OVERLAPPING STEPS: TRADITIONAL TRAINING METHODS IN CHEN VILLAGE TAIJIQUAN

INTRODUCTION

Though many people can quote the requirements of Taijiquan and verses from the Taijiquan classics, real understanding can only come through training. According to Chen Fake, the style’s 17th-generation standard-bearer, those learning Taijiquan must not only appreciate the theories intellectually, they must also train the methods into their body. Theoretical knowledge should be accompanied by practical action: “How much you accomplish depends entirely on how much effort you put in” (Ma Hong, 1988: 13). In his Illustrated Explanation of Chen Family Taijiquan(1986), Chen Xin goes further, suggesting that “all that idle talk does is to create a tide of black ink; actually putting it into practice is the real thing” (Gaffney & Sim, 2000: 94). Chen Taijiquan requires the body to be used in a unique, disciplined way and has a wide-ranging training curriculum encompassing standing exercises, single-movement exercises, bare-hand forms, push hands, weapons, and supplementary equipment training. In common with other sports or martial arts, it is essential to begin with the basics. With time and conscientious practice, the body is strengthened and one discovers a new way of moving. Each of the different training methods should be viewed within the framework of a larger system. Each facet of training, from the standing exercises to advanced push hands drills, is interconnected and necessary. Considered in its entirety, the training process can be likened to a series of overlapping steps, each laid upon the underpinning foundation of the preceding one. In Chenjiagou, it is commonly stated that all practice must be done “according to the principles” (Gu & Shen, 1998: 306). The principles start with the fundamental requirements and progress incrementally to the highest skill levels. Developing correct habits is a gradual process and the key to traditional training is to have patience en route to acquiring competence.

In the West, people often think of Taijiquan as an easy option. Chenjia villagers, however, have long understood that learning Taijiquan is often painstaking and arduous. The Chen Taijiquan student begins by seeking to understand and manage essential body requirements and execute basic body movements. Training is focused upon developing sufficient internal as well as external strength to carry out these actions rather than being impatient for the more complex techniques.

STANDING POLE — ENTERING THE DOOR

Chen Xin’s Illustrated Explanation of Chen Family Taijiquan (1986) suggests that: “To train taiji, one must begin at wuji” (quiet, nothingness). This provides the guideline for entering the door of Chen Taijiquan’s traditional training curriculum. Standing Pole (zhan zhuang) is the most basic Taijiquan exercise and is common to many Chinese martial arts. Typically, the arms are held in front of the body as if holding a large ball as the practitioner stands and quietly observes the natural ebb and flow of the breath. The Standing Pole exercise, however, can be practiced using any of the end postures from the Taiji form. During “standing practice, a static posture is maintained for a period of time, with emphasis upon developing awareness of and maintaining the most efficient and relaxed structural alignment necessary to hold the position. To the casual observer, it may appear as if little is happening. The experienced practitioner, though, is intensely engaged in a variety of actions and sensations. Prolonged practice of this ostensibly uncomplicated exercise, along with enhancing postural awareness and calmness of mind, significantly increases leg strength. When the legs are strong and can bear weight securely, then the upper body can relax and sink down into them, making the top more flexible. If the legs do not have sufficient strength, the top is “afraid” to sink down, and the body remains top heavy and tense. All Chen Taijiquan training methods look to develop extreme lightness and sensitivity in the upper body. Simultaneously, the lower body should exhibit a feeling of extreme heaviness and connection to the ground. At this stage, the practitioner can be said to be putting down roots. The importance of this is reflected in the verse “Cultivate the roots and the branches and leaves will be abundant” (Gaffney & Sim, 2000: 132).  Taijiquan is an internal martial art, entailing internal energy (nei jing) training in addition to external physical training. The power and strength of internal energy are manifested in external actions. To train internal skills, one must first train the body’s intrinsic energy (qi). This includes cultivation, storage, and circulation of qi. Standing pole practice provides a means of increasing internal feeling and qi circulation. Regular standing for extended periods gives rise to acute body awareness as the practitioner learns to relax and sink their qi. By reducing the level of external stimulation, one can focus more closely upon sensations within the body. While the external body is still, internally the breath, blood, and qi are circulating. This represents a state of balance, or “motion in stillness.”

Through prolonged training, qi becomes fuller and stronger, filling the energy center in the lower abdomen (dantien), breaking through blockages in the energy paths (jingluo), and then saturating the whole body. The body is like an inflated ball, full of elasticity and overflowing with a physical sensation of inward to outward expansion and strength (peng jing). With Chen Taijiquan’s spiraling “silk-reeling” movement, this energy can be circulated throughout the body. The Standing Pole training requirements are carried over to the Taiji form: head erect, shoulders relaxed, elbows sunk down, chest relaxed, hips sunk, knees bent, etc. To correctly follow these basic and seemingly simple principles requires deep concentration. As one develops competence in the different aspects during standing, the feelings and sensations that arise can be transferred to the Taiji form and push hands.

EMPTY-HAND FORMS: THE FOUNDATION OF CHEN TAIJIQUAN SKILLS

Form training has long provided the foundation of Chen Taijiquan’s step-by-step training method. Chen Wangting’s original art was comprised of five empty-hand boxing routines that were passed down the next five generations. Chen Changxing (1771-1853), the 14th-generation standard bearer, refined the five routines into the two routines practiced today. These are the First Routine (Yilu) and the Second Routine (Erlu, also known as the Pao Cui or Cannon Fist form). It has been suggested that some of Chen Wangting’s unique art was lost. Chen Xiaoxing, principal of the Chenjiagou Taijiquan School, refutes this: “The synthesis of the five routines was not a matter of losing the old forms but of putting the five together, absorbing the essence of each. The First Routine and the Cannon Fist contain the same essence as the original routines, preserving many of the movements and all of the movement principles” (Chen Xiaoxing, 2004). Today, Chen Style Taijiquan empty-hand forms consist of two main versions (frames): Old and New (Laojia and Xinjia, respectively). The Old Frame has been handed down relatively unchanged since Chen Changxing’s time, while 17th-generation master Chen Fake developed the New Frame. The New Frame incorporates more obvious silk-reeling movement, more power releasing actions, and greater emphasis on jointlocking (qinna) techniques. Each consists of a First Routine and Cannon Fist. Where the First Routine is characterized by slow, soft movements, the second is predominantly fast and powerful. It is important to understand form training within the context of a larger system. Nowadays, people often equate knowing many forms with martial expertise. Adam Hsu (1998: 93) cautions that we should not confuse quantity with quality arguing: “Students who spend their time learning multitudes of forms are wasting their time. This kind of practice, void of a true foundation, is no more than folk dance” because “each form has its own purpose and each form is one step in a clear progression of training.” In the beginning, the student should seek to standardize movement as far as possible in accordance to Chen Taijiquan’s basic requirements for each part of the body. Each of the requirements has practical implications for maintaining good health, for maximizing movement efficiency, for qi circulation, and for heightening martial effectiveness. Primary emphasis is placed upon understanding the underlying movement principles and then progressing to standardized movement. Once this is accomplished, the next goal is to search for further realization of the internal circulation of energy. When you first come to the fixed postures, for example, Lazily Tying Coat or Single Whip, in your mind you must very stringently adjust yourself according to the requirements for each part of the body. Everyone knows the requirements as they have been widely written about, it is the degree that is hard to realize. For instance, all experienced Taijiquan practitioners are familiar with the requirement to “store the chest” (han xiong), but how do you store? If you store too much, the waist collapses, but what is too much? It is not like carpentry where someone just gives you the measurements and you can do it accordingly.

Only through persistent practice and strict adherence to correct principles can one achieve a stage where one is able to produce just the right amount of jing [internal force], change at will, and rotate with ease. One has to train hard in form practice so that the body becomes one single unit, which enables one movement activating all movements. – Chen Xiaowang, 1990: 29

In this context, we can understand the logic behind Chen Taijiquan’s traditional emphasis upon the First Routine as the foundation form. The form’s slower nature permits the practitioner to pay attention to details, to make certain that postures are precise, to test stability and balance during movement, to enhance lower body strength, and to become conscious of the circulation of qi throughout the body. Herman Kauz (1989: 80) succinctly sums up the benefits of this intense attention to detail during form practice:

Individual training of this nature enables the student to grow accustomed to the body mechanics involved in the performance of his techniques. He is not distracted by an opponent’s shifting about evasively or attempting to counterattack. He has time in which to work on problems concerned with correct foot placement, body position or pulling direction. In an actual match, the opportunity to perform a throw appears only briefly, allowing insufficient time to give attention to the many factors involved. Certain optimum patterns of movement must be established, and these can only become set if they are repeated almost endlessly.

As the practitioner’s skill increases, they may begin training in the Cannon Fist routine to develop the explosive release of strength (bao fali) as well as their endurance and stamina (nai li). Taijiquan is built upon the model of hardness and softness complementing and alternating with each other. Consequently, the two forms represent a complete balanced system of hardness and softness. The Cannon Fist routine is physically very demanding with many instances of energy release (fajing), fast movements, sweeps, elbow and shoulder techniques, and sudden changes of attack and defense. Where the first routine provides the means of developing internal energy, the second is said to consolidate and express this energy (Chen Xiaoxing, 2004). 

PUSH HANDS: TO KNOW ONE’S OPPONENT

Chen Wangting created the two-person training drill called push hands, the objective of which is to attain sensitivity to the movement and intention of an adversary while masking one’s own intention and energy. Attaining this heightened level of sensitivity has long been the goal of Chen Taiji exponents. In the “Song of the Canon of Boxing,” Chen Wangting states that one should seek to accomplish a level of ability where: “Nobody knows me, while I know everybody” (Chen Zhenglei, 1992, Vol. 3: 1). Harmonizing with an opponent’s movements, the practitioner works toward eliminating all tension and resistance within his own responses. In contrast to most external martial arts, the intention is not just to block an incoming force with greater force, but to “listen” to and “borrow” the opponent’s energy to defend oneself.  This listening skill is not solely dependent upon the sense of touch but of whole body awareness. Many people make the mistake of turning their heads to one side or closing their eyes while pushing hands. In actual fact, there must be a combination and coordination of sight, hearing, and touch; and one is not exclusive of the others.

According to Chen Xiaowang (1990: 29), push hands and form practice are inseparable: 

“Whatever shortcomings one has in the form will certainly show up as weaknesses during push hands, giving an opponent the opportunity to take advantage. To this end, one needs to practice push hands; check on the forms; understand the internal force (jing); and learn how to express the force (fajing) as well as how to neutralize the force (hua ing). If one is able to withstand confrontational push hands, then it is an indication that one has understood the underlying Taiji principles. Continuous training will lead to increased confidence. At this point one can step up one’s training and bring in supplementary training such as shaking the long pole; practicing with weapons such as the sabre, spear, sword, and staff; and doing single-posture training such as fajing.”

Understanding the trained energies of the body (jing) lies at the heart of push hands practice. Fundamental to achieving this is a careful study of Taijiquan’s Eight Methods or Ba Fa. From these eight methods or energies all skills and techniques are generated. The eight energies comprise four frontal methods (si zheng), which are quite familiar to most Taiji practitioners: warding (peng); diverting (lu); squeezing (ji) and pressing down (an). The next four skills, also known as the four diagonal methods (si yu), are less familiar: plucking (cai), splitting (lie), elbowing (zhou), and bumping (kao). Mastering these four is important if one is to acquire a true understanding of the throwing and striking that Chen Taijiquan is famous for. Unlike the first four methods, cai, lie, zhou, and kao are typically instilled when the student begins practicing at higher speeds and with more force (Berwick, 2000: 191-2).

Taiji push hands is built upon the foundation of forms practice. At this stage, the practitioner should have a good understanding of how to use their body in accordance with Taijiquan’s strict movement principles. Training centers on the interchange of energies between the two participants. For example, when a partner uses press down, you ward off. When he uses squeeze in, you divert away. Chen Changxing stressed the importance of painstakingly studying the different energy methods in his “Song of Pushing Hands”: “Be conscientious about peng, lu, ji, and an. Following each other above and below, difficult for people to enter” (Zhu, 1994: 281). For generations, Chen Taiji boxers have sought to fulfill the push hands principles of “connecting, joining, sticking, and following,” “neither letting go nor resisting” (Wang, 1998: 10). Push hands allows the practitioner to put to the test the body postures trained in the forms. Correct body alignment enables one to control others and yet prevent them from entering one’s boundary. Chen style Taijiquan traditionally uses five methods of push hands:

• Wuan Hua: fixed step, single- and double-handed exercises

• Ding Bu: fixed step, double-handed

• Huang Bu (jin yi tui yi): single backward/forward step, double-handed

• Da Lu: moving step, low stance, double-handed

• Luang Cai Hua: free steps, double-handed

Beyond these is the practice of free pushing or san tui. Lafcadio Hearn (1850-1904), former chair of English literature at the Imperial University of Tokyo, eloquently expressed his fascination of the Asian martial arts ideal of using sensitivity to overcome superior strength. Although he had probably never seen Taiji push hands, his description of the approach to training he saw in late 18th-century Japan could have been written with it in mind: 

“What Western brain could have elaborated this strange teaching—never to oppose force to force, but only to direct and utilize the power of attack; to overthrow the enemy solely by his own effort? Surely none! The occidental mind appears to work in straight lines; the oriental in wonderful curves and circles. Yet how fine a symbolism of intelligence as a means to foil brute force!” – Hearn, 1989: 57-58

SINGLE-POSTURE TRAINING

For generations, Chen Taijiquan practitioners in Chenjiagou have followed an integrated system designed to increase martial ability. The process involves form, push hands and single-posture training and each has its unique part to play. While trained separately, the three are closely interconnected: “push hands is the means by which the accuracy of the form can be tested; form training is the foundation upon which effective push hands skills are built; single-posture training is the means by which martial skill is brought out” (Gaffney & Sim, 2000: 136).

Chen Zhaokui outlined some of the reasons single-posture practice must be included alongside the more widely seen form and push hands training:

“Some applications of the movement cannot be used in push hands. For example elbow strikes, leg methods and also attacking vital points of an opponent, or qinna. Also some very fast fajing movements in the form cannot be done successively, as it would be too exhausting.” – Ma Hong, 1998: 21

At first sight, single-posture training may seem tiresome and repetitive. Nonetheless, going over individual movements many times significantly increases the capacity to use them practically. Single-posture practice often focuses on building effective fajing ability. Even so, there should be no departure from Taijiquan’s core principles. Any movement where force is emitted must be characterized by looseness, pliability, and elasticity, rather than rigidity and stiffness. Just because a movement is fast and powerful, does not mean the practitioner should lose sight of the need to follow the silkreeling spiral path rather than straight-line movement (Ma Hong, 1998: 400). Single-movement practice can be divided into several different groups, beginning with those actions performed while stationary. Examples in the Old Frame First Routine  include the stamping movement that concludes the Buddha’s Warrior Attendant Pounds Mortar, the Hidden Thrust Punch, and the Green Dragon Out of the Water. Other single movements embrace those that entail stepping, for instance, stepping forward using fajing while training the energy methods of Taijiquan (e.g. cai, lie, zhou, kao), and retreating movements, as in the posture Step Back and Whirl Arms.

SHORT WEAPONS TRAINING

Weapons training has always played an important part in the Chen curriculum. At the time of its creation, Chen Taijiquan was practiced essentially to develop the Chenjiagou villagers’ martial and military skills. Without a doubt, the training would have greatly enhanced the Taiji boxers’ health, but this was not the main reason for practicing the art. In Chen Wangting’s day, guns had yet to appear, traditional weapons were still being carried onto the battlefield and used in combat. Today, most people consider the weapon routines of the assorted Chinese martial arts only from the perspective of demonstrating or exercising in the park. Viewing the Chen weapon forms in this way shows a superficial appreciation of their fundamental nature. Preserved within each of the Chen weapons routines is a complex martial training manual. As well as the flexible sinuous movements, the forms include numerous dynamic actions; swift changes in tempo; and fierce chopping, slicing, or thrusting movements. Viewed in the light of the whole system, weapons training adds to the empty-hand training by magnifying certain requirements. For instance, the mind and intention must be extended all the way through the weapon’s length; movements must stay relaxed, agile, and efficient at the same time as one controls a weighted object; and footwork must be lively and responsive to permit rapid changes in the fighting sequence. Within the Chen training curriculum, numerous weapons are still practiced, including sword (jian), broadsword (dao), spear (qiang), halberd (guandao, often rendered quandao or kwando), pole, double sword, double broadsword, and double iron mace. The sword is one of the oldest weapons in Chinese martial arts history. Archaeologists have uncovered swords from as far back as the Bronze Age. When the terracotta army was unearthed in the early Chinese capital Xi’an, a find dating back to the Qin Dynasty more than two thousand years ago, the statues of officers were carrying swords (Tian & Zhen, 2004: 102).

The Chen Taijiquan sword is generally light in weight, with a flexible blade. For the Chen Taiji swordsman, success on the battlefield depended upon skill, precision, and speed. Chen Taijiquan contains one single straight sword form consisting of forty-nine postures. In his book Chen Family Taiji, Chen Zhenglei (1997: 217) explains: 

“The forty-nine postures can be sub-divided into thirteen basic techniques: thrusting downward (zha), level or upward thrust (ci), pointing by flicking the wrist (dian), chopping (pi), slicing levelly or obliquely upward (mo), sweeping (sao), neutralizing in a circular path (hua), circular deflection with point uppermost (liao), hanging (gua), pushing up (tuo), pushing (tui), intercepting (jie), and raising the opponent’s weapon overhead (jia).”

The sword’s flexibility allows the proficient swordsman to inflict injury from a great range of angles utilizing many diverse techniques. Its great versatility has led to the saying that there is “no gap the sword cannot enter, and no gap that another can enter” (Chen Zhenglei, 1992, Vol. 1: 180). The different weapons help to train the many diverse qualities essential in honing a “Taijiquan physique.” Practicing the Chen sword form allows an exponent to develop the ability to project energy in a relaxed manner to the sword tip. It also helps to create an efficient Taiji body, with repeated practice loosening the large joints such as the hips and shoulders, as well as helping to increase the suppleness of the wrists and hands.  Easily distinguishable from the sword, which is double edged and light, the broadsword is single edged and heavy. The broadsword’s strength led to cutting movements that are large, expansive, and powerful. In appearance, using the broadsword is said to be “like splitting a mountain.” In character, the broadsword is traditionally compared to a ferocious tiger, with each movement being more direct and easily understandable than the straight sword. This is reflected in the Chinese martial arts saying “Dao—like a fierce tiger; jian—like a swimming dragon” (Chen Zhenglei, 1997, Vol. 1: 217).

The Chen broadsword form is short and dynamic. Although classified as a short weapon, the broadsword can cover a surprisingly long distance by utilizing explosive leaping and jumping movements. Movements can be performed in different ways depending upon the ultimate objective of practice. Often the routine is executed with long, low stances as a way of conditioning the body, increasing one’s power and speed. As a means of overall body training, the explosive leaping and jumping movements have much in common with modern plyometric exercises used by many of today’s elite sports performers. Simply put, the combination of speed and strength is power. For many years, coaches and athletes have sought to improve power to enhance performance. Throughout the last century and no doubt long before, jumping, bounding, and hopping exercises have been used in various ways to enhance athletic performance. In recent years, this distinct method of training for power or explosiveness has been termed plyometrics (Flach, 2005: 14). In Chenjiagou, Taijiquan exponents have long understood this method of training to enhance the individual’s explosive actions. Using very low stances, however, prevents the dexterity and fleetness of footwork required in a real conflict. The Taiji boxer focusing on training the applications within the broadsword routine would usually practice in a higher posture to enhance mobility. Consequently, to achieve both martial and conditioning benefits, Chenjiagou practitioners have traditionally trained over a range of heights.

LONG WEAPONS

Chen Taijiquan also has a number of weapons for long-range combat, including the halberd, long pole, and the “King of Weapons”—the spear. An often-cited phrase—“one hundred days to practice broadsword, one thousand days to practice spear”—reflects the form’s intricacy and difficulty level (Chen Zhenglei, 1992, Vol. 2: 52). Also known as the “Pear Flower Spear” and “White Ape Staff,” the Chen Taijiquan spear form includes the functions of both spear and staff. The routine dates back to Chen Wangting, making it one of the earliest Taiji forms. In his comprehensive review of Taijiquan, The Origin, Evolution, and Development of Shadow Boxing, Gu Liuxin cites the evidence gathered by historian Tang Hao, who concluded that the texts of famous Ming Dynasty (C.E. 1368-1644) General Qi Jiguang had a profound influence on Chen Wangting’s creation of Taijiquan. Qi’s military training text documented the spear techniques of the Yang Family 24-Movement Spear Form. The Yang family in question refers to a renowned Song Dynasty (C.E. 960-1279) (female warrior who used the form to avenge the slaying of her male relatives, so should not be confused with the Yang Taijiquan family (Gu, 1996). The Chen Taiji spear form’s earliest version followed the sequence of the Yang 24-Movement Form in both posture and name. Its uniqueness came as a result of the application of Taiji movement principles to the existing method. In the ensuing years, the Chen spear form has increased from 24 to 72 movements, adding a variety of staff movements. Watching a skilled exponent performing with the staff, its martial roots are immediately apparent. The overall tempo is forceful, direct and rapid, with few movements being done slowly. Although it is highly unlikely that anyone would need to use the spear for combat today, the Chen family spear form remains a highly practical training tool. Spear practice enhances empty-hand skills by improving balance through the use of intricate and rapid-stepping movements as well as developing upper body strength and overall flexibility.

Variously known as the “Spring and Autumn Broadsword,” the “Green Dragon Crescent Moon Broadsword,” or simply the “Big Knife,” the halberd (ji) is one of the system’s oldest weapons forms. Characterized by strong and powerful movements, the halberd is a large and heavy weapon requiring a high degree of upper body strength and a stable root to manipulate it freely. The Chen Taijiquan halberd trains the practitioner to move and be responsive in every direction. The favored weapon of Chen Wangting, it is recorded in the Genealogy of the Chen Family (Chen Zhenglei, 1999: 4), that:

“Wangting, alias Zhouting, was a knight at the end of the Ming Dynasty [C.E. 1368-1644] and a scholar in the early years of the Qing Dynasty [C.E. 1644-1912]. He was known in Shandong Province as a martial arts master, once defeating more than a thousand bandits. He was the originator of the barehanded and armed combat boxing of the Chen school. He was a born warrior, as can be proved by the broadsword he used in combat.”

While the individual names of the weapon or empty-hand forms describe the movements, the halberd form is unique. Each of its thirty movements is given a seven-character song or poem. When taken in their entirety, they recount the story of General Guan, a famous warrior from the turbulent Three Kingdoms Period (C.E. 25-220). Consequently, every time the form is practiced, his exploits are re-enacted (Gaffney & Sim, 2000: 188).

Contemporary practitioners should not overlook the importance of the weapons routines as they offer a tangible link to past generations.  The forms are at once practical and aesthetic. Artistically pleasing to watch, the weapons routines are physically complex and demanding to complete. Many of the weapon forms have changed little since the time of Chen Wangting. Consequently they provide a window to the origins of Taijiquan and represent an important legacy to today’s Taijiquan practitioner. – Gaffney & Sim, 2000: 172

SUPPLEMENTARY EQUIPMENT TRAINING

Standing Pole, forms practice, silk-reeling exercises, push hands, etc., all lead to an increase in internal strength. As the practitioner reaches a more accomplished level, the use of supplementary exercises with a variety of training equipment can further amplify this energy. Skills such as neutralizing, yielding, grappling (qinna), and fajing are more efficient when backed by greater physical strength. Past masters placed great emphasis on supplementary power training methods (xing gong). In Chenjiagou, in the garden where Yang Luchan, the progenitor of Yang Taijiquan, is said to have learned from Chen Changxing, there is still a stone weight weighing about eighty kilograms that the two are reputed to have trained with to increase their hand strength. Also popular to this day is the exercise of shaking a long pole as a means of increasing the power that can be transmitted from the dantian out to the extremities. Cut from the baila tree, the pole is typically about four yards long and roughly an inch and a half in diameter. This type of wood is flexible and springy, allowing the practitioner to transmit force through it. It is said that Chen Fake performed three hundred repetitions of this exercise daily, as well as at least thirty repetitions of the empty-hand form.

CONCLUSION

Chen Village Taijiquan is a unique example of Chinese martial culture, providing a tangible link to past generations of Taiji practitioners. Changed little through the passing generations, this art today draws increasing numbers of practitioners attracted by its characteristics of power, grace, and agility. To succeed, modern practitioners would be well advised to look to the appropriate method for their stage of development and not to be in a hurry to learn new things. Above all, practice must be patient, systematic, and persistent if advanced ability is to be attained. To quote an old Chinese proverb: “One day’s chill does not result in three feet of ice” (Gaffney & Sim, 2000: 148).

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