The Complete Martial Arts of Japan Volume One: Gekken

Hello all, below is a sample from and link to a project I have been working on over the past year. This is part one of three. It is a "intro to martial arts" published in the Meiji Era (1898) and is distintive for the fact that it is set up almost like a Manga and has step by step Kata from Sekiguchi Ryu Kenjutsu as well as Sojutsu, Bajutsu and Kyujutsu from other Ryu.



Below is a sample of the style. The first volume is available now

here

here

.





First Illustration





This 試合Shi-ai or match begins as is depicted in the first illustration. Squatting down with the left hand just below the Tsuka of the 木太刀Ki Tachi-wooden sword or 竹刀Shinai-bamboo sword.

If holding a 真劔Shin Ken or real sword, your hand should be in the area of the 鯉口Koi-guchi, the opening or “carp’s mouth” of the scabbard. The right hand should be atop the 膝頭Hiza-gashira or top of the knee. From there, as is shown in the second illustration, both sides have stood up with the left hand of each holding the sword below the Tsuba (The left hand does not release the sword while standing.) Clearly the feet should be planted as shown in the illustration, resembling the bottom of the character 八.

From there, as is shown in the third illustration the 使手Tsukai-te steps out with the right foot and rapidly strikes down with a 抜打Nuki-uchi onto the 小手Kote of the 受手Uke-te, cutting there (Know that by “Kote” we are referring to the wrist).

Next, as per the fourth illustration, the Tsukai-te rapidly steps out with the left foot and then brings up the right foot up in line with it in a 繼ぎTsugi movement (This Tsugi means “to bring together and line up.”)

Second Illustration



As the feet become aligned, which is shown in the illustration, raise the Katana up. The right foot steps out as is depicted in the fifth illustration. Follow that by stepping out with the left foot. At the moment the left foot lines up with the right in a Tsugi, cut down and drop the left foot back about a foot’s width. Do the same with the right foot.

The Katana should be held as shown in illustration six. The fingers of the right hand, which is holding the 柄元Tsuka moto, or just below the sword guard, should be extended turning the Katana upside down almost parallel to the ground.

As shown in the seventh illustration, bring the Katana to the left and, using the 食指Hitosashi-yubi or pointer finger and the 拇指Oya-yubi or thumb grip the 背Mune or back of the blade. Pulling with the right, allow the blade to slip through your fingers while the left hand holds the opening of the 鞘Saya or scabbard.　Dropping back, the sword is sheathed.

This Kata should be done with　神速Shin-Soku or “Divine Swiftness” in order to prevent the Uke-te from having any chance to draw their own Katana. This should be committed to memory.





Third Illustration





This third illustration follows the second illustration. Both are holding the Katana at the Koi-guchi, with the left, while the right hand hangs down. The feet are planted out like the base of a Hachimon-ji, or the bottom of the Kanji 八, waiting for the moment that a 隙Suki , or opening, will present itself.

Upon seeing a Suki in the Uke-te, the Tsukai-te moves out with the right foot and, at the same time does a rapid Nuki-uchi draw and strike to the Kote of the Uke-te. Here the Tsukai-te rapidly brings the left foot up even with the right in a Tsugi movement, and, as shown in the fourth illustration the Katana is brought up overhead. Step out with the right foot and quickly follow this with the left again in a Tsugi alignment. Cut down deeply into the shoulder of the Tsukai-te with a Zakuri! sound.

There should not be the slightest gap between these movements, such that even a single hair cannot fit. As can be seen in this illustration, when the Kote of the Uke-te is being cut, the legs are spread. This is an explosive cut that the Uke-te receives and it leaves him utterly dumbfounded.