NENAD SIMIĆ

Rokudan

European Traditional Karate Federation-ETKF

International Traditional Karate Federation-ITKF

KARATEDAI NIPPON KEMPO - SHOTOKAN RYU

DAI N

IPPO

N K

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H

OTOKAN RYU • KAR

ATE D

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EN

AD

SIMIĆ

GICHIN FUNAKOSHI MASATOSHI NAKAYAMA TAIJI KASE HIDETAKA NISHIYAMA

Dai Nippon Kempo - Shotokan Ryu - Karate Do

KARATE, Calligraphy handwritten by

sensei Gichin Funakoshi

K

A

R

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ETRADITIONAL

SHOTOKAN

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The author of this book, Nenad Simić, from Belgrade, is a highly ranked karateka, successful in tournaments, and a bearer of the sixth day black belt (rokudan), of traditional karate federation (ETKF-ITKF). Fol-lowing many successes at the tournaments and after several decades of practicing karate, he decided to articulate his knowledge and expe-rience into a book, and to transfer to others the rich tradition of Sho-tokan karate, which he follows, through a book, beside being a karate coach and instructor. Therefore, this book successfully introduces the reader into all the subtleties of karate theory and practice, giving full review in a systematic way, with the help of numerous photos. Martial arts in Japanese tradition are specific because of the spiritual aspect, which is presented and supported in them, i.e. the ethical and spiritual aspect as essential for the total level and meaning of their practice. At the same time, the martial focus has been changing, following the actual historical milieu – from preparing for the martial challenges in an actual military conflict, to martial readiness, and spiritual shrewd-ness in times of peace, as well as readiness to respond to challenges of everyday life, without weapons. New challenges and requests have been created by the ambience, and the standards of sport competi-tions, at the beginning of the 20th c., following the tendency to adapt the traditional skills to rules of sport tournaments, competitions, and organizations. The first chapter of this book (HISTORY AND DIVISION OF STYLES) ex-poses the rich and complex history of karate, within the context of a wider tradition of Japanese martial arts – budo – which included also other martial arts, that became a part of the global net of sport com-petitions, or particular body culture (or fitness practices), during the 20th c. One of the main traditional divisions was a division of martial arts with, and without weapons, and karate (meaning “empty hand”) belongs to the second group. In this chapter - beside Shotokan karate - are also described other known karate styles. The second chapter (STRIKING SURFACES) presents various ways of striking with hands, legs and head, i.e. the striking surfaces (of hands, legs, and head) used to perform these strikes.In the third chapter (STANCES) are presented basic stances (dachi), moving from stances, and rotation from stances. The fourth chapter (HAND TECHNIQUES) presents in detail various hand strikes – with the fist, palm edge (uchi), blocks (uke), and hand strikes combined with leaping. In the fifth chapter (FOOT TECHNIQUES) are presented various strikes with the foot, from a standing stance, and from a leap, foot blocks, as well as holds, and foot sweeps.In the sixth chapter (FIGHTING GUARD AND DISTANCE) are presented the fighting guard (stance) and distance, which change in relation to the encounter, from the starting position, to the position considered as final or crucial, in competing.In the seventh chapter (KARATE JUTSU) are presented various ways of defense from various types of attack.In the eighth chapter (ARRANGED SPARRING) are presented various types of sparring (training karate confronted with a partner).In the ninth chapter (BASIC PRINCIPLES OF THEORY AND TECHNIQUE) are presented theory and basics of karate, for example: power concen-tration, estimation and timely performance of technique, automatism of movements (reaction, and action), and strategy and tactics (i.e. ap-plication of karate technique).

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In the tenth chapter (TAMESHIWARI) are presented various exercises of striking and breaking (as part of training, or presenting karate), which include breaking/splitting various things/surfaces, made of wood, or other materials. In the eleventh chapter (EQUIPMENT) are presented various parts of outfit utilized in training. In the twelfth chapter (EXCERCISES) are presented various exercises, like warming-up, testing strength, relaxations, and special exercises. On such ground, one can see that this book is a comprehensive pre-sentation of karate tradition, and actual practices, making it an ideal textbook for those who just want to know about karate, as well as for those who practice it, and want to improve their performances and be more successful in competitions.

Prof. Dušan Pajin, Ph.D.

Lot of my friends from Japan, especially those dedicated to fighting arts, are amazed by the popularity of karate in Serbia, and other coun-tries of ex-Yugoslavia. Many of them told me that this art, which orig-inated on the island Okinawa, in relation to the number of inhabitants (Japan has 127 millions of inhabitants), has on the average, more fans in the Balkans, then in the land of its origin. Such great popularity, and the very high art level in Serbia, karate owes to the natural dis-positions of Serbs, as a fighting nation, and primarily to the merit of Dr. Vladimir Yorga (9th Dan ETKF, ITKF), and Dr. Iliya Yorga (10th Dan soke-fudokan), the founders of Serbian karate, as well as to one of their followers, karate master Nenad Simić. As an author of several books (Karate-do, Great Japanese Boxing; Samurais, the History of the Warring Class; Samurais, the Philosophy of the Warring Class; The Golden Book of Japanese Karate, books I, II, III), and a karate master of high class, Simić is one of the most active persons in the popularization of the Japanese culture, in this part of Europe. He has won many rewards, and credits in karate and Japanese culture, and he was privileged to receive the master lev-el – godan (2008) – from one of the legendary teachers of traditional karate, Hidetaka Nishiyama, the pupil of the famous Gichin Funakoshi. From the times when I started to study the Japanese culture, during the 60’s of the last century, and later, during my longer stays in Japan, I found that the Serbs, probably because of similar historical occasions (long warrior tradition, long periods of patriarchal relations, in relative isolation from the outer world), have more interest for the contribu-tions of the Japanese tradition and culture, then the other Europeans. One of the best examples for this is Nenad Simić, and his several dec-ades’ dedication to karate. I know Nenad for a long time, and I have been convinced that he is not involved with karate, and the Japanese culture, just as in a sort of profession. Like the medieval Japanese knights – samurais – he literary lives karate, and karate wining prin-ciples have become an inseparable part of his mind. All the best ele-ments of the Japanese tradition and culture, found their best reflex in Nenad Simić, as a sportsman, and a person.

Dragan Milenković, the founder of the Serbian-Japanese Society

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I want to give compliments for the book KARATE – DAI NIPPON KEM-PO, which was written and edited by mu ex-trainer Nenad Simić. When I lived in Belgrade, during the 90’s, for several years he was teach-ing me traditional karate, and I may say that at time started my love for karate. Under the circumstances, I later went back to my country, Russia, and I continued training and competing Kyokushin kai karate. Now, when I look at this book, I am glad that it was published, and that I know its author. I believe that the masculine and feminine karate trainees will find pleasure in learning from this book.

Anastasia Hripunova, (Moscow)9 times World champion and2.times European champion

of the Kyokushin kumite

CONGRATULATORY ADDRESS

On behalf of Okikukai, I would like to congratulate you on publish-ing your valuable Karate do book. Today, Karate do and Kobudo are practiced by over 50 million people in more than 170 countries world-wide. I would like you to note, that each of you greatly contribute to the understanding of each other, which leads to the world peace. We all should recognize that Karate do and Kobudo have great potential and attraction. Within the historical and cultural background, Karate do and Kobudo have been practiced to develop not only physical and mental strength, but also greatly contribute to the building of charac-ter through the incorporation of ethics, as respect and courtesy. Final-ly, I would like to close my congratulatory address expressing my hope for a successful publication of the book.

Toshio Higa, Hanshi 10.danUechi -Ryu karate do

Okinawa,JAPAN

TSUKI WAZA

GERI WAZA

UCHI WAZA

ASHI UKE WAZA

UKE WAZA

ASHI BARAI

TE WAZA

ASHI WAZA

DACHI WAZA

TAMESHIWARI

KARATEGOSHIN JUTSU

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1. HISTORY AND DIVISION OF STYLES

Review of the general karate-do history - page 33, (Origin and evolution – Through the Himalaya wasteland – Bodhidharma’s mission - page 34, In the Okinawa gardens - page 37, Gichin Funakoshi in Japan - page 42).

Karate systems - page 45, (Naha-te - Shuri-te - Tomari-te) - page 46, Description of most recognized styles - Goju ryu - page 47, Shito ryu - page 48, Wado ryu - page 49, Kyokushin kai - page 50, Shotokan ryu - page 52, Shotokai - page 54, Uechi ryu - page 56, Shorin ryu - page 58, Motobu ryu - page 59, Chito ryu - page 60, Isshin ryu - page 62, Ryuei ryu - page 64).

2. STRIKING SURFACES - page 69

HAND STRIKING SURFACES - page 71

(Seiken/kento, tettsui/kentsui - page 73, ura-ken- page 74, ippon-ken, nihon-ken - page 75, nakadaka ippon-ken - page 76, hira-ken - page 77, yoko-ken - page 78, shuto - page 79, seiryuto, teisho - page 80, haito, haishu, hirate - page 81, kumade, keito - page 82, kakuto, barate - page 83, sunshu, koko, ippon nukite - page 84, nukite, nihon nukite - page 85, washide, enpi - page 86, wan- page 87)

LEG STRIKING SURFACES - page 89

(Hizagashira, kakato , teisoku - page 90, haisoku, sokuto - page 91, koshi, tsumasaki - page 92)

HEAD STRIKES (Atama ate) - page 93

3. STANCES (DACHI WAZA) - page 95

(Heisoku dachi, musubi dachi - page 102, heiko dachi, hachiji dachi - page 103, uchi hachiji dachi, teiji dachi - page 104, renoji dachi, neko ashi dachi - page 105, kosa dachi, tsuruashi dachi (sagi ashi dachi) - page 106, hiza dachi, sanchin dachi - page 107, kiba dachi, shiko dachi - page108, hangetsu dachi, fudo dachi (sochin dachi) - page 109, zenkutsu dachi, kokutsu dachi - page 110)

MOVING FROM THE BASIC STANCES - page112

WAYS OF TURNING FROM THE BASIC STANCES - page 114

4. HAND TECHNIQUES (TE WAZA) - page 117

STRIKES WITH THE FIST FRONT - TSUKI WASA - page 119

(Choku tsuki - page 122, heiko tsuki - page 123, awase tsuki - page 124, hasami tsuki - page 126, tate tsuki - page127, kagi tsuki - page 128, mawashi tsuki - page129, ura tsuki - page 130, yoko tsuki - page 132, ushiro tsuki - page 133, yama tsuki - page 134)

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STRIKES - UCHI WAZA - page135

(Uraken uchi - page 138, otoshi uraken uchi - page 139, yoko mawashi uraken uchi - page 140, soto tettsui uchi - page 142, uchi tettsui uchi - page 144, otoshi tettsui uchi - page 145, yoko mawashi tettsui uchi - page 146, hasami tettsui uchi - page 147, soto shuto - uchi 148 -uchi shuto uchi 149, otoshi shuto uchi - page 150, tate shuto uchi - page 152, hasami shuto uchi - page 153, haishu uchi - page 154, -soto haito uchi - page 155, uchi haito uchi - page 156, hasami haito uchi - page 157, mae enpi uchi - page 160, yoko enpi uchi - page 161, ushiro enpi uchi - page 162, yoko mawashi enpi uchi - page 163, tate enpi uchi - page 164, otoshi enpi uchi - page 165, age teisho uchi - page 167, ude uchi - page 169, uchi kakuto uchi - page 170, soto kakuto uchi - page 171)

BLOCKS - UKE WAZA - page 175

(Age uke - page 177, soto ude uke - page 178, uchi ude uke - page 179, gedan barai - page 180, shuto uke - page 181, tate shuto uke - page 182, morote uke - page 183, kosa uke - page 184, haishu uke - page 185-186, sokumen awase uke - page 187, juji uke - page 189, haito uke - page 190-191, hasami uke - page 192, kakiwaki uke - page 193, mae enpi uke - page194, soto enpi uke - page 195, otoshi enpi uke - page 196, kakuto jodan uke - page 198, te nagashi uke - page 199, te osae uke - page 200, otoshi uke - page 201, age teisho uke - page202, otoshi teisho uke - page 203, awase teisho uke - page 204, age keito uke - page 207, seiryuto uke - page 208, tsuki uke - page 209, uraken jodan uke - page 210, gedan kote uke - page 211, gedan soto ude uke - page 212)

JUMP STRIKE - TOBI TE WAZA - page 215

PERFORMING THE BASIC TECHNIQUE IN MOVEMENT - page 221

5. LEG TECHNIQUES (ASHI WAZA) - page 225

KICKS - GERI WASA - page 227

(Mae hiza geri - page 230, mawashi hiza geri - page 231, kinteki geri - page 232, tsumasaki geri - page 233, mae geri - page 234- 237, fumikomi sokuto geri - page 238, fumikomi kakato geri - page 239, fumikomi teisoku geri - page 240, yoko geri-kekomi - page 241-242, yoko geri-keage - page 243, ushiro geri-kekomi - page 244-245, ushiro geri-keage - page 246-247, mikatsuki geri - page 248, mawashi geri - page 249, mawashi kubi geri - page 250, mawashi koshi geri - page 251, gyaku mawashi geri - page 252, mae kakato jodan geri - page 254, kakato otoshi geri - page 255, ura mawashi geri - page 256, ushiro ura mawashi geri - page 258)

JUMPING KICKS - TOBI GERI WAZA - page 261

(Mae tobi hiza geri - page 262, mawashi tobi hiza geri - page 263, mae tobi geri - page 264, yoko tobi geri - page 266, mawashi tobi geri - page 268, ura mawashi tobi geri - page 270, ushiro mawashi tobi geri - page 272, haisoku tobi mawashi geri - page 274, ushiro tobi geri - page 276, nidan tobi geri - page 278-279)

BLOCK - ASHI UKE WAZA - page 283

(Otoshi kakato uke, sokuto osae uke, teisoku osae uke - page 284, uchi ashibo kake uke, soto ashibo kake uke, uchi sokuto mawashi uke - page 285, soto teisoku mawashi uke - page 286)

LEG SWEEPINGS - ASHI BARAI - page 291 - 297

LEG TECHNIQUE IN MOVEMENT - page 299 - 301

SHIHON GERI - page 302-303

GRABS AND THROWS WITH LEGS - page 304

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6. FIGHTING GUARD AND DISTANCE

(JIYU KUMITE NO KAMAE MA-AI) - page 307

SPARRING POSTURE – JIYU KUMITE NO KAMAE - page 309

FIGHTING DISTANCE - MA–AI - page 311

7. KARATE GOSHIN JUTSU - page 313

Defense from the wrist grab I - page 316- defense from the wrist grab II - page 318- defense from the lapel grab I - page 319- defense from the lapel grab II - page 320- defense from the lapels grab I - page 321- defense from the lapels grab II - page 322- defense from the lapels grab III - page 323- defense from the lapels grab IV - page 324- defense from the shoulder grab I - page 326- defense from the shoulder grab II - page 327- defense from the front neck hold - page 328 - defense from the back hold over the neck - page 328- defense from the neck grip I - page 330- defense from the neck grip II - page 331- defense from the front hold round the waist I - page 332 - defense from the front hold round the waist II - page 333 - defense from the low hold round the waist - page 334- defense from the rear hold round the waist I - page 335 - defense from the rear hold round the waist II - page 336- defense from the rearhold round the waist III - page 337 - defense from the linear leg strike - page 338- defense from the circular leg strike - page 339- defense from a linear punch I - page 340- defense from a linear punch II - page 341- defense from a linear punch III - page 342- defense from the upper hand attack - page 343- defense in the reclining position I - page 345- defense in the reclining position II - page 346- defense in the reclining position III - page 349- defense in the reclining position IV - page 350 - disbalancing the opponent - page 352 - lever applications – kansetsu waza - page 353

8. PRE-ARRANGED SPARRING (YAKUSOKU KUMITE) - page 355

GOHON KUMITE, SANBON KUMITE, IPPON KUMITE, JIYU IPPON KUMITE - page 357 - 362

9. BASIC PRINCIPLES OF THEORY AND TECHNIQUE - page 365

Myo wa kyo-jitsu no kan ni ari - page 369 - 374, mushin, mizu no kokoro, moonlight in a clear night - page 375, tsuki no kokoro, zanshin , kyo - page 376, kokyu waza , tanden - page 377, kiai, kan ni hatsu o irezu - page 378, kime wasa - page 379, hanmi, hikite - page 380, koshi no kaiten - page 381, shikake wasa, reaction and action - page 382, technique performed on time - page 383

10. TAMESHIWARI - page 387

11. UTILITIES - page 397

(Wood cylinder - page 399, makiwara - page 400 - 402, bucket with sand, punching bag - page 403, focusers - page 404, weights for hands and legs - page 405)

12. EXERCISES - page 403

(Warming up - page 411-414, flexibility - page 415-420, power - page 421-429, special - page 431-437, relaxation - page 438 )

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As a martial art, traditional kara-te is in the first place one of the budo crafts, and also a skill which is formally adapted to follow var-ious ways of competition (shiai). That is why traditional karate techniques are being applied to a wide spectrum of competitive sparring. The basic karate tech-nique setup (kihon) has a wide spectrum of techniques, includ-ing their realization in practice. Concerning their value in practice, the applicability of techniques in actual situations, depends on the degree of individual skill and ex-ercise level, in the first place. This applies to all systematic tech-niques, whether they be defen-sive or offensive, and no matter which part of the body is used for striking. Ways of presenting var-ious techniques are conceptually defined, but in individual applica-tion the can differ, from each indi-vidual, and depending on the style of a particular karate school. It is

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natural, that from the voluminous number of fighting techniques, each karateka will takeover those techniques which mostly fit his personal habitus and predispositions, and these he will apply in the first place. As time passes by, they become basics of his spiritual and practical understanding of karate, and according to this, a basic power, which can be exposed in various situations, and conditions. Fighting techniques in self defending, as well as competitive tech-niques, demand cool, resolute, and timely reaction, targeting the vital points of the opponent. The initial reaction, which con-tinues as an action, is a dynamic stream of psychophysical transfer of energy, by way of using an appropriate technique. In sparring (kumite), techniques which are realized as a conscious, premeditated aim, are not of an ultimate level. These can be realized in certain situations, but this is not the best way. An automatic response, which is the result of continual repeti-tion, is essential, because in this way the techniques are rooted on an unconscious level. Their further application is momen-tous and fits the situation, when the organ-

ism recognizes the need for them. When the real tech-nique is used, there is no planning or premeditation, because they are triggered as a conditioned reflex, mo-mentous “as by themselves”, and not announced in ad-vance by any needless move-ment. All knowledge, state-ments or prejudices about one’s own, or the opponents strivings, have to be “forgot-ten”, in order that the mind can be free, and the effect of the techniques real. In the philosophy and psychology of the Japanese martial arts, such a state of mind is known as mu-shin (no-mind), and it means mind free of thoughts and emotions. It is fully ex-pressed by the old saying – “Into a soul absolutely free from thoughts and emotion,

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even the tiger finds no room, to insert its fierce claws.” Therefore, the best way to apply karate technique in competition is a product of instinc-tive action, which is a result of practices and ob-servance from a higher psycho-physical level. Techniques which are practiced in this way, an op-ponent will hardly predict, since the practitioner makes no conscious decisions, when and how will he perform them. Therefore, they are a masterly performance, and the essential basis of tradition-al karate. As a basis of traditional karate, Shotokan ryu roused from the synthesis of Okinawa empty hand (kara-te) fighting, and the Japanese martial art concept, budo. The technical basis, which was initially presented by the Okinawa master Gichin Funakoshi, during his mission to make karate popular in Japan (in 1917, and 1922), has been modified and adapted for the wider audience. Beside sensei Funakoshi, in modifying the “old” and creating the “new” techniques, a great deal was done by his son, sensei Yoshitaka Funakoshi. Certain principles of technique, including the philosophical, psychological and traditional ba-sics, are derived from the budo disciplines, so that the martial concept of Shotokan karate has been completed, and rounded into an authentic totali-ty. A system of competition rules in the traditional Shotokan kumite, was later established by sensei Masatoshi Nakayama, who used as a paradigm the model used in Japanese way-of-the-sword (kendo). An old principle, that hands and legs should be considered as swords, has been since long time ago proposed by karate teachers from Okinawa. Among the promoters of this concept was also the reverend mas-ter Yasutsune Azato, known as one of the teachers of the mas-ter Gichin Funakoshi. Such a martial phi-losophy was estab-lished in the Shuri-te karate styles, and as time passed, it became an impor-tant trait, not only of Shotokan ryu, but also of other styles (ryu), which were developed within this stream. It also inspired sensei

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Nakayama, when he created rules for the techniques of traditional karate kumite. Keeping the orig-inal budo principles, he created a fighting system in which one would keep the original techniques, and at the same time control the power of strikes. In analyzing this perhaps it is best to be reminded of the remark by sensei Keinosuke Enoeda: A good karateka should have good control, so that he has no need of strong contact. With many contacts, if the technique is realized according to the rules, and with real strength, there is chance of injury. It is necessary to develop good control in order to be able to control the amount of body contact. The right word in “control”. A person who is skilled in kendo, can cut something on the table, without damage to the table… that is called good control. A rule which specifies the distance to stop the strike before it reaches the vital point on the body of the opponent (sun dome), can be somewhere in between several millimeters and three centim-eters. This is very important, since without keeping this rule as a moral and technical principle, strong contacts with unavoidable injuries would occur, and competitions would really not be pos-sible. Elegant movements and soft motion are also essential elements of karate kumite (sparring). The body has to be strong, but at the same time relaxed and flexible, without physical stiffness, free of inner tension and spasm. This is necessary if the body is to be fast and mobile, adapted to act in all situations. In the moment of direct contact with the opponent, the totality of the psychophysical capacity is activated for action, and through short, intensive and almost momentary contraction ex-presses itself through a particular technique. The famous master of martial arts, and the founder

of aikido, sensei Morihei Ueshiba, said about this, from the budo point of view: When the warrior is confronted with the enemy, all things come to focus. Although the fighting concept of aikido is quite different from traditional karate, this princi-ple is universal for all martial arts. The aesthetic

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nuance of karate techniques is first of all noticed in traditional practices, kihon and kata. Through these practices are cherished, and saved move-ment skills, with all their fundamental elements. However, in martial confrontation, most impor-tant is to perform the technique effectively, so that is has usable sense, which is its main goal. Although effective, from the point of spectator it need not be likeable, and though the aesthetic form of the movement is important, it is second-ary in the encounter with the opponent. Martial style and the application of certain techniques can be personally, and in concept, different, but they must be concrete, and efficient without com-promise, leaving no space for improvising and embellishment. If the demonstrated technique unites aesthetic form and efficiency, it is a further step in masterly attainment.

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The creation of this book – which included making photos, writing texts, making drawings, graphic design, set up for printing, and other different consultation – took almost five years. The main goal, from the very beginning, was to present, in an adequate way, various techniques, which are the basis of the traditional Japanese karate (Shotokan ryu). Beside these, here are also presented other segments of karate, and together, they make a unified fighting totality. Most of the techniques – and, in the first place, here we have in mind the presented strikes and blocks with hands and legs (te waza, ashi waza) – were performed with power and speed, conditionally, as part of a training session. Such presentation of karate techniques, beside its dynamics, is marked with authenticity, peculiar for barehanded fight. It should be noted, that the photographer, Mr. Dašić, was waiting and „hunting“ real moments, with great professional patience, and skill, in order to make photos which would have sense, and quality. For this reason, sometimes it was necessary to repeat certain techniques, in succession, that demanded certain cooperation, and engagement of both sides.

The author of this book is grateful to the masters and students of karate, for their engagement, and contributions in realization of this project. To:

MARKO KOVAČEVIĆ, ALEKSANDAR MIHAJLOVIĆ, STEFAN MIĆIĆ, ALEKSA POPADIĆ, MARKO KOVAČEVIĆ, DUŠAN ĐORĐEVIĆ, VLADAN JANKOVIĆ, MARKO MILAČIĆ, NEMANJA ĐURIĆ, ALEKSANDAR RADONJIĆ, ALEKSANDAR ĐURASOVIĆ, MARKO ŠTAMBUK i STEFAN JANIĆIJEVIĆ.

Photographer, Mr. DAMJAN DAŠIĆ,the winner at the competition for the front page of the German journal

„PHOTO VIDEO“ (2012)

The author wants to express his gratitude to the Art gallery “Workshop of the Soul” and to the following painters:Milan Tucović, Todor Stevanović, Branislav Stefanović, Stanimir Pavlović, Dušan Ristić, Zoran Ilić and friend Milan Dimitrieski, renshi 6.dan, Uechi-Ryu karate do.

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RANKO JAŠOVIĆ

(born 1964 - Montenegro). COMPETITION SUCCESES: Yugoslavia cham-pion - kumite (1984); Yugoslavia vice-champion (1993); participant at the European championship for senior competitors (1988); participant at the World championship (1990 Mexico City); National vice-champi-on for senior competitors (1988); selector of the Jordan national team (1998, 2001); trainer of the karate club Partizan (Belgrade) – gold and silver medal at the championship of European clubs (2009, 2013).Participant of the alpine expeditions: Mont Blanc (4808 m), Elbrus Cau-casus (5642 m), Aconcagua (6963 m), Island Peak Himalaya (6189 m), Ama dablam Himalaya (6863 m), Lobuche Peak Himalaya (6186 m). Sports merit citizen of the community Zemun (Belgrade).

DUŠAN POPOVIĆ

(born 1970 - Serbia). COMPETITION SUCCESES: Conqueror of medals, during many years, at Belgrade, Serbia, and Yugoslavia championships (kumite). Trainer of the karate club Kamakura, in Belgrade.

The author is in particular grateful to the following karate masters:

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HISTORY

Bodhidharma 菩提達磨 [ぼだいだるま] oil on canvas, copy, 35 x 50 cm,Zoran Ilić

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GENERAL HISTORY OF

KARATE-DO MARTIAL ART

”In Okinawa, a miraculous and mysterious martial art has come down to us from the past. It is said that one who masters its techniques can defend himself readily without resort to weapons and can perform remarkable feats: the breaking of several thick boards with his fist or ceiling panels of a room with a kick. With his shuto (“sword hand”) he can kill a bull with a single stroke; he can pierce the flank of a horse with his open hand; he can cross a room grasping the beams of the ceiling with his fingers, crush a green bamboo stalk with his bare hand, shear a hemp rope with a twist, or gouge soft rock with his hands. Some consider these aspects of this miraculous and mysterious martial art to be the essence of Karate-do. But such feats are a small part of karate, playing a role analogous to the straw-cutting test of kendo (Japanese fencing), and it is erroneous to think that there is no more to Karate-do than this. In fact, true Karate-do places weight upon spiritual rather than physical matters, as we shall discuss. True Karate-do is this: that in daily life, one’s mind and body be trained and developed in a spirit of humility; and that in critical times, one be devoted utterly to the cause of justice.”

Gichin Funakoshi

”Shiny boats emerged on open sea, and their fearless crews flooded the coast. Poorly armed and modestly dressed, they seemed to be easy prey for royal cavalry. And the mighty army came rushing upon newcomers, but they awaited with nothing but their bare hands. With a speed yet unseen, they have inflicted lethal blows to their attackers, overthrowing them from their horses. They defended themselves using rapid and proficient hands and legs movements, stopping swords, and avoiding arrows. They won and stayed to teach us how the force retreats in front of wisdom and art“.

Ancient Japanese inscription, end of the 9th century – describes an anonymous Chinese fighting art,

considered to be a forerunner of karate.

Ideogram KARATE- DO

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ORIGIN AND DEVELOPMENT

Early development of martial arts happened in ancient times, when they were a segment of the cultures of Egypt and ancient Greece. It is being considered that the original principles of martial arts have been conveyed by army of Alexander the Great to India, where they further evolved into more complex martial systems. Tracing history of bare-hand fighting, which represents the essence of today’s karate art, we go back to the period cca 2000 years B.C. Through centuries, the unarmed martial art has been developed in India, called Vajra-mushti. This art, shrouded in fog of myths and legends, was practiced by the members of the local warrior class called Kshattriya. They have had privileged status and enormous significance, just as samurai class in feudal Japan, or medieval knights in Europe. According to historical sources, the son of south Indian king Suganda was a member of Kshattriya class. Circumstantially, after few years of military service, he came to small Buddhist province nearby Madres. Raised, educated and brought up under the watchful eye of Buddhist teachers, this determined man, later to be known as Bodhidharma (Chinese: Da-mo, Japanese: Daruma), had begun his mission.

THROUGH HYMALAIAN WASTELANDS- BODHIDHARMA’S MISSION -

Bodhidharma, Buddhist teacher from India, lived in period round 470–543. He was born in Kanchipuram (previously Conjeevaram), capital city of Pallava dynasty, which belonged to the South India Kingdom, south from Madras city. As a member of warriors` cast, he was very skillful in martial art known as Kalaripayat, which consisted of barehanded fighting techniques and using weapons. He got his name from his teacher, Dhyana Prajnatara, who started to call him Bodhidharma, because of his great knowledge of philosophic laws (dharma) and wisdom (bodhi) taught by Buddha. In times before Bodhidharma, Buddhism - whose name is derived from the founder, Buddha (Siddhartha Gautama Buddha, 563-483 B.C.) - was widespread in India. Before Bodhidharma, there were even 27 great teachers (Patriarchs) of Zen-Buddhism in India. Succeeding the, so called „seal of consciousness“, he became the 28th Patriarch of the original Zen-Buddhism. „Seal of consciousness“ represents entire former knowledge related to theory and practice of Zen-Buddhism. On his deathbed, teacher Prajnatara instructed him to go to China, because he felt that the principles of Buddhism are decreasing in China, and that Chinese monks should be taught meditation (dhyana). Bodhidharma, a man with very strong enlightenment spirit, and with very progressive attitudes, accepted his teachers` instruction, and therefore the fact that he transferred Zen-Buddhism to China is not a surprise. Going through Himalayan wastelands, through hardly accessible landscapes, he has begun his mission of spreading Buddhist thought. Surpassing all kinds of troubles and falling into risky situations, exposed to cold weather and wild beasts, he managed to reach China. Otherwise, before his mission Buddhism was present in China, where a great number of temples and monasteries existed. But it was completely different way of practicing Buddhism, which significantly differed from Bodhidharma’s teachings.

Fighting art in antiquity, photos of sculptures from the Louvre museum (Louvre, Paris)

35

Actually, Bodhidharma brought specific philosophical school called „Nothingness“. Teachings of this school are best expressed in one message of those times which says:

Special tradition, Without reliance on words and ideograms, A direct pointing to the mind of man, With the insight into one’s own nature, And awakening.

This kind of teaching, which presented the essence of Bodhidharma’s mission, differed from former Chinese Buddhism. It represented a thread of essential Buddha’s` thought, inherited through generation-al „seal of consciousness“. The Emperor Wu, (Liang Dynasty, Chinese Liang Chao, 502-557 A.D.), otherwise known as a devoted Buddhist, expressed hospitality to host Bodhidharma on his court, which was located in the city of Chin-ling (present-day Nanking) and paid a lot of attention to this meeting. However, the answer to his question to Bodhidharma „What is the essence of Buddhism, what is the final holy truth“, was short: „Tremendous emptiness in which there is nothing sacred“, and he became distraught and agitated. Therefore, his next question was: „If so, who is at this moment, standing in front of me, facing me“. This was, again, followed by a short answer: „I don’t know“ (this is, otherwise, considered to be an allegory used in explaining cer-tain Zen principles). After this meeting, Bodhidharma was expelled from the court, since the emperor felt that he could be a threat to his authority. Therefore, Bodhidharma set off to the north, toward the Wei Empire. Approximately in the year 527 he arrived to the Shaolin Temple (Shao-lin Szu, built in 5th c.), on Song mountain, in the province Henan. The temple is located nearly 40 km from the ancient town of Luoyang (formerly Loyang), otherwise the capital of Wei Empire (the city still exists). According to a legend, the next nine years he spent in a cave on the city borders, practicing a sitting medita-tion, facing a wall. In notes by his disciple Huike, called „Notes on the Transmission of Lamp“, Bodhidharma said, following the „wall contemplation“: „When your consciousness is like an upstanding wall, only then you can step upon your path“. Sitting and meditating, Bodhidharma was waiting for someone to appear, who would be able to understand, and fully accept the essential Buddha’s’ teaching - because of that he took the trip from India to China. Later on, this sitting meditation (Zazen), which is also descending from Buddha, other Chinese teachers began to apply, initiated by Bodhidharma. The next bearer of the „seal of con-sciousness“, the generational wisdom and knowledge, has became the second Patriarch of Zen, Huike. Except presenting Zen-Buddhism in China, Bodhidharma’s mission in-cluded martial arts as well. He has noticed that the monks of Shaolin temple were in rather weak physical condition, and therefore had many problems to carry out the correct meditative practice. Long-term sitting in meditative position required good physical condition and full mental composure, and because of that monks were not able to practice medi-

Himalaya, oil on canvas 50 x 70 cmBranislav Bane Stefanović

36

tation. Bodhidharma perceived the problem, and using two Indian books (Chinese titles: Yijin Jing – „The muscles/tendons changing“, and Xisui Jing – „The core washing“), created a method of psycho-physical exer-cises, which had become the predecessor of a Chinese form of fist and leg fighting, from which karate was developed later on. In time, Yijin Jing (Wade-Giles: I Chin Ching) had been translated and copied many times, but the original text has been lost. Therefore, although its origi-nal purpose and philosophy still exist, it is not known how much of the original text has been modified. Bodhidharma’s system was titled „The Eighteen Hands of Lohan“, and its basic forms were models imitating animals. The movements of animals were adjusted to human body, and the form created looked like a fight of two animals. Bodhidharma had no intention to give fighting character to „Eighteen Hands of Lohan“

but, the form, nevertheless, developed into a martial art form, probably because in those times, all physical practic-es were developed for fighting purposes. How it came to unrest caused by political and interest con-flicts, soon the skills of unarmed fighting monks from Sha-olin became an important means of defense. The monas-tery itself has often been targeted by robbers and bandits and situation claimed resistance. The bare hands defensive strategy has become permitted right. The art enabled an individual to kill the opponent by one single punch, if the situation of necessary self-defense requires it. However, in harsh times, people as well as their minds, become rough. In the conflicts that broke out between dynasties, Shaolin monks took an active part, and the fighting skills were used beyond the domain of self-defense. Monastic art of fighting then begun to be adopted by the non-Buddhists and vari-ous laymen. This situation backfired mostly on the Shaolin monastery, because throughout history it was many times devastated. Monastery has, after these destructions, when it was labeled a dangerous environment, recovered, and its activity is present in present time.The ways of fighting, as well as constructive fighting set-tings of individuals, caused the martial art - which had an Indian origin, followed by the Chinese finishing – to divide into hard and soft styles. This division can be also defined as division of internal and external styles. The external (hard) styles were based on physical strength and endurance, as

well as the technical perfection of movement. Fighting arsenal of these styles included the hand strikes from all positions, using all striking surfaces, as well as powerful kicks from a stance, or jumping kicks. From these styles later evolved karate, tae kwon do and other hard, firm martial arts styles. Internal (soft) styles had a philosophical pos-tulate, based on philosophical principles of diversity, Yin and Yang, and the training program was focused on developing Qi (Japanese: Ki) en-ergy. Representatives of these styles are: Tai Chi Chuan, Xing Yi Quan, Choi Lee Fut, Ba Gua Zhang, etc. These martial arts, also known as Shaolin kempo or Quan fa (The way of the fist), have become a significant part of Chinese tradition and cul-ture. By releasing a strong root in Chinese schools and temples, they have evolved and further popularized, and their popularity over time transferred to areas outside of Chinese territory.

Karate end Budo masters

37

IN THE OKINAWA GARDENS

At the crossroads of the East China Sea and the Great Pacific Ocean there is a group of small islands that make up the Ryukyu Archipelago. The biggest, most beautiful, and probably the most significant island among Ryukyu Islands is Okinawa. With unusual ambient beauty, this island is a real geographical and historical jewel of the Eastern Archipelago. Its western half looks towards East China Sea and China, while the eastern half is turned toward the distant offshore of the Pacific Ocean. Such geographical position of Okinawa has always determined its fate. History of Okinawa is rich, as well as the mystery of the development of martial arts. To understand the chronology of events, it is necessary to look back at the past of Okinawa, and on Chinese influence on the cultural and general development of this island. In 1372, King Satto, the ruler of Ryukyu Islands (Ryukyu – ancient name for Okinawa) and Chinese Emperor of the Ming Dynasty, established official diplomatic, trade and cultural relations. The initiator and the main carrier was China, which has been sending its emissaries to Okinawa. On the other hand, Okinawa has also been interested in creating lasting cultural and economic relations. Along the strengthening of culture, trade and economy relationships, other relationships were also established, including philosophy, literature, architecture and a lot of various crafts. The Chinese influence has come across acceptance and understanding among Okinawan natives. All of this happens at the time when development of Chinese martial arts takes place. The blossoming of this cooperation has peaked around 1393, when in the vicinity of the Naha city, were established small Chinese settlements, which became centers of cultural and commercial events. In next 500 years, this cooperation will leave strong and significant cultural mark on many generations of Okinawa people. In 1879, this bond will be broken, because through military incursions, Japan officially annexed Okinawa to Japan, but this will later on bring new quality in karate-do development. In the years of fruitful relations between China and Okinawa, the Chinese martial art, called Chuan Fa, was developed in the area of Okinawa. Another name that can be used in approximately the same sense is “Shaolin Kempo”. Both of these terms symbolized the way of bare-hand fighting in the fighting art called „the way of empty fist“. The third term, To-te has consolidated first two ways in one entirety and was officially translated as „The Chinese hand“. Under this term, fighting methods became famous, as popular skills with self-defensive character. Long before the arrival of the Chinese kempo, local martial art called „Te“ (hand) was practiced on Okinawa. It has been common to add the adjective Okinawa, or Bushi to the term „Te“, so this martial art could be called also „Okinawa-te“ (Okinawa hand), or „Bushi no te“ (The warrior hand). This was the way to label exclusively martial arts of weapon-free, i.e. bare hand fighting methods. Further combining Okinawa „te“ with Chinese „kempo“ initiated the creation of martial art, which is today known to all people, under its universal name - karate (empty hand). This term was introduced in 1929, by an Okinawa master Gichin Funakoshi, who has been striving to avoid Chinese words and influence, and the linguistic confusion regarding ambiguous meanings of certain ideograms. By adding the ideogram „kara“ (kara – empty) to the already existing „te“, he has, literally marked the art of bare hand fighting

Illustration “KARATE”,Todor Stevanović

38

as „The Art of an empty hand“. It is known that, before Funakoshi, back in 1905, Sensei Hanashiro Chomo used the term karate, in his publication called „Karate kumite“. For further consideration of the development of Okinawan martial arts, it is necessary to go back to the year 1609. Namely, in that year, Shimazu, the Japanese noble from the city of Satsuma, today’s region of Kagoshima, has conquered, in one of his warpaths, Okinawa and all the islands of Ryukyu. Then he issued a decree ordering the ban on carrying firearms and introduced new levels of taxation. These prohibitions were not unknown to Okinawan people. The first was noted by King Sho Shin from Sho Dynasty, which ruled from 1477, till 1526. In 1669, to the prohibition of carrying weapons, another ban was added - a prohibition of practicing martial arts. However, as it usually happens when something is forcefully banned, hidden enthusiasm and fervor grow up, so the residents of Okinawa continued secret practicing of martial arts. Practicing late at night, or before dawn, in hidden gardens, remote caves and hardly accessible areas, Okinawa people paved the way for unarmed combat skills. „Okinawa-te“ became a serious art, often used to save lives. Techniques and strikes were adjusted to the frames of real fight, and the significance of such drill was to disable an opponent instantly, at the moment of attack. Handy tools designed and used for field cropping were commonly used together with „Okinawa-te“ techniques (nunchaku, bo, sai, kama, tonfa). From this was later created a martial system which included weapons (kobudo). Putting together the systems of unarmed combat skills, and use of weapons (tools), Okinawa people gathered knowledge and skills to oppose the armed attackers. Therefore, Okinawan masters, often with the art of “Okinawa-te” in their martial practice, also involved training with traditional weapons. For 300 years, Okinawa martial art has been developing a specific profile. Variations in style, as outcomes from a general martial skill, can be divided into three major systems: Shuri-Te, Naha-te i Tomari-te. These systems got their names in relation to the cities on whose areas they have developed. So the fighting system Naha-te got the name by the city of Naha, which was typical port city. Shuri-te got its name by the city of Shuri, once ancient capital of Okinawa. On the north side of island, there was a city called Tomari, where the system Tomari-te has been enforced. In further analysis of these systems we can assume that the system of Shuri-te grew under fierce techniques of Chinese kempo, which was characterized by fierce offensive stand. In contrast to this, Naha-te was based on softer kempo techniques, where the breathing control and uprising of internal energy (Ki) formed vital training parts. Tomari-te was influenced by both formerly introduced schools, and consisted of both firmer and softer fighting principles. It is vital to say that the masters of Shuri-te and Naha-te (such as Choki Motobu, Shoshin Nagamine, Kian Chotoku and others) have spent some significant time practicing Tomari-te style techniques. At the end of the 19th c. a new partition occurred, when Shuri-te and Tomari-te united in Shorin-Ryu style, which later on divide and developed in few approximately similar styles. Along with it, Shorei Ryu style has been developing, which was later on renamed into Goju Ryu (represented by Chojun Miyagi), and Uechi Ryu (represented by Kanbun Uechi).The Chinese influence on martial arts at Okinawa lasted for a long time, and has been intensive. Okinawan masters, apart from learning from few Chinese experts who spent some time on Okinawa, have often travelled to China themselves, due to further improvement. The most visited Chinese

Drawing: tsuki waza, 25 x 30 cmMilan Tucović

Drawing: geri waza, 19 x 28 cmStanimir Pavlović

Drawing: uchi waza, 21 x 29 cmBranislav Bane Stefanović

39

GICHIN FUNAKOSHI

40

city regarding martial arts training was the city of Fuzhou, located in the province of Fujian. The most famous Okinawan masters who supported the foundations of martial arts knowledge and made new upgrade were: Takahara Peichin, Teruya Kanga Sakugawa, Tode Sakugawa, Yara Chatan, Matsu Higa, Sokon Bushi Matsumura, Kosaku Matsumora, Kanryo Higaona, Kanbun Uechi, and Chojun Miyagi.

From the tradition of most famous Chinese master, teachers who taught Okinawa masters, and had influence on creation of systems/styles, we underline the following masters, and their merits.

• Master Kushanku – influenced the development of Shuri-te system. His most significant disciple was Teruya Kanga Sakugawa, teacher of Sokon Bushi Matsumura.

• Master Shu Shi Wa (Chin. Zhou Zi He) – founded the “half-hard, half-soft” Pangai nun style (Pangai Noon Chuan fa - basis for Uechi Ryu style). His most significant disciple from Okinawa was Kanbun Uechi.

• Master Ryu Ryu Ko (chin. Liu Liu Kung) – influenced the development of Naha-te system. Famous Okinawa disciples: Kanryo Higaona and Nakaima Norisato.

• Master Wai Xinxian (also known as Wan- Shinzan) influenced the development of Naha-te system. Famous Okinawa disciples: Seisho Aragaki and Kanryo Higaona.

• Master Go Kenki (Chinese: Wu Xiangui) influenced the development of Naha-te and Shuri-te systems. Famous Okinawa disciples were Kanbun Uechi, Chojun Miyagi, Kenwa Mabuni and Shinko Matayoshi.

The origin of Okinawan martial arts is much more complex than in Chi-na, and their occurrence can not be attributed to one person only. As stated before, many people were involved in the creation of the martial system of Okinawa, and a lot of historical data has been lost in time. Passing successfully by many prohibitions, karate has continued to freely develop at the end of 19th and the beginning of 20th d. century. On October 25th 1936, there was a significant meeting of Okinawa Mas-ters, when it was officially confirmed that “Okinawa-te” is united under a common name - karate.By popularizing the art and working to spread it, Okinawa masters have made a significant step in the preservation of traditional values. By in-troducing exercise programs into the Okinawa school, they tried to bring younger generations closer to martial and spiritual legacy of their an-cestors. It is true that, following this, the art underwent transformations of certain fighting elements. But despite this, the spirit of karate has bee preserved. In philosophical and practical sense, karate has been presented as a way of life and thinking (karate-do – the way of karate), and as such, it was a martial art protected from interference with other sport disciplines.Unfortunately, after the Second World War, karate and other martial arts were again prohibited, this time by American occupational author-ities. For the umpteenth time, training sessions were held illegally, and the old martial art carefully guarded. However, when this prohibition ceased, karate again started to gain popularity. Many Westerners now became interested for this amazing and - for them - unknown art of fighting. In the mid 20th c., during the further expansion of karate, spe-cific white uniforms (kimono) were introduced, and - with the appropri-ate belts - they became a recognizable trademark.

Sensei Hidetaka Nishiyama was born 1928, in Tokyo. When he was five years old, he began to practice kendo, and when he was ten years old, he started to practice judo. Love for martial arts pre-vailed permanently, and in 1943 he start-ed to practice karate, leaded by Sensei Gichin Funakoshi. In 1945 he entered the Takushoku University, and became a member of the University karate team. Four years later, in 1949, he was named team captain, and president of the re-gional University union. Next year he was a co-founder, and chairman of the All Japan Collegiate Karate Union, and in 1951 the director of the Japanese kara-te Association (JKA). In 1952, Nishiyama became a member of the teaching team for martial arts, which were introduced into the program of the Strategic Air Command (SAC). The training organized in the Institute Kodokan, included judo, aikido, and karate. Beside master Nishi-yama, the training was conducted by oth-er karate instructors: Sensei Masatoshi Nakayama and Sensei Isao Obata. During 1953, Sensei Nishiyama was a chief of the department for karate instructors. In the mid 1960, he published his book The Art of Empty-hand Fighting, which became one of the most authoritative books, and best-seller among the books related to traditional karate. He contin-ued his mission in promoting karate, and in 1961 he organized the All American Karate Federation (AAKF). Four years later, he initiated the first „United States vs. Japan Goodwill Karate Tournament“. In the karate world this was a first offi-cial international happening. In 1973 he became one of founders of the Pan American Karate Union and was elected its first Executive Director. Af-ter that, in 1974, he became Executive Director of the International Amateur Karate Federation (IAKF), which will be renamed, and will be the famous Inter-national Traditional Karate Federation (ITKF). Through many seminars and lec-tures, Sensei Nishiyama gave an enor-mous contribution to the development and popularization of traditional karate. Together with the masters Taiji Kaze, Keinosuke Enoeda, Hirokazu Kanaza-wa, and Hiroshi Shirai, he belongs to the group of instructors who started from Japan, and went world-wide, in order to present the values of Shotokan karate. One of his best pupils and followers is Sensei Shirai. Sensei Nishiyama was one of the last masters who had contact with the old Sensei Funakoshi, and with the basis of the original, Shotokan karate. He was awarded 10th dan (judan), a top karate master recognition. For his long mis-sionary work in karate, he was awarded many national and world tributes. He passed in 2008, aged 80.

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HIDETAKA NISHIYAMA

42

GICHIN FUNAKOSHI IN JAPAN

The historical mission of the famous Okinawa master, Gichin Funakoshi, was very important in spreading and making popular karate-do. Gichin Funakoshi, a broad-minded persona, with strong visions, resolutely headed a missionary trail, determined to be the fi rst to display the ancient art karate-do, outside Okinawa. Aside from the protests of some Okinawa masters, before, or later, karate had to be presented outside Okinawa. Perhaps with predestination, but defi nitely with and strong personal initiative, Gichin Funakoshi took over this task. First public demonstration of karate outside Okinawa, Funakoshi held in 1917, in Kyoto, Japan. Five years later, in 1922, invited by the Ministry of Education of Japan, Funakoshi held another public demonstration, this time in Tokyo. For this occasion, he prepared three long paper rolls, where he presented various technical elements from Okinawa katas of his time. These rolls are one of the fi rst illustrated graphic presentations of karate elements. The success of this demonstration was obvious, and the interest of Japanese observers increased sharply. Because of that, the famous master Jigoro Kano (1860-1938) - the father of Japanese judo, and founder of the prestigious fi ghting Institute Kodokan - asked Funakoshi to hold one more similar presentation. Sensei Funakoshi planned to go back to Okinawa after the fi rst demonstration, but now - at the insistence of sensei Kano – he decided to stay in Tokyo, and hold another presentation. The presentation was in Kodokan. As Funakoshi stated later, he expected a small number of spectators, merely the teaching staff of the Institute. However, when he entered the Kodokan hall, several hundreds of spectators were awaiting for him. For the purposes of demonstrating katas and other fi ghting techniques, he chose as his partner the Okinawa master Makoto Gimo. This presentation was more successful than the former one, and Kano, fascinated by his art, asked Funakoshi to start with lecturing and teaching karate on the Kodokan Institute. Honored by this request, Funakoshi accepted respectfully. This was a golden era of birth and rise of Japanese karate. Deciding to live in Tokyo during the following years, Funakoshi paved the way for growth of Okinawa karate in Japan mainland. During 1934, he founded fi rst karate club in „Meisei Juku“, which was a Okinawa student’s dormitory. They had a hall at their disposal, when classes were not held. Although constantly burdened with fi nancial diffi culties, Funakoshi didn’t lose his hope, and worked very hard to make karate popular. The merit for introducing karate - to the Japanese schools, universities, police and military academies - was completely his. Through further expansion outside these institutions, karate became very popular. Funakoshi accomplished great success conducting his mission, moving apart the Asia curtains, and showing karate to the world. Together with his son, Yoshitaka Gigo Funakoshi, he founded his own dojo, called Shotokan, and later this term designated his style (Shotokan Ryu), although he himself had never used this term. The term Shotokan was more used by

Ideogram BUDO

Gichin Funakoshi 1943.

his disciples and admirers in order to underline the Funakoshi method of practicing karate-do. In order to adapt karate to the wider audience, Funakoshi had to make a simplification of certain technical elements. Doing this he partly departed from the original principles of the Okinawa unarmed fighting art, and therefore karate slowly began to get different flows. This caused resentment and suspicion in the majority of the older generation of Okinawa masters. Though Funakoshi was against the competitive orientation in karate, after his death, in 1957, karate gains competitive characteristics of modern sports. For Funakoshi, karate,

in traditional sense, was and remained Budo, but, unfortunately, this will not be the belief of the generations of masters who followed him in time. His mission created a possibility of introducing karate to the world population, but, on the other hand, due to the modifications, the art has partly lost its original essence. Whether it was the only way to make karate popular, and bring it closer to people, it is difficult to say. Was it inevitable, well - let us leave to time, as the best chronicler and incorruptible judge, to evaluate this. Anyway, Gichin Funakoshi was a great teacher and master of karate-do martial art, with noble intentions and modern views upon the world and it’s ongoing.

Sensei Gichin Funakoshi was born in 1868, in the city Shuri, on the Okinawa Island. Since early age he started to practice fist fighting (Kempo), and to this practice he was dedicated to the end of his life. He was a disciple of the most famous masters on Okinawa, Itosu Ankoh Yasutsune, and Azato Yasutsune. His life is an exceptional missionary sto-ry, inspired by practicing and promoting fighting and philosophical principles of karate-do art. Sensei Funakoshi was the first person to presented karate in public presentation, in 1917, outside the Okinawa prefecture. This happened in Kyoto, and was re-peated in 1922, in Tokyo, where Sensei Funakoshi moved, and lived there, until his death. An interesting episode in his life was the demonstration of karate to the Japanese Emperor, which make Funakoshi very proud. Later, his type of karate practice was articulated and named Shotokan. This name is derived from Funakoshi’s pen name „Shoto“, which means “waving pines”, while the ideogram „kan“ designates a house. The style Shotokan, as a fighting-philosophi-cal concept, has double symbolic mean-ing. It can be interpreted as a „tiger in the pagoda“ (first meaning), and power, presented by the „ocean waves hitting the trunk“ (second meaning). Sensei Fu-nakoshi rarely used this to name karate which he was teaching. Most frequently he called his method „Dai Nippon Kem-po Karate do“ (Great Japan Fist Method Empty Hand Way). In 1934, in order to promote karate, he opened a karate dojo in Japan, named Mesei Juku. At that time, karate be-came popular, and was introduced as part of educational programs, into Jap-anese schools, universities, police and military institutions. Sensei Funakoshi considered, and was teaching karate, exclusively as a fighting heritage of his predecessors. During the training, he insisted on developing a powerful tech-nique, which included hands and legs as swords. The training was integrat-ed by high ethical principles, primarily related to the autonomy of moral con-sciousness. He never deviated from the established principles, considering that they are the essence of karate. Because of such traits, he was very respected by many disciples, and admirers of the ka-rate art. It should be noted that he was an authority who with his mission lift-ed the curtains of the Japanese karate stage, and showed to the world, until then, never seen concept of bare hand fighting. As time lapsed, with further spreading and becoming popular, by in-volving a great number of practitioners, karate began to attain sporting and competition characteristics, which was a step away from the original orientation of Sensei Funakoshi. Through his activ-ity, and activities of his disciples, among whom some became globally recognized authorities (Egami, Hironishi, Nakaya-ma, Nishiyama, Kaze, Enoeda, etc.), the world learned what is karate. Therefore, the name of this teacher, and reformer with distant visions, was inscribed in the karate history, with golden letters. Sensei Funakoshi died in 1957 (aged 89), leaving a rich fighting and ethics heri-tage, to all karateka round the world.

EmblemSHOTOKAN

DAI SENSEI KARATE DO

Chojun Miyagi

Kyan Chotoku

Katsuya Miyahira

Masatoshi Nakayama

Choki Motobu

Seiko Higa

Kanei Uechi

Shigeru Egami

Gichin Funakoshi

Choshin Chibana

Choshin Chibana

Shuguro Nakazato

Shuguro Nakazato

Taiji Kase

Kanbun Uechi

Meitoku Yagi

Hironori Ohtsuka

Hidetaka Nishiyama

Kenwa Mabuni

Hohan Soken

Gogen Yamaguchi

Masutatsu Oyama

A COLLECTION OF PORTRAITS OF THE JAPANESE AND OKINAWA KARATE MASTERS,DRAWINGS BY: BRANISLAV BANE STEFANOVIĆ. OWNER: AUTHOR OF THIS BOOK