By Yang Chengfu, Louis Swaim
The e-book in 1934 of Yang Chengfu's publication, Essence and functions of Taijiquan (Taijiquan Tiyong Quanshu) marked a milestone within the sleek evolution of the artwork of taijiquan. utilizing what's best-termed demonstration narrative, the writer provides shape postures and urged purposes from his personal viewpoint, as he played them. this technique renders Yang Chengfu's direct, hands-on instructing of the paintings with such immediacy and liveliness that the reader stories the master’s educating a lot as his scholars did.This English translation ultimately makes Yang Chengfu's vintage paintings to be had to taijiquan fanatics within the West. It contains notes and statement that make clear the author's widespread classical and literary turns of word and elucidate the philosophical and political underpinnings that form the textual content. The translator investigates and compares a number of early taijiquan books so as to aid clarify the jobs performed via of Yang Chengfu's scholars, Dong Yingjie and Zheng Manqing, in bringing Yang Chengfu's phrases and teachings into print.Serious scholars of taijiquan, and people wishing to deepen their wisdom of taijiquan heritage and concept, will locate this seminal paintings quintessential to their research and perform.
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Additional resources for The Essence and Applications of Taijiquan
Example text
Its earliest appearance was in a commentary to Laozi’s Daodejing by Wang Bi (226–249 CE). As a philosophical formulation it has had a varied career, surviving into the late imperial period. It can be variously translated as “theory and application,” “structure and function,” “essence and practical use,” and the like. ” This was a potent formula for preserving cultural identity while appropriating modern military, institutional, and engineering advances needed for national survival. In taijiquan, the ti generally refers to form practice, and the yong to practical applications.
1933, Dragon Boat Festival (fifth of the fifth lunar month) Respectfully submitted by Zheng Yue of Yong Jia Notes 1. The quotation is actually from the Xici commentary to the Book of Changes. , The Classic of Changes: A New Translation of the I Ching (New York: Columbia University Press, 1994), p. 48. 2. , The Chinese Classics, Vol. III, The Shoo King, V:IV:17 p. 333. 3. ’ But Chung Shan-foo Does not devour the soft, Nor eject the powerful. , The Chinese Classics, Vol. IV, The She King, III:3:6 pp.
One immediate difference between the texts is that the earlier Shiyongfa sections are unpunctuated, while the form sections for Taijiquan tiyong quanshu have punctuation. Traditional Chinese books were not punctuated, and it was the reader’s job to parse the sentences, determine which clauses were subordinate, and to match up subjects and predicates. Dong Yingjie was a classically trained scholar and evidently did not feel compelled to use punctuation in his writing. However, among the many changes in society and education during China’s encounter with modernity, there came the introduction in the early twentieth century of Western-style punctuation (biaodian ).