Cheng Man-ch'ing and T'ai Chi: Echoes in the Hall of Happiness

In Search of a Unified Dao:

Zheng Manqing’s Life and

Contribution to Taijiquan

by Barbara Davis, M.A.

Zheng Manqing lecturing at the Shizhong (a.k.a. Shr Jung)

school in New York City, where he delivered a number

of talks on taijiquan, philosophy, and health.

All photos courtesy of Ken van Sickle, except where noted.

Author’s note: In the years since this article was first published, there has been a flourishing of research that relates to Zheng Manqing’s life: Republican-era Chinese history, politics, martial arts and taijiquan, fine arts, material culture, and so on. Much important work has been done on Zheng himself, and a number of projects are in progress, including a documentary film, The Professor, about Zheng’s New York years, by Barry Strugatz and Ken Van Sickle, and a full-length biography by Barbara Davis. This article is reproduced as published in 1996, with several corrections.

In little over 150 years, taijiquan has grown from being a family-held tradition in a small village in northern China to become an international phenomenon. Of the many people who have been involved with its growth in the twentieth century and in its movement to the West, one of the most influential figures was Zheng Manqing.

Like his predecessors in the Yang family lineage, Zheng was instrumental in helping taijiquan reach new audiences. His erudition, skill, personality, and his social connections all helped in this. Zheng brought to his teachings a thorough knowledge of several disciplines, and to his writing a depth of classical learning that the taijiquan world had until then not seen.

As a result, Zheng Manqing indisputably has had a great impact on how many of us now think about and practice taijiquan. Now, decades after Zheng Manqing’s death, it is helpful for us to examine the details of his life and the cultural and historical environment that nurtured his ideas, so we may better understand his unique contributions to the world of taijiquan. As many readers may not be familiar with the full scope of his writings, an extensive bibliography has been appended that lists Zheng’s many works, and those written about him.

The World of Traditional China

To talk about Zheng Manqing, or any Chinese traditionalist for that matter, we must start with Confucius. Over 2,400 years ago, the great sage said to his disciples, My Dao is that of an all-pervading unity.¹ These deceptively simple words (yet so difficult to implement) became a motto for his followers throughout the centuries, including the young Zheng Manqing.

Confucius’s ideas are rooted in humanism, and are expressed in proper behavior and relationships. After his time, his ideas became codified in traditions, curricula, and laws. He is revered in China as the First Teacher. He promoted respect for the ancients, broad learning, and careful reflection. Confucius and his teachings became the very symbol of traditional China, and had a profound impact on all aspects of Chinese society and that of much of East Asia.

A twentieth-century paragon of Confucius’s teachings, Zheng also became a teacher, one who welcomed all who were serious about study, regardless of nationality. He emphasized in all of his work an unrelenting quest for the ideals of Confucius and his early interpreter, Mencius.

However, by the time Zheng was born, at the beginning of the twentieth century, the traditional society that Confucian ideas had so influenced was crumbling away, torn from inside and outside by the forces of change and modernization. Yet throughout his life, Zheng remained drawn to the world of the traditional scholar, or literati, a world steeped in poetry, art, philosophy, and history.

Zheng and his peers struggled to understand their circumstance at the turbulent nexus of tradition and modernity. Many chose to cast away the old ways and pursue Western-influenced sciences and social structures in hopes of building a new society that would be unfettered by the weight of history and tradition. On the other extreme, for many traditionally minded people, the task was one of accepting the dominant trends toward modernization, but maintaining and utilizing the strengths of the past. Zheng argued for this latter ideal his whole life.

Zheng wove together his many talents and interests with seeming ease, untiringly guiding others. He followed the Dao, or Way, of Confucianism, which emphasized above all else human relations. Zheng coupled this with an unswerving loyalty to family, friends, students, and country.

Accomplished at painting, poetry, calligraphy, taijiquan, and medicine, Zheng was known in his later years by the sobriquet Master of Five Excellences. Today his followers still respectfully refer to him as the Professor, and he is recognized around the world for his contributions to taijiquan. In Taiwan in particular, his paintings and calligraphy are prized possessions. Among his students, friends, and patients, his medical skills were considered superb and subtle. Beyond these accomplishments, he is remembered by many as an eloquent and gifted teacher and writer. His wide-ranging interests and multiple talents provided him with a rich ground for cross-fertilization of ideas. These talents, together with the circumstances of his life, presented him with opportunities to make unique and influential contributions.

Even now, decades after his death in 1975, Zheng Manqing has continued to accumulate taijiquan followers through his books and through the continued efforts of his direct and indirect students. But what made Zheng so influential? What was unique about his work? To answer these questions, we will first look at the life and surroundings of this multidimensional man.

Zheng Manqing’s Life

Zheng was born in the waning years of the Qing dynasty, on July 29, 1902.² His given name was Yue. He later took the name Manqing (Man-ch’ing), and used Manran (Man-jan, Beautiful Whiskers) in his fifties.³ He often used pen names in concert with these names, including Hermit of the Jade Well, Host of the Tower of Long Evening, and Old One Who Never Tires of Learning.⁴

Zheng was a native of the Yongia district in the fertile province of Zhejiang (Chekiang), on the southeast coast of China. This small port town and surrounding district, all now known as Wenzhou, is on the mouth of the Ou River, a short distance from the coast of the East China Sea.⁵

Zheng was the youngest of six children.⁶ His father died when he was very young, and the family was poor.⁷ Zheng’s mother’s surname was Zhang.⁸ During his childhood, she taught him herbal medicine, calligraphy, and poetry. He tells that when he was a child, he would tug at her sleeve and plead with her to recite Tang dynasty poetry to him.⁹ When he was six, she began to teach him calligraphy. Her sister, Zhang Guang, also known as Old Lady Redfern, was a painter of some renown who later helped him develop his skills at the outline style of painting.¹⁰

Zheng was precocious and had a photographic memory, but his childhood was also marked by illnesses and a major accident. When he was about nine, he was hit in the head with a brick from a crumbling wall and fell into a coma for several days. When he came to, he had lost his memory. To help him recuperate, the family used herbal remedies, and then apprenticed him to a local painter, Wang Xiangchan, in hope that simple work like grinding the painter’s ink would be therapeutic.¹¹ As he recuperated, the many hours in the studio made a lasting impression on the young boy, and he began to practice painting, at first on leftover paper wrappers from his grandmother’s medicines.

By the age of fourteen, Zheng had mastered painting well enough that his teacher sent him out on his own. In the traditional manner, Wang gave him a studio name (Wisteria Flower) and set prices for his paintings, thereby initiating him into a professional life that would span decades and continents. Zheng spent the next several years in nearby Hangzhou, a renowned center of the arts, where he studied painting, poetry, and calligraphy. He was soon able to support his family by means of his artwork. Even in these early years, his painting favored the expressive xieyi style of brushwork; as for subjects, he concentrated primarily on flowers and plants.¹²

When he was seventeen, Zheng went to Beijing. It was 1919, just as the May Fourth reform movement was reaching its height. This movement was made up of students and intellectuals who questioned the old structures of governance, education, and society. They sought to open up China to new ideas from Japan, Europe, and the United States, in an effort to shed what they thought of as a stagnant past. They also promoted the use of vernacular Chinese in writing, rather than the classical Chinese that had been the mainstay of the written word since long before Confucius.

Zheng Manqing moving through the taiji forms.

In Beijing, Zheng became a member of several circles of poets and painters, who were for the most part older gentlemen of a traditionalist bent. These connections eventually led to an invitation to teach poetry at Yuwen University in 1924. That same year, Cai Yuanpei, chancellor of Beijing University and a fellow native of Zhejiang Province, recommended him for a teaching position at National Zhinan University in Shanghai.¹³ In Shanghai, Zheng was invited to be director of the painting department at the Shanghai School of Fine Arts and was later involved with the start up of the College of Culture and Art. In 1925 he had a solo art show at the Shuixie Pavilion in Beijing’s Central Park, and was sent by the Ministry of Education to Japan to do research on the arts. The next year, he assembled his first collection of paintings.¹⁴

Zheng began to study medicine more rigorously in his midtwenties. Building on the base that he had gained from his mother, he began to study around 1926 with Dr. Song You’an of Anhui Province, whom he had met in Shanghai. His medical training encompassed both practice and theory, and became a major part of his livelihood, as well as an important aspect of his understanding of taijiquan.

Zheng had a weakened body since childhood. He contracted tuberculosis while in Beijing, and still was suffering from it when he went to live in Shanghai. When a friend suggested he take up taijiquan to regain his health, Zheng assented. Earlier in his life he had studied some taijiquan as well as exercises such as baduanjin and yijinjing in efforts to strengthen himself.¹⁵

In the mid-1920s, Yang Chengfu (1883–1936), one of the well-known members of the Yang family lineage of taijiquan, began teaching in Shanghai with his senior disciple Chen Weiming (1881–1958). They founded the Zhi Rou [Attaining Softness] Taijiquan Society.¹⁶ In 1932 Zheng Manqing was introduced by an acquaintance to Yang Chengfu and commenced close to six years of study with Yang.¹⁷ Zheng won Master Yang’s favor after healing Yang’s wife from a serious illness. At her urging, Yang taught Zheng without holding anything back. Zheng was a quick learner, and after only a year made great progress. Zheng also briefly studied with Zhang Qinlin, who was from Taiyuan, Shanxi Province.¹⁸

By 1930 Professor Zheng had retired from college teaching, and spent time in neighboring Jiangsu Province, where he studied essay and poem writing with Qian Mingshan.¹⁹ He was soon able to put his improved writing skills to good use, as Yang Chengfu called upon him to write a preface for, and, as many assert, to ghostwrite Yang’s 1934 book Taijiquan tiyong quan shu.²⁰ Zheng’s preface draws in ideas from the Yijing, the Book of Songs, and the Daodejing among others, demonstrating his early efforts to synthesize classical learning with taijiquan. In his hands, taijiquan was not merely exercise or boxing. It was part of the Confucian Dao he so admired.

The War Years

In 1895 the Japanese took control of southern Manchuria and Taiwan, and forced many humiliating concessions from the Chinese. The encroachments continued until 1937, when the Japanese launched a brutal war against the Chinese. This lasted until the Japanese surrender at the end of World War II. The two main players in China, the Communists and the Nationalists (the Kuomintang or Guomindang), were able to put aside their differences for a time to unite against their common enemy. But as soon as peace was declared on the international front, full-scale civil war broke out at home. At the time the Sino-Japanese War began, Zheng Manqing was practicing medicine full time. He had previously taught taijiquan at the Central Military Academy (formerly named Huangpu or Whampoa) in 1933. He now assisted the military in the war efforts by teaching taijiquan in Hunan (for the provincial government) and Sichuan (for the Central Military Training Group), and by writing medical prescriptions useful to the military.

The Nationalist government relocated westward to Chongqing in 1939, in Sichuan Province. Zheng moved along with it. Now thirty-seven, he continued to practice traditional medicine and teach taijiquan. With his colleagues he formed and then served as president of the National Chinese Medical Association. This group’s purpose was to help promote traditional medicine, which was under attack by modernizers enamored of Western science and medicine. Zheng served as a member of the National Assembly for the Construction of the Constitution in 1946, and as a representative for the Community of Doctors of Traditional Medicine to the National Assembly in 1947. He married Ding Yidu when he was forty. She was the daughter of an Air Force official and had studied medicine at Beijing University. Together they had five children: three girls and two boys.

It was during this period that Zheng worked on condensing the hundred-some moves of the Yang family taijiquan form he had learned from Yang Chengfu down to thirty-seven moves. In 1946, while still in Nanjing, he completed work on his first taijiquan book, Zhengzi taijiquan shisan pian [Master Zheng’s Thirteen Treatises on Taijiquan]. This book was aimed at the serious practitioner and in its first part delved into the deeper philosophy and medical substantiations for taijiquan practice. The second part was a thorough examination of the martial application of the moves, along with photographs. The war interfered, however, and the manuscript was not published until 1950, when Zheng and his family were safely in Taiwan. The book received support from high places. Among its calligraphed dedications are ones by President Chiang Kai-shek, Control Yuan President Yu Youren, and elder classmate Chen Weiming. Chen’s support was particularly important, due to his high status among Yang Chengfu’s senior students and as a well-educated early taijiquan writer himself.²¹

Zheng Manqing moving through the taiji forms.

In Taiwan

The Nationalist government was to relocate yet one more time. When the mainland fell to the Communists, millions of people who had been connected to the Nationalist effort took refuge on the island province of Taiwan, a hundred miles off the southeast coast of China. The nationalist governmental seat was now activated in Taibei. Under the guidance of Chiang Kai-shek and the Guomindang, a governing body for all of China—in absentia—was put in place. The civil war ostensibly over, a cold war ensued, with martial law kept in place on the island until 1987.

The mainland refugees considered Taiwan to be a temporary haven until the mainland was retaken. From behind the cold war barricade, the Nationalist refugees turned toward developing Taiwan economically, creating a free China that would prove their politics correct. The Nationalist government presented itself in international politics as the true China, holding the much-coveted United Nations seat until 1971. They continued to seek and receive United States aid, and served as an important outpost and staging ground for it in the Korean and Vietnam conflicts.

In this atmosphere of resettlement, Zheng Manqing quickly reestablished a sense of normalcy. He started new poetry and calligraphy circles, and became involved with the national arts scene by helping to start and run the Republic of China Fine Arts Society. One of his more influential painting students was Madame Chiang Kai-shek. He was invited to teach poetry, painting, and calligraphy at the graduate school of the College of Chinese Culture in Taibei.

Zheng taught taijiquan publicly for several years at the request of the Taibei mayor. Usually, however, students came to him via personal introductions. If they did not yet know the taijiquan form, a more senior student would be assigned to teach it to them. Students would gather informally on the weekends to work out in the courtyard of his home in Yonghe (a Taibei suburb). Zheng titled his group the Shizhong [Correct Timing] Taijiquan Center, which continues to operate to this day under the guidance of his direct students.²²

In 1961, at the age of sixty, Zheng published his second collection of paintings, Manran xieyi, as well as a short work on gynecology and his first volume of poetry. In 1962, perhaps sensing the future of taijiquan’s growth, he published an English instructional book, Taijiquan for Health and Self-Defense, through the Shizhong Center. This book, aimed at the beginner, illustrated his simplified form and articulated his philosophy of taijiquan. In 1965 a Chinese book, Zhengzi taijiquan zixiu xinfa [Master Zheng’s New Method of Taijiquan Self-Cultivation] came out. This book described the moves in detail, with photographs and foot charts, and also contained a reprint of the thirteen chapters previously published in Zheng Zi taijiquan shisan pian [Master Zheng’s Thirteen Treatises on Taijiquan]. In 1967 he published a second English-language text, T’ai Chi, in collaboration with his student Robert W. Smith, an American martial arts historian.

Like many of his contemporaries in Taiwan, Zheng felt the pain of separation from his family. Torn from each other by years of war and exile, his writing showed little of his feelings. It is only in his poetry that the depth of this hurt and the conflicts it raised are revealed, as is shown in Receiving a Letter from Home:

After New Year’s a letter from home arrives

My soul is cut off from a dream, it is difficult to return.

My younger brother has died from who knows what illness,

Mother is aging, with no one to lean on,

In her desolate hut, tries to make a living from a tiny piece of land, Passing the days, suffering unending hunger.

In the waning night, in tears longing for her son,

Sobbing, not daring to wipe away the tears.²³

A low-grade state of war was still in effect between the mainland People’s Republic of China and the Taiwan-based Republic of China. There was no way for him or others to communicate directly with their families left behind on the mainland. This sense of isolation and loss, combined with the terrible weight of not being able to fulfill their filial duties toward their parents, was a burden never resolved for many of his generation who found themselves in exile.

The American Years

In 1964 Zheng travelled to Europe and the United States to mount exhibits of his artwork. He had a one-man show in Paris at the Cernuschi Museum of Chinese Art, and then exhibited at the Republic of China pavilion at the New York World’s Fair. While in the United States he gave a demonstration of taijiquan at the United Nations, and met up with many old friends from the Chinese mainland. One of these friends encouraged him to stay in New York City so as to be able to write and teach.²⁴ Zheng decided to settle in Manhattan with his family and yet again he set about establishing venues for his practice of medicine, painting, and taijiquan. Within a short time of his arrival in New York City, he had established the New York T’ai Chi Ch’uan Association in Chinatown with the help of local sponsors. This center soon became the locus of many of his activities. It was here that he taught taijiquan, saw patients, and gave lectures.

Zheng was one of taijiquan’s earliest and foremost proponents overseas. He said, I not only desire my country to be strong, I would also like to share the benefits of taijiquan with all mankind.²⁵ He willingly taught non-Chinese as well as his fellow countrymen, men and women equally, and made full use of his books, lectures, articles, and even movies to disseminate his ideas.

The center, on Canal Street in Chinatown (and in 1971, the Shr Jung Center on Bowery, after a split between the association sponsors and Zheng) quickly began to attract an interesting mix of students.²⁶ Word had passed quickly around in both Chinese and martial arts circles that a taijiquan master had come to town. Among his early students were overseas Chinese, who ranged from businessmen to restaurant workers. There were many Americans, including serious martial artists, as well as a large number of hippies.

Zheng seemed to care deeply for his students, regardless of their nationality, and treated their foibles with a sense of amusement. He seized the chance to influence them, both in the Chinese tradition of teacher as surrogate parent, and as a representative of Chinese culture.

Now in his sixties, Zheng had come to the United States at a time when many American youth were rebelling against their parents and teachers, and against the draft and the war in Vietnam. Demonstrations and fierce political debates were commonplace, as were free love and the use of drugs. Anyone in a position of authority—or anyone over thirty—was automatically suspect.

Into this social turmoil walked Zheng, who, as a master from the Far East, could