Tai Chi chuan may be considered a synthesis of martial art, health maintenance method and spiritual path. Its roots penetrate deeply into Taoist philosophy and the ancient martial practice of the Shaolin Temple. One should not judge Tai Chi Chuan solely by its appearance. Indeed, it may appear to be merely a soft form of exercise. In fact its aspects of an effective internal martial art are revealed in practicing the self-defense application of each individual movement. However, Tai Chi Chuan is also a proven therapeutic method based upon the principles of Chinese Traditional Medicine. By way of the search for correct posture and the proper use of the breath, one may renew the harmonious flow of vital energy in the body, aiding in the removal of obstructions to that flow, which are the root cause of most illnesses. Furthermore, Traditional Yang Style Tai Chi Chuan is also a complete meditation system the aim of which is the harmonization of body, mind and spirit.
COURSES IN FIRENZE 2009-2010:
Classical YANG Family TAI CHI CHUAN
academic course
runs all year
1 - Monday from 17.00 to 18.30
2 -and from 19.00 to 20.30
3 - Wednesday from 17.00 to 18.30
4- and from 19.00 to 20.30
5 - Friday from 20.00 to 21.30
at the
PALESTRA DEGLI ARTIGIANELLI
Via de’ Serragli 104 Firenze
6 - Tuesday from 17.00 to 18.30
at the
CENTRO OLISTICO EST-OVEST
P.zza Cannicci 7 Le Bagnesi, Scandicci
Information
Cedric Randolph
3406550764
10 Essential Points of Yang Cheng Fu
1. Xu Ling Ding Jin - Empty the thoughts and raise the head as if the crown of the head is pressed up against the heavens.
The neck must be straightened to allow the head to be raised and vertical. This allows the spirit and chi to arrive at the crown of the head. No physical strength should be used, as physical force will cause stiffness and also hinder the blood and chi circulation. One must have natural intention of emptiness in the mind.
2. Han Xiong Ba Bei - Hollowing the chest to raise the back
Hollowing the chest will help to sink the Chi down to the Dan Tian point. It is imperative not to expand the chest as this will raise the Chi to the chest, causing top heaviness and the heels to lift. To raise the back is to allow the Chi to adhere to the back. If one hollows the chest the back will rise naturally. With the back raised, one can project the Chi from the spine.
3. Song Yao - Loosening up the waist
The waist is the commander of the body. When one is able to loosen up the waist, this will increase Chi energy in both legs and thus provide a stable base for firm rooting. Changes from substantial to insubstantial or vice-versa are derived from the movement of the waist. There is a saying that the source of Chi energy is from the waist, therefore if one lacks strength, one should pay more attention to the waist and the lower limbs.
4. Fen Xu Shi - Distinguishing between substantial and insubstantial
When the weight is on the right, the right leg becomes substantial and the left leg insubstantial, or vice versa. When one is able to distinguish the difference, one will be able to turn and move with lightness and effortlessness. If not, any steps will be sluggish and unstable and can easily be unbalanced by others.
5. Chen Lian Zhu Zhou - Sinking the shoulder and weighting down the elbow
Sinking the shoulder is to let the shoulder loosen up and drop downwards. If not, both shoulders will rise causing Chi to rise with them. No strength can be exerted from the body if this happens. Weighting down the elbow is to let the elbow drop and hang loose. If the elbow is raised, the shoulders will have great difficulty in sinking, thus affecting the strength of your internal power, and you will not be able to throw the opponent away. This is similar to what is known as “stifling the power” in external martial arts.
6. Yong Yi Bu Yong Li - Using Yi or intention and not physical strength
For practitioners of Tai Chi Chuan, the whole body must be relaxed so that no physical strength remains within the sinews and bones to restrict the power. Only then will one be light and flexible, and move accordingly. One might doubt how one could develop such power without using physical strength. It is because the human body contains meridians, which enable the flow of Chi. When physical strength is used, this will cause the blockage of Chi in these meridians and result in sluggish movements. Any movement in a small part of the body will affect the whole body. Using the mind or Yi, Chi will flow to where it is directed. It also helps the flow of both blood and Chi circulation and strengthens the body.
7. Shang Xia Xiang Sui - Co-ordination of both the upper and lower body
In accordance to Tai Chi Chuan theory, rooting is from the legs, the command from the waist and expression through the hands. From legs to waist, there needs to be unison of movement. The movements of hands, waist and legs will also be followed by the intention in the eyes. This is regarded as the complete co-ordination of above and below. If one of these is missing, the move becomes fragmented.
8. Nei Wai Xiang Ge - Internal and external in togetherness
The training of Tai Chi Chuan is in the spirit, hence spirit is the commander-in-chief and the body will move as directed. When the spirit is raised and movements become light, the form consists of open and close - open means not only opening the hands and legs but also includes the mind within it. When closing, it should be the same. Therefore, there is no gap between the external and internal and they should be in unison.
9. Xiang Lian Bu Duan - Continuity without breakage
In external martial arts, the power used is only physical strength and therefore there is a start and finish to it. In between is the break where the strength from the previous move is finished and before new force is issued, which is the weakest point and can be easily exploited by the opponent. Tai Chi Chuan uses Yi and not physical strength, hence the move becomes continuous without ending, like a roaring river without ceasing. When in circulation, the Chi is described as like drawing silk from a cocoon, to signify the continuous flow of movement.
10. Dong Zhong Qiu Jing - Seeking stillness within movement
In external martial arts, power is generated by jumping, punching and kicking as hard as possible. Hence after prolonged practice, one is panting for breath and at times the blood vessels are enlarged. By contrast, Tai Chi Chuan emphasizes stillness over movement. Even though in motion, the form appears to be tranquil. Therefore when practicing, the slower the better, with long deep breathing, to allow the Chi to sink to the Dan Tian point and thus prevent one from over-exerting oneself physically.
Traditional Yang Style Tai Chi Chuan is the evolution
into modern times of a process of refinement of Chinese martial
art that was begun in China by Master Chang San Fang circa
1300 AD. It has been said that Master Chang was a highly accomplished
boxer of his era, expert in Shaolin and Taoist fighting styles.
He had studied Taoist energy and spiritual cultivation techniques
in his maturity. Through his internal studies, and his deep
contemplation Master Chang arrived at the method by which
to apply energy technique to combat technique.
Legend has it that in his observing a snake and crane fighting
in his courtyard Master Chang was inspired in his whittling
away everything non-essential from the arts he had practiced
and applied up until that time. Indeed, Yang Style Tai Chi
Chuan’s movements are based on the movements
of these two animals. Others assert that he and some companions
wished to devise the most devastating fighting technique known
combining their knowledge of martial arts, energy and acupuncture.
Regardless of what one wishes to believe, the fundamental
concepts of this art, the original name of which was surely
not Tai Chi Chuan, were passed on from Master to student until
they came to the hearing of Master Yang Lu Chan.
It is said that Master Yang Lu Chan (1780-1873) had first
studied Shaolin Hung boxing method from a very young age.
Legend has it that he had heard that a devastating and unique
form of boxing was the patrimony of the Master Chen Chang
Xin (1771-1853) of the Chen Village. The story goes that Master
Yang Lu Chan went to work for the Chen Family so that he could
learn from Master Chen. The latter held lessons in secret
and only around midnight, perhaps because he had studied with
Master Zhiang Fa. Master Zhiang Fa, a Taoist boxer, whose
art was directly descended from Master Chang San Fang, had
been passing through Chen Village and had seen Master Chen
Chang Xin practicing his family’s “Cannon Fist”
boxing technique, and could not help but laughing. This angered
Master Chen and he grabbed Master Zhiang Fa’s shoulder,
but was thrown to the ground simply upon the latter’s
turning round. Master Chen asked to learn from him and was
promised that in 3 years time Master Zhiang Fa would return
and teach him. So it came to be. The elders of the Chen Family,
then forbade Master Chen Chang Xin from teaching publicly.
Apparently this is why he would teach exclusively in his back
courtyard at midnight.
Master Chan San Fang |
Master
Yang Lu Chan |
Master
Yang Chien Huo |
Master
Yang Chen Fu |
Master
Yang Sau Chun |
Young Yang Lu Chan would watch these lessons unnoticed through
a hole in the garden wall, and then would practice what he
had learned. One day, Master Chen discovered Yang Lu Chan
correcting the form of one of the former’s students.
Master Chen had Yang Lu Chan show him what he knew. Apparently
young Yang Lu Chan had learned the art better while studying
secretly than the normal students and so was formally accepted
as a student of Master Chen. He studied with the latter over
a thirty-year period. The great differences found between
Chen Tai Chi Chuan and Yang Tai Chi Chuan might be attributable
to the alleged direct instruction of Master Yang Lu Chan by
Master Zhiang Fa during that time.
Master Yang Lu Chan then went on to practice and develop his
new style of boxing, which still had not yet been named Tai
Chi Chuan. His art was so soft and yielding that people called
it “the style of the soft fist”, “mien quan”
(cotton boxing) or “hua quan” (neutralizing boxing),
or “the 13 postures”. However, later while in Peking,
he began to use the name Tai Chi Chuan thanks to a poet who
wrote that his form had the essence of the tai chi symbol
within it. It is said that in his extensive travels through
much of China he challenged the best boxers he encountered
and was never defeated, thus earning the title “Yang
the Invincible”. One important aspect of his high level
of development is that Master Yang Lu Chan is known to have
not ever seriously injured any of his opponents.
He and his sons Master Yang Ban Huo (1837-1892) and Master
Yang Chien Huo (1842-1916) eventually became instructors of
the imperial court. Master Yang Chien Huo, also undefeated
in his career, had three sons: Master Yang Shao Huo (1862-1930),
Master Yang Chao-Yuan and Master Yang Chen Fu (1883-1936),
perhaps the most famous of the three.
Master Yang Chen Fu’s image is that most used in books,
brochures and descriptions of Yang Tai Chi Chuan. It was he
who developed and popularized the forms of Yang Tai Chi Chuan
that are most widely practiced today, in particular what is
known to some as the Peking form. His son, Master Yang Sau
Chung (1910-1985), one of the great masters of Tai Chi Chuan
of the middle and late 20th Century left his tradition to
3 disciples, Grandmaster Ip Tai Tak, Master Chu Gin Soon and Master Chu King Hung as well as to his daughters. Today the Sixth generartion of the Yang Family is represented by Master John Ding.
