|
|
|
||
 |
Taijiquan METHDOLOGY, FORMS & WEAPONS | ||
| Introduction | History | Lineage | Methodology, Forms and Weapons | Gallery | Links | Special Articles and Research | |||
|
|
|
ZHAOBAO TAIJIQUAN
In combat one of the key features of Zhaobao Taijiquan which has lead to the style being also known as 'Sanheyi' - 3 combine into one, is the fact that the practice of forms is the same as of push hands which in turn are the same as in combat. Thus all elements are one, a key principle that is in ancient Taiji classics but few styles actually display such a feature. In Zhaobao Taijiquan this is a core. Zhao Bao holds true to the classics of Taijiquan, its movements are continuous and unbroken, there are circles within lines and structure with formlessness, the centre must be balanced and the movements must coordinate with the energy in a harmonious yet dynamic way. In terms of sequence many of the elements externally share some similarity with Chen style, but in actual practice emphasis and application there many are the aspects that make them different. The principles of Zhaobao are its essence which differentiates from the Chen style cousin, Methods for the training of internal circulation cycles (Qi cultivation) are completely followed within Zhao Bao style. The are many structural guidelines that stipulate the method of postures and movements which are all either ensure the health and strength of the body or to align for the most efficient and effective flow of energy and power for execution. Such rules, as an example the alignmnt of the six coordinates including the knee to the ankle, allow the prevention of damage and joints, whilst in other Taijiquan methods like Yang style such factors are not considered. Additionally these guidelines allow for the centre to always maintain excellent level of balance and central coordination. When beginning to study the Zhao Bao style, one has to Fan Dantian (Rotate the Dantian energy centre). Each position practices the improvement of the "empty circles". Inside the state of everything are three uprights, four alignments, six coincidences and eight pursuits. During the four alignments the centre of gravity of the body cannot be lifted. The internal flow of each movement is going to the end of four points: The teeth are the ends of the bones, lingua is at the end of the muscles, the nails are the ends of the sinews, the hair and the pore are at the end of Qi.
THE SEVEN REGULATIONS TO PRACTICE 1 Circle: Each position contains a circle that has to be practiced successfully. That is to say, at the beginning of practicing this form, one has to concentrate on making the precise and fluid form of the circles that are contained within each movement. 2 Three verticals: Straight head, straight body, roll with ankle straight. It is necessary to keep the head upright and the trunk of the body as with the leg (tibia and fibula '), perpendicular with the ground, that is, that the knee and the ankle must be under the same straight line. 3 Four alignments: Leg, foot, hand and body, all go in the same direction. This means that the leg, properly aligned knee and ankles, the hand, properly aligned elbow and wrist, and the body, all aim towards the same direction, when executing a movement. 4 Six correspondences: The hand corresponds with the foot, the elbow with the knee, the shoulder with the hip, the heart with the mind, the "energy" (qi ') with force, the sinews with the bones. 5 Eight pursuits: The eight small joints (two elbows, two hands, two knees and two feet), follow the four great ones (two shoulders and both sides of the hips) 6 Not to omit, not to stop: If the left hand moves and the right does not, that is to omit. If the position is not yet finished, but the hand or the foot already has arrived at their aim, this is called to stop. 7 It doesn’t flow like water: movement and calm follow one another. THE FRAMES OF PRACTICE The practice of Zhaobao Taijiquan is now practiced in three fundamental frames.
Central Frame, Large Frame and Small Frame. 1. The Middle frame is the basic standard it ensures the accuracy of movement and the most structured approach. 2. The large frame develops the Gongfu of the body, it is a challenging and extremely physical frame. 3. The small frame is then the more natural here large circles become small and transitions become as if walking, nimble and continuous. .
The use of frames in Zhaobao is to develop an understanding of each and then thereafter the practitioners evolves into their own nature, their own frameless style of Taijiquan. Some styles of Zhabao Taijiquan practice or specialize in a certain frame, often that of the teacher or founder's preference. However irrespective of frames the movements are in essence the same in sequence.
Further to the fundamental frames Zhaobao also has other forms of practice to suit the individual or as practice methods to achieve a deeper understanding of the art, these include Gongfujia, Huleijia, Zoujia, Che Luen Jia, Neigong Man Jia and others to a sum of nine (9) in total. There are also additional sequences: A short set of fast boxing (36 and 24 strikes) and an extension of kicks (Jiu Xiang Bu Luodi - 9 sounds not touching the ground) to the main form, these are rarely shown until the practitioner reaches an adequate level of proficiency.
ZHAOBAO TUISHOU (PUSH HANDS)
Taiji Hand Pushing is one of the most useful means for the realisation of internal power. By the practice of Push hands one may gain the momentum of indomitable spirit, a solid fisting frame with the feet placed firmly on the ground. A body posture that can withstand an attack from eight directions and most importantly a really superb skill to know oneself and the opponent. To know oneself and the opponent is the skill known as Ting Jing or to 'understand the operation of force executed by an opponent.' However this skill as such will never be easily acquired until the practitioner begins to throw himself into the exercise of Hand Pushing"
Zhaobao push hands has a few salient features, such as there is no stationary push hand practice traditionally (some have added recntly), this is along the same lines of 'Sanheyi' and as a result Zhaobao Taijquan practices moving push hands straight away constantly refining along the way. Two key elements of push hands practice include Bu tan bu qian (Not eager not deficient) and Sanjie Zhi Jintui (The three parts know how to enter and retreat). The 13 Key Methods Beng (ward off/Bump out), Lu (lead/pull back), Ji(Squeeze press), An(push press), Cai (pluck), Li (split) Zhou (elbow), Kao (lean shoulder), Jin (enter), Tui(retreat), Gu(take care/left), Pan (Aspire/right), Ding(Set in centre/equilibrium)
ZHAOBAO FORM The Single form consists of the following postures sequence:
1. 預備式 2. 領落 3. 翻掌 4. 懶扎衣 5. 如封似閉 6. 單鞭 7. 領落 8. 白鶴亮翅 9. 摟膝斜行 10.開合 11.琵琶式 12.摟膝拗步 13.上步十字手 14.摟膝斜行 15.開合 16.收回琵琶式 17.摟膝拗步 18.上步十字手 19.摟膝高領落 20.束手解帶 21.伏虎 22.擒拿 23.指陰捶 24.迎面捶 25.肘底看拳 26.倒攆猴 27.白鶴亮翅 28.摟膝斜行 29.左旋右轉 30.海底針 31.閃通背 32.如封似閉 33.單鞭 34.雲手 35.腰步 36.高探馬 37.轉身 38.右拍腳 39.再轉身 40.左拍腳 41.雙風貫耳 42.旋腳蹬跟 43.三步捶 44.青龍探海 45.黃龍轉身 46.霸王敬酒 47.二拍起腳 48.跳換腳 49.分門樁 50.抱膝 51.喜鵲登枝 52.鷂子翻身 53.裹膝 54.再裹膝 55.研手捶 56.迎面肘 57.抱頭推山 58.如封似閉 59.單鞭 60.前招 61.後招 62.勒馬式 63.野馬分鬃 64.右高探馬 65.白蛇吐信 66.玉女穿梭 67.轉身插衣 68.如封似閉 69.單鞭 70.雲手 71.跌岔 72.掃腿 73.轉身 74.右金雞獨立 75.左金雞獨立 76.雙震腳 77.倒攆猴 78.白鶴亮翅 79.摟膝斜行 80.左旋右轉 81.海底針 82.閃通背 83.如封似閉 84.單鞭 85.雲手 86.腰步 87.高探馬 88.穿心肘 89.單擺蓮 90.指襠捶 91.領落 92.翻掌 93.懶扎衣 94.右七星下式 95.擒拿 96.回頭看畫 97.進步指襠捶 98.黃龍絞水 99.如封似閉 100.單鞭 101.左七星下式 102.擒拿 103.進步砸七星 104.退步跨虎 105.轉身 106.雙擺蓮 107.搬弓射虎 108.領落
1. yu bei shi: (wu ji) Position of preparation (without polarization) 2. tai ji qi shi: Sprouting of tai-chi. 3. lan que wei: Support the tail of the peacock. 4. jin gang dao chui: The Buddhist soldier strikes mortar. 5. fan zhang lan zha yi: Do up and tie the coat with a rotating palm. 6. liu feng si bi: Six sealed and four closing. 7. ling luo ji: an Direct above, direct down, push and sink. 8. dan bian: Simple Whip. 9. jin gang dao chui: The Buddhist soldier strikes mortar. 10. bai he liang zhi: The white stalk extends its wings. 11. lou qi xie xin: Brush the knee and inclined step. 12. kai he shou: there am shou Open and close the hands. 13. shou hui pipa: Play the Chinese Lute 14. lou qi ao bu: Brush the knee and inverted step. 15. shizi shou: Crossed Hands. 16. lou qi xie xin: Brush the knee and inclined step. 17. kai he shou: Open and close the hands. 18. shou hui pipa: Play the Chinese lute 19. lou qi ao bu: Brush the knee and inverted step. 20. shizi shou: Crossed Hands. 21. ye xia zhang: Palm under the armpits. 22. shu shou jie dai: Open tied hands. 23. fu hu shi: Subdue the tiger. 24. qin n:a Catch and block the joint. 25. jin bu zai: chui Jump to the front and to strike downwards. 26. zhou di kan chui: I gave kan chui Fist under the elbow. 27. dao juan hou: Back away to repel the monkey. 28. bai he liang zhi: The White Crane extends its wings. 29. lou qi xie xin: Brush The knee and inclined step. 30. zuo xuan tu zhuan: Left and right turn. 31. hai di zhen: Needle at the bottom of the sea 32. shan tong bei: Fan that crosses the back. 33. ling liu jian an: upwards Clutch, downwards, push and sink. 34. dan bian: Simple Whip 35. yun shou: Hands like clouds. 36. gao tan ma: Guess the horses height 37. ce shen shang bu: Tilt the body and advance step 38. you pai jiao: Tap the right foot. 39. ce shen shang bu: Tilt the body and advance step 40. zuo pai jiao: Tap the left foot. 41. shang feng guan er: Hands cross the ears like the wind. 42. xuan jiao deng gen: Hook the foot and kick. 43. san bu chui: The blow of the three steps. 44. qin long tan hai: The green dragon tests the sea. 45. huang long zhuan shen: The yellow dragon turns its body. 46. ba wang jing jiu: The emperor makes a toast. 47. er qi pai jiao: Two hops and plant a kick 48. hou gou jiao: Hook the foot backwards. 49. fen men zhuang: Open the door and pause position 50. shuang shou peng xi: The hands raise the knee. 51. xi que deng zhi: The magpie steps on a branch. 52. yao zi fan shen: The sparrow hawk returns. 53. you ke xi: Strike the right knee. 54. zuo ke xi: Strike the left knee. 55. yan shou chui: Cover the hand and strike. 56. zuo you wo lan zhou: Grasp and intercept with the elbow, left and right. 57. sao tang shou: Hands that sweep the crotch. 58. guo tou chan nao: Free the seized head 59. ling luo ji an: Grasp upwards, downwards, push and sink. 60. dan bian: Simple Whip. 61. qian zhao: Defend yourself from ahead. 62. hou zhao: Defend yourself from behind. 63. lei ma shi: Pull the bridles of the horse. 64. ye ma fen zong: The wild horse moves it’s main 65. dan pai jiao: Merely swing the foot 66. shuang zheng jiao: Shake both feet. 67. bai she tu xin: The white serpent shows its tongue. 68. yu nü chuan suo: The jade girl sends the loom shuttle. 69. ling luo ji an: Grasp upwards, downwards, push and sink. 70. dan bian: Simple Whip. 71. yun shou: Hands like clouds. 72. chuan xin zhen: Like a needle that crosses the heart. 73. er lang dan shan xia shi: The great sly Er Lang carries the mountains. 74. sao tang shou: Leg sweep. 75. jin ji du li: The golden rooster supported on one leg. 76. zhuan shen jin ji du li: Twist the body and the golden rooster supports itself on one leg. 77. shuang zheng jiao: Shake both feet. 78. dao juan hou: Back away to repel the monkey. 79. bai he liang zhi: The white crane extends its wings. 80. lou qi xie xin: Brush the knee and inclined step. 81. zuo xuan you zhuan: Left and right turn. 82. hai di zhen hai: I gave zhen Needle at the bottom of the sea 83. shan tong bei: Fan that crosses the back. 84. ling luo ji an: Direct above, direct down, push and sink. 85. dan bian: Simple Whip. 86. yun shou: Hands like clouds. 87. gao tan ma: Guess the horses height 88. kou bu shi zi shou: Rotate the foot and cross hands inwards 89. dan pai jiao: Merely swing the foot 90. zhi dang chui: Point at the crotch and strike. 91. jin gang dao chui: The Buddhist soldier strikes mortar. 92. lan zha yi: Do up and tie the coat 93. you pu di jin: I gave jin Tender the brocade on the ground, right. 94. qi xing xia shi: The seven stars and position downwards. 95. wan ci xing: Roll up and stab. 96. hui tou tan hua: Turn the head to guess the flower. 97. zhi dang chui: Point at the crotch and strike. 98. huang long jiao: shui The yellow dragon wades in the water. 99. ling luo ji an: Direct above, direct down, push and sink. 100. dan bian: Simple whip. 101. zuo pu di jin: Spread the brocade on the ground, left. 102. qi xing xia shi: The seven stars and lower your posture. 103. jin ci xing: Enter and stab 104. tui bu kua hu: Back away and ride the tiger 105. zhuan shen shuang pai lian: Rotate the body and prepare the lotus 106. dang tou pao: Bombard the head. 107. shang jin gang: Advance and the Buddhist soldier strikes mortar. 108. Tai ji huan yuan shi: Tai-Chi returns to its origin.
ZHAOBAO WEAPONS
Like many traditional Taijiquan, Zhaobao Taijiquan includes the practice of weapons such as the sword, staff, broadsword, spear, axe, double broadsword and spring autumn knife
|
|
|
|
|||
One
of the most important characteristics of the style is called
