 |
 |
Subj: Bubishi Part 3 (a) The 48 Diagrams (Part 1) - LONG
Part Three (a): The 48 Self Defense Diagrams (a)
In this, the (almost) last installment of my short Bubishi articles, I would like to take a look at the 48 diagrams, and their possible relation to the kata of Uchinadi (Okinawa-te). Due to the length of this discussion, I will post it in two separate messages.
First of all, where did these diagrams come from? ... I don't know! There is some speculation that they are in some way related to the 32 Long Fist diagrams from the Ji Xiao Xin Shu. Otsuka Tadahiko, in his 1998 book on the 48 diagrams of the Bubishi and comparisons to the 32 Long Fist diagrams, claims that while in the hospital for pneumonia after returning to Tokyo from the funeral of Higa Yuchoku (student of Miyagi Chojun and Chibana Choshin among others) in Okinawa, he got it in his head to re-work his translation of the Bubishi 48 diagrams and put the breakdown of the applications with it. During his month-long hospital stay, he began plotting his book, and reading the Bubishi and the kikoshinsho, when it suddenly dawned upon him that there were 13 diagrams with similar if not identical applications. (Footnote #1)
Anyway, the point of this post is not to speculate on or describe applications to the 32 Long Fist diagrams, but to look at the 48 diagrams and their possible relations to applications to the classical Okinawan kata.
I'd like to list down the 48 diagrams with corresponding kata examples as well as a brief description of how I currently view the principles of these techniques. I would however like to say that these are not the ONLY applications of said technniques or kata, but just given here as a reference example.
Diagram #1: Possible implications from Seiunchin. Patrick McCarthy's interpretation of this technique fit in quite well with the common Uezu Angi application of the first series of Seiunchin. It could also mean dropping the body against a frontal atack and countering to the groin. Otsuka (1998) views this as a takedown off of the scooping block in the same series from Seiunchin.
Diagram #2: Possible Implications from Seiunchin, Naifuanchi, etc. Again, Otsuka views this as an application to a scooping or ridgehand block much like the one from the opening of Seiunchin or even Naifuanchi, etc.
Diagram #3: Possible Implications from Unshu, Rinkan, Kusanku. The first two kata, Unshu being from the Aragaki Seisho lineage and Rinkan from the Nakasone Seiyu lineage, both contain segments in which you fall to the ground and perform kicks. This could also be an application of the drop in Kusanku after the crescent kick.
Diagram #4: Possible Implications from Useishi (Gojushiho), Sunsu, etc. The double spear thrusts could be implying that you first take the head one way and then the other for the take-down as the opponent resists the first one.
Diagram #5: Possible Implications from Kusanku. The circular hand motions in the beggining may be utilized to scoop the kick and take down.
Diagram #6: Possible Implications from Itosu no Kusanku, Jitte. In the Itosu version of Kusanku, as well as in Jitte, this posture is found. Against a rear attack (shoulder grab, punch, etc.), turn deflecting, ride the offending arm down and counter with a backfist.
Diagram #7: Possible Implications from Jion. There is a technique in Jion that involves a punch, upper level block, etc, that might fit this diagram.
Diagram #8: Possible Implications from Seisan, Chinto, Sunsu, etc. The double upper-level blocks can be used to grab the offending arm, to take down. It may be a good idea to kick the opponent to damage him before attemting to force down from this position.
Diagram #9: Possible Implications from Rinkan, Unshu, Kusanku. Similar to diagram #3 described above.
Diagram #10: Possible Implications from Saifa. This is right out of the Gojuryu kata Saifa against a leg-grab, strike the temples, and then twist the neck to take down.
Diagram #11: Possible Implications from Seipai. From the Gojuryu kata Seipai, this is a takedown, followed with double one-knuckle fists to vital areas as a finisher.
Diagram #12: Possible Implications from Seiunchin. Scoop the kick then step in and strike the open groin with a down block before taking down.
Diagram #13: Possible Implications from Pinan Shodan, Pinan Nidan, Itosu no Kusanku, Gojuryu Seisan etc. The pressing block/spear-finger thrust could be a check and throat grab. The thorat grab is also found verbatim in the Gojuryu Seisan.
Diagram #14: Possible Implications from Yara no Kusanku. The "palm block, punch" series, although performed on the other side in the kata, fits this diagram nicely.
Diagram #15: Possible Implications from Mawashi-uke (Tora-guchi). This technique, found in many kata, can represent a groin and throat attack as found here in the Bubishi.
Diagram #16: Possible Implications from Passai, Kusanku, Sunsu. The hands held up could be representative of the "sasoi no kamae" (inviting posture) aka drunken posture (cf Nagamine).
Diagram #17: Possible Implications from Useishi (Gojushiho), Sunsu. Similar in principle to Diagram #4 above.
Diagram #18: Possible Implications from Nisieshi, Unshu, Kururunfa. This technique involves grabbing the achilles tendon and pushing on the inside of the knee to topple the bad-guy.
Diagram #19: Possible Implications from Pinan Shodan, Pinan Sandan, Itosu no Kusanku, etc. Similar in effect to Diagram #13 above, but with a spearing thrust instead of a grab.
Diagram #20: Possible Implications from Passai, Gekisai Dai-ichi, Suparinpei, etc. Any kata where the hands cross in front and then come back to the "post" position could be grabbing and twisting the opponent off balance for the take-down.
(The last 28 diagrams are coming in a separate post.)
---------------------------------------
Footnote #1:
Otsuka T. (1998) Chugoku, Ryukyu Bugeishi. Tokyo: Baseball Magazine.
| Previous Page |