Posture Differences


Sources: Ms. Li Min Di and Dr. Mei Ying Sheng
Compiled by: Ted W. Knecht


There is a specific and special meaning behind the names of all Tai Ji postures. A name given to a posture is either based on the overall shape of the move or its primary function. For example, the posture, "White Crane Spreads Wing (Bai He Liang Chi-Photo 1)", is considered to take on a specific pose of a crane; while the posture, "Step Forward, Deflect, Parry, and Punch (Jin Bu Ban Lan Chui)", reflects the actual mechanical function of that specific posture. Each posture in a martial art routine has been given a name in order to allow the student to easily remember and to master the techniques. This is based upon the principle of imagery. Consequently, if the name of a specific posture is not based on the principle of imagery, the student will have no way of understanding the meaning of the technique and would also loose the full meaning of the intent developed by the master(s) who created the technique. The book, The Complete Principle and Theory of Taijiquan (CPTT), was published early in this century and has greatly influenced the Tai Ji community throughout the world. For the last several decades the book has been a valuable reference for the study of Yang style Taijiquan; moreover, the author of the book was Late Grandmaster Yang Cheng Fu which gives it more authority and credibility. Master Li Chun Nian, also known as Li Ya Qian, followed Grandmaster Yang for over ten years and spread the art of Yang style Taijiquan for over 60 years throughout China. Master Li often said to his students that the CPTT was authored by Grandmaster Yang, but the actual writer of the book was Zheng Man Qing. Zheng Man Qing was a very cultured man and wrote the book based on the oral transmissions of Grandmaster Yang. However, Master Zheng had only been with Grandmaster Yang for a short period of time when the book was compiled and he had yet to fully comprehend the complete theory of Yang style Taijiquan which Grandmaster Yang was teaching. When the book was written, many personal ideas and thoughts were added which lead to various mistakes in the text. The most precious treasure from the book, however, is the photographs of Grandmaster Yang's postures... (Extracted from a commentary of the CPTT by Li Chun Nian). Before the death of Master Li, there was a debate as to the meaning of several posture names and applications from within the book. As an alternative, he offered a much more precise explanation to these postures. The following is the viewpoint of Master Li and is being offered to the Tai Ji community for reference and further development of Taijiquan. There are four postures which Master Li was concerned as to the actual name of the posture. The four are as follows: "Embrace Tiger and Return to the Mountain (Bao Hu Gui Shan)", "Turn Body White Snake Sticks Out Tongue (Zhuan Shen Bai She Tu Xin)", "High Pat on Horse Carrying Threading Palm (Gao Tai Ma Dai Chuan Zhang)", and "Brush Knee with Twist Step (Lou Xi Ao Bu)".

Master Li considered the word, "Embrace", in "Embrace Tiger and Return to the Mountain" to actually mean "Panther". The Chinese phonetic sound "Bao" can either mean "to embrace (carry)" or "Panther" based upon the tone. Therefore, the posture could be rewritten to mean "Panther and Tiger Return to the Mountain". The explanation of the application in the CPTT is described as follows: "If the enemy attacks from the rear or the right and without knowing if a punch or kick is being issued, immediately turn the waist and separate the hands. Step out to the right to form a right bow stance. The right hand rushes to the right with the waist leading the motion; the right hand then embraces behind like holding a tiger. The left hand then pushes to the front. If the enemy's punch or kick is too fast and can not be held (embraced), but the attack can be brushed away and then struck with a palm; this is then followed immediately by "rollback", "press", and "push" as performed in "Grasp Sparrow's Tail." This explaination completely confuses the movement and application of the posture. In the actual movement, one can see that there is no such embracing action. If the enemy were to attack from the right rear and I could not see if a punch or kick was issued, then how could I simply embrace the attacker's waist? When the book speaks of the application, it uses the terms such as "brush", "embrace", "unable to embrace", and "the left hand rolls back, press, and then push". Within all of this, where is the true meaning of the application? After reading the explaination, it leaves the reader feeling confused. Master Li states that the movement is actually a pouncing attack to the right rear with the left hand at face height and the right hand at chest level. The image is like a panther and tiger returning to a mountain. The application is as follows: Should an opponent attack towards my upper body from the right rear, I would turn my body in that direction and then use my two hands to either adhere to the opponent's right arm or right side of the body to intercept the attack; whereupon, I would continue the motion to overwhelm (pounce) the opponent like a panther and tiger pouncing up a mountain (Photo 2). This technique is very similar to the tiger posture in Xing Yi Quan (Form and Will Fist), but when the technique is practiced in Taijiquan, it is performed slow and even; therefore, only the intent of pouncing occurs. One does not actually need to jump or pounce in the application. The intent, again, should be like a panther and not as an embracing action. Within the explaination of the application, it also adds that "roll back, press, and push" are used to check the attacker. "Grasp Sparrow's Tail (Lan Que Wei)" is attached on to the end of this posture but is a completely different both in posture and application from "Panther and Tiger Return to the Mountain". Because this posture is performed at an angle, it should be called "Diagonal Grasps Sparrow's Tail (Xie Lan Que Wei)" rather than be incorporated into the single posture of "Panther and Tiger Return to the Mountain".

In regards to the posture, "Turn Body White Snake Sticks Out Tongue", the book indicates that this technique is identical to the posture, "Turn Around with Body Punch (Fan Shen Bie Shen Chui)". It also states that the movement and application of both postures are identical; and the only difference between the two is that "Turn Around with Body Punch" uses a fist to attack, while "Turn Body White Snake Sticks Out Tongue" uses a palm (Photo 3 and 4). While Master Li was teaching in Si Chuan Province, he renamed this posture "Turn Around with Body Palm". He felt this expressed the true nature and meaning of the technique. In order to call this posture "White Snake Sticks Out Tongue", the movement should contain the image of a snake sticking out it's tongue; however, the posture does not contain this image nor does the application exhibit a piercing outward action as such. In the Yang style there is a posture called "High Pat on Horse Carrying Threading Palm". The technique called "Threading Palm" exhibits the image of a snake sticking out it's tongue both in movement and in application; consequently, this posture should ideally be called "White Snake Sticks Out Tongue". The right palm is below like the lower lip of a snake while the left palm threads outward at neck level. The application is an attack toward the throat of an opponent using the fingers of the left palm (Photo 5). The image resembles a venomous snake shooting out it's poison. This technique is very dangerous and should actually be called "White Snake Sticks Out Tongue" to describe it in a more detailed and precise manner; however, the book still considers the posture to be "High Pat on Horse Carrying Threading Palm". The reason why this has occurred is unknown. Speaking in regards to the overall movement, "High Pat on Horse Carrying Threading Palm", should be separated into two distinct postures. In the "108 Posture Yang style routine", "High Pat on Horse" is performed twice and "Threading Palm" once. This is a posture of two different techniques. Subsequently, "White Snake Sticks Out Tongue" is a more accurate name.

In regards to the posture, "Brush Knee with Twist Step", when the left (right) foot is forward, the left (right) palm brushes the left (right) knee and the right (left) palm passes the ear and strikes out to the front (Photo 6 and 7). The name of the posture only describes the brushing action of one palm, but not the attacking motion of the other. During the years Master Li was teaching Taijiquan, he renamed the posture "Brush Knee with Twist Step and Palm (Lou Xi Ao Bu Zhang)". With the addition of this one word, it makes the meaning of the movement much more clearer. The discussion described above is the opinion of Master Li Chun Nian soon before passing away. Because of the limits of this article, other questions concerning the text can not be raised at this time. In order to spread Tai Ji to the world, it is essential to advance further research and perfect the art of Taijiquan. This is the reason and goal for writing this article.

Master Li Chun Nian was one of Grandmaster Yang Cheng Fu highest ranking disciples. Li Min Di is the youngest daughter of Master Li and presently resides in the city of Cheng Du, Si Chuan Province. Li Chun Nian was born in the Jiao He District of Hebei Province in 1894. He was greatly influenced by the martial arts in his community while growing up. He studied Shaolin Quan from Master Chen Dian Fu. He was later introduced to the art of Yang style Taijiquan by Master Fu Hai Tian. Because of Li Chun Nian's great talent in Tai Ji, Master Fu suggested he study with Yang Cheng Fu to improve his skills. When Li was approximately 20 years old, he moved to Beijing to study with Grandmaster Yang Cheng Fu. The relationship between the two was like father and son; consequently, Grandmaster Yang was very strict towards Li and made great demands when it came to the study of Yang style Taijiquan. He would practice a single movement over a thousand time until his master was completely satisfied. In order to perfect his stance work, he would ask his classmates to press down on his knees and thighs to prevent his stance from rising up during the Tai Ji walking exercise (Tai Ji Cat Walk). When Grandmaster Yang taught push hands, both of his arms were like metal hidden in cotton. Most students who pushed hands with Grandmaster Yang could only endure for a few minutes before their arms and legs were completely exhausted. Li, however, was able to last for several tens of minutes even though drenched with sweat. Li practiced no matter if it was day or night. He often awoke in the middle of the night, even though it might have been in the cold of winter, to perfect the technique he was dreaming about while asleep. In 1928 Grandmaster Yang had received an invitation to teach at the Central Guo Shu Academy in the city of Nan Jing. Li was unable to go with Grandmaster Yang because of problems at home; however, as soon as the problems were solved, he sold some of his personal belongings to buy a train ticket to Nan Jing. In 1929 Li was left in charge of the Taijiquan classes at the academy while Grandmaster Yang went to the city of Hang Zhou and later to Guang Dong Province. Master Li moved to the city of Cheng Du in Si Chuan Province to avoid the Japanese Occupation occurring in Nan Jing in the Autumn of 1938. In 1939, Master Li was put in charge of the Guo Min Dang (Nationalist) Army Taijiquan Academy where he trained many high ranking generals and soldiers. After Liberation in 1949, Master Li became a coach for the Tai Ji Athletic Association in the city of Cheng Du, Si Chuan Province. He and his students represented the southwest regional martial arts branch in several national martial arts tournaments from 1953 to 1957. Master Li received many outstanding awards at these events. Master Li remained active until 1975 when he was diagnosed with cancer. In 1976 he passed away in the city of Cheng Du at the age of 83. On the wall of his bedroom he hung a calligraphy scroll which he wrote to inspire himself and others to advance in the study of Taijiquan. The phrase went as follows: "One must always remember how Grandmaster Yang practiced Taijiquan and Push Hands; only in this way can one's skill level be improved."

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