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The Japanese sword has existed since the Nara period (710–794), where techniques to draw the sword have been practiced under other names than 'iaijutsu'. [3] The term 'iaijutsu' was first verified in connection with Iizasa Chōisai Ienao (c. 1387 – c. 1488), founder of the school Tenshin Shōden Katori Shintō-ryū .
"Battōtai" (抜刀隊, Drawn-Sword Regiment) is a Japanese gunka composed by Charles Leroux with lyrics by Toyama Masakazu in 1877. Upon the request of the Japanese government, Leroux adapted it along with another gunka, "Fusōka" (Song of Fusang), into the military march Japanese Army March [] in 1912.
Toyama-ryu was not taught generally but was reserved for officers, as they still carried swords. In 1940, Mochida Seiji (持田盛二) and Saimura Goro (斎村吾郎) added and revised the kata. In November of 1941, an official manual on Toyama-ryu was distributed widely within the Japanese Army.
Tsujigiri (辻斬り or 辻斬, literally "crossroads killing") is a Japanese term for a practice when a samurai, after receiving a new katana or developing a new fighting style or weapon, tests its effectiveness by attacking a human opponent, usually a random defenseless passer-by, in many cases during night time. [1]
Jigen-ryū is known for its emphasis on the first strike: Jigen-ryū teachings state that a second strike is not even to be considered. [2] The basic technique is to hold the sword in a high version of hasso-no-kamae called tonbo-no-kamae (蜻蛉構 Dragonfly Stance), with the sword held vertically above the right shoulder. The attack is then ...
Iaido does include competition in the form of kata, but does not use sparring of any kind. Because of this non-fighting practice, and iaido's emphasis on precise, controlled, fluid motion, it is sometimes referred to as "moving Zen." [12] Most of the styles and schools do not practice tameshigiri, cutting techniques. A part of iaido is ...
Kashima Shintō-ryū (鹿島新當流) is a traditional school of Japanese martial arts founded by Tsukahara Bokuden in the Muromachi period (c.1530). [1] [2]Due to its formation during the tumultuous Sengoku Jidai, a time of feudal war, the school's techniques are based on battlefield experience and revolve around finding weak points in the opponent's armor.
The techniques of the two arts are closely related in some styles, evidenced by the empty-hand and weapon variants of certain kata: for example, Kankū-dai and Kankū-sai, and Gojūshiho and Gojūshiho-no-sai, although these are examples of Okinawan kobudō kata which have been developed from karate kata and are not traditional Okinawan kobudō ...