Friday, December 27, 2013

Twentieth Secret Song (歌訣二十) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Vigésima Canção Secreta (歌訣二十) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣二十

剛在先兮柔後藏,
柔在先兮剛後張。
他人之柔腰與手,
我則吸腰步穩揚。
"If hardness comes first, then the softness is concealed behind.
If softness comes first, then the hardness is manifested later.
Other people’s softness from the waist and hands
Can be beaten by the absorption of the waist and a steady step."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"
"Se no príncipio vem a rigidez, então a suavidade está escondida por trás,
Se a suavidade vem primeiro, então a rigidez se manifestará depois.
A suavidade produzida pelo oponente pela cintura e as mãos
Pode ser vencida pela absorção na cintura e um passo constante.

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang"

Friday, December 20, 2013

The Xíngyì Song of Tài​jí (形意太極歌) by Jiāng Róngqiáo (薑容樵) A Canção do Tài​jí no Xíngyì (形意太極歌) de Jiāng Róngqiáo (薑容樵)

形意太極歌

無極乃生陰陽母
動分靜合兩儀輔
三才四象皆無遺
五行六合七曜主

薑容樵
"Wuji is the mother of Yin and Yang.
Movement separates, stillness combines and the Liang Yi supports.
Neither the San Cai nor the Si Xiang are lost.
It is the ruler of the five elements, six combinations and seven stars."

From the book Xing Yi Mother Fists (形意母拳) and The Miscellaneous Form and Eight Postures Form of Xing Yi (形意杂式捶八式拳合刊), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall.
"Wuji é a mãe do Yin e do Yang.
O movimento separa, a quietude combina e o Liang Yi suporta.
Não se perde nem o San Cai nem as quatro extremidades.
Ele é o governante dos cincoe elementos, das seis coordinações e das sete estrelas."

Do livro os Punhos-Mãe do Xing Yi (形意母拳) e a Forma Mixta e Forma das Oito Posturas do Xing Yi (形意杂式捶八式拳合刊), de Jiāng Róngqiáo (薑容樵), baseado na tradução de Joseph Crandall.

Wednesday, December 11, 2013

Besiege Wei to Rescue Zhao (圍魏救趙) from the Thirty-Six Stratagems (三十六計)Sitiar Wei para Salvar Zhao (圍魏救趙) dos Trinta e Seis Estratagemas (三十六計)

圍魏救趙

共敵不如分敵,敵陽不如敵陰。
"When the enemy is too strong to attack directly, then attack something he holds dear. Know that in all things he cannot be superior. Somewhere there is a gap in the armour, a weakness that can be attacked instead."

Quoted from Chinese Classics and Translations
"Quando o inimigo é muito forte para ser atacado diretamente, ataque algo que lhe é caro. Saiba que ele não pode ser superior em todos os pontos. Procure alguma brecha na armadura, um ponto fraco por onde se possa entrar."

Traduzido à partir de Chinese Classics and Translations

Friday, December 6, 2013

The Song of the Emptiness of Three Hearts (心空歌) from The Major Methods of Wudang Sword (武當劍法大要) A Canção do Vazio do Três Centros (心空歌) de Os Principais Métodos da Espada Wudang (武當劍法大要)

心空歌

歌曰:
手心空,使劍活。
足心空,行步捷。
頂心空,心眼一。
"The song says:
When the palm of the hand is empty, the sword is alive.
When the center of the feet is empty, the stepping is nimble.
When the crown of the head is empty, the mind and the eyes are one."

Based on the translations by Chang Wu Na (張悟納) and Dr. Lu Mei-hui (呂美惠) in "The Major Methods of Wudang Sword " (武當劍法大要)
Disclaimer: I don't practice Wudang Sword myself. However the school's texts and insights are of interest for any internal martial arts practitioner.
.
"A canção diz:
Quando a palma está vazia, a espada vive.
Quando o centro do pé está vazio, o passo é ágil.
Quando o alto da cabeça está vazio, a mente e os olhos são um."

Baseado na tradução de Chang Wu Na (張悟納) e Dr. Lu Mei-hui (呂美惠) em "Os Métodos Principais da Espada Wudang" (武當劍法大要) Aviso: Eu não pratico a espada de Wudang. Entretanto, os textos e instruções da escola são interessantes para todos os praticantes de artes marciais internas.

Friday, November 29, 2013

Nineteenth Secret Song (歌訣十九) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)Décima Nona Canção Secreta (歌訣十九) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣十九

人道掌法勝在剛,
郭老曾言柔內藏。
個中也有人知味,
剛柔相濟是所長。
"People’s way to beat the palm methods is in the hard,
The ancient said that the soft should be concealed within.
In martial arts someone has discovered this taste,
The mutual assistance of the hard and the soft is the best way."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"
"A maneira das pessoas se baterem com o método da palma é através do rígido,
Os antigos diziam que o suave deve ser escondido.
Alguém descobriu o gosto dessa maneira,
A mútua assistência entre o duro e o suave é o ideal"

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang"

Friday, November 22, 2013

Shoulder Jin (靠勁) from The Secret of the Eight Methods (八法秘訣) Aplicar o Ombro (靠勁), extraído do Segredo dos Oito Métodos (八法秘訣)

靠勁

靠勁義何解?其法分肩背。
斜飛勢用肩,肩中還有背。
一旦得機勢,轟然如搗碓。
仔細維重心,失中徒無功。

吳公藻
"How to explain the Bump/Gao Jin? Its methods are divided in shoulders and back.
Diagonal flying uses the shoulder and within the shoulder there is also the back.
Once one gains the advantageous position, there is a loud sound like a pounding pestle.
One should be attentive to preserve the central equilibrium, as there is no accomplishment in losing the center."

By Wú Gōngzǎo (吳公藻), based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).
"Como explicar o Aplicar o Ombro? O método é dividida em usar os ombros e usar as costas.
A postura de Voar em Diagonal utilisa o ombro dentro Aplicar o Ombro, e implícitas ao ombro estão as costas.
Assim que haja uma oportunidade, aplique um golpe sonoro ao adversário; como um pilão.
Preste atenção ao centro de gravidade, se for perdido o movimento será vão."

De Wú Gōngzǎo (吳公藻), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

Friday, November 15, 2013

The Study of the Splitting Fist in Xingyi (形意劈拳學) from The Study of Xing Yi Quan (形意拳學) O Estudo do Punho que Parte (形意劈拳學) do Estudo do Xíngyì Quán (形意拳學)

形意劈拳學

劈拳者,屬金,是一氣之起落也。前四節三體重生萬笺張,三體總是陰陽相合。陰陽相合,總是上下內外合為一氣。故其形象太極,是三體合一,是氣之靜也。氣以動而生物。其名為橫,橫屬土,土生萬物,故內包四德。按其五行循環之數,是土生金也。故先練習劈拳。劈拳者,是氣之起落上下運用之,有劈物之意,故於五行之理屬金,其形象斧,在腹內則屬肺,在拳中即為劈。其勁順,則肺氣和;其勁謬,則肺氣乖。夫人以氣為生,氣和則體壯,氣乖則體弱,體弱必病生,而拳亦必不通矣。故學者不可不先務也。

孫祿堂
"The splitting fist is classified with the element Metal and contains the rise and fall of the unified Qi. The former four sections (of the book) explain how San Ti is generated and creates the ten thousand things, San Ti always conforms to the Yin-Yang. To conform with the Yin-Yang means that the high and low, the internal and external always combine in the unified Qi. Therefore it looks like Taiji, Santi is unified and the Qi is at rest. Life is created by the movement of Qi. This is called crossing, which is affiliated to earth. Earth gives birth to everything, within crossing there are the four virtues. According to the circulation of the five elements (Wu Xing), earth produces metal. This is the reason the first practice is the splitting fist. The qi of the splitting fist is to rise and fall, to put the high and low into use, there is the idea of a chopping object. In the the five elements (Wu Xing) system it is affiliated with metal, its image is an axe, it belongs to the lungs in the human body, in boxing it is defined as splitting. If the splitting fist energy flows naturally, there will be harmonius Qi in the lungs. If its energy is mixed-up, there will be perverse Qi in the lungs. Qi is the basis of life of the human body. From harmonious Qi follows a strong body, from perverse Qi debilitates the body. Debility necessarily generates illness and boxing will necessarily be blocked. Therefore the student should not study any other topic before (the splitting fist)."

From the book The Study of Xing Yiquan (形意拳學), by Sūn Lùtáng (孫祿堂), based on the translation by Albert Liu and Dan Miller.
"O punho que parte é classificado com o elemento Metal e contém a ascensão e descida do Qi unificado. As primeiras quatro seções (do livro) explicam como o San Ti é gerado e como a partir dele são criadas os dez mil seres. O San Ti sempre está em conformidade com o Yin-Yang. Estar conforme com o Yin-Yang significa que o alto e o abaixo, o interno e o externo estão sempre combinados no Qi unificado. Assim é criada a aparência do Taiji, o Santi é unificado e o Qi está em repouso. A vida é criada pelo movimento do Qi. A isso se dá o nome de Cruzar, que é afiliado ao elemento Terra. A terra dá vida à tudo, no interior do Cruzar estão as quatro virtudes. De acordo com a circulação dos cinco elementos (Wu Xing), a Terra produz o Metal. Esta é a razão pela qual a primeira prática é o Punho que Parte. O Qi do Punho que Parte é subir e descer, colocar em prática o acima e o baixo, existe a idéia de um objeto cortante. No sistema dos cinco elementos (Wu Xing) ele é afiliado com o elemento Metal, a sua imagem um machado, é relacionado aos pulmões no corpo humano, na artes marciais é definido como partir (ou dividir). Se a energia de partir flui naturalmente, o Qi dos pulmões estará em harmonia. Se a energia está desorganisada, o Qi dos pulmões será prejudicial. Qi é a base da vida do corpo humano. Do Qi em harmonia resulta um corpo forte, o Qi prejudicial debilita o corpo. Debilidade gera doença, e a capacidade de boxear será necessariamente bloqueada. Em consequência, o praticance não deve estudar nenhum outro tópico antes (do Punho que Parte)."

Do livro O Estudo do Xíngyì Quán (形意拳學), de Sūn Lùtáng (孫祿堂), baseado na tradução de Albert Liu e Dan Miller.

Wednesday, November 13, 2013

Chapter 42 (四十二) from the Dào​dé​jīng (道德經) Capítulo 42 (四十二) do Dào​dé​jīng (道德經)

四十二

道生一,
一生二,
二生三,
三生萬物。
萬物負陰而抱陽,
沖氣以為和。
人之所惡,惟孤﹑寡﹑不穀,而王公以為稱。
故物或損之而益,
或益之而損。
人之所教,
我亦教之。
強梁者不得其死,
吾將以為教父。

老子
"The Dao produced One;
One produced Two;
Two produced Three;
Three produced All things.
All things leave behind them the Obscurity (out of which they have come), and go forward to embrace the Brightness (into which they have emerged),
while they are harmonised by the Breath of Vacancy.
What men dislike is to be orphans, to have little virtue, to be as carriages without naves;
and yet these are the designations which kings and princes use for themselves.
So it is that some things are increased by being diminished, and others are diminished by being increased.
What other men (thus) teach,
I also teach.
The violent and strong do not die their natural death.
I will make this the basis of my teaching."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project
"O Caminho gera o um
O um gera o dois
O dois gera o três
O três gera os dez mil seres

Os dez mil seres se cobrem com o obscuro e abraçam o claro
E se harmonizam através do esplêndido sopro

O que os homens detestam
São os órfãos, os carentes e os indignos
Mas é assim que os reis e príncipes se denominam
Por isso as coisas
Ao serem diminuídas, irão aumentar
Aumentadas, irão diminuir

O que os homens ensinaram eu também ensino com o mesmo sentido:
Os rígidos troncos não merecerão a sua morte
Eu irei utilizar isto como o pai do ensinamento

Tradução de Wǔ Rǔqīng (武汝清)

Friday, October 25, 2013

Eighteenth Secret Song (歌訣十八) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Décima Oitava Canção Secreta (歌訣十八) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣十八

高欲低兮矮欲揚,
斜身繞步不須忙。
斜翻倒翻腰著力,
翻到極處力要剛。
"When above, one wishes to lower, when low, one wishes to raise,
The body inclines, the step winds, one should not hurry.
Through oblique overthrows or turns, the waist mobilizes the power,
When turning to the extreme point the power will be strong."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"
"Quando no alto, deseja-se descer, quando abaixo, deseja-se subir,
O corpo se inclina, o passo serpenteia, não se deve apressar.
Através de golpes oblíquos ou de giros, a cintura mobilisa a força,
Quando girando ao ponto extremo, a potência será máxima."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Friday, October 18, 2013

Push (按) in The Explanation of Tai Chi Chuan's Harmonious Stepping in Four Sides of Pushing Hands (太極拳合步四正推手解) Empurrar (按), a partir da Explicação dos Passos Harmoniosos dos Quatro Lados do Tuī Shǒu (太極拳合步四正推手解)

按者,因擠式不得其機,便將右手,緣彼敵之左肘外廉轉上,仍成履式履回。如履又不得勢,刖翻右手,以手心按彼左肘節上抽出。左手又以手心按彼左腕上,是謂之按。按之轉復為掤。掤履擠按終而復始,輪轉不息。此謂練習黏連貼隨之意也。以上四式,變化無窮,筆難縷術,望學者幸細心領會。

楊澄甫
"To push (Àn): as the pressing (Jǐ) may not be the appropriate form, one simply uses the right hand and attach it to the exterior of the opponent’s left elbow over the articulation, to transform the posture into Rollback (Lü) and apply this posture. If Rollback (Lü) cannot be applied, one turns over the right hand and uses the palm to push down the opponent’s left elbow joint. In the same way the left hand uses the palm to push down the opponent’s left wrist. This is called push (Àn), from push (Àn) one turns back to Ward-off (Peng). Wardoff (Peng), Rollback (Lü), Press (Jǐ), and Push (Àn) work as a full circle, cycling without ceasing. This is the meaning of practicing adhering, connecting, attaching and following. The four patterns mentioned above have endless variations. It is difficult to detail them in writing. It is expected that the attentive practitioner understand them."

Dictated by Yang Chengfu (楊澄甫口述), noted by Chen Weiming (陳微明筆述), based on the translation by 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) and various translations on the internet.
"Empurrar (Jǐ): se o pressionar (Jǐ) não for a forma apropriada, deve-se simplesmente utilisar a mão direita e pousá-la no exterior do cotovelo esquerdo do oponente, sobre a articulação, para transformar a postura em Deixar Passar (Lü). Se o Deixar Passar (Lü) não puder ser aplicado, deve-se simplesmente virar a mão e usar a palma para empurrar a articulação do cotovelo esquerdo para baixo. Da mesma maneira a mão esquerda aplica a palma para empurrar para baixo o pulso esquerdo do oponente. Isso se chama Empurrar (Jǐ) e de Empurrar (Jǐ) volta o Aparar (Peng). Aparar (Peng), Deixar Passar (Lü), Pressionar (Jǐ), e Empurrar (Àn) fazem um ciclo completo, alternando-se sem cessar. Este é o significado de praticar colar, conectar, aderir e seguir. As quatro posturas mencionadas acima têm variações infinitas. É impráticavel descreve-las todas. Espera-se que o praticante meticuloso comprenda essas posturas."

Transmitido oralmente por Yáng Chéngfǔ (楊澄甫口述), anotado por Chén​ Wēi​míng (陳微明筆述), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) e outras traduções na internet.

Friday, October 11, 2013

The Song of the Feet (足) in the Nine Songs of Xing Yi Quan (形意拳九歌) by Jiāng Róngqiáo (薑容樵) A Canção dos Pés (足) , extraído das Nove Canções do Xing Yi Quan (形意拳九歌) de Jiāng Róngqiáo (薑容樵)


左足直前,
斜側皆病,
右足勢斜,
前踵對脛,
隨人距離,
足指扣定。
薑容樵
"The left foot points straight ahead,
pointing diagonally or sideways is always bad.
The right foot position is oblique.
The front heel is opposite to the ankle.
The distance depends on the person’s size.
The toes hook to stabilize."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall
"O pé esquerdo aponta para a frente.
apontar em diagonal ou para o lado é um erro.
A posição do pé direito é obliqua.
O calcanhar da frente fica em frente do tornozelo.
A distância depende do tamanho do praticante.
E os artelhos se agarram ao solo para estabilizar a postura."

Do livro os Punhos-Mãe do Xing Yi (形意母拳), de Jiāng Róngqiáo (薑容樵), baseado na tradução de Joseph Crandall

Wednesday, October 9, 2013

Excerpt from the Inner Enterprise by Guǎn​zǐ (管子內業) Trecho do Trabalho Interior de Guǎn​zǐ (管子內業)

凡人之生也,必以平正;所以失之,必以喜怒憂患,是故止怒莫若詩,去憂莫若樂,節樂莫若禮,守禮莫若敬,守敬莫若靜,內靜外敬,能反其性,性將大定。

管子
"The life of man must rely on level balance, and this is lost through the heart’s joy and anger, cares and dismay. To quell anger nothing is better than Poetry. To dismiss cares, nothing is better than music. To moderate joy, nothing is better than li. To observe li, nothing is better than attentiveness. To maintain attentiveness, nothing is better than tranquility. Inwardly tranquil, outwardly attentive, able to return to your nature: thus will your nature be well stabilized."

Translation proposed by The University of Indiana
"A vida do homem é baseada necessariamente no equilíbrio, e ele se perde pela alegrias e coléras, preocupações e decepções. Para saciar a coléra nada é melhor que a poesia. Para deixar partir as preocupações, nada é melhor que a música. Para moderar a alegria, nada é melhor que a etiqueta (li). Para observar etiqueta, nada é melhor que a atenção. Para manter a atenção nada é melhor que a tranquilidade. Tranquilo para dentro, atencioso para foro, capaz de voltar para a própria natureza: assim sua própria natureza pode ser estabilizada."

Traduzido a partir de The University of Indiana

Friday, October 4, 2013

Seventeenth Song (歌訣十七) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Décima Sétima Canção Secreta (歌訣十六) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣十七

掌使一面不為功,
至少仍須兩面攻。
一橫一直三角手,
使人如在我懷中。
"To use a single palm is not effective,
at least both sides must attack.
One across, one straight, the hands form a triangle,
it is as if the opponent is positioned at the center of my chest."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"
"Usar uma só palma não é eficaz,
pelo menois os dois lados devem atacar.
Uma através, outra à frente do corpo, as mãos formam um triângulo,
É como se oponente se posicionasse no centro do meu peito."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Friday, September 20, 2013

Eight Key Points of the Body Method (身法八要) by Wǔ Yǔxiāng (武禹襄) Os Oito Pontos Chave das Regras do Corpo (身法八要) de Wǔ Yǔxiāng (武禹襄)

身法八要

含胸、拔背、
裹襠、護肫、
提頂、弔襠、
鬆肩、沉肘。
武禹襄
"Contain the chest, stretch the back
Wrap the inner tighs, protect the hips
Lift the crown, hang the crotch
Loose the shoulders, sunk the elbows"

By Wǔ Yǔxiāng (武禹襄), based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu & Li Styles (太極拳武李氏先哲秘要) and various translations on the internet.
"Conter o peito, esticar as costas
Cerrar as coxas, proteger as ancas
Levantar o alto da cabeça, deixar livre os genitais
Liberar os ombros, afundar os cotovelos"

De Wǔ Yǔxiāng (武禹襄), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu & Li Styles (太極拳武李氏先哲秘要) e diversas traduções na internet.

Friday, September 13, 2013

A Survey of Vitality (精神) Vitalidade (精神)


In the west, modern internal martial (內家拳) classes almost never mention vitality (精神), often translated as the spirit of vitality, and its idea often overlooked. In some cases it is almost a forbidden word, as there is some confusion between it and force (力). The literature and the practitioners tend to talk a lot and concentrate on Qi (氣). In the early instruction texts Qi (氣) is certainly mentioned quite a lot, the concept is nevertheless elusive. However, good notice is also given to vitality (精神), which has the advantage of being clearer explained. In fact, some of those texts tell the practitioner to ignore Qi (氣) and concentrate on vitality (精神).

For example: 武禹襄 (Wǔ Yǔxiāng) in the 十三勢行功要解- Training Comprehension of the Thirteen Postures. The same notice can be found on The Art of Taiji Boxing (太極拳術), by Chen Weiming (陳微明), I use here the translation by Brennan :
全身意在精神。不在氣。在氣則滯。有氣者無力。無氣者純剛。
"Throughout the body, the mind should be on the spirit (of vitality) rather than on the energy, for if you are fixated on the energy, your movement will become sluggish. Whenever the mind is on the energy, there will be no power, whereas if you ignore the energy and let it take care of itself, there will be pure strength."

The meaning of 精神
Once this advice is understood, it is important to understand what the term means. Separately, the ideograms Jīng (精) and Shén (神) are along with Qi (氣) the three energies of Chinese Medicine. This approach is however misleading: jīng (精) is used as the first ideogram in many words that evocate for precision (精准), refinement (精美), accuracy (精确), concision (精粹) or splendor (精彩). In my dictionaries, Jīng (精) and Shén (神) together give me vitality, vigor, drive, spirit, mind. Another word also brings the idea of vitality: 精力. It seems to me then the difference between both terms is that精力 brings to mind a vitality that is related to the body, the force; 精神 brings to mind the clarity of the spirit, the liveliness of the mind.

How does 精神 manifest
The texts in the tradition give indications that 精神 bring sensitivity, agility and speed to the practitioner. The Thirty-sixth secret song (歌訣三十六) of Baguazhang mentions the enhanced sensitivity:
用時最要是精神,精神煥發耳目真,
任憑他人飛燕手,蟻鳴我聽虎龍吟。
"When in application the key is the vitality.
When one is glowing with health and vigor, all senses are alert.
It does not matter if the opponent’s hands are fast like a flying swallow,
The shout of an ant is like a tiger’s roaring or a dragon hissing to my ears. "


In the Key Points of Sparring (打手要言), Wáng Zōngyuè (王宗嶽) suggests that when 精神 is attained, speed of reaction is enhanced:
內固精神, 外示安逸。
彼不動, 己不動, 彼微動, 己先動。
"Inside the mind is strong, outside the appearance is soft.
If the opponent is still, I am still, if the opponent makes a tiny move, I move first."


In the Training Comprehension of the Thirteen Postures (十三勢行功要解) Wǔ Yǔxiāng (武禹襄) tells in detail what happens when 精神 is raised: the lightness of the body creates the conditions for the immediate exchange between the Intention (意) and the Movement (氣).
精神能提得起,則無遲重之虞.所謂頂頭懸也. 意氣須換得靈,乃有圓活之妙.所謂變轉虛實也.
"If the spirit of vitality is raised, then there is no heaviness. That means the head is suspended. Yi (Mind) and Qi must exchange skillfully; then you have gained the marvelous trick of roundness and aliveness. This means the substantial and the insubstantial can vary and exchange."


How to raise 精神
It is important to notice that raising 精神 is a step that happens prior to the movements. It is related to the stability of the body, something that must be reached before starting any other action. Wú Gōngzǎo (吳公藻) makes tells us in Central Equilibrium (中定):
伸屈開合之未發謂之中,寂然不動謂之定。心氣清和,精神貫頂,不偏不倚,是為中定之氣,亦道之本也。
"Before the action of extending, bending, opening and closing is called center. Silent and still is called equilibrium. The Xin and Qi are clean and harmonious, the spirit of vitality reaches the top of the head, no tilting, no leaning is called the Qi of Central Equilibrium. It is also the root of the Dao."


The raising of 精神 is enabled by the posture. In the Seventh Secret Song of Baguazhang (歌訣七) we can read:
胸欲空兮氣欲沈,背緊肩垂意前伸。
氣到丹田縮穀道,直拔顛頂貫精神
"The chest is empty and the Qi is sunk,
The back is straight, the shoulders are dropped, and the intention is forward.
Qi is led to Dan Tian, the coccyx is withdrawn.
The head is pulled straight upward to let the spirit of vitality pass through. "


Posture is the enabler, by itself it seems not to be sufficient. In the first of the The Ten Important Points of Tai Chi Chuan (太極拳十要), Yáng Chéngfǔ (楊澄甫) mentions that the use of physical force (力) creates stiffness and blocks the process. Intention (意) is then another ingredient:
頂勁者,頭容正直,神貫于頂也。不可用力,用力則項強,氣血不能流通,須有虛靈自然之意。非有虛領頂勁,則精神不能提起也。
"The crown upward Jin means the head looks upright and the spirit reaches the crown. One should not allow to use force. The use of the force makes the crown stiff and the Qi and blood cannot circulate smoothly and fluidly. The Yi of the insubstantial must be present, agile, natural. Without the insubstantial Jin to lead the crown upward, then the spirit of vitality cannot be raised."

精神 in the ancient texts
The 精神 has been used since antiquity, in particular in texts of the Taoist school or Taoist influence. In many cases it is used in the sense of attention, mind, in some of them the sense of clarity of mind. In the Zhuāng zi (莊子), chapter 天道 - The Way of Heaven, one can find a comparison 精神 with still water:
水靜則明燭鬚眉,平中準,大匠取法焉。水靜猶明,而況精神!聖人之心靜乎,天地之鑑也,萬物之鏡也。
"When water is still, its clearness shows the beard and eyebrows (of him who looks into it). It is a perfect Level, and the greatest artificer takes his rule from it. Such is the clearness of still water, and how much greater is that of the human spirit! The still mind of the sage is the mirror of heaven and earth, the glass of all things."


In the Critical Essays (論衡) by Wáng Chōng (王充) , a Confucian of the Old Text School, one can read in the chapter Daoxu (道虛), a direct link and the practices of longetivity are linked:
世或以老子之道為可以度世,恬淡無欲,養精愛氣。夫人以精神為壽命,精神不傷,則壽命長而不死。成事:老子行之,踰百度世,為真人矣。
"There is a belief that by the doctrine of Laozi one can transcend into another existence. Through quietism and dispassionateness one nourishes the vital force, and cherishes the spirit. The length of life is based on the animal spirits. As long as they are unimpaired, life goes on, and there is no death. Laozi acted upon this principle. Having done so for over a hundred years, he passed into another existence, and became a true Daoist sage."


The place of 精神
Vitality is central to the practice. It is one of the first clear instruction points after correcting posture. Yáng Chéngfǔ (楊澄甫) makes it explicit in another of the Ten Important Points of Tai Chi Chuan (太極拳十要) that vitality is the point that allows the ultimate goal of unification of intention and movement:
太極拳所練在神,故云︰«神為主帥,身為驅使»。精神能提得起,自然舉動輕靈。架子不外虛實開合。所謂開者,不但手足開,心意與之俱開。所謂合者,不但手足合,心意亦與之俱合。能內外合為一氣,則渾然無間矣。
"The actual Taijiquan practice is in the spirit, this is reason it is said: «The spirit is the commanding general and the body follows the orders». If the spirit of vitality can be raised, natural movements will be agile and skillful and the postures are nothing more than insubstantial, substantial, opening and closing. Opening means that not only the hands and feet open, but also that the mind and the intention take part in opening. Closing means that not only the hands and feet open, but also the mind and the intention take part in closing. The ability to combine the internal and external in a unified Qi, then Taijiquan is complete."


In the west, modern internal martial (內家拳) classes almost never mentione vitality (精神), often translated as the spirit of vitality, and its idea often overlooked. In some cases it is almost a forbidden word, as there is some confusion between it and force (力). The literature and the practitioners tend to talk a lot and concentrate on Qi (氣). In the early instruction texts Qi (氣) is certainly mentioned quite a lot, the concept is nevertheless elusive. However, good notice is also given to vitality (精神), which has the advantage of being clearer explained. In fact, some of those texts tell the practitioner to ignore Qi (氣) and concentrate on vitality (精神).

For example: 武禹襄 (Wǔ Yǔxiāng) in the 十三勢行功要解- Training Comprehension of the Thirteen Postures. The same notice can be found on The Art of Taiji Boxing (太極拳術), by Chen Weiming (陳微明), I use here the translation by Brennan :
全身意在精神。不在氣。在氣則滯。有氣者無力。無氣者純剛。
"Throughout the body, the mind should be on the spirit (of vitality) rather than on the energy, for if you are fixated on the energy, your movement will become sluggish. Whenever the mind is on the energy, there will be no power, whereas if you ignore the energy and let it take care of itself, there will be pure strength."

O Significado de 精神
Once this advice is understood, it is important to understand what the term means. Separately, the ideograms Jīng (精) and Shén (神) are along with Qi (氣) the three energies of Chinese Medicine. This approach is however misleading: jīng (精) is used as the first ideogram in many words that evocate for precision (精准), refinement (精美), accuracy (精确), concision (精粹) or splendor (精彩). In my dictionaries, Jīng (精) and Shén (神) together give me vitality, vigor, drive, spirit, mind. Another word also brings the idea of vitality: 精力. It seems to me then the difference between both terms is that精力 brings to mind a vitality that is related to the body, the force; 精神 brings to mind the clarity of the spirit, the liveliness of the mind.

Como 精神 se manifesta
The texts in the tradition give indications that 精神 bring sensitivity, agility and speed to the practitioner. The Thirty-sixth secret song (歌訣三十六) of Baguazhang mentions the enhanced sensitivity:
用時最要是精神,精神煥發耳目真,
任憑他人飛燕手,蟻鳴我聽虎龍吟。
"When in application the key is the vitality.
When one is glowing with health and vigor, all senses are alert.
It does not matter if the opponent’s hands are fast like a flying swallow,
The shout of an ant is like a tiger’s roaring or a dragon hissing to my ears. "


In the Key Points of Sparring (打手要言), Wáng Zōngyuè (王宗嶽) suggests that when 精神 is attained, speed of reaction is enhanced:
內固精神, 外示安逸。
彼不動, 己不動, 彼微動, 己先動。
"Inside the mind is strong, outside the appearance is soft.
If the opponent is still, I am still, if the opponent makes a tiny move, I move first."


In the Training Comprehension of the Thirteen Postures (十三勢行功要解) Wǔ Yǔxiāng (武禹襄) tells in detail what happens when精神 is raised: the lightness of the body creates the conditions for the immediate exchange between the Intention (意) and the Movement (氣).
精神能提得起,則無遲重之虞.所謂頂頭懸也. 意氣須換得靈,乃有圓活之妙.所謂變轉虛實也.
"If the spirit of vitality is raised, then there is no heaviness. That means the head is suspended. Yi (Mind) and Qi must exchange skillfully; then you have gained the marvelous trick of roundness and aliveness. This means the substantial and the insubstantial can vary and exchange."


Como elevar a 精神
It is important to notice that raising 精神 is a step that happens prior to the movements. It is related to the stability of the body, something that must be reached before starting any other action. Wú Gōngzǎo (吳公藻) makes tells us in Central Equilibrium (中定):
伸屈開合之未發謂之中,寂然不動謂之定。心氣清和,精神貫頂,不偏不倚,是為中定之氣,亦道之本也。
"Before the action of extending, bending, opening and closing is called center. Silent and still is called equilibrium. The Xin and Qi are clean and harmonious, the spirit of vitality reaches the top of the head, no tilting, no leaning is called the Qi of Central Equilibrium. It is also the root of the Dao."


The raising of 精神 is enabled by the posture. In the Seventh Secret Song of Baguazhang (歌訣七) we can read:
胸欲空兮氣欲沈,背緊肩垂意前伸。
氣到丹田縮穀道,直拔顛頂貫精神
"The chest is empty and the Qi is sunk,
The back is straight, the shoulders are dropped, and the intention is forward.
Qi is led to Dan Tian, the coccyx is withdrawn.
The head is pulled straight upward to let the spirit of vitality pass through. "


Posture is the enabler, by itself it seems not to be sufficient. In the first of the The Ten Important Points of Tai Chi Chuan (太極拳十要), Yáng Chéngfǔ (楊澄甫) mentions that the use of physical force (力) creates stiffness and blocks the process. Intention (意) is then another ingredient:
頂勁者,頭容正直,神貫于頂也。不可用力,用力則項強,氣血不能流通,須有虛靈自然之意。非有虛領頂勁,則精神不能提起也。
"The crown upward Jin means the head looks upright and the spirit reaches the crown. One should not allow to use force. The use of the force makes the crown stiff and the Qi and blood cannot circulate smoothly and fluidly. The Yi of the insubstantial must be present, agile, natural. Without the insubstantial Jin to lead the crown upward, then the spirit of vitality cannot be raised."

精神 nos textos antigos
The 精神 has been used since antiquity, in particular in texts of the Taoist school or Taoist influence. In many cases it is used in the sense of attention, mind, in some of them the sense of clarity of mind. In the Zhuāng zi (莊子), chapter天道 - The Way of Heaven, one can find a comparison精神 with still water:
水靜則明燭鬚眉,平中準,大匠取法焉。水靜猶明,而況精神!聖人之心靜乎,天地之鑑也,萬物之鏡也。
"When water is still, its clearness shows the beard and eyebrows (of him who looks into it). It is a perfect Level, and the greatest artificer takes his rule from it. Such is the clearness of still water, and how much greater is that of the human spirit! The still mind of the sage is the mirror of heaven and earth, the glass of all things."


In the Critical Essays (論衡) by Wáng Chōng (王充) , a Confucian of the Old Text School, one can read in the chapter Daoxu (道虛), a direct link and the practices of longetivity are linked:
世或以老子之道為可以度世,恬淡無欲,養精愛氣。夫人以精神為壽命,精神不傷,則壽命長而不死。成事:老子行之,踰百度世,為真人矣。
"There is a belief that by the doctrine of Laozi one can transcend into another existence. Through quietism and dispassionateness one nourishes the vital force, and cherishes the spirit. The length of life is based on the animal spirits. As long as they are unimpaired, life goes on, and there is no death. Laozi acted upon this principle. Having done so for over a hundred years, he passed into another existence, and became a true Daoist sage."


O lugar de 精神 na prática
Vitality is central to the practice. It is one of the first clear instruction points after correcting posture. Yáng Chéngfǔ (楊澄甫) makes it explicit in another of the Ten Important Points of Tai Chi Chuan (太極拳十要) that vitality is the point that allows the ultimate goal of unification of intention and movement:
太極拳所練在神,故云︰«神為主帥,身為驅使»。精神能提得起,自然舉動輕靈。架子不外虛實開合。所謂開者,不但手足開,心意與之俱開。所謂合者,不但手足合,心意亦與之俱合。能內外合為一氣,則渾然無間矣。
"The actual Taijiquan practice is in the spirit, this is reason it is said: «The spirit is the commanding general and the body follows the orders». If the spirit of vitality can be raised, natural movements will be agile and skillful and the postures are nothing more than insubstantial, substantial, opening and closing. Opening means that not only the hands and feet open, but also that the mind and the intention take part in opening. Closing means that not only the hands and feet open, but also the mind and the intention take part in closing. The ability to combine the internal and external in a unified Qi, then Taijiquan is complete."


Wednesday, September 11, 2013

Chapter 5 (五) from the Dào​dé​jīng (道德經)Capítulo 5 (五) do Dào​dé​jīng (道德經)



天地不仁,
以萬物為芻狗。
聖人不仁,
以百姓為芻狗。
天地之間,
其猶橐籥乎。
虛而不屈,動而愈出。
多言數窮,
不如守中。

老子
"Heaven and earth do not act from any wish to be benevolent;
they deal with all things as the dogs of grass are dealt with.
The sages do not act from (any wish to be) benevolent;
they deal with the people as the dogs of grass are dealt with.
May not the space between heaven and earth be compared to a bellows?
'Tis emptied, yet it loses not its power;
'Tis moved again, and sends forth air the more.
Much speech to swift exhaustion lead we see;
Your inner being guard, and keep it free."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project
"O céu e a terra não são bondosos
Tratam os dez mil seres como cães de palha
O Homem Sagrado não é bondoso
Trata os homens como cães de palha

O espaço entre o céu e a terra assemelha-se a um fole
É um vazio que não distorce
Seu movimento é a contínua criação

O excesso de conhecimento conduz ao esgotamento
E não é melhor do que manter-se no centro
"

Tradução de Wǔ Rǔqīng (武汝清)

Friday, September 6, 2013

Sixteenth Secret Song (歌訣十六) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Décima Sexta Canção Secreta (歌訣十六) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣十六

天然精術怕三穿,
不走外門是枉然。
他走外兮我走內,
伸手而得不費難。
"The natural and refined techniques fear the three piercings.
Do not walk out the door, this is vain.
The opponent walks outside, one walks inside.
Then it is not difficult to extend one’s hand and win."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"
"As técnicas naturais e refinadas temem as três perfurações.
Não sair pela porta, fazê-lo será em vão.
O oponente fica no exterior, e eu no interior.
Neste ponto não é difícil de estender a mão e vencer."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Friday, August 30, 2013

The Song of Sāncái (三才歌) by Jiāng Róngqiáo (薑容樵) A Canção do Sāncái (三才歌) de Jiāng Róngqiáo (薑容樵)

三才歌

八勢之中,
三節宜明,
手身及足,
四梢中根。

薑容樵
"At the core of the eight postures,
Three segments should be understood,
Hands, body and feet,
The four extremities are essential."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall
"Ao centro das oito posturas,
Três segmentos precisam ser compreendidos,
Mãos, corpo e pés,
As quatro extremidades são essenciais."

Do livro os Punhos-Mãe do Xing Yi (形意母拳), de Jiāng Róngqiáo (薑容樵), baseado na tradução de Joseph Crandall

Friday, August 23, 2013

Contain the Chest and Arc the Back (含胸拔背) from The Ten Important Points of Tai Chi Chuan (太極拳十要) Conter o Peito e Arquear as Costas (含胸拔背) dos Dez Pontos Chave do Tàijíquán(太極拳十要)

含胸拔背

含胸者,胸略內含,使氣沉于丹田也。胸忌挺出,挺出則氣擁胸際,上重下輕,腳跟易于浮起。拔背者,氣貼于背也。能含胸則自能拔背,能拔背則能力由脊發,所向無敵也。

楊澄甫
"Contain the chest means the chest is contained slightly inward, allowing the Qi (氣) to sink to the Dan Tian (丹田). One should avoid the chest to stick out. If the chest sticks out then the Qi (氣) will be held within the chest area. It will result that the top will is heavy and the bottom is light, the heels are likely to float. Arching the back means that the Qi (氣) is adhering to the back. If one contains the chest, then one is able to arc the back. The ability to arc the back allows power to be emitted from the spine. There is no rival for those that can attain this."

By Yáng Chéngfǔ (楊澄甫), based on the translation by 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) and various translations on the internet
"Conter o peito significa que o peito é mantido ligeiramente para dentro, permitindo ao Qi de descer ao Dan Tian. Deve-se evitar que o peito se estufe para fora. Se o peito se estufa, o Qi (氣) permancerá na altura do peito. O resultado será que a parte de cima ficará pesada e a de baixo leve, e assim os calcanhares irão provavelmente flutuar. Arquear as costas significa que o Qi (氣) adere às costas. Se se contém o peito, é possível arquear as costas. A capacidade de arquear as costas permite que a força seja emitida à partir da espinha dorsal. Não há rival para aqueles que podem atingir este nível."

De Yáng Chéngfǔ (楊澄甫), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) e outras traduções em livros e na internet.

Wednesday, August 14, 2013

Excerpt from Laying Plans (始計) in The Art of War (兵法)Citação de Fazer Planos (始計) da Arte da Guerra (兵法)

兵者,詭道也。故能而示之不能,用而示之不用,近而示之遠,遠而示之近。利而誘之,亂而取之,實而備之,強而避之,怒而撓之,卑而驕之,佚而勞之,親而離之。攻其無備,出其不意,此兵家之勝,不可先傳也。

孫子
"All warfare is based on deception. Hence, when able to attack, we must seem unable; when using our forces, we must seem inactive; when we are near, we must make the enemy believe we are far away;when far away, we must make him believe we are near. Hold out baits to entice the enemy. Feign disorder, and crush him. If he is secure at all points, be prepared for him. If he is in superior strength, evade him. If your opponent is of choleric temper, seek to irritate him. Pretend to be weak, that he may grow arrogant. If he is taking his ease, give him no rest. If his forces are united, separate them. Attack him where he is unprepared, appear where you are not expected. These military devices, leading to victory, must not be divulged beforehand."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project
"Todo conflito é baseado em artifícios. Assim, quando capaz de atacar é preciso parecer incapaz; quando usando nossas forças é preciso parecer inativo; quando se está próximo é preciso fazer o inimigo acreditar que estamos longe; e quando longe, fazê-lo acreditar que estamos próximos. Apresente iscas para induzir o inimigo. Finja desordem e destrua-o. Se ele proteger todos os pontos, esteja preparado para ele. Se ele for superior em força, recue. Se o oponente for de temperamento colérico, irrite-o. Finja ser fraco, ele pode se tornar arrogante. Se ele estiver se repousando, não dê descanso. Se suas forças estiverem unidas, separe. Ataque-o quando ele estiver despreparado, apareça quando não for esperado. Estes artifícios que levam à vitória não podem ser descobertos antecipadamente."

Traduzido a partir de Chinese Text Project

Friday, August 9, 2013

Fifteenth Secret Song (歌訣十五) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌) Décima Quinta Canção Secreta (歌訣十五) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣十五

此掌與人大不同,
未擊西兮先聲東。
指上打下孰得知,
卷珠倒流更神通。
"This palm is very different from others.
Before attacking the west, first shout at the east.
Point up and strike down, nobody can anticipate.
Roll the pearl and reverse the flow is an even more remarkable ability."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"
"Esta palma é muito diferente das outras.
Antes de atacar o este, primeiro berre no leste.
Aponte para cima e ataque embaixo, ninguém pode anticipar.
Rolar a pérola e inverter o fluxo é uma habilidade ainda mais notável.

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang".

Friday, August 2, 2013

Press (擠) in The Explanation of Tai Chi Chuan's Harmonious Stepping in Four Sides of Pushing Hands (太極拳合步四正推手解) Pressionar (擠), a partir da Explicação dos Passos Harmoniosos dos Quatro Lados do Tuī Shǒu (太極拳合步四正推手解)

擠者,正與履式相反。履則誘彼敵之按勁,使其進而入我陷阱而取之,必勝矣。設我之動力,先為彼所覺,則彼進勁必中斷,而變為他式,刖我之履勢失效,則不可不反退為進。用前手側採其肘,提起後手,加在前手小臂內便乘勢擠出。則彼倉猝變化之中,未有不失其機勢,而被我擠出矣。被擠者須於變化中能鎮定,有先覺,急空其擠勁,則便成其按勢矣。

楊澄甫
"To press (Jǐ) is just the opposite from Rollback (Lü). Rollback (Lü) induces the opponent’s Àn (push) to enter one’s trap and be caught there. This is a sure success. In the case one’s moving force is detected early by the opponent, he will interrupt his Ànjìn (push energy) and transform it into another posture; one’s Rollback (Lü) will be ineffective, it is unavoidable to reverse the retreating into advancing. Use one’s front hand to pluck his elbow from the side; raise one’s rear hand to add it inside the forearm of the front hand; take the opportunity to press. When encountering this sudden change, one should not loose his momentum and does not get pressed. If the one being pressed can remain unperturbed and has some foresight, he will immediately empty the pressing (Jǐ) by simply turning into a Àn (push)."

Dictated by Yang Chengfu (楊澄甫口述), noted by Chen Weiming (陳微明筆述), based on the translation by 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) and various translations on the internet.
"Pressionar (Jǐ) é apenas o oposto de Deixar Passar (Lü). Deixar Passar (Lü) induz o Àn (empurrar) do oponente à entrar numa armadilha e ser pego ali. Este é um sucesso certo. No caso em que a força em movimento é detectada cedo pelo oponente, ele interromperá seu Ànjìn (energia de empurrar) e transformá-la em outra postura; o Deixar Passar Rollback (Lü) será ineficaz, é inevitável reverter a retirada em avanço. Ao se utilisar a mão da frente para colher o cotovelo do oponente à partir do lado; levantar a mão de traz para juntá-la ao interior do ante-braço da mão da frente; utilisar a oportunidade para pressionar. Quando se encontra essa mudança brusca, não se deve perder o embalo e se deixar pressionar. Se a pessoa sendo pressionada consegue manter-se calma e antecipar, ela esvazia imediatamente o pressionar (Jǐ) simplesmente transformando-o em Àn (empurrar)."

Transmitido oralmente por Yáng Chéngfǔ (楊澄甫口述), anotado por Chén​ Wēi​míng (陳微明筆述), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) e outras traduções na internet.

Friday, July 26, 2013

Ancient Way to Keep Fit Antigos Métodos para Manter a Forma

The book in itself is a beautiful object, what I would classify as an arty book. It contains a rather long list of Qì​gōng (氣功) routines from different times and periods. Its paintings and drawings are well reproducted, it is printed on quality paper, the ensemble is quite a nice catalog of ancient routines.
It should not though be taken for an instructional book. There is no such intention, as far as I see: there are no descriptions of the routines, no details, no additional instructions. I would argue that it is impossible to learn Qì​gōng (氣功) or Internal Martial Arts (内家武術) from any book. This book has no such ambition and is still a good companion, its value is on the historical perspective that it provides.
Este livro é em si mesmo um belo objeto, um livro que tende ao livro de arte. Ele contém uma lista longa de rotinas de Qì​gōng (氣功) de diferentes períodos. As pinturas e desenhos routines são bem reproduzidas, impressas em papel de qualidade, o todo é um catálogo interessante de rotinas antigas.
Entretanto, não se deve confundir este livro com um manual. Pelo que eu vejo, a intenção não existe: não há descrição das rotinas, nenhum detalhe, nenhuma instrução adicional. Na minha opinião é impossível aprender Qì​gōng (氣功) ou Artes Marciais Internas (内家武術). Este livro não tem essa ambição e mesmo assim é interessante, seu valor reside na perspectiva histórica que ele proporciona.

Friday, July 19, 2013

The Song of the Legs (股) in the Nine Songs of Xing Yi Quan (形意拳九歌) by Jiāng Róngqiáo (薑容樵)A Canção das Pernas (股) , extraído das Nove Canções do Xing Yi Quan (形意拳九歌) de Jiāng Róngqiáo (薑容樵)


左股在前,
右股後撐,
似直不直,
似弓不弓,
雖有直曲,
每見雞形。
薑容樵
"The left leg is in front.
The right leg supports in the rear.
They look straight without being straight.
They look like a bow without being a bow.
Although they are both straight and curved,
Each has the appearance of a chicken’s leg."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall
"A perna esquerda fica à frente.
A perna direita suporta atrás.
Elas parecem esticadas sem estarem esticadas.
Elas parecem curvas sem estarem curvas.
E portanto elas estão ao mesmo tempo esticadas e curvas,
Elas parecem pernas de um galo."

Do livro os Punhos-Mãe do Xing Yi (形意母拳), de Jiāng Róngqiáo (薑容樵), baseado na tradução de Joseph Crandall

Wednesday, July 10, 2013

Loot a Burning House (趁火打劫) from the Thirty-Six Stratagems (三十六計)Pilhar uma Casa em Chamas (趁火打劫) dos Trinta e Seis Estratagemas (三十六計)

趁火打劫

敵之害大,就勢取利,剛決柔也。
"When a country is beset by internal conflicts, when disease and famine ravage the population, when corruption and crime are rampant, then it will be unable to deal with an outside threat. This is the time to attack."

Quoted from Chinese Classics and Translations
"Quando um país é submetido a conflitos internos, quando a doença e a fome assolam a população, quando há corrupção e crime desenfreados, ele será incapaz de lidar com uma ameaça exterior. Este é o momento de atacar."

Traduzido à partir de Chinese Classics and Translations

Friday, July 5, 2013

Fourteenth Secret Song (歌訣十四) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)Décima Quarta Canção Secreta (歌訣十四) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣十四

此掌與人大不同,
前手後手力相通。
欲使梢兮先動根,
招招如是不得松。
"This palm is very different from others.
The power (Li) of the front palm and the rear palm are connected.
If one wishes to use the tip of the branch, one must move the roots.
This applies to every move, thus it should not be neglected."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"
"Esta palma é muito diferente das outras.
A força (Li) da palma dianteira e da palma de trás estão conectadas.
Se se deseja usar a ponta dos galhos, é necessário mover as raízes.
Isto se aplica a todo movimento, portanto não deve ser negligenciado."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang"

Friday, June 28, 2013

Attach Jin (粘勁) from The Detailed Interpretation of the Five Elements (五行要義詳解)Colar (粘勁) da Interpretação Detalhada dos Cinco Elementos (五行要義詳解)

五行者,金、木、水、火、土也。五行之勁,曰粘、連、黏、隨、不丟頂。茲將各勁詳解於後。
"The five elements are metal, wood, water, fire and earth. The energies (jìn) of the five elements are: attach, connect, adhere, follow and no losing and no resisting. All aspects of each Jìn will be explained in detail next."
"Os cinco elementos são metal, madeira, água, fogo e terra. As energias (jìn) dos cinco elementos são: colar, conectar, aderir, seguir e não perder e não resistir. Cada um dos Jin será explicado a seguir."

粘者,如兩物互交粘之使起,在太極拳語中謂之勁。此勁非直接粘起,實間接而生。含有勁意雙兼兩義。如推手或交手時,對方體質强大,力氣充實,椿步穩固,似難使其掀動。或移其重心,然以粘勁,能使其自動失中,用意探之,使其氣騰,全神上注,則其體重而足輕,其根自斷。 此即彼之反動力所致,吾則順勢撤手,而以不丟不頂之勁,引彼懸空,是為粘勁。夫勁如粘球,一撫一提之間,運用純熟,球不離手,粘之即起,所謂粘即是走,走即是粘之謂也。

吳公藻
"To attach is like when two objects start sticking to each another. Tàijíquán terminology speaks of energies (jìn). This energy (jìn) is not sticking directly, but is generated indirectly. It contains the double meaning of both energy (jìn) and intention (yì). If at the the time of push hands or sparring the counterpart’s body is large, he has substantial strength and has a steady stance, it may seem difficult to move him. It is possible to move his center: by correctly applying the attaching energy one can automatically loose his center. By using the intention (yì) to probe, one can excite the opponent’s Qì and make the spirit (shén) completely focus on the top, the body becomes heavy and the feet light, his rooting will be cut. This is caused by the opponent's reverse motion. One then seizes the opportunity and withdraws the hands, by using the no losing and no resisting energy (jìn) to lead the opponent suspende in the air. This is the attaching energy (jìn). This energy (jìn) is like sticking to a ball, one time stroke, one time lift, if applied skillfully the ball will not part from the hands; when attached, the movement starts immediately. This is is what is called to attach is to yield and to yield is to attach."

By Wú Gōngzǎo (吳公藻), based on the translation by by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).
"Colar é como quando dois objetos começam a se colar. A terminologia do Tàijíquán menciona energias (jìn). Esta energia (jìn) não é colar diretamente, mas é gerada indiretamente. Ela contém o significado duplo de energia (jìn) e intenção (yì). Se no momento da prática de tuī​shǒu ou de applicações, o corpo do oponente é grande e ele tem força substancial e postura estável, pode parecer difícil de movê-lo. No entanto, é possível mover o centro do oponente: ao aplicar corretamente a energia de colar, pode-se relaxar seu centro. Ao usar a intenção (yì) para explorar, pode-se excitar o Qì do oponente e fazer com que o espírito (shén) fique completamente focado no alto, o corpo se tornando pesado e os pés leves, a raiz será cortada. Isto é causado pelo movimento reverso do oponente. Pode-se então usar a oportunidade e retirar as mãos, e ao usar a energia (jìn) de não perder, não resistir, suspender o oponente no ar. Esta é a energia (jìn) de colar. Esta energia (jìn) é como grudar uma bola nas mãos, se ela "acariciada" e suspensa, ela não partira; se ela está colada o movimento começa imediatamente. A isto se chama colar é ceder e ceder é colar."

De Wú Gōngzǎo (吳公藻), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

Friday, June 21, 2013

The Study of the Tiger Form (虎形學) from The Study of Xing Yi Quan (形意拳學)O Estudo da Forma do Tigre (虎形學) do Estudo do Xíngyì Quán (形意拳學)

虎形學

虎形者,有伏虎離穴之勢,而又有扑食之勇也。在腹內為腎水清氣上升。丹書雲:“虎向水中升”是也。又為風,風從虎,在拳中而為虎形。臀尾(名督脈,又名長強)起落不見形,猛虎坐臥出洞中是也。其拳順,則清氣上升而腦筋足矣。其拳逆,則濁氣不降而諸脈亦不貫通矣。醫書雲:督脈為百脈之原,督脈一通,諸脈皆通,即此意也。學者務格其虎形之至理,而得之於身心,以通諸竅。

孫祿堂
"Within the tiger style there are the “lying tiger leaving its cave” posture and the boldness of a tiger catching its prey. Within the abdomen, the clear Qì ascend from the kidneys. The Dan Shu says that the tiger ascends towards the water. Wind follows tiger and, in boxing, wind represents the tiger form. Túnwěi, (also known as Cháng qiáng in the Governing Vessel), cannot be seen while going up and down; This is how a crouching tiger goes out of its cave. If boxing is performed mildly, clean Qi ascends and the brain is replenished. If boxing is performed adversely, the impure Qi does not descend and all channels are blocked. Medical books point out that the Governing Vessel is the source of all channes. The idea is that if the Governing Vessel it is clear all vessels are clear. Students should study this principle of the tiger form, as well as apply it properly to body and mind in order to clear all channels."

From the book The Study of Xing Yiquan (形意拳學), by Sūn Lùtáng (孫祿堂), based on the translation by Albert Liu and Dan Miller
"No interior do estilo do tigre acham-se a postura do “o tigre deitado deixando a caverna” e a audácia do tigre capturando sua presa. No abdômen, o Qì puro sobe dos rins. O Dan Shu diz que tigre sobe em direção da água. O vento segue o tigre, e nas artes marciais, o vento representa a forma do tigre. Túnwěi, (também conhecido como Cháng qiáng no Vaso Governador), não pode ser visto subindo e descendo. Assim é a maneira que um tigre encolhido sai da caverna. Se executado suavemente, o Qì puro sobe e o cérebro é preenchido. Se executado incorretamente, o Qì impuro não desce e todos os meridianos se bloqueiam. A literatura médica indica que o Vaso Governador é a fonte de todos os meridianos. O princípio é que se o Vaso Governador está desbloqueado, todos os meridianos estão livres. Os praticantes devem estudar este princípio da forma do tigre e aplicá-la corretamente ao corpo e à mente para limpar todos os meridianos."

Do livro O Estudo do Xíngyì Quán (形意拳學), de Sūn Lùtáng (孫祿堂), baseado na tradução de Albert Liu e Dan Miller

Friday, June 14, 2013

Internal and External Unify with Each Other (內外相合) from The Ten Important Points of Tai Chi Chuan (太極拳十要)Unificação do Interno e do Externo (內外相合) dos Dez Pontos Chave do Tàijíquán(太極拳十要)

內外相合

太極拳所練在神,故云︰«神為主帥,身為驅使»。精神能提得起,自然舉動輕靈。架子不外虛實開合。所謂開者,不但手足開,心意與之俱開。所謂合者,不但手足合,心意亦與之俱合。能內外合為一氣,則渾然無間矣。

楊澄甫
"The actual Tàijíquán practice is in the spirit, this is reason it is said: «The spirit is the commanding general and the body follows the orders». If the spirit of vitality can be raised, natural movements will be agile and skillful and the postures are nothing more than insubstantial, substantial, opening and closing. Opening means that not only the hands and feet open, but also that the mind and the intention take part in opening. Closing means that not only the hands and feet open, but also the mind and the intention take part in closing. The ability to combine the internal and external in a unified Qi, then Taijiquan is complete."

By Yáng Chéngfǔ (楊澄甫), 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) and various translations on the internet
"A verdadeira prática do Tàijíquán está no espírito, e é por isso que se diz: «O espírito é o general, o corpo segue as ordens». Se a vitalidade pode ser elevada, movimentos naturais serão ágeis e hábeis; as posturas não passarão de insubstancial, substancial, aberta ou fechada. Abrir significa não apenas abrir as mãos e os pés, significa também que a mente e a intenção participam ao abrir. Fechar significa não apenas abrir as mãos e os pés, significa também que a mente e a intenção participam ao fechar. A capacidade de combinar o interno e o externo em um Qì unificado é que permite completar o Tàijíquán."

De Yáng Chéngfǔ (楊澄甫), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) e outras traduções em livros e na internet.

Wednesday, June 12, 2013

Excerpt from The Full Understanding of Life (達生) in Zhuāng zi (莊子)Trecho de A Compreensão Completa da Vida (達生) do Zhuāng zi (莊子)

紀渻子為王養鬥雞。十日而問:「雞已乎?」曰:「未也。方虛憍而恃氣。」十日又問。曰:「未也。猶應嚮景。」十日又問。曰:「未也。猶疾視而盛氣。」十日又問。曰:「幾矣。雞雖有鳴者,已無變矣,望之似木雞矣,其德全矣,異雞無敢應者,反走矣。」

莊子
"Ji Xing-zi was rearing a fighting-cock for the king. Being asked after ten days if the bird were ready, he said, 'Not yet; he is still vain and quarrelsome, and relies on his own vigour.' Being asked the same after other ten days, he said, 'Not yet; he still responds to the crow and the appearance of another bird.' After ten days more, he replied, 'Not yet. He still looks angrily, and is full of spirit.' When a fourth ten days had passed, he replied to the question, 'Nearly so. Though another cock crows, it makes no change in him. To look at him, you would say he was a cock of wood. His quality is complete. No other cock will dare to meet him, but will run from him.'

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project
"Ji Xing-zi estava adestrando um galo de briga para o rei. Após dez dias ao ser perguntado se a ave estava pronta, ele respondeu 'Ainda não, ele ainda é vaidoso e brigão, e conta com o próprio vigor.' Ao ser perguntado novamente após mais dez dias, ele respondeu: 'Ainda não, ele ainda responde ao canto e à aparência de outra ave.' Após outros dez dias, ele respondeu: 'Ainda não. Ele ainda tem raiva no olhar e demonstra exuberância.' Quando um quarto período de dez dias passou, ele respondeu à questão: 'Quase. Apesar dos outros galos cantarem, ele não se altera. Ao olhá-lo, poderia-se dizer que ele é um galo de madeira. Sua virtude é completa. Nenhum outro galo vai se atrever a provocá-lo, e ao contrário irão fugir dele'"

Traduzido à partir da tradução para o inglês do Chinese Text Project

Friday, May 31, 2013

Thirteenth Secret Song (歌訣十三) from the The Thirty-Six Songs of Bā​guà​zhǎng (八卦掌三十六歌)Décima Terceira Canção (歌訣十三) das Trinta e Seis Canções do Bā​guà​zhǎng (八卦掌三十六歌)

歌訣十三

此掌與人大不同,
手未動兮膀先攻。
未從前伸先後縮,
吸足再吐力獨豐。
"This palm is very different from others.
Before moving the hands, one attacks first with the bladder.
Before extending forward, one withdraws.
One absorbs plenty before emitting abundant power."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"
"Esta palma é muito diferente das outras.
Antes de mover as mãos, ataca-se primeiro com a bexiga.
Antes de se estender à frente, retirar-se.
Antes de emitir uma força abundante, deve-se primeiro absorver."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang"

Friday, May 24, 2013

Cheng Tzu's Thirteen Treatises on T'ai Chi Ch'uan (鄭子太極拳十三篇)Os Treze Tratados sobre T'ai Chi Ch'uan de Mestre Cheng (鄭子太極拳十三篇)

One of the first books I bought on Tàijíquán (太极拳), it is certainly one of my classics. The book is divided in two sections, the second a more traditional instructional manual of the Yáng Style form in the way that Zhèng Mànqīng (鄭曼青) taught it.
The piece that is really interesting is the first section, the one that gives the title of the book. The thirteen treatises are insightful meditations on the nature, mechanics and impact of Tai Chi Chuan. They are rather clear explanations, away from the jargon of the art, that come from the personal experience of a master. Among the treatises, there are two I am particularly fond of: "Changing the Temperament" and "Strength and Physics".
"Changing the Temperament" is a very personal opinion on impacts of the practice on the practicioner psychology. What strikes me in the text is the modesty of the conclusion, or its non conclusion. He asserts that, despite his own experience, the real impacts on temperament remain to be demonstrated. Zhèng Mànqīng (鄭曼青) takes a refreshing position if compared to more usual and sometimes dogmatic views on the impacts of Tàijíquán (太极拳).
"Strength and Physics" is a clear explanation of the mechanics at play in the practice, an explanation that at the same time is accessible as it avoids the jargon and down-to-earth as it avoids some of the far-fetched pseudo-scientific comparisons of Tàijíquán (太极拳) and physics that one can find in western books.
Este é um dos primeiros livros que eu comprei sobre (太极拳), é certamente um dos meus livros de cabeceira. O livro é dividido em duas seções, a segunda é um manual de tipo usual do estilo Yáng, na maneira em que era ensinado por Zhèng Mànqīng (鄭曼青).
A parte realmente interessante é a primeira seção, a que dá o título ao livro. Os Trez Tratados são meditações sobre a natureza, a mecânica e o impacto do Tai Chi Chuan. São explicações claras, longe do jargão da arte, que vêm da experiência pessoal do mestre. Entre os tratados, dois em especiam merecem atenção: "Transformando o Temperamento" e "Força e Física".
"Transformando o Temperamento" é uma discussão baseado na experiência própria do mestre dos impactos da prática na psicologia do praticante. O que impressiona de imediato no texto é a humildade da conclusão, ou da não conclusão. Ele afirma que, apesar da sua própria experiência, os impactos reais ainda precisam ser demonstrados. The assertion that the real impacts on temperament remain to be demonstrated. Zhèng Mànqīng (鄭曼青) toma uma posição que se diferencia das visões mais usuais e dogmáticas dos impactos do Tàijíquán (太极拳).
"Força e Física" é uma explicação clara da mecânica em jogo durante a prática, uma explicação que é ao mesmo tempo acessível e evita o jargão; e prática, já que evita algumas das comparações pseudo-científicas mais delirantes entre o Tàijíquán (太极拳) e a física que podem ser encontradas em livros ocidentais.

Friday, May 17, 2013

Push Jin (按勁) from The Secret of the Eight Methods (八法秘訣)Empurrar (按勁), extraído do Segredo dos Oito Métodos (八法秘訣)

按勁

按勁義何解?運用似水行。
柔中寓剛強,急流勢難當。
遇高則澎滿,逢窪向下潛。
波浪有起伏,有空無不入。

吳公藻
"How do we explain Push/An Jin? Put to use it looks like the flow of water.
Within softness there is hardness. The power of a torrent is hard to resist.
When met in the high it is like full waves. When met in the low, one gets submerged.
Waves move up and down, and there are no holes that it cannot penetrate."

By Wú Gōngzǎo (吳公藻), based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).
"Como explicar o Empurrar/An Jin? Quando utilisado ele parece o fluir da água.
Na suavidade existe a solidez. É difícil resistir ao poder de uma torrente.
Quando a encontramos em alta, ela é como uma onda cheia. Quando a encontramos em vazante, submergimos.
Ondas vão para cima e para baixo, e não há orifício que elas não possam penetrar."

De Wú Gōngzǎo (吳公藻), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu Style (太極拳吳氏先哲秘要).

Friday, May 10, 2013

The Song of the Fingers (指) in the Nine Songs of Xing Yi Quan (形意拳九歌) by Jiāng Róngqiáo (薑容樵)A Canção dos Dedos (指), extraído das Nove Canções do Xing Yi Quan (形意拳九歌) de Jiāng Róngqiáo (薑容樵)



五指各分,
其形似鉤,
虎口圓滿,
似剛似柔,
力須到指,
不可強求。

薑容樵
"The five fingers are well separated.
They take the form of hooks.
The tiger’s mouth is perfectly formed.
It seems firm and flexible at the same time.
Power must arrive to the extremity of the fingers.
But it should not be forced."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall
"Os cinco dedos bem separados
Tomam a forma de ganchos.
A boca do tigre é bem formada.
Aparenta firmeza e flexibilidade ao mesmo tempo.
A força deve chegar à extremidade dos dedos.
Mas não deve ser forçada."

Do livro os Punhos-Mãe do Xing Yi (形意母拳), de Jiāng Róngqiáo (薑容樵), baseado na tradução de Joseph Crandall

Wednesday, May 8, 2013

Chapter 78 (七十八) from the Dào​dé​jīng (道德經)Capítulo 78 (七十八) do Dào​dé​jīng (道德經)

七十八

天下莫柔弱於水,而攻堅強者莫之能勝,其無以易之。弱之勝強,柔之勝剛,
天下莫不知,莫能行。

是以聖人云:
受國之垢,
是謂社稷主;
受國不祥,
是謂天下王。

正言若反。

老子
"There is nothing in the world more soft and weak than water, and yet for attacking things that are firm and strong there is nothing that can take precedence of it; - for there is nothing so effectual for which it can be changed.
Every one in the world knows that the soft overcomes the hard, and the weak the strong, but no one is able to carry it out in practice."


Therefore a sage has said,
'He who accepts his state's reproach,
Is hailed therefore its altars' lord;
To him who bears men's direful woes
They all the name of King accord.'

Words that are strictly true seem to be paradoxical."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project
"Sob o Céu
Nada é mais suave e brando que a água
No entanto, para atacar o que é rígido e duro
Nada pode se adiantar a ela
Nada pode substituí-la

Assim
A suavidade vence a força
O brando vence o duro
Sob o céu
Não há quem não o saiba
Não há quem possa praticá-lo

Por isso o Homem Sagrado disse:
Aceitar as impurezas do reino
Chama-se reger o cereal e a terra
Aceitar as desventuras do reino
Chama-se reinar sob o céu

As palavras corretas parecem contrárias"

Tradução de Wǔ Rǔqīng (武汝清)

Friday, May 3, 2013

Twelfth Secret Song (歌訣十二) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)Décima Segunda Canção Secreta (歌訣十二) das Trinta e Seis Canções do Bāguàzhăng (八卦掌三十六歌)

歌訣十二

此掌與人大不同,
進步擡前乃有功。
退步還先退後足,
跨步盡外要離中。
"This palm is very different from others.
Step forward and lift the front (foot) to achieve success.
Step backward to move to a prior position by retreating the rear foot
To step at the maximum outwards is vital to keep away from the center (line of the opponent)."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"
"Esta palma é muito diferente das outras.
Dê um passo à frente e levante o pé da frente para ser bem sucedido.
Recue para uma posição prévia retirando o pé de trás
Dar uma passo ao máximo para fora é vital para se manter longe do centro (do oponente)."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang"

Friday, April 26, 2013

Rollback (履) in The Explanation of Tai Chi Chuan's Harmonious Stepping in Four Sides of Pushing Hands (太極拳合步四正推手解)
Deixar Passar (履), a partir da Explicação dos Passos Harmoniosos dos Quatro Lados do Tuī Shǒu (太極拳合步四正推手解)

履者,連著彼之肘與腕,不抗不採。因彼伸臂襲我,我順其勢而取之。是收回意謂之履。此字義又與說文不同,乃拳術家之專用名詞也。其方法即履去轉腰加上一手連著彼之肘節間。被履者須本捨己從人,亦須知有捨人從己之處。被履覺其手加重,便可乘之以靠。或覺其履勁,忽有斷繢,刖急舍其一邊,而襲以擠可也。

楊澄甫
"Rollback (Lü) means to connect through the opponent's elbow and wrist, without resisting and without plucking. When the opponent extends his arm to attack me, I follow his momentum to fetch him. This is the meaning of withdraw which is called Rollback (Lü). This character has as well a different meaning from the Shuowen (traditional dictionary from the Han dynasty), it is therefore a term specific to martial arts schools. The method of Rollback (Lü) combines a turn of the waist with the connection of the hand with the elbow of the opponent. To use Rollback (Lü) one must know when give up oneself and when one must give up the opponent. If one is being Rollbacked (Lü) and feel the opponent’s hand pressure, one can take advantage and apply a Bump (Kào). In the other hand, if one feels the opponent’s Rollbacked (Lü) energy is suddenly cut off, then one can immediately abandon that side and can attack using press (Jǐ)."

Dictated by Yáng Chéngfǔ (楊澄甫口述), noted by Chén​ Wēi​míng (陳微明筆述), 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) and various translations on the internet
"Deixar Passar (Lü) significa conectar através do cotovelo e do pulso do oponente, sem resistir e sem pressionar. Quando o oponente estende seu braço para me atacar, eu sigo sua inércia para pegá-lo. Este significado é o de se retirar, que é também chamado de Deixar Passar (Lü). Este ideograma tem um significado bem diferente do apresentado no Shuowen (dicionário tradicional da dinastia Han), é um termo específico às escolas de artes marciais. O método de Deixar Passar (Lü) combina uma rotação da cintura com a conexão da mão ao cotovelo do oponente. Para usar o Deixar Passar (Lü) deve-se saber quando abandonar a si mesmo e quando abandonar o oponente. Se alguém aplica o Deixar Passar contra mim e eu sinto a pressão da mão, pode-se tirar vantagem e aplicar um Golpe de Ombre (Kào) ao oponente. Por outro lado, se eu sinto que a energia de Deixar Passar do oponente desaparece de repente, pode-se imediatamente abandonar este lado e atacar usando Pressionar (Jǐ)."

Transmitido oralmente por Yáng Chéngfǔ (楊澄甫口述), anotado por Chén​ Wēi​míng (陳微明筆述), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Yang Style (太極拳楊氏先哲秘要) e outras traduções na internet

Friday, April 12, 2013

The Song of Héngquán (橫拳歌) by Jiāng Róngqiáo (薑容樵)A Canção de Héngquán (橫拳歌) de Jiāng Róngqiáo (薑容樵)

橫拳歌

橫拳僅彈性屬土,
生劈克鑽切合弧,
勾股三角極微處,
心肝脾肺腎為主。

薑容樵
"Héngquán is like a ball, it’s nature affiliated with earth.
It generates Pī, it destroys Zuān, it has the aspect of an arc,
Twist the thighs to form a triangle in the most hidden spot,
Héngquán is the master of the heart, stomach, lungs, spleen and kidneys."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall
"Héngquán é como uma esfera, sua natureza é afiliada à terra.
Ele gera Pī, destrói Zuān, tem o aspecto de um arco,
Enroscar a coxa em espiral para formar um triângulo na porção mais escondida,
Héngquán é o mestre do coração, estômago, pulmões, baço e rins."

Do livro os Punhos-Mãe do Xing Yi (形意母拳), de Jiāng Róngqiáo (薑容樵), baseado na tradução de Joseph Crandall

Wednesday, April 10, 2013

Await the Exhausted Enemy at Your Ease (以逸待勞) from the Thirty-Six Stratagems (三十六計)Esperar Descansado por um Inimigo Exausto (以逸待勞) dos Trinta e Seis Estratagemas (三十六計)

以逸待勞

困敵之勢,不以戰;損剛益柔。
"It is an advantage to choose the time and place for battle. In this way you know when and where the battle will take place, while your enemy does not. Encourage your enemy to expend his energy in futile quests while you conserve your strength. When he is exhausted and confused, you attack with energy and purpose."

Quoted from Chinese Classics and Translations
"É uma vantagem poder escolher a hora e o lugar da batalha. Assim, pode-se saber quando e onde a batalha se passa, enquanto o inimigo ignora. Encorage o inimigo a gastar sua energia de maneira fútil enquanto se conserva a energia. Quando o inimigo estiver exausto e confuso, deve-se atacar com energia e vontade."

Traduzido à partir de Chinese Classics and Translations

Friday, April 5, 2013

Song of Pulling the Bow and Storing the Jin (蓄勁張弓歌) by Wǔ Yǔxiāng (武禹襄)Canção do Tensionar o Arco e Acumular o Jin (蓄勁張弓歌) de Wǔ Yǔxiāng (武禹襄)

蓄勁張弓歌

身是弓身勁是箭,粘隨引進走螺旋;
踢打拿跌不斗力,離弦莫叫與穴偏。
內外相合管中線,上下左右中氣先;
一身五弓備蓄發,敷蓋對吞仔細研。
武禹襄
"The body is a bow and the Jin is an arrow, adhere and follow these recommendations to move in spiral;
Kicking, striking, seizing and wrestling, do not struggle with Li. When releasing the bow string do not stray from the cavity.
Internal and external mutually coordinate to control the median line. Up down left and right, the Central Qi is the first concern.
The unified body has five bows prepared to store and emit; spread, cover, match, and take should be studied carefully."

By Wǔ Yǔxiāng (武禹襄), based on the translation by Yang Jwing Ming (楊俊敏) presented in the book Tai Chi Secrets of the Wu & Li Styles (太極拳武李氏先哲秘要) and various translations on the internet.
"O corpo é um arco e o Jin uma flecha, siga estas recomendações para se mover em espiral;
Chutar, golpear, agarrar e lutar, não gaste energia com o Li. Quando disparar o arco, não se desvie do alvo.
O interno e externo se coordenam para controlar a linha central. Acima, abaixo, à esquerda, à direita, o Qi Central é a principal preocupação.
O corpo unido tem cinco arcos preparados para acumular e emitir; espalhar, cobrir, combinar e levar devem ser todos estudados cuidadosamente."

De Wǔ Yǔxiāng (武禹襄), baseado na tradução de Yang Jwing Ming (楊俊敏) apresentada no livro Tai Chi Secrets of the Wu & Li Styles (太極拳武李氏先哲秘要) e diversas traduções na internet.

Friday, March 29, 2013

Brennan Translation of Chinese Martial Arts ManualsTraduções de Manuais de Artes Marciais Chinesas por Paul Brennan

Brennan Translation
If I had the capacity to do so, Brennan Translation
would be the kind of project I would like to do. Freely available, fresh translations of known and lesser-known martial arts manuals, in a very readable, abordable English that covers a large spectre of chinese martial arts.
Paul Brennan says nothing about himself on the site, it is impossible to say if he is a practitioner, on which tradition or just a chinese language entusiast. Whatever his motivations, the site is a must for those interested in the topic.
For the subjects that interests this blog (內家武術 - Internal Martial Arts) the following translations are available at the time of this post:
Se eu fosse capaz, Brennan Translation
seria o tipo de projet que eu gostaria de desenvolver. Gratuitas e recentes, estão disponíveis traduções de manuais de artistas marciais conhecidos e menos conhecidos. O inglês é fluído e a coleção cobre um espectro largo de diferentes artes marciais chinesas.
Paul Brennan não nos diz nada sobre ele mesmo no blog, é impossível dizer se ele mesmo é um praticante, de qual tradição, ou se é apenas um apaixonado pela língua chinesa. Quaisquer que forem suas motivações, o site é incontornável para os interessados no assunto.
Para os tópicos de interesse para este blog (內家武術 - Artes Marciais Internas) as traduções seguintes estão disponíveis no momento desta postagem:

Friday, March 22, 2013

Eleventh Secret Song (歌訣十一) from the The Thirty-Six Songs of Baguazhang (八卦掌三十六歌)Décima Primeira Canção (歌訣十一) das Trinta e Seis Canções do Bā​guà​zhǎng (八卦掌三十六歌)

歌訣十一

上步合胯倒步掰,
換掌換式矮身骸。
進退退進隨機勢,
只要腰腿巧安排。
"Step forward coordinated with tights and backward with control.
When changing palms and changing steps, one should lower the body structure.
Forward and retreat, retreat and forward according to the opportunity.
As long as waist and legs are coordinated this can be arranged."

Based on the translations by Yang Jwing Ming (楊俊敏) and Liang Shou You (梁守渝) in "Baguazhang - Theory and Applications" (峨嵋八卦掌) and by Frank Allen and Tina Chunna Zhang in "The Whirling Circles of Ba Gua Zhang"
"Dar um passo à frente coordenado com a bacia, um passo para trás com controle.
Quando transformando as palmas e passos, é necessário abaixar a estrutura do corpo.
Avançar e recuar, recuar e avançar, de acordo com a oportunidade.
Enquanto cintura e pernas estiverem coordenadas, isso pode ser organizado."

Baseado na tradução de Yang Jwing Ming (楊俊敏) e Liang Shou You (梁守渝) apresentada em "Baguazhang - Theory and Applications" (峨嵋八卦掌) e na tradução de Frank Allen e Tina Chunna Zhang em "The Whirling Circles of Ba Gua Zhang"

Wednesday, March 13, 2013

Excerpt from Weak and Strong Points (謀攻) in The Art of War (兵法)

夫兵形象水,水之形,避高而趨下:兵之形,避實而擊虛;水因地而制流,兵因敵而制勝。故兵無常勢,水無常形;能因敵變化而取勝,謂之神。故五行無常勝,四時無常位,日有短長,月有死生。

孫子
"Military tactics are like unto water; for water in its natural course runs away from high places and hastens downwards. So in war, the way is to avoid what is strong and to strike at what is weak. Water shapes its course according to the nature of the ground over which it flows; the soldier works out his victory in relation to the foe whom he is facing. Therefore, just as water retains no constant shape, so in warfare there are no constant conditions. He who can modify his tactics in relation to his opponent and thereby succeed in winning, may be called a heaven-born captain. The five elements (water, fire, wood, metal, earth) are not always equally predominant; the four seasons make way for each other in turn. There are short days and long; the moon has its periods of waning and waxing."

Unless noted otherwise, all quotations of classical texts and accompanying translations come from the Chinese Text Project

Friday, March 8, 2013

The Song of the Hands (手) in the Nine Songs of Xing Yi Quan (形意拳九歌) by Jiāng Róngqiáo (薑容樵)A Canção das Mãos (手), extraído das Nove Canções do Xing Yi Quan (形意拳九歌) de Jiāng Róngqiáo (薑容樵)


右手在脅,
左手齊胸,
後者微搨,
前者力伸,
兩手皆覆,
用力宜勻。
薑容樵
"The right hand lays by the side
The left hand is on the level of the chest
The hand in the rear slightly rubs.
The hand in the front reaches out with determination.
Between both hands, front and back,
There is an even use of strength."

From the book Xing Yi Mother Fists (形意母拳), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall
"A mão direita fica no flanco
A mão esquerda fica ao nível do peito
A mão de trás traciona ligeiramente.
A mão da frente busca com determinação.
Entre as mãos, da frente e de trás,
O uso da força é equilibrado."

Do livro os Punhos-Mãe do Xing Yi (形意母拳), de Jiāng Róngqiáo (薑容樵), baseado na tradução de Joseph Crandall

Friday, March 1, 2013

Top and Bottom Mutually Follow Each Other (上下相隨) from The Ten Important Points of Tai Chi Chuan (太極拳十要)

上下相隨

上下相隨者,即太極拳論中所云︰«其根在腳,發于腿,主宰于腰,形于手指,由腳而腿而腰,總須完整一氣»也。手動,腰動,足動,眼神亦隨之動。如是方可謂之上下相隨。有一不動,即散亂也。

楊澄甫
"The meaning of “top and bottom mutually follow each other” is in what the Taijiquan Treatise says: « The root of the movement is in the feet, it develops through the legs, it is ruled by waist, and manifested by the fingers. From the feet to the legs, and to the waist, it must be integrated with one completely unified Qi.» The hands move, the waist moves, the feet move, the eyes direction move accordingly. In this situation it can be said the top and the bottom mutually follow each other. If there is a place that does not move, then it can be called disordered."

By Yáng Chéngfǔ (楊澄甫), based on the translation by 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) and various translations on the internet

Friday, February 22, 2013

A Survey of Push up the Crown of the Head (頂)

My dictionary gives me multiples translations for Dǐng (頂) : it is both the crown of the head, the top and the action to push to the top. One can find the character in words like roof (屋顶), apex (頂部), peak or summit (頂端), hilltop (山頂), pillar (頂梁柱) ; but also to stand up or withstand (頂住), to face against the wind (頂風) or to answer back to a superior (頂撞). It is both the uppermost part of something and an action that goes up and out.
In Internal Martial Arts it is of key importance: it is present in all guidelines about body posture from Tàijí Quán (太極拳), Xíngyì Quán (形意拳) and Bāguà Zhǎng (八卦掌). In most of them it is the first instruction given.
It is for example the first from the Ten Important Points of Tai Chi Chuan (太極拳十要) of Yáng Chéngfǔ (楊澄甫). In general in Tàijí Quán (太極拳) the concept is related to the what Féng Zhìqiáng (馮志強) mentioned as "bǎihuì (GV-20) towards the sky"(百會朝天), the fact that the head is erect and keeps its vitality. In "The Insubstantial Jin leads the Crown Upwards" (虛領頂勁) it is possible to read:
勁者,頭容正直,神貫于也。
"The crown upward Jin means the head looks upright and the spirit reaches the crown."


And again in the First Secret Song (歌訣一) of Bāguàzhăng (八卦掌):
空胸拔下塌腰。
"Empty the chest, lift up the crown of the head, and let the waist sink."


In Xíngyì Quán (形意拳) the concept is developed towards the inner movement of pushing towards the top. It actually is generalized to parts of the posture that lead outwards. For exemple, the second point of the "Push Up From Below (頂)" item from the "Xingyi Eight Characters Secret" (形意八字訣) reads as follows:
手掌外,有推山之功,則氣貫周身,力達四肢。
"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."

Alternative Expressions and Connected Concepts
The fact that the same idea is expressed in different ways in many different texts, but systematically in the same position - i.e. in the beginning of the instruction -, indicates its importance. Among others, one can find:
  • "bǎihuì (GV-20) towards the sky" (百會朝天), as mentioned above
  • "the top of the head is suspended" (頭懸)
  • "the starting point is to look upright" (起點面正)
  • "the head should push upwards" (頭宜上)
The common idea between these different expressions are the "uprightness" and what I call the "contact" of the top of crown of the head, the sensation that it touches something - the sky on the more imaged expressions.
Almost systematically, the idea of Dǐng (頂) comes close in the text with its complement, the idea of loosening or relax - Sōng (鬆). Both together actually fix the postural instruction for two acunpuncture points central to the practice: Governing Vessel's 20th point - bǎihuì (百會) and Conception Vessel's first point - huì yīn (會陰).
Criteria
Push the top of the head - Dǐng (頂) is a key element in the postural instructions and should not be neglected. Quite the opposite, as a foundation block it should always be presente and the body needs to be trained to reach it naturally.It is also a first step for the unification of the body, in particular in relation to Loosening - Sōng (鬆).
Because of its importance, it is necessary to gauge it, which is not always evident. The criteria found in the literature are mostly visual and therefore dependent of a teacher. One that comes to mind is mentioned by Sūn Lùtáng (孫祿堂) in the Study of Bagua Sword (八卦劍學):
起點面正,身子直立不可俯仰。
"The body stands upright, it should not pitch forward or backward."