The Taiji Manual of Yao Fuchun & Jiang Rongqiao

8/17/2019 The Taiji Manual of Yao Fuchun & Jiang Rongqiao

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THE TAIJI MANUAL OF YAO FUCHUN & JIANG RONGQIAO

–

太極拳講義

TAIJI BOXING EXPLAINED

姚馥春姜容樵合編

by Yao Fuchun & Jiang Rongqiao

[pubi!h"# by上海武學書局 $hanghai %a'ia $'u#i"! P"!!( )*+,-

[translation by Paul Brennan, May, 2016]

–

太極拳

Taiji Boxing

– [calligraphy by蔣中正 Jiang Zhongzheng]

–

https://brennantranslation.wordpress.com/2016/05/04/the-taiji-manual-of-yao-fuchun-jiang-rongqiao/https://brennantranslation.wordpress.com/2016/05/04/the-taiji-manual-of-yao-fuchun-jiang-rongqiao/


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姚馥春近影

Portrait o !an "uchun

–


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姜容樵近影

Portrait o Jiang #ong$iao

–


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自強之道

The way of strengthening the self.

蔣中正

– [calligraphy by] Jiang Zhongzheng

–


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維國!

The foundation of our nation."#$%

– calligraphy by %i Jinglin

–


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&'()

*+,囬

-./0

When your sincerity is consistent,

you will never be swayed by any setbacks.

This is what courage is.

1武234567

– [calligraphy by] !u !ouren o the &'stee(ing the Martial or the )*+ance(ent o irtue-

)ssociation

–


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8之9: 武學;<

=>?@ ABCD

彂揚光大普及萬方

拳EF2 GH逺揚

强身禦侮蔚I國J

KILM NO(P

To illuminate great principles, martial studies are a great aid.

The pooling of knowledge will show us the way.

Carrying them forward and spreading them everywhere,

boxing arts are daily on the rise, their prestige reaching far and wide.

They strengthen our bodies and help us resist aggression, enriching our national glory.

ere is my rallying cry. !y hopes for these arts are boundless.

QRSTO

– [calligraphy by] .ue /ubi, ith respectul ishes

–


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B武維U

"#ur martial prowess is on the rise.$ [ Book of %ocuments, *ocu(ent 2]

"VW

– [calligraphy by] %i Jishen–


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XU國Y&Z[C強國強\

By promoting martial arts,

spirit is everywhere,

bolstering the nation and the people.

"]^

– [calligraphy by] %i .iian

–


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國Y-國\之_ !artial arts are the soul of the people.

`ab%

– calligraphy by 3uang Bonian

–

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太極拳d書efghijklem姚n馥春eopq姜n容樵er太極拳之hseot閱一過。知

兩君用意周到。嘉惠後學之深心I(uvem之qwxeyz{|e}x太極y中之yve~y•

[{|e€y之義•‚eƒ„q拳…e†‡ˆ‰Š‹ŒŽ之e~學之e‘’wz“”em

n–—˜™e:š›œeKžŸn太極之e¡¢上£e¤學jF¥d編e¦c§2e,¨

r©ª«2之¬e'國Y之®¯°ve太極拳之±義e€²¥之s³eX´(µe武Y¶·¸¹

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中»\國¼½b¼d¾¿F?À"#$cÁ武$ÂÃ

Presenting 8ai9i Boing in a boo: has been *one by se+eral eperts in recent ti(es, an* no !ao

"uchun an* a stu*ent o (ine, Jiang #ong$iao, ha+e authore* one; )n* hat is the (eaning

o sotness anyay> )lthough this as eplaine* in the ol* boing songs by ?ang Zongyue,

beginning stu*ents ill not necessarily be able to un*erstan*, an* so these gentle(en ha+e

supplie* a co((entary ith the tet [in 4hapter 8en] that ill (a:e these principles (ore clear;


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"ro( this can be seen that the 8ai9i s:ill o these to (en is alrea*y at a high le+el; But it is up

to you as the stu*ent to stu*y a section each *ay an* procee* step by step, ithout (a:ing the

(ista:es o s:ipping steps or being in a rush to get ahea*; 5t shall truly be a co(pass ithin the

(artial arts orl*; 8he authentic concepts o 8ai9i Boing an* the usages o playing han*s are

elaborate* in ull; "or the (artial arts public, this is a great e+ent in*ee*;

– ritten by %i Jinglin o 7uangchuan [in Zao$iang county, 3engshui preecture, 3ebei] at the

Martial ?orl* 7uesthouse, o+ @, 1A2A

–

Äc

P#'")4' B! Z3)7 Z3)


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4onucianists call it the &philosophical (in*-; Bu**hists call it the &percei+ing sel-; 4onscious

spirit is ac$uire* habit, :nole*ge associate* ith the +agueness o the passi+e aspect;

4onucianists call it the &(aterial (in*-; Bu**hists call it the &thin:ing sel-;

8hus it is sai* [ Book of %ocuments, *ocu(ent F]G &8he (aterial (in* is craty; 8he

philosophical (in* is subtle;- 8he *ierence beteen &craty- an* &subtle- is not an easy

*istinction; /aoists sit in (e*itation to boost their eliir; ?hile silently conte(plating *eep

(ysteries, they *o not gi+e ay to the slightest bit o conscious spirit; 8hey naturally gain &sight- o

(oonlight glea(ing on e+ery ri+er, clear s:y stretching aay in e+ery *irection, scenery in sunny

har(ony, a bloo(ing springti(e in para*ise; 8his is the innate nature being restore*, seeping

aay all (ur:y resi*ue in a+or o the presence o pri(al spirit;

5 you are relying on conscious spirit, then although the &(agpie=s nest reaches to your hea*top-

or the &ree* sprout passes through your :nee- [poetic *escriptions o the (o+e(ent o energy as it

gets traine*], then it oul* be no better than stea(ing san* or your (eals, or trying to eat a

*raing o a ca:e to relie+e hunger, or i you (erely sit bore* on a cushion, it ill not a(ount to

anything; 8he sa(e is true in learning boing arts;

?hen practicing 8ai9i Boing, ro( the internal school o ?u*ang, there has to be a purenaturalness, no e(phasis on either e(otion or eort; 5 there is e(otion, there ill be hesitation; 5

there is eort, there ill clu(siness; 8he hesitation an* clu(siness o e(otion an* eort ren*ers

your energy i(pure an* your poer unstable; 8his is si(ilar to conscious spirit; '(otionless, your

i(pure energy ill be sun: *on, an* thus your breathing ill be har(onious, an* innate pri(al

energy ill be generate*; 'ortless, your unstable poer ill be $uelle*, an* thus your intention

ill be e+ene* out, an* innate pri(al strength ill be *e+elope*; Pri(al energy an* pri(al

strength are si(ilar to pri(al spirit;

8he oun*er o ?u*ang=s 8ai9i Boing as &Zhang Caneng ro( !i Preecture in %iao*ong; 3e

as also calle* Junbao, or Huanyi; People calle* hi( IZhang the Clob=;- )s the /aoist (aster o his

generation, he is thus (entione* in !ing istory [chapter 2AA – bios, part 1], hich alsonoticeably *escribes his capacity or longe+ity; 8hereore his boing art conor(s to /aoist

learning an* is suitable or culti+ation; 5t entirely uses eliirist (etho*s to eercise the boing

(etho*s; 5t has countless beneits an* not a single har(; 5t re+eres innate nature an* *is(isses

ac$uire* habit; 8hat is hy it is calle* &tai9i-;

&8ai9i [gran* polarity] is born o u9i [nonpolarity]; 5t is the (aniestation o (o+e(ent an*

stillness, an* the (other o yin an* yang [the passi+e an* acti+e aspects];- 5t relies on the natures

o s:y an* groun*, the cycles o sun an* (oon, hich are i(bue* ith a single principleG constant

change; 5t is not only those ho li+e in the (aterial orl* that nee* to stu*y this art, those ho

ish to transcen* the orl* shoul* also un*erstan* it; o that Jiang #ong$iao=s 8ai9i Boing

boo: is co(plete*, those ho li+e in the orl* shoul* regar* it as a supply o ge(s, an* those

transcen*ing the orl* shoul* (a:e use o it to ta:e the trip;

– respectully ritten by sor*s(en %i %i o Maoshan at the &Princess !uzhen – 8he ?hite

4lou* 5((ortal- %o*ge, 2n* (onth o autu(n, 1A2A

–

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þ‘be’陰-“e”ž[–*—$˜™e¤}š合h‹之道e習之*+。,-./0一1。

2之34强身。5之34强6强7。!89:。!9太極;。太極。之一。?之@

A 。!B)CDE。FGHT ^_e得道›¯e9武feõœˆežŸ微œu±qe故太極

拳e†道合e¡¢丹£&¤¤uIDe¥¦§¨ey內IJK。LMN到。OPQRST。UV

WXYZ[。#\]^。_#$。`) 。a)I。)O知bc。bc)d。)O知ef。)gh©:ij。kWXllmn。oB)p。qrAs。tuvw。xWX。yXz{|}。~•


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X´k¼b之心得e道q之Õ‘道eª之«¬e[後學之®Ée¦-[e¯,¨°è±²³e

´[I習¯îjµe

\國¼½b¶¾·¸#^cÁÐ¹

Kur youth is all too brie, an* so e *esire to in+igorate our bones an* bloo*; But there is a (etho*

in strong accor* ith culti+ating health; 5 it is practice* or a long ti(e, there are countless

beneits an* not one har(; Kn a s(aller scale, it can strengthen the bo*y; Kn a larger scale, it can

strengthen the people an* the nation; ?hich art is this> 5t is 8ai9i Boing;

8ai9i Boing is a (etho* ro( ?u*ang passe* *on ro( Zhang Caneng, a (an ith a slo+enly

loo: ho as thereore *ubbe* &8he Clob-; 3e obtaine* the ?ay in the Zhongnan Mountains, then

succee*e* ith it at last at Mt; ?u*ang; 8he !uan /ynasty e(peror !ingzong [7egeen han] ga+e

hi( the title o &8he 4o(prehen*ingDtheDProoun* /e(onstratingD8ransor(ation Perecte*

Man;- 8hereore 8ai9i Boing conor(s *irectly to /aois(, ith its breathing eercises ocuse* on

the eliir iel* to transor( essence into energy; 5t lightens one=s bearing, contains har*ness ithin

sotness, an* is so ellDroun*e* that it can gi+e one a :in* o glo;

5 ha+e learne* the art ro( (y teacher !ao "uchun an* ha+e practice* it or se+eral years; 5n the

beginning o the training, (y shoul*ers oul* not loosen, (y chest oul* not stay in, 5 coul* notsense (y eliir iel*, hich oul* not aa:en, nor coul* 5 un*erstan* e(ptiness an* ullness, an*

so 5 began to lose interest; But because (y teacher tal:s about these things ith such enthusias(,

teaching tirelessly, an* has hi(sel (astere* it, 5 inally achie+e* realization;

o (y teacher an* his ello stu*ent Jiang #ong$iao ha+e collaborate* to pro*uce this boo:,

(a:ing use o *eca*es o eperience to sho people hat has not yet been shon; 5t ill soon be

on its ay to the printers so that stu*ents ill ha+e a reerence or: to abi*e by to :eep the( ro(

going astray; 5 a( coni*ent that practitioners o this art ill in* it inor(ati+e;

– ritten by %u Jingian o 4hai [in 3unan] *uring a stay in Changhai, Cep, 1A2A

–

ºc

P#'")4' B! C


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conse$uently been in such *ecline up to our ti(e that there is har*ly anything let to or: ith; )s

?esternization sprea*s e+er (ore eastar*, the state o our nation gros orse by the *ay; But

there are (en o +ision ho un*erstan* that ithout a strong an* healthy populace, e cannot be

sa+e*, an* so they *o their ut(ost to pro(ote (artial arts; )ter thousan*s o years o alling into

obli+ion, the ti(e has co(e or these treasures to be increasingly re+eale*;

5 ha* alays been ea:, but 5 ha* a on*ness or (artial arts, an* so 5 began to learn ro( 8an

4hengrui, a noteorthy teacher in Zunhua, ro( ho( 5 gaine* so(e slight un*erstan*ing; %ater 5

sitche* to practicing 8ai9i an* .ingyi, gi+ing obeissance to another local teacher, big an* bal* !ao

"uchun, ho 5 ha+e learne* ro( or (any years up to to*ay; )lthough 5 ha+e not yet (astere* his

(aterial, 5 eel 5 ha+e gaine* beneits to both (in* an* bo*y hich are not at all (eager; 8his is

because the to boing arts o 8ai9i an* .ingyi are base* purely in +ital energy an* e(erge ro(

naturalness, in accor*ance ith the s:y an* (o*ele* ater the groun*; 8here is no orcing, no

straining; #egar*less o (an or o(an, young or ol*, all can practice; 5 you attain a high le+el,

these arts are (ore than suicient or *een*ing the sel an* repelling bullies, an* they are also

enough or pre+enting illness an* prolonging lie; 8hey certainly cannot be co(pare* to or*inary

boing arts; 3oe+er, these arts ha+e relie* (ore on personal instruction rather than ritten tets;

Boo:shops ha+e recently been stoc:ing these :in*s o boo:s, but the (o+e(ents are o**, an* the

interpretations an* eplanations are not clear, to the pity o the rea*er; 5n +ie o this, (y teacher

!ao "uchun an* his ello stu*ent Jiang #ong$iao ha+e (a*e use o their *eca*es o eperience,

collaborating in (a:ing this boo: to share ith the orl*; ?ith the (o+e(ents are inclu*e*

photographs an* si(ple tet gi+ing clear eplanations; 8ruly it is an unparallele* boo: or

stu*ents; 5 ha+e (a*e these etra or*s to intro*uce it to (y co(ra*es throughout the nation; 5

oul* not presu(e to say the boo: ill set the gol* stan*ar* or such boo:s, but it co(es ro( the

painsta:ing eorts o its to authors an* genuinely conor(s to the ob9ecti+es o 8ai9i, an* so 5

rite this sincerely; – ritten by Cun !unpu o Zunhua, "eb E, 1A2A, in Changhai

–

姚c

P#'")4' B! !)K "


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3ebei] an* his attain(ents are uni$uely prooun*; !ao is obsesse* ith this art li:e it is his

*estiny an* has practice* it or the last eighteen years ithout a brea:, an* thus he has achie+e* a

*eep un*erstan*ing, e$ually so in .ingyi an* Bagua; 8his is because .ingyi, Bagua, an* 8ai9i are

three *istinct arts that (erge into the sa(e thing;

My circu(stances on the other han* co(pelle* (e to stop the training an* then return to it

later; 5 still re(e(ber (eeting %i Jinglin or the irst ti(e se+eral years ago; 3e as :in* enough to

gi+e (e *aily instruction in ?u*ang Cor* an* 8ai9i Boing; ) (etho*ical an* tireless teacher, he

is a thirteenthDgeneration inheritor o the teachings o Zhang Caneng, a +ery a(iable (an, an* a

(o*el practitioner; 5 ha* stu*ie* on (y on or se+eral years, but ortunately this year 5 ha+e been

accepte* as his or(al stu*ent; 5 ha+e since been practicing *iligently an* hope to gain by it, but at

present 5 ha+e only a slight un*erstan*ing o his principles an* (etho*s o his art; )s or its

subtler an* (ore (agical $uality, 5 can only conte(plate it, an* 5 ear that ater another tenty

years o practice 5 (ay still not yet eel 5 a( in any position to *iscuss it; 3oe+er, (y colleague

!ao is +ery capable in eplaining the tric:s o the art, an* so 5 ha+e in+ite* hi( to collaborate ith

(e in pro*ucing a reerence or: to be i*ely circulate*;

5 ha+e hear* that this art is an authentic ea(ple o the internal school; /aoists consi*er it anenergyDaccor*ance art, *istinct ro( the eternal school; ?hereas the eternal school e(phasizes

(uscle in buil*ing (artial s:ill, this art uses spirit to *o(inate (uscle; ?hen practicing, use no

eertion at all, act purely by ay o spirit, loosen your bac: an* *rop your shoul*ers, contain your

chest an* sin: your breath; 4o(bine (ental an* physical by ocusing on gathering spirit; %et

(o+e(ent be base* in stillness, *oing through not *oing; ) (o(ent ill co(e hen it su**enly all

(a:es sense, an* e+erything ill happen as you ish; 8his is calle* &training the spirit an*

returning to a state o e(ptiness-;

5n this boo: is presente* [in 4hapter KneG] 8ai9i=s origin an* *e+elop(entL its natural internal

s:illL its secrets o unctionL a loo: at its &soul-L the concept o .ingyi, Bagua, an* 8ai9i being unite*

as oneL an eplanation o long boingL [in 4hapter 8oG] the our prohibitions an* eightre$uire(entsL co(parison to other boing artsL list o posture na(esL the solo set in +erse or(L

(o+e(ent chartsL [in 4hapters 8hree'ightG] eplanations or the ull solo setL [in 4hapter ineG

pushing han*s scenariosL] [in 4hapter 8enG] eplanations to the Taiji Boxing !anual ;

Materials on the sub9ect o 8ai9i Boing ha+e been ehausti+ely gathere* to share ith all those

ho ha+e interest; 5 oul* not *are to suggest it is the co(prehensi+e :nole*ge o (asters, or

e+en the bri*ge to un*erstan*ing or beginners; 5 consi*er (y :nole*ge to be shallo, an* so this

boo: is ine+itably lac:ing to a greater *egree than it is pro+i*ing; 5 +ery (uch hope that (y

co(ra*es throughout the nation ill not hol* bac: their corrections; ?hene+er they ha+e

so(ething to point out, it ill help i(pro+e these instructions to the 8ai9i %ong Boing set; 8hus 5

(a:e this preace;

– ritten by Jiang #ong$iao o 4ang 4ounty [in 3ebei], Cep, 1A2A, at the &'stee(ing the

Martial or the )*+ance(ent o irtue- Cociety

–

太極拳講義£¤

4K8'8C

%¥dNN蔣中正

5nscription by Jiang Zhongzheng

%¥÷NN"#$

5nscription by %i Jinglin

%¥SNN567

5nscription by !u !ouren%¥¿NNQRS


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5nscription by .ue /ubi

%¥øNN"V¦

5nscription by %i Jishen

%¥¼NN"]^

5nscription by %i .iian

%¥§NN`ab

5nscription by 3uang Bonian

còdNN"#$

"irst PreaceG %i Jinglin

cò÷NNÄüý

Cecon* PreaceG Zhang Zhan:ui

còSNN"ˆ

8hir* PreaceG %i %i

cò¿NN#^

"ourth PreaceG %u Jingian

còøNNºéê"ith PreaceG Cun !unpu

cò¼NN姚馥春

Cith PreaceG !ao "uchun

cò§NN姜容樵

Ce+enth PreaceG Jiang #ong$iao

šd—

4hapter Kne

太極cRÄSTŠ‹ð

) Bio o 8ai9i "oun*er Zhang Caneng

太極拳之–‘

8he Krigin O /e+elop(ent o 8ai9i Boing

太極拳天~之內L

8he atural 5nternal C:ill o 8ai9i Boing

太極拳之¨Z

8he Cecrets o 8ai9i Boing

太極拳之_©

8he Coul o 8ai9i Boing

太極Ö½2合d6

8ai9i, .ingyi, an* Bagua


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Maps o the 'ight /irections O "i+e Positions ith 'planationQ

太極³Ø ´6

8ai9i /iagra(s ith 'planationQ

太極拳µ™³

8ai9i Boing Mo+e(ent 4harts

太極拳µ™6ø

'planation o the Mo+e(ent 4harts

FT¶太極拳6

4hen .iueng=s 'planation o 8ai9i Boing

šS—

4hapter 8hree

(極6

'planation o ?u9i

(極…

?u9i Cong

太極6 'planation o 8ai9i

太極…

8ai9i Cong

太極拳講義

8he 8ai9i Boing Cet 'plaine*

(極Ø·šd³¸

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4hapter 8en

太極拳Y™義

'planations to the Taiji Boxing !anual

…Zd

Cong Kne

…Z÷

Cong 8o

…ZS

Cong 8hree

…Z¿

Cong "our …Zø


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Cong "i+e

¼Sê

8he 8hirteen /yna(ics

¼Sê…Z¼

Cong CiG 8hirteen /yna(ics Cong

÷¼XZ

8he 8entyD?or* "or(ula

¼SêD心÷


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it to Chen; "ro( then it as co((only re(ar:e* that &Chen ?anshan ha* obtaine* great ealth-;

?hile the !uan /ynasty as *raing to a close [en*ing in 1F6], he *elle* at 7ol*en 8oer

ie in Bao9i; 5n 1F66, ninth (onth, he sai* he as going to *ie, then passe* aay hile chanting;

8he scholar !ang 7uishan, ho pai* or his coin an* burial shrou*, sa hi( burie* an* then

resurrecte*, Zhang *eclaringG &?atch us o the 3an race as e reco+er our lan*;-

Zhang later ent to Cichuan, an* upon arri+ing at Mt; 8aihe [?u*ang], he built a hut at the

Ja*e oi* te(ple; ?hile an*ering aroun* ?u*ang, it as oten being sai* by the localsG &8his

(ountain has recei+e* the royal co((an* ro( '(peror !ongle to be e(bellishe*;- Zhang ent

along ith this an* (ie* hi(sel in ith the rest o the laborers, an* neither the i(perial

(essengers nor the locals coul* recognize hi(; 8he eliirist abbot o ?u*ang, Cun Biyun, recei+e*

(any o Zhang=s teachings; '(peror !ongle su((one* Zhang but he oul* not atten* upon hi(,

an* poetry as applie* or Cun to try to in Zhang o+er ith;

Zhang *e+elope* 8ai9i Boing an* ?u*ang sor*, syste(atizing hat is :non as the ?u*ang

school, also :non as the internal school; 8he art as recei+e* by Hiu !uan9ing; 8hirteen

generations later the style ca(e to 4hen Chi9un, ho people proclai(e* to be an epert

sor*s(an; 4hen Chi9un taught it to 7eneral %i "angchen [Jinglin], ho has taught the partnersor* practice to his colleagues in 8ian9in an* Changhai, but all o his s:ills ha+e not yet been

trans(itte*; 8hereore the 8ai9i that is being practice* all o+er the nation noa*ays as essentially

passe* *on ro( Zhang;

–

太極拳之–‘

83' K#575 O /''%KPM'8 K" 8)5J5 BK.57

國Y!(內家$家之i。j後世之klú。m心VWeXàYZe[[”\]pW。/內家$家–

)nohpq。/r’stü。’?內家I武fe^自ÄSTRbeûlI_$e^自`a/be

É`abc_Ke面d¶be鑒ÁeCfge^拳E¼½¥eÚE1hDeiKLejkleÏ*

—en中靜e†道N合eWŒ內家之u‡。™!vgwÖB。x/y之。™z十{|。(Ü)}

|~•。後世klú¡ 。–皆4€’H‚。š


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ater an* ire;

8ra*ition has it that the internal school co(es ro( ?u*ang an* as oun*e* by Zhang

Caneng, an* that the eternal school co(es ro( Chaolin an* as oun*e* by /a(o; /a(o is sai*

to ha+e staye* in his s(all roo(, acing a all or nine years;


33/299

!ang Zhaoiong, calle* Chaohou, taught 8ian Zhaolin an* !ou Zhiue; !ang Zhao$ing, calle*

4hengu, taught 4hen ?ei(ing, ?u 3uichuan, 4hu /ein, iu 4hun(ing, !an Zhongyan, 4hen

ongian, .u 8iaoue; ?u Jian$uan taught .u Zhiyi;

5t is :non that ?u !uiang an* 3ao ?eizhen or( another 3enan lineage; My colleague Cun

%utang recei+e* it ro( 3ao; !ao "uchun an* 5 both learne* it ro( our colleague 8ang Chilin;

8here are so(e slight *ierences beteen these to +ersions; ?hat 3ao taught as 'pan* O

4ontract 8ai9i, hereas hat 8ang has passe* *on is a special +ersion o the (ain 3enan lineage

%ong Boing set; 8hey are the sa(e in that they are both the 8hirteen Postures art; ?hat 5 ha+e

recei+e*, 5 ha+e not yet (astere*, an* so this ra(bling boo: is oten lac:ing, but 5 hope in the

uture to i(pro+e upon it;

–

太極拳天~之內L

83' )8


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Practicing or one *ay ill earn the beneits o one *ay=s orth o practice; 3oe+er you practice it,

it ill assure*ly be ithout abuses; /o the eercises as you please an* you ill naturally ha+e a

*elightul eperience; )lthough it is calle* a boing art, it actually conor(s to /aois(; 8his

eercise has countless a*+antages an* not one har(, an* such $ualities put the &tai9i- [gran*

polarity, i;e; balance* har(ony] into 8ai9i; 8his can be briely illustrate* by one or to posturesG

8he irst posture in the set is KPK%)#58!; 5n its (ur:y +agueness, there is no i*entiying o

either sel or opponent; &"orcelessly press up your hea*top, sin: energy to your eliir iel*, lit your

hea*top an* suspen* your crotch; /o this by (eans o (ental strength; %oosen both si*es o your

bac: an* then the energy ill be seale* in;- 8uc: in your rectu( as i you are trying to :eep

yoursel ro( *eecating; 8he energy in your eliir iel* ill then be as though your han*s are

tightly hugging so(ething, an* hate+er (o+e(ent you are *oing, your energy ill not be

scattere*; 5s this not natural internal s:ill>

5n the secon* posture, 4)843 83' CP)##K? B! 83' 8)5%, your han*s sloly lit in ront o

you to shoul*er le+el; '+en though your han*s lit up, your elbos an* shoul*ers are sin:ing *on;

)t the sa(e ti(e, your bo*y slightly s$uats *on, an* because (in* is unite* ith intention,

intention is unite* ith energy, an* energy is unite* ith poer, e+erything ill correspon*ingly be sin:ing *onar*; 8his too is natural internal s:ill;

"ro( these ea(ples, the rest o the postures can be reasone* out by analogy; By *escribing

8ai9i=s natural internal s:ill in this ay, 5 hope you ill not thin: these are e(pty or*s or that 5

a( lost in (y on ay o thin:ing; &5nternal s:ill- (eans internal poer; ot using a:ar*

eort an* instea* *e+eloping internal poer is a specialty o 8ai9i; 8his art, ro( beginning to en*,

in e+ery posture, alays contains internal s:ill; ?hen practicing the set, i you are able to :eep in

(in* that you are to contain your chest an* pluc: up your bac:, sin: your shoul*ers an* *rop your

elbos, concentrate energy at your eliir iel*, an* lit your hea*top an* suspen* your crotch, then

you ill itness results ith each passing *ay; By progressing in the proper se$uence o training,

then e+en i you *o not happen to (aster the art, you ill not be ar o;–

太極拳之¨Z

83' C'4#'8C K" 8)5J5 BK.57

太極j•e(極¤‹e自~i³之çØve¨Zj•eèØÑ¦è正3之Œ[ve或éêëìí之

¼SØ¨ZeÑFîîïð÷¼XeŒ¨Z(éeoxÑeK÷jeo太極拳中之_©eñ拳

Ø中之³EeÕèØÑez¢yY上£之ZveÚ¨ZrSedxY,³Ee太極之Y,³EeÅ

¡Ž之erë鄭Ái之e太極èØšd¨ZeIÍc`›e,!³Eeòó之|eè²et

Iûle故(:ÝÛewÄe$Íôõ³EeöŒÕ故÷ue,Ï3Ú天~自n之i³耳e÷x

(定ØeèØÑec›2ð¦環e綿綿,kedøùGeöúpe太極拳:Õ.eVª/

ùeûû,üe}xei³V(ý絲eWo0þdDeÿ~()ve或r問xe照像之çØe豈Õ

定ØöeoxÑeKdØ之煞»處e或dØ之中)e([‘了之»處e或tnØÏp之PØeoÍ

拍照插³e[A線e綜之(:dØ之ñ»處eØ中)([‘了之»處eÍ或Ïp之PØeoŠ‘

囬囬囬囬囬囬囬囬囬囬囬囬囬â›瞭e故插³e³A區別e`èØÑe6接†Øe ,ù頓veSxÄdTe

Tj心ve太極拳èØÑe每dnsed心deÄ注KØe¥ìÕ`e心†(,LqeÕ.,

³Ee¤³e-r絲毫HØe/GÁ筋骨˜™之)e,zn:ÿŸeTŒ,zÄ注e故心

Õ`ez使D˜0輸YÔeÇ6,ueƒ,³Ee¤r±正內…。W¥ô。uþ8之)。F

!+C0õ0ö。!÷兩øšãB。ñùú一û身ü。ýšþ部ÿ帶î。終]懸掛。^未稍Å。據

‹OP意志專ñ。™û身ü之L用。³ú造法當š太極7}版$。詳之。Á

?hat is (eant by &tai9i-> Born o u9i, it is the naturalness in (a:ing the postures; ?hat is (eant

by &secrets-> 8hey are the essential :eys to abi*e by in or*er to peror( the postures correctly;

Perhaps the 8hirteen /yna(ics are the secrets> Kr the 8enty ?or*s> 5 oul* say neither; 8heseto sets o things or( the soul o 8ai9i Boing an* supply the unctions o the postures or hen


35/299

you are not practicing the set; But to be able to achie+e the highest le+el in this sot art, there are

three secretsG

1; e+er use eertion; 8ai9i=s principle o not using eertion has alrea*y been eplaine*, but here

e ill specially restate it; 8he irst secret to peror(ing the 8ai9i set is to go ro( start to inish

ithout alloing yoursel to put orth eort, or it oul* cause you to use har*ness; 8his oul*

sen* you *on the rong path, one that oul* turn you into an eternal stylist; 8hereore e+en

hen :ic:ing or stan*ing on one leg, you (ust alays careully a+oi* using eort; 3oe+er, you

shoul* also not be orcing yoursel to be sot, instea* acting accor*ing to hat is natural;

2; /o not pause in the postures; ?hen practicing the set, ro( start to inish, a*+ance an*

retreat are to alternate continuously ithout pause, a+oi*ing any stagnation, or you ill slip into

the habits o that other school; 5t says in the 8ai9i Boing 8reatiseG &5t is li:e a long ri+er loing

into the i*e ocean, on an* on ceaselessly;- )n* alsoG &Mo+e energy as i *raing sil:;- 8hese

state(ents both *escribe a continuous lo throughout, entirely ithout interruption; Co(eone

(ay as:G &But aren=t photographe* postures pause* postures>- 5 say no, because those are

so(eti(es representations o en*ing places o postures, so(eti(es o transitionings beteen

postures that ha+e no such en*ing places, an* so(eti(es o postures o+erlapping as theytransition; 5n each case, there ha+e to be photographs to in*icate the boun*ary beteen postures;

?hether a posture ith an en*ing place, a transition ithout an en*ing place, or a situation o

o+erlapping, there is alays the possibility it ill not be easy to un*erstan*, an* thus there are

photographs to sho ho the postures are *istinct; But hen practicing the set, you ill still

continue into the net posture ithout pause;

F; "ocus your intention; 8his is a (atter o (in*; ?hen peror(ing the 8ai9i Boing set, in each

(o+e(ent ocus holehearte*ly on that techni$ue; 8hen here+er your han*s an* eet arri+e,

your (in* an* intention ill also arri+e; 8hus it is sai*G &


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5t also represents the essentials that (asters ere not illing to pass *on to 9ust anybo*y; 8he

soul o 8ai9i Boing is the 8hirteen /yna(ics; 8he 8hirteen /yna(ics are ar*ing o, rolling bac:,

pressing, pushing, pluc:ing, ren*ing, elboing, bu(ping, a*+ancing, retreating, stepping to the

let, stepping to the right, an* staying in the center; 8hese essential tric:s are *escribe* ithin our

(aterial, as ell as in the eplanations in the !anual an* their annotations;

Beyon* the 8hirteen /yna(ics, there are the 8enty ?or*s, hich are also a treasure or

un*erstan*ing this art; 8he ol* 8ai9i Boing (anuals ha+e sprea* ithin our nation, but (any

ha+e not yet been publishe*; !ao "uchun an* 5 ha+e obtaine* a (anual that is hun*re*s o or*s

longer than the other (anuals, an* hich is han*ritten, an* has the s(ell an* *iscoloring o a

+ery ol* boo:, (a:ing it e+en (ore precious; ?e oul* not *are to :eep it to oursel+es, an*

instea* ish to re+eal all o it; Cee 4hapter 8en;Q

"irst the 8hirteen /yna(ics are *escribe*, olloe* by the 8enty ?or*s, hich co(ra*es

throughout the nation ill be *elighte* to hear about; 8hey areG scattering, lashing, carrying,

rubbing, reser+ing, stic:ing, olloing, arresting, grabbing, re+ersing, sotening, ar*ing, *ragging,

brea:ing, co+ering, pinching, alling, continuing, pressing, an* sprea*ing; ?e suspect that so(e o

the or*s are presente* ith the rong characters, but in or*er to honor the genuine tet, e ha+enot presu(e* to react by (a:ing corrections; 5 co(ra*es throughout the nation oul* point out

such errors, it oul* be o great ortune to practitioners o this art;

8hough the 8hirteen /yna(ics see( to be co(prehensi+e alrea*y, a** the 8enty ?or*

"or(ula an* you then ha+e an art that is truly inehaustible; 5 you can (e(orize an* pon*er

the(, etraor*inary eects are sure to (aniest; ?e ha+e annotate* each or* in *etail ithin the

eplanations to the !anual , so i you *oubt our assertions, please loo: at the inal chapter to

un*erstan* the 8enty ?or*s; 8hey are in*ee* inti(ately connecte* to 8ai9i Boing; 8hey are o

no concern to those ho are (erely gi+ing the art a taste, but i you continue your training into

learning the hole %ong Boing set, that is hen these tenty or*s ill each beco(e a ge(; ?e

hope you ill not regar* the( as so(ething inconse$uential;–

太極Ö½2˜d6

8)5J5, .57!5, )/ B)7


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Classic o /a(o an* as later *e+elope* into the boing art by !ue "ei, hile Bagua=s trans(itter

/ong 3aichuan tra+ele* south to Mt !uhua here he (et an eliirist ho instructe* hi( in the 3e

#i+er Map an* the %uo #i+er /ocu(ent, an* taught hi( this boing art; either o those histories

ha+e anything to *o ith ?u*ang; 8hey can be sai* to be o the internal school o boing, but they

cannot really be sai* to be o the ?u*ang branch o boing arts;

My colleague Cun %utang as a stu*ent o 7uo !unshen, obtaining the (a9or part o his art

ro( 7uo, then later learne* 8ai9i ro( 3ao ?eizhen; 3e *eeply (astere* all three arts, an* in this

regar* he is uni$ue; 8hen he rote boo:s putting orth his +ie that the three arts (erge as one;

'a(ining these three syste(s, their na(es (ay be *ierent, but their essence is the sa(e;

Ctarting ro( one, there is then to; "ro( to, there is then three; )n* then ro( three, it turns

out there is one;

5 agree ith this eplanation; 3oe+er, although 5 ha+e been practicing 8ai9i, .ingyi, an* Bagua

or tenty years, 5 a( har*ly a tenth o the ay toar* the subtlety ithin the( o &spirit returning

to e(ptiness-; Co ar 5 only un*erstan* the principles an* the (etho*s, an* yet it is alrea*y

ob+ious that the three are one thing, 5 ha+e no *oubt o this, an* 5 ill go so ar as to lou*ly

proclai( it; 5 hereby respectully inor( (y (artial arts co(ra*es throughout the nation that thethree arts o .ingyi, Bagua, an* 8ai9i really *o or( a single school; 8he three arts (erge as one

because they so thoroughly it together, an* it is e$ually appropriate or the( all to be labele*

&internal-; 3erein lies the reasoning o the three arts unite* as one;

–

太極ª拳6

'.P%))85K K" 8)5J5 %K7 BK.57

太極拳e‚X›Ñeþ¼SØeN¤=之e9*P¥e-ISTRbÕð之太極ve後qqK之

I太極ª拳e~O,ÔPQìíeÀ挒。進退左右r。之十AòóÀƒ‡。þ8ï&一Î靠 ReW

1之,2e³之,+edôS†TUe(,.V‚內。 ™Õ入'。)òÓZ。òÓ()。*進Î

未©。+ ),。各-./。Ü皆¾心ä0ü。jÜ未}十A?之~•‡。1_太極專家。2!!

–。Tø太極7。 ‰Î。µ,7十A?之À WeÉª拳ƒŒ1E¼SØe¤Ú中W.X龍ß

¾ËÚëY¨ŸÓ¼Ö‚Ûveo†姚n馥春e(學太極Á'qn$eI!ü"Š‹之#

‡eÂZo‚þbxyŠ‹處¯èª拳[ReŠ‹.¯Yƒ\]Á¼SØeÚœ›â^之šEe†

³eW¼SØI?eoš_xyŠ‹之治î¤zëîveEo\õ之Åex19Šn之ßàe

得識!ü"Š‹e!.¯YeKI‡ˆ‰HQeqð‘š@e故gq¾ërª拳eë,ëª拳之•

囬囬囬囬囬囬囬囬囬囬囬囬囬囬若e`近mÕ.ª拳jeoÍ¼SØz¤t之e`a ÑeŠ後Mbe¯†Kª拳rW³eoc¯

ŽeV?`øe¨¤,;j¼Pbe¤o'姚n¡得¯YSdeoF自ee6‘得窺mIveE!

Š‹I§ŒW之#‡e†obúûŠ‹I(e3efÁeg(hÞePÚ太極得自'ðe¤Õb

Oe故(p¾‘ëÚ&太極eri太極拳Ôj後e8姚n馥春e合編K太極ª拳e[¶(好eë

i!Š‹ŽV上e

?hen 8ai9i Boing as create*, it as only the 8hirteen /yna(ics; 5t as epan*e* until it

co(prise* (ore than a hun*re* techni$ues; 8his is the 8ai9i Boing passe* *on ro( Zhang

Caneng; %ater generations calle* it 8ai9i %ong Boing, but it ne+er ent beyon* the actions o the

8hirteen /yna(icsG ar*ing o, rolling bac:, pressing, pushing, pluc:ing, ren*ing, elboing,

bu(ping, a*+ancing, retreating, stepping to the let, stepping to the right, an* staying in the

center; )lthough this art has only one practice set, it is actually unli(ite* an* inehaustible; )ll

eapon techni$ues, such as those o saber an* sor*, are containe* ithin it; Knce you ha+e

attaine* (astery, you ill in stillness be li:e a (ountain an* in (o+e(ent be li:e a thun*erclap,

a*+ancing unpre*ictably an* stic:ing ithout *isconnecting, an* you ill iel* e+ery :in* o

eapon ith luency; )n* still the art ill not go beyon* the para(eters o the 8hirteen /yna(ics;

5n the beginning o the Hing /ynasty, 8ai9i epert ?ang Zongyue create* the 8ai9i %ong Boingset an* also rote the Boing 8reatise; 8here as then a *istinction beteen the %ong Boing set


38/299

an* the 8hirteen /yna(ics; 5 e ea(ine the %ong Boing set, although it is base* on the

8hirteen /yna(ics, it actually contains $ualities o ten ani(alsG *ragon, sna:e, crane, tiger, horse,

chic:en, eagle, bear, phoeni, an* (on:ey;

!ao "uchun an* 5 learne* 8ai9i together ro( our colleague 8ang Chilin, a stu*ent o .u

Zhan=ao; %ast year (y teacher %i Jinglin *i* a *e(onstration o hal o the %ong Boing set; 3e

sai* that although this art e(erge* ro( the 8hirteen /yna(ics, its clarity o theory an* unction

(a:es it actually a broa*er art than the 8hirteen /yna(ics; 5 greatly a*(ire %i=s s:ill an* his

capacity or un*erstan*ing the techni$ues; 5n 1A12, 5 as intro*uce* to i 4hengyu, ho ha*

:non .u Zhan=ao;

.u sai*G &8his art is in*ee* *escen*e* ro( ?ang Zongyue, but because it as passe* *on so

rarely, (any people :no o %ong Boing an* yet *o not really :no hat Ilong boing= (eans;

?hat people call %ong Boing noa*ays ca(e entirely ro( the 8hirteen /yna(ics, but they get

lippe* aroun*, ancestor an* *escen*ant getting re+erse*, so that the art an* the %ong Boing set

en* up being consi*ere* *ierent things;-

?hen 5 hear* these or*s, it as li:e in*ing a rare treasure, a secret 5 ha* been see:ing or

(ore than ten years; !ao has alrea*y achie+e* the :nac: o this art, hereas 5 a( asha(e* to ha+estill not seen (y ay into its *epths; .u as a stu*ent o 7uo !unshen an* a ello stu*ent o

Zhang Zhao*ong; Being a +irtuous person an* highly regar*e*, he surely is not tal:ing nonsense;

)s he learne* 8ai9i ro( a rien* rather than a teacher, (any o his ello stu*ents ha+e thereore

not been aare o his s:ill in 8ai9i; )ter this 8ai9i Boing boo: is publishe*, 5 ill again be

soliciting the help o !ao "uchun to collaborate in sharing .u=s 8ai9i %ong Boing set publicly,

(a:ing special use o his eplanations as abo+e;

–

š÷—

43)P8'# 8?K

–太極拳¿«½Œ6

'.P%)557 8)5J5 BK.57=C "K


39/299

¿«snsùGe

@; Ctiening o the (o+e(entsG

nsùGe¿~*—eÚ˜™o,z‘Ÿe習之Çeê’•èûle

5 your (o+e(ent stiens, the bloo* circulation through your li(bs an* e+ery part o your bo*y

ill be unable to lo; 5 you practice in this ay or a long ti(e, you ill surely all into the habits

o the eternal stylists;

½Œj•

?hat are the eight re$uire(ents>

ds ’s(Îe

1; Cin:ing your shoul*ers an* *ropping your elbosG

KÖe½2e太極e,€¤合jve’sjes©·e極E[†Øve(Îje(:Ô掌或

拳eÎ[†極E(Øes†Îe!r連‚ú¼es’Î(e內…3¬4Ñ。`5 懸。ðñ$家Î

¸。

8his is a principle co((on to .ingyi, Bagua, an* 8ai9i; 8o sin: your shoul*ers (eans that your

shoul*ers loosen an* loer hea+ily ith an energy o hanging; 8o *rop your elbos (eans that

hether you are sen*ing out a pal( or ist, the elbo goes *onar* hea+ily ith an energy o*ropping; 8he shoul*ers an* elbos are interrelate*; ?ith your shoul*ers sin:ing an* your elbos

*ropping, the springiness o internal poer ill be *oubly har+este*; 5 your shoul*ers raise an*

your elbos are suspen*e* upar*, then you ill be li:e the eternal stylists;

÷s 01ie

2; /raing up your hea*top an* aligning your crotchG

01jeÿ1ØveZ0Á1ecz提A&De#I丹£之De,使ûƒe提ÛVÜÝÞe.之

iei$„etš陰陽ve

8o *ra up your hea*top (eans to orcelessly press up your hea*top; ?ith spirit getting to your

hea*top, you ill then be able to rouse your energy; 3ol* the energy in your eliir iel* an* *o not

let it lo out; 8uc: in your rectu( as i you are trying to :eep yoursel ro( *eecating; 8his is hat is (eant by &aligning your crotch-; 8his realign(ent re+erses the roles o passi+e an* acti+e;

Ss …†‡ˆe

F; 4losing your (outh an* touching your upper palateG

èØÑe‰È·Õ·e3KLe惟†ÍŠ…e&Zcž‹XeŒ‡上ˆe£J自He,惟太極V

¯eÖ½2eŒÈ,V-eQ;‰4Ïe

?hen practicing the set, your (outh shoul* see( open but not open; !ou (ay breathe as you

please, but your teeth shoul* stay together, an* your spirit ill then be able to shine; ?ith your

tongue touching your upper palate [an* thereby co(pleting an internal energy circuit], your gaze

ill ha+e authority; 8his is not only the case in 8ai9i, but also in .ingyi an* Bagua, an* 5 hope you

ill not (oc: this principle;

¿sÔn©pe

@; 4ontaining your chest an* loosening your aistG

KI太極eÖe½2eSQŽŒ之Ze©s後Úe["微ÔeÚD自ÌÁ丹£eÚmn之Ée¡

詳Ÿ¿«epIYÔ之He©pì„WeE‘ze2ðtueoÍp„Üne’“nse’Á

p”之ve

8his is a +ery i(portant principle in all three syste(s o 8ai9i, .ingyi, an* Bagua; ?hen you loosen

your shoul*ers an* upper bac:, slightly holloing inar*, your energy naturally returns to your

eliir iel*; 8he error o stic:ing out your chest has alrea*y been eplaine* ithin the our

prohibitions; 8he aist is the controller o the hole bo*y; ?hen you loosen your aist, your eet

ill beco(e (ore stea*y, your stance (ore stable; 8o sitch beteen a*+ancing an* retreating, it

alays co(es ro( the (o+ing o your aist; 8o control your (o+e(ents, you (ust see: to *o soro( your aist;


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øsÙ7自~e

E; 3a+ing a pure naturalnessG

Œ³³,E之.ve太極拳àÁÚ.拳YjeF‚¯e自É`»eY,³Ee-rdØÿ³H

EeFYÔPØx,ë˜™阻Gens,ÿe³je之ÕèD†Ee(,Lqe–V”

—面Å[6¥掌˜Ôe™š6›œ¥‹Áž丹£e¤Õ‹ÁsŸjeƒ,³Ee¤Ú內…。y3

¬。6B78。h$家!¬皆9š$。ª&³:;之?@。心Iõ¡e¥ìÔpeI

ø¢¿£¤Xe/vOi†心e心nZÄe¥ì(,¥Ú®é¥ìÕ%之處e心3之¦%e¥

ìù¦e心Œ†之¦¦eÕVûle¥†ì%e¤心†6,§ve

8ai9i Boing +alues (in* an* bo*y unctioning as one, hat is calle* insi*e an* outsi*e being

9oine* together; 8hus it is sai* that the brain is the seat o go+ern(ent, the (in* is the

co((an*ing general, an* the han*s, eet, an* torso are the subor*inate sol*iers; 8he brain gi+es

or*ers to the (in*, the (in* acts upon the( an* the spirit ocuses, then the han*s an* eet obey

all o the co((an*s; ?here+er the han*s an* eet arri+e, the (in* an* intention arri+e there as

ell, an* hen the han*s an* eet co(e to a halt, the (in* an* intention *o too; 5t is not li:e theeternal stylists, hose han*s an* eet arri+e ithout the (in* an* intention participating;

§s陰陽NVe

; Passi+e an* acti+e echanging rolesG

拳YÕ.陽,¨陰e陰,¨陽e陰陽NVe±I^Øe陰陽jeŒ上†N3eZ正N‹ve拳Y

}©eÍª¤ÛeÍÛ¤Ôe«VdDeVÜ¬之eV®¯°e(,±²dDveV太極šd

Øeêëìíeo‚Ú中e¤每dnserd陰陽e陰陽NVeŒZ正N‹ve故¥ìdne

心†e³†ZeŒÈ,3之¤ne,,ëŒÃŒ>e上†N3ecz陰陽NVve

5t is sai* in the Boxing !anual G &8he acti+e *oes not *epart ro( the passi+e an* the passi+e *oes

not *epart ro( the acti+e, or the passi+e an* acti+e echange roles; Knce you ha+e this

un*erstan*ing, you ill be i*entiying energies;- By passi+e an* acti+e is also in*icate* that the

upper bo*y an* loer coor*inate ith each other, an* that ob+ious an* surprise techni$ues

generate each other; 5t also saysG &"ro( oot through leg through aist, it (ust be a continuous

process;- %i:e a circling bir* o prey, or li:e a cat pouncing on a (ouse, the action (ust alays be a

ully continuous process, as is the case or the irst techni$ue in the 8ai9i set [4)843 83'

CP)##K?]G ar*Do, rollbac:, press, an* push are all containe* ithin it [continuing ro( one to

another]; ?ith e+ery (o+e(ent, there is a $uality o passi+e an* acti+e; Passi+e an* acti+e

echanging roles (eans that ob+iousness an* surprise ill generate each other; 8hus hen your

han*s an* eet (o+e, your (in* an* intention, gaze an* spirit, shoul* all (o+e together ith

the(, neither ahea* or behin*, all in unison; 5 your upper bo*y an* loer are coor*inating ith

each other, then passi+e an* acti+e ill be able to echange roles;

½sn中靜e; Cee:ing stillness ithin (o+e(entG


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國YrÄ1IDûEje[´µIzºeÚo¶Áûe¤,WÁ內。!TA身¥Ü÷。退ÁÜ

B。


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that a 4entral Martial )rts 5nstitute has appeare*, e+ery pro+ince has set up its on institute in

or*er to be able to pro(ote (artial arts, an* to encourage the careta:ers o these arts to

participate;

?e (ight proclai( a (o*el o &training not only the talente* but teaching e+eryone-, but so(e

(ay eel it is still not yet the right ti(e or that; oa*ays there are people ho ha+e practice*

boing arts or *eca*es, training on their on ithout e+er :noing o a *istinction beteen an

internal school an* an eternal school, or e+en about any other arts; 5 once (et an ol* (artial arts

(aster hose learning an* attain(ents ere (ore than enough or hi( to be able to eplain his

(etho*s an* set a stan*ar* or ne stu*ents; 5 happene* to as: hi( about (o*ern (artial arts

(asters, but then he repeate*ly shoo: his hea* an* reuse* to *iscuss it; 8his is no ay to pro(ote

(artial arts;

My teacher %i Jinglin is :non by all o (y country(en as an epert in sor*ighting, but they

are not aare he un*erstan*s these arts better than any o the(; 5 once in+ite* a nu(ber o

(asters to gi+e *e(onstrations one ater the other; )ter the peror(ance as o+er, %i $uietly

ran:e* the(; '+erything he sai* as so perectly itting, 5 elt 5 ha* seen as he ha* seen; 3e in*ee*

can be consi*ere* to be so(eone ho is pro(oting these arts; 5 *are to respectully inor( (y (artial arts co(ra*es throughout the nation that in 4hinese

(artial arts it *oes not (atter hat style you *o, it is still better than those o the rest o the orl*;

?e can approach success by ay o *e*icate* practice, by selecting the best eperts to learn ro(,

an* by i(pro+ing those ho are not yet eperts;

)s or co(paring 8ai9i to other boing arts, it *oes not (atter hat boing art you *o; 5 you

obtain its principles an* its (etho*s, you ill naturally achie+e perection; But i you are slightly

o, you (ay greatly ail; ?hat (a:es 8ai9i *ierent ro( the rest is that it lac:s this *rabac:; By

hate+er (etho* you practice it, you ill only progress an* not *egra*e, an* e+en i you *o not

succee*, you at least ill not be in9ure* on the ay; )ll can learn it, it is appropriate or young an*

ol* ali:e; 8ai9i Boing has been sprea*ing or centuries, north an* south, boun*lessly a*+ancing,an* these are the reasons hy;

–

太極拳Ød®

%5C8 K" 8)5J5 BK.57 PKC8


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10 ÄÅØe

%


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F@ ÜÔÝÛe

8


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E Ø6+ëwÄe

%'"8 O #5738 7K%/' #KKC8'# C8)/C K K' %'7

EA ÑÒÓe

#'8#')857 MK'!

60 ÍÔØe

/5)7K)% "%!57 PKC8


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2 †êe

%K? PKC8


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VžÈÉ¼X¥eŽ後ô[太極合e

B10-//-/0 (#)T3*1, then CTC T1 )(**#W B4 T1 T-2.

fter )-/021 *#%, there is *-)1 T1 /%).

%uring W-T1 C*/1 )#W) -T) W-/0), your spirit must be calm.

Continue into B*3) 5/11 )T/C1, a method of guarding.

Withdraw and perform 23T1 (#)T3*1, then do so again [ater repeating B#


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With !0(-1 7-/%) (T T*#30 T1 B*/C1), your spirit extends far.

)T1( 7#*W*%, CTC T1 )(**#W, demonstrating brilliantly.

)-/021 *#%, then 2#W (#)T3*1, but not to dodge away.

)T1( 7#*W*% W-T T1 B-0 %-((1* without using effort.

With *1T*1T T# )-TT-/0 T-01* (#)T3*1, your essence and energy get trained.

)(-/ *#3/% #/ T1 7##T, )W-/0-/0 2#T3) 5-C5 will be successful.

With B1/% T1 B#W T# )##T T1 T-01*, the opponent will have difficulty enduring it.

With )T1( 7#*W*%, (**4, B2#C5, (3/C, he will not know what is happening.

)12-/0 )3T, then C*#))1% /%).

7inally conclude with C2#)-/0 (#)T3*1.

–

太極拳½±ø²³

M)PC K" 83' '5738 /5#'485KC O "5' PKC585KC

½±³

Map o the 'ight /irectionsG

õ ¨ ö囬囬囬

靠 Q 挒

bu(pQ rollbac:Q ren*Q

[%et "ront] ["ront] [#ight "ront]

÷ ø

囬囬

ì í

pressQ pushQ

[%et] [#ight]

ù ú û

囬囬囬

Î ê À

elboQ ar*DoQ pluc:Q

[%et #ear] [#ear] [#ight #ear]

–

ø²³

Map o the "i+e PositionsG

&

ire

2

a*+ance [south]Q

ü Ç +

oo* soil (etal

顧定 ý

let [east]Q centerQ right [est]Q

þ

ater

ð

retreat [north]Q

6ø

'.P%))85K K" 83' M)PC


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½±je½2veø²jeøDve太極拳E之±—erZ正er½±eÚçØeÍÉ`»eØØ

合Áâšen靜ÅrZ正e拳Yçeú¨÷øe¿正±e[ÿêQìíjeûöùõ¿ÍWeŒ

À挒 ‡。)98f8。3g45。¼各h?r。Ü»)各。,i。一i¼{5‡。4Î靠

jÐklè之。m一?,{òó。Ç一òó。1Üèß`n身


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太極 (極

tai9i R u9i

陽n 陰靜

acti+e – (o+e(ent R passi+e – stillness

& þ

ire R ater

Ç

earth

ü +

oo* R (etal

ö道9è

8he ay o the groun* (a:es the e(ale $uality,û道9男

the ay o the s:y (a:es the (ale $uality,

!àu‹

[an* together] they pro*uce all things;

šd÷Ø之太極³eIg俗Õðje中繪ã魚Öe陰陽交接eMN啣連eE天p‘p[Åex太

極eK³AÖ×‘判之eâxâr太極e-‹儀e故近g習太極拳eÚ:ÃÊ¥e¾zK中

樞nÒe¤½2掌e拳UeF-ÍKn圈中üvešS³eIýC敦頤撰e敦頤Ê道體之!

`ex(極e(極¤‹太極e太極‹儀e儀‹¿0e¿0‹½2eVþ心寂~e(>e!Ü‘

Xe-(極ve~K心‘Xe自r照~,d之!體e-太極ve陽n[ÿ太極e陰靜[ÿ(極en

之cF陽‹en之極F陰‹ec靜Fye極靜F|o'ºn»mj©e太極Öe½2Id體eo

‘Wàe後屢得=fÅ之®>e稍窺p徑eãë太極之šeWI`道e[€Ö½2eŒoÍ


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(極¤太極eÍøD¤½2e-z®透li之YeíûÜöeýú塡¨eÎ`d旦0ŸSQ之š

Ee.I(Ôd–e得,že¤太極e圈中之‹:eŒ‚4j自êÈ耳e

8he irst to *raings abo+e are co((on ays to *isplay a tai9i *iagra(; ?ithin each is *ran a

pair o ish representing passi+e an* acti+e interconnecte* by the ay they lin: at their (ouths;

8he con*ition beore s:yness an* groun*ness beco(e *istinct ro( each other is calle* the 7ran*

Polarity; 8hese *raings *epict the concept o the pri(al (ur:iness beore there ere such

*istinctions; )ccor*ing to the Book of ChangesG &4hange has a gran* polarity, hich generates the

*ual aspects;- '+en in our (o*ern ti(es, hene+er you practice 8ai9i Boing, all the ay through

to (o+ingDstep pushing han*s, it is by alays olloing this central principle that you ill see: out

the secret; 5n Bagua Pal(ing, its boing techni$ues an* eapons, s:ill is to be sought that (uch

(ore ro( such circles;

8he thir* i(age as (a*e by Zhou /unyi o the Cong /ynasty; 3e a*+ance* the basic origin o

the ?ay as onpolarity [rather than 4hange]; onpolarity generate* the 7ran* Polarity, the

7ran* Polarity generate* the *ual aspects, the *ual aspects generate* the our (aniestations, an*

the our (aniestations generate* the eight trigra(s; ?hen one=s (in* is silent, ithout any

thoughts, e+en all goo* things (a:ing no +oice, this is calle* onpolarity; But beore e(ergingro( such a state o (in*, there is alrea*y an essence o Being bringing light to the +oi*, an* this is

calle* the 7ran* Polarity; ?hen acti+e, hen there is (o+e(ent, this is li:e the 7ran* Polarity;

But hen passi+e, hen there is stillness, this is li:e onpolarity; ?hen (o+e(ent starts, then the

acti+e aspect is generate*; ?hen (o+e(ent reaches it li(it, then the passi+e aspect is generate*;

)s stillness begins, there is sotness; )s stillness pea:s, there is har*ness;

My colleague Cun %utang once sai* to (eG &8ai9i, .ingyi, an* Bagua are o the sa(e essence;- 5

as not yet ully con+ince* o this, an* so 5 repeate*ly sought gui*ance ro( +arious (asters,

gaining a slight un*erstan*ing; ?hen 5 inally percei+e* that 8ai9i principles in*ee* arri+e at the

?ay, .ingyi an* Bagua ere also there; 8hey all go ro( nonpolarity to gran* polarity, ro( i+e

ele(ents to eight trigra(s; 5 you are able to un*erstan* the art o re+ersal, o sitching s:ynessan* groun*ness, o etinguishing aterness ith ireness, then one *ay you ill (a:e the

connection beteen the (etho*s o the three syste(s, an* ill proclai( they all co(e ro( the

sa(e source an* that it coul* not be otherise; 5n 8ai9i, li+eliness is to be oun* ithin circularity;

?hat is i(portant is that you pay attention an* beco(e aare o this point yoursel;

–

[MK'M'8 43)#8C – presente* here ith this orientationG]

6Å± 6± 6W

#ight "ront #ight #ight #ear

正Å± A¹

"ront #ear

ØÅ± Ø± ØW

%et "ront %et %et #ear

–

太極拳šS—ns„²µ™/

4hart o the (o+e(ents o the 8ai9i boing set in 4hapter 8hreeG


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KPK%)#58! PKC8


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B#


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#'8#')857 MK'! photo @@Q/7


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4%K


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%'"8 C


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photo 10EQ/8zy.

photo 106Q/9zy.

photo 10Q/;zy.

photo 10Qd*å½/

photo 10AQ/=zy.

photo 110Q/


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4%K


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4%K?

C8'P "K#?)#/ photo 1EEQ/8


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C58857 857'# photo 1E6Q/9


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(uscles o the upper ar(s into the orear(s, an* li:eise eten* *onar* going ro( the

buttoc:s along the legs;

8he our (aniestations generate the eight trigra(s; 8he eight trigra(s are the eight 9oints o

the our li(bs [i;e; elbosR:nees, ristsRan:les – the shoul*ersRhips representing the roots o the

li(bs]; 'ight (ultiplie* by eight (a:es the sityDour heagra(s; 8he ityDsi 9oints o the ingers

an* toes plus the eight 9oints o the our li(bs also a**s up to the sity our heagra(s;

)s or the ingers, they are *i+i*e* into correspon*ences ith the our seasons; 8he oreinger

correspon*s to spring an* the ele(ent o oo*; 8he (i**le inger correspon*s to su((er, the

ele(ent o ire, an* the su((er solstice; 8he ring inger aligns ith the oreinger, correspon*ing

to autu(n, the ele(ent o (etal, an* the spring an* autu(n e$uinoes; 8he little inger

correspon*s to inter, the ele(ent o ater, an* the inter solstice; 8he thu(b correspon*s to the

seasons as a hole an* the ele(ent o earth;


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(Ö(0(GHed#ZD`道Ie®透(JzeÖÖ××á(Ke

7ormless, shapeless, fightless.

Through the movement of spirit, you will attain the Way:s greatness.

5now well that emptiness is the basis of solidity.

-n murky vagueness is joyful boundlessness.

太極6

'.P%))85K K" 8)5J5

太極je(極¤‹e陰陽之Lve‚拳中eF§Çe‚qøkeF§Me故Ö拳中之N拳e./

!0e‚太極拳中e靜I(極enI太極edDOt之še若ª拳¼SØeS·S†e(,.V(

PveÚE陰陽NVe上†N3edD:Qens自~e(Ï,€e3RÈOeÍ靜¤ne(I¤

9jve-I太極e

&8ai9i [gran* polarity] is born o u9i [nonpolarity], an* is the (other o yin an* yang [the passi+e

an* acti+e aspects];- ?ithin the boing art, it correspon*s to the ele(ent o earth; )s or its place

a(ong the i+e organs, it correspon*s to the spleen, hich (eans that ithin .ingyi Boing it

correspon*s to the crossing techni$ue, hich contains all pheno(ena; 5n 8ai9i Boing, stillness is a

(atter o nonpolarity, (o+e(ent a (atter o gran* polarity, a principle o continuous epansionan* contraction; 5n the 8hirteen /yna(ics %ong Boing set, as ell as in the saber an* sor* sets,

e+erything is inclu*e*, nothing let out; )(ong its principles areG passi+e an* acti+e co(ple(ent

each other, upper bo*y an* loer coor*inating ith each otherL there is a continuous li+ely lo,

using (o+e(ent that is naturalL neither o+er*oing nor un*er*oing, co(ply an* ben*, then engage

an* eten*L (o+e(ent co(es ro( stillness, achie+e(ent ro( not trying; 8his is 8ai9i;

太極…

8)5J5 CK7

太極`‹(極中eÖõdD#¯ŸeŠ天li3機te!0./âš中e

0rand polarity arises from nonpolarity.

#ur primal state is linked with and felt through this principle. -nnate nature is restored; response to changing circumstances.

ll phenomena are contained within the theory in the Boo: o 4hanges.

–

太極拳講義

83' 8)5J5 BK.57 C'8 '.P%)5'/

(極Ø

[0] KPK%)#58! PKC8


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·³¸K¼XØe³[注YÔezº接è†ØePŒ·pØeèÎ»e†_$之Y中ZN(e

囬囬†[E之Ä正e±Y,(eE體[之Ä正e\nope$Ÿ]ªeKFdDÿ•eÛÛ^^e [

心Is³e學jÍ_`qe

"unctionG

8his is a preparation posture, an* so it use* or ocusing the hole bo*y to lo into the

(o+e(ents that ollo ro( it; 5t is also an opening posture, a ritual or co((encing the eercise,

the sa(e as Chaolin practitioners once they ha+e steppe* into their practice space; 5t is co(pletely

*ierent ro( stan*ing at attention to begin a gy(nastics routine, in hich you oul* stic: out

your chest an* suc: in your gut, stiening your ar(s an* loc:ing your legs; 5n this posture, there is

an energy o +agueness, an e(pty +oi*; 5t is a state o (in* that beginners ha+e to search or;

·講義¸Í®定之A¹èÎe面—A¹6±e¥†es極E©Øe¥心4Ô後e·A¹

Ø面¸¥掌r[†íØ/>eìa¨&db÷S’e~Œ[q之sŸ之cdI\eeì

0$—A¹6±e·面Å¸9正TTXÖe³—面ÅIÐeÚØVšd³e

'planation o the postureG

)ter entering your practice space, align yoursel toar* the #ight; !our han*s are hanging *on,

loosening as (uch as possible, pal(s acing behin* you to the %etQ; !our han*s ha+e an intentiono pushing *onar*; !our eet are about oot an* a $uarter apart, though it *epen*s on hat

your on shoul*er i*th happens to be; !our toes are pointing to the #ight, your eet stan*ing

parallel; !our gaze is orar* an* le+el; Cee photo 1G

¹º» dØ

[1;1] 4)843 83' CP)##K? B! 83' 8)5% – Part 1

·V÷¸¹º»eWÔêQìíe1¥fº»之eFghÕðex¹ô»e¹Iòq之âe™š

Iº»eiê2ô[j之e

'planation o the na(eG

4)843 83' CP)##K? B! 83' 8)5% contains the techni$ues o ar*Do, rollbac:, press, an*

push, an* your han*s ha+e a notion o pinching a sparro=s tail; 4hen .iueng teaches this as


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4)843 O 8')# K"" 83' 8)5%; 4atch the opponent=s ar( as i it is a sparro=s tail, then ta:e

a*+antage o the situation by cutting orar* to attac: hi(;

·tn¸r¼de·d¸I提e·÷¸†íe·S¸êAØe·¿¸ê¦Øe·ø¸QAØe

·¼¸Q÷Øe·§¸Q¦Øe·½¸Êìe·¶¸Iíe·¼¸6¹e·¼d¸Ø¹e

'le+en (o+e(entsG

1; %iting until le+el;

2; Pushing *on;

F; ?ar*Do beginning;

@; ?ar*Do inishing;

E; #ollbac: beginning;

6; #ollbac: continuing;

; #ollbac: inishing;

; Press out;

A; %e+el push;

10; 4atching to the right;

11; 4atching to the let;·注¸[†¼dnsek習ÑedDl9e,žùGe¥npŒÜeâm5ñe處處Œÿ:e©

s(ÎeØØ注eD’丹£e着着/心e

Points or attentionG

?hen practicing the ele+en postures belo, they are to be peror(e* as a single lo an* (ust not

ha+e any pausing; )s your han*s (o+e, your aist also rotates; 8here shoul* be ni(bleness in

e+ery part – ar(s, elbos, :nees, hips, an* so on; Pay attention in e+ery posture to your shoul*ers

loosening an* your elbos hanging; Be (in*ul at e+ery (o(ent o energy sin:ing to your eliir

iel*;

·³¸[¨筋:˜IHæe[K¼dnsIY„之FeKØdŸePØâ&e[nòIPºe

6o¥eûžØeÅê2ÀeÚQÊìeIí¹ôeoK中之ŒZeWÔ6oØpeêQìíeS

³Eve

"unctionG

8he purpose o this techni$ue is to loosen the sines an* li+en the bloo*; 8hese ele+en (o+e(ents

or( the stan*ar* or e+erything else; Knce these postures are un*erstoo*, the rest ill be easy to

(aster; )s or *een*ing against opponents, there is the right luring han* [in Part @] an* the

posture o hanging outar* [reerring to the let han* in Part E]; ?ar*Do orar*, a*+ancing

hile pluc:ing; C(oothly rollbac:, then press out; /o a le+el push, then catch an* cut; ?ithin

these the :eys to the techni$ue are also containe* right luring an* let hanging; ?ar*Do, rollbac:,

press, an* push are each applie*;

·講義¸q上Øšd³eì`p,ne¥—面Åe·A¹6±¸v[上rrIAeA`¥

†s齊II¦e¥Ö$4上e¥s—†ôe¥®$[†e©s(ÎeÚU01e¥—上

IAÑe³心[上teÀÕ›œ之s³eŒÕ¥之s³eÔ體面£e$UA¹6±eÚØV

š÷³e

'planation o the (o+e(entG

4ontinuing ro( the pre+ious posture, your eet staying here they are, your han*s sloly lit up

until le+el in ront o you toar* the #ightQ, liting until at shoul*er le+el, the bac:s o the han*s

acing upar*, rists ben*ing *onar*, ingers hanging *on, shoul*ers loosening, elbos

hanging; 'ten* your nec:, *raing up your hea*top; )s your han*s lit up to be le+el, use

intention to lit upar*, not the action o your ar(s or han*s; !our bo*y an* ace are aligne* to

the #ight; Cee photo 2G


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¹º» ÷Ø

[1;2] 4)843 83' CP)##K? B! 83' 8)5% – Part 2

·注¸KI¥†íØeí`u†±I¦e心丹£e3之†’e,žr—上In/>eŒ

,žÅ俯後ve

Points or attentionG5n this posture, your han*s push *on until belo your na+el; !our intention correspon*ingly

sin:s *onar* to your eliir iel*, an* so there (ust be no thought o loating upar*, an* you

also (ust not lean orar* or bac:;

·³¸[hw~之Dex‘ÃeVyò¥e若=QÁe¤†íje

"unctionG

8he posture culti+ates gran*ness o energy an* stea*ies your stance; 5t is as though you are seizing

an opponent=s han*s an* pushing *on ith the eight o (any tons;

·講義¸Íš÷³,ùe¥Í上±4z微圈âe`¥aø¼’Ñerr†íeí`u†±e

¥Ö4上e¥s¥Ë‰$Œne¥®NUe›œV[¾Öe5Eô曲eÔ體†ãeÔn{

ÖeD’丹£eÔ體面£e6—A¹6±eÚØVšS³e


4ontinuing ro( the pre+ious posture ithout pausing, your han*s go ro( abo+e by acing inar*

an* ith*raing in a slight arc until they are about hal a oot aay ro( you, then they sloly

push *on until belo your na+el, the bac:s o the han*s acing upar*, the rists an* tiger=s

(ouths roun*e*, ingers pointing toar* each other, your ar(s (a:ing hal (oon shapes, your

:nees ben*ing, bo*y s$uatting *on; 4ontain your chest an* pluc: up your bac:; 'nergy sin:s to

your eliir iel*; !our bo*y an* ace are still aligne* to the #ight; Cee photo FG


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¹º» SØ

[1;F] 4)843 83' CP)##K? B! 83' 8)5% – Part F

·注¸KØ[ps|}e使心中EÙeoA6¥e¥V(‹Á丹£eÀÕ›œ³E提Ave


5n this posture, use your aist as an ais so that poer co(es ro( your intention to lit your right

han*, both han*s see(ing to e(erge ro( your eliir iel* rather than liting by ay o ar(

strength;

·³¸KØXêEÅ2eöÚ6¥ež³[oIòse或iê[u6±之òjeØ¥掌36¥

AÑe2˜òq~„e†½2³EN(

"unctionG

8his posture is a preparation to a*+ance ith a ar*Do, but (y right han* can also lure in an

opponent=s rist, an* 5 can ta:e a*+antage o neutralizing his attac: to the right by using (y let

pal( at the sa(e ti(e to stri:e to his ribs; ) si(ilar techni$ue is oun* in Bagua;

·講義¸6¥掌—上rr提AetAÑe微r4z•Ø/>e}r—Ô體6€tØ/>e¥心

Í—†e†1Iea¨正‚b!eÔ體³p/Øe微—Ô6ƒne6›œ曲m(Îe(ÑØ¥掌eÁ6¥tAÑe—6ñÍ插e•`Ø¥心4上e†6ñ接近e¥上†N照eVÊ/n9

ØeØìl—6Å±+[ÃeŒÍe6ªô曲eìa¨÷bPeÁ¹坐Á6ªe³IÐ6

¥e·A¹處e¸ÚØVš¿³e


!our right pal( lits sloly upar* ith a slight intention o acing inar*, as ell as an intention

o ith*raing to your right, the pal( acing *iagonally *onar*, le+el ith your hea*top, about

a oot aay ro( your orehea*, your bo*y using poer ro( your aist to slightly tist to the

right, your right orear( bent, elbo hanging *on; )t the sa(e ti(e, your let han* lits an*

pierces *iagonally toar* your right hip, rapping in until the pal( is acing upar* near your

right hip, your han*s aligne* ith each other abo+e an* belo, as i hol*ing a large ball; !our let

oot then shits a hal step toar* the #ight "ront an* the leg shoul* be not $uite straight, your


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right leg ben*ing, your eet 9ust o+er to eet apart, the eight is on your right leg; !our gaze is

le+el toar* your right han* to the #earQ; Cee photo @G

¹º» ¿Ø

[1;@] 4)843 83' CP)##K? B! 83' 8)5% – Part @

·注¸6¥u`極處ö†ev[Y„&Ze0注Ø¥e[上tAÑe3èr4û…Ø/>eK

ØxSêeTØ¥掌eVÍ丹£¤ÔeÍ面ÅÍ—Åèe


?hen your right han* inishes neutralizing, it loers, then concentrate your spirit ully into your

let han* as it lits upar*, olloing it along ith an intention o tisting to ace outar*; 8his

posture is calle* &ar*Do-; !our let pal( see(s to go out ro( your eliir iel*, going *iagonally

orar* in ront o you;

·³¸q上Øe6¥uò之PeòÍ面Åj˜eBFÍê¤teûp[u之eiê¤íe

"unctionG

4ontinuing ro( the pre+ious posture, (y right han* neutralizes the rest o the opponent=s energy,

but then he su**enly attac:s in ront o (e, so 5 sitch ro( ar*ing o to hanging outar* in

or*er to neutralize it, then 5 ill ta:e a*+antage o the situation by pushing *on;

·講義¸6¥Šö†Ñe¥Ö4上eÎ`¦¹e4z•Øe•`¥心4Åe(ÑØ¥Í6ñe—面

ÅeAeÍ2eA`a††k’Ñe¥心4ze‡®4上e6¥a6ñb!eØª曲5e6ª微

epŒˆIØe‚Øªeªƒ9õ‰Ãe¤ÀÕ³E]ØeØ›œŒneV(Š中ÊàeK

Ø6習Ñ,ùe‹接†ØeÔ體面£e$—A¹6±eÚØVšø³e


)s your right han* irst loers, the bac: o the han* is acing upar*, then it raps inar* as it

approaches its inal position, rapping until the pal( is acing orar*; )t the sa(e ti(e, your let

han* goes ro( your right hip, liting up in ront o you, a*+ancing *iagonally, liting until se+eral

inches aay ro( your chin, the pal( acing inar*, the thu(b pointing upar*; !our right han*

is about a oot aay ro( your right hip; !our let :nee is ben*ing, your right leg straightening, an* your aist shoul* be settling as the eight ocuses onto your let leg; )lthough your legs (a:e a


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bo an* arro stance, they (ust not put orth eort to press into it; !our let ar( shoul* be

roun*e* as though hol*ing so(ething in ront o your chest; ?hen practicing, *oes not pause in

this posture, instea* continue into the olloing posture; !our bo*y an* ace are aligne* to the

#ight; Cee photo EG

¹ºØ øØ

[1;E] 4)843 83' CP)##K? B! 83' 8)5% – Part E

·注¸Í上Ø,ùeØ¥vAe³Œ`¦¹e6¥3ne¥6VÊn球Øe¥np23Üe


4ontinuing ro( the pre+ious posture ithout pausing, your let han* lits urther, sent up by ay

o intention, your right han* (o+ing along ith it; !our han*s are again as though hol*ing a ball;

!our loer bac: rotates as your han*s (o+e;

·³¸[Œ`eD0`稍e¥MÊe丹£,âeŠê後pe0之[íe6掌£ê2˜„e

"unctionG

By using intention to sen* the (o+e(ent, energy courses through to the ingertips; ?ith the han*s

e(bracing toar* each other, the eliir iel* *oes not scatter its energy; [My let han*] irst ar*s

o, then hangs, then ill continue into pushing *on, an* (y right pal( ta:es a*+antage o the

situation by stri:ing to the opponent=s ribs;

·講義¸ì,neØ¥Í上Ø,ùeA`†正‚Iea正‚&b!e¥心4†微—zeØ›œŒ

neØ¥tAÑer4û…Ø/>e}r[Ô體Ø€tØ/>e¤}ríØe6¥—ØñÍ

插e¥心4上e6ÎÊŽe6¥接近Øñe¥心上†N照eÔ體6—A¹6±e³ÐØ¥eÚ

ØVš¼³e


!our eet staying here they are, your let han* continues ro( the pre+ious posture ithout

pausing, liting until at orehea* le+el, about a oot ro( your orehea*, the pal( acing *onar*

an* slightly inar*, an* the ar( shoul* be roun*e*; )s your let han* lits, it has an intention o

tisting outar*, as ell as an intention o ith*raing to your let, an* it also has a pushingenergy; !our right han* pierces *iagonally toar* your right hip, pal( acing upar*, the elbo


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hugging your ribs, so the han* is near your let hip, your han*s aligne* ith each other abo+e an*

belo; !our bo*y is still aligne* to the #ight, your gaze toar* your let han*; Cee photo 6G

¹º» ¼Ø

[1;6] 4)843 83' CP)##K? B! 83' 8)5% – Part 6

·注¸¥Vàe[上[Ô6N[pI}e‘e¥[丹£,žâØPoints or attentionG

!our han*s see( to be carrying an ob9ect; )s you go upar* an* ren* across to the #ight, use your

aist as an ais; 5ntention urges your han*s ro( your eliir iel*, because you (ust not be

scattering your poer;

·³¸V’“之”eÍ†í上eIòqâse3Úê[之ev接†Ø[Q之e

"unctionG

"eeling li:e a alcon capturing a rabbit, (y han*s arc upar* to &eat- the opponent=s orear(; 5

accor* ith the situation by using ren*ing, then 5 ill continue into the net posture, rolling bac:;

·講義¸Øì04z–Øe6ì04û×Øe×`—A¹eØì0–`—A¹6We6ª曲5eØ

ª]e‚6ªeØª,žÏÁ³Ee(ÑÔ體—6·A¹¸ƒÜe6¥4上tAe—Ô體6€Ne6¥`面ÅÑeØ¥—Á6â™˜上±ea¨÷’!e3着Ô體`A¹e9[ËIn

圈e6¥心4上eØ¥心4†e6¥†p齊IeÎŒ(es©·epŒˆØeÅn面£e正U

A¹ØWe³IÐ6¥eÚØVš§³e


!our let toes hoo: inar* toar* the #ight #ear an* your right toes sing outar* toar* the

#ear, your right :nee ben*s, your let leg straightens, your intention going onto your right leg, an*

your let leg (ust not put orth too (uch eort; )t the sa(e ti(e, your bo*y tists to the right

toar* the #earQ, your right han* lits, pal( acing upar*, an* ren*s across to your right; Knce

your right han* is in ront o your ace, your let han* is place* a couple o inches abo+e your right

pulse area, going along ith your bo*y as you ren* toar* the #ear, (a:ing a le+el se(icircle,

right pal( acing upar*, let pal( acing *onar*, right han* at nose le+el; !our elbos shoul*


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be hanging, shoul*ers loosening, your aist settling; !our chest an* ace are aligne* to the %et

#ear, your gaze le+el toar* your right han*; Cee photo G

¹º» §Ø

[1;] 4)843 83' CP)##K? B! 83' 8)5% – Part

·注¸KØ†上Øeo³QEe¥3Ô‡†QÑe6¥rûÊ/>eØ¥r後½/>e[†QeÈr千–ÁeQIòqâsŒ~e


8his posture co(bines ith the pre+ious posture to or( the rollbac: techni$ue; ?hile your han*s

are rolling bac: *onar*, going along ith your torso, your right han* has an intention o

pushing outar* an* your let han* has an intention o pulling to the rear; #olling bac: *onar*

is li:e *raing in a eight o (any tons, an* you are to ha+e such a (entality hen rolling bac: an

opponent=s orear(;

囬囬囬囬囬囬囬囬囬囬囬囬囬囬囬囬囬囬囬囬囬·講義¸ì,neÔ‡研 (e,ÜÔe-Í線研 e(Ñ6¥t陰e

Ø¥t陽e6¥‚上eØ¥‚†e3着Ô體[†e[âQØeV(ë着òqâse6¥rÊØeØ

¥r½Øe6ª毫,³EeØªô曲eÔ體Á¹ebÁØªeØ¥接近ØåV托à~e6¥†6ìe上†N照e†6s齊IeÅn面£e6—A¹ØWe³IÐ6¥上±eÚØVš½³e


!our eet staying here they are, your torso tists, though you *o not turn aroun*, or it is a tist

along a straight line [since your eet are staying put]; )t the sa(e ti(e, your right han* beco(es

passi+e [pal( acing *onar*] an* your let han* beco(es acti+e [pal( acing upar*], right

han* abo+e, let han* belo, your han*s going along ith the *onar* (o+e(ent o your bo*y

by ith*raing ith a rollbac:, as though rolling bac: an opponent=s orear(; !our right han* has

a pushing energy an* your let han* has a pulling energy; !our right leg puts orth no eort at all as

your let leg ben*s an* the eight shits onto it; !our let han* is near your let hip as though

hol*ing so(ething up; !our right han* an* right oot are aligne* ith each other, the han* at

shoul*er le+el; !our chest an* ace are aligne* to the %et #ear, your gaze le+el o+er your right

han*; Cee photo G


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¹º» ½Ø

[1;] 4)843 83' CP)##K? B! 83' 8)5% – Part

·注¸[ûÊìÑeÍp2心3ne¥czìÔÊ·eVÍŠ中ÊÔ極Á之àe


?hen pressing out, your loer bac: an* your intention ha+e to be in+ol+e* in the (o+e(ent, an*

then your han*s ill be able to press out as though pushing aay a +ery hea+y ob9ect ro( in ronto your chest;

·³¸KØ6Êìe³處極?e–V上ØQIòqâseò2B6QeòðBì¤Ô之e

"unctionG

8his posture trains the &press- techni$ue, hich has +ery broa* practical uses; "or ea(ple, in the

pre+ious posture 5 rolle* bac: the opponent=s orear(; ?hen he a*+ances, 5 roll hi( bac:, then

hen he retreats, 5 press hi( aay;

·講義¸q上Ø,ùeQ`極¹6›œ拳曲Áž„Ø¥`Øñû±e[上™ön圈Öešâ›近6

囬囬囬囬囬囬›œÎzôea¨’!evÍŠ中e—A¹ØWì/eÔ體Œ—A¹ØW研 /e6I6

ª曲5eØª]eÅõ後‰Ãe¥3ì3—û·eÎ`極處e¥¡接近eVön球ØeÍ

KdX·e6¥Ö4ûØ¥Ö4ze¥†sIe©s(ÎepŒˆØe6習Ñ,ùeÅ接†

Øe³IÐ¥上±e·A¹ØW¸ÚØVš¶³e


4ontinuing ro( the pre+ious posture ithout pausing, once the rollbac: reaches its inal position,

your right ar( rolls in toar* your ab*o(en, your let han* going outar* an* upar* ro( your

let hip, *raing a s(all circle hich then ta:es it to the insi*e ben* o your right elbo, about an

inch aay ro( it; 8hen press out to the %et #ear ro( in ront o your chest, your bo*y also

tisting toar* the %et #ear, your right leg again ben*ing, your let leg straightening, (a:ing a

stance o ront leg a bo, rear leg an arro, as your han*s press outar*; 5n their inal position,

your han*s are +ery close together, as though carrying a s(all ball; 5ssuing outar* in this ay, the

bac: o your right han* is acing outar* an* the bac: o your let han* is acing inar*, both

han*s at shoul*er le+el, your shoul*ers loosening, elbos hanging, aist settling; ?hen practicing,


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*o not pause, instea* continue into the olloing posture; !our gaze is le+el o+er your han*s

toar* the %et #earQ; Cee photo AG

¹º» ¶Ø

[1;A] 4)843 83' CP)##K? B! 83' 8)5% – Part A

·注¸Í上Øì·IíeíÑŒ’着We,ž§IeOŒ心中XØe0Á¥掌`稍e


4ontinuing ro( the pre+ious posture, the press sprea*s into a le+el push; ?hen pushing, you

shoul* be sin:ing soli*ly rather than loating up ith lightness; !ou shoul* alays be epressing

poer (entally, coursing through to your pal(s an* ingertips;

·³¸íØz使D0丹£eÓòÑeìÔòqe£êí之eŒãÊEe

"unctionG

'ercising &push- poer can cause energy to course through to your eliir iel*; ?hen

encountering an opponent, 5 press out at hi(, then ta:e a*+antage o the opportunity to push,

(a:ing a techni$ue o pushing tice;

·講義¸q上Øe¥[u處Ê·eØ¥yÏ6¥上±ep·À齊e¥a¨&b!e¥Ö$4

上eì,ne6I6õØ‰Ãe¥Ê`極¹ÑeÍ上[†íØeí†÷S’!e[心³E†

íe¥†s齊II‰e極E©s(ÎeÔ體†’epˆIØeÅn面£e6UA¹ØWe³

—¥)IÐeÚØVš¼³e


4ontinuing ro( the pre+ious posture, your han*s push out arther, your let han* going o+er your

right han*, an* then they sprea* apart e$ually to be about a oot apart, the bac:s o the han*s

acing upar*; !our eet stay here they are, still (a:ing a stance o right leg a bo, let leg an

arro; Knce your han*s ha+e pushe* out to their li(it, they push *on ro( abo+e or about three

inches, using intention to hea+ily push *on until your han*s are at shoul*er le+el, your shoul*ers

loosening as (uch as they can, elbos hanging, your bo*y sin:ing *on, your aist settling; !our

chest an* ace are aligne* to the %et #ear, your gaze le+el, loo:ing out beteen your han*s; Ceephoto 10G


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¹º» ¼Ø

[1;10] 4)843 83' CP)##K? B! 83' 8)5% – Part 10

·注¸自6—ØN¹eDnVŒe[p2之EÙe“着¥neÀÕ¥np,nŒÕpŠne¥

後neEp¥(Ñnseä-ŒœŒGe

Points or attentionG4atch by going across ro( right to let, the (o+e(ent si(ilar to &clou*ing-;


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?hen practicing this posture, *o not pause in it, instea* continue into the olloing posture; Cee

photo 11G

¹º» ¼dØ

[1;11] 4)843 83' CP)##K? B! 83' 8)5% – Part 11

·注¸自Ø—6N¹eDnVŒe[p2之EÙe“着¥neÀÕ¥np,nŒÕpŠne¥

後neEp¥(Ñnseä-ŒœŒGe


4atch by going across ro( let to right, the (o+e(ent si(ilar to clou*ing;


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right leg ben*ing, the eight ocusing onto your right leg; !our eliir iel* stores poer; 'ten*

your nec:, *raing up your hea*top; !our nec: is tiste* so your gaze is turne* to loo: o+er your

let han*; Cee photo 12G

¼½ dØ

[2;1] C57%' #K/ – Part 1·V÷¸¼½je¼¥˜ò之e½j®½E¤ŽeÕ皮½e或÷½veE„¤中之½Ee¾³

Í上†之˜Ee¡¢£¹ªZeKØ¤之e故¤得Ve

'planation o the na(eG

&Cingle- (eans an intention o attac:ing an opponent ith one han*; o*- in*icates a (etho* o

using a hipDro*, not a leather hip or sot hip; 8he hipDro* techni$ues o ancient sol*iers

oten use* (etho*s o stri:ing *onar* ro( abo+e, such as scything, throing, slicing, pointing,

an* so on, an* this posture gets its na(e *ue to such si(ilarity o (o+e(ent;

·tn¸r÷·d¸¥/曲âe·÷¸Oâí掌e

8o (o+e(entsG

1; "or( a hoo: han* an* ben* your [let] ar(;

2; 'ten* your [let] ar( ith a pushing pal(;

·注¸Ø¥•ØeùÁ6seÎÊ¦e³ŠÐ6¥oA¥/e~後v§ÔØìe


!our let han* *ras inar*, stopping by your right shoul*er, the elbo hugging your ribs; !our

gaze goes irst toar* your right han* as it or(s a hoo:, then goes along ith your let oot as it

steps out;

·³¸…ÔÊ¦ÚØ,âeX$áØeÓò¨¥Å˜e

"unctionG

8isting the bo*y an* hugging the ribs :eeps energy ro( being scattere*; 8his is a preparation or

an a(bushing posture; ?hen encountering an opponent, 5 shoot out (y han* to easily stri:e hi(;

·講義¸¥Œ`極¹eØ¥ÍØå[上exÏžeùÁ6szveØ¥[上tAÑe極E•Øe•`¥心4ûe¥Ö›6se³âÐ6¥oA¥/¥e(ÑØì3着©26ìeív—正


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Å±§Ôe‚6ªe³IÐA¹6±eÅnÍ—6後±e·A¹6W¸ìa¨÷b§½’e

ª9ÍTTXÖeÚØVš¼S³e


Knce your han*s inish clou*ing, your let han* goes upar* ro( your let hip, passes your belly,

an* stops to the insi*e o your right shoul*er; )s the han* lits, it tists inar* as ar as it can so

that the pal( is acing outar*, the bac: o the han* close to your right shoul*er; !our gaze

ollos your right han* as it lits into place, or(ing a hoo:, your let oot correspon*ingly

a*+ancing toar* your right oot, then i((e*iately stepping out to the "ront, the eight ocuse*

onto your right leg; !our gaze is to the #ight, your chest aligne* *iagonally, to the #ight

The Taiji Manual of Yao Fuchun & Jiang Rongqiao

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Transcript of The Taiji Manual of Yao Fuchun & Jiang Rongqiao