Classes in Leeds (Times, costs and venues)

Mon-
Private Tuition. One on one training is the best way to
learn an internal art. Call to book a lesson.

Tai Ji Quan & Kung Fu class, The Cardigan Centre, Cardigan Rd, LS6 1LJ 6.30pm until 8.00pm

Tues-
Traditional Yang Tai Ji Quan, All saints parish church hall,
Woodlesford. 1.30pm until 2.30pm

Wed-
Traditional Yang Tai Ji Quan, Devere Hotel, Oulton. Call hotel to book in
11.30am until 12.30pm

Tui Shou (pushing hands) class. Fortnightly
6.30pm until 8pm

Thur-
Tui Na Walk in Clinic 10am until 2pm
at The Northern College of Acupuncture, Micklegate, York.

Combat Tai Ji Quan Class (formless class), Kaizen martial arts academy, swinow grange mills, Stannigley, LS13 4EP. Taught by Gareth Wilson (4th Duan Black Belt - Combat Tai Ji Quan).

Private Tuition. Call to book a lesson

Fri-
Tui Na Walk in Clinic 10am until 2pm
at The Northern College of Acupuncture, Micklegate, York.

Private Tuition. Call to book a lesson

Instruction in the following subjects available

Yang Cheng Fu old long form
Sun Lu Tang long form
Yang straight sword (jin) form
Hsing Yi Quan
Shaolin Quan
Shaolin Spear

All classes are £5 each or pay £10 a week for student membership/unlimited classes
Personal Tuition is £30 for an hour
All student members get £5 off any personal training and/or massage
First class is free

Tui Na Medical Massage

Yorkshire Internal Arts offer Home visit or in clinic Tui Na Medical Massage, Reflexology and Medical Fire Cupping. With all our practitioners fully qualified and insured.
Our massage is a Chinese medical deep tissue massage. It is great for treating most ailments and injuries including:

• Sports injuries (muscular or damage or pain in joints)
  

• Migraines and tension headaches
  

• Back pain and hip Problems
  

• RSI (repetitive strain injury)
  

• Toothache

• Reducing scar tissue from injury or surgery
  

• Stomach problems and much much more.

Your first treatment is 1 hour to allow for a consultation
Massages cost £20 for half an hour or £35 for the hour
Medical fire cupping is offered separately or on top of your massage
Home visit cost £5 to cover expenses.

Some ailments require different treatments which is why we also practice reflexology and medical fire cupping.

So call us today to have the convenience of someone visiting you in your own home. For more info on the massage and prices or to book appointments please contact Kevin Meredith.

Kevin is now running the Tuina UK walk in clinic on Thursday's amd Friday's at The Northern College of Accupuncture in York. Both clinic's run from 10am until 2pm, however bookings can be taken after 2pm. Call to book a treatment.

Not from Leeds? Go to Tuinauk.com to find a clinic near you.. We will also be setting up a clinic in Leeds city center too. Just watch this space for further updates

York clinic prices are:

5 minute taster £5

15 minute Neck and shoulder massage £10

30 minute massage £25

1 hour full body massage £40

Yorkshire Internal Arts and TuiNa UK at The London Marathon 2010

Yorkshire Internal Arts and TuiNa UK came together to help runners raising money for the charity Epilepsy Action at the London Marathon this year.

We massaged alot of runners over a five hour period and helped them recover and treat there injured or fatigued legs, ankles, backs and shoulders.
The day was a real success, the runners did very well, got times they could be very proud of and we had exellent feedback from the event. Many people had not had TuiNa massage before and some had never heard of it so it was great to spread the word and let people feel the great benefits of Chinese massage. Thanks all for taking part and we hope to see you all again next year.

Why do we practice internal arts

Hsing Yi Quan, Tai Ji Quan, Bagua Zhang

There are many reasons why we practice an internal art. I suppose the two main reasons are for self defense and for health. However once your practice becomes more detailed many more reasons come into light. Lets look at the main reasons.

1. Self defense - Although a few people argue that internal arts are not to effective for fighting this is not true. All three of the main internal arts (Tai Ji, Hsing Yi, and Bagua) have all been tried and tested for a very long time. Hsing Yi Quan was developed from shaolin arts and was used on the battle field by Chinese troops when they fought the mongols. Tai Ji Quan was used in battle by the elite such as generals and commanding officers. This was mainly due to the fact they had more practice time than the troops, something very much needed to be able to become competent and efficient in this profound art. Bagua Zhang was used by many bodyguards throughout China, in fact this art is developed to fight multiple opponents. Early full contact events in China quickly developed rules due to the amount of severe injuries and deaths caused by these practitioners. The difference with internal arts and other arts is their approach to training. Most teach the use of strength via strong muscle and stances. Applications and sparring are started very early in your training bringing fairly quick but sometimes superficial results and the use of force against force. In some extreme situations this can breed aggression and the thought that victory is everything. With internal arts the fighting is far from the only emphasis when training. First you have to address yourself and your outlook on life. This is encouraged to bring about change in thought process and physical process, ironing out the bad habits such as bad posture or brute force strength with no thought of what is happening around you. Internal arts encourage the practitioner to relax and start to adapt to your opponent, listening to his moves and in essence letting him make a mistake before you attack. Breathing is very important in terms of relaxation and including it with movement to improve power and coordination of posture. The internal arts include many weapons forms too such as Sword, spear and staff to name but a few. They are flexible arts and subtle which is why they can be misunderstood and many people don't stick at the training. Instead searching for something with the instant result.

Health - There are endless health benefits from practicing an internal arts. Strength and flexibility are some of the first to be noticed, not only in terms of muscle but also tenons, ligaments and bones. Because of the emphasis on relaxation, muscle relaxes meaning the reduction of stiffness and soreness in muscle (this means less injury), and circulation improves. Correct breathing results in stronger lungs and the massage of internal organs due to the diaphragm pushing down on the organs of the belly and using back muscles that can stimulate the kidneys. In fact the twisting and bending the forms bring can stimulate the nervous system using the spine and effects all the organs in different ways. The relaxation that comes from the forms and exercises such as Qi Gong bring general well being and a mind set and clarity to cope with life stresses and worries in all situations. To gain the real knowledge of the internal arts is a life mission, it must be practiced diligently and must filter into your daily life. It is a full package. So at the end you will be a great fighter, but a relaxed person with patience, diligence, discipline, the ability to listen, sense and adapt under pressure and many of the attributes we all want for our selves in daily life. They are fighting styles based on Taoism and Buddhism so teach a philosophy through understanding yourself and hopefully others around you and how we all interact as humans.

If you like the sound of studying an internal art. Why not join in on one of our classes in Leeds. Your first class is free. Class times are above.

Tai Chi 'can ease the pain of arthritis'

Practising the ancient Chinese martial art of Tai Chi can significantly ease the pain of arthritis, a new study suggests.

By Kate Devlin, Medical Correspondent
Published: 7:00AM GMT 29 Oct 2009

Researchers found that Tai Chi was significantly better at easing arthritis than traditional stretching movements Photo: GETTY

Researchers found that after just 12 weeks patients were in less than half as much pain as before they started performing the exercises.

The martial art was also significantly better at easing the affliction than traditional stretching movements.

Millions of people around the world practise Tai Chi every morning, for its purported physical and mental health benefits.

It is particularly popular in China where many flock to public parks to start their day with the slow, methodical movements.

Performed for centuries, Tai Chi is designed to promote relaxation and improve balance, strength and suppleness.

Previous studies have suggested that it could be helpful in the treatment of arthritis, but the results were unclear.

Researchers from Tufts University in Massachusetts decided to test the effect of the martial art on patients suffering from arthritis of the knee, a painful condition which afflicts tens of thousands of Britons and is particularly common in the elderly.

As well as suffering less pain, the study found that patients who took up Tai Chi were able to move more easily, were less depressed and were in overall better health within weeks.

A similar group, who had been asked to practise stretching exercises also felt better, but the effects were much less pronounced than in the Tai Chi group, and pain was reduced only by around 20 per cent.

Barry Phelan, a former British Tai Chi champion who now teaches the martial art in Kent, said that he had seen first hand the effect that Tai Chi could have on arthritis patients.

He said: “I have an 83-year-old woman in my class who when she first began taking lessons could not move her arms above her head.

“Now she can lift her arms and touch her toes and is very lively and active.

“She comes every week and Tai Chi has even helped her get over a number of operations.”

Researchers believe that the exercises work by conditioning muscles and increasing suppleness as well as raising patients’ overall feelings of wellbeing.

However, Dr Chenchen Wang, who led the study, called for more research to understand the exact reasons behind the martial art’s effects, so that patients with other conditions apart from arthritis could potentially benefit.

He said: "Our observations emphasise a need to further evaluate the biologic mechanisms and approaches of Tai Chi to extend its benefits to a broader population."

During the study patients were asked to take part in a 60 minute Tai Chi class twice a week for 12 weeks and to practise for 20 minutes every day.

The researchers followed at 40 patients, who had an average age of 65, the findings, published in the journal Arthritis Care & Research, show.

The NHS performs 65,000 knee replacements a year, many on patients with arthritis of the knee.

The condition is caused by wear and tear in the joint and is characterised by the progressive wearing away of the cartilage of the joint.

If you have any questions regarding this post then contact us about classes in Leeds and its surrounding area's and how Tai Chi can help you.

Tui Na Medical Massage

Chinese Tui Na was called ‘An Mo’ or massage in ancient times. The term Tui Na was first seen during the Ming Dynasty. Chinese Tui Na is a therapeutic approach guided by Traditional Chinese Medicine (TCM) and was first used to treat paediatric disease through massage manipulations. Tui Na is a very important component of Chinese Medicine alongside acupuncture and herbal prescription.

Today Tui Na has become very advanced in its treatment for many diseases. Used in many of the hospitals in China today in the front line of healthcare, whereas in the west these complaints are not seen in our clinics until they become chronic many days after the incident.

Here is a explanation of Tui Na massage from my teacher, the head of Tui Na Uk, Errol Lynch. If your interested contact us for treatment today. Go to Tuinauk.com in the links below to find a clinic not in Leeds.

Tui Shou ( Tai Chi Pushing hands )

Tui Shou is something every practitioner of Tai Chi should come across in there training. It is a great introduction on how to use the principles of Tai Chi in a martial way and the first step to training with a partner. It is not a fighting style but a training method to aid the transition to free sparing. It will teach you the principles using the opponents force against them, controlling their centre and balance and overcoming them with minimal force and economy of movement. However its main aim is to teach the practitioner sensitivity to read the opponents movements early and know their intentions and to teach you your own strengths and weaknesses, correcting alignment etc.

To start the training you should be shown certain sets with one and then two hands learning to use Peng (ward off), Lu (roll back), Ji (press) and An (push) the four first energies in Tai Chi. This will help you to feel how they can be used with a partner. After lots of practice you can start to move into free push hands and start to feel where applications will become relevant in your movements. The more sensitive you become the more you can react early and let the opponents defeat them self. When you achieve a high level of this amazing skill it can be used the minute you come into contact with an opponent to know their next movement, overcome it and finally defeat them.

For more information on this subject or classes in Leeds and it's surrounding area's contact us.

A natural progression from Tui Shou

When you have a good understanding of Tui Shou (see post above) what comes next?
Most styles then move into free sparring, usually full contact. The problem with that from my experience is when it comes down to it most people panic and revert back to old habits and lose the principles of their art. When bad habits start to creep back in posture, root, relaxation and so many other things are lost. Balance and root are one thing that become are real weakness once the principles are lost and makes for very easy trips, sweeps and throws and also leads to alot of serious injuries for students. Which leads us into grappling, throws, falls and groundwork.
All arts should understand how to fall and throw correctly and once on the floor how to exploit your opponent. Does your system teach any of these techniques? If not what are the reasons? If you practice you art for sport and competition this is fine. Many of these arts will stop the fight if the fighters go to the floor or even enter a standing grapple. This is fine in context of sporting rules.
Martial arts were developed for combat with no rules and to find the true art should be practiced with this in mind and must encompass all aspects of combat equally. All the forms have throws, sweeps and trips in them. If you practice the punches or kicks with eachother and how to block or counter them so should you with trips, sweeps and throws. There should be no distinction. Thinking your root is great so you won't ever fall or be thrown is no answer, it is denial. A true internal artist is diligent in their practice and all encompassing in their thinking.

Safe Practicing

We run classes in Leeds that teach ground fighting and grappling skills. Contact us for more details.

The History of Ba Gua Zhang

BA GUA ZHANG - is attributed most often to Tung Hai Chuan around the latter 17th century, although there is no real historical evidence to support this claim. The story is that Tung was wondering around a mountainous area of China, freezing and starving to death when he was rescued and nurtured back to health by a reclusive Taoist hermit who then taught him the secrets of Ba Gua to preserve the health he had restored.

Tung’s skill became so high that eventually he was challenged by Kuo Yun Shen (a lot of that going on in that era), a famous Hsing I master, nicknamed the Divine Crushing Fist by the many opponents he had dispatched with his Hsing I skill.

The legend says that they fought over three days, with neither able to attain advantage. So they became friends and made a pact that from that day forward all of their students would study both Ba Gua (PaKua) and Hsing I (XingYi) from each teacher’s lineage.

There are numerous systems of Ba Gua being practiced across the globe today. An exact count would be difficult but most scholars say that there exist somewhere between twelve and twenty main styles. Ba Gua is based largely on the philisophical premises found withing the "I Ching" but also incorporates concepts of the Five Elements and some animal movement. The correlation to animal movement, however, will not be as apparent to the eye as it is in Hsing I Chuan.

As with many things Chinese, the numerous periods of cultural upheaval and the enormous age of the Chinese society have their toll on the known history of Ba Gua Zhang (PaKuaChang). Lost manuscripts, books burned and oral traditions have all contributed to an overall and nearly complete denigration of the history of this martial art form. In fact, it was not until this century that an effort was made to retrace this lost history. So, the martial arts history passed down to us is fairly vague indeed.

After thousands of years of development, there have been countless numbers of martial arts spanning every period of Chinese cultural history. Also, many of the most highly skilled martial artists have, by personal choice, avoided publicity and practiced in seclusion. More than two thirds of the Chinese martial arts originated within spiritual pursuits such as Buddhism, Taoism, and Islam. Many of these practitioners chose seclusion aid them in the cultivation of enlightenment. Martial arts were only a part of their training as they developed themselves both mentally and physically. Add to this the fact that most of the Chinese population was illiterate, even in the last century, and that many martial arts masters simply preferred to keep it secreted away in their mind, it was very difficult to compile and record history. In order to preserve the essence of the arts, the secrets of each style were often compiled into a series songs or poems which could be easily remembered.

Because of these reasons, the history of each style was passed down orally from generation to generation, instead of being written down. After being passed down for many years, with new tales being added occasionally, the history eventually turned into a story. In many instances, a more accurate record can actually be obtained from martial novels written at that time, since they were based on the customs and actual events of the period. For example, the novels Historical Drama of Shaolin (Shaolin Yen Yi) by Shao Yu-Sheng, and Qian Long Visits South of the River (Qiun Long Xia Jiang Nan) by an unknown author, were written during the Ching dynasty about two hundred years ago. The characters and background in these novels are all based on real people and events of the time. Of course, some liberties were taken with the truth, but since the novels were meant to be read by the public of that time, they had to be based very strongly on fact. Because of these and other similar novels, most martial styles are able to trace back their histories with some degree of accuracy.

This is the case with the history of Ba Gua Zhang. Nobody actually knows exactly who created Ba Gua. It was only in the Ching dynasty (1644-1912 AD.), that the first hand-written history of this style was composed. This record confirms that Ba Gua has existed for at least two hundred years and maybe longer.

From circa (1821-1850 A.D.) to (1881 A.D.), the art of Ba Gua Zhang reached its zenith of popularity. According to the available documents, it seems likely that the popularity of Ba Gua during this period was due to the Ba Gua Zhang Master Tung Hai-Chuan. Since Tung�s time, a more accurate and complete history of the art has been kept.

There are a few documents available to us which describe that Master Tung Hai-Chuan actually learned his Ba Gua arts from a Taoist named Tung Meng-Lin in Jiu Hua Mountain, An Hui Province. Tung Meng-Lin was also known by two other names; Huang Guan Tao Ren (The Yellow Cape Taoist) and Bi Cheng Xia (Blue Clear Chivalry). He taught his art to three disciples: Tung Hai-Chuan, Li Zhen-Qing and Bi Yue-Xia. Among these three disciples, Tung Hai-Chuan has become the most well known and has passed the art on to the largest body of students. Hence, we have more complete historical information on Tung Hai-Chuan than any other practitioner.

Tung Hai-Chuan was born in Zhu village, Wen An County, Hebei Province on the 13th of October, 1797, and died on the 25th of October, 1882. Tung Hai-Chuan taught many students, the best known of whom were Cheng Ting-Hua, Yin Fu, Liu Feng-Chun, Li Cun-Yi, Shi Li-Qing, Song Chang-Rong, Zhang Zhao-Dong, and Liu Bao-Zhen.

Cheng Ting-Hua, who was the second disciple of Tung Hai-Chuan and was commonly regarded as Tung�s best student, was born in Cheng village, Shen County, Hebei Province. Because he managed an eyeglass business, he was also sometimes known as "Glasses Cheng." Cheng Ting-Hua died in 1900 while resisting foreign troops during the Opium War. Among his stu-dents, the best known are his oldest son, Cheng You-Long, his youngest son, Cheng You-Xin, Zhou Xiang, and Sun Lu-Tang.

Yin Fu, who was the first disciple of Tung Hai-Chuan, modified what he had learned from Tung Hai-Chuan to originate what is now called the Yin style of Pa Ku Chang. He also taught many students. Two of his students, Yin Yu-Zhang and Gong Bao-Tian, wrote books about Pa Kua. These books, which were published in 1932, are valuable contributions to our understanding of the art. One of Gong Bao-Tian�s students, Liu Yun-Qiao, had taught Pa Kua Chang in Taiwan until 1991. In addition, another student of Yin Yu-Zhang, Pei Xi-Rong, contributed a great effort in developing Pa Kua in Southern China.

Fu Zhen-Song, a student of Sun Lu-Tang, also brought the Ba Gua Zhang art to Southern China and became one of the pioneers in developing Ba Gua there. Fu�s eldest son, Fu Yong-Hui, continued his father�s steps and with great effort, contributed in spreading Ba Gua in Southern China. Another student of Tung Hai-Chuan, Li Cun-Yi, also passed down his art to many students. Among them, Shang Yun-Xiang, Hao En-Guang, Zhu Guo-Fu, and Huang Bo-Nian have contributed significantly to the popularity of Ba Gua Zhang. Huang Bo-Nian was one of the Ba Gua teachers in Nan King Central Kuoshu Institute before World War II. Huang Bo-Nian wrote a well-known book called Dragon Shape Ba Gua Zhang. In addition, a student of Shang Yun-Xiang, Hin Yun-Ting, had a student named Ling Gui-Qing who also made a large contribution to the popularity of both Hsing-I and Pa Kua in that period.

Naturally, Zhang Zhao-Dong also had many students. Among them, Jiang Rong-Qiao, wrote a very valuable Ba Gua Zhang book: The Expounding of Ba Gua Zhang Techniques. Another student, Han Mu-Xia, had a student named Wu Meng-Xia, who wrote the book: The Essence of Ba Gua Zhang Maneuvers.

In addition, Peng Zhao-Kuang, whose teacher Yang Rong-Ben studied with Shi Li-Qing, passed down a valuable manuscript: The Principles of Ba Gua Palm Maneuvers in 1955. Also, Chang Chun-Feng, whose teacher Gao Yi-Sheng studied with Song Chang-Rong, passed his manuscript: The Important Meaning of Pa Kua Chang on to his students, Wu Meng-Xia (also Han Mu-Xia�s student) and Wu Zhao-Feng.

In addition to these older publications, an author named Ren Zhi-Cheng wrote a book called: Yin Yang Eight Coiling Palms, in 1937. It is interesting to note that Ren Zhi-Cheng's teacher, Li Zhen-Qing was a classmate of Tung Hai-Chuan, and though both apparently learned from Tung Meng-Lin . Tung did not learn Yin Yang BaGuaZhang. This tells us that in the time of Tung Hai-Chuan there were probably already several versions of Ba Gua Zhang in existence.

Currently, the best-known styles of Ba Gua Zhang are Wudang, Emei, Yin Family, and Yin Yang. Some of the representative old masters of Ba Gua Zhang well known today are Sha Guozheng, Li Ziming (a student (If Liang Zheng-Pu), Lu Zijian (who learned from a Taoist, Li Chang-Ye on Emei Mountain), and Tian Hui (Yin Yang Ba Gua Zhang).

Ba Gua Zhang has another branch which was developed in Korea. It was credited to Lu Shui-Tian who brought Ba Gua to Korea when he moved his family there during the Sino-Japanese War. Mr. Lu's teacher was Li Qing-Wu and unfortunately, the origin of his Ba Gua Zhang is not clear.

Ba Gua Zhang has become so popular in China since the beginning of this century that it is impossible to trace all of its practitioners. The only ones who can be traced (and in some cases, whose pictures can be found) are those who have written books, passed down documents, or who have been mentioned in any of the books. There are probably hundreds more who have mastered the styles, but there is no way of knowing their names.

After so many years of individual perspectives and modifications by different masters, there have now evolved many different distinct styles of Ba Gua Zhang. The basic theory and foundation of all of these styles remain the same, but it is very interesting to see that each style has taken the same basic theory and principles and developed its own unique characteristics in both training and application of the art.

Accordingly it is not uncommon to find teachers who have studied more than one style of Ba Gua in an effort to further their own understanding of the common roots holding all of the different styles together.

Yueh Fuei's Ten Important Thesis on Hsing I Chuan

Thesis of Integrity

From the beginning, that which is discrete must have its unification. The divided must be combined. Therefore, between heaven and earth, all that is disordered has its abode, all the thousand branches and the confusion of then thousand endings, all have their origin. This is because one root divides into ten thousand branches, and ten thousand branches all belong to one root. These events are natural.

This theory is applied to the martial arts. It is also numerous. The important point is the thousands of changes and the ten thousand variations. Nothing but postures and nothing but Chi. Although the postures cannot be classified, the Chi, however is, one.

About what one means; from top to the bottom of the feet, internally there are viscera, bowels, tendons, and bones. Externally, there are muscles, skin, the five sensing organs, and hundreds of bones of the skeleton, mutually combined and become one. When struck will not open, when hit will not decompose. The top wishes to move, the bottom automatically follows. The bottom wishes to move the top will automatically lead. The center section moves, the top and the bottom will coordinate. Internal and external are combined, the front and the rear mutually required. This is what is called threading into one.

This cannot be reached through force or done from imitating. When it is time to be calm, it is quiet and transparent. In this position, you are steady like a mountain. When it is time to move, move like thunder and collapse. The speed of emitting is like lighting. In addition, when calm, there is nothing that is not calm. The surface and the internal, the top and the bottom, all without disorder and the meaning of inhibiting each other. When moving, there is nothing that does not move. The left and the right, the front and the rear, all without antagonizing, and the shape of swiftly moving around. It is just like water flowing downward. It is so powerful that nothing is able to stop it. It is fired internally. When shot, not fast enough to cover your ears. Without considering thinking, without bothering to plan, simply reach the goal without expectation. This is reached without intention, then isn�t it the natural way?

Because the Chi must be accumulated daily to gain benefit, Kung is trained for long term success. In contemplating the way, one passes through the holy door. One must wait until one has listened repeatedly and gained sufficient knowledge and has reached the stage where he suddenly comprehends, and has not ignored achieving through thorough training, then he knows that these things are not difficult nor easy. The achievement can be reached as an end by itself; cannot be through waiting and cannot be speeded up. Follow the steps and catch the pace, advancing according to the order. Only then will the organs, skeleton bones, limbs, and joints connect automatically, and the top and bottom, the external and internal not have difficulty communicating. Then those randomized will be gathered and those divided will be unified. The four limbs and hundreds of skeleton bones will all belong to one Chi.

Thesis of Yin and Yang

It is seldom heard that he who discusses striking, also discussed Chi. About the Chi, it is mastered as one but can be divided into two. What are these two? They are inhaling and exhaling. The inhalation and exhalation are the Yin and Yang. The striking cannot occur without moving and calmness. The Chi cannot exist without inhaling and exhaling. Inhalation is Yin and exhalation is Yang. The one, which is calm, is Yin and the one, which is moving, is Yang. Raising up is Yang and sinking downward is Yin. When Yang Chi is rising up it becomes Yang, and when Yang Chi is being transported downward it becomes Yin. When Yin Chi is being transported downward it becomes Yin, and when Yin Chi is being transported upward it becomes Yang. This is the discrimination of Yin and Yang.

What are clean and muddy? The one that rises up to the top is clean and the one descending downward is muddy. The clean Chi rises upward and the dirty Chi sinks downward. The clean one is Yang and the dirty one is Yin. It is important that Yang should be used to nourish Yin. Generally speaking, they are united as one Chi. If divided; they are distinguished as Yin and Yang. Chi cannot be without Yin and Yang, and it is just like man cannot live without having movement and calmness. The nose cannot be without inhalation and exhalation, and the mouth cannot be without exiting and entering. This is the unchangeable theory of natural cycling. However, though Chi can be divided into two, in fact, it is one. Those who like to study this should be careful not to restrict this.

Thesis of the Three Sections

Well, Chi is the root of the entire body, and the sections of the body should not have definite places/positions. What are called the "three sections" are the top, middle, and bottom. For the body, the head is the top section, the body is the middle section, and the legs are the bottom section. If talking about the top section, then the crown is the top section, the nose is the middle section, and the tongue is the bottom section. If talking about the middle section, then the chest is the top section, the abdomen is the middle section, and the Dan Tien is the bottom section. If talking about the bottom section, the feet are the ending section, the knees are the middle section, and the hips are the root section. If talking about the arms, the hands are the ending section, the elbows are the middle section, and the shoulders are the root section. If talking about the hands, the fingers are the ending section, the palms are the middle section, and the roots of the palms are the root section. From this, there is no need to talk more about feet.

However from the head to the feet, all have three sections. Most important is that if there is not a distinguishing into three sections, then the meaning cannot be clear. If the top section is not clear, there is no dependence and no origin. If the middle section is not clear, then the entire body is void. If the bottom section is not clear, then you will fall by yourself. How can we ignore them? As to how the Chi starts to move, there is nothing but the end section must move, the middle section follows, and the root section urges. However, all of these discussions are but dividing into sections to talk about them. If we talk about when they are all combined, then form the top of the head to the bottom of the feet, the four limbs and hundreds of bones, all in one section, how can they be divided into three sections? Furthermore, how can we again divide each section of these three sections into another three sections?

Thesis of the Four Extremities

Try, in addition, to discussing the body and the Chi, to discuss the extremities. The extremities are the surplus ends of the body. Those who talk about the body have never mentioned these since the beginning, and those who talk about the Chi have also seldom discussed them. Striking is from the internal and emitted to the outside, and thus the Chi is from the body and reaches to the extremities. If the application of Chi does not originate from the body, this is void and not solid. If it does not manifest in every extremity, though solid it is still void. How is it possible to not talk about the extremities? However, these are only the extremities of the physical body and not the extremities of the Chi.

What are the four extremities? The hair is one. Because the hair does not belong to one of the Five Phases and is not related to the four limbs, it seems this is not worth discussing. However, the hair is the ending of the blood and the blood is the ocean of Chi. Even though we do not use the hair to discuss Chi, we cannot ignore the blood in the generation of Chi. If we cannot ignore the blood, then we cannot but also be concerned with the hair. When the hair is strong enough to shoot up the hat, the blood ending is sufficient. Others such as the tongue is the ending of the muscles and the muscles are the Chi bag (capable of storing Chi). If the Chi cannot be manifested in the ending of the muscles, then there is not enough quantity of Chi to fill up the muscles. Therefore, the tongue should urge (push against) the teeth, then the Chi in the meat ending will be enough.

As to the ending of the bones, it is the teeth. The ending of the tendons is the nails. Chi is generated form the bones, which are connected to the tendons. If the Chi cannot reach the teeth, it means the Chi cannot reach the ending of the tendons. If you desire to have plenty, then it cannot be done unless the teeth are able to break the tendons and the nails are able to penetrate the bones. If able to do this, the Chi of the four extremities is sufficient. When the Chi of the four extremities is sufficient, the Chi will be plenty automatically. In this case, how can it be still void and not solid, or though solid still void?

Thesis of the Five Phases

When talking about striking, discuss the posture. When talking about the postures, discuss Chi. Man has five viscera, which therefore form the shape. From the five viscera, the Chi is born. The five viscera are really the original bearers of human nature and the source of growing Chi. They are named heart, liver, spleen, lungs, and kidneys. The heart is Fire and has the appearance of flaming upward. The liver is Wood and has the shape of curved and straight. The spleen is Earth and has the feeling of solid and sincere. The lungs are Metal and have the capability of initiating changes. The kidneys are Water and have the talent of moistening the lower body. This is the meaning of the five viscera, and they must be coordinated accurately with the Chi so that they are able to cooperate with each other.

This is why those who talk about martial affairs must not separate from them. The chest and diaphragm is the position of the lung primary Chi channels and cover all other viscera. Therefore, when the lung primary channel moves, all other viscera cannot be calm. The heart is between the two nipples and enwrapped and protected by the lungs. Underneath the lungs and above the stomach is the location of the heart primary Chi channel. The heart is the king of Fire, and once it moves all other primary ministerial Fires will naturally follow. Between the two flanks, left is the liver and right is the spleen. On the fourteenth section of the spine are the kidneys. These are the positions of the five viscera. However, all these five viscera are linked with the back spine and connected with the kidneys� Essence. As to the waist, it is the home position of the two kidneys. They are the first among the pre-heaven, and especially are the origin and root of all other viscera. Therefore, when the kidney Water is sufficient, then Metal, Wood, Water, Fire, and Earth will have the opportunity to create. These are the positions of the five viscera.

In addition, the five viscera existing internally have their definite positions. Manifested on the body, they also have their special positions. They are the neck, the top of the head, the brain, the bones, the back, and the waist. The two ears are the kidneys, the two lips and two cheeks are the spleen. The two hairs (head hair and body hair) are the lungs. The forehead is the leader of the six Yang organs and gathers the Essence of the five viscera (Yin organs) and actually is the main master of the head and face and is the governor of the entire body.

The Yintang, is the key place of the Stomach Chi of Yang Brightness. When the human nature starts at the Tianting, its functioning is approached from here. The Chi generated and developed is able to reach the six Yangs from the kidneys and it is really the main key place of the Tianting. Two eyes are both the liver. Studied in more detail, the tip (of the eyes) is the spleen and the bottom is the stomach. The big corner is for the heart channel and the small corner is for the small intestines. The white (of the eyes) means the lungs and the black is the liver. The pupil is the kidneys and is actually the Essence gathering of the five viscera. So, they (the eyes) are not only especially related to the liver.

The nose is the lungs, the two cheeks are the kidneys, the front of the ear doors are the Gall Bladder, and the high bones behind the ears are also the kidneys. The nose is the Earth Center and is the source of the birth and nourishment of the million objects. It is actually the master of the center Chi. The Renzhong is the meeting of blood and Chi, thrusting upward into the Yintang and reaching to the Tianting; it is also the most important place. Under the two lips is the Chengjiang and underneath the Chengjiang is the Dihe, correspond to the Tianting and also relate to the kidney channel.

The head and neck are the pathway to the five viscera and the main gathering place of blood and Chi. The front is the entering and exiting path of food and air and the rear is the ascending and descending way of kidney Chi. The liver Chi is thus spinning to the left and the spleen Chi is spinning to the right. Their relations are most important and are the key points in the entire body. The two nipples are the liver and the two shoulders are the lungs. The two elbows are the kidneys. The two shoulders on the back is the spleen. The ten fingers are the heart, liver, spleen, lungs, and kidneys. The knees and the calves are both the kidneys. The bottoms of the two feet are the important places of the kidneys and the Yongquan are the cavities of the kidneys.

Generally, how the body is related is as follows. Those places which are convex are the heart. Those concave are the lungs. Those places where the bone is exposed are the kidneys. The tendons junction places are the liver. And where the flesh is thick are the spleen. Looking at them from the Yi, the heart is like a fiery tiger, the liver is like an arrow, the spleen with the unlimited strength of the Chi and Li. The distribution of the liver channel is the most variable spiritually, the movement of the kidneys; Chi is fast like the wind. When applied to the body such as the application of Chi channels, the places in the entire body which are related to these channels, ultimately they cannot be without having the meaning. Therefore, people studying should comprehend by themselves. This cannot be done through pen and ink. As to the production, conquest, and derivation, though there is some other discussion already, studying their key points, there is a total comprehension automatically. The Five Phases and the hundreds of parts of the body, after all, are one unit. The four bodies and the three centers are combined into one. Why do we have to pay attention to every channel and every branch or section of the body?

Thesis of the Six Combinations

Hsin combines with Yi, Yi combines with Chi, and Chi combines with Li are the three internal combinations. Hands combine with feet, elbows combine with knees, and shoulders combines with hips are the three external combinations. These are called Liou He (the six combinations). The left hand combines with the right foot, the left elbow combines with the right knee, the left shoulder combines with the right hip. The same holds true for the other side. Then, the head combines with the hands, the hands combine with the body, and the body combines with the stepping. These cannot be thought not to be the external combinations. The heart combines with the eyes, the liver combines with the tendons, the spleen combines with the meat, the lungs combine with the body, and the kidneys combine with the bones. These cannot be thought not to be the internal combinations. How can there be only six combinations? They are divided only for discussion. In all, one place moves, everywhere moves; one place combines, every place is combined. The five shapes and hundreds of bones will all be useful.

Thesis of the Seven Advancings

The head is the leader of the six Yangs and is also the master of the entire body. The five sensing organs and hundreds of bones do not but rely on it. Therefore, the head cannot but advance. The hands move first, and their foundation and root are in the shoulders. If the shoulders do not advance, then the hands will hesitate and not advance. Therefore, it is important that the shoulders must advance. Chi is gathered in the Zhongwan cavity and the key is in the waist: when the waist does not advance, then the Chi is weak and not solid. Therefore, it is important that the waist must advance.

Yi is threaded throughout the entire body, and the movements depend on the stepping. If the stepping is not forward, then the Yi is in vain and cannot do anything. Therefore, the stepping is important in advancing. Then, when attacking the left, the right must be advanced, and when attacking the right, the left must be advanced. These are the seven advancings. They are not what are called the advancing in touching the ground. To conclude their importance, before advancing, the entire body may not have the Yi connection and be related to each other. Once talking about advancing, then the entire body does not have the appearance of delaying and hesitation.

Thesis of the Body's Maneuvers

What are the body�s maneuvers? Simply; Tzong (straight forward), Hern (sideways), Gau (moving high), Di (moving low), Jinn (advancing), Tuey (retreating), Faan (reversing), and Tseh (beware of the flank). Tzong is releasing the posture forward and not returning. Hern is to enwrap the Li, opening up the way, which cannot be resisted. Gau is to extend the body, and the body has the tendency to rise. Di is to press down the body and make the body have the shape of drilling and seizing. When is should be forward, then forward. Bounce the body and straight forward bravely. When you should retreat, then retreat. Lead the Chi back and convert the posture into yielding.

As to turning the body and beware of the rear, the rear is the front. When I beware of the left and right, nobody dare to resist me from the left or the right. You should not be inhibited. First, you must inspect the opponent�s strong and weak, skillfully apply key tricks (strategy), sometimes suddenly forward and suddenly sideways. Forward and sideways are changeable following the situation and there is no general rule to follow. There is suddenly high and suddenly low, they can be switched anytime. Do not be stubborn in the rules and do not deliberate. When it is time to advance, then do not retreat. If retreating, then the Chi strength is weakened. When it is time to retreat, then retreat to prepare for an advance.

Advance is for advancing, and even retreating relies on advance. If you turn the body to beware of the rear, beware of the rear still never feel it is the rear. When you beware of the left and right, the left and right are never felt to be left and right. In all, the key is in the eyes, and the change is from the heart, then when the key is held, it is applied to the body. When the body is moving forward, it does not need an order, the four limbs are forward. When the body is retreating, then hundreds of skeleton bones are all in their positions scientifically. How can we not talk about the body�s maneuvers?

Thesis of Stepping

When the five sensing organs and hundred skeleton bones decide to move, in fact, the stepping transports them. The stepping is the foundation of the entire body and the governing key to movement. Therefore, engaging in battle and matching the opponent relies on the body. Actually the main support of this is nothing but stepping. The changes that correspond to the situation and opportunity are in the hands. However, that which enables the hands to switch and move around is also in the stepping. Advancing, retreating, turning around, and beware of he sides; if not for the stepping, how to catch the opportunity to stimulate and also to rise, extend, and withdraw? If not for the stepping, how to demonstrate the marvelous variations? What is called the tricky keys are in the eyes, the variations are in the heart. Then it is possible to turn around and change angles, thousand variations and ten thousand derivations which prevent being forced into urgency. If not from the actions of stepping, how could it be done? Goals cannot be reached by force.

The movements originate from no heart and the excitement is generated from no feeling. When the body wishes to move, the stepping will also move around. When the hands are going to move, stepping has already progressed to the urgent position. This happens without expectation, progresses without being pushed. Isn�t this what is called the top wishes to move the bottom naturally follows? Furthermore, stepping is divided into front and rear. The one with definite positions is stepping. Also the one without definite positions is also stepping. Such as the front leg steps forward, the rear leg will follow. The front and the rear all have a definite position. If the earlier stepping steps later, and the later stepping steps first, also if the earlier stepping is used as the first stepping for the later, or the later stepping is used as the following stepping for the first, then the earlier and the later stepping will naturally not have definite positions. In all, when talking about the situation of the fist (style), the important point should be considered to be stepping. Lively or not is also decided by stepping. Agile or not also depends on stepping how great are the applications of stepping!

The fist (this style) is named Hsin Yi (heart-mind). In Hsin-Yi, the Yi (intention) originates from the Hsin (heart) and the fists are emitted according to the Yi. You must know yourself and the opponent, following the opportunity and responding with variations. The Chi in the heart is emitted. The four limbs all move. While the feet are raised, they are grounded. While the knees are lifted, they have number (specific techniques). While turning, there are positions. Combine with the shoulders and coordinate with the hips, three tips are matching, and the Hsin, Yi, and chi internal three are combined. The fist is combined with the feet, the elbows are combined with the knees, and the shoulders are combined with the hips, external three are combined. The palm centers, the sole center, and the Hsin, three centers and one Chi are mutually combined. When far, the hands are not emitted. The fists are used to strike within five feet and beyond three feet, no matter whether moving forward, retreating, moving to the left or to the right, every step corresponds with each fist (strike). The concept is marvelous if able to reach. The opponent cannot see your shape.

When the hands are emitted, they are fast like the wind and the arrow. The sound is like thunder. Appear and disappear like a rabbit. It is like a lively bird entering the woods. Encountering an enemy, like a giant cannon whose power can destroy a wall like a thin one. The eyes are sharp and the hands are fast. When you jump forward, it is straightforward for swallowing. Before exchanging hands, the Chi is already forward. Once the hands have entered, the agile movements are most marvelous. When you see an opening, do not strike. See the Hern, then strike. See the opening, do not stand firm. See the Hern, then stand firm. Top, middle, and bottom, hold the Chi steady. The body, feet, and hands are all following orders. They are not raised because of the opening and they do not fall because of the opening. The wisdom and skillful tricks all depend on the aliveness, ability to go, ability to fit in, ability to be soft, and ability to be hard, ability to advance, and ability to retreat. Not moving, steady as a mountain. As difficult to figure out as Yin and Yang. Unlimited like the heavens and the earth. Full like a huge granary. Extensive and abundant as the four seas. Bright and shining like the three lights. Inspect the opportunity of the opponent�s attack and determine the advantages and disadvantages. There are advanced techniques to be calm and wait for the movement. There are borrowing techniques, moving to deal with the calmness. The borrowing techniques are easy and the advanced techniques are hare. The advances techniques should still be considered first.

Those who are exchanging bravery should not think about mistakes. Those who think about the mistakes find it hard to move even an inch step. Rise like a penetrating arrow and fall like the wind. The hands grasp the hands, attack forward. Every movement automatically combines secretly. Speedy like lightning in the sky and beware of the two sides, left and right. Turning to the rear is just like a tiger searching the mountain. Chop and strike are used, intrepid and indefensible. Chop the endings (limbs) and attack the face, aiming for the Jongtang. Thrusting upward and downward, it is like a tiger, also like an eagle swooping downward to a chicken coop. Do not be hurried in turning over the rivers and reversing the ocean. A single phoenix that dares to fly toward the sun can be said to be brave. The clouds are covering the heavens and the moon. The heavens and the earth interact; when martial arts are competed the winner and the loser can be seen.

When stepping, an inch apart and a step a foot. Chop forward to the face and step the right leg and advance with the left steps, following this method to move forward. Approaching the opponent, advance your body. The body and the hands arrive together, then can be real. Within the emitting, how to understand the secret application? When the meaning has been explained, its marvelous nature can seem to be supernatural. When a bird of prey enters the woods, it must not catch its wings. While an eagle is seizing a small bird, its postures are balanced in four directions. To win the victory, the four extremities must be gathered neatly. First, still need the hand to protect the heart. Plan the strategies and apply them skillfully, a spirit of thunder and a venomous heart is the best policy. The hands and the eyes are able to defeat the opponent.

What is dodging? What is advancing? To advance is to dodge and to dodge is to advance. Do not look for the distant answer. What is called a strike? What is called beware? To beware is to strike and to strike is to beware. The hands are just simply emitted. The heart is like gunpowder and the fist is like a canon ball. When the trigger is moved, it is hard for the bird to fly. The body is like a bow and bowstring and the hands are like the arrows. When the string is aimed ant the bird, the marvelous results will be seen. When the hands move, like lightning; lightning is so fast that there is not enough time to close the eyes. The striking is like thunder and it is so fast that there is no time to cover your ears. The five paths are actually the five entrances. Nobody protects them but you. When the left hand passes the cheek, the right hand will go. When the right cheek�s hand is going, the left cheek�s hand is coming. The two hands are bound fists and released to the face. The doors of the five gates are tightly closed. The fists are emitted from the heart and fall onto the nose. The feet are from underneath the ground. When a foot is raised fast, the heat Fire is flaming. The Five Phases are Metal, Wood, Water, Fire, and Earth. The Fire is flaming upward and the Water is flowing downward. I have the heart, liver, spleen, lungs, and kidneys. The Five Phases can mutually cooperate without mistake.

Thesis of Fighting

Grab the right; enter the left. Grab the left; enter the right. When stepping forward, the heels touch the ground first. The tip of the foot uses the toes to grab the ground. The stepping must be steady and the body must be solemn. The strike must be firm, solid, and have Li from the bones. While going, the hands are relaxed and when they reach the opponent they become fists. When fists are used, curl in tightly. When you grab, the grabbing must have chi. From the top to the bottom, the Chi must be uniform. Exiting and entering use the heart as master. The eyes, hands, and feet then follow. Do not be greedy and do not be deficient. The elbows should fall into the cave of the elbows and the hands should fall into the hands� cave. The right leg moves first and the tip of the shoulder moves forward. This is exchanging steps.

The fist is emitted from the heart, and the body urges the hand. The hand is grabbing with the heart and the heart is grabbing with the hand. The man moves and steps forward, every step and every fist, one branch moves, hundreds of branches all follow. There is a secret in emitting Jing, when one is grabbing, the entire body is all grabbing. When one is extending, the entire body is all extending. Extending must extend enough to enter; the grabbing must grab to the root. Like wrapping the cannon, wrap tightly, and restrained with Li. It does not matter whether lift striking, press striking, ward off striking, rotating striking, chopping striking, thrusting striking, drilling striking, elbow striking, shoulder striking, palm striking, head striking, forward step striking, backward step striking, smooth step striking, sideways step striking, and front, rear, left, right, top, and bottom; all hundreds of striking methods, all must mutually follow. Releasing hands first occupy the front door. This is called cunning.

The bone sections must be matched. If not matched, no Li. The hand grabbing must be agile. If not agile, then changes can occur. The emitting hand must be fast. If not fast, then too late. The rising hand must be alive. If not alive, then not fast. Striking must have follow-up. If no follow-up, then not effective. The scheming heart must be venomous. If not venomous, then not accurate. Feet and hands must be alive. If not alive, then they carry danger. The scheming heart must be refined. If not refined, then it will be fooled. When attacking, must be brave and fierce like an eagle�s stoop. Be calm externally and audacious, and use the opportunity skillfully. Must not be afraid, hesitant, and suspicious. The heart is small and the bladder is big (brave). The face looks nice; the mind is venomous. Be calm like a scholar and move like the thunder striking.

The opponent�s approaching posture must also be carefully inspected, such as the feet�s kicks, the head�s bump, the fist�s strikes and the shoulder�s action, narrowing the body to advance, relying on the body to raise and emit, walking diagonally and exchanging stepping, intercepting strikes and retreating the body, and lifting and extending the leg for emitting. When wary of feet to the east, must prevent being killed from the west. The top is void, the bottom must be solid. So many tricks that the fingers are not enough for bending (counting). You must figure out the clever tricks and opportunities. The fast hand strikes the slow hand. The traditional sayings should not be ignored. Indeed have their knowledgeable opinion.

Rising, expect falling. Falling, expect rising. The rising and falling mutually follow each other. The body and the hands all arrive at the same time is the real method. The thighs form a scissors, and chop toward the eyebrows. In addition, turning around is like a tiger searching the mountain. The hands rise like lightning and fall like speedy thunder, the wind blowing the rain, the eagle seizing the swallow, the sparrowhawk entering the woods, and the lion catching a rabbit. When the hands are raised, the three centers match each other. Not moving, like a scholar. And moving, like a dragon and a tiger. If too far, the hands should not be emitted for striking. Two hands protect the sides of the heart. When an attack is from the right, intercept with the right and when and attack is form the left, intercept with the left. This is a short cut in intercepting. If too far, then move forward with my hand and when it is close, add the elbow. If it is far, then use the leg to kick and if it is close, add the knee. Far or close must be known properly. The fist�s strike and the foot�s kick, from the head to the postures; inspecting the opponent can cause you to think of advancing. When there is an Yi, do not have shape (external appearance). When there is a shape, you will not win.

The method of defeating the opponent: inspect and be aware of the shape of the ground. When a fist is in an advantageous position, the hands must be speedy. The feet must be light (agile) and when the postures are moving, they are like a cat�s walk. The heart must be neutral and centered, the eyes are gathering essence, the hands and feet all arrive, must win. If the hands arrive but the feet are not arriving, then cannot obtain the marvelous trick. The hands arrive and the feet also arrive, striking the opponent is just like pulling up grass. The top strikes the throat and the bottom strikes the groin. The left or the right flank remains in the center. It is not far to strike ten feet away. It is close, it can be within only an inch.

When the body moves, like a wall collapsing. When the feet are falling, like a tree is growing roots. When the hands are rising, like a fired cannonball, thrusting straightforward. The body should be like a living snake, when the head is attacked, the tail will respond, when the tail is attacked, the head will respond, and when the middle section is attacked, then the head and the tail both respond. When striking forward, must be aware of the rear. Knowing forward, you should also know backward. The heart moves like a horse, the shoulders move with the speed of wind. When training, it seems there is someone in front of you and when you are exchanging the hands, even though there is an opponent, it is like fighting nobody. When the front hand rises, the rear hand urges closely. When the front leg rises, the rear leg follows closely. There are hands in front of you. Do not see the hands. And there are elbows in front of the chest. Do not see the elbows.

If you see an opening, do not strike, and if you see the opening, do not advance. The fist should not strike the false rising and also not strike the false lowering. When the hands rise, the feet must fall. When the feet fall, the hands must rise. The heart must move first and the Yi must defeat the opponent. The body will attack the opponent, and the stepping must be better than the opponent�s. The front leg is like crossing and the rear leg is like sticking. The head must stick up and the chest must be exposed. The waist must grow and rise, and the Dan Tien must transport the Chi. From the top to the feet, the one Chi must thread through. Holding fear in the battle and the heart is cold, then surely not able to win. Unable to inspect the talking and view the color, surely not able to prevent the opponent�s intention and surely not able to move first. He who moves first is the master, and he who moves second is the follower. Be able to think only of advancing and do not keep thinking of retreating.

The three sections must be clear, the three tips must match, and the four extremities must be gathered. Understanding the three centers will increase by one more power, comprehending the three sections will add one more technique, understanding the four extremities will increase one essence, understanding the Five Phases will increase the one Chi. Understanding the three sections, not greedy and not deficient, rise, fall, advance, and retreat will have more variations. Three rounds and nine turns are one posture (in each posture). The one heart must master all. Using the two Chi to govern the Five Phases, practice all the time, do not be delayed morning and evening. Crossing the legs (meditation) and striking (form practice) must often be forced. After the Kung (Kung Fu: energy and time) has passed, it will be natural. This is sincere language and not empty talk.

The Creative and Destructive Cycles of the 5 Elements

Here is a chart of how the 5 elements interact in martial arts and medicine. You Hsing Yi Quan practioners pay attention.

The positioning of the elements on the chart vary, sometimes metal is at the top, it does not really matter. The circle connecting the elements shows the creative cycle. So fire creates earth, earth creates metal, metal creates water, water creates wood and wood creates fire.

The star in the middle shows the destructive cycle. So fire destroys metal, metal destroys wood, wood destroys earth, earth destroys water and water destroys fire. This will help with your 5 elements fighting. It is however not set in stone. Once you advance with your training any element can be used depending on situation and application.

Also on the chart you can see which element corresponds to which organ, This is helpful for those interested in chinese medicine. This is a very useful tool to have in both martial arts and medicine.

Useful Accupressure Points

Here are some acupressure points for daily use. Massage the joint ache points for arthritis. Its self explanatory so try for yourselves and give me some feedback. Start the massage of the point gently, slowly building pressure using the thumb or index finger. If you are not sure exactly where the point is find the general area and then locate a spot that is tender to touch or press this is likely to be the right place. If very tender don't massage too hard, slowly rub the skin to warm the area and build the pressure gradually. Try and massage the point for at least a minute or until the pain disperses.

The limb energizers

Large Intestine 10 (LI 10) and Stomach 36 (ST 36)

These two points are known as the limb energizer points. When stimulated they move energy into the limbs.

LI 10 is located on the Large Intestine meridian. It is located about two fingers width down from the elbow crease on the forearm (fig 1).
This point,

• energizes the upper limb
  
• relives pain in the wrist and elbow
• Helps reduce swelling in elbow, wrist and hand
  
• Helps reduce shoulder pain

It is great for tennis elbow, RSI (repetitive strain injury) and arthritis.

ST 36 is located on the Stomach meridian. It is located about four fingers width from the bottom of the patella (kneecap). It is in the depression of the muscle next to the tibia (shinbone).
This point,

• Energizes the lower limb
• Relives pain at the hip, knee, ankle and foot.
• It can also aid in the reduction of swelling in the knee, ankle and foot.
  

Block, parry and punch

Here is the next part after brush knee twist step

Master Ding chuan wei demo

This was Kevin,s shaolin long fist, xing yi and spear play teacher in beijing. Here he is doing a praying mantis form. He starts slow so you can see his movements and speeds it uip the second time.

Soft Tissue Rheumatism & Fibromyalgia

" Soft tissue Rheumatism" refers to aches or pains which arise from structures surrounding the joint such as tendons, muscles, bursae and ligaments, ( see diagram ). Soft tissue Rheumatism may result from mechanical factors such as overuse or misuse of these structures or as a feature of an arthritis illness. Arthritis refers to inflammation within the joint which results in pain, swelling, and warmth around the joint and is often accompanied by difficulty in using the joint. Arthritis may lead to damage within the joint.

Soft Tissue Rheumatism

This may be localized when pain is felt in one region or generalized when pain is felt either all over or in many parts of the body.

Common areas of localized soft tissue Rheumatism

• Trigger finger: pain is felt along finger affected which sometimes has a feeling of snapping when extended - brought on by prolonged use of the hands.
• D'Quervains tenosynovitis : pain is felt along the outside of the thumb and along the wrist - often seen in mothers with young babies.
• Tennis elbow: pain is felt along the outside of the elbow brought on by strenuous activities involving the outstretched arm.
• Tendonitis around the shoulder: pain is brought on at certain points of movements particularly while lifting up the arm or reaching for the back.
• Trochanteric Bursitis: pain is felt on the outside of the hip joint and along the thigh due to inflammation of a bursa outside the hip.
• Bursitis around the knee: There are several bursae around the knee joint which can get inflamed due to pressure i.e. with prolonged kneeling or in association with Arthritis.
• Heel pain: can result from inflammation of the Achilles tendon or the tissue under the heel. Both result in pain and stiffness upon initiating walking and pain upon prolonged standing or climbing
• Forefoot: Bunions may give rise to pain on the sides of the forefoot. Footwear should be adjusted so it is roomy, comfortable and cushion.

Causes of soft tissue Rheumatism

1. Overuse or misuse the joint and the soft tissue.
2. Normal wear and tear
3. Inflammation in association with Arthritis.

Danger signs in soft tissue Rheumatism

If the pain is persistent despite stopping the precipitating activity or if any of the following are present arrange to see your doctor.

1. The joint is red, hot, swollen, painful and difficult to move.
2. Muscles get smaller.
3. Bone appear crooked.
4. Rashes appear
5. Lymph nodes enlarge.
6. Fever and chills develop.
7. There is loss of weight.

Treatment Programme

If the precipitating activity is known this should be stopped i.e. knitting, needlepoint, gardening etc and the painful area rested. Inflammation in the area may be reduced with physiotherapy using ice or a form of heat. Injection with potent steroids is useful, ( if these measure do not work, ) but must be done carefully by a trained doctor.

Prevention of soft tissue Rheumatism

• Interrupt repetitive tasks such as washing windows, vacuuming or any activity requiring arms to be in an overhead position.
• Keep the elbow close to the body while doing repetitive tasks.
• Sleep with arms below the level of the chest.
• Learn correct grips for racquet games and correct strokes for swimming.

At the elbow

• Avoid pressure and impact to the elbow - do not lean on hard surfaces.
• Avoid repetitive hand clenching, gripping or twisting.
• Take periodic breaks and alternate manual tasks.
• Learn correct use and grip of sporting equipment.

At the Hand and Wrist

• Interrupt repetitive tasks.
• Rest hands flat and open rather than tight fisted.
• Enlarge handles of work tools to allow a larger grip - approx. 2 ¼ inch diameter.
• Use palm and forearm for lifting and build up strength and fitness gradually.
• Use a wrist rest while typing.
• Avoid clenching your hands.

At the Hips and Foot

• Avoid pressure around the pelvis by a wallet, tight belt or constricting jeans.
• Strengthen thigh muscles ( Quadriceps ) to protect the knee.
• Avoid kneeling but if unavoidable use knee pads.

At the Ankle and Foot

• Choose footwear with comfort, support and utility in mind. Avoid standing or walking barefooted even within the home. Shock absorbing soles decrease impact throughout the lower limb.
• Avoid running or standing for prolonged periods on concrete surfaces.

Generalised soft tissue Rheumatism

This is known as Fibromyalgia
This condition is characterized by aches and pain all over the body. Besides this there may be poor and unrefreshing sleep. There may be symptoms like headaches, abdominal pains, urinary problems etc. Examination by the doctor reveals typical tender points in various parts of the body. There is no arthritis and no abnormalities such as nerve lesions, hormone disorders etc. Blood tests and X-rays tend to be normal.

It is important to understand that though this condition is painful, there is no inflammation and it is not serious. It does not cause crippling. The cause of this condition is unclear and research is underway to find out more about it. An abnormal sleep pattern has been found and treatment to correct this sometimes helps. There also appears to be poor muscular fitness and a disciplined progressive exercise programme also improves the condition. Multiple pain relieving drugs are not recommended, indeed treatment which does not involve medication is more effective. This includes relaxation, management of anxiety, depression and stress, and an exercise program to get the patient fitter. Motivated patients willing to help themselves do better than those not so inclined.

with thanks to the arthritis foundation of malaysia

Characteristics of Sun Shi Tai Ji (Tai Ji according to the style of Master Sun Lu Tang)

By Lei Shi Tai

Sun Shi Tai Ji was created by Master Sun Lu Tang. Sun Lu Tang is, of the general opinion, one of the greatest Masters in martial arts of recent times. In his youth, Mr. Sun mastered Xing Yi Quan and Ba Gua Quan. It was only when he was 53 years old that he began the practice of Tai Ji. His basic idea was that Xing Yi, Ba Gua and Tai Ji have the same theoretical base: that of the “Internal” martial arts (nei jia quan) in opposition to “external” martial arts (wai jia quan) which is founded on harnessing maximum muscle strength and striking force. According to a different way, the “Internal” martial arts aim at reaching effectiveness in combat by the harmony of the body and the optimal circulation of vital energy (nei gong). It is while being based on this idea of coherence between Xing Yi, Ba Gua and Tai Ji, that Sun Lu Tang created Sun Shi Tai Ji, synthesizing these three preexistent arts. Many of the postures from Sun Shi Tai Ji, have the same names as the postures of other Tai Ji, but are actually radically different from the latter, owing to the fact that they come from Xing Yi or of Ba Gua. It is the case of San Tong Bei, Lan Zha Yi, Ti Shou Shang Shi, Lou QI Ao Bu, Cad Nian Hou, Ye My Fen Zong, Yu Nu Chuan Suo, Yun Shou Xia Shi, Jin Bu Lan Chui, Jin Bu Zhi Dang Chui, etc.

The first characteristic of Sun Shi Tai Ji:

The natural position of the body. The position of the body is more natural than in other forms of Tai Ji. The basic position - San Ti Shi - comes from Xing Yi. It differs from the traditional basic position - Hun Yuan Zhuang. The position of the body is higher (angle with the knees of 135°), the axis head - centre of gravity falls on only one foot and not with equal distance of the two feet, the feet are positioned one compared to the other according to an angle of 45° and not in parallel or are aligned like usually used in other schools of Tai Ji. All these characteristics respect the natural positioning of the body with two consequences. Initially a practice more favorable to health, without excessive wear (of the knees in particular). Then, a good balance between stability and flexibility.

Second characteristic of Sun Shi Tai Ji:

Flexible and fast movement. The movement of the feet is flexible and fast: as soon as a leg advances or moves back, the other leg follows immediately. One does not find in Sun Shi Tai a horse riding stance with feet equal distance apart or the bow and arrow posture of traditional Tai Ji. In Sun Shi, one uses the free steps coming from Xing Yi and of Bagua. The centre of gravity always falls on one leg; a foot supports all the weight of the body, the other follows, free. The steps forwards are the steps of Beng Quan, and backwards the steps of Pi Quan. The steps of rotation correspond to the steps of Ba Gua. Sun Shi is light, fluid and fast. It is compared with the water which runs and with the clouds which slip into a windy sky.

Third characteristic of Sun Shi Tai Ji:

The specific figure of Kai He. Sun Shi Tai Ji has a very specific figure; Kai He (to open - to close) which is found neither in other forms of Tai Ji, nor in Ba Gua or Xing Yi. This Kai He appears with each connection and transition. It makes it possible to control and adjust breathing and to accumulate the Shi (energy potential) in order to prepare for the next change.

Fourth characteristic of Sun Shi Tai Ji:

It is an art which aims at effectiveness in combat. Sun Shi Tai Ji is truly an art of combat. The amplitude of the gestures is limited, the course of the hands are direct, natural and aims to be effective. . It is not the force of the arms which strike, but the sum total of the elastic force of each movement carried out on a correct and uniform axis of gravity.

Copyright © 2010 Sun Shi Taiji Association

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The Life of Sun Lu Tang and the Development of Sun Style Tai Chi Chuan

Sun Lu Tang began to learn Hsing Yi Quan at the age of twelve, at first he studied with Li Kiu Yuan for three years; and then he was recommended by Li to study with Guo Yun Shen who was Li’s teacher. When they met Guo Yun Shen found that Sun’s knowledge of Gung Fu was very high so he asked him to give up his job and study Hsing Yi full time. Without hesitation Sun followed Guo to his hometown in Shenxian County and from they’re to the West tomb of the Qing dynasty in Yixian County in Hebei province. Sun studied with Guo for the next eight years learning Hsing Yi, he also studied with Song Shirong, Che Yizhai and Bai Xiuan all of them famous masters of Hsing Yi.

As a result of this training Sun Lu Tang reached the highest level of skill in Gung fu and in challenge matches he was undefeated. Sun Lu Tang came to understand that Hsing Yi is the integration of mind and Qi and that this integration then changed into emptiness. It can be boundless, if it is enlarged; it can be nothing, if it is lessened it is nothing but the flow of real vital energy in the body. No matter what it is, the substance or the methods of Hsing Yi Quan are just the different forms in which the real vital energy changes. Thus at the excellence of boxing, there is no difference between Hsing Yi, Bagua or Taiji.

In the beginning when he learnt from Guo Yun Shen, he realised that by practicing boxing one could taste the profound beyond the connotation of the boxing techniques themselves. From then on, Sun put greater emphasise on the theory of boxing and the understanding of how boxing combines with the way of nature. During this process he found that boxing techniques needed the guidance of philosophy and support of theory. He tried to open out the theory of boxing guided by the I – Ching (the classic of change written in the Zhou dynasty 11th century – 771 B.C.). Introduced by Guo Yun Shen he went to Beijing to study Bagua Quan from Chen Ting Hua a very famous master of Bagua Quan, there hoping to find out about the relation between boxing and the I – Ching theory.

After learning from Cheng for several months, his skill within Bagua was excellent and he had understood its essence, realising that the relationship between Hsing Yi and Bagua is that they compliment each other. Limited by the level of theory at that time, he felt that his studies had not yet been completed. A year later, Master Cheng said to Sun Lu Tang “I have taught hundreds of disciples, but no one talent is beyond yours, or who have studied harder than you. You and I are alike in temperament, I have taught you all my skills, you have an inborn gift for understanding; I believe that you have got the essence, now with your skills no one can be your equal in North China you may go now”.

After his study of Bagua and Hsing Yi, Sun Lu Tang travelled on foot all over China to increase his knowledge and experience and to find some people who were of accomplishments in I – Ching and Taoism. After two years of travel he had deepened his knowledge on the Tao and the theory of the I – Ching and had taken many notes. He had met the reclusive Taoists on Mt Wudang, roaming hermits and the eminent monks in Sichuan province and had learnt from them. The journey laid a solid foundation for a new school that combines boxing and the way of nature.

Having come back from his journey, he studied Military arts with his gate closed and initiated the “ Puyang Boxing Society”, so as to make research and teaching compliment and corroborate each other, and summarised the theory of boxing. Sun Lu Tang believed that the substance of boxing was the combination of boxing and the natural way. Inner power being the foundation of all of the boxing is the various Qi (vital energy) in harmony in the body, and that it goes in different directions, combines or changes in the body. Based on the I – Ching and the classic of elixir, he established the theory of “combining the congenital and acquired Bagua (eight diagrams)” and that of “the progress of boxing that takes practising austerities of the inner elixir as the outer signs”.

The former reveals the corresponding relation between the harmony and growth and changes occurred in the functional systems in the body and the exterior performing system, and that between the biological field of the body and the field of the cosmos. The latter reveals the foundation in practising boxing in different steps and its substance, based on his study, he abstracted both Hsing Yi and Bagua and made innovations in them, which produced Sun style Hsing Yi and Sun style Bagua, both of them are deep and bright connotation and style – harmony, while harmony is just the substance of Taiji Quan.

In 1912 Sun Lu Tang met the famous Taiji master Hao Weizhen and talked to him about the theory and practice of boxing. Hao was very impressed and asked Sun if he would like to learn Taiji.

Sun Lu Tang believed that Hsing Yi, Bagua and Taiji were an organic integration of boxing. The relations between them are complementing, amalgamating each other; he compared the relation between them to “the Heaven”, “the Earth” and “the human being”. He said “the three kinds of boxing come from one principle, and then it is divided into three, at last, the three combine into the principle. However, each of them has its characteristic: “Hsing Yi is honest, Bagua is that various techniques go back to one, Taiji is maintaining the state of beginning and keeping it all the time.”

Thus, the substance of Sun’s style Taiji is that Yin and Yang of Taiji assist is each other and it is soft and suitable for all; as for the process of practicing Sun style Taiji, it is Harmonious and agile, following the principle that the inner and outer Bagua collaborate each other, e.g. syncretism of inside and outside, seeking quietness from actions; all the time, there is appetence that is on the verge of breaking out of the body, which comes from the stance exercise from Hsing Yi ; it follows the principle of “application”; as for its actions, we follow the principle “ using adverseness in advantage, while using advantage in adverseness”; when standing up , the force should go up straight and when falling the body should be smart; as for psychology, it takes no action and maintaining the mind as its substance, and takes seeking harmony from emptiness as its method; as a result, “ I do not pursue to conquer others painstakingly, but no one can conquer me because my body is agile and round.”

From the above we conclude that, Sun style Taiji is of three great earmarks: being flexible and harmonious, agile and changeable and firm and fierce.

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2010 Sun Shi Taiji Association