Simplified shadow boxing 24 forms - 24��简�Ƥ��宱
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TAICHIICHUAN is a main division of the traditional chinese martial art called "Wushu". Many tales have been told about its origin, but it is commonly believed that it was first practiced in a Chen clan in Wen County, Henan Province, some 300 years ago in the late Ming and early Qing Dynasties. Among the representative figures who made outstanding contributions was Chen Wangting, a garrison commander. While previous boxing styles contained both gentle and vigorous movements, proceeding from the principles of "combining vigor and gentleness" and "subduing the hard with the soft". Theoretically, the new style was explained from the ancient philosophical view of Taichi, which holds that there are two aspects to everything- the positive and the negative.
Over the centuries, apart from the original Chen School, there have emerged a number of new schools of Taichichuan, such as Yang, Wu, and Sun, each with its own distinctive features. In the 1950's a simplified set of Taichi shadow boxing in 24 forms was devised on the basis of the most popular sequences of the Yang school. In the '70's an advanced set of 48 forms was evolved. These two sets have enjoyed immense popularity across the country. Millions do Taichichuan exercises first thing in the morning and many hospitals and sanatoriums have adopted Taichichuan in their regimes as an effective means of curing chronic diseases.
LESSONS OF THE FORM -extracts from ZHONG DINE TAI CHI CHUAN by Nigel C Sutto
Whatever their different styles or attitudes towards the art of majority if teachers of tai chi chuan are united in their insistence on the importance of forms practice. In the case of the Yang style it is usually referred to as THE FORM, despite the existence of the A and B san shou fast forms.
It is often said of the solo form that it contains all the secrets of the art and serves as an encyclopedic reference work crammed with the wisdom of the masters. Indeed one of the unique thing about the art of tai chi chuan irrespective of style, is the small number of forms in the system.
The CHEN style consists of two major solo forms; the YANG style of one slow form and two solo halves of the prearranged sparring form, in its empty-hand training curriculum; the old WU style, sometimes referred to as the HAO or HE style consisted of one major slow empty-hand form, which is practiced in a number of different ways according to the required training emphasis; the new WU style consists of one slow and one fast hand form; and finally the SUN style consists of one empty hand form. All of the above-mentioned are the long versions of the form and not the shortened derivatives.
It is no wonder then that the tai chi chuan practitioner stresses the importance of the slow, solo form as in some cases this may make up fifty percent of the training curriculum. What then are the lessons of the form?
Firstly, in the YANG style, the slow form serves as a focus of study, teaching the applications both in terms of techniques and the principles of which they are based; secondly it teaches the tactics to be used by a student of the art; thirdly through studying the form the student learns the body mechanics of the art, and most importantly tai chi chuan 's unique form of relaxation. Together with this the fourth lesson is the mental attitude required if the tactics and techniques of the art are to be applied successfully; and finally the form serves as a key to unlock the secrets of the other aspects of the training curriculum, such as pushing hands, pre-arranged sparring and weapons training.
The traditional YANG style form consists of a series of between 108 and 120 movements, depending upon how they are counted, and takes approximately 30 minutes (it may take less or more time than this depending upon the personal preference of the practitioner) to complete from start to finish. Within this form are contained the techniques of the style ; the kicks, the punches, locks, holds throws, parries and evasions, in short all the practical usage of the art as a form of unarmed combat. If we look, for example, at the area of kicks alone, we find toe kicks, heel kicks, crescent kicks, stamps and thrusts aimed at a wide range of target areas from the ankle to the groin, and from the shin to the kidney. Punches include back fists, abdomen and groin punches, hammer fists and uppercuts. Indeed the form is put together in such a sophisticated manner what which movement may be examined in a number of different lights; either as locking techniques or striking techniques, for example; and anyone move has an infinite number of variations. Perhaps more important than specific application. However, its the way that the form illustrates the principles of the tai chi chuan a fighting art. Of fundamental importance to the application of this technique is relaxation which enables the practitioner to achieve maximum speed and power through efficient use of body mechanics. If the movements of the form are merely regarded as being slowed down external techniques and consequently applied in a stiff, power orientated manner. Their effectiveness is almost totally lost. This is why the slow form is greatly emphasized as a training method. Tai chi chuan works from Yin to Yang, from slow to fast, from soft to hard always remembering that the YIN contains the YANG and vice-versa. Together with this emphasis on relaxation the form also teaches the principles of forward movement. Tai chi chuan is a close quareter art and the student learns that generally speaking the safest place to be in a fight is as close to your opponent as possible. This is reflected in the form, as the majority of movements involve going in a forward direction, the main exception being "step back repulse monkey", however, the backward movement is accompanied by a strike to the front, and in fact is necessary to effectively apply the technique. Another basic principle taught by the form is the correct use of the eyes, which as the "classics" state should be like "a hawk gazing at its prey". The beginner is taught that the eyes follow the front hand. These, however, is merely a traditionally training method as the the front hand is usually pointing in the direction of the opponent. One of the reasons that the hand is emphasized is that it is usually slightly below eye level and thus teaches the student not to stare directly into the opponent's eyes, but rather to fix on a point at about chest level, which enables the practitioner to take in the whole of his opponent's body without the danger of being transfixed by their stare. In addition, the backward stepping movement mentioned earlier is performed in such a way that the practitioner must have both hands insight at all times; these has the effect of providing natural training for the peripheral vision, which is of great importance to any fighter.
As well as teaching applications and the principles behind them, the form contains the strategy and tactics of the art. And careful study results in the student understanding not only how to use the techniques, but when to do so. As has being mentioned previously, forward movement is a primary principle taught through the form. And may also be regarded as one of the primary tactics of the art. Close examinations of the solo exercise also illustrates the precise proportion in which the open hand is used in contrast to the first; the majority of hand techniques in the form being slaps or open-handed strikes. There is a sound reasoning behind these as open-handed strikes, particularly to the targets preferred in the form. Are less likely to damaged the hitter's hand. They are also more relaxed and therefore more natural. The use of kicks is also taught through the form, whereby the leg techniques are directed at low level targets. In coordination with hand techniques directed at mid or upper levels target areas. Thus the opponent finds himself attacked at different levels. Indeed the use of levels and directions in tai chi chuan is of prime importance as far as its tactical use is concerned. The " classics" point out that if a tai chi chuan practitioner wishes to go forward, he must first go backwards and vice versa, if he wishes to go left, he must first go right, if right first turn to the left, and if he wishes to attack high, then he must initially attack low, if low then first attack high. Thus the exponent of the art seeks not only to dominate his opponent physically but also mentally by always hiding his intentions and preventing his opponent from becoming centred either mentally or physically. This may clearly be seen, albeit in an exaggerated fashion, in "snake creeps down/golden cock stands on one leg" postures whereby one starts from high, drops low to avoid a technique, then follows a low attack through the groin area with a high attack through the throat or face. In practical terms going back to go forward means leading your opponent into a disadvantages position before countering.
One of the first things a beginner notices when learning tai chi chuan is the great amount of attention paid to the smallest of details concerning postures and movements. This meticulous attention to detail serves to teach the student the correct way to use their body so as to harness its power and also to enable it to function in a healthy and natural manner. In Cheng Man Ching style, the emphasis is on the concept of " song" or relaxation, and every move in the form must be executed with this in mind. All the joints must be relaxed, loose and open so that the qi can move freely and thus naturally sink to the dantian. As a result of this sinking the qi is heated like water in a kettle. And when it "boils over" it permeates the whole body. What then is the practical effect of the movement of the qi? Tai chi chuan practitioners believed that only when qi had spread all over the body can one really be completely relaxed. The purpose of this total relaxation and opening of the joints is to make every movement in a fighting context as fast as possible. In addition, every movement is controlled by the waist and great emphasis is placed on having a flexible waist and on turning it as freely as possible when practicing. There are two main reasons for these: Firstly by concentrating on the waist area, which approximates through the center of gravity, The practitioner ensures that each movement utilizes the whole body weight; secondly by turning the waist while the back is kept naturally straight, the parasympathetic nervous system is stimulated, which has the effect of producing many of the health benefits of the art.
At the same time that the physical foundation is being laid the mind must also be trained. Indeed the key to acquiring tai chi chuan skill lies in developing the correct mental attitude. Just as in practice of the physical expect of the art, the mental expect requires "song" or relaxation. The mind must be calm and centred, indeed beginners are told to sink their mind to the dantian, which mental focusing on the centre of gravity serves to complement the physical stress on moving the waist thus ensuring that body and mind work together. In addition the practitioner of tai chi chuan believes that where the mind goes the qi will follow, and therefore by sinking the mind to the dantian, the qi naturally follows. Of course the real test of relaxation, both mental and physical, comes when one is under-stress and practitioners of the art believe that only by constantly striving for total relaxation when practicing the form, will they be able to respond in a relaxed manner to any kind of attack.
As one continues to study tai qi chuan, many new things are learnt but always in daily practice one returns to the foundation, practice of the form. If this foundation is well-laid, when it comes time to start practicing partner-work, pushing hands for example, the student will find that their body already naturally assumes the correct positions for both attack and defence. At this stage the student often feels a sudden sense of enlightenment, as they realise why their study of the form has had to be so meticulous. The same is true in reverse as very often if there is a fault in the practitioner's pushing hands, it can be traced back to its source of an incorrect movement in the form.
Thus it is that the form becomes the crucial element in achieving success at all levels of practice in the art of tai chi chuan
Following are some points for attention in practicing Tai chi chuan:
All movements should be guided by consciousness. Concentrate your thoughts on every movement you perform. Do not look around or let your mind wander when doing the exercise.
All movements should be circular, relaxed and soft, but not loose and inert. They should follow one another in a continuous flow without apparent pauses - just like a "a flowing stream or a flying cloud", or "silk being drawn out from a cocoon".
All movements of the head, body, arms, legs and eyes should be well-coordinated. Use your torso to lead your limbs, with your waists as the hinge. Do not let your body rise and fall abruptly. Breathing should be deep and even, and in harmony with your movements.
Move at an even, slow pace. The simplified Tai chi shadow boxing takes 4-6 minutes and the Tai chi Shadow boxing in 48 forms, 8-10 minutes.
The amount of exercise for each session should be determined by your health condition and how much time you can afford. You may do a whole set once or several times; you may practise only one or several sections, or even one or two forms.
Tai Chi Shadow Boxing Simplified - 24 style (简�Ƥ��宱) GoUp
1. Commencing Form - �_势
Stand naturally upright with feet shoulder-width apart, toes pointing forward, arms hanging naturally and hands at sides. Look straight ahead
Points to remember : Hold head and neck erect, with chin drawn slightly inward. Do not protrude chest or draw abdomen in
2. Raise arms slowly forward and upward to shoulder level with palms facing downward
3. Keep torso erect and bend knees while pressing palms down gently, with elbows dropping towards knees. Look straight ahead.
Points to remember : Hold shoulders and elbows down. Fingers are slightly bent. Weight is equally distributed on both legs. While bending knees, keep waist relaxed and buttocks slightly pulled in. The lowering of arms should be coordinated with the bending of knees.
2. Part the Wild Horse's Mane on Both Sides - ���k��马���O
1. Turn torso slightly to the right (1 o'clock) and shift weight on to right leg. Raise right hand until forearm lies horizontally in front of the right part of chest, while left hand moves in a downward curve until it comes under right hand, palms facing each other as if holding a ball (henceforth referred to as "hold-ball gesture"). Move left foot to the side of right foot and rest its toes on floor. Look at right hand.
2. Turn body to the left (10 o'clock) while left foot takes a step forward towards 8-9 o'clock, bending knee and shifting weight on to left leg, and right leg straightens with sole flat on floor to form a left "bow step". At the same time, as you turn your body slightly leftward, gradually raise left forearm obliquely to eye level with palm facing obliquely upward and elbow slightly bent, and lower right hand to the side of right hip with palm facing downward and fingers pointing forward. Look at left hand
3. Sit back slowly-move torso backward as if ready to take a seat - and shift weight on to right leg. Raise toes of left foot slightly and turn them outward before placing foot flat on floor. Then bend left leg and turn body to the left ( 7-8 o'clock), shifting weight on to left leg. Make a hold-ball gesture in from of left part of chest, left hand on top. Then draw right foot forward to the side of left foot and rest its toes on floor. Look at left hand
4. Take a right bow step by moving right foot a step towards 9-10 o'clock, straightening left leg with sole flat on floor and bending right leg at knee. At the same time, turn body to the right (8 o'clock). gradually raise right hand obliquely upward eye level with palm facing obliquely upward and elbows slightly bend, and press left hand down to the side of left hip with palm facing downward and fingers pointing forward. Look at right hand
5. Repeat movements in section 3, reversing "right" and "left". Repeat movements in section 4, reversing "right" and "left".
Points to remember : Hold torso erect and keep chest relaxed. Arms should move in a curve. Keep arms from being fully stretched when you separate hands. In turning body, waist serves as the axis. Tempo of movement in taking bow steps and separating hands must be even and synchronized. When stepping forward, place foot slowly in position, heel coming down first. Knee of front leg should not go beyond toes, which should point forward; rear leg should be straightened with rear foot forming an angle of 45-60 degrees with front foot. Heels should not be in a straight line, the transverse distance between them being 10-30 cm. Face 9 o'clock in final position.
3. The White Crane Flashes Its Wings - ��鹤�G�� GoUp
1. Turn torso slightly to the left ( 8 o'clock). Make a hold-ball gesture in front of left part of chest, left hand op top. Look at left hand
2. Draw right foot half a step towards left foot and then sit back
3. Turn torso slightly to the right (10 o'clock). Look at right hand with weight on right leg, move left foot slightly forward and rest its toes lightly on floor to form a left "empty step". At the same time, turn torso slightly to the left (9 o'clock), and raise right hand until it is in front of right temple, palm turned inward, while left had moves downward until it stops in front of left hip, palm turned downward and fingers pointing forward. Look straight ahead
Points to remember: Do not thrust chest forward. Arms should be rounded when they move up or down. Bend left leg slightly at knee. Weight transfer should be coordinated with the raising of right hand. Face 9 o'clock in final position.
4. Brush Knee and Twist Step on Both Sides - ���k搂�����B
1. Turn torso slightly to the left (8 o'clock); right hand moves downward while left hand moves upward. Turn torso to the right (11 o'clock), right hand circles past abdomen and then upward to ear level with arm slightly bent and palm facing obliquely upward, while left hand moves first in an upward and then in a downward curve, stopping in front of right part of chest, palm facing obliquely downward. Look at right hand.
2. Turn torso to the left (9 o'clock). Left foot takes a step forward towards 8 o'clock to form a left bow step. At the same time, right hand draws leftward past right ear and, following body turn, pushes forward at nose level with palm facing forward, while left hand drops and circles around left knee to stop beside left hip with palm facing downward. Look at fingers of right hand.
3. Sit back slowly with right knee bent, shifting weight on to right leg. Raise toes of left foot and turn them a bit outward before placing foot flat on floor. Then bend left leg slowly. Turn body to the left (7 o'clock) and shift weight on to left leg. Bring right foot forward to the side of left foot and rest its toes on floor. At the same time, turn left palm up and, with elbow slightly bent, move left hand sideways and up to shoulder level, palm, turning obliquely upward, while right hand, following body turn, makes a curve upward and then downward to the left, stopping in front of left part of chest, palm facing obliquely downward. Look at left hand.
4. Repeat movements in section 2, reversing "right" and "left". Repeat movements in section 3, reversing "right" and "left". Repeat movements in section 2.
Points to remember : Keep torso erect while pushing hands forward. Waist and hips should be relaxed. When pushing palm forward, hold shoulders and elbows down and keep waist relaxed. Movements of palm should be coordinated with those of waist and leg. Transverse distance between heels should not be less than 30 cm. Face 9 o'clock in final position.
5. Hand Plucks the Lute - ��挥�\�]
1. Move right foot half a step forward towards left heel. Sit back and turn torso slightly weight on right leg. Raise left foot and place it slightly forward, heel coming down on floor and knee bent a little to form a left empty step. Meanwhile, raise left hand in a curve to nose-top level, with palm facing rightward and elbow slightly bent. Right hand moves downward until it reaches the inside of left elbow, palm facing leftward. Look at forefinger of left hand
Points to remember: Body position should remain steady and natural, chest relaxed and shoulders and elbows held down. Movement in raising left hand should be more or less circular. In moving right foot half a step forward, place it slowly in position, toes coming down first. Weight transfer must be coordinated with the raising of left hand. Face 9 o'clock in final position.
6. Step Back and Whirl Arms on Both Sides - ���k�˨��� GoUp
1. Turn torso slightly to the right (11-12 o'clock). Right hand makes a semicircle past abdomen and upward to shoulder level with palm facing upward and arm slightly bent, turn left palm up and place toes of left foot on floor. First look to the right as body turns in that direction, then turn to look ahead at left hand.
2. Bend right arm and draw hand past right ear before pushing it ahead with palm facing forward. Pull left hand back until it is beside waist, palm facing upward. At the same time, raise left foot lightly and take a step backward towards 3-4 o'clock, placing sole slowly flat on floor. Turn body to the left ( 8 o'clock) and shift weight on to left leg to form a right empty step, with right foot pivoting on toes until it points directly ahead. Look at right hand.
3. Turn torso slightly to the left (6-7 o'clock). At the same time, carry left hand sideways and up to shoulder level, palm facing upward, while right palm is turned up. Eyes first look to the left as body turns in that direction, then turn to to look at right hand.
4. Repeat movements in section 2, reversing "right" and "left". Repeat movements in section 3, reversing "right" and "left". Repeat movements in section 2, section 3. Repeat movements in section 2, reversing "right" and "left".
Points to remember : In pushing out or drawing back, hands should not go straight but should move in a curve. While pushing out hands, keep waist and hips relaxed. The turning of waist should be coordinated with hand movements. When stepping back, place toes down first and then slowly set the whole foot on floor. Simultaneously with body turn, front foot is turned on toes to point directly ahead. Move left leg slightly towards the left, or right leg slightly towards the right, as the case may be, when taking a step backward, taking care not to let the feet land in a straight line. Depending on the direction of body turn, first look to the left or the right and then turn to look at the hand in front. Face 9 o'clock in final position.
7. Grasp the Bird's Tail - Left Style - ��拦���� GoUp
1. Turn torso slightly to the right (11-12 o'clock). At the same time, carry right hand sideways up to shoulder level, palm facing upwards, while left palm is turned downward. Look at left hand.
2. Turn body slightly to the right (12 o'clock) Make a hold-ball gesture in front of right past of chest, right hand on top. At the same time, shift weight on to right leg, draw left foot to the side of right foot to the side of right foot and rest its toes on floor. Look at right hand.
3. Turn torso slightly to the left (11 o'clock). Left foot takes a step forward towards 8-9 o'clock. Turn torso a bit further to the left ( 10 o'clock), and bend left leg to form a bow step, with right leg naturally straightened. Meanwhile, push out the rounded left forearm at shoulder level with palm facing inward. Right hand drops slowly to the side of right hip, palm facing downward and fingers pointing forward. Look at left forearm.
Points to remember : Keep both arms rounded while pushing put one of them. The separation of hands, relaxing of waist and bending of legs should all be coordinated.
4. Turn torso slightly to the left (9 o'clock) while extending left hand forward with palm turned down. Bring right hand upward with palm until it is below left forearm. Then turn torso to the right (11 o'clock) while pulling both hands down in a curve past abdomen, finishing with right hand extended sideways at shoulder level, palm up, and left forearm lying across chest, palm turned inward. At the same time, shift weight on to right leg. Look at right hand.
Points to remember: While hands are pulled down, do not lean forward or let buttocks protrude. Arms should follow the turning of waist and move in a circular path.
5. Turn torso slightly to the left (10 o'clock) Bend right arm and place right hand inside left wrist. Turn torso a little further to the left (9 o'clock). Press both hands slowly forward with right palm facing forward and left palm inward, left arm remaining rounded. Meanwhile, shift weight slowly on to left lef to form a bow step. Look at left wrist.
Points to remember : Keep torso erect when pressing hands forward; the movement of hands must be coordinated with the relaxing of waist and bending of leg.
6. Turn both palms downward as right hand passes over left wrist and moves forward and then to the right, ending on a level with left hand. Separate hands should-width apart and sit back, shifting weight on to the slightly bent right leg, with toes of left foot turned up. Draw back both hands to the front of abdomen, palms facing slightly downward to the front. Look straight ahead.
7. Transfer weight slowly on to left leg while pushing hands forward and obliquely up with palms facing forward, until wrists are shoulder high. At the same time, bend left leg into a bow step. Look straight ahead. Face 9 o'clock in final position.
8. Grasp the Bird's Tail - Right Style - �k拦����
1. Sit back and turn torso to the right (12 o'clock), shifting weight on to right leg and turning toes left foot inward. Right hand makes a horizontal curve to the right, then moves downward past abdomen and upward to the left ribs, palm facing upward to form a hold-ball gesture with left hand on top. Meanwhile, weight is shifted back on the left leg. Place right foot beside left foot with heel raised. Look at left hand.
2. Repeat movements in section 3 of Form 7, reversing "right" and "left". Repeat movements in section 4 of form 7, reversing "right" and "left". Repeat movements in section 5 of Form 7, reversing "right" and "left". Repeat movements in section 6 of Form 7, reversing "right" and "left". Repeat movements in section 7 of Form 7, reversing "right" and "left".
Points to remember: The same as those for Form 7. Face 3 o'clock in final position.
9. Single Whip - 单�@ GoUp
1. Sit back and shift weight gradually on to left leg while toes of right foot are turned inward. Meanwhile, turn body to the left (11 o'clock) Move both hand leftward, left hand on top, until left arm is extended sideways at shoulder level, palm facing outward, and right hand is in front of left ribs, palm facing obliquely inward. Look at left hand.
2. Turn body to the right (1 o'clock) shifting weight gradually on to right leg. Draw left foot to the side of right foot and rest its toes on floor. At the same time, right hand makes a curve upward and round to the right until arm is at shoulder level. With right palm now turned outward, bunch finger-tips and turn them downward from wrist to form a "hook hand", while left hand moves in a curve past abdomen and ends in front of right shoulder with palm facing inward. Look at left hand.
3. Turn body to the left (10 o'clock) while left foot takes a step forward towards 8-9 o'clock. Bend left leg into a bow step. While shifting weight on the left leg, turn left palm slowly outward and push it forward with fingertips at eye level and elbow slightly bent. Look at left hand.
Points to remember : Keep torso erect and waist relaxed. In final position, right elbow should be slightly bent downward and left elbow directly above left knee, with lowered shoulders. Left palm is turned outward as hand pushes forward; see to it that it is not turned too quickly or abruptly. All transitional movements must be well coordinated. Face 8-9 o'clock in final position.
10. Wave Hands Like Clouds - ����
1. Shift weight on to right leg and turn body gradually to the right (1-2 o'clock), while toes of left foot are turned inward. Left hand makes a curve past abdomen and finishes in front of right shoulder with palm turned obliquely inward. At the same time, open right hand and turn palm outward. Look at left hand.
2. Turn torso gradually to the left (10-11 o'clock) shifting weight on to left leg. Left hand makes a curve past face with palm turned slowly outward. Right hand moves in a curve past abdomen and then upward to left shoulder with palm turned obliquely inward. Meanwhile, bring right foot to the side of left foot so that they are parallel and 10-20 cm apart. Look at right hand.
3. Turn torso gradually to the right (1-2 o'clock), shifting weight on to right leg. Right hand continues to move to the right side past face, palm turned outward, while left hand makes a curve rightward past abdomen and upward to shoulder level with palm turned obliquely inward. Left foot then takes a side step. Look at left hand.
4. Repeat movements in section 2, section 3 and then section 2 again.
Points to remember: Lumbar spine serves as the axis for body turns. Keep waist and hips relaxed. Do not let your body rise and fall abruptly. Arm movements should be natural and circular and follow waist movements. The pace must be slow and even. Keep your balance when moving lower limbs. Eyes should follow hand when it moves past face. Body in final position faces 10-11 o'clock.
11. Single Whip - 单�@
1. Turn torso to the right (1 o'clock) At the same time, right hand moves to the right side to form a hook hand, while left hand makes a curve past abdomen and then upward to right shoulder with palm turned inward. Weight is shifted on to right leg, toes of left foot on floor. Look at left hand.
2. Movements are the same as in section 3 of Form 9
Points to remember: The same as those for Form 9. Face 8-9 o'clock in final position
12. High Pat on Horse - ����马 GoUp
1. Take half a step forward with right foot and shift weight gradually on to right leg. Open right hand and supinate both palms, elbows slightly bent, while body turns slightly to the right (10-11 o'clock) with left heel gradually raised. Look forward to the left.
2. Turn body slightly to the left (9 o'clock); draw right hand past right ear and push it forward with palm facing forward and fingers pointing up at eye level. Lower left hand until it comes in front of left hip, palm still facing upward. Meanwhile, bring left foot slightly forward with toes on floor. Look at right hand.
Points to remember : Hold torso erect and relaxed. Hold shoulders low and bend right elbow slightly downward. Face 9 o'clock in final position.
13. Kick with Right Heel - �k��脚
1. Cross hands by placing left hand, palm up, on the back of right wrist. Then separate hands, each making a downward curve with palm turned obliquely downward. Meanwhile, raise left foot to take a step forward towards 8 o'clock, forming a left bow step, toes turned slightly outward. Look straight ahead.
2. Both hands continue to circle outward and then inward and upward until they cross in front of chest, both palms turned inward, with the back of left hand against the inside of right wrist. At the same time, bring right foot to the side of left foot and rest its toes on floor. Look forward to the right
3. Separate hands, extending them sideways at shoulder level, with elbows slightly bent and palms turned outward. At the same time, raise right leg, bent at knee, and thrust foot gradually forward towards 10 o'clock. Look at right hand.
Points to remember : Keep your balance. Wrists are level with shoulders when hands are separated. Left leg is slightly bent when right foot kicks forward. force focused in heel and toes turned up and pointing slightly inwards. The separation of hands should be coordinated with the kick. Right arm is parallel with right leg. Face 9 o'clock in final position.
14 Strike Opponent's Ears with Both Fists -双�p贯��
Pull back right foot and keep it suspended by bending knee so that thigh is level. Move left hand up and forward, then down to the side of right hand in front of chest, both palms turned inward and fingers pointing upward. Bring both hands down in a curve to either side of right knee, palm up. Look straight ahead.
2. Set right foot slowly on floor slightly to the right in front of left foot, while weight is shifted on to right leg to form a bow step. At the same time, lower hands to sides and gradually clench fists. Then move them up and forward at eye level, coming towards each other in a pincers movement, until distance between them is about 10-20 cm, knuckles obliquely upward. Look at right fists.
Points to remember: Hold head and neck erect. Keep waist and hips relaxed and fists loosely clenched. Keep shoulders low and allow elbows to fall naturally with arms slightly bent. Face 10 o'clock in final position.
15. Turn and Kick with Left Heel - 转������脚>
1. Bend left leg and sit back. Turn body to the left (6 o'clock) with toes of right foot pointing inward. Simultaneously, open fists and separate hands in a circular movement and extend them sideways a little above shoulder level, palms facing forward. Look at left hand
2. Weight is shifted on to right leg. Bring left foot to the side of right foot and rest its toes on floor. At the same time, lower hands to sides and then inward and upward in a curve until they cross in front of chest, with the back of right hand against the inside of left wrist, both palms facing inward. Look forward to the left.
3. Separate hands and extend them sideways at shoulder level, elbows slightly bent and palms facing outward. Meanwhile, raise left leg with bent knee and then gradually thrust dorsiflexed foot forward towards 4 o'clock. Look at left hand.
Points to remember : The same as those for Form 13, except that "right" and "left" are reversed. Face 4 o'clock in final position.
16. Push Down and Stand on One Leg - Left Style - ���U势独��
1. Pull back left foot and keep it suspended by bending knee so that thigh is level. Turn torso to the right (7 o'clock). Form a right hook hand, while left palm is turned up and moves rightward in a curve past face until it comes in front of right shoulder, facing obliquely inward. Look at right hand
2. Crouch slowly on right leg, stretching left leg sideways towards 2-3 o'clock. Left hand is extended sideways along the inner side of left leg, palm facing forward. Look at left hand
Points to remember : When right leg is bent in a full crouch, turn toes of right foot slightly outwards and straighten left leg with toes turned slightly inward; both soles are flat on floor. Keep toes of left foot in line with heel of right foot. Do not lean upper part of body too far forward.
3. Using heel as pivot, turn toes o left foot slightly outward so that they come in line with the outstretched leg; turn toes of right foot inward while right leg straightens and left leg bends. Weight is thus shifted to the left ( 4 o'clock) and then rises slowly in a forward movement. At the same time, left arm continues to extend forward, with palm facing the right side, while right had drops behind the back, still in the form of a hook, with bunched fingertips pointing backward. Look at left hand.
4. Raise right knee slowly as right hand opens into palm and swings past the outer side of right leg and then upward to the front, until the bent elbow is just above right knee, fingers pointing up and palm facing leftward. Lower left had to the side of left hip, palm down. Look at right hand.
Points to remember : Keep torso upright/ Bend the standing leg slightly. Toes should point naturally downward as right foot is raised/ Face 3 o'clock in final position.
17. Push Down and Stand on One Leg-Right Style - �k�U势独�� GoUp
1. Put right foot down in front of left foot and rest its toes on floor. Turn body to the left (12 o'clock) using left toes as pivot. At the same time, left hand is raised sideways to shoulder level and turned into a hook hand, while right hand, following body turn, moves in a curve until it comes in front of left shoulder with fingers pointing up. Look at left hand
Repeat movements in section 2 of Form 16, reversing "right" and "left". Repeat movements in section 3 of Form 6, reversing "right" and "left". Repeat movements in section of Form 16, reversing "right" and "left"
Points to remember : Raise right foot slightly before crouching and stretching right leg sideways. Other points are the same as those for From 16, except that "right" and ";eft" are reversed. Face 3 o'clock in final position.
18. Work at Shuttles on Both Sides - ���k���
1. Turn body to the left (1 o'clock) Lower left foot on floor in front of right foot, with toes pointing outward. With right heel slightly raised, bend both knees to form a half "cross-legged seat". At the same time, make a hold-ball gesture in front of left part of chest, left hand on top. Then move right foot to the side of left foot and rest its toes on floor. Look at left forearm.
2. Body turns to the right (4 o'clock) as right foot takes a step forward to the right to form a bow step. At the same time, right hand moves upward. stopping just above right temple with palm turned obliquely upward. Left hand first moves downward to the left side and then pushes forward and upward to nose level, palm facing forward. Look at left hand
3. Turn body slightly to the right (5 o'clock), shifting weight slightly backward, with toes of right foot turned a bit outward. Then weight is shifted back on to right leg. Place left foot beside right foot with toes on floor. Meanwhile, make a hold-ball gesture in front of right part of chest, right hand on top. Look at right forearm.
Repeat movements in section, reversing "right" and "left"
Points to remember : Do not lean forward when pushing hands forward, nor shrug shoulders when raising hands. Movements of hands should be coordinated with those of waist and legs. Transverse distance between heels in bow step is about 30 cm. Face 2 o'clock in final position.
19. Needle at Sea Bottom - ����针
1. Take half a step forward with right foot. Shift weight on to right leg as left foot moves a bit forward with toes coming down on floor to form a left empty step. At the same time, turn body slightly to the right (3-4 o'clock) Lower right hand in front of body, then move it up to the side of right ear and, with body turning towards 2-3 o'clock, thrust it obliquely downward in front of body, with palm facing leftward and fingers pointing obliquely downward. Simultaneously, move left hand forward and downward in a curve to the side of left hip with palm facing downward and fingers pointing forward. Look at floor ahead.
Points to remember : Turn body first slightly to the right and then to the left. Do not lean too far forward. Keep head erect and buttocks in. Left leg is slightly bent. Face 3 o'clock in final position.
20. Flash the Arm - 闪�q�u
1. Turn body slightly to the right (4 o'clock). Take a step forward with left foot to form a bow step. At the same time, raise right arm with elbow bent until hand stops just above right temple. Turn palm obliquely upward with thumb pointing downward. Raise left hand slightly and push it forward at nose level with palm facing forward. Look at left hand
Points to remember : Hold torso in an erect and natural position. Relax waist and hips. Do not straighten left arm. Keep muscles of the back relaxed. In pushing palm forward. the movement should be in harmony with that of taking the bow step. Transverse distance between heels should exceed 10 cm. Face 3 o'clock in final position.
21. Turn, Deflect Downward, Parry and Punch -转���h拦��
1. Sit back and shift weight on to right leg. Body turns to the right ( 6 o'clock) with toes of left foot turned inward. Then shift weight again on to left leg. Simultaneously with body turn, move right hand rightward and downward in a curve and then, with fingers clenched into fist, past abdomen, to the side of left ribs, knuckles up. At the same time, raise left arm above head with palm turned obliquely upward. Look straight ahead.
2. Turn body to the right ( 8 o'clock) Right fist thrust upward and forward in front of chest with knuckles turned down. Left hand lowers to the side of left hip with palm turned downward and fingers pointing forward. At the same time, draw back right foot and, without stopping or allowing it to touch floor, take a step forward with toes turned outward. Look at right fist.
3. Weight is shifted on to right leg and left foot takes a step forward. Meanwhile, parry with left hand moving up and forward from the left side in circular movement, palm turned slightly downward, and pull right fist in a curve back to the side of right waist with knuckles turned downward. Look at left hand.
4. Bend left leg to form a bow step as right fist strikes forward at chest level with the back of hand facing the right side. Pull left hand back to the side of right forearm. Look at right fist.
Points to remember : Clench right fist loosely. While pulling back the fist, forearm is first turned inward and then outward. While the fist strikes forward, right shoulder follows the movement and extends a bit forward. Hold shoulders and elbows down. Face 9 o'clock in final position.
22. Apparent Close-up - �p�ʦ�闭
1. Left hand stretches forward from below right wrist; separate hands and pull them back slowly/ Sit back with toes of left foot raised, shifting weight on to right leg. Look straight ahead
2. Turning palms down in front of chest, push them downward past abdomen and then forward and upward. The movement finishes with wrists at shoulder level, palms facing forward. At the same time, bend left leg to form a bow step. Look between hands
Points to remember : Do not lean backward when sitting back. Keep buttocks in. Relax shoulders and turn elbows a bit outward as arms are pulled back in unison with body movement. Do not pull arms back straight . The extended hands should be no farther than shoulder-width apart. Face 9 o'clock in final position.
23 Cross Hands - �Q�r��
1. Bend right knee and sit back, shifting weight on to right leg. Body turns to the right (1 o'clock) as toes of left foot turn inward. Following body turn both hands move to the sides in a circular movement at shoulder level, with palms facing forward and elbows slightly bent. Meanwhile, toes of right foot turn slightly outward and weight is shifted on to right leg to form a side bow step. Look at right hand.
2. Weight is shifted slowly on to left leg and toes of right foot turn inward. Then bring right foot towards left foot so that they are parallel and shoulder-width apart; legs are gradually straightened. At the same time, move both hands down and cross them in front of abdomen; then rise them to chest level with wrists at shoulder level, left hand nearer to body and palms facing inward. Look straight ahead.
Points to remember : Do not lean forward when separating or crossing hands. When taking the parallel stance, keep body naturally erect, with head held straight and chin tucked slightly inward. Keep arms rounded in a comfortable position, with shoulders and elbows held down. Face 12 o'clock in final position.
24. Closing Form - ��势
1. Turns palms forward and downward while lowering both hands gradually to the side of hips. Look straight ahead.
Points to remember : Keep whole body relaxed and slowly draw a deep breath (exhalation to the somewhat prolonged) as hands are lowered. Bring left foot to the side of right foot after your breath is even. Take a walk for complete recovery.
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A Guide to Learning the Competition Routines of Tai Ji Quan
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