八門五步 A Discussion of Eight-Gate Jin (Ba Men Jin)

學拳架是太極拳入門的方法，就如我們初上學時學寫天、地、牛、羊等生字。我們上學不是單為了學生字，目標是更有效率的溝通，學生字只是最初步的入門方法而已。學識了拳架的招式線路，便須進一步了解太極拳的運動模式，不往這條路走，得到的只是一個空架子，不能啟動身體內部機能而產生另外一種能量。首先，我們要明白甚麼是「八門五步」。

Learning the form is an entry way into Taijiquan. It is like learning vocabulary when we first go to school. However, we go to school not only to learn vocabulary, but also to learn how to communicate more effectively. Studying vocabulary is really just the first step. Similarly, once you learn the movements and the techniques in the form, you must further comprehend the principles and theories of the movements. If you don’t follow this path, what you acquire is simply an empty frame, and you’ll never be able to transform your internal ability into a new form of energy. But first we must understand what is “Eight Gates and Five Steps.”

八門五步又稱為十三勢是太極最重要的內容。不練八門五步，就永遠進不了太極拳的門。我們練架子是要求在我們在自己平衡的範圍內形成一立體圓圈。前輩們把八門說成四正及四隅：掤、履、擠、按、採、列、肘、靠。其實這名稱有兩種意義，第一是表示方向位置，其次是太極拳勁路的稱號。二者本是同一樣的東西，因為練太極拳時身體是要保持一個立体圓球，這個圓體一動，八個不同方位就產生不同方向的勁，總稱八門勁。這勁是由圓圈中心擴張旋轉產生，并不是由手、腿或身體某部份單獨發動。如果身體某部份單獨發力，便會產生直勁，遇到阻礙便變成頂勁，違反拳理。以另外一種方式去解釋八門勁：上、下、前、後、左、右、裏、外代表一個整圓，加上螺旋及開合此二種發動基礎便成八門勁。自己的圈做得完滿，勁便會均衡的滿佈全身，意念一動，開便是放大，合即是縮小。開中有合，合中有開，外圍開即是內圍合，外合即是內開，所有動作是以螺旋方式放大縮小，一個立體滾動的圓球便產生。這就是八門勁產生的基礎。

“Eight Gates and Five Steps,” also referred to as “The Thirteen Postures,” is an important aspect of Taijiquan. One can never enter the door of Taijiquan if one does not practice the “Eight Gates and Five Steps.” During form practice, we are required to become a three-dimensional circle without losing our balance. The elders of the Art defined “Eight Gates” as the “Four Cardinals” and “Four Corners,” i.e., ward off, roll back, squeeze, press, pluck,split, elbow, and lean (Peng, Lu, Ji, An, Cai, Lie, Zhou, Kao). In reality, these terms have two kinds of meaning. First, the direction of the Jin is indicated, Second, these are the names of the “power” (Jin) used in Taijiquan. Nonetheless, these two meanings are really talking about the same thing. During form practice, the body has to maintain a three-dimensional spherical structure. Once this sphere moves, the eight different directions will generate eight different directional Taiji Jin, collectively call the “Eight-Gate Jin.” This Jin comes from the center ofthe sphere and expands and spirals outward, and does not initiate from the hands, legs, or other body parts independently. If any part of the body initiates the force separately, the Jin will travel in a straight line, and when it encounters resistance it becomes a “directly opposing” (ding) Jin. This is against Taijiquan principles. Another way to explain “Eight-Gate Jin” is that it consists of: up, down, front, back, left, right, internal, external, which represents a perfect sphere. When using the two fundamental ways of power generation - spiral and open/close -it becomes the “Eight-Gate Jin.” If the sphere is formed uniformly, the Jin will distribute evenly throughout the entire body. Once the intent arrives, open becomes expansion, and close becomes contraction. There will also be close within open, and open within close. The external opening is the same as internal closing, and external closing is the same as internal opening. Every movement involves expanding and contracting in a spiral fashion, resulting in a sphere rolling around. This is the foundation in the generation of “Eight-Gate Jin.”

前輩門對八門勁有自己的解說，有些針對方位，有些則將重點放在勁的方向上，但都沒有將八門勁重點說清楚，把後人弄得胡塗了。再簡單一點解說：太極拳總勁就是掤勁，是身體重量放到地上反彈到全身的勁，其他七門勁是身體圓球轉動時不同方位產生的掤勁。有這樣的勁才是一動無有不動，才可以支撐八面。

Elders of the Art had their own individual interpretation of the “Eight-Gate Jin.” Some put the emphasis on body positions; others focused more on the directionality of the Jin. Unfortunately, none really articulated the focus of “Eight-Gate Jin,” which has caused a lot of confusion for us followers. To explain in simpler terms, the total Jin of Taijiquan is “ward off” (Peng) Jin, which comes from the rebounding Jin produced by release of the body weight on the ground. The remaining Seven Gate Jin can be described as the Peng Jin produced by the sphere of the body rotating in different directions. Having this Jin means that “when one part moves, all parts are moving,” so that one can control and counter all directions.

五步，是左、顧、右、盼、中定。如立身正中，左右就是前方左、右各45度。顧、盼則是後面左右各45度。中是自已脊椎，分佈就如骰子上的五點。我們形成的立體圈是活的，可前後左右移動。但無論怎樣動，中正平衡不能失。脊椎垂直向下沉，尾閭骨一段是要時常保持中正，是不能搖動的，中正一去，人便不能保持平衡。所以一定要保持虛領頂勁與氣沉丹田使脊骨產生對拉感覺而保持中正。用腳前後左右移動是令身體之立體圈移動之方法。腳掌放在地上，無論怎樣動著力點只有一點，而且這點是不停在腳掌間交替轉換，如荷葉凝珠。人像一個皮球在地上滾動，滾動點只是一個不停轉換的小著力點。如何轉換著力點，就看外來推動力之來向而相應相隨。我們的身體并不是皮球，要練成皮球之效應，便非下苦功不可了。不單走架如此，發勁亦要是如此，發勁時腳一蹬實便是用力，違反拳理，地心吸力也不能用上。在拳論中清楚述明 “雙重”是病，解決方法是要改善腰腿的運動模式，讓著力點不停的轉換。

“Five Step” is left, gaze, right, glance, and center. Starting with the center, our spine, left and right are the front left and right 45 degree corners; and gaze and glance refer to the rear left and right 45 degree corners. This pattern is like the number five on the face of a dice. The three-dimensional circle we form with our body is alive, and can move left and right. But regardless of how we move, we must not lose our central equilibrium. The spine should be erect and sink down, while the tail bone section remains vertical and centered, and does not sway. Once the center is gone, equilibrium cannot be maintained. Therefore, one must always gently suspend the head (xū lǐng dǐng jìn) and sink the Qi to Dantian (qì chén dāntián), so the spine will have a feeling of an up-and-down counter pull and thus maintain erectness. Using the legs to move forward, backward, left and right is a way for the body to rotate and turn in different directions. When you put the soles of your feet on the ground, no matter how you move, your body weight should really rest on only a single point. Furthermore, this point should be constantly switching between the soles of the two feet much like a droplet of water rolling on the surface of a Chinese lotus leaf. This way, you are moving like a ball rolling on the ground with the point of contact being a small point that is constantly changing. How this point changes will depend on how one follows and responds to incoming force. However, we must recognize that our body is not really a ball, so to train our body to behave like a ball will take a lot of time and effort. This way of moving is not just used in form practice, but should also be used for fajin (power emission). If you push down solidly on your legs, you are using brute force, which is against Taijiquan principles, and you would not be able to utilize gravity. In the Taijiquan Treatise, this “double-weightiness” is clearly described as a “sickness.” To overcome this problem, one has to improve the way one uses the waist and legs so that the contact point of the body weight keeps changing.

談到著力點，就不能不談『根』。太極拳的「根」是活的，并不完全在腳，而可以在頭頂，由頭頂虛領而達至平衡。試看一個不倒翁，無論怎樣推它，它總能彈回原狀，因為它的底是圓的，著力點可順外力而轉換，而身體（脊骨）及頭是一直保持垂直的。如果把不倒翁的頸扭斷，讓頭在一邊。效果便完全不同。不倒翁也會倒下來了。外家拳術常常強調落地生根之馬步，但這只是向單方面之以力迎力之訓練。以力迎力是“頂”，不是太極拳所追求的。這些訓練在頂力的接觸面上很強，但其他三方面卻是不堪一擊的,輕輕一推便會令其失去平衡。因為用力，這種馬步的根亦容易浮起。太極高手只要利用對方身體小小之反彈力,便能將其根浮起。相反地，他自身著地點不停轉換,根是活的，加之飄蕩的頭頂，根本無根可尋，無根可拔。

Speaking of the contact point of body weight, we cannot ignore the discussion of “rooting.” The “root” in Taijiquan is alive and does not necessarily reside entirely in the legs. It could be located at the top of your head, i.e., you can maintain balance by gently lifting up the top of your head. Let’s look at a bop bag. No matter how you push it, it always bounces back. This is because its bottom is round and the contact point of force can change according to the external push. Its body (its “spine”) and head remain vertical and erect. If you break the neck of the bop bag and let its head hang to one side, this will produce a completely different effect. The bop bag will fall down! In external martial arts, the focus is often on developing a horse stance that is deeply rooted down. However, this is just a practice of using force against force unilaterally. Using force against force is “to oppose forcefully,” which is not sought in Taijiquan. This external practice may be very powerful at the point of contact, but the other directions are so weak that even a slight push will cause one to lose balance. Because one uses force, this type of horse stance is easily uprooted. A skillful Taijiquan practitioner will take advantage of the slight rebounding force of his opponent’s body to easily uproot him. Meanwhile, the point of contact of his body weight keeps changing so his root is alive. Furthermore, if the top of his head remains buoyant, his root will be hidden and he can never beuprooted.

By Patrick SW CHAN

Translated by Dominic and Theresa Chan

孫世豐解說偏沉則隨用法

孫世豐老師解釋偏沉則隨用法，其中更涉及聽對方來力的方向。

如何練中定

如何練出中定是一個值得討論的問題。因為很多人，包括我在內，都出現過不穩。身體不穩定，就是沒做到中定。太極拳是練一個陰陽變化，練一個陰陽調濟。一但變化的過程中調濟不當，就是沒做到中定。

先要有正思維，太極拳要整體思維。陰陽之間沒有矛盾，是相生相化的一體兩面。說陰盡陽生也不對，而是陰減多少，陽就增加多少。陽欲上飄，陰一定要下沉，陽向左，陰就要向右。這一切的變化、調濟，都離不開個中。有中才有左右，有中才有上下，有了中心才有四周。如果沒有左右何來中？沒有四周，這個中又有甚麼意義？具體講打拳，虛領頂勁對氣沉丹田、函胸對拔背、放大對縮小等等，都是對應的，中間都有一個中。如果沒有虛領頂
勁，這個氣沉丹田也是假的，或者說已失了中，已經不平衡了。兩手如一手，因為大椎在起中定的作用。左手臂沉下去，右手臂飄起來。只有左沒有右，便失了中定。兩腿如一腿的道理一樣。尾底在起中心的調濟作用。將身體的重量不停地在左腳、右腳、尾底中交替、流動。交替的不好便不穩。

香港立法局的屋頂上，有一個手持天平的女神，以示公平。立法局的聲音應該是不平則鳴。
打太極拳也要立如平準，偏沉則隨。天平比較簡單，只有上下。太極拳就複雜得多了，太極拳的陰陽變化是立體的、是動態的。太極拳是水性拳，練拳的高標準，是要求演架子時，每一動都如流水，如長江大河滔滔不絕。偏沉是不平衡，因為不平衡，才流動。鬆， 是節節貫串地流動，所以說永遠沒有平衡，永遠是為了追求平衡而流動。平衡只存在於流動之中。
那時的'中'還是定的嗎？可以說處處都是中，也可以說沒有了中。處處都是中才平衡，沒有了中才不會倒。

小月

不平衡中求平衡 In Search of Balance while in State of Imbalance

一些人在太極拳理中以夫妻比喻陰陽，在狹義上並無不妥，但在廣義上是不合適的比喻。夫妻關系，是由大自然化生規律而演變成禮教上的關系，是人為的安排，可聚可散。而陰陽二氣在太極中的既對立又統一的性質是不會改變的，否則萬物皆不能化生，世界亦不存在。我們談太極必須弄清太極本性。如談太極之變化及應用又是另外一個層次。

Some attempt to equate the Taiji yin-and-yang relationship to that of husband and wife. Narrowly speaking, it is beyond criticism. However, broadly speaking, it is not totally appropriate. A husband-and-wife relationship is formed as a result of the social ethical code, which is different from the product of evolution based on the universal law of change. The former is merely an artificial arrangement which could be maintained or undone at any time.However, the yin-and-yang in the Taiji sense is that of a dialectical relationship which never changes in nature.Otherwise, nothing can ever evolve from that phenomenon, nor would the world eventually come into existence.While discussing Taiji, we must always bear in mind its inherent properties. We have to be clear about them when
studying Taiji concepts. One would be addressing the topic from a different level if the discussion are on Taiji evolvements and application of its concepts.

太極是不停活動的，無時無刻都在變化，在世間上最明顯的例証便是水在流，氣在飄。在這種活動過程中，空氣中及水裡的份子不停改變其位置，與比鄰的份子們作同向或反向的動，形成一個極不穩定的境界。因此，身體練到有水的特性便有我獨知人，人不知我這高超的本領，這是太極拳的本質。在體用上，學會了在不平衝中求平衡，正是太極拳應用及變化的核心。在這個過程中無論陰陽二氣如何變動，二氣總不能分離。再舉一個例子：我們用秤秤一
件東西，秤砣重量往往比該物件輕，這是不平衡。要秤出正確重量就是將秤砣在衡桿上移動到平衡點上找到平衡。不要小看這簡單的道理，這是四兩拔千斤技巧，是太極拳的體用精要。能將身體練成可秤不同角度的精準秤計，便可立於不敗之地。

Taiji is forever in motion and evolving, the most convincing proofs on Earth being flowing water and moving qi. During the course of such movement, the molecules in the water and air keep changing position. They move either alongside or away from the neighbouring molecules, thereby, creating a highly unstable state. Similarly, if one can turn one’s body into a water-like state, he is said to have attained the state of “knowing’ his opponent while simultaneously keeping him “in the dark”. This state manifests the properties which are inherent in Taiji. In practice, when one grasps the technique of staying in balance while in a state of imbalance, one has addressed the essence of Taiji concepts in terms of their application and understanding of Taiji evolvements. In this process, whatever changes manifested by the yin-and-yang do not result in any split of what really is holistic qi. To cite another example – when we do a weighing exercise, the weight usually weighs less than the object being weighed creating a state of imbalance. To arrive at the accurate weight, one has to move the weight across the equalizing bar in search for the point of perfect balance in order to restore balance. We should not overlook such a simple exercise. It really highlights the technique of si liang bo qian jin (using 4 taels of weight to affect 1000 catties), which is the essence of the practical application of Taiji techniques. When one’s body is so trained to acquire the ability of accurately weighing any object at all angles, he will become invincible.

Written by Patrick SW Chan
Translated by Vicky Wong

談身法十要(3) –沉肩、墮肘、護肫、守中

身體的立體圓球完成，我們還要做多一點工夫，令身體更易放鬆，身法更臻完善。太極拳不單止要求身體成為一個立體圓球，亦是一種應用武術。講體用便離不開用手。習慣了用力，手不自覺便會用上，往往變成違反太極拳拳理的根源。身法十要並沒有不用力的方法，但有幾點，如能做得正確，是可以令身體方鬆，借用地心吸力。

肩與膊是兩個不同的部位。由頸項平伸延至肩包括肩胛骨是肩部，手臂最高盡頭、肩關節以下四週是膊。沉肩是放鬆肩部，便會感覺重量流向膊，把肩關節推開。所有太極拳的動作，不論是開或合，肩部都要鬆沉。肩一緊，力便會自然用上，胸口與背部都不能鬆開。很多人在走架時都會聳肩，這是大毛病，一定要改，否則沒法進步。肩的重量往下流推開肩關節後，用意讓重量繼續流向肘。肘要放鬆，自然往下墮，肘尖有被地心吸力拉緊的感覺。不要破壞或割斷這拉引的感覺，手肘能夠定位，便繼續讓重量流往肘，重量增加到某一情度，重量會衝開肘關節，流往前臂、腕、手掌最後到指尖。這過程全是重量的流動，要用意，不能用力。日久功深，便能築成一條能量的通道，給內勁發放。不用力打人的基礎是由此而建立的。

肩要鬆開，讓重量往下流，是不容易做到的。愈想鬆肩便愈鬆不開。要服這困難可以試試先鬆胸口。胸口能放鬆便會讓出一些空間給肩，這樣肩放鬆便容易做到。但很常見的是胸口也不能鬆開，遇到這情況可鬆兩肋，使其有下降的感覺。肫是胃的意思，護肫是胃部給包圍保護著的感覺，鬆肋就是護肫。護肫十分重要，它可以令胸、肩容易放鬆，更可將重量往下導，令橫隔膜下降，把胯推開，是達成氣沉丹田的不可缺少原素。

拳譜云：「中正安舒，方能支撐八面」。守中的重要性，不須再加苗述。脊椎是人體的中心，初學者應先從守脊椎開始。脊椎要由頭頂開始好像一個測量的線秤鉈垂直往下墮。這是重量往下墮。生理上我們的脊椎底部（尾閭）是往前往上灣曲的，當重量流到尾閭，便會將它推前，剛好托著丹田部位。這叫尾閭托丹田，到此才算中正。這才真的做到氣沉丹田。到此，身體重心往下降，前進後退，轉動均由此為起點。所以尾閭能托丹田，一身便有主宰。

守中是要令中軸不能移動、時刻都要保持在中間位置。用一個可轉動的地球儀作比喻：地球儀的頂及底部有中軸及滑輪連接，給力一推，地球儀便按力的方向轉動，動是由軸滑輪開始，與球外殼同步轉，其時中軸並沒有轉。如用手按著地球儀慢慢往前推，只要推前超過45度便按不緊球面而落空。太極拳以「人剛我柔」的心法令人落空的精神，便在這裡。很多人推手時將腰轉左轉右來閃避來力是不對的，轉腰是用力，亦是逃避，陰陽不相濟，借不到人家的力，是違反拳理的。

上述的守中要求，只是初步的，只令身體左右靈活，而身體上下還未能正確的動。要練到身體上下左右靈活，守中的意念便要縮小。意守在丹田與命門之間，用此作為一點中心，控制全身。推我上身，我下身便進，推我右，則左已去。這才合太極拳的道理。

總結

這身法十要，對初學太極拳者至為重要，是入門的正路，但只是基礎的訓練，能夠把握，便要將各法溶入成為本能，才可提高拳藝。我是按郝月如老師的指示一點點的在走架上練習，一點有體會才練第二點，一級級的建立起來的。郝老師有提及閃戰、騰挪等法，但我覺得這是此較高深的心法，所以不在這裡討論了。我資質差，只能用這種學習方法，是我個人經驗，並不代表是獨一無二的方法。佛門禪宗提及覺悟有分頓悟與漸悟，按各修行者的資質而定。身法十要是練拳一種法門，只要能走進太極拳真理的世界，甚麼法門也是真法。就如鄧小平先生說：「不論黑貓與白貓，會捉老鼠就是好貓。」

談身法十要(2)－涵胸拔背、鬆胯擴膝

虛領頂勁及氣沉丹田能夠把握，身體的立體圓形的頂與底便建立成形。可是一個立體圓球還需將前、後、左、右充滿，方能成形。〔涵胸拔背〕就是建立前後的身法。涵胸，亦有拳譜寫作含胸，二者均有往中心內收的意思。心以上為胸，做涵胸時用意將左右胸肌往中間收進，有如將一張信紙摺半。胸一涵，兩膊亦同時往前送、往內轉，背部皮膚會有拉緊的感覺。這時要用意將大椎(位於背部最高一節脊骨，再高一點便是頸椎。大椎是人身九個大關節之一。) 往上拔，與虛領頂勁接合。這是拔背。很多練太極拳的人都對拔背有誤解，猛將背部往後拉，而這樣做只會做成寒背，不是太極拳要求的拔背。

涵胸拔背是十要中其中兩要，也是不能分割的。胸一涵，兩膊向前向內送，胸前的半個圓球便完成。背拔，便將另外一半圓球也建立起來。這時，要以意念令背部皮膚張開，有如充滿空氣的鼓脹。這是拳譜上所說的〔氣貼背〕。氣能貼背，背則靈通而連接兩手，要有兩手如一手之感覺。這種鍛煉可漸漸將身體變成一個天秤，左沉右升，兩手重量及沉浮互濟，是太極拳借力的基礎功夫。

鬆胯擴膝又是兩種不可分割開的動作，目的是把身體立體圓形的左右兩面都充滿，使身體成為一個完整的立體圓球。動作的過程是先把胯鬆開，讓身體的重量往腳掌流去，流動之間重量把膝蓋往左右兩邊推開，使重量全部流往腳掌，而圓球的左右也由此而完成。今天練太極拳的人，很多都將鬆胯擴膝誤為蹲身屈膝。我們平日站在地上是由身體各關節平均的承托身體的重量。練太極拳時要求放鬆全身，如不能導引自身的重量到腳掌，由大地承擔，某些不能鬆開的關節，便會承受過多的重量。日久得不到改善，關節便會受傷。蹲身屈膝正正是把重量集結在膝蓋這兩點，這便解答了為何現今很多練太極拳的人感到膝蓋疼痛的問題。

郝月如先生用了裹襠及吊襠兩個動作名稱來描述怎樣做到鬆胯擴膝。裹襠除了可以協助鬆胯外還有另外一個作用。我們做涵胸拔背只能將意氣充滿背部的上方，命門以下則未能圓滿。做裹襠時，我們將左右盤骨如涵胸一樣將膊往前往內送，背部未能圓滿的的下方便會滿起來。因為左右盤骨張開，平日迫緊脊椎的肌肉便會鬆開。吊襠是用意念將身體重量從兩肩流入背，注入脊椎，往尾閭流去。由於迫緊脊椎的肌肉已經鬆開，重量會將尾閭往下推，繼而流過大腿內側，把膝蓋左右推開，最後到達腳掌。做吊襠，另外一點須留意的，要將大腿內側的頂部往左右張開，有如一個倒轉的 U 字。這會擴大盤骨的擴張度，令尾閭更方便往下流。