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Tai Chi styles side by side 太極拳流派
From one village in Henan, tai chi was redeveloped again and again – each teacher reshaping it for new students, bodies and purposes. Compare the family styles, their forms, and how each one performs the same movements.
Lineage at a glance
Chen Wangting (Chen Village, 1600s) → Chen Changxing → Yang Luchan (Yang style, 1800s) → Yang Banhou → Wu Quanyou → Wu Jianquan (Wu style)
Yang Luchan + Chen Qingping (Zhaobao) → Wu Yuxiang (Wu/Hao style) → Li Yiyu → Hao Weizhen → Sun Lutang (Sun style, 1910s)
Yang Chengfu → Cheng Man-ch'ing (37 short form) · Yang family → Beijing 24 (1956) → clinical & seated adaptations today
Yang Luchan + Chen Qingping (Zhaobao) → Wu Yuxiang (Wu/Hao style) → Li Yiyu → Hao Weizhen → Sun Lutang (Sun style, 1910s)
Yang Chengfu → Cheng Man-ch'ing (37 short form) · Yang family → Beijing 24 (1956) → clinical & seated adaptations today
The styles
Chen Style
陳式太極拳
Chen Wangting (c.1580–1660) · Mid-1600s
The oldest family style. Visible silk-reeling (chan si jin) spirals, alternating slow and explosive movement (fajin), stamps, jumps and low stances. Two main ro…
Yang Style
楊式太極拳
Yang Luchan (1799–1872) · Mid-1800s
The most widely practised style worldwide. Large, open, even-paced and gentle frame refined by Yang Chengfu (1883–1936), whose 'big frame' became the standard. …
Wu (Hao) Style
武式太極拳
Wu Yuxiang (1812–1880) · Mid-1800s
Small, compact, upright frame with subtle internal opening and closing. Wu Yuxiang studied with Yang Luchan and Chen Qingping (Zhaobao). Transmitted through Li …
Wu Style
吳式太極拳
Wu Quanyou (1834–1902) & Wu Jianquan (1870–1942) · Late 1800s
Recognizable forward-leaning straight body line in bow stance, parallel feet, small-to-medium frame, and refined push hands. Famous for the 108 long form and a …
Sun Style
孫式太極拳
Sun Lutang (1860–1933) · 1910s
Sun Lutang, already a master of Xingyi and Bagua, created this style after learning Wu (Hao) style. High stances, 'follow-step' (gen bu) where the rear foot alw…
Zhaobao Style
趙堡太極拳
Jiang Fa / Chen Qingping (lineage claims) · 1600s–1800s
Close cousin of Chen style with spiralling movement and three frame sizes; includes the He style sub-branch (He Zhaoyuan).…
Cheng Man-ch'ing (Zheng Manqing) Yang
鄭子太極拳
Cheng Man-ch'ing (1902–1975) · 1940s
A 37-posture short form based on Yang Chengfu's teaching, with 'beautiful lady's wrist', soft relaxation and Daoist / TCM emphasis. Hugely influential in the US…
Wudang Tai Chi
武當太極拳
Attributed to Zhang Sanfeng (legend) · Modern schools
Forms taught at Wudang temples (Sanfeng Pai and others) with Daoist breathing and spiral movement, plus the Cheng Tin-hung 'Wudang' school in Hong Kong (a Wu/Ha…
Standardized / Competition Forms
簡化 · 競賽套路
Chinese National Sports Commission (1956+) · 1956 onward
Government-commissioned forms that made tai chi accessible to the public: Beijing 24 (1956), 48 (1976), 88, 32 sword, combined 42 (1989), and style-specific com…
Adaptive & Seated Tai Chi
—
Modern clinicians and teachers · 1990s onward
Evidence-based programs adapting traditional movements for limited mobility: Tai Chi for Arthritis (Paul Lam, Sun-based), Tai Ji Quan: Moving for Better Balance…
Comparison table
| Style | Founder | Origin | Characteristics | For health & mobility |
|---|---|---|---|---|
| Chen Style 陳式太極拳 | Chen Wangting (c.1580–1660) | Chenjiagou (Chen Village), Wen County, Henan | The oldest family style. Visible silk-reeling (chan si jin) spirals, alternating slow and explosive movement (fajin), stamps, jumps and low stances. Two main routines: Yilu (First Road, mostly soft) and Erlu / Pao Chui (Cannon Fist, mostly fast and hard). Frames: Laojia (Old Frame), Xinjia (New Frame, Chen Fake), Xiaojia (Small Frame). | Excellent for leg strength and spinal mobility; low stances and fajin can be adapted or omitted for older beginners. |
| Yang Style 楊式太極拳 | Yang Luchan (1799–1872) | Yongnian, Hebei; spread from Beijing | The most widely practised style worldwide. Large, open, even-paced and gentle frame refined by Yang Chengfu (1883–1936), whose 'big frame' became the standard. Easy for beginners and older adults; the base of the Beijing 24 form. | The gentlest and most adaptable family style; most clinical studies on balance and fall prevention used Yang-derived forms. |
| Wu (Hao) Style 武式太極拳 | Wu Yuxiang (1812–1880) | Yongnian, Hebei | Small, compact, upright frame with subtle internal opening and closing. Wu Yuxiang studied with Yang Luchan and Chen Qingping (Zhaobao). Transmitted through Li Yiyu and Hao Weizhen, so often called Hao style. | Compact stance, little stress on knees; suits small spaces. |
| Wu Style 吳式太極拳 | Wu Quanyou (1834–1902) & Wu Jianquan (1870–1942) | Beijing; later Shanghai, Hong Kong, Toronto | Recognizable forward-leaning straight body line in bow stance, parallel feet, small-to-medium frame, and refined push hands. Famous for the 108 long form and a fast form. | Medium-height stances; the lean is a straight line from heel to head, not a bend at the waist. |
| Sun Style 孫式太極拳 | Sun Lutang (1860–1933) | Hebei; Beijing | Sun Lutang, already a master of Xingyi and Bagua, created this style after learning Wu (Hao) style. High stances, 'follow-step' (gen bu) where the rear foot always follows, open-close hand movements and agile turns. | High stances and follow-steps make it ideal for arthritis, knees and fall prevention. |
| Zhaobao Style 趙堡太極拳 | Jiang Fa / Chen Qingping (lineage claims) | Zhaobao town, Henan (near Chen Village) | Close cousin of Chen style with spiralling movement and three frame sizes; includes the He style sub-branch (He Zhaoyuan). | Wide range from high-frame (gentle) to very low frame (demanding). |
| Cheng Man-ch'ing (Zheng Manqing) Yang 鄭子太極拳 | Cheng Man-ch'ing (1902–1975) | Taiwan; New York City (1964) | A 37-posture short form based on Yang Chengfu's teaching, with 'beautiful lady's wrist', soft relaxation and Daoist / TCM emphasis. Hugely influential in the USA and Taiwan. | Very approachable short form for beginners; good bridge to seated tai chi. |
| Wudang Tai Chi 武當太極拳 | Attributed to Zhang Sanfeng (legend) | Wudang Mountains, Hubei | Forms taught at Wudang temples (Sanfeng Pai and others) with Daoist breathing and spiral movement, plus the Cheng Tin-hung 'Wudang' school in Hong Kong (a Wu/Hao-related lineage). | Many short Daoist health forms (13 movement) suitable for beginners. |
| Standardized / Competition Forms 簡化 · 競賽套路 | Chinese National Sports Commission (1956+) | Beijing | Government-commissioned forms that made tai chi accessible to the public: Beijing 24 (1956), 48 (1976), 88, 32 sword, combined 42 (1989), and style-specific competition sets (Chen 56, Yang 40, Wu 45/46, Sun 73). | The 24 form is the most-studied tai chi routine in medical research. |
| Adaptive & Seated Tai Chi — | Modern clinicians and teachers | Worldwide | Evidence-based programs adapting traditional movements for limited mobility: Tai Chi for Arthritis (Paul Lam, Sun-based), Tai Ji Quan: Moving for Better Balance (Fuzhong Li), seated tai chi from chairs or wheelchairs, and physical-therapist-led blends of tai chi and qigong such as those taught by Dr Adam Potts PT. Figures In Space Tai Chi teaches in this spirit. | Designed for fall prevention, arthritis, Parkinson's, recovery and anyone who needs a gentle start. |
Forms with step-by-step lists
| Form | Style | Steps listed | Created / taught by |
|---|---|---|---|
| Simplified 24 (Beijing Form) | Standardized / Competition Forms | 24 | Chinese Sports Commission, 1956 (Li Tianji et al.) |
| Yang Family Traditional 103 Form | Yang Style | 103 | Yang Chengfu; taught by Yang Zhenduo & Yang Jun |
| Chen Practical Method Yilu – 81 Movements | Chen Style | 81 | Hong Junsheng (1907–1996), taught by Chen Zhonghua |
| Chen Laojia Yilu (Old Frame First Road) – 74 Movements | Chen Style | 74 | Chen Changxing / Chen Fake lineage; standard Chen Village sequence |
| Cheng Man-ch'ing 37-Posture Short Form | Cheng Man-ch'ing (Zheng Manqing) Yang | 37 | Cheng Man-ch'ing, 1940s |
| Wu Jianquan 108 Long Form | Wu Style | 108 | Wu Jianquan (1870–1942) |
| Sun Style 73 Competition Form | Sun Style | 73 | Standard International Competition Form (1991), based on Sun Lutang's 97/98 |
Same movement, different styles
Hover over a movement name to see an animated example; click it for full instructions.
| Movement | Chen | Yang | Wu | Sun | Seated |
|---|---|---|---|---|---|
| Preparation / Wuji Stance 預備式 / 無極式 | Feet shoulder-width, slight knee bend, energy 'gathered' before the first spiral. | Feet together, then step left to shoulder width. | Feet parallel, natural upright posture. | Heels together, toes out at 45°, very upright. | Sit tall near the front of the chair, feet flat, hands resting on thighs. |
| Commencing Form (Raise Hands) 起勢 | Hands rise with a slight spiral and the whole body sinks lower; often followed immediately by Buddha's Warrior Attendant. | Even, gentle rise to shoulder height, press down to hip level. | Smaller rise; feet stay parallel. | Hands rise to chest then push forward and separate in open–close. | Same arm motion while seated; exhale as hands lower. |
| Grasp the Bird's Tail 攬雀尾 | Called Lazy About Tying Coat (Lan Zha Yi) – one long spiralling movement rather than four parts. | Large, round, with clear weight shifts for each of the four energies; done left (ward-off only) and right (full sequence). | Body forms a straight forward-leaning line in bow stance; hands closer to the body. | Compact, with follow-step; open–close hands precede it. | Do the arm pattern with waist turns; shift weight between sit bones. |
| Ward Off (Peng) 掤 | Peng is present in every movement – the 'mother energy'. | Left ward-off opens Grasp Bird's Tail. | — | — | Round the arms in front while lengthening the spine. |
| Lazy About Tying Coat 懶紮衣 | Core Chen movement, practised with full silk-reeling. | Equivalent ideas appear inside Grasp Bird's Tail. | — | Leisurely Tie Coat – smaller, upright and with follow-step. | — |
| Single Whip 單鞭 | Wide horse-bow stance, left hand spirals out to the side; hook hand higher. | Bow stance, left palm pushes forward-left; most repeated posture of the 103 form. | Leaning straight line; narrower stance. | High stance with follow-step and open–close before it. | Open both arms wide to the sides, turning the head to look past the open hand. |
| Buddha's Warrior Attendant Pounds Mortar 金剛搗碓 | Appears at the start and end of Yilu; stamp and fist drop may be done with fajin. | — | — | — | Lift the knee slightly and lower the fist into the palm without the stamp. |
| White Crane Spreads Its Wings 白鶴亮翅 | Hands split diagonally with a spiral; left foot steps to empty stance. | Empty stance, right hand above forehead, left hand by hip. | Smaller, hands closer to body. | Called White Crane Flashing Wings; hands open and close. | Raise one arm overhead, lower the other beside the hip; switch sides. |
| Brush Knee and Push (Twist Step) 摟膝拗步 | Called Walk Obliquely / Brush Knee in Oblique Stance – more diagonal, with silk-reeling. | Large bow stance, repeated left-right-left. | Straight leaning line; push comes from the back heel. | Follow-step after each push. | Sweep one hand across the knee while the other presses forward. |
| Play the Lute (Hand Strums the Pipa) 手揮琵琶 | — | Heel stance, left hand at nose height. | Appears many times between postures as a transition. | Called Play the Lute, done with follow-step. | Lift both hands in front, one ahead of the other, as if holding an instrument. |
| Step Forward, Deflect, Parry and Punch 進步搬攔捶 | Related movements: Hidden Hand Punch and Fist of Covering Hand. | Loose vertical fist, three steps. | Fist punches in straight body line. | Parry and Punch with follow-step. | Turn the waist to deflect, raise the open palm to parry, then extend a soft fist. |
| Apparent Close Up (Withdraw and Push) 如封似閉 | Six Sealing Four Closing is the Chen counterpart. | Withdraw and push, 'as if sealing, as if closing'. | 'As If Seemingly Sealed Shut'. | — | Draw hands back toward chest on inhale, push forward on exhale. |
| Six Sealing and Four Closing 六封四閉 | Always precedes Single Whip in Chen Yilu. | — | — | — | Circle hands up and back, then press both palms forward and down. |
| Cross Hands 十字手 | Cross Hands (Shi Zi Shou) begins section two. | Ends each section of the long form. | — | — | Circle arms out and down, cross wrists at chest height. |
| Embrace Tiger, Return to Mountain 抱虎歸山 | Embrace Head to Push Mountain is a related Chen move. | Starts sections two and three. | 'Carry Tiger to the Mountain'. | 'Carry the tiger' then 'Push the mountain' as separate steps. | Turn the torso to one side, scoop the arms, then draw back and push. |
| Fist Under Elbow 肘底捶 | Fist under elbow with stronger spiral. | Empty stance after a turning step. | 'Fist Under Elbow Punch'. | — | Raise one palm, tuck the other fist under that elbow. |
| Step Back and Repulse Monkey 倒攆猴 | 'Step Back and Whirl Arms' (Dao Juan Gong) – larger circles. | 3 or 5 repetitions stepping straight back. | Narrower stance, more upright. | Very high stance, follow-step backwards. | Alternate pushing one palm forward while drawing the other back. |
| Diagonal Flying (Slant Flying) 斜飛勢 | — | Opens upward to the right corner. | 'Slant Flying Posture'. | — | Sweep one arm diagonally up and the other down, turning the waist. |
| Raise Hands and Step Up 提手上勢 | — | Mirror image of Play the Lute. | 'Raise Hands Above Posture'. | 'Lifting hands'. | Lift both hands forward, one ahead of the other. |
| Needle at Sea Bottom 海底針 | — | Upper body leans with a straight spine. | Deeper incline. | — | Draw one hand up by the ear then reach it down toward the shin, hinging gently forward (only as far as comfortable). |
| Fan Through the Back 扇通背 | 'Flash the Back' (Shan Tong Bei) – a sudden turning flash. | Bow stance facing forward. | — | 'Fan backs' repeated four times. | Raise one hand to the forehead while the other pushes forward. |
| Turn Body and Chop with Fist 轉身撇身捶 | — | Followed by Deflect, Parry, Punch. | 'Rotate Body Away Body Punch'. | — | Turn the torso and let a soft fist arc over and down. |
| Cloud Hands (Wave Hands Like Clouds) 雲手 | Upper, middle and lower Cloud Hands with more spiral and crossed steps. | Side steps, waist leads, 3 or 5 repetitions. | Smaller circles near the body. | 'Wave hands like clouds' with follow-step to the side. | One of the best seated movements – alternate hands circling while the waist turns. |
| High Pat on Horse 高探馬 | Followed by Rub Foot kicks. | Empty stance, palm at head height. | Appears many times; left and right versions. | 'Higher horse'. | Push one palm forward over the other palm drawing back. |
| Separate Foot (Toe Kick) 分腳 | 'Rub Foot' – slap the foot with the hand. | Slow, controlled kick at waist height. | 'Separate Foot Kick'. | 'Toe kick'. | Open the arms and extend one leg straight forward from the chair, then lower. |
| Heel Kick (Kick with Heel) 蹬腳 | Kick With Heel (Deng Jiao) – powerful, sometimes after jumping. | Turn and kick left / right with heel. | 'Turn body kick with heel'. | — | Extend the leg and flex the foot, pressing out through the heel. |
| Strike Opponent's Ears with Both Fists 雙峰貫耳 | — | Fists about a head-width apart. | 'Double Peaks Pierce Ears'. | — | Circle both soft fists up and inward at head height. |
| Step Forward and Punch Down 進步栽捶 | 'Punch to the Ground' (Ji Di Chui) – deep and powerful. | Bow stance, fist toward knee level. | 'Step Forward Punch Down'. | 'Step forward firmly and punch downward'. | Brush across the knee then lower a soft fist toward the shin. |
| Strike the Tiger 打虎勢 | — | Left and right versions. | 'Step Back Hit Tiger Posture'. | 'Subdue tiger'. | One fist to the forehead, the other at the belly, turning the waist. |
| Part the Wild Horse's Mane 野馬分鬃 | Done on both sides with large silk-reeling arcs. | Three repetitions in the long form; opens the 24 form. | Interleaved with Play the Lute. | 'Parting wild horses mane' with follow-step. | Hold the ball, then sweep one hand up-out and the other down, alternating. |
| Fair Lady Works the Shuttles 玉女穿梭 | 'Jade Girl Works at Shuttles' – includes a jumping turn. | Four corners in the long form, two in the 24 form. | 'Jade Lady Works Shuttles'. | Four repetitions. | Raise one forearm above the head and push with the other hand, turning to each side. |
| Snake Creeps Down (Single Whip Squat) 蛇身下勢 | 'Fall and Split' (Die Cha) is the extreme Chen version – a full split to the floor. | Deep crouch; many practitioners use a higher version. | 'Downward Posture'. | 'Lowering movement' – high and gentle. | Slide one hand down the extended leg while keeping the spine long. |
| Golden Rooster Stands on One Leg 金雞獨立 | Golden Rooster with stamping on both sides. | Left and right after Snake Creeps Down. | — | High and brief. | Lift one knee a few inches while raising the same-side hand; hold the chair if needed. Standing version: keep a chair beside you. |
| Step Forward to Seven Stars 上步七星 | 'Step Forward to Ride the Whale / Seven Stars'. | Crossed fists, empty stance. | Also has 'Step Back Seven Stars'. | 'Forward step, seven stars'. | Cross loose fists at the wrists in front of the chest. |
| Retreat to Ride the Tiger 退步跨虎 | 'Step Back to Mount the Tiger'. | Opens arms like White Crane. | — | 'Backward step, riding tiger'. | Separate the hands, one up one down. |
| Turn Body and Sweep Lotus 轉身擺蓮 | 'Double Lotus Kick' / 'Turn and Lotus Kick' – often with double slap. | Full turn then outside crescent kick. | 'Swing Lotus' single and double. | 'Turn body, lotus kick'. | Swing one leg gently out to the side and back without the slap, or skip. |
| Bend the Bow to Shoot the Tiger 彎弓射虎 | — | Fists at temple and chest height. | Same idea, straight-line lean. | 'Draw bow to shoot tiger'. | Turn the waist and extend one fist forward while the other draws back by the temple. |
| Closing Form 收勢 / 合太極 | Final Buddha's Warrior Attendant then closing. | Close Tai Ji – return to the starting spot. | — | 'Yin and yang merging as one', return to Wuji. | Lower the hands to the thighs and take three slow breaths. |
| Hidden Hand Punch (Fist of Covering Hand) 掩手肱捶 | Explosive fajin; appears several times in Yilu and Erlu. | — | — | — | Coil the waist and extend a soft fist slowly – no explosive release needed. |
| Open and Close Hands 開手 / 合手 | — | — | — | Links nearly every posture. | A perfect breathing exercise for seated practice. |
| Hook Hand 勾手 | Hook made with a spiral. | Right hand hook in Single Whip. | — | — | Gently gather the fingertips to improve finger mobility. |
| Shoulder Stroke (Kao) 靠 | 'Lean with Back' (Bei Zhe Kao). | 'Shoulder Stroke' in the old long form. | — | — | Turn the shoulder slightly forward while rotating the waist. |
| Elbow Stroke (Zhou) 肘 | 'Right Elbow Strike' (Shun Lan Zhou). | — | — | — | Gentle elbow swings, turning the waist. |
| Jumping / Double Kick 二起腳 | Jump and slap (Er Qi Jiao). | — | 'Second Raise Foot Kick'. | — | Replace with alternating knee lifts. |
| Step Forward and Punch Groin 進步指襠捶 | 'Punch Pointing to the Groin'. | Old long form. | 'Step Up Finger Stop Punch'. | — | — |
| Front Trick and Back Trick 前招 · 後招 | Laojia & Practical Method section four. | — | — | — | Shift weight forward and back between the sit bones while the hands circle. |
| Blue Dragon Comes Out of the Water 青龍出水 | Laojia Yilu part two. | — | — | — | Coil the waist and extend the arms slowly forward and down. |