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In 2010, Master Chen was teaching in Edmonton, Canada. The atmosphere was steeped in hushed concentration, each movement carried out with quiet precision, while senior student Allan Belsheim diligently operated the camera, ensuring every detail was captured. Meanwhile, Alex Renwick and Mat Beausoleil stood in the training space, absorbing corrections to their forms.
One student, eager for clarity, posed a question: “If I lean forward [to execute the move ‘Fall and split —Diē chà — 跌岔’], [The action is] a lot easier. [Is the leaning correct?]” |
Master Chen’s response was swift and unwavering: “Don’t lean forward. Right now your problem is that you still have a waist.” His words, seemingly cryptic, hinted at something deeper—a philosophy beyond mere physical alignment. He continued: “I should also provide you with ideas about what you aim to achieve—whether in terms of philosophy, theory, or the physical aspects of your practice.” And with that, the lectures on the “5 No’s”— a Journey to bù (不) and méi (沒) — began.
| This lecture has been edited and enhanced for clarity first presented by Master Chen as “5 No Video”, Edmonton, Canada, 2010. |
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Introduction
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The phrases commonly associated with Chen Style Taijiquan (陈氏太极拳) reflect its deep philosophical and technical foundations. One such phrase, “太极不用手，用手非太极”, which translates to “Tai Chi does not use hands; using hands is not Tai Chi,” evokes a sense of mystery surrounding the physical techniques of Taiji.
Another key phrase, “就没手，没肘，就没肩；就没胸。”, which can be translated as “Without hands, there are no elbows; without elbows, there are no shoulders; without shoulders, there is no chest,” emphasizes the interconnected nature of body mechanics. |
This concept reinforces the idea that proper movement in Taiji depends on the integration of multiple joints and muscles working harmoniously. But the details of integration are seldom discussed.
However, these phrases hold little meaning without proper context and explanation, especially in the progression of Taiji training. Since Taiji is a Chinese martial art, translating its terminology into English requires careful attention to both linguistic accuracy and cultural relevance.
For instance, both 沒 (méi) and 不 (bù) are negation words in Chinese, but they serve different purposes. 沒 (méi) is used to negate past actions or indicate absence, often paired with verbs to express that something did not happen or does not exist. In contrast, 不 (bù) negates present or future actions, habits, or general statements, typically placed before verbs, adjectives, or adverbs to indicate refusal, inability, or negation. One key distinction is that 沒 (méi) is frequently used with 有 (yǒu) to mean “do not have,” whereas 不 (bù) cannot be used in this way. Rather, 不 (bù) is paired with 用 (yòng) to mean “do not use.”
Due to these differences, it would be incorrect to interchange méi and bù as a simple negation using the English word “No.” Understanding such nuances is crucial, and Master Chen recognized the difficulties in translation, dedicating great effort to providing the necessary context and explanations for the rules of movement governing various body parts according to Taiji theory.
No Hands and Heavy Hands
The essence of Taiji philosophy lies in the concept of Yin and Yang—two inseparable, opposing forces that balance each other. This duality underpins Taiji movements, where each action embodies these core principles.
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The human hand is an astonishingly dexterous structure, composed of 27 bones—carpals, metacarpals, and phalanges—that create a strong yet adaptable framework. Its numerous joints, including hinge and saddle joints, allow for extensive movement, with the thumb’s unique opposition enabling precise grip and manipulation. Muscles, divided into intrinsic (within the hand) and extrinsic (originating in the forearm), work in tandem to provide both strength and fine motor control. |
Tendons and ligaments stabilize joints while transmitting muscle forces, ensuring seamless coordination. Sensory and motor nerves further refine responsiveness, making the hand one of the most versatile and capable appendages in the human body.
This remarkable structure extends beyond mere anatomy; hands are intrinsic to human expression, creation, and mastery. From infancy, they serve as our primary tools for interaction—whether grasping, writing, or shaping the world around us. The instinct to reach, seize, and control reflects our innate drive for skill development. As the saying goes, “A dexterous hand comes from a clever mind” (“心灵手巧”), highlighting the link between intelligence and refined motor ability. Throughout life, individuals train to enhance precision, speed, and strength, seeking mastery in countless disciplines. Yet, many come to realize that technique alone does not always triumph over sheer force. Taiji offers a profound shift in perspective: while hands are undeniably essential, their true power lies in understanding when not to use them — when stillness, balance, and intent supersede mere physical action.
With this underlying perspective, Master Chen begins his lecture.
“Physically, you want to embody pairs of contradiction. That is, you want to have very heavy hands (重手). These concepts are rooted in Tai Chi philosophy, which means they might not always align with conventional logic. You want to have heavy hands; therefore, in your Tai Chi movements—no hands (不用手).”
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Master Chen proceeded to demonstrate this physical concept with a student. As shown in Figure 1A, he used his right hand to touch the student’s right chest. He then positioned the student’s left hand on his right shoulder and placed the student’s right hand on another part of his body—specifically, his abdomen. As Master Chen instructed, “So when I touch you [on the chest]… if you touch me [on the shoulder] and touch another spot [on the abdomen], |
and be steady [by not reacting to my movements] to feel [my actions]. [When you follow those actions,] can you see ‘I got hands’ [at the point of contact]?”
Normally, when Master Chen’s movements focus solely on the hands, the student exhibits little reaction. As Master Chen described this situation, “[When I only move my hand near the point of contact,] it’s [the action of the hands is] very prominent [for the student], but you don’t feel much [such as at the shoulder or the abdomen]. Can you see that I’m continuously doing hands? And you can clearly see that I’m physically moving my hand at all times.”
In Figure 1A, the red lines indicate incorrect actions that create the sensation of “doing hands” for the opponent. These incorrect movements include excessive hand motion or pushing with the shoulder.
In contrast, Taiji training requires a different kind of action. Master Chen then demonstrates the correct Taiji movement in the same position, stating, “[Can] you feel my hand? It’s firmly in place, the energy remains constant [at the point of contact], but the movement itself has no hand.” This movement is illustrated in Figure 1B, with the green line indicating where the action should originate. In this case, the energy is from the rear foot.
| In Figure 2A, Master Chen demonstrates another example of incorrect action. The red lines in Figure 2A illustrate movements that attempt to manipulate the opponent using the hands, but these efforts will encounter resistance. In contrast, Figure 2B depicts a stable hand, initiating the action from the abdomen, represented by a green line. Master Chen explains, “When your movement does not involve your hand, your opponent will distinctly feel that your hand is solid, strong, and consistent. |
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They won’t be able to escape—or evade—its presence. [Based on this idea,] I can do [anything] anywhere [except on my hands]. See, like here [at my abdomen].”
Master Chen initiates his movement at the abdomen, then describes the results: “[The hand at the point of contact,] it feels like nothing, right? Yet, you can clearly sense the power within it [the hand]. This [having power on the hand but yet not moving the hand] is, once again, another contradiction.”
He continues, “For your power to be effectively expressed through your hands, they must remain still. If [your hand] moves, it becomes too obvious, causing the power to fluctuate. Normally, when you push me—do you see? Can you tell that the power is concentrated on my hand? I’m [attempting to] handle [your actions by moving my hands], right? [That is the normal reaction.]” This is illustrated in Figure 3A, where the red lines indicate the continuous adjustments made to the hand.
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He described his correct action, “But now, observe—whatever happens—can you see my feet moving? My waist, shoulders, elbows—everything. But my hands, can you see? You notice them [hands] move [because of other body parts], but you don’t feel anything [at the point of contact from my hands]. I’m not actively using my hands. See here? [I have engaged you with my hands.] Right now, I want to push you [but I don’t use my hands to push; instead, I engage other body parts, like my waist]. Can you sense that’s my hand? [based on Taiji training.]” |
This concept is demonstrated in Figure 3B, where the green dot signifies the stationary hand, allowing movement through other body parts such as the feet, body, or shoulders.
Finally, he concludes.” See—like I use my waist and everything. No hands, right?” So this is one thing to do, ‘No Hands'”
As Master Chen illustrates, the principle of “No Hands” becomes strikingly clear in paired practice. When a Taiji practitioner makes contact with a partner, the opponent instinctively reacts, seeking to counter the touch. In conventional martial arts, this response often leads to a continuous cycle of action and reaction—adjusting grips, repositioning, and engaging in an ongoing struggle for dominance.
Taiji, however, takes a fundamentally different approach. Upon contact, the hands remain steady while the rest of the body moves. This subtle yet profound shift alters the opponent’s response, creating an experience distinctly different from traditional combat. While hands are typically seen as agile, strategic tools that constantly adjust for optimal positioning, Taoist philosophy teaches that they serve merely as instruments of control rather than the true source of action.
A useful analogy is that of a vice—a tool designed to hold an object securely in place. In this context, the hands act as the gripping mechanism, while movement and force originate elsewhere. Once a vice secures its hold, the action should occur at the handle, not the jaws. Likewise, in Taiji, once the hands establish contact, true movement and control should stem from the body rather than from continuous adjustments of the fingers or wrists.
The key Taoist principle remains clear: the point of contact must stay firm while the actual movement and control originate from a deeper source. This paradoxical “No Hands” concept encapsulates Taiji’s essence—subtlety, precision, and unwavering adherence to foundational principles.
No Waist
Master Chen continues with the next concept. “It’s no waist. This is why, in that move [the student first inquire about], your body must conform [according to this rule].”
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The waist is the portion of the abdomen between the rib cage and hips, typically the narrowest part of the torso. It serves as a flexible junction, allowing for various movements such as bending, twisting, and torso rotation. The rectus abdominis is the primary muscle responsible for trunk flexion, enabling forward bending. Twisting and lateral flexion are controlled by the external and internal obliques, which help rotate and stabilize the torso. |
The transversus abdominis, though mainly involved in core stability, provides additional support during rotational movements. The erector spinae, which runs along the spine, maintains posture and assists in rotational control. Together, these muscles enable smooth and dynamic movement of the waist, supporting balance and mobility.
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In Figure 04A, Master Chen demonstrates improper posture, highlighting the hip hinge with a red arrow, which results in a wider waist. He explains, “In ‘the snake creeping down’ (蛇式下) [Movement 57 of Yilu; Fall and split; 跌岔] … do you see how your waist area is too large? Your buttocks, chest—everything is exaggerated.”
This misalignment occurs when the rectus abdominis naturally takes over the movement. When hip mobility is restricted, the trunk compensates by bending forward (flexing), further reinforcing this imbalance. |
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He then demonstrates the correct posture in Figure 04B, with the green line indicating the tailbone tucking in, which reduces the waist size. Continuing, he explains, “Now, can you see? [I have no waist.]
This makes it an extremely challenging [movement to execute]. The [rule for] no hands is already far too difficult [for beginners]. Achieving it is beyond most people. ‘No waist’ is even more demanding.”
The correct posture requires a posterior pelvic tilt, which engages additional waist muscles to stabilize the torso and maintain core control.
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He once again demonstrates the concept of no waist, applying it in a different context. Figure F05A depicts a typical response to his student’s two-handed push, engaging both the upper body and the waist. The red lines indicate Master Chen’s natural reaction to the push, resulting in an expanded waist and the space that is created between Master Chen and his student.
He begins by instructing one of his students: “Touch me here [on the right shoulder] and here [on the left hip]. |
Feel this size here [between right shoulder and left hip]. When he pushes me, you sense [this] size [on the upper body]? This is [the result when] I execute a normal push.”
In this scenario, the force functions similarly to a bench press, where power originates from the chest’s pec muscles and is stabilized by the back muscles. Since there is no bench to provide support, the torso flexes to counteract the pecs’ forward push. This dynamic interaction creates the size that the student perceives.
Figure F05B illustrates Master Chen adapting his response to a push into a Taiji action. The green line represents the subtle tuck of the tailbone, which does not expand the waist or create additional space in the upper body.
He asks, “Can you feel here [by the right shoulder]? Can you feel that part here [by the left hip]?” The student confirms that both points remain still [compared to the reaction from a conventional push]. The student pushing Master Chen then observes that his Taiji action feels distinctly more stable.
Master Chen clarifies: “[Stability,] That’s what you perceive [in terms of pushing me and being pushed by me]. In reality, it is [the result of the Taiji principle] known as ‘to have and not to have.'”]
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Master Chen demonstrates this concept through another position. In Figure F06A, he begins with a conventional action, stating, “So you push me, you feel. Can you feel this size, this area [on my upper body above my waist]? Right.” The result of this action is depicted with red lines for both Master Chen and his student in Figure F06A.
Then, as illustrated in Figure F06B, Master Chen refines his posture in accordance with Taiji principles. He continues, “But now, [when] he pushes. See, your hands are directly on my foot. |
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This area [that you previously felt when I pushed first normally] does not exist.” Despite the adjustment, the student continues to respond incorrectly, as indicated by the red lines, while the correct alignment of Master Chen’s action is shown using green lines.
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Master Chen proceeds with the demonstration, engaging another student, as depicted in Figure F07A. He begins, “Now, try this again. Can you feel this [the area below the shoulder and above the waist] is [involved]? It’s part of this [push action], right? Yours [reaction to my push] is the same, mine [action] is the same, right?” The red lines in Figure F07A indicate the incorrect movements for both individuals. |
In Figure F07B, Master Chen refines his posture in accordance with Taiji principles and explains the difference: “Now he feels my feet; my hands are on my foot. Can you feel that? This [area that you previously felt] doesn’t exist.” The green line in Figure F07B illustrates the change in Master Chen’s body structure, while the green dashed line represents the alignment between the front hand and the rear foot. The red line highlights the student’s error as they continue to push.
Master Chen summarizes the principles behind these demonstrations as follows: “All concepts and ideas are interconnected. Ultimately, the goal of physical movement is to strengthen your hands. How? If your hands are on the floor, they are strong. If they are not on the floor but maintain a connection as if they were, they remain strong. Achieving this requires proper alignment. And what is alignment? It is ensuring that the two key points—your hand and rear foot—form a single, continuous line, with no interruptions or protrusions along the way.”
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Master Chen illustrates this concept in Figure F08, where a green line represents the virtual connection between the front hand (expression point) and the rear foot (anchor point). Those familiar with internal martial arts will recognize its resemblance to the Hsing Yi (形意拳; Xing Yi Quan; Form-Intention Fist) foundational posture, San Ti Shi (三体势; Three Body Posture).
Master Chen continues his explanation: “If your chest and waist are too prominent, they create an interruption.” |
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He demonstrates this concept with a student, as shown in Figure F09, where the red lines indicate the push and pull preventing the connection. Master Chen clarifies, “You are touching my hand… Just grab like this [my right hand] and randomly move like that [pull and tuck on my hand]. Can you see, [because of your pull and tuck,] it [my hand] won’t connect to my foot because you’re swinging my midsection.”
Master Chen then demonstrates the correct Taiji reaction, explaining, “Now, this time, you grab here [right wrist]. Watch me here [front right chest] and ensure that this [right wrist where it is grabbed] and this line here [ending at the left rear foot], this [front right chest], never enters it [the wrist-foot line]. |
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So [the normal offensive action is] the reason you swing [this way and] that way—to try to disrupt your line [between the held wrist and the rear foot]. … When you are swinging, I can swiftly enter that line.”
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This position is illustrated in Figure F10A. The red line represents the student’s random pulls and swings applied to Master Chen’s arm. The green dots highlight key positions, while the green line marks the wrist-foot alignment.
Master Chen then concludes: “Then I’m connected.” Once the line is established, Master Chen moves along it, provoking a reaction from the student, as shown in Figure F10B. |
In this figure, the red line signifies the student’s continued action, while the green line demonstrates how Master Chen maintains his wrist-foot alignment, disregarding the opponent’s movements.
Master Chen summarized: “… because of that [the establishment of a line between the point of contact and the rear foot], we must acknowledge that if you have no waist, this area [between the two endpoints] disappears. However, this does not mean it ceases to exist. Rather, it signifies that the actions [of those body parts] become an integral part of the line. They do not protrude or deviate from it.”
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Master Chen demonstrates this concept through a push with his student: “Push me again. Just push me [with] anything [or any action]. Can you see here? [the rear left shoulder] It disappears, right? [because it is not part of the right hand-rear left foot line].” This is illustrated in Figure F11A, where the green line highlights the right hand-rear foot connection.
In contrast, Master Chen showcases a typical reaction: “If I do this [try to fight the push on the left shoulder], can you see it’s [the opponent’s push] caught in my waist? |
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Can you feel that here [so that you can resist against the strength of my upper body—chest, back, and waist]?” Figure F11B visually represents this scenario, with the red lines indicating the reactions when the right hand-rear foot connection is absent.
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Master Chen evaluates his student’s understanding by observing their reaction to his push. He explains, “If I do this [give you a push], when you’re scared [you automatically react by powering up your upper body and sitting back into a stronger squat position], can you see it [your waist] is caught there?” This effect is illustrated in Figure F12A, where the red lines indicate the movement of the student’s body parts affected by Master Chen’s push |
He then guides his students toward the correct Taiji response: “When I push you here [into your center], you simply move like this [do not resist or engage with the upper body but maintain your position on the rear foot]. Can you see [regardless of my actions on your upper body] that you’re still sitting on your rear foot?” This proper stance is depicted in Figure F12B, where the green dot marks the two stationary points, and the green line represents the front hand-rear foot alignment. The Taiji action remains effective as long as the student maintains this line and disregards any other influences.
Master Chen continues: “Can you feel that? [Your opponent is no longer exerting pressure on you.] So now I can’t catch you here [in your upper body and the waist] anymore, right? [In general,] If I catch you [at the waist], then you are died.”Taiji training is designed to make you increasingly elusive to your opponent.
| Master Chen demonstrates the same principles with another student. He explains, “I’ll show you what that feels like. So I’m here [close to the student, then pushing with both hands]. First, if you’re scared, do you see how you immediately get caught [in the waist, right away]?” This is illustrated in Figure F13A. The green dot signifies key anchor points, though their relationship has not been established. The red line represents the student’s natural movement in response to Master Chen’s push. |
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He then directs the student toward the correct Taiji response: “Go here [react by positioning the point of contact], and focus solely on aiming [the point of contact] at your rear foot. Go here [the front chest], or this [right shoulder—each of these points should be aimed] at your rear foot. [Once this line is established,] this [the waist] becomes inaccessible [for your opponent to catch].” Figure F13B illustrates this position, where the contact point and anchor point align. As a result, Master Chen’s push is rendered ineffective.
Master Chen then cautions, “[The position for alignment is very precise. Because] if I move [my position of attack] even slightly, then you are caught again. So this [is examples of] ‘Waist must be gone'”
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Master Chen applies the “No Waist” principle to Yilu training, explaining, “Now you see some of the moves [that emphasize this principle]. I’ll demonstrate this move—Six Sealing Four Closing [from the] back. Do you see how the line is broken?” Figure F14A illustrates this, with the red line indicating the backward movement of the waist due to the hinge.
“Even here, [this is the same movement but viewed from] the front,” he continues, as depicted in Figure F14B, |
where the red line highlights the protrusion of the waist. “Can you see [in the front view, the rear waist is protruding, causing the alignment to break]?”
Master Chen then demonstrates the correct application of the principle: “Now, can you see it? [The waist is tucked in so that the line is maintained].” Figure F14C showcases this corrected posture, with the green lines indicating the waist being properly tucked in.
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Master Chen then uses the “Fall and Split” (Diē chà — 跌岔) as another example. Figure 15A illustrates the waist protruding, prompting Master Chen to point out, “Can you see [the alignment] is lost?”
Figure 15B presents the same posture from a different angle, further emphasizing the protrusion of the waist to achieve depth. Master Chen reiterates, “[Waist] It’s lost, right?” |
In Figure 15C, Master Chen demonstrates the correct movement, even though the posture does not extend as far down as the previous one. He concludes, “See, look [at the posture], so that’s [the demonstration of Rule] number two—[No Waist].”
He concludes, “These [Two rules—1: No Hands and 2: No Waist] are the prominent ones [Taiji rules for the major body parts].”
The “No Waist” rule emphasizes that the waist should remain stable, resisting movement forward, backward, or sideways. As the body’s central mass, the waist is highly susceptible to external forces. When an opponent applies pressure to the hands, the natural tendency is for the waist to tense and shift in response—whether by bending forward, backward, or laterally. In Tai Chi, this reaction is known as being “caught” by the opponent.
As Master Hong reminds us:
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Anchor Point, Expression Point and Alignment
Master Chen further explains, “In essence, the concept is quite simple: the two key points—the anchor point and the expression point—define the structure. The anchor point is your rear foot, while the expression point is your front hand. These points can shift depending on the interaction.” This was first shown in Figure F08.
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Master Chen demonstrates how the expression point can change with his student. “When you touch me here [on the front shoulder], the two points become here [the front shoulder] and the rear foot, because my front hand is not really working.” This is illustrated in Figure F16A with the green dots representing the contact point and anchor point respectively.
He offers another example: “If you push me here [on the front hip], it [the structure] becomes here [front hip as the expression point] and here [rear foot as the anchor point].” This is depicted in Figure F16B. |
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He further explains how this shift leads to a continuous sequence of actions and reactions: “If you prevent me [by blocking my hand] from doing that [extending my hand to lengthen the structure], then [I adjust my structure by dropping my elbow onto your blocking arm]. … You see here, my elbow is on you.” This is illustrated in Figure F16D.
Master Chen concludes” “The contact point [serves as the expression point], while the rear foot [acts as the anchor point, forming] a direct line. |
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Everything [else or any other body parts] in between [these two points] must remain unobtrusive, ensuring nothing interferes with this alignment.”
Master Chen then returns to the list of rules, explaining, “I’m compiling a list of the most common problems people face, rather than detailing the entire system.”
For the first rule—”No Hands”— Master Chen elaborates, “The hands are always in the way because constant movement prevents them from aligning with the foot. If the hands are continuously shifting, how can they ever line up? That’s why the focus now is on achieving proper alignment.”
The initial rule, “No Hands,” establishes the fundamental elements of a Tai Chi action: the point of contact (the hand) and the power source (the rear leg). Numerous body parts interlink these two points. The subsequent four rules refine this connection, enhancing the precision and accuracy of the body’s movement.
Unlike conventional strength training, which focuses on muscular development, Tai Chi emphasizes the alignment and efficiency of the body’s biomechanical network. This network, composed of bones and ligaments, functions akin to a tensegrity structure, where compression (bones) and tension (ligaments) interact to create a stable form.
A strong connection between the hand and rear foot requires a direct, uninterrupted line. Any deviation or obstruction hinders the efficient transmission of power. The remaining four rules address these potential impediments, reducing resistance within the network. While these rules may seem abstract, their physical effects can be experienced and verified through partner training.
No Hips
Master Chen begins: “The second and third rules—’No Waist’ and ‘No Hips’—are closely related.”
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The hip is a vital ball-and-socket joint that connects the pelvis to the femur, serving as a crucial weight-bearing structure in the body. This highly mobile joint supports a wide range of movements, including flexion, extension, abduction, adduction, internal and external rotation, and circumduction, allowing for smooth and controlled motion of both the leg and pelvis. |
The surrounding muscles—such as the glutes, hamstrings, and hip flexors—play an essential role in stabilizing the joint and coordinating these movements, contributing to strength, balance, and flexibility in daily activities and athletic performance.
The waist and hips work together to provide stability, support, and fluid movement. The waist, positioned between the rib cage and hips, serves as a central axis for core motion, while the hips form the widest part of the lower body, supporting balance and mobility. Their structural and functional differences influence posture, movement mechanics, and overall efficiency.
‘No Waist’ pertains to movement in the frontal (coronal) plane, where the body bends sideways (lateral flexion). ‘No Hips’ refers to movement in the sagittal plane, where the body bends forward (flexion) or backward (extension) due to hip action.
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Master Chen explains: “‘No Hips,’ also known as ‘No Buttocks,’ refers to a backward protrusion that most people naturally exhibit from the start. Can you see? They display this backward protrusion, which should be avoided.” This is illustrated in Figure F17A, where the red line highlights the protrusion.
This movement, known as a hip hinge, is a fundamental pattern in which the hips bend while maintaining a neutral spine. |
It involves shifting the hips backward, engaging the glutes, hamstrings, and lower back. While this motion effectively generates power and stability, in Taiji applications, the resulting force and alignment do not correspond to the intended direction of action, making it less effective for the required movements.
To correct this posture, Master Chen tucks the pelvis in while maintaining a straight back. He notes, “The buttocks are properly contained within here [the overall body structure]. [Once this issue is resolved], any movement you make [the buttocks] will no longer protrude backward like this.” Figure F17B illustrates this correction, with the green line showing the motion of tucking in the tailbone.
Master Chen recalls the correction for the Yilu movement, “Fall and Split,” pointing out, “That’s why if you have difficulty going down [in that movement], just perform it a little higher [so your buttocks do not protrude]. Gradually, [as your hip and kua become more mobile], you can go lower. … When you bend it [the back and lean forward], your hips push out [resulting in a serious error].”
The “No Hips/Buttocks” rule stipulates that the hips and buttocks should not move backward but remain tucked in. When confronted with external force applied to the hands, a common response is to engage the gluteal muscles, causing the hips to move backward. This is a natural, reflexive action.
However, Tai Chi training advocates for a different approach. By tucking the buttocks slightly, the practitioner can bypass the resistance of the gluteal muscles, allowing the external force to be more directly transmitted to the rear foot. This subtle adjustment enhances the body’s ability to respond to external forces with efficiency and fluidity.
According to Master Hong:
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No Shoulders
Master Chen then writes the fourth rule, stating, “No Shoulders.”
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The shoulder is a highly mobile ball-and-socket joint that connects the upper limb to the torso, enabling a wide range of motion. Stability is maintained by the rotator cuff and supporting muscles, ensuring smooth and controlled movement. Shoulder elevation, or lifting, involves the upper trapezius, levator scapulae, and serratus anterior, working together to raise the shoulder girdle for actions like shrugging or reaching overhead. Shoulder depression, or lowering, engages the lower trapezius, latissimus dorsi, pectoralis minor, and serratus anterior, pulling the shoulder downward to counterbalance elevation and enhance stability. |
Master Chen first revisits some foundational concepts related to these rules before advancing further. He states ” Everything [body parts] we discuss has a directional tendency [they tend to move in]. The hips naturally jut backward [referring to movement in the sagittal plane, where the body bends forward (flexion) or backward (extension). This is indicated by an arrow pointing towards the right →]. The shoulders typically [move upwards, as indicated by an arrow pointing upwards ↑]. This is their flaw [for the shoulder]—they tend to rise up instinctively. The hands, in contrast, tend to move in an omnidirectional manner, with no fixed path. [This is represented by the combination of a Left-Right Arrow ↔ and an Up-Down Arrow 
]. The waist usually [tends to move] sideways (lateral flexion) in the frontal (coronal) plane. [This is represented by the Left-Right Arrow ↔]. [In general, both the hips and waist work together.] As the waist moves this way [sideways in the frontal (coronal) plane], the [hips and] buttocks are simultaneously moving back and forth [in the sagittal plane]. These [four body part movements] represent common flaws [with respect to Taiji action].”
Master Chen revisits the topic of shoulders, stating, “The shoulder is also very important. At the very beginning, you don’t fully grasp [how important.], because in push hands, most falls occur due to this [the error with the hip] early on. It’s precisely because of this [Hip error]—when someone grabs and yanks.”
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He illustrates this issue in Figure F18A, where, on a pull, the student’s hip instinctively protrudes. Master Chen clarifies, “[Even though] your shoulder is wrong, too. But it doesn’t matter. This [protrusion of the hip] is a bigger loss.”
Master Chen demonstrates how to respond to a pull using Taiji principles. “Now you realize that when you do this [dropping the body down rather than bending at the waist], |
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and when I do this [pulling you at the back of the neck], you just keep doing this [dropping down]. Right? Nothing happens [when I start my pull]. Now, tuck this [front kua] forward toward me. Yeah. Can you see? [Even when I pull harder] nothing happens. Right?” The correct movement is illustrated in Figure F18B.
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Master Chen then lets his student pull him, allowing them to recognize an incorrect movement. He explains, “So, if you yank me, you see—if I do this [let my hip protrude], [even though] I think I can fight it [by pushing my hips back], eventually [my backward movement runs out of room]. Gradually, I lose power [to counter your pull and ultimately lose balance].” Figure F19A depicts how the hips ultimately lead to a loss. |
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Master Chen then shows the correct Taiji responds. As the student pulls Master Chen in Figure F19B1. Master Chen just moves in with the force of the pull as seen in Figure F19B2.
The “No Shoulders” rule mandates that the shoulders should not be elevated but rather relaxed and dropped. When faced with external force applied to the hands, a common response is to tense and elevate the shoulders, engaging the large trapezius muscle. |
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Tai Chi training encourages a different approach: dropping the shoulders. This subtle adjustment reduces the resistance offered by the back muscles, allowing the external force to flow more freely to the rear foot. By relaxing the shoulders, practitioners can maintain a more grounded and stable posture, enhancing their ability to respond to external pressures.
No Knees
Master Chen writes the fifth rule: “No knees.”
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The knee is a hinge joint that connects the femur (thigh bone) to the tibia (shin bone), with the patella (kneecap) protecting the front. It allows flexion, extension, and slight rotational movement, making it essential for walking, running, and jumping. Stability and mobility are supported by muscles such as the quadriceps (front of thigh) for extension and the hamstrings (back of thigh) for flexion. |
Ligaments, including the ACL and PCL, prevent excessive movement, while cartilage, such as the menisci, cushion impact. As one of the body’s most relied-upon joints, the knee plays a crucial role in daily movement and athletic performance.
He then explains, “In a way, I’m also following the sequence of one, two, three, four, five. [In terms of order of importance for correction.] The knee—its problem is that it moves in this way [figure-eight motion or an infinity loop movement in the transverse plane]. [You can visualize it as a lying-down figure eight or an infinity symbol.] [This is represented by the infinity sign ∞]. [The figure-eight motion of the knee,] that’s the mistake.
The “No Knees” rule stipulates that the knees should not wobble or move independently, but should move in coordinated pairs, with one knee rising while the other lowers.
Master Hong describe the behavior of the knees as follows:
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When faced with external force, a common instinct is to counter with knee movements. However, because the knee is a hinge joint, it is biomechanically designed to move primarily in a single plane. Any deviation from this natural motion can lead to inefficiency or even strain. Tai Chi training offers an alternative approach by emphasizing the coordinated movement of both knees in tandem—one rising while the other lowers. This method aligns with biomechanical principles, transforming the knees into a mechanical lever system that enhances power transfer within the body’s kinetic chain. By maintaining movement within a single plane while strategically shifting forces, practitioners optimize stability, generate efficient energy transfer, and elevate the effectiveness of Taiji techniques.
Allowed Movements
According to the Taoist principle of Yin-Yang, every incorrect movement should have a corresponding correct movement. Master Chen then proceeds to explain these correct movements for each body part.
He begins: “So now, let me illustrate the allowed moves. For the hand—how do you represent no motion? [Let us use a black circle ● to represent this idea.] It [means the hand] remains fixed at its point. The waist, on the other hand, is allowed to rotate. [Let us use a white circle ○ to represent this idea.] The hips and buttocks [should move downward by tucking in the tailbone.] [This is represented by the symbol of an arrow pointing left ←.] The shoulders [should] move downward. [This is represented by the symbol of an arrow pointing down ↓.]
[Finally,] the knees should alternate—one moving up, the other moving down. [This is represented by the symbol of two arrows: one pointing up ↑ and one pointing down ↓.] These are the allowed movements [based on Taiji principles, contrasting the common movement errors most people tend to make].”
The following table provides a summary of the Five No’s rules including a side by side comparison between the allowed and prohibited moves.
| Rules | Body Part | Movement | |
|---|---|---|---|
| Allowed (对) | Prohibited (不) | ||
| 1 | Hands | Stationary at the point of contact (●) | Any movement (↔) |
| 2 | Waist | Rotate (○) | Sideways (lateral flexion ↔) |
| 3 | Hips | Tug in tailbone (←) | Backward – extension (→) |
| 4 | Shoulders | Downward (↓) | Upward (↑) |
| 5 | Knees | One up – the other down (↑↓) | Figure-eight (∞) |
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Master Chen provides further insight into the movement of the knees, stating: “The mistake with the knee occurs when, in practice with others, you begin doing this [moving the knee in a figure-eight motion].” See Figure 20A. “[According to Taiji principles,] it’s acceptable [for the knees] to move like this [one knee up and one knee down],” as illustrated in Figure 20B.” That [correct] motion? |
It does not lead to the mistakes [in all the other body parts] we discuss. [This proper knee movement] ensures stability [and maintains the integrity of the center line]. [In contrast,] if you perform this [figure-eight motion] with your knee, your entire body wobbles, resulting in all the associated issues [with those body parts].”
In conclusion, Master Chen summarizes the theory of the five No’s: “These are the key aspects to focus on in your solo Yilu training. You should gradually develop an awareness [of the movement restrictions for each body part] and aim to eliminate them [replacing those movements with correct ones based on Taiji principles].”
The “Five No’s” theory is rooted in Taoist principles, particularly the concept of the conjugate pair of “to have” and “not to have.” This framework can be practically illustrated through the actions of a Tai Chi practitioner engaging with an opponent.
As previously discussed, the opponent perceives the practitioner’s hands as “heavy,” despite the practitioner’s adherence to the “No Hands” principle. In order to generate substantial strength by connected to the rear foot. The opponent’s perception of “heavy hands” arises from their contact with the practitioner’s firmly rooted rear foot. Thus, the “No Hands” rule implies that the hand itself is not the true source of power—rather, the ground is. In this context, the opponent experiences “heavy hands” (to have), while in reality, they are engaging with the ground (not to have).
This dualistic principle applies to the Tai Chi practitioner as well. The physical action of the hand (not to have) is guided by the stable, grounded rear foot (to have). The first rule, “No Hands,” defines the fundamental components of a Tai Chi movement: the point of contact (the hand) and the power source (the rear leg), with various body parts connecting these two key elements. The following four rules further refine this connection, improving the precision and efficiency of the practitioner’s movements.
Unlike conventional strength training, which emphasizes muscular development, Tai Chi prioritizes alignment and the optimization of the body’s biomechanical network. This network—composed of bones and ligaments—functions similarly to a tensegrity structure, where compression (bones) and tension (ligaments) interact to create stability. For a strong connection between the hand and the rear foot, an uninterrupted direct line must be maintained. Any deviation or obstruction disrupts the efficient transfer of power.
The remaining four rules are organized into Yin-Yang pairs, distinguishing between permitted (对) and prohibited (不) movements. These rules help eliminate impediments, minimizing resistance within the biomechanical network. While they may appear abstract, their practical effects can be directly experienced and verified through partner training.
Elbows are Special
Master Chen added, “By the way, I did not mention the elbow. The elbow is very important [in your Taiji structure]”
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The elbow is a hinge joint that connects the humerus (upper arm bone) to the radius and ulna (forearm bones), allowing flexion and extension, as well as slight rotational movement for forearm supination and pronation. Stability is provided by ligaments, while muscles like the biceps and brachialis facilitate bending, and the triceps enable extension. The elbow plays a vital role in arm movement, strength, and precision, allowing for actions like lifting, throwing, and gripping objects. |
Master Chen continued, “Its [correct motion occurs only] at a very high level [of understanding of Taiji principles]. The elbow is crucial because it must be in a very specific position. Unless your elbow is in that position, you have no element of surprise, no real, unusual force that [demonstrates] special Taiji power.”
| “At the beginning, when shaping the rough framework, the elbow [position] remains quite flexible. It seldom obstructs or gets caught because [in terms of position,] it retains adaptability. Now, let me demonstrate its placement here.” The initiation of this action is illustrated in Figure F21A. Master Chen then explained the impact of his correct elbow placement: “See here—when I push you, do you notice my elbow position?” Figure F21B depicts the reaction when Master Chen’s elbow is positioned more effectively. |
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Master Chen provides another example, stating, “[Correct elbow position] is very [important], and finding the right placement is quite challenging. You can be anywhere—do you see here? The elbow is [initially] positioned like this.” Figure 22A illustrates Master Chen and his student’s initial stance, where green dots mark the elbow’s placement and the opponent’s dantian. He then elaborates, “You may feel that if [the initial elbow position] is like this, it’s good [I can counter your initial action], but it lacks effectiveness [because my action does cause you to react].” |
Master Chen then adjusts his elbow, as shown in Figure 22B, where his elbow connects to his student’s dantian, generating the desired reaction to the student’s movement. Concluding, Master Chen states, “So the position is highly precise, and that understanding will become yours—an entirely new layer of mastery.”
While the “Five No’s” of Taiji do not explicitly address certain body parts, the head, spine, and elbows play a vital role in practice. Among them, the elbow holds particular significance, demanding a deeper comprehension of Taiji principles. When positioned correctly, it becomes a formidable weapon, capable of delivering unexpected power. However, mastering this technique requires patience and dedicated practice.
In the early stages, beginners often prioritize flexibility over precision, allowing the elbow to move freely to avoid being caught. Though this approach aids in grasping fundamental movements, it lacks the strength and accuracy of more refined techniques. With experience, practitioners learn to optimize the elbow’s position, striking a balance between power and efficiency. This advanced skill hinges on a nuanced understanding of Taiji principles and the ability to apply them with precision.
In summary, the Five No Rules are: No Hands, No Waist, No Hips/Buttocks, No Shoulders, and No Knees.
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The actions of the elbows require additional consideration. By incorporating these principles into both solo and partner practice, you can deepen your understanding and enhance your Taiji skills.
大智若愚
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Su Shi (苏轼; 1037–1101) of the Song Dynasty once said, “Great wisdom often appears foolish.” This profound insight perfectly aligns with the seemingly simple yet deeply powerful principles of the Five No’s, an essential piece of the Taiji puzzle.
Beneath these seemingly simple rules lie fundamental Practical Method concepts, including “Don’t move,” indirect power, alignment, the principle of leverage, and the foundational Taiji rule: “The top stays on top, the bottom stays on bottom.” |
Master Chen illustrates how the Five No’s are not only grounded in solid theoretical principles but also hold profound physical significance in Taiji practice.
For instance, the hand does not move—its source of power originates from the foot, not the hand itself. Adhering to these rules establishes the optimal body alignment essential for effective movement. The knee rule serves as a practical demonstration of leverage, while the waist rule ensures the head remains upright. Similarly, the shoulder rule maintains proper positioning by keeping the shoulder down. Through these examples, it becomes evident that the Five No’s are deeply consistent with Taiji theory, reinforcing both its philosophy and mechanics.
These principles go beyond mere technique, reflecting profound Daoist truths. The Dao De Jing (道德经) encapsulates one of its core ideas in the phrase: “Govern without force, follow the natural flow.” (无为而治，顺其自然) True mastery lies not in exerting strength but in understanding and harmonizing with the natural order.
Observing the Five No’s embodies the concept of “governing without force,” as conventional actions tend to focus on conflict at the contact point. In contrast, “following the natural flow” refers to preserving the essential connection between the expression point and the anchor point, allowing power and movement to remain fluid and uninterrupted
Similarly, the Dao De Jing states, “The greatest sound is barely heard, the greatest image is formless.” (大音希声，大象无形) This principle reflects how true power in Taiji does not come from external appearance but from the established relationships between different parts of the body—a strength unseen yet profoundly felt.
More than seven hundred years ago, Su Shi reminded us: “To establish oneself, one must first establish learning; to establish learning, reading is fundamental.” (立身以立学为先，立学以读书为本) Today, if one seeks to refine their Taiji practice, it’s not just about reading—it’s about engaging, learning, and deepening understanding through Master Chen’s workshops and instructional videos.
The Five No’s offer not just a technique—but a gateway to deeper understanding and skill.
