ETYMOLOGY OF TAIJIQUAN
First, it is necessary to understand the etymology of taijiquan,
which denotes a process that is both physical and mental.
When the characters for taiji
are broken down, the individual character tai refers to something ‘very
big’ or ‘extreme.’ “It resembles a stick figure who
is stretching his limbs out to their limits in for directions” (DeMarco,
p.55). However, the character for ji is more complicated. “It also
has a significance of ‘extreme,’ but more importantly a ‘pole,’ the
extreme of any axis. In ancient times, ji was a common word for ‘ridgepole’ upon
which the structure of a house would rest” (DeMarco, p. 55). The word
quan depicts a hand flexing into a fist. “Superficially, this refers
to taijiquan as a style, but on a deeper level quan refers to the embodiment
of the spiritual and philosophical realms, i.e., “grasping” the
relevance and deeper meaning inherent in the term taiji” (Willmont,
p. 12). Taiji or “Great Ridgepole” (or Great Ultimate) is a very
ancient philosophical term “referring to the gateway of the universe” (Willmont,
p. 12). The term ‘taiji’ first appears in the Great Appendix
of the Yijing (Book of Changes), where eight stages are described in the
creation of the physical world. “According to the Yijing, taiji (stage
1) is what produces the two principles of yin and yang (stage 2) from the
Great Void (tai xu), which is considered the nondifferentiated, empty source
of all things (stage 0)” (Willmont, p. 12). With reference to cosmology, “taiji
is the ‘Supreme Ultimate Principle,’ the cosmological ridgepole
which supports the whole universe” (DeMarco, p.55). Thus, taiji is
the starting point for all physical manifestations in the universe. Therefore,
taijiquan takes its name from the ‘Supreme Ultimate’ principle
that fluctuates throughout the universe.
THE FORMULATION OF TAIJIQUAN: ZHANG SANFENG
Although the history of the creation of taijiquan is rather
ambiguous, Zhang Sanfeng is generally credited with its formulation.
When Zhang Sanfeng began
developing taijiquan as a comprehensive system of martial arts in the thirteenth
century, this Daoist monk ensured his place in history as the first patriarch
of the art. As Hawthorne points out, “History can get muddled with the
passing centuries, but Zhang Sanfeng is generally credited with synthesizing
the philosophical principles of Daoism with a martial art that could be used
for both self-defense and a method to enhance one’s internal energy (qi).
Thus, Daoist monks used taijiquan to defend themselves and as an exercise for
the mind and body” (Hawthorne, p.71). Zhang Sanfeng is regarded as
the greatest taijiquan teacher. At the age of twelve he began studying the
Confucian
classics. As a young man Zhang Sanfeng passed the examination given by the
government of the Emperor Taizong of the Yuan Dynasty (1279-1368) and was
eligible for a government position. However, he declined this position because
he lacked
such worldly ambition and retreated to the mountains to live (Jou, p.20).
Noted taijiquan master and historian Jou Tsung-Hwa states, “According to
legend, Zhang Sanfeng was born a wise man because he had the arched back of a
tortoise and the figure of a crane” (Jou, p. 20). These symbols in Chinese
culture represent longevity and intelligence. After the death of his parents,
Zhang Sanfeng set out wandering the mountains with two young boys for thirty
years in search of a wise man. He settled in the Baozhi Mountains in midwestern
China, and it is while he was here that he mastered shaolinquan. Shaolinquan
is a martial art practiced at the famous Shaolin Chan Buddhist Monastery in Henan
Province. It is said that Zhang Sanfeng stayed and practiced at the Shaolin Temple
for ten years. Shaolinquan is regarded as the “prototypical Chinese martial
art” (Jou, p.22). However, taijiquan differs from other martial arts
with its emphasis on the theories of the Yijing, Daodejing, and the addition
of Daoist
qigong. Chinese martial arts are generally classified into two primary classifications,
external (waijia) and internal (neijia). Shaolinquan is considered external,
while the internal arts consist of taijiquan, xingyiquan, baguazhang and
liuhebafa. While both external and internal styles have many of the same
principals, the
emphasis put on the theories is considerably different. It would be appropriate
to make a list of attributes that distinguishes the internal schools (neijia)
from the external schools (waijia).
EXTERNAL-stressed the regulation of breath, training of bones and muscles,
ability to advance and retreat, and unity of hard and soft, and emphasized speed
and strength.
INTERNAL- emphasized training of bones and muscles, exercise
of qigong,
subduing the offensive by stillness, it had the aim of defeating
an enemy
at the instant he attacked, and the use of yi (intention) to direct qi (energy).
(Dreager & Smith, p. 17)
With a change in emphasis from the shaolinquan, Zhang’s
new martial art was directed toward will (yi), mind (shen),
body, and nature; which was more
orientated toward Daoist ideologies (Jou, p.22).
In 1314, at the age of sixty-seven, Zhang met a Daoist hermit named Huolong,
whose name means fire-dragon. Huolong taught Zhang the method of becoming
immortal. However, Zhang practiced in the high mountains for four years with
little success.
According to noted Taijiquan historian Jou, Tsung-Hwa, “He then moved
to Wudang Mountain and finally, after staying there for nine years, became
aware of the truth and the Dao” (Jou, p.22-23). When the Yuan Dynasty
ended in 1368 and the Ming Dynasty (1368-1654) began, Zhang (who would have
been 121 years old) was afraid that the royal family would want his services,
since he was a well-known Daoist immortal (immortal: beings in human form who
are eternal and gifted with supernatural powers), so he pretended to be mad.
In 1385, the Emperor ordered him to serve the government, but Zhang hid along
the border of Yunnan Province in southwest China until 1399. After that he
returned to Wudang Mountain to meet his friend Wanpuzi. In 1407, Emperor Chengzu
sent two officials to visit Zhang on Wudang Mountain, but to no avail. The
Emperor then ordered a huge temple to be built there in Zhang’s honor.
According to Jou, Tsung-Hwa, “In 1459, Emperor Yiuchung bestowed a title
of immortality on Zhang Sanfeng” (Jou, p.23). There are a few documents
that contain bits of information in relation to the legendary Zhang Sanfeng.
The most authoritative source is the Ming Shi Fang Ji Zhuan “Account
of Magicians in the Official History of the Ming Dynasty.” This record
states:
“ Zhang Sanfeng, from Liao Dong
Yi county. Named Quan-Yi.
Also named Jun-Bao. Sanfeng was his nickname. Because he did
not keep himself neat and clean, also called Zhang, La-Ta (Sloppy
Zhang). He was tall and big, shaped like a turtle, and had a crane’s
back. Large ears and round eyes. Beard long like a spear tassel.
Wears only a priest’s robe winter or summer. Will eat a bushel
of food, or won’t eat for several days or a few months. Can travel
a thousand miles. Likes to have fun with people. Behaves as if
nobody is around. Used to travel to Wudang Mountain with his
disciples. Built a simple cottage and lived inside. In the 24th year
of Hong Wu (1392 CE), Ming Tai Zu (first Ming Emperor) heard of
name, and sent a messenger to look for him but he could not be found.”
(Yang Jwing-Ming, p. 3, 1996)
There are two other Chinese records that mention Zhang Sanfeng,
the Nan Lei Ji Wang Zheng Nan Mu Zhi Ming “Funerary
Inscription for Wang Zhengnan (preserved in) the Nanlei Collection” and
the Ming Lang Ying Qi Xiu Lei Gao “Assorted Writings
on the Seven Training (Methods) of Ming Langying.” These
two sources were both written during the Ming Dynasty (1368-1654)
and repeat much of the same information as in the Ming Shi
Fang Ji Zhuan. However, the Ming Lang Ying Qi Xiu Lei Gao
is interesting because it states that Zhang Sanfeng actually
meet one of the Ming emperors. The record states:
“ Zhang the Immortal, named Jun-Bao,
also named Quan-Yi
nicknamed Xuan-Xuan, also called Zhang, La-Ta. In the third
year of Tian Shun (1460 CE), he visited Emperor Ming Ying
Zong.
A picture was drawn. On the top of the picture was an inscription
from the emperor honoring Zhang as ‘Tong Wei Xian
Hua Zhen
Ren’ (a genuine Daoist who finely discriminates and
clearly
understands much).”
(Yang Jwing-Ming, p. 3, 1996)
“Thus according to legend, Zhang Sanfeng was born
at the end of the Song Dynasty and lived through the whole
Yuan Dynasty to the reign of Ming Ying Zong in the Ming Dynasty – a
period more than 200 hundred years” (Jou, p. 23). It
is obvious that much of the early history of taijiquan is
shrouded in myth and legend.
In relation to the creation of taijiquan, there are several
myths pertaining to how Zhang Sanfeng actually formulated
taijiquan into a cohesive exercise.
One story states that he created it in his dreams. As Jou, Tsung-Hwa states, “While
this may seem improbable, remember that the French mathematician Pascal invented
a geometrical theory at 16 years of age in a dream. It is possible that Zhang
Sanfeng, especially with his sound foundation in shaolinquan, may have used
his subconscious to create taijiquan” (Jou, p.23). Another story states
that, Zhang heard a flock of birds making a commotion and staring at the ground.
On inspecting the incident, Zhang saw a serpent with its head raised in attack.
A moment later, a crane descended and attacked the serpent. The serpent used
its circular shape to evade the attack. The contest between the two continued
back and forth until Zhang interrupted them. The crane flew away and the serpent
disappeared. “Zhang then realized the truth of softness over firmness
and created taijiquan” (Jou, p.23). A third legend indicates that Zhang
Sanfeng saw monks boxing on Wudang Mountain. Zhang observed that the monks
used too much force and muscular strength, which caused them to lack balance.
Zhang thought if one could get yin and yang in harmony inside the body then
one would be less clumsy. “He used the principles from the Dao, Daodejing,
and the Yijing to develop taijiquan” (Jou, p.23). According to Zhang,
the purpose of the movements of taijiquan is to transfer intrinsic energy (qi)
to the spirit (shen) by the use of mental intention (yi), which can be used
for self-protection or as a means of health promotion. These myths about Zhang
Sanfeng are common and widely known amongst taijiquan practitioners and were
normally transmitted through oral tradition. However, it must be noted that
some schools of Taijiquan have completely different foundation stories.
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