Skip to content

Utsuru 映る: Is Your Mind Reflected in Your Taijutsu?

From Bujinkan Santa Monica by Mats "Toryu" Hjelm

Dusk, Moon with Sunset Reflected in a Bubble. photo by arhadetruit
What have you been studying for the Bujinkan yearly theme of 2011? It seems that every year we start out on a journey of exploration. At the beginning of the year our minds seek something concrete to study. And Hatsumi Sensei puts something out there for us to consider. But as the year goes on, the theme evolves so that by the end of the year it feels like something else entirely.

However frustrating this may be for those of us who don't live in Japan to try to keep up, this is a very natural way of learning. And it is a lesson in itself. This year started out with Kihon Happo, but has transitioned to also include 万変不驚 Banpenfugyo and Juppo Happo.

There are many ways to look at Banpen Fugyo (Infinite change, No surprise). But how do you train on this? A very simple but profound example can be found in nature when we observe the reflection of the moon. I wrote about this before in my post "Ninpo and Mu: Waxing and Waning Like the Moon" but with this year's theme I think there is more to consider.

In Japanese there is an idea that can be expressed as utsuru 移る. This word has many interesting meanings for training, Like: shift;  move;  change;  drift;  catch (cold, fire);  pass into or to change the target of interest or concern. Or written another way, utsuru 映る - to be reflected;  to harmonize with.
"The mind is like the moon on the water
Form is like the reflection in a mirror

This verse suggests that the mentality proper for the martial arts is that of the moon’s abiding in the water. It is also the reflection of your body abiding in the mirror. Man’s mind moves to an object like the moon moves to the water. How spontaneously this happens!"
Yagyū Munenori translated by William Scott Wilson
The light from the moon can be considered like our shifting focus. If the water is disturbed (or changed) the reflection does not disappear, it rides on the ripples of change and as the water settles it remains pure and clear. Our focus never falters, only the water was disturbed.

Whether in everyday life or in a fight, no matter what happens, our focus should remain clear and undisturbed.

The moon can also be reflected in more than one place. Here in a puddle, in a cup of tea, and there in the lake… all at the same time. Our attention can shift but take in anything. It comes out from it's source at the clear center to be reflected everywhere.
"Enlightenment is like the moon reflected on the water.
The moon does not get wet, nor is the water broken.
Although its light is wide and great,
The moon is reflected even in a puddle an inch wide.
The whole moon and the entire sky
Are reflected in one dewdrop on the grass."
Dogen (1200-1253)
Violence in a fight happens very fast. But this does not have to present any problem for us. Our minds can move as fast as light from the moon. Yagyū explains that "… man’s mind moves to an object as quickly as the moon pierces the water." If you cover your teacup with your hand and then remove it, how quickly is the moon reflected?

What we train with our taijutsu is the ability to flow with this natural state. As natural as a moon's reflection. As Yagyū describes, "When the mind moves, the body will move there as well. If the mind goes, the body will go. The body itself follows the mind."

Of course if your heart and focus are unclear, then the movement of your body will be unnatural and slow. Please look at the moon tonight and consider that people in Japan have the same moonlight reflecting in their eyes. Try to catch that feeling in your training!


…

Naginata in bokken bag

From Paart Budo Buki by Mats "Toryu" Hjelm


Here are my dear friends, in front of you is probably the first naginata in two pieces, which can be purchased for training.

I spent a long time to realize these idea, mostly by trying to find a manufacturer of metal tube that would be ideal for this type of joint. 
So here I must thank to sensei Erwin Steinhauser, Shibucho of KomeiJyuku Austria Honbu Dojo, which was first revised my Naginata, and made from her Naginata from two pieces. In this way, I was directed to create an elliptical diameter metal pipe, instead of seeking the manufacturer of such tubes
Only in this way is possible to make a connection, which is as sturdy as the Naginata from one piece.
I think that what you see in the picture's, the best solution for those who want Naginata in the bag for Bokken

 

in the picture below, you can find the special screwdriver that I made for this nginata
For securing naginata, it is necessary to twist the screw out, for one or two rounds, while the bolt head is aligned with the surface naginata shaft

 
 

little trick is that the screws that serve to fortify the compound stays in  piece which is connected externally, so it will not happen to lose the screw




…

消体 Shotai: You Cannot Divide Nature

From Bujinkan Santa Monica by Mats "Toryu" Hjelm

Chikuhō no kodomotachi (Chikuho’s Children) by Ken Domon
Hatsumi Sensei writes that sensing the true nature of things (消体 shotai) like budo and nature, shows that they are connected and cannot be divided. He explains this by way of photography:
"The mon 門 (gate), or shumon 宗門(religion), and bumon 武門(martial), are captured beautifully by the shutter of the famous cameraman Ken Domon."
Ken Domon, in advocating realism, said: "Realistic photography in the true sense brings us directly to reality. Photographic expression is an attempt at a truthful presentation of reality — in other words, it is a crystallisation of man's anger, his happiness and his sadness."

Domon famously defined his goal as a photographer as "the direct connection between camera and motif."

Domon's method of photographing temples was to stay at the location for some time before taking the first photo. He would then begin photographing based not on a systematic, scholarly approach to the subject, but based on how his feelings towards the subjects moved him to record them.

Profile of Ken Domon (土門 拳, Domon Ken, 25 October 1909 – 15 September 1990):
One of the most renowned Japanese photographers of the twentieth century. He is most celebrated as a photojournalist, though he may have been most prolific as a photographer of Buddhist temples and statuary.

Born in Sakata City, Yamagata Prefecture, in 1935 Domon joined Nihon Kobo, an organization that produced news photographs. He later worked as an independent photojournalist recording the tremendous changes taking place in Japan until he was stricken by cerebral thrombosis in 1979. During his career he produced many photographic collections including Bunraku (1972), Hiroshima (1958), Fubo (1953) and Koji Junrei (five volumes, 1963-75). Reflecting on the inadvertent role he played during WWII producing propaganda photographs, he became a main proponent of the postwar photographic realism movement that focused on society and the lives of ordinary people, and his powerful works influenced many amateur photographers of the age. Declaring his love of Japan and the Japanese people, Domon changed his focus and attempted to capture the essence of his photographic subjects. The photographs he took of Buddhist images both prior to and during WWII remain among the most highly acclaimed of his works and are thought to exemplify his photographic aesthetic. Before his death in 1990, Domon donated the entire body of his works to the city of his birth, and in 1983, the city of Sakata honored him by opening the Ken Domon Memorial Photographic Museum.

I hope you can find inspiration in photography and art as well as budo!


…

wooden Tanto

From Paart Budo Buki by Mats "Toryu" Hjelm

Here is few pictures of my wooden O- tanto's, with saya  and ito maki


tanto with white Jabara ito have also wooden menuki, that was first time that i put menuki on any of my bokken's or tanto's, but it hepen to be very nice and natural for this kind of wooden buki


 

                                                                                                                                                            

 
All this O-Tanto's have Hishigamis under itomaki wrap, 
shape of blade and kissaki is very similar to original look tantos from that time.

When you order Tanto from me you could chose lenght of blade, lenght of tsuka, size and shape of tsuba , and as you se colour of ito maki.
If I don't have colour of ito maki which you like to have, you could buy it somewhere else and send it to me to wrap your tanto






…

Bokuto/bokken

From Paart Budo Buki by Mats "Toryu" Hjelm

Some  Budoka's prefer bokken’s made ​​of exotic wood, mostly for the beauty of exotic wood and other characteristics.
My personal experience says that exotic wood is not the happiest solution for those who expect a great bokken, especially for contact, in some of next posts I will explain why.
If you need a bokken / bokuto just for kata’s or slight contact, which will really look good,  then certainly recommend the already known species of exotic wood.

On the photo below is one of my bokuto made ​​from African Paduk, the structure of this wood looks like  flowing lava, normally under the horizontal section in relation to a tree.







There are also pictures of some other bokuto and from my private collection which I made​​, I hope you enjoy the pictures

Peter Antunovic

Hornbeam bokuto in most comon style, like my all bokuto's, this one also have natural sory (curve)

 
Bokuto in Tachi style(hornbeam), natural curve, bokuto on picture  is without tsuba, but it could be with  wooden or rubber tsuba in shape which you like



Bokuto in koryu style (hornbeam)




…

Wooden Budo Buki

From Paart Budo Buki by Mats "Toryu" Hjelm

Dear Budo friends,

because some problems with my website, here I will continue to inform you about my work with wooden equipment for Budo practioners.

In this way you will have better information's about some my projects.
After all I never plan to run some budo shop, or budo internet shop, of course some things in life,  man must pay.
My workshop is place where people could come to see and feel energy, knowledge and passion for working with wood, which are built into all my work's
To all those who can not come to my workshop will serve this blog, as a window into a world in which I live and create Budo buki.
Yours sincerely, 
Petar  Antunović



…

Mutō Dori 無刀捕: Hidden Strategy is Beautiful

From Bujinkan Santa Monica by Mats "Toryu" Hjelm

Hiding Dog - Sapporo, Japan. photo by MJ/TR (´･ω･)
We have a profound strategy in the Bujinkan which often goes unnoticed. I think it is not obvious because the name creates a certain idea. Mutō Dori 無刀捕 (no sword capture). People hear that and they already have an idea in their head about dodging sword cuts.

Hatsumi Sensei makes reference to this strategy not just when he is unarmed facing a sword wielding attacker, but also during unarmed taijutsu, and while using all manner of weapons.

So forget the sword for a moment, and let's discover some hidden layers in Mutō Dori.

First, relying on any weapon or technique is a trap. If you become an expert, your mind will get stuck there. Use your weapons or techniques with the same mindset as mutō dori. This is a natural, everyday mind.

In avoiding a sword, if you think about avoiding, you will be cut. If you think about not avoiding, you get cut. You should think about nothing and when the sword cuts, naturally get out of the way. Wherever your mind stops is a trap.

Second, don't try to take your opponent's weapon or defeat him. Use 虚実 kyojitsu. If he responds to the 虚 kyo (illusion), give him the 術 jutsu (true form). Or if he has decided not to be fooled by your misdirection, and his mind stops there, determined not to be faked out, the kyo becomes real. It becomes the jitsu. You win by not attaching to either.

Third, Don't let your own weapon or technique be taken. Don't get cut. Makes sense at a basic level- of course you don't want to get cut. But this only occurs when you know the mind or intentions of the opponent.

Hatsumi Sensei says that he was told this by Takamatsu:
"In the instant that the opponent creates a Kiai, you need to avoid the attack."
This is not when you hear or notice the Kiai, but the instant it is created. You must be open and connected enough to the spirit of the opponent to recognize that moment when his mind or intent has shifted (or he has decided) to attack.

So to explain these three strategies in a slightly different way,

You must handle weapons freely, yours or his, no matter what kind of weapon and without being attached.

Understand and master the mindset of mutō dori. Not only in your own mind, but the opponent's mind also.

Be able to win without using a weapon.

Make a connection in the kukan without being cut (or cutting the opponent).

Wait, WUT? a connection to what? That is a whole other topic, one that I am just starting to explore in my own training, but don't know how to share yet. Sensei has been talking about these connections a lot the past few years.

Hatsumi Sensei quotes Zeami,
"秘すれば花  Hisureba Hana" (That which is hidden is beautiful)
and then Soke goes on to say,
"Those that live within kyojitsu and uncommon sense (秘常識 hijoshiki) possess a hidden sense."
When I glimpse that in training… or I am lucky enough to experience it myself, I definitely find it beautiful.


…

Happiness Tea

From 術心悟 by Mats "Toryu" Hjelm

While in Bangalore,  I had the unexpected pleasure of spending time with Arnaud from France as well as Shiva, our gracious and good natured Indian host.  These delightful times instantly reminded me of a painting done by the monk Sengai.  Three gods of happiness are pictured.   Daikoku Ten, whom some may recognize from the statue outside Hatsumi Sensei`s office, is  originally from India.  He is not only a god of protection, war, and prosperity, but, auspiciously, he is an incarnation of the Hindu god Shiva!   Second is Juroku Jin, or the god of Longevity.  Often pictured leaning on his cane, he is usually in a most jovial mood.  Lastly, there is Ebisu, indigenous to Japan, he is a god of prosperity often pictured with a fishing pole enjoying his fresh catch of the day.

 

Above them is Sengai`s inscription;  “Three prosperities, make them one and enjoy a big happiness tea!”  As Takamatsu Sensei says, “Cherish your connections…”.  Thru others we enrich and are enriched.  How wonderful it would be to set aside notions of higher and lower, good and bad, and blend one fantastic happiness tea!  The true treasure of Nin lies therein.

sengai_02 IMG00615-20110628-1148
…

拍手 Hakushu: The Sound of Ninjas Clapping?

From Bujinkan Santa Monica by Mats "Toryu" Hjelm

Silent Hill, photo by Jon▲
What's with all the clapping when we bow in?

One of the first strange things a new student in the Bujinkan has to do - after putting on a hood and tabi to scale the castle wall on a moonless night to sneak into the dojo - is learning and performing the bow in before class. Hopefully it only takes them a few mumbles to learn the phrase "Shikin Haramitsu Daikomyo," while they clap and bow, even as their face shows the strain of a beginner sitting in seiza.

We all went through this. No matter our age or rank. For me, I remember just trying to fit in during the class. Saying nothing at first, hoping to time my claps with the rhythm of the group. I first learned about one translation of the words when I was trying to learn to pronounce them. I won't go into that now (another post maybe). But what I will say is that the bow in process turned into a habit that lost what little meaning I could give it.

Many years later - maybe when I first had to lead a bow in myself - I gained a deeper understanding of that process.

So how does it go?

Sanpai sahō 参拝作法 The usual way to worship in the presence of the kami (at a shrine) is to bow twice, clap twice, and bow a third time.

This is like a secret for how to jump start 心伎体 Shin Gi Tai.

The body (deeds), mouth (words) and consciousness (thoughts)- are made one and equal in one instant while the concentration is undisturbed.

In the practice of esoteric Buddhism the body becomes the symbol or mudra, the mouth expresses the mystic sound or mantra, and the mind is absorbed in meditation.

So just what does the clapping symbolize? For me it is like light and sound coming together in an instant of Daikomyo! But in Shinto it has different aspects:

It is used to get the attention of the Kami. And to purify with 言霊  otodama - the spirit present in sound or language.

According to the Kojiki 古事記 (Japan's oldest surviving text complied around 712 AD) and Nihon Shoki 日本書紀 (Japan’s second oldest book, compiled around 720 AD), the sound made by clapping hands is the same sound that divided chaos into heaven and earth and gave birth to Japan.

It could be the sound made by the closing of the cave door after the sun goddess Amaterasu came out of the cave where she had been hiding)

Hand clapping is distinguished by the number of claps, such as "short clapping" one to three times (tanhakushu) or "long clapping" of four claps (chōhakushu). 

There are also distinctions based on the manner of clapping, which includes shinobite, raishu, renhakushu, and awase hakushu.

Shinobi te involves silent clapping and is performed at "Shinto funeral ceremonies" (shinsōsai) and other occasions.
Raishu is performed, for example, when presented with a cup of sake. At Shinto ceremonies, "two hand claps" (nihakushu) is generally common. Moreover, according to the conventional explanation for kashiwade as an alternative word for hakushu, kashiwade is a popular name derived from confusion between the character for "oak tree" (kashiwa 柏) and the character haku 拍. Another theory suggests that the name kashiwade is related to the raishu etiquette of hand clapping before "food served on individual tables at a banquet" (kyōzen) following a Shinto ceremony as well as to the fact that both kyōzen and "food served on individual tables" (zenbu) are called kashiwade.

— Shimazu Norifumi

So what does all this mean for you? If you are not a practicing Buddhist or Shintoist, maybe not too much. Maybe it's just one of those odd things you have to do before you start punching your buddies. But I think if you consider it in terms of unifying and bringing together your thoughts, words, and actions - it may develop into something more powerful for you.


…