Taijiquan uses the Five Phases (Wu Xing) and Eight Gates (Ba Men) mentioned in the general theory section, as a framework for its stepping methods, core strategy and hand techniques.

Five Phases

The image of the five phases is seen in two ways in TJQ.

Firstly the five phases are used to delineate the five basic directions of stepping used in TJQ. The directions are those illustrated in the River Diagram.

Jin Bu Step Forward

Tui Bu Step Backward

Zou Gu Beware of the Left

You Pan Look Right

Zhong Ding Central Equilibrium

Secondly it is used as a framework for some basic principles; Zhan (Attaching), Lian (Connecting), Nian (Adhering), Sui (Following) and Bu Diu Bu Ding (lit. No lose no resist). The meaning of these phrases are as follows;

Zhan

The concept behind attaching is both physical and mental in nature. The physical contact with you opponent would normally be light in the first instance. The aim however is to not only make physical contact but make a mental connection in other words “know your opponent”. Attaching should enable you to use the skill of Ting Jing (listening), listening in this context refers to feeling what movements your opponent is making, before you can see them. With practice you can also use your touch skill to prompt your opponent to make a move.

Lian

Connecting simply refers to maintaining contact regardless of what movement your opponent makes, so that Zhan can be maintained.

Nian and Sui

Adhering and Following are closely linked. Adhering can be likened to being like fly paper, regardless of your opponents attempts to separate, you stay stuck. In order to do this you must employ the skill of following. This describes the mental state whereby you settle your mind on following, rather than contending with your opponent. This skill is a manifestation of clear minded spontaneity.

Bu Diu Bu Ding

Losing refers to the fault of disconnecting, Resisting refers to the fault of using force to deal with force. Failure to avoid these faults will make it impossible to use the other skills outlined above.

These methods are used in performing the eight powers outlined below.

Eight Powers

Many people find difficulty in understanding some of the concepts outlined in the eight powers. There are a number of reasons for this. A common problem is poor or incomplete teaching. Another problem is the western desire to over simplify. The most common aspect of this oversimplification is the attempt to describe a complex multifaceted idea in one or two words.

The inevitable consequence of this is that as time passes and teachings get passed down the strategies themselves become limited to those one or two words. I’ve placed, in parenthesis, some of the common translations and descriptions used. I recommend students learn the original phraseology and the full meaning associated with them.

Below, I’ve described the concepts briefly but with sufficient detail to give readers a fuller idea of what these core concepts involve. It should be clearly understood that the principles outlined are rarely used singly, almost every technique used in TJQ is a combination of several methods. How could it be any other way? TJQ is built upon the idea of change and adaptation.

In addition, I’ve added excerpts, in italics, of the Taijiquan classic; The Eight Character Secret Transmission by Li I-Yu.

Peng (Ward Off)

At its simplest it can be thought of as force being applied in an upward direction. But it has a wider meaning. It can relate, in a general sense, to the entire structural integrity of the posture.

It has been described as being similar to the way water carries a boat. Completely secure yet still smooth and alive. Peng should permeate all aspects of practice, resilient and flexible. Body like a spring compressing and recoiling immediately.

In application it often involves the defender’s arm or hand being below the opponent, one should avoid resisting force. It can in practice be applied with any part of the body. It should result in drawing the attacker smoothly causing loss of balance usually by sending the attacker’s force upward. (uprooting)

The Peng arm is extended at an angle like the crescent moon; The front knee is slightly bent and the rear knee round

The pounds and ounces of an opponent's strength

Are weighed in the balance of the Peng arm.

When my opponent issues energy, I respond with block or Cai;

When he reveals gaps, I respond with Ji.

Above and below, my whole body is filled with an unbroken ch'i,

Like a great snake coil upon coil.

Lu (Roll Back)

A common description for Lu is the diversion of incoming force in sideways direction. Lu is Yin in nature and is essentially defensive in nature, it is important that in application you don’t disconnect from your opponent or resist their force.

Lu can only be used effectively if Ting Jing (listening skill) is used skilfully, this enables you to lead your opponent into an adverse position, this is designed to make your opponent create what is referred to as “broken force”, this means that the attacker misses and has to re-launch their offensive, the gap between the failing attack and the attempted follow up is the moment of broken force and is the opportunity to launch your own counter. It is essential that Lu is used in a subtle way so as not to alert opponent.

Lu often starts on top of opponents limb. Peng and Lu should interchange with ease. (Yin/Yang)

The basis of Lu is drawing the opponent in.

Lu without Ji is a waste of Lu;

Ji without Lu is a foolish risk.

Ji (Press)

Some describe Ji as being a forward thrust. Whilst this is true, it can be much more. Ji and An illustrate the limitation of using a single word to describe complex concepts.

Ji can be done single handed but often involves two handed techniques, where the hands work as one, this can include squeezing. For example if your opponent attempts a two handed grab from the front you can dissolve the attack be squeezing their elbows together. The squeeze can, depending upon the opponents reaction, either become a backward moving action (double Lu) or a forward press. If it is used as a forward press it should be done sharply and decisively.

Some Wu stylist describe Ji as a special form of elbow press, used when your arm is subject to Roll Back.

In Ji, the hand is extended like an arched bridge,

feeling your way from an angle and always maintaining an undaunted spirit.

If you encounter An, respond with Ji, but first use Lu;

Draw the opponent in, and when his energy lands on nothing, explore with one arm.

With your "arched bridge" block the opponent's shoulder and arm;

First sink, then advance without swerving.

Unless Ji follows Lu, there is no drawing the opponent in,

And if Lu is not followed up with Ji, it is a waste of time.

An (Push)

A simple description of An is the application of downward force. It can be described as calming hands, in that it is a skill used to calm and control your opponents incoming energy. It should meet the force with initial softness and then be applied harshly. As mentioned it can be applied in a downward direction on an incoming opponent. But it can also be used in an upward direction on a retreating opponent. It should be applied in a wave pattern with the force being felt down to the opponents feet. An should expose any structural defect in the posture.

If used Initially in a downward posture causing the opponent’s centre of gravity to raise you can then follow with upward effort, again in a wave pattern. This can often then develop into Cai (see below).

An is employed like a tiger pouncing on a sheep;

Waist, legs, arms, and hands all perfectly co-ordinated.

First sink, then connect, and now push forward,

And the opponent will surely be sent flying with overpowering force.

While executing An, Peng, Lu, and neutralising, pay attention that the elbow not extend much beyond the knee.

Cai. (Pluck) (Pull Down)

This describes a form of grappling skill where leverage is used to uproot opponent. One hand controls either the wrist or elbow with a light grab, usually with thumb and index/forefinger, it is important to avoid tension. You can then apply leverage with the other hand in any direction to destroy the balance. The grabbing hand usually pulls in a downward direction.

Cai is often referred to as Plucking this is because the skill is similar to plucking a piece of fruit off a tree. Hold a branch with one hand whilst pulling fruit with other, handle with initial care then apply sudden effort, often with a sharp well timed twist.

Both hands should compliment each other. Cai can only be used effectively if skill in grabbing is developed.

Cai is like a monkey plucking peaches;

After sinking, grasp obliquely, enticing the opponent to steal.

Step backward, pulling down the wrist forcefully; If our execution does not destabilise the opponent and is not clean, we are wasting our energy.

Regardless of whether we are attacked with Peng or An, Cai resolves them like melting ice.

In using Cai, guard against the opponent's elbow-or shoulder-stroke,

Always protecting the "central palace" against wanton blows.

As the opponent steps backward in an attempt to use Cai against me,

I step in with Zhou or Kao to hurt him.

Lie. (Split) (Twisting)

This describes the idea of using a spiral to return the opponent’s force against themselves. It can be visualised as a spinning fly wheel, depending upon exact position objects either get thrown out or are absorbed and sink rapidly.

In application it is important to go with oncoming force, avoiding direct confrontation, use both hands to control and lock joints. Having gained control either use a sharp press or strike, often described as “short energy”, to knock the opponent down or continue the spiral and use An to force the opponent to the ground.

Lie strikes out with horizontal force like a surprise shot;

Avoid the "central gate" and take the spiral path.

With a single hand sweeping the opponent's neck,

I am like a speeding horse destroying all in its path.

It takes Lie to counter Lie,

But if my opponent treats me with decorum, then I respond with decorum.

The shoulders follow the turning of the waist like a dragon twisting its body;

At all cost avoid being clumsy or unnatural.

Zhou. (Elbow)

This describes the elbow or knee being used to divert or strike vulnerable points. Because of the elbow’s hinged design it is easy to generate a variety of techniques. Striking or diverting with elbow can also be combined with Ji, An, Cai or Lie.

Zhou is like a bull lowering its head;

The flowers freely open one after another.

This technique can be used effectively at close quarters against an attempt to use pull-down, or at long range to chagrin the opponent.

When the opponent adopts block or pull-down, then use this technique appropriately;

An elbow aimed at the opponent's ribs can take a life.

In using elbow-stroke be most wary of "Stroke The Lute" if you encounter it, turn the body and protect the throat.

Kao. (Leaning) (Body Stroke) (Shoulder Stroke)

Quite simply this refers to the use of the torso to divert or strike. Although any part of the body can be used it normally involves the use of Shoulder or back to strike opponent when you are at such close range the hands are effectively bypassed.

Step in with Kao like a swimming dragon;

In executing Kao, you should step directly into your opponent's crotch.

Push up at an angle from below, quickly rotating the body,

And strike the opponent's chest with your shoulder without mercy.

Be careful that your leg is able to support you, lest your opponent have room to escape.

Most often shoulder-stroke is a transformation of Cai, so that if the opponent evades my Cai, then the technique comes into play.

TJQ’s underlying philosophy is one of sensitivity being used to generate spontaneous change. It should be re-emphasised that the various methods should not be thought of as separate entities they are merely different aspects of a whole.

Although the methods outlined above are usually thought of as being hand / arm techniques they can be adapted and used in similar ways by the feet and legs.