਀㰀吀䤀吀䰀䔀㸀匀栀攀渀 匀琀礀氀攀 吀愀椀ⴀ䌀栀椀㰀⼀吀䤀吀䰀䔀㸀 ਀ ਀㰀⼀䠀䔀䄀䐀㸀 ਀㰀䈀伀䐀夀 䈀䄀䌀䬀䜀刀伀唀一䐀㴀∀⸀⸀⼀戀最⼀氀挀礀愀渀⸀樀瀀最∀㸀 ਀㰀吀䄀䈀䰀䔀 䈀伀䄀刀䐀䔀刀㴀  圀䤀䐀吀䠀㴀㘀㌀  䌀䔀䰀䰀匀倀䄀䌀䤀一䜀㴀  䌀䔀䰀䰀倀䄀䐀䐀䤀一䜀㴀 㸀 ਀  ਀ ਀ऀ㰀吀䄀䈀䰀䔀 䈀伀刀䐀䔀刀㴀  圀䤀䐀吀䠀㴀㔀㠀  䌀䔀䰀䰀匀倀䄀䌀䤀一䜀㴀  䌀䔀䰀䰀倀䄀䐀䐀䤀一䜀㴀 㸀 ਀ऀऀ㰀吀䐀 圀䤀䐀吀䠀㴀㔀㠀  䠀䔀䤀䜀䠀吀㴀㄀㈀ 㸀

Of Tai Chi and Tai Chi Chuan
by Ichin Shen, Shen Style Tai Chi

਀ऀऀ㰀⼀吀䐀㸀 ਀ ਀ऀऀ㰀吀䐀㸀 ਀㰀倀㸀 ਀㰀䤀䴀䜀 匀刀䌀㴀∀琀樀椀开瀀开琀甀椀戀甀欀甀愀栀甀⸀樀瀀最∀ 䄀䰀吀㴀∀瀀栀漀琀漀Ⰰ 爀攀琀爀攀愀琀 昀爀漀洀 琀椀最攀爀∀ 圀䤀䐀吀䠀㴀㌀㔀㈀ 䠀䔀䤀䜀䠀吀㴀㈀㘀㈀ 䄀䰀䤀䜀一㴀氀攀昀琀㸀 ਀㰀䘀伀一吀 猀椀稀攀㴀㌀ 䘀䄀䌀䔀㴀∀刀漀挀欀眀攀氀氀∀ 挀漀氀漀爀㴀∀⌀    ㌀㌀∀㸀䄀猀 眀攀 愀氀氀 洀愀礀 栀愀瘀攀 栀攀愀爀搀 漀昀 琀栀愀琀 吀愀椀 䌀栀椀 䌀栀甀愀渀ⴀ∀琀栀攀 甀氀琀椀洀愀琀攀 昀椀猀琀∀ⴀ眀愀猀 漀爀椀最椀渀愀氀氀礀 搀攀瘀攀氀漀瀀攀搀 愀猀 愀 洀愀爀琀椀愀氀 愀爀琀㬀 栀漀眀攀瘀攀爀Ⰰ 眀椀琀栀 琀栀漀猀攀 猀攀攀洀椀渀最氀礀 昀氀椀洀猀礀 昀漀爀洀猀 愀渀搀 猀琀愀最渀愀渀琀 洀漀瘀攀洀攀渀琀猀Ⰰ 挀愀渀 吀愀椀 䌀栀椀 䌀栀甀愀渀 爀攀愀氀氀礀 氀椀瘀攀 甀瀀 琀漀 眀栀愀琀 椀琀 挀氀愀椀洀猀Ⰰ 琀栀攀 ∀甀氀琀椀洀愀琀攀∀㼀 吀栀攀 愀渀猀眀攀爀 椀猀 礀攀猀Ⰰ 愀渀搀 渀漀⸀  一漀Ⰰ 琀攀挀栀渀椀挀愀氀氀礀Ⰰ 匀栀愀漀 䰀椀渀 䬀甀渀最 䘀甀 愀瀀瀀攀愀爀猀 琀漀 戀攀 猀琀爀漀渀最攀爀 愀渀搀 洀漀爀攀Ⰰ 栀漀眀攀瘀攀爀Ⰰ 渀漀 洀愀琀琀攀爀 栀漀眀 洀愀渀礀 昀漀爀洀猀 漀渀攀 眀漀甀氀搀 氀椀欀攀 琀漀 愀搀搀 甀瀀Ⰰ 琀栀攀 甀氀琀椀洀愀琀攀 昀漀爀洀 爀攀洀愀椀渀猀 ∀昀漀爀洀氀攀猀猀Ⰰ∀ 漀爀 昀漀爀洀ⴀ昀爀攀攀 昀漀爀洀Ⰰ 猀漀Ⰰ 礀攀猀Ⰰ 吀愀椀 䌀栀椀 䌀栀甀愀渀 爀攀愀挀栀攀猀 琀栀攀 ∀甀氀琀椀洀愀琀攀∀ 戀礀 瀀甀猀栀椀渀最 戀攀礀漀渀搀 昀漀爀洀猀Ⰰ 愀渀搀 琀栀愀琀 椀猀 挀愀氀氀攀搀 ∀吀愀椀 䌀栀椀⸀∀㰀⼀倀㸀 ਀㰀倀㸀吀愀椀 䌀栀椀 ⠀☀⌀㈀㈀㠀㈀㘀㬀☀⌀㈀㘀㤀㤀㜀㬀 ⤀Ⰰ 氀椀琀攀爀愀氀氀礀 洀攀愀渀猀 ∀琀栀攀 最爀愀渀搀 琀攀爀洀椀渀甀猀Ⰰ∀ 愀猀 椀琀 椀猀 琀愀欀攀渀 昀爀漀洀 琀栀攀 洀攀愀渀椀渀最 漀昀 ∀戀攀礀漀渀搀 琀栀攀 爀椀搀最攀 漀昀 愀 爀漀漀昀⸀∀ 䠀漀眀攀瘀攀爀Ⰰ 琀栀攀 洀攀琀愀瀀栀漀爀 最漀攀猀 戀攀礀漀渀搀 洀攀爀攀 昀漀爀洀猀Ⰰ 吀愀椀 䌀栀椀 椀猀 愀氀猀漀 琀栀攀 爀攀猀甀氀琀 漀昀 琀栀攀 眀栀漀氀攀 挀氀愀猀猀椀挀愀氀 䌀栀椀渀攀猀攀 瘀椀攀眀 漀渀 攀砀椀猀琀攀渀挀攀⸀ 䐀椀搀渀✀琀 愀渀挀椀攀渀琀 䌀栀椀渀攀猀攀 ∀氀椀瘀攀∀ 琀栀攀 猀愀洀攀 眀愀礀 眀攀 搀漀Ⰰ 琀礀瀀椀挀愀氀氀礀Ⰰ 琀栀攀 氀椀昀攀 瀀栀攀渀漀洀攀渀漀渀 琀栀愀琀 搀攀猀挀爀椀戀攀搀 戀礀 猀挀椀攀渀挀攀㼀 吀栀攀 愀渀猀眀攀爀 椀猀 愀挀琀甀愀氀氀礀 焀甀椀琀攀 猀甀爀瀀爀椀猀椀渀最Ⰰ 渀漀⸀㰀⼀倀㸀 ਀㰀倀㸀吀漀 愀挀挀漀甀渀琀 昀漀爀 琀栀攀椀爀 攀砀椀猀琀攀渀挀攀Ⰰ 猀愀最攀猀 漀昀 愀渀挀椀攀渀琀 䌀栀椀渀攀猀攀 搀攀瘀椀猀攀搀 愀 琀栀攀漀爀礀 欀渀漀眀渀 愀猀 ∀夀椀渀ⴀ夀愀渀最 ⠀☀⌀㌀㠀㔀㄀㈀㬀☀⌀㌀㠀㔀㈀㔀㬀⤀⸀∀ 䄀挀挀漀爀搀椀渀最 琀漀 琀栀攀 愀渀挀椀攀渀琀 挀氀愀猀猀椀挀 ∀䠀甀愀渀最 䐀椀 一攀椀 䨀椀渀最Ⰰ∀ ⠀☀⌀㐀 㘀㐀㌀㬀☀⌀㈀㐀 㤀㌀㬀☀⌀㈀ 㠀㌀㤀㬀☀⌀㌀㈀㄀㐀㜀㬀Ⰰ 夀攀氀氀漀眀 䔀洀瀀攀爀漀爀✀猀 洀攀搀椀挀椀渀攀 挀氀愀猀猀椀挀Ⰰ 眀栀椀挀栀 氀愀礀猀 琀栀攀 昀漀甀渀搀愀琀椀漀渀 漀昀 琀栀攀 吀爀愀搀椀琀椀漀渀愀氀 䌀栀椀渀攀猀攀 䴀攀搀椀挀椀渀攀Ⰰ 漀爀 吀䌀䴀⤀Ⰰ 愀 夀椀渀ⴀ夀愀渀最Ⰰ 漀爀 夀椀渀 愀渀搀 夀愀渀最Ⰰ ∀栀愀瘀攀 渀愀洀攀 戀甀琀 渀漀 昀漀爀洀Ⰰ∀ 琀栀愀琀✀猀 琀漀 猀愀礀 琀栀愀琀 夀椀渀ⴀ夀愀渀最 椀猀 渀漀琀 愀 爀攀愀氀 洀愀猀猀 戀甀琀 愀 猀攀琀 漀昀 ∀瀀爀漀瀀攀爀琀椀攀猀∀ 琀栀愀琀 搀攀瀀椀挀琀猀 栀漀眀 愀氀氀 琀栀椀渀最猀 琀栀愀琀 挀漀洀攀 琀漀 戀攀椀渀最 瀀攀爀瀀攀琀甀愀琀攀搀 愀渀搀⼀漀爀 眀椀琀栀攀爀攀搀⸀㰀⼀倀㸀 ਀㰀倀㸀䰀椀琀攀爀愀氀氀礀Ⰰ 夀椀渀 愀渀搀 夀愀渀最 愀爀攀 漀渀氀礀 爀攀昀攀爀爀攀搀 愀猀 愀 猀攀渀猀攀 漀昀 搀椀爀攀挀琀椀漀渀㨀 琀栀攀 搀椀爀攀挀琀椀漀渀 昀愀挀椀渀最 琀栀攀 匀甀渀 椀猀 挀愀氀氀攀搀 夀愀渀最Ⰰ 猀礀洀戀漀氀椀稀椀渀最 ∀瘀椀猀椀戀氀攀∀㬀 昀愀挀椀渀最 愀眀愀礀 昀爀漀洀 琀栀攀 匀甀渀 椀猀 挀愀氀氀攀搀 夀椀渀Ⰰ 猀礀洀戀漀氀椀稀椀渀最 ∀椀渀瘀椀猀椀戀氀攀∀㬀 渀攀瘀攀爀琀栀攀氀攀猀猀Ⰰ 琀栀攀礀 栀愀瘀攀 戀攀攀渀 搀攀瘀攀氀漀瀀攀搀 琀漀 戀攀挀漀洀攀 琀栀攀 洀攀琀愀瀀栀漀爀 昀漀爀 琀栀攀 琀眀漀 漀瀀瀀漀猀椀渀最 昀漀爀挀攀猀 漀昀 愀渀 攀砀椀猀琀攀渀挀攀⸀ 䠀漀眀攀瘀攀爀Ⰰ 椀琀✀猀 渀漀琀 戀攀挀愀甀猀攀 琀栀攀礀 愀爀攀 愀 瀀愀椀爀 漀昀 漀瀀瀀漀猀椀渀最 昀漀爀挀攀猀 琀栀愀琀 琀栀攀礀 挀愀渀 戀攀 挀愀氀氀攀搀 夀椀渀 愀渀搀 夀愀渀最⸀ 吀栀攀 昀漀爀攀瘀攀爀ⴀ攀渀琀愀渀最氀攀搀 眀攀戀 漀昀 夀椀渀 愀渀搀 夀愀渀最 搀攀瀀椀挀琀猀 猀漀洀攀 椀渀琀攀爀攀猀琀椀渀最 瀀爀漀瀀攀爀琀椀攀猀⸀㰀⼀倀㸀 ਀㰀倀㸀 ਀㰀䤀䴀䜀 匀刀䌀㴀∀琀樀椀开瀀开稀甀漀昀甀栀甀⸀樀瀀最∀ 䄀䰀吀㴀∀瀀栀漀琀漀Ⰰ 氀攀昀琀 猀瀀氀椀琀 欀椀挀欀∀ 圀䤀䐀吀䠀㴀㄀㤀  䠀䔀䤀䜀䠀吀㴀㈀㠀㌀ 䄀䰀䤀䜀一㴀爀椀最栀琀㸀 ਀䄀 瀀愀椀爀 漀昀 夀椀渀 愀渀搀 夀愀渀最 栀愀猀 昀漀甀爀 瀀爀漀瀀攀爀琀椀攀猀㨀 ㄀⸀⤀ 䐀甀椀 䰀椀 吀漀渀最 夀椀 ⠀☀⌀㈀㌀㔀㘀㔀㬀☀⌀㌀㄀㐀㌀㔀㬀☀⌀㌀㈀㄀㄀㌀㬀☀⌀㄀㤀㤀㘀㠀㬀⤀㨀 吀栀攀礀 愀爀攀 琀栀攀 漀渀氀礀 琀眀漀 ∀漀瀀瀀漀猀椀琀攀∀ 昀漀爀挀攀猀 琀栀愀琀 昀漀爀洀 琀栀攀 ∀眀栀漀氀攀⸀∀ ㈀⸀⤀ 堀椀愀渀最 䬀攀 堀椀愀渀最 匀栀攀渀最 ⠀☀⌀㌀ 㐀㔀㘀㬀☀⌀㈀㄀ 㘀㜀㬀☀⌀㌀ 㐀㔀㘀㬀☀⌀㈀㤀㤀㠀㌀㬀⤀㨀 吀栀攀礀 ∀猀甀瀀瀀爀攀猀猀∀ 愀渀搀 ∀渀漀甀爀椀猀栀∀ 琀栀攀 漀瀀瀀漀猀椀琀攀 愀琀 琀栀攀 猀愀洀攀 琀椀洀攀⸀ ㌀⸀⤀ 圀甀 䨀椀 䈀椀 䘀愀渀 ⠀☀⌀㈀㤀㈀㠀㤀㬀☀⌀㈀㘀㤀㤀㜀㬀☀⌀㈀㐀㔀㄀㜀㬀☀⌀㈀㄀㐀㔀㌀㬀⤀㨀 吀栀攀礀 爀攀瘀攀爀琀 琀漀 琀栀攀 漀瀀瀀漀猀椀琀攀 猀椀搀攀 眀栀攀渀 琀栀攀礀 瀀甀猀栀 戀攀礀漀渀搀 琀栀攀椀爀 氀椀洀椀琀⸀ 䰀愀猀琀 戀甀琀 渀漀琀 氀攀愀猀琀 㐀⸀⤀ 䨀椀 䨀椀渀 倀椀渀最 䠀攀渀最 ⠀☀⌀㈀㘀㤀㤀㜀㬀☀⌀㌀ 㐀㌀㌀㬀☀⌀㈀㐀㄀㜀㤀㬀☀⌀㌀㐀㤀㄀㌀㬀⤀㨀 吀栀攀礀 洀愀椀渀琀愀椀渀 愀 搀礀渀愀洀椀挀 戀愀氀愀渀挀攀Ⰰ 眀栀椀挀栀 椀猀 挀愀氀氀攀搀 ∀栀愀爀洀漀渀椀稀攀搀 夀椀渀 愀渀搀 夀愀渀最Ⰰ∀ 眀栀攀爀攀 琀攀渀ⴀ琀栀漀甀猀愀渀搀 琀栀椀渀最猀 愀氀氀 昀氀漀甀爀椀猀栀Ⰰ 猀漀 椀猀 琀栀攀 眀漀爀氀搀⼀甀渀椀瘀攀爀猀攀⸀㰀⼀倀㸀 ਀㰀倀㸀䈀愀猀攀搀 漀渀 夀椀渀 愀渀搀 夀愀渀最Ⰰ 琀栀攀 愀渀挀椀攀渀琀 䌀栀椀渀攀猀攀 瘀椀攀眀 漀昀 氀椀昀攀 椀猀 渀漀琀 愀猀 愀 ∀昀椀砀攀搀∀ 攀渀琀椀琀礀 戀甀琀 琀栀攀 昀氀漀眀 漀昀 夀椀渀 愀渀搀 夀愀渀最 琀眀漀 儀椀 ⠀攀渀攀爀最礀⤀⸀ 䰀椀昀攀 戀攀最椀渀猀 愀猀 琀栀攀 眀漀爀氀搀⼀甀渀椀瘀攀爀猀攀 昀漀爀洀猀⸀ 䄀挀挀漀爀搀椀渀最 琀漀 琀栀攀 夀攀氀氀漀眀 䔀洀瀀攀爀漀爀✀猀 䌀氀愀猀猀椀挀Ⰰ 戀攀昀漀爀攀 琀栀攀 戀攀最椀渀渀椀渀最Ⰰ 琀栀攀 眀漀爀氀搀 椀猀 渀攀椀琀栀攀爀 琀栀椀渀最 渀漀爀 渀漀渀ⴀ琀栀椀渀最 挀愀氀氀攀搀 䠀甀渀ⴀ吀甀渀 ⠀☀⌀㈀㠀㈀㈀㈀㬀☀⌀㈀㜀㜀㠀㠀㬀⤀Ⰰ ∀挀栀愀漀猀⸀∀ 伀甀琀 漀昀 挀栀愀漀猀Ⰰ 愀渀 漀爀搀攀爀 攀洀攀爀最攀猀Ⰰ 愀最愀椀渀猀琀 猀琀椀氀氀渀攀猀猀 猀漀洀攀琀栀椀渀最 椀猀 洀漀瘀椀渀最Ⰰ 愀 洀漀琀椀漀渀 挀漀洀攀猀 琀漀 攀砀椀猀琀⸀ 吀栀攀 瀀爀椀洀愀氀 洀漀琀椀漀渀 椀猀 挀愀氀氀攀搀 夀甀愀渀ⴀ儀椀 ⠀☀⌀㈀ 㠀 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㄀㄀㘀㬀☀⌀㌀㐀㠀㤀㈀㬀⤀⸀∀ ∀䔀椀最栀琀 䨀椀渀最猀 愀渀搀 䘀椀瘀攀 䐀椀爀攀挀琀椀漀渀猀∀ 栀愀瀀瀀攀渀 渀愀琀甀爀愀氀氀礀Ⰰ 猀漀洀攀 搀漀攀猀 眀椀琀栀漀甀琀 攀瘀攀渀 欀渀漀眀椀渀最 琀栀攀洀⸀ 䠀漀眀攀瘀攀爀Ⰰ 欀渀漀眀椀渀最 琀栀攀洀 洀愀欀攀猀 琀栀攀 洀攀琀栀漀搀 攀瘀攀渀 洀漀爀攀 挀攀爀琀愀椀渀⸀㰀⼀倀㸀 ਀㰀倀㸀䨀椀渀最猀⠀☀⌀㈀㄀㄀㠀㔀㬀⤀愀爀攀 洀攀渀琀愀氀 瀀漀眀攀爀 眀栀椀挀栀 甀琀椀氀椀稀攀 儀椀 ⠀☀⌀㈀㜀㘀㠀㌀㬀⤀ 琀漀 洀愀椀渀琀愀椀渀 琀栀攀 戀漀搀礀 瀀漀猀琀甀爀攀猀⸀ ∀䔀椀最栀琀 䨀椀渀最猀∀ 愀爀攀 倀攀渀最 ⠀☀⌀㈀㔀㔀 㠀㬀⤀Ⰰ 䰀甀 ⠀☀⌀㈀㌀㘀㔀㌀㬀⤀Ⰰ 䨀椀 ⠀☀⌀㈀㔀㠀㈀㐀㬀⤀Ⰰ 䄀渀 ⠀☀⌀㈀㔀㌀㔀㌀㬀⤀Ⰰ 䌀愀椀 ⠀☀⌀㈀㔀㔀 㔀㬀⤀Ⰰ 䰀椀攀 ⠀☀⌀㈀㄀ ㄀㔀㬀⤀Ⰰ 娀栀漀甀 ⠀☀⌀㌀㈀㤀㈀ 㬀⤀Ⰰ 愀渀搀 䬀愀漀 ⠀☀⌀㌀㠀㜀㔀㈀㬀⤀Ⰰ 眀栀椀挀栀 愀爀攀 攀椀最栀琀 瀀爀椀渀挀椀瀀氀攀猀 愀渀搀 琀攀挀栀渀椀焀甀攀猀 琀漀 甀猀攀 儀椀 琀漀 洀漀瘀攀 愀渀搀 琀漀 爀攀猀栀愀瀀攀 琀栀攀 戀漀搀礀 漀渀 愀 猀琀愀琀椀挀 昀漀漀琀椀渀最⸀㰀⼀倀㸀 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਀㰀䤀䴀䜀 匀刀䌀㴀∀琀樀椀开瀀开礀漀甀昀攀渀樀椀愀漀⸀樀瀀最∀ 䄀䰀吀㴀∀瀀栀漀琀漀Ⰰ 爀椀最栀琀 猀瀀氀椀琀 欀椀挀欀∀ 圀䤀䐀吀䠀㴀㈀㄀㤀 䠀䔀䤀䜀䠀吀㴀㈀㠀㌀ 䄀䰀䤀䜀一㴀爀椀最栀琀㸀 ਀㰀倀㸀䌀愀椀 椀猀 琀漀 瀀椀挀欀Ⰰ 昀漀爀洀氀攀猀猀 戀甀琀 搀攀氀椀挀愀琀攀氀礀 戀愀氀愀渀挀攀搀⸀㰀⼀倀㸀 ਀㰀倀㸀䰀椀攀Ⰰ 猀瀀氀椀琀猀 漀爀 猀瀀椀渀猀⸀ 䰀椀攀 椀猀 琀漀 猀瀀椀渀 戀礀 爀漀琀愀琀椀渀最 琀栀攀 栀椀瀀猀⸀㰀⼀倀㸀 ਀㰀倀㸀娀栀漀甀Ⰰ 攀氀戀漀眀猀Ⰰ 洀攀愀渀猀 甀猀椀渀最 攀氀戀漀眀 昀漀爀 猀栀漀爀琀攀爀 搀椀猀琀愀渀挀攀⸀㰀⼀倀㸀 ਀㰀倀㸀䘀椀渀愀氀氀礀Ⰰ 䬀愀漀㬀 䬀愀漀 椀猀 琀漀 猀琀爀椀欀攀 氀椀欀攀 ∀昀愀氀氀椀渀最 洀漀甀渀琀愀椀渀Ⰰ∀ 甀渀猀琀漀瀀瀀愀戀氀攀 礀攀琀 渀漀 戀漀甀渀挀椀渀最⸀ 䬀愀漀 椀氀氀甀猀琀爀愀琀攀猀 琀栀攀 椀搀攀愀 漀昀 ∀戀攀椀渀最 琀栀攀爀攀 愀琀 琀栀攀 爀椀最栀琀 琀椀洀攀 愀渀搀 琀栀攀 爀椀最栀琀 瀀氀愀挀攀⸀∀㰀⼀倀㸀 ਀㰀倀㸀圀栀椀氀攀 䔀椀最栀琀 䨀椀渀最猀 愀爀攀 甀猀攀搀 琀栀爀漀甀最栀 漀甀琀 琀栀攀 昀漀爀洀猀Ⰰ 栀漀眀攀瘀攀爀Ⰰ 琀栀攀礀 挀愀渀 戀攀 攀愀猀椀氀礀 昀漀甀渀搀 愀琀 琀栀攀 戀攀最椀渀渀椀渀最 漀昀 琀栀攀 瀀漀瀀甀氀愀爀 夀愀渀最 猀琀礀氀攀 氀漀渀最 昀漀爀洀⸀ 䄀猀 椀琀 戀攀最椀渀猀Ⰰ ∀娀甀漀 ⠀氀攀昀琀⤀ 倀攀渀最 ⠀☀⌀㈀㐀 ㌀㠀㬀☀⌀㈀㔀㔀 㠀㬀⤀∀ 琀栀攀渀 ∀夀漀甀 ⠀爀椀最栀琀⤀ 倀攀渀最 ⠀☀⌀㈀㄀㐀㤀㄀㬀☀⌀㈀㔀㔀 㠀㬀⤀Ⰰ∀ 眀攀 攀砀瀀愀渀搀 漀甀爀 猀瀀愀挀攀⸀ 伀渀挀攀 眀攀 攀砀瀀愀渀搀攀搀Ⰰ 漀渀氀礀 眀愀礀 琀漀 洀漀瘀攀 眀椀琀栀漀甀琀 挀栀愀渀最椀渀最 琀栀攀 昀漀漀琀椀渀最 椀猀 琀漀 爀攀琀爀攀愀琀Ⰰ 䰀甀 椀猀 琀漀 猀栀椀昀琀 琀栀攀 眀攀椀最栀琀 昀爀漀洀 琀栀攀 昀爀漀渀琀 氀攀最 琀漀 琀栀攀 戀愀挀欀 氀攀最⸀ 吀漀 戀愀氀愀渀挀攀 琀栀攀 礀椀攀氀搀椀渀最Ⰰ 眀攀 爀攀猀椀猀琀 戀礀 ∀匀漀漀琀栀椀渀最 琀栀攀 倀栀漀攀渀椀砀 吀愀椀氀∀ ⠀䰀愀渀 儀甀攀 圀攀椀Ⰰ ☀⌀㈀㔀㤀  㬀☀⌀㌀㠀㔀㤀㈀㬀☀⌀㈀㌀㘀㄀㐀㬀⤀ 眀栀椀挀栀 椀渀 攀猀猀攀渀挀攀 椀猀 䰀甀⸀ 吀漀 爀攀最愀椀渀 琀栀攀 猀瀀愀挀攀 氀漀猀琀 搀甀爀椀渀最 琀栀攀 爀攀琀爀攀愀琀Ⰰ 眀攀 猀焀甀攀攀稀攀 椀渀㬀 䨀椀 戀礀 瀀甀猀栀椀渀最 琀栀攀 昀漀爀眀愀爀搀 欀渀攀攀 愀渀搀 猀栀椀昀琀椀渀最 琀栀攀 眀攀椀最栀琀 昀漀爀眀愀爀搀 琀漀 漀挀挀甀瀀礀 琀栀攀 猀瀀愀挀攀⸀ 吀栀攀渀 䰀椀攀 琀漀 猀瀀氀椀琀 琀栀攀 儀椀 椀渀 ∀伀瀀攀渀Ⰰ∀ 愀渀搀 䄀渀 琀漀 瀀甀猀栀 椀渀 ∀䌀氀漀猀攀∀ ⠀刀甀 䘀攀渀最 匀椀 䈀椀Ⰰ ☀⌀㈀㈀㤀㄀㐀㬀☀⌀㈀㌀㔀㔀㌀㬀☀⌀㈀ ㈀㠀㐀㬀☀⌀㌀㠀㈀㠀㄀㬀⤀⸀ 䌀愀椀 琀漀 戀愀氀愀渀挀攀 琀栀攀 挀栀愀渀最攀猀 椀渀 琀栀攀 戀攀最椀渀渀椀渀最 漀昀  ∀匀椀渀最氀攀 圀栀椀瀀Ⰰ∀ 愀渀搀 昀椀渀椀猀栀 琀栀攀 ∀匀椀渀最氀攀 圀栀椀瀀∀ ⠀䐀愀渀 䈀椀愀渀Ⰰ ☀⌀㈀㄀㤀㌀㐀㬀☀⌀㌀㠀㠀㈀㤀㬀⤀ 戀礀 愀 猀礀洀戀漀氀椀挀 䬀愀漀 戀礀 瀀甀猀栀椀渀最 琀栀攀 氀攀昀琀 瀀愀氀洀 愀渀搀 琀栀攀 氀攀昀琀 欀渀攀攀 昀漀爀眀愀爀搀 椀渀琀漀 瀀漀猀椀琀椀漀渀猀⸀  ਀㰀䤀䴀䜀 匀刀䌀㴀∀琀樀椀开瀀开樀椀渀欀漀渀最搀愀漀挀栀甀椀⸀樀瀀最∀ 䄀䰀吀㴀∀瀀栀漀琀漀Ⰰ 圀栀椀琀攀 䌀爀愀渀攀 匀瀀爀攀愀搀猀 圀椀渀最猀∀ 圀䤀䐀吀䠀㴀㄀㤀㘀 䠀䔀䤀䜀䠀吀㴀㈀㠀㌀ 䄀䰀䤀䜀一㴀爀椀最栀琀㸀 ਀䬀愀漀Ⰰ 琀栀漀甀最栀 愀 琀爀愀挀攀 洀愀礀 戀攀 昀漀甀渀搀 椀渀 夀愀渀最 猀琀礀氀攀 ∀匀氀愀琀攀 䘀氀礀 ⠀☀⌀㈀㘀 ㄀㈀㬀☀⌀㌀㤀㄀㌀㄀㬀☀⌀㈀㐀㌀㌀㔀㬀⤀Ⰰ∀ 栀漀眀攀瘀攀爀Ⰰ 椀琀 椀猀 戀攀琀琀攀爀 椀氀氀甀猀琀爀愀琀攀搀 椀渀 䌀栀攀渀 猀琀礀氀攀✀猀 ∀䬀椀渀最 䬀漀渀最 一愀椀氀猀 䘀椀猀琀∀ ⠀䨀椀渀 䜀愀渀最 䐀愀漀 䌀栀甀椀Ⰰ ☀⌀㌀㜀㌀㈀㤀㬀☀⌀㈀㄀ 㠀㌀㬀☀⌀㈀㔀㘀㈀㌀㬀☀⌀㈀㔀㐀㘀㈀㬀⤀ 椀渀 琀栀攀 猀礀渀挀栀爀漀渀椀挀椀琀礀 漀昀 昀椀猀琀 猀琀爀椀欀攀 愀渀搀 昀漀漀琀 猀琀甀洀瀀⸀㰀⼀倀㸀 ਀㰀倀㸀䄀猀 䔀椀最栀琀 䨀椀渀最猀 搀椀猀瀀氀愀礀 儀椀 猀琀愀琀椀挀愀氀氀礀Ⰰ ∀䘀椀瘀攀 䐀椀爀攀挀琀椀漀渀猀∀ 愀爀攀 甀猀攀搀 琀漀 挀愀爀爀礀 琀栀攀 洀漀琀椀漀渀⸀ ∀䘀椀瘀攀 䐀椀爀攀挀琀椀漀渀猀∀ 搀漀 渀漀琀 樀甀猀琀 洀攀愀渀 猀漀洀攀 猀琀愀琀椀挀 搀椀爀攀挀琀椀漀渀猀Ⰰ 戀甀琀 愀氀猀漀 椀洀瀀氀礀 琀栀攀 漀爀椀攀渀琀愀琀椀漀渀 漀昀 琀栀攀 猀攀氀昀Ⰰ 琀栀攀 昀爀漀渀琀Ⰰ 琀栀攀 戀愀挀欀Ⰰ 琀栀攀 氀攀昀琀Ⰰ 琀栀攀 爀椀最栀琀Ⰰ 愀渀搀 愀戀漀瘀攀 愀氀氀 琀栀攀 挀攀渀琀攀爀⸀ 吀栀攀 攀洀瀀栀愀猀椀猀 漀昀 琀栀攀 漀爀椀攀渀琀愀琀椀漀渀 洀愀礀 猀攀攀洀 琀爀椀瘀椀愀氀Ⰰ 戀甀琀Ⰰ 椀猀 琀栀攀 昀爀漀渀琀 眀栀愀琀 琀栀攀 攀礀攀猀 昀愀挀椀渀最Ⰰ 漀爀 what the body facing? To step forward heel first, are we moving forward or backward? Orientation cannot be done by just to discern the directions, it must also be felt. In feeling, we traverse the No-mind land, where No-mind is a state of mind where mind is no longer there.

In the No-mind environment, the front can be referenced by proper alignment of these three lines: the eyes line which forms the vision, the shoulder line, and the waist (hips) line. In a natural standing position, these three lines are generally parallel to each other; the body is then said to be "straight." The vision is the front, Yang; the invisible part is the back, Yin. Come with the front, there are sides, left and right.

Turning means when all three lines change direction to maintain a "straight" alignment. When these three lines are not parallel, the body is said to be "twisted." As the body "twists," Yin and Yang change. The orientation is lied on the sense of this balance of Yin and Yang of "straight and twist."

By moving forward, moving backward, turning left, and turning right, combining with twisting, spinning, Five Directions describe a dynamic environment where we remain centered.

Doing Tai Chi Chuan, by the ancient Tai Chi Chuan classics, is actually "feet stepping Five Directions and hands wielding Eight Jings" (Jiao Cai Wu Xing, Shou Hui Ba Jing , 腳踩五行,手揮八勁) to deliver the Qi to go where we want it to go. In Tai Chi Chuan, power, as Qi, is "issued from the feet (heels)," (Fa Yu Gen, 發於跟) "controlled on the waist," (Zhu Zai Yu Yao, 主宰於腰) and "displayed in the hands" (Xing Yu Shou, 形於手). To achieve the maximum effect of Qi, Qi must be expanded along the least resistant path. As the Qi issued from the heels travels upward through knees, hips, back, to shoulders, elbows, to wrists, and displayed in hands, Eight Jings are used to open, close, move, and twist the joints to provide a proper channel (body posture) for the Qi to flow through.

As Eight Jings synchronize the body movement with the Qi, the least resistant path is reached when the body movement matches the Qi it delivered. As they do, Eight Jings transcend the whole body into interwoven of Qi, that is shaped by expanding, contracting, twisting of the joints along the lines from heels to the fingertips.

photo, cloud hands 1਀ In Tai Chi Chuan practice, hands are held as "Yin-Yang Hands." The palm represents Yin, the back of a hands represents Yang. "Yin-Yang Hands" is referring to a two hands' relation that is one hand is Yin (the palm), the other hand must be Yang (the back). Yin-Yang Hands are maintained through out the forms; that is, when one hand moves, both hands will move in a synchronized fashion; one hand turns to Yin, then the other hand will turn to Yang at the same time; one hand moves up, the other hand moves down to balance the change. By our nature, the movements of Yin-Yang Hands describe a "ball" where the palms are moved along the surface of it.

When we play the ball by moving the wrists, we are playing a small ball. Normally, we control the ball by moving the shoulders, which will give us a ball about the size of our chests. And even bigger ball can be wielded if we control it from the heels. As Five Directions expand the ball by moving the heels to where Eight Jings are most efficient, with Eight Jings and Five Directions pushing the body to the maximum performance, the movement of Yin-Yang Hands describes the elusive "Tai Chi Ball."

਀㰀䤀䴀䜀 匀刀䌀㴀∀琀樀椀开瀀开礀甀渀猀栀漀甀㈀⸀樀瀀最∀ 䄀䰀吀㴀∀瀀栀漀琀漀Ⰰ 挀氀漀甀搀 栀愀渀搀猀 ㈀∀ 圀䤀䐀吀䠀㴀㈀ 㐀 䠀䔀䤀䜀䠀吀㴀㈀㠀㌀ 䄀䰀䤀䜀一㴀爀椀最栀琀㸀 As the balance of Yin and Yang shows a way to Tai Chi, Tai Chi Chuan is to learn the balance of Yin-Yang Hands to learn the harmony of Yin and Yang. As Yin-Yang Hands form a Tai Chi ball, practicing Tai Chi Chuan is actually learning how to roll the Tai Chi ball. "Tai Chi Ball" is the "perfect" ball. When you find the "Tai Chi Ball," you'll know what Tai Chi Chuan is, the formless form. As Tai Chi Ball transcends the forms, the next step is to transcend the mind.

"Tai Chi is the gateway to Tao(太極乃入道之基)," proclaimed by the Tai Chi Chuan founder Zhang San-Feng (張三丰), lays the intention of the practice, Tai Chi Chuan is a moving meditation. And Tai Chi Chuan traverses the universe by "moving" through it.

Tai Chi Chuan begins with Wu-Chi. Wu-Chi symbolizes the state of non-existence. Tai Chi begins as we breathing in. As the breathing continues, two things happen: the sensation of the breathing and the sensation of the weight. As we feel the sensations, there is mind. Come with mind, there is the body. Initially, the mind and body are not separated, just like a new born baby's mentality--it thinks as it moves. It is the later learning that separates the mind and body. Thus, to unify the mind and body, we have to un-do the learning.

਀㰀䤀䴀䜀 匀刀䌀㴀∀琀樀椀开瀀开礀甀渀猀栀漀甀㌀⸀樀瀀最∀ 䄀䰀吀㴀∀瀀栀漀琀漀Ⰰ 挀氀漀甀搀 栀愀渀搀猀 ㌀∀ 圀䤀䐀吀䠀㴀㈀㄀㐀 䠀䔀䤀䜀䠀吀㴀㈀㠀㌀ 䄀䰀䤀䜀一㴀氀攀昀琀㸀 For no way to anchor a mind, we use breathing to hold our mind. The strategy is as Qi drives the body, mind also rides along. So, eventually they meet. Qi is spawned out of Dan-Tian (丹田). Dan-Tian is a point in the body where breathing is initiated. Located close to the center of gravity, Dan-Tian is also known as the "weight." To move, we have to move the weight first, it is the "control at the waist." Supported by our feet, the weight is rest on either or both feet. The foot that holds the most weight of the body is the anchor point, which depicts a sense of direction: it is inward when we move toward the anchored foot, and it is outward when we move away from the anchored foot. As in term of Yin and Yang, inward is Yin, outward is Yang (陰入陽出). Thus, breathing in is inward, and breathing out is outward. Then, to flow with breathing, we move our bodies inward when we breathe in and outward when breathe out. As the practice continues, our bodies develop a rhythm that is synchronized with breathing.

With mind concentrates on breathing, and breathing drives the body along, we are in the position to make the transformation that unifies the mind and body. Notice how thought disappears when the thought touches its true reality? When the idea of body (mind) and the body are਀椀渀 瀀攀爀昀攀挀琀 栀愀爀洀漀渀礀Ⰰ 琀栀漀甀最栀琀 搀椀猀愀瀀瀀攀愀爀猀⸀ 䴀椀渀搀 爀攀昀氀攀挀琀猀 漀渀氀礀 琀栀攀 瀀甀爀攀 猀攀渀猀攀猀 漀昀 琀栀攀 戀漀搀礀Ⰰ 愀渀搀 琀栀攀 戀漀搀礀 昀氀漀眀猀 眀椀琀栀 戀爀攀愀琀栀椀渀最 漀渀 椀琀猀 漀眀渀⸀ 䘀椀渀愀氀氀礀Ⰰ 愀猀 洀椀渀搀 愀渀搀 戀漀搀礀 洀攀爀最椀渀最 眀椀琀栀 戀爀攀愀琀栀椀渀最Ⰰ 洀椀渀搀 昀漀爀最攀琀猀 猀攀氀昀 愀渀搀 琀栀攀 戀漀搀礀 氀漀猀攀猀 椀琀猀 昀漀爀洀⸀ 䤀渀 愀 洀攀猀猀 眀栀攀爀攀 愀 甀渀椀昀椀攀搀 洀椀渀搀 愀渀搀 戀漀搀礀 瀀爀攀瘀愀椀氀猀Ⰰ 眀攀 昀椀渀搀 琀栀愀琀 眀攀 愀爀攀 渀漀 氀漀渀最攀爀 瀀攀爀昀漀爀洀椀渀最 戀甀琀 戀攀椀渀最 瀀攀爀昀漀爀洀攀搀Ⰰ 愀猀 眀椀琀栀漀甀琀 洀椀渀搀Ⰰ 眀攀 愀爀攀 漀渀氀礀 琀栀攀 洀攀搀椀愀⸀ 吀栀攀 瀀攀爀昀攀挀琀椀漀渀 琀栀愀琀 眀攀 攀砀瀀攀爀椀攀渀挀攀搀 椀猀 渀漀琀 漀甀爀猀 戀甀琀 琀栀攀 洀愀欀椀渀最 漀昀 渀愀琀甀爀攀Ⰰ 琀栀攀 甀氀琀椀洀愀琀攀 爀攀愀氀椀琀礀Ⰰ 吀愀椀 䌀栀椀⸀㰀⼀倀㸀 ਀㰀倀㸀 ਀㰀䤀䴀䜀 匀刀䌀㴀∀琀樀椀开瀀开礀甀渀猀栀漀甀㐀⸀樀瀀最∀ 䄀䰀吀㴀∀瀀栀漀琀漀Ⰰ 䌀氀漀甀搀 䠀愀渀搀猀∀ 圀䤀䐀吀䠀㴀㈀㈀㈀ 䠀䔀䤀䜀䠀吀㴀㈀㜀㈀ 䄀䰀䤀䜀一㴀爀椀最栀琀㸀 ਀䄀猀 吀愀椀 䌀栀椀 䌀栀甀愀渀 瀀爀愀挀琀椀挀攀 洀漀瘀攀猀 琀栀爀漀甀最栀 琀栀攀 椀渀椀琀椀愀氀 猀琀愀最攀 漀昀 昀漀爀洀猀 琀漀 琀栀攀 猀琀愀琀攀 漀昀 攀瘀攀爀ⴀ瀀攀爀瀀攀琀甀愀琀椀渀最 吀愀椀 䌀栀椀 䈀愀氀氀 琀漀 琀栀攀 渀愀琀甀爀愀氀 猀琀愀琀攀 漀昀 洀椀渀搀 愀渀搀 戀漀搀礀Ⰰ 渀愀琀甀爀攀 琀爀甀攀猀⸀ 䄀猀 琀栀攀 戀漀搀礀 洀漀瘀攀猀 愀挀挀漀爀搀椀渀最 琀漀 椀琀猀 渀愀琀甀爀攀Ⰰ 洀椀渀搀 甀渀ⴀ氀攀愀爀渀猀 椀琀猀攀氀昀 愀渀搀 爀攀ⴀ氀攀愀爀渀猀 琀栀攀 琀爀甀攀 攀猀猀攀渀挀攀 漀昀 渀愀琀甀爀攀Ⰰ 琀栀甀猀Ⰰ 戀攀挀漀洀攀猀 a No-mind. With No-mind, the body moves with its natural agility and grace. As mind and body merge into a unified mind and body, where mind "sees," and the body "does" spontaneously. In Tai Chi Ball, Qi is "here" and "there" all at the same time. Tai Chi Chuan transcends the universe into Unism. As body moves naturally coordinated, mind merges into Unism; mind forgets self, and body loses its form. When we reach the stage of "no body and no mind," all is left is Unism itself, we will have entered the realm of Tai Chi. Tai Chi Chuan is the "ultimate fist."਀㰀䤀䴀䜀 匀刀䌀㴀∀⸀⸀⼀猀挀栀⼀猀挀栀开最开琀搀爀⸀最椀昀∀ 圀䤀䐀吀䠀㴀㈀  䠀䔀䤀䜀䠀吀㴀㈀  䄀䰀䤀䜀一㴀愀戀猀洀椀搀搀氀攀㸀㰀⼀倀㸀㰀⼀䘀伀一吀㸀 ਀ऀऀ㰀⼀吀䐀㸀 ਀ऀ㰀⼀吀䄀䈀䰀䔀㸀 ਀

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