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Touchstones:
Yang Family
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Translator's Note
ll
Who were these men who devoted themselves so
unstintingly to the martial arts, and what were their
motives. Some were simply bodyguards and bullies
for the rich landlords, and some were men who
fought for righteous causes. These causes might be as
local as avenging victims of family feuds or as nation
al as revolution and racial salvation. The story of
t'ai-chi's rise in the late 19th and early 20th century
has its plot and its characters. The plot is China's need
for self-strengthening, and the cast of characters
begins with Yang Lu-ch'an.
The Founder: Yang Lu-ch'an
There are two major versions of Yang Lu-ch'an's
background - one "official" and the other probably
historical. The "official" version emanates from col
leagues and students who may have wished to
conceal his humble origins. Hsii Yii-sheng, student of
Lu-ch'an's son, Chien-hou (1839-1917), and author of
Illustrated Manual of T'ai-chi Ch'iian (T'ai-chi ch 'i.i an
shih t ' u-chieh ) publi sh ed in 1921, says that Lu-ch'an
along with fellow Yung-nien villager, Li Po-k'uei, on
hearing of Ch'en Ch'ang-hsing's fame as a martial
artist, mad e haste to Ch'en Village to study with him.
Initially regarded as outsiders, they won over the master
by sheer determination and finally gained the complete
transmission, whereupon they returned to Yung-nien.
Lu-ch'an later traveled to Peking, where he became
martial arts tutor to the Manchu nobility.3 Ch'en Wei
ming, student of Lu-ch'an's grandson, Ch'eng-fu, in
his 1925 Art of Tai-chi Chiian (T' ai-c hi ch'iian shu) closely
follows Hsii's account, adding a few embellishments.
Ch'en tells us that after arriving in Ch'en Village,
Yang heard loud sound s issuing from a nearby build
ing. Climbing a wall, he poked a hole in a window
and spied Ch'ang-hsing giving instruction in uproot
ing. By nightly surveillance he learned all the secrets,
and when the master finally consented to accept him
as a student, he made such rapid progress that he soon
surpassed even the Ch'en family favorites.4 Thus Yang
Ch' eng-fu' s preface to his 1934 Complete Principles and
Applications of T'ai-chi Ch'iian (T'ai-chi ch'iian t'i-yung
ch'iian-shu), probably ghost-written by Cheng Man
ch'ing,5 contains biographical information about the
Yang family, that not only respectfully glosses over
Lu-ch'an's background, but puts in the illiterate 19th
century Lu-ch'an's mouth the world view and political
agenda of the early 20th century conservative intelli
gentsia, even fabricating an anachronistic dialogue
between Ch'eng-fu and his grandfather, Lu-ch'an,
who actually died eleven years before his grandson's
birth. Ch'eng-fu's account here, or more likely that of
his ghost-writer, has Lu-ch'an traveling to Ch'en Village
as a adult on the strength of Ch'ang-hsing's reputation,
and remaining for ten years before being accepted as
a student.6 Ch'en Kung's 1943 T'ai-chi Hand Form,
Broadsword, Two-Edged Swo rd, Spear and Sparring (T'ai
chi ch'iian tao chien kan san-shou ho-pien) is a remake
of Ch'en Wei-ming's account, except that he has Lu
ch'an going to Ch'en Village as a young boy and
making a hole in the wall, that he claims could still be
seen in the 1940's. 7
Even the great martial arts scholar, Hsii Chen, fell
under the spell of Yang family well-wishers in his
1930 Summary of Chinese Martial Arts (Kuo-chi lun-yiieh),
uncritically reproducing Hsii Yii-sheng's account.8
However, just six years later in his A Study of t he Truth
of T'ai-chi Ch'iian (T'ai-chi ch'iian k'ao-hsin lu) Hsii
Chen finally breaks the taboo. It was Hsii whose teacher,
Hao Yiieh-ju, first showed him Li 1-yii's handwritten
copies of Wu Yii-hsiang's manuscripts. Noting that
Li's "Short Preface to T'ai-chi Ch'iian" (T'ai-chi ch'iian
hsiao-hsii) referred to Yang Lu-ch'an as "a certain
Yang of Nan-kuan," Hsii resolved to examine the reason
lV
for this circumlocution. After interviewing the older
genera tion of ma rtial a rts enthusiasts in Yung-nien,
Ch'en Village, and Peking, he discovered that the
Ch'en family owned a pharmacy in Yu ng-nien, the
Ha ll of Great Harmony (T' ai-ho t' ang). The proprietor
of the pharmacy, Ch' en Te-hu, was one of the richest
men in Ch' en Village and he hired one of his clans
men, Ch'en Ch'ang-hsing, to teach his sons the martial
arts. After many years of waiting on Ch' ang-hsing,
Lu-ch'an absorbed much of the a rt, and when he
began to prompt Ch' ang-hsing' s students, the master
was so impressed tha t he not only transmitted the a rt
to him but bought his freedom for fifty ounces of sil
ver and returned him to Yung-nien. Back in Yung-nien,
Lu-ch'an stayed in the Ch' en family Hall of Harmony
Pharmacy, whose local landlord was Wu Yii-hsiang
and his two brothers. The Wu brothers were a prominent
gentry family in Yung-nien, and keenly interested in
the martial a rts. Breaking class barriers, Yii-hsiang
studied with Lu-ch' an, which whetted his a ppetite to
seek out Lu-ch'an' s teacher, Ch' en Ch'ang-hsing. On
his way to Ch' en Village, Yii-hsiang passed through
nearby Chao-pao Village, where the local innkeeper,
who coveted Yii-hsiang' s room and board, told him
tha t Ch' en Ch'ing-p' ing was superior to Ch'ang-hsing
and persuaded him to stay in Chao-pao. Hsii concludes
that Li 1-yii in his "Short Preface" attempted to protect
the reputation of the Wu family by not revealing the
fact that his uncle, Yii-hsiang, was initiated into t' ai-chi
by a man so poor he had been sold as a bond servant.9
Wu Yii-hsiang' s grandson, Wu Lai-hsii, in his "Biogra
phy of My Grand father, Wu Lien-ch' iian" (Hsien
wang-fu Lien-ch'iian fu-chiin hsing-liieh) shows a sim
ilar delicacy in hand ling the connection between Yang
Lu-ch' an and the Wu family . Lai-hsii' s biography states
that Yii-hsiang, on learning of Ch'en Ch'ang-hsing' s
art, desired to study but could not get away from the
capital, and so sent Yang Lu-ch'an to Ch'en Village in
his stead to investigate. Later, Lai-hsii tells us, Wu went
personally to Honan and studied with Ch'en Ch'ing
p'ing.10 Hao Yin-ju's version has Ch'ing-p'ing agreeing
to teach Wu Yii-hsiang in exchange for help in a legal
entanglement. Ch'ing-p'ing was so ill at the time,
however, that he instructed Wu from his sick bed.11
In 1930 Lu-ch'an's grandson, Yang Ch'eng-fu, while
serving as Dean of Instruction at the Chekiang Martial
Arts Institute, received an inquiry from the Central
Martial Arts Institute regarding the birth and death
dates of his late grandfather. In his response, Ch'eng-fu
disclosed that Lu-ch'an began studying with Ch'ang
hsing at the age of ten and did not return to Yung-nien
until in his forties.12 This directly contradicts the Li I-yii
and Wu Lai-hsi.i versions, and even those put into
Ch'eng-fu's mouth by Hsii Yii-sheng, Ch'en Wei-ming,
Tung Ying-chieh and Cheng Man-ch'ing. Of course,
Ch'eng-fu does not explain how or why a poor boy of
ten would travel to another province and live with an
unrelated family for thirty years. Sung Fu-t'ing and
Sung Chih-chien, supporters of the "poor boy" thesis,
nevertheless rearrange many of the other details.
They have Lu-ch'an initially employed as a servant in
the Wu household in Yung-nien from whence he is
sent to work in a Wu family pharmacy in Huai-ch'ing,
Honan. The Ch'en's of Ch' en-chia-kou also operated a
pharmacy in Huai-ch'ing, and when they advertised
for a servant, Lu-ch'an jumped ship, eventually ending
up under the roof of Ch'en Ch' ang-hsing. By spying
and surreptitous training he surpassed Ch'ang-hsing's
students and was accepted for the highest initiation.
After two years of intensive study he requested his
wages and returned to Yung-nien, where Wu Yii-hsiang
in turn studied with his former servant for two years.
Wu now traveled to Honan, and after studying with
Ch'en Ch'ing-p'ing, made such progress that Yang
vz
became jealous and returned to Ch' ang-hsing for
advanced instruction. Ch' ang-hsing gave him the
transmissions of Chang Sang-feng, Chiang Fa and
Wang Tsung-yi.ieh, and Lu-ch'an, realizing the Taoist
origins of the art, journeyed to the Wu-tang Moun
tains in search of a master. It was here that he studied
Taoist yoga and the soft aspect of martial arts and
invented push-hands. Returning to the world as a
comsummate martial artist, he was introduced by Wu
Yii-hsiang in Peking.13
In the winter and spring of 1930-31, China's pioneer
and most prolific martial arts historian, T'ang Hao,
traveled to Ch'en Village on a mission to solve this and
many other mysteries in the history of t'ai-chi ch'i.ian.
T' ang interviewed Ch'en Ch'eng-wu, the grandson of
Ch'en Te-hu, owner of the pharmacy in Yung-nien and
the one who bought Lu-ch' an as a servant. According
to Ch'eng-wu, martial arts master Ch'en Ch'ang-hsing's
house being rather small and rustic, he instructed his
clansmen in the main hall of Te-hu's house. When Te
hu died, he left behind a widow, whose relatively
young age made it unseemly for Lu-ch'an to continue
to live in the house. As a result, Lu-ch'an's bond
papers were burned and he was sent back to Yung
nien.14 This tallies with Hsii Chen's findings, and both
scholars explain the cover-up of Yang Lu-ch'an's ori
gins as a relic of feudal class consciousness.
The most significant recent contribution to the Yang
family record is that of centenarian, Wu T'u-nan,
whose 1984 Studies on T'ai-chi Ch'uan (T'ai-chi ch'i.ian
chih yen-chiu) describes his years of study with Wu
Chien-ch'iian and Yang Shao-hou, his 1919 fieldwork
in Ch'en-chia-kou, and interviews with principals in
the martial arts renaissance during the early Republi
can period. Wu's version is unique in many respects
and contradicts a number of points of relative agree
ment in other published accounts. Wu describes Yang
Lu-ch' an as a sick young man who traveled to Ch'en
chia-kou with money and provisions in search of a
cure. Gaining both health and mastery of t'ai-chi ch'iian
from Ch'en Ch'ang-hsing, he returned to Yung-nien
where Wu Yii-hsiang approached him for instruction.
Because of Wu's arrogance, Lu-ch'an sent his second
son, Pan-hou, to instruct him. Wu was frustrated by
his lack of progress and determined to appeal to Ch'en
Ch'ang-hsing himself. Because of Ch'ang-hsing's
advanced age, Wu studied with Ch ' en Ch'ing-p'ing,
returning to Yung-nien after little more than a month
cl ai ming to have grasped the secrets. Later Yii-hsiang
made an enemy of a Shaolin monk, and hoping to get
revenge, encouraged Lu-ch'an to challenge the monk
to a match. When the monk d ied as a result of inju ries
sustained at Lu-ch' an's hands, the incident was
reported to local official s, and Lu-ch' an was advised
by Wu to lay low in the cap ital. Yii-hsiang's older
brother, Ju-ch' ing (Cho-t'ang), served in the Mini stry
of Justice , and a friend in the Ministry, Chang Feng-ch' i,
hosted the Yangs in his home. Chang also operated a
large pickled ve getab le factory , that was provi sioner
to the imperial household and a frequent stopover for
Manchu princes returning from h u n ting expeditions.
Lu-ch'an and sons ended up rotating between the
households of C h a ng Feng-ch' i, Prince Tai-i, Prince
Tai-chih, and the Manchu m i litary acad emy so that
none were ever without the tutorial services of a Yang
Master. Wu T'u-nan reports that Tai-chih was the best
of Lu - ch'an's students, and it was from discussions
with Tai-chih and his son, P'u-t'ung, that Wu gleaned
most of his information.15
An historical novel based on the li fe o f Yang Lu
ch'an and published in occupied Tientsin in the early
forties under the pen-name Pai Yii offers an interesting
counterpoint to the accounts of students and scholars.
The fictionalized Lu-ch'an, sickly son of a rich peasant,
vm
journeys to Honan as a young man in search of t'ai-chi
master Ch'en Ch'ing-p'ing (not Ch'en Ch'ang-hsing).
Repeatedly turned away by the master, he resorts to
disguising himself as a mute mendicant and after
years of sweeping Ch'ing-p'ing's doorstep finally melts
the master's heart and is accepted as a student. Com
pleting his training with Ch'ing-p'ing, he goes to
Peking, where after fighting pa-kua founder, Tung
Hai-ch'uan, to a stand-off, he challenges the whole capi
tal martial arts establishment. After defeating all comers,
he reigns supreme until his death, when son and heir
apparent, Pan-hou, is bested by his father's student,
Wang Lan-t'ing. Pan-hou, disgraced, trains for ten
years to restore the honor of the family name. Later
Pan-hou became an opium addict, but despite his lack
of strength was able to overcome the strongest oppo
nents. When asked why the Kuang-p'ing students of
the Yang family showed both hard and soft techniques
in their style, whereas the Peking students showed
only soft techniques, Pan-hou replied that the Peking
students were mainly wealthy aristocrats, and that,
after all, there was a difference between Chinese and
Manchus, implying a policy of passive resistance to
the alien dynasty by imparting only half the t'ai-chi
ch'i.ian transmission .16
Readers may d raw their own conclusions from
these widely divergent accounts of Lu-ch'an's back
ground. T'ang Hao tells us that he himself the son of a
poor peasant and a man who rose from poverty to
become a famous lawyer and pre-eminent martial arts
historian was the object of a nearly successful conspir
acy to silence him for his efforts to demythologize the
orgins of t'ai-chi ch'i.ian. Examining motives, it is easy
in the context of a highly stratified feudal society to
understand the sensibilities of Yang family members
and their partisans. By the same logic, were Ch'en and
Hao informants attempting to diminish Yang's reputa-
tion by exposing his origins? This is less clear. Historians,
Hsii and T'ang, were bent on setting the record straight,
both out of scholarly scrupples and to strike a blow at
feudal class consciousness. If Hsii and T' ang's research
is correct, however, no fictional account of Lu-ch' an's
background could be as stirring as the story of a slave
boy who became martial arts master to the Manchu
princes, foremost boxer throughout the empire, and
founder of a lineage that dominates a worldwide
movement.
X
Style that Lu-ch'an introduced to Wu Yi.i-hsiang on his
return to Yung-nien, Wu subsequently studied the "new,
small" style with Ch'en Ch'ing-p'ing and developed
his own "small" style, as indicated by the accounts of
students of Hao Yiieh-ju.
In his Self-Defense Applications ofT' ai-chi Ch' iian (T'ai
chi ch'iian shih-yung fa), Yang Ch'eng-fu tells us that his
grandfather, Lu-ch'an, was introduced in Peking by Wu
Ju-ch'ing, Wu Yii-hsiang's older brother and a third
degree (chin-slzih) holder in the imperial examinations of
1840. Wang Hsin-wu, a student of Wu Chien-ch'iian and
Hsi.i Yii-sheng, in his 1942 Exposition ofT' ai-chi Ch' iian
(T'ai-chi ch'i.ian fa ch'an-tsung) describes mid 19th
century Peking and the Manchu custom of patroniz
ing men of unusual talent. Lu-ch'an as the foremost
martial artist in Peking was retained by no fewer then
eight Manchu princes, and so was nicknamed not
only "Yang the Invincible," but also "Eight Lords."19
Lu-ch'an's sons, Yi.i (Pan-hou, 1837-1892) and Chien
(Chien-hou, 1839-1917), were worthy successors. So
rigorous was the training regimen under their father
that it is reported Pan-hou tried to run away from
horne and Chien-hou attempted suicide.20 In spite of
their shared childhood experiences, they developed
opposite natures. Pan-hou was said to be brutal in
demonstrating his prowess, sparing not even his own
students. His only son, Chao-p' eng, chose to pursue
farming in Yung-nien. Chien-hou by contrast, was
gentle and affable and attracted many students. Wang
Hsin-wu tells us that Lu-ch' an, Pan-hou and Chien
hou often stayed in the residence of Prince Tuan,
where they taught t'ai-chi ch'i.ian. Rival soft-stylists,
Tung Hai-ch'uan boarded with Prince Su, where he
taught pa-kua, and Kuo Yung-ch'en with Duke Yi.i,
where he taught hsing-i. Later, Li Shih-chi.in served as
martial arts trainer at the Eastern Garrison in Peking,
while Pan-hou served in the Western Garrison. Rivalry
between the two garrisons at this time did much to
spur the resurgence of China's martial arts and the
martial spirit in general.21 Pan-hou was also influ
enced by family friend Wu Yii-hsiang and his form has
been classified as "small " style, whereas his brother,
Chien-hou, reached a compromise and his style is
called "middle" (chung). Lu-ch'an and Pan-hou's best
student was the Manchu, Ch'i.ian Yu (1834-1902), whose
son Wu Chien-ch'i.ian (1870-1942) was the founder of
the Wu style. Hsi.i Yi.i-sheng, a student of Chien-hou,
reports that of Lu-ch'an's students in the Manchu gar
risons the best were Wan Ch'un, Ling Shan, and Ch'iian
Yu, each of whom developed o ne aspect of Lu-ch' an's
skill-hardness, rep elling, and neutralizing-but o n ly
Lu-ch'an himself possessed all three in equal measure
and supe rio rity 22
.
Xll
month to come south, and even generals humbled
themselves before him.25
Wu T'u-nan, who in 1984 called himself the only living
disciple of Yang Shao-hou, describes Lu-ch'an as large
and powerfully built, Pan-hou as tall, thin and hand
some, and Chien-hou somewhere in-between. Wu makes
reference to a secret Yang form for advanced applica
tions comprising more than two hundred movements
performed in only three minutes.26 Of Ch'eng-fu's four
sons, perhaps Chen-ming (Shou-chung) and Chen-to did
most to pass on their father's art, though never exerting
the international influence of Ch' eng-fu' s intellectual
disciples, Tung Ying-chieh and Cheng Man-ch'ing.
If the Ch'en style spawned the Yang style, all subse
quent styles owe their origins directly or indirectly to
Yang influence. The Wu style of Wu Chien-ch'i.ian
came through Ch'i.ian Yu, a student of Yang Pan-hou.
Although there is no record of how long Wu Yi.i-hsiang
studied with Yang Lu-ch'an, his grandson tells us that
he spent only a little more than a month with Ch'en
Ch'ing-p'ing. Certainly it was Lu-ch'an who first intro
duced Wu to the art. Wu transmitted the art to Li 1-yii,
and Li to Hao Ho (Wei-chen, 1849-1920). Wu's style is
in fact better known as the Hao style, after Hao Wei
chen and his son, Yi.ieh-ju (1877-1935). Hao Ho's
student, Sun Lu-t'ang (1862-1932), in turn became the
founder of the Sun style.
In 1956 the Martial Arts Division of the National
Physical Education Committee of the People's Repub
lic, in an effort to cut through stylistic rivalries and
facilitate popularization, published their Simplified
T'ai-chi Ch'iian (Chien-hua t'ai-chi ch'i.ian) introducing
a twenty-four posture form based on twenty of Yang
Ch'eng-fu's thirty-four distinct postures. This was fol
lowed in 1957 by their Tai-chi Ch'iian Exercise (T'ai-chi
ch'i.ian yi.in-tung), which created a standard long form
of eighty-eight postures, also based on Yang Ch'eng-fu's
model. These developments institutionalized the Yang
style and assured its dominance through the 1970's,
after which there was a resurgence of family lineages
and stylistic diversity.
It was through the Ch'en and Wu families that Yang
Lu-ch'an was catapulted from humble status to darling
of the Manchu princes; it was through Ch'eng-fu's edu
cated disciples that t'ai-chi was adapted for practice
by intellectuals, the sick, the elderly, and women. The
Yang family thus became the vehicle by which conser
vative intellectuals could reconcile both the need for
self-strengthening and the preservation of traditional
culture and progressive intellectuals could embrace a
wholesome legacy from the feudal past. In the words
of martial arts poet, Yang Chi-tzu (1886-1965),
Who would have thought that the
art of the Ch'en's of Honan
Would be given to the world
27
by the Yang's of Hopeh.
XIV
classics-Wu Yii-hsiang. Li 1-yii's "Postscript to the
T'ai-chi Ch'iian Classics" (T'ai-chi ch'iian pa) tells us
that Wu himself found these texts in a salt shop in
Wu-yang County, Honan. 29 The role of Chang San-feng
in the composition of these works has been intensively
studied and dismissed by most scholars since T'ang
Hao's groundbreaking Study of Shaolin and Wutang
(Shao-lin Wu-tang k'ao), published in 1930. More
recently, even the historicity of Wang Tsung-yiieh has
been questioned as more attention is focused on Wu
Yii-hsiang's role in writing the classics and that of his
nephew, Li 1-yii, in compiling, editing, and augment
ing them.30
If Wu Yii-hsiang himself composed the classics, as has
been suggested, under the theoretical influence of Sung
Dynasty metaphysician, Chou Tun-i, and Ch'ing martial
arts commentator, Ch'ang Nai-chou, and under the prac
tical influence of Lu-ch'an and Ch'en Ch'ing-p'ing, then
these texts came into being during Lu-ch'an's lifetime
and do not predate him.31 If on the other hand, we accept
the authenticity of the Yin-fu Sp ear and T'ai-chi Ch'iian
Manuals, that T'ang Hao found in the Peking book
stalls as genuinely that of Wang Tsung-yiieh, 32 and
also accept the authenticity of Li 1-yii's "Postscript,"
that identifies the source of the Wu family manuscripts
as the salt shop in Wu-yang,33 then the discussion must
turn to an exploration of the relationship between Wang
Tsung-yiieh and the Ch'en family of Ch'en Village.
On this point, the two greatest scholars of the history
of Chinese martial arts-Hsii Chen and T'ang Hao
hold diametric views, Hsti. believing that Wang
Tsung-yiieh brought the art to Ch'en Village, and T'ang
Hao that he received it there.34 Questions regarding
the authorship and authenticity of these texts do not alter
the fact that Yang Lu-ch'an could only have received
them from Wu Yti.-hsiang.
If Yang Lu-ch'an received the classics from student
and patron, Wu Yi.i-hsiang, how do we account for
differences between the Wu and Yang versions? Hsi.i
Chen attributes these differences to the Yang version
representing an earlier redaction of the Wu manuscripts
than the Li 1-yii copies.35 Hsu further explains the credit
ing of Chang San-feng as the creator of t'ai-chi ch'iian
in Yang sources to overzealous student's attempts to
hyperbolize the art by giving it fabulous origins. T'ang
Hao, however, rejects this interpretation, pointing out
that the earliest of the extant Li 1-yu manuscripts, the
1867 copy of Ma T'ung-wen, as well as the biogra
phies of Wu Yu-hsiang by his grandsons, Wu Lai-hsii
and Wu Yen-hsu, all attribute the art to the Immortal
Chang. Thus according to T'ang, Yang was simply
parroting the story he heard from Wu's own lips.36
The earliest published form manuals based on the
Yang transmission were not of Yang authorship. Hsi.i
Yi.i-sheng, student of Chien-hou and founder during
the late Ch'ing of the Peking Physical Education
Research Institute, published what must be considered
the first modern manual on t'ai-chi ch'iian in 1921, the
Illustrated Manual of T' ai-chi Ch' iian. Ch'eng-fu's stu
dent, Ch'en Wei-ming, followed this in 1925 with his
Art ofT'ai-chi Ch'iian, featuring photographs of Ch'eng
fu, Ch'en Wei-ming himself, and even Hsii Yi.i-sheng
demonstrating Push-hands with Ch'eng-fu. Finally in
1931, Self-Defense Methods of T'ai-chi Ch'iian was pub
lished in Ch'eng-fu's own name. Yang's educated
students were embarrassed by its lack of literary polish,
and it was quickly withdrawn from circulation. A
more complete and definitive edition of Ch'eng-fu's
teachings was compiled and published under the title
Complete Principles and Applications of T'ai-chi Ch'iian in
1934. Cheng Man-ch'ing's 1946 Master Cheng's Thirteen
Chapters on T'ai-chi Ch'iian (Cheng-tzu t'ai-chi ch'iian
shih-san p'ien) paid homage to his teacher, Yang Ch'eng
fu, even while modifying the form and elaborating the
XVI
theory. Each of these works is represented in the pre
sent collection. Chapter VI of this anthology features
fourteen texts copied from a manuscript containing a
total of forty-three, that Shen Chia-chen copied from
Yang Ch'eng-fu, and Ku Liu-hsin published in his
Studies onT'ai-chi Ch'iian (T'ai-chi ch'iian yen-chiu) in
1963. Although the disposition of the remaining twenty
nine texts is unknown to the present writer, this may
be one direction from which to look for future releases.
To date, then, this collection encompasses the totality
of reprinted material handed down by three genera
tions of Yang family masters. The first three chapters
of this collection represent the latest stage in the Yang
family transmission, transcriptions by students of Yang
Ch'eng-fu's oral instructions. Their familiar narrative
form makes them readily accessible to Western readers,
and for this reason they have been introduced at the
beginning. Chapters IV through VI contain material in
the "secret transmissions" (chiieh) form. These consist of
short aphoristic formulae and mnemonic verses com
posed as training songs to facilitate memorization and
encode the essence of movement and applications.
The final chapters, VII and VIII, are a collection of
biographical literature, notes on the classics, and mis
cellaneous comments. Though gathered from many
sources, taken together these fragments add up to whole
cloth and have a consistency of both principle and spirit.
As a unified thrust spanning a century of development,
they clearly belong together.
XVUl
15. Wu T'u-nan. 1984. Tai-chi cl1'iian chih yen-chiu (Studies on tai
chi ch'i.ian). Hongkong: Commercial Press, pp. 38-42.
16. Pai Yi.i. n.d. Yang Lu-ch'an pieh-chuan (The unofficial biography
of Yang Lu-ch'an). Tienstin: Ch'i.in-chi shu-chi.i.
17. Hsi.i Yi.i-sheng. T'ai-chi ch'iian shih t'u-chich, p. 8.
18. Ch'en Wei-ming. 1929. Tai-chi ch'iian ta-wcn (Questions and
answers on t'ai-chi ch'i.ian). Taipei: T'ai-chi ch'i.ian hsi.ieh-shu yen
chiu hui, p. 14.
19. Quoted in Chang Tun-hsi. 1976. "T'ai-chi ch'i.ian yi.ian-liu tsai
t'an-t'ao" (A further examination of the origins of t'ai-chi ch'i.ian).
In Chrmg-kuo wu-shu shih-liao chi-k'an, Vol.3, pp. 48-52.
20. Ch'en Kung. T'ai-chi ch'iian tao chien kan san-shou ho-pien, p. 13.
21. Quoted in Chang Tun-hsi. 1976. "T'ai-chi ch'i.ian yi.ian-liu tsai
t'an-t'ao" (A further examination of the origins of t'ai-chi ch'i.ian).
In Chung-kuo wu-shu shih-liao chi-k'an, Vol. 3, p. 51.
22. Hsi.i Yi.i-sheng. T'ai-chi ch'iian shih t'u-chieh, p. 10 .
23. Huang Wen-shu, Yang-chia t'ai-chi ch'iian ko-i yao-i. Quoted in
Chou Chien-nan. 1976. "T'ai-chi ch'i.ian li-shih te yen-chiu" (A study
of the history of t'ai-chi ch'i.ian). In Chung-kuo wu-shu shih-liao chi-k'an,
Vol.3, p. 89.
24. Yen Han-hsiu. 1991. "T'ai-chi ming-chia Ku Liu-hsin sheng-ch'ien
i-hsi t'an" (A discussion with t'ai-chi master Ku Liu-hsin shortly
before his death). Wu-lin 113, p. 24.
25. Huang Han-hsun. 1954. Wu-lin chih-wen lu (Anecdotes from the
world of martial arts). Hongkong: T'ang-lang kuo-shu-kuan, p. 25.
26. Wu T'u-nan, T'ai-chi ch'iian chih yen-chiu, p. 100.
27. Quoted in Ku Liu-hsin. 1982. T'ai-chi ch'iian shu. Shanghai:
Shang-hai chiao-yu ch'u-pan-she, p. 362.
28. Hsi.i Chen. T'ai-chi ch'iian k'ao-hsin lu, pp. 98-105.
29. Ibid., pp. 174-75.
30. See Chao Hsi-min. 1976. T'ai-chi ch'iian shih-san shih chih yen-chiu.
In Chung-kuo wu-shu shih-/iao chi-k'an, Vol. 3, pp. 85-106; T.Y. Pang.
1987. On Tai Chi Chuan. Bellingham, Washington: Azalea Press, pp. 183.
31. Ibid.
32. T'ang Hao. 1935. Wang Tsung-yiieh t'ai-chi ch'iian ching yen-ch(u
(A study of Wang Tsung-yi.ieh's t'ai-chi ch'i.ian classics). Hongkong:
Unicorn Press, p. 28.
33. Hsu Chen. Tai-chi ch'iian kao-hsin lu, pp. 78-90.
34. T'ang Hao. Tai-chi ch'iian yen-chiu, pp. 163-65.
35. Hsi.i Chen. T'ai-chi ch'iian k'ao-hsin lu, pp. 90-105.
36. T'ang Hao. T'ai-chi ch'iJan yen-chiu, p. 163.
Table of Contents
I. "A Discussion of the Practice of T'ai-chi ch'tian,"
oral instructions of Yang Ch'eng-fu,
recorded by Chang Hung-k'uei. 1
and out, we find that t hey all fall short of the proper
me a s u re . If we try to m a ke corrections, we find that
every single pos t u re re q u i res c o r recting, and moreover
t h e correc t i o n s m a d e i n t h e m o r n i n g a re a l re a d y
fo rgot t en by even i n g . Therefore i t i s often said, "The
martial arts are easy to le arn but difficult to correct . ' ' The
origin of t h i s saying l ies in t h e desire for immediate
res u lts . Now a days, errors are passed on as teachings
a n d this mus t i n ev it a bly lead to self- d e l u s i o n a nd
deluding others . This is a cause of great concern for the
future of the a rt .
g u i d a n ce , o f t h e i n d i v i d u a l p o s t u r e i n t h e form .
Students must concentrate to calm their ch 'i and quietly
memorize, ponder and imitate the postures . This is
called practicing the form . At this poi n t stud e n ts mu s t
p ay spec i al attention to distinguishing between internal
and external , r i sing and descending . Tha t which be
lo n gs to the internal is " using the mind and not force . "
Descending means ' ' s i n k i n g the ch 'i to the tan-t'ien' ' and
rising refers to the ' ' light and sensitive energy at the top
of t he head . " That w hich belongs to the external is the
" ligh tness and sensitivity of the whole body, " " the
I I
open connection of all the j o i n ts, ' ' from the feet to the
legs to the waist, " " sinking the shoulders and folding
4
the elbows, " and so forth . At the outset of study these
teachings should be practiced morning and evening and
thoroughly understood . Every posture and movement
should be carefu lly a n a l yzed . During actual practice,
dedicate yourself to achieving correctness . When you
master one posture, then go on to the next . In this way
you will gradually acquire the whole form . If corrections
are made step by step, then even after a long time there
will be no change in the basic principles .
When practicing the movements, all the j oints in the
body should be relaxed and natural . First, one must not
hold the breath . Second, the four limbs, the waist and
legs must not use a ny strength . These two principles are
recited by all m a rtial artists of the i nternal systems .
However, as soon as they begin to move, turning the
body, kicking or rotating the waist, then they become
out of breath a n d t heir bodies tremble . The cause is
invariably holding the breath and using strength .
1 . During practice the head must not incline t o the side nor
tilt up or dow n . This is what is meant by holding the
h e a d a s i f s u s p e n d e d f r o m a b o v e , or t h e i d e a o f
balancing a n object o n top o f the head . I n order t o avoid
a stiff vertical posture, we emphasize the concept of
suspension from above . Although the vision is s traight
ahead, it sometimes follows the movements of the body .
E v � n t h o u g h t h e l i ne of v i s i o n i s u n foc u se d , i t i s
n e v e rt h e l e s s a n i m p o r t a n t m ov e m e n t w i t h i n t h e
pattern o f cha nges, a n d supplements deficiencies in
body and hand techniques . The mouth seems open but
is not open; it seems closed but it is not closed . Exhale
through the mouth and inhale through the nose in a
natural way . If saliva flows from beneath the tongue, it
should occasionally be swallowed and not expelled .
2. The body shou l d maintain a n erect posture without
leaning; spine and tailbone should h a ng in vertical
a l i g n m e n t w i t h o u t i ncl i n i n g . Begi n ners m u s t pay
special a tten tion to t h i s a s t h e y execu te active
movements involving opening and closing, relaxing the
chest and raising the back, sinking the shoulders and
turning the waist . Otherwise it will be difficult to correct
this after a while and will lead to stiffness . Even though
one may have devoted a great deal of time, there will be
little benefit or practical advantage .
3. All the joints of the arms should be completely relaxed,
with shoulders sunk and elbows folded d o w n . Th e
palms should be slightly extended and the fingertips
slightly bent . Use the mind to move the arms and allow
ch 'i to reach the fingers . After many days and months
the internal energy wil1 become extre mely sensitive and
marvels will naturally manifest .
4. One must distinguish full and empty i n the two legs . In
risi n g and sinking one should move like a cat . If the
weight of the body is shifted to the left leg, then the left
leg is full and the right leg is empty . If the weight is
shifted to the right leg, then the right leg is full and the
left empty . What we mean by " empty" is not a vacuum,
for there is no break in the potential for power, and the
idea of extension and contraction remains . What we
mea n by / l full " is simply that it is substantial and not
that excessive force is used, for this would be considered
brute strength . Therefore, when bending the legs, the
foreleg should not extend beyond the vertical . To exceed
this is considered an excess of energy . If when pushing
fo rwa rd we lose our vertical posture, our opponent will
take a d van t age of th i s to attack us .
5 . I n regard to the feet, one must d istinguish betwee n
kic k i ng with the front of the foot (as in Separate Feet Left
and Right or Spread Feet Left and Right in the form) and
kic k i n g w i t h the heel . When k i cking with the front of the
foot, we m us t pay attention to the toes; when kicking
w i t h the heel p a y attention to the sole of the foot .
W h e r e v e r t h e m i n d g o e s t h e ch 'i w i l l f o l l o w a n d
wherever the ch 'i goes there w i l l naturally be energy .
However, the joints of the leg shou ld be completely
relaxed and the kick s hould issue with evenness and
stability . At this moment it is very easy to be gu ilty of
using stiff force, wherein the bod y w ill rock and lack
stability and the kick will have no power.
The T'a i - c h i c h ' ii a n c u rr i c u l u m c o n s i s t s of h a n d
forms first (i . e . , empty hand), such as T'ai-chi ch'iian
a n d T'a i -c h i L o n g B o x i n g . N e x t c o m e s O n e H a n d
Push-Hands, Fixed Position Push-Hands, Push-Hands
With Active Steps, Ta Lii, a nd Free Sparring . Las t comes
w e a p o n s , s u c h a s T 'a i - c h i D o u b l e - E d g e d S w o r d ,
T'ai-chi Broadsword , T'ai-chi Spear (Th irteen Spear),
and so forth .
As for the length of practice, one should do two forms
after rising in the morning, then do two more just before
going to bed . Each day one should practice seven or
eight times, and at the very least, once in the morning
and once at night . However, avoid practice when drunk
or after a meal .
As for the place of practice, courtyards or empty halls
where there is sufficient air and light are best . Avoid
strong winds or places which are dark, damp and foul
smelling . This is because when we begin to move, the
breat hing becomes deeper, and if strong winds or foul
air enter the body, it is injurious to the lungs and can
easily l e a d to illness . As for clothing, l oose fi tting
garments and wide-toed cloth shoes are best . If after
practice one is sweating, avoid removing the clothes and
standing naked or washing with cold water . Otherwise
sickness is inevitable .
Chapter II The Ten
Important Points
for T'ai-chi Ch'tian
12
is a p pa re n t , bu t when t h ey h a v e s t re n g t h b u t a re not
a p p l y i n g i t , t h e n they a re l i g h t a n d floating . It is obv i ous
t h a t t h e i r s t re n g t h i s a n exter n a l , s u p erfi c i a l kind o f
energy . T h e s tr e n g t h o f pract i t i o n ers o f e x t e r na l systems
is very e a s i l y m a ni p u l a te d a n d not worthy o f p r ai se .
7. Unity of the Upper and Lower Body . The " unity of the
upper and lower body ' ' is what the ' 'Treatise on T'ai-chi
ch' ii a n " mean s by "The root is in the feet, i t is issued
through the legs, controlled by the waist and expressed
I I
in the h a nds . From the feet to the legs to the waist there
must be a continuous circuit of clt 'i . When the hands,
waist and feet move, the spirit (shen) of the eyes moves
in unison . This, then, can be called the " unity of the
upper and lower body . ' ' If just one part is not synchro
nized, there will be confusion .
8 . The Unity of I nternal and External . Wha t T'ai-chi ch' ii a n
trains is the spirit . Therefore it is said, ' 'The spirit is the
I I
leader and the body is at its command . I f we raise the
spirit, then our movements will naturally be light and
nimble . The postures are no more than full and empty,
opening and closing . What we mean by opening is not
limited to j ust the hands or feet, but we must have the
idea of opening in the mind as well . What we mean by
closing, too, is not limited to just the hands or feet, but
we must also have the idea of closing in the mind . When
the inner and outer are unified as one ch 'i , then there is
no interruption anywhere .
9. Continuity Without Interruption . The power of external
stylists is extrinsic and clumsy . Therefore we see it begin
a n d e n d , c o n t i n u e a n d b r e a k . The old p o w e r i s
exhauste d before the new i s born . A t this level one is
easily defeated by others . In T'ai-chi ch' ii an we use the
mind and not the strength . From beginning to end there
is no interruption . Everything is complete and continu
ous, circular and unending . This is what the Classics
13
refer to as, " like a great river flowing without end, " or
' ' moving the energy like reeling silk from a cocoon. '' All
of this expresses the idea of unity as one ch 'i.
14
Chapter III Exposition of
The Oral
Transmission
17
1 . Relaxation . Every day Master Yang re peated at least ten
t i mes : " Rela x ! Relax ! Be ca l m . Rel ease the w h o l e
body . " Otherwise he would say, " You ' re not relaxed !
You 're not relaxed ! Not being relaxed mea ns t h a t you
are ready to receive a beating . "
The one word, ' ' relax, ' ' is the most difficult to ach ieve .
All the rest follows naturally . Let me explai n the main
idea of Master Yang ' s oral instructions in order to make
them readily comprehensible t o students . Relaxa tion
requires the release of all the sinews i n the body without
the sligh test tension . This is what is known as making
the waist so pliant that all of our movements appear
boneless . To appear boneless means that t here are only
sinews . Sinews have the capacity to be released . When
this is accom p l ished, is there a n y reason n ot t o be
relaxed ?
2 . Sinking . When we are able to completely relax, this is
sinking . When the sinews release, then the body w h ic h
they hold together is able to sink down .
Fu n dame n t a lly, relaxation and sinking are t h e sa m e
th i n g When one sinks, one will not float; floating is an
.
18
the s p i n e in a l ign m e n t , i n order to avoid losing central
eq u i l ibriu m . This is of critical i m porta nce .
5 . The Mil l s tone Turns But the Mind Does Not Turn . Th e
turn ing of the mills tone is a metaphor for the t u rning of
the waist . The mind not turning is the cen tral equil ib
riu m resu l t i ng fro m the sinking of ch 'i to the tan-t 'icn .
"The millstone turns bu t the mind does not turn " is an
6. Grasp Spa rrow ' s Tail I s Like Using a Saw . That is, the
Rol l-ba c k , W a rd -off, Press a n d Push o f pu s h - h a n d s
move back a n d forth like t h e action o f a two-man sa w . I n
using a two-man saw, each m u s t use a n equal a mou n t o f
strength in order for the back and forth movement to be
relaxed and without resista nce . If th ere is the sligh test
19
cha nge on eit her side, the saw will become stuck a t t h a t
p o i n t . If my pa rt ner ca uses the s a w to bind, t h e n even
using strength will not draw i t back, and only p u s h i n g i t
w i l l free i t a n d rees ta blish t h e ba la nce of force . Thi s
principle has two implications for T'ai-ch c h 'ua n . The
first is to gi v e u p oneself and follow others . By foll o w i ng
our oppone n t ' s posifion we can ach ieve the marvelous
effect of transforming energy or yiel d i ng e nergy . The
second is that a t the oppone n t ' s sligh t e s t moveme n t ,
o n e is able t o anticipate it a n d make the first move . That
is, w he n the opponent seeks t o throw us with a p ush ing
force, I a nticipate t h is by first using a pul l i n g force . If the
opponent uses a p u l l i n g fo rc e I a n t i ci pa t e this by first
,
20
The punching bag doll ' s center of gravity is at the
bottom . This is what the T'ai-chi ch 'i.ian classics describe
as . " When all the weight is sunk on one side there is
freedom of movement; double-weighted ness causes in
flexibility . ' ' If both feet u se strength at the same time,
there is no doubt that one will be toppled with the first
push . If there is the least stiffness or inflexibility, one will
likewise be toppled with the first push . In short, the
energy of the w hole body, one hu ndred per cent of it,
should be sunk on the sole of one foot . The rest of the
body should be calm and lighter than a swan' s down .
9. The Ability To Issue Energy . Energy and force are not
the same . Energy comes from the sinews and force from
the bones . Therefore, energy is a property of the soft,
the alive, the flexible . Force, then, is a property of the
hard, the dead and the inflexible . What do we mean by
issuing energy? It is l ike shooting an arrow .
21
or retreated, but falls under my control, this is gaining
the advantage . From this exa mple we can begin to
understand that the ability to unify the feet, legs a n d
waist into one flow of ch 'i n ot only concentrates the
power and gives us stamina, but prevents the body from
being disunited and allows the will to be focused . The
above discussion covers the marvelous effectiveness of
issuing en er gy . Students should study this concept
faithfully .
10. In Moving, Our Posture Should Be Balanced, Upright,
U niform , a n d E ven . The se four w o r d s - b a l a n ce d ,
upright, uniform, and even-are very familiar, but very
difficult to realize . Only when balanced and upright can
one be comfortable and con trol all directions . O nly
when u niform a n d even c a n o u r movement be
connected and no gaps appear . This i s what the T'ai-chi
I I
classics call, stand erect and balanced, ' ' and ' ' energy is
moved like reeling silk . " If one does not begin working
from these four words, it is not a true art .
1 1 . One Must Execute Techniques Correctly . The " Song of
Push-Hands " says, " In Ward-off, Roll-back, Press and
Push, one must execute the correct technique . " If one 's
knowledge is not correct, everything will become false .
Let me tell you now that if in warding off, one touches
the opponent's body, or if in rolling back, one allows
one 's own body to be touched, these are both errors .
When warding off, do not touch the opponent' s body;
when rolling back , do not allow your own body to be
touched . This is the correct technique . During Push and
Press, on e must reserve energy in order not to lose
central equilibrium . This is correct .
I had read the words, " One must execute the correct
technique, " over and over in the " Classic of T'ai-chi
ch'iian" without really understanding them . Only after
hearing this over and over from Master Yang did I gras p
22
the proper measure and method . Without oral instruc
tion, it is difficult to understand . There are many such
examples . This is a n authentic secret teaching of a family
t ra n s m i s s io n . S t u d e n t s s h o u l d beg i n w i t h t h i s t o
experience i t for themselves, then they can grasp the
proper measure and not lose central equilibriu m . This is
supremely important .
23
distance . The energy used to pu l l t h e oppone n t need
only be four ou nces , but the energy u sed to pu s h m u st
be adjusted to circu m sta nces . Th e energy u sed to pu l l a n
oppo n e n t m u s t n o t be too h e a v y , for if i t i s , t h e
opponen t will rea lize our i n tentions a n d fi n d mea n s of
escape . Someti mes one ca n b o r ro w t h e pu l l i ng energy,
change the direction , and e m ploy it for an a t tac k . I n
other cases, the opponen t rea l izes h e i s being p u l l e d ,
reserves his force , a n d d oes not a d v a nce . I n reserv i n g
h i s force, h e has a l ready p u t h i m se l f i n a posi tion of
re trea t . I ca n then fol low his re trea t , re lease my p u l l i n g
energy, and turn t o a ttack . The opponent i s i n v a riably
toppled by o u r h a n d . Th is is a cou n ter-a ttack .
In Li Ying -ang , ed . ,
T'ai-ch i ch 'iian sh il1-ytmR fa
( Sel f-defense appl ica ti ons of
T'ai-chi ch 'i.ia n ) ,
Hon g Kon g :
Unicorn Press, 1977 .
Body Principle�.
(dttributed tu Wu-Yu-hsian�. 1 R 1 2- 1 880)
Four Character
Secret Transmission
(attribu ted to Wu Y�-hsiang)
Spread . To spread means that we mobilize our ch 'i,
spread it over our opponent ' s energy and
prevent him from moving .
27
Songs of the Eight Ways
(attribu ted to T'an Meng -hsien)
28
The Song of Rol l-Back
30
The Song of Push
31
The Song of Pull-Down
32
Song of Split
33
The Song of Elbow-Stroke
34
The Song of Shoulder-Stroke
35
Songs of the Five Steps
Song of Advance
Song of Retreat
Sc ng of Gaze-Left
36
Song of Look-Right
37
Chapter V Nine
Secret Transmissions
on T'ai-chi ch'iian
39
Ro l l
Back
l'ush
40
Secrets of T'ai-chi
Form Applications
41
Raise
Hands
Stor!...
Coo l s
Wings
42
Step ou t on a n a ngle a n d execu te Single
Wh i p to strike the opponen t ' s c h est;
Turn the body and perform Raise Ha n d s
to seal h i s t h ru s t .
43
Knee
Twist
Ste p
44
Brush Knee and Twist Step, seeking to
strike him off-center;
Execute Play G uitar with perfect threading
and transforming energy .
45
Cross
Hands
Ti g e r
R e t u rn
Mou n t a i n
Fist
Under
Elbow
Re p u l s e
Monkey
46
The permutations of Cross Hands are infinite;
Embrace Tiger Return to Mountain
demonstrates Pull-down and Split .
Cloud
Hands
48
Sink the body when retreati ng and use
the pulling power of the w rist;
The tech nique of Diagonal Flying is
infinitely useful .
For Needle at the Bottom of the Sea
we must bend the body down;
Fan Through the Back employs the skill
of bracketing .
49
50
High Pat on Horse is used to block and stab;
For Left and Righ t Separation of the Feet
we must first grasp the opponent ' s wrist .
Use Turn and Kick with Heel to Strike
the opponent ' s abdomen ;
Execute Step Forward and Strike with
Fist to directly attack his fa'ce .
Snake
Puts
Out
Kick
W1th
Rig h t
Heel
Dou ble
Winds
52
Turn the body and cha nge to White
Snake Puts Out Tongue;
Grasp the opponent ' s hand and strike
the eyes .
Direct Kick with Right Heel to the
opponent ' s soft flank;
Perfectly execute Hiding Tiger Reveals
Himself to the left and righ t .
Come up and strike the opponent ' s breast
and below the ribs;
The technique of Double Winds Pierce
the Ears is most effective .
Kick
With
Heel
Pa rting
Wild
Hors e ' s
Mane
Fa ir
Lady
Works
S h u t t le
54
Kick Left with Heel is the same as
Kick Right with Heel;
Use Turn the Body and Kick, aiming for
the knee .
58
The technique of Cross Legs breaks
the soft bone below the knee;
If Pu nch the Crotch is not successful ,
follow u p with a Shoulder-stroke .
Step
U p To
Seven
Sta rs
iknd Bnw
5 h nllt Ti�t· r
60
Th e p o s tu re Step Up to Seven Stars forms
a rack with the hands;
Retreat to Ride Tiger swiftly wi th draws
our cente r .
62
During Withdraw and Push be attentive to
Gaze-left, Look-right and Central
Equilibrium;
Cross Hands closes the T'ai-chi form .
63
Ward
Off
Rol l
Back
P rt> s s
Pu s h
64
Secrets of the Appl ications
of the Thirteen Postures
Elbow
S t rokt>
Shoulder
S t rokl'
66
When the a ttack is fierce, use the
tech nique Split;
Elbow-stroke and Shoulder-stroke can
be a pplied when opportunities arise
Ad vancing, retreating, turning around
or sideways, we move in response to
conditions;
What fear have we of a n opponent ' s
excellent tech nique?
When confronting a n opponent do
not be afraid to close with him,
But be careful of one ' s own Three Forwards
[ hands, feet and eyes]
and the opponent ' s Seven Stars
[ shoulders, elbows, knees, hips,
head, hands and feet] .
When an opponent closes with us
forcefully and strikes,
We must quickly evade by withdrawing
our center and a ttacking from the side .
The methods embodied in T'ai-ch i ' s
Thirteen Postures,
Must be faithfully practiced and then
their marvels will u nfold .
67
Pull
Down
68
Secrets of the Use of the
Thirteen Postures
Press
Elbuw
St rokl'
S h u u l d l•r
S t ru k e
70
The two methods, Roll-back and Press,
should be used at the right opportu nity;
When applying Elbow-stroke and Shoulder
stroke place yourself before the
o pponent ' s heel .
Advance and retreat as the situation
calls for;
Use Gaze-left and Look-right always mindful
of the Three Forwards and Seven Stars .
The real power of the whole body should
be concentrated in the center;
Listening, interpreting, following and
neutralizing must be imbued with spirit
and ch 'i.
If we see a solid opport unity and fail
to take advantage of it,
How can it be said that our art is complete?
If we do not practice according to the
applications of the principles,
We can work forever without developing
a superior art .
Ro l l
Bac k
72
Secrets of the
Eight Word Method
Elbu w
Stwkt•
74
If there is hard ness with i n our softness,
we wiJ I never be defeated ,
But if our hard ness does not contain softness,
it ca nnot be caJ led firm .
In order to break an opponent ' s offense
or defense , use Pull-dow n or Split;
Put power into a surprise thrust or
quick rotation .
If an opening appears a nd we have already
closed with the opponent, then use
Elbow-stroke;
To strike with shoulders, hips or
knees we first draw very near .
The Secret of
Full and Empty
78
The Secrets of the E ighteen Loci
80
:
Chapter VI Yang Famtly
Manuscripts
Copied by
Shen Chia-chen
81
The Meaning of Leveling the Waist
and Crown o f the Head in T'ai-chi
83
The Meaning of T'ai-chi's
Proper Functioning
T'ai-chi, in its round aspect, whether moving in or out,
up or down, left or right never leaves the circle . T'ai-ch i,
in its square aspect, whether in or ou t, up or down, left
or right never leaves the square . The circle is for issuing
or entering; the square is for adva ncing or retreating .
There is a constant back and forth movement from the
squ are to the circl e . The square is for ope n i n g a nd
expanding and the circle is for closing and contracting .
When one has mastered the law of the circle and the
square, how can there be anything beyond it? This is
grasped with the mind and reflected in the hands . Gaze
up at the heights and bore deeper a n d deeper . It is
marvelous and ever more marvelous . It is concealed in
the subtle, brigh ter and brighter, growing and growing
without end . We cannot stop even if we wished to .
84
5 . Ha l f floating an d h a l f sinking is a n error . The fault lies in
insufficiency .
85
The Meaning of Strength Versus
Ch 'i in T'ai-chi
Ch 'i runs
in the channels of the internal membranes
and sinews . Strength issues from the blood, flesh, skin
a n d bones . Th u s those p o s s e s s e d of s t r e n g t h are
externally sturdy in their skin and bones, that is, in their
physical form; those possessed of ch 'i h ave internal
strength in their sinews, that is, their charisma (hsiang) .
Ch 'i and blood work to strengthen the internal; the ch 'i of
the blood works to strengthen the external .
In summary, if you understand the function of the two
words-ch 'i and blood-then you will naturally know
the origin of strength and ch 'i. I f you know the nature of
strength and ch 'i, you will know the difference between
using strength and mobilizing ch 'i. M o bil iz i ng ch 'i in the
sinews and using strength in the skin and bones are two
vastly different things .
87
The Meaning of Butting,
Thinness, Losing and Resistance
Butting mea ns over-extending the head .
Th inness means an insufficiency .
Losing means separation .
Resistance means an excess .
We must under�tand the errors represented by these
four words . Not only will they impede our cultivation of
sticki n g , a d h e r i n g , j oi n i ng a n d fol l ow i ng , b u t w i l l
also cloud our understanding o f conscious movement .
Beginners in self-defense must strive to understand this
and make specia l efforts to a void these four errors .
What is difficult about sticking, adhering, joining and
fo l low ing is t h a t w e m u s t not c o m m i t the errors of
butting, thin ness, losing or resistance . Th is is why it is
not easy .
�8
The Song of Hol d i ng the Ce nter
i n Se l f-Defe nse Tra i n i ng
Th e c i rcle of r et r ea t is easy ;
t h e c i rcle of a d v a nc e i s d ifficu l t .
Do not d e v i a t e from t h e correc t position of the
w a i s t or crow n of t h e head ,
w h e t h e r t o t h e rea r or fore .
W h a t i s m ost d ifficu l t i s n o t dev i a t i ng
from C e n t ra l Equ i l ibri u m .
Ca re fu l l y consider t h e p r inc i p l e t h a t to
ret rea t is easy bu t to a d v a nce is d i fficul t .
T h i s h a s to d o w i t h t h e a rt of movement
a n d no t with s ta t ic pos t u res .
89
We m u s t a d v cl n ce a n d re t rea t w h i l e kee p i n g
s h ou l d e r t o s h o u l d e r w i t h ou r o p p o n t• n t .
Be l i ke t h e m i l l s t o n t• m ov i n g fa s t o r s l o w ,
Or w h i rl i n g l i ke t h e C h ,u d Drag( m
or W i n d Tige r .
Beg i n you r sea rc h w i t h t h e a i d o f c o m p a s s ,
A n d a ft e r a l o n g t i m e i t w i l l bt•n mw
p e r f ec t l y n a t u ra l .
90
The Meaning of the Martial Aspect of T'ai-chi
91
contacting will be inaccu rate and there will be many
errors . Before one has reached t he highest perfection,
stooping a nd rising will miss the mark and it will be easy
to m a ke errors . If one h a s n o t m a stered breaki n g ,
con tacting, stooping and risi ng, a n d does not truly
understand interpreting energy , then these errors are
unavoidable .
Therefore, those w h o do not yet tru l y u n derstand
interpreting energy, because their seeing and he a ring
are without basis, have not yet ach ieved precision . Only
when one u nderstands the visual aw areness of l ook i ng
far, near, left and right ; the aural awareness of rising
falling, slowness and haste; the kinest hetic aw areness
of dodge, return, provoke and finis h ; and the m ove
ment awareness of turn, excha nge, advance and retreat,
can one tru l y be said to h a ve mas tered interpreting
energy .
After being capable of in terpreting energy, one w ill
naturally arrive by degrees at t h e h i g h est perfection .
O ne will naturally possess superiori ty in withdrawing,
extending, adva ncing and retreating, for, in this way,
withdrawing, extend ing, movement, still ness,
ope ning, closing, ri s i n g a n d fa l l i n g w i l l a l l have a
founda tion On the basis of withdraw ing, extending,
.
92
The Meaning of Feet, I nches, Hundredth Parts
and Thousa ndth Parts in T'ai-chi
I n t h e m a r t i a l a r t s w e first l e a r n o pe n i n g a n d
expa nding a n d then later contracting and gathering .
Only after having mastered opening and expa nding can
one begin to discuss contracting and ga thering . After
con tracting and gatheri ng have been mastered , we can
beg i n to d i s c u s s fee t , i n c h e s , h u n d red t h pa rts a n d
thousandth parts . W h e n o n e h a s mastered feet, one can
begin to make divisions by the unit of the inch; when
one has mastered inches one can make div isions by
hundredth parts, and when the hundredth parts unit is
maste red , t h e n one m a kes divisions by thousandth
parts . Th is then clarifies what is meant by feet, inches,
h u ndredth parts and thousandth parts .
T h e re a re t e n [ C h i n e s e ] i n c h e s t o t h e foo t , t e n
h u ndred th parts t o t h e inch, a n d ten thousandth parts
to the h undred th part, so there is a definite number .
There is an ancient saying that self-defense is a matter of
numbers . If one u ndersta nds the concept of number,
one c a n a scer t a i n t h e fee t , i n c h e s , h u n dred t h a n d
thousandth parts . However, although w e may under
sta nd the n umbers, without secret transmissions, how
would we be able to measure them?
Chapter VII From Yang Ch'eng-fu's
Se If-Defense
Applications of
T'ai-chi ch'Uan
95
Yi n
Ya ng
Th e me a n i ng of t h e T'a
i-c h i sy m b o l l ies i n the m
u tual
pr od u c t i o n of yi n a n d ya
ns , t h e co mp lem en ta ry
ex c h a ng e of h a rd a n d
so ft, t h e t h ou sa n d c h a ng
es a n d
te n t h ou sa n d tra ns for
ma t i o n s . Th is is t h e ba
sis for
T'a i -c h i ch 'ua n . P u s h -
h a n d s is t h e e mb od i me
n t of the
T'a i ch i sy m b o l .
97
Original I ntroduction to T'ai-chi ch'iian
qq
After a time the Immortal ca me ou t a n d the bi rd and
the snake d isappeared . From this combat th e I m mortal
rece ived a revelation . The coi l ed fo r m was l i ke t h e
symbol o f T'ai-chi a n d contained t h e pri nciple o f t h e soft
overcoming the hard . Based on the tran sformations of
T'a i -c h i [ t h e G re a t U l t i m a t e ] h e d e v e l o p e d T'a i -c h i
ch 'iian t o cultivate sexual energy (ch inx ) , c/7 'i a n d spirit
(shen ), movement and sti l l ness, waxi ng and waning and
to embody the principles of the I ch inx . I t h a s been
pa ssed on for m a n y ge nera t i o n s a n d i t s va l u e h a s
become more a n d more apprecia ted . I n th e White Cloud
Temple at Peking there is still a likeness of t h e I m mortal
for visitors to admire .
100
The monk then asked , " How were you able to react so
quickly?" Master said, "This is called issuing energy
like shooting an arrow . " The monk replied , " I have
roamed over many provinces, but have never met you r
equal, Sir . I beg you to teach me the secret of T'ai-chi's
lightness and sensit ivity . ' '
Master did not respond to the monk' s last question
but saw a sparrow fly in through the curtain and circle
down close to him . He quickly caught the bird in his
hand and said to the monk, ' 'This bird is very tame and
I ' m going to have a little fun with it . " He placed it on the
palm of his right hand and stroked it gently with his left .
Then h e rem oved h i s left h a nd al together a n d the
sparrow beat its wings and attempted to take off. Master
u s e d t h e tec h n i q u e of ' ' s u d denly conce a l i ng and
suddenly revealing ' ' and the sparrow was unable to fly
away . This is because regardless of the species of bird all
must first apply energy with the feet in order to lift into
fligh t . The sparrow ' s feet were unable to find a place to
exert pressure and it gradually settled down . Master
again stroked it and released it, but again it could not
take off . After the third time, the monk, greatly amazed,
exc l a i me d , " Your a rt is tru ly miraculous ! " Mas ter
laughed and said, ' 'This hardly deserves to be called
miraculou s . If one practices T'ai-chi for some time, the
entire body becomes so light and sensitive that a feather
weight cannot be added without setting it into motion
and a fly cannot alight without the same effect . This is all
there is to it . ' ' The monk bowed deeply, stayed for three
days and then departed .
101
Yang Lu-ch'an' s
Commentary to the T'ai-ch i ch'iian Classic
1 02
(ch in ) rises from the soles of t h e feet, travels up t he leg s
a n d reaches t h e w a i s t . T h e n fro m t h e s p i n e to t h e
s h ou ld er s it t ravels i n to the h and s a n d f i n g ers The
.
1 03
the front leg bears the weight of the body and is full,
while the rear leg is straight . Always clearly disti nguish
full and empty and you will naturally have the ability to
cha nge at will .
An Explanation of the
Macrocosmic and Microcosmic T'ai-chi
1 04
power will be immeasurable .
Thus without using clumsy force and relying purely
on spirit to move, the results are tremendou s . My
master said, " Only from great softness comes great
hardness . ' ' This is my meaning .
An ExplanatioJ! of
Wang Tsung-yueh's Original Introduction
1 05
If one can raise the spirit, there need be no fear of
sluggis h ness or heaviness . Th is is wh at is m ean t
by hold ing the head as if suspen ded from above.
The spirit is the master of the whole body . Not only in
the martial arts, but in all pursuits, if the spirit is swift,
one w ill never be sluggish or slow . Therefore, in speak
ing of the martial arts one must first mention raising the
spirit . If we want to raise the spirit, then the head must
be held erect with energy at the very crown . Tha t is, the
ni-wan point should be light and sensitive, with energy
rising to the t op . If you can awaken to this technique,
you will u nderstand w h a t i s mea n t by " ra i s i n g t h e
spirit . "
1 06
When iss u ing energy one rn u s t sink, relax, be
calm and concen tra ted in one direct ion .
When spa rri ng with a n oppon e n t , f i rs t co n t rol h i s
mov ement and then attack from one d i rection, the one
in which he is losing his balance . When issu ing energy,
whe ther with the hand, shoulder or elbow , you m ust
sink dow n , w i t h the m i n d re la xed a n d ca l m . I ssu e
energy by attacking the opponent in only one d irection .
If my energy is not scattered it will be ea sy to throw the
opponent for a great d istance .
107
When energy is set in motion it is like s teel
tentpered a h u nd red times . What resis ta nce will it
fail to defeat ?
Energy set i n motion " li ke stee l tem pered a h u n d red
ti mes " is i n ternal energy . It is not a skill acquired in one
day . After days and months, little by little, it is grad ua lly
refined l ike a piece of cru d e i ro n w h ic h is tem pered
every day with pou nd i ng Slowly it is transformed into
.
1 08
In stillness be like a g reat n1ountain; in movement
like a mig h ty river.
After one has trained for a long time, the legs develop
root and one's stance is like a mountain . Human force
cannot shake us . The metaphor of the river expresses
t h e i n fi n i t e p o s s i b i l i t i e s for tra n s fo r m a t i on . One
technique becomes five and five become a hundred . The
flow is unceasing like a river .
first and then issue, " " Power issues from the back, "
and "To withdraw is to attack" are all based on a single
pri nciple That is, our spirit should be like a cat stalking
.
109
In movi ng to an d fro use "fold up ; " i n a d vancinR
an d retreat i ng use tu rns an d ch anges .
W h e n s p a rri n g w i t h a n o p p o n e n t , y o u s h o u l d
sometimes m ove i n a nd some t i m e s ou t . " Fo l d u p "
refers t o postures where the elbow s are bent and the
forearms curved . Folding up turns the backside to the
opponent ' s body or hands . This tech nique is only useful
w h e n i n c l o se w i t h a n o p p o n e n t a n d u se l e s s a t a
distance . In advancing and retreating do not get stuck in
a ru t w i t h j u s t o n e p o s t u r e , b u t t u r n a n d c h a n g e
according to the situa tion .
1 10
is th e pu rpose of "cul tivating ch 'i? " M e n c i u s said , " I
exce l a t c u l tiv a t i n g m y great ch 'i . " I f you can el i m i n a te
h as te a n d a n x i e t y , t h i s i n t ri n s ic d1 'i \V i i i develop . Stil l the
m i n d a n d n o u ri s h y o u r or ig i n a l na t u re . W h en
p ra c tic in g , cause t h e i n ne r sex u a l e n e r gy , cl1 'i a nd spirit
to u n i t e . Direct the ch 'i to circu l a t e th ro u g h the " n i ne
be nds - p e a r l . " Even if one has not y et re a p e d the fu ll
be nefits, it i s c e rt a i n that at least there w i l l be n o harm .
W h e n s p a rring w i t h o p p o n e n t s , never a l l o w t h e
forearm to be extended s t raight . If you can coordinate
the u pper and lower parts of the body, s t e p with the
c h a n g e s of p o s i t i o n , k ee p t h e a r m s rou n d e d a n d
maintain a surpl u s o f power, then the o p po ne nt will
qu ickly be t h row n . This is what is meant by, " En e rgy
should be stored by round i ng and there will always be a
surplus . "
111
bu ild ing s tren gth After your stren g t h is sufficient then
.
1 12
trained , i t w i l l permeate the bones . T h e bones a nd
muscles should be su nk and heavy . We should be like
cotton on the outside a nd l ike bands of steel on the
inside, or like iron concealed in cotton .
1 13
Step like a cat; nwve the energy Like reeling silk
franz a cocoon .
I n T'a i -ch i ch'ua n , our steps a re a s l igh t a n d subtle a s a
eat ' s . When practicing our form, we move the ene rgy as
s m oo t h l y a n d c o n t i n u o u s l y as ree l i n g s i l k fro m a
cocoon .
1 14
Ch 'i is like a wheel and the waist like an axletree.
The feeling of the whole body is like a moving wheel .
The waist is the ruler of the whole body and rotates like
an axletree . S o all of the m ovements of our art are
controlled by the waist .
1 15
The Method of Achieving
Perfect Clari ty in T'ai-chi
1 16
Wang Tsu ng-yueh' s
Treatise on T'ai-chi ch'uan
1 17
w a y by b e n d i n g . B e n d i n g m e a n s t o a rc h . I f t h e
opponent has not yet gone o n the attack a nd attem pts to
retreat, then I follow h im and extend . Extending means
to issue energy with the hands . Excess can be seen in the
error of butting and insufficiency in losing contact . The
inability to bend is belligerence; the inability to extend is
separation . Conscientiously remember the four words :
losing contact, butting, belligerence and separation . If
your art can be free of over-anxiousness and separation,
you will be able to perform marvels with your hands .
Th e opponen t is h a rd zo h i le I a m soft. Th is is
yiel d ing. I a m yield ing zoh i l e t h e opponen t is
resistant. Th is is a dh ering.
For example, if two people are spa rr ing and the other
person is h ard and direct, then I u se soft hands to cover
the opponent s . I fir mly cover his energy, like a beating
'
1 18
Res p011d to s peed ll'itlt speed a 1 1d slow11ess
loith sloumess .
At pre s e n t m o s t o f m y fe l l o w T 'a i -c h i prac t i t i o ners
understand t he art of y i e l di n g bu t do n o t u n ders t a n d t h e
method o f q u i c k re sp o n s e I a m a fra id t hey wou l d fa re
.
1 19
Fron1 1nastery of the post u res, you zui/1 g radually
awaken to in terpretinx energy . Frm n in terpreting
energy, you will a rrive a t spi ritual ilzsig ll t .
Hozuever, zoithou t long a rduous practice, you zuill
not suddenly make th is breakth rough .
" Postures " refers to t h e T'a i -c h i for m . A t prese n t m y
fe llow p ra c t i t i o n e rs see k o n l y to g ra s p i n t e r p re t i n g
e n e rg y bu t a re u n a b l e t o re p u l se o p po n e n ts . I n s tead ,
,
t h e y s h o u l d f i r s t l e a r n t h e p o s t u re s c o r r e c t l y a n d
p ra c t i c e t h e m u n t i l t h o r o u g h l y m a s t e r e d . T h e n
gra d u a l l y t h ey s h ou l d s t u d y i n terpre t i n g e n e rgy . T h e
anc i e n t s h a d a s a yi n g t h a t to i g n ore t h e root a n d tri m
t h e bra nc h e s w a s l i ke ra i s i n g a sq u a re i n c h o f wood
above the h ig he s t b u i l d i n g T h i s tee1 c h e s u s t h a t we
.
m i r a c u l o u s m a r t i a l s k i l l ; " s u d d e n b re a k t h r o u g h "
mean s gr a s p ing the marvelous secrets of martial art . I f
you ca n circ u l a te the ch 'i th r o u g h the " n i ne-be n d s
p ea r l, " t h en you will have mastered the p rinci p le s of
T'ai-chi . W i t hout l o n g p rac tice a nd fa m iliari t y how ca n
,
1 20
move, i t is s ue s from t h i s sou rce as from a sea of clt 'i and
circu l a tes thr o ugh o ut the four l i mbs . When ch 'i is ma d e
to revert to t he ta n - t 'icn , t he body and ch 'i do not " lean o r
in cl i ne ' Lea n i n g and inclining is like a porcelain jar full
. '
121
hv co n cl' .l l i n g i t sl'l f i n p h y s i c a l fo r m s . T h l' n i t a ga i n
rea p pL' a rs, soa r i n g i n t o t h e h e a v e n s , ri d i n g t h e d o u d s
a n d re v t•a l i n g i t s e l f . Th i s p r i n c i p l e e x p re s s e s t h e i d L'<l
t h a t T'cl i -c h i ca n ri se a n d i t c a n fa l l . " Di s a p p ea r i n g a n d
a p p e a r i n g " i s t h e t h e o r y o f s u d d l' n l y e x i s t i n g a n d
su dden l y not exi sti ng .
T h ose w h o a re h e a v y c a n n o t m oVL' . I s i t pos s i b l e n o t t o
m o v e w h e n s p a r r i n g w i t h o p p o n L• n t s ? T o t.• n ga g e i n
ma r t i a l a rt s , w e m u s t h a ve a c t i v e b( Kl i e s . O u r h a n d s a n d
f e e t m u s t b e n i m b l e ; o n l y t h e n c a n w e m t• e t a n
a d v e rsa ry . I f t h t• o p p o n e n t a t t a c ks m y l e f t s i d e , I i n c l i n e
s l i g h t l y , bl'conw e m p t y a n d g i v t.' h i m n ot h i n g to t a kL'
a d v a n ta g e o f . I f h e a t t a c ks m y r i g h t s i d e , I w i t h d ra w m y
r ig h t s h o u l d e r, g i v i n g h i s f i s t n o t h i n g t o l a n d o n . M y
bo d y i s n i m b l e a n d i m poss i b l e t o c a t c h . Th i s i s t h e i d ea
of beco m i n g e m p t y o n t h e l e f t , i f t h e l e f t i s a t t a c ke d ; a n d
v a n i s h i n g on t h L' r i g h t , i f t h e rig h t i s a t t ac ked .
1 22
o u t ,,· ,u n i n g I h l' m .1 11 .l i i .K kL•d h i m v i o i L• n t l y w i t h t h ree
fi n gl' rs . P.1 n - h o u n o t il'l'd t h a t t h erl' \\\l S .1 grass h u t i n
t l w fiL• I d ,, b, •u t Sl' V l' ll tl'l'l h i g h , s u h L' m , • t iuned w i t h h i s
h .1 n d s.1 x i n g , " F r i l' n d , w h �· d o n ' t �· uu go u p t h e re ? "
W i t h t h .1 t , l w t h rl' w h i m u n t u p of t h e h u t . T h e n h e sa i d ,
Ple.l Sl' ronw d 0 \\' 11 , go h t Hlll' cl n d f i n d med i c a l trea t
I I
1 23
There is a story that tells how Pa n hou used to lie -
1 24
The re a re 111a 11y other sch ools of ma rtial a rts.
A l th o ug h there a re differences in style, they do
1wt go beyond s t rength bullying zoeakness a nd
sloumess givin R ·way to speed, the st ro ng bea ting
the zoeak a n d s)ozv ha n ds yielding to fas t . All
of th is is na tive physical endo·wmen t a nd has
noth ing to do zvith zvh a t is acq u i red th rough
s erious s t udy .
Although there are nu merous schools in the martial
arts, and each has its own postures and applications, to
sum up, what they all have in common is an emphasis
on speed a n d strength . In this way, they are simply
workin g w i t h inherited ability and not the results of
s t u d y . T h ere a re m a n y fa m o u s men in the various
sc hools, but they c a n n o t approac h the subtlety a n d
marvelou sness o f T'ai-chi ' s principles .
1 25
a s b i g a s a c i t y . Pe o p l e c a l l e d i t " C h a n g ' s l i t t l e
prefecture . ' ' Chang loved the martial arts and kept more
t h a n t h i rt y boxers as bod ygu a rd s i n h is h ou se . He
himself by nature was also eager to study . He h eard that
t h e re was a fa mous ma n i n Kuang-p'in g Pre fe c t u re
n a m e d Y a n g L u - c h 'a n a n d b e g g e d a f r i e n d , W u
Lu-ch'ing, t o g o t o h i m a n d extend a n invitation . When
Yang a rrived , C h a ng noticed he was very t h i n a n d
barely five feet tall . H i s a ppeara nce w a s h o nest and
ge n e r o u s a n d h i s c l o t h e s w e re very p l a i n . C h a n g
greeted hi m with li ttle ceremony a n d the banquet in his
honor was far from su mptuous . Master Yang u nder
stood a l l this and a te a n d drank by h i m self without
p a y i n g a t t e n t i o n to a n y t h i n g . C h a n g w a s v e r y
displeased a n d said, " I have often heard my boxers
men tion your grea t name . Can T'ai-chi really be used to
d e fe a t a n o p p o n e n t ? L u -c h 'a n k n e w t h a t m o d e s ty
would not do, so he said , "There a re t h ree kinds of men
who cannot be beaten . " Chang a sked what he meant by
these thre e kinds, and Yang replied, ' ' T hose cast of
bronze, t h ose p o u n d e d of iron, a n d th ose made of
wood . These three are difficult to beat, but everyone else
is no problem . " Chang said, "I have thirty men in my
keep and Maste r Liu is first among them . He is so strong
he can lift five h u ndred p o u n ds . Would you like to play
with him?" Yang said there would be no harm in tryi ng .
Liu came a t him with the fury of Mount T'ai and his fists
made a whizzing sound . As he appro a ched , Yang used
his right hand to neutralize and his left to pat him . The
man was throw n for three yards . Chang rubbed his fist
and sai d, " You, Sir, are posse ssed of a miracu lous art . "
With that he ordered his cooks to start fresh and prepare
a fu l l ba nquet o f M a n c h u a nd C h i n e s e d ish e s . He
respected him from that poi nt as his own teacher . Liu
was as strong as a bull, but without skill, how could he
co m p ete? From this we can see the results of applying
" clearly it is not force that prevai ls . "
1 26
When we see an old man successfully defending
himself aga in st a large number of men, what has
th is to do with speed?
An ' ' old man' ' may be considered one in his seventies
or eigh t ies . Being able to ' ' successfully defend himself
against a l ar ge number of men " indicates that he has
pra c ti c ed T'ai -chi ch'uan . Without practicing it is difficult
for even a man in his p rime to defeat one or two men . If
one continues to p ract i ce from the very first day of study
until old age, one ' s sinews and bones will remain strong
and the ch 'i and blood full and abundant . Thus a man of
seventy or eighty can defeat a whole crowd . Like ol d
G eneral Huang Chung, who at the battle of T ing-ch ii n
Mountain said , ' 'The man may be old but the horse is
not; the horse may be old but the sword is not . " His
words are very s t ro n g . Those who practice T'ai-chi
ch'iian may become old in years but their sp irit is young
and they can defeat many men . This is the basic idea .
There is an old story about M aster Yang Chien-hou .
One day right after a rain storm there was a narrow path
just wide enough for one person to get through all the
m u d in the courtyard . A student named Chao was
standing on the path looking up at the sky without
realizing that the old Master had come out of the house
and was walking up behind him . Chien - hou wanted to
p lay a j oke , so he put out his right hand and lightly
pres sed on Chao' s right shoulder. Chao felt as if a great
roofbea m h a d been l o wered on h i m and his body
collapsed to the side of the path . The old Master laughed
but said nothing and went on his way .
Another d a y Chien-hou was standing in the
courtyard speaking t o a group of students when he
decided to have some fun with them . Some eight or nine
s t u d e n t s were pre s s i ng arou nd h i m w h e n the old
Mas ter t u rned h is body a few times and the whole
crowd was thrown helter skelter, some for more than
127
ten feet a n d some for eigh t or n i ne . The old m a n was
cl ose to eig h ty a t t h e time . So to say t h a t ' ' a n o l d m a n ca n
successfu l ly defe n d h i m self a g a i n s t a l a rge n u mber" is
n o t h y perbo l e . Th e w o r d " s peed " i n t h e s e n t e n c e ,
' ' Wh a t h a s t h is to do w i t h speed ' ' refers to c h aotic s peed
w h ic h is simply w i l d and con fused . Wild a n d con fu sed
speed is u sel ess. To be w i t h o u t speed is not good , but
speed o n l y becomes u sefu l with s k il l .
1 28
We oftell sec people wh o haPe faitlzfu l l v s t udied
t h is a rt for se'l.'e ral yea rs bu t ca n not m.;u t ralize a n
attack a 11d nws t o{te11 a rc bes ted btl a n opponen t .
Th is is shnpltf beca use thctJ haPe ;wt vet co rrected
tlze e rro r of d(Ju blc-1uei�h ti'ng .
·
129
t h rough once . The pr i nc ip les a re m a n y a n d cannot be
com preh e n ded i n o n e read i n g . Fro m t h en on you can
pract ice for ten d a ys a n d read t h i s book for one . Little by
l i t t le t h e be n e f i t s of t h i s boo k w i l l m a ke t h e m se l v e s
k n o w n . I f y o u h a v e d i ff i c u l t y u n d e r s t a n d i n g a n y
p a ssage you c a n a s k a q u a l ified teac h e r .
130
move i n d e pe n d e n t l y . M y teac h e r , Yang Ch 'eng-fu often
sa i d t h a t t o m ov e on o n e ' s ow n was c l u m s y , b u t to
fol l o w a n o t h e r w a s n i m b l e If v o u can f o l l o w a n o t her ,
.
y o u c a n a cq u i re t h e m a rv e l o u s a b i l i t y t o n e u t ra l i z e
e n ergy . I f you fol low o t h e r s , you ca n n o t go off i n d e
pe n d e n t l y . O n l y '"' h e n y o u cl re able t o fol i o\\' oth ers can
you be i n d e p e n d e n t . Th i s p r i n c i p l e is e x t r e m e l y rea l a n d
e x t re m e l y s u bt l e .
131
A Critical Note
and ch 'i. Only when one has grasped the p rinc i ples and
tho ro ug h l y apprehended a n d a s s i m i l a t e d them c a n
one' s art be c o m ple te.
132
The positions and gates represent the principle of yin
and yang reversing positions . They move around and
around in continuous cycle . It is indispensable to under
stand the four sides of the square and four corners .
Ward-off, Roll-back, Press and Push are the four side
techniques; Pull-down, Split, Elbo w -str o ke and Shoul
de r-st roke are the four corner techniques . Combining
the corner and side techniques, we get the trigrams of
the gates and positions . The steps correspond to the Five
Elements and give us control of the eight directions . The
Five Elements are Advance (fire), Retreat (water), Gaze
left (wood), Look-righ t (metal) and Central Equilibriu m
(ea rth) . Advance and Retreat belong to fire; Gaze-left
and Look-right belong to wood and metal . Central Equi
librium acts as the pivot point . It contains the eight
trigrams for the feet and the Five Elements for the hands
a n d steps . The nu mber is eigh t plus five . Th irteen
derives from nature . Hence the Thirteen Postures are
called the Eight Gates and Five Steps .
1 33
The Above and Below in T'ai-chi
May be Cal led Heaven and Earth
1 34
niques, the h a nds move like roll i n g millstones . Then
there are t h e fo ur t ec h n i q u e s for A d v a n c e and Ret rea t ,
for C en t ra l E q ui l i b r iu m , for h i gh a n d low , for t he tech
niques o f H e a v e n , e a r t h and m a n w h i c h r i se from
bottom to top, and t h e fo u r tec h n iques of Long Boxin g .
Begin w i t h l arge a n d ope n post ures and work up to
small con1pact postures . W h e n y ou r e x t e n s i o n s a n d
con tractions a r e completely free , then y o u will re a c h the
intermediate and advanced l e v e l s of skil l . A l t hough
soft , you wi l l possess strength .
1 35
awa y . Th is is ca l led t h e principle of water a n d fire
complementing each other, or the pri n ciple of reversal .
If we allow the fire to rise and the water to sink, the two
will separa te . This is why we seek to put them into a
complementary relati o nsh ip . Th is, then, is the principle
of separating into two and recombining into one . There
fore it is said, ' ' from one to two and from two to one . ' '
Summarizing this principle is the concept o f three : or
Heaven, earth a n d ma n . If one can u n d erstand the
principle of the reversal of yin and yan�, then we ca n
begin to discuss the tao. When one understands the tao
and can maintain this without la pse , then we can begin
to discuss man . When one can magnify the tao by means
of ma n, and know tha t the tao is not apart from man,
then we can begin to discuss the un ity of Heaven and
earth . Heaven is above and earth below; man occupies
the center . If one can explore the Heavens and examine
the earth, unite with the brightness of the sun and the
moon, be one with the five sacred mou ntains, the four
great rivers, prime and decline, and the alternation of
the four seasons, participate in the flowering and the
withering of the trees and grasses, fathom the fortunes
of ghosts and gods, and understand the rise and fal l of
human events then we can speak of Ch 'ien and K'un as
,
1 36
the meaning of existence if o n e does not fulfill one ' s
n a t u re , c u l t i v a te l i f e , ex pa nd t h e s p i r i t , and evolve
positively?
Sizing U p an Opponent
neu t ral i z e to the left and right and retu r n the strike .
There is a saying tha t "only a sensitive hand c an walk a
1 37
goa t on a tet her . " Th is is the pri nciple in T'ai-ch i ch 'iian
o f re s po n d i n g to s peed w i t h speed a n d fol l o w i n g
slow ness with slow ness .
There is more t h a n one method for spa rring with
opponents . If my opponent has not yet come within
close range, I first make contact with the hands while
advancing with the feet . I neu tral ize and stick, stick
and neutra l ize . I f the oppone n t is ski l l ful in esca pi ng, I
dare not pursu e h i m , but adopt one of the Thirteen
Postures and wait . I do not chase h im when he escapes,
bu t am like a tiger lying in ambush for the deer . When an
opponent ' s movements a re i rregu l a r a n d u n pred ict
able, I remain at the very center of the Great Ul ti ma t e . I
emphasize still ness a n d stabil ity w h ile my opponent
emph asizes movement a n d a n xiousness . The fi re of
anxiousness fla res up and knows no forebeara nce, but I
attack with com plete com posure . Th is is a n example of
mu tual prod uction and destruction . I have no difficulty
in penetrating my opponen t ' s inner defense . Thu s the
G rea t Ultimate gives birth to yin and ya ng, the four
duograms and e ig ht t ri g r a m s . This is fixed and eternal .
138
Grea t Void . The I m m ortal h u rried to the s p ot but saw
n o t h i n g . He s e a rc h e d w h e r e t h e g o l d e n l i g h t h a d
touched dow n a n d fou n d a mountain stream and cave .
A pp roach ing the mou t h o f the cave , two golden snakes
wit h fla s h i n g eyes e merged . T h e I m mort al swis h e d h is
du s ter and the gol den l ig h t came dow n . He gazed u p on
it and real ized t h a t i t was two long s p ears a bout seven
feet five inches . T h ey seemed to be made of ra ttan, but
were not rat t a n ; seeme d of w ood , bu t were not of wood .
T h eir q uality w a s suc h t h at sw ord s could not h arm them
a n d t h ey cou l d b e soft or h a r d a t w i l l . A rare g low
ema nated from within, a n d lookin g dee p er, h e found a
book . I t s t i t l e w a s T'a i -cl z i S t ick-A d l t e re Spea r a n d i t s
destiny w a s to b e t ra n s m itted to t h e worl d . H e g rasped
the p rinci p les in t h e book and a n a l y zed all of its marvels .
All of the w ord s i n t h e book were w ritten i n the form of
p oem s and songs . Today we cannot understand all the
p rinci p les a n d m a rvels of the s p ear, bu t Master Chang
extracted the essence of every word a n d transformed
t h em into a series of p ostures . All men can now stud y
a n d learn this art .
1 39
through the civil aspect of ph ysical culture or the civil
aspect of p hysical cu l t u re t h rough the martial arts, this is
the midd le level of at ta inme n t . The lowest level , then, is
knowing physical cultu re w i t h out the martial aspect or
practicing only martial arts wi thout physical culture .
1 40
su periority of stillness and softness with him . As a result
M aster ' s fame spread further than ever .
I n Shensi there was a man named Great Sword Wang
w hose nickname was Bravo of the Red Inn . He could lift
five hundred pounds and cover three hundred miles in
one day . He excelled at the broadsword and loved the
great spear . He was the foremost martial artist in Shensi
and had more than five hundred students . When he
heard Chi speak of Master Yang, he was skeptical and
went to challenge him to a contest . Master, however,
declined saying, ' ' Master Wang, you have trained dili
gently for a long time . I am afraid I am not your equal . "
Wang took Master as a coward and pressed him saying,
"I have heard of T'ai-chi ch'iian for a long time, but I
wonder if T'ai-chi spear can be put to practical u s e? "
141
MISCELLANEOUS COMMENTS
142
A Story of Yan g Lu-ch'a n
L a t e M a s t e r W a n g T s u n g - y ii e h s p r e a d h i s a r t
t h ro u g h o u t e a s t e r n C h e k i a ng a n d H o n a n , bu t
Chekiang very early lost it . From C h 'e n -c h ia - k o u in
Honan it was passed to Yang Lu-c h 'a n . After fifty y ears
and several generations, the majority of T'ai-chi ch'uan
practitioners are Yang stylists . It may be asked whether
the Yang famil y maintained a compl ete m o n o p ol y in
Yung-nien Count y ? Although there are some other
good prac t i tioners , t h ey were a mong the ten odd
st udents of Yang Pan-hou . Therefore among practition
ers of T'ai-chi ch 'iian there are none who were not
helped by Yang masters .
143
opponen ts, why bother to study martial arts? When a
thousand pou nds la nds on nothing it is useless .
1 44
force and fla ils w ildly, he may be victorious, but it is
s t rictly l uck . This is not a true t ransmission and is really
no met h od at all . Thus it is easy for s tuden t s to reco g nize
the true T'ai-chi ch 'ua n .
T h e m o s t i m p o r t a n t f a c t o rs i n d e t e r m i n i n g a n
individual ' s strength or weakness are the ch 'i and blood .
Master Yang ' s style is o p en and relaxed a n d is best able
to stretch the sinews and invigorate the blood . If those
w h o are p h y sically weak will practice Master Yang 's
s t yle, they will see tremendous results .
145
T'ai-chi ch 'iia n is an in ternal system [ 11ei-ch ia clr 'iia11 ] . I t
is popu l a rly k n o w n as " I n ternal Box i n g " [ 11ei-klm x
ch 'iian ) . Among the martial arts, the in ternal system is
the most da ngerous . After stud ents gain this skill , it is of
the utmost importance to remain gentle and kind . Do
not lightly use your fu ll force to strike anyone or disgrace
the legacy of former teachers .
1 46
case, there ca n be only one set of principles . W i t h ou t t h e
true tra n s m i ssio n , one c a n not u nderst and the reason
for t h i s .
little .
147
If you gain something va luable from a book, don ' t
cl a i m th a t y ou i n v e n te d i t y o u rse l f , f o r t h i s s h ows
ingratitude to the author for h is hard work .
one ' s study before reaching the highest level, and then
accuse the teacher of being an imposter is pure non
sense . Expecting to see n uggets of gold after a few days
and little effort is also unrealistic . Keep on studying and
t h e re is no re a s o n for t h e t e a c h e r not to g i v e h i s
knowledge freely .
One day Master Yang was in the mood for fun and
was d e m o n s t ra t i n g p r a c t i c a l a p pl i c a t i o n s . He w a s
pushing-hands with Wa ng Pao-h u a n , a nd using the
Push technique, threw him for a distance of more than
t h ree yards . It was truly i m pressive . Master ' s sel f
defense was such that when pushing-hands with an op
ponent, it always seemed like they had no root in their
feet a n d c o u l d not s t a n d s t e a d i l y . If you l ooked a t
Master, his countenance was perfectly composed and
his hands and feet light and sensitive . But all he had to
do was raise his hand and the opponent would fly with
the speed of an arrow shot from a bow . Master Yang ' s
technique w a s truly marvelous . None failed t o res pect
him .
1 48
T'ai-chi ch' ii an is an internal system . If the postures are
correct and the inner principles are understood, then
this is T'ai-chi ch' iian . If the postures are not correct and
the inner principles are not understood , even if the
postures resemble T'ai-chi, there is no difference from
the external systems .
1 49
Chapter VIII From Yang Ch'eng-fu's
Com p lete Princi p les
and A pp lications
of T'ai-chi ch'iian
Yang Ch'eng-fu,
T'ai-ch i ch 'iian t 'i-yu ng ch 'uan-shu
(Complete principles and
applications of T'ai-chi chiian),
Taipei : Ch ung-hua wu-shu
ch 'u-pan-she, 1975
(first edition, 1934) .
151
Yang Ch'eng-fu ' s Preface
153
From m y you th I have al ways considered helping the
wea k as m y personal responsibility . I have seen popular
martial arts performers whose spirit and physique are in
no way inferior to the so-cal led muscle men of the West .
Wit h great enthusiasm I begged to learn their art, but
they kept i t secret and would not tell me . I n t his way I
discovered that China 's p o ssessing the art of physical
heal th and yet having become so weak is not without
ca u se .
Still l a ter I heard that at C h 'en-ch ia -kou i n Honan
there was a Ch'en fa mily wh o were famous for their
i n t e r n a l box i n g a n d I m a d e i m m ed i a t e h a ste to go
there and study with Ch'en Ch'ang-hsi n g . Although I
was not turned away at the door, after a long time I w as
still not allowed to share their secrets . I forbore and was
patient for more than ten years . My teacher was moved
by m y si nc eri ty a n d bega n , i n t h e e v e n i n g s w h e n
everyone else was resting, to reveal the secrets t o me .
After c om pleting my studies I came to the capital and
swore an oath to teach this art freely to all comers . Before
long I saw that among my students, the thin filled out,
the obese lost weight, and the sick became healthy . I was
en o r m ou sly gratified .
It seemed to me that what one individual could teach
was limited and very like the foolish old man who tried
to move the mountain . Also w ou ld not those of my
elder ' s generation and those whose a mbition was to
pla y the bull y look down upon this method of saving the
nation and choose not to stud y it?" At that moment I
came suddenly to appreciate my gra ndfather ' s d iligence
in respect to this art and from then on dedicated myself
to c a r ry i n g o n t h e f a m i l y t r a n s m i s s i o n . I e a ge r l y
sub mitted myself t o training .
My gra n d fa t her h a d h a n d e d d o w n t h ese w o rd s :
"T'ai-chi ch'iian bega n with Chang San-feng at the end
of the Sung dy nasty . He transmitted it to W a ng Tsung
yii e h, Ch'en Chou-t'ung, C hang S u n g - h si and Chiang
1 54
Fa, who succeeded each other without interruption . My
teacher, Ch'en Ch 'ang-hsing, was the only disciple of
Chiang-Fa . H is art was based on the natural, and its
form never departed from the Great Ultimate . It consis
ted of th irteen postures with infinite applications . The
movement is in the body , but the influence reaches the
spiri t . Th u s , w i t h ou t long practice, it is d i ffic u l t to
achieve the highest level . I h ave no shortage of students,
but as for those w h o h ave been tempered to absolute
p e r f e c t i o n , I c a n n o t e v e n be c e r t a i n of P a n - hou .
However, if we speak only of the science of health , then
one day ' s effort produces one day ' s benefit, and one
year, one year ' s results . If you u nderstand this, my
child, then you possess the means to carry out my ambi
tion . ' ' I respectfu l l y observed his words and never
dared forget them . From that point forward , I worked
w i t h o u t cea s i n g for t w e n ty years . My grandfat her,
uncle and father passed away one after the other .
At first I bega n to accept stu dents in Peking but fdt
confined a nd limited in my results, so I traveled south to
the Fukien-Chekiang region between the Yangtze and
Huai Rivers . I later asked my student, Ch'en Wei-ming,
to publish a book based on my oral ins t ructions . Now
ten years later, T'ai-chi ch 'ii a n has spread north and
sou th of the Yel low River and east and west of the
Yangtze, even as far as Kwangtu ng Province . Al toge t h
er there are a great number of students . Ch'en 's book
explains only the sequence of solo practice, and looking
back at the photographs of my postures ten years ago,
they are inferior to today ' s . From this it can be seen that
this art will continue to evolve indefinitely .
Today, a t t h e request o f my students, I have once
again compiled the complete method of principles and
applications, and added new photographs throughou t .
I have committed this to print i n order to share i t with the
worl d . The tec h n iques for two-edged sword , spea r,
two-pronged spear, broadsword, and so forth will be
1 55
presented in a second volu me to follow . I do not dare to
seek fame through my art but h u mbly desire to further
my forebears' ambition to rouse the people and save the
world .
Written by Ya ng C h a o -c h 'ing ( C h 'eng-fu )
of Kua ng-p'i n g i n t h e spri n g of 1 933 .
Introduction
156
e x pa n s i v e n ess or fineness of our breath , the direction of
our gaze a n d the position of the wa i s t , head , back and
b el ly . It is an error to be suddenly high and s ud d e nly
low , suddenly fast a nd suddenly slow , suddenly ligh t
and sudd e n l y heavy , to suddenly thrust and suddenly
retract, to be s udd e n l y large and suddenly f in e , or to go
s u d d e n l y l e ft , r i g h t , u p , d o w n , f a c i n g u p w a r d or
downward without evenness . Only when the h e i ght of
our stance and the speed of our hands is guided by the
proper measure can we be free of the necessit y for fixed
rules of h e i g h t and speed .
Al t oge t h e r there are t hir tee n i mport ant points for the
p r a c t i c e o f T 'ai - c h i c h 'ii a n . These a re : 1 ) S i n k t h e
shoulders and d r op t h e e lbow s , 2) Dep res s the chest and
raise the back, 3)Let the ch'i sink to the tan-t'ien, 4) The
e nergy at t h e t o p of the h e a d should be ligh t and
sen si tiv e,
5) Relax the waist and hips, 6) Dist i ngu i s h full
a n d empty, 7) Co o rd i na t e the upper and lower body, 8)
Use the mind and no t fo rc e , 9) H ar mo n iz e the internal
and external , 10) C o n n ec t the mind and ch 'i, 11) See k
s t i l l ne s s i n m o v e m e n t , 1 2 ) U n i f y m o v e m e n t a n d
stillness, 13) Each posture should be even and uniform .
These are the thirteen points . We must pay attention to
every movement . Every posture must be precise . Not
one of these thirteen co nc ept s can be overlooked . I hope
that students will maintain a careful and critical attitude .
T h e s e l f - d e f e n s e a p p l ic a t io n s i n t h i s b o o k a re
intended for those who are already t ho rou g hly trained
i n T 'a i -c h i c h ' ii a n a n d w o u l d l i ke to make furt her
progress . Th us they need not be restricted as to which
direction to face and can experiment with the four sides
and fo u r corners of the square . Those who are not famil
iar with the form should not advance to the applications,
for without a solid foundation there will be few results . I
hope that beginners will carefully study the postures
shown in th e illustrations . When one has become adept
a t t h e f o r m , i t w i l l n o t be difficu l t to m a s ter t h e
applications .
157
There is only one school of T'ai-chi ch' iian; there are
not two methods . Don ' t be deluded by your own clever
n e s s a n d foo l i s h l y m a k e a d d i t i o n s or d e l e t i o n s . I f
modifications were necessary in t h e method s laid down
by worthy men of the past, then these would have been
implemented during the many centuries from the Yuan
and Ming dynasties dow n to the present . Did these
modifications need to wait for our own generation? I
hope t h a t fu ture s t u d e n t s w i l l not be led a stray by
externals, but seek always the inner truth . One must be
p a t i e n t i f o n e d e s i r e s to a d v a n c e to t h e h i g h e s t
excellence . The most important thing i n studying the
postures is no t the external appeara nce, but to gr.3sp the
i d e a . The g re a t e s t d a n g e r is in i n t rod uc i n g o n e ' s
personal innovations a n d p a s s i n g o n errors a s true
transmissions . The true transmission of principles and
applications is easily lost, even to the poin t of obscu ring
the original intention of former masters . Thus we offer
this book, which is based on the old texts with revisions,
as a correct standard .
T'ai-chi ch 'iia n was not created merely to brawl with
r u f fi a n s . R a t h er , t h e I m m o r t a l , C h a n g S a n - fe n g ,
invented this soft martia l art a s a n ai d t o ma i nt ai n i ng
good health . Those who are interested in health and
sel f-d i s c i p l i ne , e l i m i n a t i n g i l l ne s s a n d l e n g t h e n i n g
years, whether men of letters, in poor health, as well as
old people, t he young and women, all may study . Those
who p ra c tice faithfull y will s e e real results in three years .
If o n e should ask about its usefulness, the answer is that
it allows u s to us e n o st r en g t h and yet not be intimidated
by st r ength If someone p o s s essed of gre a t strength
.
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T'ai-chi ch 'iia n .
Whe n b e gi n n i n g t o s t u d y t h e T'a i -ch i form, one m u s t
a b so l ute l y avoid h a s t e . Every d a y t ho rou gh ly p racti c e
one or two p o stu re s a n d i t w i l l be easy to a ppreciate t h eir
in ner esse nce . Those w h o pract ice t oo m u c h a t one time
c a n only sc r a t c h t h e s u r f a c e . A f t e r fi n i s h i n g one ' s
practice, d o not i m med i a t e ly si t d o w n , but walk abou t a
bit in order to read j u s t the cll 'i and bl ood .
After p racti c i ng in t h e h e a t of su m mer, d o no t wash
the hands with cold wat e r or one will be " afflicted by
fire . " After practicing in t h e col d of winter, quickly put
on warm cloth ing in order to avoid catching cold . One' s
skill w ill increase during the winter and summer . This is
why it is said , "Train during the three periods a fte r the
su m mer solstice and the three periods after the winter
sols t i c e
. " At these times t h e s u n ' s influence is more
powerful t h a n d u ring the sp ri ng and a u tumn . It is
absolutely essential not to n e glect pra c tice j ust after
ri s i n g and j ust before retiring . In this way one's skill will
easily show p rog ress .
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