tai chi forms

7/28/2019 Tai Chi Forms

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First Section of Standard Simplified 24 Form Tai Chi (Yang

Style)Movements 1 - 5

Before you begin your Taijiquan form practice, be sure to do some walking and/or

progressive warm up exercises. There are many sets of exercises that can be used to

warm up that have been developed inQigongpractices. Yang style Taijiquan players

use many different Qigong sets for warming up the body before they begin Taijiquan

form practice. I often use an exercise set like theEight Section Brocade,Five Animal

Frolics,Wild Goose,Nine Temple,Bagua Walking, gentleHsing Yidrills,Sun

Salutations, or abrisk walkas part of my warm up exercises. Be creative and playful

in selecting your warm up practices.

1. Opening Posture of Taijiquan

Variations ofnamesfor this movement include: WuJi, Standing Quietly,

Reconnecting with Oneness and Emptiness, Quiet Standing Mediation

Beginning, Commencement, Starting Posture, Commencing (Qishi), Taijiquan

Opening Movement, and : Yu Bei : Preparation Form.

Face N 12 (1a) . For an explanation of thedirectional schemeused in Cloud Hands

webpages, please see below.

Stand at attention for awhile. In Taiji and Qigong, standing quietly in a meditative

posture for awhile is the first phase. Relax (Sung). Shoulders are down, hands

relaxed and gently touching the side of leg, and head is erect. This is the phase

ofWuJi(empty state), or standing like a tree (Zhan Zhuang), and Reconnecting with
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Oneness and Emptiness. Breatheeasily and comfortably.

Sink weight into right leg, and then step out to the left to shoulder width (1b).

Gently raise both arms up (1c), palms facing down, to about shoulder height (1d).

Lower both arms, palms down, toDan Tien height, and lower knees (1e). The

lowerDan Tien is a sphere of energy located a few inches behind and below the level

of the navel or belly button; the middleDan Tien is located in the heart area, and theupperDan Tien is located behind the eyes in the brain. The most important for

Taijiquan is the lowerDan Tien. Practitioners of Kundalini Yoga might consider

correspondences of the 3rd Chakra (Manipurna) [Power, Will] with the LowerDan

Tien, the 4th Chakra (Anahata) [Compassion, Love] with the MiddleDan Tien, and

the 6th Chakra (Aina) [Intuition, Vision, 6th Sense] with the UpperDan Tien. The

Chinese energetic system is quite different from the Indian energetic system, so

correspondences are weak in this case.

This is movement often called "Raising Hands and Lowering Hands."

Breathe normally as you stand, relax, and center in position 1a. Breathe in through

nose, and out through the nose. Slow the respiration rate to inhaling for 4-5 seconds,

holding the full in-breath for 1-2 seconds, exhaling slowly for 4 to 5 seconds, pausing

1-2 seconds before beginning the yin/yang cycle of breathing again. Breathe in at 1a,

breathe out as you step to 1b.

Breathe in as arms float up 1b-1c, and breathe out as arms float down (1d-1e).

(1a) (1c-1d)

Here is a description of the beginning of the Opening Posture of Taijiquan (#1, 1b) from thebookTraditional Chen Style Taijiquanby Fan Chun-Lei and A. Frank Shiery, p.37:

"1. Preliminary Stance: Stand naturally upright with the feet placed shoulder-width apart,

toes pointed slightly inward, and arms hanging naturally at the side. The body should be keptupright with the shoulders relaxed, eyes slightly closed and breathing naturally. The body should

face north. The mind should remain empty, calm and clear. This is the state ofWuJi, (Negative

Terminus in Taoist Teaching).
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2. Commencing Form: The body should exhibit being relaxed externally while solid within.

The head is held naturally erect as if pulled upward by an invisible string. Close the lips slightly

with the tongue touching the upper palate. The toes firmly grasp the groundwith Yongquan point pulled upward. The eyes are looking straight ahead with the chin drawn

slightly inward. The hip is turned up and the coccyx turned back and upward with the waist

directed downwards. The whole body should remainrelaxed. A mind state of intent ismaintained while the vital energy flows upward from theDantian to theBaihui point, while theturbid energy flows downward from theDantian to the Yongquan point. During this time, the

body exhibits no external movement. Yin/Yang, for example, closing/opening, supple-firm and

fast-slow are manifested internally, portraying the image of the Taiji, (Grand Terminus) (1b).Key Points to Remember: For the beginner, the primary concern should be to cleanse the

mind and spirit of tension and anxiety, removing all negative thoughts. This develops even-

temperedness and an alert mind for quick movement and response. Once this technique has been

mastered, the practitioner can begin to understand and practice Taijiquan more effectively."- Fan Chun-Lei and A. Frank Shiery,Traditional Chen Style Taijiquan

2. Wild Horse Shakes Its Mane

Variations ofnamesfor this movement include: Parting the Wild Horse's Mane, Wild

Horse Waves His Mane, and : Ye Ma Fen Zong : Parting the Wild Horse'sMane.

The general direction of movement is in a straight line from E3 towards W9 in

Movement #2. Part the Wild Mustang's Mane Three Times: 1. To the left side (2e), 2.

To the right side (2j), and 3. To the left side (2o). Please study the

recommendedonline videosto see how the series of postures in this particular

movement are performed.

When performing the short form, players should: move slowly, move continuously, keep themovements rounded, move without great effort, relax, keep the head up, let the mind direct the

movements, don't bounce, and maintain an upright posture. Breathe in through the nose and out

through the mouth, breathe deeply and regularly, breathe in when pulling back or reaching up,

and breathe out when going forward or reaching down. All the basic principles found in the T'aiChi Ch'uan Classics should be followed when doing the Beijing simplified Taijiquan form.
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Gently rise up to normal height (2a). Circle right arm counter-clockwise up to chest

height, with the palm facing down. Draw left arm to waist, with the palm facing up

(2a). Imagine holding a ball between the two hands. Turn the waist to NE1 (2b).

Draw the left foot to the side of the right foot (2b). Hold Tai Chi "energy ball" with

right hand, palm down, at chest height; and left hand below, palm up, at Dan Tien

height (2b). Relax and gently inhale.

"Part Wild Horse's Mane to the Left" by stepping diagonally with the left leg (2d),bring left hand out, palm up, to about chest height (2e). Exhale as the left arm

extends. Left elbow is slightly bent. Right hand moves down to right hip (2e), with

the right palm down. End with chest facing W9, left hand to SW7. Left bow stance

with 60% of weight in forward left leg (2e), left knee bent; and, 40% of weight in rear

right leg, with leg bend. Head upright. Shoulders down.

"Part Wild Horse's Mane to the Right" by first drawing the weight back into the right

leg, pivot on left heel (2f), drawing the left hand back as the torso turns to face SW7

(2g). Step forward with the right foot to side of left foot (2g). Step out the right leg to

the diagonal (2i). Exhale as the right arm extends (2i). Right elbow is slightly bent.Left hand moves down to left hip (2j), with the left palm down. End with chest

facing W9, left hand to NW11. Right bow stance with 60% of weight in forward right

leg (2j), right knee bent; and, 40% of weight in rear left leg, with leg bend. Head

upright. Shoulders down.


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"Part Wild Horse's Mane to the Left" by first drawing the weight back into the left leg,

pivot on left heel (2k), drawing the right hand back as the torso turns to face SW7

(2k). Step forward with the left foot to side of right foot (2l). Step out the left leg to

the diagonal (2m). Exhale as the left arm extends (2n). Left elbow is slightly bent.

Right hand moves down to right hip (2o), with the right palm down. End with chest

facing W9, right hand to SW7(2o). Left bow stance with 60% of weight in forwardleft leg (2o), left knee bent; and, 40% of weight in rear right leg, with right leg bend

(2o). Head upright. Shoulders down. Look towards W9.

(2j) (2f) (2f) (2f)

3. White Crane Spreads Its Wings

Variations ofnamesfor this movement include: White Stork Spreading Its Wings,

White Crane Lifts Its Wings, White Stork Cools Its Wings;

:Bai E Liang Chi.


Movement #3.
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2o = 3a. From 3a draw the right foot forward a half step (3b). The right hand moves

upward (3b) as the left hand moves downward (3b). Draw the left foot backward (3c)

as the right hand moves up and left hand moves down (3c). Finish (3d) with the right

hand above the head and palm forward, in a left toe stance with 90% of the body

weight in the back right leg, and the left hand rests along left leg with palm down.End with chest facing W9. Face to W9. Relax and exhale as the weight settles down

in the back right leg.

Notice how the body turns at the waist slightly to left SW7 (3b) and then to the right

NW11 (3c) before it settles to face W9. This represents the subtle internal rotation of

theDan Tien, a "silk reeling" movement, more pronounced in theChen Styleof

Taijiquan than in Yang Style Taijiquan, but still present in all styles of Taijiquan.

Many movements in the 24 Form include this turning of the waist from side to side,

and rotation of theDan Tien.

(3d) (3d) (3d)

4. Brush Knee

Variations ofnamesfor this movement include: Twist Step, Brush Knee, Palm Strike;

Brushing Your Knees and Stepping; Brush Knee and Twist Step; and:Lou Xi Ao Bu : Brush Knee and Twist Step.


Movement #4. Please study the recommendedonline videosto see how the series of

postures in this particular movement are performed.
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3d = 4a. Brush left knee and right palm strike (4a-4h). Left Knee and palm Twist

Step (4b), turn body clockwise (4c-43), Brush Left Knee (4f), Right Palm ForwardStrike (4h). End with chest and face facing W9, look to W9 (4h). 4h = 4i.

Brush right knee and left palm strike (4i-4o). Twist Step (4j), turn body counter-

clockwise (4k-4l), Brush Right Knee (4m), Left Palm Forward Strike(4o). End with

chest and face facing W9, look to W9 (4o). 4o = 4p.

Twist Step, Brush Left Knee, Right Palm Forward Strike. End with chest facing W9.


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(4n) (4o) (4u) (4u)

5. Playing the Lute

Variations ofnamesfor this movement include: Play the Guitar, Strumming the Lute,

Hand-hold the Lute, Playing thePipa, and : Shou Hui Pi Pa : Hand Strumsthe Lute.


Movement #5.

4u = 5a. End with chest facing W9, and look to W9.

Here is a description ofPlaying the Lute "Hand-hold the Lute" (#5, 5a-5d) from the book 'Tai

Chi for Health: The 24 Simplified Forms" by Cheng Zhao and Don Zhao, p.88:

"Form 5 resembles a person playing a lute, a common music instrument in old China's time. It

is more accurate to describe it as hands holding the lute, which is also a literal translation from

its counterpart in Chinese.
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1. Shift the body weight onto the left leg (5a). Life the right foot and move it a half step

forward, placing it behind the left foot (5b).

2. Lightly shift the body center back to sit on the right leg (5c). Extend the left heel a littleforward touching the floor in an empty stance (5c-5d). At the same time, rotate the waist slightly

to the right (5b-5c), lift the left arm and hand upward to the nose level (5b-5c), lower the right

hand to guard the inside of the left elbow (5d)."- Dr. Cheng Zhao

(5d) (5d) (5d)

Return to Index for Sections or Proceed to Second Section (Movements 6 - 9)

Second Section of Standard Simplified 24 Form Taijiquan

(Yang Style)Movements 6 - 9

6. Step Back and Repulse Monkey
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Variations ofnamesfor this movement include: Fending Off the Monkey; Step Back

to Drive the Monkey Away; Repulse Monkey and Step Back;

Step Back and Swirl Your Arms; Reverse Reeling Forearm (Daojuan Gong), Step

Back and Drive Monkey Away, Repulse Monkey,

:Dao Nian Hou.

The Direction of Movement is reversed. Move backward in a straight line from W9

in the direction of E3. Please study the recommendedonline videosto see how the

series of postures in this particular movement are performed.

6a = 5d. Right leg and right twisting (reverse reeling forearm) arm back, left arm

forward, step back with left leg (6d), exchange arms and move right palm forward

(6d-6e).

Left leg and leg twisting arm back, right arm forward, step back with right leg (6g),

exchange arms and move left palm forward (6g-6h). 6h = 6i.

Right leg and right twisting arm back, left arm forward, step back with left leg (6k),

exchange arms and move right palm forward (6k-6l).

Left leg and leg twisting arm back, right arm forward, step back with right leg (6n),exchange arms and move left palm forward (6n-6o).

Here is a detailed description of how to performRepulse Monkey (#6, 6a-60) taken from the very

useful narrative document by David Hann:
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"Repulse Monkey (1): Turn your right hand palm up and let it drop so that your arm moves in

an arc (6a-6b). Continue bringing your right arm back until your hand is level with your right

shoulder (6c). Turn your left hand palm up and flat, parallel with the earth (6c). Notice that yourtorso is facing (6c) to the side (N12) (the same direction as you face when you first begin,

Raising the Chi (1a). Step back with the left foot (6d-6e), taking care to maintain your stance

about a two fist width from your right foot, or about shoulder width. Now turn your torso to theleft, bringing your right arm forward in a palm strike and your left arm backward as if grabbingan opponent's arm and pulling (6d-63). Your right palm will now be the most advanced hand

(6e).

Repulse Monkey (2): Turn your left hand palm up and let it drop so that your arm moves in anarc (6e-6f). Continue bringing your left arm back until your hand is level with your left shoulder

(6g). Turn your right hand palm up and flat, parallel with the earth (6f). Notice that your torso is

facing to the opposite side (S6). Step back with the right foot, taking care to maintain your

stance about a two fist width from your left foot, or about shoulder width (6g-6h). Now turnyour torso to the right, bringing your left arm forward in a palm strike and your right arm

backward as if grabbing an opponent's arm and pulling (6h). Your left palm will now be the

most advanced hand (6h).Repulse Monkey (3): Turn your right hand palm up and let it drop so that your arm moves in

an arc (6i). Continue bringing your right arm back until your hand is level with your right

shoulder (6j). Turn your left hand palm up and flat, parallel with the earth (6j). Notice that your

torso is facing (N12) to the side (the same direction as you face when you first begin, Raising theChi. Step back with the left foot, taking care to maintain your stance about a two fist width from

your right foot, or about shoulder width (6k-6l). Now turn your torso to the left, bringing your

right arm forward in a palm strike and your left arm backward as if grabbing an opponent's armand pulling (6l). Your right palm will now be the most advanced hand (6l).

Repulse Monkey (4): Turn your left hand palm up and let it drop so that your arm moves in an

arc (6l-6m). Continue bringing your left arm back until your hand is level with your left

shoulder (6m). Turn your right hand palm up and flat, parallel with the earth(6m). Notice thatyour torso is facing to the opposite side (S6). Step back with the left foot, taking care to

maintain your stance about a two fist width from your right foot, or about shoulder width (6n-

6o). Now turn your torso to the right, bringing your left arm forward in a palm strike and yourright arm backward as if grabbing an opponent's arm and pulling (6n-6o). Your left palm will

now be the most advanced hand (6o)."

- David Hann, Yang Style Short Form Tai Chi

7. Grasping the Sparrow's Tail - Left

Variations ofnamesfor this movement include: Grasp the Sparrow's Tail, Grasping

the Peacock's Tail, Grasp the Bird's Tail, Four Gates, Grasp the Sparrow's Tail to the
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Left Side, Hold the Peacock's Tail, :Lan Que Wei Zou : Grasp the Bird'sTail Left.

"Grasping the Bird's Tail" is the most frequently occurring movement in theYang

Style Long 108 Form. This movement consists of four parts: Ward Off, Roll Back,

Press and Push.




7a = 6o. Generally, one is moving in the direction of W9, to your left side, in

Movement 7.

Here is a detailed description of how to perform Grasping the Bird's Tail, Left Mode (#7, 7a-7m)taken from the book "Illustrations of Tai Chi Chuan Simplified" by Y. W. Chong, pp. 27-31:

"1. Raise the left hand arch-wise to the right (7a-7b) and stop it before the right side of thewaist (7c). At the same time bend the right hand horizontally before the chest as if grasping a

ball with both hands (7c). Concurrently draw the left foot back and put it close to the right one(7b-7c), with the left toes touching the ground (7c).

2. Lift the left hand outward in a bent manner to the left as if to ward off a blow (7c-7e) andbow it horizontally at the level of the shoulders (7e). At the same time swing the right hand

downward to the right (7d-7e) and put it beside the right thigh (7e). At the same time stretch the

left foot out and bow it forward (7d-7e). The eyes are looking at the left forearm (7e). [WardOff Left (Peng Zuo) I]

3. Stretch the left hand forward, turning its palm downward (7f). Concurrently turn the right
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palm upward and stretch it forward until it comes below the left wrist (7f). Then pull the two

hands downward past the abdomen and swing them up backward to the right until the right hand

comes to the height of the shoulders with its palm upward (7f-7g) and the left hand comes beforethe chest with its palm facing inward and the elbow bend horizontally (7g). At the same time

shift the centre of gravity to the right foot (7g). The eyes are looking at the right hand (7g).

[Roll Back (Lu) II]4. Draw the right hand back and put it at the inside of the left wrist (7g). Push both handsforward with the left palm inward and the right one outward (7h-7i). At the same time bow the

left leg forward (7h-7i). The eyes are looking at the left wrist (7i). [Press (Ji) III]

5. Separate both hands at the distance of the breadth across the shoulders with both palmsfacing downward (7j-7k). Then lower the upper body slightly backwards (7k), shifting the

centre of gravity to the right foot (7k). At the same time draw both hands back to the two sides

of the waist with both palms facing forward slightly to the ground (7k-7l). The eyes are looking

forward horizontally (7l).6. Push both hands forward and upward (7l-7m). At the same time bow the left leg forward

(7m). The eyes are looking forward. [Push (An) IV]"

- Y. W. Chong

I. Ward Off Left (Peng Zuo) (7b-7e) Inhale 7b-7c, and exhale 7d-7e. Turn torso to

the left towards W9 (7e).

II. Roll Back (Lu) (7f-7g) Inhale 7e-7g. Turn torso to right towards N12 (7g). The

hand movements for Roll Back are not shown clearly in the the above illustrations (7f-

7g). Look at right hand in the direction of NE2.

III. Press (Ji) (7h-7i) Inhale 7g-7h, and exhale 7h-7i. Torso facing W9 (7i). Turn

torso to the left towards W9 (7i). The right palm presses against the left forearm. The

left palm faces the body.

IV. Push (An) (7j-7m) Face W9. Push both hands, palms forward, towards W9

(7m). Inhale 7j-7l, and exhale 7l-7m. Torso faces W9 (7m).

(7e) (7i) (7m) (7m)
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8. Grasping the Sparrow's Tail - Right

Variations ofnamesfor this movement include: Grasp the Sparrow's Tail, Grasp the

Bird's Tail, Four Gates, Grasp the Sparrow's Tail to the Right Side, Hold the

Peacock's Tail, : Lan Que Wei You : Grasp the Bird's Tail Right.

The general direction of movement is in a straight line from W9 towards E3 in



"Grasping the Bird's Tail" is the most frequently occurring movement in theYang

Style Long 108 Form. This movement consists of four parts: Ward Off, Roll Back,

Press and Push.

8a = 7m. Generally, one is moving in the direction of E3, to your right side, in

Movement 8.
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Here is a detailed description of how to perform Grasping the Sparrow's Tail - Right(#8, 8a-8o)

taken from the book "Tai Chi Ch'uan and Qigong: Techniques and Training" by Wolfgang

Metzger and Peifang Zhou, pp. 106-109:

"Assume starting position (8a = 7m): Arch steps to the left. Left foot load about 70

percent; right foot about 30 percent (8a). Shift weight to the right foot; left footrotates on the heel by 90 to 120 to the inside (8b). At the same time - with gently

held, slightly rounded arms - the hands move with the upper body to the right (8b).

Slowly bend arms, with right hand moving in an upward arc (8b-8c), and assume the

ball-holding position in front of the right side of the body (8c-8d). While in the ball-

holding position, the right foot is pulled towards the left without the toes touching the

ground (8d).

1. PengMovement: With an arched step to the right, pull the left hand as inForm

2("Parting Horse's Mane") in an arc down to hip level (8e-8f), while the right forearm

- different from Form 2 - moves at a left angle in an arc forward and up (8e-8f) until

level with the chest (8f), harmoniously coordinating it with the rotation of the body(8d-8f) and the shifting of the weight (8e-8f). Position (8f) is the starting point for the

second part of this form. [Ward Off Right (Peng You) I]

2. Lu Movement: This starts with a slight rotation of the body to the right SE4 (8g),

not shown in the illustration. While the body rotates to the right, hands are rotating to

face each other, the right hand moving towards the right. Both hands - while shifting

the weight to the left leg (8f-8g) and rotating the body to NW11 - move in an arc

down to the right hip level (8g). [Roll Back (Lu) II]

3. Ji Movement: Preceded by a small reaching back movement (8h), move the left

hand towards the left; both hands cross at the wrists and are pushed forward and out

(8i-8k). When pushing forward, shift the weight again to the right leg (8k). [Press(Ji) III]

4. An Movement: at the conclusion of theJi movement (8k), turn the hands so that

they are crossed (8l) with the palms facing down, right hand below the left (8l). As

the weight is shifted to the back left leg (8m-8n) - the toes of the right foot raised

slightly off the ground (8n) - the crossed hands separate again and are pulled towards

the body by the elbows (8m-8n). They are then - with a slight shift of of the body's

weight (8n-8o) - pushed forward (8n-8o). Do not straighten your arms out in the end

position (8o). [Push (An) IV]."

- Wolfgang Metzger and Peifang Zhou

I. Ward Off Right (Peng You) (8a-8f) Inhale 8c-8d, and exhale 8e-8f. Turn torso to

the right towards E3 (8c-8e).
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II. Roll Back (Lu) (8f-8h) Inhale 8g-8h. Turn torso to right towards N12 (8h). The

hand movements for Roll Back are not shown clearly in the the above illustrations (8f-

8h). Look at right hand in the direction of NW10.

III. Press (Ji) (8j-8k) Inhale 8h-8i, and exhale 8j-8k. Torso facing E3 (8k). Turn

torso to the right towards E3 (8i-8k). The left wrist presses against the inside of theright forearm. The right palm faces the body.

IV. Push (An) (8l-8o) Push both hands, palms forward, towards E3 (8n-8o). Inhale

8m-8n, and exhale 8n-8o. Torso faces E3 (8o). Both palms face away from the

body.

(8f) (8k) (8k)

9. Single Whip

Variations ofnamesfor this movement include: Simple Whip, Whip, Holding the

Whip in One Hand, Holding a Single Whip, :Dan Bian.


Movement #9.

From the Push phase (9a) at the end of the Grasping the Sparrow's Tail movement (9a

= 8o), begin to rotate the arms from the left side to the right side. The arms draw

across the body at about chest height (9a-9c). After the arms reach the left side (9c),

then they rotate back to the right side (9c-9d). The waist faces N12 (9c). As the right

arm gets to the right side (9d) then the hand extends in the direction of NE1 (9e) and

the hand is shaped into a beak style (thumb touches the other fingers and all fingers


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point down) (9e). The left arm is drawn up to the face level, with the palm facing the

face (9e). As the right hand forms into beak, the left leg steps to the right, bringing

the left foot fairly close to the right foot (9d-9e), and the left toe touching the ground

(9e). As the left leg lifts and is placed to face W9, the left hand opens out towards W9

(9e-9f). As the body settles into a left bow stance (9g), the left hand pushes forward,

palm facing out. We end in Single Whip (9g) with the waist facing NW11, in a leftbow stance, pushing with the left palm in the direction of W9, with the right arm lifted

and pointing towards NE1, beaked right hand, and looking towards W9 (9g). Inhale

9d-9e, and exhale 9f-9g.

(9g) (9g)

Return to Index for Sections or Proceed to Third Section (Movements 10 - 15)


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Third Section of Standard Simplified 24 Form T'ai Chi

Ch'uan (Yang Style)Movements 10 - 15

10. Waving Hands Like Clouds

Variations ofnamesfor this movement include: Moving Hands Like Clouds, Waving

Hands Like Clouds, Cloud Built Hands, Wave Hands in Clouds, Cloud Hands

: Yun Shou.

The whole Cloud Hands (Yun Shou) movement flow is from the left to the right, from

E3 towards W9.

Cloud Hands is a gentle flowing movement that is rather complicated to

describe. Please study the recommendedonline videosto see how the series of



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From the Single Whip position (10a = 9g) begin to turn the torso to the right side

(10a-10e) until the front of the body is facing N12 (10c). At the same time as the

torso turns toward the right side, the right hand remains outstretched (10b-10c). The

left hand moves downward and then upwards toward the right side (10b-10c) until it

reaches the level of the head (10d). The weight moves into the bent right leg (10c).

The head turns and looks towards the right side E3 (10d).

The left hand, palm facing the body, remaining at about face level, moves across the

body towards the left side (10d-10f). The right hand, at about waist level, palm facing

the body, moves across the body towards the left side at the same time as the left hand

moves (10e-10f). The waist turns to move the arms more than the shoulders move the

arms (10e-10f). Turn the waist and move the arms until you reach the left side and are

looking towards W9 (10f).

Step with the right leg and move it closer to the left leg as the arms move to the far

left position W9 (10e-10f). Switch the position of the arms by moving the right arm

to about face level (10e-10f), and the left arm down towards the waist level (10f).

This completes the first part of the Cloud Hands movement by moving from the far

left (10a) to the far right (10c) and then from the far right (10c) to the far left (10f) in a

gentle flowing manner (10b-10f), moving the hands like floating clouds.

From the far left position (10f) with the right hand high (10f) and the left hand low at

waist level (10g), with both palms facing the body, move both arms to the right across

the body (10g-10h). The waist turns to move the arms more than the shoulders move

the arms (10f-10h). Turn the waist and move the arms until you reach the far right

side and are looking towards E3 (10h). When you reach the far right, exchange the

arms by bringing the left arm up to about face level (10i) and the right arm down to

about waist level (10i-10j), and at the same time step the left leg to the left W9 (10h-

10i). Now begin to move the left arm across the body to the left side at about face

height, palm facing the body (10i-10k), at the same time as the right arm drops down

to about waist level (10i-10j) and moves across the body, palm facing inward, to the

far left side (10j-10k). When the left hand reaches the far left side (10j), lift and step

with the right leg towards the left leg (10j-10k). This completes the second part of the

Cloud Hands movement by moving from the far left (10f) to the far right (10i) and

then back to the far left (10k) in a gentle flowing manner, moving hands like floating

clouds.

From the far left position (10k) with the right hand high (10k) and the left hand low at

waist level (10l), with both palms facing the body, move both arms to the right across

the body (10k-10n). The waist turns to move the arms more than the shoulders move

the arms (10k-10n). Turn the waist and move the arms until you reach the far right

side and are looking towards E3 (10m). When you reach the far right, exchange the

arms by bringing the left arm up to about face level (10n) and the right arm down to


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about waist level (10m-10n), and at the same time step the left leg to the left W9

(10m-10n). Now begin to move the left arm across the body to the left at about face

height, palm facing the body (10n-10p), at the same time as the right arm drops down

to about waist level (10m-10n) and moves across the body, palm facing inward, to the

far left side (10n-10p). When the left hand reaches the far left side (10p), lift and step

with the right leg towards the left leg (10o-10p). This completes the third part of theCloud Hands movement by moving from the far left (10k) to the far right (10m) and

then back to the far left (10p) in a gentle flowing manner, moving hands like floating

clouds.

(10l) (10o)

11. Single Whip

Variations ofnamesfor this movement include: Simple Whip, Whip, Single Whip,

Holding the Whip in One Hand, :Dan Bian.

From the last posture of Cloud Hands (10p = 11a), step forward with the right foot a

small step (11b). Begin to rotate the arms from the left side to the right side. The

arms draw across the body at about chest height (11a-11c). After the arms reach the

left side (9c), then they rotate back to the right side (11c-11e). The waist faces N12


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(11c). As the right arm gets to the right side (11d) then the hand extends in the

direction of NE1 (11d) and the hand is shaped into a beak style (thumb touches the

other fingers and all fingers point down) (11e). The left arm is drawn up to the face

level, with the palm facing the face (11d). As the right hand forms into beak, the left

leg steps to the right, bringing the left foot fairly close to the right foot (11c-11d), and

the left toe touching the ground (11d). As the left leg lifts and is placed to face W9,the left hand opens out towards W9 (11d-11e). As the body settles into a left bow

stance (11f), the left hand pushes forward, palm facing out (11e-11f). We end in

Single Whip (11f) with the waist facing NW11, in a left bow stance, pushing with the

left palm in the direction of W9, with the right arm lifted and pointing towards NE1,

beaked right hand, and looking towards W9 (11f). Inhale from 11b-11d and exhale

from 11e-11f.

(11f) & (16e) (11f)

12. Pat the Horse on the Back

Variations ofnamesfor this movement include: High Pat on Horse, Patting the

Horse's Neck While Riding, Stroke the Horse From Above, Asking for Directions

While Riding a Horse, Pat the Horse's Back, Pat the Horse on the Back, : Gao

Tan Ma : High Pat on Horse.
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From Single Whip (12a), draw the right foot forward a half-step (12b). The right

hand changes from a beaked hand into an open hand (12b). The right arm moves

forward at about face level from right to left in the direction of W9 (12b-12c), and

ends with palm facing out in front of the body at face level. The torso turns to the left

and ends facing W9 (12c-12d). The right hand stops at face level, with the palm

facing out and away (12d). The left hand moves in a downward arc (12c-12d) to

theDan Tien level, and ends with the left palm facing up (12d). The left leg is in an

empty toe stance (12d) The body is facing in the direction of W9 (12d). The final

position is called High Pat on Horse (12d). Inhale at 12c and exhale at 12d.

(12d)

13. Kick with Right Heel

Variations ofnamesfor this movement include: Right Heel Kick, Kicking Straight

Right Mode, Kicking with the Right Heel, : You Deng Jiao: Right Heel Kick.





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Lift left leg and step forward (13a-13b). Circle both hands outward in a circle and

down (13b-13c). Step with right leg forward to bring the right foot next to the left

foot (13c-13d). At the same time, circle both hands upwards and bring the right hand

in front of the left hand, crossing the hands in front of the face (13d-13d). Left the

right leg as both hands move away from each other towards the sides (13e), palms

facing out and fingers up (13f). Turn the body slightly to the left so that instead of

your waist facing W9 it faces SW7. Kick with the left heel in the direction of NW10(13f). Inhale 13c-13d, and exhale 13e-13f.

Some persons may not be able to kick high with a straight right leg and right toe

drawn back - a right heel kick (13f). Instead, substitute a toe kick, while kicking

lower if necessary, or bending the knee if necessary. Don't let the inability of

executing a movement perfectly, according to a standard, prevent you from practicing

Taijiquan. Adapt accordingly to accommodate for injuries, balance problems,

inflexibility, or weakness. Be practical and smart; and, make reasonable adjustments.

Keep practicing, and you will probably see steady improvements, increased strength,

and greater flexibility.

(13f) (13f) (13f)

14. Hitting Your Opponent's Ears with Both Fists


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Variations ofnamesfor this movement include: Box Ears, Box Opponent's Ears with

Both Fists, Strike to Ears with Both Fists, Strike to Temple with Both

Fists, : Shuang Feng Quan Er: Twin Fists Strike Opponents Ears.

The general direction of movement is in a straight line from E3 towards NW10 in

Movement #14.

.

From the Right Heel Kick position (14a = 13f), draw the right knee back into the body

to waist level (14a-14b). Draw both hands down and bring the elbows to the sides of

the body, closing the open hands into fists and holding the hands level with the knee

(14b-14c). Step forward with the right leg (14c-14d) in the direction of NW11.

Circle the arms outward from the body (14d), and then draw both fists towards the

head level of an imaginary opponent to strike the opponent's temples with both fists

(14d-14e). Settle into a right bow stance (14e). The imaginary opponent is in the

direction of NW10 or NW11 (14e). Look intensely at the imaginary opponent. Inhale

14b-14d, and exhale 14d-14e.

(14e) (14e)


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15. Kick with Left Heel

Variations ofnamesfor this movement include: Turn Around, and Kick with Left

Heel; Left Heel Kick, Turn Around and Kick with Left Heel, :Zuo DengJiao : Left Heel Kick.

The Direction of Movement is reversed. Move backward in a straight line from

NW10 (15a) in the direction of E3 (15b-15g). Please study the recommendedonline

videosto see how the series of postures in this particular movement are performed.

Turn 270 degrees clockwise, face to NE2. Cross and separate hands at face, heel kick

with left foot. Left arm in front and right arm in back at shoulder height. Inhale 15c-

15e, exhale 15f-15g.

(15g) (15e-15g)

Return to Index for Sections or Proceed to Fourth Section (Movements 16 - 19)
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Fourth Section of Standard 24 Form Taijiquan (Yang


16. Snake Creeps Down, Golden Rooster Stands on Left

Leg

Variations ofnamesfor this movement include: Squat Down on Right Leg, Snake

Creeps Down Left Leg: Crooked Whip to Right Side: Squat on Right, Climb Down

Left; Golden Rooster Stands on One Leg, Left Down One-leg Stand,

:Xia

Shi : Snake Creeps Down, :Zuo Jin Ji Du Li : Golden Rooster Stands onLeft Leg.

The Direction of Movement is reversed. Move backward from in a straight line from

W9 in the direction of E3 (16a-16h). Please study the recommendedonline videosto

see how the series of postures in this particular movement are performed.
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16a = 15g. Squat down and balance on right leg (16d-16e). Right arm draws back in

single whip (16c), and right hand makes a beaked fist (16c). Extend left leg low to E3

(16e). Draw the left arm down along inside of left leg towards left ankle ... the snake

creeps down (16d-16e). Stand up on left leg (16f-16h). Draw right leg up until level

with hip (16h). Right elbow is over right knee, right had pointing up (16h). This finalposture, facing E3, is called "Golden Rooster Stands on Left Leg, Golden Bird

Standing Alone" (16h).

(16e) (16e) (16e) (16h)

17. Snake Creeps Down, Golden Rooster Stands on Right

Leg

Variations ofnamesfor this movement include: Squat Down on Left Leg, Snake

Creeps Down Right Leg; Crooked Whip to the Left Side: Squat on Left, Climb Down

Right; Golden Rooster Stands on One Leg, Right Down One-leg Stand, :Xia Shi :Snake Creeps Down, : You Jin Ji Du Li : Golden Rooster Stands onRight Leg.

The general direction of movement is in a straight line from W9 towards E3 (17a-17h). Please study the recommendedonline videosto see how the series of postures

in this particular movement are performed.


28/38

17a = 16h. Squat down and balance on left leg (17d-17e). Left arm draws back in

single whip, and left hand makes a beaked fist (17c). Extend right leg low to E3 (17d-

17e). Draw the right arm down along inside of right leg towards ankle ... the snake

creeps down (17d-17e). Stand up on right leg (17g-17h). Draw left leg up until level

with hip (17g-17h). Left elbow is over left knee, left had pointing up (17h). This

final posture, facing E3, is called "Golden Rooster Stands on Right Leg, Golden Bird

Standing Alone" (17h).

(17h) (17h) (17h)

18. Fair Lady Works the Shuttles

Variations ofnamesfor this movement include: Throwing the Loom to the Left Side

and Right Side, Shuttle Back and Forth, Two Corners, Work at Shuttles on BothSides, Jade Maiden Works the Shuttles, : Yu Nu Chuan Suo : Fair Lady

Works at Shuttles.

The general direction of movement is in a straight line from W9 towards E3 (18a-

18m). Please study the recommendedonline videosto see how the series of postures

in this particular movement are performed.


29/38

18a = 17h. From "Golden Rooster on Right Leg (18a) step left foot forward and

diagonally (18b-18c), draw right foot to left foot (18e), step out with right foot

diagonally to right (18f-18g). Raise right arm to block out above head (18g-18h),

palm facing out. Left palm strike (18h). Right leg bow stance (18h).

Bring left leg up by right leg (18h-18j), and bring arms to chest (18i). Step diagonally

to the left side with left foot (18k-18l). Raise left arm to block out above head, palm

facing out (18k-18m). Right palm strike (18m). Left leg bow stance (18m).

Here is a description of how to performFair Lady Works the Shuttles ("Works atShuttles") (#18, 18a-18m) from the book 'Tai Chi for Health: The 24 Simplified Forms" by

Cheng Zhao and Don Zhao, p.126:

"Form 18. Fair Lady Works at Shuttles (Left and Right Sides.).

(1) Step forward on your left foot; shift your body weight onto the left leg (18b-18c). Draw

you right foot forward in such that the toes touch the ground beside your left foot (18c-18d). At

the same time, your arms hold a large ball in front of your chest with the left hand above theright (18e). Face NE2 (18e).

(2) Rotate your waist to the right and place your right foot forward with the right heel touching

the ground first (18e-18f). Then shift 70% of your body weight onto the right leg and from a

right bow stance (18h). At the same time, rotate the right arm up so the hand is level with yourforehead and the palm faces out (18h). Face SE4 (18h). [Inhale 18e-18f, exhale 18g-18h.]

(3) Shift your body weight back to the left leg, and rotate your waist slightly to the right (18i-

18j). Shift your body weight back to the right leg, drawing your left foot up to rest beside yourright foot with the toes touching the ground (18j-18k). At the same time, both arms hold a large

ball in front of your chest with the right hand above the left (18k). Face SE4 (18k).

(4) Rotate your waist to the left and place your left foot forward with the left heel touchingthe ground first (18l-18m). Then shift 70% of the body weight onto the front leg forming a left


30/38

bow stance (18m). At the same time, rotate the left arm up so the hand is level with your

forehead and the palm faces out (18l-18m). Face NE2 (18m)." [Inhale 18j-18k, and exhale 18l-

18m.]- Dr. Cheng Zhao

(18h) (18h) (18m) (18m)

19. Pick Up the Needle from the Bottom of the Sea

Variations ofnamesfor this movement include: Pick Up Needle from Bottom of the

Sea, Needle at Bottom of the Sea, Find the Needle at the Sea Bottom, Reach for the

Moon in the Lake, :Hai Di Zhen : Needle at Sea Bottom.

The general direction of movement is in a straight line from W9 towards E3 in

Movement #19.

From the last posture of "Fair Lady Works the Shuttles" (18m = 19a), begin by

stepping forward a half step with the right leg (19a). The right hand moves back and

up to the right (19a) until it is drawn up to around face level on the right side (19b).

The left hand moves down in an arc until it comes to stop at about waist height over

the left leg (19a-19b). Lift up the left leg and step forward a half step into a left toe


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stance (19b-19c). Settle the body weight into the right leg (19c). Reach down with

the right hand, fingers pointing downward, until the right hand is below the waist.

Face the body in the direction of E3 (19c). Inhale 19a-19b, exhale 19c.

(19a) (19a)

Return to Index for Sections or Proceed to Fifth Section (Movements 20 - 24)

Fifth Section of Standard Simplified 24 Form Tai Chi (Yang


20. Flashing the Arms Like a Fan


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Variations ofnamesfor this movement include: Flashing the Arms, Fend Off and

Push Away with Arms, Unfolding Arms Like a Fan, Fan Through the Back, Flashing

the Arms, Shunting with Both Hands Fanned, : Shan Tong Bei : Fan Through

the Back.


Movement #20.

From the final posture of "Pick Up the Needle from the Bottom of the Sea" (19c =

20a), begin by lifting the left leg up and then stepping forward onto the left heel (20b-

20c). Lift the left hand and move it forward towards E3, fingers upward, palm facing

S6 (20b-20c). The right hand moves up and back to the left, finishing above head

level, palm facing S6, fingers pointing upward (20c-20d). Sink the body weight into

the left leg, and take a left bow stance (20c-20d). Inhale 20a-20c, and exhale 20c-

20d.

(20d) (20d) (20d)

21. Deflect, Parry and Punch


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Variations ofnamesfor this movement include: Turing Around, Warding Off,

Punching; Turn, Intercept and Punch; Turn Body, Shoulder Strike, Back Fist, Deflect,

Parry, and Punch, Turn to Deflect Block and Strike, :Jin Bu Ban LanChui : Step Forward, Parry Block and Punch.

The general direction of movement is in a straight line from E3 towards W9 (21a-

21h). Exhale on the punch (21g-21h). Please study the recommendedonline

videosto see how the series of postures in this particular movement are performed.

21a = 20d.

Here is a detailed description of how to performDeflect, Parry and Punch (#21, 21a-21h) taken

from the very useful narrative document by David Hann:

"Turn, Intercept, and Punch: Turn to the right on your left heel so that you are facing to your

rear, looking over your right shoulder (21b). Your left hand is held, palm facing out, at least ahand's width from your head. Your right hand is formed into a fist, held about chest level, with

the elbow below the fist (21c). Step out with your right foot and strike out and downward with

the back of your fist (21d). Step up to your right foot with your left foot, toe down, heel up(21e). Bring your right fist back to your right waist (21f). Bring your left arm across your body

as if blocking an opponent's punch and bring your left hand, palm open, facing and in front of

your right fist (21f). Step forward with the left foot (21g) and punch with your right fist (21g-

21h), moving it over your left hand, which is now turned flat, palm up (21h)."- David Hann, Yang Style Short Form Tai Chi
http://www.egreenway.com/taichichuan/short.htm#Name21http://www.egreenway.com/taichichuan/short.htm#Name21http://www.egreenway.com/taichichuan/short.htm#Name21http://www.egreenway.com/taichichuan/short.htm#Videohttp://www.egreenway.com/taichichuan/short.htm#Videohttp://www.egreenway.com/taichichuan/short.htm#Videohttp://www.egreenway.com/taichichuan/short.htm#Videohttp://groups.ku.edu/~kungfu/instructions/Yang_Style_Short_Form_of_TaiChi.dochttp://groups.ku.edu/~kungfu/instructions/Yang_Style_Short_Form_of_TaiChi.dochttp://groups.ku.edu/~kungfu/instructions/Yang_Style_Short_Form_of_TaiChi.dochttp://www.egreenway.com/taichichuan/short.htm#Videohttp://www.egreenway.com/taichichuan/short.htm#Videohttp://www.egreenway.com/taichichuan/short.htm#Name21


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(21e-21f) (21h)*

*Note: In this photo, we see more of the Wu Style of Taijiquan realization of Punch (21h). Notice how far forwardthe man leans, with his feet rather close in a right bow stance. Notice how the left hand touches the right arm on the

inside of the forearm near the elbow. In the 24 Form, the final posture (21h) is much more upright, without leaning

forward so much.

22. Apparent Close and Push

Variations ofnamesfor this movement include: Clearing Cross Block and Pushing,

As if Blocking and Closing, Appears Closed, Withdraw and Push, Closing a

Door, :Ru Feng Si Bi : Apparent Close Up.

The general direction of movement is in a straight line from E3 towards W9 (22a-

22g).


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From the end of Deflect, Parry and Punch (21h = 22a), begin by drawing the left hand

under the right hand from the forearm towards the right hand (22a-22b). Both hands

come together in front of the body facing W9 (22c). Draw both arms backwards

towards the body (22d-22e) as the weight shifts backwards into the right leg (22d).

As both hands reach the waist (22e) the weight is in the back right leg (22e) and the

left toe rises (22e). Begin to move forward again in the direction of W9, drawing theweight into the left leg and taking a left bow stance (22f-22g). Both arms Push (An)

forward, palms out, elbows bent, pushing in the direction of W9. The waist faces W9

(22g) and the eyes gaze towards an imaginary opponent in front of you (22g). Inhale

22c-22e, and exhale 22f-22g.

(22g) (22g)

23. Cross Hands

Variations ofnamesfor this movement include: Crossing Your Hands in Front of

Chest, Close the Door, Cross Hands, Cross Your Hands, : Shi Zi Shou : CrossHands.


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Begin from the Push (An) position (23a = 22g. Gradually turn the front of the body to

the right so as to face N12 (23a-23b). Draw the right hand in an arc out and across to

the left (23b). Draw the weight into the right leg (23c). Open the arms wide to both

sides (23c), palms facing forward, arms about shoulder height. Step the right foot

back to shoulder width stance (23d). Draw both arms down in an arc (23d) then up to

cross the hands in front of the chest, holding the right hand in front of left hand (23e).

Face in the direction of N12 (23e). Inhale at 23b-23c, and exhale at 23e.

(23e)

24. Closing Posture of Taijiquan

Variations ofnamesfor this movement include: Conclusion, Concluding Posture,

Taiji Ending, Ending Posture, Closing Posture of Taijiquan, : Shou Shi : Closing.


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From the final posture of the "Cross Hands" movement (23e = 24a), begin by moving

both arms down and outward (24a) until they reach the waist level (23a-24b). The

arms continue downward until they are fully extended downward, hands resting

against the sides of the thighs (24c). Step to the right with the left leg (24c) until the

left foot is immediate beside the right foot (24d). The final position is identical to

posture 1a. Keep in mind all theprinciplesdiscussed for the posture1a. You have

now finished a full performance of the Tai Chi 24 Form. Inhale at 24a, exhale at 24c.

Inhale at 24c, exhale at 24d. The body is facing in the direction of N12, as it was in

posture 1a.

Standard Simplified 24 Tai Chi Form, Names of Movements 1-24, 1 Page, PDF

Format, 11Kb
http://www.egreenway.com/taichichuan/short.htm#M1http://www.egreenway.com/taichichuan/short.htm#M1http://www.egreenway.com/taichichuan/short.htm#M1http://www.egreenway.com/taichichuan/short.htm#M1http://www.egreenway.com/taichichuan/short.htm#M1http://www.egreenway.com/taichichuan/short.htm#M1http://www.egreenway.com/taichichuan/Taijiquan%2024%20Form.pdfhttp://www.egreenway.com/taichichuan/Taijiquan%2024%20Form.pdfhttp://www.egreenway.com/taichichuan/Taijiquan%2024%20Form.pdfhttp://www.tomrossonline.com/taichi/stepdiagram.jpghttp://www.egreenway.com/taichichuan/Taijiquan%2024%20Form.pdfhttp://www.egreenway.com/taichichuan/Taijiquan%2024%20Form.pdfhttp://www.egreenway.com/taichichuan/short.htm#M1http://www.egreenway.com/taichichuan/short.htm#M1


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Chart of 24 Form: B&W Drawing of Movement Sequence (Stepping Diagram)

[170Kb, .jpg, 1008px x 591px]

The Stepping Chart show above came from Zhang Fuxing's "Handbook of T'ai ChiCh'uan Exercises," Samuel Weiser, 1996, p. 65. 9"w x 6"h.
http://www.tomrossonline.com/taichi/stepdiagram.jpghttp://www.tomrossonline.com/taichi/stepdiagram.jpghttp://www.amazon.com/exec/obidos/ASIN/0877288917/grewayres-20http://www.amazon.com/exec/obidos/ASIN/0877288917/grewayres-20http://www.amazon.com/exec/obidos/ASIN/0877288917/grewayres-20http://www.amazon.com/exec/obidos/ASIN/0877288917/grewayres-20http://www.tomrossonline.com/taichi/stepdiagram.jpg

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