Tai Shan Temple - Photo By Hamed Katoozi
Bamboo Jungle - Photo By Hamed Katoozi
Lama Temple - Photo By Hamed Katoozi
Forbidden City - Photo By Hamed Katoozi
Bamboo Jungle - Photo By Hamed Katoozi
Wudang Purple Heaven Temple - Photo By Hamed Katoozi
Wudang Mountain - Photo By Hamed Katoozi

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Standard Tai Chi or Traditional?

 

Standard Tai Chi or Traditional?

A word to Tai chi Coaches and Pupils

by Hamed Katoozi

 

Between the Tai chi groups, there is always this discussion that for practicing which one is better: Standard Tai Chi or Traditional Tai chi? Usually pupils and coaches would face these challenges, who have the pre-occupation of learning about the martial and inner structure. It has been discussed that standard and modern forms lack such structure and are only meant for presentations and competition. But is it really the case?

These issues need clarification and I will propound them in the following article.

 

 

This matter can be seen in the first generation standard forms, which were introduced 40-50 years ago. These forms had a structure much simpler than traditional forms and this alone led to deployment and disagreement from some Tai Chi masters. They said that the true soul of Tai Chi will be lost in these forms. Yes, of course the first generation standard forms were a lot easier than the Yang and Chen traditional forms (however, 24 Form was simpler and 32 and 42 forms had complicated frameworks), but the design of such forms needs peculiar attention.

 

 

Tai Chi Standard Forms Were Designed for

First, we must consider the fact that traditional forms were not designed for novice pupils. Usually the pupils, who had mastered other forms of Martial Arts would come learning Tai Chi. Moreover, in different families or houses each and every one of masters were trained by their fathers from early ages. They had enough time to see and tangle with the forms, thus a simplified structure for teaching them was never an issue, nor a necessity. That’s why in teaching older and rookie adults there usually were lots of complexities and difficulties. This was the reason why Tai Chi used to be forlorn, in comparison to its vast potentials. Tai chi, at those times, was limited to families and houses who owned the styles. Moreover, fostering coaches in these approaches had no place and one had to become a follower to that house (although considering the contemporary expansion of Tai Chi in recent decades, these houses and families, too, have begun following the modern ways.) At those times, there were no particular way of evaluation and reaching higher levels and everything was based on decision and taste of Master (of course the Master is right, for the most part. But some impositions were inevitable.)

 

* Second, such houses and families each had their own ideas and styles. They faced serious differences in designing competition and rehearsal forms and only verified their own styles (although they might have pretended otherwise.) Ethnic and family prejudices formed their main approach towards training, for they considered themselves heir and legatee of their ancestor. Although this may pose a valuable trend, it caused serious obstacles in teaching and expanding of Tai Chi and conveying it to ordinary members of society. These proud families imposed various filters and difficult evaluation methods for teaching their techniques (and still do), which conflicts not only with academic methods of teaching, but also with public spreading of Tai Chi in today’s modern life.

 

* Third, Tai Chi too, like other Styles of Wushu and even other Martial Arts in the world, needs competition structure for expansion, so that it can be taught to young athletes in different countries around the globe. We all admit that this approach is as necessary, as it may be admirable. On the contrary, different houses and families do not share such ambitions; they believe that anyone hungry for learning Tai Chi must go to them and adapt themselves with their methods of teaching. They also believe that pupils must prove their loyalty, in order to learn the higher techniques. This, in fact, depicts a form of adopting parents and disciple followers in teaching, and not an academic method of athletic teaching. On the other hand, the traditional forms, which had their special inner and martial structure and were founded on personal ideas and tastes of masters, did not have the capacity of turning into competition forms. For as we all are well aware, in contests there should be specific and pre-conceived criteria for judgment, which are known to jury members and young pupils from early ages.

 

* Fourth, International Wushu Federation and Chinese Wushu Association, for their approach toward health applications of Tai Chi in different age-groups both needed forms with clear, simple, and standard structures, whose health-wise aspects could be evaluated. That’s because nowadays it is believed that some traditional forms designed for martial purposes, can harm novice, elderly, or injured pupils and damage their joints seriously. Therefore, these organizations had to simplify the forms and make their athletic and joint structure teachable and clear. Gradually in advanced forms, the structure would advance as well as martial points. Therefore, the pupils could learn complicated structure and their martial applications as they climb up the ladder of skillfulness. It is worth mentioning that these international organizations never have negate the traditional styles; the pupils, after learning standard forms and with knowing the athletic structures, can then begin learning their favourite traditional styles as well.

 

* Fifth, in federation and coherent structure for expansion of an athletic field everything must commence from a particular, base point and advance through the way. That’s what happened for Tai Chi and Wushu. Only this way can one reach proper depth and development in various levels. However, it should contain an evolved and obvious framework for teaching and competing. 

* Sixth, sharing information and data is a grave preoccupation in the modern age. Now, consider the situation, in which all the information is in hands of particular people and groups, who insist on hoarding the data and impose strict rules and conditions for sharing them; practically, sharing information, facing difficulties, would lose its meaning. That is because sharing data needs of cohesive and systematic management, which can translate the information into a common language (technical-wise), in order to be used by everyone. 

Otherwise, the information-holders themselves cannot have access to others’ knowing either. (For example, it’s always mentioned by Chen Family that Yang Luchan, Yang Style Founder, was trained in Pao Chui and Lao Jia er lu, and that’s the reason why all Yang forms are slow in tempo.) If a coherent sharing data system exists, every member of Tai Chi community from around the world can share their information and have access. This needs formulation of a simple alphabet for forms, with mutual language. 

 

* Seventh, the issue of speed of teaching and learning is an important fact in today’s world. This too requires a classified method of teaching, from amateur to advanced, for pupil to know where they are standing and how should regulate their time and attempt. 

 

 

 

Martial Arts in Modern Times

However, the point most traditional style coaches emphasize on, is that the martial structure of such forms is greatly stronger than standard ones. Yes, of course it is. That’s because those forms were meant for real combats and their first priority was victory in fighting. Standard forms, however, were and are never meant for application in battlefields and thus, their martial outlay must not be evaluated like this.

 

But really, how important is this issue in today’s life?

 

Do you have such thoughts on your mind, when practicing Tai Chi? Do you consider applying these techniques in street fights or real combats?

 

After the invention of arm weapons and Industrial Revolution, martial arts lost their previous standing in modern societies and have gained the form of Art. Considering the fact that in other arts, such as music and painting, there have been simplifications and standardization in teaching, such efforts do not imply any conflict at all in Tai Chi, either.

It is worth mentioning that gaining the ability of using Tai Chi in a real fight is a long-term achievement. I must point out the fact that if dear Tai Chi pupils want to reach masterfulness in martial applications in less than 10 to 15 years (with 4-5 hours of weekly practice), even if they work in a pure traditional and martial style, they beat the air (it’s a pointless loss of time and energy). Reaching to the point of using Tai Chi in real combats is a detailed, intricate, and time-consuming matter and practicing standard forms does not include it. Additionally, there are specialized, operational, and efficient styles for street combat and self defence.

 

 

Tai Chi, As a Dynamic Meditation (Tai Chi- Qi Gong)

Many of other masters in the field of traditional styles believe such styles are more powerful in terms of affecting Qi Energy, as a kind of dynamic meditation. This could be true, but only in times when the science and art of Qi Gong was not so wide-spread, as it is today. In the past, transcriptions and teachings of this field were not yet found and Tai Chi forms’ effects on energy were hidden and mysterious. In fact, each family tried to have more inner influences in their own forms, without letting anyone outside their cycle gain access to it. 

However, with expansion of Qi Gong throughout China and the rest of the world on one side, and findings of ancient texts and opening of temples’ doors on people on the other, the science of dominating and controlling energy can be gained in depth and academic styles that intricate traditional forms have lost their advantage. In fact, such purpose (Tai Chi as a dynamic meditation and affecting Qi energy) is defined in Qi Gong science, and not martial art of Tai Chi. Pupils with such concerns, are better to educate in Qi Gong from the start, to step forward in the assorted and guaranteed inner path of Tai Chi. Such specialty is called Tai Chi Qi Gong, in which everyone can start from the beginning and reach higher levels. In practicing Tai Chi Qi Gong, form is not that important and it can be borrowed from any style of Tai Chi (even standard.)

For example, Grand Master Mantak Chia, who is one the greatest Qi Gong masters in the world, has introduced 4 forms for practicing Tai Chi Qi Gong, from Wu, Wudang, and Yang styles. Moreover, a master can design their own form for this practice, based on their skills and aims. In teaching of Tai Chi Qi Gong specific points are taught for controlling Qi energy. It also has a clear path to masterfulness. Therefore, it can be concluded that such aim would be fulfilled in education of Qi Gong more efficiently.

 

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All the mentioned does not signify that traditional styles are not suitable or effectual. I do not intend to reduce their authenticity. Tai Chi owes its present status to all styles and historic changes. However, that one family emphasizes on its own forms and tastes and discriminates against others, is an obsolete approach in modern times.

 

The evolutional path of Ti Chi can be compared with music. Europeans in their classic music, especially from the medieval ages, decided to write down their knowledge and share it. This caused a great development and progress of this musical style. Moreover, there were created standard forms in playing and composing’s learning methods and competitions and contests formed. But in other countries, like Iranian traditional music, because of a master-follower method, many of the musical modal systems (called Dastgah) and ornamentations and masters’ achievements were lost in time and polluted by personal ideas and tastes. Now we know that there never was any other way than standardization of writing notes and teaching methods. Today, Iranian music has started following the same road as western classic music.

 It can be argued that standard Tai Chi is the assorted shape of traditional forms, designed for teaching and competing. In addition, such manner and pattern is expanding; first generation forms were much simpler with more apparent framework than second generation forms. These forms were modern ones, with much more complexity and intricacy and artistic compositions introduced to them. The modern forms were to harmonize with music as well as self creativity and form-designing. Such issues later caused many disagreements. However, let us not forget how much this method influenced the popularity of Tai Chi in recent years. In third generation Tai Chi forms, somehow considered as Neo-Classic forms, more aspects of traditional styles are included and each style’s forms (Yang and Chen) are closer in personality to that of their traditional forms. In designing such forms, the traditional styles’ masters had their input. The result was the birth of forms, sometimes with more depth and inner affluence, than many of the traditional forms. Considering the evolution and progress of them, it can be expected that in upcoming years more advanced forms, with more compatibility with traditional structures and assorted frameworks, will be introduced. Only through this approach will Tai Chi form a universal family; and each member will attempt to progress it, and not just one family and a personal name.

The correct procedure of academic fostering and specialization is so, as well.

 

   

 

 

Is it correct to combine and compound different styles?

 This notion that no change must be made into old forms is based on lack of knowledge on artistic patters; for this is a basic characteristics of authentic art. Various generations nourish arts, combine different forms, and promote its artistic capacities, in general. The value of Tai Chi’s genuineness is that during hundreds of years many experiences were added to it, many changes were included, and many refinements were done, and now it has been passed down to us. Otherwise, nothing can be considered valuable just because of its oldness in age, for in that way, it would have its own primitive structure all along the way. Therefore, there will be left no reason for resisting against changes in forms or combining their strengths with each other; or it will be based on prejudice and meanness. That is why in modern forms different styles are compounded with each other and this will add to their value. Going back to the comparison with music, it can be understood that if players and orchestras were only to play old music, the evolutional path of music would have never commenced. But now we see that the righteous approach is that besides playing the old music, contemporary composers get inspiration from the past and create their own products. This, too, is an inevitable approach in today Tai Chi.

 

One Tai Chi practitioner, away from prejudice and bigotry, can experience different styles or combine strong methods in various styles and find his or her status in Tai Chi. Like the academic structure of our times and birth of many inter-disciplinary specialties, it’s been more than 10 years that such permission was issued by International Wushu Federation and many grand masters. For doing so, standard and modern forms provide the best platforms. This can be said as one of valuable potentials of such forms. 

(We witness that in modern forms many styles, such as Yang, Chen, and Wu are combined, and invented techniques are added to those structures.)

 

 

Proposed Method of Learning and Acquisition:

However, in my opinion, the best method for learning Tai Chi would be practicing in standard forms first and concurring with international guardians and trustees and masters of this sport and trusting their teaching methods. After gaining a proper level of skilfulness, then a traditional style can be chosen. This way, the pupils have more time getting to know all Tai Chi styles and find their place in Tai Chi with more understanding. If they are interested in inner structure of Tai Chi and energy, they can easily approach Tai Chi Qi Gong. 

 

Only in this way, can the pupils learn Tai Chi through simple and academic methods, develop forms which are appreciable and credential; only in this way, can they apply for coaching certificates, for International and National Federations would only accept standard forms. Only in this way, can they participate in contests and show their capabilities and skills. Moreover, pupils’ experience in Tai Chi and performing the forms would increase tremendously. 

 

I also suggest, while practicing for Tai Chi, pupils would better work on Tui Shou and Duilian. Moreover, for their certainty in performance, they can ask the martial philosophy behind each move from their coach.

 

In fact, practicing a traditional Tai Chi style from the beginning is like an art student, practicing a form of art, without knowing the assorted and classified alphabets and basics of that art; without being familiar with tone and history of that art; and without being certain of the choice. This will cause erosion in the process of learning.

(Of course, many families and houses, under the influence of International Wushu Federation, 

have been forced to design simplified forms, very close to the function of this federation. 

But you can still trace the personal tastes and ideas in them.)

 

 

 

Final Words

Eventually, I believe Tai Chi’s progress in the world is in desperate need of concordance and unanimity of all coaches, masters, and experts. This will not happen through weakening of the visions and missions of International Wushu Federation. Ever-increasing growth of this art depends on following the rules of federation and its consistent management. We should all steer clear from family bigotry and conflicts. I, again, emphasize that standard Tai Chi has nothing contradictory to traditional styles, and one can always begin practicing in one of those traditional styles.

Let us all not forget that masters, who design the standard forms or put their suggestion on them, are all world’s great masters. These masters are valuable experts, with dominance over martial structure of Tai Chi, as well as inner structure of this art. Some of them come from prominent houses and families of traditional Tai Chi styles.

Those who defame the standard and modern forms, definitely suffer from lack of knowledge and experience in these styles and because of their distance, all they can see is the superficial aspects or worse, are entangled in family disputes. 

Of course, changes and innovations have always faced disagreements at first, but I believe in the course of time, these innovations will be appreciated and dissolve prejudicial antagonisms in themselves.

Act of spreading of Tai Chi in our time is definitely owed to International Wushu Federation and collaboration of Tai Chi’s grand masters. This would have never happened, if it wasn’t for the structure of standard forms and universal management. 

Today, the most popular style of Tai Chi in the world is Yang style standard forms.

 

 

Standard Tai Chi does not have special claimants or heirs and it belongs to all.

In federation-standard Tai Chi, coming from the same family or being the adopted child of one family has no value, nothing is inherited, and everything depends on status and quality of work.

A good coach is the one fostering great pupils (and it has nothing to do with remaining the head of one dynasty, trying hard to be out of reach, and hard to learn from; simply because it’s not important how long, but how well one practices and teaches.)

 

That is why everyone is heirs of standard Tai Chi. Masters and experts are the ones with greater abilities and potentials, not greater family ties. 

These are the respected and respectful values of Tai Chi Standard Style.

 

  

 

Therefore, if you are practicing Standard Tai Chi, enjoy your experience and reach to the top.

If you have not yet started, well, I strongly suggest not depriving yourself from it.

     

 

 

 

 

Hamed Katoozi

Secretary General of Tai Chi Chuan Committee, Iran Wushu Federation

5th Internation Wushu -Tai Chi Duan wei

 

 

 

 

 

   

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The institute Taichi team was awarded 14 international Duan

 
The institute Taichi team was awarded 14 international Duan Wei after participation in instructional workshops in Jiaozou.
The mentioned tests were held on 25-26 Aug 2013 by China Wushu Society and the obtained Duan Wei are as below:
 
_ Master Hamed Katoozi was awarded 5th Duan Wei( Silver Tiger). He is the first Iranian athlete who succeeded to obtain this Duan Wei. Also he has submitted a comprehensive thesis in the field of Taichi to International Wushu Federation. This thesis registered in the mentioned Federation after accurate investigation and study.
The other team members were awarded the below Duan Wei:

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Taichi Team Of Institute in Jiaozou Competition 2013


Participation of Taichi team of institute in international Taichi Competition, Jiaozou-2013 “Iranian Institute of Wushu and Spiritual Energy Research” participated in 7th International Taichi competition which was held in Jiaozou, China. The team was consisting of 15 persons and they succeeded to win 22 medals in different events under supervision of Master Katoozi. They also won the Second place in group event.

 

 

 

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Meeting of members of the Institutewith Grand Master “Chen Zheng Lei”



Meeting of
members of the Institutewith Grand Master “Chen Zheng Lei”
A meeting has been held in Jiaozou with Grand Master “Chen Zheng Lei” with some of our institute team members under the supervision of Master Katoozi. During this meeting, Taichi in Iran has introduced which was welcomed by him. Meanwhile, we profited from some discussion and interactions with him.
Also he was supposed to be invited to hold Workshops in Iran in future.
Finally, he was presented with gifts from the Tai Chi practitioners of Iran.

 

 

 

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Small abstract of chen family taiji

Small abstract of chen family taiji :

Chen Wangting (1600-1680), a warrior, a scholar, and a ninth generation ancestor of the Chen family, invented Taijiquan after a lifetime of researching, developing, and experiencing martial arts. A born warrior and a master of martial arts, Chen Wangting served the Ming Dynasty in its war against the succeeding Qing Dynasty. Because of the political turbulence, natural disasters, and human calamities during his time, Chen Wangting's ambition was not fulfilled. In his old age, Chen Wangting retired from public life and created a martial arts system based on his family martial arts inheritance, his own war experiences, and his knowledge of various contemporary martial arts styles. In his creation of Taijiquan, Chen Wangting combined the study of Yi Jing, (i.e., "Scriptures of Changes"), Chinese medicine, theories of yin yang (i.e., the two opposing yet reciprocal energies generated from Taiji, expressed in taijiquan as the hardness vs. the softness, the substantial vs. the insubstantial, etc.), the five elements (i.e., metal, wood, water, fire, earth), the study and theory of Jingluo (i.e., meridian circulation channels along which the acupressure points are located), and methods of Daoyin (i.e., channeling and leading internal energy) and Tuna (i.e., deep breathing exercises). A poem written by Chen Wangting in his old age evidenced the significance of the Daoist methods of cultivating one's energy and body in Chen Wangting's reclusive life, "...Once bestowed upon with imperial favor and grace but all in vain, I, now old and feeble, was accompanied only by a scroll of 'Huang Ting' (i.e., a Daoist scripture detailing methods of Daoyin and Tuna) by my side...".

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Master Zhang Sanfeng

Master Zhang Sanfeng

Zhang San Feng was born Zhang Jun Bao in Liao Dong during the late Yuan Dynasty. His family lived in Longhu Hill, Jiangxi Province. His grandfather was an expert in reading fortunes by watching the stars and constellations. Before Zhang Jun Bao was born his grandfather predicted there would be good fortune in Liao Dong, and so he moved there.  At the age of five, Zhang Jun Bao suffered from a severe illness and lost his eyesight. His grandfather heard that some nearby Daoist priests had an incredible way of curing illness; so, he took Zhang Jun Bao there.

Within a week, he was cured and had regained his eyesight.

The Daoist priest loved Zhang Jun Bao and took him as a disciple, teaching him both writing and martial arts. Like all fathers, Zhang Jun Bao"s father wished him every success. Zhang Jun Bao was expected to take the state exam for a career in the government. However, he was not interested in becoming a politician or minister. He loved martial arts and visited many ancient temples. Later in life he traveled to Yan Jing and took up a local government post through the relationship of a good friend. But Zhang Jun Bao soon quit and returned to Liao Dong where he spent most of his time in a deserted temple.

One day at the temple, a Daoist priest approached him. They talked throughout the night, and treated each other as old friends, regretting not having met earlier.

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Interview with Professor Li Deyin

Interview with Professor Li Deyin

by Ronnie Robinson 

 

Professor Li Deyin in one of China's most famoius Tai Chi Masters and creator of a number of modern-day competition routines such as 2 Step Taijiquan, 48 Step Taijiquan, Taiji Kungfu Fan, Xiyangmei Taiji Kungfu Fan. He is also the highest authority on 24 step simplified Yang style taijiquan, 88 Step Traditional Yang Style Taijiquan, Wudang Taiji Sword and and 32 step Yang Style Taijijian. This interview was conducted with the help of his daughter, Faye Li Yip.

 

You began training at 8 years old, can you tell us about the nature of your training detailing the progression through your first 12 years?

I was born into a traditional martial arts family. My martial arts teacher was my grandfather Li Yu Lin (disciple of Sun Lu Tang). He was the authority in the family and insisted that all the boys in the family had to practice martial arts regardless of their future career plans. Everyday after dinner, my brothers and I would train at home under grandfather’s supervision. Sometimes we would go to his martial arts school and train at the back of older, adult  students.

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Tai Chi, Art of Wisdom

“Tai Chi, Art of Wisdom“

A book by Hamed Katoozi

 

Abstract:

The purpose of this book is to outline the study of noble Taiji(Tai Chi).

This book is comprised of seven chapters which emphasize on valuable points in detail.

History is experience; the first chapter is mainly about a brief history of Chinese martial arts and history of Taiji quan.  Since the Taiji concepts are hard to grasp for beginners, we dedicate a comprehensive chapter to describe these concepts which are as below:

Tao and Taiji quan, Philosophical concepts of Taiji, Wu ji, Yin and Yang, Thirteen postures of Taiji, Five elements theory,Eight Trigrams of I-ching  , different types of chi, Three treasures, Five regulations and so on..

This book presents the basic principles of Taiji Qi gong and inner structure of Taiji in chapter 3.

Taiji quan was originally created for martial purposes and every form has its martial applications. Many different styles have been created over the years, and although they are based on the same fundamental theory and principles, every style has its own characteristics and principles. In this regard chapter 4 is introducing the martial aspect of Taiji and related subjects which are: Different types of jin, Fa jin, Tui sho, Taiji forms; bare hand and apparatus, etc...

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Breathing as a Metaphor for Living

Breathing as a Metaphor for Living
By Dennis Lewis
The way we breathe reveals a great deal about the way we live. The movements and rhythms of our breathing reflect our innermost mental and emotional attitudes toward ourselves and others. By observing, by sensing, our breath in the midst of our daily lives we gain new insights into our lives and a new understanding of the meaning of transformation and wholeness.
As we observe our breathing in the various conditions of living, we may notice, for example, how the extent and comfort of our inhalation reflects the degree of our readiness and ability to embrace life at that moment. We may also notice how the extent and comfort of our exhalation reflects the degree of our readiness and ability to let go of the known and open ourselves to the unknown, to trust something other than the habits and suggestions of our self-image. We may notice how during fear or other strong negative emotions we restrict the flow and duration of our breath by contracting various parts of our body in order to reduce the energy available for feeling. And we may also notice how during more pleasant emotions we increase the flow and duration of our breath to take in more energy and thus to feel more.
Through a deep work of self-sensing, we not only learn about the subtle, constantly changing needs of our bodies, but we also begin to learn about the ways in which our mind, emotions, and breath influence one another.

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Eight Immortals of Taoism

Eight Immortals of Taoism

Zhong li-quan
Also called Zhong li, Zhong Li-quan lived in Xian Yang City, Shanxi Province during the Han Dynasty. According to an interesting legend, the day before his pregnant mother gave birth a giant came into her room and introduced himself as the ancient deity Shen ' Huangshi. He told her that he would be bom into her family. Then a sudden shining aura appeared like fire spreading in the room, and a large baby boy was born who was the size of a three-year-old. His extraordinary looks showed his unusual background: he had a round, big head with a broad forehead, thick earlobes, long eyebrows, deep eyes, a big high nose. His facial and lip color was rosy; his nipples were far apart and his arms were long. He never cried nor wanted to nurse for seven days. Then he suddenly spoke, saying "I spent time in the Jade Emperor's Purple Palace and my name is written there." When he grew up he became a high official and was assigned the position of general commander to fight enemies who invaded northern China. He was defeated, then disappeared in Mount Zhong Nan. In the mountains he met several celestials and learned from them. He practiced and eventually became an Immortal. He learned martial arts and the secrets of cultivating into a celestial being, becoming various deities such as Dong Hua and later Hua Yang. He also helped Lu Dong-bin become a celestial. Zhong is considered one of the Five Northerner Taoist Ancestors. In most paintings he looks free and relaxed and carries himself like an ordinary man.

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Organs of Forgiveness

Organs of Forgiveness

The "Universal Tao System" is a practice of body, mind and spirit. Its creator, Master Mantak Chia, comments on how our inner organs contribute to a physiology of forgiveness and transformation.
Perhaps the primary key to any process of self-transformation is the willingness to forgive oneself, as it opens the heart and sets in motion and frees the flow of Chi both from within and from outside.
Yet, forgiveness is not an act for once and for all, but a primary key in a continuous process of turning inward and practicing inner observation.
The refusal or inability to forgive, and thereby to love oneself and others, may be said to affect all our internal organs, affecting their chemistry and inhibiting cooperation and balance. Frequently this refusal is rooted in a victim conssciousness, which sets into motion negative emotions that tend to reinforce each other. this victim consciousness often has its roots in a presumption of betrayal that results in the heart closing, as others are made accountable for one's own negativity and suffering.

As a result there is a refusal even to consider looking inward, as the source of misfortune is placed outward. Thus the heart's natural tendency towards love and compassion is obstructed, and the wound is cultivated to legitimize one's withdrawal from life.

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Innersmile

The Inner Smile
by Caroline Robertson

Are you smiling or frowning to yourself? Smiling is the secret to health and serenity according to several spiritual traditions. The Inner Smile practice propounds that when we smile like a Buddha, the world beams back. Naturopath, Caroline Robertson visited The Tao Garden to experience some smile therapy.

 

The Smile Solution

          Mother Theresa believed “peace begins with a smile.” A sincere smile shines from our soul, making the world a warmer place. As Joseph Addison expressed, “What sunshine is to flowers, smiles are to humanity.” A genuine smile puts us at ease whilst a frown creates unease, promoting disease and depression according to modern and traditional medicine. Smiling to others and ourselves is a gift of love. The universal language of a smile speaks straight to the heart, bypassing the intellect and ego. To nurture loving relationships Ayurveda advises one greet others with a pleasant face, Buddhism encourages friendliness to all (maitri) and Taoism teaches that giving ourselves a grin is the best medicine.

          A deep inner smile spreads like a relaxing elixir making us receptive to transform negative energy into positive. Conversely, a scowl suppresses our immune system by increasing stress, contracting channels and blocking energy.

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Iranian Institute of Wushu & Spiritual Energy Research


we are actively engaged in researching in all of the wushu areas especially in Tai Chi. We are doing our best to improve and develop all aspects of Wushu in Iran. Participating in international competitions, translating the latest version of books and articles in Tai Chi, Manage Different courses with different levels for all of the people who interested in Tai Chi, are some of our Institute activities.