The best fight is not a fight

When it comes to the martial aspect of Taijiquan, this topic is sometimes met with shyness, sometimes with rejection and sometimes with glorification of the subject. If they are honest with themselves, most practitioners and teachers lack a real connection to this aspect of Taijiquan. Often the level of ability is not sufficient to really understand the relevant content and terminology.

With the classical texts, we assume that the authors have a high level - and it is precisely this high level and the way it is expressed that makes the texts incomprehensible to most people. Even the term "internal martial art", Neijiaquan, as widespread as it is, perhaps requires a clear conceptual analysis.

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Wushu:

• Wu - Fight, war
• Shu - Technique, Art
• hier: Quan - Fist, as a synonym for martial arts

By the term martial arts we mean a system of fighting skills that are neither to be understood in the sporting sense (martial arts) nor in the reduced martial sense (martial craft). It is about an effective system of these skills, which deserve the term art insofar as, on the one hand, they go beyond a normal ability to application on the one hand, and on the other hand - but precisely because of this - they must address all levels of being. Without the latter, they would not fulfil their high standards and the term "art" would not be justified. However, we do not find the classical interpretation of art in the sense of "artificial".

A modification of a perhaps original content into an art form, such as the so-called "state" Wushu, Guojia Wushu, which only expresses its actual meaning symbolically or, as in other cases, only makes concessions in this direction, is therefore not part of the original interpretation of the term. Therefore, these modern developments will not be considered here.

In short, martial arts represents one of the original concepts of defence in the most holistic and effective sense, through which all areas of the human being are to be addressed and perfected. Perfection would be the ultimate goal.

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It can be said right from the start that if you want to fulfil the previously defined requirements, there can be no purely internal martial art. It would only be one part. Martial arts in their completeness are neither only internal nor only external. A complete martial art, and only such an art is really suitable as a way of life, has both internal and external aspects.

However, we want to stick with the term "inner" martial arts. Firstly, because this inner aspect is the source of everything external and, at least in this day and age, is given little consideration and is often misinterpreted. It therefore makes sense to emphasise this part of martial arts. The inside is not so obvious. It is subtle and cannot be grasped or learnt quickly. The "inside" is the source, the spirit, from which everything else is formed and becomes an energy that is then expressed externally (Wai) through the body.

Secondly, because Taijiquan as a martial art makes an exclusively soft and gentle impression on most people - "overcoming hardness with softness", Yi Rou Ke Gang - and is therefore already considered an "internal" art. In this inner development, however, lies the approach to "external" (here: opposite) ability, if we understand that hardness arises from the greatest softness. Or in the words of the classical texts: how to "wrap (an) iron (needle) with cotton", Mian Li Cang Zhen, as well as "mix softness with hardness (firmness)", Yi Rou Ji Gang.

The fact is that Taijiquan is primarily concerned with the development of so-called inner energies, which then act outwards as force in the martial art. This places a strong emphasis on the formulation that this internal force is used instead of muscular strength and that the opponent's force is not countered by the practitioner's own strength, but rather yielded to - "overcoming hardness with softness", Yi Rou Ke Gang. As far as replacing muscle power is concerned, this is not entirely correct. As my grandmaster Chen Xiaowang says so beautifully: "Nobody gets out of bed in the morning with qi alone."

This means that every physical movement is related to muscle movement. It is therefore more about a movement of inner and outer forces harmonised down to the finest detail, which can become so subtle that the actual movement is no longer noticeable. And so it seems as if muscle power is being replaced. It would be better to say that subtle movement minimises the muscular effort required for the desired performance.

Taking other aspects into account, this results in the ability to "overcome a force of 1000 pounds with skill", Yi Qiao Po Qian Jin. The goal is the same as everywhere else: maximum performance with minimum effort.

In this way, inside and outside interact and become increasingly subtle and seemingly "invisible", i.e. smaller, from level to level. If we go one step further into the mysticism of Taijiquan, the movements become so small and subtle that they are virtually non-existent. The classics say: "The large (coarse) movements are not better than the small ones. The small movements are not better than non-movement. True movement arises from non-movement."

Viewed neutrally, the following sentence is therefore probably true: "Guided from the inside, moulded in the outside, there is no inside and no outside." This is not a classic sentence, I just made it up. However, it already contains the two essential pillars of Taijiquan: the inner three harmonies, Nei San He, and the outer three harmonies, Wai San He. In perfection, the two are inseparable and can no longer be distinguished from each other. Taijiquan is the martial art that has the principle of yin and yang as its highest goal. This is a harmonisation of hard and soft, above and below, left and right, and: inside and outside!

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Spiritual unity must be at work within us: Xin Yu Yi He - combining heart with attention. Ambivalence is the greatest enemy of determination. Only pure determination arising from inner truth can generate a one hundred per cent, self-contained energy, which then combines with the forces of the body: Qi Yu Li He - combining inner with outer power. And only this can move the body as a whole in a single context: Jin Yu Gu He - connecting sinew with bone. Spiritual unity develops energetic wholeness. This in turn enables the body to act in its optimal form. This means having achieved the inner three harmonies, Nei San He.

To achieve this, the body must be closed on the outside. This means that all areas of the physical body must be brought into a structure in such a way that everything can be optimally transmitted: Connecting shoulders with hips - Jian Yu Kua He, connecting elbows with knees - Zhou Yu Xi He and connecting hands with feet - Shou He Zu He. This means having achieved the outer three harmonies, Wai San He. 

Clarity in body and mind means that there are no disturbing feelings of any kind. This also includes emotions such as fear, anger, arrogance, etc. But also no physical shortcomings that would make it difficult to transmit power in the physical sense. These shortcomings, popularly referred to as "inner and outer blockages", would weaken and render ineffective one's own actions in many forms.

It is clear that in this description, the overall essence of "inside" and "outside" already lies in an area that is commonly referred to as "internal". In other words, much of what I describe as "external" is already internal for the layperson. This is already laid out in the tradition of the classical texts, in which the concept of an "internal" martial art, as it is used today, does not appear. In this respect, it cannot be satisfactory to classify a martial art, if it claims to be complete, as only one or the other.

A categorisation of internal energy versus external muscle strength would be too simplistic and ineffective. On the other hand, although many of the fundamental statements of Shaolinquan, which is considered "external", are identical to those of Taijiquan and this system also has a high proportion of Qigong, the - at least today - practice path of the two systems is obviously very different.

We will therefore leave it at the definitions of "inner" and "outer" school. Although I would like to suggest to both systems that in their perfection they arrive at a unified whole-body movement that takes place from the inside to the outside, albeit without temporal progression, therefore without distinction and in this sequence simultaneously, inseparably from each other and thus directly, so that ultimately there is "no inside and outside". But before I run the risk of making things more complicated, I would like to try to break down the basic concepts of Taijiquan for martial combat to a generally applicable level and describe them in an understandable way. I can only go into the fundamentals of the subject matter.

I will add the classical technical terms in brackets to make it easier to relate to the much more profound classical meanings. However, I assume access to such classical texts here and will not describe these terms further below. For the layperson, it is my hope that the article itself already provides enough information to make it forgivable not to be able to build these bridges.

In order not to go beyond the scope of this article, these are now only descriptions of a real physical confrontation. We assume that all diplomatic negotiations have already failed or that there was never any room for them. There is also no escape route. So now we want to focus exclusively on the moment that nobody wants to experience, but which so many people glorify in their martial arts training: the real fight without rules.

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Assuming that a lethally endangered person is under extreme stress, it has been proven that the range of movement available to them is considerably reduced compared to normal circumstances. Knees become weak, signs of paralysis appear, the simplest coordination is suddenly no longer possible. This means that most of the techniques offered in normal martial arts courses are cancelled from the outset because they are too complicated.

I remember various demonstrations in which well-known masters wanted to show off technical variations on one leg, for example, and were already stumbling due to stage fright. These people have my fullest understanding, but I ask myself, if it no longer works properly in a socially peaceful context due to excitement, how can it work in the greatest stress that is possible, the danger to life?

The movements must therefore be simple and direct. As my mind will be suspended, the naturalness of my movement plays a major role. And finally, nothing works without balance. We can therefore summarise the following characteristics as fundamentally important:

• Naturalness - Ziran
• Simplicity – Chun
• Balance - Zhong

Our technique is only defined by these three aspects: our mind must be calm and balanced. A joke, you might think. How am I supposed to stay calm in mortal fear? The answer, at least, is quite simple: by not being there at all. This means that I am in seclusion. My personality, my ego, my mind - none of this is involved. I must be able to create an emptiness within myself through training. This emptiness enables me to establish or rediscover a trusting connection to my inherent nature. It fights, not me fighting. "The best fight is the fight I didn't fight" - this classic sentence has a very pragmatic meaning.

The escape route is out of the question, I have no other choice, I have to face the situation. And yet, I will "fight" best if I don't fight. In other words, when "I" am not fighting. I have to be fully capable of stepping out of myself. Me, my mind and my ego, are too slow, too many wrong decisions, reactions and emotions.

I have to recognise the Wuji behind the Taiji. My actions are in Taiji, but the source is in Wuji. So in the actual situation, you don't actually experience the fight consciously. Only afterwards does it play out again like a film in reverse, so to speak. How else, without my own seclusion, could I achieve naturalness? This will hardly be possible with me as a conditioned being. This is what "serenity" means: letting go of oneself as the highest form of "Fang Song" - of "relaxation" and "letting go".

This enables me to have a clear mind. This must be one and focussed: a clear concept is needed that doesn't force me to make trade-offs. "The opponent is not moving, I am not moving, the opponent is moving, I am already there" (Bi Bu Dong, Wo Bu Dong, Bi Yi Dong, Wo Xian Dong) is a classic phrase. I am not the first to move. But the moment the other person starts to attack, I end the matter with one hundred per cent consistency. To do this, I need to be aware of a few key factors about fighting:

• It is not the fist that attacks me, but the one who wields it.
• It is not the pain that the other person suffers or a possible realisation on the part of the opponent that guarantees my salvation, but the temporary elimination of the opponent.

These two points have a simple consequence: I don't defend myself by deflecting the opponent's blows, but by deflecting the opponent. In other words, I have to hit him myself. And I have to do this so consistently that I can be sure I won't be defeated in the next attack. It is the consistent action that prevents me from being a victim.

This may sound violent to the layman, but anyone who knows such situations knows how difficult it is to survive an emergency in the first place. And don't forget: In the explanation described, we are already in the midst of physical violence, not before it!

Again, most so-called martial artists fail because they are aware of their technique but not of the actual situation.

This leads to another fundamental meaning of the sentence "The best fight is the fight not fought": My action must be so immediate and direct that there is no struggle in the first place. Every "fight" is a chronological sequence of events of a striking confrontation, a kind of addition of mistakes, i.e. failed actions and counter-actions. Otherwise the fight would already be over. However, if an attack is countered directly with a single, but final action, it is at most a knockdown, but not a fight. Because there was no temporal progression in that sense.

Let us recall all the legendary fights of the great Taiji masters such as Yang Luchan or Chen Fake. We're not talking about big fights like Ali against Frazier or Foreman. No, we only speak of an attack and that the aggressor was defeated at the same moment. From this point of view, there is no chronological sequence between attack and defence, it happens at virtually the same moment, whereby, as mentioned, the attack precedes, but the defence arrives first.

If we achieve this to perfection, it would be quite possible to start so early that the opponent comes to his senses before he has really begun, so that no physical confrontation of any kind actually takes place. It would have been countered in the mental preparation by an appropriate presence. A famous example of this is the two samurai who stand motionless opposite each other until one of them gives up. Such skill leads to an aura of self-confidence that usually makes me out of the question as an "accidental" victim.

But be careful: this requires a high level of skill and not simply pacifist intentions. Because even according to the Buddhist principle of complete emptiness, which provides no basis for an attack: This must be genuine and not simply willed or hoped for. We cannot create peace just by "wanting" as long as there is still so much aggression and fear hidden deep inside us. Because these also have a conscious or unconscious effect on the outside world. And this is precisely enough of a starting point for an attack. In short: we can only offer the opponent no starting point for an attack if we really don't have one through and through. And that is difficult.

The sparrow, which according to legend could not fly from Yang Luchan's shoulder because he did not give it a platform to take off, may serve as an analogy. He was able to anticipate every movement of the bird by giving way. However, this must also work on a mental level in humans, so that the aggressor has nowhere to move. Neither physically nor mentally.

To protect both parties, there is another saying in Taijiquan: "The opponent moves slowly, I move slowly, the opponent moves fast, I move fast." This means - assuming inner seclusion and the resulting naturalness - that my inner self acts in exactly the way it is confronted: If the attack is harmless, so is my initiative. If it is very serious and consistent, so am I. In this way, I avoid over- or under-(re-)acting. I am effectively the opponent's shadow.

As I said, this must take place naturally; there is no time or space for conscious decisions. In order to achieve this simplicity and immediacy in the corresponding adaptability, I have to be goal-orientated, i.e. centre-orientated in Taijiquan. Thanks to my own balance and the body structure I have developed from it, I am able to achieve a whole-body movement that can hardly be broken from the outside as I improve my Taijiquan. This enables me to express all my energies through the entire body. Focusing on the opponent's centre ensures that I only hit him in fundamental areas. Where the hit leads to his inability to fight.

Interestingly, a sentence from the famous Brockhaus above the term "Wushu" fits in with this:

„Wushu requires inner calm, concentration of movements and postures as well as the internalisation of all actions to a focal point.“
(c) Bibliographisches Institut & F. A. Brockhaus AG, 2004

Furthermore, this centre orientation allows me to perceive the opponent's action better and better as the level increases, right up to the point where not only has it not yet taken place, but the opponent himself does not even know that he is about to trigger it. In other words, the moment shortly after it is triggered, but just before he himself realises it. This is why Chen Wangting, founder of the Chen style, says: "Nobody knows me, but I know everyone." Because if I am able to control the other person's centre, I can accompany and take over all their movements, which means that they can no longer reach me.

As already expressed in Chen Wangting's sentence, our control makes it impossible for the opponent to control our centre. This means that it is not able to know about us, i.e. our action is always a surprise for it. And this is true regardless of whether the movement is fast, slow, concealed or obvious. According to Chen Changxing, Yang Luchan's teacher: "Strike so that your hand is not seen. If it is then seen, nothing more can be done about it." This is not about skill, speed or deceptive manoeuvres. It's all about the principle and the resulting centre control.

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This always takes place within the framework of "keeping away" (Peng), "yielding" (Lü), "pressing" (Ji), "pushing" (An), "pulling downwards" (Cai), "separating" (Lie), "elbow" (Zhou) and "shoulder" (Kao) as well as within the five directions of movement and their elements (Wu Xing). But even these eight (in Chen style 13: "striking from bottom to top" (Teng), "evading from top to bottom" (Shan), "winching", "breaking" (Zhe), "becoming empty" (Kong) and "remaining in principle" (Huo)) Basic techniques and five step directions arise from the nature of the situation, not from my will. Since my will has been so completely lost, we don't need to worry about ethics either. Where there is no will, there is no suffering. The technique of Taijiquan can never be used negatively in the way described so far, because there is no "I" that could do this.

Consequently, there is nothing that wants anything or has any initiative of its own (wuwei). Hence the image of water, which according to Laozi "adapts itself to everything and yet wants nothing itself" (Daodejing, verse 8). The "bridge" of attack is also decisive for the concept described and can therefore only be used for defence.

The "self-abandonment" described above also harbours the enormous potential for spiritual development through Taijiquan. By overcoming the "ego" as a necessary consequence of immersing myself in the Taiji principle, I arrive at overcoming temporal limitations: from impermanence to permanence, from transformation to unity, i.e. to eternity. In short: from confusion to Taiji and from Taiji to Wuji.

The form within Taijiquan must therefore be trained in such a way that the principle inherent in it becomes apparent in the combat application. This technique must be brought into an internal and external structure within the form that adapts to any situation and can no longer be overcome from the outside. It should be meditative so that the attention can penetrate deep inside.

With the resulting freedom from mental and physical blockages, a state of naturalness should be created through deepened practice, which exposes the right intuitive knowledge and action in every situation. Two things must therefore be developed that cannot be separated from each other within the training path of Taijiquan: Mentally, a state of original naturalness must be uncovered that can act independently of our personality and socialisation. And a body must be formed that allows this inner nature to express itself one hundred per cent.

Wisdom arises through holistic understanding. This wisdom knows no difference in kind and can therefore be expressed mentally and physically. Of course, this is only a brief overview of the actual applicability of Taijiquan. Mastering these concepts naturally lies in correct, serious and persistent training.

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