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Notes
from the 2001 Feng Zhiqiang San Francisco Intensive
edited by Malcolm Dean
translated by Brian Guan
In July 2001, Grandmaster Feng Zhiqiang, the founder
of Hunyuan Taiji, gave a four-day intensive near San Francisco where he presented
several wide-ranging lectures on principles of taiji practice and philosophy.
Here are a few of his comments on principles of practice. Where Master Feng is
quoted, the translation is from the audio tape of his lecture; otherwise the
material is condensed from the audio or from our notes. We'll try to bring you
some of his very interesting comments on taiji philosophy later on. Many thanks
to Brian Guan for his translation. -- ed.
Six Principles of Hunyuan
Tai Chi Practice
During his introductory remarks, Grandmaster Feng discussed six basic principles
of Tai Chi practice. They were:
| 1. |
Gentle
is better than forceful. |
| 2. |
Slow
is better than fast |
| 3. |
High
is better than low. |
| 4. |
Long
is better than short. |
| 5. |
Curved
is better than straight. |
| 6. |
Single-weighted
is better than
double-weighted. |
Comments on the Principles
1. Gentle is better than forceful. Hunyuan
taiji, like Chen style taiji in general, is an internal martial art. But it's
all too easy for students to succumb to
the temptation to use stiff external force. In terms of practice, "forceful" means
over-exertion: stiffness of body, rigidity of intention and sometimes even a
showy, martial performance style. In other words, too much yang, not enough yin.
For this reason, during the intensive Feng Laoshi (teacher) recommended the elimination
of any excessive or showy fajin during practice. [Fajin is the explosive release
of energy at critical points in the practice forms where martial techniques would
be applied if in actual combat.] Fajin is a traditional part of taiji, but it's
dangerous if not done correctly, ha said. If the energy is not released cleanly,
the chi can bounce back into the body and cause tissue damage. Some taiji players
exaggerate fajin and end up injuring themselves. Feng Laoshi made clear he considered
such exaggerated exhibitions to be both counter-productive to the development
of gongfu (internal strength and ability) and an example of poor form.
In his own demonstrations, Master Feng refrained from any stamping fajin, and
only occasionally issued power through the fist or elbow, and then only with
moderation. In his remarks, Grandmaster Feng emphasized that this is because
fajin, even if it is done correctly by an experienced player, can cause harm
to the body over time by damaging the tissues, especially the joints, internal
organs and brain. Stamping can cause long-term harm to the knee and hip joints,
as well as the internal organs, and punching can actually cause a concussion-like
effect on the brain. He cautioned that the damage may not show up immediately,
but may manifest later in life and cause health problems. So gentle is better
than forceful.
2. Slow is better than fast. Just as being too forceful in practice is detrimental
to the development of gongfu, so is being too fast. The development of true internal
strength and skill requires two things: internal self-knowledge and internal
relaxation. Internal self-knowledge can only be gained by experience. The student
must practice slowly and gently enough to see and understand every nuance of
his or her movement, from the top of the head to the tip of the toe and out to
the ends of the fingers. That's why slow is better than fast. Internal development
also requires internal relaxation, which means both mind and body must be calm
and open. Just as too much force in the body results in stiff movement, too much
force in the mind results in stiff intention. Both damage the flow of chi and
must be avoided. Therefore, again, gentle is better than forceful. Gentle does
not mean lax, however; it means alert, awake, aware, yielding, returning. Therefore
slow and gentle is better than fast and forceful.
3. High
is better than low. Master Feng emphasized that constant practice in a stance
that is too low can cause long-term damage to the body, especially the knee joints.
[Again, Master Feng was commenting on poor habits developed by some over-enthusiastic
younger practitioners, who push themselves into very low practice stances in
order to build strength and martial ability as quickly as possible.]
Feng Laoshi also pointed out that there can also be an interruption of chi flow
in low stances that compromise a move’s effectiveness in martial application.
A stance that’s too low will cut the flow of chi at the knees, and will
also cause leakage through the huiyin (perineum). Grandmaster Feng stated, “...when
you have very low stance, chi leaks out
from the perineum. There’s no way you would know. When chi leaks out from
the perineum you can
never sense it. Also,
when you have
very low stance the angle at the knee is too sharp, so chi can't flow down the
leg very easily. We must differentiate between what is good for us and what is
bad for us, and what is damaging our body and what is nurturing our body... When
you are practicing in lower stance, yes, your martial ability may increase faster,
but you’re doing damage to your own body, and you don't even realize that
you’re leaking chi.” So high is better than low.
4. Long
is better than short. One of the most important principles of Hunyuan taiji
is learning to relax the joints and fully extend the arms, legs and spine.
(continued in next column) |
 |
 |
| |
GGrandmaster
Feng Zhiqiang in "Leisurely Tie Coat" from the
Hunyuan 24-movement first form. At Pema Osel Ling, near Santa
Cruz, July, 2001. |
This promotes the flow of chi and creates
a body "like a dragon". Grandmaster Feng explained, “...Taiji
is a 'long' form of martial art, as in stretching, lengthening.
Xingyi [another internal martial art related to taiji], in contrast,
is a shorter form, more compact. Even though Xingyi is a short
form of martial art, it uses the body's natural springy, jumpy
power to make up for the lack of reach. However, taiji is a long
form of martial art. It’s like the body of a dragon. Tongbei,
another Chinese martial art, is another long form of martial art,
because you are always extending your arms. Taiji absorbs the strength
of all these different martial arts and forms its own unique style.
This movement in our form [he demonstrated a move] is from xingyi.
This [he demonstrated another move] is from tongbei. This move
is from Shaolin. This is from Preying Mantis. This is also from
Preying Mantis. The elbow strikes in taiji come from Baji. Taiji
is a compound of eighteen other martial art styles. [Taiji uses]
the theory of Taoism, the I Ching [Book of Changes], and Chinese
Traditional Medicine to form its theoretical foundation, especially
yin-yang theory and the meridians in traditional medicine.”
In performance, Master Feng himself expressed very long, large
movements, fully extending his arms (see photo above) by gently
opening and releasing the joints. Since he has an enormous reach,
the effect is heightened, but his arms are never over- or hyper-extended.
They always retained a natural, relaxed curve. Even though in application
movements may be very small and concise, in practice they should
be large, round and long to better promote the flow of chi and
build gongfu. Thus long is better than short.
5. Curved is better than straight. Grandmaster Feng stated: “But
even when your limbs are lengthened, they’re also curved.
The body is the same. It should never be too straight. There should
always be a curve. In taiji the body is considered to have five
bows, as in "bow and arrow". So one arm, the other arm—two
bows. One leg, the other leg and your spine, three more. So, five
bows. There is a taiji saying that your body has five bows, and
if you can express the springy power [in these five bows] there
is no opponent under Heaven [who can beat you]... Curving the chest
is also a bow [this is the obverse to curving the back]. Only by
practicing in a slow and lengthening manner, can you then cultivate
this springy energy. Something with springiness is very strong.
If you drop it, it won't break. But if you have something that
is hard and brittle, when you drop it, it will shatter. That’s
what the old martial arts masters would say: If your body has five
bows and you can do the spring-like energy, you will have no enemy
and no opponent under Heaven [who can beat you]. Practicing martial
arts, you should know the theory. Only by knowing the theory can
you grasp the martial art aspect.” So curved is better than
straight.
6. Single-weighted is better than double-weighted. "Double-weighted" means
the weight of the body is evenly distributed on both feet. "Single-weighted" means
the weight is on one foot. Double-weighted is bad because it's
static; when both feet are grounded, it's hard to move or turn.
Single-weighted is good because it's dynamic; it's easy to move
when one foot is grounded and the other free. In push-hands, "double-weighted" also
implies using force against your opponent's force, while "single-weighted" means
yielding to force first in order to neutralize it, then applying
force into emptiness - in other words, using "four ounces
to move one thousand pounds".
Grandmaster Feng explained: “Weight on one side is better
than evenly distributed. Single-weighted is better than double-weighted.
Even when you are standing upright, your weight should only be
on one leg. When you’re standing you should be relaxed and
have your weight shifting from one leg to the other, never fifty-fifty.
But don't be too obvious. That looks funny. Don’t let it
be visible to an observer, but [even when standing] you should
shift your weight from one leg to the other. Same thing with the
foot. When you are standing you should never tighten your foot,
and you should instead flex it gently. Never stay in one position.”
Master Feng never stopped this kind of subtle practice for the
entire four days of the intensive, even when he was lecturing or
resting. It seemed so natural that it was not noticeable, but if
you looked closely, you could see he was always gently moving.
Even when he was apparently standing still, he was actually gently
rocking his weight back and forth from foot to foot, as if performing
a slow-motion qigong. |
