Chen-style t'ai chi ch'uan - Wikipedia

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Chen-style t'ai chi ch'uan

From Wikipedia, the free encyclopedia

The Chen family-style ( or

) is the oldest and parent form of the five
traditional family styles. Chen-style is
characterized by Silk reeling (chn s jn; ),
alternating fast/slow motion and bursts of power
(fa jin; ).[1]
Contemporary t'ai chi ch'uan is typically practised
for a number of widely varying reasons: health,
external/internal martial art skills, aesthetics,
meditation or as an athletic/competition sport
(sometimes called "wushu tai chi"). Therefore, a
teacher's system, practice and choice of training
routines usually emphasizes one of these
characteristics during training. The five traditional
schools, precisely because they are traditional,
attempt to retain the martial applicability of their
teaching methods. Some argue that the Chen
tradition emphasizes this martial efficacy to a
greater extent.[1]

Chen-style t'ai chi ch'uan

()

Chen-style practitioners in Single Whip

Also known as

Chen family taijiquan

Chen school of taijiquan
Chen shi taijiquan
Date founded

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late 16th century

Country of origin China

Founder

Chen Wangting

Current head

Chen Xiaowang

Contents
1 History
1.1 Origin theories
1.1.1 Chen Village
(Chenjiagou)
1.1.2 Other origin stories
1.2 Recent History
1.3 T'ai chi ch'uan lineage tree with
Chen-style focus
2 Chen forms
2.1 Historical forms from Chen
Village
2.2 Existing Chen Village Forms:
Frames - Large and Small, Old
and New
2.2.1 Large frame - old
frame tradition
2.2.2 Large frame new
frame tradition
2.2.3 Small frame tradition
3 Closely related Chen traditions

Chen-style taijiquan

11th generation Chen

Arts taught

T'ai chi ch'uan

Ancestor arts

Neijia

Descendant arts

Yang-style taijiquan,
Wu (Hao)-style taijiquan

Practitioners

Chen Fake,
Chen Zhaopi (),
Chen Zhaokui (),
Chen Zhenglei(),
Chen Xiaoxing ()

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5
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3.1 Chen taijiquan Beijing's branch

(Xinjia)
3.2 Zhaobao taijiquan
3.3 Chen-style Hun Yuan taijiquan
3.4 Chen-style t'ai chi ch'uan
Practical Method
Modern Chen forms
Weapon forms
Additional training
Martial application
References
Further readings

History
Origin theories
The origin and nature of what is now known as tai chi is not historically verifiable until around the
17th century. Documents of this period indicate the Chen clan settled in Chenjiagou (Chen Village,
), Henan province, in the 13th century and reveal the defining contribution of Chen Wangting
(; 15801660).[2] It is therefore not clear how the Chen family actually came to practise their
unique martial style and contradictory "histories" abound. What is known is that the other four
contemporary traditional tai chi styles (Yang, Sun, Wu and Woo) trace their teachings back to Chen
village in the early 1800s.[3][4]
Chen Village (Chenjiagou)
According to Chen Village family history, Chen Bu (; ) was a skilled martial artist who
started the martial arts tradition within Chen Village.[5] The Chen family were originally from Hong
Dong (), Shanxi (). Chen Bu, considered to be the founder of the village, moved from
Shanxi to Wen County (), Henan Province () in 1374. The new area was originally known
as Chang Yang Cun () or Sunshine village and grew to include a large number of Chen
descendants. Because of the three deep ravines (Gou) beside the village it came to be known as Chen
Jia Gou () or Chen Family creek/brook. For generations onwards, the Chen Village was
known for their martial arts.
The special nature of Tai Chi Chuan practice was attributed to the ninth generation Chen Village
leader, Chen Wangting (; ; 15801660). He codified pre-existing Chen training
practice into a corpus of seven routines. This included five routines of tai chi chuan (),
108 form Long Fist (and a more rigorous routine known as Cannon Fist (
). Chen Wangting integrated different elements of Chinese philosophy into the martial arts training
to create a new approach that we now recognize as the Internal martial arts. He added the principles
of Yin-Yang theory (
; the universal principle of complementary opposites), the techniques of
Daoyin (leading and guiding energy), Tu na (expelling and drawing energy), the Chinese medical
theory of energy () and Chinese medical theory of the meridians (). Those theories
encountered in Classical Chinese Medicine and described in such texts as the Huang Di Nei Jing
(; Yellow Emperor's Canon of Chinese Medicine). In addition, Wangting incorporated
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the boxing theories from sixteen different martial art styles as described in the classic text, Ji Xiao
Xin Shu(; "New Book Recording Effective Techniques"; ~ 15591561) written by the
Ming General Qi Jiguang (; 15281588).[5][6]
Chen Changxing ( Chn Chngxng, Ch'en Chang-hsing, 17711853), 14th generation Chen
Village martial artist, synthesized Chen Wangting's open fist training corpus into two routines that
came to be known as "Old Frame" (; lao jia). Those two routines are named individually as the
First Form (Yilu; ) and the Second Form (Erlu; , more commonly known as the Cannon
Fist ). Chen Changxing, contrary to Chen family tradition, also took the first recorded
non-family member as a disciple, Yang Luchan (17991871), who went on to popularize the art
throughout China, but as his own family tradition known as Yang-style t'ai chi ch'uan. The Chen
family system was only taught within the Chen village region until 1928.
Chen Youben (; 1780~1858), also of the 14th Chen generation, is credited with starting
another Chen training tradition. This system also based on two routines is known as "Small Frame"
(xiao jia; ).[5] Small Frame system of training eventually lead to the formation of two other
styles of Tai chi chuan that show strong Chen family influences, Zhaobao jia () and Hulei jia
(Thunder style; ). However they are not considered a part of the Chen family lineage.
Other origin stories
Some legends assert that a disciple of Zhang Sanfeng named Wang Zongyue () taught Chen
family the martial art later to be known as taijiquan.[3]
Other legends speak of Jiang Fa ( Jing F; 15741655), reputedly a monk from Wudang
mountain who came to Chen village. He is said to have helped transform the Chen family art with
Chen Wangting (17711853) by emphasizing internal fighting practices.[7] However, there are
significant difficulties with this explanation, as it is no longer clear if their relationship was that of
teacher/student or even who taught whom.[3]

Recent History
The availability and popularity of Chen-style t'ai chi ch'uan is reflective of the radical changes that
occurred within Chinese society during the Twentieth century. In the declining period of the Qing
Dynasty, the emergence of a Republican government and the policies of the People's Republic of
China, Chen Tai Chi Chuan underwent a period of discovery, popularization, repression and finally
internationalization.
During the second half of the 19th century, Yang Luchan (; 17991872) and his family
established a reputation of Yang-style t'ai chi ch'uan throughout the Qing empire. Few people knew
that Yang Luchan first learned his martial arts from Chen Changxing in the Chen Village. Fewer
people still visited the Chen village to improve their understanding of Tai Chi Chuan. Only Wu
Yu-hsiang (; 18121880), a student of Yang Luchan and the eventual founder of Wu
(Hao)-style t'ai chi ch'uan (/), was known to have briefly studied the Chen Family small frame
system under Chen Qingping ( 17951868). This situation changed with the fall of the Qing
empire when Chinese sought to discover and improve their understanding of traditional philosophies
and methods.
In 1928, Chen Zhaopei (; 18931972) and later his uncle, Chen Fake (, , Chn

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Fk, Ch'en Fa-k'e 18871957) moved from Chen village to teach in Beijing.[8][9] Their Chen-style
practice was initially perceived as radically different from other prevalent martial art schools
(including established tai chi "traditions") of the time. Chen Fake proved the effectiveness of
Chen-style t'ai chi ch'uan through various private challenges and even a series of Lei tai matches.[2]
Within a short time, the Beijing martial arts community was convinced of the effectiveness of
Chen-style t'ai chi ch'uan and a large group of martial enthusiasts started to train and publicly
promote it.
The increased interest in Chen-style t'ai chi ch'uan led Tang Hao (; 18871959), one of the first
modern Chinese martial art historians, to visit and document the martial lineage in Chen Village in
1930 with Chen Ziming.[10] During the course of his research, he consulted with a manuscript
written by 16th generation family member Chen Xin (; Ch'en Hsin; 18491929) detailing Chen
Xin's understanding of the Chen Village heritage. Chen Xin's nephew, Chen Chunyuan, together with
Chen Panling (president of Henan Province Martial Arts Academy), Han Zibu (president of Henan
Archives Bureau), Wang Zemin, Bai Yusheng of Kaiming Publishing House, Guan Baiyi (director of
Henan Provincial Museum) and Zhang Jiamou helped publish Chen Xin's work posthumously. The
book entitled Taijiquan Illustrated ( see classic book) was published in 1933 with the
first print run of thousand copies.[11]
For nearly thirty years, until his death in 1958, Chen Fake diligently taught the art of Chen-style t'ai
chi ch'uan to a select group of students. As a result, a strong Beijing Chen-style tradition centered
around his "New Frame" variant of Chen Village "Old Frame" survived after his death. His legacy
was spread throughout China by the efforts of his senior students.
The Cultural Revolution (19661976) resulted in a period of Chen-style t'ai chi ch'uan decline. The
Chinese government engaged in an active policy to suppress all traditional teachings, including the
practice of martial arts. Training facilities were closed and practitioners were prosecuted. Many Chen
masters were publicly denounced. For example, Chen Zhao Pei was pushed to the point of
attempting suicide[12] and Hong Junsheng was left malnourished. To the great credit of the
Chen-style practitioners at that time, training was continued in secret and at great personal risk
ensuring the continuation of the tradition.
During the Era of Reconstruction (19761989), the policy of repression of traditional Chinese culture
was reversed. Under this new climate, Chen tai chi chuan was once again allowed to be practiced
openly. Through a series of government-sponsored meetings and various provincial and national
tournaments, Chen-style t'ai chi ch'uan regained its reputation as an important branch of Chinese
martial arts. In addition, those meetings created a new generation of Chen-style teachers.
The start of the internationalisation of Chen-style can be traced to 1981. A t'ai chi ch'uan association
from Japan went on a promotional tour to the Chen village. The success of this trip created interest in
Chen-style t'ai chi ch'uan both nationally and internationally. Soon t'ai chi ch'uan enthusiasts from
other countries started their pilgrimage to Chenjiagou. The increasing interest led all levels of the
Chinese governments to improve the infrastructure and support of Chen Jia Gou including the
establishment of martial art schools, hotels and tourist associations.[13]
In 1983, martial artists from the Chen village received full government support to promote Chen tai
chi chuan abroad. Some of the best Chen stylists became international "roaming ambassadors"
known as the "Four Buddha Warrior Attendants". Those four Chen stylists including Chen Xiaowang
(; Chen Fake's direct grandson), Chen Zhenglei (; 1949),[14][15] Wang Xian ()

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[16]

and Zhu Tiancai ()[17] traveled relentlessly giving global workshops and creating an
international group of Chen-style practitioners.
Other well known Chen teachers active in China or overseas include:
Chen Yu (; grandson of Chen Fake)[18]
Tian Jianhua (; the last living disciple of Chen Fake,younger brother of Tian Xiuchen,
teaching in Beijing)[19]
Li Enjiu (; disciple of Hong Junsheng)[20]
Zhang Xuexin (; disciple of Feng Zhiqiang; teaching in the US),[21]
Zhang Zhijun (),[22]
Cheng Jincai (; disciple of Chen Zhaokui; teaching in Houston, TX),[23]
Joseph Chen Zhonghua (; disciple of Hong Junsheng and Feng Zhiqiang; teaching
throughout North America),[24]
Wu (Peter) Shi-zeng ( ; a student of Hong Junsheng in Australia)[25]
Chen Bing (; Chen Village)[26]
Chen Xiaoxing (; Chen Village)[27]
Chen Peishan () and Chen Peiju () have been influential in promoting the
less-known Chen Village Small Frame tradition[28]
Chen Huixian (; Disciple of Chen Zhenglei teaching in the US) [29]
Chou Wenpei (; Berkeley California) Student of . Promote and Document
Chen-style t'ai chi ch'uan since 1996 [30]
Chen Wencheng (; Disciple of Chen Zhenglei teaching in Los Angeles US)
In recent decades Chen-style taijiquan has come to be recognized as a major style of martial art
within China. In Western countries Chen-style is rapidly growing in popularity for either martial art
(interest in its neijia skills) or healthy life-style (more lively than Yang style) reasons.
Chen-style schools with links back to Chen Village and Beijing have blossomed rapidly in Western
countries in the last twenty yearsoffering a significantly different alternative to Yang family style
(effectively the only tai chi known in the West before that time). Such countries with strong links
back to Chen Village include the US, Canada, Britain, New Zealand, Germany, Italy, Czech
Republic, Japan, Singapore and Malaysia.

T'ai chi ch'uan lineage tree with Chen-style focus

The story of Chen-style Tai chi ch'uan is rich and complex. The lineage tree is a concise summary
and highlights some of the important personalities that contributed to its history. However, there are
some missing details that can provide insight to the current understanding of this art.
Chen Xin (1849-1929), 8th generation Chen family member, provided one of the most important
written description of the Chen style.[11] He was the grandson of Chen Youshen (), 6th
generation Chen family member. Chen Youshen was the brother of Chen Youben (), the
creator of Small Frame. Chen Xin's father was Chen Zhongshen and Chen Xin's uncle, Chen Jishen
were twins. In that 7th generation Chen family, Chen Zhongshen, Chen Jishen, Chen Gengyun (
, the son of Chen Chanxing), Yang Luchan (, founder of Yang Style) and Chen
Qingping(, promoter of Zhaobao style Tai chi ch'uan) were all martial artists with exceptional

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abilities.
Chen Xin initially trained with his father but his father ordered him to study literature rather than the
martial arts. It was only later that he decided to use his literature skills to describe his understanding
of the secrets of Chen style. In Chen Xin's generation, his older brother, Chen Yao and his cousin,
Chen Yanxi(, father of Chen Fake) were considered masters of the Chen style. Chen Xin's
legacy is his book and his student, Chen Ziming (). Chen Ziming, went on to promote Chen
style small frame throughout China and wrote books [31] promoting the art. Chen Ziming was in the
same generation as Chen Fake.

Chen forms
Forms or taolu (Chinese: ; pinyin: tol) are series of choreographic moves to simulate an attack
or defense. They are the key training methods in traditional Chinese martial arts. Chen style tai chi
ch'uan is no exception. This art is defined by a distinct training curriculum. But it is not only the
external appearance of the movement that differentiate this style from other martial arts, each
movement is based on intricate theories unique to this system. Because it is an art, it is subject to the
interpretation of each practitioner. The resulting interpretations created subdivision within the style.
Each variation of Chen style are due to its history and their particular training insight of the teacher.
Currently, the sub division of Chen style t'ai chi ch'uan includes: historical training methods from
Chen Village, forms derived from the lineage of Chen Fake commonly known as Big Frame: Old
Frame and New Frame, training methods from Chen Fake's student such as Feng Zhiqiang and Hong
Junsheng, another Chen village teaching system known as Small Frame and closely related t'ai chi
ch'uan traditions of Zhaobao t'ai chi ch'uan ().
In the distant past, the effectiveness and efficacy of a training method was determined through actual
combat. In the modern era, such tests of skills no longer takes place. There are no recognized central
authorities for the martial arts. This had led to the determination of authenticity for any style
depending on anecdotal stories or appeal to historical lineage.[32] Chen t'ai chi ch'uan also follows
this trend. However, the Chen style practitioner follows a more stringent requirement. According to
Chen Fake, the last great proponent of the Chen style in the modern era, the external appearance of
the form is not important. A correct Chen style t'ai chi ch'uan form should be based on the same
fundamental principle and that each element of a form should have a purpose. In Chen Fake's words:
"This set of Taijiquan does not have one technique which is useless. Everything was carefully
designed for a purpose." (" , "). [8][9] The understanding of
each sub-division should be interpreted with this idea in mind.
The fundamental principles for Chen style tai chi chuan are summarized as follows:[6][33]
Keeping the head upright (, x lng dng jn)
Keeping the body straight (, lshn zhngzhng)
Drop the shoulders and sink the elbow ( , sng jin chn zhu)
The chest curve inwards and the waist pressed forward.( , hn xing t yo)
Sink the energy to the dantian (, xn q xi jing)
Breath naturally (, h x z rn)
Relax the hip and keep the knees bent ( ,sng ku q x)

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The crotch is arch shaped ( , dng jn ki yun)

keep the mind pure and clear (, x sh fn mng)
The top and bottom works together (. shng xi xing su)
Adjust hardness and softness (, gng ru xing j)
Alternate fast and slow (, (kui mn xing jin)
The external shape is curved (, wi xng zu h xin)
The internal energy travels a spiral path (, ni jn zu lu xun)
The body leads the hand (, y shn lng shu)
The waist is an axis (, y yo wi zhu)

Historical forms from Chen Village

Historical forms refers to training methods that are described in traditional boxing manuals from
Chen village [34] or through oral recollections or through verbal histories.[8][9] Those forms are no
longer being practiced since Chen Changxing (, 17711853), 14th generation Chen Village
martial artist, reduce the methods into two routines.
Chen Wangting (; ; 15801660), ninth generation Chen Village leader, was credited
with the creation of seven routines. Those routines were:[6]
The First Set of Thirteen Movements with 66 Forms ( 66
The Second Set with 27 forms ( 27
The Third Set with 24 forms also known as the Four Big Hammer Set (24
)
Red Fist with 23 forms ( 23
The Fifth Set with 29 forms (29
The Long Fist with 108 forms ( 108)
The Canon Fist with 71 forms now commonly known as the second form ( 71

Weapon forms including the broadsword, the sword, the staff and the hook (

Two man training routines ()
The first five sets is known as the five routines of t'ai chi ch'uan (). The 108 form Long
Fist ( and a form known as Cannon Fist() was considered to be a
separate curriculum. In terms of weapons, the Chen clan writings described a variety of weapons
including: spear, staff, swords, halberd, mace, sickles but the manual specifically describes training
for spear, staff, broadsword and straight sword. Pushhands as a means of training was not described
in those historical manuals but rather it was described as a form of pair training.

Existing Chen Village Forms: Frames - Large and Small, Old and New
There are three main variants of Chen forms that are being practiced today. Each variant uses the
concept of frames (, jia) to describe the difference in appearance within each form. The concept of
frames refer to the general width of stances and range of motion within the form. In Large Frame (
, da jia ), the standard horse stance is at least two and half shoulder widths wide and hand
techniques that are large and expansive in appearance. In contrast, small frame (; xiao jia), the
standard horse stance is at most two shoulder width wide and the hand techniques are shorter and

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more compact. Each frame have their own distinctive lineage and training ideas. There are two types
of Large Frame: old frame (; Lo jia) and new frame ( xin jia). Both type of large frame are
traced directly to the teachings of Chen Fake.
Large frame - old frame tradition
The large frame - old frame system of training consists of two forms. They are known simply as the
First form (Yi Lu) and the Second Form (Er Lu) also known as the Cannon Fist (Pao Chui). This
system was first taught by Chen Fake in Beijing in 1928. There are 72 moves in the First Form and
42 moves in the Second Form. The historical roots can be traced back to Chen Fake's great
grandfather, Chen Changxing ( Chn Chngxng, Ch'en Chang-hsing, 17711853) who was
also the teacher of Yang Luchan. Due to this common lineage, there are similarities on stances even
though more than fifty years separates the Yang training traditions and the form revealed by Chen
Fake in Beijing. The description of Yilu in Chen style parlance are: Movements are large and
stretching, Footwork is brisk and steady, the body is naturally straight, the entire body controlled by
internal energy. ( ) The exercise
requires the close coordination between mind-intent, internal energy, and the body; the outer
appearance is an arc and the internal energy travels along the path of a spiral; the energy winds
around so that the external action appears soft but corresponding internal action is hard. (
) [35]
Erlu training starts after the student is proficient in performing Yilu. Yilu trains the student on the
unique principles of Tai chi in contrast Erlu focus on fighting applications based on those principles.
In appearance, the Erlu stances are shorter, the moves are faster and more explosive. The intent is
that each posture is training for a strike rather than on a grapple and the technique uses the energies
of smaller and smaller circles.[36]
Large frame new frame tradition
The Xin Jia (New Frame; ) is attributed to Chen Fake,
and some regard him as the author of the style, while others
see him as the inheritor of a mix of different older methods
held by the family that he developed as his own practice.
Credit for actual public teaching/spread of these two new
routines probably goes to his senior students (especially his
son, Chen Zhaokui).
When Chen Zhaokui returned to Chen Village (to assist and
then succeed Chen ZhaoPei) to train today's generation of
Masters (e.g. the "Four Buddhas") he taught Chen Fake's,
unknown (to them) practice methods. Zhu Tian Cai, who was
a young man at the time, claims that they all started calling it
"xin jia" (new frame) because it was adapted from classic old
frame.

An older Chen Fake plays the "xin

jia" form he introduced to the world

Some of the main differences that 'new' frame has compared to 'old' frame are xiongyao zhedie (chest
and waist layered folding), which is the coordinated opening and closing of back and chest along
with a type of rippling wave (folding) running vertically up and down the dantian/waist area,
connected to twisting of the waist/torso. The stances tend to be more compact in the goal of better
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mobility for fighting applications, while they still remain quite low. This form tends to emphasize
manipulation, seizing and grappling (qin na) and a tight method of spiral winding for both long and
shorter range striking.
Zhu Tian Cai has commented that the xinjia (new frame) emphasises the silk reeling movements to
help beginners more easily learn the internal principles in form and to make application more
obvious in relation to the Old big frame forms.
It was also recounted that by the time of the cultural revolution, Chen Village was losing qualified
teachers of Taijiquan, and the resident students (who are now the more famous exponents of the
style) had not been taught much in the areas of tuishou (push hand) or martial application methods. It
was not until the return of Chen Zhaokui that these methods were covered in detail, over a series of
visits. What some called "Xinjia", or Chen Zhaokui's form, was explicitly practiced with the purpose
of developing tangible and effective martial arts methods and strengths. This is another reason it was
said to be exciting for younger students.
In Chen Village xin jia is traditionally learned only after lao jia. Like lao jia, xin jia consists of two
routines, yi lu and er lu (cannon fist). The new frame cannon fist is generally performed faster than
the other empty hand forms, at the standardized speed its 83 movements finish in under 15 minutes.!
Small frame tradition
The small frame (xiao jia; ) style was until recently not publicly known outside of Chen Village.
DVD material has been made available in more recent times though authentic, public teaching is still
hard to find. The reasons for this may be more to do with the nature of small frame tradition itself
rather than any particular motivation of secrecy.
Although it recently had the term "small frame" attached to it "xiao jia" was previously known as
"xin jia" (new frame). Apparently the name change occurred to differentiate it from the new routines
that Chen Fake created (from big frame tradition's "old frame" routines) in the 1950s, which then
became called "Xin Jia" (by the young men of Chen Village).
Even today some people confuse Chen Fake's altered routines (from big frame tradition's "old frame"
routines) with small frame tradition and believe he revealed the secret teaching of small frame
tradition as well.
Zhu Tian Cai comments that small frame tradition routines also used to be practiced by "retired"
Chen villagers. It seems this was because the more demanding leaping, stomping, low frame, and
intensive fa jing of the advanced big frame tradition routines have been eliminated and the retained
movements emphasize use of the more subtle internal skills, which is a more appropriate regimen for
the bodies of elder practitioners. He also observed that young children used to imitate Small Frame
routines by watching older villagers practising and this was encouraged for health reasons.
Xiao Jia is known mainly for its emphasis on internal movements, this being the main reason that
people refer to it as "small frame"; all "silk-reeling" action is within the body, the limbs are the last
place the motion occurs.

Closely related Chen traditions

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Chen taijiquan Beijing's branch (Xinjia)

This branch of Chen t'ai chi ch'uan is accredited to Tian Xiuchen, a student of Chen Fake. Beijing's
branch, called Xinjia (New Frame; ) by Chen Zhaokui's descendents, is attributed to Chen Fake,
and some regard him as the author of the style.
When Chen Zhaokui returned to Chenjiagou he taught Chen Fake's form, unknown to them, and
some of the village started calling it "xinjia" (new frame) because it was adapted from classic "laojia"
(old frame). Because of this distinction, Chen Fake's disciples decided to name his master style as
"Beijing's Chen style" to differentiate it from Chenjiagou "Xinjia" and considered as the 1st
generation to Chen Fake. This means that the disciples of Chen Fake continue the chen lineage (18th,
19th, 20th, 21st generation, etc...) but they usually start counting from his sifu.
Important for the diffusion of this style is Tian Xiuchen (18 generation Chen style and 2nd
generation Beijing's Chen style), the disciple that learned Chen style with Chen Fake for the longest
time. He introduced Taijiquan teaching in Chinese universities. The lineage of this branch continued
with masters Tian Qiutian, Tian Qiumao and Tian Qiuxin (19th generation Chen style and 3rd
generation Beijing's Chen style).
Present day we can know Tian Qiutian's disciples: Pan Ying, Bai Shuping and Wang Xiaojun (4th
generation). Wang Xiaojun is a national Wushu referee of China and a graduate supervisor of Beijing
Sport University (BSU). He has a PhD in Taiji Quan studies, he is President of National Traditional
Chinese Exercise Medicine Institute, after serving as Director of Wushu Department of BSU. He is
also a member of Chinese Wushu Association and a director of China Association of Research and
Development on Traditional Chinese Medicine.
Also notable for teaching this style both in China and abroad is Chen Zhaokui's son, Chen Yu, who
naturally studied under his father's supervision.[37]

Zhaobao taijiquan
The Zhaobao Taijiquan shares many stylistic similarities with Chen-style taijiquan due to the
influence of Chen Qingping, a Chen Family stylist. His disciples such as He Zhaoyuan and Wu
Yuxiang promoted this unique style. Despite the similarities in appearance, this style has its own
history, theory and philosophy. This style is considered to be a distinct and separate traditional
Chinese martial art.

Chen-style Hun Yuan taijiquan

Hun Yuan t'ai chi ch'uan (Chinese: (traditional) , (simplified)
) is much like traditional Chen-style Xin Jia with an influence from Shanxi Hsing Yi. It was
created by Feng Zhiqiang (one of Chen Fake's senior students). Feng, who died on 5 May
2012, was widely considered the foremost living martial artist of the Chen tradition.
"Hun Yuan" refers to the strong emphasis on circular, "orbital" or spiraling internal principles at the
heart of this evolved Chen tradition. While such principles already exist in mainstream Chen-style
the Hun Yuan tradition develops the theme further. Its teaching system pays attention to spiraling
techniques in both body and limbs and how they may be harmoniously coordinated together.
Specifically, the style synthesizes both Chen tai chi and Xin Yi (both Qigong and, to a lesser degree,

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martial movements). Outwardly it appears similar to traditional Old Frame Chen forms and teaches
beginners/seniors a 24 open-fist form as well as a 24 Qigong system.
The training syllabus also includes 35 Chen Silk-Reeling and condensed 38 and 48 open-fist forms in
addition to Chen Fake's (modified) Big Frame forms (87 and 73).
The Hun Yuan tradition is internationally well organised and managed by Feng's daughters and his
long-time disciples. Systematic and comprehensive theory/practice international teaching
conventions are held yearly. Internally trained instructors teach tai chi for health benefits with many
also teaching Chen martial-art applications. Feng's specially trained "disciple instructors" teach Chen
internal martial art skills of the highest level.
Grandmaster Feng in his late years rarely taught publicly but devoted his energies to training Hun
Yuan instructors and an inner core of nine "disciples" that included Cao Zhilin, Chen Xiang, Pan Hou
Cheng, Wang Fengming and Zhang Xue Xin.

Chen-style t'ai chi ch'uan Practical Method

This branch of Chen t'ai chi ch'uan is accredited to Hong Junsheng, a senior student of Chen Fake
who became a disciple in 1930. Hong used the term "Practical Method" () to emphasize the
martial aspects of his research and training, as well as the harmonised training syllabus joining gong
and fa within the Yilu (first road) form.
Currently Li Enjiu is the Standard Bearer and Chen Zhonghua is International Standard bearer of
Chen-style taijiquan Practical Method.

Modern Chen forms

Similar to other family styles of t'ai chi ch'uan, Chen-style has had its frame adapted by competitors
to fit within the framework of wushu competition. A prominent example is the 56 Chen Competition
form (developed by the Chinese National Wushu Association from lao jia routines) and to a lesser
extent the 48/42 Combined Competition form (1976/1989 by the Chinese Sports Committee
developed from Chen and three other traditional styles).
In the last ten years or so even respected grandmasters of traditional styles have begun to
accommodate this contemporary trend towards shortened forms that take less time to learn and
perform. Beginners in large cities don't always have the time, space or the concentration needed to
immediately start learning old frame (75 movements). This proves all the more true at workshops
given by visiting grandmasters. Consequently, shortened versions of the traditional forms have been
developed even by the "Four Buddhas". Beginners can choose from postures of 38 (synthesized from
both lao and xin jia by Chen Xiaowang), 19 (1995 Chen Xiaowang), 18 (Chen Zhenglei) and 13
(1997 Zhu Tiancai). There is even a 4-step routine (repeated 4 times in a circular progression,
returning to start) useful for confined spaces (Zhu Tiancai).
A comprehensive list of forms, old and new, can be found here.

Weapon forms
Chen Tai Chi has several unique weapon forms.

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the 49 posture Straight Sword (Jian) form

the 13 posture Broadsword (Dao) form
Spear (Qiang) solo and partner forms
3, 8, and 13 posture Gun (staff) forms
30 posture Halberd (Da Dao/Kwan Dao) form
several double weapons forms utilizing the above-mentioned items

Additional training
Before teaching the forms, the instructor may have the students do stance training such as zhan
zhuang and various qigong routines such as silk reeling exercises.[38]
Other methods of training for Chen-style using training aids including pole/spear shaking exercises,
which teach a practitioner how to extend their silk reeling and fa jing skill into a weapon.[5]
In addition to the solo exercises listed above, there are partner exercises known as pushing hands,
designed to help students maintain the correct body structure when faced with resistance. There are
five methods of push hands[38] that students learn before they can move on to a more free-style push
hands structure, which begins to resemble sparring.

Martial application
The vast majority of Chen stylists believe that tai
chi is first and foremost a martial art; that a study
of the self-defense aspect of tai chi is the best
test of a student's skill and knowledge of the tai
chi principles that provide health benefit. In
compliance with this principle, all Chen forms
retain some degree of overt fa jing expression.
In martial application, Chen-style t'ai chi ch'uan
uses a wide variety of techniques applied with all
the extremities that revolve around the use of the
eight gates of tai chi chuan to manifest either kai
A martial application exhibiting peng, and rollback.
(expansive power) or he (contracting power)
through the physical postures of Chen forms.[1]
The particulars of exterior technique may vary between teachers and forms. In common with all
neijia, Chen-style aims to develop internal power for the execution of martial techniques, but in
contrast to some tai chi styles and teachers includes the cultivation of fa jing skill.[5] Chen family
member Chen Zhenglei has commented that between the new and old frame traditions there are 105
basic fajin methods and 72 basic Qinna methods present in the forms.

References
1. Guang Yi, Ren (2003). Taijiquan: Chen 38 form and applications. 364 Innovation Drive, North
Clarendon VT: Tuttle Publishing. ISBN0-8048-3526-8.

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2. Chen, Mark (2004). Old frame Chen family Taijiquan. Berkeley, Calif.: North Atlantic Books:
Distributed to the book trade by Publishers Group West. ISBN978-1-55643-488-4.
3. Wile, Douglas (1995). Lost T'ai-chi Classics from the Late Ch'ing Dynasty (Chinese Philosophy and
Culture). State University of New York Press. ISBN978-0-7914-2654-8.
4. Wile, Douglas (1983). Tai Chi Touchstones: Yang Family Secret Transmissions. Sweet Ch'i Press.
ISBN978-0-912059-01-3.
5. Gaffney, David; Sim, Davidine Siaw-Voon (2002). Chen Style Taijiquan: the source of Taiji Boxing.
Berkeley, Calif.: North Atlantic Books. ISBN978-1-55643-377-1.
6. (2006). Chinese Taijiquan dictionary( ). .
ISBN978-7-5009-2879-9.
7. Szymanski, Jarek. "The Origins and Development of Taijiquan (tr. from "Chen Family Taijiquan Ancient and Present" published by CPPCC (the Chinese People's Political Consultative Conference)
Culture and History Committee of Wen County, 1992)". Retrieved 16 June 2011.
8. (1989). /: . .
ISBN978-7-5331-0640-9.
9. Junsheng Hong (2006). Chen style taijiquan practical method: theory. Zhonghua Chen (trans.).
Hunyuantaiji Press. ISBN978-0-9730045-5-7. Retrieved 18 January 2011.
10. Brian Kennedy (8 January 2008). Chinese Martial Arts Training Manuals: A Historical Survey. Blue
Snake Books. pp.50. ISBN978-1-58394-194-2. Retrieved 19 January 2011.
11. Chen, Xin (1999). "Illustrated Explanations of Chen Family Taijiquan". ChinaFromInside.com. Jarek
Szymanski. Retrieved 27 September 2014.
12. Cheng, Jin Cai (June 13, 2004). "Remembering Grandmaster Chen Zhaokui". International Chen Style
Tai Chi Development Center. Retrieved 2011-01-22.
13. Burr, Martha (1999). "Chen Zhen Lei: Handing Down the Family Treasure of Chen Taijiquan". Kungfu
Magazine. Retrieved 2011-01-24.
14. "Chen Zhenglei Website()". Retrieved 2012-12-06.
15. "Chen Zhenglei Website( )" (in Chinese). Archived from the original on
2011-01-29. Retrieved 2011-01-24.
16. (in Chinese). Retrieved 2011-01-26.
17. (in Chinese). Retrieved 2011-01-26.
18. " ". Retrieved 2011-01-26.
19. "". Retrieved 2011-01-26.
20. " ". Retrieved 2011-01-26.
21. "Zhang Xue Xin (1928) Chen Style Taiji 19th Generation Master". Feng Zhi-Qiang Chen Style
Taijiquan Academy. 2006. Retrieved 2011-01-25.
22. " --". (taiji.net.cn). Retrieved 2011-01-26.
23. "International Chen Style Tai Chi Development Center". Retrieved 2012-05-15.
24. Chen, Joseph (2011). "Chen Zhonghua - Chen Style Taijiquan Practical Method and Hunyuan Taiji".
Hunyuan Taiji Academy. Retrieved 2011-01-25.
25. "Chen Style Taijiquan Academy". Retrieved 2011-01-27.
26. "Chen Bing Taiji Academy ()". Retrieved 2011-01-26.
27. "". Retrieved 2011-01-26.
28. "ISCT - International Society of Chen Taijiquan/". Retrieved 2011-01-26.
29. "Chen Huixian Taijiquan Academy". Retrieved 2012-12-27.
30. "Chen Taichi on-line". Retrieved 2011-08-07.
31. (2008). . . ISBN978-7-5377-3011-2.
32. Peter Allan Lorge (2012). Chinese Martial Arts: From Antiquity to the Twenty-First Century. Cambridge
University Press. pp.7. ISBN978-0-521-87881-4.
33. (6 September 2008). "Chinese Tai Chi Martial Arts in Shanghai ( )".
douban. Retrieved 2015-06-04.
34. Szymanski, Jarek (1999). "Brief Analysis of Chen Family Boxing Manuals". ChinaFromInside.com.
Jarek Szymanski. Retrieved 15 April 2015.
35. " (Chen Style Tai Chi Chuan Old Frame First Form)". baike.com. . 1999.
Retrieved 11 July 2015.
36. Santiago, Xavier (2013-02-15). "Yilu & Erlu". PracticalMethod.com. Chen Zhonghua. Retrieved 11 July
2015.
37. http://taijigongfu.com/chenyu-%E9%99%88%E7%91%9C/

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38. Gaffney, David; Sim, Davidine Siaw-Voon (2009). "4". The Essence of Taijiquan. Warrington, UK:
Chenjiagou Taijiquan GB.

Further readings
Chen, Zhenglei (2003). Chen Style Taijiquan, Sword and Broadsword. Zhengzhou, China: Tai
Chi Centre. ISBN7-5348-2321-8.
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Categories: T'ai chi ch'uan Neijia 16th-century introductions
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