Training for Physical Tasks in Virtual Environments:Tai Chi Philo Tan Chua Rebecca Crivella Bo Daly Ning Hu Russ Schaaf David Ventura Todd Camill Jessica Hodgins Randy Pausch
Entertainment Technology Center
Carnegie Mellon University
Abstract
We present a wireless virtual reality system and a pro-totype full body Tai Chi training application.Our primary contribution is the creation of a virtual reality system that tracks the full body in a working volume of4meters by5 meters by2.3meters high to produce an animated repre-sentation of the user with42degrees of freedom.This–combined with a lightweight(<3pounds)belt-worn video receiver and head-mounted display–provides a wide area, untethered virtual environment that allows exploration of new application areas.Our secondary contribution is our attempt to show that user interface techniques made possi-ble by such a system can improve training for a full body motor task.We tested several immersive techniques,such as providing multiple copies of a teacher’s body positioned around the student and allowing the student to superimpose his body directly over the virtual teacher.None of these techniques proved signi?cantly better than mimicking tra-ditional Tai Chi instruction,where we provided one virtual teacher directly in front of the student.We consider the im-plications of these?ndings for future motion training tasks. 1Introduction
With recent advancements in wireless technology and motion tracking,virtual environments have the potential to deliver on some of their early promises,creating effective training environments and compelling entertainment expe-riences.In this paper,we describe and evaluate a system for training in a physical task–Tai Chi–and show the ap-plication of training techniques not possible with real world training.
The capture and display system is wireless,freeing the student from the encumbrance of trailing wires.We place a Tai Chi student in a3D rendered environment with a vir-tual instructor,and they learn Tai Chi by mimicking expert motions,similar to real-world Tai Chi instruction.Our hy-pothesis is that virtual environments allow us to take
advan-
Figure1.Left:A student in the Tai Chi trainer.
Right:The virtual world.Student is in light,
teacher in dark clothes
tage of how physical activities such as Tai Chi are currently learned while visually enhancing the learning environment in ways not possible in the real world.The student’s move-ment is recorded with an optical motion capture system that allows real-time capture of the whole body.Captured mo-tion is used to animate representations of the student and teacher and displayed via a wireless head-mounted display (HMD),allowing students to have a natural representation of their body in the virtual environment and easily acquire feedback on their movement.
We view this system as a?rst step toward more effective and general systems for the training of physical tasks.Phys-ical training is an economically important application with a signi?cant impact on both health and safety.VR has great potential for enhancing physical training,with the ability to record a motion once and then replay and practice the motion unlimited times,enabling self-guided training and evaluation.Tai Chi is itself important because there are demonstrated positive effects in preventing falls in the el-derly and other health improvements[22].
We chose Tai Chi because the slow nature of the move-ments and the range of motion?t the properties of our VR system well,additionally we can offer evaluation and feed-back to the student during training.Tai Chi is a challenging training application because the sequence of movements, the form,is complicated and the standards for performance are exacting.Novices struggle to memorize the sequence of movements and more experienced students spend20years or more re?ning their form.Because emphasis is on bal-ance and shape of the body during slow movements,stu-dents are able to adjust their motion based on feedback from the teacher during the sequence.
Figure1shows a user wearing the wireless virtual reality equipment(a belt and an HMD)and the virtual environment with the real-time data applied to a student model.In the virtual environment,the student is rendered with a white shirt and the master wears red.
Real-time,full body capture of the student’s motion allows us to experiment with different forms of visual feedback.We implemented several user interaction tech-niques,such as providing multiple simultaneous copies of the teacher surrounding the student,and allowing the stu-dent to superimpose his body directly inside the teacher’s body.While the former could be done via projection or CA VE-like systems,the latter technique is not readily im-plemented without the use of an HMD.We compared var-ious interfaces objectively by computing the error in limb position between student and teacher,and subjectively via a questionnaire of our subjects.Surprisingly,both the ob-jective measures and subjective questionnaires showed that none of the virtual environment enabling techniques per-formed better than merely mimicking a real world situation, with one teacher in front of the student.
2Background
Wireless virtual environments with full body capture have become possible only in the past few years.To our knowledge,ours is the?rst wireless full body virtual en-vironment system usable for a broad variety of applica-tions.The only other wireless system of which we are aware was a highly specialized dismounted soldier training system that required the participant to wear25pounds of equip-ment[11],severely limiting its applicability.That system was constructed for combat training and used a General Re-ality CyberEye HMD and Premier Wireless for the trans-mittal of a bi-ocular NTSC video image.The motion of the soldier and ri?e were captured with a Datacube optical system.
The technology for wireless whole body capture in real-time has been available for a number of years,?rst with magnetic sensors and more recently with commercial op-tical motion capture systems.Researchers have explored ways to make magnetic systems less burdensome for the user by using fewer sensors and supplementing the data with inverse kinematics for the limbs where motion is not directly measured[2,15,10].The HiBall wireless,wide-area system created by Welch et al.provides very good data but requires the student to wear relatively encumber-ing trackers[21].Technologies for capturing some of the motion of the user via video have also been developed[23].
With the system described in this paper,our goal has been speci?cally to explore the use of virtual environ-ments in training applications.A number of virtual en-vironments have been developed in which the goal is to teach the student decision-making strategies for such situ-ations as hostage negotiations,earthquakes,parachute de-scent and?re?ghting[13,17,6].Fewer virtual environ-ments have been built that attempt to train the user for phys-ical tasks.Emering et al.created a system for action recog-nition that was applied to a martial arts scenario[1].Davis and Blumberg built a virtual aerobics trainer in which the user’s actions were captured and recognized as he or she was instructed to“get moving”or given feedback such as “good job!”[4].The user’s silhouette was captured via in-frared light and matched to a set of pre-recorded templates. However,the effectiveness of the system as a trainer was not assessed.Becker and Pentland built a Tai Chi trainer[3]in a modi?ed version of the Alive[8]system that provided bet-ter depth information.Their system used a hidden Markov Model to interpret the user’s gestures and achieved a greater than90%recognition rate on a small set of18gestures. When gestures were recognized but did not receive a high score,the system provided feedback by playing back the segment of the motion in which the student’s motion dif-fered most from that of the teacher.
Yang performed some preliminary user studies with his virtual environment called“Just Follow Me”[24]using a Ghost metaphor to show the motion of a teacher to a subject. This form of visual feedback is similar to one of our layouts although the rendering styles differed.Subjects executed slow and fast hand motions in one of two test conditions, either while seeing the teacher’s motion displayed in a?rst person view or while viewing the teacher’s motion on a third person video display.Although Yang did not quantitatively assess the results,qualitative assessment indicated that the virtual environment produced more accurate trajectories. 3Training Environment
Our training environment uses the Vicon real-time op-tical motion capture system from Oxford Metrics.The recorded motion is?ltered to reduce noise and recorded for of?ine analysis.The students wear a wireless HMD through which they see a rendered virtual environment containing animated representations of both the student and the teacher.
Figure2.The virtual environment for Tai Chi
X10Transmitter
Reciever
Figure3.Data pipeline and system diagram
The head-mounted display is extremely light,which is im-portant for a task involving body posture.
3.1Virtual World
The virtual environment places the student in a pavil-ion on an island surrounded by a calm lake(Figure2).On the horizon the sun is setting behind the mountains.The environment is designed to be quiet and peaceful as those are the circumstances in which Tai Chi should be practiced. The pavilion also indicates to the student where the motion capture area is.
In the motion capture laboratory,?oor mats are used to demarcate the capture region for the optical motion capture system.To provide further continuity between the real and virtual worlds,the virtual world has a Yin Yang symbol on the?oor in the same place that the symbol appears in the real world painted on a?oor mat.These physical and visual cues allow the student to easily position him or herself in the appropriate part of the laboratory and virtual environment. This positioning is important because the complete Tai Chi form uses the entire available motion capture area.
The student wears a Spandex unitard with re?ective markers applied to the clothing and skin.The student also wears a fabric hip belt that holds the batteries and the re-ceiver for the HMD.These weigh3pounds in total.We use a marker set with4114mm markers,an adaptation of a standard biomechanical marker set.Markers are placed at most joints and along every major bone,and additional markers provide redundant information for critical body segments(head,hands,and feet).When subjects begin the experiment,they are asked to perform a calibration motion in which they move each joint through its full range of mo-tion.The system uses this information to compute a17bone skeleton with bones sized to the correct length for that stu-dent.The setup process–from having the student put on the unitard through calibration–takes approximately30min-utes.
3.2Real-time Optical Motion Capture
Twelve cameras were placed around the laboratory to provide good coverage of a4m×5m capture region2.3m high.The lens of each camera is surrounded by infrared emitters that re?ect IR light off the retrore?ective tape on the markers.The cameras capture1024×1024bitmap im-ages at60fps.These locations on the image plane of each camera are converted to a set of3D points by the Oxford Metrics Vicon512Datastation hardware.
The locations of the markers are sent to the Oxford Met-rics Tarsus real-time server which?ts the student’s skeleton to the three-dimensional marker locations.The?tting pro-cess runs at between30-60fps on a1GHz Pentium III.The variability in frame rate appears to be caused by occasional spurious marker locations produced by the image processor and large changes in the data.
3.3Filtering
After the skeleton has been?t to the capture data,the position and orientation of each limb is?ltered by the real-time server to reduce noise.Because the?tting process oc-curs in real time and must be done very quickly,two types of error are apparent in the output.The?rst is a gross error due to marker mislabeling which causes bones to“?ip”out of position.The other error is a general jittering of the skeleton that results from inaccuracy of the?tting process and marker position reconstruction.Flipping errors,which usually occur during high accelerations,are rare in our sys-tem since Tai Chi motions tend to be slow.Jittering,how-ever,is noticeable regardless of the speed of the student’s motion and needs to be corrected through?ltering.
The mean residual error of markers in the?tting process is between3.9mm and7.2mm for our students(as reported by the Vicon?tting software),enough to cause distracting movement in the virtual environment.In particular when
viewing the environment in?rst-person,where the virtual camera is?xed to the head’s position and orientation,those small errors become large changes in the view.
We chose a Discrete Kalman?lter to reduce the noise in our data because it had been successfully applied in systems and applications similar to ours[20].Sul and his colleagues also used a Kalman?lter to post-process motion capture data to smooth the motion and maintain the kinematic con-straints of a hierarchical model[16].We,however,chose to ignore the bone length constraints during the?ltering pro-cess.This gives acceptable visual results and avoids any extra lag due to the processing time needed to satisfy those constraints.
The Discrete Kalman?lter requires the input signal to be in a linear space.This constraint is not a problem for bone position vectors(which are vectors in R3),but it is a problem for bone orientations(quaternions representing points in S3).In order to apply this?lter to the orientation data we?rst linearize the orientation space using a local linearization technique[7].
Because the virtual camera is?xed to the position and orientation of the student’s head,jitter that may have been unnoticeable on other parts of the body is magni?ed and re-sults in an unacceptably shaky?rst-person view.To correct this,we apply a more aggressive set of?lter parameters to the head position and orientation than to the rest of the body. These parameters make the?rst-person point of view stable without sacri?cing agility in the rest of the body.
3.4Rendering
We chose the Lithtech3.1game engine for our render-ing because it was a fast,robust,and proven engine that supported rendering features critical to our Tai Chi envi-ronment and future environments built with our system: smooth skinned models,custom render styles,and ef?cient networking.
Our rendering application is structured with a client/server model.The server acts as an intermediary, broadcasting commands to control the layout of students and teachers in the environment and the playback position and speed.The server also records data for both the virtual teacher and student for of?ine analysis.The client takes the data from the?ltering application,applies the position and orientation data to an avatar skeleton,and renders the virtual world with the teacher and student models. The client,server,and the?ltering process all reside on a 733MHz Pentium II with a GeForce3graphics accelerator. The rendering speed averages17fps,and is always at least 14fps.
After the scene is rendered,a scan converter changes the signal from VGA to NTSC.The signal is then sent to an off-the-shelf X10wireless video transmitter that broadcasts the video from a location3m above the student’s head in the center of the capture area.This signal is received by an X10video receiver on the student’s belt,and then sent to the Olympus Eye-Trek glasses we use for our HMD.The ren-dering is bi-ocular,with the same image sent to each eye via separate LCD screens.Because a lightweight HMD is re-quired for this application,we had to compromise on spatial resolution of the display itself.The Eye-Trek had a37.5?horizontal and21.7?vertical?eld of view,each screen was 640×360pixels.The weight of the apparatus was3.4oz. Therefore,our decision to degrade VGA to NTSC in order to broadcast it implied little or no further loss of resolution. An important detail in rendering the image for the student is to eliminate other light sources in the laboratory so that the virtual environment is the all the subject sees.We accom-plish this by turning off the lights in the laboratory rather than via a cowling.
3.5Latency
The latency of the motion capture and rendering process was170ms.To measure our end-to-end system latency, we put markers on a rotating disc revolving at60RPM and then added representations of those markers to our existing Tai Chi environment.We then projected the virtual disc image onto the physical disc as it rotated and took pho-tographs to measure the angle between the projected and real markers.The angle difference?θbetween the markers is proportional to latency such that latency=k?θwhere k=60s/(60RPM?2π)=1/2π≈0.159.Our measured?θwas1.1radians,giving us an end-to-end latency of170ms.
A latency of170ms is high for an interactive virtual en-vironment,but the effect on the student’s performance is somewhat mitigated by the slow nature of movements in Tai Chi.In addition,the students tend to lag behind the teacher by an average of610ms as described in section4.2.
4Assessment
In order to evaluate the effectiveness of our system for learning Tai Chi,we tested40volunteers to analyze how well they learned the motions of a previously recorded teacher,given different visual user interfaces involving the teacher and student in the virtual space.
There are a large number of design choices for represent-ing the student and teacher in a full body motion training task.We made the constraining assumptions that the stu-dent would always see a?rst-person view,that the teacher and student would be represented in a fairly realistic way (both would remain humanoid,be of the correct propor-tions,etc.),and that the feedback that the students received would be entirely visual and based on body positions alone. We also?xed the orientation of the teacher and student so
(a)One on
One(b)Four
Teachers(c)Side by
Side
(d)Superimposition
1(e)Superimposition2
Figure4.The?ve conditions
that they faced that same direction.This decision was based
both on early pilot studies and the fact that traditional Tai
Chi classes are taught this way.After a number of pilot
experiments,we identi?ed?ve representative points in the
design space(Figure4).
?One on One:One teacher with one student
?Four Teachers:Four teachers surrounding one student
?Side By Side:Four teachers standing next to four stu-
dents with one student in the center.
?Superimposition1:Five normally rendered students
with a red wireframe teacher superimposed on them.
?Superimposition2:Five wireframe and transparent
green students with a red stick?gure teacher superim-
posed inside them.
4.1Experiment Design
The majority of our40volunteers were college students
with no previous formal motion training.Each subject ex-
perienced four randomized(layout,motion)pairs where the
layout was one of the?ve in Figure4and the motion was
one of the four described below.There were originally only
four layouts;the?fth,Superimposition2,was added late
in the experiment.Based on early subject feedback regard-
ing the rendering of Superimposition1,we chose to test an
alternate rendering method with the same general layout.
No subject repeated a layout or a motion.The order in
which the students saw the layouts and motions was ran-
domized to minimize any learning effects between motions.
For each(layout,motion)pair,subjects were asked to match
the teacher as they performed twelve repetitions of the same
motion after watching the motion from any viewpoint the
subject chose.Subjects were told when six repetitions re-
mained and when four repetitions remained.
All four motion animations were segments of the same
Tai Chi form performed by a Tai Chi teacher and captured in
an of?ine motion capture session.Each motion was approx-
imately twenty seconds long and had distinguishing charac-
teristics.Motion1featured simple hand movements and a
90degree turn to the right;motion2had little hand mo-
tion,a180degree turn of the feet,and some turning of
the upper body;motion3featured slow hand movements,
large movement of the feet,and some turning of the tho-
rax;and motion4featured swift hand movement and turn-
ing of the thorax and hips but little movement of the feet.
Based on participants’error measurements,we can say that
all motions were of approximately equal dif?culty except
for motion1which was signi?cantly easier(Figure5(b)).
4.2Results
In order to measure how closely the student mimicked
the teacher’s motion we used12bones for comparison:the
upper and lower arms,hands,upper and lower legs,and
feet.Each bone was de?ned using the skeleton’s hierarchy
with a parent end and a child end.For example the upper
arm had a parent end corresponding to the shoulder and a
child end corresponding to the elbow.We measured the
error for each bone as the difference between teacher and
student child end positions,once the parent end positions
and bone lengths had been normalized.Given student bone
E r r o r
(a)Learning Effects
E r r o r (b)Motion
Dif?culty E r r o r
(c)Layout Comparison
Figure 5.Error analysis results.Error bars show 95%con?dence interval.
end positions S p and S c and teacher bone end positions T p and T c the error E for that bone was:
E limb = S c ?S p S c ?S p ?T c ?T p T c ?T p
We then average the errors over all limbs to get the
total error for one frame of data:E f rame =∑12i =1E limb (i )/12.To obtain the total error for one repetition of the motion,we summed over the n frames in that repetition:E rep =∑n j =1E f rame (j )/n .
Finally,though there are 12repetitions for each motion,we considered only the last four that the students performed.Before the 9th trial,subjects were reminded that there were four repetitions remaining and encouraged to do their best on the remaining trials.Averaging over these four gives a reasonable indication of how well the student learned the form.So the total error,for one student,given one layout and one motion,is E trial =∑12k =9E rep (k )/44.2.1
Data Analysis Details
The error measurement for full motions was slightly more complicated.There were two major sources of error which were common for all students who participated in the ex-periment:time lag and yaw offset.If the student was not oriented in precisely the same way as the teacher,the error in yaw would add an additional error to all bones in the student’s body.Even if the student performed the form per-fectly,if there was a few degree offset in the orientation the student would have a large error.To minimize this,we considered the student’s starting pose and found the yaw offset that minimized this static pose error.We found that
E r r o r (a)Yaw Shift (degrees)
E r r o r
(b)Time Shift (s)
Figure 6.Change in error with yaw and time shifting
when considering all possible offset angles,from ?30?to 30?there was one clear point where error was minimized (Figure 6(a)shows a typical case).
In addition to the yaw shift,as the students performed the motion they all tended to lag behind the master.Be-cause they were still doing the motion correctly,just not at the same time as the master,we searched for a time shift that would minimize this error.For each repetition of the motion,we considered all possible time shifts from 0to 120frames (0to 2seconds).For each value,we compared the shifted student data with the original teacher data to get the error value.Again we found that there was one clear shift value which minimized the error (Figure 6(b)shows a typi-cal case).The average time shift was approximately 610ms.We also needed to make sure there was no learning or fatigue effect.Figure 5(a)shows that when we averaged all conditions performed ?rst,second,third,and fourth across all subjects,the order of performance had no effect on er-ror.Before we could average results from different mo-tions we needed to compensate for different dif?culties in the motions.Figure 5(b)shows that for the average across all subjects,motion 1was signi?cantly easier than the other motions.For our ?nal analysis,we normalized the error values based on the mean dif?culty of each motion.
Having dealt with these issues,we can now compare all of the layouts with each other.Figure 5(c)shows the average error across all subjects for each layout.The N varies for each of the layouts because Superimposition 2was added later in the experiment and some subjects were unable to do all four (layout,motion)tests due to lack of time,discomfort,and other reasons.The only statistically signi?cant conclusion we can draw based on the 95%con-?dence intervals for the average errors is that Superimpo-sition 1is worse than the others by a small amount.One on One,which most closely mimics a traditional teaching environment,is as good as the other techniques.4.2.2
Questionnaire Results
After each experiment ended,we gave a questionnaire to the subjects.We asked them to rank the four layouts they expe-
One On One (n =30)(n =23)(n =26)(n =27)Super.2(n =6)
%S t u d e n t s
Easiest Hardest Figure 7.Questionnaire Results:Layout Dif-?culty
rienced,from easiest to hardest.As Figure 7shows,the two Superimposition trials were considered to be signi?cantly harder than the other trials.In fact,all of the subjects who tried Superimposition 2thought it was the most dif?cult.In-terestingly,although subjects considered Superimposition 2very dif?cult compared to the other layouts,average error on that layout was not signi?cantly greater than the other non-superimposed layouts.
5Conclusions
Our primary contribution is the engineering of a wireless virtual reality system that tracks 41points on the human body in a working volume of 4meters by 5meters by 2.3meters high.Our system has a positional accuracy of roughly 5mm,a latency of 170ms,and maintains a ren-dering frame rate of 17fps using a commodity https://www.doczj.com/doc/5d16075540.html,ing a light sunglasses-style HMD and a 3pound waist pack,ours is the ?rst wireless virtual environment system useful for a large variety of applications.
To our surprise,none of the layouts of students and teachers had a substantial effect on learning a motor con-trol task involving full body motion.This result contradicts the initial intuition of virtual reality researchers with which we have discussed this project.They generally assumed su-perimposition would make the task much easier.If other studies come to similar conclusions for other motor con-trol tasks,the virtual environment research community may need to more carefully examine which tasks are best suited for immersive training,as full body motion motor tasks are often cited as example applications.
We have several theories about why the VR-only tech-
niques fared no better than our simulation of real-world instruction (the One on One layout).In our experiments,students were expected to perform motor movements while simultaneously watching the movements of the teacher’s avatar.Other studies of simpler movements have indicated that this simultaneous activity may interfere with learn-ing [12,14].Pomplun and Mataric compared the per-formance of subjects making arm movements when the subjects were instructed to rehearse while watching a video presentation of the motion and when they were instructed to just watch the video before performing the task [12].The subjects who did not rehearse performed substantially better.
Ellis et al.showed that system latency is highly corre-lated with performance in a virtual reality tracking task [5]and Ware and Balakrishnan show that mean time for static target acquisition is directly proportional to latency [19].Although our latency is admittedly large,we chose a slow task so that latency effects would be small.We also mea-sured our errors with a technique that should account for the students’latencies in responding to the teacher.It would have bene?ted our experiment to understand how our la-tency –and by extension other factors such as ?eld of view and frame rate –affected performance,and what amount of latency is acceptable for a motion training task such as ours.With the exception of the superimposition layouts,our rendering styles were chosen to represent the student and teacher in as realistic a fashion as possible given the limited polygon count possible in a virtual environment.However,experimental evidence indicates that subjects tend to track the hands when watching or imitating a teacher performing arm movements [9].If these results generalize to Tai Chi,a rendering style that emphasized the position and orientation of the hands might be more effective.
We evaluated the motion of the students during trials 9-12in the virtual environment.A better evaluation technique would have been to remove the visual stimulus of the images of the teacher and student and assess the stu-dent’s unaided performance [14].In addition to assessing retention in the absence of feedback,this assessment tech-nique would have allowed us to compare the effectiveness of more standard visual presentations such as a video of a teacher projected on the wall of the laboratory and perhaps understand whether the small ?eld of view and low resolu-tion of the HMD were affecting the student’s ability to learn in the environment.
We can not conclusively rule out that our virtual envi-ronment was at fault;one can always worry that if only our ?delity had been better,the latency had been lower,or we had just been clever enough to try another rendering style or user interface,the results would be different.However,our system is substantially better in both tracking area and spatial resolution than most full body tracking systems,and
addresses what has been identi?ed as one of the biggest re-maining problems:the umbilical cord[18].Therefore,we can at least conclude that if virtual environments are to be helpful for this task,they must either be at higher quality that we have engineered,or utilize better user interaction techniques than we devised,or both.
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24式太极拳分解教学 关键词 ： 24式太极拳 一、起式 1 2 3 4 5 二、左右野马分鬃 6 7 8 9 10 11 12 13 14 15 16 三、白鹤亮翅
17 18 19 20 21 22 23 四、左右搂膝拗步 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 五、手挥琵 琶 39 40 41 六、左右倒卷肱 42
43 44 45 46 47 48 49 50 51 52 53 54 第一集 ｜ 第二集 ｜ 第三集 ｜ 视频演练 传统武式太极拳练习五阶段 太极是一门学问，它要求人们客观、辩证、一分为二地对待事物、看待问题、分析问题、解决问题。它是以万事、万物的本身皆有既互相对立又互相统一的哲理为基础的一种思想认识。我们把这种对待事物的思想认识称为太极思想。武式太极拳是太极思想与人体运动相结合的具体表现。它是一个科学的人体辩证运动过程，在这个运动过程中势势处处、时时刻刻都包涵、体现着人体内的阴阳变换、虚实相间和刚柔相济。武式太极拳的训练注重整体身法和气势，要求举手投足立身中正、松静自然、虚实清楚、上下贯穿、八面支撑。它对身法的要求极严、极细、极微、极妙，无一不符合人体的科学要求和规范，正如乔松茂先生所言“……它科学地集拳术、力学、导引、传统哲学为一体”。凡学者只有严守身法——立身中正，充分努力地体现出这一风格和特点来，由学架子到改架子；由改架子到走顺架子；由走顺架子到技击的运用；由技击的运用到无畏无敌的精神境界。它是一个循序渐进、节节升高、逐步完成和长功的过程，它须在师父的正确的言传身教下通过自己的不懈努力才能步步提高。它不仅仅是身体的简单运动，更重要的是内在的精神冶炼、身心合一。它的外形功架势势符合力学的科学原理，它的内涵机理处处渗透着人体机能的运动规律，它势势均与拳理接骨斗榫、毫厘不差。练功走架的感觉如咖啡提神又如美酒陶醉，只要坚持按要求锻炼就可形成太极身法，必能达到固本培元、增强体质、防身御敌、技艺超群和祛病延年之功效。 练武式太极拳原本没有阶段划分，或准确的讲，它的阶段之间是相互渗透不可以分得清清楚楚的，是一个逐步提高的过程。这里为了学者便于掌握，让初学者在心中有一个大概的框架，本人根据个人体会将练习功架的过程分五个阶段来阐述，以便同好参考
练习太极拳的主要过程及其要点 练习太极拳和其它体育项目一样，要经过一个由生到熟、由熟到巧的逐步提高的过程。 太极拳有独特的运动特点和风格，只有充分体现出这种风格特点，使每一姿势动作符合要领，才能更好地收到增强体质的功效。 大致说来，练太极拳可以分成三个阶段。第一阶段，应该在姿势（完成式）、动作（过滤式）上打好基础，把拳套中的步型、步法、腿法、身法、手型、手法、眼神等基本要求弄清楚，做到姿势正确，步法稳定，动作舒展、柔和。第二阶段，注意掌握动作的变化规律及其特点，做到连贯协调，圆活自然。第三阶段着重练习劲力的运用和意念、呼吸与动作的自然结合，做到动作轻灵沉着，周身完整统一。 在全部锻炼过程中，不管哪一阶段、哪一步，都要注意保持“心静”、“体松”两个基本要领。心静、体松是太极拳运动特点所决定的最基本的要求，它对于其它要领的掌握起着保证作用，应该贯注于练太极拳的全过程。“心静”就是指思想集中，精神贯注，做到专心打拳。“体松”是指身体各部位保持运动中的自然，排除不必要的紧张。正确运用这两个要点，有利于掌握太极拳的其它要领，体现太极拳的运动特点，提高健身和医疗的效果。因此有人把“松”“静”两点作为打好太极拳的基本条件。 在练习太极拳的不同阶段，对“松”“静”这个基本要求的掌握也是从低到高，逐步加深体会的，它和技术练习的要求紧密地联系在一起，两个方面不可割裂对待。
下面把练习太极拳的主要过程及其要点，简述如下。 第一阶段 属于打基础阶段，要注意以下几个要点： （一）端正 打太极拳首先要注意姿势正确，特别要保持上体自然正直，腰脊中正，两肩、两胯自 然放松，不可俯仰歪斜，或耸肩膀、扭胯。其它部位也要按照要求切实做好（参照前“对身体各部位姿势的要求”部分）。忽视任何一个部位的要领，必然牵其它部位，造成错误定型和错误动作。例如姿势中臀部外突，必然牵连腰部和胸部前挺，腹肌紧张。因此，初学阶段要抓住姿势“端正”这一环节，不可贪多求快，潦草从事。这样做开始阶段可能刻板一些，初练起来灵活性稍差，但只要抓住了“身法”中的主要矛盾，其它问题，以后容易解决。 (二)稳定 要使上体端正舒适，必须首先保持下肢稳定。步型、步法既是姿势当中的一部分，又是整个姿势的基础。经验证明，很多人下肢不稳，并不完全出于力量不足，而多数是由于步型、步法不当。如果步子过小过窄，或脚的位置、角度不对，以及变换动作时虚实不清，势必造成身体重心不稳。因此必须把步型、步法的要求弄清楚，可以单练各种桩步和步法，先把身体重心的变换找清楚。这样既利于培养下肢的支撑力量，又能把主要步型（弓步、虚步、仆步、独立步等）、步法（进步、退步、侧步、跟步等）的要领掌握好。此外，根据具体情况，
2008-07-31 13:20 起势实战用法（口诀：全体大用意为主体松气固神在凝） １、杨澄甫： 此为预备动作之姿势，……尤要精神内因。气沉丹田，一任自然，不可牵强，守我之静，以待人之动，则内外合一，体用兼全。人皆于此势易为忽略，殊不知练法用法，俱根本于此。 ２、牛春明： 预备动作，灵活运用。 两臂上提是掤劲，即用掤劲接住（粘住）以待势反击，下落是采劲，采敌来力，化力借用，有四两拨千斤之用。 ３、李雅轩传授陈龙骧李敏弟： 起势以安静心神，养其虚灵之气，以备对方不测之来手，周身各部都可相机而动，切勿轻视之。 ４、崔毅士传授崔仲三： 用法（１）：对方双手死握我双腕下压，我顺势向下沉肩，缷对方之力。趁着对方回抽瞬间，我力发于肢，提髋紧腰，双臂向前提起送出，破坏对方重心，使之向后倾倒。 用法（２）：再如对方双掌向我迎面扑来，或如对方双掌抓我双肩，我以双肩虎口向上接应对方双肘或双臂下侧，将对方向后掀起，随之用双掌攻击对方胸部。 用法（３）：对方正手或反手握我双腕，我松腰沉髋，沉肩垂肘，以挑掌动作结合弧形路线，赂内引进化解；使之身体重心前倾，脚跟拔起，力量落空。 用法（４）：结合上势动作，我虽已破坏对方重心，但未解脱，此时，我即刻向下、向两侧分掌，使对方处于被动局面，在对方想撤手变化之时，我随之放长击远，双掌向对方胸部推按，以脚、脚、腰之力将对方推出。 用法（５）：我双手进攻对方胸部，对方处于被动局面，对方由内外分拨我双掌时，我即时松肩肘，双手拿住对方双腕，迅速下落使之身体重心前倾，趁对方身体前倾时，起腿以膝关节顶撞对方。
发表于2008-08-01 09:18 揽雀尾（掤、捋、挤、按）实战用法（口诀：掤捋挤按雀尾生） （一）左掤右掤实战用法 １、杨振基： 《太极体用全书》上说：“敌人对面用左手击我胸部，我……以我之腕贴在彼之肘腕中间，用横劲向前往上掤去。”这里的掤法是向前向上转腰横出，用的是横劲。 掤手是杨式拳的总手之一，也是推手中的接手。意念在腕的上缘，打手时一般以腕部与人相接，劲点也在腕的上缘。掤手在杨式太极拳中使用最多，也最有效。 ２、杨振铎： 左掤：设对方以右掌或拳向我击来，我即将左臂提起，用掤劲（粘劲）将对方之臂架起，使其不得接近我胸，如果以腰带臂，使臂、手齐向外翻，变掌心向外，即可将对方之臂握住，利用采劲将其力引化至一侧，使其落空，失去重心，必为我制。 右掤（双手掤）：设对方以左掌向我击来，我急上右腿，以右臂置对方左臂近肘处，并以左手掌心侧向外，接住对方腕部，握住对方手腕，再以右臂向上掤起，而左手在下面用采的手法向下采，再加以按劲，此时就会使对方两臂之间的肘部处于上提、下压被撅之势，轻则被动双脚离地，重则定被撅断臂。 ３、郑曼青传授黄性贤： 实战中，如右手抓住对方右手腕，则上左步，此时有两种击法； 用法（１）：如自己左手在对方手臂下，则用左小臂横劲对方胸腋部； 用法（２）：如果自己左手在对方手臂上，则用左手臂掤对方臂部及胸口。 ４、董英杰传授董虎岭： 对方从右侧面左拳打我胁部，我速向右转身，同时右手抬起将其拨开。对方继续用右手击我胸部，我左手提起将其掤开，同时左脚横迈一步，弓腿，两腿坐实。避过对方攻势后，我右手从下往内绕一小圈，转到对方胸部，右脚上步弓腿，全身整劲向其掤去。 （二）捋式的实战用法 １、杨振基： 《太极拳体用全书》上说：“设敌人用左手击我侧肋部……速将我右腕肘间，侧贴彼肘节上，侧仰左腕，以腕背粘彼之腕背臂上……内向胸前、左侧捋来”。捋是拖腕捋肘，施用时，顺对方的来力，向里引进，使对方力量落空，即转腰将对方向一侧捋出。 捋对方的手臂时要管住对方的腕、肘关节。杨式太极拳在推手中有一条重要原则是管活的，不管死的。意思是管住了对方身上活动的关节，则对方转动不灵，不易走化。就手臂而言，腕和肘是活动的关节，捋对方时，管住了这两个关节，就容易拿住对方。 捋式右手意念在手掌，劲点在掌下缘。左手意念在手背，劲点在手背或虎口处。实施捋法时，注意与对方“贴随”，因为捋时左手是用手背粘人，必须与对方贴住。才能随对方的变化而变化。粘连贴随这里重点突出“贴随”二字。
学校太极拳队训练计划 - 一、学校开展太极拳运动的重要意义： 中国古老的太极拳,既是武术,又是文化；既是健身术,又是护身术；它既练内（心）又练外（体）,精、气、神兼顾；既有养生健身价值,又有艺术欣赏价值,因而受到越来越多人的欢迎.太极拳非常重视加大人体下部运动量,大大有利于避免上盛下虚的“时代病”.太极拳不仅强调肢体放松,而且练拳全过程都要求精神放松,使大脑抑制与兴奋相结合,从而它还有利于心态平衡.所以,针对当今生活方式,练习太极拳是一条非常可靠的身心健康之路.只要天天练太极拳,就可以使你持久地保持身心健康. 太极拳的魅力,已经吸引了整个世界,它不仅是作为中国特有的民族体育运动项目,也是一项世界性的运动项目,欧美、东南亚、日本等国家和地区,都有太极拳的运动.纵观太极拳开展与研究现状,我们不难发现,开展太极拳活动的基本上集中在中老年,尤其是老年人的活动.少有在青少年中开展,特别是在学校开展太极拳的教育几乎没有.增强青少年体质、促进青少年健康成长,是关系到国家和民族未来的大事.以二零零八年北京奥运会圆满成功为契机,进一步加强青少年体育、增强青少年体质,对于全面落实科学发展观,深入贯彻党的教育方针,大力推进素质教育,培养中国特色社会主义事业的合格建设者和接班人,具有重要意义.为此,我校确立了太极拳普及教育的实践研究. 二、开展太极拳运动的措施： 1、内容：在线学习《杨氏三十八式太极拳》的基础上,本学期学习《二十四式太极拳》,深化太极拳的演练水平. 2、聘请柴师傅为学校的太极拳队顾问,有计划、循序渐进的对师生进行武德、武艺、武理等方面的训练. 3、选择部分年级的学生进行太极拳教学的试点,总结经验后,逐步地在全校进行推广. 4、确定具体的时间安排： 每周我们安排一节体育课、对试点年级的各班进行基本套路教学； 每周安排一次课外活动时间进行集体的太极拳巩固练习； 每周安排一次课余时间,针对试点年级中部分优秀学生进行提高性练习.同时安排一定的课外活动时间进行练习,使得我校的每一位教师至少掌握一套太极拳的套路,在校每一名学生在初中毕业之前至少都能够学会一套太极拳,增强健身意识,提高健身技能,增强师生身体素质. 4、通过专题教育活动——“阳光体育运动”,强化学生学习太极拳的技能.组织竞赛活动,培植兴趣、提高技能,并通过各种形式激励,发展兴趣特长. -
太极拳专项课试题 1.武术的作用是＿A＿＿＿。 A强身健体, 娱乐休闲,修身养性,防身自卫.B引人关注C可以占强 2.武术比赛采用 A 计分方法。 A.10分制记分. B.100分制记分 C.5分制记分 3.武术的比赛场地是 B 。 A .长12米宽6米 B.长14米宽8米 C.长9米宽9米 4.武术包含 C 内容。 A击剑B摔跤 C 拳术,器械,对练,散打和其它. 5.武术的主要器械是 A 。 A刀,枪,剑,棍B暗器C弓箭 6.简化太极拳有 C 式。 A16式B30 C24 7.北京奥运会的吉祥物名称是福娃贝贝、京京、欢欢、迎迎、妮妮，五个字的谐音是 C 。 A中国欢迎您 B 首都欢迎你C北京欢迎您 8.太极拳动作特点是处处带有形, 练习时也对身体和心理有要求, 正确答案是 B 。 A正形体紧注意 B 弧形、体松、心静C随意紧张安心 9.饭后 C 再进行运动较为适宜。 A半小时B十分钟 C 1 小时 10运动中和运动后的饮水, 应 B 为原则。 A随意B少量多次C多量多次 11.简化太极拳24式中唯一一式用脚跟点地的动作叫是C 。 A 独立B海底针C手挥琵琶 12.太极拳有多种流派,在河南的是 B 。 A杨式B陈式C吴式 13.简化太极24式的练习时长是 A 。 A:五到六分钟左右.B八分钟C十分钟 14.马步两脚之间的宽度是 B 。
A随意 B 三脚半长C二脚长 15.武术的步法中____B___是最省力的? A 马步B歇步C弓步 16. 15.武术的步法中____C___是最费力的? A 马步B歇步C虚步 17.太极拳中的”太极”有 C 含意? A很高B很深奥C无穷大 18拳有拳心,拳眼,拳面,拳轮和拳背要素,拳的大拇指应压放在中指食指的B 。 A第一指节B第二指C随意 19武术有 B 主要步法。 A很多B五种C四种 20武术有___B_____主要手法。 A很多B三种C五种 21太极拳运动后是否能马上用凉水洗手或冲凉B_______.。 A.能 B 不能C无严格要求 22.简化太极拳是在 A 的基础上发展起来的。 A．杨氏太极拳 B.陈氏太极拳 C.孙氏太极拳 23.二十四式简化太极拳分为 C 组。 A．5组 B.7组 C.8组 24.二十四式太极拳第三式为__A______。 A．白鹤亮翅 B.手挥琵琶 C.左右倒卷肱 25.简化太极拳的动作是以 A 的原则。 A．由简入繁，先易后难B．由繁入简，先难后易C．随机性 26.太极拳动作的特点是 A 。 A．柔和、缓慢、圆活、连贯B．舒缓、连贯C．柔和、圆活 27.太极拳动作的运行路线是 C 。 A．如行云流水，连绵不绝B．刚劲有力，连贯自如 C．处处带有弧形，如行云流水，连绵不绝. 28.简化太极拳24式第四式是 C 。
什么时候练习太极拳最合适 什么时候练习太极拳最合适 练太极拳最好在每日黎明或傍晚。 早晨空气新鲜，环境安静，而且可以使人体从睡眠的抑制状态进入到积极的活动状态，使身体各种器官的功能都活跃起来，给一天的工作做好精神上的、身体上的准备。到傍晚，经过一天劳动如果不感到过度疲劳，则可以通过打拳调剂或化解体力或脑力劳动后的疲劳。不过，在早晚练拳也有一个缺点，就是缺少阳光，不能获得在阳光下运动的好处。 如果在上述时间不可能进行锻炼，可根据个人具体情况拟定锻炼计划。在工间休息时间也可练太极拳，这对脑力活动者来说，不但活动了身体，也易化解脑力疲劳，益于工作。同样，体力劳动者在工间活动身体，也有助于疲劳的消失，促进身体的全面发展。 三班倒的工人将时间安排好坚持练拳，同样可以收到增强体质的效果。 上早班时，练拳可在清晨，运动量可大些;也可在下午或晚上，但不宜太晚，以免大脑皮层过于兴奋，影响睡觉。 上中班时最好在上午8点半以后，以中等运动量为宜。 上夜班时刻在下午4点左右练习，运动量可小些。 总之，练拳时间要因人、因时、因地制宜。如果没有完整的
时间，甚至可以化整为零，分几次练习，同样有效。 夏季练太极拳的原则和好处 随着夏天的到来，早晨天亮的时间越来越早，天气也越来越暖。很多人都开始了晨练，而太极拳受到了大多数中老年人的喜爱。那么，今天就和大家来介绍一下练习太极拳的原则和好处都有哪些吧。 练习太极拳的原则 中医学认为气、血是构成人体的基本物质，是人体脏腑、经络、组织器官活动的物质基础。气为血帅，血为气母，气血的调和与通畅是人体健康的关键。太极拳着重于对精、气、神的修练，尤其在锻炼时要求以意导体、以体导气，从而使气血运行流畅而致平和。因此常见一般练习太极拳有年之人，即使在冬天在户外打拳，也无需戴手套，练习后手还是暖暖的。这仅说明练习太极拳能促进气血运行的只鳞片甲而已。 中医学将气归纳成：元气、宗气、营气、卫气;其中元气是人体生命的原动力。宗气是水谷精微之气与大自然空气的混合体，积于胸中，以补充元气。营气行于脉中，濡养五脏六腑、四肢百骸。卫气行于脉外，有温分肉、肥奏理、司开合的作用。它们的协同作用，保证了血脉的畅通，维持了人体周身各部的功能作用。 太极拳则将元气、宗气、营气流归成内气，将卫气归为外气，通过养、蓄、运、使四个方面来练气养生。尤其是吴图南师爷提出的养蓄宗气、培补元气。运行营气、开发卫气，更是太极拳养生保健的关要之说。 接下来，再来看看联想太极拳的好处是什么。
太极拳实战技法浅解 太极拳，国家级非物质文化遗产，是以中国传统儒、道哲学中的太极、阴阳辩证理念为核心思想，集颐养性情、强身健体、技击对抗等多种功能为一体，结合易学的阴阳五行之变化，中医经络学，古代的导引术和吐纳术形成的一种内外兼修、柔和、缓慢、轻灵、刚柔相济的汉族传统拳术。 1949年后，被国家体委统一改编作为强身健体之体操运动、表演、体育比赛用途。中国改革开放后，部分还原本来面貌;从而再分为比武用的太极拳、体操运动用的太极操和太极推手。传统太极拳门派众多，常见的太极拳流派有陈式、杨式、武式、吴式、孙式、和式等派别，各派既有传承关系，相互借鉴，也各有自己的特点，呈百花齐放之态。由于太极拳是近代形成的拳种，流派众多，群众基础广泛，因此是中国武术拳种中非常具有生命力的一支。 严昭法2012年 欲掌握太极拳实战技法要领，须有一年以上拳龄，会练整套拳架，在动作标准、熟练、规范的基础上，懂得多用意念，少用硬力，手脚能分虚实。此外，还需要多琢磨动作分解，体会招法的综合运用。技击动作运用不是生搬硬套，而是一招多用，一个动作有多种用法，要根据双方当时所处态势，目视或凭手上感觉(听劲)，掌握对方袭我的意图，灵活变招。本文列举太极拳各式手法、技法、劲法运用的若干例子，供初学者参考，逐个体会，合理发挥。先慢练，接手要轻，定步是练腰胯，先练大圈，把腰胯拉松拉长，熟练后，圈子才会越练越小，速度反应就圆活连贯，才能轻灵得体，得心应手，做到意到劲到，使对方来不及考虑，已被封住或击出。 一、太极起势
对方两手向我胸前推来，我即双手向上前掤，两臂舒展，中指领劲，以脚底的沉劲经腰胯贯串至腕关节向上向前抖弹，用崩劲、抖弹劲，使对方仰面弹出。 二、下按式 对方两手向我腹部推来，我即垂肘沉胯，双臂下按，掌心斜向前，将对方双臂封住朝前下按，使对方即刻倒地。亦可腰椎后收，带动两胯及小腹里收的同时，两臂向下，掌指卡住对方指背下采，使对方在我脚前倒地。 三、揽雀尾左掤式 左棚式有正面掤，也有侧掤，同样使用。但正掤以挡和击胸、托颈为主，侧掤以扣脚斜掤为主，如对方用右拳向我胸腹袭击，我即用右手采住对方手腕下带，出左脚扣其脚跟，或踩其脚背，同时出左臂掤击对方胸部，或扣左脚，左手斜掤对方颈部和腋下，使对方无法动弹，斜向倒地。 四、右掤式 对方向我右侧用左手击我胸部，我即右转，用右手臂由下往上掤挡，掌心斜向上，左手紧跟其后，掌心斜向下，两手前后相距一掌，这是外形，实际我用右手封托住对方手肘，左手抓住对方手腕，有杠杆上抬之势，略带擒拿封住对方，使其无法动弹。 五、捋式 对方必用力争脱，我以腰带臂向左下划弧，将其肘关节反扭，并以右掌根连同小臂往左下捋挫之，使对方侧向倒地。 六、挤式 对方欲松化回抽左臂，我即右手转腕，变手背转向对方，并用左手上前搭附其右手腕处，以双臂之劲向前挤推，视当时情况，可正挤、横挤、往上挤、向下挤，把对方挤倒在地。 七、按式
24式太极拳分解动作及练习要领 预备式 一起势 1、左脚开立：首先使左膝放松，身体重心大部份落在右脚上。提左脚向左侧迈出时，其高度以不超过右踝骨的高度为宜，右腿也不要弯屈。要“轻起轻落、点起点落”。 2、两臂前平举：两臂边旋转（劳宫穴找涌泉穴）慢慢向体前平举，与肩同高、同宽，自然伸直，肘关节微屈，肘尖下垂，手心向下，指尖向前。有如要把一根下端踩在脚下、上端系于手腕的橡皮筋拉长扯起似的，动作时可有这样的意念。注意腕关节不要过于松软，不要出现指尖朝下的“折腕”。 3、屈膝按掌：(1)下按的用力和用意，有如要将水面上漂浮着的木板按入水中一样。(2)两臂、两掌不要只是被动地随屈膝而下落，要有主动下按的动作。（3）按到终点时需展掌，舒指，避免手指向上的“坐腕”。本式定势时，要配合呼气下沉，使之有一种沉稳的感觉。 二野马分鬃 （一）左野马分鬃 1、抱手收脚：上体稍向右转（意欲向左，必先右去），右臂屈抱于右胸前，左臂屈抱于腹前，掌心相对，呈右抱球，左脚尖点地（这里的“脚尖点地”是指用脚前掌着地。动作熟练以后，脚尖不必着地，收至支撑脚内侧足弓附近即可），眼看右手。 2、转体上步：上体左转，左脚向左前方迈步，脚跟轻轻着地，重心仍在右腿。面向南偏东。 3、弓步分手：上体继续左转，重心前移，左脚屈膝前弓，右腿自然蹬直，成左弓步。两手前后分开，上手高与眼平，手心斜向上，下手停于胯旁，手心向下，指尖向前。两臂微屈，眼看左手。面向正东。（二）右野马分鬃 1、转体撇脚：重心稍向后移，左脚尖翘起外撇，上体稍左转。重心移动的过程中，上体要保持正直，不可起伏，移动幅度不必过大。也不可先坐成虚步再转体，造成“断劲”脱节。 2、抱手收脚：收脚时主要是重心前移。当体重已从后腿移到前腿时，就以大腿的力量轻轻地把后脚提起，慢慢地屈膝向前，使脚尖在前脚的内侧落下。“抱球”和“收脚点地”要同时协调完成，不可“球”已抱好而后脚尚未到位。 3、转体上步 4、弓步分手（三）左野马分鬃 1、转体撇脚 2、抱手收脚 3、转体上步 4、弓步分手练习要点： 1、抱球：肩部放松，手指微屈，肘低于肩，腕低于手。屈肘时，上臂与前臂的夹角约120度，手腕、前臂同胸部之间应有20-30厘米的距离，要使能容下一个球的空当，既能抱得住这个球，而又不使球触着身体。 2 、上步：上步时一腿支撑体重，另一腿轻灵地迈出，不可将身体重心过早地前送，整个脚掌一下子踏实，呈“砸夯”状。 3、弓步：弓步四要素：“踏掌”、“弓腿”、“转腰”、“蹬腿”。脚尖与中线的交角成45~60度，两脚调整成介乎“丁弓步”和“川弓步”之间的“人弓步”。前后腿分担体重的比例是：前弓腿约承担三分之二，后弓腿约承担三分之一。弓步时，胯部自然里合，从而使上体正直，腰部放松。脚跟蹬展的整个过程中，脚掌都要贴着地面，不允许出现脚外侧离地的“掀脚”或脚后跟离地的“拔跟”现象。太极拳的弓步，后腿不能象练长拳那样挺劲绷直，但也不可过于放松，使膝部出现较大的弯屈度，显得软化无力。 4、分手：分手时左手手心斜向上，力点在手臂外侧，向左斜上方“靠”出。此时左肩要松沉，肘部要微屈，使左臂保持弧形。分到顶点时，要展掌、舒指，力贯指稍。由过渡运作到完成姿势，属于由虚到实的变化，手指表现为由自然微屈逐渐地展掌、舒指。右手同时向右斜下方分开，直“采”至右胯旁，手心向下，指尖朝前，肘微屈，右臂保持弧形。采到顶点也要求展掌、舒指、坐腕，肩部要松沉。这种“分”的手法运用，就好象要缓缓地把两手间系着的一根线扯直而又不把它拉断似的。 5、眼神：眼神是太极拳运动的一个重要部分。一般规律是：视线随主要动作的手移动，或保持头颈正直，目光平视。要避免低头或歪头，也不要死盯着前手。应把视线不时平移远望，有张有弛。 6、定式：太极拳的每一个动作都是由“过渡
太极拳棚劲的练习 太极拳棚劲的练习 其实，掤劲之球劲、弓劲、弹性劲的说法是一回事，球劲是将自己想象成一个球，弓劲是将自己的身躯、两臂、两腿想象成五张弓，弹性劲是说掤劲是有弹性的劲，而球、弓也是有弹性的，然而具体如何练出这种弹性劲呢?如果要我用一句话来说，就是阴松阳不松。具体一点就是身躯、两臂、两腿的阴面，要松开内吸，而阳面则不要管它。只要你能够做到了，掤劲自然产生，功夫的差别就在于松的程度有不同而已，松得越透，掤劲越足。 太极拳棚劲的练习 那么这阴松阳不松是不是符合“球”、“弓”的形容呢?让我们想象一下：球---指的是内充空气的皮球，它内部是空的，在球一定的时候，内部空间越是松空，皮球的表面就越掤紧，弹性就越足，所以说掤劲是球劲是对的。而球的内部就象是我们人体的阴面，当我们两臂环抱之时，两臂与身躯之间就有一个球，此时，两臂的阴面、身躯的阴面就是球的内壁，内壁越松，且越往外壁贴紧，球的表面就越掤紧，弹性就越足。而将掤劲说成弓劲的人，往往会说“五弓合一掤劲自生”所以，弓不是单独接受应力的，往往需要结合起来才能运用。现在我们不讨论如何结合，我们先看看，弓是不是阴松、阳不松的，这好象更简单一些，当你把弓的内侧看成是阴面时，在拉弓满月之时，阴面肯定是松开的，要
不弓怎么弯呢?而它的阳面此时却是紧的，这时弓才具有弹性。所以，阴松阳不松正符合了球、弓的特点，说明当人们把掤劲说成是球劲、弓劲时，只是没有向你说透其中说的是什么特点，怎么做到象球、弓一样具有弹性。 另外，我们还可以把其他的说法对照来看，许多太极名家都把是否“松”作为区别于内、外家的标志，也就是说，如果你发劲时肌肉是紧的，是通过肌肉的紧缩来产生的，是力不是劲，或者说成是外家的劲，而如果你在发劲时仍能松，而且越松劲越大，这才是内家拳的内劲。掤劲肯定是内劲，如果不具备内劲的特点，就不能说是掤劲。而我们对照前面说的阴松阳不松的方法，尽管说阳不松，但是实际上你阴面松开了，阳面就变得好象只有一张纸，这张纸贴着人家的来力，人家的感觉是推不到东西，说是推到了也推到了，说没有推到吧，也象是没有推到，此时，被推者的身体实际上是松的，不是紧的，产生的劲不是通过肌肉收缩，而通过主动放松得来的，所以是内劲，不是外力。
太极拳的完整修炼及正确方法 简明扼要、通俗易懂、直击窍要 赵建宇 第一章：明理篇 一、明确目的 （一）练习太极拳的作用 （二）练习太极拳的目标 （三）练习太极拳的练习方法 二、基本缠丝功是练好太极拳的根基 三、基本缠丝功法歌 第二章：太极拳法 第三章：例举技法 第四章：推荐太极拳理论 第一章：明理篇 一、明确目的 （一）、练习太极拳的作用 练习太极拳能起到什么作用？能达到什么目的？汇总起来分三个方面： 1、起到健全心理健康的作用，陶冶情操。通过练习太极拳的松、柔、轻、缓和刚柔相济，可以化去人们心理上因繁忙复杂的社会关系所造成的浮躁、郁闷、傲慢、恐惧、轻率、鲁莽等等不良情绪。练习太极拳讲究的是平衡的道理，心平气和，平衡中有起伏，起伏之中保持平和，即中庸之道。太极拳从某种意义上说是一种意识体操，但它不是简单的体操，它是先有意识（主要是练意识），后有动作，用意识去指挥动作的运动，这里面处处富含哲理，妙趣横生；太极拳是拳术、也是艺术，练起来如行云流水，如波涛跌宕起伏，具有很雅致的欣赏价值，所以通过太极拳的长期锻炼可以达到净化心灵、陶冶情操的效果。 2、全面增强体质。通过太极拳这种运动方式可以全面提升体质，因为太极拳的要求是由里到外，一动全动；自下而上，由上而下，节节贯串，意念不动，外形寂然不动；意念、内劲一动，外形随之而动，而且要符合阴阳平衡的哲理，从而调动了身体所有机能参与锻炼；因此对于神经系统、循环系统、呼吸系统、消化系统、免疫系统等起到了良好的改善作用，有病的起到了治疗作用，无病的起到了增强体质的作用；肥胖的可以减少脂肪；瘦弱的可以使体格、肌肉健壮；可以增强骨骼的抗压、抗折性能；提高关节的活动性能和韧带的延展性；增强了腿部力量，提高身体平衡能力；尤其是抗感冒等抵抗力的提高尤为明显。（请参阅我的“太极拳的健身价值”一文） 3、武术技击作用更巧妙。太极拳以柔克刚，以弱胜强，以静制动，后发先至；舍己从人，“彼不动，己不动，彼微动，己先动。”引进落空合即出，四两拨千斤；物来顺应，沾着不离，动急则急应，动缓则缓随。“人不知我，我独知人。” （二）、练习太极拳的目标 练习太极拳无论是技击还是健身都是让身体的机能达到空松圆活，化僵为柔，达到积柔成刚的目的。人在婴儿时期肢体是柔软的，但没有搏斗、生产能力。当人们有了生产、搏斗等生存能力后，肢体、劲力又变得僵硬，随着岁月的增长，
一、训练方法 ①静心用意，呼吸自然，即练拳都要求思想安静集中，专心引导动作，呼吸平稳，深匀自然，不可勉强憋气； ②中正安舒，柔和缓慢，即身体保持舒松自然，不偏不倚，动作如行云流水，轻柔匀缓； ③动作弧形，圆活完整，即动作要呈弧形式螺旋形，转换圆活不滞，同时以腰作轴，上下相随，周身组成一个整体； ④连贯协调，虚实分明，即动作要连绵不断，衔接和顺，处处分清虚实，重心保持稳定； ⑤轻灵沉着，刚柔相济，即每一动作都要轻灵沉着，不浮不僵，外柔内刚，发劲要完整，富有弹性，不可使用拙力 二、太极拳对人体各部位姿势的要求 头──保持“虚领顶劲”，有上悬意念，不可歪斜摇摆，眼要自然平视，嘴要轻闭，舌抵上颚； 颈──自然竖直，转动灵活，不可紧张； 肩──平正松沉，不可上耸、前扣或后张； 肘──自然弯曲沉坠，防止僵直或上扬； 腕──下沉“塌腕”，劲力贯注，不可松软； 胸──舒松微含，不可外挺或故意内缩； 背──舒展伸拔，称为“拔背”，不可弓驼； 腰──向下松沉，旋转灵活，不可前弓或后挺； 脊──中正竖直，保持身型端正自然； 臀──向内微敛，不可外突，称为“溜臀”、“敛臀”； 胯──松正含缩，使劲力贯注下肢，不可歪扭、前挺； 腿──稳健扎实，弯曲合度，转旋轻灵，移动平稳，膝部松活自然，脚掌虚实分清。 三、打太极拳的要领
太极拳十大要领：虚灵顶劲、含胸拔背、松腰、分虚实、沉肩坠肘、用意不用力、上下相随、内外相合、相连不断、动中求静。 虚领顶劲：头颈似向上提升，并保持正直，要松而不僵可转动， 劲正直了，身体的重心就能保持稳定。 含胸拔背、沉肩垂肘：指胸、背、肩、肘的姿势，胸要含不能挺，肩不能耸而要沉，肘不能抬而要下垂，全身要自然放松。 手眼相应，以腰为轴，移步似猫行，虚实分清：指打拳时必须上 下呼应，融为一体，要求动作出于意，发于腰，动于手，眼随手转， 两下肢弓步和虚步分清而交替，练到腿上有劲，轻移慢放没有声音。 意体相随，用意不用力：切不可片面理解不用力。如果打拳时软 绵绵的，打完一套拳身体不发热，不出汗，心率没有什么变化，这就 失去打拳的作用。正确理解应该是用意念引出肢体动作来，随意用力，劲虽使得很大，外表却看不出来，即随着意而暗用劲的意思。 意气相合，气沉丹田：就是用意与呼吸相配合，呼吸要用腹式呼吸，一吸一呼正好与动作一开一合相配。 动中求静，动静结合：即肢体动而脑子静，思想要集中于打拳， 所谓形动于外，心静于内。 式式均匀，连绵不断：指每一指一式的动作快慢均匀，而各式之 间又是连绵不断，全身各部位肌肉舒松协调而紧密衔接。 打太极拳要求松静自然，这使大脑皮层一部分进入保护性抑制状 态而得到休息。同时，打拳可以活跃情绪，对大脑起调节作用，而且 打得越是熟练，越要“先在心，后在身”，专心于引导动作。这样长期 坚持，会使大脑功能得到恢复和改善，消除由神经系统紊乱引起的各 种慢性病。太极拳要求“气沉丹田”，有意地运用腹式呼吸，加大呼吸 深度，因而有利于改善呼吸机能和血液循环。通过轻松柔和的运动， 可以使年老体弱的人经络舒畅，新陈代谢旺盛，体质、机能得到增强。太极拳近百年来所以在国内外逐渐得到推广，就是因为它具有防病治 病的功用，对神经衰弱、心脏病、高血压、肺结核、气管炎、溃疡病 等多种慢性病都有一定预防和治疗作用。病情严重的患者，要在医务 人员指导下进行锻炼。
太极拳的两种步法练习 太极拳的两种步法练习 太极拳步法是太极拳基本功，也是每位习武之人必练的功法，想要达到周身轻灵，首先要学会迈步轻灵。 我年轻的时候常随先师表演太极推手、大捋及抹角行步、散手以及武当太极对剑、三才对剑。当时我二十多岁，由于也算刻苦，身手还算矫健，步伐也还轻快。先师当时已是七十多岁，但对起剑来，推起手来，仍然身手矫健异常，有神威不可逼视之感。尤其脚下之轻灵，可谓龙行虎步，衣袂飘飘，翩若惊鸿，脚下快而无声。而我等虽勉强跟随，两腿虽也快速跟进，但不免触地咚咚作响，处处受制，与先师之步法轻妙绝伦，完全是两回事。 先师传拳时除强调大松大软外，首重脚下太极步法的练习。一般人练太极拳也讲迈步如猫行，但由于传授者腰胯以下未真正彻底松开，行步时未顶起头来，塌下胯去，所以走起步来，迈不出大步，而且脚跟后滑，并美其名曰“弓步时后脚跟可以向后调整”，为他的这种出步找借口，真是差之毫厘，谬之千里!全不知太极拳之步其根在脚，脚跟一动，劲力全消的道理。 太极步法如同猫步，轻灵、善变，练好腿脚力量，有助于提高身体稳定性，上身施展也很放松。 如若勉强跨大步，势必猫腰撅屁股，出脚沉重如秤砣触地，咚然有声。故练出之拳架，姿势不优美，更说不上雄伟之气势。
先师所传之拳架，要求步幅宽大而迈步又轻灵沉稳，确需下一番苦功夫。 太极拳的步法练习第一种为慢步练法 要求迈步时要有虚无之气势，要顶起头，拔起背。他说：“太极拳步法之情形，如出右脚时，必先收全身之重量徐徐移于左脚，然后徐徐提起右脚。在提右脚时，如脚腿从水里泥里抽出来的情形。右脚这样子提起来，而后虚虚落地，慢慢踏实，其落地踏实用劲的情形，如将脚腿徐徐插在地下去;提左脚的情况与提右脚时的情况同。 按照这样子的练法，日子久了，脚步才来得柔弹而稳固有力，身体才能经得起冲撞，不至被人推出或打倒。在身势与步法动作的形式上，是要有龙行虎步，身形相配的神气。这就是说，身心内外要全部完整，全身力通气通。否则，就不是练太极拳的意思了。”这是第一种慢步练习的要领。 初学太极拳要慢练，当练习到一定境界后，要快慢结合，练习太极步法也是如此，掌握快慢转换规律。 太极拳的步法练习第二种练法为行步快步练习 这是在第一种练法有基础后的必不可少的练习法。两腿要异常轻灵，要如像绳儿吊着一样的松沉，落步轻，发步快，所谓步随身换，忽隐忽现，进退神速，灵妙异常。太极行步运动起来，可谓来去如穿棱，忽隐忽现，矫若游龙。脚下只见步伐移动，而来去无声。这种步法练好以后，运用于推手散手，可谓拳来不知，脚去不晓，打人于不知不觉之中，将发挥很大的威力。 先师散手时，多以手挥琵琶为开手势，右腿微屈，左脚尖虚
太极拳基本功训练方法 太极拳基本功训练方法1、重视拳架的锻炼 拳架是太极拳功夫的基础，是太极拳的本。所以强调拳先打低架，也就是拳走低架，裆走下弧。因为拳架里有丰富的内涵。 它包括人体整体素质训练的多种要素，如力量、耐力、灵敏、速度、松柔、丹功、意念力、智力、胆量、精神、技巧等多方面的训练。这些方面的训练内涵是其他锻炼项目(如推手、器械)所不能替代的。 所以说，在学习拳架的同时，我们还需要锻炼自身的综合素质。 练架子是长功力的过程，是练“知己”功夫的过程，是推手中不能施展，而在拳架中淋漓尽致地施展，器械锻炼中，各种拿法以及各种手法难以得到锻炼，所以，每天安照要求尽可能地多打几遍拳。 太极拳基本功训练方法2、单式训练 实质上是发劲锻炼。如果练拳着眼于护身、交手，必须进行单式练习。主要是从拳架中拆出一些认为最实用，最善于施用的招法。这样会很苦、很累，但功力会提高很快。 太极拳基本功训练方法3、练推手 双方切磋，练推手其实就是听劲、喂劲、化劲、发劲诸手法的练习，切磋各种太极劲力彼此相生相克的关系，从而锻炼知彼
的功夫。 在太极推手中，“知己知彼”是取胜的关键所在。 提高触觉灵敏度，努力扩大自身引化来力的空间，尽可能将来力引向“强弩之末”的境地。练推手要从吃亏入手，着重提高化解来力的功夫，在这个基础上，再练习发劲。 太极拳基本功训练方法4、器械训练 主要是锻炼臂力、腕力、腿力、腰力以增强自身功力，它是拳架功力的补充。 太极拳基本功训练方法5、内功的训练 (即：意、气、力的训练) 意 首先是意念，每个式子，每个动作都加上意念，全神贯注，每个动作运行之中都想前面有各种阻力，叫做有敌情观念，也叫有功防意识。(也是我师傅常讲的一人玩二人)。 气 在打太极拳的过程中，要全面发挥人体的呼吸功能，在进行肺呼吸的同时，要重视丹田呼吸(即：腹式呼吸)，以便有利于调节和发挥人体潜在的多种功能。 力 丹田力其实就是腰力，丹田的旋转滚动，带动四肢，带动整体运动。丹田运动时人体的调整有特殊的功效。 这三个方面的锻炼，是太极拳内功锻炼的三个重要部分。关键部位，贯穿于上面各种外功，内功的锻炼之中，万不可轻视。 提高功力，不管是外力还是内劲，都要做到外力和内劲的结
太极拳试卷 一、概念题。 1. 太极拳——是结合中国古代的养生术、导引术、戚继光的三十二势长拳以及古代的“阴阳”学说和“太极”等理论编成的一种拳术。 2. 上步——后脚前进一步或前脚前移半步。 3. 碾脚——脚跟作轴，脚尖外展或内扣；或以脚前掌作轴，脚跟外展。 4. 舍己从人——就是在面临对手进攻时，不是以己之力去对抗对方之力，而是顺着看对手的来力，加上弧线和螺旋运动化去对手的劲，在对手失主平衡的时候，用我的劲把对手发出去。这件特殊的借力打力的战术原则就是太极拳的舍己从人。 5. 太极拳的推手——是一种对抗性运动，双方互相缠绕划圈，采用十三势的技法，最能体现“舍己从人”的原则。 6. “体松”——是指在练拳时，身体肌肉处于一种放松状态，使身体自然舒展，不得用僵力。 7. “心静”——是指练拳时要排除一切杂念，注意力要集中。 8. 缓慢柔和——缓慢柔和也是太极拳的运动特点。缓慢还需要连贯，即动作连绵不断，而柔的前提是要放松，在此基础上，使两臂的姿势及运动路线都得保持弧形。 9. 搬拦捶——手臂不可伸直，搬（压）拳和拦掌动作要有明显的弧度，不可直来直往；身体转动与两臂动作要配合恰当。 10. 搂膝拗步——一掌经耳旁向前推出，另一掌按于胯旁，掌心向下，两腿呈弓步，臂不可直，手高不过眼，低不过肩。搂膝不可低头弯腰，也不可用力后撑和伸直臂肘；前推和下搂须上下协调一致，身体须平衡稳定，不偏不倚。 二、填空。 1. 太极拳最早起源于明末清初河南温县陈家沟，由陈王廷所创，故称为陈式太极拳，迄今已有近300年的历史。 2. 有后人将陈式太极拳发展成现在流传较广的陈、杨、吴、孙、武等各式太极拳。 3. 从20世纪50年代起，先后编写二十四式简化太极拳，四十八式太极拳，后又编写了太极拳与太极剑各式的竞赛套路。 4. 5. 长期进行----------可有效地促进-------------------的灵活、协调、有效地支配动作，使练习者心情舒畅、忘我怡神。 6. 太极拳的动作姿势要求身体的各个部位须保持一定的-----------，便于身体各部位肌肉放松，这种身体姿势有利于经络与气血舒畅地运行，不易造成运动性的局部受挤压而产生组织器官缺氧，因而，是健身运动中最为理想的-----------健身内容之一。 7.-----------------的机能改变同时诱导植物神经机能提高，使---------------更好地适应机体需要。 三、选择。 1.-----C-----的种类虽各有不同，但其方法和基本动作的要求上都大体相同。其动作缓慢柔和，势势相连，运动绵绵不断。
练习太极拳的六个基本功 对于没有任何学拳基础的人来说。练习太极拳就要从零开始学起，不是说练习太极拳不需要基础，而是练习太极拳的最重要的就是基础的练习，只有学好了基础才能提高你的太极拳。 一、无极桩 首先将双脚分开要与肩同宽，将你的双膝微微弯曲，身体的重心放在两条腿上；将双手就到胸前微微弯曲手臂，手指呈自然装展开，手指指尖相对，手掌掌心向里呈现抱球状，两眼注视双手。姿势高低可根据体质和腿部力量自行掌握，通过练习下部力量增加稳实，周身内劲饱满，丹田之气充足。 二、开合桩 在无极桩姿势的基础上，两手臂作稍向外棚开和稍向内收合的练习。开时为吸气(小腹鼓起);合时为呼气(小腹内收)。初练时呼吸应力求自然畅通，不要勉强憋气。当练久之后，可以加大呼吸程度，扩大充气量。如吸到极点不能再吸时，改为呼气。同样，呼到极点将气全部吐出不能再呼时，改为吸气。每次可练3-5分钟，日久可渐增。 三、升降桩 预备时，身体自然正直，两脚开立，头正悬顶，下颏微收，肩臂松垂，两手轻贴大腿外侧，眼向前平视。这时体松心静、排除杂念、精神集中、呼吸自然。动作时，两手缓缓向前平举至肩高，同肩宽，两肘微下垂，手指微屈，指尖向前，手心向下，眼看两手方向。 这时为吸气(小腹内收，意由丹田提气上升，贴于脊背)。用意不用力，自然稳重，此为“升”式。当两手臂升至肩高时，转为下落，两手按至腹前，手心向下，微微下塌，舒指展掌，眼看前下方。 这时为呼气(小腹鼓起)，气沉丹田，此为“降”式。这样两手臂随两腿的屈伸，做前平举和下按的反复练习即为“升降”练习。姿势的高低可根据体质情况和腿部力量自行掌握。
初练时呼吸应力求自然畅通，不要勉强憋气，久练后可以逐渐加大呼吸量。如两手升至肩高，吸到极点不能再吸时，改为呼气。同样两手下按，呼气到极点不能再呼时，改为吸气。一升一降为一次练习。初练时，可做3-5次，久练后，练习的次数可逐渐增加。 四、虚步桩 首先身体立正真好，身体的重心移到右腿上，并将右腿微微弯曲，左腿向前迈出半步用脚跟点地将脚尖翘起，然后将左膝微微弯曲的同时将双手举向前放，将左手上举同鼻子高度，右手放于左边肋骨的下方，双手手指微微弯曲，自然分开，掌心斜相对，指尖均朝前上方，眼看左掌方向，如同左琵琶式。
杨氏太极拳名家实战用法总结 一、起势实战用法（口诀：全体大用意为主体松气固神在凝） １、杨澄甫： 此为预备动作之姿势，……尤要精神内因。气沉丹田，一任自然，不可牵强，守我之静，以待人之动，则内外合一，体用兼全。人皆于此势易为忽略，殊不知练法用法，俱根本于此。 ２、牛春明： 预备动作，灵活运用。两臂上提是掤劲，即用掤劲接住（粘住）以待势反击，下落是采劲，采敌来力，化力借用，有四两拨千斤之用。 ３、李雅轩传授陈龙骧 李敏弟： 起势以安静心神，养其虚灵之气，以备对方不测之来手，周身各部都可相机而动，切勿轻视之。 ４、崔毅士传授崔仲三： 用法（１）：对方双手死握我双腕下压，我顺势向下沉肩，缷对方之力。趁着对方回抽瞬间，我力发于肢，提髋紧腰，双臂向前提起送出，破坏对方重心，使之向后倾倒。 用法（２）：再如对方双掌向我迎面扑来，或如对方双掌抓我双肩，我以双肩虎口向上接应对方双肘或双臂下侧，将对方向后掀起，随之用双掌攻击对方胸部。
用法（３）：对方正手或反手握我双腕，我松腰沉髋，沉肩垂肘，以挑掌动作结合弧形路线，赂内引进化解；使之身体重心前倾，脚跟拔起，力量落空。 用法（４）：结合上势动作，我虽已破坏对方重心，但未解脱， 此时，我即刻向下、向两侧分掌，使对方处于被动局面，在对方想撤手变化之时，我随之放长击远，双掌向对方胸部推按，以脚、脚、腰之力将对方推出。 用法（５）：我双手进攻对方胸部，对方处于被动局面，对方由 内外分拨我双掌时，我即时松肩肘，双手拿住对方双腕，迅速下落使之身体重心前倾，趁对方身体前倾时，起腿以膝关节顶撞对方。 二、揽雀尾（掤、捋、挤、按）实战用法（口诀：掤捋挤按雀尾生） （一）左掤右掤实战用法 １、杨振基： 《太极体用全书》上说：“敌人对面用左手击我胸部，我……以我之腕贴在彼之肘腕中间，用横劲向前往上掤去。”这里的掤法是向前向上转腰横出，用的是横劲。 掤手是杨式拳的总手之一，也是推手中的接手。意念在腕的上缘，打手时一般以腕部与人相接，劲点也在腕的上缘。掤手在杨式太极拳中使用最多，也最有效。２、杨振铎：