Chen Ziming’s general comments on Taijiquan


Delving deeper into Chen Ziming’s book.

I posted yesterday about a translation of Chen Ziming’s book “The inherited Chen family Taiji boxing art” that is available on the Brennan translations website. I’ve just started reading it and noticed a couple of interesting things I thought I’d post about.

(It should be noted that I often read critiques of the translations by P. Brennan, saying there is too much of the author’s own interpretation in there, rather than a literal translation, so take that into consideration.)

Firstly, who was Chen Ziming?


Chen Ziming was the same generation of Chen family boxing as Chen Fake, who moved to Beijing and made Chen style famous in the capital. Chen Ziming really rose to fame as being the student of Chen Xin, who (unusually for the time) was literate and wrote the first book on Chen style Taijiquan Taijiquan Illustrated, which contained several drawings of silk reeling energy which are still used today. The book was published after the death of Chen Xin by the historian Tang Hao and others. Chen Xin died in 1929. Some extracts of Chen Xin’s book are available on Jarek’s China from Inside.

There are various subdivisions of styles within Chen style. There is a big frame, small frame, old frame and new frame. As a student of Chen Xin, Ziming promoted what is known as the “small frame” of Chen Taijiquan. This sub style was born in the Chen village and uses smaller circles as a feature of its practice (it uses the same forms other Chen styles use).


While the small frame is often said to be the more ‘traditional’ method because it stayed in the village longer, all Chen substyles share the same principles, so they’re not really separate styles, just each has a different emphasis, reflecting the person who passed them on.

From Wikipedia:

The increased interest in Chen-style t’ai chi ch’uan led Tang Hao (唐豪; 1887–1959), one of the first modern Chinese martial art historians, to visit and document the martial lineage in Chen Village in 1930 with Chen Ziming.[10] During the course of his research, he consulted with a manuscript written by 16th generation family member Chen Xin (陳鑫; Ch’en Hsin; 1849–1929) detailing Chen Xin’s understanding of the Chen Village heritage. Chen Xin’s nephew, Chen Chunyuan, together with Chen Panling (president of Henan Province Martial Arts Academy), Han Zibu (president of Henan Archives Bureau), Wang Zemin, Bai Yusheng of Kaiming Publishing House, Guan Baiyi (director of Henan Provincial Museum) and Zhang Jiamou helped publish Chen Xin’s work posthumously. The book entitled Taijiquan Illustrated (太極拳圖說 see classic book) was published in 1933 with the first print run of thousand copies.[11]

From Wikipedia:

Chen Xin initially trained with his father but his father ordered him to study literature rather than the martial arts. It was only later that he decided to use his literature skills to describe his understanding of the secrets of Chen style. In Chen Xin’s generation, his older brother, Chen Yao and his cousin, Chen Yanxi(陈延熙, father of Chen Fake) were considered masters of the Chen style. Chen Xin’s legacy is his book and his student, Chen Ziming (陈子明). Chen Ziming, went on to promote Chen style small frame throughout China and wrote books [32] promoting the art. Chen Ziming was in the same generation as Chen Fake.”


At the start of the book Chen lists 9 ‘general comments’ about Taijiquan.

The first 6 are a kind of an orientation to the subject and a guide to what is in the book. From point 7 onwards it gets interesting. He makes some very good observations about Taijiquan that are worth reflecting on.

7. The boxing art called Taiji seeks an appearance of ease. Once you have practiced it to familiarity, you will be able to understand its subtleties and your body’s actions will never depart from the principles. If in the beginning you overanalyze each technique, you will come up with strained interpretations of them and will only get yourself stuck in your ideas, and this will instead hinder your progress. However, if you are able to abide by the principles, then after practicing for a long time you will naturally enter into a transformation of spirit. Therefore the solo set in this book is presented only as postures and movements, giving guidance in skills without lapsing into contrived profundities. As long as you do not forget that this boxing art is called “Taiji”, then through gradual practice the art will come to conform to the taiji concept.

He further elucidates on the idea of “conforming to the Taiji concept” in point 8:

8. Learning Taiji Boxing, regardless of beginner or advanced practitioner, never goes beyond the methods of movement and stillness, opening and closing, rising and lowering, turning side to side. As a beginner, you have to clearly distinguish between these opposites. Then after a prolonged period of training you will achieve such skill that at any time you will be able to alternate between them with your whole body all at once, which is the most delightful aspect of the advanced level.

This reiterates an important point in Taiji practice. Your body needs to be going through a process of going from one ‘extreme’ to another to be practicing Tai Chi. (I put extreme in quotes because there are no physically extreme positions in Tai Chi, unlike Yoga, for instance). You do need to arrive at a closed position, then move to an open position and then close and so on. That action is what makes the Chen boxing art “Taijiquan”. That action can also only really be achieved by doing what Taiji people call “moving from the dantien”.

That’s one of the profundities about Taijiquan. Everything is tightly packed together into the simple concept of “Taiji”. Like Dr Who’s Tardis, it’s bigger on the inside. There’s a lot of stuff in there and you need to unpack it bit by bit to understand the profound simplicity of the whole.


The whole Chen Tai Chi curriculum, in video form

Well, this page is interesting. It’s from Chen Bing, a Chen family member who is based in Los Angeles, USA, and from the looks of things, and it looks like a video reference for the whole Chen style Taijiquan curriculum!

​Chen Bing Taiji Academy (陳炳太極院) was established by Master Chen Bing who is a 20th generation representative of Chen Family Taijiquan.   Its headquarter is located in Chenjiagou, Wenxian County, Henan Province, China. – the birth place of Taijiquan.  Master Chen Bing is a direct descendant of Chen Wangting (陳王廷), the creator of Taijiquan.

That’s very generous of him to share these videos. It’s fascinating. Things I’ve noticed so far:

  1. The advanced stepping and silk reeling he shows shares a lot of similarities with Bagua (the tea cups-style exercises of Bagua Zhang are obviously silk reeling exercises, so this should be no surprise, but it’s the first time I’ve seen a Chen guy walking a circle, like they do in Bagua).

  2. The advanced push hands videos look a lot like ‘wrestling without being allowed to grab the legs’. Looks like good basic training in stand-up grappling:

  3. The ‘primary explosive power’ video combines all the basic ‘fa jing’ moves you find in the Chen ‘old frame’ form into a nice little sequence:

  4. There’s a Yoga sequence at the end! Obviously he finds that a useful addition to Tai Chi. More weight to the idea that the primary origins of the ideas of body movement in Tai Chi and Yoga originate from the same source (or at least are compatible).

Ken Gullette’s new book: Internal body mechanics

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A quick heads-up for internal martial artists: Ken Gullette has a new book out that looks really interesting called, “Internal body mechanics for Tai Chi, Bagua and Xingyi”.

I haven’t read it, or even seen a copy, but I thought I’d give it a mention because it looks pretty good. It sounds like it gets straight down to the business of teaching you how to move and dispenses with the usual boring histories and form photos. Ken’s bio of how long he’s trained and who he as trained with looks pretty good too.

In Ken’s own words:

Basically, I wanted to write the book that I wish I had when I began studying the internal arts back in 1987. If I was able to read it back then, it would have saved me many years and thousands of dollars in class fees. Based on some of the martial artists I have met during the past 20-something years, I know there are millions of internal arts students who are not learning these skills.

The six fundamental body mechanics for internal power include:

** Establishing and maintaining the ground path at all times.

** Using peng jin at all times along with the ground path.

** Using whole-body movement — when one parts move, all parts move.

** Silk-Reeling “Energy” — the spiraling movement that adds power to techniques.

** Dan T’ien rotation — guiding the internal strength and power as the body moves.

** Using the kua properly — opening and closing the kua, like a buoy in the ocean, helping the body stay balanced as incoming force changes.

You can find out more details about the book here, and it’s on Amazon US and UK.

Taijiquan vs Taiji Gymnastics

Great video by Chen Zhaosen on putting the internal into your Taijiquan practice so that it becomes Taijiquan not Taiji Gymnastics. Of course, it should already have been there, but we all know that already, right? 🙂 The secrets are all here, hidden in plain sight. Chen Zhaosen on breathing:

Master Chen Zhaosen is a highly accomplished Tai Chi master from Chenjiagou (Chen Village) in China. Here is his “old form routine number 1”.

Heavy Dantien

This is a great clip of Chen Bing teaching a basic silk reeling circle with a lot of emphasis on relaxing and being heavy.

People often wonder how being relaxed can generate power in martial arts. If you watch the video you can see how being relaxed in the upper body leads to great power in the lower body. And once you have that power in the lower body you can start to use it to drive your movements. Of course, there’s more to it than that, but it’s a start.

Taoist Baduan Jin (8 section brocade)

This set of eight exercises is a popular Qi Gong exercise in China, probably the most popular. There are hundreds of different variations. This one I particularly like because although the reeling movement she’s doing is hidden to the point of invisibility, the arm movements are being used very obviously to enhance the subtle tensioning from fingers to toes throughout in a way you can see. Very nice.

How silk is actually reeled, by hand, in China


In his chapter on silk reeling, in the book on Chen Style Tai Chi Chuan (1963) (A snip at only 828 pounds on Amazon in the UK!), Shen Jiazhen writes:

…Tai Chi Chuan movements must be in a shape like pulling silk. Pulling silk [from a cocoon] is done by a circular motion, and because it combines pulling straight and circling, naturally it forms a spiraling shape, which is the unification of the opposites of straight and curved. Silk reeling energy or pulling silk energy both refer to this idea. Because in the process of unreeling, extending out and pulling back the four limbs likewise produce a sort of spiraling shape, therefore the boxing manuals say that whether in large, extended movements or compact, small movements, one must absolutely never depart from this type of Tai Chi energy which unites opposites. Once one has trained in this thoroughly, this silk reeling circle tends to become smaller the more one practices, until one gets to the realm where there is a circle but no circle is apparent, at which point it is known only by intent. 1 This is why the third characteristic of Tai Chi Chuan is that it is an exercise which unifies opposites with silk reeling, both forward and backward.

Thanks to Jerry K for the translation. If you’re interested he’s also translated other chapter of the book – like this one on Empty and Full.

With this in mind I thought it would be beneficial to investigate exactly how silk is pulled from a cocoon. The Chinese have cultivated silk worms for more than 5,000 years. Here’s video showing how silk is cultivated today in Shanghai:


Like any industry, silk production has been automated, but you can still see how people did it using a hand reeling machine in some parts of China:


I’m guessing that the initial spiralling action of her hand she uses to get the starter threads off the brush is where the analogy starts to happen with what you’re doing in silk reeling exercises in Tai Chi Chuan? It reminds me of the way you can play with an elastic band in your hand. With 5,000 years of silk production in China I’m pretty sure the hand reeling machines would have existed at the time Chen style was creating these exercises, some 300-odd years ago, but without a machine then you’d have to be doing it with your hands in that manner.

Either way, I don’t think the silk worm gets out of this alive 😦