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 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."

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