本物の武芸者である師に出会うことこそ，武道家にとって最大の幸福である。なぜなら，歩む道が死ぬまで永遠に続く可能性が高いからである。武道芸道には「守・破・離」という言葉があるが，そもそも，早々に破り離れることができるような師についてしまうのは，武道家にとして不幸である。早々に越えられる師は，本物の師ではない。
The happiest thing for martial artists is to meet a master as a genuine marital artist. It is because there is a high possibility that they might have an eternal way to the state of their master till the last. There is a phrase "syu-ha-ri" (three stages of learning mastery) used in martial and performance arts of Japan. But, at first, it is unhappy for martial artists to follow a master who they can top early and easily. The master who they can top easily is not a genuine one.
March 03, 2012
Way to One's Own Master's State
武道は身体技芸なので，師が本物の武芸者であればなおのこと，弟子が師をしのぐ才能を持ち得ていない限り，その極意を体得・会得するためには，天文学的な時間と努力が必要となる。それほどに身体技芸の伝承には手間暇がかかる。したがって多くの場合，師の到達している境地に向かって，死ぬまでひたすら歩み続けることになる。
Budo is physical arts. Then, if a master is a genuine martial artist, It takes an astronomical time and effort to learn the secrets of the arts, insofar as the disciple has no latent ability or talent to top the master. Transmission of physical arts requires such a lot of time and effort. Therefore, in most cases, disciples have a long way to go to the state of their master to the last extremity.
Budo is physical arts. Then, if a master is a genuine martial artist, It takes an astronomical time and effort to learn the secrets of the arts, insofar as the disciple has no latent ability or talent to top the master. Transmission of physical arts requires such a lot of time and effort. Therefore, in most cases, disciples have a long way to go to the state of their master to the last extremity.
Transmission
武道や芸道における師から弟子への技芸の伝承は本来，身体から身体へ，個から個への一対一の伝達でしかなしえない。必然的に，師の技や術を会得するには相当に長い年月を要する。歌舞伎や能楽はその例である。彼らは幼少の頃から途方もない時間を要して師（親）の技芸を体得する。「一子相伝」とは，広辞苑によれば「学問・技芸などの奥義・秘法を自分の子の中の一人だけに伝えること」とある。これは家元や宗家の特権的地位を維持するための装置としての神秘主義・秘密主義ではなく，身体技芸の伝承にはそれだけ手間と時間が掛かる，ということを暗示しているのかもしれない。
The transmission of skills in martial and performance arts from teachers to students is essentially conducted only by one-to-one communication from a body to a body, or from a person to a person. Inevitably, it takes an extremely long time to master the arts and skills of one's teacher. The examples are kabuki and nohgaku. The actors spend an extraordinary time on learning their teacher (their own father) from their infancy."Isshi-soden" (transmission to one child) means "the transmission of mysteries and secrets of an art or learning from father the teacher to only one child the student" stated in the most famous dictionary of Japanese, Kojien. This may not mean a kind of mysticism or secretiveness as a system for maintaining the privileged state of the head of a school, iemoto or soke, but imply that it costs so much work and time to transmit a physical art.
The transmission of skills in martial and performance arts from teachers to students is essentially conducted only by one-to-one communication from a body to a body, or from a person to a person. Inevitably, it takes an extremely long time to master the arts and skills of one's teacher. The examples are kabuki and nohgaku. The actors spend an extraordinary time on learning their teacher (their own father) from their infancy."Isshi-soden" (transmission to one child) means "the transmission of mysteries and secrets of an art or learning from father the teacher to only one child the student" stated in the most famous dictionary of Japanese, Kojien. This may not mean a kind of mysticism or secretiveness as a system for maintaining the privileged state of the head of a school, iemoto or soke, but imply that it costs so much work and time to transmit a physical art.
Dialogue through the Body
身体技芸の本質は，身体でしか理解できない。師が身体で語り，弟子が身体で聴く。身体を通した対話である。
The essence of physical arts is not possible to understand without the body. A master speaks by his/her body, and the disciple listens by his/her body. This is a dialogue through the body.
The essence of physical arts is not possible to understand without the body. A master speaks by his/her body, and the disciple listens by his/her body. This is a dialogue through the body.
February 29, 2012
Okinawan te
沖縄伝統の武術である「手」は，大きく首里手と那覇手に分けられる。現代の沖縄には，首里手の系譜としてショウリン流（小林流，少林流，松林流，少林寺流）が，那覇手の系譜として沖縄剛柔流が残っている。沖縄三大流派としてもう一つ，上地流がある。上地流は，流派として興ったのが近代になってからであり，また，形の種類や技術の面で剛柔流とは異質であるけれども，サンチンやセーサンなど共通する部分も多く見られることから，大きくは那覇手という括りに含めて良いだろう。また，以前は，泊地方で行われていた手，つまり，泊手というものもあった。しかし，技術的に首里手と共通する部分も多かったためか，現在では，首里手に内包されていて，特に泊手として特異的に独立して伝承・稽古されることは少ない。
Te (tiy) or the Okinawan classical martial art is roughly classified into two categories; shuri-te and naha-te. In modern Okinawa, there remains shorin-ryu as a successive generation of shuri-te and goju-ryu as naha-te. There is another school among the called "big three schools (ryuha) in Okinawa"; uechi-ryu. Though uechi-ryu has been organized into a school (ryuha) since Showa era downward and different from goju-ryu in the kinds of kata and the techniques, it may be right to broadly include it among naha-te because there are a lot of similarities between goju-ryu and uechi-ryu, for example, both have the same katas as sanchin and seisan. Additionally, there had been a te (tiy) that had been developed in Tomari area, called tomari-te. However, nowadays, people hardly practice and transmit especial tomari-te independently, it may be because it has a lot of similarity to shuri-te in techniques.
Te (tiy) or the Okinawan classical martial art is roughly classified into two categories; shuri-te and naha-te. In modern Okinawa, there remains shorin-ryu as a successive generation of shuri-te and goju-ryu as naha-te. There is another school among the called "big three schools (ryuha) in Okinawa"; uechi-ryu. Though uechi-ryu has been organized into a school (ryuha) since Showa era downward and different from goju-ryu in the kinds of kata and the techniques, it may be right to broadly include it among naha-te because there are a lot of similarities between goju-ryu and uechi-ryu, for example, both have the same katas as sanchin and seisan. Additionally, there had been a te (tiy) that had been developed in Tomari area, called tomari-te. However, nowadays, people hardly practice and transmit especial tomari-te independently, it may be because it has a lot of similarity to shuri-te in techniques.
Subscribe to:
Posts (Atom)