sorry, it's hard to follow everything you wrote...
... are you saying we should be standing in santishi with our right hand up. the right hand is not facing the body in any case.
Thank you for the question. I posted in order to learn - http://www.ycgf.org/Articles/XY_SanTiSh ... TiShi.html
This - to me - shows the Santishi posture is really about the right hand facing down to the left foot. The left foot is yang while the right hand is yin.
When your left hand and left foot are in front during Santi Shi, the posture is called left-side Santi Shi. The opposite situation is referred to as
right-side Santi Shi. You should practice equally on both sides.
So I was told I need to do 2 hours a day of standing active exercise to rebuild my energy. This link gives very detailed instructions.
At the same time, imagine that your right hand is pulling something back and then coordinate this feeling with the
downward force in your left foot. The integration of the feeling in your right hand with the downward press of your left foot will augment the
So the concept I did the OP on is the same as this - only I said the yin right hand is opposite to the yang upper body. But he is saying the right hand is against the left foot.
The first step in integration force training is to mentally connect one arm with the leg on the opposite side of your body. Focus first on the
Laogong point of your left hand and then expand this thought to the Yongquan point on your right foot....Complete this part of your practice by focusing on the Lao Gong point on your right hand and connecting it to the Yongquan point on your left
|So notice this Westerner is claiming this is "The hands harmonise with the feet" but read the above and it's the OPPOSITE|
and this is the crucial point of the practice - as a philosophy of structural position:
The entities of yin and yang are differentiated within Taiji but are not
yet fully separated....These changes result in the separation of yin and yang and end when yin and
yang become integrated and generate Santi Shi.
So I will study that more and may take up this practice. It is the same principles - only it takes it to a more detailed level - based on the hand with the foot as yin-yang - while standing.
The "moving of yin and yang" exercise I referred to is the hand against the upper body and hand against the lower body - while the feet are not included.
So that is Zhang Yun. What is so fascinating about this - is that as a Westerner we look at the stance and 99% of people are going to have no idea that there is a yin-yang circulation and activation of energy - like licking a 9-volt battery - you connect the positive and negative and so structurally you create a charge. And so in this case it is the right hand and left foot and vice versa.
So thank you for clarifying this for me.
More of his articles there.
Yes it is very nice to find a teacher who really understands and explains the principles well. So this connects right back to the Neidan alchemy training.
For example in full lotus - you want the left leg on top so that the "yang embraces the yin" - the yin being the lower body. So I didn't know this for a long time - and so I sat with the right leg on top. You can do this - but it does not store up energy as easily - instead it sends out energy. So I sent out a lot of my energy. But with the left leg on top then you activate the right side of the body more. I go into this - quoting a Chinese medical doctor....
beginning, Xingyi training is very similar to external martial arts training, and then the training
progresses to incorporate high level principles. Because the training methodology is changed inside
instead of outside, many people cannot do this well, even if they do not realize it. Consequently, many
people enjoy low level practice or mistake low level practice for high level skill. In Xingyi training, how
to step over this point is the most difficult thing.
Exactly - so he is really talking about Daoist neidan alchemy.
Unfortunately most people just understand lower level principles, and sometimes therefore mistake low level skill for high
This is so true.
So it is said that although many people practice, it is very rare to find someone who can achieve high level skill.
exactly. So this teacher really explains things well.
When I read how well he understands - it is quite stunning. So this opens up a whole new level of training for me.
It is very common for Xingyi practitioners to remain
at the level of Ming Jin even after many years hard training because they do not know how to progress to the next step (An Jin) and
perhaps do not even realize the need to further progress.
So to understand the high level is very rare indeed. So I am not saying I understand it. I'm just saying the teacher I took classes from is at a high level but he does healing, not fighting. So then it is a kind of reverse practice. He initiates people at a high level and then it's up to us to learn how to build up our foundation properly to keep training. haha.
So I am looking to see if anyone else delves into this complementary opposites secret of the stance:There is a common story about the best people in hsing-i that says they were made to do santi for between one and three years before being allowed to learn anything else. Many interpret this type of demand as a useless hazing process.However, this process of standing is the most foundational power training in hsing-i, and without it ithe training of the Five Elements and the animal forms could easily become nothing more than movements with minimal internal power.
As it happens there is such a beast - and it comes from what is arguably the oldest of the Asian unarmed fighting arts - xingyiquan. The stance is, of course, the stance commonly known as "san ti shi" (三體勢 - literally "three bodies power/force"), depicted in the adjacent picture.
I tend to reserve the term "san ti shi" for more than just the stance: I use it to mean the entire posture found in the first element of xingyiquan - namely pi quan (splitting fist). This posture covers more than just the feet and weight distribution; it also covers a very particular placement of the head and hands, as well as a particular angle of the torso.
He had us hold it for an hour on each side - with constant corrections. That is how I got "acquainted" with san ti shi!No mention there of complementary opposite harmonics.
It is said to be a physical manifestation of the Dao De Jing (Tao te Ching) – the principal text of the Daoist/Taoist philosophical tradition. Legends attribute the creation of xingyiquan to legendary Chinese general Yue Fei (March 24, 1103 – January 27, 1142), however it is possible that xingyiquan predates this period.http://www.wayofleastresistance.net/2010/02/xingyiquan-introduction-to-formmind.html
still no mention of complementary opposite harmonics!
Here a student of Zhang Yun - gives a detailed "five elements" analysis of the training.
Hsing-I Chi Kung often combines the exercises combined with physical attributes to vibrate sounds internally and externally to further release and circulate energy. These attributes and sounds were first exposed to the public, through the Emperor Huangdi's conversations on the existence of humanity and interactions with the Earth and Universe around them with his teacher/student Uncle Chi, and by some accounts his mentors Qi Bo and Lei Kung. These Taoist ministers enlightened the young Emperor with the Five Constellations and how these groups of stars, later known as the Five Phases or Five Elements, may be a way of explaining cyclical and destructive cycles in the earth's existence and how these patterns may affect human's lives. The conversations are well documented in the classic book, available in English, The Yellow Emperor's Classic of Medicine or Neijing Suwen.
Select sounds or vibrations beginning in the nose for metal, the ear for water, the eyes for wood, the tongue for fire, and the lips for earth spread outward and encourage a more specific, subtle circulation of chi. These "healing" sounds (or, sounds that encourage the flow of chi) are not the Chinese words for these elements, but are instead unique sounds based on notes of ancient instruments and are further aspirated in the first and third tones in Chinese, that correspond to hollow or solid organs respectively.