Tai Chi

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CMC Taichi Form (鄭子三十七式)

5 principles

  • relax
  • distinguish yin and yang
  • turn by waist
  • body straight
  • beautiful lady's hand

Taichi Sword

太極散手 Taichi Sanshou

太極拳散手名稱 or here 

上手　　　　　　　　　下手
１：上步捶　　　　　　２：提手上勢
３：上步攔捶　　　　　４：搬捶
５：上步左靠　　　　　６：右打虎
７：打左肘　　　　　　８：右推
９：左劈身捶　　　　　10：換步右靠
11：撤步左打虎　　　　12：右劈身捶
13：提手上勢　　　　　14：轉身按
15：摺疊劈身捶　　　　16：開勢搬捶
17：右橫列手　　　　　18：換步左野馬分鬃
19：下勢右打虎　　　　20：轉身撤步履
21：上步左靠　　　　　22：向右轉身按
23：雙分右蹬腳　　　　24：摟膝指襠捶
25：上步右採列　　　　26：換步右穿梭
27：左掤右劈身捶　　　28：白鶴亮翅左蹬腳
29：摟膝上步左靠　　　30：撤步撅左臂
31：轉身按履勢　　　　32：雙風貫耳
33：進步雙按　　　　　34：下勢搬捶
35：單推右臂　　　　　36：右搓臂
37：順勢按　　　　　　38：化打右掌
39：化推　　　　　　　40：化打右肘
41：進步採列　　　　　42：換步撅右臂
43：右打虎　　　　　　44：轉身撤步履
45：上步左擠　　　　　46：回擠
47：換步雙分右靠　　　48：換步轉身左靠
49：打右肘　　　　　　50：轉身金雞獨立
51：退步化　　　　　　52：雙分上步左蹬腳
53：後退轉身上步靠　　54：退步撅左臂
55：轉身換步右分腳　　56：雙分右摟膝
57：轉身換步左分腳　　58：雙分左摟膝
59：換手右靠　　　　　60：回右靠
61：上步左攬雀尾　　　62：右雲手
63：上步右攬雀尾　　　64：左雲手
65：右開左掤右劈身捶　66：側身撇身捶
67：上步高探馬左蹬腳　68：白鶴亮翅右套腿
69：轉身擺蓮　　　　　70：左斜飛式
71：刁手蛇身下勢　　　72：右斜飛式
73：左打虎　　　　　　74：轉身撇身捶
75：倒攆猴一(outside)76：上步左搧
77：倒攆猴二　　　　　78：上步右搧
79：倒攆猴三　　　　　80：上步七星
81：海底針　　　　　　82：扇通背
83：手揮琵琶　　　　　84：彎弓射虎
85：轉身右單鞭　　　　86：肘底捶
87：上步十字手　　　　88：抱虎歸山
89：轉身退步履　　　　90：上步轉身履
91：上步轉身跨虎　　　92：轉身退步跨虎

Essence

太極拳拳譜

黃性賢 鬆身五法

  • 轉腰鬆跨
  • 合氣鬆身
  • 擺臂鬆肩
  • 彎腰鬆筋
  • 坐腿鬆膝

太極拳經 張三丰

一舉動周身俱要輕靈，尤須貫串。氣宜鼓盪，神宜內斂，無使有缺陷處，無使有凹凸處，無使有斷續處。其根在腳，發於腿，主宰於腰，行於手指，由腳而腿而腰，總須完整一氣，向前退後，乃能得機得勢。有不得機得勢處，身便散亂，其病必於腰腿求之，上下前後左右皆然。凡此皆是意，不在外面，有上即有下，有前則有後，有左則有右。如意要向上，即寓下意，若將物掀起而加以挫之之力。斯其根自斷，乃攘[6]之速而無疑。虛實宜分清楚，一處有一處虛實，處處總此一虛實，周身節節貫串，無令絲毫間斷耳。

長拳者，如長江大海，滔滔不絕也。掤、履、擠、按、採、挒、肘、靠，此八卦也。進步、退步、左顧、右盼、中定，此五行也。掤、履、擠、按，即乾、坤、坎、離、四正方也。採、挒、肘、靠，即巽、震、兌、艮、四斜角也。進退盼顧定，即金木水火土也，合之則為十三勢也。

原註云：此係武當山張三丰祖師遺論。欲天下豪傑延年益壽，不徒作技藝之末也。

太極拳論 (王宗岳著)

太極者無極而生。陰陽之母也。動之則分。靜之則合。無過不及。隨曲就伸。人剛我柔謂之走。我順人背謂之黏。動急則急應。動緩則緩。雖變化萬端。而理為一貫。由著熟而漸悟懂勁。由懂勁而階及神明。然非功力之久。不能豁然貫通焉。虛靈頂勁。氣沈丹田。不偏不倚。忽隱忽現。左重則左虛。右重則右杳。仰之則彌高。俯之則彌深。進之則愈長。退之則愈促。一羽不能加。蠅蟲不能落。人不知我。我獨知人。英雄所向無敵。蓋皆由此而及也。斯技旁門甚多。雖勢有區別。概不外乎壯欺弱。慢讓快耳。有力打無力。手慢讓手快。是皆先天自然之能。非關學力而有為也。察四兩撥千斤之句。顯非力勝。觀耄耋能禦眾之形。快何能為。立如平準。活似車輪。偏沈則隨。雙重則滯。每見數年純功。不能運化者。率自為人制。雙重之病未悟耳。欲避此病。須知陰陽相濟。方為懂勁。懂勁後。愈練愈精。默識揣摩。漸至從心所欲。本是舍己從人。多誤舍近求遠。所謂差之毫釐。謬以千里。學者不可不詳辨焉。是為論。

十三勢行功心解

以心行氣，務令沈著，乃能收斂入骨。以氣運身，務令順遂，乃能便利從心。精神能提得起，則無遲重之虞，所謂頂頭懸也。意氣須換得靈，乃有圓活之趣，所謂轉變虛實也。發勁須沉著鬆淨，專注一方。立身須中正安舒，支撐八面。行氣如九曲珠，無往不利。運勁如百煉鋼，無堅不摧。形如搏兔之鶻。神如捕鼠之貓，靜如山岳，動如江河。蓄勁如張弓，發勁如放箭。曲中求直，蓄而後發。力由脊發，步隨身換。收即是放，斷而復連。往復須有摺疊，進退須有轉換。極柔軟，然後極堅剛。能呼吸，然後能靈活。氣以直養而無害，勁以曲蓄而有餘。心為令，氣為旗，腰為纛，先求展開，後求緊湊，乃可臻於縝密矣。

又曰：彼不動，己不動。彼微動，己先動。勁似鬆非鬆，將展未展，勁斷意不斷。又曰︰先在心，後在身，腹鬆氣沈入骨，神舒體靜，刻刻在心。切記一動無有不動，一靜無有不靜。牽動往來氣貼背，而斂入脊骨，內固精神，外示安逸。邁步如貓行，運勁如抽絲，全身意在精神，不在氣，在氣則滯。有氣則無力，無氣則純剛，氣若車輪，腰如車軸。

十三勢歌

十三總勢莫輕識，命意源頭在腰隙；變轉虛實須留意，氣遍身軀不梢滞。 靜中觸動動猶靜，因敵變化是神奇；勢勢存心揆用意，得來不覺費工夫。 刻刻留意在腰間，腹內鬆靜氣騰然；尾閭中正神貫頂，滿身輕利頂頭懸。 仔細留心向推求，屈伸開合聽自由；入門引路須口授，功夫無息法自休。 若言體用何為準，意氣君來骨肉臣；詳推用意終何在，益壽延年不老春。 歌兮歌兮百四十，字字真切義無疑；若不向此推求去，枉費工夫遺歎惜。

打手歌

掤捋擠按須認真 上下相隨人難進 任他巨力來打我 牽動四兩撥千斤 引進落空合即出 連沾綿隨不丟頂

太極拳十要

一、虛靈頂勁：頂勁者，頭容正直，神貫於頂也。不可用力，用力則項強，血氣不能流通，須有虛靈自然之意。非有虛靈頂勁，則精神不能提起也。

二、含胸拔背：含胸者，胸略內涵，使氣沉於丹田也。胸忌挺出，挺出則氣擁於胸際，上重下輕，腳根易於浮起。拔背者，氣貼於背也。能含胸則自能拔背，能拔背則力能由背發，所向無敵也。

三、鬆腰：腰為一身主宰，能鬆腰後兩足有力，下盤穩固。虛實變化，皆由腰動。故曰命意源頭在腰際，有不得力，必於腰腿求之也。

四、分虛實：太極拳以分虛實為第一義。如全身皆坐在右腿，則右腿為實，左腿為虛。全身坐在左腿，則左腿為實，右腿為虛。虛實能分，而後轉動輕靈，毫不用力。如不能分，則邁步重滯，自立不穩，而易為人所牽動。

五、沉肩墜肘：沉肩者，肩鬆開下垂也。若不能鬆垂，兩肩端起，則氣亦隨之而上，全身皆不得力矣。墜肘者，肘往下鬆墜之意。肘若懸起，則肩不能沉，放人不遠，近於外家拳之斷勁矣。

六、用意不用力：太極拳論所云，全是用意不用力。練太極拳，全身鬆開，不使有絲毫之拙力以留滯於筋骨血脈之間，以自束縛，然後能輕靈變化，圓轉自如。或疑不用力，何以能長力？蓋人身之有經絡，如地之有溝洫。溝恤不塞而水行，筋絡不閉而氣通。如渾身僵勁充滿經絡，氣血停滯，轉動不靈，牽一髮而全身動矣。若不用力而用意，意之所屆，氣即至焉。如是氣血流注，日日貫輸，周流全身，無時停滯，長久練習，則其真正內勁，即太極拳論中所云，極柔軟然後能極堅剛也。太極拳功夫純熟之人，臂膊如棉裹鐵，分量極沉。練外家拳者，用力則顯有力，不用力時則甚輕浮，可見其力乃外勁浮面之勁也。外家拳之力最易引動，不足尚也。

七、上下相隨：上下相隨者，即太極拳論中所云，其根在腳，發於腿，主宰於腰，形於手指，由腳而腿而腰，總須完整一氣也。手動腰動足動，眼神亦隨之動，如是方可謂上下相隨，有一不動，即散亂也。

八、內外相合：太極所練在神，故云神為主帥，身為軀使。精袖能提得起自然舉動輕靈。架子不外虛實開合。所謂開者，不但手足開，心意亦與之俱開；所謂合者，不但手足合，心意亦與之俱合：能內外合為一氣，則渾然無間矣。

九、相連不斷：外家拳術，其勁乃後天之拙勁，故有起有止，有續有斷。舊力已斷，新力未生地時，最易為人所乘。太極拳用意不用力，自始至終，綿綿不斷，周而復始，循環無窮，原論所謂，如長江大河滔滔不絕。又曰，運勁如抽絲，皆言其貫串一氣也。

十、動中求靜動靜合一：外家拳以跳擲為能，用盡氣力，故練習之後，無不氣喘者。太極拳以靜制動，雖動猶靜。故練架子愈慢愈好，慢者呼吸深長。氣沉丹田，自無血脈僨張之弊。學者細心體會，庶可得其意焉。

鄭子太極拳 十三篇

  1. 釋名義第一
  2. 通玄實第二
  3. 專氣致柔第三
  4. 變化氣質第四
  5. 陸地游泳第五
  6. 心膂並重第六
  7. 勁與物理第七
  8. 養生全真第八
  9. 益臟腑第九
  10. 起肺疾第十
  11. 別程序第十一
  12. 明生剋第十二
  13. 述口訣第十三附序及按語

口訣十二則

  1. 曰鬆。
  2. 曰沉。
  3. 曰分虛實。
  4. 曰虛靈頂勁。
  5. 曰磨轉心不轉。
  6. 曰似拉鋸式之攬雀尾。
  7. 曰我不是肉架子。
  8. 曰撥不倒。
  9. 曰能發勁。
  10. 曰搬架子。
  11. 曰須認真。
  12. 曰四兩撥千斤。

太極拳答問 (陳微明)

Push hand (Cheng Man-Ching)

  1. Relax and yield to your opponent.
  2. The players are in constant touch as they execute the movements.
  3. Be guided by "feel"; detect your opponent's move before he begins.
  4. No resistence, every response should be a gentle one.
  5. In the context of the four movements making up this exercise there are four actions which must be distinguished.
    1. Adhere and lift (chan)
    2. Join (lien)
    3. Adhere horizontally (t'ieh)
    4. Attach from the rear (sui)

Chan and lien are up and down movements; t'ieh and sui are backward, forward and lateral movements.

The essentials of pushing hand practice

  1. When your opponent strikes you with strength, instead of opposing him, you simply withdraw your body,neutralizing his weight - thus his weight will be emptied and will not come to your body.
  2. When attacking your opponent you should not attack him immediately. Your hands first must lightly touch his body and as soon as you interpret that he is going to resist you, you yield slightly and then immediately attack.
  3. When interpreting your opponent's energy you should not put too much weight against him during the time of interpretation. A Taichi Chuan devotee when performing 'pushing hand practive' must follow the above mentioned principles strictly so that his art progresses rapidly - otherwise, he will be doomed.

The interpreting, sticking, withdrawing and attacking energies are all involved in an instant.

How to uproot your opponent

  1. Sound boxing is rooted in the foot, that it sprouts in the legs, is directed by the waist, and moves up to and functions through the waist. The feet, the legs, and the waist must move as one. When attacking you should have the concept of pushing slightly upward. Your front knee is bent and should not extend over the tiptoes of the foot, otherwise your energy will be dispersed.
  2. When both of your hands touch your opponent's body before attacking, you should not use too much force; otherwise you will give him a chance to interpret you and as soon as you start to attack him he can neutralize your weight slightly and you will fail to "up-root" him.
  3. When your hands lightly touch him you have to detect a slight wave of resistance in his body. By taking the advantage of his wave, you will be able to attack him decisively. It is rather difficult to detect the wave in a person. If you do "pushing hand practice" over a long period you will find it.
  4. When attacking your should not use force with both of your hands. Taichi Chuan classics say that when attacking it is necessary to aim at one direction of your opponent. To use force with both of your hands is technically known as double weighting and contracts the principles of Taichi Chuan.
  5. The position of your hands and arms to your body before attacking should remain the same as after attacking. The disproportionate stretching and shrinking of the hands and arms when attacking will effect the unified action of the tenacious energy from your leg and the efficacy of the "up-root" will be greatly decreased.
  6. When attacking you have to withdraw slightly with the concept of going downward first and then going up so that you can "up-root" your opponent. Taichi Chuan classics say that if you want to push upward you must first go downward. For instance, if you want to pull something up you have to push down first and the root will be naturally broken off.

Taichi Videos/concept

五禽戲

其他拳術

形意拳

八卦掌

咏春拳

通臂拳

Documentary martial art

  • CCTV
  • 天涯共此時 功夫中國

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