![]() ![]() The body is held erect without leaning in any direction. The spirit of vitality reaches to the top of the head and the qi sinks to the navel. Beyond this achievement lies the ultimate goal: complete mastery of an opponent without recourse to detecting his energy. Dilligent practice brings the skill of "interpreting strength". Although the changes are numerous, the principle remains the same. You respond quickly to a fast action, slowly to a slow action. To improve your position to the detriment of your opponent is called "adherence" ( chan). To conquer the strong by yielding is termed "withdraw" ( tsou). You yield at your opponent's slightest pressure and adhere to him at his slightest retreat. There should be no excess and no insufficiency. In movement the two act independently in stillness they fuse into one. Taiji comes from infinity from it spring yin and yang. Smith and Cheng Man Ching's book "T'ai Ch'i" Hitting Hands Sparring Releasing By Wu Yu Xiang Sparring Hands And Walking Frame Essentials By Li I Yu Plain Sayings On Each Posture Song By Li I Yu The Li I Yu Collection Of Taijiquan Classics The definitive interpretation being possible only by the authors of the original works. They should be read on their own merit and not regarded as anything beyond one practitioner's interpretation. Some of these interpretations have been handed down to me by my teachers and seniors, others have come from my own experience and research into the art. There is a specific place for my own interpretations and they are to be found in the commentaries which I have written on the individual classic works. The result is not likely to be very idiomatic but it does bring out the original flavour of the text as well as its most probable meaning in the context of the art of Taijiquan. There is a reason for this literal translation, I have tried not to paraphrase or rephrase as far as possible so as to prevent an unintentional insertion of my own meaning into the text rather than let the text speak for itself. Some might regard the the translations I have done as being overly literal. Where the translations are not my own, they have been credited to the original translators. Some of the translations are taken from earlier translations, I have felt that there was no need to redo their fine work, others which have never been translated before have been translated by myself. In addition to the translation into English for these classic works, I will be adding my own commentaries to them to further expand upon the meanings contained in them and their context and historicity. They are also probably the oldest writings available on the art of Taijiquan. The contents of these manuals are regarded as the core writings in the Classics and hold a special place in literary tradition of Taijiquan. The majority of listings of these classical works contain the writings recorded in Li I Yu's handwritten manuals. The Taijiquan Classics are a collection of early writings on the art that are regarded by Taijiquan practitioners as containing the essence of the art. The Taijiquan Classics Part 1 The Taijiquan Classics ![]()
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