Training in Supple Pushing Hands Techniques
太極拳鬆柔訓練法
Master Song Zhi-Jian's "Original Space Position" training method is one of the best ways to train the body to be supple. For example, the wrist joint remains in its original space position during the transition between advancing and retreating, and should not be moved by the body's actions. When the body moves backward, it naturally creates space; when the body moves forward, it naturally fills the space. The ability to create and fill space, as well as the coordination of muscles, ligaments, tendons, bones, and joints during this process, is used to judge the level of the body's relaxation and softness.
The stronger the ability to mobilize various body parts, the more relaxed and soft the body becomes, and the larger the space it can create. Therefore, if the muscles, ligaments, tendons, bones, and joints of the body can be as relaxed and soft as fine sand and water, they can naturally create larger spaces and more easily fill them. This enhances the ability to "neutralize" force in push hands techniques and demonstrates the skill of "overcoming hardness with softness."
Beginners should use a tree as a reference point. Once proficient, they can use the coach's hand as a reference. A coach with good listening ability can judge the degree of relaxation in a student's body during the advancing and retreating process. The more relaxed and soft the student's body, the less the coach will feel any pushing force from the student's hand, and there will be no signs of detachmen
(Part I)
鬆柔推手招法應用（一）
Three major characteristics found in the hexagrams of the I Ching are Image,
Number, and Principle – these elements also find resonance in our tai chi chuan practice.
Image: Phenomenon. Number: Digit. Principle: Reason.
Image: Phenomenon. Through changes in the emptiness and fullness of the feet,
the movement and stillness of the hands, and the hardness and softness of the body, the
phenomena of the Tai Chi Eight Methods, forms, and pushing hands techniques are produced.
Number: Digit. The numbers representing the length of the legs in advancing and
retreating, the angles and positions of each joint, the height of the body's center of gravity, the arc of turning left and right, and other numerical changes demonstrate the subtlety of Tai Chi Chuan.
Principle: Reason. The Tai Chi form and the techniques of pushing hands are inspired by repeated practice, which verifies the rationality of the form and the skills of
pushing hands.
According to the three principles of the Book of Changes: image, number, and
principle, the eight methods of Tai Chi Chuan (peng, lu, ji, an, cai, lie, zhou, kao) are
phenomena generated by changes in the angles and positions of the body's major joints.
This phenomenon, in terms of the body's structure, is a natural variation. By following Grandmaster Cheng Man-Ching's training methods: "Beautiful Lady's Hands,"
"No Arms in Tai Chi” (NAIT) and "Investing in Loss.", and the Original Space Position(OSP), Original Body Position(OBP), and the utilization of the energy of nature such as gravitational force, reaction force, and inertia, the body produces changes in emptiness and fullness, movement and stillness, and hardness and softness. Changes in the body's major joints, parts, and positions result in the movements of the form and the techniques of pushing hands.
（一）基礎動作：
I. Basic Movement:
1. 預備勢
2. 單搭手
3. 單搭手掤捋按
4. 雙搭手
5. 掤捋採之基礎交換手
1. Start Position (Yu Bei )
2. Single Hand Practice (Dan Da Shou)
3.Single Hand Practice (Dan Da Shou Peng Lu An )
4. Double-Hand Practice (Shuang Da Shou)
5. Exchanging Hands in the Foundation of Ward-Off, Roll-Back, and Pluck
（一）基礎動作 :
I. Basic Movement:
1. 預備勢
動作要點：甲 ( 東立者—圖中右側者 )、乙 ( 西立者—圖中左側者 ) 二人東西
相向站立，互相敬禮。
將雙手臂平舉，彼此指尖與對方手肘比齊 ( 如圖 1)。坐實右腳，以虛踏的左
腳跟為圓心，貼地向外轉30-45度，重心移至左腳，提右腳進踏一步，雙方「鬆持」
兩臂以右掤手相互搭手，腕關節互相交叉黏貼 ( 如圖 2)。
1. Start Position (Yu Bei )
Before we can begin to explore the various push-hands techniques, we need to discuss the start position from which all the exercise drills emerge.
Two players, A(the one on the right side of the figure ) and B(the one on the left
side of the figure) face each and bow respectfully. Both raise arms to shoulder level,
aligning the fingertips with each other's elbows (as shown in Figure 1). Each stands
with their right foot forward, facing the front and the left foot back, turned out to the
left 30-45 degrees. Both players raise their right hand in front of their chest with the
palm facing in. The players join by bringing the back of their wrists together to touch.
The right arm appears to float, as the elbow is allowed to sink. The right arm is held as
if in the posture ward-off right, (as shown in Figure 2).
The left palm is raised to touch the front of the Player’s right elbow. The left arm
is as if floating up while the elbow is allowed to sink. The left arm is held as if in the
posture push. Be careful not to wrap the left hand around the elbow, as this would not be suitable for pushing (as shown in Figure 2).
This is a common start position for push-hands competition. It is also used for a
wide variety of push-hands drills. Having established the basic posture, both players
should also seek to incorporate the following core principles:
— hold the arms up keeping the weight to yourself
— keep the body upright and the head top suspended,
— sink the elbow and drop the shoulders
— hollow the chest and round the back,
— keeping the arms relaxed and in constant contact with the Player,
— sit into the quadriceps, bending the knees, tuck in the hips and loosen the waist,
— distinguish between full and empty in the legs
— keep the body relaxed so you can comfortably shift weight between the front and
back foot.
As one player advances into the front foot, the other will follow to retreat into the
back foot. Like this both players take turns to circulate back and forth as the hands remain relaxed and apply various changes.
Following the core principles is essential to finding success in push hands. The
push-hands drills discussed here are designed to create the proper conditions where yin
and yang can be used effectively. We may occasionally use the word technique for lack
of a better word, but the reader should understand it is establishing the proper conditions that we are referring to.
Key Points:
•
A (Standing in the East) and B (Standing in the West): Stand facing each other,
approximately one arm's length apart.
•
Greeting: Bow to each other respectfully.
•
Arm Position: Extend both arms horizontally, aligning the fingertips of one hand
with the elbow of the other hand (as shown in Figure 1).
•
Weight Distribution: Shift your weight to your right foot, keeping your left foot lightly touching the ground. Pivot your left heel as the pivot point, turning your body outwards by 30-45 degrees. Transfer your weight to your left foot, and step forward with your right foot.
•
Hand Contact: Both A and B "relax" their arms and pair their Right Warding-Off
Hands (You Peng Shou) to establish contact. Their wrist joints cross and adhere to
each other (as shown in Figure 2).
lightly touching the ground. Pivot your left heel as the pivot point, turning your
body outwards by 30-45 degrees. Transfer your weight to your left foot, and step
forward with your right foot.
•
Hand Contact: Both A and B "relax" their arms and pair their Right Warding-Off
Hands (You Peng Shou) to establish contact. Their wrist joints cross and adhere to
each other (as shown in Figure 2).
