Chungliang Al Huang’s TED talk offers a profound exploration of the Taiji Yin Yang symbol and its significance, emphasizing the integration and balance of opposites. Here are the key points from his presentation:
Chungliang Al Huang highlights the Taiji Yin Yang symbol as a universal representation of balance and integration. He emphasizes that in Chinese culture, Yin and Yang are not seen as separate entities but as a unified concept without the conjunction “and” between them. This reflects a holistic view where opposites are interconnected and interdependent.
Huang encourages an experiential understanding of Taiji, inviting participants to physically engage with the symbol through body movements. This involves:
Huang stresses the importance of integrating different levels of consciousness – as reflected in the Chinese character for “ji” in “Taiji”:
The philosophy behind Taiji is not just theoretical but practical. It is about embodying the principles of balance and integration in daily life. Huang emphasizes that true understanding comes from practice and experience, not just intellectual ideas.
In summary, Chungliang Al Huang’s presentation on Taiji Yin Yang focuses on the experiential and philosophical aspects of the symbol, encouraging a holistic approach to understanding and living its principles.
Watch his full TED Talk on the subject:
The early 20th century witnessed a surge in the publication of Chinese martial arts manuals, which played a pivotal role in preserving and disseminating these ancient fighting systems. This period marked a significant transition for the martial arts, as they evolved from closely guarded family traditions to more widely accessible practices.
One of the most influential manuals of this era was the “Xingyi Quan Xin Fa” (New Methods of Xingyi Quan) by Dai Xin, published in 1915. This manual systematically documented the principles and techniques of the Xingyi Quan style, which had previously been passed down orally within closed-door lineages.
The “Taijiquan Tu Shuo” (Illustrated Manual of Taijiquan) by Chen Xin, published in 1928, provided detailed illustrations and explanations of the postures and movements of the Chen-style Taijiquan, one of the oldest and most revered Taiji styles. Another influential work was the “Taijiquan Lun” (Treatise on Taijiquan) by Wu Yuxiang, published in 1935. This manual delved into the philosophical and theoretical aspects of Taijiquan, offering insights into the art’s principles and applications.
In the realm of Baguazhang, the “Baguazhang Xin Fa” (New Methods of Baguazhang) by Ren Xiao, published in 1925, played a crucial role in documenting this circular walking martial art. Ren Xiao’s manual provided detailed descriptions and illustrations of the various palm changes, footwork patterns, and training methods of Baguazhang.
The “Yiquan Xinshu” (New Treatise on Yiquan) by Wang Xiangzhai, published in 1927, introduced a systematic approach to internal martial arts training, emphasizing the development of internal energy (qi) and mind-body coordination.
These manuals, along with others published during this period, had a profound impact on the preservation and evolution of Chinese internal martial arts. They allowed these once closely guarded traditions to be disseminated more widely, attracting new practitioners and ensuring their survival in the face of modernization and urbanization.
Moreover, the manuals provided a standardized framework for teaching and learning these arts, facilitating their transmission across generations and regions. They also served as a catalyst for further research, discussion, and innovation within the martial arts community, leading to the development of new styles and interpretations.
The impact of these early 20th century manuals can still be felt in modern Chinese internal martial arts. Many contemporary practitioners and schools trace their lineages and techniques back to the teachings documented in these seminal works, which have become foundational texts in the study and practice of these ancient fighting systems.
From the early 20th century, several influential Taiji manuals emerged, contributing significantly to the dissemination and understanding of Taijiquan (Tai Chi) practices. These manuals not only documented the physical aspects of Taijiquan but also delved into its philosophical underpinnings, making them invaluable resources for practitioners. Here are some notable examples:
These manuals from the early 20th century played a crucial role in the preservation and propagation of Taijiquan. By documenting the techniques, principles, and philosophies of different Taijiquan styles, they have ensured that this ancient martial art continues to be practiced and evolved in the modern era.
Here are some key Xingyi Quan (Hsing-I Chuan) manuals that are highly regarded and still in use today:
Just like the manuals listed above, these manuals have played a significant role in preserving and disseminating the knowledge of Xingyi Quan, ensuring that the art continues to be practiced and evolved in the modern era. They provide detailed instructions, historical context, and philosophical insights, making them invaluable resources for both new and experienced practitioners.
Chen Fake 陳發科 (1887–1957), courtesy name Chen Fusheng, was a renowned Chinese martial artist who played a pivotal role in the development and global spread of Chen-style Taiji. He was born and raised in Chen Family Village (Chenjiagou, 陳家溝) in Henan province, where he was immersed in the traditional martial arts practices of his family. Chen Fake was the 17th generation descendant of the Chen family, which had been practicing and refining Taiji for over six centuries.
As a child, Chen Fake was considered a weakling and was often mocked for his frail physique and lack of interest in martial arts training. However, a pivotal moment occurred when he witnessed his cousin’s dedication and progress, igniting a newfound determination within him. From that point on, Chen Fake devoted himself wholeheartedly to the rigorous practice of Chen-style tai chi, eventually surpassing his cousin’s skills.
Under the tutelage of his father, Chen Yanxi, a renowned tai chi master and traditional Chinese medicine practitioner, Chen Fake immersed himself in the intricacies of the Chen family’s martial arts legacy. His relentless training and unwavering commitment allowed him to overcome his physical limitations and develop exceptional skills in the art.
In 1928, Chen Fake relocated to Beijing to teach his family’s heritage, Chen-style tai chi. After successfully defeating numerous challengers, Chen garnered a following of students, including several renowned martial artists. His teaching style was characterized by his emphasis on the importance of proper technique and his ability to adapt his methods to suit the needs of his students. He believed that Taiji should be learned through dedication and hard work, rather than purely relying on Qi or Qigong. His approach was rooted in the traditional principles of Taiji, which he believed should be practiced with a focus on the development of internal strength and balance.
Chen Fake’s teaching career in Beijing was marked by his development of the New Frame of Taiji (Xin Jia, 新架). This new system was designed to be more accessible and easier to learn for a wider range of students. The New Frame incorporated elements from other martial arts styles, such as the use of weight training and the emphasis on proper posture and alignment. This innovation helped to popularize Chen-style Taiji, making it more appealing to a broader audience.
One of Chen Fake’s most notable students was a close relative of Chen Fake, Chen Zhaopei. Chen Zhaopei was born in 1893 and was a close relative of Chen Fake. He extensively trained with Chen Fake in Chen Village during his youth, while his father was away on business.
At the age of 21, Chen Zhaopei traveled to Gansu and Hebei to teach martial arts. In 1928, he was invited to teach in Beijing, and by 1930, he received invitations from the mayor of Nanjing and the Nanjing government. Not wanting to leave his Beijing students, he suggested that they invite Chen Fake to teach them instead.
Zhaopei continued to teach across China despite the chaos of war. In 1958, at the age of sixty-five, he retired and returned to teach in Chen Village. Zhaopei faced considerable hardship during the turmoils of the Cultural Revolution, enduring persecution and a ban on teaching what was considered a bourgeois and decadent art.
Nevertheless, Zhaopei succeeded in preserving the legacy of Chen Family tai chi.
Chen Zhaopei authored four books: Cases of Chen-Style Tai Chi(陈氏太极拳汇宗), Beginner’s Guide to Tai Chi(太极拳入门), Illustrated Guide to Chen-Style Tai Chi(陈氏太极拳图解) and Thirteen Theories of Chen-Style Tai Chi(陈氏太极拳理论十三篇). His students include the four leading proponents of Chen-style tai chi from Chen Village: Chen Zhenglei (陈正雷), Chen Xiaowang (陈小旺), Zhu Tiancai (朱天才) and Wang Xi’an (王西安).
Another notable student of Chen Fake was Shen Jiazhen (沈家桢, 1891–1972). Shen Jiazhen was an engineer by profession. He was one of the first students of Chen Fake and studied with him for a decade. Shen Jiazhen co-authored a book titled Chen-Style Tai Chi(陈氏太极拳) with fellow Chen stylist Gu Liuxin (顾留馨). He tirelessly promoted the art but, like many other traditional martial artists, he faced persecution and hardships during the Cultural Revolution.
Other notable students include:
Chen Fake did not leave any written records expressing his perspectives on the matter of form in tai chi. However, one of his students, Hong Jungshen, made some insightful observations.
Hong noticed that over Chen Fake’s 30-year teaching career, his instructional methods evolved. He also observed that Chen’s students, such as Chen Zhaoxu, Chen Zhaokui, and Feng Zhiqiang, all practiced the forms differently from one another and their teacher.
In their final meeting in 1957, Hong raised this issue with Chen Fake. The master advised Hong to disregard the outward appearance of the form. Instead, he should concentrate on the fundamental idea that any correct tai chi form must be based on the same core principles, with each movement serving a specific purpose.
Chen Fake emphasized that the external form is unimportant as long as it adheres to these two requirements. In his own words: “This set of tai chi does not have one technique which is useless. Everything was carefully designed for a purpose.”
Hong believed that this principle could be derived from the famous “Tai Chi Treatise” by Wang Zongyue. The treatise expresses this idea through the phrase: “Although there are myriad variations, there is only one underlying principle.”
In essence, Chen Fake taught that while the outward expressions of tai chi forms may vary, they should all be rooted in the same fundamental concepts and purposeful design.
Above: Chen Fake and some postures of his newly created second form Xin Jia 新架 er liu.
Chen Fake’s impact on the development of Taiji was significant. He not only helped to establish the global practice of Chen-style Taiji but also created a martial arts tradition that continues to thrive today. His legacy is preserved through the stories of his students and the continued practice of his art by generations of martial artists.
Chen Fake passed away in 1957 at the age of 69 or 70, leaving behind a lasting impact on the world of martial arts. His life and teachings serve as a testament to the power of dedication, hard work, and the importance of preserving traditional practices.
Above: Chen Fake
Sources sorted alphabetically:
https://chenxiaowang.com/portfolio-items/new-frame/
https://cyn-lynn.blogspot.com/2020/04/high-school-big-bang-recap-and-review.html
https://discuss.yangfamilytaichi.com/viewtopic.php?t=80
https://en.wikipedia.org/wiki/Chen_Fake
https://en.wikipedia.org/wiki/Chen-style_tai_chi
https://en.wikipedia.org/wiki/William_Cheung
https://en.wikipedia.org/wiki/Zhang_Sanfeng
https://practicalmethod.com/1988/03/chen-fake/
https://shaolinlomita.com/masters/grandmaster-chen-fake/
https://taichiforhealthinstitute.org/history-of-tai-chi-2/
https://taiji-forum.com/tai-chi-taiji/tai-chi-philosophy/tai-chi-history/
https://taijiqiyoga.com/index.php/product/chens-tai-chi-new-frame-routine-one/
https://thetaichinotebook.com/2020/08/10/review-chen-style-taijiquan-collected-masterworks-by-mark-chen/
https://thetaichinotebook.com/2020/08/21/why-the-chen-and-yang-tai-chi-forms-follow-the-same-pattern-the-myth-of-tai-chi-part-6-our-final-episode/
https://www.amazon.com/Chen-Fake-Rediscovered-Biography-Taiji-Master/dp/B09WPZBVX2
https://www.cgcmall.com/chen-style-taijiquan-new-frame-routine-i-vcds/
https://www.chenfamilytaiji.com/taiji_history.html
https://www.chenstyletaichi.com/english/pages/a_eightbasic.htm
https://www.chentaijiquangb.com/new-frame-or-old-frame
https://www.ctnd.de/english
https://www.jiantaiji.co.uk/news/the-high-level-skills-of-chen-fake/
https://www.nplusonemag.com/online-only/online-only/corky-lee-and-the-work-of-seeing/
https://www.prevnet.ca/cyberbullying/legal-consequences-cyberbullying
https://www.reddit.com/r/taijiquan/comments/harnrs/tai_chi_debate_chen_style_new_form_xinjia_vs_old/?rdt=55366
https://www.tandfonline.com/doi/full/10.1215/s12280-009-9073-x
https://www.youtube.com/watch?v=K5gzbKYtCu8
https://wulinmingshi.com/2021/09/30/reminiscences-of-chen-fakes-early-student-yang-yichen/
This series is looking at various epochs of Martial Arts development in China leading to the development of Taijiquan in particular.
This first part is highlighting historical Martial Artists from before Chen Wangting (1600 – 1680) who is the founder of what we know as Taijiquan today. His influence though goes back in time. Here are some influential Martial Artists that historically are mentioned of having performed some form of martial arts that maybe considered a precedent to Taiji. For example there is historical documentation that the hermit Hsa Suanming performed a martial art called San Shi Chi or “Thirty-Seven Postures”. These postured were originally practiced individually before practiced sequentially.
The best known martial artist before Chen Wangting is General Qi Jiguang (1528-1588) who has written a martial arts manual named Ji Qiao Xin Shu (New Book of Effective Technique).
Early Martial Artists Before Taijiquan
General Qi Jiguang (1528-1588) 戚繼光 was a prominent figure in Chinese military history, particularly during the Ming Dynasty. He is best known for his efforts in defending China against Japanese pirates along the eastern coast. Qi Jiguang’s contributions to martial arts are significant; he compiled the “Ji Xiao Xin Shu” 紀效新書 (New Book of Military Efficiency), which included a detailed section on martial arts training. This manual was not just a collection of fighting techniques but a comprehensive military training doctrine that emphasized practical and efficient methods suitable for quickly training soldiers. His approach was to combine various martial arts forms from different schools to create a pragmatic combat system, rather than adhering to the traditional, stylized forms that were common at the time[2][3][5].
Hsa Suanming, also known as Xia Suanming, is a lesser-known figure compared to Qi Jiguang and does not have extensive historical records detailing his contributions to martial arts. However, as mentioned above Hsa Suanming was a hermit that performed a martial art called San Shi Chi (Thirty-Seven Postures) which can be viewed as an early form of Tai Chi. However there is no naming of incorporating taoist ideas specifically into this form – something that later on Chen Wangting will do and which starts Taijiquan as the practice and form we now know today.[20]
Ha Goong-Yueh is another martial artist from the period before Taijiquan whose historical footprint is relatively obscure. Martial artists of his era often contributed to the evolution of martial arts through oral traditions and personal instruction, influencing styles and techniques that would later be formalized into systems like Taijiquan. Unfortunately, specific contributions by Ha Goong-Yueh are not well-documented in available historical texts.
Chen Ling-shih and Chen Bi were part of the lineage that eventually led to the development of Taijiquan, particularly the Chen style, which is recognized as the earliest form of Taijiquan. The Chen family, starting from Chen Wangting in the late 16th century, were known to have integrated various martial arts from earlier generations into what would become Chen-style Taijiquan[1]. While Chen Ling-shih and Chen Bi are noted as historical figures within this lineage, detailed records of their specific martial arts practices are sparse. Their roles were likely pivotal in the transition and transformation of martial arts knowledge that laid the groundwork for later formalization into distinct styles.
These early martial artists played crucial roles in the development and preservation of martial arts in China. Their contributions, whether documented extensively like those of Qi Jiguang or less so like Hsa Suanming and Ha Goong-Yueh, were part of a broader narrative of martial arts evolution. They influenced the training methods, techniques, and philosophical underpinnings of Chinese martial arts. The legacy of these martial artists is seen in the diversity and richness of Chinese martial arts styles that exist today, including Taijiquan and its various derivatives.
The historical context in which these martial artists lived was marked by the need for practical combat skills, both for personal defense and military purposes. This practicality often led to the synthesis of different martial arts styles and techniques, aiming for effectiveness in real combat scenarios, as opposed to purely ritualistic or performance-oriented practices. This blend of practicality and tradition helped shape the martial arts into a well-rounded discipline that not only included physical techniques but also strategic and mental aspects, which are integral to martial arts practices today.
The “Ji Xiao Xin Shu” 紀效新書 (New Book of Military Efficiency)
The “New Book of Military Efficiency,” authored by Qi Jiguang in 1560 during the Ming Dynasty, is a revered ancient Chinese military manual. Renowned for repelling Japanese pirate invasions, Qi Jiguang delves into diverse subjects such as Siege Weapons, Formations, and Terrains across numerous chapters. Notably, one chapter, “Essentials of the Fist” or 拳經捷要 (quan jing jie yao), delineates 32 unarmed combat stances, depicted poetically. This stylistic choice poses challenges in translation, potentially leading to varied interpretations among readers. Nonetheless, it also imbues the text with fundamental principles guiding practitioners rather than prescribing specific movements.[21]
To learn more about this manual, read an English translation and see an interpretation of the forms shown, please visit: Chinese Longsword – Ancient Martial Arts Manuals translated into English
Citations:
[1] https://en.wikipedia.org/wiki/Chen-style_tai_chi
[2] https://www.kungfumagazine.com/index.php?article=1098&p=article
[3] https://chinesemartialstudies.com/2015/06/07/guest-post-the-practical-isnt-pretty-general-qi-jiguang-on-martial-arts-for-soldiers/
[4] https://www.ctn.academy/blog/martial-methods-in-chen-taijiquan
[5] https://www.chineselongsword.com/fist
[6] https://tplafightingwords.com/2022/08/11/the-fist-verses-of-qi-jiguang-redux/
[7] http://www.wayofleastresistance.net/2008/07/my-quest-for-martial-holy-grail.html?m=1
[8] http://www.chinafrominside.com/ma/taiji/chenboxingmanuals.html
[9] https://thetaichinotebook.com/2020/05/30/general-qi-jiguang-on-fighting-pirates-and-his-connection-to-taijiquan/
[10] https://www.youtube.com/watch?v=RIn2ksyivT8
[11] https://en.wikipedia.org/wiki/Xingyiquan
[12] https://en.wikipedia.org/wiki/Chin_Na
[13] https://www.taiji-bg.com/scientific-principles-methods-chenstyle-tai-chi/
[14] https://en.wikipedia.org/wiki/Chinese_martial_arts
[15] https://oryoki.de/blog/secrets-of-japanese-martial-arts
[16] https://www.youtube.com/watch?v=VC1-vgMh2l0
[17] https://www.youtube.com/watch?v=WBBgba-wGRA
[18] https://www.lean.org/the-lean-post/articles/art-of-lean-on-problem-solving-part-3-lessons-from-martial-arts/
[19] https://www.youtube.com/watch?v=rTdfsUB3PVQ
[20] Andrew Townsend “The Art of Taijiquan” (Book)
[21] https://www.chineselongsword.com/fist
I am the Wanderer, a humble journeyer on the winding road of life, embarking on a timeless quest for wisdom and harmony.
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