​The Tenshin Ryu - Art of War - is an ancient Japanese Style of martial arts created by Tokizawa Yahei during the Kanei period (1624-1645). According to its origination story - this Style emerged from the Style known as  'Shinkage Ryu' as taught by Yagyū Munenori - the Instructor of the Sword to the Tokugawa Shogunate. It is said that Tokizawa Yahei (who served Yagyū Munenori) - created his own School by carefully collecting and organising more than 200 defending and attacking sword-fighting techniques. He named this Style the 'Tenshin Ryu':

​This style is written in traditional Chinese ideograms (which I can read and share):

​天 (tian1) = Over-arching, limitless divine sky

心 (xin1) = mind (brain) and-or anatomical heart

流 (liu2) = flow, river, a 'preserving' and 'spreading' device which links the past to the present, and the present to the future

兵 (bing1) soldier, war, weapon, martial

法 (fa1) law, rule, order, guide, standard, method and 'certain' way

​I suspect this is influenced (during the latter Ming Dynasty) by of the Chinese Ch'an School of Buddhism and its definition of enlightenment (transmitted to Japan as 'Zen' in its various guises). The mind is 'stilled' during the act of seated meditation - or through the interaction between an enlightened Ch'an Master and the seeking Disciple. Any act, (including a wise word, Sutra reference, a slap, step or well-timed 'ignoring'), is useful for bringing the habitually moving surface mind to a halt. From this point, further training is needed to 'jump off' the hundred-foot pole, as it is called - so that the human perception 'expands' in all (eight) directions without limit. All is correctly perceived without whilst being perfectly reflected within. This young lady moves with her deadly sword within this 'all-embracing' and 'pristine awareness'. I hope that she uses such a beautiful (and deadly) weapon for only doing good for humanity. 

Yamashiro ​Yoshitomo demonstrates 'aramed' and 'armed' aspects of this interesting Okinawan Styles (through a series of videos) - although in this short clip there is an emphasis upon 'Senaka No Kitae' or 'striking through the correct use of the back':

​Tomarite - Karate-Do 

​As is similar within the Chinese concept of 'Tong Bei' (通背) - or 'correctly passing and mediating energy (force) through region of the back' - a master of this technique is not only fully 'rooted' when stood bolt-upright (and exceedingly difficult to upoot ot push-over) - but he or she can deliever highly destructive blows without first artificially dropping the bodyweight achieved by lowering, widening or elongating the stance (as younger people are prone to do). This radically reduces reaction time and allows a practitioner to effectively 'move within' and 'between' the defensive gaps offered by the oppoment and is a vitally important element of 'Iron Vest' achieved through aligning the bone structure. The relatively 'high stance' encourages and opponent to habitually 'strike' without thinking - only to hit hardened bone enlivened through correctly 'dropping' bodyweight and efficiently 'rising' rebounding force - two sides of the same force operating simultaneously from within the centre of the bone-marrow outward. As I am in no way an epert in Okinawan Karate-Do - I find these videos by accident and then 'decode' their meaning by relating it all back to my experience within Chinese martial arts. 

​Hi Tony!

I was researching if I could find any direct connection between Goju Ryu Karate-Do and Kobudo - and I found this video:

​Kanryo in this instance is written as '贤亮' - which does not quite match the Chinese ideograms used to spell the name of 'Higaonna Kanryo' (東恩納 寛量):

​1) For the name of this Style of 'Kanryo' Kobudo we have the following two Chinese ideograms of:

a) 贤 = (xian2) - 'Ken' in Japanese

​b) 亮 = (liang4) - 'Ryo' in Japanese

​This would suggest the name of this Kobudo (贤亮) should read 'Kenryo' (Virtuous Brilliance) in English translation - and not 'Kanryo' which seems to be the convention as used in the West.

​2) The name of Higaonna Kanryo is written as '東恩納 寛量' - with the last two ideograms forming his first name of 'Kanryo':

​a) 寛 = (kuan1) - 'Kan' in Japanese

​b) 量 = (liang2) - 'Ryo' in Japanese

​The name of 'Kanryo' (寛量) in this instance translates into English as 'Kan' (寛) being 'Kind (Gentle) Big Hearted' and 'Ryo' (量) as 'Limitless'. Kanryo might mean a 'boundless heart and mind', however, the first ideogram 'Kan' (寛) also denotes a ram (or goat) with horns ready to fight in any direction. 

​This exercise demonstrates the importance of logical and correct research. This Kobudo should be transliterated into English as 'Kenryo' and not 'Kanryo' as it exists - as this could - at first glance - suggest a (false) direct link between Higaonna Kanryo and this Style of Kobudo. Of course, the person and the Style could well be linked - but not in the sense of an associated 'first name'- unfortunately!

​Thanks

​An interesting examination of the French 'Savate' fighting style. My French friends say different things. One is adamant that 'Savate' derived from a Celtic (Gaul) martial art, whilst another states its comes from Asia - whilst both agree that English Bare-Knuckle Boxing had an influence on the closed hand-work. My view is that Savate looks different to the Asian arts I have seen - and I think its round-kick is unique and could well be an old European kick:

​This Style of kicking, punching and throwing is also known as  'boxe française' (French Boxing) - but since 2002 has been officially referred to as 'savate boxe française' or 'Savate French Boxing'. The word 'Savate' means a:

​1) 'French method of fighting with the feet, 1862, from French savate, literally "a kind of shoe" (see sabotage).'

​2) 'The first known use of savate was in 1843. A form of (French) boxing in which blows are delivered with either the hands or the feet. From the original French, literally, "old shoe".' 

​3) '"Savate" means literally an old shoe or boot in middle French. Savate kicks use the boot effectively – some with the heel, some the toe, some the blade or side of the shoe. The word ‘Savate’ has its etymological root in ‘sabot’, from where the word ‘sabotage’ comes. The term Savate now embraces a set of arts – or associated disciplines – around the French art of fighting with the shoe.'

​Therefore, I think we can say that 'Savate' is another way of saying 'Sabot' in French. This is how 'Sabot' is defined in a modern English to French Dictionary:

​'A kind of simple shoe, shaped and hollowed out from a single block of wood, traditionally worn by French and Breton peasants.'

​These clog-type shoes must have been formidable devices as they caused substantial damage when used on the foot when 'kicking' - and when thrown into the machines of the Industrial Revolution - these machines were invariably 'broken' and 'stopped'! Today, I think fighters in the ring wear a padded boot and shin guard - and Savate fighters are graded with coloured gloves - with 'White' being the highest achievable in a Club - and 'Yellow' awarded by the French government! 

​This is a very rare 'Hui' (Muslim) martial art - developed and practiced within China by descendants of Arab merchants (and travellers) who settled in China around a thousand years ago (and at other times after this date). These men were generally highly respected by the Chinese Authorities and often married Chinese women - altered or changed their surnames to fit-in - and sired 'Chinese' children often brought-up within the Islamic faith. This martial art was developed by three respected Imans serving in the Bozhou (亳州) Mosque of Beijing during the reign of Qing Dynasty Emperor Daoguang (r. 1813-1820) and is comprised of various Chinese martial arts techniques as gathered by Hui people living primarily in the Henan, Anhui, Shandong areas - as well other places:

​If I am reading this name correctly (see HERE for more information), this art is emphasising intellectual and physical study (晰 - Xi), a process which builds 'Yang' (阳) energy which represents the 'sun' or 'brightness' (the literal meaning of 'Yang') represented by Allah! As Muslims only practice for self-defence the 'open-hand' or 'palm' (掌 - Zhang) is emphasised over the closed fist. Yin and Yang are developed equally with the inner and outer body being made strong and healthy so that the practitioners can a) pray properly and recite the Holy Qur'an in the Mosques, b) perform wholesome labour properly within society and c) maintain the strength to carry-out charitable work and help others free of charge. As this art builds outer strength for praying and inner strength for recitation - by cultivsting Yin and Yang (using martial techniques derived from at least three other provinces) - it is also known by the name of 'Three Considered Profundities' (三议妙 - San Yi Miao). The art itself must only be used to protect vulnerable individuals (including the practittioner) from attack (or 'insult') within society - but the rules for this are very strict (Halal). 

There is a belief found in ancient China that as soon as words are made on paper - a corresponding material reality is a) generated, and/or b) reinforced (in the case of pre-existing realities). This sense of 'importance', 'inevitability' and 'mystery' stems from writing (a rare art right up to the 20th century in China) being associated with the ancient divination process.

​Indeed, the Chinese writing system evolved from the shamans 'interpreting' and 'reading' the cracks made in collected turtle plastron and ox scapulae by the application of a hot poker. This followed a question being subnitted by the 'King' - which was carried-up to the divine-sky by the smoke generated by the hot poker 'touching' the shell or bone - with the (returning) answer being assumed to be contained in the subsequent 'cracks' that appeared! Needless to say, a body of knowledge (and associated 'interpretative' symbols) was eventually established.

​Up until 1949 only around 10% of the Chinese population was 'literate' (with 90% remaining permanently 'illiterate') - with the 'literacy' rate today being in the high 90% (with 'illiteracy' remaining mostly amongst the very old or the cognitively disabled, etc) - but the cultural attitude toward the importance of 'words' still persists. Therefore, the naming of a martial art within Chinese-influenced cultures is rarely a trivial matter, and I suspect Miyagi Chojun had been thinking about - (and discussing this issue) - far more extensively (and in depth) than the usual 'naming' stories would suggest and imply.

​When Miyagi Chojun chose the two traditional Chinese ideograms of '剛' (Go - Gang) and '柔' (Ju - Rou) he was achieving two objectives:

​1) He was generating order in the material environment by 'confirming' the existential presence of his martial art. The art exists because the name exists - and vice versa. Within ancient China it was believed that by compiling lists of 'things' and 'objects' (including 'names') - a corresponding order was being constructed and reinforced in the material environment. An 'order' that cannot be questioned. 

​2) Miyagi Chojun was stamping his authority upon the art he had been taught and entrusted with by his teacher Higaonna Kanryo - projecting this order 'backwards' into history - all the way back through time (and associated 'lineage') to the 'root' of the art in Southern China. In other words, Miyagi Chojun was confirming the transmission and his receiving of the transmission - whilst proving he is worthy of it! He is placing his family's clan banner firmly in the ground, making a statement of authority and authenticity, and daring anyone to challenge him - which, of course - no one was stupid enough to do! 

​In this case, the martial art defined as 'Go' and 'Ju' had previously existed (in one form or another) - but now had reached a level of technical sophistication (and stabilization) so that the profound physical-psychological principles of 'Go' and 'Ju' (containing the corresponding meanings you ascribe) could now be considered fully established and developed! 

Dear Tony

​I have been looking through the Chinese language internet for 'Ju Jitsu' (or 'Jiu Jitsu') information and found a very good historical article which I have fed through a universal translator:

​The early history of Ju Jitsu (Rou Shu) - or 'Giving-Way Art' is described as follows (I have translated this extract exactly):

​'The origins of Ju-Jitsu can be traced back to around 2000 BCE (in Egypt). There are hundreds of murals in the famous Khufu Pyramid in Egypt depicting Ju Jitsu-type combat techniques. These North African martial arts techniques appear very similar to modern-day Brazilian Ju-Jitsu. The combat techniques that define Ju Jitsu are found (today) throughout the world within the traditional fighting systems of China, Japan, India, Greece, Egypt, Russia and Mesopotamian, etc. Some scholars speculate that Asian Ju-Jitsu developed separately (and parallel) to its African variant - and is a martial art that originated in ancient India. This Indian martial art then spread to China - where it was consolidated - before being spread across the world by migrating monks and soldiers. It is currently unknown whether there is a direct link between the Egyptian and Asian variants.'

Many Thanks

Adrian

Until very recently, this was a 'secret' martial art only passed-down between father and son - and only then if the son had passed the government examination AND acquired the post of a local official. Within the Chinese language, this art is known as '双判官笔' (Shuang Pan Guan Bi) or:

​Shuang (双) = Referring to a matching 'pair'

Pan Guan (判官) = 'Judging Official' or 'Magistrate'

Bi (​笔) = 'Writing Brush' - that which records 'Legal Decisions'

​This martial art was only to be practiced by families that practiced law and dispensed 'justice'. As this could be a dangerous occupation due to the nature of the people being tried - and the severity of the 'Sentences' handed-down - it was not uncommon for Judges to be attacked by entire groups supporting the accused (usually families - but sometimes just criminal gangs)! 

【武术运动】双判官笔，古老的武术，一直视为秘密绝学!

​Dear Tony

​Watching this (and all the excellrnt videos you have forwarded) - Ju jitsu looks like Qinna - or an element of Qinna. Qinna - or 'Joint Relocation' as Master Chan referred to it in Hakka - emphasises breaking bones, dislocating and/or snapping joints, but only in its highest or most deadliest aspect. The Chinese language instructional texts talk of the 'grip' being developed so that 'skin' is torn-off and 'bones' shattered like glass!

​a) Ju Jitsu (柔術) = 'Rou Shu' - or 'Soft Expertise/Art'. An ethnic Chinese speaker once explained the underlying concept behind the 'Rou' (柔) ideogram to me as 'to ride in another person's rickshaw' - which I thought was superb! Not just 'borrowing' - but if need be - 'stealing' another person's vehicle of transportation (or mode of 'movement') certainly with their knowledge (after-all, they are 'present'), but equally 'without their consent' (as the resulting outcome is often contrary to that desired by the opponent)!

​b) Qin Na (擒拿) = 'Catch Relocate' (Probably 'Kin Na' in the Japanese language).

​Working down from that level of destruction, there is the well-known 'controlling' of the opponent through 'light' joint relocation designed to 'move' the body around (from an 'inconvenient' place to a 'convenient' place), or to 'disarm' or 'subdue' whilst leaving the opponent or assailent relatively 'unharmed'. Indeed, what makes genuine Taijiquan so effective is its inner core of guiding Qinna. Coupled, of course, with the mastering of the dropped bodyweight through an aligned bone structure - and the efficient directing of the resulting 'rebounding' force from the ground to the extremities - a process which allows for the generation of tremendous 'breaking' force with apparently 'little' effort! 

Thanks

Adrian

Miyagi Chojun Also 'Invented; the 'Upper-Block'!

Dear Tony

​This is the only Karate-Do video that came up through the above search ('Jinsei Kamiya Karate-Do') - and explains why I have seen Goju Ryu Kata practiced in these Shorin Ryu derived Styles:

​There is a very interesting Chinese language 'Description' regarding Karate-Do history affixed to the foot of this video which reads:

​'In 1940, the Governor of Okinawa Prefecture - Mr. Moto Hayakawa (早川元) - convened a Special Karate-Do Consultative Committee comprising of:

​Miyagi Chojun (宫城长顺)
Kamiya Jinsei (神谷仁清)
Jinan Shinzato (新里仁安)
Tokuda Yasuharu (徳田安文)
Kinjo Kanemori (金城兼盛)
Nagamine Masamune (长岭将真)

​The remit given to this group of Karate-Do experts was to design a series of sport-like (combat) exercises that could be easily taught and passed-on in schools. The format involved the development of a 'popular' form of defence and offence (presented as a form of competitive sand disciplined 'Play' suitable for children of all ages). This project was comprised of the martial arts knowledge contained within all Karate-Do traditions. The primary objective wad to introduce the Basic Concepts of Karate-Do to beginners with no previous experience - so that a simple entry-point (suitable for general Physical Education in all Okinawan schools) progressed to a more complex level as the age groups of the children progressed. Mr. Nagamine Masamune (长岭将真) - the founder of the Matsubayashi Ryu Style of Karate-Do - developed the 'Universal Kata' Number 1 - Ho Kyu Dai-Ichi (普及第一) - featured above - as a means to fulfil this criterion. Miyagi Chojun contributed his pre-existing 'Gekisai Daichi' [击碎第一] (Hit & Smash Number 1) Kata (originally developed in 1937 for teaching in High Schools) which was introduced into Infant and Junior Schools in 1940 as 'Universal Kata' Number 2 - Ho Kyu Dai-Ni (普及第二).Within the Karate-Do Style of Kobayashi Ryu today - these Katas are presevered and still taught in the original format introduced into Okinawan Schools during 1940.'

​'1940年，沖縄県知事 早川元 先生 召集了宫城长顺、神谷仁清、新里仁安、徳田安文、金城兼盛、长岭将真 等人组成了空手道特别委员会，设计一系列能在学校体育课上教授，并且跨流派的 “普及形”。此系列形的主要功能是介绍空手道的基本理念给初学者，因此它必须简单到可以作为学校体育课的一部分。长岭将真先生 (松林流开祖) 创立了普及型第一，此形如今成为松林流课程的一部分；宫城长顺先生 创立了普及型第二，它也就是如今刚柔流课程中的击碎第一。普及第一与普及第二也在冲绳小林流的教学课程里保存着。'