Kashima Shinden Jikishinkage-ryu

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Kashima Shinden Jikishinkage-ryū (鹿島 神 傳 直 心 影 流?) (Short form: Jikishinkage-ryū or Kashima Shinden ) is a traditional school (koryū) of the ancient Japanese art of sword fighting, Kenjutsu . It was founded in the middle of the 16th century. Her style is based on older forms and is one of the few schools that has existed into modern times.

Kashima Shinden Jikishinkage-ryū can be translated as "the art transmitted by the gods and reproduced with a pure heart, school of Kashima".

In the kata , with constant eye contact between both partners, the energies are moved back and forth with the necessary sensitivity, alternating between slow and fast sections. In this clearly perceptible rhythm, the opposites, yin and yang, are revealed. It reflects the characters of the individual parts of the exercise. From this grows a deep understanding of the laws of nature, which allows practitioners to penetrate to their core. Through constant, intensive practice , the intern builds an inner connection with the surrounding cosmos. With a pure heart and steadfastness, he attains unclouded clarity of mind, as well as a cloudless sky on a sunny day . An intern who has the highest level of artistry - jikishinand seimeishin - has reached, it is said, has the immovable spirit (also: heart - fudōshin不 動心).

History and origin

Jikishinkage-ryū emerged from the Kenjutsu styles of the late Muromachi and early Sengoku periods; according to our era of the late 15th and early 16th centuries. It was during this time that the Kashima shrine - Kashima-jingū - was founded by its founder, Matsumoto Bizen-no-Kami Naokatsu (松本 備 前 守 尚 勝, 1467-1524). A direct origin can be derived from the older styles of Jikishinkage-ryū as well as Shinkage-ryū and Kage-ryū (Aizu). A samurai named Aisu Iko founded the Kage-ryū Kenjutsu in 1490. He perfected the art and taught it all over Japan. According to a different source, another samurai, Kamiizumi Ise-no-Kami Nobutsuna (1508–1548), taught his own style as a form of Kage-ryū Kenjutsu, which he called Shinkage-ryū ("school of the new shadow play"). Jikishin Kage-ryū means something like "the new school of traditional, traditional shadow play". He referred to the origin with the name and thereby expressed his respect and appreciation for his teachers. One of his teachers was Matsumoto Bizen no Kami Naokatsu, who first called his own school Kashima Shinryū, then Kashima Shinden Jiki Shinkage-ryū. All of these courses still exist today.

In the 19th century, Jiki Shinkage-ryū was one of the most popular schools of sword fighting in Japan, especially in the Edo period . The 14th Grand Master (sōke, 宗 家) of Jikishin Kage-ryū, Sakakibara Kenkichi, was one of the most famous and famous swordsmen of his time and the personal bodyguard of the Shogun. Sakakibara taught hundreds of students, many of whom achieved the titles menkyo kaiden (免 許 皆 伝) and shihan (師範). These titles empowered them to teach the entire teaching and technology and thus to pass it on. At least 20 students with the title menkyo kaiden are shown on the teaching boards and some of them have developed their own curriculum.

Many other students of Jiki Shinkage-ryū under the direction of Sakakibara did not achieve this high level of awareness and the necessary grading to continue teaching under their name. Perhaps the most famous of these was Sokaku Takeda , founder of Daitō-ryū Aiki-jūjutsu and later teacher of Ueshiba Morihei , the founder of modern Aikidō .

Properties of technique and style

Special characteristics of Jikishinkage-ryū and an essential distinguishing feature from other classical Kenjutsu and Kendō styles are the foot technique and breathing.

Unpō (運 法), the foot technique, can be translated as "method to move". In contrast to the suriashi of modern Kendō, Unpō specifies that both feet are permanently connected to the ground. Likewise, the Kiai is not only the expulsion of a vocal burst of energy, but also the conscious inhalation associated with a very specific form as well as a crystal clear, purposeful mental attitude and focus. This breathing is particularly evident in partner exercises.

In every Kata (形) two roles are distinguished: that of the shidachi (受 太 刀), which wields the attacking sword, and uchidachi (打 太 刀), which wields the receiving sword. The two roles are also referred to as father and son. The father takes on the role of the serene teacher (uchidachi). The son plays the role of the impetuous youngster (shidachi).

Certain forms of movement in the katas are the same for both roles, for example the sequence of movements kamihanen (上 半 円), a movement with the sword in a semicircle above the head, and shimohanen (下 半 円), a movement with the sword at the level of the center of the body in a semicircle directed downwards. These two movements - waza (技) - are rather unusual for katas of classical sword fighting, but are typical of Kashima Shinden Jikishinkage-ryū.

Another movement sequence in the kata that is typical for Kashima Shinden Jikishinkage-ryū is morōde (両 腕): Shidachi carries his sword over his head with both hands (jōdan) and uchidachi receives the sword stroke (uchikomi) with the side of the sword blade. At the slightest touch of the swords, uchidachi's hilt snaps up, guided over his right wrist, absorbing the force of the blow on his blade. This would break instantly , despite the high quality and strength of the Japanese katana .

Five kata of the Kashima Shinden Jikishinkage-ryū

Hōjō no kata

Each Hōjō-Kata (hōˑjō - 法 上) consists of four sequences - "anecdotes" or sentences (Kōan - 公案) - which differ in their movements but also in their breathing. The pictures are named after the seasons.

first sequence ipponme (一 本 目) second sequence nihonme (ニ 本 目) third sequence sanhonme (三 本 目) fourth sequence yonhonme (四 本 目),
Spring haru no tachi (春 の 太 刀) Summer natsu no tachi (夏 の 太 刀) Autumn aki no tachi (秋 の 太 刀) Winter fuyu no tachi (冬 の 太 刀)
Stress eight directions hasso happa Stress The ego cut up itto ryōdan Emphasis change, development uten satan (雨天) Emphasis on duality is unity chotan ichimi
increasing speed fast decreasing speed slowly
childhood youthful age Adulthood Old age
tomorrow afternoon Eve night
warming up heated cooling cold

Tōnō kata / Fukuro Shinai

The Tōnō kata (fukuro shinai) is the second kata sequence of the Jikishinkage-ryū. It consists of 14 sections, which are combined into six groups, with the first section consisting of four, the remaining sections each consisting of two sequences and four main movements each. A special feature is the high speed with which this kata is performed by Uchidachi and Shidachi. Both use bamboo shinai (fukuro-shinai).

Kōdachi no kata

Kōdachi no kata is the third kata of Jikishinkage-ryū, consisting of six sections. Shidachi uses the shorter and thicker Kodachi boken. Uchidachi, on the other hand, uses the classic Kendō-Shinai made from bamboo. In all three groups of this kata, Shidachi attacks impetuously and Uchidachi approaches the Kodachi with precision, calm and serenity. The Kodachi is held tightly to the shaft, the tsuka, with both hands.

Habiki no kata

The fourth kata is called Habiki no kata and is a combination of the Hōjō- and the Tōnō-Kata with the special feature that Uchidachi and Shidachi use a real shinken , a katana . In terms of the geometry of the process, Habiki no kata can be described as the ura version of the Hōjō-Kata. Here omote (frontal) and ura (backwards) as well as uchi (inside) and soto (outside) denote certain execution positions of a movement.

Marubashi no kata

By far the most difficult kata sequence is Marubashi no kata. It contains complex kiai energies and very subtle, meaningful movements in a small space. To an outside observer, this looks like almost nothing is happening. Shidachi uses the Kodachi, Uchidachi the Odachi. In the last round of the kata, both use the shinken.
This kata has been kept as a secret for centuries. It is not known exactly when the secret was revealed, but it was described together with the remaining four kata in a book by Yamada Jirokichi in 1927 with text and pictures.

dress

In ancient times, kenjutsu practitioners dressed in a kimono made of strong, extremely sturdy fabric. This was necessary in order to protect oneself from body hits, even when practicing with wooden swords ( Bokutō - Bokken). Nowadays the risk of injury is lower and it is sufficient to wear a white tracksuit (keikogi 稽古 着) of medium thickness, as used in judo. In addition, one wears the traditional dark blue or black culottes (hakama 袴).

Lessons and schools in recent times

continent country place Style / kata Lecturer
Asia Japan Tokyo all classic styles Yoshida Hijime
Asia Japan Kobe all classic styles
Asia Japan Yokohama all classic styles
Europe Czech Republic Prague Hōjō Namiki Yasushi via Masatomi Ikeda
Europe Germany Berlin all classic styles and Shinbukan katas Matsudaira Yasutoshi via Suzuki Kimiyoshi
Europe Germany Shrapnel all classic styles and Shinbukan katas Matsudaira Yasutoshi via Suzuki Kimiyoshi
Europe Germany Reutlingen all classic styles and Shinbukan katas Matsudaira Yasutoshi via Suzuki Kimiyoshi
Europe Hungary Budapest all classic styles and Shinbukan katas Matsudaira Yasutoshi via Suzuki Kimiyoshi
Europe Hungary Gödöllő all classic styles and Shinbukan katas Matsudaira Yasutoshi via Suzuki Kimiyoshi
Europe Hungary Pécs all classic styles and Shinbukan katas Matsudaira Yasutoshi via Suzuki Kimiyoshi
Europe Hungary Dunakeszi all classic styles and Shinbukan katas Matsudaira Yasutoshi via Suzuki Kimiyoshi
Europe Hungary Kecskemét all classic styles and Shinbukan katas Matsudaira Yasutoshi via Suzuki Kimiyoshi
Europe Italy Turin Hōjō, Tō Namiki Yasushi via Hideki Hosokawa
Europe Italy Imperia Hōjō Namiki Yasushi via Hideki Hosokawa
Europe Italy La Spezia Hōjō Namiki Yasushi via Hideki Hosokawa
Europe Republic of Macedonia Skopje Hōjō Namiki Yasushi via Masatomi Ikeda
Europe Netherlands Utrecht Hōjō, Tō Namiki Yasushi via Masatomi Ikeda
Europe Netherlands Amsterdam Hōjō Namiki Yasushi via Hideki Hosokawa
Europe Serbia Belgrade Hōjō Namiki Yasushi via Masatomi Ikeda
Europe Serbia Novi Sad Hōjō Namiki Yasushi via Masatomi Ikeda
Europe Serbia Vršac Hōjō Namiki Yasushi via Masatomi Ikeda
Europe Serbia Niš Hōjō Namiki Yasushi via Masatomi Ikeda
Europe Slovakia Sereď all classic styles and Shinbukan katas Matsudaira Yasutoshi via Suzuki Kimiyoshi
Europe Slovakia Bratislava Hōjō Namiki Yasush via Masatomi Ikeda
Europe Switzerland Aarau Hōjō Namiki Yasush via Masatomi Ikeda
Europe Switzerland Basel Hōjō Namiki Yasush via Masatomi Ikeda
Europe Switzerland La Chaux-de-Fonds Hōjō Namiki Yasush via Masatomi Ikeda
Europe Switzerland Neuchâtel Hōjō Namiki Yasush via Masatomi Ikeda
Europe Switzerland Zurich Hōjō Namiki Yasush via Masatomi Ikeda
Europe Switzerland Winterthur Hōjō Namiki Yasush via Masatomi Ikeda
North America United States Rockville, MD all classic styles Namiki Yasushi
North America United States Chicago, IL Hōjō Ōmori Sōgen
North America United States Honolulu, HI Hōjō Ōmori Sōgen

See also

  • Zanshin
  • Masatomi Ikeda
  • Yagyū Munenori The old, traditional sword katas Ichi-no-tachi, nin-no-tachi, san-no-tachi, yon-no-tachi and go-no-tachi of Kashima Shinden Jikishinkage-ryū come from his writings

Web links