For some time now, there have been claims that the Chen Style Taijiquan 74-Form (七十四式, qī shí sì shì) and 83-Form (八十三式, bā shí sān shì) are two unrelated sets of movements, which has caused confusion among many beginners. In reality, this is a complete misunderstanding due to a lack of knowledge of the history behind them.
Since Chen Changxing (陈长兴, Chén Chángxīng), Chen Style’s first-generation practitioner of the Large Frame (大架, dà jià), the 1st and 2nd routines of Chen Style have undergone development through generations, including Chen Gengyun (陈耕云, Chén Gēngyún), Chen Yanxi (陈延熙, Chén Yánxī), and eventually to his great-grandson, Chen Fake (陈发科, Chén Fākē), over a period of more than a hundred years. When Chen Gong Fake (陈公发科, Chén Gōng Fākē) [Gong is an honorific] first came to Beijing, he taught the 74-Form. His early disciples, including his nephew Chen Zhaopi (陈照丕, Chén Zhàopī), his son Chen Zhaoxu (陈照旭, Chén Zhàoxù), Yang Yichen (杨易晨, Yáng Yìchén), and Hong Junsheng (洪均生, Hóng Jūnshēng), all practiced this form. Hong Junsheng (洪均生) even recorded it in his book Chen Style Taijiquan Practical Boxing Methods (《陈式太极拳实用拳法》).
Over time, Chen Gong Fake gradually added three new movements: the Three Changing Palms (三换掌, sān huàn zhǎng), Retreating to Press the Elbow (退步压肘, tuì bù yā zhǒu), and the Central Rotation (中盘, zhōng pán). These three movements, repeated once more in the form, created six movements. Additionally, the Dragon Emerges from the Water (青龙出水, qīng lóng chū shuǐ) and Double Shaking Feet (双震脚, shuāng zhèn jiǎo) were performed as movements but were not yet considered separate forms. When the book Chen Style Taijiquan (陈式太极拳, Chén shì tàijí quán) by Shen Jiazhen (沈家桢, Shěn Jiāzhēn) and Gu Liuqi (顾留謦, Gù Liúqì) [Gu Liuxin] was published in 1963, these were listed as separate forms. The original 74-Form’s Jin Gang Smashes the Pestle (金刚捣锥, jīn gāng dǎo zhuī) was the closing movement. The 1963 version added [an opening and] a closing form, thus the 74-Form evolved into the 83-Form.
In fact, whether it is the 74-Form or the 83-Form, both were passed down by Chen Gong Fake. Many of his later disciples, including Lei Muni (雷慕尼, Léi Mùní), Li Jingwu (李经梧, Lǐ Jīngwú), Tian Xiuchen (田秀臣, Tián Xiùchén), and Feng Zhiqiang (冯志强, Féng Zhìqiáng), practiced the 83-Form. Teacher Tian Xiuchen, in a video recorded in 1978 at Beijing Sports University, only performed one of the Three Changing Palms, which reflects the transitional phase of his training. During the early years of the People’s Republic of China, when Chen Zhaoxu (陈照旭, Chén Zhàoxù) taught in Xi’an, he specifically told his early students, “I added the Three Changing Palms for you, this was added by my father later.“ Teacher Hong Junsheng also said, “This movement wasn’t originally in the routine; it was added by Chen Fake years after coming to Beijing.” The Three Changing Palms, Retreating to Press the Elbow, and Central Rotation are important contributions by Chen Gong Fake to Chen Style Taijiquan. They reflect his deep martial understanding and experience. These movements enrich Chen Style Taijiquan and elevate it to a higher level.
Some people distort history by only stating that the 74-Form was passed down by Chen Changxing without mentioning its lineage or the historical role of Chen Gong Fake in the evolution from the 74-Form to the 83-Form. It is as if they are forgetting the ancestors, suggesting that Chen Changxing, who passed away over 150 years ago, directly handed down the form to them, thus portraying the form as ancient to claim a broader heritage. However, survival should never make us forget our origins. Only by respecting history, traditions, and predecessors can we better standardize and propagate Chen Style Taijiquan.
In the preface of his book Chen Style Taijiquan: A Synthesis (《陈式太极拳汇宗》, Chén shì tàijí quán huì zōng), Chen Zhaopi wrote: “I studied martial arts in my youth and caught a glimpse of the principles. Later, I traveled far for business. I could not focus on systematic study. Upon returning home, I resumed my practice, under the guidance of my elder family members, Chen Yanxi, Chen Pinsan [Xin], and [Chen] Fu Shengji. I made some progress, but still feel regret at my limited understanding.” From this, we can see that Zhaopi primarily learned from Chen Yanxi, Chen Pinsan, and [Chen] Fu Shengji. However, I believe his primary learning of Chen Style's Large Frame (大架, dà jià) came from Fu Shengji, i.e., Chen Gong Fake. The reasoning is as follows: Chen Yanxi, born in 1827, lived until around 1908, and passed away long before Zhaopi’s return home. His learning under Yanxi must have occurred in his youth before leaving home, while after returning, the main teachings would have come from Fu Shengji.
Moreover, Chen Pinsan (陈鑫, Chén Xīn), who spent much of his later years teaching in Mulan Shop (木欒店, Mù luán diàn), wrote the Illustrated Explanation (图说, tú shuō) of the 64-Form (六十四式, liù shí sì shì). This form differs significantly from the 74-Form in structure and sequence, confirming that Chen Zhaopi, while guided by “three great figures,” actually learned the full Chen Style Large Frame from Fu Shengji, i.e., Chen Gong Fakai.
Teacher Hong Junsheng also recalled in his memoirs the story of how Chen Gong Fake came to Beijing: “Although many people learned from Zhaopi, they hadn't completed the entire routine. Meanwhile, an offer of 200 yuan per week in Nanjing was too good to ignore. Zhaopi, seeing the dilemma, suggested, 'I learned from my third uncle, who is far more skilled than I am. It would be better to have him come to Beijing to teach, and I will go to Nanjing.'”
From this, we can conclude that regardless of whether one practices the 74-Form or the 83-Form, all practitioners of the Chen Style Large Frame today are practicing the tradition passed down by Chen Gong Fake. He is a monumental figure in the history of Chen Style Taijiquan and rightfully deserves the title of “The One True Taiji Man.” This is why we must take Chen Gong Fake’s traditional methods as the standard for practicing Chen Style Taijiquan today.
“Also, it depends on how one defines it, but I would disagree that the Chen Xin 64 form, which is actually 66 movements, is different in sequence. Yes, the form is done somewhat differently, but a side-by-side comparison reveals the same framework and sequence with fewer named movements. Furthermore, Chen Fake’s student, Pan Yongzhou, counts the form he learned from Chen Fake as originally 64 movements with Six sealed four closed (Liù fēng sì bì 六封四闭), occurring 7 times being an uncounted transition movement, and an uncounted first and second Receptions that were counted later bringing the total movements to 73. Equivalent movements also occur in the Chen Xin form but are also uncounted.” –twocirles13