1. The upper psychic center is made as light as possible. The lower psychic center is made as heavy as possible.
This procedure is created by the use of the mind. The mind imagines the upper psychic center to be light and the lower psychic center to be heavy. The result of the movement of the mind and the correct body position is relaxation. When there is relaxation the Chi will sink down to the lower psychic center. The body must be held straight and there can be no use of physical strength.
2. Use the mental process. Do not use physical strength.
If physical strength is used the Chi will not circulate. Physical strength prevents the flow of Chi through the body. Chi will only flow when the body is relaxed and the mind is in control. The mind directs the flow of Chi.
3. The chest is not expanded nor pushed forward. The back is slightly curved. If the chest is expanded the Chi will rise up. If the back is too straight the Chi will not sink down. If the Chi rises up and is unable to sink down, then the center of balance will rise up.
If the shoulders are not down the Chi will not sink, the body will not be relaxed and the center of balance will rise up. This is also true if the elbows are not lowered.
5. The spine and sacrum must be straight. All movement originates from the pivoting of the sacrum.
If the body is not aligned the Chi will not sink down and there will be no relaxation. If the movements are not from the sacrum the Chi will not circulate harmoniously.
6. The upper and lower body are in perfect coordination.
The shoulders are in line with the hips. The knees are in line with the elbows. The top of the head is in line with the base of the spine. These three alignments are called the three outer harmonies.
7. The inner and the outer harmonies are synchronized. The three outer harmonies must be in a rhythmic flow with the three inner harmonies. The three inner harmonies are: The life fluid is in harmony with the life spirit; the life spirit is in harmony with the circulating breath; the circulating breath is in harmony with the life fluid. The inner and the outer aspects of man must flow as one.
8. Polarize the body and its movements. Theyin and yang aspects are clearly distinguished.
The forward movements are in harmony with the backward movements. The movements to the right are in harmony with the movements to the left. The movements of the hands are in harmony with the movements of the feet. The upper body is in harmony with the lower body. The body must always manifest both yin and yang aspects.
9. Create elastic-like movements in an unbroken sequence. The body is always rotating.
Each movement blends into the next movement. The body is in continuous motion with no stopping. All motion is circular.
10. Within movement seek tranquillity. Tranquillity and movement are harmonized into one.
The esoteric aspect of Tai Chi development. Steps leading to the Secret of the Golden Flower.
A BRIEF HISTORY OF THE TAI CHI CH'UAN MASTERS
According to some authorities on Tai Chi Ch'uan, the original master was Chang San Feng. He was a scholar, during the Soong dynasty, who mastered the martial art of self-defense in its external style and later developed the internal style known as Tai Chi Ch'uan.
Until the time of Chang San Feng, Tai Chi Ch'uan was probably a series of individual static postures. It is believed that Chang San Feng was responsible for perfecting Tai Chi Ch'uan by putting the postures into a form of continuous and rhythmic movements which are regulated by breath control.
Actually, Chang San Feng should not be considered the founder of Tai Chi Ch'uan, but the developer of the style that is practiced in its present form. His conceptions about the structure of Tai Chi Ch'uan are based on the theory of the Eight Trigrams from the / Ching, the teachings of the Tao Te Ching and probably the Washing the Marrow and the Changing the Sinews attributed to Bodhidharma. Within this structure, he incorporated a system of deep and controlled breathing.
Other writers on Tai Chi Ch'uan believe that the origin dates back to the Leong dynasty and was actually founded by Ching Ling Sin. This style was not, however, perfected as it is today. Ching Ling Sin handed down his teachings to his disciple, Han Koong Yit, who transmitted these teachings to his own disciple, Ching Be. During this period, Tai Chi Ch'uan was known as Siu Kow Tin or literally "The Small Nine Heavens."
During the Tang dynasty there lived the master Lee Tao Tze. He created his own system of Tai Chi Ch'uan called "Sin Tin Kin" or the "Primeval Art of Shadow Boxing." He transmitted his teachings to his disciples Yee Ching Wai, Yee Yat Seung and Yee Lin Chow.
Another great master was Hoo (Hu) Kang Tze. He handed down his knowledge to his disciple, the poet and scholar Soong Jung Chi. He called his style by the name of "Ho Tin Fa" or the "Secondary Art of Shadow Boxing." He handed down his teachings to Yun Lee Hing.
Now we come, once again, to Chang San Feng. When he was a young child he showed a remarkable ability in several areas. As a young man he was recognized as a scholar in literature. He passed the highest civil service exams for his area and was made a government official. He was indifferent toward his government post because he was not interested in personal power or glory. He was interested, instead, in the meditative life. Finally, he resigned from his government post and retired to an isolated mountain retreat on Wu Tang Mountain.
According to legend, one day Chang San Feng, while meditating at his mountain retreat, saw a battle between a snake and a white crane. Observing their natural and skillful movements, he conceived the idea of the internal, flowing form of Tai Chi Ch'uan. With a young companion, he practiced Tai Chi Ch'uan meditation for a long period of time. At the age of 67, seeking for further knowledge in the Tao, he went to another mountain range called Chung Nam. There he met a great Ch'an (Zen) master called For Loong Jun
Yun, the "Holy Fire Dragon Man." It was through his teachings that Chang San Feng became enlightened. He later took two other names and was known as Hin Hin Tze and as Kwun Young Jun Yun. He transmitted his teachings to his disciple Wong Chung Ngok. This gifted disciple methodically explained and formalized all the important basic principles and treaties of Tai Chi Ch'uan that we use today.
He handed this down to his disciple Chun Chow Toong in the district of Wan Chow in central China. His teachings are usually referred to as the Southern Style. The Wan Chow branch of Tai Chi Ch'uan produced the noted master Cheong Chung Kai.
The style of Chiang Fat of Honan province in northern China is usually referred to as the Northern Style. Chiang Fat transmitted his teachings to his disciple Chun Cheong Hing and he, in turn, handed down these teachings to his disciple Yang Loo Sim. Yang Loo Sim was a very methodical and enthusiastic teacher of this art. He was very prominent in Peking during the Ching dynasty and members of the ruling class studied under him. In those days, Tai Chi Ch'uan was taught almost exclusively to the aristocracy and to wealthy families.
Yang Loo Sim had three sons. The first born son passed away at an early age. The second son was named Yang Barn Ho, while the third son was named Yang Kin Ho. They were both prominent teachers of Tai Chi Ch'uan. Yang Kin Ho had three sons who were also very famous teachers of Tai Chi Ch'uan. The second son passed away at an early age. The eldest son was named Yang Siu Ho, while the youngest son was named Yang Ching Hoo.
When Yang Loo Sim lived in Peking, there were only three disciples who received the esoteric side of his teachings. They were Wu Chin Yow, Marn Chun and Ling San. It was Wu Chin Yow who developed the Wu style of Tai Chi Ch'uan. Wu Chin Yow transmitted these teachings to his only son, Wu Kam Chin. Wu Kam Chin was the teacher of many disciples all over China. Wu Kam Chin had two sons. They were named Wu Kung Yee and Wu Kung Chow. They both received their father's teachings and passed them on to their own disciples.
The Southern style of Tai Chi Ch'uan declined over a period of time and it was the Northern style, operating in a more vigorous climate and with a greater cultural past, that spread and survived till this day.
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