Friday, December 30, 2016

The Essentials of the Sword Art (劍法述要) from The Major Methods of Wudang Sword (武當劍法大要)

劍法述要

劍術之道。全憑乎神。神足而道成。練精化氣。練氣化神練神成道。劍神合一。是近道矣。 武當劍法。外兼各家拳術之長。內練陰陽中和之氣。習此道者當以無漏為先。保精養氣。寧神抱一。同時學習內家拳為之基礎。基礎既立。然後練習劍法。方得事半功倍。蓋使劍亦如使拳。不外意氣為君。而眼法手法步法身法腰法為臣。是故令其閃展騰拿之輕靈便捷。則有如八卦拳其虛領頂勁。含胸拔背。鬆腰活腕。氣沉丹田。力由脊發則有如太極拳。而其出劍之精神。勇往直前。如矢赴的。敵劍未動,我劍已到。則又如形意拳也。
"The way of the sword art is entirely a matter of spirit. When your spirit is abundant, the way has been achieved. Train your essence and transform it into energy. Train your energy and transform it into spirit. Train your spirit and achieve the Way. With sword and spirit merged as one, you will approach the Way.
The Wudang sword art externally draws from the best aspects of various boxing arts and internally trains the balancing of the passive and active aspects to bring about an energy of neutrality. The prerequisite to training in this art is to not give in to the passions. Instead protect your essence, nourish your energy, calm your spirit, and embrace oneness. Also, get a good grounding for it by learning internal boxing arts. Having prepared yourself thus, you may then practice the sword art. This way you will gain twice the result for half the effort, for you will use the sword in the same way as you would apply the boxing, which amounts to nothing more than putting intention and energy in the position of ruler, and the eye movements, hand techniques, footwork, body standards, and waist actions in the position of subject [i.e. mind in charge of body].
As you dodge and extend, surprise and capture, perform these things with great nimbleness and dexterity. In this way, it is like Bagua Boxing.
Forcelessly press up your headtop, contain your chest and pluck up your back, loosen your waist and liven your wrist, sink energy to your elixir field, and issue power from your spine. In this way, it is like Taiji Boxing.
The spirit of thrusting out the sword is courageous and direct, like an arrow loosed toward a target. Before the opponent’s sword has moved, mine has already arrived. In this way, it is like Xingyi Boxing."

Translation by Paul Brennan in his site "Brennan Translation".
Disclaimer: I don't practice Wudang Sword myself. However the school's texts and insights are of interest for any internal martial arts practitioner.
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Friday, December 23, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

彼不動,己不動,彼微動,己先動,似鬆非鬆,將展未展,勁斷意不斷.

武禹襄
"The opponent does not move, one does not move; the opponent movels slightly, one moves first. One appears loose, without being loose; one shall extend and is not yet extended. The Jin snaps, the intention is continuous."

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.

Friday, December 9, 2016

Expand, Release, Collect, Tighten; Movement and Stillness Support Other (展放收緊,動靜圓撐) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

展放收緊,動靜圓撐

展放收緊是指動作姿勢的開合而言,開的姿勢要舒展遠放,合的姿勢要內收外緊。動靜圓撐是指動中必須求靜,靜中又必須有動,動的極處就是靜的發源,靜的極處就是動的起端,這動和靜必須相互循行,又相互含蓄。

薑容樵
"'Expand, release, collect, tighten' refers to the movements of opening and closing the posture. In opening a posture one must unfold and release far, in closing a posture one’s interior must tightly restrain the exterior. 'Movement and stillness support each other' indicates that within movement there must be stillness and that within stillness there must be movement; the extremity of movement originates stillness, in the same way the extreme stillness is the origin of movement; both the mutual support of movement and stillness are necessary to a smooth performance, the mutual aspect is implicit."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Friday, December 2, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

先求開展,後求緊湊,可臻於縝密矣.

武禹襄
"First seek to expand, then seek to compact, this way one may approach subtlety."

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.

Friday, November 25, 2016

The Fighting Methods (十) from The Essentials of Yue Fei's Boxing Art (附岳武穆形意拳術要論)

第十章 十、交手法

占右進左,占左進右,發步時足根先著地,脚以十趾抓地,步要穩當,身要莊重,捶沉實而有骨力,去是撤手,著人成拳,用拳要卷緊,用把把有氣,上下氣要均停,出入以心為主宰,眼手足隨之去,不貪不歉,不即不離,肘落肘窩,手落手窩,右足當先,膊尖向前,此是換步,拳從心發,以身力催手,手以心把,心以手把,進人進步,一步一捶,一支動,百支俱隨,發中有絕,一握渾身皆握,一伸渾身皆伸,伸要伸得進,握要握得根,如卷炮,卷得緊,崩得有力,不拘提打,按打、烘打、旋打、斬打、冲打、錛打、肘打、膊打、胯掌打、頭打、進步打、退步打、順步打、橫步打,以及前后左右上下百般打法,皆要一氣相隨,出手先占正門,此之謂巧,骨節要對,不對則無力,手把要靈,不靈則生變,發手要快,不快則遲誤,舉手要活,不活則不快,打手要跟,不跟則不濟,存心要毒,不毒則不準,脚手要活,不活則擔險,存心要精,不精則受愚,發作要鷹捉勇猛,外皮膽大,機要熟運,還勿畏懼運疑,心小膽大,面善心惡,靜似書生,動如雷發,人之來勢,以當審察,脚踢頭歪,拳打膊體,窄身進步,仗身起發,斜行換步,攔打倒身,抬腿伸發,脚指東顧,須防西殺,上虛下必實著,跪敲指不勝屈,靈機自揣摩,手急打手慢,俗言即是其真的確,起望落,落望起,起落要相隨,身手齊到是為真,翦子股望眉斬,加上反背如虎搜山,三尺羅衣挂在無影樹上,起手如閃電,打下如迅雷,雨行風,鷹捉兔,鷂鑽林,鷄摸鵝,摸塌地,起手時,三心相對,不動如書生,動之如龍虎,遠不發手打,雙手雙心打,右來右迎,此為捷取,遠了便上手,近了便加肘,遠了便脚踢,近了便加膝,遠近宜知,拳打踢膀,頭歪把勢,審人能叫一思進,有意莫帶形,帶形必不贏,捷取人法,審顧地形,拳打上風,手要急,足要輕,把勢走動如貓行,心要正,目聚精,手足齊到定要贏,若是手到步不到,打人不得妙,手到步也到,打人如拔草,上打咽喉下打陰,左右兩肋在中心,前打一丈不為遠,近者只在一寸間,身動時如崩牆倒,脚落時如樹栽根,手起如炮直冲,身要如活蛇,擊首則尾應,擊尾則首應,擊中節而首尾皆相應,打前要顧后,知進須知退,心動快似馬,腎動速如風,操演時面前如有人,交手時有人如無人,起前手,后手緊催,起前脚,后脚緊跟,面前有手不見手,胸前有肘不見肘,如見空不打,見空不上,拳不打空起,亦不打空落,手起足要落,足落手要起,心要占先,意要勝人,身要攻人,步要過人,前腿似跏,后腿似鎮,首要仰起,胸要現起,腰要長起,丹田要運氣,自頂至足,要一氣相貫,膽戰心寒,必不能取勝,未能察言觀色者,必不能防人,必不能先動,先動為師,后動為弟,能叫一思進,莫教一思退,三節要停,三尖要照,四梢要齊,明了三心多一力,明了三節多一方,明了四梢多一精,明了五行多一氣,明了三節,不貪不歉,起落進退多變,三回九轉是一勢,總要一心為主宰,總乎五行,運乎二氣,時時操演,勿誤朝夕,盤打時而勉強,工用久而自然,誠哉是言,豈虛語哉。

岳飛
"Stand on your right foot to advance with your left, then stand on your left foot to advance with your right.
When stepping, first the heel comes down, then the toes grip the ground. The step should be steady. The body should stand sturdy.
A punch is heavy and vigorous, leaving with the hand loose, then contacting with a completed fist. When making the fist, it should roll up tight to grasp with energy.
Above and below, the energy should be even. Going out and coming back is dictated by your mind. Your eyes, hands, and feet go along with the movement, no part overemphasizing nor underemphasizing, nothing acting independently.
The elbow lowers and covers, then the hand lowers and covers.
Your right foot begins, the elbow going forward. This is the exchanging of steps.
Punch from the center, putting the power of your whole body into the hand. Your hand acts through your mind and your mind acts through your hand. Advance with body and step so that in each step and punch, when one part moves, all parts move along with it. The key to issuing power is that when one part grasps in, the whole body grasps in, and when one part reaches out, the whole body reaches out. Grasp in all the way to your root, and reach out all the way with an advance. It is like a cannon tightly wrapped, which shoots that much more powerfully.
Regardless of what kind of attack, be it lifting up, pressing down, scraping, spinning, slashing, thrusting, hatcheting, elbowing, using the forearm, hip-slapping, headbutting, or whether it is advancing, retreating, the front hand and foot the same, the front hand and foot opposite, or whether it be forward or back, left or right, up or down, the various means of attack should all flow continuously one after the other.
When your hands go forth and are the first to occupy the “main entrance”, this is called skill.
Your joints should be coordinated. If they are not coordinated, there will be no power. When grabbing, the hand should be nimble. If it is not nimble, there will be randomness. When attacking, the hand should be quick. If it is not quick, it will be too late. When lifting, the hand should be lively. If it is not lively, it will not be quick. When striking, the hand should be followed upon. If it is not followed, there will be no reinforcements. Your intent should be poisonous. If there is no poison, there will be no precision. Feet and hands should be lively. If they are not lively, it will be risky. Your mind should be shrewd. If it is not shrewd, you will get tricked.
When attacking, you should have the fierceness of a seizing eagle. All that is seen outside is your skin, but within there is boldness. When the moment comes, act with skill. Never fear nor hesitate. Be both careful and courageous. Show a kind face to mask your vicious intent. In stillness, be like a scholar. In movement, be like a thunderclap.
The opponent’s incoming attack should be carefully observed. Is he tilting his head when he kicks? Is he lifting his arm when he punches? Is he twisting his torso when he steps forward? Is he leaning his torso when he strikes? Is he stepping out at an angle when he switches his feet? Is he pushing himself away when blocking and striking? Is he over-straightening his leg in order to get to you?
When guarding to the east, you must prepare against danger to the west. When there is emptiness above, there will be solidity below. The fast technique defeats the slow technique. There are countless cunning ways to attack, but the best will come from your own contemplations.
The real stuff is to be found in the common sayings.
Lifting seeks to drop. Dropping seeks to lift. Lifting and dropping should follow each other.
When torso and hands arrive at the same time, it is correct.
Using your thighs like scissors [i.e. your thighs squeezing together as your rear foot follows your front foot], target [with your hand] the opponent’s brow.
When you turn around, it is like a tiger searching a hillside, then like a delicate robe hanging from a tree that gives no shade [i.e. Decisively look behind you, but then wait in ghostly stillness for the moment to act.].

Lift your hand like a flash of lighting. Drop your hand like a crash of thunder. It is also like wind pushing aside rain, an eagle catching a rabbit, a hawk slipping through the forest, a rooster pecking away a goose, and like you are trying to [go through the opponent to] touch the ground.
When your hand lifts, the three centers are to be aligned with each other.
When you are still, be like one reading a book, and when you are in motion, be like a dragon or tiger.
When out of range to strike with your hands, both hands are to be guarding your ribs.
When attacked to your right side, meet it with your right side [and likewise for the left]. This will deal with an opponent quicker.
At a distance, strike with hand or foot. When close in, strike with elbow or knee. The two ranges should be understood when punching and kicking.
The direction of your head will compel the direction of your posture, but examine the opponent to be able to decide when to advance.
Do not outwardly reveal your intention, for if you do you are sure to fail.
To deal with an opponent quickly, consider the surrounding environment so as to strike from a superior position.
Your hands should be quick. Your feet should be nimble. The movements of the postures are like the steps of a cat. Your mind should be decisive. Your eyes should be focused. When your hands and feet act in unison, you are sure to win.
If your hand arrives but your step does not, your attack on an opponent will not have its full effect, but if hand and step arrive at the same time, the attack on the opponent will be like spreading grass aside.
When attacking above, go for the throat. When below, go for the groin. When to the side, go for the ribs. When to the middle, go for the solar plexus. When attacking forward, the range can be more than ten feet. When close in, it all happens within an inch.
When your body moves, it is like a wrecking ball going through a wall. When your foot comes down, it is like a tree planting roots.
Your hand lifts like a cannon shooting straight ahead. Your body should be like a writhing snake. “Attack its head, its tail counters. Attack its tail, its head counters. Attack its middle, head and tail counter together.” [Art of War, chapter 11]
When attacking forward, you must consider behind. To know how to advance, you must know how to retreat.
Your mind moves fast as a horse. Your spirit moves fast as the wind.
When you practice, there seems to be an opponent in front of you, yet when you fight an opponent, it is as though no one is there.
When your front hand lifts, your rear hand hastens after it, and when your front foot lifts, your rear foot closely follows.
You do not perceive your hands in front of you as hands, nor your elbows in front of your chest as elbows [because the key is the whole sum that they are merely parts of].
Neither attack nor advance just because you see a gap. [Control the opponent first, preventing him from covering his center when you attack, then go in.] Your fist is not to strike when you are lifting and dropping without purpose.
Once your hand lifts, your foot should come down. Once your foot comes down, your hand should lift.
Your mind should be ahead of the opponent’s, your intent should defeat him, your body should attack him, and your step should walk through him. What your front leg seems to add, your rear leg seems to further increase.
Your head should go up, your chest should go forward, your waist should lengthen, and your elixir field should wield energy. From headtop to foot, there should be a single energy running between them.
If you are afraid, you will lose. If you are unable to interpret his words or manner,you will be unable to guard against him, and you will certainly be unable to beat him to the punch.
The one who moves first becomes the teacher. The one who moves after becomes the student. The more you can give thought to advancing, the less you are being trained to retreat.
The three sections should be settled into place. The three points should align with each other. The four tips should be equal.
Understanding the three centers means more power. Understanding triple sectioning means more focus. Understanding the four antennas means more essence. Understanding the five elements means more energy. Understanding that none of the three sections are to be excessive or deficient means greater adaptability in lifting and dropping, advancing and retreating.
A posture is made by the “three turnings in nine revolutions” [the process of essence turning into energy, energy turning into spirit, spirit returning to void, exercised over and over again], and the mind should always be in charge. The cooperation of the five elements moves the two energies [passive and active – metal and water being passive, wood and fire being active, earth being a balance of both]. Practice constantly, never missing a day. When in a fight, there is struggle. But if you have been working at it for a long time, there will instead be naturalness.
These are words of conviction, not empty platitudes."

Excerpt from the translation by Paul Brennan of "The Art of Xingyi Boxing" (形意拳術) by Lǐ Jiànqiū​(李劍秋), to be found in the Brennan Translation blog.

Friday, November 18, 2016

The explanation of Taiji’s Lower Level Martial Aspects (太極下乘武事解) by Yáng​ Bān​hóu​ (楊班侯)

太極下乘武事解

太極之武事,外操柔軟,內含堅剛。而求柔軟之於外,久而久之,自得內之堅剛。非有心之堅剛,實有心之柔軟也。所難者,內要含蓄堅剛而不施,外終柔軟而迎敵。以柔軟而應堅剛,使堅剛盡化無有矣。
"In the martial aspects of Taijiquan, the exterior steers soft and gentle and the interior keeps hard and strong. Over time, as softness is sought externally, one’s interior become hard and strong. One does not looks deliberately for hardness, one rather sincerely seeks softness. The difficulty is that the inside is required to keep strong and hard and not apply it, while the outside keeps gentle and soft when one meets an opponent. One uses softness to respond to strength and hardness in order to cause this strength and hardness to dissolve into nothingness."

其功何以得乎?要非粘黏連隨已成,自得運動知覺,方為懂勁。而後神而明之,化境極矣。夫四兩撥千斤之妙,功不及化境,將何以能?是所謂懂粘連,得其视聽輕靈之巧耳。

楊班侯
"How is this achieved? The key is to accomplish the training of attaching, adhering, connecting and following, obtain awareness and sensitivity of movement, then reach the Understanding Jin. At this point the spirit will clear and the conditions for a major transformation is reached. If the wonder of using four ounces to repel a thousand pounds and the conditions for this major transformation is still not yet reached, then what can one do? Apply what is called “understanding attach and adhere”, use the senses to skillfully find opportunities."

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, November 11, 2016

Hidden Meanings in Chinese Art (中國吉祥圖案)

Hidden Meanings in Chinese Art(中國吉祥圖案)
Internal martial arts texts and instruction are full of images and symbolism. In part this is intrinsic, as the nature of internal martial arts implies that mechanical or physical descriptions cannot represent the instructions. In part this is contextual, as any practices naturally comes with its cultural backgroud: names of movements, instructions, criteria all refer back to the same background symbolism.
Hidden Meanings in Chinese Art(中國吉祥圖案) is not a book intended for martial arts practitioners. It is however very useful, as it is quite extensive and detailed. Its organisation, as a thematic dictionnary, allows for browsing through different categories, and moving to related topics.
As a reading companion for a western practitioner, this is a very handy book, even if one is not interested in art in general.

Friday, November 4, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

心為令,氣為旂,腰為纛.

武禹襄
"The intention is like an order, the Qi is like the message, the waist is like the banner."

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.

Friday, October 28, 2016

The Study of the Drilling Fist in Xingyi (形意鑽拳學) from The Study of Xing Yi Quan (形意拳學)

形意鑽拳學

鑽拳者,屬水,是一氣之曲曲流行,無微不至也。鑽上如水在地中忽然突出,亦如泉水之上翻似閃。在腹內則屬腎,在拳中即為鑽。所謂鑽拳似閃屬水是也。其氣和則腎足,其氣乖則腎虛,腎虛則清氣不能上升,濁氣不能下降矣。其拳不順,真勁即不能長,而拙勁亦不能化矣。學者當知之。

孫祿堂
"The drilling fist is classified with water and its Unified Qi is bent and it spreads in every possible way. When drilling upwards, it is like water spurting suddenly out of the ground, as if the top of a spring flashes when turning over. In the body it belogs to the kidney, in boxing it is drilling. This is why it is said that the drilling fist springs up and is classified with water. When the Qi is harmonious, the kidney is full, when the Qi is irregular, the kidney is empty. An empty kidney means that a clean Qi cannon ascend, and the impure Qi cannot descend; the boxing is disturbed, real strength cannot be developed and the clumsy strength cannot be transformed. Practictioners are advised to be aware of this."

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.

Friday, October 21, 2016

The Explanation of the Three Achievements in Scholarship and Martial Arts in Taiji (太極分文武事三成解) by Yáng​ Bān​hóu​ (楊班侯)

太極分文武事三成解

蓋言道者,非自修身,無由得也。然又分為三乘之修法。乘者,成也。上乘,即大成也;下乘,即小成也;中乘,即之者誠成也。
"When we talk about the path, there is no achievement without having a self-cultivation. The self-cultivation can be subdivided in three levels and three cultivation methods. The three levels are the achievements. The top level or great achievement, the low level or small achievement, and the middle level means the achievements of sincerity."

法分三修,成功一也。文修於內,武修於外。體育,內也;武事,外也。其修法,內外表裡成功,集大成,即上乘也;由體育之文,而得武事之武,或由武事之武,而得體育之文,即中乘也,然獨知體育,不入武事而成者,或專武事,不為體育而成者,即小乘也。

楊班侯
"Although, the cultivation methods are three, their achievement is one and the same. The scholarship is the internal cultivation; martial arts are the external cultivation. Education of the body is an internal cultivation while martial matters are external. The cultivation of that leads to internal and external achievement, allows to achieve the greatest achievement. If martial ability in martial arts is gained due to the study of education of the body or the education of the body is gained due to the martial capability of martial arts, then the middle level is achieved. If one is only aware of the education of the body and does not consider the achievement of the martial aspects, or conversely, those that look only into the martial aspects without looking for achieving the education of the body, those reach the low level of achievement."

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, October 14, 2016

Intention generates discernment, qi travels through a hundred pores (意動生慧,氣行百孔) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

意動生慧,氣行百孔

意動生慧是說八卦掌的動作如果是像前面所說的意如飄旗,又似點燈那樣有意識的運動,那麼就能在運動中培養出機警敏感的素質。氣行百孔是說如果八卦掌的深呼吸是按照前面所說的氣似雲行那樣的話,那麼所吸入的氧氣就能輸送到各個需要的地方去。

薑容樵
"'Intention generates discernment' means that the movements in Baguazhang follow the intention, as mentioned in the preceding paragraphs, as if it was a floating banner or a lantern in the dark; the movement becomes conscious, and within the movement one can cultivate the inner qualities of perception and sensitivity. 'Qi travels through a hundred pores' means that in the practice of Baguazhang deep breath, as mentioned in the the preceding paragraphs, the qi will move like a cloud; therefore, the inhaled oxygen can be delivered to every single region of the body where it is needed."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Friday, September 30, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

氣以直養而無害,勁以曲蓄而有餘.

武禹襄
"The use of Qi is reasoable cultivation, in this way it is harmless; the use of Jin is to be coiled and stored up, in this way one has it in abundance."

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.

Friday, September 23, 2016

The Stepping Methods (九) from The Essentials of Yue Fei's Boxing Art (附岳武穆形意拳術要論)

第九章 九、要論

今夫五官百骸,主于動,而實運以步,步乃一身之根基,運動之樞紐也,以故應戰對敵,皆本諸身,而實所以為身之砥柱者,莫非步,隨機應變在于手,而所以為手之轉移者,以在步,進退反側,非步何以作鼓蕩之機抑揚伸縮,非步何以示變化之妙,所謂機關者在眼,變化者在心,而所以轉彎抹角,千變萬化,而不至于窘迫者,何莫非步為之司令歟,而要非勉強以致之也,動作出于無心,鼓舞出于不覺,身欲動而步以為之周旋,手將動而步以早為之催逼,不期然而然,莫之軀而軀,所謂上欲動而下自隨之者,其斯之謂歟,且步分前后,有定位者步也,然而無定位者以為步,如前步進焉,后步隨焉,前后自有定位,若以前步作后,后步作前,更以前步作后之前步,后步作前之后步,則前后以自然無定位矣,總之,拳以論勢,而握要者為步,活與不活,以在于步,靈與不靈,以在于步,步之為用大矣哉,捶名心意,心意者,意自心生,拳隨意發,總要知己知人,隨機應變,心氣一發,四肢皆動,足起有地,膝起有數,動轉有位,合膊望胯,三尖對照,心意氣內三相合,拳與足合,肘與膝合,肩與胯合,外三相合,手心足心本心三心一氣相合,遠不發手,捶打五尺以內,三尺以外,不論前后左右,一步一捶,發手以得人為準,以不見形為妙,發手快似風箭,響如雷崩,出沒遇象園,如生鳥入群籠之狀,單敵似巨炮推薄壁之勢,骨節帶勢,踴躍直吞,未曾交手,一氣當先,既人其手,靈動為妙,見孔不打,見橫打,見孔不立,見橫立,上中下總氣把定,身足手規矩繩束,既不望空起,亦不望空落,精明靈巧,全在于活,能去能就,能柔能剛,能進能退,不動如山岳,難知如陽陰,無窮如天地,充實如太倉,浩渺如四海,炫曜如三光,察來勢之機會,揣敵人之短長,靜以待動有法,動以處靜借法容易上法難,還是上法最為先,交勇者不可思誤,思誤者寸步難行,起如箭攢落如風隈催烹絕手摟手,皆合暗迷中,由路如閃電,兩邊撾防左右,反背如虎搜山,斬捶勇猛不可當,斬梢迎面取中堂,搶上搶下勢如虎,好似鷹下鷄場,翻江倒海不須忙,丹鳳朝陽才為強,雲背日月天地變,武藝相爭見短長,步路寸開把尺,劈面就去,上右腿,進左步此法前行,進人要進身,身手齊至是為真,發中有絕何從用,解明其意妙如神,鹞之鑽林麻著翅,鷹捉四平足存身,取勝四梢要聚齊,不勝必因合射心,計謀施運化,霹靂走精神,心毒稱上策,手眼方勝人,何謂閃,何謂進,進即閃,閃即進,不必遠求,何為打,何謂顧,顧即打,打即顧,發手便是,心如火藥,拳如子,靈機一動鳥難飛,身似弓弦手似箭,弦向鳥落見神奇,起手如閃電,閃電不及合眸,打人如迅雷,迅雷不及掩耳,五道本是五道關,無人把守自遮欄,左腮手過,右腮手去,右腮手過去,左腮手來,兩手束拳迎面出,五關之門關得嚴,拳從心內發,向鼻尖落,從足下起,足起快向心火作,五行金木水火土,火炎上而水就下,我有心肝脾肺腎,五行相推無錯誤。

岳飛
"From your five senses to your many bones, your movement is presided over by your stepping. Your step provides the base for your body and the crux for its movement. When fighting with an opponent, it is always the case that you are to use your whole body. But without your step, your body really has nothing to stand on. Adapting according to the situation lies with your hands, but the capacity for your hands to maneuver lies with your stepping.
When advancing or retreating, turning around or to the sides, you will create no opportunity for power generation unless you step. When raising or lowering, expanding or contracting, you will show no ingenuity of adaptation unless you step. We say that operations are in your sight and adaptations are in your mind, and therefore you are to twist and turn in endless variations to stay out of danger, but this cannot happen without the step being in charge. However, it is crucial that you do not try to force this.
The movement begins mindlessly, its motivation arising unconsciously. When your body is about to move, your step [with the front foot] turns outward [to prepare]. When your hand is about to move, your step [with the rear foot] hastens to get ahead of it. This quality will happen in its own time, arriving without your driving it. When we talk of the upper body being about to move and the lower body naturally going along with the movement, this is what is meant.
Stepping divides into front and rear, fixed and unfixed. When the front foot advances and the rear foot follows, they are fixed [i.e. front foot remaining forward, rear foot remaining in the rear]. When the front foot becomes the rear foot or the rear foot becomes the front foot, whether it be because of the front foot becoming the rear foot by way of the rear foot stepping forward, or because of the rear foot becoming the front foot by way of the front foot stepping back, they are unfixed [i.e. front foot and rear foot switching roles].
It is always the case in boxing theory that the crucial thing to grasp is the stepping. Whether you are lively or not is a matter of stepping. Whether you are nimble or not is a matter of stepping. The function of stepping is a huge factor. [The specific theme of stepping now fades from the spotlight. The text from this point on was likely originally intended as part of the 10th section.]
This kind of boxing is called Mind & Intent [Xinyi – an older name for Xingyi]. It is called this because intent is generated by mind and the fist then expresses as dictated by the intent. You should always know both yourself and your opponent, and respond according to the situation. Mind and energy express as one. Your limbs act together. In lifting your foot, there is direction. In lifting your knee, there is degree. In turning around, there is position. Unify your forearms and aim with your hips. The three points are to align with each other. Mind [is united with intent], intent [united with energy], energy [united with power] – these are the three internal unions. Fist is united with foot, elbow united with knee, shoulder united with hip – these are the three external unions. The three centers – palm, sole, solar plexus – are united as a single energy.
Do not shoot your hands out from a distance. When the striking range is between three and five feet, whether going forward or back, left or right, step with each strike in order to strike the opponent with precision and to keep your technique wonderfully invisible to him.
Your hand shoots out fast as wind or an arrow, the sound like thunder or an avalanche. Come and go like a rabbit darting here and there, attacking like a hungry bird entering a crowded coop. When fighting an opponent, be like a huge cannon reducing a wall to rubble. With your joints readied to spring, leap straight in to consume him. Before there is contact, energy should go forth, but once your hands have connected, the ingenuity lies in quick action.
Do not attack just because you notice a gap, look for a way to deflect him aside and then attack. Do not seize the position just because you notice a gap, look for a way to deflect him aside and then seize the position. Above, middle, below, always the energy between them is kept consistent. Body, feet, and hands are bound by discipline. Do not seek to lift and drop meaninglessly.
Proficient skill is entirely a matter of fluency. Be able to both strike and stick, to be both hard and soft, to both advance and retreat.
When not moving, be like a mountain. Be as mysterious as duality, as limitless as the universe, as filled as a warehouse, as vast as the ocean, as dazzling as the sun, moon, and stars. While watching for the moment in which the opponent may attack, estimate his strong points and shortcomings. The superior method is to use stillness to await his movement. The baiting method is to use movement to occupy his stillness. The baiting method is easier and the waiting method more difficult, nevertheless start with the waiting method.
When fighting a courageous opponent, you must not worry about doing anything wrong, for if you do, you will seize up and not be able to do anything right. Lift like an arrow releasing, then drop like the wind. When pressed to frustration, stop his hand and draw it aside. Cloak everything you are doing, then emerge like lightning. Deflect to your sides, guarding both, and when you turn around, it is like a tiger searching a hillside. Swipe aside and strike fiercely, and he will not be able to withstand you. Swipe aside his limbs and go directly forward, and you will seize his center. Striking above or below, move like a tiger. Seem like an eagle descending on chickens in a coop. Having “diverted the river and turned back the sea” [signifying a stupendous achievement], you do not need to be in a rush. Because “the phoenix has landed on the sunny slope” [signifying the arrival of talent], your ability has become potent. When sun and moon go behind clouds, the world is changed. When martial artists clash, inferior and superior become apparent.
Step in this way: between your feet is an inch in width and a foot in length.
When chopping to his face, step forward with your right leg and follow with your left foot. Here is the method of moving forward: when advancing on an opponent, you must advance with your body. When body and hand act in unison, it is right.
There is a trick to issuing, and when you get the idea, it will seem miraculous. A hawk slips through the trees without a touch to its wings. A eagle catches prey without unbalancing its body.
To win, your limbs must act in unison. If you lose, it must be because you brought his aim to your center. Carry out your strategy adaptively, send out your spirit thunderously, consider viciousness to be the best plan, and your hands and eyes will then defeat him.
What are evading and advancing? Advancing is an evasion. Evading is an advance. It is not necessary to think about this too hard. What are attacking and defending? Defending is an attack. Attacking is a defense. Just shoot out your hand. Mind like gunpowder, fist like a bullet – just a nudge of the trigger [i.e. with the merest thought], and the bird cannot escape. Body like a bow, hand like an arrow – aim, and the bird falls like magic. Lift your hand like lightning flashing. When lightning flashes, there is no chance to close your eyes. Strike the opponent like thunder clapping. When thunder claps, there is no chance to cover your ears.
The five methods [the five elements techniques] are basically five ways of closing off an opponent. There is no one there to guard against because the blocking is an intrinsic part of it. As your left hand covers your left side, your right hand attacks from your right side, and then as your right hand covers your right side, it is your left hand’s turn. Each hand is wrapped into a fist and punches directly forward while the doorways of the five closings close tight. Your fist shoots from your center and lands upon his nose, while your foot lifts and steps quickly through his center like fire surging. Of the five elements of metal, wood, water, fire, and earth, fire blazes upward and water floods downward. We each possess a heart, a liver, a spleen, lungs, and kidneys. Our five elements urge each other on without error."

Excerpt from the translation by Paul Brennan of "The Art of Xingyi Boxing" (形意拳術) by Lǐ Jiànqiū​(李劍秋), to be found in the Brennan Translation blog.

Friday, September 16, 2016

The Explanation of Taiji in the Human Body (人身太極解) by Yáng​ Bān​hóu​ (楊班侯)

人身太極解

人之周身,心為一身之主宰。主宰,太極也。二目為日月,即兩儀也。頭像天,足像地,人中之人及中脘,合之為三才也。四肢,四象也。 腎水,心火,肝木,肺金,脾土,皆屬陰;膀胱水,小腸火,膽木,大腸金,胃土,皆陽矣,茲為內也。
顱丁火,地閣承漿水,左耳金,右耳木,兩命門土,茲為外也。
"In the human body, the mind is the ruler of the whole body. It is like Taiji. The two eyes are the sun and the moon, they are like and are the two poles. The head represents Heaven, the feet represents Earth and man is at the center within the cavity of the stomach, all three together are the three powers. The four limbs represent the four divisions of the sky.
Kidney-water, heart-fire, liver-wood, lung-metal, spleen-earth all are classified as Yin; bladder-water, small-intestine fire, gall-bladder wood, large-intestine metal, stomach earth all as Yang. These are the internal aspects.
Forehead-fire, Chin-water, left ear metal and right-ear wood, two gates of life (nostrils)-earth, these are the external aspects. "

神出於心,目眼為心之苗;精出於腎,腦腎為精之本;氣出於肺,膽氣為肺之原。視思明,心動神流也;聽思聰,腦動腎滑也。
鼻鼻之息香臭,口之呼吸出人,水鹹,木酸,土甜,火苦,金辣。及言語聲音,木亮,火焦,金潤,土塕,水漂。鼻息、口呼吸之味,皆氣之往來,肺之門戶,肝膽巽震之風雷,發之聲音,出入五味。
"The spirit is originated in the heart, the eyes sprout from the heart; the vitality is in the kidneys, the brain and the kidneys are at the root of vitality; Qi is issued from the lungs, and the gall bladder Qi is at the source of the lungs. When the sight is clear, the heart moves the spirit to flow; when the listening is wise, brain moves the kidneys smoothly.
The nose smells fragrances and odors and the mouth breath produces the water-salty, wood-sour, earth-sweet, fire-bitter, metal-spicy. The sound of the voice, wood-clear, fire-fiery, metal-moist, earth-dusty, water-drifting. They are all dealings with Qi, the gates of the lungs, the wind and thunder of the liver and the gall bladder: the emission of voice and entering and exiting as the five flavors."
此言口、目、鼻、舌、神、意,使之六合,以破六欲也,此內也;手、足、肩、膝、肘、胯,亦使六合,以正六道也,此外也。
眼、耳、鼻、口、大小便、肚臍,外七竅也;喜、怒、憂、思、悲、恐、驚,內七情也。七情皆以心為主,喜心、怒肝、憂脾、悲肺、恐腎、驚膽、思小腸、怕膀恍、愁胃、慮大腸,此內也。

"These words: mouth, eyes, nose, tongue, spirit and Yi (intention) make the six coordinations, their use is to break the six desires, these are internal aspects. Hands, feet, shoulder, knees, elbows and hips also make the six coordinations used to straighten the six ways; these are external aspects.
Eyes, ears, nose, mouth, anus, urethra and navel, are the seven external orifices; joy, anger, anxiety, thought, grief, fear and fright are the seven internal emotional states. All the seven emotional states are originated from the mind. Joy and the heart, anger and the liver, anxiety and the spleen, grief and the lungs, fear and the kidneys, fright and the gall bladder, thought and the small intestine, fear and the bladder, worry and the stomach, anxiety and the large intestine; these are internal aspects."

夫離:南、正午、火、心經; 坎:北、正子、水、腎經;震:東、正卯、木、肝經;兌:西、正酉、金、肺經;乾:西北,隅、金、大腸,化水;坤:西南隅、土、脾,化土;巽:東南隅、膽、木,化土;良:東北隅、胃、土,化火。
此內八卦也。外八個者,二、四為肩,六、八為足,上九下一,左三右七也。坎一、坤二、震三、巽四、中五、乾六、兌七、艮八、離九,此九宮也。內九宮亦如此。
"Li: South, Wu (in the Earthly Branches, 11AM – 1PM), fire and the heart channel. Kan: North, Zi (in the Earthly Branches, 11PM – 1AM), water, the kidney channel. Zhen: East, Mao (in the Earthly Branches, 5-7 AM), fire and the liver channel. Dui: West, Qiu (in the Earthly Branches, 5-7 PM), metal and the lung channel. Qian: Northwest, metal, large intestine and it transforms into water. Kun: Southwest, earth, spleen and it transforms into earth. Xun: Southeast, gall bladder, wood and it transforms into earth. Gen: Northeast, stomach, earth and it transforms Fire.
These are the internal Eight Trigrams. In the external Eight Trigrams
In terms of external eight trigrams, the number two and four are shoulders, six and eight are feet, above is nine, below is one, left is three, right is seven. Kan is one, Kun is two, Zhen is three, Xun is four, center is five, Qian is six, Dui is seven, Gen is eight, Li is nine, these are the nine palaces. The internal nine palaces are also this way."

表裡者,乙:肝、左肋,化金通肺;甲:膽,化土通脾,丁:心,化木中膽通;丙:小腸,化水通腎;己:脾,化土通胃;戊:胃,化火通心,後背前胸,山澤通氣;辛:肺,右肋,化水通腎;庚:大腸,化金通肺;癸:腎,下部,化火通心;壬:膀恍,化木通肝。
此十天干之內外也。十二地支亦如此之內外也。明斯理,則可與言修身之道矣。

楊班侯
"Yi: Liver, left ribs, tansforms into metal and conencts with the Lungs. Jia: Gall Bladder, transforms into earth and connects with the Spleen. Din: Heart, transforms into wood and connects with the Gall Bladder. Bing: Small Intestine, transforms into water and connects with the Kidneys. Ji: Spleen, transforms into earth and connects with the Stomach. Wu: Stomach, transforms fire and connects with the Heart, the rear and the front of the chest, mountains and lakes exchange Qi. Xin: Lungs, right ribs, transform into water and connects with the Kidneys. Geng: Large Intestine, transforms into metal and connects with the Lungs. Gui: Lower section of the kidneys, transforms fire and connects with the Heart. Ren: Bladder, transforms water and connects with the Liver.
These are the ten celestial stems are as follows in relation to the external and the internal. The twelve terrestrial branches also have their internal and external correspondences. One this system is clear, then one can talk about the Dao of cultivating the body."

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, September 9, 2016

The abdomen is the root of qi, qi moves like a cloud (腹乃氣根,氣似雲行) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

腹乃氣根,氣似雲行

前面已經說過腹是蓄氣的良好部位,在鍛煉時必須將呼吸之氣深入到腹部,但是這種深呼吸的運動是猛然一口就將氣吸入腹內呢,還是慢慢地吸入呢,氣似雲行就說明了八卦掌的深呼吸運動必須是像空中行雲那樣面慢慢地運行,不要猛然吸入,也不要猛然呼出。

薑容樵
"In preceding paragraphs, it was already discussed that the abdomen is the best place to store qi, during refinemet one must breath deeply down to the abdomen. However, it is better to breathe in slowly than abruptly and at once through the mouth to the abdoment. “Qi moves like a cloud” illustrates that Baguazhang’s deep breath movement must resemble clouds moving in the sky, with that sort of slow motion of celestial bodies, breathing in or out must not be abrupt."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Friday, August 26, 2016

The Body Methods (八) from The Essentials of Yue Fei's Boxing Art (附岳武穆形意拳術要論)

第八章 八、要論

身法維何,縱橫高低,進退反側而已,縱則放其勢,一往而不返,橫則裹其力,開拓而莫阻,高則揚其身,而身若有增長之勢,低則抑其身,而身若有攢捉之形,當進則進,殫其身而勇往直冲,當退則退,領其氣而回轉伏勢,至于反身顧后,后即前也,側顧左右,使左右無敢當我,而要非拘拘焉為之也,必先察人之強弱,運我之機關,有忽縱而忽橫,縱橫因勢而變遷,不可一概而推,有忽高而忽低,高低隨時以轉移,不可執格而論,時而宜進,故不可退而餒其氣,時而宜退,即當以退,而鼓其進,是進固進也,即退而亦實以賴其進,若返身顧后,顧其后而以不覺其為后,側顧左右,而左右以不覺其為左右矣,總之機關在眼,變通在心,而握其要者,則本諸身,身而前,則四體不令而行矣,身而却,則百骸莫不冥然而處矣,身法顧可置而不論乎。

岳飛
"What are the methods for the body? To release and rein in, to go high and low, to advance and retreat, to turn and incline.
To release is to express power, sending it all in one direction so it does not get turned back. To rein in is to bind up power, building it up so no one will be able to resist it.
To go high is to raise the body up so it seems to be lengthened. To go low is to bow the body down so it seems to be squeezed in.
When it is time to advance, I advance, springing with my body, valiantly charging straight in. When it is time to retreat, I retreat, leading my energy so that it reverses me into a crouched posture [i.e. prepared to spring forward again].
When turning around to face behind, what is behind becomes what is in front. When facing to the left and right, I ensure no one dare attack me from the side.
It is important that these points not be turned into a restrictive formula.
I must first observe an opponent’s strengths and weaknesses, which will give me my strategy. I suddenly release and suddenly rein in, adjusting according to the situation, for I must not be stubborn about when to use one or the other. I go suddenly high or suddenly low, adapting as circumstances demand, for I must not hold to a preconceived pattern.
When it is appropriate to advance, I must not retreat and thereby make myself timid. When it is appropriate to retreat, I should retreat, and yet with a readiness to advance. Therefore, advancing is a matter of advancing whole-heartedly, and retreating is also actually a matter of advancing.
When I turn around to face behind me, I have no notion of it as being behind. When I face to either side, I have no notion of them as being a left or a right. To sum up, operations are in your sight and adaptations are in your mind. [To clarify the summing up, your view of the situation is always forward and your sense of your changing surroundings is always inside you.]
Once the essentials have been grasped, they become the basis for the whole body. When going forward, every limb moves uncommanded, and when withdrawing, every bone arrives without a thought. However, these things cannot be considered without being described."

Excerpt from the translation by Paul Brennan of "The Art of Xingyi Boxing" (形意拳術) by Lǐ Jiànqiū​(李劍秋), to be found in the Brennan Translation blog.

Friday, August 19, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

極柔軟,然後極堅剛.能呼吸,然後能靈活.

武禹襄
"Extremely soft, then extremely hard. If one is able to breath properly it is possible to be nimble."

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.

Friday, August 12, 2016

Intention is like a waving banner or a lantern in the dark (意如飄旗,又似點燈) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

意如飄旗,又似點燈

古代練兵,一切的陣形變化,前進後退都必須以飄蕩的令旗和夜間燈為引導,八卦掌運動時也必須以意識引導動作,不能隨隨便便的運動。

薑容樵
"In ancient times during military drills, all the changes in the shapes of military formations, advancing and retreating had to be signaled by a swinging banner guided the troops in daytime or a lantern during the night. Likewise, during baguazhang actions the intention must guide the movement, it should not come after the movement."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Friday, August 5, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

往復須有摺疊,進退須有轉換.

武禹襄
"In going back and forth there must be folding and mutual entwining. In advancing and retreating there must be variation and transformation."

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.

Friday, July 22, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

收即是放,放即是收,斷而復連.

武禹襄
"To collect is to release, to release is to collect; join snap and return (to the original state)."

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.

Friday, July 15, 2016

Excerpt from Report of Liú Qílán (劉奇蘭) Sayings (述劉奇蘭先生言) in Boxing Concepts Explained Authentically (拳意述真)

三則

道藝之用者。心中空空洞洞。不勉而中。不思而得。從容中道。而時出之。拳無拳。意無意。無意之中。是真意。心無其心心空也。身無其身身空也。古人云。所謂空而不空。不空而空。是謂真空。雖空乃至實至誠也。忽然有敵人來擊。心中並非有意打他。無意即無火也隨彼意而應之拳經云。靜為本體。動為作用。即是寂然不動。感而遂通。無可無不可也。此是養靈根而靜心者所用之法也。夫練拳至無。拳無意之境。乃能與太虛同體。故用之奥妙而不可測然能至是者鮮矣。。

郭雲深
"The function of the Daoist arts is to empty the mind within. When there is no effort, there is centering. When there is no expectation, there is obtaining. Follow the easy balanced way and the moment will emerge. [It says in the Boxing Classics:] “The boxing is without boxing. The intention is without intention. Within no intention is true intention.”
The mind is without mind, for the mind is empty. The body is without body, for the body is empty. An ancient man [Kumarajiva in his commentary to the Diamond Sutra] described this as: “Empty but not empty, not empty but empty – this is known as true emptiness.” Even though you are empty, you thereby achieve perfect genuineness and sincerity. Suddenly an opponent attacks you, but within your mind there is no intention of striking him (no intention meaning no anger), and you follow his intention along and respond to it. It says in the Boxing Classics: “Stillness is the fundamental form. In movement lies the function.” By being silent and still, then upon sensing anything, you connect with it, and everything you do will be right. This is the method of “nurturing your virtue by bestilling your mind”.
When you have drilled the boxing to the point of nothingness, then you have in the boxing the condition of no intention, and then you can be one with the “grand emptiness” [the universe in its essence]. Thus you will act with such subtlety that you cannot be fathomed, and you will then have become a rare one indeed."

Excerpt from the translation by Paul Brennan, to be found in the Brennan Translation blog.

Wednesday, July 13, 2016

Trouble The Water To Catch The Fish (混水摸魚 ) from the Thirty-Six Stratagems (三十六計)

混水摸魚

乘其陰亂,利其弱而無主。隨,以向晦入宴息。
"Before engaging your enemy's forces create confusion to weaken his perception and judgment. Do something unusual, strange, and unexpected as this will arouse the enemy's suspicion and disrupt his thinking. A distracted enemy is thus more vulnerable."

Quoted from Chinese Classics and Translations

Friday, July 8, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

力由脊發,步隨身換.

武禹襄
"Power is emitted from the spine; steps follow the transformations of the body."

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.

Friday, July 1, 2016

Fire Above, Water below; Water is heavy, Fire is light. (火上水下,水重火輕) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

火上水下,水重火輕

心在上屬火,腎在下屬水,所謂「心火腎水」,也就是前面所說實腹暢胸的心要虛,腹要實的意義。

薑容樵
"The heart above corresponds to fire, the kidneys below correspond to water. Thus the phrase “Heart of fire, kidney of water” above says that the substantial abdomen and the empty chest are the sense of the empty heart and solid abdomen."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Friday, June 24, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

曲中求直,蓄而後發.

武禹襄
"Look for the straight within the curved, accumulate then emit."

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.

Friday, June 10, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

蓄勁如張弓,發勁如放箭.

武禹襄
"Accumulate Jin like drawing a bow, emit Jin like releasing an arrow."

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.

Friday, June 3, 2016

Excerpt from Report of Liú Qílán (劉奇蘭) Sayings (述劉奇蘭先生言) in Boxing Concepts Explained Authentically (拳意述真)

二則

形意拳經云。養靈根而靜心者。修道也。固靈根而動心者。敵將也。敵將之用者。起如鋼銼。落如鈎竿。起似伏龍登天。落如霹雷擊地。起無形。落無踪。起意好似捲地風。束身而起。長身而落。起如箭。落如風。追風趕月不放鬆。起如風。落如箭。打倒還嫌慢。打人如走路。看人如蒿草。胆上如風嚮。起落似箭鑽遇敵要取勝。四稍具要齊。是內外誠實如一也。進步不勝。必有胆寒之心也。此是固靈根而動心者。敵將所用之法也。

郭雲深
"It says in the Xingyi Boxing Classics: “To nurture your virtue by bestilling your mind is a matter of cultivating the Way. To solidify your virtue by rousing your mind is a matter of dealing with opponents.”
As for how to deal with opponents: “Lift like a steel file. Drop like a hooking pole… Lift like a hidden dragon climbing to the sky. Drop like a thunderbolt striking the ground. Lift without a shape. Drop without a trace… Send your intention out like wind rolling over the ground… Bind your torso when lifting. Hide your torso when dropping. Lift like an arrow and drop like the wind. Chase the wind and pursue the moon without letting up. Lift like the wind and drop like an arrow. Knock him down, bewaring of being too slow… Fight opponents as if you are taking a stroll, looking upon them as if they are but weeds. Your courage rises like the wind whipping up. Lift and drop as if arrows are drilling in. When encountering an opponent, you should seek to win, and so your limbs should all work in unison.”
Now inside and outside are truly as one, and “if you advance and lose, it must be that you lost your nerve.” This is the method of “solidifying your virtue by rousing your mind” in order to deal with opponents."

Excerpt from the translation by Paul Brennan, to be found in the Brennan Translation blog.

Friday, May 27, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

靜如山嶽,動若江河.

武禹襄
"Still like a mountain, move like a river."

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.

Friday, May 20, 2016

Stump like a Mountain; Step like Water. (樁如山嶽,步似水中) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

樁如山嶽,步似水中

樁是指靜止性的動作,八卦掌的樁步必須使之像山嶽那樣穩固,似乎任何強大的力量都推它不動似的。步是指活動性的動作,八卦掌的蹚泥步必須使之在穩健之中含著像流水那樣輕快,這樣八卦掌的步法就不是笨重的,也不是浮飄的了。

薑容樵
"“Stump like Mountains” refers to the stationary nature of the movements, Bagua’s “stump step” must resemble the stability of a mountain, if any formidable force push it, it will remain still. “Step like Water” refers to the movable nature of the movement. Within Baguazhang’s “Treading Mud Step” stability it must contain the lightness and speed of flowing water; the footwork should neither be cumbersome nor unstable."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Friday, May 13, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

形如搏兔之鶻,神似捕鼠之貓.

武禹襄
"The external form is like a falcon seizing a rabbit, the spirit is like a cat catching a mouse."

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.

Wednesday, May 11, 2016

Excerpt from The Achivements of the Sage (儒效) in the Xún​zǐ (荀子)

「不闻不若闻之,闻之不若见之,见之不若知之,知之不若行之;学至于行之而止矣。」

孔子
"Not hearing is not as good as hearing, hearing is not as good as seeing, seeing is not as good as knowing, knowing is not as good as acting; true learning continues until it is put into action."

Unless noted otherwise, all quotations of classical texts come from the Chinese Text Project. This translation was found in this blog.

Friday, April 29, 2016

The Fingers are separated, the Palms are concave; swing the Arms, the Shoulders are level. (指分掌凹,擺肱平肩) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

指分掌凹,擺肱平肩

指分是將五指分開,不要並擺。掌凹是使掌心向裡涵空凹攏。擺肱是在轉行時兩臂必須極力向圓心的一面擺動,不可有向前推的動作。平肩是兩肩在轉行時或轉身換掌時都必須保持端正平舒,不要有一起一落的現象。

薑容樵
“Fingers are separated” means that the 5 fingers are apart, one muste not hold them together. “Palms are concave” means that the hollow of the palms are contained towards the inside, to draw the emptiness towards a concave form. “Swing the Arms” means that when walking the circle, both arms must at all cost be directed clearly towards the center of the circle; there should not be a forward pushing motion. “The shoulders are Level” means that in walking the circle, turning the body or changing the palms, one must maintain an upright, level, and relaxed posture; one must not have the appearance of one shoulder left behind."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Friday, April 22, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

行氣如九曲珠,無微不到.運勁如百鍊鋼,無堅不摧.

武禹襄
"Circulate Qi as if threading through nine curved pearls, not even the tiniest won’t be reached. Apply power (Jin) as if it was steel refined a hundred times, there is no stronghold one cannot overcome."

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.

Friday, April 15, 2016

Excerpt from Report of Liú Qílán (劉奇蘭) Sayings (述劉奇蘭先生言) in Boxing Concepts Explained Authentically (拳意述真)

一則

劉奇蘭先生云。形意拳術之道。體用莫分。自己練者為體。行之於彼為用。自己練時。眼不可散亂。或視一極點處。或看自己之手。將神氣定住。內外合一。不可移動。要用之於彼。或看彼上之兩眼。或看彼之中心。或看彼下之兩足。不要站定成式。不可專用成法。或掌或拳。望着就使。起落進退。變化不窮。是用智而取勝於敵也。若用成法。即能勝於人。亦是一時之僥倖耳。所應曉者。須固住自己神氣。不使散亂。此謂無敵於天下也。

郭雲深
"In the method of the Xingyi boxing art, there is no distinction between form and function, except that what you practice on your own is the form and what you do to an opponent is the function.
During solo practice, your eyes cannot be wandering around. Either look to a distant point or toward your own hand. Firmly consolidate your spirit and energy, inside and outside merging into one and never shifting apart.
When acting upon an opponent, you should either watch his eyes above, his middle section, or his feet below. Do not get stuck in an established pattern or focus on using an established method. Whether using palm or fist, observe the reason for it. In lifting and dropping, advancing and retreating, adapt limitlessly. You are thereby using your intelligence and seeking victory based on the opponent. If you use an established method, then you can be defeated by the opponent or even just by bad luck. Knowing this, you must consolidate your spirit and energy, and not let them be in disarray. This is what it means to be invincible."

Excerpt from the translation by Paul Brennan, to be found in the Brennan Translation blog.

Wednesday, April 13, 2016

Sacrifice the Plum Tree In Place of the Peach Tree (李代桃僵) from the Thirty-Six Stratagems (三十六計)Sacrificar a Ameixeira para Salvar o Pessegueiro (李代桃僵) dos Trinta e Seis Estratagemas (三十六計)

李代桃僵

势必有损,损阴则益阳。
"There are circumstances in which you must sacrifice short-term objectives in order to gain the long-term goal. This is the scapegoat strategy whereby someone else suffers the consequences so that the rest do not. "

Quoted from Chinese Classics and Translations
"Existem circunstâncias onde é necessárion sacrificar objetivos de curto prazo para garantir o objetivo de longo prazo. Esta é a estrégia do bode expiatório onde alguém sofre consequências de maneira que o resto não sofra."

Traduzido à partir de Chinese Classics and Translations

Friday, April 8, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

發勁須沉著鬆淨,專注一方.立身須中正安舒支撐八面.

武禹襄
"In order to emit power (Jin), one must be calm, collected and relaxed, concentrated in a single direction. The standing body must be centered, straight and serene, so you one handle the eight directions."

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.

Friday, March 25, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

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。

武禹襄
"If one is able to raise the spirit of vitality, then there is no worry of being slow or clumsy. This is also called the top of the head is suspended. Yi (Intention) and Qi must exchange quickly; so the wonderful liveliness of the circle is present. This is also called the substantial and the insubstantial can transform in each other."

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.

Friday, March 18, 2016

Seven Advancing as One (七) from The Essentials of Yue Fei's Boxing Art (附岳武穆形意拳術要論)

第七章 七、要論

頭為六陽之首,而為周身之主,五官百骸,莫不惟此是賴,故頭不可不進也,手為先行,根基在膊,膊不進而手則却而不前矣,此所以膊貴于進也,氣聚中腕,機關在腰,腰不進,而氣則餒而不實矣,此所以腰貴于進也,意貫周身,運動在步,步不進而意則堂然無能為矣,此所以步必取其進也,以及上左必須進右,上右必須進左,其為七進,孰非所以著力之地歟,而要之未及其進,合周身而毫無關動之意,一言其進,統全體而俱無抽扯游移之形。

岳飛
"[1 – head] Your head is the source of the six active meridians and is the commander of your whole body, from senses to bones. There is no part that does not rely on it, therefore the head must advance.
[2&3 – hand & forearm] The hand is the first to go forth, but it is rooted in the forearm. If the forearm does not advance, the hand cannot go forward. This is why it is important for the forearm to advance.
[4&5 – energy & waist] Energy gathers in the wrist, but its engine lies in the waist. If the waist does not advance, the energy will not have enough energy to manifest. This is why it is important for the waist to advance.
[6&7 – intent & step] Intent courses through the whole body, but movement lies in the stepping. If the step does not advance, the intent is unable to proceed. This is why it is essential for the step to advance. Further, when going forward with your left, you must advance your right, and when going forward with your right, you must advance your left.
These are the seven parts that advance. Which of them is not therefore involved in the effort? The key is that before you advance, you unify your whole body so there is not the slightest notion of any isolated action. When you then decide to advance, no part is truantly doing its own thing."

Excerpt from the translation by Paul Brennan of "The Art of Xingyi Boxing" (形意拳術) by Lǐ Jiànqiū​(李劍秋), to be found in the Brennan Translation blog.

Friday, March 11, 2016

Excerpt from Important Explanations for the Accomplishment of the Thirteen Postures (十三勢行功要解) by Wǔ Yǔxiāng (武禹襄)

以心行氣,務令沉著,乃能收歛入骨。
以氣運身,務令順遂,乃能便利從心。

武禹襄
"One uses the Xin (mind) to conduct the Qi: the mind shall be calm, steady, therefore the Qi can condense into the bones. Because of the Qi the body moves, the Qi makes the movement smooth, therefore the body can easily comply with the mind."

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.

Wednesday, March 9, 2016

Excerpt from the Inner Enterprise by Guǎn​zǐ (管子內業)

天主正,地主平。人主安靜,春秋冬夏,天之時也,山陵川谷,地之枝也,喜怒取予,人之謀也,是故聖人與時變而不化,從物而不移。能正能靜,然後能定。定心在中,耳目聰明,四枝堅固,可以為精舍。

管子
"The pivot of Heaven is uprightness. The pivot of Earth is flatness. The pivot of Man is quiescence. Spring, Autumn, Winter and Summer are the season times of Heaven. Mountain ridges and river valleys are the limbs of Earth. Showing pleasure or anger, taking or giving, there are the schèmes of man. The sage adapts with times but is not transformed, follows along with things but is not moved by them. He is able to be balanced and tranquil and so he is settled. With a settled heart within, the eyes and ears are keen and clear, the four limbs are strong and firm, he is fit to be the dwelling of the essence."

Translation proposed by The University of Indiana
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Traduzido a partir de Chinese Text Project

Friday, March 4, 2016

The Waist is like an Axle; the Hands are like Revolving Wheels (腰如軸立,手似輪行) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

腰如軸立,手似輪行

八卦掌在鍛煉時必須以腰部構成運動的軸心,手動必先身動,身動必先腰動,使腰帶動一切。八卦掌在換掌的時候必須使手臂的動作如車輪那樣形成圓圈,因為圓形動轉較為靈敏,又含著連環不斷的作用。

薑容樵
“During Baguazhang practice the waist constitutes the key axle of every movement: for the hands to move, the body must move first; for the body to move, the waist must move first; the use of the waist spurs all movements. In Baguazhang during the palms transformations it is necessary to apply a round shape and employ the hands and arms in revolving movements. Turning in circular movements in fairly agile and the result is to keep the chain of movements uninterrupted."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Friday, February 19, 2016

Six and More Unions (六) from The Essentials of Yue Fei's Boxing Art (附岳武穆形意拳術要論)

第五章 六、要論

心與意合,意與氣合,氣與力合,內三合也,手與足合,肘與膝合,肩與胯合,外三合也,此為六合,左手與右足相合,左肘與右膝相合,左肩與右胯相合,右之與左以然,以及頭與手合,手與身合,身與步合,孰非外合,心與眼合,肝與筋合,脾與肉合,肺與身合,腎與骨合,孰非內合,豈但六合而已哉,然此特分而言之也,總之一運而無不動,一合而無不合,五形百骸,悉用其中矣。

岳飛
"Mind is united with intent, intent united with energy, energy united with power – these are the three internal unions. Hand is united with foot, elbow united with knee, shoulder united with hip – these are the three external unions. These together are the six unions.
Left hand is united with right foot, left elbow united with right knee, left shoulder united with right hip – likewise with left and right reversed. In addition, head is united with hand, hand united with torso, torso united with step. Are these not external unions? Heart is united with eye, liver united with sinew, spleen united with muscle, lungs united with torso, kidneys united with bones. Are these not internal unions? We cannot say there are only six unions, for these particular distinctions are also talked of.
It is always the case that when one part moves, all parts move, and when one part unites, all parts unite. Therein lies the complete functioning of the whole body in all of its parts.
" Excerpt from the translation by Paul Brennan of "The Art of Xingyi Boxing" (形意拳術) by Lǐ Jiànqiū​(李劍秋), to be found in the Brennan Translation blog.

Friday, February 12, 2016

The Explanation of Reversal of Yin and Yang in Taiji (太極陰陽顛倒解) by Yáng​ Bān​hóu​ (楊班侯)

太極陰陽顛倒解

陽:乾,天,日,火,離,放,出,發,對,開,臣,肉,用,氣,身,武,立命,方,呼,上,進,隅。
陰:坤,地,月、水,坎,卷,入,蓄,待,合、君,骨,體 , 理,心,文,盡性,圓,吸,下,退、正。
"Yang: the trigram Qian, heaven, sun, fire, fire, the trigram Li, to release, to come out, to emit, to confront, to open, the servant, flesh, application, Qi, physical body, martial, heaven-ordained, square, to exhale, upward, to advance and the corners.
Yin: the trigram Kun, earth, moon, water, the trigram Kan, to roll up, to go into, to store, to relat, to close, the ruler, bones, the body structure, core, rules, Xin, scholar, to accomplish one’s nature, round, to inhale, downward, to retreat and the sides."

蓋顛倒之理,水、火二字詳之,則可明。如火炎上,水潤下者,水能使人在下而用。水在上,則為顛倒。然非有法治之,則不得矣。譬如水入鼎內,而治火之上,鼎中之水,得火以燃之,不但水不能下潤,藉火氣,水必有溫時。火雖炎上,得鼎以隔之,是為有極之地,不使炎上之火無止息,亦不使潤下之水永滲漏。此所謂水火既濟之理也,顛倒之理也。若使任其火炎上,水潤下,必至火,水必分為二,則為火水未濟也。故雲分而為二,合之為一之理也。故雲一而二,二而一,總斯理為三,天、地、人也。
"The intrinsic order of reversal can be explained in detail by “water-fire”. The flames fire upward, water floats downward. If water is kept above, the situation is reversed, and one can use its power. If the method is not correctly applied, this goal cannot be achieved. If water is put in a cauldron and put over fire, the water inside the cauldron will be heated by the fire. Not only the water cannot run downwards and extinguish the fire, water will also warm up. Even if fire wants to move up, the cauldron serves as a separation. There is a separation that does not allow fire to move up liberating breathing, but also prevents water to leak downwards. This is called the system of “water-fire helping each other”, the theory of reversal. If one allows the flame to go upwards and water to run downwards, water and fire will be certainly separated and will not be able to support each other. Therefore it is said, when they are separated, there are two and when they are unified, they are one. Thus, one is two and two is one. In summary, it is from this rule, the Three (powers) heaven, earth and human are derived."
明此陰陽顛倒之理,則可與言道:知道,不可須臾離,則可與言人;能以人弘道,知道,不遠人,則可與言天地同體。上,天;下,地:人在其中矣。苟能參天察地,與日月合英明,與五嶽四瀆華朽,與四時之錯行,與草木並枯榮,明鬼種之吉兇,知人事興衰,則可言乾坤為一大天地,人為一小天地也。夫如人之身心,致知格物十天地之知能,則可言人之良知,良能。若思不失固有,其功用,浩然正氣,直養無害,攸久無疆矣。聽謂人身生成一小天地者,天也,性也;地也,命也;人也,虛靈也,神也。若不明之者,烏能配天地為三乎?然非盡性立命,窮神達化之功,胡為乎來哉!

楊班侯
"If the theory of reversal of Yin and Yang is understood, then it is possible to talk about the Dao. Once understood, it is not possible to separate from the Da and one can talk about what is human. If one is able to apply and perceive the Dao as something that is not far for us, the one is able to discuss how heaven and earth are similar to the body. Heaven is above, earth is below, and the human is between them. If one is able to refer to heaven’s laws and observe earth’s rules, unify oneself with the brightness with the sun and the moon, endure with the Five Sacred Mountains and Four Great Rivers, act in synchrony with the Four Seasons, wither and flourish with the grass and woods, comprehend the seeds of good and bad destinies of ghosts and deities, understand the prosperity and adversity of human affaires, then it may be said that Qian and Kun are like a large Heaven and Earth, while human affairs ar a small Heaven and Earth. Therefore, in terms of human’s body and mind, if one is able to study the underlying principles of Heaven and Earth, then one is capable of understanding the innate wisdom and abilities, one ponders without failing its inherent characterstics, its function, its vast righteousness, its continuous generation without harm, its infinite size and duration. When it is said that the human body is a small heaven and earth, it means that heaven is the intrinsic human nature, the earth is the physical life, what is human is insubstantial spirit and the soul. If this is unclear, how can one join Heaven and Earth and act as three powers? If one is unable to develop one’s intrinsic nature and establish a healthy life, how the exhausted soul cannot attain the goal of transformation?"

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, February 5, 2016

Raise levelly, Drop and Hook; Continuously Move Unhindered (起平落扣,連環縱橫) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

起平落扣,連環縱橫

起平是將腳提起時也要像足心涵空那樣平。落扣是說落步時不僅要平落,還要使腳裡扣。連環是不斷的意思,意識不斷,勁力不斷,動作不斷,從連環中生出縱橫,上下左右四面八方一氣連環。

薑容樵
“'Raise levelly' means that while liftting the leg one shall shall make the heart of the foot empty and that is level. 'Falling and hooking' means that the falling step not only must fall levelly, but also must hook inward. 'Continuous' means uninterrupted intention, unceasing awareness, constant force and continuous movement; from within continuity is generated the vertical and horizontal, the above and below, left and right, the four sides, the eight directions and the unified qi, all interconnected.."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Friday, January 29, 2016

Lively (活) from Foundation (基礎)Redondo (圓) de Fundamentos (基礎)



活者,靈活之謂。無笨重遲滯之意。上述各節貫通後,則伸屈開合、進退俯仰,無不自由。所謂能呼吸,而後能靈活也。
"Lively means agile. There is no clumsiness to block the intention. As mentioned in the paragraphs above, after every segment is linked up extend and bend, open and close, advance and retreat, lower and raise, will all be done freely. This means that from the ability to breathe comes agility."

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).
""

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, January 15, 2016

The Explanation of Eight, Five and Thirteen Postures in Long Fist (八五十三勢長拳解) by Yáng​ Bān​hóu​ (楊班侯)

八五十三勢長拳解

自己用功,一勢一式,用成之後,含之為長,滔滔不斷,周而復始,所以名“長拳”也。萬不得有一定之架子,恐日久入於滑拳也,又恐入於硬拳也,決不可失其綿軟。周身往復,精神意氣之本,用久自然貫通,無往不至,何堅不推也。於人對待,四手當先,亦自八門五步而來。跕四手,四手碾磨,進退四手,中四手,上下四手,三才四手,由下乘長拳四手起,大開大展,練至緊湊,屈伸自由之功,則升之中,上成矣。

楊班侯
"After succeeding in one’s diligent study of each posture and each form, they should be kept as in one long, continuous, endless cycle called therefore “Long Fist”. The form should not become fixed, it should be feared that it gradually becomes smooth, it should also be feared that it gradually becomes stiff, one should not lose the continuous flexibility. The back and forth movement of the whole body is the root of the spirit of vitality, the intention and the energy. After a long practice, they will all be linked together naturally and can be used at will. When sparring correctly with an opponent, if the four hands are suitable, they will be first, this is originated from the eight doors and the five steppings. Variating the four hands, turning and coiling with the four hands, advance and retreat with the four hands, keep the central equilibrium with the four hands, go up and down with these four hands, harmonize the three powers with these four hands. Start from the basic four hands of “Long Fist”, open and extend widely until they become compact and tight. This bending and extending freely as wished is the achievement of a higher level of skill."

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)

Wednesday, January 13, 2016

Drinking Alone with the Moon (月下獨酌) by Lǐ​ Bái (李白)

月下獨酌

花間一壺酒, 獨酌無相親;
舉杯邀明月, 對影成三人。
月既不解飲, 影徒隨我身;
暫伴月將影, 行樂須及春。
我歌月徘徊, 我舞影零亂;
醒時同交歡, 醉後各分散。
永結無情遊, 相期邈雲漢。

李白
"From a pot of wine among the flowers
I drank alone. There was no one with me –
Till, raising my cup, I asked the bright moon
To bring me my shadow and make us three.
Alas, the moon was unable to drink
And my shadow tagged me vacantly;
But still for a while I had these friends
To cheer me through the end of spring....
I sang. The moon encouraged me.
I danced. My shadow tumbled after.
As long as I knew, we were boon companions.
And then I was drunk, and we lost one another.
...Shall goodwill ever be secure?
I watch the long road of the River of Stars."

Unless noted otherwise, all translations of Tang Poetry come from the Chinese Classics and Translations website, tranlations by Witter Bynner.

Friday, January 8, 2016

The Five Organs and Their Associations (五) from The Essentials of Yue Fei's Boxing Art (附岳武穆形意拳術要論)

第五章 五、要論

今夫捶以言勢,勢以言氣,人得五臟以成形,即由五臟而生氣,五臟實為生性之源,生氣之本,而名為心、肝、脾、肺、腎是也,心為火,而有炎上之象,肝為木,而有曲直之形,脾為土,而有敦厚之勢,肺為金,而有縱革之能,腎為水,而有潤下之功,此乃五臟之義,而必準之于氣者,以其各有所配合焉,此所以論武事者,要不能離乎斯也,胸膈為肺經之位,而為諸臟之華蓋,故肺經動而諸臟不能靜,兩乳之中為心,而肺包護之,肺之下,胃之上,心經之位也,心為君火,動而相火無不奉合也,而兩肋之間,左為肝,右為脾,背脊十四骨節,皆為腎,此固五臟之位,然五臟之系,皆系于背脊,通于腎髓,故為腎,至于腰,則兩腎之本位,而為先天之第一,尤為諸臟之根源,故腐水足而金木水火土咸有生機,此乃五臟之位也,且五臟之存于內者,
"In boxing arts, we discuss postures, and to do that, we discuss energy. The posture is made by the five organs in the body, for the energy is generated from the five organs. The five organs are truly the source of our life force and the basis of generating energy. They are the heart, liver, spleen, lungs, and kidneys.
The heart relates to the element of fire, which blazes upward. The liver relates to the element of wood, which bends and straightens. The spleen relates to the element of earth, which supplies abundance. The lungs relate to the element of metal, which obeys and overthrows. The kidneys relate to the element of water, which soaks downward. These are the relationships for the five organs. Their energies must be maintained at the right level, for they each play their role within a cooperative whole. A discussion of martial matters cannot avoid this.
The diaphragm is where the lung energy is positioned. It is the canopy for the other organs. When the lungs move, the other organs are unavoidably affected. At the center of the chest is the heart. The lungs are wrapped over it and protect it. Under the lungs and above the stomach is where the heart energy is positioned. The heart is ruler over [the other body parts associated with] the element of fire. When it moves, all the other fire correspondences [such as the vessels, the blood, and the tongue] accord with it. Behind the ribs on the left [right] side is the liver, and on the right [left] side is the spleen. To the sides of the lumbar vertebrae are the kidneys.
This is how the five organs are positioned, but as for their relationship, they are all connected through the spine to the essential fluid of the kidneys. Positioned in the waist, the kidneys are the first stage in the processing of innate energy and are the basis for the other organs. When the kidney fluid is sufficient, all of the five elements have vitality. This is why the five organs are positioned as they are.
各有其定位,而具于身者,亦自有所專屬,領頂腦骨背腎是也,兩耳亦為腎,兩唇,兩腮皆脾也,兩發則為肺,天庭為六陽之首,而萃五臟之精華,實為頭面之主腦,不啻一身之座督矣,印堂者,陽明胃氣之衝,天庭性起,機由此達,生發之氣,由腎而達于六陽,實為天庭之樞機也,兩目皆為肝,而究之上包,為脾,下包為胃,大角為心經,小角為小腸,白則為肺,黑則為肝,瞳則為腎,實為五臟之精華所聚,而不得專謂之肝也,鼻孔為肺,兩頤為腎,耳門之前為膽經,耳后之高骨,亦腎也,鼻為中央之土,萬物資生之源,實中氣之主也,入中為血氣之會,上衝印堂,達于天庭,亦為至要之所,兩唇之下為承漿,承漿之下為地閣,上與天庭相應,亦腎經位也,領頂頸項者,五臟之道途氣血之總會,前為食氣出入之道,后為腎氣升降之途,肝氣由之而左旋,脾氣由之而右旋,其系更重,而為周身之要領,兩乳為肝,兩肩為肺,兩肘為腎,四肢為脾,兩肩背膊皆為脾,而十指則為心、肝、脾、肺、腎是也,膝與脛皆腎也,兩脚根為腎之要,涌泉為腎穴,大約身之所系,心者為心,窩者為肺,骨之露處皆為腎,筋之聯處皆為肝,肉之厚處皆為脾,象其意,心如猛虎,肝如箭,脾氣力大甚無窮,肝經之位最靈變,腎氣之動快如風,其為用也,用其經,舉凡身之所屬于某經者,終不能無意焉,是在當局者自為體認,而非筆墨所能為者也,至于生克制化,雖別有論,而究其要領,自有統會,五行百體,總為一元,四體三心合為一氣,奚必昭昭于某一經絡節節而為之哉。

岳飛
"The five organs have their fixed positions within, but also have special areas of association throughout the body, for instance the neck, headtop, brain, bones, and back are related to the kidneys. The ears are also related to the kidneys. The lips and cheeks are related to the spleen. The hair is related to the lungs. Tianting [the acupoint at the center of the forehead] is the source of the six active meridians, the gathering place of the essence of the five organs. Truly it is the leader of the face, and is no less than the supervisor over the whole body.
Yintang [the acupoint between the eyebrows] is the major spot on the stomach meridian. When vitality awakens at Tianting, it is because of activity at Yintang, and when energy is generated from the kidneys and reaches to the six active meridians, it is indeed because of the activity at Tianting.
The eyes as a whole are related to the liver, but as for the specific parts of the eye: the inner corner is related to the heart energy, the outer corner is related to the small intestine, the sclera is related to the lungs, the iris is related to the liver, and the pupil is related to the kidneys. Truly this is the place where the essence of the five organs is gathered, and is not just related to the liver.
The nostrils are related to the lungs. The cheeks are related to the kidneys. The forward flap of the ear is related to the energy of the gallbladder. The area of skull rising up from behind the ear is also related to the kidneys. The nose is related to the center, the source of sustenance for all parts [seeing as air is the most basic fuel we take in], and is truly lord over the central energy."

Excerpt from the translation by Paul Brennan of "The Art of Xingyi Boxing" (形意拳術) by Lǐ Jiànqiū​(李劍秋), to be found in the Brennan Translation blog.

Friday, January 1, 2016

Round (圓) from Foundation (基礎)Redondo (圓) de Fundamentos (基礎)



圓者,圓滿之謂。每一姿勢一動作, 務求圓滿,而無缺陷。則能完整一氣,而免凸凹斷續之病。推手運用各勁,非圓不靈。能圓則活,處處能圓,則無往不利。
"Round means consummate. Every posture is a complete action, in which one engages to be consummate and without flaws, and therefore be able to unify the movement, and avoid the flaw of the intermittent concave and convex. It is put to use in each and every Jin in Tuishou, if it is not round it is not effective. If the movement can be round, it is lively. If every movement is round, then one will be always successful."

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).
""

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).