STYLES OF TAI CHI CHUAN
CHEN STYLE
Verifiable history begins in the 17th century when Chen Wangting (1600-1680) organised a martial system including seven routines. While some suspect the existence of Chen family style prior to Wangting, any references to it are apocryphal. It is written in official PRC history of Wen County that Chen Wangting practised martial arts when he was young. But what style he practised in not known. It is known that Wangting’s maternal lineage (the Li Family) exerted a Daoist influence and that the Li family hired a school teacher named Wang Zhongyue who penned “Taijiquan Lun.” The Li family practise a martial art called Wujiquan named for the primordial state of non-duality or “emptiness.”
Chen Wangting became a military officer during the Ming Dynasty, and after retiring to a private life of a farmer (essentially hiding from the Qing) developed a new martial art which he taught to his relatives. This new style incorporated elements from the “Martial Classic Thirty-two Forms” (拳經三二式) created by General Qi Jiguang (戚继光), and the “Daoist Yellow Court Classic” (黃庭經)
The Yellow Court Classic is a guide to advanced qigong and meditation and should not be confused with “Huang Di Nei Jing” 黄帝内经 《黃帝內經》 (Yellow Emperor's Canon of Chinese Medicine). A close friend and training partner of Wangting was Jiang Fa (蔣發) a fugitive rebel who is believed to have contributed greatly to the early development of Chen Taijiquan.
Branches
There are several branches of Chen Style Taijiquan, and it can be very confusing, since the terms can be generically applied to describe different aspects of other styles.
Let’s try to keep it simple for starters.
The main branches of Chen Style are Laojia (old big frame) and Xiaojia (small frame). Newer variations on these are called Xinjia. Xinjia is not a different type, but rather a new way of doing Laojia or Xiaojia. (Many of the early teachers of Xinjia were Xiaojia stylists. This has led many to confuse the two. In modern times some people have mistakenly used “Xinjia” to refer to “Xiaojia.”
Laojia “old frame” (also known as Dajia “big frame” )
The most famous Chen family master was Chen Changxing (陈长兴 1771-1853). Changxing compressed the forms into two routines that came to be known as "laojia" (老架) (old frame). Changxing, is also famous for teaching Yang Luchan (the founder of Yang Style taijiquan).
When learning Laojia, the student first learns large, simple movements and gradually refines the form and internal alignment. Chen Fa Ke, the famous master who brought Chen Style to Beijing in the middle of the twentieth century, was a student of this “Old” and “Large” Frame.
Demonstration of Chen style Laojia (Dajia) Yilu Changquan ("First routine longfist") by Master Chen Shitong
from www.ChenWired.com
Demonstration of Chen style Laojia (Dajia) Erlu Paotui ("second routine cannon fist") by Master Chen Shitong
from www.ChenWired.com
Xiaojia
Chen Youben (陈有本), was the 19th century master who created the branch of Chen Style Taijiquan originally know as xinjia (新架) (New Frame). It gradually became to be known as xiao jia (小架) or small frame. Famous master of Small Frame included Chen Xin (authour of “Illustrated Chen Taijiquan”) and Chen Qingping (陳清苹 1795 - 1868). One of Qingping’s students was Wu Yuxiang (the founder of Wu Yuxiang Style Taijiquan. When Qingping married, he moved to his wife’s hometown, Zhaobao. There his students developed Zhaobao Style Taijiquan, and Huleijia (thunder) Style Taijiquan, neither of which are considered a part of the Chen family lineage.
Xiaojia postures are every bit as large as Laojia postures. The term “small frame” is in reference to the attention to intricate detail that is paid by the practitioners. Many of the early masters of xiaojia were scholars thought to have more time on their hands to refine small details. They were no slouches when it came to combat, however. While the Laojia masters were more likely to be professional martial artists, the xiaojia masters received more than their fair share of recognition.
Chen style xiaojia perfromed by Chen PeiJu
from www.ChenWired.com
Xinjia
In 1928, Laojia master Chen Fake (陳發科) (1887-1957) began teaching in Beijing. This started an important lineage based his "Xinjia” (New Frame) variation of Laojia. His most famous students included Gu Liuxin, Feng Zhiqiang, Chen Zhaokui , Hong Junsheng, Tian Xiuchen, Xu Rusheng, and Li Jianhua.
Feng Zhiqiang Has travelled the world extensively and created a style of taijiquan called Xinyi Hunyuan Taijiquan.
Since the 1980s several masters, such as Chen Xiao Wang (grandson of Chen Fa Ke), Chen Zhenglei, Zhu Tiancai, and Wang Xian have been teaching seminars and working to spread Chen Taijiquan around the world.
Summary:
• Chen Wangting's created seven routines and other training methods including weapon skills and tuishou.
• Old Frame and Small Frame
In the 19th century, Chen Changxing developed Laojia (“old frame”) (a.k.a. “Large Frame”) and the two concise routines we know today as Yilu Changquan (first routine long fist) and Erlu Paotui (second routine cannon fist.)
Shortly thereafter, Chen Youben developed Xiaojia versions of the the same two routines. (His variation was once called Xinjia “new frame.”)
Both Laojia and Xiaojia developed at approximately the same time. In fact, there is still some debate in Chen Jiagou as to which came first. They may have developed concurrently with one being taught publicly before the other.
• Chen Taijiquan was kept fairly secret until 1928 when Chen Fa Ke and his nephew began teaching Laojia Xinjia in Beijing. Other types of Xinjia followed in subsequent decades, especially after 1977.
• Yang Luchan learned Laojia from Chen Changxing and developed Yang Style Taijiquan, which he taught in Beijing in the late nineteenth century.
• Wu Yuxiang, learned Xiaojia from Chen Qingping and developed Wu Yuxiang Style Taijiquan. Also called Wu/Hao Style by non-Chinese speakers.
• Chen Qingping moved from Chen Jiagou to nearby Zhaobao Village where his students developed Zhaobao Style Taijiquan and Hulei Style (Thunder Style) Taijiquan.
• Feng Zhiqiang learned from Chen Fa Ke and later developed a new style called Chenshi Xinyi Hunyuan Taijiquan.
• Modern Chen forms
Several modern routines have been developed for a variety of purposes. Most are short routines aimed at certain audiences. Some are developed for international competition, and others are more suitable for demonstrations.
Simplified routines and exercises are often used to aid in teaching seminars, or for teaching beginners or seniors.
The 56 Chen Posture International Standard Competition Routine was developed to fit within the framework of wushu competition. It was developed by the Chinese National Wushu Association and based on the first and second lao jia routines. This form is designed to be completed in 5 - 6 minutes.
Weapons
Chen Tai Chi has several unique weapons forms. The most common ones are:• 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
Other training methods
• zhan zhuang (Standing meditation)
• Chansijin (silk reeling skill)
• pole or spear shaking
• Tuishou (“pushing hands”),
• Martial applications
• Sanshou
ZHAOBAO STYLE TAI CHI CHUAN
ZHAOBAO STYLE(趙堡忽靈架)
赵堡太极拳--刘金泉
Zhaobao taijiquan performed by Liu Jinquan
Zhaobao Style named for the village where it developed. Zhaobao is near Chen Jiagou. Zhaobao Style is a close cousin of Chen Style and developed at about the same time. The movements tend to look smaller and more relaxed.
History of Zhaobao taijiquan
The history of Zhaobao style is controversial with two main points of view on the origins of Zhao Bao Taijiquan, and its influence on taijiquan in general.
Chen Qingping (陳清苹 1795 - 1868) was the teacher of Wu Yuxiang (the founder of Wu Yuxiang Style Taijiquan). When Qingping married, he moved to his wife’s hometown, Zhaobao. There his students developed Zhaobao Style Taijiquan, and Huleijia (thunder) Style Taijiquan, neither of which are considered a part of the Chen family lineage.
Some historians believe that Chen Qingping learned the Chen Style xiaojia from Chen Youben (陈有本) in Chen Village and later transmitted the art it to the Zhaobao Villiage. It is usually assumed that Chen Qingping or his students made the modifications to the art and created what is now known as Zhaobao Style Taijiquan.
Others believe that, while Chen Qingping learned a Chen family art from Chen Youben, he also learned from Zhang Yian, a local Zhaobao master, who came from a lineage that included Jiang Fa (Chen Wangting's friend and training partner.) These accounts, found in the later works of the Zhaobao Style masters, also state that Jiang Fa learned from Wang Zhongyue. Wong Zhongyue was a school teacher who worked for the family of Chen Wangtings's mother.
It is possible that contributions to the development of Zhaobao style were made not only by Chen Qingping and his lineage, but by Qingping's contemporaries and their students as well.
It is interesting to note that, while Zhaobao style has its own internal training methods, weapon forms, two man sets, and moving step tuishou, it does not have any fixed step tuishou practice.
There are two main bare hand routines practised in the Zhaobao. Both are nearly identical in the nature and quality of the movements. The only difference is in the sequence. One form has one hundred eight movements, while the other has seventy-four. The routines are both practised with "two speeds" and "three heights" each for different results.
In this video the names are presented, giving you the opportunity to compare the movements with those of the same name in the other major styles.
趙堡太極拳 / 李隨成 演 示
Above is Zhaobao taijiquan demonstrate by Grandmaster Li Shuicheng.
Below is the Zhaobao of Li Suicheng with demonstrations of tuishou (push hands) and martial applications.
This video has music, and narration in Chinese with simultaneous English translation. If it is too confusing to listen to, you can control the volume by clicking the control on the bottom right.
Next is an example of a Zhaobao weapon routine. Here is a sword routine.
courtesy of www.insidewudang.info
The popularity of Zhaobao taijiquan is increasing both in China and in the rest of the world.
In October 2005, the First Congress of Wudang Zhaobao Style Taijiquan took place in Wudang mountain. This was the first such gathering in the 400 year history of the style, and went far in furthering the profile of the style.
Some of the most famous masters of Zhaobao Style Taijiquan are:
* Hou Zhan Guo
* Ji Jian Hai
* Li Shu De
* Li Sui Cheng
* Liu Hui Chi
* Liu Rei
* Song Wen Hua
* Wang Hai Zhou
* Wang Qing Shen
* Wu Ren Tang
* Yan Cun Wen
* Yan Qing Wu
* Yuan Shi Jie
* Yu Cheng Yong
* Zhao Zeng Fu
* Zheng Jun
* Zheng Yan Shen
One of the highlights was apparently a performance by Sun Wuyi, disciple of the Grandmaster Zhao Zengfu.
Hu Lei or Hu Long Jia Taijiquan
Li Jingting was student of Chen Qing Ping who combined his family style with Zhaobao taijiquan to create hu lei taijiquan. Hu lei ("sudden lightning") is also known as hu long ("sudden dragon") taijiquan for the way in which power is expressed in the routines.
Thanks to the teachings of Master Adam Hsu of California, USA, this style is known to many in the West as Thunder Style.
Li Jingting live an taught in the Fu Ai region in China, and may have been influenced by the martial arts of that area. The routine is very similar to the seventy-four movement Zhao Bao form, although some of the names are different.
Here are two videos of Hu Lei Taijiquan. The first is a demonstration of form and martial applications that Master Adam Hsu did in the 1970's. The second is a more recent performance by Zhang Changnian
Zhaobao He Style Taijiquan
A rare derivative of Zhaobao Style is called He style taijiquan or Zhaobao He style.
This style was created by He Zhaoyuan (1810-90), who learned from Chen Qingping and later worked as a bodyguard in Beijing.
He style is known as "circle fist" due to its use of spirals and circles within circles.
Here is a video of Zhaobao He style taijiquan. Can you see the differences?
from www.insidewudang.info
YANG STYLE TAI CHI CHUAN
YANG STYLE (楊氏)
The traditional routine taught by Yang Style is based on the first routine of the Chen Style. The most obvious differences are the slower, steadier pace and the different types of stances. Yang style stances use a straighter rear leg and square the hips more with the weighted leg. The movements show more forward power and less lateral power than the Chen Style.
The differences have led some to suggest that Yang Luchan modified his style to accommodate the royalty he taught it to. However, Yang also taught to military officers and other martial artists.
The postures in Yang Style also tend to be higher than those of Chen Style. However, there is a fair amount of variation in the way that Yang style is performed today, including the height of the stances.
Yang style taijiquan (Tai Chi) is the most popular style of tai chi in the world, and may be the world’s most widely practised martial art style. The exact curriculum may vary from school to school, however.
There is also a difference between what is referred to as Yang style taijiquan, and the Yang Family Taijiquan. For more on this difference see an article by Sam Masich at www.sammasich.com.
The Yang Family Taijiquan as it is known today, is the style which comes from Yang Chenfu (1883-1936), who is said to be the “finalizer” of the style. Yang Chenfu had thousands of students over a 20 year period, and as a result he made the art extremely popular. It is mostly thanks to him that taijiquan is as popular throughout the World as it is today. This style is easily recognizable for its large postures, gentle movements, and even pace, and while there may be minor differences is choreography amongst the students of Yang Style, the essential form is fairly standardized.
At the core of Yang style taijiquan is the solo routine usually called the “long form” (changquan) or the “one hundred eight” (108) for the number of movements in it. (The actual number of movements in the long form may vary depending on how they are counted. The number 108 has cosmological significance to both daoists and buddhists, and may be one historical reason for counting the movements this way. Nowadays, the number is entirely a matter of tradition, not of symbolism.)
In addition to the traditional long form, there are many modern simplified routines based on the traditional one. In 1956, the “24 form” was created as a simplified “version” of Yang style taijiquan and became part of China’s national fitness program. Since then there have been many other short forms created based on the long form, including the Cheng Manching 37, at least two different “Yang style 16 forms,” the “10 form” (also called the “8 form”) and the Yang style 5-section routine.
Following is a list of some of elements of the “Traditional” Yang Style Curriculum. This list is based on a list presented by Sam Masich, one of North America’s leading authorities on Yang Style Taijiquan. Items with an asterisk (*) are his innovation.
Few teachers offer this complete curriculum. In fact, it is safe to say that most teachers do not teach half of this material.
Qigong
Zhan Zhuang (Standing post) Stance and posture training Taiji qigong (tai chi chi kung) *Taiji breath placement Taiji gongli (strength, flexibility, and conditioning)
Solo Empty Hand Routine
108 posture taijiquan solo form.
Tuishou (pushing hands)
• Basic 1-8 exercises.
• Four Hands (peng, lu, ji, an)
- Fixed Step
- * Eight directional changes
- Fixed step Freestyle
- Follow step,
- Cover step
- Circular step
- * Moving step leg changes
- Moving step freestyle
- Diagonal orientation
- Square orientation
- Variations and freestyle
- Martial Applications of the solo form.
- 88 movement Yang Style applications routine
- * Fighting range theory and training
- Sparring with Tuishou
- Free sparring.
- Fu Zhongwen version
- Chen Yenlin version
- * Sabre sparring drills
- Eight-movement two-person sabre routine
- Sabre sparring
- Fu Zhongwen version
- Chen Weiming version
- Two-person drills
- Fencing and free-sparring
- Solo spear training
- Two-person binding spear training
- Free-Spearing
- “Gun” (staff)
- Weiminggun (cane)
- Shan (Fan)
- Double Dao (Sabre)
- Double Jian (Sword)
WU YUXIANG STYLE (WU/HAO STYLE)
Wu Yuxiang Style (also called Hao Style) is rarely seen, especially in the West. The movements of
this style are quite compact and seemingly simple. There is a very strong emphasis on internal
development and on intellectual study.
This video shows Master Lee Weiming demonstrating the Wu/Hao style "96 posture" routine.
Wu Yuxiang (武禹襄) (1813-1880)
Wu Yuxiang was initially a student of Yang Luchan (Student of Large frame Chen style and founder of Yang Style taijiquan). Later, Wu Yuxiang studied small frame Chen style (Xiaojia) under Chen Qingping.
Wu Yuxiang then developed his one style which he taught to Li Yiyu.
Li I-yü (李亦畬) (1832-1892)
Li Yiyu taught Hao Weizen
Hao Weizen (郝為真) (1842-1920)
Hao Weizen taught Sun Lutang.
Currently, one of the most famous teachers of Wu Jianquan style is Wu Wenhan, seen here playing tuishou.
SUN STYLE TAI CHI CHUAN (孫氏)
Sun Style is derived from Wu Yuxiang Style Taijiquan and contains elements of Xingyiquan and Baguzhang. It is known for its opening and closing movements and for light and agile footwork.
Here is a video of Sun style taijiquan performed by Sun Jianyun (孫劍雲) (1913-2003)
Sun style was created by Sun Lutang (孫祿堂) (1861-1932) who was also known for his mastery of baguazhang and xingyiquan.
When Sun Lutang was about twenty-one years old, he began learning xingyiquan from Li Kuiyuan (李魁元) and later from Guo Yunshen (郭雲深). When he was about thirty years old he started learning baguazhang from Cheng Tinghua (程延華).
Sun didn't start learning taijiquan until his fifties, when he started learning Wu Yuxiang style Taijiquan from Hao Weizhen (郝為眞).
Between 1914 and 1928, Sun taught taijiquan in Beijing at the Physical Education Research Institute with Yang Chenfu, Wu Jiangquan, and Yang Shaohou. It was during this period that he wrote five books. He wrote one each on taijiquan, xingyiquan, xingyi spear (which was unpublished), baguazhang (baguaquan), and baguajian (bagua sword). He also wrote a book called Quanyi Shuzhen (Explanation of the essence of boxing).
WU STYLE OF WU JIANQUAN (吳氏)
The Wu family were students of the Yang family, and there are many similarities between the routines of these two styles.
Wu Jianquan learned from his father, Wu Quanyuo (吳全佑) (1834-1902), who was a student of Yang Lu-ch'an, (楊露禪) (1799-1872) and Yang Banhou (楊班侯) (1837-1890).
Quanyou and Jianquan were hereditary officers of the Manchu cavalry as well as the Imperial Guards Brigade who later converted to become patriotic supporters of Sun Yatsen.
With the end of the Qing Dynasty in 1912, Wu Jianquan, along with Yang style masters Yang Chengfu (楊澄甫)(1883-1936) and Yang Shao-hou (楊少侯) (1862-1930), as well as Sun Lutang (孫祿堂)(1861-1932) joined together to promote taijiquan and its benefits on a national scale. They began teaching together in 1914 at the Beijing Physical Culture Research Institute and offering classes to the general public. In addition, Wu Jianquan also taught at the Jingwu Tiyuhui (Elite Martial Athletic Association) and to the new republic's Presidential Bodyguard. Due in part to this high profile, Wu Style is now second in popularity only to Yang Style. This popularity is due, not only to its history, but also to the balance between suitability for varying ages and fitness level, health benefits, and martial art effectiveness.
Although Wu Quanyou had already made changes to the style that he had learned from Yang Luchan, Wu Jianquan made further changes to the form and the teaching method, in order to suit the new demographic of his student base. He took out the fajing (explosive expressions of power, the jumps, and complicated or difficult movements, partly to make the forms easier for the the general public to learn, and to make it easier to teach it safely to large numbers of people.
These elements were not lost, however. They continue to exist in other forms, such as the Wu style fast form, the Dalu form, and in separate two-person exercises like tuishou.
The core of Wu style taijiquan is still the "long form" similar to the 108 movement routine of Yang Style. Wu style has two main methods of practising the routines. The first is called the "square form" and is taught mostly to beginners to ensure precision. The second, called the "round form", follows more natural movement patterns and is taught after the student has learned the correct details in the square form.
Here is a demonstration of the square form by Edward Mak.
and here is the round form from the same series.
Two of the greatest Wu style masters of the twentieth century were Ma Yuehliang (馬岳樑) (1901-1998) and his wife, Wu Yinghwa (吳英華) (1907-1996).
Ma was a disciple of Wu style founder, Wu Jianquan (吳鑑泉) (1870-1942).
Wu Yinghwa (吳英華) (1907-1996) was the founder's daughter.
Here is a short clip from a video of them when they were in New Zealand to visit their adopted daughter Shi Mei Lin (Wu Yan Tang)
An older version of Wu Jiangquan style "passed down through the Gao family"
The difficult elements that were taken out of the Wu style long form by Wu Jianquan are still found in other routines, like this Wu Style Fast form performed by Wang Haoda.......
....and this Dalu (Large pull back) routine performed by Wang Peisheng (1919-2004)
This video, posted on youtube by www.insidewudang.info shows the famous grandmaster, Ma Yuehliang, demonstrating Wu style taiji spear
and here is a rare video of Wu style master Wang Peisheng teaching spear binding.
FU STYLE
Fu Style is another important style created by Fu Zhensong (1881 - 1953), and includes elements of Yang Style, Sun Style and baguazhang. Fu style had been gaining prominence in North America thanks to the work of Bow Sim Mark, Victor Fu, Nick Gracenin, Jose Johnson and others.
Fu Zhensong was born at Ma Po Villlage near Huaiqing City in Henan Province. It was here that he began learning martial arts, at the age of 8, from Jia Fengming (a top student of Baguazhang master Dong Haichuan (董海川). In 1897, Fu began training with Master Chen Yenxi (Father of Chen Fa-Ke) at the nearby Chenjiagou.
In 1900, Fu returned home, where he achieved great fame when a large gang of bandits raided Ma Po village. Newspapers reported that he fought his way through 20 - 40 of them, killing some and wounding others. When Fu killed the leader, the remainder fled.
During his 30’s years old, Fu travelled about the country, working as a caravan guard and bodyguard, teaching the Revolutionary Army, learning from teachers such as baguazhang masters Ma Gui and Chen Tinghua, and the Wudang sword master Li Jinglin. He also accumulated a reputation by defeating many famous masters in well documented matches. By the time he was 40 years old, he had established
At the age of 28, Fu single-handedly defended Ma Po village against over 100 bandits by killing or overpowering between 20 and 40 of them, killing the leader, and driving off the rest. In his early 30's, Fu began to travel throughout Northern China, exchanging martial knowledge with many high-level masters and amalgamating all useful information into his own practice. There are countless documented stories of Fu defeating well-known martial artists and highly polished challengers. By the time Zhensong was 40 years old, he had become one of the best known martial artists in northern China.
In the first full-contact, national competition in 1928 in Nanjing. Hundreds martial artists fought in a 7-day tournament that used a leitai format. Fu Zhensong, at the age of 47, was undefeated in this tournament. His most challenging match was a 90 round match against Wong Takyuan from Sichuan. The tournament was cancelled after the first several days due to the high incidents of serious injuries. (Several were maimed and two were killed.) There were twelve “champions” declared after the competition, including some Xingyiquan, Taijiquan, and Baguazhang stylists. Fu Zhensong was among them.
Fu Zhensong taught Baguazhang at the Central Martial Arts Academy in Nanjing where he worked Yang Chengfu, Sun Lutang, and many others.
In 1929, was one of 'The Five Northern Tigers.' who travelled south to teach in Guangdong at the invitation of the governor.
Fu was director of the Liangguang Guoshu School and taught at the famous Jingwu Tiyuhui (精武體育會 / 精武体育会 Elite Martial Athletic Association)
The Fu Style system is comprised of Tai Chi Chuan, Baguazhang, Xingyiquan, and Liangyiquan.
MODERN STYLES
Since the 1950’s, there have been many modern taijiquan routines created in an effort to make the art more accessible to the masses. These simplified routines have become an important part of the curricula of traditional schools, providing progressive levels of difficulty and complexity for students. Now, rather than starting with a traditional long routine that may have 108 movements and require 3 years to learn, students can learn a complete 5 minute routine in a few weeks, and then build on their knowledge while learning increasingly complex routines. In many cases this actually speeds up the learning process, enabling students to master the long routines in a shorter period of time.
Many of the people who benefit from the practice of these simplified routines could not have learned the much longer and sophisticated routines of the traditional styles, which can be too physically and mentally demanding for the elderly and infirm.
The business of modern schedules and lifestyles make it difficult for people of any age to commit to the type of training regimen that would be expected of students of old. The simplified routines make it possible to fit more into a smaller time period. Instead of requiring a 1 - 3 hour period to do a routine, students can now fit a routine into a 3 - 10 minute break, and do that as many times in a day as they like.
Today there are simplified versions of every traditional style. There are also combined routines that contain elements of the 5 major styles in one routine. There are also international standard routines which are used for competition.
These modern forms have contributed greatly to the popularity of taijiquan. It is one of the fastest growing fitness and health promoting activities, in terms of numbers of students enrolling in classes.
The modern forms have not, however, replaced the traditional routines. The traditional routines are still practised in advanced classes, or in traditional schools where they are taught from the beginning, over a period of 1 - 3 years.
Other Styles of Taijiquan (Tai Chi)
The main six styles are Chen, Yang, Wu (Jianquan), Wu (Yuxiang), Sun, and Xin (New). There are now dozens of new routines and several new styles, but the five family schools are the groups most recognised by the international taijiquan community as being orthodox.
There are also a number of other styles which are also very important. Of these, most notable are Fu Style and Wudang Style.
The others are mostly rare, but still notable because of the fame of the founder or the influence that the students of the style have had on the tai chi community.
All of the major styles, while they may differ in appearance and training methods, share a common theoretical foundation. Among masters, there is no significant disagreement on the fundamentals. Students of all the major styles train and compete with each other with great camaraderie. The obvious exception is Moy Style (Taoist Tai Chi). This style is notable for the fact that it has spread throughout the world in spite of the fact that the founder was not famous, and the society eschews any but the most superficial contact with the larger tai chi community.
Some of the other known styles are:
Li Style
Sanfeng Style
Wudang Style
Songxi Style
Taiji Cotton Fist
Zhengzi Taiji
Taoist Tai Chi (Moy Style)
WUDANG STYLE
Wudang Style martial arts, from the Wudang Mountain, now becoming increasingly well known, are often classified as "internal styles" in spite of apparently having no direct connection to the major styles we know of as taijiquan, xingyiquan and baguazhang. There is a style from Wudang called neijiaquan ("internal style fist"), but it is not related to the aforementioned styles that were dubbed neijiaquan in Beijing in the early 1900's.
There are some masters, particularly from Zhaobao taijiquan, who emphasise the Daoist influence in the creation of taijiquan. There are many who still declare the legendary Zhang Sanfeng to be the historical founder of taijiquan, even though historians regard him as a mythical figure.
One style known as Wudang taijiquan (武當太極拳) was created by Chen Tinhung, a taijiquan master from Hongkong.
This system is now being taught in the United Kingdom by Dan Docherty and Ian Cameron and in Hong Kong by the founder's son, Zheng Jianen (鄭鑒恩)
There are other schools of Tai Chi Chuan that also use the name, Wudang Taijiquan. Some claim to derive from one or more of the major five styles. Others do not seem to have any direct connection to the major styles at all.
This video is of You Xuande, who learned martial arts from several masters of Wudang martial arts. He teaches a style called Wudang Taijiquan, which seems to have elements of Yang style, Chen style, and Wu style.
You Xuande and his Wudang martial arts have been well received by taijiquan masters at international taijiquan and wushu gatherings.
LI STYLE TAIJIQUAN 李氏太極拳
The Li or Lee style of taijiquan is practised mainly in the UK and continental Europe. The style is taught as part of the Lee Style Taoist Cultural Arts which include Kaimen (Open Door) - a form of Daoist qigong, Daoyin (breathing exercise), and the standard empty-hand and weapon forms; including Feng shou quanshu.
Li Taijiquan was created by Li Rui Dong (1851-1917), an accomplished martial artist who learned Chuo Jiao, Fanziquan, Tantui.
Li coached at the compound of Prince Rui in Beijing and was a guard at the Forbidden City. He developed Li Taijiquan and established the Guang Wu Institute in Tian Jing. He is also credited with writing several books on martial arts, including: Thirteen Forms of taiji, taiji Thirteen Dan, Taiji Four Cannons, Taiji Old Three Pushes, Taiji White Tiger, Thirteen Forms of Saber, Taiji Qing Feng Spear, Five Tiger Special Spear, Taiji Black Dragon Thirteen Forms of Spear, Taiji Thirteen Forms of Sword, Taiji Thirteen Forms of Interlinked Spear from Chang Shan School, Saber vs. Saber, Saber vs. Staff, Saber vs. Long Spear, Staff vs. Staff Spear vs. Spear
Li style has a number of routines and is based on principles of classical Chinese philosophy including San Cai (Three Powers of Heaven, Humanity and Earth), and include clearly defined Wu (Martial), Wen (scholarly) and Wen Wu (combined) approaches.
22 Posture Routine
Five Dragons Cannon Punch (based on five major techniques of Yang style Taijiquan and containing elements of baguazhang and xingyiquan.)
Thirteen Li Tai Chi Sword Routines
Li Taiji liuhe Feng Mo Palm
Li Tai Chi Thirteen Dan
Important structural concepts and energies include: San Cai (Three Powers), Five Element Hammering, Lao San Tui (Old Three Pushes), Si Men Pao (Four Door Cannons), Ba Da Jia (Big Eight Frames), Xiao Ba Jia (Small Eight Frames), Shi San dan (Thirteen Dan), Shi San Gan Ji (Thirteen Firm Frames), and more. Among their more esoteric theories is "Sheng Tai Pei Yu Hun Yuan Gong" The exercises of the Holy Foetus Returning to the Origin. Many Chi Kung as well as physical exercises are contained in the art.
The Lee family's Taoist Arts were exclusive to the Lee style until the 1930s when it was first taught to outsiders in England by Professor Dr. Chan Kam Lee, and subsequently promoted by Lee's student, Chee Soo, who established "The International Daoist Society".
MOY STYLE - “TAOIST TAI CHI”
One style which stands alone is the so-called “Taoist Tai Chi” invented by the late Moy Lin Shin (Lin Shin Moy) of Toronto, Ontario, Canada. This style is not generally recognised as an authentic style of Tai Chi, but it is notable due to its popularity in many non-Chinese countries, especially in Canada.
Moy is known to have briefly studied Yang Style Tai Chi in Vancouver between 1969 and 1970 before moving to Toronto and developing his own style. Over the next several years he modified the style with an emphasis on stretching, twisting and deep knee bends. Most teachers of traditional tai chi believe that he strayed from the elements and principles of traditional taijiquan. He also taught a version of Liu He Ba Fa (Lok Hup Pa Fa) to which he applied the same peculiar style of movement as “Taoist Tai Chi.”
Moy Linshin may have learned Tai Chi in Hong Kong before emigrating to Canada in the late 1960’s. But there is no source for this information aside from his own claims. He claimed to have learned from the Ching Wu society. But he was the only original source for these claims (which have never been independently verified.) The routines he taught have very little similarity to the routines passed down from the Ching Wu Society.
Early video footage of Moy performing Tai Chi in Toronto in the early 1970s shows movement similar to novice students of traditional Yang Style. He is known to have briefly taken classes with the highly respected master, Raymond Y.M. Chung of Vancouver, before moving to Toronto.
When Moy moved to Toronto he created a Fung Loy Kok Taoist Temple, and began teaching taiji as a means to fund the temple. Later he founded the Taoist Tai Chi Society of Canada.
Unlike the other schools of Tai Chi, Taoist Tai Chi Society students have often been discouraged from researching other styles, or interacting with other schools. The Taoist Tai Chi Society also has one of the highest attrition rate of any school. Reports from former Taoist Tai Chi instructors are that more than 90% of the students quitting within a few months. Former instructors of the Taoist Tai Chi society say that this attrition rate did not concern the founder.
The claims that Moy was a master, or that he “put the tai chi back in tai chi chuan” have caused a lot of eye-rolling among the wider tai chi community, as has the remarkably short time required to become an instructor. (Student have become teachers with only three months of regular classes.) Many are also disturbed by the cult-like attitude found in the organisation. But the heavy marketing done to promote the Taoist Tai Chi society did a great deal to introduce thousands to tai chi. Many of the people who once learned “Taoist Tai Chi”, including this author, have since gone on to study traditional Tai Chi.
In spite of the many criticisms of the style by traditional teachers, many people claim to have benefited from the practice of "Taoist Tai Chi". One reason for this may be the style’s emphasis on stretching and twisting. While some traditional tai chi masters may deride the “Taoist Tai Chi” routine, calling it “20 minutes of choreographed yawning,” this very same quality may improve the circulation of blood and lymph, as well as provide a beneficial myo-fascia release which could produce many positive health benefits. People with allergies, arthritis, and other illnesses affected by the accumulation of antigens in the body may get relief from their symptoms due to the improved toxicity levels and nutrient circulation. Some suggest that the large attrition rate makes suspect any claims about the benefits of "Taoist Tai Chi" since the number of those claiming to have benefited are so few compared the many who have dropped out.
The benefits are also found in traditional routines, but with less extreme stretching. It is the degree of stretching, twisting and leaning that concerns traditional teachers, Some point out that, unlike traditional routines, the “Taoist Tai Chi” routines get the stretch by moving through improper ranges that can aggravate back, knee, neck, and shoulder problems. It is not difficult to find traditional instructors with experience correcting the problems encountered by former students of the “Taoist Tai Chi Society.”
Whatever the case, the Taoist Tai Chi Society has many fans and devotees, and doesn’t appear to be going anywhere anytime soon. Most traditional teachers are accepting of this fact, pointing out that, while some teachers think that there may be some negative side effects to practising some exercises, many also think these side effects are often far less severe than the side effects of widely accepted drug treatments.
Also, it is understood that no school is right for every student, and no student is right for every school.
As a great physiotherapist once said, “There are no bad exercises. There are just some exercises that are not appropriate for some people.” Ultimately, it is the student who must decide.