareness on either the Root
Chakra or the huiyin. Switch to reverse breathing. On each inhale, gently pull
up the huiyin and the anus and hold them up without tension. Relax the huiyin
and the anus on the exhale. Note: Dr. Yang, Zwing-Ming cautions against
tensing the huiyin and the anus when performing this meditation technique.
One should hold them up using mental intention rather than through physical
force.308 You can use counting to help with the practice. Use an eight-count
for the inhalation as you lift up your perineum and anus. Hold for an eight-
count. Then exhale and relax for an eight-count. Begin with five minutes and
work up to as much as twenty minutes per day.
The meditation technique described in the preceding paragraph is effective
for both men and women. In addition, or as an alternative, men may choose
to focus their meditation directly on the testicles, and women may choose to
concentrate their awareness on the ovaries. The breathing technique is the
same as in the preceding exercise. However, the physical pulling up on the
huiyin and the anus is no longer the focus. Instead, men focus on mentally
squeezing the testicles, and women concentrate on sending healing energy
into the ovaries. These techniques require more mental concentration, or
focusing of the yi, than physically holding up the huiyin and the anus. Either
of the two forms of meditation, focusing on the huiyin and anus or focusing
on the sexual organs, will assist in regulating hormonal levels.
Most individuals can regulate their hormones through the natural practices
described above. In very rare cases, pharmaceutical agents may be required.
For most individuals, however, there is no need to engage in extreme or
exotic sexual practices in order to restore your hormone levels to those
appropriate for you age. You will know when your hormone levels begin to
normalize, as you will naturally feel more energy, more vigor, and greater
sexual desire. This is the point where men, in particular, must exercise
prudence. The Shii Soi Ching and other Taoist documents caution against
excessive ejaculation for men. For women, there is no such proscription.
The standard wisdom is that men should withhold ejaculation for one
hundred days. This will increase the amount of ching to the level required to
begin transmuting the ching into qi. Whether one chooses to believe that the
ching consists of the semen or, as modern science indicates, that the ching is
related to the sexual hormones, it makes sense to conserve the ching so that it
is available for conversion to qi.
Having built up a strong reserve of ching (that is to say, having restored your
hormones to healthy levels for your age), you can begin the process of
transforming your ching into qi. You should spend at least three months
enhancing your ching before attempting to transmute it into qi. As with all
the practices presented in this book, there is no benefit to be derived from
attempting the next stage of your development before you have established
the proper foundation. If you attempt to transmute your ching into qi before
establishing a sufficient reserve of ching, your efforts will be fruitless.
The transformation of ching into qi is accomplished through meditation and
is a neidan practice. This practice relies upon the reversal of kan and li that
was described in the preceding section of this chapter. The Taoists refer to the
ching as the “green dragon” and the qi as the “white tiger.” The
transformation of the ching into qi entails these two mythic beasts engaging
harmoniously within the field of the lower dantien in order to produce the
elixir of immortality.
Figure 18-6
It is essential that the practitioner be able to generate the required pressure in
the dantien in order to transmute the ching into qi. Without the appropriate
pressure, this alchemical process will not succeed. As with the preceding
meditation techniques, you can practice this meditation in either a seated or a
standing posture. To begin with, it is best to practice in a seated posture, as
this will enable you to relax and focus on the interaction between the huiyin
and the dantien.
As with other Taoist meditations, it is good to begin by settling into the
chosen posture and completing ten relaxing abdominal breaths. Once you feel
settled, begin the process of reverse breathing and gently hold up the
perineum and anus. As you hold up these two anatomical points, imagine
closing the huiyin cavity. This will prevent your ching and qi from escaping
downward. Then initiate the reversal of kan and li by leading the yin qi of the
kidneys up into the dantien and the yang qi of the heart down below the
dantien. Using the breath as a bellows, stoke up the fire under the water in the
cauldron of the dantien until you feel the pressure building up in the dantien.
You will know when you have generated sufficient pressure, as the dantien
will expand to fill the entire huangting cavity. You are now ready to proceed
with the alchemical process of transmuting the ching into qi.
As you continue with reverse breathing, imagine leading your ching from
your testicles or ovaries into the lower dantien. On the exhale, imagine
compressing your dantien in order to force your pressurized qi and your
ching to merge together. Continue to hold up the perineum and anus during
this process. Initially you may slightly tense your abdominal muscles to
create a feeling of compression. However, this abdominal tensing is not
required for the merging of the ching and the qi. As your yi becomes more
resolved, you can dispense with the abdominal contractions.
This type of meditation requires a high degree of concentrated focus. At first
you may only be able to maintain this degree of concentration for eight
breaths. After completing eight breaths, you can take a break. Try for three
short sessions of eight breaths each. Then try to extend for one longer session
of twenty-four breaths. To begin with, limit your practice to five minutes. As
you become more experienced, you can extend the time of your practice to
twenty minutes.
This specific meditation is not described in Dr. Zwing-Ming’s translation of
the Shii Soi Ching. However, Dr. Yang does comment on the underlying
Taoist theory that supports this technique. He explains that the huiyin cavity
is the place where the three main qi vessels, the Conception, Governing, and
Thrusting Vessels, connect and communicate with each other. This important
energy gate can be used to regulate the qi level in each of the three vessels.
Seminal fluid and sperm in males is considered a yang essence and is capable
of creating life when combined with the yin female procreative essence,
which is found in the eggs that are stored in a woman’s ovaries. For both men
and women, qi can be generated from these essences.309
This meditation technique is not easy to master and requires time to bring the
desired result to fruition. Ultimately, the yang energy of the ching and the yin
energy of the qi merge and create a super-heated, steam-like qi that expands
and fills the lower dantien. The Shii Soi Ching specifies a period of ten
months for this practice. According to the Taoist allegory, at this point the
spiritual baby has matured from an embryo into a fully-developed fetus. If
you are not comfortable imagining a spirit fetus, you can dispense with the
spirit baby allegory. Instead you may feel a heightened sense of pressurized
qi in the lower dantien, and you also may feel that the lower dantien has
expanded to encompass the entire abdominal cavity.
At this point, you will have completed the first of the three-stage Taoist
alchemical process described in the previous section of this chapter: you have
transmuted the ching into ching qi, which is a highly refined type of qi. You
are now ready to advance to the second stage, which is the transformation of
the qi into shen. This transformative process is described in the following
section.

Transmuting the Qi
Through the alchemical process of using the reversal of kan and li to
transmute the ching, the your qi should now abundant and energized. This is
the ching qi referred to in the preceding secion. For the sake of simplicity,
this ching qi will be referred to as “qi” the remaider of this discussion.
Having reached this level of self-cultivation, you are ready to undertake the
second stage of the alchemical process, which is to transmute the energized qi
in order to strengthen the shen. The process of transmuting the qi into shen
involves the yi, the breath, the qi, and the shen. Once again, you will employ
the technique of reverse breathing as the engine that drives the process.
However, this alchemical process now takes place in the middle dantien
rather than in the lower dantien. Refer to Figure 18-3 for the locations of the
three dantien. You will recall that the middle dantien is the site of the
transformation of qi into shen.
This practice is best undertaken in a seated position. Begin by settling into
your preferred seated posture. Take ten relaxing abdominal breaths and place
your awareness in the middle dantien. This practice requires absolute mental
tranquility and physical relaxation. You should only undertake this type of
meditation if you can achieve these two complementary states.
When you are settled in mind and body, initiate the process of reverse
breathing. As you inhale, draw your qi up from your lower dantien into your
middle dantien. The qi should travel up through the chongmai, or Thrusting
Channel, located in the center of the spine. As you exhale, direct your shen to
descend down the Thrusting Channel from your upper dantien into your
middle dantien. At the conclusion of each exhalation, allow the qi and the
shen to remain together within the middle dantien. This is the first step in the
process of transmuting the qi in order to refine the shen.
Once you are able to draw the qi up into the middle dantien on the inhalation
and draw the shen down into the middle dantien on the exhalation, then you
can proceed to the next stage of the process of refining the shen. In this
second, more advanced stage, you will use the inhalation of a reverse breath
both to draw the qi upward from the lower dantien and to direct the shen
downward from the upper dantien. In order for the two essences to travel
simultaneously using the same pathway, you need to understand that the
Thrusting Channel is actually divided into three sub-channels, as shown in
Figure 18-7.
Figure 18-7
You can think of the Thrusting Channel as a divided highway. You have one
lane travelling down on the left side of the body and another lane travelling
up on the right side of the body. Consider the middle sub-channel as the
highway’s median. On the inhalation, you draw the qi from the lower dantien
up the right side of the Thrusting Channel and into the middle dantien. At the
same time, you can direct the shen down from the upper dantien on the left
side of the Thrusting Channel and into the middle dantien. This will require
some mental experimentation on your part until you can coordinate the
upward and downward movements of the qi and the shen. Once you are able
to bring both essences into the middle dantien on a single inhalation, you are
ready to begin transmuting the qi in order to refine the shen.
The middle dantien now serves as the metaphorical cauldron in which the qi
and the shen are to be “cooked.” The pressure generated by the steam
contained within the lower dantien increases the vibratory frequency of the
qi, which enables the qi to merge with the shen. The middle dantien,
however, should not be heated in the manner used to heat the lower dantien.
In “The Three Treasures of Immortality” it is written that, to refine ching and
transmute it into qi, one should use heat. However, to refine qi and transmute
it into shen you should employ focused awareness, which is cooling.310 Stuart
Olson explains this by stating that, at the first stage of the alchemical process,
one must rely on heat generated in the lower dantien. However, once the
ching is transmuted into qi one needs to abandon heat and rely upon lightness
in order to reach the level of illumination in which the shen is transformed.311
Instead of using heat to combine the two essences of qi and shen, you must
use the power of your heart/mind and intention to accomplish this important
task. You may liken this alchemical transformation to the process of cold
fusion in the field of nuclear physics. Here you will use pressure rather than
heat to transform the combined qi and shen into a bright, shining shen, which
the Taoists referred to as “ming shen.” The “pressure” that is employed is the
concentrated effort of the yi to combine the refined qi that is produced by the
reversal of kan and li in the lower dantien with the shen that has been drawn
downward from the upper dantien. As a result of the practice of the reversal
of kan and li, your qi is now vibrating at a higher frequency, one that is more
compatible with the frequency of your shen. The exhalation is used to
compress these two essences together in order to refine the shen and make it
shine.
The original Taoist texts claimed that nine such breaths would result in the
condensation of one drop of the elixir of immortality. After nine reverse
breaths in which the qi and the shen are combined, you should direct the
concentrated drop of elixir downward toward the lower dantien via the
central channel of the Thrusting Channel. At first, you will need to imagine
this taking place. However, over time you will begin to sense something
dropping down to the huiyin. You may experience warmth, electricity,
tingling, or even a spark of light descending from the middle dantien to the
lower dantien.
As with the previous focused meditation techniques introduced in this and the
preceding chapters, you will want to start off slowly. Try for nine repetitions
and then imagine the drop of elixir descending down to the lower dantien.
Allow yourself to pause and relax the mind and then try for nine more
repetitions. Try to work up to nine nines (i.e. eighty-one repetitions) in a
single meditation session. This will produce nine drops of elixir in the lower
dantien, which is a significant accomplishment.
At the conclusion of each meditation session, you should direct your
energized shen upward via the Thrusting Channel to its residence in the shen
valley, located at the yin tang point, which is the seat of the Third Eye
Chakra. As you practice daily, you will gradually feel an increase in the
power of you shen. Your mind will become clearer, and your ability to focus
upon a single idea or concept will improve. Your awareness of you inner
being will become more discerning, and your perception of your external
environment will become clearer as the subtle energies that surround you
become apparent. You will find yourself relying more and more upon your
shen to lead the movements of the taijiquan form, and the form will seem
effortless to you. You need merely to will it and each posture of the form will
occur spontaneously.
The ancient Taoist texts state that one hundred days of this practice should be
sufficient to create enough elixir in order to elevate the practitioner to the
level of an Immortal. Obviously, this timeline is allegorical rather than literal.
However, it is true that the practice builds one day upon the next, and the
shen becomes stronger and more refined with regular and continued practice.
The accumulation of the elixir of immortality at the lower dantien is
important. Drop by drop, over time the quantity of the elixir will increase
until it begins to fill up the lower dantien. At some point, the lower dantien
will begin to expand and feel as though it is vibrating and rumbling like
distant thunder. You may sense that your lower dantien is filled with light or
energy. You may even feel like a bright light is shining from your navel. This
is the equivalent of the fully-developed spirit fetus which is referred to in the
Taoist texts. Until you feel the actual accumulation of the elixir building up in
the lower dantien, you should continue with this stage of self-cultivation and
not attempt to proceed to the third stage, which is to elevate the shen in order
to reveal the Te.

Refining the Shen

When the shen is stimulated and abundant, your martial spirit is full and your
eyes are bright. The chapter entitled “The Three Treasures of Immortality”
from The Way of the Immortals Tranquil Sitting Classic, explains that the
eyes express the shen “like a burning beacon.”312 Your martial skill is related
to your martial spirit, just as your health is related to your spirit of vitality.
Having reached this stage of self-cultivation, you may not feel the need to
continue further. However, you have just begun to open the gate to the
miraculous. If you continue onto the next stage of Taoist alchemy, you will
be able to fully open the gate and enter into a spiritual realm unknown to
most individuals. Who would not want to take the next step and experience
the wonders of spiritual awakening?
Just as it is necessary to stimulate and vibrate the ching in order to transform
the ching into qi, we have seen that it is also necessary to stimulate and
vibrate the qi in order to transform the qi into shen. These transformations are
accomplished via the mechanism of focused meditation. We can also employ
focused meditation in order to increase the vibrational frequency of the shen
for the purpose of revealing the self and reaching the state of natural
awareness, or cosmic consciousness.
The alchemical method that was employed by the ancient Taoists to
accomplish this is to utilize the elixir that has been concentrated in the lower
dantien. When sufficient elixir has been accumulated, it can then be directed
by the yi to rise upward via the Thrusting Channel to reach the upper dantien.
There the elixir can be combined with the shen in order to raise the
vibrational frequency of the shen. The elixir nourishes the shen and causes it
to attain the clarity and denseness of a diamond. The Taoists referred to this
diamond-like shen as the “ling shen,” or the shen of immortality. This
process is referred to as “refining the shen.”
The focused meditation practice for directing the elixir upward through the
Thrusting Channel will take place almost automatically once the elixir has
completely filled the lower dantien. Once you feel you are ready to allow the
elixir to ascend the Thrusting Channel, you simply enter into a meditative
state following the instructions presented above in the previous focused
meditation exercises. As you begin the process of reverse breathing, you
focus your awareness on the dantien. After a few minutes of sitting, the
dantien should begin to vibrate. If the dantien does not vibrate on its own, do
not try to force it to vibrate. This may actually damage the elixir and will
certainly not produce the desired result. If the dantien does not vibrate of its
own accord, then you are not yet ready to proceed to this stage. You should
continue with the practice of transmuting the qi in order to produce more
elixir.
Once you feel the dantien vibrating (or shining brightly, pulsing, etc.), you
will need to employ your yi to open up the gate at the bottom of the Thrusting
Channel, which is located at the huiyin point. Use your inhalation to draw the
elixir upward via the Thrusting Channel and allow it to rise up all the way to
the upper dantien. If the elixir is strong enough, simply opening the gate at
the huiyin will be sufficient. The elixir should rise up of its own accord. The
Taoists say that the “fire will ascend.” The “thrusting up” of the elixir is
where the Thrusting Channel gets its name. On each inhalation, allow as
much elixir to rise up as feels natural. On each exhalation, focus your
awareness on the Third Eye Chakra. Imagine using the elixir to feed the shen.
This is analogous to feeding a new-born baby from a bottle. With each
complete cycle of inhalation and exhalation, you are nourishing and further
refining the shen.
As you continue to nourish and refine the shen, you will begin to experience
a change in the nature of your shen, that is to say a change in the nature of
your consciousness. Your shen will transform from ming shen (or bright
spirit) into ling shen (or immortal spirit). This may take anywhere from
several months to several years, depending upon the intensity of your
training.
As the ming shen evolves into ling shen, you may see flashes of bright light,
notice colors dancing before the closed eyelids, experience warmth or
tingling at the yintang point, have vivid visions, or even feel as though you
are traveling outside of your body. These experiences are common to all
meditators. They should neither be encouraged nor suppressed. There is one
experience, however, that will occur as you approach the first stage of
enlightenment. This is documented in The Jade Emperor’s Mind Seal
Classic, which states that the “seven apertures,” including the eyes, will
radiate an inner light.313
Stuart Olson commented upon this statement in his translation of this Taoist
classic. He explained that the seven apertures are the two eyes, the two ears,
the two nostrils, and the mouth. These are the sources of sensory input.
Together with the skin, which is not specifically included but can be
considered to be a sensory organ, the seven apertures give rise to the senses
of sight, sound, smell, taste, and touch. Buddhist and Taoist doctrines alike
teach that senses are illusory and obscure the true nature of reality. These
same sensory organs give rise to attachments, which deter us from the path of
wisdom.
When our ling shen becomes activated, we are able to perceive the illusory
nature of our sensory organs. With this realization, we are able to break free
of the limitations of our sensory organs. Instead, all our sensory organs
function as one and together they emit “wisdom light.” You will also begin to
feel as if you are emitting wisdom light from your inner eye, located behind
the yintang acupoint. The Taoists referred to this inner eye as the “Golden
Court.” It is said that together the sacred sun and the sacred moon illuminate
the Golden Court.314 The sacred sun and sacred moon refer to the right and
left eyes.

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

Merging the Te with the Tao

The preceding two sections described the methods for achieving self-
awareness through the transformation of the ming shen into ling shen and
then shining the wisdom light in order to reveal the Te. When the innate
spiritual self is revealed, one is said to have attained enlightenment. This is a
very high-level spiritual accomplishment. However, as stated at the beginning
of this chapter, there are multiple levels of enlightenment. The first level,
which occurs when one becomes self-aware, is the state of cosmic
consciousness. In this state the delusions created by the senses interacting
with the normal mind have been dispelled and one’s true nature has been
revealed.
In the state of cosmic consciousness, however, duality still remains. Duality
persists because the individual Te and the Tao are perceived as separate. In
traditional Taoist terminology, the practitioner is aware of the Tao, but has
not merged with the Tao. The final stage of Taoist alchemy is to merge the Te
with the Tao in order to reach the enlightenment of universal consciousness.
Attaining the state of universal consciousness is the final stage of the Taoist
alchemical process. In some spiritual traditions, this state of consciousness is
called “god consciousness.”
The focused meditation technique for merging the Te with the Tao (the word
“technique” is used here only for a lack of a more suitable description)
involves opening the niwan acupoint at the top of the head. This is the site of
the baihui energy gate, or Heaven’s Gate. This energy gate corresponds to the
Crown Chakra in the yogic spiritual tradition. The description of the
technique is straightforward, but its practice is profound. The success of this
technique absolutely depends upon the practitioner’s level of spiritual
development and also the strength of the practitioner’s intention. The only
qualities required for this practice are purity of heart and tranquility of mind.
If one is pure of heart and calm of mind, merging the Te with the Tao will be
a natural process.316
To initiate this meditation, one simply sits in tranquility and initially allows
the awareness to focus on the Te. This awareness should involve no effort, as
the Te should already be shining brightly, seated upon its throne in the
Golden Court. With nothing more than purity of heart and tranquility of
mind, the practitioner employs the hsien (heart/mind) to lead the ling shen
from the shen valley up to the Heaven’s Gate. As the ling shen knocks on the
Heaven’s Gate, the practitioner may feel a gentle pressure building up
underneath the top of the skull. Since the Te is now shining with wisdom
light, the practitioner may also feel as though a light is shining straight
upward from the Crown Chakra.
Again using nothing more than purity of heart and tranquility of mind, the
practitioner wills the baihui to open. When the Heaven’s Gate opens, the
practitioner will feel a release of the pent up pressure and may feel energy
flooding in from outside the body. The practitioner may also feel that the
inner wisdom light now shines even more brightly and projects upward
toward infinity. This is the meeting point between the Te and the Tao. It is as
if two old friends, separated for many years, have finally reunited. In Chapter
21 of the Tao Te Ching, Lao Tzu stated that, upon achieving this union, the
practitioner will experience a state of complete understanding and spiritual
omniscience.317
Sitting in tranquility, the practitioner may enjoy this state of universal
awareness for as long as is desired. However, unless the practitioner elects to
leave the body, at some point it will be necessary to open the eyes and return
to daily activity. At first, the overwhelming experience of connection
between the Te and the Tao may diminish upon opening the eyes. However,
with repeated sessions of tranquil sitting and allowing the Te to merge with
the Tao, the experience will persist into non-meditative activity.
In the yogic tradition, this process of becoming accustomed to universal
consciousness is likened to the dying of cotton cloth using a traditional
vegetable dye. When the white cloth is first immersed in the yellow dye, the
cloth turns yellow. The cloth is then removed from the dye mixture and
allowed to dry in the sun. As the cloth dries, most of the yellow color fades.
However, a little remains embedded in the fibers of the cloth. With repeated
immersions and dryings, more and more of the yellow color remains.
Eventually the cloth retains its vibrant color no matter how much it is
exposed to the sun.
Similarly, the practitioner will need to return to tranquil sitting on a regular
basis in order for the experience of universal consciousness to persist outside
of meditation. At some point, the state of universal consciousness, of being
one with the Tao, will become permanent. This is the state of true spiritual
enlightenment, where the practitioner has become an enlightened being and
no longer needs to practice Taoist alchemy. Having attained this state of
universal consciousness through meditation, the practitioner experiences this
connection to the Tao no matter what activity requires attending to, be it
working, eating, sleeping or simply sitting in tranquility and doing nothing.

Conclusion
This chapter has presented the process for completing the Taoist alchemical
practice of cultivating and transmuting the san pao in order to achieve
enlightenment. Although the practice of taijiquan was not mentioned in this
chapter, the practice of Taoist alchemy is nonetheless central to the ultimate
goal of taijiquan, which is that of martial mastery combined with civil
cultivation. The martial mastery of the art of taijiquan relies upon intrinsic
energy, or jin, rather than hard, physical force, or li. The development of jin
in particular, as well as other high-level martial skills, is enhanced through
the cultivation of the ching and the qi. The highest level of martial skill, the
ability to control the opponent through force of will alone, results from the
refinement and strengthening of the martial spirit, or shen. As the shen
evolves from ching shen into ming shen and finally into ling shen, the martial
spirit of the practitioner also evolves. The fabled martial abilities of the past
taijiquan masters were surely based upon their highly evolved shen.
As impressive as the martial accomplishments of the past masters were, their
true achievement was that of spiritual development. It is not certain that the
past masters attained enlightenment, but the verified accounts of masters such
as Sun Lutang and Yang Jianhou, both of whom were able to determine the
time and place of their death, indicate a very high level of spiritual
cultivation. Through the practice of Taoist alchemy and tranquil sitting, we
have the tools available to achieve the same level of spiritual development.
The path may seem long and arduous, but with discipline and diligence, the
goal of enlightenment is within the reach of all sincere taijiquan practitioners.
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 Notes
[←1]
Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 8
[←2]
Ibid, page 12
[←3]
Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan: The Source of Taiji Boxing,
pages 18 - 20
[←4]
Cultivating the Qi, Volume One, translated by Stuart Alve Olson, page 58
[←5]
Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, pages 57 - 58
[←6]
Douglas Wile, Lost T'ai-chi Classics from the Late Qing Dynasty, page 145
[←7]
Fu Zongwen, Mastering Taijiquan, translated by Louis Swaim, page 12
[←8]
Wolfe Lowenthal, Gateway to the Miraculous, page 61
[←9]
Fu Zongwen, Mastering Taijiquan, translated by Louis Swaim, page 12
[←10]
Peter M. Wayne, PhD, The Harvard Medical School Guide to Tai Chi
[←11]
T'ai-chi Touchstones: Yang Family Secret Transmissions, translated by Douglas Wile, page 149
[←12]
Ibid, page 31
[←13]
Waysun Liao, Taiji Classics, page 95
[←14]
Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 212.
[←15]
Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 9
[←16]
Cheng Man Ch’ing, Cheng Tzu's Thirteen Treatises on Taijiquan, Translated by Benjamin Pang
Jeng Lo and Martin Inn, page 23
[←17]
Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 57
[←18]
 Wu Ying-hua and Ma Yueh-liang, Wu Style TaiChiChuan – Forms, Concepts and Applications
of the Original Style, page 1
[←19]
Yang Chenfu, The Essence and Application of Taijiquan, translated by Louis Swaim, page 10
[←20]
Waysun Liao, Taijiquan Classics, page 95
[←21]
Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan: The Source of Taiji Boxing,
page 152
[←22]
Wolfe Lowenthal, There Are No Secrets - Professor Cheng Man-qing and his Taiji Chuan, page
137
[←23]
Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 53
[←24]
Lao Tzu, Tao Teh Ching, translated by John Legge, Sacred Books of the East, vol. 39, publ. 1891
[←25]
Ibid
[←26]
Ibid
[←27]
Ibid
[←28]
Ibid
[←29]
Cheng Man Ch'ing, Cheng Tzu's Thirteen Treatises on T'ai Chi Ch'uan, translated by Benjamin
Pang Jeng Lo and Martin Inn, page 8
[←30]
Chen Zhenglei, Chen’s Taiji for Health and Wellness page 8
[←31]
T'ai-chi Touchstones: Yang Family Secret Transmissions, translated by Douglas Wile, page 3
[←32]
Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan: The Source of Taiji Boxing,
page 83
[←33]
Chen Zhenglei, Chen’s Taichi for Health and Wellness, page 21
[←34]
Chen Kung, Cultivating the Ch'i, Volume One, translated by Stuart Alve Olson, page 141
[←35]
Ibid, page 150
[←36]
Cheng Man Ch'ing, Cheng Tzu's Thirteen Treatises on T'ai Chi Ch'uan, page 30
[←37]
Chen Zhenglei, Chen’s Taichi for Health and Wellness, page 2
[←38]
Ibid, page 38
[←39]
Ibid, page 37
[←40]
Chen Kung, Cultivating the Qi, Volume One, translated by Stuart Alve Olson, page 42
[←41]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 45
[←42]
T'ai-chi Touchstones: Yang Family Secret Transmissions, translated by Douglas Wile, page 12
[←43]
Dr. Yang, Zwing-Ming, The Essence of Taiji Qigong, page 51
[←44]
Cheng Man Qing, Cheng Tzu's Thirteen Treatises on Taijiquan, page 42
[←45]
Dr. Yang, Jwing-ming, The Essence of Taiji Qigong, page 31
[←46]
Chen Kung, Cultivating the Qi, Volume One, translated by Stuart Alve Olson, page 69
[←47]
Douglas Wile, T'ai-chi Touchstones: Yang Family Secret Transmissions, page 132
[←48]
Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 11
[←49]
Fu Zongwen, Mastering Taijiquan, translated by Louis Swaim, page 16
[←50]
Wolfe Lowenthal, There Are No Secrets, page 54
[←51]
Ibid
[←52]
Ibid, page 56
[←53]
Ibid, page 55
[←54]
Chen Zhenglei, Chen’s Taichi for Health and Wellness, pages 8 - 10
[←55]
 Ibid, page 8
[←56]
Ibid, page 9
[←57]
Ibid, page 9
[←58]
Ibid, page 9
[←59]
Ibid, page 10
[←60]
Ibid
[←61]
Gu Liuxin, Chen Style Taijiquan, page 6
[←62]
Waysun Liao, T’ai Chi Classics, page 99
[←63]
Ibid, page 120
[←64]
Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan, page 73
[←65]
Ibid, page 14
[←66]
Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 16
[←67]
Ibid, page 17
[←68]
Wolfe Lowenthal, There Are No Secrets, page 97
[←69]
Ibid
[←70]
Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 18
[←71]
Lo/Inn/Amacker/Foe, The Essence of Taijiquan, page 57
[←72]
Ibid, page 19
[←73]
Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 18
[←74]
Waysun Liao, Taijiquan Classics, pages 109 - 110
[←75]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 44
[←76]
Ibid, page 46
[←77]
Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 18
[←78]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 20
[←79]
Ibid, page 25
[←80]
Fu Zhongwen, Mastering Taijiquan, page 19
[←81]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 45
[←82]
Douglas Wile, Lost T'ai-chi Classics from the Lage Qing Dynasty, page 51
[←83]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 54
[←84]
Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 19
[←85]
Cheng Man Qing, Cheng Tzu's Thirteen Treatises on Taijiquan, translated by Benjamin Lo, page
88
[←86]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 44
[←87]
Ibid, page 38
[←88]
Cheng Man Qing, Cheng Tzu's Thirteen Treatises on Taijiquan, translated by Benjamin Lo, page
90
[←89]
Ibid, page 92
[←90]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 32
[←91]
Ibid, page 55
[←92]
Wu Ying-hua and Ma Yueh-liang, Wu Style Taijiquan – Forms, Concepts and Applications of
the Original Style, page 13
[←93]
Ibid, pages 15 - 16
[←94]
Ibid, pages 17 - 19
[←95]
Ibid, page 58
[←96]
Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 57
[←97]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 21
[←98]
Ibid, page 21
[←99]
Ibid, page 22
[←100]
Ibid, page 31
[←101]
Ibid, page 53
[←102]
Ibid, page 50
[←103]
Ibid, page 53
[←104]
Ibid, page 53
[←105]
Ibid, page 56
[←106]
Ibid, page 59
[←107]
Wang Peisheng and Zeng Weiqi, Wu Style Taijiquan, page 6
[←108]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 65
[←109]
Wang Peisheng and Zeng Weiqi, Wu Style Taijiquan, page 6
[←110]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 38
[←111]
Douglas Wile, T'ai-chi Touchstones: Yang Family Secret Transmissions, page 110
[←112]
 Dr. Yang, Jwing-Ming, Advanced Tai Ch Chuan, page 238
[←113]
Ibid
[←114]
Douglas Wile, T'ai-chi Touchstones: Yang Family Secret Transmissions, page 149
[←115]
Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan: The Source of Taiji Boxing,
page 136
[←116]
Fu Zhongwen, Mastering Yang Style Taijiquan, translated by Louis Swaim, page 12
[←117]
Ibid, page 13
[←118]
Stuart Alve Olson, The Intrinsic Energies of Taijiquan, page 133
[←119]
Wang Peisheng and Zeng Weiqi, Wu Stule Taijiquan, page 6
[←120]
Ibid, page 6
[←121]
Wu Ying-hua and Ma Yueh-liang, Wu Style Taijiquan – Forms, Concepts and Application of the
Original Style, page 25
[←122]
Wang Peisheng and Zeng Weiqi, Wu Style Taijiquan, page 3
[←123]
Wu Ying-hua and Ma Yueh-liang, Wu Style Taijiquan – Forms, Concepts and Application of the
Original Style, page 83
[←124]
Ibid, page 45
[←125]
Ibid, page 68
[←126]
Ibid, page 136
[←127]
Ibid, page 81
[←128]
Ibid, page 93
[←129]
Ibid, page 91
[←130]
Ibid, page 93
[←131]
Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 92
[←132]
Ibid, page 83
[←133]
Ibid, page 83
[←134]
Ibid, page 90
[←135]
Ibid, page 69
[←136]
Ibid, page 72
[←137]
Ping-Siang Tao, Taiji Push Hands – The Secret of Qi in Taiji Quan, page 176
[←138]
Davidine Siaw-Voon Sim and David Gaffney, Chen Style Taijiquan – The Source of Taiji
Boxing, page 73
[←139]
Chen Zhenglei, Chen’s Taiji for Health and Wellness, page 58
[←140]
Ibid, page 59
[←141]
Ibid, page 60
[←142]
Ibid, page 62
[←143]
Ibid, page 67
[←144]
Ibid, pages 22 - 23
[←145]
Ibid, page 74
[←146]
Ibid, page 75
[←147]
Ibid
[←148]
Wu Ying-hua and Ma Yueh-liang, Wu Style Taijiquan – Forms, Concepts and Applications of
the Original Style, page 13
[←149]
 Stuart Alve Olson, The Intrinsic Energies of Taijiquan
[←150]
Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page xvii
[←151]
Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 23
[←152]
Cheng Man Qing, Cheng Tzu’s Thirteen Treatises on T’ai Chi Ch’uan, translated by Benjamin
Pang Jeng Lo and Martin Inn, page 25
[←153]
Cheng Man Qing, Cheng Tzu’s Thirteen Treatises on T’ai Chi Ch’uan, page 44
[←154]
Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 95
[←155]
Ibid, page 30
[←156]
Dr. Yang Jwing-Ming, Advanced Tai Chi Chuan, Volme One, page 74
[←157]
Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 25
[←158]
Lo/Inn/Amacker/Foe, The Essence of T’ai Chi Ch’uan, page 76
[←159]
Douglas Wile, T’ai-chi Touchstones: Yang Family Secret Transmission, page 103
[←160]
Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page
128
[←161]
Ibid, page 41
[←162]
Douglas Wile, Lost T’ai-chi Classics from the Late Qing Dynasty, page 67
[←163]
Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 46
[←164]
Douglas Wile, Lost T’ai-chi Classics from the Late Qing Dynasty, page 66
[←165]
Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 52
[←166]
Ibid, page 53
[←167]
Ibid, page 71
[←168]
Ibid, page 81
[←169]
Ibid, page 84
[←170]
Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olso, page 60
[←171]
Lo/Inn/Amacker/Foe, The Essence of T’ai Chi Ch’uan, pages 33 and 34
[←172]
Douglas Wile, Lost T’ai-chi Classics of the Late Qing Dynasty, page 45
[←173]
Lo/Inn/Amacker/Foe, The Essence of T’ai Chi Ch’uan, page 38
[←174]
Douglas Wile, Lost T’ai-chi Classics from the Late Qing Dynasty, pages 56-57
[←175]
Ping-Siang Tao, Taiji Push Hands – The Secret of Qi in Taijiquan, page 172
[←176]
Chen Kung, The Intrinsic Energies of T’ai Chi Ch’uan, translated by Stuart Alve Olson, page 71
[←177]
Ibid, page 73
[←178]
Wile, page 51
[←179]
Yang Zwing-Ming, Advanced Tai Chi Chuan, page 167
[←180]
Fu Zhongwen, Mastering Taijiquan, translated by Louis Swaim, page 7
[←181]
Waysun Liao, Taiji Classics, page 116
[←182]
Dr. Yang Zwing-Ming, Advanced Tai Chi Chuan, page 239
[←183]
Ibid, page 241
[←184]
Waysun Liao, page 89
[←185]
Douglas Wile, page 70
[←186]
Ibid, page 117
[←187]
 Chen Kung, page 96
[←188]
Yang Zwing-ming, page 240
[←189]
Chen Kung, The Intrinsic Energies of Taijiquan, translated by Stuart Alve Olson, page 87
[←190]
Ibid, page 88
[←191]
Yang Zwing-Ming, Advanced Tai Chi Chuan, page 130
[←192]
Chen Kung, The Intrinsic Energies of Taijiquan, translated by Stuart Alve Olson, page 172
[←193]
Dr. Yang Jwing-Ming, Taiji Jin Na, The Seizing Art of Taijiquan, page 21
[←194]
Chen Kung, The Intrinsic Energies of Taijiquan, translated by Stuart Alve Olson, page 41
[←195]
Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 111
[←196]
Ibid, page 103
[←197]
Martin Broedicker, Tai Chi Chuan in the History of Chinese Martial Arts, page 2
[←198]
Feng Zhiquan & Feng Dabiao, Chen Style Taijiquan, page 20
[←199]
Ibid, page 21
[←200]
Ibid, page 26
[←201]
Ibid, page 83
[←202]
Yang Chengfu, The Essence and Applications of Taijiquan, translated by Tim Cartmell, page 23
[←203]
Ibid, page 25
[←204]
Ibid, page 26
[←205]
Ibid
[←206]
Ibid, page 28
[←207]
Dr. Yang, Zwing-ming, Tai Chi Secrets of the Wu Style, pages 78 - 80
[←208]
Wang Peisheng and Zheng Weiqi, Wu Style Taijiquan, page 7
[←209]
Ibid, page 62
[←210]
Wu Ying-hua and Ma Yueh-liang, Wu Style Taichichuan – Forms, Concepts and Applications of
the Original Style, page 140
[←211]
Sun Lu-tang, A Study of Taijiquan, translated by Tim Cartmell, page 57
[←212]
Ibid, page 92
[←213]
Ibid
[←214]
Dr. Yang, Zwing-Ming, Advanced Yang Style Tai Chi Chuan, Volume One, page 19
[←215]
Lo/Inn/Amacker/Foe, The Essence of T’ai Chi Ch’uan – The Literary Tradition, page 64
[←216]
Dr. Yang Jwing-Ming, Advanced Yang Sty;e Tai Chi Chuan – Volume One, page 5
[←217]
Petra and Toyo Kobayashi, Classical T’ai Chi Sword, page 13
[←218]
Wu Ying-hua and Ma Yueh-liang, Wu Style Taichichuan – Forms, Concepts and Applications of
the Original Style, page 3
[←219]
Petra and Toyo Kobayashi, Classical T’ai Chi Sword, page 69
[←220]
Chen Weiming, Taiji Sword and Other Writings, translated by Barbara Davis, page 13
[←221]
Lo, Inn, Amacker, Foe, The Essence of T’ai Chi Ch’uan – The Literary Tradition, page 34
[←222]
Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton Vol. 4, page 2
[←223]
Huang Yuan-xiou, The Major Methods of Wudang Sword, translated by Dr. Lu Mei-hui, page 75
[←224]
Zhang Yun, The Art of Chinese Swordsmanship – A Manual of Taiji Jian, page 51
[←225]
 Ibid, page 10
[←226]
Zhang Yun, The Art of Chines Swordsmanship – A Manual of Taiji Jian, page 55
[←227]
Huang Yuan-xiou, The Major Methods of Wudang Sword, translated by Dr. Lu Mei-hui, page xix
[←228]
Zhang Yun, The Art of Chines Swordsmanship – A Manual of Taiji Jian, pages 28 - 32
[←229]
Petra and Toyo Kobayashi, Classical T’ai Chi Sword, page 28
[←230]
Huang Yuan-xiou, The Major Methods of Wudang Sword, translated by Dr. Lu Mei-hui, page 10
[←231]
Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton Vol. 4, page 21
[←232]
Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton Vol. 4, page 14
[←233]
Dr. Yang Zwing-ming, Taiji Sword, Classical Yang Style, page 85
[←234]
Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton Vol. 4., page 17
[←235]
Dr. Yang Zwing-ming, Taiji Sword, Classical Yang Style, page 88
[←236]
Ibid, page 89
[←237]
Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page xii
[←238]
Ibid, page 22
[←239]
Ibid, page 186
[←240]
https://brennantranslation.wordpress.com/2014/01/17/yang-style-taiji-saber-according-to-fu-
zhongwen/
[←241]
Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page 185
[←242]
Ibid, pages 48-49
[←243]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 21
[←244]
 Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page 38
[←245]
Ibid, page 38
[←246]
Ibid, page 41
[←247]
Ibid, page 64
[←248]
Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page 39
[←249]
Xie Zhikui, Chinese Single Broadsword – A Primer of Basic Skills and Performance Routines
for Practitioners, page 3
[←250]
Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton, page 168
[←251]
Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page 372
[←252]
Ibid, page 217
[←253]
Ibid, page 219
[←254]
Cai Longyun, Taiji Saber, translated by Paul Brennan,
https://brennantranslation.wordpress.com/2014/01/17/yang-style-taiji-saber-according-to-fu-
zhongwen/
[←255]
Zhang Yun, The Compete Taiji Dao: The Art of the Chinese Saber, page 235
[←256]
Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton, page 179
[←257]
Zhang Yun, The Complete Taiji Dao: The Art of the Chinese Saber, page 115
[←258]
Chen Zhenglei, Chen’s Taichi Sword, Saber & Baton, page 169
[←259]
Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 16
[←260]
Jou, Tsung Hwa, The Tao of Tai-Chi Chuan – Way to Rejuvenation, page 45
[←261]
Yang Chengfu, The Essence and Applications of Taijiquan, translated by Louis Swaim, page 9
[←262]
Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 53
[←263]
Ibid
[←264]
Fu Zhongwen, Mastering Yang Style Taijiquan, translated by Louis Swaim, page 191
[←265]
Waysun Liao, Taiji Classics, page 88
[←266]
Ibid, page 100
[←267]
Ibid
[←268]
Ibid, page 110
[←269]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 44
[←270]
Ibid, page 81
[←271]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan, page 83
[←272]
Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, page 72
[←273]
Lo, Inn, Amacker, Foe, The Essence of Taijiquan – The Literary Tradition, page 49
[←274]
Ibid, page 47
[←275]
Ibid, page 53
[←276]
Yang, Zwing-Ming, Muscle/Tendon Changing and Marrow/Brain Washing Chi Kung – The
Secret of Youth, page 99
[←277]
Ibid, page 102
[←278]
Ibid, page 194
[←279]
Ibid, page 251
[←280]
Stuart Alve Olson, The Emperor’s Mind Seal Classic – The Taoist Guide to Healthy, Longevity,
and Immortality, page 155
[←281]
 Wang Mu, Foundations of Internal Alchemy – The Taoist Practice of Neidan, translated by
Fabrizio Pregadio, page 15
[←282]
Stuart Alve Olson, The Emperor’s Mind Seal Classic – The Taoist Guide to Healthy, Longevity,
and Immortality, page 143
[←283]
Ibid
[←284]
Ibid, pages 122 - 123
[←285]
Yang, Zwing-Ming, Muscle/Tendon Changing and Marrow/Brain Washing Chi Kung – The
Secret of Youth, page 138
[←286]
Stuart Alve Olson, The Jade Emperor’s Mind Seal Classic – The Taoist Guide to Health,
Longevity, and Immortality, page 160
[←287]
Ibid, page 159
[←288]
Wang Mu, Foundations of Internal Alchemy – The Taoist Practice of Neidan, translated by
Fabrizio Pregadio, page 19
[←289]
Stuart Alve Olson, The Jade Emperor’s Mind Seal Classic – The Taoist Guide to Health,
Longevity, and Immortality, page 167
[←290]
Wang Mu, Foundations of Internal Alchemy – The Taoist Practice of Neidan, translated by
Fabrizio Pregadio, page 15
[←291]
Waysun Liao, Tao: The Way of God, page 168
[←292]
Ibid
[←293]
Dr. Yang, Zwing-Ming, Muscle/Tendon Changing and Marrow/Brain Washing Chi Kung – The
Secret of Youth, page 76
[←294]
Ibid, page 83
[←295]
Stuart Alve Olson, The Jade Emperor’s Mind Seal Classic – The Taoist Guide to Health,
Longevity and Immortality, page 127
[←296]
Ibid, page 143
[←297]
 Ibid, page 18
[←298]
Wang Mu, Foundations of Internal Alchemy – The Taoist Practice of Neidan, translated by
Fabrizio Pregadio, page 5
[←299]
Ibid, page 8
[←300]
Ibid, page 10
[←301]
Wang Mu, Foundations of Internal Alchemy – The Taoist Practice of Neidan, translated by
Fabrizio Pregadio, page 13
[←302]
Dr. Yang, Zwing-Ming, Muscle/Tendon Changing and Marrow/Brain Washing – The Secret of
Youth, page 73
[←303]
Cheng Man Ching, Cheng Tzu's Thirteen Treatises on Taijiquan, page 31
[←304]
Ibid, page 42
[←305]
Stuart Alve Olson, Muscle/Tendo Changing and Marrow/Brain Washing – The Secret of Youth,
page 163
[←306]
Sun Lutang, A Study of Taijiquan, translated by Tim Cartmell, pages 69 – 70
[←307]
Dr. Yang, Zwing-Ming, Muscle/Tendo Changing and Marrow/Brain Washing – The Secret of
Youth, page 198
[←308]
Ibid, page 239
[←309]
Ibid, page 247
[←310]
Stuart Alve Olson, The Jade Emperor’s Mind Seal Classic – The Taoist Guide to Health,
Longevity, and Immortality, page 167
[←311]
Ibid
[←312]
Ibid, page 197
[←313]
Ibid, page 144
[←314]
 Ibid, page 146
[←315]
Ibid, page 199
[←316]
Ibid, page 200
[←317]
Lao Tzu, Tao Teh Ching, translated by John Legge, Sacred Books of the East, vol. 39, publ.
1891