ZIMEN BOXINGBAFAN BOXINGTHE TAIJI MANUAL OF CAIYIZHONGPosted onNovember 30, 2014byPaul BrennanTAIJI BOXING ILLUSTRATEDby Cai Yizhong[published Oct 1, 1933][translation by Paul Brennan, Nov, 2014]

By Cai Yizhong of Ruian:Taiji Boxing Illustrated calligraphy by Ma Gongyu

The essence of Chinese martial arts calligraphy by Chu Minyi

[PREFACE BY ZHANG ZHIJIANG]The Taiji boxing art of the Wudang school comes from Daoism, making use of elixirist practices. It reveres what is natural and discards what has been acquired, revering what is natural so that your primal spirit may develop and your acquired bad habits may sink away. The work of quelling bad habits and expanding your spirit is so important, and for it there is no method of cultivating health more wonderful than Taiji. Cai Yizhong of Ruian [in Zhejiang] has achieved the deepest level in this art. His manner is warm and his spirit is calm. One can see at a glance that he is a learned scholar and that within him is an abundance of sincerity. Our nation is in the midst of troubled times, yet our people are inspired, knowing that training the body is the way to defend the nation. The popular esteem for the martial quality is everywhere, and Taiji is the top choice for practice. Like many teachers who deeply feel that all of its secrets should be shared, Cai has made this book for publication. He uses easy language to explain difficult concepts so that the principles and ideas will all be understood. He particularly emphasizes the posture and footwork, explaining with both gusto and know-how, fully and carefully, presenting the whole of this magnificent art. As worthy as other books are, I know that the publication and spread of this book will truly be no small event. Thus I have added these preliminary words so that my comrades throughout the nation will understand what it is they have got hold of. written by Zhang Zhijiang, Jan 12, 1932PREFACE BY JIANG XIANGQINGTaiji [grand polarity] is born of wuji [nonpolarity]. It is the mother of yin and yang [the passive and active aspects]. When there is movement, passive and active become distinct from each other. When there is stillness, they return to being indistinguishable. Neither going too far nor not far enough, comply and bend then engage and extend. Use mind to move the energy. Use energy to move your body Where mind goes, energy follows, circulating through the whole body without stagnancy anywhere. These are the subtleties of Taiji Boxing. Cai Yizhong of Ruian has a profound understanding of it and has drawn from his experience to produce this book. I gave it an enthusiastic readthrough, unconscious of just how much I was admiring it. I sigh at the depth of his hard work, and I delight in his humility and openness in being able to share with all our countrymen. Lin Jinping [a well-known medical doctor, likewise from Ruian, and Cais fellow Taiji student] has also contributed a piece on Taiji Boxing in the context of physiology, presenting insights into how Taiji Boxing theory complies with physiological principles, a crisp and clear analysis. What the forefathers of the art where unable to articulate or unwilling to talk about is all here in detail with nothing left out. Although I have much to say about this book, I would hate to be overly gushing. Nowadays our countrymen all understand the value of martial arts, and since such research began, it has become resoundingly popular and many seeds have been sown throughout the nation. The National Games are just about to be held [the 5th, held in Nanjing Oct, 1933], coinciding with the publication of this book. I cheer how the book will flourish because of it, and hence I write this preface with pleasure. written by Jiang Xiangqing in the editorial office ofCurrent Events Newspaper, Sep 19, 1933INTRODUCTION: DISCUSSION OF TAIJI BOXING IN THE CONTEXT OF PHYSIOLOGYThe Taiji boxing art is the quintessence of our nations martial arts. It has the effects of strengthening the body, preventing illness, prolonging life. Practitioners are usually able to say something about the art, but as for discussing the physiological aspects of the exercise, they still cannot manage it. I have read through the various specialized books on the Taiji boxing art. They are either undetailed, full of errors, or entirely without a scientific basis, written in a lofty style to impress people. But this only renders practitioners ignorant and sends them down the wrong path, one that may produce harm. My friend Cai Yizhong learned from the Taiji Boxing master Tian Zhaolin. Observing Cais expert bearing, I know he has benefitted deeply from the art. Considering that our nations populace has gradually weakened in spirit, unless we quickly initiate programs of physical training, we will not be able to shake off our deplorable habits. Therefore I here present what I have learned from my own work, having reference to scientific methods, and have produced a piece of writing to share with all my compatriots. The reason I have written this article presenting Taiji Boxing theory in accordance with physiological insights, and in the form of simple explanations, is to assist students in the beginning of their training. Opinions will vary depending on the reader, but this material should be sufficient testimony as to the effectiveness of Taiji Boxing. When compared to the tendencies toward awkward effort in other boxing arts or forms of exercise, it really can hardly be spoken of at the same time, for it does not seem to have the same errors within it. I hope this work will be understood by everyone in the nation and that none will hold back any criticism. This will enable me to improve it, for which I would feel extremely fortunate.The Taiji boxing art is widely talked about as a form of exercise. Before the Taiji Boxing practice set is explained, we must first briefly discuss the physiological foundations of exercise in order to have a genuine understanding of Taiji Boxing in terms of physiology:1. THE PURPOSE OF EXERCISEFrom a physiological perspective, the purpose of exercise is to develop the body, enhance health, and liven the spirit. To sum up, it is nothing more than getting the efficiency of our lives to obtain a constant progressive development. Fundamentally, the parts of the body each have their specific function. The lungs are in charge of respiration, the heart is in charge of circulation, the stomach and intestines are in charge of digestion, the muscles are in charge of movement, and so on, the rest all having their specific duties too. When the parts of the body are functioning in tandem, this shows as life expressing. Whether or not life is expressing abundantly is in direct proportion to the efficiency of ones life. If we wish for the efficiency of our lives to have progressive development, we must first strengthen the various parts of the body. When their functions are all in a state of constant progressive development, then we can achieve our aim. Therefore exercise is given the task of developing the whole body and all of its parts. If only a part of the body is developed while the other areas and sections are left weak, it would certainly not be able to fulfill this task.2. THE TWO MOST BASIC PRINCIPLES IN EXERCISEThe purpose of exercise has been described above, but just how is it that exercise can cause development in all the parts of the body? This is based in two fundamental principles: the parts of the body have an interrelationship with each other and they each have innate characteristics. Both of these are described separately below:A. The interrelationship of the parts of the body:Among all the parts of the human body, there is a fascinating phenomenon: they are interrelated, supporting each other in order to survive, absolutely incapable of managing their specific functions on their own. Some examples:i. The stomach and intestines are in charge of digestion. However, intake of food depends on the movement of the limbs and the chewing of the teeth. The digesting of the food also depends on the use of various digestive juices for the nutrients in the food to then be absorbed into the blood. Without the help of the teeth, limbs, and so on, the stomach and intestines would be unable to perform their function.ii. The lungs are in charge of respiration. When the lungs are expanded, air enters. When they are contracted, air exits. However, lungs are incapable of expanding and contracting on their own. They have to rely on the actions of muscles which expand the thoracic cavity to be able to do this. For the lungs to fulfill their function, they depend on the movement of muscles.iii. The heart is in charge of circulation. Blood is pushed by pressure from the heart into the main arteries, through the many other arteries, and into the capillaries, distributing nutrients to every part of the body, then taking waste material through the veins, to the venae cavae, and back to the heart. This is the greater circulation [general circulation]. Furthermore, deoxygenated blood is sent from the heart into the pulmonary arteries and to the lungs, and oxygenated blood is then sent back to the heart. This is the lesser circulation [pulmonary circulation]. The two cycles repeat over and over again ceaselessly. Therefore the heart is able to fulfill its function entirely due to the assistance of the arteries and lungs.iv. The limbs are in charge of the movements of bending and extending. This would seem to be simple, but is actually very complicated. There have to be commands from the brain to stimulate the muscles. The muscles then contract to move the skeleton. However, the brain first has to be affected by an external stimulus and recognize it in order to be able to send the proper commands. The movement that occurs will thus be a response to the external environment.v. But these are not all. While the various parts of the body are performing their functions, they are all engaged in oxygenation, which requires oxygen, fats, sugars, proteins, and other nutrients. Among these, oxygen is the most important. Through respiration, it enters the blood from the lungs, and it cannot be lacked for even a moment. For the other nutrients, it is firstly a matter of digestion, entering the blood from the digestive organs, and secondarily sent by the actions of the heart to the whole body. The various parts of the body are able to carry out their functions because of these supplies of oxygen. Therefore within every movement of hand or foot, this plays a role, and movement is not merely a matter of muscle and skeleton. The whole body and all of its parts organs, marrow, nerves, heart, lungs, stomach, intestines, etc. are at the same time and to the proper degree working together.B. The three basic capacities of the parts of the body:Beyond the aforementioned specific characteristics of the parts of the body, they also have three innate aspects, or three basic capacities:i. If the parts of the human body are used moderately, their functioning will increasingly improve and ones external appearance will be robust. If you use it, you will have more of it.ii. If the parts of the body are used insufficiently, their functioning will decline and ones external appearance will be emaciate. If you dont use it, you will lose it.iii. If the parts of the body are used excessively, their functioning will likewise decline and ones external appearance will again be emaciate. If you abuse it, you will lose it just as if you didnt use it.There is no lack of examples in society for these capacities. The feet of a rickshaw driver or the shoulders of a porter will usually through such activities become robust. The hands of a woman who stays in her chamber or the legs of a man who spends all his time in meditation will become atrophied from neglect. A factory child laboring day and night does not get enough rest and will usually be reduced to a wreck and have stunted growth, ruined from overwork. Not only is the body thus affected, but also the mind. If we use our brains moderately, knowledge will daily increase. Not training our minds at all, we will become daily more stupid. Overdoing it, the result will be nervous breakdown.The two basic principles above are surely basic points in all reasonable forms of exercise. By engaging in exercise appropriately, the whole body and all of its parts can be made robust and the efficiency of our lives will naturally increase with progressive development. If we do not give extra attention to these principles, we will betray the original intention of exercise. Methods that are not compatible with these principles should be discarded. Most exercises prioritize the development of muscle, most breathing techniques aim at strengthening the lungs, and most meditation is devoted toward cultivating the spirit. Each of these methods train only one aspect of the body, leaving other parts to wane from a lopsided neglect. It is indeed difficult to see such approaches resulting in the efficiency of our lives progressively developing. Really they are better categorized as having little significance.3. THE THREE MOST IMPORTANT THINGS IN EXERCISEFor it to be considered reasonable exercise while engaging in it, there are three things that cannot be neglected for an instant, the most important points in exercise: intention, breathing, and the spine.A. Intention:There is a saying: People should take action rather than reacting. The way of exercise follows this principle. The movements of the muscles are all dictated by the brain, which is the site of our intention. Therefore we must focus intention in order to issue orders. When the orders are clear, then the limbs and the rest of the body will obey without exception. Otherwise the whole body will fall into sloppiness and disarray, and this will produce no result worth speaking of.B. Breathing:Our lives are sustained by breathing. Its importance is so obvious that it does not need to be stated. However, if it is not given added attention, it cannot really be understood. We often see people exercising whose faces turn purple from holding their breath until they turn white, looked drained, and collapse. This is all because they do not understand how to approach breathing.C. Spine:The spine is the support for the torso, and therefore it must be held in an upright position during exercise rather than leaning, bending, or twisting. If the support is not held upright, the whole body will collapse.Before engaging in exercise, these three points must first be given additional consideration. During exercise, these three essentials must not be ignored for an instant, then the result will conform to the ideal. The degree of seriousness with which we approach these points is in direct proportion to the results produced, and there would otherwise certainly be no results worth speaking of. For instance, if you go on a journey in the wrong direction from your starting point, no matter how far you go, you will never be able to get to your destination, because the road you are traveling is of no use for going there. Likewise, if you make the mistake of using excessive effort in the exercise, it would not only be ineffective, but would in fact be harmful to the body (this harm explained further below). It would be worse than not exercising at all. Regardless of what kind of exercise you engage in, this point must by all means be given extra attention.4. AS TO WHETHER OR NOT TAIJI BOXING IS A REASONABLE EXERCISEIf we ask whether or not Taiji Boxing is a reasonable exercise, we need only consider whether it conforms to the two basic principles and whether during practice there is deep attention being paid to the three major points. If so, we can then conclude that it is.A. As for the two basic principles:What makes Taiji Boxing an art? Use mind to move energy. Thus the energy will be smooth. Use energy to move your body. Thus your body will be nimble. If one part moves, every part moves, and if one part is still, every part is still. In both movement and stillness, you are always to attend equally to body and mind, cultivate inside and out simultaneously, and never commit the error of overemphasizing one particular section. Furthermore, learn the curriculum in the correct order, going from the easy to the difficult and progressing step by step. Value softness over awkward strength, for it is forbidden to use excessive effort. Once all the parts of the body can become robust, there will never be the error of overdoing it. That Taiji Boxing conforms to the two basic principles is obvious. People who practice external styles of boxing or other forms of strenuous exercise end up as haggard wrecks who die prematurely, but this has not yet been heard of as happening to those who practite Taiji Boxing. Practitioners with a solid foundation all have a resolute spirit and an amiable manner, no coarseness in their behavior at all. By cultivating body and mind together, you can attain completeness of skill.B. As for the three main points:To practice Taiji Boxing, no attention needs to be added to the two basic principles, but let us briefly delve into the Taiji classics to elaborate [on the three main points]:i. Intention:It says in the boxing classics that spirit should be collected within and that we are to inwardly bolster spirit. We will thus be able to use mind to drive the body, as well as to let go of the self to go along with the opponent. Thus it is said: Mind is sovereign and body is subject. The idea is that the concentration of intention moves the energy, which then prompts the body. It is also similar to Li Yiyus Five-Word Formula which begins with the calm mind and finishes with the gathered spirit. By this can be understood what makes Taiji Boxing an art. As for concentrating the intention, do not hesitate to give this your frequent attention. In other words, once you have focused your mind, then you can practice Taiji Boxing, but if you cannot focus, the practice will be ineffective.ii. Breathing:What is meant in the classics by energy is the breath. Taiji Boxing particularly emphasizes the breath. It is considered that, throughout the practice set, breath-assisted movements will always be performed correctly. It says in the boxing classics: Use mind to move the energy Use energy to move your body. Also: The mind makes the command, the energy is its flag, and the waist is its banner. Breathing in Taiji Boxing is a bridge between body and mind. When practicing, focus your intention on the breath, nurturing it with integrity and never making the error of acting in opposition to it [i.e. inhaling when you should be exhaling, etc.]. If you can breathe with smoothness, you will get the movements of your body to be led by the breath. Between passive and active moments, between contractings and expandings, all is linked by the breath, and you will be able to move with a rounded smoothness. In other boxing arts and methods of exercise, it is not understood that breathing should be given extra consideration and should aim for smoothness, though the worry that working against the breath will be inferior does bring understanding to some. If you do not understand the role of the breath between the body and mind, breathing will just be breathing and movement will just be movement, mindless and unguided, and again there will be no effect worth speaking of. It is the breathing that makes Taiji Boxing superbly unique.iii. Spine:It says in the classics: From foot through leg through waist, it must be a fully continuous process, and whether advancing or retreating, you will then catch the opportunity and gain the upper hand. This indicates that you should try to maintain an upright position of the spine. Since it is the support for the torso, if it commits the error of leaning or bending, the body will not be able to stand stably. How then could the action be a fully continuous process, whether advancing or retreating? With your spine upright, your body will stand comfortably, bracing in all directions. The purpose in Taiji Boxing of maintaining an upright position of the spine is to spare an excess of effort to stay stable. It is also said: Step according to your bodys adjustments. Power comes from your spine. Because every single movement should be originating with the spine, the direction of the spine and the changes in the footwork enable the body to be standing in a stable position. Taiji Boxings emphasis on the spine is thus made clear.To sum up, Taiji Boxing already conforms to the two basic principles, and if while practicing there is deep attention given to the three major points, it qualifies as a reasonable exercise and can be considered scientifically grounded. If you are able to build a solid foundation, you can then achieve the goal of progressive development in the efficiency of your life, indeed it would be a natural outcome. In addition to the enduring weakness of our nation, we also have this excellent example of the essence of our culture. We should urgently put our efforts into promoting it on behalf of strengthening both the people and the self, real benefits that can be depended on. There is no apparent end to the extent of this art, nor any sign that it will ever go away.5. THE BREATH IN TAIJI BOXINGTaiji Boxing uses intention to guide the breath, and the breath to guide the movement of the body. Therefore the method of breathing is indeed significant and very worthy of discussion. I will try to explain so that beginners will know what to do:According to physiology, there are three types of breathing. There is (1) chest breathing the chest area expanded by the movement of the ribs, and (2) abdominal breathing the thoracic cavity expanded by the movement of the diaphragm. Each has its advantages, but they are insufficient. Thus there are people who advocate getting the advantages of both by performing a kind of breathing that combines them chest/belly breathing. However, it is not as effective as (3) reverse breathing, which is performed by the diaphragm moving upward during inhalation and pressing downward during exhalation. It is just like abdominal breathing, only in reverse, hence the name. Though slightly more difficult than the first two, this method has its advantages:A. It can invigorate the lungs.According to anatomy, the bronchi at the top of the lungs branch off upward, opposite to the direction of airflow during inhalation. Therefore in ordinary breathing, air is not easily inhaled into the top of the lungs. That part of the lungs gets unused and increasingly atrophies, easily leading to illness, such as pulmonary tuberculosis. If instead reverse breathing is used, then the diaphragm will move upward during inhalation and send air upward all the way into the top of the lungs.B. It can focus the intention.Since this method is more difficult, it thus requires more concentration when performing it, and so the mind is less prone to wandering. In psychology, this is considered to be healthy thinking, which is very important.What then is the breathing method in Taiji Boxing? It is said that the breathing used should always be reverse breathing, and this can be verified from the classics, where there is mention of abdomen relaxed and: If there is complete relaxation within your belly, energy is primed. Before performing this breathing, focus your mind and get the muscles of your abdomen to lose their tension, then the movement of your diaphragm will be unrestrained. It also says: Energy sticks to your back and gathers in your spine. This means that your diaphragm moves upward during inhalation, the air moving upward all the way to the top of your lungs. Seeming to gather in your spine, it courses through to your headtop (with an energy of lifting your headtop). Also at this time, hollow your chest and bulge your back (In hollowing your chest and bulging your back, bulging the back is a different idea from plucking up the back. Bulging the back seems to be intended in this case.), which causes the air to easily reach all the way up to the top of your lungs, and thus it is said that energy sticks to your back. What is meant in the classics by energy sinks to your elixir field is that you press your diaphragm down during exhalation. By pressing deeply down into your abdominal cavity (i.e. the elixir field), you will thus promote better circulation within and better function of the abdominal organs. When Li Yiyu in the gathering spirit section of his Five-Word Formula says that energy sinks downward, abdomen relaxed is the idea. It sinks downward, going from your shoulders, gathering in your spine, and concentrates in your waist. This energy going from above to below is called contracting. This describes inhalation. The action of your diaphragm first sends air to the top of your lungs, then downward to fill the rest of the lungs. The inhalation of air has the appearance of contracting. Hollow your chest and bulge your back to help store it. Then it goes from your waist to your spine, spreading to your arms to be applied at your fingers. This energy going from below to above is called expanding. This describes exhalation. First press your diaphragm down to send out air from the bottom of your lungs so that it reaches up to the top of the lungs. The exhalation of air has the appearance of expanding. Sink your shoulders and drop your elbows to help release it. To sum up, the breathing in Taiji Boxing is nothing more than reverse breathing. At the end of inhalation, the diaphragm then descends, changing to the beginning of exhalation. At the end of exhalation, the diaphragm then ascends, changing to the beginning of inhalation. Passive and active, emptiness and fullness they follow the alternations of the breath. If during the alternations between inhale and exhale, contract and expand, you are able to realize clearly this basic principle, energy will then be capable of circulation without obstruction, roundness without edges. After a long time, profound wonders will naturally be realized and extraordinary effects will automatically manifest.6. THE HARM OF EXCESSIVE EFFORTPeople who use excessive effort are often considered risk takers due to their use of struggling strength. In Taiji Boxing, excessive effort is forbidden, as has already been explained above. Below is further explanation on the harm of it so you can understand the source of the taboo:External styles of boxing, as well as various other methods of exercise, all emphasize a foolish effort, demanding that the muscles display their maximum strength. Methods that involve great effort make the chest area tighten up, which has an influence on ones ability to breathe. This is due to the chest and shoulder muscles, the biceps and triceps, and the muscles of the thoracic girdle all intensely contracting. But this is not all, for the larynx is also made to close, causing the abdominal muscles to display their maximum strength, thus attaining the objective of complete tension. With these various aspects in the course of using excessive effort, no air within the thoracic cavity is able to exit. There is thus a great deal of pressure built up within the thoracic and abdominal cavities. Because of this increase in pressure, the heart is intensely contracted, thereby increasing the blood flow away from the thoracic cavity but reducing the amount of blood within the heart, producing a very anemic appearance. Your required nutrients are not able to be supplied, therefore the maintaining of functions is greatly reduced by this. Moreover, when using excessive effort, veinal blood is affected by high pressure within the chest and unable to return to the heart, thus producing through the vein system a condition of venous stasis, causing your face to turn blue and the arteries and veins to greatly swell. The air in the lungs cannot be exchanged, for the carbon dioxide from the blood cannot be removed. The moment in which use of excessive effort ceases, the larynx then opens and causes the pressurized air within the lungs to rush out from the nose or mouth with the greatest of force. Continued exhalation at this point produces within the thoracic and abdominal cavities such low pressure that any veinal blood beyond the chest area will now forcefully flow back to the heart, greatly reducing the amount of blood in the veins. The heart by this overloading of bloodflow is pushed to dangerously expand.According to the reasoning above, excessive effort is very harmful toward the functioning of the heart. Constantly putting forth excessive effort may ultimately lead to cardiac dilation and altering of the cardiac muscle. If this problem occurs, there is no way back from it. The function of the heart will become insufficient, resulting in death. This is why many famous champions among competitive athletes have died young, a result of continually using excessive effort. Taking the wrong path will lead to endless harms. Thus everyone should be careful while engaging in exercise. written by Lin Jingping of Ruian at the Yongjia [in Wenzhou, Zhejiang] Seaside HospitalON THE ORIGIN OF TAIJI BOXING[text copied from Yang Chengfus 1931 manual]Taiji Boxing was passed down from the Daoist saint, Zhang. He was from Yizhou in Liaodong. The monastic name he was given was Sanfeng. He was born during the end of the Song Dynasty [ending in 1279]. Standing seven feet tall, he had a cranes build and a pines bearing. His face was like the aged moon, with kindness in his eyes and brows. His beard was as long as a halberd and his hair was in a bun atop his head. Regardless of winter or summer he wore the same wide hat of bamboo. He held a Buddhist duster and walked immense distances in a single day. At the beginning of Emperor Hongwus reign [1368], Zhang went to Mt. Grand Harmony in Sichuan to practice asceticism, joining the Temple of Jade Emptiness monastery, and recited the scriptures after just one reading. In the twenty-seventh year of Hongwus reign [1394], Zhang traveled again, going to Mt. Wudang in Hubei, and he tirelessly conversed with the villagers about the scriptures. One day, while reciting passages in his room, an excited sparrow appeared in the courtyard. Because of its calls of warning off, the saint looked out his window to watch it. The sparrow was in a cypress tree, gazing down eagle-eyed, while on the ground there was a snake coiling and weaving, looking up at the sparrow. The two animals were fighting. The sparrow cried out and flew down, spreading its wings to give flapping strikes. The snake waved its head to slightly dodge, avoiding the sparrows wings. The sparrow returned to the tree to express its annoyance for a while then flew down to try again. The snake again wriggled its nimble body to evade, remaining in its coiled shape. It went on like this many times without a strike. Then Zhang came out and the sparrow flew away and the snake slithered off. The saint was illumined by this incident. The snakes coiling was like the taiji symbol and used the principle of softness overcoming hardness. From the taijis transformations was devised Taiji Boxing. It cultivates essence, energy, and spirit. Movement and stillness wax and wane as in the theory of theBook of Changes. This is the way it comes down to us from long ago and its effectiveness is increasingly proven. In Beijings White Cloud Temple there is still an image of the saint which can be reverenced.AUTHORS PREFACEWe carry uncomfortable books under our arms to study timeless and worldly knowledge, reciting works day and night with untiring diligence. But this will not work without strengthening body and mind. Or we plow on our farms till we carry the night sky on our shoulders, then tally up the harvest we bring in and haggle over the smallest grains. Again, this will not work without strengthening body and mind. Or in wading great rivers and climbing lofty mountains, marching as a soldier many hundreds of miles away on an arduous trek that torments the hands and feet, weak bodies can hardly endure such labors, even less so nowadays. In the process of natural selection, which picks out the fittest to survive, what have we presently evolved into? Our era is one of great men who engage in a battle of wits, for seeking office. This being the case in this age that has developed as it has, unless we refine our bodies and minds, enhancing the physique, we cannot stand up in the world with any independence. In 1921, I studied at the Zhejiang Physical Education Teacher-Training School. In addition to the weapons training and limbering exercises, I most enjoyed delving into the Shaolin boxing arts. Within one semester, I had learned dozens of practice sets. By intuiting through the experience, I developed a pretty good understanding. Then Tian Zhaolin of Beijing came to teach at our school, whereupon I learned Taiji Boxing. I observed in his performance of Taiji that his spirit is majestic, his energy is concentrated, his intention is engaged, and his mind is focused. He is as delicate as one overlooking a deep chasm, as alert as one facing a vast tsunami. His hands and feet are agile, and he has a graceful poise. Beyond my admiration for him, he has inspired in me a love for the art, and so I became absorbed in a deeper study of it, working at it day and night without pause. After just a few months, I felt my spirit had become so comfortable, my breathing so clear and smooth, while in my lower body I started to feel a sinking heaviness. Consequently my studies focused more and more on Tian. He presented the art rather generally, but my interest had increased to the point that in addition to attending his classes I was using all of my free time to practice Taiji. After waking in the morning and before going to bed at night, I had to practice the set several times. After I graduated, I was in line for an official post in Hangzhou. At that time, Tian was living in West Lake, so I constantly went to see him in search of further instruction. I now found the training of posture and energy to be limitless, and my mind thus became ever more untiring toward learning. In 1926, I attended the 3rd Army Cadre Academy in Nanjing. After graduating there, I was posted to the 9th Group. Before long, hostilities broke out, so I enlisted in the army itself and we set out, heading down the Jinquyan Road and through the Xianxia Gate. This was at a time when winter cold had set in. Layers of ice filled the valleys. There was rain and snow every step of the way. Each day, the army marched perhaps thirty miles through unspeakable suffering, but my spirit remained calm. Starting from the rooster announcing the dawn, we would then continue without rest until the middle of the night, but I never showed the slightest exhaustion. If it had not been for the strengthening of my body and mind, how could I have managed this? And if it had not been for practicing Taiji, how could I have taken such adversity so calmly? But after several months of it, I was thankful to be returning home. I left public life for a while and dwelled in the countryside. The work of training my body then grew forgotten and thus my spirit increasing became listless. So I instead packed up my things and went to Hangzhou to again visit Tian. Putting all my effort into Taiji, my vigor renewed itself automatically. Because of this, I then believed even more firmly in the Taiji mentality. I then traveled in Guangdong, Fujian, Anhui, and practiced Taiji without ever taking a break from it, delving into it every day. As my attainment in it gradually deepened, I took down notes of the details within each posture. I had photos made to go with the explanations and so I dubbed the workTaiji Boxing Illustrated. I hope it will carry forth our national essence, force aside our corrupt tendencies, manifest our martial spirit, and strengthen our bodies and minds. In this era of countless calamities, people should do their utmost to practice this art. With the populace strengthened and the nation roused, we will be certain to succeed. On the other hand, when we look down upon scholars and put magicians on a pedestal, the source of blame for our faults is unmistakably clear, and may the nations experts forgive us. written by Cai Yizhong at Shanghais Lowly Travelers Lodge, autumn, 1931

Portrait of the authorA GUIDE TO THIS BOOK1. The performer in the photographs is the author. He is wearing a soccer shirt and also pants that are black on one side and white on the other in order for it to be easier to distinguish the position of the hands and feet.2. In the instructions, there are parenthetic comments throughout each movement.3. Where movements are the same as before, the photos and explanations for them are usually left out to avoid repetition.4. Start by reading the instruction, then do the movement for real, then compare with the photo.5. This book uses indicators of orientation for north, south, east, west [in black squares on the floor which are often barely visible in the murky photos] to better facilitate explanation and be more easily compared with the instructions. They are not really fixed directions that must be adhered to during practice. If you perform the first posture facing to the west, south, or north [rather than east as in the instructions], so be it.6. In the photographs, the feet are stepping onto squares [a pattern of sixteen blank squares even less visible in the photos]. The size of each square is a square foot. This device is used to indicate the distance between the feet and the width of the stance in order for you to more easily understand. These are also general approximations and should not be adhered to with obsessive exactitude.7. Although the application explanations are not comprehensive, you may build further instances based on the ones presented. Practitioners who truly understand that boxing techniques are in a state of endless flux always rely on responding according to circumstances. Once your spirit achieves perfection at this, you will naturally obtain the marvel of your hands performing what is in your mind.8. Where these postures differ from what appears in other manuals, this is because every book has its specific characteristics and they cannot be forced to be identical.EXPLANATIONS FOR SOME OF THE ARTS TERMINOLOGY[1] EMPTINESS & FULLNESSWhen your bodys weight sits on your left leg, you are full on the left. When on the right, you are full on the right. With emptiness and fullness clearly distinguished, stepping and turning are performed nimbly, like the hinges of a door, and expanding and contracting are performed smoothly. If emptiness and fullness are not distinguished, your bodys weight falls between your legs. This is called double weighted. When double weighted, there will be sluggishness rather than nimbleness, and when sparring with an opponent, one leg will be put at a disadvantage while the other one is moving. With the ability to clearly distinguish between emptiness and fullness, if an opponent pulls my front leg, I can immediately change my front leg to being empty so that my root remains unaffected and he is unable to do anything to me. However, distinguishing between empty and full is really not easy. For example, in Posture 10 [8]: LEFT BRUSH KNEE IN A CROSSED STANCE, the bodys weight sits on the left leg (meaning the placement of the lower abdomen on top of the leg), and then when stepping forward to perform the RIGHT BRUSH KNEE that follows it, it is crucial for emptiness and fullness to be switched. As your right leg lifts, your upper body must not rise up, your breathing should stay normal and must not speed up. Once your right leg steps out, slowly send your bodys weight to it (meaning the lower abdomen is gently shifted to be placed atop the right leg). If you are not aware of such changes within the movement, this can unfortunately lead to a breaking in the rhythm. For instance, if when your right leg lifts there is a pause in your breathing or your upper body rises, this inconsistency of energy will then bring the problem of your power getting interrupted, and you will be rendered no different from a practitioner of the external styles of boxing. The opponent will take advantage of the gap and attack. Thus it is said that Taiji Boxing is not only a matter of needing to distinguish between emptiness and fullness in the feet, but even down to the level of a finger. To achieve such mastery is truly not easy, and so this precious principle has to be understood.[2] CONTAIN YOUR CHEST & PLUCK UP YOUR BACKWhen pushing, your hands are to push forward until in line with your knee, and though the posture of your hands does not change, your chest shrinks back. Originally flattened out, it now hollows (becomes concave), and this is termed contain your chest. With your chest hollowed, the muscles in your back are awakened. At the same time, you must loosen your shoulders (with your elbows putting all their energy into hanging down) to then send your hands pushing forward until hands and knee are aligned with each other. Make your back rounded (but not so much that your body is leaning forward). Constantly keep in mind that you are to be forcelessly pressing up your headtop, otherwise it will be easy to end up rounding your back to the point of outright curling up. At every moment in the boxing set, you should never forget to contain your chest and pluck up your back, as well as to drop your elbows and sink your shoulders. This is something which is especially to be given your attention.[3] DROP YOUR ELBOWS & SINK YOUR SHOULDERSWhen pushing, your elbows are to hang down (The intention is as though each wrist is hung up on a shelf, thus the elbow is not dropped and yet dropped.) Sinking the shoulders is a matter of the shoulder bones, which typically form a flat line, being now loosened downward, turning the flat line into a curve. It is like trimming the corners off a piece of timber. This is what is meant by sink the shoulders. (The principles of containing your chest and plucking up your back with dropping your elbows and sinking your shoulders are interrelated, making your chest and belly comfortable, your breath deep and long, your organs ideally placed, and your center of gravity stable.)[4] FORCELESSLY PRESS UP YOUR HEADTOPTo forcelessly press up your headtop is like in movement 2 of WHITE CRANE SHOWS ITS WINGS (in which your right hand lifts up and your left hand pushes down). In this moment, your head seems to want to press upward and the spirit of your whole body gathers at your headtop, but you must not allow your neck to become stiff. At the same time, contain your chest and pluck up your back, sharpen your sight and extend your hearing, make your spirit and energy course through unified, keep your spine upright, and place the weight of your body so as to be sitting stably. Right as your right hand lifts, spirit follows it, focusing upward, and while your left hand pushes down, spirit follows it as well. As it is said in the Taiji classics: Although your intention goes upward, also harbor a downward intention. Then it will be effective. It is also said: Your tailbone is centered and spirit penetrates to your headtop, thus your whole body will be aware and your headtop will be pulled up as if suspended. This is the idea.[5] LOOSEN UPThis means: to use no effort. For instance, when pushing out, the muscles of every part of your body must be both relaxed and sensitive. Therefore when pushing out, you must not overdo it (staying slightly withdrawn to the rear). One aspect of this is the shoulders sinking, which then results in the muscles of every part loosening.[6] BOW STANCEThis is like a stance for drawing a bow, one leg forward, the other behind. With the left leg forward, it is a left bow stance. With the right leg forward, it is a right bow stance. When in a left bow stance, your left leg is bent and the weight of your body sits on your left leg. The size of the step is not set in stone. It depends on what is right for the individual and for ones legs. The main criterion is ability to easily withdraw. Physiologically speaking, a womans step will typically be shorter than a mans.[7] SPEAR-HOLDING POSTURELike a soldier holding a spear, your right forearm is level, elbow bent drawing near to your right ribs, palm facing upward, [left hand forward,] as though in a posture of holding a spear.TAIJI BOXING POSTURE NAMES1.BEGINNING POSTURE2.CATCH THE SPARROW BY THE TAIL (WARD-OFF, ROLLBACK, PRESS, PUSH)3.SINGLE WHIP4.RAISE THE HAND5.WHITE CRANE SHOWS ITS WINGS6.BRUSH KNEE IN A CROSSED STANCE7.PLAY THE LUTE8.LEFT BRUSH KNEE IN A CROSSED STANCE9.RIGHT BRUSH KNEE IN A CROSSED STANCE10LEFT BRUSH KNEE IN A CROSSED STANCE11PLAY THE LUTE12LEFT BRUSH KNEE IN A CROSSED STANCE13RIGHT BRUSH KNEE IN A CROSSED STANCE14STEP FORWARD, PARRY, BLOCK, PUNCH15SEALING SHUT16CROSSED HANDS17CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN18CATCH THE SPARROW BY THE TAIL19DIAGONAL SINGLE WHIP20PUNCH UNDER THE ELBOW21LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY22DIAGONAL FLYING POSTURE23RAISE THE HAND24WHITE CRANE SHOWS ITS WINGS25LEFT BRUSH KNEE IN A CROSSED STANCE26NEEDLE UNDER THE SEA27FAN THROUGH THE ARMS28TORSO-FLUNG PUNCH29STEP FORWARD, PARRY, BLOCK, PUNCH30STEP FORWARD, CATCH THE SPARROW BY THE TAIL31SINGLE WHIP32LEFT & RIGHT CLOUDING HANDS33SINGLE WHIP34RISING UP AND REACHING OUT TO THE HORSE35KICK TO THE RIGHT SIDE36KICK TO THE LEFT SIDE37TURN AROUND, PRESSING KICK38LEFT BRUSH KNEE IN A CROSSED STANCE39RIGHT BRUSH KNEE IN A CROSSED STANCE40STEP FORWARD, PLANTING PUNCH41TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE42STEP FORWARD, PARRY, BLOCK, PUNCH43RIGHT PRESSING KICK44LEFT & RIGHT DRAPING BODY, FIGHTING TIGER POSTURE45WITHDRAW, PRESSING KICK46DOUBLE WINDS THROUGH THE EARS47LEFT PRESSING KICK48TURN AROUND, PRESSING KICK49STEP FORWARD, PARRY, BLOCK, PUNCH50SEALING SHUT51CROSSED HANDS52CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN53CATCH THE SPARROW BY THE TAIL54DIAGONAL SINGLE WHIP55LEFT & RIGHT WILD HORSE VEERS ITS MANE56STEP FORWARD, CATCH THE SPARROW BY THE TAIL57SINGLE WHIP58MAIDEN WORKS THE SHUTTLE59CATCH THE SPARROW BY THE TAIL60SINGLE WHIP61CLOUDING HANDS62SINGLE WHIP63LEANING BODY LOW POSTURE64GOLDEN ROOSTER STANDS ON ONE LEG65RETREAT, DRIVING AWAY THE MONKEY66DIAGONAL FLYING POSTURE67RAISE THE HAND68WHITE CRANE SHOWS ITS WINGS69LEFT BRUSH KNEE IN A CROSSED STANCE70NEEDLE UNDER THE SEA71FAN THROUGH THE ARMS72TORSO-FLUNG PUNCH73STEP FORWARD, PARRY, BLOCK, PUNCH74STEP FORWARD, CATCH THE SPARROW BY THE TAIL75SINGLE WHIP76CLOUDING HANDS77SINGLE WHIP78RISING UP AND REACHING OUT TO THE HORSE79CROSSED-BODY KICK80BRUSH KNEE, PUNCH TO THE CROTCH81STEP FORWARD, CATCH THE SPARROW BY THE TAIL82SINGLE WHIP83LEANING BODY LOW POSTURE84STEP FORWARD WITH THE BIG DIPPER85RETREAT TO SITTING TIGER POSTURE86TURN AROUND, SWINGING LOTUS KICK87BEND THE BOW TO SHOOT THE TIGER88STEP FORWARD, PARRY, BLOCK, PUNCH89SEALING SHUT90CROSSED HANDS91CLOSING POSTURETAIJI BOXING ILLUSTRATEDPosture 1: BEGINNING POSTUREMovement 1:1From a posture of standing upright with your feet together, your left foot then spreads aside to the left (so your feet are now at shoulder width) and your hands raise up to be level in front of you (palms facing downward) until at shoulder level. See photo 1:

Points for attention:1. Your head should be upright.2. Your emotions are composed.3. Your gaze is forward and level.4. It is not necessary to put forth any effort.Movement 2:2Your hands slowly push downward from their previous position to be placed in front of your thighs (palms facing downward, fingers pointing forward). See photo 2:

Additional explanation:In this posture, your whole body is peaceful and calm, not using the slightest bit of strength, instead behaving with naturalness.Posture 2: CATCH THE SPARROW BY THE TAILMovement 1:3Your upper body turns forty-five degrees to the right, your right toes turning along with it (the heel staying where it is). At the same time, your right hand (elbow hanging down) goes from its previous position by lifting in front of your body until in front of the right side of your chest (palm facing downward, elbow sinking down). See photo 3:

Points for attention:1. The weight shifts to your right leg.2. When your right hand shifts upward, it must do so slowly.3. When the foot turns, the heel stays where it is. (Hereafter, whenever there is pivoting of the heel, the heel will never leave its location.)Movement 2:4Your right knee bends (the heel staying where it is) and your left foot lifts and gathers in toward the right, drawing in toward your right heel, toes touching down and pointing forward (heel lifted). At the same time, your left hand shifts from its previous position to the right side of your lower abdomen (palm facing upward toward your right hand as though you are holding a ball). See photo 4:

Points for attention:1. The weight is on your right leg.2. Your left shoulder is pointing to the east.Movement 3:5Sitting stably on your right leg, your left foot steps a full step to the forward left (the size of the step as in the photo), and your left knee bends to make a left bow stance, your right leg straightening (slightly bent rather than stiffly straight). Your right hand then shifts an inch forward from its previous position and gently pushes downward to be placed beside your right thigh (palm facing downward, fingers pointing forward, positioned at about a fists distance from the thigh). At the same time, your left hand lifts from its previous position in front of your chest until at shoulder level, palm facing inward, fingers pointing to the right, elbow bent to form a semicircle, positioned at a distance of about four fists from your body, though this measure does not need to be so exact). See photo 5:

Points for attention:1. The weight is on your left leg.2. Your right leg must be slightly bent rather than stiffly straight.3. Your gaze is toward your left thumb.4. Your upper body must not bend over.5. The stepping of your leg and the spreading of your hands are to be performed in unison.6. As for the size of the bow stance, see the terminology explanation.Application:If an opponent punches at me with his right fist, I use my right hand to connect to his right wrist (as in movement 2 when your right hand pushes down), then advance with my left foot while using my left hand to attack his upper body (as in movement 3 when your left hand lifts up).Additional explanation 1:According to Taiji Boxing theory, techniques cannot be split up into movements, but to facilitate instruction and practice, they have here been broken down for easier understanding and so students can thereby progress from the simple to the complex. However, when practicing once all the movements are skillful, you can merge them so that three movements occur as two, then two movements occur as one. (For example, movements 1-3 of this Posture have a single process of movement that must never be overlooked.) This continuity conforms to the basic Taiji Boxing concept that the movements are linked together without interruption. If you are not yet at this level in your practice, you do not need to be forcing flow upon it, for it is sufficient for you to read the text and examine the photos for each posture over and over, and then you will get it. Never be afraid to do the work. With some patience for skill to develop, your pleasure in it will naturally grow. Once you are skillful at Posture 1, then practice getting movement 1 of Posture 2 to continue from the end of Posture 1. When practicing, first get Posture 1 right, then Posture 2, then link them together. If you go about it in this way, you will gradually progress. The slower the movements, the better, yet never allow there to be an interrupted energy. Discard methods of interrupted energy, but rely on slowness.Additional explanation 2:Now that an application has been brought up, the idea is first to practice a movement, then to perform it skillfully, then to examine its function. If otherwise, it will easily become a mess. Many of the movements have no function and are simply transitional movements. If there were no transitional movements, then a practice set could not be put together into a single flow. Sometimes movements have functions that do not seem to conform to the movements, as for example in movement 3 of Posture 2 when your right hand pushes down and your left hand lifts up. Upward movement is seen when your left hand lifts, but there is no apparent intention of attacking an opponent with it, and yet the function within the movement is to use your left hand to attack an opponents upper body. If you encounter such a situation, you must still act in accordance with the movements, but when their functions are also in your mind, then you will succeed. By this means, you will be able to achieve the way of spirit coursing through.Movement 4:6The weight shifts onto your right leg and your left toes turn sixty degrees to the right (the heel staying where it is). Then the weight shifts back to your left, your left knee bending, your body at the same time turning to face to the south (your right foot and the posture of your hands not changing). See photo 6:

Movement 5:7Sitting stably on your left leg, your right foot lifts and withdraws toward the left, the knee bending, and draws near to your left foot (toes touching down, heel lifted). At the same time, your left palm turns to face downward (its position not changing apart from slightly withdrawing to the rear) in front of the left side of your chest, positioned at a distance of about two fists from your chest, elbow hanging down, while your right hand arcs to the left (going upward from below) to be placed in front of your lower abdomen (the palm facing upward, the palms facing each other as though you are holding a ball). You are facing to the south. See photo 7:

Movement 6:8Your right foot now steps out a full step to the forward right, making a right bow stance (The width of the stance is as in the photo. See also the terminology explanation.), your left leg straightening (not straightening to the point of stiffness, staying somewhat bent). At the same time, your left hand slowly pushes down from its previous position to be placed beside your left thigh (palm facing downward, fingers pointing forward), and your right hand goes from its previous position by lifting in front of your body until at chest level (palm facing inward, fingers pointing to the left, elbow slightly bent to form a semicircle, positioned at a distance of about four fists from your chest). See photo 8:

Points for attention:1. You are oriented to the south.2. The weight is on your right leg.3. Your left hand pushing down and your right hand lifting up are to be performed in unison with the step.Application:If an opponent uses his right fist to punch at me, I use my right forearm to catch his right forearm and veer it off to my right side (as in movement 6 when your right hand lifts upward), as though I am catching a small bird by the tail, then I advance with my right foot and attack (If my right foot is already forward, it is not necessary for me to do a further advancing step, for inclining my body and turning my waist will be enough.)Movement 7 WARD-OFF:Your waist slightly shifts forward from its previous position and your right leg goes along with it (but without moving the foot) so that your right knee protrudes forward. At the same time, your right hand shifts upward and forward about an inch higher than it was, then returns to the position in the photo above.Application:If an opponent attacks straight toward me, I first use my right hand to ward off, then my wrist to stick to the middle of his forearm, and I put forth confusing energy to ward it away upward. I seem to be using my right hand to listen to his energy. (This is what it means to listen to an opponents force.) I can thereby instantly determine what his intention is and immediately adapt the rest of my movement to it. Therefore when I shift upward from below, I must not do so as a rigid collision.Movement 8 ROLLBACK):9Sit onto your left leg (the weight shifting to your left leg), your right leg correspondingly straightening (with the heel not moving), your left hand lifting from its previous position to be placed in front of your chest (palm facing to the right, fingers pointing forward, positioned at a distance of about three fists from your chest, elbow bent and pointing outward to the left, forming a semicircle). At the same time, your right arm extends forward (slightly bent, palm turning to face to the left). As you sit back, your waist gently turns to the left (as though deflecting something away toward the left), fingers pointing diagonally upward at eye height, thumb in line with your nose and positioned at a distance of about four fists from your nose. See photo 9:

Points for attention:1. Sitting back and rolling back [should be performed in unison].2. Your left hand lifts in the process of rolling back.3. Your upper body faces halfway to the left.Application:ROLLBACK follows upon WARD-OFF. Once I have warded off, I have already determined the direction of the opponents force, so I then use my left hand to connect to his right wrist (as in movement 8 when your left hand goes upward in front of your chest), use my right forearm to connect to his left upper arm (as in movement 8 when your right arm extends forward), and by inclining my body and turning my waist, I deflect to the left. This is called ROLLBACK, and herein lies the concept of four ounces moving a thousand pounds. The idea is to first neutralize an opponents thousand pounds of force to render it useless and to lure him into losing his balance, then to add four ounces of force (as in the PRESS technique that follows). Otherwise, how could four ounces move a thousand pounds?Movement 9 PRESS:10The weight shifts to your right leg (without your feet moving) and your right knee bends to make a right bow stance, your left leg straightening (yet slightly bent). At the same time, your right palm turns inward (elbow bending), the back of the hand facing forward, and your left hand shifts forward so the fingertips are touching your right forearm (to the inside of your right hand, palm facing diagonally downward). The weight now shifts forward, your waist then pushing forward, as though you are pushing at something. See photo 10:

A point for attention:When performing PRESS, the actions of hands, legs, and body must be performed in unison.Application:When applying ROLLBACK, my right hand may easily be plucked by the opponent. I can go along with his plucking momentum and perform PRESS. If he advances, I again apply ROLLBACK, but if he retreats, I take advantage of the opportunity and press out. The usages of PRESS are numerous. There is pressing upward, pressing diagonally, pressing across, etc. Whenever the wrist is use to press against an opponent, it is called PRESS.Movement 10 PUSH (part 1):11Sit onto your left leg (the weight shifting to your left leg), your right leg straightening. At the same time, your arms extend forward (slightly bent), then once you have sat back, your elbows bend and your hands withdraw (palms facing diagonally downward, fingers pointing diagonally upward, spread to shoulder width, elbows positioned at about a fists distance from your belly). See photo 11:

Points for attention:1. The weight is on your left leg. Your upper body must not lean forward or back.2. When sitting back and withdrawing your hands, the movement must be performed slowly.Movement 10 PUSH (part 2):12The weight shifts to your right leg, your right knee bending to make a right bow stance, your left leg straightening (yet slightly bent). From their previous position, your hands go along with your waist to push out straight ahead (as though pushing an object), maintaining their width, palms facing forward, fingers pointing upward, fingertips at chin level, positioned at a distance of about four fists from your body, elbows bent and hanging down. You must drop your elbows and sink your shoulders. (See the terminology explanation.) See photo 12:

A point for attention:When performing PUSH, the movements of the hands, waist, and legs are all to be performed in unison.Application:PUSH is an intention of releasing. There are two parts to the technique: 1. If an opponent applies PRESS to me, I use both hands to seal off his arm and I go along with his attacking momentum by sitting back and bending my elbows (as in part 1 when you sit onto your back leg, bending and withdrawing your elbows). This neutralizes his power and lures him into losing his balance. 2. The opponent at this moment must retreat, so I take advantage of his retreating momentum and add my PUSH to it (as in part 2 when you push straight ahead with both hands). However, I must not stiffly push forward. I must wait for his movement to slacken or for him to lean back, then I can add the PUSH. As for the power of it: Starting from your foot, issue through your leg, directing it at your waist, and expressing it at your fingers you will then catch the opportunity and gain the upper hand. To perform PUSH is to release.Explanation for WARD-OFF, ROLLBACK, PRESS, and PUSH:During WARD-OFF, ROLLBACK, PRESS, and PUSH, there are altogether five weight shifts. When shifting, it is very easy to commit the errors of swaying your buttocks and rising up with your body. Therefore the movements must be performed slowly and the breathing can then be natural. The more these techniques are practiced, the better. This is because they are extremely useful. They are the basis for the two-person exercises of pushing hands and moving-step pushing hands. The transformations within them are infinite. Give them careful attention.Posture 3: SINGLE WHIPMovement 1:13The weight shifts onto your left leg, your right toes put all their energy into turning a hundred twenty degrees to the left, your upper body turning to be squared to the east, and your hands go from their previous position by going to the left in a large arc, going along with your waist, arms extended, until reaching to the northeast (hands at shoulder width, palms facing outward, fingers pointing upward). See photo 13:

Points for attention:1. The weight is on your left leg.2. Your knees bend so there is a distance of only about two fists between them.3. Your gaze is toward your hands.134. Your right foot turns in as far it will go.Movement 2:14The weight shifts onto your right leg, your left leg straightening. Your hands go along with your waist by arcing to the right (outward to the left from the upper left, then to the right from the outer left), right hand arcing until in line with your right shoulder, then its five fingers hang down, making a hanging hand, left hand arcing until in front of your lower abdomen, to be placed in front of the right side of your lower abdomen (palm facing inward, fingers pointing downward, positioned at a distance of about two fists from your lower abdomen). See photo 14:

Points for attention:1. The weight is on your right leg.2. Your upper body is squared to the east.3. Your hanging hand points diagonally to the southeast.4. The arcing of your hands and sitting back are to be performed in unison.5. Your gaze follows your right hand, peripherally watching your left hand.Movement 3:15Your upper body turns to be squared to the north, your right toes also turning to the left (pivoting on the heel), your left leg lifts (thigh level, toes hanging down, knee pointing to the north). At the same time, your left hand, elbow hanging down, goes from its previous position by lifting in front of your body to be placed in front of your chest (the palm turning to face outward, fingers pointing upward, positioned at a distance of about two fists from your chest, fingertips at chin level, elbow bent and hanging down). See photo 15:

Points for attention:1. The weight is entirely on your right leg.2. Your upper body is squared to the northeast. Your gaze is to the north.3. The lifting of the leg and shifting of the hand must be performed in unison.Movement 4:16Your left foot now steps down to the forward left (northeast) and you make a left bow stance, your left knee bending, your right leg straightening (yet slightly bent). Your right hooking hand does not change, but your left hand goes along with the step by gently pushing out forward (elbow bent and hanging down, palm facing forward, fingers pointing upward, fingertips at eye level), positioned at a distance of about four fists from your eyes. See photo 16:

Points for attention:1. The weight is on your left leg.2. Your gaze is toward your left hand.3. Loosen your shoulders and drop your elbows. Settle your wrists and hollow your chest. All parts should function cooperatively.Additional explanation:The four movements above add up to a single posture. Particular attention must be paid to the turning of the foot in movement 1. If the toes are not turned in as far as they can go, then the step in movement 4 will not be easy, and it will also be difficult to get the orientation to be correct. Therefore the toes must be turned a hundred and twenty degrees. While the toes turn, you must shift your weight onto your left leg, and then your right toes will turn naturally and easily. This postures orientation has three phases. You start out facing to the south, then turn to the east, then to the north, resulting in your gaze being toward the north, your left leg stepping to the northwest, and your upper body being squared to the northeast. When practicing, carefully imitate the photographs.Application:I am being attacked by opponents to my right and left at the same time. To deal with the opponent on my right, I use my right hand to connect to his right wrist (as in movement 2 when your right hand arcs until in line with your right shoulder), neutralizing his power and luring him into losing his balance. Once he is about to lean and stumble, I push down with my fingers. If he is able to detect this energy, he will surely shrink back, so I continue by pressing in with my knuckles, which if he adapts to I then move on to using the back of my hand, and finally my wrist, fully forming the hanging hand posture. However, if he [does not detect my pushing down energy and] does not move [back], there would be no cause for me to apply the hanging hand. At the same time, the opponent to my left uses his left hand to attack me, so I use my left hand to connect to it and neutralize his power (as in movement 3 when your left hand lifts from beside your left leg to be placed in front of your chest and your hand turns to face outward). This neutralization draws him toward my left side, and then just as he is about to lean and stumble, I use my left palm to push him (as in movement 4 when you step out and your left hand pushes forward).Posture 4: RAISE THE HANDMovement 1:17The weight shifts onto your right leg, your left toes turn forty-five degrees to the right, then shift your weight to again be sitting on your left leg. Your hands and right foot stay as they were. At the same time, your upper body turns to be squared to the east. See photo 17:

Movement 2:18Sitting stably on your left leg, your right leg lifts and withdraws toward your left leg. When the foot comes down, the heel is touching down, toes lifted (pointing to the southeast, knee slightly straightening). At the same time, your hands embrace inward (as though embracing something in front of your chest, the movement loosened and soft, with your shoulders sinking and elbows dropped), your right hand slightly extended, slightly bent (palm facing to the left, fingers pointing diagonally upward, fingertips at eye level, positioned at a distance of about four fists from your eyes, hand slightly inclining to the right, elbow hanging down), your left arm bent (elbow hanging down, palm facing to the right, fingers pointing upward, fingertips at chin level, positioned at a distance of about three fists from your chin, also slightly inclining to the right). Your hands embrace in front of your chest, but must have a slight inclination toward the right. See photo 18:

Points for attention:1. The weight is on your left leg.2. Your gaze is toward your right hand.3. Your upper body is squared to the east.4. Your right hand is to the outside of your right shoulder.5. While your hands are moving toward each other, your right foot lifts. When your hands come together, your right foot comes down, neither before nor after.Application:If an opponent uses his left hand to attack me, I use my left hand to stick to his left wrist, my right forearm to stick to his left upper arm, and I squeeze in and then send him out with PRESS. This is similar to the application for PLAY THE LUTE (explained below in Posture 7), thus the name for this technique with the hands reversed is PLAY THE LUTE.Posture 5: WHITE CRANE SHOWS ITS WINGSMovement 1:19Your right foot lifts and slightly advances a half step, the toes turning to point to the northeast, and the foot comes down fully. The weight shifts to be sitting stably on your right leg and your upper body turns to be squared to the north. At the same time, your left leg lifts and immediately lowers (toes touching down, heel lifted, knee pointing to the north). Your left hand does not change in its posture, but goes along with your waist in turning to the north (except the elbow goes slightly higher and bends outward to the left, palm facing downward, fingers pointing to the right at chest level, positioned at a distance of about two fists from your chest). At the same time, your right hand leaves its previous position, going along with your waist by arcing toward your belly to be placed in front of your lower abdomen at navel level (palm facing upward, fingers pointing to the left, facing your left hand as though you are holding a ball). See photo 19:

Points for attention:1. Turning your body and arcing with your right hand are to be performed in unison.2. While your right foot advances its half step, it turns its toes.3. The weight is on your right leg.Movement 2:20Your left hand slowly pushes downward from its previous position to be placed beside your left thigh (fingers pointing forward, palm facing downward, positioned at about a fists distance from the thigh). At the same time, your right hand lifts in front of your body (palm facing inward while lifting, elbow pointing upward, fingers pointing downward, the hand positioned at a distance of about three fists from your body, lifting then turning, palm turning to face outward) to arrive in front of your right temple (palm facing outward, fingers pointing to the left, positioned at a distance of about three fists from your forehead). See photo 20:

Points for attention:1. The weight is on your right leg.2. When your right hand lifts upward, your left hand must push downward. It is like drawing silk.3. Your gaze follows your right hand.4. You should forcelessly press up your headtop. (See the terminology explanation.)Application:If I use my right hand to attack an opponent (as in movement 1 when your right hand arcs toward your lower abdomen) and it gets pushed down by his left hand, I can go along with his downward push. If he at this moment uses his right hand to attack, I can use my left hand to connect to his right wrist and pluck downward (as in movement 2 when your left hand pushes down). My right hand takes advantage of this action by going upward from below, moving along my right side to attack his head (as in movement 2 when your right hand lifts in front of your body). Or I may send my left hand downward to the left to spread aside his right wrist (as in movement 2 when your left hand pushes down), while sending my right hand upward to the right to spread aside his left wrist (as in movement 2 when your right hand lifts in front of your body), thereby dispersing his force.Posture 6: BRUSH KNEE IN A CROSSED STANCEMovement 1:21Your right hand goes from its previous position (elbow hanging down), palm turning to face inward, fingers pointing upward, slowly lowering so that the elbow draws near to your right ribs as in a spear-holding posture. At the same time, your left arm extends forward from its previous position (slightly bent, palm facing to the right, fingers pointing forward) and your upper body turns halfway to the right. See photo 21:

Points for attention:1. The weight is still on your right leg.2. Your lower body does not move while your upper body turns halfway to the right, for there is turning only at the waist.3. Your left hand is to the north, but your right hand inclines toward the northeast.4. Your gaze is toward your left hand.Movement 2:22Your upper body turns to be squared to the north, your hands not changing in their posture, and your left leg lifts (thigh level, toes hanging down). See photo 22:

Movement 3:23Your left leg now steps out a full step to the forward left northwest making a left bow stance, your right leg straightening (yet slightly bent). At the same time, your left hand goes along with the lowering of your leg, going from its previous position by sweeping downward (sweeping from in front of your knee outward to the left) to be placed beside your left knee (palm facing downward, fingers pointing forward, positioned at about a fists distance from the thigh). Your right hand meanwhile has gone from its previous position to gather in toward your right ear and now goes along with your waist by pushing out forward from beside your right ear (going downward from above), elbow slightly bent, palm facing forward, fingers pointing upward, in line with your right shoulder, positioned at a distance of about five fists from the shoulder). See photo 23:

Points for attention:1. The weight is on your left leg.2. The size of the step is as in the photo.3. Your leg lowering and your right hand pushing forward are to be performed in unison.Application:If an opponent uses his right hand to attack me, I use my right hand to connect to his right wrist, inclining my body and turning my waist to draw him in toward my right side (as in movement 1 when your right hand lowers and your elbow goes toward the rear), then use my left hand to attack his head (as in movement 1 when your left hand lifts in front of your body). At this moment, if he then uses his left hand to attack, or uses his left leg to kick, I use my left hand to brush aside to the left (or drag aside his leg), then step forward and use my right hand to strike to his upper body or to push him away (as [in movement 3] when your left hand brushes past your knee and your right hand pushes forward).Posture 7: PLAY THE LUTEMovement:24The weight shifts fully onto your left leg, your rear leg lifts and comes forward a half step (toes still pointing in the same direction), and the weight then shifts to your right leg. Now sitting on your right leg, your left leg then lifts and slightly shifts back, heel touching down, toes lifted and pointing to the northwest. At the same time, your hands go from their previous position to embrace inward, palms facing each other, right arm bent and placed in front of your chest (palm facing to the left, positioned at a distance of about two fists from your chest), left arm slightly straightening (elbow hanging down, palm facing to the right, fingers pointing diagonally upward, fingertips in line with your left eye). Your hands seem to be holding a lute. See photo 24:

Points for attention:1. The weight is on your right leg.2. Your gaze is toward your left hand.3. Your left toes are pointing to the northwest, your right toes to the northeast.4. You are still facing to the north.5. First advance with your right foot, then as your left foot lifts, your hands also lift, and as your left heel touches down, your hands come together.Application:If an opponent uses his right hand to attack me, at the moment his arm seems to be straight I use my right hand to stick to his right wrist, my right hand to stick to his right elbow, and using power from my waist, I squeeze inward. When squeezing, my waist seems to be twisting to the right. (This technique entirely depends on power from the waist.) Even if his arm does not break, it will be injured. This is one way to apply this technique. For another scenario, I may use my right hand to stick to his right wrist and my left hand to push on his right shoulder, feeling for what he will do, then wait for the right moment to issue.Posture 8: LEFT BRUSH KNEE IN A CROSSED STANCEMovement:23Sitting stably on your right leg, your left leg lifts, and steps out a half step forward (to the northwest), making a left bow stance, your right leg straightening (yet still bent). At the same time, your left hand brushes past your knee to be placed beside your left thigh (fingers pointing forward) as your right hand arcs from its previous position to the right rear, palm first facing outward, going downward from above, then arcing and turning over until beside your right ear (palm now facing forward, fingers pointing upward). When you step out, your right hand goes along with your waist by pushing out forward (going upward from below). The movement is almost the same as in Posture 6, movement 3 photo 23, and the positioning of the hands is identical.Points for attention:1. The weight is on your left leg.232. The posture is the same as in photo 23.3. Your orientation is still to the north.4. This posture is slightly different from Posture 6, for this left bow stance only advances a half step, whereas the one in movement 3 of Posture 6 makes a full step.5. When your foot comes down, it must do so lightly and soundlessly.Additional explanation:There are hereafter very many postures in which there is a step forward. Before stepping forward, you must sit stably on your rear leg. For instance, when stepping out with your left foot, sit stably on your right leg. In this way, your steps will naturally be nimble. It says in the Taiji Boxing classics: Step like a cat. It is this idea. Therefore unless you step lightly, it will not work, and if you wish to step lightly, it depends entirely on sitting stably on your rear leg. Furthermore, the actions of your hands and feet must be performed in unison,as in Posture 6, movement 3. When your left foot steps out, your left hand brushes past your knee, seemingly with an intention of sweeping aside an opponents leg, and your right hand in that moment goes along with your waist to push forward to the opponents upper body. If the actions of brushing and pushing are out of synch, then the value of the technique will have been spent.Application:If an opponent uses his left leg to kick me, I use my left hand to sweep away his leg, then use my right hand to strike to his upper body or to push him away.Posture 9: RIGHT BRUSH KNEE IN A CROSSED STANCEMovement 1:25Your left toes turn forty-five degrees to the left, the weight shifts onto your left leg, and you sit stably on it. Then your right foot lifts and draws nears to your left foot, toes touching down, heel lifted. Your hands have not changed in their posture. See photo 25:

Movement 2:26Your right foot lifts and now steps out a full step to the forward right, the knee bending to make a right bow stance, your left leg straightening (yet still bent). At the same time, your right hand goes from its previous position to brush past your knee and is placed to the right side of your right knee (fingers pointing forward), your left hand lifting from its previous position (fingers pointing upward) until beside your left ear, then going along with your waist during the step by pushing out straight ahead (elbow slightly bent, palm facing forward, fingertips in line with your left shoulder, positioned at a distance of about five fists from the shoulder). See photo 26:

Points for attention:1. The weight is on your right leg.2. Your gaze is toward your left fingers.3. When stepping out, the actions of the hands and legs are to be performed in unison.Application:If an opponent uses his right fist to punch at me, I use my right hand to brush it aside to the right (as in movement 2 when your right hand brushes past your left knee), then use my left hand to strike to his chest or belly, or to push him away (as in [movement 2] when your left hand pushes forward).Posture 10: LEFT BRUSH KNEE IN A CROSSED STANCESame as in Posture 8 (except for the large forward step with your left foot, which makes it slightly different).Posture 11: PLAY THE LUTESame as in Posture 78.Posture 12: LEFT BRUSH KNEE IN A CROSSED STANCESame as in Posture 8 (but again with your left foot making a large forward step).Posture 13: RIGHT BRUSH KNEE IN A CROSSED STANCESame as in Posture 9.Posture 14: STEP FORWARD, PARRY, BLOCK, PUNCHMovement:27Your right toes turn about forty-five degrees to the right. Sitting stably on your right leg, your left leg lifts, steps out a full step to the forward left, and the knee bends to make a left bow stance, your right leg straightening (yet slightly bent). Your left hand does not change in its posture, but goes slightly forward, fingers raised forward (palm facing diagonally downward), while your right hand grasps into a fist (a hollow fist that does not use strength) and lifts from its previous position so that the forearm is level, first withdrawing the elbow, then going from your waist toward your left hand, gently punching forward under your left palm (elbow slightly bent, hanging down, does not need to be straight). See photo 27:

Points for attention:1. Your gaze is forward. The weight is on your left leg. The punch must be performed gently.2. From Posture 9 to this one, there is a total of six stepping actions.Application:If an opponent uses his right fist to punch to my chest or belly, I use my right fist to connect to his right wrist and parry it downward to the right (as in the part of the movement when your right hand grasps into a fist and the elbow withdraws, resembling a spear-holding posture). At the same time, I use my left hand to attack his upper body (as in the part of the movement when your left hand does not change its posture but pushes slightly forward). If he now uses his left hand to block aside my left hand, I in turn use my left hand to take his left hand aside, advancing, and use my right hand to strike to his chest or belly. Ifmy left foot is already in front, it wouldnot then be necessary for me to take a full step forward.Posture 15: SEALING SHUTMovement 1:28Your left hand slightly shifts to the right until below your right elbow, your right hand withdrawing from the left to be placed above your left hand (the hands crossing, palms facing downward). (The photo for this moment could not be included.) At the same time, the weight shifts to your right leg. As you sit onto your right leg, your left leg straightens (When sitting back, your waist first twists to the left.) and your hands spread apart (to shoulder width, fingers pointing upward, palms facing forward, elbows hanging down), following your waist as you sit back, withdrawing until in front of your chest. See photo 28:

Points for attention:1. The weight is on your right leg.2. The actions of sitting back and withdrawing your hands occur in unison.3. Your upper body must not lean back.4. Your gaze is forward.Movement 2:29The weight again shifts to your left leg, your left knee bending to make a left bow stance, your right leg straightening (yet slightly bent). At the same time, your hands slightly lower, by about two inches, then go along with your waist by pushing out straight ahead. See photo 29:

A point for attention:Your waist and legs move, but your feet do not.Application:When I punched to the opponents chest or belly, if my right elbow got pushed aside by his left hand, he has neutralized my power. I can take advantage of the energy of his pushing across by taking my left hand from behind and below my elbow to connect to his left wrist (as in movement 1 when your left hand shifts to the right to be under your right elbow), withdrawing my right hand (from the left side), inclining my body and turning my waist, luring him into losing his balance (as in movement 1 when your waist twists to the left). At this moment, once my right hand has sufficiently escaped, it then connects to his left elbow (as in [movement 1] when your hands spread apart). When I sit back, I have the intention of drawing him in so he loses his balance, and he is in that moment compelled to retreat, so I go along with his retreat by adding a push (as in movement 2 when your hands slightly lower and push out forward).Posture 16: CROSSED HANDSMovement 1:30Your left hand slightly shifts to the right (palm facing to the right) and your right hand lifts to be above your left hand (palm facing to the left) so that your hands are now crossed. At the same time, the weight shifts onto your right leg and your upper body turns to the right (to be squared to the east). Your left leg is now straight, toes pointing to the east (the heel still where it was). The posture of your hands does not change while your waist turns and they are placed in front of your chest, positioned at a distance of about three fists from your chest, palms facing outward, fingertips at eye level. (When your upper body turns, your right toes lift and go along with your waist by turning forty-five degrees to the right, the heel staying where it is, the toes pointing to the east.) See photo 30:

Points for attention:1. The weight is on your right leg.2. When your upper body turns, your hands do not change their posture. As your waist turns to be squared to the east, the toes of both feet turn along with it.Movement 2:31Then the weight shifts to your left leg and your right foot pulls back to be in line with your left toes, shoulder width apart, while your hands extend upward in front of your body, palms turning to face forward, spreading in unison to the sides. As your hands spread, your knees bend and your body squats down (your hands arcing downward from above). Once your body has squat down, your hands have come together to be again crossed in front of your chest (palms facing inward, positioned at a distance of about four fists from your body). See photo 31:

Points for attention:1. The weight inclines to your left.2. Your upper body must not lean forward or back.3. The spreading of your hands and the squatting of your body are to be performed in unison.Movement 3:32Your body stands up, both legs straightening. The posture of your hands not changing, they rise upward along with the rising of your body to be directly in front of your chest (elbows hanging down, thumbs at nose level). See photo 32:

Points for attention:1. The weight is still on your left leg.2. Standing up must not be done too quickly.3. You are facing to the east.Application:When performing SEALING SHUT, I use both hands to push on the opponents arm. If he neutralizes this technique by keeping his elbow where it is but loosening his left palm to lure me into losing my balance, I could at this moment easily lean and stumble away, or he could easily attack my face. Therefore if my left hand feels his left hand loosening, I immediately take advantage of his loosening action by using my left hand to strike directly to his chest (as in movement 1 when you shift your left hand slightly to the right). At the same time, I use my right hand to connect to his left elbow and push it across toward my left side (as in movement 1 when you shift your right hand to be above your left hand). If he then uses his right hand to counterattack, I cross my hands to seal it off, or I shift my right hand to connect to his right wrist and lead it toward my right side (as in movement 1 when you sit onto your right leg and turn your upper body to be squared to the east). Once my body has turned to be squared to the east, if he uses both hands to perform PRESS toward me from the east, I connect to his elbows and prop them upward, causing his hands to be squeezed together and unable to apply power (as in movement 2 when your hands extend upward). This is one way to apply this technique. For another scenario, if when he uses both hands to PRESS, I instead use both hands to connect to his wrists and spread them apart to the sides (neutralizing), then pluck downward while squatting my body down (as in movement 2 when you bend your knees and squat your body down, spreading your hands to the sides). When he has been plucked downward, his energy is sure to recoil upward, so I take advantage of his upward recoil by propping up his elbows to send him away (as in movement 3 when you stand your body up and straighten your legs, your hands correspondingly rising upward).Posture 17: CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAINMovement 1:33The weight shifts to your right leg, your left toes lift and turn forty-five degrees to the right, then the weight shifts back onto your left leg, and your upper body turns to be squared to the south, your right foot going along with this action by stepping out a full step to the forward right (knee straight). Your left hand does not change in its posture except for the palm turning to face outward (fingers pointing forward, tigers mouth facing downward), and is placed beside your left ear, positioned at about a fists distance from it, while your right palm turns to face downward (slightly lower than your left hand) and is