I
am often asked why I practice Oriental brush calligraphy. It
(seemingly) has little to do with the Life Protection methods that I
study and teach. First, I just happen to enjoy it, second, it is
composed of a number of intricacies that are very similar to the defensive methodology that I practice (that of Seiyu Oyata). I additionally liken it to the practice of kata
(of which there are numerous similarities).
When
our students are shown the beginning kata motions, they are provided
with the general motions. As the student defines those motions
they are guided in their own individual refinements for performing
those motions (as was taught to us by Taika Oyata).
The same is true
for my brush calligraphy student's study and practice. They are
initially shown the general motions (strokes) and those strokes are
refined until they are performed in the manor recognized as being
“correct". As with the kata, those individual motions will be
performed by the student (through numerous individual aspects) in
their own manner, yet will adhere to the instructed methodology (in
our students case, those methodology's will consist of Oyata's (Life
Protection Methods), and the Japanese Calligraphy Assoc. {Nihon
Shuji) for the brush calligraphy being shown.
In
either subject, the motions could be performed by “other”
students (of different methodology's) in various (different) manners.
That's not to say one is (necessarily) better than another,
only that there will be differences. Those differences really amount
to differences of purpose. The purpose of Oyata's methodology
is efficiency in the practice of Life Protection applications, the
purpose of the Nihon Shuji methodology is beauty (granted, a relative term) in
the creation of Oriental Brush Calligraphy. These are two seemingly
different pursuits, but they share numerous commonality's in their
study and practice.
When
practicing the instructed kata motions, the student is attempting to
reproduce the motions in the manner taught, while maintaining correct
stature and breathing (during those motions). The same is true for
brush calligraphy. When any of those subjects are neglected, the
entire process suffers (or is performed incorrectly).
This
is how (or why) observing a (possible) “opponent”
performing kata could deter one from engaging in a confrontation with that person. When
an experienced shodoka views a piece of calligraphy, they
(likewise) can “see” the skill level of that person's
calligraphy.
In
either subject (kata performance or brush calligraphy), the experienced
practitioner should be able to see the level of the
performer's abilities (in that subject). Students (of either subject)
who only strive to “reproduce” those motions, are readily seen to
be “beginners”. Those that can “perform” the actions
(fluidly), and without conscious effort, are seen as
knowledgeable (if not skilled) in/of the subject.
Kata
motion represents more than just the “obvious” motion(s) being
performed. Interpreting those motions is known as “bunkai”.
Deciphering the (numerous) interpretations for those motions,
involves serious study for the applicable interpretation of them.
The
majority of whats commonly being presented (as being bunkai)
is IMO, more often simplistic “battering” applications. Though
(possibly) valid, they are more often only applicable via (physical)
size, force and strength. None of which are elements of/for advanced
study or application. Motion and positioning are the more relevant
factors to the applicable bunkai.
One
may ask what the connection to brush calligraphy is? It must first be
understood that the Tensho (style) is the oldest style of
Oriental (brush) writing. These were based upon pictographs. They
were then modified via various changes to create the other (common)
styles of brush calligraphy (Sosho, Gyosho, Reisho, Kaisho,
etc.). Tensho is (kind of) the “bunkai” of the present day
Kaisho (style). Without understanding how calligraphy transitioned
through the various “style” changes, it would be difficult to
understand what the original “Tensho” (style) consisted of (for
the character).
When
attempting to interpret kata motion, the most difficult part (IMO),
is determining where to begin, and where to end? (for
the relevant motions). Even when those motions are decided upon, a
“full/complete” technique/application may require additional
motions (and often from multiple kata).
Many
people (when trying to decipher kata motions) attempt to make the
motions fit (often) bizarre situations (IMO), or represent
motions that they already know (believing that bunkai is only
simplistic representations of equally simplistic defensive motions).
This doesn't make sense? (for a technique/system mnemonic).
Much less for what are generally considered to be “secret”
techniques of/for a defensive system that someone wants to
remain secret.
I
believe the motions are (more so) representative of commonly utilized
(if not general) defensive motions that can be utilized in various
ways, and in commonly encountered defensive situations. This implies
the motions are more akin to application “principles” (as opposed
to specific techniques). That doesn't make the interpretations
simplistic, just not readily recognized (hence the need for
“research”).
This
is why we spend (a lot of) time with researching individual
kata motions. Using the examples provided to us by Oyata, has given
us numerous directions, methods and means to apply those concepts to
kata motion (for both defensive actions and the application of
Tuite). For myself, Shuji is a constant reminder of those concepts and origins.
