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The late Pei Xi Rong, internal arts master and famed author of many books on Wudang styles, Baguazhang, Xingyiquan, etc., was one of five who held a seal for the Jiulong Men (Nine Dragon Gate) Martial Arts from Wudang Mountain. He authored a book featuring the Wudang Mountain sect's entire canon, including both their internal and external practices. This book included a Taiji and Bagua form. The Taiji form looked in many ways like what we see today as a combination of both Traditional Yang and Wu (Jian Quan) styles. If this form has the history that Pei Xi Rong believed it had, it would support the notion that there's some truth to the legend of Yang Luchan having been exposed to Taoist internal arts. Anyway, the Baguazhang presented in the book, and as practiced by Pei, looked very much like Liang Zhen Pu's (Li Zhi Ming) Lao Bazhang, or Old Eight Palms. Because of my exposure to Pei Xi Rong, and other Wudang Masters that I've met, I find their arguments to be credible that their form was the original Taijiquan form. From what I have seen (inside or outside China) of Wudang style kung fu masters (or others with claims to "Old Styles") practicing their arts, as well as the fact that some disciplines have been (and still are) shrouded in secrecy, I cannot dismiss them and say that Chen style Taijiquan was first.

Another reason for considering a more thorough evaluation of the styles of Taijiquan is that it might assist us in separating fact from fiction. For instance, I've seen many versions of Wudang Taijiquan. I saw a Taoist Abbot from Wudang Mountain practice the first series of his style in Yongnian once. It was connected, powerful, mixed with external and internal concepts. On the other hand, Pei Xi Rong's practice was slow, and reminiscent of a combination of Yang and Wu (Jianquan) Styles with some, very limited, expressions of fa-jing (explosive force). Because of these differences, there is a real need to identify and categorize not only the differences in the forms, but also the apparent differences of principles that exist between styles.

However, any such categorization should be a way to begin to discover and identify missing links. It needs to be an anthropological effort and not a way to create a perpetual establishment that judges every style and variation of the style according to a set of assumed rules. This is exactly what we see happening in both Taijiquan organizations and at tournaments -- especially in America. In China, they have a great way of dealing with - and welcoming - diversity that is only starting to catch hold in the West. Tournaments have an open division (the largest of all divisions) with sub-divisions of both known styles, obscure styles, and virtually unknown styles. When the person does their form or demonstration, they do it in front of a panel of about 20 or so judges who rank the performance and award gold, silver, or bronze medals are awarded. Contestants are judged by a panel of professionals (or would be professionals) who not only have an interest in what they see as quality, but also in finding out more about the practice of Kung Fu outside of their own style.

So while China may appear extremely controlling on the surface with the idea of the Five Major Styles, and the organization of "government developed" forms and styles, they certainly are doing a better job than so called "World" organizations of martial arts (again I'm speaking mostly in America) of maintaining an open mind in seeking Taiji's origins.

Taijiquan Push Hands (Tui Shou)

Where does all this leave us? Despite the findings of this camp or that, we are at an impasse, and the only way to move on is to avoid placing Taijiquan's origins in some simple convenient framework. Accepting any one story completely without further dialogue or research raises more questions than it answers. While there are a number of histories of the origin of Taijiquan that have merit, including the historical record of Chen Wangting, claims by lineage holders of both the Wudang Mountain practitioners and Zao Bao should not be lightly dismissed. If we are to find common ground and develop Taijiquan both as an institution and as an individual practice, it is best to pause and review the argument that the 5 major styles of Taijiquan (Chen, Yang, Wu (Yuxian), Wu (Chian Chuan), and Sun) were derived from Chen style Taijiquan as we know it today. We should continue to research (without political influence) the origins of both Chen Style, Qi Jiguang's style, and reports of pre-Chen Style Taijiquan.

Application of Wu style "Raise Hands and Step Up"

This larger Nei Jia Kung Fu movement has had staying power and it has helped to develop the aspects of Yin and Yang, Wu Xing (Five Elements -- a hallmark of Xingyi practice), and Bagua (Eight Gates) in the other main styles of Taijiquan. In fact, one of the original names of Taijiquan was known as, "Ba Men, Wu Bu" (Eight Doors, Five Steps). Many of these Taijiquan styles that were developed by internal martial arts practitioners at the end of the 19th century are still around. Some of these practices have found their place within the major Taijiquan styles.

In many cases, these Nei Jia Kung Fu practices are coming to the forefront as certain practitioners of these styles go public. Singling out one such development is (Jiang Rong Qiao's teacher) Zhang Zhao Dong's development of Taiji Zhang Quan which synthesized in order of emphasis (although it is very well integrated): Xingyiquan, Baguazhang, and Old Chen Style Taijiquan. (How do you count the number of people that practice this style, if this version of Taijiquan is an advanced part of the most popular combined Baguazhang and Xingyiquan system taught in China?)

Another remarkable Nei Jia Kung Fu development was made by an internal stylist from the same generation as Sun Lu Tang. Wang Xiang Zai created a synthesis of Taiji, Xingyi, and Bagua principles known as: Dacheng Quan or Dacheng Kung Fu. Like most of these developments around and before Sun Lutang's time, these martial arts teachers wanted to infuse their particular concepts of traditional Bagua or Xingyi (or both) with traditional Taijiquan. In doing so, they not only made interesting developments but in some cases may have in some ways fathered new styles of Taijiquan as well.

One reason that the origin of Taijiquan is obscure is that some aspects of the practice have been held in secrecy, while other aspects of the practice of Taijiquan have continuously been developing. The truth is there are secrets, even in the simplest of movements. To say that there are no secrets is to ignore the fact that within all of us there is a uniqueness waiting to be discovered, shared, or guarded. Furthermore, only a dead art is fixed and no longer changes. A living art evolves and changes as it is passed from teacher to student. Sometimes, a part of the transmission fails. Sometimes, a new insight becomes something tangible that is passed on. A living art responds to the environment with new developments. Perhaps there have never been that many high level teachers and perhaps there are now problems to be overcome. There may be many places in the world where there is dead Taiji, but the art of Taijiquan has strong roots and the branches and leaves that are alive and growing all over the world (not only in China).