I am coming somewhat late to the party, but I would like to offer a few comments anyway.
At the last two seminars I have attended, it was stressed that outward form did not constrain the inward expression of Jin
. It was suggested that you might have to ask the person receiving the energy to explain the nature of what exactly happened. For instance, if you are "pushed" by someone's two hands, you might actually feel the energy coming from their torso, more than their palms, which would indicate a degree of Kao
Following this idea of looking at the energy from the vantage point of the receiver, I have proposed to myself the following definitions:Peng
: When applied to you, you feel your energy buoyed away from your line of attack or defense. When you want to sink, you can only float.Lu
: You feel your energy converted from square to away from your line of attack or defense. What starts off square is involuntarily converted into another angle.Ji
: You feel your energy squeezed or bounced out of its location. You feel two energies cannot occupy the same space.An
: You feel your energy is suppressed so that it is covered and cannot get out. You want to unfold, but feel you cannot.Cai
: You feel your energy pulled out of position. You want to be still, but are forced to move.Lie
: You feel your energy whirled or snapped out of alignment. The energy flow gets a sudden kink.Zhou
: You feel your energy is elbowed in some way.Kao
: You feel your energy is manipulated by your opponent's mass.
As for Ji
specifically, although many talk about the two hands joining together, I have been taught that Ji
can be done with a single arm. This was actually one of the basic applications I was shown.
I think I see Ji
much more readily in Parting Wild Horse's Mane than in Diagonal Flying. The whirling of Diagonal Flying would seem harder to convert into Ji
<font face="Verdana, Arial" size="2">Well, for ex., the difference between "Part Wild Horse's Mane" and "Diagonal Flying", imo, lies in the degree of waist term and the amount of opening or closing.</font>
For what it is worth, in the Association, we are taught that the whirling angle of attack in Diagonal Flying lends itself to Lie
, whereas the Yangs want us to show more Peng
in Part Wild Horse's Mane.
<font face="Verdana, Arial" size="2">I also agree with Anderzander that "lu" and "an" are falling actions, while "peng" and "ji" are rising actions. Actually, I think there may be some reference to those qualities in the Classics --related to other "energies" such as "split."</font>
I do not know what is right or wrong or, more importantly, whether there is a right or wrong; however, I think Yang Jun teaches these a little differently. For instance, at the last seminar I was at, he talked about using Ji
in an upward direction to be nice to your partner, but that you could also do it downward if there was a need to be not so nice.
<font face="Verdana, Arial" size="2">When the energy falls or is drawn down, downwards and inwards, that is the greater part of Lu.</font>
I think I know why someone might define Lu in this way; however, these words would seem to define the canonical way I have been taught to express Cai
. I am referring to the application of Cai
that can be countered with a shoulder stroke to the torso.