tai chi push hands

7/29/2019 tai chi push hands

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A STUDY OF TAIJI PUSH-HANDS

By

Xiang Kairen

People who practice Taijiquan all know that practicing the form is the "body" ( ti),

practicing push-hands is the "use" (yong). But are body and usage two different affairs?

In order to answer this question, we must first clarify what is body: what is usage?Practicing the form, one never departs from the "13 Postures"; practicing the usage one

also never departs from the "13 Postures." Without the 13 Postures there is neither

Taijiquan nor push-hands. The 13 Postures arepeng (ward-off), lu (roll-back),ji (press),an (push), cai (pull-down), lie (split),jou (elbow), kao (shoulder stroke),jin (advance),

tui (retreat), gu (look left),pan (look right) and ding (central equilibrium). This is a

saying well known by all. But when the average individual practices Taijiquan or push-hands, does he pay attention to each of these thirteen postures? Naturally there are somewho know that they must pay attention to this; but there are also many who imitate

mindlessly.

I dare say that even among those who practice the thirteen postures assiduously, there are

those who practice the form but cannot "get it" or who practice the usage but cannotgrasp the usage. Because of this the "Song of the Thirteen Postures" says, "If you don't

diligently search for the meaning, you will only waste your effort and sigh (fromdisappointment)." Practicing the form is equivalent to understanding the essence of push-hands usage. Practicing the push-hands one utilizes applications attained from form

practice. We can say that the entire body (or form) is functional and that the entirefunction (all applications) has a body. Accordingly, is there no difference between

practicing form and push-hands? Yes, there is a distinction. Below, I will record whatancient Taijiquan theoreticians have written regarding push-hands. After presenting my

interpretations, we shall draw some conclusions. And finally, I will present research

gleaned through my personal experience in push-hands. The Taijiquan Classic says,"When the opponent is hard and I am soft, this is calledzhou (yielding, moving away).

When I follow harmoniously and the opponent gets backed up, this is called can

(adhering)." "Hard" has the significance of an attack.

But this should not be a hardness that is forceful or stiff. Rather, a good example would

be the attacking movements of ward-off or press as used in push-hands. "Soft" has the

significance of protecting, guarding or conserving (shou). But this should not be asoftness that is weak or limp. Rather, a good example would be the defensive movements

of roll-back or push as used in push-hands. Although "hard" and "soft" are nouns which

stand in opposition as attack and defense, one should completely rely on Yi (intention,mindfulness, inner meaning) and posture. One should never use stiff, forceful energy to

attack.


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If the opponent uses ward-off or press to attack and oppress me, I should use the

defensive movements of roll-back and push to neutralize him. This kind of movement is

calledZhou (moving away). "Following harmoniously" and "getting backed up" revealthe difference between maintaining or losing the stance. "Following harmoniously"

means the ability to keep the center of gravity and thus maintain the posture. "Getting

backed up" means losing the center of gravity and thus losing the posture. An examplewould be my using ward-off or press to attack, intending to cause my opponent to lose

his stance. It is also said, "If the opponent moves quickly I must respond quickly; if the

opponent moves slowly, then respond slowly." This is a very pure way of speaking about

defense.

Scholars should not mistakenly believe that one is thus losing control. Slowness or speed

follows the attacker. You should understand that the attack depends on the opponent, theresponse depends on oneself. If I can follow the speed of the attacker, then I can respond

naturally and easily, not losing the center. One could say that this is the ultimate in Taiji

push-hands skill.

It is also said, "If pressured on the left, empty the left; if pressured on the right, empty the

right." Taijiquan is thus a way of exercising the central pivot (or moving like the axle of a

wheel). Therefore the Explanation of Practice says, "The body is like a wheel; the waist is

the axle." Since the body is like a wheel, if there is pressure on the left, turn to the left. Ifthere is pressure on the right, turn to the right.

This is natural law. But if you want skillful practice, the hands responding as the mind

wishes--this is not a very easy matter. It is also said, "Looking up, he seems even higher.

Looking down, he seems even deeper. Advancing, he is even further away. Retreating, heis even closer." The meaning of the first three sentences is that one leads the opponent's

force so that it comes upon emptiness. That is to say, if he attacks upwards, I lead himeven higher. If he attacks down, I lead him even lower. If he attacks straight in, I lead himfurther. In each case, I follow his incoming posture and direct him to an empty place. I

neither struggle nor oppose. The fourth sentence explains the inability to retreat (from a

Taiji boxer). If the opponent advances and I retreat, I crowd myself into a corner.

No matter whether one practices the form or push-hands, one should avoid straight

advance or straight retreat. The Explanation of Practice says, "Advancing and retreating

require turning the body and changing the steps." The meaning is that one must notlinearly advance or linearly retreat. For instance, in the advancing motion of "Brush Knee

Twist Step", you must look to the left and right. Or in the retreating motion of "Repulse

Monkey", you must similarly turn and step towards the left and right. All of the other

advancing and retreating movements are like this. Because turning and changing allowyou to use the retreat as an advance, it is not a true retreat.

A true retreat would mean defeat. Therefore the ancient boxing treatises say, "Advancingis advancing. Retreating is also advancing," In theNewly Written Annals of Service it is

said, "Every step advances forwards; then you are without peer under heaven." There is

also a saying, "A feather cannot be added, a fly cannot alight." That is to say, push-hands


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must be practiced with completely refined and acute sensitivity. Then even if a feather or

something as light as a fly falls on the body, it will be felt. But one does not allow the

feather to stop or the fly to rest its feet. The feather cannot stop because it does not arriveat a flat or stable surface, For the same reason, the fly cannot stand balanced; it will not

stop its fluttering wings and alight on the body. This is an extreme way of describing the

light agility of Taiji push-hands. The meaning is absolutely do not allow the opponent tomake use of your force (whether applying strength to you or "borrowing" strength from

you). This is the most important and basic theory of push-hands. It is also said, "People

do not know me. I alone know others." This is the realm of ultimate accomplishment in

push-hands. In order to apply push-hands techniques, it is important to train thesensitivity. In technical terms this is called ting jing, "listening to energy". That is, use the

two hands, especially the tips of the fingers, to feel the path and intention of the

opponent's movements. Then I will be able to anticipate the opponent no matter where hemoves he will have no time to defend.

Chen Xin, a writer from Chen Village (Henan Province, Wenxian County), has an

excellent way of speaking about push-hands in his Taijiquan treatises: "My spirit allowsme to know what is coming. My wisdom allows me to hide the attack." "Spirit" simplymeans using the nerves of the hands to feel the posture that the opponent is about to

manifest. Then, according to my own wise strategy, I conceal an attack. In this way wearrive at the realm of "People do not know me. I alone know others." There is another

saying, "If you are single weighted, then you can be responsive. If you are doubleweighted, then you are stagnant." In the practice of push-hands, it is most important to

pay attention to these two sentences. You must at all times, in every moment, use your

practical experience to really understand this. If you don't know this theory, then youcannot say that you know Taijiquan; you have only had a superficial impression. And if

you don't spend several years in diligent practice of push-hands, you cannot speak of

"applying technique according to circumstance". The interpretation of these twosentences is actually just common-sense and very easy to comprehend. Above, we have

said, "The body is like a wheel. The waist is like the axle." Consider a wheel resting on

the ground. Where can there be two heavy places? If there are two, then it cannot move,

Therefore the Taijiquan Treatise says, "Do not allow any breaks or deficiencies; do notallow hollows or projections." The reason is that if there are breaks or deficiencies,

hollows or projections, then you cannot be circular. And if you are not circular, then you

will be double weighted.

Some people explain double weighted as both feet touching the ground at the same time

or both hands striking at the same time. Thus, one hand and one foot means single

weighted. This explanation is the worst kind of misunderstanding. We should understandthat single weighted or double-weighted is not a matter of outer appearance but of the

inside. Taijiquan is only the exercise of a central pivot. When you have found where this

pivot is located, then your feeling will become spherical and every place will be singleweighted, If you do not find the center of gravity, then your feeling will become stagnant

and every place will be double-weighted. And it is not only the feet and hands--even one

finger will be double weighted,


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Chen Xin's Boxing Treatise says it best, "When your practice is most refined, even the

smallest place is circular" Every sphere has its center. Within the sphere that issues from

this central pivot, there are no breaks, deficiencies, hollows or projections. So where canthere be double weighting? There is a saying, "Adhering is moving away. Moving away

is adhering." The term "Taiji" actually means the center of a circle, where the outer

portion is calledyang and the inner portion yin [that is, outside the circle and inside thecircle]. Yang is applied by adhering and attacking. Yin is applied by moving away and

defending. Furthermore, adhering is preparation for moving away. and moving away is

preparation for adhering. Thus, we can continue, "Yin does not depart from yang;yang

does not depart fromyin." It can also be said, "Yin andyang balance each other; this isknown as "comprehending energy" (dong jing). What is called "yin andyang, adhering,

moving away, hard and soft, following" and so on are all words referring to attacking and

defensive movements. Within the attack, there is defense, and within defense, there is anattack. For this reason, we speak of "mutual balance". Recognizing this principle is

equivalent to "comprehending energy".

If we practice our kung-fu with comprehending energy" as the base, then the more wepractice, the more refined we become. A further saying is, "Originally, this is giving upyourself and following others. But many people mistakenly avoid the near and seek the

far." In Taiji push-hands we respond according to circumstance. There should not be theslightest bit of preconceived strategy. This is precisely what is called "giving up yourself

and following others." One could also say that only if we reach the stage of "livelycircularity, light agility" can we utilize adhering and moving away--without obstruction

or difficulty.

However, there are some practitioners who take "giving up yourself and following

others" as meaning that one should study the opponent's method of attack and

accordingly prepare a response. Now, this is "avoiding the near and seeking the far".

The examples given above are all based on the theories of push-hands presented in Wang

Zongyue's Taijiquan Classic. These are the highest, deepest and most accurate principles.

Without careful study of the above, it is not possible to have any push-hands

accomplishment. In the Mental Elucidation of the Thirteen Postures , it is said, "In orderto issue power, you must sink and relax and be concentrated in one direction." In order to

understand "issuing power" you must practice "issuing power" and the other kinds ofjing

[methods of applying energy] while pushing hands. Then you will find out how to "sink"and how to "relax". Furthermore, you must be able to sink and relax in order to have

internal strength. Your strength should not be awkward or muddled. The phrase "be

concentrated in one direction" looks very simple, but actually, this embraces the conceptsof time, place and direction. If one of these is not in harmony, then the inner feeling of

sinking and relaxing will not be crisp. Because of this, while pushing-hands, you must on

the one hand be prepared to receive the opponent's power, without either moving away or

neutralizing. On the other hand, the mind should be concentrated and ready to issuepower according to the Taiji principles. As you become familiar with this practice, you

will be able to discharge the opponent as soon as he touches you. Your power will be

centered and stable.


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The Song of Push-Hands says, "In ward-off, roll-back, press, and push you must find the

real technique. If upper and lower are coordinated, the opponent will not be able to

advance." In the movements of ward-off, roll-back, press and push, you can find thestraight within the curved (or circular). These four movements embrace nine others: pull-

down, split, elbow, shoulder stroke, advance, retreat, look left, gaze right, and central

equilibrium. Thus when the text says to be conscientious in the practice of ward-off, roll-back, press and push, this is equivalent to saying that one should be conscientious in

applying all thirteen postures.

The first sentence in the Song of the Thirteen Postures says, "'The thirteen posturesshould not be regarded lightly." The meaning is that you should find the real technique in

each and every posture. If movements can be controlled by the waist, then upper and

lower will naturally coordinate. And if these can coordinate then you will be able toneutralize the opponent's attack. Thus, the text-says, "The opponent will find it difficult

to advance." The second sentence in the Song of the Thirteen Postures--"The source of

life is in the waist." has the same significance.

It is said, "Lure the opponent's advance into emptiness; harmonize with him, then issue

power. Adhere, join, stick to and follow the opponent, without letting go or resisting,"

[that is, follow the opponent on both the vertical and horizontal planes]

Follow the opponent's incoming posture and lead him into emptiness. As I lead him in, I

issue my own attack. The word "lead" actually has two meanings. The first is to accordwith the opponent's posture and draw him further in order to take advantage [of his

momentum]. The second is to feign weakness, causing him to rush in brashly. We read in

Chen Xin's Boxing Treatise, "Entice the opponent with an 'empty basket'; then just makeone turn." Enticing with an empty basket is the same as "Lure the opponent's advance

into emptiness." " Turning" means striking the opponent.

The older generation says, "People who practice push-hands live according to theprinciple of 'neither let go nor resist'." Not letting go means not quitting the opponent's

hand. Not resisting means not opposing him. This concept includes adhering and joining

on a vertical plane, as well as horizontal sticking and following. Adhering motionsbelong to the category of "not letting go". Following and joining motions belong to the

category of "not resisting". That is to say, when the opponent advances, I follow and join

his motion. And if he retreats I adhere to him.

Although the Song of Pushing-Hands presents extremely simple and basic theories, if you

have not had direct contact with a teacher or heard his oral transmission, then your

understanding is like "theorizing with a map" [with no knowledge of the actual territory].Even ten thousand words would be of no avail. Therefore the Song of the Thirteen

Postures has, "To enter the gate and be guided on the path requires verbal instruction. If

you practice your kung-fu without cease, then you can cultivate correct methods on yourown." What does the text mean when it speaks of "cultivating correct methods on your

own"? Just follow the principles presented above and you can cultivate on your own.

Without these principles, effort is wasted. In the Boxing Classic written by Li Changlo of


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Ping Jing, it is said, "Studying but not practicing is to cheapen the teacher's transmission.

But to practice without principles is to become sick from one's art." It is obvious that to

practice push-hands one must attach great importance to this rule.

What I have written above are the most popular and familiar theories known by those

who love to practice Taijiquan, with the addition of some simple explanations. Since myknowledge does have its limits, some of my explanations might not be as precise as Ishould like. However, I am willing to make this guarantee to all my colleagues: there is

not one word that has not been personally transmitted by a famous master. I have only

added what I have gained through thirty years of practical study. Now I will summarizemy experiences and present a simple survey. This can serve as a reference for all who

enjoy push-hands.

Why do those of us who practice Taijiquan have to practice push-hands? This is a veryeasy question to answer. It is because the practical usage and value of the hundred or

more movements in Taijiquan can all be comprehended from push-hands. But we should

recognize that push-hands is not the same as fighting, nor is it equivalent to the pairedboxing sets found in other styles of martial arts. One should absolutely refrain from

grappling as well as pushing and striking techniques from other systems.

Push-hands methods can be divided into four categories: 1. single-hand, fixed step, 2.double- hand, fixed step, 3. moving step (nine palaces step), 4.Da Lu (pulling) [or more

literally, "large rollback". TWC]. The single- hand, fixed step pushing method is nowrarely practiced. But speaking truthfully, single-hand pushing is a necessity for beginners.

Although the method is simple--two people both using a single hand, one adhering the

other moving away-- it is of great help in beginning to "listen to energy" and increasingthe strength of the waist and legs.

Nowadays two-hand, fixed-step push-hands is popular. The theories about push-hands

presented above all pertain to this style. This method of pushing is the basic practice forincreasing one's skill. To realize the practical usage of Taijiquan you must lay a strong

foundation in this kind of push-hands. As a beginner "entering the gate" of study, you

must search for a way of unifying upper and lower. You must make sure that advancing,retreating and all turning movements are rounded and lively, movements must not be

performed quickly. As you advance, you study ward-off, roll-back, press and push.

"When you adhere, I move away. When I adhere, you move away." In all of this, youshould not move too quickly. If there is too much speed, then your adhering and moving

away are not grounded, and it will be easy to overlook the real meaning of each move.

Furthermore, as you search for and listen to the opponent's energy, your responses will

not match the circumstances.

The four points listed below are the most important principles for developing the "knack"

of push-hands: 1. Slowness: Whether adhering or moving away, you must be searchingfor, listening to the opponent's energy at each step of the way (whether the opponent

moves an inch or a foot). You must not disregard any part of your interaction. 2.

Circularity: It is most important to prevent your hands from forming right angles


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(whether in your own posture, or in relation to the opponent). You must in all places

maintain the circular form. 3. Stability: In fixed-step push-hands, you are allowed to

alternate which leg is in front, but you are not allowed to step away. This is because thepurpose of push-hands is to make the legs and waist a strong foundation. If the opponent

oppresses you, you must be able to use leg power (literally, "sitting the legs" or "dropping

into the legs") and the turning of the waist to neutralize his posture. As you becomeaccustomed to this, the waist and legs will naturally have kung-fu. 4. Closeness:

Whenever you search for and listen to the opponent's energy (applying leg and waist

kung-fu), you must stay close in for your movements to be effective.

Now we come to moving-step push-hands: Advancing two steps, retreating two steps--

neither partner changes direction. I advance a step with ward-off and then advance a step

with press. My partner takes a step back with roll-back and then another retreating stepwith push. The process is repeated over and over. The advancing and retreating must be

light and nimble. However, you will only be able to apply the power of your legs and

waist if you are certain not to change direction.

Finally, we have Da Lu, "big roll-back": Advance four steps, retreat four steps. Each

person advances and retreats towards the four corners. I advance a step with ward-off,

another step with elbow, a further step with press and a final, close step with shoulder-

stroke. My partner rolls-back with three retreating steps. Then he turns his body, steppingbehind me. This last step embraces the movements of pull-down, split and push. Becausethere are three retreating steps utilizing roll-back, the exercise is called "big roll-back".

No matter what push-hands method you practice, it is most important not to neglect the

principles and not to use force in attack and defense. Furthermore, you should haveabsolutely no thought of win or loss. Above, I have brought together what various authors

have had to say about push-hands. Although each school has its unique teaching, there isno sense of ambiguity. You may have the impression that in order to have a correctunderstanding, we practitioners and students of push-hands need deep insight and

penetrating research. Actually, this is not the case!

We only need to decide upon one exposition of theory and then devote our effort to reallyunderstanding it. When we have thoroughly understood one section, then all the rest will

be understood at the same time. If you are persevering, you may suddenly come to a

comprehension of this principle. For instance, if you have a house with several doorsthrough which you can enter or leave, anyone who wants to enter the house only has to

go through one door. Although only one door is needed, if you don't reach this door, you

will never have a way to enter the house. We should also understand that among these

doors there is no distinction with regard to high or low, good or bad. From the east, weenter the eastern door. From the west, we enter the western door. Each person enters the

one he is closest to. Studying theory is just the same. We just have to decide upon which

theory is closest, which one is easiest to grasp and then devote our effort and researchthere. There is only one essential-- it is like a hunting dog chasing its prey. As soon as the

dog decides upon his object, he does not quit until he has it.

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