tai chi forms
TRANSCRIPT
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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.
The general direction of movement is in a straight line from E3 towards W9 in
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.
The general direction of movement is in a straight line from E3 towards W9 in
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.
The general direction of movement is in a straight line from E3 towards W9 in
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.
The general direction of movement is in a straight line from E3 towards W9 in
Movement #7. Please study the recommendedonline videosto see how the series of
postures in this particular movement are performed.
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
Movement #8. Please study the recommendedonline videosto see how the series of
postures in this particular movement are performed.
"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.
The general direction of movement is in a straight line from E3 towards W9 in
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
postures in this particular movement are performed.
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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.
The general direction of movement is in a straight line from E3 towards W9 in
Movement #13. Please study the recommendedonline videosto see how the series of
postures in this particular movement are performed.
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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
Style)Movements 16 - 19
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.
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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.
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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
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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
Style)Movements 20 - 24
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.
The general direction of movement is in a straight line from E3 towards W9 in
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
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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
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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.
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