🇷🇺🇷🇺🇷🇺 Человек в белых кроссовках постоянно поддаётся и падает видимо из уважения к учителю. Атакует как ребёнок 5 лет. Всё это очень печально для настоящей традиции😮
I absolutely ADORE how perfectly INTERMEDIATE between Chen Style and Yang Style this is. I feel like I finally understand how one morphed into the other. I know CPL 99 Taiji is supposed to be a syncretism between the 5 major styles, but I feel like I've found the evolutionary missing link. I don't know how or why but it feels like all these "missing links" end up in Taiwan. Especially move #1 Circle to Squeeze (Counting #0 Opening Taiji). You can see how it's basically Jingang Dao Dui from Chen style, but finishing with the Yang style Ji application from Lan Que Wei cycle. It's the same move! But instead of going for elbow control like in Chen style it finishes with the squeezing forward shape, either over-arm or under-arm as shown. I've always known (in my Yi anyway) that Lan Que Wei and Jingang Dao Dui were the same move, but in most Yang schools, the form is changed enough to not being immediately recognizable. The only thing I could say before with surety was that the raised leg action in Yang style is strongly deemphasized (usually to the point of not existing, only doing a little step or shift), where in Chen it is usually strongly emphasized, either going over the leg, kicking with the leg, or hip swinging in then out to switch sides into the opponent's stance; which is a more typical application between both styles. Peng phase is basically the same in both, just Chen is two hands active whereas Yang is usually just one arm that is obviously active. Lu phase is basically the same with both usually stroking out the opponent into an empty space beside the user,. Ji phase is usually some kind of an armlock in both -- from what I've seen anyway. The pressing (or squeezing forward) motion in Yang style Ji is supposed to be a "gentle" application of the arm locking shape. Notice the hand position of the lead arm in Yang is over or under the elbow usually. The "literal" application (in my understanding) of the Ji hand posture in Yang is a straight arm elbow lock -- lead hand propping the elbow and rear hand levering down the forearm. In Chen style this elbow lock is actually phase 1 in some versions of Jingang dao dui -- catching a straight attack in between the defending arms, and locking immediately from there. In phase 3 from the Chen style the emphasis is not on locking the elbow, but securing the elbow, and then cranking the forearm back around, often into a wristlock, but there are many ways to finish. The main idea in Chen style of phase 3 is using Ji as an anti-knife technique. You can crank the knife back into the opponent to slash or stab them with their own tool, you can pin it against their body, you can break their wrist to disable the knife hand, or you can crank that arm back around their body into a hammerlock and take them down from there. That is why there are horizontal stroking and vertical stroking versions of this sequence. There are roughly 3 different takedowns that you can finish with when cranking the arm back into a wristlock. High-front backward takedown, Low front downwards drag-down, rear position spindown from the hammer lock. These are the "main" most literal versions of Jingang dao Dui in my opinion. Though, "big" Jingang Dao Dui -- with Peng turning over the opponent's shoulder and opening up their ribs, Lu stroking the opponent forward off balance, with Ji squeezing the opponent backward from the before-mentioned elbow lock, before finally pressing them down in An -- is also a perfectly valid interpretation of the Chen style movements, and is more like how both the elbow locking and the "gentle" versions of Yang style sequence tend to get used. For the An phase, Yang style tends to push back, but Chen style tends to push down. The direction is different but the result is the same. From here, the major difference is Chen style likes to finish off the opponent with a stomp , thus giving Jingang Dao Dui (Metal warrior strikes hammer) it's name. I just think it's interesting that the Shaolin version of Jingang Dao Dui derives it's circles from swinging a big hammer overhead and cracking it down on the opponent. Often their arms, but ideally their head. The Chen version can do it like that sometimes, but the focus of the name is on the stamp, taking the tread hammer as it's model, instead of the sledgehammer used to crack rocks. The Chen version "sometimes" crashes down on the opponent like the Shaolin version -- the turn from the wristlock used to break the wrist, but instead grabbing the neck and cracking down on the head with an elbow or backfist -- but most of the time it uses the same circles to stroke upward and offward to redirect the opponent instead of offward, upward and downward to draw them into a strike. The strokes from both Chen style Jingang Dao Dui, and Yang style Lan Que Wei are so general purpose, the number of applications and valid sequences is fairly mind boggling. When it comes to circles and their uses, it's as the saying goes, "it's turtles all the way down". Where it ends, nobody knows. For Chen style I think I've counted 7-8 "notably different" sequences as still being "literal" and valid applications of the shapes used. For Yang I've counted 5 variations as valid, but I'm sure there are more. Considering both Chen and Yang versions to be both valid versions of the same "parent move" that bring up the total count rather high for just one sequence. And that's ignoring all the less literal applications where you break the move down and just use the individual pieces, vary between following circles and opposing circles, leg or no leg, inside outside application, etc. This is one of those brain melting things about learning Taiji Quan. It's not so simple and straight forward as most teachers like to present it. Especially if you only learned one application from your teacher, and thus that being "that's how my teacher taught me" that becomes the only thing that gets passed on. A lot gets lost in transmission this way. You can't be too stiff about these things, and most of the content is not in the "intended" version you learn from your teacher, but in the variations. Truly as has been stated by those who came before, "the form is the gateway to the 10,000 techniques". Just the start of the system, and definitely not the end all be all of it. I hope my Tai Chi brothers can be more flexible and open minded about these things going into the future.
Interesting. You don't see "Bail Moon from the Bottom of the Sea" performed in Tai-Chi very often. "Twist and Sit" is not common either, usually it's just Twist, without the weight shift. I learned those movements in a version of Wu style that I learned from TR Chung in Berkeley, during the 70's.
It's too bad about being photo bombed by those impolite people in the video frame. When I was teaching in Golden Gate Park (the Panhandle, near the Western Addition) San Francisco, my students and I were intentionally harassed by some punks who were jealous. These people are just inconsiderate, rather than malicious.
I was saddened to read under another video that this lovely master now has Parkinson's Disease. I would like to thank him for sharing his techniques, and thank you for uploading them. I plan to study these videos in detail for a long time to come. If you have the opportunity, please tell Master 陳林 that he has a fan in Australia.
