Taijiquan Xue (A Study of Taiji Boxing), by Sun Lutang

Taijiquan Xue (A Study of Taiji Boxing), by Sun Lutang
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    Taijiquan Xue (A Study of Taiji Boxing), by Sun Lutang, translated by Joseph Crandall.(Plastic Binder, 99 pp. (Duplication of over 130 original photos)

    Taijiquan Xue (A Study of Taiji Boxing) is a timeless work by Sun Lutang that not only establishes the Sun style as one of the five major styles of Taijiqujan, but sheds light on Sun's unique take on Nei Jia Kung Fu.

    This is the first English translation of Sun's definitive work, and was completed a full two years before any others surfaced on the market.

    The book is divided into two parts as follows:

    The first part details Wuji and Taiji (or the solo practice), and the insightful information is applicable across styles. Also of note is the complete translation of the Sun Style Taiji form with copies of the original photos of Sun Lutang himself performing the postures.

    The second part, called, "Taijiquan Striking Hand Functional Method," profiles Sun's analysis of the application of Taijiquan and eludes to its similarity to Bagua and Xingyi. A two person form, with the original photos, which expounds on the essence of Peng, Lu, Ji, and An is also covered.

    The Appendix reveals a translation of Li Yi Yu's, "Five Character Secret." Li Yi Yu was Wu Yuxian's nephew. Wu Yuxian fathered the original style which served as the basis of Sun Lutang's development of his own style of Taijiquan.

    There's a clear purpose in all of Crandall's translations of trying to communicate the intentions of the original author, and this classic by Sun Lutang is no exception. In fact, this could be one of Crandall's best efforts.

    This cannot always be said about other translations of this book or others. For example, Crandall does not commit the error of rejecting one of the main themes of the original author that of the exploration and definition of the internal practice, which is contrary to another translation in which the translator takes liberties to reject the idea that there is a distinction between internal and external arts. Therefore, in that context, Crandall's translation supports the intentions of the original author.