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by R. V. Watson
Chairman Longfei Taijiquan Association of Great Britain Chapter
One
A short survey of the history and legend
Zhang Sanfeng
The Wudang Taoist School - 12th Century
In his own preface to the 'Encyclopedia
of Taijiquan' published in 1933, Yang Cheng-Fu recorded a sentence
attributed to his grandfather Yang Lu-Chan. "Taijiquan was created by
Zhang San-Feng at the end of the Song Dynasty. Development continued through
one, Wang Zhongyue, Chen Zhouting, Zhang Songki, Jiang Fa."
Xu
Zhiyi said something similar in his 'General Introduction to Taijiquan',
published in 1927 by the 'Weng Hua Publishing House' "The Northern
section of the Wudang art was Li Yishe's 'Observations on Taijiquan'.
The first draft was published in 1867. The first sentence of this draft
observes that, "Taijiquan was created by Zhang Sanfeng in the Song
Dynasty". However, when it was published in 1881, the opening
sentence was changed to read: "No one knows who was the creator of
Taijiquan".
In
li Jiyings 'Taijiquan Textbook', he included a preface by li
Ruidong, who concluded that, "The creator of the Northern section of
the Wudang school was the true upholder of the Zhang Sanfeng theory".
From
the Journals of Lu Kun, we learn:
Zhang Sanfeng is recorded to have been
widely read and well aqainted with the teachings of Confucianism,
Buddhism and Taoism. He considered Taoism to be the true reflection to
the universe. He founded the School of Wudang Taoism and created a
system of pugilism practise called Taijiquan. He stands a milestone in
Chinese Wushu.
Joseph
Lee in 'The History of Chinese Science and Technology' remarked,
"The name of Zhang Sanfeng is now firmly related with Taijiquan, a
major school of Chinese Wushu". He goes on to say, "if one
really wants to track down the roots of Taijiquan one cannot fail to value
Zhang Sanfengs theistic thoughts on Taoism".
In
'The Origins of Wudang Taiji' Du Yuwan says, "Taijiquan is
generally said to be passed down from Zhang Sanfeng, but when we get down
to the roots we find its beginnings further back in history".
In
1990 the magazine 'The Soul of Wushu' published a series of
articles entitled 'The Original Taijiquan'. One contribution came from the
chief Taoist monk of the Temple Baijun (White Cloud) in Beijing. 'An
Shenyuan'. When questioned by reporters, remarked that, "In the
school of Taoism, apart from Zhang Sanfeng, there were many other talented
people who have contributed much to the formulation and development to
Taijiquan".
There
is no historical documentation on the life of the legendary Zhang Sanfeng.
It is difficult to factually attribute the creation of Taijiquan to one
Zhang Sanfeng. He is however a most important reference when discussing
the philosophy behind Taijiquan.
One
tradition suggests that Taiji developed in the 12th century during the
Song Dynasty. Emperor Huizong (reigned 1101-1126) is reputed to have
summoned a Taoist priest to attend the capital of Kaifeng. Zhang Sanfeng
is said to have received the imperial summons to travel from Mount Wudang.
On
his journey he was attacked by a band of robbers and was forced to
retreat. During his rest he was visited by the spirits of Wudang mountain
and received an inspirational new Wushu routine. The following day Zhang
Sanfeng used his inspired skills to defeat 100 bandits.
A
second legend attributes the same Zhang Sanfeng to be living in the Yuan
dynasty. In this story, while studying the mysteries of Taoism and trying
to get to grips with the secrets of immortality, he observed the posturing
of numerous animals. One day he saw a snake and crane fighting and was
inspired, by the Yin and Yang qualities of their attacks and evasions, to
develop the art of Taijiquan. So Zhang Sanfeng is accredited with
restructuring martial arts along inspirational lines. As a Taoist monk, he
connects the art with the philosophy of Yin and Yang, the I'Ching and its
Paqua diagrams. The connection between Taijiquan, Lao Tzu, the Tao Te
Ching are implicit in the legend of Zhang Sanfeng.
Wang Sung-Yeuh
Another
popular thesis claims that the founder of Taijiquan remains unknown, but
that its development can be traced to Wang Tsung-Yeuh of Shanzi Province.
According
to the thesis, Wang Sung-Yeuh introduced the system to Honan Province
during the Ch'ien Lung period (1736-1795) of the Ch'ing Dynasty. The value
of Wangs contribution is enhanced by his authorship of 'Treatise on
Taijiquan'. This manual on Taijiquan has remained as an inspirational
guide to generations of practitioners.
Jiang Fa
In
volume 16 of the 'Journal of Beijing Institute of Physical Education',
it states that Jiang Fa began his study of Taijiquan with Wang Sung-Yeuh.
He was instructed by Wang for ten years and grasped the substance of the
art. He was well versed in both the Northern and Southern versions of the
Wudang Internal Wushu Arts. He was considered an expert and authority in
this field.
Chen Chang-Xing (1771-1853)
Chen
Chang-Xing was a student of history and literature. It is recorded that he
began his study of Taijiquan when he was six. He studied Wushu arts with
Jiang Fa for 20 years and made rapid progress.
In
his book, 'Taijiquan Proper', by Du Yuwang, he passes the opinion
without evidence, that Wang Sung-Yueh and Jiang-Fa both trained in the
nature of Zhang San-Feng Wudang International Boxing.
The
discovery of Wang Tsung-Yueh's manual, 'Treatise on Taijiquan'. It is
claimed that Wang 'Sung-Yueh' was 'Jiang Fa's' teacher and 'Jiang Fa' was
in turn Chen Chang-Xings teacher.
Whilst
stories of Zhang San-Feng can be very appealing, historical authenticity
remains questionable. Whether he developed the art of Taijiquan, Mount
Wudang is noted for its scenic beauty and has been a centre of Taoism
since the 7th century. According to historical records preserved at the
mountain, there have been two persons named Zhang San-Feng.
In
'A Guide to Chinese Martial Arts', by Li Tianji and Du Xilian one
Zhang San-Feng was renowed for his combat skills and lived in the 'Song
Dynasty' (960-1279). The other, a celebrated Taoist, lived during the Ming
Dynasty (1368-1644), was very adept with swordplay.
There
have been many tales handed down about these figures. Both men combined
Taoist spiritual cultivation with their Wushu skills. Nevertheless, many
researchers of Wushu history consider there to be insufficient evidence to
name either one of them as the founder of Taijiquan.
Chen Wang Ting, 9th generation of the Chen family
Whatever
the legends of its earliest origins, Taijiquan can be traced to Wenxian
County, Henan Province. Here we have the earliest connections to its
present form. However, even here we come across contradictions. The local
people have two explanations regarding its precurser. The first and
perhaps the most commonly accepted is that Taijiquan was created by Chen
Wang-Ting and the place of its origin was the Chen family village of
Chenjiaqou.
The
other version claims it was brought from Shanxi Province by the previously
mentioned Jiang Fa. Jiang Fa is reputed to have brought the art to his
home village, Xiaoliu also in Wenxian County.
Both
Chen and Jiang were acknowledged as accomplished Wushu masters. Chen
Wang-Ting in his latter years, researched Wushu methods for self defence,
finally developing a new style of his own. Jiang Fa was to become a highly
skilled Wushu master.
Whether
or whichever of these men developed or created Taijiquan, it was from this
period that the spread and transmission was to take place.
There
is a connection with Chen Wang Ting and Taoist internal theories. In a
poem he wrote, "The Huang Ting is my constant companion". (The
Huang Ting Jing) is an important early Taoist canon on health through
breathing exerice.
Chen
Wang Ting is documented as the founder of the Chen Style Taijiquan
tradition. He is credited with the creation of five routines and in
addition taught Pao Tui and Long Chuan. He served as an army officer in
the early 17th Century.
The
original Chen Style was referred to as the Large Frame Style, now more
commonly known as Lau Jar (Old Frame). The Old Frame consisted of 83
moves.
During
the 19th generation, modification to the routine was to take place by Chen
Chang-Hsin. This was also acknowledged to be Large Frame, but was to
become known by its practitioners as Hsin Jar (New Frame).
Another
modification took place by Chen Chin-Ping. He changed the movements of
Hsin-Jar, making the movements tighter and smaller. At the time of these
changes Chen Chin-Ping was a resident in the village of Zhaoboa. His Form
is referred to as the Zhaoboa Jar to distinguish ot from Lao Jar and Hsin
Jar.
During
the 20th century members of the Chen family have created forms with a
reduced number of movements. These creations have generally eliminated the
many repetitions that appear in the Old Style. 19th Generation Master Chen
Xiao-Wang has created Chen Style 38 Forms, Master Feng Zhigang has
contributed Chen 24 Forms, Master Kan Gui Xiang has produced 36 Forms Chen
Style Taijiquan.
A further
contribution came from the Chinese State Wushu Authorities. This was to
facilitate the growing popularity of Taijiquan competition. The Chinese
Wushu Association of China organised a group of masters and professors to
develop standardised routines for competition to include Yang, Chen, Wu
and Sun Styles. The Chen style developed has 56 Forms. The routine is a
merger of traditional sets one and two.
Chen
Style Taijiquan remained very much a family and village art until Chen
Fa-Ke (17th generation 1887-1957) was invited to Beijing in the 1920's. He
was the first of the Chen family to teach publicly and make the departure
from traditional methods.
Chen
Xiao-Wang (19th generation) is the grandson of the famous master Chen
Fa-Ke and is the head of the Chen tradition. Chen Xiao-Wang is living in
Australia.
The Yang Family Taijiquan
Yang
Li-Chan came from Yongnian County, Hebei Province, North China. Coming
from a poor family he left home quite young to seek work of a menial
nature. It is recorded that he was employed by the Chen family in the
village of Chen Jiaou. While he was with the Chen family, he acquired the
art of 'Lao Jia' (Old Frame) Taijiquan, 'Tui Shou' (Push Hands) and Weapon
training.
After
spending 20 years with his teacher, Chen Chang-Xing, he returned to his
family home in Yongnian. He had become a skillful Wushu master. His
martial expertise was held in high regard by his contemporaries and was
referred to as Soft Fist or Cotton Boxing. His skill was appreciated for
its flexible attack and defence and the ability to overcome the very
strong.
Yang
Lu-Chan travelled to Beijing where he was engaged by the Royal Court to
teach Wushu. As his fame spread for his boxing skills he was nicknamed
'Yang the Invincible'.
Yang
Chien Hou's son Yang Chen-Fu was to become perhaps the most famous name
associated with Taijiquan during the 20th century. Yang Cheng Fu's sons
and descendants have continued the Yang tradition since his passing in
1936. There is no photographic evidence of Yang Lu-Chan's Taijiquan but it
is generally accepted that modifications and revisions have been initiated
by the succeeding generations into what is referred to as Da Jia (Big
Frame). Standardisation began with Yang Chien Hou and continued with Yang
Cheng Fu.
Yang
Cheng Fu is reputed to have taught many hundreds of students and
popularised Taiji throughout China. He carried his Wushu to many areas of
China, Nanjing, Shanghai, Hangzhou, Guangzhou and Hankou. Thus he
continued the work initiated by his father and grandfather first from the
village and then the capital and now throughout China, precipitating its
introduction to the rest of the world.
There
is of course pictorial records of Yang Cheng-Fu. His 10 Essentials for
training along with family records. From his photographs Yang Cheng-Fu can
be seen as a big man. It is recorded that he could deliver a stunning blow
with very little show of action. When he struck an opponent he would be
thrown back serveral metres. While many pugilistic schools may consider
injuring the opponent as the main objective, Yang Cheng-Fu was renowned
for his ability to neutralise and overpower without injuring his opponent.
The
Tang tradition passed to his three sons Yang Shou Chung (1909-1985), Yang
Zhen-Ji and Yang Zhan-Dow. These two still teach in China and conduct
seminars throughout the world.
Yang
Cheng-Fu trained many famous practitioners and their lineage can be traced
today. These include :
-
Fu Zhongwen
-
Dong Ying-Jieh
-
Chen Wei-Ming
-
Cui Yishi
-
Li Chunnian
-
Wu Huichuan
Cheng Man Ching (1901-1975)
Cheng
Man Ching was a remarkable person. He was a master of the 'Five
Excellences', Medicine, Caligraphy, Poetry, Painting and Taijiquan. He
published 'Chengs 13 Chapters of Taiji Boxing' in 1950. In 1967 in
collaboration with Robert W. Smith, they published 'Tai Chi', the Supreme
Ultimate exercise for health, sport and self defence.
In
their book, it is said that the author, Cheng Man-Ching, learned
personally from Yang Cheng-Fu for nearly a decade. Whilst the Yang family
do not place any emphasis or even refer to a relationship between Yang
Cheng Fu and Cheng Man-Ching. In the introduction to the translation of
Cheng Man-Chings book, 'Cheng Tzu's 13 Postures', his widow, Madame
Cheng, remarks that her husband was Yang's last disciple and studied with
im for six years. It would appear that Cheng Man Ching is little known in
mainland China. This may have some political significance as he was a
supporter of Chiang Kai Shek. He moved to Taiwan after the fall of China
to Mao Tse Tung.
Cheng
Man-Ching took from the Yang style many elements into his creation of 'Chengs
37 Steps'. His method, whilst deleting many of the repetitions from the
Yang Long Form retained the principles and characteristics of the Yang
family. With the exclusion of China, Chengs form enjoys wide favour
including Taiwan, Malaysia, USA and Europe.
Cheng
Man-Ching in addition to being an expert, should be seen as a pioneer,
bringing Taijiquan to the West, where it was virtually unheard of.
Like
all masters of Taijiquan hes emphasised relaxation, health and well being.
He was the first to simplify and shorten the Long Form. Accessible to a
larger audience his system includes Push Hands and Weopons.
Many
Cheng Man Ching practitioners consider this style to be separate in its
uniqueness.
Chen Chang-Xing
Besides
his own claim to fame as a Wushu master, Chen Chang-Xing passed his art to
Yang Lu-Chan. So he has a special role in the development of Taijiquan.
The First Routine (Lao Jia) is the oldest recorded Form and the consensus
is that all others are derived from it. This was the routine practised by
Chen Chang-Xing. It emphasises the quality of Chang-Ssu-Chin (Silk Reeling
Practise). This is utilised to develop inner strength. In can develop
spiralling energy through the whole of the body and limbs. In the exercise
one gains understanding of Yin and Yang, substantial and insubstantial.
Chen You-Pen
Chen
You-Pen is credited with the development of the 'Chen New Style' (Xin Jia).
This Form is very popular with modern practitioners and employs
characterisitics of Pao Tui (Canon Fist) with its fast release of energy (Fa-Jing).
This is combined with 'Old Family Style', (Lao Jia) which illustrates Silk
Reeling and less obvious use of explosive energy.
Chen Fake (1887-1957)
Chen
Fake is 17th generation of the Chen family and great grandson of Chen
Chang-Xing. Chen Fake brought modification and change to his great
grandfathers style. He is also recognised as the first member of the Chen
family to bring his art to the public's attention. He left his family home
in 1927 and travelled to Beijing to introduce Chen Style.
Chen Xiao-Wang (1946-)
19th
generation of the Chen tradition and grandson of the celebrated Chen Fake.
His main source of inspiration was his father Chen Zhao-Xu.
Chen
Xiao Wang currently resides in Sidney, Australia. He teaches and travels
to many countries and has developed a 38 Step Routine.
Wu Yu-Xiang (1812-1880)
Wu
Yu-Xiang, founder of the Wu style, lived in the village of Yongnian, Hebei
Province. This is of course the home town of Yang Lu-Chan. Wu came from a
wealthy stock, unlike Yang Lu-Chan, and was considered to be a scholar. He
was impressed by Yang's skill and received instruction from him. He
decided to make a trip to Chen Jia Gao in Henan, his intention to progress
his knowledge in the Chen village. However, Yang Lu Chan's teacher was now
quite old and was too ill to instruct. On hearing of Chen master Chen Qing-Ping,
he journeyed to the village of Zhao Bao Zhen, a township in Henan not far
from Chen Jia Gou. The style of Chen Qing-Ping was to be known later as
Zhao Bao style.
Wu
closely researched Taiji theories and principles. Experimenting with
philosophical premise he later developed Wu Style's unique
characteristics. Derived from the small Zhao Bao Zhen style of Chen Qing-Ping,
it is practised with simplicity, clarity, compactness, soft and slow
movements. The stance is upright with strict footwork. Movement is of
short range.
Li Yi-Lu (1832-1892)
Nephew
of Wu Yu-Xiang continued his uncle's work contributing to the instructions
on 'Taji Theory and Priciples', this eventually became the training manual
of all Tajiquan practitioners. Whilst this Wu Style is the least known of
the five major styles and the style with a small following, Wu Yu-Xiang
scholarly approach left its mark for posterity. His brother's discovery
of, and Wu's translation and interpretation of what is known as the 'Tai
Chi Classics' is a major claim to fame and a development of profound
importance to succeeding generations.
The
Tai Chi classics are considered to be the ultimate guide to correct
practice, a book of wisdom and a system of self cultivation for body, mind
and spirit.
Hao Wei-Chen (1849-1920)
Hao
Wei-Chen was a disciple of Wu Yu-Xiang. This style is referred to as Hao
Style and sometimes as Wu style, also Wu/Hao style. So from Wu Yu-Xiang we
have several possibilities.
Wu Style = Wu Yu-Xiang
Li Style = Li Yi-Lu
Hao Style = Hao Wei-Chen
Wu/Hao Style
The
present commentary is unable to present any clarification on the
differences of these influences. That there are some differences is
indicated by the recent organisation of the first Hao Style Taijiquan
Association of China. This was formed by 5th generation master Dan Yu Kui
in tribute to grandmaster Hao Wei-Chen, in order to distinguish it from
the other Wu Style.
Sun Lutang (1861-1932)
Sun
Lutang was over 50 when he met Hao Wei-Chen. He was already a skilled
martial artist and was renowned for his proficiency at Paqua Chang and
Hsing-I-Chuan. After much research with the two systems and Hao Style
Taiji he created his own Sun Style of Taijiquan. His daughter Sun Jian Jun
describes his method as employing Paqua's Stepping System, Hsing-I's legs
and waist movement and Taiji's body softness. Its movements are nimble,
using open and closed hand methods. A feature of the Sun style is its
agile footwork, which advances and retreats in a nimble fashion.
Wu Chien-Chuan (1870-1942)
Developed
the more popular of the two Wu styles. He learned from his father Wu Quan-You
(1834-1902) who had in turn learned from Yang Ban Hou, the second son of
Yang Lu-Chan. The movements are compact, gentle and unhurried and is
considered second in popularity to its precurser, Yang Style. Can be
referred to as Medium Frame.
Since
the arrival of the Peoples Republic (1949) much effort has been applied to
promote and popularise the cultural arts of China.
Taking
the inspiration from the Yang Style, the physical culture and sports
departments have developed the :
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24 Simplified Taijiquan
Designed for the novice.
-
32 Step Sword
The routine was promoted as an introduction to the Double Edge
Sword, again for the beginner.
Both of these forms figure prominently on
the curriculum of Universities throughout China.
-
88 Routine Taijiquan
This is also based on the Yang Style and follows the order of
traditional taijiquan movements. Designed for the more advanced
student.
-
66 Form Composite Routine
Takes movements from various styles, Yang, Wu, Sun, Chen, etc.
Intended for the more experienced practitioners.
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48 Form Composite Routine
With its basis in the Yang Style, also draws inspiration from the
features of other styles. Again, appropriate for the more
experienced student.
-
42 Competition Routine and 42
Competition Sword
Both these routines were developed for the growing increase in
Taijiquan competition. The development of these routines were under
the supervision of the State Physical Culture and Sports Commision
and/or the Chinese Wushu Association of China. These routines are
based on traditional Forms and reflect the accumulated knowledge and
experience of many Taijiquan masters. Before their introduction,
these routines are examined by committee and the designers will have
consulted many historical documents to retain structure and
characteristics. The consensus was that these modern Forms, while
retaining traditional features, embody higher degrees of difficulty
in technical execution. This was aimed at raising standards for
competition. Unlike traditional routines, which place a higher
loading to one side of the body, the modern routines consist of more
symetrical movements and reflect a balanced development of the body.
Li Tian-Ji (1914-1996)
Learned
his martial arts skills from his father, Li Yulin (1888-1965). Li Yulin
trained his Taijiquan with Sun Lu-Tang and learned Yang Style from Li Jing-Lin.
Li
Tian-Ji first mastered Shaolin Quan. He learned Hsingi Chuan, Paqua and
Taijiquan form his father. He became the world authority on the Wudang
Sword. He was the instigator and creator of the first Wushu Academy in
Northern China.
At
the request of Chou En-Lai, China's Prime Minister, he formed the
committees of which he was chairman, to create 24 Step Simpified
Taijiquan, 32 Sword Routine, 66 Combined Routine, 48 Combined Routine and
the 88 Yang Style Routine.
Taijiquan Family Tree
Showing
only key figures in development
This
is a simplified version of Family Tree. However it does show the creators of
the:
-
Chen Style
-
Yang Style
-
Wu Style, old
-
Wu/Hao Style
-
Wu Style
-
Sun Style
-
Cheng Man Ching
There
represent the most popular styles practiced worldwide.
The
Chen Style is acknowledged as the first. Yang Style is considered the most
popular. The style of Cheng Man Ching is derivative from the Yang Style.
Whilst a Taijiquan pioneer in the west, he is generally unknown in mainland
China.
Yang
style 85 Posture Long Form.
Yang
Cheng-Fu (1883-1936)
The most influential teacher of the 20th century devised his ten important
points as a guide to correct training.
-
Hold the head straight
with ease
-
Sink the chest and
raise the back
-
Relax the waist
-
Distinquish solid and
empty
-
Sink the shoulders and
elbows
-
Use the mind and not
brute force
-
Co-ordinate your upper
and lower body
-
Unify the internal with
the external
-
Continuity
-
Stillness in motion
The
Yang family moto
'ZHIN' - Diligence
'HEN' - Perseverance
'LI' - Respect
'ZHEN' - Sincerity
Cheng Man Ching's 37 Forms
-
Preparation
-
Opening
-
Grasp Sparrows Tail
(left)
-
Grasp Sparrows Tail
(right)
-
Grasp Sparrows Tail
Rollback
-
Grasp Sparrows Tail
Press
-
Grasp Sparrows Tail
Push
-
Single Whip
-
Lift Hands
-
Lean Forward
-
Stork Spreads Wings
-
Brush Knee and Twist
Step (left)
-
Play the Lute
-
Step Forward, Deflect,
Parry and Punch
-
Withdraw and Push
-
Cross Hands
-
Embrace Tiger and
Return to Mountain
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Punch Under Elbow
-
Step Back and Repulse
Monkey (right)
-
Step Back and Repulse
Monkey (left)
-
Diagonal Flying
-
Wave Hands like Clouds
(right)
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Wave Hands like Clouds
(left)
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Squatting Single Whip
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Golden Cock Stands on
One Leg (right)
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Golden Cock Stands on
One Leg (left)
-
Separate Right Foot
-
Separate Left Foot
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Turn and Kick with Heel
-
Brush Knee and Twist
Step (right)
-
Step Forward and Strike
with Fist
-
Fair Lady Works at
Shuttles (right)
-
Fair Lady Works at
Shuttles (left)
-
Step Forward to Seven
Stars
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Step Back and Ride the
Tiger
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Turn Body and Sweep
Lotus Kick
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Bend Bow and Shoot the
Tiger
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