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| Sink the chest, raise the back The shoulders should be naturally rounded. This will also allow the chest to be naturally slightly hollowed, which allows the Ch�i to sink to the tan-tien. If there is strength and expanding of the chest you will become top heavy. To raise the back has two meanings; the first is a little esoteric, meaning the Ch�i sticks to the back and one is able to use this Ch�i to issue great power. (If the chest is sunk then the back will naturally rise � this does not have to be thought about, it just happens). The second meaning comes from the practice of Push Hands when a certain technique is used and the scapula is raised to stop the technique having its full effect � this is a purely physical meaning. All the raise back techniques will come with practice. Unity of upper and lower This means that the upper body must not issue strength before or after the lower body. The whole body must come to the point of contact at exactly the same time otherwise our energy will be scattered and useless. The essence of unity is timing � this can only be gained from experience. This is the meaning of "the power is rooted in the feet, controlled by the waist and expressed in the fingers". Unity of internal and external The breath is internal but has an external physical property. We are able to use this principle to gain complete harmony internally as well as externally. If we cause our breath to be in harmony with the movements, the Yang breath with the Yang movement etc.., then this is one internal property harmonising with an external property. When the outer breath mixes with the inner breath, Ch�i, then a fully external property is harmonising with a fully internal property; so our internal is now said to be in harmony with the external. In order for this to happen we must of course practice using the right breath for the right movement. No interruptions This means that all the movements must be circular even if they look straight. Even when we use fa-jing movements as in the Chen style or the old Yang style, the attack must be circular, never straight out with a stop at the end then back. With circular movements we are said to be moving like a river. Stillness in movement In t�ai chi we try to use less energy rather than great shows of strength which waste the Ch�i. Even when we are moving the mind is still and to this end we must perform the slower movements as slowly as possible. The fa-jing postures of the old Yang and Chen styles should not break this rule; the movements are done with such speed and explosive power that it seems as if they haven�t been done at all and haven�t used up any energy. The fa-jing movement should only be there for a split second and then it relaxes straight back into the very slow and soft movements. Only in this way when we come to practice the pauchui form are we able to remain quiet and still within when performing the fast movements. Times for practice The traditional times to practice t�ai chi were at noon and mid-night but we now use the early morning and late evening, before retiring to bed. The form is practiced three times at each session � the first time for the bones and muscles, the second time for the mind, and the third time for the spirit. |
| General Principles pg. 2 |
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