Yang,
Lu-chan was born in 1799
[2]. At the age of ten, he became an indentured servant in the household
of a Chen family member in Honan province, China [4].
It was common for the poor to sell the services of children to the rich
during this period of Chinese history.Yang was lucky to have lived in a harmonious household and studied Chen Chuan (Chen boxing) with the famed 9th generation master Chen, Ch'ang-hsing [1]. He was hard working and studied Tai Chi along with other family members. It was not uncommon for servants to be trusted members of the family [4].
Yang was released from his bond at age 40 when his household master died. The master's wife and Yang were of the same age and to have a widow and servant living together under such conditions was not acceptable to the family [4].
Yang returned to his home town of Kuang P'ing and went to work in a herb shop owned by his deceased master's family in a building owned by the Wu family. Wu family members were enthusiastic martial artists as well as influencial scholars. Yang was their teacher but they also sought training from the Chen family directly. It is recorded that they studied the Chao Pao style from Chen, Ching-ping and eventually created Wu style Tai Chi. Yang became well known for his combat abilities during this period and through the influence of the Wu family was appointed teacher to the Imperial court in Beijing [4].
China was ruled at this time by Manchus from the north under the Ching Emperors. The Han population thought of Manchus as foreigners and invaders. The Ching dynasty period was constantly marked by Han rebellion. So, it was in Manchu interest to keep an eye on Han martial artist of high caliber. Yang had gained a reputation for his ability to defeat other boxers but his methods were difficult to understand. Being well known and the teacher at the Imperial court posed a dilemma for Yang. He could teach the Manchus the deeper art of Tai Chi or he could modify the art to quench the courtiers desire for martial recognition and good health [5].
In The Tai Chi Boxing Chronicle by Kuo, Lien-ying it is said that an easier form of Tai Chi was taught the Imperial court because the courtiers and their family members were not willing to practice diligently and because the Yang family (Lu-chan, first son=Pan-hou, and second son=Chien-hou) were Han Chinese and not willing to teach the Manchus the deeper method of the art.
As a result, we have two distinct styles of Yang Tai Chi today, plus, a vast array of related Tai Chi forms. The most common Yang form seen practiced is derived from the Beijing style; the form related to the one taught at the Manchu court. Beijing style Tai Chi was made popular by Yang, Chen-fu (son of Yang, Chien-hou) in the 1920s. The other is Yang Kuang P'ing[5].
YANG BEIJING AND YANG (PAI) KUANG P'ING
The movements of the Beijing style are known for a large transfer of weight from the back leg to the front leg creating - the bow stance- an elongated weight shift between Yin and Yang in the foot work ( a stance commonly found in Shaolin). It is also distinguished by large upper body circular movements which, in some instances, complete parts of movements present in the Kuang P'ing set. Another major difference between the Kuang P'ing and Beijing sets is that the Kuang P'ing set emphasizes a shift to the center between front and back legs as in single whip and push. Over time, this concentration on finding the center between the legs develops delicate sensitivity in the shifts between the legs. It, also, forces the back leg to maintain a roundness that allows the hips to be open. This is in keeping with the movements in the Chen style of old and is present in Chen today. Additionally, Kuang P'ing uses small spiral circles within and in tandem with large circles.
The classic by Wang, Tsun-yue referred to as the Lun (Kung Hsin Chieh) says not to leave the circle and not to leave the square. How to achieve the square in the circle is left to the student to discern. There is a very important distinction in the way the feet work with the upper body in the practice of the Kuang P'ing set. It is generally necessary that up and down motions of the arms coincide with the transfer of weight from one leg to another when stepping through (embrace tiger return to mountain/monkey) while horizontal movements are done with both feet touching the ground. This allows for the horizontal motion to have foundation and the front leg to revolve so that a continuous spiral motion can be brought into play. At any point of the circle the square can be used: in striking, to advance, to retreat or to bring an opposite spiral movement into action.
In an encounter with another person the up and down motion is often used to put the other person off balance, stop an opponent from striking or set one up for a strike. The horizontal motion cuts crosswise and is used to break up another's defenses so that a strike may be issued. It must be understood that both the up and down motion and horizontal motion will in the end development be one quality-inwardly distinguishable and outwardly indistinguishable. The key here is how the weak may overcome the strong and how four ounces may topple ten thousand pounds. One has to think of the derailment of a train and at what point the twisting motion in the compartment connections break the forward motion of the train and derails it. In this situation a weaker force is applied to overcome a stronger force through the use of square attention on an exact point while in spiral motion.
Kuo, Lien-ying's chronicle on Tai Chi makes clear that no matter what style one practices all forms of Tai Chi must conform to the classic qualities of the art as they have been recorded throughout history. This means there is only one Tai Chi Chuan. These qualities are referred to as the Ba-gua (8) gates and Wu-hsing (Five Elemental Phases of Change) steps. Together they constitute Tai Chi's 13 movements.