Zhu Tiancais 42 Methods of Fajing

42 Methods of Fajin
by David Gaffney
Tai Chi magazine
In October 2003 Chenjiagou Taijiquan GB

hosted the second UK visit of Chen
Taijiquan luminary Zhu Tiancai. Following
are some insights he presented on the
correct development of fajin in Chen style
Taijiquan.
A distinctive characteristic of Chen

Taijiquan is the frequent use of fajin, that
is explosively issuing energy with any part
of the body. Along with the fist, elbow,
shoulder and knee used in the external
martial arts, Chen Taijiquan requires the
practitioner to be able to fajin with any
part that comes into contact with an opponent. This can be used to
throw or strike an adversary. Alongside sensitivity, yielding and
redirecting skills, a practitioner seeking martial efficiency should be
capable of powerful aggressive movement. Chen Taijiquan fajin
should be elastic in quality, forceful without being stiff. In the
words of a Chen family saying, fajin must be performed as though
“shaking cinders from the back of the hand” or akin to “a golden
lion tossing its mane”.
During his recent visit to England, Zhu Tiancai, for the first time,
taught the 42 method of fajin that he has developed, based on the
32 fajin pattern devised by the famous Chen Zhaokui of the 18 th
generation of Chen Style Taijiquan. Zhu added 10 movements to
the original 32 so that a comprehensive compendium of fajin
possibilities can be demonstrated.
Chen Zhaokui devised the 32 pattern of fajin for the purpose of an

exhibition in 1975 to demonstrate the dynamism of Chen Style
Taijiquan. Chosen to perform was the then very young four
Buddha‟s Warriors of today, Chen Xiaowang, Zhu Tiancai, Wang
Xian, and Chen Zhenglei, together with their senior martial brother
Chen Dewang. The occasion was the Xinxiang (Wenxian) Wushu
Tournament, where many renowned old masters were invited to
demonstrate their skill, notably Chen Yuxia (daughter of Chen
Fake), Lei Mongni, and Feng Zhiqiang. In the process of the
repertoire, the five members moved in sequence, making square,
rectangle and plum blossom (5 circle) patterns on the stage. All
who saw the demonstration were impressed by the vigour and
energy of the display.
The fajin methods

reveal the martial
applications and intent
contained within the
handforms of Chen
Taijiquan. While the
42 methods can be
practised as a
continuous series, Zhu
Tiancai suggested they
could most effectively
be trained as single-
movement exercises.
Dismantling the pattern and drilling the 42 fajin methods
individually will greatly develop the ability to use them practically.
Taking out difficult movements, such as Ying Men Kao (Enticing
Bump) where the chest is used as the striking area, or Wai Bai Li
Shua (Outward Swing and Inward Throw) and practising them
repeatedly can greatly help the practitioner to enhance their
accuracy, speed and timing. Chen Zhoakui stressed the importance
of single posture training as a means of enhancing martial skills that
could not be practised safely with a partner, saying that “some
applications of the movement cannot be used in push hands. For
example elbow strikes… and also attacking vital points of an
opponent, or qinna”.
Throughout the seminar Zhu Tiancai emphasised a number of

important points to be seriously considered when trying to develop
effective fajin skills. Firstly there should be no deviation from the
core principles of Taijiquan - relaxation, whole body movement etc..
Execution of the methods arises from a particular point within a
circle, so the silk-reeling spiral path of a movement should always
be sought.
He stressed that the practice of fajin should only be done after one
has acquired the pliant energy (rou jin) of Taijiquan. They should
be done within the principle of „song‟ - letting loose or maximum
relaxation of the muscles and joints – the idea of attaining
forcefulness and power from softness was repeatedly emphasised.
Zhu said that: “The whole body should be loose (song). The waist
initiates all movements. The qi sinks down to the dantian, then
descends into the yongquan, and finally surges into the four limbs.
The springy elastic force of fajin is expressed in the outer section of
the limb, which is followed by the middle section, which in turn is
driven by the root section. Qi follows the intention (yi), and
structure (xing) follows the qi. Therefore, yi, qi and xing become
one entity.”
When using fajin, Zhu said that exponents of Taijiquan should seek
to harmonise internal and external movements; ensure that they
co-ordinate the actions of the upper body and lower body; clearly
differentiate weight distribution; and pay strict attention to timing.
The ultimate aim in Chen Taijiquan, is to harness one hundred
percent of the body‟s strength during a movement. Therefore,
power emitted should be complete, the speed must be quick, the
range should be short and the end point must be precise. While
Chen Taijiquan makes use of rapid shaking movement of the waist
and hips during fajin, this aspect is often over-emphasised.
Shaking the body without having a fixed point of impact may
appear impressive to the untrained eye, but is of little practical use
against an opponent.
According to Zhu, reverse abdominal breathing is a prerequisite of

correct practice. In performing fajin, the practitioner should inhale
when gathering and exhale when executing. The abdomen
contracts during inhalation and is distended during exhalation.
Above all, breathing should be natural and spontaneous. If the
breath has to be forced, then it is unnatural and detrimental to
health. In fact, reversed breathing is used unconsciously whenever
a person makes a sudden violent effort, even if they are completely
unaware of it. Just as a person could not breathe in when pushing
a car or lifting a heavy weight, one cannot inhale when performing
fajin.
Zhu pointed out that only by following the above characteristics

could one hope to properly develop fajin skills. True fajin is more
than simple brute strength. Rather, it is a sudden, relaxed and fluid
explosion of power. Though many people understand Taijiquan only
as a slow motion dance-like exercise, one‟s thoughts must
constantly go back to the simple reality that it was created as a
martial art. A cursory glance at tales of past masters reveals many
references of superior strength and power alongside great softness
and sensitivity. Fajin training is important in so much as the
ultimate objective of Taiji practice is to reach a state of balance,
fifty percent hard and fifty percent soft, yin and yang.
The ever-enthusiastic Zhu Tiancai emphasising a point during a

lecture at the CTGB school.

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42 Methods of Fajin

Tai Chi magazine

In October 2003 Chenjiagou Taijiquan GB

A distinctive characteristic of Chen

Chen Zhaokui devised the 32 pattern of fajin for the purpose of an

The fajin methods

Throughout the seminar Zhu Tiancai emphasised a number of

According to Zhu, reverse abdominal breathing is a prerequisite of

Zhu pointed out that only by following the above characteristics

The ever-enthusiastic Zhu Tiancai emphasising a point during a

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