Las Armaduras Japonesas como en muchos lugares del Mundo, fueron usadas desde el pasado hasta los últimos tiempos como un instrumento protector de batalla. El concepto siempre fue el de poder proteger el cuerpo de los guerreros. Si bien se desconoce el origen de las armaduras Japonesas, se sabe que desde tiempos tempranos fueron utilizadas para la caza y la guerra, con influencias notables de otros países de oriente como China y Corea.
Al comienzo durante los años 300-552, las armaduras fueron realizadas en cuero y madera. Este estilo de armaduras eran llamadas Tanko y Keiko.A medida que se desarrollaba las técnicas de herrería y orfebrería, se fueron implementando materiales metálicos en las Armaduras. Se realizaban con placas de hierro unidas por lazos.De aquí surge el estilo ôyoroi (gran armadura). Durante el período Heian y a posterior el período Kamakura las Armaduras de tipo Yoroi fueron las que más se usaron. En esa época los generales debían usarlos como reglamento para las luchas a caballo. Con el tiempo las armaduras cobraron mayor importancia, no sólo como protección, sino también como forma de poderío. Este estilo de Yoroi era hecho de pequeñas partes metálicas laqueadas, cuero y unidas por cintas de seda (odoshi). Su peso era aproximadamente de 35 Kilos.
Algunos guerreros Ninja habían desarrollado armaduras más livianas y flexibles que tenían gran diferencia con las tradicionales usadas por los Samurai. Este tipo de Armaduras daban más flexibilidad y soltura a los movimientos de los guerreros.Durante el período Muromachi, Japón llevaba mucha experiencia en guerras e invasiones de los Mongoles. Se aprendió que las espadas y las lanzas de los soldados a pie, era más efectivo que los Arqueros. Buscando más flexibilidad en las armaduras se formó el estilo Dômaru de 20 Kilos de peso. Tenía más cuero y más placas de hierro en los faldones, dándole esto más movimiento para andar de pie. Luego del estilo Dômaru se paso al estilo Haramaki, que aún era más sencilla, liviana y flexible.
Hacía la época Edo se habían desarrollado ya varios estilos de Armaduras; Nanban, Dômaru, Sugake Odosi, y Nimaidô. Con este nuevo estilo de Armaduras más aún se denotaban el poder y la autoridad de quien la lucía. El uso de las armas de Fuego dio lugar al Tosei Gusoku o Armadura Completa, siendo ésta unida por ligaduras de cuero, cintas de seda y hierro con remaches.
Para la época en que los Shogun Tokugawa mantenían el poder en Japón, durante más de 250 años, las exigencias de ornamentos, detalles, y calidad se vio más exigida, ya que los señores feudales de la corte debían usar armaduras para las ceremonias. Comenzó a dársele valor monetario a las antiguas armaduras y a las nuevas según quien las había usado y que artesano las realizaba. Al final del período Edo, la caída de los Tokugawa en la revolución Meiji, dio final al gobierno feudal, terminando de igual manera la construcción de las armaduras.
Actualmente muchas de estas armaduras pueden encontrarse en Museos del Japón y en otros países, pero siempre consideradas como tesoros de arte del antiguo Japón.
En muchos lugares se pueden encontrar replicas idénticas de las antiguas armaduras, pero con materiales modernos.
Hace mucho tiempo los Ninjas eran conocidos como técnicos que solo entrenaban para espiar y asesinar. Si un Ninja hubiera escuchado esta definición, se habría enfadado y habría contestado de una manera muy fuerte. Prevalecía esta definición llena de prejuicios ya que tenia que ver con el origen popular del Ninja, concebido como guerrero samurai que ha sido derrotado en la guerra. El carácter Nin en japonés se compone de los elementos Chinos de "espada"(en la parte superior) y corazón, en la parte superior, esto se refiere a que el Ninja, conseguía sus objetivos con la sangre fría proveniente de un largo y arduo entrenamiento. De todas maneras el Ninja descrito en el párrafo precedente era clasificado como un subordinado del clan. Él autentico Ninja era un hombre de corazón compasivo, que respetaba y amaba la paz. El Nin de Ninja se refiere a prestar atención y cuidar nuestro propio cuerpo, mente y conocimientos. Lo que significa también esencialmente prestar atención a todos nuestros sentidos y a nuestra intuición.
La ropa del Ninja recibió el nombre de ninniku Yoroi, ninniku es otra forma de llamar al monje budista. El espíritu del Ninja es la esencia del ninniku seishin, el abandono de la amargura que resulta de los insultos, la ira y la envidia. El Nin no se coloca sobre el corazón de manera amenazadora sino mas bien con afecto, como el Kajo Waraku (florecer la naturaleza ) que tiene amor como una flor y que disfruta de la paz. Pero no perseveraban solamente porque quisieran salvar sus propias vidas, mas aun soportaban la vergüenza y los embates de sus perdidas (batallas perdidas) y sobrevivían para ver el destino de sus señores y proteger sus propias naciones. En consecuencia desarrollaban su propia filosofía Bugei (guerra) El Ninja aparece a menudo como la persona menos cualificada en cualquier campo, así se retrata muchas veces en las películas y en los libros. Se asumía que el Ninja era pobre, de baja clase y era antisocial. También mucha fue la confusión asumiendo que ellos eran personas que nunca se preocupaban por la posibilidad de la muerte en su buesqueda de un camino mejor. El Ninja no era una persona tan terrible como se cree. Los Ninjas eran gente sorprendente y de buen corazón que intentaban perseverar incluso en las peores y más dolorosas circunstancias.
Es tradición remontar el origen del Ninjutsu a unos 2000 años, pero es preciso reconocer que se desarrollo en realidad durante el periodo Heian (794-1185) para conocer su edad de oro durante el periodo Kamakura (1192- 1333). El Ninjutsu reagrupaba diferentes Ryus (escuelas) teniendo en cuenta que se llegaron a formar mas de setenta, que se iban transmitiendo de generación en generación en forma oral y escrita, a medida que no se podían trasmitir estos conocimientos por diversos motivos, estas fueron desapareciendo, actualmente Hastsumi Sensei es el heredero de nueve de ellas las cuales conforman la Bujinkan. Los Shinobis (Ninjas) lograban grandísimas proezas, y esto fue posible gracias a un severo entrenamiento tanto físico como psicológico, porque el bushido, código del honor samurai, era también incluido en la educación del joven ninja.
En el antiguo país Nipón el Budismo era la religión nacional y los templos sagrados eran protegidos por una casta de hombres armados. Estos guardianes llamados Osonokama, estaban constituidos por Laicos y Sacerdotes. Estos últimos llamados Yamabushi, formaron mas tarde poderosas organizaciones, actuando clandestinamente en la seguridad que las montañas les ofrecían. Los Yamabushi, reputados por sus facultades psíquicas, eran poseedores de una ciencia esotérica, transmitida de maestro a discípulo en los templos de la organización. Estas ordenes parecen que evolucionaron a partir de unos grupos de ascetas ermitaños, que seguían el sendero de la soledad a fin de adquirir poderes supranormales. El sendero del Shugendo, la vía de los poderes. Como veremos, es una especie de síntesis de las técnicas dominadas por algunos individuos sobre la realización de si mismos.
Estas técnicas llevan la influencia de la secta Tendai, del maestro Saicho y de la secta Shingon, del Maestro Kukai, siendo ambos grandes maestros e iniciados. Estos son pues los Yamabushi, es decir, aquellos que viviendo en las montañas les enseñaron Shugendo a los Ninjas.
El principio máximo en Ninjutsu es llegar a tener un "corazón benévolo", en Japón se dice NINJA KO NO KOKORO y poder vivir acorde con estos diecisiete preceptos.
Serenidad: Sé tranquilo en tu interior. Deja que esa paz y esa alegría interior irradien a través de un semblante sereno. Un semblante sereno es pacífico, sonriente y serio y no muestra ninguna emoción violenta. Es como la superficie de un lago en calma.
Regularidad: Sé regular en tus hábitos diarios, en tus prácticas espirituales y en tu trabajo. Levántate siempre a la misma hora. Sé puntual en tus actividades. Eso te liberará de preocupaciones y ansiedades. Harás siempre lo correcto en su justo momento.
Sinceridad: Deja que tus palabras coincidan con tus pensamientos. Deja que tus acciones coincidan con tus palabras. Deja que haya armonía entre tus pensamientos, palabras y acciones.
Simplicidad: Sé natural. Habla con sencillez. No retuerzas las palabras ni los tópicos. Sé llano. Evita la diplomacia, el disimulo y la sinuosidad. Viste con sencillez. Come con sencillez. Hazte como un niño.
Veracidad: Sé veraz. Cumple tus promesas. No exageres. No retuerzas los hechos. Piensa dos veces antes de hablar. Habla dulcemente. Sé preciso en lo que dices.
Ausencia de Vanidad: No alardees de tu nacimiento, posición, cualidades o logros espirituales. Recuerda la naturaleza evanescente de todas las cosas. Elogia a otros. Ve a Dios en todos. Trata incluso a la más pequeña de las criaturas como a tu igual.
No Irritabilidad: La irritabilidad es precursora de violentas explosiones de cólera. Vigila las alteraciones del equilibrio mental. Observa las pequeñas olas de cólera que riegan el lago de tu mente. No permitas que adquieran grandes proporciones. Entonces alcanzarás un estado de no irritabilidad, de paz y amor.
Ecuanimidad: Ten calma. Soporta pacientemente el insulto, la injuria, el sufrimiento, el fracaso y la falta de respeto. No te ensoberbezcas con la alabanza, el éxito y los honores. En ambas situaciones mantén una actitud equilibrada. Obra igual con los amigos y con los enemigos. No dejes nunca que nada perturbe tu paz interior.
Fijeza: Recuerda que una mente inconstante no tiene posibilidad de alcanzar nada. Desecha tu discriminación. Elige tu propio ideal. Tenlo siempre presente. No dejes que tu mente se aparte de él ni un sólo momento.
Adaptabilidad: Comprende la naturaleza de las personas con quienes has de estar en contacto. Ajusta tu modo de ser y tu conducta hacia ellos, de tal manera que puedas agradarles. Soporta alegremente las excentricidades de otros. Reacciona siempre de modo armonioso. Sirve a todos. Ama a todos.
Humildad: Respeta a todos. No eleves el tono de voz delante de personas mayores o venerables. Todos confiarán en ti. Todos te obedecerán, te respetarán y te reverenciarán. No consideres a nadie como inferior a ti.
Integridad: Desarrolla una personalidad íntegra. Recoge todos los cabos sueltos de tu carácter. Hazte hombre de elevados principios morales. Lleva una vida recta. Deja que emane de ti.
Nobleza: Huye de las bajezas de la mente como del veneno. Nunca consideres los defectos de otros. Aprecia sus buenas cualidades. Nunca te entregues a los malos pensamientos, palabras y acciones.
Magnanimidad: Considera a todas las cosas con una mente abierta. Ignora los defectos de otros. Sé noble y abierto en cuanto hagas. Evita las charlas inútiles y el palique. No dejes que tu mente permanezca en cosas pequeñas.
Caridad: Da, da, y da. Irradia tus pensamientos de amor y de buena voluntad. Perdona a tu prójimo. Bendice al hombre que te injuria. Comparte lo que tienes con todos. Alimenta y viste a todos. Disemina el conocimiento espiritual. Utiliza los bienes materiales, el conocimiento y la sabiduría espiritual que poseas como un don divino.
Generosidad: Sé liberal cuando des. Ten un corazón amplio. No seas miserable. Deléitate con las alegrías de otros, y en hacer felices a otros. La generosidad es una virtud hermana de la caridad. Es la culminación de la caridad, la magnanimidad y la nobleza.
Pureza: Sé puro de corazón. Elimina la lujuria, la cólera, la avaricia y otras malas cualidades. Sé puro en tus pensamientos. No dejes que entren en tu mente malos pensamientos. Piensa en el bienestar de todos. Sé puro en tus palabras. Nunca pronuncies palabras vulgares o groseras. Sé puro también con tu cuerpo. Mantenlo limpio. Mantén tus ropas y tus alrededores limpios. Observa las normas de higiene física, mental, moral y espiritual.
Teniendo en cuenta el estrecho lazo que los unían con los monjes guerreros y poseyendo también, gran influencia por los conocimientos esotéricos, Mikkyo y Shugendo capacitaban de esta manera de un total dominio sobre su cuerpo, mente y espíritu. Aunque el Ninjutsu poseía relación con el sintoísmo no estaba totalmente inmerso en una religión, sino que más bien era creyente de un genero singular. Estaba fuertemente polarizado en su naturaleza física y emocional, de donde el sacaba sus facultades de instinto, voluntad y percepción de peligro. También entrenaron profundamente la destreza y el dominio de los mudras con sus respectivos mantras, llegándose a conocer mas de ochenta forma de imponer sus manos, aunque los mas utilizados por el ninja fueron solamente nueve (kuji).
La esencia de todas las artes marciales y estrategias militares es la auto-protección y prevenir el peligro. El Ninjutsu resume el concepto completo de auto-protección a través del entrenamiento marcial, el arte ninja trata no sólo de la protección del cuerpo físico sino también de la mente y espíritu. El camino del ninja es el camino de "soportar", sobrevivir y prevenir todo lo que pueda destruirnos. Más que el mero reparto de golpes y puñaladas, y profundizar en la transcendencia del simple "ser más listo que" que el enemigo; el Ninjutsu es el camino para alcanzar lo que nosotros necesitamos mientras hacemos del mundo un sitio mejor. La habilidad del ninja es el arte de ganar. Al comienzo del estudio de cualquier arte combativo, la apropiada motivación es crucial. Sin el correcto estado de ánimo la continua exposición a tácticas de lucha puede conducir a la ruina en lugar del auto-desarrollo. Pero, de hecho no hay diferencia respecto a cualquier otra práctica beneficiosa en la vida llevada a casos extremos. La ciencia médica se dedica a mejorar la salud y aliviar el sufrimiento, y todavía el abuso de drogas y el regocijo de las habilidades de los médicos pueden llevar a la gente a un estado donde la salud individual no irá más allá sin el control personal. Una dieta bien equilibrada de nutrientes mantiene una persona viva, vital y saludable, pero una ingestión desmesurada, beber en exceso o tomar demasiados (productos) químicos es una manera segura de envenenar el cuerpo. Los gobiernos se establecen para asegurar un trabajo armonioso entre todas las partes de la sociedad pero cuando los dirigentes se convierten en avariciosos, sedientos de poder o carecen de sabiduría el país esta sujeto a guerras innecesarias, desórdenes y al caos civil y económico. Una religión cundo se basa en la fe desarrollada a través de la experiencia, haciéndose preguntas y persiguiendo el entendimiento universal es para producir bienestar a la gente. Una vez que una religión pierde su objetivo original, se convierte en un elemento mortal para engañar, controlar a la gente a través de la manipulación de sus creencias y miedos. Es lo mismo con las artes marciales, las habilidades de tu propia protección que deberían darte un sentimiento de paz interna y seguridad al artista marcial, demasiado a menudo se desarrollan sin un equilibrio en la personalidad y conduce al artista marcial de menor grado a una esfera "pervertida" de un conflicto constante y de competición que quizá lo consuma. Si un experto en artes de lucha sinceramente persigue la esencia del Ninjutsu, despropósito de las influencias de su ego, el estudiante progresivamente se dará cuenta del secreto último para ser invencible, -"el talento de mente y ojos de Dios". El combatiente que quisiera ganar debe estar en armonía con el proyecto de totalidad y debe ser guiado por un conocimiento intuitivo del papel del destino. En sintonía con la Providencia del cielo y la Justicia imparcial de la Naturaleza y siguiendo un corazón puro y lleno de verdades, el ninja apresará la perspicacia que le guiará exitosamente en la batalla cuando él debe vencer y ocultarse para protegerse de la hostilidad cuando deba. El vasto universo, la belleza en esa fría totalidad impersonal contiene lo que nosotros llamamos bueno
o malo, todas las respuestas para todas las paradojas que están a nuestro alrededor. Abriendo sus ojos y su mente el ninja puede seguir cambiando, para asumir un cambio es necesario adaptarse siempre de forma que al final no haya ningún tipo de sorpresa para el ninja
Kunoichi
Más punzante que el arma más mortífera, con una belleza más deslumbrante que la luz, y capaz de penetrar en el corazón del enemigo con más profundidad que un puñal, la mujer Ninja era al mismo tiempo el arma más seductora y traicionera al mismo tiempo. Con un aspecto que podía excitar y seducir al más rudo enemigo y un entrenamiento mixto que comprendía la delicadeza de una geisha y las crueles habilidades del ninja, una sola Kunoichi podía causar más daño que una banda de astutos Ninjas. Los Ninjas, enseguida se dieron cuenta de la facultad para pasar desapercibidos que tenían la mujer y el niño, ya que de un hombre se podía esperar cualquier acción, pero nunca de las mujeres o los niños, ya que nadie les consideraba como guerreros. La Kunoichi, al contrario de sus compañeras de sexo, las cuales tenían que obedecer ciegamente al varón, era considerada un Ninja más y el sexo no constituía una discriminación, llegando a suponer una rivalidad con el entrenamiento del Ninja varón. La mujer tenía la ventaja de su sexo y podía seducir con facilidad al enemigo, cosas que los hombres obviamente no podían hacer.
Convertidas en espías hacían el amor con el enemigo, bien sea para sacarle todo tipo de secreto durante el acto amoroso, como para matarle cuando más entusiasmada estuviese su presa con ella. Por lo tanto, cuanto más hermosa, más efectiva. Utilizando humos afrodisíacos y estrategias Kishas (deseo sexual), miraban lentamente la voluntad de cualquier hombre satisfaciendo al mismo tiempo todo sus deseos, con el fin de lograr que confiaran ciegamente en ellas. Provocaban celos y enfrentamientos entre varios miembros del mismo clan enemigo con el propósito de que se traicionasen unos a otros o llegasen a pelearse entre ellos mismos, momento en que la Kunoichi aprovechaba para robarles secretos o evadirse con algún niño como rehén. El entrenamiento era intenso, similar al de los hombres, pero incluía el engaño, la seducción y el uso del sexo como arma, siendo su modo favorito para matar el envenenamiento y para eso, utilizaban su amplio conocimiento en farmacia (Yagen)
Referente a las armas, las Kunoichis utilizaban con preferencia la espada Shinobi ken con una longitud de 70 cm y la llevaban colgada en la espalda o en un costado. Los Tonki, eran una serie de armas de metal que se usaban en general indistintamente tanto Ninjas como Kunoichis. Entre estas pequeñas armas nos encontramos con dagas y cuchillos pequeños, dardos y otras armas afiladas como los shuriken, shaken o los tetsubishi. Además de estos Tonki había dos clases de estas pequeñas armas que solo usaban las Kunoichis a veces. Estas dos armas son las siguientes: la Kanzashi, que era una varilla afilada que servía para sujetar el pelo, algunas llevaban en su interior venenos, y el Kaiken, el cual era una daga de reducidísimas dimensiones, que podía ser usada como puñal o como arma arrojadiza.
A Brief History of Mugai Ryu
The founder of Mugai Ryu, Tsuji Gettan Sukeshige was born in 1648 in what is now Shiga Prefecture. When he was 13 he went to Kyoto to study Yamaguchi Ryu, and at the age of 26 he received menkyo kaiden (full transmission) and opened a Yamaguchi Ryu school of fencing in Edo (present-day Tokyo). However, none
wanted to study under an unknown fencing teacher from the countryside, so only a few students came to learn at his school. Gettan realized that he required more spiritual education, and so he went to study Zen and Chinese philosophy under monk Sekitan at Azabu Kyukoji Temple. He continued his Zen practice under thesecond chief priest Shinshu, and at the age of 45 achieved enlightenment. He took the name Gettan Sukeshige and in 1693 founded the Mugai Ryu fencing school.
After 20 years of spiritual dedication, Gettan was known not just as a master of the sword, but as an enlightened philosopher and scholar as well. At Kyukoji Temple he was often in contact with many powerful lords of the time. Gettan was invited to teach for two powerful lords’ houses, but being a restless spirit always seeking more, Gettan sent his students instead: his blood relative and second master of Mugai Ryu, Tsuji Uheida, to the Sakai house of the Umayabashi clan, and his adopted disciple and third master of Mugai Ryu, Tsuji Kimata Sukehide, to the Yamaguchi house of the Tosa clan.
When Gettan was 61 years old, at the discretion of Lord Sakai he was to debut in front of the fifth shogun Tsunakichi, but unfortunately Shogun Tsunakichi passedaway before Gettan had an audience with him. However, for a masterless sword instructor to be invited to have an audience with the shogun at that time was an incredible achievement.
What is Mugai Ryu?
Mugai Ryu Iaihyodo is a three-hundred-year-old traditional line (or ryu) of Japanese swordsmanship. Mugai Ryu is known as a koryu art, which means that the techniques have been passed down in an unbroken line of transmittal since the feudal age of Japan. It emphasizes iaido techniques which deal with drawing the sword and cutting in the same movement, but also teaches extended kenjutsu techniques for use in combative encounters, using either the long or short sword.
Mugai Ryu is characterized as kireru (“cutting”) iai: rather than stylized or dancelike movements, one must strive for realism and intensity in practice. However, as a school heavily influenced by Zen, Mugai Ryu’s ultimate goal is not simple sword skill. As a Mugai Ryu student, you must strive to penetrate not only the kata, butthe very essence of the martial Way. ShinjinkaiMugairyu
Iaido is commonly translated as the art of drawing and cutting with the sword and is part of Japan’s traditional culture. It is something its practitioners are very proud of.
Iaido, a technique for using the Japanese katana (sword) spread throughout Japan during the 15th century, as training for those experienced in self defence.
Although Japan has seen turbulent times and many changes over the last 500 years, surprisingly the basic precepts of iaido have remained unchanged until the present day. This disorderly world is not just something in history books, but also the modern day reality in which we live, through constantly changing times. People may say, "now is not the time of the sword", but humans have always needed weapons or tools for many purposes. Therefore, if we think about how we use them and use them correctly, they don’t have to be dangerous. If you exercise self -control in the first instance, violence can be avoided.
At the heart of iaido lies saya no uchi ,“the sword in the scabbard”, which is the idea that even during conflict one should avoid using the sword. It could be said that although one may have the power to wield a sword in battle, this power does not have to be used, and conflict may be resolved without violence.
Iaido is a martial art in which one learns self -control and how to avoid violence through disciplined training. Iaido gives a knowledge of self defence skills or goshin no kokoroe. These skills can also have beneficial effects for us in modern daily life. Incliding;
Etiquette and the importance of good timing. Knowledge of these helps our relationships to run more smoothly, at work, at school and in life in general.
This cultivates sensitivity towards others while promoting independence and mutual respect.
2. Peripheral vision and Zanshin (mental and physical alertness against the opponent attack). Knowledge of these is necessary for precise action.
This awareness helps us to avoid accidents.
3. Kata (sequence or pattern of movement) practice helps to eliminate unnecessary movement or actions.
This promotes rational thinking and behaviour, along with objective self analysis.
4. Nai kan (insight into one own weaknesses).
By realizing what is going on inside yourself you are able to see your true self.
5. Toho, a method for using the sword. If we keep toho in mind with regard to all actions it can help to relieve tension.
In an emergency keeping this in mind can help disperse nervous energy which tends to build up at these times, enabling one to keep a cool head in a crisis.
The reason iaido has survived for such a long time and been passed from generation to generation is due to the fact that the spirituality and skills cultivated in the training of iaido have a universal appeal and can be accepted by people of all ages.
We wish to respectfully inform as many people as possible about the spirituality, mutual respect and self discipline that were the traditions of our ancestors and that we still respect today.
Iaido vastly differs from other martial arts using swords as the aim is to avoid unprofitable conflict as much as possible by remembering saya no uchi. However, there are two techniques known as sen no sen and go no sen which enable you to put an opponent out of action immediately. In this case an opponent will try to attack you although you exercise self-restraint.
Sen no sen or “simultaneous initiative” involves launching one’s technique (action) before one’s opponent acts, as one has foreseen his intention to attack.
Go no sen or “reactive initiative” means that one launches an action after one’s attacker has launched his.
The image emphasized in films, of the samurai who draws a sword at lightning speed and cuts down his attackers in a flash is an exaggerated view of iaido. Training people to do this is not tha aim of iaido. The most significant part of iaido training is the pursuit of spirituality and endurance so that we may avoid conflict and use of the sword.
Iaido may also be described as the learning of kata or formal training exercise sets and does not need an opponent for sparring like kendo.
Generally, one practices alone. This kind of training has some merits. Through learning and practicing kata one may;
1. learn to know how to use one’s body.
2. get to know one’s own weaknesses.
3. eliminate unneccesary action.
It is difficult to wield a sword. Therefore, one may come to realize many things through the learning of kata. It’s no exaggeration to say that this kind of realization is not common in every day life. Zazen or seated meditation, like iaido is introspective, and both these disciplines require that the practitioner looks within himself to discover his own weaknesses. To accomplish this through perseverance and repetitive training is the essence of iaido.
This short phrase taken from an old fashioned pilgrim’s poem (goeika) describes iaido very well as follows, “Through disciplining oneself both physically and spiritually, Iai is a smooth road to avoiding injury oneself, without wounding others”
Protohistory
The earliest Japanese armours were solid metal cuirasses made up of several sections of plate — often roughly triangular in form — which were tightly laced together and usually lacquered against rust. It is not clear what they were originally called; some suggest the term kawara — which means “tile” — and others suggest it was simply yoroi, meaning “armour.” This style of armour has come to be called a tankô, which means “short armour.” It was hinged on one side or even hingeless and sprung closed, opening up the center front. The heyday of the tankô was the fourth through sixth centuries. Various additions came and went, including lame-constructed skirt plates and shoulder guards.
The tankô was slowly phased out and replaced by a new form of armour which seems to have been inspired by continental models. This new form of armour eclipsed the tankô and set the pattern for the next millennium. The construction was of scale. Since the solid tankô rested on the hips and the new scale armour hung from the shoulders, the historiographical term given to these armours is keikô (“hanging armour”).
The general silhouette is hourglass-shaped. Keikô usually opened up the front, but models resembling ponchos were also known. Despite its early date (sixth through ninth centuries), the keikô was actually a more complex armour than later models, as there could be as many as six or more different types and sizes of scales used in one armour.
Most of what we know about the actual appearance and construction of tankô and keikô is due to the considerable efforts of the late Professor Suenaga Masao, an eminent archaeologist and historian, who painstakingly replicated dozens of different suits of armours after studying the remains excavated from Japanese mound tombs.
The introduction of Buddhism to Japan in the sixth century led to a phase-out of the old burial traditions and the subsequent loss of a great deal of archaeological material. From the last tombs of the eighth and ninth centuries until the oldest extant armour of the eleventh, we have a gap in which we can only surmise -- based on what came before and what followed -- the forms of armour worn in Japan. One form of keikô, the uchikake-shiki keikô, was clearly the last development of the keikô, and an obvious precursor to the next form of armour.
The Early Middle Ages
The classic Japanese armour, the heavy, square, boxy suit, is now called ô-yoroi (“great armour”) although it was originally just called yoroi. The oldest extant ô-yoroi is today just boards made of scales laced together. In other words, it is no longer a solid, wearable piece of armour. We can still tell what it is, and from the wisps of lace remaining in all the suspensory holes, we can also tell that it was a very ornate armour, with six different colors of lacing in a pyramidal pattern. The armour, now in Ôyamazumi Jinja, was made in the first two decades of the tenth century. This armour shows one last remnant of keikô construction: the lacing ran straight down in vertical lines. This vertical lacing also appears in a miniature armourer's model of an ô-yoroi now in the Imperial collection. Armours of only a few decades later developed the down, diagonal, and up again lacing pattern now regarded as standard.
A significant feature of the ô-yoroi is that in cross-section viewed from above, the body forms a letter C, as it is completely open on the right side. Three large, heavy sets of skirt plates of kozane boards hang from it -- one in front, one in back, and one on the left. The right side is protected by a solid metal plate called a waidate, from which hangs the fourth set of skirt plates. Two large square or rectangular shoulder protectors called ô-sode that were the size of LP album covers (remember those?) are attached at the shoulder straps. Small rounded flanges stick up from the shoulder straps to give added protection to the side of the neck.
Hanging in the front of the armour and ostensibly protecting the armpits that way were two plates called the sendan-no-ita and kyûbi-no-ita. The sendan resembles a miniature sode, and is worn on the right; the kyûbi is a solid plate, long and narrow, and worn on the left. These are both tied to the shoulder straps at the front of the suit.
Earliest ô-yoroi apparently had one fewer row of lames in the front and back of the skirt-plates; no doubt making them more comfortable when riding. Later models, starting around the twelfth century, had a full complement of skirt-plates, but the bottom-most lame in both the front and back was split in the middle to afford the same comfort.
Around the fourteenth century, an armpit plate was added to the left side. Previously, a strip of leather was just folded over the scale heads under the arm, but now a solid plate similar in shape to the munaita (“breastboard”) was laced into place. This served both to give added protection under the armpit and to lend strength to that part of the armour.
The second lame on the back, instead of being laced in the normal manner, is laced“inside out” -- that is, the lacing for the next plate emerges from behind it rather than in front, so that it overlaps both the plate above and below instead of just the one above. Central on this plate, aptly called the sakaita (”reversed plate”), is a large, ornate fitting with a ring. This ring is the agemaki-no-kan, from which hangs a huge butterfly-shaped knot (agemaki). Cords coming from the rear of the sode are attached to the“wings” of this knot to help anchor the sode in place.
The entire front of the torso is covered with a printed or patterned leather apron called tsurubashiri (”bowstring-running”). The purpose of this covering is to keep the bowstring from catching on the heads of any of the scales as the warrior fired his primary weapon. Since armoured samurai often shot arrows with their hand along the breast rather than by their ear as was normal (the large helmets typically prevented usual firing methods), this was a logical development. This same leather pattern is used all over the armour: on the shoulder straps, the breast-board, the helmet turnbacks, the sode tops, the visor, etc.
Earliest warriors only wore one armoured sleeve (kote), and that on the left arm. The sleeve's primary purpose was to keep the bulky armour-robe sleeves out of the way of the bow, however, not for protection per se. It wasn't until the thirteenth century or so that matching pairs of armoured sleeves came to be common. The kote was donned before the armour, and tied across the body with long leather straps. The next piece worn was the separate side plate for the right side (waidate). Warriors typically wore these two items, the throat guard (nodowa) and their armoured greaves (suneate) around camp as a sort of “half-dress” armour. These items together are referred to as “kogusoku” or“small armour.”
The ô-yoroi is obviously a bulky and heavy armour. It was also expensive. For retainers and lesser warriors, the dô maru and haramaki were developed. These armours had more skirt plates and fitted closer to the body, omitting the need for a waidate. The dô-maru opens under the right arm; the haramaki opens at the back.
During the Kamakura Period (1183–1333) the ô-yoroi was the principal armour of those of rank, but samurai found the dô-maru a lighter, more comfortable armour than the ô-yoroi and began to wear it more and more often. By the middle of the Muromachi Period (1333–1568) the ô-yoroi was less commonly met with.
The earliest dô-maru had no armpit plates, just like the earliest ô-yoroi, but all armours began to have them around 1250. The dô-maru was fitted with huge sode as was the ô-yoroi, while the haramaki at first only had small leaf-shaped plates (gyôyô) over the shoulders serving as spaulders. Later, they would be brought forward to cover the cords that held the shoulder straps to the breastboard, replacing the sendan-no-ita and kyûbi-no-ita, and sode were attached to the haramaki.
Thigh armour, called haidate (lit. “thigh shields”) in the form of a split apron of scales, appeared in the mid-thirteenth century, but it was slow to catch on. A variation that appeared early in the next century was a patterned on a knee-length hakama with small plates and mail in front, and looked like nothing so much as baggy armoured Bermuda shorts. The split apron pattern would become the dominant form over the centuries, relegating the short hakama variety to the status of curio.
To fill the need for more armour, quicker production was needed, and so sugake odoshi (sparse-point lacing) was born. There are a few famous armours with kebiki-laced torsos and sugake-laced kusazuri (tassets), even though the whole armour is of scale construction. Later, in the first half of the sixteenth century, armourers started to use solid plates instead of boards built up of scales. These were often pierced for full kebiki lacing, but more often than not they were pierced for sugake lacing.
The last half of the sixteenth century is often called the Sengoku Jidai, or Age of Battles. During this period of nearly incessant warfare, various daimyô vied for power and domination over their neighbors and rivals. Some even sought the ultimate prize of becoming the tenkabito, or ruler of the land. Only two people during this age were able to achieve something close to that: Oda Nobunaga (1534–1582) and Toyotomi Hideyoshi (1536–1598).
These five decades saw more developments, innovations, and refinements with armour than all the previous five centuries. Armour underwent a sort of entropy: from fully-laced scales, to sparse-laced scales, to sparse-laced lames, to riveted lames, to solid plates. Each of these steps meant the armours were cheaper and quicker to build than the models that came before them.
One of the greatest influences on armour in this period was the matchlock arquebus, called in Japanese teppô, tanegashima, or hinawa-jû (the first term was probably the most frequently met with in Period.) This necessitated heavier, shot-proof armours for those who could afford them. To this end, solid cuirasses of heavy, thick plates appeared on the scene. Many surviving examples have multiple proof marks indicative of the armourer's skill.
It has been suggested by some armour historians that the solidly riveted clamshell cuirasses — and cuirasses of single-plate breast-and-back construction -- were inspired by the European armours. Be that as it may, it was nevertheless the next logical step in the development of Japanese armour.
Armours of European origin and those modeled on European armours became popular status symbols. These armours were, of course, highly modified to suit Japanese tastes until virtually only the cuirass and helmet remained. Even these were“Japanified.” To the cuirass was added Japanese-style skirtplates, and the helmet was turned back-to-front and a lamellar nape guard was added.
Samurai had a great many styles to choose from when it came to arm and leg armour. This period, more than any other, provided true variety, both in terms of actual style and in terms of decoration. For changes in the cuirass, see the chapter“The Dô.”
More and more troops on the field in armour resulted in greater need to identify friend and foe. In the latter half of the century, the advent of a banner worn on the back served to help identify troops in battle. This banner was called a sashimono. Its pole went through a holder between the shoulder blades and was held by a receptacle at the small of the back. Other methods included painting the warrior's crest -- or the lord's crest -- on the center of the dô. This was common with retainer armours, and only very rarely met with on armours worn by men of rank. Men of rank were usually distinguished by the ornate and exotic ways they decorated or constructed their helmets. This is so much part of Japanese history that often in films these days all that need be done is to show a helmet and the owner is identified; comparable examples in the West are Napoleon's cocked hat, the coon-skin cap of Dan'l Boone, or the deerstalker cap of Sherlock Holmes.
The Post-Period Period
Armourers developed many armours after 1600 that were totally unsuited to the battlefied. This was during the Pax Tokugawa, when war had vanished from daily life. Unfortunately, most of the armour that survives in museums and collections today date from this period. If one is unfamiliar with the changes that were introduced, it would be easy to accidentally recreate a post-Period piece. To avoid this, I suggest attempting to become as familiar as possible with historical armours.
In 1700, the scholar, historian, and philosopher Arai Hakuseki wrote a treatise glorifying the “ancient” forms of armour (specifically styles dating back to before 1300). Hakuseki decried the fact that most armourers had forgotten how to make them and that people had forgotten how to wear them. His book resulted in a renaissance of older styles — albeit filtered through a more modern sensibility. This produced some wonderfully eccentric suits and not a few downright abominations.
In 1799, armour historian Sakakibara Kôzan was prompted to write a treatise recalling the martial use of armour in which he decried the trend toward antiquarian armours made for the sake of antiquarianism. His book resulted in a second about-face in armour design, and again the armourers began to produce utilitarian and battle-worthy suits common to the sixteenth century.
Al pensar en las armaduras japonesas, se me viene a la mente el atuendo guerrero de las películas de Kurosawa, y en verdad que no exageraba. La armadura de batalla japonesa del samurai de cierto rango hasta el siglo XVI era un auténtico disfraz blindado contra las flechas y las espadas, de hecho muchas de las técnicas y estilos de usar la katana estan condicionados a la reducción de la movilidad que implicaba el uso de semejante montón de placas, cordones y acolchados.
Este tipo de armadura se siguió fabricando despues del siglo XVII, pero ya con fines únicamente ceremoniales (siempre con excepciones), siendo sustituida en la práctica por la mezla entre piezas usadas hasta entonces por el soldado raso y el estilo de armadura de una pieza traido de occidente. Sobre esta época habían llegado ya algunas armas de fuego, y entre los pudientes se vendían armaduras con impactos de bala que atestiguaban su resistencia.
En cualquier caso, la armadura japonesa por antonomasia es la del estilo creado durante el periodo comprendido entre el siglo IX y el XIV,la llamada armadura "de caja" (ô-yoroi). Hecha de placas de metal y cuero, es característico en ellas una especie de hombreras de placas que hacen las veces de escudo, los vivos colores en toda la composición, y las máscaras y cascos recargados con figuras mitológicas para producir mayor impacto psicológico en el contrincante. Y es que solo de pensar que ese de la espada que viene gritando hacia ti, puede cabalgar o correr con más de 30 Kg. sobre sus hombros, le debe poner a uno la carne de gallina.
Las Armaduras Japonesas como en muchos lugares del Mundo, fueron usadas desde el pasado hasta los últimos tiempos como un instrumento protector de batalla. El concepto siempre fue el de poder proteger el cuerpo de los guerreros. Si bien se desconoce el origen de las armaduras Japonesas, se sabe que desde tiempos tempranos fueron utilizadas para la caza y la guerra, con influencias notables de otros países de oriente como China y Corea.
Al comienzo durante los años 300-552, las armaduras fueron realizadas en cuero y madera. Este estilo de armaduras eran llamadas Tanko y Keiko.A medida que se desarrollaba las técnicas de herrería y orfebrería, se fueron implementando materiales metálicos en las Armaduras. Se realizaban con placas de hierro unidas por lazos.De aquí surge el estilo ôyoroi (gran armadura). Durante el período Heian y a posterior el período Kamakura las Armaduras de tipo Yoroi fueron las que más se usaron. En esa época los generales debían usarlos como reglamento para las luchas a caballo. Con el tiempo las armaduras cobraron mayor importancia, no sólo como protección, sino también como forma de poderío. Este estilo de Yoroi era hecho de pequeñas partes metálicas laqueadas, cuero y unidas por cintas de seda (odoshi). Su peso era aproximadamente de 35 Kilos.
Algunos guerreros Ninja habían desarrollado armaduras más livianas y flexibles que tenían gran diferencia con las tradicionales usadas por los Samurai. Este tipo de Armaduras daban más flexibilidad y soltura a los movimientos de los guerreros.Durante el período Muromachi, Japón llevaba mucha experiencia en guerras e invasiones de los Mongoles. Se aprendió que las espadas y las lanzas de los soldados a pie, era más efectivo que los Arqueros. Buscando más flexibilidad en las armaduras se formó el estilo Dômaru de 20 Kilos de peso. Tenía más cuero y más placas de hierro en los faldones, dándole esto más movimiento para andar de pie. Luego del estilo Dômaru se paso al estilo Haramaki, que aún era más sencilla, liviana y flexible.
Hacía la época Edo se habían desarrollado ya varios estilos de Armaduras; Nanban, Dômaru, Sugake Odosi, y Nimaidô. Con este nuevo estilo de Armaduras más aún se denotaban el poder y la autoridad de quien la lucía. El uso de las armas de Fuego dio lugar al Tosei Gusoku o Armadura Completa, siendo ésta unida por ligaduras de cuero, cintas de seda y hierro con remaches.
Para la época en que los Shogun Tokugawa mantenían el poder en Japón, durante más de 250 años, las exigencias de ornamentos, detalles, y calidad se vio más exigida, ya que los señores feudales de la corte debían usar armaduras para las ceremonias. Comenzó a dársele valor monetario a las antiguas armaduras y a las nuevas según quien las había usado y que artesano las realizaba. Al final del período Edo, la caída de los Tokugawa en la revolución Meiji, dio final al gobierno feudal, terminando de igual manera la construcción de las armaduras.
Actualmente muchas de estas armaduras pueden encontrarse en Museos del Japón y en otros países, pero siempre consideradas como tesoros de arte del antiguo Japón.
En muchos lugares se pueden encontrar replicas idénticas de las antiguas armaduras, pero con materiales modernos.
Mugairyu
An art that revolves around drawing one’s sword from the scabbard and committing a number of precise cuts, Mugai Ryu Iaiheido serves as a school that emphasizes simplicity, grace and technical prowess. Dating back over 300 years, this school of Iaiheido is richly steeped in the philosophies of Zen, imparted by the school’s creator, Tsuji Gettan Sukemochi (b. 1648). Mugai Ryu is an all encompassing form of swordsmanship that teaches both odachi (long sword) and kodachi (short sword); as well as providing versatility of training through seated, standing, walking and running positions.
Characteristic moves of Mugai Ryu include: drawing and cutting in the form of “kiriage” (upward-diagonal cuts), stabbing where the cutting edge is turned up, as well as one-handed stabs to the rear. The movements tend to be relatively small and compact, especially the seated techniques. There are many physical benefits to training in arts such as Iaiheido; physical strength, stamina and dexterity, just to name a few. Perhaps even more importantly, are the mental faculties that are harnessed and improved through disciplined training, such as increased focus, composure and awareness of one’s surroundings
Tsuji Gettan began his career in swordsmanship at the young age of 13, through Yamaguchi Bokushinsai, later earning a “menkyo kaiden” (full license of transmission) in the style (Yamaguchi Ryu). Influences were also taken from Jikyo Ryu, which was practiced by Tsuji Gettan, and later combined with the Yamaguchi Ryu to create the Mugai Ryu we practice today. Sometimes overlooked is how Zen Buddhism influenced the creation of the art; Tsuji Gettan studied Zen for many decades under Master Sekitan Zenshi, finally achieving enlightenment at the age of 45, which inspired the naming of the ryu, and went on to shape the future of the school.
The ninja were so successful at keeping their arts, methods and activities in the background of history that they almost wiped themselves out of it. To find myths, folklore, ancient texts and even cartoons related to the ninja and their art is easy in modern Japan. Finding something that still has a basis in reality is next to impossible. Ancient texts are written in codes or flowery language that to this day historians cannot understand. This reinforces the popular, present day, mistaken stereotype of what the ninja really were and what they really did. Through time people tend to forget that history, folklore and legends all have a basis in reality. These super humans were human beings.
Entering the 34th Grandmaster’s training hall is an experience. The eyes are greeted by paintings, pictures, green tatami, and a huge assortment of exotic weapons. Near the ceiling on the far wall, shrines are dedicated to the ancestors of the nine martial lineages the grandmaster inherited from his teacher. He is a ninja. His name is Dr. Masaaki Hatsumi.
A medical doctor in the science of bone setting, and a master in the art of Koppojutsu . . . the warrior science of smashing the bones and attacking the sensitive points of the human body. He is a living paradox.
The Grandmaster acts in a relaxed and carefree manner, not like a wizard casting spells or a drill sergeant training his men to die for a cause. He is light, quick, and smooth with conversation, at times even a comedian.
Our meeting seemed destined to take place as Hatsumi Sensei spontaneously hands us a recent photograph of himself posing with his awards from the Imperial Family. An honor that has been bestowed upon less than one hundred people since the close of WWII. The royalty of Japan not only recognized Dr. Hatsumi as a true grandmaster of a ninja tradition but as the only living one left in the world.
But to him it is more important to lead a simple life than to be overly concerned with history and tradition. He stresses the essence of the art of the ninja, a way of life with rules like any other. The rules of the ninja are simple:
* The ninja’s primary goal is to use the art to gain entry into enemy territory, gather as much information as possible to prepare a strategy and return without ever being detected.
It is a natural instinct to deceive to survive. It can be seen everywhere in biological life.
* The ninja should always strive for righteousness through acts of justice and reflect on the betterment of his soul for his teacher and parents.
* Ninjutsu emphasizes deception. It is best to confuse your enemy by spying, stealth and investigation when planning an effective strategy.
* Secrecy was a matter of life and death. Anyone who betrayed the group to which he belonged was killed, along with close relatives.
* A ninja must not kill others, hurt innocent people or steal for personal profit or pleasure.
* Fitness must be maintained at an optimal level.
* Arts such as music, painting, poetry, singing and dancing should be enthusiastically pursued.
* The ninja is expected to train intensively in a myriad of areas: weapon skills, unarmed fighting methods, strategic analysis, covert building entry methods, swimming, improvisation, escape and evasion, disguise, chemistry, meteorology and geography to name just a few.
These are the rules the ninja must live by, 900 years ago and today. Of course pupils do not train as intensively today as their predecessors in the Iga and Koga areas of Japan during the long periods of civil war, but the essence of the teachings from the many masters is readily applicable to today, nearly a thousand years later. To master the art of Ninjutsu and remain healthy (physically and mentally) all pupils must abide by these rules. Those who break them will surely lead themselves to the grave or go insane. The grandmaster often compares his art to the sciences. Just as drugs can be used to hurt or heal and technology can create or destroy, so too can the ninja’s art be misused for personal gain or a desire for adventure.
During our break for tea, Hatsumi Sensei sat with the Tokyo Journal for an interview. No prepared speeches or preplanned thoughts. Relaxed with a microphone in front of him the master smiles away full of confidence. He is used to this by now with tens of thousands of practitioners worldwide. Being interviewed and photographed is a regular part of life.
tj: Sensei is it true that you are the last true Ninjutsu grandmaster in the world?
mh: No I am not the last, I have all of my students (laughter)! The Bujinkan is here and alive. This is important for everyone to understand.
I am not the last, actually my master was the last active ninja and he has passed away.
tj: Why did this come to be? Why did many samurai styles survive while Ninjutsu almost died out forever? Was it all the wars in Japanese history?
mh: No, it was not the wars. It was the long period of peace commonly called the Edo period. It fell into disuse and was no longer needed. Ninjutsu is a true combat orientated martial art that takes a whole lifetime to master. I guess that there became fewer and fewer people who liked this type of thing.
tj: How did the three ninja schools of the nine martial art lineages you head now survive this period of peace?
mh: People who really loved and cared for the martial arts, who cared for the art of the ninja, not people making a living from it are responsible. You raise and take care of the things that you love right? It’s natural right? That is why I worked as a bonesetter. I didn’t make the martial arts my living. I really love Ninjutsu and the martial arts. This is why I have cared for it and kept it alive. It is important to keep this aspect of our culture alive for future generations and for the good of all humanity. For many generations spanning over 900 years, ninja have passed on their experiences and lessons of life and death, of how to survive and endure. I would like to protect these treasures for future generations, let people understand these lessons and if they can be of any use or value to them in their own lives I will be happy.
tj: So it is important not to teach the martial arts or Ninjutsu as one’s living or profession?
mh: No, no, you can! That is fine with me. I don’t mind either way! What is important is the caring for what you are teaching. A kind of respect for what you are teaching. It is important to protect important things, for humanity’s sake. Nowadays people who have the desire to look after such important cultural treasures are becoming fewer and fewer. One of the most beautiful things about human beings is the ability to care and love, to want to protect and the ability to protect. In Japanese this is called ningensei. So I believe, to really care for the art and protect it is what matters the most. It was the same in any other period of time, not just today. This is what has always been the essence of our art.
tj: How is your Bujinkan Dojo different from the other martial arts out there today?
mh: It has not been changed from its traditional form or turned into a sport. Also the concept of change and variation; in old days flint and steel were scraped together to make a fire and now a lighter gives the same result. This is what has kept my art alive and why I am able to use pistols, rifles or any other modern weapon. This type of thinking is also what makes my art different.
tj: Did you study many other martial arts before you met your grandmaster, Takamatsu Sensei?
mh: Yes, it was in this way that I came to meet him.
tj: Was Takamatsu Sensei famous?
mh: He was famous within the professional martial arts community. There were many strong and famous fighters at the time but none of them could even be compared to him. You could say he was the master of all masters.
tj: Did Takamatsu Sensei fight in World War II?
mh: No, he was in China for ten years and had many fight-to-the-death battles. He even received the death penalty three times while he was there, obviously escaping every time. The reason he did not go to war was he had injured one eye during a fight in his youth and could not hear in one ear. These injuries prevented him from becoming a soldier.
tj: Was his intention to go to China to make money?
mh: He held many jobs there including construction.
tj: Some say he was a spy?
mh: Well, a spy? Hmmm? What would you call it, let me see . . . he did do those types of things, yes. He was friends with the last emperor, and protected him.
tj: Now you have many students across the world, what do you see for the future of your tradition?
mh: Ahh! They have all become great people! Many of them have really started to come to understand my art. That is why I traveled the world for many years teaching. I wanted people to understand this art, I did not go to spread the martial arts. It was enough to let them see what real Ninjutsu is and along the way I met some truly beautiful people. The art’s future is in good hands. They have become a strong group.
tj: Congratulations on your awards from the Imperial Family!
mh: Thank you very much. I feel grateful because I was honored with the Kokusai Eiyosho (International Achievement Award) and the Shakai Bunka Korosho (Society & Culture Distinguished Service Award). In over fifty years since the end of the war only ninety-two people have received this.
tj: Are non-Japanese pupils allowed to study your art even to the deepest levels?
mh: No problem! All are the same! I have no borderline! But pupils must be pure of heart or they just disappear. Isn’t Ninjutsu an amazing thing? People with a bad heart eventually go away. My art can only come to live in those who have a good heart.
tj: The last question is not directly concerned with the martial arts, but what do you think about the future of mankind? Will mankind be able to endure and survive the next 1000 years? Nuclear War? Chemical Weapons? Pollution of the planet?
mh: What mankind must do to survive is to observe and correct each other! Help each other educationally, scientifically, in physics and even in the arts of war. That’s why I often say that my training hall is a place for correction and reflection. It is important for us to correct each other! To tell each other "hey that’s not right!" when it is valid to do so. Mankind must also learn balance. Balance with the planet. Nature’s balance. And to do this we need to help each other, we really need patience and endurance. This is the martial arts!
The martial arts provide a method for self-defense, fitness and spiritual growth. All animals in nature have their own way of defending themselves. Human beings were blessed by a superior intellect and dominated the animal kingdom with the arts of war. To protect our community, family and self from danger needs no justification. Human beings are the only animals that can choose to be passive or aggressive, but the determining factors should always be righteousness and love. To break the law of nature and use the martial arts for personal desire of power, fame, or money can only lead to the destruction of the self.
We'll also tough on "the mind and matter technique" with which to combine your physical and mental strengths to give you prowess you never know you had.
五輪 The philosophy of gorin, "five rings", is perhaps best known in the West for their use in Miyamoto Musashi's famous text Gorin-no-sho (The Book of Five Rings), in which he explains different aspects of swordsmanship by assigning each aspect to an element.
The five elements are, in ascending order of power, Earth, Fire, Wind, Water, and Void.
"Earth", represents the hard, solid objects of the world. In people, the bones, muscles and tissues are represented by chi. Emotionally, chi is predominantly associated with stubbornness, stability, physicality, and gravity. In the mind, it is confidence; and emotionally it is a desire to have things remain as they are; a resistance to change.
"Fire", represents the energetic, forceful, moving things in the world. Animals, particularly predators, capable of movement and full of forceful energy. It can be associated with motivation, desire, intention, and an outgoing spirit.
can be associated with motivation, desire, intention, and an outgoing spirit. Fū represents breathing, and the internal processes associated with respiration. It can be associated with will, elusiveness, evasiveness, benevolence, compassion, and wisdom.
"Water", represents the fluid, flowing, formless things in the world. Blood and other bodily fluids are represented by sui, as are mental or emotional tendencies towards adaptation and change. Sui can be associated with emotion, defensiveness, adaptability, flexibility, suppleness, and magnetism.
Kū or sora, most often translated as "Void", but also meaning "sky" or "Heaven", represents those things beyond our everyday experience, particularly those things composed of pure energy. Bodily, kū represents spirit, thought, and creative energy. It represents our ability to think and to communicate, as well as our creativity. It can also be associated with power, creativity, spontaneity, and inventiveness.
Kū is of particular importance as the highest of the elements. In martial arts, particularly in fictional tales where the fighting discipline is blended with magic or the occult, one often invokes the power of the Void to connect to the quintessential creative energy of the world. A warrior properly attuned to the Void can sense his surrounding and act without thinking, and without using his physical senses.