The Dao De Jing as a Guide to Daoist Meditation – Part 8

 The Dao De Jing as a Guide to Daoist Meditation – Part 8

By Tom Bisio

March 26, 2026

Note: This is the 8th part of Tom Bisio's ground breaking series on the Dao De Jing and how use it as meditation. The previous parts may be found below. 

In this eighth part of a series of posts that examine the Dao De Jing as a guide to Daoist Meditation, the analysis of these chapters leans heavily on He Shang Gong’s (Ho Shang Kung) commentary on the text. He Shang Gong’s chapter headings read like instructions or guideposts for the practice of Daoist meditation, a bit like a “how to” book. In this post we look at Chapter 21: How to Return to Empty the Heart and Chapter 26: How to Lay Stress on De.

Unless otherwise indicated all Dao De Jing quotes are from: Ho-Shang-Kung’s Commentary on Lao-Tse, translated and annotated by Eduard Erkes. Switzerland: Press of Artibus Asiae Ascona (First published in Journal Artibus Saiae 1950). I highly recommend this translation and commentary if you can obtain a copy.

Dao De Jing Chapter 21: How to Empty the Heart

The endurance of great Te

Tao’s relation to the beings is alone ecstatic, alone abstruse.

In ecstasy and abstruseness it is an image.

In ecstasy and abstruseness it is a being.

In deepness and darkness it has the essence.

Its essence is very real.

Within itself it has truth.

From antiquity till today its name does not vanish.

Thereby it takes care of the beginning of everything.

How do I know that this is the case with the beginning of everything?

By this.

The first two lines can also be translated as:

Openness is Virtue’s [De] form.

With your attention on Dao alone, this will arrive.[1]

This passage refers to embracing emptiness so that one’s actions, Heart-Mind and spirit conform with the Dao. With one’s attention focused on emptiness one can begin to sense the inner unity of the energies and spirits, both internally and externally.

He Shang Gong’s commentary on this chapter elaborates on the qualities of those with great De, who obtain the Dao. Men of great Te are able to endure everything. They are able to take up dirt and dust and live in humble loneliness.[2] They do not follow the ways and practices of the world, but focus only on the Dao.[3]

The text then uses emphatic repetition to convey the abstruse ecstatic spontaneity of the Dao. Daniel Reid’s translation viscerally conveys this use of repetition:

Sudden! Spontaneous! In equilibrium it has appearance.

Spontaneous! Sudden! In equilibrium there are things.

Obscure! Dark! In equilibrium there is purity.[4]

This can also be understood to mean that though the Dao is ecstatic and abstruse, it is within the formlessness that the model of all beings exists. Though it is ecstatic spontaneous and difficult to comprehend, it contains an inner unity that effects the changes, helps the breath and establishes reality. In profound deepness and darkness, it has an essence so that the spirits press each other and Yin and Yang unite with each other.[5]

The text then says that Its essence is very real, and He Shang Gong says this means: The atmosphere of the existing reality, its secret is very real and without appearance.[6]

Daoist priest and scholar Kristofer Schipper says that because words are not adequate to describe these sages, the text of the Dao De Jing (in the passages above) makes use of repeated sounds that convey chaos and turmoil: “Huang Hu! (‘Vague! Ungraspable!’). In the center there are things. Miao Ming! [“Profound! Mysterious!]. In the center there are essences, most true essences.”[7] Lao Zi himself is described as the ancestor of the Original Energy (Qi), without light, without image, without sound, without noise, without ancestors, without descendants.[8]

Dao De Jing Chapter 21 ends with the idea that the principle of following the Dao involves preserving the breath (Qi and Essence). The last two lines of Chapter 21 get to the heart of the matter:

How do I know that this is the case with the beginning of everything?

By this.

In other words, how can I know that all beings that follow the Dao are able to preserve the Qi and breath (the body’s energies)? “Through this.” “This” is the immediate present in which we exist and from which we perceive the cosmos – our bodies. “This” is the Dan Tian, the lower abdomen, the empty center, the seat of an intuitive and inner perception.[9]

The reference to “this” is further reiterated in Dao De Jing Chapter 57:

By attaining inactivity [non-action] one takes the empire.

How do I know that this is so? By this.

He Shang Gong is saying that I (the individual) know the intentions of Heaven by what one I see today. This here and now is the foundation of knowledge. The empire is the body and through meditation on the thing closest to ourselves, our inner perception and insight, we cultivate the empire/body. Kristofer Schipper clarifies this further: “Everything proceeds from this here. The vision of the State is based on the individual body. Each time the word “me” or “I” occurs in the Dao De Jing, it refers to the situation of the adept, who looks at the world from the point of view of the Dao. The “I” knows how to contemplate not only the process of the creation and the evolution of the world, but also its involution.”[10]

In the passage below, Sinologists Claude Larre and Elisabeth Rochat de la Vallée discuss the essence and energies of the organs and spirits in concrete terms:

Essences are what are inside the Zang in order to release the qi which maintains and renews all aspects of life: activity, dynamism, circulation, transformation, warming and rhythms of all kinds. Essences are also able to be transformed through the activity of qi to become flesh, blood, liquids, bones and so on. If all that is working well, that is the support for the activity of the spirits. At the level of the emotions, if there is a problem coming from my ability as a person to follow or not follow my own nature, because of some kind of wrong decision or inability to keep in touch with my spirits, all the mechanisms of renewal of the essences and qi can be disturbed and there is a deviation or diversion in the distribution of the influx of qi and essences, liquids and so on. Little by little if something is wrong my vitality diminishes, and then the quality of these different transformations is also diminished. At the same time the influence of my spirit is diminishing and the inner access to the direction of my life gets worse and worse and disease appears.[11]

Some of the ideas presented in the chapters of the Dao De Jing relative to preserving life and cultivating one’s innate energies are explored in Chapter Three of the Zhuangzi, which discusses how to preserve life. The man who is skillful in preserving life must not do much evil, but neither must he do much good. He must live midway between good and evil. By not being too useful, doing too much good or too much evil and not deviating from the middle.

Doer of good, stay clear of reputation.

Doer of ill stay clear of punishment.

Trace the vein which is central and make it your standard.

You can protect the body,

keep life whole

nurture your parents

last out your years.[12]

In this context, the “vein which is central,” references the Du (Governing Vessel) and by extension the Ren and Chong Vessels. These three vessels, although in theory separate, are considered to act as a single entity, and functionally are therefore inseparable. Daoist priest Kristofer Schipper believes that the “vein which is central” specifically refers to the Du Vessel (“the energy channel of control”).[13] The flow toward the current of the central meridian, if left to itself, is neither good nor evil and seeks neither fame nor notoriety. If not driven by doctrines and their resulting uncompromising and sustained practices which are imposed by the conscious mind, if left to themselves, the spontaneous fluctuations of behavior tend to normalize around the central current.[14] The Du is hidden and unseen. Unlike the Ren Vessel, which lies in front, the Du Vessel is behind us and thus invisible.[15] Hence it is opposed to the “knowing mind “and is the real controller, as opposed to the knowing mind’s pretensions to control and direct life.[16]

The Du Vessel and its intimate connection with the spine, brain and marrow is the central axis which connects the different levels of the body both physically and energetically. The Du Channel concentrates and regulates the energies of the body so that they can be refined and transformed to revitalize and reinvigorate the organs and structures of the body. Meditation with focus on the Du Channel is known as the “Small Heavenly Circulation” or “Microcosmic Orbit.”

Sinologist Francois Jullien refers to the Du as the vector of vital nourishment. He feels it defines the line and rule of life through its ability to renew the body via its connection with respiration.[17] Schipper adds that only by remaining independent, by following the natural action of the spinal column can we be a free human being, standing upright within our own vital space, without leaning on the crutch of systems and religious doctrines created by men.[18]

Good intentions and well thought out plans often do more harm than good. One must first train the motions within oneself which can spontaneously move others in the direction of the Dao. To this one must trust the energies (Qi) – the breath and the other energizing fluids which alternate between activity as Yang and passivity as Yin (as in breathing out and in), training them with the meditative technique including controlled breathing. When the purified fluid had become completely tenuous the heart will be emptied of conceptual knowledge, the channels and essences will be cleared, and he will simply perceive and respond. Then the self dissolves, energies strange to him and higher than his own (the ‘daemonic’) enter for the outside, the agent of his action is no longer the man, but Heaven working through him, yet paradoxically in discovering a deeper self, he becomes for the first time truly the agent. He no longer has deliberate goals, the ‘about to be’ at the centre of him belongs to the transforming processes of heaven and earth. Then he will have the right instinct for when to speak and when to be silent, and will say the right thing as naturally as a bird sings. [19]

Dao De Jing Chapter 26: How to Lay Stress on De

Gravity is the root of lightness.

Quietness is the master of motion.

Therefore the saint walks about the whole day and does not separate from quietude & gravity.

Though he has palaces and gynaecea, he avoids them.

What remedy is there for the lord of the ten thousand carriages,

if personally he makes light of the empire?

If he makes light of it, then he will lose the officials.

If he is restless, then he will lose the government.

In this chapter, once again He Shang Gong makes it clear that references to the ruler, the empire, government and the officials are really about self-cultivation. He says: The blossoms and leaves of the herbs and trees are light, therefore they are perishable. The root is heavy, therefore it is lasting. A person who is not serious is ultimately not respected just as if self-cultivation is not practiced in a serious manner, one loses the energies and spirits of the organs.[20] This does not mean that one who cultivates does not possess a sense of humor and joy, however they are able to approach each situation with the appropriate degree of seriousness as necessary, as opposed to having a frivolous disregard for what is important.

In his commentary on the first three lines of this chapter Te Ch’ing says:

‘Heavy’ refers to the body. ‘light’ refers to what is external to the body: success and fame, wealth and honor. ‘Still’ refers to our nature, ‘busy’ refers to our emotions. People forget their body and chase external things. They forget their nature and follow their emotions. The sage isn’t like this. Even though he travels all day. he doesn’t leave what sustains him.[21]

If we understand “travelling all day” as moving through life, then the text indicates that one should traverse life by holding onto the essentials. Although we are tempted by and even engage to some degree with by the luxuries of the material world, we must hold onto the fundamental essence of being human without being distracted from what is important.

In self-cultivation quietness is considered to be the origin and the master of motion. Many commentators on Daoist internal meditation and energy practices say that that true movement comes from stillness. In Chinese internal martial arts one often begins with stillness in order to perceive the stirring of movement concealed within apparent stillness. The great Xing Yi Boxer Guo Yun Shen said that: Stillness is the fundamental form. In movement lies the function. Form and function have the same method. Hence it is the case that stillness is the fundamental form and in movement lies the function.[22] Through experiencing stillness and tranquility, one is able to understands the origin and true nature of movement.

Richard John Lynn offers Wang Bi’s commentary on the Yi Jing to underline a key concept in relation to stillness and activity: Activity cannot govern activity; that which controls all activity that occurs in the world, thanks to constancy is the One. Therefore for all the many to manage to exist, their controlling principle must reach back to the One, and for all activities to manage to function, their source cannot but be the One.[23]

The text and various commentaries make it clear that to understand the manifold movements in the world and to bend with them and exert some control over them, the key lies returning to stillness, returning to the One. In stillness one can apprehend the changes and blend with them, if one is in constant motion, reacting to everything that arises, one cannot.

In his commentary on line two, He Shang Gong says that If the ascetic is not quiet, then he endangers himself. The dragon is quiet, therefore he is able to transform. The tiger is restless, therefore he strives for heavenly faults.[24] The Dragon is a yin animal associated with Heaven and the Tiger is a yang animal associated with Earth. The Tiger is metaphor for our emotions, desires, passions, inclinations, and our judgments about what is so or not so. When anger, frustration and bitterness make the Qi rise upward (to some degree these emotions and feelings can also be understood to be a result of Qi going upward too much) this is called the “Tiger roaring.” The counterpart to Qi rising upward and the “Tiger roaring” is heat and fire flaring upward. Being anxious and worried can cause heat to rise, leading to fire flaring upward. This is sometimes called the “Dragon soaring” or the “Dragon howling.” Qi and heat that rise up in an uncontrolled manner then “attack” the heart (and also the liver and lungs), causing a variety of physical and psycho-spiritual maladies. One of the goals of meditation and self-cultivation is to restrain the Tiger from leaping and roaring unnecessarily so that the Tiger “returns to its den” (in a mountain cave), and to allow the Dragon to return to the watery depths where it is peaceful and relaxed. This is sometimes referred to as “Subduing the Dragon and Tiger.” “Subduing the Dragon and Tiger balances and smooths out the flow of energy in the body, so that Qi flows freely and without obstruction, effectively enabling the organs and the internal energy systems to heal themselves. In his commentary He Shang Gong alters this concept a bit by associating the Dragon with heavenly qualities of spiritual silence and stillness, and the Tiger with the earthy qualities of restlessness and distraction that move one away from stillness and tranquility.

The sage maintains an ongoing state of rooted stillness, even in daily actions, avoiding things that distract him or her from the Dao (palaces and places of pleasure) in order to guard Jing and Qi and hold the spirits within the body. If one’s spirit and mind-intention (the king or lord) is not serious about cultivation, if he or she takes things lightly, then he will lapse into luxuriousness and frivolous sensuality. If one makes light of the empire (the body), He Shang Gong tells us one will lose “semen” (sexual energy) the root of the body’s energies. If the ascetic falls victim to the disease of restlessness, then he endangers his spirit.[25]

Being the lord of ten thousand carriages refers to life’s responsibilities, cares and worries. Anything important in life requires a measured approach that stems from a firm root. Treating responsibilities lightly, or overreacting to everything that comes our way will lead to distraction and loss of the root – in the case of self-cultivation this refers to the internal energies.

In the Wang Bi’s reading of the text the ruler is said to remain calm and unmoved even when confronted with enemy camps with watchtowers where he marches with his army.[26] In essence the text tells us to manage our body and mind as we would rule a large empire. This requires discipline and constancy. One must avoid quick actions and decisions and loose speech and thought. One must instead hold onto the root within without getting distracted by external things.

 Notes

[1] The Ho-Shang Kung Commentary on Lao Tzu’s Tao Te Jing, translated by Daniel G. Reid, p.117-18.

[2] Ho-Shang-Kung’s Commentary on Lao-Tse, translated and annotated by Eduard Erkes, p. 46.

[3] The Ho-Shang Kung Commentary on Lao Tzu’s Tao Te Jing, translated by Daniel G. Reid, p.118.

[4] Ibid, p. 118-19.

[5] Ho-Shang-Kung’s Commentary on Lao-Tse, translated and annotated by Eduard Erkes, p. 46-7.

[6] Ibid.

[7] Taoist Body. Kristofer Schipper (Berkeley: University of California Press, 1993) p. 117.

[8] Ibid. p. 118.

[9] Taoist Body. Kristofer Schipper (Berkeley: University of California Press, 1993) p. 189.

[10] Taoist Body. Kristofer Schipper (Berkeley: University of California Press, 1993) p. 190.

[11] The Seven Emotions: Psychology and Health in Ancient China, Claude Larre and Elisabeth Rochat de la Vallée. (Cambridge: Monkey Press, 1996) p. p. 34-5.

[12] Chuang Tzu: The Inner Chapters, translated by A.C. Graham (Indianapolis/Cambridge: Hackett Publishing Company 1981) p. 62.

[13] The Taoist Body. Kristofer Schipper (Berkely, Los Angeles: University of California Press 1993) pp. 210-12.

[14] http://hackettpublishing.com/zhuangzi3.3 Additional Comments to Passage 3:3 in the Zhuangzi, by Brook Ziporyn

[15] http://hackettpublishing.com/zhuangzi3.3 Additional Comments to Passage 3:3 in the Zhuangzi, by Brook Ziporyn

[16] Zhuanzi: The Essential Writings with Selections from Traditional Commentaries, translated by Brook Ziporyn. Indianapolis IN: Hackett Publishing Co., 2009, p. 22

[17] Vital Nourishment: Departing From Happiness by Francois Jullien, translated by Arthur Goldhammer (New York: Zone Books, 2007) p. 31.

[18] The Taoist Body. Kristofer Schipper (Berkely, Los Angeles: University of California Press 1993) pp. 210-12.

[19] Chuang Tzu: The Inner Chapters, translated by A.C. Graham (Indianapolis/Cambridge: Hackett Publishing Company 1981) p. 69.

[20] Ho-Shang-Kung’s Commentary on Lao-Tse, translated and annotated by Eduard Erkes. Switzerland: Press of Artibus Asiae Ascona (First published in Journal Artibus Saiae 1950) p. 54-55.

[21] Laotzu’s Taoteching: translated by Red Pine with selected commentaries of the past 2000 years (San Francisco: Mercury House, 1996) p. 52.

[22] Authentic Explanation of Boxing Concepts     Sun Fu Quan (Sun Lu Tang), March, 1924.

[23] The Classic of the Way and Virtue Tao-Te-Ching of Lao Zi as interpreted by Wang Bi, Richard John Lynn (New York: Columbia University Press, 1999) p.100.

[24] Ho-Shang-Kung’s Commentary on Lao-Tse, translated and annotated by Eduard Erkes. p.55.

[25] Ibid, p. 55.

[26] A Chinese Reading of the Daodjing – Wang Bi’s Commentary on the Laozi with Critical Text and Translation. Rudolf G. Wagner (Albany: State University of New York Press, 2003) p. 207.

Deciphering Applications in Chen Taijiquan

 Deciphering Applications in Chen Taijiquan

Revised February10, 2026

First a disclaimer: These guidelines are designed for those students who do not have the benefit of being able to regularly study with a qualified teacher. I myself fall under that category. After many years of studying and practicing on my own, I have discovered a series of guidelines that I hope may be of use to advanced practitioners forced to practice alone. I have revised this article based on the discoveries I have made in the last few years. I may very well have to revise it again in the future. 

 It should be mentioned that his article will be focusing on the First Form of the Old Frame (laojia yilu). Most of the guidelines should hold true for the other forms but I haven’t done an in- depth investigation of them yet. 

It should also be mentioned that applications will vary based on the lineage followed by the practitioner. All the four current Grandmasters (Chen Xiaowang, Chen Zhenglei, Zhu Tiancai, and Wang Xian) perform the routines (taolu) quite differently. This is a reflection of their individual growth and personalities as well as the qualities or techniques that they have chosen to emphasize. I personally am part of the lineage of Grandmaster Chen Xiaowang (21st Generation) so I am basing the individual applications in this article on the way I (he) performs the movements. Someone following a different lineage may find that their applications may be different. Nonetheless, the basic  guidelines should still apply.

With the advent of YouTube more information is available now than ever before. However, one should be cautious when studying online videos. Some of the applications in these videos will ring true. However many application videos are merely guesses by uninformed students or teachers. Hopefully, with the help of these guidelines you will be better able distinguish the true from the false.

Chen Taijiquan is first and foremost a martial art.

This principle influences every aspect of the Chen System. It is the reason the postures and  movements are more complicated than other styles of Tai Chi that emphasize health benefits. Being a martial art rather than a health exercise is also the reason that the routines contain movements that require Energy Release (fajin ). Chen Taijiquan was developed at a time when skill with empty hands and traditional weapons were often necessary for survival. Later forms of “T’ai Chi” were developed primarily in the modern era when martial arts were used more as a form of cultivation. By removing the martial elements of Chen Taijiquan, these subsequent styles became more of a Qigong practice than a martial art. Chen Taijiquan, on the other hand, contains all the health giving benefits of the later styles while still retaining its core as a martial art.

Why Decipher Applications?

Chen Taijiquan is a complex martial art system. The ultimate goal is to be able to use it as a form of self-defense or personal combat. The traditional way of training is long and arduous. One can not rush the process. There are no shortcuts. However, it is sometimes helpful to get a glimpse of the final destination. Deciphering applications is like finding clues that help to eventually solve a mystery. Demonstrating applications can also be a great motivator for students. allowing them a glimpse at the depth of the system. For more advanced practitioners, being able to decipher applications can indicate that one has reached a higher level in their practice.

Why Can’t I Learn Applications Right Away? 

Anyone who has studied Chen Taijiquan has wondered, “What is this move for? How could I use it against an opponent?”. Traditionally, teachers in China have been reluctant to reveal applications to any but their most trusted disciples. Students are admonished to practice the form and not think about applications. Many students have practiced for years without being shown a single application. When I asked my teachers in the Chen Village about applications, they all said the same thing. “Don’t worry about that. Concentrate on perfecting your form”. After many years of practice, I came to appreciate the wisdom of this approach. Students in the West are often not as patient. Many masters who give seminars outside of China have acceded to their Western students and begun showing a few applications here and there..

Those who practice for a long time will realize the wisdom of the traditional teaching method.

While it is a good mental exercise to try and discern applications, one should not focus on them to the detriment of form practice. Focusing on what you think may be application of a movement  can actually change the way you practice a movement. In the long run, this will hinder your progress. As you will see below, one should never alter the performance of a movement in order to conform to some preconceived notion of what the application is. By the same token, understanding the correct application of a movement can help refine one’s performance of the movements by making them more efficient. 

Rushing to learn an application can be extremely frustrating. Even after being shown an application in detail, most beginners will be unable to apply it effectively. This is because their practice of  the foundational exercises of Silk Reeling, stances, and stepping, is not at a high enough level. However, being shown a technique and then being unable to apply it is a good way to demonstrate the importance of perfecting the Silk Reeling principles and taolu movements. This was my experience while in Chenjiaguo. After much pleading, our teacher agreed to show us one application. He applied it to everyone in the class causing all of us to yelp in pain. When it was our turn however, none of us could make it work. I realize now that this was because none of us had reached a high enough level of training. 

After over 40 years of practice, I have created some guidelines that can aid you deciphering the applications to be found in Chen Taijiquan.

Guideline #1: Applications Were Purposely Hidden from Prying Eyes 

Make no mistake, the applications in Chen Taijiquan, are purposely hidden in the empty hand routines (taolu). This practice is universal in Chinese martial arts. In China, knowledge has always been power so the secrets of a martial art were jealously guarded. Moreover, there was very little privacy in ancient China, so martial arts masters had to devise ways to practice in public yet still retain their secrets. Therefore, they developed empty hand routines which contained fighting techniques hidden in plain sight. Some movements like Twin Swaying Lotuses or X-Foot appear to be high kicks but they are really foot sweeps. High kicking movements are used for training purposes to teach proper hand and foot coordination and flexibility but they are not actually kicks. Try striking a heavy bag and you will see that these movements are not very effective as kicks. This is a good example of hiding in plain sight. 

The names of the movements are important and they can give us a clue not only about how the movement should be performed but also to what the application might be. Some names are straight forward like Three Steps Forward or Watch the Fist under the Elbow. Others are used to convey the qualities of the movement such as Lazily Tying Coat. None of the names are arbitrarily mystical. They are rooted in Chinese philosophy and culture. The name Six Sealings, Four Closings is confusing to many. Once the arm lock has been applied it is said that one has sealed off the opponent’s six weapons; the fists, the feet, the elbows, knees, hips, and shoulders. One has also closed off the four directions meaning the opponent is unable to move forward, backward or to either side.

Ancient training manuals hid the performance of the movements. If there were illustrations at all, they would be of the final position of the movement with no explanation of how to get there. The text did not provide step by step instructions. They were usual poems (or songs) describing the qualities of the movement and would be indecipherable to the not-practitioner. This has changed during the modern era both in books and of course in videos but that ancient practitioners did not have those resources. 

Guideline #2: Application Must Be Done Exactly like the Form.

For an application to work correctly, it must be performed exactly like the taolu posture. If you have to vary the movement to make the application work, it is probably not correct. When done properly, everything falls into place and it works effortlessly. If an application requires such a major alteration that it no longer resembles the original posture it is not correct. Proper timing of the movement - step, pivot, etc.- is essential. This is clearly taught in the form. In Lazily Tying Coat, the right hand sweeps in a clockwise circle to contact the incoming punch while stepping to the right. It is essential that the right step be completed at the exact moment the punch is handed over to the left hand. If the step is not completed then the opponent’s leg is not blocked leaving the attacker able to deliver a follow up left handed attack. However with the opponent’s leg blocked, the right hand then sweeps over to the right as the weight shifts to the right leg which, when coupled with settling, takes the opponent down. Without the proper timing of the right hand and foot, the application will not work. 

However, Chen Style is characterized by it’s external movements, which are much more intentional for martial arts purposes. By this I mean the movements are exactly as you would use in martial art application.

You do not have to move your hands slightly higher or lower; your hand shapes, your finger shapes and your body can be used just exactly as in many martial arts practices. It also contains many force delivering movements (fajin). Peter Wu, Tai Chi Magazine, August 1995

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Guideline #3: Movements Are Repeated for a Reason and the Application Is Different for Each One.

“Look to the principle behind the movement.”

Movements that are repeated are done so for a reason and often are a response to differed attacks. For example Six Sealing, Four Closings is performed several times in the routine. Each time it is performed a little differently. Why? Because each variation deals with a different form of  attack. The first time it begins with the right foot and hand are extended towards the opponent. Here the application is a counter a grab of your right wrist. The second variation sweeps to the left while stepping forward with the right foot. This time it is used to counter a right hand punch. The third variation intercepts the punch as the right foot steps forward to capture the incoming punch and secure a wrist lock. Each variation still leads to an arm lock and a takedown, The attacks they counter all begin differently but the ultimate counter is the same. Sometimes there is apparent repetition within a given moment. It is a mistake to think that this means they are all the same. One needs only look closely at each “repetition” within the movement to see it’s unique qualities. Variations can also help decipher the application. Slanted Movement (xiexing) is a good  example. The first time it is used it begins in a static position. The second time it is done with a step forward. The technique is the same but the entry is different. Also notice that each time Vajrapani Pounds the Mortar is performed, it is countering a different style of attack. Also, each time there is one less movement in the movement. The first time it consists of 8 movements, the second time 7, the third time 6 and so on. Once again, the final response is the same buy the entry into the attack is different. 

There are some concessions made for the form however. Most traditional Chinese martial arts forms move side to side in a straight line. The form is also designed to end at the exact place it began. In order to accomplish this, some moments are repeated to adjust the distance. In Flip and Whirl the Forearms one backward step counters a right hand punch and the next counters a left hand yet the movement is repeated a few more times. Moving Hands contains counters to two different attacks but then are repeated a couple more times nonetheless. There are also a couple entire sequences that are repeated in the routine. There are no new counters in these sequences so this may serve as an indication that the founders believed that these techniques were particularly important. 

It is also helpful overall to remember that everything is done for a reason and that there are no empty or transitional movements. This is part of the genius to be found in the construction of the Chen Taijiquan routines. 

Guideline #4: Applications Are Counters to Specific Attacks.

Most applications will be against a grappling attack. Punching attacks will primarily be delivered with the opponent’s right hand. In the past both in China and the West, there has always been a bias against left-handedness (in the West, the left side was called “sinister” which still has a negative connotation today ). Most martial arts emphasize right sided attacks (just as Bruce Lee later advocated). Therefore to begin deciphering a movement’s application, it is best to start with responses to attacks with the right hand. If an application works against a right handed attack then it is probably correct. If it doesn’t not work against a right side attack, try it against the left. There are several movements like Slanted Movement (xiexing) that are specifically defenses against left hand punches. Some movements can counter both sides. Brush Knee for example can counter either a right or left kick without any adjustment needed.

Guideline #5: The Beginning of a Movement’s Application Begins Where the Previous Movement Ends.

The basic rule is simple; Movements that end/begin with the hands extended towards the opponent are counters to grabs. Movements that end/begin with the hands close to the body are defenses against strikes. 

Lazily Tying Coat begins from the final position of Vajrapani Pounds the Mortar with the hands together at waist level. Against an incoming right hand punch, the hands circle and intercept the strike with the right hand which then hands it off to the defenders left hand. The right hand and foot then extend to complete the takedown. Thus the movement ends with the right hand and foot extended.

The application for “Six Sealings, Four Closings” then begins from this final position. From such a position it would be extremely difficult to counter a punch. In reality, it is a defense against a grab of the right wrist. From there the technique flows smoothly. Six Sealings ends with both hands extended downward, therefore Single Whip is a defense against an opponent who grabs both wrists. If one attempts to use Single Whip against a punch or kick however, it will not be successful. If one has to begin from a position different from the end point of the previous movement, the application is not correct. This does not mean that in actual combat one technique must slavishly follow the preceding. The often told tale of a routine being designed to fight multiple opponents is a myth. Each movement has it’s own beginning and end and they are not designed to be combined. In reality each technique would be done independently. Beginning an application from where the last movement ends gives you a major clue as to what the movement was designed to counter.   

Guideline #6: Each Movement is Complete in Itself. 

Each movement in the form has only one application. It is a mistake to reduce a movement to its component parts. Varjrapani Pounds the Mortar is a defense against a right hand strike and ends in a wrist lock and takedown. There are no armbars, no throws, no hidden kicks to the knee, no knees to the groin or punches to the chin. All the elements are part of the single counter attack. Repeated movements like Flip and Whirl the Forearms and Moving Hands are repeated but in actually consist of two counters that are the same, but includes defense against both right hand and left hand punch. 

Guideline #7: Applications Depend on the Basic Principles and Should Be Effortless 

Only proper use of Silk Reeling Energy (chansijin) will make an application work properly.

When used correctly, the application will feel effortless. Most beginners cannot make applications work, especially effortlessly, because they have not mastered Chansijin. If you have to pull, jerk or wrestle with the opponent, chansijin is not being properly applied. Done correctly, it feels like you have done nothing yet the opponent flies across the room. After such an event, it is even common to ask your partner if they are faking because you feel like you have done nothing at all. Having been on the receiving end of a properly executed application, I can assure you that the result is genuine. I have been tossed across the gym by my apprentice who weighs about 100 lbs. She didn’t feel like she had done anything yet there was nothing I could have done to stay on my feet. 

A counter-attack can be enhanced by fajin but should not depend on it. Grappling movements should by done slowly and smoothly. The key is proper positioning, not force. If an application is properly applied, there is nothing the opponent can do to escape. Making a counter work slowly and effortlessly is the proof of a properly deciphered application. Chen Taijiquan uses the concepts of softness, relaxation, proper posture and the spiraling motion of Qi. These qualities are necessary for success. Relying only on fajin alone makes Chen no different from an external style like Shaolin. Obviously kicks and punches should be performed with fajin as doing them slowly all the time is counter productive. Solo form practice provides a safe way to develop and apply explosive energy. 

Be very careful during training because the throws and takedowns of Chen Taijiquan are remarkably vicious. Many of the applications are throws, sweeps, or takedowns and can be very dangerous, even when done slowly. It is essential to practice on mats with someone who knows how to fall. Sometimes even that is not enough. For example, Six Sealing, Four Closings can be quite nasty. Once the arm lock is applied and the opponent is completely bound up, the defender finishes with a press. Because of the position of the opponent is in, the final press is aimed downward at the opponent’s hip. When the press is properly done, the opponent will land on their hip. There is no way for them to properly do a break fall or roll out, The opponent is doomed to land directly on their hip causing maximum damage. Single Whip is another example. Grasping the opponent’s right fingers in a hook hand and spiraling upward creates incredible torque on the arm. Completing the takedown could severely damage to the opponent’s shoulder so in practice is necessary to release the opponents fingers to avoid serious injury. The risk is so great that one should not complete the movement because there is no way one’s partner to fall correctly. Sweeps are especially violent. Whirlwind Kick when applied properly will dump the opponent straight down next to your left leg. Being so effortless one has to be careful not to overdue. Practice slowly at first. If a grappling application requires muscle, speed or explosive energy to work, it is not being performed correctly.

8. The Application Is What It Is, Not What You Want It To Be. 

Forcing a posture to fit a certain scenario is like forcing a round peg into a square hole. You have to keep an open mind when deciphering a movement. For example. practitioners assume that every movement with a closed fist is a strike. Vajrapani Pounds the Mortar and Ape Offers Fruit are often interpreted as strikes. That is not correct. It is very clear in Chen Taijiquan which movements are strikes and which are not. Punches are punches, kicks are kicks and sweeps are sweeps. These are fast movements with fajin. Slow movements are grappling techniques. Chen Taijiquan is a grappling art which is why the moments are done slowly with the emphasis on balance, sinking, and weight distribution. These techniques are joint locks, throws and takedowns. There is no benefit to performing punches and kicks slowly. Once a boxer has learned the proper way to punch, they do not practice in slow motion. It also must be understood that there are no hidden kicks or punches in Chen Taijiquan. Therefore techniques that use a closed fist or raised knee performed slowly are not strikes. If your application ignores these principles then it is not correct. One must allow the application to reveal itself and not try to force it to be something it is not

Guideline #9: Pushing Hands Does Not Teach Applications.

Pushing Hands is a sensitivity exercise and is not the be all and end all of Chen applications. It teaches the essential skills of “listening” and “sticking” and  requires a great deal of time and practice to master. It also allows one to practice the Eight Energies against an opponent. These exercises help to instill the principles of relaxed power that will improve effectiveness of movement applications but they are not applications themselves. Pushing Hands is only a drill albeit an essential one. It is only one component of the Chen Taijiquan system. The purpose of Pushing Hands is to show you the wAeakness in your practice of the routine. Once the weakness is corrected in the form, one goes back to Pushing Hands to confirm the correction and so on. No one practice is more important than the other. Push Hands, while important (and fun) is ultimately still a practice drill. My Filipino Martial Arts teacher used to say: “Learn the drill. Master the drill. Forget the drill” The goal of Chen Taijiquan is to be spontaneous and natural during combat. Pushing Hands is only one component of that journey. It is also important to realize that in a self defense situation, this sensitivity may only be used very briefly. Parrying a punch requires only an instant of contact. Using sensitivity to guide the attack dissipates its energy and allows for the counter attack.

Once a comfortable of Push Hands has been achieved, the student takes the sensitivity and relaxation they developed back to the applications to in order to improve. The correct blending of the two serve to make applications natural and spontaneous. The higher levels of Chen Taijiquan Pushing Hands; Ding Bu (fixed step) Huang Bu (single backward/forward step), Da Lu (moving step, deep stance), Luang Cai Hua (free step, double handed) and San Tui (free pushing) greatly increase one’s sensitivity. While absolutely essential for gaining mastery in Taijiquan, techniques used in Push Hands are not in themselves movement applications.

When attempting to decipher applications it is my belief that if an application will only work  from Pushing Hands position it is not correct. This is what I call “cheating” I have yet to see a bar fight where both combatants began by placing their hands on the elbow and wrist of their opponent. One is more likely to be attacked with a sucker punch. It is here that sensitivity because invaluable to in order to parry and dissolve the attack. Pushing Hands should be viewed as method to increase the effectiveness of applications but it does not teach the applications of the individual movements.  

Over emphasizing Push Hands is a mistake. It is a training exercise not a competition. Most Push Hand competitions quickly dissolve into wrestling matches. If you want to compete in grappling, you would be better off learning Judo or Wrestling.

 One thing to be aware of is that in the Eight Energies, there is no mention of push (tui).The term used is Press (an). Many believe that the goal of Push Hands is to shove the opponent away. This is counter productive as the opponent, if pushed straight back, can easily attack again. Twin Pushing Hands (shuangtuishou) is the only movement that specifically mentions Push and even then the push is designed not to toss the opponent away but to drop him where he stands. If push hands skill is the only thing that matters, why bother learning the form at all? I saw that clearly in my early Taekwondo training. We spent hours learning forms but never used them in actual sparring. The Chen forms contains fighting techniques and these techniques are the core of Chen Taijiquan as a martial art. Push Hands is a valuable tool but it is important to keep it in the proper perspective. 

Many Levels of Mastery

There are many levels to mastering Chen Taijiquan. The first step is to master the basics of Silk Reeling, stances and stepping, etc. Second is learning the empty hand form. From there one can begin to discover the applications. The ultimate goal however is to become formless. Here one does not perform specific applications but rather uses to the principles and techniques to quickly adapt to an attack and then counter it and follow up with a counter attack. At that point, it is difficult to tell which posture is being used.

In conclusion, the Chen Taijiquan forms contain everything you need to know. Practice of the basics and the form will provide all the clues one needs to successfully discover its applications. I sincerely wish all Taijiquan practitioners much success on their journey.