Tag: Mats Hjelm

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Ten-Chi-Jin: A Comparison of Eastern and Western Philosophies

Ten, Chi, Jin

The Japanese concept of Ten–Chi–Jin is a fundamental principle in martial arts that represents the interconnectedness of heaven, earth, and man. In this article, we will explore the origins of Ten, Chi, Jin in Hinduism and its comparison with Western philosophies like the Christian trinity.

Ten-Chi-Jin: Origins and Meaning

Ten, Chi, Jin is a concept that originated in Japan but has its roots in Hinduism. In Hinduism, the Trimurti represents the three aspects of the divine: Brahma (the creator), Vishnu (the preserver), and Shiva (the destroyer). Similarly, Ten, Chi, Jin represents the three dimensions of existence: 天 Ten (heaven), 地 Chi (earth), and 人 Jin (man).

Ten represents the divine or spiritual realm, while Chi represents the physical or material world. Jin represents humanity and the connection between the spiritual and physical realms. The concept of Ten, Chi, Jin emphasizes the interdependence and harmony between these three aspects of existence.

Ten-Chi-Jin and Western Philosophies

While Ten, Chi, Jin has its roots in Hinduism, there are similarities between this concept and Western philosophies like the Christian trinity. The Christian trinity represents the belief in one God in three persons: the Father, the Son, and the Holy Spirit.

Similarly, Ten, Chi, Jin recognizes the interconnectedness of three distinct entities. In both concepts, there is an emphasis on the importance of the balance and harmony between these entities.

However, there are also differences between these concepts. The Christian trinity emphasizes the unity of the three persons, while Ten, Chi, Jin recognizes the individuality of each element.

Ten-Chi-Jin

Ten-Chi-Jin in Martial Arts

In martial arts, the concept of Ten, Chi, Jin is fundamental. Martial artists use this principle to understand the interconnectedness between their physical techniques, their mental focus, and their spiritual development.

For example, a punch can be seen as a manifestation of Jin, as it is a physical expression of the power that comes from both heaven (Ten) and earth (Chi). By understanding this concept, martial artists can learn to balance their physical techniques with their mental and spiritual development, leading to a more holistic approach to their practice.

The Importance of Balance and Harmony

One of the key aspects of Ten, Chi, Jin is the emphasis on balance and harmony. Martial artists who understand this concept can learn to balance their physical techniques with their mental and spiritual development. By doing so, they can become more effective practitioners, not just in their physical techniques but also in their overall approach to martial arts.

Conclusion

In conclusion, Ten, Chi, Jin is a fundamental concept in Japanese martial arts that represents the interconnectedness of heaven, earth, and man. While it has its roots in Hinduism, there are similarities between this concept and Western philosophies like the Christian trinity. By understanding this concept, martial artists can learn to balance their physical techniques with their mental and spiritual development, leading to a more holistic approach to their practice. The key to success in martial arts lies in achieving balance and harmony between these three aspects of existence.

Yudansha – Bujinkan Black Belt Guide

Discover the essential techniques of Bujinkan Dojo with Mats Hjelm’s “Yudansha.” This comprehensive manual is based on the Japanese concept of Ten, Chi, Jin, providing a practical and holistic approach to mastering this ancient martial art.

With detailed descriptions and accompanying photographs, “Yudansha” offers a step-by-step guide to striking, throwing, grappling, and weapons techniques. But it’s more than just a technique manual – it’s a guide to personal growth and spiritual development.

By applying the Ten, Chi, Jin principle to your training, you’ll not only become a more skilled martial artist but also a more balanced and harmonious person. Whether you’re a beginner or an experienced practitioner, “Yudansha” is an essential addition to your library. Order your copy today and take the first step on your journey to mastery.

Yudansha Book by Mats Hjelm

The YUDANSHA Book by Mats Hjelm is available in different formats at Lulu.com.

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Bojutsu vs Kenjutsu vs Bojutsu vs Kenjutsu…

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Cutting against his arm

This summer like most summers we train a lot more with long weapons since the dojo is too small to really use long weapons properly. This summer we train Bojutsu against Kenjutsu (long staff against sword). I think I teach and train a little different than most Bujinkan teachers out there, but I can’t really say maybe there is those who approach the training like I do. Let me explain.

Kote haneage followed by Haneage
Kote haneage followed by Haneage

First of all you learn how to use the staff, spinning and striking etc, this is mostly solo-training. Then you learn the Keiko Sabaki Kata (movement practice techniques) in my dojo we only practice one technique for the whole two hour class. Some students really have problems with coordination, others capture it quicker. In this first step I don’t mention distance, timing or anything except which strikes and blocks to make. This can also be solo-training and done alone against an imagined opponent.

Second I take the sword and we focus on how to handle the situation the best way with a sword. If he is attacking me with the staff I immediately counter him by stepping forward. I’m not gonna step backwards defending myself all the time, when he steps in to strike me in his preferred distance out of my reach; I boldly step in at the same time and block the staff and get even closer into my preferred distance so I can cut him with the sword. As I see it this is the only chance I have against a longer weapon, there is no point of running backwards.

Catching the staff and Tsuki
Catching the staff and Tsuki

Thirdly I take the staff again. I attack the kenjutsu-ka fully (not really, but almost) and make sure he does a good block, and as he block I don’t stay frozen or try to push harder on him. As I strike I’m already prepared for the next movement when he comes in and try to cut me, I move out to my distance and do the next strike.

Then I take the sword again and try to avoid being hit from this point in the technique, by blocking and countering again. I’m not really gonna give up or run away. If I can cut I will cut.

Then again I take the staff and try to deal with this really difficult opponent, I avoid his cut and counter him until the end of the technique where I make it impossible for him to do anything. Then the technique is finished without changing the sequences of the strikes, the only thing that is flexible is the distance and the timing. And this is where the true training comes in.

Then at the end of the class we record a short demo to video which will be available for download later. This is how we spend our two hour trainings at Kaigozan Dojo this summer.

No henka, no variations, true to the technique.

Kote haneage as he try to cut my left arm
Kote haneage as he try to cut my left arm

I always thought quality is better than quantity. It is amazing how cleverly these techniques is made up, it is so much more than executing the strikes rapidly against a rather passive opponent. If the opponent (sword-guy) is good and understand how to use the sword there is really not many options to change the technique and do something different, the possibility for henka becomes very narrow, what you can change is very small details. For me this is what henka means, you failed your initial technique and need to adapt because of miscalculation.

I know there are those out there only doing henka-training, but how do you do henka training only, henka of what? If you try to train yourself into intuition without basic foundation you are doing something I don’t understand. You weren’t born out from nowhere, someone did something very basic with someone and you was born. How do you henka anything into existence?

Victory ending of the technique
Victory ending of the technique

If anyone is interesting I’m doing three more one day Bojutsu mini-seminars this summer.

Happy Training!

/Mats

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Riga seminar in February 2011

The past weekend I was invited by Juris from Bujinkan Kurokawa Dojo in Riga to teach a seminar on Sanshin no kata and Juttejutsu.

On Saturday I showed and explained the way I feel is the base for Sanshin no kata. First we did the traditional warm-up routine; doing the first technique five times on the right side, and then five times on the left side, and finally ten times alternately on right and left side. Then the same with all the other four techniques. Sanshin no kata consists of five simple techniques…

Sanshin no kata

三心の型 SANSHIN NO KATA

地 CHI (earth)
水 SUI (water)
火 KA (fire)
風 FŪ (wind)
空 KŪ (void)

In the early 1980’s there was a “guy” that had only been training a couple of years and interpreted these techniques with Buddhism and created his own philosophy around these techniques. He wrote many books on the subject, and almost everyone copied his idea. It was a very nice idea, but it was not the Sanshin no kata that Hatsumi Soke taught as many people believed at the time (and unfortunately still believes). Do not think of the elements too much. Just simply look at them as a way of counting, nothing else.

Some people talk about three different ways of doing these techniques and they also have a name (shoshin, gogyo, goshin). I have never been taught this by Hatsumi Soke or any one else of the Japanese Shihan, and I have never seen the source for this. So I’m not teaching this, but I think this also is a good idea. I think it is important to always look at things from three perspectives. For example left, right and middle. The way I taught on the seminar was the following.

The principle of capturing, strike and quickly capture again

Solo training, try to get the form correct and understand all movements, angles, timing, distance, technique, kamae and everything else. I heard that even the Japanese Shihan who have been training for 30-40 years still do this every day. So there is no reason for you to think that you have already learned it. I to still discover many things when doing the forms.

With a partner you will understand the the solo training forms better. The forms you do in solo training will never bee exactly the same when done with a partner, you need to adjust according the way your partner attacks. We did the base (as I see it!) with five different blocks and five different strikes, then moved on to applications and more direct response from natural posture.

Using weapons will increase the understanding even more. If you use a weapon try to keep to the ideas we learn from the forms. But small adjustments are done according the characteristics of the weapons used.

This 45 minute video from the seminar is available for instant download at BUDOSHOP.SE

十手術 JUTTEJUTSU

the JutteThe jutte or jitte (十手), literally meaning “ten-hand” (i.e., the weapon with the power of ten hands), is a specialized weapon. In Edo period Japan the jutte was a substitute for a badge and represented someone on official business and was carried by all levels of police officers including high ranking samurai police officials and low-rank samurai law enforcement officers (called okappiki or doshin). Other high ranking samurai officials carried a jutte as a badge of office, “aratame” or official inspectors including hotel, rice and grain inspectors carried a jutte.

On Sunday we did the six techniques from the old Hanbo, Tessen and Jutte book published by Hatsumi Soke in 1984 ca. It has six basic techniques, we did them all. In 2003 the Bujinkan theme was Kunai and Hatsumi Soke taught five of these techniques using a Kunai. The weapons are different so adjustments need to be made according the characteristics of these weapons.

落花 Rakka technique

We studied the following techniques with Jutte in mind (not Kunai), first the basic form and then variations and applications.

桐之一葉 KIRI NO HITOHA – falling paulowina leaf (arrival of autumn)
落花 RAKKA – falling blossoms
水鳥 MIZU-DORI – water bird / 五輪碎 GORIN KUDAKI – five rings crush
雷閃 RAI-SEN – flash of lightning
竜下 TATSUGE – inferior dragon
廻捕 MAWARIDORI – revolve and capture

The training both days seemed to be successful and everyone seemed happy about it. I sure had a good time both in the dojo and outside before, between and after the trainings. The first time I was in Latvia in 2002? I asked about traditional masks but I didn’t know so much about them that they understood what I meant. So after the training Juris surprised me with a mask I asked about nearly ten years ago.

The arrival of masked visitors

This practise is variously referred to as budēļi, čigāni “gypsies, going gypsying”, kaladnieki, ķekatas, maski “masks, going masking”, nabagi “the poor ones”, etc. Although this practise could occur at any time of the winter (between Mārtiņi and Meteņi ), it was particularly common on Christmas eve. It is strongly reminiscent of the tradition of mummers and mummering in Great Britain and Newfoundland.

Latvian “mummers” might dress up as animals (bears, horses, cranes) or as Death. They would go from house to house and were warmly greeted, as they were assumed to drive away evil spirits. They would arrive in groups in front of the house, and sing songs and dance. Then they would be invited in and fed with bacon buns (pīrāgi), butter, sausages, and given ale to drink. They made a special effort to disguise their voices and mannerisms, so that no one would be able to guess who each one was, but if a mummer was correctly identified, he or she would have to “unveil”, i.e. remove the cloth which was covering their face.

It is still common for children to be required to recite an appropriate verse before receipt of their presents (there are many).

Vai, lielie ziemas svētki,
Puiši trekni, zirgi vāji;
Puišiem alus, brandavīns
Zirgiem tukšas redelītes.

Oh my, Christmas time
The lads are fat, the horses lean;
The lads get beer and whiskey
But the hay racks are empty.

I’m happy about the whole seminar, and especially happy that people also came from the neighboring countries Estonia and Lithuania. I was asked to come back after summer, maybe in August. I’m already looking forward to it.

Thank you Juris and everyone who attended and made the seminar possible.

Happy training!

Click here for more pictures from the seminar.