Karate Jutsu / 唐手術

19/03/2026

The throwing technique shown in this video comes directly from the teachings of Shotokan founder Gichin Funakoshi.

This nage-waza appears in two of his key works:

鎻環 (Kusariwa, “chain ring”, implying binding or chaining) – Rentan Goshin Karate-Jutsu (1925)
腕環 (Udewa, “arm ring”, encircling with the arms) – Karate-Dō Kyōhan (1935)

These are not two different techniques, but the same throw described under different names.

Funakoshi not only documented this technique, but also pointed us exactly where to find it: it is the direct application of a specific (explicitly numbered) movement from the kata Passai / Bassai.

This is a crucial point: traditional Karate includes throwing techniques. They are not modern additions or external influences, they are part of the original system.

And yet, today, most practitioners are unaware of them and do not train them.

As Shigeru Egami wrote:
“There are throwing techniques in karate… They were practiced in my time, and I recommend that they be reconsidered.”

And also:
“In the future, more attention should be given to throwing techniques.”

To study Bassai kata, therefore, also means to study and practice this throw.

The throwing technique shown in this video comes directly from the teachings of Shotokan founder Gichin Funakoshi.This nage-waza appears in two of his key wo...

18/02/2026

𝗔 𝗩𝗢𝗜𝗖𝗘 𝗙𝗥𝗢𝗠 𝗧𝗛𝗘 𝗣𝗔𝗦𝗧
𝗝𝗶𝗴𝗼𝗿𝗼 𝗞𝗮𝗻𝗼, 𝗣𝗿𝗮𝗴𝘂𝗲 𝗮𝗻𝗱 𝘁𝗵𝗲 𝗣𝗵𝗮𝗻𝘁𝗼𝗺 𝗢𝗹𝘆𝗺𝗽𝗶𝗰𝘀 𝗼𝗳 𝟭𝟵𝟰𝟬

What follows is the transcription of an audio document of exceptional historical value: a radio recording made in Prague in 𝘀𝗲𝗽𝘁𝗲𝗺𝗯𝗲𝗿 𝟭𝟵𝟯𝟲. The voice is that of Jigorō Kanō (1860–1938), founder of the Jūdō Kōdōkan and the first Asian member of the International Olympic Committee (IOC).

In this speech, delivered first in Japanese and then in fluent English, Kanō Shihan offers a unique window into the world of pre-war sports diplomacy, praising the young nation of Czechoslovakia and passionately promoting the future 1940 Tōkyō Olympics Games that, tragically, would never take place.

To fully understand the nuances of this speech, it is necessary to examine the key figures and historical context mentioned by the founder of Jūdō.

𝗧𝗛𝗘 𝗣𝗥𝗢𝗧𝗔𝗚𝗢𝗡𝗜𝗦𝗧𝗦 𝗔𝗡𝗗 𝗧𝗛𝗘𝗜𝗥 𝗥𝗘𝗟𝗔𝗧𝗜𝗢𝗡𝗦𝗛𝗜𝗣𝗦

𝗝𝗶𝗴𝗼𝗿𝗼 𝗞𝗮𝗻𝗼 𝗮𝗻𝗱 𝗗𝗶𝗽𝗹𝗼𝗺𝗮𝗰𝘆

In 1936, Kanō was not only the master who had transformed Jūjutsu into Jūdō; he was an elder statesman of sport and education. At the age of 76, he was returning from the 1936 summer Olympics in Berlin, where he had achieved an extraordinary diplomatic success: securing the award of the Games of the XII Olympiad (1940) to the city of Tōkyō.

𝗧𝗵𝗲 𝗖𝘇𝗲𝗰𝗵 "𝗖𝗶𝗰𝗲𝗿𝗼𝗻𝗲": Dr. Jiří Guth-Jarkovský

In the recording, Kanō repeatedly mentions “Dr. Jiří Guth-Jarkovský.” He refers to Jiří Guth-Jarkovský (1861–1943), a central figure in Czech sport. He was one of the founding members of the IOC together with Baron Pierre de Coubertin and co-author of the Olympic Charter.

Kanō recounts having met him in Stockholm in 1912 (during Japan’s first Olympic participation). Guth-Jarkovský later became Kanō's personal guide during his visits to Prague. Guth-Jarkovský’s diaries confirm this friendship, describing how in 1912 Kanō visited schools, the town hall, and even the Krkonoše Mountains.

𝗧𝗵𝗲 𝗺𝗲𝗲𝘁𝗶𝗻𝗴 𝘄𝗶𝘁𝗵 𝗣𝗿𝗲𝘀𝗶𝗱𝗲𝗻𝘁 𝗠𝗮𝘀𝗮𝗿𝘆𝗸

Kanō proudly mentions a meeting during his second visit (1920) with "President Masaryk". He refers to Tomáš Garrigue Masaryk (1850–1937), the founding father and first President of independent Czechoslovakia.

The fact that a head of state received Kanō — despite his many commitments, as Kanō himself notes — testifies to the high international prestige enjoyed by the founder of Jūdō and to Czechoslovakia’s interest in Japanese educational methods.

𝗧𝗛𝗘 𝗛𝗜𝗦𝗧𝗢𝗥𝗜𝗖𝗔𝗟 𝗔𝗡𝗗 𝗖𝗨𝗟𝗧𝗨𝗥𝗔𝗟 𝗖𝗢𝗡𝗧𝗘𝗫𝗧

"𝗨𝗻𝗱𝗲𝗿 𝘁𝗵𝗲 𝗔𝘂𝘀𝘁𝗿𝗶𝗮𝗻 𝗬𝗼𝗸𝗲" 𝘃𝘀. 𝗜𝗻𝗱𝗲𝗽𝗲𝗻𝗱𝗲𝗻𝗰𝗲

Kanō highlights the difference between his first visit in 1912 and his later ones. In 1912, Prague was part of the Austro-Hungarian Empire (the "Austrian yoke" mentioned in the recording). In 1920 and 1936, however, Kanō visited a free and independent Czechoslovakia, born from the ashes of the First World War.

𝗧𝗵𝗲 𝗦𝗼𝗸𝗼𝗹 𝗺𝗼𝘃𝗲𝗺𝗲𝗻𝘁

In the Japanese part of the speech, Kanō praises the Sokol ("falcon"). Founded in 1862, the Sokol was not merely a mass gymnastics organization but a nationalist and patriotic movement that used physical education to promote Czech identity and democratic values.

Kanō — who saw Jūdō as a means of individual and social betterment (not merely as a combat sport) — was deeply fascinated by this philosophical parallel between the Sokol movement and his own Jūdō.

𝗧𝗛𝗘 "𝗣𝗛𝗔𝗡𝗧𝗢𝗠 𝗢𝗟𝗬𝗠𝗣𝗜𝗖𝗦" 𝗢𝗙 𝟭𝟵𝟰𝟬

The final part of the speech is the most moving when read in hindsight. Kanō devotes many words to inviting Europeans to the 1940 Tōkyō Olympics.

He insists that the Games must move beyond Europe and the United States in order to become truly global. He emphasizes the desire to show the "real Japan" and to promote peace and friendship among nations. However, history took a different course:

- Kanō's death: Jigorō Kanō died of pneumonia in may 1938 aboard the Hikawa Maru while returning from an IOC meeting in Cairo. He never witnessed the failure of his Olympic dream.

- The cancellation: due to the outbreak of the second Sino-Japanese war and the escalating international tensions that would lead to the second world war, Japan renounced hosting the Games in 1938. The 1940 Olympics were reassigned to Helsinki, only to be definitively canceled because of the war in Europe.

Tōkyō had to wait until 1964 to host the Olympic Games — an event that also marked the official inclusion of Jūdō in the Olympic program, thus posthumously fulfilling Kanō's dream.

This audio recording therefore stands as a precious testimony to the final great diplomatic effort of Jigorō Kanō: an appeal for international understanding through sport, delivered on the eve of a world conflict.

𝘉𝘦𝘭𝘰𝘸 𝘪𝘴 𝘵𝘩𝘦 𝘤𝘰𝘮𝘱𝘭𝘦𝘵𝘦 𝘵𝘳𝘢𝘯𝘴𝘤𝘳𝘪𝘱𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘱𝘦𝘦𝘤𝘩, 𝘥𝘪𝘷𝘪𝘥𝘦𝘥 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘦 𝘪𝘯𝘪𝘵𝘪𝘢𝘭 𝘱𝘢𝘳𝘵 𝘪𝘯 𝘑𝘢𝘱𝘢𝘯𝘦𝘴𝘦 (𝘵𝘳𝘢𝘯𝘴𝘭𝘢𝘵𝘦𝘥 𝘪𝘯𝘵𝘰 𝘌𝘯𝘨𝘭𝘪𝘴𝘩) 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘴𝘶𝘣𝘴𝘦𝘲𝘶𝘦𝘯𝘵 𝘱𝘢𝘳𝘵 𝘪𝘯 𝘌𝘯𝘨𝘭𝘪𝘴𝘩.

[𝟬:𝟬 - 𝟭:𝟭𝟮] 𝗝𝗮𝗽𝗮𝗻𝗲𝘀𝗲 𝗹𝗮𝗻𝗴𝘂𝗮𝗴𝗲

"This marks my third visit to this land, and on both of the first two occasions, I returned to Japan with truly pleasant memories. On this occasion, I have come upon request to speak about Jūdō, which is also a matter of the greatest pleasure for me.

This country carries great weight in society regarding various matters, one of which is physical education; in particular, the movement known as 'Sokol' is famous throughout society.

Previously, I personally observed the Sokol exercises and watched them with sincere interest. Therefore, addressing those involved in physical education in this land — as I myself have a great interest in physical education — I wish to say a few words, primarily to express my respect.

I will now speak in English"

[𝟭:𝟭𝟯 - 𝗘𝗻𝗱] 𝗘𝗻𝗴𝗹𝗶𝘀𝗵 𝗹𝗮𝗻𝗴𝘂𝗮𝗴𝗲

"The first time I came to this country was still under Austrian yoke. It was not yet an independent state of Czechoslovakia.

In 1912, I became acquainted with Dr. Jiří Guth-Jarkovský in Stockholm. And after the Games in Stockholm, I came here, and Mr. Jarkovský was very kind to take me around the city to show different educational institutions and many things connected with the city. Especially the beautiful scenery of the city struck me, and I ever remember the beauty of the city and I am so interested [in] everything concerning Prague and its surrounding[s].

The next time I came here, it was already an independent state of Czechoslovakia. At that time, President Masaryk was kind enough to meet me, and notwithstanding his busy hours, he was kind enough to give me time to talk quietly. And Dr. Jiří Guth-Jarkovský was also kind enough to show me many things which interested me very much. Therefore, I returned to Japan with very good impression of the country.

This is my third time. And I was requested to speak on Jūdō. Which is a subject on which I lay great importance. And I am much pleased to talk over this subject because I think Jūdō is a subject which has great part in the future development of not only of Europe but all the world.

And therefore, I am very pleased to see here that there is an institution here already for the spreading and studying of Jūdō. And I hope that will be made of greater importance, and the study of Jūdō be spread all over the country.
One thing I like to speak [in] this connection is about the 12th Olympiad which is to be taken place in Japan. Japan was granted the honor of having the 12th Olympiad. That is because the true spirit of Olympic Games must be to spread the spirit of Olympism all over the world.

Up to now, Olympic Games were held only in Europe and the United States. This modern Olympiad has for its object not onlythe Olympic Games to be held in Europe and America, but that is the subject to be studied and to be practiced all over the world. Therefore, as all previous Olympiads were in Europe and America, this time the 12th Olympiad should be in some country outside of Europe and America.

And if one has to choose a country out of Europe and America, it must be Japan, because Japan is the only country which is encouraged... which is encouraging the sport, and every time we send competitors, they are showing better results than the previous occasions.

Therefore, I expect in the next Olympiad, your countrymen should come in great number. Not only competitors, but officials and visitors will come to Japan and see our country. The real condition of our country, the real feeling of us towards other nations.

The one object of Olympic Games is to make the countries of the world friendly and make the mutual relations closer and closer.

Japan being so far apart from Europe, very few Europeans come over to Japan and see the actual condition of Japan. There are many travelers, visitors who get only superficial idea of what Japan is. But what we want to do is to show real Japan, the real spirit of Japan.

Therefore, next Olympiad, we are prepared to show to those who come to Japan the real condition of Japan in its reality. Therefore, that can only be done with due preparation. We are now preparing to show those things to all the visitors from all parts of the world.

Therefore, Japan welcomes visitors from all parts of the world, especially from our friendly country, that is Czechoslovakia"

22/12/2025

組手 / KUMITE
(i.e., "assembling [kata] techniques")

"There is no such thing as Kumite [as a fixed/autonomous form]; rather, Kumite is defined as confrontation in times of need [or emergency]. However, one must regularly practice [with a partner] fighting templates that train the correct combative responses: if one has truly assimilated the fundamental kata, it will be possible to adopt an infinite variety of [defensive] measures based entirely on their practical application."

Gichin Funakoshi, 1922.

組手 / KUMITE(i.e., "assembling [kata] techniques")"There is no such thing as Kumite [as a fixed/autonomous form]; rather, Kumite is defined as confrontation i...

08/12/2025

𝗧𝗛𝗘 𝗘𝗡𝗕𝗨𝗦𝗘𝗡 𝗗𝗘𝗖𝗘𝗣𝗧𝗜𝗢𝗡
One of the most widespread, yet erroneous, interpretations in Karate practice concerns the meaning of directions in kata. It is often stated that moving along the eight directions symbolizes fighting against multiple opponents surrounding us. However, the great masters of the past agree in defining this view as nonsensical and technically limiting.

MABUNI'S CRITIQUE
Kenwa Mabuni, the founder of Sh*tō-ryū, addressed this issue with extreme clarity in his 1938 book, Kōbō jizai goshin kenpō Karate-Dō Nyūmon. He harshly criticized the idea that a kata developed along eight directions served to fight eight opponents, defining such an interpretation as highly unreasonable.
Analyzing the Pinan/Heian kata, Mabuni warns that their literal interpretation (e.g., "I turn left because the enemy is on the left," "I turn back because there is an enemy behind") would render the art 𝘁𝗲𝗿𝗿𝗶𝗯𝗹𝘆 𝗽𝗼𝗼𝗿 𝗮𝗻𝗱 𝗱𝗲𝘃𝗼𝗶𝗱 𝗼𝗳 𝗺𝗲𝗮𝗻𝗶𝗻𝗴. For Mabuni, there is only one plausible meaning: the directions of the kata do not indicate where the enemy is, but teach how to get out of the frontal line of attack by moving sideways to gain an advantageous position.

MIYAGI'S WARNING
Mabuni was not alone in this analysis. Miyagi Chōjun, founder of Gōjū-ryū, also warned practitioners in his Kaisai no genri ("Theory for deciphering [kata]"):

"Do not be deceived by the enbusen, i.e., the line/direction of ex*****on along which the various techniques of the kata are developed."

"There is only one opponent, and he is in front of us. In kata, we turn in many directions along the lines of the enbusen, so we tend to believe that kata is a situation where a karateka fights against multiple opponents simultaneously: this is not so. In principle, we should consider the imaginary opponent to always be in front."

Master Motobu Chōki, known for his pragmatic approach to kumite, was entirely aligned with this perspective. He reiterated the same concept regarding the Naihanchi/Tekki kata: despite the lateral movement, there are no enemies to our side.

CONCLUSION
In light of these indisputable sources, insisting on explaining kata as a simulated fight against a circle of attackers is not just a technical error. It is an 𝗮𝗻𝘁𝗶-𝗵𝗶𝘀𝘁𝗼𝗿𝗶𝗰𝗮𝗹 and 𝗮𝗻𝘁𝗶-𝗽𝗿𝗮𝗴𝗺𝗮𝘁𝗶𝗰 view, which ends up ridiculing kata itself, transforming what should be a sophisticated manual of tactics and strategy into a fanciful choreography devoid of any real martial logic.

PS: The photo shows the original page from Mabuni's book, in relation to the cited passage.

22/10/2025

"𝗞𝗔𝗥𝗔𝗧𝗘, 𝗪𝗔𝗧𝗘𝗥, 𝗔𝗡𝗗 𝗧𝗥𝗔𝗗𝗜𝗧𝗜𝗢𝗡"

In Karate, water is not just a symbol: it is a guide. This is true first and foremost in technique, with a very clear lesson: it is better to avoid direct confrontation, force against force, and instead to receive, deflect, and flow. It is no coincidence that what we often call "blocks" are, in the Japanese language, actually called 受技 / uke waza: receiving techniques. Receiving and blocking are opposite actions. To block means to stop, to push back; to receive implies to accept, to let in.

We find water as a foundational principle even in the very structure of Karate styles. The suffix 流 / ryū, present in all major styles — Shōtōkan-ryū, Sh*tō-ryū, Wadō-ryū, Gōjū-ryū — means "flow" or "stream." Within this ideogram lies the radical for water (氵), taken from the complete kanji 水 / mizu, sui. Ryū, the style, is therefore the channel through which martial knowledge flows and is passed down. Without flow, there is no transmission.

Gichin Funakoshi, the founding father of Shōtōkan-ryū, wrote: "Karate is like boiling water: it must be heated constantly, or it will cool".
Often, this principle is reduced to the simple reminder to practice consistently, but perhaps the message runs deeper. Perhaps Funakoshi was speaking not so much to the students, but to those who take on the responsibility of passing on the art.

Those who teach Karate have the responsibility to keep it alive. To renew it. To nourish it with new ideas, fresh energy, and a living spirit. Because an art that does not renew itself, dies. It fades away. It remains warm only on the surface, but inside, it is already cold.

In Okinawa, there is an old saying: 水流れば清し / mizu nagareba kiyoshi — "Flowing water stays clear".
This is a powerful reminder, aimed directly at those who teach. Only flow guarantees purity. Only movement avoids stagnation.
The message, once again, is the same: to preserve does not mean to freeze. It means to keep it alive.

But beware: for water to flow, it needs a bed. To be heated, it needs a vessel. And this container is the tradition.
A keeper of tradition must be that bed, that vessel: not to imprison the water, but to guide it. Without form, water disperses, but if compressed too much, it rebels and overflows.

Herein lies the risk. A tradition that seeks to control everything, that stifles any change out of fear or attachment, does not protect Karate: it condemns it. Ego, personal interests, jealousy, grudges, blind loyalties, and sterile dogmas imposed from above: these are the riverbanks that do not contain, but destroy.

To truly preserve the art means to let it flow. It means knowing when to guide and when to let go.
Only in this way can Karate remain alive. Like water, ever in motion.

07/09/2025

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02/08/2025

TEKKI AND THE "LEGO THEORY"

A kata can be many things. It can be an excellent aerobic exercise capable of strengthening the body, a holistic form of moving meditation, a way to cultivate concentration and mental presence. It can even be a sport, regulated and codified for competition.

But, first and foremost, a kata is a practical combat system. It is the codified synthesis of its creator's experience, a repository of techniques, but above all, of fundamental principles for self-defense and self-protection.

Some kata serve specifically to build structure and rooting. I'm thinking of Sanchin, Saamchien, and their variations: these are kata that create that "martial engine" essential for close-range application practices.

Other kata, such as the Heian, offer clear, unambiguous, and indivisible application phrases. Their order cannot be altered, because the sequence is designed to express a precise concept: they are this way because they must be that way.

And then there's my favorite: Tekki. Or rather, the entire triad of Tekki.

Of course, these kata can also be used as tanren-gata (鍛錬型). But their greatest value truly comes through in their applications. And this is where what I've called the "Lego Theory" comes in.

Unlike Heian kata — where movements form inseparable blocks — in Tekki, each individual technique is an independent, autonomous brick that can be freely combined with others. You can extract a movement, or a pair of movements, and combine them with any other point in the kata. The order does not matter, nor does the original sequence: you will always obtain something functional, effective, and consistent with the principles of real combat.

Tekki are not a choreographic monologue, but a modular language, an open system where each element retains meaning even outside of its original context. As with Lego bricks, the parts can be dismantled and recombined, creating infinite configurations without ever betraying the logic of the kata.

This is why I consider the Tekki codification a true work of martial engineering: a brilliant project, capable of containing practically unlimited application potential in a few essential movements.

Unlike Heian kata — where movements form inseparable blocks — in Tekki, each individual technique is an independent, autonomous brick that can be freely comb...

16/06/2025

Some basic exercises to practice the Tekki kata.

Some basic exercises to practice the Tekki / Naihanchi kata.

15/05/2025

CENTENARY OF “RENTAN GOSHIN KARATE-JUTSU” (1925)

2025 marks the centenary of the publication of the second volume written by master Gichin Funakoshi, entitled 錬膽護身唐手術 (Rentan Goshin Karate-Jutsu), which can be translated as “Temper your courage and defend yourself with the art of Karate”. The first edition was printed on March 1, 1925, and was officially published on March 14 of the same year. The cover price at the time was just under three yen.

This work represents a revised and enriched version of his first book, 琉球拳法唐手 (Ryūkyū Kenpō: Karate), published in 1922. While in that initial edition the techniques were illustrated through stylized drawings painted by the artist Kosugi Hōan, in the new volume these illustrations were replaced by photographs portraying Funakoshi himself while performing the techniques and kata, lending greater realism and clarity to the work.

In terms of content, the technical layout remains essentially unchanged from the previous book, except for the exclusion of two throwing techniques: 跛倒 (Bikkodaoshi), which can be translated as “flipping the lame”, and 腕倒 (Udedaoshi), or “folding one's arms” or “bending the shoulder”, which do not appear in the new edition.

As for the master's family origins, Gichin Funakoshi belonged to one of the lower ranks (筑登之, Chikudun) of the 士族 (Shizoku) class, the ancient warrior aristocracy. His family descended from a branch of the far more illustrious 山田 (Yamada) lineage, belonging to the Shizoku nobility of Tomari village (泊士族).
In addition to being a martial art master, Funakoshi was first and foremost a scholastic educator, trained also in the studies of Chinese classics, an aspect that also shines through in his Rentan Goshin Karate-Jutsu. In one of the pages of the volume, in fact, three calligraphic works appear, each accompanied by an aphorism, emphasizing the ethical-philosophical dimension of the Karate he taught.

At the top we find 無手人行拳 / mute jin kōken - “The weaponless man is travelling with the fist“
The phrase originates from “The Quiet Hermitage“, an ancient Chinese collection of Zen Buddhist kōans (a 公案 / kōan is a riddle, problem or story passed down by ancient Zen masters, which is offered to a student to open his eyes to a truth of Zen), compiled in 1224. Here the term “fist” can be seen as the martial art of Karate, which in the above sentence is associated with a traveling utensil (therefore useful and important). In this context, the Zen saying emphasizes the ideal of the wayfarer who travels through life relying only on his own inner discipline, represented by the fist (the martial art). It is a concept deeply rooted in Zen thought: true strength comes not from what one possesses, but from what one is.
This aphorism will be hung, 15 years later, also inside the Shōtōkan dōjō, and will appear in many photos of the dōjō of the time.

On the left we find 先正其心 / mazu tadase sono kokoro - “First of all, correct (rectify) his heart“
This aphorism comes from Confucian thought, and appears particularly in texts such as the Daxue (大學 / The Great Wisdom), one of the four classic books of Confucianism. In that text, there is a logical and moral sequence that guides self-cultivation: “He who wishes to rectify his heart, must first make his intention sincere; to make the intention sincere, he must first deepen his knowledge; and knowledge begins with the study of things“.
Therefore, “rectifying the heart“ means purifying one's intentions, appeasing disordered passions, removing selfishness and ego, and aligning one's mind with the right path (道 / dō).
In the art of Karate, physical training is always accompanied by mental and spiritual discipline. Correcting one's “kokoro“ (heart/mind) is essential before one can learn a technique or use it correctly: a disturbed heart generates impulsive actions, a “centered“ (righteous) heart is ready, lucid, right.
For this reason, in Budō, instruction starts precisely from attitude, respect and self-control (心術 / shin-jutsu) - long before physical skills (技術 / gi-jutsu).

On the right we find 妙入神 / myō nyūshin - “(Acquiring) the 妙 / secret (of the art) one 入 / enters the (level of) 神 / divine”
In his works, master Funakoshi often uses the term 妙 / myō (secret), when speaking about the art of Karate. For example, in “Ryūkyū Kenpō: Karate“ (1922), Funakoshi writes:
“It has been said since ancient times that the secret (妙 / myō) of Karate lies in the ability to contract and expand (伸縮 / shinshuku) both hands/arms together, and, indeed, kisei (奇正) and In/Yō (陰陽) are the true value (妙諦 / myōtei, i.e. cardinal principle, key to understanding) of Karate-Jutsu“.
But of course, in this context, the aphorism is used to describe the highest stage of mastery, where technique is no longer merely performed - it is transcended. One no longer fights with force, nor paints with technique: the action flows as if originating from a higher source.

妙 (myō) is the stage of finest mastery,
神 (shin) is the stage of supernatural intuition, the “kami no waza” - an ability that goes beyond the human.

In Zen Buddhism, the term 妙 often appears with the meaning of “ineffable depth” - that which can only be directly realized, not explained. 神 itself is understood as pure spontaneity, free from attachment or effort. Thus the aphorism 妙入神 is also a description of satori, Zen enlightenment through lived practice: art becomes spirit, and action becomes revelation.

16/04/2025

HEIAN SHODAN

A kata that is extremely complex and rich from a strategic-applicative point of view. Often completely misunderstood, starting from those who have the responsibility of transmitting the art. Let's consider the sequence of the three oi-tsuki, which in this kata is manifested with three punches forward. The kata certainly doesn't waste time in recording something as banal as three punches thrown from the usual, caricatural, sidereal distance. After all, 追い突き / oi-tsuki does not mean "punch with step", but more correctly "push that follows", "chase by pushing". And by extension "continued pressure".
There's no point beating around the bush, to study and understand a kata you need a partner: 型は相対稽古 / kata wa sōtai geiko.
The father of all of us karateka, Itosu Ankō, said it already in 1908 in his sixth principle:

“𝗞𝗮𝘁𝗮 𝘀𝗵𝗼𝘂𝗹𝗱 𝗯𝗲 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲𝗱 𝗲𝘅𝘁𝗲𝗻𝘀𝗶𝘃𝗲𝗹𝘆 𝗮𝗻𝗱 𝘁𝗵𝗲 𝗺𝗲𝗮𝗻𝗶𝗻𝗴 𝗼𝗳 𝗲𝗮𝗰𝗵 𝘁𝗲𝗰𝗵𝗻𝗶𝗾𝘂𝗲 𝘀𝗵𝗼𝘂𝗹𝗱 𝗯𝗲 𝗶𝗻𝘃𝗲𝘀𝘁𝗶𝗴𝗮𝘁𝗲𝗱 𝗮𝗻𝗱 𝘀𝘁𝘂𝗱𝗶𝗲𝗱. 𝗔𝗹𝘀𝗼, 𝗲𝗮𝗰𝗵 𝗺𝗼𝘃𝗲𝗺𝗲𝗻𝘁 𝘀𝗵𝗼𝘂𝗹𝗱 𝗯𝗲 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲𝗱 𝘄𝗶𝘁𝗵 𝗮 𝗽𝗮𝗿𝘁𝗻𝗲𝗿 𝘁𝗼 𝗰𝗼𝗻𝗳𝗶𝗿𝗺 𝗶𝘁𝘀 𝘂𝘀𝗲 𝗶𝗻 𝗿𝗲𝗮𝗹 𝗰𝗼𝗺𝗯𝗮𝘁. 𝗜𝗻 𝗰𝗮𝗿𝗿𝘆𝗶𝗻𝗴 𝗼𝘂𝘁 𝘁𝗵𝗶𝘀 𝘀𝘁𝘂𝗱𝘆, 𝗼𝗻𝗲 𝘀𝗵𝗼𝘂𝗹𝗱 𝗯𝗲 𝗮𝘄𝗮𝗿𝗲 𝘁𝗵𝗮𝘁 𝘁𝗵𝗲𝗿𝗲 𝗮𝗿𝗲 𝘁𝗲𝗰𝗵𝗻𝗶𝗾𝘂𝗲𝘀 𝗼𝗳 入 / 𝗶𝗿𝗶, 受 / 𝘂𝗸𝗲, はずし / 𝗵𝗮𝘇𝘂𝘀𝗵𝗶 𝗮𝗻𝗱 取手 / 𝘁𝘂𝗶𝘁𝗶, 𝘄𝗵𝗶𝗰𝗵 𝗮𝗿𝗲 𝗼𝗳𝘁𝗲𝗻 𝘁𝗮𝘂𝗴𝗵𝘁 𝗼𝗿𝗮𝗹𝗹𝘆, 𝗯𝗲𝗰𝗮𝘂𝘀𝗲 𝘁𝗵𝗲𝘆 𝗰𝗮𝗻𝗻𝗼𝘁 𝗯𝗲 𝗶𝗻𝗳𝗲𝗿𝗿𝗲𝗱 𝗳𝗿𝗼𝗺 𝗿𝗲𝗽𝗲𝘁𝗶𝘁𝗶𝘃𝗲 𝗸𝗮𝘁𝗮 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲 𝗮𝗹𝗼𝗻𝗲“

HEIAN SHODANA kata that is extremely complex and rich from a strategic-applicative point of view. Often completely misunderstood, starting from those who hav...