budo study.pdf

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Contents
Foreword 
"" 
" 
" Keizd KOBAYASIII 
i
I. Research of Miyamoto Mussshi's "Gorin no Shd'
Takashi UOZUMI
Introduction
1. The Ufe of Miysmoto Musashi Historic&l Background 
"'
(l) Musashi's Birth and Youth 
1
(2) Musashi's Davs ol Masha Shagto 
8
(3) Musashi 
in his Prime 
to
(4) Musashi's 
Latet Years and "Goin ao Sho" 
t3
2. The Philoaophy ol " Gorin no Sho"-'---"" """ " "-"-'"-- " '7
(1) The Earth Scroll - The Way oI combat 
17
(2) The Water Scroll - Core Technical Theory
(3) The Fire Scroll - Combat Creativity 
z1
(4) The Wind Scroll - Mistaken Methods aod the "Direct Path" 
'7
(5) The Void Scroll - The Path of Training and Ultimate State 
'a
Conclusion 
" --"-""'-'3o
Not€8 " "'-""" "'- 
-"" -"" 3t
[. The Technical and Psychologicol Methodology of Kendo
Minoru OIIYA
I ntrodrirction
I, Ksmae
(f) f'undamental Consideratiois in Ka'n42 
1'
(2) 'f'hc Striking Action arfr Ka'nae 
13
' 2. Vcrlour Elcmentt of Kanae 
""--'''-" 
" 
" 
" 
" 
't3
(l) '\l/rful, rtd Spirit 
13
(2) Unity of Mind, Spirit and Technique {sh;h Ki RJoku ltchi)
l3l Mehuhe (Gazel 
16
(4) The Four Evils (Surprise, Fright, Doubt and Confusion) 
$
3. Various Elernents of Seme ........
'''"" "" "" 19
(l) Hunting for Openings (Manifest or Formless)
(2) Serze in Practice 
<;
6. Techniques.....-...
'""" """"" "'-.."" " """ 57
(1) Technique Theory 
57
(2) Stdke Opportunity and Technique Selection Sg
7. Strite Path (Tochi Sr{rO .....................
8. Yalid Strikes
60
6z
61
65
I . zarchin
Referencea
L An Eesay on Improvement in Judo
Katruhiko KASHIWAZAKI
l. 
Innoystion and Effort to Enjoy Prsctice ...........,....,.-.-.-.-. 
67
2. Knowing YoqrE€lf ....... .. .. 
. . . . . . . . . . . . . . . . . . . . i zo
(l) Physical Strength 
70
(2) Body Type and'Tohuiwaza' 7r
3. Correct, UnderEtanding of How to prectic€ ........-.....-.-....... 
7,
lll Uchihomi ('Kakati' Practicel 
72
(D Radod (Free Practice) 
7'
(3) Japanese-style and Western style Randoi 
71
(,1) Mid-winter and Mid-summer Practice 71
(5) Preparing for Emergencies 80
(6) Practice When Ill or Injured Br
,f, Writing About Your 'Tolcuiwazq' ............-...,......................... 
82
5. Concerning 'Spirit' in Judo Practice '-"""" 
"-" """'-'- 
"' 85
Tables ...... " "" 
' 
'--"" " 89
lY. The Body's Centre of Gravity in Budo Science
From The Biomechanical Yiew
Hitoshi OEMICHI
l. 
Internationally Popular Karate 
"" " "" 95
(1) Introduction : It Started with a Karate Punch 95
(2) The Pain Barrier 
95
(3) The Force Platform 97
(1) skill 
98
(5) All ln The Mind
2. N€wtonian Dynsmice I CG motion derived from force 
" ror
(1) Applications of Force Plates to Biomechanics
(2) CG Motion in Resting Posture : BALLISTOCARDIOGRAM
re'cording displacement and velocity of the CG ot tlle HEARTBEAT
SYSTEM 
'o,|.
(3) Pathological Gait 
ro9
(4) Mechanical Energies of the CG in High Speed walking
(5) Mechanical Powers in the Taekwando Front Kick 
tt3
\61 &ohae (Shoulder Throw) in Judo 
rr3
References 
" 
""'-"""'rr7
Ov€rall Translation 
" """Steven Ilarwood
Foreword
Hitherto, the Japanese martial arls, or Budd, tave tended to
be discussed separately according to discipline, and research into
them has been conducted severally dependent on discipline or
research fielcl. Consequently there appears to have be€n almost
no interaction between the various disciplines and areas of
research. In an attempt to break this pattem and further encour-
age research into the Bud, it was decided to establish under t}Ie
auspices of this Institute a project team consisting of members
of the faculty of tlre International Budo Universitv (IBU). The
team's remit was to r*arcJr Budo trom various angles under the
theme "BudO in the 21st Century',, and its chief members were,
apart from myself, two individuals with a wealth of experience
in Budo competition and who are currently engaged in practical
instruction of Judo and Kendo respectively professors Kashiw-
azaki and Ohya; one humanities specialist, professor Uozumi,
and one natural scientist, Professor Ohmichi.
The chief aim of the project is to facilitate discussion
amongst the team members of the current state and future
prospects of Eldt from the standpoint of the various disciplines
and research areas. Whilst acknowledging both common ground
and points of difference, they should learn from each others'
oxperience and research, coming to consider the future role of
Bud| and identify topics for research.
In order to make clear the backgr:ound to the establishment
of this project I must first explain the origins of both this
University and this Institute.
The Intemational Budo University was established in 1984 at
the behest of Dr Matsumae Shigeyoshi, (f901 - 1991) , an individ-
ual pre-eminent in a wide range of activities in the areas of
Science and Technology; Education; Politics; International
Relations and Sports. In overcoming the numerous difficulties he
experienced in his own life, Dr Matsumae came to an understand-
ing of humanity unaffected by considerations of race, creed and
politics. In particular he regarded Budo and Sport as essential
elements in the makeup of an individuat, and made use of tJreir
unique ability to unite peoples of all races. There were especially
strong connections between Dr Matsumae and. Bud6. Born in the
prefecture of Kumamoto, an area of Japan in which Ihe Budo
have always been extremely popular and famous as the place in
which Miyamoto Musashi, Japan's most renowned warrior-
scholar, spent his last days writing his seminal work " Goin no
Slo", Dr Matsumae enjoyed from an early age the local classical
styles of Jniutsu and, Kenjutsu, and the modern Budo. Under the
influence of his elder brother Akiyoshi, a renowned Judo expert,
he became particularly engtossed in this modern Budo and he
wenq as far to say that, "My body and'mind were forged during
the time I was absorbed in Judo pf2rctice". Dr Matsumae went
on to develop the social rlle of Budd and Sports in a variety of
ways. Chief amongst his activities were his endeavours in the
establishment and management of tlle national centre for Bud'
the Nippon Budokan; his subsequent chairmanship of the Nippon
ii- 
:
Iludokan Foundation; and chairmanship of various Ezdd related
bodies both domestic and international such as the Nippon Budo
Gakkai, Nippon Budd Kydgi Kai and the International Judo
Federation - Dr Matsumae devoted himself to furthering the role
of Budo in society. As a result of his experiences in his youth
and his subsequent wide-ranging activities, Dr Matsumae came
to believe tlat education must be based on the universal princi
ples of humanitarianism and rooted in pacifism. It was in
response to the demand from many countries for outstanding
Bdd practitioners and Dr Matsumae's vision of 84dd education
fostering international friendship and his desire to educate indi
viduals able to contribute to world peace, that this University
was established. (See International Budo Universitv l0'n Anni-
versary Bulletin) .
The predecessor of this Institute was the Budo Science
Academy established in 1986 by the Nippon Budokan. In
response to tJIe identification of ttre need for research in various
fields related to the improvement of Budo technique, 
the estab-
fishment of a national centre of research for Budd culture,
Ecience and medicine was already being considered when the
Nippon Budokan was progressing plans to establish this Univer-
elty back in 1981. Subsequently 
this initiative was disassociated
from establishment of the University and included as one of the
Nippon Budokan's "Budd ni Kansuru Cakujutsu Shinko Jigyo",
(Projects to Promote Budd Science), and thanks to the unflag-
Sing efforts and financial support of various bodies and individ-
uals, the Budo Science Academy was built on land adjacent to the
University established 
just two years previously. If you examine
/
- 
lll
the annual bulletins published by the Academy since its establish-
ment you can see that it was run energetically with the staff of
tlte Nippon Budokan and IBU faculty members acting as the
mainstay of various research activity such as project research
and various research conferences, and can discern an extraordi-
nary effort by all those involved to ensure t}re Academy's
continued development. With the increased demand for Sports
Science research to be conducted in parallel with these BudO
research activities, plans for establishment of IBU's own
research centre came to fruition and with this development the
Nippon Budokan most generously agreed to transfer its Budo
Science Academy to the University leading to the creation of the
present day Institute of Budo/Sports Science Research Centre in
1996.
During the course of this research project "Budo in the 21st
Century" those of us involved observed the extreme paucity of
publications covering Japanese Budd rexarch 
in the interna-
tional forum and discussed the necessity to make known to the
outside world the research taking place both in this University
and institute. This research project 
is due to continue for a
further three years from 2000, and it is intended to publish its
findings in English. The research completed to date by the four
faculty members forms the basis of the four papers that comprise
this inthology.
On publication of this book, I would like to take the opportu-
nity both.to express my sincere gratitude to the Nippon Budokan
Foundation for its continuing support in all areas of the institute'
s's activities, and to invite the readers'candid opinions on its
c()ntent.
Finally, I would like to thank the four professors for their
many years of painstaking research which is evident in the
papers contained in this anthology, Steven Harwood and Duncan
Robert Mark for their lucid translations, and to Toshikazu
Kimura for his assistance in bringing about this publication.
Keizo Kobayashi
Head of the Institute of BudoTlSports Science Research
international Budo University
I
r
I
-
"Gorin no Sho"
. 
Takashi UozuMI
(Translated by Stevm Harwood)
Eiji's novel of the 1930's 
" Mlrcrnto M*.sa-
he was depicted as an. earnest man .struggling to
own way though tle world. He has sirrce rbeen tho
.iof nany filrns and TV dramas becomipg one of tlte
heroes of Modern Japan. However, tle very strengtlr of
image portrayed in traditional and modern dramatic
Musashi's real-life existence to obecurity.
well known, Musashi's "Goin no Sfro" has also
inaccurately. Proponents of Japanese fencing,
qiirote only those parts tftat fit in with their own tech.
historians, on the otlrer hand, ignore the technical
tlre work, quoting only those of IVlrrsashi's phrases they
,There are even pracdcal manuals that atternpt to
te,Musashi's-combat strategy.witl corporate competition,
expound " Goin raa Srr " in terms of business know-how.
Research of Miyamoto Musashi's
imoto Musashi s Japan's most famous warrior. Musa.
. story becase the subject of. Kaffii, tomi 
(g+pet *rl
and Kodan (dramatic narrative) from the Edo Period #'
he became a modern day popular figure following publi
r'f
I
,{Fy'
/
*
Takashi Uozumi
In all these cases, writers are exploiting Musashi's fame while
mis-representing his work.
Outside of Japan this problem has been exacerbated by
inaccurate translation. Victor Harris translated " Gorin no Sho"
into English under the Iitle "A Book of Fiue Rings" (Allison,
1974). A best seller, the translation sold more than a hundred
thousand copies in the early eighties. Although purportedly a
verbatim translation,'A Book of Fiae Rings" contains a number
of mistranslations and there are many ambiguous or misleading
passages. There are also many mistakes in transliteration of
names and place names, and in historical fact(r). B.J. Brown
published a new English translation in 1982 with tlrc title "fh2
Book of Fiae Rfugs" (Bantam, 1982). However, this translation
includes an explanation of " Gorin no Sho" itr terms of Zen
Buddhism and Taoism, and contains many extemporaneous
translator's notes which, in effect, serve rather to mislead the
reader. Thomas Cleary's more recent translation, " Thz Book of
Fioe Rings" (1993, Shambhara Dragon &litions), also includes a
translation of Yagy! Munenori's " Heihn Kadensha", but the
mistranslation and loose interpretation of previous efforts is
again all too evident. It does include a few simple notes, but .
these are a little wide of the mark. In addition to these transla-
tions of " Cain no Shn" , there is Charles S. Terry's translation
of Yoshikawa Eiji's novel mentioned, earlier, " Muvshi bl Eii
Yoshihnwa" (Harper & Row 1980)r wh.ich is of course fictional.
This report will attempt, with reference to the rustorical
background, to establish how Musashi actually lived and, by a
thorough examination of the techniques contained in it, clarify
his ideas as expressed 
in " Gorin no Shn".
Research of Miyamoto Musashi's "Go.rn ,o ,51o"
The Life of Miyamoto Musashi -
Historical Background
Musashi writes briefly of his own life in the beginning of
" Coin no Slro". He states clearly that " Gori no ShD" is com-
prised of that which he discovered during a lifetime devoted to
austere training.
Therefore in order to understand fully lhe content of " Golin
no Sht", one must also examine the historical developments
during Musashi's lifetime - and consider how these inJluenced
hlm. Moreover, the age in which Musashi lived (late 16th Cen-
tury- early Uth Century) was one that saw the transformation
of utilitarian combative technique, Bujutsu, into a way of
cultivating character, Budd. As Musashi himself epitomises 
this
process of sublimation, a detailed examination of Musashi's 
life
lnd times should also shed light on the formation of prototypical
h.da.
There has been much written since the Edo period concern-
Ing Musashi but reliable source material is extremely limited.
Thc stories concerning Musashi were largely written down only
Ittcr he had been dead for over seventy years and so their
truttworthiness must be called into questiod'z). 
In addition, many
ttltat rokit", (dramatic historical accounts) of the Edo period
latutlly 
interweave fiction into the factual narrative which
nac$itates a sceptical approach in handling them. One such
axrmple is Musashi's famous biography the " Niten-ki" which
wlt wrltten a hundred and thirty years after Musashi's death(3t.
Thcrofore, in order to establish the facts surrounding Musashi
thoto ls a need for research that both takes into account the
T'
Takashi Uozumi
reliability of such traditional sources and which also utilises
more recently discovered material.
I have already detailed the sources and the bases for my
assumptions in my book, so here I c/ill simply draw a picture of
Musashi's lifetime as became clear during my research.
(l) Mussrhfs Birth and Youth
Musashi was born in 1582 near Himeji in Harima. However,
as tle Tahara family into which he was borq and which was a
branch of the celebrated Akamatsu clan, had been defeated in
batfle just prior to his birth, in order that this second son miglrt
retain his fus&r (warrior) status, it appears tllat Musashi went in
his youth to another branch of the Akamatsu clan in Okayama,
being adopted by the martial arts master Miyarnoto Mrurit'r.
In declaring himself "a bushi of Harina", in"Gorin no Sho",
Musashi demonstrates a life-long awareness of his own distin-
guistred origins. In order to comprehend fully this btarhi $ilcr',
one must first go back a little in time and consider the 'warrior
spirit' and tlle standing of the warrior arts.
The century prior to Musashi's birth saw a Japan dErac;ter-
ised by wide-ranging civil wars in which able retainers gradually '
displaced their o,wn hereditary lords, these '&ngoht himyl"
then defending tleir neiwly acquired territories. It was an age in
which a mere foot soldier, if he distinguished himself in battle
ani was capable, could become a'high salaried officer - perhaps
even the lord of donairl. Thus t]rc bushi of the Sengoku period
held the conviction that, if tley excelled in tlle warrior arts, tlrey
corild get ahead in the world. At the same time, in the midst of
civil war, the warriot 
".$ 
bo"-" 
-ore 
specialised as evinced by
Research of Miyamoto Musashi's "Conltt zo ,S/to"
,, lllfrmmoto Musashi's Ja1lan
tl
Takashi Uozumi
the emergence of exponents expert in specific arts such as
archery and horsemanship, sword and spear, naginata (glaive),
and grappling. These experts devised particular techniques and
training methods leading to the foundation of nluht, or schools of
martial arts. In particular, the introduction and rapid adoption
of the musket from the late 16th Century heralded a shift in
emphasis in warfare towards close quarters combat between
troops in formation, and was accompanied by the appearance of
martial arts masters expert in sword, spear and musketry
again leading to new training methods and organisations, and the
emergence of new rynha. This period saw the appearance of the
founders of the three most prominent schools of swordsmanship:
Tsukahara Bokuden (Shi.ntd ry*.); Kamiizumi Hidetsuna (Shzz,
hoae ryfr) and Ito Ittosai (Ittd-|yfi).
The late l6th Century saw a weeding out ol lhe Sengoku
Deinjd. At the centre of this process was Oda Nobunaga, a
dairujd who came to control most o{ central Japan. Nobunaga
was not only a brilliant tactician who established a standing
army and utilised firearms in large numbers and to great effect,
he also introduced a number of radical political and economic
reforms in his territories and played an instrumental role in the
reunification of Japan. Incidentally, it was a Toyotomi (then
known as Hashiba) Hideyoshi sent by Nobunaga that defeated
Musashi's own house, the Tahara.
'. The year that Musashi was born, Nobunaga was forced to
commit suicide by one of his retainers, Akechi Mitsuhide, and it
was the year in which Hideyoshi, having despatched Mitsuhide,
rose to supremacy. Hideyoshi, acting in the name of the
Emperor, completed the unification of Japan in less than ten
6_
f{csearch of Miyamoto Musashi's "Coin no Sho"
Al,rng with the land assizes 
and laxation reforms, Toyotomi
llirk,yoshi introduced a radical new social order under which
roticty was strictly divided into four classes: 6zsli (warrior),
lx,lsant, artisan and merchant (*Hfffi), 
and deprived the
p(usants of the dght to bear arms.
'fhus it was historical circumstance 
that forced Musashi, in
order to remain a bushi, to transfer to another house and adopt
thc name "Miyamoto". But in specifically declaring himself "a
htthi o/ Haima", Musashi demonstrates tle esteem in which he
hrld his house of birth.
Given that the man who defeated his own house, Hideyoshi,
want on to become the most powerful man in all Japan, and that
Kuroda Yoshitaka, an active ally of Hideyoshi and powerful
hlmy|, was originally a retainer, then later betrayer, of the
llm! Akamatsu clan from which his own house sprang, Musashi
pfoblbly felt little need to be in awe of the men of influence of
hll tlme. Rather he was, probably more than most, keenly aware
llt|t, lf he were to polish his own skills, he could attain high
mllltary rank.
Musashi's adoptive father, Miyamoto Muni, had taken an
lotlvr part in the prior conflicts using a cross-headed 
spear to
lrut 
cffect. In recognition of his conspicuous service he was
lllowcd to take the name of his lord, that of Shinmen(s), 
(thus
Murrrhf calls himself "Shinmen" in " Goin no Sho") - The cross
.h dod spear is a specialist battlefield weapon and in a Japan
lontrollGd by Hideyoshi, 
the need for large scale combat ceased.
lo Munl apparently switched his attention away from the spear
md dtvhcd a method of swordsmanship that utilised two
-7
Takashi Uozumi
swords. He wrote a catalogue (noburoku) detailing techniques
of his own rytuhn, 'fari ryTta). However, perhaps because Muni
lived in the provinces and his method of swordsmanship was
rather specialised, it seems that his ryrh.e did not Wread. Never-
theless, Muni was victorious in a contest held before the last of
the Ashikaga Sh0guns and, in recognition of this, he was named
" Tenka Muso" (*fffX) 
(literally: 'unrivalled tlroughout 
the
world'); after which Muni used this term of address for himself.
Musashi spent his youth training under this outstanding martial
arts master, his adoptive father, and by the time he was thirteen,
won his first combat against a member of another ryfi.ha, and
again at sixteen.
(2) Musashi's days of Mutha Shugyo
The irower struggle that followed the death of Hideyoshi
saw the country divided into tvro major factions which clashed at
the battle of Sekigahara in 1600. The victorious Tokugawa
Ieyasu divided the territory of the defeated eighty-seven dainltd
amongst his owrr hereditary vassals and allied dnitnyo. Although
Ieyasu was not to adopt the title of Shogun for another tJree
years, the Tokugawa Bakufu (military government) effectively
began at this time.
Musashi's adoptive father Muni fought at Sekigahara but
was on tJte losing side. Consequently his lord's lands in Okayama
' were forfeit and he was sent,with the rest of his house to serve
a daimy0 in Ky0sh!. There are no written records but it would
seem that the nineteen-year-old Musashi fought alongside his
father at Sekigahara and subsequently went with him to Kyiishn.
Although Muni was able to gain emplo]'ment there, tie prospects
8-
It.\(iueh of Miyamoto Musashi's " Goli, no .Sio"
l,,r lrr' ;rrl,rplt'rl 
son were so bright so, at the age of twenty one,
lI ',r't rrll for the capital, Kyoto, to make his own name as a
',rr, 
'r r lstr 
t; 
ttt.
'llrr.rc were over five hundred thousand bttshi deprived ol
lorrls, rrrrd so emplol'rnent, as a consequence 
of defeat at Sekiga-
Irllrr, and although some were able to find re-employment, or
l'.'cttme farmers or merchants, a great number of them ended up
rlmpfy waiting around for the next conflict as ranin, or master-
frrr buehi. Even following the establishment of the Bakufu in
Ido, while Hideyoshi's heir, Hideyori, resided in Osaka castle
tl*r 
was a possibility of future conflict and the daimyo
athndcd a warm welcome to skilled exponents of the martial
lltJtt, During these fi{teen years there were many individuals
fho, wlehing to make their name as martial artists, journeyed
llCuld the country learning from various masters and building a
llord of victories in single combat (musha shugya).
Two years after moving to Kydto, Musashi challenged, and
hlt' 
thc then head of the Yoshioka house, a house that had once
FCvldcd sword instructors to the Ashikaga Shaguns. He wenl
ot to drfeat the younger Yoshioka brother and a number of the
fildrntr of that house, acquiring instant fame. He declared
lfnrrll 
to be without eqtuaI, 
(Tenka-icha) and over the subse-
Itt yaarwrote a treatise on swordsmanship, 
" Heidohlo" (R
[)r 
rrtablishing his own ry4 the Enmei- rytts).
,' 
tt Hlld0hy6" first concerns itself with fundamental issues
a|0h lt the psychological and physiological preparations for
CCmbrti and ways of observing an opponent. It next details nine
lword practice patlerns (kata) 
, then stays with sword technique
lul novcr on to discuss various methods of taking the initiative.
(.
-9
t
Takashi Uozumi
It ends with instructions on the use of shariken (throwins
blades), and the mind set needed when facing multiple oppo
nents. We can glimpse in " Heidokto" a Musashi, still in his mid
-twenties, able to analyse calmly and make full use of technique
even in the heat of battle.
According to " Gorin no Sho" , until the age of twenty-nine
Musashi travelled throughout Japan from Edo, the seat of the
new Bakufu government, to Ky0shu, engaging opponents from
various lyu in over sixty duels and always emerged victorious.
Little is known for certain about his opponents or the circum,
stances of those duels but the last of them is supposed to have
been with Kojiro of the C,an-ryu, and to have taken place on an
uninhabited island in the Kanmon straits. This duel on " Gan-
ryfr Island", being the climax of many a novel and film, has
become famous, However, the scene of Musashi fashioning a
makeshift wooden sword by carving an oar on his way to island;
of Kojir6, unable to contain his impatience at his opponent's
tardiness, rushing into the surf to meet Musashi's boat; and of
the two commencing battle in the middle of the waves, would
appear to be fictional - a product of the interweaving of make
believe and actual event found in the " Niten-hi" mentioned
earlier. According to old records and source material, it would
seem that the two met at the appointed hour under the auspices,
and in the presence of, provincial government officials, and that
Musashi triumphed over the,unusually long sword of Kojird not
with an oar but with an even longer bokuto, or wooden sword.
(3) Musashi in his Prime
When he reached the age of thirty, Musashi looked back on
IO 
-
l(.'c:,rch of Miyamoto Musashi's " Gonn ao Sio"
l,r ,lr,.llrr!, r':treer and realised 
that there were still areas of
*lrr'lr lrr.rv;rs unsure and, as he wrote in "Gorin no Sho", he
lrrllrrr ir l.lcntless search for the true essence of his chosen path.
I lrlr lvirs ir time where Musashi turned his attention from actual
r urlxrl lo the underlying principles of swordsmanship; 
from
Ir nfl icc to principle.
l)uring the "Osaka Summer Campaign" in which Ieyasu
llnelly climinated his rival Toyotomi Hideyori, Musashi was
anfhtsd by a hereditary pro-Tokugawa daimy6te). 
Following
thff crmpaign, the Bokufu strengthened its control by, for
Inttncr, limiting each domain to one castle and imposing the
|flll Sholatto, (Laws for the Military Houses) throughout
Jfpln, Thls led to a period of 'great peace' lasting for the next
ll0 yrrrr,
Aftcr the campaign Musashi returned to Himeji near his
hCUf of birth where he was treated as an "official guest"
l$bunl 
by the relocated hereditary retainer, and where he
tttl| 
t0 have busied himself teaching swordsmanship 
and draw'
lf uD blucprints of the castle town. Musashi also adopted a son
ItOm h had appointed as aide to the dqimrd's heir. However,
|| mn was to follow his master to the grave, committing
ldcldr whcn his lord died some nine years later. To take his
jmr, Murgahi adopted his own nephew Iori, (the second son of
It nrturrl brother), sending him to the neighbouring Akashi
ifmfln to rttend the hereditary dairntd, and.later moving there
hlfiflf, 
lorl, after only five years in post, and at the tender age
d fwrnty, bccame a domain kara, (senior retainer, or elder) and
lhlf undoubtcdly reflected well on his patron and mentor, the
ilr|rfun Musashi.

Takashi Uozumi
From the time he lived in Himeji, Musashi reportedll
engaged in zazen, (Zen meditation), painting and the design of
temple and castle gardens. As Japan entered the Kan'ei period
(1624-1644) much work was done to restore the capital from
the ravages of ceaseless civil war, and there was a resurgence of
the salon culture of the kuge (court nobla), dainzyO, well-to-do
urbanites and artists. Likewise the Bakufu capital Edo, and the
provincial castle towns saw similar cultural activity. Located
close to Kyoto and having the prestige but not the duties of a
domain retainer, Musashi was presumably free to mix with the
cream of the capital's artists and professionals, and had the
opportunity to view many fine monochrome ink paintings, for
which he had a liking.
In " Gorin zo Slo" Musashi writes that "in order to tread
one's own path" one should have "contact with various arts,'
and "know the Ways of other professions", and it is probably
such exposure to other areas that freed Musashi from the partic,
ular concerns of swordsmanship leading him to ponder the
universal principles inherent in all the Ways. Musashi writes
that he came to understand the Way when he was around fifty
years old, and even claims that he was able "by trusting in the
principles of combat, to practise many arts and professions - all
without a teacher".
Six years after Musashi went to Akashi, tlte Baku/u transfer-
red the daimyo and all his retainers to the strategic location of
Kokura in Kynshl, It appears that Musashi accompanied his
adoptive son and &czO, Iori, over to Kokura(lo). A few years later
in 1637 a large revolt comprised of Christians, ronin and peas-
ants occurred in Shimabara, in Kynshn. The Bakufu sent an
l(c\crrch of Miyamoto Musashi's "Gat 
no .Slto"
rrrl,\ 
irt(l instructed the Kyushu dnirqro to mobilise thcil
rr'!,tf, irn(l suppress 
the revolt: the Shimabara Uprising. At this
tlru, lori was appointed a full general in command of 8,100
I r rrrrps; Musashi took part as a major general thus gaining first
lulrl r,xucrience of combat command.(1rr
(4) Mueashi's later yeare and "Gorin no Sho"
Ar he entered his late fifties, and after seeing Iori safely
t concd as chief retainer following his role at Shimabara, it
feuld rcem that Musashi turned his attention to passing on his
fln thoughts on combat and he based himself in Nagova and
ldo, By the end of the 1630s, the hegemony oI rhe Bakufu was
a$nplatc with Japan virtually isolated from the outside world
lfd t rystem in place under which daimyo were required to
lffid wery other year in residence in Edo' However, during this
lflod of consolidation the sword masters emPloved bv the
|}'/'Iualte and daimyo came to be succeeded by their own pupils.
h fddltlon, Musashi's thowhts concerning swordsmanship and
ldttlnt methods were far and away superior to the /yaha of that
lfnf, rnd even if the brilliance of his technique was acknowled'
]|d, lt was unconventional and perhaps rather misunderstood ln
IY Cf|.' things did not go as well as he had hoped in Edo and
|lf 
two years he accepted an invitation to go to the domain of
Fummoto as htakubun.
t,, 
llowGv€r, Kumamoto was a one of the biggest and promi-
Sl domdns in Japan, and one in which the warrior arts were
|lld hlfhlv. The lord of Kumamoto, Hosokawa Tadatoshi, was
tfldtly tha Bame age as Musashi and was skilled in both literary
ItC mllltrry arts. He acquitted himself brilliantly as a general
- 
13
Takashi Uozumi
at Shimabara and, a skilled swordsman in Yag!fi, Shinkoge tyn
receiving the " Heiho Kqdensho" from Yagnr Munenori, he dis-
played his swordsmanship before the Shogun on a number of
occasions. The chief retainer of the domain was reportedly a
pupil of Musashi's adoptive father and had been instrumental in
arranging the duel between Musashi and Kojiro. Thus Musashi
at the age of fifty-nine came to a domain and to a lord that
could appreciate him.
After he defeated both the domain Yagyti Shinkoge lyfi
master and Tadatoshi without so much as allowing them a single
strike, Musashi won over the daimyo and his Nitenichi-ryn
spread throughout the Hosokawa's territory. The next year
Musashi wrote the instructional treatise on swordsmanship
"Heiho Sanj*go Kajo" tor Tadatoshi. However, just a mont}
after receiving it Tadatoshi fell ill and died leaving behind a
desolate Musashi. The shock of losing this kindred spirit and
patron must have been great for Musashi. Invited to stay on by
the new lord, Tadatoshi's son and his younger brothers, Musashi
remained in Kumamoto and spent his time quietly engaging in
zazen, ink paintings, wood carving, or attending lhe kard's tea
ceremony and poetry sessions(1'?).
Most of Musashi's monochrome ink paintings that remain
today were produced during these Kumamoto days. These paint-
ines, which capture the essential character of the subject in but
a few strokes of the brush pushing the wmi- e principle of
brevity to its limit, display Musashi's own original style and are
highly valued as art pieces in themselves. For example, in
Musashi's famous painting "Koboku Mei.geki Zu" (designated. a
Japanese Important Cultual Asset) , we can see a d1,'namism
li, ...frlr ol Miyamoto Musashi's "Go n no Sho"
" Krthohu Meigehi Zu" (t&*F;F48) by Miyamoto Musashi
lHy khd permission of lzumi-shi Kubosd Kinen Bijutsukan)
#
Takashi Uozumi
concealed in the motionless bird of prey; the whole painting is
suffused with a sense of total vigilance - it is truly representa-
tive of a Musashi polished by the principles of combat. He also
left many ink paintings of Darwna (the lndian priest Bodhidhar-
ma said to have founded Zen Buddhism in China) , and Hotei, (the
jovidl wandering monk dear to devotees of Zen), and we can
discern {rom this that Musashi was also deeply immersed in the
study of Zen. It seems that Musashi, enriched by such profound
exposure to various arts, could no longer confine his thoughts
within the narrow bounds of sword theory:
Two and a half years after writing 'Heihl Sanjago Kajd",
Musashi moved to a cave in the grounds of a temple on the
outskirts of the city where he was to begin his seminal work, a
treatise based on a lifetime's study of the Way of Combat;
" Goin no Sho" . A year later he fell ill and, on the insistence of
the karo, he moved to a residence in the castle town. After a
further six months, and only a week before he died, he passed on
a barely finished " Gorin no Slzo" to his pupil('o.
" Gorin no S&o" is based on his earlier " Heiho Sanjrtao
Kajd" and concerns itself chiefly with sword technique. How-
ever, Musashi goes on to address the subjects of military strat:
egy, mastery of the Way and lhe bushi way of life. He does not
quote religious or philosophical maxims, nor does he refer to
authoritative texts; he simply explains in his own words those
principles that he discovered ' through his own experiences.
" Gorin no Sy'ro" is quite different from a Hidensho (secret
teachings manual) written to ensure continuity of technique in a
rynha; Musashi wrote it because he believed that he should
bequeath his knowledge of the essence of the Way of Combat,
16 -
ll,.,..,rch ol Miyamolo Musashi's "Colr 
ro Sro'
, ,.,',1 ,,\, r :r lifetime of searching, to future generatiqrs.
a
I :f . 'f'hc l'hilosophy of "Gorin no Sho"
"t;t)in 
no Slzo" is comprised of five scrolls that each
I rllrlrir olc volume: "Earth" (chi:fu), 
"Water" (sui: 7J(),
"f,lrr," (,(rr: uO, "Wind" (rtl:R),and 
"Void" (or "air") (hu:
?), 
ltt lluddhism, earth, water, fire, wind, and air are considered
ln ltg llr(,elements that constitute all things in the universe, and
lhfy Arc called Goin (frffi). Although the title of the book is
*rfvxf 
from these Gorin, Musashi uses each of the terms in his
0wn wny.
'f'hc first volume of " Goin no S&o" is "Earth", and in it
Xur|lhl describes his basic conceptualisation of combat; the
I6hl 
rtanding of warriors, and discusses ways of studying
ftnbrt, 
In the second volume, "Water", he describes sword
Iohnfque including karnqe ('on guard' positions) and various
||llkht{ methods. In the third volume, "Fire", he discusses a
itltlthr of combat tactics and strategies. In the fourth volume,
tlWlnd", he criticises the misguided practices of other schools of
filfllrmanship and argues the validity of his own theories.
llfrlly, 
In the fifth volume, "Void", he describes the ultimate
l|l!l 
rchloved after austere training in the Way of Combat.
It) Thr Earth Scroll - The Way of Combat
ln the beginning of the "Earth" Scroll, Musashi writes sim-
tlt ttf hlr own history. As we have already seen, after winning
tl,|t flxly duels he turned his attention to the general principlcs
lll t*ofdrmanship attaining a state where he no longer nccrclt'rl
t7
-
Takashi Uozumi
instruction to master any skill. Musashi declares that he now
wdtes down the principles he has discovered as "a mirror of the
way of Heaven and, Kannon", (in other words, as universal laws
of nature) .
In "Earth" Musashi examines broadly the state of the world
and considers the r6le of the Way of Combat within it.
He wdtes that society is comprised of warriors, peasants,
artisans and merchants and each has their role. In the same way
that peasants grow food, artisans make implements or build
houses, and merchants trade, a bushi, as a fighting man, must
always be prepared for combat and train ceaselessly in the Way
of Combat. Musashi repudiates the idea that "a bushi need onll
resolue himsef to die nobly" (which is redolent of the later
" Hogakure"'s (1710) famous phrase "the Way of the Sa/nurai h
found in death") , observing that those who said such things had
no understanding of the bushi.'s role. Musashi writes that a
warrior has a responsibility to train in order to be of use in
actual combat.
Amongst bushi lhere are generals and foot soldiers, and their
roles are different. Musashi explains the difference by compar-
ing them to master builders and common carpenters respectively.
As a master builder understands how to raise a building, the
g6neral must understand how,.to govern the country. or a
domain; he should know his men well and make best use of their
talents; know their limits and encourage them where necessary.
On the other hand, in the same way that the carpenter keeps his
own tools sharp in order that he might do the best job possiblc
whatever is asked of him, more than anylhiltlt it fool solclicr
rnust actlLrirc 
tcr:hnir:al 
skill, 'l'ltrr.cittlx'ttlct. 
il ltln wtrrk iR gorxl
Research of Miyamoto Musashi's "Con, no .t&o"
,rrrrl rl sludies building, can become a master builder. By this
I rr tr;|l 
i({)n Musashi is hinting that, if the foot soldier polishes
lrl,, lr.( 
lulique and learns tactics, he may well rise to general
rllrtlttr.
Mrrsashi argues that a warrior must study all manner of
llflfrgl concerned with warfare; obviously spear and naginata ;
ltttl AlHr the pros and cons of bow and musket and when best to
UtF lhtm. However, he puts the sword at the centre of the
Wlfflor ttrts writing that if one masters the technique of one to
=gllt ct)mbat with the sword, one will understand the principles
gl blttlo with ten thousand men. Musashi rejects an approach
ftiflnd 
purely to the sword from the beginning as one which
dfr$ fi(,| lcnd to an understanding of the intrinsic effectiveness of
lftHrmanship, and so develops his ideas to include the wider
nflfi of c{}mbat (heiho) in general.
Murnnhi rejects "Ddjd Kenjutsu" (swordsmanship
l 
ltlred ttndcr artificial conditions indoors) as being useless 
in
ldHll fombtt. Indeed, Musashi's practice of using two swords
im 
lofrlly c(nll)at oriented 
- rather than leaving the shorr
Ffd 
fhrlthed at your side, you should use it to gain even a
Shl 
ldvrntnro, Nor was he necessarily committed to using
*f 
utdr, ltut, iI you became used to handling a sword in one
lH 
tltll wotlld |te uscful, for instance, when on horseback, or
* 
ff*ytnf t Hl)car 
or bow, or when on difficult terrain such
I ilffr$ 
llf rtx:ks, or stctlr inclines.
. 
lt thr lnd of lho "liflflh" scroll. Musashi 
(lotails ninc short.
FfFtlVr 
ttl(l plllry irrsllucliorrs 
lirr progrt.ssilg 
along lhc W;ry:
lkt 
nt|eVill 
'l'r'rrlrr 
lrllrl; lirrow rrlhr,r'itrlH: 
Sll(ly otlrr,r 
l)rollH
;4.-- 
r, 
,
1 Il 
lllltlFttlItxl || lrrllr,r'F lrrrrri 
ttttrl |otHl 'l urtl vo||r l||l l

Takashi Uozumi
tion in all things; Perceive and understand the invisible; Pay
attention to even trivial matters; Do nothing which is of no use.
These instructions could be applied to any field, not just combat,
and give us an insight into how Musashi lived his life.
(2) The Water Scroll - Core Technical Theory
At the beginning of this scroll dealing with sword technique,
Musashi cautions against merely reading the contents - the
reader should use the tecbniques in practice and improvise
himself. Musashi urges a method of training in which techniques
are not merely learned, the reader must try them out and produce
of them something more than is written down; they must become
his own techniques.
The first article of "Water" is "The Combative Mind-set".
Musashi advocates that the mind-set in combat should be no
different from that of everyday life: open and all encompassing;
neither too tense nor careless; free of preconceptions, and with a
constant clarity. He urges a ceaseless honing of intellect and
polishing of spirit. Thus Musashi summarises in concrete terms
tlle mental attitude required, not just in swordsmarship, but also
in everyday life.
Musashi begins his discussion of technique with detailed
instructions concerning the posture in kamae, (literally from
head to toe), and the sword grip, describiqg the differing role of
edch finger. He writes that a swoidsman should pay attention to
every part of his body from head to toe, ensuring good balance
when adopting a hzmaz. Musashi warns against "dead spots";
the whole body must be "live" - always ready to move instantly.
He writes that "Both your hands and swords must be ready to
Itesearch of Miyamoto Musashi's "Go.r/! ,to ,5ro"
rrlrr,, rrt ;rll times; they should not be rigid but relaxed so that
r,,rr ,rr. irble to strike smoothly".
ll|sf)ite the fact that Japanese martial arts, or Budd, place
nlrr'lr ('rnphasis on kamae that conforms precisely to the funda-
tFltul form, deviation from tJIe basics being unacceptable, no
lklt 
treatise describes these basics with such depth and clarity.
h ltb Ineistence on formation of a consistent method of moving
dhmae 
that is completely free of predisposition and offers no
we can gain a glimpse of Musashi's meticulous
also reveals five sword ftalz (predetermined form
, "itswtsu no azole". Musashi's treatment of kzta dlf-
that of ottrer schools of swordsmanship in which kata
described in terms of the techniques they
states unequivocally that the purpose ol kata
to master "The Way of Sword Wielding" (tachi no
"The Way of Sword Wielding" he means the most
so effective, method, and this will be determined by
continuous motion; the sword's position; and
curvature and heft. A sword should not be swung
sheer force nor should it be swung quickly. There
"Way of Sword Wielding" appropriate to each
- and that is how the sword should be handled. He
if you concentrate not on the outward form of a
but on the feeling in your body during the strike, and
natural and smooth striking action, you will come
the intricacies of "The Way of Sword Wielding".
tlve katz are merely model examples starting from
of movement based this optimum "Way of Sword
Takashi Uozumi
Wielding". According to Musashi the purpose of practising these
kata is to come to an intuitive understanding of the optimum
"Way of Sword Wielding".
Musashi's five hata start from Ihe tive hnmae of upper
Uddan) , middle (chndan) ,lower (gedan) left (hidari-uaki), and
risht (mEi-uaki) . He considered other knmae to be mere varia-
tions of these five and so, if one learned how to strike based the
optimum "Way of Sword Wielding" from these five postures, one
could apply the same principle to any situation. In practising
these five kata one comes to understand the most appropriate
method of sword wielding and correct movement rhythm, and
one is able to discern the level of ability of other swordsmen by
merely observing their sword movement.
Training in the Japanese Budi was cbaracterised by count-
less repetition ol kata; only on mastering their movements was
the individual allowed to engage in free practice. In particular, in
the Kenjutsw of Musashi's time, unlike its modern counterpart
Kend1 in which participants don armour and fence using mock
swords made of strips of bamboo, (and which developed some
two hundred years later), the training consisted of using a
wooden sword to practise predetermined sword patterns with a
partner. Each ryfiha had its owo kala arranged in groups accord-
ing to the degree of difficulty, (shoden, chaden, ofuden, gohui
etc.) ; and on learning ten or so of tJrcse knta, yotd received the
licence corresponding to that'level. As it was forbidden to
dimlge the techniques of the kata without permission, you could
not learn the whole tecbnical system of the ryala unless you
spent many years training and received kniden menkyo, (literally:
'comprehensive licence') . Thus individual kata came to have a
Rcsearch 
of Miyamoto Musashi's 
"Gorrn ro .Sro"
rl,rrlr(.iurce other tlan that of technical training; they were
'|''\lrtl.(l as secret teachings to both protect and enhance the
rrrrrrrlr,r's autlority as titular head of the ryzha.
When you consider the historical background in this way,
Murarhi's approach appears all the more comprehersive and
l0lptlonal'
d;tl Ultimately Musashi considers t}le foundation of sword tech-
be tlre "Principle of Swordsmanship" (tachi sui no
- the ability to move in a natural manner under any
(possessing 
a "live" body ), and a striking action
accord with tJre optimum "Way of Sword Wielding".
this may sound rather basic, the ability to wield the
naturally necessitates constant vigilence; in
the continuous cultivation of a method of movement
predictable habits and potential openings; and in
the five kata, the relentless pursuit of a more natural
a sword which demands constant awareness and
the subtle changes and differences in one's body that
each strike.
on from tlte Iive hata, Musashi writes of the
"fonnless kamae" - advising that karnae sbolTd
to the circumstances; it should not be predeter-
combat hamae should be improvised according
and place of combat; you should adopt the
allows you to attack and defend best - it will vary
t}te situation.
Soes on to cover various other practical techniques
Sla" ; for instance and depending on the opponent,
j striking after feinting; striking with com-
-,3
Takashi Uozumi
plete composure - witlout giving any external indications; point'
ing the swordtip at the opponent's face, eyes, or neck; entering
into the opponent's striking range; grappling; fighting against
many opponents at the same time, etc., in all cases giving con'
crete advice on rational methodology.
For instance, Musashi instructs that when fighting against
many opponents you should adopt a kamae with both swords
held wide apart and discern which of your opponents will attack
first; strike the enemy in front first tllen use the returning sword
to cut down the enemy attacking your flank(t'). He writes that if
you herd the enemy together in one direction and cut them where
they pile up, "you can deal calmly with even ten or twenty
opponents". Here we can see how Musashi actually fought and
see a confidence born of experience.
While clearly explaining fundamental srvordsmanship the-
ory, Musashi also provides detailed insights into practical com-
h.i 
ra.hni^,,a
(3) The Fire Scroll - Combat Crestivity
At the outs€t of the " Fire" Scroll, which deals with combat
tactics, Musashi writes about selecting the location for combat-
You might fight on a narrow mormtain path, on the bank of a
river, in a swamp, or indoors but, wherever you engage in
.combat, you should meticulously arrange the circumstances of
'that location such that they ate to your own advantage and to
your enemy's disadvantage. You take for yourself any high
ground or where the footing is sure, and drive your opponent into
an area where there are obstacles and his footing will be unsure.
Stand with the sun behind you enabling you to see well but
r,, ,.,r, 
t! dt lr4iyamoro 
Musashi's 
..Coz, ,l, Sio"
r, 
l",r' \,,'|r ,r||;rrrrent. 
In this way MuSashi instructs you first
r, ,,, ,r, \rt,'tv in selection of location.
r.i' \t l\l sirshi breaks down combat into the following three
. | | | | | | | | | ' | | 
, | , r rr' "three ways of seizing the initiative": The first is
wlfr'fr yrrf rltlrck the enemy (ken no sm)- The second is when
lht Hfrltly lltacks you (tai no sen). The third is when you and
l||| fitmy both attack (tai. tai no sen). In ken no sen you may
||l 
ltlll 
rnd attack when your opponent approaches; or dash in
md attack. ln tai no sen you feign weakness and when
attacks imprudently you strike strongly. ln tai tai
your opponent attacks quickly you attack calmly
when he attacks calmly, you attack lightly and
Musashi writes ttrat you should use your head and
(saz), or control, in any given situation.
you must first calmly discem yow opponent's level
bls mental state in the light of the ,iprinciple of
. If you cannot predict your opponent,s move,
feint and observe his reaction. Thus comorehen-
you can detect the moment when your
to attack and respond to stifle the attack
(" ttuhrra no ose"). Even if your opponent
can step in with full commitment robbing him of
forestall further attacks (" ken wo lumu").
to an exchange of blows, you prepare your.
with the "Principle of Swordsmanship', (a
to respond instantly to any eventuality), and
ln accordance witi the dictates of ttre "Wav of
and rhythm. On the otier hand, when your
In a manner contrary to "Principle of Swords-
t5
Takashi Uozumi
manship" you should exploit mercilessly the unnatural element:
any breakdom of kq,Tnae or stall 
in movement, and enter in
strongly. This is Musashi's characteristic 
fighting method.
Musashi does not confine himself to physical technique; he
writes also of psychological tactics. For example you may do
something unexpected upsetting your opponent's composure;
make him angry; intimidate him; or cut him somewhere -
whatever seems appropriate at the time in order to produce a
breakdown in his kamae or disrupt his rhythm.
Musashi writes that when you observe such a breakdowa in
your opponent you must allow him no room for recovery, and
press on relentlessly until you beat him into total submission.
Musashi states that in combat you should regard your opponent
as a soldier under your own command and take the lead in the
duel. Combat requires both caution and audacity.
The Fire Scroll contains this kind of practical combat know
-how being, (apart form the fir5t few points), applicable not only
to one to one combat but also to larger scale engagements or
battles. However, as Musashi explains about battles his advice
becomes more abstract - Musashi is trying to emphasise that his
theories of swordsmanship are directly applicable to battlelieid
tactics, and as such, should be studied by all warriors.
Musashi states simply, "My Way is one where I do not even
consider the impractical; 
I use my knor4rledge of combat to find
a way to win by any means", and indeed, his technical and
tactical theory is both rational and packed with methods to
ensure victory.
l', L.,,, ti ot Miyamoto Musashi's ,,Goin no Sho,,
t 
I lr, \1 irll Scroll - Mistaken Methods and the .,Direct
l'rr I h"
llr, 
\\rirr<1" Scroll discusses incorrect practices found in
\'rl,'rh qlvl(.s of swordsmanship but, rather than criticise spe-
Illlt 
,t lxt, il lists misunderstandings and mistakes common in
r*|||llrnrfl[Hhip and attempts to illustrate the correct way for
fglllt! fonorations. Its overriding criterion is that of whether a
lltllt mfthod will really be of use or not in the various situations
I finl combat.
writes that there are pros and cons in worrying
things as lengths of swords, special footwork or
llx your eyes in combat (metsuke). 
If you become
adopting yarious kamae and worry about the
you will become confused before you even
not as if there are a myriad ways to cut: you should
llwmae that puts your opponent at a disadvantage.
with striking quickly or strongly is also a mis"
disregard the natural way to wield the sword you
bc able to cut with it. Musashi warns asainst con-
the fine details and forgetting the larger issues
review your technique considering it a wide
are no mysterious techniques tlat ensure certain
criticises the oaths to secrecy found in all the
time. He also refutes the rynha practice of splitting
different 
levels shoden, chfiden, okuden, gokui
lrrelevant to actual combat. Musashi believed that
pursuit of effective combat technique ultimately
to the same thing. Therefore, he advocated a teach-
,6-
-27
Takashi Uozumi
ing method tailored to the individual student; one that commen.
ced witl 
those techniques easiest for him to understand ancl
master, and which progressed to more advanced techniques later.
Teach the kind of straightforward theory contained 
in the Water
and Fire scrolls, free the student's mind of preconceptions, rid
him of habitual behaviour, and get him to start of down the true
path of the warrior by himself: this is the "Direct Path" and
that which Musashi used.
(5) The Void Scroll - The Way of Training and Ultimate
Stete
Musashi describes 
the Void as "no substance": 
it is a "noth-
ingness" which is comprehended 
in the context of the tangible
"substance". "Yoid" (ha) is a Buddhist philosophical term but
Musashi conceptualises 
it in terms of his own path, the Way of
Combat. Musashi uses the term to describe a state of mind that
you must always enter into during practise or training; and the
state of clarity that you achieve at the end of training ih which
all things are connected 
- "all things become one in the Void".
From the beginning of the "Water" Scroll, Musashi writes
that you must dispense with egocentric preconception and ceabe.
Iessly re-examine technique efficacy and your own condition in
an open and honest way. He stresses 
in the "Void" Scroll that
until you achieve this state, even if you are satisfied with your-
self, you are a slave to youf own capricious favouritism and
prejudice. Therefore, the act of relentlessly re-defining yourself
in terms of the Void will, of itself, liberate you from preconcep-
tion and complacency and conclude your quest for the Way of
Combat.
l{esearch of Miyamoto Musashi's "Gom ao Slrr"
t,,r r rlr;rt 
training began with iearning how to stand and move
rlltlr rr, openings, no predictable habits in daily life, and also
lr\'rlvr.(l winning rationally; a constant use of intellect and a
lrto|r,rl of polishing tlte spirit until clear. Consequently, training
ln tht Way of Combat,.whilst being centred on swordsmanship,
llflld 
over into daily life. Musashi aimed for victory not only
ll] 
fwordsman but also as a bushi - to be second to none in
aacond to none in conduct, second to none in government
- he meant to win in all aspects of life.
writes that the "true Void" is achieved by "striving
the martial arts" and in "the way of ttrc bushi.", arfi
, hour by hour without rest, polishing the twofold
perception and intuition), sharpening the two-
comprehensive sight and volitive; conscious
describes it as "the place where the spirit is not in
where the clouds of perplexity clear". This is
t}lat is not confined to combat but extends to
it is attained as a result of combat training tlat
daily life. When you reach this level all your actions
performed in accord with the Way. Although it is
state of 'satori" , or enlightenment in Zen, Musa-
of "Sword and Zen as one", ratler he persistently
Void as a state you reach during thorough training
of Combat('u).
gummarises this at the end of "Gorin. no Sho":
your base and a true heart your Way, conduct
, conectly and plainly. When you perceive things
you will see that the Void is the Way and the
Void'. First train hard with an appreciation of the
-19
Takashi Uozumi
Void, and ultimately the straight Way of Combat brings you to
a truth that connects all things - the Void.
Conclusion
Musashi pursued the Way of Combat his whole life. He
never entered service, having the freedom of a kyakubun, and
although he adopted a son, he remained single. Unconcerned
with the growth of a house or ryfrha, he stood alone devotedly
refining his own path. To Musashi, training in the Way of
Combat was akin to religious asceticism.
In Japan, there has been a strong tendency from old to judge
a person's spirit by his art; in order to perfect their arts, master
craftsmen and artists have polished not only their technique but
also their minds. Then Zen Buddhism was introduced into Japan
from the 13th Century, and it flourished particularly in the
Muromachi Period (1336-1573). Zen's spiritual training
involves extreme mental concentration 
in all aspects of daily life,
and this leads one to break through to 
^ 
state (nushin) , wlnch
transcends all mundane concerns and after which truth becomes
manifest in ttre slightest of movements. This movement-oriented
l'iew of truth exerted a great influence over Muromachi cultirre
resulting in the idea of "Geido", or Way of Art. The term
" Gcida" fitst appears in Zeami's writings on N0 (1424) and it
imbues the pursuit of one's ow! art with a sense of spiritual
' training; it gives it an ascetic significance. This way of thinking
was present for instance in Cha no Ya (Tea Ceremony) , it being
declared that "Tea and Zen are one", (#?$-DF) (Late 15th Cen.
tuly).
Musashi's pursuit of his Way of the Sword is clearly rooted
30-
l{cr,rarch of Miyamoto Musashi's "Go,'ir?,?o ^Sfto'
(&fi€) 
("A Solitary Path") by Miyamoto Musashi
Dremission of Kumamoto Prefectural Museum of Art)
rirote this summary of his life just one week belore he
of tradition. Based on his own experience in numer'
he sought the universal principles of combat, leading
the Ways common to all arts, which finally brought
"All Principles, One Void" (E'!E-fh 
t}te prin-
,fll Ways unite in the Void. Musashi was able, "by
the principles of combat, to practise many arts and
- all v.itlout a teacher". In Japan it had long been
the mastery of one art could be applied to others,
Musashi nobody had actually stated confidently and
he had experienced 
this himself. His ink paintings
3r
Takashi Uozumi
bear testament to it and ,, Goin no Sla,, shows clearly thar
Musashi had mastered the principles of the Way to the extent
that he could make such a statement.
The transformation of Buju*u, from utilitarian combative
technique, to a way of spiritual cultivation, Budo, is plainll,
shown in the way Musashi's lived his lif.e; ,. Goin no Sho,,
expresses the thoughts of someone who has undergone such a
transf ormation himself 
.
Although ', Goin z, Sro', is one of the earliest written Bzdd
treatis€s, I believe that it constitutes the best framework of tie
essential elements of Budo. lJnlike later works that presuppose
training and matches 
in doia,,,Goin za Sio', envisages a variety
of actual combat situations, and gives clear concrete instructions
applicable to each. And, unlike later BudO treatis*5,,Goin no
enhance its spiritual content; rather it insists that the mind can
be polished to a clear and cloudless state by thorowh training in
technique.
When I consider the modern BudO in terms of ,, Gorin no
S&o", it seems to me that, although their proponents spout
abstract spiritual ideology, the modem Bud6 are becomins
increasingly sports oriented and excessively elaborate. Of
course, the modern Budd differ vastly from their forbears in
. historical context, technique and,aim but, I believe that the time
is ripe to reconsider ttle essedce ol Budo and, return to the spirit
of " Gorin no Sho,,; to an approach that conceptualises the
"Direct Path" in terms of those fundamental elements that
constitute technique.
lr, ' .,r.h of Miyamoto Musashi's 
"GorrZ ,lo .Sro'
| 
\,,',,,4 r,t lhcse one of the most significant 
is the mistranslati.,|| 
r't
a technique which ttpiJies Musashi's fighting style, as
t h .t,t ,1,,r 
't 
a l,illow". This article explains the technique in terms of
,'ri't'rii'trt ;tr ot)ponent's trike at the'st', his leap at the'/"'and his
lvrrr' r, nt lhr 'dl' - suppressing 
the 'head' of the word- In other words, it
h llx, I' t ol r{[ppressing the start of an opponent's technique, of preventing
hffl| ltfnff xltrcking. Therefore, "nukxm", d\onld rot in this case be trans-
lll',i nr "ltilhw" blut as "the sta/t", (as in the traditional Japanese Poetic
tlVtntfrfn 
ol makura kotobd , and "makura tzo osa?" translated as "nip_
lhr bud". This mistranslation has continued in otler more rccent
ln " lachi ,ti h4uoru ,ni", although Musashi categorically states
do not strihe urith Jour sword atd bodl at the st na time" , Harlid
has the opposite neaning:. "usu4llJ ue mote the body and lhe
a he sme tb.e lo c14 the enerr.t". Rather tlan being a simple
| :uspect that Musashi was mistranslated to fit 
in with the
not b€en translated at all.
mlstakes in transliteration of Japanese include writing the
Tbtro, the individual to whom Musashi presented "Goi 
no Sho",
, writing the personal name of the lord of Kumamoto, Hosokawa
aa "ChrLi", and the place name Kokura as "Ogtm". 'fhere is
of similar mistakes in the translator's notes conceminq
|t8!rd to tlle translator's introduction, even if Harris cannot be
following the commonly held misconceptions corrected by this
hft rendition of the duel on Gan-M Island described in the "Nitun
licludes a description of Musashi, who had downed Kojir6 with a
attwlng his swords and shouting at his fallen enemy. This does not
ttc " Niterl-hi", or in any other source of which I am aware, and
form part of Harris' opinion of Musashi as "horribly cruel". Alsr,
thr lntroduction includes a two-page reproduction of Utagawa
ttlptych " Milarrrotn Mtsashi" accofipanied by an explanat()ry
tftnslator fails to explain that this is, in fact, an illustmtion fr{nrl
S&2" does not introduce elements of Zen or Taoism in order to
of rnodem Kend6. Also there are two places where a number of
3a_-
- 
33
Takashi Uozumi
a late Edo period comic.
The following passage from t
"labatae businesnten 
^o" 
^ron" 
tn"oouction had a big effect on sales:
p/a.tic:,. 
nahinc 
*; ;;;;; 
fr::i;,;'".;.;::,r;:i 
,:;:;:
er,ergedc metho^- In the vme a
?:!::,*, 
."", 
;," 
;; "#r|#*f,ff' 
;:ff r:, I, *Xr;,
ouslness seerxs lo ,rros! beorle to be unhou! cottsciettce-,,
This statement, the translator,l
wanness of a Japan that had recens 
own opinion' and which was based on a
at Japanese industry,s inroads ,n,,'"t 
o""o^" 
" 
major economy and alarm
l::,"::. 
 ";; ;;" ;;.: 
ffi :";"Jj::: 
;il:,:T,J:T:
torward,,Goin ho Sho,, as the kl
manasement 
success,"-,"",r,;;J"t'olll}l,|i'liff,l"iJ: 
iIffi
this sales boom in the West, books
appear 
in Japan also. ono,o *," 0.1 lT 
with business 
in mind began to
recent transrations, 
js crassified 
^iJ 
^*.'" 
zosro"' including the mor€
( 2 ) Most or t;;i;;;"*"T 
B,siness/Martial Arts catesorv'
pnntins of Hinarsu shisetaka.s 
..;l ::i"^t 
T:t"* 
dora'n after the
Manial Ans 
"t l"r"t""t'itr. 
oflon'ho 
B'tg'i slodez' (Tales of the
tatotiucni <venaettJl-'"rr"' i)*oil"' 
follorvinS the 1727 success of the
-ryt Islatfi, Musashi became ,n" 
"uno'o-" 
t"not'ions of the duel on ca'
*oo",,tr**"io^o-;;;";*,;::f ,,:r"*"*-truo*"
(31 The,.Niten_hi,, 
written in I
raphy ot Musashi based on anictes..?j-1__ot_t".t:* 
Kagehide, was a biog
rtovoaa uu"ut"Lui-;:;r;':#::"':ins 
Musashi 
in his srandrather 
s
*"..,."' 
"".".i"""..""1i11" 
Sf l;i#Xl" 
r*, *
( 4 ) Refer to: the stone epitaDh n
tori in Kokura rriiil,",i" ;;;:.' 
y:*"hi erected 
bv his adopted 
son
(1653); 
and 
"" 
ttl"r"," 
,']ui} 
""1" 
offertory plaque (munaruda)
descendents (1g48). 
ecord according to the lori's direct
' 
The theory that Musashi wa6 ti
ongrnates in a statement in - ur*.o)" 
son of 
.Hirata 
Muni of okayama
Kmsh4 Kai,,"r"*t 
oo**oillu.o 
Mtatashi" published bv the rttt sasri
o "Tasahohi,, 
,xrxl- 
"i'rJ|i, "., 
,ocietv) 
in 1909' 
and which was based
inyoshikawar;;";:;;;:;;;"',*":IJ#:':::::J,["\:ffi;ft
Re\earch of Miyamoro Musashi,s ,.Coli, ,ro Sro..
lrr\ :ts s()urce material.
, J See "The Chihwer, ShirrmeL Ho*se Record,, Q7691
tr) 
'-f,i-ryi 
Mokurohu" (159?). Hithelto it has been held that Musa.
.,lrt (lcvised the style of fencing with two swords (zila) . Hq\rsys.. ,
rrrrrrrlxr of sources, including this catalogue and an illustrated catalogue
lvallten by one of Muni's pupils, prove that Muni also used zr./d.
I
l
I
it
lii
l
l
l
lr,1
I
r1
I
(7) The contemporaneous djary of a daimyd " Kitoshita Nobutoshi
nhbnihi" 
(161$ states that a person most likely Musashi,s adoptive
('the manial ani* Muni',) was in the close service of the daimvd
was well treated.
) S€e the author's own .Enmei-rya Densho'Heidabd, no Morultri,,
problem of the Enmei,ryii Eeatis€ ', Heidobyo,,) (Intemational 
llud(t
, lnstitute of Budo/Sports Science Research, i-ourth AnDual
1999), for detailed argument that ,,Heidabd,, (1610) was the wor.k
young Musashi and that there is a more complete copy of ,,Heidah|o,,
had hitherto been known.
) Until now it has been assumed that, because he was a rorli,t.
fought on the Osaka side. However, Musashi,s name was recently
d on the order of battle written by the hereditary Tokugawa vassal
Katsunari.
In 1632 the hereditary vassal Ogasawara Tadazane was Dromoted
^ 
lief of 100,000 
kokt (approx. 500,000 
bushels of rice) to one of 150,000
and became the superintendent of tle Kyiishn 'To2arna daimyd,,
i€s of Tokugawa that were not hereditary vassals). Iori reportedly had
largest income of all Ogasawara's retainers: 2,500 hohu. (Following his
at Shimabara and his promotion to chief retainer his income rose to 4.
bhar -
There is a letter written by Musashi to the lord oI Miyazak|
Naozumi, concerning his (Musashi's) part in the battle.
In his tast years Musashi r.vas on friendly terms with a Ze monk at
darij'U's ancestral temple Taisho-ji. It had been thought that this monk
Shunzan but it transpires that it was aDother monk approximately the
age as Shunzan, one Daien Genkd- Daien was a famous monk of his
who had been gEnted his priestly garb by the Imperial Court. and
at Mydshin-ii in Ky6to, coming to Kumamoto only after beins askocl
J)
Takashi Uozumi
by the daimyi to establish the ancestral temple. Furthermore, there is no
record of, and it is almost inconceivable that Musashi met the Zen monk
Takuan, as is popularly believed.
Also, the wood carving of the Fudo Myo O (temple guardian deity) is
famous amongst Musashi's craftwork. However, judging by the piece itself,
it appears to have come from the temple where Musashi shut himself away,
and is in all probability the work of a professional Buddhist monk. The
work of which we can be certain in attributing to Musashi is all martial
equipment such as bokut1, sword guards and saddles.
(13) See Terao Magonojo's sdden oku-gaki (transmission colophon) in
"Gorin no Sfto" (1653). A copy of. "Goin no Sho" written in Musashi's
own hand has yet to be found but it is evident from the seven copies and
various materials that it is his work. See the author's ^Goin no Sho' no
shahon no kenfoa" (Research on the copies ol "Goin no Sho") (Interna-
tional Budo University, Institute of Budd/Sports Science Research, Third
Annual Report, 1998).
(14) As the Hosokawa family copy of "Gorin no Sho," (on which the
modern print is based), is missing forty characters from this article, it is
difficult to understand. It is necessary to augment one's reading of the
modern print with comparisons of the other Edo period copies. There are
like omissions in four other places in the modern print, totalling seventy-
five characters, and over twenty misprints. All translations are based on the
incomplete and incorrect modern print. See the author's ''Gorin no Sho'
no shahon no kenfon" (Research on the copies ol "Gorin no Sho") (Inter-
national Budo University, Institute of BudO/Sports Science Research, Third
Annual Report, 1998).
(15) The concept of "Sword and.Zen as one" originates withthe Yagn
Shinkage-rya secret treatise "Heiho Kadensro" written in 1632 by a con-
temporary of Musashi, Yagyu Munenori. Besides explaining the techniques
of .the Yagjnz Shinkage-ryil, Munenori uses the teiminology of Zen to
describe the state of "rnushin" where if one ceases to be concerned with
wielding a sword one becomes able to use it with perfect ease; if one attains
"mushin", one becomes "tsfrdatsu no hito": able to master all Ways.
Munenori wrote his theory of "Sword andzen as one" after, (as he declares
himself), he received the thoughts of the Zen monk Takuan in the form of
36 --
Research 
of Miyamoto Musashi's "Gorin no Sho"
rlrc "Fudd Chi Shinryto Rohu"(T$tEffit|ffi). 
Munenori hinrst'll \\;rl
;rware of the difficulty inherent in conducting oneself 
in a state of "mttslritt'
irt all times but, in a mid-Edo period that saw an end to dueliing, the cry ol
"Sword and.Zen as one"(*U?S-F{) reverberated 
loudly and to the exclusiot
of all else. This was one of the factors that contributed to the abstracl
eleboration of swordsmanship, that took place during this period'
37
The Technical and Psychological
Methodology of Kend6
Minoru OnvR
(Translated by Steven Harwood)
The word "Kendo" 
(AIJ€) is comprised of two ideographs
ning "sword" and "way" respectively. Albeit a mock weapon
of four bamboo slats, modern Kendo's shinai. is derived
the Japanese sword or katana. Although in modern society
is no requirement to carry a sword and engage enemies in
combat. modern Kendd deems that the shi.nai should. be
as if it were a real sword. Consequently, Kendd doctrine
ially concerned with that struggle to live, and to kill,
occurs in mortal combat - where there are no second
no re-plays. Thus KendO embraces the immutable
of existence.
If the meaning of Kendo were limited to that suggested by its
ideograph, ken (friD, then it would remain in the sphere of
, its utilitarian proto-form. However, in response to
social circumstance. Kendd evolved from a method of
people, (the technique or "jutsu" (ffrl) of the battlefield),
method of cultivating people, (a way of life, "do" (E)).In
words, KendO represents a sublimation of technique into
- 
.19
Minoru Ohya
The ideograph E (da) is comprised of the two elements ts
and L The former fi 
(kubi) signifies human life, or an individ-
ual's life; the latter (shi.nnya) suggests an unending meandering
beginning from a particular point. In effect, the character repre-
sents the concept of an individual's way of life, or way of being.
So we arrive at a concept of Kendd, the Way of the Sword,
(even if the sword has been replaced by the shinai) in which an
individual dons armour and faces a hostile opponent, experienc-
ing in the ceaseless cut and thrust and exchange of blows a close
approximation of the life and death situation of mortal combat
and, out of this experience, seeks his way of living, his way of
existence.
On the basis of the above conceptualisation, this paper will
consider Kendd's technical and psychological methodology, with
reference to various elements of KendO practice.
Execution of Technical and Psychological Applications
The execution of technical and psychological applications
occurs within the following process:
On-guard (ffii-) Qamae) - Mutual Probing of Defences/
Pressurising (rfDdv') 
(seme-ai) ' Detection of Opening
and Selection of Technique - Valid Strike ' Physical and
Psychological Composure (8,L.) Qanshi.n)
'. in which particular emphasis is placed on valid strikes born
of a unity of spirit, sword and body (fif;U{f-Ff) 
&i' ken tai
itchi).
From a technical standpoint a valid strike is one which
presents the blade in the correct manner; which in turn is directly
1o-
The Technical and Psychological Methodology of Kendo
r,,lated to the manner in which the shinai is gripped. In additiorr,
;iood bearing; smooth technique initiation and a correct strike
lrirth, emanating from correct kam.ae, are looked for. Subsequent
to the valid strike, physical focus and composure are demanded.
From the psychological standpoint, "striking with abandon",
(#< H) kutemi) is required. The ability to strike with aban-
don, with utter conviction, is essentially a product of the unity of
mind, spirit and technique (,L'fi/f-B[) 
Ghi.n ki ryoku itchi)
ing in a Kendd engagement. This unity of mind, spirit and
is a prerequisite to dominating a match and enables an
iate strike in response to an opening produced during the
(serne-ai) stage. Moreover, zanshin, or psychological
following the strike, is concomitant with suterni.
I will now isolate and consider a number of the maior
contained in the above process.
1. Karnae
The on-guard position in Kendd embodies the frame of mind,
posture and demeanour inherent in man-to-man confron-
, and in so doing, becomes a "combat attitude". As in the
of the "Wooden Cockerel" (contained in the 3rd Centurv BC
ese Taoist work 
'Chuang T2il."), at its zenith kamae
ires an imperturbable quality able to render opponents
y ineffective.
Kamae is comprised of an intangible, psychological attitude
a tangible, physical attitude, and if the psychological attitude
sufficiently developed it can preclude the necessity for any
ward manifestation. At such a level, all that is required is
-11
Minoru Ohya
maintenance of a state of mental vigilance that allows appropri-
ate action at any time. Thus past masters taught "kamae is
essentially shapeless" and, "kamae is something which you mani-
fest depending on your opponent - and which you can change at
will".
(l) Fundamental Considerations in Kamae
When considering hamae the following considerations are
fundamental:
O Both sides are engaged in a clash of willpower.
@ If this clash is 
"u"nly'bulunced 
(50 : 50) then the engage-
ment will end in deadlock.
J
@ When the balance shifts in favour of one side (60 :40 or T0
: 30) there is an opportunity to utilise techniques.
Therefore, the perfection of. kamae is the cornerstone of
Kendd and equates to "unity of mind, spirit and tx.hnique" (shin
hi ryoku itchi). Seme-ai (probing for weaknesses) is the means
by which this 50 : 50 deadlock is broken. Indeed, Kendd lacking
the tension born of the clash of wills in hnnne, and the struggle
to break the deadlock through seme-ai, has long been regarded
as mere "slapping for points". In other words, this clash of wills
is a point at which the activity can become Kend6 or degenerate
into something less, and is a fundamental issue in consideration
of. kamae.
The Technical and Psychological Methodology of Kendo
\2\ The Striking Action and Kamae
The striking action in KendO can be broken down into thc
Irrllowing phases: Start (kamae)- Probe (seme-ai')- Initiation
' Transition - Contact 
+ Composure (zanshin), the chief aim
being a strike in which the appropriate part of the shinai makes
contact at the correct angle. To that end, all aspects of the
transition phase, such as the strike path etc., must be performed
correctly, which in turn demands a smooth technique initiation
phase. Underlying all of this is the kamae; if the kamne is poor
then you cannot hope for a good contact. Which, if taken to its
ical conclusion, means that you can gauge the efficacy of any
t strike by the quality of the kamae.
2. Various Elements of Kamae
I Sonkyo and Spirit
Although the term and position is also found in Sumo, sonkyo
) (a deep squatting posture with the knees spread wide and
weight on the toes) is little used in everyday life. It is a
theory that sonbyo is the most polite form of obeisance
for the highest personages. However, such theory exists
the very fringe of Japanese etiquette and, whilst it is possible
regard sonkyo as a form of etiquette, in Kendd that etiquette
place in the context of a combative relationship.
The lesson of the "crouching lion" (ffiij&d)trtfiF), in which
lion crouches down low, prepared at any moment to leap
its prey, can be applied to Kendd practice or competition in
sonbyo must be adopted with a fullness of spirit as if yott
spring forward at any moment. Mochida Seiji (Kend0
-.- 
1.3
12--
ri
Minoru Ohya
Hanshi 10th Dan) taught: "The result of a Kendo contest is pre
-determined by the amount of spirit (ki-ryoku) generated during
sonkyo. The substance of the first strike will be apparent from
the degree of ki.-ryoku present in sonkyo". The ki-ryoku generat-
ed in sonkyo is correlated with "unity of mind, spirit and tech-
nique", and it is this state that determines the nature of the first
strike; the presence of contestable opportunities; the ability to
attack with abandon - and so the execution of the single perfect
technique called for in Kendd keiko (practicd.
Q) Unity of Mind, Spirit andTechnique (Shin Ki Ryoku ltchi)
O The Meaning of "Unity of Mind, Spirit and Technique"
The elements of "unity of mind, spirit and technique" can be
summarised as follows. "Mind" 
(shi.n, kokoro) signifies those
psychological functions deemed 'static' such as cognitive percep-
tion, volition and judgement. "Spirit" (ki.) is the dynamic mani-
festation of the psyche: the agent that acts to fulfil the require-
ments of cognitive volition, or its executor. "Technique" alludes
to the ability, born of years of practice, to execute techniques,
and which is replete to the point of overflowing. Therefore,
"unity of mind, spirit and technique" is the state of readiness that
unifies this process:
. FuAqementl - 
faeentl - 
[Tqhniq-ue-l into a single action
thdt takes place instantaneously'hnd results in a valid strike.
@ "Unity of Mind, Spirit and Technique" and Hand Position
When adopting kamae you settle your breath (and ki - in this
case allegorical with breath) in the centre of the lower abdomen
The Technical and Psychological Methodology of Kcntlo
tstika tandea), thus concentrating the whole body's vit;tlitr'
llowever, when you are placed under pressure, this breatl.r is
lrrone to rise up and so, when in childan no kamae (middle guard
lxrsition), you must squeeze it back down by firmly setting the
left fist onto the lower abdomen. If the left fist strays from this
position, then breath will rise up. Conversely, when breath rises
up it is impossible to maintain the position of the left fist and
hold correct kamae,If kamae breaks down, not only will this give
ln opponent opportunities for attack, but also your own vitality
will falter and your ability to utilise techniques effectively will be
Experienced kendoka are able to maintain correct kamae,
in particular, this left fist position does not break down.
intenance of correct kamae requires a left fist set firmly and
ingly, which allows concentration of the whole body's
inthe sei.kn tanden, and this enables a smooth transition
the seme-ai phase to execution of technique.
"Unity of Mind, Spirit and Technique" and Technique
Initiation
When you achieve the state of "unity of mind, spirit and
ique", you see and think with the whole bodf 
the body
spirit (&i) - and it becomes one with the sword. In other
it is a state, based on psychological, respiratory and
I control, which is utterly free of distraction. It is this
state that enables you to take the lead, or seize the initia'
(sen wo toru);it is a state where you can recognise opportu'
intuitively and exploit them to execute valid strikes'
The process of evaluation prior to technique initiation is
4-
15
Minoru Ohya
psychological (cognitive perception and judgement), after which
technique initiation occurs based on the action of ki (the agent of
cognitive volition). Therefore, all techniques must start with &i;
it is the very action of ki that facilitates technique. Those
techniques devoid of ki, or those in which its action is weak or
distorted, are not based on judgement. Consequently, such tech-
niques are in fact not techniques at all but pseudo-techniques, or
mere physical movements. Real technique, being the culmination
of a combination of judgement and ki, and which is thus overfl-
owing with spirit, far exceeds such pseudo-technique in vigour.
(3) Metsuke (Gaze)
The sensory mechanism most directly utilised in Kend6 is
sight. When facing an opponent in a state of "unity of mind, spirit
and technique", you 'see' with the whole body and that enables
detection and immediate exploitation of attack opportunities. As
both protagonists will be looking for opportunities to attack, the
effectiveness of 'sight' becomes an issue in determining the
outcome of a Kendd match.
O The Relationship between Mind and Eyes
"The eyes say as much as the mouth". "The eyes are
windows to the mind". As these common sayings suggest, when
you talk to someone in everyday life you keep yotrr gazefixed on
their face, chiefly watching the eyes,. and search for indications
of their intent. Your partner in conversation does the same.
Likewise, in the Enrnei-ryil classical bujutsu school it is taught,
"the heart is revealed in the face; this is where you must fix your
'gaze",
q6-
The Technical and Psychological Methodology ol'Kendo
Thus the relationship between mind and eyes is one in whit'lr
the mind is supreme, its state being reflected faithfully by thc
r.yes. It follows that, by examining your opponent's eyes, sc
discerning his intent, you can gain an advantage over him.
@ Kan Ken Sight
Miyamoto Musashi wrote that there are two kinds of sight
("hnn ken no metsuke") in his 'Goin no Sho" (a17th Century
treatise on swordsmanship). Kan (ffi) and Ken (-E) both mean
"to see; to watch" but Kan is that sight which has as its object
ln opponent's heart and intentions. Ken is sight that uses the eyes
observe an opponent's physical movements. When observing,
being observed by, your opponent, you should rely more on
Kan-sight, which provides an insight into his psyche-impos-
for corporeal Ken-sigfit.
@ Where to Fix the Gaze
Depending on where you lay your gaze you can discern the
ions of, or detect movements in your opponent. Traditional
ngs concerning these relationships can be summarised in
following way:
A. Watching the eyes or face: spot movements in his mind
and ki..
B. Watching the sword tip and wrists: spot technique
initiation.
C. Watching the shoulders: discern his breathing rhythm.
In addition, within its teaching "The two gazes" the ltto-ryta
I kenjustsu school instructs that, whilst maintaining over-
observation of your opponent's whole body, you should put
17
Minoru Ohya
emphasis on two particular locations, for example:
A. Watching 
the sword tip and wrists: 
ftf, moving in
response to cognitive volition, first begins to take physical
form in the sword tip and hands.
B. Watching 
form and non-form: Whilst watching for
manifest changes in your opponent, maintain awareness of
his formless, that is to say, psychological changes.
c. watch opponent and serf: whilst seeking weaknesses in
your opponent, analyse your own position for weaknesses
and strengths.
In addition this rynha warns against becoming fixated with
something you observe visually, as this will lead to defeat. It is
essential to move on and ascertain your opponent,s intentions.
There is also an instruction, (obi no sashigane) in the yagw
shikage-ryil classical bujutsu school, whereby you intentionally
avoid eye contact with your opponent lest your own heart and
intentions be betrayed.
(4) The Four Evils(Surprise, Fright, Doubt and Confusion)
"Surprise" is where you are jolted by an unforeseen event
and, in response, your psychological and physical functions fall
into disorder. You are deprived of your normal powers ofjudge_
ment and your movements falter. In extreme cases you may even
enter a state of shock. ,,Fright" is where something happens and
you experience fear which causes your psychological functions to
stall depriving you arso of physical functionality. ,,Doubt,, is
where you are facing an opponent but begin to have misgivings
and become unsure of what to do: a state of indecision. you must
let go of concerns for your own safety and press on resolutely,
48--_-
The Technical and Psychological Methodology ol 
Kctttltr
"as if your life were as light as cherry blossom scattertrl 
lrv tlrt'
wind.,,..Confusion''iswhereyourpsychologicalstatefit||sittlrr
chaos. You can make neither rapid decisions nor 
nimble trtovt'
ments.
when in one of these four states, you are far from being alllt'
to dominate an opponent: in fact you rather self-destruct' 
disilttc-
grating from'the inside out'
Kend6 requires that, in the midst of the cut and thrust 
of
seme-ai. (its 'sword' aspect), you overcome this kind 
of psycho-
logical barrier and maintain a stable and natural 
state of
mind-a way of being (its 'life' aspect) '
Various Elements of Seme
Ilunting 
for Openings (Manifest or Formless)
Put plainly, serne is the process of searching for a way 
to
break the deadlock of kamae, putting yourself in an 
advanta-
geous situation, from where you produce an opportunity 
to
executeavalidstrike.InKendoitisoftensaid,..winthenstrike''
- 
it is seme that you must win before striking'
'Production of an opportunity to strike" means creatively
and dynamically hunting for openings' In other words: 
searching
for movements or shortcomings in your opponent' This 
is not just
passively watching for an opponent's shortcomings or move-
ments but should be an active, progressive process of 
creating
such shortcomings and movements'
An opening can be one that is manifest' i'e' has form' such 
as
an external physical deterioration of kamae' or formless' 
such as
an internal psychological weakneSs in kamae' External 
form and
e
| 3.
(1)
Minoru Ohya
internal psyche are opposite sides of the same coin: external
form will 
influence the psyche and, conversely, psychological
state will be manifest in outward appearance.
@ Semc in Practice
The main factors in searching for a way to break the
deadlock of kamae, putting yourself in a situation to execute a
valid strike, i.e. the main factors of seme, are considered to be:
. Taking the lead by spirit, (fti).
. Dominating the centre.
. Adopting an advantageous distance (ma_ail.
O Taking the Lead by Spirit, (ftd)
The term "kizeme" (seme by,ti) 
is often used in Kendd and
indeed; fti should flow throughout the striking process from
hamae to zanshin. One might go as far to say that ki constitutes
the foundation of Kend6. .,Taking the lead by ki,, involves
maintaining "unity of mind, spirit and technique,, from sonkyo
and continuous probing (kizerne) of your opponent,s knmae.
Merely striking first in no way equates to taking the lead. As the
instruction "ki 
first, technique after" suggests, even if your
technique actually comes after that of your opponent, your ki
should be ahead of him; and because you are maintaining the lead
with ki, you are able to spot your opponent,s techniques and
counter them.
Alqo, "taking the lead by ki,,is closely linked with the ability
to exploit opportunities. It is impossible to define .,taking the
lead by Af" precisely; there is a limit to how far one can express
the concept in words. However, one might define ,,taking the lead
by ki" as "a concentration of the will to win" _ not winning by
50--
The Technical and Psychological Methodology 
olKcttrlrr
striking, but winning the phase prior to striking: 
":tt'lricvirr;'1 
/'r
superiority" or "winning by kizeme"' Or the 
ability to t'oltlltitt ;ttt
opponent's spirit and pre-empt him with 
your own' ltt olltlt
words, it is the ability to "bottle up" or "frustrate" 
an oppttttt'ltl'r
hi; andthen exploit his immobility or bewilderment' 
That is tti
say, "taking the lead by ki" can be described 
as preventing yotlt'
opponent's spirit from maturing fully and overwhelming 
you' itrt<l
having the psychological and physical control 
to grasp any
opportunity the moment it arises' From olden 
times it has been
taught that "ki can penetrate even metal and 
stone" (the ne<l
confucianist scholar Chu Hsi, (1130-1200))' 
and "the substance
of. ki isgreater than that of principle or technique; 
a supernatural
force, it holds sway over both" (Negishi ShingorO' 
a late Edo/
early Meiji Period sword master) '
"Taking the lead by ki" is difficult to explain adequately; 
it
has no definitive form. It is something acquired 
over many years
of arduous training. It is the product of maintaining 
correct
posture; filling your tanden with ki;holding this &e 
in place witt
an unyielding left fist; and, with concentrated 
ki flowing vibrant
ly from your left hand to the tip of your shinai' 
entering into yout
opponent. In effect it is akin to "biting 
your opponent with youl
belly" or "cutting into the very centre of 
your opponent with ki"
To be able to enter into your opponent's centre 
this way' you
own centre must be brimming wit}:. ki'
@ Dominating the Centre
"Dominating the centre" involves keeping the 
tip of you
sword pointing at the centre of your opponent' 
whilst keeping hi
sword tip away from your own centre' Maintaining 
control of' c
Minoru Ohya
defending, your own centre will, of itself, destroy your opponent,s
centre and open him to attack.
The actions of #e such as, .,Taking the lead by ki,, and
suppressing your opponent's spirit, are fundamental to ,,dominat-
ing the centre", those actions of. ki materialising in the form of
the shinai movements.
Basically, if you aim your own sword tip at your opponent,s
centre and push forward, your opponent,s shinai will be forced
away from his own centre. Senselessly batting his shinai around
using your wrists will in fact put you in a position of weakness,
even if you are advancing forward. Although manipulation of
your opponent's shinai from various directions, for example
applying pressure softly; pushing it down, flicking or sweeping it
out of the way etc., exists as part of seme, &f should always be
at the root of such manoeuvres: they should be regarded as
technical applications of a resilient kamae and powerful body
movement.
@ Adopting an Advantageous Distance (Ma_ai)
If you divide by two the distance between yourself and your
opponent, the space between your hands and sword tip is your
"own space" and that between your opponent,s hands and his
sword tip is your "opponent's space". your ,.own space,, is like
your battle position; your ,.opponent's space" is his own position.
If you f,reak into your "opponent's space", i.e. break down his
hamae, you will be in an advantageous position. On the other
hand, when your opponent breaks into your .,own space,,, you are
in danger of being overwhelmed. Thus, exploitation of the physi-
cal interval between you and your opponent provides both of vou
52_-
T,.
The Technical and Psychological Methodology ol Kettrlo
with an opportunity to tip the balance in your 11vv11 
l;1'.ttt
The Spill Point ( Szien td no Kurai) (zlcM /J a r{'t )
A KendO match based on the realities of ma-ai docs 
tlol
begin with a stand-off from issoku-ifto no ma-ai 
(the dist:tttt't'
,where you are literally 'one step/one sword's length 
away frotlt
other); neither should it be an exchange of blows from 
that
distance; nor is issoku-ittd no ma-ai the point where 
serne begins'
The process of moving from a distance where 
your sword tips
are apart or barely touching' (one where you cannot 
reach each
other even if you step forward with the attack) ' 
into one in which
the shinai' cross, (zssoftu-itto no ma-ai'), is one which 
demands
great psychological and technical preparedness' and one in which
it is crucial that you detect any movements in 
your opponent'
Thus this process of closing the distance is extremely significant
in Kend6.
Negishi Shingord had the following to say concerning 
this
process in his 1911 lecture on Keniutsu theory:
When facing an opponent you first adopt k'amae at a 
"Safe
Distance". At this distance your strike will fall short even 
if you
step forward. Then you must consider whether to 
proceed in a
straightforward 
(E') way or use a surprise (6) attack' Such a
surprise attack might be to leap straight ahead with 
lightning
speed and strike men (head) ot kote (wrist) ' 
or to strike do-
(torso), by sacrificing your posture and dropping to your knees
etc. Alternatively, having regard for the value of winning 
fairly
and squarely, you can act in a straightforward manner and 
move
into the "Spill Point". Closing in from a "Safe Distance" 
to the
-----53
Minoru Ohya
"Spill Point" is the appropriate way to conduct Kend6 practice.
This "Sp'l point" occurs when your two sword tips intersect
diagonally, forming a cross. This is the borderlin" #";;;;;;
strike or be struck; an extremely risky yet crucial position
charged with nervous tension (ki). Itis like having a cup full of
water balanced on top of your sword_one. false.moye and it will
spill. .
^ 
Of .our"e it is impossible to balance a cup full of water on
top of a shinai -Negishi_sensei is simply portraying a state
where your spirit does not waver and you maintain the ability to
execute techniques even in an extremely tense situation.
The ground covered moving in from a distance where your
55
The Technical and Psychological Methodology of Kendo
sword tips are apart or barely touching, a "Safe Distance", into
one in which the shinai cross, the "Spill Point", is, at most, ten to
fifteen centimetres. In this highly charged phase you are apt to
hesitate or make a blunder. However, the extent to which you
can maintain your presence of mind, discerning movements in
your opponent and executing techniques as appropriate, is of
great significance. Because to resolve this problem you must
Bearch for a superior way of being - and this is Kendd's ultimate
purpose.
e
I 5. Opportunity 
to Strike
During the cut and thrust of seme-ai, it is ineffective to
strike at points where your opponent's defences are still intact.
You should only strike when there is an opportunity to strike.
This does not mean waiting to take advantage of a chance
opening. You should always be aggressively probing your oppo-
nent, aiming to create a breakdown in his defences or some
movement that leads to an opportunity to strike. Such opportu-
nities are almost infinite in kind, but they can be summed up as
below.
O Striking at openings, (suki) (H). In other words, you
should avoid his strengths UiXu) (F) and attack his wea-
knesses (kyo) (ffi). Iitsu is an alert state that is psychologi-
cally and spiritually whole; one with strong form. Kyo is the
opposite state.
@ Aggressively probing your opponent and striking at the
resultant movements. Movements in your opponent indicate
riiili
iiili
Minoru Ohya
that he is changing his mind. You must attack these points
relentlessly.
@ Striking when your opponent's techniques are about to
start. You should strike the very point when your opponent
decides to attack.
@ Striking when your opponent blocks. When your opponent
blocks his concentration will be on where he is blocking.
Consequently, those areas other than where he is blocking will
be weak, (kyo) both psychologically and physically. you
should strike them.
@ Striking when your opponent's techniques come to an end.
This is the opposite of striking when your opponent's tech-
niques are about to start: you strike at the point that his
psychological, physical and technical 
impetus has been
exhausted.
@ Feinting a weakness in form (kyo) and.striking when you
observe your opponent preparing to attack. You invite and
strike; you draw in and strike. The fundamental rule is one of
utilising your strong state (jitsu) to attack your opponent's
own strong state (jitsu) making it weak (kyo), and. then
striking. However, you have to adapt your approach to the
varied psychological ebb and flow of keiko.
@. Striking at your opponent's doubts. you should strike
when your opponent, beset by various doubts, is unable to
decide on a target himself and so becomes confused.
@ Striking your opponent's hastiness. You press in on your
opponent causing him to lose his patience and striking when he
becomes hurried.
Of the above opportunities to strike, in particular rrrrrnl:ers
!6_
The Technical and Psychological Methodology of Kendo
@, @ and @ are regarded as "the three great opportunities"
(literally: "the three things you cannot forgive").
o
I e . Techniques
I
(1) Technique TheorY
KendO handbooks usually divide techniques into two cate-
gories: "attacks" 
(shikake-waza) and "counter-attacks" 
(6ii-
waza). Shikake-waza are attacks that you instigate yourself,
whereas dii.-waza are techniques which occur in response to your
opponent's attacks. Shikake-waza and oji.-waza are further
divided into a number of sub-categories such as the attack "hnrai'
-waza", and the counter-attacks 
"suriage-o0aza" and "kaeshi-
waza" . This is one way to consider Kendd techniques - one side
attacks fi.rst and. 
the other side responds second: simply conceiv-
ing the interaction of technique in terms of before and after ''the
sub-categories such as "harai-waza", (sweeping the opponent's
shi.nai aside and striking) and "suri.age-'u)aza" (sweeping the
opponent's shinai up and striking") and "kaeshi-waza" (striking
using the impetus of your opponent's shinai to flip your wrists
over), are technical applications emphasising interactive body
and sword movement. This sort of Kendo technique classifica-
tion is found in Japanese school physical education'
However, both shikake-waza and dji-waza are essentially
executed actively. Oji-waza are not techniques where you wait
-- whenever you utilise any technique you should be "taking the
lead by ki". The only techniques where yout ki acts after that of
you ol)lx)rrerlt are those in which you strike when your opponent's
Irlcltttlrfrtet 
cotlt(' 
ttt tttt etltl, ('urhioltxhi tuza"), Other than that'
Minoru Ohya
you probe your opponent's defences, ,, taking the lead by ki,,, ancl
strike as soon as you create a change inhis kamae. Even if your
opponent strikes (shikake-waza) first, because you are in the
dominant psychological position, you are able to change in
response your opponent's movement and, while countering the
shikake-waza, execute your own technique (oji-waza).
Therefore, dji-waza are actually progressive techniques
made while adjusting to, and countering, your opponent,s shikake
-waza-and in order to do this you must maintain the psychologi_
cal initiative throughout the encounter.
For example, if you decide to strike fkst (shikake-waza),
and at the very point that you start to sweep your opponent's
shinai aside to open his kote for a strike, your opponent attempts
kote against you; your strike, which started out as ,,hnrai kote" (a
shikake-waza), ends up as "suriage kote" (classified as an oji-
waza) . This sort of example brings clarity to the principle of oji
-waza as active and dynamic techniques. Therefore, although
categorising techniques as shikake-waza and oji-waza is not
incorrect, technique theory must take into account internal,
psychological factors and not just external end results.
If you "take the lead by ki', and pressurise your opponenL,
depending on his approach or changes inhis kamae. appropriate
techniques will come to you instantly, ',like sparks flying from a
highly polished sword". 
!
Waza, or technique, can be conceived as embracing the
whole process of the psychological and technical struggle in seme
-ai: how to pressurise an opponent, what kind of opportunity to
seize; and. culminating in the single coherent action of a simple
strike of the shinai to kote, (wrist) men, (head) dd (torso) or
58-
The Technical and Psychological Metlrodology ol Kctr(ltl
Lsuki fthroat).
Q) Strike Opportunity and Technique Selection
The opportunities to execute even such a simplt' sinlilt'
atrike are infinitely varied. The following strike opportttrritit's
are listed based on the various stages occurring in an engitgt'
ment with an oPPonent:
O Striking when your opponent is immobile
Control your opponent to the point where he cannot strikc;
bannot retreat; cannot move at all, and then strike'
* 
This is like when a snake stares at a frog, mesmerising
it, and is complex and extremely difficult'
J
@ Striking when your opponent shows signs of moving
Discern when your opponent has decided to strike; the
moment frz is about to take form; a sense of movement' and
strike.
* 
Debana waza belong to this category'
J
(The techniques hitherto are regarded as superior - those that
follow are rather Passive)
O Striking *i"o 
,oo, opponent begins to move
Ki first begins to take phvsical form in the sword tip and
hands. When you discern the beginnings of movement step in and
strike.
* 
Kiri.otoshi wazabelong to this category'
v
(D Striking 
in the middle of your opponent's technique
--59
Minoru Ohya
You strike at an unbalanced point during your opponent's
technique execution.
* 
Nuki waza and Suriage waza belong to this category.
J
@ Striking in the final stage ofyour opponent's technique
Strike at the moment your opponent's technique is about to
complete (the moment he thinks he has succeeded).
* 
Kaeshi waza belong to this category.
@ Striking when your opponent's techniques come to an end
You stril<e at the point that your opponent's psychological,
physical and technic:rl impetus has been exhausted.
* 
(lcltioloslti ruuzu ltelong to this category
'fhus technicluo exccution takes place in a complex environ-
ment of psych<llogical push and shove, changing distances and
transient opportunity. 1'he poirrts struck during technique execu-
tion are kote, tnen, d0 ancl lstthi l>ut these are merely the end
product of the interaciion. If when considering technique you
take into account the psychological pr<lcess 
inherent in combat-
ive interaction; the chain of events conrprising a single strike and
the effect of the passage of tinte, y<lu arrive at a concept of
technique as "striking the opportunity" (striking a point in time),
rather than "striking a (tangible) point". If you let an opportu-
nity slip by it will never return 
you must start the search all
over'again.
e
| 7 . Strike Path (Tachi Suji)
I
You are free to swing your shinai at an opponent from any
60_
The Technical and PsYchologtcalMctltrttl,'lr'1'r 
r'l 
l"lr'l
slloN'll'.N
MIGI
KOTE
H
MIGI
PhotograPh bY Michael Komoto
direction whatsoever' However' a real 
sword (and the skinai
should be regarded as if it were a real 
sword) will only cut from
certain directions. And in modern Kendo' 
the strike targets are
predetermined- This automatically limits 
the directions from
which a shinai canbe swung in order to 
achieve a valid strike'
The above diagram, "the Eight Strike 
Paths"' summarises them'
Ll
-6r