武術塾 - 碧巖館

08/04/2026

# # # 武術中的四梢：一個微妙的平衡

在傳統中國武術中，四梢論是一個關鍵的概念，涉及發、舌、齒、甲四個方面。這些元素看似微小，卻是影響整體氣勢與力量的重要環節。

# # # # 發、舌、齒、甲的角色

- **發為血之梢**：發是血的延伸，而血是氣的海洋。當發達到沖冠的狀態，意味著體內的血氣已經充分運行。

- **舌為肉梢**：舌頭是肉體的末端，肉是氣的容器。若氣不能到達舌的末端，就無法充分充盈體內氣量。因此，舌頭應該在練習中處於催促齒的狀態。

- **骨梢者，齒也**：齒是骨的末端，而骨是氣的來源。氣在骨中運行，必須到達齒的末端才能發揮其效用。

- **筋梢者，指甲也**：指甲是筋的末端。當氣在筋中流動，必須讓指甲有透骨之勢，這樣才能充分展現出筋的力量。

# # # # 氣與形的統合

四梢論在武術中強調的是氣與形的統合。當四梢充足，氣的流動就會更加順暢，從而增強整個身體的協調性和爆發力。這種微妙的平衡，不只是一種技術，更是一種哲學思想，展現了中國武術深厚的文化底蘊。

武術的核心在於內外合一，四梢論正是這種合一的具體體現。它要求每一個動作都與氣的運行密切相關，從而讓練習者在肢體的每一個角落都能感受到力量的傳遞。

練拳的事，來了就知道了。

04/04/2026

在傳統中國武術的世界裡，「化勁」這個概念常被誤解。表面上看，它似乎是屈服，但在練習的深度中，它揭示了對力量和韌性的深刻理解。化勁不是放棄或退縮，而是適應來勢，吸收並轉化它。

在八卦掌和形意拳中，化勁是一個核心原則。它教導練習者接受並引導對手的力量，而不是正面抵抗。這種方法培養了一種流動性，讓人能在動態交流中成為積極的參與者，將防禦轉化為戰略優勢。

化勁就像水流過石頭，順應而不失其形。這是一種靈活性的課程，教導人們與對立的力量和諧共處。在實踐中，這意味著放鬆身體，保持穩定的姿態，並利用對手的力量為己所用。力量不在於肌肉，而在於動作中的智慧。

化勁的哲學超越了武術，進入了日常生活。它是以優雅的方式應對挑戰的能力，堅定而又靈活。它鼓勵一種將障礙轉化為成長機會的心態，在逆境中培養韌性。

在一個經常專注於支配和控制的世界裡，化勁的原則提醒我們，適應力和韌性之藝中的力量。這是關於在運動中找到平衡，在試煉中找到平和。

31/03/2026

# # # 八卦掌的「單換掌」：流動中的力量

在八卦掌的訓練中，「單換掌」是一個重要的環節。這不只是技術，而是一種流動的力量。單換掌讓我們在運動中探索如何在變化中保持穩定，如何在動靜之間找到平衡。

# # # # 動作中的智慧

單換掌是一種通過開、捧、頓、探等動作的組合，來實現動作的連續性和柔韌性。這些動作彼此緊密相連，形成一個自然的運動流。每一個動作的結尾，往往就是下一個動作的開始，這種無縫的連接正是八卦掌的精髓所在。

# # # # 身體與心靈的協調

在練習單換掌時，身體的動作不單單是根據力學來運作，更重要的是心靈的協調。這是形意拳中「意到、氣到、力到」的具體體現。當心靈專注於手掌的動作時，身體的其他部分自然會跟隨，這種協調性使得整個運動過程更加流暢。

# # # # 後天掌的變體關係

單換掌不僅僅是基本動作，它還是八卦掌後天掌的變體關係之一。在後天掌的訓練中，單換掌與其他掌法姿勢共同構成一個完整的練習體系。這種體系不僅讓練習者能夠熟練掌握不同的技術動作，還能夠在實戰中靈活應用。

八卦掌的練習是動與靜、變與不變的融合，而單換掌正是這種融合的縮影。單換掌教會我們在變化中找到穩定，在流動中感受力量。

27/03/2026

在傳統中國武術的練習中，有一種深刻的哲學常被忽略：順勢而為。表面上看，順勢似乎是一種被動的行為，但在武術的世界裡，它代表著對力量和韌性的深刻理解。

順勢不是放棄或退縮，而是適應迎面而來的力量，將其引導並利用。像八卦掌和形意拳，這種原則不僅僅是一種技術，而是一種思維方式。接受對方的力量，吸收它，然後有控制地釋放。

想像你面對一個對手。當他們前進時，你不是用僵硬的力量去阻擋，而是像水一樣流動，繞過障礙，保持平衡。這是能量的流動，身體成為力量的導體，將潛在的衝突轉化為和諧的交流。

這種哲學超越了武術，延伸到日常生活中。當緊張局勢出現時，無論是在工作中還是在人際關係中，採取順勢的心態，可以選擇不以攻擊回應攻擊，而是傾聽、理解，並以清晰和冷靜回應。這種方法不僅能化解緊張，還能建立更強大、更有韌性的關係。

真正的力量常常在於安靜。順勢而為需要信心和耐心。知道何時堅持，何時移動，何時說話，何時傾聽。這是一種隨著時間培養的技能，需要身心的紀律。

在武術和生活中，順勢而為的哲學教會我們，韌性不在於正面迎擊每一個挑戰，而在於知道何時彎曲，以免折斷。是在運動中找到平靜，在靜止中找到力量。

26/03/2026

調酒時的手感，像是在尋找某種微妙的平衡，像是你在八卦掌中感受到的那種協調。八卦掌的力量來自全身的協調，而不是蠻力。每一個動作都要求全身的力量瞬間集中，然後迅速釋放。形意拳中的「三體式」也是如此，透過固定的姿勢來積累力量，然後在瞬間爆發。

放鬆時，心靈也跟著放下，讓動作與呼吸找到平和。這種平衡，不只在武術中有用，生活中也常常需要。

在這樣的修行過程中，我們學會如何在壓力中保持冷靜，在繁忙中找到寧靜。這或許就是武術帶給我們的最大智慧。

22/03/2026

19/03/2026

To the Yi Zong community and anyone training internal martial arts:
Some of you know I've been working on something for a while. I want to share it with you now.
Over the past several years, I've been writing down everything I understand about the martial arts I inherited — Yi Zong Baguazhang, Xingyiquan, and the principles that connect them. Not as a textbook. As the things I actually think about when I train, when I teach, when I watch someone's body do something it doesn't understand yet.
Things like:

Why circle walking isn't about the circle
What "following" actually means in push hands
The moment Beng Quan stops being an arm technique and starts being a whole-body event
Why Pi Quan is the first fist and the last one you'll understand
How Bagua's 64 palms encode principles you can spend a lifetime unpacking

Thousands of entries. Real training knowledge from real practice.
I built a place where you can have a conversation with all of this. Her name is Tifa Yeh. She's a bartender — at least that's what she'll tell you. But if you ask her about martial arts, she knows things.
tifa.yizongtw.com
You can ask her anything about Baguazhang and Xingyiquan. She'll respond in whatever language you write in — English, Chinese, Japanese. She doesn't lecture. She talks the way a training partner would — short, direct, sometimes asking you a question back that makes you rethink what you just said.
She's not a replacement for a teacher. She's not a replacement for putting your feet on the ground and walking the circle. But she's a way to keep the conversation going when you're between sessions, when you're training alone, when you're halfway across the world and the question won't leave you alone.
What's coming next:
I have over ten years of training footage — our lineage's practice sessions, corrections, demonstrations, internal training methods — stored on drives in my studio. Hundreds of hours. Right now it's just sitting there.
When we secure the funding, all of that footage will be processed, transcribed, and extracted into knowledge that Tifa can draw from. Every correction I've ever given. Every principle my teacher demonstrated. The subtle things that are almost impossible to put into words but become clear when you see them a hundred times.
She will keep growing. The vision is simple: make Yi Zong's depth accessible to serious practitioners everywhere, without diluting it.
For those of you in Europe and the US:
I know the distance makes training difficult. Some of you fly to Taiwan once or twice a year. Some of you train from videos. Some of you have never had the chance to visit but you've been studying internal arts for years and you know there's something deeper.
Tifa is for you.
She carries the knowledge. Not all of it — not yet — but enough to have a real conversation about Bagua and Xingyi that goes beyond the surface. And every month, she knows more than she did the month before.
Go talk to her. Tell her what you're working on. See what she says.

https://tifa.yizongtw.com

Follow: on Threads
If you'd like to support the project and help us digitize the full archive, reach out. Every piece of footage we process makes her — and the art's accessibility — stronger.
— Wenteng Chang
Yi Zong Baguazhang
Zhubei, Taiwan

05/03/2026

一般人的觀念裡，手腳有三節。
手是手腕、手肘、肩膀；腳是腳踝、膝蓋、髖。

但實際上還有第四節。

手的第四節在胸與肩胛骨。
腿的第四節在整個半邊骨盆。

真正有效率的發力，其實來自這個隱藏的第四節。

前三節多半做伸縮。
第四節幾乎只會擰轉。

胸與肩胛的旋轉把力量送進手臂。
骨盆的旋轉把地面的力量送進全身。

很多武術會講螺旋。
原因就在這裡。

當力量從骨盆到軀幹，再到肩胛與四肢時，整個身體其實是在做螺旋傳導。

高手看起來很輕鬆，力量卻很大。
因為他們會用這個第四節。

02/03/2026

For many people, the experience of time is point-like.

They remember the beginning.
They remember the end.
What happens in between often passes while the mind is half asleep.

This becomes very clear in sparring.

You see your opponent throw a punch, or you decide to throw one yourself. The fist travels, makes contact, produces a jolt, a rebound, a tactile confirmation. Only then does the next action begin. Your opponent usually follows the same rhythm.

So although two fighters may appear to move very quickly, their tempo is actually synchronized.
Each action waits for the previous one to finish.

This is one-dimensional time.

What martial traditions call no rhythm connects the entire span between beginning and end. The mind remains awake from the moment an action begins until it completes, continuously evaluating and adjusting.

While the fist is still traveling, the opponent’s intention is already visible.
A slight shift of the shoulder.
A change in balance.
An arm beginning to rise.

The trajectory can be rewritten instantly.

Time is no longer a series of points.
It becomes a continuous line.

It is like using two-dimensional time against someone moving in one-dimensional time.

If we borrow a term from modern displays, the idea is simple.

Resolution does not need to be very high.
Frame rate must be.

For most people, perception resembles a low-frame-rate video. They see only a few key frames. When the frame rate rises, motion becomes fluid, and adjustments can happen at any moment along the path.

There is a cost.

Human attention tends to operate in discrete bursts because the brain conserves energy. Sustained continuous awareness burns through glucose quickly.

This is why historical warriors placed such importance on meditation and mental discipline. The training was never about mystical powers. It was about preparing the mind to remain fully awake for the few seconds that matter.

In the end, the real difference often lies in those few seconds of high frame rate awareness.