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Yang Family, Yang Style楊家,楊式
Yang Family, Yang Style 楊家,楊式 by Sam Masich Frequently I am asked questions about the curriculum of Yang Style Taijiquan. What does it include? Why do some schools include material that others don’t? Why are some practices considered legitimate by some teachers but not by others? In order to understand the variances in curriculum from school to school it is first necessary to understand a few historical factors relating to the creation of this branch of Taijiquan as well as the opinions of the Yang family itself. In 1990 I had the fortune of riding with master Yang Zhenduo from Winchester, Virginia to Washington D.C. in a van filled with Tai Chi players. We were all going to the Smithsonian institute and to see the sights. It was a sunny day and everyone in the vehicle was in very good spirit after an intense, upbeat five-day workshop. The mood was relaxed and, as I was sitting close to Master Yang and his translator, I took the opportunity to ask some questions about his life in China, his impressions of America, his training and his views on Tai Chi. At some point I came to the subject of curriculum and asked him, among other things, what he thought about the 88 movement Yang Style Taijiquan San Shou (Sparring) routine. Master Yang said, "This is Yang Style Taijiquan not Yang Family Taijiquan." He went on further to explain that this was the creation of his fathers’ students and that, while it adhered well to the principles of his father’s teachings, it was not to be considered part of the Yang Family Taijiquan. -
Research on MMA Technology System of Taichi Push Hand
2019 International Conference on Cultural Studies, Tourism and Social Sciences (CSTSS 2019) Research on MMA Technology System of Taichi Push Hand Weiqi Li Jiangxi Normal University School of Physical Education, Nanchang, Jiangxi Province, China Keywords: Taijiquan; Skills; UFC; MMA Abstract: Chinese Wushu has a long history, extensive and profound. After several generations of unremitting efforts, Chinese Wushu has gained a very high reputation in the world. Among them, Taijiquan has an unparalleled influence, according to a survey released in 2007 by the National Center for Supplementary and Alternative Medicine, affiliated to the National Institutes of Health (NIH). According to the report, about 3 million people in the United States engage in Taijiquan, while in 2015 the number of Taijiquan practitioners worldwide reached 300 million. It can be said that Taijiquan is a business card of traditional Wushu. However, in recent years, several confrontations between Taijiquan and modern fighting have all ended in failure, which makes people think that the concept of Taijiquan has lagged behind the times. Therefore, we need a platform to rebuild people's confidence in Taijiquan boxing, and also to avoid the development of Taijiquan blindly emphasizing traditional culture and health preservation. After fighting, we should know that the soul of Wushu is fighting. Once Taijiquan leaves fighting, it is a water without source and a wood without foundation. Comprehensive Combat (MMA) is the hottest type of combat at present. It follows the idea of Western pragmatism and the rule of open and inclusive, and its skill is undoubtedly high. If Taijiquan can participate in it, it can prove its fighting ability through the stage of comprehensive fighting first. -
I. Szybkość W Formach Taijiquan
Andrzej Kalisz Warszawa, 2019 Taijiquan (t'ai chi ch'an) jest powszechnie znane z nie- zwykle powolnego wykonania ruchów. Sztuka ta jest już na tyle popularna na całym świecie, że prawdopodobnie każdy z Czytelników się z nią zetknął i miał okazję, jeśli nie osobiście, to może za pośrednictwem telewizji widzieć ludzi w spokoj- nym skupieniu wykonujących długie ciągi powolnych, płyn- nych ruchów. Niektórzy uważają taijiquan wyłącznie za formę ćwi- czeń zdrowotnych lub tzw. "medytację w ruchu". Wielu oso- bom trudno jest czasem uwierzyć, że jest to także sztuka wal- ki. Mówią np.: "To nie może być sztuka walki, bo ćwiczy się powoli". Ci, którzy nie mają szerszego spojrzenia na różne odmiany taijiquan, gdyż mieli kontakt np. tylko ze stylem Yang, i to w dodatku wyłącznie z jego wersją uproszczoną, błędnie sądzą, że w taijiquan wszystkie ruchy muszą być wol- ne, gdyż w przeciwnym razie nie będzie to taijiquan. Jest to stwierdzenie równie sensowne, jak i takie, że pudel nie jest psem, bo nie jest tak niski i długi jak jamnik. W tym tekście chciałbym, opierając się na autentycz- nych chińskich materiałach, dawnych i współczesnych oraz naukach moich nauczycieli i mistrzów z którymi się zetkną- Fot.1. Autor podczas ćwiczeń tui-shou na łem, wyjaśnić w skrócie, w miarę moich możliwości, kilka bu- platformie z mistrzem stylu Hao taiji Zhai dzących wątpliwości kwestii. Weichuan I. Szybkość w formach Taijiquan Nikt głębiej zorientowany w kwestii zróżnicowania szkół taijiquan nie odważy się twierdzić, że w taijiquan wszystkie ruchy są wolne, ani tym bardziej, że muszą być wolne, gdyż w przeciwnym razie nie będzie to taijiquan. -
Tongren August 2011
Iching-hexagram-13 7/15/09 4:20 PM TongRen A publication of the Canadian Taijiquan Federation Une publication de la Fédération Canadienne de Taijiquan August 2011 Août Volume 18 . Issue 3 Numéro file:///Users/rhubarb/Desktop/Iching-hexagram-13.webarchive Page 1 of 1 TongRen August/Août 2011 Volume 18 . Issue 3 Numéro Published by the Canadian Taijiquan Federation, P.O. Box 32055, London, Ontario, Canada N5V 5K4 www.canadiantaijiquanfederation.com Editor: Michelle McMillan, KI DESIGN, Guelph, Ontario <[email protected]> Copy Editors: Charles Dunphy, Oakville, Ontario & Bob Chessell, Barrie, Ontario TongRen provides a forum for the discussion, TongRen fournit un forum pour discuter, exprimer et expression, and experience of Taijiquan and related vivre le Taijiquan et ses domaines connextes. Articles, subjects. Articles, reports on events, biographies, reportages, activitiés, biographies, lettres, critiques de letters, book reviews, poems, illustrations, scholarly livres, poèmes, illustrations, textes savants et réflexions research, and philosophical musings are welcomed. philosophiques sont les bienvenus. Veuillez soumettre Please email submissions for consideration for tout matériel à fin de publication à la rédactrice de publication in TongRen to the editor, Michelle T o n g R e n , M i c h e l l e M c M i l l a n McMillan <[email protected]> <[email protected]> TongRen is published quarterly: February, May, TongRen est publié quatre fois par année, en février, August, November. Submissions must be received by mai, août et novembre. Toute sumission doit être reçue the first day of the preceding month to be included. avant le premier du mois qui précède la date de The Editor reserves the right to determine content of publication. -
Baduanjin Info.Pages
Yang-style Taijiquan ‘Eight-section Brocade’ 䮉ୗॡ禅೦獌ྦྷ梁 In an introduction to his 2011 book ‘Yang-style Taiji Real Power’ (Yang-shi Taiji ,author Sun Yizhao explains (ۑZhen Gong 䮉ୗॡ禅፥ Taiji Baduanjin was originally created by the Yang family as a training method for mobilizing qi and ဩ). Like other forms of baduanjin there are eightۑtraining jin (yùnqì liànjìn gōngfǎ 螀穥娞㵇 sections but the movements are not the same. It can be distinguished by it's 'forging and smelting' (duànliàn 梵簉) of the sections and joints of the body and the strengthening of the internal organs and their way of functioning. It strengthens visceral system functioning and also contains within it a great deal of attack and defence training methods (jìjī ದ䢗). The Yang-style Taijiquan Baduanjin was originally an indoor family neigong of the Yang family— a secret weapon sorts. It can be seen variously as a good solid warmup and strength and flexibility practice or as an essential piece of the Yang-style Taijiquan curriculum. Baduanjin (bāduànjǐn 獌ྦྷ梁) means ‘eight-section brocade’ and connotes the side by side placement of different weaves of fabric seen, for example, in the robes of Emperors or monks. Chinese Buddhist monk’s silk brocade robe c. 1700-1750 The term baduanjin first appears in Hong Mai’s ‘Records of the Listener’ in the Song Dynasty (1127-1279). The Emperor’s Chief Secretary Li Siju is described as living a simple life which includes getting up at night to practice deep breathing, self massage and exercises called baduanjin. Today a standard set of baduanjin is practiced and is readily found in books and on the internet. -
Tai Chi Chuan Martial Applications: Advanced Yang Style Tai Chi Chaun Pdf
FREE TAI CHI CHUAN MARTIAL APPLICATIONS: ADVANCED YANG STYLE TAI CHI CHAUN PDF Jwing-Ming Yang | 364 pages | 05 Nov 1996 | YMAA Publication Center | 9781886969445 | English | Rochdale, United States Tai Chi Chuan Martial Applications: Advanced Yang Style by Jwing-Ming Yang The Yang family first became involved in the study of t'ai chi ch'uan taijiquan in the early 19th century. Yang became a teacher in his own right, and his subsequent expression of t'ai chi ch'uan became known as the Yang-style, and directly led to the development of other three major styles of t'ai chi ch'uan see below. Yang Luchan and some would say the art of t'ai chi ch'uan, in general came to prominence as a result of his being hired by the Chinese Imperial family to teach t'ai chi ch'uan to the elite Palace Battalion of the Imperial Guards ina position he held until his death. Yang Jianhou the third son Yang Chien-hou Jianhou — passed on the middle frame long form, sometimes called the 2nd generation Yang form or the Yang Jian hou form to his disciples who still pass on this more martial form that is when seen more reminiscent of Chen style for which it is closer to in time as well as form than the Yang Cheng fu form or 3rd generation styles. Thus, Yang Chengfu is largely responsible for standardizing and popularizing the Yang-style t'ai chi ch'uan widely practised today. Yang Chengfu developed his own shortened "large frame" version of the Yang long Form, in order to make it easier to teach to modern students who are busy with modern life. -
Les Origines Du Taiji Quan Dans La Littérature Populaire Occidentale
ASPECTS SOCIOLOGIQUES VOL . 17 NO 1 39 Les origines du taiji quan dans la littérature populaire occidentale CONSTRUCTION D ’UNE TRADITION INVENTÉE Dominic LaRochelle Cet article cherche à mettre en évidence le processus par lequel les livres populaires sur le taiji quan publiés en Occident construisent une tradition d’arts martiaux. En effet, cette tradition se construit en puisant dans un matériel culturel déjà existant (en l’occurrence les traditions taoïstes) qu’on replace dans un contexte nouveau (la pratique des arts martiaux). Il en ressort un discours qui cherche essentiellement à montrer que le taiji quan est un art qui tire ses origines des traditions taoïstes anciennes. On peut diviser cette stratégie discursive en quatre points, à savoir quatre origines attribuées au taiji quan et qu’on retrouve dans la littérature populaire occidentale sur le taiji quan . Ces différentes origines ne s’opposent pas forcément mais se complètent très bien : une origine technique, qui fait un lien avec les pratiques d’alchimie interne et la médecine traditionnelle chinoise ; une origine philosophique, qui fait un lien avec les textes de la tradition Lao-Zhuang ; une origine mythique, qui distingue une tradition interne et une tradition externe des arts martiaux ; et une origine historique, qui comble un vide historique entre les mythes anciens et la pratique contemporaine. 40 Les origines du taiji quan dans la littérature populaire occidentale Dominic LaRochelle *** La tradition, en tant qu’« appel que le présent adresse au passé, ou l’héritage par lequel le passé se survit dans le présent » (Pépin, 1989 : 827-828), constitue essentiellement un discours qui a pour fonction d’établir un lien entre le passé et le présent et dont le but premier est de légitimer des croyances et de donner un sens à ses pratiques. -
The Daoist Origins of Chinese Martial Arts in Taiji Quan Manuals Published in the West1
The Daoist Origins of Chinese Martial Arts in Taiji quan Manuals Published in the West1 Dominic LaRochelle, Ph. D. Laval University, Quebec City, Canada Bio Dominic LaRochelle is a lecturer at the Faculty of Theology and Religious Studies of Laval University, Quebec City, Canada. His research focuses on the history of Chinese martial arts, their reception in Western societies, and their relation with religious traditions. He has been a practitioner of Chinese martial arts (wing chun, taiji quan, bagua zhang and xingyi quan) for more than 15 years. Abstract In Chinese martial arts circles, differences of interpretation concerning the origins of the art of taiji quan are not new. In fact, they are at the heart of a century-old debate that generally divides scholars and practitioners. Chinese myths and legends have been in great part adopted by Western practitioners. The aim of this article is to analyze how was construed in the second half of the 20th century a complex rhetoric trying to convince Western readers of taiji quan books that their practice has an ancient Daoist origin. Introduction In Chinese martial arts circles, differences of interpretation concerning the origins of the art of taiji quan are not new. In fact, they are at the heart of a century-old debate that generally divides scholars and practitioners along two lines. There are those who claim that taiji quan originates from Chenjiagou, a village in province of Henan controlled by a military family called Chen. As early as the 17th century, it is believed that some members of this family invented (or at least practiced), probably under the influence of existing martial arts practiced in 1 A shorter version of this article was previously published in the Journal of Chinese Martial Arts, Spring 2013, pp. -
Introduction 1
NOTES Introduction 1. One immediately encounters a “term problem” in discussing a phenomenology of race. Terms such as “Chinese” and “white” suddenly become woefully inadequate (as if they were not so already). I try to address this problem in a straightfor- ward way: when I wish to call attention to the term problem within the context of my arguments, I place quotation marks around terms like “Chinese,” “Euro-American,” “foreigner,” “white,” et cetera. When I momentarily ask that the reader accept these categories, for example, in my discussion of Chinese history and Chinese American immigration, I refrain from using quotation marks. 2. Gongfu, commonly written in English as “kung fu,” also refers to “skill,” “work,” or “time.” The “kung fu” that has become part of American vernacular functions in English as a kind of catch-all term for Chinese martial arts, but it is more often used this way in Chinese, for example, when the conversation revolves around foreign practice of martial arts or when the term wushu is avoided. Wushu is the term for “martial arts” in Mandarin Chinese, but it has acquired a complicated associa- tion with performance-oriented martial arts that have little or nothing to do with combat training. Practitioners will usually refer to a particular art by its style name or family association. 3. The style is properly referred to as “Wu style taijiquan” (Wu shi taijiquan). When I conflate “Wu” and “Ma” family names, my purpose is to specify the lineage that has developed through the married couple of Ma Yueliang and Wu Yinghua. -
Ber Taijiquan
1 About Taijiquan From a lecture by Prof. Ma Hailong on the occasion of his visit to Düsseldorf 2002 Prof. Ma Hailong is the eldest son of Ma Yueliang and Wu Yinghua. He is President of the Jianquan Taijiquan Association in Shanghai. On his third visit to Europe he held a lecture in the Forum for Traditional Wu Tai Chi Chuan to promote Wu-style Taijiquan. The following are excerpts from his lecture. Thank you very much for the kind invitation to hold a lecture here in Düsseldorf. Taijiquan is a system which has been tradition in China for many centuries. The development of Taijiquan has spanned a long period of time. It is said that Zhang Sanfeng from the Wudang Mountains founded Taijiquan during the Tang Dynasty. In Taijiquan he refined the culture of his country. Today one speaks of the five Taijiquan families: Chen, Yang, Wu, Wu (Hao) and Sun. In the time of the Qing Dynasty the practising of martial arts was very popular. Rich people of these times trained in private circles and invited great masters, such as Yang Luchan (founder of the Yang- style), into their homes to train with them. Yang Luchan was very famous in his time and was often challenged to fight. Later he gave lessons in the Emperor’s court. One day the Emperor asked Yang Luchan which of his stuudents he could recommend. Yang Luchan said: “There are three who excel.” Each of the three had his own particular skills. “The first, Wan Chun, has particularly hard power (gangjin). Lin Shan is best at exerting power (fajin). -
杨澄浦太极拳说十要 Yang Chengfu's Taijiquan Theory: Ten Essential
杨澄浦太极拳说十要 Yang Chengfu’s Taijiquan Theory: Ten Essential Points Yang Chengfu, Recorded by Chen Weiming Translation and Commentary by Lee Fife Translation and commentary copyright (c) 2013 - 2017 Lee Fife. You can reuse this content as long as you attribute me and the resultant work is also reusable. This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/4.0/ . 1 Introduction Lists of important points for taijiquan practice are one of the most common formats used to convey taijiquan theory. Ben Lo created his five principles; Zheng Manqing (Cheng Manching) recorded several different lists of important points in his writings, ranging from six points to twelve and more; the first school I studied at, Y.C. Chang’s school in the Bay Area, had a number of different lists including one with over twenty points. This list of ten points is attributed to Yang Chengfu as recorded by Chen Weiming from Chengfu’s spoken instruction. The ten points summarize the essential aspects of taijiquan. Each point consists of a short mnemonic phrase followed by a paragraph or more of explanation. The ten points are: 1) Xu Ling Ding Jin 2) Contain the Chest, Raise the Back 3) Song the Yao 4) Separate Empty and Full 5) Sink Shoulder, Drop Elbow 6) Use Yi, Don’t Use Li 7) Upper and Lower Mutually Follow 8) Inner and Outer Mutually Harmonize 9) Mutually Linked Without Gaps 10) Move Center, Seek Stillness The points themselves were intended to be memorized and may well have been recited or chanted. -
Phoenix Tai Chi.Pdf
Table of Contents What is Tai Chi ....................................................................................................................................... 1 T’ai Chi Ch’ua................................................................................................................................... 2 The Practice of Tai Chi ...................................................................................................................... 3 Tai Chi By the Numbers .................................................................................................................... 4 History of Tai Chi ................................................................................................................................... 5 Schools of Tai Chi .................................................................................................................................. 9 Chen ................................................................................................................................................... 9 Yang ................................................................................................................................................. 10 Wu (Hao) ......................................................................................................................................... 10 Wu.................................................................................................................................................... 11 Sun ..................................................................................................................................................