YANG STYLE TAIJI SWORD ACCORDING TO YIN QIANHE

太極劍
TAIJI SWORD
尹千合
by Yin Qianhe
[published by 北辰出版社 Pole Star Press, Nov 10, 1958]

[translation by Paul Brennan, Dec, 2015]

《太極劍》 尹千合 (1958) - cover

尹千合著
by Yin Qianhe:
太極劍
Taiji Sword
何应欽
– [calligraphy by] He Yingqin

沈序
PREFACE BY SHEN HONGLIE

吾人精神之興旺,學問事業之發展,以身體健康為前提,故欲立己立人,達己達人,必先重視體育,朝夕鍛鍊,終身不懈,是之謂自強,一國民族之隆替,文化之高低,依全民強弱以為斷,故欲發揚文化,丕振國威,必須普及體育,由團體而社會,由都市而鄉村,是之謂強種,體育種類繁多,如田徑球類,已為世界及我國所通行,允宜積極鍛鍊,為國爭光,若專就我國習慣環境言,則以國術之不需設備,不擇場地,不限時間、人數,不耗任何資金等,在我目前財力物力困難之際,實較易於普及,況國術重視三合,即心與意合,意與氣合,氣與力合,使心常定,而神常凝,所謂技也近乎道,其所崇奉之武德,為急公好義,扶危濟傾,倘運用得已,則於強身強種之中,足為保鄉衛國之助。
方九一八與七七事變間,余負青島軍政責任,時值艱危,用是整軍經武,提倡國術,冶六十萬市民於一爐以備敵,迨七七變起,日本軍民被迫下旗歸國,其焚燒日本九大紗廠之使命,即由國術教官高芳先楊慶先等,領導國術隊所完成,旋奉令主魯,高楊二氏追隨抗戰。尹君千合夙嫻國術,率所練壯士數百人攜手抗戰,時全省各軍,厲行國術訓練,殺敵剿匪,高、楊、尹三君之建樹特多,國術衛國,於茲益信。
魯青民性忠勇篤實,自戡亂變起,多隨政府遷臺,高、楊、尹三氏亦隨軍到達,公餘之頃,仍以國術授徒,年來尹君服務教育界,從游者衆,特撰太極劍八段錦等,以為業餘教課,書成乞序於余,余自維畢生愛好國術,於技術實少心得,但年近八旬,老而不衰,確信深受其賜,當茲科學昌明,武器發達時代,吾人欲步武列強,須研究高深科學,尤應健全基層文化,促進國民健康,對易於普及之國術,未可忽視,尹君自強不息,而念念不忘於強種衛國之大義,是書之作,裨益於國術之普及者甚多,緣撮往事,以誌其凡。
丁酉仲冬竟陵沈鴻烈書於臺中旅次
The flourishing of our spirit as well as the growth of all our education and enterprise is based first of all upon the health of the body. Therefore if we wish to stand both individually and together, and to succeed both individually and together, we must start by giving importance to physical education, training daily and lifelong. This is what is meant by strengthening the self.
     The rise or fall of the people of a nation, the superiority or inferiority of their culture is dependent entirely on the strength or weakness of the people. Therefore if we wish to develop culturally and rouse national prestige, we must popularize physical education, establishing it in organizations and societies, cities and rural areas. This is what is meant by strengthening the masses.
     There are so many kinds of physical education, such as track and field events or ball sports, which are now in vogue in our nation as they are in the rest of the world. It might be appropriate for us to train in such things, but if we instead choose to glorify our nation by concentrating on our customary native martial arts, they do not require special equipment or specific facilities, are not restricted by schedule or size of a group, nor do they cost any money, which means that due to the present strained state of our economy, they are significantly easier to popularize.
     Chinese martial arts attach importance to the “three unions”: mind united with intention, intention united with energy, energy united with power. This causes the mind to be always stable and the spirit always focused, and thus it is said that skill approaches the Way. Martial virtue is thereby put on a pedestal, being minded toward the public good and to the deliverance of those in distress. Once we make use of such a realization, then the strengthening of oneself and the strengthening of the masses is all that is required in the cause of protecting one’s home and defending the nation.
     Between the Mukden Incident [Sep 18, 1931] and the Marco Polo Bridge Incident [July 7, 1937], I was in charge of the administration of the military in Qingdao. Throughout that time, the nation was under threat and so we built up the nation’s military strength by promoting martial arts. Some sixty thousand townspeople were trained [“smelted in the furnace”] in preparation to fight the enemy. When the Marco Polo Bridge Incident occurred, Japanese soldiers and civilians were forced to have diplomatic relations broken off and leave because of the mission to burn nine large Japanese cotton mills conducted by the martial arts teachers Gao Fangxian and Yang Qingxian, who each led a team of martial artists to accomplish this. Soon they both received orders to take control of Shandong, continuing the resistance against the Japanese. Yin Qianhe is a long-time martial arts adept who led several hundred warriors that he had trained for the struggle against Japan. At that time, the armies throughout the whole province were being rigorously drilled in martial arts. In fighting the enemy and smiting the invaders, Gao, Yang, and Yin made an especially large contribution, boosting confidence in the potential of martial arts to defend the nation.
     The people of Qingdao are loyal and brave, honest and sincere, and so because of the shift in power since the rebellion, many of them followed the government in its relocation to Taiwan. Being in the army, Gao, Yang, and Yin came along as well. In their spare time, they still teach martial arts. In recent years, Yin has been a schoolteacher and a great many have learned from him. He decided to spend his time after teaching classes to write about Taiji Sword and Baduanjin. Once he had completed these books, he sought a preface from me. Although I have loved martial arts my whole life, I have actually not obtained much in the way of skill, and yet I am now in my eighth decade but not at all a feeble man, and so I am entirely convinced that I have gained by it.
     Science is now flourishing and this is an era of development in weaponry. If we wish to walk among the great powers, we need to engage in advanced scientific research, and we especially have to solidify our cultural foundation in order to promote the health of the people. In this regard, the easiest way is the popularization of Chinese martial arts, which cannot be overlooked. Yin ceaselessly strives to improve himself, constantly keeping in mind the grand principle of strengthening the people and defending the nation, and herein lies the reason for making such books. To greatly benefit the spread of martial arts is why he is writing this material down.
     – written by Shen Honglie of Jingling while visiting Taizhong, Dec, 1957

陳序
PREFACE BY CHEN PANLING

國術為中國固有之文化,及獨特之學術,歷代富國強兵。多賴斯道,其理論之高深,技術之精妙,駕乎各國技擊之上,大則可以強種衛國,小則可以益壽延年,近教十年來,國人醉心西洋運動,使數千年來,我先賢所遺留之國粹,不能發揚廣大,致我民族衰弱不能挽救,彌深浩嘆。
劍術一道,為我國歷史上最高尚之技擊,惜因向重自身力行,甚少筆之於書,後學旣乏參證,只有暗有摸索,因而劍術精華幾乎失傳,尹君千合字百洽,山東人,通文事而擅國術,造詣頗深,致力研究,歷久不懈,深感國術日衰,願將所學及研究所得,作有系統之著述,以廣流傳,近著之太極劍及牀上健身術與科學八段錦,內容豐富,理論透澈,致用週詳,實對國術一大貢獻。
余一生提倡國術,來臺後仍抱素志,意在普及國民教育,促進國民健康,期達強種救國之目的,現尹君之著述,其立意與吾志同,故樂為之序。
中華民國四十七年十月 陳泮嶺序於臺中寓所
Martial arts are the most characteristic part of Chinese culture, distinctive skills which throughout history have brought the nation wealth and made its armies formidable. By often depending on such methods, theories became profound and techniques exquisite, above and beyond the martial arts of other nations. On a larger scale, they can strengthen the masses and defend the nation. On a smaller scale, they can add years to your life. However, in the last few decades, the people of our nation have become infatuated with Western exercises, rendering the several-millennia worth of cultural essence bequeathed to us by our worthy ancestors unable to flourish, thereby resulting in our people becoming weak and hopeless, and this is truly a pitiable situation.
     The sword art is the most revered of these skills in our nation’s history. Unfortunately, because it stresses personal endeavor, very few books have been written about it. Later generations of students have had little to consult, left to merely feel around in the dark. Because of this, the essence of the sword art has pretty much disappeared. Yin Qianhe, or Baiqia, of Shandong is well-read and an expert in martial arts, and he has investigated them deeply, devotedly researching for a long time without slackening. As he deeply feels that our martial arts are in daily decline, he wishes to put forth what he has learned and discovered by writing it down in a systematic way to further spread these teachings. Recently he has written Taiji Sword and Fitness Techniques on a Bed / Scientific Baduanjin. They are rich in content, with theory clearly presented and with function fully detailed, truly making a great contribution toward our martial arts.
     I have encouraged the practice of Chinese martial arts my entire life, and have maintained my ambition to do so since coming to Taiwan. I wish to spread such an education among the people and boost their health. The aim is to rescue the nation through strengthening the people. Now Yin has written his books, and since he and I are of the same mind, I am only too happy to make a preface for him.
     – written by Chen Panling at his home in Taizhong, Oct, 1958

自序
AUTHOR’S PREFACE

余才疏學淺,技藝拙劣,何敢冒昧著述,貽笑方家,祗以個人深受國術利益,未敢自私,欲介紹全國同胞,尤其體弱多病者,勤於練習,期能轉弱為強,以此自愛愛人之心,激動勇氣,用作拋磚引玉之計。
本人幼時多病,年二十猶羸弱,藥石罔效,父毋憂之,同里傅廷杰先生,精通國術,商請就學,期年而宿疾霍然,愈增響往之心,時太極名家安定邦先生服務北平強健體育社,乃負笈請益,安師技藝精絕,循循善誘、朝夕勤練,幸窺門徑,精力充沛,與一往判若兩人。
抗戰軍興,追隨吾魯沈主席鴻烈,供職軍旅,沈公夙夕提倡國術,是為軍事教練主科,本人以嗜好所在,奉行尤謹,殺敵剿匪,裨助良多。
自共匪叛國,即隨政府遷臺,服務中部教育界,青年愛好國術者,多隨從練習,不得不力自振奮,繼續鍛鍊,承國術先進陳泮嶺先生,不時指示,國術名家王樹金先生,鄉長宋憲亭委員多方鼓勵,於課餘揣摩研究,在探討所得,無論少林、太極、槍、刀、劍、棍等,凡合乎生理衛生,應用自衛者,無不筆之於書,計内家有太極拳,太極劍,牀上健身術與科學八段錦。外家有十二路彈腿,太祖長拳等,器械:槍、刀、劍、棍等,日積月纍,蘶然成帙,幷荷好友呂火能君,就教課各種姿勢,惠予攝影,成書數集,各同學堅請付梓,以廣流傳,自維寄處寳島,參考書籍缺乏,凡所論列,但憑記憶師教及個人研究所得而成,誤漏滋多,安能問世,辭不獲已,暫就坊間流行尚少者,提出「太極劍」及「牀上健身術與科學八段錦」兩篇,暫為印行,供同學參考之資,深望海內外國術名宿,邦人君子,摘補瑕疵,以匡不逮,是所厚幸。
中華民國四十七年十月 山東尹千合(百洽)序於寳島彰化
I have but little talent and shallow learning, and my skill level is quite inferior. How could I presume to make books and invite ridicule from experts? It is simply because the great benefit I have received from martial arts I would not dare to keep to myself. I want to share it with my compatriots throughout the whole nation, particularly those who are weak or often ill. With constant practice, martial arts can turn the weak into the strong. As I do this out of a mentality of self-love and caring for others, I have roused my courage in hopes that my small efforts will bring about a large benefit.
     When I was young, I was constantly ill. Once I became an adult, I was still frail and weak. Medicines had been having no effect, to the great anxiety of my parents, but in our town there was a Fu Tingjia, who was an expert in martial arts, so they asked him to give me instruction. After just a year, all my chronic ailments had quickly been cured, and I was also inspired to take it further. At that time, the well-known Taiji expert An Dingbang was teaching at the Beijing Health & Fitness Society, so I left home to approach him for instruction. His skill was exquisite, his teaching method was systematic and patient. I trained hard from morning to night, feeling blessed to have access to such teachings. My strength grew to abundance and I had been transformed.
     When armies were raised in resistance against Japan [1937], I followed Shen Honglie, chairman of my home province of Shandong, by serving in the army. Shen was a long-standing advocate for martial arts, so he made martial arts the major training regimen for the military, and since it is my hobby, I pursued this with extra sincerity. For fighting the enemy and smiting the invaders, it proved to be very helpful.
     When the communist bandits betrayed the nation [i.e. the communist takeover, meaning 1949], I went with the government in its relocation to Taiwan, where I have been serving as a schoolteacher in the Taizhong area. Since so many of those who get their schooling from me are young enthusiasts for martial arts, I have had no choice but to push myself and continue in my own training, receiving frequent guidance from my martial arts superior, Chen Panling, as well as constant encouragement from martial arts expert Wang Shujin and town council member Song Xianting. After a class, I contemplate and study, and whatever I am delving further into, be it Shaolin, Taiji, or weapons, if it conforms to the principles of health maintenance and the practicalities of self defense, I invariably write it all down into books.
     Of the internal arts, I have written Taiji Boxing, Taiji Sword, and Fitting Techniques on a Bed / Scientific Baduanjin. Of the external arts, I have written Twelve-Line Tantui and Taizu Long Boxing. As for weapons, I have written of spear, saber, sword, and staff. What I have accumulated over a long period amounts to a compendium of information. Lü Huoneng, a good friend who has learned the various postures, has done me the favor of making the photographs. The book is now completed and is being published at the request of many colleagues to spread the information widely.
     Seeing as I live in Taiwan, I have less access to books I ought to be consulting, and so for everything I have explained, I have only relied on my memory of what I was taught and what I have obtained through my own research, and so there are bound to be many errors and gaps. As to what I have been able to publish, I fear I am inadequate for the task, so far putting a mere two books on the shelves of bookshops: Taiji Sword and Fitness Techniques on a Bed / Scientific Baduanjin. What I have published is to supply my fellow students with reference material. I sincerely hope that Chinese martial arts experts from around the world, gentlemen and countrymen, will pick out flaws to be fixed, for if you would correct me where I have missed, I would feel fortunate indeed.
     – written by Yin Qianhe (Baiqia) of Shandong in Zhanghua, Taiwan, Oct, 1958

《太極劍》 尹千合 (1958) - callig 1

千合先生紀念
To commemorate this work by Yin Qianhe:
氣 精

力 神
“Spirit [精神] and strength [氣力] to the utmost [極]!”
蔣緯國敬題
– respectfully calligraphed by Jiang Weiguo

《太極劍》 尹千合 (1958) - callig 2

千合先生紀念
To commemorate this work by Yin Qianhe:
發揚國粹
“Promoting the essence of our culture.”
高芳先
– [calligraphy by] Gao Fangxian

《太極劍》 尹千合 (1958) - portrait

著者肖像
Portrait of the author

目錄
CONTENTS

一、國術總論
One: General Introduction to Chinese Martial Arts
二、劍術槪論
Two: General Introduction to the Sword Art
三、太極劍淺說
Three: Basic Introduction to the Taiji Sword
四、劍術効力名稱解釋
Four: Explanations of the Sword Techniques
五、練國術之修養及應持態度
Five: Moral Attitudes to Adhere to in Martial Arts Training
六、練太極劍數記
Six: A Few Pointers for Practicing Taiji Sword
七、太極劍各勢名稱順序
Seven: Taiji Sword Posture Names in Sequence
八、各個姿勢路線表
Eight: Footwork Chart for All of the Postures
九、方向圖
Nine: Orientation Chart
十、學名、術名、動作說明及姿勢圖(附姿勢圖五十二幀)
Ten: The Scholarly Names, Technical Names, Movement Descriptions, and Photos of the Postures (including fifty-two photos)

(一)國術總論
ONE: GENERAL INTRODUCTION TO CHINESE MARTIAL ARTS

國術為我國固有文化,學理高深,技術精妙,富有忠勇義俠精神,足以廉頑立懦,轉弱為强,世界各國運動,各有所長,允以擇尤取法,惟以我國目前環境,欲求節省經費,場地,時間,俾人人得能練習而普及者,中國國術似較其他體育尤為便利。總統蔣公在育樂兩篇中昭示國人:「國術:中國的拳擊不但是決鬥的方法,更有其體育意義,拳擊的最高境界,是心平氣和,意到力到,這種修養,是外國拳擊所不能企及的,我們叫他做國術……」簡明扼要,足資吾人警惕。
國術無分少林,武當,只要工夫純熟,無不柔中有剛,剛中有柔,變化莫測,應用裕如,後世以少林為外家,武當為內家,又分花門,紅門,南派北派,以門戶之見,為褒貶之私,偶得一鱗半爪,自以為無尚眞諦,抱殘守闕,密而不傳,互相柄鑿,於私無得,於國無補,良可慨嘆。
在此反共抗俄大時代中,我國術界同仁,應破除畛域,共同琢磨,統一目標,向前邁進,一面妥定各級敎材,培養良好師資,以期敎法之改善,一面由軍旅而學校由都市而鄕村,以期國術之普及,尤須心身兼修,達到領袖所示:心平氣和,意到力到之境界,使國術團體化,科學化,普遍化,道德化,成為救國救時之良藥,千合不敏,願執鞭以隨其後。
Martial arts are the traditional culture of our nation. Their principles are profound and their skills are exquisite. They are steeped in a spirit of loyalty and chivalry. They can open closed minds, bolster the timid, and strengthen the weak. Every nation in the world has its own brand of physical exercises, and they each have their good points, and we should allow that their way of doing such things is right for them. But for us in our current state of affairs, we want something that does not require money, special facilities, or specific scheduling, in order for people everywhere to be able to train. Chinese martial arts appear to be far more convenient than other types of physical education. President Chiang Kai-shek publicly declared this of Chinese martial arts in his writings on “Education and Recreation”: “China’s boxing arts are not merely fighting methods, they have even greater significance as physical education. The highest level in boxing arts is calm, harmonious, intent-directed power. The boxing arts of other nations have been unable to match this achievement, and so we call them our ‘national arts’.” This is brief, to the point, and all we need to rouse us.
     Chinese martial arts do not really divide into Shaolin and Wudang, for the only thing of importance in either case is skill. In both schools, softness contains hardness and hardness contains softness, movements should transform unpredictably, and techniques are to be applied without effort. Succeeding generations classified Shaolin as the “external school” and Wudang as the “internal school”. Further distinctions were made, for instance Hua Style as being different from Hong Style, “southern branch” versus “northern branch”, etc. The various styles look upon each other with a sectarian bias, passing judgment over each other simply to promote their own ways. Whenever they encounter a piece of something from outside their niche, they instinctively decide it does not represent the “true essence”. Such people cherish their incomplete art, stubbornly defending their ignorance, keeping the contents of their own system a secret while mindlessly hammering at everyone else’s. They will not actually get anything out of this, nor will they help the nation – truly pathetic.
     This era is a crucial time of resistance against the communists and soviets. Please, my Chinese martial arts colleagues, put aside your differences so we may work together, united in purpose, and progress forward. One task is to produce teaching materials for all levels so as to foster better teachers and promote improved teaching methods. The other task is to take them everywhere, from barracks to schools, from cities to rural areas, promoting their spread of these arts. It is essential for mind and body to be mutually cultivated in order to reach the point in which teachers are displaying the condition of “calm, harmonious, intent-directed power”. By making Chinese martial arts organized, scientific, popular, and ethically influential, they will become a medicine to the save the nation and rescue the age. I am not a very bright person, but I hope to do my bit to at least whip this horse into a trot.

(二)劍術槪論
TWO: GENERAL INTRODUCTION TO THE SWORD ART

劍術一道,為吾中華歷史上最高尚之技術,以其技擊高尚,多知其然而不知其所以然,遂演變為神秘,間有一二懷絕技者,目之為仙,又珍惜不肯傳人,更乏著述以憑參考,因而劍術精華,幾成絕學,國粹至寳不得流傳,至為可惜。
昔太公之闕,文王之錄,闔閭之干將、莫邪、楚王之龍淵、太阿、工布等,皆古良劍也。但古劍,今只傳其名,難以詳考,歷觀經史,如曹沫持劍刼桓公而魯不辱,毛遂持劍叱楚子而趙以尊。高祖提三尺劍以定漢室,祖逖聞雞起舞以衞晉土,均仗劍而成事,至於劍之製造,純賴精神貫注,親自琢磨,逈非其他器械可比,以其高尚超雅,故古昔文人武士多佩劍。
劍術係順自然之理,運用姿勢隨心應手,變化萬端,其劍法大槪分十六字,曰刺、曰劈、曰砍、曰撩、曰挑、曰剒、曰摸、曰拋、曰攔、曰掛、曰衝、曰絞、曰弸、曰削、曰托、曰雲是也。手眼身法步相隨,閃轉進退,意到力到,習之日久,而劍術自通焉。
The sword art is the most highly esteemed skill in our nation’s history. What makes this particular martial skill so admired is that so many have known about it but have not really understood it, and so it has developed a mystique. The few who possessed consummate skill were seen as otherworldly and they were often unwilling to teach it to others. Furthermore, there is a palpable lack of writings about it for us to consult. Consequently, the essence of the sword art has been mostly lost, rendering the most valuable treasure in our culture incapable of being passed down, truly a pity.
     Long ago there was Grand Duke Jiang’s Que, King Wen’s Lu, King Helu’s Gan Jiang and Mo Ye, and the King of Chu’s Dragon Well, Tai’e, and Declarer of Work. These were all superb ancient swords. However, these ancient swords come down to us only as names, the details too difficult to verify.
     There are mentions in the histories and classics. Cao Mo grasped his sword and compelled Duke Huan into compliance, preventing the state of Lu from being humiliated. Mao Sui held up his sword and rebuked the King of Chu into an alliance with the kingdom of Zhao. Emperor Gaozu lifted his three-foot sword and gave the House of Liu its foundation. Zu Ti defended his kingdom of Jin by getting up to practice every morning as soon as the rooster started calling.
     These are all examples of success by way of reliance on the sword. As for the way those swords were made, it was with a pure and focused attention, working on them by hand, and yet no other swords can compare to them. They were used by nobility as an expression of refinement, and therefore in ancient times, both scholars and warriors often wore swords at their waist.
     The sword art accords with natural principles. In movement and posture, perform with your hand what is in your mind, and with limitless adaptability. The sword techniques generally divide into sixteen: stabbing, chopping, cleaving, raising, carrying, filing, wiping, flinging, blocking, hanging, thrusting, twining, flicking, paring, propping, and clouding. The hands, eyes, body, techniques, and steps work together, through all the twisting and turning, advancing and retreating, with intent-directed power. After practicing it over a long period, the sword art will naturally be understood.

(三)太極劍淺說
THREE: BASIC INTRODUCTION TO THE TAIJI SWORD

普通練劍,大抵動作迅速,潛如游魚,行若飛鳥,疾如追風,動似閃電,眼快、劍快、步快、以劍法十六字為用劍之基本,多以剛勝,練太極劍則略有不同,每項動作均有太極意形,劍鋒多帶太極圈花,與學太極拳無異,循太極動靜之理,虛實之妙,凝神定氣,手足相應,意前劍後,心閒手穩,以剛變柔,以實變虛,上下相當,進退有序,乘虛取巧以觀變,欲揚必抑以察機,只有剛而無柔,其法不活,其勢不靈,太極劍則以靜制動,以柔克剛,在太極拳中之粘、連、黏、隨之法,於太極劍亦甚重要。
余著此書,每式取一學名,述其意義,以顯其藝術,術名略釋,以備應用,動作說明,以便參考,姿勢列圖,俾供練習,按照劍法十六字,循太極陰陽勢,緩急相隨,進退適宜,縝密靈活,接續連綿,合成一氣,萬劍之變,皆不離此法,法合劍術,則太極劍之眞相出焉。
In the ordinary practice of sword arts, the movements are usually fast. Dive like a fish and fly like a bird. Move as fast as the chasing wind, sudden as a lightning bolt. Your eyes should be quick, your sword should be quick, and your steps should be quick.
     The sixteen techniques form the basis for using the sword, and they usually use hardness to win. But practicing Taiji Sword is slightly different. Every movement has the taiji concept, both in idea and shape, the sword tip typically drawing taiji-circle patterns. It is no different from Taiji Boxing, abiding by the taiji theory of movement and stillness, and its subtleties of emptiness and fullness. You should concentrate your spirit and stabilize your energy. Your hands and feet should coordinate with each other. Your intention goes forth and the sword follows. Your mind should be at ease and your hand should be steady.
     Let hardness soften. Let fullness empty. Your upper body and lower should correspond to each other. Advancing and retreating should be orderly. To take advantage of gaps and seize the chance skillfully, observe how the opponent adapts. If he wants to rise up, he must first press down, so watch for that cue. If you only have hardness and are without softness, the techniques will not be lively and the postures will not be nimble. Taiji Sword therefore uses stillness to overcome movement, softness to defeat hardness. In Taiji Boxing there are the principles of sticking, connecting, adhering, and following, and in Taiji Sword these are also very important.
     I have for each posture in this book:
     [i] presented its scholarly name, with an explanation of its significance to reveal its artistry,
     [ii] then paraphrased it with a technical name so as to equip you with an application,
     [iii] as well as supplied a movement description for easy reference,
     [iv] and also included a photo in order to supply a model to practice by.
     Practice on the basis of the sixteen sword techniques and in accordance with the passive and active aspects of the grand polarity [the yin and yang of the taiji]. Slowness and quickness should complement each other, advancing and retreating should be appropriate. Use both precision and nimbleness. The movements should be continuous, unbroken, flow. The countless transformations of the sword should never depart from these principles. When these principles are merged with your practice, then the truth of the Taiji sword art will emerge.

四、劍術効力名稱解釋
FOUR: EXPLANATIONS OF THE SWORD TECHNIQUES

劍術中有六合,即心與意合,意與氣合,氣與力合是內三合,眼與劍合,劍與步合,步與身合是外三合,全身靈活,貫串一氣,集中發出,即為劍術之活力,至劍法効力,計有十六字,一、劍鋒直向前方為之刺,二、劍身向下擊為之砍,三、劍身由左右斜向下為之劈,四、正手腕劍鋒及劍身由下向上為之挑,五、反手腕劍鋒向上為之撩,六、劍身向前後鋸割為之錯,七、劍身平橫為之摸,八、劍身向左右平行為之拋,九、劍鋒向上為之衝,十、劍身斜橫截為之攔,十一、劍鋒向下垂為之掛,十二、劍身上橫為之托,十三、劍鋒向左右擺動為之絞,十四、劍鋒半割為之削,十五手按劍柄劍鋒上躍為之弸,劍鋒左右廻環為之雲,以上劍之効力,不過略解,每字之中尚分若干動,在各式中另有說明,每動分淸,熟中生巧,運用變化,存乎一心,余著之太極劍,以藝術為主,以應用為副,學者隨時留意體會,自然藝術與應用,配合一致,習之日久,自有不可思議之妙境生焉。
Within the sword art, there are six “unions”: the three internal unions of mind united with intention, intention united with energy, and energy united with power, combined with the three external unions of eye united with sword, sword united with step, and step united with body. Your whole body is nimble, energy coursing through and expressing in focused concentration. This is the vitality of the sword art. As for the techniques, there are sixteen:
     1. Stabbing – the sword tip goes directly forward.
     2. Cleaving – the sword body attacks straight downward.
     3. Chopping – the sword body attacks diagonally downward from left or right.
     4. Carrying – hold your wrist upright and bring the sword tip and inner edge upward from below.
     5. Raising – turn over your wrist and bring the sword tip upward.
     6. Filing – the sword body saws back and forth.
     7. Wiping – the sword body goes across held horizontally.
     8. Flinging – the sword body moves across to either side.
     9. Thrusting – the sword tip goes upward.
     10. Blocking – the sword body goes diagonally across to intercept.
     11. Hanging – the sword tip hangs down.
     12. Propping – the sword body goes upward held horizontally.
     13. Twining – the sword tip waves side to side.
     14. Paring – the sword tip does a half cut.
     15. Flicking – the sword handle is pushed down to make the tip jump up.
     [16] Clouding – the sword tip circles to the left and right.
     These are but the briefest descriptions of these techniques. Each technique is subdivided into still more movements, and there are also further explanations of them within the postures of the set. Keeping the movements precise, you will become skillful with practice, changing from one to another with constant focus. In making the book, I took the artistry of the sword set as the primary consideration and the applications as supplemental. By being always mindful of what you get from your own experience of it, the artistry and applicability will naturally come to complement each other, and then after practicing it over a long period, you will naturally find yourself in a state of unimaginable joy.

五、練國術之修養及應持態度
FIVE: MORAL ATTITUDES TO ADHERE TO IN MARTIAL ARTS TRAINING

一、持之以莊:練國術須要莊重,即敦厚誠樸,不可輕窕,亦不可驕傲,孔子曰:「君子不重則不威,學則不固,」
1. Maintain seriousness:
     To practice martial arts, you must be serious, meaning sincere and humble rather than frivolous and arrogant. Confucius said [Lun Yu, 1.8]: “If a gentleman were not serious, he would not be taken seriously, nor would anything that he has learned stick with him.”

二、臨之以敬:與人接觸要有恭敬心,敬人者人恒敬之,態度要謙恭誠懇,切忌阿諛賤態。
2. Look upon others with respect:
     When in the company of others, you should be respectful. [It is said (Mengzi, 4b28):] “One who respects others is always respected.” Your manner should be polite, modest, and friendly, though not to the point of sycophancy.

三、接之以和:練國術要心平氣和,切忌兇暴,逞强凌人,野蠻行為最可恥,待人接物以和為主。
3. Receive others harmoniously:
     A martial artist should be even-tempered and harmonious. Avoid being violent, competitive, or insulting, for there can be nothing more disgraceful than to conduct yourself with cruelty. Harmoniousness is of prime importance in your treatment of others is.

四、秉之以公:練國術處事,不可有私心,不要有偏見,做事要大公無私,光明壘落,應有威武不能屈之精神。
4. Maintain a sense of justice:
     To practice martial arts, you should in all matters be unselfish and unbiased, fair and impartial, open-minded and upright, and you should possess a spirit that cannot be intimidated.

五、練之以勤:練國術要勤勞不輟,不可怠懶,語云:「業精於勤,荒於戱」,勤練自然工夫深。
5. Practice with diligence:
     To practice martial arts, you have to work at it industriously and unceasingly. You must not be lazy. It is said [by Han Yu, “About the Civil Service Examinations”]: “Mastery lies in hard work, whereas fooling around will amount to nothing, [and success lies in focus, whereas just doing whatever you feel like will make it all fall apart].” With diligent practice your skill will naturally deepen.

六、行之以義:練國術要有忠勇義俠精神,語云:「見義不為無勇也」,「行而宜之之謂義」,就是應該做的才做,不應該做的,切莫亂為。
6. Conduct yourself with honor:
     To practice martial arts, you should have a mentality of loyalty and chivalry. It is said [by Confucius, Lun Yu, 2.25]: “To be aware of what is right and not do it is cowardly.” [And it is also said, by Han Yu, “The Original Way” (meaning Confucianism):] “To behave as you ought to behave is called honor.” This means doing what should do and never arbitrarily giving in to doing what you should not.

七、存之以仁:練國術以仁愛為本,仁民愛物,融容大度,存心善良,有博愛精神。
7. Cherish compassion:
     To practice martial arts, base yourself in compassion and humaneness. [It is also said (Mengzi, 7a45):] “[A gentleman is] compassionate toward others and humane toward animals.” Be mild, magnanimous, kindhearted, and have a mentality of universal love.

八、歸之以忠:練國術切戒私鬥,私鬥最為可恥,應以技術身心,獻於國家民族。
8. Give yourself with loyalty:
     A martial artist resolutely avoids getting into fights to prove himself. If you fight with others for your own gain, you should be utterly ashamed of yourself, for you should instead be contributing your skill, body, and mind to your nation and your people!

(六)練太極劍數記
SIX: A FEW POINTERS FOR PRACTICING TAIJI SWORD

一、欲練太極劍最好先練太極拳,因每動均有太極形態,舍太極拳練有基礎,再學太極劍,輕而易擧,太極劍的轉變意形,姿態步法氣勢,大都與太極拳略同,所以欲練太極劍,最好先練太極拳,
1. If you wish to practice Taiji Sword, the best thing to do is start by practicing Taiji Boxing,
because all of the movements are in the manner of the taiji circle. Devote yourself to empty-hand sets to develop a foundation, and then learning the sword art will be easy. In Taiji Sword, the movements, intentions, shapes, posture, footwork, and energies are mostly the same as in Taiji Boxing. Therefore if you wish to practice the sword set, first practice the boxing set.

二、無論做何事,要有恒心,學舞劍亦然,初學劍難,持久更難,務要保持眞誠純潔之精神,虛心探討,領會揣摩,盡力研究,精益求精,專心致功,熟中生巧,自然得有奧妙。
2. In every task you undertake, you have to be persevering, including the learning of a sword set. As difficult as it will be to learn it in the beginning, it will be still more difficult to follow it through to the end. You must maintain a spirit of sincerity. Delve into it with an open mind, and as you come to comprehend it, contemplate further. Put all your effort into the study of it, and as you approach perfection, seek to perfect it even more. Wholeheartedly work at it, going from well-versed to skillful, and you will naturally obtain its wonders.

三、練劍多揑劍訣,左手持劍,右手揑劍訣,右手握劍,左揑劍訣,劍訣者,即亦拇指與無名指小指曲合,食指中指倂伸,以示愼重,劍隨手指而助劍勢,更顯其藝術與精神,或有用掌者,亦無不可,在傳統的意識上,余以用劍訣為宜,更免與劈刀相混也。
3. Sword practice typically involves a “swordsman’s hex”. While your left hand is holding the sword, your right hand is pinched into a swordsman’s hex, and while your right hand is holding the sword, your left hand pinches to make the hex. To make the swordsman’s hex, the thumb, ring finger, and little finger bend in and join together, while the forefinger and middle finger are extended together. This expresses greater seriousness. The sword goes along with the movements of the hex, which assists the sword postures and further displays its artistry and spirit. There are those who instead just use a palm [as with a saber set], which is always equally acceptable, but in keeping with the conventional mentality, I find the use of the swordsman’s hex to be more appropriate, as it keeps sword and saber more distinct.

四、初練劍最好先以木或竹製造假劍,俟步法身法手法,略有門徑,再換眞劍,劍長度以左手反持劍柄劍鋒與頭齊即可。
4. In the beginning of practicing the sword, it is best to start with a fake one made of wood or bamboo. Work with it until you have the basic idea of the footwork, body maneuverings, and hand actions, then you may switch to a real sword. To determine the right sword length, hold the handle in a reverse grip with your left hand. The sword tip should be at head level.

(七)太極劍各勢名稱順序
SEVEN: TAIJI SWORD POSTURE NAMES IN SEQUENCE

一、預備式
1. PREPARATION POSTURE
二、鳳凰雙展翅
2. PHOENIX SPREADS BOTH WINGS
三、仙人指路
3. IMMORTAL POINTS THE WAY
四、日套三環
4. THREE MAKE A RING AROUND THE SUN
五、回頭望月
5. TURN AND GAZE AT THE MOON
六、陰陽太極式
6. PASSIVE & ACTIVE COMBINING
七、射燕勢
7. SHOOT THE GOOSE
八、大奎星
8. LARGE KUIXING POSTURE
九、靑龍出海
9. BLUE DRAGON LEAVES THE OCEAN
十、回擊平陽
10. TURN AROUND, STRIKING ACROSS WITH THE UPPER EDGE
十一、左右拋掃(一)
11. LEFT & RIGHT FLINGING SWEEPS – Part 1
十二、左右拋掃(二)
12. LEFT & RIGHT FLINGING SWEEP – Part 2
十三、左右拋掃(三)
13. LEFT & RIGHT FLINGING SWEEP – Part 3
十四、小奎星
14. SMALL KUIXING POSTURE
十五、長虹貫日
15. RAINBOW THROUGH THE SUN
十六、撥草尋蛇
16. SPREAD THE GRASS TO FIND THE SNAKE
十七、魚腹藏劍
17. SWORD HIDDEN WITHIN THE FISH’S BELLY
十八、狸貓捕鼠
18. TABBY CAT CATCHES THE MOUSE
十九、鳳凰抬頭
19. PHOENIX RAISES ITS HEAD
二十、黄蜂入洞(一)
20. WASP ENTERS ITS NEST – Part 1
二十一、黄蜂入洞(二)
21. WASP ENTERS ITS NEST – Part 2
二十二、小奎星
22. SMALL KUIXING POSTURE
二十三、長虹貫日
23. RAINBOW THROUGH THE SUN
二十四、大鵬展翅
24. RUKH SPREADS ITS WINGS
二十五、太公釣魚
25. GRAND DUKE JIANG FISHES
二十六、左右龍行虎步(一)
26. LEFT & RIGHT DRAGON MOVEMENTS WITH TIGER STEPS – Part 1
二十七、左右龍行虎步(二)
27. LEFT & RIGHT DRAGON MOVEMENTS WITH TIGER STEPS – Part 2
二十八、左右龍行虎步(三)
28. LEFT & RIGHT DRAGON MOVEMENTS WITH TIGER STEPS – Part 3
二十九、懷中抱月
29. EMBRACE THE MOON
三十、宿鳥投林
30. BIRD GOES INTO THE FOREST TO ROOST
三十一、烏龍擺尾
31. BLACK DRAGON SWINGS ITS TAIL
三十二、靑龍出海
32. BLUE DRAGON LEAVES THE OCEAN
三十三、風捲荷葉
33. WIND ROLLS UP THE LOTUS LEAVES
三十四、左右獅子摇頭
34. LEFT & RIGHT LION SHAKES ITS HEAD
三十五、虎抱頭
35. TIGER HIDES ITS HEAD
三十六、野馬跳澗
36. WILD HORSE JUMPS THE STREAM
三十七、勒馬勢
37. REIN IN THE HORSE
三十八、指南針
38. COMPASS NEEDLE
三十九、左右迎風打塵(一)
39. LEFT & RIGHT BRUSHING OFF DUST AGAINST THE WIND – Part 1
四十、左右迎風打塵(二)
40. LEFT & RIGHT BRUSHING OFF DUST AGAINST THE WIND – Part 2
四十一、左右迎風打塵(三)
41. LEFT & RIGHT BRUSHING OFF DUST AGAINST THE WIND – Part 3
四十二、左右迎風打塵(四)
42. LEFT & RIGHT BRUSHING OFF DUST AGAINST THE WIND – Part 4
四十三、大奎星
43. LARGE KUIXING POSTURE
四十四、左右車輪
44. LEFT & RIGHT WHEELING
四十五、倒轉車輪
45. RETREATING WHEELING
四十六、流星趕月
46. METEORS CHASING THE MOON
四十七、鳳凰三點頭
47. PHOENIX NODS ITS HEAD THREE TIMES
四十八、鷂子翻身
48. HAWK TURNS OVER
四十九、高祖斬蛇勢
49. GAOZU SLAYS THE SERPENT
五十、倒垂楊柳
50. WILLOW WEEPING BEHIND
五十一、燕子入巢(一)
51. SWALLOW ENTERS ITS NEST – Part 1
五十二、燕子入巢(二)
52. SWALLOW ENTERS ITS NEST – Part 2
五十三、江邊望月
53. GAZING AT THE MOON FROM THE RIVERSIDE
五十四、指日東升
54. POINTING TO THE SUNRISE
五十五、二郎擔山
55. ERLANG CARRIES THE MOUNTAIN
五十六、朝天一柱香
56. HOLD UP A STICK OF INCENSE
五十七、風掃梅花(一)
57. WIND SWEEPS THE PLUM FLOWERS – Part 1
五十八、風掃梅花(二)
58. WIND SWEEPS THE PLUM FLOWERS – Part 2
五十九、捧笏式
59. HOLDING THE TABLET
六十、完壁歸趙——合太極
60. RETURNING THE JADE TO ZHAO INTACT (CLOSING POSTURE)

(八)各個姿勢路線表
EIGHT: FOOTWORK CHART FOR ALL OF THE POSTURES

圖例標誌
Symbol key:

《太極劍》 尹千合 (1958) - footwork key

右脚
right foot
左脚
left foot
脚尖
ball of the foot
轉動整周
spin a complete circle
由某步至某步
from one step to another

一、第一段脚印路線,自第一式預備式起,至第三十七式勒馬式止。
1. Section One of the footwork chart goes from Posture 1 – PREPARATION POSTURE – to Posture 37 – REINING IN THE HORSE.
二、因避免脚印重疊分為二段,其實是一氣完成。
2. In order to avoid footprints superimposing, this chart has been divided into two sections, but the set is still to be performed as a single flow.
三、脚抬起與脚轉動不能詳為印出,對照說明及姿勢圖,即可明瞭。
3. A foot lifting or swinging around cannot be depicted in such a chart, but you will generally be able to understand by reading the explanations and looking at the photos.
四、脚稍動者與反復動者均未標出,可參看說明及姿勢圖。
4. A foot’s small adjustments or repeated movements are not shown here, but you can refer to the explanations and photos.

《太極劍》 尹千合 (1958) - footwork part 1

預備式起點
Beginning position of PREPARATION POSTURE
以下接第二段
Continued below in Section Two

一、第二段由三十八式,指南針起,至六十式完璧歸趙止。
1. Section Two goes from Posture 38 – COMPASS NEEDLE – to Posture 60 – RETURNING THE JADE TO ZHAO INTACT.
二、圖例與第一段脚印標誌同
2. The symbol key is the same as for Section One.
完璧歸趙,舞劍完畢,合太極,仍回原位預備式
With RETURNING THE JADE TO ZHAO INTACT, this sword set is finished. The closing posture returns you to your original position in the PREPARATION POSTURE.

《太極劍》 尹千合 (1958) - footwork part 2

(九)方向圖
NINE: ORIENTATION CHART


Rear

右後  ↖ ↑ ↗  左後
Right Rear       Left Rear

右 ← ┼ → 左
Right      Left

右前  ↙ ↓ ↘  左前
Right Front       Left Front

Front

注意:
Notes:
(一)預備式係面向前,無論身體如何變化動轉,其前後左右稱位皆以此為準。各個姿勢說明,亦均按此圖為標準,預備式如站在方向圖的十字中心點,即可固定明瞭方向。
1. The PREPARATION POSTURE faces forward. Whatever direction you move toward – Front or Rear, Left or Right – they are always in accordance with this initial position. The written explanation for every posture is modeled upon this chart. The PREPARATION POSTURE is positioned at the cross in the center so you can clearly determine your orientation.
(二)姿勢圖中,有的以照相關係,其姿勢面向有稍移者,其方向統以動作說明及姿勢路線脚印為標準。
2. In the photos of the postures, some postures will appear to be shifted from their real orientation, in which case you should rely on the written text and the footwork chart as the standard.

〔十、學名、術名、動作說明及姿勢圖(附姿勢圖五十二幀)〕
TEN: THE SCHOLARLY NAMES, TECHNICAL NAMES, MOVEMENT DESCRIPTIONS, AND PHOTOS OF THE POSTURES (including fifty-two photos)

(一)預備式
1. PREPARATION POSTURE

一、意義:即開始之首要姿勢,未動之預備,以正身心是謂之預備式。
i. The significance of PREPARATION POSTURE:
     This is the most important posture at the start of the set, a preparation for movement, aligning body and mind.
二、動作說明:頭正身直,閉嘴合牙,氣沉丹田,兩目平視,以自然之立正姿勢,左手反握劍,以無名指小指母指曲合握劍柄,以食指中指護劍柄,劍平立劍鋒向上,貼靠右臂後,右手揑劍訣,兩手向左右斜上方伸,至頂相合,再徐徐左右分開落下成預備式。
ii. Movement description:
     Your head is upright, body straight. Your mouth is closed, teeth together. Energy sinks to your elixir field. Your eyes are looking straight ahead. You are in a natural standing posture. Your left hand is doing a reverse grasping of the sword [whereas an orthodox grasp would have the tiger’s mouth toward the hilt], gripping the handle with the ring finger, little finger, and thumb, while the forefinger and middle finger are covering the rest of the handle. The sword is standing with the blade horizontal, the tip pointing upward, touching the back of the forearm. With your right hand pinched to form a “swordsman’s hex”, your hands go to the sides and diagonally extend upward until near your headtop, then slowly spread apart to the sides, lowering to make the PREPARATION POSTURE.
三、姿勢如下圖
iii. The posture is as in the photo below:

《太極劍》 尹千合 (1958) - posture 1

(二)鳳凰双展翅
2. PHOENIX SPREADS BOTH WINGS

一、學名「鳳凰双展翅」意義:以兩臂平向左右伸,動時稍上揚,如展翅狀故名。
i. Scholarly name: PHOENIX SPREADS BOTH WINGS
     Your arms extend level to the left and right. During the movement, you slightly rise up. It is like an image of spreading wings, hence the name.
二、術名「兩臂平伸」略釋:活動手脚,右腿獨立,以練力量。
ii. Technical name: BOTH ARMS HORIZONTALLY EXTEND
     This exercises the arms and legs. The right leg stands one-legged, training its strength.
三、動作說明:依預備式兩臂向左右平伸,左腿同時提起,右腿獨立,全身重心移於右腿,面向前方。
iii. Movement description:
     Continuing from the PREPARATION POSTURE, your arms extend level to the left and right. At the same time, your left leg lifts, your right leg stands one-legged, the weight shifted entirely onto your right leg. You are facing to the Front.
四、該式動作,最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 2

(三)仙人指路
3. IMMORTAL POINTS THE WAY

一、學名「仙人指路」意義:以左腿弓,右腿箭步,右手揑訣向左前上方指,故名。
i. Scholarly name: IMMORTAL POINTS THE WAY
     Making a stance of left leg a bow, right leg an arrow, your right hand pinches to form a swordsman’s hex, going upward to point to the Left Front, fulfilling the name.
二、術名「左摟右指」如太極拳之摟膝腰部,以左手摟膝,右手向左前上方指去
ii. Technical name: LEFT BRUSHING, RIGHT POINTING
     Like in Taiji Boxing when I brush past my knee to my waist area, I use my left hand to brush past my knee as my right hand goes upward to point away to the Left Front.
三、動作說明:兩臂向上一揚,左脚落,向左前進一步弓式,左手摟膝,仍握劍貼臂後附於左身後,右手揑訣反上揚向左前上方指,目視右手訣,面向左前。(此勢右箭步者,即右腿蹬直)
iii. Movement description:
     Your arms slightly rise up, then your left foot comes down advancing a step to the Left Front into a bow stance, your left hand brushing past your knee to be behind the left side of your body, still holding the sword close behind the arm, your right hand’s hex going upward to point to the Left Front, your gaze toward your hex. You are facing to the Left Front. (This posture is in a right arrow stance, meaning your right leg is pressing straight.)
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 3

(四)日套三環
4. THREE MAKE A RING AROUND THE SUN

一、學名「日套三環」意義:以右脚同左右手同向上前伸斜倂列。故名。
i. Scholarly name: THREE MAKE A RING AROUND THE SUN
     Your [1] right foot, [2] left hand, and [3] right hand extend upward and forward together, fulfilling the name.
二、術名「蹬脚伸臂」略釋:以右脚上蹬,左脚獨立,練手脚之活力。
ii. Technical name: PRESSING KICK, EXTENDING ARM
     My right foot goes upward and presses, my left leg standing one-legged. This trains the vitality of the hands and feet.
三、動作說明:依上式,右脚慢慢升起收提,再向面前上蹬,右手稍收,左手同時向前上伸,右脚與兩手相倂列面向左前方。
iii. Movement description:
     Continuing from the previous posture, your right foot slowly rises up, lifting withdrawn, then presses forward and upward. With your right hand pulling back, your left hand at the same time extends forward and upward so that your right foot and both hands are acting in unison. You are facing to the Left Front.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 4

(五)回頭望月
5. TURN AND GAZE AT THE MOON

一、學名「回頭望月」意義:右脚落地盤坐,右手以劍訣向右伸,眼順右指上看,故名。
i. Scholarly name: TURN AND GAZE AT THE MOON
     Your right foot comes down into a sitting twisted stance, your right hand’s swordsman’s hex extends to the right, and your gaze looks out over your right fingers, hence the name.
二、術名「盤坐右視」略釋:以練腿脚曲伸靈活,盤力姿勢,在右手未接劍前,多屬活力姿勢。
ii. Technical name: SITTING TWISTED, LOOKING TO THE RIGHT
     This posture trains the legs and feet, bending and extending, nimbleness, and strength in twisting. Before your right hand is even holding the sword, there are several postures of invigoration.
三、動作說明:右脚落地下曲,左腿隨右腿下曲,成盤坐式,右手順隨身下落向右方指去,左手反握劍仍貼左臂後,半拗身目順右指看。
iii. Movement description:
     Your right foot comes down and bends into a squat, your left leg going along with it and also bending into a squat, making a sitting twisted stance. Your right hand goes along with your body as it lowers, by extending out to Right. Your left hand is holding the sword in a reverse grip, the sword still close behind your left arm. Your body is half twisted. Your gaze looks out over your right fingers.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 5

(六)陰陽太極式
6. PASSIVE & ACTIVE COMBINING

一、學名「陰陽太極式」意義:左脚在地下虛劃一大圓圈,左手在上繞一大圓形,左右手陰陽扣合,故名。
i. Scholarly name: PASSIVE & ACTIVE COMBINING
     Your left foot lightly draws a large arc along the ground as your left hand makes a large arc above, then your hands close passively [palm facing downward] and actively [palm facing upward] toward each other, hence the name.
二、術名「接劍式」左手在上陰合,右手在下陽上,陰陽扣合,劍交右手,以備正式舞劍。
ii. Technical name: TAKING THE SWORD
     Your left hand is above, the center of the hand covering downward, and your right hand is below, the center of the hand facing upward. With passive and active closing toward each other, the sword switches into your right hand, preparing you to perform with the sword.
三、動作說明:左手由背左後側向前上揚平劃一弧形,落至胸前,同時身起,左脚亦在地上劃一半圓圈後提起,右手收回在左手下接劍,左手交右手,仍按合托。右腿獨立勢。
iii. Movement description:
     Your left hand goes from behind the left side of your back, rising up toward the Front, and draws a level arc, lowering to be in front of your chest. At the same time, your body rises, your left foot traces a half circle along the ground, then lifts, as your right hand withdraws below your left hand to take the sword, your left hand switching it into your right hand, the hands staying joined, one pushing down, one propping up. Your right leg makes a one-legged stance.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 6

(七)射雁勢
7. SHOOT THE GOOSE

一、學名「射雁勢」意義:右手握劍,左手揑訣,斜向上伸,勢如射雁狀,故名。
i. Scholarly name:
     Your right hand holds the sword, your left hand forming a swordsman’s hex, and extends diagonally upward. The posture resembles the act of shooting a goose, hence the name.
二、術名「斜上衝刺」略釋:右手握劍敵人若由左方來擊我,我乘勢衝刺其面門。
ii. Technical name: GOING DIAGONALLY UPWARD WITH A THRUSTING STAB
     With my right hand now holding the sword, if an opponent attacks from the left, I take advantage of the situation by doing a thrusting stab to his face.
三、動作說明:依前式,左腿向左開一步落下弓式,右手握劍向左上衝刺,左手順右手向同一方向指去,右箭步,目視劍鋒,面向左方。
iii. Movement description:
     Continuing from the previous posture, your left leg steps out to the Left, coming down into a bow stance, as your right hand holding the sword goes upward to the Left with a thrusting stab, your left hand going along with your right hand to point out in the same direction. Your right leg makes an arrow stance. Your gaze is to the sword tip. You are facing to the Left.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 7

(八)大奎星式
8. LARGE KUIXING POSTURE

一、學名「大奎星式」意義:以右手握劍橫托,如奎星握筆點狀元像狀,故名。
i. Scholarly name: LARGE KUIXING POSTURE
     Your right hand holds the sword, propping up horizontally, like the statues of Kuixing pointing out who the top scholar is, hence the name.
二、術名「下剒上托」略釋:依上式我以劍刺敵人之面部,敵刺我下部時,我抽剒下按,再反上挑撥敵之武器,上托於頂上。
ii. Technical name: DOWNWARD FILING CUT, PROPPING UPWARD
     Continuing from the previous posture, as I use my sword to stab to the opponent’s face, he stabs to my lower body. I draw back, pressing downward with a filing cut, then turning my sword over, I carry upward to deflect his weapon, propping up until above my headtop.
三、動作說明:依前式劍向下抽剒,身隨稍向下傾,劍由下翻腕上挑,托於頂上,同時左脚提起,右腿獨立,左手揑劍訣,置於劍鋒下,互相照應,兩目注視劍鋒。
iii. Movement description:
     Continuing from the previous posture, your sword goes downward, drawing back with a filing cut, your body going along with it by slightly leaning downward. Then your sword carries upward from below, the wrist turning over, and props up above your headtop. At the same time, your left leg lifts and your right leg stands one-legged, your left hand’s hex placed below and pointing toward the sword tip. Your gaze is toward the sword tip.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 8

(九)靑龍出海
9. BLUE DRAGON LEAVES THE OCEAN

一、學名「靑龍出海」意義:劍鋒由身後下方徐徐穿衝,劍鋒凸出於頂上,以形之意故名。
i. Scholarly name: BLUE DRAGON LEAVES THE OCEAN
     The sword tip goes slowly from below and behind with a piercing thrust, the sword tip sticking out higher than the headtop, as in the image suggested by the name.
二、術名「順勢穿衝」略釋:敵由右來襲我時,我劍反砍,下按剒,再拗身由下向左來之敵人,斜向上穿衝。
ii. Technical name: SEIZING THE OPPORTUNITY, PIERCING THRUST
     As an opponent attacks from my right side, I cleave behind with my sword and press down with a filing cut. Then I twist my body to deal with the opponent attacking from my left, going diagonally upward from below with a piercing thrust.
三、動作說明:依上式,劍反砍,左脚進落成弓式,劍反下按,身隨拗轉,平劍由身後下方向左方斜上穿衝,左手揑訣護於頂上,左弓右箭步,劍突出於頂上,目注劍鋒,面向左方。(弓式即弓膝,箭步即蹬直)
iii. Movement description:
     Continuing from the previous posture, your sword cleaves behind, your left leg coming down into a bow stance as the sword presses down. Your body turning, the sword goes from below and behind with a piercing thrust diagonally upward to the Left as a horizontal blade, your left hand’s hex guarding above your headtop, your stance becoming left leg a bow, right leg an arrow, the sword stabbing out higher than your headtop. Your gaze is to the sword tip. You are facing to the Left. (A “bow stance” means the knee bending. An “arrow stance” means the leg pressing straight.)
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 9

(十)回擊平陽
10. TURN AROUND, STRIKING ACROSS WITH THE UPPER EDGE

一、學名「回擊平陽」意義:拗身回頭,劍由左上,向右砍平,故名。
i. Scholarly name: TURN AROUND, STRIKING ACROSS WITH THE UPPER EDGE [i.e. “center of the hand facing upward”]
     Twist your body and turn around, the sword going from upward in the Left by cleaving across to the Right, fulfilling the name.
二、術名「回頭平砍」略釋:我以前式正向左上衝,後又有敵來襲我,我則回頭拗身反砍,立平劍以阻敵人。
ii. Technical name: TURN AROUND, LEVEL CLEAVING
     In the previous posture, as I thrust upward to the Left, the opponent behind me attacks again, so I turn around with a reverse cleaving, immediately bringing my sword across to prevent him.
三、動作說明:依前式。拗身回頭,變立劍由左上,再向身後砍平,左手順附右手,同時右腿變弓式,左腿箭步,面回轉向右方。
iii. Movement description:
     Continuing from the previous posture, twist your body and turn around, the sword changing from standing upward to the Left to cleaving across behind you, your left hand following close to your right hand. At the same time, your right leg changes to a bow stance, your left leg to an arrow stance. You are turned around to be facing to the Right.
四、該式動作最後姿勢如下圖:
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 10

(十一)左右拋掃(一)
11. LEFT & RIGHT FLINGING SWEEPS – Part 1

一、學名「左右拋掃」意義:即以劍端平,由身左向右繞身掃一週。故名。
i. Scholarly name: LEFT & RIGHT FLINGING SWEEPS
     With the sword held level, it arcs in a sweep all the way around from your left [right] to your right [left], hence the name.
二、術名與學名同,略釋:我回擊平陽勢,敵人圍身,即端平陽劍護身橫掃,手心向上為陽劍,手心向下為陰劍。
ii. Technical name: (same as the scholarly name)
     When I perform TURN AROUND, STRIKING ACROSS WITH THE UPPER EDGE, the opponent covers himself, so I sweep around with an active sword, guarding my body. The center of the hand facing upward is an “active sword”. The center of the hand facing downward is a “passive sword”.
三、動作說明:左手附右手,挽劍花陽劍端平,由右方隨身轉掃約繞一週,仍轉至面向右方,同時兩脚為軸,轉作交叉狀稍下曲,劍仍向右方伸,左手附右手腕,斜拗身面向右視。
iii. Movement description:
     With your left hand close to your right hand, rotate the sword so the center of the hand is facing upward and hold the sword level as you sweep almost all the way around, turning from the Right to be again facing to the Right. At the same time, your feet pivot, turning you until your legs are crossed and slightly bent, the sword again extending to the Right, your left hand touching your right wrist, your body diagonally twisted. You are looking to the Right.
四、該式動作中停姿勢如下圖。
iv. The middle of this posture’s movement is as in the photo below:

《太極劍》 尹千合 (1958) - posture 11

(十二)左右拋掃(二)
12. LEFT & RIGHT FLINGING SWEEP – Part 2

一、學名「左右拋掃」意義:前式係由右向左平掃,此式係再由左向右掃回故名。
i. Scholarly name: LEFT & RIGHT FLINGING SWEEP
     The previous posture sweeps across from right to left, and now this postures sweeps back from left to right, hence the name.
二、術名與學名同,略釋:先由右向左掃一週,再由左掃回一週,護身週密,使敵人無隙可乘之意。
ii. Technical name: (same as the scholarly name)
     First I swept all the way around from right to left, now I sweep all the back from left to right, carefully guarding my body so the opponent has no gap to take advantage of.
三、動作說明:翻手腕手心向下挽劍花變為陰劍,劍平端由左再向右掃,同時左腿向左方進一步,劍隨身轉至右方伸平為止,兩脚為軸轉達交叉時稍曲,左手向左平伸面向右方。
iii. Movement description:
     Turning your [right] wrist over so the center of the hand is facing downward, rotate the sword to be a passive sword, and sweep across from left to right. At the same time, your left [right] leg advances a step to the Left, the sword going along with the turning of your body until extended level to the Right, your feet pivoting until your legs are crossed and slightly bent, your left hand extending level to the Left. You are facing to the Right.
四、該式動作中停姿勢如下圖。
iv. The middle of this posture’s movement is as in the photo below:

《太極劍》 尹千合 (1958) - posture 12

(十三)左右拋掃(三)
13. LEFT & RIGHT FLINGING SWEEP – Part 3

說明:右手腕反為陽劍,左腿向左進一步,左手收附右手腕,姿勢動作均同第十一式請參看前圖。
Your right wrist turns over to make an active sword, your left leg advancing a step to the Left, your left hand withdrawing to touch your right wrist. The posture and movements are the same as in Posture 11. Refer to its photo.

(十四)小奎星式
14. SMALL KUIXING POSTURE

一、學名「小奎星式」意義:以此勢略與大奎星同,惟劍鋒向下垂,比大奎星架勢小,故名。
i. Scholarly name: SMALL KUIXING POSTURE
     This posture is almost the same as LARGE KUIXING POSTURE, but the sword is hanging down, making this pose appear smaller, hence the name.
二、術名「倒掛提截」略釋:敵由右身擊我下部,我抽劍削截,倒提劍上掛,劍鋒下垂護身。
ii. Technical name: HANGING UPSIDE DOWN, LIFTED CHECKING
     The opponent on my right attacks my lower body, so I draw in my sword and do a paring action to stop his attack, the sword hanging, lifted upside down, the tip hanging down guarding my body.
三、動作說明:劍下擺挽一劍花再上提,倒掛,右腿向左進一步左腿隨之上提成獨立勢,左手附劍身裡,面向左方。
iii. Movement description:
     The sword swings, rotating, then lifts up, hanging upside down, as your right leg advances to the left and then your left leg lifts up, making a one-legged stance, your left hand staying close to the inside of the sword body. You are facing to the Left.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 14

(十五)長虹貫日
15. RAINBOW THROUGH THE SUN

一、學名「長虹貫日」意義:劍直上衝指,劍如長虹,意有指太陽狀故名。
i. Scholarly name: RAINBOW THROUGH THE SUN
     The sword points upward into a vertical thrust, the sword moving like a rainbow that seems to point toward the sun, hence the name.
二、術名「上撩直衝」略釋:劍身上撩撥開敵人之武器,劍鋒上衝,尋隙進攻。
ii. Technical name: RAISING UPWARD, VERTICAL THRUST
     The body of my sword raises upward, deflecting away the opponent’s weapon, my sword tip thrusting upward to create a gap so I can attack.
三、動作說明:右手腕翻上,劍隨上撩,成直線,右腿仍獨立,左手附右臂上指,面向左方。
iii. Movement description:
     Your right wrist turns over upward, the sword correspondingly raising upward to make a vertical line, your right leg remaining in its one-legged stance, your left hand pointing upward close to your right arm. You are facing to the Left.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 15

(十六)撥草尋蛇
16. SPREAD THE GRASS TO FIND THE SNAKE

一、學名「撥草尋蛇」意義:以劍由上向下斜劈,再平削至右脚外,如剪草然,故名。
i. Scholarly name: SPREAD THE GRASS TO FIND THE SNAKE
     The sword does a diagonal chop downward from above, then a level paring cut to the outside of your right foot, like a lawnmower blade, hence the name.
二、術名「仆腿拋劈」略釋:以上衝之劍順仆腿勢拋劈,其力充,其勢猛,拋劈敵人之足部。
ii. Technical name: POUNCING STANCE, FLINGING CHOP
     From thrusting upward with my sword, I go into a pouncing stance and send my sword into a flinging chop parallel with my [right] leg, using abundant strength and aggressive power to send the flinging chop toward the opponent’s foot.
三、動作說明:以前式,左腿超越右腿落下,右腿由左腿後向左前仆腿,劍挽半花,順右腿拋劈出於右脚外,左手向身左斜向上指,以助其勢。
iii. Movement description:
     Continuing from the previous posture, your left leg comes down reaching out in front of your right leg, then your right leg goes in front of your left leg to make a pouncing stance pointing to the Left Front, as the sword rotates halfway and goes parallel with your right leg in a flinging chop, continuing to the outside of your right foot, your left hand pointing diagonally upward to your left to assist the posture.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 16

(十七)魚腹藏劍
17. SWORD HIDDEN WITHIN THE FISH’S BELLY

一、學名「魚腹藏劍」意義:此式隨右腿起,避藏於右腿裡,只稍露劍鋒於脚外,以腿藏劍身,故名。
i. Scholarly name: SWORD HIDDEN WITHIN THE FISH’S BELLY [referring to the tale of Zhuan Zhu hiding a dagger within the guts of a broiled fish to commit an act of royal assassination]
     In this posture, as your right leg lifts, the sword gets hidden to the inside of the leg, the tip extended only slightly beyond the foot, using your leg to hide the sword body, hence the name.
二、術名「起腿藏劍」略釋:提起右腿,劍收回藏避於右脚裡,擾人視線以備進攻。
ii. Technical name: LIFTING THE LEG, HIDING THE SWORD
     I lift my right leg, my sword withdrawing to be hidden to the inside of my right foot, distracting his vision in order to prepare my attack.
三、動作說明:劍挽一花,隨右腿升起,右腿平伸,劍身藏於右腿裡,劍鋒稍露於脚外,左手附右手抱劍,左腿獨立,面向左前。
iii. Movement description:
     The sword rotates as your right leg lifts and extends level, the sword body hidden to the inside of your right leg, the sword tip slightly extended beyond the foot, your left hand at your right hand embracing the sword, your left leg in a one-legged stance. You are facing to the Left Front.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 17

(十八)狸貓捕鼠
18. TABBY CAT CATCHES THE MOUSE

一、學名「狸貓捕鼠」意義:以腿躍進,劍鋒先上衝再下刺,如貓捕鼠先蹤身上躍再向下捕,故名。
i. Scholarly name: TABBY CAT CATCHES THE MOUSE
     As your legs make a leap forward, the sword tip first thrusts upward then stabs downward. It is like a cat catching a mouse, its body leaping up then pouncing down, hence the name.
二、術名「上衝下刺」略釋:欲擊敵人下部先在上部一幌,即上為虛勢其實在刺下部,因由上轉向下刺,比較更有力。
ii. Technical name: UPWARD THRUST, DOWNWARD STAB
     I want to attack the opponent’s lower body, so I first feint to his upper body. Because the upper attack is feint and the real stab is below, the downward stab changing from the upward stab has more force.
三、動作說明:右脚落下一躍,左脚隨越前進一步,劍虛上衝,右脚再前進一步劍由上向下刺,右腿弓,左腿箭,左手護頂上助勢,面向前方。
iii. Movement description:
     Your right foot comes down with a leap, your left foot advances a step farther forward, the sword emptily thrusting upward, then your right foot advances a step forward, the sword stabbing downward from above, your right leg making a bow, your left leg making an arrow, your left hand guarding above your headtop to assist the posture. You are facing to the Front.
四、該式動作最後姿勢勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 18

(十九)鳳凰抬頭
19. PHOENIX RAISES ITS HEAD

一、學名「鳳凰抬頭」意義:以劍鋒上挑斜向頭傾,左訣隨落,手指上伸,故名。
i. Scholarly name: PHOENIX RAISES ITS HEAD
     The sword tip carries upward, inclining toward your head, your left hand lowering with the fingers extended upward, hence the name.
二、術名「順勢上挑」略釋:如敵人破我下刺勢又向我肩部刺時,我將劍鋒順上挑以破敵器。
ii. Technical name: SEIZING THE OPPORTUNITY, CARRYING UPWARD
     If the opponent prevents my downward stab and then stabs toward my shoulder, I send my sword tip carrying upward to obstruct his weapon.
三、動作說明:劍鋒上挑升至劍身直立,劍鋒稍向身斜,收右腿成弓仆步,左手稍落至右肩前,手指向上與右劍作對峙勢面向左方。
iii. Movement description:
     The sword tip carries upward until the sword body is vertical, the tip slightly inclining toward your body, your right leg withdrawing to make a bent crouching stance, your left hand slightly lowering until in front of your right shoulder, the fingers pointing upward toward the sword tip. You are facing to the Left.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 19

(二十)黄蜂入洞(一)
20. WASP ENTERS ITS NEST – Part 1

一、學名「黄蜂入洞」意義:劍鋒隨身拗轉,如蜂擬進入洞狀故名。
i. Scholarly name: WASP ENTERS ITS NEST
     The sword tip goes along with your body it as it turns around, like a wasp winding its way back to its nest, hence the name.
二、術名「護身轉刺」略釋:劍身轉護胸前,劍鋒向前斜指,預作刺勢,以防敵人。
ii. Technical name: GUARDING THE BODY, TURNING & STABBING
     The body of my sword turns to guard in front of my chest, the tip pointing diagonally forward in preparation to stab in defense against the opponent.
三、動作說明:劍護胸前隨身轉,兩腿稍立交叉,拗身面轉至向前方劍柄斜上提,劍鋒在胸前,左手在劍鋒前指,目視劍鋒。
iii. Movement description:
     The sword guards in front of your chest as you turn around, your legs slightly crossing, your body twisting around until facing to the Front, the sword handle lifting diagonally upward, the sword tip in front of your chest, your left hand pointing forward near the tip. Your gaze is toward the sword tip.
四、該式動作中停姿勢如下圖。
iv. The middle of this posture’s movement is as in the photo below:

《太極劍》 尹千合 (1958) - posture 20

(二十一)黄蜂入洞(二)
21. WASP ENTERS ITS NEST – Part 2

一、學名「黄蜂入洞」意義:兩手抱劍直向前送,左腿獨立,右腿上抬伸直,稍向上捲,如蜂半入洞狀,故名。
i. Scholarly name: WASP ENTERS ITS NEST
     With both hands holding the sword, send it forward, your left leg standing one-legged, your right leg lifting extended, slightly curling upward. The posture makes the other half of the wasp going to its nest, hence the name.
二、術名「轉身下刺」略釋:依上式,兩手合抱劍,向敵人下部直刺,右腿上抬挺伸以助其勢。
ii. Technical name: GUARDING THE BODY, TURNING & STABBING [continued]
     Continuing from the previous posture, with both hands holding my sword, I stab to the opponent’s lower body, my right leg lifting and reaching out to assist the posture.
三、動作說明:依上式,身再稍轉,左脚為軸,轉至朝正前方,兩手抱劍向前伸直略平,右腿向後抬起向後挺身,以助其勢,左腿獨立支持全身,面向前方,頭微仰。
iii. Movement description:
     Continuing from the previous posture, your body slightly turns further, your left foot pivoting, turning until you are facing squarely to the Front, and with both hands holding the sword, the sword extends forward almost level, your right leg lifting behind you, your back straightening to assist the posture. Your left leg stands one-legged, supporting your whole body. You are facing to the Front, your head slightly lifted.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 21

(二十二)小奎星式
22. SMALL KUIXING POSTURE

說明:右脚落下劍收回上提倒掛,同十四式請參看前圖,不過此式面向右而已。
Your right foot comes down, the sword withdrawing and lifting upward, hanging upside down. It is the same as in Posture 14 and its photo, except that in this case you are facing to the Right.

(二十三)長虹貫日
23. RAINBOW THROUGH THE SUN

一、說明:與第十五式同請看前圖,但此式面向右。
Same as in Posture 15 and its photo, though in this case you are facing to the Right.

(二十四)大鵬展翅
24. RUKH SPREADS ITS WINGS

一、學名「大鵬展翅」意義:以劍向右身斜劈左手向身左上伸,如展翅狀,故名。
i. Scholarly name: RUKH SPREADS ITS WINGS
     The sword chops diagonally to your right, your left hand extending upward to your left, in the manner of spreading wings, hence the name.
二、術名「順勢斜劈」略釋:如敵在身後襲我我乘勢劍下落斜劈,左手向身左上伸,以助其勢。
ii. Technical name: SEIZING THE OPPORTUNITY, DIAGONAL CHOP
     If an opponent attacks me from behind, I take advantage of the situation by bringing my sword down with a diagonal chop, my left hand extending upward to my left to assist the posture.
三、動作說明:左脚向身左跨一步弓式,左手向身左斜上伸,同時劍順向身右下落斜劈,右脚箭步,目注劍鋒。
iii. Movement description:
     Your left foot takes a large step to your left, making a bow stance, your left hand extending diagonally upward to your left as the sword goes along your body, lowering to your right with a diagonal chop, your right foot making an arrow stance. Your gaze is toward the sword tip.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 24

(二十五)太公釣魚
25. GRAND DUKE JIANG FISHES

一、學名「太公釣魚」意義:以彎腰曲腿劍如釣竿,形似垂釣狀,故名。
i. Scholarly name: GRAND DUKE JIANG FISHES
     Bending at the waist and bending your legs, the sword is held like a fishing pole, the shape as though you are angling for a fish, hence the name.
二、術名「攔截反撩」略釋:我以大鵬展翅,如敵人擊我腹部,我抽提攔截,順將劍鋒反上砍,以劍鋒點撩敵人之手腕,此勢甚為顯妙。
ii. Technical name: BLOCKING CHECK, REVERSE RAISE
     When I use RUKH SPREADS ITS WINGS, if the opponent attacks my belly, I draw in and lift my sword to block it, sending my sword tip upward with a reverse cleaving action, using the tip to do a tapping raising cut to his wrist. This posture is extremely subtle.
三、動作說明:劍向懷中抽提攔截,翻手腕劍鋒向外擺反撩,同時收右腿靠近左腿,稍下曲,左手收回附劍柄,劍鋒稍高,兩目注視,面向右方。
iii. Movement description:
     The sword draws in toward your chest, lifting and blocking as you turn over your wrist to swing the sword tip outward with a reverse raising action. At the same time, withdraw your right leg to be near your left leg, slightly bending downward, your left hand gathering in to touch the sword handle, the sword tip somewhat high, and your gaze is toward it. You are facing to the Right.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 25

(二十六)左右龍行虎步(一)
26. LEFT & RIGHT DRAGON MOVEMENTS WITH TIGER STEPS – Part 1

一、學名「左右龍行虎步」意義:蹲身矮步行走,先向右斜橫行,劍隨步進,走形如三角尺狀,故名。
i. Scholarly name: LEFT & RIGHT DRAGON MOVEMENTS WITH TIGER STEPS
     Walk with a crouched body and small steps, first diagonally across to the right, the sword going along with your advancing steps by seeming to trace a triangle, fulfilling the name.
二、術名「右行摧敵」略釋:以劍鋒迎向敵人,先向身右斜橫行,以摧阻敵人。
ii. Technical name: WALKING TO THE RIGHT TO VANQUISH THE OPPONENT
     First sending my sword tip toward the opponent, I step diagonally across to the right to resist him.
三、動作說明:劍挽一面門花,正握劍,劍鋒朝身右上方,左手附之,先開右腿向身右斜前進一步,左脚隨橫進一步,右脚再進一步,左脚再跟上右脚,兩腿下曲,劍斜向上立,面向右後方。
iii. Movement description:
     The sword rotates so that you are holding it in an orthodox grip [i.e. a vertical blade], the sword tip inclining toward your body, pointing upward to the Right, your left hand staying close, as you first step out with your right leg, advancing diagonally to your right, then your left foot advances crosswise, your right foot advances again, and your left foot follows to step in front of your right foot, your legs bent, the sword standing diagonally upward. You are facing to the Right Rear.
四、該式動作中停姿勢如下圖。
iv. The middle of this posture’s movement is as in the photo below:

《太極劍》 尹千合 (1958) - posture 26

(二十七)左右龍行虎步(二)
27. LEFT & RIGHT DRAGON MOVEMENTS WITH TIGER STEPS – Part 2

一、學名「左右龍行虎步」意義:蹲身矮步向身左斜橫行,故名。
i. Scholarly name: LEFT & RIGHT DRAGON MOVEMENTS WITH TIGER STEPS
     With a crouched body and small steps, walk diagonally across to the left, fulfilling the name.
二、術名「左行摧敵」略釋:仍以劍鋒領先,身隨步向左斜橫行,以摧阻我之敵。
ii. Technical name: WALKING TO THE RIGHT TO VANQUISH THE OPPONENT
     Again leading with the sword tip, I step diagonally across to the left to resist the opponent.
三、動作說明:依上式挽一半花圈,劍鋒向身左上方指。先開左脚矮步向身左進一步,右脚隨進一步,左脚再進一步,右脚跟上,兩腿下曲,目視劍鋒,面向右前方。
iii. Movement description:
     Continuing from the previous posture, the sword rotating halfway, the sword tip inclined toward your body, pointing upward to the Left, as you first make a short step with your left foot, advancing to your left, then your right foot advances, your left foot advances again, and your right foot follows to step in front of your left foot, your legs bent. Your gaze is toward the sword tip. You are facing to the Right Front.
四、該式動作中停姿勢如下圖。
iv. The middle of this posture’s movement is as in the photo below:

《太極劍》 尹千合 (1958) - posture 27

(二十八)左右龍行虎步(三)
28. LEFT & RIGHT DRAGON MOVEMENTS WITH TIGER STEPS – Part 3

說明:劍挽半花,向身右斜橫進,同十六式請看前圖,面向右後方。
The sword rotates halfway as your advance diagonally across to your right. It is the same as in Posture 16 [26] and its photo. You are facing to the Right Rear.

(二十九)懷中抱月
29. EMBRACE THE MOON

一、學名「懷中抱月」意義:挽一劍花,抽劍斜立於胸前,如月在懷故名。
i. Scholarly name: EMBRACE THE MOON
     The sword rotates, drawing back to be standing diagonally in front of your chest, as though you are embracing the moon, hence the name.
二、術名「護身待機」略釋:劍柄垂藏立劍於懷前,活步式,待機刺敵。
ii. Technical name: GUARDING THE BODY, AWAITING OPPORTUNITY
     My sword handle hangs down to be stored with my sword standing in front of my chest, my feet stepping lively, and I await the opportunity to stab at the opponent.
三、動作說明:左腿向身後退半步,右腿稍收撤,脚尖虛點地,成活步姿勢,同時劍挽一花抽豎立於懷前,劍鋒斜向上方面向右後方。
iii. Movement description:
     Your left leg retreats a half step behind you and your right leg slightly withdraws, toes touching down lightly, making a “lively stepping” maneuver. At the same time, the sword rotates, drawing back to be standing upright in front of your chest, the sword tip pointing diagonally upward. You are facing to the Right Rear.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 29

(三十)宿鳥投林
30. BIRD GOES INTO THE FOREST TO ROOST

一、學名「宿鳥投林」意義:以劍鋒向面前下方伸平,徐徐彎起上升至頂上,劍鋒經過如鳥奔林狀故名。
i. Scholarly name: BIRD GOES INTO THE FOREST TO ROOST
     The sword tip goes forward and downward, extending parallel with the ground, then slowly bends in and lifts up, the sword rising above your headtop. The sword tip passes through like a bird hastening through a forest, hence the name.
二、術名「下刺上挑」略釋:出右腿弓式,劍向下刺,再上挑以防敵人擊我上部之武器。
ii. Technical name: DOWNWARD STAB, UPWARD CARRY
     My right leg steps out into a bow stance, my sword stabs downward, then I carry upward to prevent the opponent from attacking me above with his weapon.
三、動作說明:右腿向後方進一步弓式傾身下探,劍向下刺,左腿抬平,隨身上起,劍鋒慢慢上升至頂上,然後身立直,左腿隨提,右腿獨立,左手與劍倂列上指。
iii. Movement description:
     Your right leg advances a step to the Rear, making a bow stance, and your body leans forward, reaching downward, the sword stabbing downward, your left leg lifting to be level. Then your body lifts up, the sword tip slowly rising upward until above your headtop, your body now standing upright, your left leg lifting, your right leg standing one-legged, your left hand pointing upward, parallel with the sword.
四、該式動作中停姿勢如下圖。其最後姿勢與第十五式長虹貫日同。
iv. The middle of this posture’s movement is as in the photo below (but the posture finishes its movement the same as in Posture 15):

《太極劍》 尹千合 (1958) - posture 30

(三十一)烏龍擺尾
31. BLACK DRAGON SWINGS ITS TAIL

一、學名「烏龍擺尾」意義:劍挽一花下劈,左手分指上方,斜探身,故名。
i. Scholarly name: BLACK DRAGON SWINGS ITS TAIL
     The sword rotates and performs a downward chop, your left hand spreads away and points upward, and your body reaches out until diagonal, the movement fulfilling the name.
二、術名「順勢下劈」略釋:倘敵自身右來,我左脚落下蹲身,右腿半仆,劍順向下斜劈。
ii. Technical name: SEIZING THE OPPORTUNITY, DOWNWARD CHOP
     If an opponent attacks from my right, my left foot comes down and I squat my body down, my right leg making a half crouched posture, my sword going along with it by chopping diagonally downward.
三、動作說明:左脚向右落地下曲,右腿成斜仆式,劍挽花順勢向下斜劈,身稍探傾,目視劍鋒,左手向身左上伸,以助其勢,面向左方。
iii. Movement description:
     Your left foot comes down to the Right and the leg bends, your right leg forming a diagonal crouching posture, the sword rotates and seizes the opportunity by chopping diagonally downward, your body slightly reaching out, your gaze going toward the sword tip, your left hand extending upward to your left to assist the posture. You are facing to the Left.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 31

(三十二)靑龍出海
32. BLUE DRAGON LEAVES THE OCEAN

說明:劍隨身動廻轉,平劍向上衝,同第九式,請參看前圖。
The sword goes along with your body as you turn around, then thrusts upward as a horizontal blade. It is the same as in Posture 9 and its photo.

三十三 風捲荷葉
33. WIND ROLLS UP THE LOTUS LEAVES

一、學名「風捲荷葉」意義:以劍平橫摸於左臂上,左臂圓環附右手腕,形如荷葉被風吹半捲狀故名。
i. Scholarly name: WIND ROLLS UP THE LOTUS LEAVES
     The sword wipes across above your left arm, the arm rounded, the hand touching your right wrist. It looks like lotus leaves being blown by the wind and getting halfway curled over, hence the name.
二、術名「平劍摸削」略釋:如敵已近身後,劍下抽平劍摸削,身拗劍轉,以削敵人。
ii. Technical name: WIPING ACROSS WITH A PARING CUT
     If an opponent approaches behind me, my sword lowers and draws back, wiping across with a paring cut, my body twisting as my sword arcs, to slice at the opponent.
三、動作說明:劍在頂上雲挽一劍花向下抽,左手亦下落,平橫胸前,劍亦平置於左肘上,轉身摸削,同時抬右腿向右開一步落下變弓式,左箭步面向右方。
iii. Movement description:
     The sword does a clouding action above your headtop, rotating, and lowers into drawing back, your left hand also lowering to be placed level in front of your chest, the sword placed level over your left elbow. As you turn around wiping with this paring cut, your right leg lifts and steps out to the Right, coming down into a stance of right leg a bow, left leg an arrow. You are facing to the Right.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 33

(三十四)左右獅子摇頭
34. LEFT & RIGHT LION SHAKES ITS HEAD

一、學名「左右獅子摇頭」意義:以劍鋒向左右擺動,其意如獅子搖頭狀故名。
i. Scholarly name: LEFT & RIGHT LION SHAKES ITS HEAD
     The sword tip swings to the left and right, the idea being of a lion shaking its head, hence the name.
二、術名「左右拋絞」略釋:如敵人進攻我時,我不得勢,即以劍左右拋絞後退,以待機進攻。
ii. Technical name: LEFT & RIGHT FLINGING & TWISTING
     When the opponent advances to attack me, I am not in the position of advantage, so I fling my twisting sword left and right while retreating, awaiting the opportunity to attack.
三、動作說明:左腿後退一步,右陽劍由右向左平拋,右腿向後退一步,陰劍由左向右平拋,左腿再後退一步,動作同本式第一動,右腿再後退一步,右陰劍與左手各向左右平伸,左腿弓右腿箭步,面向前方。
iii. Movement description:
     Your left leg retreats a step, your right hand flinging across from right to left with the center of the hand facing upward. Your right leg retreats a step, your right hand flinging across from left to right with the center of the hand facing downward. Your left leg again retreats a step, your right hand again flinging across from right to left with the center of the hand facing upward. Your right leg again retreats a step, and now your hands each extend horizontally to the sides, the center of your right hand facing downward. You are in a stance of left leg a bow, right leg an arrow. You are facing to the Front.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 34

(三十五)虎抱頭
35. TIGER HIDES ITS HEAD

一、學名「虎抱頭」意義:以左右手同向前抱合,劍向後抽捧至胸前部,故名。
i. Scholarly name: TIGER HIDES ITS HEAD
     Your hands come together and embrace in front of you, then you draw in the sword propped up in front of your chest [like a tiger crouching in the grass preparing to pounce], thus fulfilling the name.
二、術名「平拋抽剒」略釋:如敵在我前,我進右步,以劍向身前橫拋,再向懷中抽剒。
ii. Technical name: FLING ACROSS, DRAW IN WITH A FILING CUT
     I advance toward the opponent in front of me, flinging my sword across in front of me, then draw in with a filing cut until in front of my chest.
三、動作說明:依上式,右脚向前一步,弓式,探身右劍向前平拋,同時左手與右手抱合,再向懷中抽帶,右腿稍後收撤虛步脚尖點地,成仆步勢,左腿稍曲下蹲,劍鋒直向前,面亦向正前方。
iii. Movement description:
     Continuing from the previous posture, your right foot steps forward into a bow stance, your body reaching as the sword in your right hand flings across to the Front. Your left hand is now embracing your right hand, both hands drawing back in front of your chest, your right leg slightly withdrawing into an empty stance, toes touching down, making a [half] crouching posture, your left leg slightly bending into a squat, the sword tip pointing forward. You are facing squarely to the Front.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 35

(三十六)野馬跳澗
36. WILD HORSE JUMPS THE STREAM

一、學名:「野馬跳澗」意義:以右腿蹬地向前上一躍,再連進二步,如跳狀,故名。
i. Scholarly name: WILD HORSE JUMPS THE STREAM
     Pressing the ground with your right leg, jump up forward, followed by two successive advancing steps, in a leaping manner, hence the name.
二、術名「躍進追刺」如敵避我欲逃,我以迅雷不及掩耳手段,躍進弸劍追刺,使敵不得逃脫。
ii. Technical name: JUMPING FORWARD, CHASING STAB
     If the opponent evades me and wishes to escape, I act as quick as lightning, jumping forward, my drawn-in sword shooting out with a stab, so that he cannot get away.
三、動作說明:右脚蹬地向前上一躍,左腿前進一步右腿連進一步作弓勢,左右手仍合抱劍,平劍向前伸直,目視劍鋒面向前方。
iii. Movement description:
     Your right foot pushes into the ground and jumps up forward, your left leg advances a step, then your right leg advances a step, making a bow stance, both hands still embracing the sword, which extends straight ahead, your gaze toward the sword tip. You are facing to the Front.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 36

(三十七)勒馬勢
37. REIN IN THE HORSE

一、學名「勒馬勢」意義:轉身擺臂拋劍,向左懷中帶,狀如勒馬回頭。故名。
i. Scholarly name: REIN IN THE HORSE
     Turn around with a swing of your arms to fling the sword to the left, then draw back in front of your chest, as though reining in a horse to turn around, hence the name.
二、術名「拋掃勒劍」略釋:敵由左進攻我,我以平劍拋掃一大圓圈轉身收劍勒至胸前。
ii. Technical name: FLINGING SWEEP, REIN IN THE SWORD
     An opponent attacks from my left so I fling my sword across in a large sweeping arc, turning around, then withdraw my sword, “reining in” until it is in front of my chest.
三、動作說明:兩手平托劍,隨左身轉,左脚為軸,右腿隨跟轉一大半圈,至面向右方為止,將劍柄勒收於胸前,平劍直向右方。同時右腿跟上左腿立直,面向右方。目視劍鋒前。
iii. Movement description:
     With both hands propping up the sword, turn around to the left, pivoting on your left foot, your right leg turning along with the movement, the sword making a large half circle, until you are facing to the Right. Withdraw the sword handle in front of your chest, “reining in”, the sword pointing straight ahead to the Right, your right leg following forward to stand next to your left leg. You are facing to the Right. Your gaze is forward toward the sword tip.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 37

(三十八)指南針
38. COMPASS NEEDLE

一、學名「指南針」意義:以兩手握托劍向右方伸平直,不上不下不左不右,正確直平,故名。
i. Scholarly name: COMPASS NEEDLE
     With both hands propping up the sword, extend level to the Right, veering neither high nor low, neither to the left nor right, directly ahead, hence the name.
二、術名「進步平刺」略釋:敵在我面前,我以勒勢向右進一步,伸臂劍平,直刺敵之胸部。
ii. Technical name: ADVANCE, LEVEL STAB
     With the opponent in front of me, I make use of my reined-in posture, advancing with my right foot and extending my arms to send the sword stabbing straight ahead to his chest.
三、動作說明:左腿向面前進一步,(即向右方)左腿跟上,兩臂伸直,劍平直伸出於胸前。面向右方。
iii. Movement description:
     Your left leg advances a step (to the Right), your left leg follows, your arms extend, and the sword reaches out from in front of your chest. You are facing to the Right.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 38

(三十九)左右迎風打塵(一)
39. LEFT & RIGHT BRUSHING OFF DUST AGAINST THE WIND – Part 1

一、學名「左右迎風打塵」意義:以劍隨步搖動,劍之動勢如拂尾打塵狀,故名。
i. Scholarly name: LEFT & RIGHT BRUSHING OFF DUST AGAINST THE WIND
     The sword sways along with your steps, the sword’s movements like the feathers of a duster being shaken against the wind, hence the name.
二、術名「左右點劈」略釋:以劍鋒向身左隨步點劈,用各個擊破之勢,劍動帶有弸意。
ii. Technical name: LEFT & RIGHT [LEFT] TAPPING CHOP
     My sword tip, coordinating with my step, does a tapping chop to my left. This technique has a posture of destroying things in meticulous succession, and my sword’s movement has an intention of a bow being drawn.
三、動作說明:依前式,劍上揚挽一半花圈左腿向右前一步下曲,右腿跟靠相合,劍隨左腿進的方向點劈,斜立劍。
iii. Movement description:
     Continuing from the previous posture, the sword raises upward, rotating halfway, your left leg steps to the Right Front, bending downward, and your right leg follows to stand next to it, the sword going along with the direction of your left leg’s advance with a tapping chop, the sword standing diagonally.
四、該式動作中停姿勢如下圖。
iv. The middle of this posture’s movement is as in the photo below:

《太極劍》 尹千合 (1958) - posture 39

(四十)左右迎風打塵(二)
40. LEFT & RIGHT BRUSHING OFF DUST AGAINST THE WIND – Part 2

一、學名「左右迎風打塵」意義:大致與前式同,不過前式係向身左,此式是向身右。
i. Scholarly name: LEFT & RIGHT BRUSHING OFF DUST AGAINST THE WIND
     This is generally the same as in the previous posture, except in that case you were moving to your left, whereas in this case you are moving to your right.
二、術名「向右點劈」略釋:以劍鋒向身右隨步點劈各個擊破,略帶弸勢。
ii. Technical name: RIGHT TAPPING CHOP
     My sword tip, coordinating with my step, does a tapping chop to my right. The technique has a posture of destroying things in meticulous succession, as well as of a bow being drawn.
三、動作說明:劍鋒向身左上揚,挽一半花,右脚向身右跨進一步,左腿跟上右脚同下曲,劍隨右脚進之方向點劈,劍斜立,面向右後方。
iii. Movement description:
     The sword raises upward to your left, rotating halfway, your right foot advances a stride to your right, bending downward, and your left leg follows forward to stand next to it, both legs bending downward, the sword going along with the direction of your right leg’s advance with a tapping chop, the sword standing diagonally. You are facing to the Right Rear.
四、該式動作中停姿勢如下圖。
iv. The middle of this posture’s movement is as in the photo below:

《太極劍》 尹千合 (1958) - posture 40

(四十一)左右迎風打塵(三)
41. LEFT & RIGHT BRUSHING OFF DUST AGAINST THE WIND – Part 3

說明:與第三十九式同,請看前圖。
Same as in Posture 39 and its photo.

(四十二)左右迎風打塵(四)
42. LEFT & RIGHT BRUSHING OFF DUST AGAINST THE WIND – Part 4

說明:同第四十式請看前之說明及圖勢。
Same as in Posture 40 and its photo.

(四十三)大奎星式
43. LARGE KUIXING POSTURE

說明:同第八式大奎星,不過易方向而已。前式係面向前方,此式係面向後方。
Same as in Posture 8, except the orientation is different, squared to the Front in that case and squared to the Rear in this case.

(四十四)左右車輪
44. LEFT & RIGHT WHEELING

一、學名「左右車輪」意義:以劍鋒在身之左右同劃一圓圈如車輪狀,故名。
i. Scholarly name: LEFT & RIGHT WHEELING
     The sword tip draws circles to your left and right, like the turning of a wheel, hence the name.
二、術名「左右護身劍」略釋:以劍在身之左右轉舞防身細密,使敵無隙可乘。
ii. Technical name: LEFT & RIGHT GUARDING THE BODY
     My sword circles to my left and right, closely defending my body, causing the opponent to have no gap to take advantage of.
三、動作說明:依上式左腿落下與右腿作半交叉,劍鋒隨身拗向下,再轉上劃一圓形,以劍護身為度,右脚再向右方進一步,劍隨身拗轉,劍鋒由身右下方向上轉劃一圓圈,收至胸前變成懷中抱月式面向右方。
iii. Movement description:
     Continuing from the previous posture, your left leg comes down to make a half crossed stance with your right leg, the sword tip coming down along with the twisting of your body and then drawing a circle upward, the sword acting to guard your body. Your right leg then advances a step to the Right, the sword tip coming down to your right along with the twisting of your body and then drawing a circle upward, withdrawing until in front of your chest, changing to the posture of EMBRACE THE MOON. You are facing to the Right.
四、該式動作是左車輪中的一個姿勢,如下圖右車輪最後變懷中抱月式。
iv. The LEFT WHEELING is the middle of this posture’s movement, as in the photo below. The RIGHT WHEELING at the finish of the posture is as in the photo for Posture 29.

《太極劍》 尹千合 (1958) - posture 44

(四十五)倒轉車輪
45. RETREATING WHEELING

一、學名「倒轉車輪」意義:以倒退姿勢劍鋒在身之左右舞劃圓形,故名。
i. Scholarly name: RETREATING WHEELING
     While using a retreating posture, the sword tip circles to your left and right, hence the name.
二、術名「退步護身劍」略釋:以腿向身後撤退,劍鋒在身之左右轉舞,劃圓形,以護全身。
ii. Technical name: RETREAT, GUARDING THE BODY
     My legs withdraw as my sword tip circles to my left and right to guard my whole body.
三、動作說明:依上懷中抱月勢,先退左腿劍鋒翻向下再轉上劃一圓形,再退右腿劍鋒由身右下方向身後再轉上劃成一圓形,劍鋒下垂,成倒掛勢,左手在胸前,左脚活步虛點地。面向右方。
iii. Movement description:
     Continuing from the posture of EMBRACE THE MOON, first your left leg retreats, the sword tip turning over, going downward, then drawing a circle upward. Then your right leg retreats, the sword tip going downward to your right and rear, then drawing a circle upward. The tip hangs down, making a posture of reverse hanging, your left hand in front of your chest, your left foot making a lively step back, touching down emptily. You are facing to the Right.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 45

(四十六)流星趕月
46. METEORS CHASING THE MOON

一、學名「流星趕月」意義:以反劈一劍,再劈一劍,連劈二劍每劍退走一步均帶圓形劍花故名。
i. Scholarly name: METEORS CHASING THE MOON
     The sword turns over and chops, then chops again. With both of these continuous chops comes a retreating step and an arcing sword, fulfilling the name.
二、術名「連環劈劍」略釋:敵人來攻,退左腿反劍下劈,如一劍未着,叉腿再劈一劍,制敵不得近我。
ii. Technical name: CONTINUOUS CHOPPING
     The opponent comes in with an attack, so I retreat my left leg, turning over my sword and chopping downward. If this action does not work, I thread my other leg through while chopping again, keeping him from nearing me.
三、動作說明:依上式,左腿向身後退一步,劍隨提至胸前,劍鋒由下向上反,劃一環形向右下砍,左手向身左指,右腿再退一步,於左膝後蹲曲,劍收提仍反上挑,劃環形向右下砍,同時左手與劍絞成花勢,仍向左伸指。
iii. Movement description:
     Continuing from the previous posture, your left leg retreats a step, the sword going along with it by lifting until in front of your chest, the tip turning upward from below, drawing a circle and chopping downward to the right, your left hand pointing to your left. Your right leg then retreats a step and squats down behind your left knee, the sword withdrawing lifted, again turning over to carry upward, drawing a circle, and chopping downward, your left hand at the same time coiling a circle along with the sword and again extending to the Left.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 46

(四十七)鳳凰三點頭
47. PHOENIX NODS ITS HEAD THREE TIMES

一、學名「鳳凰三點頭」意義:以劍鋒隨步舞每次一停,連續三次故名。
i. Scholarly name: PHOENIX NODS ITS HEAD THREE TIMES
     The sword tip moves along with your steps, each time coming to a halt, this action continuing three times, hence the name.
二、術名「退步避敵」略釋:倘敵人追我,我欲避之,我每退一步反劈一劍,連續三次,每次在劍下劈後稍停頓,藉撥敵之武器。
ii. Technical name: RETREAT, EVADING THE OPPONENT
     If the opponent chases me and I wish to evade him, I retreat while turning my sword over with a chop, continuing this action three times. With each downward chop, there is a slight halting that goes with deflecting his weapon.
三、動作說明:依上式抽左腿向左退一步,右腿再超左腿進一步,劍提胸前由下反上撩再往下劈稍停頓,左腿再退一步,右腿超越進一步,劍仍由下反上撩劃圓形反下劈,共連續做三次。
iii. Movement description:
     Continuing from the previous posture, your left leg retreats a step to the Left and your right leg advances a step past your left leg, your sword lifting in front of your chest, turning over and raising up from below, then chopping downward and slightly halting. Your left leg again retreats a step and your right leg again advances a step past your left leg, your sword lifting in front of your chest, turning over and raising up from below. The action is performed continuously for a total of three times.
四、該式動作每次稍停姿勢均如圖最後姿勢亦如下圖。
iv. As each movement in this posture comes to a slight halt, it is as in the photo below:

《太極劍》 尹千合 (1958) - posture 47

(四十八)鷂子翻身
48. HAWK TURNS OVER

一、學名「鷂子翻身」意義:依上式,拗腰翻身,劍隨身反下劈,故名。
i. Scholarly name: HAWK TURNS OVER
     Continuing from the previous posture, Twist your waist and turn around, your sword going along with your body by turning over into a downward chop, hence the name.
二、術名「敗中取勝」略釋:依上式是敗勢,敵人追我不捨,我以正翻身回頭向下斜劈,出敵不意而破之。
ii. Technical name: SEIZING VICTORY FROM WITHIN DEFEAT
     Continuing from the previous posture, I appear to be in defeat, the opponent chasing me without letting up, so I turn all the way around and chop diagonally downward, defeating him by catching him off guard.
三、動作說明:依上式是敗勢退走,拗腰正翻身,劍上撩隨身轉右脚稍抬,左脚為軸,軸至面向右方,劍隨由上向下斜劈,左手護頂上,左腿弓式,右腿箭步,面向右方。
iii. Movement description:
     Continuing from the previous posture, from an appearance of retreating in defeat, twist your waist and turn your body all the way around, the sword going along with your body’s turning by raising upward. With your right foot slightly lifting and your left foot pivoting, turn until you facing to the Right, the sword going along with the movement by chopping diagonally downward from above, your left hand guarding above your headtop, your legs in a stance of left leg a bow, right leg an arrow. You are facing to the Right.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 48

(四十九)高祖斬蛇勢
49. GAOZU SLAYS THE SERPENT

一、學名「高祖斬蛇」意義:在雜記故事圖裡「漢高祖斬蛇圖」有此一勢即左手指,右握劍避右脇下,右腿獨立故名。
i. Scholarly name: GAOZU SLAYS THE SERPENT
     There is a story of the Han Emperor Gaozu [also known as Liu Bang] beheading a snake, and there are depictions of it that show him in such a pose. Your left hand is pointing, your right hand holds the sword to defend under your right ribs, and your right leg stands one-legged, thus fulfilling the name.
二、術名「避劍待敵」略釋:先提收剒劍,撥敵之武器,右藏半劍作獨立勢,以觀敵人之意圖。
ii. Technical name: EVADING WITH THE SWORD TO AWAIT THE OPPONENT
     I first lift and withdraw my sword with a filing cut to deflect the opponent’s weapon, then with my sword half hidden, I make a one-legged stance and watch for what he intends to do next.
三、動作說明:依上式,反手腕,劍提抽撥剒,左手收回亦護劍柄,同時右脚收跟左脚,兩腿下曲,右腿再向右方進一步,左腿提起,成獨立勢,劍身半藏右脇下左手訣向面前指,注視面前敵人。
iii. Movement description:
     Continuing from the previous posture, your [right] wrist turns over, the sword lifting and withdrawing, deflecting with a filing cut, your left hand withdrawing to guard at the sword handle, your right foot withdrawing, your left foot following, both legs squatting down. [This much of the movement is like Posture 4 of the Startling-Rainbow Sword set.] Then your right leg advances a step to the Right and your left leg lifts, making a one-legged stance, the sword body half hidden below your right ribs, your left hand’s hex pointing forward. Your gaze is forward toward the opponent.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 49

(五十)倒垂楊柳
50. WILLOW WEEPING BEHIND

一、學名「倒垂楊柳」意義:以劍鋒向身後下垂,左手順其勢,如楊柳枝下垂狀故名。
i. Scholarly name: WILLOW WEEPING BEHIND
     The sword tip hangs down behind you, your left hand following along with the posture. It is like a willow with its branches hanging down, hence the name.
二、術名「上挑倒刺」略釋:我正注視敵人,刺其下部,身後突來敵人我己翻身不及,即以劍鋒向身後揷刺。
ii. Technical name: CARRYING UPWARD, REVERSE STAB
     While my attention is upon stabbing to the lower body of the opponent in front of me,
an opponent behind me suddenly attacks, and since it is too late to turn around, I send my sword tip stabbing through behind me.
三、動作說明:依上式,左腿進落一步,劍向下刺,再上挑向身後揷刺,同時右腿由面前上抬以助劍力,左手順右劍勢,亦向後垂,斜仰頭,瞥視劍鋒,左腿獨立勢。
iii. Movement description:
     Continuing from the previous posture, your left leg comes down advancing a step, the sword tip stabbing downward. Then the sword carries upward and stabs through behind you, your right leg lifting forward to assist the sword’s power, your left hand going along with the sword’s action by also hanging behind, your head diagonally tilting back to glance toward the sword tip, your left leg standing one-legged.
四、該式動作最後姿勢如圖。
iv. This posture finishes its movement as in the photo:

《太極劍》 尹千合 (1958) - posture 50

(五十一)燕子入巢(一)
51. SWALLOW ENTERS ITS NEST – Part 1

一、學名「燕子入巢」意義:以拗身搖臂舞劍,勢入燕子入巢之擺動故名。
i. Scholarly name: SWALLOW ENTERS ITS NEST
     The twisting your body, waving of your arm, and brandishing of your sword is like the swaying movement of a swallow entering its nest, hence the name.
二、術名「翻身托剒」略釋:劍上揚,反砍敵人,再下拋隨身轉下撩向上托剒。
ii. Technical name: TURN AROUND, PROP UP WITH A FILING CUT
     My sword raises up and turns over into cleaving at the opponent, then goes along with the turning of my body by flinging downward into a low raising, propping up with a filing cut.
三、動作說明:右腿向身後倒退一步,劍上揚反劈劍,隨身轉下撩向上托剒,同時右轉身,左膝順右腿彎交叉下曲,劍平托於頂上,左臂稍曲,手指向上指,面向前方。
iii. Movement description:
     Your right leg retreats a step, the sword raising up, turning over into a downward chop, then goes along with the turning of your body by doing a low raising action and propping up with a filing cut. As your body turns around to the right, your left knee follows the back of your right knee, your legs crossing and squatting down, the sword propping up level above your headtop, your left arm slightly bent, the fingers pointing upward. You are facing to the Front.
四、該式動作中停姿勢如下圖。
iv. The middle of this posture’s movement is as in the photo below:

《太極劍》 尹千合 (1958) - posture 51

(五十二)燕子入巢(二)
52. SWALLOW ENTERS ITS NEST – Part 2

一、學名「燕子入巢」意義:依前式,再拗身,舞劍,如燕入巢擺尾狀,故名。
i. Scholarly name: SWALLOW ENTERS ITS NEST
     Continuing from the previous posture, again twist your body and brandish the sword, looking like the waving tail of a swallow entering its nest, hence the name.
二、術名「轉身劈撩」畧釋:敵從右近我身,我劍下劈轉身翻手腕上撩以托撥敵人之武器。
ii. Technical name: TURN AROUND, CHOPPING & RAISING
     An opponent nears me from my right, so my sword chops downward, turning me around, and my wrist turns over, raising my sword into propping up to deflect his weapon.
三、動作說明:依上式,劍下落斜劈,以右脚為軸,右轉身,劍隨上撩托於右頂上,左手訣遙對劍鋒下,兩腿變成弓仆步,面向後方,目視劍鋒。
iii. Movement description:
     Continuing from the previous posture, the sword lowers into a diagonal chop, you pivot on your right foot, turning around to the right, and the sword goes along with it by raising into propping up above your headtop, your left hand’s hex pointing toward the sword tip, your legs making a bent crouching stance. You are facing to the Rear. Your gaze is to the sword tip.
四、該式動作最後姿勢如下圖
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 52

(五十三)江邊望月
53. GAZING AT THE MOON FROM THE RIVERSIDE

一、學名「江邊望月」意義:以坐盤腿式,反手腕,劍向右上方托撩,斜歪頭,由劍身下向劍鋒望去,故名。
i. Scholarly name: GAZING AT THE MOON FROM THE RIVERSIDE
     Your legs make a sitting twisted stance, your wrist turning over, your sword raising to your right, propping up, your head tilted diagonally, your gaze going out from below the sword body toward the sword tip, fulfilling the name.
二、術名「坐盤撩刺」略釋:叉腿拗身撥開敵人之武器,反手腕進步坐盤上撩。撩敵之下陰。
ii. Technical name: SITTING TWISTED, RAISING STAB
     Crossing my legs and twisting my body, I deflect aside the opponent’s weapon, turning over my wrist, advancing into a sitting twisted stance, and raise my sword upward to his groin.
三、動作說明:依上式,身稍起立,左拗身,兩腿直交叉,劍上揚再下擺,再出右腿稍仆,左腿隨靠右腿後盤坐,劍隨下翻手腕向上撩刺,歪頭拗身斜順劍身向劍鋒望去,左手附於右肩前。
iii. Movement description:
     Continuing from the previous posture, your body slightly stands up and twists to the left, your legs crossing, the sword raising up then swinging downward. Then your right leg slightly crouches, your left leg touching behind your right knee, and your legs sit twisted, the sword going downward along with them and then, with your wrist turning over, going upward with raising stab. Your head is tilted, body twisted, as your gaze goes diagonally along the sword body toward the sword tip, your left hand close in front of your left shoulder.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 53

(五十四)指日東升
54. POINTING TO THE SUNRISE

一、學名:指日東升以劍指旭日,目視劍鋒,有迎旭日東升之意。
i. Scholarly name: POINTING TO THE SUNRISE
     The sword indicates the rising sun, your gaze toward the sword tip, the image being of welcoming the sunrise.
二、術名:「抽措托劍」依上式起身向右刺出,倘敵撥開我劍,再擊我時,我劍抽措托避於胸前,以觀變。
ii. Technical name: DRAWING BACK WITH A FILING CUT, PROPPING UP
     Continuing from the previous posture, my body rises and I stab out to my right. If the opponent deflects my sword and attacks me, my sword draws back with a filing cut, propping defensively in front of my chest, and I watch for what he will do next.
三、動作說明:依上式起身右腿向右進一步劍向右刺出,再將右脚收回靠左脚根,兩腿同下曲,右手握劍橫於胸前,左手訣依輔劍柄,目視劍鋒。
iii. Movement description:
     Continuing from the previous posture, your body rises, your right leg advances a step to the Right, the sword stabbing out to the Right. Then withdraw your right foot to stand next to your left heel, your legs squatting down, your right hand holding the sword horizontally in front of your chest, your left hand’s hex assisting at the sword handle [pommel according to the photo]. Your gaze is toward the sword tip.
四、該式動作最後姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 54

(五十五)二郎擔山
55. ERLANG CARRIES THE MOUNTAIN

一、學名:「二郎擔山」以右劍和左手,向左右平伸開,如人擔物狀,故名。
i. Scholarly name: ERLANG CARRIES THE MOUNTAIN
     The sword and your left hand extend level to the Left and Right, like a man carrying something on his shoulders, hence the name.
二、術名「分手平刺」略釋:以兩手對伸平直分開,右劍向右方平伸直刺,右腿作獨立式。
ii. Technical name: SPREADING HANDS, LEVEL STAB
     My hands spread apart, extending level, my sword stabbing level to my right, my right leg making a one-legged stance.
三、動作說明:依上式,兩手對分,左手向左方伸平,右劍向右伸平直,左腿提起,右腿獨立勢,面向正前方。
iii. Movement description:
     Continuing from the previous posture, your hands spread apart, your left hand extending level to the Left, the sword extending level to the Right, your left leg lifting, your right leg standing one-legged. You are facing squarely to the Front.
四、該式動作最後姿勢如圖。
iv. This posture finishes its movement as in the photo:

《太極劍》 尹千合 (1958) - posture 55

(五十六)朝天一柱香
56. HOLD UP A STICK OF INCENSE

一、學名「朝天一柱香」意義:以劍向左方,兩手抱劍柄,劍鋒正直上立不依,於左膝上,故名。
i. Scholarly name: HOLD UP A STICK OF INCENSE
     The sword goes to your left, both hands hold the sword handle, and the sword tip stands straight up without leaning in any direction, placed above your left knee, fulfilling the name.
二、術名:「中鋒直立」略釋:以劍向左劈下剒立直,注視左方。
ii. Technical name: BALANCING THE TIP UPRIGHT
     My sword chops downward to the Left with a filing cut and stands upright, my gaze to my left.
三、動作說明:依上式,左腿向左落進一步作弓式,右腿變箭步,劍由右向左劈下剒,劍身立直,兩手合抱劍柄,置於左膝上,面向左方,目視劍鋒。
iii. Movement description:
     Continuing from the previous posture, your left leg advances a step to the Left, changing to a stance of left leg a bow, right leg an arrow, the sword going from the Left to the Right, chopping down with a filing cut, the sword body standing upright, both hands holding the sword handle, which is placed above your left knee. You are facing to the Left. Your gaze is toward the sword tip.
四、該式動作最後姿勢如圖。
iv. This posture finishes its movement as in the photo:

《太極劍》 尹千合 (1958) - posture 56

(五十七)風掃梅花(一)
57. WIND SWEEPS THE PLUM FLOWERS – Part 1

一、學名「風掃梅花」意義:以劍身平拋準備轉掃故名。
i. Scholarly name: WIND SWEEPS THE PLUM FLOWERS
     The sword body flings across in preparation to spin around, fulfilling the name.
二、術名「平劍拋削」略釋:敵近我,我以平劍拋削敵人。
ii. Technical name: THE SWORD FLINGING ACROSS WITH A PARING CUT
     An opponent nears me, so I fling my sword across at him with a paring cut.
三、動作說明:依上式,劍拋平,隨身轉向身右橫平,右腿變弓式,左腿變箭步,左手向右前伸直,面向右前方。
iii. Movement description:
     Continuing from the previous posture, the sword flings across as you turn your body around to the right, your stance changing to right leg a bow, left leg an arrow, your left hand extending forward to the Right. You are facing to the Right Front.
四、該式中停姿勢如下圖。
iv. The midpoint of this posture is as in the photo below:

《太極劍》 尹千合 (1958) - posture 57

(五十八)風掃梅花(二)
58. WIND SWEEPS THE PLUM FLOWERS – Part 2

一、學名「風掃梅花」意義:左腿抬起與身平。右脚為軸,向右轉約一週劍如掃狀,故名。
i. Scholarly name: WIND SWEEPS THE PLUM FLOWERS
     Your left leg lifts and your body flattens, your right foot pivoting as you turn around to the right in almost a complete circle, the sword seeming to sweep, hence the name.
二、術名「平身雲劍」略釋:以陰手平劍伸直轉身雲掃。
ii. Technical name: LEVEL BODY, CLOUDING SWORD
     With the center of my hand facing downward, I bring my extended sword across with a clouding sweeping as I spin around.
三、動作說明:依上式,左腿抬起伸直與身平,右陰握劍向外伸直左手順伸,頭稍仰目視劍鋒,隨身右旋轉,右脚為軸獨立勢,轉至面向前方為止。
iii. Movement description:
     Continuing from the previous posture, your left leg lifts and extends, your body flattening, your right hand holding the sword with the center of the hand facing downward, the arm extended outward, your left hand correspondingly extended, your head slightly leaned back, your gaze toward the sword tip. As you spin around rightward, pivot on your right foot, which stands one-legged. Turn until you are facing squarely to the Front.
四、該式轉掃姿勢如下圖。
iv. This posture’s turning sweep is as in the photo below:

《太極劍》 尹千合 (1958) - posture 58

(五十九)捧笏式
59. HOLDING THE TABLET

一、學名「捧笏面聖」意義;兩手捧劍,劍鋒向上,狀如捧笏式,故名。
i. Scholarly name: HOLDING THE TABLET BEFORE THE EMPEROR
     Your hands carry the sword with the tip upward, in the manner of holding up a tablet [like an official during an audience with the emperor], hence the name.
二、術名「中立不移」略釋:握劍舞罷,兩手捧劍,集中注意劍身,擬作收式。
ii. Technical name: STANDING STEADFAST
     To finish the set, I hold up the sword with both hands, collecting my attention toward the body of my sword, as though making a posture of gathering in.
三、動作說明:左脚落下,靠右腿直立,右劍收至胸前平立,左手收回合捧劍柄,身稍傾,目注劍身定心沉氣。
iii. Movement description:
     Your left foot comes down to stand next to your right leg, your right hand gathering in the sword to hold it level in front of your chest, your left hand coming in to embrace the sword handle, your body slightly leaning. Your gaze is toward the sword body. Calm your mind and sink your energy.
四、該式動作姿勢如下圖。
iv. This posture finishes its movement as in the photo below:

《太極劍》 尹千合 (1958) - posture 59

(六十)完壁歸趙
60. RETURNING THE JADE TO ZHAO INTACT

一、學名「完壁歸趙」意義:舞劍開始前,劍在左手交與右手,現舞罷右手將原劍仍還左手,亦歸原位置,故名。
i. Scholarly name: RETURNING THE JADE TO ZHAO INTACT
     In the beginning of the set, the sword is switched from your left hand to your right. At the end, it is returned from your right hand to your left, returning you to your original position, hence the name.
二、術名「接劍還原」以右手之握劍,再交還左手,歸回原來預備式。
ii. Technical name: TAKE THE SWORD, RETURN TO THE ORIGINAL POSITION
     Switching the sword from my right hand back to my left, I return to the PREPARATION POSTURE.
三、動作說明:依上式,劍鋒向外下落右手稍鬆,劍鋒反下,露出劍柄,左手接握劍柄仍貼於左臂後,右手揑𧥱下垂,歸還原來預備式,合太極定心沉氣,氣沉丹田。
iii. Movement description:
     Continuing from the previous posture, the sword tip goes outward and downward, your right hand slightly loosening. The sword tip turns over to point downward, showing the handle. Your left hand takes the sword, which again goes close behind your left arm, your right hand pinching into a hex, returning you to the PREPARATION POSTURE. The polarities merging into one, settle your mind and sink energy to your elixir field.
四、本式太極劍完。
iv. This completes the entire set.

《太極劍》 尹千合 (1958) - posture 60

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