Northern Wu Style Taiji Quan

Yin and yang (陰陽) are the generalization of antithesis of mutual correlation certain object or phenomenon in natural world. They have meaning of unity of opposites. Liang Yi (兩儀), also known as Yin and Yang or heaven and earth, has similar meaning.

The dual concepts of yin and yang – or the single concept Yin–Yang – originate in ancient Chinese philosophy and metaphysics, which describe two primal opposing but complementary principles or cosmic forces said to be found in all non–static objects and processes in the universe. The concept is the cornerstone for Taoism and traditional Chinese medicine and of course martial arts.

Yin (陰) "shady place, north slope, south bank (river), cloudy, overcast" is the dark element: it is passive, dark, feminine, downward–seeking, and corresponds to the night.
Yang (陽) "sunny place, south slope, north bank (river), sunshine" is the bright element: it is active, light, masculine, upward–seeking and corresponds to the daytime. Yin is often symbolized by water and earth, while yang is symbolized by fire and wind. Yin (the receptive, feminine, dark, passive force) and yang (the creative, masculine, bright, active force) are descriptions of complementary opposites rather than absolutes. Any yin/yang dichotomy can be viewed from another perspective. All forces in nature can be seen as having yin and yang states, and the two are in movement rather than held in absolute stasis, this concept is central to Taiji theory and essential to the resolution or acceptance of the Taiji paradox.

The Taiji paradox, true to the Yin yang nature around which it centres is a twofold problem, Taiji is related and to existent reliant upon the philosophical acceptance of true Daoism, Daoism emphasises unity with nature and is essentially a pacifistic practice (emphasis on non–action) Taiji Quan is highly effective and ruthless style of combat derived from Daoist theory, in which great emphasis is placed upon expedient elimination of threat, as one progresses in Taiji it becomes increasingly obvious as to what it was made for, it is an art designed for war, in war the enemy can be given no quarter if victory or indeed survival is to be assured and so you the paradox of it, how can this truth be reconciled?

Written by Rory Conroy