Tai Chi Odyssey, Vol. 1

preface

As a digital edition, this two-volume anthology offers not only a handy historical overview of taijiquan history, but most chapters focus on actual practice. Guidance is provided through Carol Derrickson’s discussions on tai-jiquan classic writings as well as from other highly experienced instructors in their own chapters.

Dr. Linda Lehrhaupt’s chapter inspires one to practice by explaining how mental changes occur in a student during initial weeks of classes. Although most taiji classes are offered by individuals in their own schools, a number of classes are also offered in academic settings. Andrew Peck gives a fine example of how taiji is taught in a university setting.

Other authors present subtle aspects of practice—be it eye movement, circles that exist even in movements that appear to be liner, benefits derived from solo and group practice, or the too often elusive element of relaxation. All these chapters will prove valuable to anyone wishing to improve their quality of practice and thus to reap more health benefits taiji has to offer. The same embodied principles can be utilized in martial applications.

Peter Lim wrote two chapters. In one he details general taiji principles that are put into the practice, while in the other chapter he looks specifically at how the principles can be applied in combat. His chapters provide a solid foundation for better understanding tuishou, the two-person push-hands practice that Herman Kaus and Hal Mosher (with the help of Allen Pittman) discuss. Greg Wolfson (with the help of Scott Rodell) writes about push-hands and sanshou—a high-level two-person practice of combative training. Russ Mason’s short but pertinent chapter samples two favorite techniques: wardoff and diagonal flying.

The chapters by Donald Mainfort and Joel Stein are relatively unique in that they look at the variety of taiji forms—contrasting the original Chen Style with the Yang Style, and the large and medium frames—helping us better understand how and why routines differ, and which may be better suited for particular individuals. As a result, we can also see why movements from different styles can blend into anyone’s practice.

Comprised of articles previously published in the Journal of Asian Martial Arts—we are highly optimistic that you will find something on each page of this anthology to be of great use in your understanding and practice.

Michael A. DeMarco, Publisher

Santa Fe, New Mexico, November 2017

• 1 •

The Origin and Evolution of Taijiquan

by Michael A. DeMarco, M.A.

Taijiquan enthusiasts arrive in Taipei’s 2/28 Peace Park before sunrise, benefiting from their practice in an atmosphere of fresh air and tranquility. Later in the morning, disco-style exercisers arrive to gyrate in beat with blaring disco music. Somehow, all seems to blend harmoniously in the typical fashion of Chinese yin-yang sociology. Small surprise that there is also quite a stylistic variety in taijiquan as well. Photo by M. DeMarco

I am not one who was born

in the possession of knowledge;

I am one who is fond of antiquity,

and earnest in seeking it there.

Confucian Analects, 7: 19

History, according to the Chinese tradition, is not to be understood as a passage of time toward a perfect human state. On the contrary, it is seen as a regression away from a splendid Golden Age when their ancestors lived in a utopian state more than four thousand years ago. All things wise and good were believed to have existed during this period. It represented a period which held secrets for proper living, supreme health and happiness. Even for the martial arts, what is deemed most worthy is held to be the creation of sagacious warriors of antiquity.

The Chinese fanatical respect for antiquity presents some formidable barriers for any student of their culture. It was a common practice for many Chinese writers to falsely assign their works to an earlier time in order to gain greater respect and fame for their works. Sometimes, besides placing their works in an earlier period, writers would credit a work as being brushed (they did not use pens yet!) by an earlier figure of prestige. Oftentimes the work would be anonymous, not dated, not punctuated, and filled with incomprehensible symbolic jargon. This certainly occurred in martial art literature as well. Trying to trace the origin of a boxing system can cause a researcher to perform a wonderful assortment of kicks and punches simply out of academic frustration!

Taijiquan, as part of the cultural history of China, is encrusted in a confusing maze of facts and fiction. This is a reality which needs constant attention in studying the history of any martial art. The following theories on the origin of taijiquan show how myth and legend are blended within the Chinese cultural heritage. Fortunately, with a critical eye for reliable data, we can present a sound overview regarding the evolution of taijiquan.

Theories of Early Dynastic Origin

One theory states that taijiquan originated during the end of the Liang Dynasty (502-557 CE) and the beginning of the Chen Dynasty (557-589 CE). These dynasties had their capital at Nanjing in present-day Jiangsu Province on the Yangtze River.

Another theory holds that the creation of taijiquan came slightly later, during the Tang Dynasty (618-907 CE). The Tang capital is situated in present-day Shaanxi Province. Then called Changan, the great city is now referred to as Xi’an. It is the place where the famed life-sized terra cotta warriors, which marked the grave site of China’s First Emperor of Qin, were recently unearthed.

In placing the origin of taijiquan at such early periods, the two theories stated above lack solid verification. These seem to be attempts to place the time of origin to an early era simply for added prestige. If these theories were accepted, a period in the history of taijiquan representing hundreds of years would be left vacant.

There is no doubt that many boxing schools existed during these early dynastic times, but their connection to the creation of taijiquan remains a remote root of the evolutionary tree of boxing. Taijiquan clearly comes into being as a later branch in the development of martial arts.

Zhang Sanfeng. Ink rubbing of

the legendary founder of taijiquan.

Zhang Sanfeng as Possible Inventor

Many of today’s taijiquan teachers will state that their art is derived from the system of Zhang Sanfeng. According to popular belief, he was a famous Daoist living on Mount Wudang in Hebei Province, a master of internal alchemy, and a boxer of the highest grade. Because of his fame, he was invited to the Imperial court by three different Emperors. Although he never did appear after numerous attempts to find him, he was canonized in 1459 by the Emperor Yingzong. There is a shrine in Beijing dedicated to the Immortal Sanfeng in the well-known White Cloud Monastery of the Quanzhen Daoist sect.

Most writings describe Zhang Sanfeng, alias Junbao, as an extraordinarily tall bearded figure, with large eyes. His feats of magic included riding through the air on a crane, and he could be at different places at the same time. It is even believed that after he died in the 1390’s, he miraculously came back to life once again.

All of these accounts regarding Zhang Sanfeng serve to add an aura of semi-religious awe for the god-like creator of taijiquan. There are Zhang Sanfeng spirit-medium cults in China, particularly in the province of Sichuan. Nonetheless, in official bibliographies there is no mention of him even practicing taijiquan. Perhaps the most scholarly article in the English language on this subject was written by respected sinologist Anna Seidel, who states:

His biographies and legends lack even the faintest allusion to his being a boxing master... We know next to nothing about [Zhang] Sanfeng’s historical existence and his thought. (484)

Once faced with the facts, the story of Zhang Sanfeng turns into a symbolic legend which represents the unknown influences that have contributed to the birth of taijiquan. As the patron of this style, the Daoist Zhang Sanfeng parallels the role Bodhidharma plays as the Buddhist patron of the Shaolin boxing school. The Daoist sanctuary on Mount Wudang was dedicated to the God of War named Chen Wu. This god was of supreme importance in war-ridden China during the Ming Dynasty (1368-1644). Despite the contradicting facts, many continue to believe that it was this god who revealed the art of taijiquan to Zhang Sanfeng in a dream.

The technique of attributing the origin of taijiquan to Zhang Sanfeng is just one illustration of the Chinese use of antedating. In so doing, taijiquan is given the respect of antiquity and the sacredness of a para-normal manifestation. Zhang represents an ideal boxing master with super-normal abilities. Believed to have lived for at least two centuries, he is often credited with creating the most efficient boxing system known.

Zhang Sanfeng’s story fits in well with the popular beliefs prevalent during the Ming Dynasty. The thought of the time was influenced by Daoism, particularly the beliefs in immortals and esoteric techniques for self-cultivation. Through all the uncertainty, we eventually arrive at a point in time when taijiquan is taught and practiced. It is beyond all doubt that taijiquan was practiced in