erm
I do read a lot about these things actually
Excerpt from my favourite article on this topic:
"In Taijiquan, the high level fighting technique goal is Kong Dong (empty motion) or Kong Jin (empty force, though not to be confused with Lin Kong Jin, the idea of moving an opponent without touching), which is the most typical feature of Taiji fighting skill. It means to let the opponent feel something he thinks he can get, but cannot really get because it is empty. It should induce in the opponent a surprised and frightened feeling, like when one walks on the top of a high building and suddenly steps on an empty place. Usually the skill is described as “lure in and fill in emptiness.” Here “lure in” is a key concept, it is not “force in.” The feeling is just like to suddenly appear and/or disappear. One lets the opponent feel something, but get nothing. All Taiji skills should meet this goal. It should follow the basic Taiji principle as Yin and Yang supplement each other and exchange. The technical foundation of Kong Jin is Zhan (adhere up), Nian (stick to), Lian (link), and Sui (follow). If one does not exhibit these attributes, one is not considered to practice Taiji in the right way. In application, changes of Yin-Yang happen on the inside of the touching point between your opponent and you, but your physical body may just show really small even invisible movement.
In Baguazhang, the high level fighting technique goal is Bian Dong (change motion) or Bian Jin (change force), which is the most typical feature of Bagua fighting skill. It means change should happen at any time and anywhere and without the opponent feeling it. Anytime one makes contact with the opponent, change must be done continually until you win.
The change should not let the opponent feel before it really happens. It should induce in the opponent an unsure feeling. The description of Bian Jin is “move then change, change then evolve (turn into), evolution to evolution, never stop.” The idea is to use quick and continuous changes to make the opponent lose his concentration and then beat him from his weakness point. Never oppose the opponent’s force with one’s own force directly. One should always change when one’s force meets the opponent’s force. All Bagua skills should meet this goal. It should follow the basic Bagua principle of change. The technical foundation of Bian Jin is Zou (go away), Chuan (pass through), Ning (twisting), and Fan (turn over). Without these attributes, one is not really doing Bagua. In application, a lot of visible changes are made. These changes should be continuous and smooth. Do not let the opponent to feel any change until the changes really happen. The physical changes should follow internal changes.
In Xingyiquan, the high level fighting technique goal is Zhi Dong (straight motion) or Zhi Jin (straight force), which is the most typical feature of Xingyi fighting skill. It means when contact is made with an opponent, use a straight force to cross the opponent’s force and suddenly increase one’s own force. It means to attack the opponent at his weakness point (with proper positioning, timing, and direction), or to use a big and strong power to attack his weakness point directly. One should let the opponent feel one’s power is so strong that he is unable to defend against it. One should never use one’s power to oppose the opponent’s force directly.
Sometimes the outside movement may appear to directly oppose the opponent’s force, but in fact inside one should make a simple change to cut across the opponent’s force. With this change, one will be much stronger than the opponent along this particular force vector. The description of Zhi Jin is “Heng (side to side) defense Shun (straight); and Shun defense Heng.” All Xingyi skills should meet this goal and should follow 5 elements principles of creation and destruction. The technical foundation of Zhi Jin is Ci (stamp), Pu (spring on), Guo (wrap up), Shu (tie or bind), Jie (decisive). Without these attributes, one is not really doing Xingyi. In application, the break points of physical movements may be visible but internal change should be smooth. Also, the physical movement changes usually are different from the internal changes. It is called “looks like diagonal but is straight inside; and looks like straight but is diagonal.”
The article is at http://www.geocities.com/ycgf/arti_TBX.htm
It is an excellent piece on the three sisters.
Please note - I was not trying to be dismissive of ANY of the internal arts in my earlier post.
“If ignorance is bliss, why aren’t more people happy?”