Whenever I have seen demonstrations of "Iron-Groin" training within the Chinese community (either inside or outside China) - the men usually expose their groin area. The development in the above video appears to be a nod toward modesty. A "kilt-like" garment is worn so that the genitalia can move "freely" when required to do so - with the spectacle "hidden" from those who might not be attuned to such a remarkable sight. Here, heavy-weights are secured to the penis and testicles by some type of secure cord. When a practitioner first begins this training, a light-weight is added - with the weight steadily increased over-time. The organs, ligaments, and testicles are "strengthened" through a) the application of weight - and b) the "swinging" motion employed. Within TCM - this exercise is thought to build qi (vital-force) and jing (essential-nature) and boost fertility. Within combat - a blow to the groin-area results in minimum pain and does not negatively affect the fight outcome. 

There are other versions which involve the groin-area being systematically struck with ever-increasing levels of power - over-time (see the video). In the old days, when prevailing in combat literally equated to survival within life - groin conditioning made perfect sense. The Ch'an Dao Style involves the groin area being struck - lightly at first (usually with a sword-kick) - with the impact slowly increased over-time. This usually happens as a part of active sparring and is not separated from the act of fighting - as seems to be the case in the two methods above. There are other Daoist methods (involving massage) which are far more gentle in nature and designed as medicinal (for boosting health) - rather than for direct combat effectiveness. Women can also train in this groin-strengthening method - again involving impact of various intensities. 

NOTE: These videos were forwarded to me by friends and colleagues (with permission from their respective Shifu). Therefore, I do not claim to have filmed this footage (or participated in the training) - or personally know the practitioners involved. These videos were not necessarily filmed within the Ch'an Dao Style (although we do practice similar conditioning exercises in private - and can attest to their authenticity). I respectfully present these videos free of charge as a matter of education - and do not claim any Copyright ownership or Exclusive Rights.

Blogger's Note: The Chinese martial arts manual mentioned in the below referenced article is termed the '易筋經' or the 'Yi Jin Jing' (or the 'Change Muscle-Tendon-Energy Channel Classic'). Within myth and legend, this manual is said to have been brought to China from India c. 520 CE by the Indian Buddhist monk known as 'Bodhidharma' (who is believed to have 'transmitted' the 'Dhyana' or 'Ch'an School of Mahayana Buddhism to China). My personal opinion is that the data contained in this manual may have been passed on orally - between Master and Disciple - for centuries BEFORE finally being written down and then evolving into the form known today. If this is not the case, then the Yi Jin Ying is a Qing Dynasty construction reflecting key elements of ancient Chinese martial arts practice - ascribed to mysterious and exotic origination! Perhaps the reality is a bit of both. Whatever the reality, the idea of the (Putonghua) '點穴' (Dian Xue) or 'Strike Point' concept and the '點脈' (Dian Mai) perhaps more readily known in the West by its 'Cantonese' expression of 'Dim Mak' (or 'Strike Channel') are well-known concepts within traditional Chinese martial arts. Within Traditional Chinese Medicine (TCM) - these two terms refer to the same gongfu process of striking the exterior (and 'interior') of the opponent's body in such a manner that the 'Qi' (氣) vital force energy flow is either temporarily or permanently disrupted. This is designed to cause injury along a sliding scale of inflicted damage ranging from a minor (and short-lived) disruption of bodily functions - to devastating damage caused to the internal organs and deep bodily structures - designed to cause 'death' (indeed, it is believed that a true Master can 'strike' a specific medical point even without the opponent knowing - causing death many hours later). It may well be that '精' (Jing) or 'essential nature' and '神' (Shen) or 'expanded empty consciousness' are also 'disrupted' by using this gongfu method - but in different ways. An opponent may be psychologically 'unbalanced' by the presence of his adversary (disrupting 'Shen' with no actual blows being struck) or have the 'Jing' flow disrupted (if opponent is 'male') through a blow delivered to the genitalia or anywhere along the 'Conception' and/or the 'Governing' Vessels, etc. Of course, a powerful blow may be intended to only hit the 'outside' of the physical body structure of the opponent - or be designed to 'penetrate' through these external structures and 'pierce' the inner organs and deep bodily structures. This type of 'hitting' is a routine requirement in the mastery of traditional Chinese martial arts. The concept of '導引' (Dao Yin) or to 'Direct Stretch' - is the traditional foundation for the modern practice known as '氣功' (Qi Gong) or 'Vital Force Energy Cultivation'. ACW (13.4.2023)

2023-04-12 Ecns.cn Editor: Zhao Li

​(ECNS) -- In Chinese costume dramas, people often see a miraculous martial arts skill called Dian Xue (acupoint), which uses pressure points to control or immobilize an opponent. Dian means to strike with a finger and Xue means an acupuncture point.
During fights, martial arts experts use their two fingers to swiftly and forcefully press on a certain part of the opponent's body, immediately immobilizing them.

Compared to Dian Xue, the Yi Jin Jing in martial arts novels is even more miraculous. Yi Jin Jing is known as a classic book about Muscle and Tendon Changing. “Yi” means to change, “Jin” means tendons and muscles, and “Jing”, methods.

Legend has it that anyone who masters the skills in this book can become a master of martial arts and even save others' lives, so martial artists eagerly pursue it.

According to legend, credit for Yi Jin Jing's development is given to Da Mo (Bodhidharma), an Indian monk who lived in the Song Mountains in central China.

Legend said that Yi Jin Jing was left behind by Bodhidharma after he departed the Shaolin Temple. However, there is some debate about the true origin.

But Zhou Weiliang, professor at Hangzhou Normal University, believes that in reality, Dian Xue and Yijin Jing are not as mysterious as they are portrayed in television dramas.

Yi Jin Jing includes the Dao Yin exercises and martial arts exercises. It emphasizes that the core of martial arts lies in internal strength, which is manifested from the inside out. There are no specific martial arts movements in the book. It mainly introduces some exercises to cultivate inner strength. The Dao Yin exercises are related to health preservation via meditation and practicing breathing.

In Qing Dynasty (1636 -1911), some stories mentioned the book Yij Jin Jing. Zhou said that many Qing Dynasty notes are similar to novels, and recorded events are more like stories, in which Yi Jin Jing was described as a "secret martial arts manual".

Zhou believes that some of the descriptions of Yi Jin Jing in current Chinese martial arts novels may have adopted this setting from historical materials of the Qing Dynasty while adding more rich and complex plot lines.

Yi Jin Jing also introduces finger strength training, which involves placing mung beans in a container and repeatedly inserting fingers among the beans to strengthen the hand. Over time, the fingers become as hard as stone and no one can resist them

Some people believe that this may be one of the legendary Dian Xue techniques. However, Zhou believes that the ability to immobilize people with this technique may not actually exist. The miraculous effects are mostly exaggerated in novels and movies.

English Language Article:
​http://www.ecns.cn/m/news/cns-wire/2023-04-12/detail-ihcnkeae0516413.shtml

This Senior Citizen silenced the crowd when she raised her leg above her head! Silence turned into awe when she assumed a perfect ‘Golden Rooster Stands on Guard’ (金鸡独立 - Jin Ji Du Li)! Awe turned into spontaneous applause when she assumed a graceful ‘Single Side Horse’ (一字马 - Yi Zi Ma) Splits! This demonstration of Taijiquan was performed by the 77-year-old Jiang Xuezhen (蒋雪珍) in a park near the ‘White Horse River’ (白马河 - Bai Ma He) - the venue for the 2021 ‘Dragon Boat Race’ held in Fuzhou (Fujian province), Mainland China! This elderly lady was originally an ordinary worker in a garment factory – but is now enjoying her retirement. Not only has she practiced Taijiquan diligently to improve her health and strengthen her weak body - but she also made a name for herself in West Lake Public Park (西湖公园 - Xi Hu Gong Yuan) teaching Taijiquan to the common people! 

Since her graceful and powerful appearance at the Dragon Boat Festival - Jiang Xuezhen's dazzling martial arts skills have aroused the interest of many citizens! Some citizens cannot help but wonder – if this older lady was a professional gymnast before? Was Jiang Xuezhen involved in a lifetime of athletic training and development? The answer to all these questions is a resounding ‘NO’! In fact, Jiang Xuezhen was an ordinary worker employed in a garment factory before retiring - and she had NEVER received any such specialist education in this area before. The advanced pliability of her body (and its ‘ligaments’) stem from the time of her retiring from working in the garment industry. Jiang Xuezhen had to retire from working in the garment industry at the age of 45-year due to a physical issue (for which she successfully underwent recuperative surgery). Jiang Xuezhen admits that this was a very confusing time for her both emotionally and psychologically!  

That is until one day, when she was walking to the West Lake Park (taking exercise), this lady encountered a group of people practicing Taijiquan! At that exact moment - EVERY movement of the Yang Style (the Beijing 24-Step Short-Form) she saw resonated with her mind and body - instantly attracting her attention! When Jiang Xuezhen returned home, she immediately made arrangements to purchase a Taijiquan instructional VCD – which she used to learn Taijiquan through watching carefully and copying the exercises! The next step involved Jiang Xuezhen seeking-out Taijiquan instructors who then corrected and adjusted her ‘Form’ whilst discussing explaining the history and purpose of each sequence - making the revitalising movements much more powerful and effective! Although it took a long time of committed and regular practice, the regular performance of the Taijiquan movements and sequences finally start to transform the natural state and condition of her muscles, joint, bones, ligaments and tendons. At the same time her overall health improved as her inner organs began to strengthen. These changes were so profound that her partner also began to regularly practice Taijiquan! Together, they founded the ‘West Lake Park Taijiquan Practice Group’ - which at the time of writing has at least one-hundred members! 

When giving a recent interview to reporters, Jiang Xuezhen stated: “It is said that with every inch the ligaments stretch – the lifespan is extended by ten years! This is why I stretch my legs every day!” Jiang Xuezhen went on to explain that when she first tried to lift her legs all those years ago – her ligaments were tense there was very little movement with pain! Jiang Xuezhen trained diligently between the ages of 45-60-years old, and then she found that one day ALL the tension in her body completely disappeared and she was able to drop down into the side-splits position – and stand with one leg held-up directly into the air! This is why Jiang Xuezhen is now able to assume the ‘Golden Rooster Stands on Guard’ and ‘Single Side Horse’ Splits with ease! After demonstrating her extraordinary Taijiquan skills, Jiang Xuezhen advises: “Concentrate upon an activity and pursue its perfection with diligence!”  

This is sound advice, as apart from being able to demonstrate her mastery of Taijiquan – Jiang Xuezhen is also a painter! Jiang Xuezhen explained that she liked to draw since a child - and has always kept one or two drawings of the Four Treasures in the study room at home - after retirement. When she was about 65-years old, Jiang Xuezhen accompanied her partner in the study of flower and bird painting in a university designed to cater to the needs of the elderly. After two years of meticulous flower and bird painting - Jiang Xuezhen turned to landscape painting. The landscape paintings provided by Jiang Xuezhen are truly inspiring – with the background and fore-ground scenery featuring lakes and mountains contrasting perfectly! The art of Jiang Xuezhen generates a unique beauty which is enhanced by an atmosphere which is experienced by the observer as being vast and hazy! 

Jiang Xuezhen describes herself as a very serious person. When she learns one thing, she spends all her energy on that single activity. In order to learn landscape painting well, she would only go out daily to practice Taijiquan, but rarely for any other reason. She would often spend a week focusing upon a single picture! Then, in order to match the landscape paintings with the beautiful ideograms that comprised the inscriptions, she also spent a year studying different Chinese calligraphy styles such as seal script, official script, and regular script. "If the font is not good-looking, and the inscription is not well-written, it cannot be regarded as a complete and perfect painting." Jiang Xuezhen explained. This is her true character. It has been nearly 30 years since Jiang Xuezhen retired – yet she has retained the eagerness to learn and perfect everything she turns her hand to! Today, in addition to Taijiquan and landscape painting, Jiang Xuezhen can also perform ballroom dancing! As if all these activities are not enough – Jiang Xuezhen also practices Shaolin martial arts! With her extensive knowledge base and engaging personality, Jiang Xuezhen has become something of an inspiration to the surrounding population – a cultural icon for modern China!  

[Source: Strait Metropolis Daily] 

Chinese Language Source: 

https://new.qq.com/rain/a/20210706A01BBQ00 ​

花30年练太极，福州七旬老太一字马惊艳全场 

高抬腿过头顶，一个爽快的金鸡独立瞬间赢得现场朋友的喝彩，随即她又在地上来了一个漂亮又利索的一字马，把节目推向了高潮……不久前，在福州白马河公园举行的端午节活动现场，一位老太的表演让不少市民自愧不如。这位老太就是福州77岁的蒋雪珍，原是服装厂工人的她，在退休后寻找到自我，不仅苦练太极拳改善了虚弱的身体，还在西湖公园“打”出了名堂，将太极拳教授给了更多的人。 

60余岁练就金鸡独立、一字马动作 

自从在端午节活动中的精彩亮相后，蒋雪珍的花式炫技引起了不少市民的兴趣，有的市民不禁疑惑问，这位老太太以前是不是体操运动员？其实，蒋雪珍退休前是一名服装厂的工人，之前也没有从事过这方面的练习，有着柔软的韧带的起因还要从她退休时说起。 
 
45岁时的蒋雪珍因为身体原因动了手术后，便从原来就职的服装厂退休了。而突然的退休让将蒋雪珍手足无措，每日不知道该做些什么，陷入了迷茫。直到有一日，她散步到西湖公园时，看到了不少人在练太极拳，一招一式瞬间吸引了她的注意。抱着锻炼身体的想法，她购买了太极拳教学碟片，通过不断地的模仿练习学会了太极拳，在与太极拳老师的交流切磋中更精进了太极拳的动作。而在长期的锻炼后，蒋雪珍感到身体逐渐舒爽了不少，更是动员她的爱人一起到在西湖公园中练习太极拳。在30年间，不少市民自发向她学习太极拳，为此，她和爱人还成立了一个西湖如春太极辅助站，学员最多的时候达到了近百人。 

“都说筋长一寸，寿延十年，每次运动后，我都拉拉腿。”蒋雪珍告诉记者，原先的她腿抬高一点腿都觉得筋绷得崩的紧，但在多年的锻炼中，她不断尝试拉伸韧带，到了60岁左右，才能可以做出金鸡独立、一字马的动作。 

“专心做一件事，并要把它这件事做精” 

除了一字马、金鸡独立、太极拳外，蒋雪珍还是一个画家。蒋雪珍说，她从小就喜欢画画，退休后在家里也时常备上文房四宝画上一两副。于是在她65岁左右，她的爱人便带她来到了老年大学里学习花鸟画，在两年的工笔花鸟设色学习入门后，蒋雪珍又转入山水画的学习中。在蒋雪珍提供的山水画作品中，湖和山相映衬的秀丽景色，在苍茫朦胧的氛围中有着独特的美感。 

蒋雪珍自喻是个较真的人，学习一件事时，便将所以精力花在一件事上，为了学好山水画，她除了每日的太极拳练功外，便少有外出，常常花上一周的时间认真绘一幅画。而后为了给山水画配以好看的题款，她还用了一年的时间去学习了篆书、隶书、楷书等书体。“如果字体不好看，题款写不好就不能算是一幅完整、好看的画。”蒋雪珍说。 

正是较真的性格，蒋奶奶在退休后的近30年间，不断地的保持好学的心，并将每件事做到精，如今的她除了太极拳、山水画外，她还会交际舞、少林武术，成了周围人口中“技能点满满”的潮人。 
​
【来源：海峡都市报】 ​

Translated By Shifu Adrian Chan-Wyles PhD ( © )

Yongchun (永春) White Crane Fist (白鹤拳 - Bai He Quan) is one of the seven major martial arts styles developed in Fujian Province. It was created during the late Ming and early Qing Dynasties and has spread throughout China, Southeast Asia, Europe and the United States. It is a national heritage of immeasurable cultural importance! ​

The Southern Shaolin Fighting Method (南少林拳法 - Nan Shao Lin Quan Fa) - which developed during the Tang and Song Dynasties – was popular in Fujian by the middle of the Ming Dynasty. In the Fujian area of Yongchun - no matter whether in the city or the countryside - there were countless practitioners of martial arts! The Southern Shaolin System was prevalent but with such styles as ‘Taizu’ (太祖) or ‘Grand Ancestor’ and ‘Houquan’ (猴拳) or ‘Monkey Fist’ being very prevalent! The area was economically and culturally prosperous! The ‘History of the Ming Dynasty’ (明史 - Ming Shi), Volume 91, Martial Aspiration Three (兵志三 - Bing Zhi San) - Recollections (记载 - Ji Zai) states: ‘The people of Yongchun possess tremendous fighting-spirit and are highly skilled in martial arts practice!’ Therefore, it can be historically proved that the Yongchun people's practice of martial arts has been highly developed as early as the middle of the Ming Dynasty! ​

Yongchun White Crane Fist is one of the seven major fighting styles developed in Fujian Province. It was founded during the late Ming and early Qing dynasties. It takes the ‘White Crane’ bird as its spiritual, psychological and physical inspiration (形 - Xing) or ‘Form’ (‘Kata’ in Japanese martial arts) and manifests this inspiration in its general fighting method! The White Crane practitioner understands how to ‘move’ and remain ‘still’ - and how to transition between these two states with a smooth and non-confused accuracy controlled by an underlying higher knowledge that embraces the practitioner, the opponent and the environment! Furthermore, a White Crane practitioner fully comprehends the ‘empty’ (虚 - Xu) and the ‘full’ (实 - Shi) and how and when each is to be used so that the opponent is continuously ‘uprooted’ - whilst the White Crane practitioner is continuously strengthened! All the energy channels in the body (the eight extraordinary and the twelve ordinary) are opened, unified and fully functioning (transporting and strengthening Qi 精, Jing 氣 and Shen 神)! As this is the case, the mind, body and spirit are unified, just as the bones and joints are aligned (allowing the bodyweight to drop into the ground – and effortlessly rebound back up and out of the body – through the relevant striking areas). All movement is perfectly timed, and the speed is so fast that an opponent has difficulty discerning the blows as they are naturally ‘released’ from the limbs of the White Crane practitioner! The hands and feet alternate with a perfect timing and balance that is bewildering to encounter! The White Crane practitioner can ‘vary’ the 'speed’ of each blow so as to bypass the habitual (and expected) movements of an opponent’s defensive reactions! The White Crane practitioner can be as solid as a mountain or as light a feather – depending upon the ‘intention’ of the practitioner and the necessity of the moment! Those who master these ‘internal’ Shaolin martial arts can appear to ‘manifest’ and ‘disappear’ at will – as they manipulate the perception of the opponent! This is why there is said to be a blend of ‘hard’ and ‘soft’ martial techniques! This style has been circulating in China and Southeast Asia for more than 300 years, and it is popular in Europe and the United States. As a consequence, this type of Chinese martial art is considered a quintessential manifestation of Chinese martial culture!  ​

According to research - Ip Man (叶问 - Ye Wen) who is well-known at home and abroad as the teacher of the great Bruce Lee – taught his style of ‘Wing Chun Fist’ (咏春拳 - Yong Chun Quan) which was heavily influenced by the fighting techniques of Yongchun White Crane Fist. Bruce Lee used all this martial arts knowledge to later develop his system of fighting termed ‘Jeet Kune Do’ (截拳道 - Jie Quan Dao)! Furthermore, Chinese, Okinawan and Japanese scholars all agree that the style of fighting known as ‘Goju Ryu Karate-Do' (刚柔流空手道 - Gang Rou Liu Kong Shou Dao) has its theoretical and technical roots firmly embedded in the fertile martial ground that is Yongchun White Crane Fist!  ​

Chen Hong (陈弘) - the President of the China Yongchun White Crane Fist Research Association - pointed out that there are many technical similarities between Fujian Yongchun White Crane Fist and the Guangdong martial style known as ‘Wing Chun Kune’ (咏春拳 - Yong Chun Quan)! For instance, before issuing a blow, the Yongchun White Crane Fist practitioner must first centre his or her own mind, body and spirit – gather up the accumulated energy and direct this ball of power toward the ‘centre-line’ of the opponent’s body! This gather and emitting ‘internal’ and ‘external’ power through the Conception Vessel 任脉 - Ren Mai) - whilst targeting the Conception Vessel of the opponent! This is the real meaning behind the ‘Centre-Line Theory’ which many only pay lip-service to. This is identical to the ‘Centre-Line’ theory as found in Wing Chun (and many other martial systems)! Furthermore, Wing Chun is also famous for the power its practitioners produce during their ‘one-inch punch’ demonstrations! This is termed ‘寸劲’ (Cum Jin) or ‘inch strength’ or the ability to generate ‘explosive short-range power’! Within Yongchun White Crane Fist, this same ability is known as ‘寸劲节力’ (Cum Jin Jie Li) or ‘inch power direct energy’! In both systems the feet are generally rooted with the knees remaining flexible to accommodate a dextrous upper body which delivers fast and massively powerful blows of all descriptions, landing at all levels! These include open and closed hands, fore-arms, elbow-strikes, upper-arms, shoulder and blows with the head! The torso ‘twists’ left and right through the pelvis and around the spine – whilst swaying and leaning left and right (forward and back at oblique angles) – all through, around, away from and back to the ‘centre-line’! The famous ‘chi-sow’ (黐手 - Chi Shou) or ‘stick hand’ technique of Wing Chun is very similar to the ‘pan shou’ (盘手) ‘enveloping hand’ technique found in Yongchun White Crane Fist! Although Wing Chun has been developed for more than 100 years, and is a renowned style of fighting, nevertheless, the shadow of Yongchun White Crane Fist still clearly looms in the background!  ​

Chen Hong (陈弘) has been researching the theory and practice of Yongchun White Crane Fist for many years, particularly with regards to practitioners living or taking refuge within Guangdong! During the Qing Dynasty reign of emperors Xianfeng (咸丰) [reigned 1850-1861] - and the Tongzhi (同治) emperor (reigned 1861-1875) - there lived a couple of Yongchun White Crane Masters named ‘Lin Jun’ (林俊) and Chen Hu (陈湖) who took an active part in the Peasant Uprisings! Indeed, many such martial arts Masters participated in these uprising! Hong Xiuquan (洪秀全) led the ‘Taiping Heavenly Kingdom’ uprising which engulfed large parts of China – including Fujian province! ‘Lin Jun’ (林俊) was personally appointed by Hong Xiuquan (洪秀全) as one of the ‘Strong Kings of Three Thousand Years’ - stationed in the Fujian area! This gave him command of thousands of Taiping troops! Despite many early victories and tremendous battles – the Taiping were defeated, and the surviving rebels had to flee! Many of these fugitives fled all over China whilst being pursued by a Qing Army led by ‘Zou Zongtang’ (左宗棠) - which drove them out of Fujian and into the Guangdong and Zhejiang areas – where the Yongchun White Crane Fist practitioners had to adopt disguises and live secret lives (whilst teaching disciples behind the scenes – often at night)! These survivors were inspired by ‘Lin Jun’ (林俊) - where his reputation is still bright and shining in China today! ​

During the mid-Qing Dynasty, with the increasingly frequent unofficial cultural exchanges between Okinawa (Ryukyu), Japan and Taiwan, some White Crane Fist disciples went to Dongying (东瀛) to teach martial arts; many Japanese merchants who travelled to the Mainland for business and employment, also began to learn White Crane Fist and transmitted it back to Japan. During 1877, Higaonna Kanryo travelled from Okinawa to Fuzhou and studied Yongchun White Crane Fist. After three years of intense training, Higaonna Kanryo returned to his home in Okinawa – transmitting White Crane Fist as he went! After integrating White Crane Fist with Okinawan fighting techniques – the art of ‘Goju Ryu’ Karate-Do was eventually developed (by Miyagi Chojun – the key disciple of Higaonna Kanryo in Okinawa). It is clear from this example that White Crane Fist rejuvenated the Okinawan fighting arts! Another example lies with ‘Wang Xiangui’ (吴贤贵) who used to work for the Fuzhou Tower River Water Ministry (福州台江水部的 - Fu Zhou Tai Jiang Shui Bu) - but in 1912 he travelled to Okinawa where he met Higaonna Kanryo – who had established the ‘Eternal Light’ (永光 - Yongguang) Tea Shop (茶行 - Cha Xing). As he saw that Higaonna Kanryo and his disciples already knew ‘Yongchun White Crane Fist’ - he decided to teach the Okinawans the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) variant! It was the disciples of Higaonna Kanryo who had trained with Wu Xiangui that formed the ‘Okinawa Strong Foundation Association’ (冲绳刚泊会 - Chong Sheng Gang Po Hui)! Tokashiki, the President of Japan's Okinawa Goju Ryu Karate-Do Association, has been searching for many years to find the identity of the Chinese Masters who taught Higaonna Kanryo! Finally, the source of Yongchun White Crane Fist in Okinawa was discovered in Fujian - and a "remarkable monument" was raised in the Fujian Provincial Sports Centre (in 1990)! ​

In 2008, Yongchun White Crane Fist was included in the national heritage list as being of immeasurable cultural value! Today, there are an estimated 100,000 practitioners of Yongchun White Crane Fist, with thousands of experts and hundreds of top-class Masters! Fuzhou has also successfully held the first World Conference for Yongchun White Crane Fist – which attracted thousands of diverse people from all over the world – including many hundreds of Karate-Do practitioners! Yongchun White Crane Fist has also been a vehicle for good-natured and friendly exchanges across the straits! Throughout the martial arts competitions of the world - Yongchun White Crane Fist practitioners won more than 1,000 awards in various competitions at all levels! This style of martial culture is deeply rooted in Okinawa and across the world! As the theoretical and technical foundation for Okinawan Karate-Do – particularly GoJu Ryu – Yong Chun White Crane Fist has inspired a rich academic research genre, that has spread from educational facilities and on to the internet, as well as in books and in films! There have even been theatre performances, plays and other ‘live’ action and educational activities! At the same time, Yongchun White Crane Fist is entering the fields of health, culture and tourism, etc., and its comprehensive and all-round positive effect is becoming increasingly apparent. The United Kingdom, France, Germany, Russia, Moldova, Poland, the United States, Sweden, Switzerland, Iran, Malaysia and other countries, as well as Hong Kong, Macao and Taiwan, have all established professional organizations for the inheritance and practice of Yongchun White Crane Fist - in order to establish the ‘World Yongchun White Crane Fist Association' - which now has now laid a solid foundation.  ​

Reporter: Ceng Guangtai (曾广太) 
Correspondents: Chen Hong (陈弘) & Zhou Lili (周莉莉) - Text & Photographs (Except Signatured) ​

Translator's Note: I have been very fortunate to have understanding, tolerant and wise parents who allowed myself to thoroughly 'mix' with and 'integrate' into the ethnic Chinese side of our family! This has exposed me to the 'old' Chinese cultural set-up in New Territories (Hakka) villages at a time when the modern commerce of the British had not yet penetrated the area from Hong Kong island, and most of the post-1945 changes and transformations of the Chinese Mainland had very little influence until the hand-back of the British Colony to the Chinese People in 1997! I subsequently learned about a 'modern' and 'commercial' China, and this led to me engaging and thoroughly appreciating the culture of 'New' China - the people of which have treated both myself and my family with dignity and respect! All of this experience has culminated into a rich understanding that involves the mind being 'stilled' and the 'awareness' facility 'expanded' to encompass the Ten Directions! It is the wisdom that emanates from the Empty Mind Ground that influences and guides all of my gongfu practice and translation activities! May All Beings Be Happy and Free from Suffering! A clearer scan of the paper copy of this article will be added to the 'Published Articles' section soon - whilst what follows here - are 'screenshots' of the Online 'Journal' version! When the Online Qi Journal is accessed properly - the print can be easily enlarged, made sharper and clearer! These screenshots are merely an 'idea' of the article! ACW (7.6.2022)

Two aspects define this exercise. First, develop the technique of using the body like a ‘bow’, and second, in so doing ‘generate’ huge amounts of energy! To achieve this ability, the physical body must cultivate three-roots, a) the ‘lower’ or ‘foot’ root (脚根 - Jiao Gen), b) the ‘middle’ or ‘waist’ root (腰根 - Yao Gen) and c) the ‘top’ or ‘head’ root (顶根 - Ding Gen). The ‘middle’ or ‘waist’ root is inherently linked to the ‘dantian’ (丹田) - or ‘centre of energy self-cultivation field’ situated two-inches below the navel and also referred to as the ‘Life Gate’ (命门 - Ming Gen). The ‘head’ (top) and ‘foot’ (lower) roots should be visualised as being ‘set’ firmly in place. The ‘waist’ (middle) root – which inherently and continuously connects the ‘top’ root to the ‘lower’ root - is then completely ‘free’ to move in a forward and back direction which does not break the all-round ‘rootedness’ and does not disrupt the harmony of the all-round alignment of the three-roots. As the ‘top’ root is linked to rarefied consciousness and divine creativity, this sense of ‘righteousness’ should permeate the other two ‘roots’ and saturates the entire mind and body of the individual practitioner. This ‘divine’ consciousness flows from the ‘head’, through the body (‘middle’ root) and down into the ground (through the ‘foot’ or ‘lower’ root). This downward flow is inherently linked with the forces of gravity which is an amalgamation of Jing (精), qi (氣) and shen (神). This combined force hits the ground and ‘rebounds’ upwards re-tracing its direction of travel. Although this energy circulates around and through the 12-14 qi energy channels that run through the entire human body – this energy-process also travels through the centre of the bones (both upwards and downwards) developing the inner marrow and outer bone structure). 

What does this mean in practical purposes? A person who is so ‘rooted’ remains immovable when an outside force is placed against any part of heir still body. The more pressure that is exerted – the stronger their immovability becomes. Although the head and feet do not move – the waist act as a shock-absorber. Such a practitioner can absorb, re-direct and divert all incoming energy through an expert ‘waist’ positioning and subtle repositioning. Indeed, such an ongoing procedure will ‘tire’ a continuously ‘pushing’ opponent. All incoming force is redistributed through the hollow centre of the bones and safely into the ground. This simultaneously disarms an aggressor and ‘strengthens’ the immovability’ of such a practitioner. The expert positioning of the skeletal frame allows the movable waist to infinitely divert incoming force away from achieving its objective of ‘uprooting’. Once the ‘integrity’ of the opponent’s strength is broken, the movable ‘waist’ can be used to ‘repulse’ the opponent and ‘uproot’ his stance.  
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Righteousness and ‘stillness’ are identical. When movement is correct – then ‘righteousness’ and ‘movement’ are correct. The posture can rotate and turn 180 degrees and the bow can be drawn. In an instant the bow can be ‘released’ and a tremendous force emitted in a focused direction. In reality, if the ‘lower’ root can be maintained, the other two ‘roots’ can be used to remarkable effect in combat – moving and adjusting to an opponent's movements and positionings. However, just as opponents can be unpredictable, an advanced martial artist must decide which ‘root’ to keep in-place and which ‘roots’ to move! This is how victory is assured. Stay polite and move around naturally seeking-out the openings. When it is time to deploy your advanced skills then the concept of ‘Yi’ (意) or ‘intention’ comes into play. When ‘rootedness’ has been properly achieved, then everything is achieved without any undue effort. Energy can be built-up in any area of the body and ‘released’ as your ‘intention’ sees fit. In this regard, ‘intention’, ‘righteousness’ and ‘rootedness’ are all mirrored in one another with one not existing without the other two. This type of unified power can be developed and used in any circumstance and always prevails over those with less spiritual development and martial arts skills. Just as the Jing and qi energy flows through all the energy channels and generates ‘shen’ as an empty mind – martial power of this kind appears to manifest without any undue effort. The secret, of course, is that the practitioner has spent years training the mind and body to achieve this ability.  

The ‘intention’ is the product of ‘stilling’ and ‘expanding’ human consciousness so that it permeates out of the head area and traverses through the entire body and out into the environment in a 360-degree deployment. The developed ‘intention’ can draw jing and qi into a certain area for health purposes, healing and longevity. With the case of ‘shen’ developed from his congealment of ‘jing’ and ‘qi’ - all the advanced spiritual states are achieved. When combined with bodyweight and the principle of skeletal alignment – a deep and inherent combat power is formed as if from nothing! Bodyweight does not exist outside of qi and jing – but firmly within these facets of traditional Chinese thought. Bodyweight has always been an important facet of this ‘hidden’ power which makes more sense in a modern context. When its presence is clearly ‘perceived’ - then is falls firmly within the context of ‘shen’ - when shen is used to equate with an expanded conscious expansion! With ‘awareness’ tremendous vigour and force are generated. The mind and body can function to a greater extent of healthiness and be prepared for a successful martial encounter. Intention becomes the essence of Taijiquan (太极拳) and the foundational ability to both ‘adapt’ to circumstance and ‘generate’ tremendous force.  
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The main question Is ‘how?’ to use ‘intention’ to generate ‘effortlessly’ power? Within Taijiquan – the ‘Grand Ridge-pole Fist’ - the essence of this practice evolves around the principle of ‘frame’ (架 - Jia). Without understanding the use of ‘frame’ - there can be no ‘effortless’ power through the use of intention. For many people the question becomes ‘how to beat others without effort’? For most, this notion seems to contradict the reality of the material world and the use of ‘obvious’ force to defeat others. With regards to advanced Taijiquan practice there are ‘two’ forces which need to be mastered. 1) is the bodyweight which exists within the body of the practitioner, whilst 2) is the bodyweight which exists within the body of the opponent. The first drops down through the centr of the bones – hits the ground (thus ‘rooting’ a practitioner) - and then ‘rebounds’ upwards creating a reservoir of immense and effortless power which can be ‘emitted’ from any part of the body as the ‘intention’ sees fit! This process of modern physics ‘mirrors’ perfectly the thinking of Chinese traditional thinking and certainly does not contradict it! This amounts to 1) using our own strength and 2) using the strength of others. Most people remain complete unaware of these two methods of generating effortless power. Instead, they over-balanced, always ‘pressing down’ and stopping the natural rebounding force that gravity ensures is always being generated. To change this habit – the capacity to sense ‘intention’ from the ground to the top of the head must be cultivated. Instead of tensing the muscle to achieve this – the muscles are completely relaxed to allow the rebounding force to move up through the structure without hindrance. Sensing this upwards movement is the exercise of ‘intention’. This is combined with the ‘awareness’ of the bodyweight ‘sinking’ this energy into the ground and the entire cycle of ‘intention’ is attained... The qi (氣) sinks into the dantian whilst the head is ‘suspended’ and ‘buoyant’ - as if floating on an invisible cushion of air or held-up by an invisible silk cord. The top and bottom are united by a single ‘awareness’ and ‘permeating’ energy. 
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The most difficult aspect of generating ‘effortless energy’ is learning to distinguish between a deep ‘loosening’ (松 - Song) of the body-structures and a superficial ‘relaxation’ (弛 - Chi) of those same surface-structures. Although it is true that ‘relaxation’ is the first step of training whereby the muscles, ligaments and tendons are freed of habitual ‘tension’ - this is only the beginning as the ‘intention’ or ‘awareness’ permeates these structures and generates an entirely ‘new’ organisational structure that appears sub-cellular in origination. As the bodily-structures re-orientate (like the branches of a pine-tree ‘fanning-out’) energy travels through the area in a totally different way. This is why superficial ‘relaxation’ gives-way to a profound ‘loosening’. The bottom is ‘rooted’ and connected to the ‘head’ by the ‘middle’ or ‘waist’ area with no breaks in energy transmission. Superficial relaxation must transform into a state of profound ‘loosening’ or the body-structures will never be fully transformed. Indeed, the term ‘middle embracing’ (中正 - Zhong Zheng) refers to how the ‘middle’ communicates and relates to its surroundings. This can refer to its inner or outer surroundings and is not limited to any one dimension. It is both a psychological and physical reality. Another way of looking at this is the relationship between the ‘centre’ and the ‘periphery’. This can be summed-up as simultaneously embracing the states of ‘moving’ and ‘non-moving’. Whenever the centre moves it is always balanced and in harmony with the ‘still’ periphery – when the periphery moves it is always in harmony with the ‘still’ centre. The centre must be made profoundly ‘still’ in body and mind so that the nature and quality of its communication with what is forward, back. up, down, left and right is profound and all-embracing. Unnecessary movement is divisive, whereas ‘stillness’ generates harmony as the perfect balance between yin-yang (阴阳) relationship. When ‘stillness’ and ‘movement’ must interact, then it must be as a dynamic and symmetrical balancing of well-timed opening and closing – of allowing bodyweight ‘in’ and allowing ‘bodyweight ‘out’ - of allowing the opponent’s presence ‘in’ or keeping the opponent's presence ‘out’. Traditionally, this is explained through the mastery of the concepts of the ‘eight gates and five steps’ (八门五步 - Ba Men Wu Bu) which utilise the dropping and rising force (bodyweight and qi, etc) which opens into wide spirals or is ‘pulled’ back in to a ‘still’ centre.  
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The ‘eight gates and five steps’ represent the expert application of yin-yang interaction, and the application of advanced Taiji principles. However, without first realising and mastering the ‘still’ centre that is ‘all-embracing’ there can be no talk of perfecting the ‘eight gates and five steps’ - as the ‘eight gates and five steps’ arise solely from the mastery of the ‘all-embracing’ and ‘still’ centre. For most who learn taijiquan, however, these concepts mean nothing as they are not learned or even heard of. Simply practicing the movements of Taijiquan with no expert guidance is a fruitless task as you will remain just as ignorant ten years down the line as when you started. Study and seek instruction. Awareness is the key as a good instructor will teach a practitioner how sense their bodyweight and ‘feel’ its rebounding force. Without this – Taijiquan is just a set of meaningless exercises. This is achieved by a superficial relaxation being transformed into a profound ‘loosening’. Hard work must be a daily habit. Do not give-up and seek to achieve the maximum with the minimum. Calm the mind and expand awareness into the environment. Practice within this awareness so that mind and body unite and become one. Improve one aspect of training every day. If practice is of a good quality – then self-defence ability will manifest in an easy manner. Remember – even if the method is correct – Taijiquan might well take a long time to master. Seek good instruction. 
Some people say: ‘Taijiquan can't be taught, IT can only be learned by experience.’ This is because many people possess vague notions of attainting ‘enlightenment’ (悟 - Wu), but no real knowledge of how to go about achieve it. Instead, they repeat superficial movements in cycles of performance within which there exists no transforming mechanism to ‘shift’ the structure from one manifestation to another. Even at the birth-place of Taijiquan, thousands have gathered over the last one-hundred years to practice the movements of the Taijiquan style – and yet very few can a) fight with the style, b) live long lives or c) attain enlightenment through such practices. This is true even of people who learn from well-known teachers with established lineages. Over-all, this leads to a deterioration of Taijiquan ability. The secret of mastering Taijiquan in all its aspects lies with the mastering of the placement and functionality of the ‘waist’ or ‘middle gate’, for when this understanding is lacking, the entire edifice of Taijiquan ability cannot be established! 

Authentic Taijiquan technique, regardless of style or frame, depends entirely upon the perfection of the use of the ‘waist’. This explains why there are many references to the ‘waist’ and ‘waist management’ spread throughout the Classical literature of China. Such examples are ‘the waist is the master’, ‘the waist is the driver’, ‘the waist unites and controls the upper and lower body through the turning of the spine’, and ‘the mind’s awareness penetrates and controls the waist’ - are just a few examples of the extent of this importance. However, according to observations, many practitioners, especially beginners, are still not clear about this.  Many chose to stand bolt upright, crooked or overly slanted; some do not know how to loosen their hips; others only know how to swing their arms but don’t know how to turn their waists, and their movements appear awkward and stiff. The analysis of the reasons for these errors is mainly due to an unclear understanding of the position, function and basic essentials of waist movement found within genuine Taijiquan principle and technique. The point is this - If you practice Taijiquan without training your waist, it will be difficult to improve your skills throughout your life. The author of this article would like to assist martial artists in China (and abroad) through sharing my own experience and humble insights. To sum-up the important position and function of waist movement, there are two main points: 

1. The ‘waist’ structure is a complex physical mechanism that acts as a specialised conduit of ‘bodyweight’, and is an arbiter of the force of ‘gravity’.  It closely combines the upper body and lower limbs into an organic whole, and it is also the key to more concentrated reflection of body skills. It plays a very important role in driving and adjusting the changes of the whole-body movement, the stability of the centre of gravity, and the pushing of tremendous (effortless) ‘force’ throughout all parts of the four-limbs. As long as the waist moves effectively, the four parts of the external body are (implicitly) incorporated into its sphere of influence, a process which ‘reduces’ and ‘removes’ any unnecessary peripheral movement of the body, forming a complete and coordinated movement of the upper limbs and lower limbs together with that of the trunk. The waist turns the spine which operates the upper and lower limbs effectively. Therefore, the waist (via the ‘spine’) turns the hands – and through the legs – turns the feet, with the waist uniting the head with the feet via the spine. Regardless of Taijiquan style practiced or frame preferred – the ‘turning of the waist’ allows for the qi-energy to flow freely into and out of the four-limbs and the head, etc. The free-flow of qi-energy is directly in relation to the free-flow of bodyweight.  ​
2. The waist plays a crucial role in accumulating energy. The ‘Boxing Treatise’ (拳论 - Quan Lun) states: ‘Strength builds from the heel, dominates the waist, manifests throughout the back, reaches the arms, and forms in the fingers.’ The ‘Boxing Treatise’ further states: "Palm, wrist, elbow and shoulder, back, waist, hip, knee, foot – therefore up and down the body there are nine ‘centres’ of focused energy (劲 - jin) - with the waist being the foundation of each energy centre. The waist accumulates combat energy (jin) by appropriately twisting, turning, lifting and dropping. This is achieved by the waist becoming an empty conduit which can be continuously ‘inflated’ with energy and distributed throughout the four-limbs. This is the greatest strength of Taijiquan – which can even use the opponent’s bodyweight as an effective weapon! All this arises within and through a suitable trained ‘waist’. For instance, when the waist and the arms are suitably ‘aligned’ and natural ‘holding’, ‘embracing’ or ‘supporting’ force is generated in the arms and hands (拥劲 - Yong Jin). It is the capacity of ‘intention’ (yi) which ‘directs’ and ‘channels’ the qi-energy so that it can be ‘gathered’, ‘retained’ or ‘emitted’ as the case may be. ‘Jin’ energy is produced when qi-energy is ‘compressed’ by ‘intention’ and emitted through a focused and highly concentrated avenue of psycho-physical expression. The waist can deflect and absorb the incoming power of an opponent’s attack. This external ‘bodyweight’ is converted into ‘jin’ force through its physical compression as it is taken control of as it enters the practitioner’s body. Once harnessed in this manner, the strength of the opponent can be immediately turned around and re-directed (through the waist and spine) back into the opponent causing total confusion and an ‘uprootedness’ that cannot be countered. The compression of bodyweight and the amalgamating correctly of jing, qi and shen, etc, generates an explosive force that is not dependent upon muscular contraction, which can be gathered as if from nothing, and emitted in the most unusual or unexpected manner. This method allows for a certain ‘elasticity’ of defence, that stops, turns and ejects an attacking opponent. For instance, whilst practicing the ‘Parting the Wild Horses Mane’ (野马分鬃 - Ye Ma Fen Zong) - regardless of performed on the left or right side of the body – demands a perfected ‘rootedness’ mediated through the ‘waist’ so that the dropped bodyweight rebounds with a tremendous energy that is redistributed up through the waist, spine and through the shoulders, arms and hands, etc. Not only is the opponent ‘uprooted’ - but he can be ‘struck’ with a great and effortless force whenever the circumstance demans.  
    

Original Chinese Language reference: 
https://www.sohu.com/a/501559060_121124541 
蓄劲如开弓，发劲如放箭  
2021-11-17 00:00 
拳谱这两句说话其实颇为形象化，是以身体作为一张弓来发劲。要点是我们自己身体要有三个根：顶根、脚根及腰根（丹田或命门）。设想顶根与脚根定点不动，腰便可自由的荡，只要每动皆双向（即有来有回），便不会破坏全身的对称平衡，时刻保持中正。 
如果你用力推我，我顶根与脚根不动，腰根被你推开成开弓之势，到你力尽，我腰根的重量荡回来，便把你笔直放出去，而我自然中正，不出方向。如果我在开弓时不知不觉的围绕你转动一百八十度再发劲，便把你前推之势也加以利用，你跌得更惨！ 
事实上三个根只要能保持一个根不动，其余两根可来回的荡以发劲并时刻保持中正，若在贯串两个根之荡时，加上螺旋扩大或螺旋缩小，威力更大。因为我有三个根，要定那一个根由我决定，而且随时转换，你难以捉摸，「人不知我，我独知人」，一碰便胜败已分，与你转圈推手只是客气而已。 
这里牵涉到用意不用力，例如顶根不动，是因为体内不断有S循环在进行而外示安逸的结果，不是用力去固定头顶。身体意气走S，是以意想推动的，以意气驱使身体而动，一点不用力，稍一用力去扭动身体四肢走S线，便是用力，不是以意气运身，没有威力可言了。太极拳的任何解说，包括拳谱，都有一个前提，就是「用意不同力」，稍一用力，那怕一点点，已经不是太极拳，这是太极拳的关键内涵，也是最难练习、最难做到的地方。 
怎样做到“用意不用力” 
太极拳是应用太极原理于技击的拳艺，太极拳架是为使身体熟练应用太极原理而编造的练习，所以练拳要明白练习的目的。太极拳最大的特点是「用意不用力」，不用力怎样打人呢？是借力打人，借力的来源有二，借他人之力及借自身的地心吸力，即利用体重在地面的反弹力，我们日常的习惯，唯恐站不稳，不自觉的往下压，没有利用体重反弹的习惯。 
要改变这习惯，头顶要有领起之「意」，不用力，身体放松，才能引导反弹的体重上升，再下沉，又反弹上升，又下沉，又上升……，连续不断，这才是「虚领顶劲、气沉丹田」，二者是一体的，是利用体重反弹的练习。 
“用意不用力”最难之处是「松」，“松”是张开，不是“弛”，是“中正安舒”。“中正”是中心与四周的关系，“动而不动”是为“中正”，所谓“动而不动”是每动则外围之动都对称平衡，使中心平稳有如不动，所以要求“有上必有下，有前必有后，有左必有右”，其实“动之则分，静之则合”是阴阳关系，是动态的对称平衡开合，由点到线、面、体的开合是为“八门”；开则螺旋开张，合则螺旋收缩，是为“五步”，能把握“八门五步”，就能利用升、沉的体重以开合收人发人。 
“八门五步”是阴阳之势的应用，就是太极原理的应用。如果把“中正”当成静态，而实际上静态之中不是中，静态之正不是正，不“中正”，则难“安舒”，不“中正安舒”，则不能“松空圆活”，不“松”则借不到体重反弹，就不能“用意不用力”，更不要谈“八门五步”了，所以学太极拳都由“中正”开始。 
但一般学习太极拳的，大都不明太极思维，把原则僵化了（以为“中正”是静态的中、静态的正便是僵化），一般学习“中正安舒”而未能过关，所以只能不断练习拳架，冀求有能「松」的一日，这是吃力不讨好的。多研究太极思维，练习时不断评核所练习的能否结合太极原则，不断改进，才会有进步，如果练习不能与太极原理会通，是为练习而练习，目标不清，功效有限。 
感觉不到重量反弹，是身体不听话，自已用了力而不自觉，就是不能「松」。用力是日常习惯，要在不放弃这日常习惯之外，再建立一种不用力的习惯，并要听意识指挥：日常生活用力；技击时不用力，这是很难很难的训练，就算方法正确，也要很长时间的练习，何况方法不一定正确，（何谓正确方法？练习无定法，凡合乎太极原理的方法都是正确的）。 
有说：“太极拳是教不会的，只能学会”，因为要点是“悟”，所教的方法是死的，要能通过方法而领悟太极原则的应用，才学得会，所以有承传也不一定出人才，过去百多年，在几个太极拳发源地，每日用功，长时间习拳的成千上万，但有功夫的代不数人。太极拳之所以慢慢变质，变成流行的健身太极操，不是没有原因的。 
“太极腰”的修炼 
太极拳特别注重腰部活动。经典著作中讲得很多，如“腰为主宰”“腰为驱使” “源动腰脊转股肱” “刻刻留心在腰问”等，都是说腰在太极拳运动中的重要性。但据观察，不少练拳者，特别是初学者对此还不够明确。有的立身不正，歪歪斜斜；有的不知松腰松胯；也有的只知旋臂而不知转腰，动作显得别扭、僵硬。分析原因，主要是对腰部活动在太极拳运动中的地位、作用和基本要领认识不清所致。正是：练拳不练腰，终生艺难高。笔者愿以自己的体会和浅识拙见，向拳友们讨教。腰部运动的重要地位和作用概括起来，主要有四点。 
1．腰部起着承上启下、维持身体姿势和传导重力的中枢作用。 
它把上体和下肢两部分紧密地结合为一个有机整体，也是比较集中地反映身法技巧的关键。它对带动和调整全身动作的变化、重心的稳定以及推动劲力到达肢体各部分都起着十分重要的作用。只要腰部一动，全身其他部位皆相适应，无有不动，形成上肢、下肢、躯干完整协调的运动。上肢运转要求转腰旋脊，以腰带臂，腰领手随；下肢运转要求以腰带胯，以胯带腿，以腿带足。因此，套路中各个拳式正确手法和步法的变换，都必须依靠腰部不停地灵活运转来完成。同时，腰部还能运丹田之气到达四肢百骸，从而形成周身完整一气。 
2．腰部起着蓄势发劲作用。 
拳论日：“劲起于脚跟，主宰于腰，发于脊背，达于两膀，形于手指。”又说：“掌、腕、肘和肩、背、腰、胯、膝、脚，上下九节劲，节节腰中发。”劲法中也强调，以缩腰、拧腰配合蓄劲，以舒腰、转腰配合发劲。这既是太极拳的发劲特点，也是太极拳发劲时应遵循的一条规律。因此，太极拳八种劲法虽然都形于手、臂、肩、肘，但劲力源头均发自腰部。 
例如拥劲，虽然“拥在两臂”，但主要靠腰与意气相配合发出的劲力棚架对方，并借机击之。搌劲，虽然“搌在掌中”，但主要靠转腰坐胯顺势将对方引至自己下盘一侧，化解和防御对方攻势。挤劲，虽然“挤在手背”，但主要靠腰椎后弓之劲，手脚并进，合力向前挤击。按劲，先师们明确指出了“按在腰攻”，靠腰劲带动全身整劲，用双手向前按击对方。其他采、捌、肘、靠，也主要以腰腿劲为基础，加上内气的鼓荡，以全身的弹性劲、爆发力，快速准确地将对方弹出。这都充分说明腰是劲力之源。只要腰力运用得当，就可使周身力量集中于一点，战胜对方。例如野马分鬃，不论左抱右分或右抱左分，腰部旋转、腰部发出的力量都起主要作用。同时，按腰送肩还可放长两臂，延长进攻距离，有利于击打对方。 
 ​

Contribution & Translation Shifu Adrian Chan-Wyles

Beginners learn Taijiquan by replicating the "fist frame" (拳架-Quan Jia) - or the ‘physical structure’ of the Taijiquan style as taught by their teacher. The teacher uses the ancient method of teaching one step and one sequence at a time, so that each student can learn each step and each sequence before moving on to the next section. The teacher ‘expresses’ each movement one by one, whilst the practitioner imitates these movements ‘one by one’ until they become natural. This process is termed the "leading frame" (领架 - Ling Jia). Although the “fist frame” defines the physical appearance of the Taijiquan style, the essential and underlying reality of these movements contains an extremely rich content. It not only contains its extensive martial application, but this body of knowledge is closely connected to the internal strength-building (内功 - neigong) exercises. Authentic Taijiquan is passed on from one generation to the next through its readily recognisable ‘fist frame’ or stylised form. It is only through the correct preservation of the “fist frame” that all the other ‘hidden’ techniques are preserved and passed-on.  ​

To effectively learn a style of Taijiquan, you must first seek out the correct “enduring image” (形象 - Xing Xiang), as taught by a reliable teacher. Logically follow the rules, be meticulous, and replicate each movement one by one and step by step. First learn the correct orientation of the body (that is, the correct alignment of the head, torso, arms, legs, hands and feet, etc), next perfect the hand positions and the techniques through which these positions are used, then perfect the footwork – learning ‘how’ and ‘when’ to step and stand-still, learn all the movement routes – that is how to step, when to stop stepping and how to piece each movement together into a smooth sequence of events, and through doing all this probably, mastery the ‘outer’ style of each style. The ‘outer’ methods are mastered first – then followed by a deepening of understanding and awareness whereby the ‘inner’ methods become apparent and are in-turn mastered. This creates a unified process which sees a relaxed mind, body and environment ‘merge’ into one complete reality of ‘awareness’ and all-embracing ‘presence’.  ​

According to whatever the style of Taijiquan being studied, ensure that the ‘chin is placed-forward (and slightly down) so that the vertebrae of the neck are gently but firmly ‘extended’ and the head correctly ‘lifted’ and placed with a ‘rooting’ strength upon the shoulders. The head and neck – in relation to the shoulders – becomes both ‘buoyant’ and yet ‘heavy’ whilst being perfectly aligned between all its constituent factors. This alignment of the vertebrae extends down from the neck into the chest and lower back area (simultaneously confirming the ‘concave’ and convex’ anatomical structures), with each placed exactly where it should be above and below all other contributing structures. The shoulders are ‘rounded’ as they surround the ‘rounded’ chest-cavity and there is no contradiction in the head-to-toe alignment of the bones, muscles, ligaments and tendons. The chested is rounded as it fills and empties with ‘air’ and ‘qi’ (氣). Therefore, the concave and ‘empty’ chest (together with the relaxed and strengthened abdominal muscles) joins the neck and head in being both ‘robust’, incredibly ‘strong’ through ‘alignment’ and yet ‘flexible’ like the wind. The pelvic-girdle is correctly aligned with the vertebrae that emerge from it. The pelvic-girdle form a ‘bowl-like’ structure into which the mass of the digestive organs sits, manoeuvre and function, etc. From the pelvic-girdle the upper body is structured and lower body touches the earth. The pelvic-girdle connects to the ground through the bone, joint and muscle structures of the legs, which always includes the connecting tendons and ligaments all over the human body! The pelvic-girdle must be rounded and concave so that it aligns with the knees, and the ankles, whilst the knees remain ‘rounded so that the bodyweight can ‘drop’ and ‘rise’ through the area unhindered. The descending bodyweight drops into the ground through the centre of the anatomical foot-structure (which varies in exact location depending upon the technique being used). When all this is ‘corrected’, then it becomes obvious that the shoulders and hips, elbows and knees, wrist and ankles and hands a feet become permanently ‘unified’ and ‘aligned’ in their physical activity and non-activity (I.e., ‘standing still’, etc). As ‘awareness’ increases, the shape of the hand and the ‘exact’ placement of one bone to another becomes possible and is a skill repeated all-over the body including throughout the structures of the feet. In other words, the ability to ‘align’ and correctly ‘arrange’ the entire body in general – becomes a highly efficient ‘localised’ skill applied to the smallest area of the body itself. This is how tremendous power can be generated throughout the ‘frame’ and correctly emitted through with a ‘fist’ or the open ‘palm’. Conversely, huge amounts of power can be ‘absorbed’ through an ‘open’ or ‘closed’ hand, distributed throughout the Taijiquan ‘frame’ and harmlessly neutralised into the environment. This is how the ‘mind’ first ‘expands’ its awareness’ throughout a ‘unified’ body-structure (or Taijiquan ‘physical ‘frame’) before ‘expanding’ beyond the physical ‘frame’ and becoming ‘all-embracing’ and ‘all-inclusive’ of ‘all’ and ‘nothing’ in the physical environment! This is the process of how a material ‘form’ (形象 - Xian Xiang) become an immaterial, ‘mind’ or spirit-driven ‘form’ (神象 - Shen Xiang). If ‘physical’ Taijiquan practice does not evolve into a ‘spiritual’ Taijiquan practice, then a life of practice, determination and sacrifice has been entirely wasted! The teacher provides the ‘fist form’ - but you must practice ‘beyond the ‘fist’ and firmly cultivate the ‘mind’. Without this transformation, nothing substantial can be fulfilled. The ‘spiritual essence’ is contained within the ‘form’ and the ‘frame’ - but is dependent upon neither and must emerge from both. However, due to the nature of the complexity of Taijiquan design and practice, it is inevitable that some will encounter problems with their practice. Beginners are often prone to rigidity of mind and body and are unable to properly ‘adapt. The most common errors involve ‘stiffness’ (僵 - Jiang), ‘scattered’ awareness (散 - San), ‘discontinuous’ awareness (断 - Duan), ‘non-alignment’ (歪 - Wai), ‘non-rootedness’ (浮 - Fu) and other problems.  ​

A) ‘Stiffness’ (僵 - Jiang) - involves ‘tension’ being hidden throughout the mind and body of the practitioner. It is a product of ‘habit’ that must be undone and countered through the practice of psychological and physical relaxation. Habits of thought that generate psychological tension must be ‘dissolved’. Simultaneously, the tension that abides within the muscle-fibres must also be ‘released’ through deep breathing and the focus of the mind’s attention upon the area. Eventually All mind-body tension (which is merely ‘blocked’ qi energy flow), must be a) ‘released’ and b) ‘reabsorbed’ into the entire mind-body system.  

B) ‘Scattered’ awareness (散 - San) consists of a mind that is not yet ‘unified’ into a spiritual-whole so that the physical body is also affected by this ‘disunity’. A scattered mind inevitably manifests as a scattered body in the physical realm, whereas a unified mind which is all embracive of the physical body (and environment) inevitably provides the foundation for a fully united Taijiquan form. The ‘awareness’ must be ‘united’ by focusing the mind and disciplining its functionality. Once the psychological processes are ‘united’ - then the physical body (and its actions) will be permeated by this ‘unified’ awareness.  

C) ‘Discontinuous’ awareness (断 - Duan), between the upper and lower body, means that there is no connection between the mind, body and environment. In other words, no ‘rootedness’ as the practitioners ‘awareness’ capacity is both incomplete and discontinuous. The upper and lowe body cannot interact in a fluid and smooth fashion. Q energy flow is ‘broken’ at crucial points (effecting ‘jing’ [精] and ‘shen’ [神] circulation, generation and transformation). As the top half of the body is ‘disconnected’ from the bottom half of the body – there is no transference of ‘awareness’, ‘energy’ or ‘ability’ through the pelvic-girdle. Beginners must observe and understand flowing water, reeling silk and clouds floating across the sky and how nature achieves these feats of action with no apparent effort at all. Human-awareness must extend fully in the ten-directions and not stop short at nine-directions! The practitioner must master the connection between ‘awareness’ and ‘movement’ - when such an awareness is ‘lacking’, then there is a ‘discontinuous’ awareness, or ‘break’ between areas of psychological and physical control. This problem can be resolved through practicing ‘deep’ relaxation of mind and body, as well as focusing the mind to ‘lead’ and ‘guide’ (引 - Yin) the awareness evenly through the physical structures of the body, so that ‘awareness’ always precedes and initiates all movement so that there is never a ‘break’ between ‘intention’ and ‘actuality’.  

D) ‘Learning to lead’ (引 - Yin), or direct a strengthened, concentrated and united mind so that its ‘intention’ continuously precedes all movement both ‘within’ and ‘without’ the physical body. In this regard, conscious awareness must automatically permeate the ten directions and everything within those ten directions – including the individual mind and body. This is a continuous pulsation that exists during sleep and awake times and which is fundamental and underlying in nature. Guiding the awareness, however, ss subtly different as it is a ‘refined’ awareness operating within this meta-awareness. Whereas the meta-awareness permeates the cellular structure of the mind and body – this ‘leading’ awareness penetrates the cellular wall and permeates into the subatomic structures. It has within it a compelling and attracting force which can also be ‘reversed’ into a repelling force (like releasing the built-up energy in a drawn-bow). At other times, it directs awareness and ‘pulls’ the physical body into the various directions of movement required. It is nothing short than the evolutionary mind-body nexus. ‘Thought’ within this context, although appearing ‘spiritual’ and ‘other-worldly’ is in fact a very subtle form of substrative material reality.  

E) ‘Non-alignment’ (歪 - Wai), refers to a disjointed and misplaced Taijiquan ‘frame’ (positioning) and ‘sequencing’ (form) so that the entire manifestation departs from the ‘law’ of the style, the philosophy of the tradition and the instruction of the teacher. Another description is that of a ‘crooked’ mind and body which mislead the practitioner and the world of taking the wrong direction. The body leans when it should be straight, or is straight when it should be leaning! The body remains ‘unrooted’ when it should be firmly affixed to the ground. The mind has no unified presence and is unable to penetrate and guide the the physical structures of the body. As there is no penetrative insight, the movements are ridiculous and disconnected. There is no awe-inspiring presence and no real Taijiquan practice taking place!  

​F) ‘Non-rootedness’ (浮 - Fu) can also be translated as ‘floating’ and refers to the non-dropping of the ‘qi’ (and ‘bodyweight’) down into the dantian (丹田) situated two-inches below the naval and through the centre of the bones (stimulating the bone-marrow) in the case of the bodyweight proper. Pockets of psychological and physical tension can prevent the qi-energy flowing properly through the eight special channels (and the numerous other major and minor qi-energy flow channels), as well as the bodyweight ‘dropping’ effectively through the centre of the bones down into the floor through the soles of the feet, etc. Eventually, the dropping of the bodyweight results in a ‘rebounding’ force which bounces the qi-energy back up the body through the centre of the bone marrow – a gravity related processes which eventually integrates with the qi-energy flow through the qi-energy channels. If an underlying psychological awareness of the deep structures of the body is not present, then neither qi-energy flow nor bodyweight movement will be understood or even known to exist! Instead, the external body will be separated into essentially top-heavy and insular compartments of disjointed and non-rooted entities! All is disconnected from the ground and from the awareness of the mind. Drop the awareness into the ground to rescue the mind and body from this hellish existence!  ​

This is why the ‘fist frame’ is the mother of the Taijiquan system of advanced Chinese martial arts (as it conveys the ‘secret’ of how to ‘punch’ with extreme power! Each individual part of the body must be thoroughly penetrated and minutely understood with a fully develop and directed conscious mind – before each part of te body is ‘integrated’ (through accumulated ‘insight) into a ‘unified’ whole. Although a ‘form’ of Taijiquan made well hold continuous physical characteristics that continuously broadcast a well-known' style – it is the mastery of the ever-change ‘frame’ of the Taijiquan form that is vital for martial arts dominance and success in the physical world. Of course, the ‘form’ and ‘frame’ obviously over-lap and coincide but they are not identical. Whereas a ‘style’ of Taijiquan may well utilise a continuous ‘form’ or philosophical-physical approach – whilst a continuously changing, altering and adjusting ‘frame’ may be manifested by an expert practitioner.  Whilst being firmly ‘rooted’ to the nourishing ground, an expert practitioner of Taijiquan is continuously manifesting the ‘root’ principles of the style, whilst also adjusting that particular ‘form’ (physical superstructure) to the conditions prevailing in the external world. A ‘fist frame’ facilitates ‘punching’ (or ‘open and closed hand techniques’ in general), whilst a ‘kicking frame’ opens the hip-area allowing for an array of ‘lifting’ or ‘floating’ leg techniques which uses the foot, knee or side of the leg-structure to ‘strike’ or ‘block’ whist standing still, or moving forward, back or side to side (although some of this activity might fall under the designation of a ‘stepping frame’ adjustment). An advanced ‘iron-vest’ frame allows for the bone structure to be utilised in a manner that deflects, absorbs or re-directs incoming energy, etc. There is even the case that suggests that the ‘frame’ of a Taijiquan style should be further adjusted as the age of the practitioner increases to counter the effects of ageing. With regards to self-defence, the body-shape, experience and motivation of an opponent will call upon the defending Taijiquan to adjust the type of ‘frame’ they manifest during hostilities.  A Taijiquan ‘form’ that does not adjust its ‘frame’ (or the distance between the feet and between the hands), is then ‘stuck’ in manifesting just one particular ‘frame’. This is a common mistake today developed from a lack of properly qualified teachers.  ​

When Taijiquan was ‘liberated’ from the limitations of feudalism in 1949 – there was not readily available a suitable cadre of instructors to carry-out this advanced ‘liberating’ policy. To remedy this, it was decided that initially it was enough for the ‘copying’ of the superficial movements (I.e., ‘form’) to take place throughout China, and that over-time, as this new approach of ‘openness’ settled in (with a limited single ‘frame’), the number of qualified teachers would increase. Today, this transitional stage Is still in operation, with practitioners seeking an ever-greater depth of understanding, although association with legitimate lineage masters that are coming to light. This is a slow but inevitable process. Taijiquan – the most advanced martial art ever constructed by the human mind – has been ‘freed’ from the few exclusive lineages that once controlled its dissemination. Although lineages till exist and their practice is disciplined, the knowledge they possess in now viewed as belonging to humanity. ​

Chinese Language Reference: 
https://www.sohu.com/a/114000920_467831 
拳架为学练太极拳之母！练拳易犯的几点坏毛病，快来看看自己有没有？  
2016-09-09 11:29 
点击上方↑"功夫太极"快速免费订阅太极养生资讯 
"拳架"为学练太极拳之母[摘编] 
 
初学太极拳应从学习“拳架”开始。即是学练老师的拳架。一招一式，逐一模仿。这一过程，称之为“领架”。拳架虽为外形，但却有极为丰富的内容。它不但含有很多技击招式，还与内功练习紧密相连。拳架是太极拳的基础，也是练习太极功夫的向导。没有拳架就无法练习太极拳。架子正确与否关系到太极拳的功夫能否练成。 
学练拳架，先求形象，须循规蹈矩，一丝不苟，逐一模仿。先学基本的身法、手法、步法，动作路线，各定式的样子及要领。架子应先求开展，后求紧凑。要求全身节节放松。如某一定式，先查是否“虚领顶劲，立身中正”，是否“含胸拔背，胸空腹实”，是否“松腰落胯，圆裆扣膝收臀”；再查步法是否正确；再检查肩肘腕是否放松，是否“沉肩坠肘、塌腕舒指”；最后再检查掌形、拳形，钩手等是否正确。在“形象”的基础上再求“神象”。不但要求形象，还要求神象。如不得太极拳之神形，则练一辈子也是茫然，不成大器。若想精其技，趋大成者，非得老师拳架之神形不可。然而，由于太极拳的特点，初学者往往难以适应，易出现一些毛病，最常见的主要有：僵、散、断、歪、浮等毛病。 
1 
僵 
就是僵硬、松不下来。练习太极拳，松为第一要义。而没有经过太极拳练习的人，身上都有僵劲。年龄越大，身体越是强壮，僵劲越大。而太极拳的动作是圆的运动，要求柔和缠绵，节节贯串，全身协调，主宰于腰。这就给练习太极拳带来很大的困难。因此，一开始，就要强调放松，练习者要有意识地使自己的身体放松。用意不用力，意松体松，内外皆松。 
 
2 
散 
即神散，形散。练习太极拳要求全神贯注，心无旁骛，如果练拳时心不在焉，杂念丛生，就无法做好动作。形散一般是指动作幅度过大，没有含蓄，或者动作不协调，散了架子。练习太极拳手臂和腿要自然弯曲，不可直手直脚，要注意处处保持太极球的形态。同时注意全身的协调性，所有的动作主宰于腰，以身领手，周身一家。 
3 
断 
指意断，劲断。动作不连续，上下动作之间断开，缺乏圆滑的过渡。太极拳要求柔和缠绵，练拳时，上动未停，下动又起，如行云流水，抽丝挂线，一气呵成，动作做到九分，意要贯到十分。而初学者往往不能很好掌握动作与动作之间的衔接问题，因此，就出现了“断”的问题。要克服这个毛病，一要注意放松，二要加强“引”的练习。即掌握“引”的规律，一般来说，引的规律是欲上先下，欲左先右，欲前先后。就是向相反的方向运动。 
4 
引 
“引”在太极拳中有非常重要的作用，它是太极拳的精华和绝妙之处。它不但起着承上启下的作用，还关系到太极拳阴阳转换，虚实开合的变化。没有引，太极拳的动作就无法圆滑过渡；没有引，就无法实现折叠转换；没有引，劲就无法绵绵不绝。 
然而，在现实生活中，许多太极拳练习者，往往忽视“引”的练习和应用。他们往往注意动作的外形是否到位，样子好不好看，而忽视了太极拳的精华。练好引的关键是用内动带动外动，心静体松，精神内固，丹田旋转，引领全身，以根节催动梢节，动作似停非停，将展未展之际，心意一动，“引”则油然而生。上动未停，下动又起，流连缱绻，无始无终。应该特别指出，引是自然而然的，是松沉的表现，不是故意做出来的。不可为了做引的动作，故意把拳打得一顿一顿的。引从外形上看，以不露痕迹为上品。 
引在推手中有着极其重要的作用。两人接手后，轻轻一引，即可化解来力。能引，则能做到劲由内换。由于引的圈子很小，则可做到在不动身形的情况下化发自如，即引即发，原地风光。 
因此，打太极拳需注意引的练习。只有把引练好了，才能打出太极味，才能使整套拳如抽丝挂线，绵绵不断；似长江大河，滔滔不绝。引是太极拳的细微之处，乃太极拳绣花之法，须默识揣摩，细心体悟，才能真正学到。 
5 
歪 
指身法不正。前俯后仰，左右歪斜。练习太极拳身法以端正为本。身法端正，无所偏倚，虚灵内含，浩然之气，运于全身。初学者往往由于动作僵硬，易使身体不正。身法中正是练好太极拳的基础，千万马虎不得。 
6 
浮 
即漂浮。太极拳要求含胸拔背，胸空腹实，气沉丹田，落地生根。而初学者往往架子忽高忽低，挺胸突臀，动作漂浮，气向上涌，头重脚轻。浮乃练习太极拳之大忌，须注意克服。 
要克服上述毛病，关键要抓住“松、静、沉”三个字。无论练习何种太极拳，都要在这三个字上下功夫。因此，“松、静、沉”为练习太极拳的三字经，要把它刻在脑海中，落实在行动上。在学习老师拳架的过程中，要细心模仿，悉心领悟动作要领，发现问题及时纠正。太极拳架中包含有极丰富的内容，要掌握这些内容，需要长期反复练习才能做到。 
因此说，拳架为母。练习太极拳一定要在拳架上下功夫。每天反复盘拳架，如有可能，尽量多练。同时，要不断领悟内在的东西，练悟结合，“拳打千遍，其理自现”。练习拳架有一个“从外引内，以内带外”的过程。开始时，只能外形划大圈，而后逐步产生内动，每个动作先有内动，再有外动，环环相扣，无始无终，动作沉稳，柔棉，一动无有不动，一静无有不静，内外合一，周身一家。只有这样，才能逐步提高自己的太极拳水平。 
孔子曰：“人而无信，不知其可也” 
意思就是说：一个练武之人要是连《功夫太极》微信都没关注，简直都不知道他是怎么练拳的.. ​

For sake of simplicity, practitioners of Taijiquan access this method through a teacher who specialises in a particular ‘Form’ or ‘Type’ of Taijiquan – often inclusive of its own historical and ideological baggage – and which is wedded to a specific ‘Frame’ of reference, in this instance, quite literally! I was taught both the ‘Old’ Long Yang and the ultra-modern Yang 24 Step ‘Beijing’ Short-Form. To the mind of my teacher – Master Chan Tin Sang (1924-1993) - this combination represented the best philosophy from both ‘Old’ and ‘New’ China and re-emphasised the ‘flexibility’ of approach with the Yang Family conceived of and practiced Taijiquan (which built upon the ‘Chen’ Form Foundation and in many ways ‘Improved’ upon it – and I say this as a ‘Chan’)! Master Chan Tin Sang trained in Hong Kong with a visiting Yang Family member when young (prior to WWII) and I have inherited a ‘signed’ Taijiquan book given to our ‘Chan’ Family from the Yang Family.  ​

Old ‘Long’ Yang Taijiquan is a truly magnificent Form that was developed in a feudal cultural milieu that was certainly very ‘martial’ in its manifestation and long-term logic. Training was related to Clan-Name and Clan-Association. within this, there was a bewildering system of layers of access all designed to ‘keep people out’ of the inner core of the organisation. What is often either ‘forgotten’ or ‘not known’ is that a number of versions of the style would be taught be different branches of the family, with junior males teaching a watered-down or incomplete version, and senior members teaching full the genuine method. As each version was treated as ‘genuine’ and of the ‘utmost value’ - the junior teachers valued their incomplete version often NOT knowing where they fitted-in in the over-all scheme of things in the Clan Association structure, as everything was designed to ‘protect’ the Clan and everyone in it. Some of these teachers of incomplete styles still managed to find fame and fortune because they naturally developed those parts of technical skill which were missing. Quite often, I am told, after a lifetime spent engaging in and winning numerous ‘honour fights’. It seems that psychological and physical evolution tends to ‘fill-in’ any missing gaps in a style – often generating ‘new’ styles!  ​

All the ‘Snake Creeps Down’ within the Old Yang Long ‘Form’ is bias toward bending the right knee and straightening the left-leg! It was assumed (in the 19th century) that the only way for an Old Yang Taijiquan ‘Form’ practitioner to learn ‘Snake Creeps Down’ with a bent left-knee and a straight right-leg forward – is to also learn and master the single and double-straight sword (Jian) ‘Forms’ - within which all ‘Sneek Creeps Down’ stances are bias toward the right-leg being straight! This study is assumed to take at least 20-years alongside the Old Yang Taijiquan ‘Form’. Although we respect tis tradition – the Yang 24 Step ‘Beijing’ Short-Form contains (in its 24 postures) Snake Creeps Down left and right – speeds-up this learning process immeasurably! We must not fight progress – but find our place within it. What is important – and a lesson acquired from the Yang Family – is that a practitioner of Taijiquan should alter and adjust their practice by exploring different ‘Frames’ - which are ‘high’, ‘middle’ and ‘low’. A Taijiquan ‘Frame’ is measured by how far the elbows and knees are ‘deployed’ away from the torso.  ​

With a ‘high’ Frame the elbows and knees are ‘close’ (but not too close) with the stance being ‘high’ (with the feet being perhaps three-foot apart). For a ‘middling’ Frame the elbows and knees are a little further away from the torso (with the feet being perhaps four-foot apart), whereas for the ‘Long’ Frame the elbows and knees are the furthest apart from the torso (with the feet being perhaps five-foot apart). Advanced Taijiquan practitioners often vary the ‘Frame’ they are using as they move through a single repetition of a Taijiqian ‘Form’ and experiencing no difficulty or contradiction. The ‘intention’ in the mind regulates the flow of Jing, qi and Shen as and when the situation requires – which requires the distance between the bones to be increased or decreased, etc. Of course, all this is approximate and a true measure of a ‘Frame’ is dependent upon a) the size of the body in question, and b) the development of inner and outer ‘awareness’ possessed by the practitioner. All types of Frame should be explored and eventually ‘mastered’! ​

The external method of withdrawing blood flow away from the surface of the body involves either bathing in very cold water – or rubbing ice all over the body. The cold closes the capillaries and diverts blood flow away from the surface skin area as if the outside environment were very cold and the body had to defend itself against the possibility of ‘freezing’. Blood flow (as ‘heat’) is diverted away from the surface area and into the inner organs to keep the much more important inner organs functionally healthily. For fighting that could risk the possibility of the surface body becoming bruised or cut – with drawing the blood supply away from the surface skin is an important attribute. Within the Ch’an Dao Style we do not make use of the this ‘external’ version of closing the surface capillaries using ‘ice’ or ‘cold water’, indeed, we do not any external substance. We practice a Hakka Gongfu (internal) meditational method which ‘withdraws’ blood supply from the capillaries as a matter of cultivated ‘will-power’. Just as the mind conceives the requirement for the outer blood flow to be diverted toward the inner organs – the body makes the adjustments. As sparring of this kind traditionally occurs between 10 am-12 pm – the Hakka Gongfu practitioner often finds the blood flow habitually ‘withdrawing’ in the morning so that, for instance, it would be difficult for a doctor or a nurse to take a sample of the blood from the arms or hands – as the capillaries are ‘closed’ at the surface where the needle penetrates. Blood flow returns to the surface of the skin as the body heads into the afternoon – unless a sparring match or honour match is set to happen. This prevents extensive bruising and cuts that might lose a lot of blood. Following the meditation usually means that the capillaries will close regularly every morning and open in the afternoon. Very advanced Masters of the Hakka Gongfu martial arts have been said to stop the extensive bleeding often associated with terrible wounds such as having hands or feet partly or fully chopped-off! Although unconscious this ability has saved their lives.  ​

The ‘external’ component represented by the numerous ‘gongfu’ styles extant in China – perfects the ‘leverage’ of the joints on the horizontal plane. As this is generated by contracting muscles (which operate through the ‘awareness’ of the positioning of the bones and joints in relation to one another), very high levels of physical fitness and psychological conditioning must be pursued and mastered. This also involves the understanding of ‘torque’ or ‘deliberately’ employed muscular tensions to generate and increase impact. Bodyweight is also used across the horizontal plane – joint, bone, muscle bodyweight and psychological focus build ‘external’ power and erupt this force into a relatively small area of contact through the contacting limb and/or body-part. This type of power is quite often ‘shocking’ to encounter and difficult to recover from once a clean blow has been landed to a vulnerable part of the body. This skill can take five, ten or more years to perfect through traditional Chinese martial arts training (which builds a practitioner’s mind and body from the ground upwards – like the construction of a Book of Change hexagram). The most efficient martial arts style that I have seen that can convey this ability to a new student (with little prior experience) in the modern world – is that of the Shukokai Karate-Do style as formulated by O-Sensei Shigeru Kimura (1941-1995).  ​

Integrated or ‘mixed’ power is a rarefied and highly refined skill of the highest martial order! A Master of ‘integrated’ power possesses the ability to continuously switch between power-generating systems (as in ‘external’ or ‘internal’), or apply only an ‘integrated’ approach. Furthermore, within the few seconds of a complicated fight – a fighter might have to switch rapidly from one power-expression to another because this is exactly what the situation calls for. The opponent could be highly skilled and a diverse approach necessary to ‘unlock’ their defensive patterns. Being ‘trapped’ in a restricted space might prevent certain techniques (and types of power generation) from being deployed – so the most appropriate mode should be selected. Where horizontal space is missing in the environment – then ‘vertical’ power can and should be used (with the orientation of power-generation adjusted to meet circumstances). Of course, the ‘iron vest’ ability to use the ‘aligned’ bones to absorb, reject or deflect any incoming attack is always in operation with the intention of ‘damaging’ the opponent’s attacking limb through using its own power and ‘deflecting’ it back into the structures of the attacking limb. This coincides with the maintaining of the perfect ‘rooted’ footwork. ​

External Power = 外功 (Wai Gong) 

Internal Power = 內功 (Nei Gong) 
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Integrated Power = 雜功 (Za Gong) ​

The ‘neigong’ (or ‘neidan’) component is a vast subject that is very complex and directly linked to Daoist practice. This requires a qualified Master to lead the way. However, I have relayed above the basic requirements for ‘power production’ in our Hakka Family Style of Traditional Chinese Martial Arts. ​