《陈式太极拳实用拳法》是1989年11月01日山东科技出版社出版的图书，作者是洪均生。
1956年春，洪均生先生自济再度赴京，从师进一步探求陈式太极拳技法，蒙师从推手到散手一一指点，反复试验每一招法，精微巧妙，尽得要旨。　洪均生先生常说：“陈式太极拳没有一个动作是空的，都是有用的。”确非虚语。他常与各拳种来济交流访艺者交手验证太极拳技法，体会陈式太极拳“理精法密”之真义。　洪均生先生征得陈发科先生允许，将他所讲解的各种招法融汇于原来所学套路中，期冀为学者开辟一条走向掌握太极拳技法微妙的捷径，从1956年后以此套拳法传于济南学生。通过实践，效果卓然。是以逐渐扩展到南北各地，日本、美国、东南亚友人亦陆续来学。如“日本太极拳协会”主任指导中野春美女士、副主任高谷宽先生，以及石岛清光、曾我忠弘、森田育利、安东尼、古贺荣子等皆多次登门求学，并回国后广泛传播。日本武林尊称洪均生先生为“太极巨星”，成立了“洪均生太极拳研究会”，专门研究他所传授的拳理拳法。　洪均生先生颖悟过人，博览强记，工书法，通音律，善诗词，文武兼优，以深渊的学识和武学修养，用历史唯物主义观点方法研究陈式太极拳理法。他结合生产劳动习惯动作，就近取譬，使学者易于领悟；又常现身说法，亲于学者试验，使学者如步入一座取之不竭的宝库之中，越学越明，越学越深，越学越爱，有欲罢不能之感。确是一位难得的明师。　说到他写书，确实不易。第一稿未半，正逢1961年自然灾害，他患了偏瘫之疾，生活极其艰难，几乎无法支持。幸受著名学者刘子衡先生支持鼓励，才决心克服困难，勉力续写。后虽病愈，然三次易稿都是在多年居住的几平方米一间阴暗潮湿的棚屋里趴在床上完成的。直到1988年方才定稿，名曰《陈式太极拳实用拳法》。　此书遵照陈发科先生讲解的实战技法，以陈鑫先生的“缠法”即螺旋运动力学原理为依据，引证前人之学说，创前人之未有。书中对每一个动作均作了详细解说，因为每一个动作都有规范，“差之毫厘，谬之千里”，必须做到“无过不及”。是以将每一动作在公转上的正旋、反旋，自转上的顺逆，脚的步法，手的位置，手心手指的方向都一一说明，使学者真正理解陈式太极拳之真谛。　书中注重技击实用，不空谈意、气。因为每一个动作都是攻防的着法，为“知己知彼”，便将对方的位置、着法一一说明，以便学者做到“练拳时无人若有人”，才能在“交手时有人若无人”。　洪均生先生以毕生精力研练陈式太极拳理法，又能熟识各家太极拳理论，融会贯通、结合教学实践，验证前人学说，有新的创见和解释，纠正了一些不正确的观点和误识。他继陈鑫先生之后，在阐述陈式太极拳理法上作出了新的贡献。他根据陈鑫先生的缠法理论及实用拳法，结合对立统一法则和力学原理进一步阐发了陈式太极拳理论。　例如，他根据“腰为车轴”、“立如平准”的原则，提出陈式太极拳要求随遇平衡，步法不变，重心不能前后移动、摇摆，只能在左右旋转。重心的位移只能随步法的变换而移动，纠正了“重心全部移于某腿”的错误。　又如，他首次提出手法上的公转与自转，公转的正旋、反旋，自转的顺逆以及腿部缠法的具体要求；详细阐明了每一动作公转与自转配合的角度，解决了《陈式太极拳图说》未能阐述的问题。再如他对双重作了科学的解释，指出双重之病为前手前足同实，或后方手足全实，便为双重。前面双重，必出顶劲；后面双重，又必出丢劲。欲做到不犯双重，不丢不顶，全在周身上下相随的螺旋运动，变化的方向及时间恰到好处，无过不及。 另外，他首次提出眼法上也有虚实之分，并主张目视固定目标（对方），纠正了原来练拳时“眼随手运”而不符合实用的眼法。因为眼是传达信号的器官，又是指挥全身运动的“先行者”，所以眼应注视目标所在，而身、步、手随之运动。即变换身步手法的运动时，莫不以眼所视的方向为准。　眼应平视目标，不可偏高或偏低。如须向某方向转身进步，眼光则转向某方；如步法不变，眼应视某势中手的最后一个动作的方向。又，眼注视的目标为点，点的内外为面，面的界限约150°。拳论说“左顾右盼”，顾的就是点，为实；盼的就是面，为虚。因此在左顾的同时，也有右盼。顾盼不但是为了指挥自己的动作，而且是为了观察对方的动作，以便于随敌动而变化。同时，也应观察到时地形和周围环境的情况。　这些理论都是创造性的，为后学研究陈式太极拳指明了方向。洪均生先生为人坦荡，虚怀若谷。在太极拳理法探讨上主张展开讨论，坚持真理。他所写的文章涉及到有关著作透鋈耍?嫉厮党鲎约旱囊饧?涂捶āU庵志?袷强晒蟮摹?lt;br />　陈式太极拳法以技击性强闻名于世。洪均生先生十分重视陈式太极拳的技击性和实用性。特别对陈式太极拳的核心－－缠丝劲进行了全面深刻的研究，并创造性地论述和实践了眼、身、步、手武学理论，以及缠丝劲螺旋运动的公转与自转的运动关系，强调眼身步手方向角度的密切配合，做到了“无过不及”，以此在拳法中更进一步地体现柔化刚发，精拿巧运。如运斤大匠，解牛庖丁；妙造自然，不着痕迹。　洪均生先生秉承师训，拳架在严格遵守陈式太极拳缠法的原则下，以技击实用为本，与众有别，行拳缜密、端严、轻灵、沉着、超逸、含蓄、雍容、隽永、自然，缠绵之处见雄浑大气，可谓无心成化，不着痕迹，其大无外，其小无内。此心法耐人寻味无穷。　洪师精通诗词，从美学的角度阐释太极拳视觉闩的真谛，以诗的开工对太极拳法、技击美学做了高度统一的描述，写出了陈式太极拳“拳品”十三篇，创造了用诗的语言评论“武艺高低亦人品为准”的武学思想，开导了太极拳美学崇德的先河，前无古人，后启来者。
Chen Style Tai Chi Practical Fist Techniques “is a book published by Shandong Science and Technology Publishing House on November 1, 1989. The author is Hong Junsheng.

In the spring of 1956, Mr. Hong Junsheng went to Beijing again on his own to further explore the Chen style Tai Chi techniques under his mentor. From pushing the hand to Sanshou, he provided guidance one by one, repeatedly testing each move, subtly and cleverly, achieving the essence. Mr. Hong Junsheng often said, “Chen style Tai Chi does not have any empty movements, they are all useful.” It is not an empty language. He often interacts with various martial arts experts to verify the techniques of Tai Chi, and experiences the true meaning of Chen style Tai Chi’s “theory, essence, and method”. Mr. Hong Junsheng obtained the permission of Mr. Chen Fake to integrate the various moves he explained into the original learned routines, hoping to open up a shortcut for scholars to master the subtle techniques of Tai Chi. Since 1956, this set of boxing techniques has been passed on to students in Jinan. Through practice, the results have been remarkable. It gradually expanded to various regions in the north and south, and friends from Japan, the United States, and Southeast Asia also came to study. For example, under the guidance of the director of the “Japanese Taijiquan Association”, Mr. Nakano Haruki, Deputy Director Takayama Kobayashi, as well as Shijima Kiyoshi, Tadao Tsang, Yuri Morita, Anthony, and Rongko Koga, they have all made multiple visits to study and have been widely spread after returning to China. The Japanese martial arts world reveres Mr. Hong Junsheng as a “Tai Chi superstar” and has established the “Hong Junsheng Tai Chi Research Association”, which specializes in studying the boxing principles and techniques taught by him. Mr. Hong Junsheng has outstanding insight, strong memorization through exhibitions, excellent calligraphy, sound communication, good poetry, excellent civil and martial arts. He studies the theory and method of Chen style Taijiquan with profound knowledge and martial arts cultivation and historical materialism perspective. He combines the habits and actions of production and labor, taking examples from nearby places, making it easy for scholars to understand; It is often said that by personally experimenting with scholars, scholars are like stepping into an inexhaustible treasure trove. The more they learn, the clearer they become, the deeper they become. The more they learn, the more they love them, and they feel an irresistible desire to stop. He is indeed a rare master. Speaking of writing books, it’s really not easy. In the middle of the first draft, which coincided with a natural disaster in 1961, he suffered from hemiplegia and his life was extremely difficult, almost impossible to support. Thanks to the support and encouragement of renowned scholar Liu Ziheng, I was determined to overcome difficulties and strive to continue writing. Although he recovered from his illness, all three changes were made by lying on the bed in a dark and damp shed that he had lived in for many years. It was not until 1988 that the final draft was finalized, titled “Chen Style Tai Chi Practical Fist Techniques”. This book follows the practical techniques explained by Mr. Chen Fake, and is based on Mr. Chen Xin’s “entanglement method”, which is the principle of spiral motion mechanics. It cites the theories of predecessors and is unprecedented. The book provides detailed explanations for each action, as each action has its own norms. “The difference is as small as a millimeter, the error is as great as a thousand miles,” and it is necessary to achieve the goal of “never exceeding or failing”. It is to explain the forward and reverse rotation of each action on the revolution, the forward and backward rotation on the rotation, the footwork of the feet, the position of the hands, and the direction of the palms and fingers one by one, so that scholars can truly understand the true essence of Chen style Tai Chi. In the book, emphasis is placed on practical skills and techniques, without empty talk of meaning or energy. Because every move is an offensive and defensive move, in order to “know oneself and the enemy”, the position and move of the opponent will be explained one by one, so that scholars can achieve “no one is like someone when practicing boxing” and “no one is like someone when fighting”. Mr. Hong Junsheng devoted his whole life to studying and practicing the principles and methods of Chen style Tai Chi, and was able to familiarize himself with various theories of Tai Chi, integrate them with teaching practice, verify previous theories, and have new insights and explanations, correcting some incorrect viewpoints and misconceptions. After Mr. Chen Xin, he made new contributions in elucidating the principles and methods of Chen style Tai Chi. He further elucidated the Chen style Tai Chi theory based on Mr. Chen Xin’s entanglement theory and practical boxing techniques, combined with the principle of unity of opposites and mechanical principles. For example, based on the principle of “waist as the axle” and “standing as flat as possible”, he proposed Chen style Tai Chi that requires balance when encountering, unchanged footwork, and that the center of gravity cannot move or sway back and forth, but can only rotate left and right. The displacement of the center of gravity can only move with the change of gait, correcting the error of “all the center of gravity moves on a certain leg”. For example, he first proposed specific requirements for the techniques of revolution and rotation, the forward and reverse rotations of revolution, the clockwise and counterclockwise rotations of rotation, and leg entanglement techniques; Elaborated on the perspective of the coordination between the revolution and rotation of each action, solving the problem that was not explained in the “Chen Style Tai Chi Fist Illustrations”. For example, he gave a scientific explanation of duality, pointing out that the disease of duality is characterized by the presence of both hands and feet in the front, or the presence of all hands and feet in the back, which is called duality. The front is double, and one must exert great strength; The back is double, and there must be a loss of effort. To achieve the goal of not committing double acts, not throwing or pushing, all in a spiral motion that follows the body up and down, the direction and time of change are just right, and there is no shortage. In addition, he proposed for the first time that there is also a distinction between virtual and real eye movements, and advocated for visually fixing the target (the opponent), correcting the original eye movements that were not in line with practical eye movements during boxing practice. Because the eye is an organ that conveys signals and is also a “pioneer” in directing whole body movements, the eye should focus on the target, while the body, steps, and hands move accordingly. When changing the body and step techniques, always follow the direction of the eye. Eyes should be level with the target and not too high or too low. If you need to turn in a certain direction to make progress, turn your gaze to a certain direction; If the footwork remains unchanged, the eye should focus on the direction of the last movement of the hand in a certain situation. Also, the target of eye gaze is a point, and the inside and outside of the point are faces, with a boundary of approximately 150 °. Quan Lun says “looking left and right”, focusing on the point is the reality; What we hope for is the face, but it is emptiness. Therefore, while looking left, there is also a right look. Looking forward is not only to command one’s own movements, but also to observe the opponent’s movements in order to change with the enemy’s movements. At the same time, the terrain and surrounding environment should also be observed. These theories are all creative and point the way for future research on Chen style Tai Chi. Mr. Hong Junsheng is straightforward and open-minded. Advocate for discussing the principles and methods of Tai Chi and adhere to the truth. Does the article he wrote involve personal manipulation of works? Are you jealous of me? Tu Chui ā U Anzhi? Format:? lt; The Chen style Tai Chi Boxing technique is famous for its strong fighting skills. Mr. Hong Junsheng attaches great importance to the technical and practical aspects of Chen style Tai Chi. In particular, a comprehensive and profound study was conducted on the core of Chen style Tai Chi, which is the winding silk force. The theory of eye, body, step, and hand martial arts was creatively discussed and practiced, as well as the relationship between the revolution and rotation of the spiral movement of the winding silk force. The close coordination of the direction and angle of the eye, body, step, and hand was emphasized, achieving “no surpassing”. This further reflects the softening of the hard hair, precise handling and skillful movement in boxing. Like a master of catty transport and a butcher of oxen; Miraculously crafted and natural, without any trace. Mr. Hong Junsheng adheres to his teacher’s training and strictly adheres to the principle of Chen style Tai Chi Quan’s entanglement method. His boxing style is based on practical skills and is different from others. His movements are meticulous, rigorous, light and agile, calm, transcendent, reserved, graceful, meaningful, and natural. The lingering places are full of grandeur and grandeur, which can be said to be unintentional and without any trace. His grand movements have no external elements, and his small movements have no internal elements. This mental method is thought-provoking and endless. Hong Shi is proficient in poetry and interprets the true essence of Tai Chi’s visual latch from an aesthetic perspective. He provides a highly unified description of Tai Chi’s techniques and martial arts aesthetics through the beginning of poetry, and has written thirteen pieces of Chen style Tai Chi’s “Fist Quality”. He has created a martial arts ideology that uses the language of poetry to comment on “the level of martial arts is also based on personal character”, and has opened up a precedent for the aesthetic worship of Tai Chi, which is unprecedented and later enlightening.

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