By Chen Zhaokui and Chao Zhenmin, translated by Lo Juinn Cherng, courtesy by 陈瑜太极网, cytjw-cn (思雨)  

陈式太极拳的特点 

In summary, the fundamental principle of Chen-style Tai Chi Chuan in terms of combat is to achieve: aligning oneself with the force (顺劲) while causing the opponent to be against the force (背劲). What does it mean to align with the force? What does it mean to cause the opponent to be against the force? Put simply: Aligning with the force means maintaining one's center of gravity balanced and stable, ensuring one's movements are agile and effortless, and positioning oneself advantageously. Causing the opponent to be against the force disrupts their equilibrium, their limbs may be seized or restrained, their movements become restricted, and they find themselves in a disadvantageous position.

How can one align with the force while avoiding being against the force? Generally, the following are required: employ reeling force or shaking force when exerting force. All movements throughout the body should be coordinated (harmonized and unified), whether advancing or retreating, or transitioning the position of the center of gravity, with a clear distinction between substantial and insubstantial, capable of neutralizing the opponent's force, sinking the energy to the dantian, and possessing a “drumming”  force. (Refer to explanations below.)

"Reeling force," also referred to as Chán Jìn, constitutes a central aspect of Chen-style Tai Chi Chuan. Essentially, it embodies a method and pathway for applying force. This involves all movements throughout the body following curved trajectories, maintaining seamless continuity, and tightly coordinating with each other. The waist serves as the central pivot point for all actions, ensuring smooth synchronization. As a result, this generates a force application pathway characterized by interconnected curves of varying radii, resembling a spiral. It's essential to understand that "reeling force" is a metaphorical term and does not imply any other forms of “energy” spiraling around the limbs.

Why operate in this manner? Let me provide some simple examples to illustrate:

In everyday life, natural movements typically follow straight lines from the starting point directly to the endpoint, as this conserves time and energy most efficiently. During regular bodily movements or when handling objects, one might not notice any deficiencies or inconveniences. However, in certain situations, issues may arise. For instance, when forcefully pushing something forward and suddenly encountering empty space (due to excessive force causing the object to be pushed away or swiftly moved by external forces), the entire body may lose balance momentarily. While lighter individuals might rely on the unconditional reflex adjustments of the vestibular system to avoid falling (the function of balance can be strengthened through training and conditioning related reflexes, although its foundation lies in unconditional reflexes), heavier individuals might inevitably stumble. From a combat perspective, when  force is applied on a point fails to connect, resulting in disjointed (not continous) application of force,, it's referred to as  “broken force”. When bodily movements fail to coordinate seamlessly, and balance isn't maintained effectively, it's termed  “scattered force”. Stiffness in exerting force, inability to adapt spontaneously, or maintaining continuity, is labeled as  “stiffined force”. “Broken force”, “scattered force”, and “stiffened force”, all place one at a disadvantage, falling into the realm of being “against the force”.

When locked in contact with an opponent, applying force in the direction of their applied pressure on the contact point while adding lateral force following the momentum may cause their force direction to change. This can render their application of force ineffective, resulting in overall bodily imbalance (known as “broken force” and  “scattered force”). This principle, based on the directional relationship, is commonly known as "horizontal force breaking vertical force." Additionally, to avoid “broken force” and  “scattered force”, the opponent must alter the direction of their original force application on the contact point to seek victory. They must track the and follow the force applied, adjusting their own force along curved paths. This reciprocal adaptation of force leads to continuous force application and force neutralisation. Over time, this approach forms the force pathways known as "silk-reeling force." The silk-reeling force can be used both for attack and defense. Moreover, a single movement can serve both purposes simultaneously. When attacking, one observes the opponent's point of force, follows and adjusts accordingly. When advancing, one adapts to opponent’s changes at the point of force to lead them into emptiness. For example, if I use my arm to deflect (“Peng”) the opponent's force, and they press from the side and bypass my hand (assuming the point of force was originally on the hand), I then relax my hand and switch to using my elbow (changing  the point of force). If they bypass again, I further relax  my elbow and use my upper arm, and so forth, until using the shoulder, hip, or rear elbow (the other elbow striking from behind), and so on. From this single movement, from the hand to the shoulder, to the back, and the hip along this line, each part can become a point of force. Not only can they change as described above, but they can also complement each other. When relaxing the shoulder and elbow, one can use the hand or arm to exert force and gain victory. In short, it all depends on the opponent's movements, adapting spontaneously according to the situation. Similarly during defense, for instance, when in a defensive position, intercept the opponent's arm (using the same side arm to intercept from the side) and pivot from the waist, rotating along with the opponent's attack (simultaneously shifting the center of gravity in the same direction) the arm employs “peng”, sinking and rolling outward, bypassing the opponent's point of force. As the opponent follows and changes their point of force, I continue to yield accordingly. In suitable situations, such as when the opponent sticks and follows too closely, I unexpectedly yield in the opposite direction, causing the opponent to be exposed on the other side. In reality, this situation encompasses many variations and possibilities. To keep it concise, I have omitted additional details. Additionally, if moving in spirals (silk-reeling force employed) and one’s force has not yet dispersed or ended, during a confrontation, even if the opponent’s yields in the way described above, the hand, elbow, etc has not lost it’s effectiveness as one is still able to adapt to the situation and even issue force to defeat the opponent. Even without further adaptations it still can serve the purpose of sealing the opponent’s movement for defensive purposes. The key for effectiveness is dependant on whether one’s usage of force is broken or scattered as described above.

In reality, when two opponents are in physical contact during a confrontation, each utilizes both arms to control the opponent, resulting in the simultaneous presence of two or more points of force. Employing tactics like diversion and feinting, each side adapts to the other, making the exchange of real and deceptive moves quite intricate. These complexities cannot be fully elucidated in just a few words. Moreover, with mastery of the art, skilled practitioners can exert force precisely and effectively, utilizing just the right amount of force at specific points. A master can even, in a split second of contact with the opponent, neutralize the opponent's force and counterattack swiftly, either restraining or striking the opponent. Sometimes, this may not even involve two separate actions; a single movement can serve both purposes.

Apart from bypassing the opponent's points of force to render them ineffective or breaking their force, another tactic involves entangling and controlling the opponent's arm, interrupting their rotation to disrupt their force. Whenever executing a movement, if one can pivot from the waist, through the torso, shoulder, elbow, and down to the fingertips, the force applied remains continuous and unbroken. However, if any part cannot pivot with the movement, such as the shoulder being stuck, then the force from the elbow to the fingertips is interrupted, and one can be controlled. This method, known as "intercepting/breaking qi," is employed in Chen-style Tai Chi Chuan, and similar principles apply accordingly.

In Chen-style Tai Chi Chuan, every technique and movement of every part of the body involves the application of silk-reeling force, without exception. However, it's crucial to ensure that the movements of the entire body are properly coordinated. The application of silk-reeling force doesn't always require large movements; sometimes, the difference between applying it and not applying it may appear minimal from the outside. As long as it's executed appropriately, it's effective. Unnecessary swaying and rotation can be detrimental rather than beneficial.

Building upon the foundation of silk-reeling force, actions that involve a rapid and forceful release of energy, aimed at injuring or affecting the opponent, are referred to as "shaking force". The path of movement in shaking force is identical to that of silk-reeling force. However, due to the swift application of force, there are slight differences in breathing coordination. When executing movements with silk-reeling force, typically exhale during “Peng” actions and inhale during transitions, maintaining even and steady breathing, purely natural. In contrast, when employing shaking force, such as in actions like “Yan Shou Gong Chui”, “Bi Shen Chui”, or “Chuan Xin Zhou”, a quick exhalation is necessary. This exhalation naturally presses the  abdomen downwards, rapidly lowering the center of gravity, swiftly rotating the waist and spine, compelling the movement of the arms, resulting in smaller and quicker changes in force application.

Under normal circumstances, silk-reeling force often emphasizes a "seizing/controlling" action, while shaking force emphasizes a "striking" or "issuing" action. However, certain techniques within the forms can incorporate both silk-reeling force, loosening, and issuing force, while others may utilize shaking force, such as the change of technique in the right arm during a single variation of a forward step. This is entirely determined by the situation between both combatants and cannot be strictly categorized. During practice, practitioners can certainly interchange between these two forces in forms, without adhering strictly to one type.

Furthermore, to maintain balance and stability, it's essential to ensure that one's center of gravity remains above the vertical line of support when standing and moving. This involves not only maintaining the tailbone in alignment, sinking the qi down to the dantian, and expanding the chest while drawing back the back but also allowing the center of gravity to flexibly adjust in response to changes in the situation (such as when in opposition with an opponent), evading the opponent's points of force. When both feet are stationary, one should be able to flexibly shift between the two support points, avoiding stiffness at one point—this is what's commonly referred to as "single weighting." But how should one proceed when changing positions and footwork during movement? The principle is quite simple: one must ensure that the center of gravity remains stably positioned above the vertical line of support (the foot that's on the ground). For example, in the "Laojia Yilu" of Chen-style Tai Chi, during the opening movement in the middle stance, one must first stabilize the center of gravity on the right leg before the left leg can move forward. Similarly, in movements like "Yan shou Gong Quan " followed by "Liu Feng Si Bi", when transitioning into a turning movement, the left foot must be firmly planted before the right foot can follow. This principle applies to all forward steps, changes of stance, and even retreats (such as "Dao Juan Gong"). The principle is quite simple: the center of gravity cannot remain unstable from the vertical line of support; otherwise, balance is lost. The questions lies in whether during stepping will cause one to be vulnerable to an opponent. The answer is: it won’t. This is because all footwork adapts according to the opponent's movements. If advancing is necessary, one advances; if retreating is necessary, one retreats. The interplay between emptiness and fullness is highly flexible, not rigidly prescribed. It's about maneuvering to gain a more advantageous position by adjusting the movement of the support points.  Furthermore, when shifting the center of gravity, it's crucial to maintain stability “holding down the crotch force” and, moving along a small spiral pathway - gradually lowering the center of gravity as one moves, then gradually elevating it again halfway through the movement, ensuring stability throughout.

Apart from the aforementioned stepping, there are several other footwork techniques such the shuttling (穿梭) leaps and "Guo Bian Pao" (裹鞭炮) leaps. Even after leaping, the stability of the center of gravity is maintained through coordinated body movements. Additionally, when executing moves like "You Deng Yi Gen Jie Yan Shou Gong Quan" (右蹬一跟接掩手肱拳) or "Shi Zi Dan Bai Jiao" (十字单摆脚) followed by "Zhi Dang Chui" (指裆捶), the center of gravity swiftly shifts from the left leg, which lifts entirely to support the right leg (the dantian force rapidly rotating downward from the upper left side to the lower right side). The right foot then stomps down while suspended in the air. Apart from maintaining balance, this movement also serves to injure the opponent. Another example is during pushing hands when the crotch is fastened and taking a “mounted” step to go in close with the opponent. As the opponent moves to find a favourable position, one keeps all parts above the knee unmoving and use small “broken” steps to advance, improving or maintaining a favourable position. All of these actions fall under the concept of shifting pivot points to maintain balance and retain advantageous positions. 

In a confrontation between two parties, the choice of techniques should be dictated by the specific situation at hand, as previously mentioned. Furthermore, the variations in techniques and tactics are also determined by their inherent interconnections. For example, using Lu (luring in) technique to draw the opponent in, when the opponent applies force with a high position as they approach me, I can lift them upwards; if they're low, I can pull them downwards. Lifting them upwards and taking a step inwards can neutralize an opponents Kao (lean), potentially causing them to fall to my left or right by leveraging their momentum. Alternatively, pulling them downwards can counteract their Ji(pushing) force, intercepting their right hand's momentum and potentially causing them to fall forward. The application of throwing, grappling, striking, and leveraging techniques is adaptable, contingent upon specific conditions. Their interrelationships are determined solely by the changing objective circumstances. Studying techniques requires a clear understanding of their underlying objective principles. Regarding "气沉丹田，气宜鼓荡" ("Qi sinks to the Dantian, Qi should be like a Vibrant Drum"), it entails loosening the muscles throughout the body while keeping the lower abdomen firm and expanded. Each movement is initiated from the Dantian and coordinated with the body's rotation, enabling swift changes in force throughout the body. The complete process of exerting force will be elaborated on in the subsequent text.

Based on the above, it can be understood that the crucial aspect of forms in martial arts does not lie solely in maintaining stable postures but rather in the execution of various movements. These movements must fully adhere to the principles mentioned above in order to achieve their intended effectiveness. Furthermore, in push hands practice, strict adherence to these principles is essential for the application of techniques, where the aim is to use tactics to overcome the opponent. The aforementioned points provide a brief overview of the characteristics of Chen-style Tai Chi Chuan from the perspective of martial techniques.

Bibliography:

Chen Zhaokui and Chao Zhenmin (2011). Chenshi Taijiquan Duanlian Jingyan Tan. In: Chen Yu: Taiji Rensheng (pp. 55-76).

Contact details Beijing:

官方微信平台：家传功夫架

官方网站：陈瑜太极网

官方微信号：cytjw-cn (思雨)