Yang Chengfu’s Ten Principles of Tai Chi

Where the ten principles come from

The text comes from the Yang-style tradition, but it has strongly influenced the way Tai Chi is explained far beyond that lineage. Yang Chengfu transmitted the principles orally and his student Chen Weiming recorded them in writing.

Translations of the traditional terms vary. Each section therefore gives the Chinese name, a plain-language explanation and one practical question to explore during practice.

1. Xu ling ding jin: keep the head upright without stiffness

The first principle is sometimes translated as empty, lively, pushing up and energetic or as suspending the head from above. It does not mean forcing the head upwards. The crown rises naturally, the chin releases slightly and the back of the neck remains long.

Tilting the head back, pushing the chin forward or tightening the neck reduces both ease and directional awareness. Think of the head resting quietly above the spine.

Practice question: Can I remain upright without lifting my chin or stiffening my neck?

2. Han xiong ba bei: soften the chest and broaden the back

The traditional text warns against thrusting the chest forward. It does not ask you to slump or force the chest inward. The front of the torso softens while the space across the upper back can widen naturally.

This keeps the upper body from leaning backwards and allows the shoulders to stop holding the posture. Chest and back act as two sides of one whole, rather than as two opposing poses.

Practice question: Can I soften the front of my chest without collapsing or holding my breath?

3. Song yao: release the waist and lower back

The word yao refers to the waist and lower-back region. In the classical text this area is described as the commander of the body because it helps connect the legs, pelvis and torso. Releasing the waist does not mean letting the abdomen collapse or exaggerating the curve of the lower back.

In practical terms, the pelvis is not locked, the lower back is not needlessly arched, and turning does not occur only in the shoulders. When movement is guided through the centre, the arms no longer have to act independently.

Practice question: Does the change of direction involve my centre, or am I producing it only with my arms?

4. Fen xu shi: distinguish empty and full

Yang Chengfu described separating empty and full as the primary requirement of Tai Chi. The full leg carries more weight; the empty leg is lighter and available to step or change direction. This does not mean one leg must always carry one hundred per cent of the weight. What matters is knowing where support is and where it is going.

When the weight remains vaguely in the middle and both legs stay equally loaded, stepping tends to feel heavy or rushed. Establish support first; then allow the free leg to move.

Practice question: Before I step, can I clearly feel which leg supports me and which leg is free to move?

5. Chen jian zhui zhou: sink the shoulders and drop the elbows

The shoulders should not be pushed down. They release so that they do not rise towards the ears. The elbows retain a natural downward weight even when the hands lift.

This helps connect the arms to the back and torso. When the elbows flare and the shoulders rise, the arms separate from the body and movement becomes unnecessarily tiring.

Practice question: Can I raise my hands without raising my shoulders with them?

6. Yong yi bu yong li: use intention rather than brute force

This point is often misunderstood. It does not mean that the body uses no muscles or should have no strength. Walking, standing and lifting an arm all require muscular work. The traditional text cautions against rigid, isolated and excessive force that obstructs change.

Attention first clarifies the direction, and the body organises itself to perform the task with appropriate effort. Softness is therefore not limpness. It is the ability to avoid more tension than the movement requires.

Practice question: Can I make the direction clear and then move without unnecessary gripping or bracing?

7. Shang xia xiang sui: let upper and lower body follow one another

The classical description traces movement from the feet through the legs and waist to the hands. This is not a mechanical wave, nor does it mean that the hands must always wait for the feet. Its purpose is coordination: the step, turn of the torso, hands and gaze belong to the same change.

If the legs complete one action while the arms perform another, the form breaks into separate pieces. When learning, it often helps to make the gesture smaller and understand its direction first.

Practice question: Does the movement of my hands relate to what my feet, legs and torso are doing?

8. Nei wai xiang he: harmonise inner and outer

In the traditional text, the inner relates to attention and intention, while the outer is the visible movement of the body. When they are joined, a person is not making an empty gesture while thinking about something unrelated. They know where the movement is going, where support lies and when the body is opening or closing.

For a beginner this need not be mystical. Attention stays with a specific physical task, and the movement expresses that task.

Practice question: Do I know what my movement is doing, or am I only copying its outward shape?

9. Xiang lian bu duan: connect continuously without interruption

The form should flow without abrupt stops, empty gaps or repeated fresh starts. This does not mean rushing. Each movement has a clear beginning, development and completion, and that completion becomes the preparation for what follows.

Continuity cannot be created by hiding mistakes with speed. First understand the sequence and the weight transfer. The parts can then join like a thread being steadily unwound.

Practice question: Can I complete one movement in a way that naturally gives rise to the next?

10. Dong zhong qiu jing: seek stillness within movement

The final principle does not demand a completely blank mind. The body changes, but attention need not become scattered and breathing need not speed up because of haste. A slower pace gives time to notice support, direction and the transition between empty and full.

The slower, the better is not an absolute rule. If moving extremely slowly causes loss of balance or breath-holding, choose a more natural pace and a smaller range.

Practice question: Can my attention remain calm while I change direction and transfer weight?

How to learn the ten principles in practice

You do not need to monitor all ten points in one class. One or two tasks are usually enough for a beginner: an upright head without tension, a clearly supporting leg or relaxed shoulders. As these foundations become clearer, whole-body connection, continuity and attention can be developed further.

The principles cannot be judged from a photograph alone. The same outward shape may be produced through stiffness or through well-coordinated movement. Demonstration, slow repetition and feedback from a teacher are therefore useful.

At Tai Chi Bratislava we practise Yang style without combat contact. We use the classical principles as practical reference points for posture, weight transfer, coordination and calm movement. Beginners do not need to know the Chinese terms or memorise the whole list before their first visit.

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