A Survey on Instruction on the Elbow (肘)

肘

The instruction around the Elbow is one that is to be overlook during practice. At first it seems a bit counterintuitive, as it asks for a very mobile joint to be stuck in a sunken position.

The first indication by the texts is that it should be "sunk" or "dropped", along with the shoulder. One can read this on many texts related to postural instruction, such as the Eight Points of the Body Method (身法八要) by Wǔ Yǔxiāng (武禹襄) for Tàijíquán (太極拳) practitioners:

含胸、拔背、
裹襠、護肫、
提頂、弔襠、
鬆肩、沉肘。

"Contain the chest, stretch the back
Wrap the inner tighs, protect the hips
Lift the crown, hang the crotch
Loose the shoulders, sink the elbow.

Or in the First Secret Song (歌訣一) of Bāguàzhăng (八卦掌):

沈肩墜肘伸前掌

"Sink the shoulders, drop the elbows, and extend the front palm forward."

It is not always easy to pinpoint what "sinking" the elbows mean. Although although it is often translated as "sink", different words are used in Chinese. These words have associated meanings that are useful to keep in mind. The first is Zhuì (墜), that is given by my dictionaries as "to fall, to drop, to weigh down". The second is Chén (沉) which means "to sink, to submerge, to keep down", but also "deep", "heavy". It seems to me that there is an implied sensation of heaviness, of weight that brings the "sinking".

This is the basic, but not the unique instruction on elbows that can be found. Another one is the relation of the "sinking" of the elbow and the protection of the abdomen and the ribs. In the sixth of the Xingyi Eight Character Secret (形意八字訣) by Lǐ Cúnyì (李存義) and Jiāng Róngqiáo (薑容樵) one can read:

兩肘下垂，則兩肱自圓，能固兩脅。

"When both elbows hang down, then both arms are naturally round, and can solidify the ribs.

And on the Second Secret Song (歌訣二) of Bāguàzhăng (八卦掌):

後肘先疊肘掩心

The rear elbow is folded to cover up the center

A third point can be noted on the aspect of bending of the elbow. Jiāng Róngqiáo (薑容樵) states it clearly in his instruction of Bāguàzhăng (八卦掌)on "Relax the Shoulders; sink the elbows. Strengthen the belly; open the chest." (鬆肩沉肘，實腹暢胸)

沉肘是使肘部經常保持著向下沉墜，在鍛煉時必須屈如半月形。

"The Sink the Elbow instruction is contantly sent to the elbows, in order to keep them sunk at all times. During practice it is mandatory that the elbows remain bent like in a half-moon shape."

Jiāng Róngqiáo (薑容樵) gives even more precise instruction on the instructions for Sāntǐ Shì (三體式) in the Arms song (臂) of the Nine Songs of Xingyiquan (形意拳九歌):

左臂前伸，
右臂在肋，
似曲不曲，
似直不直，
過曲不遠，
過直少力。

"The left arm stretches forward.
The right arm is by the ribs.
They seem bent but are not bent.
They seem straight but are not straight.
Bend too much and there is not enough reach.
Make it too straight and there is not enough strength."

As implied in the text above, there is a link between the position of the elbow and capacity to emit power. Yáng Chéngfǔ (楊澄甫) makes it very clear in Sink the Shoulders and Drop the Elbows (沉肩墜肘):

肘若懸起，則肩不能沉，放人不遠，近于外家之斷勁矣。

"If the elbows seem raised or suspended, then the shoulders cannot sink. Therefore the ability to release (power towards) the opponent does not go far. This is similar to the external styles discontinuous power."

The elbow (肘) and the unification of the body

It is important to keep in mind that the elbow does not function alone, as nothing does in Internal Martial Arts (內家拳). Instruction on it is very precise, as the relationship between the elbow and the knees is classified among the Three External Coordinations (三外和). This is particularly transmitted on Xíngyìquán (形意拳) texts, for example in "The Six Harmonies of Xingyiquan" (形意拳六合) by Líng Shànqīng (凌善清):

兩肘往下垂勁，兩膝往里扣勁，是曰肘與膝合

"When the two elbows are sinking and the two knees are locked internally, it is said that the elbows and the knees are coordinated."

The unification of the body is of course a topic by itself.

The elbow (肘) in combat

Finally, the elbow is also seen as both a "weapon" and a "technique". In Xíngyìquán (形意拳) it is classified among the Seven Stars (七星) or seven points of contact, as one can read in the "Song of Seven Stars" (七星歌) by Jiāng Róngqiáo (薑容樵):

用必七體，
頭肩肘手，
胯膝合足，
相助為友。

"In applications it is necessary to use the seven forms: These are the head, shoulder, elbow, hand, Thighs, knees and feet, They help one another as old friends."

And the elbow is also a key element in the applications of Tàijíquán (太極拳). It is one of the Eight Directions or Eight Methods (八法秘訣) with subitilities of its own. A reminder from the Secret of Eighteen Dependencies (十八在訣) is suitable as the final word of this survey:

肘在曲使

"The elbow is used bent, "

A Survey of Vitality (精神) Vitalidade (精神)

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."

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.

頂

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:

頂勁者，頭容正直，神貫于頂也。

"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):

空胸拔頂下塌腰。

"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:

手掌外頂，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" (頭頂懸)
• "the starting point is to look upright" (起點面正)
• "the head should push upwards" (頭宜上頂)

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."

Three Emptinesses

The term "Empty" or "Emptiness" is often used in Internal Martial Arts (内家武術) translations, in particular those that are somewhat older. In fact, whenever reading a text that mentions "emptiness" in a western language one should be aware that it can point to three different notions.

空

The first translation is what I would call "literal" emptiness, the notion that something has been emptied, is vacant, unoccupied. This term is kōng (空), and it describes a wide range of things: the outer space in astronomy (太空), the vacuum (真空), a cavity (空洞), a vacancy (空缺) or a "liberty" in the game of go.

In the internal martial arts texts I've seen, this term is used mostly linked to physical postures, like the necessity of emptying the chest. For example in "Cover" (扣) from the "Xingyi Eight Characters Secret" (形意八字訣) by Jiāng Róngqiáo (薑容樵):

一。兩肩要扣，則前胸空闊，氣力到肘。

"Both shoulders should be like covers. The chest is empty and broad. The qi strength arrives in the elbows."

虚

A second translation is mostly in Tai Chi Chuan (太極拳), and it relates to the way movement is made in Tai Chi. Earlier translations would talk about "full" (實) and "empty" (虚) for the weight for example. I think a better translation for this "fullness" and "emptiness" is given by Yang Jwing Ming (楊俊敏): "substantial" (實) and "insubstantial" (虚). The idea of emptiness here is an idea of void, often in what in the West would be seen as a negative sense: a false reputation (虚名), vanity (虚荣心) or fictitious or theoretical (虚拟). In the Tai Chi Chuan texts, the term is quite central to the practice, for example in the The Ten Important Points of Tai Chi Chuan (太極拳十要) by Yáng Chéngfǔ (楊澄甫):

太極拳術以分虛實為第一義

"The discrimination of insubstantial and substantial is the most important content in Taijiquan. "

無
極

Although much more rarely, the third term that is sometimes translated as "emptiness" or a related term is Wú​jí (無極). It is a term related to chinese cosmogony, as it refers to the potential state the universe was before the "Ten Thousand Beings" appeared (萬物). In internal martial arts, Wú​jí is used to denote the initial undifferentiated state, before a form is started. In some old translations or internal martial arts books, we would see "emptiness" or "empty oneself" related to that specific point.

The term has been introduced in the Internal Martial Arts universe by Sūn Lùtáng (孫祿堂) and Jiāng Róngqiáo (薑容樵), in texts like "The Song of Wújí" (無極歌) by Jiāng Róngqiáo (薑容樵) and "The Study of Wuji in the Sword" (無極劍學) by Sūn Lùtáng.

A survey of quietness (靜)

靜

My dictionaries provide 3 possible translations for 靜: quiet, calm, still. In modern Chinese the term is used to design what in the west we would call « static »: static electricity (靜電) in science, for example; or a still life (靜物画) in arts. It can also be found in expressions that evocate tranquility, like”the sea is calm and tranquil” (海上風平浪靜). A pure translation of the term points then to a quality of that a pristine lake or a quiet forest: still but not stiff, calm but not on a psychological term, quiet as when movement has ceased.

To capture the sense of the term it is also good to note that the term meditation is often used as a translation of 靜坐. If translated literally, character by character, we would read “sit quietly” or “sit still”. One does not need to go far to find it: the Chinese title of “The Tao of Meditation” by Jou Tsung Hwa (周宗樺) is 靜坐開悟之道 or literally “An introduction to the way of sitting in quietness”.

Quietness in Internal Martial Arts

A first aspect of 靜 that can be found in the texts is its opposition to speed, a sort of duality between stillness and movement. It is treated here as a technical aspect of fighting, in the sense that it is needed to be learned to be used in the right opportunity, as a tool. For example, in the “Thirteen Secret Words of Practice” (十三字行功訣) by Yang Banhou (楊班侯) one can read:

掤手兩臂要圓撐，動靜虛實任意攻。

"In Ward-off it is important that both arms keep round, then quietness and activity, insubstantial and substantial can be used to attack as wished."

A second aspect is 靜 as a quality to be included in the movements. Rather than being a pair stillness-movement, this second meaning implies that calmness has to be maintained throughout the practice. In “Seeking Calmness in Movement” (動中求靜), Yang Chengfu (楊澄甫) indicates that the student should remain calm despite being in movement:

太極拳以靜御動，雖動尤靜

"Tàijíquán uses calmness to control the movements, through moving one remains calm."

It is certain that this is an aspect that looks very proper to Taijiquan, as it explains the reason for slowness in training. In the text, Yang Chengfu (楊澄甫) goes on with:

故練架子愈慢愈好。

"Therefore, when practicing postures, the slower the better."

In fact, this impression of 靜 being a exclusive feature of the system of Tàijíquán (太极拳) is only apparent. In the studies written by Sūn Lùtáng (孙禄堂) and Jiāng Róngqiáo (薑容樵) on Xíngyìquán (形意拳) and Bāguàzhăng (八卦掌), quietness is mentioned as a requirement for practice. It is often associated with Wuji (無極), the undifferentiated state that precedes and concludes every practice. For example, in the Xing Yi Wu Ji Song (形意無極歌) by Jiang Rongjiao (薑容樵) it can be read:

空洞自然凝神靜。

"The nature is empty, the spirit concentrate on quietness."

This connotation of the term in the Internal Martial Arts texts is the closest to the meaning of 靜 that can be found in the ancient texts, and this brings another hint of its meaning.

靜 in Ancient Texts

靜is also an ancient term that was can be found in the earlier texts. For example, in the Chapter 16 of the 道德經 (Dào dé jīng) one can read:

歸根曰靜

Returning to one's roots is known as stillness.

And again in the 管子內業 (Guǎnzi Nèiyè), chapter 3 one can read:

天主正，地主平。人主安靜

The pivot of heaven is uprightness. The pivot of earth is flatness. The pivot of man is quiescence.

It is not only the Taoist-leaning texts that put quietness as central to man’s nature. In Confucian texts, such as the Great Learning -大學 - Da Xue, quietness is also given this place:

大學之道，在明明德，在親民，在止於至善。知止而後有定，定而後能靜，靜而後能安

What the Great Learning teaches, is to illustrate illustrious virtue; to renovate the people; and to rest in the highest excellence. The point where to rest being known, the object of pursuit is then determined; and, that being determined, a calm unperturbedness may be attained to. To that calmness there will succeed a tranquil repose.

For the ancient, 靜 is therefore associated to Early Heaven (先天): a primordial quality that is present before differentiation and movement – and therefore its association with Wuji (無極) in the internal martial arts texts. Beyond being a core quality of human nature, it is also a state worth to be looked for, as the aim of a movement of return.

Zhuang Zi’s (莊子) hints on methods

The question that follows then is “how” approach this return to quietness (靜), this state of calm unperturbedness or tranquil repose. Throughout his text, Zhuang Zi (庄子) proposes an indication on how to return and reach it.

A first pointer may be found with “Sitting in Forgetfulness” (坐忘), a process that is described in chapter 6: The Great and Most Honoured Master (六。大宗師) :

顏回曰：“回益矣。”仲尼曰：“何謂也？”曰：“回忘仁義矣。”曰：“可矣，猶未也。”他日復見，曰：“回益矣。”曰：“何謂也？”曰：“回忘禮樂矣。”曰：“可矣，猶未也。”他日復見，曰：“回益矣。”曰：“何謂也？”曰：“回坐忘矣。”仲尼蹴然曰：“何謂坐忘？”顏回曰：“墮肢體，黜聰明，離形去知，同於大通，此謂坐忘。”

Yan Hui said, 'I am making progress.' Zhongni replied, 'What do you mean?' 'I have ceased to think of benevolence and righteousness,' was the reply. 'Very well; but that is not enough.' Another day, Hui again saw Zhongni, and said, 'I am making progress.' 'What do you mean?' 'I have lost all thought of ceremonies and music.' 'Very well, but that is not enough.' A third day, Hui again saw (the Master), and said, 'I am making progress.' 'What do you mean?' 'I sit and forget everything.' Zhongni changed countenance, and said, 'What do you mean by saying that you sit and forget (everything)?' Yan Hui replied, 'My connexion with the body and its parts is dissolved; my perceptive organs are discarded. Thus leaving my material form, and bidding farewell to my knowledge, I am become one with the Great Pervader. This I call sitting and forgetting all things.'

The paragraph describes a long term process that reaches the end of something that could be called a “spiritual” state. The main aspect of “Sitting in Forgetfulness” seems to be the “Calming the Thoughts”, as stated in the Chapter 23 - Geng-sang Chu (廿三。庚桑楚):

南榮趎蹴然正坐曰：“若趎之年者已長矣，將惡乎託業以及此言邪？”庚桑子曰：“全汝形，抱汝生，無使汝思慮營營。若此三年，則可以及此言矣。”

(On this) Nan-rong Chu abruptly sat right up and said, 'What method can an old man like me adopt to become (the Perfect man) that you have described?' Geng-sang Zi said, 'Maintain your body complete; hold your life in close embrace; and do not let your thoughts keep working anxiously: do this for three years, and you may become the man of whom I have spoken.'

There is a further explanation in in Chapter 4 - . Man in the World, Associated with other Men (四。人間世) , where managing the flow of thoughts seems to be related also to the appropriate placing of the will (“fasting of the mind”). Once this is done, the senses, the mind and the spirit will be calmly performing their functions:

回曰：“敢問心齋。”仲尼曰：“一若志，無聽之以耳而聽之以心，無聽之以心而聽之以氣。聽止於耳，心止於符。氣也者，虛而待物者也。唯道集虛。虛者，心齋也。”

'I venture to ask what that fasting of the mind is,' said Hui, and Zhongni answered, 'Maintain a perfect unity in every movement of your will, You will not wait for the hearing of your ears about it, but for the hearing of your mind. You will not wait even for the hearing of your mind, but for the hearing of the spirit. Let the hearing (of the ears) rest with the ears. Let the mind rest in the verification (of the rightness of what is in the will). But the spirit is free from all pre-occupation and so waits for (the appearance of) things. Where the (proper) course is, there is freedom from all pre-occupation; such freedom is the fasting of the mind.'

This is just an illustration of how this state of quiescence (靜) could be attained. There is of course not much in these three cotations to transform it into a practical method for the modern western practicant. It would even be pretentious to think so, as thousands of years of study and practice by brilliant masters were built on this tradition.

However three general points can be apprehended from what Zhuang Zi (庄子) says as principles in the way of reaching quiescence (靜) :

• Achieving quietness is a gradual process, that comes with constant practice, and takes a long time to mature, if to be reached at all
• This process is related to regulating the flow of thoughts, aiming at having a non turbulent flow
• It is also related to the appropriate use of the intention or will, so that sensations and thoughts are properly managed.

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

Tǎqiáo (塔橋), Dā Quèqiáo (搭鵲橋) or touching the palate with the tip of the tongue

塔
橋

One of the first things that is asked when starting the first lesson in Internal Martial Arts is to put the tip of the tongue behind the gum, touching the palate. According to Master Jou Tsung Hwa (周宗樺) in the Tao of Meditation, this is called Tǎqiáo (塔橋), or literally the tower (塔) bridge (橋). Through my practice, I heard different explanations for doing it:
- From a Martial Arts point of view, creating this habit, one avoids the risk os biting one's own tongue.
- From an energy point of view, this ensures the connection between the Governing Vessel (督脈) and the Conception Vessel (任脈).
- The last explanation is that it ensures that the students don't have the opportunity for chatting and therefore have to concentrate on the lesson.

搭
鵲
橋

Another name for the same position can be found in the book "Special Taoist Taiji Stick & Ruler Qigong" (道家太極棒尺氣功) by Wáng Fèngmíng (王鳳鳴), based on Féng Zhìqiáng (馮志強) teachings. The position is called there "Building the Magpie Bridge" (搭鵲橋), a reference to the Princess (織女) and the Cowherd (牛郎) legend.
In that legend the Magpie Bridge (鵲橋) is built on the Night of Sevens or Qī​xī​jié (七夕节) to allow the two lovers (a divine princess and a human cowherd) turned constellations to meet.