Dear 陳老師，
Below is the short story of my brief martial arts experience in Hong Kong, it is not too interesting but I do hope you can get an idea of my learning path and how I struggled.
I migrated to Canada from Hong Kong in 1980, as a teenager in Hong Kong I learned a number of martial arts and eventually focused on Chinese martial arts, both external and internal styles.
I began my martial arts learning with Judo for a few years and at the same time I tried Karate but found it was not for me.
I used to live in New Territories and my first encounter of Yang Tai Chi was the morning Tai Chi classes offered by the government of Yuen Long.
Then I met my sifu 聶智飛 and started learning 北少林 from him. Subsequently I was part of a selected group to study 蔡李佛 under him, during the training period; we expressed our interest in Tai Chi and described my early Tai Chi learning experience. From that point on, we started to practice both 蔡李佛 and 楊家太極 under him. My sifu 聶智飛 learned Yang Tai Chi under 楊澄甫 in China.
During that time I learned the whole form of Yang Tai Chi and learned 單推手, 雙推手 (定步及活步), 大履, 太極黏槍.
However as a teenager, I could quickly see the results and benefits after intense training of external martial arts and was hugely influenced by sparring; and therefore my focus was mainly on various external styles. Actually I also learned the 陳清平系的活步太極 and found it very different from Yang Tai Chi but I did not spend enough time on that form.
It is sad that I spent too much time on external styles and did not achieve much from my tai chi practice when I left for Canada.
I have been influenced by 2 important persons, my Kung Fu teacher 聶智飛 and my 舅父. They both passed away in the 80’s. However the valuable information of internal martial arts they had shared makes me continue my journey of searching for the ultimate truth.
In one of the letters my Kung Fu teacher wrote to me after I had moved to Canada; he asked me not to give up my tai chi practice although 我對拳中勁路的領會尚有一斷距離. He said I could forget all the external martial arts he had taught me but should never give up on tai chi as it is a 空前絕後的藝術. He said the form will help me build the internal foundation; especially the energy flow.
During my learning, he had always emphasized 氣遍身軀及丹田運轉, he demanded us to go through a stage of 解骨節 before we could get into 節節貫串 and 中正安舒.可惜我學藝不精 and my teacher already passed away before I could ask more questions.
My 舅父 practiced different styles of Chinese martial arts and majored in 心意拳 and 六合八法 under 梁子鵬. He kept asking me not to waste any time on external martial arts and focus on developing 內功. He said I should do 搖船，站樁，拉腰 etc. to open my spine and 開胯. Once I developed a ball in my 丹田, I could easily utilize my body structure/mass to strike instead of utilizing pure muscle strength. He always mentioned to utilize our spine as an accordion and channel the energy to the 胯, and generate explosive power. As long as the spine and 胯 are opened and aligned, then by doing 扣尾閭 can trigger powerful strikes, since 扣尾閭 is so fast that we can strike like a machine gun with very little movement.
Both my teacher and 舅父 said I should use the 胯 to strike not the hands. Unfortunately I am not there yet and I am still struggling to lower my whole body mass (or centre of gravity) quickly to the hip area to form the ball while in motion. It is a challenge to seek balance from imbalance.
When I was young, I spent so much time on external martial arts and sparring because results and progress could easily be seen and measured. However when I passed 40, I realized my physical conditions are going downhill. 有點力不從心. I then remembered my teacher and 舅父 used to remind me not to rely on physical strength as our body deteriorates quickly when we get old.
Furthermore, when I do the 二爭力 (虛領頂勁及扣尾閭) 把脊拉直, I am unable to feel the whole body weight quickly cascade down to the ground and bounce back, maybe my 鬆沉功夫未到家. Should my body weight channel to the ground and bounce back or should it go to 丹田 directly??
Considering health and the truth of internal arts, I have decided to focus on internal arts (e.g. tai chi) as I am in my early 50’s and I wanted to achieve and progress to a higher stage of the internal arts. I studied a lot of 拳經 but they are very difficult to grasp the essence and there are too many different interpretations, I felt like standing at the cross road and don’t know the correct direction which will lead me to the destination.
I found the content of your three books and the videos are timeless and invaluable, your explanations are very precise, straight to the point and easy to understand with modern scientific terms. Your teachings help me get a deeper understanding of what I have been told by my teacher and 舅父.
Thanks for sharing your knowledge with me and the others who are genuinely interested in learning Tai Chi.
陳少華回覆：
Patrick,
我的背景跟你有些相同，年青時練過不同種類的外家功夫，最後因嚴重運動創傷才轉學太極拳。我花了六年時間學習不同門派的太極拳但無一位老師令到我信服，直至我遇上了王壯弘老師，最後決定將舊學全部忘記，從頭開始。
喜愛武術的人最終還是要走向內家拳，如你所言人到了某一年紀體力便會走下坡。當年顧汝章亦了解這問題所以在上海學了楊家太極拳。你學得太多東西了，你必須選擇一種你喜愛的內家功夫，把以前所學都忘了認真去練才容易得到新體會。尤其是太極拳，它是云云內家拳中提出要完全放棄用力的武術。不把舊思想放棄是無法建成一個新能量系統的。其他內家拳是勁、力互用的，你以前所學或可以互相融合。
你住在那裡？我有一位同門在多倫多社區教拳，或可介紹給你。
Patrick Law：
Dear 陳老師，
You are right, I need to forget what I have learned in order to focus on one area and fully comprehend its
principle and essence.
As Bruce Lee used to say....'you have to empty your cup before you can taste my tea'.
I live in Toronto, it would be helpful if I could get more information of 王氏水性太極拳班 from you.
p.s.
You mentioned that Taiji is the only internal style that does not use physical strength/force at all. It purely manipulates our body weight and centre of gravity to generate momentum. 用意不用力。
Am I correct to assume that it does not emphasize 力 but the speed is still important. However the speed of Taiji is not what we used to see or understand? It talks about the speed of 意氣 and 內動？
Some claimed that once we picked up the 太極功法， it can be adopted to other martial arts to enhance the efficiency. In this regards it will be a mixture of 力與勁 or mixture of external style with internal 心法, this is still considered external style I guess?
Thanks,
Patrick
陳少華：
Patrick,
兩個很好的問題。太極拳以中正安舒為本，所過動作都是以中發動，手腳都不出自已的平衡圈（弓步手腕不過腳尖，手左右動時不過鼻尖），步隨身換，所以楊式拳架裡有幾式是後腳上半步，主要是練習調整身法。應敵時中心收成一條線令對方的力難找到著落點令我失去平衡。每一動中心旋轉是圓心，手腳是圓周，中心只要動一點手腳便走動一大步，所以快。由於自已時時都在守中，身體及意念會漸漸形成一個超級天秤，習慣了便隨便感覺到對方的不平衡處與每一動的力源與力端。從人要做到拿力不拿手，只要一沾上便可將對方力源引出引到某方向令其失去平衡（可看看自轉與公轉視頻最後部份）。當然這還需要身法、步法（例：左邊身退，右邊身進）放重量令到對方產生雙重很多要素。我也曾練過搏擊，但與王老師一接手就像給一張網蓋著，手腳都無法抬起，只有捱打，這是我從未遇過的經驗。我有位師弟干平章，是北少林嚴尚武學生，嚴老師過世後由他主理武館，訓練過不少搏擊好手在比賽中拿了獎牌。他抱著好奇心來學拳，王老師像捉小雞把他控制著，用重量打他時他練就小金鐘的身體也受不了。來學拳兩年後，他將武館關了說不要誤人子弟。我們功夫無法與王老師比較，但總算有機會見識到太極拳的威力。
太極拳練平衡、練將身體變成槓桿系統、練重量集中一點發出（如鐵鎚）、練借力等等都是任何武術所需要的原素。當明白了這些拳理拳術自然能提高水平。
PatrickLaw：
陳老師
我現在每天都抽時間觀看已下載的MP4，實在太有用及寶貴！影片內容已給了我很多答案，另我明白每一動作的目的及如何把它做得準確。
當然我還有很多問題 ,但我會先把影片看過一遍，再思考才發出提問。
那九式築基功法很有啟發性及幫助！只是我把握不倒如何做那能量返彈的動作 （壓彈簧）. 在影片裏，你提及重量從腿內側下放時，小發熱及發漲，意想委中穴放鬆，小腿不動，只從大腿彈回去。但大腿動時小腿是一定會動的，只是重點不在小腿。若快做的話有點感到彈力，但若是要慢慢做我掌握不到，只能靠拔伸脊骨上升來輔助。
一些心底話：
年輕時學習太極拳，祇求外形美觀，忽略了心發，後期再次練習時 因與坊間的楊式太極拳很不同而失去信心。直至認識到王氏水性太極拳才明白年輕時學的套路是對的。
例如師傅的起式雙手不是與地平衡，掌背向上，掌心向下，而是兩手心雙對，有點像武式太極拳。
又例如每動作都是出入螺旋式，盤拳時多是高樁及虛腿是曲的 （不像現今楊式常把後腿伸直蹬地), 當時理解膝鬆了盤骨/胯才能轉動。
年輕學習時常被其他練習楊式的人批評我的套路太圓及太多起伏 （他們主張直線出入及長期保持一個高度）但記得師傅要求我們打浮沉。
可惜年輕時未能把握機會學習，師傅亦已不在。我只有在黑暗中摸索，沒有多大進歩.
看過你的影片另我明白到每一動作的重點及目的。另我非常佩服你已登堂入室的太極拳的修為！
你教導的練習心法可應用在我的楊式練習嗎？
再次多謝你無私的分享太極拳心得！！
因為新網址有很多事情你還要處理，你提及的 By invitation only Blog 是將來的一個項目，現今未實現， 我有一些練習太極拳大方向的問題，遲遲未敢在電郵發問。
不知老師會否考慮一下函授課程，可令我成為你一個學生並向老師發問太極拳有關的東西，可用短片輔助。 不知道這形式是否可最。
因為我想重新開始，有系統地由小學一及一及的上，這此隨意發問更有效。
待新的Blog 建成後，我亦在那處發問。
如這不可行，我還可以用電郵向老師發問及討論？
Regards
Patrick
陳少華：
Patrick,
希望王宗岳拳論對你有幫助。這是十年前我在聖雅各褔群會舉辦太極拳理論課程時拍攝的，裡面有些地方有偏差，但可以一看。這課程還在講。
聶老師教你的都是對的。給人批評便信心動搖是因為你沒有學到正確理論的支持。這是時下教授太極拳一大障礙，教拳的大部份都不懂拳理，所以出錯了便一直錯下去，一代代留傳，錯的都變成真理了。我教拳及講課就是不希望這麼重要的中華文化失傳。
有關放重量，我們先要學會放整條手臂的重量，繼而要學會運用身驅的重量。這個已佔到人體的4/5重量，能夠巧妙運用已經不得了。練習時要想像身驅是一個大冬瓜，平穩地放到胯上。胯要像一個圓形的盛器（好像酒店中早餐放雞蛋的小杯），下面用兩個彈簧乘托著盛器。當身驅放到胯的正中，重量便會將胯四方八面的推開，重量便由胯的內側經大腿、小腿、踝、腳掌放到地上。兩條腿受到壓力便便會將腿壓成半圓形成開胯圓襠狀。這時重量壓到小腿以下到地上。這時彈簧受壓成半圓形，如回復原形是應該上下一齊彈開。但由於腳底受到大地阻礙，反彈只能由膝蓋以上釋放了。提醒你們鬆委中是避免小腿用力蹬。如果這樣便變成了蹬力，這力會抵消腳底的反彈力，破壞了拿反彈力的程序了。這是內動，外形看不清楚的，要小心體會才會有感應。
Patrick Law：
陳老師,
非常之多謝關於釋放重量的詳細步驟，我會用心去體會，因它是供應能量的主要渠道。我會配合放鬆命門的功法，務求上身的重量能完全經脊骨下放至丹田再到腳底。相信能量反彈上升時路線亦一樣，只是不同方向？
能量反彈時，若把由腳踭至大椎作為一大槓杆，配合着像的波浪式的運行加速 (undulation, 像單車鏈的節節貫串，九大關節的璟環相扣），把能量變作動量，短勁或長勁的發放效果會加倍嗎？
你給我王宗岳拳論的影像是一個驚喜。因為它是解釋配合示範，容易理解。我曾讀過張義敬前輩解說王宗岳拳讑的文章，內容亦很直得細味。
當看過你的影像及電郵內你提到努力把中華文化𠄘傳，令我很有共鳴及百感交集，因年輕時跟隨聶師學習，未懂珍惜古代的文化及歴史，只一直追求招法，常認為新的東西一定比舊的好及有進步，古老的東西已落後。可是年紀漸大及在外國生活後，才明白及領㑹到中華文化的博大精深及本身的無知及渺小。很想尋根及再加深對中華文化的認識。很可惜錯過機會再向聶師問及有關上一兩代人的生活及武林的點滴。
提到閲讀古拳譜，聶師亦如你一樣，說硏究太極遺譜，應把王宗岳及李亦畲的文章作為基礎，其它的拳譜恐已失真因老譜已失傳。當聶師在廣州跟隨楊澄甫學拳時，楊師想要弟子多看書，要取㸃不取段才能閲讀得準確。如打手歌內的牽動四兩撥千金的牽字及引進落空合即出的合字，忽略了這一字/㸃，整句句字的意思就不一樣了。聶師示常着我們多看書，但武術修為的進步不在武術書𥚃求，而是在古代哲學書，要求我們多看如老子，莊子，佛學等書籍。
再次多謝陳老師耐心的回答我的提問，不論程度的深淺或高低。可惜現時未能回港拜見陳老師及希望得到一些提點及教導，但是你的文章及録像對我已有很大的幫助，有助我對太極拳加深認識，改正及重建基楚，引領我到正確的方向，十分之感謝。還令我對太極拳重拾信心，因一門藝術及學問一定要正碓明白後才能體會，我找到方向了！
如矗師所說，我會把你的文章及錄像 細看，再看，破看 希望每次都有不同的領悟及體會。
Regards.
Patrick
陳少華：
Patrick,
很久沒跟人談拳了。很享受也樂於講出我的體會。
太極拳發勁跟其他內家拳不一樣，因為其他都是力勁各半的運用，而太極拳要放棄用力，純用另外一種能量。在個點上我們可以留意武禹襄及李亦畬的拳論上所講的「發勁須鬆淨、專注一方」、「勁起腳根、主於腰間，形於手指，發於脊背」、「氣向下沉，由兩肩收於脊背，此氣由上而下也，謂之合。由腰形於脊背，佈於兩膊，施於手指，此氣由下而上，謂之開」。各種拳譜中只有武、李能夠詳述發勁的要點。要好好思考。
我講一些我在這方面的個人體會。太極拳發勁一詞其實並不正確，應該是「將身體重量集中釋放出去」比較合理。腳底拿反彈其實就是拿重量的反彈。當重量壓到腳趾時用意將腳掌貼著地面由腳趾往後磨，腳跟便會微微離地，兩能量會經踝、腿到腰。此時氣由下而上，人必須儘量打出開背部迎接這能量，再經肩肘腕手掌手指放出去。這是發長勁將人發放飛出去。而當能量儲在背部時蓄勢，將能量以三角形經脊椎向下往命門放，由於脊椎通道小，能量便會衝開扇肘腕找出路由，手掌、指發出。這是冷勁，可使人內臟受傷。
節節貫串其實最終目的是打開一條內勁通道。當然，如果每個關節都能聽命就容易建立一個槓桿系統了。
這討論很好，我會貼到師徒留言板讓其他學員得益，日後討論你可以接龍。
