The Five Family Styles of T'ai Chi Ch'uan, Part 2
/Yang Luchan was born into a working-class farm family in Hebei Province, in the county of Yongnian in Northern China, and in his youth, he studied a northern long-fist style of martial arts called Erlan Chang Ch’uan. Yang Luchan’s family was poor; he helped his father planting in the fields and also found work doing odd jobs off the farm. He found a temporary job working in an apothecary owned by Chen De Hu of Chen Village.
On one occasion, Yang witnessed a group of bandits attempt to rob the apothecary; they were easily subdued by Chen in what appeared to Luchan to be effortless power and control. Yang Luchan had never seen anything like this martial art and humbly approached Chen De Hu and asked if he would teach him. Sensing the youth’s sincerity and worthy character, Chen De Hu agreed. After a brief period, Chen De Hu arranged for Yang Luchan to gain employment as a servant in Chen Village, with the hope of learning from his teacher, Chen Chang Hsing.
Yang made the long and arduous journey on foot to Chen Village. He was received by Chen Chang Hsing and welcomed into the compound. Over time, Yang was happy working for the Chen family, but very little instruction in Chen Family Tai Chi had accrued. Late one evening, Yang Luchan awoke to the sounds of shouting in the distant back courtyard. These were the shouts Heng! and Ha!—the sounds made when releasing martial power, called Fa Jing. Yang Luchan climbed a tree and looked into the rear courtyard and saw Chen Chang Hsing teaching his Chen family students T’ai Chi Ch’uan. Yang Luchan was delighted; from that day forward, he observed the training sessions every evening and practiced what he had seen until his skills improved.
On one occasion, Yang Luchan was playing Push Hands with one of the younger Chen family members and suddenly released an explosive burst of energy using one of the techniques he had observed and practiced from the secret courtyard. This knockdown was witnessed by Chen Chang Hsing himself, who approached Yang Luchan and asked where he had learned this technique. Yang Luchan was forthright and honest and told the master how he had been learning Chen T’ai Chi.
The Master then summoned one of the senior students to push hands with Yang Luchan; the senior’s attacks were neutralized and countered by Luchan, who repeatedly knocked the student down. Chen Chang Hsing realized the young man’s natural ability, cleverness, perseverance, and honesty and made him an inner-door disciple; over the next several years, he taught him the complete Chen Family T’ai Chi Ch’uan system.
Yang Luchan returned home, where his arrival was anticipated by local boxers; he accepted many challenges and defeated all but one. This triggered a period of intense training and self-reflection and a return to Chen Village to improve his skill. Yang Luchan left and returned to Chen Village three times; he studied with Chen Chang Hsing for a total of 18 years.
Yang Luchan’s legacy lives on through our studio.
Over time, Yang Luchan mastered the Chen Family T’ai Chi Ch’uan; his skill was pure and reached a high level. In his many bouts, he had always emerged victorious. Yang Luchan’s reputation grew, and he was invited to Beijing by a distant relative, Wu Lu Ching, to teach T’ai Chi Ch’uan. There he attracted students, accepted many challenges, and acquired the name “Yang the Invincible.”
Wu Lu Ching was a government official of the Qing Dynasty Emperor, Tao Kuang. He introduced Luchan to people within the royal Qing government, and he taught them T’ai Chi Ch’uan. Through his fame and notoriety, he was invited by the emperor both to teach the royal family in the imperial court and to serve as the head martial arts instructor for the Royal Guard. He also brought his two sons to the palace to assist him.
Over time, Yang Luchan began to slow his form down; he removed all the jumping, stamping, deep stances, tempo changes, and outward release of energy that were inherent in Chen style and began to retain and turn the energy inward. His postures held the structural integrity for fighting, but they became more relaxed. The emperor’s relatives and attendants began to benefit from these changes, as they had both a curative effect on the weak and sickly and a strengthening and energizing effect for all.
He continued to give exhibitions and accept challenges; due to his soft neutralizing skill, his style became known as Mien Ch’uan or Cotton Fist.
Although the Chen family has adopted the name T’ai Chi Ch’uan, and it has been used throughout this article for convenience, its use came to prominence with Yang Luchan.
On one occasion, Yang Luchan defeated several skilled opponents in an exhibition. The philosopher scholar Ong Tong He was present and proclaimed that Yang’s fluid technique and integration of hard and soft was the embodiment of the philosophy of T’ai Chi—the Supreme Ultimate. He even penned a verse; an ode to the master: “Hands Holding T’ai Chi shakes the whole world, a chest containing ultimate skill defeats a gathering of heroes.” Yang’s art became known as T’ai Chi Ch’uan, Supreme Ultimate or Great Polarity Fist. All subsequent styles that emerged from Yang’s art were called T’ai Chi Ch’uan.
Yang’s teacher, Chen Chang Hsing, distilled the seven forms of his ancestor Chen Wangting into two forms known as the First Routine and the Second Routine. Yang Luchan’s form was based on Chen’s first routine, formally known as Old Frame First Routine (Laojia Yi Lu). Yang Luchan’s form was known as Old Frame.
The term “frame” refers to the bones of the body and the architectural shapes they make in a form. There are three frame types: large, medium, and small; this refers to the size of the movements in a form. Large-frame forms promote exercise, circulation, and health; small-frame forms are performed for martial applications; medium-frame forms integrate some aspects of large- and small-frame styles.
The Descendants
2nd Generation
Yang Luchan had three sons: Yang Chi, the eldest, who died young and never learned T’ai Chi from his father; Pan Hou, the middle son; and Chien Hou, the youngest. Yang Luchan died in 1872; he transmitted all his knowledge to his two sons and a few disciples outside his family.
Yang Pan Hou
Yang Pan Hou (1837–1892)
Yang Pan Hou developed a small-frame form with light, agile, and small movements, emphasizing martial techniques. He trained long and hard, acquiring all the skills transmitted to him. He followed his father to Beijing and defeated many prominent martial artists there, further expanding the Yang family reputation. His temperament was fierce, and he would often hurt his students in training; those that persevered became skillful practitioners, but they were few in number.
Yang Chien Hou
Yang Chien Hou (1839–1917)
Yang Chien Hou began training with his father at a young age. His father was very strict and overbearing, demanding that he train long and hard. Several times, he tried to run away, only to be brought back to his fate as the son of Yang Luchan. In time, he embraced T’ai Chi and became a highly skilled master of the art, learning from both his father and his brother. He had great-empty hand skills and also a mastery of weapons.
He had a soft temperament as well as a gift for teaching, so he was a great asset to his father teaching in Beijing, and he had many students of his own.
He and Ban Hou worked to revise their father’s system; Chien Hou specialized in medium-frame T’ai Chi. Chien Hou’s listening and neutralizing skills became legendary. He allegedly was able to place a sparrow in the palm of his hand, and, sensing when the bird pushed down through its feet in order to take flight, Chien Hou would yield and neutralize that action, preventing the bird from flying away.
Yang Chien Hou had a premonition of his own death and called his family and students together for a farewell and final conversations with them. He bathed and dressed himself in his finest garments and breathed his final breath with a smile upon his face.
Yang Chien Hou had three sons: Shao Hou, the eldest; Shao Ching, the second, who died young; and Cheng Fu, the youngest.
3rd Generation
Yang Shao Hou
Yang Shao Hou (1862–1930)
Yang Shao Hou began studying T’ai Chi Ch’uan at the age of six with his father, his uncle, and also his grandfather. He mastered the middle frame taught by his father and the small frame taught by his uncle; later in life, he developed his own small-frame style called “small circle” that mixed high and low postures with slow and sudden postures and emphasized fighting applications. Reserved for only his inner-door students, the form is little known today. He favored his uncle Pan Hou’s approach to T’ai Chi, and his temperament was similar to his uncle’s, as he rarely pulled his punches when working with his students. His skills were of a high level; his lineage of students was modest.
Yang Cheng Fu
Yang Cheng Fu (1883–1936)
Yang Cheng Fu had little interest in T’ai Chi as a youth and didn’t begin training with his father until his teens. He favored his father’s medium-frame style of T’ai Chi over his uncle’s small frame and shared his temperament. He smoothed out, rounded, and softened the form he learned from his father, eventually expanding it to a large-frame form. He emphasized keeping the form slow, soft, flexible, even, and coordinated with the mind. He and his brother brought T’ai Chi to the public by teaching at the Beijing Physical Culture Research Institute. Cheng Fu taught there from 1914–1928.
Yang Cheng Fu was large in stature, and his skills at Push Hands (Tui Shao) were unequaled. With small, subtle movements, he led opponents to be off balance then suddenly released energy, causing them to fly through the air and fall to the ground. His arms were described as “iron bars wrapped in cotton.”
Yang Cheng Fu left Beijing in 1928 and went south to teach T’ai Chi Ch’uan in five cities, including Nanjing, where he became the head coach at Central Martial Arts Academy. He dictated the book The Art of T’ai Chi Ch’uan to his disciple Chen Wei Ming. In 1930, he moved to Shanghai and began teaching and also published the book The Complete Principle and Theory of T’ai Chi Ch’uan. Over time, he shifted his practice from the martial to slow and continuous movements without breaks for health.
His travels throughout China took their toll on his health, as poor sanitation of the water and environment caused him to become ill; Cheng Fu died in 1936 at the age of 53. He promoted T’ai Chi openly to the public and cultivated his disciples to become masters in their own right, such as Tung Ying Chieh, Chen Wei Ming, Fu Changwen, and Cheng Man-Ch’ing. They, in turn, spread Yang Family T’ai Chi Ch’uan throughout the world.
Yang Cheng Fu had three sons: Chen Ji, Chen Duo, and Chen Guo, all of whom practiced and taught T’ai Chi Ch’uan. Yang Chen Duo was the successor, who passed the art on to his grandson, Yang Jun.
T.T. Liang and the Yang Family T’ai Chi Ch’uan
T.T. Liang at his home in St. Cloud, 1984, with students: Dan Polsfus (L), Paul Abdella (C), Jairo (R)
Professor Cheng Man-Ching, a disciple of Yang Cheng Fu, came to the United States in 1963 to give the first official demonstrations of T’ai Chi Ch’uan in America at the United Nations. He was accompanied and assisted by his disciple, T.T. Liang. Together, they had an enormous influence over the spread of T’ai Chi in North America, especially in the U.S.
Master Liang is most closely associated with Professor Cheng but in fact has lineage connections to all members of the second and third generations of the Yang family (see the T’ai Chi lineage chart).
In addition, he studied Hsing-I, Pa Kua, Praying Mantis Kung Fu, Shaolin Chin Na, and Taoist meditation with prominent teachers in Taiwan.
At Twin Cities T’ai Chi, our form is primarily derived from Yang Chien Hou’s medium-frame sequence and his son Yang Cheng Fu’s slow, relaxed, even postures. Yet all streams of influence from the other Yang family lines were integrated by Master Liang into his system of T’ai Chi Ch’uan.