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Introduction
For a thousand years the Japanese sword has reigned supereme as the greatest edged weapon the human race has ever developed, a weapon of such beatuy that it has assume almost religious stature in the Japanese culture. Relatively unchanged in basic design since its creation by Amakuni in
Although there are older weapon systems in existence, none can compare with the depth of research that has been done on the art of Kenjutsu. Generations of swordsmen have devoted their entire lives to the study of every possible variation in use of the weapon. Not satisfied with mere variations in technique, the Japanese swordsmen explored the strategy and philosophy of the sword with an almost maniacal thirst for knowledge. Little wonder, then, that the lone swordsman has assumed such a key role in Japanese history and played a major part in shaping the character of an entire race of people.
Pictures and words can never capture the spirit of swordsmanship as an art, nor can any instructor of swordsmanship as an art, nor can any insturctor truly claim to teach it. This book will not make the reader a swordsman, for the art of war is more than a mere set of techniques. True understanding in any martial art is only to be achieved by a long and close relationship with a master. Even then, very few pupils are capable of penetrating to the heart of the matter. If a great instructor produces one great student in half a lifetime of teaching he considers himself fortunate. It is for this reason that many fine styles of Kenjutsu have become lost. Rather than accepting a second rate successor, many instructors chose to let their styles die with them, never revealing the inner teachings.
In a traditional art there are three levels of instruction. After an initial probationary period the disciple is introduced to Shoden, the basic techniques. Following this are Chuden and Okuden, with the final Hiden stage being reserved for the master's successor. The Shkoden level instruction is designed to familiarize the new student with both the sword and his own body, and varies but slightly from school to shcool. This book is an outline ot the first year of insturction in the Itto Tenshin Katori Shinto style of Kenjutsu. Beginners should study both words and pictures together, for one express intent and the other shows form in the same way that mastery of Kenjutsu depends on spirit and technique together.
Advanced students will benefit from reading between the lines. The study of Shoden never ceases for the student or the master.
no contents
Tying the Obi
Tying the Hakama
Tekubi Undo
Dachi
Sankakudai
Seiza
Zazan
Sanchin
Zarei
Nippon-to
The Dojo
The Weapon
Haiken (wearing the sword)
Bokuto
Kirigaeshi
Makko Giri
Katate Undo
Temoto
Chudan No Kamae
Happogamae
Kamae No Henka
Katana Daishiyo
Keiki
Cleaning the Sword
Suburi
Suburi Ipponme
Oshigiri
Hikigiri
Suburi Nihonme
Suburi Sambonme
Suburi Yonhonme
Suburi Gohonme
Suaburi Ropponme
Suburi Shichiponme
Reishiki
Closing Form
Nukidashi
Chiburi
Noto
Kata
Shohatsuto
Uto
Atarito
Inyoshintai
Gokyo
Seichuto
Ryuto
Junto (Kaishaku-Seppuku second)
Kesagiri
Sanhogiri
Shihogiri
Zengogiri
Gyakuto
Tachidori Shodan
Jojutsu
Ashidome
Kumitachi-Ipponmen (Uchi Otoshi); Nipponme (Uke Nagashi); Sambonne (Ki Musubi); Yonhnme (Dogiri); Gohonme (Tsuka Ate); Ropponme (Morotegiri); Manahonme (Rkyotegiri); Tsukadome; Hizagiri; Gyaku Nuki; Nito Waza
For a thousand years the Japanese sword has reigned supereme as the greatest edged weapon the human race has ever developed, a weapon of such beatuy that it has assume almost religious stature in the Japanese culture. Relatively unchanged in basic design since its creation by Amakuni in
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701 AD it is still one of the three sacred symbols of the Japanese Throne.Although there are older weapon systems in existence, none can compare with the depth of research that has been done on the art of Kenjutsu. Generations of swordsmen have devoted their entire lives to the study of every possible variation in use of the weapon. Not satisfied with mere variations in technique, the Japanese swordsmen explored the strategy and philosophy of the sword with an almost maniacal thirst for knowledge. Little wonder, then, that the lone swordsman has assumed such a key role in Japanese history and played a major part in shaping the character of an entire race of people.
Pictures and words can never capture the spirit of swordsmanship as an art, nor can any instructor of swordsmanship as an art, nor can any insturctor truly claim to teach it. This book will not make the reader a swordsman, for the art of war is more than a mere set of techniques. True understanding in any martial art is only to be achieved by a long and close relationship with a master. Even then, very few pupils are capable of penetrating to the heart of the matter. If a great instructor produces one great student in half a lifetime of teaching he considers himself fortunate. It is for this reason that many fine styles of Kenjutsu have become lost. Rather than accepting a second rate successor, many instructors chose to let their styles die with them, never revealing the inner teachings.
In a traditional art there are three levels of instruction. After an initial probationary period the disciple is introduced to Shoden, the basic techniques. Following this are Chuden and Okuden, with the final Hiden stage being reserved for the master's successor. The Shkoden level instruction is designed to familiarize the new student with both the sword and his own body, and varies but slightly from school to shcool. This book is an outline ot the first year of insturction in the Itto Tenshin Katori Shinto style of Kenjutsu. Beginners should study both words and pictures together, for one express intent and the other shows form in the same way that mastery of Kenjutsu depends on spirit and technique together.
Advanced students will benefit from reading between the lines. The study of Shoden never ceases for the student or the master.
no contents
Tying the Obi
Tying the Hakama
Tekubi Undo
Dachi
Sankakudai
Seiza
Zazan
Sanchin
Zarei
Nippon-to
The Dojo
The Weapon
Haiken (wearing the sword)
Bokuto
Kirigaeshi
Makko Giri
Katate Undo
Temoto
Chudan No Kamae
Happogamae
Kamae No Henka
Katana Daishiyo
Keiki
Cleaning the Sword
Suburi
Suburi Ipponme
Oshigiri
Hikigiri
Suburi Nihonme
Suburi Sambonme
Suburi Yonhonme
Suburi Gohonme
Suaburi Ropponme
Suburi Shichiponme
Reishiki
Closing Form
Nukidashi
Chiburi
Noto
Kata
Shohatsuto
Uto
Atarito
Inyoshintai
Gokyo
Seichuto
Ryuto
Junto (Kaishaku-Seppuku second)
Kesagiri
Sanhogiri
Shihogiri
Zengogiri
Gyakuto
Tachidori Shodan
Jojutsu
Ashidome
Kumitachi-Ipponmen (Uchi Otoshi); Nipponme (Uke Nagashi); Sambonne (Ki Musubi); Yonhnme (Dogiri); Gohonme (Tsuka Ate); Ropponme (Morotegiri); Manahonme (Rkyotegiri); Tsukadome; Hizagiri; Gyaku Nuki; Nito Waza
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Publication
Bookmaker Publications San Diego, California