{"id":900,"date":"2017-10-06T16:20:20","date_gmt":"2017-10-06T14:20:20","guid":{"rendered":"https:\/\/aikidodidierboyet.com\/?page_id=900"},"modified":"2018-03-18T19:12:43","modified_gmt":"2018-03-18T18:12:43","slug":"muso_shin_den_ryu_iaido","status":"publish","type":"page","link":"https:\/\/aikidodidierboyet.com\/en\/presentation-de-laikido-du-iaido\/iaido\/muso_shin_den_ryu_iaido\/","title":{"rendered":"MUSO SHIN DEN RY\u016a IAID\u014c"},"content":{"rendered":"

<\/p>\n

Etymology<\/h1>\n

If we analyze the characters forming the words describing the art of fighting with or drawing a sword and examine the concepts attached to them we can come to grasping the essence of this art.<\/p>\n

\u5c45\u5408\u8853 <\/span>(Iai-jutsu<\/em>)<\/p>\n

The art (jutsu\/\u8853) of meeting\/facing\/blending (ai\/\u5408) existence (i\/\u5c45)<\/p>\n

\u629c\u5200\u8853 <\/span>(Batt\u014d-jutsu<\/em>)<\/p>\n

The art (jutsu\/\u8853) of drawing (batsu\/nuku\/\u629c) the sword (t\u014d\/\u5200)<\/p>\n

\u5922\u60f3\u795e\u4f1d\u6d41 <\/span>(<\/span>Mus\u014d Shinden Ry\u016b <\/em>)<\/p>\n

The school (ry\u016b\/\u6d41)of the divine (shinden\/\u795e\u4f1d) vision, dream (mus\u014d\/\u795e\u4f1d)<\/p>\n

\u629c\u5200\u6cd5 <\/span>(Batt\u014d-h\u014d<\/em>)<\/p>\n

The principles (h\u014d\/\u6cd5)) of drawing (batsu\/nuku\/\u629c)) the sword (t\u014d\/\u5200)<\/p>\n

\u5c45\u5408\u9053 <\/span>(<\/span>Iai-d\u014d<\/em>)<\/p>\n

The way (d\u014d\/michi\/\u9053) of facing (ai\/\u5408) ) existence (i\/\u5c45)<\/p>\n

\"\"
\n Iai-d\u014d <\/em><\/p>\n

Three main concepts merge: 1. Drawing of the sword (batt\u014d<\/em>), 2. Survival tool (iai<\/em>) of divine inspiration (mus\u014d shinden<\/em>) and 3. Discipline (d\u014d<\/em>).<\/p>\n

The terms jutsu<\/em> (\u8853<\/span>), d\u014d\/michi <\/em>(\u9053<\/span>) and h\u014d<\/em> (\u6cd5<\/span>) are close in meaning and relate to the concept of a lifelong study that will ultimately lead you to self-accomplishment. D\u014d <\/em>meaning the \u201cway\u201d in a spiritual sense, can also be read michi<\/em>, meaning the \u201cway\u201d as a road.<\/p>\n

The character batsu<\/em> (\u629c<\/span>) used in the word batt\u014d<\/em>, which means drawing the sword, is also read nu(ku)<\/em>, meaning pull out, unsheathe.<\/p>\n

The character I <\/em>(\u5c45) means to be, to exist (iru) and implies the \u201cself\u201d as a strong connection between the body and the mind. The character ai <\/em>(\u5408) implies a faculty of harmonization, the ability to blend with situations as they arise.<\/p>\n

 <\/p>\n\n\n\n\n
<\/td>\n\"\"<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nTamura Nobuyoshi Sensei
\n<\/em><\/td>\n		<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

My Histoiry<\/h1>\n

As for me, I was first acquainted with iai-d\u014d<\/em> in France around 1972, shortly after starting training in aikido under Tamura Nobuyoshi Sensei. During summer seminars, Tamura Sensei always included a few iai-d\u014d<\/em> classes. I was fascinated from the start and soon bought a mugit\u014d<\/em>, a practice sword made of some sort of unsharpened aluminum alloy. But my first encounter with the \u201creal thing\u201d was not to materialize until 1977 when, under the advice of Chiba Kazuo Sensei, Tamura Sensei invited Mitsuzuka Takeshi Sensei to teach iai-d\u014d<\/em> at the summer seminars.<\/p>\n

Chiba Sensei, who until that time had been living and teaching in England, had met Mitsuzuka Sensei back in Japan, and had a very high opinion of this amazing man. Mitsuzuka Sensei had indeed studied for a few years under Nakayama Hakud\u014d Sensei who was the founder of \u014cmori-ry\u016b, the iai-d\u014d<\/em> form that all Birankai (the group founded by Chiba Sensei) members are studying. Although Mitsuzuka Sensei only practiced a few years under Nakayama Sensei\u2019s guidance, he seemed to have fully grasped his teacher\u2019s intent. The word guidance does not quite evoke the way Nakayama Sensei was teaching. In fact, he was not teaching at all and, according to Mitsuzuka Sensei recollections, one literally had to \u201csteal\u201d his knowledge: Nakayama Sensei would train at night, in the darkness of the dojo, with all doors and windows closed, away from any witness\u2019 eyes. The students would approach the dojo silently, put their ears against the paper doors, and try to figure out what the teacher\u2019s moves were by listening to the resulting rustling and soft noises!<\/p>\n

When I first arrived in Japan to train under Mitsuzuka Sensei, I was shown the full curriculum of \u014cmori-ry\u016b by none other than Mitsuzuka Sensei himself, and I would not have another chance to witness it for another twenty years or so.<\/p>\n

Having met Tamura Nobuyoshi Sensei and Chiba Sensei, I had only a slight idea of what Japanese martial arts teachers were like (at that time, Chiba Sensei was in his thirties, a very energetic and demanding instructor, not speaking a single word of French and pretty difficult to understand when he spoke English \u2013 in other words, a very scary person). Mitsuzuka Sensei was very different, quite open and smiling. During his summer visit to France, Mitsuzuka Sensei taught three or four seminars and I was given the task, together with one of Tamura Sensei\u2019s deshi, to take care of him and his wife and to drive them around. Although Mitsuzuka Sensei did not speak any French or English, and at the time I had no inkling of Japanese at all, we managed to make ourselves understood. I had seen how Tamura Sensei showed his respect to Mitsuzuka Sensei and how deferent he was to him, so it never crossed my mind that this opportunity of being physically close to him made me in any way his friend or his pal. When fully dressed in his keikogi and hakama, his face adorned with a magnificent Meiji-style mustache, he was quite impressive and imposing.<\/p>\n\n\n\n\n
<\/td>\n\"\"<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nMitsuzuka Sensei at Berkeley Aikikai, 1980’s, Uke : Chiba Sensei <\/em><\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

I arrived in Japan on October 4th<\/sup>, 1977, only one month after Mitsuzuka Sensei had returned from France, but I could not just show up at the dojo for I would not have been accepted. Chiba Sensei \u201cintroduced\u201d me to Mitsuzuka Sensei and formally asked him if he would agree to let me train at his dojo.<\/p>\n

No one conducted the class. Training started at a given time but would not end until Mitsuzuka Sensei said so. The training might last just the regular two hours or might go on for three or even four hours. There, I learned that no one would teach me. Mitsuzuka Sensei had shown me the whole \u014cmori-ry\u016b curriculum, and now I was on my own. But soon I realized that the other members of the d\u014dj\u014d, my sempai<\/em>, were to become my guides and all I had to do was to copy them, imitate them, and emulate them, and once in a while, Mitsuzuka Sensei would look at me and shake his head, mumbling a hardly audible \u201cdame<\/em>\u201d (not good) \u2013 keep training. It is also during these years that I started to realize what the iai-d\u014d<\/em> training was all about.<\/p>\n

Iai-d\u014d<\/em> is a discipline that involves dedication and commitment. It involves physical training through practice of kata that should be conducted both under the direction of a teacher and alone, and a spiritual aspect which involves a search for self-accomplishment. This form of training is a lifelong quest that never ends because each accomplishment opens up wide, new fields of unexplored aspects.<\/p>\n

Practice of the kata calls for the following points to be observed: :
\nNukitsuke<\/em>, or the drawing of the sword out of the scabbard.
\nSeme<\/em>, or the physical and psychological impact on the opponent.
\nFurikaburi<\/em>, or the raising of the sword.
\nKiritsuke<\/em>, or the cutting strike.
\nChiburi<\/em>, or getting rid of the blood on the blade.
\nN\u014dt\u014d<\/em>, or the sheating of the sword.
\nMetsuke<\/em>, or the point where one\u2019s eyes should focus.<\/p>\n

None of these points is distinct from the others. They constitute one ensemble that must be brought to perfection through physical and mental control of oneself.<\/p>\n

Batt\u014d-jutsu or iai-jutsu <\/em>was the \u201cwarrior\u2019s road\u201d to live a long life, the sword being the instrument that would help you kill your enemies and thus stay alive.<\/p>\n

And this is a very important point to always bear in mind in the study of the art of the sword: the sword was a weapon to be used on battlefields. When times changed and peace prevailed, the battlefields disappeared but the warrior spirit remained and was cultivated through practice. Today iai-d\u014d<\/em> is a way to pursue the cultivation of the fighting spirit through hard practice, not to give death but to build a string mind in order to face the struggles of life.<\/p>\n\n\n\n\n
<\/td>\n\"\"<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nHayashizaki Jinsuke Shigenobu <\/em><\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

Lineage<\/h1>\n

 <\/p>\n

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Mus\u014d Shinden Ry\u016b Iai-d\u014d (lineage) \u5922\u60f3\u795e\u50b3\u6d41\u5c45\u5408\u7cfb\u7d71<\/strong><\/td>\n<\/tr>\n
Sokei<\/strong><\/td>\nP\u00e9riode<\/strong><\/td>\nNom<\/strong><\/td>\nRy\u016b<\/strong><\/td>\n<\/tr>\n
Foundateur<\/td>\nc. 1546-1621<\/td>\nHayashizaki Jinsuke Shigenobu<\/td>\n\u6797\u5d0e \u751a\u4ecb \u6e90 \u91cd\u4fe1<\/td>\nShimmei Mus\u014d Ry\u016b
\n -> Shin Mus\u014d Hayashizaki Ry\u016b<\/em><\/td>\n<\/tr>\n
2nd<\/sup><\/td>\nc. fin 1500<\/td>\nTamiya Heibei Shigemasa<\/td>\n\u7530\u5bae \u5e73\u5175\u885b \u6210\u653f<\/td>\nTamiya Ry\u016b<\/td>\n<\/tr>\n
3rd<\/sup><\/td>\ndates uncertain<\/td>\nNagano Muraku Ny\u016bd\u014d Kinr\u014dsai<\/td>\n\u9577\u91ce \u7121\u697d \u5165\u9053 \u69ff\u9732\u6e08<\/td>\nMuraku Ry\u016b<\/em><\/td>\n<\/tr>\n
4th<\/sup><\/td>\ndates uncertain<\/td>\nMomo Gumbei Mitsuhige<\/td>\n\u767e\u3005 \u8ecd\u5175 \u885b \u5c09 \u5149\u91cd<\/td>\n<\/td>\n<\/tr>\n
5th<\/sup><\/td>\ndates uncertain<\/td>\nArikawa Sh\u014dzaemon Munetsugu<\/td>\n\u87fb\u5ddd \u6b63\u5de6\u30a8\u9580 \u5b97\u7d9a<\/td>\n<\/td>\n<\/tr>\n
6th<\/sup><\/td>\ndates incertain<\/td>\nBanno Danemon no J\u014d Nobusada<\/td>\n\u4e07\u91ce \u56e3\u30a8\u9580 \u4fe1<\/td>\n<\/td>\n<\/tr>\n
7th<\/sup><\/td>\ndates uncertain \/ born late 16e<\/sup><\/td>\nHasegawa Chikaranosuke Eishin (Hidenobu)<\/td>\n\u9577\u8c37\u5ddd \u4e3b\u7a0e \u52a9 \u82f1\u4fe1<\/td>\nMus\u014d Jikiden Eishin Ry\u016b<\/em><\/td>\n<\/tr>\n
8th<\/sup><\/td>\ndates uncertain<\/td>\nArai Seitetsu Kiyonobu<\/td>\n\u8352\u4e95 \u52e2\u54f2 \u6e05\u4fe1<\/td>\n<\/td>\n<\/tr>\n
9th<\/sup><\/td>\n1661-1732<\/td>\nHayashi Rokuday\u016b Morimasa<\/td>\n\u6797 \u516d\u592a\u592b \u5b88\u653f<\/td>\n\u014cmori Ry\u016b<\/em><\/td>\n<\/tr>\n
10th<\/sup><\/td>\ndied 1776<\/td>\nHayashi Yasuday\u016b Seisho<\/td>\n\u6797 \u5b89\u592a\u592b \u653f<\/td>\n<\/td>\n<\/tr>\n
11th<\/sup><\/td>\ndied 1790<\/td>\n\u014cguro Motoemon Kiyokatsu<\/td>\n\u5927\u9ed2 \u5143\u53f3\u30a8\u9580 \u6e05\u52dd<\/td>\n<\/td>\n<\/tr>\n
12th<\/sup><\/td>\n18e<\/sup>\/19e<\/sup><\/td>\nMatsuyoshi Teisukee (Shinsuke) Hisanari<\/td>\n\u677e\u5409 \u8c9e\u52a9 \u4e45\u6210<\/td>\n<\/td>\n<\/tr>\n
13th<\/sup><\/td>\n18e<\/sup>\/19e<\/sup><\/td>\nYamakawa Ky\u016bz\u014d Yukikatsu (Yukio)<\/td>\n\u5c71\u5ddd \u4e45\u8535 \u5e78\u96c5<\/td>\n<\/td>\n<\/tr>\n
14th<\/sup><\/td>\n19e<\/sup><\/td>\nShimomura (Tsubouchi) M\u014dichi (Seisure) Sadamasa<\/td>\n\u4e0b\u6751 \u8302\u5e02 \u5b9a\u653f<\/td>\n<\/td>\n<\/tr>\n
15th<\/sup><\/td>\n19e<\/sup>\/20e<\/sup><\/td>\nHosokawa (Gish\u014d) Yoshimasa (Yoshiuma)<\/td>\n\u7d30\u5ddd \u7fa9\u660c<\/td>\n<\/td>\n<\/tr>\n
16th<\/sup><\/td>\n1869-1958<\/td>\nNakayama (Hakud\u014d) (Y\u016bshin) Hiromichi<\/td>\n\u4e2d\u5c71 \u535a\u9053<\/td>\nMus\u014d Shinden Ry\u016b batt\u014d-jutsu<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

 <\/p>\n

Mus\u014d Shinden Ry\u016b Iai-d\u014d today<\/h1>\n
\n

\u014cmori Ry\u016b <\/em><\/p>\n

The study of Mus\u014d Shinden Ry\u016b Iai-d\u014d today includes three levels as follows :<\/p>\n\n\n\n\n\n
Shoden <\/em><\/td>\n\u2013 First level, for beginners. All of the twelve kata<\/em> but one start from and end with a Japanese seating position (seiza)<\/em>.<\/td>\n<\/tr>\n
Chuden (Hasegawa Eishin Ry\u016b)<\/em><\/td>\n\u2013 Second level, for advanced students. Ten kata starting from tatehiza (one knee up) seating position and ending in seiza seating position.<\/td>\n<\/tr>\n
Okuden<\/em><\/td>\n\u2013\u00a0Higher level, for expert students. The Okuden<\/em> level itself is divided in two parts: seating part (suwari waza<\/em>) including nine kata<\/em>, and standing part (tachi waza<\/em>) including eleven or twelve kata<\/em>.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
\n

First level, Shoden<\/em><\/h2>\n

The first level twelve kata<\/em>, Shoden<\/em> are named as follows :<\/p>\n\n\n\n\n\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Shoden \/ \u521d\u4f1d\uff08\u3057\u3087\u3067\u3093\uff09<\/strong><\/td>\n<\/tr>\n
Ippon-me<\/td>\nSHOHATT\u014c<\/td>\n\u4e00\u672c\u76ee<\/td>\n\u521d\u767a\u5200<\/td>\n<\/tr>\n
Nihon-me<\/td>\nSAT\u014c<\/td>\n\u4e8c\u672c\u76ee<\/td>\n\u5de6\u5200<\/td>\n<\/tr>\n
Sanbon-me<\/td>\nUT\u014c<\/td>\n\u4e09\u672c\u76ee<\/td>\n\u53f3\u5200<\/td>\n<\/tr>\n
Yonhon-me<\/td>\nATARIT\u014c<\/td>\n\u56db\u672c\u76ee<\/td>\n\u5f53\u5200<\/td>\n<\/tr>\n
Gohon-me<\/td>\nINY\u014cSHINTAI<\/td>\n\u4e94\u672c\u76ee<\/td>\n\u9670\u967d\u9032\u9000<\/td>\n<\/tr>\n
Roppon-me<\/td>\nRY\u016aT\u014c<\/td>\n\u516d\u672c\u76ee<\/td>\n\u6d41\u5200<\/td>\n<\/tr>\n
Shitchihon-me<\/td>\nJUNT\u014c<\/td>\n\u4e03\u672c\u76ee<\/td>\n\u9806\u5200<\/td>\n<\/tr>\n
Hatchihon-me<\/td>\nGYAKUT\u014c<\/td>\n\u516b\u672c\u76ee<\/td>\n\u9006\u5200<\/td>\n<\/tr>\n
Kyuhon-me<\/td>\nSEICHUT\u014c<\/td>\n\u4e5d\u672c\u76ee<\/td>\n\u52e2\u4e2d\u5200<\/td>\n<\/tr>\n
Djuppon-me<\/td>\nKORANT\u014c<\/td>\n\u5341\u672c\u76ee<\/td>\n\u864e\u4e71\u5200<\/td>\n<\/tr>\n
Djuippon-me<\/td>\nGYAKUTE INY\u014cSHINTAI<\/td>\n\u5341\u4e00\u672c\u76ee<\/td>\n\u9006\u624b\u9670\u967d\u9032\u9000<\/td>\n<\/tr>\n
Djunihon-me<\/td>\nBATT\u014c<\/td>\n\u5341\u4e8c\u672c\u76ee<\/td>\n\u629c\u5200<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/td>\n\"\"<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nHaga Junichi – Shoden Tchiburi <\/em><\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n<\/div>\n

\n

Second level, Ch\u016bden, <\/em><\/h2>\n

The second or middle level ten kata<\/em>, Ch\u016bden<\/em> are named as follows :<\/p>\n\n\n\n\n\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n
Chuden \/ \u4e2d\u4f1d\uff08\u3061\u3085\u3046\u3067\u3093\uff09<\/strong><\/td>\n<\/tr>\n
Ippon-me<\/td>\nYOKOGUMO<\/td>\n\u4e00\u672c\u76ee<\/td>\n\u6a2a\u96f2<\/td>\n<\/tr>\n
Nihon-me<\/td>\nTORAISSOKU<\/td>\n\u4e8c\u672c\u76ee<\/td>\n\u864e\u4e00\u8db3<\/td>\n<\/tr>\n
Sanbon-me<\/td>\nINAZUMA<\/td>\n\u4e09\u672c\u76ee<\/td>\n\u7a32\u59bb<\/td>\n<\/tr>\n
Yonhon-me<\/td>\nUKIGUMO<\/td>\n\u56db\u672c\u76ee<\/td>\n\u6d6e\u96f2<\/td>\n<\/tr>\n
Gohon-me<\/td>\nYAMAOROSHI<\/td>\n\u4e94\u672c\u76ee<\/td>\n\u5c71\u98aa<\/td>\n<\/tr>\n
Roppon-me<\/td>\nIWANAMI<\/td>\n\u516d\u672c\u76ee<\/td>\n\u5ca9\u6d6a<\/td>\n<\/tr>\n
Shitchihon-me<\/td>\nUROKOGAESHI<\/td>\n\u4e03\u672c\u76ee<\/td>\n\u9c57\u8fd4<\/td>\n<\/tr>\n
Hatchihon-me<\/td>\nNAMIGAESHI<\/td>\n\u516b\u672c\u76ee<\/td>\n\u6d6a\u8fd4<\/td>\n<\/tr>\n
Kyuhon-me<\/td>\nTAKIOTOSHI<\/td>\n\u4e5d\u672c\u76ee<\/td>\n\u6edd\u843d<\/td>\n<\/tr>\n
Djuppon-me<\/td>\nNUKIUCHI<\/td>\n\u5341\u672c\u76ee<\/td>\n\u629c\u6253<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/td>\n\"\"<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nNakayama Hakudo \u2013 Chuden : Yonhon-me, Ukigumo <\/em><\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n<\/div>\n

\n

Third level, Okuden<\/em><\/h2>\n
\n

Okuden Suwariwaza<\/em><\/h3>\n

The third or higher level nine sitting kata<\/em>, Okuden<\/em> Suwariwaza <\/em>are named as follows: :<\/p>\n\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n
Okuden suwariwaza \/ \u5104\u4f1d\u3000\u5ea7\u696d\uff08\u304a\u304f\u3067\u3093\u3000\u3059\u308f\u308a\u308f\u3056\uff09<\/strong><\/td>\n<\/tr>\n
Ippon-me<\/td>\nKASUMI<\/td>\n\u4e00\u672c\u76ee<\/td>\n\u971e<\/td>\n<\/tr>\n
Nihon-me<\/td>\nSUNEGAKOI<\/td>\n\u4e8c\u672c\u76ee<\/td>\n\u811b\u56f2<\/td>\n<\/tr>\n
Sanbon-me<\/td>\nSHIHOGIRI<\/td>\n\u4e09\u672c\u76ee<\/td>\n\u56db\u65b9\u5207<\/td>\n<\/tr>\n
Yonhon-me<\/td>\nTOZUME<\/td>\n\u56db\u672c\u76ee<\/td>\n\u6238\u8a70<\/td>\n<\/tr>\n
Gohon-me<\/td>\nTOWAKI<\/td>\n\u4e94\u672c\u76ee<\/td>\n\u6238\u8107<\/td>\n<\/tr>\n
Roppon-me<\/td>\nTANASHITA<\/td>\n\u516d\u672c\u76ee<\/td>\n\u68da\u4e0b<\/td>\n<\/tr>\n
Shitchihon-me<\/td>\nRYOZUME<\/td>\n\u4e03\u672c\u76ee<\/td>\n\u4e21\u8a70<\/td>\n<\/tr>\n
Hatchihon-me<\/td>\nTORABASHIIRI<\/td>\n\u516b\u672c\u76ee<\/td>\n\u864e\u8d70<\/td>\n<\/tr>\n
Kyuhon-me<\/td>\nIROMAGOI (3 forms)<\/td>\n\u4e5d\u672c\u76ee<\/td>\n\u6687\u4e5e<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/td>\n\"Tatehiza<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nTatehiza seating position <\/em><\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n<\/div>\n

\n

Okuden Tachiwaza<\/em><\/h3>\n

The third or higher level nine standing kata<\/em>, Okuden<\/em> Tachiwaza <\/em>are named as follows: :<\/p>\n\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Okuden tachiwaza \/ \u5104\u4f1d\u3000\u7acb\u696d\uff08\u304a\u304f\u3067\u3093\u3000\u305f\u3061\u308f\u3056\uff09<\/strong><\/td>\n<\/tr>\n
Ippon-me<\/td>\nYUKIZURE<\/td>\n\u4e00\u672c\u76ee<\/td>\n\u884c\u9023<\/td>\n<\/tr>\n
Nihon-me<\/td>\nRENTATSU<\/td>\n\u4e8c\u672c\u76ee<\/td>\n\u9023\u9054<\/td>\n<\/tr>\n
Sanbon-me<\/td>\nSOMAGURI<\/td>\n\u4e09\u672c\u76ee<\/td>\n\u60e3\u6372<\/td>\n<\/tr>\n
Yonhon-me<\/td>\nSODOME<\/td>\n\u56db\u672c\u76ee<\/td>\n\u7dcf\u7559<\/td>\n<\/tr>\n
Gohon-me<\/td>\nSHINOBU<\/td>\n\u4e94\u672c\u76ee<\/td>\n\u4fe1\u592b<\/td>\n<\/tr>\n
Roppon-me<\/td>\nYUKICHIGAI<\/td>\n\u516d\u672c\u76ee<\/td>\n\u884c\u9055<\/td>\n<\/tr>\n
Shitchihon-me<\/td>\nSODESURIGAESHI<\/td>\n\u4e03\u672c\u76ee<\/td>\n\u8896\u647a\u8fd4<\/td>\n<\/tr>\n
Hatchihon-me<\/td>\nMONIRI<\/td>\n\u516b\u672c\u76ee<\/td>\n\u9580\u5165<\/td>\n<\/tr>\n
Kyuhon-me<\/td>\nKABEZOI<\/td>\n\u4e5d\u672c\u76ee<\/td>\n\u58c1\u6dfb<\/td>\n<\/tr>\n
Djuppon-me<\/td>\nUKENAGASHI<\/td>\n\u5341\u672c\u76ee<\/td>\n\u53d7\u6d41<\/td>\n<\/tr>\n
Djuippon-me<\/td>\nOIKAKEGIRI<\/td>\n\u5341\u4e00\u672c\u76ee<\/td>\n\u8ffd\u639b\u65ac<\/td>\n<\/tr>\n
Djunihon-me<\/td>\nYOUSHIHIKIZURE<\/td>\n\u5341\u4e8c\u672c\u76ee<\/td>\n\u4e21\u58eb\u5f15\u9023<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/td>\n\"\"<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nMitsuzuka Takeshi & Sylvain Paul, c. 1980s
\n<\/em><\/td>\n		<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n<\/div>\n

Shind\u014d Munen-ry\u016b<\/h2>\n
\n

Within the Sanshinkai organization that he created, Mitsuzuka Sensei also taught a style of Iaijustu called Shind\u014d Munen-ry\u016b. The style was reconstructed by Mitsuzuka Sensei from a makimono that described Hosoda Ry\u016b in order to add a set of tachiwaza (standing) kata for intermediate students to the Sanshinkai curriculum.<\/p>\n

The Shind\u014d Munen-ry\u016b\/Hosoda Ry\u016b all standing kata are as follows :<\/p>\n\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Shind\u014d Munen Ry\u016b\/<\/strong>\u795e\u9053\u7121\u5ff5\u6d41 (\u3057\u3093\u3069\u3046\u3080\u306d\u3093\u308a\u3085\u3046)<\/td>\n<\/tr>\n
Ippon-me<\/td>\nIWANAMI<\/td>\n\u4e00\u672c\u76ee<\/td>\n\u5ca9\u6d6a<\/td>\n<\/tr>\n
Nihon-me<\/td>\nUKIFUNE GAESHI<\/td>\n\u4e8c\u672c\u76ee<\/td>\n\u6d6e\u8239\u8fd4\u3057<\/td>\n<\/tr>\n
Sanbon-me<\/td>\nNOARASHI GAESHI<\/td>\n\u4e09\u672c\u76ee<\/td>\n\u91ce\u5d50\u8fd4\u3057<\/td>\n<\/tr>\n
Yonhon-me<\/td>\nUTSUSEMI<\/td>\n\u56db\u672c\u76ee<\/td>\n\u7a7a\u8749<\/td>\n<\/tr>\n
Gohon-me<\/td>\nMATSUKAZE<\/td>\n\u4e94\u672c\u76ee<\/td>\n\u677e\u98a8<\/td>\n<\/tr>\n
Roppon-me<\/td>\nZANGETSU HIDARI<\/td>\n\u516d\u672c\u76ee<\/td>\n\u6b8b\u6708\u5de6<\/td>\n<\/tr>\n
Shitchihon-me<\/td>\nZANGETSU MIGI<\/td>\n\u4e03\u672c\u76ee<\/td>\n\u6b8b\u6708\u53f3<\/td>\n<\/tr>\n
Hatchihon-me<\/td>\nDOTO GAESHI<\/td>\n\u516b\u672c\u76ee<\/td>\n\u6012\u6d9b\u8fd4\u3057<\/td>\n<\/tr>\n
Kyuhon-me<\/td>\nRAIT\u014c GAESHI<\/td>\n\u4e5d\u672c\u76ee<\/td>\n\u96f7\u5200\u8fd4\u3057<\/td>\n<\/tr>\n
Djuppon-me<\/td>\nYOT\u014c<\/td>\n\u5341\u672c\u76ee<\/td>\n\u967d\u5200<\/td>\n<\/tr>\n
Djuippon-me<\/td>\nINT\u014c<\/td>\n\u5341\u4e00\u672c\u76ee<\/td>\n\u9670\u5200<\/td>\n<\/tr>\n
Djunihon-me<\/td>\nINAZUMA GAESHI<\/td>\n\u5341\u4e8c\u672c\u76ee<\/td>\n\u7a32\u59bb\u8fd4\u3057<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
<\/td>\n\"\"<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nMitsuzuka Takeshi
\n<\/em><\/td>\n		<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

 <\/p>\n<\/div>\n

 <\/p>\n

 <\/p>\n

Back to A Brief History of the Samurai and of Iai-d\u014d<\/a><\/p>","protected":false},"excerpt":{"rendered":"

Etymology If we analyze the characters forming the words describing the art of fighting with or drawing a sword and examine the concepts attached to them we can come to grasping the essence of this art. \u5c45\u5408\u8853 (Iai-jutsu) The art (jutsu\/\u8853) of meeting\/facing\/blending (ai\/\u5408) existence (i\/\u5c45) \u629c\u5200\u8853 (Batt\u014d-jutsu) The art (jutsu\/\u8853) of drawing (batsu\/nuku\/\u629c) the … Continue reading MUSO SHIN DEN RY\u016a IAID\u014c<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":453,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-900","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P8CvxL-ew","jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/aikidodidierboyet.com\/en\/wp-json\/wp\/v2\/pages\/900","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aikidodidierboyet.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/aikidodidierboyet.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/aikidodidierboyet.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/aikidodidierboyet.com\/en\/wp-json\/wp\/v2\/comments?post=900"}],"version-history":[{"count":23,"href":"https:\/\/aikidodidierboyet.com\/en\/wp-json\/wp\/v2\/pages\/900\/revisions"}],"predecessor-version":[{"id":1212,"href":"https:\/\/aikidodidierboyet.com\/en\/wp-json\/wp\/v2\/pages\/900\/revisions\/1212"}],"up":[{"embeddable":true,"href":"https:\/\/aikidodidierboyet.com\/en\/wp-json\/wp\/v2\/pages\/453"}],"wp:attachment":[{"href":"https:\/\/aikidodidierboyet.com\/en\/wp-json\/wp\/v2\/media?parent=900"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}