Wudang Taijiquan

Wudang Taijiquan is the main component of the Wudang martial arts. It is an orthodox school of Chinese Gongfu. It is called an internal art because the actions demonstrate both strength and grace and the internal energy is combined with the external performance. It is singular in the martial arts field and has long enjoyed a great reputation.

Principles of the Form

Wudang Taijiquan highly stresses the fullness of internal energy, breath, and spirit. The mind directs the breath which further activates the body for defense as well as attack. The eight criteria that Wudang Taijiquan stresses when playing are: lightness, easiness, roundness, evenness, flexibility, changeableness, steadiness and precision. The motto for practice is: Be relaxed, complete, prompt, and sudden. The intent continues even when the force goes out. The breath will still go through the body when your intent is complete.

The peculiar principles of Wudang Taiji are to be hard and strong inside, round and smooth outside and to strike out quickly, so quickly the opponent does not notice. Force is exerted through stretching the body, especially the legs. Remain still if the opponent doesn't move, but strike earlier if he starts. Force starts from the backbone. Even though the opponent starts first, gain the upper hand. Move like waves of the Yangzi River flowing to the ocean, one after another, never stopping. Distribute energy when moving, but collect it when stopping. The energy should neither be overdone nor not enough.

Bend or stretch by judging the opponent's actions. Stretch as he is bending. If he is lengthening, contract. If he is contracting, lengthen. Lower if he is raising; raise if he is lowering. Meet the opponent with leaving, sticking, linking, and following. Be soft when he is hard. This is called leaving. Step back when he is attacking forward. This is called sticking. Quicken if he is quickening. This is called linking. Slow down if he is slowing. This is called following.

There are many points to remember in application: Stand on the left to attack right; stand on the right to attack left. Keep a certain angle with the opponent. If one is against several, make arrays of three cai (heaven, earth, man) two yi (yin and yang), five elements (wood, metal, fire, water, earth), eight gua (directions/trigrams), nine gong (bagua plus the center) and so on. Whether to attack or to defend depends on the mind and the spirit. The mind and the spirit are followed by the seven fists (the hands, head, eyes, feet, hips, elbows, and knees). Don't attempt to take more nor to take less. Neither stand too close, nor too far away.

Pressing, spinning, cutting, thrusting, and smashing downward are called the Five Elements. Stepping forward, stepping backward, elbowing, shouldering, back hip thrust, head thrust, side hip thrust, and sweeping are called the Eight Methods. There are also may hitting methods in all directions, such as front, behind, left, right, up, and down strikes.

For each stroke and posture, the joints are in line with each other. The movements of the palms should be natural, relaxed, and quick. The fists and the feet should be flexible and changeable. The mind should be astute and the strikes should be ruthless. "As steady as a mountain when not moving; as quick as thunder when in action, leaving no time for one even to cover his ears." The Classics say "Be as flexible and easy as cotton when contracting. while dodging, extending, shifting, jumping, and turning be like a dragon." They also say "Contract like a cat and be soft like cotton, but shake the body like a tiger and be as hard as steel." Move the body as a Changshan snake. The tail would respond if the head were hit; the head would respond if the tail were hit. If the middle section were hit, head and tail would both respond.

Push up, toss, tread, kick, and knock if the opponent is attacking from the upper part. Fence, wrestle, bisect, press, and push if he is attacking from the mid-part. If he is attacking from the lower part, immediately split, slice, chop, cut, burst and use hips, shoulders, and elbows to hit. In general, choose postures according to the opponent's. Judge whether to attack or to defend by judging whether he is contracting or stretching. Step forward if he steps back; step back if he steps forward. Do not continue fighting but exert energy and overcome. The Classics say "Strive forward as soon as you grasp the chance. Do not withdraw merely because of your hesitation."

The purpose for practicing Wudang Taiji is not only for practical use but for maintaining health as well. Self practice and playing the forms are good for body building and character cultivating, thus to gain long life. But when applied to others, it is a real martial art. Whether to strike or to kick depends on the circumstance. The Classics say "Regard a man as grass. Attack him as if walking. Combine the outside actions and inside breathing. Assume your courage in this way and you will master this martial art."

The Movements of Wudang Taiji

When practicing Wudang Taiji, besides the requirements for correctness of the basic postures of head, body, and limbs in the movements, one should also pay special attention to the format of the movement. Only in this way can one demonstrate its unique style and fully bring out the practical value of Wudang Taiji.

1. Correct Postures and Neat Movements

The whole body is required to be well coordinated above and below, to stand up straight, to be firm and comfortable, able to support movements in all directions. The three tips (that is, the finger tip, foot tip, and nose tip) are all kept on a vertical plane. One basic requirement for the movements is that once the intention and breathing are ignited, all the limbs move. This is like a tree &emdash; if one branch is shaken, all the others respond to it.

2. Coordinated Stepping and Balanced Jumping

Pay attention to the coordination in transforming a posture, stepping forward and backward, turning and moving to the sides. Only when the route, direction, timing, the angle of certain postures, and the positions of the movements are well coordinated, will there be less occurrence of inappropriate postures, stiff movements, shortness of breath and unsteady movements. The Classics say, "Uncoordinated externally, malcontented internally."

When performing the form, one should play in the way that "the front foot always tries to plant in the middle position; the back foot steps back with all the information to make the changes. Both hands move in balance and move in concert with each other." The two arms turn inward and outward, just like twisting a rope. Relax the chest and solidify the abdomen. Breathe naturally, don't suppress the breathing. Coordinate the breathing and movement naturally.

3. Combine External with Internal; Breath (Qi) with the Posture

Energy going through every posture means that every posture is well connected and coherent. When each posture comes to the end, energy still goes on. When the energy changes, the intent (yi) follows. In this way, not only can one extend his back to exert energy but can continue the energy uninterruptedly.

The internal combines with the external, shoulders with hips, elbows with knees, hands with feet, mind with intent, intent with breath, breath with force. The whole body acts as a living snake &emdash; if the head is hurt, the tail comes to help; if the tail is hurt, the head comes to it; if the middle part is hurt, both the head and the tail react.

4. The Mind is Peaceful, the Body Relaxed. Discard Distracting Thoughts

When practicing Wudang Taijiquan, one should discard all kinds of distracting thoughts. No matter how simple or how difficult the posture is, when one changes postures, the mind should always keep calm. In this way, the spirit can go through every detailed action and direct the performance of the actions so that "Where the mind is, the body follows."

When the two hands are snatching forward, one should imagine a tiger is swooping at a goat. When one wants to sink down the breath (qi), he should imagine that the breath is falling toward the dantian (about 4.2 cm below the navel). Actions should continue if the intent does not stop. Discard odd thoughts and concentrate the mind to perform the gestures and movements smoothly, continuously, and rhythmically.

This kind of rhythmic movement is good for regulating the functional state of the cerebral cortex and central nervous system and enhancing the functions of different organs of the body. At the same time, other parts of te brain are restrained and remain resting. The fatigue which is caused by monotonous labor and mental work will be eased. This enables one to avoid feeling over excited or unnecessarily stressed and to regulate the balance of the brain.

Relaxing the body means that the muscles, joints, ligaments, and internal organs remain in a naturally relaxed state, not restrained and suppressed. Relaxing does not mean being soft. Some people mistake relaxing for being soft and weak. So, when they react to the opponent's palm coming to their face, their wrists do not sink down, fingers do not extend upward, their wrists become soft and weak or the palm swings and drifts, shaking up and down. These are all mistakes.

5. Connect Each Part. Make the Whole Form Smooth

Each action or movement should be coherent with no obvious stops or intermittent traces at the connected points of the movement (not including deliberate feints and ambushes). Be sure to make the whole form coordinated and continuous. The Classics say, "Be as continuous as the waves of the Yangzi River flowing to the sea." This refers to the uninterrupted external performance. Here, uninterrupted action means that the movements in each posture are natural and flexible, connected and coordinated. Always keep the trunk and the limbs naturally bent.

The direction of the movement follows different curves, sometimes repeated, sometimes transformed. Keep the body center steady, with postures looking extended but not stretched, appearing straight but with curves. If you recognize and grasp this principle, you will consciously avoid moving straight back and forth, turning into blind angles, or dead corners. The movements will be smooth and flexible, flowing on and on, never stopping.

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