The View from the Bottom

Last night, at training, my form wasn't particularly good. I've been a student of Tatsumi Ryu for several years now, and it was frustrating to be making so many basic mistakes. I came home all pent up, and sat down at the computer, trying to think of things to do to relieve the negative energy I felt. I jumped onto Flickr, and immediately saw the photo above. In that moment, this photo, taken last year in the Otway Ranges National Park, wasn't a group of trees. It was a metaphor for where I stood in Tatsumi Ryu and for the many who had climbed to lofty heights before me. It might have simply added to my woes, this symbol of my inexperience, but there is a bright glimpse of sky through those trees. Those trees are all looking up too, at the clouds, which have climbed higher still.

A Tatsumi Ryu Snapshot

I study Tatsumi ryu (立身流, Tatsumi-ryū Hyōhō): a Koryu, or classical tradition. It originates in the Sengoku Jidai period in Japan, and was founded by Tatsumi Sankyo, who was born in what is now Ehime Pefecture, on Shikoku Island. I won't delve into the history or essential principles of the system; after all, it isn't my place as a student to be telling the world about Tatsumi ryu. For that, I suggest visiting the Wikipedia entry here or Liam Keeley Sensei's home page here. But I thought people might be interested in seeing photographs of the art. Some are available at the links above, but I have a couple of interest that aren't available (or, at least, not in the resolution I've provided them). The photographs were taken by Neill Smith in 2006.

Without giving too much away, it is worth noting that this particular ryu obviously uses more than the sword. In fact, it classifies as a sogo bujutsu: an integrated, composite martial arts system. It is a privilege to have the opportunity to study it.

Along with the links above, anyone interested in the koryu should at a minimum read Hunter B. Armstrong's "The Koryu Bujutsu Experience" in Koryu Bujutsu: Classical Warrior Traditions of Japan (by Koryu Books). It is a very good essay on not only the historical qualities of the koryu, but also the philosophical and technical distinctions between the classical arts and modern budo.

Katori Shinto Ryu -- you must read this!

Koryu.com, one of my listed links, has just produced a new book that any serious student of Japanese martial arts should get their hands on. It is dual language, with many black and white photos throughout. While is concentrates on omote techniques, it is nevertheless a valuable resource if you're interested in gaining an insight into the thoughts and techniques of one of the greatest living swordsmen.

clipped from www.koryu.com New from Koryu Books: Otake Risuke's Katori Shinto-ryu: Warrior Tradition

My New Katana

In keeping with my koryu bent (for an indepth discussion of koryu, visit Koryu Books), I have bought a new car. 'A new car?' you ask. Yes, a new car. It is the type of car that anyone fascinated with Japanese Sword Arts should buy, because it is the automotive equivalent of the katana. 'What is it?' I here you say. Drum roll...wala.

Yes, it is a Mazda MX-5. Like the katana as a sword, the MX-5 isn't the most powerful or weighty of cars, but it is sublimely agile and designed for a single purpose: to fuse driver and car as one. It does what it was engineered to do to perfection. Here in Australia, it won Wheels Car of the Year in 2005, which is our most prestigious car award. Read the article, and it gives you a taste of the absolutely joy the MX-5 is to drive. It has also won a host of other awards, and has been otherwise buried beneath voluminous pages of praise.

I had half a mind to get a private number plate that reflected the MX-5's purity of concept, but private number plates are, basically, a bit silly (apologies to any who own one).

Merry Christmas From Sunny Oz

Just a quick post to wish everyone out there a Merry Christmas. Have a safe and enjoyable holiday season...

Sword Furnishings

It's been a long time in preparation, but finally I have another installment of images, this time of koshirae, from the Japanese Arms and Armour exhibition I attended some months ago. This chapter is longer, with more images, which are (of course) again available if anyone wants a copy--not that anyone asked last time.

Koshirae (the sword mountings with fittings that form a principal artistic part of the Japanese sword) are an art in and of themselves. They form an important part of the making of the sword, and often reflect particular virtues and interests or other symbolic meaning. To keep this entry short, I'll not delve into the thematic content of each piece or the history of koshirae in general. If you want more information on Japanese sword furniture, see Koshirae: Nihon Token Gaiso - The Mountings of Japanese Swords by C. U. Guido Schiller.

The following notes have been borrowed directly from the display text that accompanied the exhibition (except where text is in yellow). All credit for the technical notes goes to the Benalla Art Gallery and the Australian Society for the Preservation of Japanese Art Swords.

1. Tsuba (sword hand guard)

PERIOD: late Edo period (19th century)
MEI: Suruga Takaoki Inshû jû (d1856)
SUBJECT: Goose in long grass
MATERIAL: Iron

Takaoki (his personal name is Hayata Chujirô) was the son of Suruga Takashige and was ninth hereditary master of the Suruga of Inaba.


PERIOD: late Edo period (19th century)
MEI: unsigned - attributed to Ichijôsai Hirotoshi
SUBJECT: Battle of Mount Ishibashi
MATERIAL: shakudo, subject in raised iroe takazogan in shibuichi

This tsuba is unsigned but a similar signed work bearing the name of this artist is in the collection of the Museum of Decorative Arts, Copenhagen. The identification has been endorsed by the Japan Art Sword Preservation Museum.


PERIOD: Mid Edo period (ca 1700)
MEI: Signed on reverse Naoyuki (of the Hamano school)
SUBJECT: Kanzan and Jittoku with Tiger
MATERIAL: Iron

‘Kanzan and Jittoku’, a temple cleaner and poet-monk, are a popular Zen subject of Chinese origin.

2. Kozuka (a small knife with a decorative metal handle inserted in a slot in the scabbard of a sword)


PERIOD: mid Edo period (ca 1700)
MEI: Hamano Naoyuki
SUBJECT: tiger
MATERIAL: shibuichi

I am particularly taken by this kozuka. The intensity of the tiger's face is striking; in particular, the tiger's eyes are filled with a human intelligence that I find intriguing.


PERIOD: mid Edo period (ca 1740)
MEI: Tsu Jimpo
SUBJECT: A samurai mounted on a tiger chasing an ogre
MATERIAL: shakudo nanako with coloured metal overlay

Tsu Jimpo (1720-1761) belonged to the Awa branch of the Gotô school. He was a student of Naomura Masamichi and of Gotô Tsujô, the 9th master of the main Gotô line. This piece shows the official courtly Gotô style.

3. Set of Tsuba, Fuchi and Kashira

PERIOD: late Edo period (19th century)
MEI: Ishiguro Ichiju with kao
SUBJECT: crests
MATERIAL: shakudo nanako with iroe takazogan

The Ishiguro School was founded by Ishiguro Masatsune I (1760-1828). Ichiju was either a son or a pupil of Masatsune’s son Koretsune. While the Ishiguro School is characterised by its use of vibrant colours, the understated design of this set expresses the formal and subtle taste of the higher-ranking samurai.

4. Kogai (a small skewer-like utility implement inserted in the scabbard)

PERIOD: Late Momoyama/early Edo period (ca 1600)
MEI: unsigned – attributed to Ko Gotô
SUBJECT: Dragon entwined around Buddhist sword
MATERIAL: shakudo

5. Menuki (pair of carved metal ornaments under hilt binding)

PERIOD: Edo period (ca 1780)
MEI: unsigned – attributed to Mito Kuni
SUBJECT: Temple guardians (Nio)
MATERIAL: shibuichi



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That's all for now. I'm very pleased with the photos. I hope you're enjoying them as well, and the small amount of technical information I have on them. Keep an eye out for the final part of this exhibition, focussed on the blades and their mountings.

My Son's First Grading

Anna and I went to watch our son's first grading in Tae Kwon Do today. He's preempting the rest of the class, because he can't make the grading day this Saturday. We were so proud, watching him perform his kicks and punches, all with a kiai full of enthusiasm and energy. Daniel is naturally energetic, and Tae Kwon Do seems the perfect form of catharsis--I wish I'd been able to catch it on film.

It struck me while I was watching that children receive instruction and correction with a wonderful sincerity. Perhaps it's the degree of trust they place in their teachers, perhaps just their inherent nature or perhaps their innocence--whatever it is, children seem to leave the ego at home when they learn. Daniel and his training friends were completely open, like sponges soaking up plankton. My pride gets bruised on occasion when I'm training. Certainly I strive to do everything perfectly, but the more I think on it the more I wonder whether (sometimes, at least) my effort is purely egotistical. Daniel wants to learn because learning is a wonder to him. I'm sure that, sometimes, I want to learn to satisfy some inherent competitiveness in me; I want to be better than the man I'm standing next to. So, today Daniel taught me something, although completely unwittingly. Note to self: learn for the sake of learning. I suppose this is what Lao Tzu meant when he admonished us to retain the child.

Which leads me to a big thank you to Hall's Tae Kwon Do here in Melbourne. Great job.