TAIJI BOXING

by Sun Jianyun, based on original material by Sun Lutang

[published by The Peoples Physical Education Press, Sep, 1957]
[translation by Paul Brennan, March, 2015]

CONTENTS
Foreword
Introduction
Part One [Solo Set]
Posture 1: BEGINNING POSTURE
Posture 2: TUCK IN THE ROBE
Posture 3: OPENING HANDS
Posture 4: CLOSING HANDS
Posture 5: SINGLE WHIP
Posture 6: RAISE THE HAND
Posture 7: WHITE CRANE SHOWS ITS WINGS
Posture 8: OPENING HANDS
Posture 9: CLOSING HANDS
Posture 10: BRUSH KNEE IN A CROSSED STANCE (LEFT)
Posture 11: PLAY THE LUTE (LEFT)
Posture 12: ADVANCE, PARRYING BLOCK, PUNCH
Posture 13: SEALING SHUT
Posture 14: CAPTURE THE TIGER AND PUSH IT BACK TO ITS MOUNTAIN
Posture 15: OPENING HANDS (TURNING TO THE RIGHT)

Posture 16: CLOSING HANDS

Posture 17: BRUSH KNEE IN A CROSSED STANCE [RIGHT]
Posture 18: TUCK IN THE ROBE
Posture 19: OPENING HANDS
Posture 20: CLOSING HANDS
Posture 21: SINGLE WHIP
Posture 22: GUARDING PUNCH UNDER THE ELBOW
Posture 23: DRIVE AWAY THE MONKEY (LEFT)
Posture 24: DRIVE AWAY THE MONKEY (RIGHT)
Posture 25: PLAY THE LUTE (RIGHT)
Posture 26: WHITE CRANE SHOWS ITS WINGS
Posture 27: OPENING HANDS
Posture 28: CLOSING HANDS
Posture 29: BRUSH KNEE IN A CROSSED STANCE (LEFT)
Posture 30: PLAY THE LUTE (LEFT)
Posture 31: THREE THROUGH THE BACK
Posture 32: TUCK IN THE ROBE
Posture 33: OPENING HANDS
Posture 34: CLOSING HANDS
Posture 35: SINGLE WHIP
Posture 36: CLOUDING HANDS
Posture 37: RISING UP AND REACHING OUT TO THE HORSE
Posture 38: RIGHT LIFTING KICK

Posture 39: LEFT LIFTING KICK

Posture 40: TURN AROUND, KICK
Posture 41: STEP SUCCESSIVELY, PUNCH
Posture 42: TURN AROUND, DOUBLE KICK
Posture 43: DRAPING BODY, CROUCHING TIGER
Posture 44: LEFT KICK
Posture 45: RIGHT PRESSING KICK
Posture 46: STEP FORWARD, PARRYING BLOCK, PUNCH
Posture 47: SEALING SHUT
Posture 48: CAPTURE THE TIGER AND PUSH IT BACK TO ITS MOUNTAIN
Posture 49: OPENING HANDS (TURNING TO THE RIGHT)
Posture 50: CLOSING HANDS
Posture 51: BRUSH KNEE IN A CROSSED STANCE
Posture 52: TUCK IN THE ROBE
Posture 53: OPENING HANDS
Posture 54: CLOSING HANDS
Posture 55: DIAGONAL SINGLE WHIP
Posture 56: WILD HORSE VEERS ITS MANE
Posture 57: OPENING HANDS
Posture 58: CLOSING HANDS
Posture 59: SINGLE WHIP
Posture 60: RIGHT THROUGH-THE-BACK PALM

Posture 61: MAIDEN WORKS THE SHUTTLE

Posture 62: TUCK IN THE ROBE
Posture 63: OPENING HANDS
Posture 64: CLOSING HANDS
Posture 65: SINGLE WHIP
Posture 66: CLOUDING HANDS
Posture 67: LOWERING FROM CLOUDING HANDS
Posture 68: ROOSTER STANDS ON ONE LEG
Posture 69: DRIVE AWAY THE MONKEY
Posture 70: PLAY THE LUTE (RIGHT)
Posture 71: WHITE CRANE SHOWS ITS WINGS
Posture 72: OPENING HANDS
Posture 73: CLOSING HANDS
Posture 74: BRUSH KNEE IN A CROSSED STANCE
Posture 75: PLAY THE LUTE
Posture 76: THREE THROUGH THE BACK
Posture 77: OPENING HANDS
Posture 78: CLOSING HANDS
Posture 79: SINGLE WHIP
Posture 80: CLOUDING HANDS
Posture 81: RISING UP AND REACHING OUT TO THE HORSE
Posture 82: CROSSED-BODY SWINGING LOTUS KICK
Posture 83: ADVANCE, PUNCH TO THE CROTCH

Posture 84: RETREAT, TUCK IN THE ROBE

Posture 85: OPENING HANDS
Posture 86: CLOSING HANDS
Posture 87: SINGLE WHIP
Posture 88: LOWERING FROM SINGLE WHIP
Posture 89: STEP FORWARD WITH THE BIG DIPPER
Posture 90: STEP BACK TO RIDE THE TIGER
Posture 91: TURN-TO-THE-CORNER SWINGING LOTUS KICK
Posture 92: BEND THE BOW, SHOOT THE TIGER
Posture 93: DOUBLE RUSHING PUNCHES
Posture 94: PASSIVE & ACTIVE MERGE INTO ONE
Posture 95: FINISHING POSTURE
Part Two: Taiji Boxings Pushing Hands Methods
Appendix: Reference Material
1. Wang Zongyues Taiji Boxing Treatise
2. Wu Yuxiangs Taiji Boxing Treatise
3. Understanding How to Practice the Thirteen Dynamics
4. Thirteen Dynamics Song
5. Pushing Hands Song
6. Li Yiyus Five-Word Formula
7. The Trick to Releasing
8. Essentials in Practicing the Solo Set & Playing Hands

FOREWORD
My father, Sun Lutang, was energetic his whole life. He intensively studied Xingyi Boxing, Bagua Boxing,
and Taiji Boxing, practicing only Taiji Boxing in his later years. He learned his Taiji set from Hao
Weizhen. In my youth, I was taught by my father personally, and I practiced under his supervision and
encouragement. I am therefore ashamed that my skill is not high and that I have merely a superficial

understanding.
For the sake of popularizing this Taiji Boxing set, I have dared to base it on my fathers revisions to his
original book. I have strived to make the explanations within readable for all so that beginning students
can practice according to them. Within the section on movements, they are according to my fathers
practice and writings from his later life, and are therefore slightly different from his original book. As for
Taiji Boxing theory, there are the detailed essays of Wong Zongyue, Wu Yuxiang, and Li Yiyu, which have
been specially included as an appendix section for reference.
The photographic plates for my fathers original book are already lost. I have compensated for this
with photos of myself, also including numerous additional photos to fill in for where the explanations are
insufficient. Wherever I have done a poor job in this book, I hope readers will make corrections.
During the editing of this manuscript, my elder brother Hu Xipu gave me much help and I sincerely
thank him for it.
written by Sun Jianyun, May, 1957

INTRODUCTION
Taiji Boxing is a peculiarly Chinese martial art, but in exactly what era or from which person it began,
traditions differ, and these things still await verification. Yet experience of it will demonstrate that it has
the functions of strengthening the body, preventing disease, and prolonging life. This is because it is a
kind of exercise in which inside and out are simultaneously cultivated,
internally calming the mind and nourishing the temperament, externally tempering the physique,
enabling all the organs to become more robust, consequently strengthening the bodys capacity to
withstand its surrounding environment, preventing and eliminating illnesses. By doing the movements
slowly, the breathing naturally deepens and lengthens, and can strengthen the functioning of the
circulatory and respiratory systems. Therefore practicing Taiji Boxing can help you recover from
tuberculosis, heart disease, high blood pressure, and other ailments. Of even greater significance is the
constant use of consciousness to direct the movements, consequently enhancing the functioning of the
nervous system.
The movements in Taiji Boxing are comparatively mild, and so it can be practiced by both men and
women, and by both young and old. Although there are different versions of the practice set, with a few of
the postures being giving variant names, the principles of the art are the same.
Taiji Boxings postures and movements all have specific requirements and each has a specific meaning.
You must practice in accordance with these requirements. The requirements of the art are presented
briefly below:
Head:
Your head should have an intention of pressing up, but must not do so with exertion. By pressing your
head up, the headtop is made upright and spirit is concentrated.
Mouth:
Your mouth should be gently closed, tongue touching your upper palate. Breathe through your nose, and
the breath should be even and fine.
Shoulders:

Your shoulders should loosen and hang down. They should on no account be lifting, which would cause
your energy to rise upward.
Elbows:
Your elbows should drop down. If your elbows are dropped, then your shoulders will hang, and the
energy within your belly will then be able to sink to your elixir field. With your elbows dropped, your
arms will be bent. This has to do with: Within curving, seek to be straightening. Store and then issue.
Hands:
Your fingers are to be loose (i.e. should not be held together) and your wrists should sink.
Chest:
Your chest should be contained and must not stick out. When your chest is contained, energy sinks, but if
your chest sticks out, energy will rise up. If energy rises, then you will be heavy above and light below,
and your heels will float up, which is something to be avoided in boxing arts.
Waist:
When practicing the set, it is necessary to settle your waist, because the waist is the controller of the
whole body. In turning left or right, and in advancing or retreating, by way of complete reliance on your
waist there will be power coursing through.
Legs:
Your legs should be bent and should not be straight, and there should be distinction between empty and
full (i.e. the weight placed onto one leg at a time), otherwise the movement will not be nimble.
Energy:
It is said that energy sinks to your elixir field (three inches below the navel), which signifies deep
breathing. Deep breathing is always a very important idea in Taiji Boxing, but you must not forcefully
press the energy down and should instead let it happen naturally.
Movement & Stillness:
In our nations meditation methods, we seek movement within stillness, but in Taiji Boxing we seek
stillness within movement. When practicing the set, your mind should be calm and your spirit focused,
and thereby the movements can be nimble.
Intention & Exertion:
A characteristic of Taiji Boxing is the use of intention rather than exertion. Because Taiji Boxing seeks to
use a lively strength, you should seek for both extreme softness and extreme hardness, for both extreme
heaviness and extreme nimbleness. Where intention goes, power goes, and a lively strength is naturally
generated. If you instead use an awkward exertion, it will be sluggish and ineffective, strength only on the
outer surface, and this is incompatible with the requirements of internal boxing arts.

PART ONE [SOLO SET]

Posture 1: BEGINNING POSTURE

1. Your body stands straight, your hands hanging down, shoulders loosened. Your feet are spread at the
toes to make nearly a ninety degree angle. Your emotions are at peace. Slightly pause here. Your gaze is
ahead and level. See photo 1:

2.Your right toes lift. Use your heel to pivot the foot halfway to the left to make a forty-five degree angle
with your left foot. Your waist should be sinking and there must be no use of awkward effort. Your tongue
is touching your upper palate. Your breathing should be natural. See photo 2:

Posture 2: TUCK IN THE ROBE

1. Your arms go forward and upward until at shoulder level, palms facing each other as though you are
holding a ball. Your legs do not move. See photo 3:

2. Once the previous posture seems to stop but not yet stop, your hands then lower in front of your belly.
At the same time, your legs slowly bend, your left heel slowly lifting. See photo 4:

3. Your left foot steps out forward, heel touching down. At the same time, your hands slowly extend
forward from your ribs, the hands still in the shape of holding a ball, arms slightly bent. Your right foot

goes along with your hands as they extend forward by doing a forward follow step, stopping behind your
left foot, about two or three inches away from it, toes touching down. As your right foot does the follow
step, your left foot gradually comes down fully. Your gaze goes between your hands. See photos 5 & 6:

4. Your hands arc horizontally to the right, and once they are angled straight ahead, your right palm turns
over to face upward, left hand facing downward. As your hands begin to turn, your left toes lift, heel
touching down, and the foot pivots to the right along with your hands, your right heel at the same time
slowly touching down. Your gaze is toward your right hand. See photos 7 & 8:

5. Continuing from the previous posture, your right palm, facing upward and at shoulder level, draws a
half circle to the right and rear, your left hand going along with the action of your right hand. Both hands
turn until the palms are facing outward, your left hand seeming to support your right wrist, and they
push forward, arms slightly bent. As your hands arc to the rear, your right toes lift and the foot twists
outward until straight. As your hands push forward, your right foot steps out forward, heel touching
down and the foot gradually coming down fully. Your left foot then does a follow step behind your right
foot, toes touching down about two or three inches away from your right heel. Your gaze is toward your
right hand. Slightly pause. From the beginning to this point, the movement should be continuous and
uninterrupted. See photos 9 & 10:

Posture 3: OPENING HANDS

Continuing from the previous posture, your right toes lift and the foot pivots to the left, your body turning
to the left. At the same time, your palms face each other and spread apart to the sides as though holding a
balloon (which is inflating) until the tigers mouths are in front of your shoulders, fingertips pointing
upward, hands about one or two inches away from your shoulders, fingers spread. Slightly pause. See
photo 11:

Posture 4: CLOSING HANDS

Continuing from the previous posture, your hands slowly close inward toward each other until their
distance from each other is the same as their distance from your face, and there is a slight pause. At the
same time, your legs bend, your right foot comes down, and your left heel lifts, toes touching down. Your
gaze goes between your hands. Your whole body should loosen and there must not be the slightest bit of
strained effort. See photo 12:

Posture 5: SINGLE WHIP

First your wrists turn outward, then as though they are stroking along a long pole, they slowly spread
apart to the sides until your arms are raised horizontally, palms facing outward and standing upright at
eye level. Your gaze is toward your right forefinger. As your hands spread apart, your left foot steps
sideways to the left, coming down with the toes slanted outward, legs slightly bent, and there is a slight
pause. At this time, your upper body should be upright, your arms should loosen, and your breathing
should be natural. The energy within your belly must not be pressed down with an awkward exertion. See
photo 13:

Posture 6: RAISE THE HAND

Continuing from the previous posture, first shift the weight to your left leg, sink your waist, then your left
hand draws an arc forward until in front of your forehead, palm facing outward, as your right hand arcs
downward until in front of your belly, fingers pointing downward. At the same time, your right foot draws
close to your left leg, toes touching down in line with your left toes, the heels about half an inch apart,
legs slightly bent. Your body maintains stability. See photo 14:

Posture 7: WHITE CRANE SHOWS ITS WINGS

1.Continuing from the previous posture, your left hand lowers from your forehead to be in front of your
chest, elbow close to your ribs, and your right hand lifts from your lower abdomen to your head, the back
of the hand close to your forehead. As your hands lift and lower, your right foot steps forward, heel
touching down. As for the distance between your feet, as long as it does not get to the point that it leads
the weight to shift, it is appropriate. See photo 15:

2. Continuing, your right hand passes along the right side of your face (as though near but not near),
lowering (elbow hanging straight downward) until level with your left hand, and then together they push

out forward. As your hands push forward, your right toes slowly come down, and the weight shifts to your
right leg. As your right toes come down, your left heel lifts, and does a follow step forward until behind
your right heel, toes touching down. Sink your waist. Your arms are slightly bent. Your gaze goes between
your hands. Slightly pause. See photos 16 & 17:

Posture 8: OPENING HANDS Same as in Posture 3. See photo 18:

Posture 9: CLOSING HANDS Same as in Posture 4. See photo 19:

Posture 10: BRUSH KNEE IN A CROSSED STANCE (LEFT)

Continuing from the previous posture, your left hand lowers to your right side, lowering in an arc to
brush diagonally downward from the right side of your solar plexus until at your left hip, the thumb and
forefinger spread open, the thumb about an inch or two from the hip. As your left hand brushes, your left
foot takes a step to the left corner. At the same time, your right hand lowers to the right side, the palm

turning to face upward, and spreads away to the right side until the thumb is level with your right
shoulder, then pushes out horizontally to the left side. When pushing, the height of the hand uses the tip
of the forefinger at about an inch away from the corner of your mouth as a standard, arm slightly bent,
and you should sink the wrist. As your right hand pushes forward, your right foot does a follow step
forward, coming down behind your left lower leg, toes touching down. Your gaze is again toward the tip
of your right forefinger. The weight has shifted to your left leg and there is a slight pause. See photos 20 &
21:

Posture 11: PLAY THE LUTE (LEFT)

Continuing from the previous posture, the fingers of both hands extend so the tigers mouths are facing
upward, and your right foot withdraws a step, toes touching down. As for the distance of the withdrawing
step, as long as it does not lead the weight to shift, it is appropriate. At the same time, your right hand
pulls back and your left hand extends forward, left hand forward, right hand behind. Your right fingers
are beside your left wrist and your elbows are hanging down. Your left foot at the same time withdraws to
be in front of your right foot, the heel about an inch away from your right foot, toes touching down, and
as your left foot withdraws, your right heel touches down. See photo 22:

Posture 12: ADVANCE, PARRYING BLOCK, PUNCH

Continuing from the previous posture, first your left hand brushes toward your left ribs, palm facing
downward, while your left foot steps forward to come down diagonally with the toes pointing outward,
and your right hand, palm facing upward, extends forward from under your left hand. Your right hand
turns so the palm is facing downward and brushes toward your right ribs, your right foot stepping
forward to come down diagonally with the toes pointing outward. The posture should not come to a halt,
for your left hand then extends forward, covering downward, as your left foot steps directly forward. Your
right hand grasps into a fist and strikes from your right ribs straight over the top of your left wrist (fist at
solar plexus level). The back of your left hand is facing upward, the hand grasping into a fist as your right
fist strikes out, and moves along your right forearm arm, your left arm bending in, until under your right
elbow. As your right hand strikes out, your right foot does a follow step that stops about two or three
inches away from your left heel. Your gaze is toward the middle knuckle of your right forefinger. See
photos 23-26:

Posture 13: SEALING SHUT

Continuing from the previous posture, first draw back your right hand, your left hand at the same time
extending forward from under your right arm until your hands are side by side, palms facing outward. As
your right hand withdraws, your right foot withdraws a step. As for the distance of the withdrawing step,
as long as it does not lead the weight to shift, it is appropriate. Then your hands withdraw in unison with
your left foot, the thumbs an inch apart, withdrawing in front of your chest until gently pressing against
it. Your left foot withdraws until an inch in front of your right foot, toes touching down. See photo 27:

Posture 14: CAPTURE THE TIGER AND PUSH IT BACK TO ITS MOUNTAIN
Continuing from the previous posture, your hands, palms facing outward, go forward together to push
the mountain at chest height, arms slightly bent. Your gaze goes between your hands. As your hands
push forward, your left foot steps forward and your right foot does a follow step to be about two or three
inches away from your left foot. Slightly pause. See photo 28:

Posture 15: OPENING HANDS (TURNING TO THE RIGHT)

Continuing from the previous posture, your left toes lift, heel touching down, and the foot pivots to the
right. With your thumbs about one or two inches away from your chest, your hands spread apart

horizontally, stopping when the tigers mouths are in front of your shoulders, fingers spread. Slightly
pause. See photo 29:

Posture 16: CLOSING HANDS Same as in Posture 4. See photo 30:

Posture 17: BRUSH KNEE IN A CROSSED STANCE (RIGHT)

The movement is the same as in Posture 10, except with lefts and rights reversed. See photos 31 & 32:

Posture 18: TUCK IN THE ROBE

Continuing from the previous posture, your left wrist twists inward until the palm is facing upward, and
at the same time, your right hand extends forward, palm facing downward, and your hands make a shape
of holding a ball. As your hands move, your left foot withdraws, coming down with the toes slanted
outward. Your hands then arc downward together until they are by your lower abdomen. As your hands
arc downward, your right foot withdraws until about an inch in front of your left foot, toes touching
down. Then your hands (still in a shape of holding a ball) turn over so the right palm is facing upward
and left palm is facing downward, lift in front of your chest, and then carry forward together. At the same
time, your right foot steps forward, your left foot then doing a follow step to be about an inch behind your

right foot, toes touching down. Your left foot slightly pauses there, then withdraws, and your hands at the
same time draw a level half circle to the rear. Once they are by your right shoulder, the palms turn to face
outward. The weight is now shifted to your left leg and your right toes are lifted. Then your hands push
out forward together from your right shoulder, arms slightly bent, left hand close to your right wrist. As
your hands push forward, your right toes gradually come down and your left foot then does a follow step
to be about two or three inches behind your right foot. See photos 33-38:

Posture 19: OPENING HANDS Same as in Posture 3. See photo 39:

Posture 20: CLOSING HANDS Same as in Posture 4. See photo 40:

Posture 21: SINGLE WHIP Same as in Posture 5. See photo 41:

Posture 22: GUARDING PUNCH UNDER THE ELBOW

Continuing from the previous posture, First your left hand twists in, then your right hand grasps into a
fist, the arm bending and drawing in close to your ribs, then extends under your left elbow from in front
of your belly. At the same time, your right foot steps forward to come down behind your left foot, toes
touching down, your feet about half an inch apart. After a slight pause, your right foot withdraws and
your left foot then withdraws to come down in front of your right foot, toes touching down, your hands
maintaining their original posture. See photo 42:

Posture 23: DRIVE AWAY THE MONKEY (LEFT)

Continuing from the previous posture, first your left hand withdraws in front of your chest, the thumb
about two or three inches away from your chest, palm covering downward, and your right hand, palm
facing upward, lowers diagonally to the right. While your hands cover and lower, your right foot, toes
lifting, heel touching down, twists inward as though turning a screw, and once the toes are pointing
straight or at least slightly covering inward, bring the toes down. Then your left hand goes from in front
of your chest and brushes in an arc diagonally to the left until the thumb is about an inch or two away
from your left hip, your left foot at the same time stepping diagonally to the left side, heel touching down,
and your right hand, palm facing upward, lifts up until level with your right shoulder, the palm now
facing to the left. With the forefinger passing the right corner of your mouth, your right hand pushes out
forward. The bending and extending of your arms is the same as in BRUSH KNEE IN A CROSSED
STANCE. As your right hand pushes forward, your right foot does a follow step forward to be behind your
left foot, coming down about two or three inches away from it, toes touching down. The movements of
your hands and feet from beginning to end should be continuous and must not be interrupted. See photos
43 & 44:

Posture 24: DRIVE AWAY THE MONKEY (RIGHT)

Continuing from the previous posture, first your left toes lift, the heel twists inward like turning a screw,
and your right hand brushes in an arc diagonally to the right side until the thumb is about an inch or two
from your right hip. Your left hand meanwhile lifts up, palm facing upward, and once at shoulder level
the palm is facing to the right, then with the tip of the forefinger passing the left corner of your mouth,
pushes forward. The movements of your hands, feet, and body are all the same as on the other side.
When practicing, the posture is to be repeated on each side, and though the number of repeats is not
restricted, it must total an even number. See photos 45 & 46:

Posture 25: PLAY THE LUTE (RIGHT)

Continuing from the previous posture, the movement is the same as in Posture 11, except the orientations
are reversed. See photo 47:

Posture 26: WHITE CRANE SHOWS ITS WINGS Same as in Posture 7. See photo 48 [photos 48, 16 &
17]:

Posture 27: OPENING HANDS Same as in Posture 3. See photo 49:

Posture 28: CLOSING HANDS Same as in Posture 4. See photo 50:

Posture 29: BRUSH KNEE IN A CROSSED STANCE (LEFT) Same as in Posture 10. See photos 51 & 52:

Posture 30: PLAY THE LUTE (LEFT) Same as in Posture 11. See photo 53:

Posture 31: THREE THROUGH THE BACK

Continuing from the previous posture, your right hand first turns so the palm is facing upward, then
draws a circle downward and to the rear. It arcs upward to your forehead, then pushes straight down
from in front of your face, stopping a foot away from your left toes. When your right hand arcs to the rear,
your left hand withdraws to your left hip, palm facing downward. When your right hand pushes down,
your left foot withdraws until an inch in front of your right foot, toes touching down, legs slightly bent.
Your gaze is to your right hand. See photos 54 & 55:

2.Continuing, your right arm lifts so the back of the hand is close to your forehead, your body going along
with it and straightening up, your left hand at the same time going from the hip to extend forward at solar
plexus level, the wrist sinking. During the movement of your hands, your left foot steps out forward, the
distance between your feet depending on your height. Your legs should be bent, and the size of the step
will be appropriate as long as it does not lead the weight to shift. Your gaze is toward your left forefinger.
See photo 56:

3.Continuing, your left toes lift and the foot pivots to the right. As your body turns until you are facing
behind, your right toes lift and the foot pivots to point directly to the rear then comes down fully. As your
body turns, your left hand arcs upward, the back of the hand close to your forehead. As your left hand
arcs, your right hand pushes out forward from your forehead at shoulder level, the wrist sinking. The
posture is now the same as in the previous posture, except the orientations are reversed. See photo 57:

4.Continuing, your left hand extends forward from your forehead until beside your right hand,
palms facing each other, your right foot at the same time withdrawing behind your left foot, coming down
with the toes slanted outward (the distance between the feet again depending on your height, since

everyone is not the same). Your hands then arc downward from in front, loosely grasping into fists, until
right in front of your lower abdomen. At the same time, your left foot withdraws until an inch in front of
your right foot, toes touching down, and your waist sinks. See photos 58 & 59:

5. Continuing, your fists lift in unison, rising close along your body until above your solar plexus, then
extending forward and upward to eyebrow level. At the same time, your left foot steps out forward,
coming down with the toes slanted outward, the weight still not shifting. Slightly pause. Then your fists
lower and again come down to your lower abdomen. At the same time, your right foot steps out directly

forward, the heel about an inch in front of your left foot, toes touching down. Your body is upright and
should neither have lifted nor lowered. See photos 60 & 61:

Posture 32: TUCK IN THE ROBE

Continuing from the previous posture, your hands open and lift until in front of your chest, right palm
facing upward, left palm facing downward, then carry forward in unison. At the same time, your right
foot steps out forward and your left foot then does a follow step to be about an inch behind your right
foot, toes touching down. Slightly pause and then withdraw, your hands drawing a level half circle to your
right shoulder, whereupon the palms are facing outward. At the same time, the weight shifts back to your

left leg and your right toes lift. Then your hands push out forward together from your right shoulder,
arms slightly bent, left hand close to your right wrist. As your hands push forward, your right toes
gradually come down and your left foot then does a follow step to be about two or three inches behind
your right foot. See photos 62-65:

Posture 33: OPENING HANDS Same as in Posture 3. See photo 66:

Posture 34: CLOSING HANDS Same as in Posture 4. See photo 67:

Posture 35: SINGLE WHIP Same as in Posture 5. See photo 68:

Posture 36: CLOUDING HANDS

1.Continuing from the previous posture, your left hand arcs a half circle downward and to the right, the
arm drawing close to your body, arcing until below your right shoulder. As your left hand arcs downward,
your left foot draws close to your right foot to be about an inch away from it, toes touching down. Slightly
pause. See photo 69:

2. Continuing, your left hand goes from below your right shoulder, arcing a half circle upward and to the
left, your right hand at the same time arcing a half circle to the left until below your left shoulder. During
the movement of your hands, your left foot steps sideways to the left, toes somewhat slanted outward.
Slightly pause. When your hands arc to the left side, your right foot draws close to your left foot, coming

down about two or three inches away from it, the toes of both feet slightly slanted toward the left side.
Then your right hand arcs upward and your left hand arcs downward. When your hands arc to the right
side, your left foot again steps out sideways to the left side, the distance when it comes down depending
on your height and should not lead the weight to shift. Then your left hand again arcs upward, your right
hand arcs downward, and your right foot comes over with a follow step. It cycles in this way three times.
When your hands arc upward, the palms should always turn outward. When practicing, as your left hand
goes to the right, your body goes along with it by slightly turning to the right, and as your right hand goes
to the left, your body goes along with it by slightly turning to the left. See photo 70:

Posture 37: RISING UP AND REACHING OUT TO THE HORSE

1. Continuing from the previous posture, while your hands are clouding from left to right, your left hand
goes downward, clouding until in front of your chest, elbow close to your body, tigers mouth facing
upward, and when your right hand clouds in front of your face, it then goes downward from in front, the
tigers mouth facing upward, until at chest height, and your arms are slightly bent. While your hands
move, your left foot withdraws a step, your right foot following it as your right hand goes forward and
downward, coming down in front of your left foot, toes touching down pointing straight, making a Tshape with your left foot, legs slightly bent. See photo 71:

2. Continuing, your left hand turns so the palm is facing upward and your right hand turns so the palm is
facing downward, stopping three or four inches above your left hand, your hands about one or two inches
away from your solar plexus. As your right hand turns to face downward, your right toes twist inward so
that they and your left toes are pointing toward each other, toes touching down. See photo 72:

3.Continuing, your hands twist in unison for the fingers to be pointing upward, wrists sinking. The
posture is the same as in the CLOSING HANDS posture. At the same time, your left heel lifts and twists
slightly to the right to be parallel with your right foot. Slightly pause. See photo 73:

Posture 38: RIGHT LIFTING KICK

Continuing from the previous posture, your hands spread apart as in the SINGLE WHIP posture. As your
hands spread, your right leg kicks, toes pointing upward, lifting to meet your right hand. Your gaze is
toward your right hand. Your waist slightly sinks. The posture does not stop there. Your right foot then
lowers, coming down at a distance from your left foot according to your height. Then your left foot goes
next to your right foot, toes touching down, while your hands close inward toward each other as in the
CLOSING HANDS posture. Your gaze is to the left. Slightly pause. See photo 74:

Posture 39: LEFT LIFTING KICK

Continuing from the previous posture, your hands again spread apart as in the SINGLE WHIP posture,
and your left foot kicks, toes pointing upward, lifting to touch your left hand. Then the foot comes down,
returning to its original place, toes touching down, while your hands make the CLOSING HANDS
posture. Slightly pause. See photo 75:

Posture 40: TURN AROUND, KICK

Continuing from the previous posture, your right foot and your body turn slightly to the left, then your
left foot kicks, your hands spreading apart, and hand and foot meet. Your gaze is toward your left
forefinger.
Posture 41: STEP SUCCESSIVELY, PUNCH
Continuing from the previous posture, your left foot comes down in front, toes slanted outward. As the
foot comes down, your left hand brushes back toward your left hip and stops, and your right hand goes
downward from behind and extends forward, palm facing upward. Slightly pause. Then your right foot
takes a step in front of your left foot, coming down with the toes slanted outward. As your right foot steps
out, your left hand extends forward from your left hip, palm facing upward, your right hand pulling back
in front of your chest, palm facing downward. Slightly pause. Your left foot steps forward, toes twisted
inward. At the same time, your left hand turns so the palm is facing downward, grasps into a fist, and
pulls back to your left hip, while your right hand grasps into a fist, goes from your right hip, arcs upward
and behind, passes your forehead, and strikes toward your left ankle, your body going along with it by
bending down. As your right fist arcs to the rear, watch it as it arcs and then as it suddenly switches from
upward to downward. All of the movements above should be continuous and your waist should sink. See
photos 76-79:

Posture 42: TURN AROUND, DOUBLE KICK

Continuing from the previous posture, first your right [left] toes twist inward while your right fist passes
in front of your forehead, drawing an arc upward toward the rear, the center of the fist facing upward,
and your body goes along with it, twisting around to the right. Your right fist then lowers in front of your
right hip, your right foot at the same time slightly withdrawing, the toes slanted outward. When your
right fist lowers, your left hand lifts from your left hip, passes the left side of your face, passes in front of
your solar plexus, and brushes downward until at your left hip area. As your left hand lifts up, your left
foot steps forward, coming down in front of your right foot, toes slanted outward. Your right fist leaves

your right hip area, extending upward and forward, palm facing outward. Your right foot lifts from
behind and kicks out forward, your right hand at the same time going out to slap the top of the foot. The
height of the hand and foot is chest level. Continuing, your right foot promptly withdraws behind your
left foot, your right hand staying extended. As your right foot withdraws, your left hand extends forward,
right hand in front, left hand behind, both palms facing diagonally inward, and your waist sinks. Slightly
pause. See photos 80-84:

Posture 43: DRAPING BODY, CROUCHING TIGER

Continuing from the previous posture, first your left foot withdraws behind your right foot, then your
hands grasp into fists and pull downward and to the rear. As your hands pull back, your right toes lift and
the foot pivots to the left to point straight. Your hands do not come to a halt when they pull back, but
continue past your left hip, to the rear, upward, and downward to your lower abdomen, making a circle.
Slightly pause. Then your left heel lifts and slightly twists outward, while your fists lift from your lower
abdomen, becoming palms, until in front of your chest as in the CLOSING HANDS posture. As your
hands lift, your right leg slightly lifts, coming down with the toes slanted outward. Both legs are bent,
your left knee bending slightly inward to be close to the inside of your right leg. As your wrists sink, your
waist does also, but your body stands straight. Your gaze is forward. Slightly pause. See photos 85-87:

Posture 44: LEFT KICK

Continuing from the previous posture, your hands spread apart as in the SINGLE WHIP posture. As your
hands spread apart, your left foot kicks to your left hand, the hand and foot touching each other. Your
gaze is toward your left forefinger. The posture is the same as in Posture 40. See photo 88:

Posture 45: RIGHT PRESSING KICK

Continuing from the previous posture, your left leg does not come down, but instead promptly bends and
retracts, the sole of the foot slightly nearing your right knee. Your body turns around to the rear, turning
three quarters of a circle. When your left foot comes down, the toes of both feet are pointing toward each
other. As your body turns to the rear, your hands close inward toward each other, as in the CLOSING

HANDS posture, and your right heel lifts, the toes touching down. Once your body has finished its turn,
your hands make the SINGLE WHIP posture, spreading apart to the sides, and your right foot lifts and
does a pressing kick. Your gaze is toward your right forefinger. See photos 89-91:

Posture 46: STEP FORWARD, PARRYING BLOCK, PUNCH

Continuing from the previous posture, your right foot comes down forward, toes slanted outward, while
your left hand goes downward and extends forward, palm facing upward, your right hand brushing back
until at your right hip area. Then your left foot steps forward, toes pointing straight ahead, as your left
hand turns over to face downward. Your hands then grasp into fists, your right fist striking out forward
and your left fist bending in until under your right elbow. Your right foot at the same time does a follow
step until about an inch behind your left foot, toes touching down. [See photos 92-94:]

Posture 47: SEALING SHUT Same as in Posture 13. See photo 95:

Posture 48: CAPTURE THE TIGER AND PUSH IT BACK TO ITS MOUNTAIN Same as in Posture 14.
See photo 96:

Posture 49: OPENING HANDS (TURNING TO THE RIGHT) Same as in Posture 15. See photo 97:

Posture 50: CLOSING HANDS Same as in Posture 4. See photo 98:

Posture 51: BRUSH KNEE IN A CROSSED STANCE Same as in Posture 17. See photos 99 & 100:

Posture 52: TUCK IN THE ROBE Same as in Posture 18. See photos 101-106:

Posture 53: OPENING HANDS Same as in Posture 3. See photo 107:

Posture 54: CLOSING HANDS Same as in Posture 4. See photo 108:

Posture 55: DIAGONAL SINGLE WHIP

Continuing from the previous posture, your left foot steps to the left forward corner and your hands
spread apart. It is the same as in the SINGLE WHIP posture. See photo 109:

Posture 56: WILD HORSE VEERS ITS MANE

Continuing from the previous posture, first your left foot withdraws to be next to your right foot, your left
hand at the same time lowering to your lower abdomen. The hand then lifts to the right side of your
chest, then in front of your eyes, then arcs toward the left side, right back to its original place, and at the
same time, your left foot goes from your right foot, stepping out to the left side, toes slightly pointed
outward. Once your left hands arc has reached the left side, your right hand also lowers to your lower
abdomen, then again lifts and goes from in front of your eyes to arc back to its original place on the right
side. At the same time, your right foot first draws close to your left foot (toes touching down, the distance
between the feet about two or three inches), then steps back to its original place on the right side. You
have now resumed the SINGLE WHIP posture. Then your left foot steps out in front of your right foot,
coming down with the toes slanted outward, legs slightly bent. As your left foot steps forward, your hands
go down and forward, crossing with the palms slightly facing outward, left hand on top, arms slightly
bent. They then spread apart to the sides and each make a circle, your right palm turning over to face
upward. When your left palm, facing downward, is in front of your chest, your hands intersect and carry
forward, your right foot at the same time stepping out forward and your left foot doing a follow step to be
about an inch behind your right foot. The toes touch down, slightly pause there, and again withdraw.
Your left hand at the same time draws close to your right wrist, and together they circle to the right and
rear, at shoulder level, until your right palm is facing outward. The weight has shifted to your left leg and
your right toes are lifted. Then your hands push out forward together and your left foot does another
follow step to be about two or three inches behind your right foot, toes touching down. Your gaze is
toward your right forefinger. See photos 110-119:

Posture 57: OPENING HANDS Same as in Posture 3. See photo 120:

Posture 58: CLOSING HANDS Same as in Posture 4. See photo 121:

Posture 59: SINGLE WHIP Same as in Posture 5. See photo 122:

Posture 60: RIGHT THROUGH-THE-BACK PALM

Continuing from the previous posture, your left hand draws an arc upward from the left side and the back
of the hand goes close to your forehead. Your body turns to the right, your left toes lifting and going along
with the rightward turn, your right foot at the same time twisting outward, but with the toes slightly
hooking inward. Your feet do not leave their original location your right hand sinks its wrist but does not
otherwise move. Your gaze is toward your right forefinger. See photo 123:

Posture 61: MAIDEN WORKS THE SHUTTLE

1.Continuing from the previous posture, your right hand draws back, the inside of the wrist toward your
chest. As your right hand draws back, your left hand, the wrist turning inward so the palm is facing
upward, lowers to be above your right hand, both elbows close to your body. As your hands draw back
and lower, your right foot slightly withdraws a step, coming down with the toes slanted outward, both
legs slightly bent. Your gaze is toward your left hand. The posture does not pause. See photo 124:

2. Continuing, your left wrist again turns outward, turning over to face upward, the back of the hand close
to your forehead. Your left foot steps to the left forward corner and your right foot does a follow step,

coming down two or three inches away from your left heel. At the same time, your right hand, placed at
your chest, gently pushes out forward, but must not go too far, for your elbows are to stay close to your
body. See photo 125:

3. Continuing, your left foot twists inward, your body at the same time turning around to the right, and
your left hand lowers, palm facing downward [to the right], the inside of the wrist against your chest. As
your left hand lowers, your right hand turns over until the palm is facing upward, slightly lifting, but
keeping both elbows close to your body. Then your right wrist turns outward and lifts up, turning over so
the back of the hand is close to your forehead. At the same time, your right foot steps out to the right
forward corner and your left foot does a follow step, coming down about two or three inches behind your
right foot, while your left hand goes from in front of your chest, slightly pushing forward, but must not go
too far so that your elbows remain close to your body. See photo 126:

4. Continuing, your right foot steps slightly forward, your right hand at the same time lowering until in
front of your chest, the palm facing downward, your left hand turning over so the palm is facing upward
and slightly lifting, both elbows close to your body. The posture is the same as in movement 1. Then your
left foot steps out to the left forward corner, your left wrist turning outward and turning over upward,
and your right foot does a follow step. The posture is the same as in movement 2. See photos 127 & 128:

5. Continuing, your body turns around to the right, and the rest of the movements and postures of the
hands and feet are the same as in movement 3, except that this time your right foot should step out
directly forward and your left hand pushes out, elbow slightly bent. See photos 129 & 130:

Posture 62: TUCK IN THE ROBE Same as in Posture 18. See photos 131-136:

Posture 63: OPENING HANDS Same as in Posture 3. See photo 137:

Posture 64: CLOSING HANDS Same as in Posture 4. See photo 138:

Posture 65: SINGLE WHIP Same as in Posture 5. See photo 139:

Posture 66: CLOUDING HANDS Same as in Posture 36. See photos 140 & 141 [141 & 70]:

Posture 67: LOWERING FROM CLOUDING HANDS

Continuing from the previous posture, from the CLOUDING HANDS on the right side, your right palm
turns to face upward as your left hand continues its arc and lowers to your right hip. Your right hand then
pushes out straight ahead. Your waist should sink. Your right foot goes along with your right hand as it
pushes forward, coming down about an inch behind your left foot. Your left hand pushes forward from
over the top of your right hand, your right hand at the same time pulling back to your right hip. During
the movement of your hands, your left foot steps forward, pointing straight ahead. Your legs should be
bent and the weight is on your right leg. Your gaze is toward your left hand. See photos 142-144:

Posture 68: ROOSTER STANDS ON ONE LEG

1. Continuing from the previous posture, your right hand goes forward and upward from your right hip
until the fingers are at ear level. At the same time, your right leg lifts up, staying close to your left leg, toes
raised up, heel pressed down, waist sinking. As your right hand lifts, your left hand draws an arc
downward, lowering to your left hip, fingers pointing downward. Slightly pause. See photo 145:

2.Continuing, your right foot comes down slightly forward, leg still bent, waist sinking, though your body
should be upright. At the same time, your right hand draws an arc downward, lowering to your right hip,
fingers pointing downward, as your left hand lifts up from your left hip until the fingers are at ear level,

and your left leg lifts, staying close to your right leg. The posture is the same as with the right leg lifting in
movement 1. See photo 146:

Posture 69: DRIVE AWAY THE MONKEY Same as in Postures 23 & 24. See photos 147-150:

Posture 70: PLAY THE LUTE (RIGHT)

Continuing from the previous posture, the movement is the same as in Posture 11, except the orientations
are reversed. See photo 151:

Posture 71: WHITE CRANE SHOWS ITS WINGS Same as in Posture 7. See photos 152 & 153 [& 17]:

Posture 72: OPENING HANDS Same as in Posture 3. See photo 154:

Posture 73: CLOSING HANDS Same as in Posture 4. See photo 155:

Posture 74: BRUSH KNEE IN A CROSSED STANCE Same as in Posture 10. See photos 156 & 157:

Posture 75: PLAY THE LUTE Same as in Posture 11. See photo 158:

Posture 76: THREE THROUGH THE BACK Same as in Posture 31. See photos 159-166 [160-166 & 6165]:

Posture 77: OPENING HANDS Same as in Posture 3. See photo 167:

Posture 78: CLOSING HANDS Same as in Posture 4. See photo 168:

Posture 79: SINGLE WHIP Same as in Posture 5. See photo 169:

Posture 80: CLOUDING HANDS Same as in Posture 36. See photos 170 & 171 [171 & 70]:

Posture 81: RISING UP AND REACHING OUT TO THE HORSE

1. The posture is the same as in Posture 37, section 1. See photo 172:

2. Your right foot turns outward so the heel is next to your left toes and comes down with the toes slanted
outward. At the same time, your left hand turns so the palm faces upward and your right hand turns so
the palm faces downward, covering your left hand. The palms face each other about three or four inches
apart, your hands about one or two inches in front of your chest. See photo 173:

3.Your left foot goes forward and twists in so the toes of both feet are pointing toward each other. Your
hands remain in front of your chest, but flip so the right palm is facing upward, left palm facing
downward. Your legs go downward with a slight bending as your hands turn to cross at the wrists, your
left thumb slightly nearing your chest. See photos 174 & 175:

Posture 82: CROSSED-BODY SWINGING LOTUS KICK

Continuing from the previous posture, your right leg lifts, the top of the foot urging downward, the sole of
the foot above your left knee and about an inch away. At the same time, your hands spread apart to the
sides as in the SINGLE WHIP posture. Your gaze is forward. See photo 176:

Posture 83: ADVANCE, PUNCH TO THE CROTCH

Continuing from the previous posture, your gaze turns to look forward and downward. Your hands then
extend forward, again joining together, your left hand covering your right wrist, your right hand grasping
into a fist and extending forward. Your gaze is toward your right hand. As your hands go forward,

extending and joining, your right foot steps out forward, then your left foot steps, then your right foot
steps again, coming down pointed straight ahead, and your left foot follows to be about an inch behind
your right foot, toes touching down. Your body is making a posture of triple folding [bending at the hips,
knees, and ankles]. When stepping, your body is like a flying bird leaving a tree and drawing in its wings
as it heads diagonally downward to quickly land on the ground. See photo 177:

Posture 84: RETREAT, TUCK IN THE ROBE

Continuing from the previous posture, first your left foot withdraws, your right toes lift, and your right
palm turns to face upward, makes a level half circle to the right and rear, your left hand going along with
your right hands arc until your right palm is facing outward, then with your left hand supporting your
right wrist, push out forward. See photos 178-180:

Posture 85: OPENING HANDS Same as in Posture 3. See photo 181:

Posture 86: CLOSING HANDS Same as in Posture 4. See photo 182:

Posture 87: SINGLE WHIP Same as in Posture 5. See photo 183:

Posture 88: LOWERING FROM SINGLE WHIP

Continuing from the previous posture, first your right palm turns to face downward and then the arm
bends until the hand is at your right hip, and your left palm faces downward, lowering at the same time as
your right palm. Your body sits down as your hands lower, the weight on your right leg. Your gaze is
toward your left forefinger. See photo 184:

Posture 89: STEP FORWARD WITH THE BIG DIPPER

Continuing from the previous posture, your right hand first arcs from your right hip area to extend out
from under your left wrist, your wrists crossing to make an X-shape, and together withdraw to be about
three or four inches in front of your chest, fingers pointing upward. As your right hand pushes out, your
left foot slightly shifts forward, and your right foot follows to be about an inch behind your left foot, toes
touching down. Your legs are slightly bent, your upper body should be upright, and your waist should
sink. See photo 185:

Posture 90: STEP BACK TO RIDE THE TIGER

Continuing from the previous posture, your hands spread apart, your left hand lowering and brushing
back to your left hip, your right palm turning to face upward, then lowering and drawing a circle to the
right, rear, side, until by your forehead, palm facing downward, and pushing down to the area of your
lower abdomen. At the same time, your right foot withdraws, coming down with the toes slanted
outward. As your right hand pushes down, your left foot withdraws straight back until an inch away from
your right foot, toes touching down, your legs bending, your waist sinking. Then your right hand, palm
still facing downward, lifts up in front of your chest. Your left leg goes along with your right hand and
lifts, toes raised. Body, hand, and foot all lift in unison. See photos 186 & 187:

Posture 91: TURN-TO-THE-CORNER SWINGING LOTUS KICK

Continuing from the previous posture, your body turns around to the right. When turning, your right heel
lifts and goes along with the rightward turn of your body, your left foot coming down when your right foot
has turned about forty-five degrees, the toes of both feet pointing toward each other. Your right foot
immediately lifts up and swings out to the right, your left toes at the same time lifting for the foot to pivot
to the right. As your right foot swings to the right, your hands slap your right knee (left hand first, then
right hand), then your right foot comes down to the right rear and your palms turn to face upward, close
beside your ribs. In this posture, your body turns a complete circle. See photos 188 & 189:

Posture 92: BEND THE BOW, SHOOT THE TIGER

Continuing from the previous posture, your hands extend forward at the same time, palms extending and
turning over to face downward at shoulder level, arms slightly bent, the weight shifting to your right leg.
Your gaze goes between your hands. See photo 190:

Posture 93: DOUBLE RUSHING PUNCHES

Continuing from the previous posture, your left foot withdraws until it is beside your right foot, toes
touching down. Your hands grasp into fists, the backs of the hands facing upward, and pull in until they
are in front of your chest. Then your left foot steps forward, and your fists rush out forward, arms slightly
bent. At the same time, your right foot does a follow step, coming down with the toes slanted outward
about two or three inches away from your left heel. Your legs are bent and your waist sinks. Slightly
pause. See photos 191 & 192:

Posture 94: PASSIVE & ACTIVE MERGE INTO ONE

Continuing from the previous posture, your fists go along with your body as it turns to the right, turning
and wrapping inward until the palms are facing upward, your right fist close to your left wrist, elbows
close to your ribs. As your fists wrap inward, your left foot twists inward and your right foot withdraws,
the distance between your feet depending on your height, your right foot coming down with the toes
slanted outward. Then your left fist rolls outward from under your right wrist, touching with the inside of
the wrist to the outside of your right wrist. Your waist sinks and your legs are slightly bent. Your wrists
twist outward in unison at chest level, making an X-shape, about three or four inches away from your

chest. When your wrists twist outward, your left toes lift and the foot slightly shifts forward, the weight
now on your right leg. Your elbows are hanging down and your legs are bent. Your gaze goes between
your fists. Slightly pause. See photos 193 & 194:

Posture 95: FINISHING POSTURE

Continuing from the previous posture, your hands in unison spread apart to the sides and lower toward
your hips so the palms are beside your thighs. At the same time, your left foot draws close to your right
foot, heels touching, feet making a ninety degree angle, your body straightening up. You have returned to
the original position. See photo 195:


PART TWO: TAIJI BOXINGS PUSHING HANDS METHODS
All boxing arts have two aspects: form and function. However, form and function are interrelated, for the
training of form embodies function and the training of function cannot be separated from form. The
postures in Part One of this book comprise Taiji Boxing in terms of form. The solo set is the practice of
knowing the self. Although the function is within it, it is however a solo practice, and so it is not easy to
find the subtleties of the function. This section of pushing hands methods emphasizes function. Pushing
hands is the practice of knowing the opponent.
There are eight techniques of function in Taiji Boxing: warding off, rolling back, pressing, pushing,
plucking, rending, elbowing, and bumping. When practicing pushing hands, two people face other, first
using the four techniques of warding off, rolling back, pressing and pushing as the basic training method,
patiently drilling them until they are meticulously understood. Once your training has achieved the
qualities of neither coming away nor crashing in, stick, connect, adhere, and follow, your hands and
feet moving with nimbleness, inside and outside joined together, then you will be able to reach the point
of guiding him in to land on nothing and four ounces moving a thousand pounds. When you reach
this point, your whole body will be able to move naturally, with an unobstructed liveliness, adapting
limitlessly, and you will be able to say your Taiji Boxing has both form and function.
1. STARTING POSITION FOR FIXED-STEP PUSHING HANDS
i. Persons A and B stand facing each other about two steps apart. See photo 1:

ii. A [on the right in these photos], begin by advancing with your left foot, left hand forward, palm facing
to the rear, right palm placed on your left forearm, right wrist about four or five inches in front of your
chest, as in photo 2:

iii. B, your movement is the same as As.

2. B ROLLING BACK, A PRESSING
A, first extend your right hand toward Bs face.
B, lightly cover As right wrist with your right hand while your left hand coils around from under her
right arm to lightly cover her right elbow, and roll back to the forward right with both hands.

A, continue by extending your right arm, wrist twisting inward until the palm is facing inward, while
your left hand goes to your own right forearm, and press out, your gaze toward Bs eyes.
(Pay attention that the pushing hands movements are even and use intention instead of exertion, and
that it be so for the following movements the same as here.) See photo 3:

3. B WARDING OFF & PUSHING

B, while A presses, let your hands go along with your body as it withdraws to the rear, neither coming
away nor crashing in, your front toes lifting. Wait for her force to express and then push down. Continue
by sending both hands toward her left arm and push out, your right hand pushing on the back of her right
hand, your left hand pushing at her right elbow. See photo 4 [5]:

4. A ROLLING BACK, B PRESSING

A, wait for Bs push to come out, then go along with it by shrinking your body to the rear, lightly covering
his left wrist with your left hand as your right hand coils around from under his left arm to lightly cover
his left elbow, and roll back to the forward left with both hands.
B, continue by extending your left arm, wrist twisting inward until the palm is facing inward, while
your right hand goes to your own left forearm to press out, your gaze toward As eyes. See photo 5 [4]:

5. A WARDING OFF & PUSHING

A, while B presses, let your hands go along with your body as it withdraws to the rear, your front toes
lifting. Wait for his force to express and then push down. See photo 6:

A, continue by sending both hands toward Bs right arm and push out, your right hand pushing on the
back of his right hand, your left hand pushing at his right elbow. (This push then continues the sequence
and the pushing hands movements recycle.) See photo 7:

6. THE METHOD OF SWITCHING FEET

If you wish to switch from the left posture to the right (i.e. so that you both have your right foot forward):
A, when B rolls back, do not press, instead use your own right hand to lead his right hand to the rear,
your left hand coiling around to be on his right elbow, and do a rollback outward, same as in the rollback
technique on the left side. At the same time, withdraw your left foot and bring it down behind your right
foot.
B, now advance with your right foot and apply a press.
Then A again wards off and pushes, and B again rolls back. The practice then recycles. This is the
method of switching the feet in the beginning stage of pushing hands. One it has become familiar, you
can switch as you please.
7. THE MOVING-STEP METHOD
Once the fixed-step version has become familiar, you can practice with moving steps. The hand
techniques are the same as in the fixed-step version, except that when you advance, you first advance
with your front foot, and when you retreat, you first retreat with your rear foot. Advance three steps,
retreat three steps, and the advancing and retreating footwork should coordinate with the upper bodys
hand techniques. The person stepping forward is doing push and press. The person stepping back is
doing ward-off and rollback. Go back and forth, recycling these techniques. This is the version for
beginners, and once it is familiar, you can then adjust as the situation requires, without any rules to
restrict you.

APPENDIX: REFERENCE MATERIAL

1. WANG ZONGYUES TAIJI BOXING TREATISE

Taiji [grand polarity] is born of wuji [nonpolarity]. It is the manifestation of movement and stillness,
and the mother of yin and yang [the passive and active aspects]. When there is movement, they [passive
and active] become distinct from each other. When there is stillness, they return to being
indistinguishable.
Neither going too far nor not far enough, comply and bend then engage and extend. He is hard while I
am soft this is yielding. My energy is smooth while his energy is coarse this is sticking. If he moves
fast, I quickly respond, and if his movement is slow, I leisurely follow. Although there is an endless
variety of possible scenarios, there is only this single principle [of yielding and sticking] throughout.
Once you have engrained these techniques, you will gradually come to identify energies, and then from
there you will work your way toward something miraculous. But unless you practice a lot over a long
time, you will never have a breakthrough.
With your headtop pressing up naturally and energy sinking down to your elixir field, there will be no
leaning in any direction. Suddenly vanish then suddenly manifest. If he puts pressure on my left side, my
left side empties, or if he puts pressure on my right side, my right side disappears. If he tries to find me
above, he has to keep reaching higher, or if he tries to find me below, he has to keep reaching lower.
When he advances, he cannot get to me, but once he retreats, he cannot get away from me. A feather
cannot be added and a fly cannot land. He does not know me, only I know him. A hero is one who
encounters no opposition, and it is through this kind of method that such a condition is achieved.
There are many other schools of martial arts besides this one. Although the postures are different
between them, they generally do not go beyond the strong bullying the weak and the slow yielding to the
fast. The strong beating the weak and the slow submitting to the fast are both a matter of inherent natural
ability and bear no relation to skill that is learned. Examine the phrase four ounces moves a thousand
pounds, which is clearly not a victory obtained through strength. Or consider the sight of an old man
repelling a group, which could not come from an aggressive speed.
Standing like a scale, move like a wheel. If you drop one side, you can move, but if you have equal
pressure on both sides, you will be stuck. We often see one who has practiced hard for many years yet is
unable to perform any neutralizations and is generally under the opponents control rather than able to
control the opponent, and the issue here is that this error of double pressure has not yet been
understood.
If you want to avoid this error, you must understand passive and active. In sticking there is yielding
and in yielding there is sticking. The active does not depart from the passive and the passive does not
depart from the active, for the passive and active exchange roles. Once you have this understanding, you
will be identifying energies. Once you are identifying energies, then the more you practice, the more
efficient your skill will be, and by absorbing through experience and by constantly contemplating,
gradually you will reach the point that you can do whatever you want.
The basic of basics is to forget about your plans and simply respond to the opponent. We often make
the mistake of ignoring what is right in front of us in favor of something that has nothing to do with our
immediate circumstances. For such situations it is said: Miss by an inch, lose by a mile. You must
understand all this clearly.
Long Boxing: it is like a long river flowing into the wide ocean, on and on ceaselessly
The thirteen dynamics are: warding off, rolling back, pressing, pushing, plucking, rending, elbowing,
and bumping relating to the eight trigrams:

plus advancing, retreating, stepping to the left, stepping to the right, and staying in the center relating
to the five elements. These combined [8+5] are called the Thirteen Dynamics. Warding off, rolling back,
pressing, and pushing correspond to , , , and in the four principle compass directions [meaning
simply that these are the primary techniques]. Plucking, rending, elbowing, and bumping correspond to
, , , and in the four corner directions [i.e. are the secondary techniques]. Advancing, retreating,
stepping to the left, stepping to the right, and staying in the center relate to metal, wood, water, fire, and
earth.
2. WU YUXIANGS TAIJI BOXING TREATISE
Before there was a universe, within the infinity of space was the single indistinct energy of nonpolarity
[wuji]. From nonpolarity came the grand polarity [taiji], which is the foundation of the universe and the
origin of all things.
In Taiji Boxing, once there is any movement, your entire body should be nimble and alert. There
especially needs to be connection from movement to movement. Energy should be roused and spirit
should be collected within. Do not allow there to be cracks or gaps anywhere, pits or protrusions
anywhere, breaks in the flow anywhere. Starting from your foot, issue through your leg, directing it at
your waist, and expressing it at your fingers. From foot through leg through waist, it must be a fully
continuous process, and whether advancing or retreating, you will then be able to catch the opportunity
and gain the upper hand. If not and your body easily falls into disorder, the problem must be in your
waist and legs, so look for it there. This is always so, regardless of the direction of the movement, be it up,
down, forward, back, left, right. And in all of these cases, the problem is a matter of your intent. It is
internal and does not lie outside of you.
With an upward comes a downward, with a forward comes a backward, and with a left comes a right. If
your intention wants to go upward, then harbor a downward intention, like when you reach down to lift
up an object. You thereby add a setback to the opponents own intention, thus he cuts his own root and is
defeated quickly and certainly. Empty and full must be distinguished clearly. In each part there is a part
that is empty and a part that is full. Everywhere it is always like this, an emptiness and a fullness.
Throughout your body, as the movement goes from one section to another there has to be connection. Do
not allow the slightest break in the connection.
(This relates to the theory left to us from Zhang Sanfeng of Mt. Wudang. He wanted all the heroes in
the world to live long and not merely gain martial skill.)
3. UNDERSTANDING HOW TO PRACTICE THE THIRTEEN DYNAMICS
Use mind to move the energy. You must get the energy to sink. It is then able to collect in the bones. Use
energy to move your body. You must get the energy to be smooth. Your body can then easily obey your
mind.
If you can raise your spirit, then you will be without worry of being slow or weighed down. Thus it is
said [in the Thirteen Dynamics Song]: Your whole body will be nimble and your headtop will be pulled
up as if suspended. The mind must perform alternations nimbly, and then you will have the qualities of
roundness and liveliness. Thus it is said [also in the Song]: Pay attention to the alternation of empty and
full.
When issuing power, you must sink and relax, concentrating it in one direction. Your posture must be
upright and comfortable, bracing in all directions.
Move energy as though through a winding-path pearl, penetrating even the smallest nook. Wield
power like tempered steel, so strong there is nothing tough enough to stand up against it.
The shape is like a falcon capturing a rabbit. The spirit is like a cat pouncing on a mouse.
In stillness, be like a mountain, and in movement, be like a river.

Store power like drawing a bow. Issue power like loosing an arrow.
Within curving, seek to be straightening. Store and then issue.
Power comes from the spine. Step according to your bodys adjustments.
To gather is to release and to release is to gather. Disconnect but stay connected.
In the back and forth [of the arms], there must be folding. In the advance and retreat [of the feet],
there must be variation.
Extreme softness begets extreme hardness. Your ability to be nimble lies in your ability to breathe.
By nurturing energy with integrity, it will not be corrupted. By storing power in crooked parts, it will
be in abundant supply.
The mind makes the command, the energy is its flag, and the waist is its banner.
First strive to open up, then strive to close up, and from there you will be able to attain a refined
subtlety.
It is also said:
First in the mind, then in the body.
With your abdomen relaxed, energy gathers in your marrow. Spirit comfortable, body calm at every
moment be mindful of this.
Always remember: if one part moves, every part moves, and if one part is still, every part is still.
As the movement leads back and forth, energy sticks to and gathers in your spine.
Inwardly bolster spirit and outwardly show ease.
Step like a cat and move energy as if drawing silk.
Throughout your body, your mind should be on the spirit rather than on the energy, for if you are
fixated on the energy, your movement will become sluggish. Whenever your mind is on the energy, there
will be no power, whereas if you ignore the energy and let it take care of itself, there will be pure strength.
The energy is like a wheel and the waist is like an axle.
4. THIRTEEN DYNAMICS SONG
Do not neglect any of the thirteen dynamics,
their command coming from your lower back.
You must pay attention to the alternation of empty and full,
then energy will flow through your whole body without getting stuck anywhere.
In stillness, movement stirs, and then in moving, seem yet to be in stillness,
for the magic lies in making adjustments based on being receptive to the opponent.
In every movement, very deliberately control it by the use of intention,
for once you achieve that, it will all be effortless.
At every moment, pay attention to your waist,
for if there is complete relaxation within your belly, energy is primed.
Your tailbone is centered and spirit penetrates to your headtop,
thus your whole body will be aware and your headtop will be pulled up as if suspended.
Pay careful attention in your practice that you are letting bending and extending, contracting and
expanding, happen as the situation requires.
Beginning the training requires personal instruction,
but mastering the art depends on your own unceasing effort.
Whether we are discussing in terms of theory or function, what is the constant?
It is that mind is sovereign and body is subject.
If you think about it, what is emphasizing the use of intention going to lead you to?
To a longer life and a longer youth.

Repeatedly recite the words above,

all of which speak clearly and hence their ideas come through without confusion.
If you pay no heed to those ideas, you will go astray in your training,
and you will find you have wasted your time and be left with only sighs of regret.
5. PUSHING HANDS SONG
Ward-off, rollback, press, and push must be taken seriously.
With coordination between above and below, the opponent will hardly find a way in.
I will let him attack me with as much power as he likes,
for I will tug with four ounces of force to move his of a thousand pounds.
Guiding him in to land on nothing, I then close on him and send him away.
I stick to him and go along with his movement instead of coming away or crashing in.
6. LI YIYUS FIVE-WORD FORMULA
[1] The mind is CALM.
If your mind is not calm, it will not be focused, and each movement of your hands, be it forward or back,
left or right, will not be in any definite direction. Therefore your mind should be calm. At first your
movement will not yet be able to come from yourself, and so you should clear your mind and let your
body intuit, going along with the opponents movements. Bend and then extend, neither coming away nor
crashing in, and do not expand and contract on your own. When the opponent has power, I also have
power, but my power beats him to the punch. When he has no power, I also have no power, for it is my
intention that beats him to the decision. You should constantly pay attention. Wherever the opponent
nears you, your mind should go there. You must neither come away nor crash in, and then you will be
able to analyze what is going on. After doing this for about a year or so, it will become a natural part of
you. This is entirely a matter of using intention and is not a matter of using strength. Over time, you will
reach the point in which you can say he is under my control and I am not under his.
[2] The body is LIVELY.
When your body is sluggish, advancing and retreating cannot be done smoothly. Therefore your body
should be lively. When moving your hands, there must be nothing resembling hesitation. When the
opponents force hinders even the hairs on my skin, my intention instantly enters his bones and my
hands are bracing him, all as one event. If he puts pressure on my left side, I empty my left side and my
right side goes forth, or if he puts pressure on my right side, I empty my right side and my left side goes
forth, the energy like a wheel. Your whole body should be coordinated. If there is a lack of coordination
anywhere, your body will then be disorganized, and you will then have no power. Seek for the problem in
your hips. First use your mind to command your body, and follow the opponent rather than yourself.
Later your body will be able to follow your mind, yet this moving from yourself will still depend on
following the opponent. If you act from yourself, you will be sluggish. If you follow the opponent, you will
be lively. If you can follow the opponent, your hands on him will detect in finer detail, weighing the size of
his power and being accurate to the smallest measure, assessing the length of his attack and not being off
by the slightest bit, and you will advance and retreat always at the right moment. The more you work at
it, the more perfected your skill will be.
[3] The energy is COLLECTED.
If your energy is scattered, then it will not be stored, and your body will easily fall into disorder. You must
cause the energy to collect into your spine. Inhaling and exhaling penetrates and enlivens, influencing
every part of your body. Inhaling is contracting and storing. Exhaling is expanding and releasing. Since
with inhaling there is a natural rising, take the opponent up. Since with exhaling there is a natural

sinking, send the opponent away. This is the use of intention to move energy, not the use of exertion to
force energy.
[4] The power is COMPLETE.
The power of your whole body is trained to become a single unit, distinguishing clearly between empty
and full. To issue power, there should be a source of it. Power starts from your heel, it is directed at your
waist, and expresses at your fingers, issuing from your spine. With it there should also be a rousing of all
your spirit. When the opponents power is about to come out but has not yet issued, my power connects
with and invades his instantly, neither late nor early, as if my skin is a burning fire or as if a spring is
gushing forth. I advance and retreat without the slightest disorder, and seeking the straight within the
curved, I store and then issue. Thus I am able to be effortlessly successful. This is called borrowing his
force to hit him with or using four ounces to move a thousand pounds.
[5] The spirit is GATHERED.
With the four above prepared, finally spirit gathers. Once spirit is gathered, then energy is tempered, and
this smelted energy then reinforces spirit. Energy is ready to move and spirit is concentrated. Expand and
contract are decisive. Empty and full are distinct. When left is empty, right is full. When right is empty,
left is full. Empty does not mean you are in that area completely weak, but that energy should there be
ready to move. Full does not mean you are in that area completely stuck, but that spirit should there be
concentrated. It is crucial that changes are within your chest and waist and are not external. Force is
borrowed from the opponent. Energy is issued from your spine. How can energy issue from your spine? It
sinks downward, going from your shoulders, gathering in your spine, and concentrates in your waist. This
energy going from above to below is called contracting. Then it goes from your waist to your spine,
spreading to your arms to be applied at your fingers. This energy going from below to above is called
expanding. Contracting is gathering. Expanding is releasing. When you can understand expanding and
contracting, then you will understand passive and active. When you reach this state, then daily work will
yield daily refinement, and gradually you will reach the point that you can do whatever you want and
everything will happen as you imagine.
7. THE TRICK TO RELEASING
Raise, draw in, relax, and release.
I get the opponents energy to rise up and I borrow his force. (This has to do with lively.)
Once I have drawn him in front of me, my power begins to store. (This has to do with collected.)
I relax my power, but I do not allow it to collapse. (This has to do with calm.)
When I release, it comes from my waist and legs. (This has to do with complete.)
8. ESSENTIALS IN PRACTICING THE SOLO SET & PLAYING HANDS
Someone long ago said: If you can draw the opponent in to land on nothing, you can then use four
ounces of force to move his of a thousand pounds. If you cannot draw the opponent in to land on nothing,
you cannot use four ounces to move a thousand pounds. These words are probably too vague for a
beginner to understand. I will explain further so that those who want this skill are in a position to begin
and then after much regular training get to possess it:
If you want to draw the opponent into emptiness and use four ounces to move a thousand pounds, you
must first know both yourself and the opponent. If you want to know both yourself and the opponent, you
must first let go of your plans and just respond to the opponent. If you want to let go of your plans and
just respond to the opponent, you must first be in the right place at the right time. If you want to be in the
right place at the right time, you must first get your whole body to behave as one unit. If you want to get
your whole body to behave as one unit, you must first get your whole body to be without cracks or gaps. If
you want to get your whole body to be without cracks or gaps, you must first get your spirit and energy to

be ready. If you want your spirit and energy to be ready, you must first rouse your spirit. If you want to
rouse your spirit, you must first keep your spirit from being distracted. If you want to keep your spirit
from being distracted, you must first get your spirit and energy to gather and collect in your spine. If you
want to get your spirit and energy to gather and collect in your spine, you must first get the front of your
thighs to have strength, get your shoulders to loosen, and get your energy to sink downward.
Power starts from your heel, is transferred through your leg, stored in your chest, moved at your
shoulders, and controlled at your waist. In your upper body, your arms are connected with each other. In
your lower body, your legs are coordinated with each other. Power is transferred from within. Gathering
is contracting. Releasing is expanding. When becoming still, everything becomes still. Stillness refers to
contracting. When contraction finishes, there will be expansion. When there is movement, everything
moves. Movement refers to expanding. When expansion finishes, there will be contraction. Then when
there is contact, you can turn smoothly and will be strong everywhere. You will then be able to draw the
opponent in to land on nothing and use four ounces of force to move his of a thousand pounds.
Whenever you practice the solo set, it is the practice of knowing yourself. Before moving through the
postures, make sure your whole body is in accord with the principles as stated above. When the slightest
part is off, immediately adjust it. To facilitate this, the set should be done slowly rather than quickly.
Playing hands is then the practice of knowing the opponent. His movement and stillness must be
firmly comprehended. Still examine yourself as well. If I am in good order myself, then when the
opponent comes near me, I do not need to act upon him at all, but take advantage of his momentum to
find a way in. Connecting firmly to his power, I let him cause himself to fall out. If you do not have a
strong position, this is simply a case of double pressure rather than neutralization, and you should seek
within passive and active, or contracting and expanding, to fix it. It is said: Knowing both yourself and
your opponent, in a hundred battles you will have a hundred victories.

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