Manual de Tai Chi de Xu YuSheng

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THE TAIJI MANUAL OF XU YUSHENG

Posted on August 27, 2012by Paul Brennan
TAIJI BOXING POSTURES WITH DRAWINGS AND EXPLANATIONS
by Xu Yusheng
[1921]
[translation by Paul Brennan, Aug, 2012]
-
1921, 7th month
Taiji Boxing Postures With Drawings and Explanations
- [calligraphy by] Fu Zengxiang

-

[1st] FOREWORD
In ancient wrestling, the idea was to see who was best, and so they dragged
oxen along while steering pigs around [i.e. struggled moving every which way]
to see which student was bravest. Alas, for those martial arts, it is hard for us to
say whether they were good or bad, but they were extensively developed and
were popular in their time.
When instruction is systematic, fitting, and proper, the student will make a
truly martial display, and the divine horse will gain a bridle [i.e. the student
will achieve control over a special power]. Hardness and softness will conquer
each other. Experiment and play will make use of each other. The muscles and
bones will carry each other. The mental and physical will seek each other.
Xu Yushengs writing leaves nothing out. Let it be spread in countless copies
and give instruction to the future. I have expressed here but meager esteem, so
please scrutinize these words, for fear of divine justice has kept me from
exaggerating.
- Yuan Xitao
[2nd] FOREWORD
Towering are the splendid towers of Yan and Zhaos ancient capitals. So too
martial valor is to be respected, for it is bestowed on us as its students. Our
magnificent martial arts are as fresh as they are old. But many systems have
been forgotten, and so we must seek for them from every neighbor. In the might
of the north, who is the best? Xu Yushengs skill rivals the horses of the heavens.
The ideal thing to do is unite in association with each other and rouse our spirits
to strive, to study intensively in the triple aspects of education [i.e. ethical,
intellectual, physical] and let us be common friends against a common foe.
Without strength of literature, how will these things be spread far? A single page
carried by the wind can delay a cultures decay. When warriors assemble, these
methods will be passed on. For the sake of strengthening our nation, please
regard this book.
- Liu Qian
PREFACE [BY ZHANG YILIN]
I studied the military systems in the Rites of Zhou and the Maxims for War
Ministers to figure out the average size of each states armies. Each state had a
force of 25,000 soldiers, so a hundred states would amount to 2,500,000, and if
there were 1,800 states, that would amount to 40,000,000 [45,000,000].
Nowadays, the equivalent amount for the whole country would be five out of
every ten eligible males. I also studied the History of the Warring States, with
its seven kingdoms of Qi, Qin, Yan, Zhao, Han, Wei, Chu. Each state had to
possess 1,000,000 pieces of armor, 100,000 weapons, and 10,000 servants. If
by such numbers we arranged the 200,000,000 males of our entire country as it
is at present, then our nation would have men eligible for service numbering
10,000,000!
During the Russo-Japanese War [1904-1905], in the battles at Port Arthur
[Feb 8-9, 1904], Liaoyang [Aug 24 - Sep 4, 1904], and so on, there was hand-tohand fighting, and it has been argued that Japans victory over Russia came
down to their skill in Judo. (See the Japanese book Human Bullets: Notes of
Actual Combat at Port Arthur [by Lt. Tadayoshi Sakurai, published 1906].)
Judo is one of the martial arts we have passed down. If it is the case that we are
not concerned with defending ourselves, we do not need it. But if we do wish to
defend ourselves, then central to it are the three aspects of cultivating virtue,
wisdom, and body, the cultivation of the body being the most important.
Ever since the unification of China during the Qin Dynasty, rulers have
neglected the martial spirit of the people, and the ancient days when a person
was both soldier and farmer have gotten ever more distant. Now our nations
people are generally lazy and dispirited, to the joy of onlooking tyrants. When
we come into contact with the mighty powers to the east and west, we then
respond by shivering as if it is cold or stiffening as if being hit with a chilling
breeze, and really it is our own fault.
When the Republic was established, those who comprehended the era we are
living in gradually understood that boxing arts are our national soul. Xu
Yusheng is well-versed in each of these arts, but is particularly expert in Taiji.
When I joined his school, I became a privileged member [being more literate
than most,] and he often bestowed his wisdom upon me. One day he showed me
something he had written, an Illustrated Handbook of Taiji Boxing, and I gave
it a careful readthrough. It had a scientific way of analyzing things, written in a
systematic way and including drawings in sequence.
In the larger scale, Taiji can strengthen our nation and our race. In the
smaller scale, it can prevent disease and prolong life. I had previously seen Xu
Zhiyis article Boxing Arts in Relation to Physics, drawing from the principles
of leverage, and explaining Taijis theory of avoiding the opponent where he is
full and attacking him where he is empty, its skill approaching near to the Way.
Unfortunately Xu Zhiyis writings have only appeared in Physical Education
Quarterly and have not been seen in their entirety [His material, including his
physics article, was finally compiled into a book and published in 1927.], but
now Xu Yushengs illustrated explanations have been compiled into a complete
book. Compared to Xu Zhiyis writings, it is like the wheel of a cart or the wings
of a bird [i.e. is getting around more easily]. For those who are frail, like myself,
it can rouse you from your timidity and brace you up out of your feebleness. All
who study it can be invigorated by it.
Let us take the 400,000,000 men and women of our nation and leave aside
those with a wasteful lifestyle. Of those who follow this method, one in a
hundred will work at it without giving up, but that would already be enough to
supply ten percent of the whole army, and these 4,000,000 will none of them be
idle parasites. How could they then be inadequate at defense? If we inquire of
Xu Yushengs opinion of all this, would he not agree with me?
- preface by Zhang Yilin of Wu county, 1st autumn month, 1921
PREFACE [BY YANG CHANG]
In boxing arts, there are the two schools of internal and external. The external
was founded by Damo and is called the Shaolin school. The internal was
founded by Zhang Sanfeng and is called the Wudang school. The elements
taught in both do not go beyond technique and energy. Technique is what is
outwardly revealed. Energy is what is inwardly concealed. Technique is
substance. Energy is flow. Technique is form. Energy is function. When

substance and flow are both cultivated, and when form and function are both
prepared, then it can be said to be boxing.
The distinction between external and internal comes down to these two
terms: technique and energy. The external school excels in technique. The
internal school excels in energy. It is similar to the way the Han Dynasty
scholars put importance on the commentaries to ancient texts but the Song
Dynasty scholars were more concerned with understanding the ideas within the
texts themselves. Although each group has its distinct method, they should work
in parallel to each other rather than in opposition.
Most people do not scrutinize, thinking that the external school is all about
hardness and the internal school is all about softness, and they do not
understand that hardness and softness must not be individually emphasized,
and that there should never be a moment when they are separated. Taijis
thirteen dynamics [i.e. the solo set] was passed down from Zhang Sanfeng.
Since Zhang was a Daoist, it is therefore said in Taiji Boxing things such as: He
is hard while I am soft this is yielding. My energy is smooth while his energy is
coarse this is sticking. And also: Once you have engrained these techniques,
you will gradually come to identify energies, and then from there you will work
your way toward something miraculous.
Yielding and sticking should both be sought in the aspect of energy. You must
be sensitively aware and be without obstruction, and then you can say you are
identifying energies. You must respond to circumstances and do what is natural,
and then you can say you are on your way toward something miraculous. It is as
Laozi said [Daodejing, chapter 1]: Dwelling with nothingness, you will see
mystery. Dwelling with somethingness, you will see details. Truly this is no
different. When boxing experts discuss energy and have reached this level, it can
be said they have achieved a way that is great beyond greatness. But when they
explain its meaning, it is so lofty, and when they discuss its theory, it is in such
detail, and therefore for those who practice it, it is very hard to predict the day
when skill will arrive.
I have seen people who think that in practicing Taiji Boxing, it is only
necessary to identify energies, who then get ahead of themselves by rushing into
focusing on pushing hands without having given adequate attention to how they
are using their torsos, hands, and feet [i.e. the aspect of technique]. After
practicing like this for many years, they are just as weak as when they started,
reaching the point that they cannot even be a match for someone who has been
practicing other boxing arts [i.e. external] for only a few months. These are all
mistakes of thinking the internal school is all about softness, the result of not
striving to make the postures correct and the techniques skillful.
Xu Yusheng, my fellow student, has researched this method for nearly thirty
years and is capable and knowledgeable in both the internal and external
schools, understanding the essentials of each, and so he is perfect for the task of
making such a book to provide for his comrades. He has explained the
movements, including their applications, and the pushing hands methods,
which is especially valuable. He went through three drafts to make the final
manuscript, calling it Taiji Boxing Postures With Drawings and Explanations.
If you can put your heart into what you learn from it, you will break through
and become skillful. The more you practice the pushing hands, striving to
identify energies, from there it will not be difficult to get on your way toward
something miraculous. Even if you have no extra time to practice the pushing
hands, practicing the techniques in the solo set should be sufficient for you to
begin to be able to say you are well-versed in these skills. This is Xu Yushengs
goal. When there is social turmoil or natural disasters, sensible people often flee
to hide in philosophy. But it is also the case that we hear of things that wake up
our senses, such as: through art we approach the Way! And this book is a bridge
toward it.
- written by Yang Chang of Xiangtan in Beijing, 1st autumn month, 1921
AUTHORS PREFACE
When I was young, I was frail and often ill, and so I read all sorts of health
books, controlled my diet, and was careful in my daily habits. I proceeded along
such lines for several years, but had not yet received any outstanding results. I
sought out the books of Hua Tuos Five Animal Frolics, Da Mos Tendon
Changing Classic, and the Eight Sections of Brocade, and practiced according
to them. However, in each case the pictures had no explanations and the
essential concepts were not being imparted. I did my best to imitate the
postures, but the results were sparse, and so I did not complete the study. After
that I engaged in external styles of boxing arts. I trained in the skills of attack
and defense, worked at jumping all over the place, and consequently my body
became somewhat robust. But I suffered from the severity of the exercise and
had to take a break due to renewed illness. I began to understand that it was not
a good method.
Finally I got into internal styles of boxing arts, namely what the world calls
the skill of Taiji. In its contracting and expanding, its bending and extending,
the mind guides the energy. It is simple and easy to practice. It is soft and
sparing of effort. Before I had practiced it for a full year, all my long-standing
ailments had been alleviated. The results were enormous. In every movement in
the postures of its solo set, there is a rhythm to follow, a linking up throughout,
like a continuous flow. With the breath and the movement spurring each other,
the energy and blood, muscles and bones, are lively without stagnation, and you
will deeply achieve the essence of the ancient limbering arts. The qualities of its
movements hard and soft, advance and retreat, passive and active, empty and
full fully conform to the taiji principle in the Book of Changes. When facing an
opponent, act according to the situation and seize opportunity when it appears,
striking where there is a gap, guided by the hollows, and knowing what areas
are too tough to bother with. Indeed it is like those words from the Book of
Zhuangzi [chapter 3] where it talks of the butcher whose skill is near the Way.
And so I have made this book to share with the world. Although it does not do
justice to the intentions of the ancients, if you practice well, it will be possible
for you to make your way toward the Way. You need not look upon this as only a
martial arts text.
- written by Xu Longhou [Yusheng] of Guyan at the Beijing Physical Education

Research Society, autumn, 1921
GENERAL COMMENTS
- Each chapter of this book has been previously published in Physical Education
Quarterly. The intention right from the start was to wait until the series of
articles had added up to a comprehensive volume of material, and now they
have been compiled for such a publication. Because the process of editing has
been hastened to get it published that much faster, areas of either repetition or
omission are inevitable. If experts would give me correction, I would be
overjoyed.
- This book is divided into two parts: the first part being concerned with
explaining Taiji Boxings origins and principles, the second part being
concerned with explaining the postures in the solo set, including drawings, and
the various methods of pushing hands.
- This book draws widely from the expertise of others and is not confined to my
own understanding. For the boxing techniques, I have focused on larger
postures to make it easier for you to see what is going on.
- The most important thing in Taiji Boxing is the linking of movements. In this
book, for the sake of convenience of explanation, each movement within a
posture is divided into its own section of description, but while you are
practicing you should still be moving from one to another continuously.
- In this book, the explanations for the movements in the postures often make
use of current martial arts terminology mixed into what the founders have
passed down to us, and I hope it conforms well to their original intention.
- In this book, I have selected the Taiji Diagram and the Change Development
Chart as a means of verifying the place of this boxing art and to supply you with
reference material.
- In the course of making this book, Beijing Physical Education Research Society
instructors Ji Zixiu, Yang Mengxiang [Shaohou], Wu Jianquan, Liu Enshou, and
Liu Caichen all served as consultants, while society members Guo Zhiyun and
Lang Jinchi did the drawings [Most of these drawings are obviously based on
photos of Yang Chengfu which were published later in Chen Weimings 1925
book, although occasionally the descriptions make a better fit with postures of
Wu Jianquan. The drawings which are not based on the Yang Chengfu photos
are again sometimes more similar to Wu Jianquans movements and are also
apparently drawn by a different hand. We can thus see how their work was
divided: one man worked exclusively at drawing from the Yang Chengfu photos
while the other man drew either from photos of a different source or from an
actual model.]. Yang Jizi and Ye Yingtang did the editing, and Yi Jiansi and Xu
Xiaolu did the proofreading.
(author)
-
Portrait of the author
CONTENTS
PART ONE
Chapter One: Introductory Remarks
Chapter Two: The Meaning of Taiji Boxing
Chapter Three: The Origin of the Name Thirteen Dynamics (Including Maps
of the Eight Directions and Five Steps)
Chapter Four: How Taiji Boxing Conforms with the Symbols of Change
(Including the Taiji Diagram and the Chart of the Development of Change)
Chapter Five: The Various Schools of Taiji Boxing
Chapter Six: The Taiji Boxing Classic Annotated
PART TWO
Chapter One: The Sequence of the Taiji Boxing Solo Set with Movement
Positioning Chart (Complete with Explanations)
Chapter Two: Explanations for Each of the Taiji Boxing Postures with Drawings
1
PREPARATION POSTURE
2
CATCH THE SPARROW BY THE TAIL
3
SINGLE WHIP
4
RAISE THE HANDS
5
WHITE CRANE SHOWS ITS WINGS
6
LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
7
PLAY THE LUTE
8
ADVANCE, PARRY, BLOCK, PUNCH
9
SEALING SHUT
10
CROSSED HANDS
11
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
12
13
DIAGONAL SINGLE WHIP
14
GUARDING PUNCH UNDER THE ELBOW
15
RETREAT, DRIVING AWAY THE MONKEY
16
DIAGONAL FLYING POSTURE
17
RAISE THE HANDS
18
WHITE CRANE UNFURLS ITS WINGS
19
20
BRUSH KNEE IN A CROSSED STANCE
21
NEEDLING UNDER THE SEA
22
FAN THROUGH THE BACK
23
FLINGING BODY PUNCH
24
WITHDRAWING STEP, PARRY, BLOCK, PUNCH
25
26
SINGLE WHIP
27
CLOUDING HANDS
28
RISING UP AND REACHING OUT TO THE HORSE LEFT
29
KICK TO THE RIGHT SIDE
30
RISING UP AND REACHING OUT TO THE HORSE RIGHT
31
KICK TO LEFT SIDE
32
TURN AROUND, PRESSING KICK
33
COME DOWN, BRUSH KNEE IN A CROSSED STANCE
34
ADVANCE, PLANTING PUNCH
35
TURN AROUND, FLINGING BODY PUNCH
36
DOUBLE KICK
37
LEFT & RIGHT FIGHTING TIGER POSTURE
38
DRAPING THE BODY, KICK
39
DOUBLE WINDS THROUGH THE EARS
40
ADVANCE, PRESSING KICK
41
42
STEP FORWARD, PARRY, BLOCK, PUNCH
43
SEALING SHUT
44
CROSSED HANDS
45
46
47
WILD HORSE PARTS ITS MANE
48
MAIDEN WORKS THE SHUTTLE
49
SINGLE WHIP
50
CLOUDING HANDS
51
LOW POSTURE
52
LEFT & RIGHT GOLDEN ROOSTER STANDS ON ONE LEG
53
54
55
RAISE THE HANDS
56
57
58
59
60
61
STEP FORWARD, CATCH THE SPARROW BY THE TAIL
62
SINGLE WHIP
63
CLOUDING HANDS
64
RISING UP AND REACHING OUT TO THE HORSE
65
CROSSED-BODY SWINGING LOTUS KICK
66
BRUSH KNEE, PUNCH TO THE CROTCH
67
68
SINGLE WHIP
69
LOW POSTURE
70
STEP FORWARD WITH THE BIG DIPPER and RETREAT TO RIDE THE
TIGER
71
TURN AROUND, SWINGING LOTUS KICK
72
BEND THE BOW TO SHOOT THE TIGER

73
CLOSING POSTURE
Chapter Three: Discussion of Taiji Boxings Pushing Hands Skill
Chapter Four: Explanations of the Eight Techniques of the Pushing Hands Skill
Chapter Five: Taiji Boxings Practical Function Pushing Hands
Section 1: TAIJI BOXINGS STANCE
Section 2: SINGLE TOUCHING-HANDS METHOD
Section 3: DOUBLE TOUCHING-HANDS METHOD
Section 4: SINGLE-HAND HORIZONTAL CIRCLING PUSHING & RUBBING

METHOD
Section 5: ROLLBACK & PUSH PUSHING HANDS METHOD
Section 6: SINGLE-HAND VERTICAL CIRCLING PUSHING HANDS

METHOD
Section 7: ROLLBACK & PRESS PUSHING HANDS METHOD
Section 8: SINGLE-HAND PRESSING DOWN PUSHING HANDS METHOD
Section 9: PRESSING DOWN THE WRIST & PUSHING DOWN THE ELBOW
PUSHING HANDS METHOD
Section 10: PUSHING HANDS METHOD FOR THE FOUR PRIMARY

TECHNIQUES
Section 11: PUSHING HANDS METHOD FOR THE FOUR SECONDARY

TECHNIQUES
Postscript
-

PART ONE
CHAPTER ONE: INTRODUCTORY REMARKS
In ancient times, there was the map that came out of the Yellow River, the
arrangements of the eight trigrams, the scroll that appeared from the Luo River,
and the pattern of the nine fields. Confucius used them to make the Book of
Changes. Although the Book of Changes is fundamentally a discussion of
divination, within it is already a tool for understanding the principles of all
things. But because the explanations for the symbols did not have the main
points laid out, later generations have been unable to comprehensively

understand them and each explanation has gone down mistaken paths.
Zhou Dunyi worried about this situation, so he contemplated the substance of
the Way, the essentials at its root, and wrote the Explanation to the Taiji
Diagram. He made it so that the subtleties of nature, the methods of society,
the variety of activities, and the inscrutability of spirits all have a single principle
running through them. It can genuinely be said that he was the originator of a
philosophy.
Our nations boxing arts were the earliest to be developed, but so far have not
yet become an integrated art. This is because later generations of students
discuss the art but not the theory, and they look upon it as a skill but do not use
it as a tool for training body and mind. When we look for the source of the
boxing arts, we find they came from the ancient limbering arts.
Long ago before medicine had been invented, [the theory was that] people
encountered six kinds of atmospheres [windy, cold, hot, moist, dry, smoky]
which, when the bodys defenses were down, gathered in the breath and blood to
make illness. Thus those people engaged in bending and extending, contracting
and expanding, using mind to lead energy, stretched areas of stagnancy to
unclog them, and thus cured themselves of illness. Therefore their art was
known as limbering [dao yin, meaning to lead and pull, as in stretching].
In those ancient times, Fu Xi assigned Yin Kang to make a Grand Dance to
stretch the body and heal the peoples illnesses. The Yellow Emperor made his
famous book of medicine, containing massage and limbering techniques, as well
as comprehensive information on acupuncture and medicinal mixtures, all the
basic principles of nurturing the body and of using exercise to defeat illness.
It is said in the Book of Zhuangzi [chapter 15]: Expel dead air and take in
fresh. Loosen by imitating the walking motions of bears and stretch by imitating
the extending motions of birds. These ideas are suitable for breathing exercises.
Hua Tuo of the Han Dynasty [206BC-220AD] continued to spread it by making
the Five Animal Classic (the five being tiger, deer, ape, bear, bird).
Wu Pu discussed it thus: The human body desires to be worked, although it
is not appropriate to work it too strenuously. When we move, the energy from
our food is dispersed to circulate through our blood, and illness then cannot be
born, in the same way a door hinge [that is constantly used] will never rot.
Therefore the ancient immortals engaged in limbering exercises, drawing in
what is essential to the body, moving every joint, to strive to hinder aging. I
possess an art, which is called the Imitating of Five Animals. When I feel my
body is unwell, I begin to act like one of the animals, until I feel comfortable and
sweaty, and then, lightened and efficient, I have an appetite for food. Wu
followed its principles and learned it. Even beyond his ninetieth year he still had
acute hearing and sharp vision.

The Buddhist monks of the Shaolin Temple carried on his ideas, mixing them
together with the various techniques passed down by Damo, and made the Five
Boxing Styles (dragon, tiger, leopard, snake, crane), but with particular
attention to practical application. (The five are explained in detail in Secrets of
the Shaolin Boxing Art [published 1915].)
The original intentions of this physical training have been lost, but since the
Song and Yuan Dynasties many who discussed martial arts followed in the path
of their forefathers. After the temple was burned, the monks dispersed in all
directions. The clever ones developed strained interpretations, each holding to
their version, branching off into numerous schools. However, the authentic
transmission of Shaolin consequently fell into oblivion.
In the declining years of the Yuan Dynasty, there was a retired scholar called
Zhang Sanfeng who took the basic Confucian principle of taiji and mixed it
together with the major principles of the other schools of thought, putting the
five elements and eight trigrams into his boxing techniques and footwork, using
taijis passive and active, hardness and softness, movement and stillness, as
metaphors for its function. With these as its main points, it became known as
the internal school, distinct as a result from the external school.
In the matter of its techniques, Taiji Boxing is indeed different from the other
schools of boxing arts, moving by way of energy, defeating opponents purely
through the use of emptiness and stillness, emphasizing spirit as the highest
form of cultivation, resolute of intention and determined of will, to the
enhancement of ones intelligence, which cannot be said by those who
emphasize the body-building of external styles.
If those who practice external styles learn but some of its ideas, they will be
able to benefit from the work of others. From this it can be seen that as a study
of the Book of Changes which involves the Explanation to the Taiji Diagram
reveals the principle that runs through everything, so a training in boxing arts
which involves the Taiji skill will integrate all the boxing schools.
There are several versions of the Taiji Boxing Classic that have been passed
down to us, but due to all the retranscribing of the text, with words getting
transposed for other slightly different words, it is hard to distinguish which
version is correct. In 1912, I asked the scholar Guan Baoqian to analyze the
versions and determine the correct text. Recently my organization has
established a physical education school, where he gives lessons in his spare
time. [I asked for his help] because I seek to present the Classic in its original
form, and I have also added commentary to it. As for the postures of the solo set,
I have included drawings and explanations with which to instruct you. In order
to deal with what is easy before tackling what is hard, take it one step at a time.

CHAPTER TWO: THE MEANING OF TAIJI BOXING
Taiji Boxing is a study in abstractions. Modeled upon the principles within

the Book of Changes of passive and active, movement and stillness, its
movements and postures are simple and natural, with something being
generated from nothing, in other words: Wuji [no pivot], then Taiji [grand
pivot]. Its movements are round and lively, like a limitless circle, no one
knowing where the end is, and so again the idea that Taiji comes from Wuji. [As
well as no pivot, Wuji can equally be rendered as no limit. Although
representing nothingness, it seems closer in concept to infinity than to zero.]
Within each posture and technique, there is a round shape, therefore explaining
the borrowing of the use of the taiji principle [i.e. the yinyang symbol], serving
to supply the analogies of passive/active, movement/stillness, hard/soft,
advance/retreat, and so on, and is not the same as the common shamanic
superstition that made use of the term Taiji. Nowadays science is flourishing
and the next generation of students will be able to use geometry and other
studies to explain its principles rather than divining from the Book of Changes,
so I heartily hope.
CHAPTER THREE: THE ORIGIN OF THE NAME THIRTEEN DYNAMICS

(INCLUDING MAPS OF THE EIGHT DIRECTIONS AND FIVE STEPS)
The thirteen dynamics are the five elements and eight trigrams combined. Taiji
Boxing uses the four techniques of ward-off, push, press, and rollback
(corresponding with the four cardinal directions of , , , and ), the four
techniques of pluck, rend, elbow, and bump (corresponding with the four corner
directions of , , , and ), and the five steps of forward, back, left, right,
and staying put (corresponding with fire, water, wood, metal, and soil, known as
either the five phases or five elements). They are applied as expanding
[advancing] (Fire blazes upward,), contracting [retreating] (water soaks
downward,), advancing [contracting] (wood is flexible yet resilient,),
retreating [expanding] (metal is malleable yet resistant,), and staying put
(and soil goes with planting and harvesting. [passage from the Book of
Documents] This one is the most important of the five elements,
corresponding with the central position.). These five correspondences are also
depicted in the [second] map below.
Map of the Eight Directions:
(elbow) (ward-off) (pluck)
(rollback)(press)
(rend)(push)(bump)
Map of the Five Steps:
fire
(advance)
woodsoilmetal
(left) (center) (right)
water
(retreat)
CHAPTER FOUR: HOW TAIJI BOXING CONFORMS WITH THE SYMBOLS

OF CHANGE (INCLUDING THE TAIJI DIAGRAM AND THE CHART OF THE
DEVELOPMENT OF CHANGE)
The Book of Changes covers everything, yet its terse theory does not go beyond
the Taiji Diagram. The things Taiji Boxing discusses passive and active, empty
and full, hard and soft, movement and stillness are all there. However, the
world has inherited two taiji diagrams. One comes from Zhou Lianxi, being in
common tradition the one with the double fish. The double fish pattern can be
seen during the double touching-hands posture in its qualities of passive and
active, empty and full, expand and contract, advance and retreat, and can be
found endlessly beyond them. The principles within Zhous diagram are too
profound to be covered in a single chapter, but can be almost fully experienced
by practicing the techniques of Taiji Boxing. Due to the brief length of this
chapter, it cannot be explained in detail, so here will be given only a rough
analysis of the diagram. This diagram divides into five layers:

First, there is its round shape (2-dimensionally a circle, 3-dimensionally a
sphere). It is said: Wuji, then Taiji. When practicing, be calm within,
embracing the primordial oneness. When there is no scheming thought and
there is also no giving anything way, only emptiness to be seen, this can be
called wuji. From within it comes movement and stillness, passive and active,
hard and soft, advance and retreat truly it is the source of all things. How
could it not be taiji?
Second, the circle divides into two aspects: passive and active, or emptiness
and fullness, each occupying a half. And so it is said that from movement the
active is generated and from stillness the passive is generated. Thus are
established the two polarities. By extension, there are the two trigrams of and
[notice the inverted pattern], and this is like the boxings hardness hidden
within softness, or stillness maintained within movement, the idea that the two
aspects are the root of each other.
The third level: the five elements are equated with the five steps. This
expresses the idea that with the active aspect there is change and with the
passive aspect there is merging, as in the case of the active aspect being rooted
in the element of water [which is passiveness at its peak] and the passive aspect
being rooted in the element of fire [which is activeness at its peak], akin to
wanting to retreat at the end of advancing and wanting to advance at the end of
retreating. The disposition of wood is to be flexible yet resilient, and the
temperament of metal is to be malleable yet resistant, and in the boxing exercise
this is akin to bending and extending, opening and closing, sticking and
yielding, absorbing and pressing. All things are born of earth, which therefore
dwells in the central position [of the five elements], and so this is akin to your
mind. During pushing hands, the actions of ward-off, rollback, press, and push
generate and overcome each other, but if you are not mentally engaged in them
throughout, they will be done incorrectly. The Explanation to the Diagram
says: When these five kinds of weather [cold (corresponding to water), hot
(fire), damp (wood), dry (metal), wind (earth)] occur accordingly, the four
seasons march along as they should. The five elements each have a different
nature and the four seasons each have a different weather, but none of these
natures and weathers can go beyond their roles within the passive and active
aspects. Passive and active occupy different positions, movement and stillness
occur at different times, but they cannot depart from their roles within the taiji.
Fourth and fifth, there is the comparison to people and to things. We have
discussed wuji [i.e. the Zero], the two [aspects], and the five [elements]. They
gather and take form, affecting each other and then join to produce all things.
The essence of Taiji Boxing lies in movement and stillness, both merging to
fulfill the [taiji] principle, thereby controlling the center at the basis of all
variations. Once you are responding according to the opponents changes, no
matter how interlinked his techniques or intricate his methods, you can deal
with everything, since all your variation is rooted in a single principle. Zhou
said: A wise man is fixed upon being fair and upright, compassionate and just,
is guided most of all by a sense of peace, and is thereby the best of men.
Fairness has to do with his behavior. Uprightness has to do with his character.
Compassion has to do with his influence. Justice has to do with his judgments.
There is movement and there is stillness. All who are devoted to the taiji
principle [i.e. the perfect balancing of complementary opposites] are without
flaws, and therefore there is nothing they do that is not successful.
ZHOU LIANXIS TAIJI DIAGRAM
taiji / wuji
active movement / passive stillness
fire / water
earth
wood / metal
The way of the ground makes the female quality,
the way of the sky makes the male quality,
[and together] they produce all things.
Shaos Chart of the Development of Change concerns passive and active,

hardness and softness, movement and stillness. It is somewhat different from
Zhous diagram with its words of With movement, the active is generated
With stillness, the passive is generated The workings of the sky are based upon
passive and active [or more literally, shade and sunshine]. The workings of the
ground are based upon softness and hardness [or more connotatively, yielding
and firmness].Shao observed things and wrote: When movement begins, the
active is generated. Once movement peaks, the passive is generated. When
stillness begins, softness is generated. Once stillness peaks, hardness is
generated. Thus it is movement that generates passive and active, and it is
stillness that generates hardness and softness. Although his line of reasoning is
different, yet his description of movement and stillness as a machinery
producing a distinction between passive/active and hardness/softness is of
unique worth in the Taiji boxing art, and you should consider it and grasp its
meaning.

SHAO KANGJIES CHART OF THE DEVELOPMENT OF CHANGE
the moment between movement and stillness
- -
stillness / movement
- -- -
softness / hardness / passive / active
- -- -- -- -
great soft / great hard / lesser soft / lesser hard / lesser passive / lesser active /
great passive / great active
-

CHAPTER FIVE: THE VARIOUS SCHOOLS OF TAIJI BOXING
Since Fu Xi first drew the set of eight trigrams, the concepts of passive and
active were understood, and the taiji principle was already implied within it. He
later assigned Yin Kang to make a Grand Dance to guide people to become more
invigorated. The Yellow Emperor made his famous book of medicine, containing
massage and limbering techniques, all based in the taiji principle, to make
formless exercises. Hua Tuo based his work on words from the Book of
Zhuangzi [chapter 15]: Expel dead air and take in fresh. Loosen by imitating
the walking motions of bears and stretch by imitating the extending motions of
birds. He wrote the Five Animals Classic to instruct Wu Pu, who was already
an early advocate of postural exercises.
There was Xu Xuanping of the Tang Dynasty. (He was from Jiangnan,
Huizhou prefecture, Xi county. He lived as a hermit at Mt. Chengyang, where he
retired on the south-facing slope and avoided eating grains. He was seven and a
half feet tall. His beard reached his navel and his hair reached his feet. He
walked like a galloping horse. Xu, a Tang poet, often carried firewood to sell in
the marketplace, chanting to himself: I carry firewood in the morning to sell, /
so I can buy wine to find retreat in being drunk all day. / Pardon me, where do I
live? / Through the clouds up the verdant hillside. Li Bai went to visit Xu but
did not meet him, then carved a poem [about not meeting him] onto Gazing
Immortals Bridge.) Xu taught a Taiji boxing art he called Thirty-Seven, because
it had only thirty-seven posture names. His method of instruction was single
posture training, making the student train each posture to perfection and only
then moving on to the next posture. There was no fixed solo practice set, but
once all the postures were learned, all the postures could be linked up with each
other as an unbroken continuity, thus it was also called Long Boxing. It secrets
are contained in the Eight Character Song, On Mental Understanding, On
Using the Whole Body, the Sixteen Key Points, and the Song of Function,
all passed down to Song Yuanqiao.
The Taiji Boxing that Mr. Yu (of Jiangnan, Ningguo prefecture, Jing county)
taught was called Innate Nature Boxing, and Long Boxing. He learned it from Li
Daozi of the Tang Dynasty (who was from Anqing, Jiangnan). Li lived in the
Wudang Mountains at the Southern Cliffs Temple. He did not cook his food,
instead snacking on wheat bran several times a day, and people called him
master. Those who were taught by Mr. Yu that we know of were Yu Qinghui,
Yu Yicheng, Yu Lianzhou, and Yu Daiyan.
The Cheng style Taiji boxing art started with Cheng Lingxi (He was called Cheng
Yuandi. He was from Hui prefecture, Jiangnan. He protected Xizhou in Anhui
during the Houjing Rebellion [548-552], and because of all his help was given
charge over it by the Liang emperor as a devoted and powerful soldier.), who
received it from Han Gongyue. It eventually was passed down to Cheng Bi.
(Cheng Bi [in 1193] achieved a second level in the civil service exam in Shaoxing
prefecture, was then given the mayorship of Changhua [a town near the city of
Hangzhou], working his way up to Minister of Rites, was honored with a degree
from Hanlin Academy, given the title of Marquis of Xinan prefecture [modern
day Huizhou in Anhui], as well as Scholar of the Hall of Clarity, was an expert in
the theory of the Book of Changes, and author of the Luo River Collection.) The
name was changed to Small Highest Heaven and had fourteen postures in total.
It includes a list of Five Study Reminders and the Song of Four Natures
Returning to One.
The Taiji Boxing art taught by Yin Liheng was called the Acquired Nature
Method, and he taught it to Hu Jingzi (of Yangzhou). Hu Jingzi taught it to Song
Zhongshu. (Song was from Anzhou. He traveled to Gusu, where he wrote this
poem on a temple wall: Universe eternal, on and on forever, / you dont think
about me, so I dont care about anything. / I wander to the ends of the Earth,
nobody paying any attention to me, / and when spring breezes come, I blow my
flute in taverns.) His posture count amounted to seventeen, many of which
were elbow techniques. Although its posture names were different, its method of
use was the same as before.
Zhang Sanfeng, given name Tong, called Junshi, was from Liaoyang. He was a
Confucian scholar from the end of the Yuan Dynasty, excelling at calligraphy
and painting, versed in poetry and essays. In the first year of Kublai Khans
reign [1260], he was noticed for his remarkable talent and was appointed as a
scholar-official for Zhongshan. He admired the nature paintings of Ge
Zhichuan, which inspired him to abandon his official career, and he traveled to
Mt. Baoji, where the mountain has three peaks so proud and elegant, green and
lush, a joy to behold, and from then he was known as Three Peaks [san feng].
Over the generations, about a dozen sources of biographical information
about Zhang have accumulated, but none discuss his superb boxing art. At the
beginning of Emperor Hong Wus reign [1368], he was invited to court, but his
way was blocked at Wudang. That night in a dream, the deity Xuan Wu gave
him the boxing method, and then at dawn he used it to defeat the bandits.
Thereupon his boxing art was known as the Wudang branch, or the internal
school of boxing.
Internal stylists are of a Confucian mentality, and are therefore distinct from
transcendentalists. Also because eight techniques and five steps are the key
within this boxing art, it is therefore called Thirteen Dynamics [or thirteen
postures], meaning thirteen methods. Later generations have misunderstood
the term as indicating postural postures, leading to confusion.
It was taught to Zhang Songxi and Zhang Cuishan. Then beginning with Song
Yuanqiao and Yu Lianzhou, and followed by Yu Daiyan, Zhang Songxi, Zhang
Cuishan, Yin Liheng, and Mo Gusheng, these seven colleagues met each other in
Nanjing, then together went to the Wudang Mountains. They sought to visit a
Master Li, but they did not get to meet him. However, passing by the Jade
Emptiness Temple, they did meet Zhang Sanfeng. They did obeisance to him,
listened to his wisdom for over a month, and then went home, constantly
returning to get more lessons. From this it can be seen that all seven of these
men considered Zhang to be their teacher, but only Zhang Songxi and Zhang
Cuishan taught his art by the name of Thirteen Dynamics.
It is also said that Zhang lived during the reign of Huizong [1082-1135] of the
Song Dynasty. During the invasion to install the Jin Dynasty [1115-1234], he
killed more than five hundred Jin troops single-handed. The people of
mountainous Shaanxi admired his valiance, earning him hundreds of followers,
and so he passed down his skill in Shaanxi.
When the Yuan Dynasty began, Wang Zongyue of Xian obtained the
authentic transmission and became renowned everywhere. He authored the
Taiji Boxing Classic, the Taiji Boxing Treatise, Understanding How to
Practice, the Touching Hands Song, and the Thirteen Dynamics Song. Chen
Zhoutong of Wenzhou learned it, and thereupon it spread from Shaanxi all the
way to eastern Zhejiang [i.e. from the mountains to the sea].
More than a hundred years later, there was Zhang Songxi of Haiyan county,
Zhejiang, who became the most famous within the system (see the Records of
Ningbo Prefecture). His art was then passed on in Ningbo to Ye Jimei, called
Jinquan, who then taught it to Wang Zhengnan, called Laixian, during the reign
of the Qing Emperor Shunzhi [1644-1661].
Because Zhengnan was bold with people but just, he had a unique reputation
at the end of the Ming Dynasty. Huang Zongxi puts the greatest importance on
Wang Zhengnan (whose deeds can be found in the Stories of Knight-Errants).
When Wang died, Huang wrote a memorial inscription for him. Huang Baijia
[Huang Zongxis son] wrote the Boxing Methods of the Internal School,
including Six Path Long Boxing, Ten Sections of Brocade, and other
instructions. More then a century after Zhengnan, the next person of note was
Gan Fengchi. These are all exponents of the southern branch.
Of those who passed on the northern branch, it was taught by Wang Zongyue
to Jiang Fa of Henan, who then taught it to Chen Changxing of the Chen family
village, Huaiqing prefecture, Henan. Chen always stood straight, impassively,
not inclining in any direction, was as expressionless as a rooster made of wood,
and so people called him Mr. Board. He had two sons, Gengxin and Jixin.
At that time, Yang Luchan, called Fukui, from Yongnian county, Guangping
prefecture, Hebei, heard of his fame, and so he with his fellow villager Li Baikui
went to learn from him. When they arrived, they were the only students who did
not have the surname Chen and they were looked upon as being very much
outsiders, but because there was a close bond between the two of them, they
studied wholeheartedly, often practicing throughout the night instead of
sleeping. Mr. Board saw that Yang studied diligently and thereupon taught him
all his secrets.
Yang went home and taught the art to his fellow villagers, and it was
commonly known as Soft Boxing or Neutralization Boxing, because it has the
ability of using evasion to gain control over a strong force. Then Yang traveled to
Beijing and was a guest in every mansion. Many Qing Dynasty royals, nobles,
and men of rank learned from him, and at that time he was made martial arts
instructor to the Manchu barracks. He had three sons, the eldest named Qi, who
died young, the second named Yu, called Banhou, and the third named Jian,
called Jianhou, also called Jinghu, and both Banhou and Jianhou earned much
fame.
I learned from Yang Jianhou for years and know his familys history. He has
three sons, the eldest named Zhaoxiong, called Mengxiang, the middle one
named Zhaoyuan, who died young, the third named Zhaoqing, called Chengfu.
Banhou had one son, named Zhaopeng, who is a farmer in his village. While
Yang Luchan served as instructor at the Manchu barracks, three people who got
instruction from him were Wan Chun, whose power was hard, Ling Shan, who
was good at flinging opponents away, and Quan You, who was good at
neutralizing, and so it is said that three people each obtained one of his
qualities. When he physically declined, he then told them all to do obeisance to
Banhou as their teacher, and hence they are said to be Banhous disciples.
Song Shuming, who says he is descended from Song Yuanqiao, has traveled
much, is an expert in the theory of the Book of Changes, and is proficient in the
Taiji boxing art, contributing many innovations. He is casual and familiar with
me, and I have had a constant association with him from which I have received
unique benefit. From the instructors in my organization Ji Zixiu, Wu
Jianquan, Liu Enshou, Liu Caichen, and Jiang Dianchen I have also received
much. (Wu Jianquan is Quan Yous son, and it is often said that he was close
friends with Ling Shan.)
CHAPTER SIX: THE TAIJI BOXING CLASSIC ANNOTATED
Taiji is born of wuji.
Tai means the grand or extreme. Ji means the central pivot point. Taiji is
the ultimate foundation of everything in existence. Taiji Boxing therefore is
what each boxing system ultimately attains to. To be born of wuji means that
wuji [no pivot] is the origin [of the grand pivot]. This boxing art emphasizes
refining spirit and uses the wielding of energy to make the postures, which are
natural and unrestrictive in their shapes. Emptiness is the foundation, yet it
embraces everything, and thus it is called wuji [also meaning no limit].
However, a beginner should work on the postures as the initial training. After a
long period of becoming familiar with them and then identifying energies, you
will naturally have a breakthrough, and you will begin to have a condition of the
miraculous.
It says in Zhou Dunyis Explanation to the Taiji Diagram: Wuji, then taiji.
Zhu Xis commentary to it says: Natures work is silent and intangible, yet it is
truly the operation of creation, the foundation of all things. This is why it says
there is wuji, then taiji. But wuji is not beyond taiji, since taiji will return to
wuji. Although in that case, the phrasing of born of wuji would thus seem to
be a poor choice of words.
It is the manifestation of movement and stillness, and the mother of yin and
yang [the passive and active aspects].
Change in position or the progress of the body in a certain direction is called

movement. Solidly staying in or preserving its location or orientation is called
stillness. By manifestation is meant the sign of their occurring. It is similar
to the use of that word in the Classic of the Talisman of the Abstract, in which it
says: The sign of the sky expressing its destructiveness [is the shifting of the
constellations] [the shifting of the constellations indicating the change of
seasons, the different seasons bringing different weather, and each change in
weather being destructive to the previous status quo of weather]. There is no
beginning or end to the cyclings of stillness and movement, passive and active.
Taiji means the pivoting mechanism between them.
When practicing Taiji Boxing, there is calm within the mind, an embracing of
a primordial state of oneness. Do not get stuck in either movement or stillness,
but be instead magically unpredictable. Once there is contact, issue, but do not
then freeze into stillness. When moving, preserve an intention of stillness, but
within the stillness dwells the potential for more movement. Movement and
stillness are rooted in each other and complement each other naturally. Herein
lies the subtlety of the Taiji Boxing art.
Everything that comes into existence carries the passive and contains the
active [Daodejing, chapter 42]. They all have taiji. When there is taiji [i.e.
polarity], there is therefore duality. Therefore taiji is the mother of passive and
active. Every technique and posture in Taiji Boxing contains a circle. When it
moves it is active, and when still it is passive. So it is with hard and soft, advance
and retreat, etc, all having the same principle of change. Therefore here I will
explain the principle of alternating changes in an easy way:
The theory in ancient China was that everything corresponded analogously to
passive and active, and therefore passive and active themselves do not have
fixed roles. This is the case for correspondences of passive and active in Taiji
Boxing
active / passive:
movement / stillness
hands going out / drawing in
advancing / retreating
hardness / softness
issuing / gathering
sticking / yielding
joints extending / bending
spreading apart / closing inward
expanding / shrinking
contracting / expanding
rising / lowering
All of these correspondences, regardless of how one thing changes into another,
are each contained within a circle. Therefore when movement and stillness
become distinct, passive and active then do not occupy the same place and taiji
is everywhere.
With movement there is division [into the vectors of the initial force and the
diverting force (often called a thousand pounds and four ounces)]. With
stillness there is merging [into the net force of both].
Movement means change. When there is movement, there is differentiation of

passive and active, and the two polarities are established. When there is
stillness, there is nothing disturbed and nothing that gives anything away,
though the principle of passive and active is complete within it.
When practicing the Taiji boxing art, in each of its postures, movement and
stillness alternate with each other. This boxing arts movements go forward or
back, left or right, up or down, but in all cases there is passive and active, empty
and full, to be abided by. Therefore it is said that in movement they become
distinguishable. In postures of stillness, although there is no trace of anything
that can be specifically pointed out, passive and active, empty and full, are all
already within. Therefore it is said that in stillness they become
indistinguishable.
If we break down the exercise, then Taijis active aspect transforms and its
passive aspect merges, which with an air of physics or mechanics represent the
principles of the dividing force [components of force] and merging force
[resultant/net force]. In the Taiji boxing art, when I encounter an opponent and
he wants to control me, I then right away [take his attack] to the side, dividing
his power into two paths [i.e. the components of force], causing his power to be
unable to directly reach my body (coarsening his energy). This is what is meant
by With movement there is division.
If this induces him to stick to me, I apply lifting energy [a further vector
added upon the sideways energy], which is a transformation of the active aspect,
and once initiated, a stillness is established which either causes him to cease his
movement or gets his power to land on nothing. [If the latter (he has landed on
nothing but is still moving),] then once there is the slightest stillness [i.e.
hesitation, confusion, indecision on his part], I promptly issue, making use of
the merging energy [i.e. taking advantage of the net force in other words,
capitalizing on the direction he is now unpreparedly moving in], which is the
merging of the passive aspect.
If the opponent wants to issue upon me, I then respond by being calm in my
mind, watching for the moment and taking the opportunity when it comes.
While there is stillness, I wait [for the moment to move at an angle and thereby
create components of force]. Once there is the slightest movement, I respond
[by seeking the stillness within movement of the merging net force which can be
taken advantage of]. It is like the saying goes: Second to shoot but first to hit
the target.
There is only one Way. In the primal chaos there were not yet distinctions and
the vast opaqueness was not yet cleared away. If in the beginning there was
neither movement nor stillness, how could there be passive and active?
Therefore use emptiness as the foundation and you will invariably join with the
Way.
The universe is like this, the Taiji is like this, and when you have practiced
Taiji Boxing until it is extremely refined, it will also be like this. But these words
about the beginning of the universe are being used to talk about the practicing
of the boxing art and how depth of practice advances you to the Way, and
beginners may suddenly find this difficult to discuss.
The sky and the ground are fixed, and the two polarities are separated. When
there is passive and active, there is movement and stillness, and thus one who
talks of Taiji must pay attention to the postures. Taiji Boxings separating and
joining, movement and stillness, accord with passive and active. If there is
movement in a posture, you must seek to open up. When wielding power, you
must understand emptiness and fullness. When he is hard, neutralize him. This
is called dividing [i.e. creating components of force]. Once he is soft, defend
against him. This is called merging [i.e. making use of the net force]. The ground
is in a state of stillness seeking movement. It has an end but no beginning, and
we must submit to it. The sky is in a state of movement seeking stillness. It has a
beginning but no end, and the only thing to do is return to emptiness.
It is the principle of all things that emptiness receives and stillness completes.
The universe stands within emptiness and revolves within stillness. Therefore
when the primal chaos opened up, the whole of the beginning was established.
The whole body truly initiates from wuji, invariably coming from a state of
emptiness and quietude.
Wang Chongyang said: Here I describe the source of the Way: work first at
emptiness and quietude. As for emptiness, there is nothing it does not welcome.
As for quiet, there is nothing it does not answer. Looking at it this way when
practicing Taiji Boxing, if emptiness and quietude are taken as your foundation,
then the changing between dividing his force and merging with it will naturally
happen as you please.
Neither going too far nor not far enough, comply and bend then engage and
extend.
Too far means you are going beyond. Not far enough means you are not
arriving. To comply means to not resist. To engage means to approach.

Going too far or not far enough are both cases of becoming uncentered. If you
become uncentered, you will be resisting by way of your active aspect or
separating by way of your passive aspect, and you will be unable to have
connection.
Taiji Boxing lies in the situations of bending, extending, dividing his power,
and closing on him. If when wielding power you go too far, you are making the
errors of crashing in or resisting. If you do not go far enough, you are making
the errors of running away or collapsing. If you wish to be neither reaching nor
separating, you should comply and bend then engage and extend.
Adapt to the situation and act accordingly, being neither stubborn nor
egotistical, for it depends on the power coming from the opponent. Making
centeredness your priority, engage by sticking, adhering, connecting, and
following, staying always with the opponent. As it says [in the Zhong Yong
(Impartial Constancy), chapter 31 of the Book of Rites]: A gentleman always
stays centered. It is the case that a beginner in this boxing art will often go too
far, and while you begin to identify energies, you will often fail to go far enough.
You should be carefully aware of this.
He is hard while I am soft this is yielding. My energy is smooth while his

energy is coarse this is sticking.
By he is of course meant the opponent. Hardness indicates being strong and

forceful. Softness has to do with smoothness. Yielding has to do with
neutralizing. Using softness and smoothness, change according to the direction
of the opponents force so it does not restrict you, and thus it is called yielding.
Smoothness is being unrestrained and easy. Coarseness is being restrained and
difficult. Sticking is seizing control of the opponents power. Upon encountering
the opponents hard power, I smoothly respond to his momentum and take
charge of it, causing him to lean into range of my control, and thus it is called
sticking.
Taiji Boxing always uses little strength in response to the opponents great
strength. Weak defeating strong, soft controlling hard this is the gist of it.
However, the conventional opinion is that the small cannot really match the
large, that weakness cannot really defeat strength, and that it is really difficult
for softness to gain control over hardness. But in talking of matching, defeating,
controlling, there is indeed a theory behind getting the upper hand: the
opponents power must get to me for it to be effective, but if I gain control over
what he is trying to do, I take advantage of the moment he begins to apply hard
power, watching for the opportunity and responding accordingly, arresting his
attack and sending him back to seeking control over his own body.
Therefore even if I am weaker, I always claim control over the opponents
position, and even if he is stronger, he is always in a position of being controlled.
If it is difficult for him to freely expand, then even if his power is great, what
good would it be? The statement of Laozi that the teeth wear out but the tongue
goes on very much aligns with the idea of hard and soft in Taiji Boxing. But if
you are not an ardent student who ponders deeply upon these things, these
words will not help you.
If he moves fast, I quickly respond, and if his movement is slow, I leisurely

follow. However countless his changes may be, the principle of this timing is a
single constant.
The speed of your movement should be based on the speed of the opponents. If
you want to know his speed, you must first watch for the pivotal moment his
power moves, then you will be able to respond appropriately. What is this
moment of movement? It says in Zhou Dunyis Penetrating the Book of
Changes: The pivotal moment is the time before action has taken shape,
between when it is not and when it is The moment is subtle, and so it is hard
to spot. As difficult to recognize as it is, if you have not trained deeply it will not
be easy to understand. As long as I catch the timing, it does not matter what the
opponent does, for countless variations are based upon that single principle,
and so I hold to it, controlling the variations by making them return to their
single basis. I observe the timing and respond to the situation, neither
overdoing nor underdoing. Holding to that single constant and being ruled by
it, your movement will be pure and natural and be without the slightest bit of
stagnancy. Thus it is said [Zhuangzi, chapter 12]: Obtain the One and all things
are accomplished.

Once you have engrained these techniques, you will gradually come to
indentify energies, and then from there you will work your way toward
something miraculous. But unless you practice a lot over a long time, you will
never have a breakthrough.
For Taiji Boxing practitioners, there is a fixed process of progress. You cannot
skip steps and rush ahead. The subtlety of Taiji Boxing all comes down to using
energy. (This energy has to do with nimbleness and liveliness, comes from a
deeper level of training, and cannot be explained only in terms of physical
strength.) Although the energy is shapeless, it must be in accord with the shape
of the technique in order for you to start to be able to manifest it. In Taiji
Boxing, whenever you concentrate power it depends on being good at moving
energy. If you neglect it when applying techniques, you will end up unable to
understand why they are not working, and you will feel pathetic, that you have
wasted your time, and that progress is hopeless. Compared to proceeding step
by step and progressing gradually, you will instead get half the effect for double
the effort, the result of not abiding by the natural sequence.
Confucius discussed education along these lines: if it is always based in
talented instruction, then each student will benefit from it. Although boxing arts
are a lesser skill, it takes applying it upon opponents to say you have mastered
it, which no one has ever been able to do quickly, therefore a practitioner of this
boxing art should first imitate the teachers postures.
Once you are doing them correctly, you must seek to be mindful of linking
them with each other. Once you can do the solo set fluently, you must focus on
each postures function. Once you are familiar with the techniques, see whether
or not you can apply them properly. Once you have grasped the proper way to
apply them all, see whether or not your power is empty. Once your power is
substantial, you have truly engrained the techniques.

Then seek to identify energies through pushing hands. Study the weight and
speed of your opponents movements and the direction his energy moves
toward. After a long time, you will naturally come to identify a little bit, then a
little more, until you progress to the point that you sense the slightest thing and
everywhere know what it is, and then you will have grasped what is meant by
identifying energies.
Once you are identifying energies, you will not try to apply techniques and
they will happen by themselves. You will progress to the point that without the
energy there is no technique and without the technique there is no energy.
Gradually you will reach the level at which you do not need to apply techniques,
you only need to apply energy. Then finally you will not try to apply energy and
the energy will happen by itself, for you are wielding power by way of intention
and transposing intention with energy. There is spirit in your touch and nothing
can stand against it. You have proceeded to the miraculous. Indeed, without
several decades of ardent practice, how could you attain this?
Forcelessly rouse strength at the headtop.
Forcelessly has also been written as must [making You must rouse strength
at the headtop.], but it seems appropriate to go along with forcelessly. Forcelessly is said in opposition to -fully. To do it forcefully would cause you to be
jammed up and slowed down, making it hard to be skillful. [i.e. You must rouse
strength at the headtop neglects the point that it should be done without effort,
and in fact due to the imperative nature of must, it would seem instead to
encourage effort. Therefore must can be dismissed as simply wrong. It was
surely not intended and was most likely the wrong character transposed for the
right one, an easy and common mistake when characters have identical
pronunciations, a major hazard of the Chinese language.] Headtop means the
top of the head, the area also called the fontanel. During infancy, the bones in
this area are soft and not yet joined, and it often trembles along with the breath.
Daoists call it the upper elixir field or the clay pellet palace. It is the
mansion in which the spirit is stored. When a Buddhist is ordained, he receives

marking there. For Daoists, the upper field is where spirit is cultivated.
The Book of Changes says: He walks in his courtyand but does not notice his
family. (The courtyand indicates the forehead, but means the top of the head
[the headtop]. Walks this is the spirit and energy flowing along
[corresponding to rouse / strength]. Does not notice his family this is the
emptiness [corresponding to effortlessly].) The Yellow Courtyard
Classic says: He wishes to be immortal and cultivate himself at Kunlun. (This
mountains name is a metaphor for the headtop.) All these examples show
people with the knack for self-cultivation.
A persons cerebrum controls thought while the cerebellum controls
movement, but the headtop is really the source from which all things emerge,
controlling all the nerves. [The acupoint at the top of the head is named
(Bai Hui) where all meet.] It is the governors mansion, and its position
is important as such, for it is a fitting place to emphasize when engaged in selfcultivation. The Taiji Boxing practitioner directs body and mind to unite. Inside
and out are simultaneously cultivated, and spirit and body are simultaneously
tempered. Therefore, when moving energy in the body, you must move intellect
in the brain, penetrating spirit to the headtop, seeking to make a halo of clearmindedness round the head, and thereby refining the spirit. The head is the
whole bodys guide. Guiding upward, the gaze then spreads outward. When the
headtop is suspended, throughout the body the skeleton is upright, the muscles
behave smoothly, and whenever there is movement, the whole body functions as
one unit, whether to the left or right, forward or back, without being impeded by
anxieties.
Energy sinks to the elixir field.
The elixir field [Dan Tian] is the name of an acupoint. The Daoists say there
are three elixir fields: one at the headtop storing spirit, one in the belly storing
energy, and one below the navel storing essence. This last one is the lower elixir
field (three inches below the navel). Through constant deep breathing, which
causes energy to accumulate at this point, you will naturally have sufficient
energy and abundant spirit.
The Yellow Courtyard Classic says: When breathing, take outside air into
the elixir field and see how long you can keep it there. The length of the
ordinary persons breath is short and only goes as deep as the belly (i.e. meeting
the diaphragm [but not expanding it]) and cannot make it to the elixir field. This
causes the circulation to slow and the lungs to weaken, inadequately removing
impurities from the abdomen, and hence the blood cannot be lively, greatly
shortening a persons life span. Laozi said [Daodejing, chapter 5]: The space
between sky and ground is like a bellows. He also said [Daodejing, 3]: Empty
the mind, fill the abdomen. This is along the lines of [Zhuangzi, chapter 15]:
Expel dead air and take in fresh (expel meaning exhaling bad air from the
abdomen and take in meaning inhaling fresh air) and [from Daodejing, 16]:
Returning to the root [and thereby] rejuvenating life. (By root is meant the
source, i.e. the vitality in the elixir field [in the lower abdomen] and what is
called the life-gate in the lower back, and then returning and rejuvenating
meaning the intention is inverted and aimed at these places.)
Use intention to guide energy to the lower elixir field where it is refined. After
a long time you will naturally be able to prolong life and prevent disease. The
lower elixir field is the key point of the whole body for practitioners of boxing
arts. By sinking energy to this area, you will be majestically stable and it will not
be easy to affect you or make you topple. But sinking the energy is to be done
slowly, somewhere between deliberately and unconsciously, not like an external
stylists sinking by way of effort and outwardly swelling the abdomen. If you are
not careful, you could end up giving yourself a hernia, amongst other ailments.
Recently Gang Tianhu, a second-level practitioner of Japanese meditation, died
of diabetes. It is suggested the cause may be in connection with him being too
forceful with his lower elixir field, a hypothesis which is not unreasonable.
Neither lean nor slant. Suddenly hide and suddenly appear.
To lean means to lose your balance. To slant means to deviate from your
upright posture. To hide means to conceal. To appear means to show. To

suddenly hide and suddenly appear means to be magically unpredictable.
Neither lean nor slant has to do with the bodys posture. Suddenly hide and
suddenly appear has to do with the movement of spirit and energy. In Taiji,
there is emptiness and clarity, balance and uprightness, meaning that the
posture must be balanced and upright, and that the movement seems both
intended and not intended, causing the spirit, energy, intention, and power to
course through the whole body. Neither going too far nor not far enough,
suddenly hide and suddenly appear, making the opponent unable to figure out
what you are doing. When you have practiced until you are skillful, you will
easily come to comprehend this.
In geometry, between two points there is only a single straight line. In Taiji
Boxing, strength at the headtop is to be roused above and the center of balance
is to be guarded below, and as long as the whole body is balanced and upright,
these will easily be the case. But both the rousing above and guarding below
must contain an intention of liveliness and a quality of being abundantly
natural, whereas if you overdo them and become restrictive, then the spirit and
energy will become sluggish, the posture will become stiff, the wielding of power
will not be able to be done with effortless nimbleness, and your own movements
will begin to obstruct you. Therefore it is said: Suddenly hide and suddenly
appear.
When there is pressure on the left, the left empties. When there is pressure on
the right, the right disappears.
This continues the thought from the previous explanation. I hide and appear
inconstantly. If the opponent feels me applying force on my left side and wants
to add pressure to it to cause me to lose my balance, I then empty my left side
and await his pressure, guiding his power to land on nothing. If he feels I am
applying force on my right side and that he can take control of it, I promptly
hide it and store it away, my empty and full switching roles. If you adapt to the
situation and respond accordingly, how can an opponent ever use his
techniques?
When looking up, it is still higher. When looking down, it is still lower.
Looking up means rising. Looking down means lowering. If the opponent
wants to lift me to make me go upward, I then continue it even higher, or if he

wants to crush me to make me go downward, I then continue it even lower. This
makes him lose his balance and turns the tables to subject him to my control.
When advancing, it is even farther. When retreating, it is even nearer.
To advance is to go forward. Even farther means to stretch out. To retreat is to

go back. Even nearer means to close in. When I advance forward, if the
opponent complies with and leads in my power, I then extend my body and
follow him in so that he cannot evade me. If he takes advantage of the situation
and advances, I quickly lure him in until he is stretched out, making his power
reach its limit so he cannot do anything with it. If I were to simply retreat, his
power would press in on me and I would be forced back with no route of escape.
It says in the Book of Changes: The sky acts with vigor. A gentleman
ceaselessly improves himself. When you see the opponent is about to forcefully
advance, you must not cower. Although Taiji Boxing prioritizes softness and
stillness, it does not seek to avoid contact. Feign retreat and turn retreat into
advance rather than actually retreating. If I retreat and the opponent follows me
closely, I will be crowded and made uncomfortable. When he retreats, I advance
and press in to make him more crowded. If I retreat and his power follows me to
attack, I then bend forward, folding up to obstruct his fingers or wrist, or twist
sideways to push his elbow, making him crowded and uncomfortable and
unable to advance any farther.
A feather cannot be added and a fly cannot land.
The character for feather [can also mean wing but here indeed] means
feather. To be added is in the sense of to be put on you. To land means to
lower and touch you. These phrases describe one who has excellent Taiji skill,
perceiving acutely, knowing the opponent upon the merest contact, putting an
end to the situation when the opponent makes the merest attempt. Even if his
touch is as light as a feather or as slight as a fly, if he encroaches upon me to the

smallest degree, I am immediately aware of it, evading his attack but not adding
any pressure to him in the course of doing so. With the natural clearmindedness we call spirit, I am aware of his action and then able to act upon it.
[Daodejing, chapter 16:] Achieve an extreme softness and maintain a sincere
stillness. Be silent and still, sensing and connecting, and give no warning when
you act. If you do not train to the point of purity, building a supple nimbleness
in your body and developing an abundant power of touch, you will not be
qualified to discuss these things.
He does not know me, only I know him. A hero is one who encounters no
opposition, and it is through this kind of method that such a condition is
achieved.
When you are empty and still, passive and active blend together. When you are
aware and alert, hard and soft alternate with each other. Whatever the opponent
does, I know it all. As for what I am doing, the opponent has a very difficult time
knowing any of it. When an expert of boxing arts encounters no opposition, it is
because of this principle [of knowing and being unknown]. Sunzi said [Art of
War, chapter 4]: Good fighters do not make a show of their skill. He also said
[chapter 3]: Knowing both self and opponent, you will win every time. But not
knowing the opponent and only knowing yourself, you will have only a fifty-fifty
chance. If the opponent does not know me but I am able to know him, then I
will meet no opposition.
There are many other schools of boxing arts besides this one.
This points to other kinds of boxing arts generally.
Although the postures are different between them,
Different schools, different postures.
they generally do not go beyond the strong bullying the weak and the slow
yielding to the fast.
Other kinds of boxing arts emphasize strength and showing off. They do not
seek to identify energies, and thus the ingenuity of merging timing and
momentum, of applying sensitivity, and of using stillness to overcome
movement of any speed, are things which are typically not looked into.
The strong beating the weak and the slow submitting to the fast are both a
matter of inherent natural ability
This points out that both great strength and quick reflexes are talents one is
born with.
and bear no relation to skill that is learned.
They are not abilities that come from learning.

Examine the phrase four ounces moves a thousand pounds (See the
Touching Hands Song [i.e. Playing Hands Song] where it says: I will tug on
his movement with four ounces of force moving his of a thousand pounds.),
which is clearly not a victory obtained through strength.
When measuring weights on a scale, the pulley responds to the heavier side, as
per the mechanics of leverage. Taiji Boxings use of a small force to defeat a
large force, or an absence of force to gain control over a presence of force, is in
accordance with science.
Or consider the sight of a septua/octogenarian repelling a group, which could

not come from an aggressive speed.
In the old days, septuagenarian was commonly used to indicate a man in his
seventies, octogenarian a man in his eighties. An old man moves slowly, but in
ancient times there were great generals like Lian Po, who when he was old could
still defeat many. Therefore there is surely more to it than hands and feet being
fast.
Stand like a scale.
If your body is upright and comfortable, neither leaning nor slanting, the three
sections of the spine will naturally be correctly placed.

Move like a wheel.
If your poise is rounded and dignified, your movement nimble and without
sluggishness, then your whole body will have a wheel-like quality, constantly
turning without end.
If you drop one side, you can move.
To drop means to go to one side. It is like when water is being drained by

being poured from a bottle. This causes one side to be empty and therefore you
can draw off the water. If the bottle were overfilled, it would spill on its own.
If you have equal pressure on both sides, you will be stuck.
There is the equal pressure between me and the opponent [i.e. neglecting to
drop one side and release the pressure on that side to draw the opponent off
balance, instead maintaining pressure on both sides and merely spending effort
holding him back], and there is the equal pressure that has to do only with
myself [i.e. having equal weight on both feet]. Taiji Boxing is based on
naturalness. If you cannot function with single pressure [i.e. with the weight
more on one foot than the other], what is double pressure supposed to get you?
We often see one who has practiced hard for many years yet is unable to
perform any neutralizations and is generally under the opponents control,
and the issue here is that this error of double pressure has not yet been
understood.
Long ago it was said [in the Historical Records, chapter 68]: Those who rely on
virtue flourish. Those who rely on force perish. It says in the Book of Changes:
The sky acts with vigor. A gentleman ceaselessly improves himself. Building
upon these words, when you are empty you are sensitive, being sensitive you
move, by moving you change, by changing you neutralize, and when you
neutralize you do not get stuck. [Sunzi said (Art of War, chapter 6):] One who
is good at dealing with opponents always controls the opponent and is never
controlled by the opponent. Is not this even more important to know for one
who is under the opponents control? Although you may have worked to the
point of skill, if you do not understand the error of double pressure, it is like you
have not yet learned anything.
If you want to avoid this error,
(the error of double pressure)
you must understand passive and active.
Pairings of passive and active are rather numerous, and as it has already been
touched upon above, such a list will not be repeated here.
In sticking there is yielding and in yielding there is sticking.
When you control the opponents energy, this is called sticking. When you
neutralize the opponents energy, this is called yielding.
The active does not depart from the passive and the passive does not depart
from the active, for the passive and active exchange roles. Once you have this
understanding, you will be identifying energies.
Being aware of both the opponents and your own hardness and softness,
emptiness and fullness, then passive and active mutually wax and wane. When
switching emptiness to fullness [and vice versa] without misjudging the time to
do it, here indeed is the identifying of energies.
Once you are identifying energies, then the more you practice, the more
efficient your skill will be,
By contrast, if you are not identifying energies, then despite lots of practice you
will have very little increase in efficiency.
and by absorbing through experience and by constantly contemplating,

gradually you will reach the point that you can do whatever you want.
Once you are identifying energies, you can constantly think about them and
further understand them by experiencing them. Experience and contemplation
are your extra teachers.
The basic of basics is to forget about your plans and simply respond to the
opponent.
[Confucius said (Lun Yu, 9.4):] There is no idea, no imperative, no insistence,

no me. Respond according to situations. Do not get stuck in expectations.
We often make the mistake of ignoring what is right in front of us in favor of

something that has nothing to do with our immediate circumstances.
When you do not sense the right moment to act and then end up acting with
haste, what your action gets you is not going to be what you would want.
For such situations it is said: Miss by an inch, lose by a mile.
Unless you distinguish very minutely, you can easily go astray.
You must understand all this clearly. That is why it has been written down for
you.
Someone in the past said: Obtain the real stuff and ardently work at it. If you
do not discriminate over details, then you will simply be wasting your effort.
This essay comprises what Wang Zongyue learned from Zhang Sanfeng. Its
words are simple and comprehensive. He wanted Taiji Boxings subtle theory to
be explained without anything left out. Of the many primary texts, start with
this one, including its commentaries. If you come across doubtful areas, as is
bound to happen from time to time, please pardon.
PART TWO
CHAPTER ONE: THE SEQUENCE OF THE TAIJI BOXING SOLO SET WITH
MOVEMENT POSITIONING CHART (COMPLETE WITH EXPLANATIONS)
[1] With north to your [right] and west in front of you, perform READINESS
POSTURE.
[2] Advance with your left foot, turning your torso to the right, and perform
CATCH THE SPARROW BY THE TAIL.
[3] Step out with your left foot, turning around to the south, and perform
SINGLE WHIP.
[4] Shift your right foot forward and perform RAISE THE HAND.
[5] Staying where you are, perform WHITE CRANE SHOWS ITS WINGS.
[6] Step out with your left foot to the south and perform BRUSH KNEE IN A
CROSSED STANCE on the left side, step forward with your right foot and
perform BRUSH KNEE IN A CROSSED STANCE on the right side, then step
forward again with your left foot, and perform BRUSH KNEE IN A CROSSED
STANCE on the left side.
[7] Bring your right foot beside your left foot and perform PLAY THE LUTE.
[8] Stepping out with your left foot, perform PARRY, BLOCK, PUNCH.
[9] Staying where you are, perform SEALING SHUT.
[10] Bring your left foot beside your right foot, facing west, and perform
CROSSED HANDS.
[11] Step out with your right foot, turning around diagonally to your right rear,
to the northeast, and perform CAPTURE THE TIGER AND SEND IT BACK TO
ITS MOUNTAIN.
[12] Staying where your are, perform CATCH THE SPARROW BY THE TAIL.
[13] Turn around to the southwest, stepping out with your left foot, and perform
DIAGONAL SINGLE WHIP.
[14] Step forward with your right foot, withdraw your left foot, face south, and
perform GUARDING PUNCH UNDER THE ELBOW.
[15] Withdraw your left leg, extending your left hand forward, and perform the
first movement of RETREAT, DRIVING AWAY THE MONKEY. Withdraw your
right leg, extending your right hand forward, and perform the second movement
of RETREAT, DRIVING AWAY THE MONKEY. Again withdraw your left leg,
extending your left hand forward, and perform the third movement of
RETREAT, DRIVING AWAY THE MONKEY.
[16] Retreat your right foot to the northwest (or advance your left foot to the
southeast) and perform DIAGONAL FLYING POSTURE.
[18&19] Staying where you are, perform WHITE CRANE SHOWS ITS WINGS.
[20] Step out with your left foot, facing south, and perform BRUSH KNEE IN A
CROSSED STANCE on the left side.
[21] Withdraw your left leg a half step, bend your [right] leg, and perform
NEEDLING UNDER THE SEA.
[22] Again stepping out with your left foot, perform FAN THROUGH THE
BACK.
[23] Turn around to the right and perform FLINGING BODY PUNCH.
[24] Withdrawing your right foot, perform WITHDRAWING STEP, PARRY,
BLOCK, PUNCH.
[25] Again step forward with your right foot, and perform CATCH THE
SPARROW BY THE TAIL.

SINGLE WHIP.
[27] Bring your left foot beside your right foot and perform the first movement
of CLOUDING HANDS, step out with your left foot and perform the second
movement of CLOUDING HANDS, again bring your left foot beside your right
foot and perform the third movement of CLOUDING HANDS, then step out
with your left foot and perform SINGLE WHIP.
[28] Withdrawing your left foot a half step, perform RISING UP AND
REACHING OUT TO THE HORSE LEFT.
[29] Kick with your right foot to perform KICK TO THE RIGHT SIDE.
[30] Lower your right foot and perform RISING UP AND REACHING OUT TO
THE HORSE RIGHT.
[31] Kick with your left foot to perform KICK TO THE LEFT SIDE.
[32] Turn around to your left rear, and perform TURN AROUND, PRESSING
KICK.
[33] Bring your left foot down and perform BRUSH KNEE IN A CROSSED
STANCE on the left side, then step forward with your right foot and perform
BRUSH KNEE IN A CROSSED STANCE on the right side.
[34] Again step forward, now with your left foot, and perform ADVANCE,
PLANTING PUNCH.
[35] Turn around to your right rear, and perform TURN AROUND, FLINGING
BODY PUNCH.
[36] Lift your left leg and kick with your right leg to perform DOUBLE KICK.
[37] Lower your right leg, withdraw your left foot, turn to your left, and perform
FIGHTING TIGER POSTURE on the left side, then withdraw your right foot,
turn to the right, and perform FIGHTING TIGER POSTURE on the right side.
[38] Staying where you are, perform DRAPING THE BODY, KICK.
[39] Bring your right foot down in front and perform DOUBLE WINDS
THROUGH THE EARS.
[40] Kick with your left foot to perform ADVANCE, PRESSING KICK.
[41] Turn around to your right rear, to the east, lower your left foot, and kick
with your right foot to perform TURN AROUND, PRESSING KICK.
[42] Bring your right foot down, step forward with your left foot, and perform
PARRY, BLOCK, PUNCH.
[43] Staying where you are, perform SEALING SHUT.
[44] Bring your left foot beside your right foot and perform CROSSED HANDS.
[45] Step out with your right foot, turning around diagonally to your right rear,
to the northeast, and perform CAPTURE THE TIGER AND SEND IT BACK TO
ITS MOUNTAIN, then staying where your are, perform CATCH THE

[46] Turn around, stepping out with your left foot to the southwest, and perform
DIAGONAL SINGLE WHIP.
[47] Step forward with your right foot and perform the first movement of WILD
HORSE PARTS ITS MANE, step forward with your left foot and perform the
second movement of WILD HORSE PARTS ITS MANE, then again step forward
with your right foot and perform the third movement of WILD HORSE PARTS
ITS MANE.
[48] Step forward with your left foot and perform the first movement of
MAIDEN WORKS THE SHUTTLE to the northwest, turn around to your right
rear and perform the second movement of MAIDEN WORKS THE SHUTTLE to
the southwest, again step forward with your left foot and perform the third
movement of MAIDEN WORKS THE SHUTTLE to the southeast, turn around
to your right rear and perform the fourth movement of MAIDEN WORKS THE
SHUTTLE to the northeast, then stay where you are and perform CATCH THE
SINGLE WHIP.
movement of CLOUDING HANDS, again bring your left foot beside your right
foot and perform the third movement of CLOUDING HANDS, then step out
with your left foot and perform SINGLE WHIP.
[51] Staying where you are, perform LOW POSTURE.
[52] Stand your body up, lift your right leg, and perform GOLDEN ROOSTER
STANDS ON ONE LEG on the right side, then lower your right foot, lift your left
leg, and perform GOLDEN ROOSTER STANDS ON ONE LEG on the left side.
[53] Withdraw your left foot and perform the first movement of RETREAT,
DRIVING AWAY THE MONKEY, withdraw your right foot and perform the
second movement of RETREAT, DRIVING AWAY THE MONKEY, then
withdraw your left foot and perform the third movement of RETREAT,
DRIVING AWAY THE MONKEY.
[54] Retreat your right foot to the northwest (or advance your left foot to the
southeast) and perform DIAGONAL FLYING POSTURE.
[56] Staying where you are, perform WHITE CRANE SHOWS ITS WINGS.
[57] Step out with your left foot, facing south, and perform BRUSH KNEE IN A
CROSSED STANCE on the left side.
[58] Withdraw your left leg a half step, bend your [right] leg, and perform
NEEDLING UNDER THE SEA.
[59] Step out with your left foot and perform FAN THROUGH THE BACK.
[60] Turn around to your right and perform FLINGING BODY PUNCH, then
advancing with your right foot, perform STEP FORWARD, PARRY, BLOCK,
PUNCH.
[61] Staying where you are, perform CATCH THE SPARROW BY THE TAIL.
[62] Step out with your left foot, turning around, and perform SINGLE WHIP.
movement of CLOUDING HANDS, bring your left foot beside your right foot
and perform the third movement of CLOUDING HANDS, then step out with
your left foot and perform SINGLE WHIP.
[64] Withdrawing your left foot a half step, perform RISING UP AND
REACHING OUT TO THE HORSE LEFT.
[65] Step out with your left foot, threading through with your left palm, then
turn around to your right rear, and perform CROSSED-BODY SWINGING
LOTUS KICK.
[66] Bring your right foot down and perform BRUSH KNEE IN A CROSSED
STANCE on the right side, then advance with your left foot and perform BRUSH
KNEE, PUNCH TO THE CROTCH.
[67] Step forward with your right foot and perform CATCH THE SPARROW BY
THE TAIL.
[68] Step out with your left foot, turning around, and perform SINGLE WHIP.
[69] Staying where you are, perform LOW POSTURE.
[70] Stand your body up, step forward with your right foot, and perform STEP
FORWARD WITH THE BIG DIPPER, then retreat your right foot, withdraw
your left foot, and perform RETREAT TO RIDE THE TIGER.
[71] Turn around to your right rear, step forward with your left foot, threading
through with your left palm, then again turn around to your right rear, and
perform SPIN AROUND ON THE FOOT, SWINGING LOTUS KICK.
[72] Lower your right foot to your right and perform BEND THE BOW TO
SHOOT THE TIGER.
[73] Step forward with your left foot so your feet are standing next to each other,
both hands hanging down, and return to READINESS POSTURE.
EXPLANATIONS TO THE TAIJI BOXING SOLO SET MOVEMENT

POSITIONING CHART
1. Generally when practicing martial arts sets, you should end where you began.
So that it is easy here to see everything in the chart, it is spread out [vertically],
and therefore the beginning and ending posture cannot occupy the same place
[horizontally].
__
|__|
|__|
|__|
2. Often you will continue through several postures without changing your
location. It is difficult to show this and so they are merely put in order by piling
them up.
__
|__|_
|__|
3. When two postures happen in the same place, but the movement slightly
shifts away, the postures are given an irregular alignment.
__
|__|
_|_
|__|
4. When movements have a vertical line between them, it means you are
advancing in that direction, and when it is happening diagonally, the line is
diagonal, but the length of the line has no bearing on the distance you are
advancing.
5. Whether a posture is at an angle or straight, it is indicated by the angle of the

box in the chart.
6. Each posture is written toward the direction it [your torso] faces, a hint to be
given attention to. [This is displayed only in the Chinese text in the chart,
whereas in the list I have simply used arrows to indicate which direction your
torso is facing.]

7. [In the chart,] a full turn of your body is indicated by a full circle spiraling
inward/outward and a half turn is indicated by a half circle.
8. For the LEFT & RIGHT KICK TO THE SIDE, the chart shows the direction
your toes are pointing [rather than the direction your torso is facing].

9. When a box is made of dotted lines, its posture is indicated in the box below
it. Because the space in the chart is confined, it would be inappropriate to write
it so high [for the sake of the movements that continue from it], and so it is
shifted below.
10. As to the other direction indicators for the whole chart, the common way is
for up to be north and down to be south, but here it is different [up being east
and down being west]. [As no actual reason for this is given here, this does not
satisfy. It amounts to saying something along the lines of, What most people
call left, in my book I have decided to call right. Why not just leave it the
common way of up being north? And since Xu so rarely mentions compass
directions within his actual instructions for the postures, there seems little
purpose in his bringing it up at all.]
[1] READINESS POSTURE []

[2] CATCH THE SPARROW BY THE TAIL []
[3] SINGLE WHIP []
[4] RAISE THE HAND []
[5] WHITE CRANE SHOWS ITS WINGS []
[6.1] LEFT BRUSH KNEE IN A CROSSED STANCE []
[6.2] RIGHT BRUSH KNEE IN A CROSSED STANCE []
[7] PLAY THE LUTE []
[8] PARRY, BLOCK, PUNCH []
[9] SEALING SHUT []
[10] CROSSED HANDS []

[11] CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
[]
[13] DIAGONAL SINGLE WHIP []
[14] GUARDING PUNCH UNDER THE ELBOW []
[15.1] RETREAT, DRIVING AWAY THE MONKEY (1) []
[16] DIAGONAL SINGLE WHIP [ DIAGONAL FLYING
POSTURE] []
[18&19] WHITE CRANE SHOWS ITS WINGS []
[20] BRUSH KNEE IN A CROSSED STANCE []
[21] NEEDLING UNDER THE SEA []
[22] FAN THROUGH THE BACK []
[23] FLINGING BODY PUNCH []
[26] SINGLE WHIP []
[27.1] CLOUDING HANDS (1) []
[27.4] SINGLE WHIP []
[28] RISING UP AND REACHING OUT TO THE HORSE LEFT []
[29] KICK TO THE RIGHT SIDE []
[30] RISING UP AND REACHING OUT TO THE HORSE RIGHT
[]
[31] KICK TO THE LEFT SIDE []
[32] TURN AROUND, PRESSING KICK []
[34] ADVANCE, PLANTING PUNCH []
[35] TURN AROUND, FLINGING BODY PUNCH []
[36] DOUBLE KICK []
[37.1] LEFT FIGHTING TIGER POSTURE []
[37.2] RIGHT FIGHTING TIGER POSTURE []
[38] DRAPING THE BODY, KICK []
[39] DOUBLE WINDS THROUGH THE EARS []
[40] ADVANCE, PRESSING KICK []
[41] TURN AROUND, PRESSING KICK []

[43] SEALING SHUT []
[44] CROSSED HANDS []
[45.1] CAPTURE THE TIGER AND SEND IT BACK TO ITS
MOUNTAIN []
[45.2] CATCH THE SPARROW BY THE TAIL []
[46] DIAGONAL SINGLE WHIP []
[47.1] WILD HORSE PARTS ITS MANE (1) []
[48.1] MAIDEN WORKS THE SHUTTLE (1) []
[48.5] CATCH THE SPARROW BY THE TAIL []
[49] SINGLE WHIP []
[51] LOW POSTURE []
[52.1] RIGHT GOLDEN ROOSTER STANDS ON ONE LEG []
[52.2] LEFT GOLDEN ROOSTER STANDS ON ONE LEG []
[54] DIAGONAL SINGLE WHIP [ DIAGONAL FLYING
POSTURE] []
[56] WHITE CRANE SHOWS ITS WINGS []
[57] LEFT BRUSH KNEE IN A CROSSED STANCE []
[58] NEEDLING UNDER THE SEA []
[59.1] FAN THROUGH THE BACK []
[59.2] FLINGING BODY PUNCH []
[60] ADVANCE, PARRY, BLOCK, PUNCH []
[62] SINGLE WHIP []

[64] RISING UP AND REACHING OUT TO THE HORSE LEFT []
[65] CROSSED-BODY SWINGING LOTUS KICK []
[66.2] PUNCH TO THE CROTCH []
[68] SINGLE WHIP []
[69] LOW POSTURE []
[70.1] STEP FORWARD WITH THE BIG DIPPER []
[70.2] RETREAT TO RIDE THE TIGER []
[71] SPIN AROUND ON THE FOOT, SWINGING LOTUS KICK []
[72] BEND THE BOW TO SHOOT THE TIGER []
[73] CLOSING POSTURE []
CHAPTER TWO: EXPLANATIONS FOR EACH OF THE TAIJI BOXING

POSTURES WITH DRAWINGS
The Taiji boxing art uses nothingness as its root. What it trains is nothing more
than spirit and energy, and it is not like the external boxings emphasis on how
it looks. So why care about the postures at all? Well, what does a persons spirit
and energy depend on? The body, by way of which the spirit is trained. Use the
actions of the mind to move the body. Its contracting and expanding, bending
and extending, are each as the mind dictates. Make body and mind merge to
become one. By way of opening and closing, rousing and stimulating, inhaling
and exhaling, advancing and retreating, the energy is tempered. By way of the
sensitivity of the body, the sensitivity of the muscles, and sensitivity of touch,
the spirit is sharpened. For the sake of training both Taijis form and function, a
practitioner of the Taiji boxing art will be particular about the postures, and so it
seems they cannot be treated dismissively. Examining the different schools of
Taiji Boxing, they fall into three categories:
[1] There are those who practice many postures such as the schools of the
Thirty-Seven Postures, Small Highest Heaven, and so on.
[2] There are those who make use of the symbols in the Book of Changes
such as the schools of Innate Nature Boxing, Acquired Nature Boxing, and so
on.
[3] There are those with specific techniques of moving energy and moving the
feet such as the school of the Thirteen Dynamics.
The postures, names, and practice method of each school are different.
Although any of them can be selected, apart from the school of the Thirteen
Dynamics many use a single posture practice without a fixed sequence, but I feel
that to continue into that as an accompaniment to Part One of this book would
not yet be very suitable, so I will save it for a future edition. For now I will begin
by presenting the postures of the Thirteen Dynamics solo set in their original
sequence, with drawings and explanations for you to consult.
1
PREPARATION POSTURE
Explanation of the name:

Before practicing any boxing set, there must be a readiness, a rousing of the
whole body and a focusing of the mind, like when your sense of caution is
stimulated, making you more alert. When practicing, there is also the intention
of paying respect to those observing you, same as standing at attention in
gymnastics. Taiji Boxing uses the mind to move muscle, and so when practicing,
your spirit must be concentrated, and then you can be efficient. Therefore
within the Taiji Boxing art, PREPARATION POSTURE is particularly important.
One movement:
1. Get ready.
Explanation for the drawing:
Your body stands upright, your hands hanging down, wrists beside your hips,
palms pushing down, eyes looking forward, your feet shoulder width apart.
Points for attention:

When practicing, your body should be calm and your spirit comfortable, energy
sinking to your elixir field, spirit passing through to your headtop. Your whole
body must be nimble and lively without the slightest effort anywhere.
2

The idea is that your hands are holding a sparrow by the tail and following its
movement as it flutters up and down. Another name is CATCH & TEAR OFF
THE TAIL. Imagining the opponents arm is a sparrows tail, catch it to slow its
forward power, then take advantage of the moment by cutting forward to throw
him away. Both of these explanations work.
There are six movements. When beginning to train, this posture divides into
only the two movements of catching and cutting. When you are more advanced
at it, then both your hands go from inward to outward and again from outward
to inward, the path of the movement making a circle. In finer detail, the posture
then divides into the six movements of lift, press, rollback, push, ward-off, and
cut.
1. Step out, lifting your hands.
2. Advance, penetrating with a press.
3. Sit back, rolling back to catch.
4. Advance with your hands pushing.
5. Hang outward, warding off forward.
6. Push forward with cutting hands.
Explanation for the drawings:

1. From the previous posture, your left foot takes a step forward, heel touching
down, while your right knee bends and your torso squats down, your left palm
goes from beside your hip, inward from outward in an arc, rotating, extending
forward and upward until in front of your belly, your right hand pushing down,
fingers touching your left forearm to assist the posture. They gradually lift to
chest level as your left toes come down, and upon touching the ground, the
weight shifts to your left foot.
2. Advancing your right foot to the right, your right arm bends and does a press
outward and forward, elbow hanging down, thumb at nose level, your right leg
likewise bending forward.
3. Your left leg sits to the rear, your arms embracing inward as though with the
intent of catching something with a downward rollback.
4. Your hands push forward.

5. Your right hand faces upward and hangs forward with an intention of warding
off.
6. Both hands rotate inward, fingertips drawing an arc, your right hand rotating
until the palm is downward then pushing forward with a cutting motion, while
your left hand stays by your right elbow, the hands unevenly placed but pushing
forward in unison.

When practicing [this posture], the path of your fingertips must make a double
circle, and if your waist and spine are going along with it to make the same
movement, then it will be nimble. This posture exercises your torso, abdomen,
waist, shoulders, and back.
Application:
When using the rear hand, if contacting the outward side [of an opponents
arm], then I outwardly hang [my hand over it] and push forward, and if
contacting to the inward side, then I inwardly catch with a plucking action and
lift up to push forward. When using the front hand, [if contacting to the outward
side,] then I catch to the outside of his elbow and push forward, and if
contacting to the inward side, then I outwardly hang over his elbow or wrist and
then push forward.
3
SINGLE WHIP

Single means with one hand. Whip means it is like you are hitting someone
with a whip. When practicing this as a single posture, you can also change to
using both hands spreading to the sides at the same time, in which case the
posture would be called DOUBLE WHIP.
Two movements:
1. Hang from your [right] wrist.
2. Extend your [left] arm, sending out your palm.

1. From the previous posture, your right arm stays where it is, but your hand
hangs down from your wrist, your fingers gently gathering to make a hook
shape, while your toes subtly turn about ninety degrees to the forward left.
2. Your left arm bends and the palm traces along your right arm to the left,
passes in front of your chest in a slight upward arc, then extends to the left,
making a straight line with your right arm, your left wrist sitting, fingers
upward, spread and slightly bent, forefinger at nose level, elbow slightly bent. At
the same time, your left foot slightly lifts, takes a half step out to the forward
left, toes pointing to the same direction, the feet parallel on a diagonal, the toes
coming down with the positioning of your hand, making a bow & arrow stance,
causing the weight to shift to your right [left] foot.

When your front hand moves forward, your rear hand must put energy through
the arm to assist, and there is a slight hollowing in order to strike from above to
below. Your feet are to coordinate with each other and must move in unison.
Your shoulders are to be level with each other, neither one rising up. This
posture exercises your limbs and back.
Application:
An opponent uses his front hand to advance and strike me, I take advantage of
his momentum to draw his arm in, causing him to slightly lean forward, then
extend my palm to strike his chest with either a pushing energy or a cutting
energy.
4
RAISE THE HANDS

Raising describes the energy. It is like lifting an object up, hence the name is
Raising [up with] the Hands.
Two movements:
1. Bring your hands together.
2. Raise your hands up.

1. From the previous posture, your right foot advances, creating distance
between your feet (It is like your feet are making a triangle, your right heel at the
vertex.), your arms embracing inward, your right hand slightly farther forward,
palms toward each other. See first drawing:
But when your right arm embraces inward, there are two parts: going down
from above, and up from below.
2. Drop your right wrist, then lift it up, passing your left palm to the inside, until
at about nose level. See second drawing:

When practicing this posture, you should lift your headtop, and with your waist
and thighs going along with the expanding and shrinking, with the up and
down, you will then obtain the opportunity and position. This posture trains the
power of expanding and shrinking.
Application:
An opponent uses his front hand to strike directly to my face. One response is to
make contact with his arm from above and use my wrist to do a pressing
technique to throw him away, or squat down and ward off upward to throw him
away. Another is to use my left hand to push down on his wrist while drawing
out my right hand, lifting my wrist to strike his chin or nose.
5

In this posture, you spread your arms at an angle, making a shape like a birds
wings, with your arms extended above and your legs bent below, like a crane
spreading its wings, hence the name. There is the bird form of Hua Tuos Five
Animal Frolics. The fourth posture in the Brahmanic limbering art is crane
rising and the twelfth posture is phoenix unfurls its wings. And then there is
the Crane Boxing of Fujian. All of these things are the same idea. When
practicing this posture, it is divided into spreading at an angle and spreading
squarely, or spreading wings (at an angle) and showing wings (squarely
forward), which can be done as a continuous movement from one to the other.
Drawing 1 is of spreading wings and drawing 2 is of showing wings.
Two movements:
1. Spread your arms.
2. Raise both hands.

1. Spread your arms apart at an angle in the manner of a wild goose, your left
hand going diagonally downward and brushing outward, your torso turning
halfway to the left, your left foot stepping out diagonally, toes touching down,
your right hand passing in front of your face, spreading diagonally upward until
to the right side of your head, the back of the hand outward, palm therefore
inward. When your arms spread open, they must have the same speed as each
other and the weight shifts fully to your right foot. See first drawing:
2. Withdrawing your left foot, your body stands upright, your left hand, elbow
bending, rising up to about head level or slightly higher, palm upward. At the
same time, your right hand also turns to face forward [with the palm also
upward], both hands making the same posture, your head and arms forming the
character for mountain: . See second drawing:

When practicing [this posture], you must use energy from the center of your
back to make your arms twist, and then the opening and closing will be natural.
This posture trains the flexibility of your chest and [upper] back.
Application:
1. For an opponent to my left side, my left [right] hand threads through from
under his [left] armpit, lifting and spreading away, while my right [left] hand
strokes away downward [along his left arm], causing him to lean back.
2. Or I simply spread open to tangle up his hands.
6
LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE

Brushing the knee means brushing downward past your knee. A crossed
stance is a stance name. When a boxing arts practitioner advances his left foot
while extending his left hand, or advances his right foot while extending his
right hand, that is called a straight stance. But when it is the reverse, and the
left foot is advanced while the right hand is extended, or the right foot is
advanced while the left hand is extended, that is called a crossed stance.
Two [three] movements:

1. Staying where you are, brush past your [right] knee.
2. Step forward, brushing past your [left] knee.
3. Cross your stance with a [right] palm strike.

1. From the previous posture, squat your torso down, your left hand staying
where it is, your right hand brushes outward and downward until beside your
right knee.
2. Your left foot takes a step to the left, your left hand passing your nose and
lowering in front of your chest, then continues outward to the left, brushing past
your left knee until beside your left hip, palm downward, fingers forward, arm
slightly bent, elbow pointed to the rear. Your torso is now turned to the left to be
squared forward.
3. When your torso turns to the left, your right hand goes from downward in the
rear, turning over and extending upward, passing beside your right ear, the
palm almost rubbing against it, and then with a horizontal line forming from the
three parts of shoulder, elbow, and hand, extends straight forward until at its
limit, fingertips lifted, palm expressing power, legs making a bow & arrow
stance. See the drawing:
[Repeat the posture on the other side and then once more on this side.]

When practicing, you must squat your torso down. The movement of your arms
is based on the movement of your waist. The route of each hand makes an oval
shape. This posture trains the flexibility of your arms, waist, and knees.
Application:
The opponent strikes at me from below, so I use my front hand to brush it aside
and use my rear hand to push his chest.
7
PLAY THE LUTE

Both your hands embrace toward each other in the manner of holding a lute,
hence the name. When your hands play, your fingers seem to give a strum to
the strings.
Two movements:
1. Embrace with your hands.
2. Step together, rubbing outward.

1. From BRUSH KNEE IN A CROSSED STANCE, your torso slowly withdraws,
causing the weight to shift fully onto your right leg, making an empty stance. At
the same time, your right hand withdraws while your left hand follows along
with your left hip and rises up, both hands embracing inward, unevenly facing
each other as though holding a ball. Your elbows are slightly hanging, the
forefinger of your front hand is at about nose level, and your rear hand is in
front of your chest, palm almost facing to the elbow of your forward arm. See
the drawing:
2. Bring your right foot up to stand together with your left foot behind the heel,
both your hands moving outward with a round shape.

When moving your hands outward, you must use the strength of your waist and
back.
Application:
The opponent grabs my right wrist, so I withdraw my right hand toward my
chest to neutralize his energy, then advance my right foot, using my left hand to
push his shoulder down and then forward.
8
ADVANCE, PARRY, BLOCK, PUNCH

PARRY, BLOCK, PUNCH means that you use a parry to take aside the
opponents hand, then a block to obstruct him, and then a punch to strike him
directly. Southerners use a different character for punch which directly
indicates a fist, whereas the one used here instead expresses a mace. This is one
of the five punching techniques in Taiji Boxing. When ADVANCE, PARRY,
BLOCK, PUNCH is performed retreating, it is called WITHDRAWING STEP,
PARRY, BLOCK, PUNCH.
Three movements:
1. Inward parrying hand.
2. Outward blocking hand.
3. Punch forward.

1. From the previous posture, use your left hand to parry inward, your torso
going along with it, your right hand in front of your chest, fingertips up.
2. Your left foot advances a half step to the forward left, your left hand goes
along with it, blocking outward until by your left ear, the elbow slightly hanging
down aligned with your left hip, fingertips pointing up. See first drawing:
3. Your right hand grasps into a fist and turns inward, tigers mouth upward,
and punches forward past your left palm. See second drawing:

(This is parrying and blocking upward. If you parry and block downward, then
you will punch forward over your left wrist.)

When practicing [this posture], your waist, back, shoulders, and hips must all
move in unison. When you parry and punch, you must keep space in your
armpits and loosen your shoulders. When you punch, you must keep your body
upright and use power from your spine, not leaning forward, for if you lean, you
will only be using power from your waist. This posture exercises your spine and
the nimbleness of your shoulders and hips.
Application:
The opponent punches to my chest, so I move my front hand inward to parry it
aside. If he wants to escape outwardly, I then jam him and take the opportunity
to punch him in the chest.
9
SEALING SHUT

SEALING SHUT means to stop the opponents hands, and is the same as the
double push of General Yues Continuous Boxing and the tiger form of Xingyi
Boxing.
Three movements:
1. Cross your hands.
2. Spread your hands apart.
3. Push forward.

1. Your left hand not moving, your torso sits back, your right leg slightly
bending, your right fist arcing across to the left, and once the wrist has
withdrawn to be above your left wrist, both wrists are crossed to make an X
shape.
2. Then your right fist withdraws, changing from fist to palm, and both hands
spread apart to about shoulder width.
3. Both hands turn inward and push forward, your torso inclining forward, the
weight shifting to your left foot, or you can lift your left foot and step it slightly
forward. See the drawing:

When you withdraw your fist, you must fully sit back your torso to lead back the
fist, not merely bend your arm. Once your wrists are crossed, they must spread
apart, and once they spread apart, they must push forward there can be no
sluggishness. When you spread your hands apart, the elbows slightly bend and
hang down near your ribs. They must not spread away to the sides, or the energy
will be scattered. When pushing forward, your fingers extend forward, then the
palms stick out forcefully.
Application:
If when I apply PARRY, BLOCK, PUNCH, the opponent uses his left hand to
push my right fist, I then turn my right fist inward and withdraw it, while
sending my left hand from below to the outside of my right fist to block his
hand, and once I have cleared his right hand aside, I push forward.
10
CROSSED HANDS

CROSSED HANDS means your wrists cross each other to make an X shape,
hence the name. Whenever two postures are linked by a transition that is not
flowing, you can always add the crossed hands as a way to join them up.
One movement:
1. Make an X shape with your hands.

From the previous posture, your left foot turns inward to the right almost ninety
degrees, your body turning with it to the right, and the distance between your
feet becomes shoulder width. With your left hand inside, right hand outside,
your hands rise in unison, crossing above your headtop, arms slightly bent.
When practicing this posture, it must continue into the next posture without the
slightest pause.
11

CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN means that
the opponent is in the role of the tiger and you take hold of him and throw him
away. It is also called EMBRACE THE TIGER AND PUSH THE MOUNTAIN.
When you embrace the opponent and he wants to escape, take advantage of it by
pushing forward. Both of these explanations are equally valid. Students often do
not pay attention to this posture, and there are those who transpose the name
onto SEALING SHUT. Since this posture flows continuously into the next
posture, CATCH THE SPARROW BY THE TAIL, it is very easy to get confused.
Five movements:
1. Staying where you are, brush past your [left] knee.
2. Stepping forward, brush past your [right] knee.
3. Palm strike with the rear hand.
4. Embrace inward.
5. Push forward.

1. From the previous posture, your right hand does not move, your left hand
lowers and brushes past your left knee, your torso squats down, and you turn
around to face diagonally to the right rear.
2. Step out with your right foot and lower your right hand, brushing downward
past your right knee. See the drawing:
3. Extend your left palm to make the posture of BRUSH KNEE IN A CROSSED
STANCE on the right side.
4. Your left hand not moving, your right hand extends to the rear, and using the
shoulder as a central pivot point and the arm as the radius of a circle, goes from
downward to the rear and turns over upward, until forward, having made a
large circle, wrapping around below. Once the hand and elbow are at shoulder
level, sit back your torso, rolling back to the rear with both hands, and make the
CROSSED HANDS shape.
5. Both hands spread apart and do a level push forward.

In this posture, you must use your waist to move your shoulders and back. The
five movements should be one continuous flow.
Application:
If an opponent uses his left hand to strike me from behind on my right side, I
then send my right hand downward to brush aside his arm and use my left palm
to strike his face. If his left arm takes advantage of the momentum by lifting to
carry outward, or he turns to the left and strikes to my head, I then advance,
using my right shoulder to brace under his armpit, circle my right arm to the
rear, and wrap around his torso. If he wants to escape, I withdraw my torso,
using my right hand to rend his hands outward, and push forward to his chest.
12
CATCH THE SPARROW BY THE TAIL (as before)
13

Diagonal indicates the direction. The previous posture took a diagonal
direction and the direction of this posture is dependent on the direction of that
posture, hence the name.
Movements:
Same as in SINGLE WHIP.


The direction is at an angle.
Application:
14
GUARDING PUNCH UNDER THE ELBOW

When your elbow is stood up, [the space] below it is called under the elbow.
By guarding is meant being protective. It is also called PUNCH UNDER THE
ELBOW. [This is one of the five punching techniques in Taiji Boxing.]
Three movements:
1. Shift a step, leading with your [right] hand.
2. Withdraw a step, raising your [left] hand.
3. Punch under your [left] elbow.

Making a triangular shape in relation to the previous posture, your left foot is at
point A(1), right foot at point B(1).
Footwork diagram for GUARDING PUNCH UNDER THE ELBOW:

A(1)
/ \
A(2) \
/
\
B(1) > B(2)
1. Your left foot staying where it is, your right foot steps out a half step to the
right, shifting to B(2), your right hand moving along with it.
2. Your left foot withdraws a half step inward, from A(1) to A(2), heel touching
down, toes up. At the same time, your left hand arcs inward from outward,
passes your hip, and rises until in front of your chest, palm inward, at about
shoulder level.
3. Your left wrist slightly turns outward and props up, while your right hand
makes a fist and is placed under your left elbow, and your right leg slightly
bends, making an empty stance, the weight shifting fully to your right foot.

The path of your right arm makes a horizonal semicircle while your left arm arcs
in a vertical slant. When punching, your body must go along with it and slightly
shrug forward. At the same time, loosen your wrist and lengthen your torso. Pay
particular attention to the three unions (i.e. shoulder united with hip, elbow
united with knee, hand united with foot). This posture trains deep breathing.
Application:
If the opponent uses his right hand to strike, I use my left hand to grab his right
elbow and lead it forward, turn my wrist over to prop upward, then use my right
hand to strike underneath to his ribs.
15

RETREAT, DRIVING AWAY THE MONKEY means that when a monkey [i.e.
a troublemaker] attacks forward, first use a hand to draw him in, then strike
forward, one hand withdrawing, the other pushing down on his headtop. The
retreating refers to moving backward away from pursuit, drawing the opponent
in as he chases, then take advantage of the moment to make a surprise strike
with your hand.
Three movements:
1. Retreat with your left foot, extending your [right] palm.
2. Retreat with your right foot, extending your [left] palm.
3. Same as 1.

1. From the previous posture, your right foot stays where it is and your left foot
retreats a half step behind you, your while left hand goes from beside your ear,
extending forward to its limit, fingertips up, palm expressing power, wrist at
shoulder level. At the same time, your right hand lowers until beside your hip,
same as in BRUSH KNEE IN A CROSSED STANCE.
2. Your left foot staying where it is, your right foot retreats a half step behind
you, while your right hand goes from the rear, turns over, goes upward until
beside your ear, and extends forward to its limit, fingertips up, palm expressing
power, wrist at shoulder level, your left hand lowering until beside your hip,
same as in BRUSH KNEE IN A CROSSED STANCE.
3. Same as 1.

Your knees should be slightly bent. Your feet should each make a straight line
front to back from toe to heel and should be spread to shoulder width. Your
body must be upright, headtop suspended, and spine lifted so as to exercise the
Ren-Du path (of the twelve meridians) [the circle that goes up your back and
down your front]. This movement should be done an odd number of times,
either three or five [and ending with your left hand forward].
Application:
If the opponent uses either his fist to strike or foot to kick, I use my front hand
to brush downward and block it, then use my rear hand to strike to his face.
16

This posture is like a bird diagonally opening its wings to fly, hence the name.
There is both a left and a right version of the posture, but when practicing the
posture to the left, the beginner often easily interrupts the energy, and so it is
inferior to the version on the right side.
Two movements:
1. Meeting wrists.
2. Diagonally flying.

1. From the practice of the previous posture, wait until it is again with your right
leg in front. Your left hand is in front and does not move. Your right hand goes
from behind and turns over, drawing a semicircle forward, lowering under your
left wrist.
2. When your right hand has almost reached your left wrist, your left hand
flattens out above your right wrist so that the palms are facing each other. At the
same time, retreat your right foot and step out a half step toward the right rear
corner. Your right hand goes diagonally to the right and your left hand goes
diagonally to the left, in the manner of a bird spreading its wings. Your gaze is
toward your right hand.

You must use your waist to move your hands and feet.
Application:
This posture is a technique of surprise. If my right hand and the opponents left
hand are touching each other, I send my left wrist up to carry his wrist and send
my right hand forward to strike him.
17
RAISE THE HANDS
18
WHITE CRANE UNFURLS ITS WINGS
19
20
These four postures are all done as before.

21

Under the Sea is the name of an acupoint on the human body. [Hai Di, more
commonly known as Hui Yin (Gathering Place of the Passive), is located just
in front of the anus.] NEEDLING UNDER THE SEA means your hand has an
intent of poking toward the Under the Sea point. [Going by the application
explanation below, you are not to aim for this acupoint directly, but instead use
it as a mental target to help you go through the opponent as you aim your intent
at his lower abdomen, his Qi Hai area, appropriately indicating that to get to his
Under the Sea, you must go through his Sea of Energy.]
Two movements:
1. Lift your [left] foot, brushing with your [left] hand.
2. Stab the needle to Under the Sea.

1. With your left hand brushing your knee, withdraw your left foot, toes touching
down.
2. Your right leg squatting down, sit your torso, your right arm extending
straight down along the inner side of your left knee, fingertips pointing down. At
the same time, your left hand may either touch your right forearm or withdraw
behind your hip.

Your spine must be erect and should not bend and lean forward. When pointing
down with your hand, slightly harbor an intention of poking an acupoint. When
practicing this posture, there should be flexibility in your spine and knee.
Application:
When the opponent [in the previous posture] used his right hand to strike me
and I then used my left hand to brush it away to the side while using my right
hand to strike his chest, if at that moment he uses his left hand to grab my right
wrist, I then turn my wrist over, pointing downward, and issue my energy
forward, making him topple away.
22

FAN THROUGH THE BACK means that your spine is like the hinge of a fan and
your arms are like the cloth of the fan, and it is like a fan spreading open.
Through the back means that you send power from your spine through your
arms.
Two movements:
1. Stand up, bringing your wrists together.
2. Palm through the back.

1. Stand up, your hands embracing toward each other.
2. Your left foot takes a step forward while your left arm extends forward and
your right arm bends, lifting until the back of the hand covers your forehead.
Your body should now be straight and your legs are making a horse-riding
stance except that your left foot should be pointing its toes forward.

When wielding energy, the power in your left palm must be coordinated with
your left ribs in going forward, and at the same time, the power in your right
arm must go through to your left hand. This posture trains strength in your
spine and upper back.

Application:
If the opponent uses his right hand to strike, I then use my right hand to slyly
lift his wrist and use my left palm to strike his ribs.
23
FLINGING BODY PUNCH

FLINGING BODY PUNCH means you fling your waist to the rear, causing your
torso to fold up, then advance and strike using your wrist. This is one of the five
punching techniques in Taiji Boxing.
Two movements:
1. Cross your hands below your ribs.
2. Flinging torso punch.

1. From the previous posture, your body turns around, your left knee bending,
your hands lower and come together, wrists meeting below your left ribs, the
weight shifting fully onto your left foot.
2. Your left hand staying where it is, your right foot lifts and takes a half step
diagonally to the right rear, your torso turning to the right, while your right
hand, palm upward, makes a fist, the elbow bending as you fling your torso, the
elbow lightly against your right ribs. While the fist comes down from above until
lining up level with the elbow, your left hand does a palm strike at chest level,
fingertips upward, forefinger at about nose level. Your gaze is forward. Your
stance is a large T stance.

When turning around, the movement of your hands and legs must use your
waist and spine as a pivot, then it can be nimble and without sluggishness.
Application:
An opponent from behind me uses one hand to push down on my wrist and the
other to push down on my elbow. When he is about to hurl me away, I then fling
my torso to the rear, bending my elbow to seize control of his arm, taking
advantage of the opportunity to step in, making a fist, and intercepting his
attack with a [palm] strike.
24
WITHDRAWING STEP, PARRY, BLOCK, PUNCH

PARRY, BLOCK, PUNCH has already been explained. By withdrawing is
meant a step shifting to the side and is not the same as retreating.
Two movements:
1. Inward parrying hand.
2. Punch forward.

1. Your left hand parries inward, your left foot staying where it is, your right foot
withdrawing a half step to the right, your right fist going along with it by
blocking across outward from inward, its path an arc, the wrist then rotating so
the tigers mouth is upward.
2. Your right fist punches forward, same as in ADVANCE, PARRY, BLOCK,

PUNCH.

Your wrist should go along with the movement of your step.
Application:
When contacting the opponents hand, if he forcefully lifts up, I withdraw a step
to the side to neutralize his energy, then take advantage of the moment to strike
forward to his chest.
25
CATCH THE SPARROW BY THE TAIL (as before)
26
SINGLE WHIP (as before)
27
CLOUDING HANDS

CLOUDING HANDS means your hands move like the swirling of clouds. The
movement of the hands to the left and right is the same as the left & right
climbing hands of Shaolin Boxing. This is the most important posture within
Taiji Boxing.
Three movements:
1. Staying where you are, cloud with your [right] hand.
2. Shifting your step, cloud with your right [left] hand.
3. Shifting your step, cloud with your left [right] hand.

1. Your left hand not moving, your right hand lowers and arcs from the lower
right to the left, the path of its movement as your right arm arcs downward
taking it past both of your knees, then rising from your navel to the left, until
past your headtop and slowing by your right temple. Your left hand, which has
been waiting until your right hand has moved as far as your left shoulder, at that
moment lowers, palm inward, then rises from the lower left to the upper right in
an arc, the path of its movement as your left arm arcs downward taking it past
both of your knees, then rising to the right, slowing by your right ribs. See first
drawing:
2. Continuing from the previous movement, your right hand lowers, again arcs
to the left, until past your headtop and slowing by your right temple. The rest is
the same as the first movement, except that when your left hand is by your right
ribs, your right foot coordinates with your right hand by shifting a half step to
the left, and your left hand coordinates with the lowering of your right hand by
going upward until past your headtop and slowing by your left temple. See
second drawing:
3. Your left hand continues from the previous movement by lowering, passing
your knees, and rising to the right until beside your right ribs, your right [left]
foot shifting a half step to the left. Your right hand at the same time goes past
your headtop and slows by your right temple. Each hand clouds three times.
After the last time, again perform the SINGLE WHIP posture as before.

The movement of both hands must be of equal speed. Your step must shift along
with your bodys movement. Your upper body should not sway. Your eyes follow
along with your upper body as your hands move side to side.
Application:
If an opponent attacks my right shoulder from the rear, I meet his hand with my
right hand, and as I turn over my palm, I issue power to throw him away. [If the
same situation to the left,] my left hand does the same. Or if an opponent
attacks from the front, I then move it aside to the right with my right hand, then
take advantage of the moment by advancing and striking [with my left].
28
RISING UP AND REACHING OUT TO THE HORSE LEFT

RISING UP AND REACHING OUT TO THE HORSE means your body is rising
up and you are reaching out forward, in the manner of extending your body
forward to mount a horse, hence the name. RISING UP AND REACHING OUT
TO THE HORSE LEFT precedes KICK TO THE RIGHT SIDE. RISING UP
AND REACHING OUT TO THE HORSE RIGHT precedes KICK TO THE
LEFT SIDE.
Two movements:
1. Roll back with your [left] hand.
2. Palm strike to the face.

1. Withdraw your left foot, toes touching down, your left hand turning outward
and doing a downward rollback, the hand facing upward, the elbow bending
until placed beside your left ribs. At the same time, your right hand lowers from
the upper right, passes in front of your face, and touches on top of your left wrist
so the hands are making the CROSSED HANDS shape, the tigers mouths of
both hands facing upward.
2. With your left palm facing upward, your elbow slightly withdraws, and with
your right palm facing downward, it extends forward from above your left palm
and expresses power in the center of the palm, fingertips at nose level.

When your hand rolls back, the lifting and lowering of your foot must happen in
unison.
Application:
If the opponent uses his left hand to strike forward to my chest, I then use my
right [left] hand to roll back and twist his wrist, and strike with my [right] hand.
29
KICK TO THE RIGHT SIDE

KICK TO THE SIDE means to use your foot to kick to the side, be it left or right.
This one is to the right side, but below there is also the left side.
Two movements:
1. Withdraw a step, rolling back with your hands.
2. Kick to the side.

1. Withdraw your left foot to the left rear while rolling back with both hands, or
drawing an outward arc and then embracing inward, making the CROSSED
HANDS shape. At the same time, your right foot withdraws until to the right
side of your left foot, making an empty stance, toes touching down, storing
power and awaiting the moment to express it.
2. Your hands spread apart, wrists at shoulder level, while your right leg kicks
forward to the right side.

When withdrawing your foot and rolling back with your hand, hand and foot
must act in unison. When kicking, your arms are level, your standing leg slightly
bent, and the weight is entirely on the standing leg.
Application:
When I roll back the opponents arm and use my palm to strike to his face, if he
follows my energy and uses his elbow or arm to resist upward, I then wrap my
hand around under it, from inward spread my hand outward to cast away his
arm, and take advantage of the moment by kicking forward.
30
RISING UP AND REACHING OUT TO THE HORSE RIGHT

See RISING UP AND REACHING OUT TO THE HORSE LEFT
Two movements:
1. Withdraw your foot, bringing your hands together.
1. Your right leg withdraws back to where it was, toes touching down, while your
arms from outward lower to embrace inward and your wrists touch to make the
CROSSED HANDS shape.
2. Same as in RISING UP AND REACHING OUT TO THE HORSE LEFT,
movement 2 [but with left and right reversed].

Same as in RISING UP AND REACHING OUT TO THE HORSE LEFT.
Application:
Same as in RISING UP AND REACHING OUT TO THE HORSE LEFT [but
with left and right reversed].
31
KICK TO THE LEFT SIDE

Already explained in KICK TO THE RIGHT SIDE. The hand and foot
movements are the same, except left and right are reversed.
32

TURN AROUND, PRESSING KICK means your body turns around to the rear,
and then you press forward using your heel.
Two movements:
1. Turn around.
2. Pressing kick.

1. Withdraw your left foot, toes touching down, right foot going along with your
torso as it turns to the left, while your hands come from outward to embrace
inward, the wrists making the CROSSED HANDS shape, your right leg bent,
your body squatting, your left toes touching down, your eyes looking to the left.
2. Your body lifts up, and spreading your hands away to the sides, your left foot
presses forward to the left, force expressed with the heel.

When you turn around, your body must be upright and not lean forward.
Application:
If an opponent suddenly attacks me from behind, I then turn around to prevent
it, taking advantage of the moment to press forward with my foot, my hands
spreading away to the left and right to prevent him from brushing my leg aside.
33
COME DOWN, BRUSH KNEE IN A CROSSED STANCE

Come down into BRUSH KNEE IN A CROSSED STANCE performed as before.
As your left foot steps down forward, your left hand brushes past your left knee.
The rest is the same as before.
34
ADVANCE, PLANTING PUNCH

ADVANCE, PLANTING PUNCH means you step forward while your fist strikes
down from above as if to plant something, hence the name. This is one of the
five punching techniques in Taiji Boxing.
Two movements:
1. Step again, brushing past your [right] knee.
2. Step out, brushing past your [left] knee while performing a planting punch.

1. Your [right] foot advances a half step, your left leg bending, your right hand
brushing down until by your [right] knee, your left hand going from downward
in the rear, lifting to be beside your left ear, the arm bending forward, the palm
inward and almost coming to a halt.
2. Advance your left foot, your left hand lowering and brushing forward and
outward. At the same time, your right hand makes a fist, palm inward, and
strikes diagonally downward, your left hand patting your right wrist to assist the
posture. Your left leg is bent forward and your right leg is slightly bent, although
you can also make a full bow & arrow stance.

Your head must not tilt nor dare go past your toes. The planting punch must be
powered from your spine. When brushing past your left knee, your left hand
should float near your left knee.
Application:
If the opponent uses his fist to strike to my chest, I then use my left hand to
brush it aside while sending my right hand forward to strike his face. If he then
uses his left hand to grab my wrist, I then turn over my hand, make a fist, and
strike forward to his abdomen.
35
TURN AROUND, FLINGING BODY PUNCH (as before [but in the opposite
direction])
36
DOUBLE KICK

DOUBLE KICK means your feet, left then right, lift and kick in succession.
Two movements:
1. Roll back with your [left] hand and kick forward.
2. Step down and kick forward.

1. From TURN AROUND, FLINGING BODY PUNCH, your left hand, the elbow
bending, withdraws with the palm up to be near your left ribs, while your right
hand extends forward (same as in a palm strike to the face) and your left leg
kicks forward (similar to the snapping kick of Tantui).
2. Your left foot comes down while your hands roll back from the upper right to
the lower left. Right when your left foot comes down, your right foot lifts and
kicks forward, your arms extending forward, both palms slapping the back of
your right foot.

The path [of your hands] in the second movement should make an arc.
Application:
The opponent uses his left fist to punch my chest, so I send my left hand
forward to grab his wrist and strike his face with my right hand, capitalizing on
the surprise by kicking him with my left leg. If he retreats or blocks my foot, I
then hop to change feet and kick him once more, now with my right foot.
37
LEFT & RIGHT FIGHTING TIGER POSTURE

In this posture, the energy is fierce in the manner of a fighting tiger, hence the
name.
Two movements:
1. FIGHTING TIGER POSTURE on the left side.
2. FIGHTING TIGER POSTURE on the right side.

1. From the previous posture, your left foot diagonally withdraws a half step to
the left rear to make a left bow & arrow stance, your torso inclining to the left
and facing halfway to the left. Your right foot has withdrawn a half step, coming
down where your left foot was in the previous posture. At the same time, your
left arm goes from in front of your abdomen, withdrawing to the left until below
your ribs, grasps into a fist, raising up from outward, and faces up (tigers
mouth to the rear [downward in the drawing]), turned over beside your left
temple, your right arm also withdrawing to the rear, turning over, and is placed
sideways below your left ribs (tigers mouth close to your left ribs).
2. Your right foot shifts a half step to the right, and makes a right bow & arrow
stance, your torso inclining to the right and facing halfway to the left. At the
same time, your fists lower, pass in front of your lower abdomen, until below
your right ribs, left fist turned over and placed sideways below your right ribs,
right fist raising up from outward, and faces upward [tigers mouth again facing
downward in the drawing], turned over beside your right temple.
In the left and right postures, the paths your fists move along should indicate
two circles
that would link with each other in front of your stomach.
Application:
The opponent uses both hands to grab my arm, so I withdraw my arm, turning it
over upward, then use my other hand to thread through below my ribs,
replacing his grab of my arm with a strike to his head [ribs].
38
DRAPING THE BODY, KICK

DRAPING THE BODY, KICK means your body inclines into a diagonal draping
posture, and your foot lifts and kicks forward.
Three movements:
1. Drape your body, rolling back with your hands.
2. Crossed hands.
3. Spread your hands and kick forward.

1. From the previous posture, your left foot withdraws a half step diagonally to
the left, and your body sits back to the left. At the same time, your hands
become palms and go from right to left in a half circle, your left hand placed to
the left of your chest, your right hand placed in front of your chest, fingertips at
about nose level.
2. Withdraw your right foot until it is to the right side of your left foot, toes
touching down, your left leg squatting down. At the same time, your right hand
touches under your left wrist, your left hand slightly extending forward, the
palms making the CROSSED HANDS shape in front of your chest.
3. Your hands spread apart forward and back while you lift your right foot and
kick forward.

When draping your body, you must use your waist as a pivot to move your arms.
When lifting your foot to do a pressing kick forward, your left leg should slightly
bend to get the weight to shift onto your left foot.
Application:
The opponent uses his left hand to strike directly to my chest, so I drape over
my body, using my hands to roll back his arm, then I strike out with my right
hand propping upward while kicking his chest or ribs with my right foot.
39
DOUBLE WINDS THROUGH THE EARS

In this posture, both fists come from the sides to strike the opponents ears as
swift as the wind, hence the name.
Two movements:
1. Step down with your hands manacled.
2. Spread your hands apart and thread them through.
1. From the previous posture, your right foot comes down forward about a full
steps distance from your rear foot, your right knee bending forward, while your
arms move inward until in front of your knee, crossing at the wrists (left wrist
on top, tigers mouths upward).
2. Your torso withdraws and your legs sit back, both hands (palms up) spreading
to the sides, making fists once beside your hips, then travelling outward, then
forward and upward, until they are at shoulder level, about four or five inches
apart. Your fists are now turned over, elbows hanging, arms level and bent
inward to make an oval shape.

The retreating and advancing of your arms must be in unison with your legs,
and be lively and without sluggishness.
Application:
The opponent punches to my chest, so I use both hands to block to the sides,
and then take advantage of the moment to advance and strike his ears.
40
ADVANCE, PRESSING KICK

In this posture, you first step forward, then lift your foot and kick forward,
hence the name.
Two movements:
1. Advance, bringing your hands together.
2. Spreading your hands apart, do a pressing kick.

1. From the previous posture, your right leg straightens as your left foot
advances forward, coming down in front of your right foot, your torso squatting,
your toes touching down (your torso going along with your right toes as they
shift to the right ninety degrees), your hands becoming palms [and coming
together to make the CROSSED HANDS shape].
2. Your right leg straightening, your torso lifts up, while your left leg lifts and
does a pressing kick forward, your hands spreading away to the sides.

During the pressing kick, you must stick out the heel forcefully, your right leg
should be slightly bent, and get the weight to gather fully onto your right foot.
Application:
When I use my left hand to strike the opponent, if he uses his right hand to prop
up my elbow from below, I then squat my torso to the right, [my hands] going
outward and downward to wrap around his arms, and lift my left foot to do a
pressing kick to his ribs.
41
42
43
SEALING SHUT
44
CROSSED HANDS
45
46
These six postures are all done as before.

47
WILD HORSE PARTS ITS MANE

In this posture, the manner of the movement is like a wild horse running swiftly,
your hands spreading away like the horses mane draping side to side, hence the
name.
Two movements:
1. Twist your torso, bringing your hands together.
2. Step forward, spreading your hands.

1. From DIAGONAL SINGLE WHIP, both your feet shift to point their toes
ninety degrees to the right, your torso turning to the right and bending in, your
hands embracing inward to make the CROSSED HANDS shape.
2. Your right foot advances half a step, the knee bends forward, and the weight
shifts to your right foot. At the same time, your right hand goes to the forward
right and your left hand spreads away to the left rear, corresponding to each
other from a distance, like a wild goose spreading its wings. This is the posture
on the right side.

The left side version is the same as the right, except your limbs are reversed left
and right.
In the course of practicing the solo set, the movements of this posture should be
done an odd number of times if the right side is done twice, the left is done
once but while the first one only advances a half step, the rest each advance a
full step.

As your arms spread apart and come together, it must be in unison with your
waist and hips. The movement of your whole body must be stretched out and
lively.
Application:
An opponent makes a direct attack to my chest, so I use my rear hand to push
down on his wrist while advancing a step behind his knee and extending my
front arm under his armpit to go diagonally upward with a carrying strike.
48
MAIDEN WORKS THE SHUTTLE

This posture first advances then turns around to the rear, then again [advances
and] turns around to the rear, travelling toward the four corners in a continuous
maneuver, like the manner of the shuttle slipping in and out when weaving silk,
hence the name.
Two movements:
1. Twist your torso and bring your hands together.
2. Bend your arm and extend your palm.

In this posture, the path of your hands moves to the four corners for a total of
four times, and each time the movement has two parts. Your body twists or
turns around altogether, the first and third time twisting, the second and fourth
time turning around. Each time faces a different direction and the directions are
faced in a specific sequence: if practicing according to the compass directions
[in the movement chart], the first time is to the northwest, the second to the
southwest, third to the southeast, fourth to northeast.
First time:
1. Repeat the first movement of WILD HORSE PARTS ITS MANE.
2. Your left foot takes a step out to the forward left, the knee bends forward,
your torso inclines forward, and your right hand extends forward from below
your left armpit, the force expressed in the palm.
Second time:
1. Your hands come together to embrace in front of your chest, making the
CROSSED HANDS shape, and your body turns around to the right rear.
2. Your right steps out diagonally [to the forward right], and your hand
movement is the same as in the first time, but with left and right reversed.
Third time:
Your left foot steps across to the left, your hand movement the same as in the
first time.

Fourth time:
Your body turns around to the right rear, your hand movement the same as in
the second time.

When turning your body around, your step and waist movement must be in
unison, and although the direction is diagonal, your body posture should still be
upright and not lean.
Application:
An opponent uses his rear hand to strike me from behind, so I turn around and
use my rear hand to wrap around his wrist from the side, then advance a step
while using the same arm in an upward ward-off to his arm and extending my
other hand to strike his chest.
49
SINGLE WHIP
50
CLOUDING HANDS
Both of these postures are done as before.

51
LOW POSTURE

LOW POSTURE means that your body descends, hence the name.
Two movements:
1. Squat, withdrawing your [left] hand.
2. Stand, extending your [left] arm.

1. From SINGLE WHIP, bend your right leg and squat down, extending your left
leg so it is almost lying on the ground (known as half step forked stance), and
sit down on your rear foot, while with your rear arm not moving (Some bend the
rear arm to make a PLAY THE LUTE posture together with the front hand.),
your forward arm bends and withdraws until by your right knee (or inner thigh),
then the palm extends forward. When your forward arm withdraws, the path of
your body and hand make the upper half of a circle.
2. Bending your forward leg, your rear leg straightens, causing your body to rise
up to be standing, and your left arm extends forward from above [below], the
path of the movement making the lower half of a circle, and with the previous
movement makes a complete circle (returning you to the SINGLE WHIP
posture).

When squatting your body, your spine must be straight and not incline forward.
The bending and extending of your knee and arm must happen in unison with
the lowering and rising of your body.
Application:
If the opponent grasps my arm with both hands, or makes a forward attack to
my body which I cannot resist, I then use this posture of squatting my body to
avoid it, neutralizing his force and causing him to land on nothing, and then
take advantage of the situation by striking forward.
52
LEFT & RIGHT GOLDEN ROOSTER STANDS ON ONE LEG

In this posture, one foot stands on the ground while the other is lifted, a hand
rising up to make a posture of spreading wings, in the manner of a rooster,
hence the name.
Two movements:
1. Advance and lift your [right] leg, propping up with your [right] palm.
2. Retreat and lift your [left] leg, propping up with your [left] palm.

1. From the LOW POSTURE, your right hand comes forward from behind,
twisting and lifting up in front of your chest, past your face, and once it is at
headtop level, the palm is turned outward, the arm curving to make a semicircle
shape and placed beside the right side of your forehead. At the same time, your
right leg bends at the knee and lifts up until the knee and your right elbow meet.
Your left leg is standing straight, your left arm hanging down, palm inward,
fingers pointing to the left side of your right foot.

2. Your right foot comes down, your left hand and left foot lift as in the first
movement, your right arm hanging down, the fingers pointing to the right side
of your left foot.

In this posture, the movement pivots around your waist and headtop and the
weight is entirely on one foot. Make it as stable as a mountain and do not sway.
When your hands and feet lift and lower, they should do so in unison.
Application:
If I use my fist or palm to strike the opponents chest and he uses his hand to
block it, I respond by using my [other] hand to lift his away, then strike his
lower abdomen with my knee while striking forward with the same hand.
53
54
55
RAISE THE HANDS
56
57
58
59
60
61
62
SINGLE WHIP
63
CLOUDING HANDS
64
RISING UP AND REACHING OUT TO THE HORSE
All of these postures are done as before.

65
CROSSED-BODY SWINGING LOTUS KICK

In boxing arts, when you extend your front fist while kicking with your rear leg,
it is called a crossed-body kick (as in the second line of Tantui). When kicking
from the side, it is called a swinging lotus kick. This posture does both kinds of
things, hence the name.
Four movements:
1. Thread through with your [left] hand.

3. Turn around, raising your [left] palm.
4. Swinging kick.

1. From RISING UP AND REACHING OUT TO THE HORSE, your left foot
advances a half step and your left hand, palm up, threads out over your right
wrist, while your right arm withdraws, palm down, bending to be placed below
your left armpit.
2. Your left palm turns downward and expresses force forward.
3. Sitting on your left leg, turn around to your right rear, slightly relaxing your
right leg so you seem to be in an empty stance, while your left arm goes from the
left of your head, raising up in an arc to placed above your head, palm forward.
4. Your right foot does a swinging kick from the left to the right, while your left
palm goes from the right to the left, slapping the top of your right foot, causing
your left arm to hang down, palm downward.

Once you turn around, you must put all the weight on your left foot, then you
can lift your right foot. The path your right foot moves along should be a
crosswise arc.
Application:
An opponent attacks me from behind, so I turn around, using my hand to block

it, and take advantage of the situation by sending out a sideways kick.
66
BRUSH KNEE, PUNCH TO THE CROTCH

In this posture, after you brush past your knee, take advantage of the moment to
advance and punch the opponent in the crotch, hence the name. This is one of
the five punching techniques in Taiji Boxing.
Three movements:
1. Bring your foot down and brush past the knee.
2. Advance, brushing past your [left] knee.
3. Punch to his crotch.

1. From CROSSED-BODY SWINGING LOTUS KICK, your right foot comes
down and your right hand brushes past your right knee, making the posture of
BRUSH KNEE IN A CROSSED STANCE on the left [right] side.
2. Your left foot advances a step and your right [left] hand brushes past your left
knee.
3. Inclining your body and bending your knee forward, your right hand grasps
into a fist (tigers mouth upward) and extends diagonally forward and
downward, while your left hand can either be placed beside your left knee or
touch your right arm to assist the punch.
When punching forward, the power must be sent from your spine, your right
shoulder must stretch, and your right leg should extend straight.
Application:
The opponent attacks my groin with his left hand then his right foot, which I
respond to by blocking with my hands in succession, and then I take advantage
of the situation by advancing and punching him in the groin.
67
68
SINGLE WHIP
69
LOW POSTURE
All of these postures are done as before.

70
STEP FORWARD WITH THE BIG DIPPER and RETREAT TO RIDE THE
TIGER

When boxing practitioners roll their arms toward each other so their fists line
up diagonally with each other, it is called a big dipper posture [i.e. making a
bucket shape resembling the saucepan of the Dipper]. When the arms spread
apart, the hands going to the sides as a hook and a palm, the legs squatting with
one foot standing and one foot lifted, toes touching down, it is called riding a
tiger. These two postures must be linked when practicing, therefore I have
combined them here.
Two movements:
1. STEP FORWARD WITH THE BIG DIPPER
2. RETREAT TO RIDE THE TIGER

1. From LOW POSTURE, your left knee bends forward and your right foot
advances, staying near your left heel, toes touching down. At the same time,
your left hand grasps into a fist in front of your chest and your right hand comes
forward from behind, grasping into a fist and going along with the advancing of
your right foot, passing beside your right hip and striking forward under your
left wrist, crossing with it to make an X shape.
2. Your right foot retreats a half step, the knee bends into a squat, and your left
foot withdraws to be beside your right foot, toes touching down, making an
empty stance. At the same time, your arms wrap inward, your right hand going
from pulling out from inward of your left arm and extending to the right side,
palm forward, as your left hand makes a hook which brushes diagonally to the
lower left as your left knee rises, the fingers making a monkey fist [i.e. a hook
hand], fingertips pointing to the rear [although the drawing shows a downward
palm]. Your shoulders should be level.
For STEP FORWARD WITH THE BIG DIPPER, the weight sits fully on your left
foot. For RETREAT TO RIDE THE TIGER, the weight sits fully on your right
foot.
Application:
1. STEP FORWARD WITH THE BIG DIPPER: If the opponent punches to my
chest, I use my left arm to prop it up or block it outward, then advance with my
right foot and use my right hand to strike under my left hand to his chest.
2. RETREAT TO RIDE THE TIGER: Continuing from the previous application,
if the opponent uses his hand to push [my strike] down or brushes it aside and
kicks forward, I then use my left hand to brush down his hand or foot,
withdrawing my right hand to then push his chest or shoulder.
71
TURN AROUND, SWINGING LOTUS KICK

Turn around describes movement. To turn around and do a swinging lotus
kick means that you turn around to store up power, then release it by lifting
your foot and doing a swinging lotus kick (as explained previously in Posture
65).
Two movements:
1. Turn around, joining your hands.
2. Swinging lotus kick.

1, From RIDING THE TIGER, turn your body to the right rear, step your left
foot forward, both hands joining inward, crossing in front of your chest to make
the CROSSED HANDS shape.
2. Lift your right foot and go from left to right with a swinging kick, both arms
extended forward, the hands going from right to left, slapping the back of your
right foot,

then gathering in to be placed at both sides [to the left side] of your waist, your
right foot now lowering to the ground, toes touching down close beside your left
foot.

When your left foot steps forward, the toes should be pointed inward so as to
make it easier to turn.
Application:
If an opponent attacks from my left side, I evade it by dodging with my body and
stepping forward [back] with my left foot, drawing him in to be ambushed as I
then turn around and lift my right foot to kick his ribs from the side.
72
BEND THE BOW TO SHOOT THE TIGER

The intention in this posture is of a person quickly drawing a bow to shoot,
hence the name.
Two movements:
1. Step out, bending your arms.
2. Loosen your arms and extend them forward.

1. From the previous posture, your right foot steps to the forward right, your
torso inclines to the forward right, your arms bend, making fists, and go from
the left side of your waist, passing in front of your navel, and move to the right
until to the right of your waist. Your arms lift up, your right shoulder and elbow
level with each other, the fist overturned (tigers mouth downward) near your
right cheek, pointing to the forward left, the posture like holding an arrow. Your
left elbow is bent near your ribs, the hand lifted in front of your chest. Your gaze
is forward and the posture is like holding a bow.
2. Your fists go toward the lower left, slightly corkscrewing, aligned with each
other as right fist above and left fist below, your arms extended.

When both fists strike forward, there must be a corkscrewing intention.
Application:
If the opponent connects with me to the right and pushes down my right arm, I
go along with the movement in a semicircle to neutralize his energy, riding his
energy until it has slackened, then strike forward.
73
CLOSING POSTURE

The intention here is to conclude the solo set by returning to the original
posture, hence the name. The methods of returning to the original posture vary
among people: some [i.e. Wu style practitioners] do CATCH THE SPARROW BY

THE TAIL, PALM TO THE FACE, and several more postures to get to the
original posture, while others [i.e. Yang style practitioners] do the two postures
of PARRY, BLOCK, PUNCH and SEALING SHUT to get there. In either case it
would here be unnecessarily repetitive to explain the original posture over
again.
Two movements:
1. Step together, joining hands.
2. Return to the original posture, standing straight.

1. From SHOOT THE TIGER, step your left foot forward to stand beside your
right foot, turning your body to the right, crossing your hands in front of your
chest.
2. Both hands releasing downward, return to your original posture, standing
straight.
CHAPTER THREE: DISCUSSION OF TAIJI BOXINGS PUSHING HANDS

SKILL
Pushing hands, or touching hands, or nearing hands, is a feature of many

boxing arts, and is used to train close-body techniques. The secret to the art of
Taiji Boxing is identifying energies, the first step of which is to make your skin
keenly aware. The method of training this sensitivity lies in two people touching
with each others elbows, wrists, palms, and fingers, pushing back and forth to
rub at the skin. The measure of sensitivity that comes from your skin being
gently pressed is used to perceive whether the opponents energy is light or
heavy, empty or full, and in which direction it is going. After a long time, your
sensitivity will be very acute, sticking and yielding will be assisting each other,
and when there is the slightest movement you will be aware of it, thus you will
be identifying energies. The Taiji Boxing Classic says: Once you are identifying
energies, then the more you practice, the more efficient your skill will be.
When practitioners of Taiji Boxing do not practice pushing hands, it is equal
to not practicing at all. And if you practice pushing hands but are not yet able to
identify energies, then it will be worthless when you try to apply it. Alas, there
are levels to work through. Upon entering each room [i.e. moving on through
each level], understand there is a door [that leads to another]. When practicing
the pushing hands techniques, there are things you need to pay attention to:
The pushing hands techniques divide into single touching-hands postures and
double touching-hands postures (explained below). Single touching is a single
hand pushing by itself. Double touching is both hands being used together. This
is always a case of touching outwardly with the fingers (the chest being inward,
the fingers and forearms being outward).
There is also what is called open & close hands, in which one partners
hands both go inward while the others go outward, alternating with each other,
going back and forth with double-hand pushes.
In single-hand pushing hands, the rubbing method is the same as in the
nearing hands in the boxing of Fujian, as well the five element hands
(dividing into techniques for metal, wood, water, fire, and earth, the five
generating and overcoming each other throughout the movements), and have
many uses.
In my youth I learned from Liu Jingyuan, training in the single-hand pushing
hands techniques, gaining something of the idea. Then I sought out the various
postures in the various schools of Taiji, and bit by bit I standardized a training
method, organizing a complete regimen of pushing hands techniques to
supplement the original four cardinal and four corner exercises where each
is insufficient. I have added additional sections to provide you with the cardinal
and corner exercises, but have selected only the beginning levels of them and
have explained them in brief to make your experience easier.
CHAPTER FOUR: EXPLANATIONS OF THE EIGHT TECHNIQUES OF THE

PUSHING HANDS SKILL
WARD-OFF [peng]
This means to hold up, to carry, or to expand.
It is like when inflating a leather ball and pushing down on it the further it
is pushed down, the more the expansion is felt, causing the force to be unable to
push all the way down.
From poem 78 of the Book of Poems: His quiver is spent. According to Du
Yu, the word means an arrow guiver. It is also pronounced bng.
From Zuos Commentary to the Spring & Autumn Annals, 25th Year of Duke
Zhao: [His men took off their helmets and] sat down holding their quivers. An
annotation explains that the character used in this passage represents an arrow
quiver which can be used as a drinking vessel as well as a carrier for arrows and
is interchangeable with the same character that appears in poem 78.
In the Taiji skill, it is the trick when touching hands of going against the
opponents momentum by carrying him upward and making him unable to
lower himself.
All these things make up ward-off.
ROLLBACK [l]
Although it is pronounced l, the actual character does not appear in any
dictionary, and may be a mistake for a similar looking character meaning to
extend. From Ban Gus drama Replying to a Guest: In solitude, we extend our
thoughts beyond the whole universe.
Or it can mean to distribute. From Sima Xiangrus Book of Nature
Worship: distributing without limit.
Or it can mean to disseminate. From On the Rhapsodizers East of the
Yellow River, by Yang Xiong: extolling the Six Classics from which they
disseminate their odes.
Or it can mean something akin to gallop. From Thinking Profoundly, by
Zhang Heng: The eight chariots are released and overtake with their gallop.
In the Taiji skill, when touching hands, usually when the opponent does a
ward-off or press to me, I use rollback as a trick to dispel his force, causing it to
gallop away, unable to be regrouped.
All of these things make up rollback.
PRESS [ji]
The Shuowen Jiezi [Chinas earliest dictionary] says that it means to
forcefully remove, or to push away. It is to send a hand outward with a
forward push to something.
From Zuos Commentary to the Spring & Autumn Annals, 13th Year of Duke
Zhao: A man who is oblivious to his old age gets pushed into a ditch.
From the Historical Records, Annals of Xiang Yu: A gap in the Han army
made for a push from the Chu army.
From Zhuangzi, chapter 4: Those rulers [Jie and Zhou] pushed these
virtuous men away [i.e. had Guan Longfeng and Prince Bigan killed] because
they were more virtuous than themselves.
Generally you may use your hand, shoulder, or back to press the opponents
body and make him unable to move, and from that point give him a push to
throw him away.
All of these things make up press.
PUSH [an]
The Shuowen Jiezi says this means to go downward.
The Guangyun [a rhyming dictionary] says this means to press downward.
From the Rhapsodies of Emperor Jianwen of Liang: By way of variety and
pressing down [i.e. restraint], elegance runs through it.
The Erya [an ancient thesaurus] lists it as a synonym of words meaning to
suppress.
From the Historical Records, Annals of Zhou: The king pushed his army [i.e.
encouraged] with the command of: no exit!
Poem 241 of the Book of Poems says: Crush their armies [with yours], and
the word is there explained [in the accompanying commentary of Zheng Xuan]
as meaning to suppress.
From the History of the Early Han Dynasty, Annals of Emperor Gao: Both
officials and commoners settled down [the two characters in the text making a
term which is a combination of push down and stop up] to how it was
before, with the commentary then explaining: Pushing constantly until the
walls were sealed up and there was no change.
It also means to occupy, as in the Historical Records, Bio of Bai Qi: The
Zhao commander pacified the people by pushing in with an occupying force.
It also means to stroke, as in the Historical Records, Bios of Rulers of the
Plains: Mao then stroked his sword and marched onward into history.
There is also the meaning of massage [to push down plus to rub
equalling massage]. In ancient times, there were the massage and limbering
arts, as is mentioned in the History of the Early Han Dynasty, Bibliographical
Records: The Yellow Emperors Bo Qi wrote ten chapters on massage.
As for the Taiji boxing art, when your opponent presses forward, use your
hands to push down and suppress his action, making him unable to do what he
wants.
This is push.
PLUCK [cai]
This means to take.
From the Books of Jin: On the mountain is a fierce tiger, and the plants are
not what he picks to eat.
To select and take is called plucking.
In Taiji Boxing, this is when you pluck to take control of the opponents force.
This taking is like the movement of energy inward when a practioner of silent
meditation restrains himself.
The Classic of the Talisman of the Abstract says: The sign of the sky
expressing its destructiveness [is the shifting of the constellations.] [i.e. The
stars disappear over the horizon as if pulled down.]
Once you understand these explanations, ponder on them.
REND [lie]
This means to turn or to twist.
From the Writings of Han Yu: Turn your hands to stir the soup.
It also means to coil. It is an intention of rotation.
In Taiji Boxing, when you use rotational force to control the opponents body,
it is called rending, including the intention of rending away.
ELBOW [zhou]
This is the name of the boney point in the middle of your arm where it bends.
When practitioners of boxing arts use this area to strike opponents, it is
called elbowing, making it a verb rather than a noun.
In Taiji Boxing, there are many methods of applying elbowing techniques. In
this book, it is only mentioned in the pushing hands section when relevant, and
discussed briefly.
BUMP [kao]
This means to lean on, to lean against, or to lean upon someone else.
In Taiji Boxing, when you are near with your body and you use your shoulder
or hip to strike the opponent, it is called bumping, the two methods being
known as shoulder bump and hip strike.
CHAPTER FIVE: TAIJI BOXINGS PRACTICAL FUNCTION PUSHING

HANDS
Section 1: TAIJI BOXINGS STANCE
The Taiji boxing arts stance often uses the river-character posture [or threeline posture showing a line for each foot and the line between them].
From a posture of standing straight, your left foot takes a step out to the
forward left, the toes of both feet are equally forward, and the distance between
your feet to the left and right is shoulder width. Squat your body down, slightly
bending your knees, and make the weight of your whole body go to your rear
foot. It is somewhat like the T stance, except the front toes are held upward or
placed flat on the ground, so it is slightly different.
Your upper body should be upright in your waist and empty in your chest,
with energy concentrated at your lower abdomen. Your head is held straight,
headtop empty and suspended. Your tailbone is centered and spirit passes
through to your headtop. Your spine is in a bow shape.
Your arms are slightly bent and go forward, raising until level. Your palms
extend forward and your wrists sit. Your fingertips are slightly bent, are spread,
and are upward, the forefinger of your forward hand at about nose level, your
rear hand at about chest level. Your palms are unevenly facing each other and
seem to be holding something. Droop your shoulders and hang your elbows.
Your shoulders, elbows, and hands are united with your hips, knees, and feet.
Your whole body should be nimble and without sluggishness. Once each part
has a condition of naturalness (and the posture on the other side is the same as
on this side), then it is right.
Section 2: SINGLE TOUCHING-HANDS METHOD
Two people stand facing each other. Each steps out forward with the right foot,
while the right hand extends forward from beside the right ribs in an arcing
motion, as in the standing posture above. The backs of the wrists stick to each
other, making a crossed shape. This is the single touching-hands posture.
Section 3: DOUBLE TOUCHING-HANDS METHOD

This posture is like the single touching-hands posture, except that the rear hand
also comes forward to pat the other persons elbow area. Four arms are
touching, making a complete circle. The wrists touching each other are turned
inward so that both people occupy the area in front of their chests, each getting
half of the circle. It is just like the two fishes of the taiji symbol. This is the
double touching-hands posture.
Section 4: SINGLE-HAND HORIZONTAL CIRCLING PUSHING & RUBBING

METHOD
Both partners stand facing each other and make the right-sided single touchinghands posture.
1. As right palm pushes down on Bs right wrist, pushing forward toward Bs
chest.
B bends his right arm, his hand withdrawing toward his own chest, moving
horizontally, retreating and rubbing, making a semicircle, his wrist passing
below his left shoulder, moving to the right until in front of his breastbone.
2. Bs torso sits back, elbow hanging down, turns over his hand drawing in
beside his ribs, his wrist extending outward, peeling aside As wrist, then in turn
pushes down on As wrist.
3. Bs hand then pushes toward As chest as in movement 1.
4. As hand retreats and rubs as in movement 2, also making a semicircle. Go
back and forth, pushing and rubbing. Wait until you are skillful at it, then
practice another posture. This is a basic action of the pushing hands methods.
Doing the exercise on the left or right side is the same apart from left and
right being switched.
Section 5: ROLLBACK & PUSH PUSHING HANDS METHOD
Both partners stand facing each other and make the right-sided double
touching-hands posture.
1. A with his right palm pushes down on Bs right wrist and with his left hand
pushes down on Bs right elbow, making the push posture toward the sides of
Bs chest.
2. B bends his right arm, the hand withdrawing toward his chest, retreating
and neutralizing with a horizontal motion, his left hand is patting behind As
elbow. His right wrist is passing below his left shoulder as it moves to the right,
left hand going along with it downward to the right, the arm bending, making a
rollback, both elbows hanging down.
3. B with both hands pushes As elbow and wrist toward As chest to make the
push posture, as in movement 1.
4. A with both hands retreats and rolls back, as in movement 2.
Section 6: SINGLE-HAND VERTICAL CIRCLING PUSHING HANDS

METHOD
Both partners stand facing each other and make the right-sided single touchinghands posture.
1. A uses his right palm to cut downward onto Bs wrist (B going along with
As cutting action), fingertips pointed forward toward Bs belly.
2. B bends his arm, going along with As cutting energy, neutralizing with a
withdrawing arc from below in a vertical semicircle, lifting past his right ribs
until beside his right ear.
3. Bs right hand continues the previous movement by making the upper half
of the circle, extending his arm forward, pointing at As forehead.
4. A sits his body back, bending his right arm, his hand sticking to Bs wrist
and going along with his movement, turning his body to the side to lead
downward, until when beside his ribs he turns it into a forward push.
Note:
This exercise can train the two postures of RETREAT, DRIVING AWAY THE
MONKEY and LOW POSTURE. If A moves in the manner of RETREAT,
DRIVING AWAY THE MONKEY, B then moves in the manner of LOW
POSTURE.
Section 7: ROLLBACK & PRESS PUSHING HANDS METHOD
Both partners stand facing each other and make the [right-sided] double
1. A squats his torso, standing up his left forearm, and rolls back Bs right arm
diagonally to the rear.
2. B takes advantage of the moment and extends his right arm downward,
advancing his torso toward where his elbow is being touched by A to do a bump
forward, and by using his left hand to pat the inside of his own arm, does a press
outward.
3. A leans his torso forward to slow down Bs power, going across with his left
ulna or wrist to touch the middle of Bs upper arm, causing Bs arm to get near
his own torso, and then using his right hand to pat the inside of his own
forearm, does a press forward.
4. B softens his torso inward to yield to and neutralize As power, squats his
torso, standing up his left forearm, and rolls back As right arm diagonally to the
rear, like A in movement 1.
5. A is like B in movement 2.
6. B is like A in movement 3.
Section 8: SINGLE-HAND PRESSING DOWN PUSHING HANDS METHOD
Both partners stand facing each other and make the [right-sided] single
1. As right hand sticks to Bs right wrist and moves outward horizontally,
correspondingly withdrawing [as if in response to a forward energy from B], his
hand turns over and presses down on Bs wrist, palm upward, arm bent, elbow
close to his ribs. (The bend in the arm should make an obtuse angle.)
2. A, continuing from the previous movement of using his upward-facing
palm to press down Bs wrist, extends his arm forward toward Bs belly.
3. B goes along with the force of As forward push, turns his hand over in a
horizontal motion, bends his arm, retreating, then waits until the moment A is
almost in front of his belly, and sucks in his torso and hangs his elbow down,
turns his hand the rest of the way over, and presses down As wrist, like A in
movement 1.
4. B extends his arm forward toward As belly, like A in movement 2.
This exercise is done the same on the left side.
Section 9: PRESSING DOWN THE WRIST & PUSHING DOWN THE ELBOW
PUSHING HANDS METHOD
Two people stand opposite each other, making the [right-sided] double
1&2. A presses down on Bs wrist as before, except that his left hand, fingers
pointing down, pushes down on Bs elbow to assist the power.
3&4. As B retreats, turning over his wrist and withdrawing, his left palm goes
upward to prop up Bs elbow, which is different from before.
Section 10: PUSHING HANDS METHOD FOR THE FOUR PRIMARY

TECHNIQUES
Pushing hands with the four primary techniques is when two people are pushing
hands using the four techniques of rollback, press, push, and ward-off, which
are aligned with the four cardinal directions [of the eight trigrams], and repeat
their cycle over and over again, back and forth between the two people. To
begin, they stand opposite each other and cross their right hands.
1. A bends his knees and sits back, bends his arms so his elbows hang down
(making the lute posture), his hands catching Bs right arm at the elbow and
wrist, and he rolls back inward and diagonally downward.
2. B takes advantage of the momentum and bends his right arm horizontally,
making a ninety-degree angle, and presses forward toward As chest with his
wrists connected, then shifts his left hand to touch the inside of his own forearm
and assist the power.
3. Right when B presses with his elbow, A turns his waist slightly to the left,
both hands taking advantage of the momentum and pushing down on Bs left
arm.
4. B then uses his left arm to do a pressing push, bringing it away [from his
right arm] in an upward arc to ward off and neutralize As pushing force. At the
same time, his right arm also wraps around from below to prop up As left elbow
and assist the neutralization.
5. Once B wards off and neutralizes As pushing force, he then takes
advantage of the momentum and rolls back As left arm.
6. A goes along with Bs rollback energy and presses forward.
7. B goes along with As pressing energy and pushes down.
8. A then wards off and neutralizes Bs pushing power, and then rolls back.
All of this goes round and round without end. This is the pushing hands
method for the four primary techniques.
Section 11: PUSHING HANDS METHOD FOR THE FOUR SECONDARY

TECHNIQUES
Pushing hands with the four secondary techniques, also known as Large
Rollback, is when two people are pushing hands using the four techniques of
elbow, bump, pluck, and rend, which are aligned with the four corner directions
[of the eight trigrams], and repeat their cycle over and over again, back and
forth between the two people. It compensates for the limitations of the four
primary techniques. To begin, [persons A and B] stand opposite each other
along a north-south line [A facing south, B facing north] and cross their right
hands.
1. A steps his right foot diagonally to the northwest, making a stance between
a horse-riding stance and a wide T-stance, with his right arm level and bent, his
right hand touching Bs right wrist, his left arm bends at the elbow and uses the
middle area of the outer forearm bone to roll back Bs right arm diagonally to
the northwest.
2. B then takes advantage of the momentum and steps his left foot across
forward and to the left, moving his right foot to step forward between As legs.
At the same time, his right arm extends downward, his shoulder going along
with As rollback energy, and bumps forward into As chest with his left hand
assisting by touching the inside of his own right arm. Both people are again
facing each other, with B looking toward the northeast.
3. A uses his left hand to push down on Bs left wrist and his right hand to
push down on Bs left elbow, plucking down. At the same time, his left foot goes
from the outside of Bs right foot to step between Bs legs.
4. B goes along with As plucking energy and withdraws his left leg to the
southwest, making a horse-riding stance, and with his left arm level and bent,
his left hand touches As left wrist, and his right arm bends at the elbow and
uses the middle area of the forearm bone to rollback As left arm diagonally to
the southwest.
5. A takes advantage of the momentum and steps his right foot forward,
moving his left foot to step forward between Bs legs. At the same time, his left
arm extends downward, his shoulder going along with Bs rollback energy, and
bumps forward into Bs chest with his right hand assisting by touching the
inside of his own left arm. Both people are again facing each other, with A
looking toward the southeast.
6. As left arm wants to lift up. B then goes along with As lifting energy, his
left hand doing a palm strike toward As face while his right hand pushes on As
left shoulder, diagonally rending downward.
7. A goes along with Bs rending energy and withdraws his left foot a step to
the northeast, his left hand touching Bs left wrist, his right arm bending at the
elbow, and rolls back Bs left arm to the northeast.
8. B takes advantage of the momentum and steps forward with his right foot,
moving his left foot to step forward between As legs, his left arm going along
with As rollback energy and using his shoulder to bump forward into As chest,
his right hand assisting. The direction B is facing is northwest.
9. A uses his right hand to push down on Bs right wrist and his left hand to
push on Bs right elbow, plucking down. At the same time, his right foot goes
from the outside of Bs left foot to step between Bs legs.
10. B goes along with As plucking energy and withdraws his right foot to the
southeast, his right hand touching As right wrist, and with his left arm bent at
the elbow, rolls back As right arm diagonally to the southeast.
11. A takes advantage of the momentum and steps forward with his left foot,
moving his right foot to step forward between As legs, his right arm going along
with Bs rollback energy, and uses his shoulder to bump forward into Bs chest,
his left hand assisting. The direction A is facing is southwest.
12. As right arm wants to lift up. B then goes along with As lifting energy, his
right hand doing a palm strike toward As face while his left hand pushes on As
right shoulder, diagonally rending downward.
[Movement 1 repeating:] A retreats his right leg, and with both hands he rolls
back Bs right arm at the wrist and elbow area.
Both people have returned to the posture of crossing their right hands and
this whole sequence may continue. This is the pushing hands method for the
four secondary techniques.
POSTSCRIPT [BY ZHONG RUIYUAN]
Chinese boxing arts began during the Warring States period and were carried
along through the dynasties Han, Wei, Tang, Song, etc. They were passed on
through the generations, but always by personal instruction, and with some
things being kept secret, unrecorded in books. It is known that in the Han
Records [History of the Early Han Dynasty, Bibliographical Records] there is
mentioned records of [six chapters of] bare-hand fighting and [thirty-eight
chapters of] swordsmanship, but those writings are long lost.
During the Ming Dynasty, there was Qi Nantangs [Qi Jiguang] New Book of
Effective Methods and Mao Yuanyis Records of Martial Training Methods, and
there emerged theSword Classic, Boxing Postures, Staff Techniques, and Spear
Treatise, some of these texts in detail, others in brief. Later generations of those
who trained in martial arts were unable to surpass the range of those writings
until the boxing essay of Huang Baijia on the internal school and the writings of
Wu Shu on bare-handed fighting and the spear, which were detailed and
refined.
During the early Qing Dynasty, it was forbidden to teach or train in martial
arts, and therefore it was done in secret, very rarely appearing in books. What
was preserved was always through simple songs which were memorized and
could not be very detailed about the theory or techniques, and this situation was
caused because those transmitting it were often not very well-read.
In the first summer month of 1920, I bumped into Xu Yusheng on my way
somewhere, and he invited me to come right away to the physical education
school he had established to see Ma Zizhens new martial arts performance
team, but I was already running late and did not get to see them. I subsequently
associated with Xu and so I got to look at two pieces of his writing: A
Commentary to the Taiji Boxing Classic and Explanations with Illustrations. I

thereupon began to understand his motivation for opening a school, as well as
its emphasis on a deep understanding of Taiji Boxing. I had already known of
him for quite a while as a skilled martial artist, but I did not expect the depth of
his learning.
Taiji Boxing is the way most people refer to the internal school, and
together with Shaolin makes two distinct schools. Studying the internal school is
more common but most who study it do not complete the course, and then when
its essential principles are left a secret, later students will be even more unable
to seek guidance. With the publication of this book, those who admire the
internal school will have a way ahead, for it is a truly unparalleled work. But I
have heard that the work of learning a martial skill never has an end.
I truly hope that going through Xus stripped-down postural explanations
and studying his meticulous commentary to the Classic will bring the internal
school to be as equally regarded as Shaolin, and it is now recorded in a book to
provide greater access to future students. Comparing him to a complacent
teacher who keeps things to himself, he exhaustively shares the skills of the
internal school, and so it is apparent which one has a more generous heart.
Since Xu and I have a worldly friendship, I will not presume to praise him, and
therefore I have confined myself to straightforward words in writing this
postscript.
sincerely written by Zhong Lan (Zhong Ruiyuan)
-

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THE TAIJI MANUAL OF XU YUSHENG

TAIJI BOXING POSTURES WITH DRAWINGS AND EXPLANATIONS

1921, 7th month

Taiji Boxing Postures With Drawings and Explanations

- [calligraphy by] Fu Zengxiang

PREFACE [BY ZHANG YILIN]

- preface by Zhang Yilin of Wu county, 1st autumn month, 1921

PREFACE [BY YANG CHANG]

substance. Energy is flow. Technique is form. Energy is function. When

- written by Yang Chang of Xiangtan in Beijing, 1st autumn month, 1921

- written by Xu Longhou [Yusheng] of Guyan at the Beijing Physical Education

Portrait of the author

Chapter One: Introductory Remarks

Chapter Two: The Meaning of Taiji Boxing

Chapter Five: The Various Schools of Taiji Boxing

Chapter Six: The Taiji Boxing Classic Annotated

BEND THE BOW TO SHOOT THE TIGER

Chapter Three: Discussion of Taiji Boxings Pushing Hands Skill

Chapter Five: Taiji Boxings Practical Function Pushing Hands

Section 1: TAIJI BOXINGS STANCE

Section 2: SINGLE TOUCHING-HANDS METHOD

Section 3: DOUBLE TOUCHING-HANDS METHOD

Section 4: SINGLE-HAND HORIZONTAL CIRCLING PUSHING & RUBBING

Section 5: ROLLBACK & PUSH PUSHING HANDS METHOD

Section 6: SINGLE-HAND VERTICAL CIRCLING PUSHING HANDS

Section 7: ROLLBACK & PRESS PUSHING HANDS METHOD

Section 8: SINGLE-HAND PRESSING DOWN PUSHING HANDS METHOD

Section 10: PUSHING HANDS METHOD FOR THE FOUR PRIMARY

Section 11: PUSHING HANDS METHOD FOR THE FOUR SECONDARY

CHAPTER ONE: INTRODUCTORY REMARKS

points laid out, later generations have been unable to comprehensively

acute hearing and sharp vision.

Taiji Boxing is a study in abstractions. Modeled upon the principles within

CHAPTER THREE: THE ORIGIN OF THE NAME THIRTEEN DYNAMICS

Map of the Eight Directions:

(elbow) (ward-off) (pluck)

Map of the Five Steps:

(left) (center) (right)

CHAPTER FOUR: HOW TAIJI BOXING CONFORMS WITH THE SYMBOLS

analysis of the diagram. This diagram divides into five layers:

ZHOU LIANXIS TAIJI DIAGRAM

active movement / passive stillness

The way of the ground makes the female quality,

the way of the sky makes the male quality,

[and together] they produce all things.

Shaos Chart of the Development of Change concerns passive and active,

the moment between movement and stillness

CHAPTER SIX: THE TAIJI BOXING CLASSIC ANNOTATED

Taiji is born of wuji.

yang [the passive and active aspects].

Change in position or the progress of the body in a certain direction is called

The theory in ancient China was that everything corresponded analogously to

Movement means change. When there is movement, there is differentiation of

arriving. To comply means to not resist. To engage means to approach.

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

By he is of course meant the opponent. Hardness indicates being strong and

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

substantial, you have truly engrained the techniques.

Forcelessly rouse strength at the headtop.

mansion in which the spirit is stored. When a Buddhist is ordained, he receives

Energy sinks to the elixir field.

Neither lean nor slant. Suddenly hide and suddenly appear.