A unique property of Yiquan is that it can be practiced at any time, at any place, and by anyone in any age group.  It is simple, easy to learn and understand, and is practical for improving health, for self-defense, and for studying the true essence of martial arts.  This article is an outline of my experience of using relaxed-standing (Zhan Zhuang, 站桩) to cultivate the balanced-force (Hun Yuan Li, 浑元力).  While the training methods and procedures are based on the teachings of Master Yao ChengRong (姚承荣老师; Beijing Yiquan Martial Arts Academy, http://www.yiquan-zywg.com/english/home.php), all errors and mistakes are mine.

 

In Yiquan Beginner’s Guide, we have outlined a method of Yiquan training.  We have emphasized the importance of merging and synthesizing all categories of Yiquan training; relaxed-standing (Zhan Zhuang, 站桩), trial-and-feel (Shi Li, 试力), footwork (Zou Bu, 走步), grunting (Shi Sheng, 试声), power-discharge (Fa Li, 发力), push-hands (Tui Shou, 推手), and sparring (San Shou, 散手) must be integrated.  And, throughout Yiquan training, mind-intent (Yi, 意) is the primary directing/guiding factor; your thinking/visualization determines your feel and your feel determines your action.     

 

To start Yiquan training, you should decide which maneuver/technique is to be made into your “habit”, to be trained to become your spontaneous reflex; you must be selective.  Then set realistic goals that you know you can achieve; focus on one realistic goal at a time by breaking down big goals into small stages.  And you should award yourself for achieving each goal to encourage further development.  In this article, we will illustrate this procedure with the hold/press posture (Fu An Zhuang, 扶按桩).

 

The hold/press posture (Fu An Zhuang, 扶按桩) is a basic relaxed-standing posture for improving health and push-hands (Tui Shou, 推手).  From the perspective of seeking/sensing/perceiving the six directional balanced forces (forward/backward, upward/downward, and laterally open/close; Liu Mian Mo Li, 六面摸力) the dominant dimension for this posture is the forward/backward dimension.

 

 

Paralell Step hold/press Posture (Ping Bu Fu An Zhuang, 平步扶按桩)

 

Stand erect, feet shoulder width apart; with the outside edges of your feet approximately parallel to each other (toes turned slightly inward).  Bend the knees slightly (Si Qu Fei Zhi, 似曲非直); visualize holding a balloon between your knees.  Imagine applying inward pressure below your knees and outward pressure above your knees (Kai He Zheng Li, 开合争力).  Relax the lower back filling out the small of the back as if you are sitting on a high stool.  Keep your spine erect and imagine a string pulling the top of your head upwards, tuck-in the chin slightly as if holding a small balloon between the chin and the neck.  The head and neck should be held erect; visualize stretching imaginary springs between your head and feet, lengthening your spine (Shang Xia Zheng Li, 上下争力).  Relax the facial muscles; almost smile.  Direct your eyes to an imaginary distant object; imagine looking through a light fog.  Lightly touch the teeth together.  Part the mouth slightly.   Allow the tongue to lie naturally; do not be concerned with it touching any particular place in the mouth.  Keep your shoulders down and relaxed, lift arms up, palms facing down, fingers pointing forward, hands higher than your elbows.  Keep your hands two to three fists width apart about a foot in front of your hips, below your shoulders, and above your navel.  Separate your fingers; visualize resting your hands and forearms (holding and pressing down; Fu An, 扶按) on a floating log.  Keep relaxed and do not use unnecessary strength to maintain your posture.  Use this parallel step posture for Stage One and Stage Two training.

 

 

Stage One (Jing Zhong Qiu Song, 静中求松):  Acquire whole-body relaxation (Song, 松) from stillness (Jing, 静).

 

Visualize holding fragile paper balloons in your armpits, between your arms, under your chin, and between your knees.  Applying too much force will break them while too little force will result in dropping them.  Use skeletal support to maintain your frame (Jian Jia, 肩架) with minimum muscular tension; do not be conscious of your breathing; let your breathing be natural and instinctive; mentally, simultaneously, be mindful and detached.  However, total relaxation and absolute stillness in relaxed-standing training will lead to “empty-standing” (Kong Zhuang, 空桩).  On the other hand, if you use your musculature to maintain your posture with unnecessary tension and rigidity, turning your relaxed-standing into an endurance of strength contest, your relaxed-standing training becomes “dead-standing” (Si Zhuang, 死桩).  Thus, you must use relaxation/tension exchange appropriately (Song Er Bu Xie, 松而不懈; Jin Er Bu Jiang, 紧而不僵); proper comprehension of relaxation and tension is necessary to mentally induce the motion-in-stillness (Jing Zhong Zhi Dong, 静中之动) into your relaxed-standing training.  Use the following visualization (directed mental imagery) and mind-intent to guide (Yi Yi Ling Li, 以意领力) your relaxation/tension exchange:                  

 

1.      Visualize holding an imaginary ant under each foot.  Imagine the ants attempt to escape backwards, shift your weight backward to prevent them from escaping; keep your toes grasping the ground.  Then imagine them trying to escape forwards, shift your weight forward to keep them from going forward; keep your heels on the ground.  Do this mentally induced intentional forward/backward shift with minimal external movement.  If the movement is too big, the imaginary ants can easily escape; you can loose your balance.  Keep the movement small so that you are always in perfect balance.  Visualize stepping down too heavily will kill the imaginary ants; lifting your heels will let them run away.  Keep your heels on the ground while your weight shifts upward/forward and downward/backward.

 

2.      Visualize standing in chest deep water with your hands and forearms resting on top of a floating log.  As the water flows in from the front, shift your weight forward to meet it; press downward on the floating log as if lifting yourself upwards; twist your knees inwards and compress the imaginary spring between your knees (Nei Luo Xuan, 内螺旋).  As the water flows in from your back, shift your weight backward to meet it; release the downward press (as if to lift the log upwards slightly), twist your knees outwards and stretch the imaginary springs between your knees (Wai Luo Xuan, 外螺旋), sinking your body backwards and downwards.  Do not put too much weight on your heels.  Relaxation is achieved when you are simultaneously mindful and detached; when you become one with the imaginary surrounding water, not knowing whether the water is moving your body or if you are moving the water. 

 

Do these motionless-movement (Bu Dong Zhi Dong, 不动之动) exercises with “passive” mind-intent and with no brute strength (Yong Yi Bu Yong Li, 用意不用力).  Keep the magnitude of your motion small.

 

 

Stage Two (Song Zhong Qiu Zheng, 松中求整):  Develop whole-body unity (Zheng Li, 整力) from relaxation (Song, 松).  Synthesize and harmonize mind-intent and force (Yi Dao Li Dao, 意到力到).

 

The primary goal is to perceive and develop the “path of force propagation” (Xun Zhao Jing Lu, 寻找劲路) through your properly aligned and connected whole-body (Lian Tong Yi Guan, 连通一贯), to take up power from the ground (Li Cong Di Qi, 力从地起).  In cultivating and nurturing this whole-body “balanced-force” (Hun Yuan Li, 浑元力), you must adhere to:  using curved external physical form to deliver linear force (Xing Qu Li Zhi, 形曲力直); moving each body element only as part of your whole-body movement (Yi Dong Wu Bu Dong, 一动无不动); and incorporating the natural winding of your musculature, twisting your core and limbs concurrently (Yi Dong Quan Shen Zhuan, 一动全身转).  The primary measure use to synthesizing your whole-body is the mentally induced “isometric-opposing-force” pairs (Nei Wai Zheng Li, 内外争力).

 

1.      Visualize standing in chest deep water with your hands and forearms resting on top of a floating log.  Visualize imaginary springs connecting your fingers to a distant wall, connecting your wrists, and connecting your wrists to your neck.  As the imaginary water flows in from your back, shift your weight backward to meet the pressure, sink your body downward and pull the imaginary springs and the log backward, downward, and outward, twist knees outwards, stretch the imaginary spring between your knees.  Immediately, as the imaginary water flows from the front, shift your weight forward to meet its pressure, compress the imaginary springs towards the front wall and twist knees inwards, compress the imaginary spring between your knees; push the log forward, upward, and inward (lift the log upwards).  Sense the forward/backward, upward/downward, and lateral open/close forces (Liu Mian Mo Li, 六面摸力).  Shift your entire body to and fro to feel and resist the imaginary water motion (Ti Yan Zu Li, 体验阻力).  Eventually, do this with mental tranquility, your mind between conscious-ness and subconscious-ness, simultaneously mindful and detached.

 

2.   When you can perceive and feel the sensation of the resistance of the imaginary water on your body, you can add arms, legs and head movement to integrate your neuromuscular coordination into your whole-body movements.  When you shift your weight backward, simultaneously stretch the imaginary springs connecting your fingers to the distant wall, compress the springs between your wrists and neck, and stretch the imaginary connecting spring between your wrists and knees.  Pull your hands backward, upward, and outward with outward twisting of your limbs (Wai Luo Xuan, 外螺旋).  When you shift your weight forward, simultaneously compress the imaginary springs connecting your fingers to the distant wall, stretch the springs between your wrists and neck, and compress the imaginary spring between your wrists and knees.  Push your hands forward, downward, and inward with inward twisting of your limbs (Nei Luo Xuan, 内螺旋).  This mentally induced intentional movement should be very small; as you pull your hands backward, upward, and outward, visualize your palms remain touching the surface of the water; as you push your hands forward, downward, and inward, visualize submerging you hands only to the back of your hands.

 

Initially, do these motionless-movement exercises slowly to feel and reinforce the sensation of the sequential overlapping concurrent movement of your joints and body elements in propagating the force from the ground to your hands (Huan Yun Zhong Qiu, 缓运中求).  “Actively”, synthesize your neuromuscular coordination (Ji Rou Ru Yi, 肌肉如一) and merge all force components as one (Quan Shen Li Yi, 全身力一).  In the beginning, you may focus your awareness, attention, and emphasis on any one force direction, but you should not neglect any of the other directions; althought one direction may be dominant; forces in all directions are always present (Liu Mian Tong Shi Mo Li, 六面同时摸力), simultaneously.  When practicing switching your focus from one dominant direction to another, it should be done at random; there should be no conscious sequence or pattern (Da Luan Cheng Xu, 打乱程序).  The ideal mental state is to be aware of all directions and no direction in particular; you are simultaneously mindful and detached; mind-intent and force become inseparable, indistinguishable (Yi Li Bu Fen, 意力不分).

 

When you have mastered these two stages, you can proceed to training with the small step hold/press posture described in Part II of this article.