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Taijiquan - Comparisons in Styles

IN 1999 the BCCMA went through a reformation of the executive and technical committees. The new structure was a proposition from the chairman, Mr Christopher Elleker. The old committees were to be replaced by technical directors - Sanshou Director, Internal and External Martial Arts Directors etc. As a consequence I was proposed and elected as Internal Martial Arts Director.

"Formidable Proposition"

My first commission was the development of a training manual and a coaching programme for traditional internal martial arts. My first response was "what a formidable proposition, and where do I begin?"

After some deliberation on the pros and cons it was clear that I should begin with the subject closest to my heart, Taijiquan. Recording my review of the subject has been revealing and inspirational. In this issue I would like to introduce a small section of my work on the subject.

For the uninitiated it can be difficult to separate the different styles and my first impulse was not to look at what the differences are but what do they have in common. Recorded history suggests that the art of Taijiquan has developed from the Chen Style so they all have this one thing in common. While there are a number of lessor known and practised styles which in the fullness of time may or may not come into prominence, I propose to deal with the five major styles only.

Putting aside individual preference such as simply counting the movements in the Yang Style as 85, 88 and 108, we also see that each style - Yang, Chen, Wu, Woo and Sun vary in pace, duration, content and structure. Indeed these major styles have their own individual characteristics and unique features.
As the source of the major styles can be traced to the Chen village 'Chenjiakou', so all stylists take their inspiration from what has become known as the Taijiquan Classics: Song of the Thirteen Postures, Elucidation of the Thirteen Postures, The Taijiquan Classic, The Song of Pushing Hands.

To my understanding all styles pursue the training and clarification of the methods of Fajin. A thread
running through the forms can be traced to the thirteen kinetic postures: Peng, Lu, Ji, An, Cai, Lie, Zhou, Kao, Sun, Zhen, Dui, Ken, Zhongding.
Other notable core principles are the nurturing of one's Qi, the understanding of Yin and Yang, focus of Yi in the circulation of Qi through the meridian network of the body.

The foregoing, regardless of external appearance, are some of the common principles uniting the art of the Grand Ultimate fist method.
Turning to the forms we can analise from a common posture some obvious differences.

The Single Whip: Dan Bien

Having established some core principles we can look at the Single Whip, shown in Figures 1, 2, 3, 4 and 5.

The five postures examined here are very well known and easily recognised. Looking first at the formation of the hands we can see that the left hand in four of the styles is quite similar. Chen, Yang, Wu and Sun show an extended left arm with the joints open but by contrast the Woo Style displays the left arm close to the body with no extension of the shoulder, elbow or wrist joints.

When we compare the right hands there is a marked difference in the forming of the hand. The Chen Style joins the pads of forefinger and thumb with the remaining fingers forming a soft fist; the roundness of forefinger and thumb is sometimes referred to as the "Dragon's Eye."

With the Yang Style the four fingers gather at the tips while the thumb connects to the first section of the
forefinger and the little finger with the gap forming a pear shape between finger and thumb. Wu Style adopts a loose fist similar to Chen but the forefinger remains quite straight with the thumb touching at the tip. This effectively reduces the gap between the finger and thumb and loses the pear shape we find in Yang Style.

It's quite clear in the illustrations of Woo and Sun Styles that only the palms are emphasised. The gathering of the digits together, sometimes referred to as the "Bird's Beak" but more commonly as "Hook" (Gou).

There are also considerable differences in the five stances and body/hip positions. The stances vary from Bow Stance, Side Bow Stance, Horse Stance and Half Horse Stance. The positions of the feet also vary and the overall difference with the lower limbs will change the weight distribution.

Two other postures common to the major schools are: "The Wild Horse Parts Its Mane" and "The Golden Cock Stands On One Leg".

Again, it is interesting to observe these five styles side by side, but while comparisons can be made between the similarities it is also clear that the external posture demonstrates clear variations. There are differences in body posture (some upright, some leaning, some lower). Clear changes in upper limbs, a variety of leg positions and stances.

In modern development of Taijiquan there has been a tendency to make all the forms ambidextrous,
however in traditional Taiji the Single Whip is performed on the left side only, while The Horse's Mane and Golden Cockerell are performed on both sides.

Jin Ji Du Li. Golden Cockerel Stands on One Leg

Figure 6.
Traditional Chen family
Figure 7.
Traditional Yang family
Figure 8.
Traditional Wu family

Figure 9.
Traditional Hao family
Figure 10.
Traditional Sun family

Chan Su Chin

For the experienced eye there are some other obvious differences. The Chen Style is noted for alternating speed with slowness, quiet movements punctuated with explosive use of hands and feet. The training stresses the use of "Chan Su Chin" (Silk Reeling). The Yang Style evolved from the Chen Style and developed its own unique character.

The characteristics include: a closely knit series of relaxed, composed, even and flowing movements that combine strength with suppleness, cultivating energy with gentleness, keeping the trunk erect and using the waist as the axis.

The "Wu Style" was developed from the Yang and shares many of its characteristics, one can identify this style 'to lean forward' (see illustration Wild Horse Separates Mane). The lean forward does not contravene the straightness of the spine as one can clearly see from the illustration.
The Yang Style is referred to as "Large Frame," the Wu Style with its closer knit smaller moves can be described as "Medium Frame".

The Woo Style was developed by Woo Yu-Xiang (1812-1880). His source of learning was from Yang Lu Chan, Xhaobao Style and from Chen Qing-Pin of the Chen village.

Woo Style is characterised by its small and close knit movements. It also exhibits following footsteps when the rear foot follows the firmly planted leading foot. In comparison to Yang and Wu, Woo Style is often referred to as "Small Frame".

Ye Ma Fen Zong. Parting the Wild Horse's Mane.

Figure 11.
Traditional Chen family
Figure 12.
Traditional Yang family
Figure 13.
Traditional Wu family

Figure 14.
Traditional Hao family
Figure 15.
Traditional Sun family

Hao Wei Zhen

The Woo Style was passed to Hao Wei Zhen who later taught Taijiquan to Sun Lu-Tang. Sun was already an accomplished martial artist, being adept in Xingyiquan and Bagua Zhang. Sun's daughter, Sun Jian Yun, comments in the Bagua Journal that her father's Taijiquan employs the stepping method of Bagua Zhang, the leg and waist methods of Xingyiquan and the body softness of Taijiquan.

It embraces a unique use of open and close of the hands (Kai He) as an intermediate gesture. The following foot stepping system helps to make Sun Style characteristics easily recognisable.

The one thing these postures have in common are of course the internal principles and functions. It is important to be aware that although the styles of Taijiquan share the same principles, each style embraces its own unique characteristics and individuality.

Written by Simon Watson.
Longfei Taijiquan Association of Great Britain