Master Chen Xiao Wang's 5 stages of Tai Chi Mastery

Here's my attempt of doing a comprehensive translation the original Chinese article by Master Chen Xiaowang. Any feedback are greatly appreciated. - yz

The process to mastery in Tai-chi as a martial arts is broken down into five different stages. A practitioner should progress through each stage chronologically, acquiring each stage's competency until the fifth stage where he could be consider a master of the art.

The process of learning Tai-chi is no different from academic subjects; where a learner will slowly build up knowledge of these subjects from Primary/Junior level, to College and University level. A learner would not be able to comprehend what is taught at tertiary tertiary level without the fundamentals built during primary education, Similarly, the process of learning Tai-chi have to follow the same order, getting deeper in the subject progressively. To skip the steps and avoid the process of learning; liken a Primary school student attempting to study University subjects, would be greatly detrimental to learning and trapped in the dead-end of learning.

Several Chen Style Ta-chi's literature introduces a lot of high level application techniques which requires a high level of skills and competency to be accomplished. The content will require the reader to have a certain level of competency to comprehend and appreciate, and there's often not many content that will be suitable for beginner and intermediate learners. These content will often make the learners feel a great disparity between themselves and the arts, and could be very discouraging to them as well. A beginner who attempts to match the competency level of such content will be akin to a Primary school student trying to understand University's text whereby many confusion will arises and gives up easily.

To resolve this problem, I shall introduce the progressive stages of Tai-chi practice, from stage one to five, defining each stage's competency's performance and goal. The purpose is to allow all Tai-chi enthusiast to identify which stage of the training they are currently at based on their existing framework, what they should their training goal be at this stage, and the application practical for them at such stage. They will thus be able to progress towards mastery more systemically by having such a wholesome view and direction of their training.

First Stage of Training

The first stage of training begins the moment we start learning the first move in the first old form of Chen Style Tai-chi whereby moving forward, we will have to adhere to the direction, angle, position, kinesthetic coordination and other physical postures requirements when practising until we start to have a feel of "chi" within the body.

There are a set of principles a practitioners have to fulfill when practicing Tai-chi which are namely; "Keeping the body straight", "Keeping head upright, pushed up yet relax", "Relax the shoulder and drop the elbow", "Hollow the chest and collapse the waist", "Relax the hip and bend the knees"; to reach the level where the mental state is calm and the "chi" will then sink to the "dantian".
There is no way a beginner in Tai-chi would be able to fulfill all the requirements in training and thus, there will be no way they could comprehend the concept of sinking to the dantian.

The first stage of training have a more simplistic principles requirement towards the physical performance in practice. Example; "Keeping head upright, pushed up yet relax" just require learner to keep their head naturally upright. "Hollow the chest and collapse the waist" only require learner to keep the body upright and have a clear weight distribution between both legs. Learners would just have to follow the basic requirements of practicing even if they are unable to fulfill the requirements during initial attempts which is very common.

The principles for training do not need be adhere strictly, and over prescriptive of the requirements were only results in confusion and backlash. The practitioner will slowly fulfill all the necessary principles as he/she advances through the stages in training over time. Improvements in training happen layer by layer, with each layer getting better than another. A day of diligent effort, is a day of improvement. When we practise more, we will naturally get better over time.

With diligent practices and conscious awareness of the physical of the moves while start focus, a learner whom practice the form ten times a day would be able to "graduate" from stage one in six months time where he/she will become thoroughly familiar with the form. He/she could also increase the repetition of the form practice to suit his/her physical conditioning desire. The outcome of stage one training is where the learner start to feel the sensation of chi within his/her body where the physical movements direct the chi to motion, which is also the sign for the start of moving into training in stage two. We will be moving from familiarity to understanding of chi and jing starting from here.

There is no need for a learner at stage one to be overly concerned with the combat application and striking capability as the physical management of the body have yet to matured. The common mistakes learner make at this stage of combat are; inappropriate choice of actions, over emphasis of defense and not attack and vice-versus, not having a good overview of the situation. Over emphasizing of combat application at this level often lead to the body stiffing up and slowing down the development progress. It is highly advisable for learner to train more so as to let go of brute force in training gradually.

The performance of a practitioner at stage one will exhibit the following observations:
Motion will appear to be stiff with no mental intent, aggressive, over-exertion, sudden rise and drop, non-continuous and fluid movement, resistance in movements, non-circular and follow through movements.

The principles for a practitioner whom is practicing for health entirely will not need to follow the above requirements totally. He/She would just have to the body loose and relax, fluid and continuous.)

Presentation of Combat Techniques at Stage One

The practitioner at stage one training will have very limited capabilities in a combat situation as the kinesthetic coordination of the learner have yet to matured and thus will be overly stiff and defensive during combat. Practitioner will find him/herself abit uncomfortable or not "internally" coordinate during form practice and unable to exert force efficiently during exertion of power. Force will not be able to generated from ground up, and often exertion of force only results in "throwing" of the force.
There be no competent skills to divert any force or "dissolve" any efforts upon oneself, as practitioner is unable to secure his own "centre" and balance himself, making him very vulnerable to attacks.
The practitioner at stage one in summary is incapable to defend himself in fight, but could however still overcome others whom have never done any training, but with brute force and not with any skills or techniques that are associated with Tai-chi.

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。

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。

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。

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。”

“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。

Learning Martial Arts - Martial Arts Teachers in Modern Time

The following article that I am writing is going to be a rather controversial piece, and could differ slightly from individual reader's experience, background and location.
However, the main objective for this article, is for my personal development, to become whom I want to be.
For trainers, I wish this article will help you in educating your learners.
For learners, I wish this will help you establish the right attitude in training as well as finding a good trainer for yourself.

Titles for Chinese Martial Arts Teacher 

We often hear people calling teachers, whom are master in their craft/arts, in the oriental culture, sifu. We have similar in other culture, but I am going to just address this with regards to the Chinese culture.

Sifu/shifu 师父, literally means teacher+father. Grandmaster = 宗师, Master = 大师, Teacher = 老师, Coach = 教练。Another title that is pronounced exactly the same as sifu is, 师傅, which means Mentor.

There's are titles that Chinese are very familiar with, but could be confusing for people not exposed to the Chinese's culture. Also, there are certain instructors that are very particular about these titles.

Technically speaking, for an individual who has a high level of expertise in his art, the most honorable title one person could give to him would be "Master", "大师”。Titles like Grandmaster 宗师 are of course even more honorable. Not only does it mean that this individual is highly skilled, but it usually means that he also has a huge number of students, and even grand-students. Not many people are able to earn this title, or deserve this title within their lifetime, and those who does are truly commendable. One could address another as master, or grandmaster as a respect for his achievement, but need not necessary a student of this master or grandmaster. Due to the Chinese's virtue of humility, such titles are often conferred, and should never be self-proclaimed.

The title of Sifu 师父, is not a title earned easily. In fact, most Sifu should be 师傅, rather than  师父.
Please understand that, even difference in a single word could have a total different meaning in the Chinese language. Let's break up these 3 syllabus，师，傅，父。

师, generally means specialist in a particular topic, or teacher.
Example, 工程师=Engineer, 医师=Doctor, 设计师=Designer.
老师 is teacher, simply because in ancient times, teacher are usually elders, as 老=Elder, and students do not go to school to study mathematics or science, but simply virtues. Thus, the studied elderly are usually the teachers in the school.

傅，means tutor, or to assist.

父，simply means, father.

Origin of the Title: Sifu 师父

In older times, especially the pre-republican period in China, martial arts is not widely spread and learnt like it is now. Back then, martial arts are only taught in a few situations, I'm not going to talk about every situations here, but only a few pertaining to the topic of this article.

A lot of Master whom made a name for themselves by teaching, or by defeating several opponents on in fights/challenges/ring, were often hired by rich businessmen or officials, to teach martial arts to their sons. The Chinese believe that learning martial arts will instill discipline, perseverance and endurance in their sons, as well as improving their health. Several well known martial artists were actually from wealthy family whom started learning martial arts because of their weak physique when they are young. Very often, such engagement of the master's services was a rather long term, and the Master will be residing within the family's compound, and be paid and have his meals provided by the hirer.

One such example was Grandmaster Liu Yun Qiao whom popularized Ba Ji Quan in Taiwan. As a child, Grandmaster Liu was in very poor health. At the age of five, at the request of his father, he learned Tai Zu Changquan (Emperor's Longfist) from their family bodyguard Zhang Yao Ting in order to help improve his condition. His initial martial arts training was intended to activate improved blood circulation and activate his qi. When Liu was seven, his father hired the Ba Ji Master Li Shu Wen. Well known for his martial arts skills throughout five Northern provinces, he became Liu's personal trainer, living in the Liu estate. For more than ten years Liu was personally trained daily in Li Shu Wen's system of bajiquan, pigua zhang, and liuhe da qiang (six harmony big spear). This provided Liu with a solid foundation in the martial arts which lasted throughout his life.

During the tenure of services, the martial arts master often taught more than just martial arts, and often play an important role in the upbringing of the student, and as the teaching usually begins as a rather young age, it is not uncommon for them to be seen as a fatherly figure in the eyes of the student.

Apart from such engagement, martial arts master would either roam the country seeking for people in need of their services, or start a martial arts school in a town to pass on his arts. A master whom have a school in town was often very well respected in the town, and will be the go to guy if there's dispute, robbers or pirates attack. The master will usually observe, and selectively pick his "in-door" disciples, whom he will passed all, or most of his arts to, and usually along with certain medicine prescription that was passed down to him by his own Sifu. Disciples of this caliber, often end up staying with the master, and are taken care of by the master and his family. Thus, to the student, this master became his martial arts father, thus the term, Sifu 师父. When it reached such stage of learning, most teaching were no longer part of a commercial dealing, but simply like a father to son relationship.

Most people continued the traditional of addressing their martial arts mentor, Sifu 师父 today. Personally I am perfectly alright with this, but as much as it could be just a title, the mentor have deserve this title. For the learner, addressing your mentor as sifu shows the respect you have for him, and for the trainer, to earn this title, you have to work hard to earn it.

Undesirable Traits of a Mentor in Chinese Martial Arts

Chinese martial arts is a complex subject to learn, and even more so to teach. As such, there's a few traits that I have observed from several martial arts instructors that I feel should be corrected.

I am your father sifu

As I mentioned in the above passages, the role of the instructor in Chinese Martial Arts have differed from older times, and as such, titles that address the mentor as a second father is no longer deserving anymore. At least in most part of the world. 

There are martial arts teachers out there today that still insist on being address, and even treated as a Sifu/martial arts father. Such individuals often exert their authority by claiming that such respect and authority should be given to them as part of the traditional of Chinese martial arts. However, they do not often treat their students as a son or daughter as part of what the real traditions really mean, and thus, I have my doubt if they should deserve the kind of treatment they desired.

These teachers could be highly competent in their skills, and feel they deserved to be given the fatherly authority and respect due to the commitments they put in to master their skills. Very often, the real reason for them to be holding martial arts classes is not to pass on or spread the arts, but rather to boost their ego and make them feel good about themselves. 

Furthermore, the lines between teachers and students are more clearly drawn nowadays. Often, it's simply a commercial transaction. Modern days students treat learning martial arts no different from attending a cooking class, or a tennis lesson. He will pay a school fees for X number of lessons, and have a desired outcome of that particular subject at the end of the course.

Students are more influenced by the western education system and culture nowadays, where respect are given to individuals whom have proven themselves to the student, unlike oriental culture where one must naturally submit to anyone who is more senior in age or status.

Such mentality in teaching generally backfire, as they make students feel uneasy and getting pushed around for reasons they couldn't understand. In my observation, it is very unfortunate if an individual (especially adult learner) meet such teacher as their first Chinese martial arts class. When they leave the class, they typically when dismiss that all Chinese martial arts instructors are like this, and when likely not learn Chinese martial arts again.

Acting Smart

Pretty often, we will see a Grandmaster featured in a Kung Fu movie, say a short Chinese phrase, or do a simple gestures, and while the rest of the people were confused by what the Grandmaster is doing, the lead actor would be enlightened. This has to do with the Chinese's culture again where they believe, 智者不言，言者不智. "The wise will refrain from speaking, the one speaking is not wise." Conservative and traditional Chinese feels that, there's a lot to be learn from the unspoken, and often think that one should teach by hinting, rather than imparting the knowledge directing.

To a certain degree, I am in agreement. For many crafts and arts to be learned, it is true that many people ask too many questions before attempting and practice, and they end up confusing themselves. Say in drawing, one would have to learn to draw a straight line first. Everyone assume they can draw a straight line, but just take a piece of paper and try to draw a straight line without a ruler, can you do it?

Chinese always say, you got to learn to walk before you can learn to run.

However, some instructors don't truly why their teachers only tell them certain martial arts phrases 口诀 at certain time, or do not fully understand such teaching pedagogy, and perhaps their teachers also didn't understand what their teachers are doing. We have to understand that in the conservative Chinese environment, it is often deem to be a rude behavior to question your senior's action. So, they ended up with, monkey see, monkey do, continuing to teach the new generation of students just like how they were taught; except, students in today's time are no longer the way they used to be.

Adult learners nowadays are comparatively more inquisitive when learning, and very goal oriented when learning. In fact, that is how modern education system mould them to be like. Learners are not able to learn blindly if they do not understand the intention behind the practice that they are doing, and even if they do so, they would not be able to last too long if their curiosity is not fulfilled. 

The problem with some teachers are, they might have feel that they are smarter than you because he could read out the phrase that you didn't know, or they understand it themselves, so should you. Or, it could be simply the case of, they do not know what it means either. Another problem that we are facing today is, most of these martial arts phrases are written with old Chinese grammar, that sometimes doesn't make sense even if you could read the words.

Teachers have to be a bit more patient with explaining this theories to the learners, and also, only reveal the information at the right time to avoid confusing the learners. Some teachers like to tell all the kung fu phrases to the learners at one go, explain a small part of it, and then dismiss it. I personally do not think it's a right idea, and think it's the teacher's duty and responsibility to understand and explain, verbally or non-verbally any information he would want to disseminate to the students.

Over-Teaching

Another aspect that is often ineffective and harmful to the learners is over-teaching. There are some teachers whom are well versed in various martial arts styles, and seems to be proficient in multiple martial arts forms and style to the unknowing students. As much as one could argue that different martial arts styles share many similarities, but for one to be highly proficient in both theory and martial arts in just a single martial arts style requires a lifelong dedication. 

Example, Grandmaster Yip Man of the Wing Chun Style, Grandmaster Chen Xiao Wang of the Chen Style Tai Chi, Grandmaster Wong Fei Hung of Hung Gar. All of these Grandmasters became a grandmaster, highly skilled, lots of great students, simply because, they spent their lifetime honing a single craft.
The truth is, despite the similarities among various martial arts, each of the martial arts are able to be known as a particular style is due to each of their unique approach in both training and applications. It would be foolish and shallow to undermine the depth of each martial arts style. 

However, it is pretty common for martial arts practitioners to be doing cross training, be it out of curiosity, for complementing what they know, family traditions, or sometimes, just luck of fate. But usually, any highly skilled martial artists are accomplished because of a strong foundations in  just 1 or maybe 2 martial arts style. Once they have acquired a strong fundamentals in one style, it usually become easy for them to learn new styles due to their improved body coordination and body efficiency. But when it comes to natural reflex actions, they will still execute their foundation martial arts instinctively until they practice another martial arts hard enough that it became instinct as well.

The problem of over-teaching comes when the teacher have to teach a complete syllabus of a martial arts style that is not his core subject to a new martial arts learner. Usually when the teacher learns the new style, due to fact that he already have a high level of fundamental skills in another arts, he do not learn from the ground up. As such, unless he spend a lot of time thinking about it, he would more likely find it challenging to teach the subject from ground up. The problem with most Chinese teacher is, "face", or simply put, ego. it would damage their ego to admit that they are not familiar with teach the basics of that style, after basic is easy right? 

Thus, when being put into such situation, they will often try to supplement what they do not know with either more exercises, or with exercises from other styles and try to convince the learners that all of these skills are the same. Simply state, "If you can't convince, confuse."

Such instructors usually overwhelms their students at the beginning with lots of different exercises and applications, and after a short while, seem to run short of specialized subject to teach. Learners will often feel that they are not learning or improving and give up considering that martial arts is too complex for him.

Master Awesome 

Some teachers spend alot of time training talking about the kind of tough exercises they did in their younger days, or how students nowadays are incomparable to those during his time. The subconscious objective of such effort is simply to make themselves feel good by putting his students down. Simply, ego boosting.

Such.types are usually tandem with the "I am your sifu" types as they both seek ego magnification rather than martial arts education.

Such behaviors often discourages students then to motivate them to prove themselves better.

See no touch
One of the most common kind of teaching is what I call the see but no touch teaching. What it means it, whatever martial arts that are being taught, are meant to be performed and display as a form, but not meant for any practical applications. I could be offending many teachers or even martial arts practitioners. But this is something all Chinese martial arts practitioners need to change to lift the reputation of Chinese martial arts.

A lot practitioners, teachers or learners alike are doing Chinese martial arts as a dance performers. Thus, in Europe, people are classifying them as Wushu, and those with practical usage as Kung Fu. But in reality, there should be no such differentiation. The real face of Chinese Martial Arts is fighting and self defense. But take the set routine or application out of the equation is like remove a steering wheel from a car, or blade from a samurai sword.

There are teachers whom teach, and probably also learn that Chinese martial arts is a culture, used to build up discipline, health, and perseverance, and because the modern have no longer any need for martial abilities, we do not have to learn it anymore. If such thoughts were to continue and widespread, Chinese martial arts will evolve to be another dance in 20 years time, and we will definitely lose it culturally.

Learning Chinese Martial Arts - Purpose of the Set Routine

David Lines, my Tai Chi buddy brought up the topic of me writing about "Training Tai Chi" several times, so I thought, maybe I should just start writing down my thoughts when it come to my mind.

Common Reasons People Practice Chinese Martial Arts

Probably one of the most common problem I have seen with fellow Chinese Martial Arts (CMA) practitioners among me is, the attitude towards CMA, regardless it's Internal or External forms.

In today's time and day, alot of people never regard training CMA as a way of self defense, or never prioritize their combat effectiveness when deciding to practise CMA. Well, at least from what I seen in Singapore. I believe this could be very different in a place like China where some people are born in a CMA family, or in poor villages, where they would send their children to CMA school since young so they have a chance to be out of poverty.

1. Some people train CMA, because they are inspired by movies. Every time a  CMA movie is screened, like Ip Man, Once Upon a China, there will be a huge following for around 3-6 months. These people don't often do enough research regarding the CMA that's being featured, and didn't realise in today's cinematography, much of what we seen in movie looks really inspiring because of video editing, sound effects, lighting, and of course visual effects. I do not mind such reason, in fact, I don't mind any marketing strategy so long we can promote CMA. My concerns however will be, will they find a teacher that can show that what that CMA is about, or will they end up finding a teacher that teach the subject just because of it's "market value".
2. Some people do CMA because they are intrigued by Chinese cultures. This applies to chinese and non-Chinese. Non-Chinese start learning because curious about the concept of Yin and Yang, and the seemingly health and self defense benefits. Some Chinese do it, because they want to do something that remind them of their roots. I have met training brothers whom do it, because they feel this is what their ancestors did, and thus, as tradition, being Chinese should continue doing this. A pretty noble reason, and I definitely respect that.
3. Some people do CMA because they believe in how doing CMA will train one's chi. This usually applies to many people who decide to internal forms. Many believe in the benefits of chi to health, though alot of people are not able to explain what exactly chi is. People who falls into this category usually spend most of their time doing stationary stance training known as 站庄, doing the patterns, or doing breathing exercises or, gathering chi 采气.

Personally, I do not see wrong in any reason of why one would want to start practising CMA. In fact all of them are legit, except they might be good cause to start, but may not bring one too far if the thinking and approach doesn't change, or get influenced.
Also, there are plenty of CMA instructors out there, whom adopt the same thinking and approach towards CMA. However, I shall reserve my comments regarding their competenc

Moving on here, let's us look at, what is Chinese Martial Arts today?

Chinese Martial Arts as It is Today

The origin of CMA, like any martial arts, is the same. To kill, to defeat, to defend. As much as how many often CMA have been perceive to be dance, or a chereographed gymnastics, it's martial arts! Any martial arts are instructed, to do a simple objective; To defeat your opponent. So, to remove this objective out of CMA, is akin to removing the steering wheel from a car.

So, why do CMA take the form it is today?

1. This first point is an opinion I formed from reading several sources, and honestly, I can't be sure of it's authencticity. I welcome any reader to correct, or provide me any concrete information to affirm or to dispute this point.
   I believe, up to the Ming Dynasty (1368–1644), the last empirical dynasty of the "Han Chinese", CMA was commonly practised. In fact, people probably don't call it Chinese Martial Arts since there are no needs to differentiate it's nationality. Martial arts are probably called, Kung Fu 功夫 (which means effort), or Wushu 武术 (which is a more direct translation of Martial Arts). Several martial arts, like Hua Quan, Tang Lang Quan (Pray Mantis) are known to be invented during this era. It's also during this era, that people start to record, and document down martial arts.
   When the Manchurian overthrown the Ming Dynasty, and started the Qing Dynasty, they started movements to wipe out the martial arts fraternity with China as, the Manchurians are actually a minority race of China, and majority of the martial arts fraternity are the "Han Chinese". The Hans always have the ambition to overthrow the Qing Dynasty and return the governing authority back to the Hans. This is when we always heard about the slogan 反清复明 (Rebel the Qing and recover Ming), and of course, during this period, there's also rise of anti-Qing faction like "Hung Men" etc.
   Probably the most "iconic" incident that the Manchurian government did to overthrow the martial arts faction, was the destruction of the Shaolin Monastery.
   I believe that, during this period, many martial artists who have to "repackage" their martial arts, so that instead of appearing as martial arts, they look like exercises, or aerobics practices. This is probably to help them avoid getting into troubles with officials or patrols.
2. Secondly, set routines and patterns that are probably designed to allow teacher to structure their teaching, so that they could do one-to-many teaching within the shortest period of time. I could see how this could be necessary, especially during war times where generals will have to train their recruit to be ready for battles within the fastest time possible.
3. Also, there's a probability during peace time, teacher teaches set forms and routines to a whole group of students, while observing their potentials and attitudes. The teachers would then selectively choose which are the students that are worth their time and effort in further development so that they would bring glory to their martial arts and ancestors. Only upon specially selected by the teacher, would the students then learn the real usage and any underlying purposes and meaning of the taught routine.

So, now we look at the root of routine/set pattern creation, let us analyze how it reached it's "form" today.

Firstly, based on point 3 above, we see that a teacher will be selective in passing down his "secrets" to his students, thus, from that one teacher, we are going to assume, there will be mainly 2 groups of disciples. One, will be a small and selected group of students that learnt the "real" martial arts and acquired the complete knowledge of that particular arts. They will be a second group, that learn the set form, and routine, probably learned some basic functions of the moves and acquired physical conditioning due to practising of the routines.
Sooner or later, all these students will leave the teacher for various reasons, and obviously quite a few of them will return back to their villages and attempt to make a living by teaching martial arts. Back in the village, if one is fortunate, he will meet the teacher whom learn the "real" arts, and of course, they will be others whom ended up learning from the other type of teacher whom appear physically strong and abled to people whom have never done martial arts.

Such effects, will definitely trickle downwards, and as of the time we are today, I doubt I will be paranoid to think that, there are plenty of CMA instructors whom don't completely apprehend the arts that they are teaching and thus, would just focus of the display of the routine sets.

Secondly, the society we are living in this past 20 years are definitely very different from how it was in the past. In the past, many have to take justice into their own hands, personal safety is your personal responsibility as opposed to the law and order we have instilled in the recent decades, especially since we could empower authority with weapons like guns, and banned anyone else from carrying any weapons at all.

Due to such transition of the society, which is definitely a good thing for mankind, more and more people do not see the need for having self defense capability, and even due to lower risks, and in fact, less intimidating risks, CMA which are designed to be lethal and devastating start to lose it's ground.
Most people who want to learn self defense, just want to get themselves out of trouble quickly, and run away. If I were to kill someone in self defense, I would probably be apprehended on the charge of manslaughter. Frankly speaking, this is definitely not what I wished to happen no matter how much I wish I will be competent in CMA.

Traditional CMA are designed to kill in battlefield, and have plenty of moves that designed to strike eyeballs, hitting at vital points or breaking opponents' limbs, all for a simple reason, we Chinese have smaller physical statures than our neighbors. It would be foolish to try to defeat your opponents with brute forces due to the natural differences in physical strengths. These are very "unfriendly" fighting methods, and thus are unsuitable for sports fighting. However, if we were to remove these techniques from CMA, the CMA will be greatly weakened for it's intended purposes. Honestly, if one were to think that CMA is just a dance and do not have any combat effectiveness; let's ponder, how could it have survived and get passed down after hundreds of years?
In summary to this point, peace time have watered down CMA, so much so, most people stop talking about it's combat usage, and what's left is the set forms and patterns.

Mentality in Training Chinese Martial Arts

We might not have much usage for what CMA is designed for, but for people who want to seek higher grounds and capabilities in CMA; I think it's highly important to analyze it's functionality. I had personally train in set forms and routines for many years, and eventually, I reached a bottleneck and wondered what all these are for?
If it's for physical training, it will be more effective if i do swimming and running. If it's for self defense, I probably learn something really quickly with Arnis or Muay Thai. If it's for chi,why not just do meditation? Doing the set forms without knowing the purpose behind it gets boring very quickly, and one will either give up very quickly, or move on to learning one set after another so he is constantly learning.

Purpose of Practicing a Set Routine

1. Posture correction and Physical Conditioning
2. Building subconscious actions and reactions
3. Improving body mechanics efficiency
4. Continuous movements/ Follow up movements
5. Improving Chi's energy capacity and flow
6. Building space awareness

Posture Correction and Physical Conditioning

One of the most commonly known and important aspect of practicing Set Routine in CMA is actually to attain a correct, or rather "effective" body posture. Effective in a  way that applies to the family of martial arts that one is practicing. Common corrections are, keeping the body upright, relaxing the shoulders, pushing out the knees so it doesn't become a weakness etc.

Also, maintaining the low stances in training, and doing impractical high kicks are all part of physical conditioning and training. Of course, no one will sit that low in an actual combat situation, it's merely to strengthen your thigh. Bruce Lee always perform high kicks in demo, or in movies, but when he is in a real sparring situation, he never kick above waist level. We have to understand, there's no gym or training equipment that we have around us more than 100 years ago, so trainers have to be creative in designing their training to fulfill the training in their core muscles group.

Building subconscious actions and reactions

Although alot of CMA have similar stances and moves, they could differ mechanically. Thus, every CMA family would have their own unique set routines which are designed for the trainees to practise so that they will get familiar with utilizing the moves in a combat situation. The fastest way to react to an opponent, is but reflex action, rather than intended reactions. The only way we could do to hone our relax action, is to repeat the same actions repeatedly.It is also importantly for the trainee to be thinking about the intended usage while practicing the set routine so that he could react subconsiously during the situation. 

Almost all highly skilled opponents I have met, usually counterstrike first, before being able to explain what they did. In fact, those whom have lesser experience in teaching, are able to explain precisely what they will do in any preassumed situation as their subconscious reaction will differ with even a slight change in opponent's move.

However, most CMA practitioners don't often have the patience and the vision to be commit themselves to constant practising of the same set routine over and over again. I believe one of the reason is because most of them practice their set routine to perform rather than to fight. Thus, instead of training til it became subconsicious, they are more interested in achieving a appealing posture which can be achieve considerably alot faster than implanting the moves into the subconscious minds.

Improving body mechanics efficiency

When a trainee repeats the same moves repeatedly, another outcome than one could achieve is body mechanics efficiency. Body mechanics efficiency could apply in throwing punches, evading moves, warding punches etc. Body mechanics efficiency is particularly important in CMA due to the philosophy of using weaker effort against strength. Chinese reverred the Water aspect in nature, and believe that "Water" though appear to obliging and compromising, can be strong and powerful. For water to be strong and powerful, the flow will have to be smooth and efficient. In fact, alot of CMA refer to water as the way to move, continuously, minimum effort yet very powerful; and those these can only be achieved by being efficient in body mechanics.

Also, as brought up earlier, for hundreds of years, chinese have be fighting opponents from Russia, Mongols, whom are larger and stronger physically and have thus develop their techniques to be more efficient so as to counter the strength their opponents' possessed.

Continuous movements/ Follow up movements

As mentioned, being like water, means having moves their are being executed consecutively and seamlessly like water flowing. Most traditional CMA set routines are designed making assumption of all the possible scenarios in a combat situations. Having that said, some designed to face an opponents using a saber, long weapon, on horseback etc. It's often good to study the root of that particular routine set when practising. Having said, most of the moves are designed to be executed one after another, and are not often singular in usage as it will be overconfident to assume one can knock out an opponent with a single blow. Thus, by practising the routine set, with understanding of the movements, along with subconscious actions, trainee also acquire abilities/knowledge in following up attacks or defense.

Improving Chi's energy capacity and flow

In this article, I do not intend to talk alot about this mystical topic of Chi. In my opinion, chi is a sensation of body mechanics efficiency within the bloodflow. It's my personal opinion that, when the body learn to be relax in execution of the move with it is efficiency. Body relax = Increased sensitivity, efficiency = more blood flow in the vessels, and all these, are called, "Chi"

Building space awareness

Most, if not all traditional CMA set routines are not designed assuming enemies will only come from the front. As such, they are planned so the practitioners will be familiar with turn around to face opponents, are moving in different directions so they develop their sense of space and direction. Most set routines usually begin with the practitioner starting in a particular position, facing a certain direction, and ends with the practitioner ending facing the same direction, and around the same area.

With sufficient practices, the practitioners learn to more familiar with where they are in relevance to where they started which could be very important when they are fighting in a formation, or fighting in a rather enclosed space which they could use it to their advantage.

Also, there are certain CMA which focus on throws that actually make the practitioners throw and flips themselves intentionally so they to deal with the change in space in the event they get thrown in a fight.

Correct Attitude in Practicing Set Routine

In conclusion to this article, I would want to emphasize the importance of practicing set routine, and the mentality one carries with him/her when practicing it.

By learning CMA via it's set routine with just the purpose of performing, one will be nothing more than a dancer or a stage performer, and could not consider one as a martial artists. In fact, the practitioner will lose faith in training sooner or later, and be frustrated and confused regarding his/her progress.

When a person learning CMA without sufficient practice of the set routine, and attempt to use it in combat situation, he/her will very quickly find him/herself in a situation where he/her start utilizing brute force, and run out of moves very quickly, or, end up revert to other moves.

By learning multiple CMA at one go, without having a priority or focus on anyone of it, one will never be good or competent. Very simple, multitasking when never allow one to be accomplished in a particular task. As the saying goes, Jack of all, master of none.  

In my opinion, for one to be accomplished in CMA training, one of be diligent in practising in the set routine designed for that art. Do it everyday, 3-5 times, even 10 times a day. I understand it's not easy in today's hectic work/life routine, but we should not not do it just because we can't. Meanwhile, one have to study the combat usage of the art. I'm not encouraging anyone to be aggressive, or challenging, but to spend time to study about the purpose of every single movements that you practice in your set routine. All of them are there for a reason, and they are follow up with the next moves with a reason too.

In today's world, the needs of one to be highly skilled in martial arts is diminishing, however, if anyone were to have interest in Chinese martial arts, I encourage you to be diligent and intelligent in training. The learning curve is steep, but once you start to understand what you are doing, you will achieve a mental accomplishment that will spur you on in learning. Learning Chinese martial arts is a lifelong pursuit, and I would hate to see martial arts fade off with time. In fact, sometimes I am afraid, in another 50 years, Chinese martial arts will be nothing more than a dance.

I will be devoting my time in learning this art, and hope that we, together will keep this art true intention in time to come.

Fajin in Taijiquan by Howard Choy

This article appeared in T'AI CHI Magazine, Vol. 34, No. 1, Spring 2010:


 

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.

Master Chen Xiaowang

 

"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.

Press jing	Peng jing

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 posture of Golden Cock Stands, with the application shown below:

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:

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.

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.