About true fulfillment

Wang Zongyue, originally from Shanxi Province, lived during the Qing Dynasty during the reign of the Qianlong motto (1736-1820). According to the work "Annals of the Spear of the Dark Sign" published in 1795, Wang Zongyue "from a young age, in addition to studying the canons and history, was interested in the books of Huangdi, Laozi and the sayings of military strategists, there was no book that he would not read. He would also be skilled in methods of blows and injections, learned the essence of the methods of fighting with a spear.

Lead the energy with your consciousness, go down lower, merge with the earth, and then the energy will be able to enter the bones. Let the energy circulate freely in the body, be compliant and mobile, and then the energy will easily follow the consciousness. If the creative spirit rises, you will not be inert and clumsy. This means that the head must be suspended, as it were, the will and energy must freely communicate with each other. Then you will comprehend the secret of life fullness. This means that the empty and the filled can undergo transformations and flow into each other.

Applying inner strength, be calmly relaxed and sink down, closing with the earth. Stay focused on one direction, you need to stand upright and not lose your balance, then you can attack in all directions without interference.

The movement of energy is like a "path with nine zigzags", and there is no place where it does not reach. Inner strength in application is like steel hardened a hundred times, and there is no such stronghold that would stand against it.

The appearance is like an eagle grabbing a hare; in spirit like a cat grabbing a mouse. Be still like a mountain, be mobile like a stream of water. Accumulate inner strength like a bow bends. Embody strength like an arrow descending from a bow. Look for the straight in the crooked: first accumulate, then emit. Strength comes from the back, steps follow the movements of the body.

The gathering of power is also a release. The release of power is also a gathering. The power breaks and continues again.

In forward and backward movement there should be folding and bending. There must be rotation and change in advance and retreat.

First extreme softness, then extreme hardness. If you can breathe, you can be spiritually alive.

Nourish the energy, act directly, and there will be no harm. Accumulate inner strength by twisting, and it will be in abundance.

Consciousness is the commander in chief, energy is the messenger, the lower back is the field commander.

First learn to expand, then learn to contract, and that is how you will approach perfection.

It is said: "He does not move - I do not move. He moved, and I move before him. The power seems to be relaxed, and not relaxed; as if opening - and not opening. The power is interrupted, but the will is not interrupted."

It is said: "First - in the mind, then - in the body. The stomach is relaxed and calm, energy accumulates in the bones, the spirit is serene and the body is calm: carry this in your heart all the time. Remember it firmly: if a part of the body has come into motion, there is nothing that did not move, and when something came to rest, there is nothing that would not rest. Through the movement back and forth, energy sticks to the back and accumulates in the spine. Strengthen the spirit inside, show serene peace outside. "

Walk like a cat walks, use inner strength like a mulberry thread is stretched.

Throughout the body, the will is directed to the spirit and not to the energy. If it is directed towards energy, there will be stagnation. One who concentrates on the action of energy will not have physical strength. And the one who cultivates energy will achieve pure hardness. The action of energy is like a cart wheel, the lower back is like a cart axle.

Chen Changxing
Basic Concepts of Taijiquan

translation by V.V. Malyavin

(1771–1853) 14th generation descendant and 6th generation master of the prominent Chen family. Widely recognized as a significant figure in the martial arts and known as a teacher of Taijiquan. Chen Changxing is a rather mysterious person who has caused a lot of historical controversy. He is best known for teaching the great master Yang Luchan. The main provisions of the published treatise are also characteristic of other Taoist schools of martial art.

PRINCIPLE

Things, being dispersed, will certainly come together, and when divided, they will certainly form harmony. Every thing that exists between Heaven and Earth in all four directions and eight limits of the world has its fixed place, and all myriad phenomena have their source. A single root can divide into ten thousand branches, and ten thousand things can come together in one root. Comprehending the art of fisting also follows this general rule.

Taijiquan has many external forms, but every movement in it is filled with power. And although the figures of taijiquan are constantly changing, the power in it comes from one source. What is here called one is that unity which embraces our whole body from the crown of the head to the toes, the four limbs and the skeleton; its inner side is internal organs, tendons and bones, its outer side is muscles, flesh and skin. Try to split it - and it will not split. Hit it and it won't fall apart. If the top moves, the bottom follows; if the bottom moves, then the top itself leads it. The top and bottom move, and the middle responds to their movement. The middle moves, and the top and bottom are in agreement with it. The inner and the outer continue in each other, the front and back support each other. That is why it is said: "pierced by one thread."

However, everything should be done without effort. At the right time, move like a dragon, sometimes like a tiger, and rush forward like lightning. But if necessary - be calm and do not show yourself, be unshakable like a mountain. When you are at peace, let everything in you to the last particle rest. When you move, let there be nothing in you that does not move. Be like water rushing down irresistibly. Be like a fire that spreads rapidly around and cannot be extinguished. Do not succumb to idle thoughts, do not burden yourself with worries, act sincerely, as the situation dictates - and nothing more.

Spiritual power accumulates gradually day by day. Skill appears only after classes. To comprehend the science of "one thread", on which our school is based, one must study and reach the very limit of knowledge - only then will true mastery appear. Regardless of whether science is difficult or easy for you, engage only in improving your skills, not being lazy, but not pushing yourself. Assimilate everything in order, and then all the members of the body will automatically merge into one "all-penetrating unity", top and bottom, internal and external form a single thread, everything scattered will gather into one, everything divided will find mutual agreement and the whole body will return to the One breath.

BREATH

Between Heaven and Earth there is nothing that, when leaving, would not return back, and being straight, would not be bent. Every thing has its opposite, every event has a reversal. This is the unchanging truth.

If the main thing is unity, then why is it divided into two? What is called duality is exhalation and inhalation, and exhalation and inhalation are the forces of Yin and Yang. Breathing cannot be without exhalation and inhalation. Exhalation is Yang, inhalation is Yin, up is Yang, down is Yin. This is what the separation of Yin and Yang is.

What is clean and dirty? What goes up is pure. What goes down is dirty. Clean is Yang, dirty is Yin. Breathing cannot be without Yin and Yang, just as a person cannot be without movement and rest. But, although the breath is divided into two, it returns to one. One must diligently move towards this unity, one must not bind oneself with oppositions!

THREE SECTIONS

Breath fills the whole body, and the body itself is divided into many sections. If we judge from the point of view of individual parts of the body, then we will go far from the true meaning of fisticuffs. It is better to distinguish only "three sections" in the body.

In the body, these "three sections" correspond to the head, chest, and legs.
In the head, the forehead is the upper section, the nose is the middle section, and the mouth is the lower section.
In the torso, the chest is the upper section, the abdomen is the middle section, and the dantian is the lower section.
In the leg, the thigh is the upper section, the knee is the middle section, and the foot is the lower section.
In the hand, the shoulder is the upper section, the elbow is the middle section, the palm is the lower section.

So from crown to heel there are "three sections" everywhere. If you do not figure out where the top section is, there will be no chapter in the body. If you do not know where the middle section is, there will be no fullness in the torso. If you do not know where the lower section is, there will be no stability in the legs. That is why the "three divisions" cannot be ignored.

When life energy is set in motion, it rises from the outermost sections, flows through the middle section, and finds its outlet at the root section. This is what happens when you consider the body in parts. And if we consider the body in its unity, then all its members, from the top of the head to the heels, will turn out to be one section.

FOUR TIPS

The outer edges of the body form the so-called "four tips". The vital energy, spreading inside the body, finds its way out through these tips.

What is called "four tips"? The first among them is hair, which is the tip of blood, and blood is an ocean of energy.

The tongue is the tip of the flesh, and the flesh is the reservoir of energy. If the energy does not permeate the flesh, it will have nowhere to accumulate.

The teeth are the end of the skeleton, and the nails are the end of the tendons. Energy is born in the bones and passes into the tendons. Therefore, without reaching the teeth and nails, it will not fill the body with itself.

If the "four tips" are filled, then there will be enough vitality in the body.

THREE CONNECTIONS

"Three connections" means: the heart is connected to the will, the energy is connected to physical strength, the tendons are connected to the bones. These are the "three inner connections".

When the palms act in harmony with the feet, the elbows act in harmony with the knees, and the shoulders act in harmony with the hips, this is called "three external connections."

When the left palm is in line with the right foot, the left elbow is in line with the right knee, and the left shoulder is in line with the right thigh, this is called "three joins of the right to the left."

When the head is in agreement with the palms, the palms are in agreement with the body, and the body is in agreement with the steps, then there are also "three external connections." And when the heart is in agreement with the eyes, the gallbladder is in agreement with the tendons, and the kidneys are in agreement with the bones, this is also called "internal connection."

Generally speaking, when one thing moves, there is nothing that does not move. All three compounds are present in one compound.

SIX LEADERS

What is the "top six"? The head is the crown of the six Yang principles and the leader of the whole body, and therefore the head cannot but be recognized as the "leading" body. The palm is extended forward, and its base is in the shoulder. If the shoulder does not act, the palm will not move forward. That is why the shoulder should also be considered one of the "leading" bodies. The energy gathers in the elbow, the life force works through the waist. If the lower back does not take on the role of the leader, the energy in the body will dissipate and lose pressure. That's why the lower back - also refers to the "leading" of the body. Will permeates the whole body and acts through the step. If the step is not "leading", the will will lose its power. That's why you should pay attention to her "leader"! And besides, to go up and to the left, you need to make the "leading" right, and to go up and to the right, you need to make the "leading" left. And together it turns out "six leading".

When something becomes the "leading" movement, everything in the body begins to move. This is the principle of the "six leaders".

STEP TECHNIQUES

Step is the basis of the whole body, the focus of all movements. All actions in a duel depend on the step! Without the right step, is it possible to master the secret of innumerable metamorphoses of the bodily appearance? They say: "Observation is in the eyes, transformations are in the heart." And the correct, effortless movement on the ground depends entirely on the step.

Movement springs from the Incomprehensible, inspired dance has its origin in the unconscious. The legs involuntarily begin to move before all parts of the body. This is called: "the top still wants to start moving, and the bottom is already following it."

In addition, the steps of the front and back legs should be clearly separated. At every moment of movement, the front and back legs must move in unison.

Generally speaking, the vitality of all movements depends on the step. The step value is unusually large!

HARD AND SOFT

The secret to the use of fisticuffs is only in energy and strength. However, energy can be strong or weak, and strength can be hard or soft. Strong energy corresponds to a hard force, and weak energy corresponds to a soft one. The distribution of hardness and softness depends on the ability to combine strength and dexterity.

The action of hard or soft power results from the way in which the life force is unfolded. When the limbs move and the vital energy is turned outward, and inside you are calm and unshakable, then the force is firm. When the energy is collected inside, and outside you are light and yielding, the force is soft. However, the application of hardness is impossible without softness. For if there is no soft, the power will be small. The use of softness is also impossible without hardness, because if there is no hardness, the blow will not be penetrating. Hard and soft complement each other, and all kinds of blows, thanks to this, become natural.

Hardness and softness cannot be used separately - in martial art you must always remember this!

PRINCIPLES OF THE APPLICATION OF MILITARY ARTS

The Testament of Foundations says: "The blow comes from the heart, the fist follows the will." You always need to know yourself, know the enemy and change in accordance with the situation.

The art of fisting is like the art of a general: you attack without preparing, you retreat without thinking. It looks empty, but it's actually full. It looks full but is actually empty. Get away from fullness, fill the void, hold on to the root, strive for the branches. Do not accept any conditions of the duel, be in appearance like a changeable dragon and a formidable tiger; attacking the opponents, burst into their ranks like a cannonball.

Top, middle, bottom - everything is filled with energy. The torso, arms, legs - everything moves flawlessly according to the rules, the hands do not rise in vain and do not beat into the void, the spirit is always cheerful.

The ancients said: “The heart is like gunpowder, the hands are like a crossbow. When the spiritual spring comes into action, it is difficult even for a bird to evade the blow. The body is like a bent bow, the hands are like an arrow dropped from a bow. strength."

When striking upwards, watch what is happening under your feet. Hands should move quickly, legs should be light, scout the situation, sneaking with a cat's step. The heart must be concentrated, the eyes must be clear. When arms and legs work together, you achieve authenticity in movement. If the arm is acting and the body is not acting, the blow will not succeed. And when the hand and body work together, the enemy will be crushed like grass.

When you practice alone, act as if you have an opponent in front of you. When you fight, act as if there is no one in front of you.

With your heart you need to get ahead of everyone, with your will you need to defeat everyone, with your body you need to attack yourself, with a step you need to surpass everyone. The head should stand straight, the lower back should settle firmly. The Dan Tian should rotate, from the crown of the head to the heels - everything is imbued with the Single breath.

The preceding movement is the teacher, the subsequent movement is the student. It is better to think about how to advance than to think about how to retreat. The secret of mastery lies in the "unity of the heart", and nothing more! The One Truth unfolds in two kinds of breath, transforms itself through three divisions, manifests itself in the four tips, and reaches its fullness in the circulation of the five elements.

Fisticuffs must be practiced relentlessly. At first you have to force yourself, but over time it becomes natural. The science of fist art consists only in this!

I follow the desires of my heart, I am completely open to the expanse of heaven.
I purify the Yin seed in myself, the heart is dead, but the spirit lives on.
Blood and energy flow freely, the whole body is filled with spirit.

THE EIGHT PRINCIPLES OF TAIJIQUAN:

1. Centeredness (zhong): the consciousness and energy of the body are in harmony, the center of gravity is always at the level of the waist.
2. Alignment (zheng): the body always maintains balance, the center of gravity in it does not deviate from the center line.
3. Rest (an): movements are made without effort, smoothly and evenly, breathing is even.
4. Fluidity (shu): the involvement of the whole body and spirit in the intimate musical rhythm of stretching and contracting, opening and closing.
5. Lightness (qing): the state of one's own weightlessness, as if at ease floating in the air ("as if walking under water").
6. Spirituality (lin): A special kind of enlightened sensitivity, suggesting the ability to flawlessly follow the flow of life.
7. Completeness, or completeness (man): completeness, internal self-sufficiency of each movement, each moment of practice.
8. .Liveness: liveliness as the highest, generalizing quality of movements, resulting from all other elements of taijiquan. "Live" movement is equally effective in all situations and in all ways of applying force.

1) In the original, the sign "li" is used, which also has the meaning "truth", "reasonable basis". We are talking about the universal, - therefore, reasonable - basis of martial art.
2) The expression "permeated by one thread" goes back to Confucius, who thus characterized his teaching. In the Taoist tradition, it denoted the action of the "single transformation" of the world.
3) In the original, the sign "qi" is used, usually translated by us as "energy".
4) According to Chinese ideas, the head was the receptacle of the four main yang meridians of the human body and, as a result, the embodiment of the "extreme yang".

Sun Lutang
The Science of the Fist of the Eight Trigrams School

Translation from Chinese: V. V. Malyavin

Sun Lutang (1860−1933) - the famous master of the internal school of Chinese martial arts, the founder of the Sun style in Taijiquan. He studied Neo-Confucianism, Taoism, and became a Yijing specialist.

1. FORM AND ESSENCE
FISTING "EIGHT TRIGRAMS"

In ancient times, Fuxi, being the king of the Celestial Empire, contemplated images in Heaven, contemplated order on earth, contemplated the patterns of animals and birds, consistent with the lines of the earth. Up close, he turned his gaze to his own body, from a distance he turned his gaze to the phenomena of the world, and in this way he created eight trigrams, fully comprehending the perfection of spiritual enlightenment and determining the laws of correspondence of all things. In terms of the human body, the head corresponds to the Qian trigram, the abdomen to the Kun trigram, the legs to the Zhen trigram, the hips to the Xun trigram, the ears to the Kan trigram, the eyes to the Li trigram, the hands to the Gen trigram, and the mouth to the Dui trigram. And speaking, referring to the structure of the body, then the stomach corresponds to the Infinite, the navel - to the Great Limit, the kidneys - to the two principles of the universe, two arms and two legs - to the Four phenomena, eight joints on the arms and legs - to eight trigrams, and 64 joints of the body - with 64 hexagrams... Eight trigrams, corresponding to the internal organs, belong to the area of ​​the internal and are the basis, and eight trigrams, corresponding to the four limbs, belong to the area of ​​the external and are the way to apply the basis. The inner is the Antecedent Heaven and the outer is the Subsequent Heaven. The "Inner Canon"3 says: "In every man there is the foundation of the Anterior and Subsequent Heaven. The kidneys are the basis of the Antecedent Heaven, the spleen is the basis of the Subsequent Heaven." Base means: root or source. It does not happen that a river does not have a source, and a tree does not have roots. Cleanse the source of the river, and it will become full-flowing by itself. Moisten the root of the tree, and its foliage will become lush. This is the law of nature itself. Those skilled in healing should first take care of the basis and know that the kidneys correspond to the waters of the North, and the water is the source of Heavenly unity, that the spleen corresponds to the earth as the Middle element4, and the Earth is the mother of ten thousand things. In the human body, the spleen first appears, and then in the mutual generation of water, fire, wood and metal, all five internal organs are formed, after which there are six viscera5, four limbs and a hundred bones. This is how the human body becomes complete. Both the Antecedent and the Subsequent Heaven in the human body are inseparable from the eight trigrams"

2. THREE FAILURES OF A BEGINNER IN SCHOOL

The three vices in teaching are as follows:
1) Excitement;
2) Restriction in movements;
3) Tension in the shoulders and in the abdomen.

For one who is agitated, energy will accumulate in the chest, and discord will occur in the activity of all organs of the body. For someone who is constrained in movement, the blood will not circulate freely in the body, the energy channels will be clogged, and where energy accumulates, illness will occur. For one who cannot relieve tension in the shoulders and abdomen, the energy rising up will not return to the Cinnabar field6, there will be no support in the legs, and during exercise there will be no harmony in the body, so that all movements will be out of place and out of place. at the time. That is why, if you do not pay attention to the three vices, you can harm yourself by practicing fisticuffs.

3. NINE RULES OF FISTING

The nine rules of study in the school of "Eight Trigrams" are as follows:

• know how to settle;
• be able to embrace space;
• know how to soar; be able to observe the limits;
• know how to twist;
• know how to be relaxed;
• know how to hold on to the earth; know how to shrink;
• mastering the ascending, penetrating, be able to invade descending and circular movements.

Settling down: the center of gravity should be below the belt, and then the energy itself will flow up the spinal column.

Coverage: the chest is all-embracing-empty; having opened yourself to the world, follow the currents of energy, and then the power of Yin itself will go down.

Soaring: The upward movement of the life force. Limits: tip of tongue, crown and fingertips.

Twisting: the arms rotate along their axis, and the energy reaches the middle of the palms.

Relaxation: The shoulders are open and seem elastic, like a stretched bow.

Earth attraction: When arms are outstretched, elbows point down, as if the earth is pulling them.

Compression: The shoulders and hips follow the rotation of the torso.

Ascending, penetrating and circular movements: ascent is transubstantiated into following, penetrating movement into a circular one. The upward movement is progressive, the downward movement is backward. Ascending and penetrating means entering the space defended by the opponent, while downward movement and rotation means striking. Their alternation is like the unceasing rotation of a wheel.

4. FOUR PERFECTIONS,
EIGHT SKILLS
AND THE FOUR STATES

The four perfections mean: following, reversing, concord and transformation. They express the law of conformity of all movements in fisticuffs.

Following: arms and legs move according to their natural structure. Reverse motion: energy acts in the opposite direction to the action of physical force. Consent: energy and physical strength are balanced and do not infringe on each other. Transformation: The energy of the Subsequent Sky returns to the Cinnabar Field and ascends back to true Yang.

Eight kinds of skill means: push with two hands, support the opponent's arm, grab the opponent's arm, move the opponent's arm to the right or left, up or down, block from the side, lay a hand on the opponent, strike with an open palm, hold the opponent. These eight types of skill have 64 applications, which correspond to 64 hexagrams.

5. UNLIMITED

The form of the Infinite corresponds to the state when a person has not yet begun the exercise, and his consciousness is, as it were, chaotic and vague, the energy in the body moves involuntarily, obeying only the Heavenly nature, having neither measure nor order. Then a person does not seek to adorn himself on the outside and strengthen the vital force inside. He can only follow the flow of life without wondering where it comes from. His body is as if empty and pliable ...

Classes in the school of "Eight Trigrams" begin with the form of the Infinite. In the starting position, you need to stand up straight, arms down and relaxed, heels together, feet turned 90 °. You should feel as if you are floating in a void. Rest is the essence of the Infinite, and movement is the way of applying the Infinite. If we talk about peace: there is complete emptiness inside you, all thoughts have disappeared, the look is not directed either outward or inward. Speaking of movement: follow the natural rotation of the body. Then the energy of the Infinite can be born in you. It rises like swirling vapors and spreads like a stream of water. Although the essence of the Infinite eludes our mind, it can be instantly grasped by the heart, for our body is capable of itself knowing what the Infinite is.

6. THE GREAT LIMIT

The form of the Great Limit is born from the Infinite and receives certainty in the interaction of the forces of Yin and Yang. In the human body, the left side corresponds to Yang and the right side to Yin, the outer side of the arms and legs correspond to Yang, and the back side to Yin. In fisticuffs, turning to the left represents Yang power and turning to the right represents Yin power. A single energy is transformed in a circular motion. A single energy - this is the Great Limit. In the circulation of a single energy there is nothing frozen and definite, there is neither present nor absent in it, but everything happens by itself.

In the art of the Eight Trigrams, the transformation of the Infinite into the Great Limit occurs as follows: in the initial position, one must stand straight, lowering the center of gravity. Then you need to push your right leg forward, and the width of the step should depend on your height. When stepping with your left foot, make sure that her foot is slightly turned inside the circle (when rotating to the right, the right foot is inside, the left is outside). The knees almost touch when walking, the shoulders are turned inward, the back is slightly rounded, the lower back is relaxed, the head is straight. The right hand is facing the center of the circle at the level of the hind leg, its palm is at the height of the eyes. The thumb is set aside, the gaze is fixed on the “mouth of the tiger”7. The remaining fingers are slightly bent and do not touch each other. The left hand is also turned inside the circle at the level of the abdomen, its index finger is adjacent to the elbow of the right hand. Both hands, as it were, are pushing something in front of them: this is called "in the forward movement, gaining movement back." The tip of the tongue touches the upper palate, breathing occurs through the nose, it is slow and deep. In general, in moving in a circle, you need to feel natural, then the external and internal in us will themselves be in harmony.

7. TWO FORCES OF THE UNIVERSE

The two forces of the universe in their interaction determine the laws of expansion and compression of the Unified Energy. Rotation to the left corresponds to the power of Yang, rotation to the right - to the power of Yin, the action of the Great Limit, as already mentioned, is the movement of the One Energy, like the endless flow of water. The beginning of Yang - in the Great Limit - is the distribution of energy. The ancient sages said that the Way spreads everywhere; it is so great that there is nothing outside of it, and so small that it contains nothing; it embraces all the six poles8 of light and dwells in the smallest grain of sand. Such is the meaning of fist art.

By assuming the form of the Great Limit and moving in a circle, one can change direction at will. But one should change postures in accordance with the circulation of a single energy, and if one walks in circles in the same posture all the time, then it will be difficult to achieve true mastery. Making a circular walk, you need to ensure that the top and bottom of the body continue in each other, and there are six correspondences of the one inside and outside. The six correspondences mean: the correspondence between consciousness9 and will, between the will of qi, and between qi and physical strength. These are the "three inner correspondences". The correspondences between shoulder and hip, elbow and knee, palm and foot are called the "three outer correspondences". The combination of external and internal correspondences gives in total "six correspondences". After long and persistent studies, the student can understand for himself their meaning.

8. FOUR LOOK

The two forces of the universe also carry their own Yin and Yang: one great and one small. Together they form four phenomena. Four phenomena correspond to four elements: metal, wood, fire and water, and in the human body to four internal organs: heart, liver, lungs and kidneys. In the fist art, they correspond to movements forward and backward, to the right and to the left - what is colloquially called "double circulation of the palms": Four phenomena do not cover the elements of the Earth, for the Earth is the Great Limit. The continuously giving birth living thing is called the Earth. And the circulation of the Unified Energy is called the Great Limit. Both the earth and the Great Limit are only One.

The combinations of two trigrams give a total of 64 hexagrams. Among the six features of each hexagram, the three lower features are the image of the three principles of the universe: Heaven, Earth, Man. In the upper three lines of the hexagram, the image of the three principles of the universe is doubled. It also has its own Yin and Yang. Therefore, turns to the left correspond to the three lower lines of the hexagram, and turns to the right correspond to the three upper ones. So the rotations to the right and left in the fist art of the "Eight Trigrams" are like a continuously flowing stream, and the interaction of Yin and Yang makes possible the endless creation of life from itself.

9. THE UNITY OF THE PRIOR AND SUBSEQUENT HEAVEN IN THE "EIGHT TRIGRAMS"

The eight trigrams of the Preceding Heaven are the circulation of the One qi. From the Great Limit comes the action of the Heavenly Truth. This is the true body of life, not yet damaged. Eight trigrams of the Subsequent Heaven correspond to the state of divided Yin and Yang, good and evil, as well as the loss of the integrity of the true body of life in the creative transformations of the world. The original integrity of the true body means the absence of any manifestations and complete non-action. The secret of non-action is following within reaction. Thus, in the backward movement, the power of the Yang of the Antecedent Heaven is hidden, and in the forward movement, the power of the Yin of the Subsequent Heaven is transubstantiated. In this way, we return to ourselves the form given to us before birth11, and do not allow the energy of Yin to damage the original body. Damage to the true body is inflicted from the very moment when visible images of life appear. As for the act, its essence lies in counteracting the general course of events. Following the natural course of things plunges into the Yin element of the Subsequent Sky, and the movement back returns to the Yang element of the Previous Sky. Possessing the appearance received from birth, we, by cultivating Yang energy in ourselves, restore our true body. The power of Yang is strengthened, the power of Yin follows, and we again see the original appearance in ourselves: this is how the unity of the Preceding and Following Heaven is carried out.

The one who starts the studies must know the principle of the unity of the Preceding and Following Heaven, the inner and outer circle of trigrams. If we distinguish between them, then it should be said again that the Anterior Sky is the essence of the Subsequent Sky, and the Subsequent Sky is a way of applying the Antecedent Sky. Without the Prior Heaven, the Subsequent Heaven would have no root, and without the Subsequent Heaven, the Prior Heaven would have no completeness. In order for the Preceding Heaven to acquire fullness and integrity, one must rely on the visible forms of the Subsequent Heaven and follow the path of action and transformations. However, before we have mastered the art of fisting properly, we tend to make a distinction between following and reversing, stretching and squeezing. This means that the energies of the Preceding and Following Heaven in us are in discord.

In fisticuffs, the Preceding Heaven corresponds to the power of the Formless12. It embodies human nature. The subsequent Sky corresponds to the visible appearance, the interaction of Yin and Yai, the revelation and concealment, stretching and contraction, the four phenomena and their accompanying varieties of Yin and Yang. It embodies the human condition. From the point of view of the unity of the Preceding and Following Heaven, human consciousness is the heavenly truth. Will is the opening of consciousness, and the human body is directed by will. If we always keep the utmost clarity of consciousness, we will be able to fully transform our nature. But at the initial stage of training, we are not able to use the entire strength of our body, our physical strength is not wholly connected with energy, and energy is not wholly connected with the will. For us, the distinction between stretching and contraction still remains. In order to achieve the unity of the Antecedent and Subsequent Heaven, one must eliminate the three vices of fisticuffs and strictly adhere to the nine rules of the Eight Trigrams school. Then all the movements of the body will flow from our will, and over time we will learn to fully control our state. Then during the practice, the upper and lower body will continue in each other, the arms and legs will follow each other, and the inner and outer will merge into one. Then we will comprehend the essence of the unity of the Preceding and Following Heaven.

10. SPIRITUAL PRACTICE AND RETURN TO THE VOID ACCORDING TO THE SCHOOL OF EIGHT TRIGRAMS

In the fist art, perfection in skill and transformation in spirit are distinguished. But the spiritual practice in it does not differ from the forms of the Eight Trigrams. Therefore, disclosure and concealment, movement and stillness, advance and retreat according to the school of the "Eight Trigrams" lead us to the mystery of the Infinite. It should only be remembered that during training one cannot use force, but one must ensure that all movements are directed by the will, then the transformation of our bodily forces will take place. We seem to cease to distinguish between presence and absence, fullness and emptiness. Movement at rest becomes available to us, and we stop noticing that we are moving. While waging a fight with other people, we will, as it were, not notice the opponent, and our body will act completely freely. Then we can see without looking at anything, change without doing anything, achieve everything without making any effort. Then we will arrive at the art of the fist without the use of the fist, at the will, which has nothing arbitrary in itself, at the state of "form-less" and "imageless," where there is neither "I" nor "other."

My teacher Mr. Cheng used to say: "Acquiring the purity of heavenly energy is the seed14. Acquiring peace of the earthly energy is the power of the spirit." Whoever acquires both will achieve spiritual transformation. Whoever wants to master the secret of the transformation of the spirit must study according to the time, place, weather and cardinal directions. So, in the hours of Yang dominance, you need to rotate to the left, and in the hours of Yin dominance - to the right, and every day, every hour, change direction. It is necessary to choose a place in the forest, or in a secluded temple, or in a clean room. The form of classes should be chosen depending on the state of nature.

Everything that exists in this world acquires perfection thanks to the spiritual energy of Heaven and Earth, the life-giving winds of the sun and moon. The same thing happens in the fist art. For the great sages keep the principles of all things in their hearts, embrace all the phenomena of the world with their bodies, so that they are one-body with the great emptiness. Therefore, every movement of their hearts spreads throughout the world and reaches all the six poles of the universe. And when they are calm, all their energy is contained in their hearts, and they again connect bodily with the Great Emptiness. Sometimes people ask: "The sages are also people. How can they live on an equal footing with the whole of Heaven and the whole Earth?" I will answer: "The sage contains the primordial energy of Heaven and Earth, follows his nature and improves in the Way, and therefore his body is like nine-layered heaven and beautiful jasper. Excitement does not penetrate into his heart, his every thought is a pure image of heavenly truth, and his every movement is an action of the heavenly Path. That is why he is able to keep pace everywhere effortlessly, achieve everything without hesitation, and flawlessly practice the Middle Way. The truth of fisticuffs merges into one with the path of the great sages. Let the students diligently practice it!"

Notes:

1. Sun Lutang (1861 - 1933) - a famous master of the classical Taoist schools of martial art, the author of a number of works on the theory of "the art of the fist".
2. Here the legend about the origin of the "cosmic" language of trigrams, contained in the ancient commentary to the "Book of Changes", is reproduced.
3. This refers to the "Inner Canon of the Yellow Emperor" - the fundamental medical work of China.
4. In Chinese cosmology, the earth was associated with the center.
5. This refers to the stomach, gallbladder, small and large intestines, esophagus, bladder.
6. Cinnabar field - The area of ​​accumulation of qi in the human body, located 4-5 cm below the navel.
7. This refers to the space between the tip of the index finger and the tip of the thumb set aside.
8. This refers to the four cardinal points, the zenith and the nadir.
9. In the original letters. "heart". The convergence of the activity of the intellect with the "life of the heart" and, consequently, with the sensual nature of man is one of the characteristic features of Chinese thought.
10. "Double circulation of palms". - one of the basic sets of movements in the Bagua Zhang school.
11. "The image given to us before birth" is the traditional definition in Taoism of a "genuine", symbolic person - a symbolic prototype of people "in flesh and blood."
12. Formless. - one more, along with the concepts of the Great Void and Chaos, the designation of a symbolic reality that anticipates all that exists.
13. This refers to the one-time movement outward and inward in the circulation of the Tao Axis as a double helix.
14. Another designation of the symbolic prototype of things, which secretly contains the fullness of their natural properties.

Based on the materials of V.V. Malyavin "Traditions of Internal Schools of Wushu"

How to practice Taijiquan
From the words of Yang Chengfu recorded by Zhang Honglin

Yang Chengfu (1883–1936) was a gentle, kind, strong man and did not become an avid fighter. However, many wanted to test the power of taijiquan in practice and provoked Yang into fights. In weapon fights, Yang Chengfu usually acted as a "comic opponent", using a bamboo stick or a training cane against a spear against a real sword. At the same time, he did not leave his opponents the slightest chance, depriving them of their weapons and throwing them to the ground. When using internal efforts, it penetrated the entire body of the enemy, completely and unconditionally striking. All the last years of his life he traveled around the country, teaching taijiquan. His students wrote 3 books from his words.

The art of Taijiquan is based on the principles: "the weak prevails over the strong", "there is a needle in the cotton", and these principles extend, in essence, to the whole life of a person. It takes a lot of time to comprehend them. Even if you have a good teacher and knowledgeable friends and be sincere in your aspirations, without constant training of the body and continuous strengthening of the spirit, success cannot be achieved. And without the continuous effort of perfection, the consciousness, as it were, falls into hibernation, and in the end, the student is left only to talk about mastery. Therefore, the ancient sage said: "There is no point in thinking frivolously, it is better to study."

Today, the number of admirers of yšy is constantly growing, and it is joyful that among them there are many who devote themselves entirely to teaching and are not afraid of difficulties. However, there are two dangers to be aware of when practicing Taijiquan.

It happens that gifted students quickly achieve certain successes, win fights, after which they stop in their development.

It often happens that students want to quickly achieve results and, without even mastering the basics of the style being studied, they try to learn technically complex movements and work with applied types of weapons - a sword, a spear, a saber.

In fact, if one does not first clarify the meaning of any movement - and this meaning lies in the unity of the upper and lower parts of the body, internal and external - then the student will be tempted to change the posture or movement, to introduce, as it seems to him, something of his own. In fact, all this comes from ignorance and lack of knowledge. In the old days, they often said: "learning ysh is easy, but it is difficult to comprehend yshy enough to bring something new into it." Therefore, it is necessary first of all to master the art created by the ancients and learn from the books of the old masters.

A beginner to study Taijiquan should first of all turn to the main stances - those that are mentioned in ancient treatises. Under the supervision of the teacher, one should practice these postures one by one, trying to understand how to perform them correctly.

From the very beginning, the student should pay attention to the provisions:
Internal, external, top, bottom.

• what is called "internal" means nothing more than "to act with consciousness and not to use physical force";
• "external" is called the mobility of the body, as well as the interaction of the foot, leg and lower back, lowered shoulders and bent at the elbows.
• the concept of "top" - implies lightness, or emptiness, of the upper part, "so that blood and qi, circulating freely, pass through the top"
• the concept of "bottom" implies the collection of qi in the Cinnabar Field.

It is necessary to repeat the same position or movement many times in order to accustom the body to its correct execution. Only after this movement or posture is thoroughly mastered, you can proceed to the next posture. During classes, all parts of the body and joints should be relaxed. The body must be held straight so that qi flows freely throughout the body; the upper and lower limbs, as well as the hips and lower back, should not be lifted too high so as not to strain.

1. When performing sets of movements, you need to keep your head strictly vertically, not allowing it to deviate forward or backward, left or right. You should have such a feeling as if there is some object on your head, which can immediately fall down if you tilt your head even a little. However, there should not be a feeling of stiffness and stiffness of the body due to the unnatural position of the head. The gaze is mostly directed straight ahead, but sometimes, following the impulse of movement, it moves along with the movement of the body. Thus, an "empty", or dispersed, gaze can be fixed on one or another part of the body and accompany its movement. The mouth is loosely closed, breathing goes through the nose, which is most natural. As saliva accumulates under the tongue, it should be swallowed, but in no case should it be spit out.
2. From the very beginning of training, one should pay close attention to the position of the spine and back of the student. The back should be kept straight, but at the same time do not make any effort. This requirement applies not only to static postures, but also to forward and backward movements, as well as body turns. The shoulders should be kept lowered, the chest does not protrude forward, etc. If you immediately miss this moment of the correct setting of the spine, then it will be much more difficult to correct it in the future, and it is difficult to achieve the proper result.
3. The joints of the upper limbs should be relaxed, the shoulders should be lowered, the arms bent at the elbows, the hand should be slightly raised, the fingers should be slightly bent, the movement of the arms should be controlled by the will, and then "qi will appear in the fingers."
4. Legs should be strictly divided into "empty" and "full"; the gait should resemble the soft steps of a cat. If the weight of the body is transferred to the right leg, then the left leg is released, which, in turn, is ready to take on the weight of the body at the next moment. Such a transfer of body weight from one to the other leg is carried out smoothly, slowly and continuously throughout the entire execution of the complex. Therefore, an “empty” leg cannot be called “empty”, and a “full” one cannot be called “full”.
5. There are two types of kicks: 1 - when the kick is made with the toe of the foot (ti tyi) and 2 - when the kick is delivered with the heel and almost the entire surface of the foot (den tyi). The blow must be accompanied and carried out following the directed consciousness, which in turn leads the qi so that the joints of the leg are relaxed, and then the body will be in balance. If the stability of the supporting leg is lost, then the kick will not have power.

It is best to practice Taijiquan in the following way: immediately after waking up, perform a set of movements twice in a row, and also twice before going to bed. In the morning and in the evening, you should perform the complex one time at a time, and two or three more times during the day. If you drank wine and immediately after eating, you should refrain from performing the complex. The place of employment is both a closed room and any open area, provided there are no drafts and a bad smell. Your clothing should be loose, comfortable and light. Do not take off your clothes if sweat comes out, and take a cold shower after class.

13 Tactics Taijiquan is a generalized name for the 8 types of strength (Ba Jin) and 5 types of steps (Wu Bu) used in taijiquan.

The 8 types of strength in taijiquan correspond to the theory of eight trigrams (Ba Gua). Traditionally, the theory of Ba Gua in Chinese culture is used to classify all phenomena in the universe, analyze existing natural and social phenomena, and interconnect the nature of their manifestations and properties. In taijiquan, each of the 8 forces also corresponds to a specific Ba Gua trigram. This connection is based on the correspondence of the direction in which this type of force is usually applied, the property of the applied force and the quality and direction of the corresponding trigram. The idea of ​​positive or negative interaction, constant transformation of trigrams into Ba Gua, manifests itself in taijiquan in the form of the principle of constant interaction of 8 forces, which can form different techniques in different combinations. This gives a wide range of combinations and the ability to change and adapt position, technique and tactics to the actions of the enemy.

There are techniques in taijiquan that do not quite fit into the 8 types of strength, which may indicate that the theory of the eight trigrams was used to analyze and classify existing techniques, and did not serve as the basis for their creation. But this is not so important in practice, because. the effectiveness of the application of techniques does not depend on this. The 8 types of strength can be trained in a variety of ways and are a useful tool for analyzing various aspects of taijiquan.

Eight powers of taijiquan (Ba Jin), brief description

Peng - strength, which is directed upwards, usually along a circular path. When applying Peng force, the force comes from the inside out, with or without rotation of the forearm. This is a rather elastic force, it can be used in an attacking and defensive variant. The Peng symbol is the Qian (Heaven) trigram, consisting of three Yang-Yao. Symbolizes power and inexhaustible energy.

The power of Peng (reflection) is a grounding force, the main force of application, forms the framework of alchemy and its center, increases qi. By developing the ability to distribute this energy throughout the body, we cultivate greater internal strength and increase Qi.

As a combat technique, it is performed as a "reflection" technique.

For novice adepts, the power of Peng is best developed in a static position.

Lu - strength, used to redirect enemy force tangentially to the side. The more force he uses, the more he loses his balance, the more vulnerable he is to a counterattack. Lü's symbol is the trigram Kun (Earth), which consists of three Yin-Yao. Symbolizes softness and pliability.

Ji is strength, directed forward, for example, in the form of a blow or push, which is delivered with a forward palm after you have avoided or redirected an opponent's attack. Ji is a kind of force that pushes the enemy and does not allow him to turn. This strength must have a solid foundation in the legs and lower back, good sensitivity to effectively shift the opponent's center of gravity, and sticking skills. In tuishou it is often combined with the power of an. The Chi symbol - trigram Kan (Water) - consists of one Yang-yao between two Yin-yaos. Symbolizes power, strength, which is hidden in softness.

An - strength downward and forward, such as pushing down and at an angle to the opponent, causing him to lose his footing. It is performed in a small arc, together without a break and sharp, jerky movements. The symbol of An is the trigram Li (Fire), which consists of one Yin-yao between two Yang-yaos. It symbolizes power directed outward, but with hidden softness and pliability inside.

Tsai - powerful, explosive force directed downward and inward. Cai literally means "to pull", but in the context of taijiquan it is usually translated as "to uproot". It is used to provide a shock effect on the enemy, to disrupt his concentration and balance. When applying the Cai force, it is necessary to significantly use the strength of the legs and waist and perform it in one movement, followed by a counterattack. The symbol of Tsai is the trigram Xun (Wind), the basis of the trigram is Yin-yao, and on top are two Yang-yaos. Symbolizes an unexpected release of power.

Le - strength directed in a spiral. Le effort can be used effectively in situations of transition from attack to defense and vice versa, and is also used as a response to cai effort. An example of applying the Le force is grabbing the opponent's arm and twisting it back inward towards him, for further overturning. The symbol of Le, the trigram of Zhen (Thunder), represents the power of overturning and binding.

Zhou - strength, manifested in the forearm or elbow in order to either deflect an attack, or strike in the face or ribs, moving forward if the opponent pulls towards him. Elbow actions are used at a distance close to the opponent, when it is not possible to effectively use palms and fists. Zhou's symbol is the trigram Dui (Lake). One Yin-yao lies on two Yang-yaos, which implies a powerful, but hidden, disguised release of power.

Kao - strength, manifested in a blow or push with the shoulder or torso. This power is most effective when the enemy is close to you, which reduces the effectiveness of the palms, fists and elbows. The symbol of Kao is the trigram Gen (Mountain), which implies a good support, a monolithic position and a powerful release of force when applying the effort of Kao.

These 8 types of power are used both separately and in combination with each other, providing a continuous circle of defense and attack. As a rule, self-defense techniques contain several elements from 8 types of strength. Also, in the separate elements themselves, there are others, so Peng and Lu contain each other's elements, Lu contains a certain amount of Ji, Le contains Peng, Lu and An. Other types of Jin are sometimes mentioned, but they all fall under one or another type of power from this classification.

5 Step Types in Taijiquan (Wu Bu)

“Bu” in Chinese means “step”, “footwork”, “stand”. The term generally refers to stances, dodging, moving in or out of attack, moving from one stance to another. Wu Bu, or the five steps, includes the forward step, the retreat step, the look to the left, the look to the right, and the center position.

The Ba Gua concept is used to classify and analyze the 8 types of taijiquan strength, and the 5 types of taijiquan steps are correlated with the theory of the Five Elements (Wu Xing). The Wu Xing theory reflects the categories of the surrounding world, namely: wood, fire, earth, metal and water. And it proceeds from the fact that all phenomena in the Universe have the nature of the Five Elements, which are in constant motion and interaction, have different properties, but depend on each other and are closely interconnected, maintaining a relative balance and harmony. Thus, each of these five steps corresponds to one of the five elements:

Step forward - Metal;

Step/turn/look left - Water;

Step back - Tree;

Step / turn / look to the right - Fire;

The central, balanced position is Earth.

In the schematic representation of the Wu Xing theory, the Earth is located in the center, and other elements around it. Similarly, all steps are performed from a central balanced position, while moving forward, backward, towards a state of balance and stability (the image of the Earth).

The training exercises for mastering Wu Bu are pushing hands (Tuishou) with a fixed and moving step. In Taijiquan, both steps are trained to be able to move freely and stand in a fixed position. In the latter case, there is no movement, although it is possible to turn the feet and shift the weight of the body back and forth, moving from one stance to another. This exercise is useful in a situation where there is no room to take a step when you are attacked, as it is good for developing the ability to dodge, dodge and generally successfully operate in a limited space.

Ba Jin and Wu Bu can be used in completely different techniques and combinations, which makes the number of possible permutations and combinations endless. And therefore, there are far more than forty-eight Taijiquan techniques for self-defense. Five steps and eight forces do not exist separately from each other, but are trained together in all sections and techniques of Taijiquan.

Of the thirteen tactics
Peng, Lu, Ji, An, Cai, Le, Zhou and Cao are the eight trigrams.

These are the five elements.

Peng, Lu, Ji and An -
these are the trigrams Qian, Kun, Kan and Li - the four directions.

Tsai, Le, Zhou and Kao -
these are the trigrams Sun, Chen, Tui, Gen - the four corners.

Step forward, move backward, turn left, look right and fixate in the center -
they are metal, wood, water, fire and earth.

Taijiquan Lun (Discourse on Taijiquan)

The practical application of the 13 tactics of taijiquan lies in good mobility, coordination of the actions of the whole body, the ability to simultaneously defend and counterattack.

The following literature was used to write the article:

Docherty D. "All about Taijiquan" - Moscow, 2002

Zhou Zonghua "The Way of Taijiquan" - "Sofia", 2009

Ovechkin A.M. "Fundamentals of Zhen-jiu therapy" - Saransk, 1991

Titov Anton - President of the Federation, Taijiquan and Qigong instructor

Interpreter's explanations

8 efforts (ba jin) are a fundamental part of the theory of taijiquan.

Together with 5 steps, they form 13 forms (positions, forces) - the foundation of any style of taijiquan.

Performing tai chi complexes without understanding the 13 efforts is meaningless, since the forms themselves (shi) forming the complexes (taolu) are just different realizations of the 13 forms. Thus, taolu, which is often emphasized in teaching, is secondary to the 13 forms.

The first part of 13 forms - 5 steps: advance, retreat, look to the left, look to the right, stable position. Their meaning is quite obvious - they are all related to the work of the legs and body. Perhaps only "look to the left" and "look to the right" require commentary, which indicate the twisting of the body to the left and right when performing the technique. Moreover, the “look” is not mentioned here in vain - we direct the will (yi) with a look, it is followed by an effort (jin), and the movement already takes place in this direction by itself (and vice versa, if you do not look in the right direction, the movement is inhibited, despite the applied physical effort). "Advance" and "retreat" refer not only to the steps themselves, but also to the corresponding movements of the body without leaving the feet on the ground.

The second part of 13 forms - 8 efforts are more difficult to understand. Below is a translation of the sections devoted to this topic from the classic books of Xu Zhiyi (Wu Jianquan direction) and Chen Gu "an (Wu Yuxiang direction). In order for this material to be adequately perceived even by beginners in studying taijiquan and tuishou, it is necessary to give some comments.

1. Eight jin are not positions and not forms, not "techniques", but precisely efforts. Those. what matters is the force vector, not the velocity vector, or the position of the body. The correct position is only a necessary condition for creating the correct force. Movement (trajectory) is the result of the summation of the efforts of two opponents (partners in tuishou). Therefore, no specific position of the hand, body, trajectory of movement can be unambiguously associated with each type of effort. This, in particular, manifests the "formlessness" of taijiquan.

2. Peng is the most important of the 8 types of effort, which includes all the others. All kinds of efforts are modifications of penjin in different situations. In some ways, "pengjin" is a synonym for "taiji". It can be said that the force "peng" is "the force of tai chi".

Technically, penjin is an expansion force, an outward force. A fairly good example is a balloon or a ball that is pressed with a finger or a pebble is thrown.

Pengjin (taijijin) has a kind of "bidirectionality". I direct the force from myself, towards me - there is information about the enemy, this is possible only with the elasticity of the effort, which creates viscosity. Typical mistakes are either excessively strong, not elastic, reckless pressure on a tuishou partner, and too weak, intermittent pressure, which does not allow you to stick and feel his changes.

Pengjin is not something artificially generated every second under mind control, but rather a property of muscles and nerves that does not require conscious intervention to work, just as a ball does not need to think in order to throw a pebble.

An example of how penjin forms other types of effort can be seen in the example of lu effort, which in a certain sense is the exact opposite of peng, since it occurs when the structure is compressed, retreated, and the arm is pulled back. However, there is always a powerful peng force inside the lu (the stronger, the closer the hand is to the body and the shorter the levers), which acts on the opponent's hand across his force. As a result of the action of the resultant effort, the opponent's arm leaves in a concave arc past my body. Those. we can say that lujin is a modification of penjin for the case when it is beneficial to shrink.

If I try to perform lu without pen, the structure will be crushed and the enemy will be able to get to my body and affect my center of gravity.

The same applies to other types of effort, which can be considered as the transformation of penjin under various conditions.

By the way, the hieroglyph "peng" is used only in taiji, and is not used in the everyday language, therefore, in Chinese literature, explanations are often given on the reading and meaning of this hieroglyph. The same goes for "le".

3. Each of the eight jin is not something rigidly fixed, but rather overlaps a certain specific range of effort (however, quite blurry). In the process of spiral movement, forces pass into each other, combine with each other and form combined options. One hand can create one type of effort, while the other can create another (for example, cai and le).

4. Understanding 8 Jin is hardly possible without understanding other elements of Taijiquan theory: "touch-attach-stick-follow (zhan lian nian sui)", "spiral force winding thread (chan si jin)", "having fallen into the void, overcome a thousand with four liang chinei", etc., which are set out in the classical treatise of Wang Zongyue and developed by representatives of family schools (especially Chen and Wu-Hao).

5. Interpretations by different masters of 8 efforts are not exactly the same, the greatest discrepancies can be seen in relation to lejin.

6. 8 jin is usually practiced in tuishou practice, however, the classic tuishou exercises ("four straight lines", "big holding", "hand wrapping", etc.) are formalized, strictly regulated exercises, they use only some of the typical of this exercise, variants of 8 efforts. You should not reduce everything to these options (not always the most typical).

7. Work on the 8 jin is primarily pair work, in a single performance (for example, in taolu) the movements can be very different from the movements in pairs, since correspondence must be maintained in terms of effort, not forms.

8. The examples given in the translated material are examples, not fixed forms. Any action performed in accordance with the norms of taijiquan can be represented as a combination of 8 jing.

Eight basic movements

(From Xu Zhiyi's book)

The eight basic movements commonly referred to as the "Eight Ways of Tuishou" are pen, lu, chi, an, sai, le, zhou, cao. They are further explained and illustrated one by one.

(A - left, B - right)

This is a way of moving that uses force along an oblique forward and upward. As shown in Fig. 1, the two partners are initially in the shunbu position (legs and hands of the same name are exposed), the right hands are connected. Since A pushes forward with his right hand, B takes advantage of this situation and gains an advantageous position by simply bending his elbow and sticking his forearm to A's forearm. If A continues to use force, then B, to counterattack, must use a forward and upward penjin ( of course, other types of jin transformation can be used, they are not discussed here), its diagonal trajectory is similar to . If B's ​​counterattack only has a forward jin (like ), then although he can counterattack the opponent, he will need more strength. Using penjin, which leads the opponent in an upward direction, you can lift the opponent's body, make him lose stability, i.e. small force to get the effect of large force.

Lü

This is an oblique line movement, using the force of attraction to one's body and to the left or right, following the advancing main force of the enemy. As shown in Figure 2, B uses penjin to counterattack, A using the situation, rotates both forearms forward and backward and sticks to B's right hand (where the main strength is), uses lujin inward and to the right, and forces B's penjin to change direction. Lü is one of the commonly used types of jin (huajin) transformation, its purpose is to fail the opponent's counterattack into the void, and make the opponent lean to the left or right of his body. Then, when the opponent loses his balance, you only need to add a little strength to control him.

Ji

This is a type of oblique movement that uses forward and downward pressure. As shown in Figure 3, A's left wrist sticks to B's right arm and his left hand on top. A puts his right hand on his left wrist. At this time, A can, of course, release jin (fajin) forward, but he uses the force of pressure down and forward, leading to squeezing (chi) and deflection of B's ​​body back if B does not find a way to free himself, A is enough to apply a very small force, to push B. If B resists with all his might in the upward direction, trying to straighten the body, A immediately releases downward pressure and releases force forward, B's body will be thrown even further. The direction of jijin can be shown like this (for A). If B uses ji jin, then it can be shown as follows. Jijin and penjin are opposed according to the up-down principle.

An

This is a type of oblique movement that uses the force of sinking down and leading down and towards your body. As shown in Fig. 4, both hands B press (an) on A's forearm. In accordance with the usual meaning of the character "an", downward pressure must be applied. Based on the position in the diagram, B can also use the forward push jin, or push in the direction of the ji jin. However, the anjin of taijiquan is when, on the one hand, the hands of both hands B have jin immersed down, and on the other hand, sticking to the right forearm of A, they lead (yindai) to their body (i.e.). Both arms of B are straightened, but this is not done to push forward, but to prepare for bending the elbows with anjin, and leading from the body of the opponent to his body. When applying anjin, you need to pay attention to the following two points: 1) If there is no strength in the right hand of A at all, and there is no ascending (ding-crown jin) upwards, then B has no way to lead (involve) to his body 2) B applies anjin with leading to his body, defending himself, preparing to attack forward. Therefore, during a dive lead, you need to deviate to the left or right in relation to your body. Anjin is a movement that forces the opponent to lean forward, if the opponent, not wanting to lean, resists in the backward direction, then after the anjin they immediately release the jin forward, pushing the opponent.

Tsai

This is a movement that uses the jin of sinking down and then immediately the power of lifting to the left or right of one's body. As shown in Figure 5, both of B's ​​hands rest on both of A's hands, in other words, A supports B's hands with both hands. dribbling arms to the right of your body. This causes the opponent to lean forward or left-forward and become unsteady. The method of applying jin is such that I first sink, then raise, it is similar to the movement of plucking something, first lowering, then lifting, which is why it is called "caijin". When using caijin, one must pay attention to the use of position to attack, i.e. the force of the lead with the rise must match the support force of the opponent.

Le

This move uses force in an arcing path along the opponent's main force, which causes the opponent's body to twist. In accordance with Fig. 6, the right hand A pushes the left elbow B (this is the place of application of the main force A), in accordance with the position, the left hand B, being on the right hand A, applies the holding jin (lu) down the arc ( like ). Simultaneously, just as A's right hand is applying force to B's right hand using position, B puts his hand on A's left chest and pushes to the right and down in an arc. Both types of jin that B uses are applied to A's hand and body at the same time, thus one can make A's body twist and lean to the right. Looking direction B in the figure indicates the direction in which body A will be twisted and tilted after applying le.

Zhou

This is a movement in which the elbow is used to strike the opponent or to lead with the dipping of the opponent's hand or arm. As shown in Fig. 7, initially A's left arm is stretched out in front of B's ​​chest, and when B, performing a lü, pushes A's left arm with his left hand, he uses the position of bending his arm at the elbow and pursues B with a blow with the top of the elbow to the chest. This is one of the ways to strike with the elbow when you do not have time to change the position of the hand (of course, using the elbow for strikes is not limited to this). If B does not push A's left arm with his left hand, but continues to lunge to the left, A will not have a chance to bend his elbow and strike. It can be seen that in order to strike with the elbow, one must first have an opportunity to bend the arm, but if such an opportunity did not exist at all or it has already been missed, then one should not try to strike with the elbow. Figure 8 shows the form of using the elbow to lead with a dive, there are more options for its use than the previous one. As shown in the figure, A supports B’s left elbow with his right hand, if at this time B pushes A’s chest with his left hand, A will perform a horizontal support against B’s left hand, this position is extremely disadvantageous for B. Therefore, B must use the elbow to sink ( chen) down and at the same time lead (give) back (the left hand still sticks to A's chest, cannot be separated), thereby making the opponent's body lean to the right-forward and lose stability. Since the left hand does not separate from the chest of the opponent, B can extend his left arm with a blow or use a sideways force to the left, this way you can knock back or knock over the opponent.

Kao

This is the use of the shoulder to strike the opponent, while also attacking the opponent in pursuit, when you do not have time to change the position of the hand. As shown in Figure 9, A's left arm is initially stretched out in front of B's ​​chest, who holds (lui) it with both of his hands. However, because the lü is performed too hastily and the loins are not rotated enough, he cannot manage to draw A to the left. At this time, A, taking advantage of the situation, independently rotates the body, and strikes with the left shoulder in pursuit. Although B has hidden his chest and reined in his body, his chest is not turned to the left (as in Fig. 2), and can easily be attacked by A's shoulder strike. The described shoulder strike does not occur in other types of wushu. However, when using the shoulder in tui shou, it is more important to practice kao (leaning) rather than striking. Therefore, when A is attacked backwards, he must immediately use his shoulder to lean (kao) against B's body, which is to practice the art of "not losing." If he immediately uses his shoulder to knock down (zhuang), he will not only commit the mistake of "holding up", but he will also be in danger of being knocked over by B, who can transform jin. The use of kao has the merit that it is used both in advance and in retreat. Let's say B is attacked by kao, he can't keep his balance, in which case A can safely knock him down with his shoulder. If B, after attacking kao, was able to maintain stability and transform the effort of A's shoulder and arm, then A can also use the situation with a return movement of the shoulder. If you attack recklessly, then the blow does not reach the target, and besides, there will be no safe way to return. In addition, when using kao, the force is directed forward and downward (as well as chi). When using the shoulder to strike, the direction of force is only forward and not downward. Whether or not the knockdown strike succeeds, one's own body cannot escape the danger of leaning forward and sideways. From this it can be seen that the use of kao with the shoulder over the use of the knocking blow with the shoulder has advantages. Also, when using kao, you first need to acquire an advantageous position through the offensive, Fig. 9 is an explanation of the form of kao in tuishou on the spot, so the location of the partners is a little different from the previous forms.

Explanations of eight tui shou positions on the spot

(From the book of Chen Gu "an)

A (with white hair) and B (with black hair) put their right legs forward one level so that you can join the wrists of outstretched hands to stand straight, centered, comfortable and relaxed. You need to immerse yourself in peace and relaxation, be light, relaxed, rounded and mobile, you can not use brute force. While holding up in the form of peng, it is necessary that the thought permeate the jin, the shoulders and elbows should be relaxed (fansong). B joins both palms with A's hand, which performs peng, and presses (an) on it. A relaxes the lower back and hips, bends the left leg and settles on it, props it up with the right hand, directing it obliquely in front of the face of B, the palm is turned to his face, the fingers are twisted upwards, with the left palm he blocks the middle articulation with the right hand of B.

Basic moments: Sticking in the form of peng, the spirit should be focused, immersed in relaxation and peace, the movement is at rest, soft on the outside, hard on the inside, like the accumulation of jin when drawing a bow, the position of waiting for the moment of release.

Luishi

When A leads his hand with a reflection obliquely in front of B's ​​face, B with his right [and not left?] hand softens-supports-transforms (jou to hua) the movement of A's right elbow. pulls back (jie ta) B’s left wrist, the right palm, in accordance with the situation, makes the “stick a flower” movement, emerging from under B’s left armpit and twisting the arm and wrist inward, wraps (guo) and accompanies (lu) B’s shoulder. Left palm upsets the apical joint, the right wrist accompanies the root joint, the elbow locks the shoulder and elbow B, this causes the body of B to lean forward and lose balance [the paragraph contains many typos, the translation is made in accordance with the next section, where its content is repeated ].

Basic moments: Luishi movements are light, relaxed and natural, stance (step) is mobile and lively, gluing and joining (nen lian) is continuous, lively mobility and strength of jin.

jishi

A performs luishi as described above [do not repeat the translation], B, not getting a strong position, intends to pull the body and arm back. Then A, taking the opportunity to take strength, plunges the right elbow down, turning the right palm to perform chi into the chest of B, the center of the palm is directed to the face, with the left palm it helps by pressing (an) on the right palm performing chi near the wrist. Then B's body will be broken back and he will lose his balance.

Basic moments: Jishi is tough and furious, the release of force (fali) is like releasing an arrow, the transformation (hua) and release (fa) are free, the spirit (shen) is fast, agile and skillful.

Anshi

When A tries to bend back B's body with jishi, he uses his right palm to block A's chi-executing palm. At the same time, B quickly pulls his hips to the left, wraps his left palm from bottom to top, folding it, intending to transform (hua) jishi from A's side. A, taking the opportunity, with two palms presses (an) on both hands of B, one of them presses on the right shoulder of B, the other lowers his forearm with pressure, a crossed position is formed. Anshijin has a solid descending jing, it is not easy for the opponent to avoid.

Basic moments: pen, lu, ji, an stick-follow (nian lian) so that it does not come loose, connected tightly, the center of gravity stands firmly, fold in both directions, circulation without interruption. Releasing force (fali) in anshi, they attack with the lower back, retraction and spitting out (tuna) turn, everything is permeated with a single qi.

caishi

The cai method is one of the corner techniques. A and B stand opposite each other, sticking with both crossed arms, in accordance with the techniques of pen, lu, ji, an, perform three circles of mutual wrapping. Then, A steps back with his right foot back-to the right for half a step, the left leg follows, pulls the lower back to the left and bends the hips in a squat. The left hand performs lifting, screwing, lowering, overturning (qi, zuan, lo, fan) and grabs the left wrist of B, the right palm, following the situation, accompanies and plucks (lu cai) the right hand while crouching down. Jin is immersed in caishi, the strength is whole. B, the attacked cai, finds himself in a position with his back and loses his balance, leaning forward.

Basic moments: Cai - in ten fingers, qi and posture are connected, hardness and strength, there is strength. First of all, there should be fast screwing-in-tilting and lifting-lowering, decisive immersion, a lot of changes.

Lejin

When B loses position under the action of cai, he pulls his left leg and inserts it to the groin of A, intending to enter with kao and hit A with his right palm in the face. A quickly hides his chest, uses lu against B’s right hand from under the armpit the palm performs le against the right shoulder of B, and the left palm presses (an) on the thigh of B. Under the action of le, B is in the position [sheaf] of brushwood.

Basic moments: Le method is very bold, move your forearm, rotate your palm, enter with le. Jin and li are completely ordered, lively mobility leads to dexterity.

zhoushi

When B loses position under the action of le, he takes advantage of the moment when A is on the verge of release-letting (fa-fan), quickly relaxes his shoulder, twists his right arm up, pulls his lower back and hips to the right, following the return of jin blocks the middle joint [of the arm] A A, following the situation, folds his arm, squeezes his wrist with a downward movement, strikes with his elbow in the chest of B.

Basic moments: The elbow is in a bent position, the movements are decisive, fast, bold, you powerfully push the enemy, you change vividly.

Kaoshi

When B is attacked with his elbow from A, he hides his chest, and with a rotational rolling motion of his left palm to the right, he transforms A's attack. Following the situation, inserts his right foot into the middle gate of B, simultaneously folds his right hand and performs a piercing (chuan) upwards, inflicting a leaning ( kao) blow to the chest and shoulder of B. At the same time, the left palm of A delivers a pressing (an) blow to the abdomen of B. B, attacked by the kao method, will be broken back and lose balance.

Basic moments: Kao is to strike with the shoulder, chest, hip and knee, the right [left?] hand hits the stomach - the action is not in vain. Bold, decisive, fast attack - it is difficult to defend, liveliness and mobility reaches a subtle illusory variability.