Depths of bows in the Japanese 'do' arts.

sesshu rei

The word to bow in Japanese is Rei. The Character for Rei means both the physical act of bowing, and also means manner and etiquette. Therefore the main physical manifestation for manners in the 'do' arts of Japan is bowing. We bow with both a humble manner and a strong manner, from our core and make this our core principle of training in the 'do' arts.

How we show our manners is dictated according to the who, what, when, where, & why we are doing something. In bowing this is the timing, spacing, and the depth of the bow.

We also have Ritsu-Rei, standing bows, and Za-Rei, sitting bows.

The 5 basic depths for bows are:
1. Shiken-Rei
2. Sessyu-Rei
3. Takushyu-Rei
4. Soushuyu-Rei
5. Goushyu-Rei

Also today we have incorporated a more small 1/2 bow called 'yu' which only bends about 10 cm from our straight up position.

1. Shiken-Rei, or what in our school we call the fnger tip bow, uses a touch of the fingers to the floor to re-inforce our ikasu (or enlivening) to allow for a stable bow. Shiken-Rei is not very deep, just bending from the tanden (core/center) and allowing the fingers to touch the floor (when in seiza 'correct sitting' on our heels) [note when we ikasu the buttocks may come off the heels slightly, but when we bow we should be sure not to increase this distancing of the buttocks from the heels]. From Sankyo [squating] or kiza [kneeling] the fingers need not necessarily touch the floor, it can be symbolic the angle of the body should be roughly the same as when doing shiken-rei from seiza.

2. Sesshu-rei, or what we call hand-bending bow. This is for us the standard bow of about 45 degree bend of the body. The hand bending part comes from the fact that from shiken-rei as we bend foward more the wrist bends to place the palm on the floor and slides forward parallel to our knees.

3. Takushu-Rei, is to open something that is closed. Until this point the hands have been along side the body, but with Takushyu-Rei the hands begin to move out in front of us, this happens naturally as we bow deeper to have our forehead (with a straight back and our buttocks down) to about 24 cm from the floor. Esoterically we speak of this bow representing a true offering of ourselves, and so we consider it the first of the deep bows.

4. Sosshu-Rei, is both hands or a pair of hand that move ever closer together as our bow deepens to about 15 cm from the floor, and is certainly a fukai-rei or deep bow.

5. Gosshu-Rei, is when our hands match or come together. Generally with index fingers touching and forming a /\ shape under our nose. Our forehead is about 10cm away from the floor. This is considered Sarani Fukai Rei or a more deep bow, and is the deepest of the standard 5 bows.

Ogasawara Family and In/Yo Theory

"A propriety, horsemanship, and archery traditions and technique succeeded by the Ogasawara school are firmly based on the Ying and Yang thought.The Ying and Yang thought was imported from China. Almost 1400 years ago, in Heian ( it means "peace") period in Japan, this thought became a vital foundation of universal scholarship and all natural phenomenon. It has been thought that the universe itself is built up by the Ying and Yang, invisible but mighty power circulation and balance of two conflicting components, e.g. light and shadow, plus and minus, sun and moon etc. A fundamental orientation and mathematics derived from the Ying and Yang thought largely influence the patterns of licensed arrows provided by the Ogasawara school and a field and altar arrangement of ritual archery ceremonies, however, the point that should be specially noted is "Ying and Yang"; shout ( in Japanese, it pronounces "In‐ Yo" ) by the Yabusame archers on horses at the Yabusame ritual ceremony. By shouting In‐Yo, their spirits and souls are able to correspond with the universe in other words almighty God."

The above is from the Ogasawara Family

below is my comment:

In/Yo Theory or the principles of yin and yang come from Chinese Taoism. Taoism arrived in Japan along with Buddhism and Confucianism in the 6th century AD. But Taoism was the weakest of the 3, bearing such a resemblance to the existing shaministic practices and beliefs already in Japan that it only existed in the periphery, and within the mix of the 3 which became knows as Jukyo.

The Ogasawara Family established for us the foundations of what culminated in what we now think of as Traditional Japanese Culture. The In/Yo theory that they used is based on the principles of Taoist thought. In/Yo theory entered Japan within the Jukyo combination of influences from the mainland. Jukyo consists primarily of Confucian Values, Buddhist Ceremonies, and Taoist Principles... pretty much in this order. To the extent that Jukyo is sometimes translated as Confucianism. But in talking with the Japanese about what is Jukyo, the principles described are Taoist; so as stated, Jukyo is Confucian Values, Buddhist Ceremonies, and Taoist Principles, just as this In/Yo Theory used by the Ogasawara Family suggests.

Zen too came to Japan as Buddhism; but quickly, under the descendants of Dogen Zenji (1200-1253) (who brought what we now call Soto Zen Buddhism to Japan) again the Jukyo was incorporated, and along with that indigenous ideas were incorporated into Zen as well. This combination of all, roots from Japan and all the jukyo from the mainland combine in varying ways, and in varying degrees, to create what we now call Traditional Japanese Culture.

The Ogasawara Patriarch most responsible for the strengthening of the Ogasawara Teaching, and establishing it as the Japanese Way was Sadamune Ogasawara (1292-1347). Sadamune studied under the Zen Master Seisetsu Shoho and used these teachings to re-establish Ogawawara-ryu of the time. He took the principles of Zen and incorporated them more strongly into the Jukyo Principles already in place.

The other principles that we think of as Traditional Japanese Culture, come directly from Buddhism and particularly Zen. Zen Masters brought a particular taste and way of practicing to such things as tea, calligraphy, and flower arrangement. They took what for some had been just past times for those outside of the temple, and brought the flavor of the temple back into them, since that's where they came from in the first place.

They also had great influence over warriors of the time who developed their warrior practices into 'do' arts during peacetime particularly. This 'do' is the Japanese pronunciation of Tao. All of the 'do' arts of Japan have some basis, to one degree or another, to the Jukyo and Zen influence, since they were the bringers of in/yo theory, the basis of 'do'."

Kyudo is Kyudo

Whenever we talk about a style of kyudo, Sensei has told me many times, "kyudo is kyudo". However, all the Japanese 'Do' arts follow ancient principles, and these have evolved over time as well to be quite amazing. Our tradition is more than just kyudo, and includes a variety of other practices. Each of these follows the same principles.

One such set of principles was set down in Kikkawa-ryu. The principles of Kikkawa-ryu were written down by one teacher as the words of his teacher's, teacher's, teacher's, teacher... passed down from generation to generation and finally written down. The book was kept secret until the writer passed away, then on the 100th anniversary of the death of the original teacher the book was made public. In our school we rely on these principles as well.

The 4 Principles of Kikkawa-ryu:
1. Wa = Harmony
2. Kei = Respect
3. Sei = Purity
4. Jaku = Tranquility

Sensei once called our way of calligraphy as Hitsu-Zen-Do or the meditative way of the brush. So perhaps it can also be applied to our way of shooting as well Sha-Zen-Do, the meditative way of the bow.

In Zen we also have 7 Principles, and these are applied in the teaching of our school as well.

1. Fukinsei = Assymetry
2. Kanso = Simplicity
3. Koko = Austerity
4. Shizen = To be ourselves or Natural
5. Datsuzoku = Other Worldly; that which is beyond the senses
6. Yugen = Subtlety or Mystery
7. Seijaku = Quiet and Lonely; sometimes translated as Quiet or Silent (the jaku here is the same one used in Kikkawa-ryu as Tranquility, but by itself we usually say Lonely.

There are several other key concepts as well. Most of these have no good translation, but need to be 'tasted' in the practice. Once we taste what it is like, we no longer need the translation, in fact we see the words (especially translated words don't fit exactly). Some of these are:

Wabi Sabi = which we also use the characters for Quiet and Lonely; though some schools use Rustic or Aged for Sabi... actually we do too, sometimes... humm. Anyhow they are the same sound but two different kanji.

That's interesting to me, the same thing happens on our translation for Sho Gyo in the Ha Sho Do. Sho Gyo... The Sho is most commonly translated as 'right' but since this implies right and wrong we usually use upright instead (the connotations in upright fits pretty well into many of the multilayered meanings of the word. For Sho-Gyo this is usually translate as 'Action or Activity'; but there is another kanji that is sometimes used that means 'Practice or Walking'. This is the kanji we usually use in our tradition, but when talking we sometimes say in means Action or Activity; in some sense they are related, and it is a translation... neither translation is exactly right; but it seems we are taking some leeway here with words, just the same. Anyhow, we sometimes do that, I guess

Kimono

Kimono sabaki is the art of wearings a kimono. In martial arts circles where a hakama is worn we might say hakama sabaki; for learning to put on, and train in, a hakama is certainly an art form.

Some of us, however, once the technique of putting on the clothes is learned sufficiently we stop giving it much attention, and chatter away in the locker-room giving little care to our dress; or, on the other extreme, become so obsessed with a precise technique we forget to enjoy the feeling of learning fresh how these wondrous clothes might fit today.

When I first wore buddhist robes I was told it takes awareness to learn 'how to live within the robes' (this phrase has many layers of meanings; some of which I am just coming to appreciate). As monks we also recite a vow, the 'Takkesa no ge' or Robe Chant.

Daizai gedappuku
Muso fuku den-e
Hibu Nyorai kyo
Kodo shoshu jo

Daisai gedatsu fuku is 'how great are the clothes of liberation'.
Muso fukuden-e is 'formless robes of happiness'.
Hibi Nyorai kyo is 'devoutly wearing the teaching of the Nyorai' (Nyorai is another name for a Buddha)
Kodo shoshu jo is 'to save living beings widely (or everywhere)'.

This kind of vow is humbling and sets ourselves in a process of gratitude for the practice and the teaching. It places us in a relationship between ourselves and others with awareness of the clothes between us; remember between us does not separate us, but joins us... connects us.

When I put on Hakama and/or Kimono to do budo I say this same vow. To remain ever humble and grateful.

Though for non-monks reciting this vow may be too much to ask, it may be a nice practice to don the hakama & kimono with a similar attitude, to help us step on this path facing an old direction of gratitude to those who came before... and in the new direction toward those who will train with us today.

Domo Arigatou
jyozen

Though kyudo is not necessarily Zen, Zen influenced most of the Japanese Arts. The Zen monks of the 12th to 18th centuries were sponsored by Warrior families and so their ideas began to infiltrate the warrior arts. The monks themselves were often artist of calligraphy or tea and so they created their own type of art that has come to exemplify what many think of as being Japanese Art.

More on Wabi Sabi

In our tradition we use these kanji:
Wabi = Quiet
Sabi = Lonely

In some traditions they use the kanji of rusty for Sabi.

Sensei says Wabi Sabi means Rustic Elegance.

Wabi Sabi, though, can't really be defined. We call this undefinable aspect ai mai.
Ai Mai = Vague or undefinable.

Wabi Sabi is used to teach Mujo.
Mujo = Impermanence. Everything changes. Everything is born, lives, decays, and dies.

Wabi Sabi is the acceptance, even the embracing, of this fact that everything will one day pass. This melancholy lonely feeling is Wabi Sabi. We embrace the flaw that remains even though we polished to perfection. We embrace all that really is and love it.

Kyudo, for me, is based on the teachings handed down to me by my teacher. There are several principles in the teachings that effect me in a particularly strong way.

One of these principles is change. This change is shown in our training as we adapt the movement of shooting; we are both moving and standing still at once... growing up inside while we expand the with the bow until the arrow flies; I love this.

Another is the principle of the asymmetrical balance. The idea that everything counts, but not equally. It works on a 70/30 rule of ratio's that seems to apply to so many things in my life that it amazes me. Then with the 'change' principle applied the ratio changes from moment to moment making life fresh and challenging all the time. There is also a natural ratio of 60/40 that without our interference appears in many aspects of kyudo; The bow for instance is asymmetrical with 60% to the heavens and 40% to the earth, this natural ratio seems to be appearing more and more in my life.

Of course all this is discovered from the quiet meditative mind we develop.
As we meditate we recognize our mortality. Then, although we embrace change, and our inevitable death, we use this recognition as motivation to live life to the fullest... every moment of every day... laughing and smiling.

What a wonderful life we develop when we stand quietly and learn from the japanese bow and arrow...