The Wado Ryu Karate we know today is a product of the political and social events outlined in the previous feature. However, it is quite a different task to unearth the ethos and philosophy of the system. Sadly the written and quoted words of Ohtsuka Sensei are too quickly and easily dismissed as being abstract and too far removed from the perceived function of the fighting arts as we are accustomed to see them in this modern age.

Within some of the Japanese Koryu (old school) Budo or Bujutsu it is quite easy to recognise the Ryu's affiliation to particular philosophical or religious streams. Sometimes they are conveniently allied to, or based around, particular temples, but often they seem to be maddeningly fickle. For example the practitioners of modern day Aikido seem unsure as to whether their system is a Shinto based art or a Zen based art. Also with the Katori Shinto Ryu school of swordsmanship, while closely bound to the Katori shrine which is the main Shinto shrine dedicated to the deity of the sword, its practitioners adhere to incantations and magical gestures from the Shingon sect of esoteric Buddhism.

How much importance should be made of the attachment of religious philosophies to the very raw practicalities of technical fighting skills is open to speculation. Perhaps to some it only becomes relevant at the very highest level of practical combat achievement? Perhaps it could be argued that in the truest traditions it is woven into the fabric of training from the very first point of contact, from the initial bow at the Dojo threshold?

Returning specifically to Wado Ryu; it must be remembered that Ohtsuka Sensei's martial arts background was in Japanese Budo/Bujutsu, not in the Okinawan martial tradition. Whilst not necessarily at odds with the Okinawan methodology or ethos there are easily recognisable differences resulting from the different influences and subtle cultural mixes.

So, it seems logical that if one is to attempt to trace the roots of Wado philosophy one has to look historically much further back in time than the introduction of Karate to mainland Japan in the 1920s. But it is here that evidence becomes difficult to find and the trail becomes complex, as cross-currents of tradition and ideas intermingle and personalities who are long dead have left little evidence other than the technical core of their martial system for us to speculate upon.

(With regard to the technical curriculum of Wado it is much easier to examine and theorize about. For a view on the technical roots see "Wado and Jujutsu")

It is known that Ohtsuka Sensei's family background and allegiance was predominantly to the Shinto religion, but perhaps it would be an oversimplification to say that this was the sole influence on his philosophical vision for Wado Ryu, given his contact with key individuals in the martial arts throughout the length of his illustrious career. For example, it is known that he was influenced by the Yagyu school of swordsmanship, which, as most researchers will acknowledge, is heavily influenced by the Zen mindset, through Yagyu Munenori (1571 - 1646) from his mentor in matters spiritual, the brilliant Zen monk, Takuan Soho (1573 - 1645).

So what exactly is the Wado Ryu philosophy?

It is too easy to just focus on the idea of "development of character" as a higher objective for martial arts training. This simplistic answer does little to enlighten us as to how this lofty objective is achieved, and certainly doesn't move us any closer to understanding the founder of Wado Ryu's thinking underpinning the technical syllabus that we all in our own way try to follow. So what is it that lies beyond the physical outward manifestation of a list of prescribed techniques?

"Wa".

A convenient place to start would perhaps be the "Wa" in "Wado".

Commentators inevitably connect this to "Wa" the "harmony" aspect in the name Wado. This is a quick and convenient way of skating over the issue, when in actual fact closer examination would reveal greater subtlety.

"Wa" translated basically as "harmony" or "peace" does not do justice to the real significance of "Wa" in Japanese life. Within Japanese society "Wa" is the cement that holds this society together. It is Unity, cooperation, conformity, social and personal equilibrium, consciousness of the group and perhaps most significantly, balance.

The "Wa" in Japanese society represents a rule for the balance of that society - its harmony. This does not mean that it is locked into "sameness" or "uniformity"; there is some scope for differences and diversity. A useful example would be to think of an orchestra, in which to work successfully each musician must play their individual part for the benefit of the whole.

In his book, "You Gotta Have Wa", the author Robert Whiting described "Wa" in the context of Japanese Baseball. His observations of the uniquely Japanese approach to the game revealed what he took to be the positive and negative aspects of "Wa" in the team dynamics of the professional game. While the cohesiveness of belonging to the group or the team has tremendous advantage in the high-pressure world of Japanese Baseball, transgressors who are seen as out of synchronisation with their teammates are harshly dealt with by the hierarchy. The harmony had to be maintained.

Therefore "Wa" has a social context, and is not to be considered as just an abstract ideal, a buzz-word for everything hanging together well in the martial technique department, a kind of fuzzy "it goes without saying" cure-all for every combat scenario.

Ohtsuka Sensei on Budo.

What other clues did Ohtsuka Sensei leave to enlighten us on the matter of Wado philosophy?

In his writings Ohtsuka Sensei describes how the original Japanese characters for the Martial Arts meant two apparently contradictory things. The first suggesting "Conflict/Battle" the second, "To cease/to stop". He suggests that as times have changed so the interpretation of what is the emphasis of Budo has changed, stating that the feudal priority was placed upon skill in taking life, in killing, but as more peaceable times came then other strengths and virtues within the Martial Arts came to the fore. Also, because of the opening out of society these strengths and virtues were no longer the sole property of the elite warrior class. His suggestion is that things have now turned full circle and that the Martial Arts are now again about stopping conflict and peace for everyone.

Ohtsuka Sensei was keen to offer guidance for true students of the Martial "Way". He said that it is important that Martial Artists seek the "true essence of the martial arts". For him this was found through the hard disciplined training of the body and the mind. This, he said, is a very difficult path, or "Way" to remain true to. To stay on this path the student must not only be disciplined, clear and unwavering in his own objectives, but must also have the guidance of a Sensei of the true tradition, and the support of his fellow trainees.

He warned against straying from the correct path, indicating that grave danger lay in wait for those who lose sight of their objectives. Although it is often said that it is the journey not the final destination where the real benefits are found, Ohtsuka Sensei advised that the objectives are the guiding lights that keep us clearly on the "Way".

Neither did he see his martial art as a selfish quest for prestige or power or the domination and suppression of others, in fact quite the opposite. Martial Arts are to be the vehicle for the promotion of peace on a global scale. No retiring to a cave to contemplate the Universe, Ohtsuka Sensei saw the Martial Arts as very social phenomena, as a tool to build the necessary mental muscle to enable people to tackle the conflicts and disharmony all too common in modern society. It was his understanding that Martial virtues provided a moral and ethical backbone for the motivators and leaders of tomorrow.

A practical and physical Philosophy.

Nature seems an endless source of inspiration for Ohtsuka Sensei. Universal laws, truisms with natural references abound in his writings and teachings. Very much following the Taoist ideology (although without openly subscribing to it) Ohtsuka Sensei sees truth within the laws of Nature. The patterns of rise and fall, the paths of least resistance and the power gained from yielding and pliancy hold a predominant place within his personal objectives.

"Being an expression of peace, martial arts have no impossibilities…It [the particular Martial Art] does not exceed heaven, it does not oppose the earth. It does not oppose people; it is in accord with all of these. Like the blowing wind and the flowing water, it is in accord with the ways of nature. Water always flows from high to low. When the flow is obstructed, water goes round this obstruction and continues to flow smoothly as before. It will flow through the smallest of spaces and cracks, perhaps taking along with its flow anything that stands in its way. Likewise with the wind. A Gourd that floats on this flow of water rides above this invincible flow; hence, it never sinks."

Ohtsuka Sensei also uses the image of a Water Wheel to describe how the energy of an opponent can be absorbed and used against them. This harnessing of the attackers destructive force is a true expression of the laws of Nature.

However, his most far reaching comparison, a model, a picture to help us to go some way towards understanding his deepest projection or ideal, would be his "Ball of Air" analogy, worth quoting in full:

"Defence and offence in Martial Arts work with the ways of nature. One's movement must be like a ball - uninterrupted and fluid. A ball's movement is smooth - it does not contradict or oppose the ways of nature. Techniques in martial arts must be flexible to change and other forces - like a "ball of air". Regardless of the degree of smoothness a flow of movements must occur. A "ball of air" would move freely from other external forces, it moves in accordance to its environment. It can change its shape and form infinitely - thus, its surfaces and limits change infinitely. There is shape without shape, surface without surface and limit without limit. These changes are infinite. Like outer space, it is infinitely limitless. It is like the sky. This infinity embraces all things and makes peace. In martial arts there is no such thing as the ultimate technique. Techniques must be infinitely changeable and altered, just like the sky and space."

Within this passage Ohtsuka Sensei tries to push the barriers of the analogy towards a multi-dimensional model. Yes, he is describing physical technique, but he is also underlining how this is the natural way, following nature's laws easily observed if one is sufficiently tuned in.

The image that he conjures up suggests techniques that easily flow from one to the next, but not abstracted or separated from the pressures and characteristics of the environment (or opponent). This fits comfortably with technical principles inherent within Japanese Budo.

An example might be that it is often said that there is no blocking in Wado, as there is no blocking within all traditional Japanese Budo. This does not suggest that one makes no effort to defend oneself, but rather that the coverage (the block) is part of the flow of movement, the action appropriate to respond to attack. And of course this defence is not dependant upon the limbs divorced from the body movement, but that the body movement governs the action of the covering limbs. Ideally this fluency complements perfectly the situation one finds oneself in, as with a mirror and what is reflected in its surface. This is well known to practitioners of Kendo and Kenjutsu.

"Ten, Chi, Jin, no Ri-Do ni Wa suru"

Ohtsuka Sensei believed that true Martial Arts matched perfectly with the eternal and infinite laws of the cosmos and nature. To understand how this works he presented us with the model, "Ten, Chi, Jin, no Ri-Do ni Wa suru". (It was from this model that the name Wado originated.) This is essentially about the relationship between the various elements: "Ten" meaning "heaven", "air", "sky". "Chi" meaning, "earth", "the ground", "the soil under our feet", and "Jin" as "Man", (Mankind), "human". How these vital ingredients connect and interrelate, how they balance, or fail to balance, relates to the state of harmony or peace - the "Wa".

Of "Ten, Chi, Jin".

These three ingredients are inseparable. Man (Jin) cannot opt out of his role in Nature, or avoid his responsibilities towards the earth (Chi), he is subject to the laws of the cosmos/heaven, (Ten). Man is positioned as a conduit, a connection between heaven and earth, feet on the ground, head in the sky. However it is also clear that although Heaven and Earth can exist without Man, Man cannot exist without Heaven and Earth, his dependency is indisputable.

A special mention must be made for the word/character "Jin". As with many such words there are extra meanings and attachments. In the Japanese language "Jin" for "man" or "person", or "mankind/humanity" refers to the higher qualities of humanity and does not apply to the more base forms of human nature. Thus "Jin" can also mean "honourable person/people with a compassionate heart" To try and grasp the true meaning of this it is important to understand what an "honourable person" is in the Japanese psyche.

The character for "Jin" is written with the same character as the suffix "Hito" and it is "Hito" that is often attached to the names of the highest ranking people, the very pinnacle of the social hierarchy - Emperor Aki-hito would be an example. This makes more sense once we understand that within Japanese culture there is no such association with Kings and rulers being tyrannical or despotic as we find in the west. Far from it, these Japanese rulers are associated with benign paternalism and all other such connected positive qualities. So it is here we understand that "Jin" has the connection with, "virtuous", "charitable", "compassionate", "humanitarian" and generally "benevolent".

The particular importance of "Chi", "Earth" in the equation becomes clearer when we consider Japan's agrarian history. In the West, from the 18th century onwards, we concerned ourselves with hammering Nature into a shape that fitted our needs, whereas in Japanese culture there was a greater awareness and sympathy with the caprices of Nature from the agricultural angle. Rice crops have their own specific demands, hence working with an understanding of the Earth and Nature even in the 19th and early 20th centuries was an essential part of living for the Japanese people.

The trinity of "Ten, Chi, Jin" is also relevant to other branches of the Japanese martial arts. Within the Aikido of Morihei Ueshiba these three elements were symbolically interwoven using the shapes Circle (Ten/Heaven), Square (Chi/Earth), Triangle (Jin/Man). Ueshiba said of this symbolism;

"The triangle represents the generation of energy and initiative; it is the most stable physical posture. The circle symbolises unification, serenity and perfection; it is the source of unlimited techniques. The square stands for form and solidity, the basis of applied control."

As with all issues related to this theme, individual words expand into concepts and the concepts expand to encompass deeper levels of application.

"Ri".

"Ri-Do" equals "Principle Way" or "Truth Way". Principle and Truth in this context refers to a pure, correct, unadulterated, incorruptible essence that exists within nature and all right action.

"Ri" is not easy to pin down; it suggests actions or events perfectly tuned to the universal flow. That is, the hidden laws governing all natural conditions of movement. To gain a clearer understanding of "Ri" it would perhaps be useful to look at examples of what is not "Ri".

To go against "Ri" is to force an issue or a situation, to swim against the current in order to achieve one's objective, to use excessive amounts of force, to waste energy while performing a task.

Here we see practical connections with Ohtsuka Sensei's methodology. In training Ohtsuka Sensei advised us to apply three maxims to keep us on the straight and narrow:

1. "Do not use unnecessary force."
2. "Do not make unnecessary movement".
3. "Do not use unnecessary techniques to achieve your effect."

These three phrases are watchwords to remind us to remain connected to the laws of "Ri".

So we see that "Ri" is really "the right way" to do things, it is the "logical way". There is of course the opposite to "Ri", and when we talk about going against the natural way, this is described as "Mu-Ri". This means that it is an illogical way of doing something. It might work, if you force it, but really it is unlikely to succeed. Coming back to place this in to the realm of martial technique - it is possible for a punch to be "Mu-Ri", if it is forced through by sheer brutality.

Written in the Chuang Tzu, a Taoist text composed in the fourth century BCE, is a parable which, in its essence helps to give a practical example of the advantages gained from remaining connected to and appreciative of the "universal flow". In the chapter titled, "Yang Shang Ku" is a description of the method used by the cook of the household of Prince Wen Hui to carve up an ox,

"Every touch of his hand, every heave of his shoulder, every step of his foot, every thrust of his knee, with the slicing and parting of the flesh, and the zinging of the knife - all was in perfect rhythm, just like the Dance of the Mulberry Grove or a part of the Ching Shou symphony."

On observing this pure poetry of motion the prince is impressed and questions his cook further. The cook replies with,

"What your servant really cares for is Tao, which goes beyond mere art. When I first began to cut up oxen, I saw nothing but oxen. After three years of practicing, I no longer saw the ox, as a whole. I now work with my spirit not with my eyes. My senses stop functioning and my spirit takes over. I follow the natural grain, letting the knife find its way through the many hidden openings, taking the advantage of what is there, never touching a ligament or tendon, much less a main joint."

"A good cook changes his knife once a year because he cuts, while a mediocre cook has to change his every month because he hacks. I've had this knife of mine for nineteen years and have cut up thousands of oxen with it, and yet the edge is as if it were fresh from the grindstone…"

The cook then goes on to describe how his experience enables him to deal with even the most difficult of butchery problems,

"… However, when I come to a difficulty, I size up the joint, look carefully, keep my eyes on what I am doing and work slowly. Then with a very slight movement of the knife, I cut the whole ox wide open. It falls apart like a clod of earth crumbling to the ground…"

So here we see from one of the Chinese Classics an example of an artisan attuned perfectly to the nature of his materials.

To push the principle of "Ri" to the extreme, within a martial arts context, it could be described as the blinding flash of pure genius executed flawlessly during combat, where the protagonist meshes perfectly with the situation and acts/reacts impeccably, following the laws of natural motion and pure justice on all levels.

"Ji"

While on the subject of "Ri", it is worth commenting on the complementary principle of "Ji".

All phenomenon, all actions that comply perfectly to this natural flow are examples of "Ri", whereas actions that mimic these spontaneous phenomenon are classified as "Ji". These are reflections, descriptions of "Ri", not the real thing, but have value in their own way. Rather like a photograph is not the moment, it is a copy of a frozen instance, but all the same invaluable in recording the aftertaste of a pure moment in time, which is unrepeatable.

"Riai"

It would be remiss of me not to make a passing reference to "Riai", a common expression in Japanese martial arts. The "Ai" suffix is the same as in "Aiki" and obviously "Kiai", meaning, "to bring together". So "Riai" can be translated as "integrity of principles" or "the bringing together of principles", but more realistically Riai means, "the inherent logic of the technique".

"Ten, Chi, Jin, No Ri-Do ni Wa suru" is best understood in diagram form. "Wa" as an all-encompassing circle. This is seen as the objective, as the result of the harmonization of the other elements. If the correct balancing of Ten, Chi, Jin is contained within and following the principles of "Ri-Do" then "Wa" occurs. Within a martial arts context this is considered a lofty ideal and very difficult to achieve.

Diagram representing the relationships between the key elements.

There is little doubt that Ohtsuka Sensei did not conjure up these ideals as a seperate entity attached to the Wado curriculum. He believed that these goals could only be acheived through rigourous physical training and a highly tuned and focussed intellect.

"Exploring Holistic Education in Each Own Culture".Professor Atsuhiko Yoshida of the Holistic Education Society of Japan, from a paper presented in November 2000.
"Zen and the Ways" Trevor Leggett, Tuttle. 1987.
"You Gotta Have Wa", Robert Whiting.
"The Sword and the Mind" Hiroaki Sato 1985.
"Fudochishinmyoroku" Takuan Soho. Trans. William Scott Wilson, 1986.
"Chuang Tzu, Genius of the Absurd" Trans. Clae Watson, 1971.
"The Secrets of Aikido" John Stevens, 1995.
"Riai The standard of Martial Arts". Inside Karate (Vol. XI, No. 8) Lowry, D., (1990).

Many thanks also to, M. Shiomitsu Sensei, for his inspirational discussions on aspects of these themes and also F. Sugasawa Sensei for his advice on issues related to this feature.

© All rights reserved T. Shaw 2002

Zen painting "Circle, Triangle, Square" by Sengai (1750 - 1838)

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