Library's review
On the first day of training, sword and human meet as alien objects; over time, they become one living thing. Eventually the blade will magnify and project the actions of the body, reflect mood and mindset, and ultimately reveal the pathway to the core of being.
Kurikara: The Sword and the Serpent
The first foreign student to train with Nakamura Taisaburo sensei-widely acknowledged as the master of the sword art battodo-Evans clearly explains how skill can be systematically developed through tanren, exercises that meld 'inner' and 'outer' power. Filled with fascinating anecotes from Evans's training in Japan, Kurikara is an inpirational and useful guide to Japanese sword practice.
John Maki Evans was born n Oxford in 1954. In 1983, while traveling in Japan, he met a yamabushi (moutain ascetic) who introduced him to Mikkyo and enocuraged him to start training in kenjutsu (swordsmanship) and shugendo. After two years of intense training he was introduced to a number of senior sword teachers, including such renowned masters as Nakamura Taisaburo, Danzaki Tomoaki, and Yoshikawa Koichiro. Since returning to England in 1996, Evans has been practicing and teahing battodo in London; he is currently the head teacher of the Fudokan battodo dojo (affilitated with the International battodo Federation). He holds a grade of 7th dan in Nakamura Ryu Battodo and black belt grades in numerous other arts.
Kurikara is a wonderful book on the essence of swordsmanship. It is
not limited to any one style or school. The author, John Evans,
beautifully blends the practical and the spiritual, the fundamentals
and the esoteric elements of swordsmanship whilst at the same time
narrating his own unique experience.
John Evans was taught swordsmanship by the yamabushi, mountain
ascetics, esoteric Buddhist monks who live in seclusion in the
mountains of Japan and have a history of teaching fencing to
historically important swordsmen such as Minamoto Yoshitsune. He also
studied Kashima Shinto-Ryu, Iaido, Toyama and Nakamura-ryu, as well as
yoga. John was the first non-Japanese student of Toyama-ryu exponent and
tameshigiri master Nakamura Taisaburo sensei.
John Evans has a deep understanding of the experience that one feels
as they pass through each stage of their learning. The books ties
John's experience with yoga to swordsmanship through the importance of
developing the tanden: an area about four inches below the navel.
There are other unique aspects of spiritual development explained
that, due to lack of experienced persons, are rarely seen in books in
English such as takigyo: immersion under waterfalls.
The book has fundamental explanations for beginners, but its goes
beyond the confines of basics and kata. It includes information on
human reaction in actual combat. This text fills the gaps in
information between art and practical usage of Japanese swords. -Paul Martin
It was quite serendipitous, the way I came across this book. I had just finished Alex Kozma's book 'Warrior Guards the Mountain - The Internal Martial Traditions of China, Japan and South East Asia' earlier in the year and John Evans Sensei was one of the masters interviewed in the book, being described as a man skilled in Yoga, as well as the traditions of the Yamabushi (mountain ascetics) of Japan as well as highly ranked in the sword arts. With this recommendation, I was more willing to purchase a book with no reviews and no listed lineage in koryu.
I had expected something in the lines of David Lowry's 'Autumn Lightning', that is an autobiography of how he came to learn the art and stories of his master, but beyond the autobiographical sections in the introduction, this book is quite technical.
however, it does not show or describe any kata and this is why this book is so useful for all martial artists, including people who train Chinese martial arts. He does not just present exercises and say do them, but talks about the expected end goals and how they are to be expressed in the body both physically, energetically and mentally. Due to his background in yoga, accupuncture, shiatsu and other martial arts he is able to convey concepts clearly, cross referencing when things become too technical.
The book is primarily about the principles behind different types of training in the art of the Japanese sword (suburi, repeated striking of a tire or post, test-cutting, paired practice).
He talks about issues such as how power should be expressed from the lower body and how wrong training can lead to an over-reliance on the wrong muscle groups. He also touches on issues of health (such as excessive perspiration can lead to a drying of the internal organs and premature aging, and how too much alcohol in the body when doing ascetic training can lead to stroke.) He talks about qualities in the performance of kata, such as the quality of earth or groundedness, fire or explosiveness, water or flow and how each quality should be individually cultivated, otherwise it can lead to emotional imbalance.
For an advanced martial artists these are the valuable insights, how to distinguish when one is robotically going through the motions and how to know when one is mis-training.
If I had a complaint about the book is that it is too short! There are many tantalising glimpses of the system which would be more rewarding with a greater discussion and I would have loved to know more about his personal training in the past with his various teachers.
Although not described in detail in the book, Nakayama Ryu is based on Toyama Ryu and John Evans studied Kashima Shito Ryu for two years and is well acquainted with Kashima Shinto Ryu and Muso Shinden Ryu. He also studied with Shandor Remete with the Shadow Yoga System. -Boon Kwan
As a practitioner of Far Eastern sword arts for over 15 years, I've read quite a bit about the subject. Most texts have been below par and useless to anyone interested in reading about authentic martial arts philosophy and training. Most are so influenced by media and the consumer idea that Zen Buddhism was the 'warrior religion' in Japan that Shingon and its importance to real Japanese martial arts is unknown to them.
Evans' Kurikara is one of the few books that provides a realistic examination of the philosophy behind the technical skills in Far Eastern (Japanese) swordsmanship. It is obvious that Evans is quite knowledgeable about his subject and speaks from personal mastery.
The book has been added to my required reading list. It deserves a place on the shelf next to Otake, Draeger and Warner, Yamasaki (on Shingon) and, yes, Musashi (whose ideas he explains with studied clarity). One can only hope that Evans may emmulate Otake's great series on Katori Shinto Ryu, The Deity and the Sword, and follow with a technical series combining both Shingon and kenjutsu.
If you want to learn techniques then this book isn't for you, and Evans would refer you to a competent teacher. This isn't about what can't be learned through reading a book. It is a sharing of ideas that will support the authentic training in Far Eastern sword arts (which is all any text on philosophy can do).
My only problem with the text is that the personal narratives that were used in the beginning of the text were dropped. More of this would have added to the richness of the book.-Ron Mottern
If you practice a sword art, particularly a koryu or iaido; and your teacher frequently rolls his eyes heavenward saying 'Gambatte--for another 30 years!' with a patient smile of utter futility; and you have the courage to learn WHY . . . please do buy and read this book.
It will tell you what your teacher sees, and doesn't, and wishes he did. Why seeing your sword technique probably tells him more about you than if you were naked on pentothal. Why perfect practice makes perfect, but whaling away for thousands of reps. with the wrong understanding will only lead to injuries. And above all, where 'there' is and why you want to go.
While based on Nakamura-ryu, this book is not ryuha-specific. Everything the author says here about use of the body is applicable to all properly taught Japanese sword, and a lot of other things besides. Best of all, he makes a concrete, practicible connection between Mikkyo and Shinto religious practices and where and how they intersect with authentic swordsmanship.
If you're one of the ones, like me, who've spent a couple of decades of your life peering dimly at a reality you know is out there on the other side of a frosted pane of glass, and for some strange reason your feet keep taking you to the dojo . . . here is the 'ura' to the 'omote' of your practice. Use it well! -Kashin
This was a rather intense book in the fact that many of the esoteric philosophy and practical techniques of Japanese swordsmanship are defined. I also found that the application of the authors yoga techniques during ones quest of the unification of blade and soul especially enlightening. It becomes quite clear that yoga and martial arts in general are from the same lineage.
I think this book is a great study for teachers and students alike as both viewpoints are clearly explained and defined in a straightforward and no nonsense manner.
This may not be the best first book to read if you have no understanding of various yoga practices as a lot of the techniques from the prospective of a westerner are foreign.
Regardless I feel I will be referring back to this book for its insight for a long time coming. -Raymond Allen
Having been involved in the Japanese sword and knife arts (Kenjutsu, Kendo, Wakizashi-Jutsu, Iaido and Tanto-Jutsu) for many years, I found this book extremely interesting. First off, unless you are actively involved in taking a Japanese sword art, you will have trouble understanding the material in this book. As a Kendo and Kenjutsu (Kashima Shinden Jinkenshin Kagi Ryu) student I completely grasped the information in this text, but someone with absolutely no sword training would be lost. Secondly, this is not a 'how to practice Kenjutsu' book. There are very few illustrations and unless you know the Kenjutsu terminology, this book will be of little help to those not involved in the sword arts. Finally, this sword style (Nakamura Ryu) is a more mystical approach(Internal) than other sword systems. In this respect, I think it is a little too esoteric.
Now for the good news. If you are presently taking any Japanese sword art, I highly recommend this book. This excellent text covers the basic 7 cuts and one thrusting technique (Kihon) of many Kenjutsu systems, it explains the katas (forms), how to develop powerful cuts and thrusts, sparring (Kumitachi) techniques, breathing and meditation techniques. The appendix sections are also very informative showing the various training weapons, sword nomenclature and safety tips.
In conclusion, if you have never taken a Japanese sword art this book is not for you, but if you are actively involved in a traditional Japanese sword system, this book can serve as a basic technical and philosophical introduction when used in combination with your Sensei's (Instructor's) instruction. -Joseph Truncale
Contents
Foreword by Natanga Zhander
Introduction
1 Kihon-Basics
2 Kata-Forms
3 Tanren-Forging power
4 Uchikomi-Striking targets
5 Tameshigiri-Cutting targets
6 Kumitachi-Sparring
7 Shinshin renma-Cultivation of sensibility
8 Sanmitsu yuga-Three secrets integration
Appendix I: Training weapons
Appendix II: Godai table
Appendix III: Tenouchi
Appensix IV: Sword nomenclature
Appendix V: Safety
Glossary
Recommended reading (bibliography)
Kurikara: The Sword and the Serpent
Show More
sets out eight basic principles of sworsmanship common to all Japanese sword schools. Accomplished martial artist John Maki Evans provides practical examples from his experience with the sword arts as well as Mikkyo (Japanese esoteric Buddhism) and shugendo (mountain asceticism). In Mikkyo, the dragon Kurikara is a manifestation of the bodhisattva Fudo Myo O, whose sword represents the ability to cut through illusion and attachment. This leads to the development of an inner energy that allows one to 'burn up' all obstacles to spiritual freedom.The first foreign student to train with Nakamura Taisaburo sensei-widely acknowledged as the master of the sword art battodo-Evans clearly explains how skill can be systematically developed through tanren, exercises that meld 'inner' and 'outer' power. Filled with fascinating anecotes from Evans's training in Japan, Kurikara is an inpirational and useful guide to Japanese sword practice.
John Maki Evans was born n Oxford in 1954. In 1983, while traveling in Japan, he met a yamabushi (moutain ascetic) who introduced him to Mikkyo and enocuraged him to start training in kenjutsu (swordsmanship) and shugendo. After two years of intense training he was introduced to a number of senior sword teachers, including such renowned masters as Nakamura Taisaburo, Danzaki Tomoaki, and Yoshikawa Koichiro. Since returning to England in 1996, Evans has been practicing and teahing battodo in London; he is currently the head teacher of the Fudokan battodo dojo (affilitated with the International battodo Federation). He holds a grade of 7th dan in Nakamura Ryu Battodo and black belt grades in numerous other arts.
Kurikara is a wonderful book on the essence of swordsmanship. It is
not limited to any one style or school. The author, John Evans,
beautifully blends the practical and the spiritual, the fundamentals
and the esoteric elements of swordsmanship whilst at the same time
narrating his own unique experience.
John Evans was taught swordsmanship by the yamabushi, mountain
ascetics, esoteric Buddhist monks who live in seclusion in the
mountains of Japan and have a history of teaching fencing to
historically important swordsmen such as Minamoto Yoshitsune. He also
studied Kashima Shinto-Ryu, Iaido, Toyama and Nakamura-ryu, as well as
yoga. John was the first non-Japanese student of Toyama-ryu exponent and
tameshigiri master Nakamura Taisaburo sensei.
John Evans has a deep understanding of the experience that one feels
as they pass through each stage of their learning. The books ties
John's experience with yoga to swordsmanship through the importance of
developing the tanden: an area about four inches below the navel.
There are other unique aspects of spiritual development explained
that, due to lack of experienced persons, are rarely seen in books in
English such as takigyo: immersion under waterfalls.
The book has fundamental explanations for beginners, but its goes
beyond the confines of basics and kata. It includes information on
human reaction in actual combat. This text fills the gaps in
information between art and practical usage of Japanese swords. -Paul Martin
It was quite serendipitous, the way I came across this book. I had just finished Alex Kozma's book 'Warrior Guards the Mountain - The Internal Martial Traditions of China, Japan and South East Asia' earlier in the year and John Evans Sensei was one of the masters interviewed in the book, being described as a man skilled in Yoga, as well as the traditions of the Yamabushi (mountain ascetics) of Japan as well as highly ranked in the sword arts. With this recommendation, I was more willing to purchase a book with no reviews and no listed lineage in koryu.
I had expected something in the lines of David Lowry's 'Autumn Lightning', that is an autobiography of how he came to learn the art and stories of his master, but beyond the autobiographical sections in the introduction, this book is quite technical.
however, it does not show or describe any kata and this is why this book is so useful for all martial artists, including people who train Chinese martial arts. He does not just present exercises and say do them, but talks about the expected end goals and how they are to be expressed in the body both physically, energetically and mentally. Due to his background in yoga, accupuncture, shiatsu and other martial arts he is able to convey concepts clearly, cross referencing when things become too technical.
The book is primarily about the principles behind different types of training in the art of the Japanese sword (suburi, repeated striking of a tire or post, test-cutting, paired practice).
He talks about issues such as how power should be expressed from the lower body and how wrong training can lead to an over-reliance on the wrong muscle groups. He also touches on issues of health (such as excessive perspiration can lead to a drying of the internal organs and premature aging, and how too much alcohol in the body when doing ascetic training can lead to stroke.) He talks about qualities in the performance of kata, such as the quality of earth or groundedness, fire or explosiveness, water or flow and how each quality should be individually cultivated, otherwise it can lead to emotional imbalance.
For an advanced martial artists these are the valuable insights, how to distinguish when one is robotically going through the motions and how to know when one is mis-training.
If I had a complaint about the book is that it is too short! There are many tantalising glimpses of the system which would be more rewarding with a greater discussion and I would have loved to know more about his personal training in the past with his various teachers.
Although not described in detail in the book, Nakayama Ryu is based on Toyama Ryu and John Evans studied Kashima Shito Ryu for two years and is well acquainted with Kashima Shinto Ryu and Muso Shinden Ryu. He also studied with Shandor Remete with the Shadow Yoga System. -Boon Kwan
As a practitioner of Far Eastern sword arts for over 15 years, I've read quite a bit about the subject. Most texts have been below par and useless to anyone interested in reading about authentic martial arts philosophy and training. Most are so influenced by media and the consumer idea that Zen Buddhism was the 'warrior religion' in Japan that Shingon and its importance to real Japanese martial arts is unknown to them.
Evans' Kurikara is one of the few books that provides a realistic examination of the philosophy behind the technical skills in Far Eastern (Japanese) swordsmanship. It is obvious that Evans is quite knowledgeable about his subject and speaks from personal mastery.
The book has been added to my required reading list. It deserves a place on the shelf next to Otake, Draeger and Warner, Yamasaki (on Shingon) and, yes, Musashi (whose ideas he explains with studied clarity). One can only hope that Evans may emmulate Otake's great series on Katori Shinto Ryu, The Deity and the Sword, and follow with a technical series combining both Shingon and kenjutsu.
If you want to learn techniques then this book isn't for you, and Evans would refer you to a competent teacher. This isn't about what can't be learned through reading a book. It is a sharing of ideas that will support the authentic training in Far Eastern sword arts (which is all any text on philosophy can do).
My only problem with the text is that the personal narratives that were used in the beginning of the text were dropped. More of this would have added to the richness of the book.-Ron Mottern
If you practice a sword art, particularly a koryu or iaido; and your teacher frequently rolls his eyes heavenward saying 'Gambatte--for another 30 years!' with a patient smile of utter futility; and you have the courage to learn WHY . . . please do buy and read this book.
It will tell you what your teacher sees, and doesn't, and wishes he did. Why seeing your sword technique probably tells him more about you than if you were naked on pentothal. Why perfect practice makes perfect, but whaling away for thousands of reps. with the wrong understanding will only lead to injuries. And above all, where 'there' is and why you want to go.
While based on Nakamura-ryu, this book is not ryuha-specific. Everything the author says here about use of the body is applicable to all properly taught Japanese sword, and a lot of other things besides. Best of all, he makes a concrete, practicible connection between Mikkyo and Shinto religious practices and where and how they intersect with authentic swordsmanship.
If you're one of the ones, like me, who've spent a couple of decades of your life peering dimly at a reality you know is out there on the other side of a frosted pane of glass, and for some strange reason your feet keep taking you to the dojo . . . here is the 'ura' to the 'omote' of your practice. Use it well! -Kashin
This was a rather intense book in the fact that many of the esoteric philosophy and practical techniques of Japanese swordsmanship are defined. I also found that the application of the authors yoga techniques during ones quest of the unification of blade and soul especially enlightening. It becomes quite clear that yoga and martial arts in general are from the same lineage.
I think this book is a great study for teachers and students alike as both viewpoints are clearly explained and defined in a straightforward and no nonsense manner.
This may not be the best first book to read if you have no understanding of various yoga practices as a lot of the techniques from the prospective of a westerner are foreign.
Regardless I feel I will be referring back to this book for its insight for a long time coming. -Raymond Allen
Having been involved in the Japanese sword and knife arts (Kenjutsu, Kendo, Wakizashi-Jutsu, Iaido and Tanto-Jutsu) for many years, I found this book extremely interesting. First off, unless you are actively involved in taking a Japanese sword art, you will have trouble understanding the material in this book. As a Kendo and Kenjutsu (Kashima Shinden Jinkenshin Kagi Ryu) student I completely grasped the information in this text, but someone with absolutely no sword training would be lost. Secondly, this is not a 'how to practice Kenjutsu' book. There are very few illustrations and unless you know the Kenjutsu terminology, this book will be of little help to those not involved in the sword arts. Finally, this sword style (Nakamura Ryu) is a more mystical approach(Internal) than other sword systems. In this respect, I think it is a little too esoteric.
Now for the good news. If you are presently taking any Japanese sword art, I highly recommend this book. This excellent text covers the basic 7 cuts and one thrusting technique (Kihon) of many Kenjutsu systems, it explains the katas (forms), how to develop powerful cuts and thrusts, sparring (Kumitachi) techniques, breathing and meditation techniques. The appendix sections are also very informative showing the various training weapons, sword nomenclature and safety tips.
In conclusion, if you have never taken a Japanese sword art this book is not for you, but if you are actively involved in a traditional Japanese sword system, this book can serve as a basic technical and philosophical introduction when used in combination with your Sensei's (Instructor's) instruction. -Joseph Truncale
Contents
Foreword by Natanga Zhander
Introduction
1 Kihon-Basics
2 Kata-Forms
3 Tanren-Forging power
4 Uchikomi-Striking targets
5 Tameshigiri-Cutting targets
6 Kumitachi-Sparring
7 Shinshin renma-Cultivation of sensibility
8 Sanmitsu yuga-Three secrets integration
Appendix I: Training weapons
Appendix II: Godai table
Appendix III: Tenouchi
Appensix IV: Sword nomenclature
Appendix V: Safety
Glossary
Recommended reading (bibliography)
Show Less
ISBN
9781583942444
Publication
Blue Snake Books Berkeley, California