Yftcc Essentials

YANG FAMILY
TAI CHI CHUAN ESSENTIALS
HISTORY, THEORY, AND PRACTICE GUIDE

YANG FAMILY TAI CHI CHUAN ESSENTIALS
Chief Editor
Master Yang Jun
Editors
Dr. Ray Tom Dr. Bruno Repetto
Assistant Editors
Adam Batten Eric Madsen Edward Moore
Proofreaders
Mike Lucero Eric Madsen Edward Moore
Dr. Bruno Repetto Dr. Ray Tom
Designer
Master Yang Jun
Contributors
CONTRIBUTORS
Much of the information about Tai Chi Chuan in this book is from the Yang Family Tai Chi
Chuan masters Yang Chengfu, Yang Zhenduo and Yang Jun.
Many other people helped in writing articles for the Tai Chi Chuan Essentials. The following are
major contributors: Sergio Arione, David Barrett, Adam Batten, Jeremy Blodgett, Jerry Karin,
Eric Madsen, Edward Moore, Audi Peal, Bruno Repetto, Pat Rice, Holly Sweeney-Hillman, and
Chen Weiming.
The Tai Chi Chuan Essentials was organized and developed over a number of years with
oversight by Master Yang Jun. Dr. Bruno Repetto organized and gathered the material and
articles for this book.
Dr. Ray Tom, the Document Development and Review Department Head, took the draft of Dr.
Bruno Repetto’s work and organized and formatted the Tai Chi Chuan Essentials in its present
form.
President Letter
Dear Tai Chi Friend,
Welcome to the International Yang Family Tai Chi Chuan Association!
I would like to express my appreciation to you for becoming a member of our association. The staff and
students of the Yang Chengfu Tai Chi Chuan Center also welcome you. We look forward to having you as
a member of our family and making your Yang Family Tai Chi Chuan experience stimulating, productive,
and memorable. Please familiarize yourself with with the contents of Tai Chi Chuan Essentials. It contains
information that will be useful to you as you learn and progress in the art of Tai Chi Chuan.
Along with this book on Tai Chi Chuan Essentials you will receive your first International Yang Family
Tai Chi Chuan Association Journal. Our association members find this journal very valuable. It contains
articles covering all areas of Tai Chi Chuan, a Practice Department section that has pictures and detailed
descriptions ofYang Family Tai Chi Chuan forms, information about other association centers, and a list of
upcoming seminars and workshops.
Should you have any questions or need any assistance, please contact the staff at your center or school
or contact the association as follows:
Fang Hong (Association Secretary)

Email: fanghong@yangfamilytaichi.com,
or contact
Nancy Lucero (President’s Assistant)
Email: nancy@yangfamilytaichi.com,
or by phone at +1-425-869-2285.
For additional information, please visit our website: www.yangfamilytaichi.com.
Once again, welcome and thank you for joining our association!
Best Regards,
Yang Jun
President
International Yang Family Tai Chi Chuan Association
Yang Family Tai Chi Chuan Essentials
TABLE OF CONTENTS
CHAPTER 1INTRODUCTION TO THE ART OF TAI CHI CHUAN��1
CHINA’S UNIQUE CONTRIBUTION TO THE WORLD��2
THE POPULARITY OF TAI CHI CHUAN��2
TRADITIONAL TAI CHI CHUAN��3
YANG ZHENDUO ON THE STUDY OF TAI CHI CHUAN��4
Life-Long Endeavor��4
Steps In Learning Tai Chi Chuan��4
When and How to Practice ��5
THE FIVE MAJOR STYLES OF TAI CHI CHUAN��7
Chen Style Tai Chi Chuan��10
Yang Style Tai Chi Chuan��11
Wu (Hao) Style Tai Chi Chuan��14
Wu Style Tai Chi Chuan��15
Sun Style Tai Chi Chuan��18
A CENTER DIRECTOR’S TESTIMONY OF THE BENEFITS OF TAI CHI CHUAN��19
HEALTH ASPECTS OF TAI CHI CHUAN PRACTICE: A CONVERSATION WITH MASTER YANG JUN�� 23
CHAPTER 2 GUIDELINES FOR CONDUCT AND BEHAVIOR�� 31

MEMBER’S CODE OF CONDUCT�� 32
YANG FAMILY TAI CHI CHUAN COMMANDMENTS�� 33
MARTIAL VIRTUE: WU DE�� 34
ADDRESSING TEACHERS, INSTRUCTORS AND FELLOW STUDENTS��37
Confucian Model of Relationships ��37
The Martial Salutation�� 38
Courtesies�� 39
CHINESE ETIQUETTE AND PROTOCOLS�� 40
KEY CONCEPTS IN UNDERSTANDING CHINESE CULTURE�� 40
GETTING TO KNOW EACH OTHER��41
CHAPTER 3 GETTING STARTED IN THE PRACTICE OF TAI CHI CHUAN�� 43

THE REASONS FOR AND THE STAGES OF WARM-UP EXERCISES�� 44
A GUIDE FOR WARM-UP AND STRETCHES�� 46
STANDING PRACTICE IN YANG FAMILY TAI CHI CHUAN�� 48
BREATHING AND CHI FLOW�� 49
CHAPTER 4 PRINCIPLES FOR THE PRACTICE OF YANG FAMILY TAI CHI CHUAN�� 51
GRANDMASTER YANG CHENGFU ON THE PRACTICE OF TAI CHI CHUAN�� 52
THE TEN ESSENTIAL PRINCIPLES OF TAI CHI CHUAN�� 55
1. Empty, Lively, Pushing Up and Energetic�� 55
2. Hold in the Chest and Slightly Round The Back�� 55
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Table of Contents
3. Relax the Waist�� 55

4. Separate Empty and Full�� 55
5. Sink the Shoulders and Drop the Elbows�� 55
6. Use Intent Rather than Force�� 55
7. Synchronize Upper and Lower Body�� 56
8. Match Up Inner and Outer�� 56
9. Practice Continuously and Without Interruption�� 56
10. Seek Quiescence within Movement�� 56
A PRACTICAL GUIDE TO THE TEN ESSENTIAL PRINCIPLES�� 57
Arranging The Body Frame�� 57
Coordinatiing The Motions�� 58
Harmonizing The Mind�� 59
GRANDMASTER YANG ZHENDUO ON ‘FANG SONG’ OR RELAXATION�� 60
LOOSENING AND SINKING AND OPENING AND EXTENDING:
FANG SONG AND FANG KAI - THE TAI CHI PARADIGM��61
Fang Song��61
Fang Kai�� 62
Combining Song And Kai�� 62
The Twenty-Character Motto�� 63
MOTTO ON HOW TO INTERCONNECT THE JOINTS TO WORK AS A WHOLE�� 64
DEVELOPING TAI CHI CHUAN ‘GONGFU’ OR SKILLS
AN INTERVIEW WITH MASTERS YANG ZHENDUO AND YANG JUN�� 64
CHAPTER 5 FOOTWORK AND STANCES�� 69

INTRODUCTION TO FOOTWORK �� 70
THE BOW STANCE�� 71
General Requirements�� 71
On Knee Alignment�� 71
THE EMPTY STANCE IN YANG FAMILY TAI CHI CHUAN�� 72
General Requirements�� 72
THE METHOD OF SUPPORTING AND PUSHING IN STANCES (DENG CHENG)�� 73
TRANSITIONS WHEN MOVING FROM ONE POSTURE TO THE NEXT POSTURE�� 73
Large Weight Shifting Technique��74
Small Weight Shifting Technique ��74
BUILDING A STRONG FOUNDATION IN STANCE WORK��76
CHAPTER 6 HAND SHAPES�� 79

HAND SHAPES�� 80
Palm�� 80
Fist�� 89
Hook Hand�� 92
PALM METHODS (ZHANG FA)�� 93
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CHAPTER 7 KICK TYPES�� 95

KICK TYPES�� 96
Separation Kick �� 97
Heel Kick�� 97
Lotus Kick�� 98
CHAPTER 8 THE LEARNING SEQUENCE OF YANG FAMILY TAI CHI CHUAN�� 99

THE LEARNING SEQUENCE��100
THE THREE STAGES FOR LEARNING�� 101
Step 1 Approximate Practice �� 102
Step 2 Detailed Practice �� 103
Step 3 Refined Practice �� 105
RANKING SYSTEM OF NINE RANKS��106
CHAPTER 9 YANG FAMILY TAI CHI CHUAN TRADITIONAL HAND FORMS��107

HAND FORMS�� 108
Yang Family Tai Chi Chuan Traditional Hand Form (103 form)�� 108
Yang Family Tai Chi Chuan Demonstration And Competition Hand Form (49 Form)��111
Traditional Yang Family Tai Chi Chuan 13 Movement Hand Form��113
Traditional Yang Family Tai Chi Chuan 16 Movement Hand Form��114
YANG FAMILY TAI CHI CHUAN TRADITIONAL HAND FORM��115
First Section With Photos And Narrative��115
YANG ZHENDUO ON THE HISTORY OF THE 49 FORM�� 137
YANG JUN PROVIDES MORE INFORMATION ON THE 49 FORM�� 139
TRANSITIONS IN THE 49 FORM THAT ARE DIFFERENT FROM THE 103 FORM�� 140
CHAPTER 10 WEAPONS��145
THE ROLE WEAPONS PLAY IN YANG FAMILY TAI CHI CHUAN�� 146
WEAPON SAFETY AND ETIQUETTE�� 152
TRADITIONAL YANG FAMILY TAI CHI CHUAN SWORD�� 155
THE THIRTEEN KEY TERMS FOR THE SWORD (SHISAN ZIJUE)�� 157
HISTORY AND MYTHOLOGY OF THE TAI CHI JIAN�� 159
THE SABER 13 FORM: AN INTRODUCTION��164
THE SABER 13 FORM AND POEM�� 165
THE TAI CHI SABER�� 166
CHAPTER 11 PUSH HANDS��169

PUSH HANDS�� 170
Fixed-Step Single-Arm Push Hands �� 170
Fixed-Step Double-Arm Circling�� 177
Freestyle Practice�� 185
Moving-Step Push Hands�� 186
THE SONG OF PUSH HANDS�� 190
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Table of Contents
CHAPTER 12 BIOGRAPHIES OF THE YANG FAMILY TAI CHI CHUAN MASTERS��191

THE FOUNDER YANG LU CHAN�� 192
SECOND GENERATION MASTERS�� 194
Yang Banhou�� 194
Yang Jianhou�� 194
THIRD GENERATION MASTERS�� 195
Yang Shaohou�� 195
Yang Chengfu�� 195
FOURTH GENERATION MASTERS�� 196
Yang Zhenming�� 196
Yang Zhenji�� 197
Yang Zhenduo�� 197
Yang Zhenguo�� 198
SIXTH GENERATION MASTERS�� 199
Yang Jun�� 199
Yang Bin��200
CHAPTER 13 HISTORY OF TWO ASSOCIATIONS��201

THE SHANXI PROVINCE ASSOCIATION�� 202
THE INTERNATIONAL ASSOCIATION��203
CHAPTER 14 ADDITIONAL RESOURCES��205

ADDITIONAL RESOURCES��206
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Chapter 1
Introduction to the Art of Tai Chi Chuan
Introduction To The Art Of Tai Chi Chuan
CHAPTER 1
INTRODUCTION TO THE ART OF TAI CHI CHUAN
CHINA’S UNIQUE CONTRIBUTION TO THE WORLD
Tai Chi Chuan, or Tai Chi, as it is more commonly known in the West, is that slow motion exercise often
seen in China’s parks early in the morning. Tai Chi Chuan players move in unison, with fluid gestures that
seem to almost be “swimming in air.”
THE POPULARITY OF TAI CHI CHUAN
What began as an obscure martial arts system has blossomed in recent years to become a worldwide
exercise phenomenon. Tai Chi Chuan classes are now found in community centers, senior centers, parks
and recreation programs and health education classes in many countries. Let’s examine the nature of Tai
Chi Chuan to understand why this exercise appeals to so many people worldwide.
Tai Chi Chuan is a series of movements, based on offensive and defensive martial techniques, performed
as a sequenced set. Some early observers called this Chinese “shadow boxing,” as some punches and
kicks were recognizable. It is the slow, deliberate pace of these motions during practice that is so special.
Recent scientific research indicates that many of the health benefits of practicing Tai Chi Chuan can
be traced to this slowness and attention to physical detail. The steps are graceful; the body’s motion
is circular, fluid and relaxed. There is elegance, a sense of ease and balance in the movements and an
ineffable calm expressed by the players. There is serenity in the exercises that can be seen by even the
most casual observer.
Tai Chi Chuan is an exercise that can be practiced well into one’s eighties, nineties and beyond. It has
become one of China’s most recognizable cultural art forms, and has deep roots in traditional Chinese
philosophy and self-cultivation exercises.
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Yong Nian, HeBei

China
TRADITIONAL TAI CHI CHUAN
T he origins of Tai Chi Chuan are

obscured by history and legend.
One legend has it that the semi-mythical Chinese
Taoist priest Zhāng Sānfēng, said to have been
attention of the aristocracy and as a result he and
Wu Yuxiang began to slow the motions down,
making them more evenly paced and reserved,
suitable for more contemplative players.
born either in 960, 1247, or in 1279, is credited
to have originated the concept of the internal During the 1920’s, the Yang family began to teach
martial arts, and it is said that he created Tai Chi publicly, hoping that the daily practice of Tai Chi
Chuan. According to legend, he observed a bird Chuan could restore the health and downtrodden
attacking a snake on Wudang Mountain and was spirits of their fellow citizens. In the 1950’s the
greatly inspired by the snake’s defensive tactics. government created the popular Simplified Yang
The snake remained still and alert in face of the Style Tai Chi Chuan 24 Form and propagated it
bird’s onslaught until it made a lunge and fatally widely to the masses as a health exercise. Today,
bit its attacker. This inspired him to create a estimates of Tai Chi Chuan players worldwide
72-movement Tai Chi Chuan set. range in the tens of millions.
The Taoist philosophy and teachings of Wudang Traditional Tai Chi Chuan has 5 basic styles: Chen
Mountain were passed down through many style is the most martial, with explosive strikes
generations. No verifiable historical records can and coiling sinuous motions. Yang style is the
be found until about 300 years ago. These earliest most widely practiced, with large open postures
records indicate that Tai Chi Chuan can be traced and slow, evenly paced motions. Two other
to Chenjiagou, a small village in Henan Province, styles developed from the early Yang system:
home of the Chen clan. one developed by Wu Yuxiang and spread by his
disciple Hao Weizhen and the other created by
Since that time, 19 generations of Chen style players Wu Jianquan. They are known as the Wu/Hao style
have maintained their strict training and high and the Wu style, respectively. Finally, Sun Lutang
standards. Until the end of the 19th century, this combined his experience in Baguazhang and
was a closely held family technique. In the 1820’s Xingyiquan with Tai Chi Chuan to create the Sun
Yang Luchan began studying Chen style, and did style.
so for over 10 years. His fighting skills earned him
the nickname, “Yang the Invincible,” eventually By Dave Barrett
landing him a job in the Forbidden City teaching YCF Center Director.
the Manchu Imperial Guard. He developed Yang Portland, Oregon
Family Tai Chi Chuan, which began to attract the
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YANG ZHENDUO ON THE STUDY OF TAI CHI CHUAN
“Tai Chi Chuan looks easy. Actually, it’s not so easy.

Spend time with your study and gradually it will become easy.” - Grandmaster Yang Zhenduo
Life-Long Endeavor
Learning Tai Chi Chuan is a life-long endeavor. It

is not uncommon to find students in their eighties
and nineties who are just as excited and engaged
in their study as a beginner. Tai Chi Chuan has
the unique capability to engage the intellect and
enrich the physical capabilities of the student. The
rewards are many: the creation of equilibrium, the
achievement of tranquility, the daily experience of
grace and beauty, balance and relaxation.
Studying Tai Chi Chuan involves a good deal of
memorization. First the Traditional Yang Family
Tai Chi Chuan Hand Form 103 itself, the names and
the motions and then the Ten Essential Principles
must be committed to memory. Being able to
focus the mind on the Ten Essential Principles and
examine how they affect the practice is the central
task of study. Another important aspect of study 5. Learn how to make the needed changes in
is observing and evaluating the performance your form to be more accurate and correct in
of players more skillful than oneself. On many performing the form.
occasions Yang Zhenduo would insist on students 6. Develop high goals for yourself in your practice
examining others in the class, “Watch and learn. of Tai Chi Chuan.
Make comparisons. Pay attention. You can learn
by doing but also learn by watching.” 7. Focus your mind on making continuous progress
in your Tai Chi Chuan.
Practicing Tai Chi Chuan involves a unique
interplay between the mind and the body. The 8. Know that the learning of Tai Chi Chuan is
physical movements are informed by the mental a lifelong process. There is no limit or end to
process and the calm, balanced motions nourish improving one’s practice.
the mind. Yang Zhenduo always insists on
purposive practice as opposed to automatic or Techniques and applications are important but
mechanical repetitions. In his comments, he sets beginners should focus on the Ten Essential
forth a detailed plan for a lifetime of progressive Principles first.
practice. Achieve the requirements gradually. Plan to work
Steps In Learning Tai Chi Chuan day by day. One day focus on dropping the elbows,
the next day, the footwork. There is no end to
1. Start by rote memorizing the movements and this study. Gradually skill levels improve, the eyes
sequence of the Tai Chi Chuan form. become sharper and one is no longer satisfied with
beginning efforts. Look, compare and evaluate.
2. Develop an understanding of the theory and As understanding improves, dissatisfaction
applications of the form. increases. Go back to the Ten Essential Principles
and re-examine your skills. Find a quiet place and
3. Compare the differences in how you perform achieve the requirements one at a time. Point by
the form with a person that performs the form point, gradually connect them into the whole.
well and accurately.
As your study progresses and the form is
4. Develop the ability to recognize what you need memorized, the mind has a tendency to wander,
to do to improve your form. as if you know the form too well. At this point you
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are not applied in this way, the spirit and the forms
will be deficient and it will be difficult to improve.
Don’t go in the wrong direction.
Day by day examine yourself. Year after year, every

day persevere! You should plan to study the art
your whole life. Should you stop when you are 100
years old? No, you should still keep going!
When and How to Practice
Every day you have to eat. Every day you have

to practice. I wish you would practice every day
and, make this training a part of your life. Practice
every day and you will improve. Create continuity
and use your will to continue. This training will
improve your body and mind making your work
easier and your life better. You will have happiness
and a wonderful life.
The essence of Yang style embodies form practice,

clear intent, focused spirit, and relaxed joints. Pull
the whole body together as one, sinking the joints
together. Whole body feeling is unified. It is not
done in one day. Practice every day.
If you have the time and opportunity, practice the

Traditional “103” Hand Form three times in a row.
The first time: loosen up. Second time: you are
comfortable. Third time: it feels very powerful.
Try your best to remember the form and apply the

Ten Essential Principles. Pay attention to how you
execute the motions. Understand the techniques.
Take one posture at a time and make the posture
clean and correct. As you practice, determine what
feels correct and what does not feel correct.
must focus on understanding the Ten Essential
Principles as they affect each motion generally Practice the Tai Chi Chuan forms without altering
and locally. Work part by part, then as you connect them. Whatever the requirement, that is what
them together, the mind becomes more focused, you do. The performance must be clean and
and skill levels improve. One part at a time, focus clear. Little parts influence the whole routine. In
your mind on the particular movement. Gradually your form practice try to be 100% accurate, it is
learn control by focusing your mind on particular not easy, but it is possible. Try hard to make your
movements one at a time, otherwise you will form absolutely correct and clean. If you start
never learn how to link the Ten Essential Principles something, finish it, if you do this you will improve
together. Practice with the Ten Essential Principles the character of your person.
and you’ll become better and better. After this
process has been accomplished then you can When you perform the form correctly, you will feel
focus your mind on the martial techniques comfortable in your performance. When you are
and applications. At this point you imagine an comfortable in your performance your power will
opponent; concentrating on this coordination naturally come out.
of inner intention and external technique is an You should be aware of your feelings as you
important feature of advanced practice. Study perform Tai Chi Chuan to guide you in practicing
from form to form and be aware of the martial correctly. Not being aware of your feelings during
techniques in the forms, but don’t forget the Ten practice is incorrect. You can improve your skills
Essential Principles. If the Ten Essential Principles by using your senses and feelings. You will not
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succeed in your practice if you do not follow the mind, the intent of the posture, there is no control
rules for the practice of Tai Chi Chuan. in the manner that you perform the posture. Does
the energy flow when I am practicing my Tai Chi
Try to distribute the internal energy you generate Chuan form? Am I able to coordinate my mind
from your practice throughout your body. and body to cause the energy to flow? When there
Whenever you move in your form practice, is no understanding of the application for the
you should feel rooted in your feet, the energy movement or posture you cannot perform the
developed in the legs, controlled by the waist, posture accurately. Only when you understand
and manifested through the shoulder, elbow and intent and application of the movement can you
fingertips. If you do not have this feeling when feel the connection between mind and body.
you move, you are not performing correctly.
Check yourself: are your movements smooth, Understanding and knowing the Ten Essential
natural, open, extended with the whole body Principles of Yang Chengfu are crucial for
loose and moving freely? Without these things in promoting the feeling of the mind/body
your form, the beauty of the form will not come connection. How do I achieve the Ten Essential
out. When we practice, we need to show that we Principles in my practice of Tai Chi Chuan? Do I
are gentle and open. It is incorrect to not exhibit have them? These questions serve to focus your
power when performing the forms. When natural mind on this very important aspect of Tai Chi
power is present then the form is being performed Chuan. Make the connection between your mind
correctly. and body. Apply the Ten Essential Principles into
your Tai Chi Chuan practice. If you do not do this
Every technique must be clearly executed, even then your mind will wander off and you will lose
the smallest technique, try to imitate exactly. that mind/body connection. Your mind will no
Imitating the technique exactly as it should be longer be focused. Practice with the intention
executed is focusing and disciplining your mind of using your mind to control the movements
and is training your mind. What is the connection of your body as you practice your Tai Chi Chuan.
between the mind and the body in Tai Chi Chuan? With a focused and disciplined mind, you can feel
What does it feel like to have the internal (the the connection between mind and body. You can
mind) and the external (the body) coordinated? understand the why and how of the movement,
Do I feel this connection when I practice? Can I and you have control of performing the posture
coordinate my mind with the movements of my accurately.
body when I practice my form? Practicing your Tai
Chi Chuan form without feeling the connection
between the mind and body makes it difficult to
“If you don’t practice, forget it!”
make progress and improve.
Article is based on the words of
How does a person come to understand this
Grandmaster Yang Zhenduo and
feeling between the mind and body connection?
written by Dave Barrett.
If you do not have an understanding with your
Yang Luchan’s house
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THE FIVE MAJOR STYL
There are five major traditional styles of Tai Chi Chuan,

each named after the Chinese family from which it
originated. They are:
• Chen style (陳氏), founded by Chen Wangting (1580-
1660)
• Yang style (楊氏), founded by Yang Luchan (1799-1872)
• Wu(Hao) style (武氏) or Wu/Hao style, founded by Wu
Yuxiang (1812-1880) and continued by Hao Weizhen
(1842-1920).
• Wu style (吳氏), founded by Wu Quanyou (1834–1902)
and his son Wu Jianquan (1870-1942)
• Sun style (孫氏), founded by Sun Lutang, (1861–1932)
The five major family styles share many of the same
theories on the practice of Tai Chi Chuan, but differ in their
approaches to training. What makes them all “traditional”
is their rigorous attention to detail, adherence to
principles, and refinements passed along from generation
to generation. All five family styles continue to bring
health and self-defense skills to those who practice Tai
Chi Chuan.
LES OF TAI CHI CHUAN
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Chen Style Tai Chi Chuan
The Chen family style is the oldest of the five main styles, and the one from which all the other main Tai
Chi Chuan styles evolved. Documentation of the history of the Chen Family Tai Chi Chuan goes back to
the 1600’s and the 9th generation Chen Wangting in Chenjiaguo (Chen Village) in Henan Province. One
of the best-known teachers was 14th generation Chen Changxing (1771-1853), teacher of Yang Luchan.
Chen Fake, in the late 1920s, began teaching public classes in Beijing and was very influential in the
popularization of Tai Chi Chuan.
Today Chen Xiaowang and Chen Zhenglei are recognized as Grandmasters of the Chen style, both 11th
generation successors of the Chen Family Tai Chi Chuan and 19th generation of the Chen family.
The Chen style is characterized by its low stances and explicitly expressed “silk reeling” energy. The pacing
in performance varies; it has both slow and fast movements, and includes leaps, stomps, and visible
bursts of power. Internal and external circles and spirals also distinguish it. Chen style uses a wide variety
of techniques, and cultivating fajin (explosive energy) skills is a major focus of this style.
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Yang Style Tai Chi Chuan
Yang style Tai Chi Chuan was founded by Yang Luchan (1799-1872) and was popularized by Yang Chengfu
(1883-1936). Yang Luchan learned from Chen Changxing, a martial arts master from the Chen Village in
Wen County, Henan.
Tai Chi Chuan first became a noted martial art through the prowess and widespread teachings of Yang
Luchan. Yang Luchan, his sons Yang Banhou and Yang Jianhou, his grandsons Yang Shaohou and Yang
Chengfu, and his great-grandsons Yang Zhenming, Yang Zhenji, Yang Zhenduo, and Yang Zhenguo have
all worked to research, improve, develop, and spread Tai Chi Chuan. It was largely through the efforts of
the first four generations of the Yang family that Tai Chi Chuan has such a large following in the world
today. The Yang lineage was also influential in the establishment of the Wu, Wu/Hao, and Sun family styles
of Tai Chi Chuan.
“Its main characteristics are a closely knit series of relaxed and composed,
even and flowing movements that combine strength with resilience and vigor
with gentleness, with the trunk erect as the axis of all movements.”
—Yang Zhenduo, in Yang Style Tai Chi Chuan, Morning Glory Press, 1988.
In his book, Master Yang Zhenduo goes on to explain,
“It is said that when Yang Luchan was young, he had the luck to learn Tai Chi Chuan from
Chen Changxing, a well-known master of the Chen School of Tai Chi Chuan in Henan
Province. Having mastered this art, he was recommended to be a teacher of Chinese boxing
in an aristocratic family in Beijing and later instructor in an army unit. When it was passed
down to Yang Chengfu, its movements had undergone great changes. Characterized by
its easy, nimble and leisurely style, combining vigor with grace, this newborn school of
Yang Family Tai Chi Chuan has since been very popular among the Chinese people.”
“Yang Family Tai Chi Chuan has become extended and graceful, carefully structured, relaxed,
gentle and flowing, while still maintaining the martial arts aspects. It is also a method for
improving health and curing illness. Tai Chi Chuan is loved by tens of millions of practitioners,
spreading Tai Chi Chuan at home and abroad. It has become the most popular of all
Chinese martial arts, providing a remarkable contribution to the health of mankind.”
—Master Yang Jun, 6th generation Yang family member.
Today, Grandmaster Yang Zhenduo is the 4th generation lineage holder of the Yang Family Tai Chi Chuan,
and Grandmaster Yang Jun is the 5th generation lineage holder of the the Yang Family Tai Chi Chuan, and
the 6th generation descendant of the Yang family.
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Wu (Hao) Style Tai Chi Chuan
The founder of this form of Tai Chi Chuan was Wu Yuxiang (1812-1880) who was a native of Guangpingfu,
the hometown of Yang style founder, Yang Luchan. Wu Yuxiang and his two brothers were enthralled by
Yang Luchan’s skills and began studying under him. Later, Wu Yuxiang went to seek out Yang Luchan’s
teacher Chen Changxing to further his skills, but instead ended up learning from Chen Qingping at the
Zhaobao village. Wu Yuxiang had few pupils and his art was made famous mostly through the efforts
of the Hao family. Hao Weizhen (1842-1920) learned Wu Yuxiang’s style from Wu’s nephew Li Yiyu. Hao
passed his knowledge to his son Hao Yueru and grandson Hao Shaoju. He also taught this style to Sun
Lutang, the founder of Sun style. Indeed, this style of Tai Chi Chuan is often referred to as Wu/Hao style. It
is a separate family style from that of Wu Jianquan.
Wu Yuxiang’s Tai Chi Chuan is one of the major styles practiced, though it is rare compared with the other
major styles and is still relatively unknown in the West. Its popularity is increasing as China opens up, and
more and more people learn this style of Tai Chi Chuan.
Wu Yuxiang’s Tai Chi Chuan is distinctive with small, subtle movements. It is slow, smooth, and compact,
and focused on balance, sensitivity and internal qi development. With its high postures, it appeals to
those who regard the lower-stance styles as being hard on the knees.
Today, Zhong Zhenshan and Wu Wenhan are both 5th generation Grandmasters of the Wu/Hao style of
Tai Chi Chuan, and Zhong Zhenshan is the 5th generation lineage holder of the style.
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Wu Style Tai Chi Chuan
Wu style was originated by Quan You (1834-1902), a Manchurian captain of a squad safeguarding a royal
family. He had learned the art of Tai Chi Chuan directly from Yang Luchan, and also under his son, Yang
Banhou. Quan You later modified what he learned, and his art evolved to be recognized as a separate style
of Tai Chi Chuan. His style became known as the Wu School because his son Wu Jianquan (1870-1942),
himself an illustrious master, adopted a Han family name “Wu.” Hence Quan You—through his son Wu
Jianquan—is honored as the founder of the Wu School of Tai Chi Chuan.
The first Wu Tai Chi Chuan Academy was established in Shanghai in 1935 and was directed by Master Wu
Jianquan, with his son-in-law Ma Yuehliang as vice-director. Ma Yuehliang (1901-1998) was a student of
Wu and was the husband of Wu Yinghua (1905-1996), the third child and first daughter of Wu Jianquan.
She was recognized as the senior instructor of the Wu family in China, along with her husband.
Wu style’s distinctive hand form, push hands and weapons training emphasize parallel footwork and
horse stances, with the feet relatively closer together than the modern Yang or Chen styles. It includes
small circle hand techniques (although large circle techniques are taught as well). Wu style has an initial
focus on grappling, throws, tumbling, jumping, foot sweeps, and, at advanced levels, pressure point
leverage, joint locks, and breaks.
Today, Grandmaster Eddie Wu (Wu Guangyu), President of the International Wu Style Federation is the
direct lineage inheritor of the Wu style. Ma Hailong, the son of Masters Ma Yuehliang and Wu Yinghua, is
also recognized as the Grandmaster of the Wu style.
- 15 -
- 16 -
- 17 -
Sun Style Tai Chi Chuan
Sun Family Tai Chi Chuan was developed by the famous martial artist Sun Lutang (1861-1932), and is the
most recently developed of the five major styles. Sun Lutang also trained in Xingyiquan and Baguazhang
before he began to study Tai Chi Chuan. He learned Wu/Hao style from Hao Weizhen, and united his
understanding of all three arts into a distinctive family style. He incorporated the rapid footwork of
Baguazhang with the leg and waist methods of Xingyiquan, and combined them with the soft and fluid
body techniques of Wu Yuxiang’s method. His daughter, Sun Jianyun (1913-2003), continued the style’s
development.
Sun style features a high stance; the movements are short and compact, and each hand technique is
accompanied by a corresponding stepping action. Sun style is also characterized by its unique “open-
close” hand movement, and is sometimes called “lively, open/close” Tai Chi Chuan. The footwork of
Sun style is unique, when one foot advances or retreats the other follows. It also uses an open palm
throughout the entirety of its main form, and exhibits small circular movements with the hand. Sun Family
Tai Chi Chuan is well known for its smooth, flowing movements which omit the more physically vigorous
crouching, leaping and fajin techniques of some other styles. Its gentle postures and high stances make
it very suitable for those who desire a low-impact exercise system, for geriatric exercise, and martial arts
therapy. For more athletic individuals it provides a fascinating approach to self-defense.
Grandmaster Sun Yongtian studied for many years under the guidance of Sun Jianyun and is recognized
today as the 3rd generation lineage holder of the Sun Family Tai Chi Chuan.
- 18 -
A CENTER DIRECTOR’S TESTIMONY O
I
recall that in the 1970’s and early 1980’s my oldest students were
averaging around the age of 23.
By the mid1980’s and early 1990’s, seniors became more active in

physical activities and this is when I felt that a new era of Tai Chi had started
in the Western World.
Over the past 20 years I have experienced an increasing number of seniors

and members with medical conditions participating in Tai Chi at our school in
Montreal. More frequently our students were seniors with arthritis, multiple
sclerosis, Parkinson’s disease, fibromyalgia, high blood pressure, scoliosis,
spinal stenosis, osteoporosis, tendonitis, sciatica, capsulitis, bursitis, and
migraines, along with many other stress related disorders.
Very quickly I realized that I was no longer qualified to help many of my

students that were coming to me with these various medical needs. I felt
I did not have all the tools I needed to help my students and I needed to
familiarize myself with anatomy and physiology, as well as some of the
medical conditions that many of my students had encountered. I began to
read on these subjects extensively. At the time there were not any resources
such as this book to aid me with the proper direction concerning Tai Chi
guidelines and practices.
Shortly after this realization I hired doctors, dieticians and trainers to teach
at conferences at our Tai Chi school. This was to assist the Tai Chi instructors
to better understand how to help the members with various medical
conditions. We wanted to educate ourselves further so that we were not
making their conditions worse.
As the years passed, Tai Chi became more recognized as a tool that could
bring health and wellness to our communities.
It became a regular thing to see more and more members mentioning that
after several years of Tai Chi practice, their osteoporosis was improving and
that they in fact had gained bone density since they first began Tai Chi.
Some members also reported that their migraines were reduced dramatically
as well as improvement in their mobility and balance. Other members with
fibromyalgia reported a reduction of up to 70% of their pain after only one
year of Tai Chi training.
Two senior members had been diagnosed with hip problems and their
doctors had given (to both of them) written prescriptions for hip replacement.
Both of these seniors started Tai Chi about 10 years ago. They never had the
hip replacement that was prescribed to them; furthermore, they currently
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OF THE BENEFITS OF TAI CHI CHUAN
do not have hip problems any longer and are presently Tai Chi instructors in
Montreal.
In more than 30 years of teaching Tai Chi Chuan to more than 6000 students,
I have seen clearly and repeatedly the health and wellness benefits of Tai Chi
in many students.
Of all these cases, there were two that made me reflect deeply on my
dedication to helping others through Tai Chi practice and I would like to
share these touching stories that I experienced with these students.
About 8 years ago, a man in his 80’s attended one of my Tai Chi classes. He
mentioned that he had continuous lower back pain. His height was 6’ 4” and
because of his height he developed a habit of inclining his head forward to
look down while he spoke to people since most people were shorter than
he was.
Since his upper body was leaning forward all the time, his lower back was
fighting the weight of his head and torso leaning forward. Because of this
postural problem, his lower back could not rest and it was under continuous
tension and pain. He had mentioned to me that he had been taking several
types of anti-inflammatory treatments as well as medication for arthritis over
the years. He reported that the medication that he had been taking for many
years was not helping him. Because of his arthritis, his range of motion in the
cervical and thoracic vertebrae was severely reduced. MA
DAGASCAR
His cervical curvature was non-existent and the weight of his neck and upper
torso were making the lower back work against the upper body weight,
always pulling forward and putting continuous pressure on his lower back.
His doctor told him that there were no further medications available that
could help him and that there was nothing more the doctor could do for
him and his lower back problem. The patient researched the internet and
discovered that if he had started exercising a few years earlier, he could
have kept mobility in his spine. He could have prevented the fusion of the MA
L AY S I A
vertebras in the cervical thoracic area and thus the excruciating lower back
pain.
The main thing that he needed to do was to exercise, to stretch and

strengthen the lower back muscles and to move the spine in an appropriate
manner to maintain spine mobility and proper spine alignment.
His final thoughts were: “If my doctor had prescribed me exercises a few years
ago, I would have had a chance to prevent the fusion of several vertebras in
my spine and I would not have this permanent pain in my lower back.”
- 20 -
This experience made me reflect about the importance of having the proper
knowledge and tools to make a difference in our training and life.
This book is filled with information that will help us gain the understanding
of the fundamentals of Tai Chi Chuan training.
During the last 10 years, we have seen more and more doctors referring
patients to Tai Chi classes for various conditions such as lower back problems,
fibromyalgia, arthritis, stress related disorders, etc. This awareness from the
medical field has brought the opportunity for Tai Chi Chuan enthusiasts to
become aware of their health as well as their overall wellness and lifestyle.
About 17 years ago, I experienced one of the most touching events in my
years of helping seniors improve their flexibility, mobility and balance.
Two ladies in their late seventies came to our Tai Chi center in Montreal
asking if they were too old to start Tai Chi. Both of them walked in with canes
and with difficulty. I noticed that while they walked towards the information
area, their steps were short and quick.
Their way of walking told me that they needed some help to improve the
strength of their thighs and restore mobility to their knees and hips.
For 2 years they came to Tai Chi classes and never missed a class. During
some of the coldest and icy days in Montreal, I remember walking them to
their cars to ensure that they would not fall while walking on the ice. Nothing
would stop them from coming to their Tai Chi classes.
Two years later we had a Tai Chi show and many of our members participated
in the performances, including a group of seniors that these two ladies
belong to.
I was very moved when I noticed that both of them were touching their toes
during the warm ups to stretch the lower back and that both of them walked
on and off the stage without canes. I was pretty much in tears to see that
these two ladies in their late seventies had managed to leave behind their
canes for the performance and had gained balance, mobility and confidence
just from their regular Tai Chi training.
In 1975, while I was studying to become an architect, I attended a Tai Chi

class and knew instantly that Tai Chi Chuan would be a major part of my life
and eventually it became my profession.
As the years passed, I could not help feeling a great sense of gratitude for my
teachers along with a great sense of wellness that Tai Chi brought to my life. I
knew that I wanted to become a Tai Chi teacher to be able to help people as
my Tai Chi teachers had helped me.
My conclusion was that I could not keep all that Tai Chi brought to me, and
the best way to express my gratitude was by returning it to others..
We hope that this book will help you make progress in your Tai Chi.
We also hope that a great sense of abundance and wellness brings you to the
insight of sharing and helping others in the Tai Chi path.
By Sergio Arione, Director of Montreal Yang Chengfu Center
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- 22 -
HEALTH ASPECTS OF TAI CHI CHUAN PRACTICE:

A CONVERSATION WITH MASTER YANG JUN
W estern scientists have

begun investigating links between
recently
Tai Chi Chuan and its effects on balance, pain

even, we can make our breath even and calm. We
keep our breathing deep and even (有氧呼吸), so
you always have oxygen. That’s why we can keep
management, arthritis, and osteoporosis. Nearly calm; our breath is not rushed.
all of these studies have shown a positive impact
on the lives of practitioners. These conditions are This can also help us internally. Practicing slowly
among a growing list of ailments that Tai Chi Chuan allows us to be calm and stable. The mind is
has shown to benefit. This confirms what long- centered. When you practice quickly and send out
time practitioners have known for generations. I too much energy, then it’s very easy to get excited.
recently had a chance to talk to Master Yang Jun So, practicing slowly helps.
about his thoughts on the health benefits of Tai
Internally, it helps your mind be calm and
Chi Chuan, and to clarify some points that have
externally, it builds your foundation.
intrigued some of us for years.
What is fang song (放松)?
Why is Tai Chi Chuan practiced slowly?
Song is a very important method for practicing Tai
The reason why we practice Tai Chi Chuan slowly
Chi Chuan. How do you understand song?
can be separated into two parts: internal and
external. First, from the physical standpoint, the Song is not limp, but song is also not asking you
external movements are practiced slowly. We use to be hard. So song has a feeling of extension
this pace for stepping, because it develops leg allowing the whole body to be connected. At the
strength and balance; this is the basic foundation. same time it has a natural feeling: there’s energy
Also, when we practice slowly and our pace is inside, but it’s not stiff. The feeling of song is open
- 23 -
and extended; the joints and tendons are open like steel.” So you use the method of relaxation to
and connected. get that feeling. However, when we practice, we
first relax (song). When the body is soft and supple
Often song is translated as “relaxed,” but relaxed you can unify the soft to become hard. The last
can also give the image of being limp. Here we step is soft and hard combined together. So keep
should understand that we’re not going to be the energy relaxed. It is important to develop the
hard, and we’re not going to be soft; we’re going energy correctly so that it is not hard or limp.
to be in the middle. This means outside our shape
looks soft but inside we feel extended with spring- Secondly, if you can relax, then it is easy to
like energy. coordinate your upper body and lower body. You
can then unify internal and external, which allows
Song and fang song are the same. Song means you to move continuously. This all comes from the
relax; fang song is more of a verb. The meaning of process of relaxation.
fang is “to put” or “settle into.”
Lastly, if you can relax, you are more flexible. So
Rou (柔), which comes from fang song, is also when moving forward and backward, the footwork
an important idea. Rou gets its strength from is also more flexible. We say, “The lower body feels
softness but it feels like steel inside. It is flexible heavy, the upper body feels light, and the middle
and yielding but when it is used it becomes like a is flexible.” Relaxation helps with coordination and
whip; it is springy. flexibility.
Why is song important? Yang style stresses extension, how does that
help?
The benefit of song is very important from Tai
Chi Chuan’s point of view. One of song’s benefits Different styles have different flavors. In Yang style
comes from the energy. When we practice Tai Chi we practice slowly, evenly, and the movements are
Chuan what kind of energy do we use? Here we large. The important thing is that it feels graceful.
say, “On the outside it looks soft, but inside it feels When you practice a smaller frame, then you feel
- 24 -
the spirit differently; it is more concentrated. But the body’s circulation is reaching its peak. I feel
in Yang style we want to feel open. With an open this is the only difference.
mind and open spirit it feels graceful; that’s the
special flavor of Yang style. If you cannot feel that Should we practice when we feel sick?
internal extension then it’s hard to feel your mind
It depends on your condition. If you have a cold,
extended or graceful. It’s not only the physical
then practice can help, especially if you start
movement, but also the internal feeling that is
sweating a little bit. This will help your recovery
graceful, open and large. The internal and external
and rebuild your internal strength to fight the
connect here, because the method asks you to
cold. If it’s serious, like the flu, with a high fever,
extend. This results in a graceful feeling.
headache and sore joints, then it’s probably not a
Does it help for health reasons? good time to practice. I would suggest more rest.
Yes, but I’d like to say that all styles of Tai Chi Chuan If you have a chronic illness I would encourage you
have health benefits because all the styles share to practice Tai Chi Chuan because it is an exercise
similar principles. The Yang style uses a bigger that gently promotes oxygenation. The more
circle. Therefore, the movements are larger. This you practice, the more it helps you. Generally a
helps with circulation. With the large circle and person with chronic illness shouldn’t practice
extended feeling, the energy circulation reaches too strenuously. The affected organs can’t take
through the whole body. Also, you don’t feel that kind of stress. Tai Chi Chuan is good because
rushed inside. it uses deep breathing and a slow, even motion.
Everyone can practice like this.
Tai Chi Chuan is based on Traditional Chinese
Medicine (TCM); in TCM different seasons affect You know, people with chronic illnesses also need
different organs. Should our practice change exercise to improve their circulation. Tai Chi Chuan
according to the seasons? can help with this.
Actually, the yin/yang philosophy (Tai Chi - 太

极) that Tai Chi Chuan is based on is the same
philosophy that TCM uses to understand the
body. In Tai Chi philosophy we say that we want
everything balanced and centered. So balance
between the organs is most important. Practice
will help the mind be centered. To help the mind
be calm and understand the philosophy, your
expression should be neutral and centered.
So with that in mind, I don’t think your practice

should change much through the seasons. You
may feel more active during spring and summer;
this is when the yang cycle is strong. That doesn’t
mean you should stop practicing in winter. You
should practice in all seasons! There is no specific
change to the method, such as only practicing
the form in spring, or only practicing weapons
in winter. However, I would say that the weather
affects the body’s physical and internal feeling.
So when you are cold or stiff, probably you need
to do some warm-ups and stretching. Also, you
might have to practice a little longer until you
start to feel the circulation improving and your
body warming up. In summer time you can adjust
a little bit. Maybe you don’t need to warm-up like
in winter. You might feel that even after practicing
only a little while that you already feel warm and
- 25 -
Over time, practitioners are able to calm their mind Yes, because a little bit of alcohol will raise the
and find balance. Generally people with chronic heart’s activity and also help with blood circulation.
illness have stress and sadness; inside they feel
mental pressure. Practicing Tai Chi Chuan helps But, how much is allowed? This is the question!
relieve this mental pressure. A good attitude can
I would say drinking a little bit of alcohol, especially
help cure the illness. Tai Chi Chuan can balance
in the wintertime, will help your circulation and
the mind and help your illness. When we talk
heart. But a little means a little; you cannot drink
about balance we don’t only talk about the mind,
too much!
there’s also the physical part. The doctors in China
prescribe Tai Chi Chuan for people with chronic It is better not to combine Tai Chi Chuan with
illness more often than Qi Gong because it has alcohol. Tai Chi Chuan alone will raise your
more physical movement. circulation. That is one of the reasons we say not
to drink before practice.
In the classics they say not to practice after
drinking. How much drinking is too much? What about food?
(Laughter) One drink is too much! Not drinking This is a difficult question. In the past we didn’t
means no drinking! talk much about food, because people never
ate enough. Right now we eat too much. So we
Anyways, from the TCM point of view, drinking
say, when you are full this is not a good time to
alcohol is good for you. In Chinese medicine if you
practice. You have to rest at least one hour before
drink a little bit it actually helps your circulation.
you can practice, especially if you are going to
In western medicine you also have this kind of practice something hard like explosive energy
saying, right? One glass of wine a day keeps the (fajin).
doctor away. I’m not sure if this is a serious saying
How about a snack or a small bite to eat?
or just a joke.
That’s okay. A little snack is okay. Mainly when
There are studies saying that a glass of wine is fine,
you eat too much and feel your stomach is full,
especially for things like heart disease.
that’s a problem. So, about food, we already have
a lot of health information about what kind of
food is good for you. I’m not going to give any
recommendations, like people who want good
health cannot eat meat. It is more about how
much you eat. If you are out of balance, always
eating too much of one thing and not in control
of yourself, then this is going to be a problem.
Whatever food we eat should support our body’s
needs.
The relationship between food and TCM is as

complex as any other system. There’s no real set
way, but we generally say that in winter you eat
warm (yang foods such as red meat, 韭菜 (chives),
and dried peppers) and in summer you eat cold
(yin food including most vegetables and crab).
That doesn’t mean that a yang food can never be
yin. This depends on many different factors, such
as preparation and the style in which it is cooked.
You say when we breathe it should be deep and

calm, but you also stress that we don’t focus
on breathing. Could you clarify the function of
breathing in Tai Chi Chuan and why we should
not focus on it?
- 26 -
his intention, and knowing what to do, all without

thinking.
Body movement is both internal and external.

Internally you will connect with the mind;
externally, you will connect with the body. Your
body should follow the mind’s lead. If we are only
thinking about how we breathe and qi, then you
lose that part.
Tai Chi Chuan is a martial art. We should always be

focusing on the idea that there is an opponent.
You cannot focus your spirit inward, on yourself.
You have to project you mind to the opponent’s
side in order to understand what your opponent
is doing. This is the reason we say you should not
In Tai Chi Chuan we use abdominal (dantian) focus on how you breathe.
breathing; this lets the qi sink down to the dantian.
So the mind should focus on the intent of the
This requires you to relax the abdomen (dantian)
movement.
so your breathing is deep and long. This will help
the blood and qi circulation in your body. This type That’s right, the mind is focusing on what you are
of breathing is slow, smooth and even to help you going to do. Then the qi and breath will follow
feel calm. You should feel the energy continuously your mind. For example, when you speak, you
flowing. That is the idea. Your mind should not don’t think about inhaling or exhaling, right?
concentrate on how you breathe or on the qi. But you are flowing. Are you thinking: “When I
speak, should I inhale at this point and at that
When we talk about the qi, we say qi is a kind of
point exhale?” You never think of that, right? You
energy. Qi is connected to your lungs and therefore
focus on keeping your speech flowing. You never
to your breathing. So if you concentrate on your
think about breathing. If you do, you cannot flow,
breath, you will breathe differently. This will affect
then your qi and energy are blocked. You lose
qi circulation and your energy. So, during practice
your center. You lose concentration. You have to
you should not focus on breathing. Instead,
understand this main point. We say, breathe deep
you should focus on what you are doing in the
and keep the qi flowing, but we never focus our
moment.
mind there.
This is the method of our practice: the mind leads,
How does the Five Elements Theory (Wu Xing-
the qi follows. (以意行气，意到，气到，而劲
五行) relate to health and Tai Chi theory?
到。)
We say the complete theory of Tai Chi (yin/yang)
When you move your body there are two aspects:
also includes the five elements.
first, the mind plans, and then the body follows
and moves. Everything, including the qi and the The universe is the big Tai Chi and your body is
body, follows the mind. the small Tai Chi. How do you understand your
body as the small Tai Chi? This point comes
So your mind should not concentrate on your
from Tai Chi theory and the five elements. The
breath or your qi. If you do, you will miss the main
nurturing and countering relationship between
point, which is: Where do you want your body to
the five elements was developed from thousands
move and what is your plan to move?
of years of experience. Chinese medicine matches
In Chinese we say yundong(运动); this reflects organs with elements. The yin organs are, the liver
the personal physical motion. Yun refers to the [wood], heart [fire], spleen [earth], kidneys [water],
mind thinking. Dong means the body follows and and lungs [metal]. The yang organs move and act.
moves. They are the bladder [water], small intestine [fire],
large intestine [metal], gall bladder [wood] and
Then we also talk about zhijue（知觉), this is stomach [earth].
knowing how your opponent will move, knowing
- 27 -
The organs are also matched with the expression, not only are your emotions balanced, but also
or emotion, that affects them. It is best when your body’s position and direction are connected
the emotions balance each other. From the Five with the understanding of Tai Chi. Whether
Element Theory we understand the importance of internal or external, it is important to be balanced.
being balanced. Understanding the relationship between the
five-elements is how one measures their state of
Everything is connected with your expression. For balance.
example, when you give a speech, you may be
afraid and shake a little bit. In this situation, you can When practicing Tai Chi Chuan your mind and
really feel the organs physically connected with physical center need to be balanced.
your internal expression.
Your internal emotion is Emotions matched with yin organs:
connected with every part of
喜 [happiness/ joy] 心 [heart]
your internal organs.
怒 [anger] 肝 [liver]
In The Romance of the Three
Kingdoms (attributed to 尤 [anxiety] 脾 [spleen]
Luo Guanzhong) there is
a famous general named 悲 [sadness] 肺 [lungs]
Zhang Fei, who was
恐 [fear] 肾 [kidney]
terrifying to behold. He was
an intimidating man whose Emotions matched with yang organs:
spirit was so black that he
had dark skin and a hard 惊 [shock/surprise] 胆 [gallbladder]
beard with steel-like bristles.
His eyes were large and 思 [thinking/longing] 小肠 [small intestine]
round and he had a face the
怕 [fear] 膀胱 [bladder]
size of a water basin. He was
armed with a snake-tongued 愁 [worry] 胃 [stomach]
spear [丈八蛇矛] and rode a
black horse. He was the son 虑 [concern] 大肠 [large intestine]
of Guan Yu. Like his father, he
was a mighty warrior. Once What is the relationship between jing, qi and
Zhang Fei won a battle by shen in Tai Chi Chuan?
shouting so loudly that the Jing, qi, shen are the three basic components of
enemy soldiers, who knew of a person. We can talk about them from both a
his reputation, were literally TCM and from a martial arts point of view. Jing we
scared to death. translate as “essence,” qi we translate as “energy.”
That’s why I say during practice, what are we Shen we translate as “spirit.” So, what is their
doing? We are strengthening our spirit. Your spirit relationship?
comes from your heart. Just as your body has Tai As I mentioned earlier, you need to pay attention
Chi, your heart also has Tai Chi, because your heart to the form. When your spirit is raised this will help
is the ruler of your body! your qi circulation.
The five elements represent directions. The five When you have more energy and more qi
directions are east [wood], south [fire], west circulating, your body can store more essence
[metal], north [water] and center [earth]. There are (jing). More jing can promote more spirit. So, jing,
also the five gates (positions): left is wood, forward qi and shen support and help each other grow
is fire, back is water, right is metal, and center is stronger. Just as they support each other, if one
earth. is lacking, the others will be affected. If they don’t
The five elements are connected with your support each other, in the end they all fail. This is
internal organs, your position, and the cardinal their relationship. But we say spirit (shen) needs to
directions. When we say your center is balanced, be in the forefront of your practice. You must strive
- 28 -
to increase your spirit. This will increase your qi centered; when you look forward, it is agile and
circulation and your storage of jing. alive. Drop the hips, relax the waist, and round the
back. These principles should be balanced. You
Here we have two kinds of spirit. One is developed should not focus on one aspect too much. The
when you practice by yourself. As we discussed feeling should be natural and not forced.
earlier, spirit comes from your heart. In Chinese
we call this first type of spirit xin zheng (心正). When you have the right spirit, then your qi and
Xin zheng can be translated as right or upright energy are correct and you'll have good circulation
(zheng), heart (xin). of jing, qi and shen.
So you need to be centered, righteous, and follow Where is Tai Chi Chuan today compared to
a moral code. its history? Is Tai Chi Chuan a martial art that
benefits people’s health, or, is it a health
In order to improve your shen you must cultivate exercise that can also be a martial art?
your morality. Once you have a centered heart,
you will do the right thing in practice. When your Today’s Tai Chi Chuan, like my grandfather has said,
body does the right thing, that’s the right spirit. If is a multi-purpose exercise. It is both a martial art
you don’t have this righteousness in your heart, and a health exercise. It also allows practitioners
then you don’t have the right spirit. to join a social community. Its practice shows the
flavor and beauty of Chinese culture.
The second method of cultivating spirit is xiu
shen (修身). Xiu means practice or exercise. Shen Is Tai Chi Chuan viewed differently than in the
means body. past?
How do you physically raise your spirit? We've Yes. In the past, people understood Tai Chi Chuan
already discussed the internal requirements. In as a martial art, to be used for self-defense. Our
Yang style, Yang Chengfu’s Ten Essential Principles ancestors never really considered Tai Chi Chuan as
give us a good method. The head is raised and just a martial art. In Wang Zongyue’s Song of the
- 29 -
Thirteen Postures, he wrote very clearly: 详推用 ancestors could see what Tai Chi Chuan would
意终何在, 益寿延年不老春. become in the future - an art that helps people
become healthy.
In the first sentence he says: “I’ve been thinking
a long time, trying to figure out the purpose of As our ancestors foresaw, today we use Tai Chi
Tai Chi Chuan.” The second part mentions yan ( Chuan to benefit our physical and mental health.
延). Yan is like extending your life. Yi shou (益寿) In addition to this, Tai Chi Chuan’s strategy,
means you live a healthy long life. Bu lao chun (示 philosophy, and culture is also of great value to
老春) means you never get old. Chun (春) means people who practice and study Tai Chi Chuan.
spring. Spring gives you the idea of growth; you
always feel alive in springtime! That being said, Tai Chi Chuan has always been
a martial art. Even though we now say that
A benefit of practicing Tai Chi Chuan is that you improving health is the primary benefit, do not
keep your life in springtime. There is a continual forget that it is still a martial art !
feeling of growth.
That’s what our ancestors said about the use of Tai

Chi Chuan. They pointed out that Tai Chi Chuan’s Master Yang Jun,
health benefits were as valuable as its martial arts interviewed by Eric Madsen
benefits. But, at the time, most people practicing
Tai Chi Chuan understood it as a martial art. Our With help from
Sylvia Dambrauskas
- 30 -
Chapter 2
Guidelines for Conduct and Behavior
Guidelines For Conduct And Behavior
CHAPTER 2
GUIDELINES FOR CONDUCT AND BEHAVIOR
MEMBER’S CODE OF CONDUCT
Listed below is the conduct expected of every association officer, director, instructor and member.
1. Respect all teachers, past and current.
2. Be a good example.
3. Do no harm to anyone.
4. Teach within the scope of practice.
5. Maintain professional boundaries (such as no inappropriate physical contact).
6. Do not exploit others financially.
7. Do not exploit others sexually.

国
8. Maintain student confidentiality. 际
9. Direct students to seek medical attention when necessary.
10. Discriminate against no one.

杨
11. Do not solicit students from another school or from another instructor.
氏
12. Treat students and colleagues with respect, truth, fairness and integrity.
13. Use good business, employment and intellectual practices. 太

14. Maintain professional appearance and conduct.
极
15. Do not misrepresent one’s skills, training, professional credentials, identity or services.
16. Continue one’s education to enhance one’s knowledge and skills. 拳

17. Provide the highest quality services to the students.
18. Do not spread untrue rumors or information about anyone.
19. Obey all laws wherever one may be in the world.
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YANG FAMILY TAI CHI CHUAN COMMANDMENTS
Besides adhering to the Member’s Code of Conduct, association

members are expected to follow the commandments that are a part of
Yang family tradition. Conducting oneself properly and morally is the
foundation upon which the Yang family has built its reputation and
respect.
1. Be obedient and respect your teachers.
2. Be honest and keep your promises.
3. Be virtuous and righteous.
4. Be brave and honorable.
5. Be humble and gentle.
6. Do not be tricky or deceitful.
7. Do not be evil or vicious-minded.
8. Do not use your powers to take advantage of others, especially

those who are weaker than you or are powerless.
9. Do not isolate yourself from others or from other Tai Chi Chuan
schools.
10. Do not be reckless or imprudent.
11. Do not be bloated with pride.
12. Do not be fickle with an ever-changing mind.
13. Do not be over-eager.
14. Understand and appreciate your background; never forget it or

be ungrateful.
15. Finish strong; do not just have a solid beginning.
Carried onward and passed

down from the true vein.
- Grandmaster Yang Zhenduo
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MARTIAL VIRTUE: WU DE
This section provides members more information Yang Jun: This means that if one is stronger and
about expected member conduct, behavior and more skillful than others, they should not take
personal characteristics. This is a conversation and advantage of the weaker person.
interview of Grandmasters Yang Zhenduo and
Yang Jun with Dave Barrett, Director of Portland’s YZD: Back in feudal society they used to talk about
YCF Center. values in their family: loyalties to parents, care for
children, and respect for spouses. In the martial
Martial morality covers two main areas: the actions traditions when we salute we have to cover the
and the mind set of the fighter. In activity, one fist with an open palm as a gesture of humility
should express humility, respect, righteousness, and restraint. This is the main idea: not to act
trust and loyalty. Mentally, one must have will, aggressively and take advantage of one’s skills to
endurance, perseverance, patience and courage. do bad things.
Dave Barrett: I’d like to ask about the moral code One should be of good character, be fair and be
of Tai Chi Chuan and specific character traits that straight. As they used to say this is the distinction
are developed through our practice. Several between a gentleman and a petty man. Respect
members have written me asking about the and tolerance are crucial; one should not take
ranking test where it mentions a moral standard, advantage of a group because they are smaller
they are curious about what this might be and and weaker. These are the general ideas.
where they can find out about it.
DB: In terms of personal development, personal
Yang Zhenduo: It’s a very character traits, how does Tai Chi Chuan help to
broad area; we can narrow develop the individual?
the discussion to focus on
morality within the martial YZD: Nowadays our practice is not only martial,
arts traditions. Of course it has developed into a multi-purpose discipline
this should be a part of all but the traditional virtues
occupations, for example in still apply: be humble,
honor the elders, take
education, teachers have a duty to promote
care of the youngsters,
the proper social values, knowledge and physical
do not take advantage of
development of their students.
the weak. Even though
As far as the martial arts are concerned, there is one’s skills may be very
an innate quality of character required, a common advanced, do not be
standard of behavior. In the past you had to prideful. However good
respect your teacher and the teacher as well you are there is probably someone better,
had a responsibility to respect and care for the and someone even better than that. You need to
students. If we broaden our view this means the be humble.
younger generation should respect the elders and
YJ: There is a traditional saying: For every strong
the elders have a responsibility to look out for the
person there is one even stronger, for every tall
youngsters.
mountain peak there is a mountain peak even
In feudal times you had to be loyal to the person taller beyond it.
above you. This was a fundamental element
YZD: These points are developed out of a
of traditional society and of course there were
fighting tradition; in the larger social context it
many other aspects of this. To benefit oneself by is sometimes difficult to avoid conflicts. But Tai
harming others is not acceptable. For example, Chi Chuan has changed. The moves are gently
in the past if you had students that you adopted expressed, slowed down, not the fierce fighting
as your disciples, they cannot remain a disciple styles of the past. This practice is slow, gentle and
it they perform criminal activities. In the martial even. This can help give you a more coordinated
traditions one was expected to do righteous acts and smooth existence and environment. It can
to benefit others. Just because one was skillful in tame your nature. With some people, their minds
the martial arts did not mean that they could do are hyperactive and agitated. Our practice allows
whatever they wanted to. One should be loyal and them to slowly relax their thinking. This is a definite
truthful. aid for personal cultivation.
- 34 -
YJ: Especially important is our principle that many times in our association. So if
within the movement you seek something big happens like the loss
quiescence. This is something of a parent, the first thing members
that can affect your life in will do is come to the grieving family
general. If you are not members and share with them and
struggling or competing give them support. They get along
there is very little that can like a family. This is all through the larger
disturb you. group dynamic of Tai Chi Chuan practice.
Everybody should help each other. If there is
YZD: This is a very nice thing in general. It is a problem we should go and help. This is a good
really a benefit for people’s health and the health result of practicing together. We train physically
of the society at large. If we have the common but we also train mentally and this affects our
goal of staying calm and centered and there is a relationships.
matter of argument we can resolve
it peacefully among ourselves In the old days among the high level martial
without splitting into competing artists not only with bare hand arts but also
factions. We can get along in with other types of fighting arts, there were
a coordinated fashion but important conditions for the disciple to
often social matters fall into follow: to not steal or to force oneself in a
argument and division, this sexual situation. One had to be careful not
has a negative affect socially. to teach such individuals. These were
So it’s important that the traditional precepts; today we focus on
individual cultivate calm and creating calm and even behavior in the
equilibrium. In Tai Chi Chuan individual. It is often said that when
practice we address both the mind and the body people begin to study Tai Chi Chuan
so we often say that our practice can cause both they care more about others. Through
to be healthy. In this way we can all respect each this activity they can calm themselves
other and cooperate without any incidents. and train their character. This can be
Otherwise there is struggle and division. This is a good influence in people’s lives.
the main idea: personal cultivation can positively
affect the larger social dynamic. DB: This seems to be a unique
feature of Tai Chi Chuan. There are
DB: For the Tai Chi Chuan student, what particular many other sports but so many
qualities are necessary: patience, perseverance, of them are competitive. In Tai
and attention to detail? It seems these are Chi Chuan practice not only is
elementary ingredients for success in practice. there personal development
but it also benefits a group
YZD: You should have these conditions whether it approach to problem solving.
is in Tai Chi Chuan or anything else. When you do
something you have to follow through and do it YZD: Yes, Tai Chi Chuan should
thoroughly. Don’t do something in a half-hearted not be competitive. Besides
way. This is true of any endeavor. For example, in Yang style, there are many other
our Shanxi Provincial Tai Chi Chuan Association styles of Tai Chi Chuan. But if we focus on Yang style,
there are many different practice groups, some even within this style there are many differences
small and others quite large. They are like a big in our style too. We are working toward the health
family. Everybody is concerned about of the people. We shouldn’t criticize other stylists,
each other, helping each other. If saying, “Ours is the only true way, yours is no
someone’s family has a problem good.” We shouldn’t do this. In practicing Tai Chi
whether it is a difficulty or a happy Chuan, if there is some difficulty or question
thing like a wedding, the word we should get together and discuss it. We
gets out and the group pulls should strive for unity.
together to help. If there’s work
to be done, people show up to Somebody asked me about the Simplified 24
help. One of the members may Tai Chi Chuan Form, is it bad? Is ours better? I
be quite sick, so people take up a collection and don’t see it that way. I feel that the Simplified
go over to care for this person. This has happened 24 Form can promote Tai Chi Chuan
- 35 -
effectively, and because of the government’s first be demanding of yourself. Only

support of this form, Tai Chi Chuan has become then will you be able to teach others
more popular. This is a good phenomenon for correctly. If you’re not square with
us who practice Traditional Yang Family Tai Chi yourself, you cannot be square with
Chuan. It’s not a bad thing. Some areas of the forms others either. Find in yourself the
are slightly different, that’s hard to avoid. I still traditional virtues of respect
think there is consistency with our traditional Tai and humility.
Chi Chuan and no serious contradictions. We can’t
say, “That’s just wrong, mine is better.” Of course, The Chinese concept of teacher
our Tai Chi Chuan has its own special qualities. The and disciple may be slightly different than that in
world is a big place. Everybody has his or her own the West. They used to say that the relationship
preferences. For example, in Europe the food is was like that of father and a son. So this is a very
different, even in China in the North they like salty intimate kind of relationship.
and in the South sweet. This is not the same. So of
YJ: Many of the rules of behavior and points of
course in doing Tai Chi Chuan there will be many
etiquette we have been discussing go back over
different styles. That’s good; people have more of
three thousand years and are drawn from a variety
a choice, not only one choice. The goal is still the
of traditional sources such as Lao Tzu, Chuang Tzu,
same: to improve the health of everyone.
Mencius and Confucius. These form a backdrop for
Now as which style to study, that is up to the Chinese culture. The current moral climate in China
individual’s preference. Just because I like has changed a bit from more traditional models.
to eat hot peppers, someone else is bad In the past, when one wanted to study martial
for not eating them? That’s ludicrous! arts you were asked, “What is your purpose in
Some like vinegar and some don’t training?” The first answer should be
but you can’t say vinegar is bad; I to strengthen the body and the
may like vinegar and you don’t. second should be to develop
Some like Chen or Sun style Tai Chi a benevolent morality. There
Chuan, everyone has their particular is a long tradition of martial
tastes. No one should be criticized heroes who used their skills
for a person’s choice of style of righteously for the benefit of
Tai Chi Chuan. So if someone the people.
develops an effective
Nowadays it’s difficult to only use
method and popularizes it,
the Chinese moral compass. All of Chinese martial
there is a positive benefit. If
arts have become internationalized. To sum it all
the method was no good it
up, the idea is that one should do good things. It’s
would have disappeared,
hard to talk about many of the details because of
its existence indicates its
cultural differences.
benefit. Let them do it. This
is how I feel about it. DB: I would like to thank the both of you. Perhaps
these virtues of martial practice are well known in
DB: If I could summarize our
China, for many of our international friends
discussion: Tai Chi Chuan has
this conversation will provide good
a positive effect on the personal level and in the
information about what is expected
community as well, but what Yang Laoshi was just
of Tai Chi practitioners as it relates
talking about was a wider political awareness of
to martial virtue, correct behavior
tolerance, equanimity and cooperation. If I could
and righteousness.
ask one last question: In your experience, what are
the character traits a Tai Chi Chuan teacher needs
to be successful?
YZD: First, you have to

Interview of Grandmasters
establish your own skills
Yang Zhenduo and Yang Jun
through study and practice. If
you want to be a teacher you by Dave Barrett
have to be a model. If you are
demanding of others you must Translated by Jerry Karin
- 36 -
ADDRESSING TEACHERS, INSTRUCTORS

AND FELLOW STUDENTS
Tradition and etiquette in martial arts is sometimes Titles and positions: students, disciples, teachers,
vague and complicated area, especially in Chinese and masters.
martial arts, and to a cultural outsider it may be • Students (Xue Sheng) are the general category
even more so. Relationships between teachers and of people who come to train with a teacher.
students have changed with the modernization
• Disciples (TuDi, or Dizi) are students who have
of China and yet many of the relational practices
been selected or been accepted as “indoor
have been retained with strong links to the past.
students.” In the traditional sense, they have
These days in Chinese training situations, the been accepted as the teacher’s surrogate son
relationships between students and teachers tend or daughter. The title of disciple legitimizes
to be relaxed and not overly formal, nor is their the connection between the disciple and the
training like that of military obedience, as in the teacher, as both acknowledge openly that
the disciple carries the teacher’s lineage. They
past. Students are expected to show respect to
will usually have something in writing called
disciples; disciples are expected to show some
a “bai shi tie,” that is, a kind of agreement to
respect to senior disciples; and everyone shows
the disciple carrying on the teacher’s gongfu
respect to the teacher. This respect is shown by
lineage by developing what he/she has been
simple courtesy and is an acknowledgment that taught. What distinguishes disciples is that they
those above you have invested more time with are usually part of their teacher’s inner circle in
the teacher. Skill is generally respected by all, terms of training, and may have access to special
regardless of age or seniority. training. Some teachers accept disciples easily
while other teachers have more requirements of
Confucian Model of Relationships
students before they are accepted as disciples.
Confucius, China’s greatest sage, established a A teacher could have different requirements
system of ethics, morals, hierarchy and behavior, and different reasons for different students in
setting the rules for people dealing with other accepting them as disciples.
people, and establishing each person’s proper When a disciple refers to or directly speaks to
place in society. The five major relationships set his or her teacher (master) they will certainly call
forth are ruler-subject, father-son, husband-wife, him or her shifu, referring to the familial type
brother-sister, and friend-friend. relationship. The Chinese characters for “shifu”
are teacher/father. Others, including students
- 37 -
and people who do not know or train with that the students with the martial salute: Using the
teacher, will not likely say shifu because they do martial gesture (see below), he will say “tong xue
not have that special familial relationship with men hao” (hello, students), to which the students
the teacher. will respond “Yang Laoshi hao” (hello, Master
• Teacher (Lao Shi), in Chinese martial arts as Yang), using the same martial gesture.
well as most other contexts, is a generic term
When the class ends, Master Yang Jun will dismiss
of respect. Students and anyone one else who
is indirectly or directly referring to a teacher, the students, again with the martial salute: Using
whether or not it is their teacher, may use this the martial gesture, he will say “tong xue men zai
term. jian” (goobye, students), to which the students will
respond “Yang Laoshi zai jian” (goodbye, Master
• The word “Master” in English is a bit more Yang) using the same martial gesture.
complicated. In Chinese as well as English, it can
have several meanings. In the recent decade Instructors may choose not to have their name
or so, it seems that “master” has become in included as a part of the martial greeting and in
such commonplace usage that there has been the goodbye. In this case, the verbal exchanges
an attempt to create yet another level of high are: When starting the class, using the martial
respect, hence “grandmaster.” Now even this has gesture (see below), the instructor he will say “tong
been usurped, sometimes merely meaning that xue men hao,” to which the students will respond
the teacher has two generations of students
“laoshi hao,” using the same martial gesture. When
who are now teaching. Perhaps we can’t fight
the class ends, the instructor will dismiss the
this trend when words lose their uniqueness,
students, again with the martial salute: Using the
but genuine respect comes not from using a
martial gesture, he will say “tong xue men zai jian,”
particular title but from voice tone and facial
expression and general attitude, and those to which the students will respond “laoshi zai jian,”
evidences of respect are all that is required. using the same martial gesture.
The Martial Salutation The martial gesture is used in class in conjunction

with the instructor’s greeting, or by itself (i.e.,
Every class is started and ended by the martial with no verbalizations), as a sign of deference to
salutation. another fellow martial artist. The martial salute
poem, the accompanying hand gestures, and
When starting the class, Master Yang Jun will greet comments are displayed in the chart below.
Poem Hand Gesture Comments
The warrior Right fist presented

The hands and arms start out
And the scholar Left open palm presented from the attention stance.
These movements all happen
Left palm covers right fist near in a single smooth motion.
Come together
and at chest level
After completing this motion,
And go forth in battle back to the students verbally respond
back united as one to the instructor’s salutation, if
Right fist and left palm together there is one. The hand positions
presented forward are held for the duration
We have no weapons and beg
of the verbal salutation, or
forgiveness if we are forced to
for a brief moment, if there
use our power
is no verbal salutation.
Hands and arms return to
the sides of the body, to
We dispel all evil Return to attention stance the attention stance. This
movement happens in a
single smooth motion.
- 38 -
Courtesies
1. General courtesies
• Sessions begin on time! Show your respect and eagerness to learn by arriving for each session 5
to 10 minutes early. (Lateness is considered particularly rude by Chinese instructors.)
• Don’t wear perfume, cologne, aftershave, or other scents to class. Some people have high
sensitivities or allergies to these.
• Turn your cell phone off before the session begins.
• Be patient with yourself, with the learning process, and with others.
2. Warm-ups and preparation
• Warm-ups should be done prior to the class beginning.
• Find a place on the practice floor right away.
3. During the session
• Follow the requests of the instructor about whether to sit or stand, move to front or rear, change
places, etc.
• Set an example of focus and attentiveness. Even if the material seems familiar, it’s a learning
opportunity for you as well as for those with less experience.
• Be accepting of the pace of instruction, whether you’re thinking it is too slow or too fast.
• Be diligent during the entire session; continue practicing until the teacher is ready for the class
to move on.
• Don’t take breaks unless the instructor specifically designates stopping.
• Assume that whatever is happening at every moment is for your personal benefit.
• Ask questions only if the instructor invites questions. Stand to present your question and remain
standing until the answer has been completed. Thank the teacher: Chinese “xie-xie” or in your
own language.
4. After the class, workshop or seminar.
• Find some other students to practice with. Help each other remember the content.
• When you share what you’ve learned at a class, workshop or seminar, give credit to the original
presenter.
- 39 -
CHINESE ETIQUETTE AND PROTOCOLS
We intend to focus not only on Tai Chi Chuan but to illuminate a larger picture, the landscape of the
many societies around the world, to enjoy our similarities and respect our differences, and to treasure our
common interest in Tai Chi Chuan.
China has been referred to as the “Nation of Etiquette.” Throughout all societies, the notions of courtesy
and discourtesy lie in different cultural and historical views of social decorum. In order to avoid
unnecessary mistakes and embarrassment, we give you some understanding of Chinese etiquette. Here is
some information about the usual Chinese etiquette and protocols, and about traditional Chinese martial
arts, that will help all of us transcend cultural barriers.
KEY CONCEPTS IN UNDERSTANDING CHINESE CULTURE
Guanxi. Throughout much of Chinese history, the fundamental glue that has held society together is the
concept of guanxi, relationships between people.
Mianzi. Commonly referred to as “face,” this is a reflection of a person’s status in the eyes of his peers. Face
can best be understood as the avoidance of embarrassing someone in front of others.
Li. Originally li meant to sacrifice, but today it is translated as the art of being polite and courteous. Proper
etiquette preserves harmony and face.
Keqi. Ke means guest and qi means behavior. It not only means considerate, polite, and well mannered,
but also represents humbleness and modesty.
- 40 -
GETTING TO KNOW EACH OTHER
Greetings and Introductions “Liu Xiansheng” for “Mr. Liu.” Chinese women use
their birth names even after marriage, but may
Chinese prefer to be formally introduced to indicate marital status by using Mrs., Ms., Miss, or
someone new. In a formal event, such as a Madam. Mrs. Wang might be married to Mr. Liu.
seminar or a symposium, it is permissible to
introduce yourself, because the event itself serves Chinese who frequently deal with foreigners or
as a mutual friend. Always stand up when being travel abroad on business may adopt a Western
introduced and remain standing throughout the first name, such as David Liu. They may request that
introduction. The accepted form of greeting is they be referred to as David, once a relationship
the modern handshake. One may then present a has been established.
business card.
Social Distance, Touching, and Gestures
Handshaking
Every culture defines an appropriate distance.
Handshaking is considered formal greeting Westerners, particularly Americans, find that
behavior in China. It is used to show respect. The other cultures’ comfort zone regarding distance
grip should be firm, but not overly strong, and is a bit too close for their comfort. Instinctively
should not be prolonged because Chinese, like Westerners may back up when others invade their
other Asians, prefer a brief handshake. space. Do not be surprised to find that the Chinese
will simply step closer. The Chinese do not like
Business Card Etiquette to be touched, particularly by strangers. Do not
hug, back slap or put an arm around someone’s
Use both hands when presenting business cards
shoulder. Chinese point at their own nose to
and be sure the writing faces the person to whom
indicate “myself.” Western gestures that are taboo
you present your card. Cards should also be
in China include:
received with both hands. Do not immediately
put the card in a pocket or bag—this is considered • Pointing the index finger—instead, use the
rude. When seated, place cards on the table. This open hand.
shows respect and is also an excellent way to • Using the index finger to call someone—
remember names. instead, use the hand with fingers motioning
downward as in waving.
Names and Forms of Address
• Finger snapping, showing the soles of shoes,
The Chinese custom is to state the last (family) and whistling are considered rude.
name first, followed by the given name, which
may be one or two syllables. For example, “Liu Personal Questions and Compliments
Jianguo” in Chinese would be “Jianguo Liu” using Do not be surprised if you are asked personal
the Western style. questions regarding age, marital status, children,
Never call someone by only his or her last name. family, income, job, etc. This is done to seek
Unless specifically asked, do not call someone common ground.
by his or her first name. Do not use the term Unlike the Western custom, compliments are not
“comrade.” graciously accepted with a “thank you,” but rather
Addressing someone by his or her courtesy or with “not at all” or “it was nothing.” Accepting and
professional title and last name conveys respect. giving direct praise is considered poor etiquette.
“Xiansheng” is the equivalent of “Mister”. In Do not be gushy with “thank you,” be brief but
Chinese, the name precedes the title. For example, sincere.
- 41 -
Dining: Eating, Drinking, Toasting • Offering the gift. Do not brag about your gift in
front of the recipient. You should use both hands
There are no firm rules regarding dinner when presenting it. Generally, the recipient may
conversation. It’s always wise to stay away from graciously refuse the present when first offered.
sensitive political or social topics, though. In this case, you should correctly assess the
• Eating. At the dining table, a guest of honor situation and present it once again. Chinese
should be served first or allowed to serve himself etiquette requires that a person decline a gift,
or herself before others take anything from the invitation, and other offerings two or three times
dish. Be sure to take only a single portion from before accepting. It is expected that the giver
any dish offered to the table (one-eighth if there will persist, gently, until the gift is accepted. Be
are eight people at the table, one-tenth if there sensitive to genuine refusals.
are ten.) A clean plate indicates you are still • Opening the gift. The Chinese usually do not
hungry and it is the host’s responsibility to see open gifts at the time they receive them. If the
that you are continually served food and drink. recipient did not open your gift, it does not
Under no circumstances should chopsticks be mean that he or she is not interested in it. It is
placed in the rice standing up. This symbolizes polite to open it after you leave. When receiving
death. gifts from the Chinese, do not open them unless
• Drinking. Drinking is an important part of they insist.
Chinese and Western entertaining and is • Thank-you and reciprocation. Chinese and
considered a social lubricant. The drinking Westerners differ in the approach to gifts. In the
officially begins after the host offers a short West, a sincere thank you or a thank you note
toast to the group. Everyone will understand if is an acceptable way to extend appreciation. In
you are unable to drink alcohol, you may simply China, a more tangible form, or gift, is preferred.
decline. Use a glass of water or a cup of tea so Never give a gift that would make it impossible
that you can participate in the toasting. for the Chinese to reciprocate this would cause
• Toasting. It is always a good idea for the guest a loss of face and place them in a very difficult
to return the toast either right away or after a position. ‘Courtesy demands reciprocity,’ goes
few courses have been served. Safe topics for an old Chinese saying, and the advice is an
toasts are friendship, pledges for cooperation, indispensable part of social interactions. It
the desire to reciprocate the hospitality, and is important to both private and business
mutual benefit. The most common expression relationships.
for toasting is “gan bei,” meaning “dry cup,” or
bottoms up.
by Pat Rice, YCF Center Director
Gift Giving, Suggested Gifts, Gift-giving Taboos
• Choice of gift. Gifts should reflect the giver Winchester, Virginia
and the recipient. The best choice is a gift that
expresses some unique aspect of your area
or your country. It is not proper, and is even
considered to be unfortunate, to give a clock
as a gift or to choose one having to do with the
number four. Do not give anything in sets of four.
Even numbers are considered good luck, but
the number four is an exception, which sounds
like “death” in Chinese. Do not give gifts that
carry the association of death or funerals such
as clocks, cut flowers, white objects (the color
of mourning). Do not give scissors or anything
sharp as it symbolizes severing relations.
• Wrapping. The gift-wrapping should be red
or any other festive color. White and black are
ominous and should be avoided. Red and gold
are the best. Avoid elaborately wrapping gifts.
Never write anything in red ink.
- 42 -
Chapter 3
Getting Started in the Practice of Tai Chi Chuan
Getting Started In The Practice Of Tai Chi Chuan
CHAPTER 3
GETTING STARTED IN THE PRACTICE OF TAI CHI CHUAN
THE REASONS FOR AND THE STAGES

OF WARM-UP EXERCISES
The primary goal of warm-up exercises is to The term “warm-ups” could imply that all the
prevent injuries. The secondary goals, which exercises are done at the beginning of a class but
support this primary goal, are: improved flexibility this is not the case. We shall see that “warm-ups”
and increased muscle stamina. All of these goals are more effective when applied at specific times
are dependent upon methods that refine the during the span of the class period. Warm-up
student’s proprioceptive abilities: the ability to exercises should be selected on the basis of when
sense proper joint movement, use appropriate they will be most effective, at the beginning,
amount of force, and be sensitive to physical middle, or end of the class period.
limitations.
Beginning Warm-ups
To train proprioception, it is important that all
warm-up exercises are done mindfully and are These are exercises that will mildly increase body
regarded as preparation for mind as well as body. heat and blood flow. Slightly aerobic activities are
Full understanding of the purpose for each warm- ideal, which will increase heart rate up to 40% of
up exercise will help students perform them more maximum rate. Examples of this type of exercise
mindfully. are lightly jogging in place, gentle and continuous
torso movements like circling a hula-hoop, or
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slight bending and unbending of the legs while could be considered long term “warm ups.” These
the arms are waving. The goal of these exercises exercises focus on “plastic” tissues as opposed
is to increase body temperature and blood flow so to muscles, which are “elastic” tissues. A plastic
that the body becomes a little looser overall. stretch results in a more permanent increase in
tissue length by using low force loads over longer
Middle Warm-ups periods of time, termed “static stretching.” The
optimal time to do this kind of stretching is at the
Frequently termed “training drills,” these are
completion of class when the body is warm and the
exercises that incorporate “dynamic stretching”
muscles are going to be rested. Static stretches are
which means stretching muscles while they are
counterproductive when done at the beginning
moving. In addition to dynamic stretching, these
of class because they temporarily make muscles
movements involve other elements like balance
less responsive. The value of static stretching is
and coordination. Middle warm-ups require more
to condition ligaments and tendons NOT muscles.
mental concentration than the beginning warm-
The technique requires slowly stretching the
ups, as well as more muscle strength, and larger
muscle-tendon unit to mild discomfort and then
range of movement. (Examples of this type of
holding this traction for 30-40 seconds, then
exercise are kicking drills, hand walks (bending
releasing it for 5 – 10 seconds, then applying
over until you can touch hands to floor then walk
the traction again, etc. This sequence should be
hands forward until back is almost fully extended,
repeated 3 times. It is extremely important that
then keeping legs straight, walk feet toward hands;
this technique be applied slowly and smoothly
then walk hands forward again, etc., or repeating
because bouncing or jerky movement can result
movements like “Left Brush Knee and Push” and
in injury to the muscles. (Examples of this type
“Right Brush Knee and Push” continuously across
of static stretching are familiar Achilles stretch,
the room). The goal of these exercises is to activate
hamstring stretches, quad stretches, standing
all the muscles, connective tissue, and joints that
meditations, and holding postures). Benefits of
will be used during a particular class. Middle
static stretching applied gently at the end of every
warm-ups are most effective when they are
class will take about a month to be noticeable but
selected to target specific movement challenges
the improvements gained in range of motion and
that will be encountered in class, like kicking or
lack of stiffness will be long-term if the stretches
squatting.
are practiced on a regular basis.
Ending Warm-ups
By Holly Sweeney-Hillman , YCF
The purpose of these exercises is to have an effect Center Director, Bedminister/
that carries over to the next class meeting, so they Montclair, New Jersey
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A GUIDE FOR WARM-UP AND STRETCHES
No exercise is complete without a thorough warm- slowly because vigorous over-training can cause
up and stretching routine. Stretching increases injury. Due to restricted blood flow, the recovery
flexibility and helps prevent injury. A proper time of strains and sprains of connective tissue is
warm-up conditions the muscles to increased great.
stress, allowing them to work more efficiently
over a longer period of time. Inflexible muscles If a practitioner has a chronic condition or injury
may develop relative flexibility, where the body that may affect his or her ability to perform any of
will alter the way it performs postures in order these stretch or warm-up techniques, a physician
to compensate for its lack of flexibility. Inflexible should be consulted before performing them.
hamstrings can cause the pelvis to tilt out of
NOTE: If any of these stretching techniques cause
alignment. Similarly, inflexibility in the shoulder
sharp pain, STOP IMMEDIATELY!
region can cause the lumbar region of the spine
to over-extend. It is crucial that students warm-up Static Stretching
both before and after exercise.
With static stretching one holds a stretch at the
Numerous movements in Yang style Tai Chi Chuan point of tension for a minimum of 25 seconds. It
demand good balance and flexibility. Postures is low in applied force but long in duration. This
such as “Needle to Sea Bottom,” “Snake Creeps stretching is the most common form used today.
Down” and “Single Whip” are often performed Its active principle is to slowly inhibit the muscle’s
incorrectly because of limited flexibility and leg urge to contract when stressed. This type of
strength. stretching is generally safe for all practitioners.
This article lists stretching techniques that target Active Stretching
the major muscles. They have been chosen to
challenge the stability of the practitioner at any In active stretching, muscle tension is caused by
stage. It is important to start these techniques the primary (agonist) and secondary (synergist)
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muscles. This type of stretch is held for a maximum • Bicep Femoris Stretch: Lying on the back, extend
of 5 seconds, typically 1 or 2 seconds. leg up and then bend at the knee to rest.
• Piriformis Stretch: Sitting as in a hurdler’s
Lower Leg
stretch, grab the knee of one leg and bring the
• Calf Stretch: Lean prone against a wall. Modified: bent leg across the body over the opposite leg.
one leg rests on other ankle.
• Active Abductor Stretch: This is a regression of
• Ankle Lift: Lift ankle off floor using calves. the modified Snake Creeps Down stretch. From
• Backward Walk: Practice balancing using a large horse stance, extend one leg shifting the
footwork (such as “Step Back and Repulse the weight to one side. A stretch should be felt in
Monkey.”) the adductor region.
• Eat the Toe: Fundamental practice. Back foot at Other Ways to Warm Up
45 degree, front leg straight, and toe up. Bend
• Isolating the elbows.
torso towards toe. Keep back straight!
• Cloud Hands.
Upper Leg
• Footwork.
• Quad Stretch: Supporting self against the wall,
• From empty stance, transition to standing on
grab the ankle stretching the quadriceps.
one leg.
• Hurdler’s Stretch: Sitting; one leg stretched and
• Turning waist around, circle upper torso with
toe up. The other leg is bent in.
arms relaxed and extended, and hands hitting
• Modified Snake Creeps Down: From bow step, the kidney area.
pivot back foot to the back corner. Shift the
• Joint warm-ups via circling (neck, shoulders,
weight back slightly. Drop the center down;
elbows, hips, knees, etc.)
front foot points toe up. Keep back leg knee and
toe in alignment. • Push hands warm-ups, empty-hand form warm-
ups.
• Butterfly: Sitting with legs bent in; soles of feet
touch. Push down on knees until a stretch is felt. • Standing pose warm-up with coordinated
breathing.
• Hamstrings: Bend knees sitting on haunches.
Grab the ankles and extend the legs. Try to • Deng cheng warm-up.
keep the chest against the upper legs as the legs
extend straight. By Eric Madsen
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STANDING PRACTICE IN YANG FAMILY TAI CHI CHUAN
Standing practice (zhan zhuang) is also called tree. The arm shape should be large and rounded.
“pole standing.” It is a traditional method that can The palms are turned in to face the chest, with
help strengthen the legs, properly align the body, the hands open and relaxed so that the fingertips
and generally contribute to a good foundation point to the fingertips of the other hand. There
in Tai Chi Chuan. Because we are staying in one should be a space of one fist between the two
stance during standing practice, rather than hands, and the height of the arms is at chest level.
moving and stepping as we do in the forms, it is The arms pull slightly on the shoulders to make
possible to relax and extend the body with the the upper back have a rounded feel. The same
correct posture. After the principles are applied principles apply to the body as in the form: avoid
to the standing posture and the body alignment leaning the upper body back, and instead lean
is improved, it becomes easier to apply the same slightly forward. Relax the shoulder, and sink the
adjustments to the various movements of the chest slightly inwards, and push the very top of
hand form. The standing practice is also useful as the head up slightly without creating tension.
a practice for energy cultivation.
As the top of the head pushes slightly up, the
The basic stance for standing practice in Yang tailbone should relax naturally down, elongating
Family Tai Chi Chuan is the horse stance. In the the spine. It is helpful while doing the standing
horse stance, the feet are pointed practice to imagine that there is a low chair behind
straight ahead and the weight you and gradually sink the waist as if you were to
is evenly distributed between sit on the chair. It is important to relax the tailbone
them. On both feet, the rather than forcefully tuck it in. If the waist is
majority of the weight should sinking naturally, it is also possible to feel that the
rest on the bubbling well lower back is very slightly rounded and pushing
point at the ball of the foot, out.
not on the heels. One
difference from the Pay special attention that the whole body feels
hand form in the relaxed. Continue to feel that the arms are
standing is that expanded and rounded; the head is lifting, and
the feet should the waist is sinking down. Check that the upper
actually be body is still slightly leaning forward by ensuring
slightly wider that the weight of the body rests on the bubbling
apart than wells of the feet. It is very easy to begin leaning
shoulder width. back without realizing it.
The knees should
Breathing in the horse stance should be slow
be slightly bent.
and even. When breathing in, feel the stomach
Bending the knees in gradually expand out, and when breathing out,
the standing posture is the stomach goes back in. It is important to follow
important for developing the natural pattern of your breathing rather than
leg strength, but a stance trying to force it. Do not try to hold your breath.
that is too deep (such The breathing will naturally become more deep
as one that makes and even over time.
the thighs parallel to
For most people it is good to start with about 2
the floor), should be
minutes of standing practice and work up from
avoided, as it makes
there. After one week, try to increase the time to
it too difficult to
5 minutes, then after another week to 10 minutes,
maintain the proper
and so on.
body alignment.
The arms should By Adam Batten
be held out as if
hugging a large
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BREATHING AND CHI FLOW
Breathing, as with any physical activity, is essential or in using the opponent’s energy against him or
for effective use of the body’s mechanics in the her. While practicing movements that require
hand forms, push hands and sparring. In Yang precise balance, particularly in those movements
Family Tai Chi Chuan practice, understanding of that involve standing on one leg to deliver a
breathing and chi flow is important, as it allows kick, or turning the body to deliver a sweeping
the students to improve their forms, and thus, to kick, it is the flow of energy that helps the player
progress farther in their Tai Chi Chuan practice. to maintain balance and to deliver the striking
energy blow in an efficient way. Two actions allow
For beginning practitioners, breathing should the student to maintain balance and to efficiently
be natural and even. They should not think deliver the energy: breathing, and the flow of
too much about coordinating breathing with chi. Firstly, the student must breathe in a relaxed
the movements. All the student needs to do is and smooth way, and secondly, the student must
breathe naturally and sink the chi to the dantian. “sink the chi to the dantian,” i.e., the student must
All movement and breathing should be smooth, imagine that his or her center of gravity sinks to a
relaxed and natural. The basic breathing must be level about one inch below their navel, and about
through the nose only, not the mouth. Commonly, three inches inside their belly by sinking the chest
people inhale through the nose and exhale and extending the joints.
through the mouth. The mouth must be closed
(but not tightly), and the tip of the tongue must For the more advanced student, there are two
touch the roof of the palate just behind the two types of breathing: chest and stomach breathing
front teeth. or dantian breathing. Stomach breathing or
dantian breathing is used in the hand form and
With long movements, breathing must be when practicing push hands. Chest breathing
continuous and smooth. All that needs to be is rarely used; one of its uses is in push hands, in
remembered is that breathing must not be combination with dantian breathing as a yield
stopped or held in any way because the energy when the opponent strikes the chest area.
will stop flowing, the chi will stop, stiffness may
take over, and balance will be in jeopardy. In push hands, dantian breathing has two parts;
the the “charging” aspect which is the loading
With short movements, breathing is coordinated of the dantian with energy, initiated by sticking,
simply: begin breathing in at the beginning of the adhering and following the opponent’s strike,
movement, and finish breathing out at the end of and the explosion aspect of returning the attack.
the movement. Breathing into the dantian with the adhering
and following should feel like the charging of the
During practice, the student must be aware
dantian with energy when beginning standing
that the flow of energy should be efficient and
practice. The exhaling of dantian breathing should
balanced. This means that the mechanics of the
feel like the wave generated from breathing
body must aid in the efficient delivery of energy to
during standing practice.
the opponent through a strike, a punch, or a kick;
or to aid in the deflection of the opponent’s energy By Bruno Repetto, PhD
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- 50 -
Chapter 4
Principles for the Practice of Yang Family Tai Chi Chuan
Principles For The Practice Of Yang Family Tai Chi Chuan
CHAPTER 4
PRINCIPLES FOR THE PRACTICE OF YANG FAMILY TAI CHI CHUAN
This chapter is a series of important articles on how to learn and practice Tai Chi Chuan. The
articles provide students the basic principles to follow and adhere to for the successful practice
of Tai Chi Chuan. It is a chapter that should be read many times because there is so much
information and because as one’s Tai Chi Chuan grows, the material here provides for deeper
understanding about the practice of this martial art and exercise for wellness and good health.
GRANDMASTER YANG CHENGFU ON

THE PRACTICE OF TAI CHI CHUAN
In this section, Grandmaster Yang Chengfu “when the water arrives the dikes are ready.” Tai Chi
provides students interested in learning Tai Chi Chuan is the art of letting hardness dwell within
Chuan some pitfalls to avoid when learning the art softness. Hence those who would research it need
and some practices and principles to follow to be a to undergo a definite process of development
successful student of Tai Chi Chuan. over a considerable period of time.
Although there are many different styles of Chinese Though one may have the instruction of a fine
martial arts, they are all alike in that successive teacher and the criticism of good friends, the
generations have striven all their lives and with one thing which is most important, and which
all their might to explain their martial principles one cannot do without is daily personal training.
and theories to the next generation. If a student Without it one can discuss and analyze all day,
will expend the effort of one day of practice, he think and ponder for years, but when one day you
or she will receive the achievements of a day of encounter an opponent you are like a hole with
work. Over days and months this accumulates till nothing in it - you are still quite inexpert, lacking
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the skills (kung fu) borne of daily practice. If Outer refers to the entire body feeling light and
morning and evening there is never hesitation, so nimble; all the joints are connected as a whole;
that the moment you think of it you proceed to do (movement proceeds) from foot to leg to waist;
your training, then young or old, man or woman, sink the shoulders and keep elbows bent (low).
you will be rewarded with success.
Those beginning their study should first take
From north to south, from the Yellow River regions the above several instructions and perfect them,
to the Yangtze River regions, more and more people pondering and trying morning and evening.
are learning Tai Chi Chuan, which is heartening for Move by move, you must always carefully seek
the future of martial arts. Among these people these. When you practice each posture, strive
there is no shortage of those who concentrate and for correctness, and only when you have reached
practice hard, study sincerely, and whose future perfection should you continue to the next.
ought to be limitless, but unfortunately they fail to Proceed in this way until you have gradually
avoid two kinds of pitfalls; in the first case they are completed all the postures. This way there is
very talented, still young and strong, able to apply nothing to correct and you will not over time be
one criticism to many places, their understanding violating the principles of Tai Chi Chuan practice.
surpasses that of most people. Alas once they
make some slight achievement, they are satisfied In practice, as you are moving, the bones and
too quickly, stop in the middle and never really get joints of the entire body must all relax and extend
it. In the second instance, the person is anxious and be natural. The mouth and abdomen must
to make rapid progress, throwing it together not block breathing. The arms, the legs and the
sloppily, so that before a year is through, they have waist must not use strong force. Something like
gone completely through bare-hand, sword, saber these last two sentences is always said by people
and spear. Although they can ‘paint a gourd by learning internal arts but once they start to move,
following a template,’ they really haven’t achieved once they turn the body or kick the legs or twist
any true understanding of the art. the waist, their breath becomes labored and their
body sways; these defects are all due to stopping
The moment we scrutinize these people, their the breath and using stiff force. In order to avoid
direction and movement, upper and lower body, these defects the student should memorize and
internal and external, none of it turns out to be apply the following techniques:
standard. In order to correct them, you have to
correct every move, and corrections given in the 1. When you practice, the head must not incline
morning are forgotten by evening. That’s why you to either side or tilt forward or backward.
often hear people say: “it’s easy to learn Tai Chi, but There is a phrase “you must suspend the top
hard to correct it.” People trying to learn too fast is of the head.” This is as though something
the reason for this saying. were placed on the top of the head. However,
avoid at all cost a stiff straightness! Extended
Such a group takes their mistakes and transmits without force is what is meant by suspended.
them to the next generation, necessarily fooling
both themselves and others, and this is the most Although the gaze should be directed levelly
discouraging thing for the future of the art. In Tai ahead, sometimes it must turn in accordance
Chi Chuan, we first learn the form or frame. That is with the position of the body. Even though
to say, according to each posture name from the the line of the gaze is empty, it plays an
manual, a teacher, one at a time, teaches us the important role in transitions and supplements
postures. The student does his best to calm his the body and hand positions.
mind, and silently attentive, pondering, trying, he
The mouth seems open but it’s not, seems
performs the moves: this is called practicing the
closed but not quite. Breathe naturally
form.
through the nose and mouth. If some saliva
At this time the student focuses on inner, outer, accumulates below the tongue, swallow it;
upper, and lower. Inner means using intent rather don’t spit it out.
than force. Lower means the chi is sunk to the
2. The torso should be centered and not
cinnabar field (dantien). Upper refers to the crown
leaning. The line between physical strength
of the skull which should be slightly elevated,
and natural extension should hang straight
pulling the spine into alignment giving a feeling
and not be bent to one side. But when you
of emptiness, liveliness, and active awareness.
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encounter transformations between open and In the process of learning Tai Chi, we first learn
closed you should have the flexibility in the waist, bare-hand form (a solo exercise), such as Tai Chi
which comes of a slightly sunken chest, extended Chuan, or Tai Chi long fist. After that comes fixed-
spine and relaxed shoulders. step push hands, followed by moving-step push
hands, then big rollback (dà lù), and finally free
This is something you need to pay attention to in sparring (săn shǒu). After mastering the bare-
the beginning stages of learning. Otherwise, as hand form and push hands we learn the weapons;
time goes on, it will become hard to change and
Tai Chi sword, Tai Chi saber, and Tai Chi spear/staff.
will turn into stiffness, so that although you have
put in a lot of practice, it will be hard to improve As to practice times, every day after getting up
your applications. practice the form twice. If you don’t have time in
the morning, then practice twice before bed. You
3. The bones and joints of the two arms all need to
should practice seven or eight times a day, but at
be relaxed and open. The shoulders should hang
the very least practice once in the morning and
down and the elbows should bend downward.
once at night. If you have been drinking heavily or
The palms should be slightly extended and the
fingers slightly bent. Use intent to move the have eaten a lot, avoid practice.
arms, enabling the chi to suffuse to the fingers. As For places to practice, a courtyard or large room
the days and months of practice accumulate, the with good air circulation and lots of light are
internal energy connects and becomes nimble -
suitable. But avoid places directly exposed to
mysterious ability grows of itself.
strong wind or places that are shady and damp
4. In the two legs you must distinguish empty and or have poor air quality. Once the body starts
full. Picking up and dropping (of the feet) should exercising the breath naturally becomes deeper
be like the way a cat moves. When your body so strong wind or poor quality air must be avoided
weight shifts to the left, then left is full and the because they would go deep into the belly and
right is empty. If you shift to the right, then right is harm the lungs, causing illness.
full and the left is empty.
As for practice clothes, loose clothing or short
What is termed empty is not really empty, the clothing along with wide-toed cloth shoes are
position still hasn’t been abandoned, but rather suitable. When you practice, if you happen to
there is the intent of (possible) expanding or perspire a lot don’t remove all your clothing or
shrinking left there. What is termed full is just rinse with cold water; otherwise you might get
weighted and that’s all, it is not using too much sick.
force or fierce strength.
By Grandmaster Yang Chengfu
So when the bent back leg is straightening, it
should go until it is straight but not locked, further Translated by Jerry Karin
than that is called excessive force. Using excessive
force will tip you forward and then you will have
lost the centered posture and the opponent gets
an opportunity to attack.
5. In the kicks we must distinguish between the two

types: toe kicks and heel kicks. In toe kicks, pay
attention to the tip of the foot, whereas in heel
kicks pay attention to the entire sole of the foot.
When the intent arrives then the chi arrives and
when the chi arrives then energy arrives by itself.
But your bones and joints must be relaxed and be
opened and you must stably kick out the foot. This
is the easiest time to give rise to strong force. If the
body is slightly bent then you will be unstable and
the kicking foot will not deliver much force.
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THE TEN ESSENTIAL PRINCIPLES OF TAI CHI CHUAN
Grandmaster Yang Chengfu orally provided the Ten Essential Principles for the
practice of Tai Chi Chuan to his senior student, Chen Wei Ming, who recorded the
instructions in writing. Chen Wei Ming helped his teacher write three books on
Tai Chi Chuan. The ten principles are provided in the following material.
1. Empty, Lively, Pushing Up and Energetic ‘the wellspring of destiny lies in the tiny interstice
of the waist. (In Chinese thought, the waist tends
‘Pushing up and energetic’ means the posture of to be regarded as the lower back rather than a
the head is upright and straight and the spirit is circle girdling the middle of the body. Whenever
infused into its apex. You may not use strength. there is a lack of strength in your form, you must
To use strength makes the back of the neck stiff, look for it in the waist and legs. Jerry Karin)
whereupon the chi and blood cannot circulate
freely. You must have an intention, which is empty, 4. Separate Empty and Full
lively (or free) and natural. Without intention, that
is empty, lively, pushing up and energetic, you In the art of Tai Chi Chuan, separating full and
won’t be able to raise your spirit. Note: (This four- empty is the number one rule. If the whole body
character phrase is probably the most difficult one sits on the right leg, then the right leg is deemed
in all of Tai Chi literature to translate. I have chosen ‘full’ and the left leg ‘empty.’ If the whole body sits
to regard each of the four words as filling the on the left leg, then the left leg is deemed ‘full’
function of a predicate or verb-phrase. Another and the right leg ‘empty.’ Only after you are able to
fairly obvious approach would be to take the distinguish full and empty will turning movements
first two as adverbial and the last two as subject- be light, nimble and almost without effort; if you
predicate: “Empty and lively, the apex is energetic.” can’t distinguish them, then your steps will be
Many other interpretations are possible. J. Karin) heavy and sluggish. You won’t be able to stand
stably, and it will be easy for an opponent to
2. Hold in the Chest and Slightly Round The Back control you.
The phrase ‘hold in the chest’ means the chest is 5. Sink the Shoulders and Drop the Elbows
slightly reserved inward, which causes the chi to
sink to the dantien. The chest must not be puffed Sinking the shoulders means the shoulders relax,
out; if you do so then the chi is blocked in the open, and hang downward. If you can’t relax them
chest region. The upper body becomes heavy and downward, the shoulders pop up and then the chi
the lower body light, and it will become easy for follows and goes upward, causing the whole body
the heels to float upward. ‘Slightly round the back’ to lack strength. Dropping the elbows means the
makes the chi stick to the back. If you are able to elbows are relaxed downward. If the elbows are
hold in the chest then you will naturally be able to elevated then the shoulders are unable to sink.
slightly round the back. If you can slightly round When you use this to push someone they won’t
the back, then you will be able to emit strength go far. It’s like the ‘cut off’ energy of external
from the spine, which others cannot oppose. martial arts. (External martial arts are thought to
use energy from parts or sections of the body, as
3. Relax the Waist opposed to the ‘whole-body’ energy of Tai Chi.
Jerry Karin)
The waist is the commander of the whole body.
Only after you are able to relax the waist will the 6. Use Intent Rather than Force
two legs have strength and the lower body is
stable. The alternation of empty and full all derive The Tai Chi Classics say, “this is completely a
from the turning of the waist. Hence the saying: matter of using intent rather than force.” When
- 55 -
you practice Tai Chi Chuan, let the entire body 8. Match Up Inner and Outer
relax and extend. Don’t employ even the tiniest
amount of coarse strength, which would cause What we are practicing in Tai Chi depends on the
musculoskeletal or circulatory blockage with the spirit, hence the saying: “The spirit is the general,
result that you restrain or inhibit yourself. Only the body his troops.” If you can raise your spirit,
then will you be able to lightly and nimbly change your movements will naturally be light and
and transform, circling naturally. Some wonder: nimble, the form nothing more than empty and
if I don’t use force, how can I generate force? full, open and closed. When we say ‘open,’ we don’t
The net of acupuncture meridians and channels just mean open the arms or legs; the mental intent
throughout the body are like the waterways on must open along with the limbs. When we say
top of the earth. If the waterways are not blocked, ‘close,’ we don’t just mean close the arms or legs;
the water circulates; if the meridians are not the mental intent must close along with the limbs.
impeded the chi circulates. If you can combine inner and outer into a single
impulse, then they become a seamless whole.
If you move the body about with stiff force, you
swamp the meridians. Chi and blood are impeded, 9. Practice Continuously and Without Interruption
movements are not nimble; all someone has to
Strength in external martial arts is a kind of
do is begin to guide you and your whole body
acquired, brute force, so it has a beginning and
is moved. If you use intent rather than force,
an end, times when it continues and times when
wherever the intent goes, so goes the chi. In
it is cut off, such that when the old force is used
this way, because the chi and blood are flowing
up and new force hasn’t yet arisen. There is a
and circulating every day throughout the entire
moment when it is extremely easy for the person
body and never stagnating, you will get true
to be constrained by an opponent. In Tai Chi, we
internal strength after a lot of practice. That’s
use intent rather than force, and from beginning
what the Tai Chi Classics mean by “Only by being
to end, smoothly and ceaselessly, complete a cycle
extremely soft are you able to achieve extreme
and return to the beginning, circulating endlessly.
hardness.” Somebody who is really adept at Tai Chi
That is what the Tai Chi Classics mean by “Like
has arms, which seem like silk wrapped around
the Yangtze or Yellow River, endlessly flowing.”
iron, immensely heavy. Someone who practices
And again: “Moving strength is like unreeling silk
external martial arts, when he is using his force,
threads.” These both refer to unifying into a single
seems very strong. But when not using force,
impulse.
he is very light and floating. By this we can see
that his force is actually external, or superficial 10. Seek Quiescence within Movement
strength. The force used by external martial artists
is especially easy to lead or deflect; hence it is not External martial artists prize leaping and stomping,
of much value. and they do this until breath (chi) and strength are
exhausted, so that after practicing they are all out
7. Synchronize Upper and Lower Body of breath. In Tai Chi Chuan we use quiescence to
overcome movement, and even in movement,
In the Tai Chi Classics ‘‘synchronize upper and
still have quiescence. So when you practice the
lower body” is expressed as: “With its root in the
form, the slower the better! When you do it slowly
foot, emitting from the leg, governed by the waist,
your breath becomes deep and long, the chi sinks
manifesting in the hands and fingers - from feet
to the dantien, and naturally there is no harmful
to legs to waist - complete everything in one
constriction or enlargement of the blood vessels.
impulse.” Literally “one chi.” This could also be
If the student tries carefully they may be able to
rendered as “one breath.” When hands move, the
comprehend the meaning behind these words.
waist moves and legs move, and the gaze moves
along with them. Only then can we say the upper Transmitted Orally by
and the lower body are synchronized. If one part Grandmaster Yang Chengfu
doesn’t move then it is not coordinated with the
rest. Recorded by Chen Weiming
Translated by Jerry Karin
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A PRACTICAL GUIDE TO THE TEN ESSENTIAL PRINCIPLES
In this section, YCF Center Director Dave Barrett The main point for practitioners is to follow the
provides the student a guide on how to integrate basic principles in a way that they are dynamically
the Ten Essential Principles of Tai Chi Chuan into expressed in the whole body. They cannot remain
his or her practice of Tai Chi Chuan. Information disembodied ideas. Without these principles you
for the article is a synthesis of Dave Barrett’s will not succeed. Especially for the beginning
interviews with Gandmaster Yang Zhenduo. student, this can seem a daunting task. Turning
theories into practical experiences can take
Professor Cheng Man Ching, disciple years of practice. Patience, perseverance, and an
of Yang Chengfu, states that Yang organized study plan can help with the complexity
Chengfu constantly emphasized the of Tai Chi’s many theoretical requirements.
Ten Essential Principles. Each time Yang
Chengfu spoke of them, he exhorted us Yang Chengfu’s important points can be grouped
saying, “If I do not mention this, then into three main topics:
even if you study for three lifetimes 1. Arranging the Body Frame,
it will be difficult for you to learn.”
2. Coordinating the Motions and
Yang Chengfu’s son, Yang Zhenduo said: 3. Harmonizing the Mind.
In China we have a proverb, ‘If you don’t All students can use this framework to evaluate
go according to the rules, you will not find their progress and improve their skill level.
the squareness and roundness of the form.”
In the beginning, normally, the student
Follow these rules if you want to practice just imitates and moves from frame to
the entire form well, you must start frame. In the second stage, after having
from the root, start from the basics. learned the principles, the student
You must do this if you are to receive the tries to make the movements and
benefits of the good fundamentals and the principles become one. In the first
receive the benefits of practice. Also it stage, you just put the hands out but
is easier to raise the level of technical in the second stage you should know
proficiency. In this process, you focus how and why the hands are put out.
and ask yourself: Have I done all the Once you understand this it takes a
fundamentals in each movement? long time to go through it. In the third
Have I done the basic refinements? stage, the principles and applications are
Only you know in your heart. combined into one and that becomes the
The Ten Essential Principles provide a framework essence. It means that the movements
for a lifetime of comprehensive study. In many have intent and are no longer empty.
ways they are like a formula or recipe for correct Arranging The Body Frame
practice. Rather than a series of abstract concepts,
the Ten Essential Principles are the summation of The principles in this category are:
generations of inquiry into the nature of mind,
body, and motion. Each principle is dynamically • Empty, lively, pushing up and energetic.
linked to a practical result, and when all the points (pushing up the top of the head)
are accurately represented, the outcome is the • Relax the waist.
marvelous expression of grace, power and balance
• Hold in the chest and slightly round the back.
present in Traditional Yang Family Tai Chi Chuan.
• Sink the shoulders and drop the elbows.
This article will focus on providing a framework for
the Tai Chi student to organize and work on the These four requirements establish important
Ten Essential Principles. Each principle results in guidelines for the torso, arms and hands. As
a practical refinement that gives a special quality with all the principles, they work together to
to the performance. Rather than explaining promote the optimal patterns for energy to flow
the meaning of each point, these refinements freely through the body. Balance pushing up
in posture, motion and mental activity will be the top of the head with relaxing the waist, the
examined. What is of importance is that the spine is elongated and a strong feeling of central
principles enter one’s practice and affect the equilibrium is established. The upwards energy
performance of the forms. and sinking center of gravity will align the back,
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which forms the center point for rotating the Cleanly separating empty and full in shifting
entire body frame. the body weight promotes agile stepping and
increased balance control. Blending empty and
By keeping the waist relaxed the frame rotates full by balancing the pushing and receiving
flexibly and freely with a minimum of applied energies in the stance work stabilizes the frame
energy. Holding in the chest, slightly rounding and roots the entire body structure.
the back, sinking the shoulders, and dropping the
elbows create a sense of relaxed extension through In the Ten Essential Principles it says you
the upper back all the way to the fingertips. Allow have to coordinate the upper and lower
the ligaments and tendons to extend and the big body. In reality many people are not
muscles of the chest and shoulders to loosen. This doing that because they bend the knee
is done by sinking the sternum slightly inwards so fast that they don’t have a chance to
and causing the back to become gently rounded. put the energy into the knee, and thus
the upper body has no force. If you bend
This rounding of the back is carried through to your knee too quickly, the whole body
the fingertips by dropping the elbows, sinking is not used and the waist movement is
the shoulders, seating the wrists and extending empty. There is not a unified force.
the fingertips. In this way the large, open postures
are anchored in the spine and the intrinsic energy The refinement of synchronizing the upper and
issues freely from the back to the extremities. The lower parts of the body means that the waist
practical result is a frame that is open and relaxed, acts as the pivot and the following coordination
yet connected and rooted to the motion of the ensue: the hips move with the shoulders, the
lower back and waist. elbows move with the knees, and the energy
arrives at the palms and feet simultaneously. The
As soon as you have the elbow pull the body has an expansive feeling that manifests in
shoulder, your chest will naturally sink. As an end position that is fully realized from the feet,
soon as the elbow pulls the shoulder, your through the legs, controlled by the lower back and
chest becomes concave. As soon as your expressed through the limbs and the fingertips. A
chest is sunk, your back becomes naturally total body motion.
rounded and arched. And as soon as your
back is rounded and arched, your waist As long as your movement starts with
and hips become relaxed and this is all the waist and all the other conditions
interrelated from one point to the other. correctly create the condition for the waist
to move in this way, then the waist has the
If you do not have the sinking elbow, and ability of being the body’s central pivotal
wrist and fingers extended, you do not force. If you don’t coordinate the upper
give the opportunity for the sunken chest, and lower limbs through the waist, and
rounded and arched back, and relaxed the lower legs are empty, then the waist
waist. Although your waist can control is not moving. If the structure is lifeless,
your whole body, if your arms do not give then the waist doesn’t have anything
it the opportunity by following the basic to do. If however, you practice with the
requirements, then the waist will not have hand in a position where it has intrinsic
the power and the ability to control the force and the legs have strength and the
body. There will be no way you can bring waist is used correctly, then they can be
the energy out. Therefore we say only when coordinated. Then these movements are
you follow the principles will your waist all part of the waist movement. Normally,
then be used correctly. We require everyone people just locally move their arms. They
who practices Tai Chi Chuan to emphasize are not using the waist to move their arms.
these points over and over again.
Continuity without interruption provides a crucial
Coordinatiing The Motions element in blending stillness with activity: linking
the forms together, yet clearly distinguishing
The principles in this category are: between end positions and transitional motions.
• Separate empty and full. Yang Zhenduo has said that the most important
phase in continuing the form occurs when the
• Synchronize upper and lower body.
motion changes direction from forward to back
• Practice continuously and without interruption. or from up to down: to be specific, at the precise
instant when the kinetic potentials reverse.
These points present a formula for the waist,
legs and footwork. The ability to distinguish the Consider the motion of a child’s swing on the
amount and direction of body weight supported playground: as the swing reaches its highest
through the legs is a fundamental skill in Tai Chi. point before it plummets backwards there is a
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slight pause, a brief instant when the weight and If you concentrate on the main
forward motion suspend. Yang Zhenduo points principles, then you are not thinking
to this instant as the most crucial time to pay about anything else. There is no
close attention to the motion changing. Link the room to think of anything else.
large circles together by creating this sense of
paused suspension, when a very slight motion But if you don’t understand the concept
of the lower back leads to an elliptical transition of where you move and how you should
expressed arc-wise through the body. If the truth concentrate, and what the principles are,
were told, the shape of these slight elliptical links then you cannot control and focus your
mind. You must remember, Ten Essential
is the familiar fish shape that occupies half of the
Principles and apply these important
yin-yang symbol. These slight transitional moves principles. You want to harmonize them
lead into the next larger motion without breaking with the specific technique. When you
the thread of the performance. have something else on your mind, you
can control your mind by directing it
Harmonizing The Mind
to implement the important principles
The principles in this category are: in each movement. This is one of the
methods to regulate your mind.
• Use intent rather than force.
• Match up inner and outer. This is a very different approach to regulating the
mind than meditation or qigong,
• Seek quiescence within movement.
In some qigong methods they have
This category illuminates the inner life of the meditation methods to get into a very
Tai Chi Chuan system. The points offer a key quiescent state. This is not quite the same
to the transcendent nature of the exercise, as the quietness in Tai Chi Chuan. In Tai
leading the student beyond the boundaries of Chi Chuan you want to be calm and
mechanical imitation of motions into a realm of collected, so you have focused attention
freely expressed energy and spirit. The primary on what the opponent is going to do
refinement in harmonizing the mind is to focus on to you. Within that quietness you are
matching the specific technique with the actual ready to spring. You are ready to move.
application of force. This creates an inner sense So the quiescence and movement go
of engagement and participation in the offensive hand in hand, working together.
and defensive character of the motions. Linking
The paradox of effortless action should fascinate
the slow motions to the actual applications of and mystify the student. This in turn may lead
technique is a very delicate process. one to wonder why Yang Zhengduo motions
Great care should be exercised not to get carried possess an indefinable quality of excellence, an
elusive brilliance that is easy to see yet seemingly
away by the pursuit of strength and power.
impossible to achieve. Fortunately for us, the Yang
Every motion has its purpose and the family has shared their research in the hopes
purpose should be coordinated with your that everyone may benefit from this wonderful
practice.
thoughts, your mind, and finally, your
spirit. What you think in your mind and Take your time, work principle by
what you do with the body should be very principle. Don’t just practice. Day by day,
naturally coordinated… If you practice work on certain points. For example:
and follow the principles and don’t one day focus on lifting the top of the
consciously think about power, then you head. The next day concentrate on
will have the energy and the power. But if the shoulder, elbow, wrist and palm
you concentrate only on the energy and requirements. Gradually the points will
the power then your mind will be limited. add up and your skill level will increase.
The last of Yang Chengfu’s Ten Essential Principles The basic requirements and principles
is the natural result of the combined points. we have talked about are very important
Quiescence or tranquility is the key quality that points. But it is like many things. You can
distinguishes this art form from mere martial know it but sometimes you cannot carry
exercise. In following the Tai Chi Chuan paradigm it out. You may not be able to do it. You
there needs to be a balance between tranquility may need a long time to train yourself,
and activity. There are many ways to calm the slowly, slowly accumulating experience.
mind. In the Yang Family Tai Chi Chuan system the
Ten Essential Principles provide the method: By Dave Barrett based on
interviews with and quotes from
Grandmaster Yang Zhenduo.
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GRANDMASTER YANG ZHENDUO ON ‘FANG SONG’ OR RELAXATION
This section of the chapter is an explanation other hand, is ‘limp’; it does not have this nature
of the role and concept of ‘fang song’ or of bringing about flexible resilience. Therefore
relaxation in the practice of Tai Chi Chuan. The when we refer to coarse strength - which has had
material is excerpted from Grandmaster Yang its stiffness removed - as soft but not limp, it is
Zhenduo’s book, Zhong Guo Yang Shi Taiji, because ‘soft’ has this flexible resilience, which is to
1997, ‘Thoughts on Practice’ p163-164 say it includes within it the ingredient for ‘energy.’
This is just what the late Yang Chengfu meant by
Earlier in this book I have already talked quite “Tai Chi Chuan is the art of letting hardness dwell
a bit on the subject of ‘fang song’ or relaxation. within softness and hiding a needle within cotton.”
Let’s connect related concepts by separately If the factor of ‘energy’ is not present, this is ‘limp.’
mentioning the terms ‘soft’ (rou) , ‘limp’ (ruan), ‘Limp’ is not the same thing as ‘soft.’
‘strength’ (li) and ‘energy’ (jing) so that these can be
distinguished, which is helpful After iron has been beaten
in practicing Tai Chi Chuan. thousands of times and refined
hundreds of times, it changes its
In martial arts, we often hear nature and becomes steel. Steel
the analogy made between is firm internally and highly
‘steel’ and ‘energy’ (jing). reflective externally. Iron by
Likewise, ‘coarse strength’ contrast is not only less flexible
(juo li) can be likened to ‘iron,’ but its external appearance is
because ‘steel’ comes from rough. ‘Coarse strength,’ after
‘iron’ and the source of ‘energy’ undergoing persistent training
is also naturally from ‘coarse for many days, months, and
strength.’ Coarse strength is years can also be made to
natural strength and is an change its nature and become
inherent product of the human ‘energy’ (jing). When ‘energy’
body. Coincidentally, the (jing) is manifested it is soft,
current graph used in Chinese flexible and strong and able
for ‘energy’ (jing) includes to embody the coordinated
‘strength’ (li) with ‘work’ (gong) activity of the entire body.
added to it. I am not sure if this When ‘coarse strength’ is
was really the intent of those manifested the movements are
who designed this graph, but stiff and the response is in a portion of the body
looking at this graph can surely help serve to only, rather than the whole body. The two are
explain the relationship of the two. extremely different.
‘Adding work’ or refining, refers to the way in Relaxation and training should both be conscious
which, during the process of production, we (or purposive). That is just what our predecessors
use the method of high temperature forging; meant by “consciously (purposely) relax and
correspondingly for coarse strength we use the unconsciously (unintentionally) create hardness.”
method of relaxation (fang song) to remove the If one can really achieve relaxation (fang song),
stiffness of coarse strength. Both are means to an it will be transmitted into the combining of the
end. body activity with the ten essentials, naturally
creating the material conditions so that ‘energy’
The process of refinement causes the two to
(jing) will arise according to the requirements
manifest something which seems contradictory
of the moves. If you try to create ‘energy’ (jing)
to its original nature. For example the water used
directly, paradoxically you become limited by
for tempering steel and drinking water seem
‘energy’ (jing). When we say “use intent rather than
similar, yet there is a difference in the nature of
strength,” the main idea is that you should not use
the two. The water used to temper steel - like the
‘coarse strength’ but rather ‘energy’ (jing).
removal of the stiffness in coarse strength - brings
about a flexible resilience. Drinking water, on the Translated by Jerry Karin
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LOOSENING AND SINKING AND OPENING AND EXTENDING:

FANG SONG AND FANG KAI - THE TAI CHI PARADIGM
This section will examine two key techniques Song is normally translated as, “to relax,” but in
of Yang Family Tai Chi Chuan; fang song, the English the meaning of relax has too much of the
action of loosening and sinking and fang kai, the idea of “collapse.” Song on the other hand implies
action of opening and extending. At first glance a very high level of alertness, sensitivity, and
these important elements of practice seem nimbleness with an inordinate mindfulness for the
contradictory. How can one relax the body and at conservation of energy.
the same time elongate the postures? If one is too
relaxed, the poses lack strength and if one is too In practical terms how does one make use of such
extended the form become stiff and disconnected. an elusive concept?
Resolving these contradictions through the Song requires the release of all the sinews in the
integration of opposite forces is the essential body without the slightest tension. When we are
activity that makes Tai Chi Chuan a unique system able to completely song this is sinking. When the
of self-enrichment and discovery. By concentrating sinews release, then the body which they hold
on balancing and combining fang song and fang together is able to sink down.
kai we can achieve the relaxed yet resilient feeling
Yang Zhenduo describes the process as twofold:
of strength and the expansive yet connected
postures that characterize Traditional Yang Family To talk about the word song, or to be
Tai Chi Chuan. loose, is important because there is
a lot of misunderstanding about the
Consider this definition of Tai Chi: the dynamically
word. When you talk about being loose,
balanced expression of oppositional energies.
or song, there are two parts about
The familiar yin-yang symbol is the graphic
which the person should think. One
representation of this core concept. The theories
is mentally and one is physically.
of Tai Chi Chuan are complex and sometimes
difficult to understand, but if we can keep this Mentally, it is to be totally relaxed and
model clearly in mind it becomes easier to concentrate on your motions and your
integrate practice and principle. movements. By doing that, you get rid
of all the other thoughts in your mind
Fang Song
and then you become fully concentrated.
Professor Cheng Man-Ch’ing once remarked, That part, most people can do.
“Every day Master Yang Chengfu instructed me
The other part is the physical song,
saying song, song!” Or sometimes he would say,
being physically loosened. Most people
“You are not song; you are not song!” Emphasizing
misunderstand this. When they talk about
his point most strongly he would say, “You must
being loose, they think it is softness. If
be completely song.” He could not have repeated
they do it as soft as they can, the muscles
this fewer than several thousand times.” The
and everything become powerless. That
importance of song is well documented and yet
is the biggest error a person can make in
still remains a difficult concept to render into
practicing Tai Chi Chuan. In practicing
English. “In the English language there is no
Tai Chi Chuan there is a contradiction:
equivalent to the Chinese character, “song,” which
the outside looks soft but inside is strong
means relaxed and not using brute force, and
and they are the opposite of each other.
more importantly, stretching and loosening all the
When talking about song physically,
muscles and joints in the body.”
you should loosen your bones, joints
If one relies on the word relax to interpret song, and tendons and make them long and
important elements of the technique are left out. outwardly extended. Stretch them out.
That type of looseness will create energy.
On the outside the person appears to be
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very soft but on the inside the person is wrist pulling the forearm, the forearm pulling the
totally the opposite: hard as steel. That elbows, the elbows pulling the shoulders, the
is the meaning of song in practice. shoulders dropping and rounding the back.” In
this way the open and extended postures that
Looking at people here in America characterize Traditional Yang Family Tai Chi Chuan
but also looking at people around the remain connected together, not pushed apart.
world, the biggest mistake people make
is not understanding song correctly. The challenge is to use kinetic force rather than
muscular strength to arrive at the correct end
Fang song is a crucial element of Tai Chi practice position. In order to feel the opening of the joints,
but it should not become the sole preoccupation sinews and tendons one must use a refined type
of the Tai Chi enthusiast. of force, characterized by a dynamically balanced
integration of song and kai.
To stay loose is one of the most important tools in
the practice of Tai Chi Chuan. It is a technique but Combining Song And Kai
not the final goal. Some, who are not quite clear on
this point, when they practice, become soft. The The phrase, “song kai” is used commonly in Chinese
correct practice is to be soft with resilience. The to describe an action that represents a relaxing or
softness is not the kind that collapses or becomes expanding situation. For example if you hold your
softness within softness. Fang song is resilient, the fist very tightly and then open the palm, you could
muscles become resilient. say “song kai.” If the sky was overcast and suddenly
cleared to reveal the scenery or perhaps you were
How does one avoid the mistakes of excessive in the midst of performing White Crane Spreads Its
looseness and softness within softness? By using Wings you could say to yourself “song kai.”
the complementary technique of fang kai to
extend within the relaxation process, to temper The actions of the Tai Chi sequence can be
the elements of relaxing and sinking with those of understood as the continual cycling of loosening
elongating and opening. and extending and then loosening again over
and over. When the end position of each form is
Fang Kai expressed there is an exquisite moment when
song kai comes into its complete fulfillment: a
Several years ago at a seminar in San Antonio, Texas
dynamically balanced expression of resilient,
Yang Laoshi offered this fascinating metaphor for
tensile body sensation that has just the right blend
fang kai, the action of opening and extending. Say
of relaxation and energetic extension.
you have a length of chain lying in a jumble on the
floor. You pick up one end and whip it up over your Consider song and kai as the oppositional
head. Here Yang Laoshi made a sweeping circular elements of the Tai Chi symbol. Within each there
motion of his arm upwards. At a certain point all is the small expression of the other. As you perform
the links in the chain will become extended in a motions that open and extend, can you feel loose
smooth curve, each separating and yet remaining and relaxed? As you sink, can you feel expansive?
a part of chain. In the end positions can you fully utilize each
technique to balance and refine your posture?
If we apply this image to the action of opening and
extending the body there are several important At the beginning it may be just the briefest
elements to describe. First the motion of the waist moment that you feel the balance of song kai. My
generates the action of opening centrifugally first teacher used to encourage us saying, “Catch
outwards. Rather than pushing the frame open the feeling!” Then gradually, day-by-day, the
using muscular strength, the postures are naturally sensation of balance expands to other motions
pulled open. Secondly the correct sequence of and postures until your whole practice becomes a
extending should proceed in a circular pattern, marvelous expression of Tai Chi.
using the curve of the form’s motion to establish
an extended position. By Dave Barrett , YCF Center
Director, Portland, Oregon.
During his teaching Yang Laoshi illustrates this
using the following sequence, “Feel the fingers
pulling the palm, the palm pulling the wrist, the
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THE TWENTY-CHARACTER MOTTO
This section features the Twenty-Character Motto from Yang Family Tai Chi Chuan that
provides guidance and instruction on what to do with the joints of the upper body to integrate
the joints to work as a whole to transmit and issue energy effectively and efficiently.
Yang Family Tai Chi Chuan Twenty-Character Motto

杨氏太极拳二十字口诀 (Yáng Shì Tài Jí Quán Èr Shí Zì Kǒu Jué)
抻出肘尖，空出胳肢窝。
Chēnchū zhǒu jiān, kōngchū gézhiwō.
肘尖，拽膀尖，连手腕，带手指。
Zhǒu jiān, zhuài (yè) bǎng jiān, lián shǒuwàn, dài shǒuzhǐ.
Is translated as:
Extend elbow tip, leave a hollow armpit.
Elbow tip, pull down shoulder tip, connect wrist, carry along finger.
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MOTTO ON HOW TO INTERCONNECT THE

JOINTS TO WORK AS A WHOLE
“Extend the elbows outward; leave a hollow in The sense of energy (劲感 jìn găn) created by this,
the armpits. The elbows pull down the tops of the and the sensation of the whole-body working
shoulders, connect the wrists and carry along the together are things which every player must work
fingers.” toward and actually experience. This is crucial to
successfully learning Tai Chi. From this we can
The Twenty-Character Motto is very brief, yet its see that the Twenty-Character Motto separately
meaning is very profound and worth pursuing. relates to every individual posture of Tai Chi and as
Although only the various parts of the upper a whole determines the connected completion of
limbs are mentioned, following this motto can set the entire form. I hope that students will diligently
in motion a chain of causality in which changes seek to understand this, and experience the
here affect the other parts of the body. This “sensation of energy” induced by this “extended,”
connection is not just mental, but you can actually “hollow,” “pull down,” and “connect.” This will aid
feel that precisely this movement of the upper your overall level of training as well as the practice
limbs causes you to “hold the chest in,” which in of connecting the internal and external.
turn induces “slightly round the back,” leading
to “relaxation of waist and hips” and ultimately By Grandmaster Yang Zhenduo
bringing about “movement that proceeds from
feet to legs to waist,” so “all the joints are working Translated by Jerry Karin
inter-connectedly as a whole.” You can get an
internal sensation of the integration of all these
principles and how they support each other.
DEVELOPING TAI CHI CHUAN ‘GONGFU’ OR SKILLS

AN INTERVIEW WITH MASTERS YANG ZHENDUO AND YANG JUN
Gongfu refers to the process of one’s training National Sports Ministry attached importance to
- the strengthening of the body and the mind, the practice of Tai Chi Chuan. For Yang Jun and
the learning and the perfection of one’s skills - I, regarding this aspect, we feel very honored
rather than to what was being trained. It refers and feel a sense of responsibility. For many
to excellence achieved through long practice personal reasons, I had to develop gongfu. The
in any endeavor.[5] This meaning can be traced development of gongfu is not an easy thing, it is
to classical writings, especially those of Neo- very difficult to develop.
Confucianism, which emphasize the importance
of effort in education. One aspect is to practice, and another aspect
is to improve in the understanding of theory.
This section of the chapter is an interview Objectively and subjectively both require hard
conducted by Jeremy Blogett with Grandmasters work. Past generations of youth had a certain
Yang Zhenduo and Yang Jun on developing foundation. When we practiced Tai Chi Chuan, we
gongfu in Tai Chi Chuan. got up before dawn, at 4 or 5 a.m. Not only did we
practice Tai Chi Chuan, but we also taught. There
Jeremy Blogett: What was practice like for you was no free time the whole day, not until evening
when you were young? when we couldn’t move anymore. While we were
practicing though, it was very comfortable.
Grandmaster Yang Zhenduo: My family is an old
and well-known family. Several generations have Doing the form one time commonly takes about
taught Tai Chi Chuan as a profession and to make 25 minutes now. In the past, we took 45 minutes
a living. After the liberation of China in 1949, the to do the form, doing the form three times in a
- 64 -
row each session. The transitional time between

moves was longer, the postures were lower, and
the moves were slower. It was very strenuous,
even to the point that squatting on the toilet and
climbing out of bed were not possible. We actually
had to roll out of bed. It was very arduous.
But now it is not like past generations and that

era has passed. Objectively speaking, during that
time they had more actual combat experience.
There were push hands, two-person free-style
fighting and individual practice, thus providing
many practice and combat opportunities. For
example in push hands, I and several students
who would get up before dawn to go practice,
really working at developing some gongfu. Now,
the opportunities are relatively less. After all, now
is different than the past era when the emphasis
was placed on fighting.
JB: Many practitioners are interested in push

hands, but do not realize that the staff is used to
help develop in this area. Can you talk more about
the how to practice with the staff, and what it
accomplishes?
YZD: Tai Chi uses a white wax wood staff to develop

arm strength and whole body coordination. In
the past the spear was used, but now the staff is
substituted. In the whole series of Tai Chi Chuan
practice, push hands is begun after one has
learned the hand form. Push hands emphasizes
pushing; it doesn’t emphasize striking. In the free
form hand techniques of freestyle fighting, the
stress is on striking. Push hands is more civilized.
In push hands you must have a certain amount of

arm strength. If you cannot push, then you are not
able to use four ounces to deflect one thousand
pounds, affecting the opponent and leading him
into emptiness. Although it is not entirely that
easy, the point is that your body does need to
have some strength. Practicing with the special
vibrating staff will be a big help later because it
is to use the white wax wood staff, to help you
can increase arm strength and greatly benefit your
become stronger.
whole body coordination.
Fajin, the spontaneous emission of force, does not
Master Yang Jun: External martial arts work
just concern the external. You also have to have the
on the body from the outside in, while internal
internal, coordinating the energy from the dantien
martial arts work on the body from the inside out.
with the energy from the limbs. The internal and
Both goals are the same. In Tai Chi Chuan, mutual
external must be combined. It shouldn’t be just
consideration is given to both internal energy
strengthening the arms when practicing the staff.
and the building of a robust and strong physique.
Otherwise, it is the same as external martial arts.
The internal and external are both developed. To
You also need to have the internal aspects. The
develop the limbs, one form of practice is drilling
external shape of the limbs needs to be practiced,
the individual postures. Another form of practice
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expression come out? If you only practice external

martial arts some aspects are not enough.
Generally speaking the jing is prenatal energy or
vigor, qi is the vital energy connected with the
blood, and shen is the mental and spiritual energy.
These three all have a definite relationship.
Because of this, performing the movements can be

extremely beautiful and spirited. When practicing
Tai Chi Chuan one should be glowing with health,
graceful and natural. When I was working at the
Mineral Bureau, I participated in an amateur opera
group where I gained some experience singing
Beijing Opera. Beijing Opera and martial arts are
the same in that both must express the jing, qi,
and shen to do them well.
JB: For practitioners who desire to begin teaching,

what recommendations do you have?
YZD: There is a Chinese saying that a teacher

must serve as a role model of virtue and learning,
thus being worthy of the title of teacher. First, the
teacher must set an example. Then, the person
must work on perfecting himself or herself. But
the teacher must be genuine and treat students
with sincerity. My sincerity allows me to receive
others’ trust. This is most important. Regardless of
whether you are from China or abroad, if I teach
you I will teach you very conscientiously.
What we are really talking about is the character of

the teacher. We Chinese place particular emphasis
on morals, and not only in the practice of martial
arts. In your social conduct, you should present
yourself as a model because not only do students
study martial arts from you, but they also study
your conduct. Be an honorable person and a fair-
minded person. In the study of Tai Chi Chuan you
should be modest. Chairman Mao said, “Modesty
lets people advance. You should be sincere with
people and should unassumingly study from
others.” In this way if you are to be a teacher, you
but you also need to pay attention to working on must first be a role model. If you don’t have these
this idea of mutual development. qualities, then you are not a sincere teacher.
JB: What are some of the internal aspects of Tai Chi JB: When you demonstrated at the competition in
Chuan? Taiyuan this summer it was the first time for many
people to see the new short-form. What led you to
YZD: The Sanya demonstration had expert create this form?
commentary, which specifically talked about
“disposition.” This is because the practice of martial YZD: Many people want to practice Tai Chi
arts refers not only to the external appearances, Chuan but when they see how long the form is
but also the internal aspects of jing, qi, and shen. they feel it is too difficult. Han Hoong Wang, YCF
Can the internal be outwardly expressed? Can the Center Director of Troy, Michigan once told me
- 66 -
that many of her students could not practice the reach the goal. The development of gongfu
form because it was too long and too difficult for requires a process of time.
them. In order to make it suitable for more people
to practice Tai Chi, and to recruit more students, To practice Tai Chi well does not just require
I created the Yang Family Thirteen Posture Tai understanding. In this way the practice of Tai Chi
Chi Chuan Form. Other Tai Chi styles had already is not quite the same as other things. It requires
created a thirteen posture form but this did not putting it into practice, doing it, and succeeding
happen with Yang style Tai Chi because people at doing it. But this “putting into practice” is
had previously declined to create a short form. different for each person. Some people are better
Consisting of just thirteen moves, it is very simple. at imitating, and receive the training faster with
In this thirteen posture form there are no standing- less time required. Some people are less good at
on-one-leg moves, and no low stances. Thus it is imitating and require a correspondingly longer
simpler for the elderly. In addition, the form is very period of time. Because it varies with each
short; in one or two minutes it is finished. individual, teachers must suit the instruction to
each student.
Therefore the form is quite convenient for even
more people to participate in the practice of Generally speaking, one must follow the principles
Tai Chi because it is more suitable and easier to of the above three training steps. Training for
accept for beginners, especially people of more beginning students are easier for those who have
advanced age. This is the sequence of the form: an opportunity to speak to a teacher or to more
Opening, Cloud Hands, Single Whip, Fist Under able students. For those that do not have this
Elbow, White Crane Spreads Its Wings, Brush opportunity it is more difficult for these students.
Knee Push, Hands Strum the Lute, High Pat on For example, if a student is corrected one time
Horse, Thrust Palm, Chop with Fist, Step Forward for a movement and do not have the follow-up
Parry Block and Punch, Grasp Bird’s Tail, and Cross support of a teacher or more able student, that
Hands. Recently when I was in Beijing, the director student might return to his or her incorrect way of
of a Chinese martial arts magazine invited me to practicing that movement. This is somewhat more
begin arranging another thirteen-posture form for troublesome. So in talking about the practice
the sword. Many people like to practice with the of Tai Chi, what really is required is an ability to
sword, but because their age is too great and the understand.
form is too long they cannot remember it. JB: You mentioned that gongfu requires a process
JB: When one begins to learn Tai Chi Chuan, what of time. What is the meaning of “gongfu”?
are the general stages of practice? YZD: The simplest explanation is that the practice
YZD: Regarding the teaching of Tai Chi Chuan of gongfu, or just “gongfu,” includes both strength
and skill training. Through practice strength is
to a new student, we generally say that the
increased. The other component of gongfu is skill.
training is divided into three steps. The first step is
Just knowing something will not produce skill;
approximate practice. The second step is detailed
you must put it into practice. Regardless of which
practice. The third step is refined practice. In the
martial art you practice, whether it is Long Fist for
first step the student is to roughly get the form
example or an internal martial art, you must have
down with the main purpose being to just become
skill and you must have strength. Looking back at
familiar with the form. In the beginning, the
the past, a long time ago, the practice of gongfu
student does not quite understand the principles.
was not the same as it is now. In the past emphasis
Later, with the passing of time, the student has
was placed on rigorous training.
a basic understanding and is clearer about the
principles and can then connect the movements Now, that kind of training is not very suitable for
together. people’s physical health, as excessive fatigue can
injure the body. In addition, some people practice
Then on this foundation, the student can enter hard in an inappropriate way, and then sometime
the second step and go back and add again the later, or maybe not until old age, problems arise.
Ten Essential Principles and practice to these So now, following the development of society, a
higher standards. The final step is for the student more scientific approach to practice is advocated
to go back and refine everything. The foundation with emphasis placed on the practice technique.
for a beginner is fairly weak and if the beginning But, in looking at gongfu, you still do need to train
requirements are too strict, the student cannot hard. To just talk about it and not actually work
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require a little more time. It really

varies with each individual.
JB: Given that Tai Chi was founded

on the basis of Chinese culture, do
you think that in in general, non-
Chinese learn it more slowly?
YZD: I think that this is not absolute.

Because Chinese are raised in
Eastern culture, their circumstances
are a bit better when learning Tai
Chi. An analogy can be made to
Chinese studying modern science
and technology: if Westerners are
leaders in the field of science it does
not necessarily mean that Chinese
cannot be on the forefront as well.
In general Asians, and especially
Chinese, are able to “eat bitter” or
endure hardships and work hard.
The practice of gongfu is different

than eating things but the
comparison is useful. Flavorful,
good-smelling dishes are easy to
accept. Practicing Tai Chi however is
more concerned with “eating bitter.”
At present, many people practice Tai
Chi in order to strengthen the body
and improve health, and for these
people it doesn’t really matter. But,
if you look at the practice of gongfu,
hard won’t suffice. In general, practice can be for Chinese are better able to “eat bitter.”
two types of goals.
JB: Besides the martial arts and health aspects of
The first aim is to improve health and cure disease Tai Chi, what other benefits are there to practicing?
or illness. Practicing the form, especially when
done to our standards, allows one to achieve the YZD: Most people practice just to improve health
results of curing illness and improving health. and cure illness, but the practice of Tai Chi Chuan
However if you are interested, you might as well is a multi-purpose activity and there are other
explore the next step and put some effort towards benefits beside these. Because emphasis is placed
developing gongfu. Only if you are truly interested on making it look good, it provides aesthetic
can you then have confidence in your practice. If enjoyment.
you are forced to do something you will not do
well at it. It can also mold one’s character and serve as a
cultural bridge between different peoples. It
To develop gongfu you can’t be afraid of working emphasizes sinking qi down to the dantian, and
hard and you must have many other elements combining quiescence and movement. Tai Chi
as well. It requires the ability to recognize and Chuan has evolved into a multi-purpose activity
distinguish, as well as good comprehension. Aside and not just simply a martial art concerning attack
from these, one must also have agility and the and defense.
movements must have strength. The presence of
all of these conditions will allow the practitioner to Interview of Grandmaster
develop gongfu. But everyone is different in his or Yang Zhenduo conducted and
her practice. Some are a little faster, requiring just translated by Jeremy Blodgett
a few years to establish a good foundation. Some
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Chapter 5
Footwork and Stances
Footwork And Stances
CHAPTER 5
FOOTWORK AND STANCES
INTRODUCTION TO FOOTWORK
T he footwork in Yang Family Tai Chi Chuan

is similar to that of a cat walking on a thin
sheet of ice. When stepping, the foot touches the
ball of the foot touching, then feel as if the weight
shifting into the ball gives dynamic support to the
entire body.
ground gently so as not to break the ice. When
stepping forward into bow stance, the heel When preparing to step forward from empty
touches first, followed by the ball, and finally the stance, ensure that the foot moving forward is
toes. Set the heel down in such a manner as to empty and the back foot is fully weighted. Once
be able to easily pick it up without adjusting your the moving foot is empty, pick it up without
weight. Don’t let the heel break the ice by landing shifting the weight or holding the breath. Always
too heavily! As the weight shifts forward from the remain relaxed. When bringing the foot in
heel to the bubbling well (yong chuan) the toes towards the center, the foot should hover above
grab the ground slightly, like a cat’s claws. Once the ground. Do not lift the upper leg very much.
the toes are grabbing the ground, the knee bends When bringing the leg in towards the body, it is
following the direction of the toes, and the weight the lower leg, from the knee down, that bends.
of the front foot shifts firmly into the bubbling
In Yang Family Tai Chi Chuan there are three
well.
footwork techniques: the horse stance standing
When stepping forward into an empty stance, practice, and the empty stance and bow stance
the technique is the same whether the weight is of the form postures. There is also the technique
shifting into the heel or the bubbling well. Feel of supporting with the front leg and pushing with
as if you are setting your foot down on thin ice. the rear leg (deng cheng) when transitioning into
If the empty stance is that of the heel touching, the empty and bow stances. They are all covered
then feel as if the weight shifting into the heel in the following sections.
becomes a root firmly attaching the whole body
By Adam Batten
to the ground. If the empty stance is that of the
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THE BOW STANCE
T he bow stance is used in many of the

postures in Yang Family Tai Chi Chuan, and
is the first stance following the opening moves
posture is completed. The techniques described
below apply equally to the standard, diagonal, and
off-diagonal bow stance.
of the form. Some minor variations of it are the
standard bow stance as found in “Grasp the Bird’s As a preliminary note, it is not important for the
Tail,” the diagonal bow stance of both “Diagonal beginning student sit low in the bow stance. The
Single Whip” and “Embracing Tiger and Return student should only go as low as is comfortable
to Mountain,” and finally the off-diagonal bow while maintaining the principles. Gradually, as
stance of “Parting the Wild Horse’s Mane.” They practice time increases and the legs become
are essentially the same stance, and only differ in stronger, the student will naturally be able to take
the direction that the student is facing when the longer steps and thus sink lower..
Bow Stance (front view) Bow Stance (Side view)
General requirements
• Feet are shoulder width apart. 2. The front foot in standard bow stance
• 60% of weight in front leg. always points straight to one of the cardinal
directions.
• 40% of weight in back leg.
Back Leg and Foot
• Weight in the balls of both feet (yong chuan) with
the toes slightly grabbing the ground. 1. The back leg is straight but not locked. The
back knee is in line with the toes of the back
Front Leg and Foot
foot, which means the knee is slightly bent
1. The front leg is bent with the knee in line with and the hips are open.
the toes. Only bend the front leg as much as
2. The back foot in any bow stance is always
is comfortable, but generally the front knee
pointing diagonally 45° outward from the
should be bent slightly past 90°. The front
direction of the front foot.
knee does not bend past the toes of the front
foot.
On knee alignment
It is very important that the knees align with the toes and the weight resides in the balls of the feet. To
satisfy this requirement the student must open their hips and round their crotch. The knees should be
aligned directly above the toes and not be inward or outward of the toes as over time this may lead to
knee complications.
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THE EMPTY STANCE IN YANG FAMILY TAI CHI CHUAN
I n Yang Family Tai Chi Chuan, there are two

different positions of the empty stance.
One position has the weight of the front leg in
As mentioned in the section on the bow stance,
it is not important for the beginning student to
sit low in the empty stance. The student should
the ball of the foot as in “High Pat on Horse,” while only go as low as is comfortable while maintaining
the other has the weight on the heel, as in “Hand the principles. Gradually, as the practice time
Strums the Lute.” The general upper body posture increases and the legs become stronger, the
is similar for both types of empty stance, although student will naturally be able to take longer steps
the applications are quite different. and thus sink lower.
Empty Stance on the Ball of the Foot Empty Stance on the Heel of the Foot
General Requirements
• The width between the insides of the feet is • If the heel of the front foot touches the ground,
negligible, when viewed from directly in front of then the front leg is almost straight with the
the posture. Drawing an imaginary line forward toes and front of the foot lifted slightly.
from the inside of the back heel, the front foot is • The front foot in empty stance always points
wholly on the opposite side of this line. straight to one of the cardinal directions.
• 30% of weight is on the front leg, such that it Back Leg and Foot
is and either on the heel or the ball of the front
foot. • The back leg is bent only as much as is
comfortable. The back knee is in line with the
• 70% of weight is on the back leg, such that the toes.
weight is on the bubbling well (yong chuan) of
the back foot. • The back foot always points diagonally 45
degrees outward from the direction of the front
Front Leg and Foot foot.
• If the ball of the front foot touches the ground,
then the front leg is slightly bent with knee in
line with toes.
Generally, when the weight of the front leg is on the heel, the application is that of rooting. When the
weight of the front leg is on the ball of the foot,, the application is that of support.
By Adam Batten
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THE METHOD OF SUPPORTING AND PUSHING

IN STANCES (DENG CHENG)
I n the stepping movements of the hand

form, it is important to include the
technique of supporting with the front leg and
weight on the heel of the front foot, then the ball
of the foot. Finally, the toes are able to lightly
grab the ground. The focus of the weight on the
pushing with the rear leg, also known as deng front foot rests on the ball of the foot. The front
cheng (蹬撑), which is loosely translated as “push/ leg in the bow stance should bend enough that
support.” the lower leg is slightly past 90 degrees to the
floor, but not so far that the knee passes over the
When shifting the weight in the forms, we often toes. At this point, the front leg should feel full
begin with the weight in the rear leg and gradually and heavy so that the entire posture has a lively
shift it forward as we bend the front knee and and energetic feeling. The method of supporting
make the back leg more straight. If we are properly and pushing is also used in empty stance, with the
supporting the posture with the front leg, it is the weight resting on either the heel or ball of the foot
feeling of that support that will stop the weight depending on the posture.
from shifting forward too far. The full feeling in
the front leg stops the whole body movement. The correct method of supporting with the front
If the front leg of the stance is not supporting leg and pushing with the back leg in the forms
enough or if it is bending in an empty way, the helps to develop good rooting technique in the
posture will lack energy. postures, and contributes towards practicing Tai
Chi Chuan as a whole body exercise.
In the bow stance, as the posture begins to shift
from the back leg to the front, we first feel the By Edward Moore
TRANSITIONS WHEN MOVING FROM ONE

POSTURE TO THE NEXT POSTURE
I n Tai Chi Chuan there are three main points

to remember; keep the lower body heavy
and stable, the waist flexible, and the upper body
upper back into a slightly rounded position. Even
in transition movements the lower back needs
to sink downwards as if preparing to sit in a chair
light. In transitions the weight may be shifting and the upper body needs to lean slightly forward
from left to right, right to left, or from forward to with head erect, pulling the spine into alignment.
backward- regardless, these three aspects must In transitions do not change the internal feeling
always be maintained. To achieve this, the student with the chi sinking down. This is called stillness
should not rise up too high or sink too low while in movement.
practicing. Though some transitions can be quite
difficult it is important to keep an evenly low Though there are many transitions in Tai Chi
stance, remain relaxed, and most importantly do Chuan they all adhere to the same technique- to
not hold the breath. move in any direction requires first moving in the
opposite direction. To move left we must first shift
To make transitions smooth the student needs our weight into the right foot, and to move right
to keep in mind the Ten Essential Principles. This we must first shift our weight into the left foot.
is accomplished by maintaining the upper body Similarly when moving forward we must first shift
shape learned in practicing the horse stance; with our weight backward and when moving back we
head extended upwards, the chest slightly sinking must first shift our weight forward. Regarding
inwards, and the hips folded, with the shoulders weight shifting, there are basically two types,
sinking down, and elbows pulling shoulders and small and large.
- 73 -
Small Weight Shifting Technique in this big transition can sit slightly outside the
bubbling well to maintain the relaxed sensation
The small weight shifting technique is a slight in the lower back and to keep the hips centered
transition, usually 45 degrees or less. As an with the crotch rounded. When the turning foot
example consider the transition in “Grasp the Bird’s reaches the desired angle the waist begins circling
Tail” between “Left Ward-Off” and “Right Ward- in the opposite direction with the weight shifting
Off.” When shifting the weight backward, shift from the pivot leg (now the front leg) into the
only slightly, enough so that the toes of the front turning leg (now the back leg).
foot release their grasp of the floor. The weight
in the front foot shifts slightly from the bubbling In both the small and the large transitions the
well (yong chuan) into the heel, which becomes waist leads the motion of the entire body. The
the pivot point of the front leg. The knees in the waist facilitates the shifting of weight amongst
small transition do not straighten very much. With the legs and delivers the strength of the legs into
the weight in the heel, the waist leads the turning the back and arms. It is important that the waist
motion. Once the front foot turns 45 degrees, in transition follow the 9th principle (Practice
the weight in the front foot is shifted back into Continuously and Without Interruption). At the
the bubbling well (yong chuan). If the waist is extremes of the transitions as the weight begins
properly relaxed, this transition feels quite natural shifting in the opposite direction the waist
as the lower back turns and the leg rotates on the describes a small circle or figure eight. Whether
heel, easily moving from one posture to the next. the transition be from right to left, left to right,
forward to back, or back to forward the waist
Large Weight Shifting Technique continuously and smoothly leads the body from
one direction to the other.
The large weight shifting technique is a major
transition, usually 90 degrees or more. As an As the body moves from one direction to the
example consider the transition from Push to other it is important to keep the hips centered and
Single Whip. When turning 90 degrees or more, relaxed. Many beginning students tend to let their
it is important to lighten the weight (but not hips stick outside of central equilibrium when
quite empty) from the turning leg until the turn moving through some of the larger transitions.
has completed. This means that the weight of This happens when the weight is not clearly
the body must reside mostly on the pivoting leg shifted out of the turning leg and into the pivot
and foot. The knee of the pivoting foot remains leg. To prevent this, the beginning student is
bent in the direction of the toes and the knee encouraged to practice horse stance as a means
of the turning leg is almost straight as the waist of obtaining the proper body alignment and to to
leads the body through the large transition. Due develop leg strength.
to the extreme angle through which the waist is
turning it is not important to keep the weight in By Adam Batten
the bubbling well of the pivoting foot. The weight
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BUILDING A S
T his section is about footwork, leg training

and stance work. The information is
from a conversation and interview YCF Center
Director, Dave Barrett had with Grandmasters
Yang Zhenduo and Yang Jun.
Grandmaster Yang Zhenduo had written at

length concerning this topic in his most recent
book. Here is an excerpt from his book to set the
stage for the conversation and interview that
follows.
When you make a bow step, as the weight shifts

from one foot to the other, you should pay
attention to the symmetrical arrangement of the
two opposing forces - one leg pushing and the
other pushing back or resisting. Whether the front
leg is pushing backward and the back leg resisting,
or the back leg is pushing forward and the front leg
resisting, the forces must be coordinated, so as to
avoid pushing out too hard or resisting too hard,
or pushing out emptily without any compensating
resistance.
I hope you will work hard to incorporate this point

in your form. If you can achieve just the right
balance in this, it will create favorable conditions
for upper and lower body to work in concert
during transitional moves. When extending the
weighted leg to its ultimate position in a bow step,
just as in the extension of an arm, extend until it
is almost fully extended but not quite. If you over-
extend then it becomes forced and looks stiff. If
the back leg is bent too much, the pushing force
cannot come out, and it will seem as if you have a
lot of power but can’t use it.
The resistance of the empty leg goes through a

process of gradual engagement. First touch the
floor with the heel, continue by allowing the ball
of the foot to touch, then the toes grab the floor,
and then let the knee bend forward, letting the
bending knee and shin slightly incline forward
and increasing the resistance from the front leg
so as not to allow the knee to pass the toe. This
way, with one leg pushing and one leg supporting,
neither force subsiding or becoming too strong,
the lower body will become a great deal stronger
and more stable.
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STRONG FOUNDATION IN STANCE WORK
Note that if the knee and shin of the forward leg expect the upper body to perform correctly.
are standing perpendicular to the ground then it You need to proceed step by step with a good
is hard to utilize the resisting force and the back foundation with the footwork first.
leg won’t be able to develop power in its push
forward. If the knee goes past the toe, you’ll lose So it all starts from the foundation, this is
your balance and the back leg again won’t be able important. Just like the way we develop
to develop much power. Only when you make the as people: our personality should have
knee and shin slightly incline forward, with the fundamental qualities of fairness and
knee not going past the toe, can you thoroughly compassion; these are real basics that provide
get the full strength of two forces, pushing out and for the development of the individual.
resisting, to come into play…. The key to achieving
The most basic aspect of stance work is the
whole-body coordination lies in the pushing and
relationship between “deng” and “cheng”
resisting of the two legs. Try to become aware of
(pushing and resisting). If you don’t have this
this in your practice.
relationship of pushing and resisting, it’s very
Dave Barrett: I’d like to ask you about the easy for the body to go off leaning one way or
correct method for balancing the strength another. One’s equilibrium is affected and can
expressed in the lower body. In your recent book be easily led or taken advantage of. When you
you mentioned that the balance of oppositional practice incorrectly, you will feel it is kind of
forces of pushing and resisting in the stance empty, it seems like the root is not solid. There is
work is an important factor in creating a stable a saying, “ Rooted in the feet, developed in the
body frame. Could you explain how this is done? legs, controlled by the waist, and manifested
through the limbs.” So it starts from the feet,
Grandmaster Yang Zhenduo: This is a good there is an order of precedence, if you don’t
question. In our theory we have the requirement do it this way then things get all mixed-up and
that the root is in the foot. This is the basis for confused.
the foundation. If the foundation is good the
upper body will be fine. If the foundation is not DB: Talking specifically about the feet: When
good, the upper body cannot be stable. Just like the heel goes down and the weight begins to
building a house: if the foundation work is not shift, do the toes need to grab the ground and
right, the upper structures will be unstable. It is create the oppositional force?
necessary to focus on the stability of the lower
YZD: When you engage your toes it’s just like
body when we practice Tai Chi Chuan.
anything else: you can’t overdo it. If you do not
For example: If you don’t have your feet shoulder grab with the toes at all it is not good, and if
width apart in the bow step, there’s no way to you grab with the toes too much it is not right
be stable and it’s hard to perform the motions either. Many things are like this; you have to
correctly. I really think that the lower body is use an appropriate amount of force. There is no
extremely important and the requirements need to try too hard. It is always like this: to not
should really begin with organizing the have enough is not right, and to have too much
stance work. If there is something wrong with is not right either.
the upper body, most probably you need to
So you should use the Ten Essential Principles:
examine the lower body for the cause. If the
relax and extend, not too soft or too stiff, one
bottom is correct, the torso and the arms will be
needs to find the balance in between. In general
better.
you should make the essential refinements
If the foundation is not good you cannot appropriately and not to an extreme. Our
coordinate the upper body with the lower body. predecessors have formulated these principle
If the basic foundation is not correct you cannot requirements. These have helped us to avoid so
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enormously, it’s not enough. The individual needs

to practice and integrate them into the practice, to
perfect the movements.
DB: I’d like to focus on just one more point. The

formula states, “Rooted in the feet, developed
in the legs.” Many students understand the
importance of turning the waist. But perhaps
not so many are aware of developing the motion
in the legs, specifically the action of the knee.
It seems that the knee needs to transfer body
weight, but many people hold their body weight
in the knee and end up injuring this area. So how
can we develop the motion in the leg and protect
the knee at the same time?
YZD: The knee has the function of connecting

the upper and lower leg. Of course this joint is
very essential. The formula mentions the entire
leg, but just like when the arm is discussed it is
actually several pieces. In the same way the knee
is the essential part of the lower body structure.
Its function is to connect the bottom and upper
parts of the leg. If you use the knee correctly you
can connect the upper and lower parts of the leg.
If it is not correct, for example in the bow stance
many dead ends in our practice. They require us if the forward knee extends beyond the toes, the
to put a great deal of effort into our study, to use knee can’t perform it’s function properly. You lose
practical experiences to integrate the theory into the function.
our form.
So, as with everything, there is a definite degree of
Even though they are general refinements, they what is appropriate and what is not appropriate.
are very, very rich in content. For example: the This applies not only to the knees but for other
requirements for the hand. It says extend the body parts as well. For example, if we say the
palm and curve the fingers. This really requires an waist is the commander, if you don’t connect
integration of stance work, torso positioning, and the legs correctly, even though you have this
correct extension of the arms. This question really commanding feature of the waist, without the
contains so much practical experience: when I proper arrangement of the structure above and
stand the palm up, how should I do it correctly? below, it won’t work. Very few people pay close
attention to the body arrangement principles,
Over the past few days I’ve noticed a good deal
some don’t even know that the motions require
of variation in the palm positions of the students.
these essential refinements, and if you don’t
Everybody says they are standing the palm, but
make these changes how can the waist operate
there are not too many who are doing it correctly.
correctly?
So we are going through a learning process.
The same goes for the knees. Although they have a
When you study the form you can’t just stop and
type of controlling force, without coordinating the
say, “I’ve got it now.” We need to learn, become
upper and lower portions of the stance they can’t
aware, gain practical experience, and then
work. Throughout the course of our training there
practice more and a little more. Through all these
is a kind of realization that comes with practice.
repetitions gradually one becomes more skillful.
For example: if you are a leader or boss at work,
It’s not sufficient to look at the Ten Essential
it’s not just you. If it was just you that would be
Principles and say, “It says to do this, now I’ve got
fine but the problem is there is always someone
it, I can read it and that’s enough.” Even though
above or below you. So Tai Chi practice can give
these Ten Essential Principles have helped us
you some inspiration.
- 77 -
I have to have managed coordination but without YZD: It’s very clear, whether a person practices
the bottom below me operating efficiently to help in this way. Even though we perform the same
me, it won’t work out. Throughout this training I motion, there seems to be some difference. Even
need to understand that I need to be very diligent, though we say it should all be the same, there are
if I do something I have to do it carefully. We so many variables in the personal expression of
emphasize that there must be an ending position the forms.
for each motion sequence. Every form has a final
DB: Many people when they begin studying
position, so too can this be applied to our work
Tai Chi are so enchanted by the handwork they
life, the idea is the same. neglect the stances and leg work. Hopefully this
Master Yang Jun: I’d like to add a point about the discussion will alert students that they need to
pay attention to the foundation first.
legwork, specifically, where one’s energy comes
from during the fajin techniques. A part of the YZD: The handwork, just look at the hand shape,
power comes from the contracting and expanding not even the application of techniques. The shape
of the leg muscles and the shifting of the body of the hand is quite difficult. To get it just right, if
weight. you do it correctly, then all of your strength can
come out through there. The hand is where it
Another part of the strength comes from the comes out. The ultimate display of energy is in the
rotation of the waist. These combined areas hand. When we look at the students, if their hand
produce the refined energy expressed as jin. The positions are not quite clear or clean, it’s hard to
root of fajin however is in the footwork. express the qi correctly.
There are other requirements, of course, and if DB: This is a topic for another interview! Thank you
you use these principles correctly you can amplify both for taking the time to talk with us.
the power. So “rooted in the feet, developed in
the legs” is only a part of this process. How you YZD: One more thing about the hands: It’s not
shift the weight in a coordinated fashion is also only the energy that is expressed, but ultimately
important. spirit that comes out. If you get it right, energy,
spirit and essence are present in the handwork.
So many people read, “upper and lower combined (As he was making these remarks Yang Laoshi
and coordinated,” but they don’t quite understand suddenly sat upright with his eyes blazing and
how critical this requirement is. The intent of the presented the crispest and cleanest standing palm
technique and the body weight must arrive at I’ve ever seen him make, the transformation was
the same time. It’s not that easy. When you move, startling and the energy expressed in this instant
the whole body must be coordinated, only then was electric).
will you be able to focus, deliver, and emit energy
DB: I would love to talk with you at length about
through one place. So the whole body works this topic but we have imposed too much on your
together to strengthen the emission process. time this evening.
YZD: It is not just an isolated part of the body or YZD: I’m very happy to be able to sit here and
the coordination of the motion; one must also explore these basic ideas. This is very, very good;
harmonize the mind to be a part of this entire anytime we can do it again I look forward to it. So
process. that we can raise the level of the general group,
whether concrete aspects or general theory, let’s
YJ: If we isolate the motions and practice single do this again. We can’t just practice the form,
applications over and over, one can experience we need to use theory to enable and enrich our
even more clearly the need to coordinate in practice.
order to make the energy develop correctly. For
example: in staff training it’s very easy to see how An interview with
coordinating the body will allow the energy to Grandmaster Yang Zhenduo and Yang Jun
manifest correctly at the opposite end of the staff. conducted by Dave Barrett and
If the coordination is incorrect, the energy will be translated by Jerry Karin.
spread out and unfocused. The same applies to
the sword form; if you know how to do this then
the energy will travel to the tip.
- 78 -
Chapter 6
Hand Shapes
Hand Shapes
CHAPTER 6
HAND SHAPES
“Whether the form of the hands is pleasing to the eye or

not affects whether or not the movements of the hands
will be smooth and comfortable. More important, it
affects whether or not your hands can give expression
to the skill and strength of your whole body.”
– Grandmaster Yang Zhen Duo (Yang

Style Taijiquan, 3rd Edition., 1996)
HAND SHAPES
There are three hand-striking methods in Yang Family Tai Chi Chaun: palm, fist, and the hook-hand. They,
in turn, can be divided into subcategories that are mostly a function of how the wrist is set. An example of
one change is the difference between pushing-palm and striking-palm. With the pushing-palm the whole
palm faces the energy’s direction, while in striking-palm, the wrist is turned slightly so that the outside
edge of the palm is the striking point.
The sitting of the wrist is a subtle but very important skill that takes years to perfect. Sitting too much
blocks the qi from reaching the finger tips, and not sitting makes the form look too soft or lazy. An
important tip to remember is if you aren’t able to sit your wrist enough, bend the elbows until the palms
are in the proper position. With training, the flexibility of the wrist will increase and the arms can extend
more, making the postures larger and more graceful.
Palm
T he palm is the most common hand shape in the Tai Chi Chuan form. Nearly all the movements in
the hand form use the palm in one way or another. The palm serves many functions expressed
by the practitioner: pull, Push, Press, Ward-Off, strike, block, grab and lock. Despite the numerous
techniques, the shape of the palm itself doesn’t change. The palm is relaxed and extended, retaining the
same feeling as the rest of the body. The fingers are also relaxed, with space between them. The Tiger’s
Mouth (the space between the thumb and index finger) is open. Many techniques require the wrist to
sit, so care should be taken not to let the fingers and palm become stiff. Yang Zhenduo states that once
the “palm method rests entirely on the foundation of fang song, [you will] be able to utilize each type of
palm correctly, and gain the result of one palm representing the entire body.” (Yang, Yang Style Taijiquan,
3rd Edition., 1996)
The palm shapes can be separated into two different categories: seated wrist upright palm (sitting palm)
and straight extended palm (straight palm).
- 80 -
Seated Wrist Upright Palm
“The special characteristics of `seated wrist upright above all avoid raising the palm insufficiently, with
palm’ are that when the palm extends forth it must the production of weak, hollow, and nebulous
always have the wrist seated and the palm upright. sensations. However, a stiffness or dullness
As for its technique, above all, the wrist of the hand produced by an excessive lifting upward is also
must sit solidly. Then, allow the palm of the hand not the goal of our pursuit. If you can only feel
to stand up; that is, lift it upwards, and gradually the sensation of energy, then if it is not right, you
let the fingers point up and the heart of the palm can correct it. But if you can’t sense it, then it will
face forward. When the standing up of the palm be empty, and cannot be self-adjusted. This palm
reaches a certain degree, it will then produce a method controls, in a clearly established order, the
kind of internal sensation (nei zai de ziwo ganjue). containing of energy (jin), the expression of vital
This type of sensation is called `energy sensation’ spirit (jingshen de biaoda), and the achievement
(jin gan). If the practitioner’s physical training has of hardness [within] softness, with the result that
a firm foundation, this type of `energy sensation’ it will penetrate [or ‘thread’] from joint to joint
can immediately thread throughout the entire (jie jie guan chuan), and the entire body will be
body. Beginning students, however, may manifest coordinated. In order to train well in Yang Style
a local sensation of stiffness (the hands and arms Taijiquan, you must seek this ‘energy sensation’ in
ache or become numb). the upright palm.” (Yang, Zhong Guo Yang Shi Taiji.
Xi’an: Shi jie tu shu, 2002)
The above two categories of sensation are entirely
different. In light of this, beginning students should
Pushing Palm
When pushing, the palm faces directly forward with the energy in the palm pushing in an upward curve.
Make sure the elbows point towards the ground, because it is easy for them to bow out while pushing.
Pushing Palm. The whole palm faces Close-up of Pushing Palm.

the direction of the energy.
In Parry, Block, and Punch, the left arm extends

with the wrist set so the hand is nearly vertical,
to block an incoming opponent. Then, while
punching with the right arm, the left arm retracts
settling to its final position between the elbow
and forearm center. One meaning is to deflect an
incoming strike by pushing it out of the way and
striking with the fist simultaneously.
Although it looks like a vertical palm, the left hand in
Parry, Block and Punch pushes a strike out of the way.
- 81 -
Hand Shapes
Standing Palm
When striking with the palm, the thumb-side of the palm rotates toward the body so that the strike is with
the palm heel. This can be seen in the left arm in Single Whip; Brush Knee and Push; Step Back Repulse the
Monkey; Turn Body Strike Opponent with Fist and Fair Lady Works the Shuttles. Like pushing palm, take
care that the elbow does not bow out.
Striking Palm
The thumb side of the standing palm rotates
toward the body, allowing the palm heel to strike.
Another example of standing palm can be found in some grabbing/pulling movements. A good example
can be found in the kicking movements or in Cloud Hands. When kicking, the wrists rotate palm out from
Ward-Off and sit as the arms open. The idea is to Ward-Off, grab then pull, and from a controlled position,
kick.
Standing Palm
When kicking the arms open slightly higher
than shoulder level. Palms stand to demonstrate
grabbing and pulling.
- 82 -
Downward-Facing Palm
Most Tai Chi Chuan moves require two points

of contact. In several movements, the palm sits
parallel to the floor, such as in Ward-Off Left, Brush
Knee and Push, and Diagonal Flying. The intent of
this palm is to grab and push downward or away.
In White Crane Opens Wings the left arm deflects a

strike downwards. The left wrist sits palm facing the
ground, pushing.
Vertical Palm
The wrist sits slightly and the elbow bends, making the fingers point upwards. Vertical palm usually has
the meaning of lifting as seen in Fist Under Elbow and Rooster Stands on One Leg or blocking as seen in
Step Forward, Parry, Block and Punch.
In the posture Fist Under Elbow, after Ward-Off, the left arm curves downward and circles up. In the final
posture, the left wrist sits slightly with the fingertips pointing upwards. The meaning is that once a left-
handed strike is intercepted with left Ward-Off, it is pulled downward. Then a small circle is used to twist
the wrist and lift up. The opponent’s elbow is raised, exposing the ribs to an attack.
Fist Under Elbow. The left palm sits sharply, Vertical palm lifts. This palm is found in the
fingertips pointing upwards. The left wrist postures Fist Under the Elbow and Golden
sits inwards making a vertical fist as the Rooster Stands on One Leg
punch hooks from right to left.
- 83 -
Hand Shapes
Horizontal Palm
In High Pat on Horse, the palm sits by turning the thumb side of the hand and striking upward with the
edge of the horizontal palm. This type of strike works best against the throat, nose or chin in combination
with the pulling left arm.
High Pat on Horse. The ridge of the right hand is Side view, the palm is inclined with the palm edge
used to attack. The wrist sits horizontally. up. The palm sits by turning the thumb side of the
hand and striking upward.
Level Palm
As shown, the palm is a versatile tool for striking. But even when striking with other parts of the arm, the
wrist may sit depending on the intent. The wrist usually sits, in order to place the focus on the forearm
center when it is used to strike. This is seen in the right arm of Roll-back, Raise Hands Step Forward, and
the left arm of Hand Strums the Lute.
The level palm is also seen in most of the grabbing/pulling movements such as Fist Under Elbow and
Cloud Hands.
Raise Hands Step Forward. Both wrists sit. The right wrist sits
exposing the energy point in the forearm center. The left wrist sits
with the intent of controlling and pushing with the palm.
- 84 -
Outward-Facing Palm
The fingertips point to the side, or obliquely to the side, and the palm faces outward. Examples are the
upper palm in Fair Lady Works at Shuttles, White Crane Spreads Its Wings; and the palm as it turns from
Ward Off (peng) to pull or grab(cai) in Cloud Hands.
Close up of left arm. The left wrist sits

slightly
Fair Lady Works the Shuttles. Here the left arm rises,
palm faces out. The right wrist sits for striking.
In Fan Through the Back, the right arm

first raises, rotating palm out, then pulls
back ending slightly above the temple
Close up of right arm. The right wrist sits

slightly
- 85 -
Hand Shapes
Straight-Extended Palm
“The special characteristics of `straight extended palm’ and

its techniques are: You only need to have the palm extended
straight (not rigidly stiff ) -- let it be level, let it be expanded
and drawn out, then you will have it. This does not require
that the wrist be seated and the palm upright, but it also has
the self-sensation of internal energy (nei jin de ziwo ganjue),
and a penetration throughout the entire body. Although
there are differences with the seated wrist upright palm in
the expression in shape and form, as well as in methodology,
the action and results produced are the same. The two are
interdependent and work in mutual coordination. One should
regard them equally.” (Yang Zhenguo. Yang Shi Taiji. Xi’an: She
Jie Tu Shu, 2002)
“The straight extended palm is used in Diagonal Flying, in

Parting the Wild Horse’s Mane and in lower upward facing
palm in Repulse the Monkey. It is typically an inverted Ward-
Off. Its application is lifting or pulling. The wrist sits so the palm
is upright.” (Yang, Zhong Guo Yang Shi Taiji. Xi’an: Shi jie tu shu, Close up of Straight Extended
2002) Palm
Upward Facing Palm
The palm faces or is inclined upwards. The hand may also be in line with the arm when striking. This is
seen in White Snake Spits Out Its Tongue and Thrust the Palm; the palm is in line with the arm and doesn’t
actually sit.
In Thrust the Palm the arm is extended in a straight line, piercing with the fingertips.
In White Snake Spits Out Its Tongue the right fist opens as the arm is extended. The contact point is the
back of the hand or the fingertips. The intent is to strike an opponent (who tries to evade the chopping
fist) by extending the fingers and striking the nose or eyes.
White Snake Spits Out Its

Tongue. As the right arm
extends the fist opens
palm inclined upwards
in line with the forearm.
The left arm sits by the
shoulder ready to strike
- 86 -
In other movements, such as

Diagonal Flying and Parting
the Wild Horse’s Mane, the
forearm, not the palm, is
used to strike.
Diagonal Flying. The

right forearm center
is the energy point.
The left palm faces
down ward pushing
downward.
Step Back and Repulse

the Monkey. Here the
In Step Back and Repulse right palm strikes. The
the Monkey, one arm pulls left palm faces upwards
while the other strikes. pulling.
The waist controls the
movement, combined
with the weight shifting to
allow the arms and legs to
arrive at the same time. The
pulling arm’s palm faces
upwards by the waist. This
pulling is similar to High Pat
on Horse, where the pulling
arm settles obliquely by the
lower ribs.
Close up of left palm
- 87 -
Hand Shapes
WARD-OFF
In many movements
(Apparent Closing Up;
Fist Under Elbow; Cross
Hands, Step Forward and
Grasp the Bird’s Tail; Cloud
Ward-Off right viewed
Hands; and Separation In Ward-Off right, the right
from the left side. The
Kick) Ward-Off is used as a arm’s curve makes a quarter
right palm slightly inclines
posture in itself or as a way circle. The wrist follows the
upward. The left palm sits,
to connect movements. curve of the arm.
showing grabbing and
Regardless, the palm
pulling.
faces inwards and its
shape follows the curve of
the arm. The palm faces
slightly upwards. The
contact point can be from The bottom arm in Cloud
the wrist to the middle of Hands follows a gentle curve
the forearm. (right arm shown). The palm
follows the curve of the arm.
This movement deflects an
attack to the lower part of the
body. Keep the armpit open.
“When the Tai Chi Chuan postures are in the process

of circling, there emerges a reciprocal alternating and
advancing of the various palm methods. For example, in
transitioning from White Crane Spreads Its Wings to Brush
Knee and Push, the right arm circles down from above to in
front of the thigh (kua). The palm is up, the fingers toward
the front, forming an upward palm. Continuing down in a
circular arc, the palm turns toward the outside, the fingers
pointing down, forming a downward hanging palm. Now
again the arm bends upward, turning the fingers to point
up, the palm facing obliquely outward, forming a standing
palm.” (Yang, Zhong Guo Yang Shi Taiji. Xi’an: Shi jie tu shu,
2002)
The middle of the forearm can be used for striking,

controlling, blocking or deflecting. This is found in
many of the transition movements in the form. In these
The transition into Brush
circumstances the forearm center may be used to deflect
Knee and Push: The arms
in the following postures: Brush Knee and Push, the right
move as the waist turns. Here,
arm in the first Parry, Block and Punch, and in the right arm
the right wrist sits palm out,
in White Crane Spreads Its Wings.
soon to become a striking
palm. The left arm sits; palm
down to deflect or push
downwards. The left arm will
later sweep, ‘brushing’ the
knee.
- 88 -
Fist
In Tai Chi Chuan, the fist is not used as much as Right Heel). It is important that the practitioner
in other martial arts. Even so, there are many develops the correct fist shape and feeling.
moves where the fist is used to strike (Parry,
Block and Punch; Fist Under Elbow; Turn Body The correct fist shape follows the same principles
and Chop With Fist; Punch Down; Strike the Tiger; as the rest of the form. The fist is closed with the
Twin Fists Strike the Opponent’s Ears; Punch thumb folded across the index and middle fingers.
the Groin; Step Forward to Seven Stars; and Care should be taken to not close the fist too
Bend the Bow Shoot the Tiger) or connect to an tightly or keep it overly relaxed. There are several
opponent (Parry, Block and Punch; Turn Body types of fist shapes that serve different purposes.
and Chop With Fist; Turn Body and Kick With
Bend the Bow, Shoot the Tiger. Strike the Tiger: The top fist sits
out, the bottom fist sits inwards.
Straight Fist
In postures such as Parry, Block and Punch, where the arm is straight, the fist is in line with the wrist. The
contact point is the face of the fist with the eye of the fist pointing up.
Straight Fist Fist Shape: Thumb on top second finger

joints of index and middle fingers.
- 89 -
Hand Shapes
Sitting Fist (Wrist Bent Inwards)
In the posture Fist Under Elbow, the striking arm arcs inward following a gradual curve. The fist follows
the curve bending inwards gradually rotating so the eye of the fist points upwards. The contact point is
the face of the fist. The bottom arm in the posture Strike the Tiger follows the same requirements. In Turn
Body and Chop with Fist, when striking, the right hand starts as a sitting palm parallel to the ground as the
fist is made the wrist is bent inwards allowing the back of the hand to strike the bridge of the opponent’s
nose.
Turn Body and Chop with Fist. Wrist Strike the Tiger, bottom arm. Wrist
sits inward. sits inward.
Sitting Fist (Front of Wrist Seated Out)
The postures Strike the Tiger, Step Back and Ride the Tiger, Twin Fists Strike Opponent’s Ears, and Step
Forward to Seven Stars have upward strikes. The wrist is bent following the curve of the arm and the wrist
sits bent outward slightly. The intent of these strikes depends on the move themselves. The top arm of
Strike the Tiger and Step Back and Ride the Tiger are similar; both use the face of the fist to strike. In Twin
Fists Strike Opponent’s Ears, the fists strike with the first knuckle. In Step Forward to Seven Stars, the fist
strikes from the waist obliquely upwards with the face of the fist.
Strike Tiger, top arm. Twin Fists Strike Opponent’s

Wrist sits out. Ears. The wrists sit out.
- 90 -
Fist Used During Connection
Several postures have the application of In Step Forward, Parry, Block and Punch, after
contacting your opponent while your hand is in a the first section, the right hand makes a fist early.
fist, or making a fist. It is important to know that The sitting wrist then connects to the opponent’s
the contact point is typically the forearm center, arm. The contact point is the forearm center.
not the fist itself. Illustrations of this include Step This feeling continues as the arm rotates while
Forward Parry, Block and Punch; Turn Body and parrying. While parrying, the wrist sits and bends
Chop with Fist; Turn Body and Right Heel Kick. inwards.
Wrist sits when connecting. The

contact point is the forearm center.
Turn Body and Chop with Fist:

from Step Forward and Punch
Down, the body turns and the
right arm bends. The wrist sits
to show the fist connecting to
an attack from behind.
Like with the previous picture, the

Twin Fists Strike Opponent’s contact point is the forearm center.
Ears: As the arms are drawn
inwards, the elbows move
away from the body, helping
the wrists to turn. Making the
circle as small as possible, the
wrists turn, the fists gradually
close. Then, with elbows
down and shoulders down, the
two fists strike upwards. The
connection point is the elbow;
it rotates to face downwards
creating a lock or the ability to
move around the opponent’s
energy, applying the idea of
“my opponent moves first but
I arrive first.”
- 91 -
Hand Shapes
Turn Body and Right Heel Kick:

The left arm moves to meet an
opponent; the wrist turns with
the body and bends in slightly.
The connection point is closer
to the wrist. The right fist, with
wrist sitting inwards, moves to
assist by sliding or grabbing
the opponent’s arm pulling
across the body to kick.
Turn Body and Right Heel Kick: The

contact point is closer to the wrist
Hook Hand
The hook hand is a special technique used to strike soft targets like the neck or solar plexus. It is employed
when the target is too close to strike with a fist and too far for an elbow. It is found only in the posture
Single Whip. The nature of this movement, as the name implies, is whip-like. To create a hook hand bend
the wrist inwards. The fingertips touch the thumb.
In hook hand, the wrist is bent,

finger tips touch the thumb.
Article by Eric Madsen from

interviews with Master Yang Jun.
- 92 -
PALM METHODS (ZHANG FA)
P alm methods are a sub-category of the

hand methods. The palm methods can
be broadly divided into two classes, comprising
The special characteristics of “seated wrist upright
palm” are that when the palm extends forth it
must always have the wrist seated and the palm
approximately nine types. upright. As for its technique, above all, the wrist
of the hand must sit solidly. Then, allow the palm
The five palm methods of the seated wrist upright of the hand to stand up; that is, lift it upwards, and
palm. (zuo wan li zhang xing) gradually let the fingers point up and the heart of
The following are the methods of the seated wrist the palm face forward.
upright palm: When the standing up of the palm reaches a
1. Standing palm (li zhang). The fingers point certain degree, it will then produce a kind of
up, or incline upward, and the palm does internal sensation (nei zai de ziwo ganjue). This
not face squarely forward, but in another type of sensation is called “energy sensation” (jin
direction, this is called standing palm. gan). If the practitioner’s physical training has a
Exampes are in the upper palm in Brush firm foundation, this type of “energy sensation”
Knee and Push, and Step Back and Repulse can immediately thread throughout the entire
Monkey, and in the lower palm of Fair Lady body. Beginning students, however, may manifest
Works at Shuttles. a local sensation of stiffness (the hands and arms
ache or become numb).
2. Pushing palm (zheng zhang) The fingers
point up, and the palm faces forward The above two categories of sensation are
squarely, this is called square palm. entirely different. In light of this, beginning
Examples are the Push (An) in Grasp Bird’s students should above all avoid raising the palm
Tail, and in Apparent Closeing Up. insufficiently, with the production of weak, hollow,
and nebulous sensations. However, a stiffness or
3. Downward facing palm (fu zhang) The dullness produced by an excessive lifting upward
heart of the palm faces down, or obliquely is also not the goal of our pursuit. If you can only
downward, no matter what direction the feel the sensation of energy, then if it is not right,
fingers point to, this is called downward you can correct it. But if you can’t sense it then it
facing palm. Examples are the lower palm will be empty, and cannot be self-adjusted.
in Brush Knee and Push, Parting the Wild
Horse’s Mane White Crane Spreads Its This palm method controls, in a clearly established
Wings; the left palm in Step Forward and order, the containing of energy (jin), the
Punch Down, and Punch to Groin. expression of vital spirit (jingshen de biaoda), and
the achievement of hardness [within] softness,
4. Outward-facing palm (fan zhang) The
with the result that it will penetrate [or ‘thread’]
fingertips point to the side, or obliquely to
from joint to joint (jie jie guan chuan), and the
the side, and the palm faces outward, this
entire body will be coordinated. In order to train
is called outward facing palm. Examples
well in Yang Family Tai Chi Chuan, you must seek
are the upper palm in Fair Lady Works at
this “energy sensation” in the upright palm.
Shuttles, White Crane Spreads Its Wings;
and the palm as it turns from Ward-Off The above palm methods are all based on the
(Peng) to pluck (cai) in Cloud Hands. seated wrist and upright palm form. If, when
5. Level palm (ping zhang) Regardless of the performing these postures, one does not sit the
direction the fingers point, the palm faces wrists and make the palm upright, there will
down or circles levelly to the left or right. appear in the body a looseness and softness, a
Examples are the transitions to Single Whip, nebulous emptiness. Experiment with this, and
or Fist Under Elbow. then you will be able to make an appraisal.
- 93 -
Hand Shapes
The four palm methods of the straight extended When the Tai Chi Chuan postures are in the process
palm (zhi shen xing). of circling, there emerges a reciprocal alternating
and advancing of the various palm methods.
The following are the four methods of the straight For example, in transitioning from White Crane
extended palm: Spreads Its Wings to Brush Knee and Push, the
right arm circles down from above to in front of
1. Upward facing palm (yang zhang) The heart
the thigh (kua). The palm is up, the fingers toward
of the palm is up, or obliquely upward, and
the front, forming an upward palm.
the fingers point forward or incline forward,
this is upward palm. Examples are the lower Continuing down in a circular arc, the palm turns
palm in Step Back and Repulse the Monkey, toward the outside, the fingers pointing down,
and High Pat on Horse; or the upper palm forming a downward hanging palm. Now again
in Diagonal Flying, or piercing palm of High the arm bends upward, turning the fingers to point
Pat on Horse. up, the palm facing obliquely outward, forming a
standing palm.
2. Inclined palm (ce zhang) The palm is
toward the inside or inclined to the inside, Regarding whether in the above discussion there
regardless of what direction the fingers is a relationship between the palm methods
point, this is called inclined palm. Examples (zhang fa) and the proper hand shape (shou xing),
are Left and Right Ward-Off in Grasp Bird’s they both have an indivisible relationship. As to
Tail and Ward-Off in Cloud Hands. hand shape, it has already been explained in the
Ten Essential Principles of Tai Chi Chuan: “The
3. Downward hanging palm (chui zhang) The
palm should slightly extend (zhang yi wei shen),
palm is facing in or inclined toward the
the fingers should slightly bend (zhi yi wei qu).”
inside, and the fingertips point down or
incline downward, this is called downward However, in actual practice, there is still another
hanging palm. Examples are the two arms requirement: “The spaces between the fingers
hanging down in the Preparation Posture, should be slightly open.” This is also important, and
or when the arms orbit down in rounded requires that the fingers not be gathered together,
arcs. and also that they not stretch wide apart. In this
way the outer shape and appearance of the palm of
4. Straight palm (zhi zhang) The palm is facing
the hand will increasingly tend toward perfection,
downward regardless of the direction the
there will be hardness contained within, and it will
fingers point, this is called straight palm.
still have a pliable outward appearance, natural
Examples are the turning transition from
-- refined and elegant -- one could say that form
Push to Single Whip, the two arms rising
and spirit are complete and prepared (xing shen
upwards in the Opening Posture.
ju bei). It is hoped that students will memorize (mo
In the straight and extended arm you only need to shi), comprehend (ti wu), and ponder (chuai mo).
have the palm extended straight (not rigidly stiff )
One’s ability to accomplish each of the palm
-- let it be level, let it be expanded and drawn out,
methods rests entirely on the foundation of
then you will have it. This does not require that the
“fang song” (relaxing, loosening). If you are able
wrist be seated and the palm upright, but it also
to properly understand the significance of “fang
has the self-sensation of internal energy (nei jin de
song,” and your practice is correct, there is sure
ziwo ganjue), and a penetration throughout the
to be a good result. Because of this, one must
entire body.
have proper guidance in one’s training -- only
Although there are differences with the seated then will you be able to utilize each type of palm
wrist upright palm in the expression in shape method correctly, and gain the result of one palm
and form, as well as in methodology, the action representing the entire body.
and results produced are the same. The two are
By Grandmaster Yang Zhenduo
interdependent and work in mutual coordination.
One should regard them equally. Translated by Jerry Karin
- 94 -
Chapter 7
Kick Types

Kick Types
CHAPTER 7
KICK TYPES
KICK TYPES
There are only a few types of kicks in Yang Family Tai Chi Chuan: heel kick,
separation kick, and lotus kick. There are no “point kicks,”
where the kick is an isolated movement. In every kick
the arms move with the legs showing that there is a
grab or some sort of lock. This is an important point;
adversaries must be restrained before kicking.
When standing on one leg, the support leg is

straight but not locked, with the weight on the
bubbling well. Using the bubbling well to support
your weight and balance is one of the most
important points when kicking. It is crucial to place
the weight on this point and not on the heel, toes, or
edge of the foot.
When practicing heel kicks and separation kicks the arms curve open as
the kicking leg extends. The arms should have the intent of grabbing. Do
not put too much energy into the arms. The more energy you put in the
arms, the heavier they will feel, to the point where you won’t be able to kick
comfortably or at all. Remember to keep the upper body light, the middle
body flexible and the lower body stable. The front arm is in line with the
kicking leg and the rear arm is wider than 90 degrees but less than 180 degrees.
When raising the kicking leg, bend the knee at

hip level or slightly higher, allowing the kicking
foot to guard the knee. Raising the knee too high
demonstrates good flexibility but it does not show
the right intent.
When preparing to kick, the knee is at least at

hip height. Flex the ankle of the kicking foot so it
points down, guarding the knee.
- 96 -
Separation Kick
The kua opens as the kicking leg extends, swinging

open in a slight arc. The ankle bends downwards.
The contact point is the top or edge of the foot.
Separation Kick
Heel Kick
This kick extends straight out from the hip. Flex the
foot back, extending the heel and causing the toes
to point upwards when the leg is extended to kick.
Imagine contacting your opponent with the heel.
- 97 -
Kick Types
Lotus Kick
This is a swinging crescent-shaped kick that uses the heel or edge of

the foot to contact the opponent. When performing, point the toes
down out to the side and touch the top of the foot with both palms.
- 98 -
Chapter 8
The Learning Sequence of Yang Family Tai Chi Chuan
The Learning Sequence Of Yang Family Tai Chi Chuan
CHAPTER 8
THE LEARNING SEQUENCE OF YANG FAMILY TAI CHI CHUAN
THE LEARNING SEQUENCE
In China, the traditional sequence of learning Yang Family Tai Chi Chuan has been the 103 Posture Hand
Form; Push Hands, the Sword Form and the Saber Form. The association has used the traditional sequence
as the basis for the development of this progression of study. Whether or not a student chooses to enter
the ranking system, all students follow the same progression of study for learning Yang Family Tai Chi
Chuan. The chart below of the progression of study for Yang Family Tai Chi Chuan provides an overview of
the sequence of learning as prescribed by the association.
Approximate Practice Detailed Practice Refined Practice

Approximate Years of Study
1 2 3 5 7 9
Ranking Level
Rank 1 Rank 2 Rank 3 Rank 4 Rank 5 Rank 6 Rank 7 Rank 8 Rank 9
103 Posture Hand Form
Push Hands
Dan Tui Shou ( Fixed Step Single Hand Horizontal Circles )

Shuang Tui Shou ( Fixed Step Double Hand Horizontal and Vertical Circles with Direction
Changes and Transitions )
Yong Fa Tui Shou ( 8 Energies with Applications, Double Hands

Horizontal and Vertical, Double Hand Open Circles with
Direction Changes and Transitions )
Yong Fa Tui Shou ( 8 Energies with Applications

and Counters, Double Hands Horizontal and
Vertical, Double Hand Open Circles with Direction
Changes and Transitions ). Huo Bu Tui Shou (
Moving Step ), Shun Bu Tui Shou ( Straight Step ),
Tao Bu Tui Shou ( Cros Step ).
Freestyle Tui Shou
67 Posture Sword Form
13 Posture Saber Form
49 Posture Hand Form ( See note below )
- 100 -
THE THREE STAGES FOR LEARNING
Master Yang Zhenduo said the following about a student’s progression of study:
“Regarding the teaching of Tai Chi Chuan to a new student, we generally say that
the training is divided into three steps. The first step is approximate practice. The
second step is detailed practice. The third step is refined practice.”
- 101 -
Step 1 Approximate Practice
The first step corresponds to beginner ranks of 1, 2, and 3.
Description And Standard
Rank 1 (Copper Eagle)
Individuals who have practiced Traditional Yang Family Tai Chi Chuan for at least one year or who
have earned 150 academy credits; achieved a score of at least 7.5 points in the test of Traditional Yang
Family Tai Chi Chuan Hand Form; achieved a score of at least 60 points in the first level written test
of history and theory; and who adhere to the association’s Member’s Code of Conduct may apply to
advance to rank 1.
Rank 2 (Silver Eagle)
Individuals who have practiced Traditional Yang Family Tai Chi Chuan for at least one year after
attaining rank 1 or who have earned 300 academy credits; achieved a score of at least 8 points in the
test of Traditional Yang Family Tai Chi Chuan Hand Form; achieved a score of at least 65 points in the
second level written test of history and theory; and who adhere to the association’s Member’s Code
of Conduct may apply to advance to rank 2.
Rank 3 (Gold Eagle)
Individuals who have practiced Traditional Yang Family Tai Chi Chuan for at least one year after
attaining rank 2 or who have earned 450 academy credits; achieved a score of at least 8.3 points in
the test of Traditional Yang Family Tai Chi Chuan Hand Form and a score of at least 8.0 in the test of
either the Sword or Saber Form; achieved a score of at least 70 points in the third level written test
of history and theory; and who adhere to the association’s Member’s Code of Conduct may apply to
advance to rank 3.
Beginner ranks 1-3 do not require tests for push hands skills.
What The Student Should Practice To Prepare for Next Rank
Rank 1
1. For rank 1, the student’s primary goal is to study the 103 Hand Form. Student focus should be on
the basics of the form and the sequence of the postures.
2. The student who has achieved rank 1 should begin training in push hands: dan tui shou (fixed-
step push hand and single arm horizontal circles)
Rank 2
1. In rank 2, the student should continue training on the 103 Hand Form. Student focus should be
on refining the form more in line with the Yang family standards.
2. The students who have achieved rank 2 should begin training in the next rank of push hands:
shuang tui shou (fixed step push hands and double arm vertical and horizontal circles with
transitions).
Rank 3
1. The student’s primary goal is to continue perfecting the 103 Hand Form according to Yang
family standards with increased emphasis on integrating the first 5 principles of the Ten Essential
Principles into the postures.
2. To test at this rank, the student must know a weapon form. The Sword Form is the preferred
weapon form to learn at this point in the student’s progression of study but the Saber Form may
be learned to satisfy this requirement. Student focus should be on the basics of the form and the
sequence of the postures.
- 102 -
What The Student Must Be Able To Show In His Or Her Practice
Rank 1
The student must be able to complete the hand form in the correct sequence and direction without
forgetting, adding or omitting postures.
Rank 2
1. The student must be able to demonstrate a basic proficiency in Yang family standards of the
hand form, hand form methods, stances, and be able to connect the movements together.
2. The difference between rank 1 and rank 2 is that the student must demonstrate a higher degree
of proficiency in accordance with the Yang family standards established for the form.
Rank 3
The student must be able to demonstrate an advanced understanding and performance to the Yang
family standard for the hand form and the weapon form. The student’s performance must reflect
the integration of the first 5 principles of the Ten Essential Principles into both the hand and weapon
forms.
What History and Theory The Student Must Know
1. Origin of the word “Tai Chi Chuan”
2. The five major styles of Tai Chi Chuan and the founders of each style
3. History of Yang Family Tai Chi Chuan

• Birthplace
• Distinguishing characteristics
• Yang family Lineage
• Types of forms that are practiced today
4. Contributions of Yang Chengfu (form size, Ten Essential Principles according to Yang Chengfu)
5. What is meant by “Ten Essential Principles”?
6. Meaning of the term “13 Postures”
7. Requirements of the bow stance and the empty stance
8. The implications of “relaxation” in Tai Chi Chuan practice
9. Association’s Member’s Code of Conduct
Step 2 Detailed Practice
The second step corresponds to ranks 4 and 5.
The learning requirements and scoring differential between the step 1-approximate and step
2-detailed ranks of study require a significantly higher proficiency and conformity in to Yang family
standards in the movements, and an increased ability to integrate theory and the Ten Essential
Principles into practice.
- 103 -
Rank 4 (Copper Tiger)
Individuals who have practiced Traditional Yang Family Tai Chi Chuan for at least two years after
attaining rank 3 or who have earned 750 academy credits; achieved a combined score of at least 25.8
points (and no score below 8.3) in the tests of Traditional Yang Family Tai Chi Chuan Hand Form, the
Sword Form, and the Saber Form; achieved a score of at least 75 points in the fourth level written test
of history and theory; and satisfactorily performed the push hands skills requirements for rank 4; and
who adhere to the association’s Member’s Code of Conduct may apply to advance to rank 4.
Rank 5 (Silver Tiger)
attaining rank 4 or who have earned 1050 academy credits; achieved a combined score at least 26.4
points (and no score below 8.3) in the tests of Traditional Yang Family Tai Chi Chuan Hand Form, the
Sword Form, and the Saber Form; achieved a score of at least 80 points in the fifth level written test
of history and theory; and satisfactorily performed the push hands skills requirements for rank 5; and
who adhere to the association’s Member’s Code of Conduct may apply to advance to rank 5.
What The Student Should Practice Refine, Practice, and Learn
Rank 4
1. Rank 4 students must demonstrate proficiency to Yang family standards in the following:
• The 103 Hand Form
• The 49 Demonstration/Competition Form
• The 67 Sword Form
• The 13 Saber Form
2. Push hands at this rank includes:

• Shuang tui shou - double-arm circling techniques with proper transitions between each
type, progressing to free movement.
• The four main energies (peng, lu, ji, an) and applications energies (yong fa) with counter
techniques.
3. Basic dou gan (shivering staff) training to aid in developing fajin.
Rank 5
1. The student at this rank must continue to refine and perfect all hand forms, weapon forms and
push hands learned to this point. These include:
• 103 Traditional Hand Form
• 49 Demonstration/Competition Form
• 67 Sword Form
• 13 Saber Form
• Single hand push hand (dan tui shou)
• Double hand push hand (shuang tui shou)
• Shivering Staff (Dou Gan)
2. Push hands introduced at this rank include:

tui shou yong fa (push hands with applications) using the 8 energies
(peng, lu, ji, an, cai, lie, zhou, kao) with counter techniques.
- 104 -
Rank 4
The student must demonstrate a high level of understanding and performance to Yang family
standards for all the forms required for this rank. Student performance must reflect the integration
of all of the Ten Essential Principles into his or her performance. In addition, student performance
must indicate an understanding of the meaning of the postures and the coordination of the internal
process with the external movements.
Rank 5
1. Internal and external combined together
2. Correct intent and energy for all postures
What History And Theory The Student Must Know
1. Everything listed under “What history and theory the student must know” for the approximate
phase.
2. Evolution of the Yang Family Tai Chi Chuan forms: sequence of development, name of each
frame, each founder’s name.
3. Names of the Yang style forms practiced today
4. Distinguishing characteristics of sword form and saber form
5. Association’s Member’s Code of Conduct
6. The role of root, legs, waist, hands in leading and developing energy
7. Types of push hands
8. Essential requirements (principles) of all push hands
9. The meaning of each principle of the Ten Essential Principles
Step 3 Refined Practice
The third step corresponds to rank 6.
Rank 6 (Gold Tiger)
attaining the rank 5 or who have earned 1400 academy credits; achieved a combined score of at
least 27 points (and no score below 8.3) in the tests of Traditional Yang Family Tai Chi Chuan Hand
Form, the Sword Form, and the Saber Form; achieved a score of at least 85 points in the sixth level
written test of history and theory; and satisfactorily performed the push hands skills requirements
for rank 6; and who adhere to the association’s Member’s Code of Conduct may apply to advance to
rank 6.
What The Student Should Practice Refine, Practice, and Learn
1. The student should continue to refine and perfect all hand forms, weapon forms and push
hands learned to this point.
- 105 -
2. The student should continue to practice all push hands techniques learned to this point and
begin more advanced push hands with applications and counter techniques.
• Huo bu tui shou - moving-step push hands that includes straight-step and cross-step
• Shun bu tui shou (straight-step push hands)
• Tao bu tui shou (cross-step push hands)
• Freestyle push hands
1. Internal and external combined together
2. Correct intent and energy for all postures
What History And Theory The Student Must Know
1. Everything listed under “What history and theory the student must know” for both the
approximate and detailed phases.
2. How to use push hands techniques to control an opponent
3. Yin/yang theory from I-Ching
4. Strategy from The Art of War
5. How I-Ching and The Art of War relate to push hands theory
6. How to use the eight energies and their counter techniques
7. Five Element Theory
8. Confucian philosophy
Ranking System of Nine Ranks
The association has 9 ranks in its ranking system. Ranks 1 to 6 are earned by meeting the time in
Tai Chi Chuan training requirements or by earning the required association’s academy credits. In
addition to the training requirement or academy credits earned, the candidate for rank must also
past both a written examination and a performance examination.
Advance ranks 7 to 9 may be awarded to association members:
• Who exemplify the moral character and standards as defined by the Yang Family Tai Chi Chuan
Commandments and the associations Member’s Conduct Code,
• Who have served the association and promoted Tai Chi Chuan consistently for many years,
• Who have achieved a high level of understanding, knowledge and skill in Tai Chi Chuan, and
• Who have made notable system-wide contributions to the association and to the advancement of
Tai Chi Chuan in the world.
The president of the International Yang Family Tai Chi Chuan Association awards the advanced ranks
of 7 through 9. The association’s Judges and Ranking Committee may recommend to the association
president worthy candidates who meets the standard and criteria for advanced ranks.
- 106 -
Chapter 9
Yang Family Tai Chi Chuan Traditional Hand Forms
Hand Forms
CHAPTER 9
HAND FORMS
HAND FORMS
Introduction
There are four Tai Chi Chuan hand forms in curriculum of the Yang Family Tai Chi Chuan. The Tai Chi Chuan
Traditional 103 Hand Form is the foundation for the other hand forms of the Yang family. This chapter
focuses on the Traditional 103 Hand Form, the Demonstration and Competition 49 Hand Form, the 13
Hand Form, and the 16 Hand Form.
The 49 Hand Form has all the postures of the 103 and is shorter in length because many of the repetitions
in the 103 were taken out. The 16 and the 13 Hand Forms have the basic postures of the 103 with the more
difficult postures taken out.
Yang Family Tai Chi Chuan Traditional Hand Form (103 form)
FIRST SECTION
1 预备 - Yù Bèi 9 左搂膝拗步 - Zuǒ Lōu Xī Ào Bù

Preparation Left Brush Knee and Push
2 起式- Qǐ Shì 10 右搂膝拗步 - Yòu Lōu Xī Ào Bù
Opening Right Brush Knee and Push
3 拦雀尾- Lán Què Wěi 11 左搂膝拗步- Zuǒ Lōu Xī Ào Bù
Grasp the Bird’s Tail Left Brush Knee and Push
4 单鞭 - Dān Biān 12 手挥琵琶 – Shǒu Huī Pí Pa
Single Whip Hand Strums the Lute
5 提手上势 - Tí Shǒu Shàng Shì 13 左搂膝拗步 - Zuǒ Lōu Xī Ào Bù
Raise Hands and Step Forward Left Brush Knee and Push
6 白鹤凉翅 - Baí Hè Liàng Chì 14 进步搬拦捶 - Jìn Bù Bān Lán Chuí
White Crane Spreads Its Wings Step Forward, Parry, Block and Punch
7 左搂膝拗步 - Zuǒ Lōu Xī Ào Bù 15 如封似闭 - Rú Fēng Sì Bì
Left Brush Knee and Push Apparent Closing Up
8 手挥琵琶 - Shǒu Huī Pí Pa 16 十字手 - Shí Zì Shǒu
Hand Strums the Lute Cross Hands
- 108 -
SECOND SECTION
17 抱虎归山 - Bào Hǔ Guī Shān 36 高探马 - Gāo Tàn Mǎ

Embrace the Tiger and Return to Mountain High Pat on Horse
18 肘底捶 - Zhǒu Dǐ Chuí 37 右分脚 - Yòu Fēn Jiǎo
Fist Under Elbow Right Separation Kick
19 左倒撵猴 - Zuǒ Dào Niǎn Hóu 38 左分脚 - Zuǒ Fēn Jiǎo
Step Back and Repulse the Monkey, Left Left Separation Kick
20 右倒撵猴 - Yòu Dào Niǎn Hóu 39 转身左蹬脚 -Zhuǎn Shēn Zuǒ Dēng Jiǎo
Step Back and Repulse the Monkey, Right Turn Body and Left Heel Kick
21 左倒撵猴 - Zuǒ Dào Niǎn Hóu 40 左搂膝拗步 - Zuǒ Lōu Xī Ào Bù
Step Back and Repulse the Monkey, Left Left Brush Knee and Push
22 斜飞式 - Xié Fēi Shì 41 右搂膝拗步 - Yòu Lōu Xī Ào Bù
Diagonal Flying Right Brush Knee and Push
23 提手上势 - Tí Shǒu Shàng Shì 42 进步栽锤 - Jìn Bù Zāi Chuí
Raise Hands and Step Forward Step Forward and Punch Down
24 白鹤凉翅 - Baí Hè Liàng Chì 43 转身撇身锤 -Zhuǎn Shēn Piē Shēn Chuí
White Crane Spreads Its Wings Turn Body and Chop With Fist
25 左搂膝拗步 - Zuǒ Lōu Xī Ào Bù 44 进步搬拦锤 - Jìn Bù Bān Lán Chuí
Left Brush Knee and Push Step Forward, Parry, Block, and Punch
26 海底针 - Hǎi Dǐ Zhēn 45 右蹬脚 - Yòu Dēng Jiǎo
Needle at Sea Bottom Right Heel Kick
27 扇通背 - Shàn Tōng Beì 46 左打虎式 - Zuǒ Dǎ Hǔ Shì
Fan Through the Back Left Strike Tiger
28 转身撇身捶 -Zhuǎn Shēn Piē Shēn Chuí 47 右打虎式 - Yòu Dǎ Hǔ Shì
Turn Body and Chop with Fist Right Strike Tiger
29 进步搬拦捶 -Jìn Bù Bān Lán Chuí 48 回身右蹬脚 - Huí Shēn Yòu Dēng Jiǎo
Step Forward, Parry, Block, and Punch Turn Body and Right Heel Kick
30 上步拦雀尾 - Shàng Bù Lán Què Wěi 49 双峰灌耳 - Shuāng Fēng Guàn Ěr
Step Forward and Grasp the Bird’s Tail Twin Fists Strike Opponent’s Ears
31 单鞭 - Dān Biān 50 左蹬脚 - Zuǒ Dēng Jiǎo
Single Whip Left Heel Kick
32 云手 - Yǔn Shǒu 51 转身右蹬脚 – Zhuǎn ShēnYòu Dēng Jiǎo
Cloud Hands (1) Turn Body and Right Heel Kick
33 云手 - Yǔn Shǒu 52 进步搬拦锤 – Jìn Bù Bān Lán Chuí
Cloud Hands (2) Step Forward, Parry, Block, and Punch
34 云手 - Yǔn Shǒu 53 如封似闭 - Rú Fēng Sì Bì
Cloud Hands (3) Apparent Closing up
35 单鞭 - Dān Biān 54 十字手 - Shì Zì Shǒu
Single Whip Cross Hands
- 109 -
Hand Forms
THIRD SECTION
55 抱虎归山 - Bào Hǔ Guī Shān 74 左倒撵猴 - Zuǒ Dào Niǎn Hóu

Embrace the Tiger and Return to Mountain Step Back and Repulse the Monkey - Left
56 斜单鞭 - Xié Dān Biān 75 斜飞势 - Xié Fēi Shì
Diagonal Single Whip Diagonal Flying
57 右野马分鬃 - Yòu Yě Mǎ Fēn Zōng 76 提手上势 - Tí Shǒu Shàng Shì
Parting the Wild Horse’s Mane - Right Raise Hands and Step Forward
58 左野马分鬃 - Zuǒ Yě Mǎ Fēn Zōng 77 白鹤凉翅 - Baí Hè Liàng Chì
Parting the Wild Horse’s Mane - Left White Crane Spreads Its Wings
59 右野马分鬃 - Yòu Yě Mǎ Fēn Zōng 78 左搂膝拗步 - Zuǒ Lōu Xī Ào Bù
Parting the Wild Horse’s Mane - Right Left Brush Knee and Push
60 拦雀尾 - Lán Què Wěi 79 海底针 - Hǎi Dǐ Zhēn
Grasp the Bird’s Tail Needle at Sea Bottom
61 单鞭 - Dān Biān 80 扇通背 - Shàn Tōng Beì
Single Whip Fan Through the Back
62 玉女穿梭 - Yù Nǚ Chuān Suō 81 转身白蛇吐信 -Zhuǎn Shēn Baí Shé Tǔ Xìn
Fair Lady Works at Shuttles Turn Body and White Snake Spits Out Its Tongue
63 拦雀尾 - Lán Què Wěi 82 进步搬拦捶 - Jìn Bù Bān Lán Chuí
Grasp the Bird’s Tail Step Forward, Parry, Block, and Punch
64 单鞭 - Dān Biān 83 上步拦雀尾 - Shàng Bù Lán Què Wěi
Single Whip Step Forward and Grasp the Bird’s Tail
65 云手 - Yǔn Shǒu 84 单鞭 - Dān Biān
Cloud Hands (1) Single Whip
66 云手 - Yǔn Shǒu 85 云手 - Yǔn Shǒu
Cloud Hands (2) Cloud Hands (1)
67 云手 - Yǔn Shǒu 86 云手 - Yǔn Shǒu
Cloud Hands (3) Cloud Hands (2)
68 单鞭 - Dān Biān 87 云手 - Yǔn Shǒu
Single Whip Cloud Hands (3)
69 下势 - Xià Shì 88 单鞭 - Dān Biān
Snake Creeps Down Single Whip
70 左金鸡独立 - Zuǒ Jīn Jī Dú Lì 89 高探马穿掌 - Gāo Tàn Mǎ Chuān Zhǎng
Left Golden Rooster Stands on One Leg High Pat on Horse with Palm Thrust
71 右金鸡独立 - Yòu Jīn Jī Dú Lì 90 十字腿 - Shí Zì Tuǐ
Right Golden Rooster Stands on One Leg Cross Kick
72 左倒撵猴 - Zuǒ Dào Niǎn Hóu 91 进步指裆锤 - Jìn Bù Zh Dāng Chuí
Step Back and Repulse the Monkey - Left Step Forward and Punch Groin
73 右倒撵猴 - Yòu Dào Niǎn Hóu 92 上步拦雀尾 - Shàng Bù Lán Què Wěi
Step Back and Repulse the Monkey - Right Step Up and Grasp the Bird’s Tail
- 110 -
93 单鞭 - Dān Biān 99 进步搬拦捶 - Jìn Bù Bān Lán Chuí

Single Whip Step Forward, Parry, Block, and Punch
94 下势 - Xià Shì 100 如封似闭 - Rú Fēng Sì Bì
Snake Creeps Down Apparent Closing up
95 上步七星 - Shàng Bù Qī Xīng 101 十字手 - Shí Zì Shǒu
Step Forward to Seven Stars Cross Hands
96 退步跨虎 - Tuì Bù Kuà Hǔ 102 收式 - Shōu Shì
Step Back and Ride the Tiger Closing
97 转身摆莲 - Zhuǎn Shēn Bǎi Lián 103 还原 - Huán Yuán
Turn Body and Lotus Kick Return to Normal
98 弯弓射虎 - Wān Gōng Shè Hǔ
Bend the Bow and Shoot the Tiger
Yang Family Tai Chi Chuan Demonstration And Competition Hand Form (49 Form)
预备 - Yù Bèi 11. 手挥琵琶 - Shǒu Huī Pí Pa

Preparation Hand Strums the Lute
1. 起式 - Qǐ Shì 12. 高探马穿掌 - Gāo Tàn Mǎ Chuān Zhǎng
Opening High Pat on Horse with Palm Thrust
2. 拦雀尾 - Lán Què Wěi 13. 十字腿 - Shí Zì Tuǐ
Grasp the Bird’s Tail Cross Kick
3. 单鞭 - Dān Biān 14. 左打虎式 - Zuǒ Dǎ Hǔ Shì
Single Whip Left Strike Tiger
4. 云手 - Zuǒ Yòu Yǔn Shǒu (1, 2, 3) 15. 右打虎式 - Yòu Dǎ Hǔ Shì
Cloud Hands (1, 2, 3) Right Strike Tiger
5. 单鞭 - Dān Biān 16. 回身右蹬脚 - Huí Shēn Yòu Dēng Jiǎo
Single Whip Turn Body and Right Heel Kick
6. 高探马 - Gāo Tàn Mǎ 17. 双峰灌耳 - Shuāng Fēng Guàn Ěr
High Pat on Horse Twin Fists Strike Opponents Ears
7. 右分脚 - Yòu Fēn Jiǎo 18. 左蹬脚 - Zuǒ Dēng Jiǎo
Right Separation Kick Left Heel Kick
8. 左分脚 - Zuǒ Fēn Jiǎo 19. 转身撇身捶 - Zhuǎn Shēn Piē Shēn Chuí
Left Separation Kick Turn Body and Chop with Fist
9. 转身左蹬脚 - Zhuǎn Shēn Zuǒ Dēng Jiǎo 20. 进步指裆锤 - Jìn Bù Zhǐ Dāng Chuí
Turn Body and Left Heel Kick Step Forward and Punch Groin
10. 左搂膝拗步 - Zuǒ Lōu Xī Ào Bù 21. 如封似闭 - Rú Fēng Sì Bì
Left Brush Knee and Push Apparent Closing up
- 111 -
Hand Forms
22. 十字手 - Shí Zì Shǒu 37. 右野马分鬃 - Yòu Yě Mǎ Fēn Zōng

Cross Hands Parting Wild Horse’s Mane, Right
23. 抱虎归山 - Bào Hǔ Guī Shān 38. 玉女穿梭 - Yù Nǚ Chuān Suō
Embrace the Tiger and Return to Mountain Fair Lady Works at Shuttles (1,2,3,4)
24. 斜单鞭 - Xié Dān Biān 39. 拦雀尾 - Lán Què Wěi
Diagonal Single Whip Grasp the Bird’s Tail
25. 肘底捶 - Zhǒu Dǐ Chuí 40. 单鞭 - Dān Biān
Fist Under Elbow Single Whip
26 左金鸡独立 -Zuǒ Jīn Jī Dú Lì 41. 下势 - Xià Shì
Left Golden Rooster Stands on One Leg Snake Creeps Down
27. 右金鸡独立 - Yòu Jīn Jī Dú Lì 42. 上步七星 - Shàng Bù Qī Xīng
Right Golden Rooster Stands on One Leg Step Forward to Seven Stars
28. 左倒撵猴 - Zuǒ Dào Niǎn Hóu 43. 退步跨虎 - Tuì Bù Kuà Hǔ
Step Back and Repulse the Monkey, Left Step Back and Ride the Tiger
29. 斜飞式 - Xié Fēi Shì 44. 转身摆莲 - Zhuǎn Shēn Bǎi Lián
Diagonal Flying Turn Body and Lotus Kick
30. 提手上势 - Tí Shǒu Shàng Shì 45. 弯弓射虎 - Wān Gōng Shè Hǔ
Raise Hands and Step Forward Bend the Bow and Shoot the Tiger
31. 白鹤凉翅 - Baí Hè Liàng Chì 46. 进步搬拦捶 - Jìn Bù Bān Lán Chuí
White Crane Spreads Its Wings Step Forward, Parry, Block and Punch
32. 左搂膝拗步 - Zuǒ Lōu Xī Ào Bù 47. 如封似闭 - Rú Fēng Sì Bì
Left Brush Knee and Push Apparent Closing Up
33. 海底针 - Hǎi Dǐ Zhēn 48. 十字手 - Shí Zì Shǒu
Needle at Sea Bottom Cross Hands
34. 扇通背 - Shàn Tōng Beì 49. 收式 - Shōu Shì
Fan Through the Back Closing
35. 转身白蛇吐信 - Zhuǎn Shēn Baí Shé Tǔ Xìn 还原 - Huán Yuán
Turn Body and White Snake Spits Out Tongue Return to Normal
36. 进步栽锤 - Jìn Bù Zāi Chuí
Step Forward and Punch Down
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Traditional Yang Family Tai Chi Chuan 13 Movement Hand Form
Introduction
The Yang Family Tai Chi Chuan 13 Hand Form was developed to provide senior citizens with a form they
could practice without the more challenging one-legged balance postures from the traditional form.
Many who are physically challenged without the fear of losing balance or falling could perform this hand
form.
THE YANG FAMILY 13 MOVEMENT HAND FORM
预备 - Yù Bèi Preparation
1. 起式 - Qǐ Shì Opening
2. 云手 - Lán Què Wěi Cloud Hands
3. 单鞭 - Dān Biān Single Whip
4. 肘底捶 - Zhǒu Dǐ Chuí Fist Under Elbow
5. 白鹤凉翅 - Baí Hè Liàng Chì White Crane Spreads Its Wings
6. 左搂膝拗步 - Zuǒ Lōu Xī Ào Bù Left Brush Knee and Push
7. 手挥琵琶 - Shǒu Huī Pí Pa Hand Strums the Lute
8. 高探马穿掌 - Gāo Tàn Mǎ Chuān Zhǎng High Pat on Horse with Palm Thrust
9. 转身撇身捶 - Zhuǎn Shēn Piē Shēn Chuí Turn Body and Chop with Fist
10. 进步搬捶捶 - Jìn Bù Bān Lán Chuí Step Forward, Parry, Block and Punch
11. 拦雀尾 - Lán Què Wěi Grasp the Bird’s Tail
12. 十字手 - Shí Zì Shǒu Cross Hands
13. 收式 - Shōu Shì Closing
还原 - Huán Yuán Return to Normal
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Hand Forms
Traditional Yang Family Tai Chi Chuan 16 Movement Hand Form
Introduction
The 16 movement Tai Chi Chuan hand forms were developed by the 5 major styles of Tai Chi Chuan in
response to China’s universities that wanted a form that could be taught in their 16-week semesters. The
Yang Family developed this 16 movement form based on the postures from the family’s Traditional 103
Hand Form.
THE YANG FAMILY 16 MOVEMENT HAND FORM
预备 - Yù Bèi Preparation
1. 起式 - Qǐ Shì Diagonal Single Whip
2. 云手 - Lán Què Wěi Cloud Hands
3. 单鞭 - Dān Biān Single Whip
4. 肘底捶 - Zhǒu Dǐ Chuí Fist Under Elbow
5. 白鹤凉翅 - Baí Hè Liàng Chì White Crane Spreads Its Wings
6. 左搂膝拗步 - Zuǒ Lōu Xī Ào Bù Left Brush Knee and Push
7. 手挥琵琶 - Shǒu Huī Pí Pa Hand Strums the Lute
8. 倒撵猴 - Dào Niǎn Hóu Step Back and Repulse the Monkey
9. 左打虎式 - Zuǒ Dǎ Hǔ Shì Left Strike Tiger
10. 野马分鬃 - Yě Mǎ Fēn Zōng Parting the Wild Horse’s Mane
11. 进步指裆锤 - Jìn Bù Zhǐ Dāng Chuí Step Forward and Punch Groin
12. 转身白蛇吐信 - Zhuǎn Shēn Baí Shé Tǔ Xìn Turn Body and White Snake Spits Out Tongue
13. 进步搬拦捶 - Jìn Bù Bān Lán Chuí Step Forward, Parry, Block and Punch
14. 拦雀尾 - Lán Què Wěi Grasp the Bird’s Tail
15. 十字手 - Shí Zì Shǒu Cross Hands
16. 收式 - Shōu Shì Closing
还原 - Huán Yuán Return to Normal
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YANG FAMILY TAI CHI CHUAN TRADITIONAL HAND FORM
1. Preparation
First Section With Photos And Narrative
This section of the chapter provides beginning

students a pictorial guide with narration on how to
perform the first section of the Yang Family Tai Chi
Chuan Traditional 103 Form. The 5th generation
lineage holder of Yang Family Tai Chi Chuan,
Master Yang Jun is the person demonstrating
the form. The first section of this form provides
students the basic foundation for learning all the
forms of Yang Family Tai Chi Chuan. Learn it well.
Head up, looking forward. Raise your spirit. The whole

body follows the principles. Relax. The arms are at
the sides of the body. Legs are naturally straight and
not locked. The direction of the toes is straight; feet
are shoulder-width apart.
2. Opening
Lift up and rotate the arms so that Continue lifting your arms until they reach shoulder level.
both palms face in back. Keep the arms shoulder-width apart. The outside edges of
the palms match the width of the shoulders.
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Hand Forms
Arms begin to push down. Start from the upper arms to Continue to push down until you almost
the forearms to the palms. Transition from the previous reach the bottom. Your palms follow the
lift-up motion to push down, changing smoothly. Like push down movement and sit gradually.
a wave of water, change from up to down. Keep your palms facing down. Keep
looking forward.
3. Grasp the Bird’s Tail
Follow the waist while turning. Open the Shift your weight to the right, squat down. Put the weight
right toe to 45 degrees, using your heel. At on the center of the ball of the right foot. At the same
the same time as when the body is turning, time, your left arm bends in and the right arm continues
the left arm moves slightly forward, and the to move back, then opens to the side in a circling motion.
right arm moves slightly backward. Relax your waist. Make sure the left armpit is open, and
the left arm is rounded.
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3-a. Left Ward-Off
Step out with your left leg. Toes point straight Shift your weight forward, heel to ball to toe, and
forward. Make sure the separation between the then bend the knee. The knee finishes somewhere
feet is shoulder-width. At the same time, the left between the ball of the foot and toes. At the same
arm circles to the right and back. The right arm time, turn the body to the right. The left arm
circles to the left and to the front. Both arms moves up to shoulder-level.(This is the Ward-Off
close on the right side of your body. Keep your arm position). The arm position is straight from
right palm sitting slightly. The coordination is: the shoulder to the side. The right palm pushes
when the arms close, the left heel touches the down, passing the left arm in a curve and through
ground. Look forward, in the direction of the the center of the left forearm, and ends in front of
right arm. your right hip. Keep the torso vertical.
Shift your weight back Turn your waist right, body Shift your weight back to the left leg. Turn
slightly. follows as you turn your left foot waist left, body follows, rotate the left arm,
inward 45 degrees using your and turn your left palm down, sitting it
left heel as the pivot point. slightly. At the same time, the right palm
changes from downward facing palm to
palm facing back with a little turn inward.
The right arm has a rounded shape. Keep
your right armpit open.
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Hand Forms
Continue shifting your weight to the Step out into a bow stance keeping your feet shoulder-
left leg, pick up your right leg. Bring width apart. At the same time, the left arm circles to the
your right foot close to the left heel. right and the right arm circles to the left. The arms close
on your body’s left side. The coordination is: When the
arms close, the right heel touches the ground. Follow
your left arm direction, looking forward.
3-b. Right Ward-Off
Shift your weight forward, bend the knee. The knee goes somewhere between the ball of the
feet and toes. The right arm goes up to shoulder level in a Ward-Off motion. The shape of the
arm is rounded, one-fourth of a circle. The elbow and the right knee are in a line. The fingertips
are slightly higher than the right elbow. At the same time, the left arm pushes down and curves
down, passing the right forearm’s center. Keep the armpits open. There should be about one fist
separation between the right forearm center and the finger tips of the left hand. The head is up,
and the face is looking straight forward. The torso leans forward slightly.
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3-c. Roll Back
The waist turns right and the body follows. Shift your weight back, turn the waist left, and the body
Circle and rotate the arms, sitting your right follows. Your arms move from right to left, and move
palm. Circle the right arm towards the right down slightly. Keep the left arm rounded, and keep the
corner at 45 degrees. The right palm faces armpits open. The palm direction is essentially up. The
out, and the left palm faces in. Keep your left right arm’s energy point is the inside forearm center.
arm rounded and the left armpit open. Look Sit your right palm diagonally, facing to the side. Do
in the right arm’s direction. not lean back your torso. The front leg is straight but
not locked.
3-d. Press
Turn the body to the right, and at the same Shift your weight forward, and bend the right
time, rotate and close your arms. The left palm knee to a bow stance. At the same time, press
touches the right forearm’s center. The touching out. Keep your head up and look forward.
point should be aligned with the center, at the
front of your body. Keep your head up and look
forward.
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Hand Forms
Turn your body to a square Shift your weight back, and Continue shifting your
position, follow the body’s at the same time, bring your weight back and the arms
turning and separate your palms back toward your chest. and elbows now sink. At
arms to shoulder-width Keep your palms essentially the same time, the palms
distance. Palms are aligned facing down. stand up in front of your
straight with your arms and chest. Do not lean your
face down. torso back. Keep looking
forward.
3-e. Push
Move your weight forward, Move your weight back, Turn your body to the left, follow
and at the same time, push flatten your palms. Keep your body’s turning and use your
out your palms to shoulder your arms at shoulder- right heel to turn your toes in. At
level. Keep looking forward. width distance. Keep the same time, turn your left palm
looking forward. in, sitting it, showing a grabbing
intent. The right palm is slightly
turned out.
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Continue turning your body Continue turning your body Shift your weight back and circle
to the left. Follow your waist until your right foot has turned your arms to bring them close to
and continue to turn your 135 degrees. Your arms follow your body. Turn your left heel in
foot in. Your arms follow the turning of your waist and by pivoting on the toes. Bring
the turning of the waist and continue to circle to the left until your palms in front of your chest,
continue circling to the left. your left arm has circled about sitting and facing down with
225 degrees toward the back finger tips of each hand pointing
left corner. Keep looking in the toward each other.
direction of the left arm.
Continue shifting your weight Make a hook with your right hand. Pick up your left leg. Bring your
back. The right arm circles out Rotate and turn in your left arm. left foot close to your right
and extends towards the back To make the hook, bend down the heel, and then step out into a
right corner direction. wrist and pinch the five fingertips bow stance keeping your feet
close together, pointing down. The shoulder width apart. At the
right arm is straight but not locked, same time, stand up the left
and raised slightly so that the hook forearm. Keep the left armpit
is about throat-level. Look in the open.
direction of the right arm.
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Hand Forms
4. Single Whip
Touch the ground with the left foot, shifting the Shift your weight forward; bend the knee into a
weight forward with the heel first, then ball, and bow stance, at the same time striking out with the
then toes. At this moment, circle and rotate the left palm slightly turned inward. The energy point
left arm, sitting the palm in front of your body, of the strike is on the palm’s heel. Look forward
facing away. Follow the left arm direction, through the Tiger Mouth.
looking forward.
Shift your weight, slightly Shift your weight to the left. At Continue moving your weight to
back. Turn your waist right, the same time, sit your arms and the left leg and pick up your right
body follows as you turn open the hook in your right hand leg. Bring your right foot close to
your left foot inward 45 to a sitting palm. Your right hand is your left heel. Follow the shifting
degrees with the left heel as slightly higher than your left hand. of your weight and open your
the pivot point. Look straight ahead. arms.
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5. Raise Hands and

Step Forward
Step out straight out with your right leg. Shift your weight slightly forward; turn your
Touch the ground with the heel. The arms body to the left side in the corner direction. At
begin circling from the open position into the same time, bring the arms from the sides to
a closed position. Keep looking straight the center of your body.
forward.
Keep shifting your weight back. Pick up your right leg

and step down in the same spot with the heel of your
right foot, now turned in 45 degrees. At the same time,
the left arm circles from a slightly up-curve and pushes
down, and the right arm circles from a slightly down-
curve and comes slightly up. The arms then close on
your body’s left side. The coordination is: as the arms
close, the right heel touches the ground.
Turn the body and rotate Move back your weight.

the arms, turning the Circle the arms down
right palm down and the together.
left palm up.
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Hand Forms
Shift your weight to the right. At the same time, turn your
body square to the front.
6. White Crane
Spreads Its Wings
Continue to shift your weight to Step out with your left foot and touch the ground with the
the right, pick up your left foot ball of the foot into an empty stance. The toe direction is
and bring it close to your right straight. Continue warding-off and rotating with your right
heel. At the same time, the right arm until it covers your head. The palm faces out. The left
arm Wards-Off upward, and the arm pushes down and goes to the side of your left hip. Keep
left arm pushes down. the left palm facing down, the fingers pointing forward, and
the elbow pointing back.
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Turn the body to the right. Follow the Shift the weight back, continue turning
turning of the waist, rotate and circle the body to the right, circling down the
the right arm to the front. Turn the right right arm, and circling up the left arm.
palm facing in. At the same time, circle Keep both arms in a rounded shape. Keep
and rotate the left arm. the left elbow turned down.
Continue turning the body to the right. The right arm Touch the ground with the left foot, shifting
circles up. Sit the right palm. The direction of the the weight forward with the heel first, then
right arm is to the right corner. The left arm circles ball, and then toes. At the same time, turn the
down in a pushing-down motion and goes to the body to the left, moving the arm in a big circle
front of the body. At the same time, pick up the left to the left, passing the left knee, and bring the
leg, stepping out with the toe direction straight. The right arm close in, sitting the palm in front of
feet are shoulder-width apart. Look in the direction the right shoulder.
of the right arm.
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Hand Forms
7. Left Brush Knee and Push
Keep moving forward and bend the left knee; turn the body so that the shoulders are
square to the front. Circle the left palm down to the side of the left knee. As the body turns
left following the turning of the waist strike forward with the right palm. The energy point
is on the heel of the right palm. Look forward in the direction of the right arm.
The right toe points 45 degrees to

corner. Shift the weight back; turn the 8. Hand Strums the Lute
body to the right. Follow the turning of
the body, pull the right arm back, and sit
the left hand.
Move the weight forward. Pick up your right Pick up the left foot, and change the stance from the
leg and bring it close in so that one foot is on ball to the heel of the foot, and the right arm pushes
one side of an imaginary centerline and the down while lifting the left arm. Both arms sit in the
other foot is on the other side of that centerline. center, in front of the body. At the same time, shift the
In the same body motion, the right arm goes weight slightly to the front leg. Keep looking forward.
slightly forward and down. Do not lean back the torso.
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Shift the weight back. Rotate the Shift the weight back, turning Continue turning the body to the right. The
right arm, sitting the left arm. the body to the right, circling right arm continue circling up. Sit the right
down the right arm, and circling palm. The direction of the right arm is to the
up the left arm. Keep both arms right corner. The left arm circles down in a
in a rounded shape. Keep the push down motion and goes to the front of
left elbow turned down. the body. At the same time, step out with
left leg, with the toe direction straight into
a bow stance. The feet are shoulder-width
apart. Look in the direction of the right arm.
Touch the ground with the left foot, shifting Keep moving forward and bend the left knee; turn
the weight forward with the heel first, then the body so that the shoulders are square to the front.
ball, and then toes. At the same time, turn Circle the left palm down to the side of the left knee.
the body to the left, moving the arm in a big Turn waist left, body follows and strike forward with the
circle to the left, passing the left knee, and right palm. The energy point is on the heel of the right
bring the right arm close in, sitting the palm palm. Look forward in the direction of the right arm.
in front of the right shoulder.
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Hand Forms
Shift the weight slightly back, Follow the turning of the waist; open the left toe 45 degrees
picking up the left arm. to corner. At the same time, rotate both arms. Turn in the right
palm and sit it. Rotate the left arm and make it rounded; turn
the left palm up and point it to the middle of the right forearm.
Both palms should be in the center in front of your body, in the
forward direction.
Shift the weight to the left leg and pick up Continue turning the body to the left. The left arm
the right leg. Turn waist left, body follows, continues circling up. Sit the left palm. The direction
move the left arm in a downward circle and of the left arm is to the left corner. The right arm circles
the right arm in an upward circle. down in a pushing-down motion and goes to the front
of the body. At the same time, step out with right leg,
with the toe direction straight. The feet are shoulder-
width apart. Look in the direction of the left arm.
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10. Right Brush Knee

and Push
Touch the ground with the right foot, shifting Keep moving forward and bend the right knee;
the weight forward with the heel first, then ball, turn the body so that the shoulders are square to
and then toes. At the same time, turn the body the front. Circle the right palm down to the side of
to the right, moving the arm in a big circle to the right knee. As the body turns right following
the right, passing the right knee, and bring the the turning of the waist strike forward with the left
left arm close in, sitting the palm in front of the palm. The energy point is on the heel of the left
left shoulder. palm. Look forward in the direction of the left arm.
Shift the weight slightly Follow the turning of the waist; open the right Shift the weight to the right
back, picking up the right toe 45 degrees to corner. At the same time, leg and pick up the left leg.
arm. rotate both arms. Turn in the left palm and sit Follow the turning of the
it. Rotate the right arm and make it rounded; body, move the right arm
turn the right palm up and point it to the in a downward circle and
middle of the left forearm. Both palms should the left arm in an upward
be in the center in front of your body, in the circle.
forward direction.
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Hand Forms
Continue turning the body to the right. The right Touch the ground with the left foot, shifting the
arm continue circling up. Sit the right palm. The weight forward with the heel first, then ball, and
direction of the right arm is to the right corner. The then toes. At the same time, turn the body to
left arm circles down in a pushing-down motion the left, moving the arm in a big circle to the left,
and goes to the front of the body. At the same passing the left knee, and bring the right arm close
time, step out with left leg, with the toe direction in, sitting the palm in front of the right shoulder.
straight. The feet are shoulder-width apart. Look
in the direction of the right arm.
Keep moving forward and bend the left knee; turn Move the weight forward. Pick up your
the body so that the shoulders are square to the right leg and bring it close in so that
front. Circle the left palm down to the side of the one foot is on one side of an imaginary
left knee. Turn the waist left, and strike forward with centerline and the other foot is on the
the right palm. The energy point is on the heel of other side of that centerline. In the same
the right palm. Look forward in the direction of the body motion, the right arm goes slightly
right arm. forward and down.
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12. Hand Strums The Lute
The right toe points 45 degrees to Pick up the left foot, and change the stance from
corner. Shift the weight back; turn the the ball of the foot to the heel of the foot, and the
body to the right. Follow the turning of right arm pushes down while lifting the left arm.
the body, pull the right arm back, and sit Both arms sit in the center, in front of the body.
the left hand. At the same time, shift the weight slightly to the
front leg. Keep looking forward. Do not lean back
the torso.
Shift the weight back, continually turning the body

to the right, circling down the right arm, and circling
up the left arm. Keep both arms in a rounded shape.
Keep the left elbow turned down.
Shift the weight back. Continue turning the body to the right. The right arm
Rotate the right arm, sitting continues circling up. Sit the right palm. The direction
the left arm. of the right arm is to the right corner. The left arm circles
down in a pushing-down motion and goes to the front
of the body. At the same time, step out with left leg,
with the toe direction straight. The feet are shoulder-
width apart. Look in the direction of the right arm.
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Hand Forms
Touch the ground with the left foot, shifting Keep moving forward and bend the left knee; turn the
the weight forward with the heel first, then body so that the shoulders are square to the front. Circle
ball, and then toes. At the same time, turn the left palm down to the side of the left knee. As the
the body to the left, moving the arm in a body turns left following the turning of the waist strike
big circle to the left, passing the left knee, forward with the right palm. The energy point is on the
and bring the right arm close in, sitting the heel of the right palm. Look forward in the direction of
palm in front of the right shoulder. the right arm.
Shift the weight Follow the turning of the waist; open the left Move the weight forward,
slightly back, picking toe 45 degrees to corner. At the same time, circling down both arms
up the left arm. rotate both arms. Turn in the right palm and together. During the downward
sit it. Rotate the left arm and make it rounded; circle, gradually make a sitting
turn the left palm up and point it to the middle fist with the right hand.
of the right forearm. Both palms should be in
the center in front of your body, in the forward
direction.
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Step forward with the right foot, with the right toe Move the weight forward. Turn the body to the
open to the corner. At the same time, turn the body right. The arms circle from back to forward in a
to the left; the arms continue the down-circle until deflecting motion. At this moment, the weight is
they are in the direction of the corner. Rotate the right entirely on the right leg. Both hands are in front
arm, sitting it on the front of the body. The arms have of the body.
a rounded shape. The fist’s palm faces down. The left
palm sits slightly. Look in the direction of the left arm.
14. Parry, Block and Punch
Follow the turning of the body to the right, step Move the weight forward and bend the left knee. At the
out with left foot. The toe direction is straight. same time, turn the body to square and, turn body left
At the same time, the left arm blocks forward, following the turning of the waist and punch out with the
and the right arm sits to the right of the hip. fist. Bring in the left arm, sitting the left palm to the side
The right arm has a rounded shape. The chest of the right forearm.
is sinking. Lean the torso slightly forward.
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Hand Forms
Turn the body to the left, extend the right Rotate the right arm, gradually open the fist and
arm forward, then circle it to the left. turn the palm up. At the same time, turn the left
palm up, passing it under the right arm.
Shift the weight back, follow the turning of the Turn waist left as body follows to turn the body
waist, pull back the right arm, Ward-Off with the square to the front, rotate the arms, sitting the
left arm; point the right palm to the middle of the palms in front of the chest.
left forearm. Make sure the right armpit is open
and the chest is sinking.
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15. Apparent Closing Up
Move the weight forward, bend the left knee and Shift the weight back; turn the body to
push the arms forward to shoulder level. the right; rotate the arms. The right arm
sits slightly in an upward curve.
Continue shifting the weight to the right leg. Turn Move the weight to the left. The arms come
waist right, body follows, and turn the left toe inward downward in a circle. Turn the palms facing
to straight using the left heel as the pivot point. At the back. Keep the head up and look forward.
same time, the right arm circles in an upward curve and
chops down to the right corner. Look in the direction
of the right arm.
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Hand Forms
16. Cross Hands
Step back with the right foot; the toe direction Move the weight to the center, with the arms
is straight and the feet are shoulder-width apart. lifting to Ward-Off up. The arms cross in the
At the same time, the arms continue their down- middle of the forearms.
circle until they cross in front of the body, with the
right arm on the inside..
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YANG ZHENDUO ON THE HISTORY OF THE 49 FORM
The Need For A Competition Form members may have differing interests, so it is
actually quite inconvenient to take up too much
Yang Family Tai Chi Chuan being one of the more time. Therefore we can only perform the first or
popular styles, we are often called on to participate the second section of the Traditional 103 Hand
in public demonstrations, generating people’s Form, it’s difficult to perform the whole form.
interest in our Tai Chi Chuan and promoting our At competitions, because of time constraints,
way of fitness. The time it takes to perform the it becomes hard to schedule, which is why the
original sequence is rather long, and can often Chinese Department of Physical Education
come into conflict with the requirements of has designated that, at competitions, we must
scheduling numerous performances. perform the first or second section of the hand
form within an 8-minute time frame. In either
There are often many other performances
case - demonstration or competition - we cannot
scheduled in a program, and the audience
perform the entire form.
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Hand Forms
From the point of view of both audience and to achieve is the fact that we have preserved all
performer, this leaves a sense of something left movements of the Traditional 103 Hand Form.
out. For many years amateurs and professionals Although the total number of moves is different,
in the Tai Chi world wished there was a form none of the postures have been omitted.
that could be created that was, suitable for both
demonstration and competition purposes, which The organization is strict and the moves fit together
would also embody the moves of the Traditional smoothly. The style, the special characteristics and
Yang Family 103 Hand Form. the appearance of the Traditional 103 Hand Form
are all retained. The 49 Form is not a ‘simplified’
In order to fulfill this need and satisfy the form. To use the term ‘simplified’ to describe this
requirements of Tai Chi Chuan players, the form would create a misunderstanding about this
association put forward a draft of a new form. form and would adversely affect people’s view of
After several public displays of the new form we the standard of Yang Family Tai Chi Chuan that is
revised numerous areas based upon the feedback the Traditional 103 hand Form.
received. We have since formally published this
form as the 49 Form, the official demonstration Warming-Up Especially Important In 49 Form
and competition form of our association.
As to the sequence of the 49 Form, we feel that it is
Much Of The Traditional Preserved InThe 49 Form a significant innovation which will allow us to easily
display the outstanding qualities of the form at all
As to the arrangement of the sequence, the kinds of public events. However, it should be noted
essential idea was to maintain the essence of that this form is not appropriate for individual
the Traditional 103 Hand Form by editing out form practice. Normally when you practice you
some of the repeated postures thus reducing should still primarily practice the Traditional
the performance time. The 49 Form is compact 103 Hand Form, and then when done with that,
and could be performed with a speedy rhythm practice the competition form. The 49 Form is
that could meet the time requirements for primarily for competition and demonstration
demonstrations and competitions. There was use, and so the sequence was rearranged with a
need for it. It is, as they say, an idea whose time view to reduce performance time and eliminate
has come. repeated moves. However, from the point of
view of arrangement and structure, the new
From the list of moves of the 49 Form, it can clearly form is not as well sequenced as the Traditional
be seen that moves 1 through 11, 13 through 18, 21 103 Hand Form. In the 49 Form, we immediately
through 24, 26 through 35, and 38 through 49 are go into some demanding postures. If the person
preserved in their original sequence as they are in practicing the 49 Form has not performed some
the Traditional 103 Hand Form. We have cut out a warm-up exercises prior to starting, there may be
portion of the repeated moves as was appropriate, a feeling of some strain. The Traditional 103 Hand
took a small number of moves which were difficult Form, by contrast, proceeds gradually from gentle
to fit-in and re-inserted them in other spots in the to more strenuous postures or movements. The
sequence, and in a few cases added in moves to Traditional 103 Hand Form is particularly clever
aid transitions. Anyone who can do the Traditional in that it gently sets up the foundation in the
103 Hand Form needs to only work a little bit on first section, and then intersperses the relatively
the re-inserted moves and changed transitions, to difficult moves throughout the second and third
be able to perform the new form without much sections, where the repetition of earlier moves
difficulty. has a very good regulating function. This way
the person practicing is free and easy, relaxed
Is It A New Simplified Form?
and natural, and though he may finish an entire
Some have asked, is this new form ‘simplified’ round of the form or even multiple rounds, he can
Yang Family Tai Chi Chuan? We don’t think that it accomplish it without much strain.
is correct to say so, because we have only made a
By Grandmaster Yang Zhenduo
few changes in the sequence. The basic structure
Translated by Jerry Karin
hasn’t changed. Particularly valuable and hard
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YANG JUN PROVIDES MORE INFORMATION ON THE 49 FORM
The 49 Form Had Its Start In 1986 From 1987 on, the Shanxi Province Yang Family
Tai Chi Chuan Association has used the 49 Form
Yang Family Tai Chi Chuan is a traditional physical for all organized demonstrations and exhibitions.
exercise that is well received and loved by people Among these were; the 10th, 15th, and 20th
all over the world. The Traditional Hand Form is anniversary celebrations of the founding of Shanxi
an exercise that can be practiced alone or with Province Yang Family Tai Chi Chuan Association
friends. As with any martial art, Yang Family Tai held between 1992 and 2002, and the Shanxi
Chi Chuan is displayed at demonstrations and Province Yang Family Tai Chi Chuan Association
competitions. Because the time required to International Invitational Exhibitions held in 1997
demonstrate the Traditional 103 Hand Form is and 2002. At the 20th Anniversary Celebration and
fairly long, it is inconvenient to use. 2nd Shanxi Province Yang Family Tai Chi Chuan
Association International Invitational Exhibition
In the past, in order to shorten the demonstration
in 2002, the 49 Form became the standard
time, it was common to use only the first and
Yang Family Tai Chi Chuan demonstration and
second sections of the Traditional 103 Hand Form.
competition form.
However, those who love to watch Tai Chi Chuan
were disappointed, as they were unable to see The Form Was Developed And Refined
some of the more dynamic moves of the third
section. Unfortunately, their interest was piqued The 49 Form has undergone decades of
just as the exhibition ended. development and refinement. The form is well
received and liked by Yang Family Tai Chi Chuan
In 1986, in order to adapt to the changing needs enthusiasts all over the world. Although the 49
of society, my grandfather, Yang Zhenduo, based Form is not as rigorous as the Traditional 103 Hand
on his experience gained from practicing Yang Form, it is a good method of practice for those with
Family Tai Chi Chuan for many decades, created less time, assuming ample warm-up beforehand.
the 49-Demonstration and Competition Form. Although the 49 Form differs somewhat from the
The new form did not deviate from the postures or Traditional Hand Form, it is not a simplified form.
characteristics of the Traditional 103 Hand Form, All of the postures in the 49 Form require the same
but only deleted many of the repeated moves, principles and techniques for their execution as
slightly rearranged the sequence and changed a when performing the Traditional Hand Form.
small number of transitions. While practicing the 49 Form, one still needs to
maintain the Traditional Yang Family Tai Chi Chuan
At this time however, the 49-Demonstration and
characteristics of the postures being slow and
Competition Form was relatively undeveloped,
gentle, even in tempo, large, and beautiful.
and through the numerous suggestions of Tai Chi
Chuan practitioners, it underwent many revisions. Generally the 49 Form takes about 12 minutes
After being used in many exhibitions, it began to perform. The Shanxi Province Yang Family Tai
receiving high praise from event organizers as Chi Chuan Association requires the 49 Form to
well as Tai Chi Chuan practitioners. In 1987, Shanxi be performed in 7 to 8 minutes when used in
Province Yang Family Tai Chi Chuan Exhibition competition. When a group performs the 49 Form
used this 49-Demonstration and Competition the movements of those in the group should
Form for the first time. Because the judges and appear as one. Those on the corners of the group
participants reacted so favorably to the new form, set the tempo. When performed with grace and
Grandmaster Yang Zhenduo formally made the 49 awareness the 49 Form exhibits the power, beauty,
Demonstration and Competition Form Form an and camaraderie of Tai Chi Chuan.
official Yang Family Tai Chi Chuan form.
By Master Yang Jun
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Hand Forms
TRANSITIONS IN THE 49 FORM THAT ARE

DIFFERENT FROM THE 103 FORM
Hand Strums The Lute To High Pat On Horse (11-12)
Move 1
The left foot changes so that the ball of the foot is touching the floor.
Move 2
As the arms move, the two palms still face each other, but instead of diagonally facing, one faces down,
and the other faces up. The left arm is in front with the palm facing diagonally upward; the right arm, with
palm facing down, bends in toward the front of the chest. Execute High Pat on Horse with the right palm
as before.
Left Heel Kick To Turn Body And Chop With Fist (18-19)
Move 1
When the left leg has kicked out, you turn the body and take a sideways step, let the foot fall, and gradually
shift the weight to the left leg till it is solid. The left elbow sinks downward and you stand the palm,
placing it to the left side of the chest. From in front the right arm goes downward and gradually makes
a fist in front of the belly. Changing from a fist with downward facing palm to upward facing fist, the fist
makes a swath from inside to outside, the palm faces inward, back of palm faces out and you pick up the
right foot and step straight out, touching with heel and having the toe suspended in the air.
Move 2
Right leg gradually forms bow step and at the same time the right fist from above goes forward and
down, and is placed next to the right hip, with the heart of the fist facing up. The left arm points straight
ahead, extending straight and pushing out. The left hand still has palm standing.
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Transition From The Above Move To Punch To Groin And Apparent Closing Up (19-21)
Move 1
Shift the weight backward and make the right foot open 45 degrees toward the right.
Move 2
Shift the weight forward, and as you shift toward the right leg, turn waist right, body follows, and following
along with this lift the left leg and step straight out, letting the left heel touch the ground first, the right
hand - still holding a fist - is brought to the side of the right hip. Simultaneously make the left arm curve
inward with left palm facing down till it is positioned in front of the abdomen.
Move 3
As you use the turning of the waist from left to right to turn the body to face forward, bend the left leg
forming a bow step. The left arm goes from inside toward the front and then back, circling the knee and
coming to a position beside the left knee with palm down and fingers pointing forward. As the body turns
from the right toward the front, the right fist changes so that the eye of the fist faces upward, the face of
the fist is square to the front, and extending out toward the opponent, attacking his groin area.
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Hand Forms
Diagonal Single Whip to Fist Under Elbow
Move 1
The two arms follow the waist. While the right leg takes a half step to the right, the left palm gradually
goes from in front to downward, describing one quarter of a circle to arrive near the hip. The hook hand
on the right is loosened open into a palm, and from behind it goes forward till it arrives at the area forward
and to the right and toward a 45 degree angle, with the palm facing down.
Move 2
Gradually shift the weight to the right leg, and at the same time you sit firmly on the right leg, change the
left leg to an empty step with heel touching the ground. The left arm goes upward lifting and holding
from below with palm facing right, and the “Tiger’s Mouth,” of the hand oriented inward and facing
forward, positioned in front of the left side of the chest. The right arm, with right hand gradually making
a fist, bends inward forming an arc shape and arrive at the area below the left elbow.
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Fist Under Elbow To Left Golden Rooster Stands On One Leg (25-26)
Move 1
Lift the left leg and taking a half step backward, sit firmly on it.
Move 2
Stand up straight on the left leg and the lift the right leg, bending it at the knee. The right toe points
downward and the upper part of the right foot angles inward to protect the knee. At the same time,
the left arm, with palm facing down, goes from in front backward, then downward arriving at a position
beside the left hip, with the fingers pointing forward. As the right arm, palm standing, moves upward,
lifting and holding, the ‘Tiger’s Mouth,’ of the right hand is oriented inward and faces forward, palm facing
left.
White Snake Spits Out Tongue To Step Forward And Punch Down,
Transition To Parting The Wild Horse’s Mane (35-37)
Please consult method used in moves 19 to 20.
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Hand Forms
Parting the Wild Horse’s Mane To Fair Lady Works At Shuttles (37-38)
Move 1
Shift the weight back, turn the right foot inward and then shift the weight to the right leg until solid, in the
meantime picking up the left leg and stepping straight ahead forming a bow step (toward the left corner).
The left arm bends in to the area below the right arm with its palm facing up. Then from below the left arm
goes upward, the palm changing from facing inward to facing outward, till it forms a rounded arc above
the level of the head. The right arm, with standing palm, straightens and goes forward. The other three
moves of Fair Lady Works at Shuttles are identical to the Traditional 103 Hand Form.
By Master Yang Jun
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Chapter 10
Weapons
Weapons
CHAPTER 10
WEAPONS
THE ROLE WEAPONS PLAY IN YANG FAMILY TAI CHI CHUAN
An Interview of Master Yang Jun by Eric Madsen
“When the weapon becomes familiar, it becomes slowly becomes natural and the movements link
a part of the body. You and the weapon become together smoothly.
unified and the movements are flowing, graceful
and powerful.” The sources of many of the postures names are
stories that take us deeper into the myths of China,
After spending a couple of years practicing the a place where immortals, dragons, phoenix, rocs,
hand form, I went to a seminar at Reed College demons and ancient heroes live.
hosted by Dave Barrett. Over the course of three
days I learned the saber form. As I strained and I spoke with Yang Laoshi on March 17, 2011 to ask
contorted my body trying to imitate Yang Laoshi’s some basic questions other students and I have
graceful movements I was humbled to see just had about weapon practice.
how much more lay ahead.
Laoshi, thanks for taking the time to answer
Since that seminar I have taken weapon classes some questions about the weapons. Let’s start
with Yang Laoshi in Seattle, WA. When Yang with explaining what the weapons are in Yang
Laoshi teaches the weapon classes he mixes Family Tai Chi Chuan?
detailed instruction of the physical postures with
Yang Family Tai Chi Chuan has two parts: empty
anecdotes about their names. When the form is
hand practice and weapon practice. Empty hand
examined in the class you see each individual
practice includes the hand form; push hands, and
piece. Each rotation, each circle has two or three
single movement fajin practice.
meanings. By practicing on your own, the footwork
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In Yang Family Tai Chi Chuan there are two types extension of yourself. Up until now, I have spoken
of weapons, long and short. In the past the long from a technical point of view; each weapon has
weapon was the spear, but at one point our family its own technique. Now let’s talk about how to
took the spearhead off, so now we just practice the practice.
staff. The short weapons are the sword and saber.
How do we unify the body and weapon together?
Would you please explain the purpose of When moving with a weapon, the same transfer of
weapon training? energy applies as in the hand form. It starts at the
root and arrives at the tip. When practicing empty
Before the use of firearms, weapons were hand forms the energy arrives at the hands. With a
important because they increased your power and weapon, it arrives at different parts of the weapon,
ability to injure an opponent. People needed to wherever it is needed.
use these weapons to better defend themselves.
We have a saying that if your weapon is one inch For example, if a movement requires energy being
longer than your opponent’s then you are one sent to the tip, send energy to the tip. Another
inch more powerful. [一寸长, 一寸强] Simply movement sends energy to the middle of the
said, ‘one inch longer is one inch stronger.’ blade. When practicing with a staff we send the
energy to the tip or one-third down from the tip of
Because using a weapon increases your power, the staff. The staff is longer and takes more skill. It
weapon training is seen in all martial arts. No is essential to know the techniques of the weapon
matter which martial art, the weapon forms is being used so we can control and understand its
based on the hand form’s technique, principles energy. We practice single movements to send
and flavor. They are connected to each other. energy to different parts of the weapons.
Because Tai Chi Chuan is an internal martial art, we
use different techniques than the external schools. In Tai Chi Chuan, from the beginning, we say no
This is evident in all of our forms. We have three resisting, no separating. When we extend the
different weapons in Yang Family Tai Chi Chuan theory of push hands to the sword, we want to
and each weapon stresses a different technique. maintain these principles. Tai Chi Chuan has a
two-person sticking sword practice very similar
When holding a weapon, the feeling is to single arm push hands, and from this sticking
different. Postures that seem simple become there are some types of circles. You use the circling
difficult. What makes the energy change when to attack with different parts of the weapon,
holding a weapon? hitting your partner’s wrist, body, or anywhere you
can reach.
The difference is that when you hold a weapon
you add that weapon’s technique. Other than We use the same sticking energy with the staff
that, you basically follow the same principles as to make circles while the other partner practices
the empty hand practice. The technique is based basic techniques like thrusting. When thrusting,
on the design of the weapon. For example, when the person defending sticks and uses a circle
you wield a sword you may lift, thrust, and slice. to deflect the attack using the same motion to
These specific techniques aren’t in the hand form. counterattack. The basic skills learned in push
The saber and staff also have unique techniques. hands are practiced with a weapon.
Because of their shape, design, culture, and
history, each weapon has its own function. Traditionally, how long should someone
practice empty handed before moving onto
The weapons differ in their shape and design. the weapons?
When you use a light and flexible sword, it makes
your technique light and flexible. If you are able to It’s not necessary to say how long you’ve practiced.
coordinate its technique with your body then you When you can feel your hand form is flowing and
will have the spirit of a dragon wandering through more comfortable, then you can start practicing
the sky [剑似游龙]. The saber is heavy and strong; with weapons.
it has a curve and is good for chopping. Its spirit is
like a tiger walking down the mountain [如猛虎下 Traditionally, one should practice the basic hand
山] or like a roaring lion [雄狮怒吼]. form and push hands first. Only then may they
go onto weapon training. It is recommended
Holding a weapon extends your body. You have one should start with the sword, then the saber
to coordinate the motion of the weapon with and long staff forms. When practitioners have a
the motion of the body and make the weapon an basic understanding of push hands, then they
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Weapons
- 148 -
can naturally include the ability gained from

empty hand practice with a weapon. Following
the traditional way it was very clear. That was the
past. Today’s practice is mostly to improve health
and we don’t care in what order the weapons
are learned, so we encourage you to follow your
interest. For example, one person, after finishing
the form, may go straight to the sword. They may
never practice push hands, and we say this is ok.
This is true for many people because of the beauty
of the sword’s movements.
Sometimes they practice the sword more than

the hand form and, if this is for health, then
that’s acceptable. Some practitioners are only
interested in empty hand training and may never
pick up a weapon. For this type of person, if they
don’t practice with weapons, they should at least
learn and train with the staff so they can learn to
coordinate their body with their breathing.
It is recommended that people practice the empty

hand techniques first, because the footwork, body
shape and coordination of the hand form are
basically the same as in the weapon forms. If you
learn the hand form first, then it will be easier to
learn the weapons.
How does the footwork change between the

hand form and weapons?
It is a little different. The hand form is practiced at a

slow and even pace. Of course, some empty hand
practice is fast, but normally the practice is slow. In
the hand form, empty and full are clearly defined. special footwork not found in the hand form. Most
significantly, there are jumping movements. Also,
The footwork in the weapon forms is quicker; this some of the transition movements are slightly
keeps the weapon moving in a continuous, flowing different because of the speed.
motion. Sometimes your weight doesn’t have to
go 100% back before picking up your leg. Use the What purpose do the tassels and flags on our
momentum to make your footwork. Momentum weapons serve?
makes the stance longer than in the hand form.
This type of stepping gives the weapon its style. The tassels and flags are decorations. They add
beauty to the weapon and balance the energy
How is it possible to create a strong root when from the front and back. In the past, the tassel
we step quickly? itself was used to attack. There is a weapon called
the Long Tassel Sword [长穗剑]. This weapon’s
As in the hand form, place your weight at the right tassel can be used as a whip. Sometimes, small
place in different stances. With more momentum, blades are hidden in the long tassels, which could
the weight should not shift back too much. If too cut when swept across an opponent.
much weight is in the back, it is impossible to
move forward quickly. If it takes too much time The tassels move with the sword, raising the
to step, you will not be agile enough. The weapon spirit of the practitioner. At the same time, it is
will lose its continuous, flowing feeling. distracting to opponents. Tassels help balance and
demonstrate control over a weapon. When using
Borrow the momentum to make your empty and a medium length tassel, if the energy is incorrect
full clear. You have to rely on the momentum or the speed is not even, the tassel will give you
to clarify your movements. The weapons have a problem. If the energy is correct, the tassel can
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Weapons
Some people practice with wood swords and

others with metal. What material is best for
weapon practice?
Typically one should use a metal weapon, but

sometimes a wood sword is more appropriate.
When you practice weapon forms and single
movements to develop energy control, it is better
to use a metal sword. The sword we use is made
of springy metal which provides more feedback to
the person as to what part of the sword the energy
is being sent. A wooden weapon can damage your
wrist because its energy is inflexible. The same is
true of the collapsible metal swords, which have a
similar inflexible feeling like the wood swords.
Metal weapons are very slippery. If you use a

metal weapon to practice with someone, it can be
dangerous. It is important to use a wood weapon
when fencing and sword-sticking practice with
another person. In a sword fight, you would use
a metal sword, not wood; but if the energies are
understood well enough it shouldn’t matter what
weapon you have in your hand. Metal or wood,
you could pick one or the other.
I have one story about Yang Chengfu I’d like to

share.
Once, Yang Chengfu went to Wuhan to visit the

[黄鹤楼]Huang He Lou [Yellow Crane Tower].
As he was exiting, a man armed with a saber
challenged him to a duel. Master Yang Chengfu,
himself unarmed, was a virtuous man and refused
to fight. The man lunged towards him with his
help keep the energy even and changes smooth. It saber, attacking. Seeing no way to escape, Master
is said that the sword’s tassels are like falling snow. Yang broke off a small branch from a tree. Using
this small branch, he made his opponent’s weapon
The saber has flags, and like the sword’s tassels, very heavy. Even though the man attacked
your spirit can be raised by its sound. Not only are Master Yang many times, with great force, Master
the flags very distracting as they fly about, but also Yang countered every blow. Seeing his strength
their sound can also be a nuisance. subdued with only a small branch, the man gave
up and left.
When fencing, are the sword’s tassel very short?
Is it said that if you are a master calligrapher, it
That’s correct. When two people practice, the doesn’t matter what brush you use. You can make
circles can be large, small, fast, or slow. It’s not a masterpiece with anything. In the beginning,
always possible to keep the speed even. The tassel your teacher may give you advice on the proper
used in two-person practice is different than the tools. However, once when you’ve reached a high
medium length tassel used in form practice. level of skill, anything can be used.
What about the spear or staff? Where does the staff fit into this? It is made of
wood.
The spear has a decoration. In Chinese, we call it
The staff is made of a special wood, called wax
red horse-hair tassel [枪樱]. This tassel is tied to
wood. A wax wood staff is actually made from an
the tip of the spear. The red horse-hair tassel is not
entire tree trunk; its wood is flexible and springy
on the staff because the staff was made by cutting making it perfect for transmitting energy. In order
off the tip of the spear along with the tassel. to clearly send energy to other parts of the staff,
you must have a lot of coordination and control.
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If you are too stiff, the wax wood staff cannot be Isn’t throwing a metal ball as a weapon very
controlled and it will not move. difficult?
Today, in Yang Family Tai Chi Chuan, the staff is I will say this about anything; if you practice
mainly used to practice coordinating energy. The it enough, it can become natural. If you never
basic techniques are zha, lan, na [扎拦拿]. Zha is practice, you will never build that skill.
thrusting, lan is blocking, and na is controlling. In
Chinese we say if you thrust straight, even if it’s a When the weapon becomes familiar, it becomes
staff, it still acts like a spear. It pierces in a straight a part of the body. You and the weapon become
line. When it is swung, it is like a staff. When you unified and the movements are flowing, graceful
swing, the staff can sweep a vast area, striking and powerful.
all those around you [枪扎一条线棍扫一大片].
The hand guards have pronounced quillons
It acts like a string; it is flexible it but can also be
(the arms of the cross guard), is it possible to
straight.
trap weapons using them?
Similar to the sword movement Poking the Grass
The hand guards, as their name implies, guard
to Seek the Snake, the staff does not go straight
your hand. Because the weapons are slippery, it’s
out; instead, there is a curve that follows one
very easy for a weapon to slide into you when they
line out. The string can be pulled straight or it
touch. Most short weapons have a hand guard.
can curve. When thrusting, the energy is that of
When used correctly, the hand guards can trap
a dragon and when swinging it is like a wheel.
and disarm an opponent’s weapon. For example,
There’s an arc, a curve. When swinging the staff or
the saber’s hand guard can help hook and trap
spear, if you’re good, not just one person is struck.
when a weapon slides in close. By merely twisting,
Everyone around you is hit.
their weapon is in your control. You can also do
In your opinion, is one weapon more important this with the sword.
than another?
Have the hand guards changed in the past?
No, I won’t say that. Earlier, I said ‘one inch longer,
Yes, the saber hand guards changed. I don’t know
one inch stronger.’ There is another line to that
when or by whom. But the Yang family saber is
saying, [一寸小，一寸巧] ‘one inch shorter is one
unique. No other Tai Chi family uses this kind of
inch more dangerous.’ When you’re big you are
saber.
heavy, and movements take more time. When you
are one inch shorter, you are one inch faster. When The weapons are quite difficult, even after
you are small, you can be trickier. learning the hand form and push hands. What
advice do you have for people practicing
For people who are naturally strong, a long
weapons?
weapon is good match. For people who are small,
maybe a short weapon is more suitable. Who can When first using a tool, it feels uncomfortable.
say which one is better? Like the staff, it is difficult It’s the same as when you first use chopsticks;
to practice energy coordination because it’s heavy they feel difficult to control. The secret is to keep
and hard to control. practicing. If you ask anyone in China if it’s difficult
to use chopsticks, they will laugh. Some from the
It doesn’t matter if you like the staff or not. If you
West might say chopsticks are difficult to control.
are interested in developing your energy and
foundation, it’s necessary to practice with the The more you work, the easier it becomes. Gong
staff. If you are practicing Tai Chi Chuan for health fu means that if time is dedicated into something,
reasons only, maybe you can be excused from staff you will develop skill. I’d also like you to understand
practice. that Tai Chi Chuan is about balance. Practice, but
don’t practice too much.
Has the Yang Family Tai Chi Chuan ever had a
very short weapon, like a knife or dagger? If you work too hard too soon, it can hurt you. The
weapons put a lot of stress on your wrist and if you
No, we don’t have anything like that now. In past,
are not skilled enough, you may injure yourself.
there were stories of a throwing weapon, like
One should practice weapons in moderation. I
a metal ball (shot). My great-great-grandfather
hope you can find this balance and develop an
had this skill, but later generations did not learn
interest in the weapons.
this art. This part of the art of Yang Family Tai Chi
Chuan has been lost. By Eric Madsen with help from
Sylvia Dambrauska
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Weapons
WEAPON SAFETY AND ETIQUETTE
Etiquette Of Weapons Safety
The etiquette of wearing, carrying, and using a Safety comes from constant awareness of your
particular weapon depends on several factors. weapon. Even if you don’t have a truly sharp blade,
Practical considerations for handling include the it can be dangerous. Be sure you are thinking at
structure and style of the equipment, means of all times about your weapon’s placement and
carrying, ease of accessing, purpose, function, angle, and the distance between you and others.
training methods, and personal preference. Other It’s proper respect, it’s good training and it’s safe
protocols arise from cultural or regional influences, practice. You should treat it with the same attitude
legalities or conventions or fashions, and these that you would a loaded gun: no playing, no jokes,
might change over time, according to the era and no carelessness; all the time, not just in class time.
periods of peace or war. There are also numerous Don’t point the sword at another person.
traditions, stories, and symbolisms associated
with every weapon that may influence codes of Standing In Place
etiquette. Once etiquette that is appropriate to
your tradition has been explained, you should Hold your sword (or saber) by the handle and with
follow those courtesies as a show of your respect the tip pointing vertically downward, whether
for the art, for instructors, and other students. you are standing in place during class or standing
elsewhere outside of instructional time. Don’t rest
Martial Salute With Short Weapons the tip on the floor or your shoes.
Chinese martial arts practitioners greet each Walking Around

other as a sign of respect and friendship with
the “palm and fist” salute. The hand holding the Carry the exposed sword/saber from one place to
weapon becomes the “fist” shape and the other another by the handle and with the tip pointing
hand remains a palm. Forming fists with both vertically downward, with the shaft in front of you
hands indicates that you are issuing a challenge. and not over your shoulder or by your side. Pay
The individual stands upright, with feet together. attention to the angle of your sword/saber when
The weapon is held in the left hand in a standard moving about, because this is the time when
grip, with the blade either inside or outside the most accidental pokes happen. Equal attention
arm, and parallel to the forearm, and is brought is required even if the weapon is sheathed, but
to the center of the chest. The right hand is an you may carry it by the sheath. Carrying a covered
open palm, with four fingers together and the sword/saber either a hard or a soft scabbard is
thumb separated and slightly bent. The right traditional. Most bags or holders have a handle or
hand is brought to touch the weapon or the back a strap for over the shoulder. Length and weight
of the left hand. The two arms bend naturally at of the weapon plus personal preference also
the elbows. Salute with the tip down or behind affect how it is carried. If you carry your weapon
your arm; with the tip raised and exposed, you are on public transportation, particularly through an
issuing a challenge. airport, place your saber or sword inside a hard
gun case with interior padding, and declare it as
“sports equipment” for security and customs.
Passing A Sword
A sword is passed from one person to another by

using the hilt (like learning to pass scissors politely
when you were a child).
Weapons Salute
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Classroom Etiquette usually ask to inspect your weapon for safety.

Follow instructions and observe safety precautions.
Training Before performance in other situations, make your
own inspection of your weapon to see that no
Follow instructions for when to practice with the parts are loose.
group and when to practice individually. Space
yourself and your weapon’s length appropriately Examining The Blade
from other students and their weapons. Look
To examine the blade, do not touch the metal
before you issue your technique in any direction,
but rest it on cloth or on the sheath in order to
especially if you turn before or during the
examine it. Oil or sweat from your skin affects
movement. This is not only for the safety of not
the cleanliness and ultimately the condition of
hitting an unintended target—your training
the metal. Also, keep the blade distant from the
involves developing the skills of aiming and
moisture of breath from the nose and mouth.
accuracy in executing the techniques.
Purchasing
Setting the Sword Down During Class
If you are instructed to leave the training floor and The purchase options for weapons can vary quite
walk to seats during an instructional segment of widely, depending on quality of materials used in
class, place the sword on the training floor gently the blade, handle, sheath and fittings, price, and
and quietly by your right foot, handle toward the ornamentation or other special characteristics
front and tip toward the rear of the training space. according to the maker or the preference of the
At the end of class, sheath your sword and place purchaser.
it in a safe place but do not lay your sword on the Pommel: the pommel should be well attached
floor as a place to leave it. with no loose parts. There may be a finial or
Partner Work fastening ornament of some type or the fastening
may be a simple screw or nut.
Often wooden swords are used in partner work Handle: the quality of the handle is important in
training until the participants have achieved a your comfort of usage. Some weapons are made
certain degree of skill. Whether the equipment for use with two hands, others for single hand.
is wood or metal, sharp or not, extra safety The grip should be suitable for your hand size
precautions and observation of courtesies are and smooth enough for continuous use without
mandatory. irritation. Often the user wraps the handle with
athletic tape or other material for absorbing sweat
Borrowing A Weapon and to avoid slippage.
If you are allowed to borrow a weapon, ask for Hilt or Guard: the hand guard should be flat and
instructions about its usage and take special care orthogonal to the blade, and firmly attached.
of it, returning it to the person or the place where The sword guard concave toward the handle.
you obtained it. The collar below the guard should not slide or
move. The style and design is a matter of personal
Inspecting A Weapon preference and often expresses the individuality
of the manufacturer or the purchaser.
Ask Permission
Blade: the blade may or may not be sharpened
Always ask permission of the owner or the seller since usage is for training and practice and not
to hold and look at a weapon. If you are thinking for combat. It is appropriate for the back third to
of purchase, the etiquette is the same. If someone be thicker and not particularly sharp, the middle
asks to examine your weapon, give instructions third to be less thick and somewhat sharp, and the
if you reckon the person is not familiar with the front third to be thin and sharp. The taper should
weapon. be smooth and even. The spine may or may not be
strongly defined.
Preparatory To Performance
Tip: the tip should be pointed and well defined,
Before your performance in a tournament, officials but may or may not be sharp.
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Weapons
Stability: when the tip is on the floor and the Care And Cleaning, Storage
weight of the sword allowed to rest into the blade,
there should be no more than 45 degrees of flex Occasionally clean the blade with a special fluid
at the tip. intended for care of metal. At the conclusion of
your use, wipe the blade and handle with a cloth,
Balance: the balance point of the sword is a matter and apply a light coat of oil. Sheath the sword and
of preference and usage. Some users prefer the store it where moisture cannot permeate. Most
balance further forward to aid in executing certain often the students carry their personal weapons
techniques, and others prefer the balance nearer home and back to class, but if it is stored at the
the handle for quickness. school it should be kept in the designated area
Length: the length is proportionate to the user. and should have your identification on it.
When held in preparatory position in the left hand, Sources
the sword should come to the top of the ear, and
the saber to at least the bottom of the ear. Tai Chi Sword, Classical Yang Style by Dr. Yang
Jwing-Ming, 1999.
Tassel or flag: the sword tassel or the saber flag
(silks) may vary in material and color and in weight Sword Imperatives: Mastering the Kung Fu and
and quality. Properly outfitted weapons include Tai Chi Sword by Grandmaster Ju-Rong Wang and
the tassel or flag. Master Wen-Ching Wu, 2006.
Sheath: the sheath is usually wood and may Tai Chi Sword and Other Writings by Chen Weiming,
translated by Barbara Davis, 2000.
be covered with skin or imitation skin to keep
moisture out. Metal sheaths are not common. Rules for International Wushu Competition by The
Brackets should be firmly attached and not slide. International Wushu Federation.
Ornamentation: special designs or aesthetic details By Pat Rice,

on the pommel, handle, blade, sheath, or other
Director of Yang Chengfu Tai Chi
areas are matters of personal preference; they also Chuan Center, Winchester, Virginia
may be characteristic of certain manufacturers or
groups of users.
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TRADITIONAL YANG FAMILY TAI CHI CHUAN SWORD
1 预备势 - Yù Bèi Shì 22 乌龙摆尾 - Tí Shǒu Shàng Shì

Prepare Black Dragon Swings Its Tail
2 起势 - Qi Shì 23 青龙出水 - Qīng Lóng Chū Shuǐ
Opening Green Dragon Comes Out of the Water
3 三环套月 - Sān Huán Tào Yuè 24 风卷荷叶 - Fēng Juǎn Hé Yè
Circle the Moon with Three Rings Lotus Swirls Around in the Wind
4 魁星势 - Kuí Xīng Shì 25 左狮子摇头 - Zuǒ Shī Zi Yáo Tóu
Big Dipper Lion Shakes Its Head, Left
5 燕子抄水 - Yàn Zi Chāo Shuǐ 26 右狮子摇头 - Yòu Shī Zi Yáo Tóu
Swallow Skims the Water Lion Shakes Its Head, Right
6 右边拦扫 - Yòu Biān Lán Sǎo 27 虎抱头 -Hǔ Bào Tóu
Block and Sweep, Right Tiger Covers Its Head
7 左边拦扫 - Zuǒ Biān Lán Sǎo 28 野马跳涧 - Yě Mǎ Tiào Jiàn
Block and Sweep, Left Mustang Jumps the Ravine
8 小魁星 - Xiāo Kuí Xīng 29 勒马势 - Lè Mǎ Shì
Little Dipper Reining in the Stallion
9 燕子入巢 - Yàn Zi Rù Cháo 30 指南针 - Zhǐ Nán Zhēn
Swallow Returns to Its Nest Compass
10 灵猫捕鼠 - Líng Māo Pū Shǔ 31 左迎风掸尘 - Zuǒ Yíng Fēng Dǎn Chén
Agile Cat Seizes the Rat Dusting in the Wind, One
11 凤凰抬头 - Fèng Huáng Tái Tóu 32 右迎风掸尘 - Yòu Yíng Fēng Dǎn Chén
Phoenix Lifts Its Head Dusting in the Wind, Two
12 黄蜂入洞 - Huáng Fēng Rù Dòng 33 左迎风掸尘 - Zuǒ Yíng Fēng Dǎn Chén
Wasp Enters the Cave Dusting in the Wind, Three
13 凤凰右展翅 - Fèng Huáng Zuǒ Zhǎn Chì 34 顺水推舟 - Shùn Shuǐ Tuī Zhōu
Phoenix Opens Its Right Wing Pushing the Canoe with the Current
14 小魁星 - Xiáo Kuí Xīng 35 流星赶月 - Liú Xīng Gǎn Yuè
Little Dipper Comet Chases the Moon
15 凤凰左展翅 - Fèng Huáng Zuǒ Zhǎn Chì 36 天马飞瀑 - Tiān Mǎ Fēi Pù
Phoenix Opens Its Left Wing Heavenly Steed Flies over the Waterfall
16 等鱼势 - Děng Yǘ Shì 37 挑帘势 - Tiǎo Liǎn Shì
Casting the Fishing Rod Lifting the Curtain
17 右龙行势 - Yòu Lóng Xíng Shì 38 左车轮 - Zuǒ Chē Lún
Poking the Grass to Seek the Snake, One Left Cart Wheel
18 左龙行势 - Zuǒ Lóng Xíng Shì 39 右车轮 - Yòu Chē Lún
Poking the Grass to Seek the Snake, Two Right Cart Wheel
19 右龙行势 - Yòu Lóng Xíng Shì 40 燕子衔泥 - Yàn Zi Xián Ní
Poking the Grass to Seek the Snake, Three Swallow Carries Pieces of Earth in Its Beak
20 怀中抱月 - Huái Zhōng Bào Yuè 41 大鹏展翅 - Dà Péng Zhǎn Chì
Embracing the Moon Roc Extends Its Wings
21 宿鸟投林 - Sù Niǎo Tóu Lín 42 海底捞月 - Hǎi Dǐ Lāo Yue
Birds Lodging in the Forest Fishing for the Moon at the Sea Bottom
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Weapons
43 哪吒探海 - Né Zhā Tàn Hǎi 56 左落花势 - Zuǒ Luò Huā Shì

Naza Explores the Sea Bottom Falling Flowers, Left
44 犀牛望月 - Xī Niú Wàng Yuè 57 玉女穿梭 - Yù Nǚ Chuān Suō
Rhinoceros Looks at the Moon Fair Lady Works at Shuttles
45 射雁势 - Shè Yàn Shi 58 白虎搅尾 - Bái Hǔ Jiǎo Wěi
Shooting the Wild Goose White Tiger Swings Its Tail
46 青龙现爪 - Qīng Lóng Xiàn Zhǎo 59 虎抱头 - Hǔ Bào Tóu
Green Dragon Shows Its Claws Tiger Covers Its Head
47 凤凰双展翅 - Fèng Huáng Shuāng Zhǎn Chì 60 鲤鱼跳龙门 - Lǐ Yú Tiào Lóng Mén
Phoenix Opens Both Its Wings Fish Jumps Over the Dragon Gate
48 左跨拦 - Zuǒ Kuà Lán 61 左乌龙搅柱 - Zuǒ Wū Lóng Jiǎo Zhù
Step Over and Block Up, Left Black Dragon Twists Around the Pole, Left
49 右跨拦 - Yòu Kuà Lán 62 右乌龙搅柱 - Yòu Wū Lóng Jiǎo Zhù
Step Over and Block Up, Right Black Dragon Twists Around the Pole, Right
50 射雁势 - Shè Yàn Shì 63 仙人指路 - Xiān Rén Zhǐ Lù
Shooting the Wild Goose Immortal Points the Way
51 白猿献果 - Bái Yuán Xiàn Guǒ 64 朝天一柱香 - Cháo Tiān Yī Zhù Xiāng
White Ape Presents the Fruit An Incense for Heaven
52 左落花势 - Zuǒ Luò Huā Shì 65 风扫梅花 - Fēng Sǎo Méi Huā
Falling Flowers, Left Plum Flowers Being Swept by the Wind
53 右落花势 - Yòu Luò Huā Shì 66 牙笏势 - Yá Hū Shì
Falling Flowers, Right Presenting the Tablet
54 左落花势 - Zuǒ Luò Huā Shì 67 抱剑归原 - Bào Jiàn Guī Yuān
Falling Flowers, Left Return the Sword to Its Original Position
55 右落花势 - Yòu Luò Huā Shì
Falling Flowers, Right
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THE THIRTEEN KEY TERMS FOR THE SWORD (SHISAN ZIJUE)
劈 -Split
Pī 崩 -Burst
Shooting Star Chases the Moon Bēng

Swallow Carries Pieces of Earth in Its Beak
刺 -Thrust
点 -Point
Cì
Diăn Birds Lodging in the Forest
Casting the Fishing Rod
抽 -Draw
带 -Lead
Choū
Daì
Rhinoceros Looks
White Ape
at the Moon
Presents the Fruit
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Weapons
提 -Lift 撩 -Circle
Tí Liáo
Big Dipper
Lifting up
the Curtain
搅
Jiăo
-Stir
Fair Lady Works at

Shuttles
击 -Strike
Jí
Phoenix Opens Its Right Wing
压 -Press
Yā
Phoenix Opens Its Left Wing
抹 -Slice
截 -Intercept
Jié
Mŏ
Black Dragon
Block and Sweep, Right
Swings Its Tail
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“A pair of swords about to part

First cried out in their case.
In night’s smoky rain they became one,
Then they took different forms.
The female sank in Wu River water,
The male flew into Chu City.
Wu River is deep and fathomless,
Chu City has forbidding portals.
Once Heaven parted from Earth
Wasn’t that worse than Light gone from Dark?
Magic things do not part forever,
One thousand years and they reunite.”
Pao Chao, New Songs from a Jade Terrace

539-545 A.D.1
HISTORY AND MYTHOLOGY OF THE TAI CHI JIAN
In considering the various weapons of the Chinese martial arts, none

have inspired as much folklore, art, and study as the double-edged sword
known as the jian. Once one of the most popular weapons in China, the
jian has been used by soldiers in battle, priests in ritual, and ancient relics
of the jian are often found alongside the tombs of the once-powerful
kings and noblemen of Chinese history. Over thousands of years, in the
vast land that we know as China, from it’s Neolithic beginnings as a solid
stone, bone, or wooden dagger,2 the sword gradually transformed into
a integral part of Chinese martial arts and an enduring symbol of the
culture, spirit and values of the Chinese people.
History
There is not a specific type of sword just for Tai Chi Chuan. The sword that
is used in Tai Chi is the same one that has developed over centuries of
Chinese history, used by warriors, scholars and Daoist immortals from a
wide range of disciplines. The first metal weapons in China’s history are
said to have come from the time of the Yellow Emperor, around 2600
BC. Some of the oldest examples the jian that have been discovered
date from the Xia Dynasty period, around 2000 BC. Although these early
examples are double-edged, they tend to more closely resemble the
short, wide daggers and spearheads from which the sword gradually
developed.3 These were no match for the more popular dagger-axe and
spears on the battlefield, which were much more deadly to wield from
a short distance away.4 It is possible that these early swords actually
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Weapons
developed from the extra dagger-axe blades or became much more widespread and were further
spearheads that soldiers carried in their belts developed in sharpness and durability. By the time
and used in the last instance of close combat.5 of the Tang Dynasty (618-907), the jian had taken
By the Zhou Dynasty, beginning in 1100 BC, the on the basic form that is still common to this day.11
early jian had become one of the most popularly Over time, the nature of warfare in China changed,
used weapons in battle,6 although some scholars and the role of the sword in battle changed as
still consider the jian of that time as a secondary well. From the Han Dynasty to the Southern and
weapon. As bronze metallurgy steadily developed, Northern Dynasty (420-581) the jian was gradually
alloys of copper and tin increased the sharpness replaced in battle by the dao, or saber, which had
and durability of the weapon. Examples of the jian long been an effective slashing weapon for foot
from this period are limited to a length of less than soldiers and the cavalry alike. From this time on,
16 inches, which makes them much closer in size soldiers commonly carried the dao in battle, while
to a dagger than a sword. only officers continued to carry the jian. As the dao
took precedence in the military world because it
The Spring and Autumn Period of Chinese history was inexpensive to produce and it’s chopping and
(770-475 BC) was a time of great philosophical hacking techniques easier to learn, the jian, with
development, and the time in which the important it’s graceful, flexible and exact nature gradually
scholars Confucius and Laozi are believed to have became more associated with scholars and the
lived. As the ideas that would define Chinese martial arts, and less a weapon of mass use on
thought and civilization were being the battlefield. Within the martial arts, the
developed, the jian was also undergoing nature of the sword changed over time as
History and Myth

important changes. Although swords well.
of this period were still made of
bronze, copper and tin, skilled As the focus of martial arts moved from
artisans developed a mastery of the fighting for survival to one of health
methods of production that increased and culture, it became less important
the length, sharpness and durability that the sword be razor sharp at the tip and
of the jian.7 At the same time, chariot strong enough to parry other swords near
warfare, which had previously relied on the the hilt. In Tai Chi Chuan, a heavier sword is
dagger-axe and spear, began to decline due to not necessarily considered better,
the increased use of cavalry and foot soldiers8 and because it could cause stiffness
the use of the jian became more common. The in the practitioner's body and
best know surviving sword from this era, the have a negative impact on the
Sword of Goujian is said to have belonged training. Swords of the past
to the King of Yue, who has long been the could weigh as much as three
subject of many legends that tell of his mastery pounds or more, but a present
of the jian. The Sword of Goujian is an incredible day Tai Chi jian will normally be
example of the sword makers’ art near the end of around 1.5 pounds, or 700 grams.
the bronze sword era. The blade, though buried for In China’s rich past, stories of master sword-makers
2000 years, was found to still be razor sharp, and were common, but in more recent history, the
shining brightly with etched triangular patterns sword smiths of China’s past have dwindled down
and characters when unearthed. to only a handful, and the large majority of metal
weapons are mass-produced in factories. A true
The Qin Dynasty (221-206 BC) presented another hand made jian from a master can cost several
important time of development for the jian. As thousand dollars. A traditional sword maker will
early iron production methods that removed not usually sell a sword without first determining
excess carbon and strengthened the metal were that the buyer possesses the skill and good
developed9, the nature of swordcraft also changed. judgment to use the sword correctly and respect
The new iron jian was of such a superior strength the tradition that surrounds it.
and sharpness that some people believe that
the success of the Qin in conquering their rivals Myths and Legends
and unifying China was largely due to the Qin
army’s use of iron swords.10 In the following Han Fantastic stories of immortals and magic run
Dynasty (206 BC-221 AD) iron and steel swords through the history and legend of the Chinese
sword. The legendary inventor of metallurgy
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and weapons in ancient China is Chi You, the mythical ancestor of the Hmong
people.12 Chi You and his brothers were said to be imposing figures that looked
like bulls, with heads made of metal, horns on their heads, hooves as feet, and
temples and ears like swords and spears. An account from 645 BC. tells of how
the Yellow Emperor opened the mountain and enabled Chi You to began working
with metal.13 Chi You soon rebelled against the Yellow Emperor, and they clashed
at the famous battle of Zhou Lu. During the battle, Chi Yu created a thick fog and
nearly won, but the Yellow Emperor used an ingenious invention called the south-
facing chariot, which worked like a compass, to overcome the fog and defeat Chi
You. When Chi You was executed, his shackles turned into a maple tree.14
Another very famous old story tells of the master sword maker Gan Jiang and his
wife Mo Xie, who lived in the state of Wu in the third century BC. Gan Jiang was
a famous sword smith who found the best iron and gold from the mountains
while wearing the ceremonial clothing of white hemp clothes and a robe made
of sweet grass. He then waited for the proper season and time under heaven to
forge the metals so that yin and yang would be in harmony. Tales of Gan Jiang
spread and soon King Ho Lu commissioned two special swords to be made.
Despite Gan Jiang’s efforts to make the swords in harmony with heaven and
nature, three years passed and the swords were not finished because the metal
would not melt in the oven. Finally, Mo Xie, fearing that her husband would be
executed by the king, threw herself into the oven as a sacrifice to heaven and
three hundred boys and girls worked the bellows together until the iron and
gold liquefied and the two swords were created. The Yang sword was named Gan
Jiang and the Yin sword was called Mo Xie. Gan Jiang hid the Yang sword under
a tree and delivered the Yin one to the king, who valued it as a great treasure.
Although Mo Xie jumped in the furnace, she appears in a later story about the
swords, when she helps her son find the Yang sword that is hidden under the tree.
It is unlikely that she really jumped into the forge, but the famous story conveys
the tedious process of crafting special weapons, and the sacrifice that masters
made for their art form.15
The sword forms in Yang Family Tai Chi Chuan tend to be named after either the
sword technique in the movement, a nature or animal theme or legends and
myths. Many of the stories behind the names of the Tai Chi Chuan forms are
based on the stories of Chinese Immortals, who are said to have been people
who lived long ago and were of such good character of skill that they passed
into the immortal realm where they live on as deities who possess great powers
to influence the world of humans. Perhaps the most well known of the Daoist
Immortals, Lu Dong Bin is depicted as a scholar carrying a sword as he travels
about vanquishing evil, and is said to have written this poem:
“In the morning I travel to the North Sea, in the evening to Cangwu.
In my sleeve is a blue-green snake (the name of Lu’s magic sword),
courageous and rough is my appearance. Thrice I entered Yueyang, but
no one recognized me, Singing a song as I flew by Lake Dongting.” 16
Lu Dong Bin is the figure in the Yang Family sword form called “Immortal Points
The Way," not because he pointed his famous sword in any particular incident, but
because he was the first of the Eight Immortals and took on the task of guiding
the other seven to the immortal realm, thus “pointing the way” for them to join
him. Lu himself was led to the path of immortality by a hermit who offered to
teach him to turn normal stones into gold. After learning that the gold would
turn back to stone in three thousand years, Lu refused the magic because he did
not want to cheat people in the future. The hermit was touched by Lu’s character,
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Weapons
and eventually took him to the celestial realm to live there as an

immortal.
Besides the Eight Daoist Immortals, there are many other immortal
characters that populate the myths of legends of Chinese culture.
The “Casting the Fishing Rod” movement in the sword form refers
to the famous immortal Zhang Ziya. Zhang was born very poor,
and was abandoned by his family. For a while he was cared for by
animals, who kept him alive. A noble woman adopted him and
the young Zhang quickly became a master of military strategy,
astronomy and geography. A celestial lord informed Zhang that
he would play an important part in ending the rule of the cruel
Shang Emperor, who violently ruled over the people of that time.
When Duke Chi, who would soon become the new emperor, came
to seek the advice of Zhang Ziya, Zhang sent a message that he
was unavailable because he had gone fishing. This was to test the
patience of Duke Chi to make sure that he would be a good ruler
before agreeing to help him. Zhang avoided the Duke several
times while fishing, and each time, Duke Chi was unperturbed,
proving to Zhang that he could be a wise Emperor. Finally, Zhang
agreed to help him, and he stood up on a hill and drew out his
sword, performing a magic ritual that caused snow to fall on the
emperor’s army, freezing them, then thawing them, which caused
a flood. After this Zhang froze them again and the cruel emperor’s
army was in total ruins. After the emperor’s army was defeated,
Zhang was made the chief minister, but he retired as soon as the
nation had recovered from the Shang Emperor’s cruelty. After
Zhang Ziya retired, he chose to live out his days in the mountains
in peace, and whenever government officials sought him out for
advice, they were told that he had gone out fishing, and would
not be available.17
The story of Nezha Explores the Sea comes from the Chinese epic
written in the Ming Dynasty called the Fengshen Yanji, or Creation
of the Gods. Nezha is a young boy who is a reincarnation of the
Pearl Spirit, disciple of the Fairy Primordial. Nezha’s mother was
pregnant for three years, until one night she had a prophetic
dream that a Daoist master spoke to her, and a son was born the
next day. Because Nezha was born in the shape of a ball, his father
thought he was a demon, and chopped the ball with his sword.
When the ball split, Nezha jumped out. He was shining with red
light, wearing a magical gold bracelet called the Universal Ring
and his belly was wrapped in a piece of glowing red silk called the
Sky Muddling Damask. Nezha was a polite and respectful child
to his parents, but because of his special powers he accidentally
caused a lot of trouble for them.
One day when Nezha was seven years old, and already 6 feet tall,
he went to the Nine Bend River to cool off on a hot day. Each time
he dipped his powerful red scarf into the water to cool himself
it caused the river to shake so much that it disturbed the Crystal
Palace of the East Sea where the Dragon King named Ao Guang
lived. The Dragon King became angry, and sent a dragon guard
to investigate. The huge guard had a blue face, red hair and long
tusks, and he angrily attacked Nezha with a battle-axe. Nezha
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neutralized the blow and struck the guard with finer your character. The sword is one of
his magic ring, killing him. Next came the Dragon the five special disciplines that build the
King’s son, Ao Bing, but he met the same fate as gentleness, wisdom, and integrity of the
the guard under a blow from Nezha’s magic ring. person who works to master it.20 The Tai
The Dragon King was furious, and he went to Chi Chuan practitioner brings the jian to
Nezha’s father, saying that he would report them life with years of continual practice as the
to the Jade Emperor, who would deal with them graceful, precise, and powerful movements
very severely. of the form bring energy to the blade. The
sword in turn brings the person who wields
After this, Nezha’s exasperated father tells Nezha it a calm focus, refined strength and an
to just stay in the garden and play, but Nezha finds unbroken connection to the beautiful and
a bow and some arrows and playfully shoots an fascinating history of the jian.
arrow into the air. As it turns out, it was a magic
bow that no mortal could draw, and the arrow By Edward Moore
went across the sky and killed the disciple of a
the powerful fairy named Lady Rock. Lady Rock, 1 Birrell, Anne. Chinese mythology: an introduction. Baltimore,
after learning who shot the arrow, flew off to the MD: Johns Hopkins Univ. Pr., 1993. 224
cave of Nezha’s master, the Fairy Primordial to seek
2 Ancient Chinese Warfare. NY: Basic Books, 2011. 274
revenge. She angrily attacked the Fairy Primordial,
but since she was not yet immortal, she was no 3 ibid, 276
match for his power and he turned her back into 4 ibid, 270
her original form, a rock. The Fairy Primordial then
told Nezha to return to his parents, who were 5 ibid, 270
about to be arrested by the powerful Jade Emperor 6 Zhang, Yun. The Art of Chinese Swordsmanship: Manual of Tai
for what Nezha had done to the Dragon King. Chi Jian. N.Y.: Weatherhill, 1998. 16.
Nezha, worried for his parents safely rushed home.
7 ibid, 16
The house was in an uproar and the Four Dragon
Kings had come to take his parents away. Nezha 8 Buckley, Patricia. The Cambridge Illustrated History of China.
burst in and said, “I assume full responsibility for London: Cambridge Univ. Pr., 1999. 41
what I have done and shall pay with my life. My 9 Winchester, Simon. The man who loved China: the fantastic
parents are in no way involved. ” With that he drew story of the eccentric scientist who unlocked the mysteries of the
out his sword and cut himself to pieces and his Middle Kingdom. N.Y. HarperCollins, 2008. 185
soul floated on the wind to Qianyuan Mountain.
10 Zhang, Yun, op.cit., 18
After Nezha floated back to his master, he was
eventually reincarnated with a body of lotus 11 ibid, 19
flowers, and allowed to continue his adventures.”18 12 Po, Ya. An Introduction to Hmong Culture. Jefferson, NC:
McFarland & Company, 2010. 8
These stories are only a very small fragment of
the many myths, legends and poems that are 13 Birrell, Anne. Chinese Mythology: an Introduction. Baltimore,
related to the Tai Chi Jian. For the student of Tai MD: Johns Hopkins Univ. Pr., 1993. 50
Chi Chuan, they are useful for understanding 14 Yang, Lihui, and Deming An. Handbook of Chinese Mythology.
and appreciating the important role of the sword New York, NY: Abc-clio, 2005. 93
and those who wielded it in traditional Chinese
15 Birrell, Anne, op.cit., 221.
history and culture. Just as King Arthur’s Excalibur
was a dazzling symbol of honor and chivalry, 16 Little, Stephen, and Shawn Eichman. Taoism and the Arts of
the classical knights-errant of China and their China. Chicago/Berkeley: University of California Press, 2000. 327
legendary weapons came to symbolize moral
17 Wong, Eva. Tales of the Taoist Immortals. Boston, MA:
strength, decisiveness, bravery, loyalty and virtue
Shambhala Publications, 2001. 89
as they fought evil and protected the innocent
throughout the millennia.19 18 Gu, Zhizhong. Creation of the Gods. Beijing, China: China
Books & Periodicals, 1992. 131-67.
Studying the myths and legends of the Tai 19 Di, Nicola, Robin D., and Ralph D. Military Culture in Imperial
Chi Jian provides insight into the deep and
China. London, England: Harvard Univ.Pr., 2011. 231.
honorable traditions that are the precursors to
today’s sword forms. In China, it has long been 20 Zhang, Yun, op.cit.,21
thought that the better your sword abilities, the
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Weapons
THE SABER 13 FORM: AN INTRODUCTION
form. It requires the movements to be standard

and accurate. Stress is placed on the skill in
coordinating the hand form, eye movement,
bodywork, and stepping. The waist is the dominant
factor in leading all the movements. The arms
follow the body’s turning. The saber follows the
arm’s movements.
Tai Chi Saber is performed while following a special

classical poem. The form has 13 postures and it
follows the 13 lines of a poem in a song-like rhyme.
The poem conveys the spirit of the movements
rather than name of each individual posture. Each
line of the poem describes actions involving rare
birds and mythological animals, fish, flowers,
mountains and water. It alludes to fairy tales and
legends. Using the imagination, the practitioner
will enter a beautiful realm of self-fulfillment and
pleasure. The form is of great benefit for both body
and mind.
Each of the 13 lines of the poem has 7 characters.

Though brief, the meaning of each line is very
deep. The poem contains:
1. The yin and yang philosophy.
2. The principles of Yang Family Tai Chi Chuan.
3. The characteristics of Tai Chi Saber.
4. The techniques of Tai Chi Saber.
Tai Chi Saber has 13 techniques. They are: chop,

split, cut, intercept, uppercut, downward cut,
thrust, winding, blocking, withdrawing, sliding,
slicing and peeling.
The traditional Yang Family Tai Chi Saber is one of In the form, one movement has many techniques
the short weapons in the Yang Family tradition. It and it is very difficult to distinguish each of the
came from the Yang Family Tai Chi Chuan empty techniques in the movement. Therefore, I am
hand form. The requirements, the method, and the not going to explain each of the techniques.. You
characteristics of Yang Family Tai Chi Saber are the need to follow the intent of the saber skills, saber
same as the empty hand form. Even some of the techniques, and saber movements. Practice the
postures are similar to the empty hand form. With 13 saber techniques regularly. Practice the 13
the inclusion of the steel saber, the form is more techniques.
powerful and shows a higher spirit. It has a unique
style of its own. By Master Yang Jun
The requirements of practice include the “Ten translated by Han Hoong Wang.
Essentials of Tai Chi Chuan” as a guideline, and August 30, 1999.
the techniques specific to the saber. The pace of
the movements is faster than in the empty hand
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THE SABER 13 FORM AND POEM
CHINESE PINYING ENGLISH

Seven stars to mount the tiger,
1. 七星跨虎交刀势 Qī Xīng Kuà Hǔ Jiāo Dāo Shì
wielding the saber form.
Spring-and-clear to daze-and-
2. 腾挪闪展意气扬 Téng Nuó Shǎn Zhǎn Yì Qì Yáng
strike with will and spirit raised.
Looking leftward, gazing right,
3. 左顾右盼两分张 Zuǒ Gù Yòu Pàn Liǎng Kāi Zhāng
the two components part.
White crane displays its wings
4. 白鹤亮翅五行掌 Bái Hè Liàng Chì Wǔ Xíng Zhǎng
to palm the five-fold states.
Breezes turn the lotus bloom
5. 风卷荷花叶里藏 Fēng Juǎn Hé Huā Yè Lǐ Cáng
to hide it in the leaves.
Treasured maidens work their
6. 玉女穿梭八方势 Yù Nǚ Chuān Suō Bā Fāng Shì
shuttles facing eightfold ways.
Triple stars open, close,
7. 三星开合自主张 Sān Xīng Kaī Hé Zì Zhǔ Zhāng
extending to their will.
Double legs arising come and
8. 二起脚来打虎势 Ér Qǐ Jiǎo Lái Dǎ Hǔ Shì
strike the tiger posture.
Drape the body, hang aslant,
9. 披身斜挂鸳鸯脚 Pī Shēn Xié Kuà Yuān Yāng Jiǎo
kick like doting ducks.
With the current, push the boat,
10. 顺水推舟鞭做篙 Shùn Shǔi Tuī Zhōu Biān Zuò Gǎo
the whip can be a pole.
Lower posture, thrice combining,
11. 下势三合自由招 Xià Shì Sān Hé Zì Yóu Zhāo
freedom calls to roll.
Leftward, rightward cleaving
12. 左右分水龙还跳 Zuǒ Yòu Fēn Shuǐ Lóng Mén Tiào
streams, the Dragon Gate to crest.
Old Bian-He retrieves his stone
13. 卞和携石凤还巢 Biàn Hé Xié Shí Fèng Huán Cháo
and phoenix returns to nest.
Translated by Audi Peal
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Weapons
THE TAI CHI SABER
Saber is one of the two most popular short Parts

weapons among Chinese martial arts. The other is
1. Ring – daohuan 刀环
the straight sword.
2. Back – daobei 刀背
Normally, one saber is used at a time. This method
3. Edge – daoren 刀刃
is called “dan dao” (单刀) or single saber. To use two
sabers at the same time is called “shuang dao” (双 4. Tip – daojian 刀尖
刀) or double saber, for instance, in Chen Tai Chi. 5. Guard – hushou 护手
There are a great variety of sabers. There are short, 6. Handle – daoba 刀把
medium and long ones. Among short sabers, the 7. Blade – daoshen 刀身
most popular is the called “niu wei dao” (牛尾刀)
8. Flags or Silks - daocai 刀彩
or ox tail saber. Its blade is wide; its shape is like
a scimitar and is the regular saber for almost all
styles. Besides this broadsword, there is the “nine
ring saber,” the “double butterflies knives,” the
“miao dao” (苗刀) a long and narrow saber used
with two hands, the “da kan dao” or big chop
saber and longer, for use by or against cavalry, the
“pudao” (朴刀) or simple saber and the “guan dao”
(关刀) or General Guan´s saber, etc. Use
The dao was the first weapon taught in the The Tai Chi Dao is held with one hand at a time,
Chinese army, as its usage depended more on though the other hand is always moving, blocking
strength and speed rather than subtlety and jin or striking the opponent or balancing the blade´s
comprehension, as demanded by the straight displacement. For the experts, the skill level of the
sword. So, infantrymen, with very little time of practitioner would be told not by the movement
practice, could go to the battlefield and use the of the dao, but by the movement of the empty
saber in an effective way. Techniques are simpler, hand, as it is said in Chinese: “dan dao kan shou” 单
刀看手 (“in single saber, look at the hand”).
and because it is a single edged weapon, less
skill was needed than the straight double-edged There should be coordination between the
sword. saber, the empty hand and legs. Here, the same
principles of Tai Chi Chuan must be applied,
The Yang family has an official saber. There´s no
“energy is generated by legs, routed by waist
record about who adopted it. It is like a western and manifested by arms and hands and, finally,
saber and its main feature is that it can generate projected by the broadsword.” The Ten Essential
great momentum which allows for very fast Principles as criterion are needed too. If they were
cuts. With a special shape, its blade is longer and not used, you would not be able to deflect 1000
narrower than a regular saber, so the applications pounds with 4 ounces!
are more subtle. The guard is different too, with its
“S” shape, it not only can protect the practitioner’s Grandmaster Yang Zhenduo says, “the saber
hand, it can also trap the opponent’s weapon with manner is full of power and grandeur and the
a twist movement. The Yang family call its special posture is smooth and free.”
type of saber, Tai Chi Dao which is used exclusively
Flags or Silks
by the Yang Tai Chi Chuan Family.
What´s the meaning of the piece of cloth hanged
Chinese people say that the saber´s spirit is tiger
from saber´s ring? I´ve been told that in ancient
as the straight sword is dragon. One is strong times, in real fighting situations, flags were used to
and savage and the other is graceful and subtle. get the opponent´s attention with its bright colors
Grandmaster Yang Zhenduo says that Tai Chi Dao moving from side to side, allowing the swordsman
should be executed with power, prestige and to be tricky, hiding his real intentions. Besides, he
distinction.
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could dry his sweaty or bloody hands or, even Three Stars
more, he could catch the saber in case it slipped
away from his hand. Among Daoism’s most popular characters are the
well known “San Xing,” which means the “Three
I don´t know if all these things are true. I think that Stars” or the “Three Happinesses.” Daoists loved
using flagsare a way of increasing the difficulty these divinities and respect them very much. They
of the weapon;s handling and the flags could be are: Fu Sing, the “Star of Good Luck” or the “God
used as a tool to know if movements are done with of Happiness”; Shou Xing, the “Star of Old Age” or
the right speed and jin. We know, for instance, that the “ God of Longevity”; and Lu Xing, the “Star of
accelerating a bit more than required, would make Well-Being or the “God of Official Positions and
flags twist around our wrist. Well Being.”
Master Yang Jun says that flags are used as Mandarin Duck Kick
decoration to complete the weapon.
Yuan Yang Jiao (鸳鸯脚) is referred in the classical
Why such colors? Grandmaster Yang Zhenduo Chinese book, “Outlaws of the Marsh” (水浒传),
says that non-matched colors represent the tiger´s also known as “The Liangshan Rebels,” by Shi
wild spirit. Naian. There, one of the rebels, Wu Song (武松),
famous for his strength and martial arts ability,
Form killed a tiger with his bare hands (probably, “Strike
the Tiger” movement comes from this legend
The Traditional Yang Family Saber Form has
about Wu Song). His kicks techniques were called
13 movements. Names of each movement are
“Mandarin Duck Kicks” or “Duck and Drake Feet.”
described by a poem, using seven character
He also fought at the Mandarin Duck Tower (Yuan
sentences as a mnemonic tool, instead of calling
Yang Lou).
each technique by its name, like the sword or
hand forms do. The names of these leg techniques are present
in several Chinese martial arts, like Mantis Tang
Although execution is based on empty hand
Lang Quan (Mandarin Duck’s Leg “Yuan Yang Tui”)
principles, it should be more energetic and vivid
Chuo Jiao Quan, etc. They refer to a double kick. As
and should be done at a higher speed, even faster
Mandarin ducks, always in pairs (male and female,
than the sword form.
yin and yang), both on water or on land, double
Information On Some Of The Names kicks come in pairs, one low (yin) and the other,
high (yang). In the Tai Chi Dao form, it seems that
Seven Stars low kick has been removed, thus leaving just the
high kick, the same as in “Double Legs Arising…”
In Chinese culture, there are different meanings for movement.
the words “Seven Stars.” But as a martial art, these
two words probably refer to the most important Old Bian He
parts of the body: head, shoulders, elbows, hands,
waist, knees and foot. A man called Bian He, from the Chu state, saw a
phoenix flying over a mountain in Shennongjia.
Jumping Dragon´s Gate He was sure that there was some kind of treasure
on that peak. After searching vigorously, Bian He
Chinese mythology says that every year, in March, found a piece of jade. He decided to present the
when the peach trees blossom, and the snow valuable jade to the Emperor to show his official
from the upper parts of the Yellow River cause the loyalty to his sovereign, Chuli. But when the
river to grow in size and the current rush fiercely emperor called the court jeweler, he judged it as
downstream, the Carps from the East Sea swim a valueless stone, which made Emperor Chuli very
upstream. They gather at the Dragon´s Gate to angry, and cruelly had Bian He’s left foot cut off as
join the Great Tournament organized by the Jade punishment.
Emperor. Because it was during the flood season,
the river’s current was so fast that the waves were Bian He decided to give the valuable jade to
as high as mountains. Carps that succeeded in the new Emperor Chuwu when he inherited the
jumping the Dragon’s Gate, thanks to the Jade throne. Emperor Chuwu also had the jade stone
Emperor, were transformed into beautiful dragons. checked by the court’s jeweler who also concluded
Those that did not succeed went back to China’s that it was a valueless stone which resulted in Bian
East Sea, to train until the next March competition. He losing his other foot.
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Weapons
After the death of Emperor Chuwu, the Prince When Emperor Chuwen ordered the stone to be
Chuwen was enthroned. Again, Bian He took his opened, the precious valuable jade was found
stone to the palace and stayed at the gate crying inside. In honor of Bian He´s determination, the
sadly for seven days and nights. While out in the stone was named He´s Jade.
courtyard, Emperor Chuwen heard Bian He’s
crying. He ordered his men to find out why Bian The Thirteen Saber Techniques
He was so sad (feet amputation was common
In general, we can say that there are four kinds of
during those days). Bian He answered that he
saber techniques: cutting, slashing, blocking and
was sad not for his feet, he was sad because his
parrying. Listed are some of the common saber
invaluable gift to the emperor was considered a
techniques:
common valueless stone and that Bian He who
was a very loyal patriot was considered a big joke. 砍 Kǎn, (to chop) Like pi it is a powerful downward
chopping that uses forearm. Usually it follows a
diagonally path, toward the target.
剁 Duò, (to clip or mince) To cut wrist with a slicing

motion, generally, in a short distance.
劈 Pī, (to hack or split in two) It is a large, powerful

chop that uses the whole arm. Usually, is directed
downward.
截 Jié, (to intercept) block opponent´s weapon or

arm.
撩 Liāo, (to lift up) An upward cut that can be

forceful or light.
扎 Zhā, (to bind, plunge or prick) A short distance

thrust. It is fast and sudden.
刺 Cì, (to stab) Tip moves straight, extending quite

forward. It is a powerful skill.
缠 Chán, (to tie up or to wrap) Chantou guannao is

a wind-up block and wrap around the head.
扇 Shàn, (to fan, stir up, or incite) Defensive

movement with the back of the blade knocking
away opponent´s weapon.
拦 Lán, (to block) A parry skill that can originate

from any direction. It blocks an opponent’s
weapon.
滑 Huá, (to slide) From touching the opponent´s

weapon, then slide the saber quickly toward him,
cutting his hand or other part of his body.
划 Huà, (to slice) The tip of the saber is used to

make a linear cut in the target. It is a quick but not
so powerful movement.
刮Guā, (to scrape) A long but not deep cut with

the edge of the saber on opponent´s arm.
By Ruben Coirini, Affiliated School

Director in Roasario, Argentina
- 168 -
Chapter 11
Push Hands
Push Hands
CHAPTER 11
PUSH HANDS
PUSH HANDS
Introduction
In the learning sequence of the association, push hands is taught after a person has had one year’s
experience and has achieved the level of rank 2. Push hands is a part of the learning sequence from rank
2 to rank 6. The skills required become more complex and difficult as a person progresses up the ranking
system of the association.
Fixed-Step Single-Arm Push Hands
Fixed-step single-arm push hands consists of horizontal, vertical and figure 8 circling. When initially
contacting their partner, the practitioners should touch wrist to wrist. While circling, one should pay close
attention to the push hands principles of sticking, adhering, connecting and following. This is a mutual
exchange; the goal is not to push your partner over to prove your skill. Do not commit the errors of
insufficiency, double weightedness, sliding , resisting, or leading. It is called “fixed step” because although
the legs move, the feet stay in a fixed position.
Ready Stance
The ready position when starting practice

with a partner is a simple bow step. Your
weight is more in the middle than in the
front leg. The leading arm is the arm
that contacts with your partner and
matches your front leg (also called your
leading leg). The active arm is in Ward-Off
posture and connected to the back of the
partner’s wrist. There should be a feeling
of connection to the partner. The arm is
relaxed but present without resistance.
The other arm is placed behind the small
of the back.
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1. Single-Arm Horizontal Circle 单臂平圆 Dan Bi Ping Yuan
- 171 -
Push Hands
Once the connection is comfortable, either person the weight to the back leg, gradually changing
initiates the pushing. The person pushing aims the arm shape from Ward-Off to pull at the end.
for the center of their partner’s chest, slightly This change illustrates the mutual interaction of
lower than the collarbone. The person pushing yin and yang without breaking the flow of energy.
may need to adjust the push to accommodate Once the pulling arm is past the body, the person
people of different heights. While pushing, move yielding becomes the person pushing and the
your weight forward, being careful to keep the person pushing becomes the person yielding.
knee and toes in alignment. Remember to push The person yielding should take special care to
from the whole body but don’t push so hard as to not lean the torso back; this is an error. The person
unbalance one’s partner. Remember these circles yielding must turn with the waist and not just
are a cooperative exercise. wave the arms. The person pushing should aim
for the center of their partner’s chest and follow
The person yielding responds only to the push through until the arm is extended.
given by the partner without disconnecting,
sliding, resisting, or leading. The point is to The single-arm circle should have no stopping
neutralize the push energy so that it lands on point. It is clear when yin becomes yang; with
“nothing,” while keeping the partner connected to proper timing and practice this transition becomes
your arm. As the push comes in, rotate the waist smooth and even.
in the direction of the primary arm while shifting
- 172 -
2. Single-Arm Vertical Circle 单臂立圆, Dan Bi Li Yuan
- 173 -
Push Hands
This circle starts when the person yielding to push brings the energy up or down. When bringing the
push upwards, the arm moves back, bending at the elbow,, bringing the hand to a position by the temple,
and then changing to push. After the transition, the person yielding draws the push downwards until the
palm is about waist-level then transitioning to push. The waist leads this circle.
When transitioning between yielding and pushing, follow the correct method of rotating the palm. It
should not be too early or too late. Both practitioners finish the transition the moment both are ready to
either push or yield.
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3. Figure-8 Circle 单臂八字圆, Dan Bi Ba Zi Yuan
This circle starts with one person pushing towards their partner’s chest. The person yielding starts by
using Ward-Off then drops their elbow, drawing the push energy diagonally downwards. At the bottom of
the circle, the back of the hand of the person yielding is on top of the back of the hand of person pushing.
Using “zhan,” the person yielding scoops the hand of the person who was pushing, thus changing their
roles.
- 175 -
Push Hands
- 176 -
Fixed-Step Double-Arm Circling
Once single-arm circling has become comfortable

and smooth, practitioners move on to learn double-
arm circling. While in double-arm circling, the primary
hand typically attaches to the wrist and the off-arm
to the partner’s elbow guarding against an attack.
Because these circles are cooperative exercises, be
sure to keep the Ward-Off energy present, giving
your partner something to work with. It is crucially
important to not be double-weighted in the process.
Double-weightedness occurs when yin and yang are
not clearly differentiated. In push hands, when one
person attacks, they are yang; the person yielding
must be yin to neutralize. That is the theory of Tai Chi
Chuan. If, when receiving an attack, the response is to
attack as well instead of yielding, then both sides will
be double weighted. It is then a matter of the strong
prevailing over the weak. Who needs skill for that?
The only real way to overcome double-weightedness
is to use the skill of “listening.” From using the skill
of listening you can gain the understanding of your
opponent’s energy, by which one can understand
how to immediately counteract an opponent’s energy.
After that, you can move freely in response to an
opponent’s movements.
- 177 -
Push Hands
1. Double-Arm Vertical Circle 四正立圆, Si Zhen Li Yuan
The vertical double-arm circling consists of the four square energies: Ward-Off, Roll-Back Press and Push.
It applies the four square energies in the vertical plane. It is typically the first double arm circling taught
after learning the basic single-arm circles.
Starting from Push, the person yielding directs the Push energy upwards, connecting to their partner’s
upper arm with their forearm to become Roll-Back. The person using Roll-Back shifts their weight back
changing to Push; the person yielding shifts their weight forward changing to Press. At this position,
the person in Push is at the furthest point back and the person in Press is at the furthest point forward.
The person doing Press uses Ward-Off to deflect the Push energy of their partner changing to Roll-Back,
completing the cycle with the person rolling back changing to Push and the person yielding Roll-Back
changing to Press.
• This circle can be done both clockwise and counterclockwise and can be seamlessly connected to
the other circles. To change direction, give a slight pause at the top of the circle. Make sure not to
disconnect in the process.
• It’s important to know that the weight shifting occurs during the Roll-Back phase with the person
rolling back shifting their weight back and the person yielding shifting their weight forward. Make sure
this weight shift is clear!
• Make sure that the weight shifting is as described in the article on deng cheng to prevent over-extending
the back leg causing the hip to stick out or making the knee track away from the foot direction.
• Another important point is to not overuse the waist in this circle. It is easy to try to make the waist lead
too much, which can lead to exposing the back. The waist is used but not to an extent that compromises
the practitioner’s position allowing the partner to attack.
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2. Double-Arm Horizontal Circling
This circle is very similar to the single-arm horizontal circle described earlier. The only difference is that
the secondary arm is now used to guard against an attack from the partner’s elbow. This is only done
during Push. As the Push comes in, the person yielding uses their secondary arm to connect beneath the
elbow of the person pushing. Using Roll-Back energy, lightly assist the arm in Ward-Off by deflecting the
Push diagonally. When it is time to Push, change the Roll-Back arm to Push and use both arms to Push on
the partner’s elbow and wrist. The shape of the circle stays the same.
- 179 -
Push Hands
The method of transitioning to this circle from double-arm vertical circle is done by using pull energy
while the partner uses Press. It can also be done by using Roll-Back when the partner uses Push.
- 180 -
3. Kneading The Elbow 揉肘 Rou Zhou
This is a modified figure 8 circle. Keeping the same idea in mind, the practitioners will add the secondary
arm to the practice. The secondary arm is placed upon the elbow of the practitioner’s partner. Both sides
will maintain these two contact points for the duration of this circle. The active arm’s motion is nearly
identical to the single-arm figure 8 circles. Responding to Push, the secondary arm lifts the partner’s
elbow creating a Roll-Back while yielding, and pushes on the partner’s elbow while attacking. The palm
of the secondary arm does not leave the partner’s elbow; it pivots without sliding from the bottom of the
elbow (while lifting) to the outside of the elbow (while pushing) smoothly.
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Push Hands
• To transition from double-arm vertical circle, use Roll-Back when the partner uses Push. Unlike the
transition to double-arm horizontal circle, drop the elbow more and deflect the Push downwards.
• The weight moves back as the practitioner performs Roll-Back and forward when performing Push.
• The motion is the same as Parry, Block, and Punch. Once the basic mechanics of this circle are mastered,
it can be done very small and quickly.
• It’s important to actually lift the elbow when attempting Roll-Back. Lift the elbow to around shoulder
level, but not above it.
• This is a small circle and it is easy to rely on the arms too much. Make sure to activate the waist even
when the circle gets very small. It will make a huge difference when someone actually tries to Push.
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4. The 4-Energy Horizontal Circle 四正平圆, Si Zheng Ping Yuan
This circle applies the four square energies in a horizontal direction. Starting from double-arm vertical
circle, one person pulls their partner’s secondary arm when they use Press. The person being pulled
changes to Press, while the partner pushes with both arms against the other’s arm, touching both wrist
and elbow. The Press is transitioned to Ward-Off. When transitioning from Ward-Off to Roll-Back, the
practitioner must use “coiling” energy. To do so, keep the Roll-Back arm in contact with the partner’s arm
continuously, reaching the partner’s elbow, and lifting it and drawing the push diagonally, thus starting
the circle again on the opposite side.
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Push Hands
• Make sure that in Press and Ward-Off, the palm faces slightly upward and that the armpit is open. It
should not feel empty.
• When coiling from Ward-Off to Roll-Back, do not disconnect from your partner’s arm when reaching for
their elbow.
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Freestyle Practice
1. Ward-Off Practice
This practice will help develop the proper Ward-Off

feeling while dealing with another’s Push. One person
assumes a bow stance and with the primary arm in
Ward-Off, their partner Pushes on both the elbow and
the wrist. Starting slowly, the person Pushing tries to
find their partner’s center. Without resisting, sliding or
leading, the partner tries to deflect the Push with Ward-
Off while using listening energy. The practitioners may
move their arms as they wish while neutralizing: up,
down, left, right, elbow bent or straight. This exercise
teaches to differentiate between yin and yang and
how to manipulate them to neutralize or control your
partner.
2. Turnstile Practice
This exercise will help practitioners borrow energy from

their partner and uproot them with their own Push.
Both sides start in the bow stance. The secondary arm

rests against the body with the elbow bent and wrist
by the navel. Both practitioners place the palm of their
primary arm by the elbow of their partner’s secondary
arm. Taking turns, one person pushes against the
partner’s secondary arm while the other uses that energy
to push back. The waist and body turn when receiving
the Push, resembling a turnstile, at the same time
Pushing. With proper timing and skill, this should uproot
the person pushing.
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Push Hands
Moving-Step Push Hands
After all the circles have become comfortable, it is time to start applying them while moving. At first,
these circles will feel foreign while stepping, but with diligent practice, they will flow as smoothly as when
practicing fixed-step push hands. Typically, when learning moving-step push hands, the number of steps
is fixed at three. But, eventually practitioners will not have to adhere to a strict number of steps and will
be able to apply the energies freely while moving even with half step, one step, two steps, etc.
The ready position to start moving-step push hands is with the feet shoulder width apart, and the arms
touching wrist-to-wrist in a Ward-Off position. The secondary arm touches the partner’s elbow.
1. Follow-Step 顺步推手 Shun Bu Tui Shou
This type of stepping, also known as straight-step, follows the partner’s footwork as they step forward.
When the leading leg steps forward, the partner’s opposite leg steps back in unison (i.e. person 1 steps
forward with their right leg, person 2 steps back with their left leg). It is crucial for the person stepping
backwards to step with the person moving forward. Practitioners must drop their center while moving,
making their steps rooted but agile.
After three steps, the person moving forward picks up the rear leg, bending at the knee, but does not
step. The person moving back picks up their front leg slightly also bending at the knee, but does not step
either. Then they are ready to reverse their roles of leader and follower. Do not pick the legs up too high
or bend the knee too much.
It is possible to change the leading foot by taking one extra step, and then returning to the standard three
steps. Be sure to give a clear signal to your partner to avoid bumping into each other.
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Push Hands
2. Covering-Step 套步推手 Tao Bu Tui Shou
This type of stepping, also known as cross-step, is

similar to follow-step in the number of steps and
the requirement of following the partner while
moving back. The difference is in the leading
leg. Whereas in follow-step one person would
step forward with their right leg and their partner
would step back with their left, in Covering Step
one person steps forward with their right leg
their partner steps back with their right leg. While
stepping forward with the lead leg, one must step
on the inside of the person stepping back. The off-
leg will step on the outside of the partner’s foot
work. The meaning of “tao” (covering) is that of
putting a sword in a sheath or putting on a coat.
You should be able to cover the partner’s knee and
control their balance with this footwork.
When it is time to change who is leading, the person stepping back steps slightly wider with their back
leg, then drawing the secondary leg in and around the foot of the partner’s leading leg, placing it close to
their partner’s foot on the inside. As in follow-step, it is unnecessary to make the step overly large; try to
make this transition as small as possible while maintaining a solid root.
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By Eric Madsen
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Push Hands
THE SONG OF PUSH HANDS
Ward Off, Roll Back, Press and Push, The four energies need to be taken to heart.
The upper and lower body should be well coordinated. The opponent finds it difficult to enter.
The opponent may make a strong attack. I lure them to move, and deflect with a
small amount of energy. I use four ounces to neutralize a thousand pounds.
Guide the opponent in and let them fall into emptiness.
Combine the energy from your opponent and yourself to immediately uproot them.
Use sticking, adhering, connecting and following, and do not separate or resist.
Translated from the Chinese to English by Master Yang Jun and Edward Moore
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Chapter 12
Biographies of the Yang Family Tai Chi Chuan Masters
Biographies Of The Yang Family Tai Chi Chuan Masters
CHAPTER 12
BIOGRAPHIES OF THE YANG FAMILY TAI CHI CHUAN MASTERS
THE FOUNDER YANG LUCHAN
Y ang Family Tai Chi

Chuan is one of
the gems in the realm of
Yongnian County. Since
childhood, his family was
poor. He would follow
Chinese martial arts. Ever his father in planting the
since the founder of Yang fields and as a teenager
Family Tai Chi Chuan, Yang he held temporary jobs.
Luchan, introduced his art
to the world, his sons Yang One period of temporary
Banhou and Yang Jianhou, work was spent in doing
his grandsons Yang odd jobs at the Tai He
Shaohou and Yang Chengfu, Tang Chinese Pharmacy
and the fourth generation located in the west part
(great-grandsons) Yang of Yongnian City (the
Zhenming, Yang Zhenji, pharmacy was opened by
Yang Zhenduo, and Yang Chen De Hu of the Chen
Zhenguo have all worked Village in Henan Province,
together to research, Huaiqing Prefecture,
develop, and spread Tai Chi Wenxian County). As a
Chuan. child, Yang Luchan liked
martial arts and started
It has gradually become studying Chang Chuan,
the extended, graceful and gaining a certain level of
carefully structured art that skill. One day he saw some
the Yang family is famous hoodlums who came to
for. It is relaxed, gentle and the pharmacy looking for
flowing, while still maintaining the martial arts trouble. One of the partners of the pharmacy used
aspects. It is also a method for improving health a kind of martial art that Yang Luchan had never
and curing illness. Tai Chi Chuan is loved by tens of seen before to easily subdue the troublemakers.
millions of practitioners. It has become the most
popular of all Chinese martial arts, providing a Because of this, Yang Luchan decided to study with
remarkable contribution to the health of mankind. the owner Chen Dehu of the Tai He Tang Pharmacy.
Chen Dehu saw that Yang Luchan had a sincere
We are deeply grateful for the contributions and and true heart and was eager to study and sent
vision of Yang Luchan, the founder of Yang Family Yang Luchan to the Chen Village to seek the 14th
Tai Chi Chuan and we cherish the memories of the generation of the Chen Family, Chen Changxing
successive generations of Yang masters and look as his teacher. Yang Luchan made the long and
back with reverence. This article is a biography of difficult journey on foot to the Chen Village to
the Yang family, allowing even more Tai Chi Chuan ask Chen Changxing to be his teacher. According
lovers to understand the history of Yang Family Tai to the custom of the Chen Family, Tai Chi Chuan
Chi Chuan. was generally not taught outside the family. Chen
Changxing stipulated that Yang Luchan was to be
Yang Fukui, later called Yang Luchan was born allowed to enter only as far as the front courtyard
in 1799 and died in 1872. Yang Luchan’s family but not into the back courtyard of the home.
was from Hebei Province, Guangping Prefecture,
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After spending several years at the Chen Village hard. He was deeply moved and touched by Yang
without receiving any Tai Chi Chuan instruction, Luchan and continued to train him and now to pass
Yang Luchan one day awoke to the sounds of on the most inner secrets of Chen Tai Chi Chuan to
“heng! ha!” coming from the back courtyard. Yang him. After several years of additional hard practice
Luchan climbed up a tree in the front courtyard and study, Yang Luchan’s skill was pure, and his
and peered into the back courtyard. What he saw martial ability was very advanced. He became one
was Chen Changxing teaching Tai Chi Chuan to of the outstanding Chen style practitioners. This
a group of students. Yang Luchan was extremely time when Yang Luchan returned to Yongnian, he
happy with this discovery. was so clearly unbeatable that no one dared to
test him any more.
From that day on, every night he would go watch
them practice, and then secretly practice on his After Yang Luchan turned 40 years old, a martial
own. After practicing this way for a period of time, artist referred Master Yang to teach Tai Chi Chuan
Yang Luchan’s skill greatly improved. Once, while in Beijing. At a competition ring set up at a lord’s
playing around with one of the younger men of mansion, Yang Luchan scattered his challengers
the Chen Family, Yang Luchan unintentionally about the ring with his Tai Chi Chuan skills. His
used a burst of Tai Chi Chuan energy to push him reputation swelled. Yang Luchan gained the
down. nickname “Yang the Invincible,” and caused the
martial arts world to rub its eyes at the sight of
This drew the attention of Chen Changxing who Tai Chi Chuan. From this time on, many people
personally asked Yang Luchan how he was able to studied with Yang Luchan in Beijing. Many of the
do that. After Yang Luchan explained the reason for relatives and attendants of the Qing Dynasty’s
his burst of Tai Chi Chuan energy, Chen Changxing emperor also wanted to receive instruction.
directed Yang Luchan to have a competition with
a student, resulting in the defeat of the student. In the beginning, when Yang Luchan was studying,
Chen Changxing was very surprised by Yang his purpose was mainly to be able to control
Luchan’s talent and saw his sincerity and kind the opponent and protect himself. Later, Yang
nature. He made an exception and accepted Yang Luchan served as the head martial arts coach for
Luchan as a student from outside the village. the Imperial Guard. He also taught the emperor’s
relatives and attendants at the Imperial Court.
Yang Luchan spent several years practicing hard Some of these students had difficulty mastering
from morning to night, and then returned to the more difficult Tai Chi Chuan skills.
Yongnian. At that time, the martial art circles in
Yongnian heard that Yang Luchan had returned During this time, he noticed that some of sick
from studying and people came one after another and weak persons who practiced Tai Chi Chuan
to challenge him. One time while competing, Yang for awhile had became very strong. He came
Luchan was knocked down by his opponent. to understand the life-prolonging effects of
practicing Tai Chi. Yang Luchan gradually started
Upset with himself, he decided to go back to the modifying some of the foot stamping, jumping,
Chen Village to improve his skill. After several more and releasing energy moves. The moves gradually
years spent studying, he once again returned became slower, with the strength on the inside,
to Yongnian to test his skill with the top martial while still maintaining the martial arts aspects of
artists. Although this time no one was able to beat attack and defense. It was now better suited for
him, he was still not satisfied with his level of skill all people to practice and develop the curative
and understanding of Tai Chi Chuan. Yang Luchan and strengthening functions. Yang Luchan’s
thought that although he had already gone to understanding and knowledge about the life-
the Chen Village twice to study, he hadn’t learned prolonging aspects of practicing Tai Chi Chuan
the essence of Tai Chi Chuan. Because of this he has effected the generations of Yang masters that
traveled to the Chen Village for a third time in followed him to not only focused on the martial
order to improve his skill. arts aspects of Tai Chi Chuan but to also give value
and focus to the life-prolonging aspects of Tai Chi
Chen Changxing saw that Yang Luchan was sincere
Chuan.
in his desire to improve, and that he studied very
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SECOND GENERATION MASTERS
T he momentum created in the Tai Chi Chuan

world by Yang Luchan in his lifetime did
not stop with his death in 1872. Yang Luchan
the word of his deed spread quickly through the
city. Later, Yang Banhou followed his father to
Beijing to teach and once defeated famous Master
transmitted all of his knowledge to his two sons, Xiong Xian Liu (called Meng Jiao).
Yu, nicknamed Banhou, and Jian, nicknamed
Jianhou, who became the second generation Because he went on to defeat numerous other top
representatives of the Yang Family. martial artists in Beijing, the fame of Yang Family
Tai Chi Chuan swelled and many marvelous stories
Yang Banhou were left for future generations. Although Yang
Banhou had consummate skill, his temperament
Yang Yu, also named Yang Banhou, but referred to was too fiery. He would show no mercy when
as the “Second Son” by all, was born in 1837 and sparring, even striking his own disciples. He would
died in 1892. From an early age, he and Jianhou frequently draw blood with his hands, making it
studied Tai Chi Chuan with their father. All day difficult for students to accept his teachings.
long Banhou would practice hard, undeterred
by winter’s cold or summer’s heat. Yang Banhou Because of his temper, many students kept a
had a hard and fierce disposition. He was skilled respectful distance from him. Although the skill he
at sparring, and especially adept in using the staff obtained was first-class, the number of students
that was made of white wax wood (bai la wood). who received his skill were few. Yang Banhou had
The staff was over three meters long and was used one daughter, and a son named Zhao Peng. Zhao
in the same way as the spear. Peng studied with Yang Chengfu and then opened
a school in Guangxi, where he later passed away.
Yang Jianhou
Yang Jian, called Jianhou, was nicknamed Jian Hu

and called “Third Son” until his later years when he
was referred to as just “old man.” Born in 1842, he
started studying Tai Chi Chuan with his father at
a young age. Under the strict requirements of his
father he would practice hard all day. Frequently
feeling that he could not endure it any longer, he
tried several times to run away. It was clear that
working hard daily at practicing gongfu under
his father’s watchful eye caused his skill to greatly
improve.
One day in Yongnian City, inside the stalls
located at the East Gate, a fire started because of
carelessness. Water surrounded all of Yongnian
City and it teemed with reeds. It was late fall, after
the harvest, and inside the stall bundles of reeds
were piled up into a small mountain. The bundle
of reeds in one of the stalls caught fire, and if it
was not put out quickly it would turn the stalls into
an inferno. Right at that moment, Yang Banhou
rushed to the scene wielding a spear, lifting and
throwing the fiery bundles of reeds. The burning
bundles flew through the air like a string of fish,
and almost instantly they were all in the water.
With the fire extinguished and disaster avoided,
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Finally he became a man of great talent. Jianhou opposite of Banhou. Because of this his students
took his father’s Old Frame and revised it into the were numerous. Jianhou died without disease in
Medium Frame. He also mastered the saber, spear, the sixth year after the founding of the Republic
sword and other weapons. His sword skill was of China (1911). Legend has it that several hours
renowned for combining softness and hardness. before his death, he had a dream foretelling his fate
Jianhou even mastered using pellets (dàn). He and summoned his family and students, having a
would hold three or four in his hand at one time final conversation with each of them. When the
and when thrown simultaneously, each would time came, Jianhou bathed himself and dressed
strike a different bird in flight. He earned the in formal clothes - smiling until the very end. He
reputation of never wasting a thrown pellet. had three sons: the eldest was named Zhao Xiong;
the second, called Zhaoyuan, died young; and the
Jianhou was mild mannered and humble, just the youngest was called Zhaoqing.
THIRD GENERATION MASTERS
Yang Shaohou with sudden sounds. The spirit from his eyes would
shoot out in all directions, flashing like lightning.
Yang Zhaoxiong was born in 1862 and died in Combined with a sneer, a sinister laugh, and the
1930. Also named Meng Xiang, and later called sounds of “heng! ha!,” his imposing manner was
Shaohou, most just called him “Mr. Big.” quite threatening. Shaohou taught students to
strike quickly after coming into contact with the
From very young he studied with his father, Jianhou
opponent, wearing expressions from the full
and his uncle, Banhou. He learned the greater part
spectrum of emotions when he taught them.
of his skill from Banhou. His nature was forceful
Students of lesser skill had a difficult time studying
and he would stand up for injustices suffered by
with him; hence he did not have many. Shaohou
others. Shaohou enjoyed sending people flying,
had a son called Zhensheng who later studied
rather like his uncle’s style. When he was young he
with Yang Chengfu.
taught the Middle Frame established by his father,
but later changed direction. Yang Chengfu
He developed a form that was high with small Yang Zhaoqing, called Chengfu, or just “Third Son,”
movements done in a sometimes slow and was born in 1883 and died in 1936. He started
sometimes sudden manner. His releasing of receiving his father’s teachings at an early age.
energy (fajin) was hard and crisp, accompanied During his youth he worked hard at making a
careful study of Tai Chi, practicing hard through
both summer and winter with his skill increasing
daily. Eventually he became a celebrated martial
artist.
In order to adapt to the changing needs of society,

Yang Chengfu began with his father’s revised
Middle Frame, and made further revisions. He
gradually established the Yang Family Large Frame
that has become the most widespread and most
popular of the Yang Family Tai Chi Chuan frames.
The Large Frame postures established by Yang

Chengfu in his later years are open and extended,
simple and direct. The structure is compact
and precise, with body alignment maintained
in movement. The movements are gentle and
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disposition was gentle and kindhearted, simple

and honest, faithful and sincere towards people.
In the martial arts world, his morals were high and
his prestige was great. His skill at push hands was
exquisite. Excelling at releasing (fa) and dissipating
(huà) energy, he had no equal in his time. His arms
felt like the outside was made of cotton, but the
inside was made of steel. His movements could be
very small, yet his movements would significantly
lead the opponent before he abruptly released
energy.Those who felt it could not tell that he had
moved, yet they were already rising high into the
air and then falling to the ground.
Therefore, students at once loved his skill and

were overjoyed to study with him. In 1928, Yang
flowing, and performed at an even speed. There Chengfu started from Beijing and went south
is combined hardness and softness, lightness and teaching Tai Chi Chuan in Nanjing, Shanghai,
heaviness. All of these characteristics make it the Hankou, Hangzhou, and Guangzhou. While in
representative standard form for Yang Family Tai Nanjing he held the post of Director of Training
Chi Chuan, serving as the pattern for all those who at the Central Martial Arts Academy. His students
would follow in its study. were numerous, spread all over regions north and
south of the Yangtze River. In order to promote
The form established by Yang Chengfu can be
the development of Tai Chi Chuan, Yang Chengfu
performed in a high, medium, or low stance.
in 1925, dictated to his disciple Chen Wei Ming the
Thus, the degree of difficulty can be adjusted
book “The Art of Tai Chi Chuan (Taijiquan Shu).” In
according to one’s requirements and condition.
1934, he again dictated “The Complete Principles
The form retains the martial arts aspects of attack
and Applications of Tai Chi Chuan” (Taijiquan
and defense, and is suitable for strengthening the
Tiyong Quan Shu), containing the quintessential
body, improving health, and curing illness.
skill of Tai Chi Chuan and leaving a precious legacy
Because of the benefits listed above, the Large for future students.
Frame has received the deep love of a vast number
Yang Chengfu had four sons: Zhenming; Zhenji;
of practitioners of Tai Chi Chuan worldwide.
Zhenduo; and Zhenguo.
Yang Chengfu had a large physique. His natural
FOURTH GENERATION MASTERS
Yang Zhenming
Yang Zhenming, called Shouzheng, was born

in 1911 and died in 1986. From a young age, he
studied Tai Chi Chuan with his father. By age 14,
he had comprehended the Tai Chi Chuan energies
and was thoroughly proficient in the techniques
of the saber, sword and spear and had become
the assistant of his father, Yang Chengfu. Shou
Zheng at age 19 went to Anhui Province and later
taught Tai Chi in Nanjing. After that he traveled
with his father, passing through Zhejiang, Fujian,
and Guangdong Provinces. After Yang Chengfu
passed away, Shouzhong stayed in Guangzhou
(Canton) to teach. In 1949, he moved to Hong
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Kong and opened a martial arts school where Yang Zhenduo

he taught. He had many disciples in Hong Kong,
Macao, and other Southeast Asia countries. Yang Yang Zhenduo, born in 1926, began studying
Shouzhong took the book written by his father, the art of Tai Chi Chuan at age 6 with his father
titled “The Complete Principles and Applications and older brothers. He studied assiduously and
of Tai Chi Chuan,” and reprinted several editions was good at research, and was able to grasp the
of it. He also compiled pictures of Yang Chengfu essence of Tai Chi Chuan. His Tai Chi Chuan skill
and published “Illustrated Two Man Applications is consummate and demonstrated with a natural
and Variations for Tai Chi Chuan” (Shuang Ren poise. Yang Zhenduo’s disposition is tolerant and
Tujie Taijiquan Yongfa Ji Bianhua), which became kind, simple-hearted and honest. He teaches
available worldwide. In 1986 he succumbed to patiently, carefully and meticulously. Modest and
illness, leaving his three daughters in Hong Kong unassuming as was his father, he has come to
to carry on his cause and to continue to teach receive the deep admiration and esteem of Yang
Yang Family Tai Chi Chuan. Family Tai Chi Chuan enthusiasts. Zhenduo carries
on the aspirations of his ancestors, dedicating
Yang Zhenji himself to the popularization and spread of Yang
Family Tai Chi Chuan. Since the early 1960’s, he has
lived in Taiyuan, Shanxi Province, teaching Tai Chi
Chuan.
In 1982, he founded the Shanxi Province Yang

Family Tai Chi Chuan Association, now with
students in Shanxi Province alone numbering
in the tens of thousands. Many times he has
been invited and traveled to America, France,
Italy, Germany, England, Sweden, Canada, Brazil,
Singapore, and other countries to hold seminars.
Making an impression at home and abroad, Yang
Zhenduo has promoted the ties of friendship
between citizens of China and the rest of the world
through his sharing of Yang Family Tai Chi Chuan.
Currently, Yang Zhenduo is a member of the

Chinese Wushu Association’s Training Committee
and the Shanxi Province Sports Association.
Yang Zhenji, born in 1921, started studying with He is the Vice-Chairman of the Shanxi Province
his father and elder brother at age 6. He studied
very hard, grasping the essence of Tai Chi Chuan.
In the late 1940’s, he began teaching Tai Chi
Chuan. He traveled from Guangzhou (Canton) to
Beijing, to Tianjin, to Guangxi, and to Handan to
teach. Because he taught earnestly, his students
were quite numerous. He once visited the United
States. Zhenji, after several decades of practice
and teaching, gained a deep understanding of the
skill passed on by his father. Zhenji once served as
the Chairman of the Handan Wushu Association
and was a committee member of the Hebei Wushu
Association and President of the Handan Wushu
Association. He wrote”The Tai Chi Chuan of Yang
Chengfu” (Yang Chengfu Shi Taijiquan).
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Martial Arts Association, President of the Shanxi

Province Yang Family Tai Chi Chuan Association,
and Chairman of the International Yang Family Tai
Chi Chuan Association. In 1995, he was recognized
by the Chinese Wushu Academy as one of the top
100 Wushu masters in China. During 1996, while
in San Antonio Texas, U.S.A. he was recognized as
honorary mayor. The City of Troy Michigan, U.S.A.
presented the key to the city to Yang Zhenduo in
1999. In the same year, in a province of France,
the governor personally presented the province’s
commemorative medal to him.
Yang Zhenduo has an English edition of his

book entitled “Yang Style Taijiquan,” and a
Chinese edition entitled “Yang Family Tai Chi
Chuan, Sword, and Saber,” as well as an edition
written in traditional Chinese characters entitled In summary, people who practice Tai Chi Chuan
“Chinese Yang Family Tai Chi Chuan.” He also has today invariably point to the Yang family. It was
a set of videotapes produced by the Yellow River Yang Luchan who first introduced it to the general
Television Station called titled “Yang Family Tai Chi public in Beijing. Then, after undergoing three
Chuan, Sword, and Saber.” The publishing house generations of change, it was Yang Chengfu who
of the Chinese Sports Ministry has also produced finalized the form and extensively popularized
a two-video tape set titled “Yang Style Taijiquan.” it. Now, the fourth generation of the Yang family,
Yang Zhenduo has two sons; the eldest named Zhen Ming, Zhenji, Zhenduo and Zhenguo and
Yang Dao Fang and the youngest named Yang De Yang Chengfu’s disciples together have spread
Fang. Yang Family Tai Chi Chuan, making it today’s
most widespread style. History and countless
Yang Zhenguo factual evidence have shown that Yang Family Tai
Chi Chuan has made a remarkable contribution
Yang Zhenguo, born in 1928, started studying at towards the health and longevity of mankind. In
an early age the Tai Chi Chuan passed on by his order to continue these important contributions
family. He lives in Hebei Province, Handan City, from ancient Chinese culture, it is my wish that this
and for many years looked after his mother. He has generation and future generations will be united
ceaselessly taught Tai Chi Chuan all around the as one in making possible for Yang Family Tai Chi
local area. He once visited Taiwan, and has made a Chuan to shine even more magnificently.
significant contribution towards the development
of Yang Family Tai Chi Chuan. Zhenguo has three By Master Yang Jun
daughters and two sons, Yong Fang being the first
and Zhi Fang the second son. Translated by Jeremy Blodgett
In 1987, the sons of Yang Chengfu, Zhenji,

Zhenduo and Zhenguo built an ancestral gravesite
as a final resting place for the Yang Family Tai Chi
Chuan masters who had passed on. In order to
memorialize the origin of Yang Family Tai Chi
Chuan, the Yang family gravesite in Yongnian
County, Hebei Province, was then established as a
historical relic and protected by the State in 1991.
In addition, contributions were raised to complete
the restoration of Yang Luchan’s historical
residence, thus allowing practitioners to continue
to give respect and honor to the place where the
founder of Yang Family Tai Chi Chuan lived.
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SIXTH GENERATION MASTERS
Yang Jun
Yang Jun (simplified Chinese: 杨军; traditional

Chinese: 楊軍; pinyin: Yáng Jūn) was born in
Taiyuan, Shanxi, China in 1968 into the famous
Yang family of martial artists. The eldest son of
Yang Dao Fang and grandson of Yang Zhenduo,
he is a direct descendant of Yang Chengfu and of
Yang Luchan, the creator of the Yang style of Tai Chi
Chuan. Yang Jun is a sixth-generation descendant
of the Yang Family of Tai Chi Chuan, and is the fifth
generation lineage-holder of the style.
Master Yang Jun spent his childhood and formative

years living with his grandparents. Growing
up in a martial arts family, he saw and heard his
grandfather training his students. It is in this
nurturing environment that he became deeply
immersed in his family’s Tai Chi Chuan heritage.
He began studying and training in the internal
style martial art of Tai Chi Chuan at age 5 with his
grandfather Yang Zhenduo, who raised him.
Yang Jun traveled with his grandfather to teach

Tai Chi Chuan. First inside China and in 1985, Chengfu Tai Chi Chuan Center in the Seattle area
internationally to France. Their first trip to the is now located in Redmond, Washington where
United States was in 1990. After many years of Microsoft’s headquarters are located.
giving seminars around the world, Yang Jun has
now become an accomplished martial artist and a In 1995, the Chinese Wushu Academy recognized
teacher in his own right. His skill is unquestioned. Yang Jun as a famous Wushu master in Shanxi
His forms seamlessly combine softness with Province. In 1996, he was certified as the highest-
hardness, finesse with spirit, and restraint with level national judge and served as the head judge
expression. at the 1998 National Tai Chi Chuan Competition in
China.
In 1989, he graduated with a degree in physical
education from Shanxi University, China. In 2006, Master Yang Jun produced five
instructional DVD’s and a Demonstration DVD of
In October, 1998, Yang Jun and his grandfather Yang Family Tai Chi Chuan in English. The DVD’s
Yang Zhenduo founded the International Yang included the hand forms, weapons forms and
Family Tai Chi Chuan Association in Seattle, push hands.
Washington, USA, and has served as its president
since. In August of 1999, Yang Jun moved to Seattle In July of 2009, at the First International Tai Chi
with his wife Fang Hong (simplified Chinese: 方 Chuan Symposium, then-current lineage holder,
虹) to establish the international association Grandmaster Yang Zhenduo, announced that
there, and in September 1999, he started the Yang Jun is the fifth generation lineage-holder of
Yang Chengfu Tai Chi Chuan Center in Seattle’s the Traditional Yang Family Tai Chi Chuan.
International District (Chinatown). The Yang
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Yang Bin
Yang Bin is Grandmaster Yang Zhenduo’s second

grandson. He is currently vice-president of
the International Yang Family Tai Chi Chuan
Association, president of the Yang Family Tai
Chi Chuan Association of Shanxi Province,
and a member of the Shanxi Province Wushu
Association.
After beginning his studies under the tutelage of

his grandfather from a young age, Yang Bin is a
skilled practitioner of traditional Yang Family Tai
Chi Chuan, sword, and saber. He is very studious,
and under the strict tutelage of his grandfather, he
has mastered the essentials of Tai Chi Chuan.
Following his grandfather, and in the tradition Master Yang Bin has actively worked in coordinating
of his family, Yang Bin is committed to the the work of participating organizations in various
development and popularization of Tai Chi Chuan. events like the Shanxi Province Yang Family Tai Chi
He has assisted his grandfather in seminars in Chuan Association’s 20th and 25th anniversaries,
Shanxi province, Beijing, Wuxi, Hangzhou, Tatung, and both the Second and Third Yang Family Tai Chi
Jiaozuo and other places. In 2003, he was invited by Chuan International Tournaments. He was invited
Master Yang Jun to assist him in a seminar in Italy. to participate in the First World Health Conference,
When an international seminar was organized in and the 10th and 11th International Tai Chi Chuan
Japan in 2008, he traveled with Grandmaster Yang Symposia in Handan, China. He was also invited
Zhenduo to assist him in spreading the popularity to the Fenyang King Cup National Fitness Show of
of traditional Yang Family Tai Chi Chuan. the General Assembly, as well as other large-scale
international events of Tai Chi Chuan.
By Bruno Repetto, PhD
- 200 -
Chapter 13
Histor y Of Two Associations
History Of Two Associations
CHAPTER 13
HISTORY OF TWO ASSOCIATIONS
THE SHANXI PROVINCE ASSOCIATION
Yang Family Tai Chi Chuan is one of the splendid Over the years, the association has received
colors in the rich mosaic of Chinese martial increasing attention in China, where Tai Chi Chuan
arts. After learning Tai Chi Chuan from the Chen has been transformed into an important method
family, Yang Family Tai Chi Chuan has been of cultural exchange. In 1992, the association
evolving and developing for the past 200 years. carried out its 10th Anniversary Celebration with
From Yang Luchan, Yang Banhou, Yang Jianhou, participants coming from 12 different countries.
Yang Shaohou, Yang Chengfu, Yang Zhenguo, In 1997, participants from 18 different countries
Yang Zhenji, Yang Zhenduo and others, it has joined in celebrating the 15th Anniversary
undergone four generations of establishment and Celebration, successfully holding the First Shanxi
development. Province Yang Family Tai Chi Chuan Association
International Invitational Exhibition. Because
Today, the great influence of Yang Family Tai Chi of this, Yang Family Tai Chi Chuan is not only a
Chuan can be felt in China and throughout the method to improve health, but also a bridge for
world. On April 4, 1982 Master Yang Zhenduo, increasing friendship and understanding between
the bearer of four generations of development, the Chinese people and the rest of the world. In
proposed and sponsored the creation of the 1998 because of Yang Zhenduo’s sponsorship, the
Shanxi Province Yang Family Tai Chi Chuan great help of the Shanxi Association, and the wide
Research Committee (“Research Committee” part support of Yang Family Tai Chi Chuan practitioners
of the name was later changed to Association). in China and abroad, the International Yang
When the association was established there were Family Tai Chi Chuan Association was successfully
only 200 members and no sub-associations, but established in the United States. The new
through great support from people of all walks of international association had 16 Yang Chengfu Tai
life and the unremitting efforts of the association Chi Chuan Centers established in the U.S., Sweden,
members, it gradually gained popularity and France, England, Brazil, Italy and Canada and made
respect throughout the world. plans to open new centers in other countries.
Through 17 years of development, when money In 2007, the Shanxi Province Yang Family Tai
was scarce and working conditions were poor, the Chi Chuan Association held its Seventh General
association worked tirelessly and relied upon its Assembly meeting. Master Yang Zhenduo stepped
earnest supporters. Under the leadership of Yang down as president and became a consultant to the
Zhenduo, the association has now grown, in Shanxi association. the Shanxi Province Yang Family Tai
Province alone, to include 88 sub-associations and Chi Chuan Association, awarded Yang Zhenduo
over 35,000 members, and proudly counts nearly the title of Honorary President for Life.
200,000 fans that practice daily in the province
of beautiful landscapes. This rapid development by Master Yang Jun
ranks as one of the most remarkable feats in the
history of Tai Chi Chuan.
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THE INTERNATIONAL ASSOCIATION
The International Yang Family Tai Chi Chuan center directors Horacio Lopez, Han Hoong Wang,
Association is a non-profit organization dedicated and Bill Walsh repectively. Master Yang Zhenduo
to the teaching, promotion and propagation named the centers after his father Yang Chengfu
of the Traditional Yang Family Tai Chi Chuan. to honor and acknowledge him for popularizing
Grandmaster Yang Zhenduo and his grandson Yang Family Tai Chi Chuan throughout China and
Master Yang Jun founded the organization on beyond. In 1996, a fouth center was approved in
October 29, 1998. The association is headquartered New Jersey, U.S.A. with Andy Lee as center director.
in Seattle, Washington, USA.
After formation of the first Yang Chengfu Centers,
Masters Yang Zhenduo and Yang Jun’s journey Master Yang Zhenduo and Yang Jun visited many
towards the western world began in 1985 when of the newly formed centers and felt that it would
they first traveled to France. Then, in 1990, Pat be good to form an international organization
Rice, of the now Winchester Yang Chengfu Tai Chi to combine the centers into one cohesive
Chuan Center invited Masters Yang Zhenduo and organization. It was decided that an international
Yang Jun to Winchester, Virginia. This was the first association would provide the best structure for
time that they traveled to North America to teach this organization.
their art. It was a great success and during each
summer for the following 5 years they continued On October 29, 1998, the International Yang Family
traveling abroad to further spread Yang Family Tai Tai Chi Chuan Association was incorporated as a
Chi Chuan. non-profit organization in Seattle, Washington.
The association’s website opened on April 24,
In 1995, a special meeting was held during an 1999.
exhibition sponsored by the Shanxi Province
Tai Chi Chuan Association. The meeting was In August, 1999 Master Yang Jun with his wife
convened by Masters Yang Zhenduo and Yang Fang Hong moved to Seattle and opened the
Jun with participation of Tai Chi Chuan instructors Yang Chengfu Tai Chi Chuan Center of Seattle in
they had met from all over the world. September.
A decision was made at this meeting to create Yang Since the formation of the association, several
Chenfu Tai Chi Chuan Centers to promote Tai Chi martial arts magazines have published articles
Chuan. The first centers were opened in the United on the International Yang Family Tai Chi
States in Texas, Michigan, and New York with Chuan Association and its events like the 2008
International Tai Chi Chuan Symposium.
The purpose of the Association is the promotion of Yang Family Tai Chi Chuan throughout the
world. The following are the goals of the Association:
• Develop new Yang Chengfu Tai Chi Chuan Centers and Affiliated Schools;
• Promote interaction with other associations of martial arts;
• Accept individual members;
• Hold seminars and competitions;
• Assess the levels of skills of Yang Family Tai Chi Chuan practitioners;
• Organize teams of judges;
• Provide products for use by Tai Chi Chuan practitioners that support training in the schools
and centers of the association.
• Train Yang Family Tai Chi Chuan instructors and judges;
• Establish and develop a training academy for Tai Chi Chuan instructors;
• Support the association’s foundation in holding International Tai Chi Chuan Symposiums; and
• Develop and create books, handbooks and guides;
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History Of Two Associations
The first directors meeting - Seattle WA, October 9, 1999

Pictured: (Left to right) 1st row:
Giuseppe Turturo, Nelly Leray, Angela Soci,
Therese Mei Mei Teo, Yang Jun, Jerry Karin, Jeremy Blodgett, Han Hoong Wang;
2nd row:
Andre Leray, Sergio Arione, Dave Barrett, Bill Walsh, Claudio Mingarini, Pat Rice, Horacio Lopez.
Directors & Instructors meeting - Bothell WA, Feb 2013
- 204 -
Chapter 14
Additional Resources
CHAPTER 14
ADDITIONAL RESOURCES
ADDITIONAL RESOURCES
Introduction Yang School of Taijiquan,” with the hand form

presented in photographs accompanied
Tai Chi Chuan is a physical art and science, with by written instructions. The final section is
philosophical and spiritual components, and “How to Use Taijiquan,” applications of 35
though its transmission was most often conveyed movements with instructions and photos.
in oral and physical form, an important aspect of its
preservation has been through the written word 2. Among the earliest mass-published written
and, later, photographs. Many contemporary resources are the three books that are records
practitioners rely upon books and, more recently, of Yang Chengfu’s teachings published in
upon motion/video media to assist our learning Shanghai by Chen Weiming: Taijiquan Shu
and understanding. With the proliferation of such (The Art of Taijiquan, 1925), Taiji Jian (Taiji
resources, we thought a guide might be useful in Sword, 1938), and Taijiquan Ta Wen (Questions
sorting out the helpfulness of these materials. and Answers on Taijiquan, 1929).
Books By Yang Family Masters In 1934, Yang Chengfu published Taijiquan

Tiyong Quanshu (Essence and Applications
Within the Traditional Yang Family Tai Chi Chuan, of Taijiquan). Louis Swaim has very ably
of course we begin with the family’s productions translated (2005) this latter book as Yang
that are intended to serve its practitioners. Chengfu: The Essence and Applications of
Taijiquan, an instructional manual as narrated
1. The book that many of us first encountered
by Yang Chengfu, including sections on
is Yang Style Taijiquan by Yang Zhenduo,
push-hands and dalu, plus the Tai Chi Chuan
published by Morning Glory Publishers in
Classics.
Beijing, 1988, with the familiar white-and-
blue cover. It’s now out of print, but if you Swaim provides frequent “translator’s
find a copy anywhere, grab it up and read it comments” to clarify the text and
from cover to cover, repeatedly! It’s the most photographs. He is also the translator (1999)
helpful book (in English) in existence for our of Fu Zhongwen’s Mastering Yang Style
lineage. Taijiquan. Barbara Davis includes Chen
Weiming’s commentary in The Taijiquan
This work contains a foreword by Yang
Classics: An Annotated Translation (2004),
Zhenduo, articles on “The Evolution of the
and she has translated Taiji Sword (2000).
Yang School of Taijiquan” by Gu Liuxin, “Talks
Benjamin Lo with Robert W. Smith translated
on the Practice of Taijiquan” narrated by Yang
(1985) T’ai Chi Ch’uan Ta Wen: Questions and
Chengfu and recorded by Zhang Hongkui,
Answers on T’ai Chi Ch’uan.
“The Ten Essentials of Taijiquan” narrated by
Yang Chengfu, recorded by Chen Weiming, 3. Master Yang Zhenduo has published Chinese
and “Some Important Points Concerning the Taijiquan Scriptures: Taijiquan, Yang, in
Yang School of Taijiquan,” “Taijiquan—An Chinese, with sections on the hand form,
Exercise for the Whole Body,” and “Correct and applications, sword, saber, and texts with
Wrong Forms, Postures, and Movements” by photographs of both Yang Zhenduo and Yang
Yang Zhenduo. Chengfu. We eagerly await its translation into
English.
The main portion of the book is the
instructional section, “Illustrations of the
- 206 -
More Books On Tai Chi Chuan the Center for Taiji Studies website at www.
chentaiji.com.
Frequently a book on Tai Chi Chuan contains a
few pages on the history and philosophy, with Although there are numerous books that
the major portion devoted to the author’s version could have gone into this “number two” spot,
of his/her form or routine. Text and illustrations my favorite is this one. Having first studied
occupy about ninety percent of the pages. For with local teachers in Henan province near
students of that teacher, it’s great, but for other the Chen Village, Yang Yang also trained
stylists, not as valuable. Quality varies from with famous eighteenth generation Chen
amateurish to very professional texts. style masters. His Ph.D. in Kinesiology
from the University of Illinois is based in
There are several books on Tai Chi Chuan that are extensive research in Tai Chi Chuan and
not form or style instructions, and quite a few are human dynamics, which are topics of intense
particularly useful, with extraordinary insights and interest in the emerging contemporary field
explanations. These in particular I have found to of integrative medicine. Dr. Yang Yang teaches
be worth re-reading on a regular basis. seminars based on his continued research and
he is establishing connections with medical
1. The Dao of Taijiquan: Way to Rejuvenation,
communities in major hospitals such as the
by Jou Tsung-hwa. First published in
Mayo Clinic and Harvard Medical School.
1981, currently available through Tuttle
Publishing (North Clarendon, Vermont, www. Yang Yang has gathered into a single resource
tuttlepublishing.com). the essentials of what anyone needs to
know about Tai Chi Chuan. The foreword
Master Jou is known primarily for his three
has a discussion of “what is Tai Chi Chuan”
books in the field, the other two being The
that is as elegant and clear as you are likely
Tao of I Ching, Way to Divination and The Tao
to find anywhere. He identifies the three
of Meditation: Way to Enlightenment. He was
cornerstones that he regards as essential to
also the developer of the Tai Chi Farm and its
a complete curriculum: Taiji form, qigong,
famous Zhang San-Feng festivals, held from
and push-hands. The subsequent chapters
1964 to 1988, when his untimely death ended
provide an overview, define key principles and
his achievements in publication and teaching.
terms, and discuss the “dual cultivation of the
His book on Tai Chi Chuan was received with
martial and spiritual aspects of Taiji practice.”
great enthusiasm internationally, particularly
He advises readers on what to seek—and
since there were few works of quality being
what to avoid—in finding a teacher.
published at that time.
The discussion of wuji meditation contains
This book’s foreword has several letters
practical advice on posture, scientific
or essays expounding on his progressive
explanation of meditation’s effect on the
understanding of how Tai Chi Chuan works
nervous system, and the relationship of these
as a martial art and as a spiritual practice.
to the practice of Tai Chi Chuan. The chapter
The book covers the roots and history of Tai
on Taiji form practice is particularly useful
Chi Chuan and its development into family
with its inclusion of traditional methods and
styles, the philosophies underpinning the
poems; universal criteria expressed in terms
art, foundation practices of qigong and
of yin and yang and postural requirements;
meditation and physical training, the Tai
reverse breathing; stages of development;
Chi Chuan “Classics,” advice on practice, a
and fajin.
recounting of Chen Weiming’s experiences as
the student of Yang Chengfu, and a chapter He explains push-hands in terms of its place
on push-hands theory and drills. Written as in the training system, its general principles,
a college textbook and read by hundreds of techniques, methods of practice, and as
thousands of players for decades, it’s still one a “neural science.” Sayings from the oral
of the best books you can own. tradition are used throughout the book in
order to help document them and to explain
2. Taijiquan: The Art of Nurturing, the Science of
their continued relevance to today’s learning
Power, by Yang Yang. Zhenwu Publications,
methods.
Champaign, Illinois, 2005. Available through
- 207 -
His writing is simple yet profound, clear, 6. Barbara Davis, Chen Weiming, The Taijiquan
and easy to read. The author describes with Classics: An Annotated Translation, North
great practicality the difficulties everyone Atlantic Books; annotated edition (February 5,
encounters along the way and answers 2004), ISBN-13: 978-1556434310
many questions that arise; he assists us to a
happy reconciliation of Chinese and Western 7. Chen Weiming, Barbara Davis (tr.), Taiji Sword
cultural approaches to training. This book and Other Writings, Blue Snake Books (June
helps us achieve the integration of the various 26, 2000), ISBN-13: 978-1556433337
components of health, martial, physical, and
8. Various authors, Benjamin Lo (tr.), Martin
spiritual benefits available through Tai Chi
Inn (tr.), Susan Foe (tr.), Robert Amacker (tr.),
Chuan.
The Essence of T’ai Chi Ch’uan: The Literary
3. Dr. Yang Jwingming: choose any! I could Tradition, (Paperback), North Atlantic Books
mention Taijiquan Theory of Dr. Yang, Jwing- (January 21, 1993), ISBN-13: 978-0913028636
ming: The Root of Taijiquan, Tai Chi Secrets of
9. Chen Wei-Ming, Benjamin Lo (tr.), Robert W.
the Yang Style: Chinese Classics, Translations,
Smith (tr.), T’ai Chi Ch’uan Ta Wen: Questions
Commentary, and several others here.
and Answers on T’ai Chi Ch’uan, (Paperback),
All of his books and videos are extremely North Atlantic Books (January 26, 1993), ISBN-
useful and of top quality. He always covers 13: 978-0938190677
fundamentals: definitions, history, principles,
10. Jou Tsung Hwa, L. Wollering, L. Elais, The Dao of
theory, qi and qi circulation, breathing, martial
Taijiquan: Way to Rejuvenation, (Paperback),
aspects, moral values, and training methods.
Tuttle Publishing; 3rd edition (December 15,
Everything is thoroughly researched and well
1989), ISBN-13: 978-0804813570, http://www.
organized. More than 35 books, many videos
tuttlepublishing.com.
that are companions or that stand on their
own. Available through the website www. 11. Yang Yang, Taijiquan: The Art of Nurturing,
ymaa.com. the Science of Power. Zhenwu Publications,
2nd edition, Champaign, Illinois, 2008. ISBN-
A List Of Books On Tai Chi Chuan
13: 978-0974099019. Available through the
And Related Material Center for Taiji Studies website at http://www.
chentaiji.com.
1. Sun-Tzu, The Art of War, (Paperback),
Filiquarian (November 7, 2007), ISBN-13: 978- 12. Yang Jwingming, Taijiquan Theory of Dr.
1599869773 Yang, Jwing-ming: The Root of Taijiquan,
(Paperback), YMAA Publication Center (May
2. Alfred Huang, The Complete I Ching: The 25, 2003), ISBN-13: 978-0940871434. Available
Definitive Translation by the Taoist Master through the website at http://www.ymaa.
Alfred Huang, (Paperback), Inner Traditions com.
(April 15, 2004), ISBN-13: 978-0892811458
13. Yang Jwingming, Tai Chi Secrets of the
3. Yang Chengfu, Louis Swaim (tr.), The Essence Yang Style: Chinese Classics, Translations,
and Applications of Taijiquan, (Paperback), Commentary, (Paperback), YMAA Publication
North Atlantic Books; illustrated edition Center; illustrated edition (October 25, 2001),
(March 2, 2005), ISBN-13: 978-1556435454 ISBN-13: 978-1886969094. Available through
the website at http://www.ymaa.com.
4. Yang Zhenduo and Yu Shenquan, Yang
Style Taijiquan, (Paperback), Morning Glory General Surveys Of Chinese Philosophy
Publishers; 2nd Edition edition (1991). ASIN:
B000LN1EQU. Note: this book is currently out 1. Needham, Joseph. Science and Civilization
of print. in China, Vol 2, History of Scientific Thought.
Cambridge University Press. 1956.
5. Fu Zhongwen, Louis Swaim (tr.), Mastering
Yang Style Taijiquan”, (Paperback), Blue Snake This is the second volume in a series describing
Books (May 9, 2006), ISBN-13: 978-1583941522 the history of science and civilization in China
- 208 -
in great detail. This particular volume gives http://www2.kenyon.edu/Depts/Religion/

excellent summaries of many of the “classical” Fac/Adler/Writings/TJTS-Zhu.pdf
schools of Chinese thought that had emerged
by the end of the Warring States period, This is the same as the preceding, except that
including: Confucians (Ru Jia), Taoists (Dao it contains commentary by the Song Dynasty
Jia), Mohists (Mo Jia), Logicians (Ming Jia), philosopher Zhu Xi, who was pivotal in
Legalists (Fa Jia), and Naturalists (Yin-Yang defining and interpreting the works we know
Jia). It also gives excellent descriptions of Neo as the Confucian canon.
Confucian (Li Jia). The summaries include
3. http://www2.kenyon.edu/Depts/Religion/
strategic quotes from original sources to
Fac/Adler/Writings/Spirituality.htm
give a direct and unfiltered understanding
of the material. Anyone interested in This website, which is related to the two
the fundamentals of traditional Chinese preceding ones, gives interesting background,
philosophy would do well to begin here. as well as citations to source documents,
on the Neo-Confucian view of many terms
2. De Bary, Theodore and Bloom, Irene. Sources
important to Taiji practitioners, such jing
of Chinese Tradition From Earliest Times To
(essence), qi, and shen (spirit).
1600. Columbia University Press, 1999, 2nd
Ed. 4. Laozi’s Daodejing (Also spelled as Tao Te
Ching).
This volume is one of a comprehensive series
on Chinese Philosophy. As the title states, http://www.sacred-texts.com/tao/taote.htm
it starts from the beginnings of Chinese
history and concludes in 1600. The book This is one of the foundational texts of Daoism
goes into great depth on the development and one of the most translated works written
and history of Chinese philosophy, treating it in Chinese. The style of writing, while quite
as an organic whole that has developed and profound, is still poetic and quite readable.
changed over the years. The vast majority Important themes for the Taiji practitioner are:
of significant Chinese philosophers and the soft overcoming hard, the value of emptiness,
classical canon are discussed. Anyone with a and achieving everything necessary by doing
strong interest in philosophy and wanting to nothing (wuwei). This is a relatively short read
know in depth about Chinese philosophy and of 81 short sections or chapters. Wikipedia
its developments would be well served by this also has a good summary of the themes in
work. this work at http://en.wikipedia.org/wiki/
Daodejing
Original Source Materials On The Web
Sunzi’s Art of War (Bingfa).
1. Zhou Dunyi’s “Explanation of the Taiji Diagram”
(Taijitu Shuo). http://en.wikisource.org/wiki/The_Art_of_
War_(Sun)
http://www2.kenyon.edu/Depts/Religion/
Fac/Adler/Writings/Chou.htm Sunzi (also spelled as Sun-Tzu) is one of the
best known militarists of the Warring States
This website has both translations and period. His work retains immense popularity
commentary on what is one of the foundational and has even begun to influence many
texts of the Neo-Confucians and was standard corporate boardrooms. The theme of the
reading for all educated Chinese for more book is the tactics and strategies needed
than half a millennium. It is also arguably the to wage war successfully. In thirteen short
source of what the Taiji Classics mean when chapters, Sunzi’s work describes how to tackle
they discuss the philosophical terms Taiji, confrontation. Of particular interest for Taiji
Wuji, Yin, Yang, stillness, movement, and their practitioners are chapters 4, 5, and 6, which
attributes. This is a short document and well explain the concepts of “winning with ease,”
worth a read. energy (shi), and empty and full (xu shi).
2. Zhou Dunyi’s “Explanation of the Taiji Diagram”
(Taijitu Shuo) with commentary by Zhu Xi.
- 209 -
List Of Web Resources Video Resources
1. Explanations of the Taiji Diagram (Taijitu Don’t we wish we had video footage of Yang
Shuo) and other philosophical commentary. Chengfu and the other masters! So many questions
would be answered…
Fac/Adler/Writings/Chou.htm What we do have, fortunately, is video footage
of Master Yang Zhenduo and Master Yang Jun. I
http://www2.kenyon.edu/Depts/Religion/ mention these with the caveat, carefully stated
Fac/Adler/Writings/TJTS-Zhu.pdf by Master Yang Zhenduo when explaining his
reluctance to commit his version of the form to
video, that such a production is merely a “frozen
Fac/Adler/Writings/Spirituality.htm
in time” expression of the form as the performer
2. The I-Ching understood it at that stage of his practice. We
must allow even the masters and experts their
http://www.sacred-texts.com/tao/taote.htm continued development and therefore possible
subsequent revision of various movements,
http://en.wikipedia.org/wiki/Daodejing transitions, etc. That being said, using these
3. SunTzu’s Art of War (Bingfa). resources is one of the best possible means of
calibrating our practice to the standards set by the
http://en.wikisource.org/wiki/The_Art_of_ Yang Family.
War_(Sun)
Attending seminars or regular group classes or
4. Tai Chi Chuan private lessons is the best method to learn as
well, but not practical for daily personal training.
http://en.wikipedia.org/wiki/Tai_Chi_Chuan With video, we can practice with confidence as we
review again and again, confirming or correcting
http://en.wikipedia.org/wiki/Chen_style_Tai_
our memory of lessons and workshops and
Chi_Chuan
performances, discovering additional insights and
http://en.wikipedia.org/wiki/Wu/Hao_style_ enjoying the examples of the grace and power so
Tai_Chi_Chuan evident in their performances.
http://en.wikipedia.org/wiki/Wu_style_Tai_ You should own all of these, and use them often!
Chi_Chuan
All these are professionally produced and available
http://en.wikipedia.org/wiki/Sun_style_Tai_ from the Association’s website or from a Yang
Chi_Chuan Chengfu Center.
5. Yang Style Tai Chi Chuan 1. Traditional Yang Family Style Taijiquan DVD
and VHS. 103-move form with Master Yang
http://www.yangfamilytaichichuan.com Zhenduo, 4th Generation Yang Family;
and Yang Jun, 6th Generation Yang Family.
http://en.wikipedia.org/wiki/Yang_style_tai_ Includes step-by-step instructions in Yang
chi_chuan form, plus demonstrations, and lecture. This
http://en.wikipedia.org/wiki/Yang_Lu-ch’an is an instructional set featuring Master Yang
Zhenduo, fourth generation Yang family, son
http://en.wikipedia.org/wiki/Yang_Ch’eng-fu of famous Yang Chengfu and assisted by Yang
Jun, sixth generation Yang family.
http://en.wikipedia.org/wiki/Yang_Zhen_
Duo It was filmed and produced in a professional
studio in Washington, DC, in 1990. Sold as a
http://en.wikipedia.org/wiki/Yang_Jun_(Tai_ set only. Audio is in Chinese, with a book of
Chi_Chuan) translation into English of the content of
the video (included with video set). Book is
not sold separately because it is not useful
without the video.
- 210 -
2. Yang Family Tai Chi Chuan Demonstration Press (挤) Jǐ

DVD. A 50 minute demonstration DVD Push (按) Àn
performed by Master Yang Jun. Includes Yang
family Tai Chi Chuan history (in English), and Pull (採) Cǎi
Traditional Form (103 Form), Demonstration Split (挒) Liè
Form (49 Form), and Sword Form and Saber
Elbow Strike (肘) Zhǒu
Form.
Body Strike (靠) Kào
3. Yang Family Tai Chi Chuan Traditional Form. A
190 minute instructional DVD performed by Five Steps (五步) Wǔ Bù:
Master Yang Jun. Forward (进) Jìn
4. Yang Family Tai Chi Chuan Push Hands Volume Back (退) Tuì
I. A 90 minute DVD taught by Master Yang Jun. Left (顾) Gù
Includes theory and basic circling; single- and
Right (盼) Pàn
double-arms (vertical. horizontal and open
arms), fixed step and moving steps (straight Center (定) Dìng
and crossed). Bow stance (弓步) Gōng Bù
5. Yang Family Tai Chi Chuan Push Hands Volume Bubbling well - Ball of the foot (涌泉穴) Yǒng Quán
II. Master Yang Jun continues from Yang (Xuè)
Family Tai Chi Chuan Push Hands Volume I, Life energy or Chi (气) Qì
showing how to practice applications using
Center of life force energy or Dantien (lower,
Push Hands. It includes the eight energies
middle, and upper dantiens) (丹田) Dān Tián
and most movements from the Hand Form.
“Push and support” (蹬撑) Dēng Chēng
6. Yang Family Tai Chi Sword DVD. A 150 minute
Empty stance (虚步) Xū Bù
DVD taught by Master Yang Jun of the
Traditional 67 Sword Form. Extended (伸) Shēn
“To Issue explosive power” Fa Jin (发劲) Fā Jìn
7. Yang Family Tai Chi Saber DVD. A 90 minute
DVD taught by Master Yang Jun of the Frame (架子) Jià Zi
Traditional 13 Saber Form. Horse stance - pile stance - (马步) Mǎ Bù
8. International Tai Chi Symposium Showcase. Internal/External (内、外) Nèi Wài
This is a 120 minute DVD of the live Masters’ Essence, Energy, and Spirit (The Three Treasures)
Showcase event from the 2009 International (精，气，神) Jīng, Qì, Shén
Tai Chi Symposium. All Regions.
Long Fist (长拳) Cháng Quán
By Pat Rice and Audi Peal Peng energy (掤劲) Péng Jìn
List Of Key Words Relaxed (放松) Fàng Sōng
Five Elements (五行) Wǔ Xíng: Root or rooted (根) Gēn
Metal (金) Jīn Short form (短套路) Duǎn Tào Lù
Wood (木) Mù Sinking the chi (气沉) Qì Chén
Water (水) Shuǐ Sitting palm (立掌) Lì Zhǎng
Fire (火) Huǒ Spirit (精神) Jīng Shén
Earth (土) Tǔ Taijiquan - Tai Chi Chuan (太极拳) Tài Jí Quán
Thirteen Postures (十三势) Shí Sān Shì: Tiger’s Mouth (虎口) Hǔ Kǒu
Eight Energies (八劲) Bā Jìn: Waist (腰) Yāo
Ward-Off (掤) Péng

Roll-Back (捋) Lǘ
- 211 -
- 212 -
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YANG FAMILY

TAI CHI CHUAN ESSENTIALS

HISTORY, THEORY, AND PRACTICE GUIDE

Dr. Bruno Repetto Dr. Ray Tom

Dear Tai Chi Friend,

Welcome to the International Yang Family Tai Chi Chuan Association!

Fang Hong (Association Secretary)

For additional information, please visit our website: www.yangfamilytaichi.com.

CHAPTER 2 GUIDELINES FOR CONDUCT AND BEHAVIOR���������������������������������������������������������������� 31

CHAPTER 3 GETTING STARTED IN THE PRACTICE OF TAI CHI CHUAN������������������������������������ 43

CHAPTER 8 THE LEARNING SEQUENCE OF YANG FAMILY TAI CHI CHUAN�������������������������� 99

CHAPTER 9 YANG FAMILY TAI CHI CHUAN TRADITIONAL HAND FORMS���������������������������107

CHAPTER 12 BIOGRAPHIES OF THE YANG FAMILY TAI CHI CHUAN MASTERS�����������������191

INTRODUCTION TO THE ART OF TAI CHI CHUAN

CHINA’S UNIQUE CONTRIBUTION TO THE WORLD

THE POPULARITY OF TAI CHI CHUAN

Yong Nian, HeBei

TRADITIONAL TAI CHI CHUAN

T he origins of Tai Chi Chuan are

YANG ZHENDUO ON THE STUDY OF TAI CHI CHUAN

“Tai Chi Chuan looks easy. Actually, it’s not so easy.

Learning Tai Chi Chuan is a life-long endeavor. It

Day by day examine yourself. Year after year, every

Every day you have to eat. Every day you have

The essence of Yang style embodies form practice,

If you have the time and opportunity, practice the

Try your best to remember the form and apply the

Yang Luchan’s house

There are five major traditional styles of Tai Chi Chuan,

Chen Style Tai Chi Chuan

Yang Style Tai Chi Chuan

In his book, Master Yang Zhenduo goes on to explain,

—Master Yang Jun, 6th generation Yang family member.

Wu (Hao) Style Tai Chi Chuan

Wu Style Tai Chi Chuan

Sun Style Tai Chi Chuan

A CENTER DIRECTOR’S TESTIMONY O

By the mid1980’s and early 1990’s, seniors became more active in

Over the past 20 years I have experienced an increasing number of seniors

Very quickly I realized that I was no longer qualified to help many of my

OF THE BENEFITS OF TAI CHI CHUAN

The main thing that he needed to do was to exercise, to stretch and

In 1975, while I was studying to become an architect, I attended a Tai Chi

By Sergio Arione, Director of Montreal Yang Chengfu Center

HEALTH ASPECTS OF TAI CHI CHUAN PRACTICE:

W estern scientists have

Tai Chi Chuan and its effects on balance, pain

Actually, the yin/yang philosophy (Tai Chi - 太

So with that in mind, I don’t think your practice

The relationship between food and TCM is as

You say when we breathe it should be deep and

his intention, and knowing what to do, all without

Body movement is both internal and external.

Tai Chi Chuan is a martial art. We should always be

That’s what our ancestors said about the use of Tai

GUIDELINES FOR CONDUCT AND BEHAVIOR

MEMBER’S CODE OF CONDUCT

1. Respect all teachers, past and current.

4. Teach within the scope of practice.

5. Maintain professional boundaries (such as no inappropriate physical contact).

6. Do not exploit others financially.

7. Do not exploit others sexually.

10. Discriminate against no one.

CHAPTER 2 GUIDELINES FOR CONDUCT AND BEHAVIOR�� 31

CHAPTER 3 GETTING STARTED IN THE PRACTICE OF TAI CHI CHUAN�� 43

CHAPTER 8 THE LEARNING SEQUENCE OF YANG FAMILY TAI CHI CHUAN�� 99

CHAPTER 9 YANG FAMILY TAI CHI CHUAN TRADITIONAL HAND FORMS��107

CHAPTER 12 BIOGRAPHIES OF THE YANG FAMILY TAI CHI CHUAN MASTERS��191