转身抱
球完成
体态

此时,
右手指
与鼻相
对。左
手略低
双手呈
抱球
状。
左搂膝拗步 1:
以右足跟撑地之力,经腰腿的控制
将重心向前推移,左腿相应地由直
转曲,并使全足掌着地。重心处于
两腿之间。右腿仍然弯曲。
左前臂以肘关节为中心,经胸前沿
弧线向下旋转,将手掌面下带至裆
前。
以右前臂为轴将右手掌由面左转为
相前立掌略含前推之意。整个右臂
不必前移。
胯关节高度不变,上身随重心前移
而微向前倾。
左搂膝拗步 2:

右腿继续直伸,将重心向前推进。
直到完全伸直,此时左膝相应前移
直到重心完全落于左足中后步压向
地面。膝盖不得超过足尖。右边
A-
B-D-H-K
呈一直线。右腿在完成直
伸过程的最后时刻,以足跟为支点
D-K为轴旋转使右足的足尖指向前
方,与左足并行。同时略后收左
胯,确保身体面向正东方,并将左
手掌带至左膝傍。右手则虚掌心,
立掌随腰腿之劲略含前推之意。
          怀抱琵琶 01

由左腿伸直,右腿由直转曲将重心后移,上身由前倾
转正直。左足尖尽量跷起使重心完全落于右足上。然
而左足跟还须有抓地之意。
为避免重心移向右腿时右胯向右外偏突,后退时,双
胯要向左右扩展,即开胯。并以双胯关节连线为转动
轴,收臀鼓后腰。以强键的腰腿劲维持体态的平衡。
重心后移时,左臂以肩为中心沿弧线提起,将左手置
于鼻前,手指向上,右肘略微下移,置右指于左手腕
中部。双肘置于胸前两侧。手臂外侧与背含饱满外张
之意。
          (10)(34) 左搂膝拗步                    
Brush knee and step up(L)
右边抱球 01
右胯更进一步略向后收,左足尖尽量跷起,左
腿挺直,使重心完全移至右腿,含胸拔背,借
势以右肘为中心,将右前臂略上旋提起,伴之
于以右前臂为轴手掌向左略旋,手指指向前
方。
此时与转身抱球的终止体态相同,是接着搂膝
拗步的准备状态。可放松前胸与双臂肌肉,气
沉丹田,含胸拔背,使手臂与后背组成的园环
有外张之意。
开胯收臀,守膝,鼓后腰,在腰胯膝间呈园裆
之意。
上、下两环的饱满是体态强劲,虚灵的保证。
(12) 右边抱球——Hold a ball(R)
要看左搂膝拗步与怀抱琵琶的动作录像,请点击 此处

To watch video of this movement ,  Click here
(13)(17) 左搂膝拗步与(10)相同
Brush knee and step up (L)is same with
(10)
(11)(35) 怀抱琵琶——Hold a lute
Posture after completion
of Holding A Ball With
Turning Body

At this moment, the right
hand fingers and the
nose are facing each
other. The left hand is
slightly lower and both
hands are like holding a
ball.
                Brush knee and step up (L) 01
Prop up against the ground with the right ankle. Through the control
of the waist and the leg, shift the center of gravity forward. Bend
the straight left leg coordinately and step down the foot completely
at the same time. The center of gravity is located between the two
legs while the right leg is still bending. With the left elbow joint
as center, rotate the left forearm down along a curve line in front
of the chest and place the downward facing palm in front of the hip.
With the right forearm as axis, rotate the right palm from facing
left to become upright and contain  the sense of pushing forward.
However, it is not necessary to move the whole right arm forward.
With the height of the hip joints remained the same; the torso is
slightly leaning forward along with the shift of the center weight.  
                               Brush knee and step up (L) 02
Continue to stretch the right leg and push forward the center of gravity till the leg
is fully extended. At this time, the left knee is moving coordinately forward till the
weight center falls entirely on the latter part of the foot and the foot is pressing
against the ground. The kneecap should not extend beyond the toes. The right
side of the body along the points of B-D-H-K becomes a straight line. After
completely extending the right leg, with the ankle as the supporting point and the
line of D-K as axis, turn the right toes to face forward and parallel with the left foot.
Ensure the body is facing the right east. At the same time, slightly withdraw the left
hip joint and move the left palm next to the left knee. Keep the right palm
insubstantial and upright. Following the power from the waist and the leg, the right
palm is having the sense of pushing forward.  
                                                                                          Hold a ball (R) 01
Straighten the left leg and let the weight center completely transferred to the right leg. Encompass the chest and pull up the back. While
making the move, with the right elbow as center, slightly raise up the right forearm in a twisting way. Using the right forearm as axis,  turn the
right palm slightly tWithdraw the right hip joint backward a little bit further. Point up the left toes as much as possible. o the left and point the
right fingers forward.
This finished posture at this moment is the same as Holding A Ball With Turning Body and is the preparation stage for the posture of Brushing
The Knee and Stepping Up that follow. Relax the muscle of the front chest and the two arms. Sink the Chi down to the Tan-Tien. Encompass
the chest and pull up the back. Let the arms and the back of the torso to form a circle and use the sense of expanding it outward. Open the
hips, lower down the buttocks, guard the knees and convex the lower back. Keep the sense of a round crotch in between the waist, the hips
and the knees.
The fullness of the upper and lower encircles is the assurance to have  power and agileness in the posture.
                                                                               Hold a lute 01
Shift the weight center backward by stretching the left leg and bending the right leg. The leaning torso is
becoming upright. Point up the left toes as much as possible and let the weight center falls entirely on the
right leg. But the left ankle still maintains the sense of grounding. While shifting the center weight to the
right leg, in order to avoid the right hip joint protruding out to the right side, open the hips by expanding
the hips outward to the right and left side. And with the connecting line between the hip joints  as rotating
axis, lower down the buttocks and convex the lower back. Maintain the balance of the posture with the strong
power from the waist and the legs.

While shifting the center weight backward, with the left shoulder as center raise the left arm in a curving
manner and place the left hand in front of the tip of the nose with the finger tips pointing upward. Slightly
move the right elbow downward and place the right fingers in the middle of the left wrist. Both elbows are
located respectively on the front sides of the chest. The outer edge of the elbows and the back of the torso are
having the sense of expanding outward fully.   
由 Daniel Kwok 先生 校译

Proofreaded & Translated
by Mr.Daniel Kwok
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      太极下乘武事解

太极之武事,外操柔软,内含坚刚.而求柔软之於外,久
而久之,自得内之坚刚.非有心之坚刚,实有心之柔软
也。  
所难者,内要含蓄坚刚而不施,终柔软而迎敌.以柔软而
应坚刚,使坚刚尽化无有矣。  
其功何以得乎?要非粘黏连随已成,自得运动知觉,方为
懂劲;而後神而明之,化境极矣!  
夫四两拨千斤之妙,功不及化境,将何以能是所谓懂粘黏
连随,得其视听轻灵之巧耳
           八门五步
掤南,捋西,挤东,按北,采西北,例东南,肘东北,撑西南--方
位。  
坎,离,兑,震,巽,乾,坤,艮--八门。  方位八门,乃为阴阳
颠倒之理,周而复始,随其所行也。总之, 四正四隅,不可
不知矣!  
夫掤、捋、挤、按是四正之手,采、列、肘、靠是四隅之
手。合隅、正之手,得门、位之卦。以身分步,五行在意,
支撑八面。  
五行: 进步火,退步水,左顾木,右盼金,定之方中土
也。  
夫进退为水火之步,顾盼为金木之步。以中土为枢机之轴.
怀藏八卦,脚踩五行;手步八五,其数十三,出於自然.十三
势也,名之日:[八门五步]。