Chen Style Tai Chi Chuan Judging Rules and Case
Analysis
Compiled by Hong Yunhe
Classic Foundations
Chen Xin, the 16th generation ancestor of the Chen
family, stated: “Practicing Tai Chi Chuan requires understanding the Silk
Reeling Energy. Twining silk is the method of circulating central qi. Without
understanding this, one does not understand the boxing. “ He also said: ”Opening and closing, emptiness
and fullness, this is the boxing classic. “Tai Chi Chuan uses Silk Reeling
Energy as the “warp” and opening/closing/emptiness/fullness as the “weft”.
When both warp and weft are prepared and combined with the hardness/softness
and speed/slowness of movements, it can be considered complete and reach the
highest level.
The characteristics of Chen Style Tai Chi Chuan are as
follows:
- Movements: Some fast, some slow, storing and issuing
are distinct.
- Motion: Coiling and rotating movement, called Silk
Reeling Energy”.
- Breathing: Adopts a complex dantian breathing
method.
Key Judging Items
1. Movement
Specifications
1) Hand Techniques
(1) Fist (Chuan): The four fingers are closed and curled,
the thumb is placed horizontally on the second knuckle of the index and middle
fingers, forming a solid fist.
(2) Palm (Zhang): The fingers should be naturally
extended and relaxed. Due to the coiling and rotating nature of the movements,
upon completion of the posture, the fingers slightly bend backward.
(3) Hook (Gou): The hook hand is formed by the fingers
hanging down into a hook shape. The thumb gently touches the tips of the index
and middle fingers, the ring and little fingers gently rest beside the base of
the thumb.
2) Eye Method
The eyes must have a fixed direction and follow the main
hand's movement.
When the main hand reaches its position, glance back at the secondary hand,
then immediately focus again on the main hand, while also paying attention to
the surroundings.
3) Body Method
Practicing the boxing form (Chuan Jia) emphasizes the
body method, and the foundation of the body method lies in maintaining an
upright central body posture.
Above, there is a virtual lifting of the headtop energy (xu ling ding jin),
below, the qi sinks to the dantian (qi chen dantian), creating a sense of
upward and downward opposing pull.
The so-called "upper and lower are one line" must be achieved without
leaning or inclining.
4) Stance Methods
(1) Ping Bu (Level/Parallel Stance): The body stands
upright, feet shoulder-width apart, both feet flat on the ground.
(2) Ma Bu (Horse-Riding Stance): Feet parallel and
separated, distance wider than shoulders,
body sinks down into a semi-squatting posture.
(3) Gong Bu (Bow Stance): In a front/back bow stance, the
front knee should not extend past the toes, the rear pushing leg should not be
stiffly straight. Both feet step on the diagonal corners of a square. For a
parallel bow stance, both feet are parallel on a straight line.
(4) Xu Bu (Empty/False Stance): One foot is solidly
planted, the other foot touches the ground lightly with the ball or toe. The
toes of both feet are on a parallel line, distance slightly wider than
shoulders.
(5) Pu Bu (Crouch Stance): One leg crouches down, the other
leg stretches straight downward. The buttocks do not touch the ground. The toe
of the stretched leg is raised or touches the ground.
(6) Cha Bu (Split Stance/Split Lotus on Ground/ Straddle
Step): The forward extended leg descends, thigh, calf, and buttock all touch
the ground. The toe is raised.
5) Leg Techniques
(1) Cha Jiao (Inserting Kick/Toe Kick/ Instep Kick): When
kicking, the instep must be flat and taut. First lift the knee, then use a
springing motion of the lower leg to kick upward, striking with the instep or
the toe.
(2) Deng Jiao (Heel Kick): Kicking with the heel. Also
first lift the knee, then use a relaxed jin to push the heel out.
(3) Xuanfeng Jiao (Whirlwind Kick): The whirlwind kick
utilizes the rotation of the planted foot and the body's rotational inertia to
swing the other foot out with relaxed jin, attacking with the outer edge of the
foot.
(4) Bai Jiao (Swing Kick): The body does not rotate; use
the waist and kua jin to rotate the leg and swing kick, striking out with the
side of the instep.
(5) Ti Xi (Lift Knee): Lifting the knee upward to strike.
2. Jin Power and
Coordination
1)
Whole Body
Coordination
What the boxing form seeks is the correctness of the external posture and the
internal movement. The waist is the main pivot for the opening, closing, and
transitioning of the whole body. It plays a primary role in coordinating all
parts of the body and propelling the jin power. Every movement in boxing is
initiated from the waist. The saying "When one part moves, every part
moves; when one part is still, every part is still" refers precisely to
the waist. When the waist rotates, it must be straight and stable like an axle,
and circularly rotating, driving the internal qi and the four limbs like wheels
spinning.
2)
Jin Power Control
The movement of Tai Chi Chuan must be circular and smooth, everywhere seeking
the mutual combination of hard and soft. The control of jin power lies
precisely in the mutual supplementation and transformation of hard and soft. The
transformation between hard and soft is such that at the point of impact (luo
dian) it is hard jin, while in all other processes it is soft jin. The method
of this transformation is that when the boxing posture movement reaches its
end, before the next movement begins, it must go through a process of folding
(zhe die) and transitioning (zhuan huan) to connect the preceding and following
jin, making it a continuous circular jin.
3)
Distinct Storing and
Issuing
This is a characteristic of Chen Style Tai Chi Chuan: some fast, some slow, storing
and issuing are distinct. However, to issue jin thoroughly and crisply, one
must first store the jin sufficiently and skillfully. Therefore, storing jin is
the prerequisite for issuing jin; only by storing can one issue. The
manifestation in the boxing posture is that when storing jin, the Silk Reeling
Energy” must be tightly coiled, contracting from a large circle to a small
circle. Issuing jin is the releasing of the Silk Reeling Energy”, expanding
from a small circle to a large circle, fully utilizing the yin-yang principle
of mutual transformation between storing and issuing.
4)
Spiral Movement
This is a characteristic of Chen Style Tai Chi Chuan: spiral movement, coiling
and rotating. Using the waist and spine as the axis of movement, coordinated with
spiral movement to drive the four limbs, from the inside out, following the
continuous rotation process of each joint, guiding the internal jin to
propagate throughout the body.
It is highly valued that its root is in the feet, governed by the waist, and
manifested in the fingers as a rotating curve, causing the entire body to
spiral and rotate everywhere. The blood and qi can thus enter and exit between
the superficial skin and the deep bone marrow, throughout the exterior and
interior of the body.
4.
Spirit, Speed,
Style, Content, Structure, Layout
1)
The external
expression of Tai Chi Chuan emphasizes energetic momentum (qi shi) over mere
posture (jia shi).To achieve a lively, agile energetic momentum, with vibrant
spirit and qi (shen qi gu dang), one must have both principle and method, and
refined posture. Every movement of hand and foot should be crisp and neat,
without drag or hesitation. When one part moves, the whole body moves; when
still, everything is completely still.
Energetic
momentum (qi shi) refers to the expression of spirit and qi (shen qi) that is
revealed during the practice of the form. It must be accumulated and without any sense of
dispersion. The spirit gathers in the eyes. Where the intention (yi) goes, the
gaze directly focuses there, following the hands as they move back and forth.
2)
Rhythmical Speed
Variation (Fast and Slow with Purpose)
The boxing movements contain internal scenery. To suppress first raise, to
raise first suppress. Pacing is ordered, slow and fast have purpose. The
alternation of slow and fast should follow a natural order, with proper balance
between quickness and steadiness. Movements at transitions should be performed
more slowly, and once past the transition they may accelerate. However, the
slower parts must not appear dull or stagnant, and the faster parts must not
appear rushed or impatient. In competition, on-site performance values
smoothness and proficiency. Competitors may appropriately adjust body height,
speed, and manner of demonstration during the routine, but they must not alter
the form or technique itself, which would result in stiffness and
unfamiliarity.
The following Twelve Essential Forms of Chen-style Tai
Chi Chuan are presented as representative examples of its movements. They include
those techniques most characteristic of Chen-style Tai Chi. In addition to the
soft energy inherent in the opening, closing, and transitional phases of all
forms, these twelve incorporate vigorous elements such as stamping, leaping,
explosive issuing of force, and sudden jumps. Once this essential set is
mastered, one may be considered to have acquired a comprehensive foundation in
the principles and methods of Chen-style Tai Chi Chuan.
Chen Style Tai Chi Chuan Selected
Compilation 12 Forms
Compiled by Hong Yunhe
|
1 |
Commencement |
7 |
Turn Body and Throw Fist |
|
2 |
Single Whip |
8 |
Drill Hand |
|
3 |
Fair Lady Works at Shuttles |
9 |
Turn Over Flowers and Sleeves |
|
4 |
Lazily
Tying Coat |
10 |
|
|
5 |
Double
Kicks |
11 |
Small Capture and strike |
|
6 |
Yellow
Dragon Occupies the Mountain |
12 |
Buddha’s Warrior Attendent Pounds the Mortar |
About Hong Yun-He
Lineage: Disciple of
Chen Fa-Ke, Pan Yong-Zhou, and Hong Yun-He
Position: President, Yunxuan Chen-Style Tai Chi Chuan Research
Association
Publications & Awards:
- 【A Study on the Application of Tai Chi Chuan in
Auxiliary Teaching】 Best Paper Prize, TAECT
- Compiled 【Chen-Style Tai Chi Chuan 48-Form Routine】 the first official
Chen-style competition routine in Taiwan
Former Positions:
- President, Chen-Style Tai Chi Chuan Branch, Chinese
Taipei Tai Chi Chuan Federation
- Chairman, Chinese Chen-Style Tai Chi Chuan
Association
- Chairman, Taipei Chen-Style Tai Chi Chuan
Association
- Chairman, New Taipei Chen-Style Tai Chi Chuan
Association
- Director, Chen-Style Tai Chi Chuan Committee,
Chinese Taiwan Wushu Federation
陳氏太極拳裁判規則與判例分析 洪允和
陳氏第十六世祖陳鑫謂︰「打太極拳須明纏絲精（勁），纏絲者，運中氣之法門也。不明此，即不明拳。」又謂︰「開合虛實，即是拳經。」太極拳是以纏絲勁為「經」，開合虛實為「緯」。經緯備而結合動作之剛柔快慢，庶可謂全，而臻上乘。陳氏太極拳特點有以下三項：
（一）動作，有快有慢，蓄發明顯。
（二）運勁，纏繞運轉，稱之為纏絲勁。
（三）呼吸，採用複式的丹田呼吸法。
裁判項目重點：
壹、
動作規格
（一）拳：四指並攏捲屈，拇指橫置於食指與中指之第二節，為實心拳。
（二）掌：掌指要以自然舒展為主，因動作之纏絲運轉，到成式時手指微呈後彎。
（三）鈎：鈎手為手指下垂撮成鈎形，大指輕貼於食指與中指梢節，無名指與小指輕貼於大指根旁。
二、 眼法
眼須有定向，且隨主手運行，主手運到之時，則回顧賓手，隨即仍注視於主手，同時並注意身之四週。
三、 身法
練拳走架重在身法，而身法之基礎，則在於立身中正。上則虛領頂勁，下則氣沉丹田，有上下對拉之意，所謂上下一條線，須做到不偏不倚。
四、 步法
（一）平步：平步為身體中正站立，兩腳距離與肩等寬，兩腳平踏地面。
（二）馬步：馬步為兩足平行分開，距離比肩較寬，身體下坐成半蹲式。
（三）弓步：前後弓步在前之膝，不能弓出足尖，後蹬之腿不能用力挺直，兩足踏於正方形對角上。平行之弓步，兩足平行於一直線上。
（四）虛步：虛步為一足踏實，一足虛點於地，兩足尖在一平行線上，距離較肩稍寬。
（五）仆步：仆步為一腿下蹲，一腿伸直下落，臀部並不貼地，足尖豎起或貼地。
（六）岔步：岔步為前伸之腿下落，大小腿及臀部均貼於地面，足尖豎起。
五、 腿法
（一）插腳：踢時腳面須繃平，先將膝部提起，而以彈勁用小腿上踢，以腳面、腳尖彈擊。
（二）蹬腳：蹬腳是以腳跟蹬擊，亦先將膝提起後，再以鬆勁將腳跟蹬出。
（三）旋風腳：旋風腳是利用踏地一腳旋轉，同時與身體亦旋轉之慣性，將另一腳以鬆勁旋出，用腳側攻擊。
（四）擺腳：擺腳是身體不旋轉，用腰胯勁將腿部旋轉擺踢，以腳面側擊出。
（五）提膝：提膝是以膝提起上擊。
貳、
勁力協調
一、
全身協調
拳架所求者，為外形姿勢與內在運勁之正確。腰為全身開合轉換之主要關鍵，對於全身各部之協調，勁力之推動均有主要作用。打拳時每一動作，均由腰部所發動。所謂「一動無有不動，一靜無有不靜。」即指腰而言。腰部運轉時，須如車軸般之直豎、穩定，與圓轉，帶動內氣及四肢似車輪般之旋轉。
二、
勁力掌握
太極拳之運勁須圓順，處處講求剛柔相濟，於勁力之掌握，即在於剛柔之相濟與變換。剛柔之變換，是於落點處為剛勁，其他過程中均為柔勁，而其變換之法，即拳勢動作運勁至盡頭，於下一動作之先，須經由折疊與轉換之過程，使前後之勁連接，而為連貫之圓勁。
三、
蓄發明顯
為陳氏太極拳之特點，有快有慢，蓄發明顯。然欲發勁發得透而乾脆，須先將勁蓄得足而巧妙；是故蓄勁為發勁之先決條件，能蓄才能發。拳勢之表現，為蓄勁時須將纏絲勁捲緊，由大圈收縮至小圈，發勁則是將纏絲勁開放，由小圈開展為大圈，充分發揮蓄發相變之陰陽法則。
四、
運勁螺旋
為陳氏太極拳之特點，運勁螺旋，纏繞運轉。以腰脊為運動的軸心，配合螺旋運動帶動四肢，由內而外，依順著各關節不斷旋轉過程，引導內勁傳佈全身，貫串成為其根在腳，主宰於腰而形於手指之旋轉曲線，使全身各處均螺旋運轉，血氣亦得以出入於淺層皮膚，與深層骨髓間之身體表裏各處。
參、
精神、速度、風格、內容、結構、佈局
一、 神氣積聚
太極拳之外在表現，重在氣勢，而不在架式，欲達氣勢騰挪，神氣鼓蕩，則須理法兼備，架勢精純；舉手投足，乾脆俐落，不拖泥帶水，一動全身皆動，一靜無所不靜。氣勢為演練拳架時，流露於外之神氣，須積聚而無散漫之意，而神聚於眼，意欲向何處，則眼神直射何處，隨手而往還。
二、
快慢有致
拳式動作內蘊景致，欲抑先揚，欲揚先抑，緩急有序，快慢有致，於轉折處較慢，過了轉折處則加快，但慢中不可顯得呆滯，快中不可顯得急迫；比賽之臨場表現，貴在動作純熟，比賽時可適切調整身形高低、動作快慢等演示之方式，但不可臨時改變套路或打法，而致生疏僵硬。
以下陳氏太極拳萃編十二式，為陳氏太極拳之動作實例，舉凡陳氏太極拳中較為特有之動作，均收納於十二式中，除所有拳式開合轉換過程所具之柔勁外，另含蹦躥、跳躍、發勁與震腳等剛勁動作，此套萃編若能嫻熟，於陳氏太極拳之理法可謂大致已備。
|
|
1 |
起勢 |
7 |
回頭撇身 |
|
2 |
單鞭 |
8 |
攢手 |
|
3 |
玉女穿梭 |
9 |
翻花舞袖 |
|
4 |
攬扎衣 |
10 |
演手肱拳 |
|
5 |
踢二起脚 |
11 |
小擒打 |
|
6 |
黃龍佔山 |
12 |
金剛搗碓 |
洪 允 和
師承： 陳發科 → 潘詠周 → 洪允和
允軒陳氏太極拳研究會 會長
發表【太極拳輔助教學運用上之研究】 獲TAECT頒發最佳論文獎
編定【陳氏太極拳48式套路】
為台灣第一套陳氏太極拳比賽套路
歷任：
中華民國太極拳總會陳氏太極拳分會 會長
中華陳氏太極拳協會 理事長
臺北市陳氏太極拳協會 理事長
新北市陳氏太極拳協會 理事長
中華臺灣國術會陳氏太極拳委員會 主任委員
"Pū Bù" (Crouch Step / Drop Stance)
Pū Bù, often translated as Crouch Step or Drop Stance, is a fundamental, low-to-the-ground stance in Chinese martial arts (Wushu). It is characterized by a deep, one-legged squat.
Here's a breakdown of the technique:
One leg is bent deeply into a full squat, with the thigh parallel to the ground and the foot flat.
The other leg is stretched straight out to the side, with the entire foot firmly planted on the ground.
The body weight is predominantly over the bent leg.
The torso is kept upright and straight.
Purpose and Application:
Evasion: To quickly drop the body's height to evade high attacks (like punches or swings).
Stability: It provides a very stable and low center of gravity, making it difficult to be pushed over.
Transition: It is often used as a transitional movement to flow into other techniques, such as sweeps or low strikes.
Strength Training: Holding this stance builds immense strength and flexibility in the legs and hips.
It is a core stance in many contemporary Wushu routines and traditional styles.
仆步
仆步是中國武術中的一個基本步型，也稱為低步或仆腿，是一種身體重心很低、姿勢沉穩的步法。
這個步型的動作要領是：
一腿全蹲，大腿貼近小腿，膝蓋微微外展，全腳掌著地。
另一腿向側面伸直平鋪，接近地面，腳尖內扣，全腳掌著地。
身體重心主要落在彎曲的腿上。
上身保持挺直，正對前方。
目的與應用：
閃避： 快速下蹲身體，以躲避針對頭、頸等上盤的攻擊。
穩定性： 極低的重心使其成為一個非常穩固的姿勢，不易被擊倒。
銜接動作： 常用於招式之間的銜接與轉換，例如接掃堂腿或地趟動作。
體能訓練： 練習和保持這個步型能極大地增強腿部和髖部的力量、耐力及柔韌性。
仆步是許多傳統武術套路和現代武術競賽中非常常見和重要的一個基礎步型。
Chà Bù (Straddle Stance / Cross-Step)
Chà Bù, commonly translated as Straddle Stance or Cross-Step, is a fundamental stance in Chinese martial arts. The name provides a clear image of the posture:
岔 (Chà): Means to fork, branch off, or straddle. This refers to the legs being split apart.
步 (Bù): Means step or stance.
This stance is characterized by a wide, solid base with the feet set apart, often with the toes pointing outward at an angle. It is a stable, side-oriented stance that provides a strong foundation for generating power for strikes or resisting pushes.
Key Characteristics:
The feet are set wide apart, significantly wider than the shoulders.
The knees are bent, and the body is lowered, creating a low center of gravity.
The torso is generally held upright and facing forward.
Weight distribution can vary but is often close to 50/50 or slightly biased towards one leg.
Purpose and Application:
Stability: Provides a very solid and immovable base.
Power Generation: The wide base and coiled legs allow for powerful twisting motions to generate force for punches, palm strikes, or blocks.
Rooting: Helps the practitioner "root" to the ground, making them difficult to unbalance.
Transition: It serves as a transitional stance for moving into other techniques or stances.
It is a core stance in many northern Chinese martial arts styles and is a fundamental part of basic training.
岔步 (Chà Bù)
岔步是中國武術中的一種基本步型，從名稱即可理解其姿態：
岔 (Chà): 意指分叉、張開。形容雙腿分開的動作。
步 (Bù): 指步法或步型。
這是一種雙腳大幅度分開、身體重心下沉的穩固步型，通常身體側向對敵，為發力或抵禦對手推動提供堅實的基礎。
動作特點：
兩腳左右分開，距離遠大於肩寬。
雙膝彎曲，身體下沉，降低重心。
上身保持挺直，正對前方。
重心分佈可以均勻，也可略微偏重於一腿。
目的與應用：
穩固下盤： 提供一個極其穩定、不易被推動的基礎。
蓄勁發力： 利用寬闊的步幅與屈膝的姿勢，透過身體的擰轉產生強大的力量，用於出拳、擊掌或格擋。
扎根： 幫助習武者「扎根」於地面，難以被撼動。
動作銜接： 作為轉換其他招式或步法的過渡動作。
岔步是許多北派武術的核心步型之一，也是基礎訓練中非常重要的一環。它與「馬步」類似，但通常雙腳開步的寬度與角度有所不同，更強調側向的穩固性。
Chā Jiǎo (Inserting Step / Threading Step)
In Chinese martial arts, Chā Jiǎo is a tactical footwork technique, not a static stance. The name vividly describes the action:
插 (Chā): To insert, thread, or stab.
腳 (Jiǎo): Foot or leg.
Therefore, it translates to "Inserting Step" or "Threading Step."
Key Characteristics & Purpose:
Breaking the Root: The primary purpose is to break the opponent's "root" (their connection to the ground and stability) by getting your foot into their base of support.
Controlling Position: By placing your foot behind or between their legs, you control their hips and center of gravity, making it difficult for them to move effectively.
Setting Up Throws: It is a fundamental setup for many throwing techniques. Once the leg is "inserted," a simple turn or lift of the body can easily unbalance and throw the opponent. Examples include the leg sweep and many hip throws.
Surprise and Deception: The step is typically fast, direct, and executed from a close range, often following an attack to the upper body that draws the opponent's attention away from their lower body.
In summary: "Inserting Step" is a crucial combat footwork for closing distance, off-balancing, and throwing an opponent.
插腳 (Chā Jiǎo)
插腳是中國武術中一種戰術性的步法與身法技巧，而非一個靜止的定步姿勢。其名稱生動地描述了動作的本身：
插 (Chā): 插入、穿入。
腳 (Jiǎo): 腿、足。
技術特點與目的：
破壞根基： 主要目的是通過將自己的腳深入對手的支撐基底內，來破壞其「根基」（即與地面的穩定連接）。
控制位置： 將腳置於對方腿後或腿間，可以有效控制其腰胯與重心，使其難以移動和發力。
為摔法創造條件： 這是許多摔法技藝的基礎前置動作。一旦腳成功插入，只需一個簡單的轉身或身體上抬，就能輕易地將對手摔倒在地。例如許多掃腿與胯摔的動作都依賴於成功的插腳。
出其不意： 此步法通常快速、直接，在近距離下施展，並常配合對手上盤的攻擊，以轉移其對下盤的注意力。
簡單來說： 「插腳」是一種在近身格鬥中用來破壞平衡、控制對手並實施摔投的關鍵性步法。它的精髓在於「切入」對手的防守核心。
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