Yang Zhenhe - Tai Ji Quan

Interview with Master
Yang Zhenhe on
various aspects of Tai
Ji Quan-practicing,
led by David Sommer
Master Yang, it is nice
to be able to interview
you today. I then begin
already directly with the
first question: Can you
please briefly trace the
development and
influence of the Yang
style in Guang Fu?

Yang Luchan went
several times after
Chenjiagou and learned
Tai Ji Quan of the Chen
family. Back in Guangfu
he taught several
students, including Wu
Yuxiang, who founded
after training stays in
Zhaobao the Wu (Hao)
style.Yang Luchan had
many students, even at
the imperial court,

where he taught from
time to time. His sons,
Yang Yang Jianhou
Banhou and gave the
art further turn. Yang
Banhou was, so it has
been handed a tough,
relentless teacher and
therefore had few
students. His art was
for this reason,
practiced in a small
circle, especially in
Guangfu.
Yang Jianhou however,
had many disciples,
among them his sons
shaohou Yang and
Yang Chengfu. Yang
Chengfu changed the
Yang style very strong
by any remote elements
fast and jumps out of
the mold and allowed to
practice the movements
greater. While
previously jumps and

faster movements as
well as switching
between high and low
positions were
formative for the long
form, it has been
simplified by Yang
Chengfu and the
elements described
previously removed.
The reasons for this are
many and today it can
only be speculated. At
this time, the so-called.
Boxer rebellions took
place, which led to a
poor image of martial
arts. In addition, the
Yang style underwent a
large spread, which
required a more
accessible form. Some
practitioners is claimed
that was a reason for
the simplification that
the knowledge of the
"secrets" in the family

should be kept and the
form has therefore been
changed for a lesson
"outside". I do not think
this is actually very
likely because the
"secrets" not found in
individual movements,
but can only be
experienced in its
entirety.
This manifests itself in a
correct posture and

body mechanics, which
are the basis of the
development of
gongfu.Obtain this be a
conscientious
correction by the
teacher, persistent
practice of shape,
partner exercises,
individual exercises and
weapons forms.
In the Tai Ji Quan
Guangfu the Yang

family also "Taiji from
outside the walls" and
the Tai Ji Quan of the
Wu family is the "Taiji
called from within the
walls". This is because
the Yang family lived
outside the city walls,
while the wealthy Wu
family has always lived
within the city walls.
Both styles are
practiced in Guangfu
since its inception and

have therefore been
handed down in an
unbroken tradition here.
In Guangfu also less
widespread
transmission line of the
Yang style of Yang
Banhou has been
preserved, which is why
in our style next to the
85 form of Yang
Chengfu the 108er long
form is practiced with

fajin and jumps as well
as the long stick.
Can you tell us
something about your
teacher?
Zhai Wenzhang, in his
time the main
representatives of Wu
and Yang style in
Guangfu Yongnian, has
done under Mao
military service and
then returned back to

his hometown Guangfu
and has taught there
until his death. He
learned from Yang and
Yang Zhaopeng
Zhaolin, the disciple of
Yang Banhou were
themselves. When he
came back, I got to
know him. I was still
very young, but it soon
became clear that he
had incredible skill and
so I immediately
wanted to become his
disciple. I gave up the
martial art that I
practiced before and
devoted myself only the
art of my new master.
Since that time I
practiced with him
every day and my
classmates and studied
with him until his death
in 1989. Some time
after the death of my
Master, I was taught by

Yang Zhenduo adopted
the youngest son of
Yang Chengfu.
What is important in
your system at special?
What is the most
important thing applies
to practice it?
The most important is
practicing the proper
shenfa. This is the term
for the posture, body
mechanics and
generally the way how
to move. Therefore one
must start from scratch.
From the clear, simple
the indeterminate
results. First practice
the basics of square is
round, from the great
rounds creates small
circles from the big yin
and yang arise mutually
complementary small
yin and yang
movements. Then the

Yi is practiced.
Finally, the movements
are "informal". Without
this development can
be no real Tai Ji Quan
learn. The student can
not develop. If you see
a master who makes
particularly good Taiji,
then you should not try
to copy the movements,
but try the same way to
go to even the master is

gone. The what you see
is the result of the
exercise path, not the
beginning. The thing
you can see is not what
makes Tai Ji Quan. It is
the inner feeling which
must evolve. It is also
important to embark on
a path of practice and
not to be, confused by
the many options that
exist today. You must
enter a gate before you

can continue and can
integrate other things
make sense in the
existing first.
It is often talked about
the connection between
tuishou and taolu. For
many practitioners
there seems to be
confusion about the
meaning of both types
of exercise in Tai Ji
Quan. Can you explain

this a bit?
The geometry of the
principles, proper
posture, structure type
are to move taught.
About practicing the
form of these principles
are absorbed into the
body and can then
Tuishou experienced in
the use with a partner
and deepened. This
deepened
understanding has
implications for the
practice of the form.
You can begin to
explore and learn what
effect the principles of
the learned myself. Tai
Ji Quan can develop in
all facets Only this
combination and mutual
feedback. The
important thing is
always a close
relationship with the

teachers to the students
draw the right
conclusions and can
develop in the right
direction.
Without instructions
quickly unintentional
mistakes may occur. In
this context, the term
"bu bu da jiao" can be
seen. (Translation: do
not hit, do not teach). It
is extremely important
that the student can
practice with the
teacher and feel
Tuishou regularly to be
how it feels pushed and
how generally feel the
movements of the
teacher.Just as he
learns how it is "right"
feel which way so it can
develop.
What is the significance
of the long pole? Why it

is practiced in your
system?
The long cane is a
traditional weapon in
the Yang style. In
Guangfu this art has
been passed down
through the generations
and is therefore also
practiced with us. The
long stick helps the
student to obtain
without a partner
feedback. So you
practice with the long
stick especially the fullbody movement, fajin,
and a stable structure
that is passed through
the legs and pelvis. Of
course partner
exercises with the long
stick.
Are there other ways to
improve the gongfu?
gongfu means "skill,

which was acquired
through hard work". So
the way to gongfu must
be through persistent
practice. In our system
there is for the
preliminary exercises
with and without
weapons, hand forms,
weapon forms, partner
exercises and individual
exercises. It is not
necessary to master
everything in order to
develop gongfu. It is
only important to
exercise regularly
according to the
instructions of a good
teacher and to question
his own ability steadily.
So for example it is not
effective when a
student always
exercises the whole
form. Rather, the
student should be
aware of where his own

weaknesses and just
practice these points in
order to improve
overall.
But the most important
for obtaining high skills
is to practice the Yi.
When you connect with
Yi with the opponent,
then you can anticipate
the movements of the
other. The saying "It
does not move, I do not

move. He moves, I'm
already there. "Refers
to it. When I feel where
my opponent wants to
move, then I can help
or stop moving. I am at
an advantage.
Therefore it is very
important to practice
tingjin. Zhan lian nian
sui. Stick, stick,
connect, follow the
basic prerequisite.
What do teachers and
masters for the student
of Tai Ji Quan?
The teacher makes a
student of his
knowledge. It helps the
students in the
development and
directs the development
of the student by
adjustments in the form
and in the partner
exercises. As a result,
the manner in which the
student develops,
embossed. That's what
I've mentioned before.
The teacher must
accompany the student
on the path he has
gone by you. By
practicing the partner
exercises with the
teacher, the student can
learn how to feel the
movements. He may
contain certain extent

the different energies
that exist in the Tai Ji
Quan feel, and so also
perceive where there
are still shortcomings in
development at himself.
At the same time, it is
important to practice
with other students, as
one usually feels when
practicing with teachers
or masters, that is
Chancenlos and much

too far back in their own
development. Their own
ability to understand
and deepen the learned
principles is only
possible in the practice
with other students at a
similar level. The form
should not be taught as
a straitjacket. The
teacher can point out to
the students only to
movements and
subtleties, which then

has to implement for
the student. This is only
possible through their
own practice of form.
That's also what makes
Tai Ji Quan into a living
art. Each exercise "his
own" Tai Ji Quan, that is
characterized by the
style, the Master and
Teacher. As a result, Tai
Ji Quan is evolving and
each practitioner
practicing it the way it is

right for his own
presuppositions, his
own body and his
character.

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Interview with Master

style in Guang Fu?

the imperial court,

previously jumps and

"secrets" in the family

correct posture and

Guangfu the Yang

since its inception and

form is practiced with

then returned back to

Master, I was taught by

movements. Then the

go to even the master is

enter a gate before you

Quan. Can you explain

relationship with the

of the long pole? Why it

gongfu means "skill,

aware of where his own

does not move, I do not

contain certain extent

Chancenlos and much

subtleties, which then

practicing it the way it is

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