Before
In wild, wild times, when samurai and ninja roamed the Japanese land not only in fantasy, but also in reality, the art of killing was highly valued. However, there were often cases when capturing and stealing a person was any more profitable (not to mention more humane) than killing them. At the same time, so that the prisoner could not escape and complain about the captors, he needed to be seriously deprived of mobility. Amputation of unnecessary limbs is, of course, the right way out, but not the most convenient, if only because there is much more fuss with a crippled person. And therefore precisely quality binding became one of the most important skills of the ninja, the military class and the policemen.
The Japanese genius gave rise to an innumerable variety of types of entanglement of a prisoner, but in general, several main directions of this glorious art can be distinguished:
- Full bonding, completely depriving the prisoner of the opportunity to move. Naturally, such binding was used in cases where the prisoner was only required to lie down and show no signs of life. Often, such entanglement turned the “prisoner” into a log, inflicting unbearable torment on himself with just one attempt to move: the knots located in the right way pressed on pain points, the loops cut into the throat and choked, the bandaged parts of the body threatened to come off. Often, these bindings were also used as torture: the arched prisoner became a bow, strangled by his own bowstring every time he tried to relax a little.
- Partial bonding, allowing you to make movements within the limits provided by the nodes. Obviously, these techniques were used during escort (hands, torso and partially legs were entangled to limit the ability to escape) or when keeping a prisoner who was useful just by his actions (for example, a gunsmith). And of course, nothing prevented making the loops and knots painful, in order to completely eliminate the thought of escaping from the bound.
- Aesthetic bondage, or shibari (shibari)- voluntary binding for the purpose of obtaining aesthetic pleasure. Appeared in the middle of the twentieth century as one of the elements of the heritage of the Kabuki theater.
Since the very life of a ninja often depended on the fulfillment of tasks, a confident possession of hojo-jutsu was part of the mandatory training of shinobi. The ability to bind the enemy and, if necessary, to get out of the fetters was important for all night warriors.
Today
Nowadays, training in hojo-jutsu is officially included in the curriculum of many ju-jutsu schools (well, ninjas, of course) - for example, Itatsu-ryu and Takenouchi-ryu.
The legacy of cunning ancestors is still being mastered by one generation of fighters after another, being passed on not only as a tradition, but also as quite practical knowledge. So, for example, the police in Japan still use modified hojo-jutsu techniques to detain criminals. Who knows, maybe someday this certainly useful art will be adopted by us.
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The art of tying with a rope. It was used on the battlefield to capture and escort prisoners, and in peacetime - when arresting criminals.
Each person had to be connected taking into account his physique, social status, clothing features, and professional skills. Therefore, special binding techniques were developed for court aristocrats, peasants, merchants, artisans, monks, beggars, etc. In addition, differences in the anatomical structure of men and women were taken into account.
For binding, special cords of various lengths and thicknesses were used. The shorter and thicker cord used for the initial tying was called hayanawa - "fast rope". They simply and quickly twisted the resisting victim. Then, when the enemy was already immobilized, they used honnava - "main rope", which was a couple of meters longer and thinner (the thinner the rope, the more difficult it is to untie the knot). Properly trained, he could bind his victim with astonishing speed and efficiency.
Hojo-jutsu technique studied in almost all schools. The oldest school that canonized it is Takenouchi-ryu. found application in the modern police. Played a major role in this Shimizu Takaji, who worked in the police technical commission and took the initiative to adapt some of the traditional techniques for the needs of the police.
In 1931, Shimizu became an instructor for the Tokyo police in hojo-jutsu and organized training in this technique for all patrol officers. Special studies conducted by Shimizu himself in the post-war years brought some changes to, making them more suitable in modern conditions.
The basis of modern police hojo-jutsu is the technique of the Itatsu-ryu school.. Seven basic techniques are used: three binding techniques in front, four binding techniques in the back. Different methods provide varying degrees of control over the opponent. For example, there are methods that limit the movement of the arms without depriving them of full mobility; allowing to walk slowly, but not to run; methods of complete immobilization. Some nodes cause pain to the victim if the arrested person tries to escape, while others lead to loss of consciousness when trying to escape. © A. Gorbylev
MUGEN-RYU HEIHO
No less ancient history than a pole or a staff has a short club (jo) - a natural help for the unarmed at all times. The noble companions of Robin Hood, Russian heroes, and Vietnamese rebels loved to indulge in a club. The iron club gradually turned into a club and a mace. in Japan until the 17th century. the club and the stake remained the weapon of the common people.
fighting techniques with an ordinary meter stick is attributed to the samurai Muso Gonnosuke. Previously, Muso studied the technique of working "bo" of the Tenshin-Shoden-Katori-Shinto-ryu and Kashima-Shinto-ryu schools. Having mastered all the secrets of bo-jutsu, he set off to wander from province to province with his simple weapon. In duels with opponents armed with halberds and swords, he did not know defeat. Puffed up, Muso sent a challenge to Miyamoto Musashi, the greatest swordsman of the era. He lost the fight, but the generous Musashi gave life to the vanquished. Beside himself with grief, Muso retired to the southern island of Kyushu and lived there for many years as a hermit in the depths of the mountains until the very night when, as expected, enlightenment (satori) descended on him. The next morning, Muso, following the divine recommendations, cut a stick out of beech and began to learn movements that were a cross between bo-jutsu and ken-jutsu - "the art of a cudgel." With the help of jo-jutsu, it was convenient to apply poke blows to pain points. In addition, the size of the stick gave more room for juggling manipulations.
As a result, replacing rokushaku-bo with a shorter, lighter and, therefore, more convenient model - jo (120 - 125 cm, diameter 2.5 cm), or club, Muso Gonnosuke created a new kind of fencing on sticks - jo-jutsu and founded the Shindo-Muso-ryu school, which became famous for its 64 fighting techniques, which formed its basis.
Since then, schools of jo-jutsu began to multiply in many, but all of them were of an esoteric nature, and in modern and recent times they existed under the Kendo Federation. In 1955, an independent All Japan Jo-Do Federation (Zen-Nihon-Jo-Jutsu-Renmei) arose, but even today much in the technique of jo remains a mystery, such as, for example, 64 secret techniques of the Shindo-Muso-ryu school, which originates from legendary Muso.
It is interesting to note that all jo training is done without protectors, and the blows (with the exception of the most dangerous ones) are delivered with full force. Such a training technique not only builds courage, but also gives excellent "stuffing" of the body, developing muscle armor and dulling pain. Meanwhile, in kenjutsu, and later in kendo, when working with swords made of heavy wood (bokken) and even bamboo (shinai), not to mention real, steel, protectors on the body, helmet and visor were used necessarily.
One of the auxiliary subjects studied in most schools of Japanese martial arts was the art of striking arrows (yadome-jutsu) with a sword or with bare hands. The samurai cavalry never used hand shields, which interfered with the use of a sword or halberd and were generally regarded as an unnecessary luxury. Sometimes a helmet removed from the head acted as a shield, but more often the samurai relied on manual dexterity. Speed, eye and detachment of the "spirit-mind" were the key to success. Much also depended on the correct stance, which made it possible to reach the arrow and beat it off in flight, some ten to twelve centimeters from the body. The most difficult moment was the moment of parrying (zanshin). Each new arrow, fired by a different shooter and from a different distance, carried an element of surprise and excluded the possibility of a successful "mechanical" repetition. Repulsing one arrow, it was necessary to simultaneously fix the second, third, fourth with a glance, instantly determine the degree of danger and respond only to the one flying to the head or chest. Arrows could be beaten off with one or two swords, which was considered a relatively simple matter, or with a hand in a plate armlet. The pinnacle of skill was the ability to intercept an arrow on the fly. In the chivalric epic, there is a mention of samurai who remained safe and sound in the rain of arrows.
When mastering the yadome technique in schools, soft rag or cotton balls were put on the arrows. Training, where several archers fired at one performer, resembled a game of ping-pong at high speeds. The quality of yadome and the speed of reaction in general characterized the class of skill, the degree of perfection of the virtuoso of martial arts bugeisha. In battle, the samurai wanted to take the enemy alive, he had to master hojo-jutsu - the art of binding, a necessary supplement to jujutsu, which was mandatory in the samurai military training program. Having knocked out the weapon from the hands of the enemy and having carried out a throw followed by a hold, one should immediately remove the coil of rope from the belt with one hand and wrap the victim in such a way that any movement when trying to free himself from the fetters hurt. In the thick of the battle, under the tips of swords and spears directed from all sides, it was not easy to do this. It is believed that the Takenouchi-ryu school introduced the firm rules of hojo-jutsu for the first time, but almost every ju-jutsu school could boast of its original methodology.
With great zeal, hojo-jutsu was studied by the guardians of the Tokugawa era, government overseers and me-tsuke detectives. Masters of the art of tying invented such intricate combinations that sea knots would look like childish pranks in comparison. All possible options for tying separately arms and legs, arms and neck, legs and neck, etc. were developed in detail. Methods and "drawings" varied depending on the gender and age of the victim, her social status, clothing and hairstyle. To transport the prisoner under its own power, the end of the rope was attached to such places that the slightest inclination to run caused excruciating pain. If there was no long rope, a cord from a large sword - sageo was used. The class of hojo-jutsu technique was determined by the degree of skill and speed.
The highest chic for a samurai (and the greatest shame for his enemy) was to bind the enemy in such a way that he followed the winner on his own feet, and his sword remained with him. In combat situations, thin silk cords were used, deeply cut into the body. In training, flat cotton belts are used, which do not give the full effect of binding, but protect the partner from necrosis of the limbs.
Another area of application of hojo-jutsu is the use of a rope as a blocking and fettering means in work against an armed and unarmed opponent.
It may seem strange to some that such a primitive method as tying a detainee with an ordinary rope is still used in police work. But in this age of mass arrests of violent demonstrators, a simple tying rope is not only more economical than steel handcuffs and other means of detention, but also makes it possible to arrest hundreds of people at the same time with a more convenient means when the need arises. Shimizu and his assistant Kaminoda Tsunemori are constantly exploring the possibility of using hojo-jutsu in modern police work.
Toshu kakuto
The defeat of Japan in World War II led to the complete liquidation of the armed forces, and at the same time deprived her of the opportunity to unleash a new war. In the years that followed the Allied occupation of the country, it became clear that no state could occupy its proper place in the international community unless it had some form of national defense. And in 1954, the Self-Defense Forces were created, which remain to this day for the basis of the armed forces of Japan.
Every military department needs an effective form of hand-to-hand combat training. The fact that we live in the so-called nuclear age does not at all exclude the possibility that the soldier will have to engage in hand-to-hand combat with the enemy. And that means he must be able to do it. The Japanese method of conducting tactical combat by each soldier individually is called toshu kakuto .
System toshu kakuto was developed in 1952 under the technical direction of Major Chiba Sanshu, then a captain. Chiba is an expert in various types of hand-to-hand combat, especially classical jujutsu, he is also well-versed in modern disciplines such as Japanese kenpo, judo, karate-jutsu and aikijutsu, and is trained in Western boxing and wrestling. Synthesizing these various systems, he developed the toshu kakuto.
Theory and technique
Toshu kakuto - a purely martial art intended for self-defense - is not without offensive elements, however, in accordance with the concept kobo-ichi, and it is the expediency of offensive or defensive actions in a given situation that determines their choice.
Some changes made to the classical and modern disciplines have made the use of toshu kakuto itself effective in modern combat. The current soldier must be able to fight while dressed in bulky uniforms and possibly loaded with equipment. Therefore, his movements must be simple and uncomplicated in order to be effective, since his very mobility may be limited due to the weight of clothing and equipment. All techniques must take into account possible surprises lurking in the environment. Therefore, toshu kakuto must have an arsenal of means to quickly put the enemy down, which may be required when neutralizing sentries.
Since the methods of punching and kicking the toshu should somehow take into account the fact that the enemy can also be heavily loaded, the effectiveness of strikes on vital organs should be as high as possible. Hand strikes are delivered with a vertical fist rather than the inward-wrapped one that is common in many karate-type systems. The first way of striking not only provides a more dense blow, but also better protects the brush from damage. Leg kicks are delivered with the heel in a lunge. In a similar way, a more dense blow is achieved and the leg is protected; use, as in karate, to strike the toe or lift the foot can damage it even when boots are on.
Chapter five. Kendo
Keep your blade clean
Otherwise the rust will eat it away
Kendo is the oldest, most revered and popular of the modern budo disciplines. Unlike many other modern disciplines, Kendo owes its current standardized form not to the efforts of one person, but to the collective experience and skill of many people; both medieval knights and ordinary citizens were influential in the creation of modern kendo.
Neither classical kendo, as it was once developed and put into practice by the creator of the Abe-ryu school in the 17th century, nor kendo as it is practiced today, are neither a martial art nor a pure sport. The most prominent representatives of modern kendo believe that it is primarily a system of spiritual discipline; but some inherent properties of kendo allow it to be used for physical education purposes, for sports or athletic training, or as a health system. But rooted in the most amazing technique of kendo is that spirit, the depth and versatility of which can present the original nature of kendo to the ordinary modern Japanese, who is not familiar with kendo, in a completely distorted light.
Modern kendo draws on a legacy of classic Japanese sword fighting that is at least as old as the history of the Japanese nation itself; tradition traces the origins of Japanese martial arts with swords to the legendary era of the gods.
Of course, the gods, and people, and their weapons - everything that falls under the very concept of "heritage", inspired the creation of modern kendo. Although this type of martial art was given a well-defined national form, called Nippon Kendo, only shortly after the Second World War, the spirit of kendo itself was developed hundreds of years ago, equipment was created, the theory and mechanics of movements were developed.
Bushi, otherwise medieval knights, handled their swords in accordance with kenjutsu (the art of offensive sword fighting), ensuring peace and order in the country from the 9th to the 17th century. Then their power became quite illusory. On their behalf began to rule distinguished by the diversity of their composition buke(military families), attracting samurai for these purposes, only nominally remaining knights. And yet the common people continued to be in awe of them.
To partially understand why the sword was and remains for the Japanese the main weapon in their country, and also why kendo reigns among physical disciplines, one characteristic feature of the Japanese people will help us. Especially the Japanese love to fight with swords in a narrow area. In the early era of medieval chivalry, military battles usually unfolded in conditions where the opposing forces were at a distance from each other. First of all, here they resorted to the help of archers, who showered the enemy from shelters with a hail of arrows. However, experience has shown that such tactics left the outcome of the battle unclear. Therefore, the medieval knight changed his tactics. He began to fight close to the enemy, as in kiba-sen(equestrian combat), and toho-sen(on foot in combat), which allowed him to achieve quite tangible results. Therefore tactics zan totsu, otherwise "get close and hit", characteristic of the actions of a medieval knight, has become a common way of fighting. A similar style required weapons that could be used to deliver thrusts and blows with the help of hands. Odachi, otherwise a long sword, proved to be the most suitable for zan-totsu tactics, and kenjutsu - its most effective weapon.
kengo, otherwise a strong and skilled swordsman, possessed kangi, or the technique of swordsmanship, before which the whole country trembled. The swordsmen themselves were not without lofty aspirations. Tirelessly striving for perfection in their use of many types of weapons, they began to reflect on enduring values. The most prominent of them tried to perpetuate both their physical perfection and their own philosophical views in the formalized systems of techniques [of combat] they created, which took the form ryu, schools of certain military traditions. By the time the Tokugawa Shogunate was established in Japan in 1603, thousands of such ryu already existed on its territory. Each school was guided by its own philosophical doctrine, which interprets sword fighting from the point of view of the spiritual orientation of its technical foundations and attitude to the moral principles of combat, in other words, the tasks and aesthetic norms of warriors' behavior. The teachings of the classical ryu themselves greatly influenced the minds and deeds of both the rulers of the Tokugawa bakufu and those who rebelled against the power in Japan of the Tokugawa family.
Each ryu-gi, otherwise the ryu style, in the dotokugawa systems of classical kenjutsu served as a means of protecting a limited group of people in hand-to-hand combat. In this kind of kenjutsu, self-defense was important as far as the safety of the whole group was concerned. The strategic tasks of defense and offensive were completely determined by the principle kobo-ichi, that is, that attack and defense are one and the same. In kenjutsu, victory over the enemy is achieved through exclusively offensive tactics, which forces the enemy, forced to repel attacking actions, to create bitches, otherwise gaps, in their own defense. Since the rulers of pre-tokugawa Japan gave the moral right to swordsmen to kill the enemy, the warriors took every opportunity to improve what they considered the "active style" of swordsmanship; kaho, otherwise the use of complexes of formal exercises, was the main method of teaching this kind of sword fighting, and shinken shobu(death duel) - the only way to test the skill of a swordsman.
One of the most prominent representatives of the active style of kenjutsu, which influenced the political and social history of Japan during the Meiji period, is the Jigen-ryu school. Jigen-ryu was founded by Togo Bizen no Kami (1563-1643), and she was the most revered among the medieval knights of the Satsuma clan. The Jigen-ryu style is expressed in provocative offensive combat tactics, when the swordsman is ready to strike the enemy at any moment.
However, during the relatively peaceful centuries of the reign of the Tokugawa clan, the opportunity to fight on the battlefield essentially ceased, and it was forbidden to draw a sword in street skirmishes without the permission of the authorities. Therefore, in such a relatively serene social environment, the active style of kenjutsu quickly became obsolete, and a new, so-called "waiting style" of sword fighting was formed in its place. He was characterized by the "expectant-observant" behavior of a warrior, tactics Suki-o Mitsukeru, revealing weaknesses ( bitches) in the defense of the enemy, due to his erroneous actions. Kaho was the main teaching method for the expectant style of kenjutsu, but his arsenal now consisted of exercises that were much less dynamic than in the active style.
The social fetters of the peaceful Edo era annoyed many militant swordsmen. A classic example of such discontent is Yagyu Jubei (c. 1607-1650), the one-eyed son of Yagyu Munenori (1571-1646), the founder of the Yagyu lineage in the Shinkage-ryu school. Jubei was a fiery nature and an ardent supporter of the action style in sword fighting. Deeply regretting that the expectant style of swordsmanship was becoming increasingly used, Jubei obtained permission from the shogunate to test his skills in a duel with representatives of the expectant style. The fight was to be fought with real swords. Jubei randomly chose seven swordsmen standing in a group, and, deliberately showering insults on them, also spitting contemptuously in their direction, forced them to attack him. In the ensuing skirmish, Jubei severely wounded two in the shoulder, who fled, clutching the wounds with blood gushing from them. Then he killed one, while the rest fled for their lives. The skill demonstrated by Jubei proved the superiority of the active style over the expectant one and at the same time created for him the glory of an outstanding swordsman; inspired by this example, the youth began to diligently master the secrets of his skill.
And yet, in the following years of the Edo period, the expectant style of kenjutsu gained unprecedented popularity, which indicated that by that time the very opportunities to show their fighting ardor and skill among sword fighters had noticeably diminished due to the policy of the shogunate, deliberately trying to weaken the military interests of the knights , directing them to the literary field. Therefore, the successors of the classical ryu, who at one time defended the active style of kenjutsu, began to lean towards the expectant style. And the criterion for good swordsmanship was the grace and grandeur with which the fighter demonstrated his skill. Most of the schools created since the middle of the 17th century have developed in this direction.
By the middle of the 18th century, there were three methods of teaching the art of swordsmanship at the disposal of those who wanted to master and improve their skills in kenjutsu. These methods used: 1) a real blade in the form katana or tati ; 2)bokken, otherwise a wooden sword, and 3) shinai, light training sword. Real fight ( shinken shobu) or competition ( shiai) were held between fighters equally armed with one of the three types of weapons. But dueling with real swords required the permission of the bakufu authorities, so he could not enter into modern practice. The bokken fight was initially allowed by the authorities, many ryu willingly went to the organization taryu-jiai, otherwise competitions between swordsmen of different schools. But when it became clear that such fights almost always ended in severe injuries and injuries to their participants, and sometimes led to death, the shogunate banned the holding of taryu-jiai.
A method of testing the degree of weapon proficiency using a shinai, called shinai-shiai, although it could not be compared with other methods that give a true assessment of skill, but have serious consequences, with the results of martial arts with a real sword or bokken, nevertheless, it excluded severe injuries, death of participants. classes with shinai became popular, and the method of teaching sword fighting through such training weapons was called shinai-geiko. It lost its significance as a method of training kaho, since they began to give preference to free practice, when the opponents fought fiercely, attacking each other and observing, however, certain precautions. Shinai-geiko was the direct predecessor of modern kendo.
The earliest use of shinai is traditionally associated with the name of Hikida Bungoro (c. 1537 - c. 1606), the founder of Hikida-ryu (also called Hikidakage-ryu). Hikida studied the tradition of the Shinkage-ryu school and immortalized himself as one of the si tenno, otherwise the "four lords" of the sword; other overlords are Yagyu Tajima-no Kami of Shinkage-ryu, Kurando Marume of Taisha-ryu, and Shingo Izu of Hikida-ryu. However, the Khikidov shinai remained a formidable weapon. Its hardness and weight made it almost as dangerous as the bokken. Kamiizumi Ise-no Kami (1508-1578), founder of Shinkage-ryu, and Yamada Heizaemon (d.1578), founder of Jikishinkage-ryu, also used shinai in their training. But these great swordsmen used their shinai to learn how to fight; they did not see it as a permanent means of instruction solely within the framework of shinai-geiko.
The very first attempts to use shinai-geiko as a permanent method of training sword fighters were aimed at preventing injuries among students. To make classes safer, protective equipment had to be developed, and the first known school to accomplish this task by 1711 was the Jikishinkage-ryū. Yamada complained about the lack of fighting fuse in the actions of swordsmen practicing the expectant style of kenjutsu. He wasn't sure that just learning techniques through kaho, without at least some actual combat, would be able to maintain the swordsman's combat skills at the proper level. In his own method of training, Yamada made kaho only the first step in mastering the art of sword fighting; he sought to achieve real results of the duel itself, which, in his opinion, training through kaho did not give. Therefore, he began to experiment with protective clothing that covered the head and forearms. Students dressed in this kind of simple armor could devote themselves to their studies with all their ardor without fear of injury. The followers of Yamada made wearing protective gear common for shinai-geiko practitioners in the Jikishinkage-ryū school. Many young people from samurai families were attracted to the Jikishinkage-ryu, where they could try their hand at mock combat, imagining that they were mastering the martial arts of their medieval ancestors.
Nakanishi Chuta (mentioned in 1751), originally a follower of Ono-ha Itto-ryu, developed his own style of sword fighting within his Nakanishi-ha Itto-ryu school. In order to attract as many students as possible, Chuta followed the example of the Jikishinkage-ryu school. He first improved mune-ate(now called before), bib; he also improved kote, otherwise protective gloves, schools of Ono-ha Itto-ryu. The shinai he modified became lighter and more reliable.
In the 19th century, shinai-geiko, practiced with protective equipment, quickly gained popularity. His dynamism attracted more than the relative static nature of kaho, be it classical kenjutsu or classical kendo; this was especially true of the expectant style. Therefore, thousands of young men attended the dojo.
The heavy workload of shinai-geiko also required the introduction of gentle training methods, which attracted the elderly. By the middle of the 19th century, a significant number of the common people were engaged in shinai-geiko. More than five hundred ryū specializing in shinai-geiko were created by the efforts of the common people themselves, who saw in shinai-geiko an opportunity to continue the glorious tradition that had hitherto belonged exclusively to the knightly class. But the very abundance of the emerging ryu was most of all determined by purely earthly causes. The dojos competed with each other for the attendance of their halls, since the large audience strengthened not only the prestige in the society of the head of the dojo, but also his financial position. Therefore, many dojos inevitably began to indulge the tastes and desires of those involved, moving away from the strict educational values of the old classical ryu, directing efforts towards the spiritual education of their followers. Most shinai-geiko practitioners by the end of the Edo era preferred to train themselves for athletic combat, so the dojo is mainly the competitive side of training in its activities.
The bakufu viewed shinai-geiko as a spiritually oriented discipline rather than a martial art, and therefore contributed to its development. The Shinai-geiko provided an outlet for human energy that might otherwise have been channeled in a direction undesirable for the Tokugawa shogunate. And yet, in this case, logic failed the bakufu, for, despite the extensive fiscal network that keeps an eye on its citizens, it was the dojo that became hotbeds of anti-Tokugawa sentiments. Skilled swordsmen often found themselves embroiled in intricate political intrigues. We cannot go into this complex problem in detail, but it will be both useful and instructive to briefly touch on some of its general aspects that are directly related to the development of modern disciplines, and in particular kendo. The very possibility of easy communication between people holding different political views that influenced the course of the Japanese government was an essential factor in uniting these people on the basis of the line of thought that inspired their common passion for the art of swordsmanship.
One of the foremost swordsmen in the period just before the Bakumatsu, the decline and fall of the Tokugawa Bakufu, was Otani Shimosa no Kami Seiichiro (1789-1844). He had the highest degree of skill in the menkyo-kaiden system, and his highest skill brought him the indisputable honor of being called cho-ichi-ryu, an otherwise consummate swordsman. He became the thirteenth head teacher of the Jikishinkage-ryu and became head of Kobusho, the government high school. The integrity of Otani's nature was as high as his mastery of the blade, which testified to the depth of his spiritual education, achieved through prolonged practice in the active style of classical kenjutsu. It was Otani who introduced the future founder of the Hokushin Itto-ryu Chiba Shusaku (1794-1855) school to the authorities of the Mito domain, who subsequently made kumi-tachi(kenjutsu) of his school as the official style of sword fighting in this domain. Chiba ran the Genbukan dojo in Edo and was proud to have gathered five thousand students there.
One of Chibu's students was Sakamoto Ryoma, a ronin from the province of Tosa. Saito Yakuro (1799-1872) was a skilled swordsman who practiced the style of the Shindo Munen-ryu school. He ran the Rempeikan dojo in Edo. Preached here by teachers from Mito, such as Fujita Toko, Aizawa Seishisai, and artillery expert Egawa Tarozaemon, anti-government ideas influenced many students. The most notable of these were Kido Koin and Takasugi Shusaku of Choshu. Momono-i Shunzo (1826-1886) represented the Kyoshin Meichi-ryu; he owned various types of weapons, at one time attended the Kobusho government school. Later, Momono-i founded the Shigakukan dojo in Edo, where an opponent of the Tokugawa bakufu, the swordsman Takeichi Hampeita from the province of Tosa, conducted classes. Takeda Sokaku, who was destined to play an important role in the development of modern disciplines, was at that time a promising young swordsman mastering the Ono-ha Itto-ryu style. In 1874, at the age of sixteen, he appeared at Shigakukan and beat Momono-i in a shinai-shiai style with a shinai.
As the popularity of shinai-geiko grew, so did the wave of protest. Experienced swordsmen were unanimous in their opinion that over-reliance on learning to score in shiai-type match competitions was destroying the very essence and purpose of classical kenjutsu and kendo; besides, winning a match fight is not the same as winning a real fight. But since these opinions were expressed only by the most prominent sword fighters, supporters of the active style, they were a clear minority. The average swordsman was quite content with shinai-geiko because he had no direct experience with the classical methods of the active style.
Oishi Susumu (1798-1865) Was the best shinai-shiai master on the island of Kyushu. Starting in Shinkage-ryu, Oishi then developed his own style and founded Oishi Shinkage-ryu. He was a tall, heavily built man. He had a special kata-zuki, a lunge with one hand so powerful that it knocked the opponent down. He was primarily concerned with how to earn points in match fights, and he is the best example of how a bias towards shiai in practice can lead to a loss of spiritual values. Oishi's fame as a shiai fighter quickly spread throughout the island of Kyushu, and the fact that he used an extremely long shinai in fights became a legend. His shinai was four to six feet long, which gave him a considerable advantage when he made his lunges. But not only with his unusually long bamboo sword, Oishi trampled on the primordial values of kendo. He also made maine, otherwise a protective mask with a protruding lattice visor, which allows you to reflect any blows to the head; men-tare, hanging cuffs of the mask to protect the shoulders and throat, were very narrow and numerous, which prevented any attempt by the enemy to injure Oishi's head with a backhand blow or poke.
Oishi's outstanding skill helped him earn money. He traveled around Kyushu in style dojo arashi(literally "causing a storm in the halls of the dojo"), combining in their actions a challenge and blackmail. The leaders of the dojo that Oishi visited, if they had accepted his challenge for shiai, would have been beaten in disgrace in front of everyone, which would have been accompanied by personal humiliation and loss of professional prestige; few students would agree to stay with a disgraced shiai master. And the mentors, who did not want the shame of defeat at the hands of the frantic Oishi, were willing to generously pay him with the only hope that he would leave and never return.
Trying to prove that the active style of sword fighting was superior to training in the Shinai-geiko style, and showing his contempt for Oishi, Otani challenged the latter to a duel. Using this shinai so as not to injure the opponent, Otani launched a quick attack, and Oishi suffered a humiliating defeat, for which it took only one blow in the active style of the Jikishinkage-ryu school.
Chiba Shusaku, like Momono-i and Saito, was much inferior in skill to both Otani and Oishi. But he had good technique and supported the very idea of preparing students for match fights. He turned shinai shiai into a sporting event, pitting men and women armed with wooden halberds (naginata) against fighters with bamboo swords (shinai) whenever possible. The audience was very fond of such fights, she was ready to pay to see her favorites in action. Chiba's son, Eijiro (1832-1862), was famous for his single-handed swinging movements, holding his shinai high above his head. Having identified a weak spot in the opponent's defense, he could earn a point in the match with a sharp whipping blow from his shinai. Such gestures fell in love with the public, who came to the competition primarily to have fun.
Another staunch champion of the Jikishinkage-ryu and the fourteenth supreme master of the school itself was Sakakibara Kenkichi (1829-1894), a student of Ōtani. Sakakibara, while disapproving of some of the technical aspects of shinai-geiko, did advocate for shinai to be used in the learning process. He did not despise the "small" quick moves that characterized the cautious, waiting style of sword fighting. When he had to train with those who, with the help of such techniques, could "touch" or "touch" his body, Sakakibara rejected such tactics and tried ippatsu, "in one fell swoop", to decide the outcome of the fight, striking as if he had a real sword in his hands, and not just a bamboo sword. The power of his blow became well known after he, along with Momono-i, appeared before Emperor Meiji in 1886 and managed to half cut the helmet, hitherto considered invulnerable. Momono-i failed to do so. One of Sakakibara's best students was Takeda Sokaku, who joined the Jikishinkage-ryū school to improve his sword skills.
The lack of agreement among swordsmen of the Edo era regarding standards for technique, teaching methods, training equipment and equipment, and fighting prevented the development of a truly national standard for kendo at that time. But the need to adopt universally acceptable standards was already being felt. The Kobusyo school established in 1856 the length of the shinai sword at three shaku and eight suns (about one meter ten centimeters), but even after that the length of the shinai sword continued to be a sore point. There were swordsmen who insisted that if the modern form of sword fighting was such as kendo, "the way of the sword", - should be developed on a national basis, then the main weapon used by this discipline, the shinai, should at least not be inferior in length to an ordinary sword (about one meter), albeit without having its shape and weight . Ono-ha Itto-ryu was of the same opinion, and here the shinai was limited in length to one meter, and the weight did not exceed one and a half kilograms; however, the cylindrical shape of the blade could not be changed without violating the safety margin that such a shape provided.
During the Meiji era, social conditions developed in such a way that Japanese citizens preferred Western culture to their own. Classical martial arts and principles (ways), and even shinai-geiko, fell out of favor with the general public. And only the needs of the Japanese police forces did not allow sword fencing to completely sink into oblivion. Established in 1874, the police force was responsible for maintaining law and order at a time when social unrest was on the rise. The name of the Police Union of the Sword (Batto-tai) became widely known during the Satsuma mutiny of 1877. The police swordsmen managed to tie down the actions of the Satsuma knights from Jigen-ryu; such skill prompted the official authorities to adopt sword fighting in 1879 for the police. Among the experienced swordsmen hired by the police as instructors were Matsuzaki Namishiro of Shinkage-ryu, Ieda Umanosuke of Kyoshin Meichi-ryu, Shibae Umpachiro, Watanabe Noboru and Neigishi Shingoro of Shindo Munen-ryu, Takao Tesso of Tatchu-ryu, Mitsuhashi Kanichiro of Togun-ryu, Tokino Seikishiro and Okumura Sakonda from Jikishinkage-ryu and Shingai Tadatsu from Tamiya-ryu.
Sakakibara also did much to revive the popularity of swordsmanship. With the support of respected swordsmen of his time, Sakakibara decided to organize a tour of Japan by experienced swordsmen who would show sword fighting to the general public. The plan itself was also dictated by professional interests, since many mentors experienced financial difficulties caused by the situation in the country. The Meiji government approved the plan in 1873, and the trip itself resonated with the public. But the decline in interest in sword fencing continued.
The establishment of the Dai Nippon Butokukai in 1895 and the formation of the Butokuden in 1899 provided significant support for the classical martial arts and principles (ways) and contributed to the development of the hard style Shinai-geiko known as gekken, "terrible sword". Higher schools preferred to develop what they called kendo; In 1909, the University Kendo Federation was formed. This prompted the government to introduce kendo as a physical education subject to all high schools in 1911.
Many modern kendo authorities see the Meiji era as a time when the original values of classical swordsmanship were trampled on. The spiritual essence of classical sword fighting had to be sacrificed so that sword fencing could be adapted to social needs. Kendo, like gekken, was used by militarists to stir up national feelings among the people on the eve of the war. This special use of kendo had a significant impact on the growth of its popularity and the essence of its technique. The formation of the Zen Nippon Kendo Remmei (All Japan Kendo Federation) in 1928 allowed kendo to be standardized on a national basis. This organization provided technical oversight of the quality of instructor training through periodic examinations for degree and teaching license, and set standards for teaching techniques and methods.
As Japan leaned more and more towards a policy of nationalism and imperialist expansion, so did the importance of kendo, not as a martial art, but as a spiritual discipline and form of physical education aimed at rallying the Japanese people around a common sense of national responsibility. Kendo became a compulsory subject in all elementary schools in 1941. But after the defeat of Japan in World War II and its occupation by the allied forces, kendo was banned. The ensuing revival in 1948 broadened the aims of kendo and softened the technique itself, and as such the discipline was accepted by the international community as the basis for creating a healthy sport for the whole people.
Nature and tasks
The nature of kendo is spiritual. Kendo, "the way of the sword", at its core expresses the will to overcome life's adversity, but much deeper than this task is rooted in a person's desire to improve his own character and live a worthy life.
The most difficult thing for an ordinary modern person to understand is that the main goal of kendo is not to master the technique. The sword is just a means of improving one's own spirit, maintaining one's own moral foundations, deepening one's own personality and developing a moral sense. In ideas heiho(martial art) of the Itto-ryu school, as they were understood by the founder of the school, Itto Ittosaya (1560-1653), it is preached that a person deprived of an integral moral character will not be able to achieve heights in fencing with swords. All training should be directed towards the perfection of the spirit rather than the mastery of technique; and in this process, an indispensable guarantee of success is the openness, sincerity of a person. A swordsman who does not adhere to righteous behavior will only succeed in destroying himself.
Ken no shinzui otherwise the true task of kendo is to solve life's problems without drawing the sword. This line of thought comes from pre-Tokugawa concepts such as the principle mutekatsu(victory without hands) Tsukahara Bokuden (1490-1571) and doctrine Muto(without sword) Yagyu Tajima no Kami (1527‑1606). Closer chronologically with the philosophical essence of modern kendo are the ideas of Yamaoka Tesshu (1837-1888), the founder of the Itto Shoden Muto-ryu. Yamaoka lived at a time when the social unrest caused by the fall of the Tokugawa bakufu and the rise of the Meiji could easily force swordsmen who were not as spiritually hardened as himself to cut the knots of emerging problems with a blade. Yamaoka had many opportunities to engage in a fight where his own skill promised him victory; but because he remained true to the classical notion of bushido, he never once drew his sword in actual combat.
Yamaoka, trained in the active style of kenjutsu of the Jikishinkage-ryu school, was the most skilled swordsman among the so-called sanshu- three statesmen whose names were written through a common hieroglyph syu: Yamaoka Tesshu, Katsu Kaishu and Takahashi Deishu. All three were ardent supporters of the Bakufu, but Yamaoka, better than others, saw the emerging political problems, the resolution of which required the abolition of such a regime. Despite his great loyalty to the Tokugawa lineage, Yamaoka believed that his greatest loyalty should be to the Japanese nation as a whole. His influence on the Bakufu leaders was incredible. Keiki, the last shogun of the Tokugawa family, is often accused of weak character, as he succumbed to the demands of Saigo Takamori, Okubo Tosimichi and Iwakura Tomomi, i.e. renounced the right of the Tokugawa clan to rule. In reality, Keiko became the savior of the nation, whose decision to renounce power was due to the ideas of Yamaoka, preached by the heiho of the Muto-ryu school. And when Yamaoka, on the advice of Saigoµ, was appointed secretary of Emperor Meiji, his ideas had a significant impact on the monarch. The emperor himself was a strong man, proud of his physical strength. Grabbing for a joke with his secretary, he did not have time to come to his senses as he was on the ground, and sparks from his eyes even fell from the blow. The defeat from a man, physically obviously weaker than him, had such an effect on the emperor that he learned the rule for life: naked strength is not the best way to resolve emerging problems. After what had happened, kendo in general, and Yamaoka in particular, enjoyed great favor with the emperor.
Yamaoka believed that the owner of the sword should be in accordance with the spirit in which the sword was usually forged. Blacksmiths, like those swordsmiths who forged swords in the tradition of the famous Masamune blacksmithing order (c. 1250-1600), made blades in the spirit of nukazu-ni sumu, which means to untie the knots of problems "without drawing the sword." The sword is born to ensure peace and preserve life, and not to unleash wars and take life. Yamaoka has always been guided by this spirit. But with regard to kendo, as Yamaoka found out, the most difficult thing is to master such a spirit, because for a start, no matter how unexpected it may sound, one had to learn how to draw and use the sword for its intended purpose. The cultivation of such a spirit is based on the yomeigaku's idea of physical disciplines. In kendo, the development of a person's spiritual maturity, his "inner qualities" depends on the degree of his training in the art of wielding a sword, sufficient for the manifestation of his "outer qualities". Efforts aimed at self-improvement (satori) are “spurred on” by shugyo, otherwise merciless training, serving as a catalyst in the process seishin tanren, otherwise spiritual hardening. Those swordsmen who are distinguished by a penchant for reflection and inner introspection have reached spiritual maturity.
Kendo also draws its ideas from the teachings of famous swordsmen who were influenced by the Zen Buddhist monk Takuan or his ideas, among which is the idea fudoshin, "unperturbed mind". Miyamoto Musashi (1584?-1645), the founder of Emmei-ryu, expressed this concept with the words "wao-no mi", "solid body"; Kamiizumi Ise-no Kami, the founder of Shinkage-ryu, was guided by many such concepts; Itto Ittosai, founder of the Itto-ryu, announced isshin itto, otherwise "one mind, one sword", the limit of spiritual maturity. Yamaoka proceeded from the same point of view when he proclaimed singhi ittai, i.e. "mind and technology are one", believing that the improvement of technical skills and the formation of a spiritual personality are inseparable processes. Thus, his actions were determined by the teachings of the Jikishinkage-ryu school. A brief overview of the ideas taught by this school during and after the Meiji era will further elucidate the essence of modern kendo.
Yamada Jirokichi (1863‑1931) is an excellent example of the fusion of technical skill and spiritual perfection in one person. As a child, Jirokichi was a sickly boy. But the physical strength of his younger brother, who easily lifts a wicker basket of rice over his head, prompted him to take up gekken (“terrible sword”), as kendo was usually called in the Meiji era. Jirokichi was brought up by his family in the Confucian tradition of respect for his own parents. He matured with a true sense of modesty. “I consider myself a worthless person,” he often declared to his friends, but those who knew him well did not doubt his merits as an outstanding sword fighter and kendo teacher.
Jirokichi became the fifteenth supreme teacher of the Jikishinkage-ryu school. He demanded that the most careful attention be paid to mastering the basics and forced all the students in his dojo to train hard. "Study diligently," he advised the swordsmen, "so as not to shame your predecessors." Kendo classes for Jirokichi served exclusively "to kill one's own "I", so that a person could succeed in the future." He challenged the very tendency of Meiji kendo to slide into the position of a sporting or recreational spectacle. Jirokichi especially disliked making money by putting on kendo performances in front of the public. All his efforts in kendo were aimed at preserving the original spiritual essence of kendo itself.
Jirokichi devoted his entire life to the pursuit of self-improvement through the practice of kendo. He influenced by this many of the people who played an important role in the development of kendo. He was very receptive to the properties of a human character, he never blocked the way to the dojo for a person with a bad reputation, rather, he tried to give him guidelines on how to improve his own life. Jirokichi argued that the instructions of a worthy husband would be able to convince people leading insufficiently righteous lives to change their behavior. In his personal dealings with people, he remained calm and dignified in every situation, even when faced with violence and nervousness, an ability he developed in himself through sword fighting.
The moral basis of kendo, as it was presented to Jirokichi, is manifested in the principles that he formulated in his own "Treatise on Kendo" ("Kendo Ron"), and those institutions that are included in his "Treatise on the Education of the Mind and Life Itself" (" Shuyo Shosei Ron"). The following maxims are given in Kendo Ron:
The mind must become an unclouded mirror! Do not do anything that would not be useful [to society]; keep calm but stay active all the time.
Make shugyo a daily habit.
Ken no michi [i.e. kendo] is Zen. Ken-Zen ichi mi [the sword and Zen have the same purpose], that is, the mortification of one's own ego.
Those who practice [kendo] may be rude or impudent in their behavior, and having a certain skill, they may want to demonstrate it. But he must always remember that:
a) rude behavior should be avoided;
b) one should respect ri [human relations] by showing courtesy and not forgetting gi [moral obligations];
c) one should not seek popularity or power;
d) one must be prudent, not frivolous;
e) should refrain from violence.
The Shuyo Shosei Ron contains the following instructions:
Contributes to the mastery of imitation of the masters of the past, not the present.
The true merits of a person are determined after his death.
Be proud of yourself, but your pride [weigh on the scales] bun [civil field] and bu [military field], and not wealth and position.
Be careful in your actions and words.
Be polite while maintaining self-respect.
Do not think only of your own comforts.
Human relations must be respected.
Dedicate your life to spreading good. Do not judge others, for one day you will make a mistake and wish to avoid the judgment of others.
May only death soothe your desire to cultivate.
The hardest thing for the average person to understand is that kendo should not be considered a sport, especially today with the growing popularity of national and international kendo championships, which Japan strongly supports. To treat kendo solely as a sport is to misrepresent its original purpose. Kendo is not a sport because, as Kendo Ron teaches, "sport is not life itself." If sport takes up only a part of human life, kendo demands it entirely. Sport serves the purposes of promoting health and physical endurance, earning money or personal prestige, and the important thing here is that sport seeks to please both participants and spectators. Yamaoka denounced Meiji Japan's desire to turn kendo into a sport. Jirokichi, in turn, said that if a person "seeks pleasure in kendo, then the element of shugyo"and his practice of kendo descends to the level of playing sports or simple entertainment. And no matter how fervently we give ourselves to sports, it is impossible to achieve the required level of dedication and zeal that is inherent in the spiritual basis. before .
Takano Kosei, the current supreme master of Nakanishi-ha Itto-ryu, decries the commitment of many modern kendo practitioners to arranging a "sword game". Takano believes that the very tendency to "play" destroys the true spirit of kendo. "Kendo can be practiced or you can train yourself through kendo," says Takano, "but you should never play kendo."
For Takano, the "dark times" of kendo began with the beginning of the Meiji era. It was then that the true spirit and aims of the classical traditional schools began to cloud over with light-weight values. And with the growth of militarism, the art of kendo proved useful in establishing a purely nationalistic spirit among the citizens of Japan. And as a result, in the very kendo of the Taisho era, a tendency to shin-shin shugyo, otherwise "training of the body and spirit", which contributed to the development of a unified national sense of spiritual zeal and moral duty. This modern trend differs from the classical interpretation before the fact that less attention is paid to the self-improvement of a person as an individual and is more busy spiritually rallying individual citizens in their striving to improve their country. Therefore, kendo appears here as a socially binding force, directing the spiritual energy of citizens to support the policy of nationalism. The use of kendo in this vein continued even when Japan faced unforeseen national difficulties, which manifested themselves in full force in the Second World War.
What stakes were placed on kendo in order to strengthen the feeling of nationalism among the Japanese people through national physical and spiritual training can be imagined by reading publications from the Taisho era, such as Kendo Shugyo-no Shiori (Kendo Practice Guide), written by Makino Toru. , a swordsman from the Hokushin Itto-ryu school. Makino wrote: “Many styles of kendo [kenjutsu] were created during the days of chivalry for the purpose of instructing knights in how to build their behavior and lead a virtuous life. At the same time, a false idea arose that fencing with swords was the lot of exclusively knights. Even now it dominates, although the system of universal conscription has already been proclaimed. This preconceived notion stems from the very idea of class distinctions that existed in the Edo period. Kendo [today] is indispensable in educating the people and protecting the national foundations of the state. Therefore, every Japanese must learn kendo for the glory of his nation.” Makino also noted that mastery is only a means, not an end, of kendo practice, thus dispelling the misconception that kendo is a martial art: “I am not saying that mastering technique is not important at all. I believe only that the first task of kendo is to clarify the true ties between the monarch and subjects, to cultivate loyalty and patriotism, and to reshape one's own character in order to achieve perfection.
Regarding self-sacrifice, and especially the concept of Zen Buddhism, learn to overcome thoughts of life and death ( seishi-oh choetsu), Makino wrote the following: “Whoever devotes himself wholeheartedly to the study of kendo should not forget the great duty of maintaining devotion and filial piety. In case of emergency, he must lay down his life for his homeland. He must also realize that in his behavior he must be guided by the Imperial Rescript on Education, which teaches him to be a devoted Japanese subject, improving his personality for this, and to serve the monarch. He should also recite the Imperial Instructions to Soldiers [Imperial Instructions to Soldiers and Sailors] day and night, and should strive to be a warrior-knight in reality, making their code of conduct his own.”
Makino's words meant that the spirit of self-sacrifice should accompany the practice of kendo, but they also meant that this spirit should be drawn and maintained from sources outside of the teachings of kendo. This view is in line with the views of many contemporary kendo masters who feel that the shinai, although it symbolizes the very essence of the sword, cannot really prepare the way for the development of the spirit. seishi-oh choetsu. Such utsukushi tamasii, otherwise "beautiful spirit", can only be developed through gaining great experience in disciplines based on the use of a real sword. Therefore, kendo aims to develop a person "as a perfect individual, as a member of society and his own nation through the sacred real sword."
200 schools of martial arts of East and West: Traditional and modern martial arts of East and West. Taras Anatoly Efimovich
HOJO-JUTSU
HOJO-JUTSU
This is the art of binding the enemy, which was mandatory in the samurai military training program. They were taught to bind captives in such a way that any movement when trying to free themselves from the bonds caused them pain. The highest glamor for a samurai (and the greatest shame for his enemy) was to bind the enemy in such a way that he followed the winner on his own feet, and his sword remained with him! In combat situations, thin silk cords were used, deeply cut into the body. In training, flat cotton belts are used, which do not give the full effect of binding, but protect the partner from necrosis of the limbs.
Another area of hojo-jutsu is the use of rope as a blocking and fettering tool in work against both armed and unarmed opponents.
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From the book The Way of the Invisible [The True History of Ninjutsu] author Gorbylev Alexey MikhailovichBO-JUTSU The Japanese and Okinawan art of fighting with various types of sticks. It equally continues the Bu-jutsu traditions of feudal Japan and the Ko-bujutsu of Okinawa. The stick most commonly used in bo-jutsu is the rokushaku-bo, which is approximately
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From the author's book13.1. Bo-jutsu Bo (the old name Kon is still used in Okinawa) is a classic kobudo weapon. Rice. 20. The main forms of the bo grip: a - grip in front of you with your front hand from above; b - grip in front of you
From the author's book13.2. Jo-jutsu The technique of working with jo provides for four basic starting positions:? jo is held in front of him at 45 ° by the ends with a grip of the hands from above;? jo is held above the head at 45 ° by the ends with a grip of the hands from above;? jo at 45 ° at the right side is held with the right hand on From the author's book
13.5. Kama-jutsu Working with kama is based on the so-called rotation of the “propeller”, the blades of which make up two kamas. Before starting to study the technique with kama, work out its correct grip (Fig. 25). Rice. 25. The main forms of the grip of kama: a - honte-mochi; b -
From the author's book13.6. Nunchaku-jutsu As a rule, the nunchaku is held with one hand by one of the handles. There is a direct (honte-mochi - fig. 26a) and reverse (gyakute-mochi - fig. 26b) form of holding the nunchaku. Both handles can be held in one hand, using the nunchaku as a short club, however, in