DISCLAIMER Please note that the International Wang Shu - Chin Memorial Association (IWSCMA), its’ members, instructors, and M. E. Rottmann are NOT responsible in any manner whatsoever for any injury that might result due to practicing the principles, techniques, or instructions contained in this publication. The physical activities described may be too strenuous for some persons to engage in, safely. Therefore, a qualified physician should be consulted prior to training. The techniques, principles, and applications in this publication are for informational purposes, only. Any martial arts training should be conducted, ONLY, under the guidance of a qualified, martial arts instructor. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any storage and retrieval system, without written permission from the author.
Grandmaster Wang Shu - Chin had many students. This publication is intended as an introductory overview of the Tai Chi Chuan taught by Wang Shu - Chin. It represents only one interpretation of Wang Shu - Chin’s martial arts.
COPYRIGHT
© 2001 - MANFRED ERICH ROTTMANN ALL RIGHTS RESERVED
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“IN TAI CHI CHUAN PRACTICE MAINTAIN AN EMPTY, HOLLOW CENTER” WANG SHU - CHIN
WANG SHU - CHIN
Tokyo, 1972
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WANG SHU - CHIN’S Tai Chi Chuan
- 2001 - MANFRED E. ROTTMANN Page 3
INTRODUCTION
Wang Shu - Chin (1904-1981)
Chi Chuan taught by Grandmaster Wang Shu – Chin (1904 – The1981)Tai was the first system of Tai Chi Chuan introduced into Japan. His style was taught to thousands of Japanese and other nationalities beginning in 1958. This fact is quoted by the world-renowned author, Robert W. Smith in his latest book on the Hsing - I - Chuan. It is a synthetic methodology and utilizes principles from the Chen, Yang, Wu and other styles. As Wang Shu – Chin was very skilled in the Hsing - I - Chuan and Pa Kua Chang before his training began in the T’ai Chi, some of these internal methods were also incorporated in his brand of the grand ultimate fist. Wang’s Tai Chi has been noted as being one of the most effective and follows the doctrine of “ every move has a purpose “. Indeed a practitioner may not even understand the multiple applications of a technique until it is used without conscious thought.
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a skilled teacher of this system may explain the application of any Thus given technique in several different ways. One is actually studying the principles of movement, feeling gravity and applying physics without conscious analysis of what and how it should be used. The rationale of technique can sometimes only be explained after one reacts, instinctually to an attack. The training of this method of Tai Chi is similar to a plant absorbing nutrition from the ground through its roots, and gaining energy via its leaves from the air and sun. Knowledge is not taken; it is absorbed only when the student is ready.
THE SOURCE
are two major theories as to where Grandmaster Wang’s system There originated. The first version is that he was taught by his boxing brother, the late Grandmaster Chen Pan – Ling. Chen Pan – Ling was a hydraulic engineer by profession and a very skilled advocate of the three major schools of internal arts. His knowledge of the history of Chinese martial arts was well established prior to his death in 1967. Prior to his appointment as the vice-principal of the Nanking martial arts academy, Grandmaster Chang learned from many of the most skilled teachers on the Chinese mainland. Furthermore his approach to the understanding and application of martial arts was practical and did not include the usage of aesthetic, flowery movement. In many ways, then both Wang Shu – chin and Chen pan – Ling were similar. To solidify my believe in the aforementioned origin of this style of Tai Chi I quote directly from Wang Shu – Chin’s outline of Nei Chia pugilism which was written in 1972.
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“I am fond of martial arts since I was small. I started to take Quote lessons of Pa Kua Chang and Hsing - I- Chuan from a very famous pugilist master, the world known Old Man Chang Chan - Kuie, Chao - Tung. Master Chang’s Pa Kua Chang is transmitted from old master Tung Hai Chuan, his Hsing - I- Ch’uan is learned from two old masters Liu Chi - Lan and Kuo Yuen - Shen, and these two masters learned from Li Lo - Neng, Fei Yu, and Tai Lung - Pang. The latter in turn learned from Chi Lung - Feng. Traced to the source, it is transmitted as early as from Yue Wu - Mu in the Sung dynasty (960 - 1279 AD).
Grandmaster Chen Pan - Ling and Grandmaster Wang Shu - Chin pose in this group photograph of Tai Chi practitioners in Taiwan. Inset is a enlarged copy of the two teachers of the internal (nei chia) martial arts. I met and practiced Pa Kua Chang with Mr. Hsiao Hai - Po, Inalso1938, learned San Tsai Chuang (three forces staking: heaven, earth. and man), Hun Yuan Chuang (Constitution stake) and different stages of staking techniques from Mr. Wang Hsiang - Chai.
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I get the Then instruction from Mr. Chen Tsun - Feng, Pan - Ling, the vice principal of Nanking Central Martial arts school. For over twenty years, studying and practicing with him, I began to understand the differences and similarities of the three and the profound mystery of their correlation. With my experience of over fifty years, I still feel my knowledge is not perfect, I dare not say I am skilled in all three. variation of the source of Grandmaster Wang’s Tai Chi is Thethatsecond the five leading teachers of the major Tai Chi schools combined the best of each system. This was taught to Wang before he relocated to Taiwan. I leave it to the reader to derive their own conclusions. Wang Shu – Chin lists his instructors in his outline. He does not mention any Tai Chi Chuan sources prior to Chen Pan – Ling. Grandmaster Chen Pan – Ling however does list his lineage in the T’ai Chi and this includes, leading teachers of the Chen, Yang, and Wu clans (in his book on Chen Pan – Ling style Tai Chi). In conclusion, a sound knowledge of history does not increase a trainees abilities.
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should be noted that Wang Shu – Chin did change and emphasize Itdifferent principles and applications. Eight mm footage of Wang Shu Chin taken in the early sixties shows a form that more closely resembles the pattern taught by Chen Pan - Ling. The fact that Wang Shu – Chin often engaged in combat during the 30 years prior to his death, also served to influence what he thought was important in the Tai Chi form. Therefore though the shape of the forms is similar, the principles and the inner, unseen movements of the two systems differ greatly.
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parallel between Sun Lu – Tang and Wang Shu – Chin is also Thecurious. Both individuals were high level experts in the two other internal arts before turning to the third, Tai Chi Chuan which seemed to round out their combative capabilities and understanding of the internal methods. This order of learning the three arts, with Tai Chi as the last system learned, raises the question of why many of the present instructors in this lineage insist that Tai Chi must be learned first?
PRINCIPLES
of Wang Shu – Chin’s Tai Chi are somewhat arcane Thebut principles not magical. They are based on sound rationale of human anatomy, Physics, and application. Chi, Ching, and Sheng are trained in equal parts. Every trainee can find what they are looking for. To stress any aspect greater than the other two will lead to incorrect interpretation and usage. This can lead to possible internal organ damage and also harmful tendon, ligament misalignment / stretching. The principles as detailed below are only some of the more important considerations. This article could not possibly encompass all major issues.
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1. Cross linking
is known by all animals, and is instinctive to them. It forms Thistheirprinciple method of locomotion and is very prevalent in how effective their methods of combat are. If a trainee of this tenet strikes with the right hand and left foot forward, the intent and conscious thought links these two opposite limbs through and across his spine and brain. Then if an individual lands on the left foot and strikes simultaneously with the right upper limb, a mental and physical pathway are created. Muscle memory is enhanced via repetition of action and use of the neural pathways. Then to apply the opposite side, the trainee simply shifts both his intent to the opposite right foot / left arm combination.
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an individual Once “feels” the correct pathway, his use of gravity, timing, acceleration, and mental involvement all add up to create a pulse of force. The effect of this crossing is amplified when the two opposites are oscillated quickly. This however takes some perception and repeated action. The slow movement of the Tai Chi form allows the formation of feeling ones way through this cross-linking of the limbs. THE USE OF CROSS-LINKING AND COILING IS SHOWN ABOVE.
T
he principle applies to the four possible combinations of left foot forward, left hand strikes or right foot forward, left hand strikes equally
well. If one however uses left-hand strikes, while left foot weights down; we have what is known as double weighting. This is a situation that is precarious and dangerous, as skilled opponents will make much use of the imbalance or overstriking. You are totally dedicated in this posture and have no defense until your equilibrium is once again centered.
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2. “Power comes from training, it does not go into it” of Tai Chi and the other two internals is based on finding Thethe practice means to naturally derive power. The external arts in their way are beneficial and many exponents are very skilled at these arts. The internals however require a trainee to find the precise point at which gravity, and the principle of a changing circle can be applied to both evade damage via an attack and then either harm or stop an opponent. To feel the correct time to change from heavy to light, fast to slow, curved to straight requires both sensitivity and intent. To attempt the generation of power while training the internals in this style thwarts the use of tendon, cartilage and fast-twitch muscle for obtaining short, high acceleration movement. The practitioner can generate just as much power as the user of muscular force; he however does it with much less effort. Furthermore as Wang Shu – Chin’s system does not use kime (in Karate, the contraction of muscles to stop a full power strike). Circular motion and non-forceful techniques are required to ensure no damage is done to your body. You simply cannot be sensitive enough to feel where Ching can be derived if you use powerful, forceful movements. The zero inch and one inch penetration techniques are accomplished through the use of the leg, hip, back and shoulder. The hand only transfers this force. It is only a conduit used to guide the Ching. Therefore any area of the body including the head, shoulder, hips can strike with equal force.
3. Round out, while expanding backwards observing a Tai Chi practitioner training, the performer appears When to be going backwards and forwards at the same time. For example, let us use the double palm strike. As the trainee is pushing forward with his palms, he/she is also sitting on the rear leg, and rounding out the hips (tilt upwards), and rounding the lower back, upper back, and stretching the shoulders forward.
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he main mass
Tof the body
sinks down, not back or forward, it simply settles in place on the rear leg. The thrust of power is accomplished via a very small movement from the thigh, through the hips, back, shoulders, elbow, and finally the hands move forward. This shape is passed through in every movement of the form. The final shape is like that of the letter “C”. If one practices this form correctly, then by bringing the hips up, and curving the back, he is doing a natural “sit-up” a few hundred times through the drill. Leaning into the strike by more than one inch negates the use of the powerful thigh muscles and the action/reaction of the body weighting thrusting into the ground via the rear leg. Every action has an opposite and equal reaction. Page 13
4. “Watch the details, the beginning and ending” f you see
Isomeone training Tai Chi Chuan, who makes a noise when his front lands, or has a straight front leg, or is leaning back – they have lost control of the center of mass of their body. They cannot attack or defend, as their core is not controlled by them. This individual will require a short length of time to “center” their body before they can move in any direction. It does not really matter if anyone else witnesses this lack of control for perhaps the last 1% of movement, the performer knows. You have control or you do not. It is this final settling of weight that determines how
EXAMPLE OF PROPER CORE TRANSFER IS SHOWN IN THE TOP (GREEN) MODEL. MASS IS TRANSFERRED INSTANTANEOUSLY AND WITH COMPLETE CONTROL.
much penetrating power you have. If you fall into place, even for one centimeter, you have lost the capability for adding that change of weight into your strike. Similarly if you lurch or lose control for a split second moving backward – the availability of that weight change for striking or evading is lost. In the internal arts, striking or evading is an accumulative effect; one weak link means a weak structure.
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Onelearnhastoto accept the pain in the legs, To support your weight and control the change of balance requires strong inner thigh muscles. Study your natural method of walking. Is it controlled? Or do you simply place one foot in front of the other. Do you move with ease through a crowd of people at rush hour, or are you constantly off – balance? When you rise up from sitting in a chair, is your body upright? Are
PAYING ATTENTION TO DETAIL - THE COILING, FLEXING AND FEATHERING OF THE FINGERS, HAND, AND WRIST IS PARAMOUNT TO PROPER work? Are you leaning CHI KUNG, NEI KUNG TRAINING. THE HANDS AT forward as you rise up THE TOP OF THE FIGURE ARE CORRECTLY FORMED. and are you gripping the your legs doing the
table to get up? These are very small things, but they add up. Total body control or not? Knowing what is lacking is the first step in correcting and controlling your own body. Awareness is the key to sensitivity, which is the guide to self-control. other aspect of “watching” the small details is the number and Thedegree of changes (reversals, opposites) between movements. In Wang Shu Chin’s school – one movement does not simply mesh into the next one. It does not simply alter direction via a circle, or a changing arc. Page 15
is an aid to gaining momentum for the next movement, from the There one previously performed. This is known as finding the “loop”. A small circular arc, sometimes not visible proceeds every change in technique. This principle once learned seeps into every change of direction, movement, and height. It is the small white dot in the black portion of the Yin/Yang. After thirty years of training, an advanced trainee will coil the inner core first, before a change of movement. But this small internal “loop” or changing within
THE USE OF YIN/YANG OPPOSITE FLEXING, COILING AND WRAPPING IN THE WANG SHU - CHIN STYLE OF TAI CHI CHUAN. EACH MAJOR JOINT OPPOSES THE NEXT ONE TO CREATE A “SPRING-LIKE” FORCE. THE ACCUMULATIVE FORCE USES THE RELEASE OF THE COILED JOINTS FOR THE RELEASE OF CHING.
the change is not visible to anyone watching. You start your training at the end of the movement, the hands – you end your training at the beginning of the movement, the central core, and after that only your mind moves. The “feeling” aspect or Sheng greatly enhances this level of training. There is no misconception when one enters this aspect. For example – an individual begins his/her training with the intention of stopping to prepare for work in one hour.
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hour reaches an end, and they train for 5/10/15 minutes more Thebecause that is where they would rather be. This is the feeling aspect of Grandmaster Wang’s Tai Chi Chuan. Many individuals in the martial arts train the patterns and basics because they have to. In this style - one trains because you want to. As one thirty year instructor has stated “The training is like a drug it becomes addictive”.
5. Symmetry and shape
is no more obvious visible deficiency in the shape of a There practitioner of Tai Chi Chuan, than when there is no application of symmetry. The concept of moderation in of yin/yang, chi flow, weighting, mental control, would imply that trainee can feel when their shape has no balance. There are several factors to maintaining equal spiraling, intention, arc, circularity, etc. But when you think about – who has ever measured their stride while walking, noted which leg goes into their pants first, remembered which hand reaches for the coffee cup. This is as important as you make it. When you cross your legs, unless you maintain an equal angle and time for both – you are flexing one hip, knee, and leg more than the other. Any imbalance in these joints will lead to exactly that. A smooth transition of weight now has to work against natural physical limitations. Any imbalance in the lower limbs will eventually manifest itself in the hips, spine and perhaps neck. Think about it, you have two legs, hips, but only one spine. Muscles on the spine contract whenever a limb has to bear weight. Take a look the next time you are aware. How many people move with a smooth gait? The main factors are usually an imbalance of joint mobility, i.e. what would happen if one rear tire of your car were round and the other square.
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here is an another aspect of Grandmaster Wang’s Tai Chi Chuan that
Tis determined by the symmetry. There should be a curved, anatomical flow through the four limbs. If one sees the shape of someone maintaining proper coiling of the end points (hands and feet), there is a natural flow of curvature from one joint, through the spine, to the lower limbs. Once this principle is learned, the trainee will instantly see inconsistencies in other practitioners. Once the postures are assumed with attention to symmetry, one should feel the increase of chi flow. The awareness of this principle will eventually be extended into every posture throughout the drill. Some individuals who have
THE CORRECT ALIGNMENT, ROUNDING OUT AND SYMMETRY APPLIED IN THE STAKING, MEDITATIVE, PRACTICE WHICH IS THE FIRST LEVEL OF TRAINING IN WANG SHU - CHIN’S ARTS. A TRAINEE PRACTICES STILLNESS TO FULLY UNDERSTAND THE “MOVEMENT”. THE INTERNAL ARTS UTILIZE MANY ASPECTS OF TRAINING AN NON - ACTION TO “FEEL” THE OPPOSITE REACTION.
looked at photos of themselves, prior to understanding this principle have commented they look “ scrunched up”, or “restricted” or not’ “rounded out”. The overall result of this methodology is a total body stretch. The feeling of symmetry will first impact on the major joints, then extends, eventually to the toes and final finger joints. Every joint is flexed, coiled, and stretched which enhances both chi flow, correct alignment and movements of the skeletal / muscular structure. It also greatly adds to the elasticity of the total body winding/unwinding, which is a large additive factor in the application of force. Page 18
6. Force gathering “recoil” training
ince Grandmaster Wang passed on, in 1981 – there are several
Straining
practices in his system, that were simply dropped or changed
(in some schools). Many of these “forgotten” methods were preserved on 8mm film and on video tape by various individuals (after they learned them). It is doubtful that Grandmaster Wang ever allowed himself to be filmed or photo graphed with the intention of “giving” anything away. The training method for enhancing ching, building internal power via; timing, dropping, cross-linking, and weight change is one practice that is very valuable. Several schools (for various reasons) have been told to discontinue its practice. Wang Shu – Chin once said that “force-gathering”, training is a substitute for Tui Shou (push hands). There is strong support that this isolated method of developing force of approximately 48 different nei kung techniques, originated with Chang Chao – Tung.
“Force gathering” - simplified. There are approximately 48 techniques, practiced 50 to 100 repetitions per side. Each art has its own versions and flavor. There are kicks, combinations, sweeps, and throws. Some students utilize various mechanical devices to further isolate and develop “high acceleration - short distance” force.
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(not Tan Tien) is the Japanese term for the practice and Tanden repetition of one isolated technique for a fixed number of counts. Therefore this practice is similar in context to the kihon of Karate. For example – the double palm push is one of the techniques trained for example 50-100 times with left foot forward, then the opposite leg is placed forward for 50-100 repetitions. This training method was usually not taught in Japan in the seventies. In Taiwan it was trained at the end of every session. Each art (T’ai Chi , Hsing - I, Pa Kua) has it’s own series of Tanden (force gathering) training. The concepts and principles that a student learns from this methodology are very important for proper application of ching. The trainee finds a very narrow gap in timing, weighting, rounding out and sinking weight onto the rear leg, that causes a pulse-like throwing of force in any chosen direction. The striking element is not important as an elbow, shoulder, head can be substituted as required. What is important is sinking the weight onto the rear leg as the striking surface is moved forward. As the rear leg pushes against the ground, force is exerted upwards. This pushes the waist and torso forward. The force is directed through the curved upper body, and into the trapezoid muscles, which wrap forward towards the shoulders. The shoulders now flex forward which drives the elbows forward. The elbows wrap inward as the wrist coils in an opposite direction. The wrist is “popped” from a position where the fingers point to the imaginary opponent’s chest. The palm butt is pushed forward as the wrist flexes. The fingertips are out of harms way and point upward. There is very little force applied throughout this practice. Some of the advanced trainees practice the concept of the “ching” release on mechanical devices. This gives a real sense of positive feedback as to the development of ching. Trainees should experiment, as their teachers did. There are important considerations beyond the scope of this short article that are important in the sense of both power development and balancing the recoil of force into the practitioner. Some trainees that have more than enough ching have actually had to train the “force gathering” while standing on compressed foam padding.
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yourself internally and externally if extension of power is Youused.canTheharm importance of training with a light intention and no mental or physical “willing” of power is so that the proper feeling can be developed. One disciple of Wang Shu - Chin stated that Tanden training should be viewed in the context that one has when depositing money in the bank. Daily training was the same as the original amount of money plus the daily addition of the interest. Money or power would be there when you needed it. The concept of moving as the wave of the ocean flows towards the shoreline is also important. The linking of the major joints as ching flows \through the body is an accumulative effect, ending with a “light” snap as the ching travels to the fingertips.
The flexing of tendons and coiling of joints creates a spring
mechanism from head to foot. It is the release of this spring that is multiplied by the use of gravity, and creates a very short penetrating strike with almost any part of the body.
IN CONCLUSION
people have pondered why this style is so effective. Wang Shu Many – Chin seems to have had a quest for finding the best instructors of each internal art and to establish a close relationship with them. He also spent a lot of time finding what his teachers could not give him. There is much of Grandmaster Wang’s history that is a mystery even to his closest followers. The obvious discrepancies in what he supposedly was to each individual is peculiar. Being close to a Grandmaster and learning a multitude of forms / techniques is not a guarantee that an individual can use or teach this knowledge.
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Wu-Tang Tai Chi of Wang Shu – Chin is comprised of several Themethods of meditative staking (post-standing), Chang Chao – Tung’s Fa Ching training, various methods of push hands, weapons, and the one 99 step form. It is very deep in requiring analysis and repeated training. There are several levels of both principles and techniques. It is common that high level teachers and practitioners “collapse the shape” of their positions. Therefore, observers see little. Students, however, must not allow uncorrected mistakes or a lack of determination of mind to enter the practice session. Simply repeating what you have performed the day before is not enough. A good set of carpenters tools is of little use unless they are used, skills developed and are well maintained.
2000-M.E.Rottmann
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Write to: The International Wang Shu-Chin Memorial Association P.O. Box 48118, Midlake P.O. Calgary, Alberta, CANADA T2X 3C0
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