, often referred to simply as Jikishinkage-ryà « or Kashima Shinden, is a traditional school (koryà «) of the Japanese martial art of swordsmanship (kenjutsu). The school was founded in the mid-16th century, based upon older styles of swordsmanship, and is one of the few ancient Japanese martial arts schools still existing today.
Kashima Shinden Jikishinkage-ryà « can be translated as the "divinely transmitted, honest reflection of the heart, school of Kashima".
By repetitive practice, one maintains a constant connection with the cosmos by aspiring to jikishin (ç´å¿Â) unwavering intention and seimeishin (çÂÂå½å¿Â) perfect clarity of mind, just like a cloudless sky on a brilliant sunny day. A practitioner who has attained heightened jikishin and seimeishin is said to have fudà Âshin (ä¸ÂÃ¥ÂÂå¿Â) immovable heart.
The Jikishinkage-ryà « style descends from the kenjutsu styles developed in the late Muromachi period which overlaps the early Sengoku period, or better dated as late 15th or early 16th century, at the Kashima Shrine by the founder, Matsumoto Bizen-no-Kami Naokatsu (æ¾æ¬ Ã¥ÂÂÃ¥ÂÂå® å°ÂÃ¥ÂÂ, 1467âÂÂ1524). The direct predecessors of the Jikishinkage-ryà « style are the Shinkage-ryà « and the Kage-ryà « (Aizu) styles.
The Jikishin Kage-ryà « Kenjutsu comes from a previous school, Kage-ryà « Kenjutsu. A samurai (ä¾Â) called Aisu Iko founded Kage-ryà « in 1490. He perfected and taught his style around Japan. There is evidence from 1525 that another samurai named Kamiizumi Ise-no-Kami Nobutsuna (1508âÂÂ1548) was teaching his own style, a form of Kage-ryà « kenjutsu. He called it Shinkage-ryà « (the school of the new shadow). Jikishin Kage-ryà « means 'the newest school of the ancient shadow'. He was denoting with the name, to the ancestors, and expressing respect to his former masters. Matsumoto Bizen no Kami Naokatsu was a famous master of this school. He also founded his own school first called Kashima Shin-ryà «, then Kashima Shinden Jiki Shinkage-ryà «. These schools can be found even today all around the world. There are more variations like Jikishin Kage-ryà «, Seito Shinkage-ryà «, etc.
During the 19th century, Jiki Shinkage-ryà « was one of the most popular schools of combative swordsmanship (kenjutsu) in eastern Japan, especially in the Edo area. The 14th headmaster or sà Âke (å®Â家) of Jikishin Kage-ryà « KenjutsuâÂÂSakakibara KenkichiâÂÂwas one of the most well-known swordsmen of his time, and the personal bodyguard of the Shà Âgun.
Sakakibara had hundreds of students during his lifetime, many of them rising to the "rank" of menkyo kaiden (å Â許çÂÂä¼Â) and shihan (師ç¯Â), thus able to pass on the full tradition. At least 20 menkyo kaiden can be found in official listing of successors. Some of them derived their own branch lines. His most talented disciple was Yamada Jirokichi (å±±ç° 次æÂÂ) from whom the Seito-ha (æ£統派), which means main line system or traditional school.
A less well-known, but highly skilled, menkyo kaiden ranked student was Matsudaira Yasutoshi, who, like Yamada Jirokichi, studied the more traditional ways of Jikishin Kage-ryà «. The best apprentice of Yasutoshi was Makita Shigekatsu, a young man from a samurai family from Hokkaidà Â. His name and Jikishin Kage-ryà « became famous on the northern island in the times of the Japanese civil war in 1868. By sword fighting, he was an expert in kyà «dà  (å¼ÂéÂÂ), Japanese archery. He was the heir of the title of shihan of Jikishinkage-ryà «, but unfortunately, he was fighting a losing battle against the Emperor in the revolution. The cast of the samurai was disbanded, and he had to run. Later, he returned to Hokkaidà Â, and opened his own dà Âjà Â, called Jikishin Kan Dà Âjà Â. He was teaching various martial arts, not just kenjutsu. His dà Âjà  was popular, in spite of the prohibition of the katana in 1876.
After Shigekatsu's death, the village of Atsuta raised a black granite obelisk in his memory. This memorial can be seen today. The family tradition has been taken by his grandson, Kimiyoshi Suzuki. Suzuki sensei is also a master of Gà Âjà «-ryà « karate and Jikishin Kage-ryà « Kenjutsu. Suzuki Kimiyoshi earned his menkyo kaiden at the Naganuma-ha. But he regards his work as a teacher as the continuation of his grandfatherâÂÂs, Makita Shigekatsu legacy, so he named his school "Makita-ha". This is why he shows up twice. His school, founded in 1992, Hungary is named Shinbukan Dojo.
Suzuki Kimiyoshi received the state award Hungarian Bronze Cross of Merit, acknowledging his activity in popularizing the Far-Eastern martial arts and introducing the Japanese kenjutsu fencing in Hungary. The award, proposed by Prime Minister, Mr. Viktor Orbán, on the occasion of state holiday 20 August was granted to sensei Suzuki at the end of July by the President of Republic, Mr. János ÃÂder. The award was presented on the 18th of August, 2017 by the Minister of Human Resources, Mr. Zoltán Balog in the great hall of the Budapest Vigadó.
There were many other famous practitioners of Jiki Shinkage-ryà « under Sakakibara who did not reach the highest levels of the system and consequently were not named as successors. Perhaps the most famous of these was Sà Âkaku Takeda, founder of Daità Â-ryà « Aiki-jà «jutsu. In contrast, some writers have claimed that other famous historical personages such as Musà  Gonnosuke were in the line of transmission of Jiki Shinkage-ryà «. However, Gonnosuke was never in the direct lineage of Jiki Shinkage-ryà «.
The Jikishinkage-ryà « style has many differences when compared to modern kendà Â, especially in its footwork and breathing techniques.
The unpà  (éÂÂæ³Â) is the footwork used in the Jikishinkage-ryà « style and can be translated as law, rule or method (for) transporting, conveying or carrying ('walking'). Unlike the suriashi of modern kendo, it is stressed that both feet stay firmly planted on the ground at all times. The kiai (æ°ÂÃ¥ÂÂ) consists not only of the shouting, like most martial arts, but of the proper way of inhaling and state of mind as well. This is even more reflected in the synchronous deep breathing called Aum () (or a-un) with one's partner which accompanies most movements.
Every kata (å½¢) has two distinct roles called uchidachi (æÂÂ太åÂÂ) the striking/attacking sword and shidachi (Ã¥ÂÂ太åÂÂ) the doing/receiving sword. Some parts of the kata are identical for both roles, like the kamihanen (ä¸ÂÃ¥ÂÂÃ¥ÂÂ) upper semicircle and shimohanen (ä¸ÂÃ¥ÂÂÃ¥ÂÂ) lower semicircle (also called johanen and gehanen). These are unconventional waza (æÂÂ) techniques and characteristic for this style. Roughly, the swordsman draws a semicircle (upwards or downwards) with both his right hand (holding the sword), and his left hand (free). He finishes the movement with his arms extended, the sword pointing upwards, and the free hand's index finger pointing downwards. These movements can be considered as a greeting and a form of meditation, and are usually executed in the beginning and end of a kata or suburi (ç´ æ¯ãÂÂ) session. They represent all the things in heaven and all the things in earth, and the practitioner in the center of everything.
Another typical technique is the morà Âde (両è Â) both arms movement in which uchidachi raises with both arms the sword of shidachi to jà Âdan and receives the subsequent uchikomi with the side of the blade. This results in thrusting the left arm forwards and turning both arms outwards to allow to absorb shidachi's cut which is in kiritsuki style like performed by a kaishakunin (ä»Âé¯人).
Jikishinkage-ryà « exponents train with both à Âdachi (大太åÂÂ) and kodachi (å°Â太åÂÂ) (but not both at once).
Kenjutsu was practiced in a thick kimono (keikogi) in the old times. It was needed for protection, though it was sometimes still not enough. Practices are far less dangerous nowadays, the standard clothes in kenjutsu are normal keikogi (稽å¤çÂÂ) and hakama (袴). Preferably all pieces are in the same colour of dark blue or, when one seriously dedicates the practice to the kami (ç¥Â), in white. To prevent treading on the hakama when moving in a low position, the hakama is raised a bit by neatly folding the left and right outside front pleats up under the straps which are tied around the waist, before training commences. It is possible to wear tabi (足è¢Â) when necessary.
For outdoor practice, jika-tabi (å°ä¸Â足è¢Â) are worn. As uchidachi always faces sun, this role can be very blinding, but it is not allowed to wear sunglasses or hats. However, in extremely cold conditions one can wear a hat (without sun reflector) and other extra protective clothing. When one has not enough hair or eyebrows or in extreme hot conditions, one can wear a tenugui (æÂÂæÂÂãÂÂ) or hachimaki (é¢巻) to prevent sweat irritating the eyes or to keep hair out of the face. Note that tabi and jiki-tabi should preferably match the colour of the hakama.
It is prohibited to wear jewellery and the like as is custom in many martial arts. This rule is to prevent injuries to oneself and practicing partner as it is to prevent excessive display of ego and unneeded distractions.
Some practitioners wear aikidogi (Ã¥ÂÂæ°ÂéÂÂçÂÂ) or karategi (空æÂÂçÂÂ). In some groups beginners wear white obi (帯), intermediates wear blue and brown obi and advanced wear black obi with hakama. Others practice in hakama without colored obi.
The following licenses exist the Seito-ha (main line recognized by Kashima Shrine).
Over the years the trainee should begin showing competence in leading/teaching the system. Consequently, usually, but not always, the student receiving kyuri-no-maki is at the level of kyoshi (assistant instructor); the student receiving goku-i is at the level of shihandai (associate instructor); and the recipient of menkyo is at the level of shihan (master instructor). However, according to Yoshida Hijime (Ã¥ÂÂç°åº), the current (20th) headmaster of the Seito-ha, only a shihan may teach independently of the headmaster. A restriction not necessarily followed in other lines.
For Shinbukan, the following applies:
In some groups, hakama can only be worn by those who successfully completed their 1st dan exam. This is mainly done for practical reasons. One is that the teacher can see how the student positions his or her legs and feet. Another reason is that the teacher and students can quickly see whom to call upon for assistance. In more traditional groups, everyone wears hakama.
Basic technique and movements are shown in the table below.
The following five classical or orthodox kata are the only ones practiced in Japan today and were established in this order by the time of Yamada Heizaemon Ippusai in the late 17th century. Instead of the extension 'no kata', the kata in Yamada's book have the extension 'no bu' (ä¹Âé¨), which means section (of this book). Kimiyoshi Suzuki's students in Jikishinkan also practice these classical katas and this lineage practises its own set of katas preparing for the classical ones.
The hà Âjà  no kata (æ³Âå®Âä¹Âå½¢) is the first classic kata of the Jikishinkage-ryà « style and can be translated as laws, rules or methods ('principals') (which are) definitive, crucial or stable ('fundamental') or fundamental principals, i.e. the basics. Both the shidachi and the uchidachi usually use wooden swords, bokken (æ¨å£) or bokutà  (æ¨åÂÂ), although real swords, shinken (çÂÂå£), can be used as well.
The hà Âjà  no kata is composed of four stages which are named after the four seasons, namely haru (æÂÂ¥) spring, natsu (å¤Â) summer, aki (ç§Â) autumn and fuyu (å¬) winter in order of execution. Each season contains from six to eight waza (movement). Before each season is executed the kamihanen, and after each season, the shimohanen.
Each season has a respective pace, kà Âan (å ¬æ¡Â) theme, footwork, breathing, kiai, and other features reminiscent of the perceived characteristics of that season. Spring has waza which are executed in a smooth and fast manner, accompanied by loud kiai. The kà Âan of spring is eight-directions explosive-blast which can be translated as all directions. Summer has movements that are explosive and intense. The kà Âan of summer is one-sword both-cut which can be translated as cutting your ego. Autumn has a varied pace, symbolizing change. The kà Âan of autumn is right-turn left-turn which can be translated as times of change. Winter movements are slow, reserved but firm and efficient. This is even more accentuated on the footwork of each season. The kà Âan of winter is long-short one-body. The following example is an illustration of this principle. Imagine a situation where one person has a yari (æ§Â) or naginata (é·å or èÂÂÃ¥ÂÂ), which stands for long, and the other a has sword, which stands for short, but the situation is as such that there is no more discussion, any discussion at this point would be superfluous. This metaphor tries to explain the meaning behind this kà Âan that in this season life and death are one.
The themes of the four seasons refer to universal principles which also express themselves in other manifestations. Some of these are listed in the table below.
Both uchidachi and shidachi take on a stance in spring and autumn which is called nio dachi. This refers to the pair of guardian deities of Buddhism called nià  (ä»ÂçÂÂ), which can be found as large statues at entrances of some of the ancient Japanese temples and shrines. The right statue is called Misshaku Kongà  (å¯Â迹éÂÂÃ¥ÂÂ) who has his mouth opened, this represents vocalization of "a." The left statue is called Naraen Kongà  (é£羠延éÂÂÃ¥ÂÂ) who has his mouth closed, represents the vocalization of "um."
It is said that these two characters together symbolize the birth and death of all things, like we are born with "a" and our mouth open (inhale) and we die with "um" and our mouth closed (exhale). This is similar to "Alpha and Omega" or "A to Z" signifying "beginning and end", "everything" or "all creation." The contraction of both is Aum (Devanagari ), which is an important concept in Sanskrit. The stances and expressions of the statues, the sounds "a" and "um" and the symbolism behind this are very import in the hà Âjà  no kata.
The 15th headmaster wrote this on the meaning of the hà Âjà  no kata:
The fukuro shinai no kata (éÂÂä¹Âå½¢), or tà  no kata as it is also named, is the second kata of the Jikishinkage-ryà « style. The kanji é is rare and old and is able to read as "tà Â" but has the meaning of fukuro (è¢Â).
This kata is composed of fourteen stages, divided in six groups. Each stage has about four movements. This kata is characterized by very fast waza. Both the uchidachi and the shidachi use fukuro shinai (è¢Â竹åÂÂ) which explains the origin on the name.
The third kata in the ryà «, the kodachi no kata (å°Â太åÂÂä¹Âå½¢) has six stages. Shidachi uses a large heavy wooden kodachi (like the name of the kata), and uchidachi uses a standard kendo style bokuto or a fukuro shinai. All the three stages of this kata have shidachi running into "combat" with uchidachi. Jikishinkage-ryà « is unique because the kodachi is used with two hands on the tsuka.
The fourth kata is called habiki no kata (Ã¥ÂÂæ½ä¹Âå½¢) or Koryà « (å¤æµÂ) kata and it is a blend of concepts from hà Âjà  no kata and fukuro shinai no kata. Both shidachi and uchidachi use habiki (a sword without a sharp edge) in this kata set. In several places both shidachi and uchidachi end up on one foot after cutting. There are four kata (the second and the third stages are in one block) in habiki no kata, and they are the old version of hà Âjà  no kata.
The marubashi no kata (丸æ©Âä¹Âå½¢) is the most advanced kata, it focuses on very difficult kiai and subtle movement. To the casual observer it looks as though nothing is happening in the kata at all. Shidachi uses kodachi and uchidachi uses odachi. Like the last set of kata both use shinken.
This kata used to be a secret. It is not clear when the secrecy was lifted but the kata is, like the other five, described with text and photographs in the book of Yamada Jirokichi that was published in the early 20th century (1927).
The table below depicts the Kashima Shinden Jikishinkage-ryà « kenjutsu lineage which spans over five centuries.
The table below lists places where groups currently are practicing Jikishinkage-ryà « Kenjutsu can be found.