副秘書長 Vice Secretary General

 中華國際太極拳聯盟總會

World Tai Chi Chuan Federation

副秘書長 Vice Secretary General

符麗卿 Jessie Fu

fuleechin@gmail.com



機關地址:104台北市朱崙街20號608室

Add: Rm. 608, No20, Chulun St.,Taipei, Taiwan, R.O.C.

電話Tel:(02)2778-3887  傳真Fax:(02)2778-3890

手機Mobile:886-921990351  統一編號BAN:0105256

Email: tccass@ms35.hinet.net

fuleechin@gmail.com  



現任:

中華國際太極拳聯盟 副秘書長

新北市太極拳新莊分會綜合教練場 教練


Current Position:

New Taipei Tai Chi Chuan Xinzhuang Branch

Comprehenxive training Field,New Taipei City



Tai Chi Chuan: Began in 2009, Trained in Yang Style 13 ,64, 37, 24 and 99 forms as well as the traditional 54 form Taichi Sword. Currently continuing to study Designated Push Hands Routines under Master Peter Tsai.

 副秘書長職責

Vice Secretaries General shall assist the Secretary General in carrying out the duties of the Secretariat and may be assigned specific functional or regional responsibilities
副秘書長協助秘書長執行秘書處各項職務 並得依需要分掌專責業務或區域事務

Vice Secretaries General may be assigned by functional divisions including administration international affairs events publications finance and promotion
副秘書長得依業務性質分工 負責行政 國際事務 賽事 出版 財務 推廣等工作

Vice Secretaries General may also be designated by regional responsibilities to coordinate affairs within specific continents or areas
副秘書長亦得依區域分工 負責特定洲別或地區之聯絡與協調

Assist in implementing Federation policies resolutions and development plans
協助執行聯盟政策 決議及發展計畫

Support communication and coordination between the Secretariat and member organizations within assigned regions
協助秘書處與所屬區域會員單位之聯繫與協調

Assist in organizing international events meetings and training programs
協助籌辦國際賽事 會議及各類研習活動

Provide administrative and operational support as assigned by the Secretary General
依秘書長指示提供行政與執行支援

Assist in supervising regional Branch Associations and supporting their development
協助督導所屬區域分會之運作並提供發展支援

Facilitate international cooperation and promote Federation activities within assigned regions
促進區域內國際合作並推動聯盟相關活動

Support recruitment of new members and expansion of Federation influence in respective regions
協助拓展會員及擴大聯盟於各區域之影響力

Assist in handling international communication documentation and translation where required
協助國際聯絡 文件處理及翻譯相關工作

Vice Secretaries General shall report to the Secretary General and be accountable for their assigned duties
副秘書長應向秘書長負責 並對其分掌業務負責

The number appointment term and responsibilities of Vice Secretaries General shall be determined by the Chairman based on organizational needs
副秘書長之人數 任期及職責 由理事長依實際需要核定

Vice Secretaries General may be appointed from experienced volunteers or qualified members demonstrating capability and commitment
副秘書長得自具備能力與服務經驗之志工或會員中遴選聘

World Tai Chi Chuan Federation Organizational Structure

 World Tai Chi Chuan Federation Organizational Structure

中華國際太極拳聯盟總會組織架構

General Assembly
會員大會

Board of Directors
理事會

Executive Board of Directors
常務理事會

Board of Supervisors
監事會

Executive Board of Supervisors
常務監事會

Joint Meeting of Directors and Supervisors
理監事聯合會議

Executive Joint Meeting of Directors and Supervisors
常務理監事聯合會議

Leadership
領導層

Vice Chairmen International
國外副主席

Directors
委員

Secretariat
秘書處

Vice Secretaries General
副秘書長

Administrative Division
行政組

International Affairs Division
國際事務組

Translation and Publications Division
翻譯與出版組

Information and Website Division
資訊與網站組

Volunteer System
志工體系

Domestic Volunteers
國內志工

International Volunteers
國際志工

Volunteer Recruitment
志工招募

Volunteer Training and Assignment
志工培訓與分派

Volunteer Promotion System
志工晉升制度

國際太極拳聯盟秘書處職責

Administration
行政管理

Communication and Coordination
溝通與聯繫

Meetings and Governance Support
會議與決策支援

Events and World Cup Execution
賽事與世界盃執行

Publications and Media
出版與媒體

易簡 太極拳

 易簡 太極拳

Yi Jian Tai Chi 64-Form Routine

易簡基本功 Yi Jian Fundamental Exercises

易簡易簡1-64式文字敘述(中文)Yi Jian 1–64 Forms Written Description (Chinese)

易簡拳架1-64式視頻 (Yi Jian Tai Chi 64-Form Routine Videos)


Clarifying the Four Methods of Neutralization (四種化法)

 

Clarifying the Four Methods of Neutralization (四種化法)

(1) 不走而化 (neutralize without moving)

  • Keep center (中定) and axis (中軸) stable

  • Use micro-change (微變) to dissolve incoming force

👉 Key:

  • minimal displacement (位移極小)

  • peng maintained (掤不丟)


(2) 邊走邊化 (move while neutralizing)

  • Slight stepping or shifting

  • Still maintaining continuous connection (連續不斷)

👉 This is a balanced method:

  • neither fixed nor escaping


(3) 走而化之 (move first, then neutralize)

  • Increase distance or angle first

  • Then dissolve the force

👉 Often used when:

  • pressure is too strong

  • structure is not yet secure


(4) 只走不化 (only move, not neutralizing)

  • Pure evasion

  • No real transformation of force

👉 In classical terms:

  • this is considered incomplete skill (功夫未到)


2. Where does 沾勁 (zhan jin) fit?

Your description of 吳榮輝先生 (Wu Ronghuei) approach is very accurate:

  • light touch (輕沾)

  • detect 勁路 (force pathway)

  • whole body makes space (全身讓空間)

  • may transition into 活步 (live stepping)

  • but still keeps thread-like connection (若有若無之連)

👉 This is not simply “只走不化”.

It is closer to:

👉 “走中有化,化中有走” (movement and neutralization interwoven)


3. Your key observation (very important)

“the receiving becomes less”

👉 Yes—this is a crucial distinction.


Two different philosophies:

(A) Receiving-based neutralization (接勁為主)

  • allow force to enter (引進)

  • then transform (化)

👉 more:

  • tactile control

  • internal redirection


(B) Connection-based neutralization (連勁為主)

  • do not fully “receive”

  • maintain light linkage (沾連)

  • control through:

    • timing

    • angle

    • structure

👉 more:

  • spatial control

  • strategic positioning


4. Now your main question:

👉 “Wu (Hao) = 不走而化, Song style = all four methods?”

✔️ Partly correct—but needs refinement.


5. Wu (Hao) tendency (武郝式傾向)

Wu (Hao) strongly prefers:

不走而化 (primary method)

Because it emphasizes:

  • 中定 (central equilibrium)

  • small frame (小架)

  • immediate control (即接即控)

👉 BUT:

  • it still uses:

    • 邊走邊化 (when necessary)

👉 It generally avoids:

  • excessive 走 (large displacement)


6. Song style tendency (宋式傾向)

Song style is broader in training:

  • explicitly explores:

    • 不走而化

    • 邊走邊化

    • 走而化之

    • even approaches close to 只走 (沾走流動)

👉 Especially through:

  • 沾勁 (zhan jin)

  • 活步 (live stepping)


7. Key difference (核心差異)

Wu (Hao):

  • control inside structure (在結構中控制)

  • minimize space change

👉 “I stay, you collapse.”


Song style:

  • control through space and timing (以空間與時機控制)

  • can expand and reshape interaction

👉 “I change space, you lose structure.”


8. About “only lightly touching” (輕沾)

This is actually very high level:

👉 It reduces:

  • force reception (接勁量)

But increases:

  • information sensitivity (聽勁)

  • timing control (時機掌握)


So it’s not “less skill”

It’s:

👉 less reliance on force → more reliance on perception and timing


9. Final judgment

✔️ I agree with your overall framework:

  • Wu (Hao) → closer to 不走而化

  • Song style → explores full spectrum of 走與化


❗ But the key correction:

沾勁 (zhan jin) is not “只走不化”

It is:

👉 “以走助化,以化藏走”
(move to enable neutralization, neutralize within movement)


10. Final conclusion

👉 Different methods reflect different training priorities:

  • Wu (Hao):
    → refine internal control within stillness (靜中求化)

  • Song style:
    → develop adaptive control through movement and space (動中求化)


One sentence summary:

Yes—Wu (Hao) tends toward 不走而化, while Song style develops all modes of 走與化, but true skill in Song style is not “only moving,” rather integrating movement and neutralization so seamlessly that receiving becomes minimal yet control remains complete.

Excellent—this connects methods of neutralization (走/化) with levels of contact and control (皮、氣、肉、筋膜、骨).
We can map them, but we must be careful: these are two different dimensions (兩個不同維度):

  • 走 / 化 = strategy (策略 / how you deal with force)

  • 皮 → 骨底 = depth of connection (接觸深度 / where the interaction is controlled)

👉 They are not equal, but they interact.


1. First clarify the five levels (五層次意義)

(1) 沾之以皮 (connect at the skin level)

  • very light touch (輕沾)

  • high sensitivity (高聽勁)

  • minimal force exchange (低接勁)

👉 mostly about:

  • detection (感知)

  • timing (時機)


(2) 以氣 (connect through qi / internal intent)

  • not literal “qi pushing”

  • means:

    • whole-body coordination (整體協調)

    • intent-led connection (意領勁)

👉 connection is:

  • continuous (不斷)

  • not localized


(3) 黏之以肉 (adhere at the flesh level)

  • more contact (接觸增加)

  • some force exchange (開始接勁)

👉 allows:

  • control of direction (控制方向)


(4) 貼在筋膜 (stick at fascia level)

  • deep elastic connection (彈性連結)

  • force is:

    • stored (蓄)

    • transmitted (傳)

    • returned (發)

👉 this is where:

  • real peng structure (掤勁) lives


(5) 控在骨底 (control at the bone/root level)

  • control opponent’s:

    • center (重心)

    • structure (結構)

👉 minimal visible movement, maximum effect


2. Now map to the four neutralization methods

(A) 只走不化 (only moving)

👉 corresponds mostly to:

  • 皮 (skin level)

  • partial 氣 (intent connection)

✔️ Characteristics:

  • light touch

  • minimal receiving

  • high mobility

👉 This matches your description of:
沾勁 (zhan jin) in Song style


(B) 走而化之 (move then neutralize)

👉 corresponds to:

  • 皮 → 肉 (skin to flesh)

  • beginning of real receiving

✔️ Characteristics:

  • movement first

  • then controlled absorption


(C) 邊走邊化 (move and neutralize simultaneously)

👉 corresponds to:

  • 肉 → 筋膜 (flesh to fascia)

✔️ Characteristics:

  • continuous transformation

  • elastic response

  • force is already being:

    • redirected

    • not just avoided


(D) 不走而化 (neutralize without moving)

👉 corresponds to:

  • 筋膜 → 骨底 (fascia to bone-level control)

✔️ Characteristics:

  • minimal displacement

  • full-body integration

  • direct control of opponent’s structure


3. Key insight (非常重要)

👉 The deeper the level, the less you need to move.


So:

  • 皮 level → must move (需要走)

  • 肉 level → can choose (可走可不走)

  • 筋膜 level → movement becomes small (走變小)

  • 骨 level → almost no movement (幾乎不走)


4. Now your earlier comparison revisited

✔️ Your statement refined:

Song style:

  • emphasizes:

    • 皮 → 肉 → 筋膜 progression

  • uses:

    •  as training tool

  • builds:

    • adaptability

    • safety

    • large capacity


Wu (Hao):

  • emphasizes:

    • 筋膜 → 骨底 from early stage

  • minimizes:

    • unnecessary movement

  • builds:

    • precision

    • control

    • immediacy


5. Critical correction

👉 It is NOT:

  • “Song style = shallow”

  • “Wu style = deep”


👉 It is:

  • Song style: enters depth through movement (由走入深)

  • Wu (Hao): enters depth through structure (由中入深)


6. About safety (your earlier point)

Now we can explain it clearly:

Why Song style feels safer:

  • stays more in:

    • 皮 / 肉 levels initially

  • avoids:

    • deep structural load


Why Wu (Hao) can be risky:

  • attempts:

    • 筋膜 / 骨 control early

  • if not correct:

    • force goes into joints


7. Highest level integration

At the highest level:

👉 There is no contradiction.

A master can:

  • touch at 皮 (skin)

  • control at 骨 (bone)

At the same time.


8. Final conclusion

✔️ Yes—you can map them like this:

  • 只走不化 → 皮 / 氣

  • 走而化之 → 皮 → 肉

  • 邊走邊化 → 肉 → 筋膜

  • 不走而化 → 筋膜 → 骨底


One sentence summary:

The four neutralization methods describe “how you deal with force,” while the five levels (皮→骨) describe “how deep you control it”; Song style trains from surface to depth through movement, while Wu (Hao) aims to operate at deeper levels with minimal movement from the beginning.


Meaning of 「練大用小,練深用淺,練長用短」

 

1. Meaning of 「練大用小,練深用淺,練長用短」

These are classic training principles:

  • 練大用小 (train big, use small)
    → exaggerate structure in training, minimize in application

  • 練深用淺 (train deep, use shallow)
    → develop deep capacity, but apply only what is needed

  • 練長用短 (train long, use short)
    → cultivate long pathways, but issue in short, direct power

👉 In essence:
Training expands (放大), application refines (收斂).


2. Does this match Wu (Hao) style?

👉 Yes — at the principle level (原理層面完全一致).

Wu (Hao) classics emphasize:

  • 由大入小 (from big to small)

  • 由開而合 (from open to close)

  • 由遠而近 (from long to short)

And especially:

  • 「極小亦圈」(even the smallest movement is still a circle)

  • 「動之則分,靜之則合」(movement divides, stillness unifies)

👉 So both systems agree:

Final skill = small, precise, economical (小、準、省).


3. Then where is the difference?

The difference is not the principle, but the training pathway (訓練路徑).


(A) Song style pathway (宋式路徑)

  • Start with:

    • 大 (big)

    • 深 (deep)

    • 長 (long)

  • Emphasize:

    • large absorption space (大容納)

    • deep 涵胸 (深涵胸)

    • long force pathways (長勁路)

👉 Then gradually reduce:

  • big → small

  • deep → shallow

  • long → short


(B) Wu (Hao) pathway (武郝路徑)

  • Start already with:

    • 小 (small)

    • 中 (centered)

    • 精 (precise)

  • Emphasize:

    • 中定 (central equilibrium)

    • 掤勁不丟 (peng never lost)

    • minimal but exact change

👉 Training is:

  • directly refined (直接精練)
    rather than exaggerated first


4. So your question:

👉 “Does Song style practice more, but harder to master?”

✔️ The answer is: Yes—but with an important nuance.


5. Why Song style can be “harder to master”

(1) Larger deviation range (偏差空間大)

Because you train:

  • very deep (深)

  • very big (大)

👉 It’s easy to fall into:

  • collapse (塌) instead of contain (涵)

  • loose (散) instead of connected (整)


(2) Requires “coming back” (收回能力要求高)

Training big is easy.

👉 But:

  • shrinking it to small, precise use (用小、用短)
    is the real difficulty

Many practitioners:

  • stay in “training mode” (練功狀態)

  • cannot transition to “combat precision (用功狀態)


(3) Timing becomes harder (時機更難掌握)

If you train:

  • long → deep → large

👉 You may develop:

  • delayed response

To reach:

  • short jin (短勁)

  • instant issuing (即接即發)

requires another level of refinement


(4) Structure recovery challenge (結構回復難)

After deep absorption:

  • can you return instantly to:

    • center (中定)

    • peng structure (掤架)

👉 This is extremely difficult.


6. But Wu (Hao) is not “easier”

Wu (Hao) difficulty is different:

(1) No exaggeration to rely on

  • You cannot use:

    • big movement

    • deep sinking

    • large deformation

👉 Everything must be:

  • correct immediately (一開始就要對)


(2) Extremely high precision requirement

  • Small error = total failure

👉 Because:

  • no “buffer space” like Song style


(3) Internal skill must be real

  • Cannot “hide” behind large shapes

👉 If:

  • peng (掤)

  • center (中定)

are not real → instantly exposed


7. Final comparison

Song style:

  • Path = expand → compress

  • Strength = capacity (容量), tolerance (承受力)

  • Risk = cannot refine back to small


Wu (Hao):

  • Path = refine from the start

  • Strength = precision (精準), immediacy (即發)

  • Risk = hard to enter (入門難)


8. Final conclusion (very important)

👉 You can say:

“Song style follows 練大用小、練深用淺、練長用短 explicitly as a training method, while Wu (Hao) style embodies the final result from the beginning.”


One sentence answer:

Yes—Song style may “practice more (練得多、放得大)” and build greater capacity, but it is harder to master because one must later compress it into precision; Wu (Hao) is harder at the beginning but closer to the final form from the start.

Short answer: Yes—with a condition.
Reducing 「對峙時空」(duìzhì shíkōng, the time–space of confrontation) is a valid and powerful idea, but only if it does not lose 掤勁 (peng structure) and 中定 (central equilibrium).

Let’s unpack it.


1. What 「減少對峙時空」 really means

In push hands terms, this is:

  • 對峙 (confrontation) → two forces meeting head-on (頂抗)

  • 時空 (time–space) → the distance + time in which force builds and clashes

👉 So reducing it means:

  • don’t let force fully form (不讓力成形)

  • don’t meet it head-on (不正面相頂)

  • enter earlier (提前接觸 / 提前化)


2. Why Song style uses deep 涵胸 (containment)

Song style logic is:

  • Increase absorption capacity (容納空間)

  • Shorten opponent’s force development window (發力時間)

👉 Result:

  • The opponent’s force:

    • enters

    • spreads

    • loses structure

Before it can:

  • consolidate

  • or peak

👉 This is what they mean by:
“讓對方先塌 (let the opponent collapse first)”


3. Do I agree?

✔️ Yes — in principle (原理正確)

Because it aligns with Tai Chi classics:

  • 「彼不動,己不動;彼微動,己先動」
    → act before force is complete

  • 「引進落空」
    → lead into emptiness

  • 「後發先至」
    → arrive first by not resisting

👉 All of these aim to:
remove confrontation before it forms.


4. Where the risk lies (very important)

The danger is subtle but critical:

(1) “Letting opponent collapse” can become self-collapse

If misunderstood:

  • You “give space” too much
    → your own structure:

    • 塌 (collapses)

    • 散 (scatters)

👉 Then:

  • You are not dissolving the opponent

  • You are losing control yourself


(2) Losing 掤勁 (peng) while reducing confrontation

True Tai Chi requirement:

👉 “不丟不頂 (neither lose nor resist)”

If you only reduce confrontation:

  • ✔️ you don’t resist (不頂)

  • ❌ but you may lose (丟)

👉 Without peng (掤):

  • There is no structural pressure

  • The opponent will not truly “collapse”


(3) Collapse must be caused, not waited for

High-level point:

👉 The opponent does not collapse just because you are soft.

They collapse because:

  • you subtly change their balance (破其平衡)

  • you redirect their force vector (改其力向)

  • you control their center (制其重心)


5. Wu (Hao) perspective on the same idea

Wu (Hao) also reduces confrontation—but differently:

  • Uses:

    • small circles (小圈)

    • precise timing (時機極準)

    • minimal change (變化極小)

👉 Instead of:

  • large absorption

It does:

  • early interception (提前截斷)


So:

  • Song style:
    → let force enter, then dissolve it (進來再化)

  • Wu (Hao):
    → don’t let force fully enter (未成先化)


6. Best interpretation (融合觀點)

The highest level is actually a combination:

👉 You reduce 對峙時空 not by retreating, but by timing and structure.

That means:

  • You may:

    • allow slight entry (微引進)

  • But:

    • immediately neutralize (即化)

    • without losing center (不失中定)


7. Final conclusion

👉 I agree with Song style’s idea of reducing 對峙時空 and letting the opponent collapse—but only if:

  • 掤勁 (peng) is maintained

  • 中定 (central equilibrium) is not lost

  • Collapse is caused (造成), not waited for (等待)


One sentence summary:

Reducing confrontation space-time (減少對峙時空) is correct—but true skill lies not in “giving space,” but in controlling timing and structure so the opponent’s force never fully forms, and collapses under your subtle guidance, not your withdrawal.


Inner Receiving Cai and Bo

Inner Receiving Cai and Bo

Inner Receiving → 15 Right arm leads (Lu/Cai) → Left fingers maintain light, responsive contact (following the same rotation)

Excellent question — this goes right into the core difference between 開合 (open–close) and 旋轉 (rotation) in internal mechanics.

Short answer:

✔ Yes — there are moments of pure 合 (closing / contracting)
✔ But even then, it is never just arm contraction
✔ And in application (like Set 3), 合 and 轉 are usually integrated, not separated

Let’s make it very clear.


🔹 1. In 開合 training — you are correct

During basic training:

✔ You can have:

  • 合 = inward gathering

  • 開 = outward expansion

👉 Without obvious rotation


But internally:

Even when “not rotating”:

  • 丹田 still has potential spiral (implicit rotation)

  • Body maintains:

    • 上下對應 (up–down connection)

    • 內外相合 (inside–outside unity)

👉 So it is:

“合中含轉” (within closing, rotation is already contained)


🔹 2. What “合” really is (important correction)

合 is NOT:

❌ pulling arms inward

It is:

whole-body gathering toward center

Including:

  • kua closing

  • dantian condensing

  • back slightly rounding (含)

  • joints folding (折疊)


🔹 3. So yes — arms may “contract”

But:

✔ Arms follow the closing
❌ Arms do not initiate the closing


🔹 4. Difference between training vs application

(A) Training (開合練習)

You may isolate:

👉 To build awareness


(B) Application (Set 3, push hands)

You almost NEVER have:

  • pure 合 without 轉

Instead:

合 + 轉 happen together


🔹 5. Apply to your Set 3 situation

You asked:

When pulling + tapping, is it just 合 (no rotation)?

✔ Correct answer:

👉 There is ALWAYS rotation present
(even if small or subtle)


Actual sequence:

  1. 合 (gather / fold) begins

  2. 轉 (rotation) guides direction

  3. 勁 (jin) is expressed


So:

合 provides the “storage / compression”
轉 provides the “direction / pathway”


🔹 6. If you only 合 (no rotation)

Then:

  • force collapses inward

  • no direction

  • becomes:

    • stuck

    • heavy

    • ineffective

👉 This is 死合 (dead closing)


🔹 7. If you only 轉 (no 合)

Then:

  • no substance

  • no control

  • becomes empty movement


🔹 8. Correct integration

合而後轉,轉中有合
(close, then rotate — and within rotation, there is still closing)


🔹 9. Back to your key confusion

“At that time don’t we just contract and 合, but not yet rotate?”

✔ Refined answer:

  • In training → yes, you may emphasize 合

  • In application → rotation is already present (even if subtle)

👉 So:

You are not “not rotating”
you are rotating within the closing


🔹 10. How this affects your pulling + Bo (Set 3)

Correct internal process:

  • 合:

    • body gathers

    • right arm folds

  • 同時轉:

    • kua rotates

    • direction is set

  • Left fingers (Bo):

    • follow this combined action

    • not separate


🔹 11. Manual-ready wording (important)

You can write:

Closing (He) is a whole-body gathering driven by the dantian. In application, it is not isolated from rotation; rather, rotation is inherently contained within the closing, guiding the direction of force.


🔹 12. One-line essence

合 without 轉 is dead;
轉 without 合 is empty;
true skill is 合中有轉.


🔹 13. Wu-Hao perspective (very aligned)

This is exactly:

  • 「氣之折疊」

  • folding (合) → directing (轉) → issuing (發)


✅ Final conclusion

  • Yes — you can train “pure 合”

  • But in real use (Set 3):

    • you are never only contracting

    • rotation is always present, even if subtle


If you want, I can next:

  • map Set 3 into phases: 合 → 轉 → 發 step-by-step

  • or help you standardize 開 / 合 / 轉 definitions across your manual

This is exactly where your system becomes internally consistent and very high-level.

This is a very high-level coordination question, and your intuition is correct:

if done wrongly, the two sides will conflict; if done correctly, they are actually one unified action (合勁).

Let’s clarify it precisely for your manual and practice.


🔹 1. The apparent problem

You described:

  • Right arm: pulling (採 / Lu) with kua turning clockwise

  • Left fingers: light tap–release–connect

👉 It looks like:

  • right = pulling

  • left = touching / slightly forward or adjusting

So it feels like:

“Are they going in different directions?”


🔹 2. The correct principle

They must NOT be two independent directions
They must be one movement, expressed differently


🔹 3. What is actually happening (internal reality)

✔ The body is doing ONE action:

  • 丹田 / kua rotates clockwise

  • whole body spirals


✔ The two hands are different expressions of the SAME movement:

Right arm (主勁 – main force)

  • expresses:

    • pulling / leading (採 / Lu)

  • direction: inward / backward / spiral


Left fingers (輔助 – assisting / listening)

  • do NOT oppose

  • do NOT push forward

Instead:

👉 they:

  • follow the same rotational direction

  • maintain contact through:

    • light release

    • re-touch

    • adjustment


🔹 4. So are they in different directions?

👉 Externally: may appear slightly different
👉 Internally: must be the same direction


🔹 5. Key correction to your question

You asked:

should the right arm “contract more” so they go same direction?

✔ Correct answer:

NOT:

  • forcing the right arm to adjust

BUT:

👉 both must follow the dantian rotation


🔹 6. Correct coordination model

Think:

The body turns → both arms follow

NOT:

Right arm pulls + left hand taps


🔹 7. What the left fingers are REALLY doing

The “light pulsing” is:

  • not forward

  • not opposing

👉 it is:

a micro-adjustment within the same rotational flow

So:

  • when the body turns clockwise

  • left fingers:

    • slightly release

    • re-connect

    • maintain sticking (黏)


🔹 8. If done incorrectly

❌ Left hand goes forward while right pulls

→ split force (散勁)
→ breaks structure


❌ Left hand becomes active pushing

→ opponent feels resistance
→ no longer 聽勁


❌ Right arm pulls independently

→ local force
→ not whole-body


🔹 9. Correct feeling

You should feel:

One spiral turning

Right arm leads the opponent

Left fingers “ride” the movement — alive but not interfering


🔹 10. Best way to phrase in your manual

You can write:

While the primary action is expressed through the pulling of the right arm driven by kua rotation, the left fingers maintain light, responsive contact, following the same rotational direction. They do not oppose or act independently, but adjust subtly within the unified movement.


🔹 11. Short table-style version (recommended)

Right arm leads (Lu/Cai) → Left fingers maintain light, responsive contact (following the same rotation)


🔹 12. One-line essence

Different expressions — one direction.


🔹 13. Even deeper (Wu-Hao perspective)

This is exactly:

  • 「一動無有不動」

  • 「內一而外分」

👉 Inside:

  • one movement

👉 Outside:

  • different functions


✅ Final answer to your key doubt

You do NOT adjust one arm to match the other —
both must originate from the same rotating center,
so they are naturally unified.


Short answer: Yes — but your wording needs refinement to avoid misunderstanding.


🔹 1. Is it correct conceptually?

Yes, in Set 3 the left fingers can perform what you describe as Bo (撥):

  • light

  • responsive

  • adjusting

  • maintaining contact

👉 This matches:

  • 聽勁 (listening)

  • 黏 (sticking)

  • 微調 (micro-adjustment)


🔹 2. The problem is the phrase “light pulsing action”

❗ “Pulsing” can easily be misunderstood as:

  • rhythmic tapping ❌

  • intentional repeated movement ❌

  • visible motion ❌

👉 That is NOT correct Tai Chi behavior


🔹 3. What it SHOULD mean

The left fingers should:

  • maintain light, elastic contact

  • subtly release and re-engage as needed

  • follow the rotation (轉), not act independently

👉 The “Bo” is:

a responsive adjustment, not a repeated action


🔹 4. In your Set 3 context

Right arm:

  • 主勁 → pulling (採 / Lu)

Left fingers:

  • 輔助 → sensing + adjusting

👉 They:

  • follow the same kua rotation

  • do NOT go opposite

  • do NOT initiate force


🔹 5. Best wording for your manual

✔ Recommended (clear & correct)

Left fingers maintain light, responsive contact (Bo), following the same rotational movement.


✔ Slightly more detailed

Left fingers maintain light, elastic contact (Bo), subtly adjusting and re-engaging in response to the opponent, without acting independently of the body rotation.


✔ Short table version

Left fingers maintain light contact (Bo)


🔹 6. If you really want to keep “pulsing”

Then make it safe:

Left fingers apply a subtle, responsive pulsing contact (Bo), not as an active movement but as a natural adjustment within the rotation.


🔹 7. One-line essence

Not pulsing — but alive, responsive contact within the same movement.


🔹 8. Final recommendation (important)

For an international manual, I strongly suggest:

❌ Avoid: pulsing action
✔ Use: light, responsive contact (Bo)


✅ Final answer

  • ✔ Your idea is correct

  • ❗ Your wording should be refined

👉 Best version:

Left fingers maintain light, responsive contact (Bo), following the same rotation


If you want next, I can:

  • standardize Bo / Cai / Lu / Peng wording across all 4 sets

  • or create a glossary entry for Bo (撥) consistent with your A1–A30 system

That will make your manual very clean and internationally precise.

副秘書長 Vice Secretary General

  中華國際太極拳聯盟總會 World Tai Chi Chuan Federation 副秘書長 Vice  Secretary General 符麗卿  Jessie Fu fuleechin @ gmail.com 機關地址:104台北市朱崙街20號608室 Add: Rm...