T�ai Chi Magazine - Volume 28. No. 2

Zhu Tiancai�s 42 Methods of Fajin
By David Gaffney
Translations by Sim Siaw-Voon

In October 2003 Chenjiagou Taijiquan GB hosted the second UK visit of Chen Taijiquan luminary Zhu Tiancai. Following are some insights he presented on the correct development of fajin in Chen style Taijiquan.

A distinctive characteristic of Chen Taijiquan is the frequent use of fajin, that is explosively issuing energy with any part of the body. Along with the fist, elbow, shoulder and knee used in the external martial arts, Chen Taijiquan requires the practitioner to be able to fajin with any part that comes into contact with an opponent. This can be used to throw or strike an adversary. Alongside sensitivity, yielding and redirecting skills, a practitioner seeking martial efficiency should be capable of powerful aggressive movement.

Chen Taijiquan fajin should be elastic in quality, forceful without being stiff. In the words of a Chen family saying, fajin must be performed as though �shaking cinders from the back of the hand� or akin to �a golden lion tossing its mane�.

During his recent visit to England, Zhu Tiancai, for the first time, taught the 42 method of fajin that he has developed, based on the 32 fajin pattern devised by the famous Chen Zhaokui of the 18th generation of Chen Style Taijiquan. Zhu added 10 movements to the original 32 so that a comprehensive compendium of fajin possibilities can be demonstrated.

Chen Zhaokui devised the 32 pattern of fajin for the purpose of an exhibition in 1975 to demonstrate the dynamism of Chen Style Taijiquan. Chosen to perform was the then very young four Buddha�s Warriors of today, Chen Xiaowang, Zhu Tiancai, Wang Xian, and Chen Zhenglei, together with their senior martial brother Chen Dewang. The occasion was the Xinxiang (Wenxian) Wushu Tournament, where many renowned old masters were invited to demonstrate their skill, notably Chen Yuxia (daughter of Chen Fake), Lei Mongni, and Feng Zhiqiang. In the process of the repertoire, the five members moved in sequence, making square, rectangle and plum blossom (5 circle) patterns on the stage. All who saw the demonstration were impressed by the vigour and energy of the display.

The fajin methods reveal the martial applications and intent contained within the handforms of Chen Taijiquan. While the 42 methods can be practised as a continuous series, Zhu Tiancai suggested they could most effectively be trained as single-movement exercises. Dismantling the pattern and drilling the 42 fajin methods individually will greatly develop the ability to use them practically. Taking out difficult movements, such as Ying Men Kao (Enticing Bump) where the chest is used as the striking area, or Wai Bai Li Shua (Outward Swing and Inward Throw) and practising them repeatedly can greatly help the practitioner to enhance their accuracy, speed and timing. Chen Zhoakui stressed the importance of single posture training as a means of enhancing martial skills that could not be practised safely with a partner, saying that �some applications of the movement cannot be used in push hands. For example elbow strikes� and also attacking vital points of an opponent, or qinna�.

Throughout the seminar Zhu Tiancai emphasised a number of important points to be seriously considered when trying to develop effective fajin skills. Firstly there should be no deviation from the core principles of Taijiquan - relaxation, whole body movement etc.. Execution of the methods arises from a particular point within a circle, so the silk-reeling spiral path of a movement should always be sought.

He stressed that the practice of fajin should only be done after one has acquired the pliant energy (rou jin) of Taijiquan. They should be done within the principle of �song� - letting loose or maximum relaxation of the muscles and joints � the idea of attaining forcefulness and power from softness was repeatedly emphasised. Zhu said that: �The whole body should be loose (song). The waist initiates all movements. The qi sinks down to the dantian, then descends into the yongquan, and finally surges into the four limbs. The springy elastic force of fajin is expressed in the outer section of the limb, which is followed by the middle section, which in turn is driven by the root section. Qi follows the intention (yi), and structure (xing) follows the qi. Therefore, yi, qi and xing become one entity.�

When using fajin, Zhu said that exponents of Taijiquan should seek to harmonise internal and external movements; ensure that they co-ordinate the actions of the upper body and lower body; clearly differentiate weight distribution; and pay strict attention to timing. The ultimate aim in Chen Taijiquan is to harness one hundred percent of the body�s strength during a movement. Therefore, power emitted should be complete, the speed must be quick, the range should be short and the end point must be precise. While Chen Taijiquan makes use of rapid shaking movement of the waist and hips during fajin, this aspect is often over-emphasised. Shaking the body without having a fixed point of impact may appear impressive to the untrained eye, but is of little practical use against an opponent.

According to Zhu, reverse abdominal breathing is a prerequisite of correct practice. In performing fajin, the practitioner should inhale when gathering and exhale when executing. The abdomen contracts during inhalation and is distended during exhalation. Above all, breathing should be natural and spontaneous. If the breath has to be forced, then it is unnatural and detrimental to health. In fact, reversed breathing is used unconsciously whenever a person makes a sudden violent effort, even if they are completely unaware of it. Just as a person could not breathe in when pushing a car or lifting a heavy weight, one cannot inhale when performing fajin.

Zhu pointed out that only by following the above characteristics could one hope to properly develop fajin skills. True fajin is more than simple brute strength. Rather, it is a sudden, relaxed and fluid explosion of power. Though many people understand Taijiquan only as a slow motion dance-like exercise, one�s thoughts must constantly go back to the simple reality that it was created as a martial art. A cursory glance at tales of past masters reveals many references of superior strength and power alongside great softness and sensitivity. Fajin training is important in so much as the ultimate objective of Taiji practice is to reach a state of balance, fifty percent hard and fifty percent soft, yin and yang.

Great article, Maria. My question would be: what is the difference between the principle of Song and and allowing your body to be limp?

Scott wrote:

Great article, Maria. My question would be: what is the difference between the principle of Song and and allowing your body to be limp?

Scott what do you mean by limp? A type of asymmetric abnormality of the gait?

Andrey,

Not that meaning of limp. I mean flaccid, lacking firmness, hanging loosely. I guess my real question is: what is the nature of Song, of relaxing the muscles & joints without becoming a lifeless structure? What is the nature of chi, a force that can animate & enliven a body without adding tension? How can we best cultivate this? I know that when we perform the Fajin form, we go from relaxed to explosive power & return to relaxed. When I go to the relaxed, I feel that my body is almost completely yin, without much chi.

Scott wrote:

Andrey, Not that meaning of limp. I mean flaccid, lacking firmness, hanging loosely. I guess my real question is: what is the nature of Song, of relaxing the muscles & joints without becoming a lifeless structure? What is the nature of chi, a force that can animate & enliven a body without adding tension? How can we best cultivate this? I know that when we perform the Fajin form, we go from relaxed to explosive power & return to relaxed. When I go to the relaxed, I feel that my body is almost completely yin, without much chi.

Remember I told you about a puppet on strings? Now imagine an arrow that you plugging an arrow into bow. Rope is stretching as you pulling arrow back more and tension increasing. Finally you release it. The arrow flies to target and rope again become soft. Within the soft rope there should be some yang to keep the structure it cannot be soft as a noodle - noddle can't shoot the arrow.

Andrey,

That's a good visual. However, when you say "within the soft rope there should be some yang", what is the nature of that "yang". Do you mean chi? How do we maintain that "yang" without holding tension?

Scott wrote:

Andrey, That's a good visual. However, when you say "within the soft rope there should be some yang", what is the nature of that "yang". Do you mean chi? How do we maintain that "yang" without holding tension?

If you will be soft like a noodle you will collapse on the floor! After all you have to use muscle tension to stand!? So there is some tension in the rope, but think about. If there no any tension in the rope of the bow than it cannot be used to lunch the arrow. If the rope will too tense like a iron bar - good luck to pull it back. So what do you have? You have a certain ration of yin and yang. Rope is soft but not the noodle, rope is tense but not a iron bar.

This is how you see right now Yin and Yang


This how you suppose to see it

Scott wrote:

what is the nature of Song, of relaxing the muscles & joints without becoming a lifeless structure?

Song, qi, ying/yang, these are all words that don't mean much until the thing they describe has been experienced.

There is one experiment that Jesse showed me when I started Taiji, I'll try to share with words on the forum. If it doesn't work, we'll talk Sunday

You need another person to help you with this experiment. Extend one arm horizontally in front of you, and ask the second person to hold your fingers. Totally relax your shoulder, arm, elbow, wrist. If the other person let go of your fingers, your arm falls. This is limp-relaxed.

Now do the same thing again. Hold the arm horizontally, have the other person hold your fingers, and totally relax your arm again. Now, put the minimal effort in your shoulder and arm such that when the other person let go of the fingers, your arm stays horizontal. This is song-relaxed.

If you understand "song" in your arm, you will be able gradually to incorporate that feeling in your form.

Tell me how the experiment feels!

just a thought of a beginner

the most difficult part in your exercice is to completely relax your arm and shoulder in the first part of that experience

but I am glad this text leads to discussion

Maria wrote:

the most difficult part in your exercice is to completely relax your arm and shoulder in the first part of that experience

You are right, this is not easy. While the other person is holding your arm by your fingers, try to picture your arm as being super heavy. Don't hold you arm too straight, bend your elbow so that the angle between the forearm and the upper part of the arm is something like 110 or 120 degrees, this should help. Your should get the feeling of our shoulder going down, down, because it's so heavy.

Slowly, relaxing the tensions should become a second nature. I try to examine my posture as often as I can, and not just while practising the form: while standing and washing the dishes, while typing on a keyboard, standing in line at the grocery store, driving a car, etc.

And I can tell you I catch myself being tense much more than I'd like to admit. I'm slowly getting better at that "relaxing" game. It's good for the form!

For me, the first part of the experiment is easy. In the second part, I feel tension in my shoulder to keep my arm horizontal. I'm trying to allow this tension to leave my shoulder & descend to my Dan Tien. This is a good exercise to identify tension & try to find Song.

I was talking with Jim yesterday & he recommended visualizing the arm, and the entire body, as a garden hose that becomes filled with water. I had forgotten this since my Aikido days, but it's a useful tool.