YANG STYLE TAIJI SWORD

Brennan Translation
YANG STYLE TAIJI SWORD

Posted on December 22, 2012
太極劍
附太極⾧拳
TAIJI SWORD
Including TAIJI LONG BOXING
陳微明
by Chen Weiming
[1928]
[translation by Paul Brennan, Dec, 2012]
太極劍
附太極⾧拳
Taiji Sword & Taiji Long Boxing
孝胥
– [calligraphy by] Zheng Xiaoxu [鄭孝胥]
–
慎先婣世兄察書
For this study text by the friend of our family, Chen Shenxian [Weiming]:
武當嫡派
“Descended from Wudang”
⼋⼗三叟馮煦
– [calligraphy by] eighty-three year old Feng Xu
微明先⽣正
for Director Chen Weiming:
劍光凌雲
“The shine of the sword reaches to the clouds.”
戊⾠年仲春
1928, 2nd month of spring
李景林
– [calligraphy by] Li Jinglin
楊健侯先⽣遺像
Photograph of the late Yang Jianhou
楊澄甫先⽣
Yang Chengfu
著者陳微明
The author, Chen Weiming
–
丙寅四⽉初九⽇致柔拳社公祝張三丰祖師壽誕攝影
1926, 4th month, 9th day – photo of the Achieving Softness Boxing Society [in its second year] commemorating
Zhang Sanfeng’s birthday
序
PREFACE [BY QIAN CHONGWEI]
余弱不好弄⾧躭靜默武術諸書素未問津間於稠⼈廣坐遇⼀⼆魁梧其形精悍其⾊者識之為有拳術者⽽已戊午後久客
滬瀆凡値武術運動開會傾動⼠⼥余亦未嘗⼀往⼄丑歲閱報紙⾒有浠川陳微明君來設致柔拳社敎授太極拳術⼀寓⽬
亦忘之矣丙寅春季偶過西武昌路覩⾨⾸榜揭致柔分社因憶及姑⼊觀焉登樓⾒⼀⾧髯者與⼀道⼠裝者相對⽴以⼿互
相縈繞初不知為太極拳中之推⼿以為⼆⼈戲⽿復⾒三數⼈演各種姿勢其動作舒⽽徐若惟恐⽤⼒者然且其舉步輕著
地無聲⼼頗異之旋⾒⼀⾯⽩⽽儒雅者⼊就旁榻坐觀諸⼈久徐起矯正其姿勢就詢知為社⾧陳微明君余更訝焉蓋余意
中社⾧必魁梧其形精悍其⾊寗為⼀意態閒逸之書⽣姑購所著太極拳術⼀册歸漏三下讀之竟始悉太極拳之源流及功
⽤幷悉君為壬寅同年是歲與其兄若弟同捷者⼀⾨三魁傳為佳話余慨念君之曾祖秋舫先⽣以第⼀⼈及第才名冠世⾃
嘉道迄同光殆無⼈不讀簡學齋詩者先德⼦⾭年丈宿學潜德⼠林矜式太夫⼈周⼯書法雄偉渾厚懾服⼠⼤夫是固代以
⽂學顯君今乃能積健為雄發揚內家奥旨以拳術鳴海上於是⼼怦然動翌⽇造廬請謁次⽉遂⼊社不以⼈事⽽輟不以⾵
⾬⽽阻迄將兩年雖年事旣⾧進境如登太⾏然亦⾃謂微有所得故好之愈篤中間先⽣更授以太極劍懼拳劍之不及兼顧
也甫半⽽請⽌今先⽣復著太極劍術⼀書成堅索⼀⾔夫以未學劍之⼈欲論列劍術之奥旨⾃無能為役聊述余⼊社之巓
末如此雖然余⼥余姪及余孫均從先⽣兼習拳劍則余學劍之志寧敢忘哉⾃今請賡續學劍且以太極拳之精微期以⼗年
或有⼩成之可⾔今社中姑定三年為⼀段落殆不過如孩童之畢業於幼稚院⽿明年余六⼗矣乃為幼稚院畢業之期屆時
初度之⾠先⽣倘以同年之誼⽽辱臨貺者余將率⼥孫輩執劍起舞於筵前還以⼀觥壽先⽣也幷書之以為息壤歲在戊⾠
春仲吳江錢崇威
When I was a boy, I had no fondness for playing, and as I matured, I luxuriated in quietude. I typically did not
seek guidance from any martial arts books, but when I was in the midst of a crowded party, I would meet one or
two who had a tough build and robust demeanor, who I at least recognized as being martial artists.
Since 1918, I have been spending a long stay in Shanghai. When I got here, I found there were schools for
martial arts exercise everywhere, winning the attention of men and women alike, except for me.
In 1925, I was reading a newspaper and I glimpsed that a Chen Wieming of Xichuan had arrived in town and
founded an Achieving Softness Boxing Society, instructing in the Taiji boxing art. But after having caught my
eye, it then slipped my mind.
Then in springtime, 1926, I was casually strolling down West Wuchang Rd, and I noticed a sign by a door
proclaiming it to be a branch of the Achieving Softness Society, and as it brought it back into my memory, I
shyly entered to take a look at it. I went upstairs and saw a man with a long beard and another donning Daoist
robes standing in opposition, their hands tangling around each other’s. I was not yet aware this was Taiji
Boxing’s pushing hands exercise. I thought they were just two people clowning around. Then I saw several
people performing a variety of postures, their movements leisurely and slow, as though they were timid to put
forth effort, and their steps lifted delicately and landed silently. I found it all very unusual.
Before long, I noticed a clean-faced elegant gentleman come in, who sat aside on a couch and observed
everyone for a long time, then he gently rose up and made corrections to their postures. I went to him and asked
if he was the school’s director, Chen Weiming, and marveled further, for I expected the head of such a school
would surely have a tough build and robust demeanor, not the languid bearing of an intellectual.
Bashfully I purchased a copy of his Art of Taiji Boxing, then read it until hour after hour had leaked away and
the whole night had been spent, in which I began to learn of Taiji Boxing’s source and functions.
I also discovered that Chen had passed the imperial examination in 1902, as I had. It turned out his older
brother and younger brother had passed in the same year too. That one home had three eminent persons in it is
a tale I love passing on to people. [That was a provincial-level examination. Qian also later passed in the 1904
national-level examination. Throughout an examination, exam candidates were not called by their names and
were instead given numbers. During the 1904 examination, Qian Chongwei happened to be known as Ling Ling
Qi (“007”). Qian and Chen would have had extra reason to feel a sentimental fellowship about their 1902 ordeal,
since they were among the last participants in a bygone tradition, the long-enduring imperial examination
system having formally come to an end in 1906.]
I give a reverent sigh when I think of his great-grandfather, Chen Qiufang [better known as Chen Hang] who
scored 1st place in the [national-level] examination [of 1819], a famous talent of his generation. Throughout the
nineteenth century [literally “From Jiaqing & Daoguang to Tongzhi & Guangxu”, meaning since during the era
of the reign of Emperor Jiaqing (1796-1820), then Daoguang (1820-1850), followed by Xianfeng (1850-1861), on
to Tongzhi (1861-1875), and Guangxu (1875-1908)], there had been almost no one who had not studied his
Poems from the School of Simple Learning.
Chen Ziqing, Weiming’s father, was the epitome of a scholar, erudite and ethical. Madame Zhou, his mother,
worked as a calligrapher, and with a style so magnificent and direct as to be intimidating to males of the literati.
Truly they [these Chens] have been illustriously literate for generations, and now in this generation, Chen
Weiming has been able to build up health into a form of heroism. Promoting the deeper meaning of the internal
styles, he is famous in Shanghai by way of his boxing arts.
And so it was that in my heart I felt a moment of decision. The following day I went to Chen’s house and
asked to see him, then joined the school starting from the next month. As I am not the kind of person who lets
personal matters get in the way of anything, or makes excuses because of wind or rain, I have now been doing
this for two years. Despite the advancing of my age, which makes progress seem like a climb in the Taihang
Mountains [a well-chosen simile, the name meaning “extreme hike”], I can say I have obtained something,
which makes me enjoy it with even more sincerity.
Within this time, Chen had also been teaching me Taiji Sword. As I was apprehensive about attending to the
boxing set and the sword set simultaneously, when I got halfway [through the sword] I requested a halt to it. But
he has now completed a new book, on the Taiji sword art, and he has demanded an introduction of me.
If a person has not yet learned the sword but wants to talk about the sword art’s deeper meaning, that person
will not be able to do us any service. That is why I have spent the time as I have, by talking about the way I
joined the school. But seeing as my daughter, nephew, and grandson are all learning both the boxing set and
sword set simultaneously from Chen, how could I dare to ignore my aspirations to learn the sword too?
Henceforth I will ask to reconvene my learning of the sword set, and what with the profound nature of the
boxing set, hopefully in about ten years from now I will be able to say I have achieved some mediocrity.
It has been provisionally determined in the school lately that the course curriculum should take three years
[See Appendix 5 of Chen Weiming’s 1929 manual.], which will amount to me as if I am a boy finishing
preschool. I will be sixty next year, and it will be time for my preschool graduation! And since it will fall on the
occasion of my birthday: Dear Chen, if you can see your way to coming to my humble home in honor of our “old
school tie” comradeship, I will lead my daughter and grandson in a demonstration of the sword set in front of
everyone at the party, then make a toast to your longevity and to the fertility of your book.
– Qian Chongwei of Wujiang [in Jiangsu], 1928, 2nd month of spring
太極劍序
PREFACE [BY HU PU’AN]
劍術甚古⾃昔⽂⼈學⼠皆習之魏志稱⽂帝為太⼦時與鄧展飲酣論及劍術不決時⽅⾷⽢蔗因以習之下殿數交三中其
臂戴⼦⾼顏習齋先⽣傳商⽔李⼦⾭者⼤俠也館先⽣⾒先⽣攜短劍⽬⽈君善此乎先⽣謝不敏⼦⾭因請與試先⽣乃折
⽵為劍舞相擊數合中⼦⾭腕觀此⽐劍專中腕臂與太極劍之⽤合顧其法皆不傳世之能劍者⼤抵皆舞劍之類如⾵捲如
電馳如⿃落如⿓翔容觀雖美未必適於⽤也吾師蘄⽔微明陳先⽣以儒者⽽精太極拳所著太極拳⼀書流⾏甚廣太極拳
者由外家翻之靜中求動柔以克剛所謂內家拳是也太極劍卽本太極拳之意思⽤之於劍蓋劍之為⽤盡於⼀擊⼀刺左右
前後上下進退皆擊之事皆剌之事也擊之事有正有反剌之事有衝有剪外家劍如是內家劍亦如是惟外家劍之擊剌恒動
內家劍之動於靜求之守如處⼥出如脫兔後⼈發先⼈致也外家劍之擊剌恒剛內家劍之剛以柔濟之因勢變化莫可端倪
當之則決按之仍虛也故太極劍之⽤不在於能擊能剌在於擊⽽不擊剌⽽不剌⽽其妙處則不擊⽽擊不剌⽽剌馴⾄於我
不必擊⼈也⼈之擊我卽為⼈之⾃擊我不必剌⼈也⼈之剌我卽為⼈之⾃剌忘⼈忘我忘⼿忘劍運⽤於無⼼然後可以直
之無前舉之無上按之無下運之無旁藏於九地之下動於九天之上順⾃然之極致莫能與之爭鋒韞⽟幼讀儒書慕顏習齋
之為⼈略習武術乏明師指導毫無家法⼗五年從先⽣遊循循善誘得稍知內家之⾨徑顧年已及艾筋⾻漸僵僅⼼能知之
⼜能⾔之⽽已兹先⽣太極劍成書命韞⽟序之因謹述如上不能必知⾔之果無誤也
民國⼗七年⼀⽉受業涇縣胡韞⽟樸安謹書
The sword arts are extremely old. Since ancient times, scholarly gentlemen have all practiced them.
It says in the “Books of Wei” [the first thirty sections of the 三國志 Annals of the Three Kingdoms (a
historical record, not to be confused with 三國演義 Romance of the Three Kingdoms, a historical novel), the
anecdote below being drawn from Book 2] that when Emperor Wen [Cao Pi, first emperor of the kingdom of
Wei, son of the warlord Cao Cao] was but a prince, he was drinking heavily with General Deng Zhan [a highly
skilled martial artist] and having a discussion about the sword art, in which they found their opinions at odds.
They then took up [the leftover stalks from] their finished sugarcane to practice with, and [according to
Emperor Wen,] “We went into the main hall for a contest, and I tapped his arm three times [to the amusement
of all].”
It says in Dai Zigao’s Biography of Yan Xizhai: “There was a Li Ziqing of Shangshui, who was a great hero.
He took Yan [aged fifty-seven] in as a guest in his home, and upon noticing Yan carried a short sword, asked
him, ‘Are you any good with that?’ Yan replied, ‘Well, I’m not great.’ Li then asked for a try, so Yan broke off
bamboo stalks to be used as swords to spar with. They struck at each other back and forth a few times, until Yan
tapped Li’s wrist [to the amazement of Li].”
These are demonstrations that sword fighting focuses on targeting the wrist or arm, conforming with the use
of the Taiji Sword. But their theories [those of Cao Pi and Yan Xizhai] have not been passed down to us, and
those who nowadays have some ability with a sword tend to wave their swords around like wind rolling,
lightning bursting, birds diving, dragons coiling… gorgeous, useless. [This is always a good point but is perhaps
a risky statement here, since the sword set that follows contains postures with names such as WIND ROLLS UP
THE LOTUS LEAVES, METEOR CHASES THE MOON, SWALLOW TAKES UP WATER, and BLACK DRAGON
COILS AROUND THE PILLAR.]
My teacher is Chen Weiming of Qishui, who is a scholar and an expert at Taiji Boxing. He wrote The Art of
Taiji Boxing, which has spread everywhere. Taiji Boxing is the reverse of the external styles, seeking movement
in stillness [stillness in movement] and using softness to defeat hardness, and thus is considered an internal
style. Taiji Sword is based in the principles of Taiji Boxing being applied to it.
The functions of the sword come down to striking and stabbing, whether the situation be to the left or right,
forward or back, up or down, advancing or retreating. Striking can be a case of orthodox or opposite [i.e. can be
done using either the outer edge or inner edge]. Stabbing can be a case of thrusting or shearing [i.e. stabbing
directly through the center or using a stabbing action just off center to slice an opponent open along the side].
These things are true for the swordwork of both external and internal styles.
But the striking and stabbing of the sword of the external styles emphasizes activity, while the movement of
the sword of the internal styles lies in seeking stillness. “Begin guardedly like a shy girl [until he opens his
gates,] then invade like a rabbit diving into one of its bolt-holes.” [Art of War, chapter 11] “Leave after but arrive
before.” [chapter 7]
And the striking and stabbing of the sword of the external styles emphasizes hardness, while the hardness of
the sword of the internal styles lies in it being transported through softness. By transforming according to the
situation, no one can predict what you will do. When the moment comes, be decisive, and when there is
pressure, disappear again.
Therefore the use of the Taiji Sword does not lie in being capable at striking and stabbing, but in striking
without striking and stabbing without stabbing. Its ingenuity is a matter of not striking and yet striking, not
stabbing and yet stabbing. It gradually develops to the point that I should not need to strike the opponent, for
when he strikes at me, he ends up striking himself. Nor should I need to stab the opponent, for when he stabs at
me, he ends up stabbing himself. There ceases to be distinction between opponent and self, and between hand
and sword.
Once the movements are instinctive, then you will be able to “point it and nothing can stand before it, raise it
and nothing can stand above it, lower it and nothing can stand below it, or swing it and nothing can stand
beside it.” [Zhuangzi, chapter 30] It is “hidden below the deepest ground… moving above the highest sky.” [Art
of War, chapter 4] It complies with the utmost naturalness, and so no one can strive against it.
I studied Confucian texts as a boy, and Yan Xizhai was my idol. I practiced martial arts to an extent, but I had
no good teacher to direct me and knew none of the principles. I have learned from Chen for fifteen years now [It
is uncertain what he would have been initially learning from Chen since Chen himself had not even started
learning from Sun Lutang fifteen years before this was written.]. He has taught me patiently and systematically,
and I have obtained some understanding of the way of internal styles, but considering that I am now fifty and
my joints have gotten somewhat stiffer, all I really have of it is the ideas and words. Having completed his
manuscript, Chen assigned me to the writing of a preface, which I have solemnly attended to, but I cannot claim
my words are free of errors.
– sincerely written by your student, Hu Yunyu, called Pu’an, of Jing county [in Anhui], Jan, 1928
太極劍術序
PREFACE [BY HUANG TAIXUAN]
微明先⽣旣作太極拳術⾏於世世之⼈讀其書以求其術⽽獲却病延年者遍海內近復著太極劍術⼀書屆稿竟轉由湯⼦
悟庵索序於予予於劍術誠⾨外漢顧能通其意蓋予固服膺三丰祖師之道者也晚近⽻流徒襲形貌⾃歸淘汰⽽不知眞道
所在與儒佛同源别有神妙不可思議之理卓然特⽴於天地間不求顯亦不求競知者⾃知不知者不强知⼀任緣法離合為
眞理之推移太極劍術其⼀端也太極劍術與太極拳術皆為武當嫡派故太極劍術之步法⼿法略如太極拳之法不過⼀徒
⼿⼀⽤劍⽿其法虗靈超脫綿綿不斷凝神歛氣歸於⾃然與外家劍術迥乎不同洵⾮眞仙之遺傳不能臻斯神境也予嘗箋
三丰全集⾄無根樹丹訣諸篇覺其⽞微精奥神⿁爭啼眞有如說此法天⿓⼋部羣相驚疑之旨⽽祖師之苦⼜婆⼼雖千萬
世昭然若揭也惜乎衆⽣俶擾業因⼭積亡⽺歧路予欲無⾔苟能本此册以尋端緒則豈特可藉國技以强種抑亦可返眞道
以救國先⽣之功誠偉矣哉戊⾠春求物治齋主⼈黄太⽞序
Chen Weiming has authored The Art of Taiji Boxing, which has spread to the world. There are people who study
it to seek for its skills, but those who use it to obtain a means of preventing disease and prolonging life are
everywhere. He has lately authored a new book about the Taiji sword art. With his manuscript completed, a
demand for a preface switched from Tang Wu’an [Zhenlong] to myself [both of these men being Chen’s
students]. I am really a layman when it comes to the sword art but I am able to comprehend its principles since I
have a firm grasp of Zhang Sanfeng’s theories.
Daoist priests in recent years carry on in the trappings of tradition but then die off without having
understood it. Daoism springs from the same source as Confuciansim and Buddhism, but is distinct from them
by way of its ingenious and incredible ideas. It stands as something unique in the world by neither seeking to be
seen as such nor prove it so. Those who understand it have understanding within themselves, while those who
do not understand will not be made to understand, and by allowing them both their predispositions, departing
from and merging with are equally developments toward truth. Such is also the case with this book.
Both the Taiji sword art and boxing art derive from the Wudang school, which is why the footwork and hand
techniques are mostly alike in either case, apart from one using hands and the other using a sword. Their
principles are: effortless and aloof, continuous without pause, spirit concentrated and energy gathered, and
returning to what is natural. This is entirely different from the sword arts of the external styles. Truly, if it is not
bequeathed by an authentic sage, you will be unable to attain it to the level of a spiritual condition.
I once made a commentary to the “Elixirist Formula of the Tree Without Roots”, as well as other sections of
the Collected Works of Zhang Sanfeng [published 1844], which I found to be so profound and subtle, spirits and
ghosts trying to out-wail each other really seems to sum up its method, or the eight legions of deities
congregating in confusion over its concepts. But what Zhang tells us severely, yet with a heart of compassion,
will ring true forever. [In other words, they are well-meaning unintentionally-obscurantist ravings that are
nevertheless worth digging through for nuggets of eternal wisdom, as is not uncommon in the case of quests for
spiritual fulfillment that involve the study of texts.]
How unfortunate it is that we are all born into trouble, with so much karma piled up like Pelion on Ossa, and
as lost sheep confronted by a fork in the road. I would rather not give any advice, but if we can seek a hint [about
which direction to go] by way of books such as these, then not only can we make use of martial arts to
strengthen the people, but we can also return to the authentic Way and thereby rescue the nation. Ah, truly
grand is Chen’s achievement.
– preface by Huang Taixuan, director of the School of Studying Nature to Manage the Self, spring, 1928
太極劍序
PREFACE [BY CHEN WEIMING]
易⽈苟⾮其⼈道不虛⾏此⾔傳道之難其⼈也雖技藝亦然黄百家內家拳法⾔五不可傳⼼險者居其⾸余游京師聞廣平
楊⽒精太極拳⼼慕之問之與楊⽒稔者皆⾔楊⽒不肯傳⼈⽽楊⽒之徒⾔亦若是豈不異哉及遇楊澄甫先⽣從之學始知
楊⽒⾮不傳⼈也嗟夫以得楊⽒之傳⾷其技者乃誣其師⾨造種種不實之事聞之者卽據以作為筆記⼩說其居⼼⾮百家
所謂不可傳者耶楊澄甫先⽣傳余太極拳劍拳術已付梓流⾏今復將劍術筆述成書公之於世此亦澄甫先⽣之志也太極
劍之姿勢均以拳之姿勢為基礎其⾮太極拳之姿勢亦有名為太極劍者則余不敢知已前聞李芳宸將軍精劍術得異⼈之
傳授孫祿堂先⽣嘗稱之今年將軍過滬往⾒焉將軍為⼈特俊爽慨然以⼆⼈⽐劍之法相授觀其意全運⽤腰腿與太極拳
之推⼿聽勁無異惟有時劍不粘連相離半⼨許⽿眞武當太極劍法也澄甫先⽣所傳無⼆⼈相⽐之定法得此則太極劍之
體⽤備矣俟習之精熟再述為書以餉世⼈丁卯冬⼗⼆⽉陳微明識
It says in the Book of Changes: “If it is not the right person for it, the Way cannot be effortlessly conveyed.” This
refers to how it depends on the person as to whether or not one will easily get the idea, which is also the case
when it comes to skills. It says in Boxing Methods of the Internal School by Huang Baijia that there are five
kinds of people who should not be taught, those who are devious being the worst of all [the other four being
those who love to fight, those who are addicted to booze, those who gossip, and those who are klutzy].
I traveled to Beijing, having heard that the Yang family of Guangping were experts in Taiji Boxing, which I
adored. I inquired of those who were familiar with the Yang family. Always I was told they would not consent to
teach people, and the Yang family’s students said so too. Was this not odd [that they taught no one and yet had
students]?
When I finally met Yang Chengfu and learned from him, I became aware that it was not the case that they did
not teach people, but that unfortunately there had been those who partook of the teachings and then
misrepresented them, making up lots of fraudulent tales which others heard and then made use of in the writing
of novels. People with ulterior motives – are they not among the “kinds of people who should not be taught”?
Yang Chengfu taught me Taiji Boxing and Taiji Sword. His boxing art having already been published and
spread around, I now put forth his sword art, recorded in a book so as to make it known to the world, and this I
am directed to do by Yang himself. The postures in the Taiji Sword set are all based on the postures in the
boxing set. As for why they are not treated as the boxing postures but have instead been specially named for the
sword versions, I do not presume to understand.
I had previously heard of General Li Fanchen [Jinglin], who is an expert in the sword art and had been taught
by an exceptional man [Chen Shijun], when Sun Lutang happened to speak highly of him. Li came to Shanghai
this year, so I went to see him. He is a brilliant and frank man, and was generous enough to teach me his two-
person sparring method for the sword. Regarding its principles, it is entirely a matter of moving by way of the
hips, and is no different from the listening energy in Taiji Boxing’s pushing hands, except for times when the
swords are not sticking but are instead about a half inch apart, and so it is the authentic sword method of
Wudang’s Taiji.
In Yang Chengfu’s curriculum, there are no standard two-person sword sparring exercises, so by obtaining
this [supplementary training from Li Jinglin], the Taiji Sword would then be complete in terms of its function as
well as its essence. Once I have trained at it to the point of skillfulness, I will record it into a further book with
which to supply the world. [Chen Weiming never produced such a book, presumably abandoning the idea when
Li Jinglin’s two-person exercises were published in a book in 1931 by Huang Yuanxiu. Chen’s three Taiji books
were each groundbreaking and he was perhaps not inclined to retread paths once others have taken them.]
– written by Chen Weiming, Jan, 1928
太極劍⽬錄
CATALOGUE OF POSTURES IN THE TAIJI SWORD SET
太極劍起勢
[0] TAIJI SWORD BEGINNING POSTURE
三環套⽉
[1] THREE LOOPS AROUND THE MOON
⼤魁星
[2] LARGE KUIXING POSTURE
燕⼦抄⽔
[3] SWALLOW TAKES UP WATER
左右攔掃
[4 & 5] LEFT & RIGHT BLOCKING SWEEPS
⼩魁星
[6] SMALL KUIXING POSTURE
燕⼦⼊巢
[7] SWALLOW ENTERS ITS NEST
靈猫捕⿏
[8] QUICK CAT CATCHES THE MOUSE
蜻蜓點⽔
[9] DRAGONFLY SKIMS THE WATER
⿈蜂⼊洞
[10] WASP ENTERS THE HIVE
鳳凰雙展翅
[11] PHOENIX UNFURLS ITS WINGS
左旋⾵
[12] LEFT WHIRLWIND
⼩魁星
右旋⾵
[14] RIGHT WHIRLWIND
等⿂式
[15] WAITING FOR A FISH
撥草尋蛇
[16] SPREAD THE GRASS TO FIND THE SNAKE
懷中抱⽉
[17] EMBRACE THE MOON
宿⿃投林
[18] BIRD GOES INTO THE FOREST TO ROOST
烏⿓擺尾
[19] BLACK DRAGON SWINGS ITS TAIL
⾵捲荷葉
[20] WIND ROLLS UP THE LOTUS LEAVES
獅⼦搖頭
[21] LION SHAKES ITS HEAD
虎抱頭
[22] TIGER HIDES ITS HEAD
野⾺跳澗
[23] WILD HORSE JUMPS THE STREAM
翻⾝勒⾺
[24] TURN AROUND, REIN IN THE HORSE
上步指南針
[25] STEP FORWARD, POINT LIKE A COMPASS NEEDLE
迎⾵拂塵
[26] BRUSHING OFF DUST AGAINST THE WIND
順⽔推⾈
[27] GOING WITH THE CURRENT TO PUSH THE BOAT
流星趕⽉
[28] METEOR CHASES THE MOON
天⾺⾏空
[29] SPIRIT HORSE FLIES THROUGH THE SKY
挑簾式
[30] RAISING THE CURTAIN
左右⾞輪劍
[31] LEFT & RIGHT WHEELING SWORD
⼤鵬單展翅
[32] RUKH UNFURLS A WING
海底撈⽉
[33] TRYING TO SCOOP THE MOON’S REFLECTION FROM THE WATER
懷中抱⽉
夜叉探海
[35] NIGHT DEMON SEARCHES THE SEA
犀⽜望⽉
[36] RHINO GAZES AT THE MOON
射燕式
[37] SHOOT THE GOOSE
⽩猿獻果
[38] WHITE APE OFFERS FRUIT
鳳凰雙展翅
左右跨攔
[40] LEFT & RIGHT STRIDING BLOCKS
射雁式
⽩猿獻果
左右落花
[43] LEFT & RIGHT FALLING PETALS
⽟⼥穿梭
[44] MAIDEN WORKS THE SHUTTLE
⽩虎搖尾
[45] WHITE TIGER TWITCHES ITS TAIL
虎抱頭
鯉⿂跳⿓⾨
[47] CARP LEAPS THE DRAGON GATE
烏⿓絞柱
[48] BLACK DRAGON COILS AROUND THE PILLAR
仙⼈指路
[49] IMMORTAL POINTS THE WAY
⾵掃梅花
[50] WIND SWEEPS THE PLUM FLOWERS
虎抱頭
指南針
[52] COMPASS NEEDLE
抱劍歸原
[53] EMBRACE THE SWORD AND RETURN TO THE ORIGINAL POSITION
太極劍
TAIJI SWORD
太極劍起勢
[0] TAIJI SWORD BEGINNING POSTURE
左⼿執劍。拇指中指無名指⼩指。握劍雲頭。⾷指下垂。貼劍柄。劍平⾯貼臂後⾯。劍尖朝上。右⼿下垂。⾝正
⽴。向南。如太極拳初起勢。如第⼀圖。
Your left hand holds the sword: the thumb, middle finger, ring finger, and little finger grasp the sword hilt,
while the forefinger hangs down, sticking to the sword handle. The plane of the sword touches the back of the
forearm, the sword tip pointing upward. Your right hand hangs down. Your body stands straight, oriented to the
“south”. This posture is like the BEGINNING POSTURE in the boxing set [See Chen Weiming’s 1925 manual].
See photo 1:
三環套⽉
[1] THREE LOOPS AROUND THE MOON
右⼿揑劍訣。⾷中⼆指並直。無名指⼩指。屈於掌⼼。拇指屈按無名指頭節處。如太極拳之摟膝拗步。腰往下
鬆。右⼿隨腰往後圓轉⽽上。轉由右⽿邊指出。左⼿握劍。同時隨腰⽽上。由胸前往右。轉⾄左膝處。劍仍貼臂
向後。左⾜同時往東邁⼀⼤步。腰隨⼿前進。左腿坐實。如第⼆圖。
Your right hand pinches to make a “swordsman’s hex”: the forefinger and middle finger are together in a line,
the ring finger and little finger bend in to the center of the palm, and the thumb bends in and presses down the
top knuckle of the ring finger. This posture will be like BRUSH KNEE IN A CROSSED STANCE in the boxing set
[See Posture 5 in Chen Weiming’s 1925 manual]. Your waist loosens downward, your right hand goes along with
your waist by curving behind, then up, then from beside your right ear to point out. At the same time, your left
hand, grasping the sword, goes along with your waist by rising, then goes to the right from in front of your chest,
curving to arrive at the area of your left knee, the sword still touching the back of the forearm and pointing
behind you. Your left foot at same time takes a large step to the east. Your waist goes along with your [right]
hand’s forward advance, the weight shifting onto your left leg. See photo 2:
左⼿握劍。直穿⾄右⼿上。右⾜同時前邁⼀⼩步。⾜尖點地。仍坐右腿。此式如太極拳之上步七星。如第三圖。
Your left hand, grasping the sword, threads straight over your right hand while your right foot takes a small step
forward, toes touching down, the weight remaining on your right [left] leg. This posture is like STEP FORWARD
WITH THE BIG DIPPER in the boxing set [See Posture 75 in Chen Weiming’s 1925 manual]. See photo 3:
两⼿同時两邊分開。轉⼀圓規。復合於前⾯。左⾜同時前邁⼀⼤步坐實。此式如太極拳之雙⾵貫⽿。如第四圖。
Your hands spread apart in unison to the sides, each making a circle to again come together in front. At the
same time, your left foot takes a large step forward, and the weight shifts onto it. This posture is like DOUBLE
WINDS THROUGH THE EARS in the boxing set [See Posture 40 in Chen Weiming’s 1925 manual]. See photo
4:
⼤魁星
[2] LARGE KUIXING POSTURE
右⼿與左⼿相合。隨卽將劍轉換於右⼿。右⼿執劍。直⾯（劍刃向上下謂之直⾯）往下往後轉⼀⼤圓規。左⼿隨
揑劍訣。隨右⼿在裏。同時轉⼀⼤圓規。眼神看劍尖。隨劍轉動。右⼿不停往後往上。將劍轉⾄頭上。仍是直
⾯。劍尖向東。劍要極平。左⼿揑劍訣。轉⾄前⾯。兩指向上。坐實右腿。左腿提起。⾜尖向下。眼神亦轉向東
看。此式如太極拳之⾦鷄獨⽴。如第五圖。
Your hands join for the sword to switch into your right hand. Your right hand, holding the sword vertically
(meaning the sword edges are upward and downward), makes a large arc downward and to the rear, while your
left hand now pinches to make a swordsman’s hex and goes along to the inside of your right hand. At the same
time, your gaze is looking toward the sword tip and following the sword’s movements. Your right hand does not
pause, going to the rear and then upward, sending the sword in an arc to arrive above your head, still a vertical
blade. The sword tip is pointing to the east. The sword should be completely level. Your left hand, as a
swordsman’s hex, is also arcing forward, the two fingers pointing upward, and with the weight entirely on your
right leg, your left leg lifts, toes downward, your gaze turning to look to the east. This posture is like GOLDEN
ROOSTER STANDS ON ONE LEG in the boxing set [See Posture 56 in Chen Weiming’s 1925 manual]. [Kuixing
is the god of scholars, usually depicted standing on one leg while pointing his writing brush over his head at the
Big Dipper. This posture seems to be just a general mimicking of that image and needs no strained
interpretation.] See photo 5:
燕⼦抄⽔
[3] SWALLOW TAKES UP WATER
右⼿執劍。直⾯往西南砍去。隨轉向下。愈低愈好。掃地⽽起。轉為平⾯。（劍刃向左右謂之平⾯）劍尖向東
南。畧朝上。眼神與腰亦隨之⽽轉。左⼿揑劍訣在裏。隨右⼿⽽轉⾄額上。左⾜同時向東北邁出坐實。步之距
離。與太極拳之⽟⼥穿梭相同。如第六圖。
Your right hand guides the sword as a vertical blade to the southwest with a chop. Then it goes along [with the
movement of your waist] to arc downward, the lower the better, sweeping along the ground, and rises, turning
to become a horizontal blade (meaning the edges are to the left and right), the sword tip pointing to the
southeast and slightly upward. Your gaze goes along with the movement of your waist, turning along with it.
Your left hand, as a swordsman’s hex, is inward and goes along with the arcing of your right hand to arrive
above your forehead. Your left foot at the same time steps out to the northeast and the weight shifts onto it, the
length of the step the same as in MAIDEN WORKS THE SHUTTLE in the boxing set [See Posture 51 in Chen
Weiming’s 1925 manual]. See photo 6:
右攔掃
[4] RIGHT BLOCKING SWEEP
右⼿執劍。往上往北斜⾯轉動。又向下轉。轉為平⾯。⾄與左肩平時。隨往東南平砍。劍仍平⾯。劍尖向東北。
左⼿揑劍訣。隨右⼿轉動。距右⼿腕⼆三⼨許。右⾜同時向東南邁出坐實。眼神與腰。亦隨劍轉動。此式如太極
拳之⽟⼥穿梭。如第七圖。
Your right hand guides the sword in an upward and northward arc with the blade diagonal, then arcs it
downward, turning it so the blade is horizontal. Once it is level with your right shoulder, it then slashes across to
the southeast, the blade still horizontal, the tip pointing to the northeast. Your left hand, as a swordsman’s hex,
goes along with the movement of your right hand, separated from your right wrist by about two or three inches.
Your right foot at the same time steps out to the southeast, and the weight shifts onto it. Your gaze and your
waist also go along with the sword’s movement. This posture is like MAIDEN WORKS THE SHUTTLE in the
boxing set. See photo 7:
左攔掃
[5] LEFT BLOCKING SWEEP
右⼿執劍。往南平⾯轉動。又畧向下轉。仍為平⾯。轉⾄與右肩平時。隨往東北平砍。劍仍平⾯。尖向東南。左
⼿揑劍訣。隨右⼿轉動。距腕⼆三⼨許。左⾜同時向東北邁出坐實。眼神與腰。亦隨劍轉動。此式如太極拳之⽟
⼥穿梭。如第⼋圖。
Your right hand guides the sword in a [slightly upward and] southward arc with the blade horizontal, then
slightly arcs it downward, [turning it over] so the blade is again horizontal. Once it is level with your right
shoulder, it then slashes across to the northeast, the blade still horizontal, the tip pointing to the southeast. Your
left hand, as a swordsman’s hex, goes along with the arcing movement of your right hand, separated from the
wrist by about two or three inches. Your left foot at the same time steps out to the northeast, and the weight
shifts onto it. Your gaze and your waist also go along with the sword’s movement. This posture is again like
MAIDEN WORKS THE SHUTTLE. See photo 8:
左右攔掃。或⼆次或四次均可。
The blocking sweeps to the left and right can be done either twice or four times.
⼩魁星
右⼿執劍。由平⾯轉為直⾯。往上往北又往下轉動。右⾜往東南邁。⾜尖向南。坐實右⾜。左⾜亦往東南邁出。
⾜尖點地。右⼿提劍不停。由下⽽起。轉⾄頭上。劍仍直⾯。劍尖斜向下。亦向東南。左⼿揑劍訣。同時隨右⼿
轉動。兩指向上。與⼤魁星同。如第九圖。
Your right hand turns the sword over from a horizontal blade to a vertical blade, and takes it in an arc upward to
the north and then downward as your right foot steps to the southeast, toes pointing to the south, and the
weight shifts onto it. Your left foot steps out to the southeast, toes touching down, while your right hand lifts the
sword, which has not paused, rising from below in an arc until above your head. The blade is still vertical, the tip
pointing diagonally downward and to the southeast. Your left hand, as a swordsman’s hex, has gone along with
the movement of your right hand, the two fingers pointing upward. The posture is similar to the large version.
See photo 9:
燕⼦⼊巢
[7] SWALLOW ENTERS ITS NEST
右⼿執劍。往下往後圓轉。右⾜⽤⾜尖。亦隨之往後。轉向西北。左⾜斜向西北前邁坐實。左⼿在裏。隨右⼿轉
⾄後⾯時。卽放開。托右⼿背。兩⼿托劍。往西北平⾯刺出。此式如太極拳之指襠錘。如第⼗圖。
Your right hand directs the sword in an arc downward and behind. Your right foot goes along with the
movement by turning toward the northwest on the ball of the foot, your left foot steps diagonally forward to the
northwest, and the weight shifts onto it. Your left hand is to the inside of your right hand and goes along with its
arcing, then opens up once you are facing behind and props up the back of your right hand, and with both hands
carrying the sword, stab with a horizontal blade to the northwest. This posture is similar to PUNCH TO THE
CROTCH in the boxing set [See Posture 72 in Chen Weiming’s 1925 manual]. See photo 10:
靈猫捕⿏蜻蜓點⽔
[8 & 9] QUICK CAT CATCHES THE MOUSE & DRAGONFLY SKIMS THE WATER
兩⼿托劍回收。右⾜提起。⾜尖斜向下。如第⼗⼀圖。
Withdrawing the sword with both hands, your right foot lifts, the toes hanging down diagonally. See photo 11:
旋卽踢出。極⼒向西北邁去。左⾜騰起。向前⼀點。右⾜又往前⼀躍。右⼿之劍。同時向西北平⾯刺去。左⼿揑
劍訣。轉⾄額上。右⾜坐實。如第⼗⼆圖。
Then [your right foot] kicks out and steps with energy to the northwest, your left foot jumps up, and right when
it touches down forward, your right foot also hops forward. Your right hand stabs with the sword to the
northwest as a horizontal blade while your left hand pinches to make a swordsman’s hex and arcs to arrive
above your forehead. The weight is on your right foot. See photo 12:
右⼿之劍刺出後。又畧收回。向前⼀點。此之謂蜻蜓點⽔。此式如太極⾧拳之右扇通臂。
After the sword stabs, slightly withdraw it and then tap it forward. This is called DRAGONFLY SKIMS THE
WATER. This posture is like RIGHT FAN THROUGH THE ARMS in the Taiji Long Boxing set [Posture 67 in
the movement descriptions for the Long Boxing set].
⿈蜂⼊洞
[10] WASP ENTERS THE HIVE
右⾜跟轉動。使⾜尖向南。右⼿執劍。隨腰轉向北。眼轉向西北看。左⼿屈抱。右⾜又⽤⾜尖旋轉⼀周。左⾜提
起。亦旋轉⼀周。復往西北邁去。右⼿與左⼿。同時隨⾝旋轉⼀周。左⼿仍放開。托右⼿背。兩⼿托劍。往西北
平⾯刺出。坐實左腿。參觀第九圖。
Your right foot pivots on the heel so the toes point to the south while your right hand guides the sword to go
along with your waist, and you will spin around toward the north, your gaze turning [away momentarily to then
return] to the northwest. With your left hand bending in to take hold [under your right hand], your right foot
pivots on the ball of the foot to spin all the way around, with your left foot lifted, which then steps again out to
the northwest. Your hands go along with the movement of your body spinning, your left hand again opening to
prop up the back of your right hand, and with both hands carrying the sword, stab out with a horizontal blade to
the northwest, shifting the weight onto your left leg. Review photo 9 [10].
鳳凰雙展翅
左⼿放開。轉⾄右⼿腕上相合。左⼿揑劍訣。⼿⼼向下。左⾜跟向北轉。右⼿與左⼿分開。右⼿之劍。平⾯向東
南削去在上。左⼿向西北分開在下。左⼿⼼向下。右⼿⼼向上。右⾜亦向東南邁去坐實。此式如太極拳之斜⾶
式。如第⼗三圖。
Your left hand comes away and arcs around to be above your right wrist while pinching to make a swordsman’s
hex, the center of the hand downward, and your left foot pivots on the heel to the north. Your hands spread
apart, your right hand guiding the sword to do an inner-edge cut upward to the southeast with a horizontal
blade, your left hand spreading away downward to the northwest, the center of your left hand downward and
the center of your right hand upward, while your right foot steps out to the southeast and the weight shifts onto
it. This is like the DIAGONAL FLYING POSTURE in the boxing set [See Posture 17 in Chen Weiming’s 1925
manual]. See photo 13:
左旋⾵⼩魁星
[12 & 13] LEFT WHIRLWIND & SMALL KUIXING POSTURE
右⼿執劍。由平⾯轉為直⾯。往上往西北。又往下。隨腰轉動。坐實左腿。右⾜提起落下。⾜尖向南。坐實右
⾜。左⾜往東南邁出。⾜尖點地。右⼿提劍不停。由下⽽起。轉⾄頭上。劍仍直⾯。劍尖斜向下。亦向東南。左
⼿揑劍訣。同時隨右⼿轉動。兩指向上。參觀第⼋圖。
Your right hand turns the sword over from a horizontal to a vertical blade, and takes it in an arc upward to the
northwest and then downward again, going along with the turning of your waist and the shifting of the weight
onto your left leg. Your right foot lifts and comes down with the toes pointing to the south, the weight shifts onto
it, and your left foot steps to the southeast, toes touching down, while your right hand lifts the sword, which has
not paused, rising from below in an arc until above your head. The blade is still vertical, the tip pointing
diagonally downward to the southeast. Your left hand, as a swordsman’s hex, has gone along with the movement
of your right hand, the two fingers pointing upward. Review photo 8 [9].
右旋⾵等⿂式
[14 & 15] RIGHT WHIRLWIND & WAITING FOR A FISH
右⼿執劍。劍直⾯往下往後圓轉。左⾜往後退⼀步。右⼿之劍。往後又轉上。又轉向東南。劍仍直⾯。左⼿同時
隨右⼿轉回。揑劍訣。離右⼿⼆⼨許。右⾜同時退後⼀步。⾜尖點地。亦向東南。如第⼗四圖。
Your right hand arcs the sword downward and behind as a vertical blade, your left foot taking a step back, and
the sword arcs from behind to travel again upward and toward the southeast, still as a vertical blade. Your left
hand, as a swordsman’s hex, goes along with the arcing and turning over of your right hand, and is separated
from your right hand by about two inches. Your right foot at the same time retreats, toes touching down and
pointing to the southeast. See photo 14:
撥草尋蛇
[16] SPREAD THE GRASS TO FIND THE SNAKE
右⼿執劍。由直⾯隨腰往左略轉。漸變平⾯。又向右轉回。往南砍去。劍仍平⾯。劍尖向東。劍與⼿平。眼神與
腰。亦隨之⽽轉。左⼿揑劍訣。隨右⼿轉動。距右⼿腕⼆三⼨許。右⾜同時向東南邁出坐實。眼神與腰。亦隨劍
轉動。此式如右攔掃。惟劍低平。劍尖向東。略不同⽿。參觀第七圖。
Your right hand guides the sword by going along with your waist to arc slightly to the left, changing it gradually
from vertical blade to horizontal blade, then arcs back to the right, slashing to the south with the blade again
horizontal, the tip pointing to the east, the sword level with your forearm. Your gaze and your waist go along
with its movement. Your left hand, as a swordsman’s hex, goes along with your right hand, separated from your
right wrist by about two or three inches. Your right foot at the same time steps out to the southeast, and the
weight shifts onto it. Your gaze and your waist go along with the sword’s movement. This posture is like RIGHT
BLOCKING SWEEP, except the sword is lower and the tip is pointing to the east, and so it is slightly different.
Review photo 7.
右⼿執劍。往右畧轉。又往左轉回。劍仍平⾯。往北砍去。劍尖向東。劍與⼿平。眼神與腰。亦隨之⽽轉。左⼿
揑劍訣。隨右⼿轉動。距右⼿腕⼆三⼨許。左⼿同時向東北邁出坐實。眼神與腰。亦隨劍轉動。此式如左攔掃。
參觀第⼋圖。
Your right hand guides the sword to the right in a slight arc, [turns over,] then arcs back to the left, slashing to
the north with the blade again horizontal, the tip pointing to the east, the sword level with your forearm. Your
gaze and your waist go along with its movement. Your left hand, as a swordsman’s hex, goes along with your
right hand, separated from your right wrist by about two or three inches. Your left hand [foot] at the same time
steps out to the northeast, and the weight shifts onto it. Your gaze and your waist go along with the sword’s
movement. This posture is similar to LEFT BLOCKING SWEEP [except the sword is lower and the tip is to the
east]. Review photo 8.
撥草尋蛇。可作三次或五次。
These movements can be performed either three times or five times.
懷中抱⽉
撥草尋蛇三次或五次。轉⾄右⾯時。左⾜向後（卽向西）退⼀步。右⼿之劍。往懷中裹回使⼿背向上者。變為⼿
⼼向上。⾝隨劍收回之勢。坐實左腿。向下略低。右⼿執劍。近左脇處。劍平⾯。離⾝四⼨許。劍尖向東。左⼿
揑劍訣。亦隨右⼿收回。略在右⼿之上。眼神向東。如第⼗五圖。
Having performed SPREAD THE GRASS TO FIND THE SNAKE three times or five times, and therefore
finishing on the right side, your left foot steps back (to the west) as your right hand wraps the sword in toward
your chest, turning over to go from the back of the hand facing upward to the center of the hand being upward.
Your torso goes along with the momentum of the sword’s withdraw and the weight shifts onto your left leg,
slightly lowering. Your right hand guides the sword near to your left ribs, the blade horizontal, about four inches
away from your body, the tip pointing to the east. Your left hand, as a swordsman’s hex, goes along with your
right hand’s withdraw to be slightly above your right hand. Your gaze is to the east. See photo 15:
宿⿃投林
[18] BIRD GOES INTO THE FOREST TO ROOST
左⾜往前邁⼀步。（卽向東）⾝隨右⾜提起。右⼿執劍。往上剌去。（亦向東）左⼿亦隨右⼿向上。相距⼆⼨
許。左⾜提起。膝向西北。⾜⼼貼右腿。⾜尖向下。眼神隨劍尖往上看。如第⼗六圖。
Your left [right] foot steps forward (to the east), your torso going along with it, and your right [left] foot lifts as
your right hand guides the sword, stabbing out upward (also east), your left hand following your right hand
upward, separated from each other by about two inches. Your left foot is lifted with the knee pointing to the
northwest, the sole near your right knee, toes downward. Your gaze follows the sword tip to look upward. See
photo 16:
烏⿓擺尾
[19] BLACK DRAGON SWINGS ITS TAIL
左⾜往後退⼀步。（卽向西退）⾝隨左⾜坐下。右⼿隨左⾜提回。如等⿂式。⾜尖點地向東南。右⼿之劍抽回。
由平⾯⽽變為直⾯。抽⾄右膝後。劍尖下垂。亦略向東南。左⼿揑劍訣。轉⾄額上。眼神下視劍尖。如第⼗七
圖。
Your left foot steps back (to the west), your torso following and the weight shifting onto it, and your right hand
[foot] follows the left foot by lifting and withdrawing as in WAITING FOR A FISH, the toes touching down
pointed to the southeast. [At the same time,] your right hand draws the sword back until behind your right knee,
the blade changing from horizontal to vertical, the tip hanging down pointed slightly to the southeast, while
your left hand, as a swordsman’s hex, arcs to arrive above your forehead. Your gaze is downward toward the
sword tip. See photo 17:
⾵捲荷葉
[20] WIND ROLLS UP THE LOTUS LEAVES
右⾜向西南退半步。右⼿之劍。隨右步退勢。由直⾯往外。又向裏裹。轉為平⾯。左⾜隨右⾜收回。略點⼀步。
右⼿之劍。裹⾄脇下時。卽向東北刺去。左⾜亦同時往東北邁去。左⼿本在額上。由額上同時往外往下。轉⾄⼼
⼜。又往上翻。仍⾄額上。左右⼿⾜。皆同時變動。不可有先後。如第⼗⼋圖。
Your right foot retreats a half step to the southwest while your right hand goes along with the momentum and
guides the sword from going outwards as a vertical blade to wrapping inward as a horizontal blade, and your left
foot follows your right foot by withdrawing to just barely touch down. Then once your right hand has wrapped
the sword in to the point that it is below your ribs, it then stabs out to the northeast, your left foot also stepping
out to the northeast. At the same time, your left hand, having started above your forehead, has gone outward
and downward, arcing in to reach your solar plexus [in tandem with your feet stepping back and your right hand
wrapping in], then returning upward until it is again above your forehead [when your left foot and right hand go
forward]. Both of your hands and feet make their movements simultaneously and must not get ahead or behind
of one another. See photo 18:
獅⼦搖頭
[21] LION SHAKES ITS HEAD
左⾜尖轉向東南。右⼿之劍。由⼿⼼向上。往脇內轉⾄⼿⼼向下。劍尖本向東北者。轉⾄劍尖向西北。右⼿之
劍。往南往西轉動。右⾜隨右⼿轉⾝。往西北邁去。右⼿之劍。同時往北砍。劍尖向西。右⼿⼼仍向下。⾝向東
北者。此時已轉向正西。左⼿亦隨右⼿轉動。揑劍訣。距右⼿⼆三⼨許。如第⼗九圖。
Your left foot turns to point the toes to the southeast. Your right hand guides the sword toward your ribs,
turning over so the center of the hand is changed from facing upward to facing downward, and the sword tip
that had been pointing to the northeast arcs around until it is pointing to the northwest, your right hand guiding
the sword in an arc toward the south and then toward the west. Your right foot goes along with your right hand
and the turning of your torso to step out to the northwest as your right hand guides the sword in a slash to the
north, the tip pointing to the west, the center of the hand still facing downward. Your torso was facing to the
northeast and has now been turned to face directly west. Your left hand, as a swordsman’s hex, goes along with
your right hand’s movement, and is separated from your right hand by about two or three inches. See photo 19:
右⼿之劍。⼿⼼向下者。往右略轉動。又往左轉回。轉⾄⼿⼼向上。劍仍平⾯。往南砍去。劍尖向西。劍與⼿
平。眼神與腰。亦隨之⽽轉。左⼿揑劍訣。隨右⼿轉動。距右⼿腕⼆三⼨許。左⾜同時略向後退半步坐實。此式
如太極拳之倒輦猴。惟步略開⽿。如第⼆⼗圖。
Your right hand guides the sword, the center of the hand downward, in a slight arc to the right, then arcing back
to the left, turning over so the center of the hand is upward, and with the blade still horizontal, slashes out to the
south, the tip pointing to the west, the sword level with your forearm. Your gaze and your waist go along with
the movement, and your left hand, as a swordsman’s hex, goes along with your right hand’s arcing movement,
separated from your right wrist by about two or three inches. Your left foot at the same time slightly retreats,
stepping back a half step, and the weight shifts onto it. This posture is like RETREAT, DRIVING AWAY THE
MONKEY in the boxing set [See Posture 16 in Chen Weiming’s 1925 manual], except here the step is slightly
wider. See photo 20:
右⼿之劍。⼿⼼向上者。往左略轉動。又往右轉回。轉⾄⼿⼼向下。劍仍平⾯。往北砍去。劍尖仍向西。劍與⼿
平。眼神與腰。亦隨之轉。左⼿同前。右⾜同時向後退⼀步坐實。此式如太極拳之倒輦猴。如第⼆⼗⼀圖。
Your right hand guides the sword, the center of the hand upward, in a slight arc to the left, then arcing back to
the left, turning over so the center of the hand is downward, and with the blade still horizontal, slashes out to
the north, the tip pointing to the west, the sword level with your forearm. Your gaze and your waist go along
with the movement, and your left hand is as before. Your right foot at the same takes a step back, and the weight
shifts onto it. This posture is again like RETREAT, DRIVING AWAY THE MONKEY in the boxing set. See photo
21:
或退四步。或退六步。退⾄右⾜在後⽽⽌。
Whether you retreat four steps or six steps, your right foot must be behind on the last one.
虎抱頭
右⾜退後時。兩⼿向左右分開。又向內合。右⼿⼼向下者。向內合時。轉⾄⼿⼼向上。右⼿之劍。轉⾄胸前停
住。左⼿在下。托右⼿背。左⾜坐實不動。右⾜提前。⾜尖點地。⾝仍向西。如第⼆⼗⼆圖。
After your right foot steps back [the final time], both hands separate to the sides, then come inward to join
together. The center of your right hand is downward [when going to the side], then when it moves inward, it
turns so the center of the hand is upward. Your right hand arcs the sword until in front of your chest and pauses
there, your left hand going underneath to prop up the back of your right hand, while the weight shifts onto your
left foot, which stays where it is, and your right foot lifts and goes forward, toes touching down. Your torso is
still facing to the west. See photo 22 [reverse view]:
野⾺跳澗
[23] WILD HORSE JUMPS THE STREAM
兩⼿托劍回收。右⾜提起。往西躍刺。與靈猫捕⿏步相同。惟略往⾼躍⽿。刺出時。兩⼿仍托劍。參觀第⼗圖。
Withdrawing the sword with both hands, your right foot lifts. Leap and stab to the west. It is the same footwork
as in QUICK CAT CATCHES THE MOUSE, except a slightly higher jump. When you stab, it is with both hands
carrying the sword. Review photo 10.
翻⾝勒⾺
[24] TURN AROUND, REIN IN THE HORSE
兩⼿托劍。劍平⾯往上起。由頭上轉過。⾝向西者。由右往左轉。使⾯向東。右⾜跟轉。坐實右⾜。左⾜提回。
⾜尖點地向東。兩⼿所托之劍。同時由頭上平⾯落下回收。如第⼆⼗三圖。
With both hands carrying the sword, the sword raises up with the blade horizontal and passes over your head as
your body, which was facing to the west, turns from right to left, until facing east, your right foot pivoting on the
heel. With the weight on your right foot, your left foot lifts and draws back, toes touching down and pointing to
the east, while with both hands carrying the sword, the sword comes down from passing over your head and
draws back. See photo 23:
上步指南針
[25] STEP FORWARD, POINT LIKE A COMPASS NEEDLE
左⾜向前進⼀步。右⾜隨上。與左⾜並⿑。兩⼿托劍。向前刺出。⾯仍向東。如第⼆⼗四圖。
Your left foot takes a step forward, and your right foot follows forward to stand next to it as you stab forward
with both hands carrying the sword. You are still facing east. See photo 24:
迎⾵拂塵
[26] BRUSHING OFF DUST AGAINST THE WIND
右⼿之劍。向右轉動。腰亦隨轉。又往左轉回。劍平⾯往北砍去。左⾜前進。與左右攔掃相同。惟劍略⾼⽿。或
三次。或五次。參觀第七第⼋兩圖。
Your right hand guides the sword in an arc to the right, [turning it over,] your waist going along with the
movement, then turns again to the left, [again turning it over,] and slashing across with a horizontal blade to the
north as your left foot steps forward. It is the same as LEFT & RIGHT BLOCKING SWEEPS, except the sword is
slightly higher. You can do this either three times or five times. Review photos 7 & 8.
順⽔推⾈
[27] GOING WITH THE CURRENT TO PUSH THE BOAT
迎⾵拂塵。轉⾄左⾜在前時。右⾜往後退⼀步。左⾜隨之後退。⾜尖點地。右⼿之劍。同時由斜平⾯。⽽轉為直
⾯。劍刃往下往後。轉⼀⼤圓規。左⼿揑劍訣。隨右⼿在裏。同時轉⼀圓規。眼神看劍尖。隨劍轉動。右⼿不
停。往後往上。將劍轉⾄頭上。仍是直⾯。劍尖略向東北刺去。左⾜同時往東北邁⼀⼤步坐實。⾜尖亦向東北。
左⼿揑劍訣。轉⾄前⾯。兩指向上。眼神亦隨劍尖往前看。此式如太極拳之扇通臂。如第⼆⼗五圖。
Having performed BRUSHING OFF DUST AGAINST THE WIND [three times or five times], and therefore
finishing on the left side, your right foot takes a step back. Your left foot follows and retreats, toes touching
down, while your right hand turns the sword from a diagonally horizontal blade to a vertical blade, the [outer]
edge going downward and to the rear, and arcs in a large circle. Your left hand, as a swordsman’s hex, follows
along to the inside of your right hand, making the circle along with it. Your gaze is toward the sword tip,
following the sword’s movements. Your right hand does not pause, but goes to the rear and upward, sending the
sword in an arc until above your head, still as a vertical blade, and the tip stabs out slightly to the northeast.
Your left foot at the same time takes a step to the northeast, and the weight shifts onto it, the toes pointing to the
northeast, while your left hand arcs until in front, the two fingers pointing upward. Your gaze follows the sword
tip to be looking forward. This posture is like FAN THROUGH THE ARMS in the boxing set [See Posture 22 in
Chen Weiming’s 1925 manual]. See photo 25:
流星趕⽉
[28] METEOR CHASES THE MOON
左⾜跟往南轉。使⾜尖向東南。右⾜同時往西北邁去。右⼿執劍。由頭上往西北砍去。左⼿同時亦分開向東南。
如第⼆⼗六圖。
Your left foot pivots on the heel toward the south until the toes are pointing to the southeast. While your right
foot then steps out to the northwest, your right hand guides the sword over your head in a chop to the
northwest, your left hand spreading away to the southeast. See photo 26:
天⾺⾏空
[29] SPIRIT HORSE FLIES THROUGH THE SKY
右⼿執劍。⼿⼼向南。由下往北轉上。左⾜往南邁⼀步。⾝卽向南。劍同時不停。由後⾯從頭上往南下砍。左⼿
同時與右⼿相合。以⼿⼼扶右⼿腕上。左⾜亦同時往南邁⼀⼤步。⾜尖點地向南。眼神向南看。如第⼆⼗七圖。
Your right hand guides the sword, the center of the hand [in the previous posture] facing south [southwest], to
arc from below to the north and upward. Your left foot takes a step to the south, which turns your torso to the
south, and the sword, which has not paused, goes from behind, over your head, and chops downward to the
south. At the same time, your left hand joins with your right hand, the palm assisting on top of your right wrist,
as your left [right] foot takes a large step to the south, toes touching down and pointing south, your gaze to the
south. See photo 27:
挑簾式
[30] RAISING THE CURTAIN
右⾜提起落下。⾜尖與左⾜跟相對。成⼋字形。相離五⼨許。使⾜尖向西北。右⼿將劍提起⾄頭上。左⼿仍扶右
⼿腕。劍尖斜向下。左⾜同時提起。⾜尖向下。如第⼆⼗⼋圖。
Your right foot lifts and comes down so the toes are forming a V shape with your left heel, about five inches from
each other, the toes pointing to the northwest. [In other words, your feet are effectively in ballet’s 4th position,
the V pointing to your left.] Your right hand lifts the sword up to arrive above your head, your left hand still
assisting your right wrist, the sword tip pointing diagonally downward, while your left foot lifts, toes downward.
See photo 28:
左右⾞輪劍
[31] LEFT & RIGHT WHEELING SWORD
左⾜落下。與右⾜成⼋字形。使⾜尖向西南。右⼿執劍。隨腰往東轉。由下⽽上。轉⼀⼤圓規。眼神隨劍尖轉
動。右⾜同時往西邁⼀⼤步。劍由上往西砍去。左⼿同時與右⼿兩邊分開向東。眼神隨劍往西看。此式與流星趕
⽉相同。惟⽅向不同⽿。參觀第⼆⼗六圖。
Your left foot comes down to make a V shape with your right foot so the toes are pointing to the southwest. [This
time your feet are in more of a 1st position, the V now pointing behind you.] Your right hand guides the sword,
going along with the turning of your waist to the east, and goes [below from above then] above from below,
making a large circle, your gaze following the movement of the sword tip. The right foot at the same time takes a
large step to the west and the sword chops from above to the west, your left hand spreading away to the east,
your gaze following the sword to be looking to the west. This posture is the same as METEOR CHASES THE
MOON, except the direction is different. Review photo 26.
右⼿執劍。⼿⼼向東。由下往東⽽上。轉⼀⼤圓規。右⾜往西邁⼀⼤步。⾝卽向西。劍同時不停。由後⾯從頭上
往西下砍。左⼿同時與右⼿相合。以⼿⼼扶右⼿腕上。左⾜亦同時往西邁⼀⼤步。⾜尖點地向西。眼神向西看。
此式與天⾺⾏空相同。惟⽅向不同⽿。參觀第⼆⼗七圖。
Your right hand guiding the sword, the center of the hand [in the previous posture] facing east [south], goes
from below to the east and upward, arcing in a large circle. Your right [left] foot takes a large step to the west,
which turns your torso to the west, and the sword, which has not paused, goes from behind, over your head, and
chops downward to the west. At the same time, your left hand joins with your right hand, the palm assisting on
top of your right wrist, as your left [right] foot takes a large step to the west, toes touching down and pointing
west, your gaze to the west. This posture is the same as SPIRIT HORSE FLIES THROUGH THE SKY, except the
direction is different. Review photo 27.
⼤鵬單展翅
[32] RUKH UNFURLS A WING
右⼿執劍。往左略轉。轉⾄⼿⼼向上。左⼿轉⾄右⼿腕上⾯相合。⼿⼼向下。左⾜跟往北轉。使⾜尖略向東北。
右⾜往東北邁去。右⼿之劍。由下漸漸⽽上。往東北平⾯削去。左⼿隨右⼿轉⾄胸前。⼿揑劍訣向北。眼神亦向
北看。如第⼆⼗九圖。
Your right hand guides the sword, slightly turning it to the left until the center of the hand is upward, and your
left hand arcs around to be above your right wrist with the center of the hand downward. Your left foot pivoting
on the heel toward the north until the toes point slightly to the northeast, your right foot steps out to the
northeast, and your right hand guides the sword gradually upward from below, doing an inner-edge cut to the
northeast with a horizontal blade. Your left hand goes along with your right hand’s arc to arrive in front of your
chest, the swordsman’s hex pointing north [northeast], and your gaze is to the north [northeast]. See photo 29:
海底撈⽉
[33] TRYING TO SCOOP THE MOON’S REFLECTION FROM THE WATER
右⼿之劍。復往右轉。略往下沈。使劍尖朝上。左⼿揑劍訣。亦隨之轉。在右⼿肘裏灣略停。劍由直⾯。往外又
向裏裹。轉為平⾯。左⾜提起落下。使⾜尖向西南。右⼿執劍。裹⾄脇下時。卽向正西剌去。右⾜同時往西邁
去。⾜尖向西。左⼿同時轉⾄額上。參觀第⼗⼀圖。
Your right hand guides the sword in an arc still farther to the right, and slightly sinks downward, making the tip
point upward. Your left hand, as a swordsman’s hex, goes along with the movement and comes to a slight halt
inside the bend of your right elbow. The sword goes from moving outward as a vertical blade to wrapping
inward as a horizontal blade while your left foot lifts and comes down again with the toes pointing to the
southwest. Once your right hand has wrapped the sword in below your ribs, it then stabs straight out to the
west, your right foot at the same time steps out to the west, toes pointing to the west, your left hand arcing away
to arrive above your forehead. Review photo 11 [12].
懷中抱⽉如前法如三⼗圖
[34] EMBRACE THE MOON as before [as in Posture 18, except in the opposite direction]. See photo 30:
夜叉探海
[35] NIGHT DEMON SEARCHES THE SEA
右⾜往西邁。⾝隨右⾜往前。劍往西往下刺去。左⼿亦隨右⼿⽽下。相離⼆⼨許。左⾜提起。眼神隨劍尖往下
看。如第三⼗⼀圖。
Your right foot steps to the west, your torso going forward along with it, and the sword stabs out downward to
the west, your left hand following your right hand downward, separated from each other by about two inches by
the time your left foot is lifted. Your gaze follows the sword tip to look downward. See photo 31:
犀⽜望⽉
[36] RHINO GAZES AT THE MOON
左⾜往東橫邁⼀步。左⼿由下往東往上。轉⼀⼤圓規。右⼿之劍。由下提起。由西往東收回。在胸前。劍由平⾯
⽽轉為直⾯。劍尖仍向西。左⼿同時轉⾄右⼿內相合。仍揑劍訣。左腿坐實。眼神仍向西看。此式如太極拳之披
⾝伏虎。如第三⼗⼆圖。
Your left foot steps sideways to the east as your left hand goes from below, arcing in a large circle upward to the
east, and your right hand guides the sword to lift from below, withdrawing from the west to the east to be in
front of your chest. The sword is turned from horizontal blade to vertical and the tip is still pointing to the west.
Your left hand at the same time, still formed into a swordsman’s hex, arcs until to the inside of your right hand.
The weight is on your left leg. Your gaze is still to the west. This posture is like DRAPE THE BODY, FIGHTING
TIGER POSTURE in the boxing set [See Posture 38 in Chen Weiming’s 1925 manual]. See photo 32:
射雁式
右⾜不動。右⼿之劍抽回。抽⾄右膝後。劍尖向下向東南。左⾜同時隨右⾜提回。⾜尖點地。亦向東南。左⼿同
時提起在胸前。眼神及左⼿指。均向東南。如第三⼗三圖。
Your right foot not leaving its location, your right hand guides the sword to draw in until behind your right knee,
the tip pointing downward to the southeast. Your left foot at the same time lifts and withdraws toward your
right foot, toes touching down and pointing to the southeast, while your left hand lifts in front of your chest,
pointing along with your gaze to the southeast. See photo 33:
⽩猿獻果
左⾜向東南前進⼀步。右⾜同時前進。與左⾜並⿑。右⼿之劍。由直⾯變為平⾯。向東南上刺。左⼿⼼托右⼿
背。⾝直⽴。眼神仍向東南。此式與指南針相同。惟劍略⾼⽿。參觀第⼆⼗三圖。
Your left foot steps forward to the southeast and your right foot follows forward to stand next to it as your right
hand guides the sword from vertical blade to horizontal in an upward stab to the southeast, your left palm
propping up the back of your right hand. Your body is standing straight. Your gaze is still to the southeast. This
posture is the same as COMPASS NEEDLE, except the sword is slightly higher. Review photo 23 [24].
鳳凰雙展翅
此式變法如前。惟右步往西北邁。劍由西北削去。兩⼿分開。參觀第⼗⼀圖。
This posture is different from before merely in that your right foot steps to the northwest and the sword does an
inner-edge cut from the northwest [southeast] as your hands spread apart. Review photo 11 [13].
左右跨攔
[40] LEFT & RIGHT STRIDING BLOCKS
右⾜往南。橫邁⼀步。左⾜隨右⾜。亦往南橫邁⼀⼤步。右⼿之劍。由西北往南收回。橫在胸前。⼿⼼向上。劍
仍為平⾯。劍尖向北。左⼿扶右⼿腕。如第三⼗四圖。
Your right foot takes a sideways step to the south, and your left foot follows it to also take a large sideways step
to the south while your right hand withdraws the sword from the northwest to the south, crosswise in front of
your chest, the center of the hand upward. The blade is still horizontal and the tip is pointing to the north. Your
left hand assists at your right wrist. See photo 34:
左⾜往北橫邁⼀步。右⾜隨左⾜。往北橫邁⼀⼤步。右⼿之劍。往左略轉。隨腰隨步。往北轉換。使⼿⼼向上
者。變為⼿⼼向下。劍尖向北者。變為劍尖向南。橫在胸前。劍仍平⾯。左⼿扶右⼿腕背。如第三⼗五圖。
Your left foot takes a sideways step to the north, and your right foot follows it to also take a large sideways step
to the north, your right hand guiding the sword to the left in a slight arc and then going along with your waist
and step to turn it over and move it toward the north. The center of the hand was facing upward and is now
downward, and the sword tip was pointing to the north and is now to the south. The sword is crosswise in front
of your chest, again as a horizontal blade. Your left hand assists at the back of your right wrist. See photo 35:
射雁式向西北。變法如前。
[41] SHOOT THE GOOSE (performed as before [Posture 37], but to the northwest)
⽩猿獻果向正西。變法如前。
[42] WHITE APE OFFERS FRUIT (performed as before [Posture 38], but to the west)
左右落花
[43] LEFT & RIGHT FALLING PETALS
右⼿之劍。由左略轉。右⾜往後退⼀步。劍亦隨右⾜。向北往右砍。⼿⼼向上者。變為向下。左⾜復往後退⼀
步。劍亦隨左⾜向南往左砍。⼿⼼復變為向上。⼀切均如左右獅⼦搖頭。惟劍略低⽿。參觀第⼗七⼗⼋兩圖。
Your right hand guides the sword from the left in a slight arc. Your right foot retreats a step, the sword going
along with your right foot by slashing to the right and to the north. The palm was upward and changes to be
downward. Your left foot then retreats a step, the sword going along with your left foot by slashing to the left
and to the south, the center of the hand turning over to face upward as before. Everything is like LION SHAKES
ITS HEAD, except the sword is slightly lower. Review photos 17 & 18 [20 & 21].
⽟⼥穿梭⽩虎攪尾
[44 & 45] MAIDEN WORKS THE SHUTTLE & WHITE TIGER TWITCHES ITS TAIL
退⾄右⾜在後時。兩⼿分開如前。將左⾜提起轉向南。邁⼀⼤步。兩⼿旋相合。往南剌去。左⼿⼼托右⼿腕背。
如第三⼗六圖。
After your right foot steps back [the final time], both hands separate to the sides as before [as in TIGER HIDES
ITS HEAD]. Lift your left foot, turn it toward the south, and take a large step as both hands turn and join to stab
out to the south, your left palm propping up the back of your right wrist. See photo 36:
右⼿與左⼿相合。左⼿在上。⼿⼼向下。右⼿執劍在下。⼿⼼向上。左⾜跟往西轉。⾜尖向西。右⼿之劍。由南
往北。平⾯削去。轉⾄北時。劍往上轉。使劍尖向上直⽴。劍平⾯向西。左⼿揑劍訣在胸前。右⾜略提起。往北
移半步。⾜尖向西北。如⼤鵬單展翅。眼神向西看。
Your hands come together as left hand above, the center of the hand downward, and right hand holding the
sword below, the center of the hand upward. Your left foot pivots on the heel toward the west to point the toes to
the west. Your right hand guides the sword from south to north, doing an inner-edge cut with a horizontal blade.
Once it has arced to the north [northwest], the sword arcs upward to make the tip rise up to stand straight. The
blade is facing to the west horizontally [i.e. edges to west and east] and your left hand, pinched to make a
swordsman’s hex, is in front of your chest. At the same time, your right foot slightly lifts and shifts a half step to
the north [northwest], the toes pointing to the northwest. It is similar to RUKH UNFURLS A WING. Your gaze
is to the west [northwest].
鯉⿂跳⿓⾨
[46 & 47] CARP LEAPS THE DRAGON GATE
兩⼿復相合。如虎抱頭式。復向西躍去如野⾺跳澗。參觀第⼆⼗⼀圖。
Both hands again join together as in TIGER HIDES ITS HEAD [as your left foot turns to point southwest and
your right foot withdraws to be pointing west]. You then leap again to the west as in WILD HORSE JUMPS THE
STREAM. Review photo 21 [22].
烏⿓絞柱
[48] BLACK DRAGON COILS AROUND THE PILLAR
右⼿執劍。由平⾯向上。漸變為直⾯。向上向東。隨腰轉⼀⼤圓規。往東砍。左⼿隨轉⾄胸前。如第三⼗七圖。
Your right hand guides the sword, moving it upward and to the east, gradually changing it from a horizontal
blade to a vertical blade, going along with the turning of your waist by arcing in a large circle and chopping to
the east. Your left hand goes along with the movement to arrive in front of your chest. See photo 37:
劍不停。由東復轉下。往西撩上。右⾜提起落下。使⾜尖向西北。⾝隨腰轉。劍不停。復由西往上往東砍。如第
三⼗⼋圖。
The sword does not pause, but arcs downward from the east and raises upward to the west as your right foot lifts
and comes down with the toes pointing to the northwest. Your torso goes along with the movement, your waist
turning around, and the sword without pausing now goes from the west and upward, chopping to the east. See
photo 38:
劍仍不停。轉⾄中間。復由外向脇裏裹。劍變為平⾯。左⾜同時提起往西邁⼀步。右⾜隨提起向西邁⼀⼤步。劍
亦隨右步。向西剌去。左⼿分開。提起在額上。劍共轉兩輪。眼神亦隨之⽽轉。此式剌出。如靈猫捕⿏。惟中間
轉動不同。參觀第⼗圖。
The sword still does not pause, but arcs until centered, returning from outward to wrap inward toward your
ribs, the blade becoming horizontal. Your left foot at the same time lifts and takes a step to the west. Your right
foot then lifts and takes a large step to the west, the sword going along with your right step by stabbing out to
the west, your left hand spreading away and lifting up above your forehead. The sword wheels a total of twice,
your gaze going along with the arcing. This posture’s stabbing out is like QUICK CAT CATCHES THE MOUSE,
except the transitional movement in between is not the same. Review photo 10 [12].
仙⼈指路
[49] IMMORTAL POINTS THE WAY
左⾜往東橫邁⼀步。以後動作。均如犀⽜望⽉。惟右⼿之劍。由上收回。落在胸前。劍尖向上直⽴。平⾯向外。
如第三⼗九圖。
Your left foot steps sideways to the east, and the rest of the movement is all the same as in RHINO GAZES AT
THE MOON, except your right hand guides the sword to withdraw from above and comes downward to be in
front of your chest with the tip pointing straight upward, the blade horizontal to the outside [i.e. edges to the left
and right]. See photo 39:
⾵掃梅花虎抱頭
[50 & 51] WIND SWEEPS THE PLUM FLOWERS & TIGER HIDES ITS HEAD
右⼿之劍直⽴者。復轉為平⾯。在左脇下。劍尖略向東。⼿⼼向下。左⼿在上。與右⼿相合。右⾜提起落下。使
⾜尖向西北。左⾜提起。往北復往東。轉⼀⼤圓規。如太極拳之轉脚擺蓮。轉⾄⾯仍向南時。兩⼿分開復相合。
右⾜在前點地。如虎抱頭式。
Your right hand guides the sword in an arc from standing straight up to the blade being horizontal below your
left ribs, the tip pointing slightly to the east, the center of the hand downward, your hands coming together, left
hand above. Your right foot lifts and comes down with the toes pointing to the northwest, and your left foot lifts
and goes to the north and to the east, turning you around in a full circle, as in SPIN AROUND ON THE FOOT,
SWINGING LOTUS KICK in the boxing set [See Posture 77 in Chen Weiming’s 1925 manual]. When the turn
returns you to facing south, both hands spread to the sides then come back together, your right foot touching
down in front, so that you are again performing TIGER HIDES ITS HEAD.
指南針抱劍歸原
[52 & 53] COMPASS NEEDLE & EMBRACE THE SWORD AND RETURN TO THE ORIGINAL POSITION
右⾜前進。左⾜隨之前進並⽴。兩⼿抱劍前剌。如指南針。右⼿之劍。交於左⼿。左⼿⼤指⾷指尖向下。三指尖
向上握劍柄。⼿⼼向外。劍平⾯貼臂前直⽴。左⼿執劍。將劍轉⾄後⾯。如起勢歸原。參觀第⼀圖。
Your right foot steps forward, and your left foot follows forward to stand next to it while you stab forward with
both hands carrying the sword, as in the COMPASS NEEDLE posture. Your right hand switches the sword to
your left hand, and your left arm lowers. Your left thumb and forefinger are below, your other three fingers
wrapped upward around the handle, the center of the hand facing outward [i.e. forward], and the sword stands
straight, as a horizontal blade, the plane touching the front of your forearm. Your left hand then guides the
sword, turning it over to be behind you, [as your right hand hangs down,] and you are now posed as in the
BEGINNING POSTURE, returned to the manner in which started. Review photo 1.
太極⾧拳序
INTRODUCTION TO THE TAIJI LONG BOXING SET
澄甫先⽣傳余太極拳復傳余太極⾧拳其中有數式為太極拳內所無者其餘⼤槪相同惟轉換之處前後略變易⽿所以表
⽰太極本無定法亦無定形太極拳及⾧拳掤捋擠按採挒肘七種勁均含在內惟缺⼀靠勁余欲以⼤捋之靠加⼊拳內思索
數年不得其連貫轉接之法今於無意中忽然得之相接之處竟如天⾐無縫竊⾃欣喜又以太極拳之有左式⽽無右式者有
右式⽽無左式者均為加⼊又⾒河南陳家所傳太極名為舊派者其倒輦猴如摟膝拗步左右退⾏轉⾝極為輕靈亦加⼊名
為退步摟膝共約⼀百零⼋式取澄甫先⽣所傳⾧拳⽽擴⼤之不敢⾔有所發明然於太極之意有增多⽽無減少有變換⽽
無雷同或者可為學者研究之⼀助焉丁卯冬⽉微明識
Yang Chengfu taught me the Taiji Boxing set, then taught me the Taiji Long Boxing set. Within it are several
postures absent from the Taiji Boxing set, while the rest of it is mostly the same, except for slight alterations to
the turnings. This demonstrates that Taiji is basically as amorphous in method as it is in shape.
Both the Taiji Boxing set and Long Boxing set contain the seven energies of warding off, rolling back,
pressing, pushing, plucking, rending, and elbowing, but lack the bumping energy. I wanted to add the bumping
technique from the large rollback exercise into the set, and after pondering about it over several years, I still
could not find any way to link it in. Recently it suddenly came to me by accident, and the place where it links in
is so utterly seamless that I am delighted with it. [Chen placed his bumps into the second series of MAIDEN
WORKS THE SHUTTLE, just before each of the four-corner pushes. (See postures 75-86.)]
In the Taiji Boxing set, there are postures performed on the left side but not on the right, or on the right side
but not on the left. I have made additions so that postures are performed on both sides. [In this way, almost
every posture gets practiced on both sides, though there are still a few that are not.]
We see in the “old style” Taiji taught by the Chen family of Henan that its RETREAT, DRIVING AWAY THE
MONKEY is a left & right retreating BRUSH KNEE IN A CROSSED STANCE, turning around very nimbly. I
have added this in and called it RETREAT WITH BRUSH KNEE.
Altogether, there are now about a hundred and eight postures [by not counting the BEGINNING POSTURE].
I have taken the Long Boxing set that Yang Chengfu taught me and expanded it. [There are only fifty-nine
postures in Yang Chengfu’s list.] I would not presume to say I have invented anything, but that I have added to
the Taiji concept without diminishing it, so that there is some variation rather than mere duplication, and it
perhaps can assist you in your studies.
– written by Chen Weiming, Dec, 1927
楊澄甫先⽣所授太極⾧拳⽬錄
CATALOGUE OF POSTURES IN THE TAIJI LONG BOXING SET AS TAUGHT BY YANG CHENGFU
[The name Long Boxing certainly does not mean this let set is longer than the standard one, for it is in fact
shorter. (Long before Zheng Manqing had come up with his famous short form, Yang Chengfu had already made
one, though it is somewhat tricky that the Long set is not the “long set”.) The name Long Boxing refers to
another name for Taiji Boxing itself, explained as being like river flowing into ocean, on and on ceaselessly,
representing flow. Going by this definition, Long Boxing, which is a literal translation, connotatively translates
as Flowing Boxing. That Yang Chengfu, unless it was an earlier Yang, chose to call this set Taiji Long Boxing as
opposed to the other set being merely Taiji Boxing suggests the standard set may have been considered to be
more of a posture awareness set while the Long Boxing set was used more as the actual flow set, though this of
course is only a speculation.]
攬雀尾
[1] CATCH THE SPARROW BY THE TAIL
抎⼿
[2] CLOUDING HANDS
摟膝拗步
[3] BRUSH KNEE IN A CROSSED STANCE
琵琶式
[4] LUTE POSTURE
進步搬攔錘
[5] ADVANCE, PARRY, BLOCK, PUNCH
播箕式
[6] WINNOWING BASKET POSTURE
⼗字⼿
[7] CROSSED HANDS
抱虎歸⼭
[8] CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
單鞭
[9] SINGLE WHIP
提⼿
[10] RAISE THE HANDS
肘下錘
[11] PUNCH UNDER ELBOW
摟膝打錘
[12] BRUSH KNEE, PUNCH
轉⾝蹬脚
[13] TURN AROUND, PRESSING KICK
進步指襠錘
[14] ADVANCE, PUNCH TO THE CROTCH
野⾺分鬃
[15] WILD HORSE VEERS ITS MANE
進步攬雀尾
[16] ADVANCE, CATCH THE SPARROW BY THE TAIL
單鞭
[17] SINGLE WHIP
⽟⼥穿梭
攬雀尾
[19] CATCH THE SPARROW BY THE TAIL
轉⾝野⾺分鬃
[20] TURN AROUND, WILD HORSE VEERS ITS MANE
轉⾝單鞭下式
[21] TURN BACK, LOW-POSTURED SINGLE WHIP
⾦雞獨⽴
[22] GOLDEN ROOSTER STANDS ON ONE LEG
倒輦猴頭
[23] RETREAT, DRIVING AWAY THE MONKEY’S HEAD
斜⾶式
[24] DIAGONAL FLYING POSTURE
提⼿
⽩鶴晾翅
[26] WHITE CRANE COOLS ITS WINGS
摟膝拗步
海底珍珠
[28] PEARL UNDER THE SEA
扇通臂
[29] FAN THROUGH THE ARMS
撇⾝錘
[30] WHIPPING-TORSO PUNCH
上步搬攔錘
[31] STEP FORWARD, PARRY, BLOCK, PUNCH
進步攬雀尾
[32] ADVANCE, CATCH THE SPARROW BY THE TAIL
單鞭
[33] SINGLE WHIP
抎⼿
[34] CLOUDING HANDS
單鞭
[35] SINGLE WHIP
⾼探⾺
[36] RISING UP AND REACHING OUT TO THE HORSE
左右蹬脚
[37] PRESSING KICK TO BOTH SIDES
轉⾝蹬脚
左右摟膝
[39] BRUSH KNEE ON BOTH SIDES
雙叉⼿
[40] DOUBLE INSERTING HANDS
轉⾝踢脚
[41] TURN AROUND, KICK
左打虎式
[42] LEFT FIGHTING TIGER POSTURE
雙⾵貫⽿
[43] DOUBLE WINDS THROUGH THE EARS
左蹬脚
[44] LEFT PRESSING KICK
轉⾝蹬脚
上步搬攔錘
上步攬雀尾
[47] STEP FORWARD, CATCH THE SPARROW BY THE TAIL
⾼探⾺
⼗字腿
[49] CROSSED-BODY KICK
上步攬雀尾
[50] STEP FORWARD, CATCH THE SPARROW BY THE TAIL
單鞭下勢
[51] SINGLE WHIP, LOW POSTURE
上步七星
[52] STEP FORWARD WITH THE BIG DIPPER
下步跨虎
[53] RETREAT TO SITTING TIGER POSTURE
轉⾝擺蓮
[54] TURN AROUND, SWINGING LOTUS KICK
彎⼸射雁
[55] BEND THE BOW TO SHOOT THE TIGER
上步搬攔錘
播箕式
⼗字⼿
[58] CROSSED HANDS
合太極
[59] CLOSING POSTURE
增加太極⾧拳⽬錄
CATALOGUE OF POSTURES IN THE EXTENDED TAIJI LONG BOXING SET
[Chen Weiming added so much to Yang Chengfu’s shortened set that he lengthened it beyond the length of the
standard set, consequently making his version of the Long Boxing set the longest set in all of Yang Style. In
question #24 of his 1929 manual, Chen himself seemed to not hold this set in very high regard. Nevertheless, it
his own unique contribution to the Taiji curriculum, and if we wished to find a “Chen Weiming style” of Taiji, it
is here.]
太極起勢
[0] BEGINNING POSTURE
動步攬雀尾
[1] MOVING-STEP CATCH THE SPARROW BY THE TAIL
抎⼿
[2] CLOUDING HANDS
摟膝拗步
右琵琶
[4] RIGHT LUTE POSTURE
換步摟膝
[5] CHANGING STEP, BRUSH STEP
左琵琶
[6] LEFT LUTE POSTURE
換步摟膝
[7] CHANGING STEP, BRUSH KNEE
右琵琶
[8] RIGHT LUTE POSTURE
進步搬攔錘
播箕式
雙托掌
[11] DOUBLE PROPPING PALMS
⼗字⼿
[12] CROSSED HANDS
抱虎歸⼭
肘下通臂錘
[14] THROUGH-THE-ARM PUNCH UNDER ELBOW
左歸⼭
[15] BACK TO THE MOUNTAIN – LEFT
肘下錘
[16] PUNCH UNDER ELBOW
猴頂雲
[17] MONKEY CARRIES THE CLOUDS ON ITS HEAD
摟膝打錘
轉⾝蹬脚
進步指擋錘
[20] ADVANCE, PUNCH TO THE CROTCH
野⾺分鬃
動步攬雀尾
單鞭
[23] SINGLE WHIP
⽟⼥穿梭
〔動步攬雀尾〕
[25 – MOVING-STEP CATCH THE SPARROW BY THE TAIL]
轉⾝野⾺分鬃
轉⾝單鞭下勢
⾦雞獨⽴
退步摟膝
[29] RETREAT WITH BRUSH KNEE
斜⾶式
[30] DIAGONAL FLYING POSTURE
提⼿
⽩鶴晾翅
[32] WHITE CRANE COOLS ITS WINGS
摟膝拗步
海底珍珠
扇通臂
撇⾝錘
上步搬攔錘
動步攬雀尾
單鞭
[39] SINGLE WHIP
抎⼿
[40] CLOUDING HANDS
單鞭
[41] SINGLE WHIP
⾼探⾺
左右蹬脚
轉⾝蹬脚
換步摟膝
換步栽錘
[46] CHANGING STEP, PLANTING PUNCH
雙叉⼿
翻⾝⼆起脚
[48] TURN AROUND, DOUBLE KICK
披⾝伏虎式
[49] DRAPE THE BODY, FIGHTING TIGER POSTURE
回⾝蹬脚
[50] TURN BACK, PRESSING KICK
雙⾵貫⽿
右蹬脚
[52] RIGHT PRESSING KICK
轉⾝左蹬脚
[53] TURN AROUND, LEFT PRESSING KICK
換步搬攔錘
[54] CHANGING STEP, PARRY, BLOCK, PUNCH
如封似閉
[55] SEALING SHUT
進步雙按
[56] ADVANCE, DOUBLE-HAND PUSH
右單鞭
[57] RIGHT SINGLE WHIP
右抎⼿
[58] RIGHT CLOUDING HANDS
右單鞭下勢
[59] RIGHT SINGLE WHIP, LOW POSTURE
⾦雞獨⽴
倒輦猴
[61] RETREAT, DRIVING AWAY THE MONKEY
左斜⾶
[62] LEFT DIAGONAL FLYING POSTURE
左提⼿
[63] RAISE THE HANDS – LEFT
左晾翅
[64] WHITE CRANE COOLS ITS WINGS – LEFT
左摟膝
[65] LEFT [RIGHT] BRUSH KNEE
海底針
[66] NEEDLE UNDER THE SEA
右通臂
[67] RIGHT FAN THROUGH THE ARMS
撇⾝錘
進步搬攔錘
播箕式
雙托掌
⼗字⼿
[72] CROSSED HANDS
左抱虎歸⼭
右單鞭
[74] RIGHT [DIAGONAL] SINGLE WHIP
野⾺分鬃
進步肩靠
[76] ADVANCE, SHOULDER BUMP
⽟⼥穿梭
野⾺分鬃
進步肩靠
⽟⼥穿梭
野⾺分鬃
進步肩靠
⽟⼥穿梭
野⾺分鬃
進步肩靠
⽟⼥穿梭
左右⾵輪
[87] WINDMILLING TO BOTH SIDES
動步攬雀尾
單鞭
[89] SINGLE WHIP
抎⼿
[90] CLOUDING HANDS
⾼探⾺
⼗字腿
左右摟膝打錘
[93] BRUSH KNEE AND PUNCH ON BOTH SIDES
左琵琶
彎⼸射雁
[95] BEND THE BOW TO SHOOT THE GOOSE
進步搬攔錘
如封似閉
[97] SEALING SHUT
進步雙按
左單鞭下勢
[99] LEFT SINGLE WHIP, LOW POSTURE
七星脚
[100] BIG DIPPER, KICK
退步踢脚
[101] RETREAT, KICK
轉⾝擺蓮
彎⼸射虎
上步搬攔錘
[104] STEP FORWARD, BLOCK, PARRY, PUNCH
播箕式
雙托掌
⼗字⼿
[107] CROSSED HANDS
合太極
太極⾧拳
TAIJI LONG BOXING
動步攬雀尾
起勢向南。如太極拳。惟捋回之時。左⾜略騰起前進半步。擠出時右⾜略騰起前進半步。擠後兩⼿收回時。左⾜
復進半步。按出時右⾜復進半步。
The BEGINNING POSTURE faces “south”. [The movements of SPARROW] are as in the Taiji Boxing set, except
that when you roll back, your left foot slightly lifts and advances a half step, then when you press out, your right
foot slightly lifts and advances a half step, then when your hands withdraw after the press, your left foot again
advances a half step, and then when you push, your right foot again advances a half step.
抎⼿
[2] CLOUDING HANDS
按後。兩⼿隨腰。轉⼀圓規。如太極拳。惟左⼿不作單鞭式。⽽作抎⼿。抎⼿共兩次。第⼆次右⼿抎⾄左肩上
時。復回下。⽽作摟膝拗步。⾯向東。
摟膝拗步。右琵琶。又摟膝拗步。均如太極拳。
After the push, your hands go along with your waist by making a circle as in the Taiji Boxing set, except your left
hand does not then make the SINGLE WHIP posture and instead you perform CLOUDING HANDS. Cloud for a
total of two times, and once your right hand is over your left shoulder the second time, then it withdraws
downward and you perform [3] BRUSH KNEE IN A CROSSED STANCE facing to the east.
After BRUSH KNEE IN A CROSSED STANCE, then [4] RIGHT LUTE POSTURE, then another BRUSH
KNEE IN A CROSSED STANCE, all as in the Taiji Boxing set.
換步摟膝
右⾜略騰起落下。右⼿與左⼿隨勢往右收。往下鬆。轉⼀圓規。左⾜復略騰起落下。左⾜尖向東北。坐左邊腰。
兩⼿由右邊復轉上。左⼿由左邊往後轉⼀⼤圓規。右⼿摟膝。左⼿按出。變為左勢之摟膝拗步。
Your right foot slightly lifts and comes down, and your hands go along with the momentum by withdrawing to
the right and loosening downward to make a circle. Your left foot also slightly lifts and comes down with the
toes now pointing to the northeast. As your waist sits to the left, your hands continue upward from the right.
Your left hand from the left goes [downward and] to the rear in a large circle, then your right hand brushes past
your knee as your left hand pushes out, thus switching you to BRUSH KNEE IN A CROSSED STANCE on the
left side. [To sum up this fuzzily explained circling of the hands, the right hand is making a full counterclockwise
circle while the left hand is drawing a figure-eight.]
左琵琶
左⾜略騰起落下。右⾜收回。兩⼿亦同時往回收。右⼿在前。左⼿在後。變為左琵琶式。由左琵琶。復變為左勢
之摟膝拗步。
Your left foot slightly lifts and comes back down, and your right foot withdraws, your hands withdrawing at the
same time, right hand in front, left hand behind, making the LEFT LUTE posture.
Then change to BRUSH KNEE IN A CROSSED STANCE on the left side.
換步摟膝
左⾜略騰起落下。左⼿與右⼿。隨勢往左收。往下鬆。轉⼀圓規。右⾜復畧騰起落下。右⾜尖向東南。坐右邊
腰。兩⼿由右邊復轉上。右⼿由右邊往後轉⼀⼤圓規。左⼿摟膝。右⼿按出。復變為右勢之摟膝拗步。由拗步復
變為右琵琶式。進步搬攔錘。與太極拳無異。
Your left foot slightly lifts and comes back down, and your hands go along with the momentum by withdrawing
to the left and loosening downward to make a circle. Your right foot also slightly lifts and comes down with the
toes now pointing to the southeast. As your waist sits to the right, your hands continue upward from the right
[left]. Your right hand from the right goes [downward and] to the rear in a large circle, then your left hand
brushes past your knee as your right hand pushes out, thus switching you to BRUSH KNEE IN A CROSSED
STANCE on the right side. [The left hand has made a full counterclockwise circle while the right hand has drawn
a figure-eight.]
Then change to [8] RIGHT LUTE POSTURE and then [9] ADVANCE, PARRY, BLOCK, PUNCH, same as in
the Taiji Boxing set.
播箕式
與如封似閉相同。惟兩⼿按出時。⼿⼼平向下。
This is the same as SEALING SHUT, except that when your hands push out, the palms are facing downward.
雙托掌
右⾜略騰起。前進半步。兩⼿左右分開。轉⼀⼤圓規。轉⾄兩脇下。左⾜復騰起前進半步。兩⼿轉⾄脇下時。兩
⼿⼼漸轉向上。復向前托出。由雙托掌變為⼗字⼿。如太極拳同。
Your right foot slightly lifts and advances a half step as your hands spread away to the sides and arc in large
circles until below your ribs. Your left foot then lifts and advances a half step, and once your hands are below
your ribs, the palms gradually turn upward, then come out forward, propping up.
Then change to [12] CROSSED HANDS, same as in the Taiji Boxing set.
抱虎歸⼭
由⼗字⼿。變抱虎歸⼭。亦與太極拳同。惟捋回擠出。兩步仍騰起。前進半步。擠出後。不再按。左⼿仍靠右
⼿。往前轉⼀⼩圓規。腰亦隨動。隨卽變為肘下錘。與太極拳轉動皆相同。
From CROSSED HANDS, change to CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, same as
in the Taiji Boxing set, except that when rolling back and pressing out, both feet lift and advance a half step [left
foot during the rollback, then right foot during the press], and after the press, there is no longer the push, but
instead the left hand remains near the right hand, which arcs in a small circle and goes forward, your waist
going along with the movement. [This single-hand version of the push resembles that of Wu style.]
Then change to PUNCH UNDER ELBOW, all the movements of which are the same as in the Taiji Boxing set.
肘下通臂錘
[14] THROUGH-THE-ARM PUNCH UNDER ELBOW
由肘下錘。右⼿不斷。往上起⾄額前。右拳隨右⾜往前打出。其勢如扇通臂。惟右⾜在前⽿。
From PUNCH UNDER ELBOW, your right [left] hand does not pause, but lifts upward until in front of your
forehead, and your right fist goes along with your right foot to strike out forward. This posture is like FAN
THROUGH THE ARMS, except your right foot is in front [and a fist is used instead of a palm].
左歸⼭
右掌鬆開往上轉。右⾜尖亦轉向東南。左⾜往東北邁去。右⼿由⽿邊按出。左⼿收回。在左脇下。如抱虎歸⼭。
惟在左⾯⽿。捋回擠出。均如右邊之抱虎歸⼭。兩步亦騰起。前進半步。變為左邊之肘下錘。轉動均如右法。右
掌在前。左拳在肘下。右⾜在前。
Your right palm [fist] opens [to become a palm] and arcs upward as your right foot turns so the toes point to the
southeast [northwest]. Your left foot steps out to the northeast [southwest] while your right hand pushes out
from your ear and your left hand withdraws to be below your left ribs. It is like CAPTURE THE TIGER AND
SEND IT BACK TO ITS MOUNTAIN, except on the left side. Rolling back and pressing out are the same as in
CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN, with both feet lifting and advancing a half
step. [Perform also the small-circle single-hand push with your left hand, your right hand staying close.]
Then change to the left version of [16] PUNCH UNDER ELBOW, the movements of which are the same as on
the right side, but your right palm is forward, your left fist below your elbow, and your right foot in front. [You
are again facing to the west.]
猴頂雲
[17] MONKEY CARRIES THE CLOUDS ON ITS HEAD
右⼿鬆開往後轉。右⾜往後退。變猴頂雲。與倒輦猴同。惟頭略向上頂。退四次。
Your right [left] hand opens and arcs to the rear as your right foot retreats, making MONKEY CARRIES THE
CLOUDS ON ITS HEAD, which is the same as RETREAT, DRIVING AWAY THE MONKEY, except your head is
pressing slightly upward. Retreat four times [therefore finishing with your right foot forward].
摟膝打錘
右⾜提起略收回落下。使⾜尖向東南。右⼿同時向左邊下鬆。復圓轉向上折。轉隨腰往右握拳。左⼿摟膝。左⾜
前進。右拳打出。
Your right foot slightly lifts, coming down with the toes pointing to the southeast. At the same time, your right
hand loosens downward to the left side, then arcs upward and flips over as a fist, going along with the turning of
your waist. Your left hand brushes past the knee as your left foot advances, and your right fist strikes out. [This
is similar to PARRY, BLOCK, PUNCH.]
轉⾝蹬脚
左⾜跟轉動。使⾜尖向南。左⼿隨腰向上。轉⾄額前。⼿⼼向外。右拳收⾄左脇下。拳⼼向下。右⾜略提起。使
⾜尖點地。向西南。兩⼿分開。右右向西蹬出。進步指襠錘。與太極拳同。
Your left foot turns on the heel to point the toes to the south while your left hand, going along with your waist,
arcs upward until in front of your forehead, palm outward, your right fist withdrawing to be below your left ribs,
the center of the fist downward. Your right foot slightly lifts, toes touching down pointed to the southwest. Your
hands spread apart as your right foot presses out to the west. [This movement is similar to CROSSED-BODY
KICK in the Taiji Boxing set.]
Then perform [20] ADVANCE, PUNCH TO THE CROTCH, same as in the Taiji Boxing set.
野⾺分鬃動步攬雀尾單鞭
[23] SINGLE WHIP
右拳鬆開。與左⼿相合。右⾜往西北邁去。兩⼿分開。作野⾺分鬃式。變為動步攬雀尾單鞭。與太極拳野⾺分鬃
後變攬雀尾相同。惟步⾛動。如第⼀式。
Your right fist opens and your hands come together [as your right leg bends in]. Your right foot steps out to the
northwest and your hands spread apart, performing WILD HORSE VEERS ITS MANE.
Then change to MOVING-STEP CATCH THE SPARROW BY THE TAIL and SINGLE WHIP. WILD HORSE
is the same as in the Taiji Boxing set, and CATCH THE SPARROW is the same apart from the moving steps, as
before in Posture 1.
⽟⼥穿梭
左⾜跟轉動。⾜尖向南。左⼿向上。轉⾄額前。⼿⼼向外。右⼿屈⾄左脇下。右⾜提起。收⾄左⾜處。⾜跟與右
⾜尖相對。⾜尖向西。成⼀⼋字形。左⼿由額上往下。轉⼀⼤圓規。右⼿沈⾄右脇。左⼿轉⾄右⼿處。復往上。
左⾜往西南邁⼀⼤步。左⼿不停。轉⾄額上。⼿⼼向外。右拳打出。如⽟⼥穿梭。惟掌變為拳⽿。以下轉向東南
東北西北四隅。均如太極拳之變動。均易掌為拳。由⽟⼥穿梭變為動步攬雀尾。
Your left foot pivots on the heel to point the toes to the south while your left hand arcs upward to be in front of
your forehead, palm outward, your right hand bends in to be below your left ribs, and your right foot lifts and
withdraws to be next to your left foot. The toes of your right foot are pointing to the east, and so your feet are at
a ninety degree angle to each other.
Your left hand goes downward from above your forehead, arcing in a large circle to be by your right hand,
which has slid over to your right ribs, then again upward. Your left foot takes a large step to the southwest while
your left hand, which has not paused, arcs above your forehead, palm outward, and your right fist strikes out. It
is like MAIDEN WORKS THE SHUTTLE [in the Taiji Boxing set], except that the palm is changed to a fist.
Turning around to the rest of the four corners – southeast, northeast, then northwest – is all as in the Taiji
Boxing set, but all using fist in place of palm.
Then change to [25] MOVING-STEP CATCH THE SPARROW BY THE TAIL.
轉⾝野⾺分鬃
攬雀尾兩⼿雙按之後。不變單鞭。右⼿收回。轉⼀⼩圓規。卽往下分。⼿⼼向下。右⾜跟轉動。使⾜尖向南。左
⾜往西北邁⼀⼤步。左⼿與右⼿。同時轉⼀⼤圓規。轉⾄右⼿脇下時。隨左⾜往西北分開。成野⾺分鬃式。右⼿
復與左⼿相合。右⾜往東南邁。兩⼿分開。共作野⾺分鬃六次。第七次分鬃。左步往正東邁去。左⼿亦往正東。
After CATCH THE SPARROW’s double-hand push, do not change to SINGLE WHIP. Your right hand
withdraws, making a small arc in which it will spread away downward [in tandem with the spreading away of
your left hand], palm downward, while your right foot pivots on the heel to point the toes to the south. Your left
foot takes a large step to the northwest [northeast] while your left hand makes a large arc, moving at the same
time as your right hand, and once your right hand has arrived below your right ribs, [your left hand] then
follows your left foot by spreading away to the northwest [northeast], performing WILD HORSE VEERS ITS
MANE.
Your hands then come together, your right foot steps to the southeast, and your hands spread apart. Perform
WILD HORSE VEERS ITS MANE a total of six times. Then perform it a seventh time with your left foot
stepping directly to the east, your left hand also extending due east.
轉⾝單鞭下勢
由向東之野⾺分鬃。右⼿向下。轉⾄東邊。與左⼿相近處。兩⼿復同時向上往西轉。眼神隨之。右⼿轉⾄西邊。
變成吊⼿。⾝往下坐。在右腿上。左⼿作下勢式。左右⾦雞獨⽴。亦與太極拳同。
From WILD HORSE VEERS ITS MANE to the east, your right hand lowers in an arc until near your left hand in
the east. Both hands then arc in unison upward and to the west, your gaze following their movement. Once your
right hand has arrived in the west, it changes into a hanging hand, your torso squats down onto your right leg,
and your left hand performs the LOW POSTURE.
Then perform [28] GOLDEN ROOSTER STANDS ON ONE LEG on both sides, same as in the Taiji Boxing
set.
退步摟膝
[29] RETREAT WITH BRUSH KNEE
由⾦雞獨⽴。左⾜往後往北邁。⾜尖向北。右⾜尖轉向東北。左⼿摟膝。右⼿轉⼀圓規。向北按出。轉動均如摟
膝拗步。惟⾯向正北⽿。左⾜跟轉動。使⾜尖向東南。右⾜往後往南邁。⾜尖向南。右⼿摟膝。左⼿按出。⾯向
正南。共打五次或七次。右步按出⽽⽌。變斜⾶式提⼿⽩鶴晾翅摟膝拗步。均如太極拳同。
From GOLDEN ROOSTER STANDS ON ONE LEG, your left foot steps behind and to the north, toes pointing to
the north. Your right foot turns so the toes are pointing to the northeast, your left hand brushes past your knee,
and your right hand makes a circle and pushes out to the north. The movement is all the same as in BRUSH
KNEE IN A CROSSED STANCE, except the direction is to the north.
Your left foot pivots on the heel to point the toes to the southeast, your right foot steps behind to the south,
the toes pointing to the south, your left hand brushes past your knee, and your left hand pushes out. You are
now facing to the south.
Perform this for a total of five to seven [four to six] times, concluding on the right side [facing to the south].
Then change to [30] DIAGONAL FLYING POSTURE [to the southwest], [31] RAISE THE HANDS, [32]
WHITE CRANE COOLS ITS WINGS, and [33] BRUSH KNEE IN A CROSSED STANCE, same as in the Taiji
Boxing set.
海底珍珠扇通臂
海底珍珠。與海底針同。惟右掌收回時。須隨腰轉⼀圓規。落下。⽤拳⽽不⽤掌。扇通臂亦與太極拳同。惟左步
前進稍遠。右⾜不離地。亦隨之前進。
撇⾝錘上步搬攔錘動步攬雀尾單鞭抎⼿單鞭⾼探⾺均如前。
PEARL UNDER THE SEA is the same as NEEDLE UNDER THE SEA, except that when your right hand
withdraws, it must go along with your waist and make a circle, and then come down using a fist instead of a
palm.
FAN THROUGH THE ARMS is also the same as in the Taiji Boxing set, except that the left step is slightly
farther forward and your right foot advances correspondingly, sliding along the ground.
Then perform these postures, all as in the Taiji Boxing set:
[39] SINGLE WHIP
[40] CLOUDING HANDS
[41] SINGLE WHIP
左右蹬脚轉⾝蹬脚
由⾼探⾺轉右蹬脚。兩⼿隨腰轉動⽽上。右⼿在前在上。左⼿在後在下。兩掌斜對相合。⼿尖均斜向東南。兩⼿
復斜向下。轉⼀⼩圓規相合。右⾜蹬出。兩⼿分開。變左蹬脚時。兩⼿隨腰轉動⽽上。左⼿在前在上。右⼿在後
在下。兩掌斜對相合。⼿尖均斜向東北。兩⼿復斜向下。轉⼀⼩圓規相合。左⾜蹬出。兩⼿分開。轉⾝蹬脚亦同
太極拳。
From RISING UP AND REACHING OUT TO THE HORSE, change to RIGHT PRESSING KICK. Your hands go
along with your waist and arc upward, right hand in front and above, left hand behind and below, the palms
diagonally facing each other, the fingertips of both pointing diagonally to the southeast. Your hands then go
diagonally downward, make a small circle to come together, and your right foot presses out, your hands
spreading apart.
When changing to LEFT PRESSING KICK, Your hands go along with your waist and arc upward, left hand in
front and above, left hand behind and below, the palms diagonally facing each other, the fingertips of both
pointing diagonally to the northeast. Your hands then go diagonally downward, make a small circle to come
together, and your left foot presses out, your hands spreading apart.
Then perform TURN AROUND, PRESSING KICK, same as in the Taiji Boxing set.
換步摟膝換步栽錘
[46] CHANGING STEP, PLANTING PUNCH
左⾜蹬出後。變摟膝拗步。右⼿按出。與太極拳同。換步摟膝。左⼿按出如前。復換步。左⼿摟膝。右⼿往右轉
上握拳。從⽿邊向下打栽錘。眼神隨右拳看。
After your left foot presses out, change to BRUSH KNEE IN A CROSSED STANCE with your right hand pushing
out, same as in the Taiji Boxing set.
Then perform CHANGING STEP, BRUSH KNEE with your left hand pushing out as before.
Again do the CHANGING STEP movements so your left hand is brushing past your knee while your right
hand arcs upward, grasping into a fist, and goes downward from your ear with a planting punch, your gaze
following along to look toward your right fist.
雙叉⼿
右⾜向西邁⼀⼤步。兩⼿由下分開。轉上相合。與雙⾵貫⽿同。惟兩⼿⽤掌。⼿⼼向下。指尖相對。
Your right foot takes a large step to the west while your hands spread apart from below and arc upward to come
together, same as in DOUBLE WINDS THROUGH THE EARS, but instead using palms. The palms are facing
downward [outward], fingertips pointing toward each other.
翻⾝⼆起脚
[48] TURN AROUND, DOUBLE KICK
右⾜跟轉動。⾜尖向南。坐實右腿。兩⼿隨腰向南。轉動相合。右⼿在額上。⼿⼼向外。左⼿在右脇下。⼿⼼向
下。左⾜跟亦同時轉動。⾜尖向東北。坐實左腿。右⾜向東平踢起。右⼿⼼拍⾜背。左⼿轉⾄右腰際。⼿⼼向
上。右⾜拍後。旋落下。⾜尖向南。兩⼿相合。作斜⼗字。左⾜向東平踢起。左⼿⼼拍⾜背。右⼿向西分開。
Your right foot pivots on the heel to point the toes to the south, and the weight shifts to your right leg. Your
hands go along with your waist in turning to the south, arcing together so your right hand is above your
forehead, palm outward, and your left hand is below your right ribs, palm downward, your left foot at the same
time pivoting on the heel to point the toes to the northeast.
The weight shifts to your left leg, and your right foot does a level kick to the east, your right palm slapping the
back of the foot, your left hand turning over at the right side of your waist so the palm is upward.
After your right foot has been slapped, it then comes down with the toes pointing to the south [southeast],
your hands coming together to make the CROSSED HANDS shape. Your left foot does a level kick to the east,
your left palm slapping the back of the foot, your right hand spreading away to the west.
披⾝伏虎式
[49] DRAPE THE BODY, FIGHTING TIGER POSTURE
左⾜踢後。卽落下。與右⾜並⽴。右⼿由西向上向東轉⾄左⼿處。左⾜往西平邁⼀⼤步。兩⼿轉動。作披⾝伏虎
式。惟右拳在上。左拳在下。與太極拳相同。⽽形式相反。轉右⾜跟。左⾜往東北邁⼀⼤步。兩⼿轉動。作披⾝
伏虎式。左拳在上。右拳在下。與太極拳相同。⽽⽅向形式均相反。
After your left foot kicks, it comes down to stand beside your right foot, your right hand arcing upward from
west to east until by your left hand. Your left [right] foot takes a large sideways step to the west as your hands
arc, performing DRAPE THE BODY, FIGHTING TIGER POSTURE, which apart from your right fist being
above and left fist below, is the same as in the Taiji Boxing set, the [direction and] posture reversed.
Pivoting on your right heel, your left foot then takes a large step to the northeast as your hands arc,
performing DRAPE THE BODY, FIGHTING TIGER POSTURE with the left fist above, right fist below, same as
in the Taiji Boxing set but with the direction and posture reversed [stepping to the northeast instead of
southeast].
回⾝蹬脚雙⾵貫⽿
[50] TURN BACK, PRESSING KICK
右拳轉上。與左拳合。復分開。轉⾝相合。⾝復向南。蹬左脚。兩⼿分開。左腿提回。兩⼿復翻轉相合。⾄左膝
處。左⾜往東北邁⼀⼤步。兩⼿同時分開相合。作雙⾵貫⽿式。與太極拳轉動均相同。惟⽅向相反。
Your fists come together and open, moving with your torso as it turns to face south, and as your left foot does a
pressing kick, your hands spread apart. Your left leg withdraws lifted, your hands arcing together until by your
left knee.
Your left foot takes a large step to the northeast while your hands spread apart and come together,
performing DOUBLE WINDS THROUGH THE EARS, the movements of which are the same as in the Taiji
Boxing set, except the direction is reversed [to the northeast instead of southeast].
右蹬脚轉⾝左蹬脚
[52] RIGHT PRESSING KICK
[53] TURN AROUND, LEFT PRESSING KICK
⾝復轉向南。兩⼿隨⾝分開相合。作⼗字。右⾜蹬出。右⾜提回。⾝旋轉⼀周。仍向南。左⾜蹬出。⼀切轉動。
均與太極拳相同。惟⽅向相反。
Your torso then turns to face south [north], [your left foot pivoting on the heel to point the toes to the north,]
your hands going along with the movement by spreading apart and coming together to make the CROSSED
HANDS shape. Your right foot presses out, [your hands spreading apart].
Your right foot then withdraws lifted, your body makes a complete [leftward] spin to again be [to then be]
facing south, [your hands coming together to make a CROSSED HANDS shape,] and your left foot presses out
[with your hands again spreading apart]. All of these movements are the same as in the Taiji Boxing set, except
with [left and right switched and] the direction reversed [this being the direction your torso is facing, not the
direction of the kicks].
換步搬攔錘
[54] CHANGING STEP, PARRY, BLOCK, PUNCH
左⾜蹬出後。仍收回。⾜尖下垂落下。⾜尖向東北。左⼿隨左⾜往下鬆。復向上轉。左⼿轉⾄胸前。復隨左⾜往
下沈。握拳藏於左脇下。進右步。右⼿搬攔。左⼿打拳。右⼿扶左腕處。左⾜復提起落下。換步之變動。與換步
摟膝同。進左步。右⼿打步。左⼿扶右腕處。
After your left foot presses out, it again withdraws, toes hanging down, and comes down with the toes pointing
to the northeast. Your left hand goes along with your left foot by loosening downward [to the right], arcs upward
until in front of your chest, then sinks down [to the left], going along with [the weight shifting onto] your left
foot, grasping into a fist, and is stored below your left ribs. Advancing with your right foot, your right hand does
a parrying block, and your left fist strikes, your right hand assisting at your left wrist.
Your left foot then lifts and comes down, the CHANGING STEP movements the same as in CHANGING
STEP, BRUSH KNEE [i.e. Your left foot lifts and comes down, your hands lowering to the left, your right foot
lifts and comes down with the toes pointing to the southeast, and your right hand grasps into a fist and is stored
below your right ribs.]. Advancing with your left foot, [your left hand does a parrying block] and your right fist
strikes, your left hand assisting at your right wrist.
如封似閉進步雙按
[55] SEALING SHUT
如封似閉。如太極拳。惟兩⼿分開時。右步略提起前進。兩⼿按出時。左步亦略提起前進。兩⼿復往上鬆回。右
步提起略進。兩⼿復按出。左步提起前進。如攬雀尾之按。惟左⾜在前。
SEALING SHUT is the same as in the Taiji Boxing set, except that when your hands spread apart, your right foot
lifts and advances, and when your hands push out, your left foot lifts and advances.
Your hands then loosen upward and withdraw as your right foot lifts and advances, then your hands push out
again as your left foot lifts and advances. It is like the push in CATCH THE SPARROW, except with your left
foot in front.
右單鞭
[57] RIGHT SINGLE WHIP
兩⼿復鬆回。左⼿隨腰轉⼀⼩圓規。右⼿隨腰轉⼀⼤圓規。左⼿成吊⼿。右⼿變單鞭。左⾜跟轉動。⾜尖向南。
右⾜略往東北邁⼀⼤步。如太極拳之單鞭。惟左右⼿⽅向不同。
Your hands then loosen and withdraw, your left hand going along with your waist to make a small circle, your
right hand going along with your waist to make a large circle. Your left hand makes a hanging hand and your
right hand changes to SINGLE WHIP as your left foot pivots on the heel to point the toes to the south and your
right foot takes a large step slightly to the northeast [northwest]. It is like SINGLE WHIP in the Taiji Boxing set,
except your hands are switched left and right and the direction is reversed.
右抎⼿右單鞭下勢
[58] RIGHT CLOUDING HANDS
抎⼿由東往西⾏。變為右單鞭下勢。與太極拳⽅向相反。
⾦雞獨⽴。倒輦猴。左斜⾶。左提⼿。左晾翅。左摟膝。海底針。右通臂。撇⾝錘。進步搬攔錘。播箕式。雙托
掌。⼗字⼿。左歸⼭。右單鞭。以上各式。均如前法。惟右式變為左式。或左式變為右式。
Perform CLOUDING HANDS from east to west.
Then change to SINGLE WHIP, LOW POSTURE as in the Taiji Boxing set, but with the direction reversed
[and left and right switched].
The postures below are all same as before [60-69 from the Taiji Boxing set, 70-74 from the Long Boxing set],
except that postures on the right have been changed to the left and postures on the left have been changed to the
right:
[60] GOLDEN ROOSTER STANDS ON ONE LEG [facing west]
[61] RETREAT, DRIVING AWAY THE MONKEY
[62] LEFT DIAGONAL FLYING POSTURE [facing southeast]
[63] RAISE THE HANDS – LEFT
[64] WHITE CRANE COOLS ITS WINGS – LEFT [facing west]
[65] LEFT [RIGHT] BRUSH KNEE
[66] NEEDLE UNDER THE SEA
[67] RIGHT FAN THROUGH THE ARMS
[68] WHIPPING-TORSO PUNCH [facing east]
[72] CROSSED HANDS [facing north]
[73] BACK TO THE MOUNTAIN – LEFT [southwest]
[74] RIGHT [DIAGONAL] SINGLE WHIP [northeast]
野⾺分鬃
由右單鞭復坐實左腿。右⼿隨腰收回。與左⼿相合。左⼿在上。右⼿在下。右⾜往西北邁⼀⼤步。兩⼿分開。右
⼿在前。左⼿在後。⾯向西北。成野⾺分鬃式。
From RIGHT [DIAGONAL] SINGLE WHIP, shift the weight to your left leg, [your left foot pivoting toward the
west,] your right hand going along with your waist to withdraw toward your left hand, your hands coming
together as left hand above, right hand below. Your right foot takes a large step to the northwest and your hands
spread apart, right hand forward, left hand behind, facing to the northwest, making the posture of WILD
HORSE VEERS ITS MANE.
進步肩靠
左⾜提起。向西北前進半步。兩⼿略向上往裏相合。右⾜復提起。前進半步。兩⼿合⾄胸前時。左⼿輕扶右肘裏
灣。右⼿向下鬆。轉⼀圓規。隨右步往下鬆直。左⼿仍扶原處。坐實右腿。眼神向西北看。此式如⼤捋之靠。
Your left foot lifts and advances a half step to the northwest as your hands come together inward and slightly
upward. Your right foot then lifts and advances a half step. When your hands come together in front of your
chest, your left hand lightly assists at the inside bend of your right elbow, your right hand loosens downward in
an arc, then goes along with your right step by loosening straight down, your left hand still assisting at the same
place, and the weight shifts onto your right leg. Your gaze is to the northwest. This posture is like the bump in
the large rollback exercise.
⽟⼥穿梭
兩⼿復提起。提⾄額前。腰往後坐。兩⼿隨腰往後鬆轉。右⼿⼼本向內者。漸轉⾄⼿⼼向外。腰復往前進。右⼿
轉⾄額上。左⼿按出。成⽟⼥穿梭式。
Your hands lift again, lifting until in front of your forehead as your waist sits back, your hands going along with
your waist by loosening in an arc to the rear. Your right palm, which was inward, gradually turns until the palm
is outward while your waist again advances, your right hand arcing until above your forehead, your left hand
pushing out, making the posture of MAIDEN WORKS THE SHUTTLE.
野⾺分鬃進步肩靠⽟⼥穿梭
右⾜提起。向裏裹步。使⾜尖向東南。與左⾜成⼋字形。兩⼿隨步相合。右⼿在上。左⼿在下。轉⾝。左⾜往東
北邁⼀⼤步。兩⼿分開。作野⾺分鬃式。兩⼿略向上往裏相合。合⾄胸前時。右⼿輕扶左肘裏灣。左⼿向下鬆。
轉⼀圓規。隨左步往下鬆直。右⼿仍扶原處。兩⾜提起前進如前法。坐實左腿。眼神向東北看。如⼤捋之靠。變
⽟⼥穿梭。如前法。惟兩⼿及⽅向不同。右⾜往東南邁⼀⼤步。野⾺分鬃⽟⼥穿梭如前法。此變為向東南⽅。右
⾜仍向裏裹步。與右⾜成⼋字形。左⾜往西南邁⼀⼤步。野⾺分鬃進步肩靠⽟⼥穿梭如前法。此變為向西南⽅。
Your right foot lifts and wraps inward to point the toes to the southeast, making a ninety degree angle with your
left foot, your hands going along with the step by coming together as right hand above, left hand below. Turning
around, your left foot takes a large step to the northeast and your hands spread apart, making the posture of
WILD HORSE VEERS ITS MANE.
Your hands come together inward and slightly upward, and once they are together in front of your chest, your
right hand lightly assists at the inside bend of your left elbow, your left hand loosens downward in an arc, then
goes along with your left step by loosening straight down, your right hand still assisting at the same place. Your
feet lift and advance in the same manner as before, and the weight shifts onto your left leg. Your gaze is to the
northeast. It is like the bump in the large rollback exercise.
Change to MAIDEN WORKS THE SHUTTLE, same as before, except the direction of the hands is different.
Your right foot takes a large step to the southeast. Perform these postures as before, except now to the
southeast:
[82 – ADVANCE, SHOULDER BUMP]
Your right foot again wraps inward to make a ninety degree angle with your right [left] foot, and [turning
around,] your left foot takes a large step to the southwest, then perform these postures as before, except now to
the southwest:
左右⾵輪
[87] WINDMILLING TO BOTH SIDES
右⼿往上鬆。往右轉動。左⼿往左鬆。往下轉動。右步往西北邁⼀⼤步。如野⾺分鬃之步。左⼿隨腰隨右步往西
北輪轉。⼿⼼向西北向外。⼿指向下。右⼿隨腰隨左步往上輪轉。⼿⼼向下。左⼿向左。又向上鬆轉。右⼿向
右。又向下鬆轉。左步往西南邁⼀⼤步。右⼿隨腰隨左步往西南輪轉。⼿⼼向西南向外。⼿指向下。左⼿隨腰隨
右步往上輪轉。⼿⼼向下。兩⼿如輪。與抎⼿相彷彿。惟步法不同。
With your right hand loosening upward and arcing to the right, and your left hand loosening to the left and
arcing downward, your right foot takes a large step to the northwest, same as in WILD HORSE VEERS ITS
MANE. Your left hand goes along with your waist and your right step by wheeling to the northwest, palm
outward toward the northwest, fingers downward. Your right hand goes along with your waist and with the
moving up of your left foot [a follow step] by wheeling so the palm is downward.
With your left hand arcing upward to the left and your right hand arcing downward to the right, your left foot
takes a large step to the southwest. Your right hand goes along with your waist and your step by wheeling to the
southwest, palm outward toward the southwest, fingers downward. Your left hand goes along with your waist
and with the moving up of your right foot by wheeling so the palm is downward.
The wheeling of your hands seems like CLOUDING HANDS, but the stepping is different. [The movement is
similar to the alligator technique in Xingyi.]
動步攬雀尾單鞭擅⼿⾼探⾺
[89] SINGLE WHIP
[90] CLOUDING HANDS
輪⾄右⼿在上時。左⾜前進半步。左⼿隨之捧出。變為動步攬雀尾。單鞭抎⼿⾼探⾺。均如前法。
The windmilling action finishes with your right hand up, and your left foot advances a half step [instead of a full
follow step], your left hand going along with it by warding off. Perform MOVING-STEP CATCH THE
SPARROW BY THE TAIL, SINGLE WHIP, CLOUDING HANDS, and RISING UP AND REACHING OUT TO
THE HORSE as before.
⼗字腿左右摟膝打錘
[93] BRUSH KNEE AND PUNCH ON BOTH SIDES
由⾼探⾺左⼿穿出。轉⾝向東亦如前。惟以左⼿⼼拍右⾜背。拍後。左⾜提起落下。⾜尖向西北。左⼿摟膝。進
左步。右⼿打拳。轉左⾜尖使向東北。右⼿摟膝。左⼿打錘。
From RISING UP AND REACHING OUT TO THE HORSE, your left hand threads out. Turn around toward the
east [west] as before [in the Taiji Boxing set], except your left palm slaps the back of your right foot.
After the slap, your left [right] foot lifts and comes down with the toes pointing to the northwest. Your left
hand brushes past the knee as you advance your left foot, and your right hand strikes with a punch.
Turn your left foot so the toes point to the northeast [southwest]. Your right hand brushes past the knee [as
you advance your right foot], and your left hand strikes with a punch.
左琵琶彎⼸射雁
[95] BEND THE BOW TO SHOOT THE GOOSE
左⾜提起落下。右⾜提起收回。兩⼿亦同時收回。右⼿在前。左⼿在後。變左琵琶式。由左琵琶。兩⼿隨腰向上
向右鬆轉。右⼿在上。左⼿在下。如捧球式。轉⾄右邊。復向下轉。左⾜向西南邁⼀⼤步。兩⼿轉⾄左膝外。復
向西北轉上。作射雁式。右⼿略⾼。眼神亦隨之轉動。
進步搬攔錘如封似閉單鞭下勢。均如太極拳。
Your left foot lifts and comes down and your right foot lifts and withdraws as your hands withdraw, right hand
in front, left hand behind, performing LEFT LUTE POSTURE.
From LEFT LUTE, your hands go along with your waist by loosening into an arc upward and to the right,
right hand above, left hand below, as if holding a ball. Once they have arced to the right side, they then arc
downward, your left foot takes a large step to the southwest, your hands arcing until to the outside of your left
knee, and then they arc upward to the northwest, making the SHOOT THE GOOSE posture, your right hand
slightly higher [than your left]. Your gaze follows along with the movement. [This is not like the posture of the
same name in the sword set, but is closer to the Sun style version of BEND THE BOW TO SHOOT THE TIGER
with left and right switched.]
Then perform these postures as they are in the Taiji Boxing set [as they are in the Long Boxing set in Postures
54-57, except with left and right switched and the directions reversed – facing west for Postures 96-98, then
facing east for Posture 99]:
[97] SEALING SHUT
[98 – ADVANCE, DOUBLE-HAND PUSH]
七星脚退步踢脚轉⾝擺蓮
[100] BIG DIPPER, KICK
[101] RETREAT, KICK
七星脚如上步七星。惟右⾜隨進步時踢出。退步踢脚。如退步跨虎。惟左⾜隨退步時踢出。踢出後。⾜不落下。
卽變轉⾝擺蓮。如前法。彎⼸射虎上步搬攔錘播箕式雙托掌⼗字⼿合太極。均如前法。
BIG DIPPER, KICK is like STEP FORWARD WITH THE BIG DIPPER, except that when you advance, your right
foot kicks out.
RETREAT, KICK is like RETREAT TO SITTING TIGER POSTURE, except that when you retreat, your left
foot kicks out.
Then after you kick, the foot does not come down, but right away changes into TURN AROUND, SWINGING
LOTUS KICK, performed as before [as in the Taiji Boxing set].
Then perform these postures as before [103 & 104 as in the Taiji Boxing set, 105 & 106 as in the Long Boxing
set, 107 & 108 as in the Taiji Boxing set]:
[107] CROSSED HANDS
太極拳名⼈軼事　陳微明
ANECDOTES ABOUT FAMOUS TAIJI BOXERS – by Chen Weiming
中國拳術。千⾨萬派。不可殫述。惟武當派太極拳。張三丰所傳。乃純粹內家。以其毫不⽤氣⼒也。（渾⾝鬆
開。不⽤氣⼒。⽅能⾧內勁）。廣平楊露禪先⽣受術於河南陳⾧興。傳於其⼦班候健候。健候傳於其⼦少候澄
甫。今將楊⽒及其弟⼦就余所知者略述其軼事如右。
In Chinese martial arts, there are thousands of schools and tens of thousands of styles, too many to describe. Of
the Wudang branch, Taiji Boxing was passed down from Zhang Sanfeng. It is the purest of the internal schools,
not using any effort at all. (With your whole body loosened and using no effort, you will then be able to develop
your internal power.) Yang Luchan of Guangping [in Hebei] learned the art from Chen Changxing of Henan.
Yang passed it on to his sons, Banhou and Jianhou. Yang Jianhou then passed it on to his sons, Shaohou and
Chengfu. Here I will present what I have been informed about the Yang family and their disciples, briefly
conveyed through the anecdotes below:
[1 – Yang Luchan, part 1]

露禪嘗習外家拳。其後聞河南懷慶府陳家溝陳⾧興者。精太極拳。露禪傾產挈⾦。往懷慶從⾧興學。數年。偶與
其師兄弟相較。輒負夜起溺。聞有聲於牆外。乃越牆往觀其異。⾒師兄弟輩。羣集於廳中。其師⼜講指授。皆拳
中精意也。乃伏窗外竊窺。⾃後每夜必往。他⽇其師兄强露禪與之較。露禪不得已許之。不能勝露禪。衆⼈驚
異。其師召露禪⽈。吾察⼦數年。誠樸⽽能忍耐。將授⼦以意。明⽇來予室。翌⽇。露禪往⾒其師。假寐於椅。
⽽仰其⾸。狀⾄不適。露禪垂⼿⽴於側。久之不醒。於是以⼿承師之⾸。良久。臂若折。⽽不敢稍移。及其師醒
⽈。孺⼦來耶。予倦睡矣。明⽇再來。露禪退。明⽇復如約⽽往。其師已陶然⼊睡鄕矣。露禪屛聲息氣⽽待之。
其師或張⽬四顧。⾒露禪俟於旁。無怨⾊。且加敬焉。又⾔如前。露禪第三⽇往。其師⽈。孺⼦可敎也。於是授
之術。令歸習之。後其師兄弟或與之相⽐。⽽無有能勝之者。⾧興謂其他弟⼦⽈。予以所有之功夫。與⼦輩⽽不
能得也。不與露禪⽽已得之去矣。露禪學旣成⽽歸。財產已盡。或薦⾄京師某富家。其家先有⼀敎師。其⼈庸
者。⽽富於嫉⼼。聞露禪之來。⼼其不快。强欲與露禪鬭。露禪⽈。吾⼦必欲⼀較也。請往告主⼈。主⼈⽈。⼦
輩相鬭。以戲可⽿。然不可致其命也。露禪旣⾄場中。直⽴⽽不動。敎師⼒擊之。未⾒露禪之還⼿也。⽽敎師已
仆於丈外矣。主⼈⼤異之。揖露禪⽽⾔⽈。不知吾⼦之功。如是其深也。於是設筵以欵之。宴畢。露禪束裝辭
去。留之不可。遂授徒於京師。是以京師之習太極拳者。皆楊⽒之弟⼦也。
Yang Luchan trained in external styles of boxing for a while, but then he heard about an expert in Taiji Boxing,
Chen Changxing of the Chen village, Huaiqing prefecture, Henan. Yang sold all he had to build up enough funds
and then went to Huaiqing to learn from Chen Changxing.
For several years, he always lost whenever he sparred with the other students. He happened to get up one
night to go for a pee and heard voices from the other side of a wall. He clambered up to have a look at what
commotion was going on over the wall and saw that the students were assembled in the courtyard, and that
Chen was instructing them in all of the art’s essentials. Concealing himself behind a window, Yang
eavesdropped, and from that point on, made a point of doing so every night. Until one day, when one of the
older students compelled Yang to spar. There was no avoiding it. But this time he could not defeat Yang and
everyone was surprised.
Chen beckoned Yang over and told him, “I’ve had my eye on you for several years. You are sincere and able to
endure, and so I will instruct you in its principles. Tomorrow, come to my room.”
When Yang went to meet with Chen the following day, Chen was dozing in a chair with his head lolling back
awkwardly. Yang stood beside him with his arms down. Time passed but Chen did not awake, and so Yang used
his hands to support Chen’s head. This went on for such a long time, he felt like his arms were going to break,
but he did not dare to shift his position at all.
Finally Chen awoke, and he said, “Arrived, have you? I’m so sleepy. Come back tomorrow.”
Yang left and then went back for his appointment the next day only to find that Chen was in the middle of a
lovely dream. Yang waited, breathing silently. Eventually Chen’s eyes opened and he looked all around him. He
saw that Yang was waiting off to the side and that he did not have a frustrated countenance, but was instead
looking even more reverent than the first time. Chen then repeated what he had said the day before.
When Yang showed up for the third day, Chen said, “Young man, you can be taught.”
He thereupon taught Yang the art and told him to go practice it. After that, there was not one amongst his
fellow students who could best him.
Chen said to the other students, “I shared my skill with you and you’re just not getting any of it. I hadn’t
shared it with Yang Luchan and he’s already got all of it!”
Once Yang’s studies were complete, he went back home, but he had no property left, so he was recommended
by someone to a certain rich household in Beijing. There was already an instructor there, a common fellow full
of envy. When he heard Yang was coming, he was very displeased and strongly wanted to fight with Yang.
Yang said, “If we must have a bout, I suggest you let the owner of the house know.”
The owner of the house said, “For you to fight each other for sport is okay, but you must not try to kill each
other.”
Yang went to the middle of the courtyard, stood up straight and motionless, and the instructor attacked him
powerfully. Although he did not detect any counter from Yang, the instructor had fallen more than ten feet
away.
The owner was amazed and saluted Yang, saying, “I had no idea your skill was as profound as this.”
He thereupon arranged a feast to honor Yang, but once the party was over, Yang announced he was leaving
and could not accept a position there. He then taught students in Beijing, which is why those who practice Taiji
Boxing in Beijing are all Yang stylists.
[2 – Yang Banhou, part 1]

露禪傳太極拳術於其⼦班候健候。期望甚深。⽇夜督責。⼆⼈不能勝任。⼀欲逃⾛。⼀欲雉經。皆覺⽽未果。然
⼆⼈年未⾄冠。已成能⼿。名震京師。有貴胄聞之。聘班候為師。館於其家。⽉餽束修四⼗⾦。甚敬禮焉。雄縣
劉某者。忘其名。練岳⽒散⼿。有數百⽄之氣⼒。授徒千餘⼈。有⼈兩⾯挑撥。班候志甚傲。聞之不平。遂相約
於東城某處⽐試。⼀時傳遍都城。聚⽽觀者數千⼈。⼆⼈⾄場。雄縣劉卽出⼿。擒住班候之⼿腕。班候⽤截勁抖
之。劉跌出。狼狽⽽去。班候由是名聲⼤著。班候歸。⾒其⽗。揚揚得意。眉⾶⾊舞。述打劉之形狀。露禪冷笑
⽈。打得好。袖⼦已去了半截。這算是太極勁嗎。班候聞⾔。⾃視其袖果然。乃嗒喪⽽出。班候云。當其擒住⼿
腕時。有如狗咬云。
Yang Luchan passed on the Taiji boxing art to his sons, Banhou and Jianhou. He was deeply demanding, strict
with them day and night. Neither could handle this, and so one of them [Jianhou] tried to run away and the
other tried to commit suicide by hanging himself. Both were discovered and prevented, and then before either
had reached the age of manhood, they had already become masters, and their fame was the talk of Beijing.
There was an aristocrat who learned of them, and he invited Yang Banhou to be his instructor, living in his
house, and each month Yang was gifted with a tuition of forty gold pieces, so respected was he.
There was a certain Liu Somebody of Xiong County, who trained in the techniques of the Yue school [which
indicates he was likely an Eagle Claw practitioner], and who possessed a strength worth several hundred pounds
and had over a thousand students. Some people had been sowing discord between the two of them, and since
Yang Banhou had such an arrogant personality, he found the things he heard to be unjust, and so a challenge
match was arranged for somewhere on the east side of town.
In no time, word of it had spread throughout the capital and spectators had gathered in their thousands.
Once both men had arrived at the place, Liu sent out his hand and seized Yang’s wrist, against which Yang
applied intercepting energy and gave a tremble. Liu stumbled away, disoriented, and left the scene. From this
was cemented Yang Banhou’s renown. He went home to tell his father about it, and full of himself and giddy, he
described the encounter with Liu.
Yang Luchan laughed with disdain and said, “You may have put up a good fight, but your sleeve is ripped
halfway up. Is that to be considered the power of Taiji?”
When Banhou heard this, he took a look for himself at his sleeve and saw that it was so. Dejected, he went
out, complaining, “But the moment he seized my wrist, it was as if I’d been bitten by a dog.”
[3 – Fu Erye]
楊班候弟⼦。⾄今惟有陳秀峯及富⼆爺⼆⼈。秀峯武淸縣⼈。與澄浦先⽣同⾥。余未⾒之。富⼆爺住東城炒麵胡
同。余聞澄浦先⽣⾔。亟往訪之。年七⼗餘矣。氣態若五⼗。其⼦年過五旬。不知者以為昆弟⾏也。余道欽仰之
意。富⼆爺⽈。吾雖為班候先⽣弟⼦。未能傳先⽣之技。蓋不練者已四⼗餘年。余問旣得班候先⽣之傳授。何以
棄置不練。答⽈。吾⽗不許練也。先是吾兄習摔⾓功夫極好。每⽇歸必敎吾摔⾓。後應募從軍。⾄⽢肅。臨⾏。
囑吾⽈摔⾓功夫。不許間斷。别數年歸。⼀⾒卽問功夫如何。吾答⽈。久不練習矣。兄聞之。意似不悅。吾乃告
以從班候學太極拳。如何不⽤氣⼒。如何能化⼈之勁。兄不信。以拳擊吾。吾⽤搬攔錘還擊。不意兄由堂屋跌出
院中。仰臥於地。竟不能起。吾⼤驚扶之起。已跌傷矣。臥養數⽇始愈。⽗⼤責斥。由是不許練習太極。殊為可
惜。亦由年幼太冒失故也。
Of the students of Yang Banhou, the only two alive today are Chen Xiufeng and Fu Erye. Chen is a native of
Wuqing county and lives in the same area of Beijing as Yang Chengfu, but I have not yet met him. Fu Erye lives
in Fried Noodle Alley on the east side of town. When I heard Yang Chengfu talk about him, I eagerly went to
visit the man. He is more than seventy years old, but has the bearing of a man of fifty. His son is over fifty, and
people who are not acquainted with them assume they are brothers. I told him how much this impressed me.
Then he told me, “Although a student of Yang Banhou, I’m incapable of teaching his skills, seeing as I haven’t
practiced them in over forty years.”
I asked him, “Having gained his teachings, how could you discard them and not practice?”
He said, “My father wouldn’t allow me to practice. At first, my older brother was training in the art of
Shuaijiao, and he got really good at it. When he came home from it each day, he had to teach me some, but then
he was called up into army and sent to Gansu. As he was leaving, he urged me not to let my Shuaijiao training
get interrupted.
“Several years later, he came home, and right when he saw me, he asked how my training was going. I told
him it was long gone. As he heard these words, I got the impression he was annoyed, so I told him about how I
was learning Taiji Boxing from Yang Banhou, and about how it doesn’t use strength and can neutralize an
opponent’s energy. He didn’t believe in this and so he punched at me. I countered with the PARRY, BLOCK,
PUNCH technique.
“Caught unawares, he stumbled out from the hall into the courtyard, fell to the ground, and couldn’t get up at
all. I was shocked and helped him rise. He had been injured and had to lie down for several days before he
began to recover. Our father gave me the most scalding scolding, and from that point I was no longer allowed to
practice Taiji. It sure is too bad, but it comes down to the rashness of youth.”

富⼆爺又⽈。吾露禪師祖。喜吾勤謹。吾嘗在旁伺候。為裝旱煙。年⼋⼗餘。尚練⼯夫不息。偶⾄吾家坐談。⼀
⽇天⾬。泥濘載道。師祖忽⾄。⽽所着雙履。粉底尚潔⽩如新。無點汚。此卽蹋雪無痕之功夫也。蓋太極淸靈。
能將全⾝提起。練到極處。實能騰空⽽⾏。班候亦有此功夫。知者極少。吾曾親⾒⼀次。
Fu Erye continued:
“My grandteacher, Yang Luchan, was pleased with my hard work and sincerity, so I got to wait upon him,
loading up [his pipe] with fresh tobacco. He was over eighty years old and still practiced his skills unceasingly.
From time to time, he visited my home to have a seat and some conversation. On one of those days, it was
raining, and the street was all mud. Yang suddenly arrived, but the soles of his shoes were still as clean as if they
were new, not a speck of dirt.
“This is a skill described as walking on snow without leaving tracks. By way of Taiji’s nimbleness, you can lift
up your whole body, and once it is trained to the highest level, you really will be able to walk as if you are
prancing in air. Yang Banhou also possessed this skill. There are very few who know of it, but I once got to see it
for myself.”

師祖函召弟⼦。於某⽇⿑⾄其家。謂欲出⾨⼀游。有話吩咐。⾄期俱來。⽽⾨外並未套⾞。衆頗異之。是⽇師坐
堂屋正中。弟⼦拜⾒畢。各裝旱烟⼀袋。肅⽴左右。師各呼⾄前勉勵數語。並傳授太極拳⼤意。頃之。師祖忽拂
其袖。端坐⽽逝。
“Yang sent letters to his students telling everyone to assemble at his home at a specific date, saying that he
wanted to take a trip and that he had instructions to give. We arrived together when the day came, but outside
his door there was not yet a carriage, which we all felt was a little fishy, and that day we found him sitting in the
center of the main hall.
“After we had all finished our bows to him, we each took a turn to give him more tobacco to smoke and then
solemnly stand off to the side. He called us forward one after another to give several words of encouragement, as
well as passing on the gist of Taiji Boxing. Shortly after this, he suddenly adjusted his sleeves, straightened his
posture, and died.”
[6 – Yang Banhou, parts 2 & 3]

露禪師祖逝世後。停靈於⿑化⾨外某寺內。⽅丈某。亦嫺武術。寺為向南正殿五楹。東西各有廂房數間。靈櫬停
於西廂內。吾師及健候師叔。宿西廂套間內。予亦隨侍焉。⽽東廂旋來⼀南省⼈。指甲甚修。語啁哳不可辨。不
知為何許⼈。⼀⽇。吾師等外出。囑予⽈。不可出此⾨。並不許與東廂之南⼈接談。予諾⽽異之。時予年⼗九。
童⼼未改。師去後。悶坐無聊。靜極思動。忽忘前戒。啓關⽽出。⾄正殿游戲。時右⼿托⼀茶碗。於殿上旋轉⽽
舞。⼀躍⽽登⽅桌之上。⽔不外溢。意得甚。適為東廂之南⼈所⾒。遽來問訊。予頓憶師⾔。惶急不敢對。逸歸
臥室。次⽇⽅丈來。與吾師切切私語。吾師初有難⾊。繼似⾸肯。⽅丈出。旋偕南⼈來。吾師對之。其謙抑逾平
時。相將出⾨。久之始歸。吾師有得意之⾊。南⼈卽整裝去矣。又⽈。吾師有⼀⼥。年⼗七⼋。聰慧絕倫。師甚
鍾愛之。忽急病⽽死。時吾師他往。聞訊馳回。已蓋棺矣。不覺踊躍痛哭。忽騰起七⼋尺之⾼。如懸之空際者。
然旁觀者。咸⾆撟⽽不能下。予亦親⾒之也。此無他。蓋吾師本有⾶騰功夫。今痛極踊躍。遽於不知不覺間流露
其絕技也。
“After Yang Luchan had died, his coffin was placed within a temple just outside of Qihua, the abbot of which was
also an adept martial artist. The main hall of the temple faced south and had five pillars, and there were several
rooms in both the eastern and western wings of the building. In the western wing was the coffin, and so Yang
Banhou and Jianhou were occupying an apartment in the same part of the building, as was I, being in the role of
personal servant to them. Meanwhile over in the eastern wing, a southerner then came for a stay. His fingernails
were extremely clean, his chirping chirruping was all Greek to me, and I had no idea who he was.
“One day, the Yangs had some business to attend to, and they advised me, ‘You must not leave this room, and
under no circumstances are you to have any contact with the southerner staying in the eastern wing.’ I said okay
but was confused as to why I should, for even though I was nineteen [or eighteen in western terms] years old at
the time, I was still such a naive innocent.
“After Yang had gone, I sat cooped up until tedium had made me sufficiently stir-crazy to finally ignore my
warning. I unbarred the door and left, going out into the main hall and amusing myself by whirling and dancing
around while holding up a teacup in my right hand, hopping upon a table without spilling any, doing whatever I
felt like. Just then, I had been spotted by the southerner, who rushed up to me and started asking me things. I
paused, remembering what Yang Banhou had said. Feeling awkward, I dared not having anything to with the
man, so I ran away back to our room.
“The next day, the abbot came and talked in a whisper with Yang Banhou, who began with a look of refusal
and then concluded with a nod of acceptance, upon which the abbot went out and came back with the
southerner. Yang now addressed him with unusual modesty, and together they exited through the doorway.
Time passed and they reappeared, Yang wearing a proud look, while the southerner got his things together and
departed.”
[Still on the subject of funerals,] he continued:
“Yang Banhou had a daughter of about seventeen or eighteen years old who was unsurpassingly bright, and
he doted on her. She suddenly became ill and died while he was in another town. When he got word of it, he
hurried back, but she had already been sealed into her coffin. He unconsciously leapt up, wailing with grief,
rising up about seven or eight feet in the air as though he would hang there. The bystanders all opened their
mouths but could say nothing. I also was a witness to it. This occurred only because Yang possessed leaping skill
and his anguish at this moment was so intense that he suddenly demonstrated his unique skill without
intending to and without even being aware of it.”
[7 – Yang Banhou, part 4]

楊⽒昆仲。雖以精拳術聞於世。然深沈不露。尤善養氣。絕無爭雄競⾧之⼼。平居謙抑異常。不知者以為無能之
輩。⼤智若愚。⼤勇若怯。誠哉不可以貌衡⼈也。某年有⼀南⼈來訪。時班候年屆六旬。南⼈極致欽慕之意。謂
⽈。聞君太極拳粘勁。如膠如漆。有使⼈不能脫離之妙。願承明敎。班候⽈。鄙⼈以先⼈所習。僅粗知此中⾨
徑。何曾有此功夫。堅持不允。南⼈再三請。乃⽈。諒君必精於此。如⽼朽何⾜以相頡頏。無已。請⽰試之之
法。不知能勉⼒追隨否。南⼈⽈。試⽤磚數⼗塊。每塊距離⼆尺餘。匀列院中。如太極式。吾在前。君在後。以
右⼿粘吾之背於磚上。作磨旋⾏。⾜不許落地。⼿不許離背。⾜落地。⼿離背者為負。班候⽈。磨旋⾏。則頭腦
易昏。恐⾮⽼朽所能。然旣承敎。敢不唯命。卽於院中如法佈置。畢。南⼈先上。緩步徐⾏。班候歛氣凝神。亦
步亦趨。不離南⼈之背。繞⾏數匝。南⼈⾝輕如燕。漸⾛漸速。迅如⾶輪。班候亦運其⾶騰之術。追⾵逐電⽽
⾏。依然不離分⼨。南⼈無法擺脫。忽⾶⾝⼀躍。蹤上屋⾯。回顧院中。不⾒班候踪跡。深為駭異。⽽不知班
候。仍在其後。撫其背⽈。君惡作劇。累煞⽼朽。且下⼀息何如。南⼈不禁愕然。乃⼤拜服。訂交⽽去。
The Yang brothers [Banhou & Jianhou], although famous everywhere for their expertise in boxing arts, did not
flaunt it. Their main expertise was in nurturing their energy, and as for proving their martial superiority, they
had no ambition at all. They were typically extremely modest, so those who did not know them assumed they
had no abilities. “The wisest seem stupid. The bravest seem timid.” [quoted from “Congratulating Ouyang Xiu
on His Early Retirement” by Su Dongpo] Indeed, people cannot not be judged based on appearances.
During one year, there was a southerner who paid a visit. At that time, Yang Banhou had turned sixty years
old. The southerner was downright reverential toward him as he said, “I have heard that your Taiji Boxing’s
sticking energy is like glue and that it ingeniously causes the opponent to be unable to break away. I beg to
receive your enlightened instruction.”
Yang said, “I only scratched the surface of the art my father practiced. When could I have gained such a skill?
I must firmly decline.”
The southerner begged a second time, and then a third, so Yang said, “I’m guessing you must be good at this.
How could a worn-out old man be adequate to rival you? I must ask you to show me the way to test it. I’m not
sure I would have any ability at all to follow along with you.”
The southerner explained, “We can test it using a couple dozen bricks, each more than two feet away from
each other, laid out in the courtyard like a taiji symbol. With me in front and you behind, use your right hand to
stick to my back while we walk in circles on top of the bricks. If your foot touches the ground or your hand stops
touching my back, you fail.”
Yang said, “But I’ll get dizzy from walking in a circle. I doubt a worn-out old man can do this. Yet seeing as
I’m receiving instruction from you, I won’t presume to disobey.”
The bricks were then placed in the courtyard as described. The southerner climbed on first and slowly started
walking. Yang gathered his energy and concentrated his spirit, matching the steps and never coming away from
the southerner’s back. Making several circuits, the southerner’s body seemed light as a swallow, and he got
gradually faster until he was like a spinning wheel. Yang also wielded his flying skill, moving as though he was
chasing wind or pursuing lighting, and was still not disconnecting even by an inch.
Finding no method of escaping, the southerner suddenly bounded up onto the roof, and upon looking back
down into the courtyard he saw no sign of Yang, which greatly astounded him. He was not aware that Yang was
still there behind him until Yang tapped him on the back and said, “Shame on you for doing something that
extreme and wearing out a worn-out old man. How about we go back down and take a break?”
The southerner could not hold back his amazement and saluted him grandly. They became friends and he
went on his way.
[8 – Yang Jianhou]
健候為神武營敎練時。年已七⼗餘矣。⼀⽇⾃外歸。有莽漢持棍。出其不意。⾃後擊之。健候忽轉⾝以⼿接棍。
略送之。莽漢已跌出尋丈。健候能停燕⼦於⼿掌⼼。燕⼦不能⾶去。蓋能聽其兩⽖之勁。隨之下鬆。燕⼦兩⾜不
得⼒不得勢⽽不能⾶也。
When Yang Jianhou was instructor to the Shenwu [“divinely martial” – one of the long list of honorary names
given to General Guan] battalion, already he was more than seventy years old. On his way home one day, some
lout holding a staff came at him from behind to attack him by surprise. Yang suddenly turned around, touched
the staff with a hand, expressed against it just barely, and the man stumbled away about ten feet.
Yang Jianhou was able to keep a swallow in the palm of his hand, which could not fly because he was able to
listen to the energy of its feet and correspondingly relax downwards. Since the legs of the bird could find no
purchase to launch from, it could not take flight.
[9 – Li Binfu, part 1]
露禪之弟⼦王蘭亭。功夫極深。惜其早死。有李賓甫者。聞係從蘭亭學。藝亦甚⾼。訪之者極衆。⽽未嘗負於
⼈。⼀⽇有少年來訪。⼜操南⾳。⼿離⼏椅數⼨許。揚其⼿。⼏椅隨之騰起。懸於空中。賓甫⾒之駭然。少年欲
與⽐試。賓甫遜謝不獲。少年遽進。時賓甫左⼿抱⼀⼩狗。僅右⼿與之招架。數轉之後。少年已跌於地。乃痛哭
⽽去。
The skill of Yang Luchan’s disciple Wang Lanting was of profound depth, but unfortunately he died before his
time. There was also a Li Binfu, who apparently had learned from Wang, and whose skill was also extremely
high. Though a great many paid him visits, he was never defeated.
One day an adolescent boy came for a visit, his accent indicating he had come from the south. The boy placed
a hand between a small table and a chair, several inches from both. Raising his hand, the table and chair
correspondingly rose up to be suspended in midair. Li looked upon this with astonishment. The boy now sought
a challenge match, which Li very politely refused to grant him, but the boy rushed forward. At that moment, Li
happened to be carrying a puppy in his left hand, and so had only his right hand with which to parry. Li shifted
side to side, and then the boy fell down, started crying bitterly, and went away.
[10 – Li Binfu, part 2]

有習頂功者。欲與賓甫⾓。賓甫謝之不肯。賓甫以⼿按其腹。未⼀⽉卽死於逆旅之中。
A practitioner of headbutting skill wanted to have a bout with Li Binfu. Li politely refused, while using his hand
to press on the man’s belly, and then less than a month later, the man died in an inn.
[Advice from Yang Chengfu]

余從澄甫先⽣學習數年。澄甫先⽣⽈。世間練太極拳者。亦不在少數。宜知分别純雜。以其味不同也。純粹太
極。其臂如綿裹鐵。柔軟沉重。推⼿之時。可以分辨。（太極有⼆⼈推⼿之功夫。）其拿⼈之時。⼿極輕⽽⼈不
能過。其放⼈之時。如脫彈丸。迅疾乾脆。毫不費⼒。被跌出者。但覺⼀動。⽽並不覺痛。已跌丈餘外矣。其粘
⼈之時。並不抓擒。輕輕粘住。卽如膠⽽不能脫。使⼈兩臂酸⿇。不可耐。此乃眞太極拳也。若⽤⼤⼒按⼈推
⼈。雖亦可以制⼈。將⼈打出。然⾃⼰終未免喫⼒。受者亦覺得甚痛。雖打出亦不能乾脆。反之吾欲以⼒擒制太
極拳能⼿。則如捕⾵捉影。處處落空。又如⽔上踩葫蘆。終不得⼒。此乃眞太極意也。其⾔之精如此。余試之誠
然。不能不令⼈佩服矣。
I learned from Yang Chengfu for several years. Yang told me:
“There is in the world no small number of those who practice Taiji Boxing, and you should know how to tell
which versions are pure and which are corrupted, and the different qualities of them all.
“For one who does the real stuff, his arms are like iron wrapped in cotton – soft and heavy – and you can tell
if he has this quality during pushing hands, a two-person exercise in Taiji. When he grabs you, his hand is very
light, but you cannot get away. When he sends you away, it is like shooting a pellet from a bow, quick, clean, and
effortless, and you only feel a movement, no pain, but have stumbled away more than ten feet. When he sticks to
you, he does not seize you, but sticks lightly, and yet it is like glue and cannot be escaped from, causing your
arms to become unendurably sore and numb. This is the authentic Taiji Boxing.
“If he uses great effort to press or push you, then even if he manages to control you or knock you away, in the
end he cannot avoid wearing himself out, not to mention that you will experience much pain, and despite
knocking you away, he is incapable of doing it with any precision.
“By contrast, if I were to try to use effort to control a Taiji Boxing master, then it will be like I am grabbing the
wind or grasping at shadows, always missing, or as if I am stepping on a gourd floating in the water, nothing to
stand on. This is the authentic Taiji meaning.”
As these words are at the very heart of the matter, I put them to the test and discovered they are correct, and I
feel driven to cause people to admire them.
太極拳與各種運動之⽐較　陳志進
TAIJI BOXING COMPARED TO OTHER FORMS OF EXERCISE – by Chen Zhijin
太極拳與摔⾓之⽐較
SHUAIJIAO
摔⾓盛⾏於內外蒙古。又名摜跤。前淸政府。為防備蒙⼈起⾒。極⼒提倡。故北京保定等處。摜跤廠甚多。惟須
少年之⼈。⾝體强壯。多⼒耐勞能吃苦者。始為合宜。⼀年卽可成功。故諺有三年把勢當年跤之語。然此⼀年
中。練時甚苦。須半夜起⾝苦練。有跑墳之⼯夫。因北地之墳。都是上尖下⼤。且甚⾼⼤。練者由墳頂。直腿往
下猛跑⽽不摔倒為⽌。有⼀⾜獨⽴之⼯夫。⼀⾜⽴牢。⼀⾜與⼆⼿頭⾝。成為⽔平線。以不搖動能久⽴為⽌。有
踢袋之⼯夫。⼿提百⼗⽄之砂袋。雙⾜交換⽽踢。以能踢⾶⽽⽌。有摜砂袋之⼯夫。⽤數⼗⽄之鐵砂袋。數⼈彼
摜此抓。以不失落為⽌。故摔⾓之⼈。⾄⽼年時。雙腿僵直。⾏步艱難。⼊廠摜跤。有特製之⾐。⾐此⾐。摔死
不償命。⼼術壞者。每借此為害⼈之地。練太極拳。⾝體越練越康健。得其三昧。不⾃作聰明。按其規矩⽽練。
⾝體筋⾻。絕無僵硬之時。⽽跌⼈之妙。更過於摔⾓。楊露禪先⽣。⼋⼗餘歲時。在⽔泥上⾏⾛。鞋底不濕。可
知其步履輕捷矣。
Shuaijiao is popular in Mongolia, and is also called Guanjiao [both names essentially meaning “throwing”]. The
early Qing government strongly encouraged it as to way to guard against the Mongolians [which they soonafter
absorbed into the empire], and this is why there are so many schools of it around the area of Beijing and
Baoding. You must be young, fit, strong, diligent, and able to endure in order for it to be at all appropriate.
Success can be gained after just one year, and so there is a common saying: “It takes three years of posing to
equal one year of throwing.” Although, within this one year, the training is extremely arduous, requiring you to
get up in the middle of the night for additional hard work.
It has the skill of running up mounds, and because the mounds in the north tend to be pointed above and
broad below, they are very tall. The practitioner then goes from the top of the mound by straightening his legs
and suddenly jumping down to stand without falling.
It has the skill of standing on one leg, in which one leg stands firm while the other, along with both arms,
head, and torso, flatten out, until you are able to stand for a long period without any swaying.
It has the skill of kicking bags, in which your hands hold up a sandbag of more than a hundred pounds while
your feet alternate kicks to it until you are able to hop from one kick to another.
It has the skill of tossing bags, filled with tens of pounds of iron pellets, in which there are several people
throwing and seizing them back and forth without dropping or stopping.
And so it is that when Shuaijiao practitioners get old, their legs have become stiff, and it is hard to walk.
Upon joining a Guanjiao school, you get special garments to wear which are to keep you from getting killed
when getting thrown, since evil-minded people often make use of this art to hurt people.
As for the practice of Taiji Boxing, the more you practice, the healthier you will be.
When you get the knack of it, you will not think yourself clever but will instead credit it to the practice. Once
your physique lacks all stiffness, your skill at throwing opponents will surpass that of Shuaijiao. [And as for
difficulty in walking,] when Yang Luchan was eighty years old, he happened to walk on wet cement, but the soles
of his shoes did not get wet. From this we can tell his steps remained rather nimble.
太極拳與⼋段錦之⽐較
EIGHT SECTIONS OF BROCADE
⼋段錦。為我國⽂⼈運動之⼀種。⽽種類亦復不少。有⼤⼋段錦。⼩⼋段錦。⼗⼆段錦。混⾔⼋段錦。九宫靠
等。練之舒⾧筋⾻。活動氣⾎。甚為有益。然祗⼀⼈。單獨練習。不動步。其效⽌於⾝體康强⽽已。不能防⾝禦
侮也。練太極拳。亦是舒⾧筋⾻。活動氣⾎。⽽內外⿑練。週⾝活動。⾃始⾄終。⼀氣貫串。上下相隨。內外相
合。練之者有强⾝之樂。有防⾝之能。無單練之寂寞。有推⼿之歡樂。
The Eight Sections of Brocade is a kind of exercise for our nation’s scholars. There are many varieties of it, such
as Large Eight Sections, Small Eight Sections, Twelve Sections, Babbling Eight Sections, Nine-Palace
Approachings, and so on. The practice of it stretches out the body and livens the energy and blood. It is
extremely beneficial, but only for one person at a time. It is merely a stationary solo practice, and its effects go
no further than making the body healthy, having no capacity for self-defense against bullies. However,
practicing Taiji Boxing also stretches out the body and livens the energy and blood, plus:
The internal and external are trained equally, exercising the whole body. From beginning to end, there is a
continuous flow throughout. Upper body and lower coordinate with each other, and inside and out join with
each other. The practitioner experiences the joy of invigorating the body and the ability of defending the self. It
is without the loneliness of solo practice, for it comes with the camaraderie of pushing hands.
太極拳與彈腿之⽐較
TANTUI
彈腿傳⾃回敎。法甚簡單。今遍中國皆有練之者。⼤同⼩異。少有不同。練時尚彈勁。⼀發無餘。⼀拳⼀腿。須
收回再出。有單練。有對打。余曾練⼆三年。故知其詳。太極拳循環無端。如常⼭蛇。⾸尾相應。粘處皆可放
勁。接⼿卽能打出。不必收回之後。再去⼆勁也。
Tantui [“snapping kicks”] was passed down from Muslims. Its techniques are very simple, and it is nowadays
practiced everywhere in China, more or less identically. When practicing, it emphasizes a snapping energy: with
each issuing, there is no leftover power, and with every punch or kick, there must be a withdrawing in order to
issue again. It has both a solo set and a partner set. I practiced it for two or three years, so I know the material in
detail.
Taiji Boxing cycles without limit, like the snake of Mt. Chang that responds with both head and tail at the
same time [“Attack its head, its tail responds. Attack its tail, its head responds. Attack its middle, both head and
tail respond together.” (Art of War, chapter 11)]. Wherever you stick, you can release energy, and as soon as you
make contact, you are able to attack. It is not necessary to withdraw and then to issue as a second energy.
太極拳與柔軟體操之⽐較
CALISTHENICS
柔軟體操。傳⾃泰西。遍⾏於學校軍隊之中。與⼋段錦相似。亦無防⾝禦侮之能。⽽練之者。亦少興趣。不過國
⼈震於泰西之傳授。極端迷信。⽽⾏之數⼗年。絕無成效之可⾔。若練太極拳。練熟之後。習慣成⾃然。終⾝練
之。無論⼠農⼯商。每⽇有⼀⼩時之⼯夫。卽能內强其⾝。外防侮辱。⽽練柔軟體操者。⼀出學校。⼀離軍隊。
每⽇⾃練者。有之乎。若太極拳。旣會之後。得其趣味。⾃有不能捨之之意。
Calisthenics come from the West and are practiced everywhere in schools and in the military. They are similar
to the Eight Sections of Brocade, and likewise have no capacity for self-defense. Practitioners are rarely
interested in them, and are only inspired by westerners to pass them on out of a very blind faith, for one can do
them for decades and get no results to speak of.
If you practice Taiji Boxing, once you have trained to the point of skill, it will have become second nature. If
you practice it your whole life, whether you are a scholar, farmer, laborer, or merchant, by putting an hour into
it every day, you will then be able to strengthen your body internally, and externally to fend off bullies. But for a
practitioner of calisthenics, after you have left school or the military, practicing it daily on your own is not going
to amount to anything. In the case of Taiji Boxing, after the group session is done, you will have caught the bug
and be unable to give it up.
太極拳與⽥徑賽之⽐較
TRACK & FIELD EVENTS
⽥徑賽須少年為之。⾮盡⼈可能。練之者多受內傷。有吐⾎暈絕之患。每觀⽐賽。旁觀者⿎掌稱賀第⼀。⽽勝者
已懨懨不堪。⾯無⾎⾊。渾⾝癱軟。⼆⼈架之。⾏數⼗分鐘。始能漸漸回復原狀。太極拳則不論⽼幼男婦。皆可
練習。練之者⾝體⽇强。久⽽久之。得其趣味。雖欲捨之不練。亦不能矣。
For track & field events, one must be young. An exhausted person cannot do them. When training, one will
receive many injuries, and be scourged with vomiting and bruising. Whenever we see these competitions, the
spectators applaud and cheer the winner of 1st place, but the winner is completely worn out, his face a ghostly
pale, he is weak and limp from head to foot, it takes a couple of people to support him, and it takes almost half
an hour before he is able to gradually recover himself.
Taiji Boxing can be practiced by all, regardless of young or old, male or female, and the practitioner’s body is
daily strengthened. In the course of time, one gets hooked on it, and even if you wished to quit, you would not be
able to let it go.
太極拳與⾜球之⽐較
SOCCER
⾜球練頂練肩練腿⾜。運動甚為有益。然亦祗能少年壯年能之。幼年⽼年則不相宜。練太極拳。要鬆肩垂肘矬⼿
腕。含胸拔背提頂勁。⾜球之益。太極拳悉有之也。
Soccer works the headtop, shoulders, legs, and feet. It is a very beneficial exercise, but only the youthful and fit
can do it, and it is inappropriate for young and old to be playing it together.
When practicing Taiji Boxing, you should loosen your shoulders, hang your elbows, sit your wrists, hollow
your chest, pluck up your back, lift your headtop… Taiji Boxing already possesses the benefits of soccer anyway.
太極拳與西洋拳術之⽐較
WESTERN BOXING
西洋拳術。專尚⼒。不從巧妙處⽤功。⼆⼈對打之時。帶⽪⼿套。打胸部以上。頭臉以下。跌倒不為輸。且有種
種限制。甚不⾃由。無趣味可⾔。⽽⽼年之拳術家。則未⾒之。太極拳與⼈對⼿。可以傷。可以不傷。傷不傷。
在於⼼術之良否。不在拳脚上也。練太極拳⼯久者。週⾝不受擊。擊之者⾃跌。楊露禪先⽣。七⼗餘歲時。常釣
⿂於河上。背受⼆⼈之擊。擊之者反由露禪先⽣之頭上。跌⼊河中。露禪先⽣。坐釣如故。幷未動也。楊鏡湖先
⽣。⼋⼗歲時。坐於椅上。腹受少年⼈之拳。⼒多者。跌出愈遠。
Western boxing arts emphasize strength rather than subtle skill. When two people fight, they put on leather
gloves and pound each other’s chest and chin, and it is not treated as a defeat when someone falls down. They
also have a wide variety of rules which are very restrictive and are tedious to discuss. Furthermore, old people
are never seen in these boxing systems.
When Taiji Boxing is used in fighting, it can injure or not injure, but to injure or nor to injure is a matter of
the judgment of your intention and is not up to your fists and feet. If you practice the Taiji boxing skill for a long
time, your whole body will no longer accept strikes, and those who strike you will end up throwing themselves
away.
When Yang Luchan was seventy years old, he often fished by the river, and once happened to be struck by
two men from behind, upon which the attackers were flipped over his head and then fell into the river. Yang
continued sitting and fishing as before, and had not moved.
When Yang Jinghu [Jianhou] was eighty years old, he sat in a chair and received punches to his belly from
young men. The stronger they were, the farther they fell.
太極拳與⽇本柔術之⽐較
JUJITSU
柔術本傳⾃我國之摔⾓。⽇本⼈又從⽽研究之。今盛⾏於三島之間。今者⼗⼈⽽九。⽇本之强盛。⼤有⼒焉。然
不能與中國之拳術較。蓋拳術為我國⼈獨得之秘。地球之上。莫之能京。柔術之主要。在防⼈之攻擊。對練者
多。單練者少。⼀⼈獨居。則無聊焉。太極拳獨練對習。皆有趣味。獨練⾛架。是知⼰⼯夫。是體。⼆⼈對練推
⼿。是知⼈⼯夫。是⽤。練久者⾃知其妙。
Jujitsu is based on our nation’s Shuaijiao, which Japanese people also study and which currently flourishes in
Mishima. Nowadays, the vast majority of people in Japan are strong and powerful, yet they are unable to
compete against Chinese boxing arts. Boxing arts are our nation’s specialty, and there are none in the world who
can triumph over them.
Jujitsu is mainly for defending against an opponent’s attacks. Most of it is partner practice and very little of it
is solo practice, and so for a person to practice it alone is very boring. Taiji Boxing has solo practices and partner
practices which are both delightful. The practice of the solo set is the work of knowing oneself, and is the
foundation. The partner practice of the pushing hands is the work of knowing the opponent, and is the function.
One who trains at it for a long will naturally come to know is wonders.
太極拳與各種拳術之⽐較
THE VARIETY OF [CHINESE] BOXING ARTS
中國拳術。千⾨萬派。省省不同。約⽽⾔之。不過內⼯外⼯。花拳⽽已。江湖賣藝者流。習練花拳。博無識者之
贊美。不過營業之⼀種。或為盜賊之媒。不登⼤雅之堂。置⽽不論。練外⼯者尚⼒。以能受擊為强。⽽忽於內。
筋⾻之强者。臨終時。散⼯之際。最為痛苦。欲死不能死。令⼈⽬不忍⾒。練太極拳者。無此病也。
In Chinese boxing arts, there are thousands of schools and tens of thousands of styles, differing from province to
province. To describe them in brief, they do not go beyond internal training, external training, and exhibition.
Itinerant street performers train in exhibition arts, which many ignorant people praise, but are only for making
money. It is a tool for such villains and uncouth louts who make use of it unregardingly. Those who practice
external training emphasize strength, consider it skill to be able to receive blows, ignoring the internal aspect,
and when the ones who have mighty physiques approach death and it is time to leave their labor behind, it is
such a pathetic thing the way they wish to die but are unable to, and so onlookers cannot stand to see them.
Those who practice Taiji Boxing are without these defects.
太極拳之品格功⽤　陳志進
TAIJI BOXING’S MORAL QUALITIES & FUNCTIONS – by Chen Zhijin
太極拳為武當嫡派。乃張三丰祖師因觀鵲蛇之鬭。忽有會⼼。發明此拳。蓋恐修道之⼠。靜坐功深。⾎脈有凝滯
之患。⼭⾏野宿。突然有野獸之厄。是以因觀鵲蛇之鬭智。仿禽獸之⾶躍。法天地⾃然之理。參太極陰陽之秘。
創此太極拳以傳修道之⼠。為靜功之助。久練之後。且有衞⾝之能。延壽之益。故其歌訣中有詳推⽤意終何在。
益壽延年不⽼春之語。⽽練拳之時。純以神⾏。不尚拙⼒。故其歌訣中又有若⾔體⽤何為準。意氣君來⾻⾁⾂之
語。最要⽽最難者。為尾閭中正神貫頂。滿⾝輕利頂頭懸。此中⼤有講究。祖師雲游四⽅之時。憫⽂⼈之懦弱。
時受强暴者之侮辱。⽽無抵禦之策。遂留傳世間。以柔克剛。以弱制强。無⼒打有⼒。借⼈之⼒。順⼈之勢。⾃
此以後。太極拳為世所重。稱為武當派。出於少林之上。得斯術者。如獲⾄寶。不肯輕易傳⼈。必深知其⼈之德
⾏操守。又加以多年之精密考察。始肯傳其秘訣。學拳之外。有必須遵守之規律。⼀不許保鏢護院。⼆不許沿街
賣藝。三不許為綠林嚮⾺。以玷⾝家⽽累師傅。由此觀之。⾮品格⾼尚之⼈不能學。⾮堅忍卓絕之⼈不能學。學
之者有變化氣質之功能。性暴燥⽽急促者。可使之平和⽽安詳。蓋練拳之時。全⾝鬆開。順乎⾃然。渾圓流利。
氣沉丹⽥。⼼中空空洞洞。思慮全無。如莊周之夢蝶。⼈蝶不分。練完之後。⾃⼰曾練與否。亦不之知。練太極
拳到如此境界。有何病不可去。不但⾃⼰如此。旁觀之⼈。亦不覺⼼平氣和。與之俱化。練拳之時。不許脫⾐⾚
⾝。須穿⾧衫⾺褂。從容⽂雅。不咬⽛瞪眼。亦不喝叱怪叫。夫太極拳之功⽤。未病者能使永無疾病。已病者雖
沉疴宿患。皆能拔除。雖屬技藝。稱為醫王。有何不可。要知此種太極拳術。為養⽣却病之最妙法術。諸君觀
之。當不以余⾔為河漢也。
Taiji Boxing descends from Wudang. The founder was Zhang Sanfeng, who observed a fight between a magpie
and a snake, which gave him a sudden realization, and so he developed this boxing art. He worried that those
who cultivated the Way were meditating so deeply that their blood was becoming perilously stagnant.
While walking in the mountains and sleeping in the open, he would suddenly find himself at risk from wild
animals. Hence because of his wisdom from having observed the magpie-versus-snake duel, he imitated the
agile leaping of the birds and beasts. Then by modeling upon the natural principles of the universe, making use
of the taiji concept with its passive and active aspects, he created Taiji Boxing to teach the Daoists and aid their
meditation practice.
After practicing it for a long time, you will have the ability to defend yourself and the benefit of prolonged life,
as it says in the Song [of Thirteen Dynamics]: “What is emphasizing the use of intention going to lead you to? To
a longer life and a longer youth.”
When practicing the solo set, act only by way of spirit, and do not emphasize awkward effort, as it says in the
Song: “Whether we are discussing in terms of theory or function, what is the constant? It is that mind is
sovereign and body is subject.”
The most important as well as the most difficult thing is [as the Song says]: “The tailbone is centered and
spirit penetrates to the headtop, thus the whole body will be nimble and the headtop will be pulled up as if
suspended.” This is the key point to pay attention to.
When Zhang wandered all over China, he felt pity for the feebleness of scholars. When they were subjected to
the violence of bullies, they had nothing with which to withstand them. Thereupon he handed down to the world
the strategies of using softness to defeat hardness, of using weakness to overcome strength, of the one who puts
forth no effort winning against the one putting forth effort, of borrowing the opponent’s energy and taking
advantage of his momentum. Since then, Taiji Boxing has become prominent in the world, and has become
known as the Wudang school, which emerged from Shaolin.
To obtain this boxing art is like winning a rare treasure, and so do not be willing to pass it on to people
casually. You must deeply know their virtue of conduct and sense of personal integrity. Also they are to be
treated to many years of exacting inspection before you can be willing to teach them its secrets. Beyond their
learning of the art, they must abide by certain rules:
1. “I cannot become a bodyguard, protecting caravans and courtyards.”
2. “I cannot become a street performer, making money off its exhibition.”
3. “I cannot become an outlaw hiding in the forest, or a bandit ambushing from horseback.”
[In other words, the purpose of this stuff is not to enable you to become a cop, a movie star, or a criminal.]
These are flaws of self that would denegrate the teacher. From these points it can be seen that a person without
moral integrity will not be able to learn it, and also that a person without a great deal of perseverance will not be
able to learn it. Those who have learned it have been able to transform their temperaments, and so those who
are hot-tempered or in a hurry can be made moderate and composed.
When practicing the solo set, your whole body loosens, you comply with what is natural, movement is
rounded and smooth, energy sinks to your elixir field, and your mind empties, all thoughts vanishing, like in
Zhuangzi’s butterfly dream, in which there is no distinction between man and butterfly [Zhuangzi, chapter 2].
After you have finished practicing, you will not know whether or not you have practiced. When through your
practice you have attained this state, what flaw is there that you cannot cast off? This will not only be the case
for yourself, but for onlookers, who will unwittingly be calmed and transformed along with you.
When practicing the solo set, you cannot be naked, but must wear a long gown and a classy jacket, combining
leisure with refinement. [This style of dress is a little out of fashion, but the point is that you are to dress
comfortably, which induces you to be relaxed in body, as well as elegantly, which spurs you to be graceful in
mind.] Do not gnash your teeth or stare hard with your eyes. Do not shout aggression or make strange cries.
As for Taiji Boxing’s functions, those who are without illness can be made forever free of illness, and even
those who are scourged with severe chronic ailments can all be rid of them. Although it belongs in the category
of martial arts, it has been called the king of medicine, and rightly so. It should be known that this art of Taiji
Boxing is the most wonderful method for nourishing health and preventing disease. Everyone may observe this
and need not rely upon my mere words.
–
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Brennan Translation
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YANG STYLE TAIJI SWORD - Brennan Translation

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[translation by Paul Brennan, Dec, 2012]

[1 – Yang Luchan, part 1]

[2 – Yang Banhou, part 1]

[4 – Yang Luchan, part 2]

[5 – Yang Luchan, part 3]

[6 – Yang Banhou, parts 2 & 3]

[7 – Yang Banhou, part 4]

[10 – Li Binfu, part 2]

[Advice from Yang Chengfu]

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