Dear Tony

This is the bottom line of Hexagram 44 which reads in translation as: 

Line 1 (姤 – Gou) [Meeting] – “Fastened” (繫 – Xi) to a “Metal” (金 – Jin) “Brake” (柅 – Ni) – the “Gentle” (柔 – Rou) “Way” (道 – Dao) acts as a “Guide” (牽 – Qian).

1 姤: 繫于金柅，柔道牽也。

Although "hard" (剛 - Gang) and "soft" (柔 - Rou) [Go Ju] are mentioned fairly regularly throughout the Book of Change Commentaries - after translating 48 Hexagrams - I have only found the term "Soft Way" (柔道 - Rou Dao) mentioned just once. Of course, within the Japanese language these two ideograms are pronounced "Ju Do". I am wondering whether Jigoro Kano - the founder of modern "Judo" had read the Book of Change - which exists all over Asia in many translation. In many ways, this is the Bible of the East - although much older.

Thanks

Adrian

Author’s Note: I believe that the term “Goju” Ryu derives from the Book of Change – as the concept of “hard” and “soft” recurs throughout from the earliest lines of text. Only later in the history of the evolution of Book of Change is the ideal of yin and yang incorporated and superimposed over the far-older hard-soft dichotomy. I find it interesting that the concept of the trigram and hexagram is used as a component within the Goju Ryu technique of “Kaki-e” or “Kake-te” – often described as “pushing-hands” or “sticking-hands” in English translation. Perhaps “circling-hands” might be a better description of this technique – with a practitioner philosophically (psychologically) and physically manoeuvring in a “circular” fashion around an aggressive opponent. This would imply a magnificent foundation to the spiritual and physical construction of the Goju Ryu style in China – prior to its transmission to Okinawa! ACW (29.12.2025)

Dear Tony
​
I was watching a video of traditional Judo self-defence kata techniques that contain punching, kicking, and locks – all integrated with “hard” throwing. The throw is “soft” – but the landing is “hard” – to cause maximum damage to the attacker. These self-defence katas also involve unarmed responses to sticks, knives – and since 1956 – a pistol. However, one of the techniques featured is named:

​Ushiro-Kakae-Dori (後-抱え-取り) – Reverse-Bear-Hug Turned Around (Reversed)-Gripped Removed

This is an unarmed technique where a bear-hug from behind is countered, reversed, and via a double-handed hold around the back of just one of the elbows and fore-arms of the attacker – the attacker is effortlessly uprooted and thrown to the ground in an impressive style. Sometimes, there is a double-meaning in this naming. One is obvious and superficial (the bear-hug and its countering) – the other is deep and obscure (by the defender placing the knife-ridge of one hand and the palm of the other on one arm of the attacker – the attacker is uprooted and thrown). This made me think of the “Kakie-Kakete” in Goju Ryu:

​a) Ka-ki-e - カキエ
b) Ka-ke-te - 掛け手

​And whether there is any linguistic or martial connection between this Goju Ryu technique and that of the traditional Judo technique of: 

​後-抱え-取り - Ushiro-Kakae-Dori

​This requires the comparing of:

​1) 掛 (2nd ideogram from “Ka-ke-te”) - 掛 Chinese - (gua4) and Japanese (ka) = both languages agree on the meanings of to - hang, suspend, depend, and arrive

​2) 抱 (2nd ideogram from “Ushiro-Ka-kae-Dori”) - 抱 Chinese (bao4) and Japanese (ka) = both languages agree on the meanings of to – to hug, to grasp, to carry, and to halt using the arms

​Both ideograms (1 & 2) share the same left-hand particle of “扌” – which is a contraction of the ideogram “手“ (shou3) – or “te” in Japanese – referring to an “open-hand”. The difference in meaning lies in the difference in right-hand particles – but you can see that an action of using an “open-hand” is being discussed. 

1) The right-hand particle of “掛” (as used in Goju’s “Kake-te”) is “卦” (gua4) in Chinese (or “ka” in Japanese). This ideogram represents the trigrams and hexagrams found in the Book of Change (I Ching) symbols of divination and change. This particle is comprised of the element “圭” (gui1) in Chinese and “ka” in Japanese – which represents two jade-axes (士 + 士) – one balanced on top of the other (this is also used to denote an Emperor’s Seal of Authority). The right-hand element is “卜” (bu3) which represents a “crack” in a turtle plastron or ox scapulae – used thousands of years ago in the earliest version of divination. 

​2) The right-hand particle of “抱” (as used in Judo’s “Ka-kae”) is written as “包“ (bao1) in Chinese and “ka” in Japanese and represents a foetus enveloped within a womb – hence the meaning of “enveloping”, and “enwrapping” – so that all movement is naturally prevented at root or source. 

​Therefore, although there is a broad connection between the two martial terms – in that the hands are expertly used to nullify an aggressive opponent and remove all further danger (this explains the similarity in sound) – a difference in meaning then spirals out as each term is developed toward its different technical conclusion. The Goju version is a broad and all-encompassing philosophical and technical method – whilst the Judo version is a single technique amongst many which are different.

​Best Wishes
 
Adrian 

Author's Note: When young, the mind is narrow but the body is broad. When old, the mind is expansive and the body is narrow. Both realities must be thoroughly acknowledged, understood, developed, and integrated. As the body ages, the enhanced awareness of the mind takes the place (and enthuses) the former youthful functioning of the (younger) body. When young, a mind without an enhanced awareness (which must be earned through experience) - is replaced by the blatant strength associated with youth - an important part of human survival and evolutionary development. Youthful strength is not an error - but a requirement in life. Traditional martial arts mastery is a different achievement which does not need to be accomplished by every human-being - but can be achieved by some dedicated individuals. Secular monasticism is a vehicle through which an individual can renounce attachment to private property and worldly cycles of self-hindering material accumulation.

Buddhist monasticism can serve as a vehicle for "emptying-out" the inner conditioning that arises from greed, hatred and delusion - as such - religion (and religious differences - including atheism and non-theism) does not have to enter into it. I suspect the ancient Greeks encountered Buddhist monasticism when visiting India (such as Pythagoras), learned the Buddhist method of "looking within", and then adjusted the technique as a means to "prove" the efficacy of their particular philosophical perspectives (the work of Plotinus may be taken as an example of this endeavour). Later, via the Greeks, a community of Jews (in Qumran) started sitting in meditation to personally attain a "glimpse of Yahweh" - a practice that eventually spread to the reformed Jewish sect of "Christianity" - whose adherents started to meditate whilst sat in the caves found in the Egyptian Desert (this type of Christianity spread to Britain - hundreds of years prior to Catholicism - becoming "Celtic Christianity").

​Buddhist monasticism does not require a belief in theism to be effective. Many Greek schools of thought, for instance, sought to establish or discover various views pertaining to the natural (material) world. The same observation can be applied to various Hindu school where consciousness and material environment is not directly associated with a theistic entity. Whatever the case, protecting the psychological and physical space within which a martial artist exists - is the entire purpose of any traditional Chinese martial arts school. Young or old - this is the beginning, middle, and end of legitimate Chinese martial practice! ACW (18.4.2025)

We can all become extraordinarily fit at different times throughout our lives. Part of the reality pertaining to physical and psychological fitness, evolves around the concept of developed understanding. In other words, the level of effective (physical) fitness evolves around the (psychological) maturity of the individual concerned. The greater the understanding of the processes involved – the more effective the fitness the greater is the efficiency of the required output – usually expressed through various sports (unless one happens to be a professional soldier). This is all well and good – but fighting for one’s life is not the same as fighting for a coloured belt, trophy, or medal, etc. One question I ask MMA practitioners – or any of the sporting martial arts practitioner  – is that if their art is so effective in reality, why is it that professional armed forces do not make use of these arts? The answer is that “sport” has gentlemanly rules which curb human aggression, and generate a climate of artificial “fairness” and “co-operation”. 

​For children, and young people, this is positive and nourishing (children should never be exposed to the horror or reality of warfare). When not in a war-like environment – civility should prevail - and sport is the preferred vehicle to encourage a “safe” competitiveness – although one unfortune by-product is that the selfish ego is boosted and inflated. Sport fighting is 90% imagination and only 10% reality – with full-contact martial arts, MMA, Thai Boxing, and Western Boxing, etc, representing the more realistic end of the spectrum. However, sport realism is not battlefield brutality. Dealing with the shock of battle might require stepping in (and through) human blood, entrails, or various types of human offal. People with smashed-bones will be screaming, shouting, laughing, and carrying-out all kinds of despicable acts - either permitted or forbidden by the established rules of war. Battlefield hand-to-hand combat is certainly not gentlemanly – and it is unrealistic to assume that it is. A Bayonet charge is all about high-energy and immense and continuous brutality until all the battle objectives are achieved – or the bayoneteer killed. This is just one example. 

​Drones are now causing all kinds of brutality on the Battlefield – and a coloured belt around the midriff is of no use whatsoever. Genuine traditional martial arts (usually types and variants “Longfist”) are employed by the People’s Liberation Army (PLA) of Mainland China. Physical and psychological robustness on the battlefield (not the training hall) is emphasised. These are soldiers who train in every relevant modern weaponry available – including the most destructive technological variants (weaponry is both tactical and strategic). A similar situation exists throughout Western armies where boxing and MMA are not used on the battlefield (although such pastimes might be encouraged as a form of military-related leisure). And yet despite this distinct “modernity” in weapon use – there is a belief that after all the firepower of the various weapon-systems have been exchanged - a battle might still be decided “man-to-man” in hand-to-hand during close-quarter combat. Eye-gouging, biting, head-butting, groin ripping, throat-crushing, finger-breaking, nose breaking, ear-ripping, knee-dislocation – and any number of similar nasty techniques are regularly used. 

​Real combat is about inequality. Real combat is about establishing (and maintaining) a terminal advantage over the enemy. Victory and survival are causally linked. Of course, the State does not care if its soldiers live or die (despite rhetoric to the opposite) – just as long as all the State’s military objectives are achieved for the least amount of money (not lives). Soldiers are expendable – because that is the function of being a soldier (someone who fights for pay). A mercenary is simply a soldier who fights for anyone who is willing to pay – regardless of cause and nation. The traditional Chinese martial artist trains his (or her) body to be able to perform this function (utter brutality) – whilst retaining a calm and expansive mind-state that is reflective and unruffled under duress. Traditional martial arts practice assumes the reality of the feudal battlefield – even if the practitioner is not serving in the armed forces of their respective countries (of course, an individual might or might not be a professional soldier – but a civilian practices martial arts with an enhanced sense of combat-reality whether living in a village, town, or a city). Assuming the traditional Chinese martial artist survives a) the ongoing and arduous training (which will be harsh with no material gains such as belts, medals, or trophies, etc) and b) any experiences of actual combat (either on the street or the battlefield). 

​If all these challenges are met, which will include regular (unpadded) sparring and “honour fights” – then the traditional Chinese martial artist must adjust to circumstances as the body “ages” and transforms through the experience of maturing (this includes illness, injury, and disability). The body changes and the mind-awareness deepens. The body is no longer young and will not manifest as a younger body normally does. Despite this, a lifetime of experience will shine through, and a natural dominance will emerge. An older practitioner will understand and control a situation involving younger people as opponents – because those younger people (although full of the vigour of youth) will not possess the ability to “perceive” what is happening – at least not to the extent of the elder and more experienced practitioner. For many years, a dedicated martial arts practitioner will always experience “confusion” whilst participating in the midst of unarmed combat. It is only as time progresses that a student’s mind will “calm” and a pristine awareness takes its place. Before this change can happen, however, many sporting martial arts practitioners cease training in their chosen martial art (early) usually in their late 20s or early 30s (not granting enough time for any substantial inner transformation to occur) – whereas traditional Chinese practitioners must carry-on practicing until the moment of their final breath – and the body is “given-up”. 

Dear Tony

I was reading a Chinese-language article regarding the history of Karate-Do in Okinawa and Japan - and I discovered Funakoshi Gichin's original grading syllabus - which he produced in 1924 (developed from Judo). By the time I encountered Karate-Do grading in the early 1980s (through Wado-Kai and Shukokai), most Japanese styles had consolidated their grades into far fewer (with many progressing from White, to Yellow, Orange, Green, Blue, Purple, Brown [3 sub-grades], and Black [10 Dans]). When I encountered Goju Ryu during the mid to late 1980s, however, I discovered what looks like the far more traditional ranking-system.

I read later that Goju Ryu, being Okinawan (with direct cultural links to China), did not originally have grades (traditional Chinese gongfu - such as our family style - does not possess formal grades). Gradng was only forced onto the style by the Japanese government (I believe initially in 1936 [as part of the cultural splitting with China - in preparation for war] - but this was not taken-up with any great enthusiasm at the time in Okinawa). Grades were finally adopted in the 1960s - as Karate-Do spread all over the world and became popular. 

I note that the rank of "5 Dan" carries the honorific of "錬士" Jap: "Ren Shi") [or Chin: "lian4 shi4"]. 

錬 (Ren) = forge, cultivate, temper

士 (Shi) = warrior, scholar, skilled

Therefore, "錬士" seems to mean "Refined Warrior-Scholar". 

錬 (Ren) = left-particle - 金 (jin1) - "Metal"

錬 (Ren) = right-particle - 柬 (Jian3) - "Refine"

金 (jin1) [left-particle] = 亼 (ji2) [upper element] - mark, collect, gather (as in to "find" iron ore)

丷 (ba1) [middle element] - (contraction of "八") - in old dictionaries "two blocks of metal" - as in "two separate the iron ore" through the smelting process

士 (shi4) [lower element] - in old dictionaries, an "upside down rritual axe" made of metal (the product of smelting and forging iron ore)

柬 (Jian3) [right-particle] = 束 (shu4) [outer element] - select, gather, bind (tie) + 

八 (ba1) [inner element] - "8" or in this context - to "divide" and "separate"

It is interesting to see "士" (shi4) meaning "scholar", "warrior" (traditional) and "metal axe" (ancient).

Within the Chinese language encyclopaedias, the clothing worn by ‘Karate-Do’ practitioners is described as being the attire required when cultivating the ‘Dao’ (道) or ‘Way’. During the era of the Ryukyu Kingdom, there are no historical records which support the idea that the white ‘gi’ clothing was worn by Karate-Do practitioners, or any strata of Ryukyu society for other types of activity. Within photographs taken before the Pacific War (1941-1945), most martial artists practice karate with the upper body being bear.  ​

In the book entitled ‘Fist Law – Brief Introduction’ (拳法概说 - Quan Fa Gai Shou) published in 1929, Chōtoku Kiyan (喜屋武朝德) states that the reason for training with the upper-body uncovered is to toughen the skin and the general externality of the body. When the Japanese Crown Prince Hirohito visited Okinawa in 1921, however, a demonstration of martial arts was arranged for him in the main hall of Shuri Castle. This was overssen by Funakoshi Gichin (aka ‘Rong Yiren’ [容宜仁]) who insisted that all those participating should wear a white shirt whilst in the presence of royalty (out of respect)!  ​

The white ‘gi’ which is commonly worn today when practicing Karate-Do originates from the clothing worn in the Kodokan during 1922 by Funakoshi Gichin when demonstrating Karate-Do on the Japanese Mainland. He ordered special White cotton cloth from the ‘Kanda’ (神田) area (famous for its ancient Shinto Shrines) - and hand-sewed a Karate-Do ‘gi’ using the general design of the training outfit worn by practitioners of Judo!  ​

This is the earliest recorded Karate-Do uniform in the historical literature. During 1934, in the magazine entitled ‘Empty Hand Research and Study’ (空手研究 - Kong Shou Yan Jiu) an advertisement appeared offering a pre-made Karate-Do uniform for sale! These products started selling in the early Showa period. As Karate-Do and Judo are very different martial arts that place different stresses and strains upon the material – the two types of ‘gi’ used for these activities has generally diversified into very different directions.  ​

The Japanese Kanji ideogram ‘着’ (Gi) refers to ‘wearing clothes’ and the act of physically ‘touching’ and/or otherwise ‘making contact’ (both actions of which appear to reflect the art of Judo precisely). The equivalent Chinese ideogram (which I can read) is ‘著’ (zhuo2): ​

Top Particle = ‘艹’ (cao3) - literally refers ‘grass that is growing’ upward toward the daylight! ​

Middle Particle = ‘耂’ (lao3) - an old man with long white hair and beard - bent over with age and wisdom! ​

Bottom Particle = ‘白’ (bai2) - the colour ‘white’ or ‘brightness’ of the Moon! ​

As the Kanji of ‘着’ (Gi) and the Chinese ideogram ‘著’ (zhuo2) convey an identical meaning, we appear to have a type of grass that grows and is weaved into a white cloth. This white cloth is then ‘holy’ and ‘sacred’ as it encompasses an activity that cultivates the respect owed to an old man – and the acquisition of the wisdom the old man already (and quite naturally possesses)!  ​

NOTE: Our gongfu teacher – Master Chan Tin Sang (1924-1993) - when I asked about the Karate-Do ‘gi’ - explained to me that the Karate-Do people are always training for death – death of the ego, death of their own body and the death of the opponent! He meant that the hard physical training always prepares the mind for non-attachment to the physical world (this achieves the death of attachment), whilst the Karate-Ka strives to face their own death (whether natural or unnatural) with equanimity. They train to purify their own minds and bodies so that they can produce the perfect punch or kick! Master Chan said the ‘gi’ is ‘white’ in colour because in Asia ‘White’ is the colour of ‘death’ and of ‘respect’. Indeed, when a Chinese person dies, those who follow the Confucian tradition of mourning and respect where a white, hooded outfit that is very similar in structure and design to the Karate-Do ‘gi’, or it can be (as designs differ). Furthermore, in China, I have seen senior Buddhist monks who wear black outer robes – often also wearing an inner white two-piece cotton suit very similar to a Karate-Do ‘gi’! I mention all this as I wonder if the people of Ryukyu followed the tradition of wearing white (Confucian) mourning clothes – which is a cultural habit thousands of years old in the Chinese-influenced parts of Asia! I was also once told that the Karate-Do ‘gi’ was once the normal dress for Tang Dynasty China – but apparently there is no evidence for its presence on Ryukyu prior to the 1920s! ​

Chinese Language Source: ​

Chinese Language Source: 
https://www.baike.com/wikiid/4490447760925757721?prd=attribute&view_id=mzu72g70xog00 
道服历史 
在琉球王国时代，史料中没有关于空手道道服的记载。在太平洋战争之前的相片中，习武者大多是赤裸上身练习空手道。 
在1929年发表的《拳法概说》中，喜屋武朝德提到赤裸上半身的目的是为了练习皮肤的强韧性。然而，在1921年日本裕仁皇太子访问冲绳之际，由容宜仁指挥的首里城正殿演武中，人们穿着白色上衣练习武术。 
今日的空手道道服是1922年船越义珍在讲道馆演武之际，从神田的生地问屋买入白木棉地，参照柔道道服的风格亲手缝制出来的。这是文献上记载最早的空手道道服。1934年在《空手研究》中刊登了空手道道服的广告，并于昭和初期开始贩卖。由于空手道与柔道的差异，人们对空手道道服逐渐改良，成为今天的样子。 
在今日的空手道道服中，传统派空手道的道服与全接触式空手道的道服有些许不同。 
 ​

In the Spring when I was just entering the second year of middle school, my classmate Bunshun Tamagusuku asked, "Why don't we go to Great Master Miyagi to learn ‘Chinese Hand’ (唐手 Tang Shou) - (pronounced ‘Kara-Te’)?" Apparently, his uncle - Shinzato Jinan (who already trained) - had previously enquired as to whether he was interested in training. ​

Through this association with Shinzato Jinan (and an offer of training in the martial arts), three other interested individuals came to me and expressed their hope to gain access to the Great Master! Therefore, our group of four potential Goju Ryu students consisted of: ​

1) Nakaima Genkai (Myself) 
2) Bunshun Tamagusuku 
3) Tatsutoku Sakiyama (aka ‘Tatsutoku Senaha’) 
4) Kiju Nanjo (aka ‘Kiju Azama’) ​

Shinzato Jinan was my neighbour. He had already graduated from Naha Commercial High School at the time, so he was also my senior. He lived in a rental house owned by Mr Yukii Kuniyoshi. One evening, three of us met with Shinzato Jinan outside the wooden gate of Mr Yukii Kuniyoshi’s house. Shinzato Jinan had a white cloth tied around his neck. The wooden gate was very large and possessed a strong iron railing running across its top! From this - Shinzato Jinan was performing ‘pull-ups’ using both hands – continuously lifting his chin above and below the iron bar! He taught us this double-handed exercise – and then taught us how to perform this exercise with only a single hand holding the rail!  ​

Later, we often met in the evening on the playground of Naha Jinjo Koto Shogakko (an elementary school). We did squats (for the legs), crunches (for the torso) and various other strengthening exercises using the metal climbing bars!  Lifting and holding our bodies at different angles was often required! Thanks to the continuous training enforced by Shinzato Jinan – we could do somersaults and all kinds of rolls across an unpadded floor! Our minds and bodies were so strong that hitting into objects and one another caused very little, if any damage! We could drop suddenly to the floor and jump back-up – nothing hindered us!  ​

Not long after this, Shinzato Jinan entered the Police Academy and the four of us (listed above) decided to approach the Great Master Miyagi Chojun directly and enquire as to whether he would take us as ‘Kara-Te’ students! There was a problem, however, as due to the Confucian culture prevalent throughout Ryukyu I had to first ask my father’s permission before I entered the training system of another family’s martial arts tradition.  ​

When Shuri Castle was occupied by the Japanese Army, my father was only 10 years old – this was when the Ryukyu Kingdom was abolished and became a Prefecture of Japan - during 1879 (Meiji 12). The Japanese government in 1872 (Meiji five years), however, had established the Ryukyu clan system as the first step in their plan to abolish the (Chinese) Ryukyu Kingdom and create the (Japanese) Okinawa Prefecture when he was only 3 years old.  ​

Since my father was born during such a transitional period, and given that our ancestors were from China, our family did not allow him to receive a Japanese-style education called ‘Yamato-learning’, so he did not go to school. But because of hard work, he had a strong body and flexible physique, and I have heard that he was a very good wrestler. He was very happy when I won a prize at the school sports meeting! ​

In the spring of 1923, when I was 15 years old, I told my father that I wanted to learn ‘Kara-Te’ (Chinese Hand) from Great Master Miyagi Chojun. He gave me permission and said to me, ‘It would be great for you to learn ‘Tang Shou’ (唐手) with Master Miyagi!’. By that time Mr. Miyagi was already famous for ‘kara-Te’ - (which the Japanese had renamed ‘Karate-do’ [空手道 - Kong Shou Dao] but which we ignored at that time), so my father thought he was ideal to be my teacher. ​

We, the people of Kume Village, Okinawa, are proud of our Chinese heritage. We believe that our ancestors came to Okinawa from China, so we respect not only Chinese literature and art, but also Chinese martial arts! ​

In terms of culture and arts, we established a school called ‘Meirindo’, which functioned like a university educating young people. As for martial arts like kara-Te and other Fist Arts, etc., I think we practice individually, according to our own physical strengths and other conditions. This is a very ‘Chinese’ attitude very different to the Japanese culture. ​

At that time, the "Meirindo" school held an annual cultural festival where there were performances involving great martial skills including the ‘Stick’ (棒 - Bang)  (or ‘Bo’), the ‘Sai’ (鉄尺 - Zhi Chi, [Tesshaku/Tiechi], Thirteen / Sesan gongfu sets and ‘士壮镇’ (Shi Zhuang Zhen) [Chishokin] or ‘Scholar Strengthens the Town’ gongfu. There was also performances involving the use of the rattan shield/Tohai (籐牌  - Teng Pai) and ‘One Hundred and Eight/Suparinpei’ Naha Te. [3]. Most of these Chinese martial arts demonstrations included exactly the same content as Miyagi-sensei taught to us. [4] ​

That is how Miyagi-sensei taught us. We had classes three times a week held at Miyagi-sensei's home (there was no purpose-built Dojo in those days) [5] – with these classes always beginning after regular school had finished for the day: ​

1) Monday - (3pm-8pm) 
2) Wednesday - (3pm-8pm) 
3) Friday - (3pm-8pm) ​

This situation was very different to how Goju Ryu later developed and became famous – with proper Dojo being built in many places. After a while, my classmate Bunshun Tamagusuku (the nephew of Shinzato Jinan) dropped out, leaving only three practitioners from our original group.  ​

Goju Ryu training evolved around the practice of ‘Sanchin’ Kata or ‘Three Battles’ (三戦 - San Zhan) as it is known in the Chinese language. [6] This is why our training consisted of intense preparatory, supplementary and foot coordination exercises all designed to build the required physical and mental strength needed to correctly practice the ‘Sanchin’ Kata! Miyagi-sensei's explanation of these supplementary exercises is that they are designed to assist the learning of basic Kara-Te skills, as they assist the practitioner to understand the inner logic that is inherent within ‘Kara-Te’, whilst at the same time, our ‘Kara-Te’ skills should continue to be enhanced as our athletic ability and physical strength increase! Furthermore, the purpose of intense strengthening and toughening exercises is that a practitioner must not only warm-up the mind and body at the beginning of each training session, but through regular training must also prepare and build the mind and body so that it can perform the fundamental ‘Kara-Te' training skills correctly whilst using the techniques inherent in the ‘Sanchin’ (and other) Kata! Goju Ryu conditioning strengthens all the muscles of the body so that the body can be held ‘still’ like a mountain or ‘moved’ around like flowing water! If the muscles are trained regularly and properly, the body can move easily in any direction, or suddenly change direct as required! Miyagi-sensei said that by training in this manner we build a ‘Kara-Te’ physique. This is how we lay the foundation for effective ‘kara-Te’ by carrying-out preparatory and complementary exercises! ​

After each training session, Miyagi-sensei would tell us various stories for two or three hours [7]. The themes of his stories included not only the history, purpose and development of the techniques of Kara-Te, but also discuss the world situation, the current state of the ‘Kara-Te’ world, the origins of ‘kara-Te’, his thoughts on ‘kara-Te’ and Buddhism, research on ‘Kara-Te’ and traditional Okinawan performing arts, and any subject or information he thought was relevant to support our learning process. We were only junior high school students at that time, but Miyagi-sensei taught us the truth about ‘kara-Te’, what kind of spirit a ‘kara-Te’ master should have, and the way of life that ‘kara-Te’ brings, that is, the Way (Dao) of True people or the Way (Dao) of virtue and morality. I still remember his bright face and sharp eyes in which I found the love and kindness of a true and great ‘kara-Te’ master! ​

Now I will relay some of Miyagi-sensei's words to you. ‘If you only practice Sanchin Kata (三戦 - San Zhan) all your life, you don't have to practice any other Kata. Sanchin is the essence!’ [8] ​

One day, I asked him, "How many times during your practice did you feel like you were doing well?" He replied, ‘I think I've only done well 1 time out of 30 of all my practice sessions.’ He was very young at the time, only 34 or 35 years old. I am still impressed by his words. ​

‘The position and placement of the hands at the end of the Sanchin Kata are the same as those found on Buddha statues.’ Miyagi-sensei often tells us this story. I think the gesture at the end of Sanchin Kata is the most beautiful prayer gesture. In fact, I see the same hand pose of Buddha statues in many temples. ​

Miyagi-sensei said, ‘Rigidity is like a willow tree blown by a strong wind.’ Strong winds blow through the willow tree, and yet the willow tree never resists the wind, it remains impassive, but it is never broken or damaged. In ‘Kara-Te’, we must use the strength of our opponent. This is a skill that we must master through correct practice. [9] ​

I think it was in 1926 when the National Budo Tournament was held in the outer garden of the Meiji Temple in Tokyo*. Shinzato Jinan, a disciple of Mr Miyagi, attended the meeting and performed ‘kara-Te’, which is an Okinawan martial art. At that time, an official suddenly asked him: ‘What's the name of your martial arts?’ Then he replied ‘Hard-Soft (interactional) style’. He later explained the matter to Miyagi-sensei, who approved this title. Since then, we have called ourselves the Goju Ryu. [10] ​

Once I asked Mr Miyagi: ‘Teacher, do you have eyes in the back of your head? Someone said that even if we secretly follow you, you would immediately sense someone following you and quickly turn around to look for us.’ ​

Miyagi-sensei replied, ‘No one has eyes in the back of their heads. But when I go down this road, in some cases, I feel a little weird. I think it's called the sixth sense. We should always be vigilant when walking around corners, walking on rainy streets, climbing up and down ladders, if you can practice hard and be habitually cautious, it will help in self-defence. After long-term ‘kara-te’ training, we can get what's called a sixth sense and notice if someone is following.’ ​

‘Learning karate now is like walking in the dark without lights. We have to grope and move forward in the dark.’ Miyagi-sensei also told me, ‘There are too many unreasonable things in ‘kara-Te’, and there are many things that I can't understand. So, when our ‘Chinese Hand’ masters were alive, we had to visit them and ask them a lot of questions. I think even when we did, it would be really hard to find out.’ I used to go to the home of Mr Chomo Hanashiro and Ankō Itosu, and listen to the stories their ‘kara-Te’ teachers told them. [11] ​

In 1926 (the last year of the Taisho era), ‘Kara-Te’ masters from the ‘Minamiasahigaoka’ (南旭ケ丘) and ‘Wakasamachi-teki’ (若狭町的) areas Okinawa gathered and formed a club to study ‘Kara-Te’. The masters who participated in the club were:  ​

1) Miyagi Chojun,  
2) Kyoda Jūhatsu,  
3) Motobu Chōki,  
4) Motobu Choyu,  
5) Mabuni Kenwa,  
6) Taizo,  
7) Shiroma Shinpan [12] ​

On the first and fifteenth day of every month – the members gathered to worship the ‘Spirit’ (神 - Shen) of martial arts. I joined this club together with the following Kara-Te practitioners: ​

1) Maeyama Tatsunori 
2) Kiju Nanjo 
3) Kogyu Tazaki 
4) Yagi Kamadashi 

At that time, Teacher Miyagi agreed to change the name of ‘Chinese Hand’ (唐手 - Tang Shou) to ‘Empty Hand’ (空手 - Kong Shou), and later ‘Chinese Hand’ was indeed gradually changed to ‘Empty Hand’[13]. Just as jiu-jitsu turned into judo, he was committed to developing the pure fighting skill of ‘Chinese Hand’ into ‘Empty Hand’. ​

In 1925 (Taisho Year 14), when Kodokan judo master Jigoro Kano came to Okinawa, and we demonstrated Goju Ryu ‘kara-Te’ for him in a public hall in Naha City - Mr Miyagi explained it himself. The friendly meeting between the two founders of martial arts will light up the development of ‘kara-Te’ and bring good luck to the development of Judo! ​

Japan created the "Foundation Gymnastics/Kenkoku Taiso" during World War II. In fact, this practice consisted mostly of ‘kara-Te’ kata, so it may be considered a variant of ‘kara-Te’. [14] ​

As far as I know, Miyagi-sensei never tried to show off his ‘kara-Te’. Therefore, we also never talked about ‘kara-Te’ in school or outside of school. We kept in mind that we should not show ‘kara-Te’ to other people in public. ​

When the judo teachers at Kodokan were on their way to Taiwan via Okinawa, they wanted us to show them ‘kara-Te’. We gave a demonstration at the training hall of No. 2 Middle School. After the Judo teacher left the school, Miyagi-sensei visited the No. 2 Middle School teacher Sochoku Nakachi and asked him, ‘How are my students doing?’ ​

When Prince Takamatsu Miyazaki visited Okinawa, Miyagi-sensei appointed me as a representative of Goru Ryu to demonstrate Sanchin. At that time, I only wore a pair of shorts as I was practicing every day, and Miyagi-sensei did not demonstrate the Kata himself.  ​

The rhythm of ‘kara-Te’ is like wisdom blessed by the divine sky! It has the same rhythm as traditional Okinawan or Ryukyu dance. Let's continue to walk and grope in the dark to inherit the great rigidity and softness that Miyagi-sensei left behind! ​

References: ​

[1]^This text is a translation into the Chinese language from the original Japanese language article entitled ‘Kara-Te Master Miyagi Chojun’. Originally published in Aoi Umi Monthly, Issue 70, February 1978 (pp. 99-100), published by Aoi Umi Shuppansha. This special issue focused on Okinawan karate masters. "Aoi Umi Monthly" magazine has long since ceased publication. 
[2]^Nakaima Genkai had a high social status among the disciples of Miyagi Chojun. After the war, he devoted himself to the research and writing about Okinawan culture. It is said that around 1955, he was invited to attend a meeting of all the disciples of the Goju Ryu. At this meeting, Miyazato Eiichi was recognized by the majority and officially became the heir of Miyagi Chojun. 
[3]^Thirteen, Scholar Strong Town and 108 are the earliest known Naha ‘Te’ techniques, of which the name of Scholar Strong Town first appeared in the martial arts literature in the 186os. As now, these types have subtle differences according to different inheritances. Kyoda Jūhatsu once studied different sets of Thirteen techniques with Higaonna Kanryo and Higaonna Kanjun – but it was Kanryo’s Thirteen that was finally transmitted through the Higaonna lineage!  
[4]^According to the recollections of Yagi Meitoku, Miyagi Chojun only taught Sanchin, Thirteen, Seiyunchin and Suparinpei during the Taisho period - he only began to teach other Katas during the Showa period (after 1926). 
[5]^Probably the famous ‘Hanazono Dojo’ (花园道场) - ‘Flower Garden Way Place’ 
[6]^The training here is the most basic introductory training. It can be seen that it evolves around strength, endurance and flexibility, etc. This is also the tradition of Naha ‘Te’  and Goju Ryu. First, strengthen the physique and then exercise to develop the skills. There are differences in the teaching of Goju Ryu classes that focus only on developing specific skills. In addition, about the training system of Goju Ryu, you can check ‘Miyagi Chojuns Talks About Hard and Soft kara-Te’ in the historical archives for details. 
[7]^Combining the above, the actual ‘kara-Te’ training at that time was only about 2-3 hours, and the remaining 2-3 hours were taked with discussion time. 
[8]^What is expressed here, is that the Sanchin Kata is the firm foundation - which also has practical significance. Because from a technical point of view, Sanchin already contains the most basic maintenance framework, thrust skills, receiving skills and movement. 
[9]^According to the memory of Miyagi Chojun’s nephew - Higa Yunao - Miyagi Chojun was very good at moving, so this may not only refer to the basic movement – but include the highest form of ‘flowing’ (like water) from one place to another without losing power, posture or momentum, etc.  
[10]^Because of his age, Nakaima Genkai misremembered the time. This event should have happened around 1930. In addition, according to Kyoda Jūhatsu recollection, the name of Goju Ryu was thought up by Miyagi Chojun himself. 
[11]^According to the aforementioned self-report, he could not have had the opportunity to follow Miyagi Chojun to visit Itosu Ankō, because Itosu Ankō had passed away in 1915. Itosu Ankō was one of the most important masters in the history of ‘China Hand’ (唐手  - Tang Shou) - ‘Empty Hand’ (空手 - Kong Shou). His teachers were Nagahama Chikudun of Naha Te and Sokon Matsumura of Shuri Te. One of his disciples was Chōmo Hanashiro - who was said to have instructed Miyagi Chojun. This is a significant as Itosu Ankō is believed to have been the firt person to use the word ‘empty hand’ (in 1901). 
The ‘China Hand’ Research Club developed into the ‘Empty Hand’ Research Club! This was one of the most important associations in history, with the club mainly led by Motobu Chōyū - although master's from Naha, Shuri, Tori, Kume and other places exchanged their skills and teaching experience with each other. This promoted the standardization and modernization of ‘China Hand’ - ‘Empty Hand’! 
[12]^During the ‘China Hand’ Research Club gatherings, the participating masters would give guidance individually to whoever asked or approached them (rather than in groups), so that participating students at that time could learn the techniques of other styles and lineages – and not be limited to just their own style!  
[13]^Miyagi Chojun was one of the supporters of officially changing the name of ‘China Hand’ to ‘Empty Hand’, and it is his senior brother Kyoda Jūhatsu who clearly opposed it. 
[14]^This actually refers to a ‘Military Body Fist’ (军体拳 - Jun Ti Quan) style promoted by the IJA32 Army/Okinawa Défense Army in Okinawa during the Asia-Pacific War (1941-1945). ​

Chinese Language Article:

https://zhuanlan.zhihu.com/p/119288128 
宫城长顺：恩泽无量，讲述人间之道的武人 
王扁豆 
入院观察，积极治疗 
11 人赞同了该文章 
关于我的恩师宫城长顺先生的回忆[1] 
作者：仲井間元楷[2] 
在我刚升入中学二年级的那个春天，我的同学 玉城本顺/Bunshun Tamagusuku 对我说：“为什么我们不去找宫城大师学空手道（唐手）呢？” 玉城的叔叔新里仁安曾问过他是否想学习唐手。 
当时希望通过新里仁安跟随宫城长顺大师学习的人，还有前山達徳/Tatsutoku Sakiyama（当时叫瀬名波達徳/Tatsutoku Senaha ）、南條喜寿/Kiju Nanjo（当时叫間喜寿/Kiju Azama）和我三个人。 
新里仁安是我的邻居，当时他已经从那霸商业高中毕业，所以他也算是我的学长。他住在 國吉有纪/Yukii Kuniyoshi 先生的一所出租屋中。 
有一天晚上，我们三个人在国吉先生房子的木门前遇到了新里仁安，他脖子上缠着白布。当时新里正在木质大门的栏杆上做引体向上，他向我们展示了他能把下巴抬到杠铃上方多高。 此外他还教了我们如何用一只手臂做引体向上。 
后来，我们经常晚上在Naha Jinjo Koto Shogakko（一所小学）的操场上聚会。我们喜欢做各种仰卧起坐或单杠练习。幸亏有了新里仁安，我们现在可以做正向大回转、反向大回转、空翻等高难度动作了。 
不久之后，新里仁安进入了警察学校。我们四个人（玉城本顺、前山達徳、南條喜寿和我）决定向宫城大师学习空手道（唐手）。 
但在这之前，我必须先征得父亲的允许。 
当首里城被日军占领时，我的父亲只有10岁，琉球王国被废除，并在1879年（明治12年）成为日本的一个县。 日本政府在1872年（明治五年）建立了琉球宗族，作为废除琉球王国和建立冲绳县计划的第一步，当时他才3岁。 
由于父亲是在这样的过渡时期出生的，而且我们的祖先来自中国，我们的家族不允许他接受所谓“大和学问”的日式教育，所以他没有上过学。 但因为努力工作，他拥有了强大而灵活的体格，我曾听说他是一位很厉害的摔跤手。当我在学校运动会上获奖时，他感到非常高兴。 
1923年春天，当时我15岁，我告诉父亲我想向宫城大师学习空手道（唐手）。他给了我许可，并对我说：“你能跟随宫城长顺大师学习空手道（唐手），那真是太好了！”。那时宫城先生已经以空手道（唐手）出名了，所以父亲认为他是我理想的老师。 
我们，冲绳久米村人，为自己的中国血统感到骄傲。我们相信我们的祖先是从中国来到冲绳，所以我们不仅非常尊重中国的文艺，而且也非常尊重武艺。 
在文化艺术方面，我们建立了一所学校，叫做“Meirindo”，它就像今天的一所大学，在那里教育年轻人。至于空手道、搏击等武艺，我认为我们是根据各自的体力和其他条件单独练习的。 
当时“ Meirindo”学校文化节的节目里，有棒术/Bo，鉄尺/Tesshaku/Tiechi，十三/ Sesan，士壮镇/Chishokin，籐牌/Tohai和“一百零八/Suparinpei”的表演[3]。 空手道的大多数表演与宫城老师教给我们的一样。[4] 
宫城老师的课程就这样开始了。我们一周上三次课（周一、周三和周五，放学后从下午3点到晚上8点），当时的训练是在宫城老师的家里[5]，而不是像现在这样在专门的道场（训练馆）。过了一段时间，我的同学玉城（新里仁安的侄子）退学了，只留下了三个练习者：前山達徳、南條喜寿和我。 
我们当时的训练包括了准备运动，补充运动和足部动作，一般都是围绕三戦进行的。[6] 
根据宫城老师对准备运动的解释，通过这些锻炼，我们可以为像三戦等Kata之类的空手道训练做准备，准备运动具有热身的功能。 
准备运动的另一含义是通过锻炼所有必要的肌肉来增强我们的体力，以便我们可以在任何情况下正确使用肌肉。简而言之，我们通过准备运动来建立“空手道体格”。 
补充运动是一种学习空手道基本技术的训练，它有助于我们理解空手道的内在逻辑，同时，我们的空手道技术也将随着我们运动能力和体力的发展而不断优化。 
我们就这样通过做准备运动和补充运动为空手道打下基础的。 
宫城老师在训练结束后，会给我们讲两三个小时的各种故事[7]。他的故事主题不仅有空手道的技术，还包括了世界局势、空手道界的现状、空手道的起源、他对空手道与佛教的思考、对空手道与冲绳传统表演艺术的研究等等。 
那时候我们还只是初中生，但宫城老师却向我们宣扬空手道的真理，空手道大师应该有着怎样的灵魂，空手道所带来的生活方式，即人的方式或道德的方式。我仍然记得他那明亮的脸和敏锐的眼睛，在其中我找到了一位空手道大师的爱和善良。 
现在我将转述宫城老师的一些话给你听。 
“如果你一生只练习三戦，就不必练习其他Kata。三戦非常的重要。” [8] 
有一天，我问他：“您在练习三戦过程中，有几次感觉您自己的表现不错？” 他回答说：“我认为我在30次三戦练习中，只有1次表现出色。” 当时他还很年轻，只有34或35岁。 他的话，我仍然印象深刻。 
“三戦结束时手的位置和姿态与佛像相同。” 宫城老师经常告诉我们这个故事。 我认为三戦结束时的手势是最美的祈祷姿态。 实际上，我在一些寺庙中看到佛像的相同手部姿势。 
宫城老师说：“刚柔就像是被强风吹过的柳树”。 强风吹过柳树， 而柳树从不抗拒风，它虽然保持被动，但永不会被折断或破坏。 在空手道中，我们可以利用对手的力量。 这是我们必须通过实践来掌握的技艺。[9] 
我想是在1926年东京明治神宫外花园举行全国武道大会的时候*。宫城老师的弟子新里仁安参加了这次会议，并表演了作为冲绳武术的空手道。 当时，一位官员突然问他：“你武术叫什么名字？” 然后他回答“ 刚柔（半硬软）风格”。 后来他向宫城老师解释了此事，宫城老师批准了他的称呼。 从那时起，我们就称自己为刚柔流。[10] 
有一次我问宫城老师：“老师，你的后脑勺有眼睛吗？有人说，即使我们偷偷跟着你，你也会立刻发现有人跟踪，并迅速转过身来寻找我们。” 
宫城老师回答说，“没有人的后脑勺有眼睛。但当我沿着这条路走的时候，在某些情况下，我会感到有些奇怪。我认为这就是所谓的第六感。我们在街角拐弯处、在雨中的街道上行走，在梯子上爬上爬下的时候，都要时刻保持警惕，如果你能努力练习，并且习惯性谨慎，会对自卫会有帮助。经过长期的空手道训练，我们可以获得所谓的第六感，并能注意到是否有人在跟踪。” 
“现在学空手道就像在没有灯光的黑暗中行走。我们必须在黑暗中摸索前进。”宫城老师还告诉我，“空手道里有太多不合理的东西，还有很多我无法理解的东西。因此，当我们的（唐手）大师们还活着的时候，我们必须去拜访他们，请教他们许多问题。我想即使我们这样做了，其实也很难找到答案。”我曾经和他一起去过 花城長茂/Chomo Hanashiro 先生和 糸洲 安恒/Ankō Itosu 的家，听过他们的空手道故事。[11] 
1926年（大正时代的最后一年），来自那霸、南旭ケ丘和若狭町的空手道大师们聚在一起，成立了一个俱乐部研究空手道。参加俱乐部的大师有：宫城长顺、许田重发、本部朝基、本部朝勇,、摩文仁賢和, 田原Taizo、城間真繁。[12] 
每个月的初一和十五，他们会祭拜武术之神。前山達徳、南條喜寿、田崎耕牛/Kogyu Tazaki,、八木釜出/Yagi,、喜纳正興/Seiko Kina和我也参加了俱乐部，并在那里接受训练。[13] 
那时，宫城老师就赞成将“唐手”改为“空手”，后来“唐手”的确逐渐被改为了“空手”[14]。就像柔术变成了柔道一样，他致力于将纯粹的格斗技艺“唐手”发展成“空手道”。 
1925年（大正14年），讲道馆柔道大师嘉纳治五郎/Kigoro Kano来到冲绳时，我们在那霸市的一个公共礼堂为他演示了刚柔流空手道，宫城老师亲自进行了讲解。两大武道奠基人的友好会面，将为空手道事业的发展点亮光明，同时为柔道事业的发展带来好运。 
日本在第二次世界大战期间创建了“建国体操运动/Kenkoku Taiso”。事实上，这种练习主要由空手道的Kata组成，所以可能算是空手道的一种变体。[15] 
据我所知，宫城老师从未试图炫耀过自己的空手道。因此，我们也从来没有在学校和校外谈论过空手道。我们牢牢记住，我们不应该在公共场合向其他人展示空手道。 
当讲道馆的柔道师范在途径冲绳前往台湾时，他们希望我们向他们展示空手道。前山達徳、南條喜寿和我在第二中学的柔道训练馆进行了展示。 柔道师范离开学校后，宫城老师拜访第二中学的老师Sochoku Nakachi，并询问他：“我的学生们表现得如何？” 
当高松宮宣仁親王访问冲绳时，宫城老师任命我作为刚柔流的代表展示了三戦，当时我就像每天练习一样只穿着一条短裤，而宫城老师并未进行展示。 
空手道的节奏如同是上天祝福的智慧。 它和传统的冲绳舞或琉球舞蹈的韵律相同。 
让我们继续在黑暗中行走和摸索，以继承宫城老师所留下的伟大的刚柔流吧。 
参考 
^本文是原著《空手道大师宫城长顺》的翻译。最早刊登在由Aoi Umi Shuppansha出版的《Aoi Umi月刊》1978年2月第70期（第99-100页）。本期特刊主要介绍了冲绳空手道大师。《Aoi Umi月刊》杂志早已停刊。 
^仲井間元楷在宫城长顺弟子中社会地位较高，，战后专注进行冲绳文化的研究和著作工作。据传1955年左右，他曾受邀列席了全体刚柔流弟子出席的会议，在这次会议上宫里栄一获得多数人的认可，正式成为宫城长顺的继承人。 
^十三、士壮镇和一百零八是已知最早的那霸手型，其中士壮镇的名字最早出现在186X年的演武文献中。和现在一样，这些型根据不同的传承有着细微的差异，许田重发曾和东恩纳宽量和东恩纳宽裕学习过不同的十三，宽裕の十三最终只得以东恩流中继承。 
^据八木明德回忆，宫城长顺在大正时期只教授三戦、十三、制引战和一百零八，昭和年代（1926年后）才开始教授其他型。 
^可能就是著名的“花园道场” 
^这里的训练是最为基本的入门训练，可以看到是围绕着力量、耐力、柔韧等内容进行的，这也是那霸手和刚柔流的传统，先强化体格再锻炼技巧，和现在普遍练技为主的刚柔流兴趣班教学有所区别。此外，关于刚柔流的训练体系，可以在历史消息中查看《宫城长顺谈刚柔流空手道》具体了解。 
^结合上文，当时的空手道训练实际只有2-3小时左右，剩下的2-3小时是聊天时间。 
^这里可能表达的是，三戦作为基本型，同样具有实战意义。因为从技术角度讲，三戦已包含了最为基本的维持构架、突技、受技和移动等内容。 
^据宫城长顺外甥比嘉佑直的回忆，宫城长顺非常擅长移动，因此这里指的可能不光是原地的引受、流受，还包括了通过移动施展的技术。 
^因为年代久远，仲井間记错了时间，这个事件应该发生在1930年左右，此外根据许田重发的回忆，刚柔流的名字是由宫城长顺自己想出来的。 
^根据前文自述，他应该没有机会跟随宫城长顺拜访过糸洲安恒，因为糸洲安恒在1915年就已经去世了。糸洲安恒是唐手/空手道历史上最重要的大师之一，他是首里手松村宗棍和那霸手长滨的弟子。花城長茂是糸洲安恒的弟子，据称曾指导过宫城长顺，也是可追溯的最早使用“空手”一词的人。 
^唐手研究俱乐部是唐手/空手历史上最为重要的一次结社，俱乐部主要由本部朝勇领导，来自那霸、首里、泊、久米等地方的大师们相互交流技艺和教学经验，促进了唐手/空手的标准化和现代化。 
^唐手研究俱乐部时期，参加的唐手大师会分别进行指导，所以有当时的学生不仅会学习单一流派的技术和型，还会学习其他流派的内容。 
^宫城长顺是将“唐手”正式改名为“空手”的支持者之一，明确反对的是他的师兄许田重发。 
^这其实指的是IJA32军/冲绳守备军在冲绳本地推广的一种“军体拳”。 
 ​

​China News Service, Xiamen, June 28th, 2016 (Wang Jing) - The Fujian 'Tang Shou' Karate-Do Association held its inaugural meeting in Xiamen on the 28th. Regarding the Association's use of the name 'Tang Shou' (唐手) or 'China Hand' - the China General Administration Centre for the Practice of Martial Arts and Sports has approved - stating it has 'no objection'.

Whereas modern Japan (from the early 20th century onward) renamed this Chinese derived martial arts as 'Empty Hand' (空手 - Kong Dao) - as a means to hide or obscure the genuine 'Chinese' origins' of 'Karate-Do' - the concerned martial arts practitioners of Fuzhou have decided to come together and reclaim China's cultural heritage! From now on this Chinese art will be called by its correct name of 'Tang Hand'!

"After 'Southern Boxing' (南拳 - Nan Quan) was introduced into Ryukyu (now Okinawa), it was called 'Tang Shou' ('China Hand') by the Ryukyu people to show that it originated from China (Fujian). The pronunciation of the characters '唐手' (Tang Shou) in Japanese remains the same when the characters '空手' (Kong Shou) are used - as the Japanese people pronounce these two phrases as 'Kara-Te'." Stated Weng Xinhui (翁信辉) - a Post-Doctoral Fellow in Sports Anthropology at Waseda University in Japan and Associate Professor at the School of Physical Education at Jimei University.

Weng Xinhui has studied the Five Ancestors (五祖 - Wu Zu) of Heyang Fist (鹤阳拳 - He Yang Quan) from Lineage Masters such as Weng Rongnan (翁荣南), Xu Jinmin (许金民), and Ceng Mouyao (曾谋尧) amongst many others from a young age! He studied and lived in Japan for 12 years - during which time he studied at the Graduate School of Education, in Tokyo's Gakugei University - and was engaged in the advanced study of Judo (and other Japanese martial arts) under Professor Kaise Terufu. During his research in Japan he was shown 'sensitive' historical documents proving that 'Karate-Do' originated in the Fuzhou area of Fujian province! In 2015, following his return to China, Weng Xinhui applied to the National Social Science Fund to sponsor his research project entitled "Research on the Cultural Transformation of Fujian Southern Fist in Ryukyu from 'China Hand' into 'Empty Hand'". The research results were clear and with a doubt -  Japanese 'Karate-Do' originated from Fujian 'Southern Fist' and is entirely Chinese!

Chinese Language Source:

​https://finance.ifeng.com/a/20160628/14536906_0.shtml

福建省唐手（空手道）协会成立2016年06月28日 20:39
来源：中国新闻网


中新网厦门6月28日电 (王婧)福建省唐手(空手道)协会28日在厦门举行成立大会。对于该协会使用“唐手”这一名称，中国国家体育总局拳跆中心已批复，并表示“无异议”。
要解释什么是“唐手”，就不能不提到空手道。
很多人都会认为空手道是日本武道，尤其是在空手道等五大项运动有望进入2020年东京奥运会的背景下，人们更容易将空手道贴上日本的标签。中国学者的长期研究表明，中国是空手道的发源地。该观点已得到相关体育部门认可。
“福建南拳传入琉球(今冲绳)后，被琉球人称为‘唐手’，以示源于中国(福建)之意。传入日本后，‘唐手’改为‘空手’，但在日语中的发音不变。”日本早稻田大学体育人类学的博士后、集美大学体育学院副教授翁信辉对记者说。


翁信辉从小师从翁荣南、许金民、曾谋尧等学习五祖鹤阳拳，曾在日本留学及旅居12年，其间在东京学艺大学教育学研究科学习，师从贝濑辉夫教授从事日本柔道及武道论研究。2015年，翁信辉立项申报了国家社科基金课题《从福建南拳到琉球唐手、空手道的文化变容研究》，目前的研究成果足以证明，空手道来源于福建南拳。
谈到“唐手”，翁信辉滔滔不绝。“20世纪二三十年代，一批有关‘唐手’的著作在日本相继出版，都证明了这个项目是从琉球传到日本，而且原名称是‘唐手’。日本著名的词典《广辞苑》和日本武道馆2007年主编的《日本的武道》中都写明，空手道是以中国传来的武术为原型。”
“我个人认为，将协会名称称为‘唐手(空手道)协会’，有利于弘扬中华传统文化，也有利于该项目在中国的普及推广。”翁信辉说。(完)

Following the Meiji Restoration of 1868 – the Japanese Imperialist government embarked upon a rapid modernisation drive and an equally rapid expansion of Japanese political and cultural influence beyond its geographical borders! It is perhaps the greatest of ironies that Okinawa (Ryukyu) - an island nation politically and culturally associated with China for over a thousand years – possessed hundreds of highly trained martial artists (as well as thousands of amateur practitioners) - but did not possess a professional armed force dedicated to its own national defence! This is why the Japanese Imperial Army was able to land its forces unopposed in Okinawa in 1879 and the Japanese government was able to completely annex the island nation and separate and isolate its people from any and all Chinese cultural influence! The Japanese language replaced the Chinese language (and superseded the Okinawan dialect), and Japanese history replaced Chinese history. Despite these successes, however, the Japanese Authorities had to tread carefully as Qing Imperial China protested and threatened to send troops to the area – whilst the robust Okinawan people were more than capable of defending themselves against the over-zealous Japanese police and military! ​

According to conventual thinking, within the Okinawan dialect (which is a mixture of Chinese, Japanese and indigenous languages), the Chinese term ‘唐’ (Tang) used to refer to the Tang Dynasty and for centuries taken to mean the country of China – is pronounced ‘Kara’. The Japanese Authorities substituted the Chinese ‘唐’ (Tang-Kara) for the Kanji Japanese equivalent of ‘空’ (Kong-Kara). The name of the martial art appeared to stay the same on the surface – ‘Kara-Te' - but changed completely beneath the surface! This was an act of blatant imperialist domination on behalf of the Japanese themselves, and despite such people as Funakoshi Gichin playing along with it (pretending the change had something to do with the philosophy contained within the Buddhist Heart Sutra), its only purpose was the complete eradication of all Chinese cultural influence upon the island! This process saw ‘唐手’(Tang Shou – Kara Te) - or ‘China Open Hand Martial Art’ - become instead the Japanese art of ‘空手’ (Kong Shou – Kara-Te) or the ‘Empty Open Hand’ - despite these many martial systems often incorporating the extensive use of traditional martial arts weaponry! Despite this change, the problem the Japanese Authorities had was that very few of the prominent martial arts Masters on the island took any notice of the ‘new’ name and continued to teach their martial arts as being distinctly ‘Chinese’ in origin, nature and expression! ​

It was not until 1936 (the 11th year of the Showa era) that this matter was resolved. Japan had begun military hostilities in China during 1931 and was gearing-up for a more serious and widespread confrontation with China. To assist this process the Japanese government had been propagating extensive anti-China propaganda and informing the Japanese people not to associate themselves in anyway with Chinese culture. It did not take long for this negative attitude to infiltrate Okinawa and influence the martial arts community. In the Okinawan city of Naha, a symposium of many of the country’s leading martial artists was held to decide upon a distinctly ‘Japanese’ cultural expression for their respective martial arts. All the ‘Kara-Te’ Masters discussed this matter and unanimously decided to change the name of their martial art from ‘唐手’(Tang Shou – Kara Te) to ‘空手’ (Kong Shou – Kara-Te) - with each ‘denying’ or ‘rejecting’ any historical or cultural link with China! Despite Japan losing the Pacific War (1941-1945) it had started with the US, and the Second Sino-Japanese (1937-1945) it had started with China (Japan actually began hostilities in Manchuria during 1931) - the situation regarding ‘Kara-Te’ did not change. Indeed, the post-1945 US government facilitated the spread of ‘Kara-Te’ around the world as a means to eradicate and obscure all Chinese martial cultural influences throughout the West! Despite Japanese Imperialism killing millions throughout Asia during the 1930s and 1940s – the racially motivated change of ‘Chinese Hand’ to ‘Empty Hand’ was allowed to hold fast despite making no historical or logical sense whatsoever! This is even true amongst reasonably intelligent Westerners who would otherwise protest about any form of racism should they encounter it! Indeed, Okinawan people should throw-off the cloak of Japanese and US oppression and reclaim their martial arts as being ‘Chinese Hand’ - whilst remaining proud of this fact!  ​

Chinese Language Source: 
https://www.163.com/dy/article/CU71J3RP052597OI.html ​