A Brief Introduction to Cha Quan

Cha Quan (查拳) is one of the major styles of Chang Quan Men (长拳門), Long Fist School and, along with Hua Quan (滑拳), had a great influence on the development of Contemporary Wushu.

There are different versions regarding the origins of Cha Quan but none of these can be substantiated by documented facts. This history has been transmitted mostly through oral tradition and legends. The most popular account traces its origins to Cha Shangyì (查尚义), also known as Cha Mier (查密尔), a Muslim from the province of Xinjiang (新疆). During a military campaign, Cha Shangyi fell ill and was recovering at Yin Zhuang (尹庄) village in Shandong Province (山东). Highly skilled in martial arts, as gratitude for housing him and helping him heal, Cha Shangyi taught his skills to the villagers.

From Shandong, Cha Quan spread to other neighboring provinces of North China and remains a treasured martial art among the Hui people (the Muslim Chinese).

Cha Quan’s Major Schools

During the late Qing Dynasty period, Cha Quan evolved into three schools, each taking its name from the master who propagated the style. These are:

The Zhang Style, spread by Zhang Qiwei (张其维1850-1934). This style can be described as fast and compact.

The Yang Style, propagated by Yang Hongxiu (杨鸿修1864-1944). This style is upright and graceful.

The Li Style, taught by Li Enju (李恩聚 1859-1932). This style is powerful and continuous.

Ji Ben Gong ( 基本功) – Basic Training

As with all Long Fist Styles, Ji Ben Gong, or Basic Training, is a prerequisite for building a strong foundation that will serve as a launching platform for more advanced Cha Quan skills. Traditionally, masters were meticulous and demanding of their students, and so a great deal of time was devoted to Ji Ben Gong.

Proper training and attention to detail developed proficiency in the following skills:

Shou Xing (手型) – Hand Forms
Shou Fa (手法) – Hand Methods, which include all types of strikes
Bu Xing (步型) – Stances
Bu Fa (步法) – Footwork
Tui Fa (腿法) – Leg Methods, which include kicking and sweeping
Yao Fa (腰法) – Waist Work
Shen Fa (身法) – Body Work, which requires the integration of all the above skills

Five Animal Characteristics

As training progresses, Cha Quan practitioners adopt and incorporate the characteristics of five animals to manifest certain qualities in the execution of specific movements. These five animals are: Long (龙) – Dragon, Hu (虎) – Tiger, She (蛇) – Snake, He (鹤) – Crane, and Hou (猴) – Monkey.

These characteristics are not meant to mimic the actual movements of the animals; instead, they are meant to embody the special qualities associated with each.

The Dragon ascends and descends naturally. Its body meanders, rising and falling, and ever-changing. Some movements leap high in the air while others descend low to the ground. The route of movement can curve in different directions.

The Tiger displays bravery and pounces with powerful swiftness. Even when sitting it does so majestically. Its gaze is like a laser beam, fierce and penetrating. Cha Quan punches and kicks are swift and powerful like a tiger pouncing on its prey.

The Snake slithers, folds, winds, and turns with vigor and ease. It can get into a hole quickly. Cha Quan requires pliable and flexible body work, just like a snake.

The Crane displays stillness in movement. It is graceful and stable and able to stand on one leg, balanced and motionless for a long time. Cha Quan contains many movements that require balancing on one leg; these must be executed with poise, like a crane.

The Monkey is adept at jumping and climbing. It is agile and light, alert and sensitive. Cha Quan’s body work employs dodging and turning movements, quick jumping and entwining like a monkey.

In conclusion: This is but a brief introduction to Cha Quan. An in-depth exploration of the style is beyond the scope of this post. To summarize: Cha Quan is distinguished by its neat and compact structure, rigorous and clear movements, jumping and leaping actions, explosive and precise power climax, flowing and coordinated actions, and a blending of hard and soft.

The Sixteen Character Formula

Cha Quan training revolves around the Sixteen Character Formula, known as Shi Liu Ge Zi in Chinese. The formula is made up of eight combinations of two characters each. These are: Gong Zheng (工整) – Stable and Neat; Liu Chang (流畅) – Flowing and Smooth; Qing Ling (轻灵) – Light and Agile; Pioo Yi (飘逸) – Elegant and Graceful; Zong Chuu (纵逴) – Vertical and Distant; Xiong Hun (雄浑) – Vigorous and Firm; Zhen Mi (缜密) – Meticulous and Deliberate; Duan Yan (端严) – Proper and Tight.

When these Sixteen Characters are incorporated and blended into one’s practice, they add structure to the individual movements and bring life to the performance of routines. It is adherence to this formula that fosters the qualities that distinguish Cha Quan as belonging to Chang Quan Men, the Long Fist School.

My Journey in the Style

I brought Li Enjiu (李恩久), an expert well known for Cha Quan, Praying Mantis, and Chen Style Taijiquan, from China. He visited my school 3 times (Li Enjiu was not able to obtain a visa after his third visit). My only interest was to learn Cha Quan so as to gain a more in-depth knowledge of the structure of the Northern Long Fist styles that we already practiced. Since our students have always competed in tournaments, I found that the Cha Quan hand and weapon forms were well received. I added some forms specifically for competition. Cha Quan also deepened my understanding and improved the quality of Mizong Luohan, one of our primary Northern styles. 

Note: The Li Enju (李恩聚) who propagated the Li Style of Cha Quan and the Li Enjiu (李恩久) mentioned above have the first two characters in common. The third character in each name is different. Note the different tones on the third character in Pinyin. The former Lǐ Ēnjù, and the latter Lǐ Ēnjiǔ.

Some excerpts for this post are from an article I wrote on Cha Quan for the Journal of Chinese Martial Arts, in collaboration with Alex Liu.