•Tan Tien E-zine 01 9/29/02 3:28 PM Page 1

Winter, 2002 Chinese Year 4702 Year of the Horse

The Roots of Tai Chi

Yi-Ching Imagery and Taoist Alchemy
laterals are major focuses of attention and fundamental

A
t first glance Taoist alchemy and the imagery of the
Yi-Ching (Book of Changes) may seem somewhat aspects of Tai Chi development.
extraneous to Tai Chi, as their relationship is rarely Provided here are brief correlations of the basic Tai
explained. They are, however, at the heart of Tai Chi, so this Chi Principles to the Before Heaven Arrangement of the
article offers some brief explanations depicting Eight Diagrams. In practice, Tai Chi stimu-
how the basic, Eight Diagrams (Pa Kua) of lates the flow of qi internally
the Yi relate to the internal functions through the repeated focusing of
(Taoist alchemy) of Tai Chi. It would the mind intention on certain
be incomplete and irresponsible to principles of movement, and
only apply the Eight Diagrams to not on qi cavities themselves.
the external functions of Tai Chi The following material
postures and not show the describes the Eight Qi Cavities
internal aspects. Tai Chi is that are used in correlation
after all an exercise for health, with the Eight Diagrams and
a means of self-defense, a Tai Chi principles. This
springboard for wisdom, and a material will help the reader
process for acquiring longevity understand how important
and attaining immortality. the imagery of the Yi-Ching
The material in this article was, and is, to the attain-
is purely Taoist in content and ments of longevity and
relates to the theories supposedly immortality within Taoist
handed down and developed through practices. The reader should keep in
the teachings of the Yellow Emperor mind, for comparative purposes, that
(Huang Ti) and Chang San Feng. These the material on the Eight Diagrams and
processes are as integral to Tai Chi development as the Tai Chi posture theory will as well hold true for
self-defense aspects. In Tai Chi practice and theory it is Taoist alchemy. Instead of viewing the Heaven diagram,
said that 90 percent of all movement takes place inter- for example, as the Tai Chi posture Warding-Off, it can
nally, and 10 percent externally—meaning that the alternatively be perceived as the Pai Hui qi cavity associ-
application of Tai Chi principles, the cultivation of the ated to Taoist alchemy, and so on and so forth with the
Three Treasures (Ching, Qi, and Shen), and the stimula- other seven diagrams and their association with Tai Chi
tion of qi within the body’s cavities, meridians, and col- postures and qi cavities.
Continued on page 3
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 2

A Word from the Publisher

Issue One Contents Welcome to the first issue of the Tan-Tien E-zine, and thank you for
The Roots of Tai Chi . . . . . . . . . . . . . . 1 visiting our website. It is really exciting to finally have a format in which
to freely present information on Tai Chi and Taoism without all the con-
A Word from the Publisher . . . . . . . . 2
cerns of printing, mailing, and subscription fees. We hope that this elec-
Classical Book Review tronic publication will keep you coming back to our site and encourage
Taoism: The Road to Immortality . . . 4 you to support it. Please feel free to print out this publication and share
Chinese Poetry it with anyone interested.
By Liu Chang Ching . . . . . . . . . . . 5 The goal of the Tan-Tien E-zine is simple, to provide readers with
Famous Taoist Immortals authentic, legitimate, and traditional materials concerning Tai Chi,
The Eight Immortals . . . . . . . . . . . . 6 Taoism, and related internal arts. It is our hope that through this free
magazine we not only help preserve these ancient teachings but aid in
Serials
our readers understanding of them. Therefore, we will strive to provide
Tao Te Ching
the best foundation possible for learning about the original philosophies
Chapter One . . . . . . . . . . . . . . . 7
behind these arts and teachings.
Tai Chi Chuan Treatise Your comments and suggestions will be very much appreciated, as
Part One . . . . . . . . . . . . . . . . . 10 we want to make this publication useful and accessible for all our readers.
Shaolin Temple Kung Fu Again, thank you for visiting us, and we hope you enjoy all the links
Plucking Flowers Skill . . . . . . . . 14 and pages on our website. To access our site, just click on our web
address wherever you see it in the magazine.
Tan-Tien E-zine
Issue One, Volume One Sincerely,
Copyright © 2001
ISSN
Tan-Tien E-zine is a quarterly electronic
web publication, published by Jade Gate Stuart Olson
Publications jointly within the states of
California and Minnesota.

The Tan-Tien E-zine is a free publication

to all visitors of I Tai Chi Enterprises. The
materials of this electronic publication as
with all materials of the website are pro-
tected under the copyright laws of the
United States of America. The materials
provided here are for personal use only
and not for resale, reprinting, or for any
other use other than for review.

Tan-Tien E-zine Staff

Publisher: Jade Gate Publishers
Editor and Designer: Patrick D. Gross
Writer and Translator: Stuart Olson
Administration: Karen Morodomi
Art Contributors: T.T. Liang and Fred
Marych
Photograph Contributor: Richard Peterson
Article Model: Suzanne Lee
Web Sponsor: DirectNIC

2
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 3
Valley (Diagram)
Hsuan Kuan (Qi Cavity)
Elbowing (Tai Chi Posture)
Fire (Diagram)
Ming Kuan (Qi Cavity)
Pushing (Tai Chi Posture)
Thunder (Diagram)
Tan Tien (Qi Cavity)
Splitting (Tai Chi Posture)
Earth (Diagram)
Hui Yin (Qi Cavity)
Rolling-Back (Tai Chi Posture)
Tai Chi Principles and Qi Cavity Correlations
According to the Eight Diagrams
Heaven: the Pai Hui Cavity (One Hundred
Returnings) on top of the head. Heaven symbolizes the
principle of “retaining a light and sensitive energy on top of
the head.” By focusing on this principle, the qi will re-
enter the lost soft spot on top of the head, giving the
body and mind a lighter and clearer sensation.
Valley: the Hsuan Kuan Cavity (Mysterious Pass)
between the eyes. Valley symbolizes the principle of “con-
centrating your line of vision.” By practicing this principle,
the eyes will naturally follow the movements of the waist
and the face will be relieved of tension.
Fire: the Ming Kuan Cavity (Bright Palace) within
the solar plexus region. Fire symbolizes the principle of
“hollowing the chest.” Doing so will keep the qi out of the
chest and allow it to sink into the lower abdomen.
Thunder: the Tan Tien Cavity (Field of Elixir) in the
lower abdomen. Thunder symbolizes the principle of
“sink the qi into the Tan Tien.” When the breath is in the
lower abdomen the waist will become more active and the
movements of the arms will feel as if they are floating,
and not as if they relied on muscle and bone to do so.
3
Heaven (Diagram)
Pai Hui (Qi Cavity)
Warding-Off (Tai Chi Posture)
Wind (Diagram)
T’ao Tao (Qi Cavity)
Pulling (Tai Chi Posture)
Water (Diagram)
Shuang Kuan (Qi Cavity)
Pressing (Tai Chi Posture)
Mountain (Diagram)
Wei Lu (Qi Cavity)
Shouldering (Tai Chi Posture)
Earth: the Hui Yin Cavity (Returning Yin) the per-
ineum between the legs. Earth symbolizes the principle
of “relaxing the waist and coccyx.” This area is very diffi-
cult to rid of tension. It is why meditation postures are
cross-legged and Tai Chi movements require a rounding
out aspect, so that the energy in this area can be released,
opened, and relaxed.
Mountain: the Wei Lu Cavity (Tail Bone) at the tip
of the tail bone. Mountain symbolizes the principle of
“drawing in the tail bone.” This principle prevents the
defect of leaning and also aids in allowing the qi to
adhere to the spine.
Water: the Shuang Kuan Cavity (Double Pass) in
the middle of the back. Water symbolizes the principle of
“raising the back.” The breath and qi cannot be stimu-
lated up along the spine until this area is free of tension.
Raising up this area releases the shoulder-blades from
pinching the back muscles and causing tension through-
out the back.
Wind: the T’ao Tao Cavity (Kiln of Tao) between
the shoulders on the upper spine. Wind symbolizes the
principle of “sink the shoulders.” Focusing on this princi-
ple will prevent the qi from stagnating in the chest, and
will allow the qi to enter into the arms and hands.
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 4
Summary of the Internal Process
When the breath is moved down from the lungs (Valley),
the heat and qi (Fire) in the solar plexus falls, which then
creates the stimulation (Thunder) for the coarse ching
and qi to unite and be restored in the abdomen (Earth).
So when reading the Tai Chi treatises and such phrases as
“stimulate the qi,” “sink the qi into the Tan Tien,” and
“abide by the Tan Tien” are used, this is the process to
which the text is referring.
The coarse ching and qi (Spirit of Vitality) must
then be moved upwards into the Wei Lu Cavity
(Mountain), and into the Shuang Kuan Cavity (Water).
From here it must be mobilized to the T’ao Tao Cavity
(Wind) and returned into the Pai Hui Cavity (Heaven).
Ching and qi unite with the shen. This process relates to
the statements in the treatises on “mobilizing the qi,”
“raising the Spirit of Vitality,” and “attaining Shen Ming
(Illumined Spirit).”
The above material is but a brief overview of the
processes in Taoist self-cultivation, the internal alchemy.
On a more practical level the initial benefit of Tai Chi
practice is seen in a very simple and natural process, or
refinement, which all adherents of Tai Chi who practice
with regularity can achieve.
Breath that is concentrated low in the abdomen
warms the blood, and the blood that is warmed circulates
more completely. This warm blood then travels through
the arteries in all the muscles of the body, and likewise is
transported into all the veins that enter into all the sinews
and tendons surrounding the bones. Form here the
increased circulation and supply of blood reaches not
only the skin but the actual bone through the capillaries.
All the muscles, tendons, sinews, and skin are nourished
by this warm blood. But, more importantly, this warmed
blood contains qi and this enters the bone, turning it to
marrow. When this occurs the body again feels light,
nimble, and active. This process restores the body, flesh,
and bones to the pliability of a child.
The preceding information really presents the heart
of Tai Chi internal practice, and the process for achieving
succes with it is simple: put your attention below your
navel when practicing the postures of Tai Chi. Nothing
more.
Further information on Tai Chi’s roots and relationships to Taoism can
be found in Stuart Olson’s new book:
Tai Chi According to the I Ching:
Embodying the Principals of the Book of Changes.
Inner Traditions, 2001
See the Tai Chi Books and Videos web page
4
Classical Book Review
Taoism
The Road to Immortality
John Blofeld
Shambala, 1978
John Blofeld wrote many excel-
lent books on oriental philoso-
phy, but this one and The
Wheel of Life are probably his
two best compositions. Mr.
Blofeld was certainly one of the
most qualified western writers
on the subjects of Taoism and Buddhism. In the early
1900s, he left England for China and extensively traveled
about visiting Taoist and Buddhist monasteries, her-
mitages, and teachers. When the Red Tide began taking
over China, Blofeld took up residence in Bangkok,
Thailand, where he held a post with the British embassy.
It was while living in Bangkok that, fortunately for us, he
set his learning and experience to paper.
Blofeld was not only a skilled writer with an impres-
sive ability to explain Taoist and Buddhist teachings, but
his many years of experience within China prove invalu-
able to this work, as it did for another early work of his,
Taoist Mysteries (formerly, The Secret and Sublime). In fact,
to really appreciate the value of Taoism, one should read
that book as well.
This particular book is one of just a few works on
Taoism that really renders some meaning and insight
into the lifestyle, underlying philosophy, and practice of
Taoist ideology. The book itself is neither rote instruc-
tion nor heavily academic. It can, however, gravitate the
consciousness above the “red dust” of worldly affairs and
trigger one’s spiritual imagination into a realm inhabited
by genuine seekers of immortality.
There are ten chapters, along with an excellent
Appendix on Wu Hsing (The Five Elements), covering the
various aspects of Taoist philosophy and practice.
One of the best aspects of this work is his real-life
accounts with Taoist masters, hermits, and philosophers that
he interweaves throughout the material. What is most
refreshing is Blofeld’s humility. You never feel conned by his
words and stories. Rather, a feeling of respectful sympathy
emerges for this man who searched desperately for insight
and underwent all the hardships that go with such an
endeavor—something we in the West have very little under-
standing of and even less patience with in trying.
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 5

Chinese Poetry
By Liu Chang Ching
Translation by Stuart Olson

Liu Chang Ching graduated from the official examina-
tions in 733 C.E., but was shortly thereafter exiled from
the captial Chang Sha (now the capital of Hunan
province) for too freely expressing his opinions on how
the empire should be governed. In Chang Sha, he had
made friends with yet another great T’ang dynasty poet,
Chia I, a young statesman who was also sent into exile
for his views on reform.
Liu’s poem, Searching for Taoist Priest Chang Along
the Southern Stream, can be read literally or as an expres-
sion of his search for a Taoist mystical experience. It is
difficult to determine who this Taoist Priest Chang actu-
ally is in the poem, since almost every Taoist adapted the
surname of Chang—after the famous Chang Tao Ling
who organized Taoism into a religion. This Chang could
be one of many thousands.

Searching for Taoist Priest Chang

Along the Southern Stream
Walking along the smaller trails,
I saw impressions of his wooden sandals among the moss.

A white cloud was clinging to a tranquil islet in the river,

where fragrant plants obscured the private entrance.

But after the rain I saw a most beautiful pine tree.

I then reached the source of the well-spring in the mountain,

where the stream and flowers bestowed mystical thoughts.

Face to face, I then forgot all words.

5
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 6

Famous Taoist Immortals

– The Eight Immortals –

Ho Hsien Ku Han Hsiang Tsu

The only female immortal of
this group. Depicted with a
ladel and lotus flower. Achieved
immortality through ascetic
practices.
Han is seen with a jade flute
and loves poetry. A true
Taoist immortal in that he
often seeks the solitude, bliss,
and beauty of the mountains.

The Eight Immortals first appeared in Chinese Taoist

Li Chuan Chung
Famous for inventing the
pill of immortality by
alchemy. Usually shown
with a plantain fan and
peach of immortality. He
confers longevity.
mythology during the Yuan Dynasty (1260 to 1368 C.E.). Tsao Kuo Chiu
Since their introduction they have become the most pop- A reformed murderer
ular of all Taoist figures. Every aspect of Chinese culture and member of the royal
is in some way touched by these eight famous immortals, court, younger brother
be it religiously, artistically, within the folklore, and philo- to the queen. Usually
seen with an imperial
sophically. The tales and legends of these immortals are tablet, spends his time
best loved by the Chinese because of their humor, their roaming.
triumph of good over evil, magical powers, their harmony
with nature, and most of all because they were initially
just common persons who achieved immortality—giving
much hope to the populace at large.

Lan Tsai Ho Lu Tung Pin

Considered the lunatic
of the eight, he was
“touched by the gods.”
Likes to appear as a
female, but is male.
Usually seen holding a
basket of flowers
Chang Kuo Lao
He is usually depicted riding
his donkey backwards, carry-
ing a strange type of musical
instrument. He is considered
the giver of offspring.
6
His emblem is a magic
sword which grants
invisibility and can
overcome evil spirits.
Lu is without question
the most popular of all
Li Tieh Kuai immortals.
The most picturesque of
the immortals, called
“Iron Crutch Li” as he
took the body of a cripple.
His emblems, besides the
crutch, is his gourd.
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 7

By Lao Tzu
Translation and Commentary by Stuart Olson

The Tao Te Ching is a truly remarkable little book that can-
not be overlooked or simply browsed through by serious
students of Taoism. Due to the limitations of space, the
details of the book’s history and the debates concerning the
attributed author, Lao Tzu, will not be dealt with here. The
focus will be entirely on the text and its meaning.
The Tao Te Ching consists of 5,000-plus characters
and is divided into two books, The Way and Virtue. It is
the most translated, printed, and distributed book in the
world. The title of the book is properly pronounced Dao
Der Jing.

Chapter One
The Tao that can be Tao’ed is not the infinite Tao.
The name that can be named is not the infinite name.

“Non-being” is the name of the source of Heaven and Earth.

“Being” is the name of the mother of ten-thousand things.

Therefore, continuously without desire the subtleties

[of the Tao] can be contemplated.
Continuously with desire the potentiality
[of the Tao] can be contemplated.

These two come from the same source,

yet have different names.
Both are called “the mystery,” the most mysterious
of mysteries, the gateway of all subtleties.

7
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 8
Commentary
The first six characters of the Tao Te Ching are the
most important and controversial. In Chinese it reads,
tao k’e tao fei chang tao. Lao Tzu is clearly pointing out
immediately that the Tao cannot be defined or grasped
onto. In other words, “The Way that can
be Way’ed,” means that you may perceive
the concept of the Way (Tao), but you can-
not be taught it or have it defined to you
through rational thought. The Way can
only be experienced.
Although many commentators have trans-
lated this line as “The Tao that can be spoken
of ...,” which is in one sense correct, it misses
the meaning Lao Tzu intends here. To assume
that Lao Tzu would immediately say he can not
speak of the Tao and then go on to write an
entire book about Tao makes little sense. The
fact is that the Tao can be spoken of, in its
potentiality, but not in its subtleties. In simpler
thought, we can speak of form, but not of
formlessness. We speak constantly of things
that exist, but not of things that do not.
However, since Lao Tzu clearly states
that the two, non-being and being, are both
born of the same source, Tao, then to talk of
one is really to talk of the other. For do we
not in attempting to explain non-being auto-
matically discern it against the backdrop of
being? How can we conceive of black with-
out the concept of white? This is precisely
what the Heart Sutra in Buddhism states,
“Form is just emptiness, emptiness is just
form.” It is only our discriminating mind
that views them as two. We determine every-
thing and nothing through dualistic think-
ing—we simply can’t help it. But the Tao is
One, not two. Therefore, the Tao that can be
Tao’ed is not the infinite Tao.” For in the
instant we think “Tao” we automatically give
it a name, we give it duality. But that is not it
according to Lao Tzu.
Furthermore, Lao Tzu is trying to say
that the Tao is not something outside of us. We should
not erroneously think that we are here and the Tao is
somewhere over there, totally distinct from us, and that
we must follow some particular road to it. Then we have
missed the Tao entirely. In a later chapter Lao Tzu states
that “we don’t have to leave our very own backyard to
find the Tao.” Meaning, it is not outside of ourselves.
8
The infinite Tao, chang tao, is a term which cannot
be truly explained. Infinite Tao is synomonous with the
Buddhist concept of “Thatness” or “Isness.” Infinite Tao
is beyond the rational thinking of opposites and things
(being and non-being). A finger pointing at a reflection of
the moon in the water, both the finger and
the reflected moon hold no truth as to the
real moon. Lao Tzu’s concept of Tao is pre-
cisely the same, for what we conceive as Tao
is not Infinite Tao.
Lao Tzu’s Infinite Tao is also identical
to Chuang Tzu’s “naturally just-so.” The
Tao IS. It is “just-so,” or in Buddhism
“Thusness.” Tao just IS, and names do not
reveal the “naturally just-so” of anything.
We can call a tree a tree, but neither the tree
or our conception of the tree is in itself the
true tree. Again, it is just a finger pointing
at a reflection. The tree does not call itself a
tree. It only experiences its Tao of being a
tree. Names, therefore, are not the infinite
name. No more than the name “tree” is
actually the tree. The tree of itself is “natu-
rally just-so.” Hence, you can call Tao, Tao,
but that is not it, that is just the name given
to something so we can put it in a category
of ten-thousand other things.
In the second verse of this chapter there
is another common mistake made in former
translations. The text contains the characters
wu ming. If they are used as a compound we
get the idea of “nameless.” In the second sen-
tence of the same verse we see yu ming, “hav-
ing a name.” So the verse is sometimes
translated as, “The nameless is the source of
Heaven and Earth. The named is the mother
of the ten-thousand things.”
The characters wu and yu, however,
should not be used as compounds with ming,
as it distorts a deeper insight Lao Tzu had.
Wu and yu are “non-being” and “being,”
respectively. Taoism does not concern itself
with what is named or what is nameless,
which would be an exercise in rationalism and discrimi-
nation. Rather, Lao Tzu was pointing out something
much deeper to us, that existence and non-existence are
both contained within the Tao, and they are one in the
same.
In this same verse there are also the concepts of Tien
Ti (Heaven and Earth) and wan wu (ten-thousand
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 9

things) presented. Heaven and Earth to the Chinese is serves to condition it, and so the truth is lost. Just as
like what we conceive of as the universe. Wan wu is the pointing at the reflection of the moon loses the experi-
Chinese way of saying “all phenomena.” So what Lao ence of seeing the real moon.
Tzu is saying here is that from “non-being,” or for clarity In the next two sentences Lao Tzu tells us that the
lets say “from emptiness,” comes the universe. Meaning, entire universe has its origin in absolute emptiness
the infiniteness of the universe finds its source in empti- (shunyata in Buddhism) and that all things within the
ness. Likewise, from “being,” or existence, comes all phe- universe are produced from emptiness. Likewise, the
nomena. Each are the source and mother of origin of the universe lies in non-thought (the uncondi-
themselves—emptiness is the source of emptiness, and tioned), yet with just one thought all things come into
existence is the mother of existence. But when we exam- being (conditioned).
ine the last verse of this chapter Lao Tzu explains that The third two sentences reveal that with a continued
they are one in the same. So whether we speak of the state of thoughtlessness the subtleties of the Tao can be
universe or phenomena, existence or non-existence, perceived, and with a continued state of focused thought
being or non-being, we are really just talking about the the potentialities (or workings) of the Tao can be seen.
same thing—Tao. The last two lines simply point out that all dualities,
It is important right now to mention that Lao Tzu be it subtleties or potentialities, come from the same
specifically refers to non-being as “the source” of Heaven source, and we should not attach nor be unattached to
and Earth, and being as “the mother” of the ten-thou- either extreme. The mystery of the two being one is not
sand things. These become very important concepts in the Tao, but the gateway to it. In analogy, this is very
later chapters, and here they are likewise saying that the much like putting a blind man into the center of an
subtleties of the Tao are found in the source, and the empty room and asking him to stand in the exact center
potentialities are found in the mother. Hence, if you of the room. He could only grope about from one
wish to attain to the Tao you must “return to the source” extreme to another, and even if he finds what he thinks is
and if you wish to enter the gateway you must “enter the the exact center it is still false because it is only based on
mysterious female.” concepts of extremes. Just as the Tao cannot be Tao’ed by
Without desire (wu yu) could be simpler put by say- conceptions of extremes and boundaries.
ing “continuously without thoughts.” Thoughts are what Continued next issue.
create desires, thoughts discriminate, thoughts bring
about confusion. So in the third verse Lao Tzu clearly tells
us that if we want to observe or contemplate the sub-
tleties of the Tao we need to eradicate our desires caused
from excessive thinking, in essence be without thoughts.
If we want to observe or contemplate the potentialities of
the Tao we need to focus our thoughts. The activity of
these two are Returning to the Source and Entering the
Mysterious Female.
Lao Tzu uses the term hsuan (mystery) to explain, or
at least point out, that the undefineable aspect of non-
being and being are contained within the Tao as just one
thing, not two. Actually, Taoism is more commonly
referred to as Hsuan Chiao, “The School of Mystics,”
because its very goal is focused on returning to this mys-
tery of two just being one. Zen Buddhism also recognizes
this mystery in its koan adage, “The two return to the
One, but where does the One return to?”
In summary of this important chapter it can be said
that Lao Tzu in the first two lines is trying to point out
that the Tao, the Infinite Tao, is totally unconditioned,
while everything else (all phenomena) is conditioned.
Thereby, to just point and call something the Tao only

9
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 10
Attributed to Chang San Feng of the Early Ming Dynasty
Translation and Commentary by Stuart Olson
With every movement string all the parts together, keep-
ing the entire body light and nimble.
Calmly stimulate the qi, with the spirit of vitality con-
centrated internally.
Avoid deficiency and excess; avoid projections and hol-
lows; avoid severance and splice.
The energy is rooted in the feet, issued through the legs,
directed by the waist, and appears in the hands and
fingers.
The feet, legs and waist must act as one unit so that
whether advancing or withdrawing you will be able to
obtain a superior position and create a good opportunity.
Failure to obtain a superior position and create a good
opportunity results from the body being in a state of dis-
order and confusion.
To correct this, adjust the waist and legs.
Likewise, upwards and downwards, forwards and back-
wards, leftwards and rightwards—all these are to be
directed by the mind-intent, and not to be expressed
externally.
If there is above, there must be below; if there is advance,
there must be withdraw; if there is left, there must be right.
If the initial intent is upwards, you must first have a
downward intent.
If you want to lift something upwards, you must first
have the intent of pushing downwards.
Then the root will be severed; it will be immediately and
certainly toppled.
10
Clearly discriminate the substantial and insubstantial.
There is an aspect of substantial and insubstantial in
every part of the body.
Considered in their entirety all things have this nature.
Chang Chuan (Long Boxing) is just like a long river or
great ocean rolling on without interruption.
The Thirteen Postures of Warding-Off, Rolling-Back,
Pressing, Pushing, Pulling, Splitting, Elbowing, and
Shouldering are known as the Eight Diagrams (Pa Kua).
Advancing, Withdrawing, Looking-Left, Gazing-Right,
and Central Equilibrium are known as the Five Activities
(Wu-Hsing).
Warding-Off, Rolling-Back, Pressing, and Pushing are
Chien, Kun, Kan, and Li, representing the Four
Cardinal directions.
Pulling, Splitting, Elbowing, and Shouldering are Sun,
Chen, Tui, and Ken, representing the Four Diagonal
directions.
Advancing, Withdrawing, Looking-Left, Gazing-Right,
and Central Equilibrium represent Metal, Wood, Water,
Fire, and Earth. Joined together these all become the
Thirteen Postures.
(Appended Verse): This treatise has been handed down
by Ancestor Chang San Feng of Wu-Tang Mountain so
that heroes and worthy men everywhere can lengthen
their life’s and attain longevity, not merely as a means to
martial skill.
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 11
Commentary on the Text
With every movement string all the parts together,
keeping the entire body light and nimble.
This first section of the text is the most important. In
essence, if a Tai Chi player completely adheres to these
three principles—lightness, nimbleness, and strung togeth-
erness—one is at that point performing optimum Tai Chi.
The text here is explaining that every movement,
meaning whenever we set the body into motion, that the
entire body, not just the arms, feet and waist, but the
four limbs, torso and head as one unit must all move
with lightness and nimbleness and as though strung
together.
Lightness: First of all “to be light” originates in the
principle of “suspending the head from above as though
by a thread. . . and preserving a light and nimble energy
on top of the head” and is developed through intrinsic
energy. “To be light” does not mean emptiness, or put-
ting all your energy into the upper body so that you raise
yourself upwards like a ballet dancer.
Lightness has several explanations depending on
what part of the body is being discussed.
For example, lightness of the feet does not mean put-
ting no weight on them, but rather that all the weight is
placed on the bottom of the feet, but with awareness and
sensitivity. By way of analogy the I-Ching says, “The fox
walks cautiously over thin ice.” This means that before
the fox places his weight down on his foot he lightly
touches it on the ice first, making sure that the ice is
strong enough to support his weight. If so, he lightly
places his weight down, if not, he withdraws his foot. In
Tai Chi practice we must be like the fox walking on thin
ice, alert and sensitive. When stepping forward the heel of
the foot should lightly touch the ground first, then the
foot is rolled down onto the yung chuan point on the bot-
tom of the foot and all the weight is sunk down into it. If
we don’t do this and clumsily stomp our feet down, it will
be like two hard objects coming together, which can eas-
ily be broken, like two pieces of wood placed together.
Lightness more so refers to intrinsic energy, the
energy developed in the sinews and tendons through
relaxation and using the body as one unit. Because of
this lightness, when a Tai Chi master pushes, the oppo-
nent doesn’t feel the hands actually pushing him; the
master’s hands are sensitive, alert and light, using no
external muscular force.
To help illustrate this principle I will draw on a
demonstration that Master Liang uses frequently in his
workshops to help students understand this lightness in
their arms. First he holds up one of the arms of a student
11
at chest level, placing one of his palms underneath the
elbow and the other palm underneath the student’s wrist
(the student holds his arm outward with palm facing
upwards). Master Liang then asks the student to com-
pletely relax the arm, letting the shoulder, arm, elbow and
wrist completely drop and devoid of an energy. At this
point he is completely supporting the student’s arm. He
then takes away his hands, with the result that the stu-
dents arm falls down, at which point Master Liang says,
“this is collapse, not relaxed! This is not the way of Tai
Chi.” Then he repeats the procedure of holding the stu-
dent’s arm up, but this time tells the student to put just
enough energy into his arm to hold it in place when he
removes his hands. This is very difficult at first because the
tendency is to either exert energy upwards or downwards,
to use muscular force. The idea here is to be sensitive and
alert, yet relaxed, which is the true meaning of sung.
Nimbleness: This principle does not necessarily mean
quickness, but rather the ability to move effortlessly,
nimbly and actively as the situation requires. The true
source of nimbleness and agility comes from the shen
(the spirit of vitality). By way of analogy, the cat is the
best example. The cat can jump ten times its height
because of its spirit of vitality, which is expressed in the
eyes. When a cat sees a mouse it first concentrates its
spirit, sinks into his back legs and waits with sensitivity
and alertness. When the mouse moves the cat springs off
its back legs and intercepts the mouse, using lightness
and agility. In Tai Chi we must be like the cat.
To be nimble in the solo form means that we move
effortlessly and with agility, that all the parts of the body
are loose and relaxed; mostly that we move “just right,”
distinguishing substantial from insubstantial and moving
with centeredness and alertness. In Sensing-Hands,
agility develops into the skill of being able to interpret
the opponent’s move and arriving before he does, just
like a cat catching a mouse.
The opposite of nimble is clumsy or awkward. In
the English language nimble is defined by flexible and
quickness, but in the Chinese sense of the term, ling, the
meaning goes much further, such as, “lively spirit, “
“cleverness,” “mysterious” and “an active reflex.” To illus-
trate how deep this term is to the Chinese, the com-
pound ling ren means an immortal.
String together: Only after the body has achieved
lightness and agility can this aspect of practice be
approached. In Tai Chi there is a principle rarely dis-
cussed, called the “Three Relationships.” These three are
the relative relationships between body parts and body
movement. The first is “ shoulders and hips, “ meaning
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 12
that when, let’s say, the right hip moves the right shoulder
follows in accordance, as though the shoulder and hip
were attached concretely and so move synchronously with
one another. The second relationship is “elbows and
knees.” Briefly this means that when the rear bent leg rises
up the corresponding elbow will unbend at precisely the
same rate. The third relationship is the “hands and feet,”
like a marionette - when the foot moves the hand follows
accordingly. This is only a brief explanation, but should
give the reader an insight as to how all the body parts con-
nect and move in unison. The idea of “string together” is
often translated with the inclusion of “like a string of
pearls,” meaning that no matter how one twists or posi-
tions the string, the pearls remain strung together; likewise
when we move, all the body parts (pearls) move in accor-
dance (like a string threaded throughout all the joints).
Another aspect of “ string together” that needs to be
clarified is the first part of the text, “with every move-
ment.” This is most frequently misinterpreted as mean-
ing that every posture is connected without the slightest
pause. However, Master Liang explains that it is the
movements within the posture that are connected with-
out severance. He explains that at the end of each pos-
ture there must be a slight pause, very minute, so that
one will know where a posture begins and ends, other-
wise things begin overlapping and one becomes con-
fused. He illustrates this with an analogy of how if one
were to break a lotus stalk, the root fibers still remain
intact and connected. Also, in the text it clearly states
that it is “every movement” that is strung together, not
every posture. It is a very subtle interpretation, but one
that even his teacher, Prof. Cheng Man Ching, was
emphatic about.
For the above three principles to be fully achieved
within oneself three conditions must first be met, accord-
ing to Master Liang. The first is concentration of mind,
so that the spirit of vitality is strengthened. The second is
complete relaxation of the body, which will develop
lightness and agility, so to bring about the development
of intrinsic energy. The third is sinking the qi into tan-
tien and abiding by it, which develops a deep and slow
breathing pattern; in turn this will aid in the develop-
ment of qi.
In Master Hsiung’s commentary, he states that this
opening sentence of this treatise “with every movement
the entire body should be light and agile and all of its
parts strung together” is the most important, which is
without question very true. In fact, as the reader will see,
the remaining portions of the treatise are but more tech-
nical aspects of this one sentence.
12
Calmly stimulate the qi, with the spirt of vitality con-
centrated internally.
In order to develop the qi, it must be stimulated calmly.”
This calm stimulation has its source in the tan-tien. The
qi is calmly mobilized through circulation of the breath,
the source of which is in the mind-intent (i), then it can
be put to use. When the qi circulates throughout the
body, through the body it can be directed through the
arms and into the hands. This is true nurturing of the qi
and it originates with mind-intent.
With the spirit of vitality concentrated internally,
this is called “sinking.” Being slightly bent [joints slightly
bent, shoulders lowered, elbow hung downward, etc.] is
done so to store up [the qi and shen], then the (qi) will
concentrate and penetrate into marrow of the bone. This
will then produce good health and make the spirit lively
and the qi pure and control its abundance.
Therefore, the qi is first stimulated, whereupon it
continuously penetrates into the marrow of the bone.
With the entire spirit of vitality concentrated internally,
the result will be that your entire body and mind will be
without any confusion or disorder.
Moving water cannot be boiled is the underlying
principle of this statement. Using the analogy, qi is like
an inherent oxygen within the blood and that the power
of qi is derived in the same manner as the power of
steam comes from water that is boiled. Therefore, our
breath is like heat from a stove, the tan-tien (abdomen)
the pot, and the blood the water. In performing Tai Chi
we must be careful not to shake the pot too much, other-
wise we cannot heat the blood and thus release the qi.
The analogy Master Liang uses here is that when per-
forming the solo exercise we should act as if our lower
abdomen (the pot) is filled to the rim with water and as
we move about we try not to let any water spill out. This
way we will not move with jerks, disconnected move-
ments, nor rise and sink sporadically. In this manner we
can “calmly” stimulate the qi. It is also because of this
statement in the treatise that Master Liang adheres to the
long form, rather than the short form - believing that a
person needs more time to relax and sink the qi then the
short form provides.
A dog exhibits his spirit externally when confronted
with a stimulus, while a cat retains it internally. Master
Liang often told the story of how a dog acts when he sees
a squirrel. First he makes a lot of noise, barking, and
dashes towards the squirrel. But when he gets there the
squirrel is gone, sitting up in a tree. The dog is confused
and runs to the tree, barking up at the squirrel. The cat
on the other hand, when seeing a mouse, sinks and
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 13
retains his spirit internally. The cat simply stores up his
energy, waits and concentrates on the mouse. If the
mouse doesn’t move, neither does the cat. Waiting to see
the direction the mouse will move, the cat then simply
“heads it off at the pass.” The cat knows instinctively
how to concentrate the spirit of vitality internally.
Likewise, in our Tai Chi practice we must never lock our
joints, raise the qi into the chest or exhibit our spirit by
using external muscular force, but rather store it up so
that it can be released in time of emergency without
effort, lightly and with nimbleness.
The two main aspects of this section of the treatise
are the “ stimulation of qi and the “concentrating of the
spirit.” Actually they are one in the same because to
stimulate the qi takes internal concentration. So by
using the mind-intent to mobilize the qi the spirit of
vitality is being concentrated internally. The reason this
line is written the way it is, is because normally in Taoist
meditation, which makes use of stillness, the spirit of
vitality is concentrated internally, which in turn stimu-
lates the qi. However, in Tai Chi, which makes use of
movement, the qi is stimulated, which in turn in inter-
nally concentrates the spirit of vitality. In the end,
whether we speak of stillness or movement, it is the
mind-intent, which both stimulates the qi and concen-
trates the spirit of vitality.
How can we best experience what is meant by the
mind-intent leading the qi? Stand upright, feet apart,
with the hands hanging down in front of the body.
Relax everything and begin telling yourself to allow the
arms to float upwards. The arms will come up slowly,
for some to a greater extent than to others, but all can
get their hands to float upwards even a few inches.
Gradually one will learn how to make the breath acti-
vate this floating of the hands. This is an excellent exam-
ple of both qi and mind-intent in action, because the
floating of the hands is not a matter of exerting external
muscular force, not lifted upwards by mere strength. We
can get the same sensation by pressing our two hands
with force against opposite door frames, then releasing
the tension, whereupon our arms rise upwards as though
floating in water. The former method however makes
use of mind-intent and is what one should feel during
Tai Chi practice.
There are three reasons for stimulating the qi, 1)
good health, 2) directing the qi through the arms into
the hands by mind intent and 3) so that the qi can pene-
trate into the marrow of the bones. The stimulation of qi
means increased circulation of blood, and when blood
circulates freely every part of our body benefits, like a
13
well-oiled machine. Also, blood circulation taken to the
point of producing sweat helps rid our body of toxins.
For these reasons stimulation of the qi is good for health.
Learning to direct our qi by mind-intent covers a whole
spectrum of beneficial effects too numerous to relate.
Through this aspect we can direct qi to any part of
body simply by will, whether for healing or for protect-
ing ourselves from an attack. Air in a stagnate or still
state is harmless, but when it begins to move it can
become a tornado. Learning to stimulate qi with
mind-intent is the same thing. Students usually first feel
heat in the hands, along with a tingling sensation after
learning the form.
Gradually however, the fingertips themselves expand
from increased blood and qi circulation. Learning how to
get the qi into the fingertips comes from the mental
practice of imagining an opponent in front of oneself
while performing the solo form. Gradually as Master
Liang relates, “imagination becomes reality.” The qi pen-
etrating into the marrow is a very important aspect of Tai
Chi, often overlooked by many teachers. When the qi,
the heat, produced during practice, penetrates into the
bone and marrow, the bones become increasingly more
soft and pliable, returning to their original state as a
child. Most animals, like those of the cat family, remain
strong and pliable because they never lose this. Master
Liang to this day (he’s now 101 years old) still practices
with a long sleeve shirt, so to retain all the heat produced
during practice. When the qi fully penetrates into the
marrow, a great strength is realized. This is where the
idea of “an iron bar wrapped in cotton” comes from,
because the arm of a true Tai Chi master can at once feel
as soft as cotton or as hard as iron.
In conclusion, the whole essence of this statement in
the treatise is that we must sink our qi into the tan-tien
and put our mind there, also store up energy and keep
mentally alert and aware of the internal functions. In
brief, we should seek to be the cat catching the mouse,
rather than the dog chasing a squirrel; being light rather
than forceful, being agile rather than clumsy; being con-
nected rather than confused.
Continued next issue.
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 14
Plucking Flowers Skill
Nien Hua Kung
From, Lian Juan Ying Kung Pi Chueh Ta Chuan (The
Complete Training Secrets for the Soft and Hard Kung) by
Ch’an Master Kung Ling of Wu Tai Mountain
Translated by Stuart Olson
Training Method for Plucking Flowers Kung Fu
Plucking Flowers Kung is one type of kung-fu that trains
the grasping energy of the fingertips. The fingertips are
usually not utilized when fighting with an opponent,
because using this kind of strength is not like that of the
numerous fist or open palm techniques.
Therefore, one must contend with the
difficulty of long training in order to
achieve this skill and pay close attention
to working diligently and consistently for
a long period of time. You must practice
this kung each day in order to achieve
success with it.
Afterwards, when having followed
the training procedures of this kung, the
fingers can be used to strike at oppo-
nents, which can cause serious injury or
death. This skill is also like those skills of
Ma An (Horse Saddle), Shih Kung (Stone
Piercing), and Kuan Yin Chang (Kuan
Yin Palm), etc., all of which are
death-hand skills.
Procedures for Training Plucking Flowers Skill
You need not utilize any special equipment. Just extend out
the middle and index fingers and join them together and
then press the thumb up against them, so to use these three
fingers like a striking instrument (the fingers then become
one). Gradually turn the fingers to the outside and pluck
14
(nien) outwards, twirling them completely in a circular
fashion. After turning them in an outwards direction, then
do so also in an inwards manner (clockwise and counter-
clockwise), circling them in each direction one thousand
times. Then, when able to circle them one thousand times
in each direction, or as many times as you are able, begin
circling them inwards and outwards one hundred times,
doing so numerous times throughout the day. Perform this
way at your leisure until the fingers have either become
inflicted with pain or simply too tired, then rest them for a
short time before beginning again. In this way you can
excel with this type of kung-fu.
Since it is not necessary to use any kind of imple-
ments, and there is no need to move
about and train within any special
framework, this kung can be practiced
at any place or any time. Moreover, it
would not be easy for even a bystander
to visually detect your practicing.
Therefore, this kung is very convenient
to practice.
After diligently training in the man-
ner above for one year and getting the
energy built up in the fingertips, the
strength will be sufficient enough to
begin training with three very large,
round, yellow beans. As before, using the
thumb, middle, and index fingers, twirl
them, using a plucking motion as you do
so. At first you will be unable to use each
of the three beans simultaneously while
twirling them with the fingers and possibly they will slip
out or be dropped accidentally. But if you diligently train
for one month, you will be capable of ridding yourself of
these mishaps. This training should be continued for a
period of one year, at which time the plucking (nien) can
be applied successfully with the beans.
•Tan Tien E-zine 01 9/29/02 3:28 PM Page 15
It is also necessary to daily substitute the beans (as
they will become weakened and possibly split open). At
first, change them one or two times and then several times
a day. Then this kung fu will become really profound after
training like this. It will then follow that you will need to
pluck at the beans with only one twirl of the fingers, with-
out using any physical force or strength, and the beans will
be shattered into powder. Once you can do this, you can
say you have completed the first step of this kung fu.
Following this, begin using a small yellow stone (the
false topaz variety) to replace the beans and train exactly
as you did with the above beans. Again, the yellow stone
should be used until it can be smashed into powder with
just one plucking motion. Next, change to using a green
stone. These are in abundance in a suburb of Nanking
called Yu Hua Tai. They are like small stone eggs, very
round, smooth, and solid. Because of the natural compo-
sition of these green stones they are much stronger in
comparison to that of the yellow stones, and even granite
does not have the hardness of these particular stone eggs.
Select the stone eggs that you wish to use for prac-
ticing this exercise. You do not necessarily need to use
three, as even one or two will do. When having success-
fully achieved the ability of this plucking (nien), it will be
immaterial as to how hard or solid the stone eggs are, as
you will be able to crush them with the fingers easily. At
this point you will have completed this kung fu.
From the beginning to the end, without sincere effort
for five or six years you could not achieve this kung.
Because it takes one year of just empty-hand plucking;
another year plucking with the beans (possibly two years);
approximately one and one half to two years plucking with
the yellow stones; and, two or more years plucking with the
stone eggs. Even to complete this kung within five years
would be considered quick. But if having trained as
instructed, it can be achieved. Then it will be immaterial as
to how strong, solid, or secure an object is, because without
the use of any physical energy you will be able to achieve
the result with just one motion of your fingers. Whatever is
taken on, it can be destroyed; even the flesh and blood of
your opponent, but this need not be discussed.
During the time of action (actual combat) numer-
ous hand and finger techniques can be utilized, especially
if you know a kung-fu style. During this it is easy to
apply Plucking Flowers Kung Fu thoughtlessly, either
injuring opponents or damaging objects. The shortcom-
ing of this kung fu is that it is a death hand, so it is a
good idea to train only the left hand.
Because martial artists are accustomed to fighting
people who are right handed this is another reason to
15
train the left hand. In comparison to the number of
right-handed people, there are fewer people who are left-
handed. Also, training with the left hand can reduce acci-
dents and will help you pay heed to everything that comes
to mind, so you do not to strike out accidentally and cause
a serious mishap or injury. The hand just being casually
extended outward might injure someone. This assuredly is
not allowable within the boxing schools. To cause
thoughtless injury to someone, even if not them, is wrong.
If not, how can the conscience be free? Therefore, the old
masters of the martial arts would not teach these training
methods concerning death hands, unless they trained
using the left hand, but only on this condition of avoiding
thoughtless injury. After careful consideration, on three
separate occasions, did I finally decide to explain it here.
A Story about the Plucking Flower Skill of Hung
Meng Chao
Hung Meng Chao was living in retirement and, even
though he had a friendly character, his boxing skills were
excellent. He went to see the famous boxer, Chiang Yin
Mou, traveling a far distance in order to visit him. On
arriving, he bowed upon entering Chiang’s home. After a
long time, Chiang did not return the bow. Hung consid-
ered this strange. He withdrew from Chiang’s residence
and returned home. He then sent a messenger to inquire
about Chiang’s behavior. The messenger returned and
informed Hung of Chiang’s response: “At the time when
we were supposed to bow to each other I swept my leg over
his head without his being aware of it. Mr. Hung’s fighting
skill lacks competence and he should practice more before
coming to me again.”
Hung laughed and told the messenger, “Mr. Chiang
was mistaken about my skill and his action did not go
unnoticed. At the time I did not wish to embarrass him in
his own home. Go back and tell him that when his leg
passed over my head, I used Plucking Flowers Skill and two
pieces of cloth were taken from his trousers—they are here in
my pocket. Take these and present them to him.”
When Chiang saw the trouser material he felt great
shame. Immediately he rode his horse to find Hung so to
apologize. When he located Hung, he invited him to his
house again and showed him great hospitality and enter-
tained him. They became good friends from then on.
Hung Meng Chao was skillful in several types of
kung fu, but his expertise was in Plucking Flowers Kung
Fu. He passed on this skill to Chiang and several other
students.
Next Issue
One Finger Chan Kung Fu