Echoes Of Taijiquan

 Intent. In a number of places the Classics talk about 'where' movement occurs first (translations: Barbara Davis): "first in the xin [heart-mind], then in the body" and "xin is the commander". (Wu Yuxiang, 'Exposition of Insights into the Thirteen Postures'.). "In all these cases, it is yi [intent], and not from externalities." ('Taijiquan jing'.) "Yi and qi are the lord, the bones and flesh are the subjects." ('Shisan shi ge'/'Thirteen Postures Song'.) This got me thinking about the process and the relationship between Xin (心, heart-mind) and Yi (意, Intention). Fortunately there's a fairly succinct explanation offered by Chen Yan-ling's (1943) 'Taiji Compiled: Boxing, Saber, Sword, Pole and Sparring' (Ch.5: On Intention and Energy): "As for intention, some say the intention is the same as mind and mind is the same as intention, but there is actually a slight distinction between mind a...

 "By not using qi, I follow the flow, while the other goes against the flow. One has only to follow, then softly yield. The way that softness subdues hardness is gradual, while the way hardness subdues softness is abrupt. Abruptness is easy to detect, and so it is easily defeated. It is more difficult to sense gradualness, so it often prevails. This notion of not using qi is the extreme of softness. Only the extreme of softness can produce the extreme hardness." Cheng Man-ching's Foreward to Yang Cheng-fu's 'The Essence and Applications of Taijiquan' (Taijiquan Tiyong Quanshu), p.2 (Louis Swaim translation). [Image: Yang Cheng-fu (back seat) with Zhao Bin (right) and Zhou Tien Sou Lin (centre). http://qi-encyclopedia.com]

 Good advice for beginners: “At the beginning of study do not speak of training the ch’i, but first develop your body, footwork, and eye techniques. It is also important not to use strength, but rather execute each posture naturally and slowly in circular dance-like movements. Coordinate the whole body into a unified whole, and then cause it to be light, lively, and perfect. Wherever there is stiffness and awkwardness release these one by one according to the postures. As you perform each posture, relax and open all the joints in the body. In this way, you will reach a marvellous level.” Ch’ang Nai-chou’s Writings, translated in Douglas Wile ‘Tai Chi’s Ancestors’, p.129 [Image: Tung Ying Chieh in Single Whip]

 “The application of chi and energy (chin) in T’ai-chi ch’uan is slow and continuous, cyclical and repetitious, circular and interconnected. It is inexhaustible." “While its surface is expansive, its center is cohesive, and therefore it does not lose its roundness.” “It takes roundness as a model, but it is not really a sphere. Its defense is based on the principle of roundness; its offense is to be everywhere triangles.” Cheng Man-ch'ing 'Master Cheng’s Thirteen Chapters On T’ai Chi Ch’uan', ch.7

 "The Guideline, Yi Shou Dantian, points your mind to a central location in your body - the Lower Dantian. The literal meaning of the word "Shou" is to keep or to guard. It implies "guarding" your mind and Qi to maintain their "integrity  and unity" in your Dantian area. Thus preventing the scattering of your thoughts and Qi, in order to achieve harmony - Mind and Qi Connected (Yi Qi Xianglian)". Shou-Yu Liang & Wen-Ching Wu in 'Tai Chi Chuan. 24 & 48 Postures with Martial Applications', p.20 [Image: Grandmaster Shou-Yu Liang, from http://www.shouyuliang.com]

 “The ch’i is like a wheel, and the whole body must mutually coordinate. If there is any uncoordinated place, the body becomes disordered and weak. The defect is to be found in the waist and legs.” Five Character Secret by Li I-yu, translated in Lo et al ‘The Essence of T’ai Chi Ch’uan’, p.74

 “Expand and fill it. This applies to every posture. To sum up, the ch’i lands on one point, but it comes from many sources. If you open the source and free the flow, the path will be smooth and you will naturally avoid halting, dragging, and impediment.” Ch’ang Nai-chou’s Writings, translated in Douglas Wile ‘Tai Chi’s Ancestors’, p.94. [Photo: Tung Ying Chieh in 'Snake Creeps Down' posture]

 “Move the ch’i with softness and land with hardness. The two must complement each other and follow in the proper sequence.” “Only by using no force can we bring out natural force, which changes easily and does not impede us.” Ch’ang Nai-chou’s Writings, translated in Douglas Wile ‘Tai Chi’s Ancestors’, p.111-112.

 “Therefore, when hardness and softness are used adeptly, it is like a dragonfly just touching the surface of the water and immediately rising. Move the ch’i like a windmill that turns and rotates without stopping. In this way, the hard and soft are both in proper measure, and you will not suffer the ch’i being insufficient or inhibited.” Ch’ang Nai-chou’s Writings, translated in Douglas Wile ‘Tai Chi’s Ancestors’, p.95. [Image: 'Lotus and Dragonfly' by Qi Baishi]

 On Peng / 掤: "What is the meaning of 'Ward Off' energy? It is like the water supporting a moving boat. First one must sink ch'i to the tan t'ien then one must hold the head as if suspended from above. The entire body is full of springlike energy, opening and closing in a very quick moment. Even if there is an opposing force of one thousand pounds, One can uproot the opponent and make him float without difficulty." T. T. Liang 'Tai Chi Ch'uan for Health and Self-Defense' p.77

“Thus there is good reason for calling this art the “Great Ultimate.” … it strengthens the weak, raises the sick, invigorates the debilitated, and encourages the timid.” Master Cheng’s Thirteen Chapters On T’ai Chi Ch’uan, ch.1  “It takes roundness as a model, but it is not really a sphere. Its defense based on the principle of roundness; its offense is to be everywhere triangles.” “While its surface is expansive, its center is cohesive, and therefore it does not lose its roundness.” “The application of chi and energy (chin) in T’ai-chi ch’uan is slow and continuous, cyclical and repetitious, circular and interconnected. It is inexhaustible." Master Cheng’s Thirteen Chapters On T’ai Chi Ch’uan, ch.7