自然運動
帶動，趁勢前進
帶動，趁勢前進
The author’s distinction is 帶動 describes the body carrying the arm; 趁勢前進 describes how that arm movement continues once it has been set in motion.
帶動 — the torso carries the upper limbs
He defines it as:
「這是上肢被身軀帶動力所發生的運動作用。」
The driving movement comes from the 身軀—torso, through three actions:
| Body action | Author’s explanation |
|---|---|
| 移動 — shifting | Moving the torso forward, backward, or sideways. |
| 轉動 — turning | Rotating around the body’s central line or waist, like an axle. |
| 起落 — lowering and rising | Lowering or raising the body, mainly through bending and extending the knees. |
These three actions can combine to carry the arms.
He particularly stresses 鬆肩鬆肘—releasing the shoulders and elbows. The arm must be available to move under the body’s influence.
He also says:
「手掌或連同臂被帶動後的速度和方向，與身軀移轉的速度方向並不一致。」
Thus, the arm does not simply preserve a fixed relationship to the torso. Its direction and speed can differ. In his terminology, moving together at the same speed and direction would instead belong to 原體位.
The training purpose of 帶動 is 提勁、黏勁: developing the ability to lift or lead a partner through connected contact. He describes drawing the partner inward, sending them outward, or disturbing their balance through this connection.
趁勢前進 — continuing the movement after being carried
His definition is:
「被帶動後的手勢，如果不在帶動力消失的同時停止動作，便可利用慣性作用繼續前進。」
The key is the hand does not stop merely because the initial carrying action ends.
Here, 前進 means continuing along the movement’s course, including both 圓轉—circular movement and 平進—linear movement. It does not necessarily mean stepping forward.
He divides this continuation into three forms:
| Form | What the author says |
|---|---|
| 餘勢前進 — residual continuation | The movement has not completely spent itself. The hand continues, gradually slowing down. |
| 加速前進 — accelerated continuation | The body keeps moving and carrying the hand, progressively increasing its speed. Additional acceleration supplied by the arm itself is called 二重加速, which he says is seldom used in the form except when issuing force. |
| 慣性前進 — inertial continuation | The torso stops shifting or turning, but the hand continues in its previous direction. He describes its continuing speed as matching the torso’s speed before stopping. |
His stated training purpose is 連勁、發勁—connecting and issuing force. He emphasizes that connection and issuing are inseparable: 「能連便能發」.
The precise difference in his framework:
帶動 asks: “How does the body set the arm in motion?”
趁勢前進 asks: “How does that movement continue instead of ending with the initial carrying action?”
They are therefore two connected phases or aspects of movement, rather than two unrelated techniques. His three-part classification also shows that 趁勢前進 is broader than passive coasting: it includes continued body-driven acceleration.
易簡拳架
易簡拳架
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)
自然運動(Natural Exercise)總說
二、自然運動(Natural Exercise) 在肌肉充分松弛下藉腰腿移轉位置的盪動力量達到拳勢目標的現象名為 食作用便是藉以達成鬆柔的捷徑。太極拳各姿勢動力的來源,雖看來都
中國松柔太極功夫口 轉、升降、伸縮等作用發出,但是真正力源還是腿腳的彈性作用。當腰胯運用腳掌在地 面移動,或用肢體肌肉著力伸縮時,便借地面阻抗產生的一種反動力,經由體軸傳送到 上身的肘臂腕掌,發生各種運動現象。一般用上肢緊張伸縮,產生和肌肉大小成正比的 力量,如學重、推磨、拳擊等,這叫強力運動(Dynamic Exercise)(註七:五)。如果關 節肌肉充分松弛,便被地面反動力所帶動;結果使上肢把腰腿傳來的力量在空間旋轉或 進退擺動消耗,上肢肌肉並不發生力量的,這叫自然運動(駐七-六)。在自然運動裏如果二、自然道重(Natura 在肌肉充分松弛下藉腰腿移轉位置的盪動力量達到拳勢目標的現象 中國松柔太極功夫口
轉、升降、伸縮等作用發出,但是真正力源還是腿腳的彈性作用。當腰胯運用腳掌在地 面移動,或用肢體肌肉著力伸縮時,便借地面阻抗產生的一種反動力,經由體軸傳送到 上身的肘臂腕掌,發生各種運動現象。一般用上肢緊張伸縮,產生和肌肉大小成正比的 如舉重、推磨、拳擊等,這叫強力運動(Dynamic Exercise)(註七・五) 節肌肉充分松弛,便被地面反動力所帶動;結果使上肢把腰腿傳來的力量在空間旋轉或 進退擺動消耗,上肢肌肉並不發生力量的,這叫自然運動(駐七:六)。在自然運動裏如果 氣沈丹田,運用中氣隨意識驅使氣血的流注力,發動上肢把自然運動貫事起來,作連環 演進,結果在圓弧路線中產生了不可思議的力量,這叫意志運動(Will Power Exercise) (龍七:七),正如太空衛星利用火箭升空後,愛宇宙無形引力之驅使,繞行於太空的原理 很相近似。太極拳到了用「意志運動」的境地,動作圓圈更小,這時已脫離「自然運動」 的形式和作用,每一動作都可隨心所欲,「內固精神,外示安逸」,無形無象,運勁如 抽絲,節節貫串無間隙,看來好像無形無力,可是每一運動圈裏都含有無比威力。如果 再進一步加強靜定功夫,使氣血貫通奇經八脈後,繼續以正氣培養人體本元,增加體内
第七章太極拳概說
易简太極拳
四四 新生活力,一旦寂靜悟通宇宙變化天人合一的感應,易辭說:「寂然不動,感而遂通,天 下之至神」,則一切潛力可以隨感應而發揮,這叫靈磁運動(Cosmic Power Exercise)( 七··八)。
學習太極拳必須從自然運動下手,若把自然運動的意義徹底領悟,並且能夠完全運 用在拳勢上,便可以自信太極拳已學到家了,這時再盡心竭力地動練下去必有循階而進 的一天。即便永遠用自然運動的手法練習拳勢,仍然可以達到太極拳的健身和應用目標, 不過練習基本手法最忌容易混淆的強力運動,這是由上肢肌肉自行緊張伸縮所發生的動 力,也就是手臂的自動,這種動手的強力運動,不屬本節撰述範圍。 本書將太極拳每一姿勢分成若干小動作,就是根據這個自然運動原理來分的,每一 動作的起止,等於一個動力所發生的單獨作用,不過也有用兩三個動力的合力完成一個 動作的,所以本節便是專門敘說自然運動。而意志和靈磁兩種運動應屬內功範圍,其意 志導引細則必須口傳心授,難以筆述。 手的自然運動是被動,都隨腰幹帶動,腰是從腿胯傳達腳底的反作用力而動,拳經從腿胯傳達腳底的反作用力而動,拳經 「其根在腳,發於腿,主宰於腰,形於手指,由腳而腿而腰,總須完整一年 個意義,或利用地心吸力慣性力旋轉、離心力等而動。要合乎這些動力原則的 極拳的真正手法。關於太極拳的自然運動原理,是從十三式體用歌訣中 獵靜」,「屈伸閉合聽自由」二句,臂拳論「動靜之機,陰陽之母」,行 變成實」,拳經「處處總此一虛實」等語悟化而來,概括言之,不外下面「靜中有動, 動中有静一的八個原則。本書拳勢動作說明是完全根據這八種自然運動的原則寫的,所 以這裏先對各原則名詞詳細作一解釋,使讀者對後面各拳勢動作容易韻悟,茲述自然運 動的八種原則如下: (原體位(The Original Body Position)⋯ 這種運動是手勢局部保持在身體原來的姿 勢位置不變隨著身體移轉而動作。也就是說:身體位置和方向移動時,手勢保持在身體 移動前原來姿勢的位置不變,從外表看來是隨身體運動了,實在手未自動,亦即手與身 體問無相對運動,這種保持手勢在身體原來相關位置的動作,我們簡稱為原體位。好像 乘飛機的旅客,隨者飛機航行幾千公里,身體卻仍固定在飛機上沒有動,這和原體位是
第七章太極拳概說
,猴身和其他三肢在周圍上下跳動,可是繋在木椿上的右腕,始終沒有 識控制在空間,后者用繩繫在木椿,這都和原空位是同一意義。 中國松柔太極功夫口
主位是空間對地面對待利用的手法,就易理來說:是一種錯卦現象,這裏 妙用,也是太極拳獨有的無上心法,讀者務必心領神會便可 原空位是練習走化和貼勁的基本手法,功夫練到精精微,每一動作都會有「人不知我, 獨知人」的妙用。例如我用手掌貼住他人身體的時候,我能攻取走化自由。 動静完全在我掌握之下,不得脫離,這在擠、按二式中就可體會出來。 恒宾貯(Float Up and Down Correlatedly):這是沉降和浮升兩兩種相對作用的動態, 沉降時手腕保持原狀不變,整個從原體位垂直向下降落。沈者手臂上學時,松開肩肘肌 肉和關節,由於地心吸力,即見整條胳膊降落,如果單獨松開上臂肌肉和肘關節,僅見 前臂降落。如果上身轉向時,降落路線不成垂直,變成斜沉降動作了。不過沉降時要用 意識控制它的速度,應像瓦片石子從水面沉落水底,羽毛從高空沉降地面,都是緩慢進 行,不像石頭在空中墜落那麽快速,所以叫做沉降。 开是手勢依垂直線升起,手臂肌肉關節必須完全鬆弛,凡用意識控制速
第七章太極拳概說
四七
易簡太極拳
四八 持。但上升以前的原來形狀,必須保持不變,好似浮雲出谷。這種上升力最初只是由身 軀後退時趁反作用力所帶動,或從含胸回復中直時所帶動,練習時間久了,可由意志運 動的中氣發動。如果身體的帶動作用,除了直退反動力外,還可利用旋轉離心力浮升, 這是循腰轉肩帶肘動之斜弧線升起了。斜浮升也可以從斜沉降的價性趨勢造成,正如鰍 韆之擺盪,不過上升的速度必須有意識地控制,不便過於快速揮動,要像木塊從水底向 上浮動一般,所以叫做浮升。 沉浮運動是一種借勢起伏的手法,好像宇宙氣壓的對流作用。就易理來說:是九六 爻變升降現象,這裏面的沉浮手法,都含有動靜陰陽變化。 沉降和浮升兩個動作是練習聽勁(註七:九)和隨勁的基本手法,練習的火候到了,便 能運用意志充分順隨別人動力還擊別人,隨著別人用力大小方向進退變化,我不宜用本 身力量阻滯他,即可達到「引進落空」的目的,現代無人駕駛而利用電腦控制的追蹤飛 彈,頗像這個運動手法。 四帶動(Forced Motion),這是上肢被身軀帶動力所發生的運動作用。所謂帶動力有
中國松柔太極功夫二
移動、轉動和起落三種原動狀態:移動是身軀向前後平移,或左右橫擺,這種移動都是 直線不移為原則;轉動是身軀像車軸似的向左右旋轉,這種轉動以體軀中線或腰作軸心 為原則;起落是身軀下蹲或起身的動作,這種動作以膝胯伸屈為主,在必要時可能有三 種原動狀態同時合成一種帶動作用。 手掌或連同肘臂被帶動後的速度和方向,與身軀移轉的速度方向並不一致,如果方 向速度一致那便是原體位了,所以不移時應是脱離了原體位,轉動時脱離了原空位,升 降未必成垂直路線,並且帶助後的過程和帶動力成正比。帶動作用是從處體位演變出來 的,就易理來說道是一種抽交換象的交變卦位,象徵著卦變現象,能夠運用手法操縱虛 實,並能引導中氣的灌注,因此無堅不摧了。 帶動是練習提勁和黏勁的基本手法,火候成熟時,每一動作都可使人身不由主的被 他吸進送出,甚至於左顛右跌,要想站穩或離脫,都不可能。練習帶動手法,必須松弛 肩肘關節,才可發揮效用。有了黏勁和提勁,只要中氣灌注便可帶動別人,這帶動作用 很像沖翔機的飛行,把靜止的東西帶上天空去,又像我們用手握石頭向遠空抛出的作用。
第七章太極拳概說
易簡太極拳
五〇 五趁勢前進(Inertial Movement):被帶動後的手勢,如果不在帶動力消失的同時停 止動作,便可利用慣性作用繼續前進。這裏所謂前進,包括圓轉和不進兩種途徑。所謂 刀,也有三種狀態:一、是餘勢前進,手勢被帶動的力量沒有耗盡,仍舊 中,可是已到前進的尾聲,進行的速度慢慢減小,所以也叫減速運動,或叫減速前進。 二、是加速前進,手勢被帶動後,仍隨著身體的移轉繼續前進,而且速度大於帶動初期, 於是手勢的進行,逐步加快,所以也叫加速運動如轉身跨腳是;若帶動後由臂力推動的 一重加速,除發勁外在拳勢裏很少使用。三、是慣性前進,手勢被 ,身軀停止移轉動作時,而手勢由於動者恆動的慣性,仍舊照原來方向有 進行的速度和身軀停止前的原來速度方向相 進的動態,以身軀在内為體,上肢在外為用,這種手法也可内外體 連環演進,個中奧妙,層出不窮。就易理來說:應是貞、悔相互的現象,聯合而成動静 之機,分離則失剛柔之用,久久體會,自然了解。 趁勢前進是練習連勁和發勁的基本手法,因為能連便能發,所以連和發不可分離。
中國松柔太極功夫二
這個手法練習有成就的人,一動手便無休止地此落彼起,勁斷意不斷地著著估了先機, 保持優勢,直到敵敗為止。所以練拳時把整套架式六十四勢連成一氣完成,毋使有缺陷 處,毋使有凸凹處,毋使有斷續處,就是連勁的基本運動。 這個手法的意義和原理,很像滑翔機被帶上天空後,能夠繼續自動滑翔飛行,而且 在飛行中受人操縱,在任務完成後安全降落,和太極拳的趁勢前進而受意識控制相同。 心懸動(Moving Forward and Backward):這是帶動距離較長的一種跟蹤手法,因 是跟隨帶助力飄行,所以也叫隨勢而進。被带動後没有餘勢如長,也不加迎進行,故與 趁勢前進有別。動作位置起於身軀移轉之後,止於身軀下一移轉之前,動作時間相同, 但是都稍遲於身軀動力的起止,所以速度比身軀動作稍快,距離比身軀移動稍長,實在 是一種擺動作用,這和原體位顯然不同了。前面的帶動是指身軀一個移轉動力的作用, 這種由多個移轉動力連續的作用,手臂在被帶動過程中,略有不顯著的波動意味,所以 叫做盪動。
盪動是一種上動下應的手法,手心和腳心相應,肘端和膝端相應,胸中和腹中相應,
第七章太極拳概說
易簡太極拳
樣才可以發揮中定跟蹤的效用。就易理來說:是一種六爻的感覺現象,由 相濟,達成懂勁的妙用。 勞作平面旋擺的叫横盪,手勢作縱面立體旋擺的叫做縱盪,手勢作斜面 斜盪,手勢作水平前進後退的叫來復盪,手勢進行中各關節充分鬆弛,動作以腰腿為主 宰,配合手勢每一動作的旋轉進退。 盪動是練習不丟不頂的中定手法,練到大成的時候,在敵我一經接觸,不論如何變 化,始終用四兩功力相持不變,黏、貼、連、隨和不丟頂五種勁道融合於一處,即使對 方力過千斤,速如箭發,也都隔於四兩功力,在不丟不頂中解脫了。這種作用很像無人 飛機的無線電操縱術。 七反動(Reaction Motion):這是兩種反應動作的簡稱,一是反作用力,一是反感 #。一個發生了作用的力量,便同時有反作用力發生,如船夫用竹桿著力 開岸邊;跳蚤用大腿在物體上著力彈伸,蚤體就飛躍而去,我們用拳擊 可能兩人都要退卻一步,這都是牛頓反作用定律(Law of Reaction)的反動力。太極拳
中國松柔太極功夫口
中國松柔太極功夫二
上身的自然運動,甚至除強力運動以外的其他運動,都沒有這個反作用力,如果發生了 ,那便不是太極拳的手法;不過具有太極拳上乘手法的人,能借地而 途盪,能借火車汽車的強大衝力彈退遠遁,還都是利用反作用力練成的輕 ,在湖南的杜心五老師和易邦正老師,便有如此功力。太極拳具有內力, 可利用接勁反擊強力拳擊即此反作用力。 另一種反感應力是彼感此應的反應動作,最顯明的一個例子,便是「擊蛇頭而蛇尾 至」。在太極拳的身法裏,如左側被迫走化而旋轉後退,右側便會由感應而同時旋轉前 進:上身被道後仰,手腳便會受感應而上提,這從物理學學來看,應是積得作用原理。我 們常用這原理的意識來輔助感應動作發揮,練到習慣了,便成為自然運動。 反作用力是剛柔未濟的手法,反感應力是剛柔相濟的手法。易理上象徵太極圖的陰 陽二極,是同性相斥的原理,正如陽剛遇陽剛,必定發生衝突而成反動的反作用。指北 磁針接觸另一手持磁針,如果接觸的都是陽極,那麼指北針的陽極,立刻從一側旋離開 去,它端的陰極同時從另一側旋轉攏來,這時手持磁針的陽端便已受到指北針陰極的黏
第七章太極拳概說
五
Chinese Songrou Tai Chi Kung Fu Oral Technique
The three primary states of movement, rotation, and elevation/lowering: movement refers to the body translating forward and backward or swinging side to side, where the principle is that linear movement should not be displaced; rotation refers to the body turning left and right like an axle, with the midline of the torso or waist as the axis; elevation/lowering refers to the actions of squatting or standing up, primarily involving the extension and flexion of the knees and hips, and when necessary, the three primary states may combine to produce a driving effect. The speed and direction of the palms or the connected elbows and arms after being driven do not match the speed and direction of the body's pivot. If the directions are consistent, then the body has remained in its original position. Therefore, if the body does not pivot, it has left its original position; if it does pivot, it has left its original empty space. The ascent and descent may not follow a vertical path, and the process of being carried by assistance is proportional to the driving force. The driving effect evolved from the position of the source; in simple terms, it is a shifting hexagram position of the transformation of images, symbolizing the phenomenon of hexagram change. It can manipulate the interplay of void and substance and guide the infusion of vital energy, making it invincible. Pulling is the basic technique for practicing lifting and sticking power. When the timing is perfect, each movement can draw the body in and push it out, causing it to topple left and right; it is impossible to maintain a steady stance or escape. To make the practice of mobilizing the techniques effective, the shoulder and elbow joints must be relaxed. With stickiness and lifting power, as long as the central qi is infused, it can drive others; this driving effect is like a gliding machine taking stationary objects into the sky, or like throwing a stone into the vast expanse of space with our hands.
Chapter 7 Overview of Tai Chi
2. Natural Exercise: The phenomenon in which the swinging force of shifting position through the waist and legs achieves the fist posture target while the muscles are fully relaxed is called the "eating effect," which serves as a shortcut to achieving looseness and flexibility. Although the sources of power in each Tai Chi posture all seem to be...
Chinese Songrou Tai Chi Kung Fu: Although rotation, lifting and lowering, and stretching and contracting are produced, the true source of power still comes from the elasticity of the legs and feet. When the waist and hips move on the ground using the balls of the feet, or when the limb muscles contract and extend with force, a reactive force is generated by the resistance of the ground, which is transmitted through the body axis to the upper body's elbows, arms, wrists, and palms, producing various movement phenomena. Generally, using the tension and extension of the upper limbs to generate a force proportional to muscle size, as seen in weightlifting, grinding, and boxing, is called dynamic exercise. If the joint muscles are sufficiently relaxed, they are driven by the ground's reactive force; as a result, the force transmitted from the waist and legs is dissipated through spatial rotation or swinging back and forth, and the upper limb muscles do not exert force. This is called natural movement (holding seven-six). If in natural motion
II. Natura (Natural Movement): The phenomenon in which, with muscles fully relaxed, the swinging force transmitted through the waist and legs achieves the fist posture goal. Chinese Songrou Tai Chi Kung Fu.
Movements such as rotation, lifting, and extension are produced, but the true source of force is still the elasticity of the legs and feet. When the waist and hips move on the ground using the balls of the feet, or when the limb muscles contract and extend with force, a reactive force is generated by the resistance of the ground, which is transmitted through the body axis to the upper body's elbows, arms, wrists, and palms, producing various movement phenomena. Generally, using the upper limb for tension and extension generates force proportional to muscle size, as seen in weightlifting, grinding, and boxing; this is called dynamic exercise. (Note 7:5) When the muscles are fully relaxed, the force is driven by the ground reaction; as a result, the upper limb transmits the power from the waist and legs through spatial rotation or swinging back and forth without the upper limb muscles exerting force; this is called voluntary exercise. (Note 7:6) In natural movement, if Qi sinks into the Dantian and the body's vital energy is consciously used to drive the flow of qi and blood, mobilizing the upper limbs to coordinate natural motion in a continuous sequence, an incredible force is generated along the circular path; this is called Will Power Exercise (Long Qi: Seven). This is very similar to how satellites, after being launched by rockets, are propelled by the invisible gravitational pull of the universe to orbit space. When Tai Chi reaches the stage of “movement of will,” the circles of movement become smaller; at this point, it transcends the form and function of “natural movement.” Each movement can be performed at will, “strengthening the spirit internally and expressing ease externally.” Invisible and formless, the power flows like silk, seamless and continuous; it may seem intangible and powerless, but every circle contains immense power. If static cultivation is further strengthened, so that qi and blood connect through the extraordinary meridians and the eight channels, and the body's vital essence is continued to be nurtured with righteous qi, increasing the amount within the body...
Chapter 7 Overview of Tai Chi
Easy and Simple Tai Chi
44 New Life Power: Once one attains a silent understanding of the universe’s transformations and the unity of heaven and man through resonance, as the Book of Changes says, “In stillness and motion, one is instantly connected; the highest divine power descends.” Then all potential can be unleashed through resonance; this is called the Spiritual Magnet Movement (Cosmic Power Exercise) (7–8).
To learn Tai Chi, one must start with natural movement. If the meaning of natural movement is fully understood and can be completely applied to the forms, then you can be confident that you have mastered Tai Chi. At that point, dedicating yourself to practice will surely lead to steady progress. Even by practicing the natural movement method of form, one can still achieve the fitness and practical goals of Tai Chi. However, when practicing the basic techniques, the greatest pitfall is the confusion of powerful movements, which arise from the automatic contraction and extension of the upper limb muscles—that is, the arm’s voluntary action. This kind of manual, forceful movement is outside the scope of this section. This book divides each posture of Tai Chi into several smaller movements, based on this principle of natural motion. The beginning and end of each movement correspond to the effect of a single force, though sometimes the combined effect of two or three forces completes a movement; therefore, this section is dedicated to explaining natural motion. The two movements of will and spiritual magnetism fall within the realm of internal martial arts; the detailed rules for guiding and directing the will must be transmitted orally and through the heart, making them difficult to put into writing. The natural movement of the hands is passive, all driven by the waist; the waist moves through the reaction force transmitted from the leg and hip to the sole of the foot. — Wenjing
Moving by transmitting the reactive force from the hip to the sole of the foot, the fist follows the principle: “Its root is in the foot, its origin in the leg, its control in the waist, and its form in the fingers; from the foot through the leg to the waist, it must be complete.” It may also utilize the earth’s central suction, inertial force, rotation, centrifugal force, and so on. Only the authentic techniques of the Jiquan that conform to these principles of motivation. The principles of natural movement in Tai Chi were derived from the 13-form body-movement mnemonic verses, such as the two lines “Chasing stillness” and “Bending and extending, closing and opening, listening to freedom,” the arm fist’s discussion of “the mechanism of movement and stillness, the mother of yin and yang,” the transformation of change into reality, and the fist classics’ statement that “this void and substance are everywhere present.” In summary, these boil down to the eight principles of “movement within stillness and stillness within movement.” The explanations of the fist movements in this book are written entirely based on these eight principles, so here we first provide detailed explanations of the terms for each principle to help readers intuitively grasp the subsequent movements. The eight principles of natural movement are as follows: (Original Body Position) ... This movement involves the hand holding a partial part of the body in the original posture without changing the overall position of the body as the body moves. In other words, when the body's position or orientation changes, the gesture remains in the original posture of the body before the movement and does not shift; from an external perspective, it appears to move with the body, but the hand does not actually move automatically—that is, there is no relative movement between the hand and the body. This state of maintaining the gesture in the body's original relative position is simply called the original posture. It seems that a passenger on a plane, while the aircraft has traveled thousands of kilometers, remains fixed to the plane without moving; this is different from the original position.
Chapter 7 Overview of Tai Chi
The monkey's body and the other three limbs are jumping up and down around it, but the right wrist tied to the tree trunk has never been in control of the space; the latter is tied to the tree trunk with a rope, which is the same as the original empty space. Chinese Songrou Tai Chi Kung Fu Oral Technique
The host is a technique of utilizing the space in relation to the ground. In terms of principle, it is a phenomenon of a mistaken hexagram. Here, it is used skillfully and is a supreme method unique to Tai Chi. Readers must intuitively grasp it. The original empty space is the basic technique for practicing flowing transformation and applying force. When the skill reaches the utmost refinement, every movement reveals a subtle effect of “the other person does not know me, but I know them.” For example, when I press my palm against another person's body, I can seize their freedom. The dynamics are entirely under my control and cannot be separated; this can be felt in the second style of squeezing and pressing. Float and Down Correlatedly: This is the dynamic of the two opposing effects of sinking and rising. During sinking, the wrist remains unchanged, and the entire body descends vertically from the original position. When the person is submerged, relax the shoulder and elbow muscles and joints in the arm; due to gravity, the entire arm will sink. If only the upper arm muscles and elbow joints are relaxed, only the forearm will sink. If the landing path is not vertical when turning the upper body, it becomes a banked dive. However, during settling, its speed must be controlled by consciousness; it should proceed slowly, like tiles or pebbles sinking from the water's surface to the bottom, or feathers settling from high altitude to the ground, rather than falling rapidly through the air, which is why it is called settling. The opening gesture is raised along a vertical line; the joints of the arm muscles must be completely relaxed; all use conscious control of speed.
Chapter 7 Overview of Tai Chi
47Easy and Simple Tai Chi
48. Hold. However, the original shape before the rise must remain unchanged, like floating clouds emerging from the valley. This upward force is initially generated by the reaction force when the body retracts or by the straightening of the chest during the return; with prolonged practice, it can be activated by the controlled movement of the central qi. In addition to the body's driving effect and counterforce, rotational centrifugal force can also be used for lifting; this is achieved by moving the waist, shoulders, and elbows in an oblique arc. Slanting uplift can also result from the tendency of slanting subsidence, as seen in the oscillation of the loach. However, the rate of ascent must be consciously controlled; it should not be too rapid, as it should be like a block of wood rising from the bottom of the water, hence the term 'floating rise.' Ups and downs is a technique of leveraging fluctuations, much like the convection of atmospheric pressure in the universe. In terms of Yi-Theory, this is the 9-6 'fen' transformation of rising and falling; the techniques of sinking and floating here all contain variations of movement, stillness, and yin-yang. The sinking and rising movements are the basic techniques for practicing listening to the force (Note 7:9) and following the force. Once the timing is right, one can use willpower to fully follow and counter the opponent’s momentum, advancing or retreating according to the magnitude and direction of their force. It is inappropriate to use one’s own strength to block them, thereby achieving the goal of “introducing the strike without impact.” Modern drones and computer-controlled tracking missiles are quite similar to this movement technique. 4. Forced Motion: This is the movement of the upper limb caused by the driving force of the torso. The so-called driving force includes:
Chinese Songrou Tai Chi Kung Fu II
Easy and Simple Tai Chi
505 Inertial Movement: For a gesture that has been moved, if the action does not stop while the driving force is still present, it can continue to move forward by utilizing inertia. Here, so-called progress includes both circular turns and failure to advance. A so-called knife has three states: first, the remaining momentum is still forward; the force driving the gesture has not been exhausted, so it is still in the middle. However, the speed of movement has reached its limit and is gradually decreasing, which is also called deceleration or decelerated forward movement. 2. Acceleration: After the gesture is initiated, it continues to move forward with the body, and the speed is greater than at the initial stage of initiation. Thus, the progression of the gesture gradually speeds up, which is also called accelerated movement. For example, in a turning step, the first acceleration driven by arm force is rarely used in the fist stance except when generating power. 3. This is inertial progression. When the body stops shifting, the hand, due to the constant inertia of movement, continues to move forward at the same speed as before and in the same direction as before the body stopped. Taking the body as the center and the upper limb as the tool, this technique can evolve in a continuous cycle of internal and external connection, with endless subtleties and endless variations. In terms of Yi-Theory, this is a phenomenon of the interplay between chastity and repentance; when united, they create the opportunity for movement and stillness, but when separated, they lose the function of strength and gentleness. With prolonged experience, one will naturally understand. Advancing while maintaining momentum is the basic technique for practicing continuous power and power release; since being able to maintain momentum means being able to release power, the two are inseparable.
Chinese Songrou Tai Chi Kung Fu II
Those skilled in this technique, once they begin, will endlessly alternate between this and that, continuously breaking their opponent’s momentum and intent, maintaining the advantage until the enemy is defeated. Therefore, when practicing, complete the entire set of sixty-four postures as a single, unified movement, leaving no flaws, no unevenness, and no interruptions; this is the fundamental principle of continuous power. The meaning and principle of this technique are very similar to how a glider, once taken into the sky, can continue to glide autonomously while being controlled by a pilot and safely land after completing its mission—much like Tai Chi’s “seizing the momentum” and being guided by consciousness. Moving Forward and Backward: This is a tracking technique for longer distances; because it follows the power-assisted drift, it is also called advancing with the momentum. After being led, there is no remaining momentum; it does not advance in succession, thus differing from advancing while still in the momentum. The movement position begins after the torso has shifted and ends before the next shift; the duration of the movement is the same, but it is slightly later than the start and stop of the torso's power, so its speed is slightly greater and the distance slightly longer than the torso's movement. It is essentially a swinging action, which is clearly different from the original posture. The forward drive refers to the action of a single body rotational force; because this is the result of the continuous action of multiple rotational forces, the arm exhibits a slight fluctuation during the process of being driven, which is called oscillation.
The 'waving motion’ is a technique of upward movement responding to downward action; the palm and the sole of the foot correspond, the elbow and the knee correspond, and the center of the chest and the center of the abdomen correspond.
Chapter 7 Overview of Tai Chi
Easy and Simple Tai Chi
Only in this way can the tracking effect of the central determination be realized. In terms of Yi-Theory, it is a phenomenon of the sixth line, achieved through mutual assistance, realizing the subtle function of understanding strength. When the body performs a planar swing, it is called a lateral swing; when the hand performs a vertical three-dimensional swing, it is called a longitudinal swing; when the hand performs an oblique or diagonal swing, it is called a diagonal swing; when the hand moves forward and backward horizontally, it is called a reciprocal swing. During the movement, all joints are fully relaxed, with the waist and legs as the main movers, coordinating the rotation and extension/extension of each gesture. The 'swinging strike' is a practice of the Zhongding technique that avoids losing balance or toppling. When mastered, upon first contact between attacker and defender, regardless of changes, one maintains a constant balance through the power of four liang. The five types of force—stick, press, connect, follow, and no loss of toppling—are integrated into one; even if the opponent’s force surpasses a thousand pounds and comes like an arrow, it is still beyond the reach of four liang of power, allowing one to escape without losing balance or toppling. This function is very similar to the radio control system of an unmanned airplane. Seven Reaction Movements: This is an abbreviation for two types of reactive actions—one is the reaction force, the other is aversion. Whenever a force acts, a reaction force acts in its opposite direction. For example, when a boatman pushes against the shore with a bamboo pole, or when a flea uses its thigh to spring off an object and leaps away, or when we punch, both may have to take a step back; this is all the counterforce of Newton's Law of Reaction. Tai Chi
Chinese Songrou Tai Chi Kung Fu Oral Technique
FiveChinese Songrou Tai Chi Kung Fu II
Natural upper body movement, and even any exercise other than strength training, lacks this reactive force; if it occurs, it is not the technique of Tai Chi. However, those with superior Tai Chi skills can use the ground to glide, repel powerful train or car momentum to escape, all by harnessing the lightness cultivated through reactive force. Master Du Xinwu and Master Yi Bangzheng in Hunan possess such power. Tai Chi has internal energy, which can be used to connect with and counterforce a powerful punch through this reactive force. The other type of reactive force is a response in which the other party reacts; the most obvious example is “striking the snake’s head while it has its tail.” In Tai Chi body movement, if the left side is forced to move and rotate backward, the right side will simultaneously rotate forward in response: as the upper body tilts backward, the hands and feet are lifted accordingly. From a physical science perspective, this is the principle of cumulative effect. We often use this principle of consciousness to assist our sensing actions; once accustomed to it, it becomes a natural movement. The reactive force is the technique of balancing hardness and softness; the responsive force is the technique of harmonizing hardness and softness. In Yi theory, the yin and yang duality of the Taiji diagram symbolizes the principle of like repulsion; just as yang meets yang, conflict is bound to arise, producing a reactive counteraction. To point the north: if the magnetic needle contacts another magnetic needle and both are anodes, then the anode of the north-pointing needle should immediately rotate away from one side while the cathode at its end rotates toward the other side. At this point, the anode of the magnetic needle being held will be attracted by the cathode of the north-pointing needle.
Chapter 7 Overview of Tai Chi
盪動
盪動 means a subtle, continuous swinging of the arms carried by successive movements of the body, while maintaining responsive contact with a partner. I would translate it as “body-led swinging motion” rather than simply “moving forward and backward.”
The author is describing how the movement is produced, not merely its direction.
1. The body leads; the arms follow with a slight delay（身軀帶動，手臂稍隨後）
The key sentence is:
「但是都稍遲於身軀動力的起止」
The arm movement begins and finishes slightly later than the body’s driving action. In the author’s model:
- The waist and legs（腰腿） start a shift or turn.
- That movement carries the relaxed arms.
- The arms follow through a little after the body’s initial action.
- Successive body movements sustain a small, continuous swinging quality.
Think of gently moving the support of a hanging pendulum: movement of the support sets the pendulum moving. The human arm, however, remains actively coordinated; it is not a completely passive pendulum.
2. The hand can travel farther than the torso（手行較長）
The author says:
「速度比身軀動作稍快，距離比身軀移動稍長，實在是一種擺動作用」
He means the hand is not held rigidly in one position relative to the torso. It has an additional swinging movement, so its path can extend beyond the movement of the body carrying it.
For example, a small turn of your torso can carry your shoulder, while movement at the shoulder and elbow lets your hand travel through a larger arc.
This is a possible movement pattern, not a universal rule: the hand does not necessarily move faster or farther in every Tai Chi movement.
3. 盪動 is a series of connected carrying actions（連續帶動）
The author distinguishes:
| Term | Meaning in these pages |
|---|---|
| 帶動 | One movement of the torso carries the arm. |
| 盪動 | Successive torso movements keep carrying the arm, producing a subtle swinging or wave-like continuity. |
| 趁勢前進 | The preceding section describes continuing onward with the momentum already obtained, under conscious guidance. |
| 隨勢前進 | In 盪動, the arm follows the ongoing carrying action, without adding a separate surge of acceleration or an extended coast. |
His phrase 「略有不顯著的波動意味」 is important: the wave-like quality is slight and unobtrusive. He is not asking you to shake the arms or make a large visible body wave.
4. It includes several directions—not just forward and backward
The next page explicitly lists:
| Form of 盪動 | Author’s description |
|---|---|
| 橫盪 | Swinging or circling in a horizontal plane. |
| 縱盪 | Swinging or circling in a vertical plane. |
| 斜盪 | Swinging or circling in a diagonal plane. |
| 來復盪 | Moving horizontally forward and backward. |
So “Moving Forward and Backward” is too narrow as a translation of the whole category; it describes only 來復盪.
5. What does 上動下應 mean?
He writes:
「手心和腳心相應，肘端和膝端相應，胸中和腹中
相應」
He wants the upper and lower body to remain coordinated: palms and soles, elbows and knees, chest and abdomen correspond（上下相應）.
Crucially, the following page also says:
「動作以腰腿為主宰」
Therefore, 上動下應 does not mean the arms independently initiate everything and pull the legs along. Read together, these statements describe an integrated relationship: the waist and legs organize the movement, and upper-body adjustments remain matched by lower-body support and adjustment.
Nor does “correspond” necessarily mean that the elbow must stay directly above the knee throughout every movement.
6. The purpose is responsive contact（不丟不頂）
The author calls 盪動:
「練習不丟不頂的中定手法」
That is the practical purpose. The slight freedom of the arms allows you to follow a partner without:
- 頂: stiffening and forcing directly against the contact;
- 丟: losing the contact or connection;
- losing 中定: your coordinated balance and organization.
His reference to 四兩 is a traditional image of light, sensitive contact—not a literal requirement to maintain one exact force.
In your push-hands practice, imagine this: your partner moves the contact point; your waist and legs adjust, your shoulder and elbow remain available, and your hand follows in a small continuous arc. The arm is neither fixed to the torso nor swinging away independently.
The author’s central idea is: “Let the body carry the arms, let the arms remain responsive, and keep the whole movement connected.”
身帶手行，手能隨應，周身連貫。
In this text, 盪動 (swinging/undulating motion) refers to a specialized internal follow-up method (跟蹤手法) where the arms or limbs are carried along by the continuous shifting of the torso’s core power (身軀移轉動力).
The author distinguishes them by what carries the arms and how the movement continues:
- 帶動: the body sets the arm in motion.
- 趁勢前進: the arm continues the movement already developed.
- 盪動: successive body movements carry the arm in a continuous, slightly delayed swinging pattern.
These new pages also clarify something in my earlier explanation: 趁勢前進 includes acceleration as well as coasting. It is broader than simply moving on residual momentum.
| 帶動 — Body-driven motion | 趁勢前進 — Continuing with the momentum | 盪動 — Body-led swinging motion | |
|---|---|---|---|
| Main question | What starts and carries the arm? | How does the arm continue after being carried? | How do repeated carrying actions connect? |
| Author’s emphasis | The torso moves the upper limb. | The hand does not stop when the initial driving action ends; it continues, or is accelerated further. | Successive body movements sustain a subtle swinging motion. |
| Timing | No specific delay is required in this section. | The arm’s movement can extend beyond the initial body action. | The arm begins and ends slightly later than the body’s driving action. |
| Training purpose | 提勁、黏勁 — lifting and adhering skills. | 連勁、發勁 — connecting and issuing skills. | 中定、不丟不頂 — centred coordination without losing contact or opposing rigidly. |
1. 帶動: “My body carries my arm.”
The author defines it directly:
「這是上肢被身軀帶動力所發生的運動作用。」
He lists three sources of body movement:
- 移動: shifting forward, backward, or sideways.
- 轉動: turning around the body’s central axis or waist.
- 起落: lowering and rising.
These can combine. For example, a small turn and weight shift carry the shoulder, which carries the relaxed arm.
Importantly, he says the arm’s speed and direction need not match the torso’s. Thus 帶動 does not mean keeping the arm rigidly fixed to the chest. The shoulder and elbow must remain released: 「必須鬆弛肩肘關節，才可發揮效用。」
2. 趁勢前進: “Once carried, my hand continues.”
His key distinction is:
「如果不在帶動力消失的同時停止動作，便可利用慣性作用繼續前進。」
Here 前進 means continuing along the movement’s course; he explicitly includes both circular movement（圓轉）and linear movement（平進）.
He identifies three versions:
| Version | What he means |
|---|---|
| 餘勢前進 | The hand continues but gradually slows down. |
| 加速前進 | The body continues carrying the hand and its speed increases. He separately calls additional acceleration from arm effort 二重加速. |
| 慣性前進 | The body stops its shifting or turning, while the hand continues in its previous direction. |
So this category emphasizes continuation beyond, or further development of, the initial carrying action.
3. 盪動: “Repeated body movements keep my arms swinging.”
The earlier page gives the clearest comparison:
「前面的帶動是指身軀一個移轉動力的作用，這種由多個移轉動力連續的作用……所以叫做盪動。」
帶動 focuses on one carrying action. 盪動 focuses on a connected series.
The arms follow with a slight delay, creating 「略有不顯著的波動意味」—a barely noticeable wave-like quality. But the author also specifies:
「被帶動後沒有餘勢延長，也不加速進行，故與趁勢前進有別。」
I read this as: do not deliberately add an extra coast or accelerating extension; let each arm movement belong to the ongoing rhythm of body movement. The small follow-through he describes is part of that swinging cycle.
To feel the difference, imagine one gentle waist turn:
- 帶動: notice how the turn carries your arm.
- 趁勢前進: notice the hand continuing after the initial turn has finished.
- 盪動: connect several small turns or shifts, letting the arms follow each one smoothly, without independently throwing them farther.
The distinction is therefore mainly one of training emphasis, not three entirely separate physical mechanisms. All three involve body–arm coordination. The author separates the carrying action（帶動）, its extended continuation（趁勢）, and its repeated rhythmic connection（盪動）.
What 盪動 Implies and What It Actually Means
- The Mechanical Implication: Rather than pushing or pulling with local arm muscular effort, the limbs float or "drift" along with the body's momentum (隨勢而進). Because multiple core shifts chain together consecutively, the arms experience a subtle, continuous wave-like oscillation (波動意味).
- Timing and Distance Mechanics: Its movement starts slightly after the torso initiates and stops slightly before or during the next shift. Because of this lag-and-catch-up dynamic, the limbs travel a slightly greater distance at a slightly faster snap than the core movement itself, operating essentially as a pendulum-like swing (擺動作用).
- The Internal Coordinated Framework: As stated, 盪動 is fundamentally an "upper movement with lower response" (上動下應) methodology, bridging the extremities through six-coordinate correspondences (三合):
- 手心和腳心相應 (Palms correspond with soles)
- 肘端和膝端相應 (Elbows correspond with knees)
- 胸中和腹中相應 (Chest corresponds with abdomen)
The Reality (The Fact) in Internal Martial Mechanics
From a biomechanical and internal arts perspective, what the author describes as 盪動 maps directly to whole-body kinetic linkage driven by Dantian rotation (丹田內轉) and waist transmission (腰脊為先).
- Inertial Transfer vs. Local Muscle: When the torso rotates or shifts weight efficiently, it acts as the engine, while the arms act as flexible whips or pendulums. The slight lag described is actually the optimal delayed transmission of torque from the core out to the fingers, preventing stiffness (僵勁).
- The Distinction from Forced Movement: True 盪動 avoids two extremes: forcing the arm out independently (which breaks whole-body connection) or remaining dead weight. It relies on 鬆 (relaxation) to allow the internal pressure and structural momentum to carry the limbs seamlessly.
Classical Tai Chi Citations and Theories
This mechanical principle is deeply rooted in classical Tai Chi literature and theory:
- 《太極拳論》 (The Tai Chi Chuan Treatise):「主宰於腰」「其根在腳，發於腿，主宰於腰，形於手指。」("The master control is in the waist." / "The root is in the foot, issued from the leg, controlled by the waist, and expressed in the fingers.")
- Application: This explains why the movement originates in the core shift and manifests as a wave traveling outward to the hands and feet, perfectly mirroring the 上動下應 and palm-to-sole correspondence.
- 《十三字行功歌》 (The Song of the Thirteen-Word Practice):「氣猶車輪，腰猶車軸。」("Qi is like a carriage wheel, the waist is like the axle.")
- Application: The 盪動 wave-like action is the literal expression of the axle turning so that the outer wheel (the limbs) swings smoothly without internal friction or resistance.
- Internal Body Coordinated Theory (內家六合):「內合其氣，外合其形。」("Internally harmonize the breath/qi, externally harmonize the physical form.")
- Application: The internal correspondences mentioned in the text—such as elbows matching knees (肘膝相應)—are classic manifestations of 外三合 (external harmonies) operating dynamically under continuous momentum rather than static positioning.
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