2026年8月25日 星期二

Silence helps Release Tension

Silence helps Release Tension

Silence helps release tension because it reduces the amount of information your nervous system must process. In Taijiquan, however, silence(安靜) means more than the absence of sound. It includes a quiet environment, quiet breathing and, most importantly, a quiet mind—心靜 (xīn jìng).

When the mind becomes quiet, several things happen:

  1. The nervous system shifts toward recovery

Noise, conversation and constant thinking keep the brain alert. This can maintain the sympathetic nervous system(交感神經)—the “fight-or-flight” state.

Silence and slow breathing encourage the parasympathetic nervous system(副交感神經), which tends to:

  • slow the breathing and heartbeat

  • reduce unnecessary muscle activation

  • soften the jaw, shoulders and abdomen

  • improve awareness of internal sensations

  1. You can detect hidden tension

Silence does not directly “force” muscles to relax. It allows you to notice tension that was already present.

For example, in quiet standing you may suddenly notice:

  • the toes gripping the floor

  • the calves holding unnecessarily

  • the kua resisting the weight

  • the abdomen being pulled inward

  • the shoulders lifting during inhalation

  • the jaw or tongue tightening

What cannot be felt is difficult to release. Therefore:

Silence → clearer awareness → recognition of tension → release

  1. Mental activity and muscular tension are connected

Every intention produces some bodily preparation. If your mind is continuously judging—“Am I rooted? Is my peng strong? Am I doing it correctly?”—your body may keep making small muscular corrections.

This is called anticipatory tension(預備性緊張). A quiet mind reduces these unnecessary commands.

In Taijiquan, this is expressed as:

心靜則身鬆
When the mind becomes quiet, the body can relax.

  1. Silence makes listening possible

Taijiquan uses listening energy(聽勁, tīng jìn). Before listening to your partner, you must first listen to yourself.

In silence, you can perceive:

  • pressure changing beneath each foot

  • the ankle making small balance adjustments

  • weight passing through the legs

  • the kua opening or closing

  • the partner’s force entering your structure

This kind of silence is not emptiness. It is quiet attentiveness(寧靜的覺察).

A simple practice

Stand naturally for two or three minutes:

  1. Do not immediately command the whole body to relax.

  2. Listen to the sounds around you without naming them.

  3. Let the exhalation become slightly longer, but do not force it.

  4. Feel the pressure beneath the feet.

  5. Ask each area: “Is this tension necessary?”

  6. Release only what is unnecessary.

  7. Maintain gentle upward support through the crown—虛領頂勁—so relaxation does not become collapse.

You may then scan upward:

soles → ankles → calves → knees → thighs → kua → abdomen → chest → shoulders → jaw

The deepest principle is:

Silence does not make you inactive. It removes internal interference.

When unnecessary mental and muscular “noise” decreases, the body’s natural alignment, balance and



**「聽而不聞,視而不見」**與 silence 有關,但不完全等於「安靜無聲」。

更準確的意思是:

The ears hear, but the mind does not follow the sound;
the eyes see, but the mind does not chase what is seen.

耳朵仍在聽,心卻不追逐聲音;
眼睛仍在看,心卻不追逐景象。

這是一種 inner silence(內在的寂靜/心靜),不是失去知覺,也不是故意忽略外界。你仍然清楚周圍發生什麼,只是不分析、不評判,也不被它牽動。

在太極拳中可分三層:

  • 聽而不逐聲:聽見聲音,但不分心。

  • 視而不凝滯:眼神自然、視野寬廣,不死盯一點。

  • 覺而不執著:感覺身體或對手的力量,但不急於抵抗或預先反應。

因此,它比較接近:

  • inner stillness(內在寧靜)

  • quiet awareness(寧靜的覺察)

  • non-attached awareness(不執著的覺察)

  • seeing without staring; hearing without pursuing

不宜直接說成 silent,因為 silent 通常只是「不說話/沒有聲音」。比較自然的英文是:

Remain inwardly still: hear without being distracted by sounds, and see without fixing your attention on appearances.

推手時尤其重要:眼睛似乎「不盯著看」,卻以周邊視野掌握對方全身;耳朵聽見周圍聲音,心仍放在接觸點與全身變化上。這不是 unaware(沒有覺察),而是:

Aware of everything, attached to nothing.
萬物皆覺,無所執著。

所以,「聽而不聞,視而不見」不是關閉感官,而是讓感官開放、心保持安靜。

  peng structure(掤的支撐結構) become easier to feel. This is why Taijiquan says:

靜中求鬆,鬆中求整。
Seek relaxation within stillness, and seek wholeness within relaxation.

TALK SUMMARY: SONG, IST TRAINING & TAI CHI

 Gemini AI


🥋 TALK SUMMARY: SONG, IST TRAINING & TAI CHI


Here is a detailed breakdown of the talk on Song Gong (松功), its role in daily IST (In-State Training), and its direct effect on Tai Chi.


1️⃣ WHY "SONG" IS SO ELUSIVE


Modern Conditioning: In Western/modern society, we aren't taught proper posture, alignment, or true relaxation from an early age.


False Relaxation: Temporary fixes like watching TV or destructive habits don't clear deep-seated tension. Tension gets trapped in the body and mind, creating a recurring cycle of stuck energy.


The "Unlearning" Process: Practitioners with 30–40 years of experience often struggle with Song because their aggressive habits are so ingrained. Beginners are often easier to teach because they lack these bad habits.


2️⃣ SONG GONG & INTERNAL ADJUSTMENT (TIAO ZHANG)


Mind First, Body Second: Song Gong starts with a mind adjustment to remind yourself to release rather than hold rigid tension.


The Bamboo Principle: Rigid sticks snap under force. A practitioner must be like bamboo—flexible, bendable, and rounded. When force hits bamboo, it doesn't break; it makes an adjustment, elongates, and expands from both ends.


Energy Flow (Xu Ling Ding Jing - 虚灵顶劲): Proper Song creates a dynamic alignment where crown energy goes up while your root grounds down, keeping you adaptable without snapping.


3️⃣ BRIDGING SONG TO DAILY IST TRAINING


Everyday Stance: Your daily standing, sitting, walking, and working positions should function as an IST standing stance.


Physical Healing: Combining proper posture with active releasing (Song) flushes out physical pain and stagnation caused by daily life (commonly trapped in the neck, shoulders, waist, and hips).


"Cleaning the Inside": Practice (meditation walking, stillness training, Tai Chi forms) is a daily internal cleanup to flush out negative energy and daily mental stress.


Consistency over Duration: You don't need 2–3 hours. A regular, daily 15-minute routine of Song Gong is far more powerful than sporadic training.


4️⃣ TAI CHI OUTPUT & TWO-PERSON DRILLS


4-Point Contact Rule: In 2-person verification drills/push hands, Song allows you to Stick, Adhere, Join, and Follow. You move with the opponent's energy instead of resisting it.


Feedback System: Push hands isn't for competition; it’s a feedback mechanism. (e.g., If a partner gives 10% force, coming back with 20% means you're holding excess tension instead of listening).


Effortless Fa Jing (Fa Jin - 发劲): Releasing energy works because Song creates the conditions where "4 ounces moves 1,000 pounds" (Si Liang Bo Qian Jin), throwing an opponent off-balance with minimal physical effort.


5️⃣ CULTIVATING YIN & JING XIA LAI


Surrendering the Ego: True Song requires surrendering the need to win, protect oneself, or be "number one."


Balancing Yin & Yang: Most people are purely Yang (hard/aggressive). Song Gong builds the Yin (soft/receptive) foundation. You must cultivate the seed of Yin within Yang, and Yang within Yin, to create a balanced circle.


Presence (Jing Xia Lai - 静下来): Defined as an empty mind in the present moment. When you are present, external noise (like 10,000 shouting fans) cannot disturb your internal release.


💡 Key Takeaway: “Song isn't just a Chinese word for relaxation—it’s the active tool to clean your inside and become your own teacher.”

Relaxation from the Ground upward

  Relaxation from the Ground upward

Progressive relaxation from the ground upward(由下而上逐節放鬆):

feet(腳) → ankles(踝) → lower legs/shins(小腿) → knees(膝) → thighs(大腿) → hips/kua(胯) → waist(腰) → torso(軀幹) → shoulders and arms(肩臂)

Here, 小腿 (xiǎotuǐ) means the entire lower leg, not only the shin bone.

Why begin from the feet?

  1. The feet establish the root(根)

Your body receives information from the ground through the feet. If the toes grip or the ankles stiffen, the legs cannot adjust naturally, and the upper body often compensates by tightening.

When the soles spread gently and the ankles remain responsive, your weight can settle through the bubbling-well area(湧泉) and distribute more evenly.

  1. Relaxation must have somewhere to go

In Taijiquan, song(鬆) does not mean collapsing. It means releasing unnecessary tension while maintaining structure.

Starting from the feet creates a continuous supporting pathway:

ground → feet → ankles → knees → kua → spine

Then the upper body can “sit” on the legs instead of being held up by the shoulders and lower back. This is related to:

  • rooting(扎根)

  • sinking qi to the dantian(氣沉丹田)

  • force rising from the feet(力從地起)

  • connecting the upper and lower body(上下相隨)

  1. It improves proprioception(本體感覺)

The feet and ankles constantly sense pressure, balance and changes in direction. Relaxing them progressively makes it easier to notice exactly where unnecessary tension begins.

If someone simply hears “relax the whole body,” they may imagine that they have relaxed while the toes, calves, kua or shoulders remain tense. The step-by-step method is therefore a form of body scanning(身體掃描).

Why not relax the whole body simultaneously?

Ultimately, you should. Advanced song(鬆) is whole-body and nearly instantaneous. But beginners usually cannot distinguish:

  • relaxation from collapse(鬆與懈)

  • softness from loss of structure(柔與散)

  • sinking from squatting(沉與蹲)

  • releasing the ankles from letting the arches collapse

Progressive relaxation is a training method, not the final goal. It teaches the nervous system to release each section without losing alignment.

A useful way to understand the stages is:

  1. Sequential awareness(逐節覺察): feel and release one area at a time.

  2. Connected release(節節貫串): each release influences the next joint.

  3. Whole-body song(整體鬆): the entire body adjusts together.

  4. Song within movement(動中求鬆): relaxation remains while stepping, turning or receiving force.

One important refinement

Do not actively push relaxation upward with muscular effort. Instead, establish the feet and allow tension to dissolve progressively upward. At the same time, imagine:

  • the crown gently rising(虛領頂勁)

  • the tailbone settling centrally(尾閭中正)

  • the feet receiving the weight

  • the joints remaining open and responsive

Thus there are two complementary directions:

The structure is suspended from above; the weight settles downward; the connection grows upward from the ground.

In partner practice, the ideal result is that an incoming force can travel through the relaxed joints into the ground, while your returning peng energy(掤勁) rises through the same connected pathway. If any section—especially the ankle, knee or kua—locks, that section becomes a break in the chain.

Remain Aligned beneath the Centre of the Torso When Retreating

Remain Aligned beneath the Centre of the Torso When Retreating

When retreating and sinking during partner practice(雙人練習中的後退與下沉), the tailbone may release downward with a very slight inward adjustment(尾閭微收). However, it should remain aligned beneath the centre of the torso(尾閭守中). It should not swing behind you, shift sideways, or be forcibly pushed forward.

A better description is:

As you retreat, let the tailbone sink along the central axis while the pelvis follows the whole body backward.
後退時,尾閭沿中軸下沉,骨盆隨全身整體後移。

Important distinctions:

  • Correct: the whole body retreats as one unit(全身整退); the spine remains upright(立身中正); the tailbone sinks and stays beneath the torso.

  • Incorrect: the hips move backward first while the chest remains forward(突臀前俯).

  • Incorrect: forcefully squeezing the abdomen and buttocks to tuck the pelvis(夾臀收腹).

  • Incorrect: leaning backward and placing all the pressure in the heels(後仰壓跟).

The slight tuck is not an independent action. It is a subtle adjustment within Song(鬆), sinking(沉), and maintaining central alignment(守中). The lower abdomen may become gently supportive, but the kua and breathing must remain free.

When receiving your partner’s force, keep this relationship:

Head rises gently(頂頭懸) → spine lengthens(脊柱拔長) → tailbone sinks(尾閭下沉) → kua releases(鬆胯) → feet receive the force(勁落腳底).

The tailbone remains “in the centre” in two senses:

  1. Left–right centre(左右居中): it does not shift unnecessarily to either side.

  2. Front–back balance(前後平衡): it remains beneath the spine without protruding backward or being forced too far forward.

But “staying in the centre” does not mean that the pelvis remains fixed in space. When you retreat, your entire centre of mass(重心)moves backward. The tailbone travels with the centre while maintaining its relationship to the spine and feet.

A good partner test is to ask your partner to apply slow, steady pressure. Retreat gradually and check whether:

  • The shoulders remain relaxed.

  • The chest does not lean backward.

  • The buttocks do not protrude.

  • The kua continue to fold and rotate.

  • The pressure travels through the legs into the feet.

  • You can stop, change direction or issue force at any moment.

If you cannot turn or step, the tuck is probably too strong. If the partner’s pressure collapses your lower back or pushes your hips behind your base, the tailbone has probably lost the centre.

The refined principle is:

The tailbone sinks but is not forced forward; the centre retreats but does not collapse; the body yields but does not lose Peng.
尾閭下沉而不強收,重心後移而不塌,身體走化而不失掤。

Light Release of the Tailbone & Ankle Rooting (Q&A)

Wayne, Lately I've been focusing on lightly tucking my tailbone when doing Song gong and rooting, the form. That means my stomach and  other abdominal muscles get a little more exercise.  And I think... That helps connect the upper and lower body. Anyway in class while doing ankle rooting I noticed what seemed an increase in the flow of peng energy. I suspect, focusing on the energy increase would be wrong and that it's probably better to keep working on keeping the tailbone lightly tucked.  I was a little surprised by the increase in the flow of peng energy.  And since I was so out of shape I'm wondering is that a more normal energy level?  Of course the first taste of that energy level was stronger than subsequent levels but there is an increase.


chatgpt:

Key Takeaways

1. The useful change is improved alignment, not a stronger muscular tuck

有益的是結構改善,不是用力收尾閭

A very light release of the tailbone downward(尾閭微鬆下沉)can reduce excessive arching in the lower back and improve the relationship among the pelvis(骨盆), spine(脊柱)and legs(下肢). This may make the upper and lower body feel more connected(上下相隨).

However, “tucking” should not become a forceful contraction of the abdominal or buttock muscles. A hard pelvic tuck can stiffen the kua(胯), restrict breathing and weaken movement.

A better instruction is:

Let the tailbone sink naturally rather than forcibly tucking it forward.
尾閭自然下沉,不要用力前捲。

2. Mild abdominal activity is normal

腹部輕微參與是正常的

When the pelvis becomes more neutral and the spine more organized, the deep abdominal muscles(深層腹肌)may engage gently to stabilize the trunk. This is helpful if the abdomen remains elastic and breathing stays natural(呼吸自然).

The aim is not to tighten the stomach continuously. In Song Gong(鬆功), support and relaxation must coexist:

Supported but not rigid; relaxed but not collapsed.
有支撐而不僵,能放鬆而不塌。

3. The increased Peng feeling probably comes from better whole-body connection

掤勁增加可能來自整體連結改善

What felt like an increased “flow of Peng energy”(掤勁流動增加)may reflect several physical changes:

  • Better skeletal alignment(骨架排列)

  • Clearer transmission of ground force(地面反作用力傳遞)

  • Less collapse in the waist and kua(腰胯不塌)

  • More coordinated abdominal and spinal support(核心與脊柱協調)

  • Less unnecessary tension interrupting the force path(勁路較少阻塞)

Thus, the power may not actually be “more energy.” It may be the same force travelling through the body with less leakage(少漏勁).

Peng becomes clearer when the structure connects and unnecessary tension decreases.
結構貫串、拙力減少,掤勁自然顯現。

4. Do not chase the sensation

不要追求感覺

Your suspicion is correct: concentrating on reproducing or increasing the energetic sensation can create tension and interfere with natural coordination.

Continue attending to the basic conditions:

  • Upright alignment(立身中正)

  • Tailbone released downward(尾閭鬆下)

  • Waist relaxed(鬆腰)

  • Kua open and settled(鬆胯、落胯)

  • Feet connected to the ground(腳底有根)

  • Natural breathing(呼吸自然)

  • Whole-body expansion(全身掤圓)

Treat the stronger Peng sensation as feedback(回饋), not as the goal(目標).

5. The first experience often feels unusually strong

初次體會往往特別明顯

The first clear experience of improved connection may feel powerful because it contrasts sharply with your previous movement pattern. Once the nervous system becomes familiar with it, the same level of connection may no longer feel extraordinary.

Therefore, a weaker subjective sensation does not necessarily mean the skill has disappeared. The body may simply be adapting(身體適應).

Progress should be judged by whether:

  • You remain more stable under light pressure.

  • Force travels to the feet without local stiffness.

  • The arms feel supported by the body.

  • You can turn or step without losing Peng.

  • Breathing remains free.

  • You can repeat the result consistently.

6. It may be closer to your natural potential, but not necessarily a “normal energy level”

可能較接近自然狀態,但不宜稱為固定的正常能量

There is no universal “normal Peng-energy level.” Peng varies with alignment, relaxation, fatigue, attention, breathing and training experience.

Since you mentioned being out of shape, improved posture may have revealed strength that was already available but poorly coordinated. This is better described as recovering efficient whole-body support(恢復有效的整體支撐) rather than acquiring a mysterious new source of energy.

7. Ankle rooting must involve the whole foot and leg

踝部扎根須連結全腳與全腿

During ankle-rooting practice(腳踝扎根), do not press rigidly into the heels or lock the ankles. The force should be distributed through the sole—heel, ball of the big toe and ball of the little toe(足底三點)—while the knees and kua remain responsive.

Rooting(扎根)does not mean becoming immovable. It means that force can pass through the body into the ground while you remain capable of changing(能沉亦能變).

Central Conclusion

The increased Peng sensation was probably a sign of better alignment and force transmission. Continue refining the gentle downward release of the tailbone, but avoid deliberately squeezing the abdomen or forcing the pelvis into a tuck. Do not chase the sensation; cultivate the conditions that produced it.

Do not seek more Peng. Remove the tension and misalignment that prevent Peng from appearing.
不必追求更多掤勁,只須減少阻礙掤勁的僵力與錯位。


2026年8月24日 星期一

Using Intention to Guide Qi and Qi to Move the Body

 

Using Intention to Guide Qi and Qi to Move the Body

以意導氣,以氣運身

“Use intention to guide qi; use qi to move the body” means that movement begins with conscious intention(意), not with isolated muscular action.

First, the mind clearly establishes the direction, timing, and purpose of the movement. The breath, internal pressure, posture, and muscular coordination then organize themselves according to that intention. Finally, the entire body moves as one connected unit.

Intention leads; qi follows; the body responds.
意到、氣到、身到。

Here, qi(氣) should not be understood only as breath. In practical training, it also includes breathing, internal pressure, awareness, postural connection, and the coordinated transmission of force throughout the body.

The correct order is:

Intention(意) → internal coordination(氣) → whole-body movement(身) → force expressed through the limbs(手腳)

One should not deliberately force the breath or imagine pushing air into the hands. Breathing remains natural while the intention organizes the movement.

The Large Dantian Energy Circle

丹田大氣圈

The dantian(丹田), located conceptually in the lower abdomen and pelvic centre, functions as the centre of whole-body movement.

The large dantian circle(丹田大氣圈) refers to the circular movement generated through the coordinated action of:

  • Lower abdomen(下腹)

  • Waist(腰)

  • Kua or hip joints(胯)

  • Pelvis(骨盆)

  • Spine(脊柱)

This is not merely a visible rotation of the hips. It is a three-dimensional circular action that may turn horizontally, vertically, diagonally, or spirally.

As the dantian circle rotates, opens, closes, rises, sinks, advances, or retreats, it moves the body’s centre of mass and organizes the force transmitted between the feet and hands.

The dantian is the central wheel; the limbs move as its extensions.
丹田為大輪,四肢為其延伸。

The Small Energy Circles of the Hands and Feet

手腳小氣圈

The hands and feet form smaller circles(小氣圈)that are directed by the larger dantian circle.

The hands may:

  • Rotate(旋轉)

  • Draw arcs(走弧)

  • Open and close(開合)

  • Coil and uncoil(纏繞、鬆放)

The feet also make small circular adjustments through:

  • Pivoting(碾腳)

  • Turning the heels or toes(轉跟、轉尖)

  • Shifting pressure across the soles(腳底壓力轉移)

  • Spiralling through the ankles, knees, and kua(踝、膝、胯螺旋相連)

The small circles should not move independently. If the hands circle without support from the centre, the movement becomes an empty arm action(空手). If the dantian turns but the hands and feet fail to respond, the body loses integration.

The relationship is:

The large circle leads; the small circles follow.
大圈帶小圈。

At the same time, the hands and feet provide feedback to the centre:

The extremities listen; the centre adjusts.
梢節聽勁,丹田調整。

Issuing Force — 發勁

In issuing force(發勁), the dantian circle gathers and coordinates the entire body before the smaller circles express the force through the hands or feet.

A typical sequence is:

  1. The intention establishes the target and direction(意定方向).

  2. The feet connect with the ground(腳底接地).

  3. The legs and kua organize the ground force(腿胯傳力).

  4. The dantian rotates, compresses, or expands(丹田旋轉、蓄合、開放).

  5. The spine transmits the movement(脊柱傳導).

  6. The shoulder and elbow remain relaxed(鬆肩沉肘).

  7. The hand or foot releases the force at the final moment(勁達手腳).

Thus, force is not created by the hand alone:

The root is in the feet, the power is generated through the legs, directed by the waist, and expressed in the hands.
其根在腳,發於腿,主宰於腰,形於手指。

The dantian circle may initially be large during training so that the student can feel it clearly. With greater skill, the visible circle becomes smaller, while the internal coordination becomes quicker and more powerful(外形愈小,內勁愈整).

Neutralizing and Transforming Force — 走化

Zouhua(走化) means to move with, redirect, and dissolve the partner’s incoming force.

  • Zou(走) means following or moving away from the force without losing contact.

  • Hua(化) means changing its direction, quality, or effect so that it can no longer reach your centre.

When the partner applies pressure, one should not oppose it directly(不頂). The dantian large circle changes the position and angle of the body, while the smaller circles of the hands and feet guide the incoming force away.

The procedure is:

  1. Sense the partner’s direction through contact(聽勁).

  2. Avoid stiff resistance(不頂抗).

  3. Relax the point being pressed(鬆開接觸點).

  4. Turn or shift the dantian circle(丹田走圓).

  5. Adjust the feet and kua(步隨身換).

  6. Allow the hands to guide rather than pull(以手引化,不以手硬拉).

  7. Lead the incoming force into emptiness(引進落空).

The body remains upright and integrated throughout. One should not neutralize merely by bending the waist, withdrawing the chest, or moving the arms independently.

Do Not Let the Partner Catch Your Force

走時不給對方接到自己的勁

This means that while neutralizing, you do not leave a fixed line of force that the partner can grasp, follow, or use against you.

If your arm becomes stiff, your shoulder pushes forward, or your centre continues pressing in one predictable direction, the partner can “catch” your force(接到你的勁). Once caught, that force becomes a bridge leading directly to your centre.

To avoid this:

  • Do not maintain rigid pressure at the contact point(不留死力).

  • Do not push continuously in one direction(不給直線長勁).

  • Do not withdraw suddenly and lose contact(不丟).

  • Do not resist and become fixed(不頂).

  • Continuously change the angle through the waist and kua(腰胯變角度).

  • Keep the contact point light, mobile, and sensitive(接觸點輕靈).

  • Let the force circulate rather than become trapped in the arm(勁走圓,不停於手).

This is the principle of neither disconnecting nor resisting(不丟不頂).

Your hand remains in contact, but your centre is no longer available along the partner’s line of pressure. The partner can touch your arm but cannot find a stable force path into your body:

There is contact, but there is nothing fixed to catch.
有接觸,無定勁可接。

This does not mean becoming completely soft or collapsing. The body retains Peng structure(掤勁), but this structure is elastic, mobile, and constantly changing.

The Relationship Between Issuing and Neutralizing

發勁與走化的關係

Issuing and neutralizing are not two completely separate skills. Both are driven by the same dantian circle.

  • During neutralization(走化), the large circle receives, redirects, and empties the partner’s force.

  • During issuing(發勁), the circle reverses, closes, opens, or changes direction to send integrated force back through the hands or feet.

Therefore:

Neutralization contains the possibility of issuing; issuing emerges from neutralization.
化中有發,發由化生。

The transition should be seamless. There should be no obvious pause between receiving, neutralizing, and issuing:

Listen → follow → neutralize → regain the centre → issue
聽勁 → 隨勁 → 走化 → 得中 → 發勁

The highest goal is for the centre to remain free while the partner’s centre becomes controlled:

I follow the opponent’s force without surrendering my centre;

Use Intention to Guide Qi and Qi to Move the Body

以意導氣,以氣運身

“Use intention to guide qi, and use qi to move the body”(以意導氣,以氣運身) means that movement begins with a clear mental intention(意), not with isolated muscular effort.

First, the mind determines the direction, timing and quality of the movement. Breathing, internal pressure and whole-body coordination then follow this intention. Finally, the body moves as one connected unit.

It may be understood as:

Intention leads → internal coordination follows → the whole body moves
意先行 → 氣相隨 → 身體動

Here, qi(氣) should not be understood only as breath. In practical training, it also refers to the integrated condition of breathing, awareness, postural support, internal pressure and coordinated movement.


The Dantian as a Large Qi Circle

丹田大氣圈

The lower dantian(下丹田), located around the lower abdomen and the body’s centre, acts as the main centre of movement.

The waist, abdomen, lower back and kua form a large central circle(丹田大氣圈). This circle may rotate horizontally, vertically, diagonally, or in a spiral. Its movement coordinates the spine, pelvis and centre of gravity.

The dantian circle is not merely an imaginary circle drawn on the abdomen. It represents the coordinated circular movement of:

  • The waist and lower back(腰背)

  • The abdominal centre(腹部核心)

  • The pelvis and kua(骨盆與胯)

  • The spine(脊柱)

  • The shifting centre of gravity(重心轉移)

The centre initiates; the limbs respond:

The dantian moves first, and the four limbs follow.
丹田先動,四肢隨之。


The Hands and Feet as Smaller Qi Circles

手腳小氣圈

The arms, hands, legs and feet form smaller circles(小氣圈) around the body’s central circle.

When the dantian turns, the shoulders and hips are carried by it. The elbows, wrists, knees and ankles then rotate and adjust accordingly. Therefore, the smaller circles of the hands and feet are not independent movements.

The relationship is:

Dantian circle → waist and kua → shoulders and hips → elbows and knees → hands and feet

丹田大圈 → 腰胯 → 肩髖 → 肘膝 → 手腳小圈

The large circle controls the direction and overall momentum. The smaller circles refine the angle, point of contact and final expression of force.

A useful image is:

The dantian is the large wheel; the hands and feet are the smaller wheels connected to it.
丹田如大輪,手腳如與之相連的小輪。

All the wheels turn together, but the central wheel remains the primary driver.


Issuing Force — 發勁

In issuing force(發勁), intention first identifies the target and direction. The dantian circle then turns, expands, closes, sinks or spirals. This action travels through the connected body and is expressed through a hand, elbow, shoulder, foot or other striking point.

The sequence is:

Intention → dantian → waist and kua → spine → limbs → contact point
意 → 丹田 → 腰胯 → 脊柱 → 四肢 → 勁點

The hand should not issue force before the centre moves. If the hand acts independently, the power becomes local muscular force(局部力). When the dantian and limbs arrive together, it becomes integrated whole-body power(整勁).

The essential requirement is:

The large circle initiates; the small circles accelerate and focus the force.
大圈啟動,小圈加速聚勁。

At the final moment, the feet connect to the ground, the legs support, the waist directs and the fingers indicate the line of force:

力起於腳,發於腿,主宰於腰,形於手指。


Neutralizing and Moving Away — 走化

Zouhua(走化) combines two complementary skills:

  • Zou(走): following, moving, yielding or changing position.

  • Hua(化): transforming and redirecting the incoming force.

When the partner applies pressure, do not oppose it directly. Maintain light awareness at the contact point while allowing the dantian circle to turn and the whole body to adjust.

The central circle changes first; the smaller circles of the arms and legs follow. The partner’s force is then redirected past the body, led into emptiness, or deprived of a stable point to act upon.

Receive the direction without carrying the pressure.
接其方向,不受其力量。

Effective neutralization includes:

  • Rotating the dantian(轉丹田)

  • Releasing the waist and kua(鬆腰落胯)

  • Changing the contact angle(改變接觸角度)

  • Shifting the centre of gravity(轉移重心)

  • Turning or stepping with the feet(碾步、走步)

  • Maintaining upright alignment(立身中正)

The body should move as a connected sphere rather than allowing one part to collapse.


Do Not Let the Partner “Catch” Your Force

走時不給對方接到自己之勁

This means that while yielding or neutralizing, you do not provide the partner with a fixed point, rigid direction or continuous line of force that can be grasped and used against you.

If your arm becomes stiff, your shoulder becomes fixed, or your weight continues to push in one direction, the partner can trace that force back to your centre. This is called allowing the opponent to catch, connect to, or borrow your force(接到你的勁).

To prevent this:

1. Do not resist at the contact point

接觸點不頂抗

The place being touched should remain alive and adaptable. Do not push directly back against the partner.

2. Do not withdraw suddenly

不突然丟開

Pulling the arm away abruptly breaks contact and may expose your centre. Maintain sensitivity without giving the partner solid pressure. This is neither losing contact nor resisting(不丟不頂).

3. Continuously change the angle

接觸角度不斷微調

Use small rotations of the forearm, elbow, shoulder, waist and kua. The contact point continually changes, so the partner cannot establish a stable line into your centre.

4. Move the centre before moving the hand

先動丹田,後動手

If only the hand escapes, the shoulder and torso may remain caught. Turn or shift the dantian so the whole structure changes together.

5. Do not reveal a fixed direction

不露固定勁路

Your movement should be circular, spiralling and continuously changing. When the partner follows one direction, that direction is already becoming empty.

6. Keep your centre while emptying the contact point

中定而接點走空

Your own central balance remains stable, but the point the opponent touches becomes empty. This is not a limp collapse. It is an organized removal of resistance.

My centre remains present, but the place you attack is no longer there.
我中仍定,你攻之處已空。


Relationship Between Issuing and Neutralizing

發勁與走化的關係

Issuing and neutralizing are two expressions of the same circular system.

  • During neutralization(走化), the large and small circles absorb, redirect and empty the partner’s force.

  • During issuing(發勁), the same circles unite and concentrate force toward the partner.

Thus:

In neutralizing, the circles separate and transform; in issuing, the circles unite and arrive together.
化時圈圈轉換,發時圈圈合一。

A good practitioner does not first finish neutralizing and then begin issuing as two disconnected actions. The counterforce is already being prepared within the neutralization:

化中有發,發中有化。
Issuing is contained within neutralization, and adaptability remains within issuing.

In concise terms:

Intention directs the movement; qi integrates the body. The dantian’s large circle leads the smaller circles of the hands and feet. When issuing, all circles unite at one point; when neutralizing, they continuously change so the opponent cannot obtain a fixed connection to your force.
以意導氣,以氣運身;丹田大氣圈帶動手腳小氣圈。發時合於一點,走化時變化不定,使對方無法接住我勁。

顏惠卿老師

 顏惠卿老師

 顏師:丹田要位於兩腿中間之前進後退

Remain Aligned beneath the Centre of the Torso When Retreating

Teacher Yan 無極樁

Four points Push Hands Practice Drill

Push Hands Drills: 內捋外捋 Training



Five-Stance Boxing — 五步拳

 

Five-Stance Boxing — 五步拳

Wǔbùquán(五步拳) is a short introductory routine of Long Fist(長拳) training. The word 五步 refers mainly to its five fundamental stances—not simply “five walking steps”:

  1. Bow stance(弓步)

  2. Horse stance(馬步)

  3. Crouching stance(仆步)

  4. Empty stance(虛步)

  5. Cross-legged resting stance(歇步)

It combines these stances with the three basic hand forms—fist(拳), palm(掌), and hook hand(勾手)—as well as punching, blocking, sweeping, threading and kicking. Its purpose is to develop basic structure, flexibility, leg strength, coordination and clear martial rhythm. Yangtze University teaching material

There are minor differences among schools. The commonly taught standard sequence is:

並步抱拳 → 弓步摟手沖拳 → 彈腿沖拳 → 馬步架打 → 歇步蓋打 → 提膝穿掌 → 仆步穿掌 → 虛步挑掌 → 並步抱拳


1. Preparation — 並步抱拳

Stand with the feet together. Make fists and hold them at the waist, palms facing upward. Draw the elbows backward naturally and look to the left.

Key points

  • Head suspended upward(虛領頂勁).

  • Chest relaxed and waist upright(含胸立腰).

  • Shoulders relaxed, elbows close to the body(沉肩墜肘).

  • Fists firmly formed but arms not stiff(拳緊臂鬆).

  • Concentrate the mind before moving(精神集中).

The preparation should express stillness with readiness:

The body is still, but the intention has already begun.
身未動,意先行。


2. Bow Stance, Sweep and Punch

弓步摟手沖拳

Step to the left. The left hand opens and sweeps outward(摟手)to deflect an imaginary attack. Turn the waist and hips into a left bow stance(左弓步), pull the left fist to the waist and punch forward with the right fist(右沖拳).

Bow-stance requirements — 弓步要領

  • Front knee bends approximately above the toes.

  • Front foot points forward or slightly inward.

  • Rear leg is extended but the knee is not locked.

  • Rear heel stays firmly on the floor.

  • Both feet maintain their own tracks rather than standing on one narrow line.

  • Weight is approximately 60–70% forward and 30–40% backward.

  • Hips and torso face generally forward.

Punching requirements — 沖拳要領

The punch begins from the waist with the palm facing upward. As it travels forward, the forearm rotates inward until the palm faces downward(旋臂沖拳).

Coordinate:

Push from the rear foot → turn the kua → rotate the waist → send the shoulder → extend the fist
後腳蹬地 → 轉胯 → 擰腰 → 順肩 → 沖拳

Do not completely lock the elbow. Let the force reach the front surface of the fist(力達拳面).

Common mistakes

  • Front knee collapsing inward(膝蓋內扣).

  • Rear heel rising(後腳跟拔起).

  • Leaning the torso forward(前俯).

  • Punching with the arm alone(只用手臂).

  • Sweeping and punching at different times(手腳不一致).


3. Snap Kick and Punch

彈腿沖拳

Shift the weight completely onto the left leg. Lift the right knee and snap the lower leg forward while punching with the left fist. Pull the right fist back to the waist.

Key points

  • First lift the knee, then snap the lower leg(先提膝,後彈腿).

  • Keep the supporting leg stable.

  • Keep the upper body upright(上體正直).

  • Extend the ankle and point the toes(繃腳面).

  • Strike with the instep or toe area according to the teaching system.

  • Kick and punch simultaneously(拳腿同到).

  • Snap the leg out quickly and withdraw it quickly(快出快收).

The kick should be crisp, not a slow straight-leg lift:

Bend, snap, strike and immediately recover.
屈膝、彈出、擊中、速收。

Practise at knee or waist level before attempting a higher kick. Height is less important than balance and speed.


4. Horse Stance, Upper Block and Punch

馬步架打

Place the right foot down and turn the body approximately 90 degrees. Sink into a horse stance(馬步). The left hand rises above the head in an upper block(上架掌), while the right fist punches horizontally to the right.

Horse-stance requirements — 馬步要領

  • Feet wider than shoulder width.

  • Toes point generally forward or slightly outward.

  • Knees follow the direction of the toes.

  • Thighs gradually approach horizontal according to ability.

  • Weight is evenly distributed between both feet.

  • Knees remain above the feet rather than collapsing inward.

  • Tailbone sinks and the torso remains upright(尾閭下沉、立身中正).

Hand requirements

The upper hand protects the forehead but should not touch the head. Keep the arm rounded and the palm angled outward. The blocking hand, punching fist, turning waist and sinking stance should finish together(架、打、轉、沉同時完成).

Common mistakes

  • Feet too narrow.

  • Knees collapsing inward.

  • Buttocks protruding backward(突臀).

  • Torso leaning toward the punching side.

  • Block placed directly on top of the head.

  • Shoulders raised through excessive tension.


5. Cross Stance, Cover and Punch

歇步蓋打/歇步蓋沖拳

Step one leg behind the other and cross the legs. Turn the body while one palm covers downward and across(蓋掌). Sink fully into the resting stance(歇步) and punch with the opposite fist.

Cross-stance requirements — 歇步要領

  • Cross the legs closely.

  • Bend both knees and sit downward.

  • The rear knee approaches the outside of the front lower leg.

  • The rear heel is normally raised.

  • Most of the weight rests on the supporting leg.

  • Keep the torso upright despite the low position.

  • Knees and ankles must not be twisted forcibly.

Key points

  • Covering palm, body turn and crossing step are coordinated.

  • Sink only after the feet are correctly positioned.

  • The punch is issued as the stance becomes stable.

  • Maintain a clear distinction between full and empty(虛實分明).

Beginners should first practise a higher cross stance. Depth should increase only when the hips, knees and ankles can remain aligned comfortably.


6. Knee Lift and Threading Palm

提膝穿掌

Rise from the cross stance and turn the body. Stand on one leg and lift the other knee. One palm threads forward and upward(穿掌), generally passing over the back of the other hand.

Key points

  • Supporting foot grasps the floor(支撐腳抓地).

  • Supporting knee remains slightly flexed.

  • Lift the thigh before lifting the foot(以膝領腿).

  • Keep the raised foot close to the supporting leg.

  • Keep the body upright and the standing hip stable.

  • The palm leads with the fingertips(指尖領勁).

  • Eyes follow the threading hand(目隨手走).

Do not raise the shoulder when threading. The palm should travel close to the body and extend smoothly, as though entering through a narrow opening.


7. Crouching Stance and Threading Palm

仆步穿掌

Lower the raised leg outward into a full crouching stance(仆步). One leg bends deeply while the other extends sideways. Thread the palm along the inside of the extended leg toward the foot.

Crouching-stance requirements — 仆步要領

  • The supporting leg bends deeply.

  • The supporting foot stays flat if mobility permits.

  • The extended leg is straight but not forcibly locked.

  • The sole of the extended foot remains on the ground.

  • The toes of the extended foot turn inward or upward according to the version taught.

  • The hips sink close to the supporting heel.

  • The chest faces generally forward rather than collapsing toward the floor.

Key points

  • Lower through the kua, not by bending the spine(以胯下沉,不以腰折下).

  • Thread the palm close to the inside of the leg.

  • Keep the head lifted and look toward the moving palm.

  • Preserve length through the spine.

  • Do not force depth if the ankle, knee or groin is restricted.

This is usually the most demanding position. Practise it separately before linking it to the routine.


8. Empty Stance and Rising Palm

虛步挑掌

Shift forward from the crouching stance. Bring the rear or advancing foot into an empty stance(虛步). One hand forms a hook behind the body(勾手)while the other palm rises upward in a lifting action(挑掌).

Empty-stance requirements — 虛步要領

  • Approximately 80–90% of the weight remains on the rear leg.

  • The front foot touches lightly, usually with the toes or ball of the foot.

  • The front foot should be light enough to lift immediately.

  • The rear leg bends and supports the body.

  • Hips remain level and the torso upright.

  • Do not sit backward beyond the rear heel.

Hand requirements

For the hook hand(勾手), bring the fingertips and thumb together and bend the wrist naturally. Do not squeeze excessively.

The rising palm travels close to the body and lifts toward the front. The stance, hook hand, rising palm and gaze should arrive together.

The rear leg is full; the front leg is empty.
後腿實,前腿虛。


Recommended Training Method

建議訓練方法

Stage 1: Practise the five stances separately

先練五種步型

Hold each stance for approximately 15–30 seconds, two or three times on each side:

  • Bow stance(弓步)

  • Horse stance(馬步)

  • Crouching stance(仆步)

  • Empty stance(虛步)

  • Cross stance(歇步)

Check foot direction, knee alignment, weight distribution and upright posture. Do not pursue an excessively low stance before developing correct alignment.

Stage 2: Practise the hand forms

練習三種手型

Repeatedly form and change between:

  • Fist(拳)

  • Palm(掌)

  • Hook(勾)

Then practise individual methods:

  • Sweep hand(摟手)

  • Straight punch(沖拳)

  • Upper block(架掌)

  • Covering palm(蓋掌)

  • Threading palm(穿掌)

  • Rising palm(挑掌)

Stage 3: Practise individual combinations

單勢組合練習

Repeat each combination five to ten times:

  • Sweep, turn and punch(摟手、轉腰、沖拳)

  • Lift knee, snap kick and punch(提膝、彈腿、沖拳)

  • Turn, sink, block and punch(轉身、下沉、架打)

  • Cross step, cover and punch(插步、蓋掌、歇步沖拳)

  • Knee lift and threading palm(提膝穿掌)

  • Crouching stance and threading palm(仆步穿掌)

  • Empty stance and rising palm(虛步挑掌)

Stage 4: Link movements slowly

慢速串聯

Practise the entire sequence slowly without power. Pause briefly at every final posture and check:

  • Are the feet correctly placed?

  • Are the knees aligned with the toes?

  • Is the weight clearly full or empty?

  • Is the torso upright?

  • Are the hands and feet arriving together?

  • Are the eyes looking in the correct direction?

Stage 5: Add rhythm and power

加入節奏與發力

Once the sequence is accurate, add the Long Fist rhythm:

Quick movement → sudden stop → stable posture
動迅速、定勢穩

Power should be brief and crisp(寸勁、脆勁), while transitions remain relaxed. Do not maintain unnecessary muscular tension throughout the form.


Overall Key Points

全套要領

1. Clear stances — 步型清楚

Every stance must be recognizable. Do not allow bow stance, horse stance and empty stance to become vague intermediate positions.

2. Stable lower body — 下盤穩固

The feet establish the base, and the knees follow the toes. Stability does not mean stiffness.

3. Waist directs the movement — 以腰為軸

Turning, punching, blocking and changing direction should be led by coordinated movement of the waist and kua(腰胯), not by the arms alone.

4. Hands and feet arrive together — 手到、腳到、眼到

A complete movement coordinates:

  • Hands(手)

  • Eyes(眼)

  • Body method(身法)

  • Footwork(步法)

  • Spirit and intention(精神、意識)

This is traditionally summarized as 手、眼、身、法、步.

5. Extend without locking — 舒展而不僵硬

Long Fist movements should be open and extended(舒展大方), but the elbows and knees should not be violently locked.

6. Distinguish full and empty — 虛實分明

Before kicking or stepping, transfer the weight completely enough to free the moving leg. In empty stance, the front foot must genuinely be light.

7. Eyes express intention — 眼隨手動

The gaze normally follows the attacking, blocking or threading hand. At the final position, focus beyond the hand rather than looking vaguely downward.

8. Alternate relaxation and power — 鬆緊相間

Remain relaxed during preparation and transition; apply a short, coordinated contraction at the final instant, and then release again.

9. Maintain martial meaning — 動作要有攻防意識

Each action has a purpose:

  • Sweep(摟)removes or controls an attacking arm.

  • Punch(沖拳)attacks the centre.

  • Upper block(架)protects the head.

  • Cover(蓋)presses or deflects an arm.

  • Thread(穿)enters through an opening.

  • Rising palm(挑)lifts or redirects an attack.

Understanding these applications prevents the routine from becoming empty gymnastics.

10. Protect the knees — 保護膝關節

The most important safety rule is:

The knee and toes should generally point in the same direction.
膝尖與腳尖方向一致。

Practise higher stances if there is knee, hip or ankle discomfort. Never force the crouching or cross stance merely to appear lower.

五步拳 is especially useful because its brief sequence contains the fundamental grammar of Chinese martial arts: stable stances, clear weight transfer, waist-led movement, coordinated hands and feet, focused eyes, and distinct rhythm. Its recognized purpose is to improve flexibility, coordination, speed and continuity while preparing students for more advanced routines. University lecture summary, illustrated sequence

Master Yan’s Method of Receiving and Issuing Force

Master Yan’s Method of Receiving and Issuing Force

顏老師的接勁與發勁

1. Maintain upright alignment and sink the whole body

全身中正、鬆沉下坐、鬆腰落胯,重心落腳跟

Keep the entire body upright and properly aligned(中正). Relax and allow the body to sink(鬆沉), as though sitting gently downward(下坐). Release the waist(鬆腰)and let the kua—the hip and inguinal joints—drop naturally(落胯).

Let the body weight settle toward the heels(重心落腳跟), but do not lean backward or lift the toes. The soles should remain in contact with the ground so that the stance stays stable, sensitive, and ready to move.

2. Release the tailbone and connect the force to the hands

尾閭再鬆下,有上鉤之感,貫串到手

Relax the tailbone and sacral area further downward(尾閭鬆下). At the same time, there is a subtle sensation of the tailbone curving or hooking slightly upward(上鉤之感).

This is not a forced pelvic tuck. It is an internal adjustment that lengthens the lower back and helps connect the entire body. The force then travels continuously from the feet, through the legs, kua, waist, spine, shoulders, arms, and finally into the hands(貫串到手).

3. Let the fingers lead the intention and issue force

手指領意,發勁

The fingers guide the intention(手指領意)and indicate the direction in which the force is issued. The hand does not act independently. Once the whole body is connected, the fingers lead and the integrated force of the entire body is released through the hands(發勁).

The sequence may be understood as:

Feet generate → legs transmit → waist directs → spine connects → fingers lead → force is issued
力起於腳,傳於腿,主宰於腰,貫於脊,形於手指。

Receiving the Partner’s Force While Moving

接勁與全身移動

When Master Yan receives the partner’s incoming force—sometimes described as “receiving the ball”(接球)—the whole body moves as one integrated unit(全身整體移動).

Whether advancing(前進)or retreating(後退), the body must remain upright and centered(全身保持中正). One should not bend at the waist, lean forward, lean backward, or allow the upper body to move separately from the lower body.

The essential idea is:

Receive the force with the whole body, redirect it through the waist and kua, and never resist with the arms alone.
以全身接勁,以腰胯化勁,不以手臂硬頂。

Advancing with a Large Step

進大步

A large advancing step(進大步)allows you to apply force over a longer distance(按較長距離). However, the supporting leg and stepping leg must have sufficient strength and stability(腳需有力).

The step should not cause the body to rise, fall suddenly, or lose its central alignment. The torso remains upright while the lower body carries the whole structure forward.

Pivoting the feet is the main mechanism

以碾腳為主

Advancing with a large step depends mainly on pivoting or grinding the feet against the ground(碾腳). The feet rotate in coordination with the knees, kua, and waist, allowing the whole body to change direction and advance without twisting the knees.

The movement should be driven by the ground and coordinated through the whole body:

Pivot the feet → open the kua → turn the waist → advance the body → issue through the hands
碾腳 → 開胯 → 轉腰 → 進身 → 發於手。

Four-Square Push Hands

四正推手

The principal techniques are:

  • Peng(掤): Ward off—maintaining an expansive, rounded structure.

  • Lü(捋): Roll back—receiving and redirecting the partner’s force.

  • Hua(化): Neutralize—transforming the incoming force so that it loses its effect.

  • An(按): Press—issuing force forward or downward through both hands.

  • Ji(擠): Squeeze or press—concentrating force toward the partner’s center.

In the standard Four-Square Push Hands sequence(四正推手), the four primary energies are usually Peng, Lü, Ji, and An(掤、捋、擠、按), while Hua(化) is the neutralizing quality used throughout the entire exercise.

The central principle is:

Receive with Peng, redirect with Lü, concentrate with Ji, and issue with An. Neutralization is present within every movement.

 

Two-Person Practice of Peng, Lü, Hua, An and Ji

雙人掤、捋、化、按、擠練習法

The partners are called Partner A(甲方) and Partner B(乙方). Begin slowly, maintain light contact, and practise both left and right sides.

1. Peng Practice — Ward Off

掤勁練習

  1. Partner A(甲方) places one or both hands lightly on Partner B’s arm and gradually applies forward pressure(向前按入).

  2. Partner B(乙方) relaxes the shoulders and elbows(鬆肩沉肘), sits into the kua(落胯), and maintains an expanded, rounded structure(掤圓).

  3. B receives the pressure through the whole body rather than resisting with the arm.

  4. The incoming force is connected through B’s arm, back, waist, legs, and feet.

Key point: Peng is not muscular pushing. It is an elastic, whole-body supporting force(整體彈性支撐力).

The arm makes contact, but the feet receive the force.
手臂接觸,腳底承勁。

2. Lü Practice — Roll Back

捋勁練習

  1. Partner A applies forward pressure toward B’s centre(進按).

  2. Partner B first receives the force with Peng(以掤接勁).

  3. B then relaxes the waist and kua, turns the body, and guides A’s force diagonally past the body(轉腰落胯,引勁落空).

  4. B keeps light contact with A’s wrist and elbow, without pulling only with the arms.

  5. The whole body turns as one unit while remaining upright(中正整體轉動).

Key point: Do not drag the opponent sideways. Follow the direction of the incoming force and add only a small guiding action.

Follow the force, change its direction, and lead it into emptiness.
順其來勢,改其方向,引進落空。

3. Hua Practice — Neutralize

化勁練習

Hua(化) is not a separate fixed hand technique. It is the skill of dissolving or transforming the partner’s force and is present within Peng, Lü, Ji, and An.

  1. Partner A presses slowly toward B’s centre.

  2. Partner B maintains contact without resisting or withdrawing suddenly.

  3. B releases the waist and kua(鬆腰落胯), adjusts the tailbone(尾閭鬆下), and shifts or turns the whole body.

  4. B keeps the torso upright while allowing A’s force to pass beside or through an empty space(化開來力).

  5. After neutralizing, B remains balanced and ready to counter.

Hua may be practised through:

  • Turning neutralization(轉化): turning the waist and kua.

  • Sinking neutralization(沉化): relaxing and sinking the force toward the ground.

  • Stepping neutralization(走化): advancing, retreating, or turning the feet.

  • Opening neutralization(開化): opening the body’s angle to create emptiness.

Key point: The purpose is not merely to escape. After neutralizing, you should remain connected and occupy an advantageous position(化中有接,化中有進).

4. An Practice — Press

按勁練習

  1. After B uses Lü or Hua to neutralize A’s force, B places both palms lightly on A’s torso or arms.

  2. B first settles and connects the whole body(鬆沉貫串).

  3. The fingers lead the intention(手指領意).

  4. B advances through the feet, legs, kua, and waist, issuing force through both palms.

  5. The palms may press forward, slightly downward, or forward and upward according to A’s balance.

For a longer press(長距離按), B may advance with a larger step(進大步):

  • Pivot the feet(碾腳).

  • Open and move the kua(開胯、進胯).

  • Keep the torso upright(保持中正).

  • Move the whole body forward as one unit(整體前進).

Key point: Do not push first with the hands. The hands arrive together with the movement of the whole body.

The body advances, the hands follow, and the force reaches the partner through the palms.
身進、手隨、勁達掌根。

5. Ji Practice — Squeeze

擠勁練習

  1. After receiving and neutralizing A’s force, B places one forearm or the back of one hand against A’s body or arm.

  2. B’s other palm supports or presses against the inside of the first forearm or wrist.

  3. B maintains a rounded structure and keeps the elbows relaxed.

  4. B closes the space through the coordinated action of both arms and the whole body(兩臂合勁).

  5. The feet and legs drive, the waist directs, and the two arms concentrate the force toward one point.

Ji can also be practised when both partners’ arms are crossed. B uses the contact point to concentrate force toward A’s centre(集中一點,擠向中線).

Key point: Ji does not mean squeezing only with the arms. It is the convergence of two directions of force supported by the whole body(兩勁相合,集中發出).

Continuous Two-Person Sequence

雙人連續練習

A simple continuous pattern is:

  1. A presses(甲按) toward B.

  2. B receives with Peng(乙以掤接).

  3. B uses Lü and Hua(乙捋化) to redirect A.

  4. B counters with An(乙按).

  5. A receives with Peng(甲掤接).

  6. A uses Lü and Hua(甲捋化).

  7. A counters with Ji or An(甲以擠或按反擊).

  8. Both partners continue, repeatedly exchanging the attacking and receiving roles.

This creates a continuous cycle:

Peng receives → Lü redirects → Hua neutralizes → Ji concentrates → An issues
掤接 → 捋引 → 化開 → 擠合 → 按發

In traditional Four-Square Push Hands(四正推手), the principal sequence is commonly:

Peng, Lü, Ji, An(掤、捋、擠、按)

Hua(化) runs through every transition. Therefore, it may be taught as:

Peng receives the force; Lü and Hua redirect it; Ji closes and concentrates it; An sends it out.
掤以接勁,捋化以引勁,擠以合勁,按以發勁。

Important Requirements

練習要領

  • Maintain upright alignment(立身中正).

  • Relax the waist and drop the kua(鬆腰落胯).

  • Keep the shoulders relaxed and elbows sinking(鬆肩沉肘).

  • Maintain continuous, light contact(不丟不頂).

  • Do not resist force with force(不用拙力硬頂).

  • Move th

  • Alternate roles so both partners practise receiving, neutralizing, and issuing force(雙方輪流接、化、發).

  • e whole body together(全身一家).

  • Keep the knees aligned with the toes when pivoting(碾腳時膝尖與腳尖同向).

  • Practise slowly before increasing speed or power(先慢後快,先鬆後發).

  • 以掤接,以捋化,以擠合,以按發;化勁貫穿始終。

顏老師接勁與發勁:

1. 全身中正鬆沉下坐鬆腰落胯,重心落腳跟

2. 尾閭再鬆下(有上鉤之感,)貫串到手。

3.手指領意,發勁。

顏老師接球移動全身--前進後退但移動時全身保持中正。

進大步,可按較長距離,但腳需有力。

進大步是以碾腳為主。

四正推手--掤捋化按幾