The Illustrated Canon of Chen Family Taijiquan

Title......Page 4
Copyright......Page 5
Editor’s Note......Page 6
Introduction: Theory and Philosophy......Page 7
Volume One: Overview and Postures 1-12......Page 10
Volume Two: Postures 13-35......Page 11
Volume Three: Postures 37-66......Page 12
A Song of Taijiquan, by Chen Pan-ling......Page 14
Introduction: Theory and Philosophy......Page 16
Fig. 0.2.1 No Extremes or Ultimate Nothingness (Wuji)......Page 17
3 – Diagram of Supreme Extremes (Taiji)......Page 22
4 – Explanation of the He River Map (He-tu)......Page 23
5 – Explanation of the Luo Riber Writings (Luo-shu)......Page 24
6 – Illustrated explanations of the Eight Trigrams according to the sequence of Fu Xi......Page 26
7 – Illustrated explanations of the Eight Trigrams according to the sequence of King Wen......Page 27
8 – Illustrated explanations of the Supreme Extremes (Taiji) producing the Two Forms (Liang-yi), the Four Symbols (Si-xiang) and the Eight Trigrams (Ba-gua)......Page 35
9 – Illustrated explanations of the coincided numbers of the Eight Trigrams......Page 38
Fig. 0.9.2 The coincided numbers of the Eight Trigrams (cont’d)......Page 39
10 – Illustrated explanations of the Eight Trigrams movement according to the pre-birth arrangement......Page 40
1. Explanations of the Eight Trigrams according to the pre-birth sequence ofFu Xi......Page 42
12 – Horizontal diagram of the Eight Trigrams doubled to make the sixty-four figures according to the yang form......Page 47
13 – Horizontal diagram of the Eight Trigrams doubled to make the sixty-four figures according to the yin form......Page 48
14 – Illustrated explanations of the Eight Trigrams doubled to make the sixty-four figures......Page 49
Fig. 0.14.2 Diagram of the Eight Trigrams doubled to make the sixty-four figures (Translation)......Page 50
Fig. 0.14.3 Diagram of the Eight Trigrams doubled to make the sixty-four figures (cont’d)......Page 51
15 – Diagram of the transverse interrelation of the sixty-four figures......Page 53
Fig. 0.15.2 Diagram of the transverse interrelation of the sixty-four figures (Translation)......Page 54
Fig. 0.15.3 Diagram of the transverse interrelation of the sixty-four figures (cont’d)......Page 55
17 – Diagram I: Sequence of the figures according to direct inversion......Page 57
18 – Diagram 2: Sequence of the figures according to direct inversion......Page 58
19 – Diagram 3: Sequence of the figures according to direct inversion......Page 59
20 – Diagram 4: Sequence of the figures according to direct inversion......Page 60
21 – Illustrated explanations of the inversion of the sixty-four figures......Page 61
22 – Diagram of Taiji giving birth to the compatible 128 figures......Page 63
23 – Diagram on the determinate positions of heaven and earth performed through intersection......Page 65
24 – Explanations of the Square Chart of the Male and Female Formation......Page 68
25 – Illustrated explanations of the Ruler (Qian) and the Storekeeper (Kun)......Page 71
26 – Diagram of heaven’s origin and the moon’s cavern......Page 73
Fig. 0.26.2 Diagram of heaven’s origin and the moon’s cavern (bottom)......Page 74
a) Vertical diagram of yang according to the doctrine of growth and decline, fullness and emptiness......Page 78
b) Vertical diagram of yin according to the doctrine of growth and decline, fullness and emptiness......Page 80
28 – Illustrated explanations of the Three Powers (San-cai)......Page 82
The visual forms of heaven and earth......Page 86
30 – Illustrated explanations of the primeval state of universal qi around the year......Page 89
31 – Illustrated explanations of the primeval state of the universal qi during the month......Page 91
32 – Illustrated explanations of the primeval state of the universal qi around the day......Page 94
33 – Illustrated explanations of the core of changes and development of the Taiji sequence according to Fu Xi......Page 96
36 – Illustrated explanations of the eight trigrams’ growth and decline in the sequence according to Fu Xi......Page 107
Fig. 0.36.2 Diagram of the eight trigrams’ growth and decline in the sequence according to Fu Xi (cont’d)......Page 108
37 – Illustrated explanations of Taiji performed in the black and white pattern......Page 110
38 – Illustrated explanations of Taiji according to the Yellow River Chart......Page 113
39 – Illustrated explanations of Taiji according to the Luo River Writings......Page 114
40 – Illustrated explanations of interaction between heaven and earth according to the Yellow River Chart......Page 116
41 – Illustrated explanations of interaction between the sun and moon according to the Luo River Writings......Page 118
42 – Illustrated explanations of the round diagram of Taijiquan’s internal power......Page 120
43 – Illustrated explanations of the square diagram of Taijiquan’s external form......Page 122
44 – Illustrated explanations of the Taijiquan’s silk-reeling method of energy regeneration......Page 124
45 – Illustrated explanations of Wuji or No Extremes......Page 127
46 – Illustrated explanations of the silk-reeling method applied in the human body (front view)......Page 128
47 – Illustrated explanations of the silk-reeling method applied in the human body (back view)......Page 130
1. Eleven acupoints allocated to the Hand-Tai-Yin-Lungs channel......Page 134
2. Twenty acupoints allocated to the Hand-Yang-Ming-Large Intestine channel......Page 136
3. Forty-five acupoints allocated to the Leg-Yang-Ming-Stomach channel......Page 138
4. Twenty-two acupoints allocated to the Leg-Tai-Yin Spleen channel......Page 141
5. Nine acupoints allocated to the Hand-Shao-Yin-Heart channel......Page 143
6. Nineteen acupoints allocated to the Hand-Tai-Yang-Small Intestine channel......Page 145
7. Twenty-seven acupoints allocated to the Leg-Shao-Yin-Kidneys channel......Page 147
8. Sixty-three acupoints allocated to the Leg-Tai-Yang-Bladder channel......Page 149
11. Nine acupoints allocated to the Hand]ue-Yin-Pericardium channel......Page 153
12. Twenty jour acupoints allocated to the Hand-Shao-Yang-Triple Warmer channel......Page 155
13. Forty-five acupoints allocated to the Leg-Shao-Yang-Gallbladder channel......Page 157
The 1st Group......Page 160
The 3rd Group......Page 161
15. Fifteen acupoints allocated to the Leg-Jue-Yin-Liver channel......Page 162
p) Twenty-eight acupoints allocated to the Du-mai channel......Page 164
q) Twenty-four acupoints allocated to the Ren-mai channel......Page 167
a) Diagram of the Eight Assemblies in front of the body......Page 169
b) Diagram of the Eight Assemblies at the back of the body......Page 170
52 – Diagram of the Seven Chong-Men or painful acupoints......Page 171
54 – A song on the diagram of Zang and Fu organs according to the Earthly Branches......Page 174
1. Diagram of the six phases of qi energy according to the yearly cycle......Page 176
1 – Useful notes to readers......Page 20
2. Treatise on the sequence of the Eight Trigrams......Page 44
4. Treatise on the location of Qian and Kun......Page 45
6. Treatise on Qian and Kun through the principle of playing the flute......Page 46
16 – Diagram of direct intercourse and inversion of the two end figures in the eight chambers......Page 56
34 – The ancient Taiji diagram......Page 100
35 – Explanations of the Ancient Taiji Diagram......Page 101
Song of the Taiji diagram with a circle in the center......Page 111
48 – Treatise on Taijiquan’s silk-reeling method......Page 131
1. Seven-characters a line verses composed in old style......Page 132
2. Five-characters a line verse composed in the old style......Page 133
10. The Five Spirits allocated to the Five Zang organs......Page 152
r) Eleven acupoints allocated to Chong-mai channel......Page 168
53 – Treatise on Wei-qi or Defensive Energy......Page 172
Song of the arrangement of Zang and Fu organs according to the Earthly Branches......Page 175
2. A song on the diagram of the six phases of qi energy according to the yearly cycle......Page 177
57 – Song of outside and inside manifestation of the Zang and Fu organs......Page 178
58 – Song of blood circulation according to the twelve watches......Page 179
59 – Chart of blood circulation according to the twelve watches......Page 180
60 – Treatise on the Central Miraculous Channels Ren-mai and Du-mai......Page 181
61 – Song of the main acupoints and their sites......Page 185
62 – Taijiquan Classics......Page 189
63 – Revised treatise on Taijiquan......Page 193
64 – Some statements on the Taijiquan Classics......Page 195
65 – Revised statement on the Taijiquan Classics......Page 197
66 – Regarding the name of Taijiquan......Page 199
67 – Regarding the origins of Taijiquan......Page 201
68 – Explanation of Taijiquan’s mechanism of development......Page 203
Seven-character line verses composed in the old style......Page 205
b) The mind/heart......Page 206
c) Consciousness......Page 208
e) Perseverance and constancy......Page 210
f) Coherence and tracing......Page 211
h) Intrinsic energy......Page 215
i) Additional features of Zhong-qi and other elements......Page 216
j) Additional distinctions between Zhong-qi, Haoran zhi Qi, blood and qi......Page 217
i) Feelings and sensitivity......Page 219
j) Beauty......Page 220
k) Spiritual Power......Page 221
l) Transformation of physical strength into spiritual power......Page 222
70 – Explanations of Taijiquan application......Page 224
71 – Restricting......Page 228
72 – The secret of success in combat......Page 230
Volume One: Overview & Postures 1-12......Page 232
Table of Contents......Page 233
List of Figures......Page 234
Fig. i.iii.i Diagram of Wuji or No Extremes......Page 246
Fig. i.iv.i Diagram of Taiji or Supreme Extremes......Page 247
1. Diagram of the posture......Page 251
2. Diagram of left yang and right yin......Page 254
3. Diagram of the mechanism according to which qi moves throughout the body......Page 255
4. Mechanism of qi reeling along the arms......Page 257
5. Diagram of the sharp-pointed crotch......Page 258
1. Diagram of the posture......Page 266
2. Diagrams of the path of jin force......Page 269
Fig. 1.2.4 Position of the left arm......Page 270
Fig. 1.2.5 Diagram of jin force in the right hand during its final movement......Page 271
Fig. 1.2.6 Positions of the right foot......Page 272
1. Diagram of the posture......Page 282
2. Movements of the left and right arms......Page 285
Fig. 1.3.4 Movements of both arms......Page 286
Fig. 1.3.5 Method of keeping left and right thighs together......Page 288
1. Cardinal directions of the body......Page 295
1. Diagram of the posture......Page 298
2. Diagrams illustrating jin force attraction......Page 300
Fig. 1.5.3 Qi flow in the heart......Page 301
3. Diagrams of the steps of the feet......Page 302
1. Diagram of the posture......Page 306
2. The path of both hands in Lou-xi Ao-bu......Page 309
1. Diagram of the posture......Page 322
2. Positions of the hands......Page 324
3. Positions of the feet......Page 325
1. Diagram of the posture......Page 332
2. Movements of the arms and legs......Page 334
Fig. 1.8.3 Diagram of the right hand’s intrinsic force......Page 338
Fig. 1.8.4 Diagram of the left hand’s intrinsic force......Page 339
1. Diagram of the posture......Page 343
2. Diagram of the posture......Page 347
3· Diagram ofjin force......Page 349
4. Second half of the posture......Page 350
6. Diagram of left and right brush-knee gestures at the second step......Page 352
1. Diagram of the posture......Page 353
2. Diagram of steps in Xie-xing Ao-bu and Qian Tang Ao-bu......Page 355
2. Path of the hands in Jin-gang Dao Dui......Page 360
Fig. 1.12.2 Path of the hands in Jin-gang Dao Dui......Page 361
Fig. 1.12.3 Path of the feet in Jin-gang Dao Dui......Page 363
6. Conclusion......Page 262
8. Buddha’s Warrior Attendant Pounds with Pestle......Page 263
Posture 2 – Holding One Lap Pull on the Robe......Page 265
3. Indicative reverse motions performed by the left hand in a circle......Page 279
5. Four-character a line verses dedicated to the posture......Page 280
6. Seven-character line verse dedicated to the posture......Page 281
3. Diagram of jin force in the leg generated through the silk-reeling method......Page 287
5. Free verse......Page 292
6. Symbolic meaning of the posture......Page 293
2. Seven-character line verse dedicated to the posture......Page 296
3. Seven-character line verse dedicated to the posture......Page 297
4. Treatise on the posture’s application......Page 303
5. Symbolic meaning of the posture......Page 304
6. Seven-character a line verses dedicated to the posture......Page 305
2. The Jour figures Qian, Kun, Kan and Li applied in the current posture......Page 316
3. Free Verses......Page 319
4. Seven-character a line verses dedicated to the posture......Page 320
3. Preliminary verse......Page 327
6. Seven-character a line verses dedicated to the posture......Page 328
7. Symbolic meaning of the posture......Page 329
8. Seven-character a line verses dedicated to the posture......Page 331
3. Walking Obliquely and Twist Step (Xie-xing Ao-bu)......Page 336
4. Flow of intrinsic force in the right and left hands......Page 337
5. Walking Obliquely technique applied to figures Gen, Dui, Zhen and Xun......Page 340
5. Seven-character a line verse dedicated to the posture......Page 342
2. Seven-character a line verses dedicated to the posture......Page 345
4. Symbolic meaning of the posture......Page 346
5. Song dedicated to the posture......Page 351
3. Symbolic meaning of the posture......Page 357
4. Seven-character a line verses dedicated to the posture......Page 358
Posture 12 – Buddha’s Warrior Attendant Pounds with Pestle......Page 359
4. Symbolic meaning of the posture......Page 364
Volume Two: Postures 13-36......Page 366
Table of Contents......Page 367
List of Figures......Page 368
1. Diagram of the first half of Shield Body and Punch (Bi Shen Chui)......Page 372
2. Description of the body positions......Page 373
Fig. 2.13.3 Diagram of jing essence regenerated in Bi Shen Chui......Page 375
4. Diagram of internal jing essence......Page 376
1. Diagram of the final movement of Split Body and Punch (Pi Shen Chui) performed as the Punch to Crotch (Zhi Dang Chui) posture......Page 382
1. Diagram of the posture......Page 384
2. Old style performance of Fist Beneath Elbow (Zhou Di Kan Quan)......Page 386
3. New style performance of Fist Beneath Elbow (Zhou Di Kan Quan)......Page 387
1. Diagram of the posture......Page 393
Fig. 2.16.3 Positions of the left and right feet......Page 395
Fig. 2.16.4 Intrinsic jin force moving downwards in the left hand......Page 396
2. Diagram of the posture......Page 403
1. Diagram of the posture......Page 407
1. Movement of the right hand......Page 411
3. Positions of the body......Page 412
4. Diagram of the first half of Shan Tong Bei......Page 413
Fig. 2.19.5 The middle part of Shan Tong Bei......Page 416
Fig. 2.19.6 Movement of the feet......Page 417
6. Diagram of the opened crotch......Page 418
7. Diagram of the right hand’s movement......Page 422
8. Diagram of the left hand’s movement......Page 423
1. Diagram of the posture......Page 428
3. The right hand’s movement......Page 434
2. Diagram of the posture facing north......Page 439
1. Movement of the right hand......Page 443
3. Movement of the left hand......Page 444
4. Diagram of the posture oriented north......Page 446
1. Diagram of the posture......Page 450
2. Diagram of internal essence flowing through both hands......Page 452
3. Diagram of the left hand’s movement......Page 453
4. Symbolic meaning of the posture......Page 454
1. Diagram of the posture......Page 459
1. Diagram of the posture......Page 461
2. Diagram of the posture oriented south......Page 463
3. Diagram of the posture oriented north......Page 464
1. Diagram of the first half of the posture......Page 471
2. Diagram of the second half of the posture......Page 472
1. Diagram of the posture......Page 477
Fig. 2.28.2 Top half of the circle......Page 481
Fig. 2.28.3 Bottom half of the circle......Page 482
1. Diagram of the posture......Page 487
2. Internal power (nei jing)......Page 490
Fig. 2.29.3 Diagram of the right hand’s movement in the middle grade Er Qi Jial posture......Page 491
Fig. 2.29.4 Diagram of three circles illustrating the movement of both hands......Page 492
1. Diagram of the posture......Page 495
2. Internal power (nei jing)......Page 497
Fig. 2.30.4 Diagram of right foot stepping forward......Page 498
1. Diagram of the posture......Page 503
1. Diagram of the posture......Page 507
Fig. 2.32.2 Diagram of the new style of Kick with Heel (Deng Yi Gen)......Page 510
1. Diagram of the posture......Page 514
Fig. 2.33.3 Diagram of the left hand......Page 518
Fig. 2.33.4 Movements of the feet......Page 519
1. Diagram of the posture......Page 522
2. Internal power (nei jing)......Page 524
Fig. 2.34.3 Diagram of the feet movement during right palm’s forward push......Page 525
1. Diagram of the posture......Page 530
2. Internal power (nei jing)......Page 532
Fig. 2.35.3 Movements of internal force in the legs......Page 533
Fig. 2.35.4 Movements of hands and feet......Page 534
2. Diagram of the posture......Page 537
3. Diagram of the reeling method in direct and reverse rotations......Page 539
4. Diagram of the energy reeling method in direct rotation......Page 540
5. Diagram of the left hand spreading out through energy moving in direct rotation......Page 542
Posture 13 – Shield Body and Punch......Page 371
3. Diagram of jing essence regenerated in Bi Shen Chui......Page 374
5. Shield Body and Punch (Bi Shen Chui) or Split Body and Punch......Page 377
7. Seven-character a line song dedicated to the posture......Page 379
8. Symbolic meaning of the posture......Page 381
4. Symbolic meaning of the posture......Page 390
6. Five-character a line preliminary verse......Page 392
2. Diagrams of body movements......Page 394
3. The Dao Juan Hong posture......Page 397
4. Symbolic meaning of the posture......Page 398
6. Five-character a line verse dedicated to the posture......Page 401
1. Five-character a line verse dedicated to the posture......Page 402
3. Symbolic meaning of the posture......Page 404
Posture 18 – Brush Knee and Twist Step......Page 406
2. Symbolic meaning of the posture......Page 408
3. Six-character a line verse dedicated to the 2nd performance of Lou-xi Ao-bu......Page 409
5. The middle part of Shan Tong Bei......Page 415
9. Symbolic meaning of the posture......Page 424
10. Five-character a line verse dedicated to Shan Tong Bei......Page 425
11. Seven-character a line verses dedicated to the 1st performance of Shan Tong Bei......Page 426
3. Symbolic meaning of the posture......Page 430
1. Five-character a line verse dedicated to the posture......Page 433
4. Symbolic meaning of the posture......Page 435
1. Four-character a line verse dedicated to the posture......Page 438
4. Symbolic meaning of the posture......Page 440
5. Seven-character a line verse dedicated to the posture......Page 441
Posture 23 – Wave Hands like Clouds of Both Sides (Left and Right)......Page 442
5. Symbolic meaning of the posture......Page 448
7. Seven-character a line verse dedicated to the posture......Page 449
5. Seven-character a line verses dedicated to the Gao Tan Ma Posture......Page 458
4. Symbolic meaning of You Ca Jiao (Rub with Right Foot)......Page 465
5. Free Verse dedicated to the posture......Page 466
6. Symbolic meaning of Zuo Ca Jiao (Rub with Left Foot)......Page 467
8. Four-character a line verse dedicated to You Ca ]iao (Rub with Right Foot)......Page 468
11. Seven-character a line verse dedicated to the posture......Page 469
12. Free verse dedicated to the left and right styles of the posture (Zuo You Ca Jiao)......Page 470
3. Symbolic meaning of the posture......Page 474
4. The Pre-Birth Force (jing essence)......Page 475
5. Seven-character a line verse of the Zhong Dan Bian Posture......Page 476
3. The Pre-Birth Force (jing essence)......Page 480
4. Symbolic meaning of the posture......Page 483
5. Seven-characters a line verses devoted to the Ji Di Chui Posture......Page 486
3. Symbolic meaning of the posture......Page 493
5. Seven-character a line verse dedicated to the Er Qi ]iao Posture......Page 494
3. Symbolic meaning of the posture......Page 499
4. Seven-character a line verses Devoted to the Shou Tou Shi Posture......Page 501
5. Four-character a line verse dedicated to the posture......Page 502
2. Symbolic meaning of the posture......Page 505
4. Seven-character a line verse dedicated to the posture......Page 506
3. Diagram of the new style of Kick with Heel (Deng Yi Gen)......Page 509
3. Symbolic meaning of the posture......Page 511
4. Seven-character a line verses dedicated to the Deng Yi Gen Posture......Page 513
2. Internal power (nei jing)......Page 517
3. Symbolic meaning of the posture......Page 520
4. Seven-character a line verses dedicated to the 4th performance of Yan Shou Chui......Page 521
3. Symbolic meaning of the posture......Page 526
6. Five-character a line verse dedicated to the Xiao Qin Na posture......Page 528
7. Seven-character a line verse dedicated to the Xiao Qin Na posture......Page 529
3. Symbolic meaning of the posture......Page 535
4. Seven-character a line verses dedicated to the Bao Tou Tui Shan posture......Page 536
6. Symbolic meaning of the posture......Page 543
7. Five Seven-character a line verses dedicated to the 4th Performance of Single Whip......Page 545
Volume Three: Postures 37-66......Page 548
Table of Contents......Page 549
List of Figures......Page 550
1. Diagram of the posture......Page 553
3. Internal power (nei jing)......Page 555
Fig. 3.37.3 Diagram of the right hand eastward in reverse rotation......Page 556
Fig. 3.37.4 Diagram of the left hand reeling in direct rotation......Page 557
Fig. 3.37.5 Diagram of the right hand drawing in reverse rotation......Page 558
1. Diagram of the Hou Zhao posture......Page 560
Fig. 3.38.3 Diagram of the energy flowing in reverse direction along the left arm according to the silk-reeling method......Page 562
Fig. 3.38.6 Diagram of  the Chan-si or silk-reeling method used in the right leg......Page 564
1. Diagram of the Ye Ma Feng Zong posture......Page 567
Fig. 3.39.2 Rear view of Ye Ma Feng Zong......Page 568
3. Diagram of both arms’ rotation with internal power (nei jing)generated through the silk-reeling method......Page 570
4. Diagram of the both hands reeling in direct movement......Page 571
5. Diagram of Ye Ma Fen Zong as the embodiment of Qian (1) lines......Page 572
1. Diagram of 5th performance of Single Whip......Page 576
2. Diagram of the right foot’s movement forward......Page 578
4. Diagram of the right hand’s movement......Page 579
1. Diagram 1: Body movement in reverse direction and right hand indirect movement in the Yu Nu Chuan Suo posture......Page 582
2. Diagram 2: Left forward footwork of the Yu Nu Chuan Suo posture......Page 584
3. Diagram 3: Final movement of the Yu Nu Chuan Suo posture......Page 585
1. Diagram of the posture......Page 588
Fig. 3.42.2 Final movement of Yu Nu Chuan Suo......Page 592
4. Symbolic meaning of the posture......Page 593
1. Diagram of the posture......Page 596
3. Internal power (nei jing)......Page 599
Fig. 3.43.3 The right hand’s movement......Page 600
Fig. 3.43.4 Diagram of left footwork......Page 601
Fig. 3.43.5 Diagram of left foot stepping......Page 602
6. Diagram of the four limbs in cross-transition between Lan Zha Yi and Dan Bian......Page 606
1. Illustration to the posture......Page 613
3. Internal power (nei jing)......Page 618
Fig. 3.44.3 Diagram of stimulating Single Whip through completely relaxed shoulders......Page 619
1. Diagram of the posture......Page 623
3. Internal power (nei jing)......Page 625
Fig. 3.45.3 Position of both hands in the final movement of Bai Jiao......Page 626
1. Diagram of the posture......Page 630
3. Internal power (nei jing)......Page 632
Fig. 3.46.4 Diagram of the left leg’s position......Page 633
1. Diagram of the posture......Page 640
3. Diagram of the right palm’s movement......Page 642
4. Diagram of the left hand’s movement......Page 643
6. Diagram of the left leg......Page 644
1. Diagram of the posture......Page 649
3. Internal power (nei jing)......Page 652
Fig. 3.48.3 Diagram of the left leg......Page 653
Fig. 3.48.4 Diagram of the left hand’s movement......Page 654
4. Symbolic meaning of the posture......Page 655
1. Diagram of the posture......Page 658
3. Internal power (nei jing)......Page 660
Fig. 3.49.3 The left hand’s movement......Page 661
Fig. 3.49.4 Movement of the right and left legs......Page 662
1. Diagram of the posture......Page 667
1. Diagram of the posture......Page 671
1. Diagram of the posture......Page 674
1. Diagram of the posture......Page 677
1. Diagram of the posture......Page 680
1. Diagram of the posture......Page 683
1. Diagram of the posture......Page 687
3. Diagram of the right hand’s movement in Yun Shou......Page 690
4. Diagram of left hand’s movement in Yun Shou......Page 691
6. Diagram of the movement of both hands......Page 695
7. Diagram of the movement of both feet......Page 696
1. Diagram of the posture......Page 703
Fig. 3.57.2 Back posture of old style of High Pat on Horse (Gao Tan Ma)......Page 704
1. Diagram of the posture......Page 707
4. Diagram of the internal power of both hands......Page 709
1. Diagram of the posture......Page 713
Fig. 3.59.2 Front view of Punch to Crotch (Zhi Dang Chui)......Page 714
4. Movements of the Zhi Dang Chui posture......Page 717
1. Diagram of the posture......Page 721
4. Diagram of the right hand moving forward......Page 724
1. Diagram of the posture......Page 726
1. Diagram of the posture......Page 731
3. Internal power (nei jing)......Page 733
Fig. 3.62.3 Position of both legs in the lower stance......Page 734
1. Diagram of the posture......Page 737
1. Diagram of the posture......Page 741
3. Internal power (nei jing)......Page 743
Fig. 3.64.3 Diagram of the internal power of both hands and feet......Page 744
1. Diagram of the posture......Page 754
1. Diagram of the posture......Page 757
4. Diagram of the movement of both hands......Page 761
Fig. 3.66.3 Movement of the left hand......Page 762
2. General description......Page 554
4. Seven-character a line verse dedicated to the Qian Zhao posture......Page 559
2. General description......Page 561
3. Internal power (nei jing)......Page 563
3. Symbolic meaning of the posture......Page 565
5. Five-character a line verse dedicated to the posture......Page 566
2. General description......Page 569
6. Symbolic meaning of the posture......Page 573
7. Seven-character a line verses dedicated to the posture......Page 575
2. General description......Page 577
5. Symbolic meaning of the posture......Page 580
6. Seven-character a line verses dedicated to the posture......Page 581
5. Symbolic meaning of the posture......Page 586
6. Seven-character a line verses dedicated to the posture......Page 587
2. General description......Page 590
3. Internal power (nei jing)......Page 591
5. Seven-character a line verses dedicated to the posture......Page 595
2. General description......Page 597
4. Symbolic meaning of the posture......Page 603
5. Seven-character a line verses dedicated to the posture......Page 605
7. Internal power (nei jing)......Page 607
8. Symbolic meaning of the posture......Page 610
9. Seven-character a line verse dedicated to the 6th performance of Dan Bian......Page 611
Posture 44 – Wave Hands like Clouds: Left and Right Sides......Page 612
2. General description......Page 615
4. Symbolic meaning of the posture......Page 620
6. Seven-character a line verse dedicated to the posture......Page 621
Posture 45 – Shake Foot......Page 622
2. General description......Page 624
4. Symbolic meaning of the posture......Page 627
6. Free Verse......Page 628
Posture 46 – Crouch Step like a Snake Creeping out from a House......Page 629
2. General description......Page 631
4. Symbolic meaning of the posture......Page 634
6. Seven-character a line verses dedicated to Yi Tang She......Page 638
2. General description......Page 641
7. Symbolic meaning of the posture......Page 645
9. Internal power (nei jing)......Page 647
2. General description......Page 650
5. Seven-character a line verses dedicated to the Chao Tian Deng Posture......Page 657
2. General description......Page 659
4. Symbolic meaning of the posture......Page 663
5. Seven-character a line verses dedicated to Zhen Zhu Dao Juan Lian......Page 666
2. General description......Page 668
4. Symbolic meaning of the posture......Page 669
5. Seven-character a line verses dedicated to the posture......Page 670
3. Internal power (nei jing)......Page 672
5. Seven-character a line verses dedicated to the posture......Page 673
2. General description......Page 675
4. Seven-character a line verse dedicated to the posture......Page 676
3. Internal power (nei jing)......Page 678
5. Seven-character a line verse dedicated to the 6th performance of Yan Shou Chui......Page 679
2. General description......Page 681
5. Seven-character a line verse dedicated to the posture......Page 682
2. General description......Page 684
4. Symbolic meaning of the posture......Page 685
5. Seven-character a line verse dedicated to the posture......Page 686
2. Diagram of Yun Shou’s synchronous movement......Page 688
5. Internal power (nei jing)......Page 693
8. Symbolic meaning of the posture......Page 697
9. Affinities between the posture and the figures in the Book of Changes......Page 699
10. Seven-character a line verses dedicated to the posture......Page 702
3. Internal power (nei jing)......Page 705
5. Seven-character a line verse dedicated to the posture......Page 706
3. Internal power (nei jing)......Page 708
5. Symbolic meaning of the posture......Page 710
6. Seven-character a line verse dedicated to the posture......Page 712
3. Internal power (nei jing)......Page 715
4. Symbolic meaning of the posture......Page 718
6. The dividing line between the two postures......Page 719
Posture 60 – Green Dragon out of the Water......Page 720
3. Internal power (nei jing)......Page 722
5. Seven-character a line verses dedicated to the posture......Page 725
3. Internal power (nei jing)......Page 728
5. Seven-character a line verses dedicated to the posture......Page 729
2. General description......Page 732
4. Symbolic meaning of the posture......Page 735
5. Seven-character a line verses dedicated to the posture......Page 736
3. Internal power (nei jing)......Page 738
5. Seven-character a line verses dedicated to the posture......Page 739
2. General description......Page 742
4. Symbolic meaning of the posture......Page 752
5. Seven-character a line verses dedicated to the posture......Page 753
2. General description......Page 755
4. Seven-character a line verse dedicated to the posture......Page 756
2. General description......Page 758
3. Internal power (nei jing)......Page 759
5. Symbolic meaning of the posture......Page 763
7. Seven-character a line verse dedicated to the posture......Page 764
Other books by Alquimia Publishing......Page 767
Cheng Changxing: Chen Village Restoration Project......Page 768