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Kashima Shinden Jikishinkage-ryu
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, often referred to simply as Jikishinkage-ryu or Kashima Shinden, is a traditional school (koryu) of the Japanese martial art of swordsmanship (kenjutsu). The school was founded in the mid-sixteenth century, based upon older styles of swordsmanship, and is one of the few ancient Japanese martial arts schools still existing today.
Kashima Shinden Jikishinkage-ryu can be translated as the "divinely transmitted, honest reflection of the heart, school of Kashima."
By repetitive practice, one maintains a constant connection with the cosmos by aspiring to "unwavering intention" or jikishin and "perfect clarity of mind" or seimeishin like a cloudless sky on a brilliant sunny day.
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Encyclopedia
, often referred to simply as Jikishinkage-ryu or Kashima Shinden, is a traditional school (koryu) of the Japanese martial art of swordsmanship (kenjutsu). The school was founded in the mid-sixteenth century, based upon older styles of swordsmanship, and is one of the few ancient Japanese martial arts schools still existing today.
Kashima Shinden Jikishinkage-ryu can be translated as the "divinely transmitted, honest reflection of the heart, school of Kashima."
By repetitive practice, one maintains a constant connection with the cosmos by aspiring to "unwavering intention" or jikishin and "perfect clarity of mind" or seimeishin like a cloudless sky on a brilliant sunny day. A practitioner who has attained heightened jikishin and seimeishin is said to have an "immovable heart" or fudoshin.
History
The Jikishinkage-ryu style descends from the kenjutsu styles developed in the late Muromachi period which overlaps the early Sengoku period, or better dated as late fifteenth or early sixteenth century, at the Kashima Shrine by the founder, Matsumoto Bizen-no-Kami Naokatsu (?? ??? ??, 1467–1524). The direct predecessors of the Jikishinkage-ryu style are the Shinkage-ryu and the Kage-ryu (Aizu) styles.
The Jikishin Kage-ryu Kenjutsu comes from a previous school, Kage-ryu Kenjutsu. A samurai called Aizu Iko founded Kage-ryu in 1490. He perfected, and taught his style around Japan. There are evidence from 1525, that another samurai, Kamiizumi Ise no Kami Nobutsuna (1508-1548) is teaching his own style, a form of Kage-ryu kenjutsu. He called it Shinkage-ryu (the school of the new shadow). Jikishin Kage-ryu means 'the newest school of the ancient shadow'. He was denoting with the name, to the ancestors, and expressing respect to his former masters. Matsumoto Bizen no Kami Naokatsu was a famous master of this school, he also founded his own school first called Kashima Shinryu, then Kashima Shinden Jiki Shinkage-ryu. These schools can be found even today all around the world. There are more variations like Jikishin Kage-ryu, Seito Shinkage-ryu, etc.
During the 19th century, Jiki Shinkage-ryu was one of the most popular schools of combative swordsmanship (kenjutsu) in eastern Japan, especially in the Edo area. The 14th headmaster of Jikishin Kage-ryu Kenjutsu--Kenkichi Sakakibara--was one of the most well-known swordsmen of his time, and the personal bodyguard of the Shogun.
Sakakibara had hundreds of students during his lifetime, many of them rising to the "rank" of menkyo kaiden and shihan, thus able to pass on the full tradition. His most talented disciple was Yamada Jirokichi from whom the Seito-ha, which means main line system or traditional school, and many branch lines were derived. (Watatani and Yamada, Bugei ryuha daijiten, 1978:155-156, list 20 menkyo kaiden successors under Sakakibara.)
A less well-known, but highly skilled, menkyo kaiden ranked student was Matsudaira Yasutoshi, who, like Yamada, studied the more traditional ways of Jikishin Kage-ryu. The best apprentice of Yasutoshi was Makita Shigekatsu, a young man from a samurai family from Hokkaido. His name, and Jikishin Kage-ryu became famous on the northern island in the times of the Japanese civil war in 1868. By sword fighting, he was an expert of kyudo, Japanese archery. He was the heir of the title of shihan (successor) of Jiki Shinkage-ryu, but unfortunately he was fighting a losing battle against the Emperor in the revolution. The cast of the samurai was disbanded, and he had to run. Later, he returned to Hokkaido, and opened his own dojo, called Jikishin Kan Dojo. He was teaching various martial arts, not just kenjutsu. His dojo was popular, in spite of the prohibition of the katana in 1876.
After Shigekatsu's death, the village of Atsuta raised a black granite obelisk in his memory. This memorial can be seen today. The family tradition has been taken by his grandson, Kimiyoshi Suzuki. Kimiyoshi is also a master of Goju-ryu Karate and Jikishin Kage-ryu Kenjutsu.
There were many other famous practitioners of Jiki Shinkage-ryu under Sakakibara who did not reach the highest levels of the system and consequently were not named as successors. Perhaps the most famous of these was Sokaku Takeda, founder of Daito-ryu Aiki-jujutsu. In contrast, some writers have claimed that other famous historical personages such as Muso Gonnosuke were in the line of transmission of Jiki Shinkage-ryu. However, Gonnosuke was never in the direct lineage of Jiki Shinkage-ryu.
Characteristics
The Jikishinkage-ryu style has many differences when compared to modern kendo. We can readily point out the different footwork and breathing:
- The unpo is the footwork used in the Jikishinkage-ryu style and can be translated as law, rule or method (for) transporting, conveying or carrying ('walking'). Unlike the suriashi of modern kendo, it is stressed that both feet stay firmly planted on the ground at all times.
- Every kata has two distinct roles called the "striking/attacking sword" uchidachi and the "doing/receiving sword" shidachi.
- The kiai consists not only of the shouting, like most martial arts, but of the proper way of inhaling and state of mind as well.
- The synchronous deep breathing Aum (or a-un) with one's partner which accompanies most movements.
- The kamihanen (???, upper semicircle) and shimohanen (???, lower semicrcle) (also called jo han en and ge han en) are unconventional waza (techniques) of this style. Roughly, the swordsman draws a semicircle (upwards or downwards) with both his right hand (holding the sword), and his left hand (free). He finishes the movement with his arms extended, the sword pointing upwards, and the free hand's index finger pointing downwards. These movements can be considered as a "greeting" and a form of meditation, and are usually executed in the beginning and end of a kata or suburi session. They represent all the things in heaven and all the things in earth, and the practitioner in the center of everything.
- The morode (??, both arms) movement in which uchidachi raises with both arms the sword of shidachi to jodan and receives the subsequent uchikomi with the side of the blade. This results in thrusting the left arm forwards and turning both arms outwards to allow to absorb shidachi's cut.
Jikishinkage-ryu exponents train with both odachi and kodachi (but not both at once).
Clothing
Kenjutsu was practiced in a thick kimono (keikoga) in the old times. It was needed for protection, though it was sometimes still not enough. Practices are far less dangerous nowadays, the standard clothes in kenjutsu are normal keikogi and hakama. Preferably all pieces are in the same colour of dark blue or, when one seriously dedicates the practice to the kami, in white. To prevent treading on the hakama when moving in a low position, the hakama is raised a bit by neatly folding the left and right outside front pleats up under the straps which are tied around the waist, before training commences. It is possible to wear tabi when necessary.
For outdoor practice, jika-tabi are worn. As uchidachi always faces sun, this role can be very blinding, but it is not allowed to wear sunglasses or hats. However, in extremely cold conditions one can wear a hat (without sun reflector) and other extra protective clothing. When one has not enough hair or eyebrows or in extreme hot conditions, one can wear a tenugui or hachimaki to prevent sweat irritating the eyes or to keep hair out of the face. Note that tabi and jiki-tabi should preferably match the colour of the hakama.
It is prohibited to wear jewellery and the like as is custom in many martial arts. This rule is to prevent injuries to oneself and practicing partner as it is to prevent excessive display of ego and unneeded distractions.
Some practitioners wear aikidogi or karategi. In some groups beginners wear white obi, intermediates wear blue and brown obi and those who successfully completed their exam for 1st dan can wear black obi with hakama. Others practice in hakama without colored obi.
Ranks
The following licenses exist the Seito-ha (main line recognized by Kashima Shrine).
| rank | level | requirements |
|---|
| shomokuroku | - | disciple must show competence in Hojo no kata | | jomokuroku | - | disciple must show competence in To no kata | | reikenden | - | disciple must show competence in Kodachi no kata | | kyuri-no-maki | kyoshi | disciple must show deep understanding of the nature of Jikishinkage-ryu and show competence in Habiki no kata | | goku-i | shihandai | disciple has been initiated in Marubashi no kata | | menkyo | shihan | disciple has mastered the system |
Over the years the trainee should begin showing competence in leading/teaching the system. Consequently usually, but not always, the student receiving kyuri-no-maki is at the level of kyoshi (assistant instructor); the student receiving goku-i is at the level of shihandai (associate instructor); and the recipient of menkyo is at the level of shihan (master instructor). However, according to Yoshida Hijime, the current (20th) headmaster of the Seito-ha, only a shihan may teach independently of the headmaster. A restriction not necessarily followed in other lines.
Shinbukan:
| rank | belt | color | title | type |
|---|
| 3rd kyu | | white | - | mudansha | | 2nd kyu | | blue | - | mudansha | | 1st kyu | | brown | reiken | mudansha | | 1st dan | | black | kirigami | yudansha | | 2nd dan | | black | mokuroku | yudansha | | 3rd dan | | black | menkyo | yudansha |
The highest rank disciples of Kimiyoshi Suzuki sensei are 2nd dan black belts (mokuroku). The exams for belts are held once in a year, in the summer training camp. A person can take only one exam in a year.
In some groups, hakama can only be worn by those who successfully completed their 1st dan exam. This is mainly done for practical reasons. One is that the teacher can see how the student positions his or her legs and feet. Another reason is that the teacher and students can quickly see whom to call upon for assistance. In more traditional groups, everyone wears hakama.
Kihon
Basic technique and movements are shown in the table below.
| name | basic | other |
|---|
te no uchi (grip) | | | kamae (posture) |
- gedan no kamae
- jodan no kamae
- chudan no kamae / seigan no kamae
- hasso no kamae
|
- gyaku hasso
- waki gamae
- irimi seigan
- nio dachi
- chokuritsu seigan
- chokuritsu jodan
- chokuritsu gedan
- chokuritsu hasso
- etc.
| ashi sabaki (foot work) | unpo
|
- okuri ashi
- ayumi ashi
- tsugi ashi (migi, hidari)
- soroe ashi
- fumikomi ashi (migi, hidari)
- hiraki ashi (shomen, naname, soroe, etc.)
- kosa-ashi
- kirikaeshi
- etc.
| seme-waza (attack) | shomen yokomen dogiri tsuki kote kesakiri kiriage tsubamegaeshi ashikiri
|
- tai-atari
- ashi barai
- atemi (seiken tsuki, uraken uchi, etc.)
- keri (mawashi geri, mae geri, etc.)
- nage (kotegaeshi, etc.)
- etc.
| uke-waza (protect) | nagashi uke suriage ashidome otoshi uke harai uke kaeshi uke
|
- maki otoshi
- shin no uke
- nuki
- osae uke
- etc.
| kiai | "a" "um"
| |
Traditional Kata
The following five classical or orthodox kata are the only ones practiced in Japan today and were established in this order by the time of Yamada Heizaemon Ippusai in the late 1600s. In stead of the extension 'no kata', the kata in Yamada's book have the extension 'no bu', which means section (of this book).
Hojo
The Hojo no kata is the first classic kata of the Jikishinkage-ryu style and can be translated as laws, rules or methods ('principals') (which are) definitive, crucial or stable ('fundamental'). Both the shidachi and the uchidachi usually use wooden swords, bokken or bokuto, although real swords, shinken, can be used as well.
The Hojo no kata is composed of 4 stages, also called seasons, namely Spring (haru no tachi), Summer (natsu no tachi), Autumn (aki no tachi) and Winter (fuyu no tachi) in order of execution. Each season containing from 6 – 8 waza (movement). Before each season is executed the kamihanen, and after each season, the shimohanen.
The themes of the four seasons refer to universal principles which also express themselves in other manifestations. Some of these are listed in the table below.
ipponme
first stage | nihonme
second stage | sanbonme
third stage | yonhonme
fourth stage |
|---|
haru no tachi
spring sword | natsu no tachi
summer sword | aki no tachi
autumn sword | fuyu no tachi
winter sword | hasso happa
eight-aspects ???-??? | itto ryodan
one-sword both-cut | uten saten
right-turn left-turn | chotan ichimi
long-short one-body | | acceleration | fast | deceleration | slow | | childhood | adolescence | maturity | old age | | morning | afternoon | evening | night | | warming | heat | cooling | cold |
Each season has a respective pace, koan, footwork, breathing, kiai, and other features reminiscent of the perceived characteristics of that season.
- spring has waza which are executed in a smooth and fast manner, accompanied by loud kiai. The koan of spring is eight-aspects ???-??? which can be translated as all directions.
- summer has movements that are explosive and intense. The koan of summer is one-sword both-cut which can be translated as cutting your ego.
- autumn has a varied pace, symbolizing change. The koan of autumn is right-turn left-turn which can be translated as times of change.
- winter movements are slow, but firm. This is even more accentuated on the footwork of each season. The koan of winter is long-short one-body. The following example is an illustration of this principle. Imagine a situation where one person has a yari or naginata (?? or ??), which stands for long, and the other a has sword, which stands for short, but the situation is as such that there is no more discussion, any discussion at this point would be superfluous. This metaphor tries to explain the meaning behind this koan that in this season life and death are one.
Both uchidachi and shidachi take on a stance in Spring and Autumn which is called nio dachi. This refers to the pair of guardian deities of Buddhism called nio, which can be found as large statues at entrances of some of the ancient Japanese temples and shrines. The right statue is called Misshaku Kongo who has his mouth opened, this represents vocalization of the first character of Sanskrit which is pronounced "a." The left statue is called Naraen Kongo who has his mouth closed, represents the vocalization of the last letter of Sanskrit which is pronounced "um."
It is said that these two characters together symbolize the birth and death of all things, like we are born with "a" and our mouth open (inhale) and we die with "um" and our mouth closed (exhale). Similar to "Alpha and Omega" or "A to Z", they signify "beginning and end", "everything" or "all creation." The contraction of both is Aum (Devanagari ?), which is Sanskrit for God. The stances and expressions of the statues, the sounds "a" and "um" and the symbolism behind this are very import in the Hojo no kata.
The 15th headmaster wrote this on the meaning of the Hojo no kata:
Fukuro Shinai no kata (To no kata)
The Fukuro Shinai no kata or To no kata is the second kata of the Jikishinkage-ryu style. The kanji ? is rare and old and is read as "to" but has the meaning of "fukuro"
This kata is composed of 14 stages, divided in 6 groups. Each stage has about 4 movements. This kata is characterized by very fast waza. Both the uchidachi and the shidachi use fukuro shinai.
| stage | name |
|---|
| ipponme 1st stage | ryubi hidari (?? ?) | | nihonme 2nd stage | ryubi migi (?? ?) | | sanbonme 3rd stage | omokage hidari (?? ?) | | yonhonme 4th stage | omokage migi (?? ?) | | gohonme 5th stage | teppa | | ropponme 6th stage | teppa | | nanahonme 7th stage | teppa | | hachihonme 8th stage | teppa | | kyuhonme 9th stage | matsukaze hidari (?? ?) | | jupponme 10th stage | matsukaze migi (?? ?) | | juipponme 11th stage | hayafune hidari (?? ?) | | junihonme 12th stage | hayafune migi (?? ?) | | jusanbonme 13th stage | kyoku-shaku | | juyonhonme 14th stage | enren |
Kodachi no kata
The third kata in the ryu, the Kodachi no kata has six stages. Shidachi uses a large heavy wooden kodachi (like the name of the kata), and uchidachi uses a standard kendo style bokuto or a fukuro shinai. All the three stages of this kata have shidachi running into "combat" with uchidachi. Jikishinkage-ryu is unique because the kodachi is used with two hands on the tsuka.
| stage | name |
|---|
| ipponme 1st stage | husei | | nihonme 2nd stage | suisei | | sanbonme 3rd stage | kissaki kaeshi | | yonhonme 4th stage | tsuba-tori (chakin-fukusa) | | gohonme 5th stage | toppi-ouhi | | ropponme 6th stage | enkai |
Habiki no kata
The fourth kata is called Habiki no kata or Koryu kata and it is a blend of concepts from Hojo no kata and Fukuro Shinai no kata. Both shidachi and uchidachi use habiki (a sword without a sharp edge) in this kata set. In several places both shidachi and uchidachi end up on one foot after cutting. There are four kata (the second and the third stages are is one block) in Habiki no kata, and they are the old version of Hojo no kata.
| stage | name |
|---|
| ipponme 1st stage | hasso happa | | nihonme 2nd stage | itto ryodan | | sanbonme 3rd stage | uten saten | | yonhonme 4th stage | chotan ichimi |
Marubashi no kata
The Marubashi no kata is the most advanced kata, it focuses on very difficult kiai and subtle movement. To the casual observer it looks as though nothing is happening in the kata at all. Shidachi uses kodachi and uchidachi uses odachi. Like the last set of kata both use shinken.
This kata used to be a secret. It is not clear when the secrecy was lifted but the kata is, like the other five, described with text and photographs in the book of Yamada Jirokichi that was published in the early twentiest century (1927).
| stage | name |
|---|
| ipponme 1st stage | hassoken | | nihonme 2nd stage | teiken | | sanbonme 3rd stage | suishaken | | yonhonme 4th stage | enkaiken | | gohonme 5th stage | marubashiken |
Shinbukan kata
The classical kata listed above are only practiced by Kimiyoshi Suzuki's students in Shinbukan when preparing for these specifically. Within Shinbukan normally the following kata are being practiced.
| kihon keiko | basic kata | master kata | iai kata |
|---|
- happo ido
- uchikomi ichi
- uchikomi ni
| inazumainazuma uradorijuppon ichijuppon ni | juppon ni battotachiuchi | iaiurafune iai- urafune ushiro
- urafune mae
- urafune yoko
|
List of representatives
| Kashima Shinden Jikishin Kage-ryu Kenjutsu lineage |
|---|
| headmaster | ryu name | Seito-ha | Hyakuren-kai | Daihonzan Chozen-ji | Nomi-ha | Shinbukan |
|---|
| Founder | Kashima Shin(kage)ryu | Matsumoto Bizen-no-Kami (?????, 1467 – 1524) | | 2nd | Shinkage-ryu | Kamiizumi Ise-no-Kami Nobutsuna (???????, 1508 – 1577) | | 3rd | Okuyama Kyukasai Taira no Kimishige (????????, 1528 – 1602) | | 4th | Shin Shinkage-ryu | Ogasawara Genshinsai Minamoto no Nagaharu (?????????, 1574 – 1644) | | 5th | Shinkage Jikishin-ryu | Kamiya Denshinsai Sadamitsu (???????, 1582 – 1663) | | 6th | Jikishin Seito-ichi-ryu | Takahashi Danjozaemon Shigeharu (?????????, 1610 – 1690) | | 7th | Jikishin Kage-ryu | Yamada Heizaemon Mitsunori (Ippusai) (????????(???), 1638 – 1718) | | 8th | Naganuma Kunisato Shirozaemon (?????????, 1688 – 1767) | | 9th | Naganuma Shirozaemon Fujiwara no Yorihito (?????????, 1702 – 772) | | 10th | Fujikawa Yashiro Uemon Fujiwara no Yorihito (?????????????, 1726 – 1798) | | 11th | Akaishi Chikayoshi (????, 1749 – 1825) | | 12th | Danno Gennoshin Yoshitaka (???????, 1761 – 1849) | | 13th | Odani Shimosa-no-kami Nobutomo (???????, 1798 – 1864) | | 14th | Sakakibara Kenkichi (????, 1830 – 1894) | | 15th | Yamada Jirokichi ?????
(1863 – 1930) | Nomi Teijiro
(??) | Matsudaira Yasutoshi
(??, 1835 – 1880) | | 16th | Kawashima Takashi
?? ? | - | Omori Sogen
(1904 – 1994) | Nomi Hamao | Makita Shigekatsu
(????,
1849 – 1914) | | 17th | Onishi Hidetaka
(????,
1906 – 1966) | Terayama Katsujo
(1938 – 2007) | Ishigaki Yasuzou
(????) | Suzuki Kimiyoshi
(????, 1934) |
|---|
| 18th | Namiki Yasushi
(???,
1926 – 1999) | 17thheadmaster:
[Hyakuren Kai
1st Leader]
Hayakawa Koichi
(????) | ? | - | - | | 19th | Ito Masayuki
(????,
c. 1930 – 2001) | 18thheadmaster:
[Hyakuren Kai
2nd Leader]
Iwasa Masaru
(???, 1945) | - | - | - | | 20th | Yoshida Hijime
(???, c. 1945) | - | - | - | - |
Present day practice
Places where groups practicing Jikishinkage-ryu Kenjutsu can be found today:
Lineage of Omori Sogen is indicated with †. Lineage of Matsudaira Yasutoshi via Suzuki Kimiyoshi is indicated with ‡. Lineage of Namiki Yasushi via Masatomi Ikeda is indicated with ?. Lineage of Namiki Yasushi via Hideki Hosokawa is indicated with •. Only Hojo kata is indicated with *.
See also
Japanese martial arts terms
External links
- Kashima Shinden Jikishinkage-ryu - Hyakuren Kai Official Site
- Kashima Shinden Jikishinkage-ryu
- Kashima Shinden Jikishinkage-ryu Yokohama
- Kashima Shinden Jikishinkage-ryu Takigami Dojo
- Kashima Shinden Jikishinkage-ryu - Shinbukan
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