TAIJI BOXING ACCORDING TO WU ZHIQING

太極正宗
AUTHENTIC TAIJI
吳志青
by Wu Zhiqing
[published by 大東書局 Great East Bookstore, Sep, 1936]

[translation by Paul Brennan, Oct, 2016]

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尚武精神
Martial spirit!
王震
– [calligraphy by] Wang Zhen

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居今之世非尚武不是以保民族之生命太極拳亦武術之一種借敵人之力以打敵人乃其妙用也
In today’s world, if we do not value a martial quality,
there is no way to protect the lives of the people.
Taiji Boxing is a type of martial art
that borrow the opponent’s force and hits him with it – magical.
題武當宗 志青先生 张继
– Inscription for Wu Zhiqing’s Authentic Wudang [Taiji] by Zhang Ji

弁言
FOREWORD

(一)凡百事物。單看不知優劣。不明眞偽。若集合多數同類之事物。陳列眼前。比較之下。誰優誰劣。誰眞誰偽。是非立判。以此例彼。可不言而喻也。蓋近年學習太極拳者衆。出版物日增。一般熱心太極拳者。徬徨歧路。無所適從。所以本書集合各家之名著。作有統系之研究。將不同之點。列表比較。使學者一望而知。各家太極拳略有不同意義之所在。考各家太極拳之源流。均稱係丹士張三峯所傳授。按其名稱拳式。各有變更。或別為老式。或別為新派。或又別為折衷。或多幾手。或少幾式。亦有一式而分數式者。亦有式同而名異者。亦有名同而式殊者。循此以往。再傳數十年。又不知變更至於如何程度也。推究其因。不外各各師傳。稍有出入。無關宏旨。然而初學者不知就裏。如墜五里霧中。眞偽莫辨。懷疑日深。本書集我國名家太極拳架式理論與名稱。闡明眞相。俾研究斯學者有所區別。不為曲學者所蔽。則出奴入主之弊泯矣。
1. In all things, we each notice that at first we do not know what is superior or inferior, nor understand what is genuine or fake. But once we gather several similar examples before our eyes in order to compare which is superior or inferior, which is genuine or fake, differentiation will naturally be achieved by the way they contrast with each other.
     Nowadays, practitioners of Taiji Boxing are numerous and publications are constantly on the increase. The common enthusiasm for it has led to all sorts of wrong paths and uncertainties. Therefore this book gathers together works by various experts who have made systematic studies [Part Two]. I also present distinctions between them by putting them into a comparative list so that you may understand at a glance where they have had slightly different ideas [Part One, Chapter One, Section Three].
     Examining the origins of the various schools of Taiji Boxing, they all claim it was passed down from the elixirist Zhang Sanfeng. As for the names of the boxing postures, each school has it variations, sometimes older postures, sometimes newer versions, sometimes somewhere in between, some with many techniques, some with fewer techniques. Where one school has one posture, another school may consider it to be several. Postures may be the same but the names are different, or names may be the same but the postures are different. Something was formerly taught one way, but in the course of teaching over several decades, people became unaware of the extent to which changes had been made.
     When we look for the reason for this, we find it is simply because variety of transmission leads to slight inconsistencies, unimportant ones for the most part. However, beginners will not know what lies within. It will be as though they have entered into miles of fog, unable to distinguish between what is real and what is fake, and their doubts will increase by the day. This book collects the postures, principles, and terminology of our nation’s notable Taiji Boxing experts in order to clarify the genuine art, giving students the ability to differentiate instead of misguiding students so as to keep the art inaccessible, and thereby eliminating the error of sectarian bias.

(二)編者於一九一八年。因緣識楊澄甫先生。得楊先生所授之太極拳。朝夕自修。輾轉研究。將經驗所得。並集各家理論。分著上下兩編。上編為理論與實際。下編為各家論著。然理論以切合科學與教育原理生理衞生為原則。不尚玄虛。不重考據。不立奇異為自高實際。附以圖說。並以明顯之文字。說明動作。解釋應用。闡明要領。使學者閱之。心領神會。一目瞭然。
2. In 1918, I happened to meet Yang Chengfu. Receiving instruction from him in Taiji Boxing, I practiced day and night, making a thorough study of it. Now I have put what I have learned, as well as ideas I have collected from various teachers, into a book, which is divided into two parts, Part One covering theory and practice, Part Two comprised of essays by experts.
     The theories within this book conform to the principles of health held by science and education. I do not seek to show off by being overly obscure, highly literate, or even particularly unique. Included are photographs and easily understandable text which describes the movements, explains applications, and clarifies essential requirements. This will enable you to readily understand as you read through it, everything clear at a glance.

(三)書之編配。先以理論。次及方法。集合近代研究太極拳名家宏論。作比較上之觀摩。俾學者閱此一書。卽通各家之學。舉一反三。此之謂也。復以成套之太極拳。分為各個動作。使初學易於問津。不致望洋興嘆。習練各個架式。俟動作純熟。姿勢正確。再連成一套。以不違太極拳綿綿不斷一氣呵成之定律。又不違現代教學之方法。三為研究斯學者。創一新紀元。所以本書先之以理論。使學者明白原理。識別畛域者此也。揣摩架式。然後乃學連貫成套。練習法由簡入繁。循序演進。學者自能易於領悟。興趣油然而生。則斯學之普遍。可立而待也。
古歙吳志靑編著於潤州
3. This book is comprised of firstly theory [Part One, Chapter One] and then techniques [Chapter Two]. And then there is a collection of magnificent ideas from the recent studies of famous experts [Part Two], worthy of comparative study so that through this book you may understand the learning of various teachers. To examine one and end up understanding several is the idea.
     Included is the complete Taiji Boxing solo set, divided into individual movements so that beginners may have an easy way into the art rather than feeling overwhelmed or frustrated. Practice each technique until the movement is skillful and the posture is accurate, then connect them into a complete set. Do not violate the cardinal Taiji Boxing principle of continuity without interruption from beginning to end, nor ignore modern teaching methods. Through repeated study of this material, we will found a new era.
     This is why this book firstly presents some theory, so that you may understand the principles and discern the parameters of the art. Ponder the postures, then link them together. The practice method is to go from the simple to the complex, gradually progressing according to the right sequence, so that you will be able to organically and easily understand, and your interest will develop by itself. By such means, this learning is poised to spread everywhere.
     – written by Wu Zhiqing in Runzhou [in Jiangsu]

太極正宗目次
CONTENTS

上編 太極拳理論與實際
Part One: Taiji Boxing Theory & Practice
 第一章 武當正宗太極拳論
 Chapter One: From Authentic Wudang – Taiji Boxing Theory
  第一節 太極拳為實用衞生之科學
  Section One: Taiji Boxing as a Practical Health Science
  第二節 太極拳之各家架式異同說
  Section Two: Discussing the Similarities & Differences Between Various Versions of the Taiji Boxing Solo Set
  第三節 各家太極拳名稱統計比較異同表(附表)
  Section Three: On the Comparative List of Similarities & Differences Between the Names & Numberings of the Various Versions of the Taiji Solo Set
  第四節 太極拳式數名稱之研究
  Section Four: A Study of the Names & Enumeration of the Postures in the Taiji Boxing Solo Set
 第二章 太極拳各個練習法
 Chapter Two: The Various Techniques Practiced in Taiji Boxing
  第一節 方位圖說
  Section One: Orientation Diagram
  第二節 各段步位路線分圖(附圖十二幅統計表一幅)
  Section Two: On the Footwork Charts for Each of the Twelve Segments
  第三節 各個練習法
  Section Three: Practicing the Various Techniques
   第一段 式數十二 動數三十八
   Segment One – twelve postures / thirty-eight movements
    第一式 術名 太極起式
    Posture 1: BEGINNING POSTURE
    第二式 術名 攬雀尾
    Posture 2: CATCH THE SPARROW BY THE TAIL
    第三式 術名 單鞭
    Posture 3: SINGLE WHIP
    第四式 術名 提手
    Posture 4: RAISE THE HANDS
    第五式 術名 白鶴亮翅
    Posture 5: WHITE CRANE SHOWS ITS WINGS
    第六式 術名 摟膝拗步
    Posture 6: BRUSH KNEE IN A CROSSED STANCE
    第七式 術名 手揮琵琶
    Posture 7: PLAY THE LUTE
    第八式 術名 左右摟膝拗步
    Posture 8: LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
    第九式 術名 手揮琵琶
    Posture 9: PLAY THE LUTE
    第十式 術名 進步搬攔捶
    Posture 10: ADVANCE, PARRY, BLOCK, PUNCH
    第十一式 術名 如封似閉
    Posture 11: SEALING SHUT
    第十二式 術名 十字手
    Posture 12: CROSSED HANDS
   第二段 式數十三 動數三十八
   Segment Two – thirteen postures / thirty-eight movements
    第十三式 術名 抱虎歸山
    Posture 13: CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
    第十四式 術名 斜步攬雀尾
    Posture 14: DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
    第十五式 術名 肘底看捶
    Posture 15: GUARDING PUNCH UNDER ELBOW
    第十六式 術名 左右倒攆猴
    Posture 16: LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
    第十七式 術名 斜飛式
    Posture 17: DIAGONAL FLYING POSTURE
    第十八式 術名 提手
    Posture 18: RAISE THE HANDS
    第十九式 術名 白鶴亮翅
    Posture 19: WHITE CRANE SHOWS ITS WINGS
    第二十式 術名 摟膝拗步
    Posture 20: BRUSH KNEE IN A CROSSED STANCE
    第二十一式 術名 海底針
    Posture 21: NEEDLE UNDER THE SEA
    第二十二式 術名 肩通臂
    Posture 22: SHOULDER THROUGH THE ARM
    第二十三式 術名 撇身捶
    Posture 23: TORSO-FLUNG PUNCH
    第二十四式 術名 上步搬攔捶
    Posture 24: STEP FORWARD, PARRY, BLOCK, PUNCH
    第二十五式 術名 進步攬雀尾
    Posture 25: ADVANCE, CATCH THE SPARROW BY THE TAIL
   第三段 式數三 動數十一
   Segment Three – three postures / eleven movements
    第二十六式 術名 單鞭
    Posture 26: SINGLE WHIP
    第二十七式 術名 左右抎手
    Posture 27: LEFT & RIGHT CLOUDING HANDS
    第二十八式 術名 單鞭
    Posture 28: SINGLE WHIP
   第四段 式數五 動數十一
   Segment Four – five postures / eleven movements
    第二十九式 術名 高探馬
    Posture 29: RISING UP AND REACHING OUT TO THE HORSE
    第三十式 術名 左右分脚
    Posture 30: KICKING TO THE LEFT & RIGHT
    第三十一式 術名 轉身蹬脚
    Posture 31: TURN AROUND, PRESSING KICK
    第三十二式 術名 左右摟膝拗步
    Posture 32: LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
    第三十三式 術名 進步栽捶
    Posture 33: ADVANCE, PLANTING PUNCH
   第五段 式數十一 動數二十一
   Segment Five – eleven postures / twenty-one movements
    第三十四式 術名 翻身白蛇吐信
    Posture 34: TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE
    第三十五式 術名 上步搬攔捶
    Posture 35: STEP FORWARD, PARRY, BLOCK, PUNCH
    第三十六式 術名 蹬脚
    Posture 36: PRESSING KICK
    第三十七式 術名 左右披身伏虎
    Posture 37: LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER
    第三十八式 術名 囘身蹬脚
    Posture 38: TURN BACK, PRESSING KICK
    第三十九式 術名 雙風貫耳
    Posture 39: DOUBLE WINDS THROUGH THE EARS
    第四十式 術名 左蹬脚
    Posture 40: LEFT PRESSING KICK
    第四十一式 術名 轉身蹬脚
    Posture 41: TURN AROUND, PRESSING KICK
    第四十二式 術名 進步搬攔捶
    Posture 42: ADVANCE, PARRY, BLOCK, PUNCH
    第四十三式 術名 如封似閉
    Posture 43: SEALING SHUT
    第四十四式 術名 十字手
    Posture 44: CROSSED HANDS
   第六段 式數五 動數二十四
   Segment Six – five postures / twenty-four movements
    第四十五式 術名 抱虎歸山
    Posture 45: CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
    第四十六式 術名 斜步攬雀尾
    Posture 46: DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
    第四十七式 術名 斜單鞭
    Posture 47: DIAGONAL SINGLE WHIP
    第四十八式 術名 左右野馬分鬃
    Posture 48: LEFT & RIGHT WILD HORSE VEERS ITS MANE
    第四十九式 術名 攬雀尾
    Posture 49: CATCH THE SPARROW BY THE TAIL
   第七段 式數三 動數十三
   Segment Seven – three postures / thirteen movements
    第五十式 術名 單鞭
    Posture 50: SINGLE WHIP
    第五十一式 術名 玉女穿梭
    Posture 51: MAIDEN WORKS THE SHUTTLE
    第五十二式 術名 攬雀尾
    Posture 52: CATCH THE SPARROW BY THE TAIL
   第八段 式數三 動數十四
   Segment Eight – three postures / fourteen movements
    第五十三式 術名 單鞭
    Posture 53: SINGLE WHIP
    第五十四式 術名 左右抎手
    Posture 54: LEFT & RIGHT CLOUDING HANDS
    第五十五式 術名 單鞭下勢
    Posture 55: SINGLE WHIP, LOW POSTURE
   第九段 式數十 動數二十六
   Segment Nine – ten postures / twenty-six movements
    第五十六式 術名 金鷄獨立
    Posture 56: GOLDEN ROOSTER STANDS ON ONE LEG
    第五十七式 術名 左右倒攆猴
    Posture 57: LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
    第五十八式 術名 斜飛式
    Posture 58: DIAGONAL FLYING POSTURE
    第五十九式 術名 提手
    Posture 59: RAISE THE HANDS
    第六十式 術名 白鶴亮翅
    Posture 60: WHITE CRANE SHOWS ITS WINGS
    第六十一式 術名 摟膝拗步
    Posture 61: BRUSH KNEE IN A CROSSED STANCE
    第六十二式 術名 海底針
    Posture 62: NEEDLE UNDER THE SEA
    第六十三式 術名 肩通臂
    Posture 63: SHOULDER THROUGH THE ARM
    第六十四式 術名 上步搬攔捶
    Posture 64: STEP FORWARD, PARRY, BLOCK, PUNCH
    第六十五式 術名 進步攬雀尾
    Posture 65: ADVANCE, CATCH THE SPARROW BY THE TAIL
   第十段 式數三 動數十一
   Segment Ten – three postures / eleven movements
    第六十六式 術名 單鞭
    Posture 66: SINGLE WHIP
    第六十七式 術名 左右抎手
    Posture 67: LEFT & RIGHT CLOUDING HANDS
    第六十八式 術名 單鞭
    Posture 68: SINGLE WHIP
   第十一段 式數四 動數十
   Segment Eleven – four postures / ten movements
    第六十九式 術名 高探馬
    Posture 69: RISING UP AND REACHING OUT TO THE HORSE
    第七十式 術名 十字腿
    Posture 70: CROSS-SHAPED KICK
    第七十一式 術名 摟膝指襠捶
    Posture 71: BRUSH KNEE, PUNCH TO THE CROTCH
    第七十二式 術名 上步攬雀尾
    Posture 72: STEP FORWARD, CATCH THE SPARROW BY THE TAIL
   第十二段 式數九 動數十五
   Segment Twelve – nine postures / fifteen movements
    第七十三式 術名 單鞭下勢
    Posture 73: SINGLE WHIP, LOW POSTURE
    第七十四式 術名 上步七星
    Posture 74: STEP FORWARD WITH THE BIG DIPPER
    第七十五式 術名 退步跨虎
    Posture 75: RETREAT TO SITTING TIGER POSTURE
    第七十六式 術名 轉脚擺蓮
    Posture 76: SPIN, SWINGING LOTUS KICK
    第七十七式 術名 彎弓射虎
    Posture 77: BEND THE BOW, SHOOT THE TIGER
    第七十八式 術名 上步搬攔捶
    Posture 78: STEP FORWARD, PARRY, BLOCK, PUNCH
    第七十九式 術名 如封似閉
    Posture 79: SEALING SHUT
    第八十式 術名 十字手
    Posture 80: CROSSED HANDS
    第八十一式 術名 合太極
    Posture 81: CLOSING POSTURE
下編 各家太極拳論著
Part Two: Discourses from Various Taiji Boxing Experts
 第一章 胡樸安先生論太極拳在體育上之價値
 Chapter One: Hu Pu’an’s “The Value of Taiji Boxing in Physical Education”
 第二章 姜蓉樵先生註王宗岳先生太極拳論
 Chapter Two: Jiang Rongqiao’s Annotations to Wang Zongyue’s Taiji Boxing Treatise
 第三章 楊澄甫先生太極說十要
 Chapter Three: Yang Chengfu’s Ten Essentials of Taiji
 第四章 孫祿堂先生太極拳學論
 Chapter Four: A Couple of Essays from Sun Lutang’s A Study of Taiji Boxing
 第五章 陳志進先生論太極拳之品格與功用
 Chapter Five: Chen Zhijin’s Essay “Taiji Boxing’s Moral Qualities & Functions”
 第六章 陳微明先生教授太極拳之經驗談
 Chapter Six: Chen Weiming’s Experience of Teaching Taiji Boxing
 第七章 向愷然先生練太極拳之經驗
 Chapter Seven: Xiang Kairan’s Experience of Practicing Taiji Boxing

太極正宗
AUTHENTIC TAIJI

上編 太極拳理論與實際
PART ONE: TAIJI BOXING THEORY & PRACTICE

第一章 武當正宗太極拳論
CHAPTER ONE: FROM AUTHENTIC WUDANG – TAIJI BOXING THEORY

第一節 太極拳為實用衞生之科學
Section One: Taiji Boxing as a Practical Health Science

夫太極拳者。非為神祕怪誕之幻術。亦非保鏢護院沿街賣藝之技術也。乃自然界中一種自然自衞運動法、自然健身治療法。因其動作活潑而自然。無論强弱老幼。咸宜練習。能使身體健康。精神充足。且太極拳技術奧妙。尤可長進自衞之能力。此所謂自然自衞運動法。又因其動作能使身體平均發達。合乎生理上之程序。而其腹部自然之運動。可以助長消化機能。使食物無滯停於腸胃。一方則排泄渣滓於外。一方卽輸送營養品於全身各部。正本淸源。於是百病無由侵入。身體因而健康。此自然健身治療法也。故太極拳可謂之實用衞生之科學也。
Taiji Boxing is not a kind of bizarre mystical magic, nor a skill for caravan bodyguards or street performers. It is a part of Nature, a natural method of self-defense training and health maintenance. Because of the liveliness and naturalness of its movements, all should practice, regardless of strong or weak, young or old. It can make the body healthy and the spirit abundant. Moreover, Taiji Boxing’s techniques are profound, and can bring special progress to one’s self-defense capabilities. This is why it is called “a natural method of self-defense training”.
     Furthermore, because its movements can cause the body to develop evenly, it conforms to physiological processes. Promoting natural movement in the abdomen, it can encourage digestive function, keeping food from moving sluggishly through the stomach and intestines. On one hand, it more efficiently moves along waste, on the other it better transports nutrients to the rest of the body. By working to make improvement at the source, illnesses thereby cannot begin in the first place, and the body is consequently made healthy. This is why it is a “natural method of health maintenance”. Therefore Taiji Boxing can be considered a practical health science.

第二節 太極拳之各家架式異同說
Section Two: Discussing the Similarities & Differences Between Various Versions of the Taiji Boxing Solo Set

國術之分內外。以少林、武當為鵠。而少林系之起源稍遠。派別繁多。難以勝記。其架式有長拳短打。又有高䂯中䂯之別。大步小步之分。約而言之。不外乎攻守進退之法顯然可見也。而武當一門。歷史不若少林之久。當時流傳尚不甚廣。輾轉師承。亦因各個生理之特殊。因勢利導。架式雖略有變更。而其理論則一。又如楊澄甫先生架式尚開展。而吳先生鑑泉尚團緊。孫祿堂先生尚舒長。各得其妙。無分軒輊。太極拳之精意。以開展之中須要團緊而舒長。此卽術語中之『鬆腰、虛靈、頂勁』之意也。然架式雖有不同之點。僅其外表之動作。而其精神則無差異也。
Martial arts are divided into internal and external, specified as “Wudang” and “Shaolin”. Shaolin’s origins are quite old, and there are too many styles of it to remember. There are sets for both “long punching” and “short striking”, differences of high stance or medium stance, large step or small step. In brief, it does not go beyond methods of attack and defend, advance and retreat, which is obvious to any who witness it.
     As for Wudang, its history is not as old as that of Shaolin, and has still not become as widespread, having been passed down personally from teacher to student. Also, due to focus on physiological principles and the concept of adjusting according to circumstances, the sets have gotten slightly modified, though its theory has remained consistent.
     For example, Yang Chengfu’s postures were very open, whereas Wu Jianquan emphasizes compactness, and Sun Lutang emphasized relaxed extension. They each achieved mastery regardless of such distinctions. The essential idea in Taiji Boxing is that within spreading open there has to be the qualities of compactness and relaxed extension. This is the idea behind instructions such as “loosen your waist” and “forcelessly press up your headtop”. The differences between the versions of the set are only a matter of the external appearance of the movements, and there is no difference in terms of their spirit.

第三節 各家太極拳名稱統計比較異同表
Section Three: On the Comparative List of Similarities & Differences Between the Names & Numberings of the Various Versions of the Taiji Solo Set

泊乎今日。國術仍為一般人所重視。習之者甚衆。所以負盛名之楊澄甫先生、吳鑑泉先生、孫祿堂先生。時人稱為三派。其實吳鑑泉之父全佑。乃楊斑候之弟子。孫祿堂從郝為楨學。郝乃斑候之戚。亦曾從學。故太極拳本楊家一系。並無異派。孫先生自著太極拳學一書以問世。吳先生亦將其術傳諸後人。為之發揚光大。陳先生微明得楊先生之傳。在滬創辦致柔拳社為最早。廣事授徒。大有孔門之盛況。並著太極拳術一書。風行全國。蓋此時代可謂太極拳之黃金時代也。雖然盛極一時。百述雜陳。惟恐百世後眞偽莫辨。故鄙人作太極拳術各家拳式名稱異同比較表。以明眞相。表列如左。
Nowadays, martial arts are being taken increasingly seriously be ordinary people. Practitioners are extremely numerous, and due to the grand reputations of Yang Chengfu, Wu Jianquan, and Sun Lutang, people consider them to represent three styles. In fact, Wu Jianquan’s father, Quan You, was a student of Yang Banhou, and Sun Lutang learned from Hao Weizhen, who had a close relationship with Yang Banhou and also learned from him for a while. Therefore it is the Yang family that is the basis of these versions of Taiji Boxing, and really they are not different sects.
     Sun published A Study of Taiji Boxing. Wu has taught his art to many students, ensuring it will be carried on. Chen Weiming, who learned from Yang Chengfu, established his Achieving Softness Boxing Society and has been giving extensive instruction to a remarkable abundance of students, as well as writing The Art of Taiji Boxing, which is popular throughout the nation. This can be said to be the golden age of Taiji Boxing.
     Although it is in vogue at the moment, with many variations on display, I fear that future generations will not be able to discern the genuine from the fake, therefore I have made this comparative list of the similarities and differences of the various versions of the Taiji Boxing solo set in order to clarify the situation:

太極拳各家拳式名稱異同比較表
COMPARATIVE LIST OF SIMILARITIES & DIFFERENCES BETWEEN THE NAMES & NUMBERINGS OF THE POSTURES IN THE VARIOUS VERSIONS

家別 名稱 次序
The different versions with posture names and [overall] numbering:
陳編 孫編 褚編 本編
Chen Weiming / Sun Lutang / Chu Minyi / Wu Zhiqing

1 太極起式 無極學 太極 太極起式
BEGINNING POSTURE / NONPOLARITY / TAIJI POSTURE / BEGINNING POSTURE
2 攬雀尾 太極學 太極起式 攬雀尾
CATCH THE SPARROW BY THE TAIL / GRAND POLARITY / BEGINNING POSTURE / CATCH THE SPARROW BY THE TAIL
3 單鞭 懶扎衣學 攬雀尾一 單鞭
SINGLE WHIP / TUCK IN THE ROBE / CATCH THE SPARROW BY THE TAIL – Part 1 / SINGLE WHIP
4 提手 開手學 攬雀尾二 提手
RAISE THE HANDS / OPENING HANDS / CATCH THE SPARROW BY THE TAIL – Part 2 / RAISE THE HANDS
5 白鶴亮翅 合手學 攬雀尾三 白鶴亮翅
WHITE CRANE SHOWS ITS WINGS / CLOSING HANDS / CATCH THE SPARROW BY THE TAIL – Part 3 / WHITE CRANE SHOWS ITS WINGS
6 摟膝抝步 單鞭學 單鞭 摟膝抝步
BRUSH KNEE IN A CROSSED STANCE / SINGLE WHIP / SINGLE WHIP / BRUSH KNEE IN A CROSSED STANCE
7 手揮琵琶 提手上式學 提手上勢一 手揮琵琶
PLAY THE LUTE / RAISE THE HAND / RAISE THE HANDS – Part 1 / PLAY THE LUTE
8 左右摟膝抝步 白鶴亮翅學 提手上勢二 左右摟膝抝步
LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE / WHITE CRANE SHOWS ITS WINGS / RAISE THE HANDS – Part 2 / LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
9 手揮琵琶 開手學 白鶴亮翅一 手揮琵琶
PLAY THE LUTE / OPENING HANDS / WHITE CRANE SHOWS ITS WINGS – Part 1 / PLAY THE LUTE
10 進步搬攔捶 合手學 白鶴亮翅二 進步搬攔捶
ADVANCE, PARRY, BLOCK, PUNCH / CLOSING HANDS / WHITE CRANE SHOWS ITS WINGS – Part 2 / ADVANCE, PARRY, BLOCK, PUNCH
11 如封似閉 摟膝抝步學 摟膝抝步(左) 如封似閉
SEALING SHUT / BRUSH KNEE IN A CROSSED STANCE / BRUSH KNEE IN A CROSSED STANCE – Left / SEALING SHUT
12 十字手 手揮琵琶式學 摟膝抝步(右) 十字手
CROSSED HANDS / PLAY THE LUTE / BRUSH KNEE IN A CROSSED STANCE – Right / CROSSED HANDS
13 抱虎歸山 進步搬攔捶學 手揮琵琶 抱虎歸山
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN / ADVANCE, PARRY, BLOCK, PUNCH / PLAY THE LUTE / CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
14 肘底看捶 如封似閉學 進步或卸步搬攔捶一 斜步攬雀尾
GUARDING PUNCH UNDER ELBOW / SEALING SHUT / ADVANCE (OR WITHDRAW), PARRY, BLOCK, PUNCH – Part 1 / DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
15 左右倒攆猴 抱虎推山學 進步或卸步搬攔捶二 肘底看捶
LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY / CAPTURE THE TIGER AND PUSH IT BACK TO ITS MOUNTAIN / ADVANCE (OR WITHDRAW), PARRY, BLOCK, PUNCH – Part 2 / GUARDING PUNCH UNDER ELBOW
16 斜飛式 開手學 如封似閉 左右倒攆猴
DIAGONAL FLYING POSTURE / OPENING HANDS / SEALING SHUT / LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
17 提手 合手學 抱虎歸山 斜飛式
RAISE THE HANDS / CLOSING HANDS / CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN / DIAGONAL FLYING POSTURE
18 白鶴亮翅 摟膝抝步學 摟膝抝步 提手
WHITE CRANE SHOWS ITS WINGS / BRUSH KNEE IN A CROSSED STANCE / BRUSH KNEE IN A CROSSED STANCE / RAISE THE HANDS
19 摟膝抝步 手揮琵琶式學 攬雀尾 白鶴亮翅
BRUSH KNEE IN A CROSSED STANCE / PLAY THE LUTE / CATCH THE SPARROW BY THE TAIL / WHITE CRANE SHOWS ITS WINGS
20 海底針 懶扎衣學 斜單鞭 摟膝抝步
NEEDLE UNDER THE SEA / TUCK IN THE ROBE / DIAGONAL SINGLE WHIP / BRUSH KNEE IN A CROSSED STANCE
21 肩通臂 開手學 肘底看捶 海底針
SHOULDER THROUGH THE ARM / OPENING HANDS / GUARDING PUNCH UNDER ELBOW / NEEDLE UNDER THE SEA
22 撇身捶 合手學 倒攆猴一 肩通臂
TORSO-FLUNG PUNCH / CLOSING HANDS / RETREAT, DRIVING AWAY THE MONKEY – Part 1 / SHOULDER THROUGH THE ARM
23 上步搬攔 單鞭學 倒攆猴二 撇身捶
STEP FORWARD, PARRY, BLOCK, PUNCH / SINGLE WHIP / RETREAT, DRIVING AWAY THE MONKEY – Part 2 / TORSO-FLUNG PUNCH
24 攬雀尾 肘下看捶學 斜飛勢 上步搬攔捶
CATCH THE SPARROW BY THE TAIL / GUARDING PUNCH UNDER ELBOW / DIAGONAL FLYING POSTURE / STEP FORWARD, PARRY, BLOCK, PUNCH
25 單鞭 倒攆猴左式學 提手上勢 攬雀尾
SINGLE WHIP / TURN AROUND, DRIVE AWAY THE MONKEY (LEFT) / RAISE THE HANDS / CATCH THE SPARROW BY THE TAIL
26 左右抎手 倒攆猴右式學 白鶴亮翅 單鞭
LEFT & RIGHT CLOUDING HANDS / TURN AROUND, DRIVE AWAY THE MONKEY (RIGHT) / WHITE CRANE SHOWS ITS WINGS / SINGLE WHIP
27 單鞭 手揮琵琶式學 摟膝抝步 左右抎手
SINGLE WHIP / PLAY THE LUTE / BRUSH KNEE IN A CROSSED STANCE / LEFT & RIGHT CLOUDING HANDS
28 高探馬 白鶴亮翅 海底針 單鞭
RISING UP AND REACHING OUT TO THE HORSE / WHITE CRANE SHOWS ITS WINGS / NEEDLE UNDER THE SEA / SINGLE WHIP
29 左右分脚 開手學 扇通背 高探馬
KICKING TO THE LEFT & RIGHT / OPENING HANDS / FAN THROUGH THE BACK / RISING UP AND REACHING OUT TO THE HORSE
30 轉身蹬脚 合手學 撇身捶 左右分脚
TURN AROUND, PRESSING KICK / CLOSING HANDS / TORSO-FLUNG PUNCH / KICKING TO THE LEFT & RIGHT
31 左右摟膝抝步 摟膝抝步學 卸步搬欄捶 轉身蹬脚
LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE / BRUSH KNEE IN A CROSSED STANCE / WITHDRAWING STEP, PARRY, BLOCK, PUNCH / TURN AROUND, PRESSING KICK
32 進步栽捶 手揮琵琶式學 上勢攬雀尾 左右摟膝抝步
ADVANCE, PLANTING PUNCH / PLAY THE LUTE / STEP FORWARD, CATCH THE SPARROW BY THE TAIL / LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
33 翻身白蛇吐信 三通背學 單鞭 進步栽捶
TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE / THREE THROUGH THE BACK / SINGLE WHIP / ADVANCE, PLANTING PUNCH
34 上步搬攔捶 開手學 抎手一 翻身白蛇吐信
STEP FORWARD, PARRY, BLOCK, PUNCH / OPENING HANDS / CLOUDING HANDS – Part 1 / TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE
35 蹬脚 合手學 抎手二 上步搬攔捶
PRESSING KICK / CLOSING HANDS / CLOUDING HANDS – Part 2 / STEP FORWARD, PARRY, BLOCK, PUNCH
36 左右披身伏虎式 單鞭學 高探馬(左) 蹬脚
LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER / SINGLE WHIP / RISING UP AND REACHING OUT TO THE HORSE – Left / PRESSING KICK
37 囘身蹬脚 抎手學 分脚(右) 左右披身伏虎式
TURN BACK, PRESSING KICK / CLOUDING HANDS / KICK TO THE SIDE – Right / LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER
38 雙風貫耳 高探馬學 高探馬(右) 囘身蹬脚
DOUBLE WINDS THROUGH THE EARS / RISING UP AND REACHING OUT TO THE HORSE / RISING UP AND REACHING OUT TO THE HORSE – Right / TURN BACK, PRESSING KICK
39 左蹬脚 右起脚學 分脚(左) 雙風貫耳
LEFT PRESSING KICK / RIGHT LIFTING KICK / KICK TO THE SIDE – Left / DOUBLE WINDS THROUGH THE EARS
40 轉身蹬脚 左起脚學 轉身蹬脚一 左蹬脚
TURN AROUND, PRESSING KICK / LEFT LIFTING KICK / TURN AROUND, PRESSING KICK – Part 1 / LEFT PRESSING KICK
41 上步搬攔捶 轉身踢脚學 轉身蹬脚二 轉身蹬脚
STEP FORWARD, PARRY, BLOCK, PUNCH / TURN AROUND, KICK / TURN AROUND, PRESSING KICK – Part 2 / TURN AROUND, PRESSING KICK
42 如封似閉 踐步打捶學 進步栽捶 上步搬攔捶
SEALING SHUT / STEP SUCCESSIVELY, PUNCH / ADVANCE, PLANTING PUNCH / STEP FORWARD, PARRY, BLOCK, PUNCH
43 十字手 翻身二起學 翻身撇身捶 如封似閉
CROSSED HANDS / TURN AROUND, DOUBLE KICK / TURN AROUND, TORSO-FLUNG PUNCH / SEALING SHUT
44 抱虎歸山 披身伏虎式學 翻身二起脚一 十字手
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN / DRAPING THE BODY, CROUCHING TIGER POSTURE / TURN AROUND, DOUBLE KICK – Part 1 / CROSSED HANDS
45 斜單鞭 左踢脚學 翻身二起脚二 抱虎歸山
DIAGONAL SINGLE WHIP / LEFT KICK / TURN AROUND, DOUBLE KICK – Part 2 / CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
46 左右野馬分鬃 右蹬脚學 雙峰貫耳一 斜步攬雀尾
LEFT & RIGHT WILD HORSE VEERS ITS MANE / RIGHT PRESSING KICK / DOUBLE PEAKS THROUGH THE EARS – Part 1 / DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
47 上步攬雀尾 上步搬攔捶學 雙峰貫耳二 斜單鞭
STEP FORWARD, CATCH THE SPARROW BY THE TAIL / STEP FORWARD, PARRY, BLOCK, PUNCH / DOUBLE PEAKS THROUGH THE EARS – Part 2 / DIAGONAL SINGLE WHIP
48 單鞭 如封似閉學 披身踢脚 左右野馬分鬃
SINGLE WHIP / SEALING SHUT / DRAPING THE BODY, KICK / LEFT & RIGHT WILD HORSE VEERS ITS MANE
49 玉女穿梭 抱虎推山學 轉身蹬脚 上步攬雀尾
MAIDEN WORKS THE SHUTTLE / CAPTURE THE TIGER AND PUSH IT BACK TO ITS MOUNTAIN / TURN AROUND, PRESSING KICK / STEP FORWARD, CATCH THE SPARROW BY THE TAIL
50 上步攬雀尾 右轉開手學 上步搬欄捶 單鞭
STEP FORWARD, CATCH THE SPARROW BY THE TAIL / OPENING HANDS (TURNING TO THE RIGHT) / STEP FORWARD, PARRY, BLOCK, PUNCH / SINGLE WHIP
51 單鞭 合手學 如封似閉 玉女穿梭
SINGLE WHIP / CLOSING HANDS / SEALING SHUT / MAIDEN WORKS THE SHUTTLE
52 抎手 摟膝抝步學 抱虎歸山 上步攬雀尾
CLOUDING HANDS / BRUSH KNEE IN A CROSSED STANCE / CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN / STEP FORWARD, CATCH THE SPARROW BY THE TAIL
53 單鞭下勢 手揮琵琶學 摟膝抝步 單鞭
SINGLE WHIP, LOW POSTURE / PLAY THE LUTE / BRUSH KNEE IN A CROSSED STANCE / SINGLE WHIP
54 金雞獨立 懶扎衣學 攬雀尾 抎手
GOLDEN ROOSTER STANDS ON ONE LEG / TUCK IN THE ROBE / CATCH THE SPARROW BY THE TAIL / CLOUDING HANDS
55 倒攆猴 開手學 斜單鞭 單鞭下勢
RETREAT, DRIVING AWAY THE MONKEY / OPENING HANDS / DIAGONAL SINGLE WHIP / SINGLE WHIP, LOW POSTURE
56 斜飛勢 合手學 野馬分鬃(左一) 金雞獨立
DIAGONAL FLYING POSTURE / CLOSING HANDS / WILD HORSE VEERS ITS MANE TO THE LEFT – Part 1 / GOLDEN ROOSTER STANDS ON ONE LEG
57 提手 斜單鞭學 野馬分鬃(左二) 倒攆猴
RAISE THE HANDS / DIAGONAL SINGLE WHIP / WILD HORSE VEERS ITS MANE TO THE LEFT – Part 2 / RETREAT, DRIVING AWAY THE MONKEY
58 白鶴亮翅 野馬分鬃學 野馬分鬃(右一) 斜飛勢
WHITE CRANE SHOWS ITS WINGS / WILD HORSE VEERS ITS MANE / WILD HORSE VEERS ITS MANE TO THE RIGHT – Part 1 / DIAGONAL FLYING POSTURE
59 摟膝抝步 開手學 野馬分鬃(右二) 提手
BRUSH KNEE IN A CROSSED STANCE / OPENING HANDS / WILD HORSE VEERS ITS MANE TO THE RIGHT – Part 2 / RAISE THE HANDS
60 海底針 合手學 玉女穿梭(左) 白鶴亮翅
NEEDLE UNDER THE SEA / CLOSING HANDS / MAIDEN WORKS THE SHUTTLE – Left / WHITE CRANE SHOWS ITS WINGS
61 肩通臂 單鞭學 玉女穿梭(右) 摟膝抝步
SHOULDER THROUGH THE ARM / SINGLE WHIP / MAIDEN WORKS THE SHUTTLE – Right / BRUSH KNEE IN A CROSSED STANCE
62 撇身捶 右通背掌學 單鞭 海底針
TORSO-FLUNG PUNCH / RIGHT THROUGH-THE-BACK PALM / SINGLE WHIP / NEEDLE UNDER THE SEA
63 上步搬攔捶 玉女穿梭學 抎手 肩通臂
STEP FORWARD, PARRY, BLOCK, PUNCH / MAIDEN WORKS THE SHUTTLE / CLOUDING HANDS / SHOULDER THROUGH THE ARM
64 進步攬雀尾單鞭 手揮琵琶學 下勢 上步搬攔捶
ADVANCE, CATCH THE SPARROW BY THE TAIL & SINGLE WHIP / PLAY THE LUTE / LOW POSTURE / STEP FORWARD, PARRY, BLOCK, PUNCH
65 抎手 懶扎衣學 金雞獨立 進步攬雀尾
CLOUDING HANDS / TUCK IN THE ROBE / GOLDEN ROOSTER STANDS ON ONE LEG / ADVANCE, CATCH THE SPARROW BY THE TAIL
66 單鞭 開手學 倒攆猴 單鞭
SINGLE WHIP / OPENING HANDS / RETREAT, DRIVING AWAY THE MONKEY / SINGLE WHIP
67 高探馬 合手學 斜飛勢 抎手
RISING UP AND REACHING OUT TO THE HORSE / CLOSING HANDS / DIAGONAL FLYING POSTURE / CLOUDING HANDS
68 十字腿 單鞭學 提手上勢 單鞭
CROSS-SHAPED KICK / SINGLE WHIP / RAISE THE HANDS / SINGLE WHIP
69 摟膝指襠捶 抎手學 白鶴亮翅 高探馬
BRUSH KNEE, PUNCH TO THE CROTCH / CLOUDING HANDS / WHITE CRANE SHOWS ITS WINGS / RISING UP AND REACHING OUT TO THE HORSE
70 上勢攬雀尾 抎手下勢學 摟膝抝步 十字腿
STEP FORWARD, CATCH THE SPARROW BY THE TAIL / LOWERING FROM CLOUDING HANDS / BRUSH KNEE IN A CROSSED STANCE / CROSS-SHAPED KICK
71 單鞭下勢 更雞獨立學 海底針 摟膝指襠捶
SINGLE WHIP, LOW POSTURE / ROOSTER STANDS ON ONE LEG / NEEDLE UNDER THE SEA / BRUSH KNEE, PUNCH TO THE CROTCH
72 上步七星 倒攆猴學 肩通背 上步攬雀尾
STEP FORWARD WITH THE BIG DIPPER / TURN AROUND, DRIVE AWAY THE MONKEY / SHOULDER THROUGH THE BACK / STEP FORWARD, CATCH THE SPARROW BY THE TAIL
73 退步跨虎 手揮琵琶式學 進步搬攔捶 單鞭下勢
RETREAT TO SITTING TIGER POSTURE / PLAY THE LUTE / ADVANCE, PARRY, BLOCK, PUNCH / SINGLE WHIP, LOW POSTURE
74 轉脚擺蓮 白鶴亮翅學 上勢攬雀尾 上步七星
SPIN, SWINGING LOTUS KICK / WHITE CRANE SHOWS ITS WINGS / STEP FORWARD, CATCH THE SPARROW BY THE TAIL / STEP FORWARD WITH THE BIG DIPPER
75 彎弓射虎 開手學 單鞭 退步跨虎
BEND THE BOW, SHOOT THE TIGER / OPENING HANDS / SINGLE WHIP / RETREAT TO SITTING TIGER POSTURE
76 上步搬攔捶 合手學 抎手 轉脚擺蓮
STEP FORWARD, PARRY, BLOCK, PUNCH / CLOSING HANDS / CLOUDING HANDS / SPIN, SWINGING LOTUS KICK
77 如封似閉 摟膝抝步學 高探馬 彎弓射虎
SEALING SHUT / BRUSH KNEE IN A CROSSED STANCE / RISING UP AND REACHING OUT TO THE HORSE / BEND THE BOW, SHOOT THE TIGER
78 十字手 手揮琵琶式學 迎面掌 上步搬攔捶
CROSSED HANDS / PLAY THE LUTE / PALM STRIKE TO THE FACE / STEP FORWARD, PARRY, BLOCK, PUNCH
79 合太極 三通背學 十字擺蓮 如封似閉
CLOSING POSTURE / THREE THROUGH THE BACK / CROSSED-BODY SWINGING LOTUS KICK / SEALING SHUT
80 - 開手學 摟膝指襠捶 十字手
– / OPENING HANDS / BRUSH KNEE, PUNCH TO CROTCH / CROSSED HANDS
81 - 合手學 上勢攬雀尾 合太極
– / CLOSING HANDS / STEP FORWARD, CATCH THE SPARROW BY THE TAIL / CLOSING POSTURE
82 - 單鞭學 單鞭 -
– / SINGLE WHIP / SINGLE WHIP / –
83 - 抎手學 下勢 -
– / CLOUDING HANDS / LOW POSTURE / –
84 - 高探馬學 上步七星 -
– / RISING UP AND REACHING OUT TO THE HORSE / STEP FORWARD WITH THE BIG DIPPER / –
85 - 十字擺蓮學 退步跨虎 -
– / CROSSED-BODY SWINGING LOTUS KICK / RETREAT TO SITTING TIGER POSTURE / –
86 - 進步指襠拳學 轉退擺蓮 -
– / ADVANCE, PUNCH TO THE CROTCH / SPINNING RETREAT, SWINGING LOTUS KICK / –
87 - 退步懶扎衣學 彎弓射虎 -
– / RETREAT, TUCK IN THE ROBE / BEND THE BOW, SHOOT THE TIGER / –
88 - 開手學 上步探馬 -
– / OPENING HANDS / STEP FORWARD, REACHING OUT TO THE HORSE / –
89 - 合手學 迎面掌 -
– / CLOSING HANDS / PALM STRIKE TO THE FACE / –
90 - 單鞭學 翻身撇身捶 -
– / SINGLE WHIP / TURN AROUND, TORSO-FLUNG PUNCH / –
91 - 單鞭下勢學 上步高探馬 -
– / LOWERING FROM SINGLE WHIP / STEP FORWARD, RISING UP AND REACHING OUT TO THE HORSE / –
92 - 上步七星學 上步攬雀尾 -
– / STEP FORWARD WITH THE BIG DIPPER / STEP FORWARD, CATCH THE SPARROW BY THE TAIL / –
93 - 下步跨虎學 合太極 -
– / STEP BACK TO RIDE THE TIGER / CLOSING POSTURE / –
94 - 轉角擺蓮學 - -
– / TURN-TO-THE-CORNER SWINGING LOTUS KICK / – / –
95 - 彎弓射虎學 - -
– / BEND THE BOW, SHOOT THE TIGER / – / –
96 - 雙撞捶學 - -
– / DOUBLE RUSHING PUNCHES / – / –
97 - 陰陽混一學 - -
– / PASSIVE & ACTIVE MERGE INTO ONE / – / –
98 - 無極還原學 - -
– / RETURNING TO A STATE OF NONPOLARITY / – / –

第四節 太極拳式數名稱之研究
Section Four: A Study of the Names & Enumeration of the Postures in the Taiji Boxing Solo Set

太極拳者。為武術之一派別也。世說傳自宋人張三峯祖師。歷經元、明、淸、三代。數百年於茲。輾轉師傳。晚近國術重光。學太極者為一時之盛行。尤以文人學士研究是拳。著述日多。鄙人不敏。曾從楊師澄甫學習數年。購置孫先生祿堂著太極拳學。並置坊間所售太極拳圖說。以及陳微明先生著太極拳。朝夕揣摩。心領神會。孫先生編式數有九十八式。而名稱大體相符。為無極學、太極學、開手學、合手學、三通背學、踐步打捶學、翻身二起學、右通背掌學、雙撞捶學、陰陽混一學、無極還原學。與上述二家異。圖說有九十三式。則比孫著少五式。實與陳著同。惟多迎面掌、十字擺蓮二式。其餘多於陳著者。均係分析式之故耳。以鄙人研究所得。似以陳著為太極拳正宗。疑者曰。子何根據而云然。曰。按拳以太極名者。當然以太極八卦之說為本。式數不是八卦六十四爻。便是道家九九之眞數。如是合乎張祖師發明太極拳之身分矣。疑者又曰。陳著祇有七十九式。子言八十一式。又有何理說。曰。陳著中實有八十一式。而第一次抱虎歸山後。應有攬雀尾一式。再接肘底看捶。證之褚著。亦有攬雀尾一式。第二次抱虎歸山亦然。加一攬雀尾。方可接斜單鞭。而陳著係根據楊先生澄甫。演式時均有此二攬雀尾。曾練習楊派太極者。亦可證明。非鄙人杜撰也。疑者又曰。子推崇陳著為太極正宗。我又有一問題。請子解答。以釋吾疑乎。後半段海底針、肩通臂下有撇身捶。何以圖說無之。又上步攬雀尾、單鞭二式連在一起。何以圖說分為二式。其故安在。曰。一言以蔽之。演太極拳主要點。係綿綿不斷。一氣呵成。無分合之別。若著之以文章。似有規定之必要。至於撇身捶有無。據鄙人研究所得。似乎單鞭一式。為一路轉折起承之式。理宜分開。撇身捶之動作與法式。與搬攔捶前半段略同。且合於搬攔捶之中一分一合。仍成八十一式。適與張祖師丹成九轉之眞意相合符節。楊派太極仍不失正宗之地位。質諸高明。以為然否。
Taiji Boxing is a style of martial arts. Its transmission is attributed to Zhang Sanfeng of the Song Dynasty. It was passed down through many hands over the centuries covering the three dynasties of Yuan, Ming, and Qing, up to now. In recent years, martial arts have been put strongly in the spotlight, and learning Taiji is now so in vogue that scholars are studying the boxing art and writing about more and more with each day. I am not very bright, but I did learn Taiji Boxing from Yang Chengfu for several years. I also purchased Sun Lutang’s A Study of Taiji Boxing [1921], along with Chu Minyi’s Taiji Boxing Photographed [1929] and Chen Weiming’s The Art of Taiji Boxing [1925], and I pondered upon their contents constantly until I deeply understood.
     Sun’s set amounts to ninety-eight postures. The names of the postures mostly concur with the other two books, but there are some names which differ, such as: NONPOLARITY, GRAND POLARITY, OPENING HANDS, CLOSING HANDS, THREE THROUGH THE BACK, as well as STEP SUCCESSIVELY, PUNCH, then TURN AROUND, DOUBLE KICK, and RIGHT THROUGH-THE-BACK PALM, DOUBLE RUSHING PUNCHES, PASSIVE & ACTIVE MERGE INTO ONE, RETURNING TO A STATE OF NONPOLARITY.
     Chu’s set has ninety-three postures, five less of a count than Sun’s, but the names are actually the same as Chen’s, except for PALM STRIKE TO THE FACE, CROSSED-BODY SWINGING LOTUS KICK. The rest that outnumber Chen’s are all postures that have been subdivided into further postures.
     Going by my own experience, it seems to me that Chen’s set is the most authentic version. Doubters might say: “Based on what grounds can you claim that?”
     Since the art uses Taiji as its name, it of course takes the concepts of the grand polarity and eight trigrams as its foundation, but the count of the postures does not add up to the sixty-four hexagrams that come from the eight trigrams [eight by eight], instead the “true count” of the Daoists: nine by nine [making eighty-one]. In this way, it fits with its status as an invention of Zhang Sanfeng.
     Doubters might also say: “Chen’s list of movements counts up to only seventy-nine postures, but you say there are eighty-one. What is your reasoning for this?”
     In Chen Weiming’s book there are actually eighty-one postures, because after the first [and second] CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, there should be a CATCH THE SPARROW BY THE TAIL, which [in the case of the first] then connects into GUARDING PUNCH UNDER ELBOW.
     This is demonstrated in Chu’s set, in which the second [as well as the first] CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN adds a CATCH THE SPARROW BY THE TAIL, which is then able to connect into DIAGONAL SINGLE WHIP. Chen’s set is according to Yang Chengfu’s. When performing this set, it should always have both of those instances of CATCH THE SPARROW BY THE TAIL. Practitioners of Yang Style Taiji can also testify to this, so I am not just making it up.
     Doubters then might also say: “You praise Chen’s set as being the most authentic Taiji. I have another question. Please explain and dispel my doubts. After the second NEEDLE UNDER THE SEA, SHOULDER THROUGH THE ARM is again followed by TORSO-FLUNG PUNCH. Why is it that in Chu’s set, that does not happen? Also, there is a STEP FORWARD, CATCH THE SPARROW BY THE TAIL & SINGLE WHIP, the two postures linked together as one. What is the reason that in the same spot in Chu’s set they are divided into two?”
     To sum it all up simply, the major principle in the Taiji Boxing solo set is that there be a continuous flow throughout, and so there is no distinguishing of the postures as being separate or joined up with each other. In the writings of the experts, this seems to be the essential rule.
     As for whether or not there is the second TORSO-FLUNG PUNCH, there is according to what I learned, and the SINGLE WHIP seems to me to be its own posture. But during the performing and transitioning of the postures throughout the set, such reasoning ought to be set aside, for the movement and method of the TORSO-FLUNG PUNCH is almost the same as in the PARRY, BLOCK, PUNCH that follows it. So whether it is considered a separate movement or part of the PARRY, BLOCK, PUNCH, there are still eighty-one postures.
     As the set conforms to the true meaning of Zhang Sanfeng’s idea of the elixir being built up through going to the “ninth repetition” [i.e. countless repetitions, implicitly involving nine repetitions of nine repetitions – nine by nine], Yang Style Taiji surely remains in the position of being the most authentic, though I will leave it up to wiser people as to whether this is true or not.

第二章 太極拳各個練習法
CHAPTER TWO: THE VARIOUS TECHNIQUES PRACTICED IN TAIJI BOXING

第一節 方位圖說
Section One: Orientation Diagram

凡練習拳術者。但須識別方位。然後行拳不致遺誤。此方位圖之所由作也。
Generally in practicing a boxing set, you need only distinguish your orientation to keep yourself from going the wrong way during practice. Thus I have supplied a compass [which would be more useful throughout the explanations of the movements if it was upside down]:

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N


W 西 –|– 東  E
|

S

說明
Explanation for the diagram:
此路拳術。為綿綿不斷一氣呵成之拳術。但是這套太極拳是十分宂長。並且其手法與架式頗多重複。要依陳法練習。學者畏其宂長而繁複。大有不敢問津之勢。今別創一格。一不違古人定法。二不違科學原則。三迎合一般學者心理。作各個練習。首先規定方位。以明行拳之趨向所定。及立正之姿勢。注意各要件。列之如左。幷附圖。
This boxing art is made of continuous uninterrupted flow. However, this version of the Taiji Boxing set is very lengthy, and its hand techniques and postures are often repeated. It accords with Chen Weiming’s version. Students who fear that it is too long and complicated are generally just too shy to ask questions. But here is a simple standard to work from when teaching it:
     1. Do not violate the rules set down by earlier generations.
     2. Also do not violate scientific principles.
     3. Pay attention to the mentality of ordinary students.
     When practicing the various techniques, the first thing to do is get properly positioned in order to clarify your practice with a stable starting point. Furthermore, in the posture of standing at attention, pay attention to each of the essentials included with the photo below [photo 1]:

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(一)面南背北。
1. Face the south, your back to the north.
(二)正身直立。
2. Straighten your body and stand erect.
(三)兩手垂直而微屈。成自然之姿態。
3. Your arms hang straight down, but slightly bent, in a natural manner.
(四)兩脚跟在一線上靠攏。而脚尖距離約六十度。
4. Your heels stand next to each other on a straight line, but the toes of your feet are about sixty degrees apart.
(五)頭上頂。項直豎。沉肩含胸。提肛倂腿。
5. Your head presses up, your neck straightening. Sink your shoulders and contain your chest. Tuck in your tailbone and stand with your legs together.
(六)目凝神正視。舌舐住上牙床。呼吸以鼻孔行之。以防塵埃吸入。
6. Your gaze concentrates spirit straight ahead. Your tongue touches your palate just behind your upper teeth. Breathe through your nose in order to keep yourself from inhaling dust.

第二節 各段步位路線分圖
Section Two: On the Footwork Charts for Each Segment

凡練拳術者。知手眼身法步為練拳術入門之途徑。猶於軍事上步騎、炮、工、輜五種兵性。能各專其事。相輔而行。五者缺一不可。而拳術之五種性能。不但缺一不可。一舉手一投足不可須臾離也。若拳之攻擊。身之閃轉。步隨身進。在在均以步為準則。所以每一套拳術。關於步之位置及方向之規定。關係非常重要。若不嚴繩規劃。則進退攻守之法。失所依據。於是作者除研究「式數」及「術名」「用法說明」「動式圖解」與「術解」之外。復研究分段路線圖。使行拳之方向。及步位之遠近。距離之大小。有一定之步度。茲將全套太極拳。按其自然轉折囘身之處。分為十二段。每段各為一路線圖。每一段路線圖有若干式數。編為號數。每一號數卽代表其式與名。在圖上亦均詳為說明。俾研究斯學。知拳之由中央線起首。先五段由中央線而東。(卽由起點往左返至中央往復五次)後七段由中央線而西。(卽由起點往右返至中央往復七次)次第分明。一目瞭然。若集成一總圖。則步套步。往返重複太繁。不易明瞭。在步位圖中。左右脚及式數。一一註明。一式中有數動式。則標明仍稱某號之同號。並以虛線分明矢頭指示來去。使閱者按圖索驥。不致望洋興歎。此圖比例為十分之一。按之常人有高矮。則脚亦有長短。若人之高矮不同。步之大小亦異。而比例則同。卽自與自為比例。下分段路線圖十二幅。又分段方位式名式數動數統計表一幅。尚祈方家指正。幸甚。
For any who practice boxing arts, an understanding of how to use hand, eye, body, technique, and stepping is the basic course of training. This is similar to the five kinds of abilities in the military – infantry, cavalry, artillery, engineering, resupply – each having a specific function, but all functioning together. If any of these five parts are lacking, there can be no success. As for the five abilities in boxing arts, not only will there not be success if one part is lacking, but in every movement and step they cannot be departed from for even a moment.
     For your hands to attack, your body to evade, or your steps to suit your advancings, always use the stepping as the standard. This is why every boxing set pays attention to how the feet are positioned and how directions are faced. These things are extremely important, for if you are not strict about the way the movements are mapped out, then the methods of advance and retreat, attack and defend, would lose their basis. Therefore beyond providing the numbering and names of the postures, function explanations, movement descriptions, and added remarks on the techniques, I have also added segment-by-segment footwork diagrams so that the direction of a technique, the distance of a step, and the size of a stance will have a regulated measure.
     I present the complete Taiji Boxing solo set according to its natural transition points, divided into twelve segments, each segment being a line of the set, each line having a certain amount of movements, which are each numbered, each numbering representing a posture and its name, shown on the charts in order for you to be able study from them.
     Notice that set starts from a center line. The first five segments move east from the center (moving to the left from the starting point) and the latter seven segments move west from the center (moving to the left from the starting point).
     The segments are presented one at a time in order to be clear at a glance. If the entire set was shown on a single chart, then the back and forth of the steps would make it too complicated to understand.
     The footwork charts show both the left and right feet, and the number of each posture [which is unfortunately mostly invisible]. As one posture may contain several movements, the same number may appear several times. Arrows at the ends of dotted lines show the next movement so that you can follow the stepping process rather than become frustrated in trying to figure it out.
     These charts are around ten percent to scale of an ordinary person’s height and length of step. Though a person’s height or the size of one’s step may be different, they are of a similar proportion, so you may use your own body as a gauge.
     In addition to the twelve footwork charts, below there is also a listing of the orientations for all of the segments, and how many postures and movements occur in each of them. I hope experts will point out any mistakes, for which I would feel fortunate indeed.

太極拳分段路線與方位及式名曁動式統計表
LIST OF THE SEGMENTS WITH THEIR ORIENTATIONS, POSTURE NAMES, AND THE COUNT OF THEIR POSTURES & MOVEMENTS

段次 方位 式名 起止 式數 動數
Segment / orientation / posture names from beginning to end of the segment / posture and movement count

第一段 面南背北自中央線起點往東行拳 式數十二 動數三十八
Segment One: facing to the south, back to the west, traveling from the starting point on the center line to the east, twelve postures, thirty-eight movements

太極起式
1. BEGINNING POSTURE
攬雀尾
2. CATCH THE SPARROW BY THE TAIL
單鞭
3. SINGLE WHIP
提手
4. RAISE THE HANDS
白鶴亮翅
5. WHITE CRANE SHOWS ITS WINGS
摟膝抝步
6. BRUSH KNEE IN A CROSSED STANCE
手揮琵琶
7. PLAY THE LUTE
左右摟膝抝步
8. LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
手揮琵琶
9. PLAY THE LUTE
進步搬攔捶
10. ADVANCE, PARRY, BLOCK, PUNCH
如封似閉
11. SEALING SHUT
十字手
12. CROSSED HANDS

第二段 自東往中央線行拳 式數十三 動數三十八
Segment Two: traveling from the east to the center line, thirteen postures, thirty-eight movements

抱虎歸山
13. CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
斜步攬雀尾
14. DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
肘底看捶
15. GUARDING PUNCH UNDER ELBOW
左右倒攆猴
16. LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
斜飛式
17. DIAGONAL FLYING POSTURE
提手
18. RAISE THE HANDS
白鶴亮翅
19. WHITE CRANE SHOWS ITS WINGS
摟膝抝步
20. BRUSH KNEE IN A CROSSED STANCE
海底針
21. NEEDLE UNDER THE SEA
肩通臂
22. SHOULDER THROUGH THE ARM
撇身捶
23. TORSO-FLUNG PUNCH
上步搬攔捶
24. STEP FORWARD, PARRY, BLOCK, PUNCH
攬雀尾
25. CATCH THE SPARROW BY THE TAIL

第三段 自中央線往東行拳 式數三 動數十一
Segment Three: traveling from the center line to the east, three postures, eleven movements

單鞭
26. SINGLE WHIP
左右抎手
27. LEFT & RIGHT CLOUDING HANDS
單鞭
28. SINGLE WHIP

第四段 自東至西行拳 式數五 動數十一
Segment Four: traveling from the east to the west, five postures, eleven movements

高探馬
29. RISING UP AND REACHING OUT TO THE HORSE
左右分脚
30. KICKING TO THE LEFT & RIGHT
轉身蹬脚
31. TURN AROUND, PRESSING KICK
左右摟膝抝步
32. LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
進步栽捶
33. ADVANCE, PLANTING PUNCH

第五段 自西至中央行拳 式數十一 動數二十一
Segment Five: traveling from the west to the center line, eleven postures, twenty-one movements

白蛇吐信
34. TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE
上步搬攔捶
35. STEP FORWARD, PARRY, BLOCK, PUNCH
蹬脚
36. PRESSING KICK
左右披身伏虎
37. LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER
回身蹬脚
38. TURN BACK, PRESSING KICK
雙風貫耳
39. DOUBLE WINDS THROUGH THE EARS
左蹬脚
40. LEFT PRESSING KICK
轉身蹬脚
41. TURN AROUND, PRESSING KICK
上步搬攔捶
42. STEP FORWARD, PARRY, BLOCK, PUNCH
如封似閉
43. SEALING SHUT
十字手
44. CROSSED HANDS

第六段 自中央至西行拳 式數五 動數二十四
Segment Six: traveling from the center line to the west, five postures, twenty-four movements

抱虎歸山
45. CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
斜步攬雀尾
46. DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
斜單鞭
47. DIAGONAL SINGLE WHIP
左右野馬分鬃
48. LEFT & RIGHT WILD HORSE VEERS ITS MANE
攬雀尾
49. CATCH THE SPARROW BY THE TAIL

第七段 原地四隅行拳 式數三 動數十三
Segment Seven: staying in the same area and moving to the four corners, three postures, thirteen movements

單鞭
50. SINGLE WHIP
玉女穿梭
51. MAIDEN WORKS THE SHUTTLE
上步攬雀尾
52. STEP FORWARD, CATCH THE SPARROW BY THE TAIL

第八段 自西至中央線行拳 式數三 動數十五
Segment Eight: traveling from the west to the center line, three postures, fifteen movements

單鞭
53. SINGLE WHIP
左右抎手
54. LEFT & RIGHT CLOUDING HANDS
單鞭下勢
55. SINGLE WHIP, LOW POSTURE

第九段 自中央線至西行拳 式數十 動數二十六
Segment Nine: traveling from the center line to the west, ten postures, twenty-six movements

金雞獨立
56. GOLDEN ROOSTER STANDS ON ONE LEG
左右倒攆猴
57. LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
斜飛勢
58. DIAGONAL FLYING POSTURE
提手
59. RAISE THE HANDS
白鶴亮翅
60. WHITE CRANE SHOWS ITS WINGS
摟膝抝步
61. BRUSH KNEE IN A CROSSED STANCE
海底針
62. NEEDLE UNDER THE SEA
肩通臂
63. SHOULDER THROUGH THE ARM
上步搬攔捶
64. STEP FORWARD, PARRY, BLOCK, PUNCH
〔進步攬雀尾〕
[65. ADVANCE, CATCH THE SPARROW BY THE TAIL]

第十段 自西至中央線行拳 式數三 動數十一
Segment Ten: traveling from the west to the center, three postures, eleven movements

單鞭
66. SINGLE WHIP
左右抎手
67. LEFT & RIGHT CLOUDING HANDS
單鞭
68. SINGLE WHIP

第十一段 自中央線至西行拳 式數四 動數十
Segment Eleven: traveling from the center line to the west, four postures, ten movements

高探馬
69. RISING UP AND REACHING OUT TO THE HORSE
十字腿
70. CROSS-SHAPED KICK
摟膝指襠捶
71. BRUSH KNEE, PUNCH TO THE CROTCH
攬雀尾
72. CATCH THE SPARROW BY THE TAIL

第十二段 自西至中央線 式數九 動數十五
Segment Twelve: traveling from the west to the center line, nine postures, fifteen movements

單鞭下勢
73. SINGLE WHIP, LOW POSTURE
上步七星
74. STEP FORWARD WITH THE BIG DIPPER
退步跨虎
75. RETREAT TO SITTING TIGER POSTURE
轉脚擺蓮
76. SPIN, SWINGING LOTUS KICK
彎弓射虎
77. BEND THE BOW, SHOOT THE TIGER
上步搬攔捶
78. STEP FORWARD, PARRY, BLOCK, PUNCH
如封似閉
79. SEALING SHUT
十字手
80. CROSSED HANDS
合太極
81. CLOSING POSTURE

統計 共十二段
Overall count: twelve segments –
由東至中二次
traveling from the east to the center line happening twice,
由西至中三次
traveling from the west to the center line happening three times,
由中至東二次
traveling from the center line to the east happening twice,
由東至西一次
traveling from the east to the west happening once,
由中至西三次
traveling from the center line to the west happening three times,
原地一次
staying in one area happening once.
八十一式 二百三十三動
There are eighty-one postures, two hundred thirty-three movements.

重八式者。
There are two postures that happen eight times:
有攬雀尾、
CATCH THE SPARROW BY THE TAIL
單鞭二式。
SINGLE WHIP

重六式者。
There is one posture that happens six times:
有搬攔捶一式。
PARRY, BLOCK, PUNCH

重三式者。
There are six postures that happen three times:
有白鶴亮翅、
WHITE CRANE SHOWS ITS WINGS
提手、
RAISE THE HANDS
摟膝抝步、
BRUSH KNEE IN A CROSSED STANCE
如封似閉、
SEALING SHUT
十字手、
CROSSED HANDS
左右抎手六式。
LEFT & RIGHT CLOUDING HANDS

重二式者。
There are ten postures that happen twice:
有手揮琵琶、
PLAY THE LUTE
左右摟膝抝步、
LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
抱虎歸山、
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
左右倒攆猴、
LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
斜飛式、
DIAGONAL FLYING POSTURE
海底針、
NEEDLE UNDER THE SEA
肩通臂、
SHOULDER THROUGH THE ARM
高探馬、
RISING UP AND REACHING OUT TO THE HORSE
轉身蹬脚、
TURN AROUND, PRESSING KICK
單鞭下勢十式。
DIAGONAL WHIP, LOW POSTURE

不重式者。
There are twenty-one postures that do not get repeated:
有太極起式、
BEGINNING POSTURE
肘底看捶、
GUARDING PUNCH UNDER ELBOW
左右分脚、
KICK TO THE LEFT & RIGHT
進步栽捶、
ADVANCE, PLANTING PUNCH
白蛇吐信、
WHITE SNAKE FLICKS ITS TONGUE
蹬脚、
PRESSING KICK
左右披身伏虎、
LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER
囘身蹬脚、
TURN BACK, PRESSING KICK
雙風貫耳、
DOUBLE WINDS THROUGH THE EARS
左蹬脚、
LEFT PRESSING KICK
野馬分鬃、
WILD HORSE VEERS ITS MANE
玉女穿梭、
MAIDEN WORKS THE SHUTTLE
金雞獨立、
GOLDEN ROOSTER STANDS ON ONE LEG
十字腿、
CROSS-SHAPED KICK
摟膝指襠捶、
BRUSH KNEE, PUNCH TO THE CROTCH
上步七星、
STEP FORWARD WITH THE BIG DIPPER
退步跨虎、
RETREAT TO SITTING TIGER POSTURE
轉脚擺蓮、
SPIN, SWINGING LOTUS KICK
彎弓射虎、
BEND THE BOW, SHOOT THE TIGER
合太極、
CLOSING POSTURE
撇身捶二十一式。
TORSO-FLUNG PUNCH.

全套不同式者、單式計共四十式。
In the entire set, there is a total of forty different postures.

第三節 各個練習法
Section Three: Practicing the Various Techniques

為便於學者研究起見。去其重複之架式。作單行架式之練習。如拳中之攬雀尾。前後八見。今作各個單練。以免重複之弊。俾學者專一精練。俟嫻熟後。連輯成套。易如反掌。上項宂長繁複之弊則泯矣。又如習文者。先正音識字。造句成文而成篇。習武者亦然。文事與武備。其理一也。
To facilitate easier learning, ignore the repetitions in the set and practice the individual postures, such as CATCH THE SPARROW BY THE TAIL, toward different directions around you. Practicing the individual postures rather than merely doing the repetitions that occur throughout the set will give a more focused and refined training. Once you are skillful at the individual postures, link them together into the complete set, and thereby the set will be very easy instead of seeming dauntingly long and complicated.
     This is similar to the process of becoming literate. Start with learning correct pronunciation and identifying written words, then move on to sentence building and compositional writing. It is the same in learning a martial art, and thus the process of literacy and the training of martial arts follow the same principle.

第一段 式數十二 動數三十八
SEGMENT ONE – twelve postures / thirty-eight movements

第一式
Posture 1
術名
Name of the technique:
太極起式
BEGINNING POSTURE
用法
Function:
此式為預備之姿勢。用以注於全身。以備接演下式。為太極拳之開門式也。
This is a posture of preparation, for focusing the whole body in readiness for the postures that follow. It is the opening posture of the Taiji boxing set.
說明
Description of the movement:
由立正式。左脚向東出半步。兩脚距離。等於自身兩肩之闊度。而直立全身。成自然之態度。兩肩鬆勁。兩手心內向。而兩手掌有使勁之意。眼正視。兩脚正向南成平行線。如第二圖。
From a posture of standing at attention, your left foot goes out a half step to the east, the distance between your feet about shoulder width. Standing straight, your whole body has a natural bearing. Your shoulders have an energy of loosening. Your palms are facing inward and have an energy of exuding power. Your gaze is straight ahead. Your feet are standing parallel, pointing to the south. See photo 2:

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術解
Remarks on the technique:
此種拳術。為一氣渾淪。空空洞洞。無思無慮。以心意為主旨。不作半點勉强態度。學者須在此中求理解。則深得自然式之太極拳三昧矣。
This type of boxing art is a matter of having a singleness of energy everywhere and of being in a state of emptiness, without thoughts or ideas. Its substance lies in using intention, and so you are not to have the slightest attitude of forcing things to happen. You must seek understanding through these principles, and thereby you will comprehend naturalness, the secret to Taiji Boxing.

第二式
Posture 2
術名
Name of the technique:
攬雀尾
CATCH THE SPARROW BY THE TAIL
(此式分為十二動)
(This posture is divided into twelve [eleven] movements.)
用法
Function:
平提、下按、掤起、掤止、攄起、攄止、推擠、平按、右攬、左攬諸法、
This trains the technique sections of lifting until level, pushing down, ward-off beginning, ward-off finishing, rollback beginning, rollback finishing, press out, level push, catching to the right, and catching to the left.
說明
Description of movement 1:
攬雀尾第一動式。由太極起式。兩足原地不動。仍開脚立正。兩手轉臂。緩緩由前向上平舉。兩臂舉與肩齊。兩手距離亦與肩同度。兩手背朝上。手腕下彎。掌與指下垂。鬆肩墜肘。項豎頭頂。全身放鬆。不用絲毫拙氣拙力。以心意行之。眼正視南。如第三圖。
Continuing from BEGINNING POSTURE, your feet do not move from their location, remaining spread apart in a posture of standing at attention, as your arms arc slowly forward and upward until raised up to shoulder level, your hands shoulder-width apart, the backs of the hands facing upward, wrists bending downward, palms and fingers hanging. Loosen your shoulders and drop your elbows. Straighten your neck and press up your headtop. Relax your entire body, not using the slightest bit of confused energy or awkward effort, moving instead by way of intention. Your gaze is to the south. See photo 3:

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說明
Description of movement 2:
攬雀尾第二動式。由第一動式。兩脚地位仍不變動。而臂徐徐向裏微彎。圜成圓形。兩手虎口相對。亦成圓形。兩手緩緩下按。同時按至臍前。上體含胸拔背。腰胯下沉。兩膝彎曲。眼仍視正南。如第四圖。
Continuing from movement 1, your feet still not moving from their location, your arms slowly go inward, slightly bending to make a circular shape, your tiger’s mouths facing each other to also produce a circular shape, your hands gradually pushing down together until in front of your navel. As for your upper body, contain your chest and pluck up your back. Your hips sink down, knees bending. Your gaze is still to the south. See photo 4:

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說明
Description of movement 3:
攬雀尾第三動式。由第二動式。腰胯向右扭轉。兩脚隨身向西磨轉八分之一。右實左虛。同時右手順勢上抬。曲肱墜肘。平舉於西。掌心向內成半弧形。左手亦同時順身體向右扭。翻轉臂膊。掌心向內。正對心口。臂成半月形。平曲於身前。此為掤法之一也。如第五圖。
Continuing from movement 2, your hips twist to the right, your feet going along with your body by pivoting about an eighth of the way to the west, your right foot filling, left foot emptying. At the same time, your right hand goes along with the movement by lifting up, forearm bent in and elbow dropped, raising level to the west, palm facing inward, arm making a semicircle shape. Your left hand also goes along with your body as it twists to the right, the forearm rotating so the palm is facing inward right in front of your solar plexus, the arm making a half moon shape, bent level in front of your body. This is the first part of the ward-off technique. See photo 5:

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說明
Description of movement 4:
攬雀尾第四動式。由第三動式。左脚向東南伸出。同時腰胯往東南徐徐扭轉。左膝彎曲。右脚伸直。脚尖順勢磨轉向南。同時左臂上抬。向東南掤出。平舉於胸前。掌心向內。臂彎成半弧形。右臂曲上徐徐下落。掌心向地。臂與右脅和右腿成平行線。身與腿之動作。須隨腰幹而動。緩緩行含胸、拔背、鬆腰、頂勁。為此路拳各個動作之不二法門也。眼正視東南。如第六圖。
Continuing from movement 3, your left foot reaches out to the southeast and your hips slowly twist to the southeast, your left knee bending, your right leg straightening, its toes turning along with the movement to point to the south. At the same time, your left arm lifts up, going out to the southeast with a ward-off, raised level in front of your chest, palm facing inward, arm bent to make a semicircle shape, as your right arm, bent above, slowly lowers, palm facing the ground, the arm parallel with your right ribs and right leg. The movement of your body and legs has to go along with the movement of your torso, moving gradually. Contain your chest and pluck up your back, loosen your waist and press up your headtop – these are requirements in every movement of this boxing set. Your gaze is to the southeast. See photo 6:

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說明
Description of movement 5:
攬雀尾第五動式。由第四動式。兩脚原地不動。腰幹向左扭轉。正對東方。同時右臂隨身勢向東平攬。橫於胸前。同時左手腕翻轉。掌心向下。兩掌心上下相照。左右兩臂均成弧形。如捧球然。每一動作。上下左右前後。要同時運動。無疾徐之分。均匀有制。則不失太極拳之本旨也。其定式如第七圖。
Continuing from movement 4, your feet not moving from their location, your torso twists to the left until squared to the east. At the same time, your right arm goes along with your torso by pulling inward across to the east to be horizontal in front of your chest [abdomen] while your left wrist turns over so the palm is facing downward, your palms facing each other above and below, your arms making a uniformly rounded shape as though holding up a ball. In every movement, whether you are going up or down, left or right, forward or back, you should be moving everything in unison, and there should be no moments of going faster or going slower. Let your standard be evenness, and thus you will not be violating the real meaning of Taiji Boxing. See photo 7:

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說明
Description of movement 6:
攬雀尾第六動式。由第五動式。右脚向西伸出。同時腰胯向右扭轉。右脚彎曲。左脚伸直。兩脚跟磨轉向東北。同時右肩抬起。向西南掤出。手腕翻轉。掌心向內。臂彎成弧形與肩平。同時左臂輔助右掤手。卽翻腕。掌心正對於右腕。兩手不卽不離。似捧球然。眼正視西南。如第八圖。
Continuing from movement 5, your right foot reaches out to the west as your hips twist to the right, and your right leg bends, your left leg straightening, your heels turning toward the northeast. At the same time, your right shoulder [arm] lifts, warding off to the southwest, the wrist turning so the palm is facing inward, the arm bent to make a rounded shape at shoulder level, as your left arm assists the ward-off of your right hand, the wrist turning so the palm is facing your right wrist, your hands neither touching nor coming away from each other, as though carrying an object. Your gaze is to the southwest. See photo 8:

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說明
Description of movement 7:
攬雀尾第七動式。由第六動式。右臂翻腕。掌心向上如接球狀。往懷中攄向左圓轉。同時右脚伸直。左脚彎曲。如第九圖。
Continuing from movement 6, your right wrist turns so the palm is facing upward [forward], as though catching a ball, and you will arc to the left with a rollback toward your chest, your right leg straightening, left leg bending. See photo 9:

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腰胯同時扭轉向左。兩臂隨身轉動。同時上抬右臂。平舉於胸前成弧形。掌心向內。左臂翻腕。左手與右手相合如捧物狀。掌心正對右小臂。虎口正對左肩。肘尖下墜。軀幹轉向正東。眼平視東。如第十圖。
Your hips now twist to the left, your arms going along with the turning of your torso, your right arm lifting to be raised level in front of your chest, making a rounded shape, palm facing inward, your left wrist turning so your palms are aligned with each other, as though carrying an object, your left palm facing your right forearm, the tiger’s mouth in line with your left shoulder, elbows dropped. Your torso is turned to be facing to the east, your gaze level to the east. See photo 10:

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說明
Description of movement 8:
攬雀尾第八動式。由第七動式。腰胯扭轉向右。同時左脚伸直。右脚彎曲。兩臂同時順身勢向西掤出。兩手仍如捧物狀。右臂橫舉於右肩前成半月形。左臂彎懸於胸前。眼正視西南。如第十一圖。
Continuing from movement 7, your hips twist to the right, your left leg straightening, right leg bending, as your hands go along with your body by warding off to the west, your hands still as though carrying an object, your right arm raised horizontally in front of your right shoulder, making a half moon shape, your left arm bent and hanging in front of your chest. Your gaze is to the southwest. See photo 11:

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說明
Description of movement 9:
攬雀尾第九動式。由第八動式。腰胯往後吞。含胸拔背。同時右脚伸直。左脚彎曲。兩手同時向左右撥開。卽隨身向後吞。兩臂翻腕。兩掌心正向西南。手指分向左右。向上成月彎形。眼平視。如第十二圖。
Continuing from movement 8, containing your chest and plucking up your back, your hips absorb to the rear, your right leg straightening, left leg bending, as your hands deflect away to the sides, going along with the withdrawing of your torso, your wrists turning so that both palms are facing to the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. Your gaze is level. See photo 12:

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說明
Description of movement 10:
攬雀尾第十動式。由第九動式。身向西南吐出。兩臂同時隨身推出。如推物然。手指仰向前。兩臂平行與肩等。沉肩墜肘。彎成半月形。兩脚亦隨腰胯向前。右脚由伸而彎。左脚由彎而伸。成弓勢。眼平視。如第十三圖。
Continuing from movement 9, your torso sends out to the southwest, your arms going along with it by pushing out, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of your hips, your right leg going from straight to bent, your left leg going from bent to straight, making a bow stance. Your gaze is level. See photo 13:

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說明
Description of movement 11:
攬雀尾第十一動式。由第十動式。兩手腕下彎。同時腰胯向左扭轉。兩臂順勢向左平攬。兩臂似伸非伸。似曲非曲。形成各個弧形。臂與肩平。同時左脚由直而變曲。右脚由曲而伸直。成左弓勢。身體向東。眼平視東。如第十四圖。
Continuing from movement 10, your wrists bend downward as your hips twist to the left, your arms going along with the movement by catching across to the left, seeming straight but not straight, bent but not bent, each making rounded shapes at shoulder level. At the same time, your left leg switches from straight to bent and your right leg goes from bent to straight, making a left bow stance. Your torso is facing to the east, your gaze level to the east. See photo 14:

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術解
Remarks on the technique:
此攬雀尾第一式。分為十一動。插圖十二幅。然分析可謂細矣。按此式動作雖分。而精神不可分。其綿綿不斷之意。盡在其中也。然而研究斯學者。深體斯意。則作者孤詣苦心白矣。蓋太極每一動作。均以腰幹為軸。四肢為輪。軸動而輪轉自如。則拙氣拙力化矣。
This first iteration of CATCH THE SPARROW, is divided into eleven movements, shown in twelve photos, which can be considered quite a detailed analysis. Although its movements are divided, its spirit must not be: there is an intention of continuousness throughout. But in order for you to learn it and deeply realize its ideas, I have gone to the trouble of explaining it in this way.
     Every movement in the Taiji set treats waist as axle, limbs as wheel. With the turning of the axle, the wheel turns naturally, melting away confused energy and awkward effort.

第三式
Posture 3
術名
Name of the technique:
單鞭
SINGLE WHIP
用法
Function:
勾摟按掌之法。
This is a method of pulling in with a hook and pushing with a palm.
說明
Description of movement 1:
單鞭第一動式。由攬雀尾第十一動式。腰胯復由左向右扭轉。右臂順身勢由左向右平攬一周。卽向右平舉變勾。左手由左下垂。繞圜。經身前向上抄至右脅間。手心向上。右脚由伸變立。左脚由曲變懸。垂成直立式。眼視西。如第十五圖。
Continuing from movement 11 of CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the right, your right arm going along with the movement of your body, the hand pulling in with a level circle from left to right, changing to a hook hand raised level to the right, as your left hand hangs down and arcs from the lower left, passes in front of your body, and scoops up until at your right ribs, palm facing upward. Your right leg switches from straightening to standing and your left leg switches from bending to hanging, making a posture of standing [one-legged]. Your gaze is to the west. See photo 15:

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說明
Description of movement 2:
單鞭第二動式。由第一動式。腰胯扭轉向左。左脚向東踏出一步。成左弓右箭步。同時左臂由右脅間向左肩前抄轉。復向東徐徐伸出。意似平按。掌之虎口。正對左肩。右手仍勾。臂略抬平。仍舉於右。而肩須鬆。肘宜墜。胸宜含。背須拔。腰宜活。項豎。眼平。如第十六圖。
Continuing from movement 1, your hips twist to the left, your left foot taking a step out to the east, making a stance of left leg a bow, right leg an arrow. At the same time, your left arm scoops from your right ribs to your left [right] shoulder, the hand turned [to be facing to the left], then slowly reaches out to the east with an intention of a level push, the tiger’s mouth aligned with your left shoulder, your right hand remaining a hook, the arm slightly lifting, staying level to the right. Your shoulders should loosen, your elbows should drop, your chest should be contained, your back should be plucked up, and your waist should be lively. Your neck is upright, your gaze level. See photo 16:

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術解
Remarks on the technique:
此式先以右手勾摟。向左刁起。左手向內裹勁。卽停於右脅前。以肘抱肋。預蓄其勢。左足向東邁步。順軀幹扭轉。徐徐向東伸掌。須沉肩墜肘。兩眼注視兩手。隨動作之轉移。沉墜者。能使氣貫丹田。左手翻腕扭轉。乘勢順領其臂肘。使敵離開重心。再擊以掌。則勝負自判矣。
In this posture, start by using your right hand to pull in, luring to the left [right], and your left hand goes inward with a wrapping energy, stopping in front of your right ribs, the elbow embracing your [left] ribs. You are now in a posture of preparing and storing. Your left foot steps to the east and your torso correspondingly twists. As your palm slowly extends to the east, you must sink the shoulder and drop the elbow. Your gaze goes toward each hand, following along with the turning of the movement. By sinking and dropping, you will be able to get energy to course through to your elixir field. Your left hand turns over at the wrist, takes advantage of the moment, leading out your forearm and elbow, causing the opponent to lose his balance, and then strikes as a palm, making the distinction between victory and defeat clear.

第四式
Posture 4
術名
Name of the technique:
提手
RAISE THE HANDS
用法
Function:
為擠按變化之法。
This is a method of neutralizing by pressing and pushing.
說明
Description of movement 1:
提手第一動式。由單鞭第二動式。兩脚跟隨腰胯向西南磨轉。同時左脚仍成弓狀。右脚略提向西南伸。足跟點地。脚尖微翹。前虛後實。同時左臂順軀幹由左向右平按。以肘抱肋。指尖向上傍右臂前。右勾手翻腕。指端向上。卽向左擠。復上提懸臂於前成弧形。腰胯下坐。肩肘下沉。眼視右手。如第十七圖。
Continuing from movement 2 of SINGLE WHIP, your feet go along with your hips by pivoting to the southwest, your left leg staying bent, your right foot slightly lifting and reaching out to the southwest, heel touching down, toes slightly lifted, front foot empty, rear foot full. At the same time, your left arm goes along with your torso by pushing across from the left to the right until the elbow is embracing the ribs, fingertips pointing upward, close to your right arm, your right hand releasing its hook shape, wrist turning so the fingertips are pointing upward, pressing to the left then lifting up in front with the arm hanging and making a rounded shape. Your hips are sitting down, shoulders and elbows sinking. Your gaze is toward your right hand. See photo 17:

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術解
Remarks on the technique:
此式為伸縮全身骨節腰腿之動作。設敵迎面襲擊。或由上方而來。按其臂肘擠而出之。或化出而按其胸。或以左手按住敵腕。用右手擊敵人之上部。然任何動作。全身須有伸縮相諧之能。以顯「鬆腰、虛靈、頂勁、沉肩、墜肘」之效。以肋腰腹部分。興起吸勁。所謂氣貫丹田者是也。
This posture is a movement for training expanding and contracting in your waist, legs, and the joints of your whole body. If an opponent suddenly attacks in front of you or from above, push on his elbow and press out, or neutralize his attack away and push to his chest, or use your left hand to push on his wrist and your right hand to strike to his upper body. Whatever the movement, your whole body has to have the ability to expand and contract in good coordination, a result which will be manifested through loosening your waist, forcelessly pressing up your headtop, sinking your shoulders, and dropping your elbows. Your ribs, waist, and abdomen should all make an energy of drawing in. This is the idea of “energy coursing through to your elixir field”.

第五式
Posture 5
術名
Name of the technique:
白鶴亮翅
WHITE CRANE SHOWS ITS WINGS
用法
Function:
此式為掤按提挂之法。
This is a method of warding off while pushing away, lifting up while hanging down.
說明
Description of movement 1:
白鶴亮翅第一動式。由提手第一動式。右脚略滑進半步。磨轉足尖。由虛而變實。左脚同時隨右脚磨動。由實而變虛。兩膝稍彎。腰胯略轉向東南。同時右臂由前上。徐徐繞圜下挂於胯旁。掌心向上。指微曲。左掌同時翻掌向下。位置仍不動。如第十八圖。
Continuing from RAISE THE HANDS, your right foot slightly slides forward a half step, turning its toes [to point to the southeast], and changes from empty to full. Your left foot goes along with your right foot by changing from full to empty. Your knees slightly bend and your hips slightly turn to be squared to the southeast. At the same time, your right arm goes from above in front of you by slowly arcing downward to hang beside the hip, palm facing upward, fingers slightly bent, while your left palm turns to face downward without leaving its position. See photo 18:

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說明
Description of movement 2:
白鶴亮翅第二動式。由第一動式。腰胯左轉。下坐於右腿上。左脚仍曲。脚跟上提。足尖點地。同時右臂由後繞圜半週。上提臂成半圓狀。掌心向下。左臂同時下按。掌心向下。位於左膝前。亦成半弧形。上體順腰胯扭轉。眼平視東。兩臂斜分上下。如白鶴之展翅。如第十九圖。
Continuing from movement 1, your hips turn to the left as you sit down onto your right leg, your left leg still bent, heel lifted, toes touching down. At the same time, your right arm arcs a half circle upward from the rear, lifting to make a semicircle shape, palm facing downward, as your left arm pushes down, palm facing downward, to be placed in front of your left knee, also making a semicircle shape, your upper body going along with the twisting of your hips. Your gaze is to the east. Your arms are spread diagonally above and below, resembling a white crane with its wings spread. See photo 19:

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術解
Remarks on the technique:
各式動作。以心意行之。兩臂轉動。全身卽因之而動。一伸一縮。舒展自如。無半點强勉。則腰脊亦因之舒長而氣內斂。如「氣貼背後斂入骨隨」之術語。可為體育之至寶也。
As in every posture, move by way of intention. The arcing of your arms is driven by the movement of your body as a whole. Contract and then extend, spreading open naturally and without the slightest effort. This also causes your lower back to relax and energy to collect within, as in the principle that “energy sticks to your back and gathers in the bones.” This will enable you to reach the peak of heath.

第六式
Posture 6
術名
Name of the technique:
摟膝抝步
BRUSH KNEE IN A CROSSED STANCE
用法
Function:
為伸縮兩臂活動腰膝之法。
This is a method of developing suppleness in the arms and exercising the waist and knees.
說明
Description of movement 1:
摟膝左抝步第一動式。由白鶴亮翅第二動式。軀幹向右擰轉。左脚隨之轉動。兩臂亦因之磨轉。左掌翻腕向上。與右掌相對。兩手如捧大汽球。由左往右。旋轉兩臂。上下互掉。左臂橫於胸前。而掌近於右膀。右臂下垂。掌心向上。眼亦隨臂之旋轉。如第二十圖。
Continuing from movement 2 of WHITE CRANE SHOWS ITS WINGS, your torso twists to the right, your left foot and your arms turning along with it, your left palm going upward, wrist turning so your palms are aligned toward each other, your hands as though carrying a large balloon in an arc from left to right, your arms switching above and below, your left forearm horizontal in front of your chest, palm close to your right upper arm, your right arm hanging down, palm facing upward. Your gaze follows along with the arcing of your arms. See photo 20:

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說明
Description of movement 2:
摟膝左抝步第二動式。由第一動式。兩臂如抱汽球。旋轉時。復由右往左旋轉一週。同時左脚向東北出一步。膝彎。右脚卽伸直。同時右臂由右耳邊向前平按。指端向上。臂成弧形。左臂同時下按過膝於左腿前。身轉向東。眼平視。如第二十一圖。
Continuing from movement 1, your arms as though holding a balloon arc from right to left. While your left foot takes a step out to the northeast, knee bending, your right leg straightening, your right arm goes from beside your right ear with a level push forward, fingertips pointing upward, the arm making a rounded shape, and your left arm pushes downward past your left knee to be in front of [beside] the thigh. Your torso is turned to the east, your gaze level. See photo 21:

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術解
Remarks on the technique:
此式為舒長兩臂。開暢胸襟。遇敵襲我。卽以左手摟開。右掌乘勢擊敵。又演習摟膝抝步。均須塌腰沉身。兩臂旋轉。槪以腰胯之力為主。並非以四肢運動腰胯。兩手經過之路線皆成圓圈。反複兩次。緩緩由左而右。再由右而左。復再前推下按。
This posture stretches the arms and opens up the chest. When the opponent attacks me, I use my left hand to brush aside and my right palm takes advantage of the opportunity to strike him. When practicing this posture, you have to settle your waist and sink your body, and the arcing of your arms is driven by power from your hips, not a matter of the hips being moved by the limbs. The paths that your hands pass along make two arcs, slowly going from left to right, then from right to left, and then one hand is pushing forward and the other pushing downward.

第七式
Posture 7
術名
Name of the technique:
手揮琵琶
PLAY THE LUTE
用法
Function:
此式為活步鬆腰運用兩臂之法。
This is a method of livening the stepping, loosening the waist, and exercising the arms.
說明
Description of movement 1:
手揮琵琶第一動式。由摟膝抝步第二動式。右脚向前活步。靠近左脚後跟。同時右臂內縮。左臂卽向前伸。提肛鬆腰。眼仍平視。兩臂右上左下。指尖均微向上翹。右膝稍彎。如第二十二圖。
Continuing from movement 2 of BRUSH KNEE IN A CROSSED STANCE, your right foot moves forward, closing in behind your left heel. At the same time, your right arm withdraws inward and your left arm extends forward. Tuck in your tailbone and loosen your waist. Your gaze is still level. Your arms are situated as right arm above, left arm below, the fingers of both hands slightly raised. Your right knee is slightly bent. See photo 22:

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說明
Description of movement 2:
手揮琵琶第二動式。由第一動式。右脚卽站實。左脚卽向東伸出。脚跟點地。足尖稍翹。右膝彎。左脚直。成右實左虛式。同時左臂前上抄。起掌帶推勢。右手卽縮囘於左臂旁。兩臂均成弧形。眼視左掌。如第二十三圖。
Continuing from movement 1, your right foot stands full and your left leg extends to the east, heel touching down, toes slightly lifted, right knee bent, left leg straight, making a stance of right leg full, left leg empty. At the same time, your left arm scoops forward and upward, the palm lifting into a pushing posture, as your right hand shrinks back beside your left arm, both arms making semicircles. Your gaze is to your left palm. See photo 23:

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術解
Remarks on the technique:
此式分為兩動。以明動作之程序。然而雖分兩動。兩手與全身尚須徐徐繼續不斷的運動。其功用為增長兩臂伸縮之力。設如右手彼敵所執。卽將縮囘向懷中帶。左手卽由下上抄。解脫敵纏。復乘勢推擊敵之肩部。
This posture divides into two movements to make the process of movement clearer. Although they are presented as two movements, your hands and your whole body must move continuously from one movement to the other without any pausing. This posture has the effect of increasing the ability of the arms to extend and withdraw. If the opponent grabs my right hand, then I will shrink it in, drawing it back to my chest, as my left hand scoops upward from below to strip away his grab and take advantage of the opportunity to attack his shoulder.

第八式
Posture 8
術名
Name of the technique:
左右摟膝抝步
LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
用法
Function:
為伸縮兩臂活動腰膝之法。
This is a method of developing suppleness in the arms and exercising the waist and knees.
說明
Description of movement 1:
左右摟膝抝步第一動式。由手揮琵琶第二動式。左脚尖着地。脚跟向左磨轉。右脚仍彎。脚掌向右磨轉。軀幹順腿之磨動扭轉向右。同時左手收囘。手心向下平迴半圜。左臂橫胸前。掌與右肩齊。右臂同時下垂。由前下經腰胯至右腿旁。手背成弧形。如第二十四圖。
Continuing from movement 2 of PLAY THE LUTE, with your left toes touching down, the heel turns to the left, right leg staying bent but the foot pivoting to the right, your torso going along with your feet by twisting to the right. At the same time, your left hand withdraws, palm facing downward, making a level half arc to bring your left arm across in front of your chest, the palm in line with your right shoulder, as your right arm hangs down from in front of you, passing the hip to be beside your right thigh, the back of the hand making a rounded shape. See photo 24:

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說明
Description of movement 2:
左右摟膝抝步第二動式。由第一動式。軀幹向東北旋轉。左腿卽向東北出一步。彎膝變實。右膝由彎曲而伸直。同時左臂由肩前下按。摟至左腿旁。手心向下。右臂同時由下揚起。經右耳門前向東推擊。眼視掌為轉動。如第二十五圖。
Continuing from movement 1, your torso turns to the northeast as your left leg takes a step out to the northeast, the knee bending and the leg becoming full, your right knee going from straight to bent. At the same time, your left arm pushes downward from in front of your shoulder, brushing until beside your left leg, palm facing downward, as your right arm lifts from below, passes in front of your right ear, and attacks with a push to the east. Your gaze goes along with the arcing movement to be looking toward your palm. See photo 25:

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說明
Description of movement 3:
左右摟膝抝步第三動式。由第二動式。軀幹向左扭轉。同時右脚跟稍向南磨轉。右臂縮囘平曲於胸前。掌心向下。左手卽翻腕。掌心向上。垂於左脇旁成弧形。兩掌心上下相照。身軀轉向東北。全身鬆開。眼視東北。如第二十六圖。
Continuing from movement 2, your torso twists to the left, your right heel slightly turning to the south, as your right arm withdraws bending level in front of your chest, palm facing downward, and your left wrist turns so the palm is facing upward, hanging beside your left ribs, making a rounded shape, your palms aligning with each other above and below. Your torso is turned to the northeast, your whole body relaxed, your gaze to the northeast. See photo 26:

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說明
Description of movement 4:
左右摟膝抝步第四動式。由第三動式。腰幹向東轉正。同時右脚向東南出一步。左臂同時向西北。由下往上。經耳前繞轉一週。緩緩向東推按。右手由身前下。摟過右膝至右腿旁。含胸拔背。眼視左掌。兩脚前弓後箭。兩臂運用。隨腰旋轉而進。如第二十七圖。
Continuing from movement 3, your torso turns to the east as your left leg takes a step out to the southeast. At the same time, your left arm goes upward from below, making a circle that passes in front of your ear and slowly pushes to the east, as your right hand goes downward from in front of your body, brushing past your right knee to be beside the thigh. Contain your chest and pluck up your back. Your gaze is toward your left palm. Your legs are in a stance of front leg a bow, rear leg an arrow. The movement of your arms progresses in accordance with the turning of your waist. See photo 27:

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說明
Description of movement 5:
左右摟膝抝步第五動式。由第四動式。兩脚步位不變。腰胯略向右轉。同時左手翻腕向下。由前向右。橫按左肩前。手心向下。右臂同時往下。後攬卽翻腕。手心向上。身轉向南。眼平視。如第二十八圖。
Continuing from movement 4, your feet not changing their position, your hips slightly turn to the right as your left hand, the wrist turning downward, goes from in front to the right, pushing across in front of your left shoulder, palm facing downward, and your right arm pulls in downward and to the rear, the wrist turning so the palm is facing upward. Your torso is turned to the south, your gaze level. See photo 28:

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說明
Description of movement 6:
左右摟膝抝步第六動式。由第五動式。左脚卽向東北出一步踏實。膝彎。右脚順腰胯緩緩伸直。同時右臂由右下迥轉向西南。右肩上揚起。復經耳邊。卽向東推按。左手同時下按。摟過左膝於左腿旁。軀幹轉正。眼視東。如第二十九圖。
Continuing from movement 5, your left leg takes a step to the northeast, comes down full, knee bending, your right leg going along with your hips by slowly straightening. At the same time, from the lower right to the southwest, your right shoulder [arm] lifts up, passes beside your ear, and pushes to the east, as your left hand pushes downward, brushing past your left knee to be beside the thigh. Your torso is turned to the [east], your gaze to the east. See photo 29:

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術解
Remarks on the technique:
太極拳摟膝抝步。以塌腰鬆肩舒展兩臂為主。而兩手運動速率。須與腰胯轉運快慢成正比例。兩眼全注視手之起落。不卽不離為歸。
Taiji Boxing’s BRUSH KNEE IN A CROSSED STANCE emphasizes settling the waist, loosening the shoulders, and stretching out the arms. The speed that your hands move has to be in direct proportion to the speed that your hips turn. Your gaze is absorbed in the rising and lowering of your hands, but is neither overly focused nor unfocused on them.

第九式
Posture 9
術名
Name of the technique:
手揮琵琶
PLAY THE LUTE
用法
Function:
法與第七式同。
Same as in Posture 7.
說明
Description of the movement:
手揮琵琶第一動式。由左右摟膝抝步第六動式。右脚活步向左。脚跟靠近。膝彎曲。同時左脚卽向東伸出半步。同時兩臂左伸右縮。左臂翻腕。由下往前上抄。指端向上。右臂向懷中縮囘。橫於胸前。掌近左肘前。手指上翹。腰胯扭轉。鬆肩墜肘。兩臂如弧形。眼平視。如第三十圖。
Continuing from movement 6 of LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE, your right foot closes in toward your left heel, knee slightly bent, then your left foot extends a half step to the east. At the same time, your left arm extends as your right arm withdraws, your left arm scooping forward and upward from below, the wrist turning, fingertips pointing upward, your right arm withdrawing to be horizontal in front of your chest, palm close to your left elbow, fingers lifted up, your hips twisting. Loosen your shoulders and drop your elbows, both arms making rounded shapes. Your gaze is level. See photo 30:

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術解
Remarks on the technique:
此式與第七式同。惟第七式白鶴亮翅變為手揮琵琶。此式由摟膝抝步而成。此式起始架式雖異。而手臂與身䂯步位尚無甚懸殊。所以變動時略與第七式同。而第七式析分兩動。此式倂為一動。以節閱者腦力和光陰耳。
This posture is the same as in Posture 7, except that in that case it is coming from a [BRUSH KNEE preceded by] WHITE CRANE, whereas here it is coming from a full BRUSH KNEE. The basis of the posture is thus slightly different, but there is no substantial difference to the action of the arms, stance, or footwork. Transitioning into it therefore mostly the same as in Posture 7, but whereas in Posture 7 it is divided into two movements, in this posture it is simply presented as one, sparing you thought and time.

第十式
Posture 10
術名
Name of the technique:
進步搬攔捶
ADVANCE, PARRY, BLOCK, PUNCH
用法
Function:
以搬攔為化敵之妙法。
This is a method of subtly using parrying and blocking to neutralize the opponent.
說明
Description of movement 1:
進步搬攔捶第一動式。由手揮琵琶第一動式。左脚跟磨轉。脚尖撇向北。右脚掌磨轉。脚跟撇向南。同時腰磨轉。胯下坐。兩膝下彎如坐式。兩臂同時翻轉。左掌向下橫於胸前。右掌向上橫於臍前。全身轉向北。眼平視東。如第三十一圖。
Continuing from PLAY THE LUTE, your left heel turns to swing the toes toward the north and ball of your right foot turns to swing the heel toward the south, your waist turning as your hips sit down, your knees bending downward to make a sitting posture. At the same time, your arms rotate so that your left palm is facing downward, horizontal in front of your chest, and your right palm is facing upward, horizontal in front of your navel. Your torso is turned to be facing to the north, your gaze level to the east. See photo 31:

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說明
Description of movement 2:
進步搬攔捶第二動式。由第一動式。兩脚不變位置。身軀稍向東轉。同時右手指捲曲如拳。右小臂以肘為軸。翻轉由懷向外撇開。同時左掌隨右拳翻轉。略向西縮。眼平視東。鬆肩墜肘。腰胯放鬆擰轉。如第三十二圖。
Continuing from movement 1, your feet not moving from their location, your torso slightly turns to the east as your right fingers roll up into a fist and the forearm rotates at the elbow, flinging outward from your chest, your left palm going along with the turning over of your right fist by slightly withdrawing to the west. Your gaze is level to the east. Loosen your shoulders and drop your elbows. Your hips relax as they twist. See photo 32:

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說明
Description of movement 3:
進步搬攔捶第三動式。由第二動式。右脚向東出半步。脚尖撇向南。腰胯向右轉。兩脚下彎。同時左臂向東。平推下按。指端向上。臂成弧形。右捶向懷中縮囘。置於右腰間。脈膊向上。眼平視東。如第三十三圖。
Continuing from movement 2, your right foot takes a half step out to the east, toes swung out toward the south, your hips turning to the right, your legs bending downward. At the same time, your left arm does a level downward push to the east, fingertips pointing upward, the arm making a rounded shape, your right fist withdrawing toward your chest to be placed at the right side of your waist, the pulse area facing upward. Your gaze is level to the east. See photo 33:

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說明
Description of movement 4:
進步搬攔捶第四動式。由第三動式。左脚向東復出一步踏實。膝彎。右脚伸直如前弓後箭步。同時右捶向東伸擊。拳眼向上。左掌卽縮囘護於右臂旁。含胸拔背。眼平視東。如第三十四圖。
Continuing from movement 3, your left foot takes a step out to the east, coming down fully, the knee bending, your right leg straightening, making a stance of front leg a bow, rear leg an arrow. At the same time, your right fist extends a strike to the east, the center of the fist facing upward, your left palm withdrawing to guard beside your right arm. Contain your chest and pluck up your back. Your gaze is level to the east. See photo 34:

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術解
Remarks on the technique:
太極拳以搬攔為化之妙。以捶為攻擊之巧。練功實用。均有獨到的精神。撇攔進擊為左搬、右轉。鬆腰、墜肘。含胸、拔背。軀幹轉動之靈活。尤為巧妙。
Taiji Boxing uses parrying and blocking to subtly neutralize, and the punch to skillfully attack. In training this for practical application, there is always an extra degree of spirit. The flinging and blocking defends from the left, and the advancing and striking turns from the right. Loosen your waist and drop your elbows. Contain your chest and pluck up your back. The nimble turning of the waist makes the technique especially skillful.

第十一式
Posture 11
術名
Name of the technique:
如封似閉
SEALING SHUT
用法
Function:
為格敵封閉法。
This is a method of blocking the opponent and sealing him off.
說明
Description of movement 1:
如封似閉第一動式。由進步搬攔捶第四動式。腿胯向右後坐。身腰向內吞。右腿下彎。左腿伸直。同時右捶伸直變掌。手心向上。隨身向後吞囘。左臂卽翻轉。承於右肩之下。向前伸出。掌心朝上。意似格敵。眼前平視。如第三十五圖。
Continuing from movement 4 of ADVANCE, PARRY, BLOCK, PUNCH, your hips sit to the right rear, your waist absorbing inward, your right leg bending downward, your left leg straightening. At the same time, your right fist extends, becoming a palm, the palm facing upward, and goes along with your torso by withdrawing to the rear, as your left arm arcs to be below your right shoulder and reaches out forward, palm facing upward, with an intention of blocking the opponent. Your gaze is level. See photo 35:

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說明
Description of movement 2:
如封似閉第二動式。由第一動式。兩臂同時翻腕。向左右撥開。兩臂卽向後吞囘。掌心向前。手指微曲。右腿仍彎。左腿直。含胸拔背。眼平視前。如第三十六圖。
Continuing from movement 1, your forearms rotate in unison, turning your wrists, deflecting aside to the left and right, and withdrawing to the rear, palms facing forward, fingers slightly bent, your right leg staying bent, left leg straight, as you contain your chest and pluck up your back. Your gaze is forward and level. See photo 36:

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說明
Description of movement 3:
如封似閉第三動式。由第二動式。腰幹腿胯向東吐出。同時兩臂緩緩隨軀幹向東平按。兩腿同時變換。左脚由直而變彎。右脚由彎變直。成前弓後箭步。如第三十七圖。
Continuing from movement 2, your torso and hips send out to the east, your arms going along with your torso by slowly doing a level push to the east, as your legs switch roles, left leg switching from straight to bent, right leg switching from bent to straight, making a stance of front leg a bow, rear leg an arrow. See photo 37:

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術解
Remarks on the technique:
假如右捶被敵格拒。我卽出左手承於右肩之下。橫出以化敵。兩臂復再囘護上部。乘勢推按敵之胸部。
If my right punch gets blocked by the opponent, I send my left hand to carry under my right shoulder and across to neutralize him, then I withdraw my arms to protect my upper body and take advantage of the opportunity to push to his chest.

第十二式
Posture 12
術名
Name of the technique:
十字手
CROSSED HANDS
用法
Function:
此為防上禦下之法。
This is a method of defending above and below.
說明
Description of movement 1:
十字手第一動式。由如封似閉第三動式。身軀向右轉正。同時右腿下彎。腰胯下沉。形似四平襠。左實而右虛。兩臂同時隨身軀向右上方撥開轉正。兩掌心向前。形如滿月。眼平視。如第三十八圖。
Continuing from movement 3 of SEALING SHUT, your torso turns to the right as your right leg bends, your hips sinking down, making a four-level stance with your left foot full, right foot empty. At the same time, your arms go along with your torso by going to the upper right, deflecting to the sides as you turn to face forward, both palms facing forward, arms making a full moon shape. Your gaze is level. See photo 38:

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說明
Description of movement 2:
十字手第二動式。由第一動式。兩臂順軀幹轉動。同時由上分向左右。緩緩下按至襠前。兩手心內向。如抱月然。兩腿順腰胯擺動。左虛而右實。腿仍下沉。含胸拔背。眼平視。如第三十九圖。
Continuing from movement 1, your arms go along with your torso by spreading apart in unison from above to the sides and slowly pushing down until in front of your crotch, both palms facing inward, as though carrying the moon. Your legs go along with your hips by bulging outward, your left foot empty, right foot full, thighs still sinking down. Contain your chest and pluck up your back. Your gaze is level. See photo 39:

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說明
Description of movement 3:
十字手第三動式。由第二動式。兩腿緩緩直立。同時兩脚向內收。與肩同寬。兩脚直立成平行式。兩手交叉。掌心向內。兩臂隨身體徐徐上升。由下而上。交叉圜抱於胸前。眼視正南。如第四十圖。
Continuing from movement 2, your legs slowly straighten to be standing, your feet gathering inward until at shoulder width, making a parallel stance, as your hands cross, palms facing inward, your arms going along with your body by slowly raising up from below, crossing with a rounded embrace in front of your chest. Your gaze is to the south. See photo 40:

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術解
Remarks on the technique:
此兩式。兩臂轉動。隨身體左右上下而動。然而臂之由上而下。由下而上。兩臂同時運動所經之空間為內外兩大圓徑。兩手之在下與在上。均成交點。形成滿月。如抱物然。
In this posture, your arms arc along with your torso, moving to the sides, upward and downward. As your arms go downward from above and upward from below, the space they pass through spans a large diameter inside and out, and when your hands come up, they are crossed, making a full moon shape, as though embracing an object.

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第一段路線圖由中央線至東
Route of Segment One: traveling from the center line to the east

South

East   東 + 西  West
中央起點綫
Starting point on the center line

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

太極起式
1. BEGINNING POSTURE
攬雀尾
2. CATCH THE SPARROW BY THE TAIL
單鞭
3. SINGLE WHIP
提手
4. RAISE THE HANDS
白鶴亮翅
5. WHITE CRANE SHOWS ITS WINGS
摟膝拗步
6. BRUSH KNEE IN A CROSSED STANCE
手揮琵琶
7. PLAY THE LUTE
左右摟膝拗步
8. LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
手揮琵琶
9. PLAY THE LUTE
進步搬攔捶
10. ADVANCE, PARRY, BLOCK, PUNCH
如封似閉
11. SEALING SHUT
十字手
12. CROSSED HANDS

第二段 式數十三 動數三十八
SEGMENT TWO – thirteen postures / thirty-eight movements

第十三式
Posture 13
術名
Name of the technique:
抱虎歸山
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
用法
Function:
此為起承之法。
This is a method of beginning and continuing [into the following posture].
說明
Description of movement 1:
抱虎歸山第一動式。由十字手第三動式。兩手仍圜抱。(如抱虎然)軀幹向西北轉動。同時右手向西北斜下按。軀幹復向東南轉動。手隨卽向東南斜上托。右脚隨右手向西北退步。(隨歸山之意)此時全身坐於左腿上。右脚虛而直。左脚實而彎。眼視西北。如第四十一圖。
Continuing from movement 3 of CROSSED HANDS, with your arms still roundly embracing (as though holding a tiger), your torso turns to the northwest, your right hand pushing diagonally downward to the northwest, your [left] hand going along with the turning of your torso by propping diagonally upward to the southeast, your right foot going along with your right hand by retreating a step to the northwest (with an intention of sending back to a mountain). The weight is now sitting onto your left leg, your right leg empty and straight, your left leg full and bent. Your gaze is to the northwest. See photo 41:

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說明
Description of movement 2:
抱虎歸山第二動式。由第一動式。軀幹轉向西北。左手隨卽囘轉。由耳邊向西北推按。掌心向前。腰胯同時亦隨之轉動。左脚直伸。右脚彎。右手下按於右腿外。手心向下。眼視西北。如第四十二圖。
Continuing from movement 1, your torso turns to the northwest, your left hand going along with the turn by pushing from beside your ear to the northwest, palm facing forward. As your hips turn, your left leg straightens, your right leg bending, and your right hand is pushing downward to the outside of your right leg, palm facing downward. Your gaze is to the northwest. See photo 42:

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術解
Remarks on the technique:
此式為抱虎歸山。下連攬雀尾一式。按之實際動作。二式一貫連成。無分之必要。為研究斯學起見。須有討論之價値。按此一式。巳在編首第六節研究一文敍明。在此恕不贅述。請看首編可也。
This posture continues into CATCH THE SPARROW BY THE TAIL. In performance, these two postures are actually to be linked together as one, and it is not necessary to divide them except to learn the set in the first place. The reason for this was explained in Chapter One, Section Six [Four]. Pardon me for not repeating the explanation here. You may consult that chapter.

第十四式
Posture 14
術名
Name of the technique:
斜步攬雀尾
DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
用法
Function:
此式為掤捋擠按及轉變之法。
This is for training the transformations of ward-off, rollback, press, and push.
說明
Description of movement 1:
斜步攬雀尾第一動式。由抱虎歸山第二動式。兩腿不變。左臂翻腕。掌心朝上。右臂由右下翻腕。卽轉向上平舉。掌心朝下。兩手上下相對。如捧物向懷中捋囘。意如第四十三圖。
Continuing from movement 2 of CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, your legs staying as they are, your left wrist turns so the palm is facing upward, your right arm going from below, wrist turning, arcing upward to be raised level, palm facing downward, your palms aligned with each other above and below, as though you are carrying an object, and with an intention of doing a rollback toward your chest. See photo 43:

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說明
Description of movement 2:
斜步攬雀尾第二動式。由第一動式。向左捋至懷中時。腰胯隨卽扭轉向東南。右臂卽平提。掌心向上。左臂向外掤。掌心向下。右臂卽翻腕。與左手相對。兩手仍如捧物狀。同時左脚變彎。右腿伸直。眼視東南。如第四十四圖。
Continuing from movement 1, as you do a rollback to the left in front of your chest, your hips twist to the southeast, then your right arm lifts to be level, palm facing upward, and your left arm wards off outward, palm facing downward, the wrist turning so your palms are aligned with each other, still as though carrying an object. At the same time, your left leg switches to bending, your right leg straightening. Your gaze is to the southeast. See photo 44:

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說明
Description of movement 3:
斜步攬雀尾第三動式。由第二動式。軀幹磨轉向西北。右手隨卽上提。掌心向內。往西北掤出。左臂略轉。兩掌心相對。順勢擠按兩腿。同時亦由伸而變彎。由彎而變直。一虛一實。如第四十五圖。
Continuing from movement 2, your torso turns to the northwest, your right hand going along with it by lifting up, palm facing inward, and warding off to the northwest, your left arm slightly turning so your palms are aligned with each other as you do a pressing push. Your legs at the same time switch from straight to bent and bent to straight, one emptying as the other fills. See photo 45:

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說明
Description of movement 4:
斜步攬雀尾第四動式。由第三動式。兩腿姿勢。右腿伸。左腿曲。兩手卽向左右撥開。指端朝上。身必朝西北。兩臂彎曲。平提於胸前。此式注意含胸、拔背、鬆腰、墜肘諸要旨。眼仍視西北。如第四十六圖。
Continuing from movement 3, with your right leg straightening and your left leg bending, your hands deflect away to the sides, fingertips pointing upward. Your torso has to be facing to the northwest. Your arms are bent, lifted level in front of your chest. In this posture, pay attention to the essential principles of containing your chest, plucking up your back, loosening your waist, and dropping your elbows. Your gaze is still to the northwest. See photo 46:

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說明
Description of movement 5:
斜步攬雀尾第五動式。由第四動式。軀幹和腰胯向西北吐出。兩手順勢向西北推按。兩臂形似半月。兩掌心微向前。指端仍向上。左脚由彎而伸。右脚由伸而彎。眼平視西北。注意沉肩、墜肘、含胸。如第四十七圖。
Continuing from movement 4, your torso and hips send out to the northwest, your hands going along with your torso by pushing to the southwest, your arms making a half moon shape, palms facing slightly forward, fingers still pointing upward, your left leg going from bent to straight, your right leg going from straight to bent. Your gaze is level to the northwest. Pay attention to sinking your shoulders, dropping your elbows, and containing your chest. See photo 47:

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說明
Description of movement 6:
斜步攬雀尾第六動式。由第五動式。兩掌卽下捶。兩臂平舉。右臂在外圈。左臂在內圈。卽向東平捋。同時身體亦隨之向東南扭轉。左脚由直變彎。右脚由彎變直。眼視東南。注意沉肩、垂肘、鬆腰。如第四十八圖。
Continuing from movement 5, your wrists hang downward, arms raised level, and with your right arm curved more outward, left arm curved more inward, do a rollback across to the east. At the same time, your torso twists to the southeast, your left leg switching from straight to bent, your right leg switching from bent to straight. Your gaze is to the southeast. Pay attention to sinking your shoulders, dropping your elbows, and loosening your waist. See photo 48:

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術解
Remarks on the technique:
此式動式凡六。與前攬雀尾同。惟方向及承前起後動式之不同。所以開始及結局二動亦異。為便於初學明瞭起見。不惜辭費。詳註圖說以明之。
The six movements in this posture are the same as in the earlier CATCH THE SPARROW, but the orientation as well as the postures that precede and follow in this case are different, making the beginning and finishing movements also different. In order for beginners to more easily understand, I have allowed these descriptions to become rather wordy for added clarity.

第十五式
Posture 15
術名
Name of the technique:
肘底看捶
GUARDING PUNCH UNDER ELBOW
用法
Function:
此為動身轉變法。
This is a method of transitioning.
說明
Description of movement 1:
肘底看捶第一動式。由斜步攬雀尾第六動式。右臂由左外方向內。平捋一圜。卽向右平摟。舉於西北方。右掌微向前傾。左手下垂。由右下方繞圜一週。掌卽向上抄至右腰間。同時腰胯向右扭轉。左脚由彎而懸。右脚由伸而立。眼平視西北。如第四十九圖。
Continuing from movement 6 of DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL, your right arm goes from outward on the left into an inward level circle, rolling back, brushing level to the right until raised to the northwest, the palm slightly drooping forward, as your left hand hangs down and coils a circle from the lower right, the palm scooping up until at the right side of your waist. At the same time, your hips twist to the right, your left leg bending and lifting, your right leg straightening and standing. Your gaze is level to the northwest. See photo 49:

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說明
Description of movement 2:
肘底看捶第二動式。由第一動式。左脚跟向東南踏實。脚尖微翹。同時右脚稍彎。成左反弓式。同時軀幹向左扭轉。卽由腰間經右肩前向左翻掌。卽轉向東徐徐按掌。右臂仍平舉於右。眼視東。如第五十圖。
Continuing from movement 1, your left heel comes down to the southeast, toes slightly lifted, as your right leg slightly bends, making a left reverse bow stance. At the same time, your torso twists to the left as your left hand goes from your waist, passes in front of your right shoulder, the palm turned to be facing to the left, then arcs to the east, and slowly pushes out, your right arm still raised level to the right. Your gaze is to the east. See photo 50:

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說明
Description of movement 3:
肘底看捶第三動式。由第二動式。右脚卽跟上左脚。向南出半步。脚尖向東南。左脚再向前伸出半步。脚尖稍翹。右膝微彎。腰胯向東旋轉。右臂由右上方向東南下按。畫一大圓規。至左臂時。左臂綫向內。卽向上抄。同時右手握拳。拳眼朝上。左臂同時屈肘。手指朝上。手心向南。右拳藏於左肘之下。眼平視東。如第五十一圖。
Continuing from movement 2, your right foot follows forward toward your left foot, taking a half step to the south, toes pointing to the southeast, and your left foot also reaches out forward a half step, toes slightly lifted, your right knee slightly bent, your hips turning to the east, as your right arm goes from the upper right and pushes down to the southeast, drawing a large arc, your left arm meanwhile taking a path inward and scooping upward. At the same time, your right hand grasps into a fist, the center of the fist facing upward, and your left elbow bends, fingers pointing upward, palm facing to the south, your right fist hidden below your left elbow. Your gaze is level to the east. See photo 51:

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術解
Remarks on the technique:
此式全身旋轉時。手足同時運用。緩緩而行。不露半點拙氣拙力。
As your whole body turns around, your hands and feet move in unison, moving gradually, not showing the slightest bit of confused energy or awkward effort.

第十六式
Posture 16
術名
Name of the technique:
左右倒攆猴
LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
說明
Description of movement 1:
左右倒攆猴第一動式。由肘底看捶第三動式。右捶放鬆。由左肘下往後方圓轉。於西南上方平橫。同時左手平放。掌心微向前。軀幹稍向右轉。眼視右手。如第五十二圖。
Continuing from movement 3 of GUARDING PUNCH UNDER ELBOW, your right fist releases and goes below your left elbow, arcing to the rear and upward until level to the southwest, as your left hand extends level, palm facing slightly forward. Your torso turning slightly to the right, your gaze is toward your right hand. See photo 52:

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說明
Description of movement 2:
左右倒攆猴第二動式。由第一動式。右手由西往上轉。至右耳邊向東按掌。左脚同時向後退半步。膝彎。右脚伸直。脚稍翹。全身坐於左脚上。左手翻腕。同時下環轉於腰間。手心向上。右脚尖轉向東。如第五十三圖。
Continuing from movement 1, your right hand arcs upward from the west until beside your right ear and the palm pushes to the east, as your left foot retreats a half step to the rear and the knee bends, your right leg straightening, toes slightly lifted, the weight sitting entirely onto your left leg. At the same time, your left wrist turns over and the hand arcs downward to be at your waist, palm facing upward, your right toes turning to point to the east. See photo 53:

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說明
Description of movement 3:
左右倒攆猴第三動式。由第二動式。右手按掌仍不動。左手同時由腰間向後圜轉。平橫於西。與右臂東西成一橫線。掌心向上。上體稍向左轉。同時兩脚略向北磨轉。眼視右手。如第五十四圖。
Continuing from movement 2, your right pushing palm staying where it is, your left hand arcs from your waist to the rear to be level to the west, making a horizontal east-west line with your right arm, palm facing upward, your upper body turning slightly to the left, your feet slightly pivoting toward the north. Your gaze is toward your right hand. See photo 54:

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說明
Description of movement 4:
左右倒攆猴第四動式。由第三動式。左手由後轉至耳邊。卽向東按掌。右手翻腕下垂。圜轉至右腰間。掌心向上。同時右脚後退半步。彎膝。左脚伸直。全身坐於右脚上。左脚尖向東翹起。眼注視東。如第五十五圖。
Continuing from movement 3, your left hand arcs from the rear until beside the ear, then the palm pushes to the east, as your right wrist turns over and the hand arcs downward to be at the right side of your waist, palm facing upward. At the same time, your right foot retreats a half step to the rear, and the knee bends, your left leg straightening, the weight sitting entirely onto your right leg, your left foot pointing to the east, slightly lifted. Your gaze is to the east. See photo 55:

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說明
Description of movement 5:
左右倒攆猴第五動式。由第四動式。左手翻腕平放。掌心向上。右手往後圓轉。平舉於西。掌心向上。與右臂東西成一橫線。軀幹順勢向右扭轉。兩脚亦磨轉向右。眼轉視右掌。如第五十六圖。
Continuing from movement 4, your left wrist turns over and the hand extends level, palm facing upward, as your right hand arcs to the rear, raising to be level to the west, palm facing upward, making a horizontal east-west line with your right [left] arm. Your torso goes along with the movement by twisting to the right, your feet also pivoting to the right, your gaze turning to look toward your right palm. See photo 56:

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說明
Description of movement 6:
左右倒攆猴第六動式。由第五動式。右手由西卽轉至右耳邊。向東按掌。同時左脚向後退半步。彎膝。右脚伸直。全身坐於左脚上。左手翻腕下垂。引囘圜轉至左腰間。掌心向東。右脚尖微翹。眼注視東。如第五十七圖。
Continuing from movement 5, your right hand arcs from the west until beside your right ear, then the palm pushes to the east, as your left foot retreats a half step to the rear and the knee bends, your right leg straightening, the weight sitting entirely onto your left leg. At the same time, your left wrist turns over and the hand arcs downward, drawing in to be at the left side of your waist, palm facing to the east, your right toes slightly raised. Your gaze is to the east. See photo 57:

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術解
Remarks on the technique:
此式。兩脚前虛後實。兩臂一往一來。形似車輪。出左手。退右步。左右互換。一虛一實。
In this posture, your feet are front foot empty, rear foot full, and your arms are one going out, one coming in, the shape like a wheel. As your left hand goes out, your right foot retreats, and vice versa, one side emptying, one side filling.

第十七式
Posture 17
術名
Name of the technique:
斜飛式
DIAGONAL FLYING POSTURE
用法
Function:
為轉變進擊之法。
This is a method of switching to an attack.
說明
Description of movement 1:
斜飛式第一動式。由左右倒攆猴第六動式。全身向左扭轉。同時左手由左腰間往西向上圓轉。至左肩前。兩掌心上下相合。如抱圓球。左手心向下。右手心朝上。兩脚亦隨胯轉變左實而右虛。眼視東。如第五十八圖。
Continuing from movement 6 of RETREAT, DRIVING AWAY THE MONKEY, your torso twists to the left as your left hand goes from the left side of your waist, arcing upward to the west to be in front of your left shoulder, [your right hand arcing down in front of your torso,] your palms aligned with each other above and below as though holding a ball, your left palm facing downward, your right palm facing upward. Your feet also go along with the turning of your hips, left foot filling, right foot emptying. Your gaze is to the east. See photo 58:

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說明
Description of movement 2:
斜飛式第二動式。由第一動式。右手旋轉。隨右脚向西南上托。右臂斜向上。左手向東北下按斜向下。同時右脚向西南出一步。彎膝。左脚伸直。眼視西南。如第五十九圖。
Continuing from movement 1, your right hand turns along with your right foot as it steps to the southwest, propping up with the arm angled diagonally upward, your left hand pushing downward to the northeast, palm facing diagonally downward. At the same time, your right foot takes a step out to the southwest and the knee bends, your left leg straightening. Your gaze is to the southwest. See photo 59:

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術解
Remarks on the technique:
此式。設敵人由右側上方進擊。我卽轉身乘其勢之未至。兩臂急用開動。將敵臂上托。或斜擊其身後。塡之以右脚。使敵失去重心。此為反守為攻之法也。
In this posture, if an opponent attacks from above on my right side, I turn around and take advantage of the moment before his attack arrives by quickly using my arms to do an action of opening, either propping up his arm or striking diagonally to his back, stepping into his space with my right foot, causing him to lose his balance. This is a method of switching a defensive position into an offensive one.

第十八式
Posture 18
術名
Name of the technique:
提手
RAISE THE HANDS
用法
Function:
為擠按之法。
This is a method of pressing and pushing.
說明
Description of the movement:
提手第一動式。由斜飛式第二動式。左脚收囘向右脚跟靠攏。同時右脚向西南出半步。左脚彎。右脚伸。脚跟點地。右手內合。手臂成弧形。指與肩齊。左手由後向右臂相合於右肘內。兩手指均向上。眼注視西南。全身坐於左脚上。如第六十圖。
Continuing from movement 2 of DIAGONAL FLYING POSTURE, your left foot gathers in to be close to your right heel, then your right foot takes a half step out to the southwest, your left leg bending, right leg straightening, heel touching down. Your hands are coming together inward, arms making a rounded shape, fingers at shoulder level, your left hand going from the rear and closing in toward the inside of your right elbow, the fingers of both hands pointing upward. Your gaze is to the southwest, the weight sitting fully onto your left leg. See photo 60:

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術解
Remarks on the technique:
此式與第四式同。前式由單鞭而變提手。此式由斜飛式而變。式雖同而啣接處則異。用法亦殊。
This posture is the same as in Posture 4, but in that case transitioning from SINGLE WHIP and in this case transitioning from DIAGONAL FLYING POSTURE. Although the posture is the same, the transition is different, and so the application would also be different.

第十九式
Posture 19
術名
Name of the technique:
白鶴亮翅
WHITE CRANE SHOWS ITS WINGS
用法
Function:
為掤按提捶之法。
This is a method of warding off while pushing away, lifting up while hanging down.
說明
Description of movement 1:
白鶴亮翅第一動式。由提手第一動式。右脚略進半步。磨轉足尖向東南。由虛而變實。左脚隨右脚磨轉。由實而變虛。兩膝稍彎。同時右臂由前圓轉下挂。手心向上。左手隨身旋轉。橫於胸前。掌心向下。如第六十一圖。
Continuing from RAISE THE HANDS, your right foot slightly advances a half step, turning its toes to point to the southeast, and changes from empty to full. Your left foot goes along with your right foot by changing from full to empty. Your knees are slightly bent. At the same time, your right arm goes from in front of you by arcing to hang downward, palm facing upward, as your left hand goes along with the turning of your torso to be horizontal in front of your chest, palm facing downward. See photo 61:

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說明
Description of movement 2:
白鶴亮翅第二動式。由第一動式。腰胯左轉。下坐於右腿上。左脚微曲。脚跟上提。足尖點地。同時右臂由後繞圜半週。上提臂成半圓狀。掌心向下。左臂同時下按。掌心向下。位於左膝前。亦成半弧形。上體順腰胯扭轉。眼平視東南。如第六十二圖。
Continuing from movement 1, your hips turn to the left as you sit down onto your right leg, your left leg slightly bent, heel lifted, toes touching down. At the same time, your right arm arcs a half circle upward from the rear, lifting to make a semicircle shape, palm facing downward, as your left arm pushes down, palm facing downward, to be placed in front of your left knee, also making a semicircle shape, your upper body going along with the twisting of your hips. Your gaze is to the southeast [east]. See photo 62:

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術解
Remarks on the technique:
此式與第五式同。從略。
Same as in Posture 5.

第二十式
Posture 20
術名
Name of the technique:
摟膝拗步
BRUSH KNEE IN A CROSSED STANCE
用法
Function:
為伸縮兩臂活動腰胯之法。
This is a method of developing suppleness in the arms and exercising the hips.
說明
Description of movement 1:
摟膝拗步第一動式。由白鶴亮翅第二動式。軀幹向右擰轉。左脚隨之轉動。兩臂亦因之磨轉。左掌翻腕向上。與右掌相合。兩手如捧圓球。由左往右旋轉。兩臂上下互掉。左臂橫於胸前。而掌近於右膀。右臂下垂。掌心向上。眼亦隨臂之旋轉。如第六十三圖。
Continuing from movement 2 of WHITE CRANE SHOWS ITS WINGS, your torso twists to the right, your left foot and your arms turning along with it, your left palm going upward, wrist turning so your palms are aligned toward each other, your hands as though carrying a ball in an arc from left to right, your arms switching above and below, your left forearm horizontal in front of your chest, palm close to your right upper arm, your right arm hanging down, palm facing upward. Your gaze follows along with the arcing of your arms. See photo 63:

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說明
Description of movement 2:
摟膝拗步第二動式。由第一動式。兩臂如抱球旋轉時。復由右往左旋轉一週。同時左脚向東北出半步。彎膝。右脚卽伸直。同時右手由右耳邊向前平按。指端向上。臂成弧形。左手同時下摟過膝於左腿旁。身轉向東北。眼平視東。如第六十四圖。
Continuing from movement 1, your arms as though holding a ball arc from right to left. While your left foot takes a half step out to the northeast, knee bending, your right leg straightening, your right arm goes from beside your right ear with a level push forward, fingertips pointing upward, the arm making a rounded shape, and your left hand brushes downward past your left knee to be beside the thigh. Your torso is turned to the northeast, your gaze level to the east. See photo 64:

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術解
Remarks on the technique:
此式與第六式同。從略。
Same as in Posture 6.

第二十一式
Posture 21
術名
Name of the technique:
海底針
NEEDLE UNDER THE SEA
用法
Function:
為伸縮腰脊之法。
This develops flexibility in the lower back.
說明
Description of movement 1:
海底針第一動式。由摟膝拗步第二動式。右脚向東滑進半步。左脚卽收囘半步。脚尖點地。同時兩臂隨腰脊收囘於懷中。如第六十五圖。
Continuing from movement 2 of BRUSH KNEE IN A CROSSED STANCE, your right foot slides forward a half step to the east and your left foot withdraws a half step, toes touching down, as your arms go along with your lower back by withdrawing toward your chest. See photo 65:

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復向前斜下指右。手指尖斜向前。掌心向左。左掌護於右掌心向下。眼平視前。如第六十六圖。
Then incline forward and diagonally downward, your right fingers pointing diagonally forward, palm facing to the left, your left hand guarding at your right [arm], palm facing downward. Your gaze is forward and level. See photo 66:

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術解
Remarks on the technique:
此式腰脊雖彎。內心注意直立。亦不可過於俯屈。至失本旨。全體重心坐於右腿上。又此式圖分其一其二。動作則聯。
Although your back is bending, inwardly focus on straightening. You must not bend over too far, which would ruin the technique. The weight is sitting onto your right leg. This posture may be divided into two movements, but the movement from one to the other is continuous.

第二十二式
Posture 22
術名
Name of the technique:
肩通臂
SHOULDER THROUGH THE ARM
用法
Function:
為練肩背之力通於臂指之法。
This is a method of training power in your upper back to go through your arm and fingers.
說明
Description of movement 1:
肩通臂第一動式。由海底針其二動式。兩脚原位不動。兩臂收囘於懷中。上體稍向右扭轉。腰背拔起。隨兩臂作蓄勢待發之狀。如第六十七圖。
Continuing from NEEDLE UNDER THE SEA, your feet not moving from their location, your arms withdraw toward your chest, your upper body slightly turning to the right as your back pulls up, going along with your arms as they make a posture of storing and waiting to issue. See photo 67:

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說明
Description of movement 2:
肩通臂第二動式。由第一動式。右脚不動。左脚向東南出半步。彎膝。右脚同時伸直。兩臂隨腰腿向東南推出。右掌位於額前。左掌乘勢向左上角按出。兩掌心向前。指尖均向東南。眼視左掌。如第六十八圖。
Continuing from movement 1, your right foot stays where it is as your left foot takes a half step out to the southeast, the knee bending, your right leg straightening. Your arms go along with your waist and legs by pushing out to the southeast, your right palm positioned in front of your forehead, your left palm taking advantage of the opportunity to push out to the upper left corner, both palms facing forward, fingertips pointing toward the southeast. Your gaze is toward your left palm. See photo 68:

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術解
Remarks on the technique:
此式。練習肩背之力通於指臂。遇敵襲擊。出掌以制之。演式時。兩臂如一。兩掌之力。由腰胯以及肩肘。力貫於手掌。
In this posture, train power from your upper back to go through your arm and surprise the opponent, emitting from your palm to control him. When performing this posture, let your two arms function as one. The power in your palms comes from your hips as well as the shoulder and elbow. Power courses through to the palm.

第二十三式
Posture 23
術名
Name of the technique:
撇身捶
TORSO-FLUNG PUNCH
用法
Function:
為閃身撇捶法。
This is a method of evading and flinging out a punch.
說明
Description of movement 1:
撇身捶第一動式。由肩通臂第二動式。右脚磨轉向南。全身仍坐於左腿。左臂曲肘。繞轉向南。掌心向外。右臂曲肘轉向西。掌卽握拳。拳心向下。眼轉視西。如第六十九圖。
Continuing from movement 2 of SHOULDER THROUGH THE ARM, your right foot pivots toward the south, the weight still sitting onto your left leg, as your left elbow bends, the arm arcing to the south, palm facing outward, and your right elbow bends, the arm arcing to the west, the palm grasping into a fist, the center of the fist facing downward. Your gaze is turned to the west. See photo 69:

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說明
Description of movement 2:
撇身捶第二動式。由第一動式。右脚卽向西北出一步。同時腰胯向右扭轉。右膝隨之而轉。左脚伸直。右手握拳隨腰圓轉。卽以肘為軸。繞轉一週向西撇。拳心向上。收藏於右腰間。左掌同時繞右拳上。往西按出。本身坐於右腿上。眼視西。如第七十圖。
Continuing from movement 1, your right foot takes a step out to the northwest, your hips twisting to the right, your right knee turning along with them, your left leg straightening. Your right fist goes along with the turning of your waist by rotating at the elbow to arc through a full circle, first flinging to the west, the center of the fist facing upward, then gathering in to be stored at the right side of your waist, as your left palm arcs over your right fist and pushes out to the west. The weight sitting onto your right leg, your gaze is to the west. See photo 70:

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術解
Remarks on the technique:
此式為靈活腰胯。閃轉反撇。以防敵襲。閃身以化敵。探掌以擊敵。此為應用之法也。
This posture works the nimbleness of the hips, turning and flinging out a backfist to prevent the opponent’s attack. The method of applying the technique is to use the evasive turn to neutralize him and the reaching palm to strike him.

第二十四式
Posture 24
術名
Name of the technique:
上步搬攔捶
STEP FORWARD, PARRY, BLOCK, PUNCH
用法
Function:
為進步化敵擊敵法。
This is a method of advancing to neutralize and strike the opponent.
說明
Description of movement 1:
上步搬攔捶第一動式。由撇身捶第二動式。右臂由腰間擡起。捶卽變掌。掌心向下。同時左臂翻腕。掌心向上。兩掌心相對如捧物然。向懷中捋回。同時腰胯扭轉坐於左腿上。右脚由彎而直。左脚由直而彎。眼平視。如第七十一圖。
Continuing from movement 2 of TORSO-FLUNG PUNCH, your right arm lifts from your waist, the fist becoming a palm, the palm facing downward, as your left wrist rotates so the palm is facing upward, your palms aligning with each other, as though carrying an object, and doing a rollback toward your chest. At the same time, your hips twist and you sit onto your left leg, your right leg going from bent to straight, your left leg going from straight to bent. Your gaze is level. See photo 71:

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說明
Description of movement 2:
上步搬攔捶第二動式。由第一動式。兩掌由懷中向左前下方圓轉。同時軀幹向左旋轉。右脚提起。脚尖卽向西北撇。踏實。同時軀幹向右扭轉於右腿上。左脚尖磨轉。膝持於右腿後。兩膝稍彎。同時右掌變拳。以肘尖為軸。自左至右旋轉一週。卽搬至右腰間。同時左掌護持右臂。旋轉卽向西平按。眼平視西。如第七十二圖。
Continuing from movement 1, your palms arc downward from your chest to the forward left, your torso turning to the left. Then your right foot lifts, toes swinging out to the northwest, and comes down fully, your torso twisting to the right and going onto your right leg, your left toes pivoting so the knee braces behind your right knee, both knees slightly bent, as your right fist becomes a palm and rotates from the elbow, moving in an arc from left to right, parrying until at the right side of your waist, your left palm guarding at your right arm, rotating into a level push to the west. Your gaze is level to the west. See photo 72:

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說明
Description of movement 3:
上步搬攔捶第三動式。由第二動式。左脚卽向西出一步。踏實。同時右脚伸直成左弓右箭式。同時右肘後引。拳復卽向西沿左掌衝出。左掌卽護持右臂。同時軀幹由右向左扭轉。眼平視西。如第七十三圖。
Continuing from movement 2, your left foot takes a step out to the west, coming down fully, your right leg straightening, making a stance of left leg a bow, right leg an arrow. At the same time, your right elbow draws back and then the fist thrusts out to the west along your left palm, which guards at your right arm, your torso twisting from right to left. Your gaze is level to the west. See photo 73:

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術解
Remarks on the technique:
此式與第十式進步搬攔捶同。惟第十式動式分為四動。前式由手揮琵琶啣接。此式由撇身捶啣接。動式因之減少。故成三動。
This posture is the same as in Posture 10, except in that case it is divided into four movements, because it transitions from PLAY THE LUTE, whereas in this case it transitions from TORSO-FLUNG PUNCH, and as a result it has only three movements.

第二十五式
Posture 25
術名
Name of the technique:
進步攬雀尾
ADVANCE, CATCH THE SPARROW BY THE TAIL
用法
Function:
為轉變啣接之法。
This is a method of transitioning.
說明
Description of movement 1:
進步攬雀尾第一動式。由上步搬攔捶第三動式。右脚向西進一步。踏實。彎膝。全身坐於右腿上。左脚卽伸直。同時右拳鬆開。變掌翻腕。手心向下。左臂伸直。手心朝上。兩手姿勢如接球狀。眼注視西。如第七十四圖。
Continuing from movement 3 of STEP FORWARD, PARRY, BLOCK, PUNCH, your right foot advances a step to the west and comes down fully, the knee bending, the weight sitting onto your right leg, your left leg straightening. At the same time, your right fist loosens and becomes a palm, the wrist turning so the palm is facing downward, your left arm extending, palm facing upward, your hands as though catching a ball. Your gaze is to the west. See photo 74:

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說明
Description of movement 2:
進步攬雀尾第二動式。由第一動式。兩臂同時往懷中捋。卽向左圓轉。同時右脚伸直。左脚彎曲。腰胯同時向左扭轉。兩臂隨身軀轉動。同時上擡右臂。平舉於胸前成弧形。掌心內向。左臂翻腕。左手心與右手心相對。肘尖下墜。軀幹轉向正東。眼注視東。如第七十五圖。
Continuing from movement 1, your arms do a rollback toward your chest, arcing to the left, your right leg straightening, left leg bending. At the same time, your hips twist to the left, your arms going along with the turning of your torso, your right arm lifting to be raised level in front of your chest, making a rounded shape, palm facing inward, your left wrist turning so your palms are aligned with each other, elbows dropped. Your torso is turned to be facing to the east, your gaze to the east. See photo 75:

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說明
Description of movement 3:
進步攬雀尾第三動式。由第二動式。腰胯扭轉向右。同時左脚伸直。右脚彎曲。兩臂同時順身勢向西掤擠。兩手仍如捧物狀。右臂橫舉於右肩前成半月形。左臂彎懸於胸前。眼注視西南。如第七十六圖。
Continuing from movement 2, your hips twist to the right, your left leg straightening, right leg bending, as your hands go along with your body by warding off and pressing to the west, your hands still as though carrying an object, your right arm raised horizontally in front of your right shoulder, making a half moon shape, your left arm bent and hanging in front of your chest. Your gaze is to the southwest. See photo 76:

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說明
Description of movement 4:
進步攬雀尾第四動式。由第三動式。腰胯往後吞。含胸拔背。同時右脚伸直。左脚彎曲。全身坐實於左腿上。兩手同時向左右撥開。卽隨身往後吞。兩手翻腕。兩手心正向西南。手指分向左右。斜向上成月彎形。須沉肩墜肘。眼平視西南。如第七十七圖。
Continuing from movement 3, your hips absorb to the rear as you contain your chest and pluck up your back, your right leg straightening, left leg bending, the weight sitting fully onto your left leg. At the same time, your hands deflect away to the sides, going along with the withdrawing of your torso, your wrists turning so that the palms are facing to the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. You have to sink your shoulders and drop your elbows. Your gaze is still to the southwest. See photo 77:

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說明
Description of movement 5:
進步攬雀尾第五動式。由第四動式。身向西南。吐出兩手。同時隨身向西南推按。如按物然。手指仰向前。兩臂平行與肩等。沉肩墜肘。彎成半月形。兩脚亦隨腰胯向前吐。右脚由伸而彎。左脚由彎而伸。成右弓勢。眼注視西南。如第七十八圖。
Continuing from movement 4, your torso sends out to the southwest, your hands going along with it by pushing to the southwest, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of your hips, your right leg going from straight to bent, your left leg going from bent to straight, making a right bow stance. Your gaze is to the southwest. See photo 78:

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說明
Description of movement 6:
進步攬雀尾第六動式。由第五動式。兩手腕下彎。同時腰胯向左扭轉。兩臂順勢向左平捋。兩手似伸非伸。似曲非曲。形成各個弧形。臂與肩平。同時左脚由直而變曲。右脚由曲而直伸。成左弓勢。眼注視東。如第七十九圖。
Continuing from movement 5, your wrists bend downward as your hips twist to the left, your arms going along with the movement by doing a rollback across to the left, seeming straight but not straight, bent but not bent, each making rounded shapes at shoulder level. At the same time, your left leg switches from straight to bent and your right leg goes from bent to straight, making a left bow stance. Your gaze is to the east. See photo 79:

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術解
Remarks on the technique:
此式與第二式雖同。而啣接處略殊。以起手為進步攬雀尾。餘均同。從略。
Same as in Posture 2, but the transition is slightly different. The first movement turns it into ADVANCE, CATCH THE SPARROW, but the rest is the same.

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太極拳第二段路線圖由東至中央
Route of Segment Two: traveling from the east to the center line

South

East   東 + 西  West
中央起點綫
Starting point on the center line

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

抱虎歸山
13. CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
斜步攬雀尾
14. DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
肘底看捶
15. GUARDING PUNCH UNDER ELBOW
左右倒攆猴
16. LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
斜飛式
17. DIAGONAL FLYING POSTURE
提手
18. RAISE THE HANDS
白鶴亮翅
19. WHITE CRANE SHOWS ITS WINGS
摟膝拗步
20. BRUSH KNEE IN A CROSSED STANCE
海底針
21. NEEDLE UNDER THE SEA
肩通臂
22. SHOULDER THROUGH THE ARM
撇身捶
23. TORSO-FLUNG PUNCH
上步搬攔捶
24. STEP FORWARD, PARRY, BLOCK, PUNCH
攬雀尾
25. CATCH THE SPARROW BY THE TAIL

第三段 式數三 動數十一
SEGMENT THREE – three postures / eleven movements

第二十六式
Posture 26
術名
Name of the technique:
單鞭
SINGLE WHIP
用法
Function:
為勾摟按掌之法。
This is a method of pulling in with a hook and pushing with a palm.
說明
Description of movement 1:
單鞭第一動式。由進步攬雀尾第六動式。腰胯復由左向右扭轉。右臂由左外方向右平摟一週。卽向右平舉。掌變勾手。左手垂下。由左下方繞圜一週。掌卽向上抄至右腰間。右脚由直變立。左脚由彎變懸空。成直立勢。眼注視西。如第八十圖。
Continuing from movement 6 of ADVANCE, CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the right, your right arm pulls from outward on the left into a level circle to the right, the palm changing to a hook hand raised level to the right, as your left hand hangs down and arcs from the lower left, the palm scooping up until at your right ribs. Your right leg switches from straightening to standing and your left leg switches from bending to hanging, making a posture of standing [one-legged]. Your gaze is to the west. See photo 80:

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說明
Description of movement 2:
單鞭第二動式。由第一動式。右臂仍平舉於右。同時左掌由右腰間經右肩前。手指向上。翻腕。卽向東緩緩伸出。按掌。同時左脚卽向東進步。成左弓右箭步。腰胯隨身勢向左扭轉。眼注視東。如第八十一圖。
Continuing from movement 1, your right arm remains raised level to the right as your left palm goes from the right side of your waist to pass in front of your right shoulder, fingers pointing upward, wrist turned, then slowly reaches out to the east as a pushing palm. At the same time, your left foot steps forward to the east, making a stance of left leg a bow, right leg an arrow, your hips going along with the movement of your body by twisting to the left. Your gaze is to the east. See photo 81:

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術解
Remarks on the technique:
此式與第三式同。從略。
Same as in Posture 3.

第二十七式
Posture 27
術名
Name of the technique:
左右抎手
LEFT & RIGHT CLOUDING HANDS
用法
Function:
為化敵護身之法。
This is a method of neutralizing the opponent and shielding the body.
說明
Description of movement 1:
左右抎手第一動式。由單鞭第二動式。右勾手鬆開變掌。手往下垂。隨腰往左圓轉一週。轉至左肩前。手心轉向內。同時右脚隨右臂向東移半步。足尖點地與左脚相靠。左手同時鬆開。翻腕。手心向下。隨腰往下向右圓轉。轉至小腹前。掌心向上。眼平視。如第八十二圖。
Continuing from movement 2 of SINGLE WHIP, your right hook hand loosens and becomes a palm, and the hand sinks down and goes along with your waist by arcing to the left until in front of your left shoulder, palm turned to face inward, as your right foot goes along with your right arm by shifting a half step to the east, toes touching down close to your left foot. Then your left hand loosens, the wrist turning over so the palm is facing downward, and goes along with your waist by lowering and arcing to the right until in front of your lower abdomen, palm facing upward. Your gaze is level. See photo 82:

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說明
Description of movement 2:
左右抎手第二動式。由第一動式。軀幹卽向右扭轉。兩臂隨軀幹旋轉。手心仍向內。兩脚尖同時向右磨轉。兩膝微彎。眼平視西。如第八十三圖。
Continuing from movement 1, your torso twists to the right, your arms going along with your torso, palms still facing inward, as the toes of both feet turn to the right, your knees slightly bent. Your gaze is to the west. See photo 83:

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說明
Description of movement 3:
左右抎手第三動式。由第二動式。左脚向東橫一步。身軀卽扭轉坐於左脚上。同時左手由右下方經右側繞轉至左肩前。手心內向。右手由前繞轉一週。抎至腹前。兩膝稍彎。眼平視。如第八十四圖。
Continuing from movement 2, your left foot takes a sideways step to the east and your torso twists to sit onto your left foot. At the same time, your left hand goes from the lower right, passes along your right side, and arcs until in front of your left shoulder, palm facing inward, as your right hand arcs from in front of you, clouding until in front of your abdomen. Your knees are slightly bent. Your gaze is level. See photo 84:

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說明
Description of movement 4:
左右抎手第四動式。由第三動式。軀幹向左扭轉。同時左手由肩前隨身旋轉。向上繞轉。抎至左肩前。掌心向內。同時右脚向左脚靠近。脚尖點地。兩膝稍彎。眼平視。如第八十五圖。
Continuing from movement 3, your torso twists to the left as your left [right] hand goes from in front of your shoulder [abdomen], going along with your torso by arcing upward, clouding until in front of your left shoulder, palm facing inward, [and your left hand goes from above, arcing until in front of the left side of your abdomen.] At the same time, your right foot goes close to your left foot, toes touching down, and your knees are slightly bent. Your gaze is level. See photo 85:

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說明
Description of movement 5:
左右抎手第五動式。由第四動式。軀幹復向右扭轉。兩臂隨軀幹旋轉。膝仍彎。眼平視。如第八十六圖。
Continuing from movement 4, your torso twists to the right, your arms going along with your torso, your knees staying bent. Your gaze is level. See photo 86:

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說明
Description of movement 6:
左右抎手第六動式。由第五動式。左脚向東橫一步。軀幹卽扭轉坐於左脚上。兩膝稍彎。同時左手由下方繞轉。經右側至左肩前。手心向內。同時右手由前繞轉一週。抎至腹前。眼平視。如第八十七圖。
Continuing from movement 5, your left foot takes a sideways step to the east, your torso twists to sit onto your left foot, your knees slightly bent. At the same time, your left hand arcs from below, passing along your right side, until in front of your left shoulder, palm facing inward, as your right hand arcs from in front of you, clouding until in front of your abdomen. Your gaze is level. See photo 87:

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說明
Description of movement 7:
左右抎手第七動式。由第六動式。軀幹向左扭轉。同時左手由肩前隨身繞轉。向下抎至腹前。右手由腹前經左側旋轉繞圜。向上抎至左肩前。掌心向內。同時右脚向左脚靠近。脚尖點地。兩膝稍彎。眼平視。如第八十八圖。
Continuing from movement 6, your torso twists to the left as your left hand goes from in front of your shoulder, going along with your torso by arcing downward, clouding until in front of your abdomen, as your right hand goes from in front of your abdomen, passing along your left side, arcing upward, clouding until in front of your left shoulder, palm facing inward. At the same time, your right foot goes close to your left foot, toes touching down, and your knees are slightly bent. Your gaze is level. See photo 88:

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說明
Description of movement 8:
左右抎手第八動式。由第七動式。軀幹復向右扭轉。兩臂隨軀幹旋轉。手心仍向內。兩脚同時磨轉向右。膝仍彎。眼平視。如第八十九圖。
Continuing from movement 7, your torso twists to the right, your arms going along with your torso, palms still facing inward, as the toes of both feet turn to the right, your knees staying bent. Your gaze is level. See photo 89:

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術解
Remarks on the technique:
此式兩手圓轉如車輪。腰胯如轉軸。左手圓至右肩前。則右手伸直。右手至左肩前。左手伸直。抎右手。眼神與腰隨往右。抎左手。眼神隨往左。抎左手坐左腿。抎右手坐右腿。按此式。全套太極拳中有三次重複演習。惟第一次與第三次均係一式中抎三次。惟第二次中須重演在四次者。其因係野馬分鬃為四偶。則以抎手為四。正以成之。前後二次抎手各三次者。係配倒攆猴之數也。以及均匀步位之法。學斯道者。宜細心研究之也。
In this posture, your hands circle like wheels, your hips like an axle. As your left hand circles to be in front of your right shoulder, your right hand extends, and as your right hand circles to be in front of your left shoulder, your left hand extends. When clouding with your right hand, your gaze goes along with your waist to the right, and when clouding with your left hand, your gaze goes along with your waist to the left. When clouding with your left hand, sit onto your left leg, and when clouding with your right hand, sit onto your right leg.
     In the entire set, this posture gets repeated to be performed three times. However, in the first and third performances of the posture the clouding is done three times, whereas in the second it has to be done four times. The purpose of this is to keep it consistent with the WILD HORSE, which veers its mane four times, and thus there is a clouding happening four times to correspond well with it. The other two occasions of CLOUDING HANDS, prior to and later than the second one, each do three cloudings to match the count of steps [three] in RETREAT, DRIVING AWAY THE MONKEY. When learning this set, pay close attention to this feature.

第二十八式
Posture 28
術名
Name of the technique:
單鞭
SINGLE WHIP
用法
Function:
為轉變啣接之法。
This is a method of transitioning.
說明
Description of movement 2:
單鞭第一動式。由左右抎手第八動式。右小臂翻腕下弔。由上往下圓轉一週。向右平舉。掌成勾手。同時左手由腰間圓轉至右肩前。掌心翻轉向左。指尖向上。卽向東緩緩伸出。按掌。同時左腿提起。隨左手向東出一步。腰胯隨身勢扭轉向左。眼視左掌。如第九十圖。
Continuing from movement 8 of CLOUDING HANDS, your right forearm rotates for the hand to hang down in an arc going downward from above, and raises level to the right, the palm becoming a hook hand, and your left hand arcs from your waist until in front of your right shoulder, palm turned to be facing to the left, fingertips pointing upward, then slowly reaches out to the east as a pushing palm. At the same time, your left leg lifts and goes along with your left hand by taking a step out to the east, your hips going along with the movement of your body by twisting to the left. Your gaze is toward your left palm. See photo 90:

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術解
Remarks on the technique:
此式與第三式同。惟啣接處殊。動作亦異。
Same as in Posture 3, except the transition is different.

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太極拳第三段路線圖由中至東
Route of Segment Three: traveling from the center line to the east

South

East   東 + 西  West
中央起點線
Starting point on the center line

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

單鞭
26. SINGLE WHIP
左右抎手
27. LEFT & RIGHT CLOUDING HANDS
單鞭
28. SINGLE WHIP

第四段 式數五 動數十一
SEGMENT FOUR – five postures / eleven movements

第二十九式
Posture 29
術名
Name of the technique:
高探馬
RISING UP AND REACHING OUT TO THE HORSE
用法
Function:
為縮步聳身化敵法。
This is a method of withdrawing a step and raising your body to neutralizing the opponent.
說明
Description of the movement:
高探馬第一動式。由單鞭第一動式。右手由右後方上圓轉。經右耳邊向東探出。掌心朝下。同時腰胯向左扭轉。左手隨腰轉。收囘置於左脅下。手心朝上。同時右脚往前活步。脚掌向左磨轉。膝稍彎。左脚收囘。足尖點地。腿伸直。腰胯下沉。身轉向東。眼平視。如第九十一圖。
Continuing from SINGLE WHIP, your right hand arcs upward from the right rear, passes beside your right ear, and reaches out to the east, palm facing downward, as your hips twist to the left, your left hand going along with your waist by withdrawing to be placed below your left ribs, palm facing upward. At the same time, your right foot takes a lively step forward, the ball of the foot turning to the left, knee slightly bent, and your left foot withdraws, toes touching down, the leg straightening, your hips sinking down, your torso turning to the east. Your gaze is level. See photo 91:

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術解
Remarks on the technique:
此式兩臂一伸一縮。是為術之運用。左右兩臂互相伸縮。為探敵之法。聳身縮步。吞吐並用。卽為攻守變化之妙。此所謂探馬試騎之意也。
In this posture, one arm extending as the other withdraws supplies the use of the technique. Your arms extend and withdraw in unison, a method of reaching out toward the opponent. In raising your body and withdrawing a step, absorbing and shooting out at the same time, the key lies in the transformation between attacking and defending. The idea in the posture is of a rider examining a saddle.

第三十式
Posture 30
術名
Name of the technique:
左右分脚
KICKING TO THE LEFT & RIGHT
用法
Function:
為反踢腿法。
This is a method of reversing a situation by way of a kick.
說明
Description of movement 1:
左右分脚第一動式。由高探馬第一動式。左脚向西北斜後出半步。腿伸直。右膝仍彎。同時左手向東南上斜伸。掌心向下。右手同時翻轉。掌心朝上。兩掌相合如捧球然。捋式如第九十二圖其一。
Continuing from REACHING OUT TO THE HORSE, your left foot steps out diagonally to the northwest and the leg straightens, your right knee still bent, as your left hand extends diagonally upward to the southeast, palm facing downward, your right hand turning over so the palm is facing upward, your palms closing in toward each other as though carrying a ball, as in the rollback posture. See photo 92:

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同時腰胯向西北扭轉。左膝彎。右脚向左脚處收囘。膝下彎。脚尖點地。同時兩臂向懷中攄。復向上提。兩手成交叉於胸前。掌心微向內。眼視東南。身向東北。如第九十三圖其二。
Then your hips twist to the northwest, your left knee bending, your right foot gathering in to be by your left foot, the knee bending downward, toes touching down. At the same time, your arms do a rollback toward your chest, then lift up, hands crossed in front of your chest, palms facing slightly inward. Your gaze is to the northeast, your torso facing to the northeast. See photo 93:

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說明
Description of movement 2:
左右分脚第二動式。由第一動式。兩臂徐徐向左右平推。掌心內向。同時左脚直立。右腿上提。俟平時。卽向東南分脚。脚平舉於右。脚尖向下。惟兩臂與右脚動作。同時向左右撑開。右臂平舉於右。左臂向上舉於西北。掌心向外。身體亦同時緩緩直立。仍東北。眼注視右脚。如第九十四圖。
Continuing from movement 1, your arms slowly push out to the left and right, palms facing inward, as your left leg slowly straightens to be standing and your right leg lifts, and once level, the foot spreads away to the southeast, flattened out and raised to the right, toes pointing downward. At the same time, your arms are bracing open to the left and right, right arm raised level to the right, left arm raised above to the northwest, palms facing outward. Your torso is slowly straightening up, facing to the northeast, your gaze toward your right foot. See photo 94:

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說明
Description of movement 3:
左右分脚第三動式。由第二動式。右脚向右後繞轉。卽落於西南。腿仍直。左膝下彎。同時兩臂向左上方往下雙繞圜。手心相對成捋式第九十五圖其一。
Continuing from movement 2, your right foot arcs to the right rear, coming down to the southwest, the leg still straight, your left knee bending downward, as your arms go to the upper left and then arc downward together, palms aligned toward each other, making a rollback posture. See photo 95:

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同時腰胯向右扭轉。右脚掌卽向右磨轉。左脚卽向右腿處收囘。脚尖點地。左右兩膝仍微下彎。同時兩臂隨身轉動。復向上圜抱。兩手交叉於胸前。掌心微向內。身向南。眼視東。如第九十六圖。
Then your hips twist to the right, your right foot pivoting to the right, your left foot gathering in toward your right foot, toes touching down, both legs again slightly bending downward. At the same time, your arms go along with the turning of your body, then go upward with a rounded embrace, hands crossed in front of your chest, palms facing slightly inward. Your torso is facing to the south, your gaze to the east. See photo 96:

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說明
Description of movement 4:
左右分脚第四動式。由第三動式。右脚徐徐直立。同時左腿提平。卽向東分脚。脚尖向地。兩臂與脚同時緩緩向左右推開。掌心微向內。左臂平舉。右臂斜上舉。掌心向外。身向正南。眼視正東。如第九十七圖。
Continuing from movement 3, your right leg slowly straightens to be standing as your left leg lifts to be level and the foot spreads away to the east, toes pointing toward the ground. At the same time, your arms slowly push open to the left and right, palms facing slightly inward, left arm raised level, right arm raised diagonally above, palms facing outward. Your torso is facing to the south, your gaze to the east. See photo 97:

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術解
Remarks on the technique:
此式為應對前後被敵襲擊。於是以手應敵。以脚擊敵之脅部。手足齊發。使敵上下不能兼顧。則勝算在我也。
This posture is for responding to sudden attacks from opponents forward and behind. I use a hand to meet an opponent while using a foot to strike to his ribs, hand and foot issuing in unison, causing him to be unable to deal with what is happening above and below at the same time, ensuring victory to me.

第三十一式
Posture 31
術名
Name of the technique:
轉身蹬脚
TURN AROUND, PRESSING KICK
用法
Function:
為囘身却敵之法。
This is a method of turning around to drive away an opponent.
說明
Description of movement 1:
轉身蹬脚第一動式。由左右分脚第四動式。左脚向左後擺。同時右脚掌左向後磨轉一百八十度。左脚尖點地。兩膝微彎。同時兩臂高舉。復分向左右繞圜下落。經身前交叉。後向上提交叉於胸前。身向正北。眼視西。如第九十八圖。
Continuing from movement 4 of KICK TO THE LEFT & RIGHT, your left foot swings to the left rear as your right foot turns a hundred and eighty degrees to the left rear, your left toes touching down, both knees slightly bent. At the same time, your arms raise high, then spread apart to the left and right, arcing downward, passing in front of your body, crossing, and lift up crossed in front of your chest. Your torso is facing to the north, your gaze to the west. See photo 98:

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說明
Description of movement 2:
轉身蹬脚第二動式。由第一動式。左脚提平。右脚伸直。兩臂同時徐徐向左右推開。同時左脚向西蹬出。脚尖向上。以脚底乘機蹬敵脅部。兩臂架住敵手。身仍向北。眼視正西。如第九十九圖。
Continuing from movement 1, your left thigh lifts to be level, your right leg straightening, then your arms push away to the left and right as your left foot presses out to the west, toes pointing upward, the sole of the foot seizing the chance to press to the opponent’s ribs, your arms propping away his hands. Your torso is still facing to the north, your gaze to the west. See photo 99:

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術解
Remarks on the technique:
此式為敵由後襲擊。轉身應敵。以手纏住敵手。乘機以脚擊敵中部。或敵襲前。則我閃後。此為避實擊虛之法也。
In this posture, if an opponent suddenly attacks from behind, I turn around to deal with him, using my [left] hand to coil around his hand and taking advantage of the opportunity to kick to his midsection. Or if he attacks in front, I dodge to the rear. This is an example of “avoiding the full and attacking the empty” [Art of War, chapter 6].

第三十二式
Posture 32
術名
Name of the technique:
左右摟膝拗步
LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
用法
Function:
為架格擊敵法。
This is a method of blocking and striking the opponent.
說明
Description of movement 1:
左右摟膝拗步第一動式。由轉身蹬脚第二動式。左脚向西南落地。同時左手收囘橫於右肩前。掌心向下。右手隨卽翻轉。掌心向上。兩手心上下相照如捧圓球。同時腰胯向左扭轉。右膝彎。右脚直。左手由肩前往下。向左膝前按摟至左腿旁。右手由後往上。經右耳前向西推按。兩手臂均成弧形。身向西。眼平視。如第一百圖。
Continuing from movement 2 of TURN AROUND, PRESSING KICK, your left foot comes down to the southwest as your left hand withdraws to be horizontal in front of your right shoulder, palm facing downward, your right hand arcing and turning so the palm is facing upward, your palms aligning with each other above and below as though carrying a ball. Then your hips twist to the left, your right [left] knee bending, your right leg straightening, as your left hand goes from in front of your shoulder, downward in front of your left knee, pushing down and brushing until beside the thigh, your right arm arcing upward from behind, passing in front of your right ear, and pushing to the west, your arms making a rounded shape. Your torso is facing to the west, your gaze level. See photo 100:

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說明
Description of movement 2:
左右摟膝拗步第二動式。由第一動式。軀幹向左擰轉。同時兩手翻腕。右臂平橫於胸前。掌心向下橫於左肩前。左臂懸於左脅旁。手心朝上。兩手心上下相對如抱太極。兩臂順軀幹擰轉向左攄。身偏西南。眼視西。如第一百零一圖。
Continuing from movement 1, your torso twists to the left, your wrists turning, your right arm going across in front of your chest, palm facing downward, horizontal in front of your left shoulder, your left arm hanging beside your left ribs, palm facing upward, your palms aligning with each other above and below as though holding a taiji symbol, your arms going along with the twisting of your torso by rolling back to the left. Your torso is inclined to the southwest, your gaze to the west. See photo 101:

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說明
Description of movement 3:
左右摟膝拗步第三動式。由第二動式。右脚向西北出一步。膝彎成九十度。左脚伸直成前弓後箭式。同時腰胯向右後轉。右臂由胸前往下按。摟過右膝前置右腿旁。掌心向下。左臂由下往後繞。經左耳前往西推按。兩臂均成弧形。身與眼俱向正西。如第一百零二圖。
Continuing from movement 2, your right foot takes a step out to the northwest and the knee bends to almost a ninety-degree angle, your left leg straightening, making a stance of front leg a bow, rear leg an arrow. At the same time, your hips turn to the right rear, your right arm pushing down from in front of your chest, brushing past the front of your right knee to be placed beside the thigh, palm facing downward, as your left arm arcs from below, passing in front of your left ear, and pushing to the west, your arms making a rounded shape. Your torso and gaze are both directed to the west. See photo 102:

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術解
Remarks on the technique:
此式與第六式及第八式皆同。惟方向與承上式之不同。而其要點俱見前條。從略。
Same as in Postures 6 and 8, except the direction and preceding posture is different. The essential points are all the same as before, and so are not repeated here.

第三十三式
Posture 33
術名
Name of the technique:
進步栽捶
ADVANCE, PLANTING PUNCH
用法
Function:
化敵突擊法。
This is a method of neutralizing the opponent and suddenly attacking.
說明
Description of the movement:
進步栽捶第一動式。由左右摟膝拗步第三動式。左脚由西南向西出一步。成前弓後箭式。右脚由彎而直。左膝由直變彎。同時左臂收囘。虎口正對於右肩前。隨卽緩緩往左膝前下摟按。同時右臂翻腕收囘於腰間。隨卽捲拳徐徐往左腹前斜下栽捶。身向正西。視拳。如第一百零三圖。
Continuing from movement 3 of BRUSH KNEE IN A CROSSED STANCE, your left foot takes a step out from the southwest to the west, making a stance of front leg a bow, rear leg an arrow, your right leg going from bent to straight, your left leg going from straight to bent. At the same time, your left arm withdraws so the tiger’s mouth is in front of your right shoulder then slowly goes in front of your left knee, brushing and pushing downward, as your right arm withdraws to your waist, wrist turning, then curls up a fist and slowly goes forward and diagonally downward with a planting punch. Your torso is facing to the west, your gaze toward your fist. See photo 103:

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術解
Remarks on the technique:
譬如敵擊我前胸。我以左手摟開。卽以右拳還擊之。
If an opponent strikes to my chest, I use my left hand to brush it aside and my right fist to return a strike.

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太極拳第四段路線圖由東至西
Route of Segment Four: traveling from the east to the west

South

East   東 + 西  West

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

高探馬
29. RISING UP AND REACHING OUT TO THE HORSE
左右分腳
30. KICKING TO THE LEFT & RIGHT
轉身蹬腳
31. TURN AROUND, PRESSING KICK
左右摟膝拗步
32. LEFT & RIGHT BRUSH KNEE IN A CROSSED STANCE
進步栽捶
33. ADVANCE, PLANTING PUNCH

第五段 式數十一 動數二十一
SEGMENT FIVE – eleven postures / twenty-one movements

第三十四式
Posture 34
術名
Name of the technique:
翻身白蛇吐信
TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE
用法
Function:
此式為首尾相應之法。
This is a method of “head and tail responding together”.
說明
Description of the movement:
翻身白蛇吐信第一動式。由進步栽捶第一動式。兩脚原位不變。左胯下坐。腰向右轉。翻身向北。面向東。眼平視。同時右拳翻腕上提平屈於右肩前。左臂由前上高舉於左前上方。臂彎成弧形。掌心向外。如第一百零四圖。
Continuing from ADVANCE, PLANTING PUNCH, your feet not moving from their location, your left hip sits down, your waist turning to the right, your torso turning to the north, your face looking to the east, your gaze level. At the same time, your right wrist turns [so the center of the fist is facing downward] as the arm lifts up to be bent level in front of your chest, your left arm going from in front of you, raising high to be in front of you to the upper left, the arm bending to make a round shape, the palm facing outward. See photo 104:

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術解
Remarks on the technique:
此式為承起變化之式。假如敵襲我之後。我卽翻身掉首以應之。此所謂常山之蛇。擊尾則首應是也。
This is a posture of continuing transformation. If an opponent suddenly attacks from behind me, I turn around, turning my gaze to deal with it. This is described as the “snake of Mt. Chang” [Art of War, chapter 11] – “Strike its tail, its head responds…”

第三十五式
Posture 35
術名
Name of the technique:
上步搬攔捶
STEP FORWARD, PARRY, BLOCK, PUNCH
用法
Function:
此式為搬攔化敵法。
This is a method of parrying and blocking to neutralize the opponent.
說明
Description of movement 1:
上步搬攔捶第一動式。由白蛇吐信第一動式。右脚提起。脚心向東撇。脚尖朝南落地。同時左脚掌向左磨轉。兩膝稍彎。右膝在前。左膝在右腿後。同時軀幹向右扭轉。右肘由下往上翻轉。拳心向上。鬆肩。右臂往後抽囘於腰間。左手隨卽下按。外護右臂。俟右肘翻轉時。手卽翻腕。指端向上。掌往東推按。身向東南。眼視正東。如第一百零五圖。
Continuing from WHITE SNAKE FLICKS ITS TONGUE, your right foot lifts with the toes swinging toward the east, the foot coming down with the toes pointing toward the south, the ball of your left foot pivoting the foot to the left, as your knees slightly bend, right knee in front, left knee behind it. At the same time, your torso twists to the right, your right elbow rotating upward from below so the center of the fist is facing upward, and with the shoulder loosening, your right arm draws back to be at your waist, your left hand going along with the movement by pushing down to guard to the outside of your right arm, then once your right elbow has turned over, your [left] wrist turns so the fingertips are pointing upward, and pushes to the east. Your torso is facing to the southeast, your gaze to the east. See photo 105:

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說明
Description of movement 2:
上步搬攔捶第二動式。由第一動式。左脚向東北出一步。膝下彎。右脚同時伸直成前弓後箭式。同時右拳由腰間向東直衝。左掌隨拳收回護於右臂之旁。指仍向上。身扭轉向東。眼平視。如第一百零六圖。
Continuing from movement 1, your left foot takes a step out to the northeast, the knee bending downward, your right leg straightening, making a stance of front leg a bow, rear leg an arrow. At the same time, your right fist does a straight thrust to the east from your waist, your left palm withdrawing to guard beside your right arm, fingers still pointing upward. Your torso is turned to be facing to the east, your gaze level. See photo 106:

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術解
Remarks on the technique:
此式第一動。注重鬆肩鬆腰和含胸拔背諸要點。為應敵變化之妙法。第一動旣不為敵算。繼以拳衝之。以期擊敵之要害。
In movement 1 of this posture, pay attention to the essentials of loosening your shoulders and waist, and of containing your chest and plucking up your back. This technique is a subtle method of responding to the opponent’s changes. In movement 1, do not make yourself subject to his plans, continue right into thrusting out your fist with the expectation of striking a vital area [i.e. solar plexus].

第三十六式
Posture 36
術名
Name of the technique:
蹬脚
PRESSING KICK
用法
Function:
此式為練習腿力法。
This is a method of training leg strength.
說明
Description of the movement:
蹬脚第一動式。由搬攔捶第二動式。左脚不動。右脚收回於左脚旁。脚尖點地。膝下彎。身向左扭轉。同時右拳鬆開。兩臂由前往上過頂。復向左右下圜繞一週。如第一百零七圖。
Continuing from movement 2 of PARRY, BLOCK, PUNCH, your left foot staying where it is, your right foot withdraws to be beside your left foot, toes touching down, the knee bending downward, your torso twisting to the left, as your right fist opens and your arms go upward from in front of you, higher than your headtop, then arc in circles downward to the left and right. See photo 107:

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至心前兩手交叉時。復向上提於胸前。右脚卽提起向東南蹬出。脚尖翹上。右腿同時伸直。兩臂隨同右脚向左右撑開。指端向前。掌心微向內。左臂微彎上舉。掌心向外。眼視脚。身向東北。如第一百零八圖。
Once your hands cross in front of your solar plexus, they lift up in front of your chest, and your right foot lifts and presses out to the southeast, toes pointing upward, your right leg straightening, as your arms go along with your right foot by bracing open to the left and right, fingertips pointing upward, palms facing slightly inward, your left arm raised up slightly bent, palm facing outward. Your gaze is toward your foot, your torso facing to the northeast. See photo 108:

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術解
Remarks on the technique:
兩臂由前往上過頂。為應手也。復往左右下圜繞。同時提腿。為蓄勢也。如劍拔弩張之勢。一發不可制也。此式使法。卽如大鵬之展翅。又如鷹準之抓鷄。似兩翅一張。乘機乃收蹬脚之功。此為武術之要竅。練功夫者。望三注意焉。
Your arms go upward from in front of you, higher than your headtop, to respond to the opponent’s hand, then they arc to the sides and downward, and you lift your leg to store up power with a quality of a sword being unsheathed or a crossbow loaded, of being unbeatable after but a single shot. The method of this posture is like a rukh spreading its wings, and then like an eagle seizing a chicken with precision, with but a single flap of wings. Take advantage of the opportunity to harvest the “pressing kick” skill. This is a key skill in martial arts. Practitioners look to it repeatedly.

第三十七式
Posture 37
術名
Name of the technique:
左右披身伏虎
LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER
用法
Function:
為左右閃轉避實之法。
This is dodging from side to side to avoid the full force of an attack.
說明
Description of movement 1:
左右披身伏虎第一動式。由蹬脚第二動式。右脚收回。向西北落於左脚左後方。左脚隨卽向西北再進一步。左膝彎。右脚直。成左弓右箭反弓式。同時左臂由左上方向右擺。俟兩手相合時。隨卽雙臂由右上方往下。向左繞轉。同時左胯下坐。腰幹向左擰轉。兩臂復向上提。左臂高舉於左上前方。臂成半月形。右臂提至胸前。平舉。兩手同時握拳。軀幹隨卽轉正。身向東北。眼視東南。如第一百零九圖及第一百一十圖。
Continuing from movement 2 of PRESSING KICK, your right foot withdraws to the northwest, coming down to the left rear of your left foot, and your left foot then advances a step to the northwest, the knee bending, your right leg straightening, making a stance of left leg a bow, right leg an arrow in a reverse bow stance. At the same time, your left arm swings from the upper left to the right, and once your hands are close together, your arms arc from the upper right downward to the left, as you sit downward at your left hip, your torso twisting to the left, and your arms then lift up, your left arm raising high to be forward to the upper left, the arm making a half moon shape, your right arm lifting until raised level in front of your chest, your hands grasping into fists in unison. Your torso goes along with the movement, turning to be squared to the northeast, your gaze to the southeast. See photos 109 & 110:

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說明
Description of movement 1:
左右披身伏虎第二動式。由第一動式。右脚提起。活步卽落於原地。膝由直而彎。左脚由彎而伸直。同時兩拳鬆開。兩臂由左上方往下繞轉向右。右胯下坐。腰幹向左擰轉。兩臂隨卽復向上提。右臂高舉於右上前方。臂成半月形。左臂提至胸前。平舉。兩手同時握拳。軀幹隨卽轉正。身向東南。眼視東北。如第一百十一圖及第一百十二圖。
Continuing from movement 1, your right foot lifts and makes an adjusting step, coming back down where it was, then the knee goes from straight to bent, your left leg going from bent to straight. At the same time, your fists release and your arms arc from the upper left downward to the right, as you sit downward at your right hip, your torso twisting to the left [right], and your arms then lift up, your right arm raising high to be forward to the upper right, the arm making a half moon shape, your left arm lifting until raised level in front of your chest, your hands grasping into fists in unison. Your torso goes along with the movement, turning to be squared to the southeast, your gaze to the northeast. See photos 111 & 112:

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術解
Remarks on the technique:
此式為少林十八勢之金剛伏虎勢。强固腰腎。為衞生之要素。亦為武術家左右閃轉避實之要法。
This posture is the ARHAT SUBDUES THE TIGER posture from Shaolin’s Eighteen Postures. It strengthens the waist and kidneys, and so it is an essential exercise for health. It is also an essential method that martial artists use for dodging from side to side to avoid the full force of an attack.

第三十八式
Posture 38
術名
Name of the technique:
囘身蹬脚
TURN BACK, PRESSING KICK
用法
Function:
佯却實攻法。
This is a method of fake defense, real attack.
說明
Description of movement 1:
囘身蹬脚第一動式。由左右披身伏虎第二動式。右脚從左脚旁收囘。脚尖點地。兩膝微屈。同時兩臂上舉。左拳鬆開過頂。兩臂成圓形。復向左右往下繞圈。會於身前。身向東北。眼視東。如第一百十三圖。
Continuing from movement 2 of LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER, your right foot withdraws to be beside your left foot, toes touching down, both knees slightly bending. At the same time, your arms raise up, your left fist opening and going higher than your headtop, and your arms make circles that arc downward to the left and right, then gather in front of your body. Your torso is facing to the northeast, your gaze to the east. See photo 113:

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說明
Description of movement 2:
囘身蹬脚第二動式。由第一動式。右腿提起卽向東南直蹬。脚尖翹上。左脚直立。兩臂向左右撑開。指尖向前。掌心向內。左臂舉於左。稍彎成弧形。眼視東。身仍向東北。如第一百十四圖。
Continuing from movement 1, your right foot lifts and presses to the southeast, toes pointing upward, your left leg standing straight, your arms bracing open to the left and right, fingertips pointing forward, palm facing inward, your left arm raised to the left, slightly bent to make a rounded shape. Your gaze is to the east, your torso still facing to the northeast. See photo 114:

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術解
Remarks on the technique:
假如攻我上部。以雙臂護衞於前上。囘身以避之。此謂之却退也。又囘身起腿以攻之。此又謂之實攻。前之退者。謂之佯。非眞退。實誘敵耳。深願研習武術者。注意虛實二字。則術之用大矣。
If an opponent attacks my upper body, I use both arms to protect in front and above, turning my body away to evade it, but this is a fake retreat. Then I turn my body back and lift my leg to deliver a real attack. The retreat is a false rather than a real retreat with the real idea being to draw him into an ambush. I deeply hope that martial arts practitioners will give attention to the terms “empty” and “full” [in this case meaning false and real], for they are the most useful in the art.

第三十九式
Posture 39
術名
Name of the technique:
雙風貫耳
DOUBLE WINDS THROUGH THE EARS
用法
Function:
此式為防衞還擊法。
This is a method of defending and countering.
說明
Description of movement 1:
雙風貫耳第一動式。由囘身蹬脚第二動式。右脚收囘。小腿垂直。大腿仍平舉於前。同時兩臂前圜上舉。隨卽往下迴環。經右腿兩旁。掌心微向前。兩臂下垂。軀幹正向東南。眼平視。如第一百十五圖。
Continuing from movement 2 of TURN BACK, PRESSING KICK, your right foot withdraws, the lower leg hanging straight down, upper leg still raised level in front. At the same time, your arms come together forward, raised up, then arc downward, passing along the sides of your right thigh, palms facing slightly forward, arms hanging down. Your torso is squared to the southeast, your gaze level. See photo 115:

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說明
Description of movement 2:
雙風貫耳第二動式。由第一動式。右脚卽向東南落地。膝仍彎。左脚伸直。前弓後箭。同時兩臂往後。復向上迴環。由左右向前斜上方。兩手握拳於額前。兩臂成一大圜形。眼平視。身正向東南。如第一百十六圖。
Continuing from movement 1, your right foot then comes down to the southeast, the knee still bent, your left leg straightening, making a stance of front leg a bow, rear leg an arrow. At the same time, your arms go to the rear and arc upward, then go forward and diagonally upward from the sides, your hands grasping into fists to be placed in front of your forehead, your arms having made a large circle. Your gaze is level, your torso squared to the southeast. See photo 116:

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術解
Remarks on the technique:
承上式囘身蹬脚。假如為敵所算。脚卽收囘。以雙手往下。防衞擄開。乘機進攻以拳。合擊於太陽穴或耳門。此所謂雙風貫耳也。
Continuing from TURN, PRESSING KICK, if the opponent outsmarts my use of it, I withdraw my foot, sending both my hands downward to defend by brushing aside, then take advantage of the opportunity to advance, attacking with fists striking inward toward his temples or ears – “double winds through the ears”.

第四十式
Posture 40
術名
Name of the technique:
左蹬脚
LEFT PRESSING KICK
用法
Function:
此式與囘身蹬脚同。
Same as in Posture 38.
說明
Description of movement 1:
左蹬脚第一動式。由雙風貫耳第二動式。兩拳鬆開。兩臂由額前上分向左右。繞圜一週於腹前。掌心向外。同時左脚向右脚處收囘。足尖點地成丁字形。右膝仍曲。腰鬆而直。虛靈頂勁。眼視東。如第一百十七圖。
Continuing from movement 2 of DOUBLE WINDS THROUGH THE EARS, your fists open, your arms go upward from in front of your forehead, spread apart to the left and right, and circle to be in front of your abdomen, palms facing outward. At the same time, your left foot withdraws to be by your right foot, toes touching down, making a T stance, your right knee still bent, your waist loose but straight as you forcelessly press up your headtop. Your gaze is to the east. See photo 117:

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說明
Description of movement 2:
左蹬脚第二動式。由第一動式。右膝徐伸。左脚上提卽向東蹬出。足尖翹上。同時兩臂徐向左右撐開。左臂上舉於側方。稍彎成弧形。掌心分向東西向。眼仍平視東。如第一百十八圖。
Continuing from movement 1, your right knee slowly straightens as your left foot lifts up and then presses out to the east, toes lifted up, your arms bracing open to the left and right, your left arm raised to the side, slightly bent to make a rounded shape, your palms spreading apart toward the east and west. Your gaze is still level to the east. See photo 118:

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術解
Remarks on the technique:
此式。設敵由側面襲我脅部。我則以側面應之。以手纏其手。以脚蹬其脅是也。按之生理。為鬆展腰胯助長消化而俾衞生也。
In this posture, if an opponent attacks to my rib area from the side, I respond to it to the side, using a hand to coil around his hand and a foot to do a pressing kick to his ribs. For a physiological consideration, this posture promotes health by loosening the waist and encouraging digestion.

第四十一式
Posture 41
術名
Name of the technique:
轉身蹬脚
TURN AROUND, PRESSING KICK
用法
Function:
此法與囘身蹬脚同。
Same as in Posture 38.
說明
Description of movement 1:
轉身蹬脚第一動式。由左蹬脚第二動式。身體和腿與右脚掌由東磨轉向西。左脚同時落地。膝稍彎。右脚足尖點地。腿稍彎。同時兩臂隨身旋轉。由上往左右緩緩下繞半圜於腹前。腰宜鬆。頸宜頂。身宜正。眼正視西。如第一百十九圖。
Continuing from movement 2 of LEFT PRESSING KICK, your torso and leg spin around from east to west on the ball of your right foot, your left foot then coming down with the knee slightly bent, your right toes touching down, leg slightly bent. Your arms go along with the spin of your body by going from above to the left and right, slowly arcing a half circle downward to be in front of your abdomen. Your waist should be loose, your neck should be straight, and your body should be upright. Your gaze is to the west. See photo 119:

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說明
Description of movement 2:
轉身蹬脚第二動式。由第一動式。左脚踏實。右脚卽上提向東蹬出。同時兩臂由身前向東西撑開。以右手黏住敵之肘腕。眼隨身轉而平視東。如第一百二十圖。
Continuing from movement 1, with your left foot full, your right foot lifts up and presses out to the east, your arms going from in front of your body and bracing open toward the east and west. Use your right hand to connect to the opponent’s elbow or wrist. Your gaze goes along with the turning of your torso to be level to the east. See photo 120:

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術解
Remarks on the technique:
此式。技術方面。為避實侵虛之法。而轉之機樞。左右脚掌之一旋。而全局為之一變。洵為拳術之祕寶也。
This posture is a sideways technique, a method of avoiding his fullness and invading where he is empty by turning on a pivot point. To spin around on the ball of the foot, thereby changing the whole situation, is truly a treasure in boxing arts.

第四十二式
Posture 42
術名
Name of the technique:
進步搬攔捶
ADVANCE, PARRY, BLOCK, PUNCH
用法
Function:
以搬攔為化敵之法。
This is a method of parrying and blocking to neutralize the opponent.
說明
Description of movement 1:
進步搬攔捶第一動式。由轉身蹬脚第二動式。右手收囘。由東往下。向西往上繞轉一週至左肩前。同時左手由上向東而下繞轉。同時右腿收囘。脚向外撇。踏實。足尖向南。兩膝下沉。左膝抵住右脚之後。身體向右旋轉。同時左掌向東按掌。右掌變拳向懷帶至腰間。兩脚交膝下坐。眼平視東。如第一百二十一圖。
Continuing from movement 2 of TURN AROUND, PRESSING KICK, your right hand withdraws downward from the east and arcs upward to the west until in front of your left shoulder, as your left hand goes from above, arcing downward to the east. At the same time, your right leg withdraws, toes swinging outward, and comes down fully, the toes pointing toward the south, your knees sinking down, your left knee touching the back of your right leg, your torso turning to the right, your left palm pushing to the east, your right palm becoming a fist, drawing back toward your chest, and arriving at your waist, your legs sitting crossed at the knees. Your gaze is level to the east. See photo 121:

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說明
Description of movement 2:
進步搬攔捶第二動式。由第一動式。左腿復向東北出一步。踏實。彎膝。右脚伸直成前弓後箭步。右拳由腰間衝出。左掌縮囘。護於右臂之旁。胸要含。背要拔。眼正視東。如第一百二十二圖。
Continuing from movement 1, your left foot then takes a step out to the northeast, coming down fully, the knee bending, your right leg straightening, making a stance of front leg a bow, rear leg an arrow, as your right fist thrusts out from your waist, your left palm withdrawing to guard beside your right arm. Your chest should be contained and your back should be plucked up. Your gaze is to the east. See photo 122:

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術解
Remarks on the technique:
此式與第十式同。惟第十式承手揮琵琶之後。此式承轉身蹬脚之後。承前旣不同。而方式亦略變動。本太極拳所有同式者。須視承前啟後之拳式若何。則本式法式功用。亦稍有變動耳。
This posture is the same as in Posture 10, but in that case it continues from PLAY THE LUTE, whereas this time it continues from TURN AROUND, PRESSING KICK. As the preceding movement is different, the orientation may get slightly altered. When there are repetitions in the Taiji Boxing set, you have to take notice of what the preceding and following postures are, for it may cause the function of the original posture to have some slight variation.

第四十三式
Posture 43
術名
Name of the technique:
如封似閉
SEALING SHUT
用法
Function:
為格敵封閉之法。
This is a method of blocking the opponent and sealing him off.
說明
Description of movement 1:
如封似閉第一動式。由進步搬攔捶第二動式。後胯向右後坐。身腰向內吞。(卽含胸拔背)右腿下彎。左脚伸直。同時兩手伸直。變掌。手心向上。隨身往後縮囘。左臂卽承於右臂之下。向前伸出。似格敵之意。腰胯下沉。眼平視東。如第一百二十三圖。
Continuing from movement 4 of ADVANCE, PARRY, BLOCK, PUNCH, your hips sit to the right rear, your waist absorbing inward (meaning you are containing your chest and plucking up your back), your right leg bending downward, your left leg straightening. At the same time, your hands [right fist] extends, becoming a palm, the palm facing upward, and goes along with your torso by withdrawing to the rear, as your left arm arcs to be below your right arm and reaches out forward with an intention of blocking the opponent. Your hips are sinking down, your gaze to the east. See photo 123:

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說明
Description of movement 2:
如封似閉第二動式。由第一動式。兩臂同時翻腕。向左右撥開。兩臂卽向後縮囘。含胸拔背。掌心向前。手指微曲。如第一百二十四圖。
Continuing from movement 1, your forearms rotate in unison, turning your wrists, deflecting aside to the left and right, and withdrawing to the rear as you contain your chest and pluck up your back, your palms facing forward, fingers slightly bent. See photo 124:

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卽向東平按。兩臂如半月之弧形。腰幹腿彎向東吐出。左膝彎。右脚伸。成前弓後箭步。如第一百二十五圖。
Then do a level push to the east, your arms seeming rounded into half moon shapes, your torso and hips sending out to the east, your left knee bending, your right leg straightening, making a stance of front leg a bow, rear leg an arrow. See photo 125:

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術解
Remarks on the technique:
設敵化我之右拳。乘機纏我右臂。我卽以左手承之。緣肘護臂。使敵鬆手而後已。而敵復換手進擊。我則抽身內斂。以雙手封之。使敵不得進。此所謂盡封閉之效用。
If the opponent neutralizes my right fist, I take advantage of the opportunity to coil around my right arm, my left hand carrying along my elbow and protecting my arm, causing him to disconnect his hand. He switches to attacking with his other hand, so I withdraw my body, gathering inward, and use both of my hands to seal him off, taking away his ability to advance. Such is the effectiveness of sealing him off completely.

第四十四式
Posture 44
術名
Name of the technique:
十字手
CROSSED HANDS
用法
Function:
為防上禦下之法。
This is a method of defending above and below.
說明
Description of movement 1:
十字手第一動式。由如封似閉第二動式。身軀向右轉正。同時右腿下沉。似四平襠。右虛而左實。兩臂同時向左上方撥開轉正。兩掌心向前。形似滿月。眼平視。如第一百二十六圖。
Continuing from movement 2 of SEALING SHUT, your torso turns to the right as your right thigh sinks down, making a four-level stance with your right foot empty, left foot full. At the same time, your arms go along with your torso by going to the upper left [right], deflecting to the sides as you turn to face forward, both palms facing forward, arms making a full moon shape. Your gaze is level. See photo 126:

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說明
Description of movement 2:
十字手第二動式。由第一動式。兩臂順軀幹轉動。同時由上分向左右。緩緩下按至襠前。兩手心向內。形如抱物然。兩腿順腰胯擺動。左虛而右實。腿仍下沉。含胸拔背鬆腰。眼平視。如第一百二十七圖。
Continuing from movement 1, your arms go along with your torso by spreading apart in unison from above to the sides and slowly pushing down until in front of your crotch, both palms facing inward, as though carrying the moon. Your legs go along with your hips by bulging outward, your left foot empty, right foot full, thighs still sinking down. Contain your chest, pluck up your back, and loosen your waist. Your gaze is level. See photo 127:

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說明
Description of movement 3:
十字手第三動式。由第二動式。兩腿緩緩直立。兩脚依次向內收。與兩肩同寬。兩脚直立成平行式。兩手交叉。掌心內向。兩臂同時隨身體徐徐上升。由下而上。交叉圜抱於胸前。眼平視南方。如第一百二十八圖。
Continuing from movement 2, your legs slowly straighten to be standing, your feet gathering inward until at shoulder width, making a parallel stance, as your hands cross, palms facing inward, your arms going along with your body by slowly raising up from below, crossing with a rounded embrace in front of your chest. Your gaze is level to the south. See photo 128:

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術解
Remarks on the technique:
此式。兩臂轉動。隨軀幹左右上下而動。然而臂之由上而下由下而上。兩臂同時運動。所經之空間。為內外兩大圓徑。兩手之在上與在下。均成交點。形成滿月。如抱物狀形。然合符太極。
In this posture, your arms arc along with your torso, moving to the sides, upward and downward. As your arms go downward from above and upward from below, the space they pass through spans a large diameter inside and out, and once your hands come up from below, they cross, making a full moon shape, as though embracing an object such as the taiji symbol.

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太極拳第五段路線圖由西至中
Route of Segment Five: traveling from the west to the center line

South

East   東 + 西  West
中央起點線
Starting point on the center line

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

翻身白蛇吐信
34. TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE
上步搬攔捶
35. STEP FORWARD, PARRY, BLOCK, PUNCH
蹬腳
36. PRESSING KICK
左右披身伏虎
37. LEFT & RIGHT DRAPING THE BODY, SUBDUING THE TIGER
回身蹬腳
38. TURN BACK, PRESSING KICK
雙風貫耳
39. DOUBLE WINDS THROUGH THE EARS
左蹬腳
40. LEFT PRESSING KICK
轉身蹬腳
41. TURN AROUND, PRESSING KICK
上步搬攔捶
42. STEP FORWARD, PARRY, BLOCK, PUNCH
如封似閉
43. SEALING SHUT
十字手
44. CROSSED HANDS

第六段 式數五 動數二十四
SEGMENT SIX – five postures / twenty-four movements

第四十五式
Posture 45
術名
Name of the technique:
抱虎歸山
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
用法
Function:
此為起承之法。
This is a method of beginning and continuing [into the following posture].
說明
Description of movement 1:
抱虎歸山第一動式。由十字手第三動式。兩手仍圜抱。(如抱虎然)軀幹向西北轉動。右脚向西北斜出四十五度。(作歸山之意)同時右手向西北隨身斜下按。同時軀幹向西南轉動。左手隨卽向東南斜上托。此時全身坐於左脚上。卽左曲而實。右伸而虛。眼視西北。如第一百二十九圖。
Continuing from movement 3 of CROSSED HANDS, with your arms still roundly embracing (as though holding a tiger), your torso turns to the northwest, your right foot going out at a forty-five degree angle to the northwest (with an intention of sending back to a mountain), your right hand pushing diagonally downward to the northwest, your [left] hand going along with the turning of your torso by propping diagonally upward to the southeast. The weight is now sitting onto your left leg, the leg bent and full, your right leg straight and empty. Your gaze is to the northwest. See photo 129:

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說明
Description of movement 2:
抱虎歸山第二動式。由第一動式。軀幹轉向西北。左手隨卽囘轉。由耳邊向西北推按。掌心向前。腰胯同時亦隨之轉動。左脚直伸。右脚彎。右手下按於右腿旁。手心向下。眼視西北。如第一百三十圖。
Continuing from movement 1, your torso turns to the northwest, your left hand going along with the turn by pushing from beside your ear to the northwest, palm facing forward. As your hips turn, your left leg straightens, your right leg bending, and your right hand is pushing downward to be beside your right thigh, palm facing downward. Your gaze is to the northwest. See photo 130:

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術解
Remarks on the technique:
與第十三式同。
Same as in Posture 13.

第四十六式
Posture 46
術名
Name of the technique:
斜步攬雀尾
DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
用法
Function:
為掤履擠按及轉變之法。
This is for training the transformations of ward-off, rollback, press, and push.
說明
Description of movement 1:
攬雀尾第一動式。由抱虎歸山第二動式。兩腿不變。左臂翻腕。掌心朝上。右臂由右下。翻腕卽轉向上平舉。掌心朝下。兩手上下相對。如捧物然。向懷中捋囘。意。如第一百三十一圖。
Continuing from movement 2 of CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, your legs staying as they are, your left wrist turns so the palm is facing upward, your right arm going from below, wrist turning, arcing upward to be raised level, palm facing downward, your palms aligned with each other above and below, as though you are carrying an object, and with an intention of doing a rollback toward your chest. See photo 131:

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說明
Description of movement 2:
攬雀尾第二動式。由第一動式。捋至懷中時。腰胯隨卽扭轉向東南。右臂平提。手心向上。左臂向外掤。掌心向下。左臂卽翻腕與右手心相對。仍如捧物狀。同時左脚變彎。右腿伸直。眼視東南。如第一百三十二圖。
Continuing from movement 1, as you do a rollback in front of your chest, your hips twist to the southeast, then your right arm lifts to be level, palm facing upward, and your left arm wards off outward, palm facing downward, the wrist turning so your palms are aligned with each other, still as though carrying an object. At the same time, your left leg switches to bending, your right leg straightening. Your gaze is to the southeast. See photo 132:

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說明
Description of movement 3:
攬雀尾第三動式。由第二動式。軀幹磨轉向西北。右手隨卽上提。掌心向內。往西北掤出。左臂略轉。兩掌心相對。順勢擠按。兩腿同時亦由伸而變彎。由彎而變直。一伸一屈。卽是一虛一實。如第一百三十三圖。
Continuing from movement 2, your torso turns to the northwest, your right hand going along with it by lifting up, palm facing inward, and warding off to the northwest, your left arm slightly turning so your palms are aligned with each other as you do a pressing push. Your legs at the same time switch from straight to bent and bent to straight, one emptying as the other fills. See photo 133:

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說明
Description of movement 4:
攬雀尾第四動式。由第三動式。兩腿姿勢。右腿由彎而伸。左腿由直而彎。兩手卽向左右撥開。指端向上。身心朝向西北。兩臂彎曲。平提於胸前。此式要注意含胸拔背鬆腰墜肘諸要旨。眼仍視西北。如第一百三十四圖。
Continuing from movement 3, with your right leg going from bent to straight and your left leg going from straight to bent, your hands deflect away to the sides, fingertips pointing upward. Your torso has to be facing to the northwest. Your arms are bent, lifted level in front of your chest. In this posture, pay attention to the essential principles of containing your chest, plucking up your back, loosening your waist, and dropping your elbows. Your gaze is still to the northwest. See photo 134:

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說明
Description of movement 5:
攬雀尾第五動式。由第四動式。軀幹和腰胯向西北吐出。兩手順勢向西南推按。兩臂形如半月。兩掌心微向前。指端仍向上。左脚由彎而伸。右脚由伸而彎。眼平視西南。注意沉肩墜肘含胸。如第一百三十五圖。
Continuing from movement 4, your torso and hips send out to the northwest, your hands going along with your torso by pushing to the southwest [northwest], your arms making a half moon shape, palms facing slightly forward, fingers still pointing upward, your left leg going from bent to straight, your right leg going from straight to bent. Your gaze is level to the southwest. Pay attention to sinking your shoulders, dropping your elbows, and containing your chest. See photo 135:

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說明
Description of movement 6:
攬雀尾第六動式。由第五動式。兩手下捶。兩臂平舉。右臂在外圈。左臂在內圈。卽向東平捋。同時身體亦隨之向東扭轉。左脚由直變彎。右脚由彎變直。眼視東南。注意沉肩墜肘鬆腰。如第一百三十六圖。
Continuing from movement 5, your wrists hang downward, arms raised level, and with your right arm curved more outward, left arm curved more inward, do a rollback across to the east. At the same time, your torso twists to the southeast, your left leg switching from straight to bent, your right leg switching from bent to straight. Your gaze is to the southeast. Pay attention to sinking your shoulders, dropping your elbows, and loosening your waist. See photo 136:

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術解
Remarks on the technique:
此動式。連抱虎歸山計八動。本合為一式。我人為研究學術起見。實有分之之必要。所有的理有。已詳於首章第六節。恕不贅敍。
This posture continues from CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, making a count of eight movements if they are combined into a single posture. But in order to learn the set, it is necessary to divide them. The reason for this was explained in Chapter One, Section Six [Four]. Pardon me for not repeating the explanation here.

第四十七式
Posture 47
術名
Name of the technique:
斜單鞭
DIAGONAL SINGLE WHIP
用法
Function:
此式為勾摟推按之法。
This is a method of pulling in with a hook and pushing with a palm.
說明
Description of movement 1:
斜單鞭第一動式。由攬雀尾第六動式。右臂由左外方向內平捋一圜。卽向右平摟於西北。右掌變勾子手。左手下垂。由右下方繞圜一週。掌卽向上抄至右腰間。手心向上。同時腰胯向西北扭轉。右脚踏實。由伸而直立。左脚放鬆。由彎而懸垂。眼平視西北。注意含胸鬆腰為要旨。定式如第一百三十七圖。
Continuing from movement 6 of CATCH THE SPARROW BY THE TAIL, your right arm pulls from outward on the left into an inward level circle to the right, to the northwest, your right palm changing to a hook hand, as your left hand hangs down and arcs from the lower right [left], the palm scooping up until at your right ribs, palm facing upward. At the same time, your hips twist from the left to the right, your right leg fills and goes from straightening to standing, and your left leg empties and goes from bending to hanging. Your gaze is to the northwest. Pay attention to the key principles of containing your chest and loosening your waist. See photo 137:

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說明
Description of movement 2:
斜單鞭第二動式。由第一動式。右脚挺直。同時左腿卽向南進一步踏實。同時左手由右腰間經右肩前。指端向上。翻腕。卽向南徐徐伸出按掌。右勾手仍平舉於右。同時軀幹腰胯向南扭轉。眼隨勢轉。平視正南。步位虛實互換。成左弓右箭式。如第一百三十八圖。
Continuing from movement 1, your right leg straightens as your left leg advances a step to the south and comes down fully, your left hand going from the right side of your waist to pass in front of your right shoulder, fingertips pointing upward, wrist turned, then slowly reaching out to the south as a pushing palm, your right hook hand still raised level to the right. At the same time, your torso and hips twist to the south, your gaze going along with the movement to be level to the south. Your feet switch emptiness and fullness, making a stance of left leg a bow, right leg an arrow. See photo 138:

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術解
Remarks on the technique:
此式惟方向不同。而功用則與第三式同。從略。
Same as in Posture 3, except the direction is different.

第四十八式
Posture 48
術名
Name of the technique:
野馬分鬃
WILD HORSE VEERS ITS MANE
用法
Function:
此式為化敵之法。
This is a method of neutralizing the opponent.
說明
Description of movement 1:
野馬分鬃第一動式。由斜單鞭第二動式。軀幹腰胯徐徐向左扭轉。同時右臂下垂。勾手變掌。隨身轉至左腰胯間。同時左手翻腕。平屈於左肩前。掌心向下。左右兩手心上下相對。左脚踏實。右脚成虛。足尖點地。惟右肩亦須轉至正西方。眼注視西南方。如第一百三十九圖。
Continuing from movement 2 of DIAGONAL SINGLE WHIP, your torso and hips twist slowly to the left as your right arm hangs down, the hook hand changing to a palm, and goes along with your torso to be by your left hip. At the same time, your left wrist turns, the arm bending across to bring the hand in front of your left shoulder, palm facing downward, your palms aligned with each other above and below. Your left foot is full and your right foot is empty, toes touching down. Although your right shoulder has to be turned to point to the west, your gaze is to the southwest. See photo 139:

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說明
Description of movement 2:
野馬分鬃第二動式。由第一動式。右脚向西北出一步。軀幹隨扭轉。同時右臂由左下往西北上攔開敵手。於左肩前成弧形。掌心向內。同時左手由上經身前往下沉。按掌於胯旁。眼視右掌之轉動。注視西北。以上二動。為野馬分鬃右式之一式。須注意鬆肩垂肘含胸拔背諸要旨。如第一百四十圖。
Continuing from movement 1, your right foot takes a step out to the northwest and your torso twists as your right arm goes upward from the lower left to the northwest, blocking aside the opponent’s hand, the hand making an arc in front of your left [right] shoulder, palm facing inward. At the same time, your left hand sinks down from above, passing in front of your body, the palm pushing down beside your [left] hip. Your gaze goes along with the arc of your right palm to the northwest. These two movements form the WILD HORSE posture on the right side. You must pay attention to the essential principles of loosening your shoulders, dropping your elbows, containing your chest, and plucking up your back. See photo 140:

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說明
Description of movement 3:
野馬分鬃第三動式。由第二動式。軀幹腰胯向左扭轉。同時左脚踵提起。左臂隨身轉至右腰胯間。掌心向上。同時右掌翻腕。平屈於右肩前。手心向下。與左掌心相對。惟左肩轉至正西。眼仍注視西。右脚坐實。膝彎。左脚虛。伸直。如第一百四十一圖。
Continuing from movement 2, your torso and hips twist to the left [right], your left heel lifting, and your left arm goes along with your torso to be by your right hip, palm facing upward. At the same time, your right wrist turns, the arm bending across to bring the hand in front of your right shoulder, palm facing downward, your palms aligned with each other. Although your left shoulder turns to point to the west, your gaze is still to the west [northwest]. Your left foot is full, the knee bent, and your right foot is empty, the leg straight. See photo 141:

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說明
Description of movement 4:
野馬分鬃第四動式。由第三動式。左臂由右下往西南上攔開敵手。於左肩前成弧形。掌心向內。同時右手由上。經身前往下沉。按掌於右腿旁。同時軀幹向西南扭轉急上。左脚向西南出一步。兩脚虛實互換。成左弓右箭式。眼正視西南。此第三第四兩動。是野馬分鬃左式之一式。如第一百四十二圖。
Continuing from movement 3, as your left arm goes upward from the lower right to the southwest, blocking aside the opponent’s hand, your hand makes an arc in front of your left shoulder, palm facing inward. At the same time, your right hand sinks down from above, passing in front of your body, the palm pushing down beside your right thigh. With your torso twisting determinedly to the southwest, your left foot has taken a step out to the southwest, and your feet switch emptiness and fullness, making a stance of left leg a bow, right leg an arrow. Your gaze is to the southwest. Movements 3 and 4 form the WILD HORSE posture on the left side. See photo 142:

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說明
Description of movement 5:
野馬分鬃第五動式。由第四動式。與第一動式同。如第一百四十三圖。
Continuing from movement 4, it is the same as in movement 1. See photo 143:

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說明
Description of movement 6:
野馬分鬃第六動式。由第五動式。與第二動式同。如第一百四十四圖。
Continuing from movement 5, it is the same as in movement 2. See photo 144:

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說明
Description of movement 7:
野馬分鬃第七動式。由第六動式。與第三動式同。如第一百四十五圖。
Continuing from movement 6, it is the same as in movement 3. See photo 145:

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說明
Description of movement 8:
野馬分鬃第八動式。由第七動式。與第四動式同。如第一百四十六圖。
Continuing from movement 7, it is the same as in movement 4. See photo 146:

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術解
Remarks on the technique:
此式為野馬分鬃。分左右各二式。計共四式。為反複重疊之演習。是何故歟。曰。為拳之組織有密切之關係。又問之曰。拳之組織有何關係。請道其詳。以釋我疑乎。曰。一則拳術分左右。俾學斯術者得左右逢源為補偏救弊之術也。二則為生理上平均發達之意。庶免畸輕畸重之弊也。三則拳之組織原則。一要含進退攻守之法。二要含四正四隅之方位。不能有所偏枯。三要含起與止。須要始終如一點。四則前後左右中距離之遠近。須要均匀。所以此拳不厭求全。有反覆重疊之演習。使成一套完整之拳術。庶合乎太極之意也。
This posture is divided into left and right verions, each done twice, for a total of four performances of the posture. One may wonder: “Why does it pile up these repetitions?” Because this boxing technique was constructed with some careful considerations. “What are these considerations? Please talk through the details to dispel my confusion.”
     1. When a boxing arts technique is done to the left and right, it is so that you will learn it well on both sides, making it a technique you can rely on in an emergency.
     2. It has an intention of balanced physiological development, keeping you from becoming lopsided in your training.
     3. A boxing arts technique should contain: i. methods of advance and retreat, attack and defense, ii. the four compass and four corner directions, not just a tendency for going in only one direction, and iii. a clear start and finish, for which there has to be a quality of consistency from beginning to end.
     4. In going forward and back, left and right, far or near, there has to be evenness. Thus this technique does not expire in the quest for perfection, repeating its performance over and over in order to fulfill a complete boxing art, in accordance with the taiji concept [of completeness rather than overemphasis or one aspect or other].

第四十九式
Posture 49
術名
Name of the technique:
攬雀尾
CATCH THE SPARROW BY THE TAIL
用法
Function:
此掤捋擠按之法。
This is for training ward-off, rollback, press, and push.
說明
Description of movement 1:
攬雀尾第一動式。由野馬分鬃第八動式。兩脚原位不變。軀幹向左扭轉。同時左臂翻腕。掌心向下橫於胸前。右臂隨身轉動。翻腕。掌心向上。卽向左抄於左胯間。如第一百四十七圖。
Continuing from movement 8 of WILD HORSE VEERS ITS MANE, your feet not moving from their location, your torso twists to the left, your left wrist turning so the palm is facing inward, the forearm horizontal in front of your chest, as your right arm goes along with your torso, the wrist turning so the palm is facing upward, scooping to the left until at your left hip. See photo 147:

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同時右脚向西進一步。踏實。膝彎。全身坐於右腿上。左脚伸直。同時軀幹腰胯順左脚之姿勢向右扭轉。右手由左胯旁翻腕。右臂向右。掤起於右。左手同時翻腕。手心向右。兩手心左右相對。眼平視西。如第一百四十八圖。
Then your right foot advances a step to the west and comes down fully, the knee bending, the weight sitting onto your right leg, your left leg straightening. Your torso and hips go along with the action of your left [right] foot by twisting to the right, while your right hand goes from beside your left hip, the wrist turning, the arm lifting with a ward-off to the right, your left wrist turning so the palm is facing to the right, your palms aligning with each other to the left and right. Your gaze is to the west. See photo 148:

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說明
Description of movement 2:
攬雀尾第二動式。由第一動式。往懷中捋。卽向左圓轉。同時右脚放鬆伸直。左脚彎曲。同時腰胯向左扭轉。兩臂隨身轉動。同時上擡右臂。平舉於胸前成弧形。掌心向內。左臂翻腕。左肘懸於胸前。手心相對如捧物然。肘尖下沉。軀幹轉向正東。眼注視東。如第一百四十九圖。
Continuing from movement 1, do a rollback toward your chest, arcing to the left, your right leg relaxing and straightening, your left leg bending. At the same time, your hips twist to the left, your arms going along with the turning of your torso, your right arm lifting to be raised level in front of your chest, making a rounded shape, palm facing inward, your left wrist turning so your elbow is hanging in front of your chest, palms aligned with each other, as though carrying an object, elbows sinking down. Your torso is turned to be facing to the east, your gaze to the east. See photo 149:

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說明
Description of movement 3:
攬雀尾第三動式。由第二動式。腰胯扭轉向右。同時左脚伸直。右脚彎曲。兩臂同時順身勢向西掤擠出。兩手仍如捧物狀。右臂橫舉於肩前成半月形。左臂彎轉於胸前。眼正視西南。如第一百五十圖。
Continuing from movement 2, your hips twist to the right, your left leg straightening, right leg bending, as your hands go along with your body by warding off and pressing to the west, your hands still as though carrying an object, your right arm raised horizontally in front of your [right] shoulder, making a half moon shape, your left arm bent in front of your chest. Your gaze is to the southwest. See photo 150:

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說明
Description of movement 4:
攬雀尾第四動式。由第三動式。腰胯往後吞。含胸拔背。同時右脚伸直。左脚彎曲。全身坐實於左腿上。兩手同時向左右撥開。卽隨身向後吞。兩手翻腕。手心正向西南。兩手指分向左右斜向上成月彎形。須沉肩墜肘。眼平視西南。如第一百五十一圖。
Continuing from movement 3, your hips absorb to the rear as you contain your chest and pluck up your back, your right leg straightening, left leg bending, the weight sitting fully onto your left leg. At the same time, your hands deflect away to the sides, going along with the withdrawing of your torso, your wrists turning so that the palms are facing to the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. You have to sink your shoulders and drop your elbows. Your gaze is level to the southwest. See photo 151:

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說明
Description of movement 5:
攬雀尾第五動式。由第四動式。身向西南吐出。兩手同時隨身向西南推按。如按物然。手指卽向前。兩臂平行與肩等。沉肩墜肘。彎成半月形。兩脚亦隨腰胯向前吐。右脚由伸而彎。左脚由彎而伸。成右弓式。眼平視西南。如第一百十二圖。
Continuing from movement 4, your torso sends out to the southwest, your hands going along with it by pushing to the southwest, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of your hips, your right leg going from straight to bent, your left leg going from bent to straight, making a right bow stance. Your gaze is level to the southwest. See photo 112 [152]:

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說明
Description of movement 6:
攬雀尾第六動式。由第五動式。兩手腕下彎。同時腰胯向左扭轉。兩臂順勢向左平捋。兩手似伸非伸。似曲非曲。形成各個弧形。臂與肩平。同時左脚由直而彎。右脚由彎而直。成左弓右箭式。眼注視東。如第一百五十三圖。
Continuing from movement 5, your wrists bend downward as your hips twist to the left, your arms going along with the movement by doing a rollback across to the left, seeming straight but not straight, bent but not bent, each making rounded shapes at shoulder level. At the same time, your left leg goes from straight to bent and your right leg goes from bent to straight, making a stance of left leg a bow, right leg an arrow. Your gaze is to the east. See photo 153:

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術解
Remarks on the technique:
此式與第二式雖同。而啣接處略異。餘均同。
Same as in Posture 2, but the transition is slightly different.

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太極拳第六段路線圖由中至西
Route of Segment Six: traveling from the center line to the west

South

中央起點線
Starting point on the center line
East   東 + 西  West

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

抱虎歸山
45. CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
斜步攬雀尾
46. DIAGONAL STEP, CATCH THE SPARROW BY THE TAIL
斜單鞭
47. DIAGONAL SINGLE WHIP
左右野馬分鬃
48. LEFT & RIGHT WILD HORSE VEERS ITS MANE
上步攬雀尾
49. STEP FORWARD, CATCH THE SPARROW BY THE TAIL

第七段 式數三 動數十三
SEGMENT SEVEN – three postures / thirteen movements

第五十式
Posture 50
術名
Name of the technique:
單鞭
SINGLE WHIP
用法
Function:
為勾摟按掌之法。
This is a method of pulling in with a hook and pushing with a palm.
說明
Description of movement 1:
單鞭第一動式。由攬雀尾第六動式。腰胯復由左向右扭轉。右臂由左外方向右平摟一週。卽向平舉。掌變勾手。左手垂下。由下方繞圜一週。掌卽向上抄至右腰間。右脚由伸變立。左脚由彎變垂。成懸垂式。眼注視西。如第一百五十四圖。
Continuing from movement 6 of CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the right, your right arm pulls from outward on the left into a level circle to the right, the palm changing to a hook hand raised level to the right, as your left hand hangs down and arcs from below, the palm scooping up until at your right ribs. Your right leg switches from straightening to standing and your left leg switches from bending to hanging, making a hanging stance. Your gaze is to the west. See photo 154:

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說明
Description of movement 2:
單鞭第二動式。由第一動式。右臂仍平舉於右。同時左掌由右腰間經右肩前。手指向上。翻腕。卽向東緩緩伸出。按掌。同時左脚向東進步。成左弓右箭式。腰胯隨身勢向左扭轉。眼注視左掌。如第一百五十五圖。
Continuing from movement 1, your right arm remains raised level to the right as your left palm goes from the right side of your waist to pass in front of your right shoulder, fingers pointing upward, wrist turned, then slowly reaches out to the east as a pushing palm. At the same time, your left foot steps forward to the east, making a stance of left leg a bow, right leg an arrow, your hips going along with the movement of your body by twisting to the left. Your gaze is toward your left palm. See photo 155:

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術解
Remarks on the technique:
此式與第三式同。從略。
Same as in Posture 3.

第五十一式
Posture 51
術名
Name of the technique:
玉女穿梭
MAIDEN WORKS THE SHUTTLE
用法
Function:
乘虛搗敵法。
This is a method of taking advantage of a gap to smash the opponent.
說明
Description of movement 1:
玉女穿梭第一動式。由單鞭第二動式。軀幹腰胯向左扭轉。同時右勾手變掌。臂急下垂。隨軀幹轉向左。於左腰旁。手心向上。同時左臂翻腕。手心向下。同時與右手心上下相對。左臂平屈與肩平。左脚仍彎。右脚放鬆。眼注視東南。如第一百五十六圖。
Continuing from movement 2 of SINGLE WHIP, your torso and hips twist to the left as your hook hand changes to a palm and quickly hangs down, going along with your torso by arcing to the left to be beside the left side of your waist, palm facing upward. At the same time, your left wrist turns so the palm is facing downward, your palms aligning with each other above and below as your left arm bends across at shoulder level. Your left leg stays bent, your right leg loosening. Your gaze is the southeast. See photo 156:

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腰胯卽向右扭轉。右膝彎。左脚伸。同時右臂由下。經前向右方掤起於額前。掌心向西南。左臂隨軀幹轉動。掌卽向西南穿出。掌後向西北。眼視西南。如第一百五十七圖。
Your hips then twist to the right, your right knee bending, your left leg straightening, as your right arm goes from below, passing in front of you and warding off to the right, lifting to be in front of your forehead, palm facing to the southwest, and your left arm goes along with the turning of your torso, the palm threading out to the southwest, your right palm facing to the northwest. Your gaze is to the southwest. See photo 157:

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說明
Description of movement 2:
玉女穿梭第二動式。由第一動式。右脚尖向右旋轉。左脚由東卽向右脚右方西南隅進一步。踏實。軀幹由腰胯隨同轉動。同時右臂由額前往後繞過右耳前。復即向西南穿出推按。指尖向上。手臂與右肩成一線弧形。同時左臂由前繞向額前掤起。掌心向外。兩脚左弓右箭成拗步。眼注視西南。如第一百五十八圖。
Continuing from movement 1, your right toes turn to the right, your left foot goes from the east toward your right foot and advances a step to the southwest corner, coming down fully. With your torso turning from your hips, your right arm at the same time arcs back from in front of your forehead until in front of your ear, then threads out with a push to the southwest, fingertips pointing upward, the forearm and shoulder making a rounded line, as your left arm arcs from in front of you, lifting to ward off in front of your forehead, palm facing outward. You are in a crossed stance with your left leg a bow, right leg an arrow. Your gaze is to the southwest. See photo 158:

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說明
Description of movement 3:
玉女穿梭第三動式。由第二動式。兩脚步位不變。惟虛實互換。兩脚尖為轉動中心。同時右脚向東南隅移動。兩手翻腕。手心上下相照。如捧物然。同時軀幹腰胯向右旋轉。右臂由下垂。經身前繞至東南隅往上掤起。掌心向外。左臂下繞半圜。經左耳前向東穿掌。指尖向上與左肩成一線弧形。兩脚成右拗步。眼注視東南。如第一百五十九圖及一百六十圖。
Continuing from movement 2, the position of your feet does not change, but they switch their roles of empty and full as your toes turn and your right foot shifts to the southeast corner. At the same time, your wrists turn for the palms to align with each other above and below as though holding something up, your torso and hips turning around to the right, your right arm going from hanging down, passing in front of your body, arcing toward the southeast corner, lifting to ward off upward, palm facing outward, as your left arm arcs a half circle downward, passing in front of your left ear, the palm then threading to the east [southeast], fingertips pointing upward, making a rounded line with your left shoulder. Your legs are making a right crossed stance. Your gaze is to the southeast. See photos 159 & 160:

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說明
Description of movement 4:
玉女穿梭第四動式。由第三動式。
右脚用足尖旋轉。同時腰胯軀幹隨脚向左磨轉。同時右掌翻腕。掌心向下。左臂下垂。翻腕。掌心向上。臂曲於身前。兩手心上下相對。如第一百六十一圖。
Continuing from movement 3, your right toes turn, your torso and hips going along with the leftward turning of your right foot, as your right wrist turns so the palm is facing downward, and your left arm hangs down, the wrist turning so the palm is facing upward, the arm bent in front of your body, your palms aligning with each other above and below. See photo 161:

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左脚向東北隅進一步。踏實。左臂由下繞上。往東北隅上掤、掌心向外於額前。右掌由上繞至右耳旁。翻腕。卽向東北隅穿出。按掌。指端向上臂成弧形。兩脚成左拗步。卽左實右虛。眼注視東北。如第一百六十二圖。
Your left foot advances a step to the northeast corner, coming down fully, as your left arm arcs upward from below, warding off upward to the northeast corner, palm facing outward in front of your forehead, and your right palm arcs upward to be beside your right ear, wrist turning, then threads out as a pushing palm to the northeast corner, fingertips pointing upward, arm making a rounded shape. Your legs are making a left crossed stance, left foot full, right foot empty. Your gaze is to the northeast. See photo 162:

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說明
Description of movement 5:
玉女穿梭第五動式。由第四動式。軀幹腰胯向右磨轉。同時右脚卽向西北隅移動。坐實。左脚放鬆成右拗步。卽右彎左伸。同時兩手翻腕。手心上下相對。右臂隨身旋動。由下經身前繞向上掤於額前。掌心向外。同時左掌下繞至左耳旁。卽向西北隅穿出。按掌。指端向上。與左肩成一線弧形。眼注視西北。如第一百六十三圖及一百六十四圖。
Continuing from movement 4, your torso and hips twist to the right, then your right foot shifts to the northwest corner and comes down fully, your left leg relaxing into a right crossed stance, right leg bending, left leg straightening. At the same time, your wrists turn for the palms to align with each other above and below, your right arm going along with your body as it turns around, passing in front of your body, arcing upward to ward off in front of your forehead, palm facing inward, as your left palm arcs downward until beside your left ear and then threads out as a pushing palm to the northwest, fingertips pointing upward, making a rounded line with your left shoulder. Your gaze is to the northwest. See photos 163 & 164:

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術解
Remarks on the technique:
此式。為太極拳神妙莫測之動作。忽隱忽現。左之右之。使人捉摸不定。故曰玉女穿梭。喻其勢之巧捷也。按此式祇有四隅。在理分為四動足矣。何以分為五動。式圖為之九。其故安在。曰。第一動式為承上式。單鞭之一轉。若不分立。誠恐初學者不明轉變之方。添此一動。則易於瞭然轉變之由矣。
This posture is Taiji Boxing’s most ingeniously unreadable movement, suddenly disappearing then suddenly appearing, going to the left then going to the right, causing the opponent to be unable to fathom what is going on. It is called “maiden works the shuttle” because it is analogous to the quick skillfulness of that activity.
     This posture only goes to the four corners, the technique divided into four movements of the feet. So why is it explained divided into five movements and shown with nine photos? The first movement carries over from the previous posture with a turning after SINGLE WHIP. If that movement is not set off on its own, I greatly fear that beginners would not understand the change of direction. Adding attention to that movement makes it easier to understand the reason for that turn.

第五十二式
Posture 52
術名
Name of the technique:
攬雀尾
CATCH THE SPARROW BY THE TAIL
用法
Function:
為掤捋擠按四法之複習。
This is for training the four techniques of ward-off, rollback, press, and push.
說明
Description of movement 1:
攬雀尾第一動式。由玉女穿梭第五動式。兩臂手腕翻轉。兩掌心右上左下相對。向懷中捋。同時腰胯向左磨轉。右脚放鬆。左脚向西過右足前出半步。如第一百六十五圖。
Continuing from movement 5 of MAIDEN WORKS THE SHUTTLE, your wrists turn so the palms are aligned with each other above and below, rolling back toward your chest as your hips turn to the left, your right foot relaxing as your left foot goes out a half step forward past your right foot. See photo 165:

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同時右脚復向西進一步。右膝卽下彎。左脚伸直成右弓左箭式。同時兩臂上擡。手臂翻轉。掌心前後相對。兩臂平屈於胸前。卽向西掤擠。兩手如捧物狀。右臂橫屈於右肩前。左臂彎懸於胸前。眼注視西南。如第一百六十六圖。
Then your right foot advances a further step to the west, the knee bending downward, your left leg straightening, making a stance of right leg a bow, left leg an arrow. At the same time, your arms lift up, forearms rotating so the palms are aligned with each other forward and back, your arms bent across in front of your chest, warding off and pressing to the west, your hands as though carrying an object, your right arm bent and level in front of your right shoulder, your left arm bent and hanging in front of your chest. Your gaze is to the southwest. See photo 166:

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說明
Description of movement 2:
攬雀尾第二動式。由第一動式。右臂翻腕。手心向下。同時左臂翻腕。手心向上。如接球狀。往懷中捋圓轉。如第一百六十七圖。
Continuing from movement 1, your right wrist turns so the palm is facing downward, your left wrist turning so the palm is facing upward, as though you are catching a ball, and you will arc [to the left] with a rollback toward your chest. See photo 167:

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同時右脚伸直。左脚彎曲。腰胯同時向左扭轉。兩臂隨身軀轉動。同時上擡右臂。平舉於胸前成弧形。掌心內向。左臂翻腕。左手心與右手心相對。肘尖下墜。軀幹轉向正東。如第一百六十八圖。
Your right leg straightens, your left leg bending, your hips twisting to the left, your arms going along with the turning of your torso, your right arm lifting to be raised level in front of your chest, making a rounded shape, palm facing inward, your left wrist turning so your palms are aligned with each other, elbows dropped. Your torso is turned to be facing to the east. See photo 168:

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說明
Description of movement 3:
攬雀尾第三動式。由第二動式。腰胯扭轉向右。同時左脚伸直。右脚彎曲。兩臂同時順身勢向西掤擠。兩手仍如捧物狀。右臂橫舉右肩前成半月形。左臂彎於胸前。眼視西南。如第一百六十九圖。
Continuing from movement 2, your hips twist to the right, your left leg straightening, right leg bending, as your hands go along with your body by warding off and pressing to the west, your hands still as though carrying an object, your right arm raised horizontally in front of your right shoulder, making a half moon shape, your left arm bent in front of your chest. Your gaze is to the southwest. See photo 169:

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說明
Description of movement 4:
攬雀尾第四動式。由第三動式。腰胯往後吞。含胸拔背。同時右脚伸直。左脚彎曲。全身坐實於左腿上。兩手同時向左右撥開。卽隨身往後吞。兩手翻腕。兩手心正向西南。手指分向左右斜向上成月彎形。須沉肩墜肘。眼注視西南。如第一百七十圖。
Continuing from movement 3, your hips absorb to the rear as you contain your chest and pluck up your back, your right leg straightening, left leg bending, the weight sitting fully onto your left leg. At the same time, your hands deflect away to the sides, going along with the withdrawing of your torso, your wrists turning so that the palms are facing to the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. You have to sink your shoulders and drop your elbows. Your gaze is to the southwest. See photo 170:

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說明
Description of movement 5:
攬雀尾第五動式。由第四動式。身向西南吐出兩手同時隨身向西南推按。如按物然。手指抑向前。兩臂平舉與肩等。沉肩墜肘。彎成半月形。兩脚亦隨腰胯向前吐。右脚由伸而彎。左脚由彎而伸。成右弓式。眼注視西南。如第一百七十一圖。
Continuing from movement 4, your torso sends out to the southwest, your hands going along with it by pushing to the southwest, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of your hips, your right leg going from straight to bent, your left leg going from bent to straight, making a right bow stance. Your gaze is to the southwest. See photo 171:

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說明
Description of movement 6:
攬雀尾第六動式。由第五動式。兩手腕下彎。同時腰胯向左扭轉。兩臂順勢向左平捋。兩手似伸非伸。似曲非曲。形成各個弧形。臂與肩平。同時左脚由直而彎。右脚由彎而直。成左弓式。眼注視東。如第一百七十二圖。
Continuing from movement 5, your wrists bend downward as your hips twist to the left, your arms going along with the movement by doing a rollback across to the left, seeming straight but not straight, bent but not bent, each making rounded shapes at shoulder level. At the same time, your left leg goes from straight to bent and your right leg goes from bent to straight, making a left bow stance. Your gaze is to the east. See photo 172:

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術解
Remarks on the technique:
此式與第二式雖同。而啣接處略殊。餘均同。
Same as in Posture 2, but the transition is slightly different.

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太極拳第七段路線圖原地四隅
Route of Segment Seven: staying in the same area and moving to the four corners

South

East   東 + 西  West
中央起點線
Starting point on the center line

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

單鞭
50. SINGLE WHIP
玉女穿梭
51. MAIDEN WORKS THE SHUTTLE
單鞭
52. SINGLE WHIP [CATCH THE SPARROW BY THE TAIL]

第八段 式數三 動數十四
SEGMENT EIGHT – three postures / fourteen movements

第五十三式
Posture 53
術名
Name of the technique:
單鞭
SINGLE WHIP
用法
Function:
為勾摟按掌之法。
This is a method of pulling in with a hook and pushing with a palm.
說明
Description of movement 1:
單鞭第一動式。由攬雀尾第六動式。腰胯復由左向右扭轉。右臂由左外方向右平摟一週。卽向右平舉。掌變勾子手。左手下垂。由左下方繞圜一週。掌卽向上抄至右腰間。右脚由伸變立。左脚由彎變懸。成懸垂式。眼注視西。如第一百七十三圖。
Continuing from movement 6 of CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the right, your right arm pulls from outward on the left into a level circle to the right, the palm changing to a hook hand raised level to the right, as your left hand hangs down and arcs from the lower left, the palm scooping up until at your right ribs. Your right leg switches from straightening to standing and your left leg switches from bending to hanging, making a hanging stance. Your gaze is to the west. See photo 173:

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說明
Description of movement 2:
單鞭第二動式。由第一動式。右臂仍平舉於右。同時左掌由腰間經右肩前。手指向上翻腕。卽向東緩緩伸出按掌。同時左脚向東進步。成左弓右箭步。腰胯隨身勢向左扭轉。眼注視左掌。如第一百七十四圖。
Continuing from movement 1, your right arm remains raised level to the right as your left palm goes from the right side of your waist to pass in front of your right shoulder, fingers pointing upward, wrist turned, then slowly reaches out to the east as a pushing palm. At the same time, your left foot steps forward to the east, making a stance of left leg a bow, right leg an arrow, your hips going along with the movement of your body by twisting to the left. Your gaze is toward your left palm. See photo 174:

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術解
Remarks on the technique:
此式與第三式同。從略。
Same as in Posture 3.

第五十四式
Posture 54
術名
Name of the technique:
左右抎手
LEFT & RIGHT CLOUDING HANDS
用法
Function:
為化敵護身之法。
This is a method of neutralizing the opponent and shielding the body.
說明
Description of movement 1:
左右抎手第一動式。由單鞭第二動式。右勾手鬆開。變掌往下垂。隨腰往左圓轉一週。轉至右肩前。手心轉向內。同時右脚隨右臂向東移半步。足尖點地。與左脚相近平行。左手同時鬆開。翻腕。手心向下。隨腰往下向右圓轉至右腰前。掌心朝上。與右掌心相對。眼平視。如第一百七十五圖。
Continuing from movement 2 of SINGLE WHIP, your right hook hand releases and becomes a palm, and the hand sinks down and goes along with your waist by arcing to the left until in front of your right [left] shoulder, palm turned to face inward, as your right foot goes along with your right arm by shifting a half step to the east, toes touching down close to and parallel with your left foot. Then your left hand loosens, the wrist turning over so the palm is facing downward, and goes along with your waist by lowering and arcing to the right until in front of your lower abdomen, palm facing upward and aligned with your right palm. Your gaze is level. See photo 175:

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說明
Description of movement 2:
左右抎手第二動式。由第一動式。軀幹卽向扭轉。兩臂隨軀幹旋轉。手心仍向內。兩脚尖同時向右磨轉。兩膝微彎。眼平視西。如第一百七十六圖。
Continuing from movement 1, your torso twists to the right, your arms going along with your torso, palms still facing inward, as the toes of both feet turn to the right, your knees slightly bent. Your gaze is to the west. See photo 176:

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說明
Description of movement 3:
左右抎手第三動式。由第二動式。左脚向東橫一步。身軀卽扭轉坐於左脚上。同時左手由右下方經右側繞轉至左肩前。手心向內。右手由前繞轉一週。抎至腹前。兩膝稍彎。眼平視。如第一百七十七圖。
Continuing from movement 2, your left foot takes a sideways step to the east and your torso twists to sit onto your left foot. At the same time, your left hand goes from the lower right, passes along your right side, and arcs until in front of your left shoulder, palm facing inward, as your right hand arcs from in front of you, clouding until in front of your abdomen. Your knees are slightly bent. Your gaze is level. See photo 177:

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說明
Description of movement 4:
左右抎手第四動式。由第三動式。軀幹向左扭轉。同時右手由肩前隨身旋轉。向上繞轉抎至左肩前。掌心向內。左手由上繞轉至左腹前。同時右脚向左脚靠近。脚尖點地。兩膝稍彎。眼平視。如第一百七十八圖。
Continuing from movement 3, your torso twists to the left as your right hand goes from in front of your shoulder [abdomen], going along with your torso by arcing upward, clouding until in front of your left shoulder, palm facing inward, and your left hand goes from above, arcing until in front of the left side of your abdomen. At the same time, your right foot goes close to your left foot, toes touching down, and your knees are slightly bent. Your gaze is level. See photo 178:

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說明
Description of movement 5:
左右抎手第五動式。由第四動式。動作與第二動式同。如第一百七十九圖。
Continuing from movement 4, the movement is the same as in movement 2. See photo 179:

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說明
Description of movement 6:
左右抎手第六動式。由第五動式。動作與第三動式同。如第一百八十圖。
Continuing from movement 5, the movement is the same as in movement 3. See photo 180:

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說明
Description of movement 7:
左右抎手第七動式。由第六動式。動作與第四動式同。如第一百八十一圖。
Continuing from movement 6, the movement is the same as in movement 4. See photo 181:

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說明
Description of movement 8:
左右抎手第八動式。由第七動式。動作與第五動式同。如第一百八十二圖。
Continuing from movement 7, the movement is the same as in movement 5. See photo 182:

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說明
Description of movement 9:
左右抎手第九動式。由第八動式。動作與第六動式同。如第一百八十三圖。
Continuing from movement 8, the movement is the same as in movement 6. See photo 183:

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說明
Description of movement 10:
左右抎手第十動式。由第九動式。動作與第七動式同。如第一百八十四圖。
Continuing from movement 9, the movement is the same as in movement 7. See photo 184:

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說明
Description of movement 11:
左右抎手第十一動式。由第十動式。動作與第八動式同。如第一百八十五圖。
Continuing from movement 10, the movement is the same as in movement 8. See photo 185:

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按此式。抎手共計四動。卽右脚橫移四步。演成十一動。依據步位而來。俾研究斯學者。照圖依虛線練習。不至有脫漏之處。故不厭繁複耳。
In this posture, cloud your hands for a total of four times. Your right foot shifts sideways four steps, and so you are performing fully eleven movements in accordance with the footwork. When learning this posture, if you just follow along with the dotted lines in the photos, you will then not end up leaving out any movements, and thus you will not have reason to complain this is too complicated.
術解
Remarks on the technique:
此式與第二十七式同。惟不同者。二十七式動式祇有三次。計分八動式。此式動式計有四次。計分十一動式。其理由已在第二十七式術解中敍明矣。按抎手一式。為練太極拳者最不易練之動作。其動則以腰胯為軸。以兩臂兩肘兩手兩腿兩膝兩脚為輪。又處處似伸非伸。似屈非屈。在此中討虛實。非有深刻工夫者。不能及此。或者不是失之太滑。則失之太滯。或突臀。或傾身。或身動而脚不動。或手動而腿不轉。或四肢動而軀幹不靈。或軀幹轉而四肢不和協。要得此中三昧。須在正身凝神歛氣以求之。
This posture is the same as in Posture 27, except that in that case the technique is performed only three times, and so it has a count of eight movements, whereas in this case the technique is performed four times, and so there is a count of eleven movements. The reasoning for this was explained clearly in the remarks to Posture 27.
     In practicing Taiji Boxing, the action of “clouding hands” is the most difficult movement to train. Its movement uses the hips as an axle, and the arms, elbows, hands, legs, knees, and feet become the wheel. Furthermore, there is a constant quality of “straight but not straight, bent but not bent”. This technique requires a sense emptiness and fullness, and so without a deep degree of training, you will not be able to succeed at it. Some fail because they are either too loose or too stiff, others because they stick out their buttocks and lean their bodies. Or they move the torso but not the feet, or they move the hands but not the legs, or the limbs are moving but there is no liveliness to the torso, or the torso is moving but the limbs are not moving in coordination with it. If you want to obtain the knack of this art, you must seek it by way of an upright body, concentration of spirit, and gathering of energy.

第五十五式
Posture 55
術名
Name of the technique:
單鞭下勢
SINGLE WHIP, LOW POSTURE
用法
Function:
為鬆腰展胯之法。
This is a method of loosening your waist and opening up your hips.
說明
Description of movement 1:
單鞭下勢第一動式。由左右抎手第十一動式。右小臂翻腕下弔。由上往下圓轉一週。向右平舉。掌成弔手。同時左手由腰間圓轉至右肩前。掌心翻轉向左。指尖向上。卽向東緩緩伸出按掌。同時左腿提起。隨左手向東出一步。左膝彎。右膝伸。成左弓式。腰胯隨身勢扭轉向左。眼注視東。如第一百八十六圖。
Continuing from movement 11 of CLOUDING HANDS, your right forearm rotates for the hand to hang down in an arc going downward from above, and raises level to the right, the palm becoming a hanging hand, and your left hand arcs from your waist until in front of your right shoulder, palm turned to be facing to the left, fingertips pointing upward, then slowly reaches out to the east as a pushing palm. At the same time, your left leg lifts and goes along with your left hand by taking a step out to the east, your left knee bending, right knee straightening, making a left bow stance, your hips going along with the movement of your body by twisting to the left. Your gaze is to the east. See photo 186:

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說明
Description of movement 2:
單鞭下勢第二動式。由第一動式。右腿下沉。腰胯往右下坐。左脚卽伸直往下撲腿。同時左臂順身勢往後。往下沉與左腿成平行線。左掌位於左脚背上。右手仍勾手。平舉於右。眼仍注視東。如第一百八十七圖。
Continuing from movement 1, your right leg sinks down, your hips sitting down to the right, your left leg straightening and lowering into a pouncing stance. At the same time, your left arm goes along with your body sinking down to the rear and makes a parallel line with your left leg, the palm positioned above the top of your left foot, your right hand remaining as a hook hand raised level to your right. Your gaze is still to the east. See photo 187:

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術解
Remarks on the technique:
按此式。單鞭下勢。為鍛鍊腰胯間大肌肉。使其伸縮自如。在技術上。則便於應付環境。在生理衞生上。則胯骨開展。腰肌則受大量伸縮之運動。為鍛鍊腰胯間之筋骨唯一善法。又此式姿勢最易犯之現象。要注意之。臀部不宜突起。上身不宜前傾。頸項不宜僵直。左右兩臂須成東西一直線。不宜抗肩。軀幹宜直。腰宜鬆。頭宜正。行動靈活。不滯不滑。以圓轉綿綿不斷為原則。便得其中竅要矣。
This posture trains the larger muscles of the hip area, leading to an unhindered flexibility. The technique will thereby be easier to make use of in an actual situation. In terms of physiological health, your hip joints will be opened up, and the muscles of your waist will receive a great deal of flexibility exercise. For an excellent method of training the muscles and bones of your hip area, this posture seems to be among the easiest of means. Pay attention to these things: your buttocks should not stick out, your upper body should not lean forward, your neck should not stiffen, your shoulders should make a straight east-west line rather being one higher than the other, your torso should be straight, your waist should loosen, and your head should be upright. For the action to have a nimbleness, there is to be neither stagnancy nor lack of control. Let roundness and continuousness be your standards, and then you will get the knack of it.

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太極拳第八段路線圖由西至中
Route of Segment Eight: traveling from the west to the center line

South

East   東 + 西  West
中央起點線
Starting point on the center line

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

單鞭
53. SINGLE WHIP
左右抎手
54. LEFT & RIGHT CLOUDING HANDS
單鞭下勢
55. SINGLE WHIP, LOW POSTURE

第九段 式數十 動數二十六
SEGMENT NINE – ten postures / twenty-six movements

第五十六式
Posture 56
術名
Name of the technique:
金鷄獨立
GOLDEN ROOSTER STANDS ON ONE LEG
用法
Function:
為乘勢克敵之法。
This is a method of taking advantage of opportunity to defeat the opponent.
說明
Description of movement 1:
金鷄獨立第一動式。由單鞭下勢第二動式。腰胯往左起勢。左脚由直而彎。仍復直。同時右腿隨身往前提起。用足尖踢敵人腹部。小腿下垂。右勾手變掌。同時隨之上抄。屈肘於身前。指尖向上。右肘與右膝上下相對。左臂隨身攢起向前。往後繞一圜。復下按於左胯外旁。手心向下。身體直立。眼注視東。如第一百八十八圖。
Continuing from SINGLE WHIP, LOW POSTURE, your hips lift to the left, your left leg going from straight to bent, then straightening again as your right leg goes along with your body by lifting in front, as if to do a toe kick to the opponent’s belly, the lower leg hanging down. At the same time, your right hand changes from hook to palm and scoops upward, elbow bent in front of your body, fingertips pointing upward, so that your right elbow and right knee are pointing toward each other, while your left arm goes along with your body by drilling upward and forward, then coiling to the rear, and then pushing down to the outside of your left hip, palm facing downward. Your body is standing straight. Your gaze is to the east. See photo 188:

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說明
Description of movement 2:
金鷄獨立第二動式。由第一動式。右脚由前往後。由西退半步。穩立。左腿卽提起。用足尖踢敵人腹部。小腿下垂。同時左手由下向前上抄。屈肘。指尖向上。左肘與左膝上下相對。右臂由上往前向下。按掌於右腿外旁。手心向下。身體直立。眼注視東。如第一百八十九圖。
Continuing from movement 1, your right leg retreats a half step to the west, stands stably, and then your left leg lifts, as if to do a toe kick to the opponent’s belly, the lower leg hanging down. At the same time, your left hand goes forward, scooping up, elbow bent, fingertips pointing upward, so that your left elbow and left knee are pointing toward each other, while your right arm goes forward and downward, the hand pushing down to the outside of your right thigh, palm facing downward. Your body is standing straight. Your gaze is to the east. See photo 189:

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術解
Remarks on the technique:
此式。腿與手之起落樞紐。實在腰胯一屈一伸之功。惟腿之能穩立與否。全視能確定重心為準。則凡練太極拳者。能定重心。則發無不中。中無不克。雖敵人攻我亦不為人攻。所謂泰山崩於後。猛虎跑於前。自有我之重心在。不為敵所亂也。
In this posture, the lifting, lowering, twisting, and turning of your legs and hands are actually a matter of the bending and extending of your hips, whereas the ability of your legs to stand stably entirely depends on the solidity of your balance. When a practitioner of Taiji Boxing is able to be solidly balanced, then whenever he issues, it will be on target, and every time he gets to the target, he defeats the opponent. Even if the opponent attacks me, I am not attacked by the opponent. I am in a state of “after Mt. Tai has avalanched and before the fierce tiger has run away from it”. Because of my balanced state, I am not sent into confusion by the opponent.

第五十七式
Posture 57
術名
Name of the technique:
左右倒攆猴
LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
用法
Function:
為退步却敵法。
This is a method of retreating while driving away an opponent.
說明
Description of movement 1:
左右倒攆猴第一動式。由金鷄獨立第二動式。右掌翻腕。手心向上往後繞半圜。與肩平舉。同時左臂翻腕向前平放。手心向上。舉右臂成橫直線。左脚同時往後向後退半步。踏實。右脚同時卽伸直。脚尖稍翹。足踵着地。腰胯下沉。軀幹稍向右轉。眼注視東。如第一百九十圖。
Continuing from movement 2 of GOLDEN ROOSTER STANDS ON ONE LEG, your right wrist turns over so the palm faces upward and arcs a half circle to the rear, raising to be at shoulder level, as your left arm extends forward and level, the wrist turning over so the palm is facing upward, raised to make a horizontal line with your right arm. At the same time, your left foot retreats a half step to the rear. When it comes down fully, your right leg will straighten, toes slightly lifted, heel touching down, your hips sinking. Your torso turning slightly to the right, your gaze is to the east [west]. See photo 190:

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說明
Description of movement 2:
左右倒攆猴第二動式。由第一動式。右手由西往上。經耳前向東按掌。左手翻腕。同時由前往後。引至於左腰間。手心向東。同時腰胯下沉。軀幹稍向左轉。左膝稍彎。右脚尖微翹。足跟着地。兩大腿竝行。眼注視東。如第一百九十一圖。
Continuing from movement 1, your right hand goes upward from the west, passing in front of the ear, and the palm pushes to the east, as your left wrist turns over and goes from the front to the rear, drawing in until at the left side of your waist, palm facing to the east. At the same time, your hips sink down, your torso turning to the left, your left knee slightly bending, toes slightly lifted, heel touching down, thighs parallel with each other. Your gaze is to the east. See photo 191:

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說明
Description of movement 3:
左右倒攆猴第三動式。由第二動式。右手按掌仍不動。左手同時由腰間向後圜轉。平舉於西。與右肩東西成一橫線。掌心向上。上體稍向左轉。同時兩脚尖稍向左磨轉。眼注視東。如第一百九十二圖。
Continuing from movement 2, your right pushing palm staying where it is, your left hand arcs from your waist to the rear, lifting to be level to the west, making a horizontal east-west line with your right arm, palm facing upward, your upper body turning slightly to the left, your feet slightly pivoting toward the north. Your gaze is to the east. See photo 192:

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說明
Description of movement 4:
左右倒攆猴第四動式。由第三動式。左手右後轉至耳邊。卽向東按掌。右手翻腕下垂至右腰間。掌心向東。同時右脚後退半步。彎膝。左脚伸直。全身坐於右脚上。左脚尖向東翹起。眼注視東。如第一百九十三圖。
Continuing from movement 3, your left hand arcs from the rear until beside the ear, then the palm pushes to the east, as your right wrist turns over and the hand goes downward to be at the right side of your waist, palm facing to the east. At the same time, your right foot retreats a half step to the rear, and the knee bends, your left leg straightening, the weight sitting entirely onto your right leg, your left foot pointing to the east, slightly lifted. Your gaze is to the east. See photo 193:

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說明
Description of movement 5:
左右倒攆猴第五動式。由第四動式。左手翻腕平放。掌心向上。右手往後圓轉。平舉於西。掌心向上。與左臂東西成一橫直線。軀幹順勢向右扭轉。兩脚亦磨轉向右。眼注視西。如第一百九十四圖。
Continuing from movement 4, your left wrist turns over and the hand extends level, palm facing upward, as your right hand arcs to the rear, raising to be level to the west, palm facing upward, making a horizontal east-west line with your left arm. Your torso goes along with the movement by twisting to the right, your feet also pivoting to the right. Your gaze is to the west. See photo 194:

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說明
Description of movement 6:
左右倒攆猴第六動式。由第五動式。右手由西卽轉至右耳邊向東按掌。同時左脚向後退半步。彎膝。右脚伸直。全身坐於左脚上。左手翻腕下垂。引囘至左腰間。掌心向東。右脚轉向東。眼注視東。如第一百九十五圖。
Continuing from movement 5, your right hand arcs from the west until beside your right ear, then the palm pushes to the east as your left foot retreats a half step to the rear and the knee bends, your right leg straightening, the weight sitting entirely onto your left leg. At the same time, your left wrist turns over and the hand arcs downward, drawing in to be at the left side of your waist, palm facing to the east, your right foot pivoting to point to the east. Your gaze is to the east. See photo 195:

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術解
Remarks on the technique:
此式。兩脚前虛後實。兩臂一往一來。形似車輪。出左手。退右步。左右互換。一虛一實。此式前後兩見。法式略同。惟啣接處略異。
In this posture, your feet are front foot empty, rear foot full, and your arms are one going out, one coming in, the shape like a wheel. As your left hand goes out, your right foot retreats, and vice versa, one side emptying, one side filling. In this posture, there is both looking forward and looking back. This is almost the same as the previous time [Posture 16], except that the transition [coming in this case from GOLDEN ROOSTER] is slightly different.

第五十八式
Posture 58
術名
Name of the technique:
斜飛式
DIAGONAL FLYING POSTURE
用法
Function:
仍為轉變進擊之法。
This is a method of switching to an attack.
說明
Description of movement 1:
斜飛式第一動式。由左右倒攆猴第六動式。全身向左扭轉。同時左手由左腰間往西向上圓轉至左肩前。右手隨腰轉至身前。兩掌心上下相對。如抱球狀。左手心向下。右手心朝上。兩脚亦隨胯轉動。變左實而右虛。眼注視東。如第一百九十六圖。
Continuing from movement 6 of RETREAT, DRIVING AWAY THE MONKEY, your torso twists to the left as your left hand goes from the left side of your waist, arcing upward to the west to be in front of your left shoulder, your right hand going along with your waist by arcing until in front of your torso, your palms aligned with each other above and below as though holding a ball, your left palm facing downward, your right palm facing upward. Your feet also go along with the turning of your hips, left foot filling, right foot emptying. Your gaze is to the east. See photo 196:

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說明
Description of movement 2:
斜飛式第二動式。由第一動式。右手旋轉。隨右脚向西南上托。右臂斜向上。左手向東北下按。掌心斜向下。同時右脚向西南出一步。膝彎。左脚伸直。眼注視西南。如第一百九十七圖。
Continuing from movement 1, your right hand turns along with your right foot as it steps to the southwest, propping up with the arm angled diagonally upward, your left hand pushing downward to the northeast, palm facing diagonally downward. At the same time, your right foot takes a step out to the southwest, and the knee bends, your left leg straightening. Your gaze is to the southwest. See photo 197:

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術解
Remarks on the technique:
此式。設敵人由右側上方進擊。我卽轉身乘其勢未至。兩臂急用開勁。將敵臂上托。或斜擊其身。復塡之以右脚。使敵失去重心。此為反守為攻之法也。
In this posture, if an opponent attacks from above on my right side, I turn around and take advantage of the moment before his attack arrives by quickly using my arms to do an action of opening, either propping up his arm or striking diagonally to his back, also stepping into his space with my right foot, causing him to lose his balance. This is a method of switching a defensive position into an offensive one.

第五十九式
Posture 59
術名
Name of the technique:
提手
RAISE THE HANDS
用法
Function:
為擠按之法。
This is a method of pressing and pushing.
說明
Description of the movement:
提手第一動式。由斜飛式第二動式。左脚收囘。向右脚跟靠近。同時右脚向西南出半步。左脚彎。坐實。右脚伸。脚跟點地。右手內合。手臂弧形。指與肩齊。左手由後向右臂。相合於右肘內。兩手指均向上。眼注視西南。全身坐於左脚上。如第一百九十八圖。
Continuing from movement 2 of DIAGONAL FLYING POSTURE, your left foot gathers in to be close to your right heel, then your right foot takes a half step out to the southwest, your left leg bending and sitting full, your right leg straightening, heel touching down. Your hands are coming together inward, arms making a rounded shape, fingers at shoulder level, your left hand going from the rear and closing in toward the inside of your right elbow, the fingers of both hands pointing upward. Your gaze is to the southwest, the weight sitting fully onto your left leg. See photo 198:

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術解
Remarks on the technique:
此式與第五十九式同。
Same as in Posture 59.

第六十式
Posture 60
術名
Name of the technique:
白鶴亮翅
WHITE CRANE SHOWS ITS WINGS
用法
Function:
為掤按提捶之法。
This is a method of warding off while pushing away, lifting up while hanging down.
說明
Description of movement 1:
白鶴亮翅第一動式。由提手第一動式。右脚略進半步。磨轉。足尖向東南。由虛變實。左脚隨右脚動。由實變虛。兩膝稍彎。同時右臂由前圓轉下挂。手心向上。左手轉上橫於胸前。掌心向下。如第一百九十九圖。
Continuing from RAISE THE HANDS, your right foot slightly advances a half step, turning its toes to point to the southeast, and changes from empty to full. Your left foot goes along with your right foot by changing from full to empty. Your knees are slightly bent. At the same time, your right arm goes from in front of you by arcing to hang downward, palm facing upward, as your left hand goes along with the turning of your torso to be horizontal in front of your chest, palm facing downward. See photo 199:

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說明
Description of movement 2:
白鶴亮翅第二動式。由第一動式。腰胯左轉。下坐於右腿上。左脚微彎。脚跟上提。足尖點地。同時右臂由後繞圜半週。上提臂成半圓狀。掌心向下。左臂同時下按。掌心向下。位於左膝前。亦成弧形。上體順腰胯扭轉。眼平視東。如第二百圖。
Continuing from movement 1, your hips turn to the left as you sit down onto your right leg, your left leg slightly bent, heel lifted, toes touching down. At the same time, your right arm arcs a half circle upward from the rear, lifting to make a semicircle shape, palm facing downward, as your left arm pushes down, palm facing downward, to be placed in front of your left knee, also making a semicircle shape, your upper body going along with the twisting of your hips. Your gaze is to the east. See photo 200:

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術解
Remarks on the technique:
此式與第五式及第十九式同。從略。
Same as in Postures 5 & 19.

第六十一式
Posture 61
術名
Name of the technique:
摟膝拗步
BRUSH KNEE IN A CROSSED STANCE
用法
Function:
為伸縮兩臂活動腰胯之法。
This is a method of developing suppleness in the arms and exercising the hips.
說明
Description of movement 1:
摟膝拗步第一動式。由白鶴亮翅第二動式。軀幹向右擰轉。左脚隨之轉動。兩臂亦因之磨轉。左掌翻腕向上。與右掌相合。兩手如抱圓球。由左往右。旋轉兩臂。上下互換。左臂橫於胸前。而掌近於右膀。右臂下垂。掌心向上。眼亦隨臂之旋轉。如第一百零一圖。
Continuing from movement 2 of WHITE CRANE SHOWS ITS WINGS, your torso twists to the right, your left foot and your arms turning along with it, your left palm going upward, wrist turning so your palms are aligned toward each other, your hands as though carrying a ball in an arc from left to right, your arms switching above and below, your left forearm horizontal in front of your chest, palm close to your right upper arm, your right arm hanging down, palm facing upward. Your gaze follows along with the arcing of your arms. See photo 101 [201]:

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說明
Description of movement 2:
摟膝拗步第二動式。由第一動式。兩臂如抱球旋轉。復由右往左旋轉一週。同時左脚向東出一步。彎膝。右脚卽伸直。同時右手由右耳邊前平按。指端向上。臂成弧形。左手同時下按過膝於左腿旁。身轉向東北。眼平視東。如第二百零二圖。
Continuing from movement 1, your arms as though holding a ball arc from right to left. While your left foot takes a step out to the east [northeast], knee bending, your right leg straightening, your right arm goes from beside your right ear with a level push forward, fingertips pointing upward, the arm making a rounded shape, and your left hand pushes downward past your left knee to be beside the thigh. Your torso is turned to the northeast, your gaze level to the east. See photo 202:

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術解
Remarks on the technique:
此式與第六式及第十二式同。故從略。
Same as in Postures 6 & 12.

第六十二式
Posture 62
術名
Name of the technique:
海底針
NEEDLE UNDER THE SEA
用法
Function:
為伸縮腰脊之法。
This develops flexibility in the lower back.
說明
Description of movement 1:
海底針第一動式。由摟膝拗步第二動式。右脚向東滑進半步。左脚卽收囘半步。脚尖點地。同時兩臂隨腰脊收囘於懷中。如第二百零三圖。
Continuing from movement 2 of BRUSH KNEE IN A CROSSED STANCE, your right foot slides forward a half step to the east and your left foot withdraws a half step, toes touching down as your arms go along with your lower back by withdrawing toward your chest. See photo 203:

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復向前斜下指左手。指尖斜向前面。掌心向左。左掌護於右臂。掌心向下。眼平視前。如第二百零四圖。
Then incline forward and diagonally downward, your left [right] fingers pointing diagonally forward, palm facing to the left, your left hand guarding at your right arm, palm facing downward. Your gaze is forward and level. See photo 204:

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術解
Remarks on the technique:
此式與第二十一式同。從略。
Same as in Posture 21.

第六十三式
Posture 63
術名
Name of the technique:
肩通臂
SHOULDER THROUGH THE ARM
用法
Function:
為練肩背之力通於臂指之法。
This is a method of training power in your upper back to go through your arm and fingers.
說明
Description of movement 1:
肩通臂第一動式。由海底針第一動式。兩脚原位不動。兩臂收囘於懷中。同時上體稍向右扭轉。腰背拔起。隨兩臂作勢以待發。如第二百零五圖。
Continuing from NEEDLE UNDER THE SEA, your feet not moving from their location, your arms withdraw toward your chest, your upper body slightly turning to the right as your back pulls up, going along with your arms as they make a posture of waiting to issue. See photo 205:

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說明
Description of movement 2:
肩通臂第二動式。由第一動式。右脚不動。左脚向東南出一步。彎膝。右脚同時伸。兩臂隨腰腿向東南推出。右掌位於額前。左掌乘勢向左上角按出。兩掌心向前。指尖均向東南。眼視左掌。如第二百零六圖。
Continuing from movement 1, your right foot stays where it is as your left foot takes a half step out to the southeast, the knee bending, your right leg straightening. Your arms go along with your waist and legs by pushing out to the southeast, your right palm positioned in front of your forehead, your left palm taking advantage of the opportunity to push out to the upper left corner, both palms facing forward, fingertips pointing toward the southeast. Your gaze is toward your left palm. See photo 206:

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術解
Remarks on the technique:
此式與第二十二式同。從略。
Same as in Posture 22.

第六十四式
Posture 64
術名
Name of the technique:
上步搬攔捶
STEP FORWARD, PARRY, BLOCK, PUNCH
用法
Function:
為進步化敵擊敵法。
This is a method of advancing to neutralize and strike the opponent.
說明
Description of movement 1:
上步搬攔捶第一動式。由肩通臂第二動式。軀幹向右扭轉。同時右腿提起。脚尖向西北外撇。落地踏實。同時右臂以肘為軸。翻臂。掌變拳。隨身向右搬攔。隨腰胯旋轉一週。右拳位於右腰間。右手同時囘下。經左耳前向西推按。同時左脚尖向西北磨轉。兩膝同時下彎。腰胯下沉。眼注視西。身向北。如第二百零七圖。
Continuing from movement 2 of SHOULDER THROUGH THE ARM, your torso twists to the right, as your right leg lifts, toes swung out to the northwest, and comes down fully. At the same time, your right arm turns over from the elbow, the palm becoming a fist, and does a parrying block to the right, then goes along with the turning of your hips, the fist placed at the right side of your waist, as your right [left] hand withdraws downward, passing in front of your left ear, and pushes to the west, your left toes pivoting the foot to the northwest, your knees bending downward, your hips sinking down. Your gaze is to the east, your torso facing to the north. See photo 207:

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說明
Description of movement 2:
上步搬攔捶第二動式。由第一動式。左脚向西出一步。踏實。膝彎。右脚伸直成左弓右箭式。同時右拳由腰間向西平衝。左掌稍後引。指端向上。掌護於右臂間。此時成為左拗步。眼注西。如第一百零八圖。
Continuing from movement 1, your left foot takes a step out to the west, coming down fully, the knee bending, your right leg straightening, making a stance of left leg a bow, right leg an arrow. At the same time, your right fist does a level thrust to the west from your waist, your left palm slightly drawing back, fingertips pointing upward, to guard at your right arm. You are now in a left crossed stance. Your gaze is to the west. See photo 108 [208]:

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術解
Remarks on the technique:
此式與第十式略同。與第二十四式啣接處略異。而功用則同。惟同此一式。而亦復練習。因啣接處各異。則其中轉變動作亦殊。若一槪稱曰同樣。則不免乖誤實甚。是以鄙意不厭麻煩。一再詳述。俾研究斯學者。有所準則也。
This posture is almost the same as in Postures 10 and 24, the transition being slightly different. The function stays the same, but the posture being repeated with a different transition means the movement within it gets slightly adjusted. If we make a generalization that the posture is just the same as before, we would unavoidably end up at odds with the actual situation. Therefore I have tirelessly described it again in detail in order for you to have a standard explanation to learn by.

第六十五式
Posture 65
術名
Name of the technique:
進步攬雀尾
ADVANCE, CATCH THE SPARROW BY THE TAIL
用法
Function:
為轉變啣接之法。
This is a method of transitioning.
說明
Description of movement 1:
進步攬雀尾第一動式。由上步搬攔捶第二動式。右脚向西進一步。踏實。彎膝。全身坐於右腿上。左脚卽伸直。同時右拳鬆開。變掌翻腕。手向上。左手翻腕。手心向下。同時兩臂復翻腕。右掌向下。左掌向上如接球狀。往懷中捋。同時右脚復伸直。左脚彎曲。眼注視西。如第二百零九圖。
Continuing from movement 2 of STEP FORWARD, PARRY, BLOCK, PUNCH, your right foot advances a step to the west and comes down fully, the knee bending, the weight sitting onto your right leg, your left leg straightening. At the same time, your right fist loosens and becomes a palm, the wrist turning so the palm is facing upward, your left wrist turning so the palm is facing downward. Your wrists then turn so your right palm is now facing downward and your left palm is facing upward, as though you are catching a ball, and you will do a rollback toward your chest, your right leg again straightening, left leg bending. Your gaze is to the west. See photo 209:

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說明
Description of movement 2:
進步攬雀尾第二動式。由第一動式。腰胯向左扭轉。同時兩臂隨身軀轉動。復上擡右臂。平舉於胸前成弧形。掌心向內。左臂翻腕。左右手心相對。肘尖下墜。軀幹轉向正東。如第二百一十圖。
Continuing from movement 1, your hips twist to the left, your arms going along with the turning of your torso, your right arm lifting to be raised level in front of your chest, making a rounded shape, palm facing inward, your left wrist turning so your palms are aligned with each other, elbows dropped. Your torso is turned to be facing to the east. See photo 210:

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說明
Description of movement 3:
進步攬雀尾第三動式。由第二動式。腰胯扭轉向右。同時左脚伸直。右脚彎曲。兩臂同時順身勢向西掤擠。兩手仍如捧物狀。右臂橫舉於右肩前成半月形。左臂彎懸於胸前。眼注視西南。如第二百十一圖。
Continuing from movement 2, your hips twist to the right, your left leg straightening, right leg bending, as your hands go along with your body by warding off and pressing to the west, your hands still as though carrying an object, your right arm raised horizontally in front of your right shoulder, making a half moon shape, your left arm bent and hanging in front of your chest. Your gaze is to the southwest. See photo 211:

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說明
Description of movement 4:
進步攬雀尾第四動式。由第三動式。腰胯往後吞。含胸拔背。同時右脚伸直。左脚彎曲。全身坐實於左腿上。兩手向左右撥開。卽隨身往後吞。兩手翻腕。兩手正向西南。手指分向左右。斜向上成月彎形。須沉肩墜肘。眼平視西南。如第二百十二圖。
Continuing from movement 3, your hips absorb to the rear as you contain your chest and pluck up your back, your right leg straightening, left leg bending, the weight sitting fully onto your left leg. At the same time, your hands deflect away to the sides, going along with the withdrawing of your torso, your wrists turning so that the palms are facing to the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. You have to sink your shoulders and drop your elbows. Your gaze is level to the southwest. See photo 212:

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說明
Description of movement 5:
進步攬雀尾第五動式。由第四動式。身由西南吐出。兩手同時隨身向西南推按。如按物然。手指仰向前。兩臂平行與肩等。沉肩墜肘。彎成半月形。兩脚亦隨腰胯向前吐。右脚由伸而彎。成右弓勢。眼注視西南。如第二百十三圖。
Continuing from movement 4, your torso sends out to the southwest, your hands going along with it by pushing to the southwest, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of your hips, your right leg going from straight to bent, making a right bow stance. Your gaze is to the southwest. See photo 213:

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說明
Description of movement 6:
進步攬雀尾第六動式。由第五動式。兩手下彎。同時腰胯向左扭轉。兩臂順勢向左平捋。兩手似伸非伸。似曲非曲。形成各個弧形。臂與肩平。同時左脚由直而變。右脚由彎而直。成左弓勢。眼注視東。如第二百十四圖。
Continuing from movement 5, your wrists bend downward as your hips twist to the left, your arms going along with the movement by doing a rollback across to the left, seeming straight but not straight, bent but not bent, each making rounded shapes at shoulder level. At the same time, your left leg switches from straight to bent and your right leg goes from bent to straight, making a left bow stance. Your gaze is to the east. See photo 214:

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術解
Remarks on the technique:
此式與第二十五式同。
Same as in Posture 25.

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太極拳第九段路線圖由中至西
Route of Segment Nine: traveling from the center line to the west

South

East   東 + 西  West
中央起點線
Starting point on the center line

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

金雞獨立
56. GOLDEN ROOSTER STANDS ON ONE LEG
左右倒攆猴
57. LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
斜飛勢
58. DIAGONAL FLYING POSTURE
提手
59. RAISE THE HANDS
白鶴亮翅
60. WHITE CRANE SHOWS ITS WINGS
摟膝拗步
61. BRUSH KNEE IN A CROSSED STANCE
海底針
62. NEEDLE UNDER THE SEA
肩通臂
63. SHOULDER THROUGH THE ARM
上步搬攔捶
64. STEP FORWARD, PARRY, BLOCK, PUNCH
上步攬雀尾
65. STEP FORWARD, CATCH THE SPARROW BY THE TAIL

第十段 式數三 動數十一
SEGMENT TEN – three postures / eleven movements

第六十六式
Posture 66
術名
Name of the technique:
單鞭
SINGLE WHIP
用法
Function:
為勾摟按掌之法。
This is a method of pulling in with a hook and pushing with a palm.
說明
Description of movement 1:
單鞭第一動式。由進步攬雀尾第六動式。腰胯復由左向右扭轉。右臂由左外方向右平摟一周。卽向右平舉。掌變勾手。左手垂下。由左下方繞圜一周。掌卽向上抄至腰間。右脚由直變彎。左脚由彎變直。成右弓式。眼注視西。如第二百十五圖。
Continuing from movement 6 of CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the right, your right arm pulls from outward on the left into a level circle to the right, the palm becoming a hook hand raised level to the right, as your left hand hangs down and arcs from the lower left, the palm scooping up until at your right ribs. Your right leg switches from straightening to standing and your left leg switches from bending to straightening [hanging], making a right bow stance [a hanging stance]. Your gaze is to the west. See photo 215:

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說明
Description of movement 2:
單鞭第二動式。由第一動式。右臂仍平舉於右。同時左掌由右腰間經右肩前。手指向上。翻腕。卽向東緩緩伸出。按掌。同時左腿提起。向東進步成左弓右箭步。腰胯隨身向左扭轉。眼注視東。如第二百十六圖。
Continuing from movement 1, your right arm remains raised level to the right as your left palm goes from the right side of your waist to pass in front of your right shoulder, fingers pointing upward, wrist turned, then slowly reaches out to the east as a pushing palm. At the same time, your left foot lifts and steps forward to the east, making a stance of left leg a bow, right leg an arrow, your hips going along with the movement of your body by twisting to the left. Your gaze is to the east. See photo 216:

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術解
Remarks on the technique:
此式與第三式同。從略。
Same as in Posture 3.

第六十七式
Posture 67
術名
Name of the technique:
左右抎手
LEFT & RIGHT CLOUDING HANDS
用法
Function:
為化敵護身之法。
This is a method of neutralizing the opponent and shielding the body.
說明
Description of movement 1:
左右抎手第一動式。由單鞭第二動式。右勾手鬆開變掌。手往下垂。隨腰往左圓轉一周。轉至左肩前。手心轉向內。同時右脚向東移半步。足尖點地。與左脚相靠。左手同時鬆開。翻腕。手心向下。隨腰往下向右圓轉。轉至右腹前。掌心微向上。眼平視。如第二百十七圖。
Continuing from movement 2 of SINGLE WHIP, your right hook hand releases and becomes a palm, and the hand sinks down and goes along with your waist by arcing to the left until in front of your left shoulder, palm turned to face inward, as your right foot shifts a half step to the east, toes touching down close to your left foot. Then your left hand loosens, the wrist turning over so the palm is facing downward, and goes along with your waist by lowering and arcing to the right until in front of your lower abdomen, palm facing slightly upward. Your gaze is level. See photo 217:

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說明
Description of movement 2:
左右抎手第二動式。由第一動式。軀幹卽向右扭轉。兩臂隨軀幹旋轉。手心仍向內。兩脚尖同時向右磨轉。兩膝微彎。眼平視西。如第二百十八圖。
Continuing from movement 1, your torso twists to the right, your arms going along with your torso, palms still facing inward, as the toes of both feet turn to the right, your knees slightly bent. Your gaze is to the west. See photo 218:

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說明
Description of movement 3:
左右抎手第三動式。由第二動式。左脚卽向東橫一步。身軀卽扭轉坐於左脚上。同時左手由右下方經右側繞轉至左肩前。手心內向。右手由前繞轉一週。抎至腹前。兩膝稍彎。眼平視。如第二百十九圖。
Continuing from movement 2, your left foot takes a sideways step to the east and your torso twists to sit onto your left foot. At the same time, your left hand goes from the lower right, passes along your right side, and arcs until in front of your left shoulder, palm facing inward, as your right hand arcs from in front of you, clouding until in front of your abdomen. Your knees are slightly bent. Your gaze is level. See photo 219:

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說明
Description of movement 4:
左右抎手第四動式。由第三動式。軀幹向左扭轉。同時左手由肩前隨身轉向上繞轉抎至左肩前。掌心向內。同時右脚向左脚靠近。脚尖點地。兩膝稍彎。眼平視。如第二百二十圖。
Continuing from movement 3, your torso twists to the left as your left [right] hand goes from in front of your shoulder [abdomen], going along with your torso by arcing upward, clouding until in front of your left shoulder, palm facing inward. At the same time, your right foot goes close to your left foot, toes touching down, and your knees are slightly bent. Your gaze is level. See photo 220:

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說明
Description of movement 5:
左右抎手第五動式。由第四動式。動作與第二動式同。如第二百二十一圖。
Continuing from movement 4, the movement is the same as in movement 2. See photo 221:

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說明
Description of movement 6:
左右抎手第六動式。由第五動式。動作與第三動式同。如第二百二十二圖。
Continuing from movement 5, the movement is the same as in movement 3. See photo 222:

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說明
Description of movement 7:
左右抎手第七動式。由第六動式。動作與第四動式同。如第二百二十三圖。
Continuing from movement 6, the movement is the same as in movement 4. See photo 223:

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說明
Description of movement 8:
左右抎手第八動式。由第七動式。動作與第五動式同。如第二百二十四圖。
Continuing from movement 7, the movement is the same as in movement 5. See photo 224:

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術解
Remarks on the technique:
見前。從略。
Same as the earlier occasion [Posture 27].

第六十八式
Posture 68
術名
Name of the technique:
單鞭
SINGLE WHIP
用法
Function:
為轉變啣接之法。
This is a method of transitioning.
說明
Description of the movement:
單鞭第一動式。由左右抎手第八動式。右小臂翻腕下弔。由上往下圓轉一周。向右平舉。掌成勾手。同時左手由腰間圓轉至右肩前。掌心翻轉向左。指向上卽向東緩緩伸出。按掌。同時左腿提起。隨左手向東出一步。腰胯隨身勢扭轉向左。眼視左掌。如第二百二十五圖。
Continuing from movement 8 of CLOUDING HANDS, your right forearm rotates for the hand to hang down in an arc going downward from above, and raises level to the right, the palm changing to a hook hand, and your left hand arcs from your waist until in front of your right shoulder, palm turned to be facing to the left, fingers pointing upward, then slowly reaches out to the east as a pushing palm. At the same time, your left leg lifts and goes along with your left hand by taking a step out to the east, your hips going along with the movement of your body by twisting to the left. Your gaze is toward your left palm. See photo 225:

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術解
Remarks on the technique:
此式與第三式同。
Same as in Posture 3.

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太極拳第十段路線圖由西至中
Route of Segment Ten: traveling from the west to the center

South

East   東 + 西  West
中央起點線
Starting point on the center line

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

單鞭
66. SINGLE WHIP
左右抎手
67. LEFT & RIGHT CLOUDING HANDS
單鞭
68. SINGLE WHIP

第十一段 式數四 動數十
SEGMENT ELEVEN – four postures / ten movements

第六十九式
Posture 69
術名
Name of the technique:
高探馬
RISING UP AND REACHING OUT TO THE HORSE
用法
Function:
縮步聳身化敵法。
This is a method of withdrawing a step and raising your body to neutralizing the opponent.
說明
Description of the movement:
高探馬第一動式。由單鞭第一動式。右手由右後方上圓轉右耳邊。向東探出。掌心朝下。同時腰胯向左扭轉。左手隨腰轉。收囘置於左脅下。手心朝上。同時右脚往前活步。脚掌向左磨轉。膝稍彎。左脚收囘。足尖點地。腿伸直。腰胯下沉。身轉向東。眼平視。如第二百二十六圖。
Continuing from SINGLE WHIP, your right hand arcs upward from the right rear, passes beside your right ear, and reaches out to the east, palm facing downward, as your hips twist to the left, your left hand going along with your waist by withdrawing to be placed below your left ribs, palm facing upward. At the same time, your right foot takes a lively step forward, the ball of the foot turning to the left, knee slightly bent, and your left foot withdraws, toes touching down, the leg straightening, your hips sinking down, your torso turning to the east. Your gaze is level. See photo 226:

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術解
Remarks on the technique:
此式與第二十九式同。
Same as in Posture 29.

第七十式
Posture 70
術名
Name of the technique:
十字腿
CROSS-SHAPED KICK
用法
Function:
為前後顧盼之法。
This is a method of having awareness both in front and behind.
說明
Description of movement 1:
十字腿第一動式。由高探馬第一動式。左手由脅下經右臂上向東上斜穿掌。向敵喉間衝去。手心向上。同時右手囘護左肘之下。掌心向上。腰胯向右扭轉。同時左脚尖向右磨轉。踏實。腿伸直。右膝微屈。脚尖點地。眼隨掌轉動。復向西注視。如第二百二十七圖。
Continuing from REACHING OUT TO THE HORSE, your left hand goes from below your ribs, passing over your right arm, and goes diagonally upward to the east as a threading palm, thrusting out to the opponent’s throat, palm facing upward, your right hand withdrawing to guard below your left elbow, palm facing upward, your hips twisting to the right. (Then your left toes will turn to the right, coming down fully, the leg straightening, your right knee slightly bending, toes touching down, and your gaze will follow along with the arc of your palm to look to the west.) See photo 227:

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說明
Description of movement 2:
十字腿第二動式。由第一動式。右手由左肘下翻腕圓轉經身前向西平攔。掌心稍向西南。左腕同時翻轉。掌心稍向東南。同時右腿提起。用脚跟向敵脅部蹬去。左脚直立。兩臂平展如十字。如第二百二十八圖。
Continuing from movement 1, your right hand goes from below your elbow, the wrist turning over, arcing past the front of your body to block across to the west, palm slightly facing to the southwest, your left wrist turning so the palm is slightly facing to the southeast. At the same time, your right foot lifts and presses out with the heel to the opponent’s rib area, your left leg straightening. Your arms are spread level to look like a cross. See photo 228:

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術解
Remarks on the technique:
此式十字腿。以兩手展開如十字。前能擊敵之喉部。後能禦敵之襲擊。乘機起腿蹬敵之右脅部。此所謂前後顧盼。不為敵算。前後均能照顧是也。
For this “cross-shaped” kick, your hands are spread apart like a cross. To the front it can strike to the opponent’s throat, and to the rear it can prevent a surprise attack. Take advantage of the opportunity to lift your leg and press to his right ribs. This is described as “seeing both forward and back, you are not subject to your enemy’s plans”, meaning you can be equally aware of both front and behind.

第七十一式
Posture 71
術名
Name of the technique:
摟膝指襠捶
BRUSH KNEE, PUNCH TO THE CROTCH
用法
Function:
為轉身接打法。
This is a method of turning your torso to continue into a strike.
說明
Description of the movement:
摟膝指襠捶第一動式。由十字腿第二動式。右掌卽變拳。臂以肘為軸。往內向外圓轉。撇開往後引至腰間。急向敵襠部進擊。同時左手由左上經右上往下圓轉。摟過左膝。手心向下。同時右腿脚尖向北撇轉。卽向西落下。膝稍彎。踏實。成拗步。左脚同時向西再進一步。踏實。彎膝。同時右脚放鬆伸直成左拗步。腰胯先向右下沉。復向左扭轉。順拳腿軀幹之姿勢。抑揚頓挫。不卽不離。身微向前俯。眼隨拳脚轉動。注視正西。如第二百二十九圖及第二百三十圖。
Continuing from movement 2 of CROSS-SHAPED KICK, your right palm becomes a fist, the elbow bending, and arcs inward then outward, parrying aside to the rear and drawing in to your waist, then quickly striking forward toward the opponent’s crotch, as your left hand goes from the upper left, passing through the upper right, and arcing downward to brush past your left knee, palm facing downward. At the same time, your right foot comes down to the west, toes swung out toward the north, coming down fully, the knee slightly bending, making a crossed stance, and then your left foot advances a further step to the west, coming down fully, knee bending, as your right leg relaxes and straightens, now making a left crossed stance. Your hips first sink to the right, then twist to the left. The actions of fist, legs, and torso are in a measured and uniform rhythm. With your body slightly leaning forward, your gaze goes along with the movements of your foot and fist to be looking to the west. See photos 229 & 230:

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術解
Remarks on the technique:
此式應用。以摟開敵手攻擊敵之下部為能事。而重在軀幹之運動。以右抑左揚。復左挫而右頓。凡此運動。以腰胯為軸。旋轉軀幹。含胸亦須拔背。沉肩亦須墜肘。則運用靈而變化生。不以區區一擊為得策也。
The application of this posture is to brush aside the opponent’s hand and attack his lower body. Emphasize the movement of your torso to drive the actions of pressing down to the right and raising on the left, then frustrating on the left and shocking on the right. This exercises the use of the hips as a pivot to rotate the torso. Contain your chest, which also requires plucking up your back, and sink your shoulders, which also requires dropping your elbows. Thus application will be nimble and transformation will be lively. But it is best not to strike in this fashion without good reason.

第七十二式
Posture 72
術名
Name of the technique:
上步攬雀尾
STEP FORWARD, CATCH THE SPARROW BY THE TAIL
用法
Function:
為複習掤捋擠按之法。
This is for training ward-off, rollback, press, and push.
說明
Description of movement 1:
上步攬雀尾第一動式。由摟膝指襠捶第二動式。右捶變掌。翻腕。掌心向上。左掌同時翻腕。手心向下。如接球狀。同時右脚向西出一步。踏實。彎膝。左脚伸直。同時軀幹順右脚向右磨轉。兩臂復同時翻腕。掌心上下互換位置。往懷中捋。同時右脚伸直。左脚彎。眼視西。如第二百三十一圖。
Continuing from movement 2 of BRUSH KNEE, PUNCH TO THE CROTCH, your right fist becomes a palm, the wrist turning so the palm is facing upward, as your left wrist turns so the palm is facing downward, as though you are catching a ball. Then your right foot advances a step to the west and comes down fully, the knee bending, your left leg straightening, your torso and hips going along with your right leg by turning to the right. Your wrists then turn so your palms switch positions above and below, and you will do a rollback toward your chest, your right leg again straightening, left leg bending. Your gaze is to the west. See photo 231:

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說明
Description of movement 2:
上步攬雀尾第二動式。由第一動式。同時腰胯向左扭轉。兩臂隨身轉動。同時上擡右臂。平舉於胸前成弧形。掌心內向。左臂翻腕。左肘懸於胸前。兩手心相對如捧物然。肘尖下沉。軀幹轉向正東。眼注視。如第二百三十二圖。
Continuing from movement 1, your hips then twist to the left, your arms going along with the turning of your torso, your right arm lifting to be raised level in front of your chest, making a rounded shape, palm facing inward, your left wrist turning so your elbow is hanging in front of your chest, palms aligned with each other, as though carrying an object, elbows sinking down. Your torso is turned to be facing to the east, your gaze to the east. See photo 232:

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說明
Description of movement 3:
上步攬雀尾第三動式。由第二動式。腰胯扭轉向右。同時左脚伸直。右脚彎曲。兩臂同時順身勢向西掤擠出。兩手仍如捧物狀。右臂橫舉於右肩前成半月形。左臂彎懸於胸前。眼正視西南。如第二百三十三圖。
Continuing from movement 2, your hips twist to the right, your left leg straightening, right leg bending, as your hands go along with your body by warding off and pressing to the west, your hands still as though carrying an object, your right arm raised horizontally in front of your right shoulder, making a half moon shape, your left arm bent and hanging in front of your chest. Your gaze is to the southwest. See photo 233:

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說明
Description of movement 4:
上步攬雀尾第四動式。由第三動式。腰胯往後吞。含胸拔背。同時右脚伸直。左脚彎曲。全身坐實於腿上。兩手同時向左右撥開。卽隨身向後吞。兩手翻腕。手心正向西南。兩手指分向左右。斜向上成月彎形。須沉肩墜肘。眼平視西南。如第一百三十四圖。
Continuing from movement 3, your hips absorb to the rear as you contain your chest and pluck up your back, your right leg straightening, left leg bending, the weight sitting fully onto your left leg. At the same time, your hands deflect away to the sides, going along with the withdrawing of your torso, your wrists turning so that the palms are facing to the southwest, fingers spread apart and pointing diagonally upward, bending back to make a rounded shape. You have to sink your shoulders and drop your elbows. Your gaze is level to the southwest. See photo 134 [234]:

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說明
Description of movement 5:
上步攬雀尾第五動式。由第四動式。身向西南吐出。兩手同時隨身向西南推按。如按物然。手指仰向前。兩臂平行與肩等。沉肩墜肘。彎成半月形。兩脚亦隨腰胯向前吐。右脚由伸而彎。左脚由彎而伸。成右弓式。眼平視西南。如第二百三十五圖。
Continuing from movement 4, your torso sends out to the southwest, your hands going along with it by pushing to the southwest, as though pushing away an object, your fingers inclining forward, your arms at shoulder level, shoulders sinking and elbows dropping, bending to make a half moon shape, as your legs go along with the forward motion of your hips, your right leg going from straight to bent, your left leg going from bent to straight, making a right bow stance. Your gaze is level to the southwest. See photo 235:

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說明
Description of movement 6:
上步攬雀尾第六動式。由第五動式。兩手腕下彎。同時腰胯向左扭轉。兩臂順勢向左平捋。兩手似伸非伸。似曲非曲。形成各個弧形。臂與肩平。同時左脚由直而彎。右脚由彎而直。成左弓勢。眼注視東。如第二百三十六圖。
Continuing from movement 5, your wrists bend downward as your hips twist to the left, your arms going along with the movement by doing a rollback across to the left, seeming straight but not straight, bent but not bent, each making rounded shapes at shoulder level. At the same time, your left leg goes from straight to bent and your right leg goes from bent to straight, making a left bow stance. Your gaze is to the east. See photo 236:

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術解
Remarks on the technique:
攬雀尾一式。前後重複凡八次。一次接太極起式。兩次接抱虎歸山。兩次接上步搬攔捶。一次接野馬分鬃。一次接玉女穿梭。一次接摟膝指襠捶。惟同一攬雀尾。而啣接不同。故動作稍有出入。所以作者不惜腦力。每式詳加圖說。俾研究斯學者。不致興歧路之嘆。
CATCH THE SPARROW BY THE TAIL occurs throughout the set eight times, transitioning once from BEGINNING POSTURE, twice from CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, twice from STEP FORWARD, PARRY, BLOCK, PUNCH, once from WILD HORSE VEERS ITS MANE, once from MAIDEN WORKS THE SHUTTLE, and once from BRUSH KNEE, PUNCH TO THE CROTCH. They are all the same as the first time, but the transitions are not the same, and so the movements into it and out of it are slightly different. Therefore I have gone to the trouble of explaining it in detail each time in order for you to learn it without ending up sighing in confusion.

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太極拳第十一段路線圖
Route of Segment Eleven: [traveling from the center line to the west]

South

East   東 + 西  West
中央起點線
Starting point on the center line

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

高探馬
69. RISING UP AND REACHING OUT TO THE HORSE
十字腿
70. CROSS-SHAPED KICK
摟膝指𦡁捶
71. BRUSH KNEE, PUNCH TO THE CROTCH
上步攬雀尾
72. STEP FORWARD, CATCH THE SPARROW BY THE TAIL

第十二段 式數九 動數十五
SEGMENT TWELVE – nine postures / fifteen movements

第七十三式
Posture 73
術名
Name of the technique:
單鞭下勢
SINGLE WHIP, LOW POSTURE
用法
Function:
此式與第五十五式同。
Same as in Posture 55.
說明
Description of movement 1:
單鞭下勢第一動式。由攬雀尾第六動式。腰胯復由左向右扭轉。右臂由左外方向右平摟一周。卽向右平舉。掌變勾子手。左手由左下方繞圜一周。掌卽向上抄至右腰間。左腿提起垂直。右脚變成直立式。眼注視西。如第二百三十七圖。
Continuing from movement 6 of CATCH THE SPARROW BY THE TAIL, your hips then twist from the left to the right, your right arm pulls from outward on the left into a level circle to the right, the palm changing to a hook hand raised level to the right, as your left hand arcs from the lower left, the palm scooping up until at your right ribs, your left leg lifting and hanging, your right leg switching to a posture of standing [one-legged]. Your gaze is to the west. See photo 237:

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說明
Description of movement 2:
單鞭下勢第二動式。由第一動式。右臂仍平舉於右。同時左掌由腰間經右肩前。手指向上翻腕。卽向東緩緩伸出。按掌。同時左腿落下。向東進一步。由垂腿而彎膝。如第二百三十八圖。
Continuing from movement 1, your right arm remains raised level to the right as your left palm goes from your waist to pass in front of your right shoulder, fingers pointing upward, wrist turned, then slowly reaches out to the east as a pushing palm. At the same time, your left foot comes down with a forward step to the east, going from a hanging leg to a bending knee. See photo 238:

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說明
Description of movement 3:
單鞭下勢第三動式。由第二動式。同時腰胯復向西下沉。右脚由直而變彎。全身重心坐於右腿上。同時左臂順腰胯下沉。與左脚成平行線。左掌位於左脚背上。右手仍平舉於右。眼仍注視東。如第二百三十九圖。
Continuing from movement 2, your hips then sink down toward the west, your right leg switching from straight to bent, the weight sitting onto your right leg. At the same time, your left arm goes along with the sinking of your hips and makes a parallel line with your left leg, the palm positioned above the top of your left foot, your right hand remaining as a hook hand raised level to your right. Your gaze is still to the east. See photo 239:

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術解
Remarks on the technique:
此式雖與第五十五式同。而啣接不同。所以各動式稍有殊異。而定式則一也。按此單鞭一式。前後重複演習凡十次。啣接攬雀尾者有七次之多。啣接左右抎手者亦有三次。內二次又是單鞭下勢。所謂勢同而動異者。均視前後啣接之處動式如何為之張本。變化非一成不變之局也。
Although the posture is the same as in Posture 55, the transition into it is different. But despite some slight differences in the movements, the main posture is the same. The SINGLE WHIP posture gets performed repeatedly throughout the set, a total of ten times, transitioning seven times from CATCH THE SPARROW BY THE TAIL and three times from CLOUDING HANDS. Among these two kinds of transitions, there is also the version of SINGLE WHIP, LOW POSTURE. When a posture is the same but there is a difference of movement, look into the transitions that precede and follow it in order to see how to prepare for it, for it is then a situation of the transformations being themselves transformable.

第七十四式
Posture 74
術名
Name of the technique:
上步七星
STEP FORWARD WITH THE BIG DIPPER
用法
Function:
為迎敵之法。
This is a method of meeting the opponent’s attack.
說明
Description of the movement:
上步七星第一動式。由單鞭下勢第三動式。腰胯往左起勢。軀幹往左扭轉。左脚由直而彎。左胯下沉。同時右脚隨身往東出半步。脚尖點地。膝稍彎。右脚尖與左脚成丁字形。全身力量支持於左腿上。同時左掌由前上抄。右勾手急隨右腿往東上抄。兩臂相交於身前。成七星形。兩手卽變拳。拳眼斜向上。與兩肩平。沉肩墜肘鬆腰。眼注視正東。如第二百四十圖。
Continuing from the third movement of SINGLE WHIP, LOW POSTURE, your hips rise to the left [i.e. forward], your torso twisting to the left, while your left leg goes from straight to bent, your left hip sinking down. Then your right foot goes along with your body by taking a half step out to the east, toes touching down, knee slightly bent, your right toes making a T shape with your left foot. The weight of your whole body is supported on top of your left leg. At the same time, your left palm scoops forward and upward as your right hook hand quickly goes along with your right leg by scooping upward to the east. Your forearms cross in front of your body, making a Big Dipper [i.e. saucepan] shape, your hands becoming fists at shoulder level, the centers of the fists facing diagonally upward. Sink your shoulders, drop your elbows, and loosen your waist. Your gaze is to the east. See photo 240:

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術解
Remarks on the technique:
此式為敵由前從上擊來。我則迎之上去。以手架之。或擊之以拳。或踢之以腿。此為技術上之應用。
The opponent in front of me attacks from above, so I meet it and send it away upward, my hands propping up. Or I may strike with my [right] fist and kick with my [right] leg.

第七十五式
Posture 75
術名
Name of the technique:
退步跨虎
RETREAT TO SITTING TIGER POSTURE
用法
Function:
此式為用挒法化敵。
This is a method of rending to neutralize the opponent.
說明
Description of the movement:
退步跨虎第一動式。由上步七星第一動式。右手往右側下方圓轉一週。掌向外位於額前。同時左手往左下方挒開。手掌位於左腿旁。兩手腕向外翻轉。掌心微向東。同時右脚向西退一步。彎膝。左脚跟提起。脚尖點地。腰胯下沉。軀幹隨腰胯向右旋轉成跨虎勢。眼注視東。如第二百四十一圖。
Continuing from STEP FORWARD WITH THE BIG DIPPER, your right hand goes downward to the right side and makes a full circle until positioned in front of your forehead, palm facing outward, while your left hand goes downward to the left, rending aside, until the palm is positioned beside your left thigh. Both wrists are turned outward, palms facing slightly to the east. At the same time, your right leg retreats a step to the east, the knee bends, and your left heel lifts, toes touching down. Your hips sink and your torso goes along with your hips by turning to the right, making a “sitting tiger posture”. Your gaze is to the east. See photo 241:

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術解
Remarks on the technique:
此跨虎式。為迎敵之法。設敵用雙手按來。我則退步以應之。用兩手上黏下挒。使敵全力皆落於空。此所謂制人而不制於人之謂也。
This is a method of meeting the opponent. If the opponent attacks with a double-hand push, I deal with it by retreating while sticking upward with one hand and rending downward with the other, causing all of the opponent’s power to land on nothing. This is called “controlling the opponent and not being controlled by the opponent” [Art of War, chapter 6].

第七十六式
Posture 76
術名
Name of the technique:
轉脚擺蓮
SPIN, SWINGING LOTUS KICK
用法
Function:
此式為旋轉擺腿之法。
This is a method of spinning around and doing a swinging kick.
說明
Description of movement 1:
轉脚擺蓮第一動式。由退步跨虎第一動式。右脚掌向右後磨轉一周。同時左脚懸起。隨向右旋轉。由東經西往東北掃腿一周。落於東北隅。彎膝。踏實。右脚卽伸直。左手上擡。掌背與右掌心相黏。位於額前。軀幹同時旋轉。腰胯下沉。眼注視東。如第二百四十二圖。
Continuing from RETREAT TO SITTING TIGER POSTURE, do a complete spin around to the right rear on the ball of your right foot, your left foot lifting and going along with the rightward turn by doing a sweeping action all the way around from east to west to northeast, lowering to the northeast corner, knee bending, coming down fully, your right leg straightening, and your left hand lifts up to be positioned in front of your forehead, the back of the hand aligned with your right palm. As your torso spins around, your hips are sinking down. Your gaze is to the east. See photo 242 [which shows the position of the hands while only halfway through the spin]:

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說明
Description of movement 2:
轉脚擺蓮第二動式。由第一動式。左脚卽伸直。同時右腿急提起。由左上側向右擺腿。(卽順風腿)同時兩掌合擊於右脚背上。眼注視東。如第二百四十三圖。
Continuing from movement 1, your left leg straightens as your right leg quickly lifts and does a swinging kick from the upper left to the right (called an “along-with-the-wind kick”), your palms at the same time striking the top of your right foot. Your gaze is to the east. See photo 243:

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術解
Remarks on the technique:
此式為技擊上風擺荷蓮。所謂柔腰百折在無骨。撒手滿身都是手。可形容此式之奧妙也。
This posture attacks above with WIND SWAYS THE LOTUS and has been described as “softening the waist so much it seems boneless”. To “let go and let the entire body be a single hand” can describe the subtlety of this posture.

第七十七式
Posture 77
術名
Name of the technique:
彎弓射虎
BEND THE BOW, SHOOT THE TIGER
用法
Function:
為乘勢衝擊法。
This is a method of seizing the opportunity with a thrusting strike.
說明
Description of the movement:
彎弓射虎第一動式。由轉脚擺蓮第二動式。右腿卽落於東南隅。踏實。膝彎。左脚卽伸直成右弓左箭式。同時兩臂隨右腿落下。復轉向右側上方。同時兩掌握拳。右拳上提至右耳前。黏敵腕。左拳卽經右脅前向東南衝擊。腰胯下沉。身軀先向右轉。復向左轉。眼注視東。如第二百四十四圖。
Continuing from movement 2 of SPIN, SWINGING LOTUS KICK, your right leg lowers to the southeast corner, coming down fully, the knee bending, your left leg straightening, making a stance of right leg a bow, left leg an arrow. At the same time, your arms go along with the lowering of your right leg, then arc upward to the right, your palms grasping into fists, your right fist lifting until in front of your right ear, sticking to the opponent’s wrist, your left fist passing in front of your right ribs and then doing a thrusting strike to the southeast, your hips sinking down, your torso turning first to the right and then to the left. Your gaze is to the east. See photo 244:

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術解
Remarks on the technique:
此式為承上三式之一式也。補此一式。乃成攻守進退之條件。所以成套之拳術。均是一氣呵成。若要任意增損架式。不但違背先師發明太極拳之本旨。而對一般拳之組成的原則。恐難符合。學者須在此中研究之。則國術前途。庶其有豸。
This posture continues from the previous three postures to form a single “posture” [from BIG DIPPER to SHOOT THE TIGER forming the “finale” of the set]. To aid this particular posture, fulfill the qualities of attack and defense, advance and retreat. The whole set will thus have a continuous flow.
     If you feel a need to arbitrarily add or subtract postures, not only would this violate the original intentions of the creators of the Taiji Boxing set, I doubt it would tally with the standards of most other boxing arts either. Consider this point well, and then the future of our martial arts will be almost assured.

第七十八式
Posture 78
術名
Name of the technique:
上步搬攔捶
STEP FORWARD, PARRY, BLOCK, PUNCH
用法
Function:
與第六十四式同。
Same as in Posture 64.
說明
Description of movement 1:
上步搬攔捶第一動式。由彎弓射虎第一動式。腰胯向左磨轉。坐於左腿。右脚伸直。左膝彎。兩拳同時變掌。由右上前方向懷中捋囘。軀幹隨腰胯向左旋轉。兩手捋至左脅旁。如第二百四十五圖。
Continuing from BEND THE BOW, SHOOT THE TIGER, your hips turn to the left as you sit onto your left leg, your right leg straightening, left leg bending. At the same time, your fists change to palms and do a rollback from forward in the upper right toward your chest, your torso turning to the left while your hands are rolling back to be beside your left ribs. See photo 245:

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同時右腿提起。脚尖向南撇。彎膝。踏實。左脚虛。脚掌磨轉。脚踵翹起。左膝抵在右腿後。軀幹復向右旋。腰胯下沉。全身坐於右腿上。同時右掌握拳。以肘為軸。手心向上。由左脅向右方撇開。至於右腰間。左掌隨右臂轉動。由懷中向東伸出。攔開敵手。眼注視東。如第二百四十六圖。
Then your right foot lifts, the toes swinging out to the south, and the knee bends as it comes down fully, your left foot emptying and pivoting on the ball of the foot, heel lifted, your left knee touching the back of your right knee, your torso turning to the right, hips sinking down, the weight sitting onto your right leg. At the same time, your right palm grasps into a fist, rotating at the elbow so the palm is facing upward, and goes from your left ribs, flinging aside to the right until at the right side of your waist, your left palm going along with the arcing of your right arm by reaching out to the east from your chest, blocking away the opponent’s hand. Your gaze is to the east. See photo 246:

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說明
Description of movement 2:
上步搬攔捶第二動式。由第一動式。左脚向東出一步。彎膝。踏實。右脚放鬆伸直。同時右拳由腰間向東平衝。左臂稍往後帶。掌卽護於右臂旁。指端向上。軀幹同時向左旋轉。眼注視東。如第二百四十七圖。
Continuing from movement 1, your left foot takes a step out to the east, the knee bending, the foot coming down fully, your right leg relaxing and straightening. At the same time, your right fist does a level thrust to the east from your waist, your left arm slightly drawing back to guard beside your right arm, fingertips pointing upward, your torso turning to the left. Your gaze is to the east. See photo 247:

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術解
Remarks on the technique:
此式。全套中有同式者六個。惟每次承上式啣接處。各各不同。凡每一式第一動式。均各殊異。而成法則同。
This posture occurs six times throughout the set, but every time it transitions from a different posture. Despite those different postures, the technique stays the same.

第七十九式
Posture 79
術名
Name of the technique:
如封似閉
SEALING SHUT
用法
Function:
為封閉格攔之法。
This is a method of blocking the opponent and sealing him off.
說明
Description of movement 1:
如封似閉第一動式。由上步搬攔捶第二動式。腿胯向右後坐。身腰向內吞。(卽含胸拔背)右腿下彎。左脚伸直。同時右拳變掌。隨身往後縮囘。左臂卽承於右臂之下向前伸出。似格敵之意。腰胯下沉。眼注視東。如第二百四十八圖。
Continuing from movement 4 of STEP FORWARD, PARRY, BLOCK, PUNCH, your hips sit to the right rear, your waist absorbing inward (meaning you are containing your chest and plucking up your back), your right leg bending downward, your left leg straightening. At the same time, your right fist becomes a palm, and goes along with your torso by withdrawing to the rear, your left arm arcing to be below your right arm and reaching out forward with an intention of blocking the opponent. Your hips are sinking down, your gaze to the east. See photo 248:

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說明
Description of movement 2:
如封似閉第二動式。由第一動式。兩臂同時翻腕。向左右撥開。兩臂卽向後縮囘。含胸拔背。掌心向前。手指微曲。如第二百四十九圖。
Continuing from movement 1, your forearms rotate in unison, turning your wrists, deflecting aside to the left and right, and withdrawing to the rear as you contain your chest and pluck up your back, your palms facing forward, fingers slightly bent. See photo 249:

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卽向東平按兩臂如半月弧形。腰幹腿胯向東吐出。左膝彎。右脚伸。成前弓後箭式。如第二百五十圖。
Then do a level push to the east, your arms seeming rounded into half moon shapes, your torso and hips sending out to the east, your left knee bending, your right leg straightening, making a stance of front leg a bow, rear leg an arrow. See photo 250:

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術解
Remarks on the technique:
此式前後凡三次。複習法式均同。
This is the third appearance of this posture, performed the same way as the previous times.

第八十式
Posture 80
術名
Name of the technique:
十字手
CROSSED HANDS
用法
Function:
為防上禦下之法。
This is a method of defending above and below.
說明
Description of movement 1:
十字手第一動式。由如封似閉第二動式。軀幹向右轉正。同時右腿下沉似四平襠。右虛而左實。兩臂同時向右上方擺開轉正。兩掌心向前。形似滿月。眼平視。如第二百五十一圖。
Continuing from movement 2 of SEALING SHUT, your torso turns to the right as your right thigh sinks down, making a four-level stance with your right foot empty, left foot full. At the same time, your arms go along with your torso by going to the upper right, deflecting to the sides as you turn to face forward, both palms facing forward, arms making a full moon shape. Your gaze is level. See photo 251:

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說明
Description of movement 2:
十字手第二動式。由第一動式。兩臂順軀幹轉動。同時由上分向左右。緩緩下按至襠前。兩手心內向。形如抱月然。兩腿順腰胯擺動。左虛右實。腿仍下沉。含胸拔背鬆腰。如第二百五十二圖。
Continuing from movement 1, your arms go along with your torso by spreading apart in unison from above to the sides and slowly pushing down until in front of your crotch, both palms facing inward, as though carrying the moon. Your legs go along with your hips by bulging outward, your left foot empty, right foot full, thighs still sinking down. Contain your chest, pluck up your back, and loosen your waist. See photo 252:

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說明
Description of movement 3:
十字手第三動式。由第二動式。兩腿緩緩直立。兩脚同時向內收。與兩肩同寬。兩脚直立成平行式。兩手交叉。掌心向內。兩臂同時隨身體徐徐上升。由下而上。交叉圜抱於胸前。眼平視正南。如第二百五十三圖。
Continuing from movement 2, your legs slowly straighten to be standing, your feet gathering inward until at shoulder width, making a parallel stance, as your hands cross, palms facing inward, your arms going along with your body by slowly raising up from below, crossing with a rounded embrace in front of your chest. Your gaze is level to the south. See photo 253:

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術解
Remarks on the technique:
此式前後共三式。動式與啣接處均同。從略。
This is the third performance of this posture, its movements and transitions all the same as before.

第八十一式
Posture 81
術名
Name of the technique:
合太極
CLOSING POSTURE
用法
Function:
此式為全式終了之法式。
This is for concluding the whole set of postures.
說明
Description of the movement:
合太極第一動式。由十字手第三動式。兩手由前分左右徐徐下垂。手心向下垂至兩胯旁。復歸太極起式原狀。左脚同時向右收囘。成立正之姿勢。如第二百五十四圖。
Continuing from movement 3 of CROSSED HANDS, your hands spread apart to the sides and slowly sink down, palms facing downward until they are beside your hips, thereby returning you to your original position in the BEGINNING POSTURE. Your left foot will then gather in to the right, making an attention stance. See photo 254:

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術解
Remarks on the technique:
此為一套拳術終止之式。學者尤宜注意。凝神息慮。心靜意舒。始終一貫。不可散失。收其心。歛其氣。復納於丹田。仍歸於太極。則獲全始全終矣。
As this posture concludes the full set of boxing techniques, you should give it special attention. Consolidate your spirit and rest your thoughts. Quiet your mind and relax your intent. The continuity running through the whole exercise must not be allowed to slip away. Withdraw your mind, collecting your energy and putting it back into your elixir field, returning you to a condition of taiji [i.e. a perfect balanced state]. You have hereby obtained the whole set from start to finish.

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太極拳第十二段路線圖由西至中
Route of Segment Twelve: traveling from the west to the center line

South

中央起點線
Starting point on the center line
East   東 + 西  West

North

圖例 腳尖 腳跟 右腳 左腳 由某步至某步
Map key: toes / heel / right foot / left foot / from a certain step to another

術名與秩序之説明
Technique names in sequence:

單鞭下勢
73. SINGLE WHIP, LOW POSTURE
上步七星
74. STEP FORWARD WITH THE BIG DIPPER
退步跨虎
75. RETREAT TO SITTING TIGER POSTURE
轉步擺蓮
76. SPIN, SWINGING LOTUS KICK
彎弓射虎
77. BEND THE BOW, SHOOT THE TIGER
上步搬攔捶
78. STEP FORWARD, PARRY, BLOCK, PUNCH
如封似閉
79. SEALING SHUT
十字手
80. CROSSED HANDS
合太極
81. CLOSING POSTURE

下編 各家太極拳論著
PART TWO: DISCOURSES FROM VARIOUS TAIJI BOXING EXPERTS

節錄各太極拳專家言論和著作。搜集成編。俾研究斯學者有所取舍。而知中心之所在。使練習太極拳者。不僅為鍛鍊體魄。而對於心性之修養。尤有莫大之效用。爰將各家之言論節錄附後。俾太極拳日進無疆而合理化矣。
Here is a selection of writings by various Taiji Boxing experts, gathered together in order for people researching this body of knowledge to have materials to draw from. Understanding the core of the art will cause practitioners to be not only concerned with training the body, but also cultivating the temperament, for which it has the greatest effectiveness. I therefore present these selections below so that your Taiji Boxing may improve both endlessly and intelligently.

第一章 胡樸安先生論太極拳在體育上之價値
CHAPTER ONE: HU PU’AN’S “THE VALUE OF TAIJI BOXING IN PHYSICAL EDUCATION”
節錄東方雜誌第三十卷第二十號體育專號
(from Eastern Variety Magazine, Volume 30, #20 – “Special Physical Education Issue” [Oct 16, 1933])

欲言太極拳在體育上之價値。當先言太極拳動作之理。欲言太極拳動作之理。當先言太極拳之名稱如何解釋。蓋太極拳之動作是全身的運動。不是一部分的運動。其在體育上之價値。卽此全身運動。又太極拳的運動。是柔和的運動。不是劇烈的運動。其在體育上之價値。卽此柔和的運動。其全身的運動與柔和的運動。卽是聯綿不斷的太極運動。所以必將太極拳的名稱解釋淸楚。然後知這兩種運動。是自然而然的趨勢。不是玄妙的。也不是技術的。順身體的自然動作。毫無勉强矯揉於其間。茲文本此意。先解太極拳的名稱。次言太極拳動作的理。再次言太極拳在體育上的價値。
If we wish to discuss Taiji Boxing’s value as physical education, we must first discuss its principles of movement, and in order to do that, we must first explain why it is named “Taiji”. Taiji Boxing’s movements are a whole-bodied exercise rather than the exercising of isolated parts. Its value as physical education lies in this whole-bodied quality. Furthermore, Taiji Boxing’s movements make a mild kind of exercise rather than a strenuous one. Its value as physical education also lies in this quality of mildness.
     This whole-bodied mild exercise makes a continuous taiji movement [i.e. circular – as in the spinning taiji symbol]. Surely this makes the name “Taiji” Boxing quite clear, and then an understanding of these two qualities of exercise will naturally fall into place. It is nothing mysterious, no special skill, just the natural movement of the body without at all forcing anything to happen within it.
     The intent of this article is first to explain the name of the art, then describe its principles of movement, and then to discuss its value as physical education.

一 太極拳的名稱
1. The Name “Taiji” Boxing

太極拳的源流究竟如何。創始於何人。雖有零星的紀載。終不能予人以眞確之相信。關於此點。爭論者極多。本文祇以太極動作之理。以解釋太極拳命名之義。毫不牽强附會玄秘之談。也不用拳術上流行的術語或歌訣。作模糊影響之言。其是否合於創始太極拳者命名的原意。亦不顧及。要之以「理解」的解釋。期與人人共喻而已。考太極二字。出於周易繫辭。繫辭云。「易有太極。是生兩儀。兩儀生四象。四象生八卦。」吾人以淺顯的言語。解釋此四句。兩儀四象八卦。皆由太極而生。太極是一切原動力。兩儀四象八卦的動。悉是太極的動。宇宙一太極。人身亦一太極。人身之腹為太極。兩腰為兩儀。兩手兩足為四象。兩手兩足各有兩節為八卦。宇宙之原動力在於太極。人身之原動力亦在於太極。所以太極拳之動作。並不是手足之動作。是腰之動作。亦並不是腰之動作。是腹之動作。腹為人全身最中處。此處一動。全身無不動矣。他種運動。或為手之運動。或為足之運動。或為身之運動。必合各部分之運動。為全部分之運動。或支配不匀平。或學之不得法。不免有畸形發達之弊。太極拳之運動。不動則已。動則全身皆動。故一動而不全身皆動者。非太極也。腹旣為人全身最中處。腹部一動。兩腰兩手兩足之動。皆不疾而速。他種運動。或為手之動作。或為足之動作。或為身之動作。在某一部分動作。必須在某一部分用劇烈之力。始能達到某一部運動之目的。太極拳之動作。祇在發動之中心一點動作(卽腹的動作。)不必用劇烈之力。全身之動作無有不到。外面極其柔和。內面延綿不斷之力。息息增長。故一動作卽見劍拔弩張之形者。非太極也。明乎此。知全身的運動與柔和的運動。皆是自然的趨勢。太極拳所以名為太極拳者。卽處處是太極的動作。換言之。卽處處是中心的動作也。
As for the actual origin of Taiji Boxing and who created it, although there are some fragmentary records, they are not sufficient to provide us with any convincing truth, and so there is much controversy over this point. However, this article only makes use of the principles of Taiji Boxing movement to explain the significance of the name “Taiji”. I will not discuss here any bizarre or strained interpretations, nor employ specific terminology from the art nor its poetic instructions, which would only confuse the issue. I will also not take into account whether or not I am really in touch with the original intention of using the name “Taiji” when the art was founded. I will only explain with the notion of making explanation understandable and the hope that it will make sense to everyone.
     Looking into the term “taiji” [grand polarity], it comes from the commentary section to the Book of Changes, which says: “Change has a grand polarity. This generates the dual aspects. The dual aspects then generate the four manifestations. And the four manifestations generate the eight trigrams.” Let us interpret the content of these four sentences in somewhat clearer language: the dual aspects, four manifestations, and eight trigrams all come from the grand polarity, and so the grand polarity is the motive power of them all. Therefore the movements of the dual aspects, four manifestations, and eight trigrams are based on the movement of the grand polarity.
     The universe is a grand polarity, and the human body is also a grand polarity. The belly represents the grand polarity, the two sides of the waist represent the dual aspects, the two arms and two legs represent the four manifestations, and the upper and lower sections of each limb represent the eight trigrams. The motive power of the universe lies in the Grand Polarity, and the motive power of the human body also lies in a grand polarity. Therefore the movements in Taiji Boxing are not the movements of the hands and feet, but the movements of the waist, and not really even the waist, but the abdomen.
     The abdomen is the most central part of the entire body. When this area moves, every part of the body moves. Other kinds of exercise emphasize the arms, or emphasize the legs, or emphasize the torso. Emphasizing parts will diminish the whole-bodied quality, either leading to uneven coordination or even resulting in making the art unlearnable as you unavoidably fall into the error of lopsided development. In the exercise of Taiji Boxing, when there is no movement, no part is moving, and when there is movement, the whole body is moving. Therefore when there is any movement, if every part is not moving, it is not Taiji. With the abdomen being the central point, then when it is moving, the movements of the two sides of the waist, the arms, and legs do not need to be in a rush.
     For other kinds of exercise that emphasize arms or legs or torso, when one part is working on its own, it will have to use strenuous effort in order to be achieve what it is trying to do. Movement in Taiji Boxing depends entirely on movement initiated from the central point (i.e. movement of the abdomen). It is not necessary to use any strenuous effort, for whole-bodied movement involves every part. Externally it appears extremely mild, and internally there is a continuous unbroken energy, a lengthening of the breath. Thus if a movement exhibits the attitude of “sword unsheathed, crossbow loaded”, it is not Taiji. Once this is clear, you will understand that whole-bodied movement and mild movement both tend toward naturalness.
     The reason Taiji Boxing is called “Taiji” Boxing is because it is always the movement of a grand polarity, or in other words – always move from the center.

二 太極拳之動作
2. Taiji Boxing’s Movements

太極拳處處是中心的動作。上節已言之明白矣。然何以能達到中心的動作。不加以詳細說明。則不容易了解。學太極拳本有「鬆」「固」「凝」三字訣。何謂鬆。體要鬆。何謂固。氣要固。何謂凝。神要凝。體鬆氣固神凝。漸漸可以達到中心的動作。但是語焉未詳。知其所以然之故。必學拳者學到某種程度。可以自己體會。茲文仍本「鬆」「固」「凝」三字。說明所以能達到中心動作的理由。為閱者便利起見。分別言之。
Taiji Boxing is all about moving with centeredness, as I have already made clear in the previous section. Now, how does one achieve centered movement? Without adding more detailed explanation, it would not be easy to understand.
     In learning Taiji Boxing, there is first of all a three-word formula: loose, firm, concentrated. What is meant by “loose”? The body should be loose. What is meant by “firm”? The energy should be firm. What is meant by “concentrated”? The spirit should be concentrated. If your body is loose, your energy is firm, and your spirit is concentrated, you will gradually be able to achieve centered movement.
     However, before these terms are explained so you may understand why they are used, you have to be at a certain level of learning in order to be able to experience them yourself. I will now go through these terms to explain the reasoning of why you will thereby be able to achieve centered movement. To make them easier to understand, they are described individually below.

(一)體要鬆
i. Your body should be loose.

鬆字淺顯的解釋。就是不用力。蓋一用力。動作卽不能自然。着意在用力部分。則各部分必不平均。毫不用力。順身體自然的動作。周身普徧。動作無所不到。而且平均如一。徐徐的將動作歸到中心。久而久之。中心之動作以成。所以初學太極拳非鬆不可。鬆是學習太極拳第一步工夫。蓋人之身體。要血脈流通。倘作勉强用力。因過分之流通。發生反應。轉於身體有害。勉强用力是硬的。所謂拙力。拙力雖大。是一部分的力。而不得其中。不用力是柔的。所謂沉勁。沉勁雖小。是全部的力。能得其中。學習太極拳有一句常語。「由開展而至緊束」。開展者。動作不用力是也。緊束者。動作達到中心是也。
Looseness is easy to understand. It simply means using no effort. If you use any effort, your movement will not be able to be natural, and by focusing on the exerting of a single part, every part is sure to fall out of synch. If you do not use any effort at all, you are in accord with your body’s natural movement. Throughout your body, there will be movement in every part, and it will also be even and consistent. Slowly bring your movements into a state of centeredness, and then after a long time, centered movement will be the result. In the beginning of learning Taiji Boxing, this cannot be done without loosening. Loosening is the first stage of the training.
     The human body requires blood circulation. If you forcefully put forth effort, it will result in an excess of circulation, producing a contrary effect which will instead cause the body harm. To forcefully put forth effort is “hardness”, which is called “awkward effort”. Even if an awkward effort is powerful, it is isolated in one area of the body, and will not achieve a state of centeredness. To not put forth any effort is “softness”, which is called “sinking energy”. Even if a sunken energy is feeble, it is the strength of the whole body, and so is able to obtain a state of centeredness.
     When learning Taiji Boxing, there is a mantra to keep in mind: “Go from spreading open to binding tight.” To “spread open” means moving without putting forth effort. To “bind tight” means your movement is reaching a state of centeredness.

(二)氣要固
ii. Your energy should be firm.

固字淺顯的解釋。就是不散漫。毫不用力。誠然鬆矣。但體鬆而氣不固。則體不勝衣之病夫。亦將以體鬆自詡。體鬆而氣固。體雖不用力。而氣却不散漫。動作始能不散漫。動作不散漫。周身始能一體。自然將動作歸到中心。固是學習太極拳第二步工夫。如何能使氣固。卽把氣沉在腹部。不要浮在上面。但與深呼吸儘量擴大肺部。將橫膈膜壓抑下去不同。練拳之時。肩要垂。肘要墮。腰要塌。久而久之。氣自然沉下。所謂心虛腹實是也。腹實則氣固。身體便有重心。無論手足如何動作。重心總在腹。得其重心。動作自如矣。故曰氣固則身自穩也。
Firmness is easy to understand. It simply means not being scattered. If you do not use any effort at all, you will indeed be loose. However, if your body is loose but your energy is not firm, then your body would not be equipped to defeat illness, rendering even your looseness into a mere boast. But with your body loose and your energy firm, then even though your body is putting forth no effort, your energy is nevertheless not scattered, and so your movement is able to be organized. With your movement organized, your whole body will then be able to function as a whole, naturally bringing your movement into a state of centeredness.
     Firmness is the second stage of training. How can you get energy to be “firm”? Simply by sinking energy to your abdomen and not allowing it to float up. However, deep breaths expanding lung capacity is different from the diaphragm pressing down. When practicing the solo set, your shoulders should hang, your elbows should drop, and your waist should settle. Then after a long time, energy will naturally sink down. This is what is meant by [from Daodejing, chapter 3] “empty mind, full belly”. With your abdomen full and your energy firm, your body will then have balance. No matter what kind of movements your hands or feet make, balance lies entirely in your abdomen. Obtaining balance, your movement will be smooth. Thus it is said: “When your energy is firm, your body will naturally be stable.”

(三)神要凝
iii. Your spirit should be concentrated.

凝字淺顯的解釋。就是內外相合。而能凝定也。體鬆氣固矣。內外不相合。決不能心之所到。卽身之所到。惟內外相合。然後心身一氣。凝是太極拳第三步工夫。何謂內外相合。肩與膀合。肘與膝合。手與足合。是謂外三合。心與意合。意與氣合。氣與力合。是謂內三合。內外相合。是謂六合。六合則身體中正矣。身體中正。神卽提得起。
The word “concentrated” is easy to understand. Simply put, when inside and out join together, then concentration can be assured, the body loose, the energy firm. If inside and out do not join together, then you would be completely incapable of the condition of “where your mind arrives, your body arrives”. But once inside and out are joined together, then body and mind will function as one.
     Concentration of spirit is Taiji Boxing’s third stage of training. What is meant by “inside and out joined together”? The hand is united with the foot, the elbow united with the knee, and the shoulder united with the hip. These are the “three external unions”. Mind is united with the intention, the intention united with the energy, and the energy united with the power. These are the “three internal unions”. Internal and external combined makes the “six unions”. With the six unions, the body is centered. With the body centered, the spirit is elevated.

三 太極拳在體育上之價値
3. The Value of Taiji Boxing in Physical Education

體育之目的。在於身體强健。血氣充盈。精神飽滿。假使能以運動方法。得到上所言三項之效力。可謂盡體育之能事矣。但吾人須當辨別者。强健與猛鷙不同。强健者安和之動作。猛鷙者粗暴之行為。充盈與僨興不同。充盈者持久之正氣。僨興者一時之客氣。飽滿與發揚不同。飽滿者誠於中形於外。發揚者見於外竭於中。眞正之體育。當要使身體强健。不要使身體猛鷙。當使血氣充盈。不要使血氣僨興。當要使精神飽滿。不使精神發揚。他種運動。收效雖速。稍一不愼,卽不免有猛鷙僨興發揚之弊。太極拳的運動。此三種之弊。可云絕對無有。太極之動作。首在體鬆。鬆之旣久。自然至於强健。卽不强健。而絕對不猛鷙矣。次在氣固。固之旣久。自然至於充盈。卽不充盈。而絕對不僨興矣。再次在神凝。凝之旣久。自然至於飽滿。卽不飽滿。而絕對不發揚矣。有運動之利而無其弊。極合於為體育而運動之旨。與為運動而運動者。大不相侔。立脚在體育一點而論。太極拳的運動似乎較一切運動為優。不僅以上所言之利弊已也。以顯而易見者言之。一切運動。必須有寬大的地方與設備。且要集合多人。在學校時。尚可日日運動。離開學校。一年祇能運動幾次。太極拳的運動。無論地的大小。人的多寡。皆可運動。又毫不要設備。他種運動。如足球賽跑等。未免過於激烈。不是人人可以參加的。結果祇造成少數專門運動員。此種少數專門運動員。在學校內。不注意他種功課。專事運動。與體育之意。似不甚合。中國人多而弱。要强種。便要運動的普遍。不能普通的運動靠少數專門運動員。縱運動成績極好。可以增國際之名譽。而不可以强國內之人民。再激烈的運動。祇有二三十歲的人。可以參加。到了四五十歲。便要告退了。一個人任事的時間。不僅十年。所以運動的需要。也不限於二十歲至三十歲。況且運動太激烈。反與身體健康有礙。每次大運動會後。必有若干大運動家感覺身體之不適。因此太極拳的運動。有三種的利益。(一)不要大的地方與設備。是經濟的。(二)人人可以運動。是普遍的。(三)老幼皆可以運動。是永久的。為運動而運動。他種運動。當然有存在之價値。在積弱之中國。並宜提倡。以增國光。為體育而運動。太極拳的運動。誠然有不可輕視之處。但是太極拳。學之頗難。在體育上雖有價値。在事實上終難發達。鄙人另有「專」「一」「漸」三字說。為學習太極拳的要訣。但非本題範圍。恕不多講了。
The purpose of physical education is to make the body strong, energy abundant, and the spirit full. If you are able to make use of a method of exercise and achieve these three effects, you can indeed be considered to have an aptitude for physical training. However, we have to make some distinctions:
     Strength is not the same as fierceness. Strengthening is a matter of mild movement. Fierceness is a matter of violent actions.
     Abundance is not the same as overexcitement. Abundance is a matter of the genuine energy that endures. Overexcitement is a matter of the temporary energy that lasts but a while.
     Fullness is not the same as overflowing. Fullness is a matter of the sincerity within an outward shape. Overflowing is a matter of being noticeable on the outside but spent on the inside.
     True physical education should make your body strong but not fierce, your energy abundant but not overexcited, and your spirit full but not overflowing. Other kinds of exercise may bring results quickly, but they are gained incautiously, and the errors of fierceness, overexcitement, and overflowing are unavoidable. In the exercise of Taiji Boxing, these three kinds of errors can be deemed worthless.
     The movements of Taiji require first of all that your body be loose. Through loosening your body over a long period, it will naturally be strong, and even if not strong, certainly not fierce.
     Then there is firmness of energy. Through firming energy over a long period, it will naturally be abundant, and even if not abundant, certainly not overexcited.
     And then there is concentration of spirit. Through concentrating spirit over a long period, it will naturally be full, and even if not full, certainly not overflowing. It has the benefits of exercise without the harms, and so it is extremely suited to the aims of physical education.
     There is a large difference between exercise and sports. Let us discuss this point in the context of physical education. The exercise of Taiji Boxing seems superior to all exercises, not only because of the pros and cons discussed above, but because of some obvious things:
     Sports require a large space and special equipment, not to mention a gathering of many people. While in school, you can still participate every day, but once you leave school, you may only be able to engage in it a few times a year. In the exercise of Taiji Boxing, the size of the space does not matter, nor the number of people. All can participate, and there is no special equipment required at all.
     Other types of exercise such as soccer, running races, and so on, are actually overly strenuous. Since not everyone is able to participate, the outcome is merely a small number of specialized athletes. Within an educational institution, this kind of specialization of a small number of athletes distracts them away from the rest of their schoolwork as they get more and more focused on their sport, and this does not seem to really suit the intention of physical education. Chinese people are often weak and should be strengthened, and so exercise should be widespread. If we cannot spread exercise and instead rely on making small numbers of specialized athletes, even if we make great achievements in sports and can thereby boost our international reputation, we would still not be able to strengthen our nation’s people.
     Furthermore, such strenuous activities can only be participated in by people in their twenties or thirties, and once they are in their forties or fifties, they are told to retire from it. A person’s time in the sport is but a mere ten years. A requirement of exercise should be that it not be limited to people in their twenties and thirties. Moreover, overly strenuous exercise is instead a hindrance to the health of the body. After every major sporting event, there are inevitably a number of athletes who find they have been injured in some way.
     Consequently, the exercise of Taiji Boxing has three kinds of benefits:
     i. It does not require a large space or special equipment, and so it is economical.
     ii. Everyone can practice it, and so it can be widespread.
     iii. It can be practiced from youth to old age, and so it can be a lifelong activity.
     As for sports among forms of exercise, such activities of course have value for dealing with the protracted weakness of our nation, and they ought to be recommended in order to increase our national prestige. But as a form of physical education, the exercise of Taiji Boxing truly holds a place that is not to be sneered at. However, it is rather difficult to learn, and so although it has value in physical education, it may forever have a struggle to flourish in the real world.
     I have another three-word formula for learning the secrets of Taiji Boxing: focus, unification, gradualness. But there is no more room in this article, so pardon me for not explaining further here.

第二章 姜容樵先生註王宗岳先生太極拳論
CHAPTER TWO: JIANG RONGQIAO’S ANNOTATIONS TO WANG ZONGYUE’S TAIJI BOXING TREATISE [final chapter from Yao Fuchun & Jiang Rongqiao’s Taiji Boxing Explained, 1930]

太極拳譜釋義
EXPLANATIONS TO THE TAIJI BOXING MANUAL [commentary by Tang Shilin]

拳譜為淸初王宗岳所著。惟遞嬗至今。其中不無訛錯。故市井所傅之太極拳論。多有今人不解之語。余與姚君馥春。得抄本於湯君士林。並得湯君詳細解說。其原文較世所傅者多三分之一。皆太極之要訣。兹特筆述於後。以公同好。並加註釋。凡括弧擡頭。皆原文。低行註解也。
This boxing manual was written by Wang Zongyue in the early Qing Dynasty, but it has been passed down to the present day through retranscription, and so the text inevitably has errors. Therefore the Taiji Boxing Treatise that has been commonly used in instruction often has phrases that cause people confusion. Yao Fuchun and I obtained a handwritten copy from Tang Shilin, together with his detailed commentary. Of the original text, about a third of it had not yet been shared with the world. All of these Taiji secrets are specially presented below to share with all who are interested, annotated with explanations under each piece of original text.

歌訣一
SONG ONE

順項貫頂兩膀鬆。束烈下氣把𦡁撐。胃音開勁兩捶爭。五指抓地上彎弓。
〔胃音束烈等字皆存原文〕
Extend your neck and draw up your headtop, your arms both loosening.
Strongly bind energy downward, bracing it upward at your crotch.
Sound it from your gut when you express power, beating with your fists.
While your toes grip the ground, your upper body bends like a bow.
(Wordings such as “sound it from your gut” and “strongly bind” are indeed in the original text.)

(虛靈頂勁氣沉丹田。提頂調𦡁心中力量。兩背鬆然後窒。)
Forcelessly press up your headtop. Sink energy to your elixir field. Lift your headtop and suspend your crotch. Do this by means of mental strength. Loosen both sides of your back and then the energy will be sealed in.
演式時。每一架子。均須有虛靈頂勁。氣沉丹田之意。虛靈者。意貫胸海也。頂勁者。頭頂項豎也。週而復始。氣注丹田。提頂使尾閭之脊骨與頸項直貫。有上提之意。調𦡁係拿住丹田之氣。勿使外溢。穀道提起。如忍糞狀。心中力量。卽完全用意。而非用拙力也。窒折實之謂也。
When practicing the set, in every posture you have to have an intention of forcelessly pressing up your headtop and sinking energy to your elixir field. “Forcelessly” means there is intention coursing through from your chest area. “Press up your headtop” means that your head and neck are upright. Repeatedly focus energy at your elixir field. Lifting your headtop causes your tailbone to align with your neck and head, having an intention of lifting up. To “suspend your crotch” means to hold on to the energy concentrated at your elixir field and not let it leak out. Tuck in your rectum as if you are trying to keep yourself from defecating. By “mental strength” is meant that these things are to be done entirely by use of intention and not with an awkward effort. Energy will thus be kept in.
(開合按勢懷中抱。七星勢視如車輪。柔而不剛。)
Open and close as you push, embracing in front of your chest. The Big Dipper posture rotates like a wheel, using softness rather than hardness.
每一開合。或捋按式。皆伸縮其勁。發動如在懷中。七星勢卽手足姿式方位像其形。視如車輪。隨腰運動。初以為剛。實乃純柔。
With every open and close, or every moment of rollback and push, there is always an energy of extending and contracting. An action of issuing seems to come with an embracing. In the Big Dipper posture, the position of your hands and feet will look like a wheel as they go along with the movement of your waist. There will seem to be hardness at first, but there is actually pure softness.
(彼不動。己不動。彼微動。而己意已動。)
If he takes no action, I take no action, but once he takes even the slightest action, my intention has already acted.
遇敵之時。敵不動我亦不動。敵方微動。其動意中之方向。而我之意亦隨其方向而先動。此非知彼知己之謂。乃不見不聞。卽可知覺之化境也。
When encountering an opponent, if he takes no action, I also do nothing. If he takes the slightest action, there will be a direction within his intention, and so my intention will already be moving along the path he wants to take, and I will then take the initiative before he does. This is not a matter of “knowing both the opponent and oneself”, but the sublime skill of being able to know what is going on without visual or auditory cues.
(由脚而腿。由腿而身。如練一氣。如轉鶻之鳥。如貓擒鼠。)
From foot through leg to body, develop a single flow. Be like a turning falcon, or a cat catching a mouse.
其根全在兩足。再發於腿。由腿而身至腰。由腰至頂。練成一氣。鶻鳥為摶兔之鷹。旋轉無定。亦如太極之氣。隨意志動作不停也。如貓擒鼠。非謂其速。實言其靜以蓄勢。動則手足心意齊到。純以神行耳。
Based entirely from your feet, issue through your legs to your body, and then from your waist to your headtop, practicing to make a single flow. A falcon is an eagle that rolls up into a ball and turns unpredictably. This is also like the energy of the taiji symbol. Go along with the movement of your intention and do not pause. To be like a cat catching a mouse, does not mean speed. It actually means storing up power in stillness, then acting with your hands, feet, and mind in complete unison, purely a movement of spirit.
(發動如弓發矢。正其四體。步履要輕隨。步步要滑齊。)
Issuing is like loosing an arrow from a bow. Properly align your limbs. Your steps should be nimble and coordinated. Your stepping should be smooth and even.
發動如拉滿弓。放箭便至。頭頂項豎。四體中正。自然安適。邁步要輕靈相隨。任何動作不可歪斜。亦不可停滯。任何步法。又要整齊。此卽步步滑齊也。
An action of issuing is like fully drawing a bow so that the arrow easily hits the mark. With your head and neck upright, and your limbs properly aligned, you will naturally be comfortable. When you step, you should do so with nimbleness and coordination. Whatever the movement, you must not be either leaning or sluggish. Whatever your footwork, it should be in good order. This is what is meant by “stepping should be smooth and even”.

歌訣二
SONG TWO

舉動輕靈神內斂。莫教斷續一氣研。左宜右有虛實處。意上寓下後天還。
Move lightly and nimbly, spirit gathering within.
Show no interruption in the movement, for it should be continuous.
When your left has to do something, your right also has something to do, for empty and full have their places.
When your upward intention contains a downward, bad habits return [i.e. it brings stiffness to the opponent’s posture].

(一舉動。週身俱要輕靈。尤須貫串。)
Once there is any movement, your entire body should be nimble and alert. There especially needs to be connection from movement to movement.
演式槪不用力。則愈長內勁。週身自然。圓活靈通。貫串者。式式聯絡。綿綿不斷也。不貫串則式斷。斷則有隙可乘。此太極所最忌。
When practicing the set, the less you use exertion, the more you will develop internal power, and your whole body will naturally be lively and nimble. By “connection” is meant that all of the postures should link together continuously. Without this connection, the postures will have pauses. With such pauses, gaps will appear that can be taken advantage of. This is the most forbidden thing in Taiji.
(氣宜鼓盪。神宜內斂。無使有凸凹處。無使有斷續處。)
Energy should be roused and spirit should be collected within. Do not allow there to be pits or protrusions anywhere, breaks in the flow anywhere.
氣宜鼓盪者。天然之深呼吸。不可間斷。凝神斂志。則心意專一。演式時須要心平氣和。動作姿勢與心意。皆不可有凸凹處。更不可有斷續時。心不平。式不平。易為人制。有斷續。易為人乘。皆太極之病也。
Energy being roused has to do with natural deep breathing. You must not hold your breath. If you concentrate spirit and gather willpower, your intention will be focused. When practicing the set, you have to have a calm mind and a harmonious energy for movement, posture, and intention to be uniform. You must never have areas that are caving in or sticking out, nor moments of stopping and starting. If your mind is not stable, your posture is not stable, and it will be easy for an opponent to control you. If you are stopping and starting, it will be easy for him to take advantage of it. These are both errors in Taiji.
(其根在脚。發於腿。主宰於腰。形於手指。由脚而腿而腰。總須完整一氣。向前退後。乃得機得勢。)
Starting from your foot, issue through your leg, directing it at your waist, and expressing it at your fingers. From foot through leg through waist, it must be a fully continuous process, and whether advancing or retreating, you will then catch the opportunity and gain the upper hand.
演式時。心與意。意與氣。氣與力。其根由脚而登於腿。由腿而腰。由腰而頸項顱頂。至於手指臂腕。總如一氣之完整。遇敵時。任憑前進後退。無不得心應手。以足為根。形意八卦亦然。太極則更不可輕忽也。
When practicing the set, mind is united with intention, intention is united with energy, and energy is united with power. Power is issued first from your feet through your legs, then goes to your waist, then courses through your neck and to your headtop, also reaching through your arms, wrists, and to your fingertips, all as a single complete flow. Then when encountering an opponent, regardless of whether you are advancing or retreating, you will carry out everything exactly as you imagine. The principle of everything coming from the feet is also true in Xingyi and Bagua, but in Taiji especially it must not be neglected.
(有不得機得勢處。身便散亂。其病必於腰腿求之。)
If you miss and your body easily falls into disorder, the problem must be in your waist and legs, so look for it there.
上下不相隨。手動脚不動。便是不得機。不得勢。因而身法散亂。凡演式不得力。其弊定在腰腿。當於斯求之。
If your upper body and lower are not coordinated with each other, your hands will be moving while your feet are not moving [or vice versa], and you will thus be off in terms of timing or position. Consequently your body will be maneuvering in disorder and you will get no benefit from the practice. The error is surely in the waist and legs, and should be sought there.
(上下前後左右皆然。凡此是意。不在外面。有上卽有下。有前卽有後。有左卽有右。如意要向上。卽寓下意。譬之將植物揪起。而加以挫之之力。斯其根自斷。損壞之速乃無疑。)
This is always so, regardless of the direction of the movement, be it up, down, forward, back, left, right. And in all of these cases, the problem is a matter of your intent and does not lie outside of you. With an upward comes a downward, with a forward comes a backward, and with a left comes a right. If your intention wants to go upward, then harbor a downward intention, like when you reach down to rip out a plant. You thereby add a setback to the opponent’s own intention, thus he cuts his own root and is defeated quickly and certainly.
每欲上下左右前後。皆須先動腰腿。以上所論。皆是心與意。而非皮與骨。心意專一。上下前後左右乃得隨機應變之妙。否則意志不專。易入旁門。意欲襲敵上部。却寓顧下之意。使敵不易捉摸。譬之植物而先挫其根。其本損壞。標將焉託。卽向上要寓下。向下而寓上也。
If you want to go up, down, left, right, forward, back, there always has to first be movement in your waist and legs, as explained above, and this is always a matter of using mind and intent rather than flesh and bones. With your intention focused, you will have the subtlety of moving in any direction as the situation requires. But if your intention is not focused, it will be easy for the opponent to find his way through a gap. If you wish to attack his upper body, you should first have an intention that is downward, causing him to have difficulty understanding what you are doing. It is like with a plant, which you tug first from the root in order to break it. Show him you are going in one direction in order to trick him into the other. To go upward, imply downward. To go downward, imply upward.
(虛實要分淸楚。一處自有一處虛實。處處總此一虛實。週身節節貫串。無令絲毫間斷耳。)
Empty and full must be distinguished clearly. In each part there is a part that is empty and a part that is full. Everywhere it is always like this, an emptiness and a fullness. Throughout your body, as the movement goes from one section to another there has to be connection. Do not allow the slightest break in the connection.
演式時。要分别何處虛。何處實。敵實我虛。敵變虛。則我忽實。雖一處有一處虛實。然明此一虛實。處處亦皆此一虛實也。彼重我輕。不丟不頂。思過半矣。演式時。一面動作。一面呼吸。運用自然。節節貫通。四肢百骸。處處虛空。雖虛空。而節節又能貫串。如百節蜈蚣。一處行動。百節靈活。決無間斷之弊。太極亦此意耳。
When practicing the set, you should distinguish where there is emptiness and where there is fullness. Where the opponent fills, I empty, and where he becomes empty, I suddenly fill. Although each place has a part that is empty and a part that is full, I understand where the emptiness is and the fullness, and that everywhere there is this condition of an emptiness and a fullness. Where he becomes heavy, I lighten, neither coming away nor crashing in, and thus I am halfway there. When practicing the set, one aspect of it is the movement, while another aspect is the breathing. The movements should be natural and linked together. The limbs and whole body should everywhere have a sense of void. Although there is a state of void, there is also a capacity for connection. It is like the many joints of a centipede, one part moving and the other parts nimbly following, entirely without the error of discontinuity. Taiji also has this principle.

歌訣三
SONG THREE

拿住丹田練內功。哼哈二氣妙無窮。動分靜合屈伸就。緩應急隨理貫通。
Focus on your elixir field to smelt internal skill.
Within “heng” [when exhaling] and “ha” [when inhaling], there are endless subtleties.
With passive and active dividing in movement and blending in stillness, bend and extend.
Responding slowly to slowness and quickly to quickness, the theory will be realized.

(拿住丹田之氣。鍊住元形。能打哼哈二氣。)
Focusing on the energy of your elixir field returns you to a primal state in which you can use the two types of breath: “heng” and “ha”.
氣沉丹田。不使外溢。如兩手之搿物然。鍊住元形者。卽迴光返照。抽坎塡離。返後天歸先天也。元形不散。發手堅實。吐氣沉着而伸。擋之者無不披靡。故曰哼氣。哈氣亦卽吸氣。曰提、曰縮、曰收。遇敵時手足與心意並吸。能吸得人起。或虛其隙。使其自仆。故曰哈氣。
Sink energy to your elixir field and do not let it leak out, as though your hands are tightly hugging something. To develop a “primal state” is to reflect your light back into yourself, to replace water with fire, restoring you from your acquired condition back to your innate condition. As long as this primal state is not dispelled, your hands will issue solidly, shooting out energy calmly and yet with great reach. Anyone who tries to defend against it will be swept away. This is “heng”. “Ha” means inhaling. It is called “lifting” [i.e. tucking in your tailbone], “shrinking” [i.e. drawing your abdomen inward], and “gathering” [i.e. storing up power]. When encountering an opponent, your limbs and intention all draw in, causing the opponent to rise up, or to lose his balance and naturally topple.
(太極者。無極而生陰陽之母也。動之則分。靜之則合。無過不及。隨屈就伸。)
Taiji [grand polarity] is born of wuji [nonpolarity], and is the mother of yin and yang [the passive and active aspects]. When there is movement, passive and active become distinct from each other. When there is stillness, they return to being indistinguishable. Neither going too far nor not far enough, comply and bend then engage and extend.
陰陽不分為無極。無極而生太極。是陰陽虛實分也。我身一動則陰陽分焉。卽太極也。我身不動。渾然無間。則陰陽合焉。卽無極也。遇敵時彼動我知。彼進我隨。息息相合。雖彼意毫釐之末已動。然我已先彼及之。
When the passive and active aspects cannot be distinguished, that is the state of nonpolarity. From nonpolarity arises grand polarity, in which passive and active, or emptiness and fullness, become distinguishable. As soon as I make a movement, passive and active become distinguishable – grand polarity. Once I cease moving, there is utterly no sign of either of the aspects, and so they have become indistinguishable – nonpolarity. When encountering an opponent, I know what he is doing when he moves, and I go along with his movement as he advances, conforming to his every breath. Even if he moves merely in thought, I still get there first.
(人剛我柔。謂之走。人背我順。謂之黏。)
He is hard while I am soft – this is yielding. His energy is coarse while my energy is smooth – this is sticking.
敵用剛襲。我以柔化之。卽謂之走。敵剛我柔。敵力失效。謂之背。敵背我卽順。趁其勢而黏之。無不克矣。
When an opponent uses hardness to attack, I use softness to neutralize it. This is called “yielding”. He is hard while I am soft, and so his power is rendered ineffective. This is called “coarsening”. As his energy becomes coarse, my energy becomes smooth. I take advantage of his condition and stick to him, and thus I always win.
(動急則急應。動緩則緩隨。雖變化萬端。而理與性惟一貫。由着熟而漸至懂勁。而級階神明。然非用力之久。不能豁然貫通焉。)
If he moves fast, I quickly respond, and if his movement is slow, I leisurely follow. Although there is an endless variety of possible scenarios, there is only this single principle [of yielding and sticking] throughout. Once you have engrained these techniques, you will gradually come to identify energies, and then from there you will work your way toward something miraculous. But unless you practice a lot over a long time, you will never have a breakthrough.
敵急我以急應。敵緩我緩隨。以敵之緩急。為緩急。自能黏沾不脫。沉肩墜肘。手有立𨀵。斯可言緩急相應。敵動之方向雖變化不定。而吾之沾黏隨之。理法與個性則一也。愈練愈精。漸至懂勁。由懂勁而漸至變化。用功愈久。則豁然貫通。而神明矣。
When he moves fast, I use quickness to respond to it. When he moves slowly, I use leisureliness to follow along with it. Since my speed is based on his speed, naturally I am able to stick to him without disconnecting. I sink my shoulders, drop my elbows, and hold my hands upright. This can describe the relationship between fast and slow. Although the direction of his movement changes randomly, the principle of sticking and following keeps me moving in tandem with his whims. The more you practice, the more skill you will gain, and gradually you will reach the point of identifying energies. From identifying energies, you will gradually become transformed, and after training over a longer and longer period, it will suddenly all become clear, and your skill will seem divine.

歌訣四
SONG FOUR

忽隱忽現進則長。一羽不加至道藏。手慢手快皆非似。四兩撥千運化良。
Suddenly appearing and disappearing – the more he advances, the farther away you seem.
When a feather cannot be added to you, you have reached the Way.
The slow being defeated by the fast has no resemblance [to skill that has been trained].
When four ounces moves a thousand pounds, you are neutralizing sublimely.

(不偏不倚。忽隱忽現。左實則右虛。右重則左輕。)
Neither lean nor slant. Suddenly hide and suddenly appear. When there is pressure on the left, the left empties. When there is pressure on the right, the right disappears.
演式時。身體要中正。不可左歪。不可右斜。忽而虛隱。忽而實現。變化不定。出沒無常。敵出手左邊實。則吾之左邊與敵黏連處。立變為虛。敵出手右邊重。則吾之右邊與敵黏連處。卽變為輕虛。輕者化勁也。一用頂勁。卽太極之病。總使敵不可捉摸。處處落空。乃為至善。
When practicing the set, your body should be upright, not leaning to either side. Suddenly empty and disappear. Then suddenly fill and reappear. Change unpredictably, your actions never the same. If the opponent’s hand goes out with fullness to my left side, my left side sticks and connects to him, and immediately becomes empty. If his hand goes out with heaviness to my right side, my right side sticks and connects to him, and immediately lightens. Emptying and lightening neutralize power. Any use of resistant force is an error in Taiji. To instead always keep him guessing and missing is the ideal.
(仰之則彌高。俯之則彌深。進之則愈長。退之則愈促。)
When looking up, it is still higher. When looking down, it is still lower. When advancing, it is even farther. When retreating, it is even nearer.
敵仰攻。則覺我高不可攀。可望而不可卽。敵俯就。則覺我深不可測。邃陷猶如淵海。敵近手足以襲我。則覺我愈長而不可及。敵退走。則覺我蹤其後。愈迫愈近。無處可避。斯君初學者。讀之率皆懷疑。一旦領悟。自可得其理與法也。
When an opponent attacks above, he feels I am too high to climb up to, and that no matter how high he goes, he cannot get there. When he attacks below, he feels I am too low to find, and that no matter how much he sinks in, I am like an ever-deepening ocean. When he closes in to attack with his hands or feet, he feels I am getting farther away, and that he cannot reach me. When he retreats, he feels I am following him back, crowding ever closer, and that he cannot get away. When a beginner reads these things, he might at first doubt every word, but he will come to understand in a relatively short time, and naturally be able to obtain both the theory and the method.
(一羽不能加。蠅蟲不能落。人不能知我。我獨知人。雄豪所向無敵。蓋皆由階而及也。)
A feather cannot be added and a fly cannot land. The opponent does not understand me, only I understand him. A hero is one who encounters no opposition, and it is through this kind of method that such a condition is achieved.
太極拳至入化境。誠有不見不聞之知覺。不丟不頂。稍觸卽應。雖羽毛之加。蚊蠅之落。亦能預知而不容。其感覺靈敏如斯。我之動作。敵不能知。敵之去向。我能預防。自然戰無不勝。攻無不取。蓋皆由初步而進階。此及此境也。
Taiji Boxing achieves the sublime. It truly has awareness of things that are unseen and unheard. Neither coming away nor crashing in, the slightest touch is responded to. Even if the weight of a feather or a hair is added, or if a mosquito or fly lands on you, you will still be able to anticipate it and not allow it to make contact, such will be your sensitivity of perception. My opponent is not able to understand my actions, whereas I am able to be prepared for any direction he goes. Thus I naturally will win every fight I am in, seizing victory with any attack I make. Start from the basics, progress through the process, and then you will reach this condition.
(斯技旁門甚多。雖勢有區別。槪不外乎强欺弱。慢讓快耳。有力打無力。手慢讓手快。是皆先天自然之能。非關力而有也。)
There are many other schools of boxing arts besides this one. Although the postures are different between them, they generally do not go beyond the strong bullying the weak and the slow yielding to the fast. The strong beating the weak and the slow submitting to the fast are both a matter of inherent natural ability and bear no relation to skill that is learned.
國術名稱極多。雖各有派别。然皆不外以强有力而欺弱。以手快勝手慢。凡有力者打無力。手快者勝手慢。如遇力大我十倍者。則我之立於敗地又立判矣。是皆各先天自然之本能。並非由道理中所學而得者也。
In martial arts, there are so many styles, and although they all have their stylistic differences, they all tend to use strength to bully weakness and fast hands to defeat slow hands. Whenever those with strength are fighting against those without strength, or those with fast hands are defeating those with slow hands, as if I have encountered someone with ten times my strength and am standing in a position of apparent defeat, this is always a matter of the ability an individual was already born with, not really learning that is gained from a reasoned method.
(察四兩撥千斤之句。顯非力勝。觀耄耋能禦衆之形。快何能為。立如秤準。活似車輪。偏沉則隨。雙重則滯。)
Examine the phrase “four ounces moves a thousand pounds”, which is clearly not a victory obtained through strength. Or consider the sight of an old man repelling a group, which could not come from an aggressive speed. Stand like a scale. Move like a wheel. If you drop one side, you can move. If you have equal pressure on both sides, you will be stuck.
練太極達到至虛。其神妙能以四兩氣力。撥重千斛。年登大耄之人。能禦多數之敵。由斯觀之。絕非有力與快便可取勝也。立式如同秤稱之準確。頭頂項豎氣貫丹田。演式圓轉以腰為軸。手足臂膀自然活似車輪。敵用力。我鬆勁。敵雖力大。而我可化走。是為偏沉則隨。敵用力。我亦用力。二人互相抵抗。卒為力大者勝。是為雙重則滯。乃太極之最忌。
By practicing Taiji Boxing, you will achieve a state of void. The ingenuity of it is the ability to use four ounces’ worth of strength to deflect away a thousand pounds of strength. A man who has climbed to a great age can defend himself against many opponents because of this concept. It is absolutely not a matter of strength and speed to be able to seize victory. The standing posture is like a balanced scale. With your head and neck upright, energy sinks to your elixir field. Perform the postures with roundness, using your waist as an axle, and then your arms and legs will naturally be moving as lively as a wheel. If an opponent uses force and I relax my strength, then even if he uses great force, I can still neutralize and yield. This is a case of dropping one side, keeping me able to move. If he uses force and I also apply force, this is a situation of two people resisting against each other, and ultimately the one with the greatest strength would be the winner. This is a case of equal pressure, in which I would end up getting stuck. It is the greatest thing to avoid in Taiji.
(每見數年純功。不能運化。率自為人所制者。雙重之病未悟耳。欲避此病。須知陰陽。黏卽是走。走卽是黏。陰不離陽。陽不離陰。陰陽相濟。方為懂勁。)
We often see one who has practiced hard for many years yet is unable to perform any neutralizations and is generally under the opponent’s control, and the issue here is that this error of double pressure has not yet been understood. If you want to avoid this error, you must understand passive and active. In sticking there is yielding and in yielding there is sticking. The passive does not depart from the active and the active does not depart from the passive, for the passive and active exchange roles. Once you have this understanding, you will be identifying energies.
習技若干年。練習甚熟。惟運用不化。出手仍為人制。是其雙重之病。仍未澈悟。欲避雙重之病。須知陰陽。陰陽者虛實也。亦奇正也。遏敵時如覺雙重。我自偏沉。虛為陰。實為陽。敵虛我實。敵重我輕。黏着便走。走亦能黏。奇出可變為正。雖正立能變奇。奇正虛實。我不自主。皆隨敵之動作而變化。能黏能走。知陰知陽。始能應付裕如。而可謂之懂勁矣。
When someone has been training for a number of years, practicing until he is otherwise very skillful, and yet is not able to carry out neutralizations, sending out his hands only to end up under his opponent’s control, he has still not understood the error of “double pressure”. If you wish to avoid the error of double pressure, you have to understand the passive and active aspects. Passive and active means emptiness and fullness, as well as indirect and direct. When I encounter an opponent, if I feel a situation of double pressure, I then sink away one side so there is both emptiness (passive) and fullness (active). When he empties, I fill. When his pressure becomes heavy, mine lightens. When sticking, it is easy to yield. By yielding, you are able to stick. Indirect techniques can become direct, and direct techniques can immediately be changed to become indirect. Indirect, direct, empty, full, none of these come from myself, they are all changes I make according to the opponent’s actions. Able to stick and yield, knowing both passive and active, you will then be able to deal with opponents effortlessly, and it can be said that you are identifying energies.
(懂勁後愈練愈精。默識揣摩。漸至從心所欲。本是捨己從人。多悟捨近求遠。所謂差之毫釐。謬以千里。學者不可不詳辨焉。)
Once you are identifying energies, then the more you practice, the more efficient your skill will be, and by absorbing through experience and by constantly contemplating, gradually you will reach the point that you can do whatever you want. The basic of basics is to forget about your plans and simply respond to the opponent. We often make the mistake of ignoring what is right in front of us in favor of something that has nothing to do with our immediate circumstances. For such situations it is said: “Miss by an inch, lose by a mile.” You must understand all this clearly.
能黏能走。知陰知陽。謂之懂勁。懂勁後仍須朝夕研習。愈練愈有進步。自己默化揣摩。鎔之與心。鑄之於手眼身步。心動意至。手足隨之。無不從心所欲如願以償矣。太極拳遇敵交手。完全被動。而非主動。任何動作。皆隨敵之方向動作。而動作不許雙重。注意偏沉。若用固定着法而襲敵。一味抵抗。是謂捨近求遠。動輒反為人制。所謂差以毫釐。卽謬千里。故太極之極細微處。亦不容輕忽。蓋稍縱卽逝。其機必失。學者應視為玉律金科者也。
Able to stick and yield, knowing passive and active, you are thus at the level of identifying energies, but you still have to practice every day. The more you practice, the more you progress. Through personal revelation and contemplation, there is a process of mental smelting producing castings of hand techniques, eye movements, body maneuvering, and footwork. When the mind moves, intention arrives, and the hands and feet follow, you will be doing everything as you please, and all of it will turn out as you wish. In Taiji Boxing, when you fight with an opponent, you are entirely in the passive role, not the role of the initiator. Whatever the movement, you always move according to the direction of his movement. Do not allow a situation of double pressure, instead give attention to dropping one side. If you use fixed techniques to attack the opponent, stubbornly resisting against him, this is a matter of ignoring what is already at hand to seek something out of reach, easily giving him control over you. Since to miss by an inch is to lose by a mile, therefore the finest subtleties in Taiji must not be neglected. If you have any indifference toward them, the art will die, the keys to it lost. Students should regard these principles as “jade rules and golden laws” [i.e. perfect precepts that cannot be altered].
(此論句句切要。並無一字陪襯。非有夙慧之人。未能悟也。先賢不肯忘傳。非獨擇人。亦恐枉費工夫耳。)
This essay contains one crucial sentence after another and does not have a single word that does not enrich and sharpen its ideas. But if you are not smart, you will not be able to understand it. The founder did not lightly teach the art, not just because he was discriminating over accepting students, but also because he did want to go to the effort only to have it wasted.

歌訣五
SONG FIVE

掤捋擠按四方正。採挒肘靠斜角成。乾坤震兌乃八卦。進退顧盼定五行。
Ward-off, rollback, press, and push are the four cardinal directions [i.e. the four primary techniques].
Pluck, rend, elbow, and bump are the four corner directions [i.e. the four secondary techniques].
They are associated with the eight trigrams – Qian, Kun, [Kan, Li,] and [Sun,] Zhen, Dui, [Gen].
Advance and retreat, stepping left and right, and staying put – these are associated with the five elements.

(長拳者如長江大河。滔滔不絕也。)
Long Boxing: it is like a long river flowing into the wide ocean, on and on ceaselessly…
長拳有北派之長拳。有廣平之長拳。雖姿式有別。其理則一。今人多以十三勢為長拳。殊不知十三勢以外。另有一長拳。王宗岳之順項貫頂兩膀鬆之歌訣。曁拿住丹田之氣。並披閃擔搓之論。皆指長拳而言也。
There is a northern style of the Long Boxing set and a Guangping Village style of it. Although there are differences in the postures, the principles are the same. People nowadays often consider the Thirteen Dynamics to be the Long Boxing set, little realizing that the Long Boxing set goes beyond just those thirteen. Wang Zongyue says in his songs: [first line of Song 1:] “Extend your neck and draw up your headtop, your arms both loosening.” [first line of Song 3:] “Focus on your elixir field to smelt internal skill.” [first four of the Twenty Words:] “There is scattering, flashing, carrying, rubbing,…” All of these concepts have to do with this particular kind of long boxing.

十三勢
THE THIRTEEN DYNAMICS

十三勢者。掤、捋、擠、按、採、挒、肘、靠。此八卦也。進步、退步、左顧、右盼、中定。此五行也。合而言之曰十三勢。掤、捋、擠、按。卽坎、離、震、兌、四正方也。採、挒、肘、靠。卽乾、坤、艮、巽、四斜方也。進、退、顧、盼、定。卽水、火、金、木、土、也。
The thirteen dynamics are: warding off, rolling back, pressing, pushing, plucking, rending, elbowing, and bumping – which relate to the eight trigrams:

☴☲☷
☳    ☱
☶☵☰

and advancing, retreating, stepping to the left, stepping to the right, and staying in the center – which relate to the five elements. These combined [8+5] are called the Thirteen Dynamics. Warding off, rolling back, pressing, and pushing correspond to , , ☳, and in the four principle compass directions [meaning simply that these are the primary techniques]. Plucking, rending, elbowing, and bumping correspond to , , , and in the four corner directions [i.e. are the secondary techniques]. Advancing, retreating, stepping to the left, stepping to the right, and staying in the center correspond to the five elements of water, fire, metal, wood, and earth.
以上係三丰祖師所著。欲天下豪傑延年益壽。不徒作技藝之末也。
This relates to the writings of Zhang Sanfeng. He wanted all the heroes in the world to live long and not merely gain skill.

十三勢歌訣六
SONG SIX: THIRTEEN DYNAMICS SONG

十三總勢莫輕視。命意源頭在腰隙。變轉虛實須留意。氣過身軀不少滯。靜中觸動動猶靜。因敵變化示神奇。勢勢揆心須用意。得來不覺費功夫。刻刻留心在腰間。腹內鬆淨氣騰然。尾閭中正神貫頂。滿身輕利頂頭懸。仔細留心向推求。伸屈開合聽自由。入門引路須口授。工夫無息法自休。若言體用何為準。意氣君來骨肉臣。想推用意終何在。益壽延年不老春。歌分歌分百册字。字字眞切意無遺。若不向此推求去。枉費工夫貽歎息。
Do not neglect any of the thirteen dynamics,
their command coming from your lower back.
You must pay attention to the alternation of empty and full,
then energy will flow through your whole body without getting stuck anywhere.
     In stillness, movement stirs, and then in moving, seem yet to be in stillness,
for the magic lies in making adjustments based on being receptive to the opponent.
In every movement, very deliberately control it by the use of intention,
for once you achieve that, it will all be effortless.
     At every moment, pay attention to your waist,
for if there is complete relaxation within your belly, energy is primed.
Your tailbone is centered and spirit penetrates to your headtop,
thus your whole body will be nimble and your headtop will be pulled up as if suspended.
     Pay careful attention in your practice that you are letting bending and extending,
contracting and expanding, happen as the situation requires.
Beginning the training requires personal instruction,
but mastering the art depends on your own unceasing effort.
     Whether we are discussing in terms of theory or function, what is the constant?
It is that mind is sovereign and body is subject.
If you think about it, what is emphasizing the use of intention going to lead you to?
To a longer life and a longer youth.
     Repeatedly recite the words above,
all of which speak clearly and hence their ideas come through without confusion.
If you pay no heed to those ideas, you will go astray in your training,
and you will find you have wasted your time and be left with only sighs of regret.

(氣貼背後。斂入脊骨。靜動全身。意在蓄神。不在聚氣。在氣則滯。)
Energy sticks to your back and gathers in your spine. In the stillness or movement of your whole body, your intention should be on the storing of spirit rather than the gathering of energy. If you are fixated on the energy, your movement will become sluggish.
氣沉丹田。使貼背後。提肛運用。收斂入於脊骨。直可順項貫頂。靜中觸動。動卽全身。而並非一部分單獨之動作也。其意在斂氣蓄神。神足氣整。自然變化從心。切忌聚氣。氣聚則滯。不惟淪入外家。其害更有不堪設想者。可不愼歟。
Energy sinks to your elixir field, causing it to stick to your back. The action of tucking in your rectum gathers the energy into your spine, and it can then go through your neck and directly to your headtop. “In stillness, movement stirs.” Movement involves the whole body and not just one area. Your intention belongs on gathering energy by storing spirit. When your spirit is sufficient, the energy will be complete anyway, and you will naturally transform as you wish. By all means avoid deliberately gathering energy, for if you are fixating on energy, your movement will become sluggish. You would then not only be falling into the habits of the external stylists, you would also be causing yourself terrible harm, and so you cannot afford to be incautious.
(內三合。與外三合。)
The three internal unions join with the three external unions.
心與意合。意與氣合。氣與力合。是為內三合。手與足合。肘與膝合。肩與胯合。是為外三合。共為六合也。
Mind is united with the intention, the intention united with the energy, and the energy united with the power. These are the three internal unions. The hand is united with the foot, the elbow united with the knee, and the shoulder united with the hip. These are the three external unions. Together they make the six unions.

二十字訣
THE TWENTY-WORD FORMULA

披閃擔搓歉。黏隨拘拏扳。輭掤摟摧掩。撮墜續擠攤。
Scattering, flashing, carrying, rubbing, reserving,
sticking, following, arresting, grabbing, reversing,
softening, warding, dragging, breaking, covering,
pinching, falling, continuing, pressing, spreading.

(披)分也。開也。裂也。「史記」披山開道。不折不披。「漢書」披心腹見情愫。「吳均詩」細葉能披離。「司馬相如賦」漢軍皆披靡。「漢書」披露肝膽。太極拳中由側方分進曰披。此手法太極拳中最多。十三式中較少。
[1] Scattering [pi]: to spread, to open, to rend apart.
     From Historical Records [chapter 1]: “[The Yellow Emperor] cut open hills to build roads.”
     [From the Books of Han – bios, part 22:] “[When a shin swells thicker than the thigh,] if it does not burst, it should be split open.”
     From the Books of Han [bios, part 21]: “[Nowadays people can] open their hearts and show their feelings.”
     From the poetry of Wang Jun [“On Reciting Poems in the Parasol Tree Courtyard”]: “Thin leaves can get scattered.”
     From the poetry of Sima Xiangru [Historical Records, annals of Xiang Yu]: “[King Xiang shouted ‘Charge!’] and the Han army scattered.”
     From the Books of Han [Later Han – bios, part 22]: “[Peasants do not know rules,] they just open up and reveal their hearts.”
     In Taiji Boxing, spreading away from the side to then advance is “scattering”. This is the most common action in the Taiji Long Boxing set, even though it is not a very common occurrence amongst the Thirteen Dynamics.
(閃)嚲避也。側身避之俗謂之「閃。」瞥然一見曰閃。「魏略」曰日嘗自於牆壁門闚閃。「杜甫詩」閃閃浪花翻。「隨書」觀其走馬稱為閃電。喻其速也。在太極拳中。不頂而側讓。不丟而黏之為閃。非全空也。
[2] Flashing [shan]: to evade, turning the body sideways to avoid something – commonly called “dodging”. When something happens in the blink of eye, the word means “flashing”.
     From Brief History of Wei [book 14]: “During the day, there was often a glint of them to be seen flashing through the cracks of the walls.”
     From the poetry of Du Fu [“Looking Around for a Way to the Temple”]: “With flickering flashes, the river rapids frothed.”
     From the Books of Sui [book 51]: “[He heard their bows release like thunder,] then saw them flash past on their horses like lightning.”
     These quotes give an analogy of speed. In Taiji Boxing, “flashing” is when you turn to the side to yield to something rather than crashing against it, but at the same time sticking with it rather than coming away from it, for it is not a matter of completely emptying.
(擔)負也。任也。「國策」負書擔囊。「左傳」弛於負擔。「管子」負任擔荷。在太極拳中。任敵襲擊。待其將着身時。負其攻勢。下鬆以化其勁曰擔。並非擔擋敵人之擊。或擔出敵人之手足也。
[3] Carrying [dan]: to bear, to take the burden.
     From Strategies of the Warring States [book 1 of Qin, chapter 2]: “Carrying books and bags…”
     From Zuo’s Commentary to the Spring & Autumn Annals [22nd year of Duke of Zhuang]: “He relaxed from his burden.”
     From Guanzi [chapter 20]: “They bear the burden.”
     In Taiji Boxing, this is a matter of dealing with a sudden attack. Waiting for the instant the opponent connects and receiving his attacking force by loosening downward to neutralize his energy is called “carrying”. It is not really a matter of doing carrying blocks against his strikes, or of hoisting aside his hands or feet.
(搓)手相磨也。「陸游詩」柳細搓難似。在太極拳中。我之手腕臂肘。與敵之手腕臂肘相磨擦。試其勁之去向。敵進我隨之退。敵退我趁勢攻。黏粘不脫。中含圓滚之意。
[4] Rubbing [cuo]: hands rubbing against each other.
     From the poetry of by Lu You [“Spring Day”]: “The willow leaves are so delicate, they hardly seem to rub against each other.”
     In Taiji Boxing, I rub my hand, wrist, forearm, or elbow against the opponent’s hand, wrist, forearm, or elbow to test the direction of his energy. If he is advancing, I retreat, and if he is retreating, I take advantage of the opportunity and attack. I stick to him without breaking away, keeping an idea of roundness and rolling.
(歉)不足也。能仄不盈。試敵之謂也。出手不可太滿。總要留有相當之尺寸。否則一發無餘。非太極矣。
[5] Reserving [qian]: using less, so that you are able to keep something in store when testing your opponent. When your hand goes out, you must not use everything you have. Always save something of equal measure. Otherwise with a single issuing, you would have nothing left, and that would not be Taiji.
(黏)沾也。染也。相著也。膠附曰黏。「韓愈詩」土脈膏且黏。「楊維楨詩」香黏金鐙憶微兜。在太極拳中。纏繞不脫。不卽不離。人背我順。隨機變化。
[6] Sticking [nian]: to adhere, to stain, to connect, to glue.
     From the poetry of Han Yu [“Bitter Cold”]: “[When the snow suddenly clears,] the soil is greasy and sticky.”
     From the poetry of Yang Weizhen [“Concubine’s Stockings”]: “Perfume sticking around in the golden lamplight, reminding me of a small purse.”
     In Taiji Boxing, bind to him without breaking away, neither reaching nor separating. As his energy coarsens, my energy becomes smoother, adapting to the situation.
(隨)從也。循也。順也。「禮」父之齒隨行。「易」隨時之義大矣哉。「杜甫詩」曉粧隨手抹。「漢書」求黨與索隨和。在太極拳中。敵為主動。我為被動。循其後而行。所謂亦步亦趨也。
[7] Following [sui]: to go along with, to abide by, to comply with.
     From the Book of Rites [chapter 6]: “[When walking in the road,] a young man follows behind a man when the man is around his father’s age.”
     From the Book of Changes [hexagram 17]: “There is greatness in going along with the times.”
     From the poetry of Du Fu [“Northern Expedition”]: “When putting on make-up in the morning, abide by the easiest way to apply it.”
     From the Books of Han [bios, part 67]: “He sought there for supporters and followers.”
     In Taiji Boxing, the opponent initiates and I play the passive role, following along with what he is doing, and so I “move as he moves and keep pace” [Zhuangzi, chapter 21].
(拘)執也。取也。「書」盡執拘以歸於周。「王安石文」我方官拘不得往。「禮」必加帚於箕上。以袂拘而退。在太極拳中。乃趁勢拘住敵人手足臂腕而係之也。
[8] Arresting [ju]: to hold, to keep.
     From the Book of Documents [document 38]: “Arrest them all and return them here to the royal court.”
     From the writings of Wang Anshi [“Letter to Wang Fengyuan”]: “We government officials are kept so busy.”
     From the Book of Rites [chapter 1]: “[Whenever you clean up after an elder’s mess,] you must put the brush on top of the basket, hold your sleeve over it and leave.”
     In Taiji Boxing, this has to with taking advantage of a situation by seizing the opponent’s hand, foot, forearm, or wrist.
(拏)擒也。牽引也。「史記」漢匈奴相紛拏。擒住敵人各部曰拏。攫點敵人脈穴。亦曰拏。順勢攀引亦謂之拏。
[9] Grabbing [na]: to seize, to drag in.
     From the Historical Records [book 11]: “The armies of the Han and the Xiongnu grappled [‘chaotically grabbed at’] each other.”
     To seize any part of the opponent is grabbing, to seize and poke his acupoints is also grabbing, and to seize an opportunity to pull him in is also deemed to be grabbing.
(扳)挽也。援也。牽制也。「公羊傳」諸大夫扳隱而立之。「諸葛武侯文」足以扳連賊勢。太極拳中。以挽住敵人各部為扳。順勢牽制敵人各部亦曰扳。
[10] Reversing [ban]: to restrain, to hold, to seize control.
     From Gongyang Gao’s Commentary to the Spring & Autumn Annals [1st year of Duke of Yin]: “The officials all controlled Yin and then established him in his position.”
     From the writings of Zhuge Liang [“Letter to Xiongjin” in Commentary to the Waterways Classic, book 17]: “It will be sufficient to gain control over the enemy’s position.”
     In Taiji Boxing, to restrain any part of the opponent or to seize the opportunity to take control are both called “drawing”.
(輭)柔也。「王維詩」時降輭輪車。「白樂天詩」蒲輪駐輭車。「漢書」坐罷輭不勝任者。「施肩吾詩」酒人四肢紅至輭。「唐書」彼委靡輭熟。在太極拳中。不許用拙力。而聽其天然之黏粘力。用以化敵之勁之謂也。
[11] Softening [ruan]: to become supple.
     From the poetry of Wang Wei [“A Gift to Daoist Master Jiao of Mt. Tai”]: “Sometimes a soft-made cart comes down the road.”
     From the poetry of Bai Juyi [“Deep into Spring”]: “Cattails tangle the wheels of soft-made carts.”
     From the Books of Han [book 48, bio of Jia Yi]: “One who sits always in soft seats is not qualified [to be appointed to a high position].”
     From the poetry of Shi Jianwu [“The Dinner Party”]: “Wine enters the body and gives it a ruby-blushed softness.”
     From the New Books of Tang [bios, part 116]: “He lives a lazy soft life.”
     In Taiji Boxing, there must be no use of awkward effort, instead a quality of listening with a natural sticking energy in order to neutralize the opponent’s power.
(掤)
[12] Warding off [peng]:
詳第九章。
Explained in Chapter Nine [of the 1930 book].
(摟)曳也。持也。「孟子」摟諸侯。以伐諸侯者也。握持或曳抱敵人手腕臂膀。使不得脫曰摟。
[13] Dragging [lou]: to tug, to grab.
     From Mengzi [chapter 6b]: “They dragged forth the feudal lords to punish the feudal lords.”
     To grab and tug the opponent’s wrist or forearm so that he cannot escape is called “dragging”.
(摧)折也。挫也。「史記」梁柱摧乎。「司馬光詩」空使寸心摧。「南史」所至無不摧陷。「宋史」摧堅陷敵。「晉書」將軍之舉武昌若摧枯拉朽。在太極拳中。能摧剛為柔。乘勢以挫敵鋒。陷其中堅而折之。亦曰摧。
[14] Breaking [cui]: to snap, to frustrate.
     From the Historical Records [chapter 47]: “[Mountains crumble,] roof beams break, [and philosophers wither.]”
     From the poetry of Sima Guang [“Seeing off Zhao Diancheng for His Trip Back to Chengdu”]: “It is an emptiness that makes the heart break.”
     From the History of the Southern Dynasties [book 1]: “[The emperor ordered attack,] and the whole enemy force was broken.”
     From the History of Song [bios, part 9]: “We often broke through and captured our enemies.”
     From the Books of Jin [bios, part 40]: “He sent his troops to Wuchang to keep it from being broken like a dying tree.”
     In Taiji Boxing, one can break hardness with softness: upon obstructing an opponent’s attack, taking advantage of the opportunity while he stiffens in response, and snap his structure. This situation is called “breaking”.
(掩)遮也。蓋也。「禮」處必掩身。又大夫不掩羣。「通鑑」掩耳盜鈴。「近世運用語」掩護射擊。在太極拳中。遮避之而襲敵曰掩。閉守敵攻覆護以化其勁亦曰掩。
[15] Covering [yan]: to hide, to conceal.
     From the Book of Rites [chapters 6 & 2]: “Gentlemen will stay hidden indoors [during the peak of both summer and winter]… The officials will not cover [i.e. ambush] a whole herd [during a spring hunt].”
     From Lessons for Governing [part 184]: “It would be like covering one’s own ears while stealing a bell [in an attempt to keep other people from hearing it.” (i.e. futile)]
     There is also a modern saying: “Cover yourself against a flying arrow.”
     In Taiji Boxing, to cover yourself to evade an opponent’s attack or to seal off his attack to neutralize his power are both called “covering”.
(撮)聚也。採取也。「中庸」一撮土之多。「漢書」撮名法之要。在太極拳中。以手指取敵各部。或點其穴。皆曰撮。
[16] Pinching [cuo]: to take, to pick.
     From the Zhong Yong: “[The earth right in front of you] is nothing but a pinch of dirt.”
     From the Books of Han [bios, part 32 – bio of Sima Qian]: “[Select from the best of the Confucianists and Mohists,] then take a pinch from the essentials of the Semanticists and Legalists.”
     In Taiji Boxing, when you use your fingers to seize some part of the opponent’s body or to attack his acupoints, it is called “pinching”.
(墜)落也。隕越也。「列子」𣏌人有憂天墜者。「莊子」墜亦不知也。「左傳」弗敢失墜。「論語」未墜於地。在太極拳中。處處要墜。卽為敵所牽挽。我沉肩墜肘。如萬鈞重。再乘其隙以襲之。無不應手奏效。
[17] Falling [zhui]: to lower, to drop.
     From Liezi [chapter 1]: “There was a man from Qi who worried the whole world would fall away.”
     From Zhuangzi [chapter 19]: “[When a drunk] falls [out of a carriage,] he does not even notice.”
     From the Spring & Autumn Annals [25th year of Duke of Zhao]: “[The ministers] do not dare to let their tasks fall away.”
     From the Lun Yu [19.22]: “[The ways of Kings Wen and Wu] have not yet fallen into the dirt.”
     In Taiji Boxing, There always has to be a quality of falling. Whenever an opponent pulls on me, I sink my shoulders and let my elbows fall as if they weigh many tons, and thereby when I take advantage of a gap and attack, I will always be responding effectively.
(續)連也。繼也。「史記」此亡秦之續耳。「白樂天詩」低眉信手續之彈。「杜甫詩」煎膠續弦奇自見。在太極拳中。能懂勁始可言續。黏粘不脫。式式貫串。其勁似斷。而意仍續連也。
[18] Continuing [xu]: to connect, to flow.
     From the Historical Records [part 7]: “This is merely a continuation of the behavior of the Qin emperor.”
     From the poetry of Bai Juyi [“Lutes Playing”]: “The heads droop in concentration as the hands continuously strum.”
     From the poetry of Du Fu [“A Gift of a Song for Wang Yiyin after Recovering from Illness”]: “[Unicorn horns and phoenix beaks are things we never see,] but to reconnect a bowstring with glue is close to experiencing such marvels.”
     In Taiji Boxing, if you are able to identify energies, then you can talk of flow. By sticking without disconnecting, every posture will be linked together. Your energy will seem unbroken and your intention will maintain continuity.
(擠)
[19] Pressing [ji]:
詳第九章。
Explained in Chapter Nine [of the 1930 book].
(攤)開也。展也。陳設以手布制曰攤。太極有開合之勁。合而不開。其勁究窄。放手亦嫰。是為太極之病。近世有開合太極之說。故一開無不開。不惟吐放舒展。且可堅實着力。
[20] Spreading [tan]: to open, to expand. A display of reaching out the hand to take control is called “spreading”. Taiji has the energies of opening and closing. To close but not open is too constricting of an energy. To send out the hands too timidly is equally an error in Taiji. Nowadays there is an explanation from Open & Close Taiji [referring to Hao Style or Sun Style]: upon opening, everything opens. It is not merely a matter of issuing by extending, but also an ability to express with solid and substantial power.
(骨節自對開勁攀梢為陽。合披坑窰相照。分陰陽之意。開合引進落空。分寬窄老嫩。入笋不入笋。有擎靈之意。)
The joints are to be naturally aligned. An energy of opening reaches to the extremities and has to do with the active aspect. An energy of closing then drapes over every gap, mirroring the active aspect [as the passive aspect]. Passive and active are thus made distinct. Opening and closing draws the opponent in to land on nothing. The extent of his skill, his experience or inexperience, is thereby made clear. Whether you get the knack of this or not depends on a mentality of maintaining naturalness.
骨節貫串。動作靈活。開勁宛如扳挽。梢節至於極點。則為陽。合勁又似披入坑窰。與陽相照。是為陰。陰陽之義繇斯分焉。開合牽引。進退起落。使敵處處空虛。惟分尺寸暢仄。工夫久暫。至練神還虛。乃能式法完備。放手中的曰老。用工雖久。滯澀忒甚。出手無着曰嫩。其弊則於得入訣竅。或不得入訣竅判之。然須有虛靈之意。其庶幾焉。
With the joints working in concert, the movements are nimble. An energy of opening seems to reach to the extremities, extending as far as it can, and has to do with the active aspect. An energy of closing then seems to drape over every gap, mirroring the active aspect as the passive aspect. Passive and active are by this means made distinct from one another. Opening and closing draw the opponent in, and whether advancing or retreating, rising or lowering, nullifies all of his techniques. This also reveals his awareness of general or specific targets, how fluid or stuck his actions are, and how long he has trained. To be skilled means that he has trained his spirit to return to emptiness, and thus he is able to execute techniques perfectly, sending out his hands on target. To be unskilled means that though he may have practiced for a long time, his actions are sluggish or excessive, and he sends out his hands with no result. The problem is whether you will achieve the knack of this or not. You have to have a mentality of naturalness in order to get there.
(斤對斤。兩對兩。不丟不頂。五指緊聚。六節表正。七節要合。八節要扣。九節要長。十節要活。十一節要靜。十二節抓地。)
Equal his force, pound for pound, ounce for ounce, neither coming away nor crashing in. Your fingers should be “gathered together”. Furthermore, your joints should be correctly placed. There should be combining, concaving, extending, liveliness, stillness, and grabbing the ground.
敵發一斤力。我用一斤力應之。敵發一兩力。我亦一兩力隨之。力雖相等。而非對抗。乃試其勁。黏隨之意。旣無雙重之弊。自然不丟不頂。虎口要圓。拇指分領四指彎曲如抓圓球。卽緊聚也。中節梢節根無俱要安舒中正。尤須處處相合。肩扣胸扣。手足臂腕均要引長。並非一發無餘之長。實鬆肩沉肘之謂也。雖四肢百骸靈活。然仍須動中求靜。雖靜猶動。呼吸動作。自無鹵莽滅裂之弊。進前退後之步法。皆極輕靈。其意又似抓地。
If an opponent issues a pound of force against me, I use a pound of force in response. If he issues an ounce of force against me, I likewise use an ounce of force to go along with him. Although these are equal forces, it is not a matter of resistant force. Therefore examine his energy with an intention of sticking and following. You will then be without the error of double pressure, and thus naturally you will be neither coming away nor crashing in. The tiger’s mouth should be round, the thumb spread away from the other fingers, and they should be bent as though grabbing a ball. This is what is meant by “gathered together”. The middle joints [elbows and knees], tip joints [wrists and ankles], and root joints [shoulders and hips] should all be comfortable and properly placed. Every part needs to cooperate with every other part. Your shoulders and chest should form a concave shape. Your hands, feet, arms, wrists, and so on, should all stretch out. This does not mean you cannot extend further when you issue, but that your shoulders loosen and your elbows sink. Although there has to be a nimble liveliness to your limbs and your whole body, you nevertheless have to be seeking stillness within movement. And then once you have a quality of stillness, you still have to be moving. With the breath always moving, you will naturally be without the problems of rashness and risk-taking. While advancing and retreating, always be very nimble, and yet with an idea of grabbing the ground.
(三尖相照。上照鼻尖。中照手尖。下照足尖。能顧元氣。不跑不滯。妙令其熟。牢牢心記。)
The three tips align with each other: above – the tip of the nose, middle – the fingertips, below – the toes. You will thus be able to attend well to primal energy. Neither rushing nor getting stuck, subtlety will lead to skill. Keep this firmly in mind.
演式時。手尖、鼻尖、足尖。式式相照。方能顧住元氣。氣不散。無僨張疾走之害。亦無滯澀停頓之虞。妙在功純。切要牢記。
When practicing the set, the fingertips, nose, and toes should be aligned with each other in every posture. Then you will be able to attend well to primal energy. When your primal energy is not scattered, you will not have the problem of forcing your way and rushing, nor the worry of getting slowed down and stuck. With such subtlety, your skill will be pure. It is essential to keep this in mind.
(能以手望槍。不動如山。動如雷霆。數十年功夫。皆言無敵。果然信乎。高打高顧。低打低應。進打進乘。退打退跟。緊緊相隨。升降未定。沾黏不脫。拳打立根。)
Be able to regard your hand as a spear. Be still as a mountain, then move like a thunderclap. After several decades of training, all talk of being invincible will become true. If he attacks high, gaze high. If he attacks low, respond low. If he advances to attack, ride his advance. If he retreats to attack, follow his retreat. Stay constantly close to him amidst the inconstant rising and falling, sticking to him without coming away. While your fists attack, stand rooted.
能以手望槍。並非以空手敵長槍。係手可槍用。巍立不動。穩如泰山。動則如迅雷不及掩耳而閉目。如此練習數十年。遇敵交手。當者無不披靡。敵由上方襲我。我趁其來勁而迎化之。亦顧上之意也。敵由下方襲我。我由下方以應之。敵進我乘。敵退我跟。上下相隨。前後緊迫。一味綿綿不斷。立根者。手足須有𨀵法也。
“Be able to regard your hand as a spear.” This does not really mean your hand will be the equal of a long spear, but that your hand can function like a spear. Stand aloof and still, stable as Mt. Tai. When you move, be like a thunderclap, too sudden for one to cover his ears or eyes. If you practice in this way for several decades, then whenever you fight with opponents, they will indeed be invariably defeated. If an opponent attacks me from above, I take advantage of his incoming energy, meeting it and neutralizing it by also sending my intention upward. If he attacks me from below, I respond from below. If he advances, I exploit it. If he retreats, I follow. Whether upward or downward, I follow along with him. Whether forward or back, I stay close to him, always flowing with him. To “stand rooted” means that your whole body must have a good stance.

十三勢行功心解
UNDERSTANDING HOW TO PRACTICE THE THIRTEEN DYNAMICS

(以心行氣。務令沉着。乃能收歛入骨。以氣運身。務令順遂。乃能便利從心。)
Use mind to move the energy. But you have to be calm. Energy is then able to collect in the bones. Use energy to move your body. But the movements must be smooth. Your body can then easily obey your mind.
氣之所至。心與意亦俱至。是為以心行氣。惟心意手足。均要沉着。則氣始可收斂入骨。而技藝日精。並能行氣週流全身。氣運全身。處處須要順遂。不可有絲毫阻滯。明乎此。變化從心。不踰矩焉。
Wherever energy goes, mind and intention will also go. Therefore put your mind on moving the energy. But your mind and intention, hands and feet, all have to be calm so that energy will be able to collect in the bones. [Once energy can collect in the bones,] then skill will be daily refined and you will be able to move energy throughout your whole body. For energy to move through your whole body, there must be smoothness everywhere. There cannot be the slightest obstruction. Once this is understood, your changes will happen as you wish, and will not be random.
(精神提得起。則無遲重之虞。所謂頭頂懸也。意氣換得靈。乃有圓活之妙。所謂變轉虛實也。)
If you can raise your spirit, then you will be without worry of being slow or weighed down. Thus it is said [in the Thirteen Dynamics Song]: “Your whole body will be nimble and your headtop will be pulled up as if suspended.” The mind must perform alternations nimbly, and then you will have the qualities of roundness and liveliness. Thus it is said [also in the Song]: “Pay attention to the alternation of empty and full.”
拿住丹田之氣。頭頂項豎。則精神自然提起。因而動作如意。絕無遲鈍笨重之弊。是卽所謂頭頂懸也。遇敵時。心意與氣勁換得靈通。自無拙力。無拙力乃能圓活如意。旣得圓活之妙。變化轉側。虛實無不得心應手矣。
If you put energy down into your elixir field and keep your headtop and neck upright, then spirit will naturally be raised up. Your movements will thereby happen as you wish and you will certainly lack the errors of being too slow or heavy. Thus it is said: “your headtop will be pulled up as if suspended”. When you encounter an opponent, if your mind and energy are performing alternations nimbly, you will naturally be free of awkward effort. Without awkward effort, you will be able to be as rounded and lively as you please. With the qualities of roundness and liveliness, you will alternate between emptiness and fullness always as you intend.
(發勁須沉着鬆淨。專主一方。立身須中正安舒。撑支八面。)
When issuing power, you must be calm and relaxed, concentrating it in one direction. Your posture must be upright and comfortable, bracing in all directions.
發勁時。須沉着。處處又要鬆勁。不許攙雜意念而後始淨。意志專一。無論敵來襲擊。上下前後左右。皆能隨意應付。蓋我之精神專注。意與氣無不俱到。頭頂項豎。立身方能中正。氣沉丹田。百骸自然舒適。意定𨀵穩。不惟撑持八面已也。
When issuing power, you have to be calm, and everywhere the power has to be loosened. You must not allow your thoughts to wander, and then you can be focused, your intention concentrated. Even if an opponent takes you by surprise, be it above or below, from in front or behind, from the left or right, you will be able to deal with it as you please. With your spirit concentrated, your intention and energy will always arrive together. With your headtop, neck, and body upright, you will be able to be well-balanced, energy sinking to your elixir field, and your whole body will be natural and comfortable. With your intention stable and your stance steady, you will have more than enough to brace in all directions.
(行氣如九曲珠。無微不到。運勁如百鍊鋼。何堅不摧。)
Move energy as though through a winding-path pearl, penetrating even the smallest nook. Wield power like tempered steel, so strong there is nothing tough enough to stand up against it.
行氣週流全身。如同串珠。圓轉靈通。四肢百體。雖極微處。苟心意所注。未有不立至者。由脊而頸而顱頂。廻光而下。由胸降至丹田。皆太極圖也。太極用內勁。不尚拙力。吐放之勁。似若無力。實如百鍊之鋼。雖至堅極剛。擋之無不摧折。
Move energy throughout your whole body just like a string through beads, winding through to all of your limbs and every part of your body, even to the smallest place. While your intention focuses but has not yet arrived, energy goes from your spine, through your neck, to the crown of your head, and then back down from your chest to your elixir field, making a complete taiji circle. Taiji Boxing makes use of internal power rather than awkward effort. When power is released, it seems to have no strength, and yet it is actually like tempered steel. No matter how hard the opposition, it always gets broken.
(形如摶兔之鶻。神如捕鼠之貓。靜如山岳。動若江河。)
The shape is like a falcon capturing a rabbit. The spirit is like a cat pouncing on a mouse. In stillness, be like a mountain, and in movement, be like a river.
動作之形。如摶兔之鷹。旋轉無定。其神意又如擒鼠之貓。靜如試敵。蓄勢待機。動則一發便至。靜如山岳巍巍不動。言其沉着結實也。動若江河。漲落不時。言其滔滔不斷也。
The shape of the movements is like a falcon capturing a rabbit, in that it is unpredictable just when the falcon will drop from its circling, and the mentality of that moment is like cat pouncing on a mouse. With a quality of stillness, it is as though you are testing the opponent, storing up power and waiting for the right moment to issue against him. While in a state of stillness, be like a mountain, lofty and motionless, a condition that could be described as “calm strength”. While moving, be like a river, its waves rising and falling constantly, a condition of “flowing unceasingly”.
(蓄勁如張弓。發勁如放箭。曲中求直。蓄而後發。力由脊發。步隨身換。)
Store power like drawing a bow. Issue power like loosing an arrow. Within curving, seek to be straightening. Store and then issue. Power comes from the spine. Step according to your body’s adjustments.
蓄勢待敵。如拉滿弓。發勁迅速。尤如放箭。我用黏沾以化敵勁曰曲。旣已化敵。勢必乘隙直攻。是謂曲中求直。有隙可乘。蓄勁儘可發出。鬆肩含胸。氣貫丹田。遇敵放手。其勁由脊背催出。力貫甲梢。姿勢方向。轉動步法。隨身變換。
To store power and wait in ambush is like a fully stretched bow. When power is issued suddenly, it is just like an arrow being released. Use sticking to neutralize the opponent’s power, a matter of “curving”, then once he has been neutralized, you must take advantage of the opportunity and directly attack. This is what is meant by seeking to be straightening within curving. Once there is a gap to exploit, stored power can issue into it fully. Loosen your shoulders, contain your chest, and send energy to your elixir field. When you send your hands against the opponent, your power will hasten from your spine to your fingertips. Posture, direction, rotation, and footwork should all comply with what your torso is doing.
(收卽是放。放卽是收。斷而復連。往復須有摺疊。進退須有轉換。)
To gather is to release and to release is to gather. Disconnect but stay connected. In the back and forth [of the arms], there must be folding. In the advance and retreat [of the feet], there must be variation.
黏粘為收。擊敵為放。黏着粘着。趁勢便可放勁。雖擊中敵。依然黏粘不脫。其勁似斷。而意仍摺疊者。卽變化橫豎也。其往來之橫豎。虛實不定。要有知覺。進前退後。必須變換步法。進退轉換。亦卽奇正相生。進亦是退。雖退仍能中敵也。
Sticking is “gathering”. Attacking the opponent is “releasing”. Stick… stick… and then when the moment is favorable, you may release power. Even if you are on target, continue to “stick” to him without letting go. Your power seems to finish, [but your intention stays connected to him.] The meaning of “folding” is that your movement is changing both horizontally and vertically. To then be moving back and forth while moving horizontally and vertically makes emptiness and fullness that much more indefinite, and so you have to stay aware. While advancing and retreating, you must have varying footwork. As advance and retreat alternate, obviousness and surprise generate each other. Advancing can also be a retreat, for even in retreat you can attack.

歌訣七
SONG SEVEN

極柔卽剛極虛靈。運若抽絲處處明。開展緊湊乃縝密。待機而動如貓行。
From extreme softness, extreme hardness comes naturally.
When the movement is like drawing silk, at every point there is clarity.
Through opening up then closing up, you will gain a refined subtlety.
Await the moment, then make your move, stepping like a cat.

(極柔輭。然後極堅剛。能呼吸。然後能靈活。氣以直養而無害。勁以曲蓄而有餘。)
Extreme softness begets extreme hardness. Your ability to be nimble lies in your ability to breathe. By nurturing energy with integrity, it will not be corrupted. By storing power in crooked parts, it will be in abundant supply.
演式時。愈柔輭內勁愈增。遵而行之。然後由極柔而極剛。非純剛不柔。乃柔中實剛也。天然之呼吸。為哼哈二氣之基。氣隨意至。進退靈活。養氣用深呼吸。使其直歸於丹田。是為浩然之氣。緩緩下沉。可以常存。外家呼吸。不能貫澈。故僅能達於中腕。且常聚氣膨腹。久能氣滯。神態呆板矣。能使心意導氣於丹田。日積月累。氣週全身。遇敵時。曲力蓄勁。待機而動。一發必中。則敵不及避讓矣。
The softer you perform the postures, the more you increase the internal power. Practicing in this way will then produce extreme hardness from extreme softness. This does not mean hardness without softness, instead the genuine hardness contained within softness. Natural breathing is based in the sounds of “heng” and “ha”. Energy follows intention, and thereby you will advance and retreat with nimbleness. Cultivate energy by using deep breathing, causing it to return directly to your elixir field. This is the “noble energy” [that Mengzi spoke of]. It gradually sinks down and can maintain you forever. The breath of external stylists cannot get all the way through, going no further than the Zhongwan acupoint [halfway between solar plexus and navel]. They constantly gather in their breath to swell their abdomens, which over time will cause energy to stagnate and one’s bearing to become stiff. If you can get your intention to guide energy to your elixir field, then after a long time, energy will fill your entire body. When encountering an opponent, bend your limbs to store power and await the moment to act. Then when you issue, you are sure to reach the target, for he will be unable to evade you.
(心為令。氣為旗。腰為纛。先求開展。後求緊湊於縝密矣。)
The mind makes the command, the energy is its flag, and the waist is its banner. First strive to open up, then strive to close up, and from there you will be able to attain a refined subtlety.
心為元帥。以發令施號。氣為號令之旗。受命立刻分四肢。卽五營四哨也。腰為大纛。屹立中軍。不偏不倚。監督手足之運用。亦卽五營四哨也。攻敵也。無論演式推手。須要開合。開合得法。各部暢適。動作如意。所謂後求緊湊者。非一味窄仄。亦非一味速快。乃由開展後收囘時求緊湊。是能放能收之意。亦捲之則退藏於密。動分靜合也。
The mind is the commander, giving its orders to the energy, which is the flag that waves the commands, instantly distributing instructions to the four limbs. These are the “five central soldiers and four sentries” [i.e. those serving the general and those serving his subordinate, analogous to the major organs and the four limbs of the body]. The waist is the large banner standing upright amidst the army, not teetering in any direction, controlling the movements of the hands and feet. Use this process of passing the orders along to defeat opponents. Whether practicing the solo set or pushing hands, there has to be opening and closing. Once the methods of opening and closing are obtained, every part will feel livened and you will move as you please. To “strive to close up” does not mean the movement gets stubbornly smaller or faster, simply that you are to gather in more compactly after having opened up. The idea is to have ability in both releasing and withdrawing, as in [from the Zhong Yong:] “[Sending out, it goes beyond the ends of the universe.] Rolling in, it stores away tightly…” In movement, spread open. In stillness, close up again.
(又曰先在心。後在身。腹鬆淨氣斂入骨。神舒體靜。刻刻在心。切記一動無有不動。一靜無有不靜。)
It is also said:
First in the mind, then in the body. The abdomen relaxes completely and then energy collects in the bones. Spirit comfortable, body calm – at every moment be mindful of this. Always remember: if one part moves, every part moves, and if one part is still, every part is still.
太極拳。以心意為基礎。以身體為作用。亦如今之以中央為主。以各省為輔之意義相同。肚腹須任其自然鬆開。氣沉靜方能斂入脊骨。氣斂入骨。神意自然舒適。全體無不安靜。由靜而整。自無過與不及。時刻在意。幸勿滑口。內與外合聯絡一氣。故手與足動。心意隨之俱動。心與意靜。手足亦莫不皆靜。練習日久。始可得此妙處。
Taiji Boxing uses mind as foundation, body as function. It is the same as the modern concept of central control and provincial assistance. Your belly must naturally loosen for energy to sink down, and then it will be able to gather in your spine. With energy collected into your bones, your spirit will naturally be comfortable and your body will be at ease in every part. With a quality of complete stillness, you will neither overdo nor underdo anything. Keep this principle always in mind and never sneer at it. Inside and outside combine, linked as a single energy. Therefore when hands and feet move, mind and intention are also moving, and when mind and intention become still, hands and feet also become still. If you practice for a long time, you will be able to achieve this subtlety.
(牽動往來。氣貼背。斂入脊骨。內固精神。外示安逸。邁步如貓行。運勁如抽絲。)
As the movement leads back and forth, energy sticks to your back and gathers in your spine. Inwardly bolster spirit and outwardly show ease. Step like a cat and move energy as if drawing silk.
遇敵相搏時。進退不定。故能牽動往來。最易氣浮。氣浮𨀵法必輕。易為敵人撼動。須鬆肩含胸。沉氣提肛。氣由背後收斂直貫脊骨。而入各部。氣整則精神自固。外表仍示以安適靜逸若無事者。演式時之步法。宛如貓行。輕靈無聲。聯絡不斷。運勁則如抽絲。循環相連。收縮貫串。則無斷續之弊矣。
When fighting with an opponent, advance and retreat are inconstant, thus while movement goes back and forth it is very easy for energy to float up. When your energy floats, your stance will lighten and it will be easy for the opponent to affect you. You must loosen your shoulders, contain your chest, sink your energy, and tuck in your rectum. Energy will gather in your back, move along your spine and enter every part. When your energy is complete, your spirit is naturally strong, but you should still exhibit a leisurely calm, as if you have nothing to do. The footwork as you perform the postures should be like the steps of a cat, nimble and silent. The movement is unceasing, the energy that of drawing out silk, continuous and connected. You will then not have the error of stopping and starting.
(全身意在精神。不在氣。有氣者無力。無氣者純剛。氣如車輪。腰似車軸。似鬆非鬆。將展未展。勁斷意不斷。藕斷絲亦連。)
Throughout your body, your mind should be on the spirit rather than on [forcing] the energy. This is because if you have only [acquired (i.e. forced)] energy, there will be no power, for without [innate] energy, there will nothing but hardness. The energy is like a wheel and the waist is like an axle. Seem to loosen but not yet loosen, about to express but not yet expressing. When your power finishes, your intent of it continues…
全身意思。皆用精神。不尚絲毫拙力。專習運氣臌腹者。雖有氣而無內勁。是為後天之濁氣。無先天之浩然氣。則純剛不柔。呼吸養氣。循環如車輪。旋轉不一。腰似車輪。則如中樞。能使先天之氣。遍輸全身。毫無阻滯。遇敵時。似鬆則又不鬆。將放却又不放。總以黏粘連隨。以敵之進退為目的。凝神蓄勢。遇隙而發。放勁似斷。而心與意仍未斷也。
Throughout your body, the idea is always to make use of spirit rather than put forth any awkward effort. If you focus in your practice on moving energy by way of pushing out your diaphragm, then even if there is energy, there will be no internal power. This is because it is impure acquired energy rather than potent innate energy, the result being hardness that will not soften. While breathing to cultivate energy, it circulates like a wheel, rotating and alternating. If your waist is like an axle, it acts as a central pivot point which can send innate energy everywhere in your body without any obstruction. When you encounter an opponent, seem to loosen but not yet loosen, about to release but not yet releasing, always sticking, adhering, connecting, and following. Aim for the opponent’s moment of advance or retreat. Concentrate spirit, store power, and when a gap appears, issue. Once you release power, it then seems finished, but your mind and intent are still not finished with it.
以上原文。相傳為宗岳所著。余與姚君馥春。得乾隆時之抄本。復得光緒初年之木板書。與近世所傳者。大同小異。其理與法則一耳。
These original texts are attributed to Wang Zongyue. Yao Fuchun and I obtained a handwritten document from the reign of Emperor Qianlong [1736—1796] and a block-printed text from 1875. They differ from modern texts in some small ways, but their principles and methods the same.

第三章 楊澄甫先生太極拳說十要
CHAPTER THREE: YANG CHENGFU’S TEN ESSENTIALS OF TAIJI BOXING [from Chen Weiming’s Art of Taiji Boxing, 1925]

一、虛靈頂勁
1. FORCELESSLY PRESS UP YOUR HEADTOP
頂勁者。頭容正直。神貫於頂也。不可用力。用力則項强。氣血不能流通。須有虛靈自然之意。非有虛靈頂勁。則精神不能提起也。
By “press up your headtop” is indicated that the appearance of your head is upright and spirit penetrates to your headtop. You must not use exertion. If you use exertion, your neck will be straining, and energy and blood will be unable to flow through. There must be an intention of being forceless and natural. If you do not have this quality of forcelessly pressing up your headtop, then spirit cannot be raised.

二、含胸拔背
2. CONTAIN YOUR CHEST & PLUCK UP YOUR BACK
含胸者。胸略內涵。使氣沉於丹田也。胸忌挺出。挺出則氣擁胸際。上重下輕。脚根易於浮起。拔背者。氣貼於背也。能含胸則自能拔背。能拔背則能力由脊發。所向無敵也。
To “contain your chest” means your chest is slightly shrugged inward, causing energy to sink to your elixir field. Your chest must not stick out. If it sticks out, then energy will swarm to your chest area, resulting in your upper body being heavy and your lower body being light, and your heels will easily float up. To “pluck up your back” means energy sticks to your back. If you can contain your chest, then you will automatically be able to pluck up your back. If you can pluck up your back, then you can issue power from your spine and be invincible.

三、鬆腰
3. LOOSEN YOUR WAIST
腰為一身之主宰。能鬆腰然後兩足有力。下盤穩固。虛實變化皆由腰轉動。故曰。命意源頭在腰隙。有不得力必於腰腿求之也。
The waist is the controller of the whole body. If you can loosen your waist, then your feet will have strength, and your stance will be stable. The transformations between empty and full all come from the turning of your waist. Thus it is said [in the Thirteen Dynamics Song] that the “command comes from your lower back”, and if you do not have the advantage, the problem “must be in the waist and legs, so look for it there”.

四、分虛實
4. DISTINGUISH BETWEEN EMPTY & FULL
太極拳術以分虛實為第一義。如全身皆坐在右腿。則右腿為實。左腿為虛。全身坐在左腿。則左腿為實。右腿為虛。虛實能分。而後轉動輕靈。毫不費力。如不能分。則步重滯。自立不穩。而易為人所牽動。
In the Taiji boxing art, distinguishing empty and full is of prime importance. If the weight is on your right leg, your right leg is full and your left leg is empty. If the weight is on your left leg, your left leg is full and your right leg is empty. If you can distinguish empty and full from each other, movements will be light and nimble, not at all strenuous. If they cannot be distinguished, your steps will be heavy and sluggish, your stance will naturally be unstable, and it will be easy for an opponent to pull you off-balance.

五、沉肩墜肘
5. SINK YOUR SHOULDERS & DROP YOUR ELBOWS
沉肩者。肩鬆開下垂也。若不能鬆垂。兩肩端起。則氣亦隨之而上。全身皆不得矣。墜肘者。肘往下鬆墜之意。肘若懸起。則肩不能沉放。人不遠近於外家之動勁矣。
To “sink your shoulders” means your shoulders loosen and hang down. If they cannot loosen and hang, they will end up lifting, then energy will also follow them upward, and your whole body will have no strength. To “drop your elbows” means an intention of loosening your elbows to drop them downward. If your elbows are lifted up, your shoulders cannot sink, and you will not send the opponent far. It would be more like the interrupted power of external styles.

六、用意不用力
6. USE INTENTION, NOT EXERTION
太極論云。此全是用意不用力。練太極拳全身鬆開。不使有分毫之拙勁。以留滯於筋骨血脈之間以自縛束。然能輕靈變化圓轉自如。或疑不用力何以能長力。蓋人身之有經絡。如地之有溝洫。溝洫不塞而水行。經絡不閉氣通。如渾身僵勁充滿經絡。氣血停滯。轉動不靈。牽一髮而全身動矣。若不用力而用意。意之所至。氣卽至焉。如是氣血流注。日日貫輸。周流全身。無時停滯。久久練習。則其眞正內勁。卽太極論中所云。極柔軟然後能堅剛也。太極功夫純熟之人。臂膊如綿裹鐵。分量極沉。練外家拳者。用力則顯。有力不用力時。則甚輕浮。可見其乃外勁浮面之勁也。外家之力最易引動。不足尚也。
A Taiji essay [Li Yiyu’s Five-Word Formula] says: “This is entirely a matter of using intention, not exertion.” When practicing Taiji Boxing, your whole body should be loosened. If you do not allow there to be the slightest bit of clumsy effort clogging up the spaces between your muscles and bones, vessels and meridians, and which would tie you up in knots, then you can be nimble and adaptable, rounded and unhindered. You may ask: “If one does not exert oneself, how can one get stronger?” A person’s body has energy channels like irrigation canals. When a canal is unblocked, the water can move, and when the channels are not closed off, energy can flow. If your whole body is stiff, it is as though the channels have been filled in, and thus the energy and blood become stagnant, the movement becomes awkward, and your whole body will be affected by but the tug of a hair. If you use intention instead of exertion, then wherever your intention goes, energy will arrive. If energy and blood are flowing, everyday coursing through, circulating through your whole body without a moment of stagnation, then after practicing for a long time, you will obtain genuine internal power. Another Taiji essay [Understanding How to Practice] says: “Extreme softness begets extreme hardness.” One who is skilled in Taiji has arms like silk wrapped around iron and they feel very heavy. When practitioners of external styles use exertion, it is obvious they are exerting themselves, and when they do not use exertion, they are very light and floating. It can be seen that their strength is an external and superficial strength. The strength of external styles is the easiest to take advantage of, therefore do not esteem it.

七、上下相隨
7. YOUR UPPER BODY & LOWER COORDINATE WITH EACH OTHER
上下相隨者。卽太極論中所云。其根在脚。發於腿。主宰於腰。形於手指。由脚而腿而腰。總須完整一氣也。手動、腰動、足動。眼神亦隨之動。如是方可謂之上上相隨。有一不動。卽散亂也。
The meaning of this is stated in a Taiji essay [Essays, part 1]: “Starting from your foot, issue through your leg, directing it at your waist, and expressing it at your fingers. From foot through leg through waist, it must be a fully continuous process.” Your hands move, your waist moves, your feet move, and even your gaze also goes along with the movement. If it is like this, then you can say your upper body and lower are coordinating with each other, but if there is one part that is not moving with all the rest, then you are in disorder.

八、內外相合
8. INSIDE & OUT JOIN WITH EACH OTHER
太極所練在神。故云。神為主帥。身為軀使。精神能提起。自然舉動輕靈。架子不外虛實開合。所謂合者。不但手足合。心意亦與之俱合。能內外合為一氣。則渾然無間矣。
Taiji training is all about the spirit. Therefore it is said [in an earlier version of Understanding How to Practice]: “Your spirit is the general and your body is the army.” If your spirit can be lifted, naturally the movement will be nimble. There is nothing more to the solo set than emptiness and fullness, and expansion and contraction. [Expansion is not only a matter of hands and feet. The intention also expands.] Contraction is not only a matter of hands and feet. The intention also contracts. If you can merge inside and outside into a single unit, there will be entirely no distinction between them.

九、相連不斷
9. THE MOVEMENTS ARE LINKED TOGETHER WITHOUT INTERRUPTION
外家拳術。其勁乃後天之拙力。故有起有止。有續有斷。舊力已盡。新力未至。此時最易為人所乘。太極用意不用力。自始至終。綿綿不斷。周而復始。循環無窮。原論所謂如長江大河。滔滔不絕。又曰。運動如抽絲。皆言其貫串一氣也。
In external styles of boxing arts, their strength is only the clumsy strength of acquired habit. Therefore there is a start and a stop, a continuing and an interrupting. It is when old force is spent and new force is not yet initiated that is the easiest moment for an opponent to take advantage of. Taiji uses intention, not exertion, and so from beginning to end, it is continuous without interruption, recycling endlessly. A primary text [Essays, part 1] says: “It is like a long river flowing into the wide ocean, on and on ceaselessly.” It is also said [in Understanding How to Practice]: “Move energy as if drawing silk.” These words describe a continuous flow throughout.

十、動中求靜
10. WITHIN MOVEMENT, SEEK STILLNESS
外家拳術。以跳躑為能。用盡氣力。故練習之後。無不喘氣者。太極以靜御動。雖動猶靜。故練架子愈慢愈好。慢則呼吸深長。氣沉丹田。自無血脈僨張之弊。學者細心體會。庶可得其意焉。
External styles of boxing arts look upon jumping and posing as ability. Practitioners spend all of their energy, and therefore after practicing are always panting for breath. Taiji uses stillness to control movement, and although moving, seems yet to be in stillness. Therefore when practicing the solo set, the slower the better. When it is slow, your breath will be deep and long, energy will sink to your elixir field, and there will naturally be no excessive rise in heart-rate. Students who are attentive and realize through experience will all get the idea.

第四章 孫祿堂先生太極拳學論
CHAPTER FOUR: A COUPLE OF ESSAYS FROM SUN LUTANG’S A STUDY OF TAIJI BOXING [1921]

第一節 太極拳學自序
1. Author’s Preface

乾坤肇造。元氣流行。動靜分合。遂生萬物。是為後天。而有象。先天元氣。賦於後天形質。包含先天元氣。故人為先後天合一之形體也。人自有知識情欲。陰陽參差。先天元氣漸消。後天之氣漸長。陽衰陰盛。又為六氣所侵。(六氣者卽寒、暑、濕、燥、火也)七情所感。故身軀日弱。而百病迭生。古人憂之。於是嘗藥以袪其病。靜坐以養其心。而又懼動靜之不能互為用也。更發明拳術。以求復其虛靈之氣。迨達摩東來講道豫之少林寺。恐修道之人久坐傷神。形容焦悴。故以順逆陰陽之理。彌綸先天之元氣。作易筋、洗髓二經。教人習之以壯其體。至宋岳武穆王。益發明二經之體義。制成形意拳。而適其用。八卦拳之理。亦含其中。此內家拳術之發源也。元順帝時。張三丰先生。修道於武當。見修丹士兼練拳術者。後天之力用之過當。不能得其中和之氣。以致傷丹而損元氣。故遵前二經之義。用周子太極圖之形。取河洛之理。先後易之數。順其理之自然。作太極拳術。闡明養身之妙。此拳在假後天之形。不用後天之力。一動一靜。純任自然。不尚血氣。意在練氣化神耳。其中本一理、二氣、三才、四象、五行、六合、七星、八掛、九宮等奧義。始於一。終於九。九又還於一之數也。一理者。卽太極拳術起點。腹內中和之氣。太極是也。二氣者。身體一動一靜之式。兩儀是也。三才者。頭手足卽上中下也。四象者。卽前進後退。左顧右盻也。五行者。卽進、退、顧、盼、定、也。六合者。卽精合其神。神合其氣。氣合其精。是內三合也。肩與胯合。肘與膝合。手與足合。是外三合也。內外如一。是成為六合。七星者。頭、手、肩、肘、胯、膝、足、共七拳。是七星也。八卦者。掤、捋、擠、按、採、挒、肘、靠。卽八卦也。九宮者。以八手加中定。是九宮也。先生以河圖洛書為之經。以八卦九宮為之緯。又以五行為之體。以七星八卦為之用。創此太極拳術。其精微奥妙。山右王宗岳先生論之詳矣。自是而後。源遠派分。各隨己意。而變其形勢。至前淸道咸年間。有廣平武禹讓先生。聞豫省懷慶府趙堡鎭。有陳淸平先生者。精於是技。不憚遠道。親往訪焉。遂從學數月。而得其條理。後傳亦畲先生。亦畲先生又作五字訣。傳郝為眞先生。先生以數十年之研究。深得其拳之奥妙。余受教於為眞先生。朝夕習練。數年之久。略明拳中大槪之理。又深思體驗。將夙昔所練之形意拳、八卦拳、太極拳。三家會合。而為一體。一體又分為三派之形式。三派之姿勢雖不同。其理則一也。惟前人祗憑口授。無有專書。偶著論說。亦無實練入手之法。余自維淺陋。不揣冒昧。將形意拳、八卦拳、太極拳、三派各編輯成書。書中各式之圖。均有電照本像。又加一圖解。庶有志於此者。可按圖摹仿。實力作去。久之不難得拳中之妙用。書中皆述諸先生之實理。並無文法可觀。其間有舛錯不合者。尚祈海內明達。隨時指示為感。
When the universe began, the primordial energy started flowing. States of movement and stillness separated and combined, giving rise to all things, expressing acquired phenomena. The innate primordial energy was endowed with acquired form. Acquired form still contained within it the innate primordial energy. Therefore human beings are an embodiment of innate and acquired combined into one. People naturally have thoughts and passions, and an irregularity to their passive and active aspects. Their innate primal energy gradually fades and their acquired energy grows in its place.
     As the active aspect wanes, the passive aspect flourishes, and then the six kinds of atmospheres affect us (windy, cold, hot, damp, dry, smoky) and the seven kinds of emotions are felt [joy, rage, worry, obsessiveness, grief, fear, shock]. The body gets increasingly weakened and illnesses repeatedly arise. Ancient people worried about this, and so they experimented with medicines to dispel their ailments and silent meditations to nourish their minds. They also wondered whether movement and stillness could not be used together, and so they also invented boxing arts in order to seek a restoration of their natural energy.
     Later, when Damo traveled east to share the Way, he came to the Shaolin Temple in Henan. He worried the monks were damaging their spirit from sitting in extended meditation, for they appeared haggard and emaciate. Therefore he put forth the theory of smoothness and coarseness, of passive and active, explained about the primal energy of the innate condition, and wrote the Sinew Changing Classic and the Marrow Washing Classic to teach people how to practice in order to invigorate their bodies. Then in the Song Dynasty, Yue Fei built upon the essence of the two classics to create Xingyi Boxing, suitable for practical use, and the principles of Bagua Boxing were also contained within them. This was the origin of the boxing arts of the internal school.
     In the Yuan Dynasty, during the reign of Emperor Shundi [1333—1370], Zhang Sanfeng, a Daoist of Wudang, noticed that those who were both cultivating elixir and practicing boxing arts were using an inappropriate degree of acquired strength and were thus unable to achieve an energy of centered harmoniousness, resulting in harm to their elixir and a diminishing of their primal energy. Thus he abided by the principles of the Sinew Changing and Marrow Washing, applied the form of Zhou Dunyi’s “Explanation to the Taiji Diagram”, seized upon the theory in the He River Diagram and Luo River Document, as well as the reasoning from the Book of Changes, adopting their mentality of naturalness, and made the Taiji boxing art, revealing the secrets of nurturing the body.
     This art makes use of acquired postures, but not of acquired strength. In every movement and stillness, it is entirely natural, never emphasizing animal vigor, for its purpose is to transform energy into spirit. The art contains the subtleties of the single principle, two energies, three realms, four manifestations, five steps, six unions, seven stars, eight trigrams, and nine palaces. It goes from the single principle to the nine palaces, then returns to the single principle [the same idea as with Guo Yunshen’s Nine Palaces stepping chart].
     The “single principle” is the energy of centered harmoniousness within your belly during the starting position of the boxing set. This is the “grand polarity”.
     The “two energies” are your body’s postures of movement and stillness. These are the “dual aspects”.
     The “three realms” are those of head, hand, and foot, or the upper, middle, and lower.
     The “four manifestations” are: advancing, retreating, going to the left, and going to the right.
     The “five steps” are: advance, retreat, left, right, and staying in the center.
     The “six unions” are the three internal unions – essence united with spirit, spirit united with energy, energy united with essence – and the three external unions – shoulder united with hip, elbow united with knee, hand united with foot – merged together as one to make six unions.
     The “seven stars” are: the head, hand, shoulder, elbow, hip, knee, and foot.
     The “eight trigrams” are: warding off, rolling back, pressing, pushing, plucking, rending, elbowing, and bumping.
     The “nine palaces” are the eight hand techniques plus centeredness.
     Zhang used the He River Diagram and the Luo River Document as the basis, the eight trigrams and nine palaces as the framework, as well as using the five elements for the embodiment, and the seven stars and eight trigrams for the function, in order to create this Taiji boxing art. Its profound subtleties were detailed in the treatise of Wang Zongyue of Shanxi. It thereafter branched off into different styles, each with its own ideas and variants of the postures.
     In the Qing Dynasty, during the reigns of Emperor Daoguang [1820—1850] and Emperor Xianfeng [1850—1861], there was a Wu Yuxiang of Guangping. He heard that in the village of Zhaobao, Huaiqing Prefecture, Henan, there was a Chen Qingping who was an expert at the art, and unswayed by the distance, he went to personally call upon him. He subsequently learned from Chen for several months and obtained the method. He later taught it to Li Yiyu, who would write the Five-Word Formula. Li then taught the art to Hao Weizhen, who studied it for several decades and deeply grasped its subtleties.
     I received instruction from Hao, practicing daily for several years, and came to somewhat understand the general principles within the art. I also deeply pondered upon my own experiences from my previous training, and then the three arts of Xingyi Boxing, Bagua Boxing, and Taiji Boxing merged to become a single essence. This single essence is yet separated into the three distinct systems. The postures of the three systems are different, but their principles are the same.
     Previous generations passed these arts down only by way of oral instruction
and did not make specialized books about them. Whenever theories did happen to get written down, it was often by someone who was not really a practitioner anyway. Even though my skill is still merely crude, I have ventured to make books about Xingyi, Bagua, and Taiji. The postures within this book are represented by both photographs and explanations, so that all those who have an ambition toward this art can have a model to imitate. If you do your best, you will after a long time obtain its wonders without too much difficulty. The authentic theory within this book has been transmitted through various masters, and since I do not possess a very literary style of writing, you will find it accessible. Wherever I have made mistakes, I hope you will pardon me, and I would be grateful for corrections.

第二節 太極拳之名稱
2. The Name “Taiji Boxing”

人自賦性含生以後。本藏有養生之元氣。不仰不俯。不偏不倚。和而不流。至善至極。是為眞陽。所謂中和之氣是也。其氣平時洋溢於四體之中。浸潤於百骸之內。無處不有。無時不然。內外一氣。流行不息。於是拳之開合動靜。卽根此氣而生。放伸收縮之妙。卽由此氣而出。開者為伸為動。合者為收為縮為靜。開者為陽。合者為陰。放伸動者為陽。收縮靜者為陰。開合像一氣。運陰陽。卽太極一氣也。太極卽一氣。一氣卽太極。以體言則為太極。以用言則為一氣。時陽則陽。時陰則陰。時上則上。時下則下。陽而陰。陰而陽。一氣活活潑潑。有無不立。開合自然。皆在當中一點子運用。卽太極是也。古人不能明示於人者。卽此也。不能筆之於書者。亦卽此也。學者能以開合動靜相交處。悟澈本源。則可以在各式圜研相之中。得其妙用矣。圜者。有形之虛圈○是也。研者。無形之實圈●是也。斯二者。太極拳虛實之理也。其式之內空而不空。不空而空矣。此氣周流無礙。圓活無方。不凸不凹。放之則彌六合。捲之則退藏於密。其變無窮。用之不竭。皆實學也。此卽太極拳之所以命名也。
Once conceived, a person is imbued with a nourishing primordial energy, which does not veer in any direction from its function, for it is balanced and does not leak away. It is perfect and complete. It is genuine active energy, so it is considered an energy of centered harmoniousness. This energy tends to fill the limbs and bones, no place where it is not there, no moment when it is not so, both internally and externally, flowing unceasingly.
     Consequently the expanding and contracting, movement and stillness of this art come from this energy. The marvels of releasing and extending, gathering and shrinking, come from this energy. Expanding is [releasing,] extending, and movement. Contracting is gathering, shrinking, and stillness. Expanding is active. Contracting is passive. Releasing, extending, and movement are active. Gathering, shrinking, and stillness are passive. Expanding and contracting are a continuous movement of passive and active, a taiji continuousness.
     Taiji is continuousness. Continuousness is Taiji. In terms of the theory, it is a grand polarity. In terms of the function, it is a continuousness. When it is time for active, then active. When it is time for passive, then passive. When it is time for upward, then upward. When it is time for downward, then downward. Active, then passive. Passive, then active. Continuously moving, yet always stabilized, expanding and contracting happen naturally, always moving from a point at the center between them [not a physical point, rather a center of principle unifying and integrating the two phenomena], which is a grand polarity. Ancient people could not explain it to others, but it is this. They were not able to write in books, yet still it is this.
     You can expand and contract, movement and stillness trading places. If you understand this principle clearly, then you can within each posture combine edge and center, and obtain its marvelous effects. A surrounding edge represents a formed empty circle. A rubbed-in center represents a formless full circle. These two are the principle of empty and full in Taiji Boxing. Its postures within are empty, then not empty, not empty, then empty. This energy circulates unimpeded, nimbly, and without pattern, neither caving in nor bulging out. [From the Zhong Yong:] “Sending out, it goes beyond the ends of the universe. Rolling in, it stores away tightly…” Its changes are “inexhaustible”, for in using it, it is never used up, and all of it is “learning of substance”. Herein lies the reason Taiji Boxing has its name.

第五章 陳志進先生論太極拳之品格與功用
CHAPTER FIVE: CHEN ZHIJIN’S ESSAY “TAIJI BOXING’S MORAL QUALITIES & FUNCTIONS” [a revised version based on the one that appears in Chen Weiming’s Taiji Sword, 1928]

太極拳為武當嫡派。乃張三丰祖師。因觀鵲蛇之鬭。忽有會心。發明此拳。蓋恐修道之士。靜坐功深。血脈有凝滯之患。山行野宿。突然有野獸之厄。是以因觀鵲蛇之鬭智。仿禽獸之飛躍。法天地自然之理。參太極陰陽之祕。創此太極拳以傳世。久練之後。且可獲延壽之益。故其歌訣中。有「詳推用意終何在。益壽延年不老春。」之語。而練拳之時。純以神行。不尚拙力。故其歌訣中。又有「若言體用何為準。意氣君來骨肉臣。」之語。最要而最難者。為「尾閭中正神貫頂。滿身輕利頂頭懸。」此中大有講究。非淺學者所能知能行也。然而鐵杵磨針。功到自成。是在學者有持久之心。堅忍之力。精誠所至。金石為開。況拳術乎。祖師雲遊四方之時。憫文人之懦弱。時受强暴者之侮辱。而無抵禦之策。遂流傳世間。以柔克剛。以弱制强。無力打有力。借人之力。順人之勢。自此之後。太極拳為世所重。稱為武當派。出於少林之上。得斯術者。如獲至寶。不肯輕易傳人。必深知其人之德行操守。又加以多年之精密考察。始肯傳其祕訣。楊露禪先生。對於其子班侯。直至臨終之際。始耳傳祕訣。班侯聞之。喜極欲狂。而對同學之師兄弟。則云俟諸君工夫練到。我再語諸君。可知工夫不到。而祕訣不肯傳。卽傳之亦不能解也。究其實。全在學者之一己。故其歌訣中言。「入門引路須口授。工夫無息法自修。」大都學者少有恆心。常怨師之不以祕訣傳授。若無工夫。雖有祕訣何益。若有工夫。熟能生巧。自有豁然貫通之一日。學拳之外。有必須遵守之規律。若犯此規律。被師知曉。無論功夫練得如何好。立時收囘。收囘之後。與未學者無異。規律如何。一不許保鏢護院。二不許沿街賣藝。三不許入綠林。由此觀之。非品格高尚之人。不能學。非堅忍卓絕之人。不能學。而學之者。有變化氣質之功能。性暴躁而急促之徒。使之平和而安詳。蓋練拳時。全身鬆開。順乎自然。渾圓流利。氣沉丹田。心中空空洞洞。思慮全無。如莊周之夢蝶。人蝶不分。練完之後。自己曾練與否。亦不自知。練太極拳到如此境界。有何病不可去。不但自己如此。旁觀之人。亦不覺心平氣和。與之俱化。練拳之時。不許脫衣赤身。不許咬牙瞪眼。亦不許喝叱怪叫。與人交手。彼不動己不動。彼欲動。己先動。所為不佔人先。不落人後是也。夫太極拳之功用。未病者能使永無疾病。已病者雖沉疴宿患。皆能袪除。學者不可不詳察也。
Taiji Boxing descends from Wudang. The founder was Zhang Sanfeng, who observed a fight between a magpie and a snake, which gave him a sudden realization, and so he developed this boxing art. He worried that those who cultivated the Way were meditating so deeply that their blood was becoming perilously stagnant.
     While walking in the mountains and sleeping in the open, he would suddenly find himself at risk from wild animals. Hence because of his wisdom from having observed the magpie-versus-snake duel, he imitated the agile leaping of the birds and beasts. Then by modeling upon the natural principles of the universe, making use of the taiji concept with its passive and active aspects, he created Taiji Boxing to pass down to the world.
     After practicing it for a long time, you will obtain the benefit of prolonged life, as it says in the Song [of Thirteen Dynamics]: “What is emphasizing the use of intention going to lead you to? To a longer life and a longer youth.”
     When practicing the solo set, act only by way of spirit, and do not emphasize awkward effort, as it says in the Song: “Whether we are discussing in terms of theory or function, what is the constant? It is that mind is sovereign and body is subject.”
     The most important as well as the most difficult thing is [as the Song says]: “The tailbone is centered and spirit penetrates to the headtop, thus the whole body will be nimble and the headtop will be pulled up as if suspended.” This is the key point to pay attention to. It is not something those of shallow learning will be able to understand or do, but if you keep working at it, you will be able to succeed. For students who have a mentality of constancy, an ability to persevere, their sincerity is enough to do anything. This is even more necessary in the case of boxing arts.
     When Zhang wandered all over China, he felt pity for the feebleness of scholars. When they were subjected to the violence of bullies, they had nothing with which to withstand them. Thereupon he handed down to the world the strategies of using softness to defeat hardness, of using weakness to overcome strength, of the one who puts forth no effort winning against the one putting forth effort, of borrowing the opponent’s energy and taking advantage of his momentum. Since then, Taiji Boxing has become prominent in the world, and has become known as the Wudang school, which emerged from Shaolin.
     To obtain this boxing art is like winning a rare treasure, and so do not be willing to pass it on to people casually. You must deeply know their virtue of conduct and sense of personal integrity. Also they are to be treated to many years of exacting inspection before you can be willing to teach them its secrets. On his deathbed, Yang Luchan told his son Banhou to begin passing down their secrets. When Banhou heard this, he was overjoyed, but said to his classmates: “I will wait until you have all trained to the point of skill, then I will tell all of you. If skill has not yet been reached, I won’t pass on the secrets, because you would still not be able to understand anyway.”
     Actually, learning ultimately comes down to oneself, as it says in the Song [of Thirteen Dynamics]: “Beginning the training requires personal instruction, but mastering the art depends on your own unceasing effort.” For the most part, students rarely have perseverance and always blame the teacher for not passing on the secrets. If you do not work hard, you will gain nothing even if you have the secrets. If you do work hard, you will be able to develop skill, and someday you will naturally have a breakthrough.
     Beyond their learning of the art, students must abide by certain rules. If they were to violate these rules and be found out by their teacher, then no matter how much work they had put into their training, the teacher would withdraw from giving further instruction. And once the instruction had ceased, it would be no different from not learning in the first place. These rules are:
     1. “I cannot become a bodyguard, protecting caravans and courtyards.”
     2. “I cannot become a street performer, making money off its exhibition.”
     3. “I cannot become an outlaw hiding in the forest.”
     [In other words, the purpose of this stuff is not to enable you to become a cop, a movie star, or a criminal.]
     From these points it can be seen that a person without moral integrity will not be able to learn it, and also that a person without a great deal of perseverance will not be able to learn it. Those who have learned it have been able to transform their temperaments, and so those who are hot-tempered or in a hurry can be made moderate and composed.
     When practicing the solo set, your whole body loosens, you comply with what is natural, movement is rounded and smooth, energy sinks to your elixir field, and your mind empties, all thoughts vanishing, like in Zhuangzi’s butterfly dream, in which there is no distinction between man and butterfly [Zhuangzi, chapter 2]. After you have finished practicing, you will not know whether or not you have practiced. When through your practice you have attained this state, what flaw is there that you cannot cast off? This will not only be the case for yourself, but for onlookers, who will unwittingly be calmed and transformed along with you.
     When practicing the solo set, you cannot be naked. Do not gnash your teeth or stare hard with your eyes. Do not shout aggression or make strange cries. When sparring: “If he takes no action, I take no action, but once he decides to act, I have already acted.” In other words, neither get ahead of him nor fall behind.
     As for Taiji Boxing’s functions, those who are without illness can be made forever free of illness, and even those who are scourged with severe chronic ailments can all be rid of them. You owe it examination.

第六章 陳微明先生教授太極拳之經驗談
CHAPTER SIX: CHEN WEIMING’S EXPERIENCE OF TEACHING TAIJI BOXING

余創辦致柔拳社。教授太極拳於茲五年有餘。入社者不下千餘人。因病體而來者。有十分之七八。甚矣。吾中國人之病多也。以五年來之經驗。大抵有病者身體轉强硬。無病者轉柔軟。又性情和平者多柔軟。偏拗者多强硬。喜動嗔怒。皆因其身體有病而使然。老子曰。柔弱者生之徒。剛强者死之徒。譬如草木。其枝條柔軟難折者。必欣欣而向榮。而其枯梗一折卽斷者。心必槁死。此人人之所知也。人何獨不然。故無論老少。柔和者必少病。强硬者必多病。可斷然無疑。初生之嬰兒。全體柔軟。純是生機。及其壯也。漸剛强。至老而愈僵矣。是由生機漸入死機。太極拳者。是使强硬者復還為柔軟之術。是反死機而囘於生機之途。所謂復歸於嬰兒者是也。太極拳論云。差之毫釐。失之千里。姿勢若不準確。則收效亦遲。且教授老幼有病無病之方法。亦須審視年歲身體而隨機善導。使學者覺有興趣。而不以為苦。徐引之入於健康之途。此則未有不收效者也。有顧省吾君。因肝氣病在家。一言不合。卽動嗔怒。習拳年餘。性情和平。家人皆異之。近有徐素梅女士。因胃病不能飲食。習之兩月。卽能進食。太極拳之能變化氣質。强健身體。其收效有如此者。但願同胞於無病之時練習。勿使身染重病。醫藥無效之時。始注意于學太極拳。雖亦有效。已病晚矣。
I established the Achieving Softness Boxing Society to give instruction in Taiji Boxing over five years ago and its membership is now over a thousand, a good three quarters of whom have come because of illness. We Chinese are often ill, and in the last five years I have seen it to be generally the case that those with illness have bodies that have become stiff and those without illness have bodies that are instead soft. Also, those with mild temperaments are typically soft, whereas those with stubborn dispositions tend to be hard, easily moved to anger, everything bringing illness to their bodies.
     Laozi said [Daodejing, chapter 76]: “Softness accords with life. Hardness accords with death.” For example, when a tree has soft branches, they are difficult to break, and it is sure to thrive, but a withered tree is brittle and doomed to die. This is something everyone understands, and yet for some reason no one acts according to it.
     It is the case that regardless of old or young, mildness brings less illness and forcefulness brings more illness. There can surely be no doubt of this. The entire body of a newborn is soft, a pure vitality that makes him robust. There is then a gradual hardening, and once he is old, he has become more and more stiff, slowly going from life toward death. Taiji Boxing is an art of turning hard people back into soft people, a way of reversing them away from death and toward life, as it is said [DDJ, 28]: “Return to the state of an infant.”
     It says in the Taiji Boxing Treatise: “Miss by an inch, lose by a mile.” If the postures are not accurate, results will come more slowly. But in teaching people, be they young or old, ill or healthy, it is also necessary to take into consideration the age of the body to then give them the most appropriate means of instruction. This will cause students to have interest in the material rather than a sense of hardship, gently guiding them toward a path of health. In this way, all have obtained results.
     Mister Gu Shengwu was suffering from irritability at home, the merest word out of place moving him to anger. After practicing the art for just over a year, his temperament became milder, his whole family remarking on the difference. Miss Xu Sumei recently had a digestive ailment that rendered her incapable of eating and drinking. After practicing for just a couple of months, she is now able to enjoy meals.
     Taiji Boxing is capable of transforming the temperament and strengthening the body. Although it brings about such results, I hope my compatriots will practice it while free of sickness and not wait until they are incurably ill to start giving attention to learning Taiji Boxing. It would be still effective, but it would be too late to have prevented the illness that is already there.

第七章 向愷然先生練太極拳之經驗
CHAPTER SEVEN: XIANG KAIRAN’S EXPERIENCE OF PRACTICING TAIJI BOXING

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