Seating the Wrist
Posted: Sun Feb 12, 2006 5:07 am
I recall reading once that Yang Zhenduo described the alternation between having the wrist seated and having it straight as a major characteristic of Yang Style. Since reading this, I have tried to look for this feeling in my form.
Recently, I have begun to notice how often the two arms form matching curves in the version of the form taught by Yang Zhenduo. By “matching” curves, I mean that the arms describe curves that appear to be on the same side of concentric spheres. Maintaining the correct curve seems to be one means of feeling the peng energy inherent in a springy ball.
After the Preparation Posture, the arms arguably maintain matching curves all the way until the “withdrawal” that precedes “Push.” At this point, the arms acquire a zigzag form. In my view, the arms then resume the matching curves until they form an energetic S-curve at the end of Single Whip. I also find the matching curves prominent in all the movements of Fair Lady Works the Shuttles and in Parting Wild Horse’s Mane.
The curves seem to come in two versions: one with the palm up and the other with the palm down. Each curve seems to be able to express energy either on the inside or the outside.
In the palm-up curve, the inside energy seems to be like a “hugging” energy, with the jin point expressed in the midpoint of the inside of the forearm. I feel almost a line going from the tip of my middle finger through this point and across my biceps. The outside energy (what we feel in the right arm of Press) seems to be the exact opposite.
In the palm-down curve, the inside energy seems to be rarely used in the form. The left arm of Play the Pipa is the only instance I can think of off hand. The outside energy is very common, but seems to have several variations. Sometimes I feel that the “line” starts in the Tiger’s Mouth and sometimes in the middle finger, and sometimes maybe in the index finger. The “line” crosses the biceps, but seems to do so in a slightly different place from the palm-up curve. Sometimes the jin point is in the forearm, sometimes in the outside of the palm heel, and sometimes elsewhere in the hand.
I have begun to play close attention to how one curve turns into the other. Most often, it feels like turning a rubber band inside out. On rare occasion in the form (e.g., the Beginning Posture), it feels like the alternations of a sine curve. When I used to do form with “holding-ball” transitions, the sine curve transitions seemed to be the most prominent.
The “rubber-band” transition presents the same problem that is drilled in Push Hands, in the single-hand horizontal circling. You have to maintain a curve while rotating the entire arm within it. Cloud Hands is particularly challenging, because the transition occurs at the top and the bottom of a circle.
Any thoughts?
Recently, I have begun to notice how often the two arms form matching curves in the version of the form taught by Yang Zhenduo. By “matching” curves, I mean that the arms describe curves that appear to be on the same side of concentric spheres. Maintaining the correct curve seems to be one means of feeling the peng energy inherent in a springy ball.
After the Preparation Posture, the arms arguably maintain matching curves all the way until the “withdrawal” that precedes “Push.” At this point, the arms acquire a zigzag form. In my view, the arms then resume the matching curves until they form an energetic S-curve at the end of Single Whip. I also find the matching curves prominent in all the movements of Fair Lady Works the Shuttles and in Parting Wild Horse’s Mane.
The curves seem to come in two versions: one with the palm up and the other with the palm down. Each curve seems to be able to express energy either on the inside or the outside.
In the palm-up curve, the inside energy seems to be like a “hugging” energy, with the jin point expressed in the midpoint of the inside of the forearm. I feel almost a line going from the tip of my middle finger through this point and across my biceps. The outside energy (what we feel in the right arm of Press) seems to be the exact opposite.
In the palm-down curve, the inside energy seems to be rarely used in the form. The left arm of Play the Pipa is the only instance I can think of off hand. The outside energy is very common, but seems to have several variations. Sometimes I feel that the “line” starts in the Tiger’s Mouth and sometimes in the middle finger, and sometimes maybe in the index finger. The “line” crosses the biceps, but seems to do so in a slightly different place from the palm-up curve. Sometimes the jin point is in the forearm, sometimes in the outside of the palm heel, and sometimes elsewhere in the hand.
I have begun to play close attention to how one curve turns into the other. Most often, it feels like turning a rubber band inside out. On rare occasion in the form (e.g., the Beginning Posture), it feels like the alternations of a sine curve. When I used to do form with “holding-ball” transitions, the sine curve transitions seemed to be the most prominent.
The “rubber-band” transition presents the same problem that is drilled in Push Hands, in the single-hand horizontal circling. You have to maintain a curve while rotating the entire arm within it. Cloud Hands is particularly challenging, because the transition occurs at the top and the bottom of a circle.
Any thoughts?