"In Ward-off it is important that both arms keep round, then quietness and activity, insubstantial and substantial can be used to attack as wished.
When the hands are connected, use Rollback to open and the palms to send out Pressing. Push is likely to cause a collapse, both hands Pluck to avoid the opponent to relax.
When the coming force is fierce, use Split. Use the elbow strike and the shoulder strike at will, according to the situation.
Advance, retreat, reverse and lean to follow the opportunity. In this case, why fear the opponent's proficient skill?
As one advances and approaches the opponent to strike, distribute 3 parts to the front and 7 parts to the right.
As the opponent comes to strike me, I get out of the center sideways and recover balance to hit.
By attaining the thirteen characters of Tai Chi Chuan method, the essence and the mind will be wonderfully reinvigorated."
Based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要)
Monday, April 26, 2010
Friday, April 23, 2010
Thirteen Secret Words of Practice (十三字行功訣) by Yáng Bānhóu (楊班侯)
十三字行功訣
掤手兩臂要圓撐，動靜虛實任意攻。
搭手履開擠掌使，敵欲還招勢難逞。
按手用招似傾倒，二把採住不放鬆。
來勢兇猛挒手用，肘靠隨時任意行。
進退反側應機走，何怕敵人藝業精。
遇敵上前迫近打，顧住三前盼七星。
敵人逼近來打我，閃開正中定橫中。
太極十三字中法，精意揣摩妙更生。
掤手兩臂要圓撐，動靜虛實任意攻。
搭手履開擠掌使，敵欲還招勢難逞。
按手用招似傾倒，二把採住不放鬆。
來勢兇猛挒手用，肘靠隨時任意行。
進退反側應機走，何怕敵人藝業精。
遇敵上前迫近打，顧住三前盼七星。
敵人逼近來打我，閃開正中定橫中。
太極十三字中法，精意揣摩妙更生。
Sunday, April 11, 2010
Monday, April 5, 2010
The Secret of Eighteen Dependencies (十八在訣) by Yáng Bānhóu (楊班侯)
十八在訣
掤在兩臂，履在掌中，
擠在手背，按在腰攻，
採在十指，挒在兩肱，
肘在曲使，靠在肩胸，
進在雲手，退在轉肱，
顧在三前，盼在七星，
定在有隙，中在得橫，
滯在雙重，通在單輕，
虛在當守，實在必沖。
掤在兩臂，履在掌中，
擠在手背，按在腰攻，
採在十指，挒在兩肱，
肘在曲使，靠在肩胸，
進在雲手，退在轉肱，
顧在三前，盼在七星，
定在有隙，中在得橫，
滯在雙重，通在單輕，
虛在當守，實在必沖。
"Ward-off is on both arms,
roll-back is on the palm,
press is on the back of the hand
push is on the waist
pluck is on the ten fingers,
split is on both forearms,
elbow strike is used bent,
shoulder strike is on the shoulders and chest,
advance is on move hands like clouds,
retreat is on turning the forearms,
look after is one third in the front,
expect is on the seven stars,
steadiness is on the gaps,
the center needs to be horizontal,
stagnation is on double-weight,
connecting is on single lightness,
insubstantial is on defence,
substantial is on move forward."
Based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要)
roll-back is on the palm,
press is on the back of the hand
push is on the waist
pluck is on the ten fingers,
split is on both forearms,
elbow strike is used bent,
shoulder strike is on the shoulders and chest,
advance is on move hands like clouds,
retreat is on turning the forearms,
look after is one third in the front,
expect is on the seven stars,
steadiness is on the gaps,
the center needs to be horizontal,
stagnation is on double-weight,
connecting is on single lightness,
insubstantial is on defence,
substantial is on move forward."
Based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要)
Friday, March 26, 2010
The Secret of Yin Yang (陰陽訣) by Yáng Bānhóu (楊班侯)
陰陽訣
太極陰陽少人修，吞吐開合問剛柔。
正隅收放任君走，動靜變化何須愁。
生克二發隨招用，閃進全在動中求。
輕重虛實怎的是，重里現輕勿稍留。
太極陰陽少人修，吞吐開合問剛柔。
正隅收放任君走，動靜變化何須愁。
生克二發隨招用，閃進全在動中求。
輕重虛實怎的是，重里現輕勿稍留。
"There are few people that study Tai Chi's Yin Yang. It asks for hardness and softness, to take in and send out, to open and to close.
Accepting the directions and the corners allow you to move as you wish, there is no need to worry about changes in the movement.
Producing and collecting both are used in the maneuvers of sending out and following. Both dodging and advancing can be found inside the movements.
Lightness and heaviness are within the substantial and insubstantial, do not hesitate to show lightness within heaviness."
Based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要)
Accepting the directions and the corners allow you to move as you wish, there is no need to worry about changes in the movement.
Producing and collecting both are used in the maneuvers of sending out and following. Both dodging and advancing can be found inside the movements.
Lightness and heaviness are within the substantial and insubstantial, do not hesitate to show lightness within heaviness."
Based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要)
Sunday, March 21, 2010
Saturday, March 20, 2010
The Secret of Insubstantial and Substantial (虛實訣) by Yáng Bānhóu (楊班侯)
虛實訣
虛虛實實神會中，虛實實虛手行功。
練拳不諳虛實理，枉費功夫終無成。
虛守實發掌中竅，中實不發藝難精。
虛實自有虛實在，實實虛虛攻不空。
虛虛實實神會中，虛實實虛手行功。
練拳不諳虛實理，枉費功夫終無成。
虛守實發掌中竅，中實不發藝難精。
虛實自有虛實在，實實虛虛攻不空。
"What is substantial and what is insubstantial are gathered within the spirit, the differentiation of the substantial and insubstantial is the achievement of the hand.
To practice boxing without understanding the essence of the difference between substantial and insubstantial is to waste one's effort to achieve nothing at the end.
Defend with the insubstantial, attack with the substantial, the trick is within the palms. If one stays substantial in the center, there is no send-out skill and the energy is distressed.
Insubstantial and substantial have a concrete reason, with the differentiation of insubstantial and substantial, attacking will not be in vain."
Based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要)
To practice boxing without understanding the essence of the difference between substantial and insubstantial is to waste one's effort to achieve nothing at the end.
Defend with the insubstantial, attack with the substantial, the trick is within the palms. If one stays substantial in the center, there is no send-out skill and the energy is distressed.
Insubstantial and substantial have a concrete reason, with the differentiation of insubstantial and substantial, attacking will not be in vain."
Based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要)
Tuesday, March 16, 2010
Sunday, March 14, 2010
The Song of True Meaning of Tàijíquán (太極拳真義訣) by Lǐ Dàozi (李道子)
One of the difficulties one may encounter when looking at the texts presented as important for the practice is their cryptic language. It can be understood that some of the inner experiences can only be passed on in poetic form. It is also understood that early texts come from oral traditions tend to come in "songs" or texts that are easier to memorize.
For example, this text has the suggestive name of "The Song of True Meaning of Tai Chi Chuan". It certainly attracts attention also because it is reported by two important authors like Yang Jwing Ming (楊俊敏) and Jou Tsung Hwa (周宗樺). So, definetely something that the serious practicant should pay attention to.
In the other hand, beyond the evocations it brings, it is difficult to have an indication of how it should influence our practices. At least, if it is not commented by the practice with a recognized Master.
For example, this text has the suggestive name of "The Song of True Meaning of Tai Chi Chuan". It certainly attracts attention also because it is reported by two important authors like Yang Jwing Ming (楊俊敏) and Jou Tsung Hwa (周宗樺). So, definetely something that the serious practicant should pay attention to.
In the other hand, beyond the evocations it brings, it is difficult to have an indication of how it should influence our practices. At least, if it is not commented by the practice with a recognized Master.
太極拳真義訣
無形無象，全身透空。
忘物自然，西山懸磬。
虎吼猿鳴，泉清水靜。
翻江鬧海，盡性立命。
無形無象，全身透空。
忘物自然，西山懸磬。
虎吼猿鳴，泉清水靜。
翻江鬧海，盡性立命。
"No shape, no shadow.
The entire body is transparent as air.
Forget your surroundings and be natural.
Like a stone chime suspended from the West Mountain.
Tigers roaring, monkeys screeching.
Clear fountain, peaceful water.
Turbulent river, stormy ocean.
Develop your whole body and mind to their full extent."
From the book The Tao of Tai Chi Chuan" (太極拳之道), by Jou Tsung Hwa (周宗樺) and "Yang Style Tai Chi Chuan" by Yang Jwing Ming (楊俊敏) based on the translations proposed in both books.
The entire body is transparent as air.
Forget your surroundings and be natural.
Like a stone chime suspended from the West Mountain.
Tigers roaring, monkeys screeching.
Clear fountain, peaceful water.
Turbulent river, stormy ocean.
Develop your whole body and mind to their full extent."
From the book The Tao of Tai Chi Chuan" (太極拳之道), by Jou Tsung Hwa (周宗樺) and "Yang Style Tai Chi Chuan" by Yang Jwing Ming (楊俊敏) based on the translations proposed in both books.
Saturday, February 27, 2010
Journal of Asian Martial Arts
The Journal of Asian Martial Arts is probably the only magazine that I could add within my references of study, along with the Pa Kua Journal. Far from the screaming pictures of martial arts magazines, it has a serious and scholar style.
There are really two types of articles. The first one is the kind that link martial arts with its context, historical, artistic, cultural, religious. These articles imply field research and academic insight. They are by far the most interesting, as they throw some light on aspects that would otherwise remain unperceived.
The second kind of article is the more common kind centered around techniques. They have the merit of being sober and presenting little known schools or aspects. In the other hand, they do not differ much from the more common technical manual.
One of the sections of the magazine is of particular interest: the book reviews are well done and do present very relevant critiques.
There are really two types of articles. The first one is the kind that link martial arts with its context, historical, artistic, cultural, religious. These articles imply field research and academic insight. They are by far the most interesting, as they throw some light on aspects that would otherwise remain unperceived.
The second kind of article is the more common kind centered around techniques. They have the merit of being sober and presenting little known schools or aspects. In the other hand, they do not differ much from the more common technical manual.
One of the sections of the magazine is of particular interest: the book reviews are well done and do present very relevant critiques.
Saturday, February 13, 2010
Stretch (挺) from the Xingyi Eight Characters Secret (形意八字訣)
挺
有三挺，即
一。頸項挺，則頭部正直，精氣貫頂。
二。脊骨腰挺，則力達四稍，氣鼓全身。
三。膝蓋挺，則氣恬神怡，如樹生根。
是謂之三挺。
有三挺，即
一。頸項挺，則頭部正直，精氣貫頂。
二。脊骨腰挺，則力達四稍，氣鼓全身。
三。膝蓋挺，則氣恬神怡，如樹生根。
是謂之三挺。
"Stretch. The three things that must be stretched:
a) When the neck stretches, the head is straight and the jing and chi can reach the top.
b) When the spine is stretched, the force reaches the four limbs and the chi permeates the whole body.
c) When the knees stretch (out), the qi is calm and the spirit is in harmony, like a tree with strong roots.
These are the three stretches."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
a) When the neck stretches, the head is straight and the jing and chi can reach the top.
b) When the spine is stretched, the force reaches the four limbs and the chi permeates the whole body.
c) When the knees stretch (out), the qi is calm and the spirit is in harmony, like a tree with strong roots.
These are the three stretches."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
Wednesday, February 3, 2010
Bend (曲) from the Xingyi Eight Characters Secret (形意八字訣)
曲
有三曲，即
一。兩臂要曲弓如半月，則力富。
二。兩膝宜曲，彎如半月，則力厚。
三。手腕宜曲，曲如半月，則力湊。
皆取其伸縮自如，用勁不斷之意。
是謂之三曲。
有三曲，即
一。兩臂要曲弓如半月，則力富。
二。兩膝宜曲，彎如半月，則力厚。
三。手腕宜曲，曲如半月，則力湊。
皆取其伸縮自如，用勁不斷之意。
是謂之三曲。
"Bend. The three things that one must be bent:
a) Both arms ought to be bent, like a half-moon, the strength is abundant.
b) Both knees ought to be bent, like a half-moon, the strength is deep.
c) Both wrists ought to be bent, like a half-moon, the strength comes together.
All of them gets its natural extension and contraction, the strength of the intention unbroken.
These are the three things that must be bent."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
a) Both arms ought to be bent, like a half-moon, the strength is abundant.
b) Both knees ought to be bent, like a half-moon, the strength is deep.
c) Both wrists ought to be bent, like a half-moon, the strength comes together.
All of them gets its natural extension and contraction, the strength of the intention unbroken.
These are the three things that must be bent."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
Tuesday, January 26, 2010
Let Fall (垂) from the Xingyi Eight Characters Secret (形意八字訣)
垂
有三垂，即
一。氣垂則氣降丹田，身穩如山。
二。兩肩下垂，則臂長而活，肩催肘前。
三。兩肘下垂，則兩肱自圓，能固兩脅。
是謂之三垂。
有三垂，即
一。氣垂則氣降丹田，身穩如山。
二。兩肩下垂，則臂長而活，肩催肘前。
三。兩肘下垂，則兩肱自圓，能固兩脅。
是謂之三垂。
"Let Fall. The three things that one must let fall:
a) When the qi is suspended, the qi descends to the dantian, and the body is stable as a mountain.
b) When both shoulders hang down, the arms are long and lively, and the shoulders push the elbows to the front.
c) When both elbows hang down, then both arms are naturally round, and can solidify the ribs.
These are the three things that one must let fall."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
a) When the qi is suspended, the qi descends to the dantian, and the body is stable as a mountain.
b) When both shoulders hang down, the arms are long and lively, and the shoulders push the elbows to the front.
c) When both elbows hang down, then both arms are naturally round, and can solidify the ribs.
These are the three things that one must let fall."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
Saturday, January 23, 2010
Embrace (抱) from the Xingyi Eight Characters Secret (形意八字訣)
抱
有三抱，即
一。丹田要抱，氣不外散，擊敵必準。
二。心氣要抱，遇敵有主，臨變不變。
三。兩脅要抱，出入不亂，遇敵無險。
是謂之三抱。
有三抱，即
一。丹田要抱，氣不外散，擊敵必準。
二。心氣要抱，遇敵有主，臨變不變。
三。兩脅要抱，出入不亂，遇敵無險。
是謂之三抱。
"Embrace. The three things that must embrace are:
a) The dantian must be embraced, the qi is not let out. Stricking the opponent needs precision.
b) The emotions must be embraced. When meeting the opponent, have self-control. Don't change when facing change.
c) Both ribs must be embraced. Then leaving and entering is not confused and meeting the opponent is not dangerous
These are the three things that must be embraced."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
a) The dantian must be embraced, the qi is not let out. Stricking the opponent needs precision.
b) The emotions must be embraced. When meeting the opponent, have self-control. Don't change when facing change.
c) Both ribs must be embraced. Then leaving and entering is not confused and meeting the opponent is not dangerous
These are the three things that must be embraced."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
Tuesday, January 19, 2010
Agile (敏) from the Xingyi Eight Characters Secret (形意八字訣)
敏
有三敏，即
一。心要敏，如怒狸攫鼠，則能隨機應變。
二。眼要敏，如饑鷹之捉兔，能預視察機宜。
三。手要敏，如捕羊之餓虎，能先發制人。
是謂之三敏。
有三敏，即
一。心要敏，如怒狸攫鼠，則能隨機應變。
二。眼要敏，如饑鷹之捉兔，能預視察機宜。
三。手要敏，如捕羊之餓虎，能先發制人。
是謂之三敏。
"Agile. The three things that must be agile are:
a) The heart must be agile like an angry cat catching a mouse. Then you will be able to change according to the situation.
b) The eyes must be agile, like a hungry eagle catching a rabbit. The you will be able to examine in advance what to do.
c) The hands must be agile, like a hungry tiger snatching a goat. Then they can issue first to control the opponent
These are the three things that must be agile."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
a) The heart must be agile like an angry cat catching a mouse. Then you will be able to change according to the situation.
b) The eyes must be agile, like a hungry eagle catching a rabbit. The you will be able to examine in advance what to do.
c) The hands must be agile, like a hungry tiger snatching a goat. Then they can issue first to control the opponent
These are the three things that must be agile."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
Sunday, January 17, 2010
Round (圓) from the Xingyi Eight Characters Secret (形意八字訣)
圓
有三圓，即
一。脊背要圓，其力催身，則尾閭中正，精神貫頂。
二。前胸要圓，兩肘力全，心窩微收，呼吸通順。
三。虎口要圓，勇猛外宣，則手有裹抱力。
是謂之三圓。
有三圓，即
一。脊背要圓，其力催身，則尾閭中正，精神貫頂。
二。前胸要圓，兩肘力全，心窩微收，呼吸通順。
三。虎口要圓，勇猛外宣，則手有裹抱力。
是謂之三圓。
"Round. The three things that must be round are:
a) The back should be round. Its strenght breaks the opponent's body, and the sacrum will be centered and upright.The spirit of vitality will permeate to the top of the head,
b) The chest must be round. Then both elbow will be completely strong, the heart cavity slightly contracts, breathing is unhindered and smooth.
c) The tiger's mouth must be round. Then bravery and fierceness will be proclaimed. Then the hands will be able to embrace.
These are the three things that must be round."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
a) The back should be round. Its strenght breaks the opponent's body, and the sacrum will be centered and upright.The spirit of vitality will permeate to the top of the head,
b) The chest must be round. Then both elbow will be completely strong, the heart cavity slightly contracts, breathing is unhindered and smooth.
c) The tiger's mouth must be round. Then bravery and fierceness will be proclaimed. Then the hands will be able to embrace.
These are the three things that must be round."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
Friday, January 15, 2010
Cover (扣) from the Xingyi Eight Characters Secret (形意八字訣)
扣
有三扣，即
一。兩肩要扣，則前胸空闊，氣力到肘。
二。手背足背要扣，則氣力到手，跟步力厚。
三。牙齒要扣，則筋骨緊縮。
是謂之三扣。
有三扣，即
一。兩肩要扣，則前胸空闊，氣力到肘。
二。手背足背要扣，則氣力到手，跟步力厚。
三。牙齒要扣，則筋骨緊縮。
是謂之三扣。
"Cover. The three things that must be like covers are:
a) Both shoulders should be like covers. The chest is empty and broad. The qi strength arrives in the elbows.
b) If the backs of the hands and feet are like covers, then the qi strenght will arrive in the hands and the post steps will be strong and deep.
c) The teeth must be like covers. Then the tendons and bones will tighten and contract.
These are the three things that muse be like covers."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
a) Both shoulders should be like covers. The chest is empty and broad. The qi strength arrives in the elbows.
b) If the backs of the hands and feet are like covers, then the qi strenght will arrive in the hands and the post steps will be strong and deep.
c) The teeth must be like covers. Then the tendons and bones will tighten and contract.
These are the three things that muse be like covers."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
Saturday, January 9, 2010
Push Up From Below (頂) from the Xingyi Eight Characters Secret (形意八字訣)
頂
有三頂，即
一。頭向上頂，有衝天之雄，頭為週身之主，
上頂則後三關易通，臂氣因之上達泥丸以養性。
二。手掌外頂，有推山之功，則氣貫周身，力達四肢。
三。舌上頂，有吼獅吞象之容，
能導上升之腎氣，下行歸丹田以固命。
是謂之三頂。
有三頂，即
一。頭向上頂，有衝天之雄，頭為週身之主，
上頂則後三關易通，臂氣因之上達泥丸以養性。
二。手掌外頂，有推山之功，則氣貫周身，力達四肢。
三。舌上頂，有吼獅吞象之容，
能導上升之腎氣，下行歸丹田以固命。
是謂之三頂。
"Push up from below. The three things that must push up from below are:
a) The «rear skull bone» is pushed upwards with the bravery to rush to heaven. The head is the master of the whole body. If it is pushed up, the it is easy to pass through the rear three gates. The kidney qi is able of extende upward through the Niwan and nourish the disposition.
b) If the palm of the hand is pushed outward, it has the skill of pushing mountains. The qi permeates the whole body and strength is extended to the four limbs.
c) If the tongue is pushed up, we have the air of a roar lion swallowing an elephant, and can lead the kidney qi upward, and then down again to return to the datian. Use it to solidify your life.
These are the three things that must push up from below"
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
a) The «rear skull bone» is pushed upwards with the bravery to rush to heaven. The head is the master of the whole body. If it is pushed up, the it is easy to pass through the rear three gates. The kidney qi is able of extende upward through the Niwan and nourish the disposition.
b) If the palm of the hand is pushed outward, it has the skill of pushing mountains. The qi permeates the whole body and strength is extended to the four limbs.
c) If the tongue is pushed up, we have the air of a roar lion swallowing an elephant, and can lead the kidney qi upward, and then down again to return to the datian. Use it to solidify your life.
These are the three things that must push up from below"
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
Friday, January 8, 2010
Xingyi Eight Characters Secret (形意八字訣) by Jiāng Róngqiáo (薑容樵)
The corpus of available texts in Xíngyìquán (形意拳) is not as vast as a more popular art like Tàijíquán (太極拳). Certain texts can be found in different "founding books", like some of the chapters in the "Xingyi Connected Fist (形意連環拳)" by Lǐ Cúnyì (李存義) that are present also in the books by Jiāng Róngqiáo (薑容樵). At the end of the day, as the translator Joseph Crandall points out in his preface to "Xingyi Connected Fist (形意連環拳)", it is difficult to assert the original author. Evidence advanced by Joseph Crandall in the preface point though to Jiāng Róngqiáo (薑容樵), which I accept here in the posts.
The fact that these small number of texts are presented over and over again demonstrates the importance attached to it by practicioners, and they therefore become the canon of the art.
The fact that these small number of texts are presented over and over again demonstrates the importance attached to it by practicioners, and they therefore become the canon of the art.
形意八字訣
四梢而外，又有八字訣即頂、
扣、圓、敏、抱、垂、曲、挺、是也。
樁法拳式站定時，此八字須具備焉，
所以蓄力養氣，使敵我者無所措使。
而八字者，又各有三種焉，分述之如下
四梢而外，又有八字訣即頂、
扣、圓、敏、抱、垂、曲、挺、是也。
樁法拳式站定時，此八字須具備焉，
所以蓄力養氣，使敵我者無所措使。
而八字者，又各有三種焉，分述之如下
"Besides the Four Extremities there are also the Eight Characters. These are:
Push up from Below
Cover
Round
Agile
Embrace
Let Fall
Bend
Stretch
These Eight Characters must be present and complete. Use them to store up strength, nourish the qi, and make the enemy yours. All of these are published here. They are also manifested in the Five Elements Fists. The Eight Characters are divided into triads and are delineated below."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
Push up from Below
Cover
Round
Agile
Embrace
Let Fall
Bend
Stretch
These Eight Characters must be present and complete. Use them to store up strength, nourish the qi, and make the enemy yours. All of these are published here. They are also manifested in the Five Elements Fists. The Eight Characters are divided into triads and are delineated below."
From the book Xingyi Connected Fist (形意連環拳), by Lǐ Cúnyì (李存義), and from Xingyi Mother Fists (形意母拳) by Jiāng Róngqiáo (薑容樵) based on the translations by Joseph Crandall
Wednesday, January 6, 2010
Tai Chi Secrets by Yang Jwing Ming (楊俊敏)
This collection of original Tàijíquán (太極拳) texts, translations and commentaries is probably the most complete to date. Master Yang Jwing Ming (楊俊敏) covers a lot of material on the three books: Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要), Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要) and Tai Chi Secrets of the Wu & Li Styles (太極拳武李氏先哲秘要). There is material for a life of study and the books complement quite well the other handbooks proposed by the prolific Master Yang Jwing Ming (楊俊敏).
Some of the material is also present on the Lost Tai Chi Classics from the Late Ch'ing Dinasty, by Douglas Wyle. But the approach is different, as the "Lost Tai Chi Classics" cover it from the scholar point of view, here the texts are presented from the practicioner point of view.
Some of the material is also present on the Lost Tai Chi Classics from the Late Ch'ing Dinasty, by Douglas Wyle. But the approach is different, as the "Lost Tai Chi Classics" cover it from the scholar point of view, here the texts are presented from the practicioner point of view.
Monday, January 4, 2010
Lost T'ai Chi Classics from the Late Ch'ing Dinasty by Douglas Wile
A necessary source for anyone that wants to have access to the source texts, this book is in the bibliography of all other books I read on the subject.
Beyond presenting a number of key texts both in Chinese and in translation, the author Douglas Wile presents a wide panorama of the social, cultural and political motivations for the emergence of Tai Chi Chuan as a martial art. He also discusses the origins and history of the texts, in a balanced and scholar way.
By reading these book, it is possible to have access to the sources without falling in mystifications or idealisations that would take the praticant off-path.
Beyond presenting a number of key texts both in Chinese and in translation, the author Douglas Wile presents a wide panorama of the social, cultural and political motivations for the emergence of Tai Chi Chuan as a martial art. He also discusses the origins and history of the texts, in a balanced and scholar way.
By reading these book, it is possible to have access to the sources without falling in mystifications or idealisations that would take the praticant off-path.
Sunday, January 3, 2010
Tǎqiáo (塔橋), Dā Quèqiáo (搭鵲橋) or touching the palate with the tip of the tongue
塔
橋
橋
One of the first things that is asked when starting the first lesson in Internal Martial Arts is to put the tip of the tongue behind the gum, touching the palate. According to Master Jou Tsung Hwa (周宗樺) in the Tao of Meditation, this is called Tǎqiáo (塔橋), or literally the tower (塔) bridge (橋). Through my practice, I heard different explanations for doing it:
- From a Martial Arts point of view, creating this habit, one avoids the risk os biting one's own tongue.
- From an energy point of view, this ensures the connection between the Governing Vessel (督脈) and the Conception Vessel (任脈).
- The last explanation is that it ensures that the students don't have the opportunity for chatting and therefore have to concentrate on the lesson.
- From a Martial Arts point of view, creating this habit, one avoids the risk os biting one's own tongue.
- From an energy point of view, this ensures the connection between the Governing Vessel (督脈) and the Conception Vessel (任脈).
- The last explanation is that it ensures that the students don't have the opportunity for chatting and therefore have to concentrate on the lesson.
搭
鵲
橋
鵲
橋
Another name for the same position can be found in the book "Special Taoist Taiji Stick & Ruler Qigong" (道家太極棒尺氣功) by Wáng Fèngmíng (王鳳鳴), based on Féng Zhìqiáng (馮志強) teachings. The position is called there "Building the Magpie Bridge" (搭鵲橋), a reference to the Princess (織女) and the Cowherd (牛郎) legend.
In that legend the Magpie Bridge (鵲橋) is built on the Night of Sevens or Qīxījié (七夕节) to allow the two lovers (a divine princess and a human cowherd) turned constellations to meet.
In that legend the Magpie Bridge (鵲橋) is built on the Night of Sevens or Qīxījié (七夕节) to allow the two lovers (a divine princess and a human cowherd) turned constellations to meet.
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