If one were to research into martial arts in India one would come across Kushti or wrestling pervasive through many states of the country (Haryana, UP, Punjab, Bihar,  Bengal and Karnataka), Kalaripayuttu (kerela), Silambam (Tamilnadu) or the martial arts of the Nihangs or Sikh Religious Warriors. In addition there are some unique martial arts from the North East of the country among the tribes in Arunachal Pradesh, Manipur, Tripura and Nagaland. Each with its own history, philosophy, myth and folklore. The underlying basis for all would be the need to survive perennial conflicts in a human society. It is said that the warrior monk Boddhidhrma (Dammo) travelled from India to China to spread Buddhism. Finding the student monks ineffectual against robbers he taught them martial arts what is now referred to as Shaolin Gong Fu. In addition to martial arts India has always had a rich tradition of Calisthenics art forms such as Malkhamb (Maharashtra) and the what is now a billion dollar industry- Yoga.

Though Shaolin has had an Indian origin the Chinese had there own martial arts tradition in the form Mien Chuan or Cotton Fist which underwent many transformations before the court poets of the Qing Dynasty coined it Tai Chi. Popularly referred to mythos comprises of a character Zhang Feng, a Taoist monk to some warrior to others, witnessing a confrontation of a White Crane and a snake. The snake was feisty with its lunging bites and the later evading softly with deft moves but hard counter strikes with its beak. This demonstration was the epiphany that led Zhang Feng to conceive Tai Chi Chuan (Mandarin) or Taijiquan (Cantonese)- a martial arts that relies on harmonious inter play of hardness (yang) with softness (yin).

The Taijiquan that author has been associated for 10 years as of writing this would be the Yang family Taijiquan. Yang Luchan (1799-1872) the first patriarch of this style, as per the belief of the author of this note, was instrumental in conceiving Taijiquan itself. As to the folklore associated with it, as per the belief of the author, is an after the fact myth conceived by the court poets and politics. This is entirely due to the chequered history of China in the 16th Century owing to period of tumult. Taiji in this perspective is devoid of its mythical association with Taoist alchemy. But in so doing the attempt is never to water down the complexity and the ingenuity of the techniques that constitutes the art.

Sattva Mushti is understanding Taijiquan that Yang Masters have laid down as is and being open about it. The approach would be to study continually the experience the techniques leaves on the body on a daily basis. The author has been fortunate in achieving a lifestyle where Taijiquan is completely integrated into the waking hours continuously practicing and pondering over it over the course of the many aforementioned years. What can India understand from a Chinese art of Taijiquan? Sattva Mushti in Sanskrit is arrived at by directly translating Taijiquan which is in Chinese. At the same time the author chooses to stay clear of any spiritual over extrapolations rampant in Tai Chi literature. Hence Nei Gong or Qi Gong is outside the scope of Sattva Mushti. Also not entering any martial efficacy debates about Tai Chi as a martial art. The statement would be simple, its a tool box for calisthenics or self defense. Skill in any art is not easy. Skill comes with inordinate repetitions of precise techniques, re-understanding one’s own interpretations of the techniques and subjecting it to realism. To Taijiquan or not to is a personal choice. The author will not wade into that.

The author’s intention is to reach that which is common to all. What he has come to realise is that human movement is both an expression and the gateway to one’s well being. It is supreme and it is too trivialized in popular notions. Misconceptions about body is too rampant and the only credible way is to empower one to understand the body by themselves and give its’ rightful due every moment every time. Taijiquan when used correctly can prove to be a credible tool box and helping one in being in continuous touch with their respective body. Sattva Mushti is an attempt to illuminate, speculate and research into what Taijiquan is and can be. To one of us Sattva Mushti meant – “Intent and intensity in every move! Taijiquan, for the sake of Taijiquan!”