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Fu Zhong..Wen

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and the Silent Language of Yang Style

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Tai Chi Chuan

By C.W. Alston
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aster teacher Fu Zhong-Wen is an illustrious figure in China, well-known for his skill and experience in the Yang family's style oftai chi chuan. Yet, his name has only recently become familiar in the United States (see "The Eye of the Taiji Tiger," October 1984; and "China's Tai Chi Renaissance," May 1985). Fu Zhong-Wen was a protege ofYangCh'eng-Fu, who was Fu's uncle and grandmaster of the yang style. Yang Ch'eng-Fu is especially responsible for the public awareness and widespread practice of tai chi chuan in China. He traveled over much of the country demonstrating his style, and he was celebrated for his success in challenge matches. Together with showing the advantages oftai chi chuan in contests, Yang Ch' eng-Fu declared that the yang style has distinctive features of training, which cultivate personal vigor as the first step in solving practical problems of martial art. These stylistic features, or rules of practice, may be employed far from the original context of fighting, and many people have been drawn to practice Yang's tai chi chuan as a form of daily hygiene. This is the basis of the style's popularity today. Fu Zhong-Wen accompanied Yang Ch'eng-Fu on several journeys as a teaching assistant in charge of handling students, as a spokesman; and frequently intercepting lesser challengers on Yang's behalf. Recently a memoir in Chinese written by Sifu Fu has been brought to the United States by Sifu George Xu of San Francisco. A free translation and commentary based on this memoir is given below as an introduction to Fu Zhong-Wen and as a guide for '.

personal practice regarding three distinctive but typically confusing features of the yang style. The commentary focuses attention on the following issues: I). Tempo-its softness, its suddenness. 2). Exertion-its softness, its hardness. 3). Development of practice-for form, for application. The Famous Teacher At the age of seventy-seven, Fu Zhong-Wen is vice-president of the Shanghai Wushu Association and teaches at the Shanghai Wushu Gymnasium. He also teaches at the Hung Ko Physical Gymnasium of Tong Chi University. Many foreigners come to study with him. Fu's name has spread to Japan, where an article on him has appeared in the Journal of the Japan T'ai Chi Ch'uan Association. Still demonstrating his style at special invitation, SifuFu is expert in all tai chi forms and weapons work, especially pushing hands, where his touch is described as "heavy like a mountain, light like a chicken's feather." Credited with excellent technique and variety in changes, Fu displays powerful pushes generated with little apparent effort, a level of skill which captures the attention of audiences. Even in old age, his strength is good; his skin is clear; he has kept his teeth and vision intact; his footwork remains light and agile. Fu's movemen~ in tai chi chuan resembles that of Yang Ch'eng-Fu very closely. Both aspects ofFu's accomplishment, his superior technique ~d his healthy vigor, are mutually developed according to the rules of his style of practice.

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Fu Zhong-Wen
strategy and power must be developed through the fonn. How does the yang style resolve this paradox? Because in the fonn one is required to observe a steady tempo always. one can become acutely aware of the slightest acceleration in movement, and use this sense to notice the moment when the opponent changes speed, rushing to attack or hastening to withdraw. This is the strategy for dealing with the problem of speed in fighting.

Because Yang Ch'eng-Fu's short first form requires that the practitioner maintain a steady tempo, the practitioner becomes sensitive to the slightest change in an opponent's speed or force.
Becoming able to notice the moment of change is the foundation developed through following the rules of tempo. But one must also be able to change speed suddenly, avoiding or pursuing in order to take advantage of the situation. To train for this, the continuous fonn is broken up into separate movements and combinations; each action is rehearsed over and over. First slowly for accuracy, but then faster and faster, until each movement becomes a sudden reflex of acceleration releasing itself in a snap of power. So. one is obliged to observe the rule of even timing in the form, to relax and become sensitive, and then to break up the movements to develop sudden power in usage. In the strategy of the

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Fu demonstrating yang style tai chi sword. Yang Ch'eng-Fu deleted many of the syncopated and strenuous movements from his solo fist form. but retained them in the yang style weapons forms.

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Elements of Style The maxim, "mutual development" as a distinctive feature of the yang style means that effective martial technique must be based on movements and attitudes which are naturally good for health. The first thing is to discover the limits of the natural and the healthy. Then, on the other side, one must turn up the steam and discover how to make what is natural and healthy also powerful and adroit This is done by separating practice of the form from practice of applications. The yang family form is designed to be as comfortable as possible, to erase all unnecessary tension, and to dispel any sense of urgency and mental pressure. Undoubtedly, this is a beneficial strategy for health. But when one observes that the fonn is composed of continually soft, slow, steady motions with very little twisting or extending, no obvious techniques, and no power displayed-one must try to understand the value of such training in a really rambunctious encounter with an opponent One may practice this way with benefit. but one cannot expect to subdue even a child so easily as this. Strategy and power are necessary. Yet the foundation of

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Fu Zhong-Wen observes that while the solo fist form is practiced slowly and at a steady tempo. the form must later be broken into segments and practiced to develop speed and power in combat.

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yang style, sudden changes develop from tranquil changes, but one mustn't fall asleep in this tranquility. Fu Zhong-Wen remarks in his memoir, "I do not claim that my kung-fu is the greatest of all, but in matters concerning the yang style, no second person knows more." From the age of nine, Fu enjoyed the tutelage of his uncle, Yang Ch'eng-Fu. Thus, Sifu Fu has cultivated his practice for the considerable period of 68 years. Since the day of the first grandmaster, Yang Lu-Chan, who initiated the modification of the original chen style oftai chi chuan, three generations of Yang masters have successively refined their idea of the form. By the time ofFu Zhong-Wen, various versions of the yang style had already emerged, notably that ofYangPan-Hou, third son of Yang Lu-Chan. However, the style of Yang Ch' eng-Fu proliferated most widely, partly because ofCh'eng-Fu's evangelistic efforts, and partly because the solo fist form of his version was simpler to memorize and less physically demanding. Most practitiners find it convenient to go no further than this form.

Fu Zhong-Wen, at age 76, still exhibits a profound skill in. and undersrimding of. yang style tai chi chuan. Here he strikes the posture "bend the bow to shoot the tiger."

Gone from Yang Ch'eng-Fu's version oftai chi chuan were the three levels of solo practice, each with a separate form, which still exist in the chen styles. Yang Ch'eng-Fu taught but one fist form. Gone also were the variations in tempo mentioned earlier. And at some point in his career, Ch'eng-Fu also abandoned the forceful movements in the form, which he had displayed in his early days teaching in Beijing. However, it is important to note that strenuous and syncopated movements like those of the chen style, although deleted from the fist form of Yang Ch'eng-Fu, were not discarded from the styl~' entirely. In Yang Ch'eng-Fu's system these features are reserved for emphasis in the training with weapons and the separate movements. Competent practice in the saber, sword, and spear forms requires understanding of broken speed, maximum exertion, and the coijing strength which is the hallmark of tai chi chuan. So, in pursuing the advantages of the yang style, one must be sure to keep the flavor of the fist form distinct from the flavor of the weapons' forms, the weapons' forms distinct from each other, and the applied use separate from the forms altogether. The basic form of Yang L

Fu Zhong" Wen
straining themselves. It is also beneficial for strong and vigorous persons seeking martial skill. If one is diligent in applying Thisrule from the beginning, three things result First, one will not substitute muscle for movement; otherwise one will remain stiff and unadjustable. Second, one will avoid trying to overpower or resist those who are stronger than oneself. The third result is the sensitivity to weigh an opposing force, so as to interpret the direction and intention of the opponent's action. The key is to lay the foundation by exerting no force in practicing the fonn. Then, of course, c.ne must break up the movements, practicing the means of countering with efficient use of force. The solo fonn of Yang' s style alone will not reveal how to do this. Many people misunderstand this point. A Following in the SouthEarly in their stay in Kuangzhou, the president of Kuangzhou Central University invited Sifu Yang to give a lecture. Yang did not consider himself a good public speaker, but he was willing to appear and give a demonstration of his art. Fu Zhong-Wen agreed to do the lecturing. This event turned out to be a positive influence on the acceptance of the yang school in the south. Fu was eloquent; Yang impressed the audience with the fluency of his fonn and his skill with the sword. Yang and Fu demonstrated their push hands work, and the scholarly crowd was won over, giving the martial artists a resounding applause. This event marked the first public awareness of yang style tai chi chuan in the south of China. Soon after this event, Tsung Jing Jiang, president of the newly established Guoshu Kwan Academy of Kung Fu in Hangjow, put forward Yang's name to fill the postofChiefinstructor. This was a significant accolade, since all the instructors were high level kungfu experts. However, it required more than an announcement for Yang to gain the respect of these teachers. At least one of these experts had little respect for tai chi chuan or for Yang Ch' eng-Fu. Kao Sho Wu, a teacher of the Omei mountain tai i system, found numerous occasions to display his disregard. Yang ignored this behavior, until one day an insulting incident in Yang's office involving Kao provoked anger, and Yang accepted a challenge. The two men decided to duel with spears in the garden. Kao was enraged, and charged at Yang like a tiger attacking sheep. Yang was nonetheless skillful with his spear. He covered Kao's attack and pressed it down with a shocking power that knocked Kao's spear out of his hand. Kao gave up in chagrin, and the school's instructors thought better of Yang Ch'eng-Fu after this. Later Years After the death of Yang Ch'eng-Fu in 1936, Fu Zhong-Wen became the major exponent of Yang's teaching, and he could rightfully claim to have received the entire transmission of the style. He returned to Shanghai. By 1958, Sifu Fu had established himself as president of the Yung Nien T'ai Chi Ch'uan Assoiation, and as coach of the Shanghai Wushu Association. In Shanghai, Sifu Fu trained many famous experts, and he began to write on tai chi. In 1959, he published a book on T'ai Chi Broadsword. This was followed by his book, Yang Style T'ai Chi . Ch'uan, published in Hong Kong in 1963 (and subsequently translated into French. Japanese, and English). A new edition of this book is finished, though not yet published. This new edition includes Fu's writings on applications, the manner of teaching, work with spear and sword, and observations on the common problems of students. Master teacher Fu Zhong-Wen is now a celebrated elder statesman of Chinese kung-fu, and he wants to share his knowledge of the yang system. Even if it is not possible to study with Sifu Fu in China, his writings offer invaluable guidance to everyone interested in the yang style of tai chi chuan. l'!:'

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A nephew of the greattai chi master Yang Ch'eng-Fu, Fu Zhong-Wen not only studied with his uncle. but accompanied him on many demonstrations-as well as meeting Yang's lesser challengers.

Ch 'eng-Fu does not speak of everything in martial art, but it must lead to everything. Travels with Yang In 1932, while he was living in Shanghai, Yang Ch'eng-Fu accepted an invitation to teach in the south of China. The invitation came from Kuangzhou Central University in Kuangzhou City. Fu Zhong-Wen accompanied Yang as his assistant and did the work of conducting classes for him. Customarily Yang would observe from a chair and direct comments to his students, while Fu was responsible fordemonstrating and instructing in detail. Yang's classes were well-attended by luminaries of the local government, and such respect afforded a good deal of status to the newly-arrived teacher. Yang's stature did not go unchallenged, however, and often he would confidently allow his student Fu to represent him as a sufficient response to detractors. Yang would warn Fu not to lose and not to be too gentle in pushing hands. Fu, being twenty-five years old at the time, vigorous, and aware of his strength, could readily comply. On one such occasion, a kung-fu teacher from Honan sought a challenge match with Yang, who suggested that the man try conclusions with Fu first The contest continued until Yang

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Absorbing or borrowing an opponent's power is a central tactic of the yang style. The foundation for borrowing energy is laid in an elementary rule of the solo fist '. form: exert no force.
signalled Fu to let the man have it When the Honan challenger next attacked, Fu let him in, absorbed his power, threw the man far away, and let him "fall on his face." This absorbing, or borrowing, an opponent's power is a central tactic of yang style, and although other schools develop skill in this, the yang school cultivates borrowing energy as a fundamental premise. The foundation of borrowing energy is laid in an elementary rule of the solo form: exert no force. This principle is obviously beneficial for the weak and infirm. who should avoid 64

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C.W. AlstOn is a longtime tai chi stUdent of San Francisco Master Choy Kam-Man. whose father. Choy Hok-Peng, was among those who were trained by YangCh' eng-Fu in the south of China. Choy Hok-Peng was the first to teach T'ai Chi Ch'uan in the United States,