TAI CHI BALI Healing Arts Centre Sel ected Articl es on Tai Chi Chuan Compiled by

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1 TAI CHI BALI Healing Arts Centre Sel ected Articl es on Tai Chi Chuan Compiled by Page Article 2 WHAT IS TAIJIQUAN? 4 TAOISM AND TAI CHI CHUAN 7 SHAOLIN THE ROOT OF TAIJIQUAN 10 HISTORY OF YANG STYLE TAIJIQUAN 13 THE MEANING OF TAIJI 14 WUJI THE STATE OF EMPTINESS 15 YIN YANG 16 MARTIAL MORALITY 19 THE FIVE PILLARS OF TAI CHI CHUAN 21 TRAINING PRINCIPLES OF TAI CHI CHUAN 22 YANG STYLE BASIC TRAINING METHODS 26 TEN ESSENTIAL POINTS OF YANG CHENGFU 28 TEN ESSENTIAL POINTS EXPLAINED 31 STEPS IN LEARNING TAIJIQUAN 34 HOW DO YOU LEARN TAIJIQUAN? 36 YANG TAI CHI FOR BEGINNERS 38 GETTING STARTED 40 HOW TO PRACTICE A TAIJIQUAN SEQUENCE 42 STANDING PRACTICE 43 BREATHING AND CHI FLOW 44 HOW TO INTERCONNECT THE JOINTS TO WORK AS A WHOLE 45 DEVELOPING TAI CHI CHUAN GONGFU 49 LOOSENING AND SINKING, OPENING AND EXTENDING 51 TRAINING A SEQUENCE EFFICIENTLY 53 HOW TO PRACTICE TAI CHI FOR SUBSTANTIAL IMPROVEMENTS 57 SUCCESS IN TAI CHI 59 WHAT IS QIGONG? 60 BREATHING EXERCISES 64 TAIJI QIGONG 66 IMPROVING QUALITY OF QI'S MANIFESTATION 68 JIN GENERATING MARTIAL POWER 71 PUSHING HANDS 75 SELF DEFENCE 78 BEYOND YOUR BAREHAND TAIJI FORM 80 XIN AND YI: TWO MINDS 81 TAIJIQUAN THEORY OF REACHING ENLIGHTENMENT 82 OPENING THE HEART WITH TAI CHI 83 RECYCLING AND TRANSFORMING NEGATIVE ENERGY 84 HANDLING STRESS WITH TAI CHI 86 THE TRUE QUALITY OF TAI CHI Compiled by 1

2 WHAT IS TAIJIQUAN? By Dr. Yang, Jwing Ming Let us see what is Taijiquan, as it was written down in the past. First, we must define what we mean by taiji. It is stated in Wang, Zong yue s Taijiquan Classic: What is taiji? It is generated from wuji and is a pivotal function of movement and stillness. It is the mother of yin and yang. When it moves, it divides. At rest it reunites. According to Chinese Daoist scripture, the universe was initially without life. The world had just cooled down from its fiery creation and all was foggy and blurry, without differentiation or separation, with no extremities or ends. This state was called wuji that literally means no extremity, no dividing, or no discrimination. Later, the existing natural energy divided into two extremities, known as yin and yang. This polarity, or tendency to divide, is called taiji, which means grand ultimate or grand extremity, and also means very ultimate or very extreme. It is this initial separation that allows and causes all other separations and changes. From the above, you can see that taiji, which is derived from wuji, is not yin and yang but is instead the mother of yin and yang. How then do we interpret and define grand ultimate as the characters for which taiji is usually translated? And how can we apply this concept to taijiquan practice? Let us turn to the beginning movement of the taijiquan form for an illustration that reveals the answers to these questions. TAIJIQUAN IS ART OF THE MIND When you stand still, before you start the sequence, you are in a state of wuji, that is, a state of formlessness. Your mind should be calm, quiet, peaceful, and centered. Your mind, and hence your qi, should focus at your energetic and physical center, i.e., your lower dan tian or center of gravity. Your body is relaxed, with no intention. Your weight is evenly distributed on both legs. However, once you generate the intention to start the sequence and you begin to move, you are in a state of taiji (i.e., yin and yang start to be differentiated to perception). As the form continues, you shift from side to side, from foot to foot, and each part of your body becomes at times alternately substantial and insubstantial. The taiji in the taijiquan form is thus actually the intention or the motivation generated from the mind that causes the yin and yang to be discriminated. It is this mind that shapes reality. It is this mind that guides us to a deeper and more profound understanding. And it is this living and active mind that continues to achieve further perceptions of yin and yang. From this, you can see why taiji is called grand ultimate, and why the mind is the Dao in taijiquan practice. Therefore, taijiquan is primarily an art of the mind. Through the mind s action, the entire art becomes alive. Once you start a motion it is possible to modify or redirect it, but this modification is possible only after the motion has been started. If one change is made, others can be made, and each change opens up other possibilities for variation. Each factor in the situation introduces other factors as possible influences. The initial motion made all other motions possible, and in a sense created the other motions. The Chinese express this by saying that taiji is the mother of yin and yang: Taiji begets two poles, two poles produce four phases, four phases generate eight trigrams (gates), and eight trigrams initiate sixty four hexagrams YIN AND YANG THEORY The yin and yang theory is used to classify everything, whether ideas, spirit, strategy, or force. For example, female is yin and male is yang, night is yin and day is yang, weak is yin and strong is yang. It is from the interaction of all the yin and yang that life was created and grew. Taijiquan is based on this theory and applies it to form, motion, force, and fighting strategy. In the thousands of years since the taiji theory was first stated, many taiji symbols have been designed. The best one for both theory and application is a circle that contains yin and yang. In this figure, the circle and the curved dividing line between yin and yang imply that both yin and yang are generated and contained in roundness. The smooth dividing line between yin and yang means that they interact smoothly and efficiently. Extreme yang weakens and evolves into yin, first weak and then extreme yin. Extreme yin, in turn, evolves into yang. One evolves into the other and back again, continuously and without stopping. The diagram also shows a small dot of yin in the center of the greatest concentration of yang, and a little Compiled by 2

3 bit of yang inside the greatest concentration of yin. This means that there is no absolute yin or yang. Yang always reserves some yin and vice versa. This also implies that there is a seed or source of yin in yang and of yang in yin. Taijiquan is based on this theory, and therefore it is smooth, continuous, and round. When it is necessary to be soft, the art is soft, and when it is necessary to be hard, the art can be hard enough to defeat any opponent. Yin yang theory also determines taiji fighting strategy and has led to thirteen concepts which guide practice and fighting. Thus, taijiquan is also called thirteen postures. Zhang, San feng s Taijiquan Treatise states: What are the thirteen postures? peng (wardoff), lu (rollback), ji (press or squeeze), an (press down, forward, upward), cai (pluck or grab), lie (split or rend), zhou (elbow), kao (bump), these are the eight trigrams. Jin bu (step forward), tui bu (step backward), zuo gu (beware of the left), you pan (look to the right), zhong ding (central equilibrium), these are the five elements. Wardoff, rollback, press, and push are qian (heaven), kun (earth), kan (water), and li (fire), the four main sides. Pluck, split, elbow, and bump are xun (wind), zhen (thunder), dui (lake), and gen (mountain), the four diagonal corners. Step forward, step backward, beware of the left, look to the right, and central equilibrium are jin (metal), mu (wood), shui (water), huo (fire), and tu (earth). All together they are the thirteen postures. The eight postures are the eight basic fighting jin patterns of the art and can be assigned directions according to where the opponent s force is moved. Peng (wardoff) rebounds the opponent back in the direction he came from. Lu (rollback) leads him further than he intended to go in the direction he was attacking. Lie (split) and kao (bump) lead him forward and deflect him slightly sideward. Cai (pluck) and zhou (el bow) can be done so as to catch the opponent just as he is starting forward, and strike or unbalance him diagonally to his rear. Ji (press or squeeze) and an (press down, forward, and upward) deflect the opponent and attack at right angles to his motion. The five directions refer to stance, footwork, and fighting strategy. They concern the way you move around in response to the opponent s attack, and how you set up your own attacks. Since ancient times, many taiji masters have tried to explain the deeper aspect of these thirteen postures by using the eight trigrams and the five elements. In order to find a satisfactory explanation, various correspondences between the eight basic techniques and the eight trigrams, and also between the five directions and the five elements have been devised. Unfortunately, none of the explanations are completely reasonable and without discrepancy. In addition to the thirteen postures, taijiquan is also commonly called soft sequence (mian quan). This is because when taiji is practiced, the forms are soft and smooth, the mind is calm, the qi is round, and jin is fluid. Taijiquan is also called Long Sequence (Chang Quan or Changquan). Zhang, San feng s Taijiquan Treatise states: What is Long Fist [i.e., Long Sequence]? [It is] like a long river and a large ocean, rolling ceaselessly. Originally, the name Changquan came from the Shaolin Temple. Changquan means Long Fist. It can also be translated as Long Range or Long Sequence. Ancient documents suggest that the meaning of Changquan in Taijiquan means the Long Sequence like a long river that acts as a conduit to the open ocean, which also means that when taiji is practiced, the forms flow smoothly and continuously. The qi flow is smooth and continuous, and the jin is unbroken. There is another martial style also called Chang Quan. However, this Shaolin style should be translated as Long Fist because it specializes in long range fighting. Compiled by 3

4 TAOISM AND TAI CHI CHUAN By James Leporati Lao Tzu, the legendary founder of Taoism, was an older contemporary of Confucius. Anecdotal stories tell of at least one meeting between the two philosophical giants with Confucius coming away perplexed and somewhat in awe of his elder, comparing Lao Tzu to a "Dragon who flies among the clouds." Not much is known of Lao Tzu concretely, but there are many legends and stories concerning him. It is said that at age 160, he decided to resign his position as keeper of the archives for the court of Chou at Loyang and retire to peace, solitude and contemplation. As he departed, a gatekeeper implored the sage to please compose a book coalescing his teachings so that they would not perish when Lao Tzu withdrew from the world. It was then that Lao Tzu wrote the 5000 character classic and central treatise of Taoism, the Tao Te Ching. A short, highly mystical work, it consists of only 81 verses. The teachings of Lao Tzu are based on a great underlying principle, the Tao or "Way," which is the source of all being. Through the understanding of this principle, all the contradictions, divisions and distinctions of our existence are ultimately resolved. This principle can only be understood intuitively. Grasping the Tao intellectually or through some rationally derived procedure is pointless. The ancient texts tell us that the Tao is and must always remain essentially beyond the human ability to describe it, and can only be fully understood through a kind of mystical and internal transformation. This intuitive transformation simply removes the obstacles clouding our consciousness and connects us once again to our original insight which allows us to see clearly and understand the workings and wonders of the cosmos. Taoism then, does not seek to advance man to some new state of being, merely to return him to his original and natural consciousness. The way of life which one achieves after union with the Tao is often hallmarked by a kind of yielding passivity, an absence of strife and coercion and a manner of acting which is completely effortless, free of artifice and spontaneous. Like Lao Tzu, many of the greatest contributors to the development of Tai Chi Chuan were simple men, not necessarily well versed in the various philosophical schools and literature of their times. Perhaps they even lacked the requisite literacy to read the salient texts of Taoism and the voluminous commentaries on them. Yet, Tai Chi Chuan has perhaps the greatest literary tradition associated with any martial practice to date. This paradox is resolved by the eventual adoption of the art by more scholarly figures as time progressed. It is known that Tai Chi Chuan was held in high esteem at the royal court (perhaps due to the efforts of the Yang family Tai Chi patriarch Yang Lu chan). It is reasonable to assume that the Chinese literati were both entranced and impressed by the art's effortless perfection. These more scholarly practitioners might have easily concluded that the principles underlying Tai Chi were in perfect accord with the Tao Te Ching. Examples are numerous. The Tao Te Ching seems to reflect philosophically the physical movements and skills which underscore the art of Tai Chi. It almost seems a primer in itself as one reads through the text: Verse 22 Therefore the ancients say, "Yield and overcome." Is that an empty saying? Verse 43 The softest thing in the universe Overcomes the hardest thing in the universe. Verse 76 The hard and strong will fall The soft and weak will overcome them. Verse 78 The weak can overcome the strong; The supple can overcome the stiff. Compiled by 4

5 Under heaven everyone knows this, Yet no one puts it into practice. These verses illustrate the central principle of Tai Chi: yielding to the opponent's force. Verse 26 The heavy is the root of the light; The still is the master of unrest. To be light is to lose one's root. To be restless is to lose one's control. A warning concerning root and balance as well as a strategy, this is sound advice for the Tai Chi Chuan adept. These concepts find their mirror in the Song of the 13 Postures: Being still, when attacked by the opponent Be tranquil and move in stillness My changes caused by the opponent fill him with wonder Verse 36 That which shrinks must first expand. That which fails must first be strong. That which is cast down must first be raised Wu Yu hsiang's Expositions of Insights into the Practice of the Thirteen Postures relates: First seek extension, then contraction; then it (the movements) can be fine and subtle. The reference to the use of excessive, hard muscular strength (li) equating with failure of one's technique are also common in Tai Chi literature. The Tao Te Ching illustrates this concept with: Verses 30 Force is followed by loss of strength Verses 55 If too much energy is used, exhaustion follows. Obviously these are references to hard and inflexible force the use of which does not equate with the dexterous and lively chi energies cultivated by the Tai Chi Chuan practitioner. In regard to strategy, the Taoist axiom "That which is cast down must first be raised," equates with the lifting up or severing of the opponent's root before discharging energy against him during applications. Verse 15 Who can remain still until the moment of action? This causes Wu Yu hsiang to reflect in Expositions: "It is said, 'If others don't move, I don't move. If others move slightly, I move first.'" How should one's footwork be structured during combat? Verse 41 of the Tao suggests: "Going forward seems like retreat," while Master Cheng explains in The Song of Form and Function: "When the foot wants to advance/first shift it backwards." In its application as an attacking gesture, the posture "Step Back and Repulse Monkey" epitomizes this "advancing while apparently retreating" method of footwork. Compiled by 5

6 What about the highest level of the art of Tai Chi Chuan? Verse 41 The greatest form has no shape. For the Tai Chi practitioner this could be said to be the ultimate goal: a state in which the underlying principles are so deeply ingrained that form itself becomes unimportant. Where the mind leads, the energy will naturally manifest itself in a spontaneous and proper way. In the Tai Chi Chuan Ching by Chang San Feng he says simply: Up or down Front or back Left or right, one all the same. A more contemporary master, Cheng Man ching in his Song of Form and Function offers us: Not neutralizing, it naturally neutralizes, Not yielding, it naturally yields In push hands /The whole body is a hand And the hand is not a hand. But the mind must stay In the place it should be. Tai Chi Chuan and Taoism are inexorably linked together. Tai Chi is a physical representation of Taoist ideals, the ungraspable made graspable through physical principles whose very movement reflects the motion of the Tao itself. Compiled by 6

7 SHAOLIN THE ROOT OF TAIJIQUAN By Dr. Yang, Jwing Ming After Bodhidharma (Da Mo) passed down his qigong (chi kung) theory at Shaolin Temple around A.D. 550 the Shaolin monks trained the cultivation of Qi, and realized that from this cultivation, muscular power could be enhanced to a tremendous level, which could make martial techniques more powerful and effective. This was the beginning of internal cultivation in the martial arts. According to ancient records, it was only about 50 years later that internal martial art styles based on Da Mo s internal Qi cultivation were created. SMALL NINE HEAVEN AND POST HEAVEN TECHNIQUES Two of the best known of these styles are Small Nine Heaven (Xiao Jiu Tian) and Post Heaven Techniques (Hou Tian Fa). All of these early Chinese martial art styles were created based on the same Taiji (tai chi) theories and principles known today. These theories and principles are: 1. Qi should be first cultivated and developed internally. This Qi is slowly manifested as power through the physical body and finally applied into techniques. 2. In order to allow the Qi to circulate smoothly and freely in the body, the physical body must first be relaxed, and the movements must be soft. 3. The Yin and Yang theory and concepts are the foundations and root of Qi development. The roots of Taijiquan (tai chi chuan) have existed for at least 1400 years. During this time, thousands of techniques were discovered and hundreds of styles were created. The very theoretical underpinnings of Taijiquan have been studied and researched continuously. From the accumulation of thought, its theories have reached a very deep and profound level even as its contents have expanded into an ever wider range. TAIJIQUAN ORIGINALLY CHANGQUAN (LONG FIST) The implications of these two styles were probably the progenitors of Taijiquan. It is believed that Taijiquan was not actually named Taijiquan until the Chinese Song dynasty (circa A.D. 1101). Zhang, San Feng is widely credited as the creator of Taijiquan. Taijiquan in ancient times was also called Changquan (Long Fist). It is said: What is Long Fist? (It is) like a long river and a large ocean, rolling ceaselessly. Originally, the name Changquan came from the Shaolin Temple. Changquan means Long Fist. It can also be translated as Long Range or Long Sequence. Ancient documents suggest that the meaning of Changquan in Taijiquan means the Long Sequence like a long river that acts as a conduit to the open ocean. The Qi circulating in the body is rolling continuously, flowing, and ebbing in natural cycles. SHAOLIN TEMPLE TO CHEN VILLAGE From surviving fragments of documents, it can be surmised that the Shaolin temple was the major influence on the development of Qi cultivation in martial arts society. It is valid to infer that substantial Taijiquan theory originated at the temple. Looking at contemporary Chen Style Taijiquan, similarities emerge between it and certain external Shaolin styles. For example, both the first and second routines Changquan and Pao Chui (Cannon Fist) originated at the Shaolin temple, yet they also exist in Chen Style. Even the names were kept the same as those in the temple. Although the Shaolin Changquan and Pao Chui have been modified and revised in Chen Style Taijiquan, it can still be traced back to the root and origin of every movement in today s Chen Style Taijiquan. This holds true for many of the Taijiquan weapons routines. YANG STYLE ROOTS It is well known that Yang Style originated from Chen Style and that they still share the same Taiji root and essence. Wu and Sun Styles originated from Yang Styles. Taijiquan and Shaolin martial arts also share the same root. It is no wonder that many Taijiquan masters who have also learned Shaolin martial arts are more expert and proficient in the martial roots and applications of Taijiquan. The Compiled by 7

8 reason for this is simply because the Dao of Chinese martial arts remains the same in all Chinese styles. Different styles are only different variations and derivations like branches and flowers coming from the same root. When you learn different styles, you will have different angles from which to view the same Dao. Naturally, your mind will be clearer and your understanding will be will be more profound. TAIJIQUAN MEANS GRAND ULTIMATE FIST As written down in the past, Taijiquan originally was written as Taiji. It is said: What is Taiji? It is generated from Wuji. It is the mother of Yin and Yang. When it moves, it divides. At rest it reunites. Taiji can be translated as Grand Ultimate or Grand Extremity, which refers to the most essential movements, or the very origin of motivation or force. Wuji means No Extremity, and means No Dividing or No Discrimination. Wuji is a state of formlessness, of staying in the center: calm, quiet, and peaceful. Once you have generated a mind, or have formed the mental shape with which you will influence physical reality, the motivation of dividing or discriminating starts. When this dividing happens, Wuji will be derived into Yin and Yang. From this, you learn what Taiji is it is the motivation of distinguishment. When you have this motivation, the Qi will then be led, and Yin and Yang can be distinguished. Once this motivation (i.e., Taiji) stops, the motivator of division stops, and the Yin and Yang will once again reunite and return back to Wuji. Taiji is actually the motive force generated from the mind (Yi). From this force, the Qi is led and circulates throughout the body. Summing up, Taijiquan is the martial style which trains the practitioner to use the mind to lead the Qi, circulating it in the body, and generating the Yin and Yang states, either for health, fighting, or otherwise. THIRTEEN JIN PATTERNS AND STRATEGIES Taijiquan is also called Shi San Shi (Thirteen Postures). It is said: What are the Thirteen Postures? Peng, Lu, Ji, An, Cai, Lie, Zhou, Kou; these are the eight trigrams. Jin Bu, Tui Bu, Zuo Gu, You Pan, Zhong Ding; these are the five elements. Peng, Lu, Ji, An are Qian (heaven), Kun (earth), Kan (water), Li (fire); the four main sides. Cai, Lie, Zhou, Kou are Xun (wind), Zhen (thunder), Dui (lake), and Gen (mountain); the four diagonal corners. Jin Bu, Tui Bu, Zuo Gu, You Pan, and Zhong Ding are Jin (metal) Mu (wood), Shui (water), Fo (fire), and Tu (earth). All together they are the Thirteen Postures. Taijiquan includes eight basic moving or Jin (martial power) patterns which are considered the eight corners of the Eight Trigrams. Peng, Lu, Ji, and An are considered the four sides of the Eight Trigrams, while Cai, Lie, Zhou, and Kao are regarded as the four diagonal corners. Taijiquan also contains five basic strategic movements or steppings: Jin Bu (forward), Tui Bu (backward), Zuo Gu (see the left), You Pan (look to the right), and Zhong Ding (firm the center). The Thirteen Postures is a foundation of Taijiquan where hundreds of techniques and strategic movements can be generated. For example, a waltz has only three steps in the basic movement, but the variations can number in the hundreds. In order to understand the Qin Na (chin na) applications of Taijiquan, you must first become familiar with the Qin Na hidden in the Thirteen Postures and know that Qin Na can be used against these Thirteen Postures. 37 POSTURES TO HUNDREDS OF APPLICATIONS Taijiquan has also been called San Shi Qi Shi, which means Thirty Seven Postures. If you count the technique movements or postures of Yang Style Taijiquan, you will find that they number only thirtyseven. It is from these thirty seven postures that more than 250 martial applications are derived. These thirty seven postures are also built upon the foundation of the Thirteen Postures or Thirteen Jin Patterns and Strategies. Many of these thirty seven postures are constructed from two or more of the original thirteen Jin patterns. For example, Wave Hands in the Clouds and Grasp the Sparrow s Tail are the combinations of Peng Jin and Lie Jin. The original thirteen patterns first derive into Compiled by 8

9 thirty seven basic postures or movements and these thirty seven basic postures can be derived into hundreds of techniques and variations. TAI CHI IN THE WEST Taijiquan was first introduced to the West by Master Cheng, Man Ching during the 1960's. The original focus of his effort was to teach a method of health and relaxation. It was only after several years that the art's effectiveness in reducing stress and maintaining health became widely known. Since president Nixon visited mainland China in 1973 and opened the gates of China's conservative and long sealed society, Asian culture, especially Chinese culture, has attracted more and more Western people. Moreover, due to an exuberant cultural exchange, many Chinese internal and external martial arts masters have arrived in the West and shared their knowledge. Since then, Western Taijiquan society has itself opened to the realization that, in addition to Cheng, Man Ching's Taijiquan, there are many other Taijiquan styles, all of them created and developed using the same theoretical foundation. However, most Western Taijiquan practitioners, even today, still consider Taijiquan good for only health and relaxation. They do not recognize that Taijiquan was created as a martial art in the Daoist monastery at Wudang mountain, Hubei province, in China. Taiji theory can be traced back nearly four thousand years, to when Yi Jing (The Book of Changes) was first made available. Since then, the concept of Taiji has been adopted by the Chinese people and has become one of the roots or foundations of Chinese thinking and belief. Based on this root, Taijiquan martial arts (Taijiquan or "Taiji Fist") was created. Its theory and philosophy are very profound and deep. If one only pays attention to the relaxation aspect of the movements, then one will not comprehend and feel this profound philosophic root. Yang, Chen Fu has been credited with having made Yang style Taijiquan popular since ORAL TRADITION Through many hundreds of years gone past, countless Chinese people have practiced Taijiquan. Many of them have reached a profound level of this feeling art. Some of them have written down their understanding and findings, and have passed them down generation by generation. Generally, only those good and correct writings, after historical filtering, will survive in Taijiquan society. Even just a couple of decades ago, these documents were considered to be the secrets of their styles. It was not until recently that they have been revealed to lay society. Many practitioners, after comprehending these documents, have re directed themselves into the correct path of practice and in so doing have reached a deeper feeling of the art. I am very fortunate that I could obtain these documents and study them during my thirty nine years of Taijiquan practice. It is from these documents that I have been able to keep my practice on the correct path. It was also these documents which have caused me to ponder and ponder all the time. Many of these documents must be read a few hundred times before it is possible to comprehend the theory and feeling. Yang style Taijiquan was created by Yang, Lu Shan in 1799, and had become very well known and popular by the beginning of the twentieth century. The secrets hidden in this family style were not revealed to the public until the 1990's. Although most of these documents were authored by Yang, Ban Hou, a member of the second generation of Yang style Taijiquan practitioners, they are the representative writings of the style. Yang, Ban Hou has been well known for his profound understanding of the arts and also the capability of manifesting his Taiji Jin (i.e., Taiji power) to its most efficient level. In the last seven centuries, many songs and poems have been composed about Taijiquan. These have played a major role in preserving the knowledge and wisdom of the masters, although in many cases the identity of the authors and the dates of origin have been lost. Since most Chinese of previous centuries were illiterate, the key points of the art were put into poems and songs, which are easier to remember than prose, and passed down orally from teacher to student. The poems were regarded as secret and were only revealed to the general public in the twentieth century. Compiled by 9

10 HISTORY OF YANG STYLE TAIJIQUAN By Dr. Yang, Jwing Ming Dr. Yang, Jwing Ming has a long history in Chinese Wushu going back over fifty years. During his youth, he spent thirteen years learning Taijiquan, Shaolin White Crane (Bai He), and Shaolin Long Fist (Changquan). He continues to research, study, learn, and practice to this day. Below is an excerpt of Dr. Yang's revised edition of the book Tai Chi Chuan Classical Yang Style. This book has the same content, but a new easy to follow layout. Each movement is presented in a series of photographs, with clear, same page instructions for each Taiji posture. HISTORY OF YANG STYLE TAIJIQUAN Yang Style history starts with Yang, Lu chan (A.D ), also known as Fu kuai or Lu chan. He was born at Yong Nian Xian, Guang Ping County, Hebei Province. When he was young he went to Chen Jia Gou in Henan province to learn taijiquan from Chen, Chang xing. When Chen, Chang xing stood he was centered and upright with no leaning or tilting, like a wooden signpost, and so people called him Mr. Tablet. At that time, there were very few students outside of the Chen family who learned from Chen, Chang xing. Because Yang was an outside student, he was treated unfairly, but still he stayed and persevered in his practice. One night, he was awakened by the sounds of "Hen" and "Ha" in the distance. He got up and traced the sound to an old building. Peeking through the broken wall, he saw his master Chen, Chang xing teaching the techniques of grasp, control, and emitting jin in coordination with the sounds Hen and Ha. He was amazed by the techniques and from that time on, unknown to master Chen, he continued to watch this secret practice session every night. He would then return to his room to ponder and study. Because of this, his martial ability advanced rapidly. One day, Chen ordered him to spar with the other disciples. To his surprise, none of the other students could defeat him. Chen realized that Yang had great potential and after that taught him the secrets sincerely. After Yang, Lu chan finished his study, he returned to his hometown and taught taijiquan for a while. People called his style Yang Style (Yang Quan), Soft Style (Mian Quan), or Neutralizing Style, (Hua Quan) because his motions were soft and able to neutralize the opponent's power. He later went to Beijing and taught a number of Qing officers. He used to carry a spear and a small bag and travel around the country, challenging well known martial artists. Although he had many fights, he never hurt anybody. Because his art was so high, nobody could defeat him. Therefore, he was called "Yang Wu Di" which means "Unbeatable Yang." He had three sons, Yang Qi, Yang Yu also called Ban hou, and Yang Jian also called Jian hou. Yang Qi died when he was young. Therefore, only the last two sons succeeded their father in the art. YANG STYLE FAMILY TRADITIONS Yang's second son, Yang, Yu (A.D ), was also named Ban hou. People used to call him "Mr. The Second." He learned taijiquan from his father even as a child. Even though he practiced very hard and continuously, he was still scolded and whipped by his father. He was good at free fighting. One day he was challenged by a strong martial artist. When the challenger grasped his wrist and would not let him escape, Yang, Ban hou used his jin to bounce the challenger away and defeat him. He was so proud that he went home and told his father. Instead of praise, his father laughed at him because his sleeve was torn. After that, he trained harder and harder, and finally became a superlative taijiquan artist. Unfortunately, and perhaps not surprisingly, he didn't like to teach very much and had few students, so his art did not spread far after he died. One of his students called Wu, Quan you later taught his son Wu, Jian quan, whose art became the Wu Style Taijiquan. Yang, Ban hou also had a son, called Zhao peng, who passed on the art. The third son of Yang, Lu chan was Yang Jian (A.D ), also named Jian hou and nicknamed Jing hu. People used to call him "Mr. The Third." He also learned taijiquan from his father since he was young. His personality was softer and gentler than his brother's, and he had many followers. He taught three postures large, medium, and small although he specialized in the medium posture. He was also expert in using and coordinating both hard and soft power. He used to spar with his disciples who Compiled by 10

11 were good at sword and saber, while using only a dust brush. Every time his brush touched the student's wrist, the student could not counter, but would be bounced away. He was also good at using the staff and spear. When his long weapon touched an opponent's weapon, the opponent could not approach him, but instead was bounced away. When he emitted jin, it happened at the instant of laughing the "ha" sound. He could also throw small metal balls called "bullets." With these balls in his hand, he could shoot three or four birds at the same time. The most impressive demonstration he performed was to put a sparrow on his hand. The bird would not be able to fly away because, when a bird takes off, it must push down first and use the reaction force to lift itself. Yang, Jian hou could sense the bird's power and neutralize this slight push, leaving the bird unable to take off. From this demonstration, one can understand that his listening jin and neutralizing jin must have been superb. He had three sons: Zhao xiong, Zhao yuan, and Zhao qing. The second son, Zhao yuan died at an early age. Yang, Jian hou's first son, Yang, Zhao xiong (A.D ), was also named Meng xiang and later called Shao hou. People used to call him "Mr. Oldest." He practiced taijiquan since he was six years old. He had a strong and persevering personality. He was expert in free fighting and very good at using various jins like his uncle Yang, Ban hou. He reached the highest level of taijiquan gongfu. Specializing in small postures, his movements were fast and sunken. Because of his personality, he didn't have too many followers. He had a son called Yang, Zhen sheng. Yang, Jian hou's third son was Yang, Zhao qing (A.D ), also named Cheng fu. People called him "Mr. The Third." His personality was mild and gentle. When he was young, he did not care for martial arts. It was not until his teens that he started studying taijiquan with his father. While his father was still alive Yang, Cheng fu did not really understand the key secrets of taijiquan. It was not until his father died in 1917 that he started to practice hard. His father had helped him to build a good foundation, and after several years of practice and research, he was finally able to approach the level of his father and grandfather. Because of his experiences, he modified his father's taijiquan and specialized in large postures. This emphasis was completely reversed from that of his father and brother. He was the first taijiquan master willing to share the family secrets with the public, and because of his gentle nature he had countless students. When Nanking Central Guoshu Institute was founded in 1928, he was invited to be the head taijiquan teacher, and his name became known throughout the country. He had four sons, Zhen ming, Zhen ji, Zhen duo, and Zhen guo. THREE POSTURES OF TAIJIQUAN Yang Style Taijiquan can be classified into three major postures: large, medium, and small. It is also divided into three stances: high, medium, and low. Large postures were emphasized by Yang, Chengfu. He taught that the stances can be high, medium, or low, but the postures are extended, opened, and relaxed. Large postures are especially suitable for improving health. The medium posture style requires that all the forms be neither too extended nor too restricted and the internal jin neither totally emitted nor too conserved. Therefore, the form and jin are smoother and more continuous than the other two styles. The medium posture style was taught by Yang, Jian hou. The small posture style in which the forms are more compact and the movements light, agile, and quick was passed down by Yang, Shao hou. This style specializes in the martial application of the art. In conclusion, for martial application the small postures are generally the best, although they are the most difficult, and the large posture style is best for health purposes. SUMMARY OF TAIJIQUAN HISTORY Chen Style Taijiquan was derived from Jiang Style. Before Jiang, the history is vague and unclear. Chen Style Taijiquan was divided into two styles: old and new. Chen, Chang xing learned old style and later passed it down to Yang, Lu chan. New style was created by Chen, You ben. Yang Style Taijiquan was derived from Chen Style Taijiquan fourteen generations after the Chen family learned from Jiang. Chen, You ben passed his art to Chen, Qing ping who created Zhao Bao Style. Wuu, Yu rang obtained the new style from Chen, Qing ping and the old style from Yang, Lu chan and created Wuu Style Taijiquan. Li, Yi yu learned Wuu Style Taijiquan and created Li Style Taijiquan. Compiled by 11

12 Hao, Wei zhen obtained his art from Li Style Taijiquan and started Hao Style Taijiquan. Sun, Lu tang learned from Hao Style Taijiquan and began Sun Style Taijiquan. Wu Style Taijiquan was started by Wu, Quan you who learned from Yang, Lu chan's second son Yang, Ban hou. Yang Style Taijiquan has been famous since its creation by Yang, Lu chan in the early part of the 20th century. Yang, Cheng fu's taijiquan is not the same as his father's, uncle's, or brother's. He modified it and emphasized large postures and improving health. You should now understand why there are so many variations within the art, even within a style such as the Yang Style. After so many years and so many generations, countless students have learned the style and have made many modifications in light of their own experiences and research. It is understandable that a student today might learn taijiquan and find that his or her style is different from another claiming to be from the same source. No one can really tell which one is the original style, or which is more effective than the others. Observations from nature and contemplation of the Dao can help you to determine a style's emphasis either for healing or self defense but it is purely a subjective, human determination whether one is in fact "better" than any other. This is a deeply profound area of the art. Self defense and good health are indeed closely related concepts, separated only by a philosophical frame of mind. Ultimately, such comparisons of techniques are meaningless. It is the time, consistency, and quality of your practice that matters. If you can understand this, even as you strive for deeper mastery of your chosen art, then you have already reached a profound understanding of Dao. Compiled by 12

13 THE MEANING OF TAIJI By Dr. Yang, Jwing Ming Taijiquan (Tai Chi Chuan) is an internal style of martial arts that was created in the Daoist monastery of the Wudang mountain, Hubei Province. Taijiquan s creation was based on the philosophies of Taiji and Yin Yang. It is believed that from understanding the theory of Taiji and Yin Yang, we will be able to trace back the origin of our lives. Also, through this understanding, we will be able to train our bodies correctly, to maintain our health and the strength of our physical and energetic bodies, and gain longevity. Since Daoists are monks, the final goal of their spiritual cultivation is to reunite with the natural spirit, the state of Wuji. In order to reach this goal, they must cultivate their human nature and nourish it (discipline their temperament). Wang, Zong Yue said: What is Taiji? It is generated from Wuji, and is a pivotal function of movement and stillness. It is the mother of Yin and Yang. When it moves it divides. At rest it reunites. From this, it is known that Taiji is not Wuji, and is also not Yin and Yang. Instead an inclination of the natural pivotal function which makes the Wuji derive into Yin and Yang also makes the Yin and Yang reunite into the state of Wuji. This natural pivotal function of movement and stillness is called the Dao or the rule of great nature. Taiji can be translated as Grand Ultimate, or Grand Extremity, and Wuji is translated as Without Ultimate, or No Extremity. Wuji can also mean No Opposition. This means Wuji is uniform and undifferentiated, a point in space or at the center of your physical and energetic bodies. For example, at the beginning of the universe, there was no differentiation, and this state was called Wuji. Then it began its separation into complimentary opposites, called Yin and Yang. From the interaction of Yin and Yang, all things are created and grow. You should understand that even though the theory of Taiji originated from the Yi Jing (The Book of Changes) and has been studied and practiced for more than 4,000 years in China, its applications in martial arts were probably not started until several thousand years later. When Taiji theory was adopted into the applications of martial arts and became a style, it was called Taijiquan, The Fist of Taiji. Therefore, if we wish to understand the real meaning of Taijiquan, the first task is to comprehend the meaning of Taiji. It is clear that Taiji is neither Wuji nor Yin Yang, but is between them. It is the pivotal force or energy which makes the Wuji state divide into the Yin and Yang polarities, and also causes the Yin Yang to reunite to the state of Wuji. Yin and Yang, two polarities, originate from Wuji through Taiji s action or function. From these two polarities, again through Taiji s action, four phases are derived. With the same theory, the variations continue until there are unlimited changes in the universe. From this, you can see that all life and all things are produced from the mutual interaction of Yin and Yang through the mediating function of Taiji. Therefore, if you are interested in learning Taijiquan, you must understand Yin and Yang, and their relationship with Taiji. Without knowing the theory and the Dao, your Taijiquan practice will be limited to the external forms and movements. In this case, you will have lost the real meaning of practicing Taijiquan. Before the action of Taijiquan movement, the Xin (emotional mind) is peaceful and the Qi is harmonious, the Xin and Yi (wisdom mind) are at the Dan Tian and the Qi stays in its residence. This is the state of extreme calmness and is the state of Wuji. However, when the Xin and Yi begin to act, the Qi s circulation begins, the physical body s movement is thus initiated, and the Yin and Yang accordingly divides. From this we can see that Xin and Yi are what is called Taiji in Taijiquan. We can conclude from this that Taijiquan is actually a martial art of the mind. The wisdom mind is calm and peaceful. From this calmness, it can be highly concentrated and its storage can be profound. When this Yi is deep and profound, the feeling will be accurate and refined. You should always remember that feeling is the language of the mind and the body s means of communication. Deep and accurate feeling allows you to manifest the mind s decision precisely and quickly. Though our physical bodies are restricted by our three dimensional reality, our minds are free to travel and reach anywhere in the universe, unrestricted by time. The mind is the Grand Ultimate. All human creations, from shovels to airplanes, arose first in our imaginations. From our thoughts, new ideas are created. It is the same for Taijiquan. From practicing the active, living, and creative art of Taijiquan, we are able to further comprehend the meaning of human life and the Compiled by 13

14 WUJI THE STATE OF EMPTINESS By Dr. Yang, Jwing Ming Wuji is a state of emptiness or simply a single point in space. There is no discrimination and there are no polarities (or poles). One possible example is the state of the universe before the big bang, a point of singularity. According to Yi Jing (i.e., Book of Change), originally the universe was in a Wuji state. Later, due to the pivotal action of Taiji, Two Polarities (Liang Yi) (i.e., Yin and Yang) were discriminated. However, we should understand that Yin and Yang are not definite (or absolute) but relative according to specifically defined rules. From these rules, Four Phases (Si Xiang) are again derived. From different perspectives, the Yin Yang two polarities can again be divided into Yin and Yang. For example, if you use your right hand to follow the Yin and Yang pattern, the clockwise cycling belongs to Yang while the counterclockwise cycling belongs to Yin. Generally speaking, your right hand action is classified as Yang and your left hand action is classified as Yin. From this rule, the Yin Yang cycling will be completely reversed if you use your left hand. These general rules are applied in Taijiquan and also in other internal styles such as Baguazhang. The above saying is talking about the Yin Yang s derivation in two dimensions. When this Yin Yang derivation is manifested in three dimensions, then right spiral to advance forward is classified as Yang while left spiral to withdraw is classified as Yin. Similarly, the manifestation of the left hand is reversed. From this, we can see that (if we are) able to comprehend the theory of great nature's Yin Yang spiral derivation, then (we) will be able to comprehend the function of the Dao and use this Dao to understand the theory of ceaseless recycling of millions of lives in nature, furthermore, to trace back the origin of our human and physical life. The purpose of learning Taijiquan is to aim for the comprehension of Taiji and Yin Yang so (we) are able to reach the Dao, therefore, (allows us) to protect (our body), strengthen (our body), and enjoy longevity. Furthermore, by nourishing and cultivating (our) human nature, (we are) able to reach the final goal of unification of heaven and human spirit. From the above discussion, you can see that there are some specific rules that apply when you manifest the Yin Yang polarities into two dimensions. However, we exist in a universe of at least three dimensions. Therefore, the concept of two polarities should be adapted to three dimensions so we can comprehend the natural Dao thoroughly. Once you add the third dimension to the Yin and Yang symbols, you can see that the energy patterns and derivation are spiral actions. When the nature loses its balance, the energy manifests in spirals and millions of lives are influenced, or even are created. All of these manifestations can be seen from galaxies in space, to tornados and other storms, to the formation of sea shells, and even the tiny, twisted strands of our DNA. From the above discussion, you can see that when Yin Yang is manifested in two dimensions in Taijiquan, it is an action of coiling, and when it is acting in three dimensions, it is a spiraling maneuver. If you use your right hand to generate this spiral motion, then the clockwise and forward motion is classified as Yang while the counterclockwise and backward motion is classified as Yin. If you use your left hand, since the left is classified as Yin, all directions are reversed. This is a method to practice the basic skills in Taijiquan for changing from insubstantial to substantial and back again. All action in Taijiquan originates from the Real Dan Tian (a point, center of gravity), where the Wuji is located. From this Wuji center, through Taiji (i.e., mind) the Qi is led, Yin and Yang spiraling actions are initiated, and Taijiquan movements are derived. Compiled by 14

15 YIN YANG By Dr. Yang, Jwing Ming Yin and Yang are opposite (i.e., relative) to each other instead of absolute. That is Yin can become Yang and Yang can change into Yin. Yin and Yang can be exchanged mutually depending on the observer s Xin and Yi. Xin and Yi are the Dao in Taijiquan. Lao Zi, Chapter 36 said: Wish to close it, must first open it; wish to weaken it, must first strengthen it; wish to abolish it, must first raise it; wish to take it, must first offer it. It is also said in Taijiquan classic: withdrawing is releasing and releasing is withdrawing. It means: Yin is Yang and Yang is Yin. Though they are opposite, they are the two faces of the same object which cannot be separated from each other or exist alone. If it can exist alone, then it is a Wuji state and not the natural rule of Yin and Yang. Yin and Yang are opposite to each other but not absolute. How Yin or Yang are defined depends on the perspective of the viewer. Often, what is considered Yang by one person can be Yin to another. Moreover, Yin and Yang are exchangeable and this exchange also depends on how you change your viewpoint. You should also remember that the mind is what is called Taiji or Dao in Taijiquan. When Yin and Yang concepts are applied in Taijiquan, Yin can be Yang and Yang can be Yin. Yin can also be Yin and Yang can also be Yang. All of these alternative concepts all depend on your mind and consequently, different strategies are derived. That means an insubstantial action can be a setup for a substantial action and vice versa. If you do not have the options of Yin and Yang exchange, then your strategy will be stagnant and be easily defeated by your opponent. Generally speaking, Taijiquan s Yin and Yang can be: closing and opening; defensive and offensive; bending and extending; inhaling and exhaling; retreating and advancing; insubstantial and substantial; small and big; neutralizing and emitting; refined and coarse; leading and attacking; soft and hard; internal and external; Yi and Xin; raising and falling; looking up and looking down; coming and going; enter and exit; withdrawing and releasing; etc. However, (you) should not be fixed in the rules without knowing the mutual exchangeable theory of Yin and Yang. For example, during combat between the opponent and me, bending can be Yang as offensive, and extending can be Yin as defensive. Raising can be Yang as a substantial action and falling can be Yin as an insubstantial movement. Coming can be Yang as emitting and going can be Yin as storing. This paragraph lists many examples of the Yin and Yang aspects of Taijiquan actions. However, you should always remember that Yin and Yang are mutually exchangeable. That means substantial can be insubstantial and insubstantial can be substantial. If (you) are able to understand the theory of Yin and Yang and knows their applications, then (your) comprehension is deep and (Taiji) knowledge is profound. Insubstantial and substantial are exchangeable and are mutually Yin and Yang. This will make the opponent lose track of catching the (Jin s) coming and going. Then this is the beginning of understanding Jin. The theory of Yin and Yang is hard to change; however, the applications of Yin and Yang are exchangeable. Therefore, (Taijiquan) practitioners should be always researching and pondering the theory of Yin and Yang and searching for the applications of Yin and Yang s mutual exchanges. If (you) are able to catch this knack and apply it skillfully, then (you are) surely a proficient Taijiquan talent. You should know that Taiji s Yin Yang theory is the foundation and the root of the entire Taijiquan s creation and development, you should always ponder the theory and its applications. Theory is the scholarship of the art while the actions are the applications of the theory. Only then can you catch the crucial key to Taijiquan s substantial and insubstantial. Once you are able to apply this Yin Yang theory into the Taijiquan martial art, you will be able to know the opponent but the opponent will not know you. When you have reached this stage, you have surely understood the applications of Understanding Jin. Compiled by 15