THE ESSENCE OF TAIJIQUAN

by Pan Yong-Zhou

Translation by Zhuo Bing-Yuan

(1) FOREWORD

Mr. Chen Xin (1849-1929), styled Pin-San . a 16th generation direct descendant of the Chen clan village, Wen county, Henan province . mentions in his manuscript, Chen Style Taijiquan with Illustrations and Theory:

.Executing Taijiquan requires an understanding of chan si jing (winding silk energy). This .winding silk. power is the gateway that leads to the method of circulating the zhong qi . If this (i.e. chan si jing) is not clearly understood, then the art of boxing will not be clearly understood either.. 

He also mentions:

.Opened and closed, empty and solid; these are the principles of boxing.. 

Taijiquan regards chan si jing to be the warp; .opened and closed. and .empty and solid. are considered the woof. This underlying structure unifies the actions of .hard and soft. and .fast and slow. together within the movements and all are necessary to attain completeness and high achievement in the art. If one knows little about the concepts of .opened and closed. and .empty and solid,. then that person does not understand chan si jing. Likewise, to barely know anything about chan si jing is to not understand .opened and closed. and .empty and solid.. This would be like having the warp without the woof or vice-versa. Now, if one applies this guideline in practice, but is unable to be both .hard and soft. and .fast and slow,. then one will be unable to reach the level of being unbeatable as mentioned in boxing literature. Likewise, there will only be a slight result in terms of health.

The Chen family handed down Taijiquan from generation to generation in their village for over 300 years. It then separated into different boxing routines. The 14th generation successor, Mr. Chen You-Ben, revised it into the .new. frame. The 15th generation, Mr. Chen Qing-Ping (1795-1868), revised it into the .small. frame. Therefore, it has separated into the .old. frame, .new. frame, and .small. frames. But still, the original essence of the Chen family guidelines have not changed. The warp and woof provide for a blending of hard and soft, with fast alternating with slow; with the ability to disperse energy and to issue energy, in attack and defense, all still being present in all frames. It is only that the forms bear a greater or lesser degree of difficulty, that is why it is said to be a singular transmission that has not been changed up until the present.

Once upon a time, the tradition of the Chen family was to not teach Taijiquan to others with a different surname. It was over 150 years ago that Yang Lu-Chan (1799-1872) from Guangping, Hebei province, studied under the 14th generation Chen Taijiquan master, Chen Chang-Xing (1771-1853). After this, he went to teach boxing in Guangping and Beiping (now Beijing). Subsequently, Yang Lu-Chan's sons, Ban-Hou (1837-1892) and Jian-Hou (1839-1917), and grandsons, Shao-Hou (1862-1930) and Cheng-Fu (1883-1936), all taught boxing as a profession, and thereupon Taijiquan was spread from place to place and was gradually popularized. By the 18th year of the Republic (1929), Taijiquan was flourishing across the entire country.

After Yang Lu-Chan, his grandson altered the form to become the Yang style Taijiquan. Wu Jian-Quan's (1870-1942) father, Quan You (1834-1902), was a follower of Yang Lu-Chan and his son Ban-Hou and evolved the boxing form to become Wu (Jian-Quan) style Taijiquan. Wu Yu-Xiang (1812-1880) studied the .old. frame under Yang Lu-Chan and studied the .small. frame under Chen Qing-Ping. He combined them and developed the Wu (Yu-Xiang) style boxing. Wu Yu-Xiang taught his nephew, Li Yi-Yu (1832-1892). Li taught Hao Wei-Zhen (1849-1920). Sun Lu-Tang (1861-1932) obtained Hao Wei-Zhen as his teacher and blended Xingyiquan (Form & Will Boxing) and Baguazhang (Eight Trigram Palms) with the style to become the Sun branch of Taijiquan. The Hao family went on to develop the Hao branch of Taijiquan. At present, Taijiquan has subsequently formed into the so-called Chen, Yang, Wu (Jian-Quan), Wu (Yu-Xiang), Sun and Hao branches. Each style.s boxing routines and circulation of internal power are all not entirely the same.



(2) BOXING ROUTINES

The Chen clan.s tradition originally had seven routines of Taijiquan. These were: one set of Changquan (Long Boxing), one set of Shisanshi (Thirteen Forms), 2nd, 3rd, 4th and 5th set of routines and, lastly, one set of Paochui (Cannon Fist). During the time of Chen Chang-Xing and Chen You-Ben, the Chen clan practiced the Thirteen Forms and the Cannon Fist exclusively. Because of this, the Chen branch teaches only these two routines of Taijiquan at present. The Thirteen Forms is considered to be the main boxing routine and Cannon Fist is the second routine. The main set of Thirteen Forms is a set of boxing forms that is organized into 13 sections. The second set of Cannon Fist emphasizes fist techniques and many jumps and kicks. Its forms are extremely powerful and punches issue fiercely like an exploding cannon. For this reason it is named Cannon Fist. Although the external manifestations of these two boxing routines are slightly different, in terms of hard, soft, fast, and slow, the internal energy is completely the same. The two boxing routines, taken together, are like the inside and outside of the same thing, they mutually complement each other. At present, the Yang, Wu (Jian-Quan), Wu (Yu-Xiang), Hao, Sun and other Taijiquan styles, are all based on broad changes to the Chen style Taijiquan.s first routine, the Thirteen Forms. The second routine of Cannon Fist is only practiced by instructors of the Chen style.

(3) SILK WINDING ENERGY

Taijiquan.s movements, regardless of whether advancing forward or retreating backward, all follow a curved line. They make use of the power of the circle and take a spiraling form, like the action of winding silk. The Chen style calls this chan si jing. Chen Pin-San explains chan si jing by saying: 

.Taijiquan is equivalent to the method of winding silk. The method of winding silk can be divided into advancing, retreating, winding left and right, winding up and down, winding inside and outside, winding large and small, winding directly and indirectly, and so on.

It is necessary for everything to spiral when moving or advancing. You cannot separate the spiraling from the movement and still obtain the marvelous combination of Yin and Yang. Externally, the appearance is that of softness. In reality, within the softness there is hardness and within the hardness there is softness. The appropriate combined use of hard and soft has been handed down since ancient times. This knowledge was available to many and still they could not solve the puzzle of applying it in practice.

Everyone regards the technique of Taijiquan as being soft, but this is merely just an outward appearance. With both shoulders hanging freely and both elbows sunk downward, it is as refined as a young lady greeting strangers and yet it is as fierce as a tiger springing from its mountain lair. By constant practice, a spiritual transformation will occur whereby the senses become acute and the hands very dexterous. For this reason the opponent can advance, retreat, slow down or speed up and, by our simple practice of essence and spirit, we can defeat an adversary without consciously thinking. Isn.t this remarkable?. 

Taijiquan is separated overall into two kinds of chan si jing, shun (smooth) and ni (adverse). Smooth includes having peng jing (ward off energy) and adverse includes lou jing (roll back energy). Furthermore, chan si jing can be separated into left and right, up and down, internal and external, big and small, advancing and retreating and so forth. Every movement of the entire set contains chan si jing. Hand and leg movements include three types of chan si jing, both winding in a smooth manner; both winding in an adverse manner; and one winding in a smooth while the other winds in an adverse manner. Chan si jing manifests in spiraling forms that come together in a coordinated fashion. When it encounters a fast attack, it spontaneously gives rise to an awesome overpowering force. Therefore, during any phase of a fight, it is possible to defeat an opponent unknowingly and unconsciously. Furthermore, chan si jing is the principle means of circulating the vital energy along a person's main and collateral body channels. It utilizes the entire body to evenly balance the flow of qi and blood, hyperactive physiological functions, attain a robust body to drive away disease, and efficaciously prolong the life span.

(4) OPEN, CLOSED, EMPTY AND SOLID

Wang Zhong-Yue's Taijiquan article states:

.Taiji (the Grand Ultimate) emerges from Wuji (the Limitless). It is the origin of movement and stillness and the mother of Yin and Yang. In movement, the principle is to open and in stillness, the principle is to close..

He mentions movement, stillness, and Yin and Yang, which are none other than the principles of open and closed, empty and solid. Movement therefore opens; stillness therefore closes, solid is Yang and empty is Yin. In Taijiquan, every movement follows a curved line, and has .open and closed,. and .solid and empty.. Taijiquan, by becoming round and circular, produces usefulness; both .open and closed,. and .solid and empty. exist simultaneously within the interior of the round and circular. The motion of moving forward is .open and solid;. to retreat backward is to be .closed and empty.. This is not an extensive comparative explanation. Looking at this from the point of view of practical application, the circles are perfectly round without beginning or end and change according to the opponent.s actions (without telegraphing signals), transforming .open and closed. and .solid and empty. equally without preferences. The movements of a single form, in terms of the entire body, constitute one large circle. Each area of the body expresses its own circles. Therefore, there are countless circles contained within each movement of Taijiquan. Within each individual circle there is .open and closed. and .solid and empty.. Another Taijiquan treatise mentions:

.Each area in oneself has an area which can be empty or solid. Everywhere, there is always an empty and solid point.. 

In other words, each place of an individual has an area that can be .open. or .closed. and everywhere in the body can be either .open. or .closed.. That is, each place in oneself has its circle and everywhere is a circle.

Taijiquan speaks of the main principle of .empty and solid. through the expression of hands and feet. The principle is that when the left hand is empty, the left foot is solid. When the right hand is solid, the right foot is empty. When the right hand is empty the right foot is solid and when the left hand is solid the left foot is empty. Looking at it from the perspective of the whole body divided into left and right halves, when the left half of the body is empty, the right half of the body is solid. If you separate the body into upper and lower parts, when the upper half is empty, then the lower half of the body is solid and vice-versa. Therefore, the hands and feet, left and right halves or upper and lower halves of the body express the principle that within the empty there is the solid, and within the solid there is the empty. Because .empty and solid. mutually combine and maintain an even balance to provide support for the eight directions around oneself (i.e. from all sides), making it possible to turn freely in response to the opponent.s actions, to move with incomparable agility, so that when the opponent.s oncoming energy draws close you can induce it to fall into emptiness, then you can subdue the opponent with a swift strike. 

(5) Conclusion

The essence of Taijiquan can be regarded as chan si jing as warp, and .open and closed. and .empty and solid. as the woof. If one can distinguish between them, then one can come to a clear understanding of these essential points. The actions of .hard and soft. and .fast and slow. are coordinated with four principles: 1) keep the body centered and upright; 2) the head held up as if suspended by a string; 3) breathe naturally; and 4) qi sinks to the dantian. These four are important secrets when comporting oneself. This is the high level gongfu of Chinese martial arts and is truly a national treasure.

The Yang family acquired Taijiquan from the Chen family and altered it into another style by making the movements soft, slow, and simplifying some methods of execution. Removed from the original set were the movements of: following kicks (i.e. double kicks), stamping feet, and other similar difficult actions. Because of this, it was easily accepted, consequently taught, and gradually spread as the prevailing standard throughout the entire country.

In the 17th year of the Republic (1928) my teacher, Mr. Chen Fa-Ke, styled Fu-Sheng (1887-1957), the 17th generation of the Chen family and great-grandson of Chen Chang-Xing, was invited to Beijing by a fellow countryman from Henan [viz. his nephew, Chen Zhao-Pi (1893-1973)]. People gradually became aware of the Chen style Taijiquan. Taiji chan si jing became a common phrase and caused others to praise the technique. At that time, Master Chen did not teach boxing publicly, therefore it was studied by few at the time and not widely propagated.

Presently, Taijiquan has spread throughout the entire country, and has already spread out to foreign countries, which are endeavoring to carry on the tradition. Only, the more it spreads the more sectarian it has become. If one is overly inclined toward fighting or toward health then he will acquire neither.

Long ago, Huang Li-Zhou (1610-1695 A.D.) engraved an epitaph for Wang Zheng-Nan:

.Zheng-Nan has said: .At the present time, since the internal styles are not flashy, the external styles will monopolize [the martial arts]. Be sincere and true when you conduct your study [of the internal styles].. 

This situation is still true today. Everyone hopes their achievements in Taijiquan will enable them to faithfully carry on their teacher.s transmissions and not depart from their essence or teach what is incorrect. Accordingly, we continue to sincerely and reverently pray that these things do come to past.



(6) APPENDIX

The Chen family 17th generation, Mr. Chen Fa-Ke (Fu-Sheng) taught the Taijiquan 13 section .old. frame and Cannon Fist with the following names:

THE THIRTEEN SECTIONS

1st Section
1. Beginning of Taiji
2. Jingang pounds the mortar

2nd Section
3. Lazily fasten the garments
4. Single whip (changed at present to include the movement .Six sealed, four closed.)
5. Jingang pounds the mortar


3rd Section
6. White goose spreads its wings
7. Diagonal form

4th Section
8. Brush knee and twist step (changed at present to include the movement .Right withdrawing form.)
9. Diagonal form

5th Section
10. Brush knee and twist step (changed at present to include the movement .Right withdrawing form.)
11. Cover hand and forearm, then punch
12. Jingang pounds the mortar

6th Section
13. Chop body with fist
14. Green dragon comes out of the water
15. Push with both hands
16. Hand beneath elbow
17. Invert and twist forearms
18. White goose spreads its wings
19. Diagonal form

7th Section
20. Flash through the back
21. Cover hand and forearm, then punch
22. Single whip (changed at present to include the movement .Six sealed, four closed.)

8th Section
23. Transport hands
24. High pat on horse
25. Insert right foot
26. Insert left foot
27. Kick with heel
28. Walk forward and twist step
29. The Immortal grasps and seizes
30. Double jump kick
31. Fists protecting the heart
32. Whirlwind kick
33. Kick with heel
34. Cover hand and forearm, then punch
35. Subtle capture then strike
36. Embrace the head and push through the mountain
37. Single whip (changed at present to include the movement .Six sealed, four closed.)

9th Section
38. Beckon to the front, beckon to the rear 
39. Parting the wild horse.s mane
40. Single whip (changed at present to include the movement .Six sealed, four closed.)
41. Fair lady works at the shuttles
42. Lazily fasten the garments
43. Single whip (changed at present to include the movement .Six sealed, four closed.)

10th Section
44. Transport hands 
45. Swing leg, fall and split
46. Golden rooster stands on one leg 
47. Invert and twist forearms
48. White goose spreads its wings
49. Diagonal form
50. Flash through the back
51. Cover hand and forearm, then punch
52. Single whip (changed at present to include the movement .Six sealed, four closed.)

11th Section
53. Transport hands 
54. High pat on horse
55. Cross legs
56. Punch toward the crotch
57. Gibbon searching for fruit
58. Single whip (changed at present to include the movement .Six sealed, four closed.)

12th Section
59. Dragon presses against the earth 
60. Step up to seven stars
61. Step back to straddling stance

13th Section
62. Turn the body and swing leg 
63. Cannon to the head
64. Jingang pounds the mortar

CANNON FIST

1. Beginning of the form 
2. Single whip (changed at present to include the movement .Six sealed, four closed.)
3. Fists protecting the heart
4. Jumping step, diagonal form
5. Turn body, Jingang pounds the mortar
6. Turn the head and chop the body
7. Drilling hand
8. Brandish sleeves to scattered the flowers
9. Cover hand and forearm, then punch
10. Turning waist, obstruct with elbow
11. Primary red fist
12. Secondary red fist
13. Fair lady works at the shuttles
14. Ride the unicorn to the rear
15. Turn around, cover hand and forearm, then punch
16. Hand and elbow postures
17. Splitting posture
18. Cover hand and forearm, then punch
19. Crouching tiger
20. Strike gateway to the blood vessels
21. Yellow dragon thrice stirs the water
22. Rush against on the left 
23. Rush against on the right
24. Cover hand and forearm, then punch
25. Sweeping leg
26. Cover hand and forearm, then punch
27. Complete cannon fists
28. Cover hand and forearm, then punch
29. Inverted insertion
30. Left and right, two forearms
31. Change form to become very powerful
32. Turn the head and ward off with cannons
33. Turning waist, obstruct with elbow
34. Smoothly obstruct with elbows
35. Sheltering the cannon below
36. Enter straight in to monopolize the well
37. Jingang pounds the mortar

ABOUT THE AUTHOR

Pang Yong-Zhou (styled Zuo-Min), from the Wu district of Jiangsu Province, is 68 years old, and graduated from the Beijing University (Guoli Beiping Daxue) Commercial Law College (Shang Xueyuan). He held successive official positions with the Administrative Department of Water Conservancy Committee, Ministry of Finance Trade Deputy, Central Mint Official, Department Head, and Director. During the 20th year of the Republic (1931) while in Beijing, he paid his respects to and studied under Mr. Chen Fa-Ke (Fu-Sheng) who was from Henan Province, Wen County, Chen family village, and the 17th generation of the Chen clan. He has researched and practiced Taijiquan for over 40 years to date and authored two books: The Essential Meaning of Inner Strength and Outer Achievement in Taijiquan and An Explanation of Subtleties in the Taijiquan Treatises.

64th year 9th month of the Republic
(September 1975)

[The above article originally appeared in .Zhongguo Wushu Shiliao Jikan. Vol 2 (Taipei, 1975) published under the auspices of the Ministry of Education/Sports Department]

POSTSCRIPT

I would like to dedicate this translation to the memory of Mr. Pan Yong-Zhou (a.k.a. Pan Wing-Chow and Pan Yung-Chou) who passed away in November 1996 and to the memory of his student, my teacher, Mr. Liu Zi-Yu (a.k.a. Liu De-Yee) who passed away in August 1990.

Mr. Pan, being a scholar and a gentleman, wrote many articles to help clarify the basic and finer points of Taijiquan. He was highly regarded in Taiwan as a representative of the Chen style and had studied and taught this style for over 60 years. There have been 3 more books, The Complete Works of Chen Style Taijiquan, Volumes 1-3, that have been published under Mr. Pan's name since this article was published. These contain his other articles that touch upon deeper aspects of the art and his insights into The Thirteen Sections and Cannon Fist routines of the Chen style.

I originally began the translation of this introductory article in 1985 after visiting Mr. Pan in Taiwan on a trip with Mr. Liu. Since it was for my own research, I took my time in translating it and did not plan on publishing it. After Mr. Pan passed away I felt that I would be remiss if I did not do my small part in providing others with another viewpoint from the older generation of Taijiquan practitioners that is slowly disappearing. I have taken a few liberties in my translation due to the cultural, linguistic and idiomatic differences between Chinese and English as anyone who has read the original text will surely note. There is always a subtle flavor to any original work that is extremely difficult to express as any translator can tell you. Being woefully inadequate to the task, I have tried to convey what I felt to be the essence of Mr. Pan's article. Many thanks to Greg Bissell for his valuable suggestions. All footnotes, errors, and omissions are mine and mine alone. I sincerely welcome any constructive comments on any salient points I may have missed. 

Zhuo Bing-Yuan

Translation Copyright © 1998 Zhuo Bing-Yuan
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