Cycles, Evolution

理是功能之本，法是功能之機*

Pattern is the foundation of capacity, method its pivot.

One of the reasons, but not the only one, of the versatility of the internal arts’ theory, is that training has to adapt its principles according to one’s body deep transformation. To do so, apart from the hijacking method already described many times in this blog, characters with more than one meaning or rewording a saying were amongst the means used to achieve multi-layer understandings.

Flexible Lower Back

坐胯，轉腰，圈襠步

Sitting the hips, twisting the waist, rounded crotch step

襠胯宜提緊，須玩兑澤之情*
Crotch and hips shall lift and keep tight, having to play in the swamp of passions 

Wiggling one's bum is the flexibility needed in one's lower backbone.

Suppleness is in the Details

二曰左偏臥，頭枕左足尖，左手搬左足跟，右換如之*

Second, on the left side, the head lying on the extremity of the left foot, the left hand pulling the left heel, then doing exactly the same on the right side

Most of the trainings to improve fascia elasticity were originally meant for teenagers, if not very young kids, quite violent and/or intense in order to take the advantage of their very flexible body and influence their growth. Since grown-ups and/or leisure practice cannot reach such intensity without surely harming the body, the issue is how to adapt old trainings and one's objectives in order to still be able to improve elasticity and connectivity.

Twists and Locks

無力優力

Without force is the better force

直而不直，曲而不曲

Straight but not straight, curved but not curved

三節九段，三弓九曲

The three parts and the nine sections, the three arches and the nine curves

Straightness with a body as lax as possible is just the first step of training. Indeed, as it has been described in the previous post, one has to change his/her body to make it supple enough to be able to work with fascia elasticity instead of muscle contraction. Once the body is transformed enough, one can go a step further and learn how to tense it. If intent and using the cross and the six directions principles has also been described before, the ultimate roundness through the locks is supposed to tense the body automatically. Still, one shall not put the cart before the horse, enough flexibility has to be achieved to be able to contemplate the locks trainings, otherwise not only it will not work, but it will also end up harming one's body. To achieve the locks, one has first to go from straightness to roundness, working on twist and the six directions. Then, when enough extra flexibility has been gained, locks will be about using it to tense up through particular angles.

Flat Stomach Improved Vitality, Tiny Details Great Impact

天門亢

The gate to the Heavenly Palace is haughty

含胸拔背

Containing the chest and pulling up the back

提肛吊肚

Lifting the anus, hanging the stomach

Tiny details inside the body are always hard to describe and may slightly differ for each student according to their body built. Looking for them often leads to investigating more and more the different possible meanings of the sayings. Indeed, at this point, one should not try to reproduce externally what they illustrate, such as the ones quoted, but analyse the internal process which produces such results. It is, after all, the internal arts main focus.

Flat Stomach Improved Vitality, Anti-Gravitational Reconnection, External Connections

 

頭部，身軀，腿足，為天地人三盤

Head, torso and legs, the heaven, earth and human plates

三盤一軸

Three plates, one axle

三盤對天

The three plates face the sky

Some martial art schools use the three plates theory, and the first two quotes are pretty common. As far as verticality is concerned the plates can be extended to any part of the body, the idea being that a vertical alignment means a horizontal one (the third quote and the concept of crosses in training). The best known one is the book on the head.

Iron Breath

治身：天門，謂鼻孔開，謂喘息闔，謂呼吸也¹

Cultivating the body: the Heavenly Door, called opening the nostrils, called closing gasping and resting², which is called exhaling and inhaling³.

天門亢，擤鼻，旡

The Heavenly Door is haughty, blowing one’s nose, to choke⁴.

Iron training and its main breathing technique, empty breathing, are exercises less and less witnessed in internal practices. They target the capacity to tense all and any part of the body while relaxing and stretching. They use an old type of respiration, sometimes linked to Taoist practices, which consist of taking a long exhalation to empty as much as possible, not only the lungs but the stomach and the whole trunk for the least, and keep at all costs this state while inhaling. 

Flat Stomach Improved Vitality, Anti-Gravitational Reconnection, The Basics

 

低頭彎腰，傳授不高

Lowering the head and bending the waist, not a great teaching.

 

腰與胯合，腰催胯

Waist and hips join, the waist propels the hips

圓襠鬆胯最為良

A round crotch and relaxed hips are desirable

吸胯提襠

Sucking in the hips and lifting the crotch

There are a lot of sayings, from a martial style to another, which insist on the importance of the middle section of the body, from the hips to the waist. They are often, if not totally forgotten (who talks about the crotch, if not just as a joke?), not really a key part of training any more, hips apart. Unfortunately, crotch, hips and waist are all essential parts where the connection between the upper and lower sections of the body is made and the vitality/heat is, or isn't, insulated.

Writing And Chaos

一層功，一層理

A  level of skill, a level of theory

沉肩墜肘

浮肩昂肘

Sinking shoulders and dropping elbows.

Floating shoulders and soaring elbows.

以氣為主，以力當先

以氣為主，以理當先

Vapours direct, strength must come first.

Vapours direct, theory must come first.

There is a fencing manual, the Sword of Chaos, which embodies the internal arts influenced by the Taoist theory. It has already been quoted in this blog but it may be interesting to develop parts of it as examples of themes often recurrent in internal practices. Still, before doing so, following the last post on the Lady of Yue, one has to further understand what kind of writing is mainly found as far as martial arts are concerned and the issues brought along. 

Pillars and the Bamboo

練拳無樁步，房屋無立柱

Training boxing without the pillar steps, a house without stud.

練拳不溜腿，終究冒失鬼

Training boxing without kicking¹, this is imprudent after all.

要知拳精髓，首由站樁起

To know the quintessence of boxing, it starts from standing the pillars.

壓而不溜不中用，溜而不壓笨如牛

Pressing but not smoothing² is useless, smoothing but not pressing stupid as a bull.

練功不站樁，等於瞎晃蕩

Training skills without standing the pillars, it is as rocking aimlessly

拳以椿爲根，椿以拳顯神

Boxing has the pillars for roots, the pillars have boxing to manifest the spirit.

For a lot of martists and Qigong aficionados, 站樁 means holding a stance, often as long as possible. This is actually more an interpretation than a real translation, 站, meaning to stand (on one’s feet) or to halt as far as training is concerned, and 樁 pillar or stud. Hence, holding a posture is surely only one of the numerous training 站樁 refers to. Furthermore, this practice is often confused with rooting² while it is actually, first of all, balance which is sought.

Posture With A Little Push

A good stance and posture reflect a proper state of mind¹.

把勢、把勢，全憑架式

Skill, bluster, it is all a question of posture².

理是功能之本，法是功能之機

Structure is the essence of capacity, method its crucial point².

Posture used to be one of the cornerstones of internal practices. It served many purposes, but deep body transformation and breathing training were amongst the most important. Nowadays, postures are limited, both in their range and diversity.

Shake Your Body

快而不亂，慢而不斷

Fast but not messy, slow but with no break

快則適時，慢在得位*

Quick then timely, slow for gaining position

凡一身之進退動靜，一心為主**

Forwards and backwards, movement or stillness of one's body are all decided by the heart

Speed is a more complex notion in training, and more especially when the organs, the vapours and the mind are combined with body motion. Hence, the opposition between what you do while fighting (the faster the better) and training does not apply for speed. Indeed, while training, normal, fast and slow speed are all applied, each having their own purpose, the skills obtained through each type of speed being all useful while fighting. 

Back to the Fascias II, Using Fascia Elasticity

筋道不舒長，欲伸而筋不能伸*

When the fascia channels are constrained and short, one cannot stretch at will

發如美人之採花，收如文士之藏筆**

Sending out like a beautiful lady picks up flowers, gathering like a scholar collecting his brush

Fascias by essence being passive tissues, the main issue is, of course, how to make them participate as much as possible in motion and power generation. Stretching and particular body angles are the main way some old practices used to have the student understand how to generate power using fascia elasticity as it has been described in the section Fascia Elasticity. Still, to further understand how this works, it may be interesting to use an old martial art method, studying animals.

Being passive structures transmitting mechanical tensions, one cannot use fascias directly but only through muscles, body angles and sometimes gravity or any other outside force. If in the posts The Bow, Cornerstone of Elasticity and The Cross and the Six Directions, the principles behind the angle issue has been described in details, the muscle issue can be further explored. The first issue resides in the kind of muscles one is looking for to enhance the use of facia elasticity, mainly the difference between tender and hard muscles. Furthermore, building from the example of the hanging gibbon against working on a chin bar, one can also explore the difference in motion between the use of muscle contraction and fascia elasticity.