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Chen Fake, a seventeenth generation family practitioner, and ninth generation stylist from Chen Wangting, is recognized as one of the greatest practitioners of his family's style in the 20th century. Chen Fake (pronounced: Fah Ke) brought the Chen family style of Taiji out of the closet as it were, and into mainstream martial arts when he went to Beijing in 1928. Although, Taijiquan had already went public in 1911, thanks to Yang Luchan, Yang Shouhao, Yang Chenfu, and Wu Jianquan.

Chen Fake was initially regarded as something of a novelty in Beijing, because he was both a Chen family member and practiced the style that greatly influenced the publicly known styles' development. It was soon clear that he was much more than a mere novelty. By all accounts, Chen Fake possessed superior skills.

In my opinion, those who claim to be his students, or students of his students, seem to miss even some of the most obvious aspects of Chen Fake's practice. This is exemplified by the subtle movements in his joints, especially in the extension of his elbow. Many of the practitioners who follow Chen Fake's lineage demonstrate constantly bent (and unbending) elbows that do not penetrate or twist with power whatsoever. Instead, they rely on tricks or force to carry forth some overt resemblance of power. Tricks and strength that can be rendered useless by those who use the true internal approach or possess an iron shirt (or fortress of steel within stillness).

Picture : Chen Zhaokwei, "Lazy About Tying a Coat"

Chen Zhaokwei is widely recognized as one of the most gifted of the Chen family practitioners of the 20th century. Pictures and drawings of Chen Zhaokwei also demonstrate a strong center of gravity and further exemplifies the extension of the elbow when issuing power. Chen Style is not about showy, external power. (A recent periodical comes to mind which describes this showy version of Chen style as being the correct approach as being like a lion stalking their prey.)

Real Chen Style, (regardless of lineage) is about the power of softness. When the joints are soft and correctly positioned, the relaxed structure can provide the power instead of the muscles. One description is that the practitioner moves more like a peacock with no bones, not like a screaming rooster with their feet stamping, their cages shaking, and their eyes glaring. Such displays should be saved for the circus or theater. It is out of place in an art with the history and sophistication of Chen Style Taijiquan.

There are many other Chen Masters world-wide as skilled as Feng Zhiqiang. One such teacher is Chen Zhaokwei’s top student, Ma Hong. When he demonstrated in Handan City, Yongnian in 1993, I was amazed at his ability to emit jing and fa-jing from any posture at any time. This is contrary to what is usually demonstrated by even the most advanced Chen stylists: typically there are set places in the form where fa-jing is to be “performed.” Ma Hong has written a great amount of material on Chen Style, and his books are popular not only in China but around the world.  

Below: The late Zhou Yuan Long (Who may be best known for his drawings of Chen Zhao Kwei, Chen Fake, Yang Cheng Fu, Wu Jianquan, Hao Shao Ru, Jiang Rong Qiao, and many others).

Mastering Chen Style Taijiquan requires a great deal of patience and fortitude. It's a mistake to think that once you sense the power of Taijiquan - and can harness and externalize it - that you are proficient in the style. It's an even greater mistake to discover Chan Su Jing, and because you can twist about, to think that you know the art of Chen Style Taijiquan. It is best to avoid learning versions of the style that were developed for competition and show, as they were developed for just that and are unlikely to provide the foundation for learning the adhering, soft, audible force central to this art.