Thank You for your postings, Audi. I appreciate the efforts you apply at answering my questions and assisting my deeper understanding.
Thanks for clarifying the term of art, "Folding": Aside from other pertinent explanations, you included:
<< For instance, after an opponent blocks your forearm to stop your strike, you can yield at the point of contact and "fold" your arm to place the point of your elbow in position to strike>....<For me, however, the word does explain how I conceptualize the right arm transition between Single Whip and High Pat on Horse. In other words, there is no time that my joints feel without purpose, destination, vectors, Yi, etc.>> Audi
Now that you have described this specific action to me, it has become much more visible.
I could sense a "purpose", as you mention, when witnessing my sifu execute this transition between postures...I can therefore sense that I am lacking some sort of "purpose" there, myself.
My movement in this particular transition is lacking that "purpose" of application/Yi, Folding(in this case).
I have "destination" without purpose.
I am beginning to notice the tangible effects of Yi...which I had not been in a position to view, or understand, before. Yi can be seen and felt through the expression in the forming and resulting structure...It is manifest in the whole body alignment...not only the hands.
I now find it quite interesting to observe the differences between newcomers and seasoned practitioners. The Yi, or lack of it is much more evident to me now.
I remember we were discussing, a while back, how a master could diagnose a students form, overall, by witnessing one or just a few movements...I was skeptical and horrified at the idea of such a quick judgement, at the time, but can now better relate to this concept.
Much room for expansion...progress...in the art of Taijiquan.
So, in guise of reiterated (flogged and reflogged) summary:
1) 13 Shi San Shi.
2) 9 (Zhan-Lian-Nian-Sui...etc.) extra skills.
3)Curved vs. Straight vs. Rotation vs. Folding
(Have you thought of any others?)
You also mentioned ratchet and gear rotations versus other types of rotations...
<If you are making a straight line, I believe it is important to feel how you are extending between two points. If you are making a curve I believe it is important to feel for the energy that is determining the amount of bend and to "extend your bow" along this vector. Some rotations feel like mere changes in extension to me; however others feel like using my limbs like ratchets or gears. I think that understanding this is important to the timimg of rotations.> Audi
I thought your explanations for extending the straight and extending the curve were well writ and very understandable.
"Extending the bow along its vector...fascinating...( first though, I have to find the bow! )
I really enjoyed David's presentation of the sixteen possibilities for rotations and weight shift combinations...Very efficient.
How does your reference to "rotational" aspects in this case share resonance in content to Davids summary?
Also, if I may implore your discourse further...
What knowledge can you offer on the differences between hip and waist rotation?
Have a Happy New Year!
[This message has been edited by psalchemist (edited 01-04-2004).]