Hubbry Logo
Pushing handsPushing handsMain
Open search
Pushing hands
Community hub
Pushing hands
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Pushing hands
Pushing hands
Pushing hands
View on Wikipedia
from Wikipedia
Tuishou
Two students receive instruction in tuishou
Chinese推手
Transcriptions
Standard Mandarin
Hanyu Pinyintuī shǒu
Wade–Gilest'ui1 shou3
Yue: Cantonese
Jyutpingteoi1 sau2

Pushing hands, Push hands or tuishou (alternately spelled tuei shou or tuei sho) is a two-person training routine practiced in internal Chinese martial arts such as baguazhang, xingyiquan, tai chi, and yiquan. It is also played as an international sport akin to judo, sumo and wrestling, such as in Taiwan, where the biannual Tai Chi World Cup is held.[1]

Overview

[edit]

Pushing hands is said to be the gateway for students to experientially understand the aspects of the internal martial arts: leverage, reflex, sensitivity, timing, coordination and positioning. Pushing hands works to undo a person's natural instinct to resist force with force, teaching the body to yield to force and redirect it. Some tai chi schools teach push hands to complement the physical conditioning of performing solo routines. Push hands allows students to learn how to respond to external stimuli using techniques from their forms practice. Among other things, training with a partner allows a student to develop ting jing (listening power), the sensitivity to feel the direction and strength of a partner's intention. In that sense pushing hands is a contract between students to train in the defensive and offensive movement principles of their martial art: learning to generate, coordinate and deliver power to another and also how to effectively neutralize incoming forces in a safe environment.[citation needed]

History

[edit]

According to the Chen family of tai chi teachers, pushing hands was created by Chen Wangting (1600–1680), the founder of the Chen-style tai chi, and was originally known as hitting hands (da shou) or crossing hands (ke shou). Chen was said to have devised pushing hands methods for both empty hands and when armed with a spear. Other tai chi schools attribute the invention of pushing hands to mythical Zhang Sanfeng.

Training pushing hands

[edit]

In tai chi, pushing hands is used to acquaint students with the principles of what are known as the "Eight Gates and Five Steps," eight different leverage applications in the arms accompanied by footwork in a range of motion, intended to allow students to defend themselves calmly and competently if attacked. Also known as the "13 original movements of tai chi", a posture expressing each one of these aspects is found in all tai chi styles. Training and pushing hands competitions generally involve contact but no strikes.

Pushing hands in Shanghai, China

The three primary principles of movement cultivated by push hands practice are:[2]

  • Rooting - Stability of stance, a highly trained sense of balance in the face of force.
  • Yielding - The ability to flow with incoming force from any angle. The practitioner moves with the attacker's force fluidly without compromising their own balance.
  • Release of Power (Fa Jing) - The application of power to an opponent. Even while applying force in push hands one maintains the principles of Yielding and Rooting at all times.

The Eight Gates (Chinese: 八門; pinyin: bā mén):

P'eng (Chinese: 掤; pinyin: péng) - An upward circular movement, forward or backward, yielding or offsetting usually with the arms to disrupt the opponent's centre of gravity, often translated as "Ward Off." Peng is also described more subtly as an energetic quality that should be present in every taiji movement as a part of the concept of "song" (鬆) -- or relaxation -- providing alertness, the strength to maintain structure when pressed, and absence of muscular tension in the body.
Lü (Chinese: 捋; pinyin: lǚ) - A sideways, circular yielding movement, often translated as "Roll Back."
Chi (simplified Chinese: 挤; traditional Chinese: 擠; pinyin: jǐ) - A pressing or squeezing offset in a direction away from the body, usually done with the back of the hand or outside edge of the forearm. Chi is often translated as "Press."
An (Chinese: 按; pinyin: àn) - To offset with the hand, usually a slight lift up with the fingers then a push down with the palm, which can appear as a strike if done quickly. Often translated as "Push."
Tsai (Chinese: 採; pinyin: cǎi) - To pluck or pick downwards with the hand, especially with the fingertips or palm. The word tsai is part of the compound that means to gather, collect or pluck a tea leaf from a branch (採茶, cǎi chá). Often translated "Pluck" or "Grasp."
Lieh (Chinese: 挒; pinyin: liè) - Lieh means to separate, to twist or to offset with a spiral motion, often while making immobile another part of the body (such as a hand or leg) to split an opponent's body thereby destroying posture and balance. Lieh is often translated as "Split."
Chou (Chinese: 肘; pinyin: zhǒu) - To strike or push with the elbow. Usually translated as "Elbow Strike" or "Elbow Stroke" or just plain "Elbow."
K'ao (Chinese: 靠; pinyin: kào) - To strike or push with the shoulder or upper back. The word k'ao implies leaning or inclining. Usually translated "Shoulder Strike," "Shoulder Stroke" or "Shoulder."
The practitioner on the right demonstrates how péng can be used to resist a push

The Five Steps (Chinese: 五步; pinyin: wǔ bù):

Chin Pu (Chinese: 進步; pinyin: jìn bù) - Forward step.
T'ui Pu (Chinese: 退步; pinyin: tùi bù) - Backward step.
Tsuo Ku (simplified Chinese: 左顾; traditional Chinese: 左顧; pinyin: zǔo gù) - Left step.
You P'an (Chinese: 右盼; pinyin: yòu pàn) - Right step.
Chung Ting (Chinese: 中定; pinyin: zhōng dìng) - The central position, balance, equilibrium. Not just the physical center, but a condition which is expected to be present at all times in the first four steps as well, associated with the concept of rooting (the stability said to be achieved by a correctly aligned, thoroughly relaxed body as a result of correct tai chi training). Chung ting can also be compared to the Taoist concept of moderation or the Buddhist "middle way" as discouraging extremes of behavior, or in this case, movement. An extreme of movement, usually characterized as leaning to one side or the other, destroys a practitioner's balance and enables defeat.

The Eight Gates are said to be associated with the eight trigrams (bagua) of the I Ching, the Five Steps with the five "phases" (Wuxing) of Taoist philosophy; metal, water, wood, fire, and earth. Collectively they are sometimes referred to as the "Thirteen Postures of Tai Chi" and their combinations and permutations are cataloged more or less exhaustively in the different styles of solo forms which tai chi is mostly known for by the general public. Pushing hands is practiced so that students have an opportunity for "hands-on" experience of the theoretical implications of the solo forms. Traditional internal teachers say that just training solo forms isn't enough to learn a martial art; that without the pushing hands, reflex and sensitivity to another's movements and intent are lost. Each component is seen as equally necessary, yin and yang, for realizing the health, meditative, and self-defense applications.

Czech students push hands

Pushing hands trains these technical principles in ever increasing complexity of patterns. At first students work basic patterns, then patterns with moving steps coordinated in different directions, patterns at differing heights (high, middle, low and combinations) and then finally different styles of "freestyle" push hands, which lead into sparring that combines closing and distancing strategies with long, medium and short range techniques. These exchanges are characterized as "question and answer" sessions between training partners; the person pushing is asking a question, the person receiving the push answers with their response. The answers should be "soft," without resistance or stiffness. The students hope to learn to not fight back when pushed nor retreat before anticipated force, but rather to allow the strength and direction of the push to determine their answer. The intent thereby is for the students to condition themselves and their reflexes to the point that they can meet an incoming force in softness, move with it until they determine its intent and then allow it to exhaust itself or redirect it into a harmless direction. The degree to which students maintain their balance while observing these requirements determines the appropriateness of their "answers." The expression used in some tai chi schools to describe this is "Give up oneself to follow another." The eventual goal for self-defense purposes is to achieve meeting the force, determining its direction and effectively redirecting it in as short a time as possible, with examples provided of seemingly instantaneous redirections at the highest levels of kung fu by traditional teachers. Pushing hands also teaches students safety habits in regard to their own vital areas, especially acupressure points, as well as introducing them to the principles of chin na and some aspects of the manipulative therapy or tui na also taught in traditional tai chi schools. At a certain point, pushing hands begins to take on aspects of qigong (chi kung), as the students learn to coordinate their movements in attack and defense with their breathing.

Competition

[edit]
Pushing hands tournament

Pushing hands has become a part of competitive Chinese martial arts, especially those devoted to internal arts. The rules and the judging are subjective, problematic, and constantly in flux.[3]

Push hand contests is divided into two types.

Moving step (Chinese: 活步; pinyin: huó bù) - The players stand in a circle; the player who is pushed or pulled out of the circle, or falls down, loses a point.
Fixed step (Chinese: 定步; pinyin: dìng bù) - The players stand in a small box; the player who is pushed or pulled out of the box loses a point.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Pushing hands

View on Grokipedia
from Grokipedia
Pushing hands, known as tui shou in Chinese, is a two-person training routine central to taijiquan (Tai Chi Chuan), an internal Chinese martial art, where practitioners engage in controlled physical contact to develop sensitivity to force, neutralize attacks, and apply circular movements with minimal muscular effort. This practice typically involves one partner initiating a push or pull using the torso and arms, while the other yields, adheres, and redirects the incoming energy, often progressing from fixed-step (dingbu tuishou) exercises—where feet remain stationary—to moving-step (huobu tuishou) variations that incorporate footwork and full-body mobility. Rooted in Taoist philosophy, tui shou embodies principles such as yin-yang balance, non-resistance (wuwei), and the efficient use of internal energy (qi), making it both a martial skill-builder and a meditative discipline. While traditionally attributed to Chen Wangting, the founder of Chen-style taijiquan, in the 17th century, tui shou emerged prominently and was further developed within the Yang style during the 19th and early 20th centuries, serving as a bridge between traditional peasant-based martial practices and more refined literati interpretations amid China's responses to foreign military incursions and internal reforms. Although taijiquan traces its origins to the Chen family village in Henan Province around the 17th century, tui shou evolved as an essential partner method to apply solo form principles in interactive scenarios, fostering skills like "listening energy" (ting jin)—sensing an opponent's intent—and "transforming energy" (hua jin)—deflecting force with the adage of "four ounces to deflect a thousand pounds." Over time, it has been adapted for non-competitive health benefits, improving balance, coordination, and stress reduction, while retaining its core role in martial training across styles like Yang, Chen, and Wu. In practice, tui shou emphasizes a calm mind, agile body, and rooted stance, with the waist directing hand movements and qi circulating through relaxed postures to integrate substantial and insubstantial aspects of the body. Sessions often begin with structured drills to build adherence and sticking (nian jin), advancing to freer sparring that tests neutralization and projection of force without aggression. Beyond physicality, it cultivates spiritual depth by promoting harmony with one's partner and environment, aligning with taijiquan's holistic goal of unifying body, mind, and spirit for personal development and self-defense.

Fundamentals

Definition and Purpose

Pushing hands, known as tui shou (推手) in Chinese, is a foundational two-person training exercise originating in Taijiquan (Tai Chi Chuan) and practiced within various internal Chinese martial arts. It involves partners engaging in controlled, circular movements where one attempts to unbalance the other through subtle pushes and yields, emphasizing indirect methods to sense and redirect force rather than brute opposition. This partnered practice serves as a bridge between theoretical principles and practical application, allowing practitioners to internalize concepts from solo forms in a dynamic, interactive context. The primary purpose of pushing hands is to cultivate ting jin (listening energy), a heightened tactile sensitivity that enables practitioners to detect an opponent's intentions, strength, and weaknesses through physical contact. This skill development extends to enhancing balance and coordination, as participants must maintain rooted stability while responding fluidly to incoming pressure, fostering whole-body unity and proprioceptive awareness. By prioritizing yielding and adherence over resistance, pushing hands trains the neuromuscular system to apply internal martial arts strategies effectively, complementing the meditative and structural focus of individual form work. In traditional contexts, pushing hands emphasizes non-competitive skill-building and is integral to internal styles such as Taijiquan, Baguazhang, and Xingyiquan, where it acts as a gateway to understanding leverage, reflex, and energetic flow without escalating to full sparring. Modern adaptations have transformed it into a competitive sport with structured formats or a therapeutic tool for improving posture and stress relief, though these retain the core focus on sensitivity and harmony.

Core Principles

Pushing hands, or tui shou, embodies the foundational mechanical and philosophical principles of taijiquan, emphasizing the redirection of force through sensitivity and alignment rather than direct opposition. These principles derive from the classical texts of taijiquan, which outline methods for achieving superior control in partnered practice by harmonizing internal energies. Central to this are the Eight Gates (bamen), comprising peng (ward off), lu (rollback), ji (press), and an (push) as the primary quartet, alongside cai (pluck), lie (split), zhou (elbow strike), and kao (shoulder strike). Peng acts as a buoyant, expansive energy that absorbs and rebounds incoming force upward, akin to water supporting a boat, enabling the practitioner to maintain structural integrity without rigidity. Lu involves yielding and leading the opponent's momentum away, creating emptiness to unbalance them through subtle deflection. Ji directs force forward in a pressing manner to adhere and control, while an emits a pushing energy to disrupt equilibrium, flowing irresistibly like water. These gates integrate the Five Steps (wubu): jin bu (advance), tui bu (retreat), zuo gu (gaze left), you pan (gaze right), and zhong ding (central equilibrium), which correspond to the Five Elements (metal, wood, water, fire, earth) and facilitate coordinated footwork to support upper-body actions. Underlying these techniques are the principles of root (gen), song (relaxation), and neutral (central equilibrium), which prioritize leverage over brute strength for effective force redirection. Root refers to grounding the body's weight into the feet and legs for stability, ensuring power generation from the lower body while the waist acts as the command center, as described in the taijiquan classics: "rooted in the feet, issuing through the legs, controlled by the waist, and expressed through the fingers." Song demands a relaxed state of the muscles and joints to allow smooth qi circulation and jin (martial energy) emission, preventing tension that would hinder sensitivity; this involves sinking the shoulders, dropping the elbows, and loosening the waist to foster fluid movement. Neutral, or zhong ding, maintains a balanced, upright posture that avoids overcommitment, enabling the practitioner to stand "like a perfectly balanced scale" and respond adaptively to perturbations. Together, these foster a mechanical advantage where minimal effort neutralizes superior force, exemplified by the classic dictum of using "four ounces to deflect a thousand pounds" through precise alignment and leverage. A pivotal skill in applying these principles is ting jin (listening energy), which cultivates the ability to detect an opponent's intent and force direction through tactile feedback, allowing preemptive responses with economy of motion. Developed through repeated contact in pushing hands, ting jin progresses from basic touch familiarity to profound comprehension of the opponent's jin, enabling the practitioner to "listen" to subtle shifts and counter accordingly without anticipation. This sensitivity underscores the non-confrontational ethos of taijiquan, transforming physical interaction into an intuitive exchange. Philosophically, pushing hands integrates yin-yang balance and circular motion to neutralize linear attacks, drawing from the taijiquan treatises' emphasis on duality and continuity. Yin represents yielding and softness, yang embodies advancing and firmness; their harmonious interplay—where "within yin there is yang, within yang there is yin"—allows for seamless transitions between defense and offense, distinguishing full from empty to achieve agility. Circular motion manifests in spiraling, wheel-like actions that adhere without breaking contact, ensuring "continuous without interruption" like a flowing river, which dissipates straight-line aggression by redirecting it along curved paths. This cyclical approach not only preserves energy but also embodies the Taoist principle of returning to equilibrium, making linear force ineffective against the practitioner's adaptive flow.

Historical Origins

Development in Tai Chi Chuan

Pushing hands, known in Chinese as tui shou, originated within the Chen style of Tai Chi Chuan, attributed to Chen Wangting (1600–1680), a retired Ming dynasty general from Chenjiagou village in Henan Province. Chen developed the practice as a combat-oriented training method, initially referred to as "hitting hands" (da shou) or "crossing hands" (ke shou), to cultivate sensitivity, internal energy (qi), and spiraling movements (chan si jin) without causing physical harm during partner drills. The technique was transmitted secretly within the Chen family lineage until the 19th century, when Chen Changxing (1771–1853), the 14th-generation master, taught it to Yang Luchan (1799–1872), the founder of the Yang style. Yang Luchan, after years of study in Chen village, adapted pushing hands for broader accessibility, softening its explosive elements to emphasize health benefits, yielding (rou), and internal power development over purely combative force. This evolution reflected Yang's role as an imperial bodyguard in Beijing, where the practice was refined for both self-defense and wellness. Subsequent adaptations appeared in derivative styles: Wu Jianquan (1870–1942), a student of Yang Chengfu, created the Wu style with smaller, more compact frames that integrated pushing hands to enhance close-range control and agility. Similarly, Sun Lutang (1860–1933), blending Yang influences with xingyiquan and baguazhang, developed the Sun style, incorporating pushing hands to foster circular footwork and whole-body coordination. Pushing hands contributed significantly to Tai Chi's dissemination from China to the West during the 20th century, evolving from elite family transmission to public instruction amid social changes like the decline of traditional warfare. Yang Chengfu (1883–1936), grandson of Yang Luchan, played a pivotal role by teaching widely in Shanghai and authoring key texts, such as Taijiquan Shiyongfa (Application Methods of Taijiquan, 1931), which illustrated pushing hands techniques and their martial-health applications through photographs and explanations. In the early 20th century, pushing hands underwent formalization within Chinese martial arts academies as part of the Nationalist government's Guoshu (National Arts) initiative, standardizing it into structured routines like fixed-step and moving-step formats for training and emerging competitions, thereby preserving its role in both cultural heritage and physical education.

Influence from Other Martial Arts

Pushing hands, or tuishou, draws significant roots from Daoist practices, including neidan (internal alchemy) and daoyin (guiding and pulling exercises), which cultivated sensitivity to internal energy flows and harmonious movement long before its formalization in Taijiquan. These Daoist longevity methods, emphasizing balance between yin and yang, provided the philosophical and practical foundation for tuishou's focus on perceiving and responding to an opponent's intent through subtle contact. Additionally, the principle of wuwei (non-action or effortless action) from Daoist texts like the Daodejing directly influenced tuishou's yielding techniques, promoting redirection over direct resistance to maintain equilibrium. Earlier martial traditions, such as Shaolin wrestling (shuaijiao), contributed grappling and close-quarters contact elements to pushing hands, particularly through their integration into 17th-century Chen-style Taijiquan by Chen Wangting, who blended external Shaolin methods with internal principles. Baguazhang's circle walking (zou quan) further influenced sensitivity training in tuishou, as the evasive, spiraling footwork in Baguazhang develops spatial awareness and "listening" energy (ting jin), akin to the tactile feedback in pushing hands; notably, tuishou routines are also practiced within Baguazhang to refine these skills. The legendary Daoist immortal Zhang Sanfeng, associated with the Wudang Mountains in the 12th-13th century, is mythically credited with blending Taiji's fluid forms with pushing elements derived from Xingyiquan, fostering a unified internal arts tradition that emphasized mind-intent (yi) over brute force. In the 20th century, pushing hands saw integrations into modern hybrid systems, such as Yiquan (also known as Dachengquan), developed by Wang Xiangzhai in the 1920s from his Xingyiquan background; here, tuishou serves as a core drill in the art's seven-step progression to test combat readiness, enhance rooting, and apply intent-driven power without strikes. This adaptation emphasized practical, injury-free sparring, influencing broader internal arts training. Unlike external martial arts like Karate's kumite, which prioritizes hard, linear strikes and direct clashes in a competitive format, pushing hands distinguishes itself through soft techniques that favor circular deflection, whole-body unity, and internal power generation over forceful opposition.

Training Practices

Basic Techniques and Exercises

Basic pushing hands exercises in tai chi chuan begin with structured, cooperative drills that develop sensitivity, balance, and adherence to core principles such as yielding and following. These entry-level practices typically occur in a fixed stance to isolate foundational skills before incorporating movement, allowing practitioners to focus on maintaining contact and responding naturally to a partner's force. In the single-hand push, partners stand facing each other in bow stances, one with the right foot forward and the other with the left foot forward, knees slightly bent, and weight centered on the rear leg for stability. The lead hand extends forward with the palm up, wrist relaxed, and elbow slightly bent, while the other hand guards at the waist; contact is made at the wrist or forearm. Practitioners perform cooperative circular neutralization motions, such as horizontal or vertical circling to yield and redirect force, building ting jin (listening energy) without the full peng-lu-ji-an cycle, which is reserved for double-hand practice. This fixed-stance drill is performed slowly and cooperatively to develop foundational listening and neutralization skills. The double-hand push extends this to both arms, starting from parallel bow stances with opposite feet forward, where each partner's right hand contacts the other's left wrist and left hand rests on the corresponding elbow, forming a circular frame resembling the taiji symbol. Practitioners perform cooperative circling motions—forward, up, back, and down—in unison, maintaining light, continuous contact to foster adherence and sensitivity without resistance. The drill promotes weight shifting between legs to absorb and redirect force, ensuring the body remains centered and upright, with movements driven by the waist rather than the arms alone. This exercise trains the integration of the Eight Gates, such as peng and lu, in a paired format to enhance mutual awareness. Ward-off and rollback drills further refine rooting and weight shifting, often isolated within the single- or double-hand formats. In ward-off practice, one partner applies gentle pressure while the other expands the arms and torso to "float" the force upward, shifting weight subtly to the rear leg to maintain equilibrium and prevent uprooting. Rollback counters by leading the incoming energy laterally or rearward in a smooth arc, using hip rotation and a slight sit-back to neutralize without clashing, thereby emphasizing the principle of four ounces deflecting a thousand pounds. These drills require partners to alternate roles fluidly, always prioritizing relaxation over strength to cultivate internal connection. Common errors in these beginner exercises include over-gripping, where tense hands disrupt sensitivity, and linear pushing, which applies straight-line force instead of circular yielding, leading to imbalance or collision. To correct over-gripping, practitioners should relax the shoulders and wrists, treating contact as a light adherence rather than a hold, allowing natural following of the partner's motion. For linear pushing, emphasize curved paths in all actions, coordinating breath with waist turns to promote softness and prevent stiffness, ensuring the body remains as a unified whole.

Advanced Methods and Drills

Advanced pushing hands methods introduce dynamic resistance and real-time adaptation, progressing beyond fixed routines to enhance practitioners' ability to apply Tai Chi principles under variable conditions. These drills emphasize freestyle interactions where partners introduce varying degrees of force, requiring immediate neutralization and countering without rigid patterns. In freestyle pushing with resistance, practitioners incorporate fa jin, the explosive release of internal power, to disrupt an opponent's balance through coordinated whole-body movement. This technique involves aligning the body to channel energy from the ground upward, issuing it suddenly in multiple directions such as forward thrusts or lateral deflections, while maintaining contact to sense incoming force. Training begins with controlled resistance to build precision, gradually increasing intensity to simulate combat-like variability. Hua jin, the neutralizing aspect, complements fa jin by redirecting the opponent's energy into emptiness, ensuring the defender remains rooted and uncommitted. These elements are developed through the eight core jings (energies) like peng (ward off) and an (press), integrated into freestyle to foster adaptive power application. Moving-step drills extend these skills into open space, integrating directional steps for evasion and countering to handle fluid engagements. Practitioners employ steps such as advancing, retreating, and lateral shifts—often structured around five basic directions (forward, backward, left, right, and central pivot)—to circle and reposition while maintaining hand contact. This allows for evasive maneuvers like cai (pluck) to off-balance an attacker, followed by lie (split) for countering from angles, emphasizing timing and footwork coordination. Unlike fixed-step practices, these drills train the powers of zhou (elbow strike) and kao (shoulder strike) in dynamic sequences, building spatial awareness and the ability to control distance without losing sensitivity. Partner sensitivity games, such as variations of sticky hands (yifu shou), focus on maintaining continuous contact to detect and exploit subtle imbalances without resorting to throws. In these exercises, partners alternate initiating gentle circling or pulling motions to test rooting, while the receiver yields and adheres to redirect force, aiming to disrupt equilibrium through minimal intervention. Advanced variations introduce irregular pressures from multiple angles, training the "listening" skill (ting jin) to anticipate intent and respond with softness, enhancing proprioception and emotional control. The practice remains cooperative, prioritizing mutual improvement in balance and responsiveness over dominance. Training progresses from fully cooperative exchanges to semi-competitive sparring, where neutralizations become central to handling unpredictable attacks. Initial stages reinforce yielding and redirection through choreographed patterns at low intensity, gradually incorporating fa jin and stepping to simulate resistance. As proficiency grows, partners introduce equal initiative in freeplay (san shou), focusing on counterpoints—specific responses to pushes, pulls, or joint manipulations—to neutralize without full commitment. This semi-competitive format, limited to moderate pacing, hones real-time adaptation while preserving the non-adversarial essence of pushing hands, avoiding escalation to throws or strikes.

Variations Across Styles

Fixed-Step vs. Moving-Step Formats

Pushing hands, or tui shou, encompasses two primary structural formats: fixed-step (ding bu) and moving-step (huo bu), each designed to cultivate distinct aspects of internal martial arts practice within Tai Chi Chuan. In the fixed-step format, practitioners maintain stationary feet within a confined area, typically without advancing, retreating, or pivoting beyond minimal adjustments. This setup isolates upper-body movements, emphasizing the development of sensitivity to an opponent's force (ting jin), deflection techniques (hua jin), and precise force issuance (fa jin) through coordinated arm and torso actions. The format's restrictions foster foundational skills such as rooting, centering, and equilibrium, allowing beginners to concentrate on core principles like the interchange of yin and yang energies without the added complexity of locomotion. Conversely, the moving-step format permits full footwork, incorporating steps such as linear advances, retreats, and directional changes to simulate dynamic engagements. Here, the objective shifts toward integrating spatial awareness, evasion, and coordinated whole-body movement, applying the eight energies (ba jin)—including warding off (peng), rolling back (lu), pressing (ji), and pushing (an)—in fluid, adaptive sequences. This approach enhances timing, distance management, and counter-attacking capabilities, making it more akin to real-world self-defense scenarios. The key differences lie in mobility and focus: fixed-step prioritizes close-range control and upper-body refinement within a stable base, while moving-step demands comprehensive coordination, including lower-body agility for evasion and repositioning. Fixed-step offers advantages for novices by simplifying the practice to isolate sensitivity and technique, reducing the risk of imbalance and enabling deliberate exploration of force dynamics; however, it can limit adaptability if over-relied upon, potentially hindering transitions to unstructured combat. Moving-step, though more challenging and requiring prior stability, provides a realistic simulation of martial application, promoting versatility but demanding greater balance and endurance to avoid compensatory errors. Training typically progresses from fixed-step to moving-step formats to build skills incrementally. Practitioners begin with stationary drills to master foundational sensitivity and control, then advance to mobile exercises that incorporate footwork patterns, ensuring a seamless integration of principles into dynamic contexts. This sequence allows for the gradual expansion from isolated upper-body awareness to full-body martial efficacy.

Style-Specific Approaches

In Chen-style pushing hands, practitioners emphasize fast and explosive movements integrated with silk-reeling energy (chan si jin), a spiraling method that generates coordinated, circular power for sticking to and redirecting an opponent's force. This approach often incorporates sudden bursts of fajin (explosive power) to execute throws, allowing practitioners to exploit openings through rapid, shockwave-like applications that combine internal energy circulation with precise body alignment. Yang-style pushing hands, in contrast, prioritizes slow, deliberate motions within a large-frame structure, fostering health-oriented practice through yielding and neutralization rather than direct confrontation. Techniques like rollback (lu) and press (ji) are performed with uniform pacing and open postures, enabling practitioners to sense and redirect incoming force using the principle of "four ounces to deflect a thousand pounds," which underscores relaxation and harmonious stepping to maintain equilibrium. The Wu/Hao-style variant adopts a small-frame, close-range format, where pushing hands focus on precise control and sensitivity through compact movements that facilitate joint locks and balance disruptions. Drawing on "listening jin" (ting jin) for acute perception of an opponent's intent, this style employs softness and leverage to neutralize aggression, often transitioning seamlessly into chin na techniques that target joints with minimal extension and a forward-leaning posture for efficient redirection. Sun-style pushing hands integrates agile, nimble footwork influenced by Baguazhang, promoting fluid circling steps that enhance mobility and qi circulation during partner drills. This results in a dynamic, health-focused practice with quick pivots and shovel steps, allowing practitioners to evade and counter while maintaining upright stances and even tempos that blend Tai Chi's yielding with Baguazhang's evasive patterns. Across these styles, notable differences emerge in pace, power generation, and frame size: Chen's rapid, silk-reeling explosiveness contrasts with Yang's leisurely yielding in expansive frames, while Wu/Hao's compact precision suits intimate engagements, and Sun's agile steps add versatility through integrated martial influences, all adapting core pushing hands principles to stylistic priorities.

Applications and Benefits

Martial Applications

Pushing hands, or tui shou, serves as a foundational practice for translating taijiquan principles into practical self-defense, emphasizing the redirection of an opponent's force through leverage rather than direct confrontation. Practitioners develop the ability to sense incoming energy via "listening jin" (ting jin), allowing them to adhere and follow the opponent's movements while leading their momentum into emptiness, often resulting in throws or unbalancing. For instance, techniques like rollback (lü jing) and press (ji jing) enable the defender to redirect a push or grab, uprooting the attacker and executing a throw such as diagonal flying (xie fei shi). This approach relies on maintaining central equilibrium and using the whole body as a coordinated unit, as detailed in taijiquan theory. In close-quarters scenarios, pushing hands applications prove effective for neutralizing grabs, pushes, or punches by disrupting the opponent's structure through joint manipulations and strikes. Techniques such as pluck (cai jing) and split (lie jing) can be applied to counter a wardoff (peng jing) attempt, targeting joints to break balance or apply control without excessive force. Leverage-based strikes, including elbow strikes (zhou jing) and shoulder bumps (kao jing), integrate stepping to amplify power while preserving the defender's root. These tactics draw from the eight gates and five steps of taijiquan, allowing seamless transitions in confined spaces. Pushing hands integrates directly with taijiquan forms to form full-sequence fighting applications, bridging solo practice to partnered combat via the thirteen postures. The foundational movements evolve into an 88-posture fighting set, where sensing and neutralizing skills enable fluid responses in dynamic encounters. However, limitations arise in high-speed confrontations or against armed opponents, where the method's reliance on sensitivity and timing may falter without advanced reflexes and experience; thus, it prioritizes de-escalation through probing and control to resolve threats non-violently when possible.

Health and Wellness Benefits

Pushing hands practice in Tai Chi Chuan enhances physical fitness by improving balance, coordination, and flexibility through its emphasis on controlled partner interactions and body awareness. A 2022 systematic review of studies on college students found that Tai Chi, including routines with tui shou, led to significant improvements in balance and flexibility compared to sedentary controls, though tui shou-specific physical benefits were primarily noted in psychological outcomes. Similarly, a 2024 study on upper limb rehabilitation using a Tai Chi pushing hands-based protocol found notable improvements in overall motor function and balance among participants with hemiplegia, highlighting the exercise's role in refining proprioceptive feedback. For older adults, pushing hands contributes to proprioception training, which helps reduce fall risk by strengthening reactive postural responses to perturbations. Research from 2021 simulating the perturbations encountered in pushing hands showed that experienced Tai Chi practitioners exhibited faster and more stable recovery from sudden horizontal displacements than non-practitioners, suggesting enhanced proprioceptive acuity that could mitigate falls in elderly populations. This aligns with broader evidence that such training fosters neuromuscular coordination essential for stability. On the mental health front, pushing hands promotes mindfulness and stress reduction via its requirement for focused attention on a partner's subtle cues and maintaining internal relaxation amid external pressure. A 2024 intervention study on college students using mindfulness-enhanced Tai Chi Chuan, which integrated tui shou sessions, reported significant decreases in perceived stress and anxiety levels after 10 weeks, with participants noting improved emotional regulation through the interactive, present-moment engagement. This partner-based focus cultivates a meditative state, differentiating it from solitary forms. Therapeutically, pushing hands supports rehabilitation for various injuries by facilitating gentle, adaptive movements that rebuild strength and mobility without strain. For instance, a 2021 review of traditional Chinese exercises included clinical evidence that Tai Chi tui shou alleviated chronic nonspecific low back pain by enhancing lumbar flexibility and reducing disability indices in affected patients. Studies also indicate joint health improvements, with pushing hands' low-impact yielding better range of motion and reduced stiffness in arthritic conditions, while contributing to cardiovascular benefits like lowered blood pressure through sustained, aerobic-like engagement.

Competitive Pushing Hands

Formats and Rules

Competitive pushing hands, known as tui shou, is divided into two primary categories: fixed-step and moving-step formats. In fixed-step pushing hands, competitors maintain their positions with minimal foot movement, limited to pivoting on the balls of the feet without advancing, retreating, or circling, emphasizing upper-body techniques and balance disruption through contact. Moving-step pushing hands allows full footwork, including stepping, circling, and repositioning around the opponent, incorporating more dynamic evasion and control while adhering to spatial boundaries on the competition mat. These categories promote the development of sensitivity and yielding principles central to internal martial arts. Basic rules prioritize technique, control, and mutual respect over forceful aggression. Prohibited actions include strikes, kicks, joint locks, throws beyond controlled pushes in moving-step formats, and any attacks targeting the head, neck, groin, joints, or pressure points; competitors must maintain continuous hand contact and avoid grabbing clothing, hair, or limbs excessively. Fouls such as unsportsmanlike conduct, nail scratching, or surprise attacks without prior contact result in penalties, with disqualification for repeated or severe infractions. The emphasis remains on adhering to tai chi principles like sticking (zhan), adhering (nian), yielding (sui), and following (sui) to uproot the opponent without violence. Bouts typically last 2 to 3 minutes per round, structured in multiple rounds depending on the format and organizing body; for example, fixed-step events often feature two 2-minute rounds with feet switched between them, while moving-step may involve three 2-minute rounds or a single 90-second bout extended if tied. Competitions are organized into weight classes to ensure fairness, such as men's divisions under 55kg, 60kg, up to over 95kg, and women's under 50kg to over 85kg, with flexibility of ±5kg in some events; age divisions commonly include juniors (12-17 years), adults (18-55 years), and veterans (over 56 years). Standards for pushing hands competitions are set by national and regional federations such as the European Wushu Federation (EWUF), emphasizing safety, etiquette, and fair play. Safety measures include competing barefoot or in soft-soled shoes, no jewelry or watches, short nails, tied-back hair, and covered wounds; protective gear is minimal, but medical oversight and insurance requirements are mandatory. These protocols ensure participant well-being while preserving the art's non-aggressive essence.

Judging Criteria and Notable Competitions

In pushing hands competitions, judges evaluate competitors based on their adherence to Tai Chi principles such as peng (ward off), lu (roll back), ji (press), and an (push), focusing on the ability to uproot and unbalance the opponent through technique rather than brute force. For example, under BCCMA rules, scoring in fixed-step uses 1 point for one foot moving or heel lifting, 2 points for both feet moving, 3 points for a body part (other than feet) touching the floor, and 4 points for the whole body leaving the floor; in moving-step, points are awarded as 1 for a foot stepping into the outer area, 2 for a short-action sweep, 3 for a sweep, and 4 for a throw (without overhead techniques). Control is assessed by ensuring no excessive physical force is used, while creativity in responses—such as adaptive yielding and redirection—is considered in subjective evaluations for closely contested rounds, alongside postural dynamics like rooting and coordination. Penalties are applied for violations to maintain the emphasis on skill over aggression, including warnings or point deductions for fouls such as grabbing clothing or limbs, striking, kicking, joint locks, or pushing the opponent out of the competition area; repeated offenses can lead to disqualification. In dynamic formats, additional penalties apply for prohibited actions like continuous holding beyond three seconds or deliberate strong contact. Notable pushing hands competitions include the Tai Chi World Cup, which has featured tuishou events since at least 2004 and attracts international participants to showcase fixed- and moving-step formats. In the United States, annual tournaments such as the Can-Am International Championships and the International Chinese Martial Arts Championship (ICMAC) host dedicated pushing hands divisions across weight classes, emphasizing both competitive and demonstrative elements; the 2025 ICMAC in Orlando included fixed-step and moving-step events. The British Council for Chinese Martial Arts (BCCMA) organizes the National Tui Shou Championships, with the 2024 edition held under updated rules to promote standardized Tai Chi application. Internationally, the 2024 International Tuishou Competition in Guadalajara, Spain, highlighted high-level fixed-step matches among European and global athletes, while the Ninth World Cup Tai Chi Chuan Championship in October 2025 in Taipei also featured pushing hands. Judging in pushing hands has evolved from primarily subjective assessments in early 20th-century events, where emphasis was placed on overall impression of skill, to structured point-based systems in modern competitions that incorporate clear metrics for balance disruption and rule adherence, improving objectivity.

References

  1. https://ymaa.com/articles/2016/03/key-points-in-taiji-pushing-hands
  2. https://shs.cairn.info/article/E_STA_117_0141?lang=en
  3. https://www.chiflow.com/taichi_overview.htm
  4. https://taiji-forum.com/glossary/push-hands/
  5. https://ymaa.com/publishing/book/tai-chi-push-hands-martial-foundation-tai-chi-chuan
  6. https://www.taichichuan.co.uk/introduction/the-five-components.html
  7. https://www.academia.edu/52393611/Philosophy_Tai_Chi_Chuan
  8. https://pamleads.unifatecie.edu.br/fetch.php/fullview/W67739/TaiChiChuanPushHands.pdf
  9. https://ymaa.com/publishing/premium-bundle/dr-yangs-tai-chi-pushing-hands-master-class
  10. https://sites.google.com/site/worldmartialartsstyles/kung-fu/pushing-hands
  11. https://www.newjerseytaichi.com/meet-your-instructor1617650309392
  12. http://cathrynlai.com/pdf/Tai%20Chi%20Classics.pdf
  13. https://ymaa.com/sites/default/files/book/sample/Tai-Chi-Chuan-Martial-Power.pdf
  14. http://en.chinaculture.org/2013-01/10/content_449992.htm
  15. https://www.taoistgroup.com/history-of-tai-chi-chuan
  16. https://www.kungfu-republic.com.au/special-courses/pushing-hands-training/
  17. https://www.sciencedirect.com/science/article/pii/S2095254613000999
  18. https://discuss.yangfamilytaichi.com/viewtopic.php?t=1580
  19. http://blackmoonharbor.com/uploads/1/1/5/3/115363763/the_daoist_origins_of_chinese_martial_ar.pdf
  20. https://www.taichiwuji.com/en/internal-martial-arts
  21. http://www.blackdragon.itgo.com/Masters/Wang_Xiangzhai.htm
  22. https://www.cs.cmu.edu/~mcweigel/rmafaq/rmafaq3.html
  23. https://ymaa.com/articles/2021/01/training-contents-for-taiji-push-hands
  24. https://brennantranslation.wordpress.com/2012/08/27/the-taiji-manual-of-xu-yusheng/
  25. http://discuss.yangfamilytaichi.com/viewtopic.php?t=1517
  26. https://martialarts.stackexchange.com/questions/948/how-does-one-progress-from-tai-chi-push-hands-to-free-sparring
  27. https://www.hasayfu.com/jings-pushing-hands/
  28. https://taichi-school.co.uk/news/tui-shou
  29. https://www.seahorsearts.co.uk/sticky-hands/
  30. https://slantedflying.com/counter-point-neutralizing-in-tai-chi-sparring/
  31. https://www.ptcc.dk/en/what-is-tai-chi/the-style-of-ptcc-dk/tai-chi-pushing-hands-tui-shou/
  32. https://www.martialdevelopment.com/best-worst-of-tui-shou/
  33. https://ymaa.com/articles/2018/06/learn-chen-tai-chi
  34. https://ymaa.com/sites/default/files/book/sample/Tai-Chi-Secrets-of-the-Yang-Style.pdf
  35. https://ymaa.com/sites/default/files/book/sample/Tai-Chi-Secrets-of-the-Wu-Style.pdf
  36. https://taichiforhealthinstitute.org/what-is-tai-chi/
  37. https://ymaa.com/articles/2021/07/learn-sun-style-tai-chi
  38. https://ymaa.com/articles/2021/08/some-martial-applications-in-taiji-pushing-hands
  39. https://ymaa.com/articles/2020/12/theory-of-taiji-pushing-hands
  40. https://ymaa.com/articles/martial-arts/taijiquan-pushing-hands
  41. https://pmc.ncbi.nlm.nih.gov/articles/PMC9562146/
  42. https://www.sciencedirect.com/science/article/pii/S2667379724000329
  43. https://www.mdpi.com/1660-4601/18/5/2692
  44. https://pmc.ncbi.nlm.nih.gov/articles/PMC11413537/
  45. https://pmc.ncbi.nlm.nih.gov/articles/PMC8131159/
  46. https://bccma.com/wp-content/uploads/2024/10/National-Tui-Shou-Pushing-Hands-Championship-Competition-Rules-2024.pdf
  47. https://www.wfmaf.org/championship/competition-rules/moving-push-hands/
  48. https://fmjudo.es/wp-content/uploads/2023/11/taiji_tuishou_rules.pdf
  49. http://svenskwushu.se/wp-content/uploads/2018/10/SWKF_RULES_Tuishou_PushingHands_181023.pdf
  50. https://wushu-savez.hr/wp-content/uploads/2025/08/TUISHOU-COMPETITION-RULES-2025.-PDF-.pdf
  51. https://bccma.com/wp-content/uploads/2024/09/Tui-Shou-Pushing-Hands-Competition-Rules-2024.pdf
  52. https://www.magictortoise.com/TournRules.pdf
  53. https://files.fpamc.com/content/docs/68e693a32edda.pdf
  54. https://www.youtube.com/watch?v=qnOgN9YJTfQ
  55. https://www.youtube.com/watch?v=EhARGGLt_NQ
  56. https://shorelinetaichi.com/tournaments-and-competitions/
  57. https://m.youtube.com/watch?v=D8w8fZgOL3Y
  58. https://wtccf.blogspot.com/2025/02/httpcttaichi.html
  59. https://taiji-forum.com/tai-chi-taiji/aspects-of-tai-chi/tai-chi-competition/
Add your contribution
Related Hubs
User Avatar
No comments yet.