Martial Arts Of The World - Webs
Martial Arts Of The World - Webs Martial Arts Of The World - Webs
762 Written Texts: Japan ture of heroes and villains, these tales continue to entertain and to provide story lines for creative retellings in theater, puppet shows, cinema, television, and cartoons. Warrior Exploits Whereas war tales describe the course of military campaigns or the rise and fall of prominent families, tales of warrior exploits focus on the accomplishments of individuals who gained fame for founding new styles (ryûha [19]), for duels, or for feats of daring. The practice of recounting warrior exploits no doubt is as old as the origins of the war tales mentioned above, but credit for the first real attempt to compile historically accurate accounts of the lives and deeds of famous martial artists belongs to Hinatsu Shigetaka’s [20] Honchô bugei shôden [21] (1716; reprinted in Hayakawa et al. 1915). Living in an age of peace when the thought of engaging in life-ordeath battles already seemed remote, Hinatsu hoped that his accounts of martial valor would inspire his contemporaries, so that they might emulate the warrior ideals of their forebears. Repeatedly reprinted and copied by subsequent authors, Hinatsu’s work formed the basis for the general public’s understanding of Japanese martial arts down to recent times. Playwrights, authors, and movie directors have mined Hinatsu for the plots of countless swordplay adventures. The most notable of these, perhaps, is the 1953 novel Miyamoto Musashi [22] by Yoshikawa Eiji [23] (1892–1962). This novel (which was translated into English in 1981) more than anything else helped transform the popular image of Miyamoto Musashi (1584– 1645) from that of a brutal killer into one of an enlightened master of selfcultivation. It formed the basis for an Academy Award–winning 1954 movie (released in America as Samurai) directed by Inagaki Hiroshi [24] (1905–1980). Military Manuals Japanese martial art traditions developed within the social context of lordvassal relationships in which the explicit purpose of martial training was for vassals to prepare themselves to participate in military campaigns as directed by their lords. Therefore, instruction in individual fighting skills (e.g., swordsmanship) not infrequently addressed larger military concerns such as organization, command, supply, fortifications, geomancy, strategy, and so forth. Manuals of military science (gungaku [25] or heigaku [26]), likewise, often included detailed information on types of armor, weapons, and the best ways to learn how to use them. The most widely read and influential military manual was Kôyô gunkan [27] (Martial Mirror Used by Warriors of Kôshû [28]; reprinted in Isogai and Hattori 1965), published in 1656 by Obata Kagenori [29]
(1572–1662). Kôyô gunkan consists of various texts that purport to record details of the military organization, tactics, training, martial arts, and battles fought by warriors under the command of the celebrated warlord Takeda Shingen [30] (1521–1573). Although ascribed to one of Takeda’s senior advisers, Kôsaka Danjô Nobumasa [31] (d. 1578), it was probably compiled long after its principal characters had died, since it contains numerous historical inaccuracies, including fictional battles and imaginary personages (e.g., the infamous Yamamoto Kanzuke [32]). In spite of its inaccuracies, Kôyô gunkan has been treasured down to the present for its rich evocation of the axioms, motivational techniques, and personal relations of late sixteenth-century fighting men. Yamaga Sokô [33] (1632–1685) was the most celebrated instructor of military science during the Tokugawa period. Yamaga combined military science (which he studied under Obata Kagenori) with Confucianism and Ancient Learning (kogaku [34]) to situate military rule within a larger social and ethical framework. His Bukyô shôgaku [35] (Primary Learning in the Warrior Creed, 1658; reprinted 1917) formulated what was to become the standard Tokugawa-period justification for the existence of the hereditary warrior class and their status as rulers: Warriors serve all classes of people because they achieve not just military proficiency but also self-cultivation, duty, regulation of the state, and pacification of the realm. Through his influence, martial art training came to be interpreted as a means by which warriors could internalize the fundamental principles that should be employed in managing the great affairs of state. Initiation Documents Before Meiji (1868), martial art skills usually were acquired by training under an instructor who taught a private tradition or style (ryûha [36]) that was handed down in secret from father to son or from master to disciple. There were hundreds of such styles, and most of them gave birth to new styles in endless permutations. This multiplication of martial traditions occurred because of government regulations designed to prevent warriors from forming centralized teaching networks across administrative borders. Ryûha, the Japanese term commonly used to designate these martial art styles, denotes a stream or current branching out from generation to generation. By definition, though not necessarily so in practice, each style possesses its own unique techniques and teachings (ryûgi [37]), which are conveyed through its own unique curriculum of pattern practice (kata [38]). Typically, each style bestowed a wide variety of secret initiation documents (densho [39]) on students who mastered its teachings. Although some martial art styles still guard their secrets, today hundreds of initiation documents from many different styles have become available to scholars. Many Written Texts: Japan 763
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(1572–1662). Kôyô gunkan consists of various texts that purport to record<br />
details of the military organization, tactics, training, martial arts, and battles<br />
fought by warriors under the command of the celebrated warlord<br />
Takeda Shingen [30] (1521–1573). Although ascribed to one of Takeda’s<br />
senior advisers, Kôsaka Danjô Nobumasa [31] (d. 1578), it was probably<br />
compiled long after its principal characters had died, since it contains numerous<br />
historical inaccuracies, including fictional battles and imaginary<br />
personages (e.g., the infamous Yamamoto Kanzuke [32]). In spite of its inaccuracies,<br />
Kôyô gunkan has been treasured down to the present for its<br />
rich evocation of the axioms, motivational techniques, and personal relations<br />
of late sixteenth-century fighting men.<br />
Yamaga Sokô [33] (1632–1685) was the most celebrated instructor of<br />
military science during the Tokugawa period. Yamaga combined military<br />
science (which he studied under Obata Kagenori) with Confucianism and<br />
Ancient Learning (kogaku [34]) to situate military rule within a larger social<br />
and ethical framework. His Bukyô shôgaku [35] (Primary Learning in<br />
the Warrior Creed, 1658; reprinted 1917) formulated what was to become<br />
the standard Tokugawa-period justification for the existence of the hereditary<br />
warrior class and their status as rulers: Warriors serve all classes of<br />
people because they achieve not just military proficiency but also self-cultivation,<br />
duty, regulation of the state, and pacification of the realm.<br />
Through his influence, martial art training came to be interpreted as a<br />
means by which warriors could internalize the fundamental principles that<br />
should be employed in managing the great affairs of state.<br />
Initiation Documents<br />
Before Meiji (1868), martial art skills usually were acquired by training under<br />
an instructor who taught a private tradition or style (ryûha [36]) that<br />
was handed down in secret from father to son or from master to disciple.<br />
<strong>The</strong>re were hundreds of such styles, and most of them gave birth to new<br />
styles in endless permutations. This multiplication of martial traditions occurred<br />
because of government regulations designed to prevent warriors<br />
from forming centralized teaching networks across administrative borders.<br />
Ryûha, the Japanese term commonly used to designate these martial art<br />
styles, denotes a stream or current branching out from generation to generation.<br />
By definition, though not necessarily so in practice, each style possesses<br />
its own unique techniques and teachings (ryûgi [37]), which are conveyed<br />
through its own unique curriculum of pattern practice (kata [38]).<br />
Typically, each style bestowed a wide variety of secret initiation documents<br />
(densho [39]) on students who mastered its teachings. Although some martial<br />
art styles still guard their secrets, today hundreds of initiation documents<br />
from many different styles have become available to scholars. Many<br />
Written Texts: Japan 763