taijiquan 24 form

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Taijiquan 24 Form Standard Simplified Orthodox Chinese National Version, T'ai Chi Ch'uan 24 Movement Form, 1956, Yang Style

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Page 1: Taijiquan 24 Form

Taijiquan 24 Form

Standard Simplified Orthodox Chinese National Version, T'ai Chi Ch'uan 24 Movement Form, 1956, Yang Style

Page 2: Taijiquan 24 Form

1.   Opening Posture of Taijiquan       ( Taijiquan Qi Shi)    

Commencing (Qishi)  [Liang & Wu 1996] Starting Posture  [Zhang Fuxing 1996; Chong 1981]  The Beginning  (Qi Ji)  [Foen Tjoeng Lie 1988; Metzger & Zhou 1996] Starting Form  [Zhao 2006]  Standing Quietly, Raise and Lower Hands  Reconnecting with Oneness and EmptinessQuiet Standing Mediation: Zhan Zhuang, WuJi   CommencementTaijiquan Opening MovementOpening Posture of Taijiquan  [Garofalo 2008]  Maintien d'ouverture de Taijiquan   Öffnung Lage von Taijiquan  Postura de la Abertura de Taijiquan预 备  :  Yu Bei  :  Preparation Form

Face N 12 (1a) .  For an explanation of the directional scheme used in Cloud Hands webpages, please see below.  Stand at attention for awhile.  In Taiji and Qigong, standing quietly in a meditative posture for awhile is the first phase.  Relax ( Sung ).   Shoulders are down, hands relaxed and gently touching the side of leg, and head is erect.  This is the phase of WuJi (empty state), or standing like a tree (Zhan Zhuang), and Reconnecting with Oneness and Emptiness.  Breathe easily and comfortably.  Sink weight into right leg, and then step out to the left to shoulder width (1b).  Gently raise both arms up (1c), palms facing down, to about shoulder height (1d).  Lower both arms, palms down, to Dan Tien height, and lower knees (1e).  The lower Dan Tien is a sphere of energy located a few inches behind and below the level of the navel or belly button; the middle Dan Tien is located in the heart area, and the upper Dan Tien is located behind the eyes in the brain. The most important for Taijiquan is

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the lower Dan Tien.   Practitioners of Kundalini Yoga might consider correspondences of the 3rd Chakra (Manipurna) [Power, Will] with the Lower Dan Tien, the 4th Chakra (Anahata) [Compassion, Love] with the Middle Dan Tien, and the 6th Chakra (Aina) [Intuition, Vision, 6th Sense] with the Upper Dan Tien.  The Chinese energetic system is quite different from the Indian energetic system, so correspondences are weak in this case.  This is movement often called "Raising Hands and Lowering Hands."Breathe normally as you stand, relax, and center in position 1a.  Breathe in through nose, and out through the nose.  Slow the respiration rate to inhaling for 4-5 seconds, holding the full in-breath for 1-2 seconds, exhaling slowly for 4 to 5 seconds, pausing 1-2 seconds before beginning the yin/yang cycle of breathing again.  Breathe in at 1a, breathe out as you step to 1b.  Breathe in as arms float up 1b-1c, and breathe out as arms float down (1d-1e).  

            (1a)                            (1c-1d)

Here is a description of the beginning of the Opening Posture of Taijiquan (#1, 1b) from the book Traditional Chen Style Taijiquan by Fan Chun-Lei and A. Frank Shiery, p.37: 

    "1.  Preliminary Stance:  Stand naturally upright with the feet placed shoulder-width apart, toes pointed slightly inward, and arms hanging naturally at the side.  The body should be kept upright with the shoulders relaxed, eyes slightly closed and breathing naturally.  The body should face north.  The mind should remain empty, calm and clear.  This is the state of WuJi, (Negative Terminus in Taoist Teaching).      2.  Commencing Form:  The body should exhibit being relaxed externally while solid within.  The head is held naturally erect as if pulled upward by an invisible string.  Close the lips slightly with the tongue touching the upper palate.  The toes firmly grasp the ground with Yongquan point pulled upward.   The eyes are looking straight ahead with the chin drawn slightly inward.  The hip is turned up and the coccyx turned back and upward with the waist directed downwards.  The whole body should remain relaxed.  A mind state of intent is maintained while the vital energy flows upward from the Dantian to the Baihui point, while the turbid energy flows downward from the Dantian to the Yongquan point.  During this time, the body exhibits no external movement.  Yin/Yang, for example, closing/opening, supple-firm and fast-slow are manifested internally, portraying the image of the Taiji, (Grand Terminus) (1b).          Key Points to Remember:  For the beginner, the primary concern should be to cleanse the mind and spirit of tension and anxiety, removing all negative thoughts.  This develops even-temperedness and an alert mind for quick movement and response.  Once this technique has been mastered, the practitioner can begin to

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understand and practice Taijiquan more effectively."-   Fan Chun-Lei and A. Frank Shiery, Traditional Chen Style Taijiquan

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2.   Wild Horse Shakes Its Mane       ( Ye Ma Fen Zong )   

Part the Wild Horse's Mane  (Yema Fenzong)   [Liang & Wu] Wild Horse Waves Its Mane  [Zhang Fuxing]Parting a Wild Horse's Mane  (Zuo You Ye Ma Fen Zong)  [Foen Tjoeng Lie]   Wild Horse Parts Its Mane  [Chong]  Parting the Horse's Mane  [Metzger & Zhou] Wild Horse Splits Mane  [Zhao]  Wild Horse Shakes Its Mane  Mustang Tosses Its Wild Mane  Left (左 : Zou) Part the Wild Horse's Mane (Zou Yema Fenzong)

Right (右 : You) Part the Wild Horse's Mane (You Yema Fenzong)  Wild Horse Shakes Its Mane  [Garofalo]  Le Cheval Sauvage Secoue Sa Crinière  Wildes Pferd Rüttelt Seine MähneEl Caballo Salvaje Sacudare Su Melena野马分鬃  : Ye Ma Fen Zong  :  Parting the Wild Horse's Mane 

The general direction of movement is in a straight line from E3 towards W9 in Movement #2.  Part the Wild Mustang's Mane Three Times: 1. To the left side (2e), 2. To the right side (2j), and 3. To the left side (2o).  Please study the recommended online videos to see how the series of postures in this particular movement are performed. 

When performing the short form, players should: move slowly, move continuously, keep the movements rounded, move without great effort, relax, keep the head up, let the mind direct the movements, don't bounce, and maintain an upright posture.  Breathe in through the nose and out through the mouth, breathe deeply and regularly, breathe in when pulling back or reaching up, and breathe out when going forward or reaching down.  All the basic principles found in the T'ai Chi Ch'uan Classics should be followed when doing the Beijing simplified Taijiquan form.  

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Gently rise up to normal height (2a).  Circle right arm counter-clockwise up to chest height, with the palm facing down.  Draw left arm to waist, with the palm facing up (2a).  Imagine holding a ball between the two hands.   Turn the waist to NE1 (2b).  Draw the left foot to the side of the right foot (2b).  Hold Tai Chi "energy ball" with right hand, palm down, at chest height; and left hand below, palm up, at Dan Tien height (2b).  Relax and gently inhale.   

"Part Wild Horse's Mane to the Left" by stepping diagonally with the left leg (2d), bring left hand out, palm up, to about chest height (2e).  Exhale as the left arm extends.  Left elbow is slightly bent.  Right hand moves down to right hip (2e), with the right palm down.   End with chest facing W9, left hand to SW7.  Left bow stance with 60% of weight in forward left leg (2e), left knee bent; and, 40% of weight in rear right leg, with leg bend.  Head upright.   Shoulders down. 

"Part Wild Horse's Mane to the Right" by first drawing the weight back into the right leg, pivot on left heel (2f), drawing the left hand back as the torso turns to face SW7 (2g).  Step forward with the right foot to side of left foot (2g).  Step out the right leg to the diagonal (2i).  Exhale as the right arm extends (2i).  Right elbow is slightly bent.  Left hand moves down to left hip (2j), with the left palm down.   End with chest facing W9, left hand to NW11.  Right bow stance with 60% of weight in forward right leg (2j), right knee bent; and, 40% of weight in rear left leg, with leg bend.  Head upright.  Shoulders down. 

"Part Wild Horse's Mane to the Left" by first drawing the weight back into the left leg, pivot on left heel (2k), drawing the right hand back as the torso turns to face SW7 (2k).  Step forward with the left foot to side of right foot (2l).  Step out the left leg to the diagonal (2m).  Exhale as the left arm extends (2n).  Left elbow is slightly bent.  Right hand moves down to right hip (2o), with the right palm down.   End with chest facing W9, right hand to SW7(2o).  Left bow stance with 60% of weight in forward

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left leg (2o), left knee bent; and, 40% of weight in rear right leg, with right leg bend (2o).  Head upright.  Shoulders down.  Look towards W9. 

                           (2j)                                       (2f)                                        (2f)                                          (2f)

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3.   White Crane Spreads Its Wings       ( Bai E Liang Chi)    

White Crane Spreads Its Wings  (Baihe Liangchi)  [Liang & Wu, Zhang Fuxing]The Stork Spreading Its Wing  (Bai Ne Liang Chi)  [Foen Tjoeng Lie]Stork Spreading Its Wings  [Metzger & Zhou]   White Crane Spreads Out Its Wing  [Chong]  White Crane Shows Its Wings  [Zhao]  White Stork Spreading Its WingsWhite Crane Lifts Its WingsWhite Stork Cools Its WingsWhite Crane Spreads Its Wings  [Garofalo]La Grue Blanche Répand Ses Ailes  Weißer Kran Verbreitet Seine Flügel  La Grúa Blanca Separa Sus Alas  白鵝亮翅  :  Bai E Liang Chi 

The general direction of movement is in a straight line from E3 towards W9 in Movement #3.

2o = 3a.  From 3a draw the right foot forward a half step (3b).  The right hand moves upward (3b) as the left hand moves downward (3b).  Draw the left foot backward (3c) as the right hand moves up and left hand moves down (3c).  Finish (3d) with the right hand above the head and palm forward, in a left toe stance with 90% of the body weight in the back right leg, and the left hand rests along left leg with palm down.  End with chest facing W9.  Face to W9.  Relax and exhale as the weight settles down in the back right leg.  

Notice how the body turns at the waist slightly to left SW7 (3b) and then to the right NW11 (3c) before it settles to face W9.  This represents the subtle internal rotation of the Dan Tien, a "silk reeling" movement, more pronounced in the Chen Style of Taijiquan than in Yang Style Taijiquan, but still present in all styles of Taijiquan.  Many movements in the 24 Form include this turning of the waist from side to side, and rotation of the Dan Tien.      

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                       (3d)                                 (3d)                              (3d)  

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4.   Brush Knee       (Lou Xi)     

Brush Knee and Step Forward  (Louxi Aobu)  [Liang & Wu]  Brush Knee and Twist Step  [Zhang Fuxing]   Brush You Knee and Step  (Zuo You Lu Xi Niu Bu)  [Foen Tjoeng Lie] Brushing Your Knees and Stepping  [Metzger & Zhou] Brushing the Knees and Taking Zigzag Steps  [Chong]  Brush Knee and Turn Steps  [Zhao]  Twist Step, Brush Knee, Palm StrikeBrush Knee [Garofalo]  Genou De Brosse  Bürste Knie  Rodilla Del Cepillo左搂膝拗步  :  Lou Xi Ao Bu  :  Brush Knee and Twist Step 

 

The general direction of movement is in a straight line from E3 towards W9 in Movement #4.  Please study the recommended online videos to see how the series of postures in this particular movement are performed. 

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3d = 4a.  Brush left knee and right palm strike (4a-4h).  Left Knee and palm Twist Step (4b), turn body clockwise (4c-43), Brush Left Knee (4f), Right Palm Forward Strike (4h).  End with chest and face facing W9, look to W9 (4h).  4h = 4i.

Brush right knee and left palm strike (4i-4o).  Twist Step (4j), turn body counter-clockwise (4k-4l), Brush Right Knee (4m), Left Palm Forward Strike(4o).  End with chest and face facing W9, look to W9 (4o).  4o = 4p.

Twist Step, Brush Left Knee, Right Palm Forward Strike.  End with chest facing W9. 

                                 (4n)                                 (4o)                                (4u)                                         (4u) 

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5.   Playing the Lute       (Shou Hui Pi Pa )          

Play the Lute  (Shouhui Pipa)  [Liang & Wu; Chong]  Play "Pipa"  [Zhang Fuxing]  Playing the Lute  (Shou Hui Pi Pa)  [Foen Tjoeng Lie]Playing the Pipa  [Metzger & Zhou] Hand-hold the Lute  [Zhao]  Playing the GuitarStrumming the Lute  Playing the Pipa  Playing the Lute  [Garofalo]  Jeu du LuthSpielen des Dichtungskitts  Tocar el Laúd   手挥琵琶  :  Shou Hui Pi Pa  :  Hand Strums the Lute

 The general direction of movement is in a straight line from E3 towards W9 in Movement #5.

4u = 5a.  End with chest facing W9, and look to W9. 

Here is a description of Playing the Lute "Hand-hold the Lute" (#5, 5a-5d) from the book 'Tai Chi for Health: The 24 Simplified Forms" by Cheng Zhao and Don Zhao, p.88:

    "Form 5 resembles a person playing a lute, a common music instrument in old China's time.  It is more accurate to describe it as hands holding the lute, which is also a literal translation from its counterpart in Chinese.    1.  Shift the body weight onto the left leg (5a).  Life the right foot and move it a half step forward, placing it behind the left foot (5b).    2.  Lightly shift the body center back to sit on the right leg (5c).  Extend the left heel a little forward touching the floor in an empty stance (5c-5d).  At the same time,

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rotate the waist slightly to the right (5b-5c), lift the left arm and hand upward to the nose level (5b-5c), lower the right hand to guard the inside of the left elbow (5d)."-  Dr. Cheng Zhao   

 

                             (5d)                                    (5d)                                        (5d) 

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6.   Step Back and Repulse Monkey       ( Dao Nian Hou)     

Reverse Reeling Forearm (Daojuan Gong)  [Liang & Wu] Step Back to Drive the Monkey Away  [Zhang Fuxing; Chong]   Step Back and Swirl Your Arms  (Zuio You Dao Jun Hong)  [Foen Tjoeng Lie]Fending Off the Monkey  [Metzger & Zhou] Back-rolling the Forearms  [Chong]  Repulse the Monkey  [Zhao]  Repulse Monkey and Step Back  Step Back and Drive Monkey Away  Step Back and Repulse Monkey  [Garofalo]  Étape Arrière et Singe D'échec  Schritt Rückseitig und Repulse-Affe   Paso Trasero y Mono de la Repulsión  倒撵猴  :  Dao Nian Hou  

The Direction of Movement is reversed.  Move backward in a straight line from W9 in the direction of E3.  Please study the recommended online videos to see how the series of postures in this particular movement are performed.   

6a = 5d.  Right leg and right twisting (reverse reeling forearm) arm back, left arm forward, step back with left leg (6d), exchange arms and move right palm forward (6d-6e).Left leg and leg twisting arm back, right arm forward, step back with right leg (6g), exchange arms and move left palm forward (6g-6h).  6h = 6i.  Right leg and right twisting arm back, left arm forward, step back with left leg (6k), exchange arms and move right palm forward (6k-6l).  Left leg and leg twisting arm back, right arm forward, step back with right leg (6n), exchange arms and move left palm forward (6n-6o). 

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Here is a detailed description of how to perform Repulse Monkey (#6, 6a-60) taken from the very useful narrative document by David Hann: 

    "Repulse Monkey (1):  Turn your right hand palm up and let it drop so that your arm moves in an arc (6a-6b).  Continue bringing your right arm back until your hand is level with your right shoulder (6c).  Turn your left hand palm up and flat, parallel with the earth (6c).  Notice that your torso is facing (6c) to the side (N12) (the same direction as you face when you first begin, Raising the Chi (1a).  Step back with the left foot (6d-6e),  taking care to maintain your stance about a two fist width from your right foot, or about shoulder width.  Now turn your torso to the left, bringing your right arm forward in a palm strike and your left arm backward as if grabbing an opponent's arm and pulling (6d-63).  Your right palm will now be the most advanced hand (6e).        Repulse Monkey (2):  Turn your left hand palm up and let it drop so that your arm moves in an arc (6e-6f).  Continue bringing your left arm back until your hand is level with your left shoulder (6g).  Turn your right hand palm up and flat, parallel with the earth (6f).  Notice that your torso is facing to the opposite side (S6).  Step back with the right foot, taking care to maintain your stance about a two fist width from your left foot, or about shoulder width (6g-6h).  Now turn your torso to the right, bringing your left arm forward in a palm strike and your right arm backward as if grabbing an opponent's arm and pulling (6h).  Your left palm will now be the most advanced hand (6h).    Repulse Monkey (3):  Turn your right hand palm up and let it drop so that your arm moves in an arc (6i).  Continue bringing your right arm back until your hand is level with your right shoulder (6j).  Turn your left hand palm up and flat, parallel with the earth (6j).  Notice that your torso is facing (N12) to the side (the same direction as you face when you first begin, Raising the Chi.  Step back with the left foot, taking care to maintain your stance about a two fist width from your right foot, or about shoulder width (6k-6l).  Now turn your torso to the left, bringing your right arm forward in a palm strike and your left arm backward as if grabbing an opponent's arm and pulling (6l).  Your right palm will now be the most advanced hand (6l).      Repulse Monkey (4):  Turn your left hand palm up and let it drop so that your arm moves in an arc (6l-6m).  Continue bringing your left arm back until your hand is level with your left shoulder (6m).  Turn your right hand palm up and flat, parallel with the earth(6m).  Notice that your torso is facing to the opposite side (S6).  Step back with the left foot, taking care to maintain your stance about a two fist width from your right foot, or about shoulder width (6n-6o).  Now turn your torso to the right, bringing your left arm forward in a palm strike and your right arm backward as if grabbing an opponent's arm and pulling (6n-6o).  Your left palm will now be the most advanced hand (6o)."-  David Hann,  Yang Style Short Form Tai Chi

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7.   Grasping the Sparrow's Tail   - Left     ( Zuo Lan Que Wei )    

Left-Grasp the Sparrow's Tail  (Zuolan Quewei)  [Liang & Wu] Grasp the Bird's Tail on the Left  [Zhang Fuxing]  Grasping the Sparrow's Tail - Left  (Zuo Lan Qiao Wei)  [Foen Tjoeng Lie: Metzger & Zhou] Grasping the Bird's Tail, Left Mode  [Chong]  Left Grasp the Peacock's Tail  [Zhao]  Grasp the Sparrow's Tail to Left SideGrasping the Peacock's Tail to Left  Four GatesGrasp the Sparrow's Tail to the Left Side (Zuo Lan Qiaowei)Grasping the Sparrow's Tail - Left  [Garofalo]  Saisir le Côté Gauche de la Queue du MoineauFassen der Endstück-linken Seite des Spatzen  Agarrar el Llado Izquierdo de la Cola del Gorrión拦雀尾左  :  Lan Que Wei Zou :  Grasp the Bird's Tail Left

 "Grasping the Bird's Tail" is the most frequently occurring movement in the Yang Style Long 108 Form.  This movement consists of four parts: Ward Off, Roll Back, Press and Push. 

The general direction of movement is in a straight line from E3 towards W9 in Movement #7.  Please study the recommended online videos to see how the series of postures in this particular movement are performed. 

7a = 6o.  Generally, one is moving in the direction of W9, to your left side, in Movement 7. 

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Here is a detailed description of how to perform Grasping the Bird's Tail, Left Mode (#7, 7a-7m) taken from the book "Illustrations of Tai Chi Chuan Simplified" by Y. W. Chong, pp. 27-31:

    "1.  Raise the left hand arch-wise to the right (7a-7b) and stop it before the right side of the waist (7c).  At the same time bend the right hand horizontally before the chest as if grasping a ball with both hands (7c).  Concurrently draw the left foot back and put it close to the right one (7b-7c), with the left toes touching the ground (7c).       2.  Lift the left hand outward in a bent manner to the left as if to ward off a blow (7c-7e) and bow it horizontally at the level of the shoulders (7e).  At the same time swing the right hand downward to the right (7d-7e) and put it beside the right thigh (7e).  At the same time stretch the left foot out and bow it forward (7d-7e).  The eyes are looking at the left forearm (7e).    [Ward Off Left (Peng Zuo) I]      3.  Stretch the left hand forward, turning its palm downward (7f).  Concurrently turn the right palm upward and stretch it forward until it comes below the left wrist (7f).  Then pull the two hands downward past the abdomen and swing them up backward to the right until the right hand comes to the height of the shoulders with its palm upward (7f-7g) and the left hand comes before the chest with its palm facing inward and the elbow bend horizontally (7g).  At the same time shift the centre of gravity to the right foot (7g).  The eyes are looking at the right hand (7g).   [Roll Back (Lu) II]         4.  Draw the right hand back and put it at the inside of the left wrist (7g).  Push both hands forward with the left palm inward and the right one outward (7h-7i).  At the same time bow the left leg forward (7h-7i).  The eyes are looking at the left wrist (7i).   [Press (Ji) III]       5.  Separate both hands at the distance of the breadth across the shoulders with both palms facing downward (7j-7k).   Then lower the upper body slightly backwards (7k), shifting the centre of gravity to the right foot (7k).  At the same time draw both hands back to the two sides of the waist with both palms facing forward slightly to the ground (7k-7l).  The eyes are looking forward horizontally (7l).      6.  Push both hands forward and upward (7l-7m).  At the same time bow the left leg forward (7m).  The eyes are looking forward.    [Push (An) IV]"-   Y. W. Chong 

I.    Ward Off Left (Peng Zuo)  (7b-7e)   Inhale 7b-7c, and exhale 7d-7e.  Turn torso to the left towards W9 (7e). 

II.   Roll Back (Lu)  (7f-7g)  Inhale 7e-7g.  Turn torso to right towards N12 (7g).  The hand movements for Roll Back are not shown clearly in the the above illustrations (7f-7g).   Look at right hand in the direction of NE2. 

III.  Press (Ji)  (7h-7i)  Inhale 7g-7h, and exhale 7h-7i.  Torso facing W9 (7i).  Turn torso to the left towards W9 (7i).  The right palm presses against the left forearm.  The left palm faces the body. 

IV.  Push (An)  (7j-7m)  Face W9.  Push both hands, palms forward, towards W9 (7m).  Inhale 7j-7l, and exhale 7l-7m.  Torso faces W9 (7m). 

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                                 (7e)                                      (7i)                                 (7m)                                   (7m)

 

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8.   Grasping the Sparrow's Tail   - Right   ( You Lan Que Wei )    

Right-Grasp the Sparrow's Tail  (Youlan Quewei)  [Liang & Wu] Grasp the Bird's Tail on the Right  [Zhang Fuxing]  Grasping the Sparrow's Tail - Right  (You Lan Qiao Wei)  [Foen Tjoeng Lie; Metzger & Zhou] Grasping the Bird's Tail, Left Mode  [Chong]  Right Grasp the Peacock's Tail  [Zhao]  Grasp the Sparrow's Tail to the Right SideGrasping the Peacock's Tail to RightGrasp the Bird's Tail to RightFour GatesGrasp the Sparrow's Tail to the Right Side (You Lan Qiaowei)Grasping the Sparrow's Tail - Right  [Garofalo]  Saisir Côté de la Queue du Moineau le BonFassen der Endstück-rechten Seite des Spatzen  Agarrar el Derecho de la Cola del Gorrión拦雀尾右 : Lan Que Wei You :  Grasp the Bird's Tail Right 

The general direction of movement is in a straight line from W9 towards E3 in Movement #8.  Please study the recommended online videos to see how the series of postures in this particular movement are performed. 

"Grasping the Bird's Tail" is the most frequently occurring movement in the Yang Style Long 108 Form.  This movement consists of four parts: Ward Off, Roll Back, Press and Push. 

8a = 7m.  Generally, one is moving in the direction of E3, to your right side, in Movement 8. 

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Here is a detailed description of how to perform Grasping the Sparrow's Tail - Right (#8, 8a-8o) taken from the book "Tai Chi Ch'uan and Qigong: Techniques and Training" by Wolfgang Metzger and Peifang Zhou, pp. 106-109:

    "Assume starting position (8a = 7m): Arch steps to the left.  Left foot load about 70 percent; right foot about 30 percent (8a).  Shift weight to the right foot; left foot rotates on the heel by 90° to 120° to the inside (8b).  At the same time - with gently held, slightly rounded arms - the hands move with the upper body to the right (8b).  Slowly bend arms, with right hand moving in an upward arc (8b-8c), and assume the ball-holding position in front of the right side of the body (8c-8d).  While in the ball-holding position, the right foot is pulled towards the left without the toes touching the ground (8d).    1.  Peng Movement:  With an arched step to the right, pull the left hand as in Form 2 ("Parting Horse's Mane") in an arc down to hip level (8e-8f), while the right forearm - different from Form 2 -   moves at a left angle in an arc forward and up (8e-8f)  until level with the chest (8f), harmoniously coordinating it with the rotation of the body (8d-8f) and the shifting of the weight (8e-8f).  Position (8f) is the starting point for the second part of this form.   [Ward Off Right (Peng You) I]    2.  Lu Movement: This starts with a slight rotation of the body to the right SE4 (8g), not shown in the illustration.  While the body rotates to the right, hands are rotating to face each other, the right hand moving towards the right.  Both hands - while shifting the weight to the left leg (8f-8g) and rotating the body to NW11 - move in an arc down to the right hip level (8g).   [Roll Back (Lu) II]       3.  Ji Movement:  Preceded by a small reaching back movement (8h), move the left hand towards the left; both hands cross at the wrists and are pushed forward and out (8i-8k).  When pushing forward, shift the weight again to the right leg (8k).   [Press (Ji) III]       4.  An Movement: at the conclusion of the Ji movement (8k), turn the hands so that they are crossed (8l) with the palms facing down, right hand below the left (8l).  As the weight is shifted to the back left leg (8m-8n) - the toes of the right foot raised slightly off the ground (8n) - the crossed hands separate again and are pulled towards the body by the elbows (8m-8n).  They are then - with a slight shift of of the body's weight (8n-8o) - pushed forward (8n-8o).  Do not straighten your arms out in the end position (8o).    [Push (An) IV]."-   Wolfgang Metzger and Peifang Zhou   

I.  Ward Off Right (Peng You) (8a-8f)   Inhale 8c-8d, and exhale 8e-8f.  Turn torso to the right towards E3 (8c-8e). 

II.  Roll Back (Lu)   (8f-8h)  Inhale 8g-8h.  Turn torso to right towards N12 (8h).  The hand movements for Roll Back are not shown clearly in the the above illustrations (8f-8h).   Look at right hand in the direction of NW10. 

III.  Press (Ji)  (8j-8k)  Inhale 8h-8i, and exhale 8j-8k.  Torso facing E3 (8k).  Turn torso to the right towards E3 (8i-8k).  The left wrist presses against the inside of the right forearm.  The right palm faces the body.   

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IV.  Push (An)  (8l-8o)  Push both hands, palms forward, towards E3 (8n-8o).  Inhale 8m-8n, and exhale 8n-8o.  Torso faces E3 (8o).  Both palms face away from the body.  

 

                      (8f)                                    (8k)                                  (8k) 

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9.   Single Whip       ( Dan Bian)     

Single Whip  (Danbian)  [Liang & Wu] Single Whip  [Zhang Fuxing, Zhao]  The Whip  (Dan Bian)  [Foen Tjoeng Lie] Simple Whip  [Metzger & Zhou]   Holding a Single Whip  [Chong]  Single Whip  [Garofalo]  Choisissez Le Fouet  Single Peitsche  Escoja El Azote  单鞭  :  Dan Bian

The general direction of movement is in a straight line from E3 towards W9 in Movement #9. 

From the Push phase (9a) at the end of the Grasping the Sparrow's Tail movement (9a = 8o), begin to rotate the arms from the left side to the right side.  The arms draw across the body at about chest height (9a-9c).  After the arms reach the left side (9c), then they rotate back to the right side (9c-9d).  The waist faces N12 (9c).  As the right arm gets to the right side (9d) then the hand extends in the direction of NE1 (9e) and the hand is shaped into a beak style (thumb touches the other fingers and all fingers point down) (9e).  The left arm is drawn up to the face level, with the palm facing the face (9e).  As the right hand forms into beak, the left leg steps to the right, bringing the left foot fairly close to the right foot (9d-9e), and the left toe touching the ground (9e).  As the left leg lifts and is placed to face W9, the left hand opens out towards W9 (9e-9f).  As the body settles into a left bow stance (9g), the left hand pushes forward, palm facing out.  We end in Single Whip (9g) with the waist facing NW11, in a left bow stance, pushing with the left palm in the direction of W9, with the right arm lifted and pointing towards NE1, beaked right hand, and looking towards W9 (9g).  Inhale 9d-9e, and exhale 9f-9g. 

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                 (9g)                                    (9g)

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10.   Waving Hands Like Clouds       ( Yun Shou)

Wave Hands Like Clouds  (Yunshou)  [Liang & Wu] Wave Hands Like Clouds  [Zhang Fuxing, Zhao]   Move Hands Like Clouds  (Yun Shou)  [Foen Tjoeng Lie]  Moving Hands Like Clouds  [Metzger & Zhou] Waving Hands Like Clouds Drifting By  [Chong]  Waving Hands Like CloudsCloud Built HandsWave Hands in CloudsWaving Hands Like Clouds  [Garofalo]   Les Mains Ondulantes Aiment Des Nuages  Wellenartig Bewegende Hände Mögen Wolken  Las Manos Que Agitan Tienen Gusto De las Nubes云手  :  Yun Shou 

The whole Cloud Hands (Yun Shou) movement flow is from the left to the right, from E3 towards W9. 

Cloud Hands is a gentle flowing movement that is rather complicated to describe.  Please study the recommended online videos to see how the series of postures in this particular movement are performed. 

 

From the Single Whip position (10a = 9g) begin to turn the torso to the right side (10a-10e) until the front of the body is facing N12 (10c).  At the same time as the torso turns toward the right side, the right hand remains outstretched (10b-10c).  The left hand moves downward and then upwards toward the right side (10b-10c) until it reaches the level of the head (10d).  The weight moves into the bent right leg (10c).  The head turns and looks towards the right side E3 (10d). 

The left hand, palm facing the body, remaining at about face level, moves across the body towards the left side (10d-10f).  The right hand, at about waist level, palm facing the body, moves across the body towards the left side at the same time as the left hand

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moves (10e-10f).  The waist turns to move the arms more than the shoulders move the arms (10e-10f).  Turn the waist and move the arms until you reach the left side and are looking towards W9 (10f). Step with the right leg and move it closer to the left leg as the arms move to the far left position W9 (10e-10f).  Switch the position of the arms by moving the right arm to about face level (10e-10f), and the left arm down towards the waist level (10f).  This completes the first part of the Cloud Hands movement by moving from the far left (10a) to the far right (10c) and then from the far right (10c) to the far left (10f) in a gentle flowing manner (10b-10f), moving the hands like floating clouds.    

From the far left position (10f) with the right hand high (10f) and the left hand low at waist level (10g), with both palms facing the body, move both arms to the right across the body (10g-10h).  The waist turns to move the arms more than the shoulders move the arms (10f-10h).  Turn the waist and move the arms until you reach the far right side and are looking towards E3 (10h).  When you reach the far right, exchange the arms by bringing the left arm up to about face level (10i) and the right arm down to about waist level (10i-10j), and at the same time step the left leg to the left W9 (10h-10i).  Now begin to move the left arm across the body to the left side at about face height, palm facing the body (10i-10k), at the same time as the right arm drops down to about waist level (10i-10j) and moves across the body, palm facing inward, to the far left side (10j-10k).  When the left hand reaches the far left side (10j), lift and step with the right leg towards the left leg (10j-10k).  This completes the second part of the Cloud Hands movement by moving from the far left (10f) to the far right (10i) and then back to the far left (10k) in a gentle flowing manner, moving hands like floating clouds. 

From the far left position (10k) with the right hand high (10k) and the left hand low at waist level (10l), with both palms facing the body, move both arms to the right across the body (10k-10n).  The waist turns to move the arms more than the shoulders move the arms (10k-10n).  Turn the waist and move the arms until you reach the far right side and are looking towards E3 (10m).  When you reach the far right, exchange the arms by bringing the left arm up to about face level (10n) and the right arm down to about waist level (10m-10n), and at the same time step the left leg to the left W9 (10m-10n).  Now begin to move the left arm across the body to the left at about face height, palm facing the body (10n-10p), at the same time as the right arm drops down to about waist level (10m-10n) and moves across the body, palm facing inward, to the far left side (10n-10p).  When the left hand reaches the far left side (10p), lift and step with the right leg towards the left leg (10o-10p).  This completes the third part of the Cloud Hands movement by moving from the far left (10k) to the far right (10m) and then back to the far left (10p) in a gentle flowing manner, moving hands like floating clouds. 

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                 (10l)                                  (10o)  

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11.   Single Whip       ( Dan Bian )   

Single Whip  (Danbian)  [Liang & Wu, Zhang Fuxing] The Whip  (Dan Bian)  [Foen Tjoeng Lie, Zhao]Simple Whip  [Metzger & Zhou]   Holding a Single Whip  [Chong]  Single Whip  [Garofalo]  Choisissez Le Fouet  Single Peitsche  Escoja El Azote  单鞭  :  Dan Bian

From the last posture of Cloud Hands (10p = 11a), step forward with the right foot a small step (11b).  Begin to rotate the arms from the left side to the right side.  The arms draw across the body at about chest height (11a-11c).  After the arms reach the left side (9c), then they rotate back to the right side (11c-11e).  The waist faces N12 (11c).  As the right arm gets to the right side (11d) then the hand extends in the direction of NE1 (11d) and the hand is shaped into a beak style (thumb touches the other fingers and all fingers point down) (11e).  The left arm is drawn up to the face level, with the palm facing the face (11d).  As the right hand forms into beak, the left leg steps to the right, bringing the left foot fairly close to the right foot (11c-11d), and the left toe touching the ground (11d).  As the left leg lifts and is placed to face W9, the left hand opens out towards W9 (11d-11e).  As the body settles into a left bow stance (11f), the left hand pushes forward, palm facing out (11e-11f).  We end in Single Whip (11f) with the waist facing NW11, in a left bow stance, pushing with the left palm in the direction of W9, with the right arm lifted and pointing towards NE1, beaked right hand, and looking towards W9 (11f).  Inhale from 11b-11d and exhale from 11e-11f. 

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            (11f) & (16e)                                          (11f)  

12.   Pat the Horse on the Back       ( Gao Tan Ma )    

High Pat on Horse  (Gaotan Ma)  [Liang & Wu] Stroke the Horse From Above  [Zhang Fuxing]   Asking for Directions While Riding a Horse  (Gao Tan Ma)  [Foen Tjoeng Lie]Patting the Horse's Neck While Riding  [Metzger & Zhou]   Patting the Horse on the Back  [Chong]  High Hand Pats the Horse  [Zhao] Pat the Horse on the Back [Garofalo]  Tapotez le Cheval sur le DosTappen Sie das Pferd auf der Rückseite  Acaricie al Caballo en la Parte Posteriora  高探马  :  Gao Tan Ma  :  High Pat on Horse   

From Single Whip (12a), draw the right foot forward a half-step (12b).  The right hand changes from a beaked hand into an open hand (12b).  The right arm moves forward at about face level from right to left in the direction of W9 (12b-12c), and ends with palm facing out in front of the body at face level.  The torso turns to the left and ends facing W9 (12c-12d).  The right hand stops at face level, with the palm facing out and away (12d).  The left hand moves in a downward arc (12c-12d) to the Dan Tien level, and ends with the left palm facing up (12d).  The left leg is in an empty toe stance (12d)  The body is facing in the direction of W9 (12d).  The final position is called High Pat on Horse (12d).  Inhale at 12c and exhale at 12d. 

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             (12d)

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13.   Kick with Right Heel       ( You Deng Jiao)    

Right Heel Kick (You Dengjiao)  [Liang & Wu] Kick with Right Heel  [Zhang Fuxing, Zhao]   Right Heel Kick   (You Deng Jiao)   [Foen Tjoeng Lie; Metzger & Zhou] Kicking Straight, Right Mode  [Chong]  Kick with Right Heel  [Garofalo]Coup-de-pied Avec le Talon Droit   Stoß mit der Rechten Ferse   Retroceso con el Talón Derecho    右蹬脚  :  You Deng Jiao :  Right Heel Kick 

The general direction of movement is in a straight line from E3 towards W9 in Movement #13.  Please study the recommended online videos to see how the series of postures in this particular movement are performed. 

       Lift left leg and step forward (13a-13b).  Circle both hands outward in a circle and down (13b-13c).  Step with right leg forward to bring the right foot next to the left foot (13c-13d).  At the same time, circle both hands upwards and bring the right hand in front of the left hand, crossing the hands in front of the face (13d-13d).  Left the right leg as both hands move away from each other towards the sides (13e), palms facing out and fingers up (13f).  Turn the body slightly to the left so that instead of your waist facing W9 it faces SW7.  Kick with the left heel in the direction of NW10 (13f).  Inhale 13c-13d, and exhale 13e-13f. 

Some persons may not be able to kick high with a straight right leg and right toe drawn back - a right heel kick (13f).  Instead, substitute a toe kick, while kicking lower if necessary, or bending the knee if necessary.  Don't let the inability of executing a movement perfectly, according to a standard, prevent you from practicing Taijiquan.  Adapt accordingly to accommodate for injuries, balance problems, inflexibility, or weakness.  Be practical and smart; and, make reasonable adjustments.  Keep practicing, and you will probably see steady improvements, increased strength, and greater flexibility.       

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                    (13f)                                         (13f)                                         (13f) 

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14.   Hitting Your Opponent's Ears with Both Fists       ( Shuang Feng Quan Er)    

Strike to Ears with Both Fists  (Shuangfeng Guaner)  [Liang & Wu]   Hit the Opponent's Ears with Both Fists  [Zhang Fuxing]   Hit Your Opponent's Ears with Both Fists  (Shuang Feng Guan Er)  [Foen Tjoeng Lie; Metzger & Zhou] Striking the Opponent's Ears with Both Fists  [Chong]  Strike Ears with Both Fists  [Zhao]  Box Opponent's Ears with Both FistsBox Ears with Both Fists  [Garofalo]   Hitting Your Opponents Ears with Both FistsFrapper Vos Oreilles d'adversaires avec les Deux Poings   Schlagen Ihrer Konkurrenten Ohren mit beiden Fäusten  Golpear sus Oídos de los Opositores con Ambos Puños   双峰灌耳  :  Shuang Feng Quan Er  :  Twin Fists Strike Opponents Ears 

The general direction of movement is in a straight line from E3 towards NW10 in Movement #14..  

From the Right Heel Kick position (14a = 13f), draw the right knee back into the body to waist level (14a-14b).  Draw both hands down and bring the elbows to the sides of the body, closing the open hands into fists and holding the hands level with the knee (14b-14c).  Step forward with the right leg (14c-14d) in the direction of NW11.  Circle the arms outward from the body (14d), and then draw both fists towards the head level of an imaginary opponent to strike the opponent's temples with both fists (14d-14e).  Settle into a right bow stance (14e).  The imaginary opponent is in the direction of NW10 or NW11 (14e).  Look intensely at the imaginary opponent.  Inhale 14b-14d, and exhale 14d-14e.  

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            (14e)                                (14e) 

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15.   Kick with Left Heel       ( Zuo Deng Jiao )    

Turn Body and Left Heel Kick  (Zhuanshen Zuo Dengjiao)  [Liang & Wu] Turn Round and Kick with Left Heel  [Zhang Fuxing]   Left Heel Kick  (Zhuan Shen Zuo Deng Jiao)  [Foen Tjoeng Lie; Metzger & Zhou] Kicking Straight, Left Mode  [Chong]  Kick with Left Heel  [Zhao]Kick with Left Heel  [Garofalo]  Coup-de-pied avec le Talon Gauche  Stoß mit der Linken Ferse  Retroceso con el Talón Izquierdo  左蹬脚  :  Zuo Deng Jiao  :  Left Heel Kick 

The Direction of Movement is reversed.  Move backward in a straight line from NW10 (15a)  in the direction of E3 (15b-15g).  Please study the recommended online videos to see how the series of postures in this particular movement are performed. 

Turn 270 degrees clockwise, face to NE2.  Cross and separate hands at face, heel kick with left foot.  Left arm in front and right arm in back at shoulder height.  Inhale 15c-15e, exhale 15f-15g. 

              (15g)                                  (15e-15g)

 

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16.   Snake Creeps Down, Golden Rooster Stands on Left Leg     ( Xia Shi, Jin Ji Du Li)    

Left Lower Body Then Stand on One Leg (Zuo Xiashi Duli)  [Liang & Wu]  Squat Down and Stand on Left Leg  [Zhang Fuxing]   Climb Down and Stand on Your Left Leg  (Zuo Xia Shi Du Li)  [Foen Tjoeng Lie]Stooping Down and Then Standing on One Leg, Left Mode  [Chong]  Squat Down on Right Leg, Snake Creeps Down Left Leg, Stand on One Leg  Crooked Whip Left  [Metzger & Zhou] Left Down One-leg Stand  [Zhao]  Squat on Right, Climb Down Left  Golden Rooster Stands on Left Leg  Snake Creeps Down, Golden Rooster Stands on Left Leg  [Garofalo]  Snake Creeps DownLe Serpent Rampe Vers le bas  Die Schlange Kriecht Unten  La Serpiente Se Arastra Abajo  Golden Rooster Stands on One LegLe Coq D'or se Tient sur une Jambe   Der Goldene Hahn Steht auf einem Bein  El Gallo de Oro Está Parado en Una Pierna下势  :  Xia Shi  :  Snake Creeps Down

左金鸡独立  :  Zuo Jin Ji Du Li  :  Golden Rooster Stands on Left Leg 

The Direction of Movement is reversed.  Move backward from in a straight line from W9 in the direction of E3 (16a-16h).  Please study the recommended online videos to see how the series of postures in this particular movement are performed.   

16a = 15g.  Squat down and balance on right leg (16d-16e).  Right arm draws back in single whip (16c), and right hand makes a beaked fist (16c).  Extend left leg low to E3 (16e).  Draw the left arm down along inside of left leg towards left ankle ... the snake creeps down (16d-16e).  Stand up on left leg (16f-16h).  Draw right leg up until level with hip (16h).  Right elbow is over right knee, right had pointing up (16h).  This final posture, facing E3, is called "Golden Rooster Stands on Left Leg, Golden Bird Standing Alone" (16h). 

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                              (16e)                                        (16e)                                        (16e)                                     (16h) 

 

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17.   Snake Creeps Down, Golden Rooster Stands on Right Leg   ( Xia Shi, Jin Ji Dui Li )     

Right Lower Body Then Stand on One Leg  (You Xiashi Duli)  [Liang & Wu] Squat Down and Stand on Right Leg  [Zhang Fuxing]   Climb Down and Stand on Your Right Leg  (You Xia Shi Du Li)  [Foen Tjoeng Lie]Stooping Down and Then Standing on One Leg, Right Mode  [Chong]  Right Down One-leg Stand  [Zhao]  Crooked Whip Right  [Metzger & Zhou] Squat Down on Left LegSnake Creeps Down Right LegSquat on Left, Climb Down Right  Golden Rooster Stands on Right Leg  Snake Creeps Down, Golden Rooster Stands on Left Leg  [Garofalo]  Snake Creeps DownLe Serpent Rampe Vers le bas  Die Schlange Kriecht Unten  La Serpiente Se Arastra Abajo  Golden Rooster Stands on One LegLe Coq D'or se Tient sur une Jambe   Der Goldene Hahn Steht auf einem Bein  El Gallo de Oro Está Parado en Una Pierna下势  :  Xia Shi  :  Snake Creeps Down

右金鸡独立  :  You Jin Ji Du Li  :  Golden Rooster Stands on Right Leg

The general direction of movement is in a straight line from W9 towards E3 (17a-17h).  Please study the recommended online videos to see how the series of postures in this particular movement are performed. 

17a = 16h.  Squat down and balance on left leg (17d-17e).  Left arm draws back in single whip, and left hand makes a beaked fist (17c).  Extend right leg low to E3 (17d-17e).  Draw the right arm down along inside of right leg towards ankle ... the snake creeps down (17d-17e).  Stand up on right leg (17g-17h).  Draw left leg up until level with hip (17g-17h).  Left elbow is over left knee, left had pointing up (17h).  This final posture, facing E3, is called "Golden Rooster Stands on Right Leg, Golden Bird Standing Alone" (17h).   

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                      (17h)                              (17h)                             (17h)   

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18.   Fair Lady Works the Shuttles       ( Yu Nu Chaun Suo)    

Shuttle Back and Forth  (Chuansuo)  [Liang & Wu] Fair Lady Works with Shuttles  [Zhang Fuxing] Throwing the Loom (Left and Right)  (Zuo You Chuan Zuo)  [Foen Tjoeng Lie; Metzger & Zhou] Shuttling Between Left and Right, Fair Lady Works at Shuttles  [Chong]  Works at Shuttles (LR)  [Zhao]  Jade Maiden Works at the Loom   Two CornersWaking WoodWork at Shuttles on Both Sides  Fair Lady Works the Shuttles  [Garofalo]  The Beautiful Lady Works at the Loom  Belle Madame Travaille au Manche   Die schöne Dame Arbeitet am Webstuhl   La Señora Hermosa Trabaja en el Telar  玉女穿梭  :  Yu Nu Chuan Suo  :  Fair Lady Works at Shuttles  

The general direction of movement is in a straight line from W9 towards E3 (18a-18m).  Please study the recommended online videos to see how the series of postures in this particular movement are performed. 

18a = 17h.  From "Golden Rooster on Right Leg (18a) step left foot forward and diagonally (18b-18c), draw right foot to left foot (18e), step out with right foot diagonally to right (18f-18g).  Raise right arm to block out above head (18g-18h), palm facing out.  Left palm strike (18h).  Right leg bow stance (18h).  Bring left leg up by right leg (18h-18j), and bring arms to chest (18i).  Step diagonally

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to the left side with left foot (18k-18l). Raise left arm to block out above head, palm facing out (18k-18m).  Right palm strike (18m).  Left leg bow stance (18m). 

Here is a description of how to perform Fair Lady Works the Shuttles ("Works at Shuttles")  (#18, 18a-18m) from the book 'Tai Chi for Health: The 24 Simplified Forms" by Cheng Zhao and Don Zhao, p.126:

    "Form 18.  Fair Lady Works at Shuttles (Left and Right Sides.).    (1) Step forward on your left foot; shift your body weight onto the left leg (18b-18c).  Draw you right foot forward in such that the toes touch the ground beside your left foot (18c-18d).  At the same time, your arms hold a large ball in front of your chest with the left hand above the right (18e).  Face NE2 (18e).       (2) Rotate your waist to the right and place your right foot forward with the right heel touching the ground first (18e-18f).  Then shift 70% of your body weight onto the right leg and from a right bow stance (18h).  At the same time, rotate the right arm up so the hand is level with your forehead and the palm faces out (18h).  Face SE4 (18h).  [Inhale 18e-18f, exhale 18g-18h.]      (3)  Shift your body weight back to the left leg, and rotate your waist slightly to the right (18i-18j).  Shift your body weight back to the right leg, drawing your left foot up to rest beside your right foot with the toes touching the ground (18j-18k).  At the same time, both arms hold a large ball in front of your chest with the right hand above the left (18k).  Face SE4 (18k).      (4)  Rotate your waist to the left and place your left foot forward with the left heel touching the ground first (18l-18m).  Then shift 70% of the body weight onto the front leg forming a left bow stance (18m).  At the same time, rotate the left arm up so the hand is level with your forehead and the palm faces out (18l-18m).  Face NE2 (18m)."  [Inhale 18j-18k, and exhale 18l-18m.]-  Dr. Cheng Zhao 

 

                            (18h)                                   (18h)                                (18m)                                  (18m)

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19.   Pick Up the Needle from the Bottom of the Sea     ( Hai Di Zhen)     

Needle at Sea Bottom  (Haidizhen)  [Liang & Wu]   Needle at Sea Bottom  [Zhang Fuxing]   A Needle at the Bottom of the Ocean  (Hai Di Zhen)  [Foen Tjoeng Lie; Metzger & Zhou] Looking for a Needle at the Sea Bottom  [Chong]  Find the Needle at Sea Bottom  [Zhao]  Pick Up Needle from the Bottom of the SeaNeedle at Bottom of the SeaScoop Up the Needle at Sea BottomPick Up Needle from the Ocean's Floor    Needle at Sea Bottom  Pick Up the Needle from the Bottom of the Sea  [Garofalo]  Prenez L'aiguille du Fond de la Mer    Heben Sie die Nadel von der Unterseite des Meeres auf   Tome la Auja del Fondo del Mar    海底针  :  Hai Di Zhen  :   Needle at Sea Bottom

The general direction of movement is in a straight line from W9 towards E3 in Movement #19. 

From the last posture of "Fair Lady Works the Shuttles" (18m = 19a), begin by stepping forward a half step with the right leg (19a).  The right hand moves back and up to the right (19a) until it is drawn up to around face level on the right side (19b).  The left hand moves down in an arc until it comes to stop at about waist height over the left leg (19a-19b).   Lift up the left leg and step forward a half step into a left toe stance (19b-19c).   Settle the body weight into the right leg (19c).  Reach down with the right hand, fingers pointing downward, until the right hand is below the waist.  Face the body in the direction of E3 (19c).  Inhale 19a-19b, exhale 19c.   

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              (19a)                               (19a)  

20.   Flashing the Arms Like a Fan       ( Shan Tong Bei )     

Fan Through Back  (Shan Tong Bei)  [Liang & Wu] Fend Off and Push Away with Arms  [Zhang Fuxing] Unfolding Your Arms Like a Fan  (Shan Tong Bi)  [Foen Tjoeng Lie; Metzger & Zhou] Shunting with Both Hands Fanned  [Chong]  Flash Arms  [Zhao]  Fan Through the BackFlashing the Arm  Unfolding Arms Like a Fan  Flashing the Arms Like a Fan  Clignotant les Bras Aiment un VentilateurBlitzend Mögen die Arme einen Ventilator  Destellando los Brazos Tienen Gusto de un VentiladorFan Through the Back  [Garofalo]  扇通背  :  Shan Tong Bei  :  Fan Through the Back

The general direction of movement is in a straight line from E3 towards W9 in Movement #20. 

From the final posture of "Pick Up the Needle from the Bottom of the Sea" (19c = 20a), begin by lifting the left leg up and then stepping forward onto the left heel (20b-20c).  Lift the left hand and move it forward towards E3, fingers upward, palm facing S6 (20b-20c).  The right hand moves up and back to the left, finishing above head level, palm facing S6, fingers pointing upward (20c-20d).  Sink the body weight into the left leg, and take a left bow stance (20c-20d).  Inhale 20a-20c, and exhale 20c-20d. 

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                   (20d)                                     (20d)                                 (20d) 

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21.   Deflect, Parry and Punch       ( Zhuan Shen Ban Lan Chui)     

Turn Body, Deflect, Parry, and Punch  (Zhuanshen Banlanchui)  [Liang & Wu] Turn, Intercept, and Punch  [Zhang Fuxing]   Turn Around, Ward Off, and Punch  (Zhuan Shen Ban Lan Chui)  [Foen Tjoeng Lie]  Deflecting Downward, Parrying and Punching  [Chong]  Turn to Deflect, Block, and Strike  [Zhao]  Turning Around, Warding Off, Punching  [Metzger & Zhou] Turn, Shoulder Strike, Back Fist, Deflect, Parry and PunchDeflect, Parry and Punch  [Garofalo]  Guidez, Parez et Poinçonnez   Lenken Sie ab, Whren Sie ab und Lochen Sie  Desvíe, Parry y Perfore进步搬拦捶  :  Jin Bu Ban Lan Chui  :  Step Forward, Parry Block and Punch

The general direction of movement is in a straight line from E3 towards W9 (21a-21h).   Exhale on the punch (21g-21h).  Please study the recommended online videos to see how the series of postures in this particular movement are performed.   

21a = 20d. 

Here is a detailed description of how to perform Deflect, Parry and Punch (#21, 21a-21h) taken from the very useful narrative document by David Hann: 

    "Turn, Intercept, and Punch:  Turn to the right on your left heel so that you are facing to your rear, looking over your right shoulder (21b).  Your left hand is held, palm facing out, at least a hand's width from your head.  Your right hand is formed into a fist, held about chest level, with the elbow below the fist (21c).  Step out with your right foot and strike out and downward with the back of your fist (21d).  Step up to your right foot with your left foot, toe down, heel up (21e).  Bring your right fist back to your right waist (21f).  Bring your left arm across your body as if blocking an opponent's punch and bring your left hand, palm open, facing and in front of your right fist (21f).  Step forward with the left foot (21g) and punch with your right fist (21g-21h), moving it over your left hand, which is now turned flat, palm up (21h)."  -  David Hann,  Yang Style Short Form Tai Chi

 

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            (21e-21f)                              (21h)*   

* Note: In this photo, we see more of the Wu Style of Taijiquan realization of Punch (21h).  Notice how far forward the man leans, with his feet rather close in a right bow stance.  Notice how the left hand touches the right arm on the inside of the forearm near the elbow.  In the 24 Form, the final posture (21h) is much more upright, without leaning forward so much.  

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22.   Apparent Close and Push       ( Ru Feng Si Bi )    

Appears Closed  (Rufemg Sibi)  [Liang & Wu] As If Blocking and Closing  [Zhang Fuxing] Closure  (Ru Feng Si Bi)  [Foen Tjoeng Lie; Metzger & Zhou] Acting to Close a Door  [Chong]  Seal as Close Up  [Zhao]  Clearing Cross Block and Pushing   Apparent Close and PushAppears Closed (Ru Feng Si Bi)Withdraw and Push (Closing a Door)Apparent Close and Push  [Garofalo]  Étroit Apparent et Poussée  Offensichtliches Nahes und Stoß  Cercano Evidente y Empuje如封似闭  :  Ru Feng Si Bi  :  Apparent Close Up

The general direction of movement is in a straight line from E3 towards W9 (22a-22g). 

From the end of Deflect, Parry and Punch (21h = 22a), begin by drawing the left hand under the right hand from the forearm towards the right hand (22a-22b).  Both hands come together in front of the body facing W9 (22c).  Draw both arms backwards towards the body (22d-22e) as the weight shifts backwards into the right leg (22d).  As both hands reach the waist (22e) the weight is in the back right leg (22e) and the left toe rises (22e).  Begin to move forward again in the direction of W9, drawing the weight into the left leg and taking a left bow stance (22f-22g).  Both arms Push (An) forward, palms out, elbows bent, pushing in the direction of W9.  The waist faces W9 (22g) and the eyes gaze towards an imaginary opponent in front of you (22g).  Inhale 22c-22e, and exhale 22f-22g.

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            (22g)                                       (22g)   

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23.   Cross Hands       ( Shi Zi Shou )     

Cross Hands  (Shizishou)  [Liang & Wu, Zhang Fuxing, Zhao] Crossing Your Hands in Front of Chest  Cross Your Hands  (Shi Zi Shou)  [Foen Tjoeng Lie]Crossing Your Hands  [Metzger & Zhou; Chong]   Close the DoorCross Hands  [Garofalo]  Turn and Cross Hands in Front of Chest    Tournez et Croisez les Mains Devant le Coffre  Drehen Sie und Kreuzen Sie Hände vor Kasten  Dé Vuelta y Cruce a las Manos Delante del Pecho十字手  :  Shi Zi Shou  :  Cross Hands

Begin from the Push (An) position (23a = 22g.  Gradually turn the front of the body to the right so as to face N12 (23a-23b).  Draw the right hand in an arc out and across to the left (23b).  Draw the weight into the right leg (23c).  Open the arms wide to both sides (23c), palms facing forward, arms about shoulder height.  Step the right foot back to shoulder width stance (23d).  Draw both arms down in an arc (23d) then up to cross the hands in front of the chest, holding the right hand in front of left hand (23e).  Face in the direction of N12 (23e).  Inhale at 23b-23c, and exhale at 23e. 

        (23e)

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24.   Closing Posture of Taijiquan       ( Shou Shi Tajiquan )     

Closing  (Shoushi)  [Liang & Wu] Concluding Posture  [Zhang Fuxing; Chong]   Conclusion  (Shou Shi)  [Foen Tjoeng Lie; Metzger & Zhou; Zhao] Taiji EndingClosing Posture of Taijiquan  [Garofalo]  Maintien de Fermeture de Taijiquan  Schließende Lage von Taijiquan  Postura de Cierre de Taijiquan  收式  :  Shou Shi  :  Closing

还原  :  Huan Yuan  :  Return to Normal

From the final posture of the "Cross Hands" movement (23e = 24a), begin by moving both arms down and outward (24a) until they reach the waist level (23a-24b).  The arms continue downward until they are fully extended downward, hands resting against the sides of the thighs (24c).  Step to the right with the left leg (24c) until the left foot is immediate beside the right foot (24d).  The final position is identical to posture 1a.  Keep in mind all the principles discussed for the posture 1a.  You have now finished a full performance of the Tai Chi 24 Form.  Inhale at 24a, exhale at 24c.  Inhale at 24c, exhale at 24d.  The body is facing in the direction of N12, as it was in posture 1a. 

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