Ryukyu History: Correcting Historical Misconceptions About the Origins of Karate-Do
Translator's Note: This is an interesting Chinese-language text – the original author of which – has accessed primary Okinawan and Japanese language historical texts. I have retained the original Chinese-language text for the convenience of readers. Master Chan Tin Sang (1924-1993) told me that in old Chinese martial arts the ‘round-house’ kick does not exist. He said that in his youth he came across this kick whilst watching local people training when he worked in the jade mines of Burma (Myanmar). In his family (Hakka) gongfu style there were front, back and sidekicks, together with various jumping and skipping kicks, etc, including groin kicks – but no specific ‘round-house’ kick. When Master Chan came home to Hong Kong (around 1940) - he showed his father (Chan Yun-Fat) the ‘round-house’ kick – and he decided to incorporate it into his family gongfu style! He developed a ‘Kicking Form’ and added the ‘round-kick’ to the already existing ‘Basic Forms’. It is interesting that Okinawan ‘Karate-Do’ not only specialises in the ‘round-kick’ (Mawashi-Geri) - but is renowned for its development and use! This ‘round-kick’ is extensively used in the indigenous fighting arts of Thailand, Burma (Myanmar) and Khmer (Cambodia), etc, and this fact gives credence to the idea that ‘Liuqiu’ (Ryukyu) martial arts are heavily influenced by the martial arts traditions of Southeast Asia – and may well have their foundation in that part of the world! The Chinese and Japanese martial traditions have obviously influenced various aspects, lineages and traditions of the ‘Liuqiu’ (Ryukyu) fighting systems to various frequencies and degrees, but there is no mistaking the Southeast Asian influence! ACW (17.9.2022)
There are a number of common misunderstandings surrounding the origins of (unarmed) Okinawa Karate-Do and (armed) Kobudo.
The two main origination stories regarding the development of modern Okinawan Karate-Do are as follows:
1) During the reign (1477-1527) of King Sho Shin (尚真 - Shang Zhen) (1465-1527] - it is reported that the Liuqiu (Ryukyu) Royal Court confiscated (throughout the country) all weapons designed for military use – removing such items out of private ownership (and usage) – whilst securing this equipment in Shuri Castle (effectively creating an armoury controlled only by the Royal Palace). ‘Liuqiu’ (Ryukyu) became a country with no publicly available military equipment. It is believed that the local people specialised in ‘unarmed’ combat - referred to as ‘Liuqiu Hand’ (琉 球手 - Liuqiu Shou) - known as ‘Ryukyu Hand’ in later Japanese pronunciation.
It is assumed that this policy of ‘banning’ military weapons ended upon the death of King Sho Shin in 1527 CE – or the next example would not make historical sense. It seems that for the next eighty-two years, the people of Liuqiu (Ryukyu) could freely own (and use) military weaponry yet again.
2) After the Satsuma Samurai invaded ‘Liuqiu’ (Ryukyu) in 1609 CE (and the local people were defeated) - the Satsuma Clan established a Magistrate’s Office on the island and confiscated all military weapons from the ownership of the indigenous ‘Liuqiu’ (Ryukyu) population throughout the entire Kingdom. In order to fight against the rule of the Satsuma Samurai - the local people actively studied unarmed combat and developed the martial art known as ‘Tang Shou’ (唐手) - which is believed to be the prototype of modern Karate-Do.
The Relationship Between ‘Tang Hand’ and the Liuqiu (Ryukyu) Nobility
The development of modern Okinawan Karate-Do follows this path:
a) ‘Liuqiu Shou’ (琉 球手) or ‘Ryukyu Hand’ - Pronounced ‘Ryukyu Di’ in Okinawa
b) ‘Tang Shou’ (唐手) or ‘Tang Hand’ (‘Chinese Hand’) - Pronounced ‘To Di’ in Okinawa
c) ‘Karate-Do’ (空手道) or ‘Empty Hand Way’ - the ideogram ‘唐’ (Tang) meaning ‘China’ was replaced with the ideogram ‘空’ (Kong) - although possessing a number of pronunciations in the Japanese language (such as ‘To’, ‘Do’ and ‘Tan’, etc), under ‘Kun’ (or ‘Meaning’) in Japanese Language Dictionaries, this ideogram ‘唐’ (Tang) is pronounced ‘Kara’ by ethnic Japanese language speakers. The ideogram ‘空’ (Kong) also possesses a number of different pronunciations in the Japanese language, (such as ‘aku’, ‘akeru’ and ‘ana’, etc) but also carries the ‘Kun’ (or ‘Meaning’) of ‘Kara’. This association allowed the Japanese government (in 1901) to replace the ideogram ‘唐’ (Tang) with the ideogram ‘空’ (Kong) whilst simultaneously retaining a similar pronunciation of ‘Kara’ – and ‘removing’ all references to ‘China’ from the name. This was a ‘political’ development later justified as being ‘spiritual’ by Funakoshi Gichin (where he associated the unconnected martial arts of ‘Liuqiu’ [Ryukyu] with the Buddhist ‘Heart Sutra’ - which examines the concept of ‘emptiness’). It is Confucianism and not Buddhism which influenced the ‘Liuqiu’ (Ryukyu) martial arts – as the primary practitioners were either ‘nobility’ or ‘royal’, etc.
d) There is no historical evidence that supports the idea that the associated ‘armed’ martial system known as ‘Kobudo’ (古武道 - Gu Wu Dao) or the ‘Ancient Martial Way’ (which is assumed to have adapted farming implements as ‘weapons’) - was developed by the ‘common’ or ‘ordinary’ ‘Liuqiu’ (Ryukyu) people as a means to fight the invading and occupying Japanese Samurai.
Historically, the martial arts (‘Ryukyu Di’) of ‘Liuqiu’ (Ryukyu) came from the descendants of the Royal family (御殿 - Yu Dian) or ‘Goten’ - and from the ranks of the related nobility. By its exclusive nature, this process of transmission ‘omitted’ the masses of ordinary ‘’Liuqiu’ (Ryukyu) people. In the ‘Liuqiu’ (Ryukyu) Historical Chronicle maintained by the Royal Court – and entitled ‘球阳’ (Qiu Yang) which translates as ‘Jade Bright’ (or possibly ‘Round Sun’) - it is mentioned that the famous 16th century martial artist - named ‘Yu Jianji’ (虞建极) - was of high social rank. One day, he was attacked by an ‘assassin’ who had been hired to kill him. Yu Jianji, however, was an expert in the art of ‘Liuqiu’ (Ryukyu) Di’ - and with his bare-hands – he broke several bones of the attacker in a matter of seconds! His family were of the ‘Qin Yun Shang’ (亲云上) strata of ‘Liuqiu’ (Ryukyu) society – which equated to the second-rank of nobility. Pronounced ‘Pechin’ or ‘Pekumi’ in the local language - this was a rank held within the Yukatchu class of ‘Liuqiu’ (Ryukyu) society – placed above the rank of Satunushi and below the rank of Ueekata. As Scholar-Officials – those who held this rank often served in administrative positions in the ‘Liuqiu’ (Ryukyu) government.
It can be seen that the two founding houses of ‘Kobudo’ - ‘浜’ (Bang) or ‘Hama’ and ‘比嘉’ (Bi Jia) or ‘Higa’ were both of this ‘Liuqiu’ (Ryukyu) ‘Qin Yun Shang’ (亲云上) social rank. The principal weapons founded and perfected by these two houses are:
1) ‘拐’ (guai) - or ‘turn’ - often referred to as the ‘turn stick’ (拐棍 - Guai Gun). In the ‘Liuqiu’ (Ryukyu) language this translates as ‘tonfa’, ‘tuifa’ and ‘tong fa’, etc. Written as ‘TONフ ァ ー’ (with ‘フ ァ ー’ borrowed to sound as ‘fa’) in modern Japanese text. This is a short stick that is continuously ‘turned’ around by the use of a shorter handle positioned at right angles to the main shaft (commonly used today by the US Police Force). The blunted ends of each stick (as they are often used in pairs) are suddenly thrust forward and withdrawn during self-defence applications. The ‘tonfa’ is often held parallel to (and in defence of) the forearm. It is unclear what the linguistic connection between the Chinese (拐棍 - Guai Gun) is - and the ‘Liuqiu’ (Ryukyu) pronunciation of ‘tonfa’ - particularly as there is no Japanese ideogram corresponding to ‘TON’.
2) ‘钗’ (Chai) - or ‘trident’ - referring to a three-pronged metal fork around the length of the adult forearm. Although the tridents may be pointed, the shafts are rounded and non-bladed. The ‘钗’ (Chai) ideogram is pronounced ‘Sai’ in the ‘Liuqiu’ (Ryukyu) language and is often used to block, deflect, parry, trap and ‘break’ attacking bladed weapons.
Machu Higa (1790-1870) was of the ‘Qin Yun Shang’ (亲云上) strata of ‘Liuqiu’ (Ryukyu) society. The famous ‘Liuqiu’ (Ryukyu) martial arts teacher known as ‘Takahara Ueekata’ (篙原亲方 - Gao Yuan Qin Fang) had an equally famous student known as ‘Sakugawa Hiroka’ [左久川宽贺 - Zuo Jiu Chuan Kuan He] (1786-1867) who was referred to as ‘Tang Hand’ (唐手) out of respect for his martial arts ability. Without exception – all were of the nobility class! The reputation of ‘Sakugawa Hiroka’ was built entirely upon the exploits of his noble ancestors. This is true of Matsumura Sokon [松村宗棍 - Song Cun Zong Gun] (1809-1899) - who eventually was promoted to the noble rank of ‘Pechin’. Yamashiro Aburaya [山城油家] (1797-1881) was also known as ‘Chinen Kana’ (知念加那) and ‘Chinen Chikuto’ (知念筑登) as he rose through the ranks – eventually attaining to the status of ‘Pechin’! The ‘Tawada’ (多和田 - Duo He Tian) ‘Sai’ (钗 - Chai) was developed by ‘Tawada Shinboku’ (多和田眞睦 - Duo He Tian Zhen Mu) [1814-1884] - who was also of ‘Pechin’ noble rank!
Chatan Yara [北谷屋良] (1740-1812) is a name mentioned with great respect within many Kobudo and Shuri-Te (首里手 - Shou Li Shou) styles! He held the ‘Zhu Deng Zhi’ (筑登之) mid-level of the ‘Pechin’ noble rank! In short, once the development of ‘Liuqiu’ (Ryukyu) martial arts is examined during the eighteenth century, it is clear that there are very few (if any) people involved below the social ranks of ‘nobility’. In other words, there is no obvious or substantial involvement in the development of ‘Liuqiu’ (Ryukyu) martial arts by peasants, fishermen, craftsmen or any other type of ‘ordinary’ people – contrary to the beliefs perpetuated by many of the myths suggesting the opposite claim to be true! The situation seems a little different during the nineteenth century. This is the era where a number of ‘Liuqiu’ (Ryukyu) martial artists have become world famous. With closer examination, however, this is not the case. There may be individuals that do not possess a particular upper-class ‘title’ - but they are still of ‘noble’ stock! Two great Shuri-Te teachers, for instance, Asato Anko (安里安恒 - An Li An Heng) and Itosu Anko (糸洲安恒 - Mi Zhou An Heng) both held the ‘Zhu Deng Zhi’ (筑登之) mid-level of the ‘Pechin’ noble rank! Arakaci Siishoo [新垣世璋] (1840-1920) was also of ‘Pechin’ rank. The great Naha-Te (那霸手 - Na Ba Shou) teacher - Higaonna Kanryo [东恩纳宽量 - Dong En Na Kuan Liang] (1853-1915), although seemingly poor and ordinary, in fact had a father who was of the ‘Zhu Deng Zhi’ (筑登之) mid-level of the ‘Pechin’ noble rank!
Even after Japan abolished the feudal system of ‘Liuqiu’ (Ryukyu) - renaming the island ‘Okinawa’ in 1879 – all those historically deemed ‘Royal’ and ‘Noble’ under the ‘Chinese’ system of Confucianism, were immediately reduced to the rank of ‘Commoner’ under the new Japanese system. All the Karate-Do and Kobudo martial arts experts were still descendants of the nobility, of wealthy landlords and wealthy merchants!
Within Naha-Te there is a style named ‘Kojo Ryu’ (湖城流 - Hu Cheng Liu) - with the ‘Kojo’ Clan being a famous and noble ‘Liuqiu’ (Ryukyu) family.
Kobayashi Ryu (小林流 - Xiao Lin Liu) was developed by Chibana Choshin (1885 – 1969) - who was descended from the nobility – with his lineage being traced back to the Okinawan royal family.
Shotokan Ryu (松涛馆流 - Song Tao Guan Liu) was founded by Funakoshi Gichin (1868-1957) - whose family held the ‘Zhu Deng Zhi’ (筑登之) mid-level of the ‘Pechin’ noble rank!
Shito Ryu (糸东流 - Mi Dong Liu) was founded by Mabuni Kenwa (1889-1952) and Shiroma Shinpan (1890-1954) were both descendants of the nobility.
The ‘Kobudo’ style of the ‘Taira Nunchaku’ (平之双节棍 - Ping Zhi Shuang Jie Gun) was developed by Taira Shinken [平信贤] (1897-1970) who was of noble descent.
Although it is true that Motobu Choyu (本部朝勇 - Ben Bu Chao Yong) and Motobu Choki (本部朝基 - Ben Bu Chao Ji) were not members of the ‘nobility’ in the usual sense – as their family occupied the ‘Royal’ social strata of Okinawa known as ‘Aji’ (按司 - An Si) - or the rank just below the established ‘King’ but above all other ranks of nobility! Indeed, those families holding the rank of ‘Aji’ were often trusted to rule parts of the Okinawan Kingdom in lieu of the established King! Therefore, the martial arts practiced by the Motobu family were ‘Royal’ in nature and known in the Okinawan language as ‘Udun-Di’ (御殿手 - Yu Dian Shou) - or ‘Royal Palace Hand’ (also pronounced ‘Goten-Te’ in the Japanese language).
Miyagi Chojun [宫城长顺 - Gong Cheng Zhang Shun] (1888-1953) - the founder of ‘Goju Ryu’ (刚柔流 - Gang Rou Liu) Karate-Do - was descended from a wealthy family of landowners and successful merchants!
Nakaima Norisato [仲井间宪里 - Zhong Jing Jian Xian Li] (1819-1879) - the founder of ‘Ryuei Ryu’ (刘卫流 - Liu Wei Liu) Karate-Do – with the Nakaima family holding the ‘Zhu Deng Zhi’ (筑登之) mid-level of the ‘Pechin’ noble rank!
The only famous Okinawan martial arts teacher to be born without a ‘title’ is ‘Uechi Kanbun’ [上地完文 - Shang Di Wan Wen] (1877-1948) - but by the time he had become an adult, the Okinawan ‘nobility’ system had long been abolished and ‘Tang Te’ (唐手 - Tang Shou) had become publicly known, taught and practiced.
‘Liuqiu’ (Ryukyu) Prohibition Policy
In fact, even in modern society, in order to maintain public order and social stability, there is usually a general policy of prohibiting the spread (and private ownership) of weapons among the people. A no-arms policy is not a surprise. In ancient feudal kingdoms, weapons used on the battlefield were collected from being randomly distributed amongst the common people and placed in a central armoury in the royal city – as a means to maintain law and order.
In 1613 CE, the ‘Liuqiu’ (Ryukyu) Satsuma Magistrate’s Office issued an order that prohibited the ‘private’ ownership of martial arts weaponry – further stating that all such weapons should be lawfully collected and maintained in a secure armoury located in (or near) the Ryukyu Royal Palace. The details of this order are as follows:
1) It is forbidden to privately own iron cannons.
2) The legitimacy of Princes, Government Officials, and the Nobility to own weaponry is recognised and protected by law.
3) All repairs to existing weaponry must be authorised by the Satsuma Magistrate’s Office. No weapon shall be repaired without notifying the Satsuma Magistrate’s Office.
4) All matters related to the use (or repair) of broad swords, long swords and other bladed weapons (such as fighting knives) – must be reported for ‘Authorisation’ to the Satsuma Magistrate’s Office.
The number of Princes, Government Officials, and the Nobility – when added to the Court Officials, large and small landlords, merchants, police, Palace Guards and other Officials – accounted for around a quarter of the population of ‘Liuqiu’ (Ryukyu) Kingdom that were still allowed to freely own, carry and use the battlefield weaponry of the time (excluding ‘iron cannons’). In fact, during this time period there were still many well-known ‘Liuqiu’ (Ryukyu) martial arts Masters of swordsmanship (剑术 - Jian Shu), bowmanship (弓术 - Gong Shu) and spearmanship (枪术 - Qiang Shu). During Japan's (post-1879) rule of Ryukyu, the Japanese government did not rule directly from the emperor in Tokyo – but rather issued its orders first to the Ryukyu Royal Family - who then instructed the Ryukyu nobility what policies to enforce amongst the Okinawan general population. In historical reality, from after 1609 CE to the end of the 19th century, the unarmed ‘Liuqiu’ Ryukyu civilian population did not have the opportunity to directly confront and resist the Japanese occupiers by force, simply because the Ryukyu nobility (directed by the Ryukyu Royal Family) still ruled over them – whilst the ‘Liuqiu’ (Ryukyu) nobility did not use its swords, spears and bows to fight against Japan. The nobility and Royal Family of ‘Liuqiu’ (Ryukyu) and ‘Okinawa’ as it became – collaborated with the Japanese invaders and never pursued a policy of confrontation.
The only recorded civilian uprising in Okinawa was in 1905 when the Ryukyu people rebelled against the Ryukyu landlords (the latter being the descendants of the nobility), with the Japanese Authorities siding with the Ryukyu landlords against the ordinary Okinawan people – passing laws that recovered any lost land once belonging to the ‘nobility’ but which had subsequently been sold or bartered to ordinary Okinawan people during hard or difficult times by the upper classes (in other word, the nobility got its land back for ‘free’). The Japanese Authorities had to take this action as the Japanese rule of Okinawa was entirely dependent upon the collaboration of the Ryukyu ‘nobility’. Therefore, historians believe that there is no factual basis that supports the assertion (or assumption) that the ordinary ‘Liuqiu’ (Ryukyu) people developed unarmed Karate-Do - or adapted agricultural tools into the system of armed ‘Kobudo’ - as a peasant-led response to the Japanese invasion of ‘Liuqiu’ (Ryukyu) - and used these commonly developed martial arts to confront the mastery and expertise of Japanese Samurai and their razor-sharp Katana swords! These ancestors who created ‘Tang Te’ and ‘Kobudo’ originally had knives, swords, spears, bows and arrows. . . What's more, high-ranking nobles such as ‘Ueekata’ (亲方 - Qin Fang) and ‘Pechin’ (亲云上 - Qin Yun Shang) are high-ranking officials linked directly to the ‘Royal Palace’. Although the nobility owned many farming fields, they did not possess the agricultural skills to cultivate these fields – relying instead upon the impoverished peasant-workers. As the nobility could not use the agricultural tools – they certainly could not use these implements as weapons – and why should they - as the nobility already possessed perfectly good swords, bows and spears which could have competed with any Japanese weaponry if the policy of the nobility had been different!
In addition, those teachers who went to China to learn martial arts at the cultural source - were even less likely to be ordinary people. In the past, farmers did not have the freedom to even leave their fields, and even if they did, how could they spend ten years (or more) in China whilst their fields remained unattended and uncultivated when the island desperately needed food? At the end of the 19th century, Higaonna Kanryo did go to China to study martial arts, but it was only through his father's friendship with a Minister who worked in the ‘Liuqiu’ (Ryukyu) Royal Palace that the ‘Passport’ (通行证 - Tong Xing Zheng) was issued (literally ‘Travel Through Certificate’)! The history of ‘Liuqiu’ (Ryukyu) Kingdom is highly militarised but its population remained relatively small. Even in 1879 CE, the population of Ryukyu was only 300,000, of which there were only around 90,000 members of the ‘nobility’. If half of the 90,000 population is male, and then one-third of them are men of age capable of fighting on the battlefield, there will be about 13,500 people. After deducting the unhealthy – there would have been around 10,000 battle-fit people at any one time.
According to the conditions of the late period of the feudal Japanese Warring States period, when there is no war and times were peaceful, the lord of a great county, a feudal lord, etc, possessed hundreds of thousands of personal Samurai around himself. Mass recruitment only happened during times of major warfare. In 1609 CE, when the Satsuma Clan brought around 3,000 Samurai to suddenly attack ‘Liuqiu’ (Ryukyu) – there were only a few hundred Guards on duty in Shuri Castle protecting the King of ‘Liuqiu’ (Ryukyu) - and this small force was caught entirely by surprise! Most of the ‘Liuqiu’ (Ryukyu) nobility were scattered across the island Kingdom taking care of their own administrative affairs to have been of any practical use. The ‘nobility’ was not in a position to use their martial expertise of bow, spear or sword! Furthermore, ‘Liuqiu’ (Ryukyu) martial arts - ‘Liuqiu Di’ (琉球手) - are comprised of many different influences:
a) Indigenous ‘Liuqiu’ (Ryukyu) martial arts (armed and unarmed).
b) Chinese martial arts (armed and unarmed).
c) Japanese martial arts (armed and unarmed).
d) South-East Asian martial arts (armed and unarmed).
e) Various herbal and acupunctural medical traditions.
f) Geography, travel and cultural interfacing.
g) Diplomacy.
h) Trade.
The East Asian seasonal winds blow Southward from the Asian continent in January each year - and it is not until July that these winds change to a Northerly direction. Therefore, ‘Liuqiu’ (Ryukyu) merchant ships sailed to Southeast Asia before July each year, passing through Taiwan, Macau, Hainan, Siam, Malaya, Philippines, Indonesia and other regions. Travelling Northward by ship only began during the month of July each year. This means that there was frequent cultural exchanges and interaction between the crews of the merchant ships of the ‘Liuqiu’ (Ryukyu) Kingdom and the indigenous populations of the Southeast Asian countries visited every year. Both ‘Liuqiu’ (Ryukyu) Hand and the later ‘Tang Hand’ - which evolved into ‘Empty Hand Way’ (空手道 - Kong Shou Dao) or ‘Karate-Do’ - has always possessed elements (and aspects) that are not related to the Chinese martial arts of ‘Southern Fist’ (南拳 - Nan Quan)!
1) Striking with the ‘head’ (头 - Tou) of the ‘closed’ fist (拳 - Quan).
Although it is true that the numerous styles that comprise ‘Southern Fist’ in China do contain closed-fist strikes – this type of attack is not necessarily the primary or favoured technique. In fact, when studying a broad overview of ‘Southern Fist’ methodology – it is clear that the preferred striking technique in ‘Southern Fist’ is the ‘palm’ (掌 - Zhang) - often used in a ‘chopping’ (劈 - Pi) action utilising the expert use of the outside ‘edge’ of the open hand. There is also the use of the ‘piercing’ (贯 - Guan) hand whereby the straight fingers of the open-hand are trained so that the (toughened) fingertips can be used to ‘pierce’ the outer layers of the body of an opponent (often tearing-out or damaging the inner organs). Instead of the open-hand technique, the ‘Liuqiu’ (Ryukyu) martial arts preferred to use the ‘closed-fist’ more in line with the martial arts of Siam (Thailand) and Khmer (Cambodia). Indeed, because of this preferred influence, the ‘Liuqiu’ (Ryukyu) martial arts tradition has developed a number of clever devices designed to strengthen the ‘closed-hand’ punching tradition. One such device is referred to as the ‘Makiwara’ (卷藁 - Juan Gao) in the Okinawan language which is usually taken to mean ‘Rolled Straw’ (as in a punching-post constructed of wood with a striking area comprised of ‘rolled straw’). However, I have discovered an earlier definition of these two Chinese ideograms which suggests the name translates as to ‘Bend Well’ - referring to the ‘flexing’ action the punching motion causes when the ‘Makiwara’ is struck properly! This device demonstrates a very ‘advanced’ understanding of the method of ‘maiming’ or ‘killing’ an opponent with a single ‘closed-fist’ punch – or a series of rapidly delivered ‘closed fist’ punches.
On the other hand, it is also true that generations of indigenous ‘Liuqiu’ (Ryukyu) individuals did train in Chinese martial arts either locally (with ethnic Chinese people), or by travelling to Mainland China. The Chinese martial arts techniques acquired were then integrated into the already existing indigenous ‘Liuqiu’ (Ryukyu) fighting systems.
2) Higaonna Kanryo travelled to Fuzhou in China during the 19th century and learned primarily the ‘Yongchun White Crane Fist’ (白鶴拳 - Bai He Quan) style. In the Fujian (Hokkien) language ‘White Crane Fist’ is pronounced ‘Bak Hok Kune’. He also learned other ‘Southern Fist’ styles. Higaonna Kanryo brought back ‘nine’ (9) ‘Katas’ (型 - Xing) or ‘Forms’ learned during his fourteen years stay in Fuzhou (1867-1881). When he returned to ‘Liuqiu’ (Ryukyu), however, he decided to change a number of the existing ‘open-hand’ striking techniques found within the White Crane Fist system and replace these techniques with ‘closed-fist’ strikes. It is believed that these changes were made so that these ‘Chinese’ styles fitted-in with the already existing ‘Liuqiu’ (Ryukyu) martial arts systems – which preferred the Southeast Asian ‘closed-fist’ strike. This appears to be a matter of conforming to local custom. With the ‘Sanchin’ (三戦) - San Zhan) Kata, for instance, Higaonna Kanryo retained the palm-strikes - but replaced the fingertip-strikes with ‘closed-fist’ strikes. With regards to the following four ‘Kata’ - Higaonna Kanryo retained the White Crane Fist ‘palm-striking’ techniques learned in Fuzhou:
a) Shisochin - (四向战 - Si Xiang Zhan)
b) Seinchin - (制引战 - Zhi Yin Zhan)
c) Seiyunchin - (久留顿破 - Jiu Liu Dun Po)
d) Seipai - (十八手 - Shi Ba Shou)
In the four following ‘Kata’ - the historical evidence suggests that Higaonna Kanryo changed the original White Crane Fist ‘open-hand’ striking techniques and replaced them with the ‘Liuqiu’ (Ryukyu) ‘closed-fist’ strike:
e) Saifa - (碎破 - Sui Po)
f) Sanseiru - (三十六手 - San Shi Liu Te)
g) Seisan - (十三手 - Shi San Te)
h) Suparinpei - (一百零八手 - Yi Bai Ling Ba Shou)
‘Liuqiu’ Ryukyu Bare Feet Martial Arts Training
An issue that is so obvious that it is often missed (or ignored) during historical analysis is the Okinawan preference for ‘bare feet’ when training in martial arts. This means that standing, moving and striking in the ‘Liuqiu’ (Ryukyu) martial arts is performed with bare feet that are not covered by either sock or shoe, etc. As Chinese people train outside or in temples grounds, etc, the exercises are continuously performed with the feet covered with socks and shoes of various sorts. Chinese martial arts are never performed in bare feet - as this is not a Chinese martial tradition. Chinese farmers practice fully dressed and shod whilst practicing their gongfu in the fields (between bouts of hard labour), whilst Chinese soldiers practice in mass formations often wearing various types of armoured boots and shin armour, etc. When entering a private residence or a meditation hall, the removal of shoes in China is a serious matter that is related to psychological calmness and physical ‘stillness’. Removing the shoes is not a mark of martial arts practice within China and so the ‘Liuqiu’ (Ryukyu) tradition of training in bare feet is unique to Okinawa and may be more properly related to Muay Thai (Thai Boxing) and similar martials arts developed and practiced in Myanmar (Burma) and Khmer (Cambodia), etc.
The historical records of ‘Liuqiu’ (Ryukyu), however, only record China's direct influence upon ‘Liuqiu’ (Ryukyu) martial arts development, because China was the largest economic and diplomatic target of ‘Liuqiu’ (Ryukyu) at that time! Especially after the ‘Liuqiu’ Ryukyu Kingdom was attacked by Japan, it became a major policy of the ‘Liuqiu’ Ryukyu Kingdom to try to move closer to the more distant Chinese Dynasties in order to check and balance the cultural influence of the nearby Japan. (Unfortunately, China did not provide direct political or military assistance to ‘Liuqiu’ [Ryukyu] for around two-hundred years – and so the pro-China ideological outlook slowly began to wane). When the official (historical) records of ‘Liuqiu’ (Ryukyu) are examined, prior to 1872 CE, there is virtually no mention of ‘Japan’, diplomacy involving Japan, or ‘Liuqiu’ (Ryukyu) having any interest in Japanese martial arts! Even so, following Japan’s invasion of ‘Liuqiu’ (Ryukyu) in 1879 CE, the enforced influence of Japanese martial arts is unmistakable. This change of cultural dynamics stemmed from the ‘Meiji’ (明治 - Ming Zhi) Restoration – which advocated an aggressive expansion of political and military influence throughout Asia. This attitude caused a sense of confusion for a time on Mainland Japan, as the Masters of the ‘local’ martial arts styles were ordered to systemise and transform their family fighting styles - so that they could be more easily ‘exported’ to culturally indoctrinate those ‘new’ populations subject to Japanese colonial control. Most of these fighting styles were privately owned and transmitted martial arts that ‘hid’ their most dangerous techniques to maintain their advantage in combat! These governmental orders demanding the sudden spreading what was formerly ‘exclusive’ martial systems led to a number of dramatic transformations!
The Japanese Masters, who were keen to maintain the status quo and protect their own ancient martial arts – came together to decide the best approach to a) ‘obeying’ these orders, and b) how to generate a suitable ‘Japanese’ martial art that embodied the aggressive ‘expansionist’ ideology of the ‘Meiji’ government whilst retaining a modicum of combat effectiveness! The process of transformation led to the following developments:
1) Long Sword Art (剑术 - Jian Shu) or ‘Kenjutsu’ - was transformed into ‘Kendo’ (剑道 - Jian Dao)
2) Giving Way Art (柔术 - Rou Shu) or ‘Jujitsu’ - was transformed into ‘Judo’ (柔道 - Rou Dao)
These were the two primary ‘armed’ (Kendo) and ‘unarmed’ (Judo) Japanese martial arts that emanated out of an expansionist Mainland Japan. Of course, the martial arts of the ‘Liuqiu’ (Ryukyu) ‘nobility’ faced a similar problem once ‘Okinawa’ (the former ‘Liuqiu’ [Ryukyu]) island became part of modern Japan during 1879 CE! Moreover, after the Peasant Uprising in 1905, the Japanese government reformed Okinawa's land policy. Although the Okinawan ‘nobility’ had lost their ‘Chinese’ titles of (Confucian) distinction – they were still permitted to ‘own’ their ancestral lands, but after 1905, the income from those land was greatly reduced. Therefore, many of the Okinawan ‘nobility’ whose families still maintained the ‘Tang Hand’ martial arts traditions, were offered financial incentives to ‘modify’ their fighting systems in the service of Japanese imperialist expansion. This is the historical foundation to the eventual development of modern ‘Karate-Do’ martial arts which had to be ‘purged’ of all obvious ‘Chinese’ cultural influences if it was to be used as part of an expansionist Japanese education system. Funakoshi Gichin travelled to Mainland Japan and carried-out a great deal of foundational work for the spread of ‘Karate-Do’ in the 1920s! The real (substantial) breakthrough, however, came in 1936 when Miyagi Chojun succeeded in registering his ‘Goju Ryu’ style of ‘Karate-Do’ as being a ‘Japanese’ (as opposed to ‘Chinese’) martial art! After this event, one Okinawan ‘Karate-Do’ Master after another followed the example of Miyagi Chojun and successfully ‘registered’ their Karate-Do styles as ‘Japanese’. This meant the Japanese government officially accepted Okinawan ‘Karate-Do' as being legitimately ‘Japanese’ and that it could now be taught across the Japanese empire in all Japanese schools, colleges and universities! The Japanese government viewed ‘Karate-Do’ as a form of ‘militarised’ sport that could be used to prepare the minds and bodies of young Japanese men for eventual service within the Japanese military! Miyagi Chojun was appointed the ‘First’ (and only) ‘President’ of the Okinawan Branch of the ‘Greater Japan Martial Virtue Association’ (大日本武德会 - Da Ri Ben Wu De Hui) or ‘Dai Nippon Butoku Kai’! To achieve this honoured position, the Japanese government subjected the ‘Miyagi’ family to strict tests of suitability which investigated the family’s ‘wealth’, ‘hereditary status’ and ‘loyalty’ to Japan! Miyagi Chojun was proven to be wealthy and a descendant of ‘Nobility’ upon the island! Although he had visited China – there were no known written expressions of support for China!
This is the story of how ‘Tang Hand’ (唐手 - Tang Shou) or ‘Chinese Hand’ - was developed by the Okinawan ‘nobility’ and slowly transformed into what is today known as ‘Empty Hand Way’ (空手道 - Kong Shou Dao) - or ‘Karate-Do’ - as it is now ‘empty’ of all Chinese cultural influences (the real meaning of the name-change which was officiated through pre-WWII Japanese nationalism). The peasantry of ‘Liuqiu’ (Ryukyu) may well have practiced various and diverse forms of martial arts – but if they did – and given that they could not read or write - their history is not written down. Certainly, it is true that in Okinawa today, many ordinary Okinawan people practice various forms of Chinese gongfu and have no association with the many Dojo spread throughout the island. Perhaps this indicates two things: a) the peasants of Okinawa always practiced Chinese martial arts, passed from father to son and Master to Disciple whilst b) the development of ‘Tang Hand’ and ‘Karate-Do’ is a matter entirely in the hands of the Okinawan nobility – forming a separate but parallel line of martial development – which was recorded because the upper-classes possessed the ability to read and write. Whatever the case, the idea that ‘peasants’ developed the martial art that is today known as ‘Karate-Do’ is not supported by the extant historical records. Whatever the peasants of ‘Liuqiu’ (Ryukyu) practiced – it was not what eventually would become the ‘Empty Hand Way’!
知识】纠正一些有关空手道的起源的误区
来自: EgplanetWalker(Löser) 组长 2014-02-19 23:37:37
有关冲绳空手道与古武道的来源有一误区被广泛流传,即是:“在第一次施行於尚真王时代(1476年-1526年),琉球王府将全国各地的兵器予以收 缴,集中於首里城。琉球成为几乎没有兵备的国家。第二次是在1609年萨摩入侵琉球之后,萨摩藩在琉球设置在番奉行所,将全国兵器予以没收。为了对抗萨摩 藩的统治,琉球人积极学习拳法,形成了武术唐手,也就是空手道的原型。
士族与唐手的关系
“琉 球手” 后称“唐手”和“空手道”,以及琉球古武道并非琉球百姓为了对抗日本武士而创的徒手技艺。历史上琉球的武术家来自琉球王家后裔(御殿)或者士族位阶。历史 记载《球阳》中曾提到16世纪武术家虞建极(和名:阿波根 亲云上 实基)遭刺客暗杀,以琉球手的技艺赤手空拳折断暗杀者两股.记载中的虞建极是士族,家格亲云上即士族位阶制度里第二等,其上有亲方,下有里之子亲云上,筑 登之亲云上,里之子,筑登之.
从他们的名字可看出 古武道的两个家 浜比嘉亲云上(浜比嘉之拐和浜比嘉之拐之钗等型的创始人)和 比嘉 亲云上(Machu Higa, 1790-1870) 也来自士族阶级。 而琉球历史上著名武术家 篙原亲方和他著名的学生 “唐手”左久川宽贺(1786-1867) 都是士族,唐手左久川的身份筑登之亲云上。历史上所记载左久川的学生全部是带着封号的士族,而他最出名的学生,松村宗棍(1809-1899) 的身份筑登之亲云上。左久川门下几个古武道宗师:油家山城(1797-1881) 又称 知念加那,而他的全名是 知念筑登之亲云上加那; 创了“多和田之钗”的多和田亲云上眞睦(1814-1884),
另外,在许多古武道型和首里手型里出现其名的北谷屋良(1740-1812) 也是筑登之亲云上。总之一旦探讨十八世纪的琉球武术家,几乎就找不到属于士族以下的农民,渔民,一般工匠等平民百姓。
到了十九世纪,琉球历 史上出现了更多著名的武术家,虽然平时称呼上没有挂上封号,但是他们还是士族:首里手的两个大师 安里安恒 和糸洲安恒的正式身份是筑登之亲云上。新垣世璋( (1840-1920) 身份是亲云上. 历史上,那霸手大师东恩纳宽量 (1853 – 1916) 虽然家境贫困但他父亲是筑登之亲云上
.即使1879年日本废除了琉球的封建制度并且将所有士族划为平民之后,空手道家及古武道家还是以士族的后裔,地主和富商的子弟为主:
- 那霸手湖城流的湖城家族是士族而且是琉球国里的名家。
- 小林流的流主 知花朝信 (1885 – 1969), 士族后裔,血统可以追溯到冲绳王室
- 松涛馆流创始人船越义珍 (1868-1957) 家格为筑登之家
- 糸东流的两位创始人摩文仁贤和 (1889-1952) 和城间 真繁(1890-1954) 士族后裔
- 创古武道型“平之双节棍”的 古武道大师平信贤 (1897-1970) 也是士族后裔
- 本部朝勇 和 本部朝基 不是士族,而是士族之上王族中的“按司”。“御殿手”指的就是王族的武术。
- 刚柔流的创始人宫城长顺(1888~1953)家庭背景是地主和富商的后裔。
- 刘卫流创始人仲井间宪里(1819-1879)出身于富裕家境全名 仲井间筑登之亲云上宪里
唯一平出生的是上地完文,而他成年之时位阶制度已经废除,唐手也已经开始公开化。
琉球禁武政策
实际上,即使现代社会为了维持治安和社会稳定也有禁止武器民间流传的政策。禁武政策并非奇怪的事情。古代的各个封建王国都将战场应用的武器收集在王城里的方 法维持治安。
而根据1613年萨摩藩向琉球王府发出的禁武命令,其内容为:「一、禁止持有铁炮。二、承认王子、三司官、士族本人拥有武器的合法性。三、凡武器类物品修 理之事,皆要通报在番奉行所,在经萨摩方面批准后方可修理。四、凡与刀剑类物品有关的事务,皆要接受在番奉行所的批准。」其中并没有禁止士族拥有武器的持有行为。
王子、三司官、士族占琉球王国四份之一作用的人口,包括了琉球朝廷大员,大小地主,商人,也包括了一般维持治安的侍卫等。而实际上在这段时期里,琉球 剑术、枪术、弓术的高手依然很多。日本统治琉球期间,并没有直接管理琉球政务,而是通过控制原来的王家和士族,由琉球士族实行日本制定的政策。
实际历史上从1609年后到19世纪末,手无寸铁的琉球平民百姓并没有机会用武力反抗日本人因为统治他们的任然是琉球士族和王家,而有刀剑枪弓的琉球士族也没有以武力跟日本统治者对抗。唯一 一次平民起义是1905年 琉球百姓反抗琉球地主(士族后裔)的动乱,而因那次的动乱,日本政府实行土地改革将士族的土地权回收。
因此历史学家认为琉球百姓用空手或农具对抗日本武士刀而创了空手道和古武道的说法是没有任何历史根据的。
这些创“唐手”创“古武道”的先人,本来就有刀有枪有弓箭。。。更何况“亲方”,“亲云上”等上等士族是“殿内”大官,虽然拥有不少的田地,但相信他们更本不会耕田,没必要放弃好好的刀剑故意用农具去对抗武士刀。
另外那些去中国习武的先师更不可能是平民百姓。过去农民离开田地的自由都没有,更不可能离开琉球去中国习武十几年。即使到了19世纪末,东恩纳宽量要到中国习武,也是靠了关系找了他父亲的故交琉球的殿内大臣协助才取得通行证。
琉球的历史上比较尚武。可惜地方小人口少。即使到了1879年的统计下琉球只有30万人口,其中士族只有9万。9万人口若一半是男的,然后其中再三分之一是能上战场的年龄的男人的话,大概也就13500人,这里面再扣掉身体不健康的,不知有否一万人。。。
而按封建的日本战国时代后期,平时没有打战的时候大国国主,藩主等,身边的随从贴身武士大概就几百一千人,要征战的时候才招兵买马。1609年的时候,萨摩带了3000武士突然攻击琉球的时候,琉球王身边,首里城里就几百卫士,措手不及才被攻克了。并不是因为他们没有刀枪弓箭等武器,而是因为大多士族都在自己的领地上,分散着没时间**。
虽然琉球手纳入了中国武术的元素,被称为唐手,但实际上唐手里不只有中国武术的元素,也有其他国家和文化的元素。这包括了就近的日本,不过也包括了更远的东南亚。
琉球位于日本和台湾之间,正好在北方商船与东南亚经商的航线上。东亚的季节每年一月从亚洲大陆往南吹,一直到七月份风才改从南往北吹。因此每年七月之前琉球商船只走往东南亚,经过台湾,澳门,海南,去暹罗,马来亚,菲律宾,印尼等地区,然后往北走回归的行程必须每年一月之后才可能开始。因此每年琉球王国商船与东南亚各国的交流时间并不少。
而琉球手以及后来的唐手,空手道中一直存在一些非中国南拳的习惯。首先是用拳头击打的习惯,虽然古代中国南拳有拳头击打的技术但并不将它当主要技术来训练,中国南拳更倾向于用掌,用劈,和贯手,而琉球手一直都与暹罗和高棉等地方的武术相似习惯用拳头。琉球甚至设计了卷藁这种独特的训练工具来强化拳头攻击的能力,这是深入理解拳头攻击的文化才会发展出来的工具。
一代代的琉球武术家在中国习武,然后把在中国所学改编与原来的武术融合为一。即使倒了19世纪东恩纳宽量将三战,等九个型带回冲绳的时候也把三战里上半部的贯手改为拳头,下半部的贯手和掌也保留。四向战,制引战,久留顿破,十八手,四个开手型保留了原来贯手,掌击打的技巧,而碎破,三十六手,十三手,一百零八手,这四个开手型里可能是刻意改用拳头的。
另一个习惯就是赤脚练蹴。在中国的武术传统中赤脚练蹴也非主流。而在古泰拳,高棉拳等,赤足的文化根深地固,赤足蹴也是那里武术的核心技术。可见其实琉球手,即唐手,空手道中,除了主要的中华武术的元素以外,东南亚武术的影响也不小。
而琉球的历史记载中却只记录了中国对琉球拳法的影响,因为中国是琉球当时最大的经济和外交对象。特别是琉球国被日本攻打后,设法与中原皇朝靠拢制衡日本的影响成为了琉球王国的一大政策(可惜中原200年没有对琉球以兵力援助,亲中国的思想才慢慢的消失。)。而在1872年之前琉球武术记载中就几乎看不到任何来自日本的影响。
但日本对琉球武术的影响是不可否认的。明治维新后,日本本岛上的武术家迷茫一时,最后悟出了一条保留他们武术的方式,就是将剑术改剑道,柔术改柔道,让它大众化的方法。而琉球士族武术家当然也面临同样的问题。况且1903年农民动乱后,日本政府对冲绳的土地政策进行改革。本来昔日的士族虽然没了位阶身份但还是拥有土地,但1903年后,从土地得到的收入也大大的减少,让许多有能力教武术的唐手家们更效仿日本武术界,将唐手大众化。
而早期唐手家们去日本推广武术,像船越义珍在日本做了许多前期工作。但真正的突破在1936年宫城长顺成功的将“刚柔流”注册成日本武道的一种,各流派相续被认可,空手道才能正式被日本社会接受在日本学校推广。而宫城长顺被大日本武德会任命第一位(也是唯一的一位)冲绳分会会长。这个过程恐怕是有士族后裔富裕家庭背景的宫城长顺带头做了无数公关工作才取得的入围资格。
因此唐手改名空手道,在日本传开,才得以被保留到今天,流传到世界各地。
来自: EgplanetWalker(Löser) 组长 2014-02-19 23:37:37
有关冲绳空手道与古武道的来源有一误区被广泛流传,即是:“在第一次施行於尚真王时代(1476年-1526年),琉球王府将全国各地的兵器予以收 缴,集中於首里城。琉球成为几乎没有兵备的国家。第二次是在1609年萨摩入侵琉球之后,萨摩藩在琉球设置在番奉行所,将全国兵器予以没收。为了对抗萨摩 藩的统治,琉球人积极学习拳法,形成了武术唐手,也就是空手道的原型。
士族与唐手的关系
“琉 球手” 后称“唐手”和“空手道”,以及琉球古武道并非琉球百姓为了对抗日本武士而创的徒手技艺。历史上琉球的武术家来自琉球王家后裔(御殿)或者士族位阶。历史 记载《球阳》中曾提到16世纪武术家虞建极(和名:阿波根 亲云上 实基)遭刺客暗杀,以琉球手的技艺赤手空拳折断暗杀者两股.记载中的虞建极是士族,家格亲云上即士族位阶制度里第二等,其上有亲方,下有里之子亲云上,筑 登之亲云上,里之子,筑登之.
从他们的名字可看出 古武道的两个家 浜比嘉亲云上(浜比嘉之拐和浜比嘉之拐之钗等型的创始人)和 比嘉 亲云上(Machu Higa, 1790-1870) 也来自士族阶级。 而琉球历史上著名武术家 篙原亲方和他著名的学生 “唐手”左久川宽贺(1786-1867) 都是士族,唐手左久川的身份筑登之亲云上。历史上所记载左久川的学生全部是带着封号的士族,而他最出名的学生,松村宗棍(1809-1899) 的身份筑登之亲云上。左久川门下几个古武道宗师:油家山城(1797-1881) 又称 知念加那,而他的全名是 知念筑登之亲云上加那; 创了“多和田之钗”的多和田亲云上眞睦(1814-1884),
另外,在许多古武道型和首里手型里出现其名的北谷屋良(1740-1812) 也是筑登之亲云上。总之一旦探讨十八世纪的琉球武术家,几乎就找不到属于士族以下的农民,渔民,一般工匠等平民百姓。
到了十九世纪,琉球历 史上出现了更多著名的武术家,虽然平时称呼上没有挂上封号,但是他们还是士族:首里手的两个大师 安里安恒 和糸洲安恒的正式身份是筑登之亲云上。新垣世璋( (1840-1920) 身份是亲云上. 历史上,那霸手大师东恩纳宽量 (1853 – 1916) 虽然家境贫困但他父亲是筑登之亲云上
.即使1879年日本废除了琉球的封建制度并且将所有士族划为平民之后,空手道家及古武道家还是以士族的后裔,地主和富商的子弟为主:
- 那霸手湖城流的湖城家族是士族而且是琉球国里的名家。
- 小林流的流主 知花朝信 (1885 – 1969), 士族后裔,血统可以追溯到冲绳王室
- 松涛馆流创始人船越义珍 (1868-1957) 家格为筑登之家
- 糸东流的两位创始人摩文仁贤和 (1889-1952) 和城间 真繁(1890-1954) 士族后裔
- 创古武道型“平之双节棍”的 古武道大师平信贤 (1897-1970) 也是士族后裔
- 本部朝勇 和 本部朝基 不是士族,而是士族之上王族中的“按司”。“御殿手”指的就是王族的武术。
- 刚柔流的创始人宫城长顺(1888~1953)家庭背景是地主和富商的后裔。
- 刘卫流创始人仲井间宪里(1819-1879)出身于富裕家境全名 仲井间筑登之亲云上宪里
唯一平出生的是上地完文,而他成年之时位阶制度已经废除,唐手也已经开始公开化。
琉球禁武政策
实际上,即使现代社会为了维持治安和社会稳定也有禁止武器民间流传的政策。禁武政策并非奇怪的事情。古代的各个封建王国都将战场应用的武器收集在王城里的方 法维持治安。
而根据1613年萨摩藩向琉球王府发出的禁武命令,其内容为:「一、禁止持有铁炮。二、承认王子、三司官、士族本人拥有武器的合法性。三、凡武器类物品修 理之事,皆要通报在番奉行所,在经萨摩方面批准后方可修理。四、凡与刀剑类物品有关的事务,皆要接受在番奉行所的批准。」其中并没有禁止士族拥有武器的持有行为。
王子、三司官、士族占琉球王国四份之一作用的人口,包括了琉球朝廷大员,大小地主,商人,也包括了一般维持治安的侍卫等。而实际上在这段时期里,琉球 剑术、枪术、弓术的高手依然很多。日本统治琉球期间,并没有直接管理琉球政务,而是通过控制原来的王家和士族,由琉球士族实行日本制定的政策。
实际历史上从1609年后到19世纪末,手无寸铁的琉球平民百姓并没有机会用武力反抗日本人因为统治他们的任然是琉球士族和王家,而有刀剑枪弓的琉球士族也没有以武力跟日本统治者对抗。唯一 一次平民起义是1905年 琉球百姓反抗琉球地主(士族后裔)的动乱,而因那次的动乱,日本政府实行土地改革将士族的土地权回收。
因此历史学家认为琉球百姓用空手或农具对抗日本武士刀而创了空手道和古武道的说法是没有任何历史根据的。
这些创“唐手”创“古武道”的先人,本来就有刀有枪有弓箭。。。更何况“亲方”,“亲云上”等上等士族是“殿内”大官,虽然拥有不少的田地,但相信他们更本不会耕田,没必要放弃好好的刀剑故意用农具去对抗武士刀。
另外那些去中国习武的先师更不可能是平民百姓。过去农民离开田地的自由都没有,更不可能离开琉球去中国习武十几年。即使到了19世纪末,东恩纳宽量要到中国习武,也是靠了关系找了他父亲的故交琉球的殿内大臣协助才取得通行证。
琉球的历史上比较尚武。可惜地方小人口少。即使到了1879年的统计下琉球只有30万人口,其中士族只有9万。9万人口若一半是男的,然后其中再三分之一是能上战场的年龄的男人的话,大概也就13500人,这里面再扣掉身体不健康的,不知有否一万人。。。
而按封建的日本战国时代后期,平时没有打战的时候大国国主,藩主等,身边的随从贴身武士大概就几百一千人,要征战的时候才招兵买马。1609年的时候,萨摩带了3000武士突然攻击琉球的时候,琉球王身边,首里城里就几百卫士,措手不及才被攻克了。并不是因为他们没有刀枪弓箭等武器,而是因为大多士族都在自己的领地上,分散着没时间**。
虽然琉球手纳入了中国武术的元素,被称为唐手,但实际上唐手里不只有中国武术的元素,也有其他国家和文化的元素。这包括了就近的日本,不过也包括了更远的东南亚。
琉球位于日本和台湾之间,正好在北方商船与东南亚经商的航线上。东亚的季节每年一月从亚洲大陆往南吹,一直到七月份风才改从南往北吹。因此每年七月之前琉球商船只走往东南亚,经过台湾,澳门,海南,去暹罗,马来亚,菲律宾,印尼等地区,然后往北走回归的行程必须每年一月之后才可能开始。因此每年琉球王国商船与东南亚各国的交流时间并不少。
而琉球手以及后来的唐手,空手道中一直存在一些非中国南拳的习惯。首先是用拳头击打的习惯,虽然古代中国南拳有拳头击打的技术但并不将它当主要技术来训练,中国南拳更倾向于用掌,用劈,和贯手,而琉球手一直都与暹罗和高棉等地方的武术相似习惯用拳头。琉球甚至设计了卷藁这种独特的训练工具来强化拳头攻击的能力,这是深入理解拳头攻击的文化才会发展出来的工具。
一代代的琉球武术家在中国习武,然后把在中国所学改编与原来的武术融合为一。即使倒了19世纪东恩纳宽量将三战,等九个型带回冲绳的时候也把三战里上半部的贯手改为拳头,下半部的贯手和掌也保留。四向战,制引战,久留顿破,十八手,四个开手型保留了原来贯手,掌击打的技巧,而碎破,三十六手,十三手,一百零八手,这四个开手型里可能是刻意改用拳头的。
另一个习惯就是赤脚练蹴。在中国的武术传统中赤脚练蹴也非主流。而在古泰拳,高棉拳等,赤足的文化根深地固,赤足蹴也是那里武术的核心技术。可见其实琉球手,即唐手,空手道中,除了主要的中华武术的元素以外,东南亚武术的影响也不小。
而琉球的历史记载中却只记录了中国对琉球拳法的影响,因为中国是琉球当时最大的经济和外交对象。特别是琉球国被日本攻打后,设法与中原皇朝靠拢制衡日本的影响成为了琉球王国的一大政策(可惜中原200年没有对琉球以兵力援助,亲中国的思想才慢慢的消失。)。而在1872年之前琉球武术记载中就几乎看不到任何来自日本的影响。
但日本对琉球武术的影响是不可否认的。明治维新后,日本本岛上的武术家迷茫一时,最后悟出了一条保留他们武术的方式,就是将剑术改剑道,柔术改柔道,让它大众化的方法。而琉球士族武术家当然也面临同样的问题。况且1903年农民动乱后,日本政府对冲绳的土地政策进行改革。本来昔日的士族虽然没了位阶身份但还是拥有土地,但1903年后,从土地得到的收入也大大的减少,让许多有能力教武术的唐手家们更效仿日本武术界,将唐手大众化。
而早期唐手家们去日本推广武术,像船越义珍在日本做了许多前期工作。但真正的突破在1936年宫城长顺成功的将“刚柔流”注册成日本武道的一种,各流派相续被认可,空手道才能正式被日本社会接受在日本学校推广。而宫城长顺被大日本武德会任命第一位(也是唯一的一位)冲绳分会会长。这个过程恐怕是有士族后裔富裕家庭背景的宫城长顺带头做了无数公关工作才取得的入围资格。
因此唐手改名空手道,在日本传开,才得以被保留到今天,流传到世界各地。