Chen Taijiquan and Qigong History

History of Taiji Quan

INTRODUCTION

Taiji Quan is now known and practiced by a growing number of people around the world. Its characteristics of artistic movement, beautiful and elegant to the eye and, the undeniable effectiveness of its Martial applications make it a unique and invaluable treasure of ancient Chinese culture.

This increased popularity, however, is still accompanied by a good dose of ignorance on the topic. The image that often prevails is that Taiji Quan is in fact a kind of dance whose movements are soft and graceful. Taiji Quan is in reality a fighting art both very powerful and sophisticated, which besides being a very effective method of self-defence, is an art based on the principles of traditional Chinese medicine, and consequently for the reasons herein below mentioned, constitutes a highly therapeutic form of exercise used throughout the world. The majority of the forms of Taiji Quan, practiced today around the world, belong to the Yang style. These are in fact the sequences created in the early decades of the last century by Yang Chengfu. This style omits totally areas such as bursts of energy or changes of pace during their execution. In fact it was precisely these omissions which were responsible for their exponential popularity.

But these elements are not, as one might be led to think, alien to the practice of Taiji Quan. In fact these are present in the forms pertaining to the Chen school, which is now rapidly increasing in the world wide popularity, even though it is still relatively unknown. The Chen style is the oldest style , and all other styles Taiji Quan , including the very popular Yang style, have emerged from it.

THE ORIGINS OF THE CHEN SCHOOL

Although the origin of Taiji Quan is often attributed to the legendary Taoist hermit Zhang San Feng, the historical reality is quite different. In the 1960s, after a careful study of historical sources, it was concluded that the origins of this art must be traced back to Chen Wang Ting, a professional warrior who lived in the period between the decline of the Ming dynasty and the ascent of the Ching Dynasty. It seems that he was very renowned for his martial skills, and he was also reputed to have actively contributed to the struggle against the phenomenon of banditry. Having retreated into solitude after the fall of the Ming Dynasty, Chen Wang Ting devoted himself to perfecting his system of combat and to teach it to the young members of his family, so that it could be passed on throughout the succeeding generations to come as a treasure to cherish within the privacy of the clan.

The martial sequences created by Chen Wang Ting initially included five forms of Taiji Quan, five forms of Pao Chui (Cannon Fists), and a form of "Long Fist" named “Chang Quan”, comprising of one hundred and eight movements. Over the following centuries, however, the descendants of Chen Wang Ting had gradually abandoned the study of all sequences of the family fighting arts, and only a few family members continued practice professionally, presumably because the motivation to do so tended to diminish as a result of the changing historical conditions.

The introduction of firearms, for example, contributed gradually to the decline of these martial arts as they began to lose practical importance, whereas before such introduction, these arts had been necessary to defend one’s own life and to protect one’s own clan. Towards the 1700's almost all the sequences taught by Chen Wang Ting, except for the first sequence of Taiji Quan and Pao Chui had been lost. In this period, Chen Chang Xin (fourteenth generation of the Chen family) unified and systematized the material available to him, dividing it into two parts: the first form, called "Lao Jia '" (Old Style), which puts the emphasis on relaxation and smoothness, and a second form of Pao Chui, more complex than the first, which tends to develop strength, agility and speed. The form Lao Jia has undergone much refinement in the course of centuries, such as those made by Chen You Beng, who created a new sequence, called "Xin Jia" (New Style). Other additions inevitably came about with the further spread of Chen style outside the family.

THE CHEN FAMILY

In the last century we have had distinguished representatives of the Taiji Chen family, such as Master Chen Fake (1887-1957), who spread this style in Beijing, reaching an enormous reputation for its fighting skills. Very famous are also some of his students, Liuxin or as Qu Feng Zhiqiang. Other great fighters seem to have been Chen Zhaokui and Chen Zhaopi, the son and grandson of Chen Fake. Today’s important and outstanding descendants of the family are Chen Xiaowang, grandson of Chen Fake, and his cousin Chen Zhenglei.

OTHER SHOOLS OF TAIJI QUAN DEVELOPED FROM CHEN FAMILY STYLE

After Chen Wangting, Taiji Quan spread outside the narrow circle of the Chen family, thus undergoing considerable changes over the centuries . In the eighteenth century, Yang Lu’ Chan a student of Chen Changxing, brought this martial discipline to Beijing. The slight changes made by him and his descendants, which were also dictated by the historical conditions of China at that time, gave birth to a new school of Taiji, which is the Yang school. At the beginning of this century, Chenfu, grandson of Yang Lu-ch'an, revised the Yang style giving it the gentle outward appearance that we know it today. All the dynamic movements of the Chen style are almost completely missing in form of Yang Chenfu, and this is what contributed to its far reaching diffusion all over the world.

One of the sons of Yang Lu-ch'an, Yang Banhou, taught a series of more compact movements. This style was picked up by Wu Quanyou, who in turn passed on this boxing style to his son Wu Jianquan. This is why the Wu Taiji style portrays more compact movements in which the trunk is more inclined than in the Yang school.

Finally we can mention the Sun school, founded by Sun Lu-t'ang, expert in Ba Qua Zhang and Xing Yi Quan. Sun Lu-T’ang learned Taiji Quan from Mao Welzheng. Sun merged together these three techniques to create an original form of Taiji Quan. Other minor schools of Taiji Quan are those of Wu Wu Yuxiang, that of Hao, the Li School of Li Yiyu, and the style of Zhao Bao, direct derivative of the Chen style.

The 5 major schools of Taiji Quan are:

- Chen
- Yang
- Wu
- Wü
- Sun

CHARACTERISTICS OF CHEN STYLE TAIJI QUAN

The particular characteristics of Chen style are essentially two:

The RELEASE OF EXPLOSIVE POWER (Fa Jin), and that of a type of SPIRALLING ENERGY (Zhansi Jin).

The correct understanding of the latter is one of the keys, perhaps most important, to acquire proper martial skill in Taiji quan.

ZHANSI JIN (CHAN SSU CHIN) - Strength wrapped like a silk thread.

This is a particular way of using force, with spiral movements that run clockwise or counter clockwise. To define this force, the Chen school teachers use the term 'Force wrapped up like a thread silk ', because of its resemblance to a silk thread that unravels from the cocoon drawing spirals that move in space.

As for the upper body, inner strength wrapped in the normal sense ( Shun Zhansi Jin) starts from the Dantian, rises to the shoulders, rotates around the arm through the elbow, and moves the fingers. In contrast, inner strength wrapped in the opposite direction (Ni Zhansi Jin) begins with the fingers, and describes a spiral path passing through the elbows, shoulders, and ends at the Dantian. To have an 'idea of the movement of these forces, we could say by and large that this is comparable to the movement of a screw that enters and leaves a block of wood.

It is important to stress that Jin can occur only if breath (QI) is free to move without hindrance throughout all parts of the body. It is fundamental to relax all tension, and consequently it is therefore necessary to carry out intensive individual training in the study of the forms, which are to be performed slowly and correctly, accompanied by proper breathing. Contemporary masters have developed special exercises, both stationary and moving, which allow you to unlock qi in the body.

FA JIN – Explosive strength

Explosive strength (FA JIN) is issued during exhalation. The emission of energy that The FA JIN involves is today found almost only in the forms of the Chen style, and particularly in the second form (PAO-CUI), but probably this was also present in the oldest Yang style forms. It seems that Yang Lu-ch'an, the great founder of this school, was able to develop this strength. The disappearance of FA JIN techniques in the forms of training of the Yang style certainly has a historical reason. The Yang family Taiji Quan was taught at the Imperial court, and given the hatred that the Han (as the Chinese call themselves) for the Manchu dynasty, the Yang family kept hidden its martial features, promoting only the soft and healthy aspects in their school of boxing. However the family continued to produce good fighters, albeit in secret. Among these were Yang Banhou or Janhou Yang, sons of Yang Lu-ch'an (he himself was nicknamed the "unrivalled").

The issuance of this force is quick as a flash and happens almost unconsciously. Chen Yanlin writes: "The emission of force occurs without one being aware of it.” At the moment of release of energy, the less one is aware of emitting it, the more forcefully it is received by the opponent. Conversely, if the energy is issued with violence, it is not delivered with the desired intensity. The reason is that, if he who issues the energy harbours the sensation of force, this only means that not all such force has been emitted and delivered.

Another feature of the FA JIN is the rapidity of its issuance. Master Chen Fake said that this is a "force of acceleration." The Chinese consider the rapidity of the attack as being more important than its intensity. An ancient text says "unfathomable as the clouds, move with lightning speed". To achieve this speed a very slow motion is needed in order to gain the maximum precision. Only extreme slowness makes it extremely accurate. The FA JIN is issued like a spring let loose. Chen Zhaopi said “The body is like a bow and the force like an arrow.”

Two of the major contributions made by Chen Wang Ting for the development of this martial art were the combination of these basic exercises with the techniques of Daoyi (application of the internal energy) and Tuina (Deep breathing) , and especially the creation of Tui shou (Push hands) exercises.

Small Frame of Chen Style Taijiquan

by Jian Ge

The article originally published in "Shaolin Yu Taiji", 9/2002; translated from Chinese and edited by Jarek Szymanski © J.Szymanski 2002-2004

Chen Style Taijiquan has its origins in Chenjiagou village in Wen County, Henan Province. It was created by Chen Wangting, ninth generation descendant of Chen clan at the end of Ming dynasty and beginning of Qing dynasty, on the basis of the old martial art that had been passed within the family. Chen Wangting perfected the art and created five sets of Taijiquan, five sets of fist boxing (Wu Tao Chui), Thirteen Postures (Shi San Shi) as well as Canon Boxing (Pao Chui), weapons sets (spear, broadsword, straight sword, stick, maces, whip, etc) and especially unique methods of Pushing Hands (Tui Shou) and Sticky Spears (Zhan Qiang). In this way a very complete martial art system was created. In the process of evolution lasting over three hundreds years Yang, Wu (Jianquan), Wu (Yuxiang), Sun, Zhaobao and other styles have derived from Chen style Taijiquan.

Within the system of Chen style Taijiquan, "Small Frame" (Xiao Jia) is the most traditional practice method.

INTRODUCTION TO "SMALL FRAME" OF CHEN STYLE TAIJIQUAN

The practice of Chen style Taijiquan emphasizes reducing the circles from large into small, and then from small into "no circles" - the peak of perfection in the art. Historically Chen style Taijiquan was not divided into "Large Frame" and "Small Frame"; however, as far as the practice method is concerned, the teacher, in order to help the student learn the rudiments of the art faster, would enlarge the movements of the routine, so that the student would start learning from large, external circles. After a period of period of practice, when the student already learnt to move in the circular, round way, large circles were gradually reduced to small ones, external circles to internal ones, forming spiral silk reeling strength (Chan Si Jin) transferred along the strength paths (Jin Lu) on the torso, arms and legs; in this way the high level of skill would be achieved - the circles would not be expressed outside. Along with the development of Taijiquan, these different methods of practice were called "Large Frame" and "Small Frame" ("Large Circles" and "Small Circles"). The practitioners of Large Frame also emphasize reducing the circles from large to small gradually, while in Small Frame practice the circles are first enlarged; the practice processes of Large Frame and Small Frame are basically very similar, and for this reason it is said that "Large Frame is not large, Small Frame is not small".

Large Frame of Chen style Taijiquan began to spread to the outside world because of later generations of Chen clan working as caravan escorts or doing business outside the village; especially when Chen Fake (17th generation descendant of Chen clan) and Chen Zhaopei (18th generation descendant of Chen clan) were officially invited to teach martial arts in Beijing and Nanjing, Large Frame had spread and became known by common people. Since Small Frame has been passed only within the clan and because of the very strict requirements concerning relations between teacher and students, it still remains almost unknown. However nowadays Chen style "Small Frame" exponents have already begun to teach the style to outsiders, but since they got off to a late start, the style has not spread very much.

Punch of Hitting Crotch (Zhi Dang Chui)

Punch of Draping Over Body (Pi Shen Chui) also called Punch of Protecting Body (Bi Shen Chui)

The contemporary representatives of Chen style "Small Frame" Taijiquan are: Chen Kezhong, Chen Boxiang (both 18th generation descendants of Chen clan), Chen Liqing, Chen Lixian, Chen Boxian (19th generation descendants of Chen clan), etc.

"Illustrated Explanation to Chen Family Taijiquan" (Chen Shi Taijiquan Tu Shuo) written by Chen Xin (16th generation descendant of Chen clan) and considered "Bible of Martial Arts" (Wulin Shengdian), describes movements which are practiced within "Small Frame" system. Chen Xin's own "Introduction" (Zi Xu) to "Illustrated Explanation" says:

"I am afraid of the passing of time and impatient to wait anymore; I'm also afraid that (the martial art) will divide into schools and branches and true knowledge will be lost. For this reason in my leisure time I do my outmost to explain and clarify deep secrets (of the art), describe it in great detail."

In the whole book there is no mention about the division of Chen style Taijiquan into Large Frame and Small Frame. This proves that the style recorded in "Illustrated Explanation to Chen Family Taijiquan" should be the closest to the original art created by Chen Wangting.

THE CHARACTERISTICS OF "SMALL FRAME" OF CHEN STYLE TAIJIQUAN

Body Method (Shen Fa): "The body should not leap up and sway carelessly, rather low than high, move on one level". During practice of the routines the body should not move now low now high, and carelessly sway to the left or right; the Intent (Yi) should sink down, the center of gravity should be kept low and basically on one level (apart from movements like "Shake Foot and Stretch Down" - Bai Jiao Xia Cha; Golden Rooster Stands on One Leg - Jin Ji Du Li; The Dragon on the Ground - Pu Di Long, etc.)

Hand Techniques (Shou Fa) - "Both hands should not (carelessly) turn over, there should be closing power between them, Qi penetrates slightly insides of the fingers; when moving hands upwards do not cross eyebrows, move them downwards by relaxing; (when) turning (i.e. moving the hands) inwards (i.e. in front of the body) thumb can go as far as the central line, when moving (the hands) outwards do not extend them too far, sink the tip of the elbow; do not extend it too far (Tan) do not keep it too close (Jia), contract the ribs, the skin on the ribs and hand should touch each other (Shu Lei Xiang Mao Fu Xiang Ai)". Both hands close (He), (i.e. are turned towards each other), they should not completely face each other but rather at a certain angle - this is called "Four Six, Yin and Yang"; palm is shaped like a tile, thumb and little finger close (He, i.e. move towards each other), the Intent (Yi) is on the thumb, forefinger and middle finger; the center line of the body determines range of motion for each hand, each hand controls half of the body; in its movements upwards the hand should not go higher than the level of eyebrows, when moving downwards one should focus on relaxation; when the hand moves outwards, do not extend it too far (Tan); when the hand returns, do not keep it too close to the body (Jia), leave some extra space, follow exactly the principles.

Footwork (Bu Fa) - "Never place the feet in the shape of character Ba (eight - which is similar to roman letter "V" written upside down - i.e. with toes pointing obliquely outwards) and Ding (similar to the letter "T" i.e. when there is right angle between both feet), always remember to close (i.e. move towards each other) tips of both feet; more weight of the body is on inner side of the feet, big and second toes lead (the foot); twist on heels, big step is as long as one leg, short step is as long as one vertical foot". Because of the requirement to open hips and round the crotch, both feet should be kept parallel to each other, and never placed with toes pointing outwards (in the shape of letters "V" or "T"), otherwise the hip joint will not fold and crotch will loose its curve (and will take shape of "V" letter - so-called "sharp crotch" - and hence the requirement of rounding the crotch will not be met); when moving from hips down using "contrary coiling" (Ni Chan), the strength vector should drop on the inner side of the foot, onto big and second toes; when taking a step, one should not extend it too far (Tan) - one should be able to take a step and draw the leg back freely, in big step the distance between feet should not be longer than length of the leg, in small step - not shorter than length of the foot.

"Rather advance than retreat, (move) lower (part of the body) first before the upper (one)". The center of gravity would rather advance than retreat; when shifting the weight lower body moves before the upper body.

Eyes Method (Yan Fa) - "Spirit (Shen) escorts front hand, the head should not sway". The Intent (Shen Yi) should be on front hand, however eyes should not be fixed on the front hand, the head should not sway following hands movement.

Strength Method (Jin Fa) - "Crotch shall open and be round, should not twist (Niu) or sway to the left and right horizontally (Shuan)". Bottom should relax and spread out to both sides, so that hips "wrap" (as if trying to embrace a big ball with legs), hip joint is kept tucked in (hips are folded), opening (Kai) at the rear and closing (He) at the front, so that the crotch becomes round; crotch plays the role of an axis of legs and waist, and during rotation transfers the "Silk Reeling Strength" (Chan Si Jin), also called "Spiral Strength" (Luo Xuan Jin), which "coils" starting from toes along shin, thigh to Hui Yin Point, from the body (Ming Men Point), shoulder, upper arm, radius, ulna and coils to the tips of the fingers; when Yin and Yang transfer (i.e. the center of gravity is shifted from one leg to the other), the hips draw a rear, low arc; hips are like a tray, remember never to twist or sway them to the left and right horizontally (along straight line); both hips should draw figure "∞" and strength should not break, coiling (Chan) should circulate in the shape of "~" (Bei Si Kou); strength should be full, without excess or deficiency.

Chen Xin (1849-1929), student of Chen Zhongshen and author of famous "Illustrated Explanation to Chen family Taijiquan"

Many vertical circles, few horizontal circles - the reason to move along vertical circles is to transmit the strength (which raises from feet) from bottom upwards, all when relaxed (Song), sunk (Chen) and shifting (the weight) in circular way (Yuan Zhuan). Besides, it is easier to maintain stability when moving along vertical circles. For this reason Small Frame in movement uses mainly vertical or almost vertical circles.

Many full circles, few arcs - the reason for using full circles is to make strength paths (Jin Lu) complete, to reduce unnecessary, repeated "Storing of Strength" (Xu Jin), to achieve continuity of neutralizing (Hua) and striking (Da), and launch an attack with speed.

TRACING THE SOURCES OF "SMALL FRAME" OF CHEN STYLE TAIJIQUAN

Before Chen Youben - 14th generation descendant of Chen clan and 6th generation inheritor of Chen style Taijiquan - there was only one method of Taijiquan practice transmitted, and there was no division into Large and Small Frames. Chen Youben was key personage who played epoch-making role in dividing Chen style Taijiquan into Large and Small Frames.

According to the records in "Genealogy of Chen Family" (Chen Shi Jia Cheng), Chen Gongzhao, Chen Youben's father "achieved pure and precise (Taijiquan) skill, and trained many students with deep understanding (of Taijiquan)" (in Chenjiagou there is a story about Chen Gongzhao competing in strength with a mad cow); Chen Youben and Chen Youheng, his blood brother, "were both Xiang Sheng (students of the ancient local school) and learnt Taijiquan, especially (Chen) Youben, who received "the dragon's pearl" (i.e. true transmission of Taijiquan), and trained his sons and brother's sons in the art (of Taijiquan), had a modest carriage, always as if (his skill) was inferior (to others), at that time most of people who excelled in Taijiquan were his disciples. (...) (Chen) Youben's disciples - Chen Qingping, Chen Youlun, Chen Fengzhang, Chen Sande, Chen Tingdong had certain achievements, Chen Gengyun also called him (Chen Youben) a teacher.

Chen Peishan, second son of Chen Lixian, lives in Japan and teaches Xiao Jia outside of China

(Chen) Qingping passed (Taijiquan) to He Zhaoyuan, Zhang Kai, Zhang Gaoshan of Zhaobao town. (Chen) Youlun passed (Taijiquan) to Li Jingyan, Zhang Dahong".

From the above record it can be seen that both Chen Gongzhao and his son, Chen Youben, were martial artists of great attainments and had many famous disciples; Chen Youben evidently received true transmission of Taijiquan from his father. Moreover Small Frame already existed before Chen Youben.

Small Frame combines hardness with softness, there is more softness and less hardness in the First Set (Yi Lu), more hardness and less softness in the Second Set (Er Lu). Furthermore since Small Frame has a very complete theoretical system and strict, step-by-step method of practice, people in Chenjiagou praise it as "Gongfu Frame" (Gongfu Jia) or "Special Frame" (Kan Jia Quan; Kan Jia literally means "look after the house"). It is not that - as some books say - "Chen Youben, 14th generation descendant of Chen clan, made some changes to the original routines, gradually abandoning some more difficult and vigorous movements, and created New Frame (Xin Jia), also called Small Frame, as extended as Old Frame (Lao Jia)".
Since Chen Changxing was escorting caravans away from home all the year round, Chen Gengyun (Chen Changxing's son and 15th generation descendant of Chen clan), in order to work together with the father, asked Chen Youben, his uncle, to teach him. In order to help Chen Gengyun achieve skill in the shortest possible time, Chen Youben, while preserving the quintessence of the First Set (in) Thirteen Postures (Tou Tao Shi San Shi), put emphasis on "Power Explosions" (Bao Fa Li), enlarged the movements, and coached Chen Gengyun for over a year. Chen Youben and Chen Gengyun through discussions and thorough studies created a certain type of frame; since then, in order to differ it from First Set (in) Thirteen Postures (Tou Tao Shi San Shi), people began to call them "Small Circles" and "Large Circles". Chen Gengyun passed this frame to his family members; it was also taught to Chen Fake - his grandson - who in 1928 was invited to Beijing to teach martial arts, and made this frame known to the public. Later generations began to refer to this frame as "Large Frame" (Da Jia), while to traditional system as "Small Frame" (Xiao Jia).

Chen Zhongshen (1809-1891) became famous fighting against Taiping rebels in 19th century

DISPUTES CONCERNING "ILLUSTRATED EXPLANATION TO CHEN FAMILY TAIJIQUAN"
Why "Illustrated Explanation" describes 64 postures, and not 74? This is because Chen Xin while writing "Illustrated Explanation" "avoided the trivial and dwelled on the important", chose only essential postures and described them, so not the complete routine is recorded in the book. For example Preparing Form (Yu Bei Shi), Closing Form (Shou Shi) and some linking or transitional movements were not recorded. Although some of them were explained, but were not listed as separate postures ("Book Of Changes" - Yi Jing - includes 64 hexagrams, so it is possible that the number of postures in Chen Xin's book was influenced by the number of hexagrams in Yi Jing).

Why is the book so obscure and hard to understand? This is because "Illustrated Explanation" is not a textbook for beginners. It provides guidance to those practitioners who already reached certain level of skill and of understanding the theory and are looking for higher attainment. Moreover taking into consideration the specific ways classical compositions are written, lack of periods and commas, using local dialect and slang in some passages, it all makes the text very difficult to fully understand by a beginner or a person without at least basic understanding of classical Chinese. Furthermore since the meaning of some characters in "Illustrated Explanation" differs from that of modern Chinese, in the process of learning one should combine experience coming from practice to understand the essence of the book.

Some crucial parts are simply omitted. For example in some places the book only describes the goal of practice, but does not explain the method and process how to achieve this goal. Perhaps because of conservative thinking at Chen Xin's time, influence of the traditional idea of "giving you the medicine, but not telling you how it is made"; maybe because of limitation of words in conveying his ideas, some things that can be passed only through direct teaching could not be explained in the book.

"Illustrated Explanation to Chen Family Taijiquan" (published in 1931) has at its end Du Yuanhua's "Du Yuwan Account of Rhymed Formula Received by Jiang Fa from his Teacher of Shanxi"; this "Rhymed Formula" (Ge Jue) became an important argument for the standpoint that "Wang Zongyue taught Jiang Fa, Jiang Fa taught Chen Changxing or Chen Qingping", and drawing the inference that Chen Xin actually admitted that Chen style Taijiquan was transmitted by Jiang Fa. However no matter whether this "Rhymed Formula" is real or fake and how the phrases are incoherent, it is enough to check that there is a phrase "Revised and Emended by Du Yuanhua (Yuwan) from Qinyang" in the the appendix (i.e. "The List of Editors who Revised and Emended 'Illustrated Explanation to Chen Family Taijiquan'") at the end of the book. From this it can be known that the "Rhymed Formula" was added by Du Yuanhua many years after Chen Xin's death. This act of Du - who used somebody else's work to advocate own ideas - should not be adopted and indeed has been very misleading. Jiang Fa and Chen Changxing were living in the same epoch - 17th century; Wang Zongyue (his biography can be found in the introduction to Wang Zongyue's "Yin Fu Spear Manual" written by unknown author) and Chen Gongzhao were living in the same epoch as well - 18th century; Jiang Fa was living about one hundred years before Wang Zongyue, hence so-called "Wang Zongyue taught Jiang Fa" is obviously a mistake, "Jiang Fa taught Chen Changxing or Chen Qingping" is even more without foundation in facts.

Note from the author (Jian Ge):

This article was written under warmhearted guidance from Ms. Chen Peiju.

Chen Peiju is the 20th generation of Chen clan and 12th generation inheritor of Chen style Taijiquan. Since childhood she has been learning the family art of Chen style Taijiquan from Chen Lixian (her father), and Chen Liqing (her aunt). She graduated from Wushu Department of Beijing Physical Education Institute, and now workd in Wushu Administration Center of Henan Province. She is the first Taijiquan practitioner in Chen clan who received higher education in the field of martial arts. Chen Peiju was three years in a row a champion in Chen style Taijiquan category during All-China Taijiquan and Taiji Sword competitions

End of the Article

Chen Peishan demonstrates movements of Small Frame of Chen style Taijiquan

Punch of Covering Hand (Yan Shou Chui) Punch of Draping Over Body (Pi Shen Chui) Punch of Protecting Heart (Hu Xin Chui)

Chen Peiju demonstrates movements of Small Frame of Chen style Taijiquan

Tying a Coat (Lan Za Yi) Single Whip (Dan Bian) Chopping Posture (Pi Jiazi)

Chen Ziming demonstrating movements of Small Frame of Chen style Taijiquan

Punch of Covering Hand (Yan Shou Chui) Brush the Knee and Twist Step on Both Sides (Lou Xi Ao Bu) White Goose Dries Wings in Sun (Bai E Liang Chi) Yellow Dragon Stirs Water (Huang Long Jiao Shui)