Kashima Shinden Jikishinkage-ryū

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Koryu 古流 Martial Art
Kashima Shinden Jikishinkage-ryu 島神傳直心影流
Founder(s)
Matsumoto Bizen-no-Kami Naokatsu 松本備前守尚勝	c. 1467 - 1524)
Date founded
Late Muromachi period	ca. 1570
Current headmaster
No single recognized headmaster	Various lineages are still exant and taught
Arts taught in the Jikishinkage-ryu
Japanese name	Description
Kenjutsu 剣術 - odachi, kodachi	Sword art - Long and short sword

Kaˑshima Shinˑden Jikiˑshinˑkage-ryū (鹿島神傳直心影流), also known in short as Jikiˑshinˑkage-ryū (直心影流), is a koryu kenjutsu style first developed in the late Sengoku period in Japan.

It is one of the most ancient Japanese martial arts styles still practiced to this day.

Loose translation of the name Kashima Shinden Jikishinkage-ryū is:

• Kashima = place in Japan where shrine is
• Shinden = handed down by the gods
• Jikishinkage = from the shadow of the heart
• ryū = school

Contents 1 History 2 Characteristics 3 Clothing 4 Ranks 5 Kihon 6 Katas 6.1 Hōjō 6.2 Tōnō kata / Fukuro Shinai 6.3 Kodachi no kata 6.4 Habiki no kata 6.5 Marubashi no kata 7 List of representatives 7.1 Jirokichi - ha 7.2 Daihonzan Chozen-ji (Zen Dojo) 7.3 Nomi - ha 7.4 Shinbukan 8 Present day practice 9 External links

History

The Jikishinkage-ryū 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 (松本備前守尚勝, 1467-1524). The direct predecessors of the Jikishinkage-ryū style are the Shinkage-ryū (新影流) and Kage-ryū styles.

The Jikishin Kage-ryu Kenjutsu comes from a previous school, Kage-ryu Kenjutsu. A samurai called Aizu Iko founded Kage-ryu in 1490 (the school of shadow). He perfected and taught his style around Japan. There is evidence from 1525, that another samurai, Kumizume Ise no Kami Nobutsuno (1508-1548) had begun 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 Naukatsu 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.

The 14th grandmaster of Jikishin Kage-ryu Kenjutsu was a famous swordsman of his time Kenkichi Sakakabira, the personal bodyguard of the Shogun. His two most talented adepts were Yamada Jirokichi and Matsudaira Konen, who both studied the more traditional ways of Jikishin Kage-ryu. The best apprentice of Konen was Makita Shigekatsu, a young man from a samurai family from Hokkaidō. His name, and Jikishin Kage-ryu became famous on the northern island in the times of the Japanese civil war in 1868. By swordfighting, he was an expert of kyudo, Japanese archery. He was the heir of the title of grandmaster of Jikishin Kage-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 Hokkaidō, 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 katanas 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 sensei is also a master of Goju-ryu Karate and Jikishin Kage-ryu Kenjutsu.

Characteristics

The Jikishinkage-ryū style has many differences when compared to modern kendō. We can readily point out the different footwork and kiai:

• The unˑpō (運法) is the footwork used in the Jikishinkage-ryū style. 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 uchi·da·chi (内太刀) and shi·da·chi (師太刀) which can be translated as into/inside? the sword and teacher? of sword. Uchidachi is the role that initiates the movements and gouverns the tempo, this is the role of the more experienced person. This is the teacher or more loosly translated as parent in the form of father or mother. In this role one will make the necessary adjustments in distance and speed due to inexperiency of shidachi, but at the same time being very strick to facilitate for shidachi's progress. Also this role is always facing the sun. Shidachi on the other hand is like a shadow by adhering to the timing of uchidachi but with a eagerness to learn and take advantage whenever possible for which uchidachi has to be aware. This is the student or more loosly translated as child in the form of son or daughter. Note that inside the teacher is also a student and inside the student is also a teacher, like yin and yang. Both experienced and inexperienced practicioners will take on these roles alternativly, usually starting with the more experienced in the role of uchidachi.
• The kiˑai (気合) consists not only of the shouting, like most martial arts, but of the proper way of inhaling and state of mind as well.
• The kamiˑhanˑen (上半円) and shimoˑhanˑen (下半円) upper semicircle and lower semicircle, respectively (also called jo han en and ge han en) are unconventional waza of this style. Roughly, the swordsman draws a semicircle (upwards or downwards) with both his left hand (holding the sword), and his right 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.

Jikishinkage-ryū exponents train with both odachi and kodachi (but not both at once).

Clothing

Kenjutsu was practised in a thick kimono (keikoga) in the old times. It was needed for protection, though it was still not enough sometimes. Practises are far less dangerous nowadays, the standard clothes in kenjutsu are normal budo (karate) gi and trousers. Beginners wear white belt, intermediates wear blue and brown belts, and those who successfully completed their exam for 1st dan can wear black belt with hakama. To prevent tredding on the hakama when moving in a low position, the hakama is raised a bit by folding the left and right outside front pleats up under the obi before training commences.

For outside practice Japanese working boots are worn. Perhaps needless to say, but since uchidachi is always facing sun that can be very blinding, it is not allowed to wear sunglasses or hats. However in extreme cold conditons one can wear a hat or when one has not enough hair or eyebrows, one can wear a hat or bandana to keep the sweat from irritating the eyes. In both cases the hat should not have a sun reflector.

Ranks

"There wasn't anything like exams or ranks in the early Japan. When the master found his apprentice ready, he ordered him to show his knowledge. There were four levels in Jikishinkage-ryū. The reiken, the normal trainee level, the mokuroku and the kirkgami, the advanced level, and the highest menkyo kaiden, was the masters' level, and gave the owner the right to start teaching. The diplomas were hand-written, and contained every technique the examinee showed before the master. If the exam was successful, the new master could wear the hakama. This represented today's black belt. These thigs have changed nowadays, we use the same kyū-dan method as in most of the martial arts." (Kimiyoshi Suzuki)

rank	belt	title
3rd kyū	white
2nd kyū	blue
1st kyū	brown	reiken
1st dan	black	kirigami
2nd dan	black	mokuroku
3rd dan	black	menkyo

The highest rank disciples of Kimiyoshi Suzuki sensei are 2^nd 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 1^st dan exam. This is mainly done for practicle reasons, e.g. for the teacher to see how the student postions his or her legs and feet and for the teacher and students to quickly see on who to call upon for assistance. In more traditional groups everyone wears hakama.

Kihon

(Basic technique and movements)

• Tenouchi (grip)
• Kamae (pose)
  • Gedan no kamae
  • Jodan no kamae
  • Chudan no kamae / Seigan no kamae
  • Hasso no kamae
  • Gyaku hasso
  • Wakigamae
  • Irimi seigan
  • Nio Dachi
  • Chokuritsu Seigan
  • Chokuritsu Jodan
  • Chokuritsu Gedan
  • Chokuritsu Hasso
  • etc.
• Ashi sabaki (foot work)
  • 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)
  • Men
  • Yokomen
  • Do
  • Tsuki
  • Kote
  • Kesagake (Kesakiri)
  • Kiriage
  • Tsubamegaeshi
  • Ashi (Ashikiri)
  • Nuki do
  • 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
  • Ashi gakoi / Ashidome
  • Otoshi uke
  • Maki otoshi
  • Shin no kamae (shin no uke)
  • Kaeshi-uke
  • Nuki
  • Harai uke
  • Osae
  • Yoko Ichimonji
  • Tate Ichimonji
  • etc.

Katas

• Classical Jikishin Kage-ryu Katas (all ryuha):
  • Hōjō
  • Tono (=Fukuro Shinai)
  • Kodachi
  • Habiki
  • Marubashi

This fifth kata used to be a secret kata. 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 publised in the early twentiest century (1927).

• Basic Katas (only Shinbukan):
  • Happo Ido (6+ variations)
  • Uchikomi Ichi (10+ variations)
  • Uchikomi Ni (6+ variations)
  • Inazuma (5 stages)
  • Inazuma Uradori (5 stages)
  • Juppon Ichi (10 stages)
  • Juppon Ni (10 stages)
• Master Katas (only Shinbukan):
  • Juppon Ni Batto (10 stages)
  • Tachiuchi (10 stages)
• Iai Katas (only Shinbukan)
  • Iai (7+ katas)
  • Urafune Iai (15 katas)
    • Urafune Ushiro (6 katas)
    • Urafune Mae (5 katas)
    • Urafune Yoko (4 katas)

Hōjō

The hōˑjō (法上) kata (形) is the first classic kata of the Jikishinkage-ryū style. Both the shidachi and the uchidachi usually use wooden swords (bokken), although real swords (shinken) can be used as well.

The hōjō kata is composed of 4 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 Kamiˑhanˑen, and after each season, the Shimoˑhanˑen.

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 (一本目) form number one	nihonme (ニ本目) form number two	sanhonme (三本目) form number three	yonhonme (四本目) form number four
haru no tachi (春の太刀) spring	natsu no tachi (夏の太刀) summer	aki no tachi (秋の太刀) autumn	fuyu no tachi (冬の太刀) winter
hasso happa eight directions	itto ryōdan cutting your ego	uten satan (雨天??) (rainy weather?)times of change	chotan ichimi long short are one
acceleration	fast	deceleration	slow
childhood	adolescence	maturity	old age
morning	afternoon	evening	night
warming	heat	cooling	cold

Each season has a respective pace, kō·an (公案), footwork, breathing, kiai, etc. reminiscent of the perceived characteristicts of that season.

• spring has waza which are executed in a smooth and fast manner, accompanied by loud kiais. The koan of spring is eight directions which can be translated as ???.
• summer has movements that are explosive and intense. The koan of summer is cuttig your ego which refers to ???.
• autumn has a varied pace, symbolizing change. The koan of autumn is 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 and short are one. This following example is an illustration of this principle. Imagine a situation where one person has a yari (槍) or naginata (長刀 or 薙刀), 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 Buddism called niˑo (仁王), which can be found as large statues at entrances of some of the ancient Japanese temples and shrines. The right statue is called Misshaku Kongō (密迹金剛) who has his mouth opened, this represents vocalization of the first character of Sanskrit which is pronounced 'a'. The left statue is called Naraen Kongō (那羅延金剛) 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 and we die with 'um' and our mouth closed. Similar to 'alpha to omega' in Western philosophy, they signify 'everything' or 'all creation'. The contraction of both is Aum, 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 Hōjō kata.

Tōnō kata / Fukuro Shinai

The tōˑnō (fukuro shinai) kata is the second kata of the Jikishinkage-ryū style. It is composed of 14 stages, divided in 6 groups (the first one with 4 stages, and the others with 2 each). Each stage has about 4 movements.

This kata is characterized by very fast waza. Both the uchidachi and the shidachi use bamboo swords (fukuro-shinai).

Kodachi no kata

The third set of kata in the ryū, the Kodachi no kata has six stages. Shidachi uses a large heavy wooden kodachi, and uchidachi uses a standard kendo style bokuto. Many of the kata have shidachi running into "combat" with uchidachi. Jikishinkage-ryū is unique because the kodachi is used with two hands on the tsuka.

Habiki no kata

The fourth set of kata is called Habiki no kata and it is a blend of concepts from Hōjō no kata and Tōnō kata. Both shidachi and uchidachi use shinken in this kata set. In several places both shidachi and uchidachi end up on one foot after cutting. There are four kata in Habiki no kata, and they are the ura version of Hojo no kata.

Marubashi no kata

The most advanced set of 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.

List of representatives

Below is the list of representatives or sōke:

• Founder and first sōke: Matsumoto Bizen-no-Kami Naokatsu (1467-1524)
• 2^nd sōke (=head master): Kamiizumi Ise-no-Kami Nobutsuna (1508-1577)
• 3^rd sōke: Okuyama Kyûgasai Taira no Kimishige (奥山休賀斎平公重, 1528-1602)
• 4^th sōke: Ogasawara Genshinsai Minamoto no Nagaharu (小笠原源信斎源長冶, 1574-1644)
• 5^th sōke: Kamiya Denshinsai Sadamitsu (1582-1663)
• 6^th sōke: Takahashi Danjozaemon Shigeharu (1610-1690)
• 7^th sōke: Yamada Heizaemon Mitsunori (1638-1718)
• 8^th sōke: Naganuma Kunisato Shirozaemon (1688-1767)
• 9^th sōke: Naganuma Shirozaemon Fujiwara no Yorihito (長沼活然斎藤原綱郷, 1702-1772)
• 10^th sōke: Motooka Chûhachi Fujiwara no Yorihito (藤川彌司郎右衛門尉藤原近義, 1726-1798)
• 11^th sōke: Ono Seiemon Taira no Shigemasa (赤石郡司兵衛尉藤原学祐, 1749-1825)
• 12^th sōke: Danno Yoshitaka 團野真帆斎源義高 (1761-1849)
• 13^th sōke: Odani Nobutomo Shimosanokami (1798-1864)
• 14^th sōke: Sakakibara Kenkichi (1830-1894)

Jirokichi - ha

Although Yamada Yoshioki sōke left no official representatives after him, the style is still practiced to this day.

• 15^th sōke: Yamada Jirokichi (1863-1930)
• 16^th sōke: Kawashima Takashi
• 17^th sōke: Onishi Hidetaka
• 18^th sōke: Namiki Yasushi
• 19^th sōke: Ito Miyano
• 20^th sōke: Yoshida Hijime

Daihonzan Chozen-ji (Zen Dojo)

(only Hojo kata)

• 15^th sōke: Yamada Jirokichi (1863-1930)
• 16^th sōke: Omori Sogen (1904-1994)
• 17^th sōke: Terayama Katsujo (1938-)

Nomi - ha

• 15^th sōke: Teijiro Nomi
• 16^th sōke: Hamao Nomi
• 17^th sōke: Ishigaki Yasuzou

Shinbukan

• 15^th sōke: Konen Matsudaira (1880?)
• 16^th sōke: Shigekatsu Makita (1849-1914)
• 17^th sōke: Kimiyoshi Suzuki (1934-)

Present day practice

Places where groups practicing Jikishinkage-ryū Kenjutsu can be found today:

• Japan
  • Tokyo
  • Kobe
• Hungary
  • Budapest
  • Gödöllő
  • Pécs
  • Kecskemét
• Germany
  • Berlin
  • Schafstädt
• USA
  • Rockville, MD

Only Hojo kata:

• Czech Republic
  • Praha (Sanshinkai)
• Netherlands
  • Utrecht (Sanshinkai)
• Serbia
  • Beograd (Sanshinkai)
  • Novi Sad (Sanshinkai)
  • Vršac (Sanshinkai)
• Switzerland
  • Aarau (Sanshinkai)
  • Basel (Sanshinkai)
  • La Chaux-de-Fonds (Sanshinkai)
  • Neuchâtel (Sanshinkai)
  • Zürich (Sanshinkai)
• USA
  • Chicago, IL
  • Honolulu, HI (Daihonzan Chozen-ji)

External links

• Official Site (in hungarian, english and rumanian)
• Official Site (in japanese)
• Hojo aneb Kashima Shinden Jikishinkage-Ryu (in czech)
• Kashima Shinden Jikishinkage-ryu on Koryu.com
• Sanshinkai, martial arts system consisting of Aikidō, Genkikai and Kashima Shinden Jikishinkage-ryū Hōjō Kata