Oleg Tcherne Philosophy of Taiji

戒
太空
极
理
学
Oleg Tcherne
•
Jie Kong
PHILOSOPHY
OF
TAIJI
alquimia
St Petersburg 
Published by
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and INBI Matrix Pty Ltd
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Copyright ©  by Oleg Tcherne
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ISBN-: ----
ISBN-: ---
Table of Contents
Chapter One:
The Philosophy Of Taiji
. • Yin and Yang energy development laws ............................................... 
. • Development of Yang energy..................................................................
. • Development of Yin energy ....................................................................
Chapter Two:
Yang Building Conditions
. • Tai Yang and Tai Yin ..............................................................................
. • Controlling a form by physical activity .................................................
. • Axis building ............................................................................................
. • Kun cardinal trigram .............................................................................
. • Qian Cardinal Trigram ..........................................................................
. • Kan cardinal trigram ..............................................................................
. • Li cardinal trigram ..................................................................................
. • Taiji Tu — Figures of the Taiji Form ...................................................
Chapter Three:
Thirteen Formulae
. • Formula of the One .................................................................................
. • Formula of Duality (Yin and Yang) ......................................................
. • Formula of Three Souls (San Yi) ...........................................................
. • Four Gates Formula (si men)..................................................................
. • Five Rotations Formula (wu yun) ..........................................................
. • Six Rivers Formula (liu pu) ....................................................................
. • Seven Stars Formula (qi xing) ................................................................
. • Eight Patterns Formula (Ba Yang Shi) .................................................
. • Nine Heavens Formula (Jiu Chong Tian) ............................................
. • Great Equilibrium Formula (Tai He) .................................................
. • Immortality Flower Formula (Bu Si Shi Zao)...................................
. • Incorporeal Immortality Formula (Shi Jie Xian Jen) .......................
. • Thirteen Deities Formula (Shi San shen)...........................................
. • General Description of the Formulae: The Four Laws ....................
. • Seven Types of Deepening ....................................................................
. • Meaning of the Four Laws ....................................................................
Chapter Four:
Taiji Tu
太 .
.
.
•
•
•
Concept of Effort .....................................................................................
Spatial Effort ...........................................................................................
The Three types of Taiji Form Realization .........................................
极 .
.
•
•
The Thirteen Aspects of Structure of Movement ..............................
The Twenty-four Aspects of Static Structure .....................................
. • Beyond-heavenly form ............................................................................
理 Chapter Five:
Taiji Tu Structure Realisation
学 .
.
•
•
Taiji Quan forms......................................................................................
The Eight Jing Energies ..........................................................................
. • Eight Gathering Conditions ..................................................................
. • Eight Types of Ji Force Realisation ....................................................
. • Understanding Force and the Three Great Equilibrium Laws........
. • The Sixteen Positions of Prenatal and Postnatal Heaven Efforts .
. • Three Equilibrium Principles ............................................................... 
Chapter Six:
Balance
. • Shen Balance...........................................................................................
. • Jing balance .............................................................................................
. • Qi Balance ..............................................................................................
Chapter Seven:
The FormAnd Yi-Jing
戒 . • Eight Positions of Jing Condition .......................................................
. • Correlation between Axes: Rhythm in Form ....................................
空 .
.
•
•
The Concepts of Heaven, Earth and Man .........................................
The Eight Efforts....................................................................................
. • Outline of Sixteen Prenatal Heaven Form Trigrams ...................... 
. • Sixteen Positions ...................................................................................
6
List of figures
Chapter One:
The Philosophy Of Taiji
Fig. . Qian and Kun..................................................................................... 
太
Fig. . Eight trigrams or efforts in one unit of time: Qian, Kun, Li,
Kan, Xun, Zhen, Gen, Dui.............................................................. 极
Fig. . Yin strengthening posture ................................................................
Fig. . Yang axis strengthening in ‘Right Brush Knee and Step’
posture ................................................................................................ 理
Fig. . Yang conditions ..................................................................................
Fig. . Yang effort .........................................................................................
Fig. . Yang nutrition ....................................................................................
学
Fig. . Yang transformations........................................................................
Fig. . Yin conditions ....................................................................................
Fig. . Yin effort .............................................................................................
Fig. . Yin nutrition .......................................................................................
Fig. . Yin transformation and strengthening ...........................................
Chapter Two:
Yang Building Conditions
Fig. . Wuji .....................................................................................................
Fig. . Left Brush Knee and Step ................................................................
Fig. . ‘Embrace Tiger and Return to Mountain’ posture .......................
Fig. . ‘Grasping the Sparrow’s Tail’ posture ............................................
Fig. . Fan Through Back .............................................................................
戒
Fig. . Step Forward, Deflect, Parry and Punch .......................................
Fig. . Turn Body and Strike .......................................................................
Fig. . Kan and Kun Yin and Yang manifestations ..................................
Fig. .
Fig. .
‘Embrace Tiger and Return to Mountain’ posture .......................
Qian and Li Yin and Yang manifestations ..................................... 空
Fig. . Right Brush Knee and Step .............................................................
Fig. . Step Forward, Deflect, Parry and Punch .......................................
7
Fig. . As Though Sealed and Closed .........................................................
Fig. . The Thirteen Figures.........................................................................
Chapter Three:
Thirteen Formulae
Fig. . The Formula of the One ...................................................................
太 Fig. .
Fig. .
Fig. .
The Infinite (Wu-ji) ...........................................................................
The Great Limit (Taiji) .....................................................................
The Great Limit (Taiji) and the five elements ...............................
极 Fig. .
Fig. .
The Formula of Duality ....................................................................
Formula of Three Souls (San Yi).....................................................
Fig. . Four Gates Formula ..........................................................................
理 Fig. .
Fig. .
Five Rotations Formula ....................................................................
The Qi Matrix in the He Tu Diagram ..........................................
Fig. . Six Rivers Formula ............................................................................
学 Fig. .
Fig. .
Seven Stars Formula .........................................................................
Rhythm of the Qi Form ...................................................................
Fig. . The Yang-qi Transformation Figure ...............................................
Fig. . The Development Figure ..................................................................
Fig. . Foundation in Form Development ..................................................
Fig. . Natural State Figure influenced by Yang-qi ..................................
Fig. . Consistency Figure influenced by Yin-qi........................................
Fig. . Moon Month Crucible ......................................................................
Fig. . Red Cinnabar Figure .........................................................................
Fig. . Mysterious Woman Figure ..............................................................
Fig. . Golden Crucible.................................................................................
Fig. . Jade Crucible ......................................................................................
Fig. . The Moon Crucible ...........................................................................
Fig. . Yellow Woman Figure ......................................................................
Fig. . Crystallisation ....................................................................................
Fig. . Moon emerges ....................................................................................
戒 Fig. .
Fig. .
Moon Crucible ...................................................................................
Moon transition essence ..................................................................
空 Fig. . Completion of the internal and external Moon transition

cycle .....................................................................................................
Fig. . Preservation Figure ...........................................................................
Fig. . Common Principle Law ....................................................................
Fig. . Spiritual Embryo ..............................................................................
8
Fig. . Law of Aspiring to Infinity ...............................................................
Fig. . Eight Patterns Formula ...................................................................
Fig. . Prenatal Heaven Bagua (Order of Fuxi).........................................
Fig. . Postnatal Heaven Bagua (Order of King Wen) ............................
Fig. . Nine Types of Elixir distillations ....................................................
Fig. . Lo Shu Diagram ................................................................................
Fig. .
Fig. .
Fig. .
Magical Square...................................................................................
Nine Heavens Formula ....................................................................
Great Equilibrium Formula .............................................................
太
Fig. .
Fig. .
Fig. .
Immortality Flower Formula...........................................................
Incorporeal Immortality Formula ..................................................
Thirteen Deities Formula ...............................................................
极
Chapter Four:
Taiji Tu
理
Fig. . Diagram of Yin form effort ..............................................................
Fig. . Diagram of Yang form effort ...........................................................
学
Fig. . Spatial effort .......................................................................................
Fig. . Yang Direction ...................................................................................
Fig. . Uncoiling of energy ...........................................................................
Fig. . The ‘Cloud Hands’ posture ..............................................................
Fig. . The Thirteen Aspects of Structure of Movement ........................
Fig. . Prenatal form .....................................................................................
Fig. . Postnatal form....................................................................................
Fig. . The structure of a perfectly wise human being .............................
Chapter Five:
Taiji Tu Structure Realisation
Fig. . ‘Grasp Sparrow’s Tail’ posture ..........................................................
Fig. . Application of Lu force in the ‘Grasp Sparrow’s Tail’ posture......
戒
Fig. . Lu qi force .............................................................................................
Fig. . Lu jing force ..........................................................................................
Fig. . Lu force position with respect to Ji force ..........................................
Fig. .
Fig. .
Application of Ji force in the ‘Grasp Sparrow’s Tail’ posture ........
Eight Gathering Conditions .............................................................. 空
Fig. . Eight Gathering Conditions (cont’d)................................................
Fig. . Kan force.............................................................................................
9
Fig. . Shi force ............................................................................................
Fig. . Jie force ..............................................................................................
Fig. . Wei Ji force .......................................................................................
Fig. . Meng force ........................................................................................
Fig. . Huang force ......................................................................................
Fig. . Song force..........................................................................................
太 Fig. .
Fig. .
Kun force ..........................................................................................
The sixteen positions of Prenatal and Postnatal Heaven
efforts ................................................................................................
极 Fig. .
Fig. .
Fig. .
Spatial description of Prenatal Heaven .......................................
Medial description of Postnatal Heaven .....................................
Application of An force in the ‘Grasp the Swallow’s Tail’
理 Fig. .
posture’s lifting force .......................................................................
Three Equilibrium Principles ........................................................ 
Fig. . The twenty-four types of equilibrium .......................................... 
学 Chapter Six:
Balance
Fig. . Shen balance .......................................................................................
Fig. . Jing-Yin balance — Prenatal heaven ...............................................
Fig. . Qi balance ...........................................................................................
Fig. . Principle of balance ................................................................ 
Chapter Seven:
The FormAnd Yi-Jing
Fig. . Trigram order according to Fu Xi .................................................
Fig. . Condition of Fu Xi .........................................................................
Fig. . Condition of King Wen .................................................................
Fig. . Eight Efforts .....................................................................................
Fig. . The Eight Positions of jing condition ...........................................
戒 Fig. .
Fig. .
Fig. .
The ‘Single Whip’ posture ..............................................................
Correlation between Axes ..............................................................
Yin and Yang Rhythms...................................................................
空 Fig. .
Fig. .
Example of a Heaven position ........................................................
Example of an Earth position.........................................................
Fig. . Example of a Man position .............................................................
Fig. . Heaven Zhen Manqin .....................................................................
10
Fig. . Earth Chen Weimin ........................................................................
Fig. . Man Yang Chengfu .........................................................................
Fig. . The Eight Efforts in accordance with the Laws of Heaven,
Earth and Man ................................................................................
Fig. . Outline of Sixteen Prenatal Heaven Form Trigrams ................. 
Fig. . Sixteen Positions .............................................................................
太
极
理
学
戒
空
11
太
极
理
学
戒
空
12
太
极
CHAPTER ONE:
理
THE 学
PHILOSOPHY
OF TAIJI
戒
空
13
The philosophy of Taiji was developed in China at the height of the Daoist
era between  bc to  ad. This philosophy provides an alternative and
deeply sophisticated paradigm of how human beings may be perceived in
relation to their position within the cosmos, and offered new ways of un-
derstanding humans as a microcosmic blueprint of the Universe.
太 At its foundation, the philosophy of Taiji attempts to explain the workings

of the universe, our world and the human body through the interactions,
opposing and complementary, of two fundamental forces: Yin and Yang.
极 According to this philosophy, each action or form occurs as a result of a
certain combination of forces which are generated by Heaven, Earth or
理 Humans. While each force has a different impact on actions and forms,
all forces are inter-dependent and cannot exist in isolation from others.
While developing their inherent energy, humans fulfill the tasks assigned
学 by Heaven and Earth by leaning on two axes: the Axis of Heaven (Yang)
and Axis of Earth (Yin). In addition, humans possess a certain internal
potential which may be represented by the Human Axis. This axis is devel-
oped when different efforts are combined, for example, the Pre-Heavenly
(nature) with the Post-Heavenly (nurture).
By understanding these efforts, we are capable of focusing on the three
main aspects of Taiji philosophy: the mental, the physical and the ener-
getical. From this perspective, it may be said that Taiji philosophy can
be understood through three languages — body language, the language
concentration and the language of visualisation. Generally speaking, Taiji
Philosophy is most easily expressed and understood through the use of
body language, that is, through Taiji forms and postures. While the Taiji
form has undergone many changes through the ages, culminating in the
戒 modern-day Chen, Yang, Sun and Wu Styles, we shall focus on the Yang
Style for the purposes of this book as because this style best illustrates the
Yin and Yang principles of Taiji philosophy. For this reason, much of the
空 theory in this book is based on the guidelines written by Yang Chengfu,
one of the pre-eminent representatives of Yang Taiji family.
14
. • Yin and Yang energy development laws
In the study and measurement of Yin and Yang energies, the horizontal and
vertical axes are typically used to represent their development and change.
The Yang and Yin axes are measured by units dependent on the effort of
maintaining specific forces within a certain amount of time. 太
Qian
极
理
学
Kun
Fig. . Qian and Kun
The unit of time is represented by a circle whose rotational direction is de-

pendent on Wu-Ji. Each unit of time is defined by the phases of the Moon,
which are divided into eight stagesof energy transformation. Each lunar
phase represents a specific effort within a unit of time, and in Taiji terms,
these phases (or efforts) are represented by the eight trigrams: Qian, Kun,
Li, Kan, Xun, Zhou, Gen and Dui.
The unit of time for Qian is set by will of Nature and expended through
exertion of force.
This unit of time for Kun is expended by a specific effort which has its own
戒
angles of rotation and direction.
空
15
These eight trigrams (or efforts) have a direct influence on the develop-
ment of the Yin and Yang axes. Each time the amount of properties cor-
responding to Yin and Yang reaches .
太
极 Qian Kun Li Kan
理
学
Xun Zhen Gen Dui
Fig. . Eight trigrams or efforts in one unit of time:

Qian, Kun, Li, Kan, Xun, Zhen, Gen, Dui
The mastery of Taiji is defined by the ability to express these efforts differ-
ently. They can be both visible (by means of form) or invisible (by means
of content). As the theory of Taiji developed through the ages, it evolved
from the high conceptual (and often ambiguous) to more tangible and vis-
ible expressions, culminating in well defined Taijiquan forms and postures.
Hence, it can be said that Taijiquan is not an applied science but rather an
戒 outward expression of Taiji philosophy. The examples below illustrate how
two Taijiquan postures represent the development (in this case, strength-
空 ening) of the Yin and Yang energies.
16
Example : Yin strengthening posture
Yang axis
Yin axis
太
极
理
学
Fig. . Yin strengthening posture
The Advance Step, Plant Punch posture provides an example of how Yin
axis can dominate the Yang axis while maintaining the centre (shou zhong),
戒
that is, gathering energy in the Dantian area.
In this position, the horizontal Yin axis becomes the central axis (zhong
ding) which facilitates energy gathering for men and energy release (or
uncoiling) for women. In this way, Yin is gathered or Yang is developed in 空
certain areas of the body, also known in Taiji as the ‘Five Sides’.
17
Example : Yang strengthening posture
太
极
理
学
Fig. . Yang axis strengthening in
‘Right Brush Knee and Step’ posture
In the ‘Right Brush Knee and Step’ posture, energy is uncoiled and the
Yang axis is strengthened.
. • Development of Yang energy
戒 Philosophy of Taiji describes the development of Yang energy as a certain

空 condition required for natural growth.
18
太
Qian
极
Fig. . Yang conditions 理
Yang conditions define the quality that makes the process of human energy
development irreversible. It happens when at least two thirds of Yang en-
ergy is fulfilled or engaged.
学
Li
Fig. . Yang effort

戒
Each movement has its own Yang expression. It is defined primarily by the
engagement of Yang energy in the body and its speed of circulation in the
空
Yang meridians. This process is managed by Li (Fire).
19
太
极
Dui
理 Fig. . Yang nutrition
学 When Yang meridians function properly, they feed the body regularly with
Yang energy. This constant nurturing process is managed by Kan (Lake)
and other natural elements.
戒 Xun
Fig. . Yang transformations

空 Other sources also contribute to the transformation and strengthening of
Yang energy and these are managed by Xun (Wind).
20
. • Development of Yin energy
太
极
理
Kun
Fig. . Yin conditions 学

Yin conditions are also required for human energy development. However,
they may contain significant disruptive forces.
Kan
戒
Fig. . Yin effort 空
Yin effort focuses on energy gathering and the process is managed by
Water.
21
太
极 Gen
理 Fig. . Yin nutrition
This image represents how the Yin meridians work to feed the body regu-
学 larly with Yin energy. This constant nurturing process is managed by Gen
(Mountain) and other natural elements.
Zhen
戒 Fig. . Yin transformation and strengthening
空 The sources contributing to the transformation and strengthening of Yin

energy are managed by Zhen (Thunder).
22
太
极
CHAPTER TWO: 理
学
YANG BUILDING
CONDITIONS
戒
空
23
. • Tai Yang and Tai Yin
The ultimate goal of Taiji philosophy is to reach the condition of Wuji —

the static position that is achieved by the release or uncoiling of Yang
太 energy. This is achieved through Taiji forms based on the art of cherishing
Yang energy. The conditions for developing Yang energy depend on the
vertical (Heaven) axis which create a centrifugal force that uncoils Yang
极 energy in the body. At this point, the development of Yang energy also
depends on Yin energy.
理 Yang energy uncoils when at least two thirds of the Yang axis is energized.
It means that the Yang axis must be included in two-thirds of any form to
学 allow Yang energy to uncoil. The Yang axis is most activated in the static
position (li ding shi) when the vertical axis is  energized and the hori-
zontal axis is  energized.
Tai Yang
Tai Yin Tai Yin
戒
空 Tai Yang
Fig. . Wu-ji
24
Each movement and each position in this form promotes Yang or Yin
principles. For example, the ‘pulled-up crown’ posture intensifies energy
circulation in the brain. Concentration in the crown area (yi han ding jin)
is one of the ways to control the vertical axis. A proper combination of
axes allows us to perform this movement naturally (yi ren ziran) without
applying any effort (bu ke qian qiang) just by building a proper sequence of
positions and transitions. 太
No matter how we develop Yang energies, it cannot be enhanced with-
out Yin as Yin is a means of defining the inner vitality (jingshen nei gu) of
Yang nature. Hence, it is impossible to reach the condition that enables us
极
to develop Yang and Yin energies without performing certain movements
that define the building of both Yang and Yin. Yang and Yin forms move 理
due to specific efforts which are defined by Nature. These Yin and Yang
movements are defined by Li and Kan trigrams. 学
Also, Yang movement depends on Yin movement, just as Yin static
properties depend on Yang static properties. The alchemical requirements
for building this form are obtained by exerting two main types of efforts
(Yin and Yang) and combining them to produce the necessary energy for
creating the necessary force (he cheng yi jin). Therefore, Yang development
conditions cannot be studied in isolation from Yin’s energy-gathering
conditions.
. • Controlling a form by physical activity
To define the conditions necessary to fulfill Yin and Yang forces, we need
to understand how to control a form. It can be controlled both through 戒
energy and consciousness. Energy control depends on the sense of ful-
fillment attained from a variety of different actions — from reading and
contemplating to exercising. As physical activity is by nature visible and
空
relatively easy to grasp, we will use the external Taiji forms as a basis for
discovering and understanding Taiji philosophy.
25
. • Axis building
In Taiji forms, each position or posture can be divided into two main, two
cardinal and four diagonal axes. The Yang axis connects the crotch with
the crown, with the Gen Axis going through the spine.  control points —
太  palms and  feet.
极
理
学
Fig. . Left Brush Knee and Step
In this position, Yang building conditions are controlled by the upward-facing

palm (yang shou xin) and the earth-opening right foot, while simultaneously
controlling Yin by bringing palms down (chui xia) and holding the earth by
the left foot. This position energizes one of the cardinal trigrams managed
by back, chest, head and abdomen. The back manages the Li, the chest man-
ages the Kan, the head manages the Qian and the abdomen is energized by
Kun. This means that two main axes also act as cardinal trigrams.
戒 Therefore, each new position should correspond to the activation of one
空 of the cardinal trigrams. This means that in order to build Yang energy, we
have to understand the four cardinal trigrams; and if we speak of form con-
trol through consciousness and energy, we also need to take into account the
position of the form. In other words, all axes need to be understood in their
physical, conscious and energetical dimensions.
26
. • Kun cardinal trigram
Kun can be expressed by both a single position and a combination of posi-

tions directed at fulfilling the Yin energy.
太
极
理
学
Fig. . ‘Embrace Tiger and Return to Mountain’ posture
The ‘Embrace Tiger and Return to Mountain’ position is represented by the

Kun. It is also an illustration of Lu force, the strongest gathering force. The
main features of Kun include: inhaling for men and exhaling for women;
rolling back; bending; planting; pressing; gathering energy in abdomen area;
and matching to the three other cardinal trigrams.
Lu force is an effort that creates the conditions for fulfilling, rather than
defining, a force. In terms of posture, Lu force can be expressed as a Kun
form that includes the Lu form. However, any other form can also include
Lu force, so it can be said that while Lu force may be expressed through
戒
postures, its quality mainly depends on the effort that is created by focused
energy potential. In other words, Lu force provides the conditions for pro- 空
ducing inner gathering efforts.
27
. • Qian Cardinal Trigram
Like Kun, the Qian can be expressed by either a single position or a combi-
nation of different positions. However, this trigram is related to the devel-
太 oping Yang force and is mainly defined by a combination of positions. As in

the case of Kun, the form in Qian is not particularly pronounced because it
relates more to the development of the whole Yang form.
极 The ‘Grasping Sparrow’s Tail’ posture provides an example of Qian fulfill-
ment. Unlike Yin positions which focus mainly on releasing energy (chen-
理 jin), Yang positions manifest force by expressing both explosive shock force
(chong kai) and constant energy rate force (zhi li).
Fig. . ‘Grasping Sparrow’s Tail’ posture

戒
The combination of postures in Fig. . to . provide an example of Qian
空 fulfillment:
28
太
极
Fig. . Fan Through Back Fig. . Step Forward, Deflect,
理
Parry and Punch
学
Fig. . Turn Body and Strike
戒
The main features of Qian include: exhaling for men and inhaling for
women; rolling forward; opening movements; way out and up; jumping;
uncoiling energy; linking wrist energies and matching to the other three
空
cardinal trigrams.
29
. • Kan cardinal trigram
In the same way as Kun, Kan defines the fulfillment and manifestation of
Yin. Even though the Kan looks similar to the Kun, it is different internally
in form, purity and speed. In particular, it includes active Yang-Jing energy.
太 shen — Yin
jing — Yang
shen — Yin
jing — Yin
qi — Yin qi — Yin
极 KAN KUN
理
Fig. . Kan and Kun Yin and Yang manifestations
In order to achieve the goals set by this trigram, it is necessary to align
学 the efforts of three cinnabar fields. The ‘Embrace Tiger and Return to
Mountain’ posture defines this trigram and expresses Ji force.
戒 Fig. . ‘Embrace Tiger and Return to Mountain’ posture
空 The main features of the Kan include: inhaling for men and exhaling for
women; twisting; gathering; absorbing; bending; squeezing; expressing the
force applied for gathering the abdomen; matching to the other three car-
dinal forces.
30
. • Li cardinal trigram
Li represents a manifestation of effort by gathering jing energy and fulfill-

ing qi and shen. This force emerges from the rhythm and also represents an
ability to connect internal links.
shen — Yang shen — Yang

太
QIAN
jing — Yang
qi — Yang
LI
jing — Yin
qi — Yang 极
Fig. . Qian and Li Yin and Yang manifestations
理
In reality this force can only be expressed if the principles and the form are
followed. The form constantly controls shen energy and Yang-qi circula-
tion. This cardinal trigram is preceded by an uncoiling of qi energy. The
学
sequence of postures in Fig. . to . provide an example of this.
戒
Fig. . Right Brush Knee
and Step
Fig. . Step Forward, Deflect,
Parry and Punch
空
31
太
极
理 Fig. . As Though Sealed and Closed
学 This sequence of postures illustrates how to develop the ability to join the
energy in one flow. The conditions for expressing the Li trigram require
energy to be sealed (feng) and fixed in a closed position (bi). The main dif-
ficulty in attaining this form is being able to keep the form energy open
(kaijin) so that it becomes impossible to deflect (ban) or counter (lan) in
external conditions. Therefore, it makes it impossible to deflect and misses
the opportunity of opening the long energy (chongjin). Hence, maintaining
this force is key to understanding the form.
The main features of the Li cardinal trigram include: inhaling for women
and exhaling for men; untwisting; pushing; opening; lifting; opening; ex-
pressing the effort by focusing on opening the abdomen; matching to the
three other cardinal forces.
If the positions of the cardinal trigrams are distributed properly, the diago-
戒 nal trigrams (axes) can then be activated or ‘switched on’.
空 While these trigrams each have their own angles of effort, they can only
be activated when the cardinal axes are fulfilled. Assuming that changes in
the form depend on ‘diagonal forces’, then in order to maintain the form,
we first need to focus on ‘cardinal forces’. From this perspective, each pos-
32
ture may be said to have its own ‘body’ which has to be understood both
externally and internally in order to gather the energies required for creat-
ing the force (he cheng yi jin). Only then can we begin to define the forms.
Typically, each form is labeled with a poetic moniker highlighting their
special features and the type effort required for fulfilling each position and
action. Therefore, when analyzing any form or posture, we need to under-
stand both the philosophy of these forms during rest and action. In this
way, they are said to fulfill the Formula of the Common.
太
极
. • Taiji Tu — Figures of the Taiji Form
理
The Taiji Tu is a chart illustrating the twelve changes or formulae corre-
sponding to the rhythms of Nature. The twelve changes are represented
by a spiral as they have neither beginning nor end, but are rather, twelve
学
different phases which combine to form the rhythm of Nature. These
twelve changes are defined by formulae (zhu fang) which express their en-
ergy state at any point in time. While Taiji philosophy may be understood
both through forms practice and theoretical study, the former path yields a
deeper appreciation of the art since practice of forms allows the student to
discover the twelve changes experientially.
What are the twelve changes and how are they defined?
Each of the twelve changes is defined by a figure. There are thirteen figure
positions and each figure represents a particular change and with its spe-
cific transformational rhythm.
The thirteen figure positions also focus on the flow of potential energy that
allow us to catch a relative body. A relative body is the body we possess at
戒
birth, while an absolute body is the body we attain after reaching the high-
est transformational stage. 空
33
Each figure contains knowledge about all other figures, hence, any study
of figures in isolation remains hypothetical. Their practical application is
based on the conditions of Pre-Heaven and Post-Heaven, which should
also ideally have two corresponding figures. The first figure, known as the
‘Eight Patterns Figure’, focuses on the static laws of Pre-Heaven and the
dynamic laws of Post-Heaven. The second figure, known as the ‘Seven
太 Stars Figure’, quantifies and defines the rhythm. This second figure forms
the basis of the Taijiquan system, and enables us to discover the meaning of
极 the Taiji Tu (Taiji charts) through the ‘Three Singles Figure’, which in turn
forms the foundation of Taiji philosophy.
理 From a historical perspective, it should be noted that the visible forms of

the Taijiquan system were in large part created to revive the internal arts
of Daoist Alchemy, whose once wide-spread practices were suffering a
学 severe decline perhaps due to the changes in the Earth’s rhythms. As for
understanding the philosophies of Taiji, it is not important to determine
who created the system, for many Daoist philosophers and alchemists have
contributed in myriad ways to the rich store of knowledge. For example,
Song Wu-ji, Cheng Boqiao, Chong Shang and Xianmen Kao are some
well known adepts who have practiced different magical techniques to at-
tain immortality and interact with the ‘gods and spirits’ (xing jie xiao hua).
For the purposes of this book, however, it is useful to make special mention
of Master Zuo Yan’s (- bc) contribution to the development of Taiji
philosophy, in particular, the area of magical Daoism and ‘the naturalists’.
Zuo Yan was one of the first adepts to begin systematizing the vast body of
Taiji knowledge and linking its philosophies to Daoist concepts of the Five
Elements, that is, Yin-Yang and Wu-xing. Indeed, he was the first person
戒 to point out the cyclic recurrences of these Elements, and as a result of

his efforts, the above-mentioned adepts were able to develop his theories
to the point of practical application, that is, to produce the elusive Elixir
空 of Immortality. This marked the turning point in which Taiji philosophy
gradually transformed into the Alchemy of Taiji. In other words, by defin-
ing the link between the formula and form-building, Zuo Yan enabled sub-
34
sequent masters to re-define and further clarify Taiji philosophy through
the use of formulae and physical forms. Even though the development of
these forms and postures followed an ostensibly non-alchemical path, these
forms ultimately became based on a certain order of sequences whose main
focus was to produce the ingredients, and hence the elixir, of immortality.
In other words, dedicated practitioners could obtain alchemic transforma-
tions through serious practice of positions and body movements, while at
the same time find their powers of perception sharpened and deepened,
太
leading to improved understanding of the laws of Taiji.
It is interesting to note that the original names of various body movements
极
corresponded to combinations of metals and elements, thus belying the
fact that inner work was deemed integral to each position. Some examples 理
of these names include: metallic lead (hei jian), lead carbonate (shui fen),
sulfur (shi lin huang), blue copper ore (bai jing) and so on. Indeed, until the
end of th century, all body movement techniques were deemed to have
学
a purely alchemical purpose — to achieve internal transformation. It was
only in the th century that these movements were consolidated and re-
structured by Zhan Xianfen to form the integrated system that we now
know as Taijiquan.
As part of this systemization of knowledge, Zhan Xianfen identified twenty
four static positions required to produce the Elixir of Immortality. He later
combined these positions by inserting transitions between them. Although
present-day Taijiquan systems diverge greatly from Zhan Xianfen’s original
creations, they still generally retain traces of Zhan’s alchemical legacy, as
reflected by concepts such as ‘lead mixing by exercising in eight directions’
and ‘using the five qualities’ which still form the basis of many modern-day
Taijiquan practices.
The Taiji theory is based on the concepts of the eight movements and the
戒
five directions. This theory is most effectively expressed by the  letters
(or lines) which symbolize the space in which the transformation process
空
occurs. Each action has its own movement form and is defined by one of
the figures.
35
太
极
理
学
戒
空
Fig. . The Thirteen Figures
36
太
极
CHAPTER THREE: 理
学
THIRTEEN
FORMULAE
戒
空
37
. • Formula of the One
太
极 Fig. . The Formula of the One
理 The Formula of the One represents the processes of creation (birth) and
completion (return to the source or transformation). Both creation and
completion are in continual transition from one state to the other and they
学 both originate from the same source, that is, the Spiral.
Fig. . The Infinite (Wu-ji)
The state of rest and emptiness, also known as the Great Infinite (Wu-ji),
forms the basis and source of all existence. It also generates the state of
the Great Limit (Taiji). The Great Infinite contains the path that leads to
everything.
戒
空
Fig. . The Great Limit (Taiji)
38
Fire Water 太
Earth
极
理
Wood Metal 学
Fig. . The Great Limit (Taiji) and the five elements
The Great Limit (Taiji) can be described as a sphere consisting of Yin

and Yang energies in equal proportions. The three Yin and Yang circles
reflect three energy qualities, that is, three transitions from one state to
another. They also represent three spaces of interaction between Yin and
Yang: Supreme Yang (Yang-shen) and Supreme Yin (Yin-shen); Major
Yang (Yang-jing) and Major Yin (Yin-jing); and Minor Yang (Yang-qi) and
Minor Yin (Yin-qi).
Through the transformations governed by the Great Limit (Taiji), the
Great Infinite (Wu-ji) generates the eight spheres or trigrams (Qian, Kun,
Li, Zhen, Kan, Xun, Gen, Dui) and the five elements (metal, wood, water,
fire and earth). These elements correspond to the four directions, which
戒
are respectively: west, east, north, south and the centre. There are eight
movements of Supreme Yang and Yin, eight movements of Major Yang and 空
Yin and eight movements of the Minor Yang and Yin. All these movements
exist to fulfil or realise the five shen elements, the five jing elements and the
five qi elements. This is the definition of the macro cosmos.
39
. • Formula of Duality
(Yin and Yang)
太
极 Fig. . The Formula of Duality
理 The Duality figure represents the duality of nature expressed as opposition

(one against the other), combination (one inside the other) and consolida-
tion (two becoming one). The Duality figure presents the states of move-
学 ment and rest, where Yang acts as the active and creative element while Yin
as the preserving and nurturing element. Yang moves around the vertical
vector while Yin moves horizontally.
The interaction between Yin and Yang is symbolically represented by the
‘union of the Dragon and Tiger’. This interaction manifests itself at the
mental level through different perceptions of the same phenomena; at the
energetical level through different directions of energy circulation; and at
the physical level through different expressions of the form or body parts.
Proper union and interaction of Yin and Yang prevents loss of the form.
At the same time, the form itself facilitates distribution and connection
between Yin and Yang through three ‘cauldrons’, known as the lower, mid-
dle and upper cauldrons. Daoist works describe the interaction between
Yin and Yang in the cauldrons through metaphors such as ‘Dragon and
戒 Tiger frisk around in the raging river’, ‘the Sun and Moon reflect each other
in the Yellow Palace’, and ‘intercourse between husband and wife in the
chambers’.
空 Yang and Yin interaction is also represented by the Golden Raven and the
Jade Hare. The Raven is a patron of Heaven and the Hare is a patron of
the Earth. Daoist works refer to imagery such as ‘the Golden Raven de-
40
scends from Heaven and the Jade Hare springs’ to signify that the channels
are open and energy can circulate from the crown to the abdomen. This
imagery also signifies that the Microcosmic Orbit is open. This process is
sometimes also referred to as ‘the Golden Boy meets the Jade Maiden’.
Our body can be considered as a structure in which energy moves through
two meridians — the middle-back meridian (du) which runs from the
point at the base of the spine (wei lu) to the palate, and the middle-front 太
meridian (ren) which connects the same to points through the front of the
body, from the palate down the abdomen to acupoint Wei Lu at the base of
the spine. The Microcosmic Orbit (also known as Heavenly Wheel) acts as
极
an energy governor of the form.
理
学
戒
空
41
. • Formula of Three Souls
(San Yi)
太
极 Fig. . Formula of Three Souls (San Yi)
理 Formula of Three Souls contains knowledge about the Three Alchemical

Treasures, qi, jing and shen, the three forms of energy in our body gener-
学 ated from ‘Unified Energy’ (Yuan qi) at the moment of birth. They are con-
sidered treasures due to their significance in one’s life – their loss results
in death.
Three Souls Figure reveals the outline of Taiji Tu. In fact, this figure is de-
fined by the Taiji form and reveals the connection between Heaven, Earth
and Human and the three development periods created by them. The Earth
period is related to the construction of qi energy; the period of Humans
is related to the transformation of jing energy; and the period of Heaven
relates to the development of shen spirit. All three periods are connected to
the Cosmic Womb (fa yuan tian) that breathes life into all creation.
The Three Souls Figure is a parameter based on space and time. It has a
direct connection with rhythm and is defined by the six directions (liu he):
front and back, right and left, up and down. Seen in this light, the Taiji
form is in fact the art of realizing force within space. The static position
戒 of the form is described by the Prenatal Order (Fu Xi) and the dynamic
sequences of the form are described by the Postnatal Order (King Wen).
空 Whether static or dynamic, all parts of the form are based on three axes —
vertical, horizontal and tangential. Each axis contains efforts of both Yin
and Yang energies.
42
The form is created in four directions and contained within a sphere filled
with the Five Qualities (Wu-xing). The form changes in accordance with
the Seven Periods, that is, the time necessary for the sphere to rotate
around the Unified Center. Ultimately, a full transformation of the circle is
attained based on the Three Souls Formula. If the form is represented by
the body, then the main energy areas include the crucibles, kilns and cinna-
bar fields. Each kiln corresponds to a ‘cinnabar field’ and produces the fire
needed for internal work and energy purification. An example of a crucible
太
is the lower part of the abdomen. Each kiln performs its own function. The
lower kiln (abdomen level) is responsible for the gathering, preservation, 极
purification and transformation of qi energy. The middle kiln (the heart
and solar plexus) is responsible for work with jing energy. The upper kiln
(in the center of the head) is the area where work with spiritual energy
理
(shen) takes place, and impacts on rhythm. Despite the obvious correspon-
dence of kilns to various body parts, these kilns only become important for 学
the practitioner after the crucibles are constructed.
Each cinnabar field has a so-called gate located along the spine. The lower
gates are located between the kidneys (Ming Meng), the middle of the back
between the shoulder blades (Jia Zhi) and the upper back at the point
where the spine connects with the skull (Feng Fu). If the middle-back chan-
nel that runs along the spine is blocked, the ‘gates’ become shut and energy
is unable to flow freely. Consequently, internal work becomes impossible.
The Golden Pill, also known as the Golden Elixir, represents the product
of energy distillation by the three cinnabar fields. It is an essence that con-
nects all the energies in the human body. The process of energy circula-
tion through the Microcosmic Orbit is also known as the Minor Heavenly
Wheel (xiao gui tao tian). This energy can circulate in three directions:
• Clockwise: energy flows upward through the middle-back merid- 戒
ian and down through the middle-front meridian. Qi ‘matures’ for
transformation into jing energies, and jing into shen energies, after 空
which qi returns to the head (Yang circulation)
43
• Counter-clockwise: energy flows in the reverse direction to pro-
duce jing energy nurtured by shen and qi energy nurtured by jing
(Yin circulation)
• In both directions: energy flows in both directions simultaneously
(Wu-ji circulation)
太 If we consider any form as a space in which energy is able to develop in

accordance with the laws of Nature, then we can say that the human form
极 may only exist if it contains three spheres represented by the cinnabar

fields. Each cinnabar field in turn consists of spheres called ‘palaces’, of
which there are three: the Jade Purity Palace (yu jing), the Supreme Purity
理 Palace (tai jing) and the Imperial Purity Palace (shang jing). These palaces
correspond to three energy qualities: the Jade Purity Palace corresponds
学 to shen energy; the Supreme Purity Palance corresponds to qi energy; and

the Imperial Purity Palace corresponds to jing energy. The palaces are re-
lated to three potential levels of immortality and enlightenment, and while
these two processes are not identical, they are conceptually connected and
should be studied in parallel. The three levels immortality and enlighten-
ment are: Wu-ji (total unity with the source in emptiness); Taiji (unity with
the source in the world) and Bagua (harmony of existence in the world).
The main task of the Philosophy of Taiji is to describe these processes and
the main task of Alchemy is to teach the process of transformation. In this
way, we can consider a form anything that has the necessary conditions and
potential for change, transformation and growth.
戒
空
44
. • Four Gates Formula (si men)
太
Fig. . Four Gates Formula
极
The form cannot exist without a coordinates because duality requires man- 理
ifestation characterized by the Four Gates Formula. If there is a form, there
are conditions in which it is created. These conditions are represented by
the directions, which are the key to the opening of the ‘gates’ and to the
学
control of the transformation process. When we understand our direction,
we become capable of controlling our effort. Directed effort is true effort.
Four Gates Formula describes the natural flow of energy. The development
of energy is cyclical in nature and these cyclical recurrences have a direct
influence on the form. Hence, by analysing this cyclical process we come
to a better understanding of how the form functions in space. Without its
connections to the directions, the form becomes lost in space. This means
that Yin and Yang cannot attain full realisation and any effort expended on
actions, acquired or inborn, is wasted.
In Daoist terminology the Four Directions are connected to Four Images:
the Red Phoenix is the Guardian of the South (Mo-Li Hong); the Black
Tortoise is the Guardian of the North (Mo-Li Shou); the Green Dragon
is the Guardian of the East (Mo-Li Jing); and the White Tiger is the
戒
Guardian of the West (Mo-Li Hai). Each image acts as a key to under-
standing the form. 空
45
The Dragon (long) represents the specific order of all cosmological processes
whereby each form has a beginning. If the form is not sufficiently prepared,
the beginning is concealed. The main objective represented by the Green
Dragon is to create the force through the form. The formula known as ‘Yi
long jiu zi, ge zi bie’ refers to a connection to the Nine Beginnings through
the process of growth, which is characteristic for any energy. Ultimately,
太 this process equalises all form-creating energies (qi, jing and shen) by join-
ing them into a connections of qi – qi, qi – jing, qi – shen, jing – qi, jing –
极 jing, jing – shen, shen – qi, shen – jing and shen – shen. In this process, it is
each energy’s ability to rejuvenate and transform that is important, rather
than their intrinsic meaning or quality. The form then has to undergo the
理 full development process, especially through its initial stage.
The White Tiger (hu) is the opposite of the Green Dragon and it symbolises
学 the completion of the form’s transformation process. This completion may
be studied within the qi (place), jing (time) and shen (space) processes.
The Red Phoenix (feng huang) represents the knowledge that illuminates
the path. The Phoenix symbolises the assumption of responsibility for
form development and ensuring its compliance with cosmic laws. The
Phoenix controls the depth of the process by calibrating the concentration
of effort.
The Tortoise (gui) symbolises the foundation of the form, its definition
and various manifestations. Each manifestation of the form requires cer-
tain conditions for development and these are concealed under the tor-
toise’s shell.
戒
空
46
. • Five Rotations Formula (wu yun)
太
极
Fig. . Five Rotations Formula
理
Five Rotations Formula defines the five types of changes, the Five
Transformations, which inform all positions or movements made by the 学
human body. These Five Transformations are related to the five densities
of the body — five types of Yin density and five types of Yang density.
These densities undergo become transformed either through coiling (if the
movement is Yin) or uncoiling (if the movement is Yang).
The process of coiling and uncoiling energy results in ten vertical axes: jia,
yi, bing, ding, wu, ji, cheng, xin, xen and gui. Correspondingly, the form un-
dergoes five changes of the internal sphere (nei zai ling yu) and five changes
of the external sphere (wai zai ling yu). Each change creates an addition-
al energy source, so that when the changes of the internal and external
spheres are further analysed, the ten sources (axes) are revealed. These ten
sources constitute the qi matrix and they form nine linkages, all of which
make up the concept of the Elixir in Daoist Alchemy.
戒
空
47
太
极
理
Fig. . The Qi Matrix in the He Tu Diagram
学 The axis is a pre-requisite for the production of the Elixir. Each axis con-
nects the Unified Center to the efforts exerted in each plane, which are in
turn generated by each of the body systems, for example, the skeletal sys-
tem. This process enables the accumulation of energy in the lower cinnabar
field and consequently, production of the Elixir.
The Nine Alchemical Axes (liang shu rou) are:

. Flower Elixir Axis (dan hua)
. Magic Form Axis (shen fu)
. Magic Elixir Axis (shen dan)
. Recurrent Cyclical Elixir Axis (huan dan)
戒 . Edible Elixir Axis (er dan)

. Purified Elixir Axis (lian dan)
空 . Soft Elixir Axis (zhou dan)
. Hard Elixir Axis (fu dan)
. Golden Elixir Axis (han dan)
48
The process of Elixir production is called ‘gathering the Flower essence
through the internal sphere’. In order to gather the Flower Elixir through
the external sphere, we need mercury, mercury carbonate, salt, oxidizing
agents, clam-shells, red clay, soap stone and other ingredients. Only then
can the ‘distillation’ and ‘cooking’ processes begin. The main task of the dis-
tillation process is to transform qi energy, which can change a maximum of
five times before transmuting into jing energy or else it dies away. This also
applies to Elixir production, which requires both correct ingredients and
太
the ability to distil them for success.
So far we have briefly touched on the alchemical aspects of Taiji, mainly to
极
define its philosophy, theoretical concepts and to show how these may be
applied in forms practice. 理
学
戒
空
49
. • Six Rivers Formula (liu pu)
太
极
理 Fig. . Six Rivers Formula
学 Six Rivers Formula defines the contents of the form. It describes the laws
that govern the preservation of qi, jing and shen energies, and explains the
inter-relation between rest and movement, that is, the interaction between
Prenatal and Postnatal Heaven. The interaction between rest and move-
ment is a pre-condition for the realization of the form and is manifested
through six rotation degrees. This means that energy can move in the
direction set by the form and determined by the horizontal effort which
provides the foundation which supports the form. The foundation of the
form consists of six horizontal Yang axes and six horizontal Yin axes: zi,
chou, yin, mao, zhen, su, wu, wei, sheng, yu, xui and hai. Thus, the Six Rivers
Formula characterizes the spiral created by the horizontal effort in one
convolution process.
戒
空
50
. • Seven Stars Formula (qi xing)
太
极
Fig. . Seven Stars Formula
理
Seven Stars Formula or the Seven Manifestations Figure describes the sev-
学
en rhythms produced by the frequencies of existing or acquired energy. The
Seven Stars Figure provides a practical guide to the alchemical process —
it defines the rhythm of development and the ability to form the seven Yin
ingredients, which along with the eight Yang ingredients, create the Pill
(yao wan) which later serves as the source for developing the Immortal
Embryo. The seven Yin and Yang ingredients can catch the difference be-
tween Yin-jing and Yang-jing energy movements. In this manner, the Seven
Stars Figure regulates the alchemical process and influences the develop-
ment of the three energy types (qi, jing and shen) in accordance with spe-
cific natural rhythms.
戒
空
51
Fig. . Rhythm of the Qi Form
太 The form is created through the interaction between Yin and Yang ener-
gies, so from this perspective, adopting the correct attitude toward the initial
极 energy and learning how to return it to the source is of vital importance. The
initial energy fuses with the breath to trigger the exchange process, that is,
this energy becomes the body of the form by producing breath, which in turn
理 helps to nurture the body. When the form is born, it acquires energy and
spirit from without. While this happens, the initial energy prevails, but later
学 merges with the acquired energy to create the One.

The search for movement relates to the junctures where form manifests,
reaches fulfilment and is released. In the beginning, the form is said to be
complete and uninfluenced by external factors. Consciousness is not yet
formed. This first stage comes to an end when the Initial enters the sphere
of inconsistency. Then consciousness is formed and harmonizes with form.
Finally, consciousness and form strengthen the spirit which then becomes
independent of form.
戒 Fig. . The Yang-qi Transformation Figure
空 Once form becomes manifest and absorbs external elements, it acquires di-
rection and becomes controllable. At the end of the first stage, the formation
of perception becomes complete. However, until perception is completely
formed, the Initial still plays a leading role. The form gradually attains spon-
taneity in perception. With time, spontaneity replaces awareness.
52
Fig. . The Development Figure
From birth through the development of conscious energy Yang dominates

太
and Yin preserves. Yin and Yang perform opposite but complementing
functions. The completion of the energy formation process is similar to the 极
relation between the beginning and the end of a month which are united
under one sign. Yang is in its highest manifestation leading not only to
development but to transformation. The same goes for Yin energy which
理
not only preserves but also changes. Hence, we say that the Major Yang in
Yang and the Minor Yang in Yin control the process. 学
Fire
Wood Earth Metal
Water
Fig. . Foundation in Form Development
When Yin and Yang become separate, the Five Elements (metal, wood,
water, fire and earth) also become differentiated. They correspond to the
senses, essence, vitality, spirit and energy. In their natural state of equilib-
rium and harmony, all five qualities are expressed (fluidity, compression,
戒
constructiveness, precision, and flammability). In these qualities, Yin and
Yang become one.
空
53
When there is no form, the Five Elements become chaotic and assume dif-
ferent states expressed as emotions (happiness, anger, sadness, desire and
excitement) due to the separation of Yin and Yang. Hence, in order to create
the pre-conditions for the activation of the Five Elements, we need to mas-
ter the form. While the form is being created, the Five Elements manifest
naturally and they acquire a new quality once they interact with the out-
太 side world. And while they may be described by certain states, they remain
essentially in constant flux. The five internal organs that have their own
极 form and substance also contain the states expressed by the Five Elements.
The state of each element is self-contained and is sufficient in itself.
理 The form should always preserve its natural state. If the externally acquired
energy prevails, Yin and Yang become separated, the Five Elements become
chaotic and the form becomes influenced by external factors. The initial
学 energy gradually becomes substituted by the externally acquired energy. If
the acquired energy becomes stronger than the existing initial energy, the
natural effort of volition is lost and the form becomes replaced. When this
happens, the person’s nature becomes subjected to a different rhythm.
In order to prevent acquired energy from dominating existing initial ener-
gy, we need to choose between two options: either to use the initial energy
or to develop it. Either way, the initial energy will gradually fill the form
and assume full control over it. Once this process is fulfilled, the formation
of the Three Treasures (qi, jing and shen) becomes complete and the form
ceases to define development. Instead, development becomes defined and
controlled by the content.
In short, the path of cultivating reality is actually the path of restoring the
source, and is controlled by the Seven Stars Figure. By ‘restoration’, we mean
戒 returning to the state of natural filling the body with energy (force) to re-
place externally acquired energy. To advance further in development, we
空 need to create the foundation which emerges when the internal defines the
movement of the external. An immortal sage once said: “To produce the
Elixir we need one moment, but to form the foundation and to purify we
need ten months.” However, formation of the foundation and self-purifica-
54
tion cannot occur under external pressure, but only when the mind is ready
with clearly focussed intention. Only under conditions where the mind is
able to precisely define things and prevent distortion of the development
process from external energies, can energy begin to work and manifest it-
self. Under these ideal conditions, we find that less and less effort will be
required for development because energy will naturally fill the form. Just as
with the moon cycles, growth and decline will no longer be associated with
gain and loss, but will instead become part of the natural cycle.
太
In antiquity, it was said that knowledge of cinnabar and mercury meant
nothing if the practitioner had no understanding of the smelting process.
极
In modern-day Taiji, all depends on the depth of practice — the biggest
obstacle is the non-purified mind, while the smallest error will render 理
Elixir production impossible.
To ensure constant development of the form, all elements need to be in 学
harmony. This is achieved by changing their quality, which in turn depends
on the quality of energy in their corresponding organs. When we gather
the elements, we are in fact unifying the energy structure so that force de-
velops in a common direction. The unified energy structure restores the
connection of the Earth with the Four Signs, thus becoming One and in-
destructible. In this state, Yang balances Yin and Yin restrains Yang; the
internal is in development and the external preserves.
Fig. . Natural State Figure influenced by Yang-qi

戒
Once all elements are gathered, Yin reunites with Yang energy. This leads to
空
the formation of the Elixir where the pre-conditions for the form’s return
to the initial state are created. The Elixir is formed through crystallisa-
55
tion of the energies of the Prenatal and Postnatal Heavens while physical
changes have no visible effect on the transformation process.
If Yin and Yang are in harmony, the form becomes natural and the energy
replaces everything that has been externally acquired. At this stage, the
form integrates into one whole and fills with a unified energy which can-
太 not be divided. This is how the Alchemical Embryo is formed, and once
formed, it requires cultivation and nurturing. This is the final stage during
which the form attains completion and gains its natural quality. The body,
极 mind and spirit unite into the One.
理
The Golden Elixir Pill is so named to highlight its qualities of constan-
cy and incorruptibility, qualities embodied by the metal gold. Hence,
the ancient practices for achieving immortality were variously known
学 as ‘making the Golden Elixir’ or ‘smelting the Golden Immortality Pill’,
depending on the school, and centered on producing and transforming
alchemical ingredients.
Fig. . Consistency Figure influenced by Yin-qi
The first important step of transformation is to achieve harmony between

Heaven and Earth. Heaven is related to Yang and Earth to Yin. Harmony
between Heaven and Earth requires balance between Yin and Yang. The
戒 consciousness or mind bases its construction on this foundation. If con-
sciousness is not properly directed or defined, it still becomes filled, gaining
空 both volume and direction by default. The direction of consciousness is

directly influenced by rhythm and when this the transformation process
becomes activated, it is irreversible.
56
太
极
Fig. . Moon Month Crucible
理
The commencement of the month is marked by the growth or waxing of
the moon. Once the moon emerges, it continues to grow and fill. The Moon
Month Crucible describes this ‘filling’ stage, whereby all things redundant
学
are ‘pushed out’ and removed, so that only essential ‘ingredients’ remain to
‘get smelt in the crucible’ and form the true foundation. Once the sphere is
formed, the process gradually progresses to the next stage.
All of this happens in accordance with nature and perfection may in fact be
reached merely by following the natural way of the Moon Month Crucible.
However, the true path is concealed in the Red Cinnabar, which is why
dedicated practitioners continue to devote effort in mixing elements in
pursuit of the Elixir.
戒
空
57
Fig. . Red Cinnabar Figure
太 The Red Cinnabar can be likened to fire — it cleanses and frees us from
all that is unnatural. Like fire, the Cinnabar crucible destroys and trans-
极 forms all developed elements while preserving only the truly valuable and
genuine. Practice of the art of transformation requires energy that is simi-
理 lar to the initial energy and can be produced only by transformation. The
art of transformation requires pure consciousness, otherwise known as the
‘Mysterious Woman Consciousness‘.
学
Fig. . Mysterious Woman Figure
To know the Mysterious Woman Figure means to understand the cor-

relation between Yin and Yang or the key to action and creation. Here,
‘mystery’ relates to Yang and symbolises force and action, while ‘woman’
corresponds to Yin and symbolises rest. This figure has neither form nor
direction but requires effort.
Practice demands that the practitioner maintain an open mind to perceive
戒 ongoing processes clearly. A fully opened mind requires an openness of
spirit and the discovery of the path of the Mysterious Woman. It is im-
空 portant not to overdo this process, taking care that effort corresponds to
realization. Realization needs to be linked to the Heavenly Path, which
is represented by the crown in the body and by the top level in the form.
Once our actions are connected to the Heavenly Path, the Gold Crucible
may be formed.
58
Fig. . Golden Crucible
The Golden Crucible symbolises constancy and unity, and is formed

through concentration. In ancient times, the Golden Crucible was a sym-
bol of Heaven and the form was conceived through concentration of mind.
太
Later, humans learned to transform the elements through the body and
this method eventually prevailed, which led to the creation of a new form 极
called the ‘Jade Form’. This form represents the ability to crystallise the
structure of energy. 理
学
Fig. . Jade Crucible
Jade Crucible originates from the Jade Form. It interacts with processed or
distilled cinnabar and corresponds to the beginning of the path. In addi-
tion to perseverance and concentration, development of the Jade Crucible
requires actions expressed through listening and rest. During alchemical
reactions in the Jade Crucible, the elements undergo through several stag-
es of transformation, each of them defined by certain efforts. In terms of
sequence, the practitioner first forms the crucible, followed by the Gold
Crucible, then finally the Jade Crucible.
Each crucible has three kilns: the Moon Kiln, the Golden Kiln and the
Jade Kiln. The Moon Kiln corresponds to natural existence; the Golden
Kiln corresponds to qi energy and is processed six times; and the Jade Kiln
戒
corresponds to qi energy and is processed nine times. In order to work with
kilns we need forms. The first kiln forms included the Golden Raven and
空
the Jade Hare, and both correspond to the Moon Crucible or the Natural
Transformation Crucible. The Golden Raven is said to control the Xun
59
and the union of these two powerful forces is believed to prolong life and
regenerate body tissues. In Taijiquan, the positions of the forms are con-
trolled by the Golden Raven, while the transitions between forms are con-
trolled by the Jade Hare. In sum, the Golden Raven and the Jade Hare
represent conditions and their realisation is controlled by two other kilns
— the Dragon Kiln and the Tiger Kiln.
太
极
理
Fig. . The Moon Crucible
The Dragon and Tiger kilns are related to the time of transformation and
学 the properties of Yang and Yin movements, that is, speed, frequency and
density. The Dragon corresponds to listening and the Wood element, and
is represented by the Thunder trigram which symbolizes the mobility of
human nature. The Tiger is characterized by its strong nature and its dead-
liness to living beings. Hence, it corresponds to the Metal element and is
represented by the Lake trigram, which though ostensibly based on Yin
energy, conceals an explosive Yang force ready to burst out. By uniting the
Dragon with the Tiger we connect form and content, thus achieving trans-
formation. However, though their union represents circulation of energy,
the processes for the production of the Elixir — cooking, burning and pu-
rification — are different in nature.
To understand how kilns operate one first needs to grasp the workings of
the Moon Crucible, otherwise the paths of development remain invisible.
戒 To avoid such impediments, we need to follow the Yellow Woman.
60
Fig. . Yellow Woman Figure
The Yellow Woman Figure symbolises the quality of Earth that balances
太
Yin and Yang by gathering the Four Conditions. The imagery of the Yellow
Woman is used to describe the specific kind of intention which makes 极
find a balance between consciousness and sensations possible. The Yellow
Woman also embodies the qualities of nurturing vitality and energy. Each
body position, concentration and energy circulation has to be balanced.
理
The nature of the Yellow Woman embodies the part of Taiji philosophy
which studies the concepts and creates the conditions necessary for form 学
realisation. Construction of the form requires time and we need the form
for crystallisation.
Fig. . Crystallisation
When the Moon reaches south-east, darkness reaches its climax, light be-
gins emerge and energy accumulates in the lower cinnabar field.
戒
空
61
Fig. . Moon emerges
太 The process of gathering energy in the lower part of the body is initiated
极 by Thunder and Earth and corresponds to the realisation of the Return

Hexagram. This process also marks the start of the formation of the Moon
Month Crucible.
理
学
Fig. . Moon Crucible
The Moon Crucible formation is characterized by energy growth toward

the north-east, at the point where the Yang Moon almost disappears and
energy reaches the ‘Brain Palace’ (ni wan-gong). The north-east corresponds
to the Mountain where Yin is ready to fully replace Yang, and the realisa-
tion of the Departure Hexagram begins (represented by Mountain on top
and Earth below). This stage — the end of displacement — can be under-
stood as the opposite of the previous stage, the beginning of growth.
戒
空
Fig. . Moon transition essence
62
Fig. . Completion of the internal and external
Moon transition cycle
太
Essence and vitality should be cultivated gradually. This process consists
of two stages: action that leads to self-realization and non-action (empti- 极
ness). Essence is realized when the state of emptiness is attained. Hence
the saying: when action starts, consciousness disappears; when emptiness
comes, everything becomes clear.
理
学
Fig. . Preservation Figure
The development of the Moon Crucible depends on the connection

between the spheres of the external and the internal world. External con-
ditions should only serve to complement the internal world and should
not be allowed to exert any influence on it. Achieving this balance will not
only preserve the internal unity but also make management of all exter-
nal processes easier. This process is known as the Common Principle Law
whereby ‘one holds all’.
戒
空
Fig. . Common Principle Law
63
The Earth, being the center and root source of all forces. nourishes and
nurtures. If the center is under control, Yin and Yang remain balanced,
the Five Elements remain gathered and the embryo is complete. If control
is lost, chaotic reigns and the embryo may be damaged. The work of the
Moon Crucible can form the Spiritual Embryo.
太
极
理 Fig. . Spiritual Embryo
学 Creating the Spiritual Embryo is a significant achievement comparable to

that of giving birth to a new-born. In this process, objects remain undif-
ferentiated and become one with the spirit, while emptiness is perfect in
its manifestation. All resources consolidate into one and there is no loss or
lack of anything. Gestation of the Spiritual Embryo is said to take about
ten alchemical months (not lunar), with the Embryo reaching full develop-
ment once the it passes through all ten stages (symbolised by months). At
birth, the fully formed Embryo is finally transformed and released to aspire
towards infinity. Its trajectory transcends the structures set by the laws of
Heaven and Earth and the conditions of the Five Elements, and can only
be described using the Law of Unity. The achievement of this depends on
the Gold and Jade Crucibles.
戒
空
Fig. . Law of Aspiring to Infinity
64
The cycle becomes complete once we reach the supreme stage. The only
thing that matters at this stage is the spiritual body. All properties of the
form at different stages lose their meaning and disappear, leaving only
emptiness behind.
In this manner, the Seven Stars Formula describes our current understand-
ing of how the rhythm of one’s nature is preserved in accordance with Taiji
philosophy, that is, where a complete One generates Two; a complete Two 太
produces Three; and a complete Three generates ten thousand things. This
formula describes the formation of the Moon Crucible and also manages
the work of the Gold and Jade Crucibles.
极
理
学
戒
空
65
. • Eight Patterns Formula
(Ba Yang Shi)
太
极
理 Fig. . Eight Patterns Formula
学 Eight Patterns Formula represents conditions for the development of the

form: the Qian condition concealing Peng force in a lotus; the Kun condi-
tion concealing Liu force in a knot; the Li condition concealing An force in
a wheel; the Kan condition concealing Ji force in a fish; the Xun condition
concealing Cai force in a fan; the Gen condition concealing Kao force in an
umbrella; the Dui condition concealing Zhou force in a pattern; and the
Zhen condition concealing Lie force in a vase.
Eight Patterns Formula also represents conditions for the Eight

Transformations. At the initial stages of our development, we may under-
stand the Eight Forces as externally set conditions, but after grasping the
nature of rhythm our mind acquires the ability to perceive the Eight Forces
as real efforts capable of capturing and transforming the process. Hence,
external combination of the form is replaced by the internal. This is how
complete transformation of the form and its meanings is achieved, that is,
戒 through the creation of conditions allowing such combinations.

Each of the Eight Patterns generates energy which enables the form to
空 change its quality. In alchemy this is described as producing the Immortal
Elixir (xian ren bu si shi yao) or the Magical Elixir (shen dan), which is the
real objective of internal transformations. Each pattern is capable of pro-
ducing the Elixir, which later gets distilled from Red Cinnabar into Gold
66
Cinnabar (huang ya bian hua), otherwise known as the Pill. This process
is also known as the ‘House of Eight Winds’ (ba feng dai). Each pattern is
concealed in a certain ‘palace’ where the ‘cooking’ takes place. The type of
Elixir produced depends on the pattern that has the most influence on the
process. Daoists have assigned different names for these elixirs, while each
elixir may have different titles.
Thirteen stages of transformation occur in each of the eight Taiji bodies. 太
These bodies form one common body. If we do not develop these bodies
in accordance with the rhythm, one of these bodies will generally begin
to dominate. Most importantly, we need to prevent the Dui, Gen, Zhen
极
and Xun bodies from dominating the Qian, Kun, Li and Kan. To do this,
the Dui, Gen, Zhen and Xun bodies have to be subdued by central forces, 理
which are cardinal and originate from Qian, Kun, Li and Kan.
The Eight Patterns Formula is a spatial parameter operating in three di- 学
mensions, and these are in turn determined by the Eight Trigrams (Ba
Gua). These Eight Trigrams can also be divided into eight parts which cre-
ate the sixty-four hexagrams. The interaction between trigrams expressed
in hexagrams is described in the Book of Changes (Yi jing).
QIAN LI
S S
DUI Heaven XUN XUN Fire KUN
SE SW SE SW
LI
Lake Wind KAN ZHEN Wind Earth DUI
E NE NW W E W
NE NW
Mountain Water Thunder
戒
Fire Thunder Mountain Heaven Lake
ZHEN N GEN N
Earth GEN Water QIAN
KUN KAN
空
Fig. . Prenatal Heaven Bagua Fig. . Postnatal Heaven Bagua
(Order of Fuxi) (Order of King Wen)
67
Bagua is presented in two forms, Prenatal Heaven and Postnatal Heaven,
with the former describing the nature of things and the latter the nature of
transformation. The location of the trigrams in the two forms is changes in
sequence. Each position symbolises a ‘palace’, with nine in total.
The Nine Palaces represent eight directions linked through the center. Each
太 palace corresponds to a certain number and colour:  – white,  – black,
 – jade,  – green,  – yellow,  – white,  – red,  – white,  – purple. The
colours symbolises the form of the elixir produced by a certain force.
极
理 Single phase distillation
Double distillation
学 Triple distillation
Quadriple distillation
Fivefold distillation
Sixfold distillation
Sevenfold distillation
Eightfold distillation
Ninefold distillation
戒 Fig. . Nine Types of Elixir distillations
空 The numbers relating to the trigrams are presented as a Magic Square,

which also defines the Postnatal Heaven in Lo Shu diagram.
68
太
极
理
Fig. . Lo Shu Diagram
This diagram focuses on preserving the quality of energy under Postnatal

学
Heaven conditions. These conditions are set by nature and define the mo-
ment of creation of the Nine Forces, and so allow the realisation of the
Nine Heavens Formula.
4 9 2
3 5 7
8 1 6
Fig. . Magical Square
The Nine Palaces demonstrate the energy matrix that facilitates the inter-
action between different energy qualities. The Magic Square symbolises
戒
the sequence that has to be applied during the movement of the form when
it enters its own rhythm. However, we need to take into account the fact
空
that the sequence is defined by a plane. There are three planes hence three
combinations of sequences are possible.
69
. • Nine Heavens Formula
(Jiu Chong Tian)
太
极 Fig. . Nine Heavens Formula
理 Nine Heavens Formula represents an axis that connects the microcosm
学 to the macrocosm. The most significant transformations that our body is

capable of occur in this cycle. The Nine Heavens Formula describes the
process from the perspective of alchemical time. This process changes the
quality of existence. The concept of ‘alchemical time’, that is, the time re-
quired to complete one full cycle of alchemical transformation, originates
from the period described by the Nine Heavens Formula. This means that
alchemical time is a spatial parameter, not temporal.
Prior to completion each process undergoes stages of transformation,
which are subject to macrocosmic laws described by this formula. It is im-
portant to understand that this formula not only measures time but also
sets the sequence of transformations. This sequence contains the form de-
scribed by the Lo Shu Diagram.
戒
空
70
. • Great Equilibrium Formula
(Tai He)
太
Fig. . Great Equilibrium Formula
极
理
Great Equilibrium Formula represents perfection. It corresponds to the
concept of the Golden Flower when the form is governed by shen energy
and cannot be determined by at the physical level. The essence of the form
学
corresponds to Heaven and light, and provides perfect opportunity for re-
alisation of the knowledge of the Great Limit.
The form is free and has countless opportunities; its condition being self-
determined, it is free from the conditions of Prenatal Heaven. All actions
become one and the one becomes everything. All is controlled by the
Unified Center (zhong xin), which both generates the energy and controls
it. No knowledge can help with understanding this formula — its reality
can only be discovered only after achieving the inner light that is concealed
by the Great Equilibrium Formula.
戒
空
71
. • Immortality Flower Formula
(Bu Si Shi Zao)
太
极
Fig. . Immortality Flower Formula
理
学 Immortality Flower Formula or Radiant Light Figure demonstrates that
effort in the form is already directed towards both the content and the
transformation. The status of Yin-Yang have also changed, hence the
understanding of this formula is beyond linear thinking. Yin-Yang para-
meters have a completely different meaning here — there is no division
since there is no dependence on the physical body.
戒
空
72
. • Incorporeal Immortality Formula
(Shi Jie Xian Jen)
太
极
Fig. . Incorporeal Immortality Formula 理
Incorporeal Immortality Formula cannot be described but only theo-
学
retically defined as it is related to the highest quality of transformation
achievable on the physical plane. Although this formula is beyond linear
understanding, it is possible to analyse this formula from an alchemical
perspective through deciphering symbols and talismans (fu zu bu). This
formula played a crucial role in the development of Taiji philosophy.
戒
空
73
. • Thirteen Deities Formula
(Shi San shen)
太
极
理 Fig. . Thirteen Deities Formula
学 Thirteen Deities Formula does not correspond to the level of which can
be comprehended by human consciousness. It symbolizes the interaction
between the twenty-four body forces or energy structures describing the
nature of the macrocosm. Each body represents a ‘container’ which fills
during the transformation process.
戒
空
74
. • General Description of the Formulae:
The Four Laws
In order to understand formulae the Four Laws need to be realised:
• The First Law is the law of Great Equilibrium Figure and the law
太
•
of attaining naturalness;
The Second Law is the law of the Unified and Nine Heavens
极
•
Figures, both of which enhance human nature;
The Third law is the law of Three Souls, Five Rotations and Seven 理
Stars, all of which teach transformation and change;
• The Fourth law is the law of Duality, Four Gates, Six Rivers and
Eight Patterns, all of which help to combine the forces of order.
学
Unified Law and Nine Heavens Figure are creative, and they bearing and
represent the laws of Prenatal and Postnatal Heavens, that is, the qualities
given by birth and to those transformed by practice.
Great Equilibrium Figure represents perfection. It is also an intermediary
figure but in the heavenly sequence it includes all the previous changes that
form this order. The Great Equilibrium Figure within the form suggests a
gathered physical and energy body. This is a sphere with eight conditions
of existence, whereby the body is considered as a spatial structure (that is,
a volume) and not linear.
The figures become manifest in our body at the Seventh Stage of Deepening.
At this point the Unified Center is already formed. If it is not gathered, the
figure order is distorted and the Seventh Deepening cannot be achieved.
戒
In this condition neither filling nor circulation of energy should prevent
concentration — on the contrary, they should reinforce it. 空
75
. • Seven Types of Deepening
. Deepening through action;

. Deepening through non-action;
太 .
.
Deepening through form;
Deepening through content;
极
. Deepening through volume;
. Deepening through combination;
. Deepening through concentration.
理 The first four forms of deepening do not require the presence of contructed
学
Unified Center since the Unified Sphere is sufficient. In contrast, the fol-
lowing three forms need the Unified Center for support. Once the Unified
Center is built, the adept enters a heavenly order, whereby the Unified
Figure defines the Unified One and the Center as well as the Duality
Figure, that is, its realisation and development. Three Souls Figure assigns
direction and fills the Sun, the Moon and stars with breath. Four Gates
Figure assigns movement and Five Rotations Figure fill with/through the
Earth. Six Rivers Figure determines the filling with/through Heaven and
the six pneumas (liu qi). Seven Stars Figure symbolises liberation from the
influence of Earth energies since at this level there is more interaction with
the Heavenly energies than with the Earthly, due to the sufficient content
of jing energy and its management.
Eight Patterns Figure provides an opportunity to control the vertical axis
held by the eight Moon trees (jian). Nine Heavens Figure suggests that the
戒 body of the practitioner becomes a sphere and she is capable of interact-

ing with Heaven and Earth, with Yin and Yang forces, with the Moon and
空
Sun, and with the four seasons while remaining complete and whole. Great
Equilibrium Figure represents indissoluble conception of the physical, en-
ergy and spiritual bodies. Immortality Flower, Incorporeal Immortality
and Thirteen Deities figures express human ability to transform and rep-
resent Figures of Supreme Purity.
76
. • Meaning of the Four Laws
All Taijiqian practitioners undergo through four stages relating to the Four
Laws. What do the first four figures mean and what do they mean to some-
one practicing internal techniques? They demonstrate the conditions that
facilitate flow of energy. 太
Once a practitioner has her centers and channels open, qi energy flows
freely in accordance with its initial laws. The movement of this energy is
defined by the Duality Figure. In order to preserve the functions of the
极
energy centers and their connections, the practitioner of internal alchemy
should control energy circulation in the body at each stage. In this state the 理
energy preserves the natural balance of physiological functions.
Four Directions Figure focuses on the Four Vectors of change that impact 学
on an energy channel. Energies start to intersect in the body, creating cer-
tain spirals in the crossing points that are required for alchemical trans-
formations. The more diligently we work with the energy directions, the
stronger the spirals become.
If we practice Bagua-zhang or Taijiquan forms several times a day and man-
age to constantly maintain development of the spirals, they start to act as
energy centers which process and accumulate jing energy which gives an
additional source of energy.
Six Rivers Figure is the law of interaction with jing energy because it is im-
possible to work with jing energy until work with all six forces is achieved.
By ‘work’ we mean alchemical smelting that can be performed in the vessels
and the cinnabar fields of the body. It is impossible to work with shen en-
ergy without this condition as we will only be able to nurture the spiritual 戒
body but not transform it. There is a big difference between these two con-
ditions: in the former the practitioner is expecting the result while in the 空
latter he achieves it. In order to remain gathered, this stage requires great
concentration.
77
To avoid useless changes and energy losses once all the body ‘doors’ and
‘gates’ are opened, these need to be interconnected and put in a specific
order. Eight Patterns Figure symbolises the development of this abil-
ity to control the Eight Forces, which enables us to manage our internal
development.
太 The law of the Eight Patterns Figure is a constantly applied effort. A prac-
titioner understands this law when she progresses up the various stages
through consistent work. We should not try to first open and then gather
极 the energy, instead, everything should happen simultaneously. If we simply
release the energy, then ‘the river will overflow’ and this will lead to uncon-
理 trolled filling and an inability to control the practice.

The law of the Eight Patterns Figure is based on the fact that the prac-
学 titioner has already acquired a center upon which all further work is be-
ing built. All static positions in Taijiquan, Bagua-zhang and Xinyi-quan are
built in accordance with the laws of Duality, the Four Gates, the Six Rivers
and the Eight Patterns figures. All transitional positions or movements are
built in accordance with the laws of the Three Souls, the Five Rotations
and the Seven Stars figures.
By the number of figures participating in the process of energy structure
building we can judge the power of the forces in static positions, which
contain more laws. In addition, energy is better preserved in a static po-
sition than in movement. The Duality, Four Gates, Six Rivers and Eight
Patterns figures have a limit set by our personal qualities, place, time and
other factors.
Usually practitioners are unable to create the conditions necessary for prac-
戒 tice or to enter them. This is when an additional incentivizing movement
is required both for growth and for searching for a way out. This process
空 is managed by the Three Souls, the Five Rotations and the Seven Stars
figures as they set the development rhythm.
Why should the practitioner know about the figures and understand
them? In order to deepen their perception of the form movements beyond
78
the external form, and also to focus on the process. This is not limited by
physical activity but rather related to energy circulation and concentrated
effort. By performing these techniques and using the guidelines the system
of principles as their starting point, practitioners attain significant results.
By opening the force of energy inside, we gain internal support for continu-
ation of any developmental work we undertake. All of this can often lead to
a break of the link between concentration and energy filling. 太
Once the right cerebral hemisphere is overfilled, the functions of the left
cerebral hemisphere are disabled. And although this leads to less energy
loss, it disables a whole structure of links developing in our brain. Once the
极
left cerebral hemisphere is disabled, the practitioner can no longer influ-
ence the process — he can only follow it. 理
Three Souls, Five Rotations and Seven Stars figures focus on movement
and it is not possible to give them fixed definitions since the moment they 学
are cease movement, they transform into other figures.
The law of Three Souls Figure represents the conditions of our body.
Whatever movements we perform, we are in a three-dimensional space. All
techniques are built in relation to this space, and if we fail to pay attention
to the building techniques, the energy body will become overactive in one
dimension and insufficient in another, which will interrupt the process of
energy building. By realising the work of this figure, the practitioner uses
the concepts ‘up and down’, ‘right and left’, ‘forward and backward’, ‘empty
and full’. Therefore, the Three Souls Figure is realization of the figure,
which we are more accustomed to perceive in the form of Yin-Yang flow.
However, this symbol is not very appropriate for work. It is more theoreti-
cal and if we apply it in practice, we need to realize the three-dimensional
parameters (volume) set by nature. 戒
All principles of technique-building in Taijiquan represent the knowledge
of Duality and the Three Souls figures. Having realized the Five Rotations 空
Formula at the limit of the fifth figure, the practitioner begins to control
the Four Directions. The level of the Seven Stars Figure represents the
79
highest point of movement that may be practically achieved, that is, what
the practitioner may perform within the law of movement and its expres-
sion. In this state the abilities of our body are limitless and there is nothing
that may stand in our way to obstruct our movement.
The next stage transcends all thinkable and unthinkable laws of move-
太 ment. The practitioner acquires the form of the Nine Heavens Figure
and becomes close to the perfection created by her, that is, the level of the
Great Equilibrium Figure is reached. Similar to the Figure of the Unified,
极 Great Equilibrium Figure becomes the beginning of something new in its
natural perfection with the only difference being its poles — positive and
理 negative.
Immortality Flower, Incorporeal Immortality and Thirteen Deities figures
学 represent a superhuman path. The practitioner who has reached the level of
the Great Equilibrium Figure, has attained the highest level of existence.
The practitioner who has mastered the laws of Duality and Three Souls
through Taijiquan practice can be considered to have understood the mean-
ing of Taiji and all of her subsequent actions will no longer be connected to
the parameters of linear principles.
If we fail to focus our consciousness on the laws and knowledge when prac-
ticing internal techniques, once we enter the non-linear condition, we will
have to remain within the laws of unintelligible connections.
It is important for Taijiquan practitioners to develop their inner self at every
stage so they do not ‘get stuck’ in the law of the formless. All forms of Taiji
and other modern practices are limited by the same movements. Failure to
戒 understand or accept them can make us dependent on these techniques.
80
太
极
理
CHAPTER FOUR: 学
TAIJI TU
戒
空
81
. • Concept of Effort
We can reach realisation of the Taiji Tu concept through proper un-

derstanding of effort. Taiji Tu creates two efforts: effort of the Yin
form — focused on gathering and lowering the body; and effort of the
Yang form — focused on the opening and lifting of the body. While the
太 Yin form gathers our forces, the Yang form opens them. By studying the
nature of figures, we shall touch upon the elements that lead to further
极 understanding. Understanding the figures lies in the principle of effort.
Qian
理
学 Li
Dui Xun
Kan
Zhen Gen
Kun
Fig. . Diagram of Yin form effort
Dui Xun
Qian
戒
Li Kan
空
Kun
Zhen Gen
Fig. . Diagram of Yang form effort
82
By understanding the Unified Effort we can come to a realization of spatial
effort. The Unified Effort is also known as the ‘circle in a square’ (Yin form)
and the ‘square in a circle’ (Yang form). The Yin form contains the Unified
principle of gathering and the Yang form contains the Unified principle
of opening. Having realised that, we can orient the practice towards the
content without being dependent on the form. The content is a gathering
principle upon which the realisation of mental, energy and physical aspects
depends.
太
Understanding of spatial effort is the basic step towards comprehending
the Taiji Tu. This requires good knowledge of theory prior to practicing or
极
activating the effort.
理
. • Spatial Effort 学
Qian Dui Li Zhen
Xun Kan Gen Kun
Fig. . Spatial effort 戒

Spatial effort is defined by direction that has four sides. It also includes 空
upward or downward movement, that is, direction that can be represented
by either Yin or Yang.
83
South
太
East
West
North
极 Fig. . Yang Direction Fig. . Uncoiling of energy
理 By studying this concept we can approach the nature of Yang and Yin ef-
fort. Here is an example:
Fig. . The ‘Cloud Hands’ posture

戒
空
An example of Yang effort direction is the ‘Cloud Hands’ position with its
westward movement. By performing a position, we show that no effort is
possible without a form since all forms are generated by physical or mental
effort. Although Taiji philosophy is the foundation of the mental form,
84
it is more convenient and appropriate to study the effort involved from
a physical level. This form has five directions — west, east, south, north
and up-down, which all work to provide the conditions for uncoiling Yang
energy. By assigning a direction to the movement we can strengthen either
Yin nature or Yang nature. This is due to the twisting or uncoiling of the
energy. Each direction has its own energy spiral which defines the twisting
process. This represents the so-called step of effort or Moon step. 太
The way energy uncoils depends on three main effort conditions: qi, jing
and shen. 极
• Qi effort
This effort is set by nature. It has no form and can be manifested 理
in many different combinations depending on conditions.
This effort is a flow. 学
• Jing effort
This effort has an assigned direction and is defined by different
combinations, for example, combinations of the Five Elements
or the Eight Forces.
• Shen effort
This effort is hidden. It has its own nature which cannot be
expressed without proper understanding of jing effort.
Shen effort is responsible for the personal rhythm of humans
and represents their code.
The attempt to understand Taiji philosophy requires understanding of the

symbol, which contains the knowledge of Taiji. The nature of Yang move-
戒
ment is defined by upward and right movements in men and downward
and left movements in women. This means that in Taiji philosophy the 空
same movement forms different efforts for men and women.
85
Now we return to the concept of thirteen internal forms movements,
which require only internal movement and no external movement. They
define the laws of the thirteen figures and are externally complete.
The thirteen forms are depict thirteen form positions which fulfil the tasks
of thirteen different efforts. These thirteen efforts have their corresponding
太 concepts and can be defined from the position of qi, jing and shen efforts. It
would be easier to study these efforts from the viewpoint of qi effort since,
in order to understand them from the viewpoint of jing or shen, we need
极 considerable amount of internal work (described later in the book). At this
point we will discuss the thirteen efforts from the viewpoint of qi energy.
理 The thirteen efforts of qi are: left foot/leg effort; right foot/leg effort; left
hand/arm effort; right hand/arm effort; lower body effort; middle body
学 effort; upper body effort; back effort; front effort; right side effort; left side
effort; perineum effort; crown effort. Qi efforts cannot be understood in-
dependently of jing and shen efforts. In order to achieve this we need to
remain within the three types of form realisation.
. • The Three types of Taiji Form Realization
Realisation of Taiji can take place through consciousness/mind, through

the energy and through the body.
Naturally, it would be incorrect to assume that perfect physical form rep-
resents the achievement of Taiji. The form consists of a vessel defined by a
law where the inner nature becomes manifest. According to Daoist theory,
戒 there exists thirteen or twenty-four forms. Can all of them be expressed
physically? It all depends on how one is able to achieve integration of the
空 body, energy and mind. To achieve this, one should always keep in mind the
three types of sequences of form realization. The form must be perceived
physically, mentally and through energy. Only then we can understand the
thirteen aspects of movement structure.
86
. • The Thirteen Aspects of Structure of Movement
left
太
极
up
down
backward
理
学
forward right
Fig. . The Thirteen Aspects of Structure of Movement
The whole structure of the movements of the thirteen aspects is oriented 戒

towards the four cardinal trigrams (Qian, Kun, Kan and Li). This struc-
ture is based on the spatial parameters (volume) controlled by Wu-ji. The
twenty-four aspects of rest structure is formed by the conditions of three-
空
dimensional space.
87
. • The Twenty-four Aspects of Static Structure
Parameters defining the  aspects of static structure:

• Prenatal form
• Postnatal form
太 • Beyond-heavenly form
极
理
学
Fig. . Prenatal form
戒
空
Fig. . Postnatal form
88
. • Beyond-heavenly form
The last parameter defining the twenty-four aspects of static structure is

also determined by the thirteen aspects of structure and can include thir-
teen variations. The Beyond-Heavenly form depends on human nature,
circumstances, time and personal volition. This means that humans may
be categorized into thirteen types, each type manifesting this structure 太
differently. The structure of a perfectly wise human being is presented on
Fig. .. 极
理
学
戒
Fig. . The structure of a perfectly wise human being 空
89
This structure manifests in a person who lives according to the laws of
the Mean. This structure not only expresses the principles, it also exerts
an influence on them. Each structure has its own nature of manifestation
which is understood through the process of alchemical transformation.
This provides further proof that real knowledge lies in the understanding
of alchemical processes.
太
极
理
学
戒
空
90
太
极
CHAPTER FIVE: 理
学
TAIJI TU
STRUCTURE
REALISATION
戒
空
91
. • Taiji Quan forms
In order to understand the Taiji Tu structure, we need to refer to Taijiquan

forms. To being, let us examine the ‘Grasp the Swallow’s Tail’ posture (Lan
太 Que Wei).
极
理
学
Fig. . ‘Grasp Sparrow’s Tail’ posture
As with other postures, the ‘Grasp Sparrow’s Tail’ posture works with the
main movement principles (nian). They include connection (lian), devel-
opment of sticking force (tie) and the condition for preservation of the
following force (xui). Preservation of the following force takes place in the
forward and backward movements (wangfu) without breaking the connec-
tions (bu li bu duan). In this position the ‘tail of the sparrow’ is formed
戒 by the arm and the forearm. The position uses Peng (manifestation), Lu
(contents), Ji (deepening) and An (transformation) forces. All movements
are built by taking into account the horizontal energies (heng jin), which
空 allows for the realisation of the eight jing energies, that is, the work of the
Eight Miraculous Meridians. Hence, if energy is not gathered, it cannot be
interconnected.
92
太
极
Fig. . Application of Lu force in the ‘Grasp Sparrow’s Tail’ posture
理
Let us now study the application of Lu force in the ‘Grasp Sparrow’s Tail’ 学
posture. The position of the force changes in correspondence with the ex-
ternal Lu, whereby the nature of qi effort lies within the position, the na-
ture of shen effort lies in concentration and the nature of jing effort lies in
interconnection. Lu force is not simply a backward movement but also a
condition for the realization of Lu-qi, Lu-jing and Lu-shen laws in the back-
ward pull. Most importantly, we need the eight conditions for the manifes-
tation of jing energy which allows us to reach a conscious result.
戒
空
93
. • The Eight Jing Energies
The Eight jing Energies represent the realisation the of the Eight Forces
(Peng, An, Ji, Lu, Zhou, Kao, Cai and Lie). It is important to understand
太 the difference between qi and jing forces, for example, the difference be-
tween Peng qi and Peng jing or Lu qi and Lu jing forces. While Lu qi and
An qi express external correlation, Lu jing and An jing represent internal
极 realisation.
理
学
Fig. . Lu qi force
戒 Lu qi represents the resultant state when the nature of qi is realised through

Lu effort. Lu jing is the realisation of qi and production of jing through Lu
空 effort. Lu qi represents a certain flow with set speed, and Lu jing is a rota-
tion set by the speed.
94
太
极
理
学
Fig. . Lu jing force
While Lu qi is an independent force, Lu jing is a force transformed by all

eight efforts. This means that Lu jing contains Lu-Lu, Lu-Peng, Lu-Ji, Lu-
An, Lu-Cai, Lu-Lie, Lu-Zhou and Lu-Cao. In order to realise all eight
efforts we need to properly prepare the body and the mind. The jing body
should absorb the energy, without which there would be no realisation of
force. Energy absorption depends on internal rotation and is based on the
law of the Unified Center. A complete realisation of Lu or Lu-shen is pos-
sible only through the Unified Center. In all other cases Lu will be mani-
fested only partially.
There are eight characteristics of realisation in each force. Proper under-
戒
standing of this leads to realization of the thirteen and twenty-four aspects
of the structure, otherwise known as the structure of movement and the 空
static structure.
95
太
极
理
学 Fig. . Lu force position with respect to Ji force
戒
空 Fig. . Application of Ji force in the
‘Grasp Sparrow’s Tail’ posture
96
The Jin force in the Grasp Sparrow’s Tail posture is also applied in accor-
dance with the eight relations. Each force position forms conditions for the
eight ways of realisation. If we are studying one of the forces in a position,
this does not mean that the position cannot represent other forces. In or-
der to understand how to follow a force, we need to understand the Eight
Gathering conditions which form the basis of each force. The combination
of the Eight Gathering conditions leads to a true understanding of the
force.
太
极
. • Eight Gathering Conditions
理
Eight Gathering conditions represent a requirement for the realisation of
mental, energy and physical tasks. Although it is more convenient to de-
scribe this condition through body positions, we need to point out that the
学
realisation of gatherings and correspondences represents a law controlled
by part of the energy structure. If we study the gathering from the perspec-
tive of the physical body, we will return to the condition of qi nature. Eight
Gathering conditions lead to the understanding of the thirteen qi energy
efforts.
戒
空
97
太
极
理
left leg right leg
JI LIE
left arm right arm

CAI AN
戒
空 Fig. . Eight Gathering Conditions
98
太
极
理
front of the body the back
ZHOU KAO
stomach head
LI PENG
戒
Fig. . Eight Gathering Conditions (cont’d)
空
99
Eight Gathering conditions (Lu Yin, Peng Yin, Kao Yin, Zhou Yin, An Yin,
Cai Yin, Lie Yin and Ji Yin) represent the basis for understanding the jing
force. Later on, we will discuss the Lu Yang, Peng Yang, Kao Yang, Zhou
Yang, An Yang, Cai Yang, Lie Yang, and Ji Yang forces leading to the eight
types of Ji force realisation. In fact, the Eight Gathering conditions define
eight types of Ji realisation, in other words, they generate eight openings
太 which represent conditions for transformations. Through these, we move
toward the principle of force realisation.
极
理
学
戒
空
100
. • Eight Types of Ji Force Realisation
Each force has eight types of realisation based on the Eight Gathering con-
ditions and the Eight Openings. Let us now study these concepts with
respect to Ji force.
太
.. Kan force
极
理
学
KAN
戒
The Abyss
Fig. . Kan force
Kan force is the realisation of two Ji forces. Here the external force cor-
responds to the internal, while the gathering and opening correspond to
空
the effort.
101
.. Shi Force
太
极
理
学
SHI
Military leadership
Fig. . Shi force
Shi force produces a maximum gathering. An example of the realisation of

this force are the Advance Step, Plant Punch posture whereby the gather-
戒 ing dominates over the opening.
102
.. Jie Force
太
极
理
学
JIE
Liberation
Fig. . Jie force
Jie force includes a concealed form of change. In this position Yin energy re-
mains dominant, leaving the impression of docility. The ‘Advance Towards
the Seven Stars’ posture is an example of this force. Here the gathering
leads to external cohesion of energy.
戒
空
103
.. Wei Ji Force
太
极
理
学
WEIJI
Towards the balance
Fig. . Wei Ji force
Wei Ji force is strongly influenced by fire and controlled by water. The ‘Wild
Horse Parts Mane’ posture is an example of this force. Here the gathering
戒 is concealed in listening.
104
.. Meng Force
太
极
理
学
MENG
Incompleteness
Fig. . Meng force
Yin energy also dominates in the Meng force where concentration is pri-
mary. A good example of this force is the ‘Needle at Sea Bottom’ posture.
Here the gathering produces consistency which sustains concentration. 戒
空
105
.. Huang Force
太
极
理
学
HUAN
Openness
Fig. . Huang force
Huan force is determined by the extent of internal effort directed at form-

ing the Yang effort. The ‘Step Back, Dispatch Monkey’ posture provides
戒 a good example of this force. The gathering is subject to change through
external influence.
空
106
.. Song Force
太
极
理
学
SONG
Dispute
Fig. . Song force
Song force is characterised by maximum activation of Yang effort, which

introduces a state of conflict in this position. The ‘Hands Strum Pipa’ pos-
ture provides an example of this force. Here the gathering is similar to the
Wei Ji position. This force dominates our ability to control while remain-
戒
ing distant.
空
107
.. Kun Force
太
极
理
学
KUN
Detachment
Fig. . Kun force
Kun force is one which restrains and gathers while containing maximum
realisation of Ji force quality. It is represented by the ‘Squatting Single
戒 Whip’ posture.
108
. • Understanding Force and
the Three Great Equilibrium Laws
In order to understand force, we need to comprehend the Three Great Laws

of Equilibrium. Without them the force cannot be realised in its complete
form. To achieve this we need full concentration of qi, full realisation of
jing and full connection with shen — only then can we describe force. For
太
example, the An force in the ‘Grasp Sparrow’s Tail’ posture is defined by
a lifting force. In other words, the realisation of the force in its pure form
极
requires unified regulation of the Three Great Laws of Equilibrium: qi, jing
and shen. 理
Consequently, we can make a connection between force and form on one
hand and an integrated system, such as the Yi-jing, on the other. In fact, the 学
An and Ji forces define the construction of all forces. Ultimately, sixteen
basic efforts (or types of circulation) are produced and these define the
influences of Prenatal and Postnatal Heavens.
It is important to understand that postures are just the realisation of cer-
tain efforts. By studying them, we can analyse the matrix of Ji force. The
Ji matrix defines true control over form. In fact, the Ji matrix represents
a structure for realising the process of producing eight efforts ( Ji-Kao).
When we reach an understanding of the eight efforts, we start to under-
stand the sixteen positions of the Prenatal and Postnatal Heavens.
戒
空
109
. • The Sixteen Positions of Prenatal and
Postnatal Heaven Efforts
Postnatal Heaven
太
极
理
学
戒
空 Prenatal Heaven
Fig. . The sixteen positions of Prenatal and

Postnatal Heaven efforts
110
The sixteen positions of Prenatal and Postnatal Heaven efforts represent
a combination of efforts set by nature. Their development depends on the
conditions called the ‘Beyond Heavenly’. Progress in development requires
a consistent pattern, for example: +, +, +, and +. The starting
point is relative.
太
极
Fig. . Spatial description of Prenatal Heaven
理
There are six types of rotation, eight forces, ten heavenly principles (pillars)
and twelve earthly principles (earthly axes). This means that the nine vessels
学
need to be connected together. Duality is distributed in eight directions,
rhythm is generated through volume and rotations need to be enclosed in a
form. In order to achieve all this, we need to understand the Mean.
Fig. . Medial description of Postnatal Heaven
The position of each form represents a structure either given or acquired,

along with the qualities formed independently from the will of Heaven and 戒
Earth. Although this indication is only relative, it still exists. Therefore,
shen spirit has its own spatial characteristics independent from the Initial. 空
We also need to understand the connections per unit of time because the
ways of realisation are assigned by these links.
111
太
极
理
学 Fig. . Application of An force in the ‘Grasp the Swallow’s Tail’
posture’s lifting force
Was there ever a form related to the Yi-jing system? This is the crucial
question of Taiji philosophy. The answer is simple. The form is practice
which generates effort. This cannot limit the mind with either physical or
even energetical actions. Therefore, the relation must exist. Nevertheless,
while it is important to understand that the energy has to exist, it still
depends on a larger force, for example, a vacuum. The first step towards
understanding this is related to concentration, which depends on the
rhythm. Therefore, both the construction of the form and its performance
should correspond to the assigned requirements. This takes us to Three
戒 Equilibrium Principles.
112
. • Three Equilibrium Principles
太
Qi Jing Shen
极
Fig. . Three Equilibrium Principles
理
The first type of equilibrium defines the internal balance and is described
by the twenty-four trigrams, that is, by the eight trigrams in three dimen- 学
sions or planes.
戒
空
Fig. . The twenty-four types of equilibrium
113
It is impossible to realise a form in the qi Equilibrium, even if it is un-
derstood it from the perspective of transformation. The jing equilibrium
suggests equalisation of the efforts. This is why we need to understand the
eight efforts: Peng, An, Ji, Li, Kao, Zhou, Cai, and Lie, and also the condi-
tions for preserving them in the five directions.
太 The jing equilibrium represents the thirteen conditions. For this we need
to understand the eight efforts in five Yin and Yang transitions forming
eighty movements, in addition to the entry and exit movements. In this
极 case the form is sufficient for the attainment of depth. In order to trans-
form one of the Eight Forces into internal effort, we need to set a direction.
理 This means the practitioners needs to fulfil the task of eighty-one changes
that is completed in the form, or one hundred and eight changes if we take
into consideration strong human willpower.
学 Only by using shen equilibrium can we achieve absolute connectedness.
Since each posture accomplishes a necessary task (or has the potential to
do so), we need to understand each posture to understand the whole form.
Each posture fulfils the task of the internal and external circle, which leads
to the understanding of the rhythm of the sixty-four changes.
戒
空
114
太
极
理
CHAPTER SIX: 学
BALANCE
戒
空
115
. • Shen Balance
Qi, jing and shen balance focus on preserving the form and are based on the
present, transformed and extra-heavenly nature. Shen balance is the high-
太 est of balances and is also known as the Supreme Principle. It defines how
a structure corresponds to itself inside an absolute sphere and is the real-
ization of all thirteen development laws and all the thirteen figure tasks.
极 While this level is beyond any rational understanding and cannot be ex-
plained by logic, it should be mentioned.
理
学
Fig. . Shen balance
戒
空
116
. • Jing balance
.. Jing-Yin balance — Prenatal Heaven

Jing balance is defined by two conditions: jing-Yin and jing-Yang. Jing-Yin
balance results from the control of both sides. The more sides under con-
trol, the stronger the balance.
太
极
理
学
戒
空
117
太
极
理
Fig. . Jing-Yin balance — Prenatal heaven
.. Jing-Yin balance — Postnatal Heaven

学 The thirteen jing structures are thirteen types of forms based on the cor-
relation between  efforts and  directions. Jing-Yang balance is achieved by
the number of combinations maintained.
Transitional structure
1
Solid structure
戒 2 3 4 5 6 7
空
8 9 10 11 12 13
118
. Uncontrolled The transitional structure shows incompleteness of
structure the structure. It is defined by the effort that main-
tains plurality
. Structure controlled The structure maintained by the sides is determined
by two efforts by the external or acquired effort
. Chaotically gathered In the chaotically gathered structure the form can
structure preserve the conditions, which maintain each other 太
. Gathered structure The gathered structure is determined by potentially
. Filled structure
gathering a structure with no initial form.
The filling structure is determined by the ability to
极
. Structure built from
fill a given space
The structure built from within is defined by an ef-
理
within fort which creates the speed necessary for preserv-
ing the form. 学
. Structure built from The structure maintaining the various forms defines
without control of the life time and energy preservation
. Combined structure The combined structure depends on the presence
of forces and whether it is possible for them to
influence the internal and external transformation
process
. Self-sufficient The self-sufficient structure is capable of producing
structure other structures. It is almost perfect
. Potential structure The potential structure is in the state of constant
creation
. Ripening structure The ripening structure ends up either destroying
itself or creating new life forms
. New limit structure The new limit structure develops through its own
rhythm
戒
. Limitless structure The limitless structure is beyond the laws of earthly
existence
空
119
. • Qi Balance
太
极
理
学 Fig. . Qi balance
Qi balance provides conditions for achieving energy coordination. Although

this balance is worth mentioning, it has no purpose for Postnatal Heaven.
Tai
Earth Fire Heaven Water Earth
戒 Earth
Fire
空
Heaven
Water
Earth
Fig. . Principle of balance
120
太
极
CHAPTER SEVEN:
理
THE FORM 学
AND
YIJING
戒
空
121
The form presents realisation through De (virtue) whereby each position
is represented by a certain pattern. The same pattern can be manifested
differently depending on the time of the year, the season and its correlation
with the body, its energy and the consciousness. In order to ensure that the
form corresponds to the laws described by the Yi-jing, we need shen bal-
ance, that is, the ability to hold or maintain. This condition is called Fu Xi
太 and it empowers our spirit to be independent from external factors.
极
理
学
Fig. . Trigram order according to Fu Xi
Under the condition of Fu Xi, energy development depends on its inter-

nal manifestation in humans, which in turn directly corresponds to the
generation of effort. In other words, Fu Xi is the condition required for
internal growth. It is a necessary but insufficient process because it only
controls the condition of Prenatal Heaven. In order to ensure that this
process is constantly developed, it needs to be managed or controlled. This
task fulfilled by the King Wen condition.
戒
空
Fig. . Condition of Fu Xi
122
If the condition of Fu Xi expresses a form of constant maintenance of the
Yin and Yang axes, the condition of King Wen expresses the control of its
growth.
Li Kun
Xun
Dui 太
Zhen
极
Gen Qian
理
Kan
学
Fig. . Condition of King Wen
Fig. . illustrates the state of constant growth whereby the Eight Efforts
generate a common meaning.
Peng Dui
Li Kan
Zhou Gen
戒
Lie Qian 空
Fig. . Eight Efforts
123
The Eight Efforts represent the eight changes in the space occupied by
humans. Change here refers to the King Wen condition, that is, the cor-
relation between the internal and the external realised through the balance
of the jing condition.
太 . • Eight Positions of Jing Condition
极 The jing condition is the state whereby the eight positions are intercon-
nected. In order to understand how these eight positions work, we need to
理 understand the two types of ‘appropriateness’ in our body — the appropri-
ateness of the Yang axis and the appropriateness of the Yin axis.
戒 Fig. . The Eight Positions of jing condition

空
124
If we study the form, the ‘Single Whip’ posture is the main position of
appropriateness. Here, the Yin axis is harmonious with the Yang axis.
Depending on the effort expended in this position, for example, whether
the stance taken is high or low, we have a correlation between the internal
and the external circles. What makes this position interesting is the fact
that it links the correlation between axes with the realisation of two main
efforts: absorption and circulation (jin le). 太
极
理
学
Fig. . The ‘Single Whip’ posture
戒
空
125
. • Correlation between Axes: Rhythm in Form
太
极
理 Fig. . Correlation between Axes
学 The correlation between the axes is the key to understanding Taiji philoso-
phy through form. It is determined by the condition of axes and mainly
depends on the conditions, that is, the four rhythms of Prenatal Heaven,
that is, whether there is Yin or Yang.
Yin Rhythms
戒 Yang Rhythms
空 Fig. . Yin and Yang Rhythms
126
The level of rhythm is determined by the degree of concentration, the or-
bit and speed. Concentration is created by the mind; orbit is determined
by energy; and speed depends on the body. We also need to understand
that each element will tend to compensate for any deficiencies displayed by
other elements, as naturally happens in any harmonious process. Should
this natural equilibrium not occur, over-development of one element, be it
physical or mental, over another will inevitably result. 太
The concept of rhythm in form is manifest in its position and speed of per-
formance. If we focus on position, the rhythm of the form is set by energy
gathering; if we focus on speed of performance, the rhythm is set by energy
极
unwinding.
理
. • The Concepts of Heaven, Earth and Man 学
At this point in the book, we now have a better understanding of the con-
cept of ‘Heaven, Earth and Man’. At a microcosmic level, they correspond
to the mind, the body and the energy. Each of these areas may be sub-
divided into three more levels, bringing us to the important concepts of the
‘enlivened mind’ and the ‘conscious body’.
The ‘enlivened mind’ describes a mode of thinking, a the state of ‘fifth de-
gree’ vision where the mind processes information based not on desires,
compulsions or the senses but rather on the principle of assimilated knowl-
edge that prevents energy loss and waste. This level of consciousness is the
highest point of vision attainable by humans. There are nine levels of vision
in total. The ‘conscious body’ is capable of absorbing, analysing, accumulat-
ing and transmitting knowledge to the brain. 戒
The ‘Heaven, Earth and Man’ concept is based on different forms of corre-
lation. It is easier to study them based on the level of form effort in relation 空
to one position or a combination of actions. The former presents the Fu Xi
condition or effort and the latter, the King Wen condition.
127
太
极 Fig. . Example of a Heaven position
理
学
Fig. . Example of an Earth position
戒
空
Fig. . Example of a Man position
128
The correlation between physical, energetical and mental efforts leads to
the understanding of the ‘Heaven, Earth and Man’ positions. This three
level concept can be considered both as different form-creating patterns
(positions) or as a single pattern divided into three efforts. If we study the
different efforts based on the examples provided by Zhen Manqin, Zhen
Weimin and Yang Chengfu, we can see that each effort has one domi-
nating element: consciousness/mind (Heaven), energy (Man) or body
(Earth). The energy circulates properly only when there are two correlating
太
sources — Heaven and Earth. We should also take care not to confuse the
concepts of physical and energy efforts. 极
理
学
Fig. . Heaven Fig. . Earth Fig. . Man

Zhen Manqin Chen Weimin Yang Chengfu
We conclude this chapter by providing a chart of the Eight Efforts based

on the concept of Three Distributions. This enables us to understand how
the -level matrix works in practice.
戒
空
129
. • The Eight Efforts
太
极
理
学
戒
空 Fig. . The Eight Efforts in accordance with
the Laws of Heaven, Earth and Man
130
. • Outline of Sixteen Prenatal Heaven Form Trigrams
太
极
理
学
戒
空
Fig. . Outline of Sixteen Prenatal Heaven Form Trigrams
131
. • Sixteen Positions
太
极
理
学
戒
空
Fig. . Sixteen Positions
132
太
极
理
学
戒
空
133
Other books by Alquimia Publishing:
CHEN XIN:
The Illustrated Canon of Chen Family Taijiquan
Chinese-English bilingual limited edition
OLEG TCHERNE
Mythology of Taiji
Chen Changxing
Chen Village Restoration Project
•
Q. Who was Chen Changxing?
A. Chen Changxing was the fourteenth generation Master of Chen fam-

ily Taijiquan who taught Yang Lu Chan, founder of the Yang style.
Q. What is the Chen Changxing - Chen Village Restoration Project?
A. An effort to preserve the heritage of Taijiquan by restoring Chen

Changxing’s home in Chen Village, Wenxian, Henan Province, China.
Q. How is the project being funded?
A. By proceeds from the purchase of Master Chen Xiaowang’s

calligraphy or through direct contributions.
Q. How do I purchase calligraphy or make a contribution
A. Through the website below and in person at Master Chen

Xiaowang’s seminars worldwide. All people who buy calligraphy
or make a direct contribution will have their name and the amount
carved into a stone tablet to be displayed in Chen village.
•
www.chenxiaowang.com
www.inbiworld.com
www.wctag.de
www.chenxiaowang.com

Oleg Tcherne Philosophy of Taiji

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戒

Copyright ©  by Oleg Tcherne

All rights reserved. No part of this book may be reproduced or utilized in

First edition, 

Project design: Roman Mukhortikov

空 Fig. . Completion of the internal and external Moon transition

太 At its foundation, the philosophy of Taiji attempts to explain the workings

Fig. . Qian and Kun

The unit of time is represented by a circle whose rotational direction is de-

Fig. . Eight trigrams or efforts in one unit of time:

Fig. . Yin strengthening posture

. • Development of Yang energy

戒 Philosophy of Taiji describes the development of Yang energy as a certain

Fig. . Yang effort

理 Fig. . Yang nutrition

Fig. . Yang transformations

Fig. . Yin conditions 学

理 Fig. . Yin nutrition

戒 Fig. . Yin transformation and strengthening

空 The sources contributing to the transformation and strengthening of Yin

The ultimate goal of Taiji philosophy is to reach the condition of Wuji —

Tai Yin Tai Yin

Fig. . Wu-ji

. • Controlling a form by physical activity

Fig. . Left Brush Knee and Step

In this position, Yang building conditions are controlled by the upward-facing

Kun can be expressed by both a single position and a combination of posi-

The ‘Embrace Tiger and Return to Mountain’ position is represented by the

太 oping Yang force and is mainly deﬁned by a combination of positions. As in

Fig. . ‘Grasping Sparrow’s Tail’ posture

Fig. . Turn Body and Strike

In order to achieve the goals set by this trigram, it is necessary to align

戒 Fig. . ‘Embrace Tiger and Return to Mountain’ posture

Li represents a manifestation of eﬀort by gathering jing energy and fulﬁll-

shen — Yang shen — Yang

理 From a historical perspective, it should be noted that the visible forms of

戒 to point out the cyclic recurrences of these Elements, and as a result of

Fig. . The Infinite (Wu-ji)

The Great Limit (Taiji) can be described as a sphere consisting of Yin

理 The Duality ﬁgure represents the duality of nature expressed as opposition

理 Formula of Three Souls contains knowledge about the Three Alchemical

太 If we consider any form as a space in which energy is able to develop in

极 may only exist if it contains three spheres represented by the cinnabar

学 to shen energy; the Supreme Purity Palance corresponds to qi energy; and

The Nine Alchemical Axes (liang shu rou) are:

戒 . Edible Elixir Axis (er dan)

学 merges with the acquired energy to create the One.

戒 Fig. . The Yang-qi Transformation Figure

From birth through the development of conscious energy Yang dominates

Wood Earth Metal

Fig. . Foundation in Form Development

Fig. . Natural State Figure influenced by Yang-qi

Fig. . Consistency Figure influenced by Yin-qi

The ﬁrst important step of transformation is to achieve harmony between

空 both volume and direction by default. The direction of consciousness is

Fig. . Mysterious Woman Figure

To know the Mysterious Woman Figure means to understand the cor-

The Golden Crucible symbolises constancy and unity, and is formed

戒 To avoid such impediments, we need to follow the Yellow Woman.

Fig. . Crystallisation

极 by Thunder and Earth and corresponds to the realisation of the Return

The Moon Crucible formation is characterized by energy growth toward

Fig. . Preservation Figure

The development of the Moon Crucible depends on the connection