In so doing, the torch of true karate-do will continue to burn long into the future, lighting the arduous path upon which kaarte may follow. This is a fundamental practice used by Monk Fist Boxers and a practice we must all master. Nobody is sure of its exact origin but it is believed that it was brought to Okinawa from China Fuzhou sometime during the late nineteenth century by persons unknown.
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Spiritual 0 comments. Posted on February 4, By admin. This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. This karate book is one of the best karate training supplements available. This comprehensive translation of the Bubishi—the ancient manual of karate—is the most complete available. The English translation of this remarkable tome includes numerous explanations and notes. Learn how to target the weaknesses of an attacker and effectively exploit them in order to defend yourself.
The 36 Deadly Bubishi Points gives detailed explanations on how the pressure points of traditional Chinese medicine found in the Bubishi, the venerable "Bible of Karate," are used in attacking an opponent and how to defend yourself against such attacks.
This book closely examines these vital points and the science behind them. While much has been written about the vital points and their medicinal importance, thanks to the popularity of practices such as acupuncture, martial research on the subject has been lacking. Cardwell discusses the vital points from the perspective of an experienced martial artist—including how the body's vital points are related to the 8 extraordinary vessels and 12 meridians which circulate energy throughout the body.
Through detailed step-by-step instructions and over 96 photographs and illustrations, The 36 Deadly Bubishi Points shows how this knowledge can be employed in self-defense. Respond to an attacker by employing these ancient methods in modern, violent situations. Many books have been written about the origins of Karate-Do and the legendary masters who caused its meteoric rise into what has become a worldwide sporting phenomenon.
Karate is practiced by tens of millions in over seventy countries. Although most of its practitioners are children, the majority of books that have been written are for adults. The Little Bubishi tells the story of karate and the amazing tales of its legendary masters in an enjoyable way that is intended for children. But the story is enjoyable for readers of all ages. The legends of Karate-Do are brought to life in its beautifully descriptive stories that tell of the heroics and steely determination that embody karate history.
The peaceful philosophies behind this multi-layered martial art are too often overlooked, while its graphic fighting forms more often take center stage. For instance the correct time to administer a remedy is a lot more practical then trying to figure out exactly the best time to attack a point, especially in a critical situation.
I am currently doing an analysis of what those differences are and will post this eventually. Because of the translations and other material added by the translators, its difficult to be sure, but I think the original text consisted mostly of diagrams of the locations to strike. Hence for the Okinawan instructor to understand the implications without outside sources or formal instruction they would have to bridge the gap between these different sources.
At the same time the Bubushi contains a number of sections on how to cure or relieve the effects of these strikes. It does seem on the first analysis the Bubushi is highlighting these points and showing how to deal with being struck there.
I do feel the Okinawan instructors who developed Karate were moral individuals who were developing mostly a defensive art. On the other hand, they were not the originators of this material from the Bubushi. Whoever the source, may have been using this information for defensive measures i. How to cure if you blow the block. On the surface it is reasonable to assume that you wouldn't take the time to remember where to strike at 3pm when attacked randomly.
Yet other answers are also possible. The source material might have been developed for an attacking art. Hence if you're planning to attack someone at 3pm, here is where to attack. But I can see a number of variables in which this material can be considered a defensive art. Essentially the twelve shichen bi-hourly vital points utilize the 36 vital points of the Bronze Man Statue.
Whether you buy the shichen theory, without doubt those 36 points will do damage to an attacker if struck there. Hence, the instructors training might well be to attack those points under duress, and that allows wide latitude of targets in their own right.
Once one can accurately attack the 36 points, the next stage of defensive training might well be to focus on attack defense on the 12 shichen daily. Hence you train yourself that from Midnight to 2am you do 1 or 2 or 3.
Then from 2am to 4am you do 4 or 5 or 6 and so forth. My believe is if you accept the validity of these theories you would structure your training to fully embrace them. Consider what that training would be like. To train you to know which Shichen you were in at any time, as well as are able to execute the correct responses. It seems to me if this was done this would be 24 hour a day training.
Simply because I know of no one training that way today, doesn't mean it wasn't addressed that way in the past. But there is also another defensive strategy, that of attack before they attack you. In that context the 12 shichen vital points can also be considered defensive. This can be a planned defensive strike, or an instantaneous defensive strike, but hitting those point s first.
As I think about an art structured this way, I imagine a limited number of strikes to each target, but rigorously studied, would be the goal.
That could be one reason some instructors Myiagi, Motobou, and Ueichi were not interested in a large amount of kata? Unfortunately, as I understand Okinawan karate, I do not have any examples that this was the approach toward training being offered. But, I hold it is something to be considered. The Bubushi and Vital Points Continuing on my quest to look at the Bubushi, things are starting to become more complicated. My quest of course is to look at what the real impact of the Bubushi would have been on the Okinawan Sensei.
Others and I have remarked that the translations are quite different in both English Versions. Of course the entire issue of translation is a complex issue. Douglas Hoffstedler if I'm recalling correctly wrote a very long book where the author and dozens of others tried to provide an accurate translation of one French poem. The end result dozens and dozens of different paths. And its difficult to say any of them captured the essence of the original.
I do not doubt understanding the Bubushi is any less tricky. Then you have the Bubushi, written in archaic Chinese, with lots of 'key words' as a mnemonic device by the author, and the difficulty of preparing accurate renditions in English. But the thing that becomes apparent, is Alexander and McCarthy aren't even describing the same 36 vital points.
There are many differences. First look at the Source to their Bubushi texts. McCarthy used numerous sources to his information. We cannot even be sure they are the same texts, one from a Goju tradition and one from a Shito tradition with assuredly Goju roots. If there are different Bubushi in Okinawa, we don't know how they may differ. A simple comparison of the Vital point areas, between the two texts just leaves you wondering which is correct.
Likewise, there is discrepancy of the points between the different Bubushi Chapters. It is not that I believe the addition of outside sources to a Bubushi translation are worthless, rather the reverse is more likely. But to consider what use the Bubushi may have been put to, it makes it more difficult to consider what was available to use. From a historical perspective. I can see the Meridian material available only if the Okinawan's had such material available to use.
It appears to me that Meridian Theory which fits on top of the Bubushi Vital Points quite well should not enter into the picture in understanding the past uses, unless PROOF is provided.
Before I go further, look at this outline of the text in the two Bubushi translations. But when I started looking at McCarthy's translation, it became obvious he incorporated much additional text, most notably from the Shaolin Bronze Man Book. And within his text they cover different material. I'm of the opinion that all of these points regardless of tradition have great merit. But I then went to my own outside sources, such as Dr. Yang's original Chinese Chin-Na text, and in all of those sources they likewise used different vital points.
Perhaps as a Meridian researcher, there is merit for looking at everything, but as I want to see what independent Okinawan usage of this material might have wrought. And I don't think these texts clearly are useful for this purpose. They serve a larger indoctrination to this tradition, more fully. In addition to this difficulty in my logical analysis, I see other issues.
If the Okinawan's accepted any of this material, how was it included into their curriculum? In a manner directly attributable to the Bubushi? How was it used? Were there specific training practices directed where to target these points? Of course, there's one obvious statement we can make about the Bubushi.
There would be no difficulty for the true believer to practice the Sichen Attacking the vital points by time period. The Bubushi gives the antidote for the strikes, if you get them down. This might make for a fun practice with White Belts. My interest being how to determine whether this text s? The text of the Bubushi covers some general areas. We must also include Myiagi choosing the name 'Goju' from the influence of the Bubushi, too.
Without question it has some influence on Okinawan instructors. I chose to begin by considering evidence of the use of the Bubushi in striking vital points for Okinawan karate. I do not believe this will be an easy case to make. Considering its past, a copy of the Bubushi was likely considered a treasure to the karateka. I'm sure they weren't handed out as training guides. It seems to me they may have been copied if the instructor truly trusted the student.
The following scenarios might come into play. The Bubushi 'Vital Point' theories became the focus of training.
This may well be difficult to authenticate. Considered the art of application of kata technique, or Bunkai. I'm aware of Okinawan systems where the instructors state you have to develop your own bunkai. Hiagonna Morio, says the same thing on one of his earlier video tapes on Supreimpe. Yet from his own text, his instructor Hiagonna An'ichi reportedly received a great deal of instruction from Myagi Chojun.
Possible Conclusions on the transmission of Bunkai: 1 Hiagonna didn't receive that instruction from An'ichi. Is this a parallel of the Sichi bi-hourly vital point training from Bubushi sources? This does not leave us helpless, however. We can postulate what a system using the Vital Points, the Restricted Locations and the Sichi bi-hourly vital points would be structured like.
Likewise I'm assuming the instructor's understood the locations of the vital points, and concentrated on the development of the striking mechanism. I'm also assuming that this is being developed in a defensive manner, and not as an overt attacking art. Likewise the decision has been made that only these intense strikes are the appropriate response for an attack.
I'm assuming this would be in conjunction with their systems training programs, mainly taking the strikes from kata. My initial impression a hard strike to each of them should be able to down an opponent. A separate issue, is it safe to practice strikes on these points outside of their active Sichen? The next step would be to develop the timing of the delivery system.
This is the most important key to utilize the Sichen Vital Points. Some manner of training the body to identify which Sichen was dominate at any hour of the day. Probably by total training of some sort, to sensitize the practioners system to the time.
As you can see this becomes complex to discuss, and I expect complex to study. But perhaps this was how things were originally done in China.
One can imagine guards at a Shaolin temple changing their reactive strikes every two hours when the gong sounds.
Difficult to say. Or would he rely on memory and judgement to try and hit an appropriate vital point in defense?
Some things to consider: 1 Who would you train in such an art? Most certainly not your open students. The Okinawan must have felt the need to maintain the secrecy of this knowledge, both to avoid betrayal and to stop someone misusing this knowledge.
One thing I feel, such training would leave unique training patterns, especially the manner in which the student was sensitized to know the hour of the day. To my small knowledge, I haven't seen evidence of such work in Okainawan Te. I sit surrounded by 2 copies of the Bubushi, Dr. I'm sure if you attack me in several hours I can figure out where to strike.
Also to consider that 7 of the 36 points are considered the 7 Restricted Locations. As they would be used in only tbe most extreme circumstances, that leaves only 29 to concentrate on. And to leave this on a positive note, If you're struck during the Dragon Hours isn't this important for Isshinryu?
Medicine 1. Malted nonglutinous rice, 1 scoop 2. Malted rice, 1 scoop 3. Young Prunus persica L. Rosaceae Eriobotrya japonica Lindl. Rosaceae 6. Carthamus tinctorius L. Compositae 6. I suppose I should add, drink this very, very quickly. If you think I'm sounding confused, I've spent the last 4 days trying to make this sound comprehensible. When the original author s chose what to included in the Okinawan Bubushi, they included Section 16, Grappling and Escapes.
Consider back a few years ago how controversial it was to mention that Okinawan Karate contained grappling techniques. I can remember one seminar I was presenting at a summer camp, many years ago, showing grappling techniques in Okinawan kata, and having one instructor argue with me that Okinawan Karate only contained punching and kicking.
He changed his mind by the time I concluded, but here we have concrete evidence that consideration of same was something the Seniors thought of. I wouldn't say this chapter influenced the development of kata directly. Rather it seems to me the concepts that are presented here helped the Martial Artist choose which technique to apply against an attack.
But either text gives you the gist of a logical tactical analysis of how to handle specific situations. The Commentary I'm suggesting for these techniques, is not necessary right, but does show how I'm seeing these techniques at this time. This time I'm choosing the Alexander Bubushi text: 1. If you want to conquer the east, then you must attack the west first a Feint.
Commentary - I once attended a Judo seminar where the instructor was teaching a technique his Japanese instructors made him wait 20 years to learn. This text sums it up completely. If you want to advance forward, then fake a movement to the rear. Commentary - Most people's perceptions can be used against them. By moving rearward, they might relax allowing an opening to enter.
If you want to use your body change, then you must use hard strength first. Commentary - I believe they are saying by using a power technique, the opponent will lock themselves into a defensive position, creating an opening for body changes tai sabaki 4. If you get caught by the hair, then extend your arms forward to fight back. Commentary - I see this as pulling your opponent off balance, negating their leverage against The hair pull, and creating an opening to enter.
A direct example is the last turn in Goju Kata Saifa. If you want to attack the sides, then you must attack the center first both legs Commentary - I see an attack against the legs as so destabilizing that whether you connect or not Their back peddling will create an opening for a side attack.
If you want to throw the opponent to the ground, then quickly step on the feet of his shadow. Commentary - Assuming his shadow is behind him, by stepping there quickly, you've placed yourself To quickly unbalance your opponent.
If you are thrown on the ground, attack his eagle attitude His hovering over you. If thrown, as they are descending on you, you can counter with a side thrust kick. In any case, this screams Te Wazza No. If he catches your head, you must attack his face. Commentary - Cause a distraction to keep him off of your face. His control of your head could be deadly.
While fighting, if your hands get trapped between his, you must attack his throat. Commentary - this will make it very difficult to hold onto your hands. If your attacker comes too close t you, you must stiffarm him back for distance. If you want to keep your distance, you must use kicks to keep your attacker back.
If you want to open up the left side, then you must fake an attack toward the right side first. If you want to trap his feet, then you must first trap his hands. When kicking very high, you must be aware of leaning back too much. If your hand gets trapped, then you must quick stiffarm thrust with the other arm. If your sleeve is grabbed, the you must quickly kick your opponent's knee. If your sleeve Arm gets twisted, you must thrust the other spear hand toward the face.
If you are pushed back, then cup your hands and slap your opponents ears. If your opponent's posture is low, then it is of no use to attack the legs. If your opponent tries to kick your groin, you must hook his leg, to the inside using your leg.
If your opponent's posture is high, then you should attack low underneath. If you lower body is grabbed, then you must attack his higher body. If your upper body is attacked, use your hand to attack his groin. If your hear is grabbed, you must use kicking techniques. If you are being choked from the front, you must use big hammer fists to his sides. If your opponent tries to kick, you must body change back away from the power. If you are in the power stance, every time you punch, you couldn't lose in a million years.
Commentary - this one I love, "Power Stance". I see this as meaning if you're executing A technique with as much focus as possible in a power stance that alone should stop an Attacker. There's enough ideas contained in this chapter to consider a response to any attack. This chapter consists of 48 drawings showing an offensive technique and a suggested successful defense and counter-attack. The illustrations given by Alexander show both attacker and defender with hair, interestingly the illustrations given by McCarthy don't show hair bald monk syndrome?
As Alexander and Penland describe an illustration such as illustration No. That chapter just lists the poetic names of the Quan techniques. Some of them are cross referenced to Chapter Defender waits like a black tiger hiding in a cave. He will win. Alexander additionally explains in the Chapter's opening, "This particular example refers to the use of the double fist punch from the Gojushiho kata 54 steps of the Black Tiger.
If an attacker attempts to lunge out to strike you left , jam the attack cutting off the assault in its midst right. However, performing my own analysis of the 48 diagrams, I recognize at least 33 of them as being techniques found in Shorin Ryu, Goju Ryu, Ueichi Ryu, Hakutsuru and Kobudo kata.
Including parallels to ground kicking techniques taught in the Keri Wazza by my own instructor in Isshinryu. For the senior instructor to have this text showing possible applications of kata technique, I do not doubt this had some impact on those instructors.
On the other hand, we are still left with a which came first, the Chicken or the Egg. Was this Chapter of the Bubushi put together from techniques in already existing Okinawan kata? Were the Chinese? Does this Chapter prove that Okinawan forms came directly from Chinese Forms? Or does this Chapter prove that the limitations of Human Movement are found in all systems? All important questions. But in my very humble opinion, this chapter does not prove any of them. That there was no direct connection to these techniques and specific forms which we know of.
In my analysis, techniques which could have come from the same Okinawan kata such as PM's 1, 22 and 39 relating to kata Seiuchin are not next to each other, but found scattered, without apparent connection, in the Chapter. If this text influenced the development of Okinawan Shorinryu kata, why did they ignore so much of it and only use some of the techniques?
There may be a theme, but my cursory analysis does not suggest a rational why they were presented as they are. They may well have just been individual drills, the original author wanted to retain. Our minds can draw inferences to kata where the original intent may not have made the same connections.
As I see it, only the very instructors seemed to have a copy of the Bubushi in the distant past. It also seems that only trusted senior students were permitted to make a copy. That would have kept this restricted information The role of the student would not have been to ask questions about any of this, simply to train, as the antidotal evidence of Okinawan training seems to bear this out. Even when Funakoshi Sensei placed text from the Bubushi in his writings, he did so in the original Chinese and did not translate them into Japanese.
Sort of technique of no-technique. Here it is, but I'm not telling you what it means. At this point in time, I don't have a clear picture how the Okinawan instructor possessing the Bubushi would have used this Chapter.
He might have kept the techniques for private use, or for a select few. He may have just taught the techniques, as they are depicted. They are useful in their own right. The actual text does not appear to fully explain how to use the techniques.
The mental effort to find the meaning and make it part of one's practice of course is worth the work itself. This has been an interesting sort of analysis to make.
Although there is a great deal in the Bubushi I haven't explored, I'm drawing a close to this cycle. All that remains, is to try and prepare a concluding text for all of these posts. I always await any of your comments and insight. Joe Swift has been very helpful so far in his own research of Japanese martial literature on the Bubushi, and I trust we'll have more of his work to follow. Bubushi - Looking for Conclusions With all of the Bubushi research I've done in the last month or so, I've been meaning to tie it together with the conclusions I've come to as to the actual influence it had on the development of Okinawan Karate.
He created it as a companion to his translation of the Bubushi. Interesting tape, but as it turns out, not significant for my current studies.
The pressure point locations are ok I guess, but he has much other information there, which I do not see directly in the original Bubushi although some of it is in his current translation.
Not that what's there is bad, but rather, it was not in the Bubushi. Which I guess sums up my issues as to what the Bubushi is or isn't. Alexnader describes meridian theory, explains striking 2 and 3 points, etc, but never shows how this is from the Bubushi tradition. It looks to me like he's paving the way to tie in the work of Oyata, Dillman, Clark, Montague et. You can make your own assessment as to whether that's the direction you are taking your art, but I believe this should be billed as a modern interpretation as to what the Bubushi MIGHT mean.
He talks about doing research to find the answers yourself, and has some questionable physiological results from the strikes, which I am still investigating. I'm sure this is all valuable for his students or individuals looking for George Alexanders interpretations on Bubushi Themes, but from my limited perspective, does not help me understand what actual impact the Bubushi may have had on the development of Okinawan karate.
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