Karate
Karate, is a compound word meaning 'empty hand.'
Kara, (empty) can mean. 'as nothing in the hand' or can be related to
the concept of 'mu shin.' Te means hand. There are
three types of karate in a system. There is budo, or kumiai justsu which
is directed at the study of karate for self defense and combat, kyogi
which is karate practiced as sport, and buyo which is the use of
karate as exercise or performance.
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Isshin-Ryu Practitioner (Karate-ka)
A person who studies Isshin-Ryu Karate. This document is the
result of a collective effort of Isshin-Ryu practitioners who have
collaborated to help write the following descriptions. It is dedicated and
belongs to the many who have contributed in correspondence, conversation,
training, and personal interviews with Tom Saunders in collaboration
with
Carol Womack, Jeff Perkins, A.J. Advincula, Sherman Harrill, Harry Smith,
Victor Smith, Joe Jennings, Marilyn Fierro, Toby Cooling, Kichiro Shimabuku,
Angi Uezu, Milledge Murphy, Bob Dockery and many more than can be listed
here.
Those listed here are all
experts who have dedicated their lives to the art and science of Isshin-Ryu
Karate, and helped with this Glossary.
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Basic Moves
Karate encompasses many aspects of martial arts including
those skills within of Tegumi, an ancient Okinawan grappling art. Beside the
basic strikes, kicks and blocks are: Tuidi (Grabbing), Nage-Waza (Throws &
Takedowns), Kansetsu-Waza (Joint-Locks), Shime-waza (Chokes & Strangles),
Ne-Waza (Ground-Fighting), Gyakyu-waza (Counters) etc."
A set of basic strikes, kicks and blocks are an integrated
part of karate called 'Kihon." The exact number and types of
techniques can vary from dojo to dojo, and from practice to practice. A
solid understanding and proficiency of the basics are necessary for the
practice of kata.
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Basic Kicks (Geri-waza)
Front snap kick, forty-five degree angle kick, crossover
kick, side knife -foot kick, cat stance kick, back kick, side angle squat
kick, front thrust kick, and knee kick.
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Punches (Uchi-waza)
Straight forward punches (right and left), upper punches.
shuto or open hand strikes, hammer fist, and knuckle or finger punches, (nukite).
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Blocks (Uke-waza)
Upper, middle, and lower
blocks with closed fists, or shuto hand blocks. Blocks are often practiced
in conjunction with strikes.
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Kata
Kata refers to the forms or set sequencing of moves
practiced in karate. Katas are "virtual libraries" handed down in karate
systems. They contain patterns of techniques and individual techniques
composed of the basic moves and patterns of execution for the 'basis' of a
karate system.
Katas serve as models for the application of karate
techniques in set patterns or models for the use of blocks, punches, grabs,
joint locks, kicks, throws, and other basic fundamentals of karate
application. Kata has many aspects related to the 'uru' or hidden parts of
karate study.
Isshin-Ryu kata comes from various sources and other karate
systems, except for the kata Sunsu which was developed by Tatsuo Shimabuku
expressly as a representation of Isshin-Ryu Karate. The two primary karate
systems from which Isshin-Ryu is derived are Shorin-Ryu, and GoJu-Ryu.
Others are (many).
Bunkai:
The term 'bunkai' refers to the taking apart or analysis of
the techniques learned in a karate kata, as an application for self-defense.
Bunkai is sometimes a set form of interpreting moves, usually governed by
particular application of karate contained within kata. Techniques in a kata
can have various interpretations applications, and levels of understanding,
as can the bunkai which is to correspond to particular moves within a karate
form.
The practice of bunkai, using applications for kata
movement, may have been introduced to Okinawan Karate as early as the
1700's, and evolved in different ways. Techniques learned in the practice of
bunkai include blocks, punches, grabs, kicks, throws, locks and others.
Practices in karate called 'kumai jutsu' or 'ippon kumite'
(one point fighting) are used in learning bunkai and oyo. This seems to have
a long tradition in Okinawan karate, thought to have been handed down from
Ku Shanku, a Chinese Master. Bunkai has different levels of understanding.
Various advanced, and complex techniques are practiced from interpretations
of different kata, including weapons. Bunkai can be practiced with a
partner, or alone.
Oyo
Oyo is a term meaning application or putting to a particular
use (Kodansha's Furigana Japanese Dictionary, 1999) Oyo, like bunkai is
another term used to qualify moves garnered from kata, but this refers to
another level of interpretation which does not always correlate with
specific or generally known applications of a kata technique. Oyo can be
techniques implicated according to a given condition.
Oyo, is best practiced with partners. There are levels of
oyo like there are levels of bunkai. Oyo can range from the simple execution
of karate application, to applying complex theories of kata, not necessarily
related to particular moves within kata. Oyo stresses utility, while bunkai
stresses analysis.
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Chinkuchi
Chinkuchi is a basic learned physical element used in
the execution of karate moves and applied in kata, kumite, and generally
applied in the execution of all karate techniques. Chinkuchi is an aspect of
the 'uru' or hidden parts of karate.
Chinkuchi is a physical conditioning process and focus of
mind and body, which employs the skeletal muscle system, sinew, connective
tissue, and balance to hasten and strengthen the striking velocity or
absorption of a karate blow. The physical act of employing chinkuchi in
karate moves is to help enable the practitioner to brace himself for the
impact of a blow, protect his joints from hyperextension, and add strength
and speed to the technique.
Chinkuchi is both an offensive and defensive focus of the
mind and body which adds physical strength to the economy of human motion.
In Isshinryu karate the joints of the arms legs and hips are tightened and
locked without totally extending the joints, which protects them from
injury.
Chinkuchi can be applied to the entire body as with the
practice of dynamic tension kata such as Sanchin, or learned to be applied
into individual parts of the body. It is a mental and physical process which
is learned in stages and degrees and can be applied with weapons.
The learning and application of chinkuchi in karate
technique is viewed to be a vital asset in the application of karate for
self defense. It adds power, and supplies added strength, and speed which is
not seen in all karate systems. The application of chinkuchi in the
execution of a karate technique is visible to those who practice this
application. It is characterized by the audible snapping from kicks and
punches in the execution of techniques by advanced practitioners. Techniques
can be seen as being executed from a soft to hard form of delivery which
prevents the joints from locking, but adds velocity to the blow in
aggressive moves.
Chinkuchi is learned as an applied theory of karate directly
related to many hard-soft theories of martial arts. It is meant to be
applied as an integrated part of a technique. Many instructors use the aid
of analogies and visualization to help apply chinkuchi to various
applications. The process is best learned from instructors, and is learned
mostly from example.
Chinkuchi is taught as part of the overall development of
techniques in classical karate systems of Okinawa, such as Isshinryu, Go-ju,
and others. Like applications in other martial arts may exist in whole or
part and may be known by other names. Many practices in the application of
classical karate may contribute to the development of chinkuchi in the
karate-ka.
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Ki
Ki, also known as 'chi,' is the life force or vital energy
engaged in the process of executing both mental and physical execution of
karate techniques. Ki is associated with the 'chakras' and most closely in
karate with the 'tanden' (From Dantian in the
Chinese) or lower solar plexus, which is the center of focus in
karate technique. There are also 36 vital points listed from the ancient
text the Bubishi. These points are considered as preferred targets, and
correspond in line with the concept of meridians as they exist in
acupuncture.
The flow of chi in the meridian system is focused along the neural,
skeletal and vascular pathways. In the simplest terms, 36 vital points exist
as vulnerable targets. These 36 vital points exit at the junctures of the
skeletal system, everywhere there is a joint. This system includes vital
organs of the body, were meridian lines also exist which are not aligned to
the skeletal system.
It is not clear how the meridian system and the chakra system combine, but chi should be thought of as
a connecting factor or force in the body. The 36 vital points (kyusho) as
listed in the Bubishi are:
1. Coronal Suture, 2. Frontal Fontanel, 3. Temples, 4. Eyes, 5. Ears, 6.
Mastoid process, 7. Philtrum, 8. Chin (indentation), 9. Neck, both sides,
10. Throat /larnyx, 11. Supprasteranl fossa, 12. Supraclavicular fossa, 13.
Posterior midline, 14. Seventh cervical vertebra, 15. Breast bone, 16.
Xiphoid process, 17. Axilla (armpit), 18. Fourth Thoracic Vertebra, 19.
First Lumbar Vertebra, 20. Tip of coccyx, 21. Below the umbilicus, 22.
Testicles, and prostate nerve, 23. Seventh intercostal space, 24. Tip of
eleventh rib, 25. Inginal region, 26. Biceps, lateral side, 27. Forearm, 28.
Wrist crease, interior, 29. Wrist crease, anterior, 30. Hand between thumb
and forefinger, 31. Hand, web between ring, and small finger, 32. Lower
thigh, 33. Back of knees, 34. Ankle, inside, 35. Ankle, outside, 36. Foot,
crese (Crease) between second and third
metatarsophlengeal (metatarsophalangeal)
joint.
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Forms of Ki/Chi are:
Primal or Original Chi. The location of this point is
commonly associated as being located between the anus and sex glands. Call
this organic chi which refers to the digestion with emphasis on the kidneys
and other intake and outage systems of the body
(2 chakras here: Mudlahara chakra (1-base of spine) and swadishthana
(2-genitals).
Gu-Chi- Is the energy derived from food that we absorb
into our bodies. This refers to the energy inside the food itself. The
location of the associated chakra is just below the navel. This is the most
important of the areas for martial artists referred to as the 'tanden.' In
karate it is at this point that focus is stressed for production of strength (3-Mani Pura Chakra).
Vital Energy Chi This is the Chi which is in regard to
the energies of the respiratory system and breathing. This should be thought
of as in reference to both stamina and the way breathing is used in
meditations, hard and soft. The general location of this chakra is solar
plexus around the diaphragm (According to
Hinduism, the 3-Mani pura chakra is responsible for both the gu-chi and the
vital energy chi).
Circulatory Chi This is the Chi you relate to the
circulatory energy through the body. The place associated to this point is
the heart (4-anahata chakra).
Jing Chi is associated with the bioelectrical systems of
the body and is closely related to circulatory chi. This is the energy
within Blood Chi This refers to the balance of the blood and digestion, and
best thought of as the kind of energy that balances your metabolisms. Chakra:
Thyroid or neck region but connected to all the systems (5-vishuda chakra).
Electromagnetic Chi This is the Chi associated with the
aura, and the electromagnetic forces outside but related to the body. This
chakra is associated as being between the eyes. (the third eye) (6-Adjna chakra)
Wei-chi is thought to generate protective energy. These
energies integrate with the other energies both in and outside the body. The
general location of this chakra (7-Suhas re re
chakra) is at the top of the head. It is at this point that the soul,
mind. spirit and body are connected and associated to the prana or universal
energy which interacts with our internal chi(s).
Wu chi is the source or void of emptiness from which all
creation springs, or the essence of vital or primal energy. Wu chi (Wu Ji)
means limitless power.
Seika-no-itten refers to the vital point or ki center.
Kokyu refers to the ability one has to use ki. Advanced practitioners
can have well developed abilities in this area. Ki ,(chi) is the essence or
source of psychic, andextra-physical powers associated with karate.
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Kumite
Kumite is the practice of fighting or sparring. There are
several types of kumite designed to enhance different fighting skills.
Various types of rules, equipment and practices are used. Kumite is a basis
for tournament competition in karate, as well as a tool for the development
of self defense skills. Ippon kumite is one point sparring, Yakusoku is
pre-arranged sparring. Ju Kumite is the use of other martial arts with
karate. Many variations exist. (Jiu kumite?)
The following is a copy of Master Kyan's advice, (A teacher
of Tatsuo Shimabuku), on using karate as self defense.....
If the opponent is not powerful, he will be on the defensive
and he will multiply his movements by retreating often. In this case you
must only throw definite attacks. Then you must use punches and kicks both
to make him retreat and to make your attack. When I take the initiative of
the attack, I must watch out for unexpected counter-attacks.
I must not overestimate my force and my speed when I attack.
An agile person will be able to counter-attack fast before I move by
guessing the movements of my hands and feet.
Thus when attacking forcefully, always be wary of the
counter-attack.
You must hide the technique that you are going to use from
your opponent by concealing your own intent. Whatever the capability of your
opponent you must neither go forward or back more than three steps.
By keeping your offensive or defensive technique hidden, and
waiting until you can execute it within several steps, you will make it
vastly more difficult for your opponent to stop it, or to draw you out for a
counter.
At the moment of combat, you must take care to defend your
center line from the eyes to the groin. You must take care to avoid punches
between the eyes, kicks in the testicles and do not let yourself be grabbed.
As a general rule it is better not to use too much force for defense. If you
use too much force for blocks, every gesture will be slowed down, which runs
the risk of losing an opportunity.
When you grasp an opponent's arm you must do it strongly and
loosely at the same time, but the spirit must be strong, so that you can
react adequately to your opponent's reaction."
Any punch must be above all fast. When it is blocked and
deflected from its target it must continue on its path and strike anywhere.
And, even if the attack did not have a strong impact, it will trouble your
opponent. Then you must continue to do all possible punches and kicks
without stopping at all, spontaneously and gradually.
It is not necessary to block your opponent's kicks with your
hand. You can block them with your leg and throw a punch the same time. Even
if your opponent falls, do not attack him to carelessly, as you may receive
an unexpected attack.
When your opponent seizes your leg there is no danger if you
put your foot on the ground very strongly. But you must take care not to
fall when the ground is bad uneven.
When facing an opponent, take care not to play into his
strategy. Some use their feet while punching, or pretend to grab a hand.
Others use fists while pretending to throw a foot attack. React according to
voice and noise. Never relax.
When you are facing several opponents you must never fight
close in; above all, keep your distance. If one attacks my right, I move to
the left. As soon as I have attacked the one facing me I attack the opponent
behind me. It is the only good way.
Master Kyan advises, "These instructions are basic for
combat, but they are only a fragment of them."
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Muchimi
Muchimi is described as a sticky heavy movement, like a willow. The
analogy of the willow is to explain the extraordinary resilience of the
Karate-ka to adversity. The willow tree survives against its natural
adversity of wind, water, and freezing, with both grace and agility, as well
as a strong foundation and roots.
The development of muchimi is much like the development of
chinkuchi. In advanced Karate-ka the quality of muchimi is obvious to
initiates. Essential to this quality are the skills of kakei, ma, and
maai.
Muchimi is directly
related to balance and the role the muscle and skeletal system plays in
strength and balance, in movement.
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Atifa
Atifa is the skill to send the shock of a kick or punch all
the way through the opponent's body. On the surface this may sound simple.
In fact the skill of atifa can be very complex in understanding. Sending a
shock wave through an opponent can be done in regard to the body's ki and
vital striking points. This can involve the development of striking weapons
which are meticulously developed by the Karate-ka.
Atifa can also be basic and simple for the karate
practitioner. Strength, speed, and focus of striking techniques, especially
the weapon can achieve atifa. It should be considered a skill basic to the
practice of karate. Focus of ki on the weapon is vital to this application.
This is to say the mental and physical skills become one. The flow of ki is
mechanized in this process.
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Fesa
Fesa refers to the speed of the techniques. One aspect of
karate training is to develop techniques that attain speed by being
delivered in a manner which creates the least resistance for the technique.
This is a common goal of soft styles of martial arts such as Gigong (qigong?) and Tai Chi. It is also vital
to the hard systems, but may be less obvious.
However in the hard systems of Okinawa the skill of
chinkuchi enables fesa to be applied with a devastating result from kicks
and punches without injury to the striker. This is why some physical parts
of the body must be trained for impact. Otherwise fesa applied to a
technique without the development of the other mentioned skills would
probably result in injury for the attacker as bad or worse than that of the
opponent.
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Kakie
Kakie is the ability to touch and feel out an opponent.
Sight distancing, Maai is a primary tool in kumite or combat but Kakie is
used to determine hard/soft, mass, and strength aspects of an opponent in
order to determine ways for defeating him. Usually, the first physical
contact with another person can give the practitioner of kakie technique,
the desired understanding of an opponent's power. This in turn can help a
karate fighter employ the best strategy to combat the opponent.
Vital to this understanding
is being able to change your technique to what is needed to defend from and
defeat an opponent. This skill is thought to have been developed from
those Chinese boxing systems that employed 'sticky hands' types of
applications.
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Maai and Ma
Maai describes the space that exists between you and your
opponent. Ma refers to the movement within that distance to strike. "Ma
involves advancing and retreating, meeting and departing." It is a way to
use visualization to virtually employ an offensive and defensive targeting
system as you fight. One such theory comes from the practice of Sanchin,
where the circular motions of the kata represent imaginary cones for
estimating ma and maai.
Learning to use the cones starts with imagining a three
dimensional cone, with the round end about the areas of your own defensive
targets, (chest mostly) and the point, at your opponent. The point of the
cone is your aiming system for your targets. The round end of the cone,
which is basically about your chest, lets you see defensively as strikes
come into the zone of the defensive part of your cone. You learn to spot a
technique just as it starts.
This makes blocking less difficult because you learn to
mentally gauge your opponent's strikes and this helps your blocking, as well
as timing. Learn to imagine your opponent's cone tip as the point where his
strike will make contact. This gives you a realistic tool to gage the space
between you and your opponent. It really improves your timing with practice.
You learn when the tips of the cones cross you are in the
strike zone offensively and defensively. You learn to anticipate where the
tip of the cone will strike. Using the cone as a defense can also help your
offense. "It does not matter who strikes first in karate...."
"To strike is when the opportunity presents itself." This
axiom is certainly one that applies to the theory of the cones, ma, and maai.
Using the cones gives you a tool to virtually take what your opponent gives
you as far as targets. You simply aim the tip of your cone at the first
available target that comes in range, an appropriate strike should become
self evident with practice. It works for multiple strikes, all kinds. It is
very easy to gage targets this way. You just let your opponent give them to
you. (This does not negate techniques that use other tools to penetrate into
the strike zone.)
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Bogu
Bogu is protective equipment used in kumite. Original bogu were borrowed
from kendo, and were like a hard turtle shell covering the chest.
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Kotekitai
Kotekitai, is a training and conditioning technique used to
harden muscles for the absorption of blows in blocking techniques.
Especially the forearms, the lower leg muscles, and other parts of the body
are conditioned by repeated striking to harden muscular surfaces and
desensitize the pain of absorbing or blocking strikes. This practice also
helps develop a resistance to bruises, and swelling.
Various exercises are used to develop blocking and muscular
hardness, in the development of conditioning. The practice of kotekitai tiki
tai also aids in the development of chinkuchi. These exercises are usually
done with partners but some conditioning can be done individually. Makiwara
training is used to condition parts of the body, usually the knuckles, in
addition to kotekitai.
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Mu Shin
Mushin means "no-mindedness" or "empty mind." Mushin enables
the body to react without the distraction of thinking. Mu Shin does not dull
the mind from empty-headedness, it is more a conscious removal process or
focus of distracting thought as a prelude to action. The use of Mu shin
should not interfere with any other applied theory in the practice of
karate.
Shuchu-ryoku means to concentrate or focus one's power at a given
instant, at a given point (target ). Kagami, or "mirror" means: to
take warning or learn a lesson from. These principles are integrated into
the process of karate over
time and practice.
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Kamai (kamae)
Kamai refers to becoming composed or
becoming ready for
action. Stances in karate like the Dragon's Tongue' stance is used as a
kamai or composure stance. It represents the 'calm before the storm' and is
symbolic of becoming ready for action.
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Zazen
Zazen is a state contemplation or meditation to empty the
mind of all thoughts and achieve a pure or total concentration. Zazen is
often practiced as contemplation in karate before and after workout
practices and before or after specific karate acts such as doing kata.
The practice of zazen helps develop other aspects of karate
related to breathing, ki, chinkuchi, and mushin. The practice of zazen as a
synergy with other aspects of karate enables practitioners to achieve many
other skills which can be learned in the practice of the art. Zazen also has
levels.
Zazen as meditation is, the practice akin to self-hypnosis,
or deep relaxation therapy. The object in both levels of zazen practice is
to clear the mind, and reach a state of deep physical and mental relaxation.
Karate-ka use meditation in the same way as others outside martial arts, but
reach very high levels of ability to apply this skill almost anywhere under
many conditions.
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Katsu (Kappo)
Katsu or Kappo in regard to karate refers to healing arts. Katsu also
means victory. Synonymous
with the term katsu is kappo. Modern healing arts in
the dojo tend to be modern forms of First Aid and Cardio Pulmonary
Resuscitation (pulmonary resuscitation).
Individual skills and knowledge of healing arts varies from dojo to dojo.
Related to healing arts known in martial arts are Shiatsu-te or
Acupressure, Acupuncture (Acupressure,
Acupuncture), various kinds of massage therapy, chiropractic, and
Reiki, (laying on of hands).
No Katsu means care to the head, Se Katsu is care to the
back, Hon Katsu is care to the chest, Hanaji Tome is
care for nose bleeding. Many techniques of olden times have been
forgotten since modern medicine replaced old method.
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Kiai
Kiai simply means shout, or to shout. There are many audible
variations in karate of how this is done.
There are multiple reasons to apply kiai to a karate
technique. It can be used as an offensive tactic to distract or alarm an
opponent. Kiai helps to tighten the muscles and area of the tanden and can
help overcome a fighter's fear, as well as add strength to techniques. It
can also alert others of trouble.
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Breathing and Breathing Techniques
Breath control is a major factor in every aspect of the
synergy of karate practice. Katas contain breathing techniques as common
parts of each move.. The kata Sanchin is commonly called a breathing kata (Ibuki
breathing (or is it nogare breathing?)).
Breath control is a relevant part of each karate move, for both offense and
defensive tactics. Breath control is centered at the tanden, which is below
the navel.
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Hara
Hara simply means the center or to center. The hara of the
oriental compass is the fifth point in the center of north, south east, and
west, which is in the middle. Hara can also refer to spatial orientation or
gauging the balance in equating relationships to things and people. Hara can
refer to behavior and can be used as a metaphoric or symbolic reference.
Hara also refers to balance in using karate and is related to the concept of
centering between the states of yin and yang.
Relative to hara or balance is the tanden or point
just below the navel which is thought to be the centering point for balance,
and the center for ki. However the center of physical balance may be
thought of as a virtual foundation between the points of the shoulders and
hips, thus forming a square, or foundation. the center of this foundation is
at the point of the diaphragm.
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Ju-Kumite
Grappling techniques have been developed by combining other
martial arts with karate in modern times, and this is called ju-kumite. Karate
kata contains many kinds of martial techniques. It is believed that karate
in part originated from a grappling art in Okinawa called Tegumi.
Tegumi encompassed the skills of grabbing, throwing,
takedowns, joint locks, groundwork, and counters. Moves in Okinawan karate
kata that represent these kinds of techniques have their roots in Okinawan
Tegumi. Tegumi practitioners incorporated
(incorporated) from Chinese systems, kicks, blocks, and strikes to these
other techniques. This would have been in the earliest times of karate
development. Use of the model above is a recent development.
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Meijin
A Meijin is an advanced Karate-ka who has mastered karate as
an art and science, exceeding the boundaries (Boundaries) of
normal physical and mental capabilities.
The term "shingan" refers to a high state of
attainment and development in the practice of Okinawa Karate. It is said to
be the ability to see the heart, spirit, and mind work in conjunction as
one. The transcendence and development of this state is the domain of the
Meijin (1)
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Yin and Yang
Yin and Yang represent the symbolic 'Zen' theory of
duality in the universe in regard to words when put together to attain a
value in the thought of comparing or contrasting the two. Good/evil,
male/female, hard/soft, etc. are all examples of duality, at rest. The
theory of Yin and Yang 'in motion' means the duality becomes one and the
same. This speaks to a concept of the nature of the universe. Many analogies
are discussed with this model.
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Karate Code (Eight Precepts of Gokui)
Kambun is a term that refers to Chinese
poetry
written in a style to facilitate balance in life from the forces of yin and
yang. For several centuries since the early development of Okinawan Karate
the following phrases have served as applied axioms for the lives and karate
applications of Okinawan Karate-Ka. The exact origins of these sayings is
unknown but are in the Bubishi. ( The work resembles poetry of the
ancient Chinese Philosopher, Lau, Zi, (Many others) and reflects the purpose
of applying these axioms to life and action.)
Gokui is known as 'the essential principles,' which refer
to growth and understanding of the individual and the stages of development
one transcends through in the practice of karate. The course of development
in karate is an individual growth, we are as persons all different. Gokui
does exist in all aspects of karate, and therefore the application of hara is
always necessary.
There are two translations below, one
widely used in
Isshin-Ryu Karate, and another from "Karate-Do Kyohan" by Master Gichin
Funakoshi.
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Isshin-Ryu Karate Code
1. A person's heart is the same as heaven and earth. 2. The
blood circulating is the same as the Moon and sun. 3. The manner of drinking
and spitting is either hard or soft. 4. A person's unbalance is the same as
a weight. 5. The body should be ale to change motion at any time. 6. The
time to strike is when the opportunity presents itself. 7. The eye must see
every way. 8. The ear must hear in all directions.
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Funakoshi's version:
1. The mind is the same with heaven and earth. 2. The
circulatory rhythm of the body is similar to the sun and moon. 3. The Law
includes hardness and softness. 4. Act in accordance with time and change.
5. Techniques will occur when a void is found. 6. The 'Ma' requires
advancing and retreating, separating and meeting. 7. The eyes do not miss
even the slightest change. 8. The ears listen well in all directions.
Bushido
This term refers to the moral code
principals that developed among the samurai (military) class of Japan, on
a basis of national tradition influenced by
Zen and
Confucianism. The first use of the term apparently occurred during the
civil war period of the 16th century; its precise content varied
historically as samurai standards evolved. Its one unchanging ideal was
martial spirit, including athletic and military skills as well as fearless
facing of the enemy in battle. Frugal living, kindness and honesty were
also highly regarded. Like Confucianism, Bushido required filial piety;
but, originating in the feudal system, it also held that supreme honour
was to serve one's lord unto death. If these obligations conflicted, the
samurai was bound by loyalty to his lord despite the suffering he might
cause to his parents.
The final rationalization of
Bushido thought occurred during the Tokugawa period (17th century ff.),
when Yamaga Soko (1622-85) equated the samurai with the Confucian
"superior man" and taught that his essential function was to exemplify
virtue to the lower classes. Without disregarding the basic Confucian
virtue, benevolence, Soko emphasized the second virtue, righteousness,
which he interpreted as "obligation" or "duty". This strict code of honour,
affecting matters of life and death, demanded conscious choice and so
fostered individual initiative while yet reasserting the obligations of
loyalty and filial piety. Obedience to authority was stressed, but duty
came first even if it entailed violation of statue law. In such an
instance, the true samurai would prove his sincerity and expiate his crime
against the government by subsequently taking his own life.
By mid-19th century, Bushido standards
had become the general ideal, and the legal abolition of the samurai class
in 1871 made Bushido even more the property of the entire nation. In the
public educational system, with the emperor replacing the feudal lord as
the object of loyalty and sacrifice, Bushido became the foundation of
ethical training. As such, it contributed both to the rise of Japanese
nationalism and to the strengthening of wartime civilian morale up to
1945.
