Alchemy of Tao. Volume 1

By D.D. Harrington

Guang Ping Yang Taiji Chuan is little understood outside the small number of practitioners trained in this approach to Taiji Chuan. It was developed early in the Yang family teachings and was passed on through Yang Ban-hou. The book includes the basic medical stretching taught by Master Y.C. Chiang, Taiji set and standing meditation. This book covers the mid-frame and small frame approaches to the practice with emphasis on the development of tendons and use of breath in the small frame practice. Usually, a small frame approach to Taiji Chuan is not included in most schools that teach the art. Without understanding how Taiji Chuan is used most students are not able to appreciate the finer details that come with systematically practicing a small frame set. Push hands alone is not enough to learn such concepts. The book also includes Alchemical Three Treasures Qi-gong that puts emphasis on the endocrine and lymphatic systems of the body. The endocrine system produces, regulates and distributes chemicals the body needs to counter undesirable and unhealthy chemicals from outside ourselves. The lymphatic system cleans up the toxins for elimination. This is the 1st Edition and includes pictures, links to videos on each activity covered and material on the inner alchemy traditions embedded in these arts.

• Language: English
• Publisher: D.D. Harrington
• Release date: Oct 10, 2017
• ISBN: 9781370080236

D.D. Harrington

D.D. Harrington is a producer and director under the name Dean Harrington at VIS inc. in Tokyo and is affiliated with spinfish.tv in Osaka. He brings a wealth of experience and vision to film and video production that encompasses work in front of the camera as well as behind the scenes.He is a noted practitioner and teacher of the internal arts of China. He has been involved with this study for over 40 years. He teaches Guang Ping Yang Tai Chi Chuan in Tokyo.

Book preview

Alchemy of Tao

Volume 1

By

D.D. Harrington

A Guide to Guang Ping Yang Taiji Chuan

&

Alchemical Three Treasures Qigong

Copyright

© D.D. Harrington 2016-2022

All rights reserved. Writers, websites and other information sources are allowed to freely ‘quote’ material by the AUTHOR but are required to provide reference to the material and sources herein. Under no circumstances is anyone allowed to copy any of the material attributed to the author, including pictures, in this eBook and freely distribute regardless of being obtained through its authorized secondary sources or any unauthorized sources. You may not freely distribute this book without authorization by the AUTHOR.

Contact K. K. Visual Information System (Inc.), 5-40-12 Kamikitazawa, Setagaya-ku, Tokyo 156-0057 Japan for more information.

Dedication

Forward

This book attempts to convey concepts and ideas of the practice that has not been stressed enough in many schools of Taiji Chuan and that is the small frame approach to developing the art by condensing the form for further refinement as was originally intended by our forebears. I hope to inspire others to advance in this wonderful art by simply studying a variety of different approaches in their forms of the art to advance.

Although there is nothing negative about studying many forms, if not careful, one may miss the depth offered in the study of one. We often don’t know how deep the well is until we have gone to its depth. I hope this book helps my brothers and sisters of the martial arts to delve deeply into what they have learned. Way too many on the road to self-development drop the study and simply move on to something else. They do so, I believe, because they ‘Hit a wall’ in their practices where they cannot see any course of advancement. They give up the study to their loss. Study this book from cover to cover before you make judgment on its merits for this is constructed in such a way as to require a thoughtful study in every chapter to understand the whole. Not all is given directly.

D.D. Harrington November 2016-2022

Disclaimer of Liability

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You must not rely on the information in this book or on its website as an alternative to medical advice from your doctor or other professional healthcare provider. If you have any specific questions about any medical matter, you should consult your doctor or other professional healthcare provider. If you think you may be suffering from any medical condition arising from the practices contained herein, you should stop engaging in these practices immediately and seek immediate medical attention. You should never delay seeking medical advice, disregard medical advice or discontinue medical treatment because of information in this book or information contained on our website. Our website includes interactive features that allow users to communicate with us. You acknowledge that, because of the limited nature of communication through our website's interactive features, any assistance you may receive using any such features is likely to be incomplete and may even be misleading.

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Parental Guidance and permission is recommended for those younger than 18 years old to practice the methods in this eBook. It is advisable that you have a qualified teacher to help you gain advancement in this art. You are being advised that all information in this document is provided by the author in good conscience and good faith for personal benefit contained in the practices detailed in this document. Engage in the activities herein only if you are legally competent and recognize that you are solely responsible for the actions you take concerning this information and views expressed by the AUTHOR.

Chapter 1 Introduction

Bagua

https://en.wikipedia.org/wiki/Bagua

History, Masters & Concepts

One of the great suggestions that my teacher encouraged us to do early on in our training was a study of Chinese classics. He arranged for us who wished to study these texts to have complete volumes of the classics, translated by the early Western translators like James Legge, sent over from Taiwan. These volumes were a ‘God’ send as they steeped us in not just the information but in how the mind of ancient sages worked. Without this approach, it’s difficult to understand the esoteric nature and structure that permeates every aspect of traditional Chinese culture. We don’t have to be scholars to appreciate the works but we need to study these texts and others to ‘dig the well deeply’ in our understanding of Qi-gong and Taiji Chuan. The roots of these arts lay there.

Another root and less pronounced one, at that, is the manner in which ancient practitioners of our art and those in the Chinese Alchemic tradition designed their process of dissemination to those outside their immediate circles. That process is embedded in the myths and stories that reference such luminaries we all become familiar with during our cultural studies. A good example of this is the story of how the Tao Te Ching of Lao-tsu (Laozi) happened to be written. The story is simple; from his observatory, a high government official and follower of the Tao by the name of Yin Hsi saw a purple cloud moving on the horizon one day and knew that a great sage was making his way toward the Chungnan Mountain range.

He had himself posted at the Hanku Pass entrance gate leading into the mountains. When Lao-tsu arrived, he befriended him and persuaded him to leave something behind for others to follow the way. The importance of this story, true or not, lay in the reference to the purple cloud. It is a sign of a high-level energetic quality in the observer, a hidden sign post that those steeped in practices of the Tao will immediately recognize as having significance. It is a quality that arises in Universal Post and other related practices when the mind of the observer develops beyond normal sight. The mind must be open and quiet for long duration to arrive. Someone trained in the classics alone may not have this quality inherent in their development.

(2) Wile, Douglas- Lost Tai-chi Classics from the Late Ch'ing Dynasty pg.38-39

https://en.wikipedia.org/wiki/Laozi

This document is meant to fully describe the practices inherent in Alchemic Qi-Gong and a Guang Ping Yang Taiji Chuan small frame approach to practice of the set. It also provides examples of the mid frame approach to the set for comparison. It is important to note that we are only concerned with providing basic aspects of the body structure, movements, frameworks, rules, terms and internal energy conditions as they pertain to the subjects and practices herein described in this book. This is a work in progress and hopefully will have more editions in future. The book attempts to provide guidance on one of the least understood aspects of the internal martial arts and that is how one goes about condensing and empowering a mid or large frame practice to its best possible effect. Everyone with a serious history in the art of Taiji Chuan understands that to be effective as a boxing art, Taiji Chuan must be condensed into a small frame. If you are fully conversant with Taiji Chuan, you can grasp the principle. If you are a beginner in these arts, its best to start with a teacher.

The term Qigong* (Qi-Gong in the text) is interpreted as energy work as it applies to the internal workings of the body in Chinese thought and philosophy and began to be used commonly in the 1930s in China in martial arts circles. It is derived from the older reference Nei-jia that can be interpreted as internal arts as distinguished from Wei-jai or external arts. The meaning of Gong refers to effort through skill. Any and every effort that involves skill is referred to in Chinese as a gong whether it is cooking, physical exercise, works of a scientific, artistic, or ordinary nature and … just about anything else that requires skill to bring any effort to fruition. When possible, the more common terms shall be used. Please excuse the different spellings for the same word used in this text.

Qi-Gong or classically Nei-jia equals ‘internal’ energy work. Qi Gong/Qi spelling is used in Mainland China. Chi Gung/Chi/Chi is the Wade Guiles system used in Taiwan.

The Taoist Three Treasures are … long-established Chinese traditions. The Three Treasures are the essential energies sustaining human life:

https://en.wikipedia.org/wiki/Traditional_Chinese_medicine

Alchemic Three Treasures concentrates on balancing effects in the abdominal region, heart and brain. They play an important part in chemical production and elimination systems of the body. These are the Three Treasures. The abdominal region is termed hara in Japanese and Dantian in Chinese. It encompasses more than just the abdominal region in these languages. It refers to the intestines, the reproductive organs, kidney energy accupoints and the root stems surrounding the thighs of the legs. As the thighs are considered the wood of the Dantian, they feed the fire of the intestinal region of the body as it is ignited through reversal of Yin and Yang when engaging in Qi Gong activity. The upper part of the body generates heat and is considered Yang; the lower part of the body sticks to the ground and is considered Yin. The reversal occurs by drawing the body’s attention through expansion of Qi by physical effort to the lower part of the body, thus, reversing the emphasis of their designated places. The image of a cauldron filled with liquid sustenance under which a fire heats the cauldron is often used to understand the idea. The concept is simple; cooking food that sustains the body in a proper manner brings good health. Food in traditional Chinese thought is considered medicine and prepared in this manner has become one of the deepest gastronomical arts in the world. It is also related to the hexagram of T’ai Peace and Ting the Caldron in the I Ching. An online I Ching is located here:

https://www.mindsports.nl/index.php/i-ching-connexion/hexagrams/

T’ai is an image which represents heaven and earth in communion and the human being as standing between these forces in harmony with both. This is the goal in the Taoist prescribed manner to achieve internal and external balance in life. Ting represents the process of cooking and in Taoist terms represents the Dantian where essence is prepared. While this might seem rather simple in its explanation there are deeper implications that do get very complicated as they involve not just the body and its in-depth workings but also, the mind and spirit.

This form of Three Treasures is designated as Alchemic to distinguish it from other approaches to Qi-Gongs which have various names and various approaches to developing personal energy through physical and mental practices. The practices concentrate actions of the Governor Vessel and Conception Vessel and their role in glandular chemical production and control and elimination systems of the body that are anchored to the chakras which reside along these Vessel corridors. This is through the center of the front and back parts of the body from outer and inner spine to skin… from head to groin to the bottom of the feet. Chakras are terms in Ayurvedic Medicine and Hindu concepts of spiritual and body power centers in humankind and have been added as reference. These Vessels are where the concentrated action takes place involving the hands in various positions aligned with the body that will be clarified in chapters of this book. The Governor Vessel point Baihui on the top ridge on the back part of the crown of the head is also included in these hand positions.

https://www.smarterhealing.com/governing-vessel/

This approach to Qigong was developed for my Taiji Chuan students as a supplemental practice that can be practiced daily in just about any environment and can take on average 15 minutes from beginning to end. Some inspirations for aspects of the development of Alchemic Three Treasures come from but are not necessarily limited to: Xiang Gong, Dai Family ‘Squatting Monkey Stance’ (Dun Hou Shi) training for children with modifications to breath and stance, Fujian White Crane tendon expansion and contraction body techniques, Manchurian 5 Animals Qi-gong, TCM and personal experience. Only the most dedicated student is able to practice full routines of stretching, Qigong, Taiji Chuan, push hands and Universal Post standing meditation, which I teach as one round. It takes a minimum of 2 to 4 hours to complete these activities depending on the intensity one is applying to these practices. This Qigong was developed to aid practitioners on tight schedules when they do not have time to put in a full practice session and to augment their other practices during normal practice sessions. It can also be practiced as a stand-alone set of practices that will enhance the general overall health of a person and help balance internal chemical flows.

Yang, Lu-chan

Yang, Lu-chan was born in 1799. At the age of 10 Yang, Lu-Chan became an indentured servant in the household of a Chen family member in Honan province, China. It was common for the poor to sell the services of children to the rich during this period of Chinese history. Yang was lucky to have lived in a harmonious household and studied Chen Chuan (Chen boxing) with the famed ninth generation master Chen, Ch'ang-hsing. He was hard working and studied Tai Chi along with other family members. It was not uncommon for servants to be trusted members of the family. Yang was released from his bond at age 40 when his household master died. The master's spouse and Yang were of the same age and to have a widow and servant living together under such conditions was not acceptable to the family. Yang returned to his home town of Kuang P'ing (Guang Ping) and went to work in an herb shop owned by his deceased master's family in a building owned by the Wu family. Wu family members were enthusiastic martial artists as well as influential scholars.

(4) Huang, Alfred-Complete Tai Chi

Yang was their teacher but they also sought training from the Chen family directly. It is recorded that they studied the Chao Pao style from Chen, Ching-ping and eventually created Wu style Tai Chi. Yang became well known for his combat abilities during this period and through the influence of the Wu family was appointed teacher to the Imperial court in Beijing. Manchu from the North under the Ching Emperors ruled China at this time. The Han population thought of Manchu as foreigners and invaders. The Ching dynasty period was constantly marked by Han rebellion. So, it was in Manchu interests to keep an eye on Han martial artist of high caliber. Yang had gained a reputation for his ability to defeat other boxers but his methods were difficult to understand. Being well known and the teacher at the Imperial court posed a dilemma for Yang. He could teach the Manchu the deeper art of Taiji Chuan or he could modify the art to quench the courtiers desire for martial recognition and good health. In ‘The Tai Chi Boxing Chronicle’ by Kuo, Lien-ying it is said that an easier form of Taiji Chuan was taught in the Imperial court because the courtiers and their family members were not willing to practice diligently and because the Yang family (Lu-chan, first son=Pan-hou, and second son=Chien-hou) were Han Chinese and not willing to teach the Manchu the deeper method of the art.

(5) Chiang, Yun Chun – oral tradition and "Thirty Basic Exercises

http://www.gpytcjapan.com/Notes.html

Another view on this history regarding what was taught by Yang Pan-hou at the Imperial Court in Beijing is recorded in the history of Wu Quanyou (1834–1902), or Wu Ch'uan-you, … He was an influential teacher of t'ai chi ch'uan in late Imperial China. His son is credited as the founder of the Wu-style t'ai chi ch'uan. He stated that the Wu style passed down from Yang Pan-hou (Yang Ban-hou) was a small frame art that required a more upright and small framed leg approach to Taiji Chuan because the clothing worn by Imperial court officials were skirted in long and narrow garments and the formation accommodated this restricted condition.

https://en.wikipedia.org/wiki/Wu_Quanyou

My own view on this question of what was taught by Yang Pan-hou to his students is that a number of approaches to the Yang family art were emphasizing alternate qualities in the art to different students as the forms of Guang Ping and Wu Taiji Chuan are very different. This difference suggests that there was a great deal of experimentation going on among the Yang family members during this period in history. The result may not make a substantial difference in quality of the art as the rules and processes inherent in the Eight gates and Five elemental phases are the same and epitomize the success of all forms and approaches developed out of these initial qualities but it certainly points to a richness in Taiji Chuan that existed before the art became publicly promoted. As a result, we have two distinct styles of Yang Taiji Chuan today, plus, a vast array of related Taiji Chuan forms. The most common Yang form seen practiced is derived from the Yang Beijing style, the form related to the one taught at the Manchu court. Beijing style Taiji Chuan was made popular by Yang, Chen-Fu, the son of Yang, Chien-hou, in the 1920s. The other is Guang Ping Yang. Guang Ping Yang, Xiao Jia and the Wu Taiji Chuan style of Wu Ch’uan-yu, were systemized forms taught by Yang, Pan-hou the son of Yang, Lu-chan.

Yang Beijing & Guang Ping Yang Taiji Chuan

The movements of the Beijing style are known for a large transfer of weight from the back leg to the front leg creating the bow stance, an elongated weight shift between Yin and Yang in the foot work; a leg stance commonly found in Shaolin. Large upper body circular movements that, in some instances, complete parts of movements present in the Kuang P’ing set also distinguish it. Another major difference between the Guang Ping and Beijing sets is that the Guang Ping set emphasizes a shift to the center as a means to study the energetic value of shifted weight. When one enters 55% weight on one leg, shifts between the legs enter the central area of small frame’s energy usage. This is considered ideal, as this concentrated area is where pressures in the body help to move energy from one side to the other. We can feel the pressure shift in the hands at the Pericardium Point in the center of the palms as we move back and forth between shifts in weight. This is a major approach, but not the only one, where Fa-shing energy from the spine is best initiated and used when striking, pushing, turning, shaking, and initiating the transitions from one leg to the other. Over time, this concentration on finding the center between the legs develops delicate sensitivity in the shifts between the legs and the way energy moves in the