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SIMPLE INTRODUCTION TO TAIJI BOXING

by Xu Zhiyi

[published Sep, 1927]

[translation by Paul Brennan, Aug, 2014]

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Simple Introduction to Taiji Boxing

- calligraphy by Zhuang Yunkuan

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FOREWORD BY GU XIEGUANG OF KUAIJI

Great is Taiji Boxing, tracing back to Wudang.

It can defeat movement with stillness, hardness with softness.

It was created by Zhang Sanfeng, then clarified by Wang Zongyue and Yang Luchan.

The internal arts excel at timing and position, and are peerless for cultivating health.

Once you know the way a river is flowing, there is no need to fight against it.

My friend Xu Zhiyi is a brilliant talent of our nation.

Even though his studies are not yet complete, he has produced an outstanding book.

He has contemplated the concepts endlessly and drilled the techniques over and over.

He is constantly improving himself and sincerely retains what he learns.

He began his training in the north, then earnestly progressed in the south.

A wise man tries to appear ignorant, but his deeper knowledge is hard to hide.

In writing a book to enlighten students, Xu gives them the steps that lead to mastery.

He is quick as an arrow leaving a bow, sharp as a dagger drawn from its sheath.

He is a tireless teacher, fully committed.

Its beauty beyond compare, this martial art will spread throughout the nation.

Its subtleties achieve perfection, for it has the naturalness of Laozi and Zhuangzi.

When weaklings learn of it, they will be empowered. So close to the Way, this art will flourish.

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Wu Jianquan

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The author, Xu Zhiyi

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MAJOR POSTURES IN TAIJI BOXING SOLO PRACTICE

SITTING:

CROSSED STANCE:

RAISED LEG:

STOOPING:

ONE-LEGGED STANCE:

DIAGONAL FLYING POSTURE:

CROUCHING:

SITTING TIGER POSTURE:

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MAJOR POSTURES IN TAIJI BOXING PARTNER PRACTICE

WARDING OFF:

ROLLING BACK:

PRESSING:

PUSHING:

PLUCKING:

RENDING:

ELBOWING:

BUMPING:

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AUTHORS PREFACE

For years I practiced external boxing arts, but I found that it was not right for my physique, so

I instead learned the Taiji boxing art from Wu Jianquan, which I have now practiced for ten

years. With the help of fellow students such as Lu Yinfu and Zhao Shoucun, with whom I

have studied daily, I have obtained no small benefit.

This spring, Lu sent me a letter from Wuzhong [in Jiangsu], describing in great detail the

popularity of Taiji Boxing in the south and requesting that I explain what I have gained

through experience for the benefit of beginners. I have long been a devoted advocate of

physical education, but due to my crude level of understanding and my haste to complete the

task, this book is sure to be inadequate in many ways and I fear it will not live up to the

expectations of my venerable colleagues.

sincerely written by Xu Zhiyi, early summer, 1927

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[GENERAL COMMENTS]

- The purpose of this book is popularization, therefore it conveys concepts only in language

that is easy to understand, and this is why it is called a simple introduction.

- Although this book is devoted to explaining theory, it does not engage in any obscure and

impractical discussion.

- For photographs of Taiji Boxing postures or commentary to the Taiji Classics,

there are already many volumes in bookshops. This book therefore does not seek to imitate

them.

- Taiji Boxing postures are different from those of external boxing arts, a point which is

crucial to understand. As the eight techniques within pushing hands must also be understood

by practitioners, this text includes some photos of them for demonstration.

- Since my knowledge is limited, errors are inevitable. If the nations experts would give me corrections, I would feel blessed indeed.

(also by the author)

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PREFACE BY HU WEIDE

Now that Xu Zhiyi has completed this book and is about to send it to the publishers, he has

asked me, as I have also practiced Taiji Boxing, to find some words to introduce it. So I will

steal a line I have read in the Book of Poems [poem 198]: They are without fists, without courage. And another from the Books of Later Han, Bio of Huang Fusong [actually from Romance of the Later Han, chapter 61]: Even a boy can devote himself to boxing. Such quotes as these were the harbingers of the boxing arts. In the Bibliographical Records of the

Books of Han, there is listed six chapters on barehand fighting. From traditions of military skill, we have inherited the boxing arts, but unfortunately there is a lack of books on the

subject. In recent times, foreigners have written a huge number of physical education books

concerning boxing studies, and our own nations boxing arts should not go without analysis. Xu Zhiyi has practiced Taiji Boxing for more than ten years, his skill is very deep, and he

has amassed a great deal of knowledge with which he has personally taught many students.

Apart from texts such as Wang Zongyues Taiji Boxing Classic and Huang Baijias Boxing Methods of the Internal School, there are very few authors, and so it is not easy for students to

delve into it. Because of this, Xu has very generously decided to make a book to provide for

students. Students who have already received personal instruction from noteworthy teachers

can then also use the book as a teacher and thus get twice the result for half the effort, which I

can attest to. That being the case, Xus benefitting of students in this way could never be considered something insignificant.

Xu is a top student of Wu Jianquan. Among the students in the north, there is maybe not even one who can be considered his superior. [Mengzi, chapter 3a, talking of the scholar Chen Liang]. Now that he has come to the south, I know he will be great here as well. I am

therefore delighted to write this preface.

written by Hu Weide of Wuxing, second month of summer, 1927

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PREFACE BY ZHOU YICHUN

Taiji Boxing is one of our nations ancient boxing arts. My colleague Xu Zhiyi has devoted himself to it for already ten years. This summer, he has put his studies into this book of

instruction for students, a very worthy undertaking. When the manuscript was completed, he

invited me to write a preface. I have not yet had guidance in this art, so how can I dare to say

anything about it?

Watching friends who practice it often, I see that in every movement, there is a pure

naturalness, supple and effortless, intention in harmony with the changes of the postures. By

maintaining mental focus in it over a long period of time, no matter how weak and feeble

ones body, everyone gains health and strength. It cultivates calm and restrains the temperament. It prevents illness and prolongs life. Obviously it can do anything.

I am sure this book will become popular, that everyone will grab a copy, and that it will be

an aid to physical education experts everywhere.

written by Zhou Yichun, June, 1927

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PREFACE BY HUANG ZHONGHUI

Taiji Boxing is a skill that approaches the Way. It uses stillness to defeat movement, softness

to defeat hardness. With neither showing off nor loss of temper, it is dignified, elegant, and

effortless. And when an opponent is defeated by it, he has no comprehension of what was

done.

Furthermore, if this art is obtained by the old and weak, or by women and children, it can

also maintain health as well as defend the self, instead of being an additional harmful habit. It

should be practiced daily and thereby it will swiftly push forth to become the best of our

national skills. Long ago at the battle of Hongyang, thirty-nine of our people committed

suicide in one day, for no other reason than that they could not bear to be executed in

disgrace. Those with no fight or courage in themselves are unable to endure through troubled

times. Truly this is a great pity.

Forty years ago [1887], there was a close friendship between experts in the north such as

Single Saber Wang Wu [Big Saber Wang Wu Wang Zhengyi], Big Saber Li San [Double Saber Li Fenggang], and Li Ruidong, a master of the soft arts whose skill was extremely

refined. Our nations martial arts styles are rather numerous, but Taiji is both the most unassuming and the most authentic, in the same way that clothes and food can sustain you

throughout your life but cannot be done without for even a short time.

Xu Zhiyi obtained his art from a famous teacher, but was then able to go beyond

preconceived notions and draw from modern sciences, such as mechanics, geometry,

psychology, and so on. Studying them, he found patterns. Contemplating them, he over time

amassed a thorough knowledge, and he has now produced a number of writings. Giving

instruction also to the weak and the women of our nation, he is unrivaled among his hundreds

of fellow students. As my comrade seeks to spread this material widely in order to rescue the

meek and weak of our nation, I am very pleased to write a preface for him.

written by Huang Zhonghui, June 14, 1927

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PREFACE BY LU HONGJI

Once I had been taught to read in my boyhood, I took special delight in martial arts novels. I

constantly read the tales of the swordswomen Hong Xian and Nie the Hermitess, which

thrilled me till I was enraptured. When I heard my elders talking about experts like Gan

Fengchi and Bai Taiguan, I was so captivated I wanted to pack up some provisions and go out

into the world hoping to meet such people. Unfortunately I was a weak-bodied boy and the

mood in my hometown of Wuzhong was that literary studies were superior to martial studies.

Unable to find a good teacher to instruct me, I almost gave up in disappointment.

But before I had lost all hope, a little time had passed and Western influence had gradually

spread to the East. Various schools were now competitively pushing physical education,

offering many extra courses of exercise for young students, such as soccer and other sports.

Schools also seasonally held games to promote it further. By that time I was old enough to

attend our prefectures school of commerce, and all my comrades and I formed a sports study society on the south side of the city, where we each day practiced all sorts of skills.

In the last year of the reign of Emperor Guangxu [1908], I was studying abroad in Japan,

examining their nations famous historical relics, and I found that their countrymen take physical education seriously. Within the schools, Japanese classmates practice judo, kendo,

and kyudo, and strive to their utmost in these studies. I then knew that if that nations flourishing physical education came west to us, then beyond methods of training the body, we

would also deeply grasp the essence of our Eastern martial arts.

I often contemplated how noble and mighty our nations martial arts are, how they would be peerless throughout the world if not for the physical education experts of Europe and

America, who although they do not emphasize bold courage, they cultivate and consider both

the psychological and physiological aspects. They also think our nation to be inferior and do

not see how there could be anyone here who can use scientific methods and have new ways of

thinking. The study of our martial arts principles and theories will grow and become glorious,

and a new era will begin for our nations physical education community. This has unexpectedly brought forth my colleague, Xu Zhiyi.

Xu is from Zhejiang and grew up in Shanghai, going to Chengzhong Elementary School.

Excelling in sports, he went from high school into a technical college where his classmates all

encouraged him to be an athletic contestant. The college won every soccer game against other

schools, and because of this, his fame grew as an outstanding athlete. Every time the schools

met for sports events high jump, shot put, running, and so forth Xu never failed to get the prize. After graduating from Beijing Legal University, he went to take a position in a Jiangsu

accounting firm, where we worked together. At that time, the staff of the railway

administration often held soccer games, inviting Xu to participate, and his playing was always

extraordinarily agile.

After 1916, he accepted a transfer to the Academy of Accounting, where we were again

colleagues, and in our spare time we always talked about martial arts. Then a martial arts

instructor recommended by a friend came from Beijing to live in my house. He taught us

various boxing techniques, as well as saber and staff arts. Xu keenly progressed ahead of the

rest of us, while I found it harder to progress due to the deprived education of my youth. I

considered the age I had already reached, and I feared that no matter how much heart I put

into the training, I would never for the rest of my life be able to reach a very deep level at it.

Because of this, I decided to switch to practicing internal boxing arts, which conform to the

aims of cultivating health.

Fortunately, the Physical Education Research Society had been established within the city,

and the eminent Taiji Boxing authority Wu Jianquan was engaged to give a seminar.

Xu and I went together to seek him out and present him with gifts to become his pupils. Wu

looked upon us with respectful sincerity and has carefully instructed us for the last ten years.

We have arduously trained, never taking a break regardless of winter cold or summer heat.

Xu, his most brilliant disciple, and I return each day to further verify what we have learned

through our training. Xu, being extraordinarily gifted, within three or four years had already

achieved the knack of it, and whenever he has a bout with someone, he always succeeds with

ease. I am too inferior even to be compared to him. Wus other students can rarely contend with him.

This year, because he is annoyed this art has not been spread throughout the world,

Xu has given his spare time to writing this Simple Introduction, presenting psychology,

physiology, and physics, making connections between body and mind, all accompanied by

evidence and written in language that is easy to understand, putting forth ideas with clarity.

By way of scientific methods and new ways of thinking, I think research of martial arts

principles and theories will gravitate toward the practice of this art. If students do not cherish

its secrets, they will not be able to demonstrate its traditional training methods to other people,

and therefore Xu has not composed this work in the impenetrably mysterious jargon

encountered within martial circles. Because beginners have difficulty knowing what direction

to go, he has been urged to get this booked published and distributed in order to provide for

those who may come to the art. When the manuscript was completed, Xu asked me to write a

preface, so I have sincerely made this introduction to inform all of our comrades everywhere.

written by Lu Hongji of Yinfu in the Xindou Apartments, during the full moon, June, 1927

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CONTENTS

Chapter One: Foreword

Chapter Two: A Brief Look at the Origin & Development of Taiji Boxing

Chapter Three: The Merits of Taiji Boxing

Chapter Four: Taiji Boxing in Relation to the Study of Psychology

Chapter Five: Taiji Boxing in Relation to the Study of Physiology

Chapter Six: Taiji Boxing in Relation to the Study of Mechanics

Chapter Seven: Taiji Boxings Practice Methods

Chapter Eight: Further Thoughts

Chapter Nine: Appendices

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SIMPLE INTRODUCTION TO TAIJI BOXING

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CHAPTER ONE: FOREWORD

Our nations boxing arts began a very long time ago. People in the past trained body and mind with the purpose of preventing illness and prolonging life. Their methods were generally

simple and easy to do, and everyone could learn them. Now that martial arts are fashionable

and have spread everywhere, people are with every posture contending to be more impressive

than each other, always taking the most difficult movements to be the most praiseworthy,

until gradually they have lost the real intention of physical education. Because new

generations like to do new things, they have naturally come up with new styles, with the result

that systems of boxing arts have become increasingly complex and exhibit a broader range of

abilities. Consequently, beginners have no idea which to choose. The weaker ones strive to do

what is too difficult and then sigh that they are doing twice the work for half the result. I

constantly find this to be regrettable.

Taiji Boxing is one of the internal boxing arts. Its methods are simple and easy, and all of

its postures are natural. Regardless of man or woman, young or old, all can practice it for their

whole life without harm. It is actually the ancient limbering arts that have given it all of its

martial skills, and because it operates entirely by way of mind and energy, it is never separate

from the cultivation arts. Such is not the case with external boxing arts, which are devoted to

winning through strength. When Taiji practitioners talk of the transformations of emptiness

and fullness, they are drawing from the principles in the Book of Changes, and when they talk

of the skill of using mind and energy, they are drawing from Mengzis discussion of cultivating ones energy [Mengzi, chapter 2b]. It conforms to the various rules of physiology and physics, and thus with modern scientific principles, one after another. For these several

reasons, can it not be said that the art is based in the Way?

I delight in martial arts. I began by practicing external styles and took great pleasure in

them, but ten years ago I began to focus more on training in the Taiji boxing art. I firmly

believe that every kind of boxing art, despite their distinct characteristics, has basically simple

methods and will produce great results. But for the purposes of spreading physical education,

it is this art that is the most suitable. Therefore, disregarding my low abilities and my

ignorance, I have compiled what I have gained through experience into this Simple

Introduction in order that those who have aspirations toward good health will know what to

ask for guidance in.

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CHAPTER TWO: A BRIEF LOOK AT THE ORIGIN & DEVELOPMENT OF TAIJI

BOXING

Although the various schools of boxing arts have different postures with specific names, the

major distinction is to categorize them into the two schools of internal and external. The

internal school emphasizes softness energy is inwardly concealed. The external school emphasizes hardness energy is outwardly revealed. The distinction between the two is precisely this. The external school is replete with styles of Shaolin, which has long been held

in esteem throughout the nation. The internal school comes from Zhang Sanfeng, although in

which era he lived is not reported consistently.

According to the Bio of Zhang Songxi from the Records of Ningbo Prefecture, Zhang

Sanfeng was a Wudang elixirist of the Song Dynasty. This much seems believable, but then it

says his boxing art was received through divine means, which rather strains credulity. After

Zhang, the authentic teaching was obtained during the reign of Kublai Khan, starting up again

with Wang Zongyue of Shanxi, who was famous for expressing the inherited theories of

Zhang Sanfeng, writing the Taiji Boxing Classic and the essay Understanding How to

Practice (both included below in Chapter Nine). These texts explain the principles exquisitely,

in language that is simple and concise. What has been passed down to us truly descends from

his explanations.

Huang Baijias Boxing Methods of the Internal School (also included below in Chapter Nine), says: Zhang Sanfeng was a Shaolin expert, but he turned the art on its head and thereby created the internal school. It appears the internal school came from the external school. Huang records boxing principles and the names of many techniques which would be

categorized as belonging to the external school, but then we read words such as these: Skill will only be achieved through practice. It is not necessary to seek for someone to copy, only

to respond to opponents with whatever works. It is noticeable how they conform to Wang Zongyues Taiji boxing theory. Usually it is the case in boxing arts that the training goes from the simple to the complex then back to the simple, but Taiji Boxing is entirely based in

emptiness and stillness, and so makes a constant distinction between generalities and details.

Going by Huang Baijias descriptions, it is the same kind of material that was passed down to Wang Zhengnan, whose art was surely descended from that of Zhang Songxi.

According to the Bio of Zhang Songxi (which is also included below in Chapter Nine),

Zhang had a fight with Shaolin monks. Examining the account, what Zhang was using was

clearly the Taiji skill. Also of note is that it records that Zhang at the age of seventy could still

chop barehanded through huge stones. This shows that Zhang was not winning only by way

of softness, but then it has been said that softness at its extreme will naturally manifest as

hardness [paraphrasing from How to Practice]. Consider Mengzis discussion of cultivating energy [Mengzi, chapter 2a] and this will cease to be an impenetrable concept. [Mengzi

describes his noble energy as having extreme hardness but is produced by allowing it to grow rather than forcing it.] Though it is unclear why Huangs Boxing Methods does not touch upon this. Although Wang Zongyues Understanding How to Practice mentions hardness of energy, it does not seem to specify it as distinct from stiffness. It is very

unfortunate that this similarity or difference cannot be fully verified.

Zhang Songzis lineage became the southern branch. The northern branch comes from Wang Zongyue teaching Jiang Fa of Henan. Jiang taught Chen Changxing of Huaiqing.

Chens top disciple, Yang Luchan, obtained the authentic teachings and brought them to Beijing. Beyond his own sons, Yang also taught Wan Ling, Ling Shan, Quan You, and many

others. Quan Yous son, Wu Jianquan, is who I myself have learned from. Xu Yusheng of Guyan described the branching styles in great detail in his book on Taiji Boxing postures

[1921], which you may consult. This volume on the other hand is of a more limited length and

only presents a general picture of these things.

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CHAPTER THREE: THE MERITS OF TAIJI BOXING

All boxing arts have their merits, their strengths and weaknesses, their focuses, their

inevitable prejudices, and their special characteristics. Those who nowadays like to discuss

which systems are good or bad end up praising the one they are already practicing. Though

they will probably not be very accurate in their assessment, they will nevertheless fight to the

very best of their ability. Although it is natural to be biased, the issue is actually that people

are not clear about the special characteristics of their own art.

Taiji Boxing uses emptiness and stillness as its main principle. Every movement is serious about softness and dismissive of hardness. Those who fall in love with the external

posture always get into trouble, for supreme achievement of this art is the cultivation of spirit.

Its fighting method is not a matter of winning through strength, and thereby other styles pale

by comparison. You now adequately know the special characteristics of this art. All of these

arts have their special characteristics, though none of them in the beginning will seem

different from any other.

The merits of this particular art are described below:

A. ITS HEALTH ASPECTS

1. It cultivates both body and mind.

In the practice of external boxing arts, the aim is to develop the body. They are imbued with a

strong sense that the health of the spirit depends on the health of the body.

In the practice of meditation, the aim is the cultivation of spirit. It is considered that when

the spirit is sufficiently strengthened, the body will be transformed.

Looking at them separately, it is apparent that each has its own truth. But looking at them

together, it becomes clear that each simply has its own emphasis. Damo long ago passed

down to us the Sinew Changing Classic and the Marrow Washing Classic, in which the

internal boxing arts happen to be emphasizing body first, then mind. All of this shows that the methods of building health actually value cultivating body and mind simultaneously. Once

you begin in Taiji Boxing, both body and mind are progressing together, therefore it cultivates

both. The details of this concept are to be found in How to Practice.

2. The movements are mild.

Although strenuous exercise will show fast results, it will also cause unbearable problems.

Every movement in Taiji Boxing should be soft, slow, compliant, and gentle. It noticeably

stretches out the muscles and joints, and invisibly regulates the energy and blood. This means

that while it cultivates the spirit, it also conforms entirely to the principles of physical

education.

3. The postures are smooth and harmonious.

The posture is upright and comfortable (from How to Practice) and the energetic movement is a matter of neither going too far nor not far enough (from the Classic). These are each important basic principles. Therefore every posture is completely natural, meaning that it is

smooth and harmonious. Strenuous boxing arts seek to be as risky and dramatic as possible,

entirely different.

4. Development is natural.

Every part of the human body develops, according to physiology, in a proper sequence.

Strenuous exercise does not conform to the proper physiological sequence and very easily

gives rise to bad habits. When practicing Taiji Boxing, if one part moves, every part moves, and if one part is still, every part is still (from How to Practice). There is no particular area of the body that has any extra stress upon it. Therefore it accords with physiological function,

being a beneficial practice rather than an obstructive abuse. The character of this art is to do

what is natural.

5. It is particularly effective at treating illness.

Boxing arts have the effect of treating illness, as everyone knows. However, strenuous

exercise consumes too much of ones bodily strength, which weaker people will not easily replenish. This is counterproductive. One of the principles of Taiji Boxing is to adapt to

physiological changes. It boosts energy and blood by focusing entirely on mildness, and so it

does not cause breathing or pulse to become the slightest bit irregular. Therefore even if you

have lung disease, you can practice it, and you will achieve extraordinary results. (Although at

the onset of an illness, you should of course convalesce.) As for other ways it can treat illness,

you will learn through personal experience.

6. It sculpts your temperament.

Everyones temperament is different, but ones temperament always has an influence over ones outward character, therefore ones consciousness can transform ones character. Those with even a smattering of psychological understanding can all agree with this. Taiji Boxing

emphasizes methods of softness, emptiness and stillness being the main principle. If you have bad habits such as rashness or bluntness, these are things to be pushed aside. By

practicing this art over a long period, you will be unconsciously cultivating a habit of grace,

which will help you learn to take criticism. If you have a tyrannical attitude toward others,

this kind of training will have noticeable results upon you.

B. ITS MARTIAL ASPECTS

1. It uses stillness to overcome movement.

The Art of War [chapter 6] talks a great deal about empty versus full. Boxing arts do likewise,

but emptiness and fullness in boxing arts have more to do with energy rather than posture. I

am already aware of my own state of emptiness and fullness, but if the opponent is storing

energy and has not yet expressed it, I have no way of knowing the condition of his emptiness

and fullness. It is therefore the worst moment for me to attack. I should be allowed extra room

to maneuver, and then if I gently advance, I will turn the tables on him and take advantage of

the situation. Such is the way in Taiji Boxing.

I must allow the opponent to be the first to issue energy, awaiting his approach. Using his

moment of coarseness, I respond with smoothness, the technique being that of receiving,

drawing him into my trap and thereby gaining control over him. (From Playing Hands Song:

Guiding him in to land on nothing, I then close on him and send him away.) Always and with ease he will made to fall away. As the saying goes: [Art of War, chapter 3] Knowing both self and opponent, in a hundred battles you will have a hundred victories. The secret to all this is to use stillness to overcome movement.

2. It uses softness to overcome hardness.

When we begin to discuss energies in boxing arts, we typically try to explain their true

meanings. Therefore the distinction between hardness and softness gets explained via the

passive and active aspects. But the meaning of those two terms is so broad, indeed utterly

general, that beginners rarely have no confusion over their vagueness.

Basically, any kind of energy that has an element of resistance will pay no attention to how

large or small the opponents energy is, and this should always be considered hard energy. On the other hand, any kind of energy that is able to follow the opponents energy flexibly contains no element of resistance, and this should always be considered soft energy.

The key to soft energy is elasticity. If you are without this quality when you encounter an

opponent, you will have no hope of recovering your position. Such an energy can be called

lifeless. Hard energy tries to win through strength, and so when it encounters strength, it inevitably breaks down. Although the source of its failure is different from that of lifeless

energy, the result is the same. It can be seen that using softness to meet hardness would be

comparable to a contest of lively energy [elastic softness] versus lifeless energy [inelastic

softness].

In determining victory and defeat, there should be no predicting between them. In Taiji

Boxing, the magic lies in making adjustments based on being receptive to the opponent (from the Thirteen Dynamics Song). It basically comes down to this principle, but for those

who do not practice this art, such words may seem mystical.

3. It uses the smaller to defeat the larger.

When Taiji Boxing is used to defeat opponents, it always uses a smaller force to defeat a

larger force. The skill it applies (Technique is shown outwardly. Energy is stored inwardly.

When technique and energy can be combined, this is called skill.) lies in formlessness and is

always rooted in the science of mechanics. When issuing, either first make the opponent lose

control of his balance or make use of the principle of net force and then seize the opportunity

to attack. Therefore you will not need a large force and the opponent will automatically topple

away. The subtlety of these things is something that can only be dreamt of by those who try to

win by using hardness in striking and advancing.

4. It uses smoothness to avoid harm.

In Taiji Boxing, there are two ways of applying energy: yielding and sticking. (From the

Classic: He is hard while I am soft this is yielding. My energy is smooth while his energy is coarse this is sticking.) Yielding is for neutralizing the opponent, then sticking is for controlling him. As they both make use of each other, they are able to alternate without limit.

Every kind of movement in Taiji Boxing makes a rounded shape. Within one of its curves are

infinite occasions for yielding and sticking. Act according to the situation, relying entirely on

sensation. The most important principle is to never depart from the concept of smoothness.

When dealing with an opponent, if you are not being soft, then you are being hard. If you

are being hard, then you will be acting with coarseness against the opponents energy rather than using smoothness to go along with it. If your energy is not smooth, you will have no way

to yield. If you do not yield, you will have no way to neutralize. If you do not neutralize, you

will have no way to stick. If you do not stick, you will have no way to sense the opponents changes. If you carelessly advance, you are not examining the status of the opponent and are

liable to be deflected away or suddenly crushed by a large force, and those who have not

happened to be injured through such circumstances often do not quite grasp that it is by use of

smooth energy that harm is prevented.

C. ITS OTHER ASPECTS

1. Everyone can practice it.

The reasons Taiji Boxing can be practiced by everyone are outlined below:

i. All of its postures are natural, balanced, simple, and do not require any effort. Therefore it

can be practiced even by women and children, or by the old and weak.

ii. Its martial applications focus entirely on suppleness and yielding, never seeking to win

through strength. Therefore it can be practiced even by those who have a martial ambition but

are embarrassed by an inadequate physical strength.

iii. It is particularly effective at treating illness. Therefore it can be practiced even by the

physically weak, chronically ill, and those who are worried they have a disease that may be

incurable.

iv. As it emphasizes intention rather than what it looks like, it can be practiced alongside other

boxing arts without creating any hindrance. Therefore it can be practiced even by those who

also love practicing external styles, although the order of practice during a session has to be:

external arts first, followed by Taiji.

v. It emphasizes gradual progress. To practice it each morning and evening is really not very

time-consuming. (If your ambition is self-cultivation, you only need to go through the solo set

once each morning and evening, and the set only takes about ten minutes. If you are training

for fighting, doing pushing hands for thirty minutes every day will give you no small benefit.)

Therefore it can be practiced even by those who do not have much free time.

vi. As its movements are very quiet, it will not disturb other people when practiced, and it also

does not use very much space. Therefore it can be practiced even while traveling.

2. It is easier to practice.

Typically when practicing martial arts, what is most emphasized is drilling the techniques.

Training in other boxing arts involves two people being unyielding with each other. This very

easily gives rise to dangerous situations in which the more timid person can no longer stand it

and falls down in pain. This kind of thing is not what we want. Taiji Boxing has its pushing

hands methods for drilling how to deal with an opponent. These methods focus on training

awareness and emphasize neutralizing rather than attacking. Since the movements are not rash

actions and the power is not ferocious, it assuredly lacks the risk of becoming dangerous. And

therefore it is the easiest to practice.

3. It is highly enjoyable.

Since every kind of movement in Taiji Boxing makes a rounded shape, there is everywhere

within one of its curves a switching between emptiness and fullness. In the beginning of the

training, you will not comprehend these transformations and will naturally be without any

sense of emptiness or fullness. But after you have practiced over a long period, your

alternating between emptiness and fullness will naturally be able to fit every situation. (Taiji

Boxings other name of Long Boxing describes this switching between emptiness and fullness: It is like a long river flowing into the wide ocean, on and on ceaselessly [Treatise]) Whether solo practice or partner practice, it is like playing chess, so unusually

enjoyable. Your mind must perform alternations nimbly, and then you will have the delight of being rounded and lively (How to Practice) points to this idea.

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CHAPTER FOUR: TAIJI BOXING IN RELATION TO THE STUDY OF PSYCHOLOGY

Taiji Boxing emphasizes the cultivation of both body and mind. When practicing, you must

use mind to move the energy, and use energy to move your body (How to Practice) to then be able to achieve the full extent of its wonders. This kind of practice method is entirely

grounded upon psychological function, yet its effects are indeed true and trustworthy.

The power of our minds is huge and able to take complete control over our physiological

functions. An extreme example is the sincere belief of those religious people who can walk

barefoot over fire without fear of being burned or who can dance along sharp blades without

feeling pain. A lighter example is when people gather at a social event and notice they are

surrounded by delicacies, and this then increases their appetite for food. Such phenomena are

enough to demonstrate that psychological function has influence over physiological function.

It has to be understood that because the function of our nerves is arranged physiologically,

there are nerve centers and nerve endings. Thus when we receive external stimulation, there

will be a distinction between the sensation of it and the perception of it.

Sensation means the nerve endings receive an external stimulation and generate a simple

effect based on it. In the first instant there is no ability for consciously recognizing external

objects. When a sound is sensed by your ear, a color is sensed by your eye, a scent is sensed

by your nose, or a taste is sensed by your tongue, these are all physiological sense organs

responding directly to sensations. This instant of sensation can only be truly felt in that instant

and cannot really be imagined afterward. An instant later, sensation has prompted

imagination, and then it becomes a matter of perceiving rather than sensing.

Perception is when the fluctuations of sensation pass along the nerve fibers to the nerve

centers, producing an effect upon the imagination. Perception is thus the source of our various

ideas about what we are sensing. There is an intimate connection between thought and the

motor centers. For instance, if you have the notion of grabbing an object, your hand

automatically moves, or if you see a delicious fruit, your mouth starts salivating. These are

both cases of our thoughts prompting our motor centers, producing physiological phenomena.

In modern times, hypnotism and mentalism utilize these kinds of psychological functions to

create incredible effects. Those with even some slight knowledge of psychology are able to

discuss this.

The various postures in Taiji Boxing are quite unremarkable. When practicing, you must

not use effort. (Those who have not previously practiced boxing arts usually put forth an

effort that is sheer brute force, which in boxing arts is called stiff energy.) Not understanding the significance of this, beginners will often become easily exhausted, never

realizing that it is a matter of taking advantage of psychological function. The first phrase of

How to Practice, use mind to move energy, reveals the key secret. Unfortunately, beginners tend to think the way of boxing arts is that unless the teacher is

actively filling the student with techniques, it will be very difficult for the student to obtain

the art. This is actually an enormous misunderstanding. They do not grasp that the

responsibility the teacher bears is nothing more than being able to demonstrate the proper

methods to the student. As to whether the art is obtained or not, this is up to the students approach to the methods the teacher has demonstrated and is dependent entirely on whether or

not he is faithfully practicing. To use mind to move energy was originally one of the proper methods, but students usually pay no attention it, and so if they want to take some

unremarkable postures and just copy them mechanically, and then expect to enter the ranks of

master, they will be deservingly incapable of achieving any skill.

What then is the right way to study the art? The most common expression that applies to it

is take it for granted. By this I mean that in every movement we should firmly believe the results will occur and then apply our imaginations to them [i.e. taking for granted actively

rather than passively]. If you wish to move energy, then you should have the thought of

moving energy. If you wish to sink heavily, then you should have the thought of sinking

heavily. If you wish to sink energy, then you should have the thought of sinking energy to

your elixir field. Strive in every technique to perform it as you imagine it should be done.

This kind of method will bring you to a breakthrough. It is extremely simple, but to get the

desired results, you cannot just give it one nudge and expect the effect to carry over through

several movements. In every movement, very deliberately control it by the use of intention, for once you achieve that, it will all be effortless (Thirteen Dynamics Song) expresses the idea. Therefore if you want to see results, you have to be the practicing type, and when

practicing, not have to wonder what the results will be. You should constantly perform it the

way you are thinking it, without the slightest discontinuity between thought and action.

Over the course of time, this will gradually go from deliberate to natural, and then the

power of each thought will be able to control physiological function, and whatever is in your

will to do, it will automatically come true. By absorbing through experience and by constantly contemplating, gradually you will reach the point that you can do whatever you

want (Classic) conforms to this idea. Be sure not to regard it as a bunch of empty words, for it is very important.

When I began practicing Taiji Boxing, I was deeply convinced of a strong relationship

between this art and psychology. I last year gained a female student who after training for

only a short while had produced extraordinary results. I at first thought this to be unique, but

then I learned she had practiced mentalism, and this increased my feeling that my opinion was

not unfounded. Unfortunately my own investigation into psychological studies has not yet

been very thorough. Therefore I can here only express general ideas and I am not even sure of

the validity of what I have been saying. I deeply hope that knowledgeable people throughout

the nation will come forward and instruct me so that this art may increasingly show

development, and not just for my own personal improvement.

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CHAPTER FIVE: TAIJI BOXING IN RELATION TO THE STUDY OF PHYSIOLOGY

All boxing arts have postural standards, distinctions between what makes the posture good or

bad that are related to human physiological functions. Taiji Boxing is always so posturally

unremarkable that some suspect it may be of meager effectiveness, and they do not

understand that the various aspects of posture all conform to physiological principles.

I am not clever, so please pick out what is relevant to you from the explanations that

follow:

1. FORCELESSLY PRESSING UP YOUR HEADTOP

In the head lies the brain. The cerebral cortex has a great variety of nerve centers, divided into

departments for directing all of the bodys organs. The importance of this need not even be stated. The heads appearance is upright, as it is in every school of boxing arts. But the means of making it upright is never a matter of using effort to do so. If you use effort, the muscles

will contract and your neck will stand stiff as a board. The bad habits this will create will not

only obstruct smooth bloodflow and smooth breathing, but in the area where your cerebral

cortex (where every nerve center is located) contacts your spinal cord you will also

imperceptibly develop a hindering and harmful effect.

In Taiji Boxing, the posture as regards the head is called forcelessly press up your headtop, also called headtop suspended. To press up your headtop is like there is energy coursing through straight to your headtop. To do so forcelessly is the idea of using mere imagination (meaning not using effort) to guide it to your headtop. The meaning of headtop suspended is that your headtop seems to be suspended in midair, in other words that the appearance of your head has to be upright and that it also has to have the subtlety of being

effortless and natural in order for it to be correct. Your whole body will be aware and your headtop will be pulled up as if suspended (Thirteen Dynamics Song) and if you can raise your spirit, then you will be without worry of being slow or weighed down (How to Practice) are both statements that have to do with forcelessly pressing up your headtop, a principle that

has to be understood, for it is the most important quality of the heads posture. There are also three related points that must be paid attention at the same time, explained

below:

A. Do not glare.

When practicing Taiji Boxing, you should have a serene bearing, not a look akin to having a

drawn sword or a loaded crossbow. Spirit should be collected within (Treatise) as well as spirit comfortable, body calm and outwardly show ease (How to Practice) each express this idea. Glaring with angry eyes will keep your eyes from following along with the

movements of your intention, will cause your spirit to be outwardly revealed, and will

produce the error of lifting up your energy. As for the physiological aspect, your eye muscles

should not be overworked and should instead be used moderately and naturally. Glaring with

angry eyes is contrary to this practice and should be avoided.

B. Your mouth should be closed, but do not gnash your teeth.

A persons breathing, according to physiology, ought to be through the nose, resulting in the mouth being closed. This will cultivate a good habit. But closing your mouth tightly will

violate the principle of naturalness and will cause your teeth to be worn down, a physiological

hindrance that you must be mindful of.

C. Your tongue is to be touching your upper palate.

This will cause your salivary glands to constantly secrete saliva and moisten your throat. In

the beginning of the training, once there is any movement, blood circulation will gradually

quicken, which will easily dry out your throat, hindering your breath. This principle is

therefore concerned with the regulating of the breath, and by practicing with it in mind, you

will avoid such problems. It also can aid digestive function, and so it is worth giving attention.

2. CONTAINING YOUR CHEST & PLUCKING UP YOUR BACK

As for the physiological aspect of this, the extent of the bodys strength and the extent of the muscular movements power are always in direct proportion to each other. Calisthenics and martial arts can therefore make a person strong and healthy because they enhance muscular

power. The muscles of the body divide into voluntary muscles and involuntary muscles.

Voluntary muscles are moved consciously. Involuntary muscles move automatically and

unconsciously. Therefore if you wish to enhance the strength of the involuntary muscles, but

are not yet a practitioner of deep skill able to take advantage of psychological functions,

merely a beginner, then you will only be successful if you concentrate on getting the posture

right.

Regarding the torso section, the most important Taiji Boxing principle is contain your chest and pluck up your back. Containing your chest means getting your solar plexus to slightly cave in, which folds your diaphragm inward, causing your chest wall to press inward

and naturally downward, thereby aiding the sinking of energy. Plucking up your back means

getting your back to slightly resemble the curve of a bow, so that the vertebrae of your spine

(here meaning the thoracic vertebrae, between the cervical vertebrae and lumbar vertebrae.

This part of the back often curves forward due to the supporting of weight.) can be trained to

curve back instead of curving forward, enabling all of your vertebrae to have movement

forward and back. [What is being described is the two ends of the thoracic section, especially

the lower end where it meets the lumbar section, curving forward to produce a lordosis

swayback effect. The intention is not to counterbalance this by bulging the back into a

kyphosis hunchback effect. Both such extremes are to be avoided. The meaning here is that

the two ends of the thoracic section are to be drawn back and thus straighten the spine from

pelvis to skull. This effect would perhaps be expressed less confusingly by instruction to

simply tuck in the tailbone and draw back the chin rather than to pluck up the back.] Then imperceptibly your spine will be induced to return to the more straightened appearance it had

when you were an infant.

The function of pluck up the back lies in the martial aspect of the art, for which it is extremely important. If your spine is sticking out forward, energy will get stuck in your chest

and make you top-heavy and easily knocked down. Furthermore, if your spine is slightly

curving forward, the power of your legs (As the Treatise says: Starting from your foot, issue through your leg. This means that the issuing of power begins in your legs.) traveling through the middle of your spine to go directly into your arms will not reach its destination

smoothly, and this will be a particular hindrance to your issuing of energy. Power comes from your spine and energy sticks to your spine (How to Practice) both have to do with this kind of skill.

Although contain your chest and pluck up your back resembles the position of the spine in the three folded posture of seated meditation, Taiji is stillness within the context of movement whereas meditation is movement within the context of stillness. They are not done

in entirely the same way. For the version of containing the chest and plucking up the back in

Taiji Boxing, you must not commit the error of interpreting the principle as a frozen state of

posture, but must instead allow it to adjust with the changes of the movements. You will then

be able to directly enhance the strength of your intercostal muscles and diaphragm, and

indirectly enhance the strength of your organs and involuntary muscles, thereby greatly

improving the physiological functions of respiration, circulation, digestion, and excretion. The

significance of this principle thus needs no more words.

There are also three related points important to pay attention to, explained briefly below:

A. Loosen your waist.

Loosening your waist is the opposite of hoisting up your waist, which would cause the

problem of lifting up your energy and should thus be avoided. Loosening your waist will

cause energy to sink down and can increase the strength of your legs and stability of your

stance. If you have not achieved efficient switching of emptiness and fullness between your

upper and lower limbs, the remedy for this depends entirely on the appropriate turning of your

waist. Loosening your waist will stretch out the muscles, which can make your waist feel

more nimble and turn more easily, and this will have a significant effect upon your fighting

ability.

As for the physiological aspect, loosening your waist can increase the capacity of your

abdominal breathing, what boxing experts call the sinking energy skill. Furthermore, when your waist is often given proper exercise, it will have a good influence on your kidneys and

intestines. The problem must be in your waist and legs, so look for it there (Treatise) as well as their command coming from your lower back and if there is complete relaxation within your belly, energy is primed (Thirteen Dynamics Song) are all statements pointing to loosening your waist. This principle has to be understood.

B. Center your tailbone.

Your tailbone is the bone at the bottom of your sacrum, at the very end of your spine. If this

area is not centered, the straightness of your spinal column will be the first thing to be

affected, which will then make it difficult for energy to be transmitted upward. Your tailbone is centered and spirit penetrates to your headtop (Thirteen Dynamics Song) is exactly this idea. When a beginner puts his weight onto one leg (While practicing Taiji Boxing, the legs

will have to constantly switch roles of empty and full, an important basic principle.), he

typically moves his body sideways more than is necessary, which easily causes his skeleton to

slip into an unnatural position, a great physiological hindrance. And so you should give extra

attention to the principle of centering your tailbone.

C. Hang your buttocks down.

When squatting your body, your buttocks should be hanging down for the posture to be

correct. When beginners even slightly squat, they instead end up sticking their butts out,

causing unnatural pressure between the vertebrae, which at the very least would hinder the

loosening of the waist and the plucking up of the back. Attention should therefore be given to

this point.

3. SINKING YOUR SHOULDERS & DROPPING YOUR ELBOWS

The movement of the limbs follows the movement of the intention, and so whether the

movement is done right or wrong derives from how refined or crude the intention is.

However, bad habits can cause the mind to lose its effectiveness. In the beginning of the

training, although the movement follows the intention, it will not work unless you have

corresponding attention.

Regarding the upper body, the most important Taiji Boxing principle is sink your shoulders and drop your elbows. Sunk shoulders are the opposite of shivering shoulders, as when a person lifts his shoulders up out of fear of the cold. This kind of posture will at the very least hinder the

ability of the shoulder belt (meaning the muscles connecting the shoulder bone and collar bone) to flatten out and will have a bad influence on the rib cage that would be in opposition

to its physiological function. The effect of sinking the shoulders is to cause them to loosen

and hang down, aiding in the sinking of energy, and also to keep the arms from becoming

weary when issuing. Lifting your shoulders is contrary to what will be effective, and so

boxing experts tend to warn against it.

Dropping your elbows is related to sinking your shoulders. If your elbows come up like

wings, not only will this ruin the sinking of your shoulders, it will also keep you from closely

guarding your ribs, and so it must also be understood.

There are additionally a couple of related features of the hands, which are explained

below:

A. Extend your fingers.

The idea here is that your fingers must be extending rather than curling into fists, but they

should also not be stiffly straight. Likewise when making a fist, it should be loose rather than

tight, conforming to the naturalness of your whole body. You need to understand that the

posture of your fingers during practice should be regarded as guiding your bodys movements

and should never just have an appearance of attacking opponents. Expressing it at your fingers (Treatise) is exactly this idea.

B. Stick out your palms.

This describes the palm in the position of a forward push, in which you must give the palm an

intention of slightly protruding in order to aid the drawing in and extending of internal power.

As for the physiological effect, this stretches out the tendons of the arm and wrist, and thus

must not be overlooked. However, you also must not make the mistake of issuing with too

much exertion, which will cause stiffness and brittleness. With stiffness, the energy will be

sluggish. With brittleness, the energy will be interrupted. Neither of these conform to Taiji

Boxings way of moving energy and so you will have to be mindful of them.

4. THE THREE-LINE STANCE

Taiji Boxings stance is called the three-line stance. Your feet stand with one in front, the other behind, the toes of both feet pointing forward. The feet are placed at two points [with an

imaginary third line running between them],

for instance:

|R

L|

or:

L|

|R

They are on a diagonal to the front and back, separated to the left and right. The standard of

distance between your feet depends on your own bodys height. You must not squat down too far, for excessive effort is not physiologically sound, and it would also lead to quickening of

the breath. As it would be a huge obstruction to the sinking of energy and the regulating of

breath, going overly low must be paid attention to.

There is a fixed pattern to the emptiness and fullness of the feet, which is explained

generally below:

A. The empty foot:

The feet are constantly switching the roles of empty and full, causing your bodys weight to be supported by each leg in turn, which can regulate fatigue as well as give equal exercise to

the joints. These are the physiological advantages of Taiji Boxings three-line stance. The most important feature of the empty foot is that it is able to rise and lower in

accordance with the intention. Whether the leg is straight or bent is not so strict as with

external boxing arts, nor the distinction of touching down with the toes or heel, which instead

conforms to whatever is more natural, neither being frowned upon. From foot through leg through waist, it must be a fully continuous process as well as other phrases (Treatise) are generally indicating both of the legs, yet you must never overlook the empty one.

B. The Full Foot:

The full foot is the opposite of the empty foot. The most important feature of it is that the leg

is bent and must not be straight. If straight, then the weight of your body will be braced by

your skeleton in a posture that will not only be unstable, but will make moving into other

postures awkward and harmful. Furthermore, the legs muscles will receive a workout so diminished as to be physiologically inappropriate.

The various points above have to do only with major elements that are described briefly and

generally, and so gaps of information are unavoidable. This chapter not being an exhaustive

study means the style of writing in it is very easygoing. In chapters Seven and Eight, I have

placed related sections that analyze some of these things further. Pardon me for not placing

that material within this chapter.

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CHAPTER SIX: TAIJI BOXING IN RELATION TO THE STUDY OF MECHANICS

From a martial aspect, mechanics [the Chinese term more literally meaning the science of forces] and boxing arts are intimately related. Taiji Boxing always uses a small force to defeat a large one, and so it especially conforms to the principles of mechanics. The important

points of this are analyzed below:

1. CONFORMING TO NEWTONS LAWS OF MOTION

When issuing power, you must sink and relax, concentrating it in one direction and issue power like loosing an arrow (How to Practice) both describe the force with which you are attacking an opponent. The intention should be like an arrow going straight to a target, then

the method will be correct. If you act with strength or urgency, you will inevitably miss by an inch, lose by a mile [as mentioned in the Classic]. It is necessary to understand the inherent nature of force, that if it does not receive an outside force, it will not change

direction, what Newtons first law of motion means by the path of motion will be straight. [As a small point of interest: though the transliterating of Newtons name has by now become

standardized in Chinese as Niudun, Xu in 1927 renders it as Naiduan.] In the practice of external boxing arts, issuing energy can cause the opponent to be injured,

yet will not necessarily topple him with ease. This is always because the force issued is

intended for injuring him, and will therefore finish upon reaching his body. Moreover, it

would perhaps as a result become controlled by the opponent, who would usually then return

a strike, and this is due to your forward force being already prevented from reaching his body

[i.e. deflected away in the direction of his blocking] (as in the case of Newtons second law of motion). But if your issued force did reach his body, there would then be an opposing force

(as in the case of Newtons third law of motion), consequently dispelling the forward quality of your force.

When Taiji Boxing issues energy, it can throw an opponent more than thirty feet away.

Although this is the skill of riding along with the opponents own momentum [during a moment in which his forward energy has reversed] to attack him with it, it also comes from

your own issuing of energy and can thus comply with the nature of force to continue forward

in a straight line [since your issued energy is added to (producing acceleration) and in the

same direction as his retreating momentum] instead of the situation of ceasing upon reaching

the opponents body. Included here for reference are Newtons laws of motion:

Newtons First Law of Motion:

[Since Newton originally wrote these laws in Latin (published 1687), it is appropriate for the

Latin text to be included: Corpus omne perseverare in statu suo quiescendi vel movendi uniformiter in directum, nisi quatenus a viribus impressis cogitur statum illum mutare. The 1729 translation by Andrew Motte is probably the closest to the Latin original: Every body perseveres in its state of rest, or of uniform motion in a right line, unless it is compelled

to change that state by forces impressed thereon.]

It is always the case that unless influenced by an outside force, an object at rest will not move

by itself and an object in motion will not come to rest by itself. The path of motion will be

straight and the speed will be consistent.

Newtons Second Law of Motion:

[Newton: Mutationem motus proportionalem esse vi motrici impressae, et fieri secundum lineam rectam qua vis illa imprimitur. Motte: The alteration of motion is ever proportional to the motive force impressd; and is made in the direction of the right line in which that force is impressd.]

Changes of motion that contrast the main force with an outside force will change the straight

line of the motion toward the same direction as that of the outside force. Put another way

[now drawing from Newtons elaborating upon the second law: Si vis aliqua motum quemvis generet, dupla duplum, tripla triplum generabit, sive simul et semel, sive gradatim et

successive impressa suerit. (Motte: If a force generates a motion, a double force will generate double the motion, a triple force triple the motion, whether that force be impressed

altogether and at once, or gradually and successively.)], whenever an outside force is added to an object, one degree of force will have the effect of one degree of force, whereas many

degrees of force will have the effect of many degrees of forces.

Newtons Third Law of Motion:

[Newton: Actioni contrariam semper et qualem esse reactionem: sive corporum duorum actiones in se mutuo semper esse quales et in partes contrarias dirigi. Motte: To every action there is always opposed an equal reaction: or the mutual actions of two bodies upon each other are always equal, and directed to contrary parts.]

When a main force and an opposing force are equal, then the motion of an object will be

entirely reversed.

2. CONFORMING TO THE PRINCIPLE OF NET FORCE

When using Taiji Boxing to deal with an opponent, it is crucial to avoid going against the

direction of his issued energy and resisting it. You should instead yield to the direction of his

energy, drawing in his force to land on nothing and thereby causing him to fall into a

dangerous position. It will then be the correct method, and the force in this kind of method is

called neutralizing energy. It conforms to the principle of net force, demonstrated in figures 1-

3 below.

figure 1:

figure 2:

figure 3:

The three lines of A1B1, A2B2, and A3B3 all show the extent of the opponents force and its direction. The line of B1C1 demonstrates the typical boxing technique of deflecting aside the opponents energy by imposing an outside force upon it, and the extent and direction of this force. Lines B2C2 and B3C3 demonstrate Taiji Boxings neutralizing energy, and the extent and direction of this force. The three lines of A1C1, A2C2, and A3C3 show the outside force (the three forces of B1C1, B2C2, or B3C3) added to the opponents force (the three forces of A1B1, A2B2, or A3B3), producing the extent and direction of the net force. The scenarios in these three figures are compared below:

i. Comparison of figures 1 and 2:

A1B1 = A2B2

B1C1 = B2C2

A2C2 A1C1 = D2C2

> Therefore: A2C2 > A1C1

ii. Comparison of figures 1 and 3:

A1B1 = A3B3

A1C1 = A3C3

B1C1 B3C3 = D1C1

force that moves it from its original position, there is then a greater-than or less-than between

the two forces. It is certain that one force is larger than the other, consequently producing a

net force. In accordance with the principles of mechanics, let us place two forces along a

straight line and calculate the net force. If they go in the same direction, they are to be added

together. If they go in different directions, one is to be subtracted from the other. See figures 4

and 5 below.

figure 4:

In figure 4 above, AB shows the extent of the initial force, amounting to two notches along the calculating bar. AC shows the extent of the second force, bringing it up to four notches. As the two forces are in the same direction, AD thus shows the net force of both added together: six notches. Taking advantage of a momentum to attack an opponent is something

that in every school of boxing arts is to be valued, as proven in figure 4. But it therefore has

no bearing on the subject at hand, being insufficient to show the unique qualities of Taiji

Boxing.

figure 5:

In figure 5 above, AB shows the main force, amounting to four notches along the calculating bar. AC shows the resisting force, amounting to two notches. As the two forces

are in opposite directions, AD thus shows the net force of both when the smaller amount is subtracted from the larger: two notches. Practitioners of external arts use a huge force to strike

opponents, and so they always and unavoidably receive the impact of an opposite force,

which is not an economical way to fight, as proven in figure 5.

In Taiji Boxing, when attacking an opponent, the effect of your first force is not intended

to immediately defeat him, but to first of all search for and know his opposing force or how

much resistance he will add to your force. Once you know the degree of this, you can put out

a second force to shift the direction of his opposing force or resistance, causing him to fall

into an unstable position. You may then put out a third force to attack him, and thus he will

always and easily fall away.

Therefore Taiji Boxings first force is always an empty technique, the second force is the neutralizing energy, and the third force is the beginning of the issuing energy. However, if the

second force fails to shift the direction of the opponents force, then the third force should still be used to neutralize, and the push will happen with the fourth or fifth force. It should always

be done like this, and then it will conform to the Taiji Boxing intention of first neutralize, then attack. The relationship between neutralizing and opposite force is shown in figures 6 and 7 below.

figure 6:

In figure 6 above, AB and CB are equal forces in opposite directions. This demonstrates the situation of a main force and a resisting force being equivalent to each other. Point 1 is

where the two forces counterbalance. The net force is zero. Therefore at this moment, Taiji

Boxing can use the force of BD (i.e. neutralize), causing the opponents opposing force to veer off from the direction of CB to the direction of CD, making his body go from a posture of standing erect to one of backing off, and he will be noticeably unstable. The lifting

in the Classics like when you reach down to lift up an object is exactly this idea.

figure 7:

In figure 7 above, EC demonstrates the opponent adding resistance. The net force of EC and CB compared to the force of AB (a single force), is greater. Therefore Taiji Boxing does not resist against it, but instead uses the force of BD (neutralizing), taking advantage of the momentum and shifting the direction of it, causing the direction of EB to veer off to the direction of ED, which also increases the extent of his forward inclination, making his body go from a posture of standing erect to one of leaning forward, the danger of which goes

without saying. Taiji Boxing can use a small force to defeat a large force. This is one of the

explanations why, and you have to understand it.

4. CONFORMING TO THE PRINCIPLE OF EQUAL FORCE

When two forces of equal size move along parallel lines but in different directions, there is a

net force of zero, and they are thus called equal forces. See figure 8:

Equal forces cause objects to rotate. Therefore in Taiji Boxing, whenever an opponent uses

his right hand to attack my left side, or uses his left hand to attack my right side, I turn my

body sideways to evade it while at the same time using my right hand to issue energy to his

left side, or using my left hand to issue energy to his right side. The force does not need to be

great, and yet it can make him spin away. In figure 8 above, A and B represent the opponents shoulders, while 1 and 2 represent opposite directions of force. The result is that his shoulders

are moved from their original position. Once he feels unstable, he will immediately withdraw

his issued energy, and this will be more than enough to make him retreat from the energy he is

attacked by. This changes the situation from one of equal forces to one of net force, as in

figure 9:

In figure 9 above [with A and B still representing his shoulders], 1 is the opponents initial force, which I have already received and dispelled, 2 is the direction in which my energy

issues, which goes straight forward, 3 is his second energy reversing from his first, also

straight ahead, and 4 is the net force of 2 and 3. This demonstrates that my small amount of

force (2) has the effect of harvesting a great amount.

5. CONFORMING TO THE PRINCIPLE OF CENTER OF GRAVITY

Every object has a center of gravity, sometimes inside an object, sometimes outside an object,

depending on variations of structure. It may be in a position of stability, instability, or

neutrality (meaning neither stable nor unstable). These three distinctions are shown in figures

10a-10c below.

figure 10a:

Cone A above demonstrates stability. This is because the vertical line of the center of gravity

will not easily shift beyond the base.

figure 10b:

Cone B above demonstrates instability. This is because if the vertical line of the center of

gravity shifts at all, it will go beyond the base.

figure 10c:

Cone C above demonstrates neutrality. This is because however the vertical line of the center

of gravity shifts, it will still remain within the base once the object is at rest.

Therefore if you wish to maintain the stability of an object, you must either broaden its base

or lower its center of gravity, and then you will have achieved the principle of unchanging

stability.

A persons center of gravity lies in the lower abdomen. Without utilizing some object or outside force, one would certainly be without the ability to lower extremely or externally. For

instance, a tightrope walker always relies on a long pole (i.e. the weight at both of its ends) for

assistance, which is exactly this principle. If you have not trained at sinking energy, your

energy will often float up, and your center of gravity will follow it by rising upward. If force

is then added to your upper body, you will become even more top-heavy, the vertical line of

your center of gravity will be very easy to shift beyond your base (as in the case of cone B),

and you would always be in danger of leaning.

However, while the skill of sinking energy can cause your center of gravity to lower so

that your body can obtain a more stable posture, the base that your feet occupy will be either

wide to the front and back while narrow to the left and right or will be wide to the left and

right while narrow to the front and back. If you are attacked at the narrow section, then the

vertical line of your center of gravity will again easily go beyond your base. It is clear from

this that matters of fighting only depend on the center of gravity lowering and not on methods

of total stabilization.

When Taiji Boxing responds to opponents, one aspect of it is to make use of the

opponents opposing force to sway his center of gravity and put him in an urgent situation. (The effectiveness of neutralizing lies in this scenario, as explained earlier.) Another aspect of

it has to do with your own center of gravity, whereby you will frequently use methods of

adjustment to stabilize yourself rather than trying to stubbornly sink your energy, this being

the only reasonable course to take.

You need to understand that the situation in Taiji Boxing is to shift the weight of your

body onto one foot. This is a key principle. It means that the vertical line of your center of

gravity is over only one foot, and thus obviously your base involves only one foot. Compared

to a base involving both feet, this is actually even narrower, as well as harder to conceal.

Commonsense dictates that this kind of condition would work against you and put you more

often at risk of leaning. Nevertheless, you are able with Taiji Boxing to keep from losing

stability, and the reason for this, put succinctly, is that the feet have the ability to alternate

between states of empty and full.

Alternating means that when one foot is unstable, the weight is immediately switched over

to the other foot, causing a return from instability to stability. In other words, the position of

your base is constantly adapting to the changes of your center of gravity, so that the vertical

line of your center of gravity can be at another position inside your base once you are settled

(as in the case of cone C) and is not limited only to the original placement. The example

above of walking a tightrope can also be achieved without need of a long pole. This at first

would never seem to be the case, but actually once this kind of skill becomes perfected, the

result will be the same [due to subtly alternating states of empty and full throughout the rest of

the body]. All of these things deeply conform to the principles of mechanics and are not the

slightest bit mystical.

The various examples above are for those interested in fighting, but they will not be easily

grasped without a more comprehensive study. As this book has limited space, I can only give

a general idea and I must deeply apologize for its sketchiness. If there are parts that are

difficult for you to understand, you can review them with a partner and work together

according to the diagrams, and then it should make perfect sense. Or you can use your

imagination until you get it.

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CHAPTER SEVEN: TAIJI BOXINGS PRACTICE METHODS

It was mentioned earlier [in Chapter Three] that every kind of boxing art has its own special

characteristics. They each therefore will of course have different training methods. If you do

not obtain the methods of your art, it will require twice the effort to get half the result, which I

can attest to from experience. Where Taiji Boxings training methods have to do with psychology and physiology, these aspects were already touched upon in chapters Four and

Five, and since they can be easily referred to, the content of those chapters will not be

repeated here. This chapter merely describes various related points that ought to be given

attention, as well as filling in for some of the gaps in those chapters.

Taiji Boxings practice methods divide into solo practice methods and partner practice methods, and the general ideas for each are described below:

1. SOLO PRACTICE METHODS

Solo practice means going through the solo set. The Taiji Boxing solo set from beginning to

end has more than seventy postures, but half of them are repeats, and so it has only a little

over thirty distinct postures. In the beginning of the training, if you select and learn one of

these thirty plus postures each day, you will have them all in about a month. Spend the next

month linking them up into their original sequence and practicing them in order. By the end of

that month, you should definitely be able to make the postures look skillful. Over the course

of a third month, you should know something of the methods of moving by way of intention

and can get your internal spirit and external posture to gradually unite. You will then have

made the first step in learning the fundamentals.

After this, if you have no interest in training in pushing hands, you can practice with the

goal of self-cultivation. But while you will be learning some things and ignoring others, you

should still frequently seek explanation from instructors and older students in order to avoid

going astray, and then you will at least know that aspect of the art.

As for the practice method, although the first posture is merely a posture of preparation, it

nevertheless must not be neglected. When standing in it, you must focus your attention,

ridding yourself of distracting thoughts, and wait until you feel your mind has achieved a state

of calm, then you may begin moving into the second posture, at which time you are going

from stillness to movement. Then every movement from that point on is entirely controlled by

intention rather than rash effort this is the most important principle. In all of these cases, the problem is a matter of your intent (Treatise) as well as in every movement, very deliberately control it by the use of intention and mind is sovereign and body is subject (Thirteen Dynamics Song) and also use mind to move the energy and first in the mind, then in the body (How to Practice) all clearly express this concept. It is not a difficult concept to explain, but beginners will often understand the idea in their minds yet have no

way of realizing it in their practice. This is a commonly unavoidable flaw, and the reason for

this is not because they are unable to use intention, but that they are not aware of the stages of

progress toward using intention, nor the methods. The three stages are explained below:

A. AWARENESS & ALERTNESS

Since the first sentence of the Treatise mentions aware and alert, awareness and alertness can be considered the first stage of skill. The most important thing in seeking awareness and

alertness is slowness. If you go through the techniques quickly, you will easily end up floating

through them, something you must be wary of.

For example, if you raise a hand, when taking it from its lowest point to its highest point,

by no means simply lift it into place. If you do that, the effectiveness of your consciousness

will only go as far as distinguishing movement and stillness. But throughout the grey area

between movement and stillness, you will then be unable to have a constantly involved

consciousness, and you will encourage your movements to become all about merely getting to

the next movement. In other words, if your consciousness is ignoring the transition from one

movement to another, you will not be able to transition from the original movement into the

next movement and have it be driven by consciousness.

Therefore when your mind wants to raise your hand, the hand only needs to be moved very

slightly, and then each increment of the raising beyond that will not progress any further

unless the movement is continued consciously. This can then be called authentic awareness.

To raise the hand to its highest point, it has to go through countless increments of deliberate

raising, constantly having the subtlety of following your intention. And this can then be called

authentic alertness. Step like a cat and move energy as if drawing silk (How to Practice) points to this concept.

B. CONNECTION

There is connection throughout a posture and connection from one posture to another.

Connection within the postures can be divided into these two types:

i. Upper body and lower are to coordinate with each other.

This has to do with the outward appearance of the movements. When your hands move, your

waist, legs, and feet should be moving along with them. One part should never be guiding

other parts. And although your eyes need not be moving excessively, they have to constantly

be involved. Starting from your foot, (Treatise) and if one part moves, every part moves (How to Practice) both point to this idea.

ii. Inside and out are to join with each other.

This has to do with the work of regulating the breath. Ones breathing is very related to ones movement. Actions of opening and closing have to be closely linked to inhaling and exhaling

in order to be correct. What is called breathing does not only have to do with the lungs, but

also has to include the abdomen in order to then have the best effect. Rousing the energy in

the elixir field is the trick to cultivating spirit. Furthermore, the shifting of weight is also

closely connected to the breath, something that surely is especially understood by martial arts

experts. Energy should be roused (Treatise) and use energy to move your body (How to Practice) both point to this principle.

Complex connectedness occurs when changing from one posture to another. The transitional

movements must flow through and cannot come to a halt. This will ensure that the gap

between postures will be the string in a string of pearls, and it will then be correct. In Taiji

Boxing, every movement is rounded, and it is from this roundness that you will obtain this

flow. But unless you have a foundation of connectedness within single postures, it will

certainly be difficult to transition as roundly as you would wish.

I hope you will not skip steps to try and get ahead. It is crucial to go through these stages

in order. This is the second stage of skill.

C. EMPTINESS & STILLNESS

This is the third stage of skill, when Taiji Boxing is at its most profound level. If you have no

foundation at all, it will be too difficult to understand. In the two stages described above, the

stage of awareness and alertness, then the stage of connectedness, both can still use

techniques that have shape, but this level is purely a matter of the skill of using intention rather than exertion and is to be found within shapelessness. Emptiness and stillness means that you are to be seeking emptiness within fullness and

seeking stillness within movement.

In the beginning of the training, every movement should be controlled by the use of

intention, and that level of practice is a matter of fullness. Now as you come into this level,

the element of shape will disappear, hence seeking emptiness within fullness. In the opening posture of the solo set, you go from stillness to movement. In the closing

posture, you go from movement to stillness. But at this level, there should within every

posture alwa