Monday, November 18, 2013
Taijiquan and the Qi Connection By Howard Choy
Whenever I introduce Taijiquan and Qigong to a new audience, invariably I am asked the question, "What is the difference between Taijiquan and Qigong?" I would go through with my audience a list of attributes for Taijiquan and then Qigong. We would look at the similarities and the differences between the two and then arrive at the simple conclusion that Taijiquan is a form of Qigong with self-defence applications. So far, so good . . . until I was asked the follow-up question, "Is Kung Fu also a form of Qigong then?" "Yes," I would reply. "All Chinese martial arts are forms of Qigong. As a matter of fact, at the highest level there are no differences between Kung Fu, Taijiquan and Qigong." By then everyone is confused.
I think the confusion comes about because our Western logic teaches us that if A is A, then A cannot be A + B at the same time. We tend to compartmentalise things that we have to do or to learn intellectually. There is no place for integrated thinking. Specialisation is the order of the day. It is not uncommon for some teachers to advise their students not to study Taijiquan and Kung Fu at the same time. They say that one is an internal art and the other is an external art and that the two just don't mix. We now have Kung Fu tournaments as distinct from Internal Arts tournaments. Guoshu is considered to be real Kung Fu while Wushu is not. Meditation is not Kung Fu and Chen style Taijiquan is not the same Taijiquan as Yang style Taijiquan and so forth. What a misunderstanding of the essence of Chinese martial arts and the diversity of its expressions!
Take Taijiquan as case in point. From its humble beginnings in the Chenjiaguo Village, we now have a large variety of family and "official government" styles, as well as a distinct separation between what Tung Ying-chieh would have termed the martial and civil accomplishments of Taijiquan .
To quote a passage from Tung's Secret Method as translated by Douglas Wile: "In Tai Chi Chuan, the ability to cultivate oneself physically and spiritually, but not to defend oneself, is civil accomplishment. The ability to defend oneself but not to cultivate oneself is martial accomplishment." He goes on to say, "The ability to teach people the art of self-cultivation and self-defence, both cultivation and application, is complete civil and martial Tai Chi."
Instead of integrating the martial and civil components of Taijiquan we now have teachers who specialise in Taijiquan as fighting art, or as a health and healing exercise, or Taijiquan as a philosophy and a way of life. They don't understand or refuse to acknowledge that Taijiquan in its complete form is an integration of self-defence, self knowledge and self well-being.
It is good business to advertise: "Real Taijiquan is declining because real Taijiquan is about fighting and no-one knows how to fight with Taijiquan anymore except me". Or, "Real Taijiquan is about self-enlightenment. We can show you the way because our teacher is a Taoist Monk and we teach Taoist Taijiquan". In this way, Taijiquan is simplified and made into a clear image of black and white to sell to the gullible public. It is a gross misrepresentation of Taijiquan, not unlike trying to draw the Yin/Yang diagram with a straight line through the middle. The straight line divides the circle into two separate halves instead of holding it together with dynamic tension as would an 'S' line through the middle.
What is this force that holds the opposites together in dynamic tension? I got my answer when I once asked my teacher, Master Chen Xiao-wang, "What is the essence of Taijiquan?" I was expecting a complex answer. Instead, he simply said, "It is all about the interaction of Yin and Yang and Qi circulation." He said that Qi, our vital force, is a bit like electricity. It requires a polarity of negative and positive, or Yin and Yang dynamics for it to flow. The movements of Taijiquan, if executed properly, with correct breath and mind intent, will provide the polarities to activate and to maintain qi flow to nourish our body and our mind. Illnesses result from qi blockages and qi deficiency, which Taijiquan can prevent from happening. The Seven Emotions will affect our health and well-being because they are also forms of qi blockage. Unless we gain control of our qi circulation, we have no hope of being healthy, let alone being enlightened.
"What about self-defence with Taijiquan?" I asked. He said that to fight is to let loose a series of concentrated doses of your qi. Fajing is an explosion of qi flow. In Taijiquan, you don't pre-plan your fight, you react to your opponent's attack with an air of relaxed mindfulness. The Classic says, "Where the mind goes, qi will follow and action results. "Fear and tension will hinder our qi flow. We need to remain relaxed and loose at all times, as we struggle with our opponent. Without warning, my teacher proceeded to strike my head with his palm. Without thinking, I blocked him with my arm held upward. He smiled and said, "There you are, 'White Crane spreads its Wings!"
The next obvious question is: "How do you gain this Qi connection and Qi circulation?" Again he replied succinctly: "By getting the feel of it first." He said that the reason we repeat the Taijiquan movements slowly and deliberately, over and over again, is so we can feel the qi on our body gradually. We do Push Hands with each other so our qi can be put under pressure to test its connections (Peng jing). If our posture is out of alignment, our qi will break and we will be pushed over. If we lose our concentration or lose the feeling of the connection of qi in our body, we will be "penetrated" and be pushed over also. We perceive and react to the outer world through our five senses. Without feeling, or the awareness of qi in us, we are not really alive.
One simple way to get in touch with our qi is to do "Zhan Zhuang", or "to stand like a stake". One of the earliest references to Zhan Zhuang appeared in the ancient Taoist Classic, the Tao Teh Ching: Standing alone and unchanging, One can observe every mystery, Present at every moment and Ceaselessly continuing - This is the gateway to indescribable marvels.
As a matter of fact, Taijiquan is full of Zhan Zhuang postures. For example, the first movement, Taijiquan Preparation, is in fact the same as Wuji Zhuang. You simply stand with your legs apart at shoulder width, and slowly cultivate your qi in the dantian area. While standing, you should adhere to all the Taijiquan principles such as: Keep the energy at the top of the head light and sensitive. Sink the chest and raise the back. Relax the waist. Distinguish full and empty. Sink the shoulders and drop the elbows. Use the mind and not the strength. Unite the upper and lower body and unite the internal and external, and so forth. After standing still for five to ten minutes, you will begin to feel blockage and confused patterns of qi in your body. You will feel pain in certain parts of your body and the boredom may drive you crazy. If you persevere and make adjustments by following the task of observing your posture, observing your breath and observing your mind consciously, you will slowly feel a sense of fullness of qi in your dantian. After you learn to adjust your posture, adjust your breath and adjust mind accordingly, your qi will then gradually spread out to the rest of your body as you keep up your practice.
The end result is a highly energised body whose structure can be likened to a three-dimensional bicycle wheel. The hub of the wheel is your lower dantian, with your qi spreading out to the perimeter of the wheel, that is body, limbs and extremities, and connected to the centre of millions of qi sprockets. It is important that you remain centred at all times, otherwise the qi sprockets will break and your wheel will collapse into a heap as you move from one posture to another (metaphorically speaking). You can practice Taijiquan form as through it is a series of Zhan Zhuang potures joined together to ensure that your qi stays together and centred throughout the form.
Another simple exercise you can do to improve your qi flow is the Reeling Silk Ji Benggong with one or two hands. In Master Chen Xiao-wang's Taijiquan class, he always starts with half an hour of Zhan Zhuang, followed by 20 or 30 repetitions of the various Jiabenggong exercises. He says that after nearly 40 years of practice, he still does his Jiabenggong each day, especially when he is too busy to go through the forms.
In the final analysis, this essence of Taijiquan lies in Qi circulation and Qi utilisation. We lose balance in Push Hands because our qi is broken or out of alignment. Jing, or dynamic force, comes about when our qi is full and connected. When you have Jing, no-one can push you over. The more your qi is connected, the more Jing you have. When our qi is connected, we can use it to fight (as in using Peng jing and Faijing to push your opponent) and we can also use it for health benefit. This is where the martial and civil components of Taijiquan come together to make us an integrated and wholistic human being.
I think the confusion comes about because our Western logic teaches us that if A is A, then A cannot be A + B at the same time. We tend to compartmentalise things that we have to do or to learn intellectually. There is no place for integrated thinking. Specialisation is the order of the day. It is not uncommon for some teachers to advise their students not to study Taijiquan and Kung Fu at the same time. They say that one is an internal art and the other is an external art and that the two just don't mix. We now have Kung Fu tournaments as distinct from Internal Arts tournaments. Guoshu is considered to be real Kung Fu while Wushu is not. Meditation is not Kung Fu and Chen style Taijiquan is not the same Taijiquan as Yang style Taijiquan and so forth. What a misunderstanding of the essence of Chinese martial arts and the diversity of its expressions!
Take Taijiquan as case in point. From its humble beginnings in the Chenjiaguo Village, we now have a large variety of family and "official government" styles, as well as a distinct separation between what Tung Ying-chieh would have termed the martial and civil accomplishments of Taijiquan .
To quote a passage from Tung's Secret Method as translated by Douglas Wile: "In Tai Chi Chuan, the ability to cultivate oneself physically and spiritually, but not to defend oneself, is civil accomplishment. The ability to defend oneself but not to cultivate oneself is martial accomplishment." He goes on to say, "The ability to teach people the art of self-cultivation and self-defence, both cultivation and application, is complete civil and martial Tai Chi."
Instead of integrating the martial and civil components of Taijiquan we now have teachers who specialise in Taijiquan as fighting art, or as a health and healing exercise, or Taijiquan as a philosophy and a way of life. They don't understand or refuse to acknowledge that Taijiquan in its complete form is an integration of self-defence, self knowledge and self well-being.
It is good business to advertise: "Real Taijiquan is declining because real Taijiquan is about fighting and no-one knows how to fight with Taijiquan anymore except me". Or, "Real Taijiquan is about self-enlightenment. We can show you the way because our teacher is a Taoist Monk and we teach Taoist Taijiquan". In this way, Taijiquan is simplified and made into a clear image of black and white to sell to the gullible public. It is a gross misrepresentation of Taijiquan, not unlike trying to draw the Yin/Yang diagram with a straight line through the middle. The straight line divides the circle into two separate halves instead of holding it together with dynamic tension as would an 'S' line through the middle.
What is this force that holds the opposites together in dynamic tension? I got my answer when I once asked my teacher, Master Chen Xiao-wang, "What is the essence of Taijiquan?" I was expecting a complex answer. Instead, he simply said, "It is all about the interaction of Yin and Yang and Qi circulation." He said that Qi, our vital force, is a bit like electricity. It requires a polarity of negative and positive, or Yin and Yang dynamics for it to flow. The movements of Taijiquan, if executed properly, with correct breath and mind intent, will provide the polarities to activate and to maintain qi flow to nourish our body and our mind. Illnesses result from qi blockages and qi deficiency, which Taijiquan can prevent from happening. The Seven Emotions will affect our health and well-being because they are also forms of qi blockage. Unless we gain control of our qi circulation, we have no hope of being healthy, let alone being enlightened.
Master Chen Xiaowang
The next obvious question is: "How do you gain this Qi connection and Qi circulation?" Again he replied succinctly: "By getting the feel of it first." He said that the reason we repeat the Taijiquan movements slowly and deliberately, over and over again, is so we can feel the qi on our body gradually. We do Push Hands with each other so our qi can be put under pressure to test its connections (Peng jing). If our posture is out of alignment, our qi will break and we will be pushed over. If we lose our concentration or lose the feeling of the connection of qi in our body, we will be "penetrated" and be pushed over also. We perceive and react to the outer world through our five senses. Without feeling, or the awareness of qi in us, we are not really alive.
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Press jing
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Peng jing
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As a matter of fact, Taijiquan is full of Zhan Zhuang postures. For example, the first movement, Taijiquan Preparation, is in fact the same as Wuji Zhuang. You simply stand with your legs apart at shoulder width, and slowly cultivate your qi in the dantian area. While standing, you should adhere to all the Taijiquan principles such as: Keep the energy at the top of the head light and sensitive. Sink the chest and raise the back. Relax the waist. Distinguish full and empty. Sink the shoulders and drop the elbows. Use the mind and not the strength. Unite the upper and lower body and unite the internal and external, and so forth. After standing still for five to ten minutes, you will begin to feel blockage and confused patterns of qi in your body. You will feel pain in certain parts of your body and the boredom may drive you crazy. If you persevere and make adjustments by following the task of observing your posture, observing your breath and observing your mind consciously, you will slowly feel a sense of fullness of qi in your dantian. After you learn to adjust your posture, adjust your breath and adjust mind accordingly, your qi will then gradually spread out to the rest of your body as you keep up your practice.
The posture of Golden Cock Stands, with the application shown below:
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The end result is a highly energised body whose structure can be likened to a three-dimensional bicycle wheel. The hub of the wheel is your lower dantian, with your qi spreading out to the perimeter of the wheel, that is body, limbs and extremities, and connected to the centre of millions of qi sprockets. It is important that you remain centred at all times, otherwise the qi sprockets will break and your wheel will collapse into a heap as you move from one posture to another (metaphorically speaking). You can practice Taijiquan form as through it is a series of Zhan Zhuang potures joined together to ensure that your qi stays together and centred throughout the form.
Another simple exercise you can do to improve your qi flow is the Reeling Silk Ji Benggong with one or two hands. In Master Chen Xiao-wang's Taijiquan class, he always starts with half an hour of Zhan Zhuang, followed by 20 or 30 repetitions of the various Jiabenggong exercises. He says that after nearly 40 years of practice, he still does his Jiabenggong each day, especially when he is too busy to go through the forms.
In the final analysis, this essence of Taijiquan lies in Qi circulation and Qi utilisation. We lose balance in Push Hands because our qi is broken or out of alignment. Jing, or dynamic force, comes about when our qi is full and connected. When you have Jing, no-one can push you over. The more your qi is connected, the more Jing you have. When our qi is connected, we can use it to fight (as in using Peng jing and Faijing to push your opponent) and we can also use it for health benefit. This is where the martial and civil components of Taijiquan come together to make us an integrated and wholistic human being.
The application of Lu jing in Yang family Taijiquan:
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All photos courtesy of my Polish Taijiquan students. My thanks to their efforts and entusiasm.
Chen Xiaowang - Keeper of the Taiji Secrets
The following article first appeared in “Inside Kung Fu” Magazine October 1991:
Chen Xiaowang, grandson of the famous Chen Fake, is recognized as the present-day keeper of Chen style taijiquan. In this rare interview, master Chen reveals the true history of his family’s style.
It is not very often one comes across a genuine kung-fu master. In my 20 years of searching the world over (especially in China) for a true teacher, I can honestly say I have not met more than six martial artists whom I can consider a “master” in the true sense of the word. So it was with great fortune that I have managed somehow to have master Chen Xiaowang stay with me for a while in my home, and to study with him daily. Master Chen is the son of Chen Zhaoxu, the eldest son of the Chen family taiji master, Chen Fake. As such, he is recognised as the present-day (19th generation) keeper of the Chen style taijiquan. Master Chen was born in 1945 in Chenjiagou Village, Henan province. He began the study of his family art of taiji at the age of 7 by his father and his uncles Zhaokui and especially Zhaopi. Master Chen was awarded the taijiquan gold medal at three consecutive National Wushu Tournaments from 1980 – 1982 and was again crowned the taijiquan Champion at the First International Wushu Competition held in Xian in 1985. Before he left China, master Chen was chairperson of the Henan province Chen Push Hand Taijiquan Association, deputy head of the Wushu Academy of Henan province, and technical advisor and official assessor for the standardised competition routines for the Chen, Yang, Wu and Soon styles of taijiquan. Since 1988, he has been a senior wushu instructor (equivalent to a university associate professor) in China. Apart from his martial prowess Master Chen is also a keen calligrapher and a noted author. He has written three books on taijiquan and is the committee member of the Society of Chinese Calligraphy and Literature. Since 1985, Chen has travelled to teach in Japan, Singapore, Malaysia and the U.S. At present he is visiting Australia and is conducting seminars in major cities. Our interview was conducted in Mandarin. I have translated and edited master Chen’s conversation with the help of his written notes in Chinese and his books.
HC: Master Chen can you start by telling us the origin of Chen style taijiquan?
CXW: We can start with my ancestor, Chen Bu, the first generation. He was originally from Shanxi province. Nearing the end of the Ming Dynasty, over 500 years ago Chen Bu migrated to Henan province and moved his family to present day Chenjiagou Village in the County of Wenxian. At that time the village was called Changyang village (mainly consisting of people with the surnames Chang and Yang). When the Chen clan prospered and its population increased, the village name was changed to Chenjiagou (‘Chen’ - surname, ‘Jia’ - the family of, ‘Gou’ - gully or ravine, because the village lies in a gully not far from the Yellow River). Chen Bu was an accomplished martial artist, so everyone in my village has been practising kung-fu since then. Nothing very much happened until the ninth generation, the time of Chen Wanting, who was an outstanding scholar and martial artist.
HC: I have heard Chen Wanting was a fearsome fighter. Was there anything written about him in the family record?
CXW: Yes, in our “Genealogy of the Chen Family”, it was recorded: “Wanting, alias Zhouting, was a knight at the end of the Ming dynasty and a scholar in the early years of the Qing dynasty. He was known in Shangdong province as a master of martial arts, once defeating more than 1,000 bandits. He was the originator of the bare-handed and armed-combat boxing of the Chen school. He was a born warrior, as can be proved by the broadswords he used in combat…”
HC: Is the sword still there?
CXW: (Smiling) No. It was a long time ago…besides, the Cultural Revolution has destroyed most of the relics. We are lucky to have kept some of the written records of the family.
HC: So Chen Wanting invented taijiquan?
CXW: Yes. Between 1930 and 1932 Tang Hoa, a well known and respected martial arts historian, was commissioned by the then government to find out the truth. He came to our village three times, went through our family records and did a lot of research. He was sure that taijiquan was originated from Chen Wanting of Chenjigou in the middle of the 17th century.
HC: Do you agree with him?
CXW: Yes I do. After the downfall of the Ming dynasty, the political scene was volatile and the society was in turmoil. Chen Wanting withdrew from public life and retired to live in the village. He wrote not long before his death: “Recalling past years, how bravely I fought to wipe out enemy troops and what risk I went through. All the favours bestowed on me are now in vain! Now old and feeble, I am accompanied only by the book of Huang Ting (a classic on qigong). Life consists in creating actions of boxing when feeling depressed, doing field work when the season comes and spending leisure time teaching disciples and children so they can be worthy members of society”. Because Chen Wanting had fought in many battles and travelled and read widely, he was able to combine many good points from other schools and from his past experience, and build upon what was passed down by Chen Bu to create a unique system of martial arts.
HC: What was so special about Chen Wanting’s taijiquan?
CXW: One, he synthesized many forms of boxing into one system. He was especially influenced by the writing of General Qi Jiguang (The 32 forms of the Canons of Boxing) – a collection of forms from 16 schools. Two, he utilized the theory of yin and yang as the theoretical basis of his martial arts. Three, he combined traditional Chinese medical theories (e.g. jingluo and acupuncture) and techniques of daoyin (the concentrated exertion of inner force) and tuna (deep breathing exercises) into his system. Four, he invented the chanxi (‘reeling silk’) techniques and the push hands exercises.
HC: What was the content of Chen Wanting’s taijiquan?
CXW: It had five sets of taijiquan, one set of paocui, one set of changquan; consisting of 108 movements, all types of weapons, five methods of push hands and two-person “sticky spear” and other types of practice routines with weapons.
HC: Is there anyone still practising these routines?
CXW: No, not the fist forms anyway. During the 14th generation, Chen Changxing (1771 –1853) condensed all the fist forms into two sets. We now call them ‘laoji’ (the ‘old family’ sets) to distinguish them from the ‘xinjia’ (the ‘new family’ set) created by my grandfather Chen Fake (1887 – 1957). The first set of laoji is quite slow, it can be used to train the student to awaken and to get a feel of the qi. The second set, also called paocui, is fast and powerful, where the student is taught to ‘fa jing’ (explosive power). The two sets of xinjia are similar to the laoji except they require more subtle use of energy and dynamic force and are generally more difficult to perform well than the laojia. The push hands and the weapons routine remain much the same to this day.
HC: I understand you have now further condensed the laoji and xinjia forms into one ‘thirty eight’ form. Can you tell us something about this new creation?
CXW: In the ‘thirty eight’ form, I have tried to do away with all the repetitions and to simplify the too-difficult moves, without destroying the characteristics of Chen style taijiquan, especially the attack-defence content and the chanxi techniques. The whole set is divided into four sections each with nine movements. It takes three to four minutes to perform. You can practice it either in a slow gentle way or in a fast and vigorous fashion with jumps and ‘fa jing’, it all depends on your age or inclination. It’s quick and easier to learn and I think it is a good way to popularise the Chen style taijiquan.
HC: We all know the Yang, the Wu and the Soon styles evolved from the Chen, Can you tell us the main difference between Chen and the other styles?
CXW: Well, they all have unique characteristics. Generally speaking, the names of the movements are different and sometimes the intentions are different. Chenjiagou tai chi has more weapon forms – apart from the sword and the sabre there is the spear, the staff, the kwan do and the two-person weapons forms. In Chen style taijiquan all the sets have ‘fa jing’ movements that other styles tend to neglect or not show at all. Chen style taijiquan is for fighting as well as for health.
HC: What about chanxi jing (‘reeling silk energy’)?
CXW: Chanxi jing is a unique characteristic of Chen style taiji. The other styles don’t have much of these spiral-like spinning and twisting movements.
HC: And push hands?
CXW: Chen style push hands tended to be done in a moving fashion. One attacks forward while the other retreats backward, front on or side on and so forth. The other styles like to do it in a more or less stationary manner, with less ‘fa jing’ and less aggressive moves. We also tend to use chin na and take-downs a lot. We treat push hands as a mockfight rather than an exercise. You have to be thrown around a lot to know what your ‘qi’ or your ‘jing’ is doing.
HC: Speaking as one who has only done Yang style, can one achieve mastery of taiji by doing any one of these styles?
CXW: Of course. They all come from the one source. The principles are the same. What style you do is immaterial. With a good teacher, hard work and perseverance, everything is possible.
HC: Master Chen, you are making it sound so easy. I have also heard that you are a keen calligrapher and that you apply the same taiji principles to your calligraphy. Is that so?
CXW: Yes. Both taiji and calligraphy involve the same ‘transportation of qi’ (yun qi) in our body. When I fight, I try to transport my qi to the point of impact without friction, still maintaining maximum efficiency. When I write, I try to do the same, except it is the tip of my brush. I practice my calligraphy the same way I do my taiji – with correct postures, relaxation and efficient ‘yun qi’. Both activities complement each other.
Chen Xiaowang, grandson of the famous Chen Fake, is recognized as the present-day keeper of Chen style taijiquan. In this rare interview, master Chen reveals the true history of his family’s style.It is not very often one comes across a genuine kung-fu master. In my 20 years of searching the world over (especially in China) for a true teacher, I can honestly say I have not met more than six martial artists whom I can consider a “master” in the true sense of the word. So it was with great fortune that I have managed somehow to have master Chen Xiaowang stay with me for a while in my home, and to study with him daily. Master Chen is the son of Chen Zhaoxu, the eldest son of the Chen family taiji master, Chen Fake. As such, he is recognised as the present-day (19th generation) keeper of the Chen style taijiquan. Master Chen was born in 1945 in Chenjiagou Village, Henan province. He began the study of his family art of taiji at the age of 7 by his father and his uncles Zhaokui and especially Zhaopi. Master Chen was awarded the taijiquan gold medal at three consecutive National Wushu Tournaments from 1980 – 1982 and was again crowned the taijiquan Champion at the First International Wushu Competition held in Xian in 1985. Before he left China, master Chen was chairperson of the Henan province Chen Push Hand Taijiquan Association, deputy head of the Wushu Academy of Henan province, and technical advisor and official assessor for the standardised competition routines for the Chen, Yang, Wu and Soon styles of taijiquan. Since 1988, he has been a senior wushu instructor (equivalent to a university associate professor) in China. Apart from his martial prowess Master Chen is also a keen calligrapher and a noted author. He has written three books on taijiquan and is the committee member of the Society of Chinese Calligraphy and Literature. Since 1985, Chen has travelled to teach in Japan, Singapore, Malaysia and the U.S. At present he is visiting Australia and is conducting seminars in major cities. Our interview was conducted in Mandarin. I have translated and edited master Chen’s conversation with the help of his written notes in Chinese and his books.
HC: Master Chen can you start by telling us the origin of Chen style taijiquan?
CXW: We can start with my ancestor, Chen Bu, the first generation. He was originally from Shanxi province. Nearing the end of the Ming Dynasty, over 500 years ago Chen Bu migrated to Henan province and moved his family to present day Chenjiagou Village in the County of Wenxian. At that time the village was called Changyang village (mainly consisting of people with the surnames Chang and Yang). When the Chen clan prospered and its population increased, the village name was changed to Chenjiagou (‘Chen’ - surname, ‘Jia’ - the family of, ‘Gou’ - gully or ravine, because the village lies in a gully not far from the Yellow River). Chen Bu was an accomplished martial artist, so everyone in my village has been practising kung-fu since then. Nothing very much happened until the ninth generation, the time of Chen Wanting, who was an outstanding scholar and martial artist.
HC: I have heard Chen Wanting was a fearsome fighter. Was there anything written about him in the family record?
CXW: Yes, in our “Genealogy of the Chen Family”, it was recorded: “Wanting, alias Zhouting, was a knight at the end of the Ming dynasty and a scholar in the early years of the Qing dynasty. He was known in Shangdong province as a master of martial arts, once defeating more than 1,000 bandits. He was the originator of the bare-handed and armed-combat boxing of the Chen school. He was a born warrior, as can be proved by the broadswords he used in combat…”
HC: Is the sword still there?
CXW: (Smiling) No. It was a long time ago…besides, the Cultural Revolution has destroyed most of the relics. We are lucky to have kept some of the written records of the family.
HC: So Chen Wanting invented taijiquan?
CXW: Yes. Between 1930 and 1932 Tang Hoa, a well known and respected martial arts historian, was commissioned by the then government to find out the truth. He came to our village three times, went through our family records and did a lot of research. He was sure that taijiquan was originated from Chen Wanting of Chenjigou in the middle of the 17th century.
HC: Do you agree with him?
CXW: Yes I do. After the downfall of the Ming dynasty, the political scene was volatile and the society was in turmoil. Chen Wanting withdrew from public life and retired to live in the village. He wrote not long before his death: “Recalling past years, how bravely I fought to wipe out enemy troops and what risk I went through. All the favours bestowed on me are now in vain! Now old and feeble, I am accompanied only by the book of Huang Ting (a classic on qigong). Life consists in creating actions of boxing when feeling depressed, doing field work when the season comes and spending leisure time teaching disciples and children so they can be worthy members of society”. Because Chen Wanting had fought in many battles and travelled and read widely, he was able to combine many good points from other schools and from his past experience, and build upon what was passed down by Chen Bu to create a unique system of martial arts.
HC: What was so special about Chen Wanting’s taijiquan?
CXW: One, he synthesized many forms of boxing into one system. He was especially influenced by the writing of General Qi Jiguang (The 32 forms of the Canons of Boxing) – a collection of forms from 16 schools. Two, he utilized the theory of yin and yang as the theoretical basis of his martial arts. Three, he combined traditional Chinese medical theories (e.g. jingluo and acupuncture) and techniques of daoyin (the concentrated exertion of inner force) and tuna (deep breathing exercises) into his system. Four, he invented the chanxi (‘reeling silk’) techniques and the push hands exercises.
HC: What was the content of Chen Wanting’s taijiquan?
CXW: It had five sets of taijiquan, one set of paocui, one set of changquan; consisting of 108 movements, all types of weapons, five methods of push hands and two-person “sticky spear” and other types of practice routines with weapons.
HC: Is there anyone still practising these routines?
CXW: No, not the fist forms anyway. During the 14th generation, Chen Changxing (1771 –1853) condensed all the fist forms into two sets. We now call them ‘laoji’ (the ‘old family’ sets) to distinguish them from the ‘xinjia’ (the ‘new family’ set) created by my grandfather Chen Fake (1887 – 1957). The first set of laoji is quite slow, it can be used to train the student to awaken and to get a feel of the qi. The second set, also called paocui, is fast and powerful, where the student is taught to ‘fa jing’ (explosive power). The two sets of xinjia are similar to the laoji except they require more subtle use of energy and dynamic force and are generally more difficult to perform well than the laojia. The push hands and the weapons routine remain much the same to this day.
HC: I understand you have now further condensed the laoji and xinjia forms into one ‘thirty eight’ form. Can you tell us something about this new creation?
CXW: In the ‘thirty eight’ form, I have tried to do away with all the repetitions and to simplify the too-difficult moves, without destroying the characteristics of Chen style taijiquan, especially the attack-defence content and the chanxi techniques. The whole set is divided into four sections each with nine movements. It takes three to four minutes to perform. You can practice it either in a slow gentle way or in a fast and vigorous fashion with jumps and ‘fa jing’, it all depends on your age or inclination. It’s quick and easier to learn and I think it is a good way to popularise the Chen style taijiquan.
HC: We all know the Yang, the Wu and the Soon styles evolved from the Chen, Can you tell us the main difference between Chen and the other styles?
CXW: Well, they all have unique characteristics. Generally speaking, the names of the movements are different and sometimes the intentions are different. Chenjiagou tai chi has more weapon forms – apart from the sword and the sabre there is the spear, the staff, the kwan do and the two-person weapons forms. In Chen style taijiquan all the sets have ‘fa jing’ movements that other styles tend to neglect or not show at all. Chen style taijiquan is for fighting as well as for health.
HC: What about chanxi jing (‘reeling silk energy’)?
CXW: Chanxi jing is a unique characteristic of Chen style taiji. The other styles don’t have much of these spiral-like spinning and twisting movements.
HC: And push hands?
CXW: Chen style push hands tended to be done in a moving fashion. One attacks forward while the other retreats backward, front on or side on and so forth. The other styles like to do it in a more or less stationary manner, with less ‘fa jing’ and less aggressive moves. We also tend to use chin na and take-downs a lot. We treat push hands as a mockfight rather than an exercise. You have to be thrown around a lot to know what your ‘qi’ or your ‘jing’ is doing.
HC: Speaking as one who has only done Yang style, can one achieve mastery of taiji by doing any one of these styles?
CXW: Of course. They all come from the one source. The principles are the same. What style you do is immaterial. With a good teacher, hard work and perseverance, everything is possible.
HC: Master Chen, you are making it sound so easy. I have also heard that you are a keen calligrapher and that you apply the same taiji principles to your calligraphy. Is that so?
CXW: Yes. Both taiji and calligraphy involve the same ‘transportation of qi’ (yun qi) in our body. When I fight, I try to transport my qi to the point of impact without friction, still maintaining maximum efficiency. When I write, I try to do the same, except it is the tip of my brush. I practice my calligraphy the same way I do my taiji – with correct postures, relaxation and efficient ‘yun qi’. Both activities complement each other.
Master Chen Xiaowang's Five Levels of Skill in Tai Chi Training By Howard Choy and Ahtee Chia
Here's a more summarized version of the Five Levels of Skill in Tai Chi by Master Chen Xiao Wang. This material appeared in the May 1992 edition of Inside Kung-Fu magazine
Since the publication of our interview with Master Chen Xiaowang (see "Chen Xiaowang: Keeper of the Tai Chi Secrets" in Inside Kung Fu Magasine), many readers have requested more information about Chen family tai chi. Most people want know what they can do to improve their tai chi training. I posed this question to Master Chen, and replied that just as we learn to crawl before we walk and walk before we run, tai chi training is done a progressive way.
He emphasizes that initial training in the basic principles provides the foundation on which more advanced skills are built. You must be patient and master one level before attempting the next. Progress in tai chi does not depend on how many forms you have learned, but rather on how well you are able to absorb and integrate the principles in your form. It does not matter which style of tai chi you practice or whether your stance is high or low. What important is that you are able to harness your chi and circulate it to all parts of your body. Your movements will then look soft yet powerful, your demeanor relaxed yet alert.
According to Master Chen, there are five levels of proficiency in tai chi training, as described here, and each has its own aims and training methods. Knowing these can help you assess your own level of achievement and what you need to work on to make progress.
Level One: Form and Posture
Correct posture forms the foundation of tai chi chuan. This is necessary before the chi can flow properly. To adopt the correct posture, keep the body vertical, the head held as if suspended from above, the shoulders and chest relaxed, the waist supple, the knees bent, and the groin open. Let your intrinsic chi settle and sink to the dan tian, or lower abdomen. You may not be able to do this straight away, but aim for gradual correctness in relation to direction, angle, position, and movement of the limbs to attain the right postures.
Do not aim for perfection. Your tai chi form will be angular and disconnected. This is normal for a beginner. With diligent and proper practice, after six months you should be able to master the shape of the form. You will also start to feel the chi in your body. At this stage, you are using the movement to generate the chi. As you become more familiar with the form, you will begin to understand the intrinsic jin, or dynamic energy. However, you will start to feel some movements of the chi even though you cannot get it to flow smoothly and join them up.
This stage is said to be one yin and nine yang. It is like a pole that is poked into the ground. Being shallow and lacking a proper base, it is easily pushed over. At this stage, there is too much yang and not enough yin. Sparring and push-hands are not recommended.
Level Two: Chi Flow
At this level, you will begin to feel the movement of the intrinsic chi. Keep practicing the form to gain more fluidity and smoothness of movement. Do not bob up and down. Keep an even height of posture throughout. Although you are now able to feel the intrinsic chi, you are not yet able to direct it. There are two reasons for this.
First, your chi is uncoordinated and your posture is not quite right. You still do not understand the subtler details. For example, in trying to hollow the chest, you collapse it too much, or in trying to keep the waist supple, you make it too loose. Or you may stick your buttocks out too far and push your chest forward. Your posture will need to be adjusted in order for you to gain proper coordination of the body and eliminate all contradictions of purpose, to gain unity of the internal with the external.
Internal harmony means that the heart unites with the mind, the chi with the strength, and the sinews with the bones. External harmony means that the hand is coordinated with the feet, the elbow with the knee, and the shoulder with the hips. It is only then that the external is unified with the internal, where the open exists within the closed, and the closed exists within the open.
The second reason is that you may be doing the form either too fast, so that you lose the smoothness of the movement, or too slowly, so that your movements become disjointed.
At this stage, the "reeling silk" exercise is very important, and you should use the technique in your movements. The Classics say, "In 'reeling silk' the chi originates from the waist, permeates everywhere, and is ever present."
To do "reeling silk" properly, first relax the shoulders, sink the elbows, hollow the chest, drop the waist, open the groin, and bend the knees. Start with the hand at the dan tian. The hand leads the elbow, the elbow leads the shoulder, the shoulder leads the waist. On the return cycle, the waist activates the shoulder, the shoulder activates the elbow, and the elbow activates the hand. On the upper hall of the body, the wrist is coordinated with the trunk, and on the lower half, the ankles turn the legs. The body is like a tree—the roots represent the legs, the tree trunk the body, and the branches and leaves the arms and fingers. The chi circulates from the roots to the trunk and then to the leaves and then retraces its path to the roots again.
During the first level, you will feel that you are making rapid progress. However, at the transition from the first to the second level, you will feel that you are not making progress at all. Your chi moves sometimes and not at other times. When you express energy (fa jing) in a punch, you may make a snapping sound, but when you try to do the same in push- hands, nothing seems to work.
At this stage, it is easy to feel discouraged or frustrated, and you may even give up. A strong determination and persistence is required. What you need to do is re-examine your form; go back to basic principles. Correct your posture, and move the whole body as a unit. When one part of the body moves, the whole body moves. There is no excess or deficiency; flow with the changes, and rotate and move naturally.
Everybody has the potential to achieve success in tai chi with proper training. This level usually takes four years to complete. Your chi will start to flow, and you will understand how to use it. Your confidence will increase, and your tai chi will start to become more interesting.
Push-hands and form practice require the same skills. Any problems or gains that you acquired in your push-hands practice will also manifest in your form, and vice versa. Pay attention to the basic movements of peng (ward-off), lu (rollback), ji (press), and an (push). If your upper and lower body are coordinated, you are not easily defeated: you will be able to use four ounces to deflect a thousand pounds.
The problem at this level is that you may find it difficult to attain perfect coordination; your opponent can use this weakness to defeat you. An opponent can also lead you into a weak position and then defeat you. You may use too much or too little force. You may not sink your energy enough. Because you still cannot deflect your opponent's energy, you tend to use force against force. You may need to step back, you may lose your balance easily or may hang on to your opponent when pushed. Generally your movements are not crisp and clean. This level is two yin and eight yang—still incomplete and uncoordinated.
Level Three: Moving from a Large Circle to a Medium Circle
"Circle" implies not just the movement of the hands and feet, but also the internal chi movement. To improve your tai chi, you must progressively decrease the circle—from large to medium to small, and finally to no circle. You start with the big circle to make it easier to feel your chi, but as you progress, your sensibility and control is more subtle and you can decrease the circle.
Third-level training is the transition from big circle to medium circle. The Classics say "Where the mind goes, the chi goes and the body follows."
Once at this level, you need to learn to use your mind. During the first level, you concentrated on learning the shape and postures of the form. At the second level, you worked on eliminating the contradictions of body movement and chi flow and learned to correct your posture so that your intrinsic chi flows freely. At level three, you have a good understanding of the chi flow, you are beginning to use your mind and not just brute force, your movements are light but not floating, and you can sink your chi without being stiff. You try to make the external look soft and the internal strong. There is softness within the hardness. Your whole body is coordinated, and you have eliminated most of the bad habits.
At this stage, you must not just concentrate on the chi flow and neglect the external movements. There must be a synthesis of body and mind; otherwise the chi will not flow freely. During the second level, your breathing may be too shallow or too deep because you are not relaxed or your movement is not coordinated with your breathing. Pay attention to your breathing—let it be natural and coordinated with your movement, especially where the movement is complicated or requires speed and subtlety.
Work on gaining a better understanding of the martial application of the movements. Do more push-hands training, fine-tune your posture, understand how to express your jin, how to deflect and change your energy flow and increase your intrinsic chi. By working on the practical application, you gain a better understanding of correct posture. In addition, you will become stronger and can start practicing the tai chi weapons forms such as the broadsword, double-edged sword, spear, and staff. You will also be able to practice the explosive movements on their own. Your confidence will increase, and after about two years you should progress to the fourth level.
In summary, at the third level, you gain a basic understanding of the coordination of the internal chi flow with the external movement. You are able to correct yourself if necessary, your movements are natural, and your internal chi is full. However, your intrinsic chi is still relatively weak, and your body-mind coordination is not yet perfect. When you push hands with someone of lesser skill than yourself, you can use technique to overcome him. However, if you do it with someone more advanced, you will feel that you don't have enough peng jing, or ward-off energy, and your chi is easily penetrated. You will lose your balance and your body-mind coordination, and your energy is easily read.
This level is said to be three yin and seven yang. Your skills are still not altogether proper.
Level Four: Moving from a Medium Circle to a Small Circle
At this level, you progress from the medium circle to the small circle. This is quite an advanced level. You are very close to ultimate success. The martial application is even more important at this stage. Work on circulating your chi, and pay attention to coordinating your breathing, the movement, and the martial application. All your movements must be continuous, without weakness in any part of your body, and the intrinsic chi will permeate your whole body.
When you practice the form, imagine that you are surrounded by attacks, but when you fight, imagine that there is no one around so that your movements are swift and natural and you will maintain your composure. The training method for this level is the same as for the third level, except that the circle is smaller. Your internal jing will be strong, and you will be able to attack and defend with the same movement. Your chi and your mind will be coordinated. Your chi will circulate wherever you direct it.
Your posture is now stable, and you are not easily defeated in push-hands. You can deflect the other's energy with subtle body movements and can change direction and energy in rhythm with the changes in direction and energy of your opponent. Your internal chi is completely coordinated with your external movement, and you can sense what your opponent is going to do before he moves. Your fa jing, or expressed energy, is cleaner, and your attack is accurate. You can easily find your opponent's weakness.
This stage is said to be four yin and six yang—you are now an accomplished martial artist. This level takes about three years.
Level Five: Moving from a Small Circle to No Circle
From form to the formless. Your movements are now alive and coordinated, your internal jin is full, and you seek excellence within excellence. A day's work is a day's achievement. You can change endlessly, and your energy is invisible. Internally, there is movement between the substantial and the insubstantial, but externally no movement or change is visible.
From a fighting point of view, the hard and soft become one, and you are relaxed and alert. Full of springy energy, you can defend and attack at will. You can express chi with any part of your body. Your whole body is sensitive and alive. In other words, you can use any part of your body like a fist and strike anywhere at will.
This level is said to be five yin and five yang - perfect balance. Your yin and yang is continuous without end; when you move, it is in harmony with he tai chi principles, so everything is possible. You lave gained mastery of the body and the mind. Your mind is tranquil and calm, and even when you are attacked suddenly, your equipoise is undisturbed. There is no limit to your tai chi development, and the ultimate goal seems attainable.
Now You Have the Road Map
Master Chen explains that the five levels of proficiency in tai chi training can be likened to a road map. If you are lost and want to get to your destination, you must first find out where you are at present and in which direction you should be heading. Although the tai chi journey is one without an end, at least now you can find out where you are and roughly how you can achieve your goal.
Howard Choy and Ahtee Chia are both architects studying Chen Family tai chi chuan with Master Chen Xiao Wang in Sydney, Australia.
The Five Levels of Skill in Chen Style Taijiquan by Chen Xiao Wang translated by Tan Lee-Peng, Ph.D.
Learning taijiquan is in principle similar to educating oneself; progressing from primary to university level, where one gradually gathers more and more knowledge. Without the foundation from primary and secondary education, one will not be able to follow the courses at university level. To learn taijiquan one has to begin from the elementary and gradually progress to the advanced stage, level by level in a systematic manner. If one goes against this principle thinking he could take a quick way out, he will not succeed. The whole progress of learning taijiquan, from the beginning to achieving success consists of five stages or five levels of martial/combat skill (kung fu). There are objective standards for each level of kung fu. The highest is achieved in the fifth level.
The standard and martial skill requirements for each level of kung fu will be described in the following sections. It is hoped that with these, the many taijiquan enthusiasts all over the world will be able to 'assess' on their own their current level of attainment. They will then know what they need to learn next and advance further step-by-step.
The martial skill attainable with the first level of kung fu is very limited. This is because at this stage, one's actions are not well coordinated and systematic. The postures may not be correct. Thus the force or jin produced may be stiff, broken, lax or on the other hand too strong. In practicing the routine, one's form may appear hollow or angular. As such one can only feel the internal energy but is not able to channel the energy to every part of the body in one go. Consequently, one is not able to harness the force or jin right from the heels, channel it up the legs, and discharge it through command at the waist. On the contrary , the beginners can only produce broken force that 'surge' from one section to another section of the body. Therefore the first level kung fu is insufficient for martial application purposes. If one were to test one's skill on someone who does not know martial arts, to a certain extent they can remain flexible. They may not have mastered the application but by knowing how to mislead his opponent the student may occasionally be able to throw off his opponent. Even then, he may be unable to maintain his own balance. Such a situation is thus termed "the 10% yin and 90% yang; top heavy staff".
What then exactly is yin and yang? In the context of practising taijiquan, emptiness is Yin, solidity is yang; gentleness or softness is yin, forcefulness or hardness is yang. Yin and yang is the unity of the opposites; either one cannot be left out; yet both can be mutually interchanged and transformed. If we assign a maximum of 100% to measure them, when one in his practice can attain an equal balance of yin and yang, he is said to have achieved 50% yin and 50% yang. This is the highest standard or an indication of success in practicing taijiquan. In the first level of skill in kung fu, it is normal for one to end up with '10% yin and 90% yang'. That is, one's quan or boxing is more hard than soft and there is imbalance in yin and yang. The learner is not able to complement hard with soft and to command the applications with ease. As such, while still at the first level, learners should not be too eager to pursue the application aspect in each posture.
After acquiring the first level of kung fu, one should be able to practise with ease according to the preliminary requirements of the movements. The student is able to feel the movement of internal energy. However, the student may not be able to control the flow of qi in the body. There are two reasons for this: firstly, the student has not mastered accurately the specific requirements on each part of the body and their coordination. As an example, if the chest is relaxed downward too much, the waist and back may not be straight, or if the waist is too relaxed then the chest and rear may protrude. As such, one must further strictly ensure that the requirements on each part of the body should be resolved so that they move in unison. This will enable the whole body to close or unite in a coordinated manner (which means coordinated internal and external closing/union. Internal closing implies coordinated union of heart and mind, of internal energy and force, tendons and bones. External closing/union of movements implies coordinated closing of hands with legs, elbows with knees, shoulders with hips). Simultaneously, there should be an equal and opposite closing movement of another part of the body and vice versa. Opening and closing movements come together and complement each other. Secondly, while practising one may find it hard to control different parts of the body all at once. This means one part of the body may move faster than the rest and result in over-exertion of force; or a certain part may move too slowly or without enough force, thus resulting in a under-exertion of force. These two phenomena both contradict the principle of taijiquan. Every movement in Chen style taijiquan is required not to deviate from the principle of the 'spiralling silk force' or chan-si jin. According to the Theory of Taijiquan, 'the chan-si-jin originates from the kidneys and at all times is found in every part of the body'. In the process of learning taijiquan, the spiralling-silk method of movement (ie. the twining and spiralling method of movement) and the spiralling-silk force (ie. the inner force produced from the spiralling-silk method of movement), can be strictly mastered through relaxing shoulders and elbows, chest and waist as well as crotch and knees and using the waist as a pivot to move every part of the body. Starting with rotating the hands anti-clockwise, the hands should lead the elbows which in turn leads the shoulders which then guide the waist (the part of the waist corresponding to that side of the should that is being moved. In actual fact the waist is still the pivot). On the other hand, if the hands rotate in a clockwise direction, the waist should move the shoulders, the shoulders move the elbows, the elbows in turn move the hands. For the upper half of the body, the wrists and arms should appear to be gyrating; whereas for the lower portion of the body the ankle and the thigh should appear to be rotating; as for the trunk, the waist and the back should appear to be turning. Combining the movements of the three parts of the body we should visualise a curve rotating in space. This curve originates from the legs, with the centre at the waist and ends at the fingers. In practising the quan, (or the form), if one feels awkward with a particular movement, one can adjust one's waist and thigh according to the sequence of flow of the chan-si-jin to achieve coordination. In this way, any error can be corrected. Therefore, while paying attention to the requirement on each part of the body to achieve total co-ordination of the whole body, the mastering of the rhythm of movement of the spiralling-silk method and spiralling silk force is a way of resolving conflicts and self-correction for any mistake in practising taijiquan after attaining the second level of kung fu.
In the first level of kung fu, one begins with learning the forms, and when one is familiar with the forms, the student can feel the movement of internal energy in the body. The student may well be very excited and thus never feel tired or bored. However, in entering the second level of kung fu, the student may feel there is nothing new to learn and at the same time misunderstand certain important points. The student may not have mastered these main points accurately and thus find that their movements are awkward. Or, on the other hand, the student may find that he or she can practise the quan smoothly and express force with much vigour but cannot apply them while doing push-hands. Because of this, one may soon feel bored, lose confidence and may give up altogether. The only way to reach the stage where one can: produce the right amount of force, not too hard and not too soft; can change actions at will; and can turn smoothly with ease, is to be persistent and strictly adhere to principles. One has to train hard in the form so that the body movements are well co-ordinated, and with 'one single movement can activate movements in every part of the body' , thus establishing a complete system of movements. There is a common saying, 'if the principle is not clearly understood, consult a teacher; if the way is not clearly visible, seek the help of friends'. When the principles as well as the methods are clearly understood, with constant practice, success will prevail eventually. The Taijiquan Classics state that, 'everybody can possess the ultimate, if only one works hard.' And 'if only one persists, ultimately one should achieve sudden break through'. Generally, most people can attain the second level of kung fu in about four years. When one reaches the state of being able to experience a smooth flow of qi in the body, one would suddenly understand it (the command of qi) all. When this happens, one would be full of confidence and enthusiasm as one goes on practising. One may even have the strong urge to go on and on and wouldn't feel like stopping!
At the beginning of the second level kung fu the martial art skill attained is about the same as in the first level kung fu. It is not sufficient for actual application. At the end of the second level kung fu one is nearing attaining the third level kung fu, as such the martial skill acquired may be applicable to a certain extent.
The next section introduces the martial skill that should be attainable half-way through the second level kung fu (so are the third, fourth and fifth levels of kung fu in the subsequent sections. They are discussed with reference to the skill attainable in the half-way stage in each level.)
Push-hands and practising taijiquan are inseparable. Whatever shortcomings one has in his quan form will show up as weaknesses during push-hands and thus giving the opponent an opportunity to take advantage of them. Because of this, in practising taijiquan every part of one's body must be well coordinated with the rest, there shouldn't be any unnecessary movement. Push-hands requires warding-off, grabbing, squeezing and pressing to be carried out so precisely, so that the upper and lower bodies move in co-ordination and it is thus difficult for opponents to attack[. As the saying goes: 'No matter how great is the force on me, I should mobilise four ounces of strength to deflect one thousand pounds of force'. The second level of kung fu aims at achieving smooth flowing of qi in the body by correcting the postures so as to reach the stage when qi should penetrate the whole body passing through every joint as if it (qi) is sequentially linked. However, the process of adjusting the postures involves making unnecessary or unco-ordinated movements. Therefore, at this stage, one is unable to apply the martial skill at will during push-hands. The opponent will concentrate on looking for these weaknesses or he or she may win by surprising one into committing all the errors like over-exerting, collapsing, throwing-off and confronting of force. During push-hands, the opponent's advance will not allow one to have time to adjust one's movements. The opponent will make use of one's weak point to attack so that one will lose balance or will be forced to step back to ward off the advancing force. Nevertheless, if the opponent advances with less force and in a slower manner, there may be time or opportunity to make adjustments and one may be able to ward off the attack in a more satisfactory manner. Drawing from the above discussion, for the second level kung fu, whether one is attacking or blocking-off an attack, much effort is needed. Very often, it will be an advantage to make the first move, the one who moves last will be at an disadvantage. At this level, one is unable to 'forget' oneself but 'play along with' the opponent (ie. not to attack but to yield to the opponent's movement); unable to grasp an opportunity to respond to change. One may be able to move and ward off an attack but may easily commit errors like throwing-off or collapsing and over-exerting or confronting [the?] force. Because of these, during push-hands, one cannot move according to the sequence of warding-off, grabbing, pressing and pushing down. A person with this level of skill is described as '20% yin, 80% yang: an undisciplined new hand.'
The Tiajiquan Classic mentioned that 'yi and qi are more superior than the forms' meaning that while practising taijiquan one should place emphasis on using yi (consciousness). In the first level of kung fu, one's mind and concentration are mainly on learning and mastering of the external forms of taijiquan. While in the second level of kung fu, one should concentrate on detecting conflicts/unco-ordination of limbs and body and of internal and external movements. One should adjust body and forms to ensure a smooth flow of the internal energy. When progressing into the third level kung fu, one should already have the internal energy flowing smoothly: what is required is yi and not brute force. The movements should be light but not 'floating', heavy but not clumsy. This implies that the movements should appear to be soft but the internal force is actually strong/sturdy, or there is strong force implied in the soft movements, and the whole body should be well-coordinated and there should not be any irregular movements. However, one should not just pay attention to the movement of qi in the body and neglect the external actions. Otherwise, one would appear to be in a daze and as a result, the flow of internal qi may not only be obstructed but may be dispersed. Therefore, as stated in the Taijiquan Classics, 'attention should be on the spirit and not just qi, with too much emphasis on qi there will be stagnation (of qi)'.
One may have mastered the external forms between the first and second level kung fu, but he may not have attained co-ordination of the external with internal movements. Sometimes, due to stiffness or stagnation of the actions, full breathing-in is not possible. On the other hand, without proper co-ordination of the internal and external movements, it is not possible to empty one's breath completely. Thus, when practising quan one should breath[e] naturally. After entering into the third level kung fu, there is better co-ordination of internal and external movements. As such generally the actions can be synchronized with breathing quite precisely. However, it is necessary to consciously synchronize breathing with movements for some finer, more complicated and swifter actions. This is to further ensure co-ordination of breathing and actions so that it gradually comes on naturally.
The third level of kung fu basically involves mastering the internal and external requirements of Chen-style taijiquan and rhythm of exercise as well as the ability to correct oneself. One should also be able to command the actions with more ease and should also ha[ve] more internal energy (qi). At this level, it is necessary to further understand the combat skill implicit in each quan form and its application. For this, one has to practise push-hands, check on the forms, the quality and quantity of the internal force and expression of the force as well as dissolving of force. If one's quan form can withstand confrontational push-hands then one must have mastered the important points of the form. He would gain more confidence if he continues to work hard. He may then step up his exercise routine and add in some complementary practice like practising with the long staff, sword or broad sword; spear and pole as well as practising fa jin i.e. expression of explosive force on its own. With two years continuous practise in this manner, generally one should be able to attain the fourth level of kung fu.
With the third level of kung fu, although there is smooth flow of internal qi and the actions are better coordinated, but the internal qi is weaker and the coordination between muscle movements and the functioning of the internal organs is not sufficiently established. While practising alone without external disturbances, one may be able to achieve internal and external coordination. During confrontational push-hand[s] and combat, if the advancing force is softer and slower, one may be able to go along with the attacker and change one's actions accordingly; grab any opportunity to lead the opponent into a disadvantageous situation[; or] avoid the opponent's firm move but attack when there is any weakness, manoeuvring with ease. However, once encountering a stronger opponent, the student may feel that his peng jin, i.e. blocking force, is insufficient, and there is a feeling that one's form is being pressed and about to collapse (this may destroy the unfailing position which is supposed to be never-leaning and never-declining but with all round support), and cannot manoeuvre at will. The student may not achieve what the Taijiquan Classics describe as 'striking with the hands without them being seen, once they are visible, it is impossible to manipulate'. Even in leading-in and expelling-out the opponent, one [may] feel stiff and much effort is required. As such the skill at this stage is described as '30% yin, 70% yang, still on the hard side.'
The training content (like quan and weapons) is similar to that in third level of kung fu. With perseverance, generally the fifth level kung fu can be reached in three years. In terms of martial skill the fourth level differs much from the third level kung fu. The third level kung fu aims at dissolving the opponent's force and to get[ting] rid of conflicts in one's own actions. This is to enable oneself to play the active role and forcing the opponent to be passive. The fourth level kung fu enables one to dissolve as well as express force. This is because at that level, one would have sufficient internal jin, flexible change in yi and qi and a consolidated system of the body movements. As such, during push-hands, the opponent's attack does not pose a big threat. On contact with the opponent, one can immediately change one's action and thus disolve the on-coming force with ease, exhibiting the special characteristics of going along with the movements of the opponent but yet changing one's own actions all the time to counteract the opponent's action, exerting the right force, adjusting internally, predicting the opponent's intention, subduing one's own actions, expressing precise force and hitting the target accurately. Therefore, a person attaining this level of kung fu is described as '40% yin, 60% yang; akin to a good practitioner.'
As regarding the martial skill, at this level the gang (hard) should complement the rou (soft), it (the form) should be relaxed, dynamic, springy and lively. Every move and every motionless instant is in accordance with taiji principle, as are the movements of the whole body. This means that every part of the body should be very sensitive and quick to react when the need arises. So much so that every part of the body can act as a fist to attack whenever is in contact with the opponent's body. There should also be constant interchange between expressing and conserving of force and the stance should be firm as though supported from all sides.
Therefore the description for this level of kung fu is that it is the 'only one that plays with 50% yin and 50% yang, without any bias towards yin or yang, and the person who can do this is termed a good master. A good master makes every move according to the taiji principles which demands that every move be invisible.'
After completing the fifth level kung fu a strong relationship has been established between the co-ordination of the mind, contraction and relaxation of the muscles, movements of the muscles and functioning of the internal organs. Even when encountering a sudden attack such co-ordination will not be hampered as one should be flexible to change. Even then, one should continue to pursue further so as to achieve greater heights.
Development in science is beyond boundary, so is practising taijiquan: one could never exhaust all its beauty and benefits in one's life time.
The standard and martial skill requirements for each level of kung fu will be described in the following sections. It is hoped that with these, the many taijiquan enthusiasts all over the world will be able to 'assess' on their own their current level of attainment. They will then know what they need to learn next and advance further step-by-step.
The First Level of Kung Fu
In practising taijiquan, the requirements on the different parts of the body are: keeping a straight body; keeping the head and neck erect with mindfulness at the tip of the head as if one is lightly lifted by a string from above; relaxing the shoulders and sinking the elbows; relaxing the chest and waist letting them sink down; relaxing the crotch and bending the knees. When these requirements are met, one's inner energy will naturally sink down to the dan tian. Beginners may not be able to master all these important points instantly. However, in their practice they must try to be accurate in terms of direction, angle, position, and the movements of hands and legs for each posture. At this stage, one need not place too much emphasis on the requirements for different parts of the body, appropriate simplications are acceptable. For example, for the head and upper body, it is required that the head and neck be kept erect, chest and waist be relaxed downward, but in the first level of kung fu, it will be sufficient just to ensure that one's head and body are kept naturally upright and not leaning forward or backward, to the left or right. This is just like learning calligraphy, at the beginning, one need only to make sure that the strokes are correct. Therefore, when practising taijiquan at the beginning, the body and movements may appear to be stiff; or 'externally solid but internally empty'. One may find oneself doing things like: hard hitting, ramming, sudden uplifting and or sudden collapsing of body or trunk. There may be also be broken or over-exerted force or jin. All these faults are common to beginners. If one is persistent enough and practices seriously everyday, one can normally master the forms within half a year. The inner energy, qi, can gradually be induced to move within the trunk and limbs with refinements in one's movements. One may then achieve the stage of being able to use external movements to channel internal energy'. The first level kung fu thus begins with mastering the postures to gradually being able to detect and understand jin or force.The martial skill attainable with the first level of kung fu is very limited. This is because at this stage, one's actions are not well coordinated and systematic. The postures may not be correct. Thus the force or jin produced may be stiff, broken, lax or on the other hand too strong. In practicing the routine, one's form may appear hollow or angular. As such one can only feel the internal energy but is not able to channel the energy to every part of the body in one go. Consequently, one is not able to harness the force or jin right from the heels, channel it up the legs, and discharge it through command at the waist. On the contrary , the beginners can only produce broken force that 'surge' from one section to another section of the body. Therefore the first level kung fu is insufficient for martial application purposes. If one were to test one's skill on someone who does not know martial arts, to a certain extent they can remain flexible. They may not have mastered the application but by knowing how to mislead his opponent the student may occasionally be able to throw off his opponent. Even then, he may be unable to maintain his own balance. Such a situation is thus termed "the 10% yin and 90% yang; top heavy staff".
What then exactly is yin and yang? In the context of practising taijiquan, emptiness is Yin, solidity is yang; gentleness or softness is yin, forcefulness or hardness is yang. Yin and yang is the unity of the opposites; either one cannot be left out; yet both can be mutually interchanged and transformed. If we assign a maximum of 100% to measure them, when one in his practice can attain an equal balance of yin and yang, he is said to have achieved 50% yin and 50% yang. This is the highest standard or an indication of success in practicing taijiquan. In the first level of skill in kung fu, it is normal for one to end up with '10% yin and 90% yang'. That is, one's quan or boxing is more hard than soft and there is imbalance in yin and yang. The learner is not able to complement hard with soft and to command the applications with ease. As such, while still at the first level, learners should not be too eager to pursue the application aspect in each posture.
The Second Level of Kung Fu
The level starting from the last stage of the first level when one can feel the movement of internal energy or qi to the early stage of the third level of kung fu is termed as the second level of kung fu. The second level of kung fu involves further reducing shortcomings such as: stiff force/jin produced while practising taijiquan; over- and under-exertion of force as well as movements which are not well coordinated. This is to ensure that the internal energy/qi will move systematically in the body in accordance with the requirements of each movement. Eventually, this should result in smooth flowing of qi in the body and good coordination of internal qi with external movements.After acquiring the first level of kung fu, one should be able to practise with ease according to the preliminary requirements of the movements. The student is able to feel the movement of internal energy. However, the student may not be able to control the flow of qi in the body. There are two reasons for this: firstly, the student has not mastered accurately the specific requirements on each part of the body and their coordination. As an example, if the chest is relaxed downward too much, the waist and back may not be straight, or if the waist is too relaxed then the chest and rear may protrude. As such, one must further strictly ensure that the requirements on each part of the body should be resolved so that they move in unison. This will enable the whole body to close or unite in a coordinated manner (which means coordinated internal and external closing/union. Internal closing implies coordinated union of heart and mind, of internal energy and force, tendons and bones. External closing/union of movements implies coordinated closing of hands with legs, elbows with knees, shoulders with hips). Simultaneously, there should be an equal and opposite closing movement of another part of the body and vice versa. Opening and closing movements come together and complement each other. Secondly, while practising one may find it hard to control different parts of the body all at once. This means one part of the body may move faster than the rest and result in over-exertion of force; or a certain part may move too slowly or without enough force, thus resulting in a under-exertion of force. These two phenomena both contradict the principle of taijiquan. Every movement in Chen style taijiquan is required not to deviate from the principle of the 'spiralling silk force' or chan-si jin. According to the Theory of Taijiquan, 'the chan-si-jin originates from the kidneys and at all times is found in every part of the body'. In the process of learning taijiquan, the spiralling-silk method of movement (ie. the twining and spiralling method of movement) and the spiralling-silk force (ie. the inner force produced from the spiralling-silk method of movement), can be strictly mastered through relaxing shoulders and elbows, chest and waist as well as crotch and knees and using the waist as a pivot to move every part of the body. Starting with rotating the hands anti-clockwise, the hands should lead the elbows which in turn leads the shoulders which then guide the waist (the part of the waist corresponding to that side of the should that is being moved. In actual fact the waist is still the pivot). On the other hand, if the hands rotate in a clockwise direction, the waist should move the shoulders, the shoulders move the elbows, the elbows in turn move the hands. For the upper half of the body, the wrists and arms should appear to be gyrating; whereas for the lower portion of the body the ankle and the thigh should appear to be rotating; as for the trunk, the waist and the back should appear to be turning. Combining the movements of the three parts of the body we should visualise a curve rotating in space. This curve originates from the legs, with the centre at the waist and ends at the fingers. In practising the quan, (or the form), if one feels awkward with a particular movement, one can adjust one's waist and thigh according to the sequence of flow of the chan-si-jin to achieve coordination. In this way, any error can be corrected. Therefore, while paying attention to the requirement on each part of the body to achieve total co-ordination of the whole body, the mastering of the rhythm of movement of the spiralling-silk method and spiralling silk force is a way of resolving conflicts and self-correction for any mistake in practising taijiquan after attaining the second level of kung fu.
In the first level of kung fu, one begins with learning the forms, and when one is familiar with the forms, the student can feel the movement of internal energy in the body. The student may well be very excited and thus never feel tired or bored. However, in entering the second level of kung fu, the student may feel there is nothing new to learn and at the same time misunderstand certain important points. The student may not have mastered these main points accurately and thus find that their movements are awkward. Or, on the other hand, the student may find that he or she can practise the quan smoothly and express force with much vigour but cannot apply them while doing push-hands. Because of this, one may soon feel bored, lose confidence and may give up altogether. The only way to reach the stage where one can: produce the right amount of force, not too hard and not too soft; can change actions at will; and can turn smoothly with ease, is to be persistent and strictly adhere to principles. One has to train hard in the form so that the body movements are well co-ordinated, and with 'one single movement can activate movements in every part of the body' , thus establishing a complete system of movements. There is a common saying, 'if the principle is not clearly understood, consult a teacher; if the way is not clearly visible, seek the help of friends'. When the principles as well as the methods are clearly understood, with constant practice, success will prevail eventually. The Taijiquan Classics state that, 'everybody can possess the ultimate, if only one works hard.' And 'if only one persists, ultimately one should achieve sudden break through'. Generally, most people can attain the second level of kung fu in about four years. When one reaches the state of being able to experience a smooth flow of qi in the body, one would suddenly understand it (the command of qi) all. When this happens, one would be full of confidence and enthusiasm as one goes on practising. One may even have the strong urge to go on and on and wouldn't feel like stopping!
At the beginning of the second level kung fu the martial art skill attained is about the same as in the first level kung fu. It is not sufficient for actual application. At the end of the second level kung fu one is nearing attaining the third level kung fu, as such the martial skill acquired may be applicable to a certain extent.
The next section introduces the martial skill that should be attainable half-way through the second level kung fu (so are the third, fourth and fifth levels of kung fu in the subsequent sections. They are discussed with reference to the skill attainable in the half-way stage in each level.)
Push-hands and practising taijiquan are inseparable. Whatever shortcomings one has in his quan form will show up as weaknesses during push-hands and thus giving the opponent an opportunity to take advantage of them. Because of this, in practising taijiquan every part of one's body must be well coordinated with the rest, there shouldn't be any unnecessary movement. Push-hands requires warding-off, grabbing, squeezing and pressing to be carried out so precisely, so that the upper and lower bodies move in co-ordination and it is thus difficult for opponents to attack[. As the saying goes: 'No matter how great is the force on me, I should mobilise four ounces of strength to deflect one thousand pounds of force'. The second level of kung fu aims at achieving smooth flowing of qi in the body by correcting the postures so as to reach the stage when qi should penetrate the whole body passing through every joint as if it (qi) is sequentially linked. However, the process of adjusting the postures involves making unnecessary or unco-ordinated movements. Therefore, at this stage, one is unable to apply the martial skill at will during push-hands. The opponent will concentrate on looking for these weaknesses or he or she may win by surprising one into committing all the errors like over-exerting, collapsing, throwing-off and confronting of force. During push-hands, the opponent's advance will not allow one to have time to adjust one's movements. The opponent will make use of one's weak point to attack so that one will lose balance or will be forced to step back to ward off the advancing force. Nevertheless, if the opponent advances with less force and in a slower manner, there may be time or opportunity to make adjustments and one may be able to ward off the attack in a more satisfactory manner. Drawing from the above discussion, for the second level kung fu, whether one is attacking or blocking-off an attack, much effort is needed. Very often, it will be an advantage to make the first move, the one who moves last will be at an disadvantage. At this level, one is unable to 'forget' oneself but 'play along with' the opponent (ie. not to attack but to yield to the opponent's movement); unable to grasp an opportunity to respond to change. One may be able to move and ward off an attack but may easily commit errors like throwing-off or collapsing and over-exerting or confronting [the?] force. Because of these, during push-hands, one cannot move according to the sequence of warding-off, grabbing, pressing and pushing down. A person with this level of skill is described as '20% yin, 80% yang: an undisciplined new hand.'
The Third Level Kung Fu
'If you wish to do well in your quan (or form), you must practice to make your circle smaller.' The steps in practising Chen-style taijiquan involve progressing from mastering big circle to medium circle and from medium circle to small circle. The word 'circle' here does not mean the path/trail resulting from movements of the limbs but rather the smooth flowing of the internal energy of qi. In this respect, the third level kung fu is a stage in which one shall begin with big circle and end with medium circle (in the circulation of qi).The Tiajiquan Classic mentioned that 'yi and qi are more superior than the forms' meaning that while practising taijiquan one should place emphasis on using yi (consciousness). In the first level of kung fu, one's mind and concentration are mainly on learning and mastering of the external forms of taijiquan. While in the second level of kung fu, one should concentrate on detecting conflicts/unco-ordination of limbs and body and of internal and external movements. One should adjust body and forms to ensure a smooth flow of the internal energy. When progressing into the third level kung fu, one should already have the internal energy flowing smoothly: what is required is yi and not brute force. The movements should be light but not 'floating', heavy but not clumsy. This implies that the movements should appear to be soft but the internal force is actually strong/sturdy, or there is strong force implied in the soft movements, and the whole body should be well-coordinated and there should not be any irregular movements. However, one should not just pay attention to the movement of qi in the body and neglect the external actions. Otherwise, one would appear to be in a daze and as a result, the flow of internal qi may not only be obstructed but may be dispersed. Therefore, as stated in the Taijiquan Classics, 'attention should be on the spirit and not just qi, with too much emphasis on qi there will be stagnation (of qi)'.
One may have mastered the external forms between the first and second level kung fu, but he may not have attained co-ordination of the external with internal movements. Sometimes, due to stiffness or stagnation of the actions, full breathing-in is not possible. On the other hand, without proper co-ordination of the internal and external movements, it is not possible to empty one's breath completely. Thus, when practising quan one should breath[e] naturally. After entering into the third level kung fu, there is better co-ordination of internal and external movements. As such generally the actions can be synchronized with breathing quite precisely. However, it is necessary to consciously synchronize breathing with movements for some finer, more complicated and swifter actions. This is to further ensure co-ordination of breathing and actions so that it gradually comes on naturally.
The third level of kung fu basically involves mastering the internal and external requirements of Chen-style taijiquan and rhythm of exercise as well as the ability to correct oneself. One should also be able to command the actions with more ease and should also ha[ve] more internal energy (qi). At this level, it is necessary to further understand the combat skill implicit in each quan form and its application. For this, one has to practise push-hands, check on the forms, the quality and quantity of the internal force and expression of the force as well as dissolving of force. If one's quan form can withstand confrontational push-hands then one must have mastered the important points of the form. He would gain more confidence if he continues to work hard. He may then step up his exercise routine and add in some complementary practice like practising with the long staff, sword or broad sword; spear and pole as well as practising fa jin i.e. expression of explosive force on its own. With two years continuous practise in this manner, generally one should be able to attain the fourth level of kung fu.
With the third level of kung fu, although there is smooth flow of internal qi and the actions are better coordinated, but the internal qi is weaker and the coordination between muscle movements and the functioning of the internal organs is not sufficiently established. While practising alone without external disturbances, one may be able to achieve internal and external coordination. During confrontational push-hand[s] and combat, if the advancing force is softer and slower, one may be able to go along with the attacker and change one's actions accordingly; grab any opportunity to lead the opponent into a disadvantageous situation[; or] avoid the opponent's firm move but attack when there is any weakness, manoeuvring with ease. However, once encountering a stronger opponent, the student may feel that his peng jin, i.e. blocking force, is insufficient, and there is a feeling that one's form is being pressed and about to collapse (this may destroy the unfailing position which is supposed to be never-leaning and never-declining but with all round support), and cannot manoeuvre at will. The student may not achieve what the Taijiquan Classics describe as 'striking with the hands without them being seen, once they are visible, it is impossible to manipulate'. Even in leading-in and expelling-out the opponent, one [may] feel stiff and much effort is required. As such the skill at this stage is described as '30% yin, 70% yang, still on the hard side.'
The Fourth Level Kung Fu
Progressing from the stage with medium circle to that with small circle is required of the fourth level kung fu. This is the stage nearing success and thus is of high level of kung fu. One should have mastered the effective method of training, be able to grasp the important points in the movements; be able to understand the martial/combat skill implicit in each movement; to have smooth flow of the internal energy or qi; and the co-ordination of actions with breathing. However, during practice, each step and each movement of hands should be carried out with a confronting opponent in mind, that is to say, one has to assume that he is surrounded by enemies. For each posture and each form, each part of the body must move in a linked and continuous manner so that the whole body moves in unison. 'Movements of the upper and lower body are related and there should be a continuous flow of qi with the control being at the waist.' So that when practising quan, one should carry it out 'as if there is an opponent although no-one is around'. When actually confronted, one should be brave but cautious, behaving 'as if there is no-one around though there is someone there.'The training content (like quan and weapons) is similar to that in third level of kung fu. With perseverance, generally the fifth level kung fu can be reached in three years. In terms of martial skill the fourth level differs much from the third level kung fu. The third level kung fu aims at dissolving the opponent's force and to get[ting] rid of conflicts in one's own actions. This is to enable oneself to play the active role and forcing the opponent to be passive. The fourth level kung fu enables one to dissolve as well as express force. This is because at that level, one would have sufficient internal jin, flexible change in yi and qi and a consolidated system of the body movements. As such, during push-hands, the opponent's attack does not pose a big threat. On contact with the opponent, one can immediately change one's action and thus disolve the on-coming force with ease, exhibiting the special characteristics of going along with the movements of the opponent but yet changing one's own actions all the time to counteract the opponent's action, exerting the right force, adjusting internally, predicting the opponent's intention, subduing one's own actions, expressing precise force and hitting the target accurately. Therefore, a person attaining this level of kung fu is described as '40% yin, 60% yang; akin to a good practitioner.'
The Fifth Level Kung Fu
The fifth level kung fu is the stage in which one moves from commanding small circle to commanding invisible circle, from mastering the form to executing the form invisibly. According to the Taijiquan Classics, 'with the continuous smooth flowing of qi, with the cosmic qi moving one's natural internal qi, moving from a fixed form to invisibility, one realises how wonderful nature is.' At the fifth level, the actions should be flexible and smooth, and there should be sufficient internal jin. However, it is still necessary to strive for the best. There is the need to work hard day by day until the body is very flexible and adaptable to multi-faceted changes. There should be changes internally alternating between the substantial and insubstantial but these should be invisible externally. Only until then that the fifth level kung fu is achieved.As regarding the martial skill, at this level the gang (hard) should complement the rou (soft), it (the form) should be relaxed, dynamic, springy and lively. Every move and every motionless instant is in accordance with taiji principle, as are the movements of the whole body. This means that every part of the body should be very sensitive and quick to react when the need arises. So much so that every part of the body can act as a fist to attack whenever is in contact with the opponent's body. There should also be constant interchange between expressing and conserving of force and the stance should be firm as though supported from all sides.
Therefore the description for this level of kung fu is that it is the 'only one that plays with 50% yin and 50% yang, without any bias towards yin or yang, and the person who can do this is termed a good master. A good master makes every move according to the taiji principles which demands that every move be invisible.'
After completing the fifth level kung fu a strong relationship has been established between the co-ordination of the mind, contraction and relaxation of the muscles, movements of the muscles and functioning of the internal organs. Even when encountering a sudden attack such co-ordination will not be hampered as one should be flexible to change. Even then, one should continue to pursue further so as to achieve greater heights.
Development in science is beyond boundary, so is practising taijiquan: one could never exhaust all its beauty and benefits in one's life time.
陈氏太极拳五层功夫论 - 陈小旺
一阴九阳跟头棍， 二阴八阳是散手， 三阴七阳尤觉硬，
四阴六阳类好手， 唯有五阴并五阳， 阴阳不偏称妙手。
从学习太极拳的第一个动作开始，一直到成功，共分五层功夫。每层功夫标志着练拳者功夫的深浅程度和水平的高低。第五层功夫即是太极拳达到炉火纯青－－成功的标准。
练习太极拳和学习文化知识是同样的道理。从小学到大学，逐步掌握越来越高的文化知识。没有小学高中这段文化知识的基础，根本接受不了大学的课程。同样，练习太极拳必须循序渐进，一层一层由浅入深。如果违背了这个规律，小学生硬要学习大学的课程，无异于拔苗助长，结果是欲速则不达。
在陈式太极拳的一些著作中，着重介绍了高级的技击方法，严密的身法要求和成功的标准，对初级和中级阶段的介绍比较缺乏，读者若有一定太极拳水平，才能够理解，也可以对照自己在练拳当中的不足之处找出差距，进一步探讨和掌握。对于初学者来说，则难以理解和接受。而只会感到高不可攀，无法入手，与自己练习结合不上。初学者如果按成功的标准来要求，正如小学生读大学课本，不仅不能正常练习，反而会受到束缚，或者是顾此失彼，越来越糊涂，容易灰心。针对这个问题，现将初级的第一层功夫到成功的第五层功夫，每一层功夫在练习当中达到的标准和技术方面的表现，作如下介绍，目的是使广大太极拳爱好者，明确自己现有的基础，属于哪一层功夫，应该进一步掌握哪些东西，以及技击方面的表现和所起到的作用，这样有了正确和全面的认识，方向明确，方法对头，才能够一步一步达到最终成功的目的。
第一层功夫的练习
第一层功夫是从学习一路拳架的第一个式子开始，一招一式，按照逐要求的方向、角度、位置、手脚运行的趋向等外形姿势与动作进行练习，在练习时感觉到有内气的活动为止，该阶段主要是学习一路拳架。
练习太极拳要求立身中正，虚领顶劲，松肩沉肘，含胸塌腰，开髋屈膝，达到心气下降，气沉丹田的目的，而初练太极拳怎么也不会一下子就达到这些要求，因此也就不会使气沉丹田。第一层功夫对身肢的要求比较简单，如：虚领顶劲只要求头自然正，含胸塌腰，只要立身中正不前俯后仰，左歪右斜，两腿分清虚实，尽管做的不够标准，仍要按照其要求去练习。这和写字一样，只要笔划对就行了。在练拳当中难免带一些僵硬动作和一些凹凸缺陷之处，属于正常现象。这些问题，在第一层功夫练习期间，不必过于计较，要求过高反被束缚。需要在第二层至第五层功夫期间逐步地将它完全克服掉，所谓一层深一层，层层妙无穷。费一日功力，即得一日这功效，日积月累，水到渠成，道理正在于此。功夫纯熟，处处合度自然周身内外，一气贯通，如长江之水滔滔不绝。
在意识指挥下，按照身法规矩和逐势的动作要求，认真练习，每天保持练十趟拳，一般有半年时间，可以将拳架练熟，并且随着锻炼质量的提高，逐渐引起内气在肢体内的活动，就是以外形引内气的过程，也是从第一层功夫进入第二层功夫的分界线，这就是由摺熟而渐悟懂劲。
在第一层功夫期间，对逐势的技击含义不必追求，因为身法的要求尚未做到，便去结合技击方法，不但不能配合恰当，反而会出现顾上顾不了下，顾左顾不了右......本应逐步化去僵劲，过早追求技击却适得其反，越练越僵，影响功夫的进益。
在练第一层功夫期间，存在以上所说到的缺点，从风格上达不到外柔内刚，轻而不浮，沉而不僵......。而是外刚内空，有猛打，猛冲，猛起，猛落，有断劲，有顶劲，不能圆满顺随，（不从练功角度出发而疗病保健，是要轻灵自然，但属于浮飘华而不实，任其自然，不必按以上要求练习）。
练习太极拳要求立身中正，虚领顶劲，松肩沉肘，含胸塌腰，开髋屈膝，达到心气下降，气沉丹田的目的，而初练太极拳怎么也不会一下子就达到这些要求，因此也就不会使气沉丹田。第一层功夫对身肢的要求比较简单，如：虚领顶劲只要求头自然正，含胸塌腰，只要立身中正不前俯后仰，左歪右斜，两腿分清虚实，尽管做的不够标准，仍要按照其要求去练习。这和写字一样，只要笔划对就行了。在练拳当中难免带一些僵硬动作和一些凹凸缺陷之处，属于正常现象。这些问题，在第一层功夫练习期间，不必过于计较，要求过高反被束缚。需要在第二层至第五层功夫期间逐步地将它完全克服掉，所谓一层深一层，层层妙无穷。费一日功力，即得一日这功效，日积月累，水到渠成，道理正在于此。功夫纯熟，处处合度自然周身内外，一气贯通，如长江之水滔滔不绝。
在意识指挥下，按照身法规矩和逐势的动作要求，认真练习，每天保持练十趟拳，一般有半年时间，可以将拳架练熟，并且随着锻炼质量的提高，逐渐引起内气在肢体内的活动，就是以外形引内气的过程，也是从第一层功夫进入第二层功夫的分界线，这就是由摺熟而渐悟懂劲。
在第一层功夫期间，对逐势的技击含义不必追求，因为身法的要求尚未做到，便去结合技击方法，不但不能配合恰当，反而会出现顾上顾不了下，顾左顾不了右......本应逐步化去僵劲，过早追求技击却适得其反，越练越僵，影响功夫的进益。
在练第一层功夫期间，存在以上所说到的缺点，从风格上达不到外柔内刚，轻而不浮，沉而不僵......。而是外刚内空，有猛打，猛冲，猛起，猛落，有断劲，有顶劲，不能圆满顺随，（不从练功角度出发而疗病保健，是要轻灵自然，但属于浮飘华而不实，任其自然，不必按以上要求练习）。
第一层功夫在技击方面的表现
练习太极拳完成第一层功夫，在技击方面所起到的作用是很有限的。由于第一层功夫的身法达不到标准，存在着一些僵劲，断劲，丢劲，顶劲，在练习拳架时有凹凸缺陷之处，内气仅仅有感觉，不能一气贯通。发出来的劲，不是劲起脚跟行于腿，主宰于腰，而是一节飞跃到另一节的零断劲，如同无源之水、无本之木，由于存在着这些问题，所以在技击方面不能引进落空，避实就虚，更不用说指挥如意，往往自己掌握不住自己的重心，漏洞百出。对抗性的比赛和搏击，乃是双方当场不让步，举手不留情，见缝插针，乘虚而入，所以完成第一层功夫是经不起这种实战考验的。不过与不练拳的人相比，还是强一些，有一定的灵活性，知道引劲落空，有时也偶然把对方发出去，但自己也难以保持身体的平衡，容易失去重心，站不住脚，所以称为：一阴九阳根头棍。何为阴阳？按太极拳来说：虚为阴，实为阳；合为阴，开为阳；柔为阴，刚为阳；阴与阳，是对立的统一，缺一不可，二者又可以相互转化，练习太极拳按十份计算，练到阴阳相等，就是五阴五阳，是练习太极拳成功的标准。第一层功夫是一阴九阳、刚多柔少，阴阳很不平衡，悬殊过大，所以，做不到刚柔相济，运用自如。
第二层功夫的练习
第二层功夫的任务，是进一步去掉在练拳时，身手内外产生的僵劲和拙力，使身手内外协调一致，达到周身相随节节贯串，内气按拳架姿势的要求有规律地在体内里运行，达到一气贯通。
完成了第一层功夫，已经能够熟练地按逐势动作初步要求来练习，并且对内气活动已有明显的感觉，但是还不能进一步掌握住内气，这是因为在练拳过程中，身手内外不够协调，某一部位产生有矛盾，使内气不能贯通，意气不能合一，（何为矛盾？在练拳当中，肢体带有僵劲和用有拙力，使某一部位动作较快，过了，就会产生顶劲，某个部位动作较慢，不给，就会产生丢劲，凡是在运动过程中，动作不协调而产生偏倚，凹凸，缺陷之处，就是运动当中旌的矛盾），这些矛盾，只有进一步钻研，细心捉摸，才能逐步解决，身手内外不经过长时间的练习，虽然懂其要领，按其姿势练习，往往顾此失彼，正如写字，学会写再要求字的结构，这时，练拳者一定要注意，严格地掌握自己的身肢各部位，使之恰当，例如含胸塌腰，含胸过度则弯腰弓背，塌腰过度则挺胸扛肚，所以要把身肢各个部位的要求掌握适当，使矛盾对立统一起来，进一步结合和掌握放松的质量，使周身相合。周身相合分为内合和外合。外合，即手与足合，肘与膝合，肩与髋合，左手与右足合，左肘与右膝合，右边皆如此，手与身相合，头与手相合，身与步相合。内合，即筋与骨相合，气与力相合；心与意相合；肝与筋合；脾与肉合；肺与身，肾与骨合，心意合一，周身内外一齐合住，心意一开，内外俱开，同时开中寓合，合中寓开，一开连一合，开合递相承。
第二层功夫当中对身体各单位的要求比较严格，处处解决矛盾，力求内气贯通，有时某个部位稍微动一点，内气就马上顺下去，的确是差之毫厘，谬之千里。练拳者和身手内外，若有合不住的感觉，身体某个部位必然用了僵劲，产生了矛盾，将该部位调整恰当，气能顺，自然就会合住。
完成了第一层功夫，已经能够熟练地按逐势动作初步要求来练习，并且对内气活动已有明显的感觉，但是还不能进一步掌握住内气，这是因为在练拳过程中，身手内外不够协调，某一部位产生有矛盾，使内气不能贯通，意气不能合一，（何为矛盾？在练拳当中，肢体带有僵劲和用有拙力，使某一部位动作较快，过了，就会产生顶劲，某个部位动作较慢，不给，就会产生丢劲，凡是在运动过程中，动作不协调而产生偏倚，凹凸，缺陷之处，就是运动当中旌的矛盾），这些矛盾，只有进一步钻研，细心捉摸，才能逐步解决，身手内外不经过长时间的练习，虽然懂其要领，按其姿势练习，往往顾此失彼，正如写字，学会写再要求字的结构，这时，练拳者一定要注意，严格地掌握自己的身肢各部位，使之恰当，例如含胸塌腰，含胸过度则弯腰弓背，塌腰过度则挺胸扛肚，所以要把身肢各个部位的要求掌握适当，使矛盾对立统一起来，进一步结合和掌握放松的质量，使周身相合。周身相合分为内合和外合。外合，即手与足合，肘与膝合，肩与髋合，左手与右足合，左肘与右膝合，右边皆如此，手与身相合，头与手相合，身与步相合。内合，即筋与骨相合，气与力相合；心与意相合；肝与筋合；脾与肉合；肺与身，肾与骨合，心意合一，周身内外一齐合住，心意一开，内外俱开，同时开中寓合，合中寓开，一开连一合，开合递相承。
第二层功夫当中对身体各单位的要求比较严格，处处解决矛盾，力求内气贯通，有时某个部位稍微动一点，内气就马上顺下去，的确是差之毫厘，谬之千里。练拳者和身手内外，若有合不住的感觉，身体某个部位必然用了僵劲，产生了矛盾，将该部位调整恰当，气能顺，自然就会合住。
陈氏太极拳要求一举一动都不离缠丝劲，拳论中说：“缠丝劲发源于肾，处处皆有，无不然。”在运动中严格掌握缠丝法（即缠绕螺旋的运动方法），和缠丝劲（即用缠丝法练出来的劲），这是陈氏太极拳中的精华所在，缠丝法要求在松肩沉肘，含胸塌腰，开髋屈膝，以腰为轴一动全动，掌心内外翻转，手往里转，以手领肘，以肘领肩，以肩领腰（指的是该侧的腰，实质上还是以腰为轴）手往外转，以腰摧肩，以肩催肘，以肘催手。表现在上肢是旋腕转膀，表现在下肢是旋踝转腿，表现在身躯则是旋腰转背，三者结合起来，形成一条根在脚，主宰于腰而形于手指的空间旋转曲线。在练拳时，如果感到某一动作有不得势式不得劲处，就可以依据缠丝的顺遂处挪动一下腰腿，以求得顺遂，这样可使姿势得到纠正，所以在注意身肢各部位的要求，使周身相合的同时，掌握缠丝法的运动规律，是在第二层功夫练习当中解决矛盾的手段，和自我纠正的方法。如果有老师亲手捏架子，把身肢各个部位调整到位，使练拳者有一定的体会，思想上有一定的印象和认识，就比较容易掌握周身相结合和缠丝劲的方法。如果没有这样的条件，照书本自学，困难就大一些，应学习一些生理知识，特别是有关生理解剖和经络方面的知识，以利正确理解。
人体的内气，在经络中运行，好比灌溉田地，人身的经络，好象农田的沟渠，经络不闭则气通，沟渠不塞而水行。练拳时如果身肢产生了矛盾，内气就会受阻而中断，行不到梢节（两手、两足尖端），只有经过练习，使周身各部位符合拳架的要求，就能解决矛盾，达到节节贯串，恰如疏通了被堵塞的水渠，使内气畅通，发于丹田，达到梢节，因此，练拳时要力求顺便，动作协调。
在第一层功夫期间，练拳者开始学拳架，架子练熟就感觉到内气在身肢内活动，于是很感举，对练拳不会有厌倦之感。进入第二层功夫，却感觉不到什么新鲜之处，在这一段时期中，会出现许多走弯路和反复现象。所谓走弯路，就是练拳者对太极拳的要领产生误解，或是掌握不准确，产生片面的认识，因而在练拳中出现了错误，练一段时间自己就会感到别扭，不得劲，或者老师会指出其错误；所谓反复，就是有时练的非常顺遂，好象有很大进步，但又练一段时间，不仅感觉不能什么进步，反而浑身别扭，怎么练都不得劲，还有时候练的非常顺遂，发劲也是呼呼带风，推手时却用不上。所以在第二层功夫当中，练拳往往会产生烦闷情绪；或者怀疑老师保守，不传诀窍；或者是因为自己身体素质差，耐力不够。虽然对内气有一定的感觉，但要贯通却不容易，拳论中说：“人人各具一太极，但看用功不用功”，又说：“只要用功之久，而一旦豁然贯通矣！”一般情况，需四年即可完成第二层功夫，达到一气贯通，便会恍然大悟。此时，真是水中火发，雪里开花，自然信心百倍，越练兴趣越高，真蒸蒸日上，练拳欲罢不能。“练拳者千人万人，练成者一人十人。“这种说法虽然是夸张，事实上半途而废的人占多数，这主要是在第二层功夫期间经不起考验，失去信心而中断的。攻克这个难关的方法没有什么诀窍，只有以百折不挠的精神，在练习中处处循规蹈矩，刻苦盘架子，把周身练成一家，一动全动，组成一个完整的体系，这样才能达到在运动中不丢不顶，任其变化，园转自如。常言道：“理不明，延明师，路不清，访良友；”理明路通，再加上乾乾之功，持之以恒，终将成功。
第二层功夫的技击表现
从第一层功夫末期发现和感觉到有内气活动时开始，到第三层功夫初期为止，这一段落时间为第二层功夫，第二层功夫所需要的时间最长。初期阶段与末期阶段悬殊很大。第二功夫初期的技击表现与第一层功夫的技击表现一样，实用价值不大，第二功夫末期已接近第三层功夫，尚有一定的技击作用。下面按照第二层功夫中期阶段的技击表现进行介绍（以下第三层、四层、五层均按中期阶段的技击表现进行介绍）。
推手和练拳十分不开的，练拳时存在什么问题，在推手时就会出现什么破绽，给对方以可乘之机，所以说太极拳要求周身相随，切勿妄动。推手时，达到“掤捋挤按须认真，上下相随人难侵、任他巨力人来大，牵动四两拨千斤”。第二层功夫是调整身法，解决矛盾，达到节节贯穿的阶段。在练习当中身肢产生了矛盾，需要挪动腰腿，作一些自我纠正，产生矛盾本身就违背了周身相随和节节贯穿的原则，而调整身法的过程就是妄动。第二层功夫期间存在这些问题又是不可避免的，因而在推手时仍有漏洞，对抗性的推手，对方会专门寻找这些薄弱环节，或者故意引诱对手出现这些问题而出奇制胜，因次在第二层功夫期间虽然比第一层功夫内劲要充足一些，也有一定的调整重心的能力，下盘也比较稳，可是对抗性推手，对方的进攻不会给你调整身法的时间，而利用你的缺陷，乘隙而入，必然会是你受力，因此勉强地去化，往往要带些顶、匾、丢、抗、的毛病，就会使自己控制不住重心,被迫退步，但此阶段也不会轻易被对方打倒，因为这是在牵动对方的同时受力的，对方虽然没有被完全引空，往往也会被牵动重心。如果对方进攻速度较慢，进逼不紧，尽力短，给了自己调整身法的余地，也能花掉对方的进攻。
在此阶段，主动进攻对方时，也容易带些僵劲，用些拙力，只能用一些简单的打法和撇人的方法。例如：小鬼推磨、瞒头扫雪等。遇巧也能将对方打倒。对方若要觉察到，识破了进攻的方法，不等被撇住，一晃而过，计划就要落空，或者他也用僵劲，不让撇住，就会出现拼力气，牛顶头现象，于是乱了手脚，沾粘连随都抛到脑后去了。总之，第二层功夫期间，不管进攻和走化都是比较勉强的，往往是先下手为强，后下手遭殃，尚未完全达到舍已从人，随机应变境界，虽能走化还容易出现丢匾和顶抗等赞美，因此，在推手时一推就乱了套，不能按推手的掤捋挤按的次序进行，所以说，二阴八阳是散手。
第三层功夫的练习
“要想拳练好，必把圈练小”。练习太极拳的步骤，由大圈到中圈，由中圈到小圈，由小圈而无圈，这里指的圈并非是指手脚的运行范围和轨迹，而是内气渐渐贯通为大圈，所谓大圈，由于动作不够十分协调内气比较薄弱，需要动作幅度大。第三层功夫就是由大圈而中圈的阶段，所谓中圈，内气比较充足，运动比较自如，动作幅度适中，就能使内气与动作配合一致。
在进入第三层功夫的初期，虽然内气能够贯通，但是还很薄弱，在练拳时稍微不注意，或者有时疲劳些，动作不够协调，都会影响内气的贯通和运行，在第二层功夫阶段，身手内外产生了矛盾，可以调整身法解决矛盾，使姿势顺随，内气贯通。到了第三层功夫，就不允许产生矛盾再调整身法，要求周身相随，切无妄动。在练习时每一着、每一势、举手投脚都要意到气到，以内气催外形，内气不动，外形寂然不动，内气一动，外形随气而动。以心行气，以气运身。内气发于丹田，运于骨缝之内，再由骨缝运于肌肤，贯注于四稍（两手指、两足尖端），复归于丹田，缠绕往来，轻灵圆转、不丢不顶、轻轻运动、圆转自如。
第三层功夫掌握了练习太极拳的内外要求和运动规律，有了自我纠正的能力，就可以脱离外因的指导，深入研究锻炼，走向成功的道路。
在练习第三层功夫对动作已经熟练地掌握，然后就要进一步追求技击方法，明确逐势的技击含义，同时，还要多练推手，推手是实践，是检验拳架的唯一标准。练习太极拳时对逐势的要求如同制造机器零件，推手就好象成装，如果零件制造的都很规格，机器安装起来就过硬，零件误差过大或者造错了，机器就成装不起来，同时，错在什么地方，安装时最确切，练拳当中存在的问题，一经对抗性的推手就能很明显地表现出来。练拳当中产生了偏倚和丢劲现象，在推手时就容易出现被势，自己势被就是对方进攻的机会，并且容易受力而不利走化。练拳当中产生的顶劲，在推手时，往往与对方顶抗，容易出现牛顶头的比力现象，不易做到舍己从人，因势利导。因此要循规蹈矩地练习拳架，初期少推手，或不推手，可以采取第一种推手方法“挽花”。到第三层功夫，尚需结合对抗性推手，使拳架得到检验和练习知彼功夫，同时检验内劲和发力，以及化劲的质量。总之，适当阶段用推手的方法来校正架子，检验架子，是最客观的办法。因为练习拳架的目的，就是为了适应技击，如果拳架能够适应对抗性的推手，也就证明架子练习的准确，自己进一步下功夫就会更加充满信心。
拳论中说：“意气君来骨肉臣。”可见在练习太极拳时，要着重用意。而太极拳对姿势和动作的要求甚为严格，姿势不准确，内气难通行，意识就指挥不灵，就不能以心行气，可见姿势和动作的重要性。因此，二者必须结合起来，单纯为了疗病保健，逐势动作未能严格要求，开始练拳就是用意不用力，好象在做意识体操那样，练习起来也很舒服，表面看起来也是轻松柔和，其实是华而不实，属于浮飘，正规练习太极拳，要求轻而不浮，沉而不僵，外似处女，内似金刚，也就是外柔内刚，（有充沛的内劲）。柔中寓刚。而只要求轻松柔和，用意不用力，没有内含刚劲是不行的。所以，在第一层功夫当中，思想注意力主要是学习和掌握第一路太极拳的外形姿势；第二层功夫注意力主要是发现在运动当中身手内外产生的矛盾，调整身法，达到内气通行。完成第二层功夫进入第三层功夫，已经疏通了内气，才能够着重用意，用意不用力，一举一动先意而后动形，也就是在大脑支配下进行意气的运动，在练习太极拳时，肢体动作是意的外部表现，隐于内的是内气活动的过程，显于外的则是神态和外气的动荡表现，内气可由内发之于外，也可以由外敛之于内，在运动当中必须做到圆满顺随，在意识指挥下，不丢不顶，圆转自如，并且要把意注于动作之中，千万不可只顾想气在体内如何运行，而忽视动作，否则，就会产生神态呆滞，气不仅不能畅通，反而会造成气势散慢的病象。所以说：在神不在气，在气则滞。
在第一层功夫阶段，好比刚出土的玉米幼苗，尽管肥水充足，长得仍然很慢；第二层功夫好比玉米长了一尺多高正要拔节，到了第三层功夫，就好比玉米拔节一样，只要水肥充足，有一星期时间就会长好几尺高。练习太极拳的肥、水就是要下功夫。进入第三层功夫，已有一定水平，同时体质也练强壮，可以加大运动量，每天练习十五趟拳，（其中三至趟二路拳），还要抖大杆子，练习刀、枪、剑、棍等器械和单势发劲动作。这样练习一般有两年时间，就可以进入第四层功夫。那么单练一路太极拳，不练其它行不行呢？只练一路太极拳也可以，不过，经不起大战，太极拳有阴柔轻灵的一面，譬之和风细雨，太极拳阳刚沉着一面，譬之雷霆万钧，两者兼备互用，才得太极两仪，单凭触觉灵敏，则有被动而无主动，好象有轻武器而无重武器，不易引动对方和放劲干脆；相反地，易被对方所引动。所以在第三层功夫期间，能够做到周身相随，不用僵劲，再加上练习第二路（炮捶）和抖杆子等，加强耐力和爆发力，功夫更加扎实，才能战胜强敌。
在第一层功夫和第二层功夫当中，虽然已掌握了外形动作，但是身手内外尚未完全合度，在练拳时，有时应该吸气，由于动作僵滞，吸不满；应该呼气，由于内外不合呼不净。如果这样硬要按标准的呼吸机械地配合，不仅得不到收效，反而徒劳无益。所以，在第一层功夫和第二层功夫期，练拳时一定要自然呼吸，怎样自然呼吸呢？就是错从错处来，标准的动作应该吸气，由于动作不协调，该动作则应呼气，那么就呼气，反之应该吸气……。千万不要以不标准的动作，按标准的呼吸往上套，随着练习太极拳质量的提高（进入第三层功夫），动作比较协调，内外基本上能够合一，在练习太极拳时，一般的动作也会自然地与呼吸准确的配合起来。同时，对一些比较细致、复杂、疾速的动作，还需要有意识细心地加以配合准确的呼吸，进一步使动作与呼吸完全配合一致地逐步达到顺其自然，调息绵绵，操固内守，注意转换，轻轻运行，默默停止，以意运行……。“开则俱开，合由俱合，顺随自然”。“一开一合阴阳备，四体（两手两足）锻勤骨节张。”“每天细玩太极图，一开一合在吾身”。
第三层功夫的技击表现
太极拳练到高级境界，大脑皮层兴奋和抑制过程就能够准确地按一定程序交替活动：同时肌肉了能协调地收缩与放松，即或偶然受到突然刺激，也不会使这种协调的动作受到损害。做到这一点，表明肌肉的活动与内脏器官之间，已建立了极巩固的协调关系。换句话说：一处动全体皆动，一处静全体皆静，以腰为轴，节节贯串，周身上下缠绕螺旋，没有抽扯之形，没有提拔之意，撞之而不开，破之而不散，混然一圆，方为合格。太极拳练到高级境界，是把周身练成一个能适应客观条件变化的完整而坚固的体系。
第三层功夫虽然达到内气贯通，动作比较协调，仅在不受外界干扰，自己练习太极拳时，身手内外能够组成这种体系。因为，内气虽然贯通，还是比较簿弱的，肌肉的活动现内脏器官之间建立的协调体系，不够稳固。因此，在对抗性推手和技击时，遇到一般比较轻缓的进攻能够舍己从人，随机应变，因势利导，引进落空，避实击虚，运化自如。一遇劲敌，进攻速度较快，力量较强，就会感到掤劲的不足，有欲要将身法压匾之意（有可能要破坏不偏不倚，八面支撑，立于不败之地的身法），在这种情况下，要带生硬将对方发出去（就是没有完全引进落空，对方虽占被动局面，但还有点反抗能力而被发出去）。往往不够干脆，拖泥带水，使对方虽然失败，内心不服。对于一般推手，也是先化掉对方进攻的来劲，使对方扑空，或者封住对方，换过劲来，再将对方发出去；如果对方识破，欲被封住，就一晃而过，不等封死，或者在进劲时，带试探的进劲，就不容易将对方发出去了。在这种情况下，就要快封、快引、使对方被动，或失势，自己也慌张，没有十分把握地去发对方，所以，把对方虽发出去，也难使对方心悦诚服。
由于在第三层功夫中，因自己内气不够充足，周身组成的体系不够巩固，引进和发出对方都带着生硬和勉强，所以说：“三阴七阳犹觉硬”。
第四层功夫的练习
第四层功夫是由中圈而小圈的阶段。练到了第四层功夫已经进入高级境界，接近成功，对具体练习的方法，动作要领，逐势的技击含义注意事项以及逐势的内气运行，呼吸与动作配合等，皆完全掌握。在练习太极拳时，举手投足，不仅做到意到气到，并且要带有实战的意识，象在战场上和敌人作战一样，一式一势，连绵贯串，周身相随，承上启下。下面介绍的一些拳式是假设性的临敌实战法。例如：铺地锦势与跌岔呼应，跌岔悬空直下，右脚踏地如金石声，以跌敌人之足，左足蹬人臁骨，可破其勇，右手展开胳膊握地而上，左手前冲以推人之胸，此则以髀股后坐人之膝，右手拳屈有欲前击之意，左脚展开如不得胜，两手右向捺地，用扫膛鞭以扫群敌下臁，则难自解，此以同类呼应者如此。
以上谈到拳势的技击方法，虽是各有用法，又是千变万化，整打零用，因势利导，随机应变。主要说明在第四层功夫的练习当中，需有临敌之意，在练拳时假设周围都是敌人，在意的指挥下，皆有中气收放，宰乎其中，对周围假设性的敌人，进行激烈的战斗，所以说：“练拳时无人如有人。”真正遇敌交战，要做到胆愈大，心愈细，“有人如无人”‘正如三国志里“长坂坡”中赵子龙，怀抱阿斗，在曹*八十万大军中，匹马单枪，杀进杀出，如入进了无人之境。
第四层功夫和第三层功夫的练习项目（如拳、器械等）相同。一般需要三年可达第五层功夫。
第四层功夫的技击表现
第四层功夫在技击方面与第三层功夫的差别很大。
第三层功夫是化掉对方进攻的劲，解除本身的矛盾，达到己顺人被，然后换过劲来才能反击，谓之一般水平；第四层功夫可以连化带发，进入了高级境界，其原因是：功夫到此阶段，内劲已经非常充足，意气换的灵，周身组成的体系比较巩固。在推手时，对方的进攻对自己的威胁不大，触着即变换身法，很容易地将其劲化空，表现出神以智来，智以藏住的特点，隐于内而不显于外，随人之动而不断改变方向，不丢不顶，内部调整，变化不令人知，处处意在人先，能够做到舍己从人，随机应变，避实击虚，而且动作小，落点准，威力大，化劲容易，发劲干脆，遇人交手时只见将人发出去，看不见有多大动作，好象站着没有动一样（这里说的是一般人看好象没动，因为不是拳打脚踢的那种动作）而且重心稳定。
第三层功夫是化掉对方进攻的劲，解除本身的矛盾，达到己顺人被，然后换过劲来才能反击，谓之一般水平；第四层功夫可以连化带发，进入了高级境界，其原因是：功夫到此阶段，内劲已经非常充足，意气换的灵，周身组成的体系比较巩固。在推手时，对方的进攻对自己的威胁不大，触着即变换身法，很容易地将其劲化空，表现出神以智来，智以藏住的特点，隐于内而不显于外，随人之动而不断改变方向，不丢不顶，内部调整，变化不令人知，处处意在人先，能够做到舍己从人，随机应变，避实击虚，而且动作小，落点准，威力大，化劲容易，发劲干脆，遇人交手时只见将人发出去，看不见有多大动作，好象站着没有动一样（这里说的是一般人看好象没动，因为不是拳打脚踢的那种动作）而且重心稳定。
一次我的一个族兄（我这个族兄也是练拳的）从外地回来，邀我父亲去他家玩（我这族兄与我父亲同岁，身材魁梧，体重一百六十余斤，我父亲体重一百一十余斤，他邀我父亲去他家玩是有目的的）。当我父亲一进屋门，他从背后突然双手抓住我父亲的右膊，合住劲带反关节猛然下采，同时问：“九，九叔（我父亲大排行，行九）这样采劲该怎么破？”（这样突然袭击，一般水平是不好解脱的，再加上他和父亲力量悬殊很大，满以为能将我父亲难为住），我父亲只一抖，只见我那个族兄头朝下，脚步朝上，头部离开地在一米多高，我父亲急转身，抢上一步，弓右腿，我那族兄的头正好跌在我父亲的大腿上，我父亲双手抱着他，有把他平放在地上，吓的他面色苍白，当场还有伯先兄和立业兄（现在这三人还健在），甚感到惊奇。此事如不知内情者，都感到象说神化，认为不要说一只胳膊向后一抖，就是两只胳臂抱住一百六十斤的大个，也仍不了那几尺高。是这样的，真正抱着是扔不起来的，那又是怎样抖起来的呢？其实也很简单，当他从背后双手抓住胳膊猛然下采时，我父亲重心下沉，身体微左转，重心向左移，右胳膊随着他的采劲，逆缠向下，弧形向后，将对方引进落空。此时，由于他用力过猛，一扑空身体向前抢，脚已经离开地面，正当他失去重心的一刹那间，我父亲的身体并没有停顿，继续左转，但重心又从背后由左向右移，胳膊继续逆缠向后上方撩起，正好是绞住我那族兄的腿部，而且是向上撩，实际上他是在空中被拨转了180度，使之头朝下，脚朝上扔了起来，由于动作小巧灵敏而又准确，因势利导，得机得势，刹那间，如迅蕾不及掩耳，奇快无比，超过了一般人的想象，只见一抖便将人扔了起来，其实并没有什么神奇之处，乃是四阴六阳连引带击也。
所以说：“四阴六阳类好手，遇敌以得人为准，以不见形为妙（接触对方）”。
第五层功夫的练习
第五层功夫是由小圈而无圈，也就是由形归无迹的阶段。
练到第五层功夫（这里指五层功夫的初期），基本上已经成功，在技击方面达到刚柔相济、松活弹抖的高级境界。但是，还应继续深造，志不可满，要继续下功夫，愈练愈精，仍然是费一日之功即得一日之成效。虽然达到了刚柔相济，但刚柔相济的质量又有不同，一般来说，柔能克刚，但是如果质量悬殊过大，就不一定了，柔化的再好，只能说一羽不能加，蝇虫不能爬，人不知我，我独知人，仍然是与人交手而已。如果是枪膛里射出来子弹的那种刚劲，柔化的水平再高，也难以化掉，这就不是柔克刚，而是刚要克柔了。所以说，柔能克刚，刚能克柔，刚能克刚，柔能克柔，道理正在于此。否则，只要练几天太极拳都能知道柔能克刚，避实击虚，不与对方顶劲，难道就能立于不败之地了！？绝对不是这样的。拳论中所说：“出手不见手，见手不能走”，又说：“若是功夫纯熟，由其大无外之圈，造到其小无内之境，不遇劲敌则已，如遇劲敌，则内劲猝发，如迅雷烈风之摧枯拉朽，孰能挡之”？凡是此类，补仅是一方功夫纯，相应二者水平差距很大。乃是，柔能克刚，刚还能克柔，反之，棋逢对手，将遇良才，乃是人刚我柔，千变万化，难分胜负。因而太极拳练到第五层功夫，不能自满，还要刻苦锻炼，精益求精。完成了五层功夫，内劲十分充足，动作又非常灵活顺，内有虚实变换，外面看不见，全体空灵，变化无端，随心所欲。
练到第五层功夫（这里指五层功夫的初期），基本上已经成功，在技击方面达到刚柔相济、松活弹抖的高级境界。但是，还应继续深造，志不可满，要继续下功夫，愈练愈精，仍然是费一日之功即得一日之成效。虽然达到了刚柔相济，但刚柔相济的质量又有不同，一般来说，柔能克刚，但是如果质量悬殊过大，就不一定了，柔化的再好，只能说一羽不能加，蝇虫不能爬，人不知我，我独知人，仍然是与人交手而已。如果是枪膛里射出来子弹的那种刚劲，柔化的水平再高，也难以化掉，这就不是柔克刚，而是刚要克柔了。所以说，柔能克刚，刚能克柔，刚能克刚，柔能克柔，道理正在于此。否则，只要练几天太极拳都能知道柔能克刚，避实击虚，不与对方顶劲，难道就能立于不败之地了！？绝对不是这样的。拳论中所说：“出手不见手，见手不能走”，又说：“若是功夫纯熟，由其大无外之圈，造到其小无内之境，不遇劲敌则已，如遇劲敌，则内劲猝发，如迅雷烈风之摧枯拉朽，孰能挡之”？凡是此类，补仅是一方功夫纯，相应二者水平差距很大。乃是，柔能克刚，刚还能克柔，反之，棋逢对手，将遇良才，乃是人刚我柔，千变万化，难分胜负。因而太极拳练到第五层功夫，不能自满，还要刻苦锻炼，精益求精。完成了五层功夫，内劲十分充足，动作又非常灵活顺，内有虚实变换，外面看不见，全体空灵，变化无端，随心所欲。
第五层功夫的技击表现
完成第五层功夫，达一炉火纯青，登峰造极。周身处处皆太极，一动一静具浑然。“诚于中，形于外，千变万化自无穷，火候到纯青，法密理精，浑身轻灵，左右拿出应应应。”
“神穆穆，貌皇皇，气象浑纯，虑灵具一心，万象藏五蕴。寂然不动若遇人，谁知道，阴阴结合在此身。任凭他四面八方人难近，纵有那勇猛过人，突然来侵倾者倾，跌者跌，莫测其神，且更有那去难击，进难进，如站在园石头上立不稳，实在险峻。后悔难免陨。岂有别法门，只要功夫纯，全凭着，一开一合，一笔横扫千人军。”
“神穆穆，貌皇皇，气象浑纯，虑灵具一心，万象藏五蕴。寂然不动若遇人，谁知道，阴阴结合在此身。任凭他四面八方人难近，纵有那勇猛过人，突然来侵倾者倾，跌者跌，莫测其神，且更有那去难击，进难进，如站在园石头上立不稳，实在险峻。后悔难免陨。岂有别法门，只要功夫纯，全凭着，一开一合，一笔横扫千人军。”
“太极阴阳真造化，鸳鸯绣出从君看。”
“脚踢拳打下乘拳，妙手无处不浑然，任他四周都是敌，此身一动悉颠连。我身无处非太极，无心成化成珠园，遭着何处何处击，我亦不知玄又玄。”
余高祖耕耘公以保镖为业，一次保镖经山东掖县一带，镖车停在店内，晚饭后和“王先生”（会计）一路到村头看夜戏。当地有个拳技名手，武艺高强，弟子众多。有心试试耕耘公武艺究竟如何，如是不怎么样，等镖车一出村，进入山区，就要动手抢劫，于是他先派了几十名弟子，装着也去看戏。一到戏台子底下，把耕耘公团团围住，然后前后拥挤，象潮水一样向耕耘公身上撞扑过来，可是，无论他们怎样拥挤，耕耘公的步伐丝毫不动。凡近身者，倾的倾，跌的跌，不抗自颓，如水触石，虽然如此，耕耘公感到来者不善，是有意闹事，就对王先生说：“今天这戏咱们不能看，回去吧！”那些人一听说要回去，都先跑了。谁知道回去的路上有一段两面都是水池，只有中间一条小路。那些人先跑了过去，把路挡住，打算等着耕耘公挤着过去，将他推下水池。耕耘公识破对方阵势，随手掏出长杆烟袋喊着（长杆烟袋是他随身带着抽烟用的）：“借光！借光！ 借光~~~~！”走在人群中间往两边猛拨，只见那些人象下饺子一样，仆仆通通，被扔进水池好几个，后边的一看，“哇”一声全跑掉了。第二天，余高祖正在堂屋椅子上坐着，（过去由于社会黑暗，一举一动都要小心警惕，不管坐站，都要立身要占巧地，方便进退，利于攻守，坐椅子只能跨一个角，如遇突然袭击，可以随时应战），突然闯进一个彪形大汉（此人是当地的名师）。他一进门，喊一声：“陈老师！”随之便弓身下拜（他并不是真的要拜老师）。看着他要爬到地下。“呼”的一声照耕耘公猛扑过来，双掌大有将耕耘公连人带椅都按碎之势。当他扑到耕耘公胸部，在此迅雷不及掩耳之际，耕耘公便将身子一闪，左手向上缠，右手向下缠，使对方双掌扑空，同时上前一步进右肩，打到对方胸下部。只见那人腾空而起，乃是陈氏太极拳中的迎门靠。此人的功夫也很过硬，当被扔到门中时，他就用脚尖钩住门槛，舍过身子反扑过来。这时耕耘公已经站起来，有了充分的战斗准备，等他扑到跟随前，闪身将对方右胳膊向下一挽，进一栽靠，触其右肋，“呼”的一声将了人屋里击到屋外，脊背拖着地后又向前挫了几尺远，将脊背上的肉皮挫破，半天爬不起来。可是此人性情直爽，对耕耘公的拳艺心悦诚服，转怒为喜，不但不计较往事，反而再三诚恳地挽留耕耘公住下，将他所有的徒弟统统集中在此地，当面介绍耕耘公的拳技，又请石匠树碑，将此交往的经过，前前后后，如实记载在石碑上面。后来袁世凯经过山东见此碑文，深慕其技，遂聘请余曾祖父延熙公（余高祖已下世）。到他衙门，教其子侄。
余父照旭公，一九五四年曾让人（温县菜园沟大队的“陈百方”今年五十岁）用砖头照他身上扔，砖头碰到身，随即反击回去，身上并没有伤痕，因为练到第五层功夫，身躯各部位都相当灵敏，周身无处不是手，完全是自然反应，砖头打在身上，象我们打篮球时，接球的缓冲，随即再扔出去那样，可见，达到五阴五阳，周身协调，刚柔相济，粘沾连随，蓄发相变，是何等巧妙和准确。
总之，完成第五层功夫已经是登峰造极，炉火纯青，大脑皮层中兴奋的抑制过程，肌肉收缩和放松，即或偶然受到突然刺激，也不会使这种协调的动作受到损害，肌肉的活动与内脏器官之间已建立了巩固的协调关系，一举一动，阴阳皆能调解平衡，八面支撑。所以说：“唯有五阴并五阳，阴阳不仿称妙手，妙手一运太极，太极一运化乌有，遭着何处何处击，我亦不知玄又玄。”
但是，科学发展是永无止境的，太极拳的锻炼也如此，终身不可尽其妙。
Sunday, October 27, 2013
名师 vs 明师 vs 严师
Extracted: Walking the Corridor Called Push
Hand.
Part 27. - 名师 vs 明师 vs 严师
Part 27. - 名师 vs 明师 vs 严师
这几年中通過不断的摸索和研究，个人对练拳这玩意儿有了以下见解。
我本身的底子练的是“凤阳形意+如意八卦拳种变化之“意力拳”，主要的是通过筋骨運動 练松关节，练腰跨，练圈位，练感觉，八个方位，明白角度，意道，阴阳力学运用，中心点 等等来应用粘手法去”封“对方的手以达“控人“之功夫。
很多同道中人都会时常问我同一个问题，那就是什麼是”意力拳“那跟”太极拳“有何不同， 區别在那里？ 而我的最直接回答是-區别是用同样的阴阳学，道理，不过”意力拳“法的粘-摸-手中是有用扣，卡的。
而今天我所要分享的是，什么叫拳，意力拳和太极拳之分别在何？你只有明白了什么是”太极“，什么是意力拳它的原理，太极拳与其他拳的区别在哪？有何不同？那么你才能应用太极原理， 练好意力拳 和太极拳。
前人所说的学拳须明理，学练拳不是简单的练动作练架势。学的是架势练得是拳理而不是练得力。
今天我想主要讲一讲初学拳者容易犯得的毛病。
我本身的底子练的是“凤阳形意+如意八卦拳种变化之“意力拳”，主要的是通过筋骨運動 练松关节，练腰跨，练圈位，练感觉，八个方位，明白角度，意道，阴阳力学运用，中心点 等等来应用粘手法去”封“对方的手以达“控人“之功夫。
很多同道中人都会时常问我同一个问题，那就是什麼是”意力拳“那跟”太极拳“有何不同， 區别在那里？ 而我的最直接回答是-區别是用同样的阴阳学，道理，不过”意力拳“法的粘-摸-手中是有用扣，卡的。
而今天我所要分享的是，什么叫拳，意力拳和太极拳之分别在何？你只有明白了什么是”太极“，什么是意力拳它的原理，太极拳与其他拳的区别在哪？有何不同？那么你才能应用太极原理， 练好意力拳 和太极拳。
前人所说的学拳须明理，学练拳不是简单的练动作练架势。学的是架势练得是拳理而不是练得力。
今天我想主要讲一讲初学拳者容易犯得的毛病。
1。初学拳容易走的误区
学拳目的不明确，如果你问刚学拳的学生，你学拳的目的是为何？可能会有很多说法。有人会说为了锻炼身体。也有的会说为了养生治病。也有人会说为了防身为了不被人欺负。我在这里想说的是如果你是为了单一的一个目的那我建议你没必要学练拳。因为学意力拳，太极拳比起其他锻炼项目学练起来要难得多。如果你只想锻炼身体那你可以选择跳舞
爬山 游泳等都能锻炼身体也不需花钱。 如果你为了养生治病那你可以选择练一些养生健身气功既简单又容易效果也不错花钱也不多。如果你想学防身技击 那我建议你学散打 博击
这样会更快更直接。 不过如果你想全都学到那我建议你可以学练意力拳和太极拳。
2。定不下心
刚学拳时，练者很容易被外因误导。对什么都感到好奇。再加上一些不负责任的老师为了经济利益在误导你让你觉得只有跟他她学才能学到真功夫。所以有很多学员今天跟这个老师刚学了几天看到另个老师说得或者练得不错就又向另一个老师学，结果就像瞎子掰玉米。到头来什么也没学好。
3。名师累人 。庸师误人。明师育人
一般人都认为只有拜名师才能学好拳；
所谓名师出高徒而我个人认为并不尽然。我的理解是名师(明师)或者说严师加明师才能出高徒；
我把当下老师分为三大类：
*名师
*明师
*庸师
并总结了一句话叫-名师大多时间是只讲不教。庸师大多时间是只教不讲。。明师是即教又讲。。。*庸师
4。拜名师最大的害处
* 花钱多。
* 容易被其盛名所累，认为拜了名师就能学好拳了。其实很多时候花了很多钱却并没得到名师的亲授。重要的是要明白拳不是学出来的是练出来的。
* 容易被其盛名所累，认为拜了名师就能学好拳了。其实很多时候花了很多钱却并没得到名师的亲授。重要的是要明白拳不是学出来的是练出来的。
* 拜庸师最大的害处是。花了钱并没学到功夫。有些老师表面功夫做得很好。通过各种手段宣扬自己如何正宗。功夫如何好。甚至会拿出很多证书来炫耀自己的功夫。不否认有些人功夫很好也确有一些是出了名的名师。可是这些人大部分时间是只教不讲。也许有些人根本讲不出来拳 理。只是一味的让你跟着他学或练。你如果有什么不明白的问他 他还表现的很不耐烦。说我以前就是这样练得。你照我这样练就行别问那么多。说了你也不懂。让初学者觉得没练好是自己的事。所以说误人子弟啊。
* 只有明师【最好也是严师】才能教好拳。明师不一定要是名师。明白拳理。明白因才施教。因人施教。并根据不同人的实际情况来传授。即教动作又讲拳理。这样的老师才能让学者更快更好的学习和掌握。可惜这样的老师太少了。加上很多人并不认同这些人因为这些人不一定很有名气。当然如果是既是名师又是明师又是严师那是更好不过了。
金星一颗耀太极---回忆与陈兆奎老师相处的日子 - 张志俊
转贴：我所知道的陈照奎---转贴自52太极网
开封仰辉，郑州"触电"
1973年5月，陈兆奎作为陈家沟武术队领队兼教练参加在开封市举行的河南省第三届武术运动会。当时我练陈式太极拳已经有两年多，曾经六下陈家沟学艺，觉得自己身手了得。结果遭遇陈兆丕输得一塌糊涂的经历。这次到开封去主要是想看陈兆奎老师的太极拳表演。结果，我第一次也是唯一一次看到了陈兆奎老师表演的一套完整的陈式太极拳一路83式。当时的感觉是很新颖，和陈家沟人练的风格不尽相同，发力劲短、脆，但动作不大，枉动少，给人耳目一新之感。上午表演结束，下午我们郑州的几个学生将陈老师请来郑州作一次讲座。当时地点选在郑州化学制药厂职工魏才寿的汽车库房里。参加的学员有魏才寿、陈正雷、张福聚、张志俊、王长海等10人左右。还有陈家沟同来的陈茂森老师。时间是1973年５月９日凌晨３点多钟。讲座持续两小时左右。记得当时由张福聚先练了一趟拳，老师说："不错，有进步！"正雷说："志俊哥，想看看你练拳。"于是我也练了一趟拳。陈老师于是针对我的拳式开始讲起。他说："冲练拳这么短时间来说，你练得还不错；但严格地讲，一式也不对．．．．．．"以我为例，老师开始讲如何做到沉肩坠肘，为什么要求脚下有根，将几个动作的技法含义祥加解释。只见他的手在张福聚身上轻轻一拍,，张即跳起，我感到很不理解：明明看到老师的双手拍了下去，人怎么会跳起来呢？当时对老师的功夫感到玄奥、新颖和妙不可言。这次课对我振动很大，使我获益匪浅,也使我产生了强烈的要去探讨、去研究、去学习的愿望，是我学武生涯乃至人生的一个重要转折点。事后，我将自己的理解归纳为四点：
（一）练拳必须沉肩坠肘，松胯园裆，否则终将难以步入太极拳的殿堂。
（二）重心转换必须做到裆走下弧，否则就会出现扁裆、荡裆、尖裆、枉动等毛病。
（三）练拳要连绵不断，如大海的波浪，推手更不允许有断劲。
（四）初学太极拳者一定要做到缓慢、柔和。
我最大的收益为两点：一是什么叫沉肩坠肘，二是什么叫裆走下弧。应该说，陈兆奎老师的理论，使我脑海里电光一闪，茅塞顿开。以往六下陈家沟，与师伯陈茂森等老拳师相处多日，从没有像今天这样遭遇激情，没有如此的激动、神往。我明白：自己终于找到了太极拳的真谛所在，找到了自己朝思暮盼的太极大师。在以后的半年多时间里，我严格按照陈兆奎老师的上肢运动沉肩坠肘，下肢运动裆走下弧的学说，刻苦练习。我写下了"平稳舒展，缓慢柔和，沉肩坠肘，裆走下弧"16个字的条子贴在自已的床头，以每天警示自己。主要通过浑圆桩、雀地龙、金鸡独立、斜行、披身锤等拳式的反复练习，逐渐解决上边的两个问题。并且明白了沉肩坠肘是手段不是目的，其目的是拉松韧带。到了1974年二月份请陈兆奎老师来郑州家里办班教拳时，沉肩坠肘、裆走下弧这两个问题我已经基本解决了。
记的郑州讲座后的第二天，我们送陈兆奎老师一行回陈家沟，陈老师从汽车窗口伸出手来与我们告别，他握着我的手说："好好练，好好练你会有前途的！"这句话对我一生来说都如天边的滚雷，永远在远方震憾、激励、鞭策着我。
拳臻完美，技入化境
陈兆奎老师一生为太极拳事业的发展做出了卓越的贡献，他将其父陈发科的家传拳式定型并公开推广教学，现在被称之为陈式太极拳新架一路83式和新架二路71式。他授拳的足迹遍布北京、上海、南京、郑州、石家庄、焦作、开封、陈家沟等地，他的许多学生现在都已经是享誉海内外的著名太极拳大师。而凡是直接和间接地接触过陈兆奎老师的学生或太极拳爱好者，对他的拳架和推手艺术都有极高的评价，包括陈式太极拳发源地温县陈家沟在内。但陈老师有一个特点，那就是从不轻易以拳示人。以前他的侄女陈立清在陈家沟也只看他练过一趟拳，禁不住失声叫好。在另外一般的场合，如果那位冒昧要求看他练趟拳，陈老师会当即予以拒绝："我练拳，你看看？你有什么权力看我练拳！"1976年在上海，许多新老学生多次要求欣赏陈老师的拳艺，但每次他都是演示前两个"金刚捣碓"而已。只有一次当上海体育宫主任顾留馨提出要求时，他才碍于面子完整地演练了一趟。从1974年到1976年三年间，陈老师四次在我家开班授拳，我也曾三次北上到陈老师家里学拳，每次时间一到两个月，这期间也难以看到他整趟练拳。因为不喜欢别人要求他练拳，所以我们也就很少提出这样的要求。一般学员能看到他演练前三个"金刚捣碓"已经是大饱眼福了。上海的学生比我们有眼福，1963年陈兆奎老师受上海体育宫主任顾留馨的邀请在上海开班授拳，那里每逢节日常组织武术表演，门票一角。那时的节目有海灯法师的二指禅，卢嵩高的十大形，卢振铎的燕青架，王子平的青龙剑，还有陈兆奎老师和傅钟文的太极拳。据说由于门票便宜，许多小学生也来观看。当表演杨式太极拳时，因为动作缓慢、单调，小学生们不耐烦，说笑谈天，闹声不绝。可是等到陈老师一上场演练起陈式太极拳来，刚柔快慢，变化多端；行云流水，极具韵味，连那一堆小学生也全神贯注地观赏起来，全场鸦雀无声。可见陈老师所练陈式太极拳的魅力之大。现在回忆起陈老师的练拳风格，依然如赏析一幅意境幽远的丹青巨卷，如品尝一杯甘浓香醇的千年美酒。陈老师的拳架风格可以概括为：套路严谨，法度明了，行云流水，耐人寻味。太极拳应有的快慢相间、刚柔相济、轻沉兼备、连绵不断的风格在陈老师的拳架里体现得淋漓尽致。他练拳枉动少，下盘稳，给人的直观感觉是：快而不乱，慢而不散，沉而不僵，轻而不浮，是一种美好的艺术享受，令人会回味尤长。
老师喜欢推手，因为是对抗性运动，我们不仅能看，而且还要参与其中。看到他把一个近200斤的大个子轻松发出去常常觉得不可思议，好像是学生在与老师配合。而每当自己与老师推手时，才感觉到切切实实这一切都是真的。老师的推手技艺实在太精妙了，任何时候你都无法用"力"与之抗衡，他的推手技艺不是"以假乱真"而是"以真乱假"。他把太极拳推手中的舍已从人，引进落空，蓄发相变，松活弹抖，胸腰运化，闪战腾挪等等技巧运用得出神入化。和他推手常常使你顾此失彼，上重下轻，一惊一乍，倒抽冷气，他一个惊弹劲，刹那间你大脑一片空白；他的手指轻轻一挂，你可能就会飘起来，手重时会发人到墙上，使你眼冒金星．．．．．．看他推手就像带你进入了技击博览的殿堂，使你眼花缭乱，应接不暇。
记得刚开始与他推手时，面对他的惊颤弹抖，擒拿摔打，实在是苦不堪言，几分钟就想逃掉，但老师不依，总是说："别装了，还不到20分钟呢！"这就还得继续推下去，现地想来自已也是得益于那时陈老师的严格要求和这种强迫训练法。 陈老师平日话语不多，性格略内向。教学时言简意赅，寥寥几句切中要害。解惑往往言体并用，令人顿开茅塞。1975年冬天我到北京老师家里学拳，我问："当推手遇到对手沾连粘随的功夫比较好时，自己腾不出手来怎么办？"陈老师的回答只两个字："闪呢！"然后顺手把刚刚点燃的烟放下，就和我推起手来。我试着用沾连粘随的办法，紧紧粘着老师的两只手不放，但是只转了几圈，陈老师一个惊弹劲，双手一拍，然后一个肩*把我打出几米远。我的头险些磕在茶几上。待我从地上爬起来，陈老师问："懂了吗？"我回答："懂啦。"老师又问："真懂了吗？"我揉了揉发疼的后脑勺，肯定地回答："真懂了！"
七下郑州，授拳传艺
1974年2月，陈兆奎老师第一次被我请来郑州家里开班授拳，学员只有张福聚、张其林、郭文章、王长海、和我五个人，1974年下半年和1975年、1976年各有一次，每期两个月，以后参加的人还有陈家沟陈老师的侄儿陈小旺，石家庄的马虹，郑州的张同心、田文志、陈延峰、海玉青等人。1980年陈老师第五次到我这里来住了一个多礼拜，1981年又两次到我家里来，前一次住40多天，后一次匆匆来去，领他看看病，只住了两天。后三次没有开班教授其他学生。陈兆奎老师是一代太极拳宗师，它授拳传艺，学生遍布全国乃至全世界。是地道的"太极名师"。如果单从教学艺术上讲，它又是我终身难以再觅的太极"明"师。这是因为陈老师不仅拳艺精湛，且有高中文化知识，是那个时代的秀才。他善于总结、条理，将复杂的道理简单化，将玄妙的理论具体化，善于将理论与实践相结合。体现在教学当中可概括为：理论新颖，分解细腻，演示规范，要求严格。他说过："我父亲的功夫比我好，是一个好的拳师，但不是一个好的老师。一个好的老师所讲的东西应该让学生听得明白，还要循序渐进，由浅入深。如果学生不明白你讲的道理，又怎么能学好拳呢？……教拳我还是有办法的！"
陈老师讲拳时，讲究以理入手。他上课分为三步曲：第一步他讲大家听，一边讲一边做示范。学员主要是听、看，可以记笔记。第二步他带领大家一招一式地练习。第三步让每一个学员在他们面前单独做动作，他来进行指导和纠正。这样的教学方法非常适用于小班教学。学员们听得清，看得明，搞得懂，尽管那时候学费收到每人每月50元，已经是非常高啦，但是大家热情不减。马虹师兄在他的回忆文章中谈到他为了学好太极拳，在郑州学拳时交了双份学费，这一方面可见马师兄学拳之心热切，也说明了陈老师拳艺的魅力之大。
陈老师讲拳的第二个特点是分解细腻，每一个拳式动作都要分解为七、八个小节，每一个小节对身体的各个部位头、眼、肩、肘、手、腰、跨、膝、脚等都有细致的要求，在讲第二遍拳即拆拳时，对每一个那怕是极微小的动作都要将其实战用法讲解得清清楚楚。陈老师常说："这趟拳没有边角废料，任何一个过渡动作都有它的技击含义。"要求大家留心注意。这和陈家沟老拳师们传统的教学方法就有很大的区别。记得我六上陈家沟学拳，老拳师们讲得少，领练得多；他们提倡练拳不练招，拳到精时自会用。陈兆奎老师的教学方法应该说在传统的教学方法上有了一个大的飞跃。
陈老师对学员的要求很严，他要求学拳就要学得规规矩矩。学员有时偷懒了，但是老师从不会放松要求。无论学员的那一个动作达不到要求，你就得几十遍的再去练，他也会不厌其烦地为你示范讲解。有时候还会言辞激烈，斥骂相加。由于陈小旺是陈老师的亲侄儿，自家人也就比较容易享受这种"特殊待遇"了。记得我1975年到北京老师家里改拳，一个"翻花舞袖"做得不好，老师一个礼拜没有给我往下接拳。这是他独有的教学风格。
陈老师教的虽然是"私塾"，但有一种"院校风范"，他还有那么一点"师道尊严"。他讲课精心，也要求学员听课认真，不懂即问。不喜欢学员拿上课没听懂的问题下课问他，他会问："你上课认真听了吗？""认真听了。""那你为什么不会？"如果你回答："没有认真听。"他肯定会说："那你来干什么？！"他要求学员认真思索，勤于悟道。记得有一次我和他推手时受到了表扬。他说："志俊你绝顶聪明，理应举一反三。"这话是鼓励又是鞭策，使人既受宠若惊又有针芒在背的感觉。
陈老师教拳的最大特点还在于他将古老的太极拳原理给予了现代科学的全新解释。比如古人所说太极拳的高层功夫是："一羽不能加，蚊蝇不能落。"而他描术太极拳的高层功夫及形成却是科学、唯物和客观的："通过足够时间的合理训练，在速度、力量、耐力、准确性和精密程度等各方面的极限范围之内，太极拳习练者能够掌握相当灵巧、准确、迅速、多变的博斗招数。"他将太极拳的技击技巧用杠杆、螺旋、平衡、反关节等现代科学的名词预以全新解释，他不搞"玄学"的东西，也讲"气沉丹田"，但强调"胸腰运化"，很少提及"内功"。学员们对他所讲的理论，都能够听得懂、摸得着、用得上。有时为弄通一个原理、一个劲别而挨摔、挨打、被拿，但也心服口服，觉得值得。
观念超前，命运多舛
陈兆奎老师在陈式太极拳的拳理、拳法、技击技艺、教学方法等方面均达到了相当高的造诣。即使在今天，他的先进的教学方式，他在拳架中对太极拳要领的完美而细腻地体现，他的推手技艺与搏击之妙，仍然使人望其项背。但是，由于他的人生青壮年时期正好处在文革10年动乱的前后，这一时期同时是他拳艺日臻成熟、完美，也能够不断外出教拳的阶段。动荡的社会环境不仅使得他难以施展才华抱负，而且造成了他生活艰辛，命运多舛。
陈老师的教拳生涯大致可分为三个阶段。
第一阶段：1957--1966年
这一时期是他教学相长，拳艺和推手技艺逐渐走向成熟、完美的阶段，后三年在上海与南京市教拳，是他教学生涯中最为惬意、安定与繁忙的时期。 1957年，老师的父亲陈发科公在北京去世，那时他只有二十九岁，由于父亲的学生田秀臣、雷慕尼等都在北京教拳，陈老师怕影响这些人，所以一直没有在北京教拳。1961顾留馨曾邀请陈老师到上海作客，使上海武术界对陈老师有了一个了解；1963年上海体育宫正式借调陈老师到上海教拳，这时候老师的工作单位是北京市第五建筑公司劳资处。由于被借调单位对这样的长期借调有意见，所以到了1964年，陈老师索性辞去了北京市第五建筑公司的工作，在南京市教了一年的拳。1965年--1966年，他再度赴上海教拳，后期，文革开始了，他不得已回到了北京。第一阶段的后三年是他事业比较顺利的时期，自已一边教拳一边刻苦练习，每天晚上都要练三趟一路拳和两趟二路拳，还要加上抖大杆等器械的训练，并不断与学生推手完善自己的推手技艺。文化大革命开始后，这位才华初露的武术家陷入了迷茫、动荡甚至凄惨的境地。因为家里成份不好，受到居委会的管治和邻里的歧视；因为教拳属于"四旧"，收费更是"资本主义尾巴"，上有老母下有妻儿的陈兆奎顿时陷入了精神上郁闷压抑，生活上穷困无着的境地。第二阶段：1973--1977年
是他的拳艺、拳理、拳法、和推手技巧最为成熟的鼎盛阶段。这一时期他劲路清晰，手法圆润，风格纯熟，挥洒自如。讲拳、教拳、技法使用已达炉火纯青的地步。
1972年、1973年社会形势略有好转，温县陈家沟曾经请陈老师回老家过春节，顺便短期教拳。并且请他率领陈家沟武术队参加各种比赛。1974年全国上下批林批孔，陈家沟也难成一方净土，故1974年2月陈老师离开陈家沟到郑州教拳。从此开始了与我长达7年的频繁接触和累计约10个多月的朝夕相处。1974年两次、1975年、1976年各一次在我家办班，1977年在郑州张茂珍处办班。这一时期陈老师的生活基本安定，且远离了社会的政治风云，（我母亲姓陈，每次来郑州我都是以舅舅来暂住的名义向派出所申报）是他授拳最有成就的时期。
第三阶段：1978年--1981年
这一时期他由于母亲久病后逝世造成的经济窘境，婚姻不幸，孩子教育问题等等在心里造成的压力，加上自已患着严重的高血压病，精神和身体都在衰退。这一时期他曾到上海、南京、郑州、焦作等地教拳，后来应上海人民出版社之约，准备编写一本内容丰富、动作规范的《陈式太极拳》书，香港电影制片厂也曾约他到陈家沟去拍电影。但这些都只能成为老师未竟的事业了。1981年春他到焦作市教拳，5月7日因高血压导致脑出血，不幸逝世。我1974年正式拜陈兆奎老师为师，当时老师送我八个字："开诚布公，以诚相待。"这八个字正代表了陈老师的性格特色。他做事严谨，诚以待人，陈词达意，不绕弯路。无论在太极拳理的探究和生活态度上，他都有着常人不及的超前意识：比如他认为教拳收费是天经地义的事情，可以不加掩饰地与学生谈价钱，而且不容拖后。（这里当然与没有工作，以教拳为生，老母亲多病等多种因素有关。）但是陈家沟的一些人就难以理解。有人说："陈兆奎把老祖宗的东西卖了当饭吃"；有人愤愤然："到陈家沟来教拳还敢收费？"于是有人把陈老师的大字报都写好了。陈老师几次到上海、南京、郑州组织办班教拳都是因为学员不能承受较高的学费而导致流产，在爱情观和金钱观上他几乎与今天人的观念一致。但20年前却是大胆的，超前的，为常人不好理解的。这些观念和直率的性格不能不说是造成他英年早逝的一些因素。但我对老师一直是非常理解的，只是觉得方法上可以商榷，不必太直接。然而即使这样的劝告他也不予接受。1981年4月他从焦作到我家里来，我带他去看病，一查血压竟达200多。生活的压力和浓重的心事使他一脸憔悴，脚步发飘。我劝他抛弃烦恼，多注意自己的身体，他重重地点点头就乘车回去了。没想到这竟成了我们师徒间的生死永别，那一年他只有53岁。一代太极英杰过早地离开了我们，这无疑是太极拳事业发展的一个重大损失，是中华民族的一大损失。
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