8
THE MARTIAL ARTS OF MUBYŌSHI RYŪ
Uematsu Sensei primarily inherited a jūjutsu school with a small array of weapons skills. While other skills, such as esoteric magic and the arts of the shinobi, are a part of the school, without doubt the school is truly focused on hand-to-hand combat, and personal protection is the main emphasis, no matter which form it takes. Mysteriously, there appears to be a distinct lack of swordsmanship in Mubyōshi Ryū, leading to the conclusion that Hagiwara Jūzō studied and continued to be a part of another sword school, most likely Shinjin Ryū, alongside his colleagues Niki Shinjūrō and Tōmi Gen’nai. Even with the lack of swordsmanship—only a small amount is present—the teachings contain many captivating skills, including grappling, striking, hand-thrown arrows and bullets, truncheons, chains and weights, hidden blades, and canes, among other elements. These skills are found in the school’s primary scroll, the Yawara Jo.
The Yawara scroll is simply titled Yawara Jo, meaning “an introduction to grappling skills.” Note that the word jūjutsu is not used at this time. It contains most of the school’s hand-to-hand combat skills. It is difficult to determine whether the author meant that the whole scroll was an introduction to fighting, or that the scroll was called Yawara and the first paragraph at the start was the introduction. Either way, the scroll outlines the skills and opens with a short introduction on the philosophy of fighting. This introduction is based on an understanding of Chinese culture, and a direct translation loses the originally intended basic meaning, which was given to an audience with such an education. Therefore, it was decided here that an overview and outline should be provided in its place.
The introduction within the scroll teaches that within music and sound there is no gap between the cause of the sound and the audible sound itself. For example, a clap of the hands initiates a sound, and this comes after the clap. However, the gap between the clap and the sound reaching the ears of those nearby is not discernible—a person cannot see the space between the clap and the sound. Because the person listening to the clap cannot find the space between the clap and the sound, this gap or process cannot be identified, and the observer cannot manipulate or comprehend it. In addition, the introduction states that the art of combat should have no understandable form, no discernible rhythm. If given shape, such as a square or construct of angles, it can be identified, but instead it should remain circular and without an assembled form, allowing the enemy no time to plan or respond.
Figure 8.1. The original introduction from the Yawara scroll (Cummins Collection)
Furthermore, a combat master should understand the concepts of hard, flexible, soft, and strong. Hard or rigid is the opposite of flexible and yielding, while softness and gentleness are in opposition to strength. A practitioner of Mubyōshi Ryū must know when to be strong, when to have rigidity, when to be gentle, and when to apply flexibility. Combat is won through an understanding of this.
Lastly, the manual states that hand-to-hand combat should be like an arrow or iron needle, hidden in silk cloth, masking the danger so that the enemy has no ability to predict or comprehend where the attack will come from. Thus, taking the basics of this introduction, a student of Mubyōshi Ryū should know that they have to adapt between the four elements of hardness, flexibility, strength, and gentleness to be without rigid form and not to allow the enemy to predict his movements—in essence to achieve a state of mubyōshi, to have no discernible rhythm.
Antony Cummins says: Be careful not to let this be confusing. Physical form in martial arts is there to develop proper movement, but a fight is not undertaken in pure form. Form develops good standing and correct skills, but actual combat is fast, “dirty,” and abstract. The idea is to hide the form internally. Consider form to be the basic steps of a child learning to walk, and the highest level is the freedom of athletes in peak condition. They have studied the form of their sport but act purely on their training and move in a way that is necessary for the situation. They don’t stick to form in the middle of a game or competition. Formulaic martial arts should be considered in this way.
In addition, some of the names used by Uematsu Sensei in the following list of scrolls are not the same as the common readings; these variations are included.
THE COMBAT SKILLS OF MUBYŌSHI RYŪ (無拍子流和序, MUBYŌSHI RYŪ YAWARA JO)
Iho no Maki (居捕之巻)
KURUMAGAESHI (車返)
Tachiai no Maki (立合之巻)
KORAN (虎乱)
Sotonomono Shōki no Maki (外之物勝屓之巻)
GANSEKIOTOSHI (岸石落)
The Scroll of Tools (道具之巻, Dōgu no Maki)
Mist (truncheon; 霞, kasumi)
• The length of this is one shaku, one sun, and five bu [13.72 inches].
• The shaft should have sixteen sides.
• [Attach] a rope of six sun [7.16 inches] with a ring.
Figure 8.2. Mist
Figure 8.3. Modern replica of the tool
Chain and Ball (鎖玉, kusari-dama1)
• The chain is three shaku five sun [3 feet, 6 inches] long.
• The ball weight is thirty to thirty-five momme [4–4.6 ounces].
• The chain should be of the sunoko style.
Figure 8.4. Chain and ball
Sickle and Ball (鎌玉, kama-dama)
• The sickle is five sun [6 inches] long.
• The chain is three shaku five sun [3 feet, 6 inches] long.
• The ball weighs thirty to thirty-five momme [4–4.6 ounces].
• The length of the handle is one shaku and eight sun [21.5 inches].
Figure 8.5. Sickle and ball
The Tool of Ten Uses (十徳, jittoku)
• The handle fits into your fist.
• Inside is a rope ring with three chains four sun [4.8 inches] in length.2
• The length of the drill is one sun two bu [1.4 inches] long.
Antony Cummins says: this is an enigmatic tool. It seems to be a drill or spike inside a housing. The middle point above shows that it stores more internally, yet it is not described in detail.
Figure 8.6. Tool of ten uses
Arrow-Shooting Cylinder (筒打矢, tsutsu uchiya)
• The cylinder is one shaku two sun [14.3 inches] in length.
• The arrow is of iron and the flights are made of leather.
Figure 8.7. Use of the arrow-shooting cylinder
Figure 8.8. Modern replica of the arrow-shooting cylinder
Ball-Shooting Cylinder (筒打玉, tsutsu uchi dama)
• The cylinder is one shaku [12 inches] long.
• The ball should fit inside the cylinder.
Figure 8.9. Ball-shooting cylinder
Beginning and End (阿呍, a un)
• It should weigh fifty to seventy momme [6.6–9.3 ounces].
• It should be wrapped with leather.
Figure 8.10. Beginning and end
Capturing with a Musket3 (生捕鉄砲, ikedori teppō)
• This has a bamboo bullet.
Figure 8.11. Capturing with a Musket
Staff with Chain and Weight (乳切木, chigiriki)
Figure 8.12. Staff with chain and weight
The Holy Symbol (卍字, manji)
[Unknown tool in the shape of a swastika]
• This is eight sun (9.5 inches).
• The handle is made of copper and is one shaku [12 inches] long.
Figure 8.13. Holy symbol
THE CHAIN AND SICKLE SCROLL OF MUBYŌSHI RYŪ (無拍子流鎖鎌免許, MUBYŌSHI RYŪ KUSARIGAMA MENKYO)
The Art of the Weight (分銅之事, fundō no koto)
This chain and weight should be thrown at the enemy, and then he should be cut down with the sickle while you pull him toward you.
• The chain [bottom of the weapon at right] should be seven shaku [7 feet].
• The handle for this weapon is one shaku five sun [18 inches] long.
• The chain [top on the weapon at left] should be three shaku five sun [3 feet, 6 inches].
• The handle for this weapon is one shaku eight sun [21.5 inches].
• The blade should be five sun [6 inches].
[The chain in figure 8.14 and the reconstruction is shorter than stated in the original scroll.]
Figure 8.14.
Figure 8.15. The Windmill above the Head (頭上風車法, zujō fūsha hō)
Figure 8.16. The Way of the Windmill at the Side (横風車法, yoko fūsha hō)
Figure 8.17. The Figure-Eight Windmill (八字風車法, hachiji fūsha hō)
The Way of the Falling Flower (落花之事, rakka no koto)
When you attach the chain to the back of the blade, swing the chain over the head or body of the enemy.
Figure 8.18. The Posture of Looking at the Eye (青眼之構, seigan no kamae)
Various Ways of Capturing (狩品々, kari shinajina)
[Title for the following five skills]
Figure 8.20. Catching the Sword (太刀搦, tachigarami)
Figure 8.22. Capturing the Neck and Bringing Down (首搦落, kubigarami otoshi)
The Art of the Chain and Weight (分銅鎖之事, fundō kusari no koto)
[The following are types of these.]
• Chain and Weight (万力鎖, manrikigusari)
• Truncheon with Chain (鎖十手, kusari jitte)
• Ball with Chain (玉鎖, tamagusari)
• Sleeve Chain (袖鎖, sodegusari)
• Chain inside the Kimono (懐鎖, futokorogusari)
Various Shapes (様々形之事, samazama katachi no koto)
[This is a title for the next six points.]
• The hook is for grappling.
• It has four prongs.
• The whole length is eight shaku [8 feet].
• The whole length is two shaku four sun [2 feet, 5 inches].
• The whole length is two shaku eight sun [2 feet, 9 inches].
• The chain length is two shaku and two sun [2 feet, 2 inches].
• The right side end is five sun [6 inches].
• The left side is one shaku two sun [14.3 inches].
• The whole length is six shaku [6 feet].
• The whole length is four shaku [4 feet].
• The weight is the same as a playing piece from the shōgi game.
Figure 8.23. The Dragon-Snake Chain (鎖竜蛇, kusari ryūda)
Figure 8.24. Kiraku Ryū Bell Shaped Weight (氣楽流鈴型分銅, kiraku ryū suzu-gata fundō)
Figure 8.25. Toda Ryū Style with Square Ends and Rounded Corners (戸田流撫四角柱型, toda ryū nade shikakuchū-gata)
Figure 8.26. Chain with Striking Stick (鎖打チ棒, kusari uchi bō)
Figure 8.27. Long Chain and Weights (長分銅鎖, naga fundō kusari)
Figure 8.28. The Flying Stick (棍飛, bō tōbi)
間具利身 (Magurishin)
[This is the title for the following five skills.]
Antony Cummins says: For Circling to the Right, move to the opposite side to figure 8.30.
Figure 8.29. The Tiger at War (虎乱之構, koran no kamae)
Antony Cummins says: The left hand is captured while it holds the sword, as shown in the traditional illustration at the top of figure 8.32.
The above are the skills of Mubyōshi Ryū Kusarigama-jutsu.
Praise Bishamonten.
Illustrated and recorded on paper by the current grandmaster in 2012.
THE QUARTERSTAFF SKILLS OF SODEOKA RYŪ (袖岡流, SODEOKA RYŪ BŌJUTSU)
Antony Cummins says: Sodeoka Ryū was originally taught as a part of Mubyōshi Ryū. It left Grandmaster Uematsu’s lineage, and to return it to the school, Grandmaster Uematsu studied under one of his own students who had studied this style externally, allowing it to be reintroduced. There are differences in the names used in the two versions, however. The version presented here and the original names found in the Mubyōshi Ryū scroll, Yawara, differ, which implies some changes have occurred over time, or that this version is a variant. Therefore, it is unknown how close the following images are to the skills collected by Hagiwara Jūzō.
SEIGAN (正眼)
DOKKO (独古)
INJI CHŪDAN (隠持 中段)
TANBŌ (短棒)
KOHŌ (虎法)
