Archive for the 'Posture' Category

Making Three Dantians Linear

taoist1.jpgThis type of qigong has been passed on by a Taoist priest by the name of Wang Zhenyi. While practising this type of qigong you should concentrate your attention on making the upper, middle and lower dantians linear. When you have made your three dantians linear, you will attain a very special and comfortable feeling and will almost forget everything. Your small and large circulations will automatically be open to qi. This type of qigong can help you recover quickly from fatigue. No mater how tired you are, you can completely recover after practising this qigong for fifteen minutes. You can do this type of qigong while standing, sitting, lying down, or when practising taijiquan or riding a bicycle. This qigong does not require any preparation or special procedure before stopping.

Procedure:
1. Soon after concentrating your mind in your upper dantian, shift your attention to the lower dantian (huiyin acupoint).

2. After getting the feeling of qi in the lower dantian, shift your mind to the middle dantian and arrange it in line with the upper and lower dantians in order to make the three dantians linear. Then imagine the three dantians as three spheres. You should carefully put the sphere of the middle dantian between the two spheres of upper and lower dantians. The middle sphere will slide out if you do it carelessly.

3. When the three dantians have been made linear, you will get a very special feeling and comfortable feeling. You should hold this feeling as long as possible. It can help you return to the “original state”, to cure diseases and promote your health. You should maintain this feeling and eliminate any distractions.

Reference:
Relax and calming qigong by Wang Peisheng & Chen Guanhua
ISBN 9622381812

p.20

Wang Hao Da’s Message

Correct central equilibrium {Zhong Ding} is the basis for everything else in Taijiquan. One must focus with their complete intention {Yi} to differentiate, that which is external and separate from one’s center. The center is the key; it must remain straight and hidden, concentrated, deep inside the body constantly changing, spiraling into the earth for the most part. One must gather all the Qi {energy} to your center. It is this structure that is the basis for internal power {Nei Jing} or Zhong Ding Jing, and essential for good health and longevity. The Dantien {lower abdomen} is alive! Not only does the Dantien push down inside the open hips but also it turns, spirals, bounces, and shoots; inside the structure is always full, always condensed. When you play the Taiji form you are performing the interaction of your Zhong Ding and Dantien. This hidden internal play moves the outside, not necessarily the entire body like a single lump of wood, rather by gathering everything to your center, your outside body follows the direction of this internal command. It is because your inside works so intensively that you receive the health benefit of Taiji. If one only works externally and has strong skin and muscles but weak organs, vessels, and bones, then the outside may thrive while internally you are dying.

Spiritual concentration is crucial. Your Yi must be strong, focused, pure, intent, gathering, confident, and sensitive. It is the Yi/Qi that work together to develop Nei Jing, not ones outer display of strength, {Li} that epitomizes all that is Taiji. The Yi is used at first to search internally for correct alignment of the Zhong Ding, the Dantien and its range of motion, to differentiate between open and closed, empty and full, extension, rooting, and connections. As one develops this inner sensitivity the next goal is to practice control over these basic principles in the correct way, so that the body remains straight, connected, rooted, full, and spirals throughout the Taiji form. Yi is accountable for the gathering of the Qi, and works in harmony with it, in order for these principles to be applied. Yi is responsible for relaxing the external body, the muscle; for storing the Qi one develops in practice, for making smaller circles and spirals, for condensing movement to small frame, and eventually to no visible movement in order to develop Nei Jing.

Rooting three feet into the earth has a double meaning. First one must make their Yi/Qi thick and sink heavy into the earth at least three feet down. Secondly one’s Zhong Ding, like the tailbone, is a third leg and its foot must be buried into the earth.

Rooting is a very important concept in Taiji. Your root must always be deeper than your opponent. In order to dig them out you must be below them. The Dantien and Zhong Ding must be structurally sound and without correct root this is impossible. However you must not be rigid! You must be light and agile, changeable, quiet yet quick. You must learn to balance your power downwards and upwards; the bottom is heavy, the top is light; connected. In order to root you must have a good understanding of the hips. The hips are very complex, the inside hip {Kua} must be free to open and close, spiral into the earth. The outside hip must be strong and flexible to grip the earth, and the sacrum and tailbone must be straight and changeable. The bowl of the pelvis, like a wok or cauldron must be round and accommodate the Dantien. When you develop an understanding of how these things work in harmony your rooting will become more profound.

Learning to connect is fundamental, yet I have been surprised how western students have missed out on this basic principle. Gripping the earth, whole body structure power {Gatsa Jing} cannot be neglected. Just because one concentrates to the center, develops correct Zhong Ding, the outside body is not tofu. Extension is the basis of connection, yet many people wave their arms around in an unconnected and disharmonious method. As a minimum requirement the three external harmonies should be observed, the arms and legs emerge from the spine and work as such. Yes I say work the internal exclusively, deep internal soft movement like water, full like an air bag, but not at the expense of basic connection - extension.

Silk reeling power {Chan Si Jing} is a significant component of the Wu style. Every movement must be a spiral. One spirals into the earth and one spirals away from the Zhong Ding for discharge of energy, simultaneously. Learning Chan Si is implicit in the form, and form practice should be serious, without tension, without the energy coming up. When I play Taiji my whole body spirals, my feet spiral into and on the earth, my Zhong Ding spirals, my Dantien spirals, my Yi/Qi spirals. My structure outside hides my snake inside. Spiraling stretches the vessels; cleanses the organs, strengthens the bones, and invigorates the entire body. It has been one of the components that restored my health. Now I am like a baby, soft yet tenacious, heavy yet changeable, flexible yet powerful; each day I become younger more rejuvenated and my spirit is thus affected as well. What could be more valuable than good health and happiness?

Taiji form and push hands {Tui Shou} have been my method of rejuvenation and progression. One uses Taiji form practice in order to understand the self, Push Hands to understand the Nei Jing. Each day I practice Wu form, Master Ma’s Longevity Qigong, and Tui Shou. In my form practice I am mindful of many principles. I have included 8 basic ones for you to contemplate. In my Qigong practice Yi/Qi and pure internal work is my guide. I Push Hands in the park every day. Win or lose is of no significance. I lose every time if I use Li. I win if I am quiet, if my Nei Jing is pure, my Zhong Ding Jing correct. Over the years I pushed hands with many people. The one quality I respect most in an opponent is their ability to listen. One can only progress if they have the power to listen {Ting Jing}. If their character is so flawed that they must win at all costs, if they must resort to such base instincts and low level techniques and force, I have no misgivings about returning to them what they aim at me.

The harder they attack, the further they fly.

Reference:
See the whole article Wang Hao Da by courtesy of patrickkellytaiji.com

Links:
Wang Hao Da - Finding the Push Hands Connection patrickkellytaiji.com
Master Wang Hao Da Wu Taichi Fast Form youtube.com

The Secret Method of Release

The Four Characters: Support, Lead, Relax, and Release
Support the opponent’s power and borrow his force. This involves agility. Lead the opponents power to the front of your body, then begin to store your force. This involves concentration. I relax my force without bending. This involves stillness. I release my force from the waist and feet. This involves completeness.

The important Points in Form, Application, and Power Training
The ancients have said, “If you can entice the opponent to enter and then cause him to fall into emptiness, you may use four ounces to deflect a thousand ponds. If you cannot entice the opponent to enter and then cause him to fall into emptiness, you will not be able to use four ounces to deflect a thousand pounds.” This statement is very deep and has broad applicability; it is beyond the scope of beginners. I will continue with an explanation so that those who have made the decision to study may make progress as they practice. If you want to know your self and know others, you must first give up yourself and follow the opponent. If you want to give up your self and follow the opponent, you must first obtain the opportunity and superior position. If you want to obtain the opportunity and superior position, you must first move the entire body as a coordinated unit. If you want to move your body as a coordinated unit, the whole body must be without misalignment, your spirit and qi must be stimulated. If you want to stimulate your spirit and qi, you must first raise your spirit. If you want to raise your spirit, you must not let your spirit be dispersed externally. If you want to prevent your spirit from being dispersed externally, you must concentrate your spirit and qi in your bones. If you want to concentrate your spirit and qi in your bones, the front of your hips must have power, the shoulders must be relaxed, and the qi sunk downward. The force (jing) must come from the heels, transform in the legs, be stored in the chest, and moved in the shoulders. The leader is the waist. Above, the arms coordinate in attack. Below, the legs follow. The force is changed internally. Withdrawing is closing. Releasing is opening. When still, all is still. Stillness is closing. In the midst of closing is the desire to open. When in motion, everything moves. Movement is opening. Moving through the forms is the gung fu of understanding the self.

Before moving, first check to see if the whole body is conforming to the above described principles. If any part of the body is not in alignment with any of the principles, immediately make corrections. This why the forms must be done slowly and not quickly. Striking Hands (pushing hands) is the gung fu of understanding others, of knowing others in movement and stillness. All this still involves questioning the self. If positioned correctly, as soon as the opponent strikes I do not have to disturb his actions in the slightest but take advantage of his movement and enter. I am assured of borrowing his force. The opponent throws himself. If you are not in a position of power, you still not have remedied the problem of “double-weighting.”1) The answer is found in yin/yang and opening/closing. This is what is meant by “Know yourself and know others, and in a hundred battles you will taste victory a hundred times.”

1) “Double-wieghting” refers to using force directly against the force of the opponent, there by creating two centers or “weights.”

A Study of Taijiquan by Sun Lutang, Translated by Tim Cartmell
ISBN 1556434626

p. 219-20

Thirteen Important Points in Taijiquan

Sink the shoulders and drop the elbows; contain the chest and pull up the back; the qi sinks to dantian; an intangible energy lifts up the crown of the head; loosen the waist and kua; distinguish empty and full; upper and lower follow one another; use mind intent, not strength; inner and outer are united; intention and qi interact; seek stillness in movement; movement and stillness are united; and proceed evenly from posture to posture. These thirteen points must be attended to in each and every movement. One cannot neglect the concept of these thirteen points within any of the postures. I hope that students will be cautiously attentative, and test and verify these in their practise.

Yang Chengfu (1883-1936) The Essence and Applications of Taijiquan translated by Louis Swaim
ISBN 1556435452

p. 12-13

The Treatise on T’ai Chi Ch’uan

Attributed to Wang Tsung-yueh [Wang Zongyue] (18th Century)
as researched by Lee N. Scheele

T’ai Chi [Supreme Ultimate] comes from Wu Chi [Formless Void]
and is the mother of yin and yang.
In motion T’ai Chi separates;
in stillness yin and yang fuse and return to Wu Chi.

It is not excessive or deficient;
it follows a bending, adheres to an extension.

When the opponent is hard and I am soft,
it is called tsou [yielding].

When I follow the opponent and he becomes backed up,
it is called nian [sticking].

If the opponent’s movement is quick,
then quickly respond;
if his movement is slow,
then follow slowly.

Although there are innumerable variations,
the principles that pervades them remain the same.

From familiarity with the correct touch,
one gradually comprehends chin [intrinsic strength];
from the comprehension of chin one can reach wisdom.

Without long practice
one cannot suddenly understand T’ai Chi.

Effortlessly the chin reaches the headtop.

Let the ch’i [vital life energy] sink to the tan-t’ien [field of elixir].

Don’t lean in any direction;
suddenly appear,
suddenly disappear.

Empty the left wherever a pressure appears,
and similarly the right.

If the opponent raises up, I seem taller;
if he sinks down, then I seem lower;
advancing, he finds the distance seems incredibly long;
retreating, the distance seems exasperatingly short.

A feather cannot be placed,
and a fly cannot alight
on any part of the body.

The opponent does not know me;
I alone know him.

To become a peerless boxer results from this.

There are many boxing arts.

Although they use different forms,
for the most part they don’t go beyond
the strong dominating the weak,
and the slow resigning to the swift.

The strong defeating the weak
and the slow hands ceding to the swift hands
are all the results of natural abilities
and not of well-trained techniques.

From the sentence “A force of four ounces deflects a thousand pounds”
we know that the technique is not accomplished with strength.

The spectacle of an old person defeating a group of young people,
how can it be due to swiftness?

Stand like a perfectly balanced scale and
move like a turning wheel.

Sinking to one side allows movement to flow;
being double-weighted is sluggish.

Anyone who has spent years of practice and still cannot neutralize,
and is always controlled by his opponent,
has not apprehended the fault of double-weightedness.

To avoid this fault one must distinguish yin from yang.

To adhere means to yield.
To yield means to adhere.

Within yin there is yang.
Within yang there is yin.

Yin and yang mutually aid and change each other.

Understanding this you can say you understand chin.
After you understand chin,
the more you practice,
the more skill.

Silently treasure knowledge and turn it over in the mind.
Gradually you can do as you like.

Fundamentally, it is giving up yourself to follow others.
Most people mistakenly give up the near to seek the far.
It is said, “Missing it by a little will lead many miles astray.”

The practitioner must carefully study.

This is the Treatise

Reference:
T’ai Chi Ch’uan Classics www.scheele.org

Waves of Movement

Author: Patrik Kelly (by courtesy of patrickkellytaiji.com)

All fluids move in waves. Energy moves through fluids either as a transfer of mass with a stored momentum, or as a wave of elastic displacement that leaves the medium undisturbed once it has passed. Stored momentum gives a more external force and elastic displacement a more internal one. Different types of waves appear when we move. Forward and backward waves are generated from the hips moving horizontally slightly ahead of the rest of the body. Moving the body in horizontal curves produces waves in all horizontal directions. Twisting waves are produced by turning the hips slightly ahead of the rest of the body. Twisting waves wind along lines of elastic connection between the points of application of force and the ground. Vertical waves appear when the hips lift and sink before the upper-body. Adding this vertical dimension produces waves of compression and expansion up and down the body, which power the lifting and lowering of the arms. Smooth continuous waves that ripple and interact throughout the body in a complex and natural manner are a final result of the simultaneous interaction of these three types of waves.

Learning to produce and regulate these waves requires an intelligently designed series of steps leading from the simple to the complex. Any section of the body can be trained to move ahead of the rest of the body, creating a simple two-part wave. Later, several of these two-part waves can be assembled to create more complex wave patterns. Two part twisting waves are formed when the pelvis begins to rotate and the upper-body and arms follow. Two-part vertical waves are generated by sinking the lower half of the body before the upper half producing waves of compression and expansion centred in the pelvis. Somewhat controversial, but supported by experience and logic, is the advancing and retreating of the lower-body before the upper when two-part forward and back waves appear. Basic three part waves appear when the lower-body leads the upper-body which then leads the arm - where the arm is taken to extend from the fingertips to the lowest point of the shoulder-blade.

One, two, three or more part waves can also appear in any section of the body. A three part arm wave involving moving first the shoulder then the elbow and finally the wrist, is used to transmit waves of power from the upper-body to the hand. From this it is a simple step conceptually to produce a sequence of movement from the sole of the foot to the finger tips, with a slight delay at every joint as the muscles, tendons and ligaments stretch. The arms and legs can also twist in unison with the waist so that the force spirals as it travels. The sense of this twisting can be given when you visualise a hand moving over the surface of a ball. Then the palm and forearm rotate as they move, to maintain contact with the surface of the ball.

Reference: Quote from Daoist Principles in Practice by Patrik Kelly

Building a Connection

by Wee Kee-Jin

Taijiquan is not simply relaxing, sinking and being grounded. It is about developing; the right structure; the right sequence of movements to connect the structure; the right timing of the movements; and the mind awareness (Yi) to travel through the movements.
A structure without the sequence of movements is like an electrical cable without the copper wire inside the plastic tube. Without the mind awareness (Yi) even the correct structure with the right sequence and timing of the movements, is like the wire not having a current passing through it.

Connecting the Base and Arms
Often the movements of the base (feet, legs & hips) and the arms are co-ordinated but unconnected, and therefore incorrectly act independent of each other. The connection between the base and arms is in the body’s torso and needs to be cultivated using the mind awareness (Yi) to create a melting sensation through the body as it leads the force from the feet to the finger-tips.

When initially practised it is difficult to recognise anything happening but after a few years of training it is possible to feel even very small muscles in the body change as the mind directs. Eventually the base movements will actually produce the movement in the body which in turn will produce the movement in the arms, both during sinking and issuing.

It is easier to first cultivate the body connecting the base and arms in static foot positions and repetitive movements such as in Master Huang’s relaxing exercises before involving the stepping and changing postures of the Form. Later work it with the addition of an external force in the controlled environment of fixed pushing-hand routines, before attempting it in the free pushing, where the external force direction and speed is not restricted.

Once the whole body is continuously connected, and the timing becomes almost natural, neutralising would involve allowing an incoming force to pass through you into the ground where it would be combined with the energy of the earth and rebounded in greater magnitude back to the source of the incoming force. This “interception” does not require you to initiate any issuing as your body will have become a medium for the forces to pass through unimpeded.

Reference: http://www.taijiquan.co.nz/

Master Huang’s 14 Important Points

Master Huang Xingxian1. Calmness
- use Deep Mind (Xin) to calm and balance the energy.

2. Suspend the head
- empty the neck, send intention (Yi) to top of head.

3. The gaze is level
- use peripheral vision to be aware of left and right.

4. Loosen and open the chest
- ensure breastbone and upper-spine vertical, supporting the hollow space between them.

5. Sink the shoulders, drop the elbows
- shoulder-blades slide down the back to sink the shoulders, shoulder muscles loosen to droop the elbows.

6. Sacrum central and vertical
- lift the perineum slightly, draw the coccyx down and forward and loosen the lower back.

7. Loosen the waist and inguinal regions (Kua)
- waist controls the upper-body, inguinal regions are the base of the waist.

8. Breathe deeply
- breathe in, ribs expand, diaphragm sinks, abdomen in.
- breathe out, ribs relax, diaphragm rises, abdomen out.

9. Three harmonies, internal and external
- internal: Spirit (Shen) with Intention (Yi), Intention with subtle energy (Qi), subtle energy with body energy (Jing).
- external: shoulders and inguinal regions, elbows and knees, hands and feet.

10. Hands follow the body
- use the trunk to yield and neutralise, the hands to follow to protect the trunk and to prepare to attack.

11. Steps respond to body movements
- change the steps to support body movement.
- hands are like swinging doors; whether you win or loose depends on your steps.

12. Differentiate empty (Yin) and full (Yang)
- meet fullness with emptiness and emptiness with fullness.

13. Smoothness and continuity
- one thing moves, all things move.
- co-ordinate upper-body with lower-body.
- Deep Mind (Xin) and Intention (Yi) determine the speed of the movements.
- use Intention (Yi) to naturally harmonise the breath with the movements.

14. Use Deep Mind Intention (Yi), not insensitive strength
- relax the body, use Deep Mind Intention, then the senses and feelings will be very responsive.

Reference: Relax, Deep Mind Taiji Basics Patrick Kelly 2. ed. New Zealand 2004
ISBN: 0-476-00425-x

Red.: The book is rare to find. Patrik Kelly is a student of the late Master Huang Xingxian a famous student of the renowned Taiji master Zheng Manqing (Cheng Man-Ching).

Links:
Master Huang’s 20 Important Points by Wee Kee Jin http://www.taijiquan.co.nz/

Chen Wei-Ming on Agility

If the body is clumsy, then in advancing or retreating it cannot be free; therefore it most be agile. Once you raise your arm, you cannot appear clumsy. The moment the force of the opponent touches my skin and hair, my mind is already penetrating his bones. When holding up the arms, the chi (breath) is threaded together continuously. When the left side is heavy, it empties, and the right side is already countering. The chi is like a wheel, and the whole body must naturally coordinate. If there is any uncoordinated place, the body becomes disordered and weak. The defect is to be found in the waist and legs. First the mind is used to order the body. Follow the opponent and not your self (your own inclination). Later your body can follow your mind, and you can control your self and still follow the opponent. When you can follow your opponent, then your hands can distinguish and weigh accurately the amount of his force, and measure the distance of his approach with no mistake. Advancing and retreating, everywhere (the coordination) is perfect. After studying for a long time, your technique will become skillful.

Red.: from Five Character Secret (Calm, Agility, Breath - to gather the chi, The internal force - the complete chin, Spirit - Shen concentrated).

Reference: T’Ai Chi Ch’Uan Ta Wen, Questions and Answers on T’Ai Chi Boxing Chen Wei-Ming ( Benjamin Pang Jeng Lo & Robert W. Smith ) North Atlantic Books 1985
ISBN: 0938190776

Page: 52

Head Upright - Basics of Taiji Quan

( tai chi, principles, head, posture, structure, energy, unification of body )

Technical Methods and Postures

Head Upright
To prop up the head is to raise the crown of the head properly. In Taiji Quan, make sure that the head is upright, the crown flat, the neck straight and the chin drawn in. It is required that the baihui acupuncture point at the crown of the head is propped up gently as if lifted up by a robe. At the same time, the crown of the head must be kept so flat that a bowl of water placed on it would not spill. To keep the head upright and the crown flat, the neck most be straight and the chin drawn in. But if overdone, this position will make the neck stiff and the movements unnatural. Therefore, in propping up the head, excess effort should be avoided. It most be natural. Once the crown of the head is raised properly, the energy will be summoned and the movements will become steady and sturdy.

Reference:
Basics of Taiji Quan by Li Xingdong
Foreign Language Press, Beijing Jan 2000
ISBN: 711900171X

Page: 14