Origins
The foundations for the creation of tai chi are believed by some to be found in the ancient philosophies, exercises, and martial arts dating as far back as 3 to 5 millennia. The first real documents hinting at exercises similar to tai chi are 2000 years old. However, nothing prior to the late 17th century C.E. is widely considered by academics to be more reliable than myth, or as some Chinese scholars call it, “wild history.”
One such myth tells of a daoist hermit named Zhang Sanfeng learning tai chi from the Yellow Emperor in a dream, and mastering the art literally overnight. Another version tells of him devising tai chi by himself after watching a fight between a snake and a crane.
The popular opinion of martial historians is that a Ming Dynasty general named Chen Wangting (?-1719 C.E.) created the first version of what we know today as tai chi. He is appears to have done this by combining his own military training with his knowledge of the Daoist treatise called “The Yelllow Emperor’s Inner Canon” (Huángdì Nèijīng 黃帝內經.)
The physical foundation of tai chi routines can be found in the chapter “Martial Classics in Thirty-Two Postures” in the book Jìxiào Xīnshū 紀效新書, compiled by Marshal Qi Jiguang (1528 – 1588 C.E.)
The style no longer exists exactly as it was taught by Chen Wangting. But the revised and consolidated routines created by his 18th century decedents do. There are several variation of what is now known as Chen style tai chi. There are also several famous and equally respected derivative styles.
History of Tai Chi Chuan
Tree Chart of the genealogy of the major tai chi styles and important variations. Click on this image to view a high resolution image, or click here to download a pdf.
There are two prevailing and somewhat controversial versions of tai chi chuan history. But it is possible that the two versions are not entirely incompatible with each other.
One version, which I will refer to here as the Wudang version, attributes the origin of tai chi chuan to a mythical or (semi-mythical) Daoist named Zhang Sanfeng ( 張三峰 or 張三丰), who is said to have been born sometime between 960 and 1300 C.E.
Zhang Sanfeng is the central character in several folk tales, books, comic books, and movies. While there is no conclusive historical evidence of his existence, he is still revered by many, and his birthday is celebrated by many people around the world. However, there is no reliable historical document that mentions his involvement with martial arts.1
1 http://www.literati-tradition.com/zhang_sanfeng_camp.html
The other version of tai chi chuan history is the “Chen version”, which asserts that Chen Wangting (陈王廷 1600-1680 C.E.), a military officer who retired to his home town after the end of Ming Dynasty, created tai chi chuan and passed it on to descendants who further developed the art over generations.
Both versions converge with somewhere between Chen Wanging (1600-1680 C.E.) and Chen Qingping (陳清苹 1795 – 1868)
The history of Tai Chi is controversial. Some schools seem to have a vested interest in one version or the other. Whether it is a matter of tradition, propaganda, or pride in a lineage, some will strongly promote one version of history over another. However, as with most controversies, there is probably a great deal of truth in both versions. The facts are obscured by rigid traditions, familial and nationalist dogma, the questionable authorship of historical text, different people with similar names, and the simple fact that some teachers of martial arts find a good story to be more useful than historical accuracy.
Most students of tai chi chuan are not particularly concerned with the debates about lineage. Good students are usually less concerned with following in the footsteps of the dead than they are in manifesting the life nourishing benefits of the art itself.
Perhaps the art itself provides all the evidence necessary for determining the source of tai chi chuan. The elements of traditional tai chi chuan practice include qigong, taolu, tuishou, and sanshou. (“Energy and breath cultivation, martial routines, pushing hands, and martial applications.”) Comparing the characteristics of these elements to the arts which predate