to be two completely separate martial arts.
The evolution of the samurai sword allows us to infer that ken-jutsu must have been practiced long before the development of iai-jutsu. Because the early samurai sword blades and handles were too long and cumbersome to be drawn and sheathed quickly, they could not have been used for iai-jutsu. Thus, a bona fide series of techniques focusing on the fencing aspect of samurai sword use must have been created and refined very early on, making use of the tachi—the large, primitive two-handed sword used throughout the Chokuto period.
A key factor in the development of both these arts would have been the kata, or “contrived sequences of movements,” which materialized as a product of profound reflection on technique and methodology by battle-seasoned samurai. These katas would be practiced at exhaustive length, conditioning the practitioner of iai-jutsu and ken-jutsu (an iai-jutsu and ken-jutsu ka, in Japanese) to naturally move efficiently with the samurai sword. Like real combat with the samurai sword, iai-jutsu and ken-jutsu katas very rarely amounted to more than a few movements in any single direction. This is because it merely took one or two blows from the razor-sharp blade to render a samurai lifeless. The experience and familiarity with the sword gained through repetition of these katas were vital to the success of samurai warriors. Regardless of the protection given by armor, one thrust with the samurai sword’s kissaki (blade tip) or a single hew with the monouchi (“maximum strike”; the ideal blade area for use in striking) could frequently be fatal or cause dismemberment. Hence, kata practice would be embraced as a necessity by an iai-jutsu and ken-jutsu ka, in order to condition a young protégé to follow the “way” of the samurai sword—which demanded that the samurai sword be wielded with confidence, composure, and respect toward the people of Japan. In addition, it was a means by which the most skilled samurai might maintain his martial acuity during more peaceful times.
Both ken-jutsu katas and iai-jutsu katas, the prescribed sequences of movements that were part of these practices, were modeled after battle maneuvers. Although iaijutsu katas could be practiced alone, ken-jutsu katas would most often be practiced by two ken-jutsu kas. Here, the second person would be an integral part of the equation necessary for the achievement of greater fencing aptitude. Once again, contrived practice yielded exceptional conditioning, resulting in masterful technique. In addition, samurai would practice bogyo-waza (defensive techniques), wherein the opponents would spar, acting spontaneously to measure their fighting abilities. Bogyo-waza could indeed become perilous if one lacked adequate control. It was, however, integral to the discipline, because it bore the closest resemblance to a real engagement.
All of these different elements come together in the unique ideology of each ryu, or school of thought, within iai-jutsu and ken-jutsu. One’s ryu determines how the draw, cuts, deblooding, and sheathing orchestrate into one flowing movement.
Each ryu is also differentiated by other secondary characteristics, such as the procedure for entering and exiting the training area with the samurai sword, maintaining the sword by cleaning and preparing it for use, putting on and removing the training attire, inspecting another’s weapon, properly setting the blade at the side, and tying the scabbard’s sageo (rope) for use or storage. All of the aforementioned would be practiced piously by the iai-jutsu ka in a routine, ritualized manner referred to as saho (formal etiquette), which served to put the samurai in the bushi (warrior) frame of mind, to prepare himself for practice or real confrontation.
This history of, and contrast between, iai-jutsu and ken-jutsu lead us to Fukasa-Ryu iai-jutsu and ken-jutsu, the ryu detailed in this book.
FUKASA-RYU IAI-JUTSU AND KEN-JUTSU
The Fukasa-Ryu style of iai-jutsu and ken-jutsu is different from other ryu that enforce a separation between iai-jutsu and ken-jutsu. Here, we view and explore these two arts as complementary parts of a whole.
It is important to recognize that in each ryu there is what might be called a “tacit” set of parameters that constrain which samurai practices are classified as iai-jutsu and ken-jutsu. Although these two arts are inherently connected, most individual ryus are devoted to one of them at the expense of the other. In contrast, Fukasa-Ryu iai-jutsu and ken-jutsu incorporates each art symbiotically for the most efficient use of the samurai sword. The ryu, or philosophy, explains how the samurai sword is to be utilized in iai-jutsu and ken-jutsu and is merely a perspective from which to describe the most economical “way” to utilize the samurai sword, be it a tachi, katana, or wakizashi.
It may seem revolutionary to many, but this conception of iai-jutsu and ken-jutsu as a dyad is drawn from the long history and tradition of the samurai. Considering the circumstances under which iai-jutsu and ken-jutsu evolved—on the battlefield—they must profess practicality as their philosophical imperative, and the warrior’s mind must yield to this notion at all times while employing the samurai sword. It therefore seems inconceivable that both skills are not elements of the same art—how could a samurai properly and efficiently use his sword, especially when working with a katana, without a comprehensive study of both arts? Fukasa-Ryu iai-jutsu and ken-jutsu respects that necessary relationship and certain reciprocity between the two arts.
In this book, we explore the underlying philosophy of Fukasa-Ryu iai-jutsu and ken-jutsu, which can be presented in a relatively straightforward manner, one befitting a samurai sword art. Fukasa-Ryu iai-jutsu and ken-jutsu is the holistic methodology of using the samurai sword, requiring a resolute mind, a command of practical techniques useful in warfare, and a strategy that incorporates yin and yang in every movement through a balanced use of defense and offense. The synergism between each ingredient of this straightforward “way” will create a masterful user of the samurai sword.
Knowing the Sword
To “know” one’s samurai sword can be understood in two different ways. On a philosophical, theoretical level, knowing one’s sword means to merge with one’s sword as if it were an extension of one’s own body. Via regular conditioning, consisting of katas and free-form practice, the samurai swordsman begins to merge with his sword. The sword responds to the swordsman in a manner similar to that in which the limbs of the body move, with almost no conscious effort. This level of instantaneous and unthinking action is commonly referred to as mushin (“no-mindedness”). To know the samurai sword in this way reflects mastery of the samurai sword art.
Another way in which one can know the samurai sword is to consider how we relate to it as a tool, on the physical level. In this respect, we become acquainted with the samurai sword as we become acquainted with any other device that has utilitarian value for us. Knowing the physical characteristics of the samurai sword allows us to exploit it, maintain it, and repair it when necessary—an imperative for the bushi in any era. As with any new relationship (human or material), I advocate getting acquainted with the subject prior to practice. Thus, samurai sword nomenclature and maintenance are prerequisites for coming to know the sword.
The Parts of
the Samurai Sword
| KATANA NOMENCLATURE | ||
| 1. | Saya | Scabbard |
| 2. | Sageo | Rope |
| 3. | Kurigata | Knob that holds the sageo (2) |
| 4. |
Koiguchi
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