Taijiquan Classics 太极拳经

Taijiquan Classics - Translated by Ted Knecht

The following are direct translations of some classical Taijiquan material. Some of the material is attributed to the legendary founder of Taijiquan, Zhang Sanfeng, who was a daoist from Wudang Mountain. I feel that it does not matter who wrote the material but that it is still with us and we are able to take lessons from these valuable collections.

Song #1

Empty the neck and raise the energy, sink the energy into the dantian. First relax the back and then the shoulders. Lift the head and open the groin,the mind will gain power. Open and close while embracing the posture, the seven star posture looks like an axial of a wheel, it is soft but not hard. When the enemy does not move, I remain still, when the enemy moves slightly, my intent has already first moved. From the feet to the legs and from the legs to the body, it is like practicing one energy. Like an eagle capturing a rabbit or a cat catching a mouse, issue force quickly like a bow shooting an arrow with the limbs held upright. The steps are light and following, and each step must be smooth.

Song #2

When one part of the body moves the body must be light and agile and be connected together. The internal energy must be full and energized and the spirit must be contained within. There should be no defects, no deficiencies or excess, and no discontinuities. The root is in the feet, issued into the legs, controlled by the waist, and manifested in the hands and fingers. From the feet to the legs and to the waist, it must be completed in one breath. No matter if advancing or retreating, one gains the opportunity for victory. If one fails to gain opportunity the body will be scattered and disordered. The heart of the problem should be looked for in the waist and legs. No matter if one moves up, down, front, back, left, or right, it is all the same. It all comes from the intent, not from the external. When there is up then there is down, when there is front then there is back; when there is left then there is right. If the intent moves up, then down must be contemplated. If victory is wanted, it must first be sought in the enemy’s root. By breaking his root, victory will be quick and assured. Emptiness and fullness must be clearly differentiated, every part of the body has its empty and full aspects. Every joint in the body must be jointed together without any disconnection.

Song #3

Grasp hold of the energy within the dantian, cultivate the original shape, then one can manifest the two energies of heng ha. Energy sticks to the back, and enters into the spine. When the body is silently moving, the intent is placed on the spirit and not on the energy. If the intent is on the energy it will stagnate. Harmonize the three internal and the three externals. Taiji is born from wuji (the void) and is the mother of yin and yang. There is separation in motion and togetherness in stillness. There is no excess nor deficiency, follow, bend and then straighten. When the enemy is hard I use softness to yield; when the enemy retreats I follow by sticking. When the enemy’s movements are anxious, then I move fast; when movement is slow, then I follow with slowness. Although there are numerous changes, there is only one principle and nature. By knowing the techniques one will gradually understand internal force; from understanding internal force one will take the steps toward spiritual enlightenment. However, without using many years of practice and dedication, one cannot suddenly understand the inner thoughts of the enemy.

Song #4

The long fist is like a great river or large lake flowing on and on. The thirteen postures are ward-off, rollback, press, push, pluck, split, elbow, and bump. This is the eight diagrams. Advancing, retreating, glancing left, looking right, and central equilibrium are the five elements. Ward-off, rollback, press, and push represent kan, li, zhen, and dui of the four cardinal points in the eight diagrams. Pluck, split, elbow, and bump represent qian, kun, hen, and xuan of the four diagonal points in the eight diagrams. Advance, retreat, glance left, look right, and central equilibrium represent water, fire, metal, wood, and earth in the five elements.

Explanation of Internal Movements of the Thirteen Postures

Use the mind to move the qi, the mind must be sunk, then the qi will enter into the bones. Circulate the qi throughout the body, this must be smooth and gradual so that it can follow the mind. When the spirit is lifted, one will not be lumbering. This means the head is held upright. The qi and intent must interact effectively, then movement will be round and vigorous. This means that fullness and emptiness can exchange and vary. When issuing internal force, one must be sunk and relaxed with focus in one direction. The body must be upright, calm, and comfortable while standing this controls the eight directions. Circulate qi like moving through a pearl with nine curves, not where is missed. Move internal force like refining steel hundred times, no solid cannot be overturned. The shape is like an eagle capturing a rabbit and the spirit is like a cat catching a mouse. Be calm as a mountain and as active as a river. Consolidate internal force like drawing a bow, issue internal force like shooting an arrow. Within the curve seek straightness, accumulate first and then release later. Power is issued from the spine and the steps follow as the body changes. To collect is to release and to release is to collect. Disconnected and then connected. Back and forth motion must fold and entwine and advancing and retreating must turn and change. Seek softness and then hardness, learn to breathe then become agile and active. Qi is used to cultivate without any harm. Collect internal strength and have surplus. The mind is the commander, the qi is the flag, and the waist is the banner. First strive for expansion, and later strive for compacting, then one can be near perfection. It is also said: First in the mind and then in the body. Relaxing the abdomen will allow the qi to enter the bones. When the spirit is comfortable and the body is calm, it will immediately be in the mind. Do not forget that when one thing moves there is not one thing that does not move; and when one thing is calm then there is not one thing that is not calm.

Song of Hitting Hands

Ward-off, rollback, press and push must be practiced earnestly, up and down mutually follow each other, then it will be difficult for the enemy to enter. No matter what strength the enemy uses, I will use one ounce to deflect a thousand pounds. Lead the enemy to enter into emptiness and then attack; adhere, connect, stick, and follow, do not lose the enemy. It is also said: If the enemy does not move, then I do not move; if the enemy moves slightly, then I will move first. The internal strength is relaxed but not relaxed; expanding but not expanding; and broken but not broken.

Eight Character Song

Ward-off, rollback, press, and push are uncommon in this world. Ten out ten martial artists do not know of this. If one is light agile and without stiffness, adhering, connecting, sticking, and following will be attained without a doubt. Plucking, splitting, elbowing, and bumping are even more special. When properly performed there is no need to use the mind. When one gains the ability to use adhere, connect, stick, and follow one will be in the circle and will not be disseminated.

Song of Usage or Application

Seek the understanding of internal strength by being light, agile, and alive. Yin and yang mutually exist without stagnation. By attaining or mastering the concept of one ounces defeating one thousand pounds, opening and closing will uncover the drum to dictate stablility.

Yang Cheng Fu’s Ten Essentials

1) Maintain emptiness and an upward energy
2) Hollow the chest and straighten the back
3) Relax the waist
4) Differentiate substantial and insubstantial
5) Relax the shoulders and sink the elbows
6) Use intent not strength
7) Coordinate upper and lower movements
8) Combine the internal and external
9) Movements must be continuous
10) Strive for silence within movement