[Tai Chi] Learn the 42 Tai Chi Forms: Movements 39-40

Hello, I'm Kenji Takeuchi, an instructor for Taikyokken. In this video, I will show you the 42 types of Taikyokken. Please enjoy. No. 39, Wangon Sha Fu. There are two ways to express Wangon Sha Fu. The first way is to make a Gonbu first, and then strike both fists in the northeastern direction. The second way is to complete the Gonbu first, and then strike both fists in the northeastern direction. The first way is to make a Gonbu first, and then strike both fists in the northeastern direction. The second way is to complete the Gonbu first, and then strike both fists in the northeastern direction. The third way is to complete the Gonbu first, and then strike both fists in the northeastern direction. The fourth way is to complete the Gonbu first, and then strike both fists in the northeastern direction. Wangon Sha Fu is a technique where you swing the opponent's arm, swing the opponent's arm, and strike the opponent's fist. The movement of the arm is called a type of stick technique. Originally, martial arts were weapons, so let's assume a stick. The stick is said to have a flag as an assumption. If there is actually a cloth, it is said that if you move it quickly, it will make a sound. The stick is said to have a flag as an assumption. If the opponent is far away, swing the opponent's arm, swing the opponent's arm, and strike the opponent's fist. If the opponent is very close, swing the opponent's arm, and strike the opponent's fist. In Toro, it is good to move while matching the movement of the hand and the direction of the eye. If the hand goes down, the eyes will be easier to look down. If the eyes go down, the eyes will go up when the hand goes up. If the eyes go up, the eyes will go up when the hand goes up. When moving from the 40th Zou Lanchu Wei to the Zou Lanchu Wei, first move the center of gravity to the left foot and the right hand turns into the upper ball, Pao Chu. There are two ways to express this. First, move the center of gravity to the left foot and the right hand turns into the upper ball, Pao Chu. Second, move the center of gravity to the left foot and the right hand turns into the upper ball, Pao Chu. There are two ways to express this. The first way is to think about the contact with the opponent. The second way is to draw the opponent in this order, and the third way is to swing the opponent's fist. There are four ways to express the Zou Lanchu Wei. The first way is to move the left forearm outward. The second way is to move the right forearm diagonally. The third way is to make a diagonal cross and push the opponent back. The fourth way is to swing the opponent, and the fifth way is to make a diagonal cross and push the opponent back. In the case of Pon, it is easy to concentrate on the movement of sticking out, but in Taikyokken, the hand on the other side is important, so it is better to move the upper right hand in Pao Chu with the feeling that the lower left hand is moved. In fact, when you do Pon with Gombu, the power to stick out and the distance to stretch the head are connected. And by touching the opponent's arm and holding the opponent's wrist, you make a stick out, so the hand to hold is important. After doing Pon, I will stretch my hand with Lee, but if you put this hand in a 45-degree diagonal direction, it will be difficult to pull because your heel will rise rather than pulling the opponent. Lee has an opponent in front of you, and it is correct to assume the arm of the opponent in front of you as a low angle. At that time, the direction of the navel is slightly diagonal to the left, but I think that it is easier to pull if the back of the right hand and the left knee are about vertical. Also, when you stretch your hand, if you pull it, it will look like you are being pulled rather than pulled, so I think it is better to make a smooth curve. The smoothness of the hand of this Taikyokuken means that it has a smoothness towards a straight line. For example, think of it as the same shape as the hand of Peeper C or Tambien. Also, in this curve, the curve of the little finger and the wrist, here is the image of the blade of the Kogatana, and here is the image of the blade of the Nata. If you have the image of putting out the blade of the Nata from the wrist to the elbow, you will be able to express the needle. In fact, if you think of a part of your body as a weapon and move it, it will also be a practice of weaponry. Lee's movement is like this. It would be good to imagine the movement of shaking the arm. If you imagine pulling the opponent's arm, you will inevitably want to pull with only your hand, but there is a concept of moving from the body, moving from the shaft, and moving from Tambien, and there is a way to imitate the movement of a crane. Think of your spine as the support of a crane. The hand is equivalent to the hook of a crane. Your arm is equivalent to the wire of a crane. If the wire is bent, the tip cannot be moved, so you have to move the center of gravity behind the shaft, and the bent wire will stretch a little. Then, in physics, the wrist, which is equivalent to the hook, will make a movement that comes close to the body. This is an example of a movement like a crane. By doing this, you will be able to move from the center and express a hand-thrown movement. When moving from B to G, it is common to turn your body to the east after facing diagonally, and to make a diagonal cross in front of your chest, but if you change your body direction without changing your elbow position too much, you may be pushed by your opponent while you can stick out your elbow. In Taikyokken, it is often said to move the elbow and use the elbow actively, but when doing B, the elbow is closer to the body, and when facing the east, it is recommended to change the position of the elbow so that it pulls the crane of the bow, and then face the east. When making a diagonal cross in front of the chest, make a diagonal cross so that the right palm meets the left wrist. By stretching the elbow, it is a movement to push out, but if it is difficult to stretch the elbow and push it, there are two ways to deal with it. By changing the direction of the elbow, it is a way to make it easier to stretch the elbow. If you are making a diagonal cross and your armpits are closed, it is possible to push out by raising the elbow a little. Or, when making a diagonal cross, when the elbow is raised, it is easier to push out by closing the armpits. In this way, G can be pushed out depending on the direction of the elbow. It is also possible to push out by attaching the right palm and the left wrist of the diagonal cross. Originally, it is said that it is better to have space between the right palm and the left wrist to push out. It is also correct to stick both hands together and hit and push, but by leaving this distance, it is expressed as pushing out the force of the right hand, which is relaxed and relaxed, by conveying it to the left hand, without being noticed by the other party. When G is completed and you go to the arm, you open your hand, but if you move it so that you cut the other person's throat in the right incision, you will be able to express the weaponization of the body. This is also the assumption when you actually have a knife or other blades. In the movement of An, there is a way to move horizontally when approaching the wrist, and a way to draw a slightly loose vertical curve. When doing it flat, it is said that it will be easier to pull the opponent depending on the inner and outer lines. Also, if you draw a loose vertical curve, you can easily raise the other person's shoulder, and you can bring the other person closer to you. Even when lowering the wrist, if you slide the elbow to the back of the body, you will be able to draw the opponent further and suppress it. The more you think about this elbow, the harder it is to go behind the body, so there is also a way to control the position of the elbow by moving it as if you were drinking a bowl of soup. There is also a way to control the position of the elbow by moving it as if you were drinking a bowl of soup. This is a movement that is preferred by Son-style Taikyokuken. When moving from Seabu to Gonbu, if you move your weight and move your hand at the same time, the completion of Gonbu will be faster, and the hand will follow later. It is an expression that exerts force from the legs and tendons, but if you want to complete the completion of Gonbu and the completion of An, you can relax from this Seabu state, so-called Fan Song, and when viewed from the side, the elbow moves under the shoulder. By doing so, there is a position that is easy to push in the hand, and if you move the center of gravity from there to the main, it will be easier to express the position of the upper and lower body. From Juanshen Bailen to Wangon Sha Fu, while sinking, move your right shoulder in the south-east direction. Move your hand around the clock. Raise your hand and change it to a fist. While turning to Gonbu, turn your eyes to the north-east direction, and the surface of both fists is also turned to the north-east direction. Zou Ran Chuen. While returning the center of gravity to the left foot, change it to the palm. While turning to the right foot, make a ball pouch on the upper right hand. Put your left foot in the east direction. While turning to Gonbu, put your left hand on the outside of the circle, and make a fist. While extending your hand and putting your left foot, lower the center of gravity to the right foot, and pull both hands diagonally to the lower right. Li. While leaving the center of gravity on the right foot, make a diagonal cross in front of the chest. While turning to Gonbu, push out both hands. Ji. Open your hand, and move the center of gravity to the right foot. Raise your left foot, and put your hand on your body. Put your hand down, and while turning to Gonbu, push out both hands. An. From Zhuan Shen Bai Lian to Wang Gong Xia Fu. While loosening the left knee, turn your eyes to the south-east direction. Put your hand down, and move your hand around the clock. While raising your hand, put your hand on both fists. While turning to Gonbu, turn your eyes to the north-east direction. Push out both fists to the north-east direction. Zu. While returning the center of gravity to the left foot, put your hand on the palm of your hand. While returning the center of gravity to the right foot, make a ball or pouch on the right hand side. Put your left foot on the east side. While turning to Gonbu, put your left hand on the outside of your forearm. Hong. While extending your hand, put your left foot on the palm of your hand, and while turning to the center of gravity to the right foot, pull both hands down diagonally to the right. Li. While turning to the center of gravity to the right foot, make a diagonal cross in front of your chest. While turning to Gonbu, push out both hands. Ji. While turning to the center of gravity to the right foot, make a diagonal cross in front of your chest. Li. While turning to Gonbu, push out both hands. Ang. 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