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Arkansas Chen Taiji
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Introduction to the Chen Style Taijiquan Practical Method |
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Written by Joseph Chen Zhonghua
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Monday, 08 September 2008 00:00 |
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This title was formally introduced by Grandmaster Hong Junsheng, in his book published in 1988, “Chen Style Taijiquan Practical Method”. The Practical Method is distilled from the teachings of Chen Fake and Hong Junsheng. Grandmaster Hong Junsheng was the most prominent disciple of the 17th generation standard bearer of the Chen family, the renowned Chen Fake. In 1928, Grandmaster Chen accepted the invitation to teach in Beijing. Thus, he became the first master from the Chen Village of Wen County, Henan Province, to teach the Chen family style openly to the public. As one of Chen Fake’s earliest students, Hong studied for several hours daily with the Grandmaster, for 15 years, the longest duration of any of Chen’s disciples. Background Hong further honed his skills, teaching in Jinan, from 1945 to 1956. Practicing diligently what he had learned, Hong thoroughly examined each move, and organized all of them into categories. He discerned all the variations of movements in the form, with a clear perception of the unique requirements each move demanded from the body. With his comprehensive understanding and the ability to apply it, Hong arrived at a profound level of integration of the art, experiencing Taiji as a microcosm of all human activity. He then returned to Beijing for high level training from the Grandmaster, in 1956. The term “practical” took shape in Hong’s mind 1956, when he went to Beijing to receive his final instructions from His master Chen Fake. Hong had always recognized that the movements in the routines were not exactly the same as those which were taught in the applications. He asked his master whether it might be beneficial to practice movements in the form exactly the way they would be applied in fighting or push hands. Chen Fake gave his blessings to this advancement of the teaching. Naturally, Grandmaster Chen was very happy to see his earliest student and the high level of mastery he had attained. He proceeded to dissect the two forms, Yilu and Erlu Cannon Fist, in the greatest detail, from the most advanced perspective. Hong absorbed this detailed instruction in every move in both forms. When Grandmaster Chen Fake demonstrated the applications, he would always say, “This is the practical way of using it (movement in forms).” He would also steadfastly maintain that “Every move in this form is practical.” Enriched so deeply during this process of the highest levels of “indoor” transmission, Hong’s “Practical Method” crystallized. This is the form Grandmaster Hong taught in Jinan from 1957 until his passing in 1997. To distinguish this unique advancement of the art, Hong called his style, “Chen Style Taijiquan Practical Method”. It represents a natural evolution and beautiful blending of the traditional components of the art of Taijiquan. In form training, movements connect with each other in slow, smooth and comfortable ways so that they flow into each other. This method of training creates a special flow and beauty, as we observe it in form demonstrations. It is an integral part of Taiji practice. In Hong’s Practical Method, this physical cultivation is perfectly complemented by the systematic and comprehensive integration of the practical applied value of every movement in the forms, to provide a fast track to higher levels of mastery of the complete discipline. |
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Last Updated on Saturday, 07 March 2009 05:30 |
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Written by joseph Chen Zhonghua
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Friday, 27 February 2009 17:26 |
Hong Junsheng 1907-1996  Hong Junsheng was born on February 17, 1907 (Chinese Lunar Calendar) in Yuxian County, Henan Province and passed away on January 23, 1996 in Jinan, Shandong Province, China. At an early age he moved to Beijing with his father. Poor health set him on a search for a good taiji master. Initially, he studied Wu Style Taijiquan from Master Liu Musan in Beijing. Master Liu was a famous Wu style teacher at the time. On hearing the news about a Chen Village master teaching in Beijing, Master Liu decided to invite him over for a demonstration. What they saw was Chen Fake's demonstration of Chen Style second routine Paochui. Nobody could understand it, including master Liu. The execution of the moves was too fast, according to the popular understanding of Taijiquan at the time. However, master Liu had the foresight to decide to learn the forms from Chen. After master Liu and his students finished learning the first set of the Chen form, they decided to ask master Chen to teach them push hands. Master Liu told the students that push hands is the real test of taiji skills. In order to teach it, master Chen would be forced to demonstrate his skills. If he failed, all students would keep the story quiet and continue with their Wu Style learning. If otherwise, everyone would continue to learn from master Chen. Master Chen Fake decided to show the principles of Chen Style push hands with master Liu Musan. On initial touching, the students already saw the difference. Master Liu acted like an invalid infant. He could not hold his stance. Master Chen declared that he would within one minute put master Liu in a chair that was situated far away from them in the corner of the courtyard. Master would fall into the wicker chair. If the chair fell down, or master Liu fell down outside of the chair, Chen would admit defeat. This was an outlandish claim. Chen Fake was not talking about ability to fight at all. He was talking about precision only. That was how proud he was of his skills. His every claim came true so in 1930, master Hong Junsheng, together with his master Liu Musan and his fellow students, became a student of Chen Fake in Beijing. He stayed on to learn the details of the entire Chen Family Taiji curriculum from Chen Fake for 15 years. As a result, he became a very healthy person with profound Chen Style Taiji skills and understanding. His Chen Style Taiji had the characteristics of looseness, roundness, spiralling, continuous, powerful and holistic. He very much possessed the personal style of his master. In 1956, he went back to Beijing for further training from his master. Every time he asked his master about an application of a technique that he was using, the answer was always, "Yes". He tried every technique and every move of the whole system with his master and was corrected or accepted one by one. When he went back to Jinan, he continued to teach the curriculum that was approved by his master. He continued his research. He experimented with students, friends and other martial artists. Through the years that ensued, his understanding of Chen Style Taiji became profound, and his student population also increased. Hong was the only student to study under Chen Fake for 15 years consecutively. He was regarded by some to be a living resource person on Chen Fake's life and his teachings. Most of the stories we have today about Chen Fake originated from him. Hong was a very learned person. He read extensively and had an amazing memory. He was an expert of "temperament" (study of the rhythms of Chinese poetry) and was a poet and calligrapher. In his Chen Style Taiji research, he combined philosophy, physics and logic into his experiments. He followed his master's habit of using everyday life analogies in his explanations of the principles, theories and techniques of Chen Style Taiji. He was an enlightening master. He was traditional in keeping the art yet modern in keeping up with the times. He used common terminology in his teachings so that the layer of mystery was removed for easier understanding of the art from today's background. He refused to use words such as "qi" in his teachings and his writings. Yet anyone who personally experienced his push-hands knows that he was a man who reached a very high level of ability even in the eyes of "qi" masters. Hong had a hard life and spent half of his life in poverty. His only ambition in his entire life was to carry on his master's art. His lifetime persistence in the art brought to his door step students and visitors from all over the world including many from Japan. For many, to personally visit with this "sage" was an event to remember for life! During the last few years of his life, he was honoured with titles such as chairman of the Jinan Municipal Martial Arts Association, and senior advisor of the Jinan Martial Arts Academy, advisor to the Shandong University Martial Arts Association, and was a member of the Jinan Political Consultative Conference. He published many books including "Chen Shi Taijiquan", "Chen Shi Taijiquan Shiyong Quanfa (Practical Chen Style Taijiquan)", "Chen Shi Taijiquan Techniques", and "Interpretation of Taijiquan Treatise of Wang Zengyue". In 1994, he was working on his last book, "Comparisons of Characteristics and Methods of the Five Styles of Taijiquan". The book was completed but not published. Hong was a humble man until the last day. He never called himself a master. He considered himself "schoolmates" to his students. In the school of Chen Style Taijiquan, he believed that he was always a student and all learners of different ages and stages are "schoolmates." He started teaching this form in Jinan in 1956 till his death in 1996. He was devoted to this one art for 56 years. This single-minded devotion made him one of the most important authorities in Chen Style. Many other famous masters such as Gu Liuxin and Chen Zhaokui often sought his advice. He became a leading source of information in the style as well. To me, his most achievement is that he strictly followed a Taiji/Daoist way of life. This is the most difficult thing to achieve for modern people. He never worked in his life and only taught Chen Style Taijiquan. His life was totally dictated by Taijiquan. Even during his last days, in bed because of food poisoning, he insisted on pushing hands with disciples. He is one of the few masters in the 20th century who achieve little reputation by huge ability. Those of us who were privileged to have learned from him are indeed lucky people. In this day and age, it is almost an impossibility to have pure martial art without the influence of any politics. With all my respect and appreciation for his teachings, Chen Zhonghua |
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Last Updated on Saturday, 07 March 2009 05:26 |
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Written by Richard Johnson
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Friday, 27 February 2009 17:30 |
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Taijiquan is a full-featured, advanced-level martial art, which includes grappling, throwing, striking, kicking and weapons training. The uniqueness of Taijiquan is in the types of skills it develops rather than in its techniques. An individual or teacher may specialize in one or more technique modalities, but the art itself does not. There are two divisions in Taijiquan training, internal training and fighting method. Internal Training – Taijiquan as a fighting art is often confused with its internal training. Much of the training is composed of slow, relaxed, self-aware, meditative movements in choreographed sequences or repeated, individual exercises. These are often practiced to improve health, quality of life and longevity. These are wonderful applications of Taijiquan internal training, but they are not the original purpose. Originally, Taijiquan internal training was designed to develop the tools, the skills, for self defense. Taiji training begins with this end in mind. It lays the foundation for advanced skills from the start. Calm, relaxation, focus, precision are essential qualities in using high-level skills in a conflict. Internal training develops other tools which turn the body into an integrated, dynamic structure. Some of these tools include mental connection (mind-body training), rotation, expansion, contraction and breath. Learning to correctly move in circles, spirals and helices and is called Reeling-silk Skill. Using these movements in dealing with an opponent makes possible additional skills. "Immovable stances," unblockable strikes," "tossing an opponent through the air with a single touch" and so on sound like the stuff of martial art legends, but they are the real fruits of intenal training. They are founded in skills like sticking to the opponent’s movements, breaking the opponent’s structure, neutralizing the opponent’s force and redirecting the opponent’s force back to the opponent. These skills, with many others, are equalizers allowing a smaller, weaker adept to overcome a larger, stronger opponent. Taijiquan internal training has a three-pronged approach: Basics – foundational exercises, Forms – choreographed routines of Taijiquan techniques and Push Hands – two-person application drills. These three coactively develop the practitioner. While large portions of Taijiquan can be learned in any one activity, the other activities teach certain things more effectively and contain some things that are unique. These three aspects work together synergistically to gradually hone these tools until they can be used in Taijiquan's fighting methods. Fighting method –Taijiquan as self defense can be ruthless and lethal. The fighting method of Taijiquan is called Zhan Shou (Cut Hand). “Shou” has the idea of “SHOU fa,” meaning a method of doing something. “Zhan” comes from the four characters saying “ZHAN-cao-chu-gen”, which literally translates “to cut the weeds and dig up the roots.” That is, to stamp out the source of trouble. Zhan shou refers to the skills that can destroy the root of a problem, which means your opponent is not able to fight back and give you more trouble. Alternately, zhan shou can mean "(to) chop off (his) hands," which means the aim of Taijiquan is to fight in such a way that your opponent cannot retaliate. That is, his hands are chopped off, figuratively speaking. This can mean that the opponent is injured and cannot retaliate, but it can also mean that the opponent has been manipulated into a position where retaliation is ineffective. This concept demonstrates that the original design of Chen Style Taijiquan is to destroy with every move. In both meanings, the opponent is unable to fight back. One is never more vulnerable than when one attacks. Taijiquan capitalizes on this vulnerability when defending, often using the opponent’s own force to make a retorting attack. When launching an attack, Taijiquan neutralizes the opponent’s ability to counter or retaliate. Often, this is done with a single touch. This principle and the skills necessary to achieve it are a primary consideration in Taijiquan fighting methods. The fighting method also has a another three-pronged approach to training: Basics, Forms (including weapons) and Zhan Shou (cut hand). Here, the Basics are expanded to include fundamentals of engagement. Forms are lexicons of techniques and compositions of timing. Zhan Shou, like Tui Shou, is the practical application, and Taiji's fighting philosophy. Weapons – Taijiquan sometimes trains with antiquated, seemingly obsolete weapons as part of its form training. This is to develop or emphasize certain skills which are more readily developed with a weapon in hand. Traditional weapons associated with Taijiquan are the jian, or double-edged sword, the spear, the staff, the dao, or single-edged saber. Because Taijiquan training reaches to such a fundamental level, almost any weapon can be adapted for use with Taiji skills. |
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Last Updated on Saturday, 07 March 2009 05:15 |
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