Subject: Bubishi Part 3 (b): The 48 Diagrams (part 2) - LONG
And now the rest!
Diagram #21: Possible Implications from Seiunchin. Similar to diagram #12 (see last post).
Diagram #22: Possible Implications from Shosochin. Scoop the kick, then turn and perform a palm heel thrust forward as the other hand comes down, possibly into the groin.
Diagram #23: Possible Implications from Seipai, side blocks, etc. This type of inside lower block is prominent in Hunga Gar, where it is called a "Jar Block" in English. Good for the beginning of Seipai, or the bottom half of side blocks.
Diagram #24: Possible Implications from Sunsu. The heel thrust kick performed from the ground (!!!)
Diagram #25: Possible Implications from Mawashi-uke. Again found in many, many kata, this technique is very versitile, and can be used as grabbing, joint locking, and throwing in addition to deflecting and striking.
Diagram #26: Possible Implications from Passai, etc. The principle of shifting to the outside of an attack is a very basic one in the martial arts, and the hand gesture in this diagram is reminiscent of the end of Passai.
Diagram #27: Possible Implications from Seisan, Pechurin (Suparinpei) etc. This is but one application of the "block, grab, pull" of Seisan.
Diagram #28: Possible Implications from Chinto, Kusanku, Kururunfa, Pinan Godan, etc. Using the "x-block" as a grab before turning to throw or lock the elbow over the shoulder is a common application.
Diagram #29: Possible Implications from Kusanku. Standing up after the crouch down may offer an oppotunity to grab the opponent's leg out from under him.
Diagram #30: Possible Implications from Seipai. In this Gojuryu kata, there is an augmented down block, which could be used to strike the torso or groin in this manner.
Diagram #31: Possible Implications from Naifuanchi, Pinan Shodan, Nepai, Yara no Kusanku, Jion, etc. The "double punch" at the end of Naifuanchi, followed into a takedown.
Diagram #32: Possible Implications from Wansu, Sunsu, etc. The use of the deflection from the outside opening the opponent for a simultaneous counter to the body.
Diagram #33: Possible Implications from Unshu, Chinte, Suparinpei, etc. The use of the finger to the eye or vital point is found in these kata and others.
Diagram #34: Possible Implications from Wansu, Sunsu. The open side block, open palm block, simultaneous punch (or nukite in IR) can be applied in this fashion.
Diagram #35: Possible Implications from Wansu, Sunsu. The open side block, open palm block, simultaneous punch (or nukite in IR) can be applied in this fashion.
Diagram #36: Possible Implications from Kusanku. The knife hand strikes from a kneeling position can yield this type of takedown.
Diagram #37: Possible Implications from Kusanku, Passai, etc. The lean to the side and side block is very good for evading and deflecting a linear attack before countering.
Diagram #38: Possible Implications from Seiunchin, Shisochin, Uechiryu Sanchin, etc. The double open hand middle blocks can be used to lock the elbows from underneath.
Diagram #39: Possible Implications from Kururunfa, Sunsu. The grab into the spinning elbow. The opponent's elbow can be locked over the shoulder here as well.
Diagram #40: Possible Implications from Wansu, Passai, etc. Drop and evade as you fire a punch into the opponent's body.
Diagram #41: Possible Implications from Kusanku. Kusanku uses this posture before the crescent kick and drop. The Bubishi seems to be using this as a kamae or gurard, or a way to guage distance...
Diagram #42: Possible Implications from Seipai, Nepai, Kusanku, etc. The Bubishi mentions using this posture to measure distance, it can also be used as a wrist release. The follow up shuto is present in all 3 of the above kata.
Diagram #43: Possible Implications from Kusanku Sho, Pinan Yondan, etc. This is a classical use of the "augmented block" from these above kata as a "kamae." Otsuka (1998) shows how to overwhelm the opponent from this position.
Diagram #44: Possible Implications from IR Seiunchin. After the downward punch, as the opponent comes in, trap his attack and swing your backfist from the bottom, up, over, and smash the opponent from above.
Diagram #45: Possible Implications from Sanchin, Gojuryu Seisan, Oyadomari no Passai, etc. The double hand middle level thrust (open hand, closed fist) is found in the above kata and others. This diagram is an example of the strategy of pre-emptive striking, by the way.
Diagram #46: Possible Implications from Seiunchin. The scooping or ridgehand block as a deflection while the nukite goes to the groin. Ouch!
Diagram #47: Possible Implications from Kusanku. The turn into the knifehand strike.
Diagram #48: Possible Implications from Chinto, Nepai. The upper level cross block in Chinto, where the right hand circles over head. Or in Nepai, there is also a technique like this which uses a knife-hand (Luohan Fist version) or a hammerfist (Whooping Crane version). The bad guy comes in arms outstretched for a frontal bear hug or something, and the good guy drops his hand down on top.
Well, that about does it. I'd be very interested in hearing other ideas on applications to these diagrams as well, as these are but some surface examples of what could be going on here...
Thanks for listening, over and out (for now).
Understanding the Bubushi 48 Self Defense Themes
Returning briefly back to the Bubushi, I (with the assistance of Dr. Paul Harper, Derry New Hanpshire, a Surgeon by profession and Joe Swift, Kanazawa Japan, a translator by profession) would like to look at the issue of drawings found in different versions of the texts. To do this I would like to suggest one of the 48 self defense diagrams.
Browsing through the Mabuni 1934 text on Seipai Kata the other day with Dr. Harper , (one of my students, originally a San Dan in Goju Ryu) he noticed how the Bubushi diagram on page 151 was showing a finger strike to 'the Long Thoracic Nerve of Bell". He stated that strike as shown would cause a "winged scapula" arching the back for a moment, allowing time for a follow up strike or evasion.
That caused me to review the same diagram in my other Bubushi copies.
In George Armstrong-Ken Penland Bubushi, the same diagram follows the Mabuni diagram, with the Mabuni copy being superior, being drawn by someone who wished to capture specific detail, and perhaps not just make a recognizable copy.
By taking the Armstrong translation if that section and comparing it to Pat McCarthy's 48 translations, I find this as Drawing #40 in McCarthy's Bubushi. But in this instance I see what looks like a spear hand strike to the side and it does not appear (from the drawing) to hit the same area the same way.
>From examination of the Mabuni or Armstrong and Penland Bubushi, you might work up different explanations
My description of these diagrams.
Mabuni Seipai Text Page 151 (This is not available in English)
Attacker Left Foot Forward Left High Hammerfist Right back hammer fist
Defender A Right inward lead finger strike to the Long Thoracic Nerve of Bell. While left hand lies across the Right Biceps.
Armstrong and Penland Bubushi 48 No 30 page 143
A copy (with slight simplification of technique) of the Mabuni 1934 Bubushi drawing.
Attacker Left Foot Forward Left High Hammerfist Right back hammer fist
Defender A Right inward lead finger strike to the Long Thoracic Nerve of Bell. While the left hand lies across the Right Biceps.
Like the Hungry Tiger mauling its prey, this man will lose
Like a monkey poking with a pin, this man will win
Attacker comes in like a hungry tiger mauling its prey, using Hammerfists to try to overwhelm his opponent, this man will lose.
Defender keeps his Maai (Distance) until the right opportunity is there And then quickly like a monkey poking with a pin, pokes his opponent In the underarm to a vital spot which leads to the heart meridian, this man Will win.
Pat McCarthy Bubushi 48 No 30 Page 182
Attacker Left Foot Forward Left High block - Right Punch
Defender RFF Right Spear Hand to uke's side line, Left Hand parries back
Losing Technique Tiger Mauls its Prey
Winning Technique Monkey threading the needle
By checking a punch or pulling a push and striking a vital point
It is easy to defeat an inexperienced attacker.
I also referenced Tadahiko Otsuka's work on the Bubushi which shows diagrams from two different Bubushi traditions. (Tadahiko's Bubushi research is not available in English)
In Tadahiko's Bubushi Page 200
Both diagrams are similar to Mabuni's but with less detail.
One defender is striking the Long Thoracic Nerve of Bell the other appears to be Striking Further forward on the chest. With the accompanying examples as how to Apply their Strike into the upper chest area. Another difference.
Finding this interesting, with different sources leading to entirely different interpretations of the diagrams in their own right.
Trying to get a wider range as to available Bubushi differences on this technique I discussed this with Joe Swift, who performed the following analysis.
Hi again Victor-san,
Looked at all my Bubishi(s) last night and here's what I got:
#30 - spear hand
#30 - single finger strike
#30 - single finger strike (or so it seems to me)
#30 - bunched finger strike
#30 - bunched finger strike
#30 - bunched fingers with one extended
#30 - pressing the side as you footsweep
Original Miyagi - Higa - Fukuchi lineage Bubishi
#30 - bunched fingers
The explanations (all except for Tokashiki's application) all seem to revolve around striking a single vital point somewhere on the opponent's side...
Bob McMahon on the Cyber Dojo once mentioned he has seen Pat McCarthy's 14 different copies of the Bubushi, and last night also mentioned more are being discovered regularily.
My thought is that this work will present a picture in what is required to fully understand the issues to consider in interpreting the Bubushi to our current practices. Depending on your source, we may well be describing different events
BTW, my personal favorite pictures are those found in Mabuni's work on Seipai.
Prepared with the joint efforts of:
Dr. Paul Harper