Develop three essential body’s spring-like qualities – By Jesse Tsao (edited by Dr. Andrew Fitz-Gibbon)
These three core Tai Chi principles should be applied in any posture and any styles:
Compressibility
Compressibility describes the body’s ability to condense energy inward, much like compressing a spring, before releasing it outward. This principle involves the absorption and redirection of external forces, transforming an opponent’s energy into a controlled and effective response. In Tai Chi, compressibility is evident in movements where the body “sinks” or draws inward to generate power and maintain balance. It also conveys the idea of storing potential energy while remaining calm and centered, ready to expand when needed.
Twistability
Twistability highlights the rotational and spiraling movements central to Tai Chi. This principle emphasizes the body’s ability to coil and uncoil, creating internal torque that generates power and flow. Through twisting, energy is cultivated and distributed efficiently, often involving the waist, spine, and limbs working in harmony. Twistability also reflects the flexibility of mind and body, ensuring that movements are not linear or rigid but instead circular, continuous, and adaptable to changing circumstances.
Elasticity
Elasticity represents the ability to store and release energy with ease, much like a spring. In Tai Chi, this principle is about maintaining a supple and responsive body, capable of absorbing incoming force and rebounding it outward without stiffness or rigidity. Elasticity is not just physical—it is also mental and energetic, allowing for adaptability and smooth transitions between movements. It embodies the dynamic quality of yielding while remaining ready to return energy in a controlled, powerful way.
Tai Chi’s Dantian motion and “song” – Answer to a student’s question
“I have one question concerning the role of the lower dantian in tai chi. Forgive me if I don’t use all the terms correctly as this is all quite new to me. I read recently that the driving force that puts qi in motion in tai chi is not dan tian (as it is in qi gong) but the song/sung (the release). It begins with the foot touching the ground. If the release is correct, it moves the qi. And if the qi movement is strong enough, it moves the physical structures of the body. From my recent experience with internal practice, the release works exactly as described. However, in chen style, we emphasize the lower dan tian a lot and it is quite confusing for me. What is the role of the dantian in taichi then?”
Your question highlights an important distinction between the role of the lower dantian and the concept of “song” in Tai Chi. Both the dantian and song are crucial to Tai Chi practice, but they serve different purposes and work together in harmony.
In Traditional Chinese Medicine (TCM), the lower dantian (located about three finger widths below the navel) is considered the primary storage center and source of qi (energy). Chen style Tai Chi dantian concept actually is the area of the lower abdomen surrounding the dantian point, where the pelvis bowl is supported by hips, a much bigger area, not limited to a needling point as in TCM. I think this is where your confusion came from. While qi might be stored and cultivated in the dantian, it doesn’t move on its own. This is where “song” or release comes in.
“Song” refers to the relaxation and loosening up of the body, allowing energy to flow freely without tension. It begins with a sinking from the hip where your body “releases,” the energy stored in the dantian descending to feet and creating a rebond from the ground, then the energy can ascend and circulate throughout the body, helping move your physical structure. The proper release of tension in the hips, legs, feet, and torso allows qi to travel upward from the ground, passing through the body in a spiral or circular manner. That is why in Tai Chi Classics it is said: Internal strength (jin) starts from the feet, goes up the leg and back, then reaches to the arm and hands. These dynamic and coordinated movements are central to Tai Chi. The dantian remains essential for centering and maintaining internal strength, while the song and release let that strength flow outward to move your body.
How can I prevent knee pain during Tai Chi training?
Proper knee alignment: Always keep your knee positioned roughly above the center of your foot of your weighted leg to avoid overextending it forward or backward. Most knee pain in Tai Chi comes from pushing the front knee past the toes in a bow stance which causes strain on your front knee. Maintain a natural range of motion, avoiding excessive bending or stretching that could strain the joint.
Knee pain during Tai Chi can often be traced to improper alignment or chronic knee conditions. Tai Chi involves a lot of weight shifting and hip turning, and if your knee isn’t properly aligned, you risk injury. The knee joint is designed to handle vertical pressure well but is vulnerable to lateral and twisting forces, even in small amounts. Chronic knee issues, such as osteoarthritis, are common in adults and can lead to pain during practice. Research shows that Tai Chi can improve blood circulation and may alleviate knee pain and stiffness by promoting better energy flow, but improper technique can aggravate existing conditions. Here are some key tips to prevent knee pain:
Using your hips as a tool to protect your knees is a very important concept in any tai chi styles, Chen, Yang, Wu, Sun. Before shifting weight or stepping, sink your hips to lower your center of gravity. This helps direct weight through the heel of your foot rather than placing pressure on the knee. Relaxing the hip when forming a bow stance allows the weight to settle at the heel, relieving pressure from the front knee and preventing torquing or twisting, which can lead to injury in both the knees and ankles.
Align toes and knees: Ensure that your toes point in the same direction as your knee bends. Twisting the knee inward or outward creates torsion, which can stress the joint and lead to injury.
Warm-up properly: Spend 5-10 minutes warming up to increase blood flow to your muscles, especially around the knees. This reduces the risk of injury by preparing your body for movement and ensuring that the muscles around your knee joint are warm and flexible.
Avoid sports competition-style Tai Chi: Practicing Tai Chi in an overly athletic, sports-oriented way can lead to excessive stretching and unnatural stances. This method, which is often focused on performance, can overwork your knees and increase the risk of injury. Instead, focus on maintaining a natural, relaxed posture, with minimal stress on the knees for health and longevity in your practice.
Core Strength and Chen Style Tai Chi’s silk reeling energy
Yes, Chen style Tai Chi places significant emphasis on spiral and coiling silk reeling movements (螺旋纏絲), as a fundamental aspect of its practice. These spiral movements are not just external forms; they involve internal energy and the coiling and uncoiling of muscles, tendons, and connective tissues. This unique method indeed strengthens the core in a special way.
Here’s how the spiral and coiling moves in Chen style Tai Chi strengthen the core:
Internal Power (Nei Jin 内劲) Development: The coiling movements help to generate internal power by focusing on controlled, connected motion from the dantian (lower abdomen) outward. As you coil, uncoil, and engage the whole body, particularly the waist and abdomen, it promotes stronger core stability.
Engagement of Deep Core Muscles: Spiral movements activate the deep stabilizing muscles around the spine, waist, and hips. Continuous coiling strengthens the obliques (斜肌), lower back, and transverse abdominis, which are essential for maintaining posture and balance.
Full-Body Integration: In Chen style Tai Chi, the spiraling energy from silk reeling connects the upper and lower body through the core. The spiraling movements demand a smooth transition of energy, which requires the core to act as a conduit (渠道) between the legs and arms.
Flexibility and Elasticity: The coiling and uncoiling of the body in different directions improve the flexibility and elasticity of the core muscles, helping to increase range of motion and coordination.
The spiraling movements in Chen style Tai Chi not only emphasize physical strength but also train practitioners in the art of “song” (relaxation). This practice encourages the use of dynamic strength through relaxation and expansion rather than excessive tension. By allowing the body to release, the practitioner can generate powerful force with minimal strain. This relaxed state fosters improved balance and rooting, which originates from the core, stabilizing the entire body. In turn, strong rooting enhances core strength, creating a harmonious cycle where the core and rooting reinforce each other for maximum stability and power.
In summary, the spiral and coiling movements in Chen style Tai Chi are integral to building core strength, flexibility, and overall internal power. It’s a unique method that enhances both the physical and energetic aspects of the body.
Is there a specific form of Tai Chi designed just for improving balance?
Is there a specific form of Tai Chi designed just for improving balance? Do you need to learn this form to see results? The answer is: don’t be misled by commercial marketing. Any authentic Tai Chi form, routine, or even a single posture can enhance your balance. The key isn’t which form you practice, but how you practice Tai Chi.
A recent Harvard Medical School Newsletter (September 24, 2024) highlighted the importance of balance, stating: “It’s no secret that as we get into our 60s, 70s, 80s, and beyond, we may not be as steady on our feet as we used to be. We all occasionally feel a little shaky just walking, standing still, or going up and down stairs. But the truth is that these shaky moments can lead to a downward spiral of inactivity and an increased risk of incapacitating falls — the leading cause of injuries in people over 65 years of age.”
To improve your balance through Tai Chi, it’s essential to focus on how you train. Here are some key formulas you can apply to any Tai Chi form or practice to enhance balance:
- Loosen Up Body Weight: Sink your hips to root your feet to the ground. Feel that strong connection to the earth beneath you. Keep your torso upright and well-aligned, releasing tension from the body. This relaxed stance helps train your static balance, ensuring you remain stable and centered without swaying. Any tai chi form starts with this relaxed stance.
- Train Dynamic Balance: Shift your weight between your feet smoothly. Over time, aim to hold the majority of your body weight on one foot without wobbling. Eventually, you’ll be able to stand on one foot with ease—like in the “Golden Rooster Stance.” This type of practice builds foot sensitivity, helping you stay grounded during movements.
- Build Leg Strength: A stronger leg muscle is the prerequisite for good balance. Practice slow, deliberate walking in your Tai Chi movements. The slower, the better. As you lift one foot ready to step forward, lower the hip of your non-stepping leg toward your heel. This strengthens the thigh and calf muscles, which are essential for maintaining balance.
- Enhance Leg Flexibility and Elasticity: In any Tai Chi stance, focus on stretching both legs in opposite directions. When one leg bends forward, the other leg should extend backward, creating a sense of ward-off energy in the legs. This not only builds resilience and flexibility but also improves balance.
By integrating these techniques into your Tai Chi practice, you can significantly improve your balance, regardless of which form or routine you follow.
Train Your Spiral Energy for Push Hands

When practicing push hands, avoid using straight or linear force to try to push your opponent. Doing so will quickly tire you out, and this type of direct, poking strike will only frustrate your opponent without producing effective results. Using straight force is like trying to poke with a bamboo stick—if you miss, you have to pull back and reset. While you’re resetting, you leave yourself open to being pushed. Additionally, if you push too hard and miss, you’ll throw yourself off balance. Many beginners in push hands instinctively use this kind of straight force, simply placing their hands on their opponent and pushing directly. However, this approach is ineffective.
Think of driving a screw into wood: it’s far easier to do so with a screwdriver’s spiral motion than by pushing the screw directly into the wood with your hand. This analogy applies perfectly to push hands.
You can train spiral strength through Tai Chi forms by incorporating the concept of silk reeling into your practice. The figure-8 energy loop—performed at the lower level between your feet and the middle level at your hips—serves as the driving force behind your arms’ spiral power. Imagine this lower-body energy spiraling up through the ming-men (命門), the life gate located at your lower back, which acts as an energy hub regulating internal strength. While your outward movements remain relaxed and circular, your internal qi is actively consolidating, flowing along a spiraling path to strengthen and harmonize your body from within.
Spiral strength expands and contracts like a coiled spring. Unlike straight force, it never extends into a rigid line, giving it the unique advantage of being able to retract smoothly without getting stuck. This allows you to maintain balance and flexibility in your push hands practice, enabling you to apply force or withdraw effortlessly.
Exploring Leg Functions in Tai Chi: Stability and Power
In Tai Chi practice, your two legs serve distinct and complementary functions. While in Wu style Tai Chi the feet are relatively parallel and the weight is more evenly distributed in the horse stance, each leg still plays a unique role. For instance, in the posture Single Whip, the left leg is referred to as the “tree trunk leg” because your intent is focused on your left palm—the primary palm—while the right leg acts as the “post” or “supporting leg” (左桩右柱).
The tree trunk leg is responsible for grounding and stabilizing your body with a deeply rooted foot. It’s considered the yin (settled) leg, representing the stability and foundation you need. On the other hand, the post leg provides the power behind your movement, especially when delivering a strike with the left palm. This leg is considered the yang (active) leg, driving the dynamic flow and strength of the movement.
This differentiation between yin and yang in the legs is what the Tai Chi Classics refer to when they emphasize the need to distinguish between these two energies in every posture. The tree trunk leg supplies the foundation, allowing the post leg to facilitate both physical movement and internal energy flow. The tree trunk leg focuses on descending energy, sinking into the earth for grounding, while the post leg emphasizes ascending energy, pushing against the ground to propel the action. Together, these energies harmonize, maintaining a dynamic balance that allows for fluid yet powerful movement.
It’s important to understand that the legs must maintain this yin-yang harmony to move the body effectively and efficiently. The arms also follow this principle, where the interplay of yin and yang enables both defensive and offensive maneuvers.
This concept applies to other stances as well. In Yang style Tai Chi’s bow stance during Single Whip, the left leg, bent at the knee, acts as the tree trunk leg, deeply rooted for stability, while the right leg, which is stretched out, serves as the post leg, driving power to the left palm.
To summarize, the “tree trunk” leg focuses on creating a deep root beneath the earth’s surface, channeling descending energy. Like an anchor on a ship, it stabilizes you and absorbs the force of an opponent’s push or attack so that you aren’t knocked over. However, since this leg is rooted, it isn’t used to generate offensive power. That is the role of the “post leg”, which pushes against the ground with ascending energy, driving the force needed for strikes or movements.
Both legs hold strength, but they serve different purposes, working together in a yin-yang balance to create fluid, powerful movement in Tai Chi.
Is it true that Yang style Tai Chi uses bow stances and not horse stances?
This statement is inaccurate. While Yang style Tai Chi prominently features the bow stance, it also utilizes the horse stance (horseback-riding stance) as a crucial transitional posture. In fact, the horse stance, or ma bu (馬步), is foundational across all Tai Chi styles. It serves as a key position for smooth transitions between movements, allowing practitioners to shift their weight and maintain fluidity throughout the routine.
In Yang style, the horse stance often appears in a higher position or a partially side-weighted form as a means to move gracefully between poses. Its importance lies in its ability to promote sinking and stabilizing the hips, keeping the pelvis level. This alignment is essential for maintaining balance and a strong, rooted foundation. Mastering the horse stance also requires training the body to prevent the pelvis from tilting left or right, which is fundamental to good posture and balance in Tai Chi.
Although Yang style Tai Chi may emphasize a more upright posture, the horse stance remains integral to practice, as all stances transition through it. Practitioners must be aware of its role, even if it’s less pronounced compared to other styles like Chen.
There are variations in the use of the horse stance, such as the higher-positioned stance (高馬步, gao ma bu) and the lower-positioned stance (低馬步, di ma bu). In Yang style, the higher horse stance is used primarily during turns, directional changes, and weight shifts, as it aids in maintaining balance and fluid movement by keeping the pelvis stable. On the other hand, the lower horse stance is more commonly seen in Chen style Tai Chi, which uses it to build leg strength and endurance for martial arts applications.
Thus, while the lower horse stance is more associated with Chen style, Yang style Tai Chi still employs the horse stance in its higher form, emphasizing balance, stability, and smooth transitions.
You received your doctorate from Shanghai University of Sports. Can you tell us what is your specialty?
Yes, my doctorate focused on traditional Chinese sports for health and martial arts, with a major in the Wushu Department of Shanghai University of Sport. Given my extensive experience in Tai Chi, I centered my research on the idea of using Tai Chi for health enhancement throughout the four seasons, drawing a parallel to the different stages of life. Just as the seasons change, so do our bodies as we age. For example, the way young children practice Tai Chi should differ from how older adults practice it. The same routine practiced in the spring time should be different from the cold winter season. This insight allows for a more tailored approach to teaching and practicing Tai Chi at various life stages.
My research was deeply rooted in classical Chinese texts, especially the Huangdi Neijing (The Yellow Emperor’s Inner Canon), as well as Qigong principles, which I integrated into the inner practice of Tai Chi. My PhD advisor, Professor Yu Dinghai, is the only person in China to hold a 9th-degree black belt in both Wushu and Qigong, so under his guidance, I gained profound knowledge of Qigong. This dual understanding made my research quite unique, as it enabled me to interpret Tai Chi movements through the lens of Qigong, emphasizing not just the physical aspects but also the cultivation of inner energy. This deeper integration of Qigong into Tai Chi practice has become a hallmark of my teaching and approach to health.
How to Make Your Feet Act as Servants to the Will of Your Body in Tai Chi?
Pre-Setting Foot Direction for Hip (Kua) Opening:
When your torso turns more than forty-five degrees, your foot should pre-set its direction in anticipation of the movement. By doing so, you prevent unnecessary strain on your knees and facilitate a smoother, more coordinated rotation of the torso. After completing the torso’s movement, you might need to adjust the position of the opposite foot. This helps balance both hips, allowing them to harmonize and move fluidly without tension or restriction.
Do I pivot on my heel or ball to adjust my foot direction?
To adjust the direction that the foot is pointing during tai chi practice, some teachers prefer to pivot on the heel of the foot and some teachers prefer to pivot on the ball of the foot. What is the correct method? This is a long-standing question that confuses many practitioners and even teachers. The answer depends on whether you need to reduce or increase the distance between your feet, and whether you want to withdraw energy or to discharge power. The intention, yi in your mind will make a difference.
In Yang style tai chi, practitioners from Cheng Man Ching’s 郑曼青 system are used to pivoting on the heel and turning the toes inward to finish the postures of Single Whip or Brush Knee, but practitioners from Dong Yingjie’s lineage 董英杰 are used to pivoting on the ball of the foot and turning the heel outward to finish those postures. These masters learned from the same Yang family tradition, so why did they practice differently? The answer is that their intentions were different. Cheng Man Ching’s intention was in cultivating inner energy during practice, his movements were light with the focus on gathering in energy, and almost no stretching or discharging power was intended. In Single Whip, his left foot stepped out much wider toward the left side, so he needed to turn the toes of his right foot inward to reduce the width between his feet. The same is also true for the wider steps in his Brush Knee posture where he had to adjust his back foot by pivoting on heel to rotate the toes inward. Dong Yingjie’s positions were filled with martial spirit, and positions containing both a sense of stretch and expanding strength. He powered his martial applications and increased the distance between his feet by twisting his heel backwards. Dong’s left foot stepped out into a more narrow stance in Single Whip in order to execute a sharp strike with his left palm. Therefore, Dong used the ball of the right foot as a pivot point to push the heel outward to increase the base of his stance. Dong’s background was in kung fu before he started tai chi.
In summary, you have two options if pivot on your heel: 1) turning the toes inward will close that kua and reduce the distance between your feet to facilitate withdrawing the leg with less weight on it, will assist you when you want to turn the torso to the other side, and also serves the purpose to return energy back to your center or hui-jin 回勁 in Chinese; 2) turning the toes outward will open that kua and lead the torso for a larger turn with spiraling strength, and expand the distance between the feet to create a twisting stretch. Turning your toes outward will also ensure your knee is not being sprained as your torso twists.
You will also have two options if you pivot on the ball of your foot: 1) turning the heel inward will open that kua to reduce the distance between the feet allowing the other kua to close in and allow you to rotate your torso toward the direction of the open kua side with greater ease; 2) turning the heel outward will close that kua and increase the distance between your feet for a wider base and stretch that leg as well as to facilitate the discharge of power 發勁 for martial application”
Tai Chi Classics – Translated by Dr. Jesse Tsao
The Theory of Tai Chi (by Zhang San-feng)
The Theory of Tai Chi is probably the most important work in the collection known as the Tai Chi Classics, It is attributed to Zhang San-feng and contains many of the most quoted sections. Zhang San-feng was a 12th Century Taoist monk who is often named as the creator of tai chi. It is said that he witnessed a fight between a snake and a crane at the Purple Summit Temple on Wudang Mountain and this inspired him to create tai chi chuan. His writings have been passed down through the centuries and key sections are translated below.
In any action, all parts of your whole body should move lightly and agilely.
They should be functionally and sequentially linked throughout the body.
You should feel that all of your body’s joints are connected with full linkage.
Qi should be active and your spirit of vitality (shen) should be concentrated inwards.
Do not show any deficiency, neither concavity nor convexity in movement.
Do not show disconnected movement.
The jin is rooted in the feet, bursts out in the legs, and is controlled by the waist, and exhibits in the fingers of the hand.
From the feet to the legs, and legs to the waist; all should move as a unit to get their functional integrity.
By moving as a unit, you can advance or retreat with precise timing to catch the optimum moment and advantageous position.
If precise timing and good position are not achieved and the body does not move as a unit, then the cause of this fault must be sought from your waist and legs; they may not be strong or flexible enough.
This fault often shows when you are moving up or down, backwards or forwards.
Where there is something up, there must be something down.
Where there is something in front, there must be something behind.
Where there is something left, there must be something right.
If you intend to move up, you must simultaneously show a contrary tendency below and loosen your opponent’s roots, so that he can be easily pushed off. Like pulling a tree out of the earth, it will be much easier if the root has been shaken and loosened first.
One must distinguish substantiality from insubstantiality.
Where there is substantiality, there must be insubstantiality.
In all ways, one has to distinguish one from the other.
The whole body should be linked together through every joint; do not show any interruptions.
Long Boxing is like the flow of water in the Long River running without end. The thirteen kinetic movements are: peng (warding), lu (diverting), ji (pressing), an (pushing), cai (plucking), lie (splitting), zhou (elbowing) and kao (body bumping) which are connected with the eight trigrams, and jin (stepping forward), tui (stepping backward), gu (look to the left), pan (look to the right), and ding (central equilibrium) which coincide with the five elements. Peng, lu, ji, an are called the four straight directions toward the south, west, east and north respectively. Cai, lie, zhou, kao are the four diagonal directions toward the four corners of northwest, southeast, northeast and southwest respectively. Jin, tui, gu, pan, ding are associated with metal, wood, water, fire and earth respectively. All these together construct the Thirteen Posture Long Boxing.
(Original note: This is the work of Zhang San-feng of Wu-Dang Mountain, who wanted the “heroes” in the world to prolong their life and not solely for martial arts).
| 拳論 張三豐一舉動中周身俱要輕靈,尤須貫串,氣宜鼓蕩、神宜內斂,無使有缺陷處、無使有凸凹處、無使有斷續處,其根在腳,發於腿、主宰於腰、形於手指,由腳而腿而腰。總須完整一氣,向前退後乃能得機得勢,有不得機得勢處,身便散亂其病必於腰腿求之,上下前後皆然。凡此皆是。意不在外面,有上即有下,有前則有後,有左則有右,如意要向上即寓下意,若將物掀起即加以挫之之意;斯其根自斷。乃壞之速,而無疑。虛實宜分清楚,一處有一處虛實。周身節節貫串,無令絲毫間斷耳。長拳者,如長江大海滔滔不絕也。掤、捋、擠、按、采、挒、肘、靠,此八卦也。進步、退步、左顧、右盼、中定,此五行也,『掤捋擠按』,即乾坤坎離四正方也。『采挒肘靠』,即巽震兌艮四斜角也。『進退顧盼定』,即金木水火土也。合之則爲『十三勢』也。【原注雲:此系武當山張三豐祖師遺論欲天下豪傑延年益壽不徒作技藝之末也】【太極拳由張三豐所創說法,始於武禹讓】 |
Tai Chi Quan Lun (by Wang Zhong-yue)
Wang Zong-yue is well respected as the author of the handwritten Tai Chi Quan Lun which was discovered in 1852. Although his identity is not fully established, some scholars believe he was a fifth-generation disciple of Zhang San-feng.
Tai Chi comes from infinity (wuji); from it spring yin and yang.
In movement the two act independently; in stillness they fuse into one.
There should be no excess and no insufficiency.
You yield at your opponent’s slightest pressure and adhere to him at his slightest retreat.
To overcome the strong and hard by the gentle and the soft is termed yield.
To remain in the most advantageous position and let one’s opponent be at a disadvantage is called adherence.
Respond quickly to fast actions and respond slowly to slow actions.
Although the changes are numerous, the principle remains the same.
Diligent practice brings the skill of understanding the jin (energy strength).
Continuous practice will eventually lead you to the ultimate goal of a godlike stage in completing mastery of an opponent without recourse to detecting his energy.
This, however, requires arduous practice.
The spirit of vitality reaches to the top of the head and the qi sinks to the navel.
The body is held erect without leaning in any direction.
Your opponent should not be able to detect your change from substantial to insubstantial or vice versa, because of your quick sensitivity in affecting this change.
When your opponent brings pressure on your left side, that side should be empty.
The same holds for the right side.
When he pushes upward or downward against you, he feels as if he is encountering nothingness.
When he advances against you, he feels the distance increasing drastically; when he retreats, he feels it exasperatingly short.
Your entire body is so light that a feather will be felt and so pliable that a fly cannot rest on it without setting it in motion.
Your opponent cannot detect your moves and intentions but you can anticipate his.
If you can master all these principles you will become a peerless fighter.
In martial arts there are myriad schools.
Although they differ in form and scale, they can never go beyond reliance on the strong defeating those who are weaker or the swift conquering those who are slower.
Yet these are the result of physical endowments and not practical application and experience.
The strong and the quick, however, cannot explain and have no part in the deflection of a thousand pounds of momentum with a trigger force of four ounces or of an old man triumphinging over a great number of men.
Stand like a poised scale and move actively like a cart wheel.
With your center of gravity displaced to one side, you can be fluid.
If you are weighted on two points, you become stagnant and will be pushed over easily.
Many persons who have studied tai chi for a number of years have not developed properly and continue to be subdued by others because they have not realized the error in double weightedness.
To avoid this fault, you must understand the relationship between yin and yang. Coordinate your stickiness with yielding. Yin cannot be separated from yang nor can yang be separated from yin.
When yin and yang complement each other, one will interpret the tenacious energy, or understand the jin, correctly.
Once you understand the jin, the more you practice, the more your skill will be.
After this, by practicing vigorously, studying and remembering, one can reach the stage of total reliance on the mind.
Forget yourself and yield to others.
Above all, learn these techniques gradually and correctly, the slightest divergence will take you far off the path.
| 太極拳論 王宗嶽太極者,無極而生,動靜之機,陰陽之母也。動之則分,靜之則合。無過不及,隨曲就伸。人剛我柔謂之走,我順人背謂之粘。動急則急應,動緩則緩隨。雖變化萬端,而理爲一貫。由招熟而漸悟懂勁,由懂勁而階及神明。然非用力日久,不能豁然貫通焉。虛靈頂勁,氣沉丹田。不偏不倚,忽隱忽現。左重則左虛,右重則右杳。仰之則彌高,俯之則彌深,進之則愈長,退之則愈促。一羽不能加,蠅蟲不能落,人不知我,我獨知人。英雄所向無敵,蓋皆由此而及也。斯技旁門甚多,雖勢有區別,概不外,壯欺弱,慢讓快耳。有力打無力,手慢讓手快,是皆先天自然之能,非關學力而有爲也。察四兩撥千斤之句,顯非力勝;觀耄耋禦衆之形,快何能爲。立如秤准,活如車輪,偏沈則隨,雙重則滯。每見數年純功,不能運化者,率皆自爲人制,雙重之病未悟而。欲避此病,須知陰陽;粘即是走,走即是粘,陽不離陰,陰不離陽;陰陽相濟,方爲懂勁。懂勁後,愈練愈精,默識揣摩,漸至從心所欲。本是舍己從人,多誤捨近求遠。所謂差之毫釐,謬之千里。學者不可不詳辨焉。是爲論。 |
The Song of Push-Hands (by Wang Zhong-yue)
The Song of Push Hands is written in the form of a traditional poem. It is one of the earliest documented writings on tai chi and it describes basic push hands principles and skills.
In ward-off, rollback diverting, press and push (peng, lu, ji, and an), have purpose with every action and always perform with significant caution.
With all parts of your body coordinated, there will be no opening to let your opponent attack you.
If your opponent uses force strike against you,
You can use four ounces to defeat a thousand pounds of force by diverting the oncoming force into emptiness.
Entice your opponent in and divert him to lose his balance while you assert your jin at the same time.
Sticking, adhering and following; do not lose contact and do not resist your opponent.
| 打手歌 王宗嶽掤捋擠按須認真。上下相隨人難進。任他巨力來打吾。牽動四兩撥千斤。引進落空合即出。沾連粘隨不丟頂。 |
Chant of the Thirteen Kinetic Movements (by Wang Zhong-yue)
Never neglect any of the thirteen kinetic movements.
The waist is the source of your postures’ senses and perception.
Be attentive to the slightest change from full to empty or insubstantial to substantial.
Let the qi spread through your whole body constantly without hindrance.
Tranquility embodies motion, motion embodies tranquility.
Make your changes according to your opponent and let him wonder.
Study each posture carefully and with deliberation.
When done correctly all will appear effortless.
At all times pay attention to your waist.
Completely relax your abdomen and the qi will be activated rising up in full swing.
If your coccyx is centered and erect, your spirit will rise up to the top of your head.
Your pliable body should be light and agile, and the top of the head is suspended as if from a string above.
Carefully study the means of opening and closing; extension and contraction are done with effortlessness and freedom.
Fundamentals and guidance should be made through oral teaching,
while skill is gained through self-study and continuous practicing.
What is the main principle of tai chi ?
Your mind is the primary actor and your body’s bones and flesh are the secondary one.
What is the final purpose of tai chi?
It is rejuvenation and prolonging life beyond the normal span.
This poem consists of 140 characters,
Every word of this song has enormous value and importance.
You will waste away your time if you fail to follow this poem attentively.
| 十三勢行功歌訣十三總勢莫輕識,命意源頭在腰隙。變轉虛實須留意,氣遍身軀不稍癡。靜中觸動動猶靜,因敵變化是神奇。勢勢存心揆用意,得來不覺費功夫。刻刻留心在腰間,腹內鬆靜氣騰然。尾閭正中神貫頂,滿身輕利頂頭懸。仔細留心向推求,屈伸開合聽自由。入門引路須口授,功用無息法自休。若言體用何爲準,意氣君來骨肉臣。詳推用意終何在?益壽延年不老春。歌兮歌兮百四十,字字真切義無遺。若不向此推求去,枉費工夫遺歎息。 |
An Internal Explanation of the “Chant of the Thirteen Kinetic Movements” (by Wu Yu-xiang)
Wu Yu-xiang (1812–1880) was a tai chi teacher and government official active during the late Qing dynasty. Wu was a scholar from a wealthy and influential family who became a senior student of Yang Lu-chan. Wu also studied for a brief time with a teacher from the Chen family, Chen Qing-ping, to whom he was introduced by Yang. There is a relatively large body of writing attributed to Wu on the subject of tai chi theory, writings that are considered influential by many other schools not directly associated with his style.
Part I:
Use your mind to move the qi and direct the sinking, then your qi can gather in the bones. This is what is called “The waist is the source of your postures’ senses and perception.”
Your intent and qi should change actively and circle lively. This is what is called “Be attentive to the slightest change from full to empty or insubstantial to substantial.”
Your upright body is erect, peaceful and comfortable, able to support all around you; your qi is to be directed throughout your body as if a pearl traveling nine zigzagging paths, there is nowhere it does not reach. This is what is called “Let the qi spread through your whole body constantly without hindrance.”
When emitting your inner energy power you should be sunk, relaxed and quiet, in one direction only. This is what is called “Tranquility embodies motion; motion embodies tranquility.”
In moving back and forth you must add spiral turns, advancing and retreating you must have coiling changes. This is what is called “Make your changes according to your opponent and make him lost in wonder.”
In curves seek the straight, store up your qi then emit. This is what is called “Study each posture carefully and with deliberation, and pay attention to your waist at all times.”
Lift your consciousness, then you can be without worry about being slow or heavy in motion. This is what is called ”Completely relax your abdomen and the qi will be activated in full swing rising up.”
Relax your neck and prop up the head with jin, sink the qi to your abdomen, not slanting, not leaning. This is what is called “If your coccyx is centered and erect, your spirit will rise up to the top of your head. Your pliable body should be light and agile, and the top of the head is suspended as if from a string above.”
Moving your body using qi can make all movements smooth according to your mind. This is what is called “Opening and closing, extension and contraction are done with effortlessness and freedom”
The mind is the order, the qi the flag; the consciousness spirit is the commander and the body is the servant. This is what is called “Your mind is the primary actor and your body’s bones and flesh are the secondary one.”
Part II
Your body is moving, but your mind holds precisely to quietness. You must accumulate your qi while calming your spirit. Your mind is the command, qi is the flag, your spirit is the commander, and your body is the one taking the order. Always keep this in your mind, and you will gain greatly in your practice.
First you should understand tai chi in your mind, then your body, acts following your mind. When your body understands, your hands and feet movements will be automatically synchronized with your mind. This means your hands and feet in contact with your opponent can act naturally and quickly without needing time to think how to respond. Therefore, you can act smoothly in abandoning yourself to adapt to your opponent’s moves, not against him but to ride on his energy flow and divert him into emptiness. It is called using only four ounces to defeat a thousand pounds.
You must know that in moving, everything moves; when you are quiet everything is quiet. Inside movement there is quiet, and inside quiet there is movement. The resolute consciousness is inside of you, but the comfortable and relaxed body is your outward appearance. You must react to your opponent’s move, going along with him lively, do not force your opponent by your will. Do not value your physical breath, it has no strength. Cultivate your inner qi to accumulate the pure power. If your opponent does not move, you do not move; if he moves slightly, then you should be ahead of him.
Practice to know yourself before you can handle smoothly attacking at your will; for yourself to stick to others, you must know others through touching. This is the only practical method that you can deal with attacking neither too late nor too early.
You must be able to raise your spirit’s consciousness, then you don’t have to worry about being slow and heavy in motion; sticking with your opponent and following him with agility, you will see the ingeniousness of sending him into emptiness.
You should balance yin and yang in your movements back and forth, and coordinate your hips opening and closing while you are turning left or right, advancing or retreating. Remain alert and watch for an opportunity, always seek the moment to borrow strength from your opponent. You should integrate your whole body’s energy for the strike to make yourself invincible. You must keep your body upright without leaning and be able to defend yourself all around. You should be like a mountain when you are stable and quiet; you should be like a turbulent river when you are in motion. Step forward like you are approaching the edge of a deep pond, and mobilize your energy as if pulling silk threads from a cocoon. Reserving the potential jin is like drawing a bow; releasing it is like shooting an arrow. You should be ahead of your opponent.
Your qi is to be directed as if a pearl passing through a zigzag hole reaches any part of your body without hindrance, there is nowhere it does not reach. The mobilizing of qi is like your jin should be mobilized like steel refined a hundred times over, and there is nothing hard that it cannot destroy. Be like a hawk swooping down upon its prey, and your spirit should be like a cat catching a mouse. Seek the straightness in a curve; reserve jin before releasing it. To withdraw is also to attack and to attack is also to withdraw; they are joined seamlessly.
Extreme softness leads to extreme hardness. You should be able to stick to and follow your opponent, then you can be agile. Cultivate your qi in your practice and store your surplus energy. Then you are ready to handle a challenge at any moment.
Four Word Secret Formula (by Wu Yu-xiang)
Wu Yu-xiang (1812–1880) developed the “Four Secret Word Formula” to teach his students how to listen to another person in push hands and how to combine the internal energy with external movement to form a whole in tai chi practice. He was a scholar and student of Yang Lu-chan and later briefly of Chen qing-ping. He went on to create the Wu (Hao) tai chi style.
Spread: Cultivate your qi so you are able to spread your energy upon your opponent’s jin so he cannot move freely.
Cover: Use your energy to cover the point of his attack.
Confront: Use your energy to match his approach precisely.
Swallow: Use your energy to swallow and dissolve his power completely.
| 打手要言 武禹襄 解曰: 以心行气,务沉著,乃能收敛入骨,所谓”命意源头在腰隙”也。 意气须换得灵,乃有圆活之趣,所谓 “变虚实须留意”也。 立身中正安舒,支撑八面;行气如九曲珠,无微不至, 所谓”气遍身躯不稍痴”也。 发劲须沉著松静,专注一方,所谓”静中触动动犹静”也。 往复须有折叠,进退须有转换,所谓”因敌变化是神奇”也。 曲中求直,蓄而后发,所谓”势势存心揆用意,刻刻留心在腰间”也。 精神提得起,则无迟重之虞,所谓”腹内松静气腾然”也。 虚领顶劲,气沉丹田,不偏不倚,所谓”尾闾正中神贯顶,滿身轻利顶头悬”也。 以气运身,务顺遂,乃能便利从心,所谓”屈伸开合听自由”也。 心为令,气为旗,神为主帅,身为驱使,所谓”意气君来骨肉臣”也。解曰: 身雖動,心貴靜;氣須斂,神宜舒。心為令,氣為旗,神為主帥,身為驅使,刻刻留意,方有所得。先在心,後在身;在身則不知手之舞之,足之蹈之。所謂:“一氣呵成,捨已從人,引進落空,四兩拔千斤”也。 須知一動無有不動,一靜無有不靜,視動猶靜,視靜猶動;內固精神,外示安逸;須要從人,不要由己;從人則活,由己則滯。尚氣者無力,養氣者純剛;彼不動,己不動;彼微動,己先動。 以己依人,務要知己,乃能隨轉隨接;以己粘人,必須知人,乃能不後不先。精神能提得起,則無遲動之虞;粘依能跟得靈,方見落空之妙。 往覆須分陰陽,進退須有轉合;機由己發,力從人借;發勁須上下相隨,乃一往無敵;立身須中正不偏,能八面支撐;靜如山嶽,動若江河;邁步如臨淵,運動如抽絲,蓄勁如張弓,發勁如放箭。 行氣如九曲珠,無微不到;運勁如百煉鋼,何堅不摧?形如搏兔之鵠,神如捕鼠之貓,曲中求直,蓄而後發;收即是放,連而不斷。 極柔軟,然後能極堅剛;能粘依,然後能靈活;氣以直養而無害,勁以曲蓄而有餘;漸至物來順應,是亦知止能得矣。 四字秘诀 敷:敷者,运气于己身,敷布彼劲之上,使不得动也。 盖:盖者,以气盖彼来处也。 对:对者,以气对彼来处,认定准头而去也。 吞:吞者,以气全吞而入于化也。 |
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Develop three essential body’s spring-like qualities – By Jesse Tsao (edited by Dr. Andrew Fitz-Gibbon)
These three core Tai Chi principles should be applied in any posture and any styles:
Compressibility
Compressibility describes the body’s ability to condense energy inward, much like compressing a spring, before releasing it outward. This principle involves the absorption and redirection of external forces, transforming an opponent’s energy into a controlled and effective response. In Tai Chi, compressibility is evident in movements where the body “sinks” or draws inward to generate power and maintain balance. It also conveys the idea of storing potential energy while remaining calm and centered, ready to expand when needed.
Twistability
Twistability highlights the rotational and spiraling movements central to Tai Chi. This principle emphasizes the body’s ability to coil and uncoil, creating internal torque that generates power and flow. Through twisting, energy is cultivated and distributed efficiently, often involving the waist, spine, and limbs working in harmony. Twistability also reflects the flexibility of mind and body, ensuring that movements are not linear or rigid but instead circular, continuous, and adaptable to changing circumstances.
Elasticity
Elasticity represents the ability to store and release energy with ease, much like a spring. In Tai Chi, this principle is about maintaining a supple and responsive body, capable of absorbing incoming force and rebounding it outward without stiffness or rigidity. Elasticity is not just physical—it is also mental and energetic, allowing for adaptability and smooth transitions between movements. It embodies the dynamic quality of yielding while remaining ready to return energy in a controlled, powerful way.

que significa “busca el movimiento en la quietud y la quietud en el movimiento”
Cada uno en su interior lleva la semilla del otro. Como el Símbolo del Tai Chi. Todo depende de tu espíritu. De tu interior. Nos encontramos en un mundo dual, sin el cual nada puede existir.
Does SUN style Tai Chi follow the same principles? I’ve just started practicing SUN style and it seems to be very upright with short stances.
Todos los Estilos Tradicionales y Clasicos del Tai Chi se fundamentas en las mismas bases y reglas. Solo en la apariencia cambian. También, las formas tradicionales siguen el mismo esquema o patrón en los movimientos, con cambios ínfimos. El Gran Maestro Sun Lu Tang, es considerado el Maestro mas grande en las Artes Marciales internas, puesto que en su juventud domino las tres artes internas mas conocidas Xing Yi o Hsing I, Pa Kwa o Ba Gua y Tai Chi o Tai Ji. La Esencia de las Artes Marciales Internas, y las de las Escuelas, Familias o Estilos de Tai Chi son idénticas en su esencia.
thank you