Tai chi chuan

Zhaobao tai chi chuan

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Zhaobao Taijiquan is a style of Taijiquan that is often considered to be a modern style, but actually has a strong documented lineage that confirms its authenticity as an ancient style of Taijiquan and as a true transmission from Jiang Fa.

Form and Characteristics

The main set of Zhaobao Taijiquan, or Zhaobao Jia, consists of 108 movements progressing in difficulty. Great emphasis is placed on Yi in Zhaobao training. Like many other styles, Zhaobao Jia can be practiced at three heights, each providing a different degree of complexity. Generally students begin with the Middle Frame , progress to the Low Frame and end with the High Frame .

Zhaobao Taijiquan's practical applications rely heavily on spiral uprooting techniques controlled through the use of Qinna, often followed with the use of sweeps or trips to bring the opponent to the ground. Flowing and coordinated the techniques conform successfully to the basic tenets of the Taiji Classics.

Zhaobao Taijiquan also has its own Neigong system based on traditional Daoist practice, that enables the practitioner to develop the required physical and mental skills needed for successful mastery of the art.

History and Lineage

The Zhaobao Taijiquan style shares a lot of similarities with Chen style Taijiquan, and this commonality is considered by the school to be the manifestation of influences introduced by a member of the famed Chen family- Chen Qingping. He created a style known as the "New Frame", which he taught to many disciples including He Zhaoyuan and . The result of this influence means that the Zhaobao Taijiquan style is often considered by observers to simply be a recent off-shoot of the Chen style. But actually the style has a much longer history and retains many unique qualities based on traditional Taijiquan theory and practice, clearly differentiating it as a complete and separate system of practice. See lineage diagram below.

The evolution of the Zhaobao Taijiquan style can be compared effectively to the evolution of Yang style Taijiquan. Yang Luchan the founder of the Yang style was a disciple of a Chen family teacher called Chen Changxing, and is said to have adapted the fundamentals of the martial arts he was taught to fit his own interpretation of Taijiquan practice and principles, and thus originated a similar looking, yet independent style of Taijiquan.

Zhaobao Taijiquan is not a family style and has traditionally been passed down from master to chosen disciple. The Zhaobao name is given to the style as a way of honouring Chen Qingping and the village where he lived; Zhaobao Village in Wenxian County, Henan Province, China.

According to the style's tradition Chen Qingping was the 7th generation master from the time that the grand master Jiang Fa brought the style taught to him by Wang Zongyue to the local area in Wenxian County.

Zhaobao Taijiquan's lineage down to Chen Qingping is as below:

Zhao Bao Tai Chi

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Zhao Bao Tai Chi

The Zhao Bao style of Tai Chi originated from the town of Zhao Bao in the sixteenth century. Located fourteen kilometers east of the county of Wen in the central Chinese province of Henan , Zhao Bao is known for its idyllic atmosphere. The town looks south over the Yellow River’s northern banks, and gazes north into the Taihang foothills, turning east into the capital（京畿）, and extending west toward Luo Yi . Since antiquity, this propitious location has made Zhao Bao a center of travel and trade. According to legend, Zhao Bao was once the elaborate Jin Yin Zhong（金銀塚）burial grounds of the soldiers of Zhao Dynasty during the Warring States Period（戰國時期趙國）; thus earning the town the title of “Zhao Bao” or “Zhao’s stronghold,” a name which has continued into usage today.

In the closing years of the Ming（明） Dynasty , the town’s name became well-known in the world of martial arts when a Zhao Bao native named Jiang Fa studied Tai Chi under Shan Xi master Wang Zong Yue（王宗岳）. Jiang Fa later chose fellow townsmen Xing Xihuai as a worthy disciple to on pass his own skills to, and thus began an illustrious new tradition of martial arts in the town of Zhao Bao. During the Kanxi（康熙） Period , the later emperor Yong Zheng visited Zhao Bao and admired the Tai Chi grandmasters so much that he gifted a handwritten inscription to the local Temple of Guandi to commend the martial prowess of the Zhao Bao Tai Chi masters.

The tenets of Zhao Bao Tai Chi emphasize simplicity, stressing that one should be as “hard as iron, soft as cotton, slippery as a fish, and tenacious as glue.” Its philosophy is expressed in the composition of its stances, in movements that harmonize and flow with the anatomy of the human body. Its aesthetic draws inspiration from nature with the goal of achieving movement as light as a cloud and as fluid as water. The martial art derives the structure of its theory from canonical Chinese scriptures including, “I Ching”（易經） , “Zhongyong” , as well as Neo-Confucian thought , uniting “The Three Teachings” , under a new umbrella of thought. Its art of attack and defense emulates the inscrutable shifts of clouds as well as the deceptively smooth pull of powerful ocean waves, attacking at the most unexpected to leave an opponent senseless.

Zhao Ba Tai Chi is still evolving in the long river of history. For seven generations Zhao Bao’s conservative leaders kept the art exclusively within the clan, giving rise to the saying that, “Zhao Bao Tai Chi would never leave its village.” Towards the end of the nineteenth century, however, this direct line of descent was broken, and many new practitioners entered the school. Then, in the 1930s, tenth generation Zhao Bao Tai Chi Grandmasters Zheng Wuqing and Zheng Boying both left Zhao Bao, respectively, and brought a definitive end to the axiom that “Zhao Ba Tai Chi would never leave its village.” The two Grandmasters both settled in the nearby city of Xi’an and dedicated their lives to cultivating and promoting the art of Tai Chi to the greater public.

In the 1990s, Zhao Bao Tai Chi’s eleventh generation Grandmaster Song Yun-Hua （宋蘊華）and Master Wayne Peng, the twelfth generation master of Zhao Bao Tai Chi, took the reach of Zhao Bao Tai Chi even further to Hong Kong as well as overseas and their work has received worldwide acclaim.

Yang style tai chi chuan

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Yang family style tai chi chuan in its many variations is the most popular and widely practised style in the world today and the second in terms of seniority among the primary five family styles of tai chi chuan.

History

The Yang family first became involved in the study of tai chi chüan in the early 1800s. The founder of the Yang style was Yang Lu-ch'an , aka Yang Fu-k'ui , who studied under Ch'en Chang-hsing starting in 1820. Yang's subsequent expression of tai chi chuan as a teacher in his own right became known as the Yang style, and directly led to the development of the other three major styles of tai chi chuan . Yang Lu-ch'an came to prominence as a result of his being hired by the to teach tai chi chuan to the elite Palace Battalion of the Imperial Guards in 1850, a position he held until his death.

Yang Lu-ch'an passed his art to:
*his second son but oldest son to live to maturity, Yang Pan-hou , who was also retained as a martial arts instructor by the Chinese Imperial family. Yang Pan-hou became the formal teacher of Wu Ch'uan-yü , a Manchu cavalry officer of the Palace Battalion, even though Yang Lu-ch'an was Wu Ch'uan-yü's first tai chi chuan teacher. Wu Ch'uan-yü became Yang Pan-hou's first disciple. Wu Ch'uan-yü's son, Wu Chien-ch'üan , also a Banner officer, became known as the co-founder of the .
*his third son Yang Chien-hou , who passed it to his sons, Yang Shao-hou and Yang Ch'eng-fu .
*Wu Yu-hsiang who also developed his own , which eventually, after three generations, led to the development of Sun style tai chi chuan.

Yang Ch'eng-fu removed the vigorous ''Fa-jing'' , energetic jumping, stamping, and other abrupt movements to emphasise ''Ta Chia'' . This style has slow, steady, expansive and soft movements suitable for general practitioners. Thus, Yang Ch'eng-fu is largely responsible for standardizing and popularizing the Yang style tai chi chüan widely practised today. Yang Ch'eng-fu moved to Shanghai in the 1920s, teaching there until the end of his life. His descendants are still teaching in schools associated with their family internationally.

Tung Ying-chieh , Ch'en Wei-ming , Fu Zhongwen , Li Yaxuan and Cheng Man-ch'ing were famous students of Yang Ch'eng-fu. Each of them taught extensively, founding groups teaching T'ai Chi to this day. Cheng Man-ch'ing, perhaps the most famous outside of China, significantly shortened and simplified the traditional forms Yang taught him.

Yang Family Tree

LEGENDARY FIGURES
|
Zhang Sanfeng*
circa 12th century

|
Wang Zongyue*
TAI CHI CHUAN
|
THE 5 MAJOR CLASSICAL FAMILY STYLES
|
Chen Wangting
1600-1680 9th generation Chen

|
+-------------------------------------------------------------------+
| |
Chen Changxing Chen Youben
1771-1853 14th generation Chen circa 1800s 14th generation Chen
Chen Old Frame Chen New Frame
| |
Yang Lu-ch'an Chen Qingping
1799-1872 1795-1868
Chen Small Frame, Zhao Bao Frame
| |
+---------------------------------+-----------------------------+ |
| | | |
Yang Pan-hou Yang Chien-hou Wu Yu-hsiang
1837-1892 1839-1917 1812-1880
Yang Small Frame |
| +-----------------+ |
| | | |
Wu Ch'uan-yü Yang Shao-hou Yang Ch'eng-fu Li I-yü
1834-1902 1862-1930 1883-1936 1832-1892
| Yang Small Frame |
Wu Chien-ch'üan | Hao Wei-chen
1870-1942 Yang Shou-chung 1849-1920
1910-1985 |
|
| Sun Lu-t'ang
Wu Kung-i 1861-1932
1900-1970
| |
Wu Ta-k'uei Sun Hsing-i
1923-1972 1891-1929

MODERN FORMS

from Yang Ch`eng-fu
|
|
|
+--------------+
| |
Cheng Man-ch'ing |
1901-1975 |
Short Form |
|
Chinese Sports Commission
1956
Beijing 24 Form
.
.
1989

Notes to Family tree table

Names denoted by an asterisk are legendary or semilegendary figures in the lineage, which means their involvement in the lineage, while accepted by most of the major schools, isn't independently verifiable from known historical records.

The Cheng Man-ch'ing and Chinese Sports Commission short forms are said to be derived from Yang family forms, but neither are recognized as Yang family tai chi chuan by current Yang family teachers. The Chen, Yang and Wu families are now promoting their own shortened demonstration forms for competitive purposes.

Yang Shou-chung

Yang Shou-chung was the oldest son of Yang Ch'eng-fu by his first marriage, and started learning his family style when he was 8 years old under the strict supervision of his father.

In 1949, he escaped from the Chinese communists to Hong Kong. There he taught many students privately at his home until his death in 1985.

He had three daughters, Tai Yee, Ma Lee and Yee Li, all continue teaching in Hong Kong. Over the years he had taught many people but he accepted only three people as his disciples. These Yang family tai chi chuan practitioners are
*Master Ip Tai Tak in Hong Kong, who unfortunately died during the spring 2004. Ip Tai Tak had 2 disciples, 1st - John Ding, 2nd Robert Boyd . Other students that continue teaching and practice in Hong Kong include:Hui Kuk Chan, Shui Hung Lam, and Kok Kuen Lau.
*Master Chu Gin Soon in Boston, USA. With the permission of his master he founded the Gin Soon Tai Chi Club in 1969 to propagate Yang-Style Tai Chi Chuan in North America.
*Master Chu King Hung in United Kingdom. Chu is head of the International Tai Chi Chuan Association which was founded by him and Yang Shou-chung in 1971 and at present has branches all over Europe. He already has accepted several disciples.

Yang Zhenduo

Master Yang Zhenduo is the 4th Generation of the Yang family. He was born in Beijing in 1926 and is the son of Yang Ch'eng-fu. He started studying with his father when very young and continued studying with his elder brother after his father died. In 1960 Yang Zhenduo moved to Taiyuan, Shanxi Province. Since then, Yang style tai chi chuan has gradually spread within Taiyuan and to other cities, provinces, and countries.

Since 1980 he has served as Vice-President of the Shanxi Wushu Association. In 1982 Yang Zhenduo founded the Shanxi Yang Style Tai Chi Chuan Association, and has served as President since. The Association has now grown to over 30,000 members throughout the Province and is the largest martial arts organization of its kind in China. In October 1998 Yang Zhenduo founded the International Yang Style Tai Chi Chuan Association, serving as Chairman of the Board. Under his leadership, in just one year the International Association has grown to 18 centers in 9 countries with over 350 members. The Chinese Wushu Academy recognized Master Yang Zhenduo in 1996 as one of the top 100 Wushu Masters in China. He has also been honored by proclamations from the Mayors of San Antonio, Texas and Troy, Michigan.

Wudang tai chi chuan

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Wudang Tai Chi Chuan 武當太極拳 is the name of a system of Tai Chi Chuan that was developed by a Hong Kong 香港 based Tai Chi Chuan master known as Cheng Tinhung 鄭天熊. While Cheng Tinhung never claimed to be teaching any particular school of Tai Chi Chuan, his uncle was a disciple of the 吳 school of Tai Chi Chuan, which may or may not have had some influence on his own approach to the art.

The Wudang Tai Chi Chuan system is now being taught in Europe by two of Cheng Tinhung’s disciples, Dan Docherty and Ian Cameron, both based in the United Kingdom. The system also continues to be taught in Hong Kong, and the current head of that school is Cheng Tinhung’s son Cheng Kamyan 鄭鑒恩, whose school is called the ''Hong Kong Tai Chi Association'' 香港太極總會.

Zhang Sanfeng 張三豐, a highly mythologised figure said to be the founder of Tai Chi Chuan, lived in the Wudang Mountains 武當山 and the name "Wudang" used for this Tai Chi Chuan system was used in order to acknowledge Zhang Sanfeng's status as the founder of Tai Chi Chuan. There are other schools of Tai Chi Chuan that also use this name.

The Wudang Tai Chi Chuan system is also known as “Practical Tai Chi Chuan”. This name comes from that given to Cheng Tinhung's style by various Chinese martial arts journalists in Hong Kong during Cheng Tinhung’s heyday, and from the school's assertion that its tai chi is eminently useful as a form of self-defense.

The Wudang Tai Chi Chuan system teachers publish that they have links to famous Tai Chi Chuan masters , including 陽班侯 , 吳全佑, Wu Jianquan 吳鑒泉, Cheng Wingkwong 鄭榮光, Chen Gengyun 陳耕雲, and Wang Lanting 王蘭亭.

Qi Minxuan

It is thought that Qi Minxuan 齊敏軒 came from from Wen County, Hebei Dao in Henan Province. He was a teacher of Tai Chi Chuan and neigong. After losing his family during the Japanese Occupation and Second World War, Qi Minxuan became an itinerant martial arts instructor teaching Tai Chi Chuan to those that would give him board and lodgings. His father Qi Gechen 齊閣臣 was a disciple of the famed Tai Chi Chuan master Wu Quanyou. Qi Minxuan also learnt from a Buddhist monk known as Jing Yi 静一 , who learnt Tai Chi Chuan from Wang Lanting 王蘭亭. Qi Minxuan’s Buddhist name was Zhi Meng 智孟 and was an enthusiastic student of Chan Buddhism. The fate of Qi Minxuan is unknown.

Cheng Tinhung

Cheng Tinhung 鄭天熊 . As a young boy he studied Southern Boxing 南拳 from his father Cheng Minchueng 鄭綿彰, which was a family style, learnt from his father Cheng Lin 鄭麟 who was a professional martial artist. As Cheng Tinhung grew older his uncle Cheng Wingkwong 鄭榮光 took an interest in teaching him Wu style Tai Chi Chuan. Cheng Wingkwong was a formal disciple of Wu Jianquan, who eventually held the rank of Shifu 師父 in the Wu family's Hong Kong school. At that ranking he had their encouragement to take on disciples of his own and open his own school. Cheng Wingkwong knew of an itinerant martial artist known as Qi Minxuan whose father was a disciple of the founder of the Wu 吳 School, Wu Quanyou. Cheng Wingkwong arranged for his nephew to train with Master Qi from the summer of 1946 to the winter of 1948. Qi Minxuan advised his new disciple Cheng Tinhung, that in order to gain a good reputation as a master of Tai Chi Chuan he must be both sound in mind and body and also be able to defend himself, thus being able to represent the art in its true form. Cheng Tinhung later took the nickname of the "Tai Chi Bodyguard" for his enthusiastic defence of Tai Chi Chuan as a martial art. By all accounts, Cheng was a hellraiser--he liked to drink, eat, and fight as well as train and teach. His predilections may have contributed to the ill health that plagued him in his later years.

Dan Docherty

Dan Docherty was born in Glasgow, Scotland, in 1954. He graduated with an LLB in 1974 and soon after moved to Hong Kong where he served as an inspector in the Royal Hong Kong Police Force until 1984 .

Soon after he arrived in Hong Kong in 1975 he started training Tai Chi Chuan under Cheng Tinhung and within a few years was elected to represent Hong Kong in Full-contact Fighting competitions. In 1980 he won the Open Weight Division at the 5th South East Asian Chinese Pugilistic Championships in Malaysia .

In 1985 he was awarded a Postgraduate Diploma in Chinese from Ealing College, London.

He is now based in London and travels extensively teaching and writing about Tai Chi Chuan.

Ian Cameron

Ian Cameron was born in Edinburgh, Scotland, in 1944.

He first came under the tutelage of Cheng Tinhung in 1971 whilst serving in the armed forces in Hong Kong. On his return to Edinburgh he set up his class which was to evolve into the Five Winds School Of Tai Chi Chuan.

Ian Cameron teaches in Edinburgh. He also supervises other classes in Scotland and England.

Wudang Tai Chi Chuan Lineage

Wu style tai chi chuan

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The Wu family style t'ai chi ch'uan of Wu Ch'uan-yü and is the second most popular form of t'ai chi ch'uan in the world today, after the , and fourth in terms of family seniority. This style is different from the of t'ai chi ch'uan founded by Wu Yu-hsiang. While the names are distinct in pronunciation and the Chinese characters used to write them are different, they are often romanized the same way.

History

in 1850, Wu Ch'uan-yü was a military officer cadet of Manchu ancestry in the camp in the Forbidden City, Beijing and also a hereditary officer of the Imperial Guards Brigade. At that time, Yang Lu-ch'an was the martial arts instructor in the Imperial Guards, teaching t'ai chi ch'uan.

In 1870, Wu Ch'uan-yü was asked to become the senior disciple of Yang Pan-hou , Yang Lu-ch'an’s oldest adult son, and an instructor as well to the Manchu military.

Wu Ch'uan-yü's son, Wu Chien-ch'üan , and grandchildren: grandsons Wu Kung-i and Wu Kung-tsao as well as granddaughter Wu Ying-hua were well known teachers. Wu Chien-ch'üan became the most widely known teacher in his family, and is therefore considered the co-founder of the Wu style by his family and their students. He taught large numbers of people and his refinements to the art more clearly distinguish Wu style from Yang style training. Wu Chien-ch'üan moved his family south from Beijing to Shanghai in 1928, where he founded the ''Chien-ch'uan T'ai Chi Ch'uan Association'' in 1935.` Wu Kung-i then moved the family headquarters to Hong Kong in 1948, his younger sister Wu Ying-hua and her husband, Ma Yueh-liang , staying behind to manage the original Shanghai school. Between 1983 and her passing in 1996 Wu Ying-hua was the highest ranked instructor in the Wu family system. Her sons continue teaching and today manage the Shanghai school as well as schools in Europe.

Wu Kung-i's children were also full time martial art teachers: Wu Ta-k'uei was active in the resistance to the , yet he later taught t'ai chi ch'uan in Japan after the war. His younger brother, Wu Ta-ch'i , supervised the family's Hong Kong and southeast Asian schools for many years and opened the family's first western hemisphere school in Toronto, Canada in 1974. Wu Kung-i's daughter, Wu Yen-hsia , was known as an expert with the t'ai chi , while her cousin, Wu Ta-hsin , was also known as a weapons specialist, particularly with the t'ai chi .

Training

The Wu style's distinctive , pushing hands and weapons trainings emphasise parallel footwork and horse stance training with the feet relatively closer together than the modern Yang or , small circle hand techniques and differs from the other t'ai chi family styles martially with Wu style's initial focus on grappling, throws , tumbling, jumping, footsweeps, leverage and , which are trained in addition to more conventional t'ai chi sparring and fencing at advanced levels. Another significant feature of Wu style training is its routinely placing the body's weight 100% on one leg; "''yin'' and ''yang'' separation". The leg that supports 100% of the body weight is actually the ''yang'' leg, as this leg is "full". The ''yin'' leg is that which has no weight on it, it is "empty". It is also common in Wu style to maintain a straight line of the spine from the top of the head to the heel of the rear foot when it is at an angle to the ground; an inclined plane alignment intended to extend the practitioner's reach.

Generational senior instructors of the Wu family t'ai chi ch'uan schools

''1st Generation''

Wu Ch'uan-yü , who learned from Yang Lu-ch'an and Yang Pan-hou, was senior instructor of the family from 1870-1902.

''2nd generation''

His oldest son, Wu Chien-ch'üan , was senior from 1902-1942.

''3rd Generation''

His oldest son, Wu Kung-i was senior from 1942-1970.

''3rd Generation''

Wu Kung-i's younger brother, Wu Kung-tsao , was senior from 1970-1983.

''3rd Generation''

Wu Kung-i's younger sister, Wu Ying-hua , was senior from 1983-1997.

''4th Generation''

Wu Kung-i's daughter , Wu Yan-hsia was senior from 1997-2001.

''4th Generation''

Wu Kung-tsao's son, Wu Ta-hsin , was senior from 2001-2005.

''5th Generation''

The current senior instructor of the Wu family is Wu Ta-kuei's son Wu Kuang-yu .

Wu Style Tai Chi Fast Form

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The different slow motion solo form training sequences of T'ai Chi Ch'uan are the best known manifestation of T'ai Chi for the general public. In , they are usually called the ''hand form'' or just the ''form''; in it is usually called ''ch'uan'': 拳 .

They are performed slowly by beginners and are said to promote concentration, condition the body and acquaint students with the inventory of motion techniques for more advanced styles of martial arts training. There are also solo weapons forms, as well as much shorter and repetitive sequences to train power generation leverages as a form of . The various forms of Wu style pushing hands have two person drill routines as well, which fulfill some of the same functions as the power generation drills.

In 1914 Xi Yui-seng established the Athletic Research Institute in Beijing and Invited Yang Shao-hou, Yang Ch'eng-fu and Wu Chien-ch'uan to teach. From then on T'ai Chi was taught to the public changing the ancient closed door policy where T'ai Chi was only taught privately to very close and well known people within a limited circle known as the tutor disciple relationship.

Grand Master Wu Chien-ch'uan revised and enriched the art of T'ai Chi Chuan handed down from his father Wu Ch'uan-yu. His development of the slow set led to the creation of the style of T'ai Chi today known as Wu Style Tai Chi Chuan..

He omitted some of the repetitions, Fa-jing, stamping and jumping movements to make the form smoother, more structured with continuous steady movements. This form promoted the health aspects of Tai Chi and was more suitable for general practitioners though it still contained all the martial applications and training.

Yang Ch'eng-fu of Yang style Tai Chi Chuan also modified his own in a similar way at the same time. His brother, Yang Shou-hao's form had a high frame with lively steps alternating between fast and slow movements with hard and crisp Fa-jing. Chen Pan-ling, who was a student of Yang Shao-hao and Wu Chien-chuan describes T'ai Chi form practice beginning with slow movement changing to fast and returning to slow movement. He also points out learning to excercise rapid movement in the form and training from soft to hard and hard to soft movements.

The Shanghai Wu Style Fast Form kept the original Fa-jing 發勁 , jumping, attacking and stamping movements to be studied by those eager to advance their T'ai Chi practice. This advanced form was not yet taught openly.

In December 1982 there was a martial arts meeting held in Beijing to foster the traditional martial arts of China. Wu Ying-hua and Ma Yueh-liang of The Shanghai Jianquan Taijiquan Association contributed to this effort by disclosing the original Wu Style Fast Set for the first time to the public. In 1983 their adopted daughter Shi Mei Lin demonstrated the Wu Style Tai Chi Fast Form at the All China Traditional Martial Arts competition in Nanchang where she received the Award of Excellence. .

Other Wu style fast forms

The Wu family's Hong Kong branch also teaches a somewhat different .

Shanghai Wu style fast form list

The following list is an English translation from Chinese of the empty hand or fist form list published in Ma Yueliang's, Wu Yinghua's and Shi Mei Lin's ''Wu Style T'ai Chi Fast Form'..

The 95 postures of the fast form style of T'ai Chi Ch'uan are listed below.

1. The Preparation

2. The Beginning Form

3. Grasp the birds tail

4. Single whip

5. Raise hand and step up

6. White crane flaps its wings

7. Brush knee, twist step

8. Brush knee, twist step

9. Brush knee, twist step

10. Brush knee, twist step

11. Hand strums the lute

12. Step up, diverting and blocking fist

13. As if closing up

14. Tiger and leopard spring to the mountain

15. The cross hands

16. Oblique brush knee, twist step

17. Turn body, oblique brush knee, twist step

18. Grasping the bird's tail

19. Oblique Single Whip

20. Fist under the elbow

21. Step back and repulse the monkey

22. Flying oblique

23. Raise hands and step up.

24. White crane flaps its wings

25. Brush knee and twist step

26. Needle at the sea bottom

27. Fan through the back

28. Turn body, parry and punch

29. Remove step diverting and blocking punch

30. Step up, grasping the bird's tail

31. Cloud hands

32. Cloud hands

33. High pat on horse

34. Open body and kick

35. Open body and kick

36. Turn body, pedaling foot

37. Step up, planting punch

38. Turn body, parry and punch

39. Turn body, double kicking

40. Retreat step, beat the tiger

41. Right parting leg

42. Strike the ears with both fists

43. Open body, kick

44. Turn body, pedaling foot

45. Step up, diverting and blocking fist

46. As if closing up

47. Tiger and leopard spring to the mountain

48. The cross hands

49. Oblique brush knee, twist step

50. Turn body, oblique brush knee, twist step

51. Grasping the birds tail

52. Oblique single whip

53. Parting wild horse's mane

54. Parting wild horse's mane

55. Parting wild horse's mane

56. Jade girl works the shuttles

57. Jade girl works the shuttles

58. Parting the wild horse's mane

59. Jade girl works the shuttles

60. Jade girl works the shuttles

61. Grasping the bird's tail

62. Cloud hands

63. Cloud hands

64. Downward posture

65. Golden cockerel stands on one leg

66. Golden cockerel stands on one leg

67. Step back, repulse the monkey

68. Flying oblique

69. Raise hand and step up

70. White crane flaps its wings

71. Brush knee and twist step

72. Needle at the bottom of the sea

73. Fan throug the back

74. Turn body, parry and punch

75. Step up, diverting and blocking punch

76. Grasping the birds tail

77. Cloud hands

78. High pat the horse

79. Palm goes to meet the face

80. Turn body, cross swing lotus

81. Brush knee, twist step

82. Planting punch to groin

83. Grasping the bird's tail

84. Downward posture

85. Step Up to form seven stars

86. Retreat step, ride the tiger

87. Turn body, palm meets face

88. Turn body, double lotus swing

89. Curve bow, shoot the tiger

90. Step up and pound down

91. Palm goes to meet the face

92. Turn body, parry and punch

93. Step up, grasping the bird's tail

94. Like single whip

95. Closing T'ai Chi

Wu (Hao) style tai chi chuan

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The Wu or Wu style of t'ai chi ch'uan of Wu Yu-hsiang , is a separate family style from the more popular of . Wu Yu-hsiang's style was third among the five t'ai chi ch'uan families in seniority and is fifth in terms of popularity.

Wu Yu-hsiang was a scholar from a wealthy and influential family who became a senior student of Yang Lu-ch'an. There is a attributed to Wu Yu-hsiang on the subject of t'ai chi theory, writings that are considered influential by many other schools not directly associated with his style. Wu Yu-hsiang also studied for a brief time with a teacher from the , Chen Ch'ing-p'ing, to whom he was introduced by Yang. His most famous student was his nephew, Li I-yü , who also authored several important works on t'ai chi ch'uan. Li I-yü had a younger brother who was also credited as an author of at least one work on the subject of t'ai chi ch'uan, Li Ch'i-hsüan. Li I-yü taught Hao Wei-chen , who taught his son Hao Yüeh-ru who in turn taught ''his'' son Hao Shao-ju Wu Yu-hsiang's style of training, so that it is now sometimes known as Wu/Hao or just Hao style t'ai chi ch'uan. Hao Wei-chen also taught the famous Sun Lu-t'ang. Hao Yüeh-ru was teaching in the 1920s, a time when t'ai chi ch'uan was experiencing an initial degree of popularity, and he is known for having smoothed out and standardized the forms he learned from his father in order to more effectively teach large numbers of beginners. Other famous t'ai chi ch'uan teachers, notably Yang Ch'eng-fu, Wu Chien-ch'üan and Wu Kung-i, made similar modifications to their beginning level forms around the same time.

Wu Yu-hsiang's t'ai chi ch'uan is a distinctive style with small, subtle movements; highly focused on balance, sensitivity and internal development. It is a rare style today, especially compared with the other major styles. While there are direct descendants of Li I-yü and Li Ch'i-hsüan still teaching in China, there are no longer Hao family members teaching the style. The last inheritor to learn under Hao Shao-ju currently living is Liu Jishun, who has many students around the globe but only two disciples in the United Kingdom.

World Tai Chi and Qigong Day

2008-09-22T18:39:00.001-07:00

World Tai Chi and Qigong Day also spelled World T'ai Chi and Ch'i Kung Day, is an annual event held the last Saturday of April each year to promote the related disciplines of T'ai Chi Ch'uan and qigong in sixty countries since 1999.

The mission of this multinational effort is ongoing, to expose people to the growing body of medical research related to traditional Chinese medicine and direct them to teachers in their home towns. The global WTCQD directory doesn't screen or recommend the teachers it lists based on any vetting process or discriminate between T'ai Chi Ch'uan or qigong styles
over others. The directory is an open directory anyone can post to.

World Tai Chi & Qigong Day also acts as a public, government, and media source for information on those disciplines, and works in conjunction with such divergent institutions as the National Council on the Aging, The National Parkinson's Foundation Annual Conference, the Fibromyalgia Coalition International, Folsom Prison , Rotary Clubs International, etc.

Overview

The annual April event is open to the general public, and begins in the earliest time zones of New Zealand at 10 am, and then participants across Oceania, Asia, Africa, Europe, North America, and South America take part, with celebrations in sixty nations and several hundred cities, ending with the final events in the last time zones of Hawaii almost an entire day later. Celebrations include mass Tai Chi Chuan and qigong exhibitions in many cities, and free classes in most participating cities.

World Tai Chi and Qigong Day's stated goals are to:

1) Educate the world about emerging medical research revealing health benefits that Tai Chi Chuan and qigong offer.

2) Educate about the increasing use of these ancient traditional Chinese medicine modalities in business, education, penal and drug rehabilitation.

3) Provide a global vision of cooperation for health & healing purposes across geopolitical boundaries, and also an appeal to people worldwide to embrace wisdom from all the cultures of the world.

Official recognition

World Tai Chi and Qigong Day events have been recognized by the United Nations World Health Organization for participation in the UNWHO's "Move for Health" movement, and World Tai Chi and Qigong Day has been officially proclaimed by governors for their states including the US states of California, Connecticut, , Illinois, Kansas, Maryland, Massachusetts, Missouri, Nebraska, Nevada, New Jersey, North Carolina, Ohio, Oklahoma, Pennsylvania, Texas, and Utah. Senates and legislatures have officially proclaimed World Tai Chi and Qigong Day, including the Senate of the state of New York, the Senate and Legislature of the state of New Jersey, California's State Assembly, and in 2005 the national Senate of Puerto Rico proclaimed "Dia Mundial de Tai Chi y Qigong" for Puerto Rico.

Mayors of many major cities have also officially proclaimed World Tai Chi and Qigong Day for their cities, including South Buenos Aires , Austin Texas, Osasco , Cupertino , , Hastings , Pemberton and Willingboro , Patchogue & Rochester , San Angelo , Scranton & York , St. Louis , St. Augustine , Toledo , Asheville , and Suffolk County .

Organization

The event's international organizing center provides information on Tai Chi Chuan and qigong, including health research, information on how Tai Chi Chuan and qigong relate to traditional Chinese Medicine , what people new to Tai Chi Chuan and qigong can expect when they attend classes, and video and audio samples of various Tai Chi Chuan and qigong exercises and forms. The site also provides links to Tai Chi Chuan and qigong publications, associations, schools, and groups in many states and countries, with a searchable database that lists schools by their country or US state. The site is viewable in nine languages with translation instructions via babel fish translation programs, although the translations can be difficult to decifer at times, but still useful.

The local events are independently organized by local Tai Chi Chuan and qigong schools, groups, and associations. The format of events varies by locality, although most involve free classes and mass exhibitions. International organizing for the event is done at the World Tai Chi and Qigong Day office in Overland Park, Kansas.

History

The global event began in 1999. However the first event, that inspired the global event, was held in Kansas City, Missouri in 1998 on the lawn of the Nelson Atkins Museum of Art in midtown Kansas City, where the Kansas City Tai Chi Club held a mass Tai Chi exhibition and teach-in involving nearly two-hundred people. CNN Headline News covered the event, which generated interest beyond Kansas City to quickly grow into a national and international event in the following years.

Online Video Examples of Various Tai Chi Forms

*http://www.worldtaichiday.org/LESSONTaiChi.html

Media Resource History

International Herald Tribune - June 5, 2006 -
*http://www.iht.com/articles/2006/06/05/opinion/edmoore.php

BBC Worldwide Radio - April 27, 2006 - Interview with World Tai Chi & Qigong Day Founder

USA Weekend - February 24-26, 2006 -
*http://www.usaweekend.com/06_issues/060226/060226thinksmart.html#fitsmart

Parade Magazine - October 9, 2005 -
*http://www.parade.com/articles/editions/2005/edition_10-09-2005/featured_2

Reader's Digest - January, 2004 - "Limitless Energy"

New York Times - Sunday, April 1, 2001 - "Tai Chi Time"

South China Morning Post - April 1, 2000 - "Slowly Breathing in Strength"

Health Issue, Tai Chi, Qigong, and Support Groups

Attention Deficit Disorder http://worldtaichiday.org/ADDadhd.html

Allergies & Asthma
*http://worldtaichiday.org/ALLERGIESAsthma.html

Alzheimer's Disease
*http://worldtaichiday.org/ALZHEIMERSDISEASE.html

Anxiety
*http://worldtaichiday.org/ANXIETY.html

Cardiac Rehabilitation
*http://worldtaichiday.org/LIBRARYArticles/LIBRARYTaiChiCARDIAC.html

Diabetes
*http://worldtaichiday.org/Diabetes.html

High Blood Pressure
*http://worldtaichiday.org/LIBRARYArticles/LIBRARYTaiChiHIGHBLOODPRESSURE.html

Irritable Bowel Syndrome
*http://worldtaichiday.org/IrritableBowelSyndromeIBS.html

Menopause, Bone Loss, Depression
*http://worldtaichiday.org/LIBRARYArticles/LIBRARYTaiChiBoneLossMenopause.html

Parkinson's Disease
*http://worldtaichiday.org/PARKINSONSTC.html

Weight Loss
*http://worldtaichiday.org/LIBRARYArticles/LIBRARYTaiChiandWeightLoss.html

Photos of World Tai Chi & Qigong Day Events

Comprehensive Photo Gallery:
* ''2006'' - http://www.worldtaichiday.org/photos/2006WTCQD/2006Photos/WTCQDPHOTO2006.html
* ''2005'' - http://www.worldtaichiday.org/WTCQDPHOTO2005.html

Tui na

2008-09-22T18:31:00.005-07:00

Tui na , is a form of manipulative therapy often used in conjunction with acupuncture, moxibustion, fire cupping, Chinese herbalism, tai chi and qigong.

''Tui na'' is a hands-on-body treatment using acupressure that is a modality of Chinese medicine whose purpose is to bring the body into balance. The principles being balanced are the eight principles of Traditional Chinese Medicine The practitioner may brush, knead, roll/press and rub the areas between each of the joints to open the body's defensive chi and get the energy moving in both the meridians and the muscles. The practitioner can then use range of motion, traction, massage, with the stimulation of acupressure points and to treat both acute and chronic musculoskeletal conditions, as well as many non-musculoskeletal conditions. Tui na is an integral part of Traditional Chinese Medicine and is taught in TCM schools as part of formal training in Oriental medicine. Many East Asian martial arts schools also teach ''tui na'' to their advanced students for the treatment and management of injury and pain due to training. As with many other traditional Chinese medical practices, there are several different schools with greater or lesser differences in their approach to the discipline. It is related also to Chinese massage or ''anma'' .

In ancient China, medical therapy was often classified into "external" and "internal" treatments. Tui na was one of the external methods, especially suitable for use on the elderly population and on infants. Today it is subdivided into specialized treatment for infants, adults, orthopedics, traumatology, cosmetology, rehabilitation, sports medicine, etc. Tui na has been used extensively in China for over 2,000 years.

Tui na has fewer side effects than modern drug-based and chemical-based treatments. It has been used to treat or complement the treatment of many conditions; musculo-skeletal disorders and chronic stress-related disorders of the digestive, respiratory, and reproductive systems.

History

Massage techniques are ubiquitous in almost all early human cultures. Similar techniques date at least as early as the Shang Dynasty, around 1700 BC. Ancient inscriptions on oracle bones show that massage was used to treat infants and adult digestive conditions. In his book ''Jin Gui Yao Lue'', Zhang Zhongjing, a famous physician in the Han Dynasty , wrote, "As soon as the heavy sensation of the limbs is felt, "Daoyin", "Tui na", "Zhenjiu" and "Gaomo", all of which are therapeutic methods, are carried out in order to prevent... the disease from gaining a start." Around 700 CE, Tui na had developed into a separate study in the Imperial Medical College.

The first reference to this type of external treatment was called "anwu", then the more common name became "anmo". It was then popularized and spread to many foreign countries such as Korea and Japan.

As the art of massage continued to develop and gain structure, it merged with another technique called tui na, which was the specialty of bone-setting using deep manipulation. It was also around this time that the different systems of tui na became popular, each with its own sets of rules and methods.

Today, the term Tui na has replaced anmo within China and in the West. The term anmo is still used in some surrounding countries such as Japan.

It is not unusual to see practitioners working on street corners and parks in modern China. Tui na is an occupation that is particularly suitable to those with physical disabilities and in China, many blind persons receive training in the art of tui na, where their heightened sense of touch is a great benefit.

Technique

The words Tui Na translate into "push-grasp" or "poke-pinch" in Chinese. Physically, it is a series of pressing, tapping, and kneading with palms, fingertips, knuckles or implements that help the body to remove blockages along the meridians of the body and stimulates the flow of qi and blood to promote healing, similar to principles of acupuncture, moxibustion, and acupressure. Tui na's massage-like techniques range from light stroking to deep-tissue work which would be considered too vigorous or too painful for a recreational or relaxing massage. Clinical practitioners often use liniment, plasters, herbal compresses and packs to aid in the healing process, which should be used with caution on sensitive skin. Tui na is not used for conditions involving compound fractures, external wounds, open sores or lesions, phlebitis, or with infectious conditions such as hepatitis. Tui na should not be performed on the abdominal portion of a woman in menstrual or pregnant periods, and it is not used for treatment of malignant tumors or tuberculosis.

In a typical adult tui na session, the patient wears loose clothing and lies on a massage table or floor pad. After answering some brief questions about the nature and location of the health problem as well as basic questions about general health, allergies and other existing conditions, the practitioner will concentrate on specific acupressure points, energy trigger points, muscles and joints surrounding the affected area. Occasionally, clothing is removed or repositioned to expose a particular spot that requires direct skin contact. The patient should always be informed before this act, and no inappropriate or unexpected contact should ever be made in a professional session. Treatment sessions last from 10 minutes to over an hour. Patients often return for additional treatments for chronic conditions.

Taoist Tai Chi Society

2008-09-22T18:31:00.003-07:00

The International Taoist Tai Chi Society is an umbrella organization for the governance of its member associations around the world, which are dedicated to the teaching of . Its primary endeavor is Taoist Tai Chi.
As of 2007, the organization has 40,000 members, including 15,000 in Canada,
and is present in 26 countries.

Society aims & objectives

The Taoist Tai Chi Society has four aims and objectives:
* To make Taoist Tai Chi available to all.
* To promote the health-giving qualities of Taoist Tai Chi internal arts and methods.
* To promote cultural exchange .
* To help others.

Structure

Member associations are incorporated as non-profit organizations in their own countries
and many are also registered as charitable organizations.
For example, the Taoist Tai Chi Society of Canada
is registered as a charitable organization in Canada.

and the Taoist Tai Chi Society of the USA is a 501 non-profit, charitable organization in the United States.

The Society operates on a membership basis rather than a fee for service basis. Payment of membership dues permits a member to participate in any class offered by any member association.

History

The Taoist Tai Chi Society was founded by . He arrived in Toronto, Canada in 1970 to start teaching .
which he felt was too difficult for most students. Therefore, he modified the orthodox Yang style Tai Chi Chuan form that he knew and called it Taoist Tai Chi. Over the years Moy trained many of his students to become instructors/teachers of Taoist Tai Chi. In order to coordinate these people and their activities a formal organization was necessary. After expansion into the United States, and later into Europe, New Zealand and Australia the ''International Taoist Tai Chi Society'' was formally established in 1990.

On a 42-hectare rural property near Orangeville, Ontario, the Society has built
its residential Health Recovery Centre and Quiet Cultivation Centre, where members from around the world can gather and train together. The Quiet Cultivation Centre includes a large temple of Chinese design dedicated to Confucian, Buddhist and Taoist teachings, which was opened on 2007-09-08 with the participation of some 2500 members. The construction was funded entirely by donations.

Instruction

Classes are taught by volunteer instructors accredited by the Society. In order to become a volunteer instructor one has to express the desire to do so, and be able to show the elements of the form to new students. Criteria against which to judge the suitability to be an instructor are set by the Society itself. An instructor is required to contribute monthly membership fees and attend a number of workshops every year.

A teacher of Taoist Tai Chi is encouraged to live by what Moy called "Eight Heavenly Virtues":
* Sense of Shame
* Honor
* Sacrifice
* Propriety
* worthiness
* Dedication
* Sibling Harmony
* Filial piety.

These principles are rooted in traditional Chinese Confucian ethics.

Moy's stated goal for Tai Chi was to help people regain their health. His curriculum features no martial content or any of the terminology of traditional Chinese medicine. In the way his form is transmitted is unlike traditional Tai Chi forms transmission since there are no self-defence applications, or mention of the . Neither is there a focus on the traditional energy concept of qi. Which criteria are used by the Society to judge the correct way a move should be carried out is unclear, except for the that give some limited guidelines about the structure of a position.

Moy encouraged students to think of Tai Chi in relation to Western physiology . The reasoning for this may be found in the ways of traditional schools: "to provide a level playing field for all students by instilling respect and care for one's seniors, peers and juniors, so that everyone, not just the physically gifted, has an opportunity to benefit from the training provided in a martial art school."

As a Taoist meditative practice, Moy also considered Taoist Tai Chi a method that would lead practitioners towards "taming the heart" i.e. developing an attitude of calm and compassion when dealing with stress.

Sister and subsidiary organizations

Since the death of Moy Lin-shin in 1998 the Taoist Tai Chi Society has been amalgamated with the Fung Loy Kok Institute of Taoism and ''The Gei Pang Lok Hup Academy''.

The Academy was established by Moy in 1988. It was established with the intent to teach the internal martial arts other than Tai Chi, mainly Lok Hup Ba Fa . Instructors there teach a 66 posture form derived from lineage of teachers at the Chin Woo Athletic Association in Shanghai whose teachers were of Wu Yi Hui lineage. The Gei Pang Lok Hup Academy is a 501 non-profit organisation in the through the Society.

Taoist Tai Chi

2008-09-22T18:31:00.001-07:00

Taoist Tai Chi is an exercise form of tai chi chuan which is taught in more than 25 countries by the non-profit and associated national Taoist Tai Chi ® societies. It is a modified form of Yang style Tai Chi Chuan developed by Taoist monk Moy Lin-shin. Moy incorporated principles of and other internal arts
to increase the health benefits of practising the form.

Taoist Tai Chi Awareness Days have been proclaimed by municipal governments across Canada since the 1980s to acknowledge that "the slow and graceful movements of Tai Chi relax and strengthen the body and mind, help to relieve stress, develop flexibility and coordination which is particularly beneficial to seniors and others in combating a variety of health conditions and disabilities"

These proclaimed days also serve to acknowledge that "members of the Taoist Tai Chi Society contribute many hours of service to our community, conducting fund-raising campaigns and events that have benefited many charitable organizations and other worthy causes"

Form principles

Taoist Tai Chi has several principles of movement that are meant to be a part of every posture;, these principles are what defines Taoist Tai Chi as a unique tai chi practice. Several of these are attributes espoused by many non-Society teachers, but are expressed somewhat differently than is traditional within Taoist Tai Chi. Here is a brief description.

;Position of the feet "45/90": the principle of 45/90 refers to the desired degree of the feet in relation to one another, usually with the front foot at 90 degrees and the back foot at 45 degrees outward. This is meant to aid in squaring the hips.
;"Squaring the hips": at the end/forward position of a movement the hips of a practitioner should be square or facing completely forward and in line with the front or "90" foot. Conversely, when at the rollback or beginning of a posture the hips should be in line with the back or "45" foot. The professed health benefit of this is that it facilitates a turning/stretching of the spine and an opening of the pelvic region .
;"In-stepping/out-stepping": In order to properly square the hips, the feet should be placed on either side of a straight imagined line. Stepping either too far outside or inside the line makes the space between the feet either too large or to small to square the hips.
;"Head to heel": there should be a straight line from the top of the head to the heel of the rear foot in all forward positions.
;Knee requirement: The knee should not extend beyond the toes to prevent injury.
;Weight placement: In Taoist Tai Chi, similar to the teaching of Wu style Tai Chi Chuan, only one foot should be weight bearing at a time. Also referenced as one foot being Yin or empty and another being Yang or full.

Foundation exercises

In addition to the full 108 Taoist Tai Chi set, students are taught a unique group of cyclical foundation exercises that focus on the joints, called "the jongs". Most of these exercises, either in their form or execution, are completely unique to Taoist Tai Chi. These exercises are not only used as preliminaries to the form, they are espoused as being the basic elements that provide health benefit in the varying movements of Taoist Tai Chi. Instructors often explain postures by referring to a foundation exercise.

The main foundations include:
* A basic forearm rotation: the forearms are held up and forward and rotate in and out. The hands are located in front of the left and right . The elbows are stationary.
* A rotation of the arms in front of the body: making a circular motion with the hands: where one pushes away the other pulls in. The thumbs move from the central axis of the body. It is mainly an upper body stretch in which the arms move outward from the center and then back.
* "Dan Yu" . A squatting exercise meant to work primarily the pelvic region, the legs and the lower back. Fifty or more repetitions may be performed in advanced classes. The feet are placed in a stance wider than the shoulders. When squatting the knees move in the direction of the feet.
* "Tor Yu" . The feet are at the typical "45/90" position, minding the "in-stepping/out-stepping". The pelvis alternates between weight over the front "90" and the back "45" foot. Thus the trunk moves following the pelvis. The hands follow the body and cross in front of the lower Dan Tien when the body moves backward to the '45 back" position, and then uncross and push away towards the "90 front" position leading the trunk. For the outside observer it seems that the hands make a circular motion, however they don't for the practitioner. In addition to its purported health benefits this exercise is particularly similar to the Silk reeling of other styles in that it helps develop the theory of movement present in all of Taoist Tai Chi.
* An arm separation such as in kicks: the arms start crossed in front of the body, move sideways, backward and down, and forward up again with the hands crossed on the centerline in front of the chest.
* A variant of the "Wave Hands like Clouds" move.
* Stationary stance versions of the posture "Snake Creeps Low", in which the practitioner may come to a full standing position in between left and right sides of the posture.
* Sometimes repetitions of various other movements but usually movements that lend themselves to repetition.

Form list

The 108 movements of the Taoist Tai Chi set are:

Taijijian

2008-09-22T18:29:00.000-07:00

Taijijian is a straight two-edged sword used in the training of the Chinese martial art Taijiquan. The straight sword, sometimes with a tassel and sometimes not, is used for upper body conditioning and martial training in traditional Taijiquan schools. The different family schools have various warmups, forms and fencing drills for training with the jian.

Historical use of jian in Taijiquan

The and families were involved in Qing dynasty military officer training, and taught jian technique to their students. Traditional Taijijian forms are rooted in martial application, and are thus originally designed to make use of the weapons available at the time of their development. As there was no historical jian type created specifically for taijiquan, the forms were designed around the use a functional jian of the day, being of appropriate weight, balance, sharpness and resilience to be effective in armed combat.

Modern

A lighter version of the traditional sword and theatrical versions of traditional sword forms are also used in the "taijiquan" routines of curriculum. The wushu sword is a narrow, double-edged Chinese jian with a thin blade designed to make noise when it is shaken by the competitor during competition and a tassel is always attached to the pommel. The jian variants used for taijijian wushu display or as training tools in modern day martial arts schools often have properties that render them unsuitable for historically accurate combat. These properties, such as extreme blade thinness or a high degree of flexibility compared to historical battlefield quality jian, are intended to add auditory and visual appeal to a wushu performance.

Tai chi classics

2008-09-22T18:28:00.003-07:00

The Tai chi classics are classical texts used as guides for the practice of the Chinese martial art of tai chi chuan. These texts, which vary from school to school, are usually written in classical Chinese and are used by modern schools that trace their lineage from the or from them through the .
.

While great antiquity is usually claimed for texts by legendary authors, modern scholarship has not been able to date any of them earlier than the late 19th century.

Among the writings accorded the status of a Classic are:

#T'ai Chi Ch'uan Classic attributed to the legendary founder of tai chi chuan, Chang San-feng 張三豐 , claimed to be ca. 12th-14th century.
#Salt Shop Manual 鹽店譜 containing the T'ai Chi Ch'uan Treatise attributed to the legendary Wang Tsung-yueh 王宗岳 . The text was said to have been found stored in the back room of a Beijing salt shop by Wu Yu-hsiang's brother Wu Ch'eng-ch'ing 武澄清.
#Miscellaneous texts: Song of Thirteen Postures, Mental Elucidation of the Practise of T'ai Chi Ch'uan and the Song of Sparring handed down in the Yang and families.
#Texts by Wu Yu-hsiang 武禹襄 , a central figure in Wu/Hao style Tai Chi Chuan, and his relatives; especially his nephew Li I-yü 李亦畬 .
#Forty Chapters of writings, with the last three chapters directly attributed to Chang San-feng, preserved in the Yang and Wu Chien-ch'uan families.
#T'ai Chi Ch'uan Illustrated 太極拳圖說 published in 1919 by Ch'en Hsin 陳鑫 an important Chen family scholar.
#The Study of T'ai Chi Ch'uan 太極拳學 first published in 1924 by Sun Lu-t'ang 孫祿堂 , the founder of the fifth and last classical style of tai chi chuan.
#Yang Ch'eng-fu 楊澄甫 published his Complete Principles and Applications of T'ai Chi Ch'uan in 1934, a work considered authoritative in schools influenced by his many students and progeny. The book includes the well known "Ten Essential Points of Taijiquan Theory" authored by Ch'eng-fu .
#Wu Kung-tsao 吳公藻 provided original texts and commentary on the previously mentioned Forty Chapters in Wu Family T'ai Chi Ch'uan . Wu's grandfather Wu Ch'uan-yu 吳全佑 had inherited the Forty Chapters from Yang Pan-hou 楊班侯 . The book was first published in Changsha in 1935. In 1980, when the book was published again in Hong Kong, the famous wuxia author Jin Yong contributed a postscript to Wu Kung-tsao's text in which Jin described influences from as far back as Lao Tzu and Chuang Tzu on contemporary Chinese martial arts.

Collections, Translations, and Studies

*Davis, Barbara, "The Taijiquan Classics: An Annotated Translation"
*Jou, Tsung-hwa, "The Tao of T'ai Chi Ch'uan"
*Liang, T.T., "T'ai Chi Ch'uan for Health and Self-Defense:Philosophy and Practice
*Lo, Benjamin, Martin Inn, Robert Amacker, Susan Foe, "The Essence of T'ai Chi Ch'uan: The Literary Tradition"
*Wile, Doug, "Tai Chi Touchstones: ''Yang Family Secret Transmissions''"
*Wile, Doug, "Lost T'ai-chi Classics from the Late Ch'ing Dynasty"
*Xin, Chen, "The Illustrated Canon of Chen Family Taijiquan"

Tai chi chuan philosophy

2008-09-22T18:28:00.001-07:00

In many extant writings the dependence of tai chi chuan on Chinese philosophy is acknowledged. Tai chi teachers have historically asserted that the principles of tai chi chuan practice can be applied to a student's lifestyle.

'Tai chi chuan' is often translated ''supreme ultimate pugilism'' or ''boundless fist''. This refers to the ancient . However in terms of philosophy '''' has a wider meaning. The concept of ''tai chi'' or the ''Supreme Ultimate'' is used in various Chinese philosophical schools, usually to represent the contrast in opposing categories, or the interplay of those categories usually termed . These abstract terms represent the relationships used to describe perceived opposites in the phenomenal world: full and empty, movement and stillness, soft and hard, light and dark, hot and cold, et cetera. This scheme has had a lasting influence in traditional Chinese culture, shaping theory in schools as diverse as Confucianism, Taoism, and, to a lesser extent, Chan Buddhism, as well as traditional Chinese medicine and feng shui. Tai chi chuan, a relatively recent development compared to the aforementioned schools was even named by some of its earliest known exponents after the ''tai chi'' concept, possibly as late as the mid-nineteenth century.

In the "Forty Chapter" tai chi classic text supplied by Yang Banhou to Wu Quanyou in the late nineteenth century, there are the following references to the philosophy of tai chi chuan as applied to a practitioner's lifestyle:

14. An Explanation of the Spiritual and Martial in Tai Chi

The spiritual is the essence, the martial is the application. Spiritual development in the realm of martial arts is applied through the ching , ch'i and shen - the practise of physical culture. When the martial is matched with the spiritual and it is experienced in the body and mind, this then is the practise of martial arts. With the spiritual and martial we must speak of "firing time," for their development unfolds according to the proper sequence. This is the root of physical culture. Therefore, the practise of the martial arts in a spiritual way is soft-style exercise, the sinew power of ching, ch'i and shen. When the martial arts are practical in an exclusively martial way, this is hard style, or simply brute force. The spiritual without martial training is essence without application; the martial without spiritual accompaniment is application without essence. A lone pole cannot stand, a single palm cannot clap. This is not only true of physical culture and martial arts, but all things are subject to this principle. The spiritual is internal principle; the martial is external skill. External skill without internal principle is simply physical ferocity. This is a far cry from the original nature of the art, and by bullying an opponent one eventually invites disaster. To understand the internal principles without the external skill is simply an armchair art. Without knowing the applications, one will be lost in an actual confrontation. When it comes to applying this art, one cannot afford to ignore the significance of the two words: spiritual and martial.

19. An Explanation of the Three Levels of the Spiritual and Martial in Tai Chi

Without self-cultivation, there would be no means of realising the Tao. Nevertheless, the methods of practise can be divided into three levels. The term level means attainment. The highest level is the great attainment; the lowest level is the lesser attainment; the middle level is the attainment of sincerity. Although the methods are divided into three levels of practise, the attainment is one. The spiritual is cultivated internally and the martial externally; physical culture is internal and martial arts external. Those whose practise is successful both internally and externally reach the highest level of attainment. Those who master the martial arts through the spiritual aspect of physical culture, and those who master the spiritual aspect of physical culture through the martial arts attain the middle level. However, those who know only physical culture but not the martial arts, or those who know only the martial arts without physical culture represent the lowest levels of attainment.

20. An Explanation of the Martial Aspect of T’ai Chi

As a martial art, T’ai Chi is externally a soft exercise, but internally hard, even as it seeks softness. If we are externally soft, after a long time we will naturally develop internal hardness. It’s not that we consciously cultivate hardness, for in reality our mind is on softness. What is difficult is to remain internally reserved, to possess hardness without expressing it, always externally meeting the opponent with softness. Meeting hardness with softness causes the opponent’s hardness to be transformed and disappear into nothingness. How can we acquire this skill? When we have mastered sticking, adhering, connecting and following, we will naturally progress from conscious movement to interpreting energy and finally spiritual illumination and the realm of absolute transcendence. If our skill has not reached absolute transcendence, how could we manifest the miracle of four ounces moving a thousand pounds? It is simply a matter of “understanding sticky movement” to the point of perfecting the subtlety of seeing and hearing.

103-form Yang family tai chi chuan

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T'ai Chi forms

Differences between schools

The following is an English translation from Chinese of the form list used by the current Yang family teachers. Other Yang style schools may have significantly different enumeration schemes.

Yang style form list

The 103 postures of the family style of T'ai Chi Ch'uan are listed as follows:

1. Preparation Form

2. Beginning

3. Grasp the Bird's Tail

4. Single Whip

5. Lift Hands and Step Up

6. Lifts Wings

7. Left Brush Knee and Step

8. Hand Strums Lute

9. Left Brush Knee and Step

10. Right Brush Knee and Step

11. Left Brush Knee and Step

12. Hand Strums Lute

13. Left Brush Knee and Step

14. Step Forward, Deflect, Parry and

15. As Though Sealed and Closed

16. Cross Hands

17. Embrace Tiger and Return to Mountain

18. Fist under Elbow

19. Right Repel Monkey

20. Left Repel Monkey

21. Right Repel Monkey

22. Diagonal Flying

23. Lift Hands and Step Up

24. White Crane Lifts Wings

25. Left Brush Knee and Step

26. Needle at Sea Bottom

27. Fan through Back

28. Turn Body and Flip Fist Past Body

29. Step forward Deflect Parry and Punch

30. Step Up and Grasp the Bird's Tail

31. Single Whip

32. Cloud Hands

33. Cloud Hands

34. Cloud Hands

35. Single Whip

36. High Pat Horse

37. Right Separate Foot

38. Left Separate Foot

39. Turn Body, Left Heel Kick

40. Left Brush Knee and Step

41. Right Brush Knee and Step

42. Step Up and Punch Down

43. Turn Body and Flip Fist Past Body

44. Step Forward, Deflect, Parry and Punch

45. Right Heel Kick

46. Left Strike Tiger

47. Right Strike Tiger

48. Turn Body, Right Heel Kick

49. Two Peaks Box Ears

50. Left Heel Kick

51. Turn Body, Right Heel Kick

52. Step Forward, Deflect, Parry and Punch

53. As Though Sealed and Closed

54. Cross Hands

55. Embrace Tiger and Return to Mountain

56. Diagonal Single Whip

57. Right Wild Horse Parts Mane

58. Left Wild Horse Parts Mane

59. Right Wild Horse Parts Mane

60. Grasp the Bird's Tail

61. Single Whip

62. Jade Lady Passes through the Shuttle

63. Grasp the Bird's Tail

64. Single Whip

65. Cloud Hands

66. Cloud Hands

67. Cloud Hands

68. Single Whip

69. Low Form

70. Left Golden Cock Stands on One Leg

71. Right Golden Cock Stands on One Leg

72. Right Repel Monkey

73. Left Repel Monkey

74. Right Repel Monkey

75. Diagonal Flying

76. Lift Hands and Step Up

77. White Crane Lifts Wings

78. Left Brush Knee and Step

79. Needle at Sea Bottom

80. Fan through Back

81. Turn Body, White Spits Tongue

82. Step Forward, Deflect, Parry and Punch

83. Step Up and Grasp the Bird's Tail

84. Single Whip

85. Cloud Hands

86. Cloud Hands

87. Cloud Hands

88. Single Whip

89. High Pat Horse with Palm Thrust

90. Cross Kick

91. Step Forward and Punch Groin

92. Step Up and Grasp the Bird's Tail

93. Single Whip

94. Low Form

95. Step Up Seven Stars

96. Step Back and Ride Tiger

97. Turn Body and Swing over

98. Bend Bow and Shoot Tiger

99. Step Forward, Deflect, Parry and Punch

100. As Though Sealed and Closed

101. Cross Hands

102. Closing

103. Return to Normal

Tai chi chuan

2008-09-22T18:27:00.001-07:00

Tai chi chuan is classified as Wudangquan or an . Tai chi is typically practiced for a variety of reasons: its , demonstration competitions, health and longevity. Consequently, a multitude of training forms exist, both traditional and modern, which correspond to those aims. Some of tai chi chuan's are well known to Westerners as the slow motion routines that groups of people practice together every morning in parks around the world, particularly in China.

Today, tai chi has spread worldwide. Most modern styles of tai chi trace their development to at least one of the five traditional schools: Chen, Yang, Wu/Hao, Wu and Sun. The origins and creation of tai chi are a subject of much argument and speculation. However, the oldest documented tradition is that of the Chen family from the 1820s.

Overview

The term "t'ai chi ch'uan" literally translates as "supreme ultimate fist", "boundless fist," or "great extremes boxing" . The concept of the "supreme ultimate" appears in both Taoist and Confucian Chinese philosophy where it represents the fusion or mother of Yin and Yang into a single ultimate represented by the Taijitu symbol. Thus, tai chi theory and practice evolved in agreement with many of the principles of Chinese philosophy including both Taoism and Confucianism. Tai chi training first and foremost involves learning solo routines, known as ''forms'' . While the image of tai chi chuan in popular culture is typified by exceedingly slow movement, many tai chi styles have secondary forms of a faster pace. Some traditional schools of tai chi teach partner exercises known as ''pushing hands'', and martial applications of the postures of the form.

Tai chi chuan is generally classified as a form of traditional Chinese martial arts of the Neijia branch. It is considered a martial art — an art applied with — to distinguish its theory and application from that of the . it has developed a worldwide following among people with little or no interest in martial training, for its benefit to health and . support its effectiveness as an alternative exercise and a form of martial arts therapy.

Focusing the mind solely on the movements of the form purportedly helps to bring about a state of mental calm and clarity. Besides general health benefits and stress management attributed to tai chi training, aspects of traditional Chinese medicine are taught to advanced tai chi students in some traditional schools. Some martial arts, especially the Japanese martial arts, use a uniform for students during practice. Tai chi chuan schools do not generally require a uniform, but both traditional and modern teachers often advocate loose, comfortable clothing and flat-soled shoes.

The physical techniques of tai chi chuan are described in the tai chi classics as being characterized by the use of leverage through the joints based on coordination in relaxation, rather than muscular tension, in order to neutralize or initiate attacks. The slow, repetitive work involved in the process of learning how that leverage is generated gently and measurably increases, opens the internal circulation

The study of tai chi chuan primarily involves three aspects:

* Health: An unhealthy or otherwise uncomfortable person may find it difficult to meditate to a state of calmness or to use tai chi as a martial art. Tai chi's health training therefore concentrates on relieving the physical effects of stress on the body and mind. For those focused on tai chi's martial application, good physical fitness is an important step towards effective self-defense.
* Meditation: The focus and calmness cultivated by the meditative aspect of tai chi is seen as necessary in maintaining optimum health and in application of the form as a soft style martial art.
* Martial art: The ability to use tai chi as a form of self-defense in combat is the test of a student's understanding of the art. Tai chi chuan martially is the study of appropriate in response to outside forces; the study of yielding and "sticking" to an incoming attack rather than attempting to meet it with opposing force.

History and styles

There are five major styles of tai chi chuan, each named after the Chinese family from which it originated:
*
*
*
*
*

The order of verifiable age is as listed above. The order of popularity is Yang, Wu, Chen, Sun, and Wu/Hao.

When tracing tai chi chuan's formative influences to Taoist and Buddhist monasteries, there seems little more to go on than legendary tales from a modern historical perspective, but tai chi chuan's practical connection to and dependence upon the theories of Neo-Confucianism is claimed by some traditional schools. In these legends, Zhang Sanfeng as a young man studied Tao Yin breathing exercises from his Taoist teachers and martial arts at the Buddhist Shaolin monastery, eventually combining the martial forms and breathing exercises to formulate the soft or internal principles we associate with tai chi chuan and related martial arts. Zhang Sanfeng is also sometimes attributed with the creation of the original . These 13 movements are in all forms of tai chi chuan. Its subsequent fame attributed to his teaching, Wu Tang monastery was known thereafter as an important martial center for many centuries, its many styles of internal kung fu preserved and refined at various Taoist temples.

Family trees

These family trees are not comprehensive. Names denoted by an asterisk are legendary or semi-legendary figures in the lineage; while their involvement in the lineage is accepted by most of the major schools, it is not independently verifiable from known historical records. The Cheng Man-ch'ing and Chinese Sports Commission short forms are derived from Yang family forms, but neither are recognized as Yang family tai chi chuan by standard-bearing Yang family teachers. The Chen, Yang and Wu families are now promoting their own shortened demonstration forms for competitive purposes.

Legendary figures

Five major classical family styles

Modern forms

Training and techniques

As the name "tai chi chuan" is held to be derived from the Taiji symbol , commonly known in the West as the "yin-yang" diagram, tai chi chuan is therefore said in literature preserved in its oldest schools to be a study of ''yin'' and ''yang'' principles, using terminology found in the Chinese classics, especially the Book of Changes and the Tao Te Ching.

The core training involves two primary features: the first being the , a slow sequence of movements which emphasize a straight spine, abdominal breathing and a natural range of motion; the second being different styles of pushing hands for training movement principles of the form in a more practical way.

The solo form should take the students through a complete, natural range of motion over their center of gravity. Accurate, repeated practice of the solo routine is said to retrain posture, encourage circulation throughout the students' bodies, maintain flexibility through their joints and further familiarize students with the martial application sequences implied by the forms. The major traditional styles of tai chi have forms which differ somewhat cosmetically, but there are also many obvious similarities which point to their common origin. The solo forms, empty-hand and weapon, are catalogs of movements that are practiced individually in pushing hands and martial application scenarios to prepare students for self-defense training. In most traditional schools, different variations of the solo forms can be practiced: fast–slow, small circle–large circle, square–round , low sitting/high sitting , for example.

The philosophy of the style is that if one uses hardness to resist violent force, then both sides are certain to be injured at least to some degree. Such injury, according to tai chi theory, is a natural consequence of meeting brute force with brute force. Instead, students are taught not to directly fight or resist an incoming force, but to meet it in softness and follow its motion while remaining in physical contact until the incoming force of attack exhausts itself or can be safely redirected, meeting yang with yin. Done correctly, this yin/yang or yang/yin balance in combat, or in a broader philosophical sense, is a primary goal of tai chi chuan training. Lao Tzu provided the archetype for this in the Tao Te Ching when he wrote, "The soft and the pliable will defeat the hard and strong."

Tai chi's martial aspect relies on sensitivity to the opponent's movements and center of gravity dictating appropriate responses. Effectively affecting or "capturing" the opponent's center of gravity immediately upon contact is trained as the primary goal of the martial tai chi student. The sensitivity needed to capture the center is acquired over thousands of hours of first ''yin'' and then later adding ''yang'' martial training; forms, pushing hands and sparring. Tai chi trains in three basic ranges, close, medium and long, and then everything in between. Pushes and open hand strikes are more common than punches, and kicks are usually to the legs and lower torso, never higher than the hip depending on style. The fingers, fists, palms, sides of the hands, wrists, forearms, elbows, shoulders, back, hips, knees and feet are commonly used to strike, with strikes to the eyes, throat, heart, groin and other acupressure points trained by advanced students. Joint traps, locks and breaks are also used. Most tai chi teachers expect their students to thoroughly learn defensive or neutralizing skills first, and a student will have to demonstrate proficiency with them before offensive skills will be extensively trained. There is also an emphasis in the traditional schools that one is expected to show , martial virtue or heroism, to protect the defenseless and show mercy to one's opponents.

In addition to the physical form, martial tai chi chuan schools also focus on how the energy of a strike effects the other person. Palm strikes that physically look the same may be performed in such a way that it has a completely different effect on the target's body. A palm strike could simply push the person forward, be focused in such a way as lift them vertically off the ground breaking their center of gravity, or terminate the force of the strike within the other person's body with the intent of causing internal damage.

Other training exercises include:
*Weapons training and fencing applications employing the straight ''sword'' known as the ''jian'' or ''chien'' or ''gim'' , a heavier curved ''sabre'', sometimes called a ''broadsword'' or ''tao'' , folding '''' also called ''san'', wooden staff known as '''' , 7 foot '''' and 13 foot ''lance'' . More exotic weapons still used by some traditional styles are the large ''Dadao'' or ''Ta Tao'' and ''Pudao'' or ''P'u Tao'' sabres, '''' , ''cane'', ''rope-dart'', ''three sectional staff'', ''Wind and fire wheels'', ''lasso'', ''whip'', ''chain whip'' and ''steel whip''.
*Two-person tournament sparring ;
*Breathing exercises; ''nei kung'' or, more commonly, ''ch'i kung'' to develop ch'i or "breath energy" in coordination with physical movement and or combinations of the two. These were formerly taught only to disciples as a separate, complementary training system. In the last 50 years they have become better known to the general public.

Modern tai chi

Tai chi classes have become popular in hospitals, clinics, community and senior centers in the last twenty years or so, as baby boomers age and the art's reputation as a low stress training for seniors became more well-known. As a result of this popularity, there has been some divergence between those who say they practice tai chi primarily for self-defense, those who practice it for its aesthetic appeal , and those who are more interested in its benefits to physical and mental health. The wushu aspect is primarily for show; the forms taught for those purposes are designed to earn points in competition and are mostly unconcerned with either health maintenance or martial ability. More traditional stylists believe the two aspects of health and martial arts are equally necessary: the ''yin'' and ''yang'' of tai chi chuan. The tai chi "family" schools therefore still present their teachings in a martial art context, whatever the intention of their students in studying the art.

Along with Yoga, tai chi is one of the fastest growing fitness and health maintenance activities in the United States.

Health benefits

Before tai chi's introduction to Western students, the health benefits of tai chi chuan were largely explained through the lens of traditional Chinese medicine, which is based on a view of the body and healing mechanisms not always studied or supported by modern science. Today, some prominent tai chi teachers have advocated subjecting tai chi to to gain acceptance in the West. The studies also show some reduced pain, stress and anxiety in healthy subjects. Other studies have indicated improved cardiovascular and function in healthy subjects as well as those who had undergone coronary artery bypass surgery. Patients that suffer from heart failure, high blood pressure, heart attacks, arthritis, multiple sclerosis, Parkinson's, and Alzheimer's may also benefit from tai chi. Tai chi, along with yoga, has reduced levels of LDLs 20–26 milligrams when practised for 12–14 weeks. However, a thorough review of most of these studies showed limitations or biases that made it difficult to draw firm conclusions on the benefits of tai chi. There have also been indications that tai chi might have some effect on noradrenaline and cortisol production with an effect on mood and heart rate. However, as with many of these studies, the effect may be no different than those derived from other types of physical exercise.

In one study, tai chi has also been shown to reduce the symptoms of Attention Deficit and Hyperactivity Disorder in 13 adolescents. The improvement in symptoms seem to persist after the tai chi sessions were terminated. Tai chi's gentle, low impact movements burn more calories than surfing and nearly as many as downhill skiing. In addition, a pilot study, which has not been published in a peer-reviewed medical journal, has found preliminary evidence that tai chi and related qigong may reduce the severity of diabetes.

A recent study evaluated the effects of two types of behavioral intervention, tai chi and health education, on healthy adults, who after 16 weeks of the intervention, were vaccinated with VARIVAX, a live attenuated Oka/Merck Varicella zoster virus vaccine. The tai chi group showed higher and more significant levels of cell-mediated immunity to varicella zoster virus than the control group which received only health education. It appears that tai chi augments resting levels of varicella zoster virus-specific cell-mediated immunity and boosts the efficacy of the varicella vaccine. Tai chi alone does not lessen the effects or probability of a shingles attack, but it does improve the effects of the varicella zoster virus vaccine.

Now that the majority of health studies have displayed a tangible benefit to the practice of tai chi, some health professionals have called for more in-depth studies to determine mitigating factors such as the most beneficial style, suggested duration of practice to show the best results, and whether tai chi is as effective as other forms of exercise.

Tai chi chuan in fiction

Tai chi and neijia in general play a large role in many wuxia novels, films, and television series; among which are ''Tai Chi Master'' starring Jet Li, and the popular ''Crouching Tiger, Hidden Dragon''. A movie that features a traditional tai chi chuan teacher as the lead character is '''', Ang Lee's first western film. It is also used as the basis for fictional "Waterbending" in ''Avatar the Last Airbender''.In the video game Dead or Alive, Lei Fang uses Tai chi chuan. Internal concepts may even be the subject of parody, such as in ''Shaolin Soccer'' and ''Kung Fu Hustle''. Fictional portrayals often refer to Zhang Sanfeng and the Taoist monasteries on Wudangshan.

Tai chi chih

2008-09-22T18:26:00.012-07:00

T’ai Chi Chih is a series of 19 movements and 1 pose that together make up a meditative form of exercise to which practitioners attribute physical and spiritual health benefits. Some studies
have found the practice to reduce stress and relieve certain ailments.

Developed in Albuquerque, New Mexico in 1974 by Justin Stone, T’ai Chi Chih has spread mostly through word-of-mouth in a grassroots fashion among practicing individuals. It is now taught and practiced in the US and Canada, France, Italy, New Zealand, Zimbabwe, Namibia, and other countries.

T’ai Chi Chih has visual similarities to Tai chi chuan, but no martial arts aspect. According to practitioners, T’ai Chi Chih focuses on circulating, developing and balancing the .

Sun style tai chi chuan

2008-09-22T18:26:00.011-07:00

The Sun style tai chi chuan was developed by Sun Lu-t'ang , who was considered expert in two other styles: and before he came to study tai chi chuan. Today, Sun style ranks fourth in popularity and fifth in terms of seniority among the five family styles of tai chi chuan. He was also considered an accomplished Neo-Confucian and Taoist scholar, especially in the I Ching and the tai chi classics. Sun learned from Hao Wei-chen , who was Li I-yü's chief disciple.

Besides his earlier hsing-i and pa kua training, Sun's experiences with Hao Wei-chen, Yang Shao-hou, Yang Ch'eng-fu and Wu Chien-ch'üan influenced the development of what is today recognized as the Sun style of tai chi chuan. Sun's son Sun Cunzhou and daughter, Sun Jianyun were tai chi chuan teachers, as well as Sun Cunzhou's daughter Sun Shurong who taught in Beijing until her death.

Sun style tai chi chuan is well known for its smooth, flowing movements which omit the more physically vigorous crouching, leaping and Fa jing of some other styles. The footwork of Sun style is unique, when one foot advances or retreats the other follows. It also uses an open palm throughout the entirety of its main form, and exhibits small circular movements with the hand. Its gentle postures and high stances make it very suitable for geriatric exercise and martial arts therapy.

Single whip

2008-09-22T18:26:00.009-07:00

Single Whip is a common posture found in most forms of tai chi chuan. Typically at the end of the posture the left hand is in a palm outward push and the right hand held most commonly in the form of a hook or closed fist. Notable exceptions are the Single Whip in and Wu/Hao style tai chi chuan which finish with both hands open, palms outward.

Single Whip is one of the movements/postures most repeated in the solo training forms. Its first appearance in most forms follows the Grasp Sparrow's Tail sequence and is seen later as a variant renamed Snake Creeps Down. There is also a posture in the form called Single Whip Fusing Throat.

The martial applications of Single Whip are many. There are various strikes, throws, changeups and kicks derived from this posture trained by different schools.

Silk reeling

2008-09-22T18:26:00.007-07:00

Silk reeling , also called winding silk energy chánsījìng , refers to a set of neigong principles frequently used by the and of t'ai chi ch'uan. The name derives from the metaphorical principle of "reeling the silk from a ". In order to draw out the silk successfully the action must be smooth and consistent without jerking or changing direction sharply. Too fast, the silk breaks, too slow, it sticks to itself and becomes tangled. Hence, the silk reeling movements are continuous, cyclic patterns performed at constant speed with the "light touch" of drawing silk.

As described by Wu Kung-tsao:
This resembles the strands of spun silk. Winding silk energy is applied in pushing hands when opponents probe, use , neutralize, vie for control, and practice tactical movements around each other's space.There are six methods of winding silk energy: inner, outer, upper, lower, forward and backward. They are applied from anywhere on the body: the arms. legs, hips and waist, with the body moving continuously, with endless circularity, wrapped together like intertwined filaments of silk.
...
One who is skilled at winding silk energy is keenly sensitive and can accurately probe and stay with the opponent as he extends and contracts.

Chen style silk reeling movements originate from the ''dantian'' and trace a ''taijitu'' pattern. Starting first with the outside circle and then adding the "tear shapes" while shifting the weight from leg to leg; this motion in turn drives the rest of the joints of the body in a fluid, spiraling motion.

Some of the most common silk reeling exercises are:
* Single and double hand front silk reeling
* Single and double hand side silk reeling
*
* Dragon Lands like a sparrow left and right
* Lean with the back left and right

Qiang (spear)

2008-09-22T18:26:00.005-07:00

Qiang is the term for spear. Due to its relative ease of manufacture, the spear in many variations was ubiquitous on the pre-modern Chinese battlefield. It is known as one of the four major weapons, along with the ''Gun '', '''', and the '''', called in this group "The King of Weapons".

Common features of the Chinese spear are the leaf shaped blade and red horse-hair tassel lashed just below. When the spear is moving quickly, the addition of the tassel aids in blurring the vision of the opponent so that it is more difficult for them to grab the shaft of spear behind the head or tip. The tassel also served another purpose, to stop the flow of blood from the blade getting to the wooden shaft . The length varied from around 7 feet long, commonly used by infantry, increasing up to the length of 13 feet favoured by cavalry. The spear is typically made of wax wood, a strong but flexible wood. It bends to absorb impact preventing breakage. The bending motion combined with the horse hair tassel makes the spear tip very hard to follow.

Many Chinese martial arts feature spear training in their curriculum. The conditioning provided by spear technique is seen as invaluable and in many styles it is the first weapons training introduced to students. Moreover, some schools of empty handed fighting in China credit spear technique as their foundation, notably Xingyiquan and Bajiquan.

Pushing hands

2008-09-22T18:26:00.003-07:00

Pushing hands, , is a name for two-person training routines practiced in Chinese martial arts such as Baguazhang, Xingyiquan, Tai Chi Chuan , Liuhebafa, and Yiquan.

Overview

Pushing hands is said to be the gateway for students to understand experientially the martial aspects of the Internal martial arts ; leverage, reflex, sensitivity, timing, coordination and positioning. Pushing hands works to undo a person's natural instinct to resist force with force, teaching the body to yield to force and redirect it. Health oriented tai chi schools may still teach push hands because there is a limit to the amount of physical conditioning available from performing solo form routines, so pushing hands adds the weight of the training partner's pushes onto the legs of the student. Training with a partner also allows a student to develop ''ting jing'' , the sensitivity to feel the direction and strength of a partner's force and thereby avoid or redirect it. In that sense pushing hands is a contract between students to train the defensive and offensive movement principles of their martial art; learning to generate, coordinate and deliver power to another and also how to effectively neutralize incoming forces in a relatively safe environment.

History

Pushing hands is said by Tai Chi's Chen family to have been created by Chen Wangting the founder of the Chen style Tai Chi Chuan and was originally known as hitting hands or crossing hands . Chen was said to have devised pushing hands methods for both empty hands and armed with spears. Other Tai Chi schools attribute the invention of pushing hands to Zhang Sanfeng. Okinawan karate has developed their own version of pushing hands, called kakie. It is used to develop close quarter combat skills.

In recent history push hands has become a part of modern martial arts tournaments, especially those devoted to internal arts. Within this context, pushing hands is not an exercise to develop skill but a competitive sport.

Training pushing hands

In Tai Chi Chüan, pushing hands is used to acquaint students with the principles of what are known as the "Eight Gates and Five Steps," eight different leverage applications in the arms accompanied by footwork in a range of motion which proponents say will eventually allow students to defend themselves calmly and competently if attacked. Also known as the "13 original movements of tai chi", a posture expressing each one of these aspects is found in all tai chi styles. Training and push hands competitions generally involve contact but no .

The Eight Gates :
:P'eng - An upward circular movement, forward or backward, yielding or offsetting usually with the arms to disrupt the opponent's centre of gravity, often translated as "Ward Off." Peng is also described more subtly as an energetic quality that should be present in every taiji movement as a part of the concept of "song" or relaxation, providing the strength to maintain structure when pressed and still avoid tension.
:Lü - A sideways, circular yielding movement, often translated as "Roll Back."
:Chi - A pressing or squeezing offset in a direction away from the body, usually done with the back of the hand or outside edge of the forearm. Chi is often translated as "Press."
:An - To offset with the hand, usually a slight lift up with the fingers then a push down with the palm, which can appear as a strike if done quickly. Often translated as "Push."
:Tsai - To pluck or pick downwards with the hand, especially with the fingertips or palm. The word ''tsai'' is part of the compound that means to gather, collect or pluck a tea leaf from a branch . Often translated "Pluck" or "Grasp."
:Lieh - Lieh means to separate, to twist or to offset with a spiral motion, often while making immobile another part of the body to split an opponent's body thereby destroying posture and balance. Lieh is often translated as "Split."
:Chou - To strike or push with the elbow. Usually translated as "Elbow Strike" or "Elbow Stroke" or just plain "Elbow."
:K'ao - To strike or push with the shoulder or upper back. The word ''k'ao'' implies leaning or inclining. Usually translated "Shoulder Strike," "Shoulder Stroke" or "Shoulder."

The Five Steps :
:Chin Pu - Forward step.
:T'ui Pu - Backward step.
:Tsuo Ku - Left step.
:You P'an - Right step.
:Chung Ting - The central position, balance, equilibrium. Not just the physical center, but a condition which is expected to be present at all times in the first four steps as well, associated with the concept of ''rooting'' . Chung ting can also be compared to the Taoist concept of moderation or the Buddhist "" as discouraging extremes of behavior, or in this case, movement. An extreme of movement, usually characterized as leaning to one side or the other, destroys a practitioner's balance and enables defeat.

The Eight Gates are said to be associated with the eight trigrams of the I Ching, the Five Steps with the five of the Taoist '''' ; metal, water, wood, fire, and earth. Collectively they are sometimes referred to as the "Thirteen Postures of T'ai Chi Chuan" and their combinations and permutations are cataloged more or less exhaustively in the different styles of solo forms which Tai Chi is mostly known for by the general public. Pushing hands is practiced so that students have an opportunity for "hands-on" experience of the theoretical implications of the solo forms. Traditional internal teachers say that just training solo forms isn't enough to learn a martial art, that without the pushing hands reflex and sensitivity to another's movements and intent are lost. Each component is seen as equally necessary, yin and yang, for realizing the health, , and applications.

Pushing hands trains these technical principles in ever increasing complexity of patterns. At first students work basic patterns, then patterns with moving steps coordinated in different directions, patterns at differing heights and then finally different styles of "freestyle" push hands, which lead into sparring that combines closing and distancing strategies with long, medium and short range techniques. These exchanges are characterized as "question and answer" sessions between training partners; the person pushing is asking a question, the person receiving the push answers with their response. The answers should be "soft," without resistance or stiffness. The students hope to learn to not fight back when pushed nor retreat before anticipated force, but rather to allow the strength and direction of the push to determine their answer. The intent thereby is for the students to condition themselves and their reflexes to the point that they can meet an incoming force in softness, move with it until they determine its intent and then allow it to exhaust itself or redirect it into a harmless direction. The degree to which students maintain their balance while observing these requirements determines the appropriateness of their "answers." The expression used in some Tai Chi schools to describe this is "Give up oneself to follow another." The eventual goal for self-defense purposes is to achieve meeting the force, determining its direction and effectively redirecting it in as short a time as possible, with examples provided of seemingly instantaneous redirections at the highest levels of kung fu by traditional teachers. Pushing hands also teaches students safety habits in regard to their own vital areas, especially acupressure points, as well as introducing them to the principles of chin na and some aspects of the manipulative therapy or tui na also taught in traditional Tai Chi Chuan schools. At a certain point, pushing hands begins to take on aspects of '''', as the students learn to coordinate their movements in attack and defense with their breathing.

Moy Lin-shin

2008-09-22T18:26:00.001-07:00

Moy Lin-shin . was a monk, teacher and Tai Chi instructor who founded The Taoist Tai Chi Society , the Fung Loy Kok Institute of Taoism and the Gei Pang Lok Hup Academy.

Early Life

As a sickly youth Moy was sent to a monastery. There he was trained in the teachings of the Earlier Heaven Wu-chi sect of the Hua Shan School of Taoism and regained his health. Moy reported that he studied the religious and philosophical side of Taoism and that he had acquired knowledge and skills in Chinese martial arts.

Ahead of the of 1949 Moy moved to Hong Kong. There he joined the Yuen Yuen Institute, in Tsuen Wan district in the New Territories, continued his education and became a Taoist monk.

The Yuen Yuen Institute was established in 1950 by monks from Sanyuan Gong in Guangzhou, Guangdong province, which in turn traces its lineage to the Longmen sect of . The Yuen Yuen Institute is dedicated to Taoism, Buddhism and Confucianism. In 1968, Moy co-founded, together with Taoist Masters Mui Ming-to and Mrs Tang Yuen Mei, the temple for the Fung Loy Kok Institute of Taoism on the grounds of the Yuen Yuen Institute.

In addition to his studies and education in Taoism Moy Lin-shin learned a range of internal martial arts including , , Hsing I Ch'uan, and Taoist Qigong. One of Moy's main teachers in Hong Kong was , an instructor in Lok Hup Ba Fa and other arts, who was in turn a student of Wu Yi Hui. Lok Hup Ba Fa is considered by some of its schools to be a combination of the three arts of Tai Chi Chuan, Hsing I Chuan, and Pa Kua Chang. Moy was taught Lok Hup Ba Fa at the Chin Woo Athletic Association in Shanghai. Moy also trained in Hong Kong with Sun Dit, a fellow student of Leung Jee-peng, who Moy said had developed skills in Hsing I Chuan and Push hands.

Move to Canada

Moy was sent overseas with a mission of spreading the understanding of Taoism and its practices. After some travel, he settled in Montreal, Canada, and in 1970 began teaching a small group of dedicated students. In those early days, Moy taught both the health and martial arts aspects of Tai Chi. Upon moving to one of Toronto's "Chinatowns" a few years later, he changed his focus, emphasising the health giving aspects and no martial applications. Moy's choice was made with the intention of presenting his modified Tai Chi forms only as exercise, rather than as a martial art.

Moy started with a standard Yang style Tai Chi Chuan form, also saying he had mixed in elements of other internal arts, and taught it to condition students to learn Lok Hup Ba Fa later. Moy called this modified form Taoist Tai Chi. Moy emphasized the non-competitive nature of his style of teaching and of the form . A teacher of Taoist Tai Chi is asked to conform to and live by what Moy called, "Eight Heavenly Virtues":

* Sense of Shame
* Honor
* Sacrifice
* Propriety
* worthiness
* Dedication
* Sibling Harmony
* Filial piety.

In accordance with these virtues, Taoist Tai Chi is a form that is taught by volunteers.

Organisations

To promote his understanding of the Taoist foundations of Tai Chi and to facilitate understanding between eastern and western cultures, Moy helped to set up a number of organizations. Initially he established the Toronto Tai Chi Association, which, after Taoist Tai Chi chapters were formed across Canada, became the Taoist Tai Chi Society of Canada.

The organizations since his death

Since the death of Moy Lin-shin in 1998 the three organizations he founded have been amalgamated, with the Fung Loy Kok Institute of Taoism as the main organization and the Taoist Tai Chi Society and the Gei Pang Lok Hup Academy as part of the Institute. This brought together the financial and administrative management of the three organizations.

In order to broaden the emphasis on health and vitality the Taoist Tai Chi Health Recovery Centre was established in 1997 near Toronto, at , Ontario. On the same grounds a has been built .

Criticism

Moy Lin Shin has been criticized for being unqualified and for teaching a version of Tai Chi that is "not generally recognised as an authentic style of Tai Chi" although even critics have admitted that his efforts "did a great deal to introduce thousands to tai chi".

List of tai chi chuan forms

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List of Tai Chi Chuan forms, postures, movements, or positions in order of number of forms:

Hand forms

* 4 - Chen 4 Step is a subset of Chen Old Frame One
* 8 - Yang Standardized
* 8 - Chen Standardized
* 9 - Chen Old Frame
* 10 - Yang
* 12 - Yang
* 13 - Chen subset of either Old Frame One or Small Frame
* 13 - Dong Yue Combined
* 13 - Wudang - Shi San Shi
* 16 - Yang Standardized
* 16 - Chen Standardized
* 16 - Actually Chen 4 Step popularly repeated in four directions of the compass
* 18 - Chen
* 18 - Wudang
* 19 - Chen
* 20 - 5 Section Taijiquan
* 20 - 5 Section Chen Taijiquan
* 20 - Simplified form of Chen Xiaojia
* 24 -
* 24 - Chen Shi Xinyi Hunyuan Taijiquan
* 24 - Zhao Bao
* 24 - Jingquanshitaijiquan
* 28 - Wudang Taiji
* 32 - Combined Form
* 32 - Chen Standardized "Fist"
* 34 - short
* 35 - Sun Standardized Short
* 36 - Chen Standardized
* 36 - Fu style short form tai chi ch'uan
* 37 - Yang Short
* 38 - Chen
* 39 - Chen
* 39 - Chen
* 40 - Yang competition
* 40 - Sun Family Modern Short Form
* 40 - Jingquanshitaijiquan
* 42 - Chen
* 42 -
* 42 - Sun Traditional Short
* 43 - Yang
* 43 - Zhao Bao
* 46 - Yang Competition
* 46 - Wu competition
* 48 - Combined
* 48 - Chen Shi Xinyi Hunyuan Taijiquan
* 49 - Yang Demo/Family competition
* 49 - Wu short form
* 50 - short form
* 53 - Fu style advanced tai chi
* 54 - Wu Jianquan family competition form
* 56 - Chen Competition
* 56 - Zhao Bao
* 64 - Yang
* 66 - Combined Standardized
* 67 - 67 movements Combined Tai-Chi Chuan form
* 67 - Fu style tai chi lightning palm
* 67 -
* 72 - Chen
* 72 - Huang Sheng Shyan Form
* 73 - Sun Competition
* 74 -
* 81 - Wu Old Form
* 81 - Chen Style, First Routine
* 83 - Chen New Form
* 88 - Yang Standardized
* 95 - Shanghai Jianchuan T'ai Chi Association Wu Style Tai Chi Fast Form
* 96 - Wu long form
* 97/98 - Sun Traditional Long
* 103 -
* 105 - Fu style Tai Chi Ch'uan
* 108 -
* 108 - Chen
* 108 -
* 119 - long
* 120 - - Annotated Form
* 140 - form
* 229 - - Long Form

Forms of T'ai Chi Ch'uan vary according to the creator's knowledge of Taoist Philosophy relating to Taoist Boxing and preferences. Some Forms relate more to philosophic principles, some to practical Taoist Boxing, but all should contain the '13 Principles'.

There are also many variations of qigong forms associated with different schools.

Weapon forms

* 13 - Dong Yue Combined
* 13 - Wu Jianquan
* 16 - Yang Standardized Sword
* 16 - Yang/Combined Standardized Spear
* 13 - Yang Broadsword
* 18 - Chen 'Health' Standardized Sword
* 23 - Chen Broadsword
* 24 - Wu Jianquan Spear
* 27 - 5 Section solo Taijijian
* 32 - Yang/Combined
* 36 - Chen Shi Xinyi Hun Yuan broadsword
* 40 - Chen Broadsword
* 48 - Chen Shi Xinyi Hun Yuan sword
* 49 - Chen Sword
* 54 - Yang
* 56 - Fu style tai chi seven star sword
* 62 - Chen Single Sword
* 64 - 5 Section 2 person Taijijian
* 92 - Wudang Single Sword
* 108 - Wu Jianquan Sabre
* 108 - Wu Jianquan Sword

Liang Shou-Yu

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Liang Shouyu is an wushu and qigong teacher. He was born in Chongqing, Sichuan, China and started studying Emei martial arts and qigong with his grandfather at the age of six. Liang Shouyu has five generations of martial artists and is the direct inheritor of the Emei Shequan system . He won many all around titles in tournaments in China and was also the first person to overcome an undefeated Yi-mountain man in . Liang excelled in both Wushu and academics, winning a full scholarship to study biology at the in Chongqing.

After the communist revolution, Liang was relocated to a small farming village where he taught high school and farmed. During the , he was sought after by members during a national purge of traditional Chinese culture. During this time, Liang roamed around China, learning many different types of and qigong.

In 1981, Liang Shouyu traveled to , . Today, he lives in , in , and has established one of the largest martial arts organisations in the world, the I.W.S.D . He has also established the , and in total, has trained over 10,000 students. Today, he is the Advisor or Honorary Advisor of over 20 national and professional Wushu organisations in China, the United States, and Canada. He has two daughters, Helen Liang and Maria Liang and continues to teach in Vancouver, Canada.

Lee style tai chi chuan

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The Lee style of tai chi chuan is closely related to a range of disciplines of Taoist Arts taught within the Lee style including Chi Kung, Tao Yin, Chinese Macrobiotics, Traditional Chinese Medicine, Taoist alchemy, Feng Shou Kung Fu, and weapons practice. It was first brought to the West in the 1930s and was popularized by Chee Soo who was the President of the International Taoist Society from 1958 until his death in 1994.
The Lee style of T'ai Chi Ch'uan comprises two forms known as 'the dance' and 'the form', I Fou Shou or 'sticky hands' technique, Whirling Hands, Whirling Arms, and various Chi and Li development exercises.
Although Lee style T'ai Chi is undeniably related to Martial Arts training, there are in actual fact five distinct areas of development that comprise the whole Art: 1.Physical, 2.Mental, 3.Breathing, 4.Sheng Chi and 5.Ching Sheng Li .

History

The style is derived from an original set of eight movements created by Ho-Hsieh Lee from Beijing around 1000 BC, this was a time before there were any written records so we only have the oral tradition passed down from father to son to rely on. His family moved to a fishing village called Wei Hei Wei on the East coast of China in Shandong Province and settled there and practiced a range of Taoist Arts. The techniques were passed on from one generation to the next and kept within the family until the last in their line, Chan Lee, traveled to London in the 1930s on business. It was here that he met and adopted a young orphan named Clifford Soo, later to be known as Chee Soo, and he passed the techniques on to him as he had no children of his own.

Chee Soo writes:

The formation of the International Taoist Society

This society was formed on the foundations that were originally laid down by Professor Chan Kam Lee to cater for the interest that was beginning to be aroused, and because other members started to form their own classes and clubs, it was felt that the formation of an association would help to bind all practitioners together.

In the winter of 1953-4, Chan Lee died, off the coast of China, near Canton, when th3e ship that he was traveling in sank in a severe storm, and so Chee Soo was asked to take over the leadership of the Association. However, in deference to the memory of Chan Lee, Chee Soo declined to accept any title within the Association at that particular time. By 1959, groups and clubs were being formed all over the world, and they were all asking for leadership. For this reason, Chee Soo decided to accept the post of President of the Association. Since then the Association has grown from strength to strength in the British Isles, Australia, South Africa, France, Germany, Holland, Mauritius, and New Zealand.

In 1976 the authoritative training manual on Lee style T'ai Chi Ch'uan written by Chee Soo was published entitled "The Chinese Art of T'ai Chi Ch'uan" which describes the history and philosophy of the style in detail including descriptions of each aspect of the Art with photographs and descriptions of the Lee style T'ai Chi form. In actual fact he wrote several books about the various aspects of the Lee style Taoist Arts published by HarperCollins which became best-sellers and were subsequently translated into several languages including French , German, Italian, Spanish, Portuguese , Polish, and Indonesian.
Chee Soo moved to Coventry in the 1980s and trained a group of teachers to continue his work.

Since his death in August 1994 there are now several school teaching the Lee style T'ai Chi based in the British Isles each of which emphasize different aspects of the Lee style Taoist Arts.

The emblem of the Lee family is the Seahorse which represents Yin within Yang as it is the only creature where the male incubates and gives birth to the offspring.

Chi Kung

Chee Soo's T'ai Chi classes invariably included Chi Kung or energy cultivation, and Tao Yin or breathing exercises. The Lee style Chi Kung exercises are called K'ai Men or 'Open Door'. Chee Soo wrote a book published by HarperCollins in 1983 under the title "Taoist Yoga", which was devoted entirely to this aspect of the Arts. This book contains details of Taoist alchemy energy cultivation methods involving deep breathing into the Tan t'ien or "Golden Stove" or "Lower Cauldron" in order to stimulate the flow of Chi or internal energy, circulating it through various energy centres located along the meridians and vessels which are usually associated with acupuncture and known as the Microcosmic orbit. Various types of breathing exercises are described and categorized in terms of Yin and Yang breathing and recommendations are given in terms of regulating the body in accordance with the peak of energy flowing through each organ and it's corresponding line of meridian depending on the time of day and season of the year. There are also various recommendations for constant good health regarding the Chang Ming or Chinese Macrobiotic diet based on the underlying principles of Traditional Chinese Medicine.

An important aspect of this style of Chi Kung is that it not only deals with Chi or internal energy but also teaches the practitioner to supplement their personal store of ch'i with energy drawn from the energy field of the Universe itself which Chee Soo called external energy or 'Ching Sheng Li'.

Forms

The Lee style includes a number of '''' comprising set sequences of movements. These movements are based upon fourteen basic stances which are named after animal movements. These stances are also grouped into sequences with names like "Drive the Tiger Away" and "The Fair Lady Weaving". The movements can be performed at various speeds and may be timed with breathing. There are two forms known as the T'ai Chi Dance which is only about 400 years old, and the T'ai Chi form itself known as 'The Form'. The Dance is 185 stances or steps long whereas the Form is 140 stances split into 42 sequences.

Sticky Hands

The Lee style also includes various interactive exercises, the most important of which is called I Fu Shou or 'sticky hands', similar to the pushing hands exercises we see in other T'ai Chi styles. Two people stand opposite each other making contact on the back of the wrist and move in circles gently testing each others balance. The emphasis is on sensitivity and yielding to force.

I Fu Shou is an exercise in which two people participate. Each person tries to upset the balance of the other whilst maintaining their own stability. Contact is through the arms and hands throughout the exercise. No matter what stance is adopted, there may always be a weakness in the balance of the body whether one moves left or right, backward or forward, upward or downward, and it is by taking advantage of these six directional weaknesses that the participants in I Fu Shou try to ‘uproot’ each other - to cause the other to lose their footing. The most difficult way to do this is to lift the other off the ground, but even this may be achieved provided that one has practiced diligently and developed a faultless technique.

A full description is available to read online on Chee Soo's publisher's website.

Self-defence

Whirling Arms and Whirling Hands are the two exercises in the Lee style of T'ai Chi Ch'uan which are used to teach basic principles of self-defence.

Like I fou shou, Whirling Arms and Whirling Hands encourage the development of quick mental and physical reactions and a high level of sensitivity. Both are characterized, as their names suggest, by circular movements of the arms and hands.

The two arts include techniques to ward off, parry and deflect thrusts which may be made towards your body, and with constant practise you can develop the ability to recognize your partner's intentions before they are carried out. You will learn how to feel and exploit the weaknesses in their movements and postures, and in so doing you will come to understand your own weaknesses and develop greater concentration and awareness. You will build the foundations for a stronger balance, learn how to synchronize your body movements, and become much more sensitive and perceptive. In addition to all these, the control and utilization of your Ch'i energy plays a very big part in your practise.

Weapons

According to Master Chee Soo in his book about the Lee style T'ai Chi Ch'uan:

T'ai Chi sword makes full use of the combined techniques of Whirling Hands and Whirling Arms, but these are made more difficult by the weight and length of the sword. Greater mental concentration is required to retain complete control of the arms, wrists and hands, while maintaining perfect balance, especially in a few sequences where the body makes a complete whirl to demonstrate the 'order of the universe'....the 'Sword' form, which comprises 216 movements, has no straight lines

Lee style T'ai Chi stick comprises a form of 270 movements. The T'ai Chi stick is a staff approximately six feet long.

Jianquan Taijiquan Association

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The Jianquan Taijiquan Association is a well known school teaching Wu style t'ai chi ch'uan.

It was founded in 1935 by in Shanghai, and in the beginning operating out of the Shanghai YMCA. The Association went underground during the Second Sino-Japanese War due to the ban on Chinese martial arts instituted by the Japanese. In 1942, when Wu Chien-ch'üan died, his oldest son Wu Kung-i became head of the Association, eventually moving its headquarters to Hong Kong where it has continued uninterrupted to this day. Wu Chien-ch'üan's daughter Wu Ying-hua and his senior disciple Ma Yueh-liang took over leadership in of the branch in Shanghai. The Shanghai school fell under the was ban on "feudalistic practices" with the beginning of the Cultural Revolution. Only in 1980 was the Shanghai branch officially reopened.

Guang Ping Yang Tai Chi Chuan

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Guang Ping Yang Tai Chi Chuan, which has become known as the “lost” Yang style tai chi chuan form, combines all the positive aspects of Yang Style with qualities that added strength and versatility. Guang Ping's stances are lower and wider than Yang Style but not as pronounced as Chen style. A stronger, more balanced foundation gives the student more power and greater flexibility. Guang Ping Yang Tai Chi Chuan also combines Xingyiquan and Baguazhang, which can be seen in Guang Ping's spiral force energy and projecting force energy theories.

Kuo Lien Ying is credited with bringing Guang Ping Yang Tai Chi Ch’uan to the United States.

There appears to be controversy on whether this is a “notable and even distinct” style of Tai Chi Chuan, and its adherents have battled this mis-perception for many years. Thanks to the efforts of Grandmaster Henry Look, the first president of the Guang Ping Yang Tai Chi Association, Guang Ping Yang Tai Chi Chuan has been acknowledged and listed as a separate Tai Chi Chuan category in many competitions and tournaments across the country, such as the Kuosho International Martial Arts Tournaments and the UC Berkeley Chinese Wushu Tournaments.

History of Tai Chi Ch'uan

The fighting system of Tai Chi Ch'uan was purportedly created by Zhang Sanfengin approximately 1270 A.D. Legend has it that Zhang Sanfeng was inspired by watching combat between a snake and a crane, observing the grace and flow of these creatures. When the snake would strike, the crane would gracefully retreat. When the crane attacked, the snake would recoil. In this contest the principles of yin and yang, where the soft overcomes the hard, became evident.

The forms and postures as they were originally performed are no longer seen today, but the 'operating principles' were codified in the writing of Zhang Sanfengand are enacted today in modern forms.

The form of Tai Chi Ch’uan is based on the ideas from Taoism, a philosophy or world view derived from the I Ching and from the writings of Laozi. The I Ching, which embodies the idea of yin and yang and their opposition, alternation and interaction, originated and was developed in the 2nd and 3rd centuries, B.C.E. Lao Tzu wrote the Tao Te Ching sometime during the 5th century, B.C.E. One of the most common images in this book is water, which is soft and yielding but which can overcome the hardest of substances. So, too, is Tai Chi Chuan, seemingly soft and yielding, but holding the capacity for great power.

Tai Chi Ch’uan translates as “Supreme Ultimate Boxing”

The Supreme Ultimate refers to the Tao , the framework within which Yin and Yang manifest in nature. Tao is the Path or the Way. Yin and Yang represent opposite aspects of the universe. One cannot exist without the other, one contains the seeds of the other, and each is opposite in relation to the other. Examples of Yin and Yang are day and night, light and dark, empty and full, masculine and feminine, receptive and active.

Tai Chi Chuan therefore indicates that the art contains within itself all that is necessary for these dynamic forces to interact and be reconciled. The character Ch'uan refers to a school or method of boxing or combat. Tai Chi Chuan, as it was originally conceived, is a sophisticated method of self-defense based on the reconciliation of dynamically interacting forces. The Tai Chi Chuan practitioner seeks to neutralize the opponent's use of force before applying a countering force. In this give and take, this interplay of energies, Tai Chi Chuan finds its highest expression as a form of self-defense.

History of Guang Ping Yang Tai Chi

The Guang Ping form is traced back to the great Tai Chi Master Yang Luchan , who had been adopted by the Chen family and had learned the Chen style Tai Chi Chuan from them. Yang Luchan moved his family from the Chen village to the town of Guang Ping, and developed Yang style tai chi chuan. The stances of this modified form were not as low as the Chen style Tai Chi Chuan form, with a combination of hard and soft styles, long and small circles and incorporated double jump kicks, and other wide sweeping kicks. The movements were long and deep, more energetic, with more apparent martial combat character. This Yang style tai chi chuan became known as Guang Ping Yang Tai Chi Chuan.

Yang Luchan taught his son, Yang Pan-hou, the Guang Ping Yang Tai Chi Chuan.Yang Pan-hou was reportedly the official teacher for the Imperial court of the Manchus. The indigenous Chinese, known as the Han, had been subjugated by the Manchus and therefore Yang Pan-hou did not want to pass down the family's true art to them. Also, the Manchurians were aristocrats and were not inclined to the more strenuous exercises, so Yang Pan-Hou adapted his father’s Guang Ping form to be more subtle and taught them a very elegant, middle-to-small frame form. This is the Yang Tai Chi Ch’uan style that has come to be known as the Beijing Yang style. Yang Pan-hou secretly taught his father’s form only to select students who were not his family, who then taught it to only a few of their students and the art was subsequently lost to the Yang family.

Yang Pan-hou's lineage-holding disciple was Wang Jiao-Yu, a Han and a stableman for the Imperial family. As the legend goes, one day Yang Pan-hou heard a noise over the fence and looked to see Wang Jiao-Yu practicing the Guang Ping form. He confronted Wang Jiao-Yu and demanded an explanation. Wang Jaio-Yu told him he had been secretly watching Yang Pan-hou practicing the Guang Ping form during the magic hours of 3:00 to 5:00 a.m. Since Wang Jiao-Yu was a Han, Yang Pan-hou took Wang Jiao-yu as his student and trained him in the secret Guang Ping style, and made him promise not to teach this art as long as the dynasty was in power.

Wang Jiao-Yu kept this promise, and only began teaching the Guang Ping Yang Tai Chi Chuan much later in his life.

Kuo Lien Ying learned the form from Wang Jiao-Yu. Wang Jiao-Yu, purportedly 112 years of age at the time, accepted Kuo as one of very few disciples. From Wang's teaching, it is said that Kuo learned all the true skill and essence of Guang Ping Yang Tai Chi Chuan.

Kuo Lien Ying moved to San Francisco in the early 1960s and opened one of the first Tai Chi Chuan studios in America

Guang Ping Yang Tai Chi Association

The Guang Ping Yang Tai Chi Association was formed In 1997 to honor the memory of Sifu Kuo Lien Ying and in commemoration of his unselfish sharing of his many skills. The mission of the Association is to promote, perpetuate, develop interest in, and preserve the quality of Guang Ping Yang style Tai Chi Chuan throughout the world, and to provide support for research and education in Guang Ping Yang T'ai Chi Ch'uan.

Guang Ping Yang Tai Chi Association Honorary Chairmen:
Y.C. Chiang, Henry Look

Guang Ping Yang Tai Chi Association Past Presidents:
Henry Look, Donald Rubbo, Nick D’Antoni, Dominick Ruggieri

Current President, Guang Ping Yang Tai Chi Association:
Randy Elias

Basic Tai Chi Principles

The whole body is relaxed; do not use force. Relaxation does not mean slack, the body is full of potential yet empty. The term in Chinese for this is "sung".

Keep the mind focused; if the mind wanders, gently bring it back to its focus.

Be natural and at peace, release any tension.

The head should be as though it were suspended on a string from above, relaxed and lifted.

The body should not lean to any direction, and the spine should be lifted.

There must be a clear distinction between the empty and full feet .

Breathing must be long, even, and natural; do not hold or constrict the breath.

In even the slightest movement the whole body must move; do not let any part stop separately. When one part moves, all parts move; when one part stops, all parts stop.

A Mnemonic of Thirteen Tai Chi Chuan Movements

Let no one esteem lightly the Thirteen Movements

But bear in mind that your consciousness of them commences in the waist,

In performance, care must be exercised regarding your transposition

from one stance to another,

the twists and turns in each movement, and the distribution of blanks and

substantives in a given movement,

While keeping the chi freely circulating throughout your whole body.

All changes and motions are conceived and touched off in the stillness of absolute quietude,

Hence motion and action are kindred to rest and inaction, in other words, ultimately
indistinguishable from each other.

Likewise, the mystery of Tai-Chi Chuan is that

It is your opponent's movements that condition your own as adapted by nature

to his own undoing.

Remember to be mindful of every single move by trying to feel its meaning,

And you will eventually come into possession of the art's secrets without conscious effort.

Rivet your attention, without even a moment's interruption, onto the waist interval, and

Keep your abdomen free from tension due to food or impurities, so that

Your vitality flux may, as it were, boil and rise like steam.

Keep the lowest segments of your vertebrae central in relation to gravitation all the while,
when

Your limbs and body are gyrating with effortless nimbleness, and your head is held

buoyant as if suspended from above.

Carefully observe and investigate and convince yourself that

Your way of bending or straightening, your closing-in or throwing open should never

be as you will them to be, but as Nature wills.

A novice will require verbal instruction during the initial stages.

But practice will steer its own course and bring about its own perfection.

As to the theory and practice, i.e., the constituents and functioning of Tai-Chi Chuan,

The spirit is sovereign and the body its servant,

The end purpose of these exercises is to prolong life and endow it with the youth of eternal
spring.

Oh, sing! Oh, sing! Sing this short song of 144 Chinese characters;

Commit every single word of it to memory without exception.

Enquiries and researches that deviate from this approach

Only waste time and leave behind regrets and sighings.

From Kuo Lien Ying's book ''Tai-Chi Chuan in Theory and Practice''

Dao (sword)

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Dao

is a category of single-edge swords primarily used for slashing and chopping , often called a ''broadsword'' in translation because some varieties have wide blades. In China, the dao is known as one of the four major weapons, along with the ''Gun '', ''Qiang '', and the '''', and referred to as "The General of All Weapons". Dao is actually a generic word used to denote any member of a family of , broad-bladed cutting or slicing tools, but in common, everyday usage means knife. The weapon, also known as ''dan dao'' when just one is used, is thereby thought to be an adaptation of the kitchen knives common to Chinese cuisine. ''Dao'' also appears in the names of such as the ''pudao'' and ''guan dao'', indicating the knifelike nature of their blades.

General characteristics

While dao have varied greatly over the centuries, most single-handed dao of the period and later, and the modern swords that are based on them share a number of characteristics. Dao blades are moderately curved and single-edged, though often with few inches of the back edge sharpened as well; the moderate curve allows them to be reasonably effective in the thrust. Hilts are canted, curving in the opposite direction as the blade which improves handling in some forms of cuts and thrusts. Cord is usually wrapped over the wood of the handle. Hilts may also be pierced like those of ''jian'' for the addition of lanyards, though modern swords for performances will often have tassels or scarves instead. Guards are typically disc-shaped often with a cupped shape to prevent rainwater from getting into the sheath, and to prevent blood from dripping down to the handle, making it more difficult to grip. Sometimes guards are thinner pieces of metal with an s-curve, the lower limb of the curve protecting the user's knuckles; very rarely they may have guards like those of the ''jian''.

Other variations to the basic pattern include the large '''' and the long handled ''pudao''.

Early history

The earliest dao date from the Shang Dynasty in China's Bronze Age, and are known as ''zhibei dao'' - straight backed knives. As the name implies, these were straight-bladed or slightly curved weapons with a single edge. Originally bronze, these would be made of iron or steel by the time of the late Warring States. Originally less common as a military weapon than the jian - the straight, double-edged blade of China - the dao became popular with cavalry during the Han dynasty due to its sturdiness and superiority as a chopping weapon. Soon after dao began to be issued to infantry, beginning the replacement of the jian as a standard-issue weapon.

During the Tang Dynasty, dao were exported to both Korea and Japan, influencing the swordsmithing of both nations. The blades of Tang era dao are reminiscent of the Japanese chokuto or the popular image of the quasi-mythical ninjato.

During the Song Dynasty, one form of infantry dao was the ''shoudao'', a chopping weapon with a clip point. While some illustrations show them as straight, the 11th century Song military encyclopedia ''Wujing Zongyao'' depicts them with curved blades - possibly an influence from the steppe tribes of Central Asia, who would conquer parts of China during the Song period. Also dating from the Song are the falchion-like ''dadao'' and the long, two-handed ''zhanmadao''.

Yuan, Ming and Qing

The Mongols invaded in the early 13th century in the process of conquering the largest land empire in history. The Yuan dynasty of the Mongols influenced China and other nations considerably, particularly in the tools and tactics of war. A favored weapon of the Mongol cavalry was the sabre: this simple, one handed, curved blade had been used by the and Tungusic tribes of Central Asia since the 8th century at least. Its effectiveness for mounted warfare and popularity among soldiers across the entirety of the Mongol empire had lasting effects. The Persian shamshir, the Indian talwar, the Afghani pulwar, the Turkish kilij, the Arabian saif, the Mamluk "scimitar", and the European sabre and cutlass are perhaps descended from the Turko-Mongol curved blade.

In China, Mongol influence lasted long after the collapse of the Yuan dynasty at the hands of the , continuing through both the Ming and the dynasties , furthering the popularity of the dao and spawning a variety of new blades. Blades with greater curvature became popular, and these new styles are collectively referred to as ''pei dao''. During the mid-Ming these new sabers would completely replace the ''jian'' as a military-issue weapon. The four main types of ''pei dao'' are:

* ''yanmao dao'', or "goose-quill sabre." This weapon, similar to the earlier ''zhibei dao'', is largely straight, with a curve appearing at the center of percussion near the blade's tip. This allows for thrusting attacks and overall handling similar to that of the ''jian'', while still preserving much of the dao's strengths in cutting and slashing.
* ''liuye dao'', the "willow leaf saber." The most common form of Chinese sabre, this weapon features a moderate curve along the length of the blade. This weapon became the standard sidearm for both cavalry and infantry, and is the sort of sabre originally used by many schools of Chinese martial arts.
* ''pian dao'', "slashing sabre." A deeply curved dao meant for slashing and draw-cutting, this weapon bears a strong resemblance to the shamshir and scimitar. A fairly uncommon weapon, it was generally used by skirmishers in conjunction with a shield.
* ''niuweidao'', the "oxtail sabre." A heavy bladed weapon with a characteristic flaring tip, this is the archetypal "Chinese broadsword" of kung fu movies today.

Besides these four types of dao, the ''duan dao'' or "short dao" was also used, this being a compact weapon generally in the shape of a ''liuye dao''. The ''dadao'' saw continued use, and during the Ming dynasty the large two-handed '''' and ''zhanmadao'' were used both against the cavalry of the northern steppes and the pirates of the southeast coast; these latter weapons would continue to see limited use during the Qing period. Also during the Qing there appear weapons such as the ''nandao'', regional variants in name or shape of some of the above dao, and more obscure variants such as the "nine ringed broadsword," which were likely invented for street demonstrations and theatrical performances rather than for use as weapons.

The Chinese and dao were commonly issued to infantry due to the expense of and relatively greater amount of training required for the effective use of Chinese straight sword, or ''jian''. Dao can often be seen depicted in period artwork worn by officers and infantry.

During the Yuan dynasty and after, some aesthetic features of Persian, Indian, and swords would appear on dao. These could include intricate carvings on the blade and "rolling pearls": small metal balls that would roll along -like grooves in the blade.

Recent history

Some of the blades from the Qing Dynasty lived on and even had descendants see military action in the 20th century. The ''dadao'' was used by some Chinese militia units against Japanese invaders in the Second Sino-Japanese War, as was the ''miao dao'', a descendant of the ''''. These were used during planned ambushes on Japanese troops because the Chinese military and patriotic resistance groups often had more willing soldiers than firearms.

Most Chinese martial arts schools still train extensively with the dao, seeing it as a powerful conditioning tool and a versatile weapon, with self defense techniques transferable to similarly sized objects more commonly found in the modern world, such as canes, baseball or cricket bats, for example. There are also schools that teach double broadsword ''shuang dao'' , forms and fencing, one Dao for each hand.

One measure of the proper length of the sword should be from the hilt in your hand and the tip of the blade at the brow and in some schools, the height of shoulder. Alternatively, the length of the sword should be from the middle of the throat along the length of the outstretched arm. There are also significantly larger versions of dao used for training in some Baguazhang and Taijiquan schools.

Cheng Man-ch'ing

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Cheng Man-ch'ing or Zhèng Mànqīng was born in Yongjia , Zhejiang Province . He died March 26, 1975; his grave is near the city of Taipei. Cheng was trained in Chinese medicine, tai chi chuan, calligraphy, painting and poetry. Because of his skills in these five areas he was often referred to as the "Master of Five Excellences." Because he had been a college professor, his students called him "Professor Cheng."

Early Years

Cheng's father died when Cheng was very young. Around the age of nine, Cheng was struck on the head by a falling brick or roof tile, and was in a coma for a short while. He recuperated slowly, and was apprenticed to a well-known artist, Wang Xiangchan, in hopes that simple jobs like grinding ink would help his health. Within a few years, his teacher sent him out to earn his living at painting. Cheng's aunt Chang Kuang, also known by her artist's name of Hongwei Laoren, was a well-known painter. During Cheng's childhood, his mother took him out to find medicinal plants and taught him the fundamentals of traditional Chinese herbal medicine.

Cheng taught poetry and art in several leading colleges in Beijing and Shanghai and was a successful artist. At the age of nineteen, he was a professor of poetry at an esteemed art school in Beijing. Later in Shanghai, he became acquainted with influential figures including Wu Changshi, Cai Yuanpei, Zheng Xiaoxu, Xu Beihong, and Zhang Daqian.

In his twenties, he developed lung disease . Ill to the point of coughing up blood, he began to practice tai chi chuan more diligently to aid his recovery. Cheng retired from teaching and devoted himself for several years to the study of tai chi chuan, traditional Chinese medicine, and literature.

In addition to his childhood instruction, Cheng Man-ch'ing received formal Chinese medical training. While he was teaching painting in a Shanghai art school, one of his friends grew ill and was unable to find relief. Cheng Man-ch'ing wrote a complex prescription for his friend, who took the medicine and recovered fully. One story from his memorial book is that a retired traditional doctor named Song You-an came across the prescription. He demanded to be put in contact with the person who wrote it, as the sophistication and erudition of the prescription showed exceptional talent and competence. As war was raging across China at that time, it took several years before Cheng Man-ch'ing was able to present himself for study. With Song, Cheng received instruction and became conversant with the Chinese pharmacopoeia.

Another version of this story, attested to by Professor Cheng's students, is that the physician who encountered Cheng's prescription was then head of a medical school far west of the seacoast; this physician was the son of a traditional doctor, whose own father had been a doctor, and so on back twelve generations. Thus, Cheng Man-ch'ing for a year or two became the premier student of the director of a medical school who was twelfth in an unbroken lineage of physicians.

In 1928 he met the well-known master Yang Chengfu, with whom he began to study Yang style tai chi chuan, which he did until 1935. Questions have been raised regarding the lineage claims of Cheng Man-Ch'ing and his relationship, if any, to Yang Chengfu. Cheng Man-ch'ing's name is not included in the list of Yang Chengfu's students and scholarly research regarding Cheng's life has failed to substantiate claims that he was a student of Yang Chengfu for a time period of seven to ten years. Rene Navarro in the article "In Search of Yang Chengfu" states, "I observed the famous Cheng Man Ching, who had a school at the foot of Manhattan Bridge on the Bowery in New York City. Cheng had a reputation as a formidable fighter. His short form of 37 movements was derived from the Yang Family classical fist form of 108 movements. It was said that he studied with Yang Chengfu, but I did not know what forms or for how long. At the time, there were articles that said he studied for a decade. Later, a researcher estimated 3 years. More recently, Master Dong of Hawaii quoted his grandfather as saying that Cheng studied only for 6 months .

Cheng, according to Yang's son Zhenji, ghostwrote Yang's second book ''Essence and Applications of Taijiquan'' or ''The Substance and Application of T'ai Chi Ch'uan'' , for which Cheng also wrote a preface and most likely arranged for the calligraphic dedications.

Cheng taught tai chi chuan, practiced medicine, and continued his art practice in Sichuan Province during the Sino-Japanese war years. By 1946, he had developed a significantly abbreviated 37-move version of Yang's traditional form. He wrote the manuscript for his ''Thirteen Chapters'' during this period, and showed them to his elder classmate Chen Weiming, who gave it his imprimatur.

Taiwan

Cheng moved to Taiwan in 1949 and continued his career as a physician and as a teacher of his new tai chi chuan form, as well as actively practicing painting, poetry, and calligraphy. He published ''Cheng's 13 Chapters of T'ai Chi Boxing'' in 1950 which has been translated into twice. He started the Shih Chung T'ai Chi Association in Taipei, where many now well-known students trained with him. Though he tended not to advertise it, he served as one of the painting teachers of Soong Mei-ling, Madame Chiang Kai-shek, whom he taught to paint lotuses; and as personal physician to Chiang Kai-shek in Taiwan and perhaps earlier.

United States

In 1964, Cheng moved with his family to the United States, where he taught at the New York T'ai Chi Association at 211 Canal Street in Manhattan. He then founded and taught at the Shr Jung T'ai Chi school at 87 Bowery in New York City's Chinatown section, with the assistance of his six American senior students, known as the "Big Six": Tam Gibbs, Lou Kleinsmith, Ed Young, Mort Raphael, Maggie Newman, and Stanley Israel. Half a dozen later students/assistants are known as "the Little Six": Victor Chin, Y Y Chin, Jon Gaines, Natasha Gorky, Wolfe Lowenthal, and Ken VanSickle. Other American students include Patt Benton, Robert Ante, Patrick Watson, Lawrence Galante and William C. Phillips. In Taiwan, Cheng's students continued running the school in his absence. It operated initially under the direction of Liu Hsi-heng. Hsu I-chung is the current director.

While living in New York City, Cheng often spent several hours in the early afternoons studying or teaching classes of three or four students in the C. V. Starr East Asian Library in Columbia University, usually in a small, mahogany-panelled loft above the main floor. For relaxation, he raised orchids.

Writings

In 1967 in collaboration with Robert W. Smith, and T. T. Liang, Cheng published "T'ai Chi, the Supreme Ultimate Exercise for Health, Sport and Self-defense," which was his second tai chi book in English. He wrote over a dozen other books on a variety of subjects, including the I Ching, the Tao Te Ching, the Analects of Confucius, books of poetry, essays, medicine, and art collections. Translations of his works include: "Master Cheng's New Method of T'ai Chi Ch'uan Self-Cultivation"; "Cheng Man Ch'ing: Essays on Man and Culture"; "Cheng Man Ch'ing: Master of Five Excellences," and "T'ai Chi Ch'uan: A Simplified Method of Calisthenics for Health and Self-Defense."

Cheng Man-ch'ing's tai chi chuan

Cheng Man-ch'ing is best known in the West for his tai chi chuan. The following are some of the characteristics of his "Yang-style short form."

* It eliminates most of the repetitions of certain moves of the Yang long form.
* It takes around ten minutes to practice instead of the twenty to thirty minutes of the
* The hand and wrist are held open, yet relaxed, in what Cheng called the "Fair Lady's Hand" formation
* The form postures are not as expansive as Yang Ch'eng-fu's form
* Cheng postures are performed in "middle frame" style, which changes the movement of the feet from the Yang version.
* Cheng's concept of "swing and return" in which the momentum from one movement initiates the next.

These changes allowed Cheng to teach larger numbers of students in a shorter time. His shortened form became extremely popular in Taiwan and Malaysia, and he was among one of the earliest Chinese masters to teach tai chi chuan publicly in the United States. His students have continued to spread his form around the world.

It should be noted that Cheng rejected the appellation "Yang Style Short Form" to characterize his tai chi. When pressed on the issue, he called his form "Yang-Style Tai Chi in 37 Postures." However, the postures in his form are counted differently from those in the Yang Chengfu form. In the older form each movement counts as a posture, whereas in the Cheng form postures are counted only the first time they are performed, and rarely or not at all when they are repeated. Moreover, certain postures which appear in the Cheng form, such as High Pat on Horse, are not counted at all. These differences in how the postures are counted have led some Cheng practitioners, such as William C.C. Chen, to characterize their own forms as exceeding 70 "movements," and indeed, upon close comparison with the Yang Chengfu form, Cheng's postures, if counted the same way as Yang's are, would number over 70.

Cheng's changes to the Yang style form have never been officially recognised by the Yang family and his style is still a source of controversy among some tai chi chuan practitioners. From Cheng's own point of view, the approval of his elder brother disciple Ch'en Wei-ming was all the recognition he needed, since by that time Yang Chengfu was deceased, and all of the current generation of Yang Chengfu leaders were junior to him.

In Taiwan, a number of his students still teach, and the Shih Chung school still operates. In New York City, among Cheng's senior students, Maggie Newman and Ed Young are still teaching.

Chen style tai chi chuan

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The family style is the oldest and parent form of the five main tai chi chuan styles. It is third in terms of world-wide popularity compared to the other main taijiquan styles. Chen style is characterized by its lower stances, more explicit Silk reeling and bursts of power .

Many modern tai chi styles and teachers emphasize a particular aspect in their practice of tai chi chuan. The five traditional family styles tend to retain the original applicability of tai chi teaching methods. Some argue that Chen style schools succeed in this to a greater degree.

Sourced histories center around Chen Wangting , who codified pre-existing Chen training practice into a corpus of seven routines. Wangting is said to have incorporated theories from a classic text by General Qi Jiguang 戚继光, Jixiaoxinshu 继效新书 and Huang Di Nei Jing 黄帝内经《黃帝內經》 , which described martial arts from 16 different styles.

Some legends assert that a disciple of Zhang Sanfeng named Wang Zongyue taught Chen family the martial art later to be known as taijiquan.

Other legends speak of Jiang Fa . Reputedly a monk from Wudang mountain who came to Chen village, he is said to have radically transformed the Chen family art for the better when he taught Chen Changxing internal fighting practices. However there are significant difficulties with this explanation: it is no longer clear if their relationship was that of teacher/student or even who taught whom.

Chen Village

Historically documented from the 1600s, the Chen family were originally from Shanxi, Hong Dong . First generation, Chen Pu , shifted from Shanxi to Wen County, Henan Province . Originally known as Chang Yang Cun or Sunshine village, the village grew to include a large number of Chen descendants. Because of the three deep ravines beside the village it became to be known as Chen Jia Gou or Chen Family Village. Chen village has since been a center of tai chi learning. Ninth generation Chen Wangting is credited as performing the first formal codification of Chen family martial art practice.

Perhaps the best known Chen family teacher was 14th generation Chen Changxing . He further synthesized Chen Wangting's open fist training corpus into two routines that came to be known as "old frame" . Chen Changxing, contrary to Chen family tradition, also took the first recorded non-family member as a disciple, Yang Luchan , who went on to develop his own family tradition . Tai chi proved very popular and the other three traditional styles of tai chi chuan further sprang from Yang family tradition, some of these styles also borrowing from the Chen family "Small Frame" tradition . Chen family teaching remained hidden and was not officially "released" to the public until 1928.

Chen Youben , of the 14th Chen generation, is credited with starting a mainstream Chen training tradition that differed from that created by Chen Changxing. It was originally know as xinjia as opposed to Chen Changxing's lao jia. It gradually became to be known as xiao jia or small form.
Small Form eventually lead to the formation of two styles with Chen family influences - and hulei jia which are not considered a part of the Chen family lineage.

Recent History

In recent decades Chen style Taijiquan has come to be recognized as a major style of martial art within China. In Western countries Chen style is rapidly growing in popularity for either martial art or healthy life-style reasons.

This more recent popularity can be seen to be grounded on "promotional" efforts made by leading Chen style masters at two major periods during the 1900s:

In the late 1920s Chen Fake and his nephew broke with Chen family tradition and began openly teaching Chen style - providing public classes in Beijing for many years. Chen Fake's influence was so great that a powerful Beijing Chen style tradition survived his death; it was centred around his "New Frame" variant of Chen Village "Old Frame." His legacy spread throughout China by the efforts of his senior students .

At this time mention must also be made of the first in-depth book ever written on Chen style. It was written by a 16th generation family member Chen Xin 陳鑫 called Taijiquan Illustrated 太極拳圖說 and proved very popular but was not actually published until 1932, well after Chen Xin's death.

A second significant "promotional wave" in Western countries began in the 1980s. It can be traced to changes in Chinese foreign policy and the migration of Chinese Chen stylists around the world. On a more organised level mention must be made of Chen Village's international "roaming ambassadors" known as the "Four Buddha Warrior Attendants." These specially trained sons of Chen Village are Chen Xiao Wang , Chen Zhenglei, Wang Xian and Zhu Tiancai. They are extremely well known internationally on account of their many years of relentless global workshops and talks.

Other well known 19th generation Chen teachers active in China or overseas include: Chen Yu 陈瑜, Li Enjiu李恩久, Zhang Xuexin张学信, Zhang Zhijun张志俊. Growing in more recent popularity are Chen Zhonghua陈中华, Chen Xiaoxing陈小星, Chen Xiang陈项.

Chen Peishan and Chen Peiju have been influential in promoting the less well known Chen Village Small Frame tradition . They continue to travel and teach Small Frame Chen taijiquan around the world.

Chen style schools with links back to Chen Village and Beijing have blossomed rapidly in Western countries in the last twenty years - offering a significantly different alternative to Yang family style . Such countries with strong links back to Chen Village include USA, Canada, Britain, Australia, New Zealand, Germany, Italy, Czech Republic, Japan, Singapore and Malaysia.

Chen forms

Chen Wangting's Corpus of Seven Routines

Chen Wangting is generally credited with codifying less structured practices of his family's art into a corpus of seven training forms/routines. In addition to these "open fist" sets there was also practise of weapon forms and a two person combat "form" called tui shou .

Big frame/small frame split

Around the time of the 14/15th generation Chen Village practice appears to have differentiated into two related but distinct practice traditions which are today known as big frame and small frame. The various practise routines embodied in big/small frame traditions modified and assimilated Chen Wangting's seven set corpus and the original practise routines are now said to have been lost.

There are conflicting claims about which of these two traditions came first. Western theories and most of the famous masters from Chen Village tend to favor the view that big frame tradition came first . There is a minority view from outside of Chen Village that tend to favor the reverse view.

There are also conflicting stories about the reason for the differentiation into these two traditions. Zhu Tian Cai comments that small frame tradition routines tended to be practiced by "retired" Chen villagers . It seems this was because the more demanding leaping, stomping, low frame, and intensive Fa jing of the advanced big frame tradition routines have been eliminated and the retained movements emphasize the training of the soft internal skills. Keep in mind that this is only a tendency and a master of the principles may use them to add fa jing, leaping, stomping, and low frame back to the small tradition at will. Just as a master of the large frame can perform the set small, large, smoothly, with fa jing in every movement, low, middle, or high. The traditions are only significantly different because the elder practitioners tend to focus on longevity and may develop injuries if they practice in the same manner as the younger practitioners.

Other authors, however, say that "big" does not simply mean large exaggerated outer movements and nor does "small" simply mean confined/close outer movements. They argue that in small frame both large and small motions are used - with the smaller motions considered to be more advanced. It is also useful to frame the discussion in terms of human physiology. The large and small frame traditions have similar training methods and are training the same tai chi principles it is only the external presentation that confuses beginners.

In the book "Chen Style: The Source of Taijiquan" the explanation is given that both the large and small frames were devoped at the same time, by two related masters, as distillations and simplifications of the existing routines.

Keep in mind throughout this discussion that no literature of Chen style before 1932 appears to mention anything about New, old, big or small styles . As with so much of Tai Chi history complete comprehension and certainty is hard to find.

Big frame tradition

Chen family traditions were kept secret from the public until around 1928 when the big frame routines were taught openly for the first time. This was started in Beijing by Chen Fake's nephew and then by the legendary Chen Fake himself.

Big frame encompasses the classic "old frame" routines, one & two, which are very well known today.
It also includes the more recent "new frame" routines, one & two, which evolved from the classic Old Way/Frame routines thanks to the work of Chen Fake in Beijing in his later years .

Xin yi hun yuan tai chi is an offshoot of the new frame tradition and blends in material from Feng Zhiqiang's Xing Yi]] background.

Lao jia – old frame 老架

The Chen lao jia consists of two forms and It was taught privately in Chen Village from the time of Chen ChangXing - the 14th generation creator of these routines. These were the very first Chen tai chi routines to be publicly revealed. This happened in Beijing from 1928 onwards - being taught by Chen Fake and his nephew.

Yi lu at the beginner level is mostly done slowly with large motions interrupted by occasional expressions of fast power that comprise less than 20% of the movements, with the overall purpose of teaching the body to move correctly. At the intermediate level it is practiced in very low stances with an exploration of clear directional separation in power changes and in speed tempo. The movements become smaller and the changes in directional force become more subtle. At the advanced level the leg strength built at the previous level allows full relaxation and the potential for Fajing in every movement.

The second empty hand form, "er lu" or "cannon fist" is done faster and is used to add more advanced martial techniques such as advanced sweeping and more advanced fajing methods. Both forms also teach various martial techniques.

Xin jia – new frame 新架

This style was first seen practiced by Chen Fake in his later years and many regard him as the author of the style. Credit for actual public teaching/spread of these two new routines probably goes to his senior students .

When Chen Zhaokui returned to Chen Village to train today's generation of Masters he taught Chen Fake's, unknown adaptation of old frame. Zhu Tian Cai recalls, as a young man at the time, they all started calling it "xin jia" because it was adapted from classic old frame.

The main difference from old frame is that the movements are smaller and more obvious torso twisting silk reeling and twining of the arms/wrists is employed. This form tends to emphasise manipulation, seizing and grappling rather than striking techniques.

Zhu Tian Cai has commented that the xinjia emphasises the silk reeling movements to help beginners more easily learn the internal principles in form and to make application more obvious in relation to the Old big frame forms.

In Chen Village xin jia is traditionally learned only after lao jia. Like lao jia, xin jia consists of two routines, yi lu and er lu . The new frame cannon fist is generally performed faster than the other empty hand forms, at the standardized speed its 72 movements finish in under 4 minutes. !

Small Frame tradition 小架

This style was until recently not publicly known outside of Chen Village. DVD material has been made available in more recent times though authentic, public teaching is still hard to find. The reasons for this may be more to do with the nature of small frame tradition itself rather than any particular motivation of secrecy .

Although it recently had the term "small frame" attached to it "xiao jia" was previously known as "xin jia" . Apparently the name change occurred to differentiate it from the new routines that Chen Fake created in the 1950s which then became called "Xin Jia" .

Even today some people confuse Chen Fake's altered routines with small frame tradition and believe he revealed the secret teaching of small frame tradition as well.

Zhu Tian Cai comments that small frame tradition routines also used to be practiced by "retired" Chen villagers. It seems this was because the more demanding leaping, stomping, low frame, and intensive fa jing of the advanced big frame tradition routines have been eliminated and the retained movements emphasize use of the more subtle internal skills, which is a more appropriate regimen for the bodies of elder practitioners. He also observed that young children used to imitate Small Frame routines by watching older villagers practicing and this was encouraged for health reasons.

Xiao Jia is known mainly for its emphasis on internal movements, this being the main reason that people refer to it as "small frame"; all "silk-reeling" action is within the body, the limbs are the last place the motion occurs.

Closely related Chen forms

Zhaobao Taijiquan

Zhaobao Taijiquan is gaining increasing recognition as minor Chen style tradition in its own right within the Western tai chi community. While Zhaobao and Chen style are obviously related it is independent of present Chen family practice and lineage. It was said to have been created by a Small Frame practitioner Chen Qingping.

Chen Shi Xinyi Hun Yuan Taijiquan

Xinyi Hun Yuan tai chi chuan is much like traditional Chen style Xin Jia with an influence from Shanxi Hsing Yi. It was created by one of Chen Fake's senior students Feng Zhiqiang 馮志強. Specifically, the style synthesizes a large amount of Xin Yi . Outwardly it appears similar to traditional Old Frame Chen forms.

"Hun Yuan" refers to the strong emphasis on circular, "orbital" or spiraling internal principles which are at the heart of this evolved Chen tradition. While such principles already exist in mainstream Chen style the Hun Yuan tradition develops the theme further. Its teaching system pays attention to spiraling techniques in both body and limbs and how they may be harmoniously coordinated together.

Modern Chen forms

Similar to other family styles of tai chi, Chen style has had its frame adapted by competitors to fit within the framework of competition. A prominent example is the 56 Chen Competition form and to a lesser extent the 48/42 Combined Competition form .

In the last ten years or so even respected grandmasters of traditional styles have begun to accommodate this contemporary trend towards shortened forms that take less time to learn and perform. Beginners in large cities don't always have the time, space or the concentration needed to immediately start learning old frame . This proves all the more true at workshops given by visiting grandmasters. Consequently shortened versions of the traditional forms have been developed even by the "Four Buddhas." Beginners can choose from postures of 38 , 19 , 18 and 13 . There is even a 4 step routine useful for confined spaces .

A comprehensive list of forms, old and new, can be found

Weapon forms

Chen Tai Chi has several unique weapon forms.
* the 49 posture Straight Sword form
* the 13 posture Broadsword form
* Spear solo and partner forms
* 3, 8, and 13 posture Gun forms
* 30 posture Halberd form
* several double weapons forms utilizing the above-mentioned items

Additional training

Before teaching the forms, the instructor may have the students do stance training such as zhan zhuang and various qigong routines such as silk reeling exercises. These stance training and qigong exercises are done to condition and strengthen the body to have the correct frame and alignment so as to be able to develop silk reeling energy before moving to the more complicated movements that are in the forms.

Other methods of training for Chen style using training aids including pole/spear shaking exercises, which teach a practitioner how to extend their silk reeling and fa jing skill into a weapon.

In addition to the solo exercises listed above, there are partner exercises known as pushing hands, designed to help students maintain the correct body structure when faced with resistance. There are five traditional phases of push hands in Chen Village that students may learn before they can move on to a more free-style push hands structure which begins to resemble sparring.

Martial application

In contrast to some tai chi styles and teachers, the vast majority of Chen stylists believe that tai chi is first and foremost a martial art; that a study of the self-defense aspect of tai chi is the best test of a student's skill and knowledge of the tai chi principles that provide health benefit. In compliance with this principle, all Chen forms retain some degree of overt fa jing expression.

In martial application, Chen style tai chi uses a wide variety of techniques applied with all the extremities that revolve around the use of the of tai chi chuan to manifest either ''kai'' or ''he'' through the physical postures of Chen forms. The particulars of exterior technique may vary between teachers and forms. In common with all neijia, Chen style aims to develop for the execution of martial techniques, but focuses especially on cultivating fa jing skill. Chen family member Chen Zhenglei has commented that between the new and old frame traditions there are 105 basic fajin methods and 72 basic Qinna methods present in the forms.

Chen style in popular culture

* Ren Guang Yi created a shortened version of Chen style cannon fist for Hugh Jackman to perform in the Darren Aronofsky film, The Fountain.

* In the video game, Shenmue II, the main character Ryo Hazuki meets a Chen Style Master, Jianmin Tao, in a park in Hong Kong and spars with him throughout the game.

67 movements Combined Tai-Chi Chuan form

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The ''67 movements Combined Tai-Chi Chuan form'' was created in the 1950’s during a series of meetings of several contemporary Tai Chi masters with the goal to create standardized forms for China. It was homologated by the Chinese National Athletic Commission in 1958 and contains characteristics of several styles like , , , and Fu . These styles were blended into a combined form, expressing harmony and power all the while holding its own amongst the modern Tai Chi styles in that does not follow one exclusive family style “bloodline”. The form takes 20 minutes at a comfortably slow speed and can also be practiced in 6 minutes only at a more advanced level.

In 1975, Sifu of the Chinese Wushu Research Institute became the first to publish a detailed text in Chinese. In 1979 it was published in English as Combined Tai-Chi Chuan .

In western countries the modern ''67 movement form'' was pushed in the forefront by the growing interest in the martial application of Tai Chi as opposed to the New Age declinations. Master is the mother of the martial arts movie star , whose career might have had an influence on the expansion of Combined Tai Chi Chuan in this sense. This modern long form is said by its adherents to be a more complete basis for combat training than modern short demonstration forms.

Postures in the Combined Tai Chi form

::Wushi
Part 1:
#Tai Chi Beginning
#Grasps the birds tail
#Single whip
#Wave hands like clouds
#Brush knee and push
#Hands strum the lute
#Back fist chop right
#Step up, deflect, intercept and punch
#Grasps the birds tail left
Part 2:
#Turn with slanted flying right
#Left turn and fist under the elbow
#Step back and repulse monkey 2 parts
#Brush knee and push with a "following" step
#Raise hands
#White crane spreads its wings
#Brush knee and push left
#Needle to the sea bottom
#Fan though the back
#White snake darts out its tongue
#Step up, deflect, intercept, and punch - right
#Step forward and press
Part 3:
#Slide down -- left
#Golden cock stands on one leg 2 parts
#Foot separation -- right
#Foot separation -- left
#Brush knee and hammer down
#Red Fist
#Small capture
#Moving as if shutting a door
Part 4:
#Single whip -- right
#Wave hands like clouds -- right
#High pat the horse -- left
#Stretching heel kick -- left
#Strike ears with fists -- left
#Stretching heel kick -- right
#Strike ears with fists -- right
#Fast stretching heel kick -- left
#Turn body, stretching side kick
#Step forward and punch down
Part 5:
#Pivot over, jumping double kick
#Taming the tiger -- left
#Taming the tiger -- right
#Parting the wild horse's mane
#Fair lady works at shuttles
#Pressing palm with point step
#Thrusting palm – left
Part 6:
#Turn around with a cross kick
#Brush knee and push -- left
#Brush knee with a groin punch
#Left upward chop, right snapping punch
#Step forward and press -- right
#Retreat and press -- left
#Turn right and punch from below
#Left brush knee and lift with the palm
#Retreat and grasp the birds tail – left
Part 7:
#Single whip -- left
#Slide down -- left
#Step forward with a 'seven stars' punch
#Retreat to ride the tiger
#Double lotus sweeping kick
#Draw the bow and shoot the tiger
#Back fist chop -- left
#Retreat and high pat the horse
#Retreat, deflect, intercept, and punch
#Moving as if shutting a door
#Crossing hands
#Conclusion

Chen (Old Frame, First Routine, Lao Jia Yi Lu)

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Taijiquan solo forms

The different slow motion solo form training sequences of Taijiquan are the best known manifestation of Taiji for the general public. The forms are usually performed slowly by beginners and are designed to promote concentration, condition the body and acquaint students with the inventory of motion techniques for more advanced styles of martial arts training. There are also solo weapons forms, as well as much shorter and repetitive sequences to train power generation leverages. The postures of the ''Lao Jia Yi Lu'' listed below is the "old frame" of the style with focus on silk reeling .

# Begin Taiji
# Buddha's Warrior Attendant Pounds Mortar
# Lazily Tying Coat
# Six Sealing and Four Closing
# Single Whip
# Buddha's Warrior Attendant Pounds Mortar
# White Crane Spreads Wings
# Walking Obliquely
# Brushing Knees
# Stepping Forward Three Steps
# Walking Obliquely
# Brushing Knees
# Stepping Three Steps
# Hidden Thrust Punch
# Buddha's Warrior Attendant Pounds Mortar
# Striking Down by Twisting Body Obliquely
# Green Dragon Emerges from Water
# Double Pushing Hands
# Striking with Fist Under Elbow
# Stepping Back and Wrapping Upper Arms
# White Crane Spreads Wings
# Walking Obliquely
# Flashing Turn to Back
# Hidden Thrust Punch
# Six Sealing and Four Closing
# Single Whip
# Cloud Hands
# High Patting on Horse
# Brushing Right Foot
# Brushing Left Foot
# Kicking With the Left Heel and Following
# Stepping Forward Three Steps
# Pounding the Ground
# Double Jump Kick
# Protect-the-Heart Fist
# Tornado Foot
# Kicking with the Right Heel and Following
# Hidden Thrust Punch
# Small Capturing and Hitting
# Embracing Head and Pushing Mountain
# Six Sealing and Four Closing
# Single Whip
# Forward Move
# Backward Move
# Parting the Wild Horse's Mane
# Six Sealing and Four Closing
# Single Whip
# Fair Maiden Works Shuttles
# Lazily Tying Coat
# Six Sealing and Four Closing
# Single Whip
# Cloud Hands
# Double White Lotus
# Shake Foot and Fall into Split
# Golden Rooster Stands on One Leg
# Stepping Back and Wrapping Upper Arms
# White Crane Spreads Wings
# Walking Obliquely
# Flashing Turn to Back
# Hidden Thrust Punch and Whirling Upper Arm
# Six Sealing and Four Closing
# Single Whip
# Cloud Hands
# High Patting on Horse
# Crossed Feet
# Punch the Groin
# Ape Presents Fruit
# Single Whip
# Sparrow Dashes Earth Dragon
# Stepping Forward to Form the Seven Stars
# Stepping Back to Ride the Tiger
# Turn Back and Wave Double Lotus
# Cannon Right in Front
# Buddha's Warrior Attendant Pounds Mortar
# Close Taiji Form

42-form tai chi chuan

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The 42 Form T'ai Chi Ch'uan is the standard competition form which combines movements drawn from the , , , and styles of traditional Tai Chi Chuan . It was created in 1989 by the Chinese Sports Committee to standardize the many different competition forms.

At the 11th Asian Games of 1990, Wushu was included as an item for competition for the first time with the 42 Form being chosen to represent T'ai Chi.

42-form tai chi chuan

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24-form tai chi chuan

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The 24 posture Simplified Form of tai chi chuan, sometimes called the Beijing form for its place of origin, is a short version of composed of twenty-four unique movements.

History

The form was the result of an effort by the Chinese Sports Committee which, in 1956, brought together four tai chi teachers to create a simplified form of tai chi as exercise for the masses. The creators truncated the traditional hand form to 24 postures; taking between four and eight minutes to perform and to give the beginner an introduction to the essential elements of tai chi chuan, yet retain the traditional flavor of Yang style's longer hand forms . Henceforth this form was avidly promoted by the People's Republic of China for general exercise, and was also taught to internees in Communist "re-education" camps. Due to this official promotion, the twenty-four form is most likely the tai chi form with the most practitioners in China and the world over .

Movements

Variations

5 Section Taijiquan: includes 5 routines, each modelled on the choreography of the Beijing 24 Taijiquan form.

108-form Wu family tai chi chuan

2008-09-22T18:11:00.000-07:00

Differences between schools

The following list is an English translation from Chinese of the empty hand or fist form list published in Wu Kung-tsao's ''Wu Family T'ai Chi Ch'uan''. Different schools will use different translations. Notably, the family's Shanghai branch has a different enumeration scheme, numbering the same "long form" routine sequence with 89 posture names instead of 108. Almost all of the individual posture names are the same, however.

Wu style form list

The postures of the family style of T'ai Chi Ch'uan are listed below. For each unique form name there is a literal translation, the Hong Kong school's translation and then the Shanghai school's translation in italics where they differ, followed by the original Chinese characters:

1. Begin T'ai Chi Form - The Beginning of T'ai Chi - ''The Preparation Form''

2. Raise Hands Above Posture - Raise Hands - ''Raise Hand and Step Up''

3. Hand Plays - Play Guitar - ''Hand Strums the Lute'' 手]

4. Grasp Bird's Tail

5. Single Whip

6. Slant Flying Posture - ''Flying Oblique'' 勢

7. Raise Hands Above Posture 提手上勢

8. Spreads Wings - ''White Stork Flaps its Wings''

9. Brush Knee Push Step Left and Right 4 Times - ''Brush Knee Twist Step''

10. Hand Plays P'i P'a 手揮琵琶

11. Step Forward, Deflect, Parry, - ''Step Up Diverting and Blocking Fist'' 步

12. As If Seemingly Sealed Shut - ''As if Closing Up'' ]

13. Carry Tiger to the Mountain - ''Tiger and Leopard Spring to the Mountain''

14. Cross Hands 手

15. Slant Brush Knee Push Step 斜摟膝拗步

16. Turn Body Brush Knee Push Step 摟膝拗步

17. Grasp Bird's Tail 攬雀尾

18. Single Whip 單鞭

19. Fist Under Punch 捶

20. Fall to Repulse Monkey Left and Right 3 Times 左右度

21. Slant Flying Posture 斜飛勢

22. Raise Hands Above Posture 提手上勢

23. White Crane Spreads Wings 白鶴亮翅

24. Brush Knee Push Step 摟膝拗步

25. Sea Bottom Needle - Needle at Sea Bottom - ''Needle at the Bottom of the Sea''

26. Fan Through Back - Play Arms like a Fan

27. Rotate Body Away Body Punch - Strike Fist to Back - ''Parry and Punch'' 身身捶

28. Step Back, Deflect, Parry, Punch - ''Move Step Diverting and Blocking Punch'' 步搬攔捶

29. Step Up Grasp Bird's Tail 上步攬雀尾

30. Single Whip 單鞭

31. Cloud Hands 手

32. Single Whip 單鞭

33. Left High Pat Horse 左

34. Right Separate Foot Kick - ''Right Parting Leg'' 右

35. Right High Pat Horse 右高探馬

36. Left Separate Foot Kick - ''Left Parting Leg'' 左分腳

37. Turn Body Kick with Heel - ''Turn Body Pedalling Foot'' 轉身

38. Brush Knee Push Step Twice 摟膝拗步度

39. Step Forward Punch Down 進步捶

40. Rotate Body Away Body Punch 翻身撇身捶

41. High Pat Horse 高探馬

42. Right Separate Hands 右分手

43. First Raise Foot Kick 腳

44. Step Back Seven Stars 退步

45. Step Back Hit Tiger Posture - ''Retreat Step Beat the Tiger'' 退步虎勢

46. Second Raise Foot Kick 二起腳

47. Double Peaks Pierce Ears - ''Strike the Ears with Double Fists''

48. Lean Back Kick with Toe - ''Open Body and Kick'' 身腿

49. Turn Body Kick with Heel 轉身蹬腿

50. High Pat Horse 高探馬

51. Step Forward, Deflect, Parry, Punch 進步搬攔捶

52. As If Seemingly Sealed Shut 如封似閉

53. Carry Tiger to the Mountain 抱虎歸山

54. Cross Hands 十字手

55. Slant Brush Knee Push Step 斜摟膝拗步

56. Turn Body Brush Knee Push Step 轉身摟膝拗步

57. Grasp Bird's Tail 攬雀尾

58. Single Whip 單鞭

59. Hand Plays P'i P'a 手揮琵琶

60. Wild Horse Separate Mane - ''Parting the Wild Horse's Mane'' 馬分

61. Hand Plays P'i P'a 手揮琵琶

62. Wild Horse Separate Mane 3 Times 野馬分鬃三度

63. Hand Plays P'i P'a 手揮琵琶

64. Wild Horse Separate Mane 野馬分鬃

65. Jade Lady Works Shuttles Twice - ''Jade Girl Works at the Shuttle'' 二度

66. Hand Plays P'i P'a 手揮琵琶

67. Wild Horse Separate Mane 野馬分鬃

68. Jade Lady Works Shuttles Twice - ''Jade Girl Works at the Shuttle'' 玉女穿梭二度

69. Grasp Bird's Tail 攬雀尾

70. Single Whip 單鞭

71. Cloud Hands 雲手

72. Single Whip 單鞭

73. Downward Posture 勢

74. Left Golden on One Leg - ''Golden Cockerel Standing on One Leg'' 左

75. Right Golden Rooster on One Leg 右金雞獨立

76. Fall to Repulse Monkey Left and Right 3 Times 倒攆猴左右三度

77. Cross Slant Flying Posture 斜飛勢

78. Raise Hands Above Posture 提手上勢

79. White Crane Spreads Wings 白鶴亮翅

80. Brush Knee Push Step 摟膝拗步

81. Sea Bottom Needle 海底針

82. Fan Through Back 扇通背

83. Rotate Body Away Body Punch 翻身撇身捶

84. Step Up, Deflect, Parry, Punch 上步搬攔捶

85. Step Up Grasp Bird's Tail 上步攬雀尾

86. Single Whip 單鞭

87. Cloud Hands 雲手

88. Single Whip 單鞭

89. High Pat Horse 高探馬

90. Slap Face Palm - ''Palm Goes to Meet the Face''

91. Rotate Body Single Swing - ''Turn Body Cross Swing Lotus'' 翻身單[[wiktionary:擺|�br />
92. Brush Knee Push Step 摟膝拗步

93. Step Up Finger Stop Punch - ''Pointing to the Crotch Punch'' 上步捶

94. Step Up Grasp Bird's Tail 上步攬雀尾

95. Single Whip 單鞭

96. Downward Posture 下勢

97. Step Up Seven Stars 上步七星

98. Step Back Ride Tiger 退步虎

99. Turn Body Slap Face Palm - ''Turn Body Hit Face Palm'' 轉身撲面掌

100. Rotate Body Double Swing Lotus - ''Turn Body Double Swing Lotus'' 翻身雙擺蓮

101. Bend Shoot Tiger - ''Curve Bow Shoot Tiger'' 虎

102. High Pat Horse 高探馬

103. Slap Face Palm 撲面掌

104. Rotate Body Away Body Punch 翻身撇身捶

105. Step Up High Pat Horse 上步高探馬

106. Step Up Grasp Bird's Tail 上步攬雀尾

107. Single Whip 單鞭

108. Conclusion of T'ai Chi - ''Closing T'ai Chi'' 太極

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Moy Lin-shin