鬆柔太極拳推手競技的內涵(太極期刊276期）

 

鬆柔太極拳推手競技的內涵

 

太極拳是中華武術瑰寶，拳法內涵老莊「無為」的思考邏輯，及易經陰陽變化哲理，故能獲得國內外武術愛好者的肯定與喜愛，但因台灣少子化，人口老化嚴重，我們需要一個延續推手競技的舞台，讓傳統鬆柔推手技藝能繼續傳承後代，身為理事長，我與副理事長吳榮輝共同收集並整合台灣各界太極名師的鬆柔推手訓練法，依據老子與莊子「無為」的思考邏輯，及易經陰陽變化的哲理，進行系統化整理。

 

我們融合了鄭子太極拳的美人手、不動手及吃虧即是佔便宜的理念,並結合宋志堅老師的原空位、原體位、自然運動八法等訓練法與要訣，編排出七至九項傳統鬆柔推手競技訓練法，力求完整呈現太極推手的精髓。以兩人為一組的方式進行競技，各組選手必須在3-4分鐘時間內，完成七至九項指定動作，裁判再依據各組選手的鬆柔表現來評分，評分要領如下：

 

（1）太極十要：

太極十要中的虛領頂勁、沉肩墜肘、含胸拔背、鬆腰落胯、虛實分明、用意不用力、動中求靜等七項要訣，是以後退、走化、鬆柔、謙讓、捨己為法，配合牽動與向後化解來勢的機會產生捋、採的現象。弓步向前按靠擠肘者，是以腰腿帶動手臂向前，沒有手臂拙力或強力的介入，自然產生按、靠、擠、肘的現象，上述七項要點屬於「無為」的思考邏輯。另外，上下相隨、內外相合、相連不斷等三項要點，屬於易經陰陽變化的哲理。選手雙方需要在指定的時間內，完成太極十要的要領。

（2）揣摩五法與身體九大環節：

選手雙方以黏、貼、連、隨、不丟頂的要領進行鬆柔推手競技，配合身體九大（肩、肘、腕、頸、背、腰、髖、膝、踝)環節上下、左右、前後相互貫串與黏貼。兩腿有虛實、兩手有動靜、身體有剛柔，身體力求平衡與穩定，不可有斷續凸凹之處。

 

（3）借大自然的能量自           

然產生太極八法：  

身手輕靈與連貫，避免人為拙力介入，手臂借地心引力、地面的反作用力及慣性力，隨腰腿而動，身手自然呈現掤、捋、採、按、靠、擠、肘、挒等現象。

 

（4）選手雙方彼此進退、左右轉的幅度及身體下沉的能力，都是評分的要點。

太極拳推手的基礎功夫

中華民國太極拳總會副理事長 吳榮輝

   太極推手技藝中的走化技巧，是傳統鬆柔拳法的瑰寶。鄭曼青大師言：「吃虧即是佔便宜」，所謂「吃虧」就是「走化」，不僅可以累積聽勁的功力、伸展筋骨、強化身體的肌耐力等功效，也是培養人生哲學休養功夫的途徑。因為「走化」訓練過程中，無形中培養了真誠、謙讓與捨己的胸懷，讓視野及心胸更加廣闊。

 

   尤其是年輕的習者，更應具備培養各種角度走化的能力，積極練習「走化」技巧，以化解對手進攻的招式。初學「走化」時，無法精準的判斷對手進攻來勢，「走化」弧度比較大，經過反覆磨練後，聽勁隨之獲得啟發，「走化」的弧度自然隨之縮小，也就開始進入接勁與懂勁的階段。但若一開始就訓練接勁，反而失去修煉身心靈的契機。

 

   對初學者而言，接勁與頂抗是很難判斷的，頂抗容易產生強力現象，推手時會造成彼此筋骨的傷害及內傷。民國75年筆者剛入門時，宋師訓練的課程是：舒筋、步法、鬆身、拳架與走化等，必須持續3年的時間，等身體輕靈毫無強力，心靈真誠與謙恭時，才能進入自由推手練習，而接勁應用的時機與技巧，會在自由切磋過程中獲得啟發。

 

鄭曼青大師之訓練法：「守者使左右略帶牽採者為得也。現在要求進步，必須從守方著手，等於水火既濟。」

 

守者首先必須放下內心的執著，要有謙讓捨己的胸襟，並在退讓的過程中，依序放鬆身體九大環節，呈現太極拳十要：虛靈頂勁、沉肩墜肘、含胸拔背、鬆腰落胯、虛實分明、用意不用力、上下相隨、內外相合、連綿不斷、動中求靜等要訣。配合雙手的動與靜、兩腳的虛與實，身體的剛與柔，自然產生太極八法，下列提供基礎右掤捋採按法供同道參考。

 

1.    基礎右掤捋採按：

預備動作：甲(右側立者)、乙(左側立者)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)。

 

動作要點：

甲乙雙方以右掤手、左按手相互搭手，腕關節互相交叉黏貼，左手指黏貼彼此肘關節前端（如圖2），手臂保持輕靈狀態，甲方藉由身體對地面反作用力，向前按出，乙方藉由身體對地面反作用力順勢向後平退（如圖3）。

 

（2）乙方右腕關節保持原空位，再依序鬆肩、墜肘、鬆腕、含胸拔背、鬆腰落胯、虛實分清（如圖4）。身體向右轉30-60度右手黏貼甲方右腕關節，左手黏貼肘關節，自然產生掤捋採現象，甲方順勢產生靠勢（如圖5）。

 

（3）雙方身體回正，恢復搭手狀態（如圖6）。甲乙雙方進退攻守互換，循環往復。

          圖一                   圖2                    圖3

 圖4                    圖5                     圖6

2.    左右掤捋採按交換手：

（1）甲乙雙方以右掤手、左按手相互搭手，腕關節互相交叉黏貼，左手指黏貼彼此肘關節前端（如圖7），手臂保持輕靈狀態，甲方藉由身體對地面反作用力，以左手黏貼乙方右手肘關節，向右斜前方弓步按出，乙方藉由身體對地面反作用力順勢向後平退，以右掤式隨勢引導甲方向左後方走化，當甲方越過彼此中心線時，乙方以「原空位」的左掌順勢反採甲方左掌腕關節（如圖8）。

 

（2）雙方身體轉正，甲方鬆肩、肘二關節成左掤式，右手鬆持平舉與肩同高（如圖9），乙方以雙按式向前弓步，甲方以「原體位」向後成後平退（如圖10）。

 

（3）甲方右手黏貼乙方左手肘關節，再依步驟(1)向左斜前方弓步按進（如圖11）。再恢復原搭手狀態（如圖12），如此左右循環往復。

圖7                         圖8                        圖9            

            

圖10                    圖11                   圖12

鬆柔太極拳推手競技舞台

 

 中華民國太極拳總會特助 余國棟 江淑珍

 

目前太極拳拳架與推手比賽，在台灣已經實施40餘年，我們有優秀的教練與裁判，及素質良好的選手，為了讓太極拳經論的哲理、拳架基本功夫，及推手技藝的應用合而為一，讓中華武術文化生根台灣，源遠流長，整合現行太極拳架與推手技藝於太極拳的競技舞台，刻不容緩。

傳統推手訓練方法，兩人一組相互盤手，彼此黏貼連隨，相互探聽虛實的鬆柔推手技藝，逐漸在公園及太極練習場中消失，令人惋惜，我們需要建立一項太極拳架與推手技藝相輔相成的競技舞台，才能延續傳統太極拳的精髓。傳統鬆柔訓練法是訓練聽勁、懂勁，及培養內勁的訓練法，也是彼此抒發心情，鍛鍊體能的途徑。

在彼此搭手互動中，訓練身手的輕靈度、柔和度、伸展度，驗證太極拳「以柔克剛」的技藝的能耐。在切磋過程中反覆訓練沉肩墜肘、含胸拔背、鬆腰落胯、虛 實分清⋯等太極十要的訓練法，培養輕靈的身手，堅實的腿力，在心境上深怕自己的拙力與執著阻礙對手的去向，不斷地自我檢驗身體各部位的鬆柔，盡量要求自己達到不丟不頂的境界，如此反覆動員身體各部位活動的機能，這不僅僅是健身養生的修練法，也是人生哲學修養功夫的一環。

 

鬆柔太極拳推手與一般強力訓練法，最大的不同點是訓練法依照﹕敬、靜、定、鬆、圓、整、慢、勻、柔等九字要訣，反覆動員身體各肌肉、筋骨、韌帶等等部位，使其獲得啟發，產生整體運動的效果，呈現太極八法現象與太極拳經論的內涵。

 

 

 

 

 

 

 

 

 

 

 

 

 

Zhuangzi’s “All Under Heaven” and the Philosophical Cultivation of Life（莊子《天下篇》與人生哲學修養）

Zhuangzi’s “All Under Heaven” and the Philosophical Cultivation of Life（莊子《天下篇》與人生哲學修養）

“He communes alone with the spirit of Heaven and Earth, yet does not look down upon the myriad things. He does not condemn others over right and wrong, but lives alongside the ordinary world.”

「獨與天地精神往來，而不敖倪於萬物，不譴是非，以與世俗處。」

1. Communing Alone with the Spirit of Heaven and Earth（獨與天地精神往來）

In solitude, I commune with the spirit of Heaven and Earth. My whole being reaches beyond the confines of worldly conventions（世俗的藩籬）, finding harmony with the rhythms of nature（大自然的律動）.

2. Looking Down Upon None of the Myriad Things（而不敖倪於萬物）

Though the spirit rises above worldly concerns, the heart holds not the slightest trace of arrogance（傲慢）.

3. Letting Go of Condemnation and Living Alongside the World（不譴是非，以與世俗處）

See beyond fixed standpoints（立場）, release attachments（執念）, and cease becoming entangled in disputes. With the wisdom of “softening one’s light and mingling with the dust”（和光同塵）, live harmoniously within the ordinary world. 

莊子《天下篇》與人生哲修養

獨與天地精神往來，而不敖倪於萬物，不譴是非，以與世俗處。

1.獨與天地精神往來：

我獨自一個人與天地精神往來，身靈越過世俗的藩籬，與大自然的律動相契合。

2.而不敖倪於萬物：

精神超然於世俗之上，但內心沒有一絲一毫的傲慢。

3.不譴是非，以與世俗處：

看透立場，放下執念，不糾結。以「和光同塵」的智慧，與世俗並存。

The Eight Methods Within Designated Push Hands, Part I（指定推手之八法內涵〔一〕）

The Eight Methods Within Designated Push Hands, Part I（指定推手之八法內涵〔一〕）

Grandmaster Cheng Man-ch’ing（鄭曼青宗師）said: “Accepting a disadvantage is gaining an advantage（吃虧即是佔便宜）.”

The Eight Methods of Designated Push Hands are broken down into five movements. Partner A initiates, while Partner B cooperates and responds, with both partners moving through repeated cycles.

Partner B:

1. Movements 1–2 — Yielding in Limb Position and Direction（肢體與方向的吃虧禮讓）

Avoid meeting the opponent’s force head-on（避其銳氣）. Yield with the left hand to gain an opportunity with the right; yield on the left side to gain an advantage on the right（讓左手得右手，讓左邊得右邊）. What appears to be giving way and accepting a disadvantage（吃虧）actually enables you to control the opponent’s centre of gravity and gain an advantage（佔便宜）.

2. Movement 3 — Yielding Space and Adapting Structure（空間與結構的吃虧）

Sink the shoulders（沉肩）, gently hollow the chest（含胸）, and settle the kua（落胯）. By deliberately yielding the space in front of the body, you can express the skill of overcoming hardness with softness（以柔克剛）.

3. Movements 4–5 — The Continuous Cycle of Yielding and Gaining

Accepting a disadvantage through yielding and neutralisation（吃虧／走化）alternates continuously with gaining an advantage by following the momentum（佔便宜／順勢）. The cycle continues without interruption（周行不殆）. Each time you yield space, you prepare the way for the next opportunity to move with the flow. 

［指定推手之八法內涵（ㄧ）］

鄭曼青宗師言「吃虧即是佔便宜」。

指定推手之八法分解五動：甲方為主動方、乙方配合運行，彼此循環往復：

乙方：

1.第 1、2 動，肢體與方向的吃虧禮讓。避其銳氣，不與來力硬碰，讓左手得右手，讓左邊得右邊，表面看似禮讓（吃虧），實則掌控對方重心（佔便宜）。

2.第 3 動，空間與結構的吃虧。沉肩、含胸、落胯⋯，主動讓出正面的空間，得以展現「以柔克剛」的技藝。

3. 第 4、5 動

吃虧（走化）與佔便宜（順勢）循環往復，周行不殆。每一次讓出空間，都在為下一次的順勢做鋪墊。

The Eight Methods Within Designated Push Hands, Part II（指定推手之八法內涵〔二〕） Core Skills（核心技藝）

The Eight Methods Within Designated Push Hands, Part II（指定推手之八法內涵〔二〕）

Core Skills（核心技藝）

Sticking（黏）, adhering（貼）, connecting（連）, and following（隨）, without disconnecting or resisting（不丟不頂）, cultivate listening sensitivity（聽勁）and yielding and neutralisation（走化）. By not disconnecting, the connection of power remains unbroken; by not resisting, the body avoids bracing against the opponent.

Five-Movement Breakdown（分解五動）

Partner A initiates and draws Partner B into motion, while Partner B cooperates by yielding and neutralising. Emptiness and fullness exchange roles（虛實互換）, each cycle giving rise to the next（生生不息）.

As the partners advance, retreat, and change roles, each closely observes the responsiveness of both partners’ bodies and hands, and the depth of their yielding and neutralisation. Draw and guide the opponent through a relaxed, supple, fully connected body（鬆柔貫串）—never through forceful pulling or pushing with isolated hand strength（局部手力）.

The depth of one’s skill lies in the depth of yielding and neutralisation（走化之深度）and the body’s sensitivity and responsiveness（身體的敏銳度）, rather than in the strength of one’s power release（發勁）. 

［指定推手之八法內涵（二）］

核心技藝：黏、貼、連、隨、不丟頂，涵養聽勁與走化；不丟則勁力不斷，不頂則身形不抗。

分解五動

甲方主動引動，乙方配合走化；虛實互換，生生不息。

彼此於進退轉換之際，細察雙方身手的敏銳度與走化深度。以身體鬆柔貫串，牽動並引導對手，絕不以局部手力硬拉硬推。

功夫深淺，貴在走化之深度與身體的敏銳度，而非發勁之強弱。

Push Hands Partner Practice and Laozi（推手對練與老子）

Push Hands Partner Practice and Laozi（推手對練與老子）

Chapter 10 of the Dao De Jing（《道德經》第十章）:

“Can you concentrate your qi and attain softness, becoming like an infant?”

「專氣致柔，能嬰兒乎？」

An infant embodies three qualities: not-knowing（無知）, not asserting ability（無能）, and a mind free of fixed intentions（無心）. These qualities offer a path for cultivating one’s character and are also three essential elements of Tai Chi practice.

1. Not-Knowing（無知）

By letting go of what we think we know, we become fully attentive and able to listen.

In push hands partner practice: Set aside reliance on sight and hearing. With an empty, quiet mind and body（虛靜）, sense the changes in the opponent’s emptiness and fullness（虛實）, movement and stillness（動靜）, and firmness and softness（剛柔）.

2. Not Asserting Ability（無能）

By letting go of the need to demonstrate our ability, we become yielding and willing to set aside our pride.

In push hands partner practice: Relax the muscles, tendons, skeletal framework, and ligaments, while also putting the mind at ease. Release the desire to win（放下爭勝）, accept the incoming force（接納來力）, and respond naturally to its direction and momentum（順勢而為）.

3. A Mind Free of Fixed Intentions（無心）

Without a fixed agenda, we remain free from attachment（不執著）.

In push hands partner practice: Do not cling to predetermined techniques. Allow your movements to adapt as the opponent’s techniques change.

 [推手對練與老子］

第十章：

專氣致柔，能嬰兒乎？

嬰兒具備有三種特質，無知、無能、無心。此三種特質是人生哲學修養功夫，也是修練太極拳功夫的三大要素：

1.無知：

無知而致專，而能傾聽。

推手對練：關閉耳目官能，以虛靜的身心去感知對手的虛實、動靜與剛柔的變化。

2.無能：

無能而致柔，而能放下身段。

推手對練：

放鬆身體的肌肉、筋骨、韌帶及心靈，放下爭勝的企圖心，接納來力，順勢而為。

3.無心：

無心而不執著。

推手對練：不執著於預訂的招法，隨對手的招式變化而動。

［莊子「庖丁解牛」與太極拳修練的三個階段（二）］

Zhuangzi’s “Cook Ding Cutting Up an Ox” and the Three Stages of Tai Chi Cultivation, Part II（莊子「庖丁解牛」與太極拳修練的三個階段〔二〕）

Stage One: Imitation and Learning the Parts（模仿與拆解）

Zhuangzi: “When I first began cutting up oxen, all I could see was the whole ox.”

「始臣之解牛之時，所見無非牛者。」

Tai Chi: The practitioner focuses on imitating outward forms and learning individual techniques, including the Five Steps（五行步）and the Eight Methods of Tai Chi（太極八法）. The body’s nine major joints and connecting regions（九大關節）—including the shoulders, elbows, and wrists—are not yet coordinated as a whole. Movements remain separate and segmented. This is an exploratory stage of working from the outside inward（由外而內）.

Stage Two: Integration and Connection（整合與連貫）

Zhuangzi: “After three years, I no longer saw the ox as a whole.”

「三年之後，未嘗見全牛也。」

Tai Chi: With the form now familiar, the practitioner is no longer preoccupied with outward appearance. The muscles, bones, and nervous system associated with the nine major bodily links become coordinated, so that “the whole body functions as one family”（周身一家）.

Emptiness and fullness in the feet（腳之虛實）, movement and stillness in the hands（手之動靜）, and firmness and softness throughout the body（身體之剛柔）alternate naturally within the form. Attention begins to shift from the integrated outward movement to the inward intention（意念）that guides it.

Stage Three: Push Hands and Intuitive Mastery（推手與神明）

Zhuangzi: “Now I meet it through spirit rather than looking with my eyes. Sensory perception comes to rest, and the spirit moves as it will.”

「方今之時，臣以神遇而不以目視，官知止而神欲行。」

Tai Chi: In partner push hands, deliberate sensory observation recedes, giving way to intuitive awareness（神意）and listening sensitivity（聽勁）. Responding to the opponent’s emptiness and fullness, firmness and softness, the practitioner maintains sticking, adhering, connecting, and following（黏貼連隨）, without disconnecting or resisting（不丟不頂）.

Without needing to consciously think through each response, the body moves naturally with the unfolding situation—with the ease and freedom of Cook Ding’s blade finding space between the joints（游刃有餘）. 

［莊子「庖丁解牛」與太極拳修練的三個階段（二）］

第一階段：

莊子：「始臣之解牛之時，所見無非牛者。」

太極：模仿與拆解，專注於外形招式（五行步、太極八法）。此時身體九大關節（肩、肘、腕等等）尚未連貫，動作分解，屬於「由外而內」的摸索期。

第二階段：

莊子： 「三年之後，未嘗見全牛也。」

太極：整合與連貫，拳架已熟，不再執著於外形。九大關節的肌肉、骨骼與神經系統串連「周身一家」；腳之虛實、手之動靜、身體之剛柔在拳架中自然轉換，開始由外在的整體，轉為內在的意念。

第三階段：

莊子：「方今之時，臣以神遇而不以目視，官知止而神欲行。」

太極：推手與神明，雙人推手時，感官退位，全憑「神意」與「聽勁」感應。對應對方的虛實、剛柔，做到「黏貼連隨、不丟不頂」。不需大腦思考，身體隨勢而動、游刃有餘。

The Interplay of Yin and Yang in the Designated Push Hands Outer Connection Method（指定推手外承接法之陰陽相濟）

 The Interplay of Yin and Yang in the Designated Push Hands Outer Connection Method（指定推手外承接法之陰陽相濟）

The foundation lies in the alternation of emptiness and fullness（虛實）between the legs as they advance and retreat. Its application lies in the hands exchanging movement and stillness（動靜互換）. Only when the hands and feet move in coordination（手腳相隨）can firmness and softness alternate fluidly（剛柔變化）.

As the saying goes, “Keep the action compact and the positioning potent; control the middle joint（節短勢險，掌控中節）.” The elbow is the pivotal joint through which the opponent’s arm transmits force and changes direction.

The right hand takes the lead in controlling the opponent’s elbow, both “listening” to the direction of incoming force through the forearm and promptly controlling the fulcrum of the arm’s leverage（槓桿支點）.

Through the complementary interplay of yin and yang（陰陽相濟）, the right hand guides and controls the opponent’s elbow, while the left hand follows the movement, settling onto their shoulder, back, waist, or kua（腰胯）. One hand leads and the other supports, combining their forces into a coordinated whole（合力）.

Throughout the shifts between movement and stillness, emptiness and fullness, and firmness and softness, maintain contact without disconnecting or resisting（不丟不頂）. Keep the body and hands light and agile（身手輕靈）, thereby cultivating keen listening sensitivity（聽勁）.

「指定推手外承接法之陰陽相濟」

以兩腿虛實進退為根，兩手動靜互換為用，手腳相隨方能產生剛柔變化。

俗話說「節短勢險，掌控中節」。肘關節是對手手臂傳遞力量與改變方向的樞紐。

右手主控對手肘部，既能「聽」出對方前臂的來力方向，又能及時控制其槓桿支點。

陰陽相濟，右手牽引控制對手肘關節，左手順勢落在對手肩、背、腰胯上；一主一輔，形成合力。

在動靜、虛實與剛柔的轉換中，保持不丟不頂與身手輕靈，從而培養敏銳的聽勁。

Understanding "節短勢險，掌控中節" in Tai Chi

This classic martial arts principle translates to "Keep the actions compact and the positioning perilous, while dominating the middle joint."

It addresses leverage, distance, and control during close-range engagement or push hands (推手). Breaking down the key concepts reveals how this principle operates in practice:

• 節 (Jié - Joints / Sections): Refers to the physical segments of the body (such as the wrist, elbow, and shoulder) that articulate force. In internal martial arts, the body is viewed as a chain of joints that must remain coordinated.
  
  
• 短 (Duǎn - Compact / Short): Emphasizes keeping movements small, tightly wrapped, and structurally sound rather than extended or telegraphic. Compact movements close the gap on an opponent and prevent them from finding leverage.
  
  
• 勢險 (Shì Xiǎn - Perilous Positioning / Hazardous Advantage): Describes the tactical edge created when you occupy a tight angle or position that puts the opponent's structure in immediate danger or off-balance.
  
  
• 中節 (Zhōng Jié - The Middle Joint): Refers specifically to the elbow in the arm framework (with the wrist as the tip/hand and the shoulder as the root). Controlling the middle joint is vital because whoever dictates the elbow controls the entire leverage of the opponent's arm.
  
  

Practical Application

When engaging with an opponent, instead of fighting their hands or reaching for their shoulders, you focus on the 中節 (Zhong Jie)—the elbow. By keeping your own movements compact (節短) and sealing off space, you place the opponent in a vulnerable position (勢險). Guiding or pinning their elbow neutralizes their incoming power at its fulcrum, allowing you to seamlessly blend movement and stillness to control the exchange.

This phrase originates from traditional martial arts wisdom and internal martial arts (Tai Chi) axioms [2.3.1].

While its phrasing echoes classical military strategy concepts—specifically drawing from Sun Tzu’s The Art of War (Military Form chapter), which states, "Hence those skilled at warfare make their positioning perilous and their sections compact" (「故善戰者，其勢險，其節短」)—it was later adopted into traditional martial arts and push hands maxims to describe physical mechanics and combat leverage [2.3.1].

In martial arts theory, the full traditional axiom is often written as:

「其勢險，其節短，勢如張弓，節如發機」 [2.3.1]

"The positioning is perilous and the sections are compact; the posture is like drawing a full bow, and the release/trigger is like firing a crossbow mechanism [2.3.1]."