Manual de Tai Chi Do Cai Yizhong

ZIMEN BOXING
BAFAN BOXING
THE TAIJI MANUAL OF CAI YIZHONG

Posted on November 30, 2014by Paul Brennan
TAIJI BOXING ILLUSTRATED
by Cai Yizhong
[published Oct 1, 1933]
[translation by Paul Brennan, Nov, 2014]
By Cai Yizhong of Ruian:
Taiji Boxing Illustrated
calligraphy by Ma Gongyu

The essence of Chinese martial arts
calligraphy by Chu Minyi
[PREFACE BY ZHANG ZHIJIANG]
The Taiji boxing art of the Wudang school comes from Daoism, making use of
elixirist practices. It reveres what is natural and discards what has been
acquired, revering what is natural so that your primal spirit may develop and
your acquired bad habits may sink away. The work of quelling bad habits and
expanding your spirit is so important, and for it there is no method of
cultivating health more wonderful than Taiji.
Cai Yizhong of Ruian [in Zhejiang] has achieved the deepest level in this art.
His manner is warm and his spirit is calm. One can see at a glance that he is a
learned scholar and that within him is an abundance of sincerity. Our nation is
in the midst of troubled times, yet our people are inspired, knowing that
training the body is the way to defend the nation. The popular esteem for the
martial quality is everywhere, and Taiji is the top choice for practice. Like many
teachers who deeply feel that all of its secrets should be shared, Cai has made
this book for publication.
He uses easy language to explain difficult concepts so that the principles and
ideas will all be understood. He particularly emphasizes the posture and
footwork, explaining with both gusto and know-how, fully and carefully,
presenting the whole of this magnificent art. As worthy as other books are, I
know that the publication and spread of this book will truly be no small event.
Thus I have added these preliminary words so that my comrades throughout the
nation will understand what it is they have got hold of.
written by Zhang Zhijiang, Jan 12, 1932
PREFACE BY JIANG XIANGQING
Taiji [grand polarity] is born of wuji [nonpolarity]. It is the mother of yin and
yang [the passive and active aspects]. When there is movement, passive and
active become distinct from each other. When there is stillness, they return to
being indistinguishable. Neither going too far nor not far enough, comply and
bend then engage and extend. Use mind to move the energy. Use energy to
move your body Where mind goes, energy follows, circulating through the
whole body without stagnancy anywhere.
These are the subtleties of Taiji Boxing. Cai Yizhong of Ruian has a profound
understanding of it and has drawn from his experience to produce this book. I
gave it an enthusiastic readthrough, unconscious of just how much I was
admiring it. I sigh at the depth of his hard work, and I delight in his humility
and openness in being able to share with all our countrymen.
Lin Jinping [a well-known medical doctor, likewise from Ruian, and Cais
fellow Taiji student] has also contributed a piece on Taiji Boxing in the context
of physiology, presenting insights into how Taiji Boxing theory complies with
physiological principles, a crisp and clear analysis. What the forefathers of the
art where unable to articulate or unwilling to talk about is all here in detail with
nothing left out.
Although I have much to say about this book, I would hate to be overly
gushing. Nowadays our countrymen all understand the value of martial arts,
and since such research began, it has become resoundingly popular and many
seeds have been sown throughout the nation. The National Games are just about
to be held [the 5th, held in Nanjing Oct, 1933], coinciding with the publication
of this book. I cheer how the book will flourish because of it, and hence I write
this preface with pleasure.
written by Jiang Xiangqing in the editorial office of Current Events
Newspaper, Sep 19, 1933
INTRODUCTION: DISCUSSION OF TAIJI BOXING IN THE CONTEXT OF

PHYSIOLOGY
The Taiji boxing art is the quintessence of our nations martial arts. It has the
effects of strengthening the body, preventing illness, prolonging life.
Practitioners are usually able to say something about the art, but as for
discussing the physiological aspects of the exercise, they still cannot manage it. I
have read through the various specialized books on the Taiji boxing art. They
are either undetailed, full of errors, or entirely without a scientific basis, written
in a lofty style to impress people. But this only renders practitioners ignorant
and sends them down the wrong path, one that may produce harm. My friend
Cai Yizhong learned from the Taiji Boxing master Tian Zhaolin. Observing Cais
expert bearing, I know he has benefitted deeply from the art.
Considering that our nations populace has gradually weakened in spirit,
unless we quickly initiate programs of physical training, we will not be able to
shake off our deplorable habits. Therefore I here present what I have learned
from my own work, having reference to scientific methods, and have produced a
piece of writing to share with all my compatriots. The reason I have written this
article presenting Taiji Boxing theory in accordance with physiological insights,
and in the form of simple explanations, is to assist students in the beginning of
their training.
Opinions will vary depending on the reader, but this material should be
sufficient testimony as to the effectiveness of Taiji Boxing. When compared to
the tendencies toward awkward effort in other boxing arts or forms of exercise,
it really can hardly be spoken of at the same time, for it does not seem to have
the same errors within it. I hope this work will be understood by everyone in the
nation and that none will hold back any criticism. This will enable me to
improve it, for which I would feel extremely fortunate.
The Taiji boxing art is widely talked about as a form of exercise. Before the Taiji
Boxing practice set is explained, we must first briefly discuss the physiological
foundations of exercise in order to have a genuine understanding of Taiji Boxing
in terms of physiology:
1. THE PURPOSE OF EXERCISE
From a physiological perspective, the purpose of exercise is to develop the body,

enhance health, and liven the spirit. To sum up, it is nothing more than getting
the efficiency of our lives to obtain a constant progressive development.
Fundamentally, the parts of the body each have their specific function. The
lungs are in charge of respiration, the heart is in charge of circulation, the
stomach and intestines are in charge of digestion, the muscles are in charge of
movement, and so on, the rest all having their specific duties too.
When the parts of the body are functioning in tandem, this shows as life
expressing. Whether or not life is expressing abundantly is in direct proportion
to the efficiency of ones life. If we wish for the efficiency of our lives to have
progressive development, we must first strengthen the various parts of the body.
When their functions are all in a state of constant progressive development,
then we can achieve our aim. Therefore exercise is given the task of developing
the whole body and all of its parts. If only a part of the body is developed while
the other areas and sections are left weak, it would certainly not be able to fulfill
this task.
2. THE TWO MOST BASIC PRINCIPLES IN EXERCISE
The purpose of exercise has been described above, but just how is it that
exercise can cause development in all the parts of the body? This is based in two
fundamental principles: the parts of the body have an interrelationship with
each other and they each have innate characteristics. Both of these are described
separately below:
A. The interrelationship of the parts of the body:
Among all the parts of the human body, there is a fascinating phenomenon: they
are interrelated, supporting each other in order to survive, absolutely incapable
of managing their specific functions on their own. Some examples:
i. The stomach and intestines are in charge of digestion. However, intake of food
depends on the movement of the limbs and the chewing of the teeth. The
digesting of the food also depends on the use of various digestive juices for the
nutrients in the food to then be absorbed into the blood. Without the help of the
teeth, limbs, and so on, the stomach and intestines would be unable to perform
their function.

ii. The lungs are in charge of respiration. When the lungs are expanded, air
enters. When they are contracted, air exits. However, lungs are incapable of
expanding and contracting on their own. They have to rely on the actions of
muscles which expand the thoracic cavity to be able to do this. For the lungs to
fulfill their function, they depend on the movement of muscles.
iii. The heart is in charge of circulation. Blood is pushed by pressure from the
heart into the main arteries, through the many other arteries, and into the
capillaries, distributing nutrients to every part of the body, then taking waste
material through the veins, to the venae cavae, and back to the heart. This is the
greater circulation [general circulation]. Furthermore, deoxygenated blood is
sent from the heart into the pulmonary arteries and to the lungs, and
oxygenated blood is then sent back to the heart. This is the lesser circulation
[pulmonary circulation]. The two cycles repeat over and over again ceaselessly.
Therefore the heart is able to fulfill its function entirely due to the assistance of
the arteries and lungs.
iv. The limbs are in charge of the movements of bending and extending. This
would seem to be simple, but is actually very complicated. There have to be
commands from the brain to stimulate the muscles. The muscles then contract
to move the skeleton. However, the brain first has to be affected by an external
stimulus and recognize it in order to be able to send the proper commands. The
movement that occurs will thus be a response to the external environment.
v. But these are not all. While the various parts of the body are performing their
functions, they are all engaged in oxygenation, which requires oxygen, fats,
sugars, proteins, and other nutrients. Among these, oxygen is the most
important. Through respiration, it enters the blood from the lungs, and it
cannot be lacked for even a moment. For the other nutrients, it is firstly a matter
of digestion, entering the blood from the digestive organs, and secondarily sent
by the actions of the heart to the whole body. The various parts of the body are
able to carry out their functions because of these supplies of oxygen. Therefore
within every movement of hand or foot, this plays a role, and movement is not
merely a matter of muscle and skeleton. The whole body and all of its parts
organs, marrow, nerves, heart, lungs, stomach, intestines, etc. are at the same
time and to the proper degree working together.
B. The three basic capacities of the parts of the body:
Beyond the aforementioned specific characteristics of the parts of the body, they
also have three innate aspects, or three basic capacities:
i. If the parts of the human body are used moderately, their functioning will
increasingly improve and ones external appearance will be robust. If you use
it, you will have more of it.
ii. If the parts of the body are used insufficiently, their functioning will decline
and ones external appearance will be emaciate. If you dont use it, you will lose
it.
iii. If the parts of the body are used excessively, their functioning will likewise
decline and ones external appearance will again be emaciate. If you abuse it,
you will lose it just as if you didnt use it.
There is no lack of examples in society for these capacities. The feet of a

rickshaw driver or the shoulders of a porter will usually through such activities
become robust. The hands of a woman who stays in her chamber or the legs of a
man who spends all his time in meditation will become atrophied from neglect.
A factory child laboring day and night does not get enough rest and will usually
be reduced to a wreck and have stunted growth, ruined from overwork.
Not only is the body thus affected, but also the mind. If we use our brains
moderately, knowledge will daily increase. Not training our minds at all, we will
become daily more stupid. Overdoing it, the result will be nervous breakdown.
The two basic principles above are surely basic points in all reasonable forms of
exercise. By engaging in exercise appropriately, the whole body and all of its
parts can be made robust and the efficiency of our lives will naturally increase
with progressive development. If we do not give extra attention to these
principles, we will betray the original intention of exercise.
Methods that are not compatible with these principles should be discarded.
Most exercises prioritize the development of muscle, most breathing techniques
aim at strengthening the lungs, and most meditation is devoted toward
cultivating the spirit. Each of these methods train only one aspect of the body,
leaving other parts to wane from a lopsided neglect. It is indeed difficult to see
such approaches resulting in the efficiency of our lives progressively developing.
Really they are better categorized as having little significance.
3. THE THREE MOST IMPORTANT THINGS IN EXERCISE
For it to be considered reasonable exercise while engaging in it, there are three
things that cannot be neglected for an instant, the most important points in
exercise: intention, breathing, and the spine.
A. Intention:
There is a saying: People should take action rather than reacting. The way of
exercise follows this principle. The movements of the muscles are all dictated by
the brain, which is the site of our intention. Therefore we must focus intention
in order to issue orders. When the orders are clear, then the limbs and the rest
of the body will obey without exception. Otherwise the whole body will fall into
sloppiness and disarray, and this will produce no result worth speaking of.
B. Breathing:
Our lives are sustained by breathing. Its importance is so obvious that it does
not need to be stated. However, if it is not given added attention, it cannot really
be understood. We often see people exercising whose faces turn purple from
holding their breath until they turn white, looked drained, and collapse. This is
all because they do not understand how to approach breathing.
C. Spine:
The spine is the support for the torso, and therefore it must be held in an
upright position during exercise rather than leaning, bending, or twisting. If the
support is not held upright, the whole body will collapse.
Before engaging in exercise, these three points must first be given additional
consideration. During exercise, these three essentials must not be ignored for an
instant, then the result will conform to the ideal. The degree of seriousness with
which we approach these points is in direct proportion to the results produced,
and there would otherwise certainly be no results worth speaking of. For
instance, if you go on a journey in the wrong direction from your starting point,
no matter how far you go, you will never be able to get to your destination,
because the road you are traveling is of no use for going there. Likewise, if you
make the mistake of using excessive effort in the exercise, it would not only be
ineffective, but would in fact be harmful to the body (this harm explained
further below). It would be worse than not exercising at all. Regardless of what
kind of exercise you engage in, this point must by all means be given extra
attention.

4. AS TO WHETHER OR NOT TAIJI BOXING IS A REASONABLE EXERCISE
If we ask whether or not Taiji Boxing is a reasonable exercise, we need only

consider whether it conforms to the two basic principles and whether during
practice there is deep attention being paid to the three major points. If so, we
can then conclude that it is.
A. As for the two basic principles:
What makes Taiji Boxing an art? Use mind to move energy. Thus the energy
will be smooth. Use energy to move your body. Thus your body will be nimble.
If one part moves, every part moves, and if one part is still, every part is still.
In both movement and stillness, you are always to attend equally to body and
mind, cultivate inside and out simultaneously, and never commit the error of
overemphasizing one particular section. Furthermore, learn the curriculum in
the correct order, going from the easy to the difficult and progressing step by
step. Value softness over awkward strength, for it is forbidden to use excessive
effort. Once all the parts of the body can become robust, there will never be the
error of overdoing it.
That Taiji Boxing conforms to the two basic principles is obvious. People who
practice external styles of boxing or other forms of strenuous exercise end up as
haggard wrecks who die prematurely, but this has not yet been heard of as
happening to those who practite Taiji Boxing. Practitioners with a solid
foundation all have a resolute spirit and an amiable manner, no coarseness in
their behavior at all. By cultivating body and mind together, you can attain
completeness of skill.
B. As for the three main points:
To practice Taiji Boxing, no attention needs to be added to the two basic
principles, but let us briefly delve into the Taiji classics to elaborate [on the
three main points]:
i. Intention:
It says in the boxing classics that spirit should be collected within and that we
are to inwardly bolster spirit. We will thus be able to use mind to drive the
body, as well as to let go of the self to go along with the opponent. Thus it is
said: Mind is sovereign and body is subject. The idea is that the concentration
of intention moves the energy, which then prompts the body. It is also similar to
Li Yiyus Five-Word Formula which begins with the calm mind and finishes
with the gathered spirit. By this can be understood what makes Taiji Boxing
an art. As for concentrating the intention, do not hesitate to give this your
frequent attention. In other words, once you have focused your mind, then you
can practice Taiji Boxing, but if you cannot focus, the practice will be ineffective.
ii. Breathing:
What is meant in the classics by energy is the breath. Taiji Boxing particularly
emphasizes the breath. It is considered that, throughout the practice set, breathassisted movements will always be performed correctly. It says in the boxing
classics: Use mind to move the energy Use energy to move your body. Also:
The mind makes the command, the energy is its flag, and the waist is its
banner. Breathing in Taiji Boxing is a bridge between body and mind. When
practicing, focus your intention on the breath, nurturing it with integrity and
never making the error of acting in opposition to it [i.e. inhaling when you
should be exhaling, etc.]. If you can breathe with smoothness, you will get the
movements of your body to be led by the breath. Between passive and active
moments, between contractings and expandings, all is linked by the breath, and
you will be able to move with a rounded smoothness.
In other boxing arts and methods of exercise, it is not understood that
breathing should be given extra consideration and should aim for smoothness,
though the worry that working against the breath will be inferior does bring
understanding to some. If you do not understand the role of the breath between
the body and mind, breathing will just be breathing and movement will just be
movement, mindless and unguided, and again there will be no effect worth
speaking of. It is the breathing that makes Taiji Boxing superbly unique.
iii. Spine:
It says in the classics: From foot through leg through waist, it must be a fully
continuous process, and whether advancing or retreating, you will then catch
the opportunity and gain the upper hand. This indicates that you should try to
maintain an upright position of the spine. Since it is the support for the torso, if
it commits the error of leaning or bending, the body will not be able to stand
stably. How then could the action be a fully continuous process, whether
advancing or retreating? With your spine upright, your body will stand
comfortably, bracing in all directions. The purpose in Taiji Boxing of
maintaining an upright position of the spine is to spare an excess of effort to
stay stable. It is also said: Step according to your bodys adjustments. Power
comes from your spine. Because every single movement should be originating
with the spine, the direction of the spine and the changes in the footwork enable
the body to be standing in a stable position. Taiji Boxings emphasis on the spine
is thus made clear.
To sum up, Taiji Boxing already conforms to the two basic principles, and if
while practicing there is deep attention given to the three major points, it
qualifies as a reasonable exercise and can be considered scientifically grounded.
If you are able to build a solid foundation, you can then achieve the goal of
progressive development in the efficiency of your life, indeed it would be a
natural outcome. In addition to the enduring weakness of our nation, we also
have this excellent example of the essence of our culture. We should urgently
put our efforts into promoting it on behalf of strengthening both the people and
the self, real benefits that can be depended on. There is no apparent end to the
extent of this art, nor any sign that it will ever go away.
5. THE BREATH IN TAIJI BOXING
Taiji Boxing uses intention to guide the breath, and the breath to guide the
movement of the body. Therefore the method of breathing is indeed significant
and very worthy of discussion. I will try to explain so that beginners will know
what to do:
According to physiology, there are three types of breathing. There is (1) chest
breathing the chest area expanded by the movement of the ribs, and (2)
abdominal breathing the thoracic cavity expanded by the movement of the
diaphragm. Each has its advantages, but they are insufficient. Thus there are
people who advocate getting the advantages of both by performing a kind of
breathing that combines them chest/belly breathing. However, it is not as
effective as (3) reverse breathing, which is performed by the diaphragm moving
upward during inhalation and pressing downward during exhalation. It is just
like abdominal breathing, only in reverse, hence the name. Though slightly
more difficult than the first two, this method has its advantages:
A. It can invigorate the lungs.
According to anatomy, the bronchi at the top of the lungs branch off upward,
opposite to the direction of airflow during inhalation. Therefore in ordinary
breathing, air is not easily inhaled into the top of the lungs. That part of the
lungs gets unused and increasingly atrophies, easily leading to illness, such as
pulmonary tuberculosis. If instead reverse breathing is used, then the
diaphragm will move upward during inhalation and send air upward all the way
into the top of the lungs.
B. It can focus the intention.
Since this method is more difficult, it thus requires more concentration when
performing it, and so the mind is less prone to wandering. In psychology, this is
considered to be healthy thinking, which is very important.
What then is the breathing method in Taiji Boxing? It is said that the breathing
used should always be reverse breathing, and this can be verified from the
classics, where there is mention of abdomen relaxed and: If there is complete
relaxation within your belly, energy is primed. Before performing this
breathing, focus your mind and get the muscles of your abdomen to lose their
tension, then the movement of your diaphragm will be unrestrained.
It also says: Energy sticks to your back and gathers in your spine. This
means that your diaphragm moves upward during inhalation, the air moving
upward all the way to the top of your lungs. Seeming to gather in your spine, it
courses through to your headtop (with an energy of lifting your headtop). Also
at this time, hollow your chest and bulge your back (In hollowing your chest and
bulging your back, bulging the back is a different idea from plucking up the
back. Bulging the back seems to be intended in this case.), which causes the air
to easily reach all the way up to the top of your lungs, and thus it is said that
energy sticks to your back.
What is meant in the classics by energy sinks to your elixir field is that you
press your diaphragm down during exhalation. By pressing deeply down into
your abdominal cavity (i.e. the elixir field), you will thus promote better
circulation within and better function of the abdominal organs. When Li Yiyu in
the gathering spirit section of his Five-Word Formula says that energy sinks
downward, abdomen relaxed is the idea.
It sinks downward, going from your shoulders, gathering in your spine, and
concentrates in your waist. This energy going from above to below is called
contracting. This describes inhalation. The action of your diaphragm first
sends air to the top of your lungs, then downward to fill the rest of the lungs.
The inhalation of air has the appearance of contracting. Hollow your chest and
bulge your back to help store it.
Then it goes from your waist to your spine, spreading to your arms to be
applied at your fingers. This energy going from below to above is called
expanding. This describes exhalation. First press your diaphragm down to
send out air from the bottom of your lungs so that it reaches up to the top of the
lungs. The exhalation of air has the appearance of expanding. Sink your
shoulders and drop your elbows to help release it.
To sum up, the breathing in Taiji Boxing is nothing more than reverse
breathing. At the end of inhalation, the diaphragm then descends, changing to
the beginning of exhalation. At the end of exhalation, the diaphragm then
ascends, changing to the beginning of inhalation. Passive and active, emptiness
and fullness they follow the alternations of the breath. If during the
alternations between inhale and exhale, contract and expand, you are able to
realize clearly this basic principle, energy will then be capable of circulation
without obstruction, roundness without edges. After a long time, profound
wonders will naturally be realized and extraordinary effects will automatically
manifest.
6. THE HARM OF EXCESSIVE EFFORT
People who use excessive effort are often considered risk takers due to their
use of struggling strength. In Taiji Boxing, excessive effort is forbidden, as has
already been explained above. Below is further explanation on the harm of it so

you can understand the source of the taboo:
External styles of boxing, as well as various other methods of exercise, all

emphasize a foolish effort, demanding that the muscles display their maximum
strength. Methods that involve great effort make the chest area tighten up,
which has an influence on ones ability to breathe. This is due to the chest and
shoulder muscles, the biceps and triceps, and the muscles of the thoracic girdle
all intensely contracting. But this is not all, for the larynx is also made to close,
causing the abdominal muscles to display their maximum strength, thus
attaining the objective of complete tension.
With these various aspects in the course of using excessive effort, no air
within the thoracic cavity is able to exit. There is thus a great deal of pressure
built up within the thoracic and abdominal cavities. Because of this increase in
pressure, the heart is intensely contracted, thereby increasing the blood flow
away from the thoracic cavity but reducing the amount of blood within the
heart, producing a very anemic appearance. Your required nutrients are not able
to be supplied, therefore the maintaining of functions is greatly reduced by this.
Moreover, when using excessive effort, veinal blood is affected by high
pressure within the chest and unable to return to the heart, thus producing
through the vein system a condition of venous stasis, causing your face to turn
blue and the arteries and veins to greatly swell. The air in the lungs cannot be
exchanged, for the carbon dioxide from the blood cannot be removed. The
moment in which use of excessive effort ceases, the larynx then opens and
causes the pressurized air within the lungs to rush out from the nose or mouth
with the greatest of force. Continued exhalation at this point produces within
the thoracic and abdominal cavities such low pressure that any veinal blood
beyond the chest area will now forcefully flow back to the heart, greatly reducing
the amount of blood in the veins. The heart by this overloading of bloodflow is
pushed to dangerously expand.
According to the reasoning above, excessive effort is very harmful toward the
functioning of the heart. Constantly putting forth excessive effort may
ultimately lead to cardiac dilation and altering of the cardiac muscle. If this
problem occurs, there is no way back from it. The function of the heart will
become insufficient, resulting in death. This is why many famous champions
among competitive athletes have died young, a result of continually using
excessive effort. Taking the wrong path will lead to endless harms. Thus
everyone should be careful while engaging in exercise.
written by Lin Jingping of Ruian at the Yongjia [in Wenzhou, Zhejiang]

Seaside Hospital
ON THE ORIGIN OF TAIJI BOXING [text copied from Yang Chengfus 1931
manual]
Taiji Boxing was passed down from the Daoist saint, Zhang. He was from Yizhou
in Liaodong. The monastic name he was given was Sanfeng. He was born during
the end of the Song Dynasty [ending in 1279]. Standing seven feet tall, he had a
cranes build and a pines bearing. His face was like the aged moon, with
kindness in his eyes and brows. His beard was as long as a halberd and his hair
was in a bun atop his head. Regardless of winter or summer he wore the same
wide hat of bamboo. He held a Buddhist duster and walked immense distances
in a single day.
At the beginning of Emperor Hongwus reign [1368], Zhang went to Mt.
Grand Harmony in Sichuan to practice asceticism, joining the Temple of Jade
Emptiness monastery, and recited the scriptures after just one reading. In the
twenty-seventh year of Hongwus reign [1394], Zhang traveled again, going to
Mt. Wudang in Hubei, and he tirelessly conversed with the villagers about the
scriptures.
One day, while reciting passages in his room, an excited sparrow appeared in
the courtyard. Because of its calls of warning off, the saint looked out his
window to watch it. The sparrow was in a cypress tree, gazing down eagle-eyed,
while on the ground there was a snake coiling and weaving, looking up at the
sparrow. The two animals were fighting. The sparrow cried out and flew down,
spreading its wings to give flapping strikes. The snake waved its head to slightly
dodge, avoiding the sparrows wings. The sparrow returned to the tree to
express its annoyance for a while then flew down to try again. The snake again
wriggled its nimble body to evade, remaining in its coiled shape. It went on like
this many times without a strike. Then Zhang came out and the sparrow flew
away and the snake slithered off.
The saint was illumined by this incident. The snakes coiling was like the taiji
symbol and used the principle of softness overcoming hardness. From the taijis
transformations was devised Taiji Boxing. It cultivates essence, energy, and
spirit. Movement and stillness wax and wane as in the theory of the Book of
Changes. This is the way it comes down to us from long ago and its effectiveness
is increasingly proven. In Beijings White Cloud Temple there is still an image of
the saint which can be reverenced.
AUTHORS PREFACE
We carry uncomfortable books under our arms to study timeless and worldly
knowledge, reciting works day and night with untiring diligence. But this will
not work without strengthening body and mind. Or we plow on our farms till we
carry the night sky on our shoulders, then tally up the harvest we bring in and
haggle over the smallest grains. Again, this will not work without strengthening
body and mind. Or in wading great rivers and climbing lofty mountains,
marching as a soldier many hundreds of miles away on an arduous trek that
torments the hands and feet, weak bodies can hardly endure such labors, even
less so nowadays. In the process of natural selection, which picks out the fittest
to survive, what have we presently evolved into? Our era is one of great men
who engage in a battle of wits, for seeking office. This being the case in this age
that has developed as it has, unless we refine our bodies and minds, enhancing
the physique, we cannot stand up in the world with any independence.
In 1921, I studied at the Zhejiang Physical Education Teacher-Training
School. In addition to the weapons training and limbering exercises, I most
enjoyed delving into the Shaolin boxing arts. Within one semester, I had learned
dozens of practice sets. By intuiting through the experience, I developed a pretty
good understanding. Then Tian Zhaolin of Beijing came to teach at our school,
whereupon I learned Taiji Boxing. I observed in his performance of Taiji that his
spirit is majestic, his energy is concentrated, his intention is engaged, and his
mind is focused. He is as delicate as one overlooking a deep chasm, as alert as
one facing a vast tsunami. His hands and feet are agile, and he has a graceful
poise. Beyond my admiration for him, he has inspired in me a love for the art,
and so I became absorbed in a deeper study of it, working at it day and night
without pause.
After just a few months, I felt my spirit had become so comfortable, my

breathing so clear and smooth, while in my lower body I started to feel a sinking
heaviness. Consequently my studies focused more and more on Tian. He
presented the art rather generally, but my interest had increased to the point
that in addition to attending his classes I was using all of my free time to
practice Taiji. After waking in the morning and before going to bed at night, I
had to practice the set several times. After I graduated, I was in line for an
official post in Hangzhou. At that time, Tian was living in West Lake, so I
constantly went to see him in search of further instruction. I now found the
training of posture and energy to be limitless, and my mind thus became ever
more untiring toward learning.
In 1926, I attended the 3rd Army Cadre Academy in Nanjing. After
graduating there, I was posted to the 9th Group. Before long, hostilities broke
out, so I enlisted in the army itself and we set out, heading down the Jinquyan
Road and through the Xianxia Gate. This was at a time when winter cold had set
in. Layers of ice filled the valleys. There was rain and snow every step of the way.
Each day, the army marched perhaps thirty miles through unspeakable
suffering, but my spirit remained calm. Starting from the rooster announcing
the dawn, we would then continue without rest until the middle of the night, but
I never showed the slightest exhaustion. If it had not been for the strengthening
of my body and mind, how could I have managed this? And if it had not been for
practicing Taiji, how could I have taken such adversity so calmly?
But after several months of it, I was thankful to be returning home. I left
public life for a while and dwelled in the countryside. The work of training my
body then grew forgotten and thus my spirit increasing became listless. So I
instead packed up my things and went to Hangzhou to again visit Tian. Putting
all my effort into Taiji, my vigor renewed itself automatically. Because of this, I
then believed even more firmly in the Taiji mentality. I then traveled in
Guangdong, Fujian, Anhui, and practiced Taiji without ever taking a break from
it, delving into it every day.
As my attainment in it gradually deepened, I took down notes of the details
within each posture. I had photos made to go with the explanations and so I
dubbed the work Taiji Boxing Illustrated. I hope it will carry forth our national
essence, force aside our corrupt tendencies, manifest our martial spirit, and
strengthen our bodies and minds. In this era of countless calamities, people
should do their utmost to practice this art. With the populace strengthened and
the nation roused, we will be certain to succeed. On the other hand, when we
look down upon scholars and put magicians on a pedestal, the source of blame
for our faults is unmistakably clear, and may the nations experts forgive us.
written by Cai Yizhong at Shanghais Lowly Travelers Lodge, autumn, 1931
Portrait of the author
A GUIDE TO THIS BOOK
1. The performer in the photographs is the author. He is wearing a soccer shirt

and also pants that are black on one side and white on the other in order for it to
be easier to distinguish the position of the hands and feet.
2. In the instructions, there are parenthetic comments throughout each

movement.
3. Where movements are the same as before, the photos and explanations for
them are usually left out to avoid repetition.
4. Start by reading the instruction, then do the movement for real, then compare
with the photo.
5. This book uses indicators of orientation for north, south, east, west [in black
squares on the floor which are often barely visible in the murky photos] to better
facilitate explanation and be more easily compared with the instructions. They
are not really fixed directions that must be adhered to during practice. If you
perform the first posture facing to the west, south, or north [rather than east as
in the instructions], so be it.
6. In the photographs, the feet are stepping onto squares [a pattern of sixteen
blank squares even less visible in the photos]. The size of each square is a square
foot. This device is used to indicate the distance between the feet and the width
of the stance in order for you to more easily understand. These are also general
approximations and should not be adhered to with obsessive exactitude.
7. Although the application explanations are not comprehensive, you may build
further instances based on the ones presented. Practitioners who truly
understand that boxing techniques are in a state of endless flux always rely on
responding according to circumstances. Once your spirit achieves perfection at
this, you will naturally obtain the marvel of your hands performing what is in
your mind.
8. Where these postures differ from what appears in other manuals, this is
because every book has its specific characteristics and they cannot be forced to
be identical.
EXPLANATIONS FOR SOME OF THE ARTS TERMINOLOGY
[1] EMPTINESS & FULLNESS
When your bodys weight sits on your left leg, you are full on the left. When on
the right, you are full on the right. With emptiness and fullness clearly
distinguished, stepping and turning are performed nimbly, like the hinges of a
door, and expanding and contracting are performed smoothly. If emptiness and
fullness are not distinguished, your bodys weight falls between your legs. This is
called double weighted. When double weighted, there will be sluggishness
rather than nimbleness, and when sparring with an opponent, one leg will be
put at a disadvantage while the other one is moving. With the ability to clearly
distinguish between emptiness and fullness, if an opponent pulls my front leg, I
can immediately change my front leg to being empty so that my root remains
unaffected and he is unable to do anything to me.
However, distinguishing between empty and full is really not easy. For
example, in Posture 10 [8]: LEFT BRUSH KNEE IN A CROSSED STANCE, the
bodys weight sits on the left leg (meaning the placement of the lower abdomen
on top of the leg), and then when stepping forward to perform the RIGHT
BRUSH KNEE that follows it, it is crucial for emptiness and fullness to be
switched. As your right leg lifts, your upper body must not rise up, your
breathing should stay normal and must not speed up. Once your right leg steps
out, slowly send your bodys weight to it (meaning the lower abdomen is gently
shifted to be placed atop the right leg).
If you are not aware of such changes within the movement, this can
unfortunately lead to a breaking in the rhythm. For instance, if when your right
leg lifts there is a pause in your breathing or your upper body rises, this
inconsistency of energy will then bring the problem of your power getting
interrupted, and you will be rendered no different from a practitioner of the
external styles of boxing. The opponent will take advantage of the gap and
attack. Thus it is said that Taiji Boxing is not only a matter of needing to
distinguish between emptiness and fullness in the feet, but even down to the
level of a finger. To achieve such mastery is truly not easy, and so this precious
principle has to be understood.
[2] CONTAIN YOUR CHEST & PLUCK UP YOUR BACK
When pushing, your hands are to push forward until in line with your knee, and
though the posture of your hands does not change, your chest shrinks back.
Originally flattened out, it now hollows (becomes concave), and this is termed
contain your chest. With your chest hollowed, the muscles in your back are
awakened. At the same time, you must loosen your shoulders (with your elbows
putting all their energy into hanging down) to then send your hands pushing
forward until hands and knee are aligned with each other. Make your back
rounded (but not so much that your body is leaning forward). Constantly keep
in mind that you are to be forcelessly pressing up your headtop, otherwise it will
be easy to end up rounding your back to the point of outright curling up. At
every moment in the boxing set, you should never forget to contain your chest
and pluck up your back, as well as to drop your elbows and sink your shoulders.
This is something which is especially to be given your attention.
[3] DROP YOUR ELBOWS & SINK YOUR SHOULDERS
When pushing, your elbows are to hang down (The intention is as though each
wrist is hung up on a shelf, thus the elbow is not dropped and yet dropped.)
Sinking the shoulders is a matter of the shoulder bones, which typically form a
flat line, being now loosened downward, turning the flat line into a curve. It is
like trimming the corners off a piece of timber. This is what is meant by sink
the shoulders. (The principles of containing your chest and plucking up your
back with dropping your elbows and sinking your shoulders are interrelated,
making your chest and belly comfortable, your breath deep and long, your
organs ideally placed, and your center of gravity stable.)
[4] FORCELESSLY PRESS UP YOUR HEADTOP
To forcelessly press up your headtop is like in movement 2 of WHITE CRANE
SHOWS ITS WINGS (in which your right hand lifts up and your left hand
pushes down). In this moment, your head seems to want to press upward and
the spirit of your whole body gathers at your headtop, but you must not allow
your neck to become stiff. At the same time, contain your chest and pluck up
your back, sharpen your sight and extend your hearing, make your spirit and
energy course through unified, keep your spine upright, and place the weight of
your body so as to be sitting stably. Right as your right hand lifts, spirit follows
it, focusing upward, and while your left hand pushes down, spirit follows it as
well. As it is said in the Taiji classics: Although your intention goes upward,
also harbor a downward intention. Then it will be effective. It is also said:
Your tailbone is centered and spirit penetrates to your headtop, thus your
whole body will be aware and your headtop will be pulled up as if suspended.
This is the idea.
[5] LOOSEN UP
This means: to use no effort. For instance, when pushing out, the muscles of
every part of your body must be both relaxed and sensitive. Therefore when
pushing out, you must not overdo it (staying slightly withdrawn to the rear).
One aspect of this is the shoulders sinking, which then results in the muscles of
every part loosening.
[6] BOW STANCE
This is like a stance for drawing a bow, one leg forward, the other behind. With
the left leg forward, it is a left bow stance. With the right leg forward, it is a
right bow stance. When in a left bow stance, your left leg is bent and the
weight of your body sits on your left leg. The size of the step is not set in stone. It
depends on what is right for the individual and for ones legs. The main criterion
is ability to easily withdraw. Physiologically speaking, a womans step will
typically be shorter than a mans.
[7] SPEAR-HOLDING POSTURE
Like a soldier holding a spear, your right forearm is level, elbow bent drawing
near to your right ribs, palm facing upward, [left hand forward,] as though in a
posture of holding a spear.
TAIJI BOXING POSTURE NAMES

1.
BEGINNING POSTURE
2.
CATCH THE SPARROW BY THE TAIL (WARD-OFF, ROLLBACK, PRESS,
PUSH)
3.
SINGLE WHIP
4.
RAISE THE HAND
5.
WHITE CRANE SHOWS ITS WINGS
6.
BRUSH KNEE IN A CROSSED STANCE
7.
PLAY THE LUTE
8.
LEFT BRUSH KNEE IN A CROSSED STANCE
9.
RIGHT BRUSH KNEE IN A CROSSED STANCE
10
11
PLAY THE LUTE
12
13
14
STEP FORWARD, PARRY, BLOCK, PUNCH
15
SEALING SHUT
16
CROSSED HANDS
17
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
18
CATCH THE SPARROW BY THE TAIL
19
DIAGONAL SINGLE WHIP
20
PUNCH UNDER THE ELBOW
21
LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
22
DIAGONAL FLYING POSTURE
23
RAISE THE HAND
24
25
26
NEEDLE UNDER THE SEA
27
FAN THROUGH THE ARMS
28
TORSO-FLUNG PUNCH
29
30
STEP FORWARD, CATCH THE SPARROW BY THE TAIL
31
SINGLE WHIP
32
LEFT & RIGHT CLOUDING HANDS
33
SINGLE WHIP
34
RISING UP AND REACHING OUT TO THE HORSE
35
KICK TO THE RIGHT SIDE
36
KICK TO THE LEFT SIDE
37
TURN AROUND, PRESSING KICK
38
39
40
STEP FORWARD, PLANTING PUNCH
41
TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE
42
43
RIGHT PRESSING KICK
44
LEFT & RIGHT DRAPING BODY, FIGHTING TIGER POSTURE
45
WITHDRAW, PRESSING KICK
46
DOUBLE WINDS THROUGH THE EARS
47
LEFT PRESSING KICK
48
TURN AROUND, PRESSING KICK
49
50
SEALING SHUT
51
CROSSED HANDS
52
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
53
54
DIAGONAL SINGLE WHIP
55
LEFT & RIGHT WILD HORSE VEERS ITS MANE
56
57
SINGLE WHIP
58
MAIDEN WORKS THE SHUTTLE
59
60
SINGLE WHIP
61
CLOUDING HANDS
62
SINGLE WHIP
63
LEANING BODY LOW POSTURE
64
GOLDEN ROOSTER STANDS ON ONE LEG
65
RETREAT, DRIVING AWAY THE MONKEY
66
DIAGONAL FLYING POSTURE
67
RAISE THE HAND
68
69
70
NEEDLE UNDER THE SEA
71
FAN THROUGH THE ARMS
72
TORSO-FLUNG PUNCH
73
74
75
SINGLE WHIP
76
CLOUDING HANDS
77
SINGLE WHIP
78
RISING UP AND REACHING OUT TO THE HORSE
79
CROSSED-BODY KICK
80
BRUSH KNEE, PUNCH TO THE CROTCH
81
82
SINGLE WHIP
83
LEANING BODY LOW POSTURE
84
STEP FORWARD WITH THE BIG DIPPER
85
RETREAT TO SITTING TIGER POSTURE
86
TURN AROUND, SWINGING LOTUS KICK
87
BEND THE BOW TO SHOOT THE TIGER
88
89
SEALING SHUT
90
CROSSED HANDS
91
CLOSING POSTURE

TAIJI BOXING ILLUSTRATED
Posture 1: BEGINNING POSTURE
Movement 1:
1
From a posture of standing upright with your feet together, your left foot then
spreads aside to the left (so your feet are now at shoulder width) and your hands
raise up to be level in front of you (palms facing downward) until at shoulder
level. See photo 1:
Points for attention:
1. Your head should be upright.
2. Your emotions are composed.
3. Your gaze is forward and level.
4. It is not necessary to put forth any effort.

Movement 2:
2
Your hands slowly push downward from their previous position to be placed in
front of your thighs (palms facing downward, fingers pointing forward). See
photo 2:
Additional explanation:
In this posture, your whole body is peaceful and calm, not using the slightest bit
of strength, instead behaving with naturalness.
Posture 2: CATCH THE SPARROW BY THE TAIL
Movement 1:
3
Your upper body turns forty-five degrees to the right, your right toes turning
along with it (the heel staying where it is). At the same time, your right hand
(elbow hanging down) goes from its previous position by lifting in front of your
body until in front of the right side of your chest (palm facing downward, elbow
sinking down). See photo 3:

1. The weight shifts to your right leg.
2. When your right hand shifts upward, it must do so slowly.
3. When the foot turns, the heel stays where it is. (Hereafter, whenever there is
pivoting of the heel, the heel will never leave its location.)
Movement 2:
4
Your right knee bends (the heel staying where it is) and your left foot lifts and
gathers in toward the right, drawing in toward your right heel, toes touching
down and pointing forward (heel lifted). At the same time, your left hand shifts
from its previous position to the right side of your lower abdomen (palm facing
upward toward your right hand as though you are holding a ball). See photo 4:

1. The weight is on your right leg.
2. Your left shoulder is pointing to the east.
Movement 3:
5
Sitting stably on your right leg, your left foot steps a full step to the forward left
(the size of the step as in the photo), and your left knee bends to make a left bow
stance, your right leg straightening (slightly bent rather than stiffly straight).
Your right hand then shifts an inch forward from its previous position and
gently pushes downward to be placed beside your right thigh (palm facing
downward, fingers pointing forward, positioned at about a fists distance from
the thigh). At the same time, your left hand lifts from its previous position in
front of your chest until at shoulder level, palm facing inward, fingers pointing
to the right, elbow bent to form a semicircle, positioned at a distance of about
four fists from your body, though this measure does not need to be so exact).
See photo 5:
1. The weight is on your left leg.
2. Your right leg must be slightly bent rather than stiffly straight.
3. Your gaze is toward your left thumb.
4. Your upper body must not bend over.
5. The stepping of your leg and the spreading of your hands are to be performed
in unison.
6. As for the size of the bow stance, see the terminology explanation.
Application:
If an opponent punches at me with his right fist, I use my right hand to connect
to his right wrist (as in movement 2 when your right hand pushes down), then
advance with my left foot while using my left hand to attack his upper body (as
in movement 3 when your left hand lifts up).
Additional explanation 1:
According to Taiji Boxing theory, techniques cannot be split up into movements,

but to facilitate instruction and practice, they have here been broken down for
easier understanding and so students can thereby progress from the simple to
the complex. However, when practicing once all the movements are skillful, you
can merge them so that three movements occur as two, then two movements
occur as one. (For example, movements 1-3 of this Posture have a single process
of movement that must never be overlooked.)
This continuity conforms to the basic Taiji Boxing concept that the
movements are linked together without interruption. If you are not yet at this
level in your practice, you do not need to be forcing flow upon it, for it is
sufficient for you to read the text and examine the photos for each posture
over and over, and then you will get it. Never be afraid to do the work. With
some patience for skill to develop, your pleasure in it will naturally grow.
Once you are skillful at Posture 1, then practice getting movement 1 of
Posture 2 to continue from the end of Posture 1. When practicing, first get
Posture 1 right, then Posture 2, then link them together. If you go about it in this
way, you will gradually progress. The slower the movements, the better, yet
never allow there to be an interrupted energy. Discard methods of interrupted
energy, but rely on slowness.
Additional explanation 2:
Now that an application has been brought up, the idea is first to practice a
movement, then to perform it skillfully, then to examine its function. If
otherwise, it will easily become a mess. Many of the movements have no
function and are simply transitional movements. If there were no transitional
movements, then a practice set could not be put together into a single flow.
Sometimes movements have functions that do not seem to conform to the
movements, as for example in movement 3 of Posture 2 when your right hand
pushes down and your left hand lifts up. Upward movement is seen when your
left hand lifts, but there is no apparent intention of attacking an opponent with
it, and yet the function within the movement is to use your left hand to attack an
opponents upper body. If you encounter such a situation, you must still act in
accordance with the movements, but when their functions are also in your mind,
then you will succeed. By this means, you will be able to achieve the way of
spirit coursing through.
Movement 4:
6
The weight shifts onto your right leg and your left toes turn sixty degrees to the
right (the heel staying where it is). Then the weight shifts back to your left, your
left knee bending, your body at the same time turning to face to the south (your
right foot and the posture of your hands not changing). See photo 6:

Movement 5:
7
Sitting stably on your left leg, your right foot lifts and withdraws toward the left,
the knee bending, and draws near to your left foot (toes touching down, heel
lifted). At the same time, your left palm turns to face downward (its position not
changing apart from slightly withdrawing to the rear) in front of the left side of
your chest, positioned at a distance of about two fists from your chest, elbow
hanging down, while your right hand arcs to the left (going upward from below)
to be placed in front of your lower abdomen (the palm facing upward, the palms
facing each other as though you are holding a ball). You are facing to the south.
See photo 7:
Movement 6:
8
Your right foot now steps out a full step to the forward right, making a right bow
stance (The width of the stance is as in the photo. See also the terminology
explanation.), your left leg straightening (not straightening to the point of
stiffness, staying somewhat bent). At the same time, your left hand slowly
pushes down from its previous position to be placed beside your left thigh (palm
facing downward, fingers pointing forward), and your right hand goes from its
previous position by lifting in front of your body until at chest level (palm facing
inward, fingers pointing to the left, elbow slightly bent to form a semicircle,
positioned at a distance of about four fists from your chest). See photo 8:
1. You are oriented to the south.
3. Your left hand pushing down and your right hand lifting up are to be
performed in unison with the step.
Application:
If an opponent uses his right fist to punch at me, I use my right forearm to catch
his right forearm and veer it off to my right side (as in movement 6 when your
right hand lifts upward), as though I am catching a small bird by the tail, then I
advance with my right foot and attack (If my right foot is already forward, it is
not necessary for me to do a further advancing step, for inclining my body and
turning my waist will be enough.)
Movement 7 WARD-OFF:
Your waist slightly shifts forward from its previous position and your right leg
goes along with it (but without moving the foot) so that your right knee
protrudes forward. At the same time, your right hand shifts upward and forward
about an inch higher than it was, then returns to the position in the photo
above.
Application:
If an opponent attacks straight toward me, I first use my right hand to ward off,
then my wrist to stick to the middle of his forearm, and I put forth confusing
energy to ward it away upward. I seem to be using my right hand to listen to his
energy. (This is what it means to listen to an opponents force.) I can thereby
instantly determine what his intention is and immediately adapt the rest of my
movement to it. Therefore when I shift upward from below, I must not do so as
a rigid collision.
Movement 8 ROLLBACK):
9
Sit onto your left leg (the weight shifting to your left leg), your right leg
correspondingly straightening (with the heel not moving), your left hand lifting
from its previous position to be placed in front of your chest (palm facing to the
right, fingers pointing forward, positioned at a distance of about three fists from
your chest, elbow bent and pointing outward to the left, forming a semicircle).
At the same time, your right arm extends forward (slightly bent, palm turning to
face to the left). As you sit back, your waist gently turns to the left (as though
deflecting something away toward the left), fingers pointing diagonally upward
at eye height, thumb in line with your nose and positioned at a distance of about
four fists from your nose. See photo 9:
1. Sitting back and rolling back [should be performed in unison].
2. Your left hand lifts in the process of rolling back.
3. Your upper body faces halfway to the left.
Application:
ROLLBACK follows upon WARD-OFF. Once I have warded off, I have already
determined the direction of the opponents force, so I then use my left hand to
connect to his right wrist (as in movement 8 when your left hand goes upward in
front of your chest), use my right forearm to connect to his left upper arm (as in
movement 8 when your right arm extends forward), and by inclining my body
and turning my waist, I deflect to the left. This is called ROLLBACK, and herein
lies the concept of four ounces moving a thousand pounds. The idea is to first
neutralize an opponents thousand pounds of force to render it useless and to
lure him into losing his balance, then to add four ounces of force (as in the
PRESS technique that follows). Otherwise, how could four ounces move a
thousand pounds?
Movement 9 PRESS:
10
The weight shifts to your right leg (without your feet moving) and your right
knee bends to make a right bow stance, your left leg straightening (yet slightly
bent). At the same time, your right palm turns inward (elbow bending), the back
of the hand facing forward, and your left hand shifts forward so the fingertips
are touching your right forearm (to the inside of your right hand, palm facing
diagonally downward). The weight now shifts forward, your waist then pushing
forward, as though you are pushing at something. See photo 10:
A point for attention:
When performing PRESS, the actions of hands, legs, and body must be
performed in unison.
Application:
When applying ROLLBACK, my right hand may easily be plucked by the

opponent. I can go along with his plucking momentum and perform PRESS. If
he advances, I again apply ROLLBACK, but if he retreats, I take advantage of
the opportunity and press out. The usages of PRESS are numerous. There is
pressing upward, pressing diagonally, pressing across, etc. Whenever the wrist
is use to press against an opponent, it is called PRESS.
Movement 10 PUSH (part 1):
11
Sit onto your left leg (the weight shifting to your left leg), your right leg
straightening. At the same time, your arms extend forward (slightly bent), then
once you have sat back, your elbows bend and your hands withdraw (palms
facing diagonally downward, fingers pointing diagonally upward, spread to
shoulder width, elbows positioned at about a fists distance from your belly). See
photo 11:

1. The weight is on your left leg. Your upper body must not lean forward or back.
2. When sitting back and withdrawing your hands, the movement must be
performed slowly.
Movement 10 PUSH (part 2):
12
The weight shifts to your right leg, your right knee bending to make a right bow
stance, your left leg straightening (yet slightly bent). From their previous
position, your hands go along with your waist to push out straight ahead (as
though pushing an object), maintaining their width, palms facing forward,
fingers pointing upward, fingertips at chin level, positioned at a distance of
about four fists from your body, elbows bent and hanging down. You must drop
your elbows and sink your shoulders. (See the terminology explanation.) See
photo 12:

When performing PUSH, the movements of the hands, waist, and legs are all to
be performed in unison.
Application:
PUSH is an intention of releasing. There are two parts to the technique:

1. If an opponent applies PRESS to me, I use both hands to seal off his arm
and I go along with his attacking momentum by sitting back and bending my
elbows (as in part 1 when you sit onto your back leg, bending and withdrawing
your elbows). This neutralizes his power and lures him into losing his balance.
2. The opponent at this moment must retreat, so I take advantage of his
retreating momentum and add my PUSH to it (as in part 2 when you push
straight ahead with both hands). However, I must not stiffly push forward. I
must wait for his movement to slacken or for him to lean back, then I can add
the PUSH. As for the power of it: Starting from your foot, issue through your
leg, directing it at your waist, and expressing it at your fingers you will then
catch the opportunity and gain the upper hand. To perform PUSH is to release.
Explanation for WARD-OFF, ROLLBACK, PRESS, and PUSH:
During WARD-OFF, ROLLBACK, PRESS, and PUSH, there are altogether five
weight shifts. When shifting, it is very easy to commit the errors of swaying your
buttocks and rising up with your body. Therefore the movements must be
performed slowly and the breathing can then be natural. The more these
techniques are practiced, the better. This is because they are extremely useful.
They are the basis for the two-person exercises of pushing hands and movingstep pushing hands. The transformations within them are infinite. Give them
careful attention.
Posture 3: SINGLE WHIP

Movement 1:
13
The weight shifts onto your left leg, your right toes put all their energy into
turning a hundred twenty degrees to the left, your upper body turning to be
squared to the east, and your hands go from their previous position by going to
the left in a large arc, going along with your waist, arms extended, until reaching
to the northeast (hands at shoulder width, palms facing outward, fingers
pointing upward). See photo 13:
2. Your knees bend so there is a distance of only about two fists between them.
3. Your gaze is toward your hands.

13
4. Your right foot turns in as far it will go.

Movement 2:
14
The weight shifts onto your right leg, your left leg straightening. Your hands go
along with your waist by arcing to the right (outward to the left from the upper
left, then to the right from the outer left), right hand arcing until in line with
your right shoulder, then its five fingers hang down, making a hanging hand,
left hand arcing until in front of your lower abdomen, to be placed in front of the
right side of your lower abdomen (palm facing inward, fingers pointing
downward, positioned at a distance of about two fists from your lower
abdomen). See photo 14:
2. Your upper body is squared to the east.
3. Your hanging hand points diagonally to the southeast.
4. The arcing of your hands and sitting back are to be performed in unison.
5. Your gaze follows your right hand, peripherally watching your left hand.
Movement 3:
15
Your upper body turns to be squared to the north, your right toes also turning to
the left (pivoting on the heel), your left leg lifts (thigh level, toes hanging down,
knee pointing to the north). At the same time, your left hand, elbow hanging
down, goes from its previous position by lifting in front of your body to be
placed in front of your chest (the palm turning to face outward, fingers pointing
upward, positioned at a distance of about two fists from your chest, fingertips at
chin level, elbow bent and hanging down). See photo 15:
1. The weight is entirely on your right leg.
2. Your upper body is squared to the northeast. Your gaze is to the north.

3. The lifting of the leg and shifting of the hand must be performed in unison.
Movement 4:
16
Your left foot now steps down to the forward left (northeast) and you make a left
bow stance, your left knee bending, your right leg straightening (yet slightly
bent). Your right hooking hand does not change, but your left hand goes along
with the step by gently pushing out forward (elbow bent and hanging down,
palm facing forward, fingers pointing upward, fingertips at eye level), positioned
at a distance of about four fists from your eyes. See photo 16:
2. Your gaze is toward your left hand.
3. Loosen your shoulders and drop your elbows. Settle your wrists and hollow
your chest. All parts should function cooperatively.

The four movements above add up to a single posture. Particular attention must
be paid to the turning of the foot in movement 1. If the toes are not turned in as
far as they can go, then the step in movement 4 will not be easy, and it will also
be difficult to get the orientation to be correct. Therefore the toes must be
turned a hundred and twenty degrees. While the toes turn, you must shift your
weight onto your left leg, and then your right toes will turn naturally and easily.
This postures orientation has three phases. You start out facing to the south,
then turn to the east, then to the north, resulting in your gaze being toward the
north, your left leg stepping to the northwest, and your upper body being
squared to the northeast. When practicing, carefully imitate the photographs.
Application:
I am being attacked by opponents to my right and left at the same time. To deal
with the opponent on my right, I use my right hand to connect to his right wrist
(as in movement 2 when your right hand arcs until in line with your right
shoulder), neutralizing his power and luring him into losing his balance. Once
he is about to lean and stumble, I push down with my fingers. If he is able to
detect this energy, he will surely shrink back, so I continue by pressing in with
my knuckles, which if he adapts to I then move on to using the back of my hand,
and finally my wrist, fully forming the hanging hand posture. However, if he
[does not detect my pushing down energy and] does not move [back], there
would be no cause for me to apply the hanging hand.
At the same time, the opponent to my left uses his left hand to attack me, so I
use my left hand to connect to it and neutralize his power (as in movement 3
when your left hand lifts from beside your left leg to be placed in front of your
chest and your hand turns to face outward). This neutralization draws him
toward my left side, and then just as he is about to lean and stumble, I use my
left palm to push him (as in movement 4 when you step out and your left hand
pushes forward).
Posture 4: RAISE THE HAND
Movement 1:
17
The weight shifts onto your right leg, your left toes turn forty-five degrees to the
right, then shift your weight to again be sitting on your left leg. Your hands and
right foot stay as they were. At the same time, your upper body turns to be
squared to the east. See photo 17:
Movement 2:
18
Sitting stably on your left leg, your right leg lifts and withdraws toward your left
leg. When the foot comes down, the heel is touching down, toes lifted (pointing
to the southeast, knee slightly straightening). At the same time, your hands
embrace inward (as though embracing something in front of your chest, the
movement loosened and soft, with your shoulders sinking and elbows dropped),
your right hand slightly extended, slightly bent (palm facing to the left, fingers
pointing diagonally upward, fingertips at eye level, positioned at a distance of
about four fists from your eyes, hand slightly inclining to the right, elbow
hanging down), your left arm bent (elbow hanging down, palm facing to the
right, fingers pointing upward, fingertips at chin level, positioned at a distance
of about three fists from your chin, also slightly inclining to the right). Your
hands embrace in front of your chest, but must have a slight inclination toward
the right. See photo 18:
2. Your gaze is toward your right hand.
3. Your upper body is squared to the east.
4. Your right hand is to the outside of your right shoulder.
5. While your hands are moving toward each other, your right foot lifts. When
your hands come together, your right foot comes down, neither before nor after.
Application:
If an opponent uses his left hand to attack me, I use my left hand to stick to his
left wrist, my right forearm to stick to his left upper arm, and I squeeze in and
then send him out with PRESS. This is similar to the application for PLAY THE
LUTE (explained below in Posture 7), thus the name for this technique with the
hands reversed is PLAY THE LUTE.
Posture 5: WHITE CRANE SHOWS ITS WINGS
Movement 1:
19
Your right foot lifts and slightly advances a half step, the toes turning to point to
the northeast, and the foot comes down fully. The weight shifts to be sitting
stably on your right leg and your upper body turns to be squared to the north. At
the same time, your left leg lifts and immediately lowers (toes touching down,
heel lifted, knee pointing to the north). Your left hand does not change in its
posture, but goes along with your waist in turning to the north (except the elbow
goes slightly higher and bends outward to the left, palm facing downward,
fingers pointing to the right at chest level, positioned at a distance of about two
fists from your chest). At the same time, your right hand leaves its previous
position, going along with your waist by arcing toward your belly to be placed in
front of your lower abdomen at navel level (palm facing upward, fingers
pointing to the left, facing your left hand as though you are holding a ball). See
photo 19:

1. Turning your body and arcing with your right hand are to be performed in
unison.
2. While your right foot advances its half step, it turns its toes.
Movement 2:
20
Your left hand slowly pushes downward from its previous position to be placed
beside your left thigh (fingers pointing forward, palm facing downward,
positioned at about a fists distance from the thigh). At the same time, your right
hand lifts in front of your body (palm facing inward while lifting, elbow pointing
upward, fingers pointing downward, the hand positioned at a distance of about
three fists from your body, lifting then turning, palm turning to face outward) to
arrive in front of your right temple (palm facing outward, fingers pointing to the
left, positioned at a distance of about three fists from your forehead). See photo
20:
2. When your right hand lifts upward, your left hand must push downward. It is
like drawing silk.
3. Your gaze follows your right hand.
4. You should forcelessly press up your headtop. (See the terminology

explanation.)
Application:
If I use my right hand to attack an opponent (as in movement 1 when your right
hand arcs toward your lower abdomen) and it gets pushed down by his left
hand, I can go along with his downward push. If he at this moment uses his
right hand to attack, I can use my left hand to connect to his right wrist and
pluck downward (as in movement 2 when your left hand pushes down). My
right hand takes advantage of this action by going upward from below, moving
along my right side to attack his head (as in movement 2 when your right hand
lifts in front of your body). Or I may send my left hand downward to the left to
spread aside his right wrist (as in movement 2 when your left hand pushes
down), while sending my right hand upward to the right to spread aside his left
wrist (as in movement 2 when your right hand lifts in front of your body),
thereby dispersing his force.
Posture 6: BRUSH KNEE IN A CROSSED STANCE
Movement 1:
21
Your right hand goes from its previous position (elbow hanging down), palm
turning to face inward, fingers pointing upward, slowly lowering so that the
elbow draws near to your right ribs as in a spear-holding posture. At the same
time, your left arm extends forward from its previous position (slightly bent,
palm facing to the right, fingers pointing forward) and your upper body turns
halfway to the right. See photo 21:

1. The weight is still on your right leg.
2. Your lower body does not move while your upper body turns halfway to the
right, for there is turning only at the waist.
3. Your left hand is to the north, but your right hand inclines toward the
northeast.
Movement 2:
22
Your upper body turns to be squared to the north, your hands not changing in
their posture, and your left leg lifts (thigh level, toes hanging down). See photo
22:
Movement 3:

23
Your left leg now steps out a full step to the forward left northwest making a
left bow stance, your right leg straightening (yet slightly bent). At the same time,
your left hand goes along with the lowering of your leg, going from its previous
position by sweeping downward (sweeping from in front of your knee outward
to the left) to be placed beside your left knee (palm facing downward, fingers
pointing forward, positioned at about a fists distance from the thigh). Your
right hand meanwhile has gone from its previous position to gather in toward
your right ear and now goes along with your waist by pushing out forward from
beside your right ear (going downward from above), elbow slightly bent, palm
facing forward, fingers pointing upward, in line with your right shoulder,
positioned at a distance of about five fists from the shoulder). See photo 23:
2. The size of the step is as in the photo.
3. Your leg lowering and your right hand pushing forward are to be performed
in unison.

Application:
If an opponent uses his right hand to attack me, I use my right hand to connect
to his right wrist, inclining my body and turning my waist to draw him in toward
my right side (as in movement 1 when your right hand lowers and your elbow
goes toward the rear), then use my left hand to attack his head (as in movement
1 when your left hand lifts in front of your body). At this moment, if he then uses
his left hand to attack, or uses his left leg to kick, I use my left hand to brush
aside to the left (or drag aside his leg), then step forward and use my right hand
to strike to his upper body or to push him away (as [in movement 3] when your
left hand brushes past your knee and your right hand pushes forward).
Posture 7: PLAY THE LUTE
Movement:
24
The weight shifts fully onto your left leg, your rear leg lifts and comes forward a
half step (toes still pointing in the same direction), and the weight then shifts to
your right leg. Now sitting on your right leg, your left leg then lifts and slightly
shifts back, heel touching down, toes lifted and pointing to the northwest. At the
same time, your hands go from their previous position to embrace inward,
palms facing each other, right arm bent and placed in front of your chest (palm
facing to the left, positioned at a distance of about two fists from your chest), left
arm slightly straightening (elbow hanging down, palm facing to the right,
fingers pointing diagonally upward, fingertips in line with your left eye). Your
hands seem to be holding a lute. See photo 24:

3. Your left toes are pointing to the northwest, your right toes to the northeast.
4. You are still facing to the north.
5. First advance with your right foot, then as your left foot lifts, your hands also
lift, and as your left heel touches down, your hands come together.
Application:
If an opponent uses his right hand to attack me, at the moment his arm seems to
be straight I use my right hand to stick to his right wrist, my right hand to stick
to his right elbow, and using power from my waist, I squeeze inward. When
squeezing, my waist seems to be twisting to the right. (This technique entirely
depends on power from the waist.) Even if his arm does not break, it will be
injured. This is one way to apply this technique.
For another scenario, I may use my right hand to stick to his right wrist and
my left hand to push on his right shoulder, feeling for what he will do, then wait
for the right moment to issue.
Posture 8: LEFT BRUSH KNEE IN A CROSSED STANCE
Movement:
23
Sitting stably on your right leg, your left leg lifts, and steps out a half step
forward (to the northwest), making a left bow stance, your right leg
straightening (yet still bent). At the same time, your left hand brushes past your
knee to be placed beside your left thigh (fingers pointing forward) as your right
hand arcs from its previous position to the right rear, palm first facing outward,
going downward from above, then arcing and turning over until beside your
right ear (palm now facing forward, fingers pointing upward). When you step
out, your right hand goes along with your waist by pushing out forward (going
upward from below). The movement is almost the same as in Posture 6,
movement 3 photo 23, and the positioning of the hands is identical.

23
2. The posture is the same as in photo 23.
3. Your orientation is still to the north.
4. This posture is slightly different from Posture 6, for this left bow stance only
advances a half step, whereas the one in movement 3 of Posture 6 makes a full
step.
5. When your foot comes down, it must do so lightly and soundlessly.

There are hereafter very many postures in which there is a step forward.
Before stepping forward, you must sit stably on your rear leg. For instance,
when stepping out with your left foot, sit stably on your right leg. In this way,
your steps will naturally be nimble. It says in the Taiji Boxing classics: Step like
a cat. It is this idea. Therefore unless you step lightly, it will not work, and if
you wish to step lightly, it depends entirely on sitting stably on your rear leg.
Furthermore, the actions of your hands and feet must be performed in
unison,
as in Posture 6, movement 3. When your left foot steps out, your left hand
brushes past your knee, seemingly with an intention of sweeping aside an
opponents leg, and your right hand in that moment goes along with your waist
to push forward to the opponents upper body. If the actions of brushing and
pushing are out of synch, then the value of the technique will have been spent.
Application:
If an opponent uses his left leg to kick me, I use my left hand to sweep away his
leg, then use my right hand to strike to his upper body or to push him away.
Posture 9: RIGHT BRUSH KNEE IN A CROSSED STANCE
Movement 1:
25
Your left toes turn forty-five degrees to the left, the weight shifts onto your left
leg, and you sit stably on it. Then your right foot lifts and draws nears to your
left foot, toes touching down, heel lifted. Your hands have not changed in their
posture. See photo 25:

Movement 2:
26
Your right foot lifts and now steps out a full step to the forward right, the knee
bending to make a right bow stance, your left leg straightening (yet still bent). At
the same time, your right hand goes from its previous position to brush past
your knee and is placed to the right side of your right knee (fingers pointing
forward), your left hand lifting from its previous position (fingers pointing
upward) until beside your left ear, then going along with your waist during the
step by pushing out straight ahead (elbow slightly bent, palm facing forward,
fingertips in line with your left shoulder, positioned at a distance of about five
fists from the shoulder). See photo 26:

2. Your gaze is toward your left fingers.
3. When stepping out, the actions of the hands and legs are to be performed in
unison.
Application:
If an opponent uses his right fist to punch at me, I use my right hand to brush it
aside to the right (as in movement 2 when your right hand brushes past your left
knee), then use my left hand to strike to his chest or belly, or to push him away
(as in [movement 2] when your left hand pushes forward).
Same as in Posture 8 (except for the large forward step with your left foot, which
makes it slightly different).

Posture 11: PLAY THE LUTE
Same as in Posture 78.
Same as in Posture 8 (but again with your left foot making a large forward step).
Posture 14: STEP FORWARD, PARRY, BLOCK, PUNCH
Movement:
27
Your right toes turn about forty-five degrees to the right. Sitting stably on your
right leg, your left leg lifts, steps out a full step to the forward left, and the knee
bends to make a left bow stance, your right leg straightening (yet slightly bent).
Your left hand does not change in its posture, but goes slightly forward, fingers
raised forward (palm facing diagonally downward), while your right hand
grasps into a fist (a hollow fist that does not use strength) and lifts from its
previous position so that the forearm is level, first withdrawing the elbow, then
going from your waist toward your left hand, gently punching forward under
your left palm (elbow slightly bent, hanging down, does not need to be straight).
See photo 27:

1. Your gaze is forward. The weight is on your left leg. The punch must be
performed gently.
2. From Posture 9 to this one, there is a total of six stepping actions.
Application:
If an opponent uses his right fist to punch to my chest or belly, I use my right
fist to connect to his right wrist and parry it downward to the right (as in the
part of the movement when your right hand grasps into a fist and the elbow
withdraws, resembling a spear-holding posture). At the same time, I use my left
hand to attack his upper body (as in the part of the movement when your left
hand does not change its posture but pushes slightly forward). If he now uses
his left hand to block aside my left hand, I in turn use my left hand to take his
left hand aside, advancing, and use my right hand to strike to his chest or belly.
If my left foot is already in front, it would not then be necessary for me to take a
full step forward.
Posture 15: SEALING SHUT
Movement 1:
28
Your left hand slightly shifts to the right until below your right elbow, your right
hand withdrawing from the left to be placed above your left hand (the hands
crossing, palms facing downward). (The photo for this moment could not be
included.) At the same time, the weight shifts to your right leg. As you sit onto
your right leg, your left leg straightens (When sitting back, your waist first twists
to the left.) and your hands spread apart (to shoulder width, fingers pointing
upward, palms facing forward, elbows hanging down), following your waist as
you sit back, withdrawing until in front of your chest. See photo 28:

2. The actions of sitting back and withdrawing your hands occur in unison.
3. Your upper body must not lean back.
4. Your gaze is forward.
Movement 2:
29
The weight again shifts to your left leg, your left knee bending to make a left bow
stance, your right leg straightening (yet slightly bent). At the same time, your
hands slightly lower, by about two inches, then go along with your waist by
pushing out straight ahead. See photo 29:
Your waist and legs move, but your feet do not.
Application:
When I punched to the opponents chest or belly, if my right elbow got pushed
aside by his left hand, he has neutralized my power. I can take advantage of the
energy of his pushing across by taking my left hand from behind and below my
elbow to connect to his left wrist (as in movement 1 when your left hand shifts to
the right to be under your right elbow), withdrawing my right hand (from the
left side), inclining my body and turning my waist, luring him into losing his
balance (as in movement 1 when your waist twists to the left). At this moment,
once my right hand has sufficiently escaped, it then connects to his left elbow
(as in [movement 1] when your hands spread apart). When I sit back, I have the
intention of drawing him in so he loses his balance, and he is in that moment
compelled to retreat, so I go along with his retreat by adding a push (as in
movement 2 when your hands slightly lower and push out forward).
Posture 16: CROSSED HANDS
Movement 1:
30
Your left hand slightly shifts to the right (palm facing to the right) and your
right hand lifts to be above your left hand (palm facing to the left) so that your
hands are now crossed. At the same time, the weight shifts onto your right leg
and your upper body turns to the right (to be squared to the east). Your left leg
is now straight, toes pointing to the east (the heel still where it was). The
posture of your hands does not change while your waist turns and they are
placed in front of your chest, positioned at a distance of about three fists from
your chest, palms facing outward, fingertips at eye level. (When your upper
body turns, your right toes lift and go along with your waist by turning forty-five
degrees to the right, the heel staying where it is, the toes pointing to the east.)
See photo 30:

2. When your upper body turns, your hands do not change their posture. As
your waist turns to be squared to the east, the toes of both feet turn along with
it.
Movement 2:
31
Then the weight shifts to your left leg and your right foot pulls back to be in line
with your left toes, shoulder width apart, while your hands extend upward in
front of your body, palms turning to face forward, spreading in unison to the
sides. As your hands spread, your knees bend and your body squats down (your
hands arcing downward from above). Once your body has squat down, your
hands have come together to be again crossed in front of your chest (palms
facing inward, positioned at a distance of about four fists from your body). See
photo 31:

1. The weight inclines to your left.
2. Your upper body must not lean forward or back.
3. The spreading of your hands and the squatting of your body are to be
Movement 3:
32
Your body stands up, both legs straightening. The posture of your hands not
changing, they rise upward along with the rising of your body to be directly in
front of your chest (elbows hanging down, thumbs at nose level). See photo 32:

1. The weight is still on your left leg.
2. Standing up must not be done too quickly.
3. You are facing to the east.
Application:
When performing SEALING SHUT, I use both hands to push on the opponents
arm. If he neutralizes this technique by keeping his elbow where it is but

loosening his left palm to lure me into losing my balance, I could at this moment
easily lean and stumble away, or he could easily attack my face. Therefore if my
left hand feels his left hand loosening, I immediately take advantage of his
loosening action by using my left hand to strike directly to his chest (as in
movement 1 when you shift your left hand slightly to the right). At the same
time, I use my right hand to connect to his left elbow and push it across toward
my left side (as in movement 1 when you shift your right hand to be above your
left hand). If he then uses his right hand to counterattack, I cross my hands to
seal it off, or I shift my right hand to connect to his right wrist and lead it toward
my right side (as in movement 1 when you sit onto your right leg and turn your
upper body to be squared to the east). Once my body has turned to be squared
to the east, if he uses both hands to perform PRESS toward me from the east, I
connect to his elbows and prop them upward, causing his hands to be squeezed
together and unable to apply power (as in movement 2 when your hands extend
upward). This is one way to apply this technique.
For another scenario, if when he uses both hands to PRESS, I instead use
both hands to connect to his wrists and spread them apart to the sides
(neutralizing), then pluck downward while squatting my body down (as in
movement 2 when you bend your knees and squat your body down, spreading
your hands to the sides). When he has been plucked downward, his energy is
sure to recoil upward, so I take advantage of his upward recoil by propping up
his elbows to send him away (as in movement 3 when you stand your body up
and straighten your legs, your hands correspondingly rising upward).
Posture 17: CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
Movement 1:
33
The weight shifts to your right leg, your left toes lift and turn forty-five degrees
to the right, then the weight shifts back onto your left leg, and your upper body
turns to be squared to the south, your right foot going along with this action by
stepping out a full step to the forward right (knee straight). Your left hand does
not change in its posture except for the palm turning to face outward (fingers
pointing forward, tigers mouth facing downward), and is placed beside your left
ear, positioned at about a fists distance from it, while your right palm turns to
face downward (slightly lower than your left hand) and is placed in front of your
chest, going along with your waist toward the south. See photo 33:
1. Your gaze is to the south.
2. Your upper body and right elbow are pointing to the south.
Movement 2:
34
The weight shifts to right leg and the knee bends to make a bow stance, your left
leg straightening (yet slightly bent). At the same time, the back of your right
hand goes forward, turning over, the elbow withdrawing near to your right ribs
(palm facing upward, fingers pointing forward, as in a spear-holding posture),
while your left hand goes along with your waist by pushing out (palm facing
diagonally downward, fingertips at shoulder level), positioned at a distance of

about four fists from your right shoulder. See photo 34:
3. Your right foot steps to the southwest.
4. Your hands maintain an intention of drawing arcs in their pushing forward

and withdrawing.
Movement 3:
35
The weight shifts onto your left leg, your right leg straightening (yet still bent).
At the same time, your left palm turns to face upward, the elbow withdrawing
near to your left ribs, while your right hand (palm turning to face downward)
goes along with your waist by pushing out forward over your left hand, pushing
out as you sit back (fingertips forward and in line with your left eye), positioned
at a distance of about five fists from your eyes. See photo 35:
2. As you sit back, your left hand withdraws and your right hand pushes
forward, maintaining an intention of arcing.
3. Your upper body has now shifted to be half turned toward the east (so as to be
squared to the southeast).
4. Your gaze is forward to the south.
Application:
If an opponent on my right side uses his right hand to attack my head (going
downward from above), I turn my head and use my left hand to connect to his
right hand (as in movement 1 when your left palm turns to face outward and is
placed beside your left ear), not yet changing direction, then turn my body and
use my right elbow to attack his right ribs (as in movement 1 when your right
hand lowers, the palm turning to face downward, going along with your waist to
the south). If he uses his right hand to push down my right elbow, I can go along
with his lowering momentum by switching to using my right hand to connect to
his right wrist and push it across to the right, then easily use my left hand to
attack his head (as in movement 2 when the back of your right hand turns over
forward to make a spear-holding posture and your left hand goes along with
your waist to push forward). If he now uses his left hand to counterattack, I use
my left hand to push down his left hand (as in movement 3 when your left hand
withdraws, the palm turning to face upward), then send out my right hand to
attack his head (as in movement 3 when your right hand pushes out forward
over your left hand). This is one way to apply this technique.
For another scenario, if after I have turned around (as in movement 2 after
you have turned all the way) he uses his left hand to strike from above, I
urgently coil my left wrist around his left wrist and bring it down to his right
wrist (as in movement 3 when your left hand withdraws, the palm turning to
face upward), then send my right hand to connect to his [left] upper arm (as in
movement 3 when your right hand pushes out forward over your left hand), and
wrap him in with both my hands and hold him at my left side (as in movement 3
when you sit onto your left leg).
Movement:
7
8
9 10 11 12
First your left palm turns to face downward, lifting from its previous position
(elbow hanging down), until to the left side of your chest (positioned at a
distance of about two fists from the left side of your chest). At the same time,
your right hand arcs downward from its previous position to be placed in front
of the left side of your lower abdomen, fingers pointing to the left, palm facing
upward, the palms facing each other as though you are holding a ball). This is
the same as in Posture 2, movement 5 photo 7, except in this case without the
stepping action. The weight then shifts to your right leg and the knee bends to
make a right bow stance, your left hand pushing down, your right hand lifting
forward. This is almost the same as in Posture 2, movement 6 photo 8, except
again without the stepping action. ROLLBACK, PRESS, and PUSH are then the
same as in movements 8-10 photos 9-12.
Posture 19: DIAGONAL SINGLE WHIP
Movement 1:
13
The weight shifts onto your left leg and your right toes turn forty-five degrees to
the left. At the same time, your upper body turns to be squared to the east and
your hands go from their previous position by going upward to the left in a large
arc, arms extended (going from right to left, palms facing forward, fingers
pointing upward, hands at shoulder width). It is the same as in Posture 3, photo
13.
2. Your hands arc as your body turns.
3. Your gaze follows your hands. Your right toes turn only forty-five degrees,
and so it is slightly different from in Posture 3.
Movement 2:
14
This is the same as in Posture 3, movement 2 photo 14, except in this case the
orientation is different, your right hanging hand pointing to the southwest, your
upper body being squared to the east.
Movement 3:
15
Your upper body sitting stably, your left foot lifts (toes hanging down), as your
left hand goes from it previous position by lifting in front of your body (the palm
turning to face outward) to be placed in front of your chest. It is the same as in
Posture 3, photo 15.
Movement 4:
16
This is the same as in Posture 3, movement 4 photo 16, except the orientation
is different, your left foot stepping down to the northeast, your hanging hand
pointing to the southwest, your upper body squared to the southeast.
Application:
Posture 20: PUNCH UNDER THE ELBOW
Movement 1:
36
The weight shifts further onto your left leg and your upper body turns to be
squared to the north (going from east to north). Your left hand goes along with
the turn by slowly releasing downward to be placed beside your left thigh. Your
right foot at the same time (also going along with the turning of your body) lifts
and comes down beside your left foot, which makes a ninety degree angle with
your right foot, the knees bent. Your right hand (switching from hanging hand
to palm) goes from its previous position, going along with the turning of your
body, by making a level arc to the left (at shoulder level, arcing from outward on
the right until in front of your chest), placed in front of the left side of your
chest, positioned at a distance of about three fists from your chest (palm facing
downward, fingers pointing to the left). See photo 36:
1. This movement first sits onto your [left] leg, then the turning of your body,
arcing of your [right] hand, and shifting of your [right] leg are all to be
3. Make your knees bend, but keep your upper body from bending over.
4. The shifting of your [right] leg has an arcing quality.
Movement 2:
37
Your right leg becomes full and straightens (toes pointing to the northeast),
your left foot lifts (toes hanging down, thigh level, knee pointing to the north),
and your right hand slightly lowers from its previous position, grasping into a
fist, tigers mouth facing upward, while your left hand goes from its previous
position by moving in front of your body along your right side, lifting to the
inside of your right arm (palm facing to the right, fingers pointing upward) to be
placed above your right fist (thumb in line with your left eye). See photo 37:
Movement 3:
38
Your right knee bends and your body squats down, left heel touching down (toes
lifted), your left elbow slightly sinking down above your right fist (which does
not change its position), the fist positioned at a distance of about three fists
from your body, tigers mouth facing upward. See photo 38:

3. Your buttocks must not lift up.
4. You are facing to the north.
Application:
If an opponent on my left side uses his left hand to attack me, I turn, using my
left hand to connect to his right wrist, and lead him off toward my left side (as in
movement 1 when your left hand slowly lowers along with the turning of your
body), then turning further, I send my right hand across to attack his head (as in
movement 1 when your right hand arcs level to the left along with the turning of
your body). If he now uses his right hand to counterattack, I can use my right
hand to push down his right hand and send out my left hand to attack his face
(as in movement 2 when your right hand slightly lowers and your left hand lifts
to the inside of your right arm to be placed above your right hand). If he then
uses his left hand to block my left hand, my right hand now under my left elbow
can grasp into a fist and easily strike to his chest or belly (as in movement 2
when your right hand grasps into a fist under your left elbow).
Posture 21: LEFT & RIGHT RETREAT, DRIVING AWAY THE MONKEY
A. Left side
Movement 1:
39
Sitting stably on your right leg, your left foot retreats straight back a half step
and comes down full (the toes positioned at a distance of about one and a half
feet from your right heel and pointing diagonally outward), the weight shifts to
your left leg, your right leg straightening, and your right toes turn to point
straight ahead (the heel staying where it is). Your left hand does not move, but
your right hand lowers from its previous position to be placed beside your right
thigh (palm facing downward, fingers pointing forward). See photo 39:

Movement 2:
40
Your left hand lowers from its previous position to be placed beside your left
thigh (palm facing downward, fingers pointing forward) as your right hand arcs
from its previous position to the right rear (the palm first facing inward), arcing
and rotating until beside your right ear (the palm turning to face forward,
fingers pointing upward), then pushes out forward (downward from above,
elbow bent and hanging down, fingertips at nose level, positioned at a distance
of about four fists from your nose). See photo 40:

2. Your upper body slightly inclines to the left.
3. As your right hand arcs, get your waist to move along with it, but keep your
upper body from swaying.
B. Right side
Movement:
41
The version on the right side is mostly the same as the left, except that now it is
the right leg retreating, left leg straightening, left toes turning to point straight
ahead, right hand lowering beside right thigh, left hand arcing to left ear and
then pushing out, simply a reversal of lefts and rights. See photo 41:

When your left leg retreats, your upper body inclines to the left. When your right
leg retreats, your upper body inclines to the right.
This posture is divided into a left side and right side, but there is no fixed
number of steps, commonly taking seven or nine steps back. However, you must
retreat an odd number of steps for the sake of the DIAGONAL FLYING
POSTURE. If you retreat an even number of steps, you will not be able to
continue into that posture. Pay attention to this while practicing.
Application for the left side:
If an opponent uses his right hand to attack my chest, I use my left hand to
pluck his right wrist (or block it aside to the left) while sitting back, turning my
waist, and inclining my body (as in movement 1 when your left foot steps
straight back a half step and in movement 2 when your left hand lowers beside
your left thigh), then use my right hand to attack his upper body (as in
movement 2 when your right hand pushes forward from your right ear). This is
the application for the left side. For the right side, reverse the lefts and rights.
Posture 22: DIAGONAL FLYING POSTURE
Movement 1:
42
Standing stably on your left leg, your right leg lifts (toes hanging down, thigh
level) while your left hand (elbow hanging down) goes from its previous position
by lifting in front of you to be at the left side of your chest (palm facing
downward, fingers pointing to the right) and your right hand goes from its
previous position to arc downward (from front to rear) to be placed by the left
side of your lower abdomen (palm facing upward, fingers pointing to the left,
facing your other hand as though you are holding a ball). See photo 42:

2. The direction your [left] foot is pointing does not yet change.
Movement 2:
With your left foot lifting its toes to pivot on the heel, your body turns to be
squared to the east, then your right foot, now pointing to the forward right
(southeast), steps out a full step, and your right knee bends, making a right bow
stance, your left leg straightening, the weight shifting to your right leg. At the
same time, your left hand goes from its previous position by slowly pushing
down to be placed beside your left thigh (palm facing downward, fingers
pointing forward) and your right hand goes from its previous position by
spreading away forward (palm facing upward, fingers pointing forward). This
movement is the same as in Posture 2, movement 6, except that the orientation
is different and your right palm is facing upward.
1. In this posture, you are squared to the east, your right toes are pointing to the
southeast, and your right palm is facing upward, fingers pointing forward.
2. When your right hand spreads away, your waist appears to be wrenching it to
the right. (This is the rending energy.)
Application:
If an opponent to my right side uses his left hand to attack me, I turn around
and use my left hand to connect to his left wrist and either pluck it down or
block it aside to the left (as in movement 2 when you turn your body to the east,
pivoting on your left heel, and slowly push down with your left hand), then use
my right hand to strike across to his upper body (as in movement 2 when your
right hand spreads away forward, palm facing upward, fingers pointing
forward).

Movement:
18
Sitting stably on your right leg, your left leg lifts, comes forward a half step,
drawing near to your right heel (toes pointing to the northeast), and the weight
then shifts to your left leg. Sitting stably on your left leg, your right leg lifts and
immediately steps down again, heel touching down, toes lifted (pointing to the
southeast). It is the same as in Posture 4, photo 18.
Posture 25: BRUSH KNEE IN A CROSSED STANCE
Posture 26: NEEDLE UNDER THE SEA
Movement 1:
43
First your weight shifts to your left leg, the knee bending, and your right leg lifts,
comes forward a half step (positioned at about a foots distance from your left
heel, toes pointing to the forward right), and once it steps down fully, the weight
then shifts to your right leg. Standing stably on your right leg, your left leg lifts
(toes hanging down). At the same time, your right hand lowers from its previous
position, arm straightened (fingers pointing downward, palm facing to the left,
diagonally placed in front of your lower abdomen), while your left hand shifts
from its previous position to be beside your right hand (palm facing to the right,
fingers pointing downward, elbow slightly bent, higher than your right hand).
See photo 43:

Movement 2:
44
Your right knee bending, your body squats down, your left toes touching down
and pointing forward, the knee also bent, placed in front of your right foot
(positioned at a distance of about two feet from the toes), your hands going
along with your waist by hanging down to be placed to the right side of your left
knee. See photo 44:

Your gaze is forward. Your upper body must not bend over.
Application:
If I use my left [right] hand to attack an opponent, but he grabs my hand with
his right hand and plucks downward, I then take advantage of his lowering
energy by stepping my right foot forward and using my left hand to push down
his hand, squatting my body down and sitting back with my waist, luring him
into losing his balance (as in movement 2 when your body squats down and
your extended hands correspondingly make an action of hanging downward).
Posture 27: FAN THROUGH THE BACK
Movement 1:
45
Sitting stably on your right leg (the knee still bent), your left leg lifts and steps
out a half step forward (toes turned to point to the east, your right foot also
immediately turning to point to the east, the heel staying where it is). Your
upper body goes along with the turning of your feet, but your gaze is to the
north. Your hands have not changed in their posture. Your legs are positioned at
a distance of about three feet apart and are on a straight line (the weight now
seventy or eighty percent on your left leg), your right leg emptying. See photo
45:
Movement 2:
46
Your hands go along with your waist by lifting in front of your body toward the
north, then spread apart propping up. When spreading, your right hand (elbow
pointing upward) lifts from in front of your chest to arrive in front of your
forehead (palm facing upward, fingers pointing diagonally to the left, tigers
mouth facing downward, positioned at a distance of about two fists from your
forehead). Your left hand (palm facing to the north, tigers mouth turning to face
upward) lifts from its previous position to arrive in front of your chest. It then
props upward until slightly higher than eye level [though not quite there in the
photo] (positioned at a distance of about three fists from your eyes), arm slightly
bent, tigers mouth toward your right hand, the tigers mouths facing each other,
your right hand at the same time pulling to the rear, as though propping
something up. See photo 46:
1. The weight is inclined to your left.
2. Your gaze is still to the north.
3. To make this posture easier to practice, it has been divided into two
movements, but actually the stepping out of the left leg and the propping up of
the hands going along with the waist (which seems to have an intention of
uprooting a tree) should neither precede nor follow the other.
4. Your upper body is inclined to the northeast.
Application:
When applying NEEDLE UNDER THE SEA, if the opponents hands loosen, his
energy is sure to rise up. I can go along with his upward energy by using my
right hand to prop up his right hand (as in movement 2 when your right hand
lifts up in front of your chest). His chest or ribs are now an open target, so I step
forward and use my left hand to strike or to push forward (as in movement 2
when you step your left foot forward [described in movement 1] and lift your left
hand from its previous position to prop upward).
Posture 28: TORSO-FLUNG PUNCH
Movement 1:
47
The weight shifts onto your right leg, your left toes at the same time putting all
their energy into turning sixty degrees to the right. Your upper body is still
squared to the east. Your gaze is forward. Your hands do not change in their
posture, but slightly shift upward, palms facing upward, to be placed above your
head. See photo 47:
Movement 2:
48
The weight shifts onto your left leg and your upper body turns to be squared to
the south, your right toes turning along with it (heel staying in the same place).
Then the weight shifts back to your right leg and the knee bends to make a right
bow stance, your left leg straightening (yet slightly bent). At the same time, your
right hand grasps into a fist and goes from your forehead, turning over forward
(elbow hanging down, back of the fist turning over forward), slowly releasing
downward, the elbow drawing near to your right ribs (palm now facing upward,
tigers mouth facing to the right, as in a spear-holding posture), while your left
hand goes from its previous position by going forward along with your waist
(going downward from above), slowly pushing down (palm facing diagonally
forward, elbow bent and hanging down, fingertips at nose level, positioned at a
distance of about three fists from your nose). See photo 48:
2. Your gaze is toward your left hand. When you turn around, your hands go
along with your waist.

3. Your heels stay where they were.
4. This bow stance is smaller and more upright than the others.
5. Your right hand should grasp into a fist.
Application:
If an opponent suddenly attacks me from behind, I turn around and use my fist
to parry it (as in movement 2 when your upper body turns to be squared to the
south and your right hand as a fist turns over forward from your forehead). If he
then uses his right hand to push down my right fist, I can take advantage of his
lowering energy by urgently using my right fist to strike to his chest or belly and
then use my left hand to attack his upper body (as in movement 2 when your
right hand makes a spear-holding posture and your left hand goes forward along
with your waist by slowly pushing down).
Posture 30: STEP FORWARD, CATCH THE SPARROW BY THE TAIL
Movement:
.7
89101112
Your left toes turn thirty degrees to the left. Sitting on your left leg, your right
foot lifts and draws near to your left foot (toes touching down). Your left hand
does not leave its previous position, but the elbow lifts (the palm turning to face
downward, fingers pointing to the right). At the same time, your right hand goes
from its previous position (fist becoming a palm, the palm turning to face
upward) by slightly lowering, slightly shifting to the left and withdrawing to the
rear (palm facing upward, fingers pointing to the left, elbow bent and hanging
down), facing your left hand as though you are holding a ball. It is the same as in
Posture 2, movement 5 photo 7, then your right foot steps out a full step to
make a right bow stance, and the movements are then the same as movements
6-10.2 photos 8-12.
Posture 32: LEFT & RIGHT CLOUDING HANDS
Left Clouding
Movement 1:
49
Your right toes lift and turn to point to the east, the weight shifting to your right
leg, your body going along with the turn. At the same time, your left foot lifts,
gathers in toward the right, and comes down drawing near to your right foot
(the toes pointing to the east, both knees bent). Your right hand now changes
from hanging hand to palm (palm turning to face to the rear), but does not
change its position, while your left hand extends level to the left (north), the
palm turning to face downward, and arcs to the lower right until in front of your
right thigh (palm facing inward, fingers pointing downward), positioned at
about a fists distance from the thigh. See photo 49:

Movement 2:
50
Sitting stably on your right leg, your left foot lifts, steps a half step across to the
left, and comes down fully, toes pointing to the east. Both knees are equally
bent. The weight shifts to your left leg, your left hand (palm facing inward,
elbow bent) goes from its previous position by lifting in front of your body
(positioned during the movement at a distance of about three fists from your
body) and arcing toward the upper left until in front of your left shoulder
(positioned at a distance of about three fists from the shoulder), palm facing
inward, fingertips at eye level). Your right hand goes along with your waist to go
from its previous position outward to the right, then arcing to the lower left until
in front of your left thigh (palm facing inward, fingers pointing downward),
positioned at a distance of about three fists from the thigh. See photo 50:

2. Your left foot empties with an idea of lifting, but does not change in its
posture.
3. Your gaze follows your left hand as it draws its circle.
Right Clouding
Movement 3:
51
Sitting stably on your left leg, your right leg slightly lifts, then shifts across to the
left by a fists distance and comes down fully (the knee staying bent while the leg
lifts), the legs at shoulder width apart, and then the weight shifts to your right
leg (your upper body not changing in its posture, only moving at the waist). At
the same time, your right hand lifts from in front of your left thigh, facing your
body (positioned during the movement at a distance of about three fists from
your body), and arcs from the lower left to the upper right (positioned at a
distance of about three fists from your right shoulder, palm facing inward,
fingertips at eye level, while your left hand, palm turning to face forward, arcs
outward to the left (going downward from above), the palm then turning to face
inward, arcing until in front of your right thigh (positioned at a distance of
about two fists from the thigh, fingers pointing downward). Your left leg is now
empty and has an intention of lifting, preparing to continue into the next
posture. See photo 51:
13
14
1516
This posture is divided into three movements, the first two having to do with the
left hand clouding, the third with the right hand clouding. Continue moving
leftward in this way for a total of seven or nine times, then change to SINGLE
WHIP. When practicing, the most important thing to pay attention to is
emptiness and fullness. When your hand draws an arc, it must maintain
roundness, going along with the turning of your waist. Your gaze follows the
movement. When arcing to the left, look to your left hand. When arcing to the
right, look to your right hand. Your knees are to stay bent throughout. You must
never be rising up.
When changing to SINGLE WHIP, it is at the end of your right hand clouding
(the weight now on your right leg). First the weight shifts to your left leg (both
knees as before), your right toes turn forty-five degrees to the left, your body
going along with the turn, and your hands, extended level, arc together to the
left (as in Posture 3, movement 1 photo 13). Then they arc from the upper left
to the right, your right hand going to the southeast forming a hanging hand,
your upper body turning to be squared to the north (same as in photo 14, except
for your [left] foot not being adjusted [to look more as it does in that photo], and
so it is slightly different). Your left foot lifts and steps out to the forward left,
making a left bow stance, and your left hand goes along with the step by pushing
out to the northwest. Refer to the details in Posture 3, movements 3 and 4
photos 15 and 16.
Application:
If an opponent in front of me uses his left hand to attack me, I use my left hand
to connect to his left arm and draw him toward my left side, neutralizing his
power (as in movement 1 when your left hand, palm turning inward, elbow
bending, lifts in front of you and arcs toward the upper left), then use my right
hand to attack his lower abdomen (as in movement 2 when your right hand arcs
until in front of your left thigh). It is the reverse on the right side. If an opponent
to my right rear uses his right hand to attack me, I then turn my body, using my
right hand to neutralize his power and my left hand to attack him.
Described at the end of the previous postures additional explanation.

Posture 34: RISING UP AND REACHING OUT TO THE HORSE
Movement:
52
Bending your left knee, your right foot lifts, comes forward a half step, and steps
down fully (the toes pointing to the northeast, positioned at about a foots
distance from your left heel). Then the weight shifts onto your right leg and your
left foot lifts up (by about four inches) to immediately come down again, toes
touching down and pointing to the north. At the same time, your left hand (the
palm turning to face upward) goes along with your waist by withdrawing, the
elbow bending and drawing near to your left ribs, and your right hand changes
from hanging hand to palm, going from its previous position to gather in below
your right ribs, then from there (palm facing downward, fingers pointing
forward) pushes out forward (elbow slightly bent, fingertips at nose level and
positioned at a distance of about four fists from it). See photo 52:

2. The toes touching down and the hand pushing down are to be performed in
unison.
Application:
If I use my left hand to strike an opponent but he pushes it down with his left
hand, I go along with his lowering energy by withdrawing my left hand (as in the
part of the movement when your left hand goes along with your waist by
withdrawing to your ribs) and using my right hand to do a reaching strike to his
face (as in the part of the movement when your right hand pushes out forward
from below your ribs). If he then protects his upper body, my left hand below
easily could also strike to his belly or push to his lower abdomen.
Posture 35: KICK TO THE RIGHT SIDE
Movement 1:
53
Sitting stably on your right leg, your left foot steps forward a half step, making a
left bow stance (the toes pointing to the left corner), your right leg straightening
(yet slightly bent), the weight shifting onto your left leg, your upper body
turning halfway to the left (to be squared to the northwest). At the same time,
your hands spread apart to the sides, right hand forward, left hand to the rear
(elbow slightly bent, palm facing forward, fingertips at nose level). See photo 53:

2. You are facing to the northwest.

53
3. Your right hand is forward (toward the north) and your left hand is to the rear
(toward the southwest).
Movement 2:
54
Bending your left knee, your right leg gathers in toward the left, drawing near to
your left leg (heel [toes] touching down, knee pointing to the north), your head
turning to face to the north. At the same time, your hands go from their previous
position by coming together in front of your chest (fingers pointing upward,
palms facing each other, elbows bent), as though holding a ball crosswise
(positioned at a distance of about two fists from your chest). See photo 54:

2. Your upper body is still squared to the northwest but your head is now turned
to be facing to the north.
Movement 3:
55
Standing stably on your left leg, your right foot goes toward what is now the
right corner (northeast) and kicks upward with the foot flexed back. At the same
time, your hands spread apart to the sides (elbows slightly bent, palms facing to
the left, fingers pointing upward and at ear level). See photo 55:

1. The weight is still on your left leg.
2. When your right leg kicks upward, your left leg must sit stably.
3. The height of the kick is not restricted, and so it may reach to about wrist
level.
4. The directions your hands move out toward are the same as in movement 1.
This posture is divided into three movements in order for practitioners to

understand the process of its movements. Once you get the idea, it is best to
embrace with your hands and lift your foot as a single connected movement.
Posture 36: KICK TO THE LEFT SIDE
Movement 1:

56
After your right foot kicks, it steps down back into its preceding posture, your
right knee bending to make a right bow stance, your left leg straightening (yet
slightly bent), the weight shifting onto your right leg. At the same time, your
upper body turns to be squared to the northeast, your hands not changing in
their posture, simply going along with your waist so that your left hand has
switched to being the hand forward (toward the north), your right hand now to
the rear (toward the southeast). See photo 56:
2. Your upper body is squared to the northeast.
Movement 2:
57
Sitting stably on your right leg, your left leg lifts and gathers in toward the right,
drawing near to your right leg, toes touching down (pointing to the north), your
head turning to face to the north. At the same time, your hands go from their
previous position by coming together in front of your chest (elbows bent, palms
facing each other, fingers pointing upward) as though holding a ball crosswise
(positioned at a distance of about two fists from your chest). See photo 57:
Movement 3:
58
Standing stably on your right leg, your left foot goes toward what is now the
forward left corner (northwest), kicking out with the foot flexed back. At the
same time, your hands spread apart to the sides. It is the same posture as in
KICK TO THE RIGHT SIDE, only [with the lefts and rights] reversed. See photo
58:

3. Your whole body is intent upon being loose.
4. The weight sits stably.
Application:
If an opponent uses his left hand to attack me, I use my left hand to connect to
his left wrist as I incline my body and turn my waist (as in movement 2 when
you sit onto your left leg, your right leg draws near to your left foot, and your
hands come together in front of your chest), then use my right forearm to put
breaking pressure on his arm, and I take advantage of the opportunity by using
my right leg to kick to his belly (as in movement 3 when your right leg kicks
upward and your hands spread apart). Described here is the application for
KICK TO THE RIGHT SIDE. KICK TO THE LEFT SIDE is thus the mirror
image of it.
Posture 37: TURN AROUND, PRESSING KICK
Movement 1:
59
After your left foot kicks, keep it lifted up, toes hanging down and not touching
the ground, while your hands come together in front of your chest (fingers
pointing upward, elbow bent) as though holding a ball crosswise, your hands
positioned at a distance of about two fists from your chest, and your right toes
lift as the heel puts all its energy into pivoting from the left [right] to be facing to
the south. (Previously squared to the north, you now face from the north to the
west to the south, the knee pointing in these directions along with the turn, but
your upper body staying squared to the west.) Your hands not changing their
posture, they go along with the rotating of your waist. See photo 59:
1. When your right toes lift and your body turns, your left leg puts its energy into
turning outward to the left to assist the pivoting of your right heel.
2. Your orientation was to the north and has now changed to the south, but your
upper body is squared to the west.
Movement 2:
60
With your right leg standing stably, your left foot lifts and uses the heel to press
out to the south. At the same time, your hands spread apart to the sides, left
hand forward (to the south), right hand to the rear (to the north), the posture of
the hands the same as in the kicks to the side. See photo 60:
1. This posture is called PRESSING KICK. It is necessary to press out with the
heel (rather than performing a snapping kick).
2. Your gaze is to the south. Your upper body is squared to the west.
Application:

If an opponent suddenly attacks me from behind, I turn around and use my left
foot to do a pressing kick. My left hand spreading away in front can attack his
face or can protect my leg from being grabbed.

23
Same as in Posture 8, photo 23.

25 26
Same as in Posture 9 photos 25 and 26.
Movement:
23
25 26
After your left foot presses out, it then steps down to the forward left (to the
southeast), making a left bow stance, your left hand brushing past your knee,
your right hand pushing out. All is as before, except with no occurrence of PLAY
THE LUTE. LEFT BRUSH KNEE is the same as in Posture 8, movement 1
photo 23, except the orientation is different. RIGHT BRUSH KNEE is the same
as in Posture 9 photos 25 and 26, except the orientation is different. The
application is the same.
Posture 40: STEP FORWARD, PLANTING PUNCH
Movement:
61
After RIGHT BRUSH KNEE, your right foot first turns thirty degrees to the
right. Sitting onto your right leg, your left leg lifts and steps out a full step, the
knee bending to make a left bow stance, your right leg straightening (yet slightly
bent). At the same time, your left hand brushes past the knee, your right hand
grasping into a fist which plants downward from your waist to the right side of
your left knee, tigers mouth facing forward, fist at knee level, positioned at a
distance of about two fists from it. See photo 61:

Application:
If an opponent grabs my left leg, or squats down and attacks my lower body, I
use my left hand to brush it aside and my right hand to suddenly strike
downward from above.
Posture 41: TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE
Movement 1:
62
The weight shifts onto your right leg, your left toes put all their energy into
turning a hundred and twenty degrees to the right, then the weight shifts back to
your left leg, and your upper body turns to be squared to the west. At the same
time, your right fist goes from its previous position by lifting in front of your
body (elbow pointing outward to the right, tigers mouth facing inward) to be
placed in front of your chest (positioned at about a fists distance from it) and
your left palm lifts from beside your knee (tigers mouth facing upward during
the movement) to arrive beside your left ear (positioned at about a fists distance
from it, palm facing outward, tigers mouth facing your ear). See photo 62:
1. When your upper body turns, your left toes turn along with it, your hands at
the same time shifting upward, no parts out of synch.
Movement 2:
48
Sitting stably on your left leg, your upper body turns to be squared to the north,
your right foot lifts and shifts a half step to the right, the weight shifts to your
right leg, and the knee bends, making a right bow stance, your left leg
straightening (yet slightly bent). At the same time, your right fist becomes a
palm (elbow hanging down) and turns over forward in front of your chest (palm
facing upward), the elbow withdrawing near to your right ribs, as in a spearholding posture. As your right fists turns over forward, your left hand goes
downward from above and pushes out forward (palm facing diagonally
downward, elbow bent and pointing outward to the left, fingertips at chin level
and positioned at a distance of about four fists from it). It is the same as in
Posture 28 photo 48, except here the orientation is different.
Although this posture has been divided into two movements, it is actually only
one. The turning around with the right fist placed in front of the chest and the
left hand going beside the ear is merely intended to make the process of the
movement understood, and so it has to be written with this added detail.
However, when practicing it, once you understand this idea, the movement
must be a single flow. When turning around, the withdrawing of your right hand
and pushing forward with your left hand are to be performed in unison, and
then it will not result in an interrupted energy. Also, this postures right bow
stance is smaller and more upright than the others.
Application:
Similar to Posture 28, except with palm in place of fist.
Posture 43: RIGHT PRESSING KICK
Movement 1:
54
Same as in Posture 35, movement 2 photo 54.

Movement 2:
55
This is mostly the same as in Posture 35, movement 3, except in this case it is a
right pressing kick (meaning the heel connects to the opponents body with an
intention of pressing out forward) and the orientation is to the north rather than
the northeast. As for the rest, the spreading of your hands and the posture of
your hands are the same as in photo 55.
Application:
Mostly the same as in Posture 35, except in this case your right heel connects
with the opponents body and the direction of pressing out is slightly different.
Posture 44: LEFT & RIGHT DRAPING BODY, FIGHTING TIGER POSTURE
Movement 1:
63
After your right foot has pressed out, it withdraws behind your left heel, making
an overlapping stance (the toes pointing to the right, positioned at about a foots
distance from your left heel). The weight now shifting to your right leg, your
hands, grasping into fists, go forward from their previous position, extending
upward (tigers mouths facing each other, shoulder width apart). See photo 63:

Movement 2:
64
Your left foot lifts, retreats a full step to the left rear (southwest), the toes
pointing to the forward left, and the knee bends to make a left reverse bow
stance, your right leg straightening. (The size of the step is not fixed. To step
about two and a half feet will do.) At the same time, your left fist, the elbow
bending, withdraws to be in front of the left side of your forehead, going upward
from below (elbow bent and pointing outward to the left, the center of the fist
facing outward, positioned at about a fists distance from your forehead), while
your right fist goes along with your waist by going downward in front of you
from its previous position and then arcing to the left to be placed in front of your
left ribs (elbow bent and pointing forward, positioned at a distance of about two
fists from your body, tigers mouth facing inward). See photo 64:

2. After your left leg retreats, your fists go along with your waist by arcing to the
left, both drawing arcs that must neither precede nor follow the other.
3. You are facing to the north, your upper body squared to the northwest.
Movement 3:
65
Sitting stably on your left leg, your right leg lifts and shifts across a half step to
the right, the knee bending to make a right bow stance, your left leg
straightening (yet slightly bent). At the same time, your right fist (tigers mouth
turning to face downward) goes from its previous position by arcing upward to
the right (going upward from below), placed at about a fists distance in front of
the right side of your forehead (elbow bent and pointing outward), as your left
fist goes from its previous position by going outward to the left and then arcing
to the right to be placed in front of your right ribs (elbow bent and pointing
outward to the left), tigers mouth facing inward, your upper body inclining to
the northeast. See photo 65:
1. When your right leg steps out, your fists go along with your waist by arcing to
the right.
3. You are facing to the north, your upper body squared to the northeast.
Application:
If an opponent uses both hands to grab my left arm and push me, I go along
with his advancing momentum by retreating my left foot, turning my waist, and
inclining my body, drawing him in on my left side to neutralize his power (as in
movement 2 when your left foot diagonally retreats to make a left reverse bow
stance and your left fist goes along with your waist by withdrawing to be in front
of the left side of your forehead). He now must slacken his grip, so I pull out my
left hand while using my right hand to grab his right wrist (as in movement 2
when your right fist goes along with your waist by arcing downward toward your
left ribs), and my left hand above can now easily strike across to his head. This is
the application for the left side.
For the right side, if an opponent uses both hands to grab my right arm, I use
my right hand to draw him to the right (as in movement 3 when your right leg
steps across to the right while your right hand, tigers mouth turning to face
downward, arcs toward the right side of your forehead) and use my left hand to
connect to his right wrist (as in movement 3 when your left fist arcs toward your
right ribs), then pull out my right fist, which can now easily strike across to his
head.
Posture 45: WITHDRAW, PRESSING KICK
Movement 1:
66
The weight shifts onto your left leg and your right leg lifts then draws near to
your left leg (toes touching down, heel lifted). At the same time, your fists
spread apart to the sides, tigers mouths facing upward. See photo 66:

Movement 2:
67
First deeply bend your left knee, squatting your body down, your right knee
correspondingly bending (the knee pointing forward, heel lifted). At the same
time, your fists draw downward arcs (the center of the fists facing forward,
tigers mouths facing outward), coming together in front of your knees by the
time your body has reached the full extent of its squatting down. See photo 67:

2. Your upper body must not bend forward.
3. The squatting of your body and the arcing of your hands are to be performed
in unison.
Movement 3:
55
Rising up, your hands spread apart to the front and rear (the same as in Posture
35, movement 3), and with your left leg standing stably, your right leg presses
out forward (to the north). It is slightly different because Posture 35 is an
upward kick to the forward right, yet this posture still looks the same as in photo
55.
Application:
If an opponent attacks me with his right hand, I use my right hand to grab his
right wrist and pluck downward (as in movement 2 when your body squats
down and your fists arc downward). He will now surely wish to retreat, so I go
along with his retreating momentum by using my right hand to prop up his right
hand (as in movement 3 when your right hand spreads away forward), exposing
his right ribs, then use my right foot to connect to his ribs and press him away
(as in movement 3 when your right foot presses out). What is meant by the foot
connecting to his ribs is a moment of listening to his energy. If he is full
there and not moving, it is not appropriate to press out. If he is empty there and
in the act of softening the area, I take advantage of the opportunity and press
out.
Posture 46: DOUBLE WINDS THROUGH THE EARS
Movement:
68
After your right leg presses out, it steps down to the northeast, and the knee
bends to make a right bow stance, your left leg straightening (yet slightly bent).
Your hands meanwhile grasp into fists and lower to the sides from in front of
your chest (arms extended), then go along with the weight shift by coming
together (the backs of the fists facing each other, arms extended, fists at chin
level and shoulder width apart) as though with an intention of using the corners
of your fists to pierce the opponents temples. See photo 68 [If there was an
actual photo 68 made, it was not put in the book. The photo that was put in its
place is a reused photo 93, which only partially suits the posture. It would have
made more sense to use photo 91.]:

2. While your fists are crashing toward each other, your intention lies in your
waist and you have a commanding manner.
Application:
If I perform a push and the opponent pushes my hands down, I go downward

along with his lowering momentum and spread my hands apart, then once he
loses his balance because of this, my hands go upward and I crash the corners of
my fists into his temples.
Posture 47: LEFT PRESSING KICK
Movement 1:
Your right toes turn forty-five degrees to your right and the weight shifts to your
right leg as your left leg gathers in toward the right to be placed beside your
right foot, toes touching down (heel lifted) and pointing forward. Your hands,
still grasped into fists, arms extended, spread open to the sides (spreading to the
left and right from in front, tigers mouths facing upward, at shoulder level).
[See photo 69:]
Movement 2:
70
First deeply bend your right knee, your body squatting down (your left knee
going along with the action by bending forward). At the same time, your fists arc
downward (the centers of the fists facing forward, tigers mouths facing to the
sides), coming together in front of your knees by the time your body has reached
the full extent of its squatting down. See photo 70:

Movement 3:
58
Rising up with your right leg standing stably, your left foot presses out forward
(to the north). At the same time, your hands spread apart to the front and rear.
It is the same as in Posture 36, movement 3, except in this case your heel
presses out forward, whereas in Posture 36 it is a kick to the forward left, and so
it is slightly different, yet looks the same as in photo 58.
1. The weight is on your right leg, therefore your upper body inclines to the
right.
2. Your gaze is forward to the north.
Application:
Mostly the same as in Posture 37.
Posture 48: TURN AROUND, PRESSING KICK

Movement 1:
71
After your left foot presses out, it withdraws, staying lifted, toes hanging down,
knee pointing forward. (In the beginning, it is acceptable for the toes to touch
down.) At the same time, your hands go from their previous position by coming
together in front of your chest (palms facing each other, fingers pointing
upward, as though holding a ball crosswise), positioned at a distance of about
two fists from your chest. See photo 71:
Movement 2:
72
Your right toes lift to put the weight of your whole body on the heel, then your
body spins a complete circle toward the right rear, going from north to east to
south to west. Once you are squared to the northwest, switch to your left foot
coming down (toes pointing to the northwest) and your right foot lifting, knee
pointing to the north. (To keep your body from leaning or swaying in the
beginning, it is acceptable for the toes to touch down, but you must practice it
until they are not touching down for it to be correct.) Your hands maintain their
previous posture and simply go along with the turning of your waist. See photo
72:
Movement 3:
55
With your left leg standing stably, your right foot presses out forward (to the
north), your hands spreading apart to the front and rear. Same as in Posture 35,
photo 55, except in this case your right foot is pressing out to the north.
2. Your gaze is to the north. Your upper body and left toes are oriented to the
northwest.
3. When you turn around, your hands do not change in their posture and they
simply go along with the turning of your waist.
4. When turning around, your left foot goes along with the turning of your waist,
the toes maintaining an intention of drawing an arc, and must put its strength
into assisting the pivoting of your right heel. During the spin, the toes are about
six inches above the ground, the knee bent.
Application:
Continuing from the previous technique, after my left foot presses out and
before it comes down, the opponent uses his right leg to kick me or apply a
pressing kick to me, so I take advantage of his lifting energy by using my left
foot to hook his leg and turn my body around to the right. (This foot technique is
no different than if I were to use my left hand to sweep aside the opponents
right leg and has an intention of plucking toward my right side, as in movement
2 when you use your left [right] heel to spin your body around to the right,
making a complete circle.) He is now on the verge of leaning and stumbling
away, so I turn the rest of the way around and use my right foot to press out (as
in movement 2 [3] when you press out with your right foot).
Movement:
48
27
After your right foot presses, it steps down to the northeast, making a right bow
stance. At the same time, your right hand grasps into a fist, the back of the fist
turns over forward, the elbow withdrawing near to your right ribs (the center of
the fist now facing upward, as in a spear-holding posture), and your left hand
goes from its previous position by going along with your waist to push forward
(same as in photo 48). Then turn your right toes forty-five degrees to the right
and sit stably on your right leg. Your left leg steps forward a full step, making a
left bow stance, your left hand not changing in its posture, and your right hand
punches out forward under your left hand, same as in photo 27.

This is a combination of Postures 28 and 14, and so they should be referred to

for a fuller explanation of the movement and posture.
Application:
Same as before.
Posture 52: CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
Posture 54: DIAGONAL SINGLE WHIP
Movement 1:
13
The weight shifts onto your left leg as your upper body turns to be squared to
the south and your hands go from their previous position by going upward to
the left in a large arc, arms extended (going from right to left), palms facing
forward, fingers pointing upward, hands at shoulder width. It is the same as in
Posture 3, photo 13.

The posture of your [left] foot has not changed.
Movement 2:
14
This is the same as in Posture 3, movement 2 photo 14, except in this case the
orientation is different, your upper body being squared to the south and your
right hanging hand pointing to the northwest.

14
Your right toes have turned out forty-five degrees to the right, and so it is
slightly different from in photo 14.
Movement 3:
15
Your upper body sitting stably, your left foot lifts as your left hand goes from its
previous position by lifting in front of your body (the palm turning to face
outward) to be placed in front of your chest, which is squared to the south. It is
the same as in Posture 3, photo 15 [except for the orientation].
Movement 4:
16
This is the same as in Posture 3, movement 4 photo 16, except in this case
your left foot steps down to the forward left southeast, your hanging hand
pointing to the northwest, and your upper body is turned halfway to be squared
to the southwest.
Application:
Posture 55: LEFT & RIGHT WILD HORSE VEERS ITS MANE

Movement 1:
7
Your left toes turn forty-five degrees to the left and the weight shifts to your left
leg (the knee bending), then your right leg lifts and gathers in toward the left to
be placed beside your left foot, toes touching down. At the same time, your left
hand goes from its previous position by slightly withdrawing (elbow hanging
down) to be placed in front of the left side of your chest (positioned at a distance
of about two fists from your chest), while your right hand arcs downward from
its previous position to arrive by the left side side of your lower abdomen (palm
facing upward, facing your left hand as though you are holding a ball.) It is the
same as in Posture 2, photo 7.
1. Your upper body is turned halfway to the left (squared to the southeast).
Movement 2:
It is the same in orientation and appearance as in Posture 2, movement 6,

except that in this posture the right palm is facing upward, and so it is slightly
different.
Movement 3:
4
Your right toes turn forty-five degrees to the right and the weight shifts to your
right leg (the knee bending), your upper body turning halfway to the right, then
your left leg lifts and gathers in toward the right to be placed beside your right
foot (toes touching down). At the same time, your left hand, palm turning to
face downward, slightly withdraws (elbow hanging down) to be placed in front
of the right side of your chest (positioned at a distance of about two fists from
your chest), while your left hand goes from its previous position by arcing
downward to the right to be placed beside the right side of your lower abdomen
(palm facing upward, facing your right hand as though you are holding a ball). It
is the same as in Posture 2, photo 4.
1. Your upper body is turned halfway to the right (squared to the southwest).
Movement 4:
5
It is the same as in Posture 2, movement 3 photo 5, except that in this posture
you are facing to the south and your left palm is facing upward, and so it is
slightly different.
Movements 1-4 form LEFT & RIGHT WILD HORSE VEERS ITS MANE,
totaling two steps forward. The steps are mainly the same as in BRUSH KNEE
IN A CROSSED STANCE, but must be performed continuously, with no pause
between them. When your hands spread apart, it is as though you are drawing
silk the slower the better.
Application:
If an opponent uses his left fist to punch at me, I use my left hand to connect to
his left wrist and pluck it to the left, stepping forward with my right foot, and
use my right hand to push on his back, my waist going along with this action by
turning to the left to send him away. (Movement 1 is the same as in Posture 2,
movement 6, when your right foot steps forward, your left hand pushing down,
right hand lifting up.) Or if an opponent uses his right fist to punch at me, I use
my right hand to connect to his right wrist and pluck it to the right, advancing
with my left foot, and use my left hand to push on his back, my waist going
along with this action by turning to the right to send him away. (Movement 4 is
the same as in Posture 2, movement 3, when your left foot steps forward, your
right hand pushing down, left hand lifting up.)
Posture 58: MAIDEN WORKS THE SHUTTLE
Part 1, movement 1:
73
The weight shifts onto your right leg, your left toes lift and put all their energy
into turning to the right (a hundred and eighty degrees), and your upper body
turns to be squared to the east, while your right hand changes from hanging
hand to palm and goes downward from its previous position to be placed beside
your right thigh (palm facing inward, fingers pointing downward). Your left
hand does not change in its posture, but goes along with your waist by shifting
to the right to be placed in front of your chest (palm turning to face to the right,
fingertips at nose level). See photo 73:

Your left toes have to be turned in as far as they will go.
Part 1, movement 2:
74
The weight shifts to your left leg as it straightens, your right foot lifts and
gathers in toward the left to be placed beside your left leg, toes hanging down
with the thigh level, your upper body turning to the right (to be squared to the
southwest). At the same time, your right hand goes from its previous position
(elbow pointing upward, palm turning to face outward) by lifting in front of you
to be placed in front of the right side of your forehead (tigers mouth facing
downward toward your nose, fingers pointing to the left, palm facing outward,
positioned at a distance of about two fists from your forehead, elbow pointing
outward to the right) while your left hand, not changing in its posture, slightly
shifts to the right. See photo 74:

Part 1, movement 3:
75
Your right foot now steps out a full step to the forward right, your right knee
bends to make a right bow stance, your left leg straightening (this bow stance
smaller than the others). Your right hand does not move, but your left hand goes
along with your waist by pushing out forward in front of your chest to the right
corner (elbow hanging down, palm facing outward, fingers pointing upward and
at nose level, positioned at a distance of about three fists from your nose). Your
upper body is now turned halfway to the right (squared to the southwest). See
photo 75:

Part 2, movement 1:
76
Your right toes turn thirty degrees to the right, your right leg stands stably, your
left leg lifts and gathers in toward the right to be placed beside your left leg (with
the thigh level, toes hanging down, knee pointing to the south). At the same
time, your right hand slightly arcs downward from its previous position to be
placed in front of your chest (palm facing to the left, fingers pointing upward,
elbow hanging down, fingertips at nose level, positioned at a distance of about
two fists from your nose) while your left hand, fingers turning to point
downward [to the left], elbow raising up, lifts to be placed in front of the left side
of your forehead (positioned at a distance of about two fists from your
forehead), palm facing outward, fingers pointing to the right, tigers mouth
facing downward toward your nose, positioned at a distance of about two fists
from your nose. See photo 76:

Part 2, movement 2:
77
Your left foot now steps out a full step to the forward left and your left knee
bends to make a left bow stance, your right leg straightening (yet slightly bent).
Your left hand does not move, but your right hand goes along with your waist by
pushing out in front of your chest to the southeast (palm facing outward, fingers
pointing upward and at nose level, positioned at a distance of about three fists
from your nose, your upper body turning halfway to the left (to be squared to
the southeast). See photo 77:

Part 3, movement 1:
73
Same as in part 1, movement 1 photo 73, except now your upper body is
squared to the west.
Part 3, movement 2:
74
Same as in part 1, movement 2 photo 74, except now your upper body is
squared to the northeast.
Part 3, movement 3:
75
Same as in part 1, movement 3 photo 75, except now your right foot steps to
the northeast.
Part 4, movement 1:
76
Same as in part 2, movement 1 photo 76 [except now your upper body is
squared to the northwest].
Part 4, movement 2:
77
Same as in part 2, movement 2 photo 77, except now your right hand pushes
out to the northwest.
73. 74. 75.
Part 5, movements 1-3 are the same as in part 1, movements 1-3 photos 73-75.
The five parts of this posture push out to all four corners, the direction changing
several times. When changing direction, you must pay attention to the weight
shifts. When turning around, the heel that pivots must not change its location.
When shifting your hands, maintain an intention of making arcs. Furthermore,
the movements must be continuous without interruption. One aspect of it is
turning around, the other is to shift your hands and switch your step. When it is
all linked into a single action, it will be like a set of spinning wind chimes.
However, the movement must not be rushed.
Application:
If an opponent attacks from my right rear, I urgently turn around and use my
right hand to send his right hand upward (as in part 1, movement 2 when your
upper body turns to be squared to the southwest and your right hand lifts up to
be placed in front of the right side of your forehead), drawing it toward my right
side by inclining my body and turning my waist, then use my left hand to attack
his right ribs (as in part 1, movement 3 when you step your right foot forward
and your left hand pushes out to the right corner). If he now loosens his hand
downward and uses his left hand to counterattack, I correspondingly switch to
using my left hand to send his left wrist upward (as in part 2 when your left
hand lifts up to be placed in front of the left side of your forehead), inclining my
body and turning my waist to draw it toward my left side, then step my left foot
forward and use my right hand to attack his left ribs. (The same application
applies to the rest of the posture.)

8. 9. 10 11 12
Same as in Posture 18, photos 8-12.

13 14 15 16
Same as in Posture 3 photos 13-16.
Posture 61: CLOUDING HANDS

49 50 51

16
Same as in Posture 33. The movement is described at the end of the additional
explanation in Posture 32. It is the same as in photo 16.
Posture 63: LEANING BODY LOW POSTURE
Movement:
78
The weight shifts to your right leg, your right knee bends deeply, and your body
squats down, your left leg straightening (the toes not shifting from their
position). Your right hand remaining in its hooking hand posture, your left hand
first extends forward, then goes along with the crouching of your waist (fingers
pointing forward, palm facing downward, at a distance of about two fists above
the ground) to be placed to the right side of your left leg. See photo 78:

1. Your upper body must not bend over.
3. Your left toes must not lift up.
Application:
If I use my left hand to attack an opponent, but he grabs it and advances, I then
go along with his advancing momentum by sinking my hand and loosening my
waist, luring him into losing his balance (as in the part of the movement when
your body squats down).
Posture 64: GOLDEN ROOSTER STANDS ON ONE LEG
Left side, movement 1:
79
Your waist goes forward, your left hand going along with it by threading forward
(going forward like the slither of a snake). Your body is going forward then
lifting up, the weight shifting to your left leg, the knee bending to make a left
bow stance, your right leg straightening (yet still bent). At the same time, your
left palm faces downward, fingers pointing forward, and is placed beside your
left knee, while your right hand changes from hanging hand to palm and goes
downward from its previous position to be placed beside your right thigh, palm
facing inward, fingers pointing downward. See photo 79:
2. Your body is upright.
Left side, movement 2:
80
With your left leg standing stably, slightly bent, your right leg goes from its
previous position by lifting forward (so the thigh is level, toes hanging down,
knee pointing to the north). Your right elbow goes along with this action by
going from where it was beside your right leg to be above your right knee
(fingers pointing forward, palm facing to the left), lifting so the fingertips are at
eyebrow level, positioned at a distance of about three fists from your eyebrows.
See photo 80:

Right side, movement 1:
81
Bending your left knee, squat your body down and step down with your right
foot (both knees equally bent and pointing to the north, about a fists distance
between them). At the same time, your right hand goes along with the squatting,
going from its previous position by slowly pushing downward (the palm turning
to face downward) to be placed beside your right knee, fingers pointing forward.
See photo 81:

Right side, movement 2:
82
Rising up, your right leg stands stably and your left leg goes along with your
waist by lifting up (so the thigh is level, toes hanging down, knee pointing to the
north). Your right hand stays as it is, but your left elbow goes along with the leg
lifting by going from where it was beside your left leg to be above your left knee
(fingers pointing forward, palm facing to the right), lifting so the fingertips are
at eyebrow level, positioned at a distance of about three fists from your
eyebrows. See photo 82:

2. When your left leg lifts up, your left hand goes along with it.
The two parts of this posture are divided into a total of four movements. Once
you have practiced it to familiarity, you must get the four movements to be
consolidated into only two, and there will then be no cause to pause between
them. For example, when in movement 1 you go forward from the LOW
POSTURE to stand up, it will not be necessary to first switch to a bow stance in
order to then lift your right leg. That method of explaining it is needed only for
beginners.
Application:
If when I am extremely close to an opponent I first use my right hand to punch

to his chin and he blocks it aside with his left hand, I urgently lift my right leg to
crash the knee into his lower body (as in movement 2 when you lift your right
arm above your knee as your right leg lifts forward). If my right leg now gets
evaded and he then uses his right hand to counterattack, I switch to using my
left hand, which blocks aside his right hand, and lift my left leg to crash the knee
into his lower body (as in movement 4 when you lift your left arm above your
knee as your left leg lifts forward).
Posture 65: RETREAT, DRIVING AWAY THE MONKEY
Posture 66: DIAGONAL FLYING POSTURE
Posture 70: NEEDLE UNDER THE SEA
Posture 71: FAN THROUGH THE ARMS

Posture 72: TORSO-FLUNG PUNCH
Posture 76: CLOUDING HANDS
Posture 78: RISING UP AND REACHING OUT TO THE HORSE
(From Postures 65 to 78, the photos are all as before [photos 39-52].)
Posture 79: CROSSED-BODY KICK
Movement 1:
83
Your left foot steps forward a half step (the toes pointing forward) and the
weight shifts onto your left leg. At the same time, your right arm lowers without
changing its posture and slightly withdraws, while your left hand (also not
changing its posture) goes from its previous position by going along with your
step to thread out over your right forearm (fingers pointing forward, palm
facing upward, elbow hanging down, fingertips at chin level and positioned at a
distance of about five fists from it.) The weight is now on your left leg. See photo
83:
Movement 2:
84
The weight shifts onto your right leg, your left foot puts all its energy into
turning a hundred and twenty degrees to the right, and the weight then shifts
back to your left leg. At the same time, your body turns around to the right rear
(your right toes turning along with it, but the heel staying in place) so that you
are facing to the south. The posture of your hands does not change and they go
along with the turning of your waist. The weight is now on your left leg. See
photo 84:

Movement 3:
85
Sitting on your left leg (your upper body now turning halfway to the right to be
squared to the southwest), your right foot goes forward (to the south), kicking
upward, toes pointing upward. At the same time, your hands go from their
previous position by spreading apart to the front and rear, left hand forward
(palm facing to the right, fingers pointing upward), right hand to the rear (palm
facing to the right, fingers pointing upward). The posture and essentials of your
hands and legs are almost the same as in Postures 35 and 36. See photo 85:

2. Your gaze is to the south.
3. Your upper body is squared to the southwest.
Application:
When applying REACHING OUT TO THE HORSE, I use my right hand to strike
to the opponents head, but if he uses his left hand to push down, I take
advantage of his lowering energy by sinking my right hand down (as in
movement 1 when your right arm lowers without changing its posture), then
sending out my left hand to attack his face (as in movement 1 when your left
hand threads out over your right arm along with your step). At this moment, an
opponent attacks me from behind with his right hand. I turn around, first using
my right [left] hand to parry aside his hand, then urgently lift my leg and kick to
his right ribs while using my left hand to attack his upper body (as in movement
3 when your right foot kicks upward and your hands spread to the front and
rear).
Posture 80: BRUSH KNEE, PUNCH TO THE CROTCH
Movement:
61
After your right leg has kicked, it steps down to the southwest, your left foot
then lifts and steps out a full step to the forward left, the knee bending to make a
left bow stance, your left leg straightening (yet still bent). At the same time, your
left hand brushes past your knee and your right fist plants downward (tigers
mouth facing to the left) to be placed in front of your left knee, positioned at a
distance of about three fists from it. It is the same as in photo 61, except your
head in this case is slightly higher.
It is the same as in Posture 40, except in this case your right fists tigers mouth
is facing to the left and positioned in front of the knee, and so it is slightly
different.
Application:
If I use my right hand to attack an opponents chest, but he connects to my wrist

with his left hand and pushes my right hand across to my left, I then use my left
hand to brush aside his hand and use my right hand to strike to his lower
abdomen (as in the part of the movement when your left hand brushes past your
knee and your right hand performs a planting punch).

8 9 10 11 12
Same as in Posture 30, photos 8-12.
13 14 15 16
Posture 83: LEANING BODY LOW POSTURE
Posture 84: STEP FORWARD WITH THE BIG DIPPER
Movement 1:
79
Same as in Posture 64, movement 1 photo 79.
Movement 2:
86
Your left hand goes from beside your left leg, lifting to the right (palm facing to
the right, fingers pointing upward) to be placed in front of your chest (and
slightly toward the right). At the same time, your right hand goes from beside
your right leg (palm facing to the left, fingers pointing upward), lifting and
threading through to the inside of your left hand, making a crossed hands
position (elbows hanging down, fingertips at eye level and at a distance of about
two fists from each other). Your right leg correspondingly lifts forward to be
placed in front of your left foot (heel lifted, toes touching down and pointing to
the north). See photo 86:

2. When your hands cross, your right leg at the same time lifts forward.
3. Both knees are equally bent.
Application:
If an opponent punches to my chin, I cross my hands to stop him at his wrist or

to strike straight ahead (as in movement 2 when your left hand is placed in front
of your chest then your right hand lifts and threads through to the inside of your
left hand, putting your hands in a crossed position) and then use my right foot
to kick to his lower body (as in movement 2 when your right leg lifts forward to
be placed in front of your left foot).
Posture 85: RETREAT TO SITTING TIGER POSTURE

Movement 1:
87
Your right foot lifts and retreats a step (in a straight line), the toes now pointing
to the northeast. The weight shifts to your right leg, which straightens, and your
left leg lifts (thigh level, toes hanging down, knee pointing forward to the north).
At the same time, your hands go from their previous position to spread apart to
the sides (palms facing downward, fingers pointing outward and at shoulder
level). See photo 87:
Movement 2:
88
Bending your right knee, your body lowers, your left toes touching down (heel
lifted, knee bent). At the same time, your left hand goes from its previous
position to push downward to the left (elbow slightly bent, palm facing
downward, fingers pointing forward, at a distance of about two fists above your
left thigh), while your right hand goes from its previous position to arc upward
to the right and be placed to the right side of your forehead (elbow bent and
hanging down, palm facing outward, fingers pointing upward, positioned at a

distance of about two fists from and slightly higher than your forehead). See
photo 88:
2. Your upper body inclines to the right (toward the northeast).
3. Your gaze is forward (to the north).
Application:
In STEP FORWARD WITH THE BIG DIPPER, I crossed my hands to intercept

the opponents wrist. But what if his force is great and he continues to advance?
I then go along with his incoming momentum by retreating my right leg, using
my left hand to stick to his right wrist and spread away downward to the left
while using my right hand to stick to his left wrist and spread away upward to
the right (as in movement 2 when your hands spread to the left and right), then
I lift my left foot to kick to his lower body (as in movement 1 when your left leg
lifts).
Posture 86: TURN AROUND, SWINGING LOTUS KICK
Movement 1:
89
Your right hand slightly lowers to be placed in front of your chest (palm facing
downward, positioned at a distance of about two fists from your chest) and your
left hand extends forward (slightly bent, palm facing to the right, fingers
pointing forward). At the same time, your right leg straightens, your left leg lifts,
and your right toes lift (concentrating the weight onto the heel) for you to pivot
on the heel toward your right rear, spinning a complete circle (which returns to
the original direction). Once your upper body turns to be squared toward the
northwest, switch to your left foot coming down (toes pointing to the forward
left the northwest) and your right leg lifting (though it is acceptable for
beginners to have the toes touching down). See photo 89:

Movement 2:
90
With your left leg standing stably, your right foot goes forward, kicking upward
(toes pointing upward). At the same time, your palms turn to face to the left,
and with arms extended, slap the back of your right foot. See photo 90:
2. Your gaze is toward your right foot.
3. In the beginning, it is usually not easy to slap the foot, and until you have
practiced it for a long time, it will be difficult to apply skillfully.
Application:
If an opponent uses his right hand to attack me, I use my right hand to connect
to his wrist and my left hand to prop up his elbow, then with both hands in
unison I pluck down to the right (as in movement 1 when your right hand
slightly lowers in front of your chest and your left hand extends, then your body
spins around to the right). After spinning my body around, I lift my right foot
and kick to his back while using my hands to attack his face (as in movement 2
when your right foot kicks forward and your right hand slaps the back of the
foot).
Posture 87: BEND THE BOW TO SHOOT THE TIGER
Movement 1:
91
After your right foot kicks, it steps down again to the northeast and the knee
bends to make a right bow stance, your left leg straightening (yet still bent).
After your hands have slapped, they remain in their position and grasp into
fists, palms facing downward. See photo 91:
Movement 2:
92
The weight shifts onto your left leg while your fists arc from their previous
position to the lower right to be placed in front of your right leg (the back of the
fists facing upward, tigers mouths facing each other), positioned at about a fists
distance from the thigh. See photo 92:
Movement 3:
93
The weight shifts to your right leg, returning you to a right bow stance, your fists
going from in front of your right thigh to the right rear (downward from above),
drawing an arc (with your gaze following) until beside your right ear. They then
go forward to make a posture of shooting a tiger, your left fist extended (tigers
mouth facing to the right), right fist placed beside the right side of your forehead
(tigers mouth facing downward, elbow bent and pointing outward to the right).
See photo 93:

2. Your upper body inclines to the right (toward the northeast).
3. Your hands go along with your waist by drawing arcs and must not linger at
any point on the way.
Application:
If an opponent pushes down my right forearm, I go along with his energy by

loosening to the right, neutralizing his power (as in movement 2 when you sit
onto your left leg, your right leg straightening, and your fists arc downward to
the right). As he will now be losing his balance, he is sure to retreat, so I go
along with his retreating momentum by using my right hand to block his right
hand upward, exposing his right ribs, and use my left hand to strike him or to
push him away (as in movement 3 when your fists go forward from beside your
ear to make a posture of shooting a tiger).
Posture 91: CLOSING POSTURE
Movement:
1
This is almost the same as in Posture 1. From CROSSED HANDS, your hands
spread apart and slowly push down, returning to the BEGINNING POSTURE,
thus making the CLOSING POSTURE, which is the same as in photo 1.
THIRTEEN DYNAMICS SONG
Do not neglect any of the thirteen dynamics,

their command coming from your lower back.
You must pay attention to the alternation of empty and full,
then energy will flow through your whole body without getting stuck
anywhere.
In stillness, movement stirs, and then in moving, seem yet to be in stillness,
for the magic lies in making adjustments based on being receptive to the
opponent.
In every movement, very deliberately control it by the use of intention,
for once you achieve that, it will all be effortless.
At every moment, pay attention to your waist,
for if there is complete relaxation within your belly, energy is primed.
Your tailbone is centered and spirit penetrates to your headtop,
thus your whole body will be aware and your headtop will be pulled up as if
suspended.
Pay careful attention in your practice that you are letting bending and
extending, contracting and expanding, happen as the situation requires.
Beginning the training requires personal instruction,
but mastering the art depends on your own unceasing effort.
Whether we are discussing in terms of theory or function, what is the
constant?
It is that mind is sovereign and body is subject.
If you think about it, what is emphasizing the use of intention going to lead
you to?
To a longer life and a longer youth.
Repeatedly recite the words above,
all of which speak clearly and hence their ideas come through without
confusion.
If you pay no heed to those ideas, you will go astray in your training,
and you will find you have wasted your time and be left with only sighs of
regret.

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ZIMEN BOXING

THE TAIJI MANUAL OF CAI YIZHONG

TAIJI BOXING ILLUSTRATED

By Cai Yizhong of Ruian:

Taiji Boxing Illustrated

calligraphy by Chu Minyi

[PREFACE BY ZHANG ZHIJIANG]

PREFACE BY JIANG XIANGQING

INTRODUCTION: DISCUSSION OF TAIJI BOXING IN THE CONTEXT OF

1. THE PURPOSE OF EXERCISE

From a physiological perspective, the purpose of exercise is to develop the body,

2. THE TWO MOST BASIC PRINCIPLES IN EXERCISE

A. The interrelationship of the parts of the body:

B. The three basic capacities of the parts of the body:

There is no lack of examples in society for these capacities. The feet of a

3. THE THREE MOST IMPORTANT THINGS IN EXERCISE

If we ask whether or not Taiji Boxing is a reasonable exercise, we need only

A. As for the two basic principles:

B. As for the three main points:

To practice Taiji Boxing, no attention needs to be added to the two basic

5. THE BREATH IN TAIJI BOXING

A. It can invigorate the lungs.

B. It can focus the intention.

6. THE HARM OF EXCESSIVE EFFORT

already been explained above. Below is further explanation on the harm of it so

External styles of boxing, as well as various other methods of exercise, all

written by Lin Jingping of Ruian at the Yongjia [in Wenzhou, Zhejiang]

After just a few months, I felt my spirit had become so comfortable, my

Portrait of the author

A GUIDE TO THIS BOOK

1. The performer in the photographs is the author. He is wearing a soccer shirt

2. In the instructions, there are parenthetic comments throughout each

EXPLANATIONS FOR SOME OF THE ARTS TERMINOLOGY

[1] EMPTINESS & FULLNESS

[2] CONTAIN YOUR CHEST & PLUCK UP YOUR BACK

[3] DROP YOUR ELBOWS & SINK YOUR SHOULDERS

[4] FORCELESSLY PRESS UP YOUR HEADTOP

To forcelessly press up your headtop is like in movement 2 of WHITE CRANE

[6] BOW STANCE

[7] SPEAR-HOLDING POSTURE

TAIJI BOXING POSTURE NAMES

Posture 1: BEGINNING POSTURE

Points for attention:

1. Your head should be upright.

2. Your emotions are composed.

3. Your gaze is forward and level.

4. It is not necessary to put forth any effort.

Posture 2: CATCH THE SPARROW BY THE TAIL

1. The weight shifts to your right leg.

2. When your right hand shifts upward, it must do so slowly.

1. The weight is on your right leg.

2. Your left shoulder is pointing to the east.

Points for attention:

1. The weight is on your left leg.

3. Your gaze is toward your left thumb.

4. Your upper body must not bend over.

According to Taiji Boxing theory, techniques cannot be split up into movements,

Points for attention:

1. You are oriented to the south.

2. The weight is on your right leg.

Points for attention:

1. Sitting back and rolling back [should be performed in unison].

2. Your left hand lifts in the process of rolling back.

3. Your upper body faces halfway to the left.