High Pat on Horse
We had some debate in class today about the correct shape for the extended right hand in High Pat on Horse (HPoH, Yang, Long form). I’ve been treating it as a mid-section (to the chest) push with the palm. Others see it more as a chop with the edge of the hand. In application, I guess it is what works at the time!
I’ve always been a little ‘anal’ since my long distant Taekwondo days about knowing exactly what is the ‘weapon’ I am using, and what is the ‘target’? Those TKD guys were very specific about that, and I think it is a good thing to keep in mind. I want to get this right if I am to be passing it on to others.
I thought it was worth turning to some ‘definitive’ sources and I have a Yang ‘bible’ sitting on my shelf…
Mastering Yang Style Taijiquan, Fu Zhongwen, Translated by Louis Swaim. Copyright © 1999, 2006 by Louis Swaim. Published by Blue Snake Books, an imprint of North Atlantic Books.
I am not going to say the book is the easiest read, and it can sometimes be frustrating in that it leaves out application in the illustrated section of the book, although there are chapters on Push Hands that I have not read yet.
What’s important is that Fu Zhongwen trained with Yang Chengfu, the grandson of the founder of Yang style - Yang Lutan. The line drawings in the book, some of which are shown below are of Yang Chengfu.
Remember, coming into HPoH the practitioner is in Single Whip (Figure 115 below)…
The Thirtieth Posture: High Pat on Horse
Movement One: The center of gravity gradually shifts to the right leg. The toes of the left foot naturally lift up, following the rearward shift of the center of gravity. At the same time, the right hook hand changes to a palm. As the right elbow bends, the palm moves in an arc to just in front of the right shoulder. The left arm rotates out, causing the palm to gradually turn and face obliquely up. The vision attends to the turning of the left palm. (Figure 116)
From Mastering Yang Style Taijiquan
Movement Two: The center of gravity shifts entirely to the right leg.
The left foot lifts back, lowering down toward the inside a half-step, using the toes to touch the ground. At the same time, the right leg gradually stands up (the knee is still slightly bent). This becomes a high-form left empty stance. Following, the body gradually turns left. Following the turning of the body, the right palm shifts somewhat toward the left passing over the top of the left arm, and stretching forward in an arc. The fingers slant toward the left and forward.
The palm faces down, at the height of the shoulder. The left palm passes under the right arm and draws back in a downward arc to just in front of the left waist. The left hand's fingers point obliquely to the right and forward; the palm faces up. The eyes look forward evenly. The vision should connect with the right palm stretching forth. (Figures 117-118)
From Mastering Yang Style Taijiquan
All good with me.
The text does refer to the right hand being a ‘palm’, but does not talk about the target for the attack, but Figure 117 shows the right hand higher than my mid-section / chest height attack.
The direction of the arrows in Figure 118 are a little confusing. I don’t see this figure as the end of the HPoH, but the beginning of the next posture / move - the first of the two separating kicks.
The text continues…
Important Points
1. When the center of gravity shifts to the right leg (Figure 116), you must sit solidly on the right leg and must use the left kua gen [the pelvic joint to gradually draw in and lead the movement of the left foot lifting up. At the same time, the upper body must not lean back. Just at the point when the left foot has left the ground and is drawing back, the right leg then gradually stands up. The energy at the crown of the head must possess the idea of rising up to the sky. Sink the qi to the lower abdomen. There is the intention of a mutual pulling up and down, an elongating of the torso and limbs.
2. The two arms must be shaped as curved bows. When the right palm stretches forward, the shoulders must not rise up. There must be a pulling up of the lumbar spine, but you must not thrust out the chest or bow the back. The right arm must not be straightened, nor should the fingers point forward. If the fingers point forward, you lose the meaning of "seating" the wrist.
The second point indicates this is not intended to be used as a finger strike like White Snake spits out its Tongue / What Snake Darts Tongue.
Next I want to turn to another useful resource, The Yang Family Taichi website at yangfamilytaichi.com and their YouTube channel.
Yes, the Yang family.
Specifically this video…
You can see he strikes with the edge of his right hand at just about his own neck height (maybe slightly higher). He later goes on to confirm the target is the throat and that he is using the palm edge.
But he does make a big point that (like in the text from Fu Zhongwen) that he is ’seating’ the wrist, which he shows as dropping the heel of the palm a little and tilting the hand up away from the horizontal.
On reflection, maybe my palm hand shape was something that has bled over from the occasional Baguazhang that I do.
Taking into account both sources, I have the following adjustments to make…
I should lift my attack a little higher, aiming for the throat
I will angle my hand down a little (closer to the horizontal) to present more of the edge of the palm to the target, rather than the flat of the palm
Happy practicing!
