日  
月  
身  
 
 

 
 

NICHI GETSU SHIN

 
 

Essay on KYUDO
(English version)
 
 
 
Kaori SATO
Kyoshi, rokudan
1986 - 1990
 
   

  1  
  
 

2    
PREFACE  TO  THE  ENGLISH  TRANSLATION  (2014-­‐2016)  
After   the   publication   of   the   French   version   of   this   book,   on   which   I   worked   several   months   to  
build   the   final   document   from   the   original   photocopies,   I   decided   to   prepare   an   English  
translation,   at   least   of   the   technical   part,   so   that   it   could   be   readable   by   non-­‐French   speaking  
practitioners.   Then   I   finally   translated   the   whole   essay,   to   be   independent   from   the   French  
version.  Some  times  I  used  Google  Translate  to  help,  but  very  often  I  had  to  come  back  as  I  was  
not  very  happy  by  the  result.  Anyway,  for  English  people,  my  native  language  is  French,  so  you  
will  probably  find  some  errors  and  bad  structures  in  the  translation,  sorry  for  this.  In  addition,  
the  original  text  was  written  in  French  by  a  Japanese,  then  translated  to  English  by  a  French,  so  I  
hope  the  result  will  still  be  understandable.  The  2014  version  has  been  given  to  very  few  people  
including   SATO   sensei,   and   in   2016   I   went   back   through   the   whole   text   to   improve   again   the  
translation.  
 
Pierre  Guillot  
 
PREFACE  (2013)  
This   book   has   been   written   in   the   years   1986-­‐1990   by   SATO   Kaori   sensei,   KYOSHI   6th   DAN,  
who   was   living   in   France   at   this   time,   and   was   teaching   KYUDO   in   Lyon,   at   Michel   Chavret’s  
dojo,  and  also  in  Geneva,  at  Charles  Stampfli’s  dojo.  SATO  Kaori  learned  KYUDO  with  ONUMA  
Hideharu  hanshi,  and  UOZUMI  Bunue  hanshi.  
As   there   was   no   book   in   French   at   this   time,   he   wrote   this   essay   to   propose   to   French  
practitioners   the   main   points   of   various   Japanese   books   (KYOHON)   from   the   Japanese  
federation,  as  well  as  technical  books  of  various  sensei.  
This  book  has  been  dedicated  by  SATO  Kaori  to  his  masters  and  his  European  friends,  and  was  
printed  in  a  very  limited  number.  
Charles  Stampfli  proposed  in  2011  to  build  a  version  in  a  modern  text  editor,  so  that  it  could  be  
given  to  practitioners  desiring  to  expand  their  knowledge,  and  to  discover  advices  existing  only  
in  Japanese.  
Pierre  Guillot  did  the  transcription  for  the  basis  of  the  new  version.  
Charles  Stampfli  validated  the  transcription  with  Kaori  Sato  sensei.  
Michel  Chavret  and  Christine  Ondel  finalized  the  version.  
The  drawings  on  both  French  and  English  versions  are  from  SATO   Kaori   Sensei  and  the  front  
calligraphy  from  UOZUMI  Bunue  sensei  for  the  dojo  in  Lyon.  
The  final  document  in  French  was  validated  in  2012  by  SATO   sensei  in  Toride,  Japan,  together  
with  Charles  Stampfli  and  Michel  Chavret.  
By   the   end   of   2012,   SATO   sensei   added   the   final   chapter,   based   on   some   teaching   from  
KARASAWA  Kotaro  sensei.  
The   text   is   close   to   the   Japanese   thought,   to   lead   the   reflection   and   open   the   dialog   between  
teachers  and  students.  
 
FOREWORDS  (2011)  
To  Michel  Chavret,  Charles  Stampfli  and  Pierre  Guillot  
Thanks  to  you,  my  book  is  back  after  being  forgotten  for  about  20  years.  Thanks  a  lot,  I  am  very  
happy  with  what  has  been  done,  the  text  is  more  readable.  Now,  I  remember  the  old  days  when  I  
wrote   this   essay   in   Lyon.   I   worked   with   passion   on   this   subject,   and   I   still   want   to   thank   Mr.  
Lavergne  and  all  the  friends  with  whom  I  worked.  
This   text   is   still   not   perfect,   but   when   I   was   in   Lyon,   I   was   not   having   some   key   documents,  
especially   concerning   the   history   of   KYUDO.   This   part   of   the   text   has   to   be   seen   as   a   personal  
view  of  KAORI  Sato.  At  85,  I  do  not  have  enough  power  to  change  this  text.  
If  we  may  find  here  a  source  of  teaching,  we  must  also  search  in  the  diversity  of  sources.  There  is  
a  diversity  of  body  conditions,  equipment;  we  should  find  what  best  fits  to  us.  
 
NICHI  GETSU  SHIN,  I  like  this  poem  and  would  like  this  book  to  have  this  title.  
 

  3  
  
DEDICATION  (1986)  
 
 
 
 
 
 
 

 
 

4    
NICHI    GETSU    SHIN  
 
For  my  friends  practicing  KYUDO  
 
from  SATO  Kaori  
 
 
PREFACE  (1986)  
 
I   am   living   in   Europe   since   1986.   Today,   as   I   am   writing   this   preface,   after   ending   the   text   of   my  
essay,  about  four  years  are  gone.  The  initial  goal  for  coming  in  France  was  to  study  the  labor  law  
and   social   economy,   linked   to   my   former   professional   activity   in   the   Labor   Ministry,   and   in   a  
University.   For   such   domains,   very   few   Japanese   people   have   done   deep   studies,   even   if   it  
evolves   now.   This   is   mainly   because   Japan   does   not   have   historically   strong   links   in   these  
domains  with  France.  These  domains  look  to  be  approached  very  differently  than  in  Japan  and  
articles   in   newspapers,   TV   information   as   well   as   feedback   from   my   French   friends   on   these  
subjects  always  interested  me.  
Of  course,  these  studies  have  been  painful,  especially  because  when  arriving  in  France,  I  was  not  
speaking  French  at  all.  With  such  conditions,  why  did  I  still  choose  France?  Well,  because  looking  
at  the  Japanese  context,  France  was  really  different,  so  attractive  for  me.  In  addition,  this  was  a  
personal   work,   after   retiring,   a   sort   a   challenge   that   I   chose.   By   chance,   I   have   been   able   to   meet  
with   Mr.  Jean  Lavergne,   which   is   now   a   good   friend,   and   which   spent   more   than   three   years   to  
teach   me   French.   I   started   to   learn   some   French   characteristics,   and   wrote   several   essays   in  
Japanese,   synthesizing   the   basis   of   my   knowledge.   Of   course,   my   experience   is   still   limited,   and   I  
do  not  have  time  for  more  description  in  this  specific  document.  
Another   reason   for   me   to   come   in   France   was   to   practice   KYUDO   with   foreigner   friends.   My  
teacher  was  ONUMA  Hideharu  sensei  that  contributed   several   times  to  the   diffusion   of   KYUDO  
in   Europe.   So   from   him,   I   learnt   there   were   serious   practitioners   in   Europe.   Personally,   I   was  
practicing   KYUDO   since   I   was   thirteen,   working   on   this   art   in   great   details.   What   a   chance   it  
could   be   for   me   to   practice   with   “blue   eyes”   people!   This   dream   became   reality,   and   I   built  
wonderful  friendship  with  Mr.  Michel  Chavret  and  his  friends  in  Lyon,  as  well  as  in  many  other  
European   places   as   Montpellier,   Paris,   Valence,   Geneva,   Basel,   Zürich,   London,   Munich,  
Hamburg,  Rome,  etc.  I  can  remember  a  lot  of  things  with  pleasure  and  a  bit  of  nostalgia.  
At  the  same  time,  I  also  had  to  suffer  with  some  specifically  French  troubles,  when  at  this  time  
the  French  federation  was  close  to  a  scission.  One  person  involved  within  the  conflict  was  also  
an   ONUMA   sensei   student   who   put   me   in   the   middle   of   some   internal   debates.   The   French  
federation   wrote   a   letter   against   me   to   the   Japanese   federation,   to   reject   my   participation   to  
some  international  seminars,  and  I  received  a  letter  from  ONUMA  sensei  disapproving  some  of  
my  actions  in  Europe.  It  was  a  first,  bad,  humiliating  experience  to  receive  this  feedback,  and  I  
decided   to   tell   to   the   Japanese   federation   I   was   giving   back   my   KYOSHI   and   my   6th   DAN   title,  
even  if  it  costs  me  lots  of  effort  to  get  them.  
I  suffered,  but  in  fact,  what  did  I  do?  Is  it  not  the  role  of  the  Japanese  federation  to  “protect”  his  
members?   Was   it   not   the   role   of   the   federation   to   check   my   activities?   The   federation   always  
insisted   on   the   WA,   harmony,   and   cooperation.   What   is   KYUDO?   Not   to   be   friend   with   people  
revealed  by  KYUDO  was  meaning  for  me  to  doubt  on  KYUDO…  
I  also  remember  that  at  this  time  I  was  also  suffering  with  my  KYUDO.  When  I  got  my  KYOSHI  
title,  at  the  same  time  I  was  lost  in  my  practice.  I  was  not  hitting  the  target  anymore,  but  more  
than   this,   I   had   lost   the   feeling   on   how   to   do   it.   I   was   in   very   poor   conditions,   even   at   the  
MAKIWARA.  Now,  I  feel  the  reason  was  I  had  forgotten  the  most  important  things,  be  back  to  the  
basis.  In  those  poor  conditions  I  was  just  feeling  poor  feedback  from  any  direction.  
However,  under  these  circumstances,  good  friends,  specifically  Mr.  Chavret,  helped  me.  Thanks  
to   them,   I   found   there   were   still   a   lot   of   things   to   learn   from   life.   This   European   spirit   influenced  
me.  At  the  end,  we  fought  for  the  French  federation  unity,  and  finally  got  it.  

  5  
I   will   never   forget   SAITO   Tomoji   sensei,   president   of   the   Japanese   federation.   Without   his  
support,   the   French   federation   unity   would   never   have   happened,   and   for   me   he   gave   deep  
support,  through  various  letters  and  talks.  
Changing   the   point   of   view,   from   the   researcher   position,   this   experience   was   useful   to  
understand  the  French  society.  I  did  understand,  the  hard  way,  what  French  sensibility  is.  I  got  
this   through   the   KYUDO   practice,   which   is   good   benefit.   I   was   sent   deeply   into   the   French  
federation  maelstrom.  Nobody  likes  hostilities,  neither  me.  But  after  darkness,  comes  enlighten,  
“POST  TENEBRAS,  LUX”.  I  had  the  chance  to  develop  deep  friendship,  which  was  a  good  result  
seen  from  now,  and  I  got  the  chance  to  better  understand  the  French  way  of  life.  
Also,   with   support   of   my   friends,   my   KYUDO   practice   went   better,   at   least   in   my   own  
experimentations  in  Clermont-­‐Ferrand  where  my  daughter  family  in  law  was  residing.  I  was  able  
to  hit  the  target  again,  and  also  to  work  and  understand  the  Kyudo  deep  concepts.  This  has  been  
with   help   of   the   friends   I   had,   Mr.  Lavergne,   Mr.  Chavret,   and   Mr.  John  Bush   from   the   London  
group.  
In   1990,   on   May   27th,   about   130   people   met   in   the   dojo   of   Villeurbanne,   near   Lyon,   to   express  
pain  with  the  death  of  ONUMA   sensei.  SAITO   Tomoji   sensei  was  there,  with  a  large  Japanese  
delegation.   There   were   also   many   European   practitioners,   from   France,   Germany,   England,  
Switzerland,  Italy,  Iceland  and  Spain.  As  tribute  to  ONUMA   sensei,  it  was  an  historical  meeting  
in  Lyon,  to  have  so  many  country  representatives.  
In   the   morning,   a   shooting   ceremony   in   memory   of   ONUMA   sensei   was   organized.   SAITO  
sensei  and  Philippe   REYMOND,  former  president  of  the  European  federation  pronounced  few  
words,   then   OSAWA   sensei,   8th   DAN   HANSHI,   president   of   the   TOSHIMA   dojo   thanked   the  
participants   in   name   of   ONUMA   family.   TOSHIMA   dojo   was   the   dojo   where   ONUMA   sensei  
mainly  practiced  and  taught.  Several  member  of  the  dojo  were  in  the  delegation.  
 

6    
INTRODUCTION  
 
EUROPEANS  AND  KYUDO  
 
What   can   be   the   interest,   for   a   European,   to   practice   KYUDO?   The   differences   with   western  
archery?  The  dynamism  of  BUDO?  A  link  with  oriental  culture?  
Here   is   a   small   story:   when   I   came   in   Europe,   I   started   to   have   a   look   to   BUDO   papers.   What  
strange   perception   I   was   having,   especially   concerning   NINJA.   Then   I   saw   our   KYUDO   in   these  
papers  …  I  never  felt  in  the  past  I  was  practicing  a  so  exotic  activity.  
Now,  after  four  years  in  France,  I  can  more  understand.  Probably  it  relates  to  imagination  of  few  
French  people.  Probably  the  same  exists  with  some  Japanese  people  concerning  French  culture.  I  
do  not  want  to  dig  more  here,  for  some  people  it  is  important  to  have  this  sort  of  dream.  
For   most   of   European   practitioners   however,   they   know   that   there   is   the   same   understanding  
between  them  and  the  Japanese.  This  was  a  surprise  for  me,  but  probably  due  to  the  fact  that  I  
was  not  knowing  anything  on  French  culture  before  coming.  JUDO,  KENDO  or  AIKIDO  are  getting  
their  sports  too.  It  will  be  the  same  for  KYUDO.  The  Japanese  BUDO  are  becoming  International.  
 
TO  KNOW  KYUDO  MORE  DEEPLY  
 
On   KYUDO,   there   are   few   books   written   in   western   languages.   For   example,   the   book   from  
Eugen   Herrigel,  who  was  German  philosopher,  “Zen  in  the  Art  of  Archery”,  is  well  known  and  
very  good.  It  is  based  on  his  experience  with  AWA   kenzo   sensei,  one  of  the  most  famous  KYUDO  
master   in   Japan.   We   can   find   there   some   differences   between   Japanese   mind   and   European  
mind.   “Never   aim   at   the   target”,   “Shoot   without   artifice”,   “Wait   the   right   moment”.   For   the  
philosopher,  with  scientific  reasoning,  it  was  a  difficult  subject.  Japanese  like  this,  and  learn  the  
spirit  of  KYUDO  with  this.  I  can  only  recommend  to  read  this  book.  
Recently,   the   Japanese   federation   published   in   English   the   KYUDO   KYOHON   for   western  
practitioners.   I   hope   the   French   federation   will   soon   translate   this   book   in   French.   This   is   a   very  
important   manual   to   understand   the   fundamental   basis   of   KYUDO.   The   KYUDO   KYOHON   is   in  
four  volumes,  but  only  the  first  one  has  been  translated.  My  essay  will  help  to  understand  what  
is  missing  there.  
Mr.   Jacques   NORMAND   and   Mr.   Michel   MARTIN,   French   federations   directors   have   also  
published  their  books.  Those  will  also  be  very  useful.  
 
ABOUT  THIS  ESSAY  
 
In  this  essay,  I  mainly  focused  on  the  KYUDO  technical  details.  I  think  it  is  very  difficult  to  find  
such   details   in   Europe.   This   essay   will   be   more   useful   for   KYUDO   practitioner   than   for   normal  
reader,   even   if   I   also   added   some   part   about   KYUDO   spirit.   These   technical   details   are  
scientifically  difficult,  but  at  least  this  book  can  be  a  key  to  explain  some  problems.  
 
KYUDO  CHARM  
 
Do  you  already  know  the  KABUKI,  or  the  NO?  Do  you  already  know  the  IKEBANA  or  the  CHA  NO  
YU   (tea   ceremony)?   The   KYUDO   is   a   BUDO.   However,   you   can   have   the   same   feeling   than   for  
these  other  arts.  Of  course,  in  KYUDO,  hitting  the  target  is  important,  but  the  style  and  also  the  
inside  are  important,  as  well  as  the  artistic  value.  
 

  7  
HISTORY  OF  KYUDO  
 
For   all   people,   the   origin   of   bow   and   arrows   goes   back   in   the   past,   also   in   Japan.   It   is   believed  
that   it   appeared   about   twenty   thousand   years   ago.   However,   archaeologically,   by   the   excavation  
of   ruins,   we   can   confirm   that   the   ancient   Japanese   used   stone   arrowheads   during   the   JOMON  
period,  then  metal  heads  such  as  copper  then  iron  during  the  YAYOI  period.  The  JOMON  period,  
which   name   means   “rope   trace",   corresponding   to   rope   patterns   on   potteries,   extends   from  
12000BC   to   about   300BC.   Then   succeeds   the   YAYOI   period,   from   300BC   to   about   250AD  
(Gakken  dictionary).  The  word  YAYOI  corresponds  to  the  name  of  the  place  where  the  traces  of  
this  period  have  been  found.  
 
If  the  Japanese  have  been  using  for  centuries  a  long  bow,  they  used  originally  a  short  bow  as  in  
most   Asian   countries   and   also   the   rest   of   the   world.   Gradually,   Japanese   have   developed   and  
used  a  long  bow.  This  change  took  place  about  2000  years  ago  [C0_1].  The  metal  age  and  rice  age  
in  depth  modified  the  everyday  social  life.  The  rice  culture  was  also  linked  to  climate  change  on  
the  Japan  islands,  in  fact  the  arrival  of  a  monsoon  climate  throughout  the  Southeast  Asia.  From  
this   time,   the   Japan   landscape   was   transformed   from   an   area   of   grassland   where   people   were  
using  the  short  bow  to  a  forest  area  where  they  started  to  use  the  longbow  [C0_1,  2].  
 
Thereafter,   Japan   increased   cultural   exchange   with   the   continental   countries,   particularly   with  
Korea   and   China.   Our   Japanese   ancestors   learned   from   these   countries   new   shooting   technics,  
especially   the   KAKEGUCHI   method   for   notching   the   arrow   to   the   bowstring.   Before,   they   were  
pulling  the  string  by  pinching  the  notch  of  the  arrow  with  the  tips  of  the  thumb  and  forefinger.  
With  the  new  method,  also  called  "Mongolian  shooting  method",  they  started  to  use  the  base  of  
the  thumb  instead.  Mongolia  was  a  Nordic  country,  with  culture  linked  to  horse  and  equestrian  
traditions,   using   very   powerful   bows   where   the   string   could   not   be   pulled   with   just   fingertips  
[C0_3].  
 
Thus,   the   characteristics   of   Japanese   archery   bow   were   formed   gradually,   influenced   by   many  
civilizations.  
 
ARCHERY  PROGRESS  
 
Japan   was   unified   in   the   year   645   during   a   political   renovation   completed   by   TAIKA   NO  
KAISHIN,  who  gave  his  name  to  the  era  of  TAIKA.  From  this  moment,  and  for  some  time,  Japan  
was  organized  as  an  aristocratic  society  centred  on  TENNO  (the  emperor).  This  period  is  divided  
into  different  periods  as  ASUKA  (until  707),  NARA  (708-­‐781),  and  HEIAN  (782-­‐1189).  All  these  
names  have  their  origin  in  the  names  of  imperial  main  cities.  
 
With   many   documents,   we   know   that   the   era   of   HEIAN   was   the   longest.   It   was   a   period   with  
many  conflicts  such  as  ZEN-­‐KUNEN  no  EKI,  GOSAN-­‐NEN  no  EKI,  HOUGEN  no  RAN,    
HEJI  no  RAN,  etc.  
 
During   these   periods,   the   aristocracy   declined   and   let   place   to   the   BUSHI   caste   (SAMURAI),  
especially  during  the  confrontation  between  HEIKE  and  GENJI  families.  The  GENJI  family  finally  
won  and  set  a  BAKUFU  (government)  in  KAMAKURA.  Japan  then  entered  in  the  KAMAKURA  era.    
 
During   the   HEIAN   era,   there   was   a   huge   development   of   the   archery   techniques,   which   then  
culminated  during  the  KAMAKURA  era.  Wars  and  battles  of  this  period  were  of  course  the  main  
reasons  for  these  developments  [C0_4].  
 
Equipment  also  evolved  a  lot  during  the  KAMAKURA  era,  as  well  as  in  the  next  MUROMACHI  era  
(1336-­‐1570).  New  elements  were  invented  as  FUSEDAKE-­‐YUMI,  wooden  bow  reinforced  with  a  
piece  of  bamboo  (Koza  4,  P110-­‐115),  SAN-­‐MAI-­‐UCHI,  wooden  bow  reinforced  with  two  pieces  of  

  9  
bamboo  (Koza  4,  P117-­‐118),  HIGO  YUMI,  a  bow  with  several  pieces  of  bamboo  (Koza  4,  P163-­‐
164),  and  YUGAKE,  leather  glove  for  the  right  hand  (Koza  4,  P145-­‐146).  
 
INFLUENCE  OF  THE  CHINESE  CULTURE  
 
From  a  philosophical  point  of  view,  Japan  has  learned  a  lot  from  China.  On  the  fifth  century  BC,  
Confucius  was  the  source  of  Confucianism.  In  this  doctrine,  shooting  with  a  bow  is  considered  as  
a  way  to  acquire  wisdom.  In  other  words,  KYUDO  is  the  path  of  JIN  (to  raise  humanity).  It  is  only  
when  we  have  “the  truth”  in  our  heart  that  we  can  draw  the  bow.  If  the  arrow  does  not  reach  the  
target,   KUNSHI   (the   good   man)   never   complain   on   whoever   beats   him.   In   contrast,   he   always  
searches   the   truth   in   himself.   Confucius   has   contributed   a   lot   to   the   development   of   this  
doctrine,   written   in   the   RAIKI-­‐SHAGI   (Confucianism   book   on   REI,   protocol   rules).   We   also   find  
these  principles  in  the  book  KYUDO  KYOHON  from  the  ZEN  NIHON  KYUDO  RENMEI  (Japanese  
Federation   of   KYUDO)   and   in   the   SHAHOU   KUN   (teaching   on   the   shooting   method)   by   JUNSEI  
YOSHIMI.  
 
In   China,   archery   was   considered   as   a   way   to   gain   the   truth.   As   for   Japan,   China   also   went  
through   many   wars.   Nevertheless,   the   Confucianism   continued   to   be   a   basic   principle   for  
archery,   which   was   respected   throughout   the   dynasties,   including   through   the   recruitment  
system   for   civil   employees.   In   Japan,   BUSHI,   the   warriors,   have   been   leading   the   country   for  
nearly   700   years.   China   has   been   considered   as   the   country   of   the   "pen",   while   Japan   was   the  
one  of  the  “sword”.  But  Chinese  doctrine  also  gradually  influenced  Japan,  first  through  the  rituals  
of  the  imperial  court.  The  Confucianism  became  part  in  these  rituals,  deeply  mixed  with  SHINTO.  
During   the   same   period,   Buddhism   also   made   its   way   through   Japan,   while   absorbing  
Confucianism.  
 
At  the  end  of  the  MUROMACHI  period,  the  fifteenth  century,  Portuguese  introduced  firearms  in  
Japan.   Therefore,   the   usage   of   the   bow   faded   gradually   in   the   fighting   fields.   Then   during   the  
EDO  period  (1596  -­‐  1867),  war  gradually  ceased  and  SHUSHI  GAKU  (Neo-­‐Confucianism)  made  is  
way  as  the  new  philosophy  to  govern  the  people.  
 
At   this   time,   from   China,   a   technical   book   on   archery   was   introduced   to   Japan,   the   SHA   GAKU  
SEISHU   (method   for   those   who   want   to   study   archery).   This   book   had   a   great   success   because   it  
was   a   method   that   could   be   followed   by   many   people,   while   the   traditional   rules   of   Japanese  
KYUDO  schools  were  too  strict  to  access  the  in-­‐depth  knowledge.  
 
THE  SCHOOLS  
 
The  periods  of  KAMAKURA,  YOSHINO  (after  1336)  and  MUROMACHI  (from  1392  to  1568),  were  
eras  when  BUSHI  (SAMURAI)  leaders  and  TENNO  family  fought  for  power.    
 
The  archery,  and  especially  the  horse  archery,  increased  significantly  at  this  time.  Until  the  end  
of   the   KAMAKURA   period,   it   was   mainly   a   development   on   battlefields,   but   during   the  
MUROMACHI   period,   the   Japanese   archery   also   developed   as   schools,   RYUHA,   way   to   setup  
systematic   shooting   methods.   A   RYUHA   was   founded   by   a   group   of   experts   that   aim   to  
harmonize   the   doctrine   of   archery.   The   head   (master)   of   each   school   was   giving   a   license   to  
apprentices   according   to   the   progress   made   in   the   discipline,   and   was   teaching   to   the   best  
students   the   deep   secrets   of   the   school   [C0_5].   The   status   of   head   (master)   was   usually  
transmitted  by  heredity.  
 
The   OGASAWARA   family,   descending   from   SEIWA   TENNO,   as   well   as   TAKEDA   and   HAYAMI  
families,  were  famous  during  the  KAMAKURA  period.  However  they  did  not  create  any  RYUHA,  

10    
not   transmitting   a   special   education   or   possible   secrets.   They   distinguished   themselves   as   a  
family  of  warriors,  representing  only  a  military  commandment  [C0_5].  
 
During   the   MUROMACHI   period,   the   ASHIKAGA   Shogun   appointed   the   family   OGASAWARA   as  
master   for   archery   [C0_6].   Thus,   it   became   the   authority   for   bow   shooting   on   the   ground   and   on  
horseback,   and   was   responsible   for   regulating   all   ceremonies,   in   particular   horse   shooting  
YABUSAME,  KASAKAKE,  and  the  dog  hunting  competition  ÏNUOMONO.  
 
During   the   same   period,   HEKI   RYU   schools   were   born.   One   of   their   founder,   HEKI   Danjo  
Masatsugu   (1442-­‐1500)   was   the   best   KYUDOKA   of   his   time,   and   completed   creation   of   "secrets"  
of   his   school,   perpetuated   then   in   the   YOSHIDA   family   (YOSHIDA   Shigekata,   YOSHIDA  
Shigemasu).   But   the   specialty   of   HEKI-­‐RYU   was   to   quickly   disseminate   many   schools.   The  
number   of   schools   increased   as   many   students   also   became   founders   of   new   branches   [C0_7]   as  
IZUMO-­‐HA,   SEKKA-­‐HA,   DOSETSU-­‐HA,   INSAI–HA,   JYUTOKU-­‐HA,   SAKONEMON-­‐HA,   DAISHIN-­‐HA,  
OKURA-­‐HA,   YAMASHINA-­‐HA,   etc.   Also   HEKI   Yazaemon   Noritsugu   (1394-­‐1427)   founded   the  
CHIKURIN   RYU   school,   another   HEKI   mainstream   in   parallel   to   the   HEKI   Danjo   initiated   schools  
above.  
 
Later,  in  the  Edo  period  (1615-­‐1867),  the  DOSHA  competition,  shooting  at  120m  in  the  SANJU-­‐
SANGENDO   temple   corridor   in   KYOTO   was   practiced   a   lot.   For   this   competition,   CHIKURIN-­‐RYU  
showed   a   significant   activity   with   by   example,   HOSHINO   Kanzaemon   and   WASA   Daihachiro.  
HOSHINO  Kanzaemon,  shot  8,000  arrows  in  18  hours,  in  the  middle  of  the  target  at  120  meters,  
while  WASA  Daihachiro  shot  8033  arrows  in  one  day.  
 
MODERN  KYUDO  
 
After   the   MEIJI   ISHIN   revolution   (1867),   as   Japan   tried   to   assimilate   Western   civilization,   the  
Japanese  cultural  traditions,  including  KYUDO,  declined  rapidly,  and  unfortunately  KYUDO  was  
practiced  just  for  fun.    
 
Although   OGASAWARA-­‐RYU   and   HEKI-­‐RYU   had   survived,   they   had   almost   lost   their   past  
vivacity.  But  in  such  a  situation,  HONDA  Toshizane  (1835-­‐1917)  maintained  and  developed  the  
tradition  of  CHIKURIN  RYU  while  changing  the  position  from  SHAMEN  UCHIOKOSHI  to  SHOMEN  
UCHIOKOSHI.  On  the  other  hand,  he  taught  many  excellent  KYUDOKA  as  TAKAGI  Tasuku,  AWA  
Kenzo,   KAMINAGA   Masakichi,   etc.   Then   came   the   students   of   AWA   sensei:   KAMINAGA  
Masakichi,  YOSHIDA  Noan,  HASEBE  Keisuke,  ANZAWA  Heijiro,  and  Eugen  HERRIGEL.  
 
In   the   HEKI-­‐RYU   tradition,   URAGAMI   Sakae   tried   to   grow   back   his   INSAI-­‐HA   school,   obtaining  
excellent   results   with   his   students,   MURAKAMI   Hisashi,   URAGAMI   Hiroko,   and   INAGAKI  
Genshiro.    
 
On  the  other  hand,  in  the  prefecture  of  AICHI,  TOMITA  Tsunemasa  maintained  the  tradition  of  
BISHU   CHIKURIN   RYU   with   his   student   UOZUMI   Bunue   and   in   the   WAKAYAMA   prefecture,   UNO  
Yozaburo  tried  to  maintain  the  KISHU  CHIKURIN  RYU.  
 
OGASAWARA   RYU   was   also   revived   by   OGASAWARA   Seimei   (Kyoâki)   and   OGASAWARA  
Seiko,  and  they  taught  many  KYUDOKA  as  CHIBA  Tanetsugu,  SUZUKI  Ihei,  KUBOTA  Shintaro.  
 
Thus,   the   schools   have   gradually   regained   some   strength   and   established   the   foundations   of  
modern   KYUDO.   The   national   organization,   DAÏNIHON   BUTOKUKAI   was   founded   in   1895,   but  
was  dissolved  in  1945,  and  after  the  war,  the  ZEN  NIPPON  KYUDO  RENMEI  was  created  in  1947.  
Both  organizations  have  achieved  good  results  for  the  unification  of  the  shooting  methods  and  
international  diffusion.  

  11  
  
Since   1980,   in   Europe,   the   European   KYUDO   Federation   was   founded.   Other   federations   have  
been  created  in  the  USA  and  Australia,  and  the  KYUDO  started  its  internationalization.  
 

 
 
 

12    
PHOTOS  
 
 

                       
 
 
                         ONUMA  Hideharu  Sensei                                                                  UOZUMI  Bunue  Sensei  
 
 
 

Inauguration  o f  Lyon’s  dojo  

 
Michel  RANDOM  
 
SAITO  Tomoji  Sensei  
 
OZAWA  Kuwa  Sensei  
 
ONUMA  Hideharu  Sensei  
 
SATO  Kaori  Sensei  

       
 
 
 

  13  
 In  memory,  Lyon  Dojo  
 
 
SAITO  Tomoji  Sensei  
 
OZAWA  Kuwa  Sensei  
 
SATO  Kaori  Sensei  

 
 

 
 

 
Seminar  in  Lyon  
 
SATO  Kaori  Sensei  
 
Michel  MARTIN  
 
Philippe  REYMOND  
 
Alain  BERTRAND  
 
Tryggvi  SIGURDSSON  
 
Charles  STAMPFLI  
 
Michel  CHAVRET  

14    
  
 
LYON  Meishin  Kyudojo  Team  at  TOSHIMA  Dojo  in  TOKYO,  1992  
 
Training  in  MATSUMOTO  dojo,  
1992  
 
SATO  Kaori  Sensei  
Charles  STAMPFLI  
Michel  CHAVRET  
 
 

 
 

 
   
 
 
 
 
 

  15  
  
 

 
 
UOZUMI  Bunue  Sensei  
 
NAGOYA  Dojo,  1990  

  17  
  
 
LYON,  2012  
 

 
 
Geneva,  2012  

18    
  
 
 

  19  
CHAPTER  1  –  FORM  AND  HEART  
 
FUNDAMENTAL  POSTURE  
 
After   a   few   years   practicing   KYUDO,   you   can   feel   the   progress.   It   is   not   difficult   to   reach   the  
target,  and  you  can  often  be  admired  by  sensei  and  other  practitioners.  You  can   even  sometimes  
participate   to   tournaments   and   win   prizes.   However   often   at   this   time   there   is   a   risk   of  
stagnation.   Such   a   trend   exists   in   many   sports,   but   is   particularly   evident   in   KYUDO.   Why?   In  
KYUDO,   some   issues   are   coming   from   the   equipment.   The   bow   handle   is   placed   below   the  
middle  of  the  bow  while  the  arrow  is  placed  on  the  right  side  of  the  bow.  We  must  use  specific  
techniques  to  overcome  these  inconsistencies.  Therefore,  in  KYUDO,  we  can  say  that  the  spiritual  
influences   mainly   the   success   or   the   failure.   When   we   do   not   progress   anymore,   we   may   be  
desperate   and   even   consider   not   being   able   to   properly   practice   KYUDO.   All   practitioners   are  
living  such  an  experience.  
 
In  this  regard,  HAMA   Yosuke   sensei   says  [C  1-­‐3]:  in  
psychology,   we   have   "learning   curves"   (IL1)   with  
degrees  of  progress.  One  curve  is  of  type  "S".  Progress  
in   KYUDO   is   following   this   type   of   curve.   Soon   after  
starting,   progress   is   important,   but   stagnation   time  
comes   generally   after.   However,   with   perseverance,  
we   may   pass   the   step   and   push   a   wall.   This   can   be  
seen  not  only  by  the  improvement  of  the  technic,  but  
also   in   the   heart.   Progress   comes   because   SHASHIN  
(shooting   heart)   and   SHAKEI   (shooting   posture)   are  
unified.   Stagnation   duration   depends   on   the   time  
heart  and  technic  are  separated.  
While   the   heart   and   the   form   are   separated,   the  
stagnation  continues,  and  when  the  heart  and  the  form  are  unified,  we  can  be  on  a  rapid  upward  
trend.  However  during  any  phase  of  stagnation,  we  must  make  deep  efforts  with  patience.  The  
man  who  gained  fame  is  the  one  who  climbed  infinitely  higher,  like  a  wave.  
Why   heart   and   form   do   separate?   At   the   beginner   level,   anybody   appreciates   any   small  
improvement.  It  is  a  pleasure  to  have  heart   and   form   unified   at   the   elementary  level.   Then,  by  
developing   technics,   you   improve   hitting   accuracy,   but   you   also   easily   fall   into   dead   ends,   where  
any   step   ahead   requires   to   abandon   some   previous   learning,   habits,   and   to   also   regress   in   the  
hitting  accuracy.  If  you  stay  there  because  you  think:  “I  can  hit  this  way”,  then  heart  and  form  do  
separate.  
 
URAGAMI   Hiroko   sensei  says  [C1_13]  you  cannot  understand  what  is  wrong  for  yourself,  so  the  
best   is   to   take   a   good   shortcut   and   seek   for   advices   of   a   sensei   you   can   trust   to   fix   your  
fundamental  defects.  It  is  just  a  question  of  willingness,  of  accepting  the  proposed  changes  and  
not  anymore  repeats  the  previous  shot.    
 
A  small  change  may  have  big  effects.  What  is  most  important  is  to  accept  the  corrections,  apply  
them  until  they  come  natural  in  our  way  of  shooting,  the  sooner  the  better.  
Someone   said   that   in   KYUDO,   the   mood   is   most   important.   This   is   surely   correct,   but   we   must  
understand   that   the   mood   is   supported   by   the   fundamental   posture   of   the   shooting.   To   find   and  
acquire  the  correct  posture  requires  an  unwavering  mood,  as  shown  in  the  rest  of  this  chapter.  
 
BISHU   CHIKURIN   RYU   tells   us   that   a   teacher   who   cannot   adapt   himself   to   the   physical   condition  
(KOPPO)   of   his   student   looks   like   a   monkey,   which   cannot   heal   his   injury   because   he  
misunderstands   the   healing   when   the   injury   is   later   closed.   This   is   a   teaching   from   UOZUMI  
Bunue  sensei  [C1_12].  
 

  21  
A  PRELIMINARY  KNOWLEDGE  (SUMMARY  OF  THE  KYUDO  KYOHON)  
 
Here  is  the  summary  of  the  content  of  articles  in  the  first  volume  of  the  KYUDO  KYOHON  (text  by  
the   ZEN   NIPPON   KYUDO   RENMEI).   I   tried   to   fully   translate,   because   it   is   a   mandatory  
knowledge,   but   in   some   places,   I   had   to   change   some   words   to   be   understood   by   European  
readers,   due   to   the   specificity   of   some   Japanese   expressions.   That's   why   I   called   this   passage  
"Summary".  I  limited  this  chapter  to  ASHIBUMI  and  DOZUKURI  as  main  subject.  
 
A   correct   ASHIBUMI   is   an   essential   condition   for   hitting   the  
target  correctly.  This  is  the  basis  of  the  shooting  posture.  In  
ASHIBUMI,   we   are   standing   on   SHAI   (the   shooting   line)  
facing   the   target,   and   we   are   placing   the   feet   on   the  
imaginary   line   that   comes   straight   from   the   target,   with   a  
fan-­‐shaped   opening   (SOTOHACHIMONJI).   The   angle   of   the  
right   and   left   foot   with   respect   to   the   line,   which   is   drawn  
from   the   target,   is   approximately   60   degrees,   and   the  
ASHIBUMI  opening  is  the  YAZUKA  (draw  length  in  KAI,  the  
"BAND").  
 
For  ASHIBUMI,  there  are  two  methods:  
(1) Looking  at  the  target,  open  half  a  step  with  the  left  
foot   toward   the   target,   and   then   open   the   right   foot   just  
after  touching  the  left  foot  with  it.  At  same  time,  continue  to  
look  at  the  target.  
(2) Looking  at  the  target,  open  half  a  step  with  the  left  
foot,   then   direct   gaze   toward   the   feet,   open   the   right   foot  
without   touching   the   left   foot.   You   can   choose   one   of   the  
two  methods.  
ASHIBUMI   done,   set   your   feet   firmly   on   the   ground,  
naturally  tender  knee  joints,  locate  massively  hips  over  feet.  A  proper  ASHIBUMI  ensures  
the  stability  of  the  lower  body  part.  
 
For   DOZUKURI,   after   ASHIBUMI,   lower   the   shoulders   and  
extend  the  spine  and  neck  upwards.  The  center  of  the  body  is  
located   on   the   hips   (lumbar);   SHINKI   (mind   power)   is  
concentrated   in   the   TANDEN.   Then   the   MOTOHAZU   (low   point  
of   the   bow)   is   placed   on   the   left   knee   and   the   right   hand   is  
placed   on   the   hipbone.   When   completing   DOZUKURI   posture,  
pay   attention   to   all   the   things   that   build   the   vertical   line,   and  
try   to   express   a   flexible   attitude   with   proper   breathing.  
A   feeling   of   calm   is   the   basis   for   dynamic   movements   that  
follow,  and  also  determines  ultimately  a  very  good  shot.  
DOZUKURI  movement  looks  very  simple,  but  it  includes  a  lot  of  
very   important   details   to   stabilize   the   shooting   posture.   This   is  
why,  during  YUGAMAE,  UCHIOKOSHI,  HIKIWAKE  and  KAI,  the  
key  points  of  ASHIBUMI  and  DOZUKURI  should  be  effective  in  
all  actions.  
 
EXERCISE  METHOD  
 
1) Always   keep   in   mind   that   in   all   the   movements   of   the  
shooting,   the   TATEYOKO-­‐JUMONJI   (vertical   and   horizontal  
cross)  must  be  kept.  On  one  hand,  the  vertical  line  (TATESEN)  
is  formed  by  three  correct  crosses:  feet,  hips  and  shoulders  in  

22    
 relation   to   the   centerline   of   the   body   (the   SANJU-­‐JUMONJI),   and   is   performed   by   the  
extension  of  the  spine  and  neck.  On  the  other  hand,  the  horizontal  line  is  formed  by  the  
following   key   points:   shoulders,   elbows,   wrists   and   fingers.   It   is   very   important   to  
understand  that  the  vertical  line  (TATESEN)  dominates  the  horizontal  line  (YOKOSEN)  in  
all   movements.   However,   we   easily   tend   to   give   importance   to   YOKOSEN   because   the  
bow  is  opened  with  both  hands.  But  to  perform  the  right  action,  the  YOKOSEN  function  
must   be   supported   by   the   correct   TATESEN   function.   We   must   always   be   aware   to  
extend  the  centerline  of  the  body  upwards.  SHAHIN  (distinction  expressed  in  the  shot)  
and   SHAKAKU   (gradation   expressed   in   the   shot)   are   developed   as   a   result   of   these  
efforts  as  taught  by  KUBOTA  Shintaro  sensei  [C  1-­‐6].  
 
2) Method   by   KARASAWA  Kotaro  Sensei   [C1_5]   to   find  
the   body   center   of   gravity   for   shooting:   stand   naturally   as  
much   as   possible   and   open   ASHIBUMI.   Then   stand   on   the  
toes   and   move   your   heels   down   smoothly   to   the   ground  
(IL2).  
There  is  another  teaching  from  FUSE   Sosuke   sensei  [C1_2]:  
perform  ASHIBUMI  as  if  a  paper  is  put  underneath  the  heels  
and  as  if  the  big  toes  support  the  center  of  gravity.  
 
3) URAGAMI   Hiroko  
sensei   [C1_15]   teaches   that  
there  is  an  INSAI-­‐HA  method  
to   bring   the   toe   left   and   the  
right  heel  on  a  diagonal  (IL3).  
In   the   above   methods,   you  
may   find   three   important  
points:   the   inclination   of   the   body,   the   tension   in  
HIKAGAMI   (behind   the   knees)   and   the   tension   of   the  
femoral  joints.  
 
4) When   building   the   DOZUKURI   posture,   we   must   put   the   KI   (energy   of   the   mind)   in   the  
center   of   the   body.   At   the   same   time,   we   must   fix   the   femoral   joints   and   also   give   a  
tension  in  the  muscles  of  the  buttocks.  What  matters  is  to  firmly  stabilize  the  central  part  
of   the   body,   while   the   strength   decreases   as   it   spreads   to   the   extremities.   It   is   the  
principle  of  DOZUKURI.  
In   this   regard,   UNO   Yozaburo   sensei   [C1_9]   teaches   that   in   DOZUKURI,   we   must   put  
KISOKU  (breathing  down  during  shooting)  and  the  center  point  of  the  force  on  the  top  of  
the  hip  (part  where  the  column  and  basin  are  linked  together).  He  also  reminds  a  word  
from   YOSHIMI   Junsei,   KYUDOKA   of   former   KISHU  
CHIKURIN   RYU:   put   your   heart   in   the   center   of   the   body.  
TANDEN   and   the   center   of   the   basin   are   one.   Read   also  
some   teachings   on   DOZUKURI   by   URAGAMI   Hiroko  
sensei  [C1_14].  
 
5) To  correctly  perform  DOZUKURI,  a  teacher  made  
this  interesting  comment:  insert  air  from  the  lungs  down  
to  the  basin  as  a  singer  does  in  his  vocals.  This  sensei  said  
that,   for   her,   it   is   HAKAMA   GOSHI   NO   KANE,   where   the  
KOSHI  ITA  is  strongly  supporting  the  lumbers  (IL4).  
 
This   is   another   teaching   from   URAGAMI   Hiroko   sensei  
[C1-­‐16],   where   the   HAKAMA   GOSHI   NO   KANE   is   a   method   to   draw   a   little   on   the   hips.  
Certainly,   in   this   case,   we   feel   strongly   the   KOSHI-­‐ITA   on   the   lumbar,   but   if   done  

  23  
 excessively,   the   chest   is   pushed   forward,  
resulting   in   suffocation.   See   about   this,   the  
paragraph  "Explanation  and  Analysis".  
 
6) Two   trends   may   be   derived   from   physical  
conformation:   an   obese   puts   his   torso   forward,  
while   a   thin   person   bomb   chest.   It   is   better   to  
change  incorrect   posture,  but  according   to   the  
physical   conditions   of   the   person.   Either  
change  or  maintain  the  posture  and  adjust  the  
angle  of  the  bow  in  HIKIWAKE  and  KAI  (IL5).  
 
7) UNO   Yozaburo   sensei   [C1_8]   teaches   how   to  
position   the   knees:   tender   joints   and   also  
tighten   the   outer   sides   of   the   legs,   turning   on  
heel  inside.  
 
8) During   ASHIBUMI,   the   left   toe   is   too   often  
directed  inwardly  relative  to  its  position,  "on  one  side  
of  an  equilateral  triangle".  As  a  result,  the  second  step  
is   not   only   directed   outside   the   triangle,   but   is   also  
deviated  from  the  centerline  of  the  target  (IL6).  
 
9) During   the   movement   of   the   hands   from   the  
end   of   UCHIOKOSHI   to   KAI,   the   TATESEN   line   may   be  
easily   deformed   to   the   right   or   left,   forward   or  
backward.  The  body  may  be  deviated,  twisted,  to  the  
right   or   the   left   of   the   target   line.   In   this   case,   when  
having   recurrent   difficulties   to   hit   the   target,   keep   eyes   closed   after   YUGAMAE,   and   do  
UCHIOKOSHI   and   HIKIWAKE.   Then   open   your   eyes.   If   you   find   the   arrow   not   pointing  
correctly  to  the  target,  it  reveals  that  HIKIWAKE  is  not  properly  done.  
 
METHOD  TO  CORRECT  SUCH  BAD  TRENDS  
 
1) Install  a  mirror  on  the  MAKIWARA,  and  check  for  yourself  
the  relationship  between  the  two  shoulders  in  HIKIWAKE.  
 
2) Ask   someone   to   place   an   arrow   on   your   blades   after  
UCHIOKOSHI.   During   HIKIWAKE,   you   can   then   confirm   by  
yourself  if  the  shoulder  position  is  normal  or  not.  
 
3) When  
drawing   the   bow  
with   the   back  
against   a   wall,   you  
can   check   the  
correct   position   of  
the  shoulders.  
 
For  these  methods,  
see   the   teaching   of    
UOZUMI   Bunue  
sensei  [C1_11].  
 

24    
EXPLANATION  AND  ANALYSIS  
 
THE  CONSTRUCTION  OF  THE  VERTICAL  LINE  
 
The   vertical   line   is   a   precondition   for   any   archery   shooting,   and   is   a   main   goal   for   any   archer.  
Usually,  we  do  not  see  the  importance  of  this  line  anymore  because  it  is  no  more  difficult  to  open  
the   bow   after   several   years   of   practice.   However,   when   practicing   in   front   of   people   during  
demonstrations  or  tournaments  we  may  feel  the  instability  of  the  body.  This  is  an  effect  of  stress,  
but  also  a  lack  of  exercise  to  be  fully  concentrated  on  the  construction  of  the  vertical  line.  
 
Why   is   it   so   difficult?   Because   the   construction   of   the   horizontal   line,   the   shooting   line,   takes   the  
priority   in   the   mind   while   the   vertical   line   should   stay   strong.   The   vertical   line   must   stay  
engraved  in  the  body.  
 
In  DOZUKURI,  here  are  three  teachings:  
(1) Expand  properly  the  centerline  of  the  body.  To  do  this,  
do   not   bend   the   body   at   the   femoral   joints   (keep   the   posture  
seen  at  exercise  2).  Lower  the  chest  by  rounding  the  back.  This  
will  form  a  crease  between  the  breast  and  belly.  This  is  useful  
to   free   the   chest.   On   this   subject,   see   the   teaching   from  
HOURIBE   Shizen   sensei   [C   1-­‐4]   and   also   the   teaching   from  
MORIKAWA  Masaru  sensei  [C1_7]  to  relax  the  chest.  In  other  
words,   to  feel   the   lower   part   of   the   epigastrium,   it   is   better   to  
have  as  back  rounded.  
 
(2) «  HATOMUNE  
DECHIRI  »,   pull   the  
hips  forward  and  push  
the   chest.   As   a   result,  
the  spine  is  curved  like  an  S.  This  method  is  not  
ideal   because   it   often   leads   to   suffocation.  
«  HATOMUNE   DECHIRI  »   is   useful   for   horse  
shooting,   or   when   shooting   in   an   unstable  
situation  as  on  a  boat.  
 
(3) Finally   there   is   a   teaching   form   URAGAMI  
Sakae   Sensei   [C1_17],   to   draw   a   little   the   hips  
for  stabilization.  This  is  called  «  HAKAMA  GOSHI  
NO  KANE  ».  
 
I   prefer   the   first   method   because   I   think   it   is   useful   for   shooting   KINTEKI.   If   one   can  
stand,   vertically   in   DOZUKURI,   it   helps   not   only   the   expression   of   the   beauty   of   Japanese  
archery,  but  also  the  correct  flow  of  KI.  Many  sensei  are  teaching  this  first  method.  
 

  25  
TO  STRENGTHEN  THE  VERTICAL  LINE  
 
At  the  DOZUKURI  step,  do  we  need  a  solid  vertical  line?  
I  think  it  is  enough  to  prepare  for  this  step  only  the  mandatory  elements  to  DOZUKURI  because  
in  DOZUKURI,  ease  of  mind  is  more  important  than  anything.  BISHU  CHIKURIN  RYU  teaches  that  
in  DOZUKURI,  you  must  remove  from  the  heart  the  seven  emotions:  joy,  anger,  worry,  thought,  
sadness,   fear   and   surprise.   The   man   has   nothing   originally.   If   he   is   awake,   he   can   become  
DAINICHI  NYORAI,  a  Buddha.  This  gradation  in  the  DOZUKURI  is  called  NICHI  GETSU  SHIN   (sun,  
moon   and   God,   or   body).   By   achieving   this,   we   can   shoot   with   no   fear,   even   in   front   of   the  
emperor  and  nobles,  according  to  a  teaching  of  UOZUMI  Bunue  sensei  [C1_10].    
We  should  gradually  strengthen  the  vertical  line  while  opening  the  bow.  
 
BREATHING  
 
The   construction   of   the   vertical   line   closely   involves   IKIAI,   breathing.   I   will   give   some  
explanation  on  breathing  in  another  chapter.  Here  I  would  only  talk  about  two  things:  
(1)  The  breathing  deepness  should  be  balanced  with  the  power  of  the  bow.  
(2)   From   the   position   of   SANBUN   NO   NI,   the   air   left   in   the   chest   should   be   lowered   in   the  
TANDEN.  
If  these  two  conditions  are  not  sufficiently  met,  breathing  may  become  suffocating.  
 
FIVE  METHODS  FOR  DOZUKURI  
 
-­‐  SORUDO,  bend  the  torso  backward  
-­‐  KAGAMU  DO,  bend  the  torso  forward  
-­‐  CHU  DO,  stand  vertically  
-­‐  KAKARU  DO,  move  the  torso  towards  the  target  
-­‐  NOKU  DO,  move  the  torso  back  from  the  target.  
These   methods   are   depending   on   the   type   of   shooting.   For   example,   use   CHU   DO   for   KINTEKI,  
and  NOKU  DO  for  ENTEKI,  long  distance  shooting.  
 

 
 

26    
  
CONCLUSION  
Finally,  here's  a  thought  from  CHIBA  Tanetsugu  sensei,  former  president  of  the  ZNKR  and  10th  
DAN   HANSHI   [C1_1]:   when   doing   ASHIBUMI,   it   would   be   good   to   have   the   feeling   of   installing  
the  body  on  the  ground  rather  than  just  standing  on  the  ground.  
As  a  result,  you  can  feel  the  body  as  part  of  everything  in  the  universe  (micro-­‐cosmos).  This  is  
ideal.  Place  the  feet  on  the  ground  as  people  practicing  JUDO  are  doing.  
Install   massively   the   hips   on   the   ASHIBUMI   then   setup   the   DOZUKURI   in   a   natural   way.   Place  
vertically  the  spine  and  neck,  the  chin  backward,  and  look  vaguely  the  tip  of  nose  with  the  eyes  
half  open.  The  head  extends  infinitely  upward  on  one  hand,  and  on  the  other  hand  the  lower  part  
of  the  body  becomes  heavier  as  it  penetrates  the  ground.  
Keep   the   body   flexible   as   a   good   fishing   rod.   Focus   the   spirit   on   the   area   of   the   TANDEN,   but  
never  harden  voluntarily  this  part.  Lower  the  shoulders,  extend  the  neck,  and  have  flexible  arms  
as  well  as  the  feet.  All  the  muscles  are  in  their  natural  state.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

  27  
28    
CHAPTER  2  -­‐  THE  LEFT  HAND  TENOUCHI  
 
This  chapter  and  the  next  one  are  describing  the  TENOUCHI  of  both  hands.  The  Japanese  word  
TENOUCHI  generally  concerns  the  left  hand.  It  means  a  «  method  to  grab  the  bow  ».  On  the  other  
side,   hanging   the   string   into   the   groove,   TSURUMAKURA   of   the   YUGAKE   (glove)   is   called  
KAKEGUCHI  NO  HATARAKI:  the  function  of  the  groove  (MORIKAWA   Masaru   sensei  [C2_13]).  
However,   recently   many   sensei   are   also   using   the   word   TENOUCHI   for   the   right   hand.   This,  
probably   because   the   functions   of   the   both   hands   are   linked,   as   for   example   the   base   of   the  
thumb   and   fingers   of   one   hand   being   balanced   against   those   of   the   other   hand   (according   to  
FUKUHARA   Ikuo   sensei  [C2_2]  and  KARASAWA   Kotaro   Sensei  [C2_9]).  In  this  book,  I  chose  
the  same  word  TENOUCHI  for  both  hands,  TENOUCHI  of  the  left  hand  and  right  hand.    
 
A  PRELIMINARY  KNOWLEDGE  (KYUDO  KYOHON  SUMMARY)  
 
YUGAMAE  
 
YUGAMAE  is  an  action  that  precedes  the  beginning  of  the  shooting  movement.  Therefore,  it  must  
be  done  while  maintaining  the  correct  posture  formed  by  ASHIBUMI  and  DOZUKURI.  In  addition,  
care   must   be   taken   in   strengthening   the   power   of   the   mind   and   also   in   regulating   breathing.   For  
YUGAMAE,  there  are  two  forms  «  SHOMEN  no  KAMAE  »  and  «  SHAMEN  no  KAMAE  ».    
Each  YUGAMAE  includes  three  actions:  TORIKAKE,  TENOUCHI  and  MONOMI.  For  TORIKAKE,  we  
hang  the  string  with  the  thumb  of  YUGAKE  in  front  of  the  body  (face  in  front,  between  the  bow  
and  the  string).    
When   using   a   YOTSUGAKE   (four   fingers   glove),   press  
the   ring   finger   with   the   thumb   joining   the   middle   and  
first  fingers  on  the  ring  finger.    
When   using   a   MITSUGAKE   (three   fingers   glove),   press  
the   middle   finger   with   the   thumb   and   join   the   index  
finger.  The  right  thumb  has  a  spring  function  (as  the  left  
thumb).   The   thumb   quickly   snaps   from   the   other  
fingers  at  HANARE  (string  release).    
This  action  of  the  right  hand  to  form  the  hook  is  called  
«  TORIKAKE  ».   In   contrast,   in   the   left   hand,   we   must  
correctly   grab   the   handle   of   the   bow,   this   is   the   left  
TENOUCHI.  In  the  position  SHOMEN  both  hands  are  in  
front   of   the   body,   but   in   SHAMEN,   after   TORIKAKE   in  
front  of  the  body,  YUGAMAE  is  done  by  moving  the  bow  
in  left  oblique.  In  TORIKAKE,  it  should  be  noted  that  the  
angle  between  the  right  forearm  and  the  string  is  nearly  
90   degrees   and   the   wrist   is   not   bent.   This   is   called  
KAKEGUCHI  JUMONJI.  
The   left   TENOUCHI   is   a   very   important   technique   to  
fully   use   the   power   of   the   bow   efficiently.   It   impacts  
directly   the   arrow   flight   speed,   the   penetration   power,  
the   flight   distance   and   also   the   arrow   impact   on   the  
target.   For   a   long   time,   several   expressions   have   been  
used   for   the   form   and   function   of   the   TENOUCHI   such  
as   «  UNOKUBI  »,   the   cormorant's   neck,   «  MOMIJI-­‐
GASANE  »,   the   shape   of   a   maple   leaf,   «  RANCHU  »   the  
feeling  of  grabbing  an  egg,  «  AKURAN  »  (like  RANCHU).  
I   think   this   expresses   the   feeling   to  never   grab   the   bow   too   much,   grabbing   it   like   an   egg.   It   is  
difficult,  so  you  have  to  train  a  lot  with  a  teacher.  After  this  preparation,  hold  the  bow  as  if  it  was  
hold   with   the   arm,   keeping   the   wrist   and   elbow   flexible.   Then   turn   your   head   and   look   at   the  
target.  This  is  called  «  MONOMI  o  SADAMERU  ».  

  29  
  
GENERAL  EXPLANATION  FOR  THE  LEFT  TENOUCHI  
 
In   Japanese   archery,   to   properly   train   the   left   TENOUCHI   is   fundamental.   The   Japanese   bow  
characteristic  position  of  the  handle  is  asymmetric  (it  almost  coincides  with  the  golden  section,  
1/1.618  (URAGAMI   Sakae   Sensei  [C2_31]).  Moreover,  the  arrow  is  placed  on  the  right  side  of  
the  bow,  so  when  released  without  artifice,  the  arrow  goes  to  the  right  and  above  the  target.  The  
left  TENOUCHI  is  a  technique  to  correctly  place  the  arrow  on  its  
path,  directly  toward  the  target.  The  bow  is  subject  to  twisting  
while   the   lower   part   of   the   handle   is   pulled   with   the  
TENOUCHI.  
So   how   is   the   bow   twisted?   Is   it   with   the   power   of   the   hand   ?  
No!   If   you   do   this,   there   is   a   risk   of   breaking   the   bow   because  
the   Japanese   bows,   made   of   bamboo   and   wood,   are   fragile.  
What   matters   most   is   that   the   twist   of   the   bow   is   given  
passively,   without   using   the   hand   strength.   The   TENOUCHI  
does   this   function   while   at   the   same   time,   it   has   the   other  
function  to  naturally  pull  the  lower  part  of  the  handle.  
The   TENOUCHI   must   grab   the   bow   at   right   angle   between   the  
thumb   and   the   middle   finger.   Three   fingers,   middle,   ring   and  
little   fingers   are   aligned   on   their   extremities.   The   thumb   is  
placed   on   the   middle   finger   (see   IL10).   In   this   case,   an  
imaginary   cross   is   formed   between   the   fold   and   the   TENOUCHI  
horizontal   line   drawn   from   MYAKU-­‐DOKORO   (the   position   of  
the   pulse)   to   the   end   of   middle   finger.   This   is   called   the  
TENOUCHI   JUMONJI.   We   must   keep   this   cross   in   all   the  
movements.  The  bow  angle  gradually  increasing  while  opening  
has   the   effect   of   pulling   the   bottom   of   the   bow,   and   the  
pressure   increases   on   the   basis   of   the   thumb.   At   the   same   time,  
the  reduction  of  the  angle  between  the  forearm  and  the  arrow  
generates  some  hand  friction,  which  in  turn  induces  the  rotational  movement,  a  twist  of  the  bow  
(IL10,  2).  Here  are  the  functions  of  the  TENOUCHI.  
NOTE:  On  the  TENOUCHI  JYUMONJI,  you  will  find  different  opinions  according  to  schools.  In  this  
essay   I   present   various   versions.   Also   I   must   add   that   people   may   have   physical  conformation  
that  makes  difficult  to  apply  the  rules  explained.  In  this  case,  the  teacher  has  to  find  a  suitable  
solution  for  each  one.  
 
METHOD  OF  EXERCISE  
 
HANDLE  SIZE  
Measure   the   size   of   the   handle  
relative  to  the  size  of  the  hand,  
and   adjust   it   properly.   Set  
properly   the   left   side   of  
TODAKE   (outside   bamboo)  
into  the  hand,  and  to  check  the  
size,  look  at  the  followings:  
(1)   The   contact   between   the  
third   joint   of   the   little   finger  
and  the  right  side  of  the  TODAKE.  
(2)   the   existence   of   a   gap   between   the   base   of   the   thumb   and   the  
tip  of  the  middle  finger.  
For   some   European   practitioners   with   bigger   hand,   it   may   be  
required  to  adjust  the  handle  size.  

30    
TENOUCHI  FOR  SHOMEN  FORM  
(1) When  doing  YUGAMAE,  place  the  middle  of  KOKO  (the  
part   between   the   thumb   and   the   index   finger)   on   the   left   side  
of  TODAKE  (ISHIOKA  Hisao  sensei  [C2-­‐6]  teaching).  
 
(2) Methods  to  set  the  bow  in  the  hand.  
 
Method  1  -­‐  Set  the  left  side  of  TODAKE  on  the  fold  of  the  palm.  
In   general,   this   is   the   basic   method   (see   illustration  
«  YUGAMAE  »   of   KYUDO   Hassetsu   at   the   end   of   KYUDO  
KYOHON).  
 
Method   2   –   place   the   TODAKE   parallel   to   the   fold,   either  
inward  or  outward.  To  have  the  right  placement,  you  should  
check   that   in   DAISAN,   you   have   the   third   joint   of   the   little  
finger   on   the   right   side   of   the   TODAKE.   The   size   of   the   handle  
in  relation  to  the  size  of  the  palm  is  important.  
 
 
(3)   Method   to   wrap   the   three   fingers   on   the   handle,   once  
again  two  methods:  
 
Method   1   -­‐   wrap   the   little   finger   on   the   grip,   squeezing   the  
distance   between   little   finger   and   the   base   of   the   thumb.  
Then   align   the   ring   and   middle   fingers   on   the   little   finger,  
fingertips   set   as   a   straight   line.   This   is   called   TSUMAZOROE  
(KARAZAWA   Kotaro   Sensei   [C2_11]   and   MURAKAMI  
Hisashi  sensei  [C2_15]).  
 
Method  2  -­‐  first,  join  the  three  fingers  «  as  a  board  »  with  tips  
in   TSUMAZOROE,   and   then   wrap   the   handle   (FUKUHARA  
Ikuo  sensei  [C2-­‐4]  and  ANZAWA  Heijiro  sensei  [C2_1]).  
In   each   case,   the  
thumb   is   bent   outside  
and   is   placed   on   the  
middle  finger  covering  
half   the   nail.   The   index  
finger  is  a  little  raised  and  bent  or  extended  it  naturally.  
 
(4)   When   grabbing   the   bow,   extend   the   external   part   of  
the  hand,  to  the  first  joint  as  much  as  possible.  In  this  case  
if   the   bow   is   hold   lightly   between   the   thumb   and   the  
middle   finger,   we   may   feel   the   SHUSHIN   position.   The  
SHUSHIN  coincides  with  the  first  articulation  of  the  hand.  
But   the   bow   must   not   be   held   too   tight.   This   first   action  
will  give  to  the  bow  a  suitable  rotation  while  keeping  the  
flexibility  of  the  TENOUCHI.  The  SHOKON,  the  lower  part  
of  the  palm,  must  always  be  in  contact  with  the  bow  side.  
It   is   also   important   to   center   the   bow   in   the   palm   to  
harness   the   power   of   the   bow.   This   is   SHOSHIN.   The  
function   of   the   SHUSHIN   and   the   SHOKON   is   the   balance  
of   the   TENOUCHI.   URAGAMI   Hiroko   sensei   [C2_28]  
teaches   that   the   place   to   push   the   bow   is   not   only   the  
KOKO  but  also  more  the  SHOSHIN.  

  31  
  
(5)   After   the   YUGAMAE   phase,   do   not   change   the   shape   of  
TENOUCHI.  Especially,  be  careful  to  not  change  it  during  the  
DAISAN   transition.   During   UCHIOKOSHI,   raise   the   TENOUCHI  
with   the   bow   perpendicular   to   the   ground.   In   the   bow  
movement   keep   both   hands   flexible   and   soft.   During   the  
rotation,   avoid   using   the  
fingertips,   let   them   slide   as  
if   these   fingertips   open  
outside.   In   this   case,   a  
friction   arises   near   the  
third   joints.   At   the   same  
time,  slide  the  thumb  on  the  
middle  finger.  
When   moving   both   hands,  
some   wrong   things   may  
happen:  
1)  The  TENOUCHI  is  broken  
2)   A   space   between   the  
SHOKON  and  the  handle.  
3)  Middle  finger  pushed  forward  by  the  thumb.  
All  this  may  impact  the  target  hitting  accuracy.  
 
(6)   When   moving   the   bow,   it   must   be   treated   as   a   precious   object.   UOZUMI   Bunue   sensei  
[C2_21]   says   that   in   BISHU   CHIKURIN   RYU,   this   is   called   «  KAKAERU  »,   means   hold   something  
precious.  Until  DAISAN,  the  left  elbow  is  opened  gradually,  while  at  the  same  time,  the  angle  of  
the   right   elbow   is   decreased   gradually,   late   to   the   movement   of   the   left   elbow.   KAMINAGA  
Masakichi   sensei  [C2_7]  teaches  that  even  if  the  left  arm  has  come  to  the  DAISAN  position,  we  
should  leave  a  minimum  of  flexibility  in  the  elbow.  
 
(7)  At  the  DAISAN  position,  the  TENOUCHI  is  definitely  in  place.  
It   does   not   bend   to   any   side   and   we   should   feel,   according   to   the  
teachings   of   TAKAGI   Tasuki   sensei   [C2_18]   and   UOZUMI  
Bunue   sensei   [C2_26],   the   right   balance   between   four   points:  
the  base  of  the  thumb,  the  forefinger,  the   SHOKON,  and  the  little  
finger  around  the  bow.  
 
 
(8)   For   the   release,   there   is   a   choice   between   one   of  
the  two  TENOUCHI  functions:  
-­‐   UWAOSHI,   push   down   and   sideways   (on   the   right  
side  of  the  bow  with  the  TSUNOMI  in  45  degrees  the  
direction.   This   method  
comes   from   HEKIRYU  
INSAIHA.  
-­‐   NAKAOSHI,   push  
straight   forward   to   the  
MATO   with   the  
TSUNOMI,   also   using   the   middle   finger   function,   soft   tightening  
between  the  middle  finger  and  the  SHUSHIN.  See  «  NAKAOSHI  no  
TENOUCHI  »  in  the  section  «  Explanation  and  Analysis  ».  
When   using   the   first   method,   at   ZANSHIN,   the   URAHAZU   (upper  
bow   extremity)   leans   forward,   toward   the   target.   In   the   second  
method,  the  bow  does  not  lean.  

32    
  
(9)  Despite  the  fact  that  the  TENOUCHI  must  be  flexible,  the  muscle  of  the  thumb  base  must  be  
firm.   This   is   ensured   by   clamping   the   middle   finger   and   by   the   function   of   lifting   up   the  
forefinger.  At  the  release  time,  the  thumb  moves  quickly  toward  the  target,  right  to  it.  URAGAMI  
Hiroko   sensei   [C2_27]   teaches   that   the   tension,   HARI,   of   the   thumb   base   muscle   on   the  
centerline  of  the  left  arm  prepares  this  movement.  
 
TENOUCHI  FOR  SHAMEN  FORM  
In   SHAMEN,   there   are   many  
schools,  but  I  will  mainly  focus  
in   this   essay   on   the   methods  
from   two   schools:   HEKIRYU  
INSAIHA  and  BISHU  CHIKURIN  
RYU.   By   the   way   this   can   also  

be   read   by   SHOMEN   practitioners   as   I   think   for   them,   it   is  

important  to  understand  the  school  origin  of  these  techniques,  their  
TENOUCHI   and   the   technical   efficiencies   of   each   method.   For  
SHAMEN  practitioners,  this  section  might  be  a  bit  light,  so  they  may  
complete   their   knowledge   with   other   books   or   teachings   specific   to  
each  school.  
 
(1)  HEKIRYU  INSAI  HA  
ASHIBUMI   and   DOZUKURI   in   INSAI   HA   are   specific   as   illustrated  
above.   In   this   school,   after   DOZUKURI,   move   the   bow   a   little  
obliquely  forward  from  the  body.  The  left  arm  is  extended  naturally  
to   do   the   TORIKAKE.   Then   bring   back   the   bow   in   DOZUKURI  
position.  Then  build  the  TENOUCHI:  place  the  center  of  KOKO  to  the  
position   of   three-­‐tenths   of   the   UCHIDAKE   width   (bow   inside  
bamboo),   from   the   left   side   of   the   bow;   The   KOKO   is   placed   1.5cm  
below  the  upper  part  of  the  handle.  While  pushing  the  bow,  it  opens  
about  3cm,  rubbing  to  the  inside  of  the  palm  and  KOKO  skin  (IL22).  
Then  open  all  fingers  of  the  left  hand,  and  at  the  same  time,  place  the  
left  side  of  the  TODAKE  on  the  TENMON-­‐SUJI  (the  fold  of  the  palm).  
Wrap   the   little   finger   on   the   grip,   squeezing   the   thumb   base.   Place  
the  ring  and  middle  fingers  on  the  little  finger  by  aligning  the  tips  of  
three  fingers.  The  ring  finger  and  the  middle  finger  are  inserted  in  a  
very  short  space  between  the  thumb  and  the  little  finger.  A  space  is  
created  between  the  TODAKE  and  the  ring  and  middle  fingers.  Give  
some  strength  to  the  three  fingers,  and  open  the  bow  by  about  15  cm  
keeping  the  form  of  the  TENOUCHI.  Then  raise  the  fists  with  the  bow  
obliquely  up,  without  changing  both  TENOUCHI.  
URAGAMI   Sakae   sensei   [C2_29]   and   INAGAKI   Genshiro   sensei  
[C2_5]   are   teaching   that   this   TENOUCHI   is   called   MOMIJI   GASANE  
NO   TENOUCHI   because   its   shape   looks   as   a   red   maple   leaf   (MOMIJI),  
and   that   it   shows   the   gradation   of   a   shooter   reaching   the   upper  
KYUDO  level.  
 

  33  
(2)  BISHU  CHIKURIN  RYU  
ASHIBUMI  and  DOZUKURI  of  this  school  are  presented  in  the  figures  below.  DOZUKURI  is  a  bit  
specific   as   shown   in   these   illustrations,   and   this   action   is   also   named   YUGAMAE.   The   position   of  
the   bow   in   YUGAMAE   is   obtained   by   aligning   the   METSUKE-­‐
BUSHI   (the   first   UCHIDAKE   node   from   the   upper   part   of   the  
handle)   with   the   line   of   sight   to   the   target.   Then   TORIKAKE   is  
prepared   after   moving   the   bow   until   the   nock   point   is   placed   in  
front  of  the  body.  To  form  the  TENOUCHI,  put  the  KOKO  on  the  
right   angle,   the   left   side   of   UCHIDAKE   (inside   bamboo).   Then  
put   the   third   joint   of   the   little   finger   on   the   right   side   of   the  
TODAKE  (outside  bamboo).  The  other  fingers  (middle  and  ring)  
are  aligned  on  the  little  finger  by  bringing  the  tips  of  the  fingers  
in  a  straight  line.  The  inside  of  the  thumb  is  placed  on  the  side  
of  the  nail  of  the  middle  finger.  
 
After  TORIKAKE,  move  the  bow  on  the  left  side  obliquely  from  
the   body   without   opening   it.   This   is   called   «  KYUKAÏ  »   (the  
posture   where   one   have   the   feeling   of   holding   a   trunk   with  
arms).  
In  the  BISHU  CHIKURIN  RYU,  for  UCHIOKOSHI,  rise  the  bow  to  
the   DAISAN   position,   gradually   pushing   the   bow   with   the   left  
hand   to   open   it.   The   thumb   is   moved   slowly   to   the   left   side   of  
UCHIDAKE.   Here,   there   is   a   difference   between   the   two   schools   because   for   INSAIHA,   the   bow   is  
already  slightly  opened  before  rising  it.  
The  TENOUCHI  is  called  «  NAKASHIKAKU  CHU-­‐O  no  TENOUCHI  ».  The  Japanese  word  «  NAKA  »  
means   «  inside  »   or   «  moderate  »,   «  SHIKAKU  »,   «  square  »   and   «  stability  »,   and   «  CHU-­‐O  »,  
«  center  ».  UOZUMI   Bunue   sensei  teaches  it  means  a  TENOUCHI  stabilized  because  it  does  not  
bend  to  any  side  (TOMITA  Tsunemasa  sensei  [C2_20]  and  UOZUMI  Bunue  sensei  [C2_25]).  
 

 
 
EXPLANATION  AND  ANALYSIS  
 
SHOMEN  TENOUCHI,  SHAMEN  TENOUCHI  
 
For  the  TENOUCHI,  there  are  different  flavors  depending  on  each  school.  But,  in  general,  it  can  
be  understood  as  follows:  
HEKIRYU,   including   both   INSAI-­‐HA   and   CHIKURIN-­‐HA,   have   been   developed   as   «  HOSHA  »   (or  
«  BUSHA  »),   means   a   war   school,   ground   level.   The   battle   was   the   ultimate   goal.   They   have  
adopted  the  SHAMEN  form,  as  natural  facing  enemies.  
Instead,   the   OGASAWARA-­‐RYU   school   played   a   large   role   in   the   horse   shooting   form.   The  
OGASAWARA  masters  have  adopted  the  SHOMEN  form,  natural  for  this  practice.  This  school  was  
organizing  OGASAWARA  ceremonial  shootings,  such  as  YABUSAME,  KUSAJISHI,  KASAKAKE  and  

34    
INU-­‐O-­‐MONO.  It  was  competitions  on  square  board  targets,  stag  figures,  traditional  hats,  or  dogs.  
Therefore,   it   is   understandable   that   those   who   belonged   to   this   OGASAWARA   tradition   have  
represented   the   noble   class   or   high   BUSHI   class.   In   parallel,   each   DAIMYO   (feudal   lord)  
promoted  HEKI-­‐RYU  to  form  or  maintain  vassals  fighters  in  the  spirit  of  SAMURAI.  
Naturally,  this  created  differences  between  the  shooting  methods,  as  TENOUCHI  technics  to  hit  
the  target  with  power  and  accuracy  in  HEKIRYU.  However,  for  a  long  time,  there  have  been  lots  
of   technical   exchanges   between   the   schools.   Many   teachings   on   TENOUCHI   are   including  
metaphors  that  have  common  points  between  the  traditions.  
At   the   same   time,   we   can   see   that   OGASAWARA   preferred   a   natural   TENOUCHI,   without   artifice,  
may  be  to  quickly  grip  the  bow  during  horse  shooting  demonstrations  (SAITO  Naoyoshi  sensei  
[C2_17]   teaches   that   it   is   ideal   to   grip   the   bow   by   remaining   «  moderate  »   and   to   also   not   be  
obsessed  by  the  TENOUCHI).    
 
INSAI-­‐HA  AND  BISHU  CHIKURIN-­‐RYU  
 
Those  who  have  experienced  both  schools  TENOUCHI  know  from  practice  there  are  differences  
in  form  and  effectiveness.  This  gives  a  very  interesting  topic  to  understand  not  only  the  concepts  
of   TENOUCHI   relative   to   each   school,   but   even   more   the   technique   and   efficiency   of   what   we  
may  do  now.  
Basically,  the  two  schools  have  their  origins  in  the  HEKI-­‐RYU  style,  which  they  do  not  have  the  
same  founder.  HEKI   Danjo   Masatsugu  founded  the  HEKI-­‐RYU,  and  INSAI-­‐HA  recognizes  itself  
as   its   successor.   Instead,   CHIKURIN-­‐RYU   says   it   was   founded   by   HEKI   Yazaemon   Noritsugu,  
contemporary  of  HEKI  Danjo  Kyudoka.  
It   is   assumed   that   they   both   lived   in   the   15th   century,   however,   some   are   considering   that   HEKI  
Danjo  might  be  a  legend.  We  cannot  prove  this  fact  anymore  nevertheless  the  two  schools  have  
survived   until   now.   It   is   also   clear   that   for   INSAI-­‐HA,   YOSHIDA   Issuiken   sensei   on   one   hand,  
and   for   CHIKURIN-­‐RYU,   CHIKURIN-­‐BON   yosei,   a   Buddhist   monk   on   the   other   hand,   have  
developed  a  lot  their  school.  
Both  schools  were  part  of  the  BUSHA  training,  shooting  for  SAMURAI,  but  CHIKURIN-­‐RYU  fully  
adopted,  the  precepts  of  Buddhism  in  its  teachings.  You  can  find  the  Japanese  word  «  KYUDO  »,  
the   way   of   archery   in   its   documents,   as   opposed   to   «  KYUJUTSU  »,   art   of   archery   shooting,   in  
those   of   other   schools   including   INSAI-­‐HA.   (UOZUMI   Bunue   sensei   [C2_22]).   This   influenced  
the  concepts  on  TENOUCHI,  which  is  very  interesting  to  study.  
 
Back  to  our  subject,  in  INSAI-­‐HA  when  forming  the  TENOUCHI,  place  the  left  side  of  the  TODAKE  
on   the   TENMON   SUJI   (fold   of   the   palm).   In   CHIKURIN-­‐RYU,   grip   the   little   finger,   putting   its   third  
joint  on  the  right  side  of  TODAKE.  By  practicing,  I  noticed  that  the  left  side  of  TODAKE  does  not  
coincide  with  the  crease  of  my  palm,  but  outside  the  fold.  Of  course,  it  depends  on  the  size  of  my  
hand   or   the   size   of   the   handle   of   my   bow,   but   on   the   other   hand,   it   indicates   that   the   CHIKURIN-­‐
RYU   is   not   related   to   the   method   of   putting   the   left   side   of   the   TODAKE   on   the   crease.   From   this,  
we  can  deduce  that  there  is  a  difference  between  the  two  schools  TENOUCHI.  
 
MATOMAE  AND  DOSHA  
 
MATOMAE   is   the   shooting   at  28m   distance   while   DOSHA   is   the   shooting   for   SHI-­‐TO-­‐YA,   through  
the  SANJU-­‐SANGENDO   corridor   (Buddhist   building   in   Kyoto),   at  120m  distance.   This  long-­‐range  
shooting   demonstrations   were   organized   during   the   17th   century.   WASA   Daihachiro,   vassal   of  
the  KISHU  fief  (Wakayama  prefecture  now)  shot  through  the  corridor  8133  arrows  in  two  days,  
and   HOSHINO   Kanzaemon   vassal   of   the   BISHU   fief   (Aichi   prefecture),   8000   arrows.   Both   were  
from  the  CHIKURIN-­‐RYU  tradition.  
The   method   for   DOSHA   shooting   was   very   specific.   The   practitioner   was   using   a   YOTSUGAKE  
(four-­‐finger  glove)  to  pull  a  lot  of  arrows.  In  this  case,  as  the  groove  of  the  YOTSUGAKE  is  crafted  
obliquely,   he   was   lowering   excessively   the   position   of   his   right   elbow   to   keep   the   rule   of  

  35  
KAKEGUCHI   JYUMONJI   of   the   right   hand.   The   shooter   was   also   making   the   TENOUCHI   using  
mostly  finger  and  thumb,  so  that  the  arrows  were  flying  farther  and  lighter  than  in  the  KINTEKI.  
Here   it   may   be   noted   that   when   applying   the   method   of   the   DOSHA   TENOUCHI,   using   mostly  
middle  finger  and  thumb  to  grip  the  bow,  it  makes  the  arrows  to  fly  lighter  and  farther.  This  is  
due  to  the  characteristic  of  the  Japanese  bow  where  the  lower  part  of  the  strung  bow  goes  back  
faster  than  the  upper  part.  The  power  of  the  arrow  is  not  very  strong,  but  the  arrow  flies  faster.    
Is  this  technique  also  usable  and  effective  for  KINTEKI  shooting?  
MORIKAWA   Masaru   sensei   [C2_13]   teaches   that   the   differences   between   NAKAOSHI   and  
UWAOSHI   TENOUCHI   are   not   noticeable,   but   NAKAOSHI   method   is   to   grab   the   bow   especially  
with  the  finger  and  thumb,  and  used  for  DOSHA  (SASHIYA)  shooting.  
 
UWAOSHI  AND  NAKAOSHI  
 
Concerning   the   TENOUCHI   JYUMONJI   (TENOUCHI   cross),   I   already   gave   some   explanations  
above.  What  pushes  the  bow  is  called  NAKAOSHI.  This  rule  is  respected  regardless  of  the  school.  
On  the  other  hand,  there  are  some  non-­‐obvious  differences.  In  this  regard,  MURAKAMI   Hisahi  
sensei   explains   [C2_16]   what   follows:   during   HIKIWAKE   to   KAI,   maintain   the   shape   of  
NAKAOSHI.   Then,   for   UWAOSHI   method,   during   the   release,   do   specific   work   with   the   TSUNOMI  
(the  thumb  base)  and  the  little  finger.  In  contrast,  for  NAKAOSHI  method,  work  with  the  middle  
finger,  not  the  little  finger.  After  YUGAERI  (the  bow  rotation  after  arrow  release)  the  UWAOSHI  
function   pushes   the   top   of   the   bow   toward   the   target   while   the   NAKAOSHI   function   keeps   the  
bow  more  vertical.    
 

           
 
MISUMI  NO  TENOUCHI  
 
“MISUMI   no   TENOUCHI"   is   based   on   the   NAKAOSHI   form.   The   TENOUCHI   of   TOMITA  
Tsunemasa  sensei,  BISHU-­‐CHIKURIN-­‐RYU  teacher  looks  like  this.  In  this  TENOUCHI,  he  put  the  
left  side  of  the  bow  on  the  basis  of  the  index  and  little  finger.  He  places  the  thumb  root  on  the  
right  corner  of  UCHIDAKE.  Thus,  his  TENOUCHI  is  built  based  on  the  "three  corners"  (MISUMI),  
therefore   called   "MISUMI   no   TENOUCHI".   KAMINAGA   Masakichi   sensei   [C2_8]   and  
FUKUHARA  Ikuo  sensei  [C2_3]  are  recommending  this  method.  
 
IROKOGATA  NO  TENOUCHI  
 
Place   the   left   side   of   the   TODAKE   on   the   base   of   the   little   finger.   It   looks   close   to   "MISUMI   no  
TENOUCHI".   HARUHARA   Heihachiro   sensei   teaches   this   in   his   book   "GENDAI   KYUDO   SHO  

36    
JITEN",   "IROKO   GATA   no   TENOUCHI"   adjusted   in   NAKAOSHI.   On   the   other   hand,   KARASAWA  
Kotaro   Sensei   [C2_10]  from  INSAI-­‐HA,  teaches  that  it  is  a  way  for  beginners  who  do  not  yet  fully  
master  the  "JYUMONJI  no  TENOUCHI",  however  the  form  of  the  "JYUMONJI  no  TENOUCHI"  is  not  
the   same   for   each   practitioner,   with   different   hand   and   handle   size.   So   "IROKOGATA   no  
TEKOUCHI"  can  be  in  JYUMONJI  (cross)  if  the  morphology  of  the  practitioner's  hand  allows.  
 
Similarly,  TSUMAZOROE  (alignment  of  three  fingers  tips)  is  only  an  ideal.  We  must  first  comply  
with  the  rule  of  TENOUCHI  JYUMONJI,  more  important  than  the  TSUMAZOROE.  For  example,  a  
practitioner  who  has  the  short  little  finger  cannot  apply  TSUMAZOROE.  
 
HOW  DO  WE  WORK  WITH  THE  TENOUCHI?  
 
Those   who   practice   SHOMEN   may   also   adopt   one   of   the   two   methods,   from   INSAIHA   or  
CHIKURIN-­‐RYU.  However  it  should  be  noted  that  the  UWAOSHI  method  means  to  do  UWAOSHI  
with   determination,   while   NAKAOSHI   method   also   implies   some   UWAOSHI   trend,   but   more  
naturally.  It  is  only  a  matter  of  degree.  
 
In   this   regard,   following   are   thoughts   of   two   sensei,   teachers   of   INSAI-­‐HA   and   CHIKURIN-­‐RYU,  
which  allow  application  to  the  SHOMEN  form.  
 
*  URAGAMI   Sakae   sensei  teaches  [C2-­‐32]  as  follows:  there  is  enough  friction  in  the  hand  until  
KAI.   This   is   the   base   of   the   TENOUCHI   function.   So   for   the   release,   use   this   friction   and   the  
UWAOSHI  function.  It  means  in  KAI,  push  on  the  right  corner  of  the  bow  with  the  TSUNOMI,  with  
a  slight  UWAOSHI  form,  and  at  the  release,  push  the  TSUNOMI  to  the  target.  As  a  result,  the  left  
hand   goes   45   degrees   to   the   bottom   left.   It   has   to   be   noted   that   in   INSAI-­‐HA,   the   KUCHIWARI  
(arrow  height  in  KAI)  is  maintained  at  the  level  of  the  lower  part  of  the  nose.    
 
*   TOMITA   Tsunemasa   sensei,   CHIKURIN-­‐RYU,   teaches   [C2_19]:   in   KAI,   push   the   bow   by  
working  strongly  on  the  line  from  "MYAKUDOKORO"  (pulse  point)  to  the  base  of  the  thumb.  The  
thumb  must  be  bent  outside,  and  perform  the  same  thumb  function,  but  with  the  feeling  that  the  
tip  is  driven  gradually  to  the  left  toward  the  target.  The  other  fingers,  little  finger,  ring  finger  and  
middle   finger,   with   their   tips   aligned,   help   the   thumb   action   by   giving   to   the   bow   a   rotational  
movement.   In   addition,   by   adding   the   left   elbow   extension,   the   release   happens.   What   is   very  
important,   but   difficult,   is   to   tighten   the   bow   with   the   thumb   and   middle   finger.   We   can   find   this  
only  by  experience.  In  BISHU  CHIKURIN  RYU,  this  technique  is  called  "HIKIME  no  DEN".  
About  HIKIME,  UOZUMI  Bunue  sensei  also  teaches  [C2_24]  that  the  KUCHIWARI  in  CHIKURIN-­‐
RYU  is  at  the  mouth  level,  lower  than  in  INSAIHA.  
 
These  two  teachers  are  providing  many  useful  suggestions  for  the  SHOMEN  form.  The  UWAOSHI  
method   is   helpful   to   hit   the   target,   and   the   NAKAOSHI   method   is   better   for   an   aesthetic  
expression  of  the  shooting.  
Finally,  I  add  here  the  opinion  of  KUBOTA  Shintaro  sensei  [C2_12],  OGASAWARA  style  teacher:  
“Place  first  the  left  side  of  TODAKE  on  the  base  of  three  fingers”.  I  think  the  effect  is  similar  to  
the   INSAI-­‐HA   method   but   he   also   teaches   to   hold   the   bow   mainly   with   the   middle   finger   and  
thumb,  and  to  apply  NAKAOSHI.  
 
OTHER  QUESTIONS  
 
(1)  About  tightening  the  TENOUCHI  
While  opening  the  bow,  tightening  the  grip  is  occurring  naturally.  However,  for  beginners,  it  is  
better  to  tighten  the  third  fingers  joints  or  nearby.  The  advanced  practitioner  just  grabs  the  bow  
softly  and  with  flexibility.  
For   comments   on   using   the   third   joint,   refer   to   URAGAMI   Hiroko   sensei   [C2_28]   and  
MORIKAWA  Masaru  sensei  [C2_14].  

  37  
  
(2)   Depending   on   whether   you   choose   one   of   the   two   methods,   NAKAOSHI   or   UWAOSHI,   the  
release   in   the   right   hand   is   different.   When   applying   UWAOSHI,   the   release   works   by   the  
rotation  of  the  forearm  according  to  URAGAMI   Sakae   Sensei   [C2_30].  When  using  NAKAOSHI,  
there  is  less  rotation  than  with  UWAOSHI.  In  this  regard,  refer  to   the  chapter  "TENOUCHI  of  the  
right  hand"  of  this  essay.  
 
(3)  Four  bad  tendencies:  
(a)   Too   much   UWAOSHI   -­‐   the   arrow   flies   to   the   bottom   of   the   target,   and   the   left   fist   goes   too  
much  low  and/or  moves  vertically  up  and  down.  
(b)  Too  much  SHITAOSHI  -­‐  the  release  lift  up  the  left  fist,  the  arrow  flies  above  the  target,  and  
the  bottom  extremity  of  the  bow  leans  toward  the  target.  
(c)  If  the  left  wrist  is  too  bent  inside,  the  arrow  flies  to  the  right  if  there  is  no  other  action.  If  by  
reaction,  the  wrist  goes  to  the  left,  then  the  arrow  flies  to  the  left  of  the  target.  
(d)   If   the   left   wrist   is   too   bent   outside,   the   arrow   flies   to   the   left   if   there   is   no   other   action.  
Sometimes  it  may  cause  some  shaking  of  the  left  hand,  and  also  the  string  to  hit  the  forearm  or  
the  wrist.  
 
EVOLUTION  OF  THE  TENOUCHI  ALONG  THE  KYUDO  LIFE  
 
Maybe  I  am  giving  too  many  details  concerning  the  TENOUCHI.  When  concentrating  too  much  on  
the  technical  aspect,  we  cannot  perceive  the  highest  beauty  of  the  KYUDO,  but  some  sensei  are  
also  saying  that  TENOUCHI  practice  is  not  only  technical  but  also  a  main  goal  in  KYUDO.  
URAGAMI   Hiroko   sensei  wrote  [C2_28]:  when  I  started  to  understand  the  TENOUCHI  in  which  I  
do   not   use   any   power,   I   felt   a   big   change.   But,   after   a   while,   comparing   with   an   old   photograph,   I  
could   not   find   any   visible   change   in   its   outside   shape.   However,   I   now   appreciate   its   smooth  
form   in   my   current   practice.   This   comes   probably   to   understand   how   to   exclude   unnecessary  
power.   I   now   believe   that   "MOMIJI   GASANE   no   TENOUCHI"   (like   the   shape   of   a   red   maple   leaf,   a  
TENOUCHI   metaphor)   gradually   changes   to   reflect   an   accomplishment   in   several   steps   of  
TENOUCHI  studies:  how  to  use  power,  how  to  get  rid  of  it.  
 
The  evolution  of  the  TENOUCHI  is  like  a  maple  leaf  where  color  evolves  with  the  season.  In  the  
TENOUCHI,  we  can  find  the  same  gradation,  as  well  as  in  the  shooting.  There  is  spring,  followed  
by  summer,  by  fall  and  by  winter.  
 
 
 

38    
  
 

  39  
CHAPTER  3  -­‐  THE  RIGHT  HAND  TENOUCHI  
 
For  the  right  hand  TENOUCHI,  as  for  the  left  hand,  there  are  many  comments  and  explanations,  
which  are  even  sometimes  contradictory,  as  coming  from  different  school  traditions.  In  addition,  
I  had  some  difficulties  to  find  books  comparing  the  school  details,  which  means  that  my  personal  
comments   might   be   wrong,   however   I   still   accept   this   risk   and   the   challenge   to   write   this  
chapter.  
 
The   first   thing   to   explain   is   that   between   the   three  
fingers   glove,   MITSUGAKE,   and   the   four   fingers   glove,  
YOTSUGAKE,   there   are   some   differences   in   the  
conception  and  efficiency.  
One   is   that   the   thumb   of   MITSUGAKE   is   built   to   be  
oriented   toward   the   middle   finger,   while   for   the  
YOTSUGAKE,  it  is  toward  the  ring  finger.  This  means  
that  the  TSURU  MAKURA  (the  string  groove)  is  made  
to   have   the   string   at   90°   with   the   thumb   for   the  
MITSUGAKE,   while   there   is   a   slight   additional   angle  
for  the  YOTSUGAKE  (O-­‐SUJIKAI  or  KO-­‐SUJIKAI).  
What   is   important   first   is   that   we   must   use   the  
YUGAKE   the   right   way,   understanding   the   correct  
usage   for   its   form,   otherwise   it   may   lead   to   bad  
habits,  like  short  YAZUKA  (bow  opening)  or  unbalanced  ZANSHIN.  
Then,   especially   for   beginners   when   purchasing   a   new   glove,   there   may   be   a   more   difficult  
problem   linked   to   the   HIKAE,   the   hard   part   of   the   GAKE   along   the   wrist.   If   the   beginner   is  
bending   too   much   the   wrist,   to   compensate   some   difficulties   to   correctly   use   the   GAKE,   then   the  
groove   (TSURU   MAKURA)   angle   is   gradually   modified   to   match   the   position   of   the   elbow   too  
high  or  too  low.  The  teacher  must  quickly  identify  and  correct  such  default  otherwise  the  glove  
structure   may   be   affected.   Then   the   glove   would   have   to   be   repaired   which   may   be   difficult,  
especially  outside  Japan.  
Another   difficulty   is   that   glove   makers   have   their   own   view   on   how   to   build   the   GAKE   and  
especially   choose   the   groove   angle;   this  subject  is  complex  even   in  Japan.   In  this  essay,  I  am  just  
giving  some  clues  and  feedbacks  of  my  teacher  experience  with  beginners.  
 
Finally,   it   is   important   to   understand   that   the   right   TENOUCHI   has   close   relationship   with   the  
left  TENOUCHI.  Again,  I  give  some  clues,  but  practice  is  very  important  to  find  the  right  balance  
considering   physical   conditions   and   equipment.   Correct   balance   between   the   TENOUCHI   is   a  
subject  for  all  the  shooting  steps,  HASSETSU.  
 

  41  
  
EXERCISE  METHODS  
 
(1)  KAKEGUCHI  JYUMONJI,  cross  for  the  groove:    
When   using   a   MITSUGAKE,   three   fingers   glove,   the   rule  
KAKEGUCHI-­‐JYUMONJI   must   apply.   The   string   must   be   at   90°  
angle   to   the   thumb   axis.   This   is   called   GAKE   JYUMONJI   or  
ICHIMONJI.   YUGAKE   are   made   so   that   their   groove   is   slightly  
oblique   compared   to   the   string,   but   this   cross   must   be  
respected.   Of   course,   while   opening   the   bow,   the   string   has  
another  angle  to  the  GAKE,  but  the  virtual  cross  of  the  straight  
string   to   the   thumb   axis   must   be   kept   until   KAI   as   taught   by  
UOZUMI  Bunue  sensei  [C3_13].  
 
Several   sensei   are   showing   how   to   build   this   KAKEGUCHI  
JYUMONJI,  either  in  the  SHAMEN  or  in  the  SHOMEN  form.  See  
INAGAKI   sensei   [C3_3],   UOZUMI   Bunue   sensei   [C3_14]   and  
MORIKAWA  Masaru  sensei  [C3_11].  
 
(2)   While   following   the   KAKEGUCHI   JYUMONJI,   using   a  
MITSUGAKE,   the   thumb   of   the   YUGAKE   in   KAI   is   held   almost  
parallel   to   the   ground.   Try   to   not   have   the   tip   of   the   thumb  
pointing  either  too  low  or  too  high.    
 
However,   there   are   some   YUGAKE   with   the   groove   or   some  
other   parts   made   in   a   way   to   not   respect   this   JYUMONJI   rule.  
Then  the  thumb  position  might  not  be  parallel  to  ground.  The  
same   may   also   happen   if   the   glove   has   been   used   the   wrong  
way   and   the   shape   of   the   groove   no   more   allows   keeping   the  
JYUMONJI.  This  must  be  clearly  understood.  
 
When   purchasing   a   MITSUGAKE,   the   YUGAKE   characteristics  
must  be  checked,  as  for  example  that  its  above  part  is  directed  
slightly   upwards   while   rotating   the   forearm,   or,   as   INAGAKI  
sensei   suggests   [C3_4],   that   the   YUGAKE   has   enough   space  
between  the  thumb  and  first  finger,  and  also  that  the  length  of  
the  thumb  is  short.  
 
(3)   If   the   groove   has   been  
excessively   changed,   it   is   better   of   course   to   ask   the   glove  
maker   to   repair   it.   If   you   have   to   repair   yourself,   remove   the  
skin  glued  to  the  inside  of  the  thumb,  and  change  the  position  
of   TSURU   MAKURA.   This   part   is   usually   made   with   a   small  
hard   skin   piece.   Place   the   skin   as   it   was   originally,   and   if   it   is  
too  difficult  to  sew  it  around  the  edge  you  can  try  to  glue  it.  

42    
 (4)   There   are   two   methods   to   join   the   two   fingers   to   the  
thumb  to  realize  the  TORIKAKE  with  a  MITSUGAKE.  The  first  
one  is  to  place  the  middle  finger  on  top  of  the  thumb,  and  the  
first   finger   on   top   of   the   middle   finger.   The   second   one   is   to  
bring  together  the  middle  finger  and  first  finger  on  top  of  the  
thumb.   One   after   the   other   or   both   together,   you   can   choose  
one   of   it.   The   second   method,   if   properly   done,   is   better   to  
distribute  the  pressure  of  the  thumb,  as  taught  by  URAGAMI  
Hiroko  sensei  [C3_17].  
 
(4) When  doing  TORIKAKE,  
the   thumb   in   the   YUGAKE  
should  be  bent  outward,  which  
means   it   should   push   the  
middle  finger.  This  is  also  valid  
when  using  a  YOTSUGAKE.  
If   bending   the   thumb   inward,   it  
put  pressure  on  the  middle  and  
index  finger,  and  prevents   the  right   thumb  spring   function   at  
release.  
NOTE:  In  case  of  YUGAKE  thumb  is  too  big  compared  to  the  
thumb   inside,   it   might   be   better   to   stick   a   few   pieces   of  
suitable  thickness  skin  inside.  Instead,  if  it  is  too  small,  there  
is   no   other   way   than   to   bend   a   little   the   second   joint   of   the  
thumb  inside.  
 
(6)  The  rule  of  KAKEGUCHI  JUMONJI  for  a  YOTSUGAKE  
Even  if  the  grove  of  the  YOTSUGAKE  is  SUJIKAI,  means  with  a  
slight  angle,  you  can  still  call  KAKEGUCHI  JUMONJI    the  way  
to   hang   the   string   along   the   correct   path.   Of   course,   in   this  
case,   between   the   thumb   and   the   string,   there   is   not   a   right  
angle,   however   there   is   a   right   angle   to   the   groove.   The  
YOTSUGAKE  has  been  manufactured  in  a  way  to  respect  this  
JYUMONJI  rule,  even  if  the  wrist  is  not  bent  excessively.  
YOTSUGAKE   are   no   more  
made   as   in   the   past,  
especially   for   DOSHA   [C3_5],   with   an   excessive   groove   angle,  
KOSUJIKAI.  
 
(7)   To   join   the   three   fingers   to   the   thumb   of   the   YOTSUGAKE,  
there  are  three  methods:  
1)   Put   the   thumb   near   the   third   joint   of   the   ring   finger,   joining  
the  middle  and  index  fingers  on  the  ring  finger  (see  illustration  
IL35/1)  as  explained  by  FUKUHARA  Ikuo  sensei  [C3_1]  
2)  Almost  same  as  1),  but  the  index  finger  is  extended  by  making  
him   follow   the   arrow   (see   illustration   IL35/2),   as   explained   by  
UNO  Yozaburo  sensei  [C3_12].  
3)  Place  on  the  thumb  the  ring  finger  and  the  index  finger,  then  
the   middle   finger   on   top   of   the   others   (see   illustration   IL35/3)  
as  explained  by  URAGAMI  Sakae  Sensei  [C3_19].  
 
(8)  The  function  of  the  three  fingers  and  the  little  finger:  

  43  
 *  In  the  method  1)  above,  the  three  fingers  are  bent  as  a  part  of  a  
circle  to  help  the  thumb  in  his  function  of  pulling  on  the  string.  At  
the   same   time,   these   three   fingers   are   balanced   with   the   three  
fingers  of  the  left  hand.  
*  The  little  finger  is  kept  bent.  This  is  useful  to  strengthen  the  line  
from  the  KAKEGUCHI  to  the  elbow  through  the  forearm.  
 
(9)   In   the   TORIKAKE,   the   right  
wrist   should   not   be   curved  
upward   or   downward,   nor  
outside,   according   to  
KAMINAGA   Masakichi   sensei  
[C3-­‐8].   But   in   fact,   the   wrist   is  
slightly   bent   by   the   TORIKAKE,  
but   excessive   bending   must   be  
avoided.   The   shape   of   the   wrist  
and   the   forearm   is   maintained  
during   all   the   movements.   If   not  
properly   done,   there   is   a   risk   of  
excessive  inside  curvature  or  a  V  shape.    It  might  be  a  consequence  
of   the   hard   part   of   the   bottom   side   of   the   glove   (HIKAE),   in   this  
case,  it  is  better  to  release  a  bit  the  glove  strap  and  soften  a  bit  the  HIKAE.  
 
 

 
 
 
(10)   From   the   end   of   UCHIOKOSHI   to   the   DAISAN   position,   do   not  
move   the   right   elbow   to   the   left   or   to   the   right.   The   right   elbow   is  
bent   gradually   during   the   move   of   the   two   TENOUCHI.   Soften   the  
wrist,  as  if  the  YUGAKE  itself  follows  the  elbow.  The  elbow  is  raised  
up  at  the  same  time  and  the  right  forearm  is  rotated  slightly  inward.  
NOTE:  to  feel  this,  do  not  wrap  too  tightly  the  strap  of  the  YUGAKE.  
However,   when   using   a   MITSUGAKE,   removing   too   much   power   in  
the  wrist  may  result  in  loosing  the  rotation  of  the  forearm  according  
URAGAMI  Iroko  sensei  [C3_18].  
 

44    
*  URAGAMI  Iroko  sensei  [C3_18]  teaches  that  when  using  a  MITSUGAKE,  you  must  rotate  more  
the   upper   part   of   the   glove   compared   to   the   YOTSUGAKE,   this   to   maintain   the   KAKEGUCHI  
JYUMONJI.  
I  think  this  teaching  is  important,  related  the  MITSUGAKE  characteristic,  especially  the  way  the  
groove  is  built.  I  learned  this  when  teaching  to  somebody  using  a  glove  not  allowing  to  follow  the  
cross  rule.   He   was   having   a   lot   of   difficulties   with   his   HIKIWAKE.   The   only   solution  was  that  the  
string  was  following  the  groove,  means  a  JUMONJI  to  the  groove,  not  to  the  thumb.    
 
(11)  Rule  for  the  right  hand  during  HIKIWAKE.  
When  using  a  MITSUGAKE,  do  HIKIWAKE  turning  the  forearm  a  little  inside  (left)  for  an  efficient  
release.  This  efficiency  is  called  "HI"  (faster),  "KAN"  (stronger)  "CHU"  (more  accurate)  or  CHU,  
KAN  KYU  (sustainability).  For  the  shooting  method,  read  URAGAMI   Sakae   sensei  [C3_21]  and  
INAGAKI  Genshiro  sensei  [C3-­‐2].  
When   using   a   YUGAKE   with   HIRAZUKE   characteristics,   other   solutions   may   be   needed   as  
explained  in  the  "analysis"  part  of  this  chapter.    
 
About  the  magnitude  of  the  rotation,  I  found  three  teachings  while  using  a  MITSUGAKE:  
1)   It   is   enough   to   have   rotated   the   forearm   during  
TORIKAKE   and   just   keep   this   rotation.   A   difficulty   is  
that   it  may  change  during   the   DAISAN   movement.   It   is  
important  to  keep  this  rotation  until  KAI  as  explained  
by  MORIKAWA  Masaru  sensei  [C3-­‐11]  
2)   From   the   end   of   UCHIOKOSHI   to   SANBUN-­‐NO-­‐NI  
(two   third   of   the   YAZUKA   less   the   feather),   do  
HIKIWAKE  by  rotating  the  left  arm  and  right  forearm,  
add   strength   on   the   right   elbow,   then   for   TSUMEAI  
(KAI)   add   more   power   to   the   rotation   as   taught   by  
INAGAKI  Genshiro  sensei  [C3_2]  
3)  Down  to  SAMBU  NO  NI,  have  the  feeling  to  rotate  
a   bit   inward   the   right   forearm,   and   then   until   the   top  
of  the  arm  is  parallel  to  the  ground,  soften  a  bit  this  
rotation.  In  KAI,  quite  remove  it.  See  UOZUMI  Bunue  
sensei   [C3_16]   with   his   teaching   HANNEN   HAN  
JYAKU,  rotates  half  then  soften  half.  
In   this   regards,   it   is   linked   to   each   school   shooting  
method.   Please   refer   to   the   part   Explanation   and  
Analysis  of  this  chapter.  
 
*  When  using  a  YOTSUGAKE,  the  HIKIWAKE  methods  
are   almost   the   same   than   when   using   the  
MITSUGAKE,   knowing   that   the   YOTSUGAKE   has   a   more   oblique   groove   and   also   a   longer   thumb.  
The  GAKE  form  must  be  respected  and  the  rotation  is  more  soft.    
 
EXPLANATION  AND  ANALYSIS  
 
IN  THE  USE  OF  YUGAKE  
 
In   general,   many   practitioners   adopt   a   MITSUGAKE   in   SHAMEN   form,   while   those   using   the  
SHOMEN   form   use   more   a   YOTSUGAKE.   However,   there   is   no   absolute   rule   on   this   subject,   it  
depends  more  on  the  choice  of  each  school,  especially  in  the  past.  What  is  more  important  is  to  
be   able   to   identify   the   proper   method   to   use   for   each   GAKE,   in   particular   to   be   able   to  
understand  the  level  of  inward  rotation  of  the  right  arm  to  be  given  during  HIKIWAKE,  KAI  and  
the  resulting  HANARE.  Students  in  each  school  have  to  refer  to  the  teaching  of  their  sensei.  
 

  45  
MITUSGAKE  AND  YOTSUGAKE  
 
According   to   URAGAMI   Sakae   Sensei   [C3_20]   explanations,   in   ancient   times   all   schools   were  
using   MITSUGAKE   as   official   equipment   for   shooting   KINTEKI   (to   28m).   On   the   other   hand  
YOTSUGAKE   was   invented   for   DOSHA   (shooting   in   the   long   corridor   (120m)   of   the   SANJU-­‐
SANGENDO   temple   in   Kyoto,   where   the   number   of   arrows   going   through   the   corridor   in   two  
days  was  the  objective.  
However,  in  Japan  now,  many  shooters  prefer  to  use  YOTSUGAKE  for  KINTEKI.  I  think  it  comes  
from  the  HONDA  school  (HONDA  Toshizane   sensei,  AWA   Kenzo   sensei   teacher,  his  school  was  
created  by  adopting  the  SHOMEN  form,  but  his  school  also  came  from  CHIKURIN  RYU  therefore  
SHAMEN).   The   HONDA-­‐RYU   school   adopted   the   YOTSUGAKE   as   official   YUGAKE   as   explained   by  
ISHIOKA   Hisao   sensei  [C3_23].  The  origin  is  probably  because  BISHU  CHIKURIN-­‐RYU  was  the  
school  participating  to  the  DOSHA.  
 
Of  course,  MITSUGAKE  is  still  used  a  lot  for  KINTEKI,  especially  by  women  and  by  people  using  
light   bows,   less   than   18   kg   of   power.   You   can   see   excellent   shooters   using   MITSUGAKE,   like  
KAMOGAWA   Nobuyuki   sensei   (in   SHOMEN),   MORIKAWA   Masaru   sensei   (in   SHOMEN),  
YOSHIMOTO   Kiyonobu,   7th   DAN   KYOSHI   (in   SHOMEN),   winner   of   the   1988   Japan  
Championship,  etc.  On  the  other  hand,  the  YOTSUGAKE  is  used  a  lot  when  drawing  stronger  bow  
with   less   force   than   with   MITSUGAKE.   It   should   be   noted   that   when   using   the   YOTSUGAKE,   it  
may   be   more   difficult   to   properly   hang   the   string   as   taught   by   ISHIOKA   Hisao   sensei   [C3-­‐6],  
however  the  glove  construction  has  also  been  improved  now.  
 
MITSUGAKE  
 
A   good   point   of   the   MITSUGAKE   is   to   facilitate   the   right   forearm   rotation   function   during  
HIKIWAKE.   This   ensures   a   good   balance   between   left   and   right   as   well   as   the   correct   position   of  
the  right  elbow.  I  think  this  rotation  depends  on  the  following  three  conditions:  
(1) For  the  release,  the  choice  between  UWAOSHI  or  NAKAOSHI  form  
(2) The  level  of  the  arrow  in  KAI,  close  to  the  mouth  or  to  the  base  of  the  nose  
(3) The  position  of  the  right  elbow,  more  or  less  downward.  
 
What   matters   most   is   to   achieve   a   good   balance   between   right   and   left.   For   example,   when  
deeply  grasping  the  bow  handle  with  the  TENOUCHI  and  using  the  UWAOSHI  function  at  release,  
then  there  should  be  a  greater  rotation  of  the  right  forearm.  This  is  the  technique  of  HEKI-­‐RYU  
INSAI-­‐HA.   Their   YAZUKA   is   shorter,   then   it   is   easier   to   balance   the   right   and   left   rotations   by  
working  with  both  hands.  On  the  other  hand,  it  is  interesting  to  see  that  BISHU-­‐CHIKURIN-­‐RYU  
chose   another   method:   HANEN   HANJAKU,   "turn   half   and   weaken   half".   This   means   that   after  
SANBUN   NO   NI,   they   add   no   more   rotation   (just   maintain   the   existing   one   as   a   natural  
movement).   UOZUMI  Bunue  sensei  taught  me  that   it  means   forgetting   the   necessity   of   rotation  
given   by   the   forearm   from   SANBUN-­‐NO-­‐NI.   If   we   do  differently,   it   may   give   too   much  twisting   to  
the  string  in  the  hand.  
 
For  this  latter  method,  it  is  important  to  follow  the  NAKAOSHI  form  and  to  maintain  in  KAI  the  
arrow   at   the   mouth   level.   It   also   requires   a   longer   YAZUKA   than   for   INSAI-­‐HA,   and   of   course   the  
position  of  the  right  elbow  is  below  the  back  of  the  shoulder.  
It   should   be   noted   that   all   techniques   must   be   understood   from   their   origins   and   in   the   frame   of  
each  school  method.  On  the  other  hand  you  can  experiment  these  different   techniques   if   you   are  
lost.  
 
YOTSUGAKE  
 
With  a  YOTSUGAKE,  we  can  give  less  forearm  rotation  than  with  a  MITSUGAKE.  Of  course,  the  
amplitude   also   depends   on   the   way   this   YUGAKE   is   built.   In   this   regard,   some   sensei   still  

46    
recommends   to   turn   slightly   the   forearm   even   though   the   arrow   is   close   to   KUCHIWARI.  
KARASAWA   Kotaro   Sensei   said   [C3_9]   it   contributes   to   move   the   position   of   the   elbow  
backward  more  than  in  the  old  style.  On  the  other  hand,  here  too,  the  rule  HANNEN  HANJYAKU  
can  be  applied,  and  at  the  same  time,  it  should  be  noted  that  the  rotation  of  the  right  forearm  is  
balanced  by  the  TENOUCHI  of  the  left  hand.  
Then   another   question   comes:   at   HANARE,   how   to   work   on   the  
rotation  given  to  the  YUGAKE?  There  are  different  opinions:  
*   KARASAWA   Sensei,   using   a   YOTSUGAKE,   recommends   that,   at  
the   release   moment,   we   must   turn   outside   the   YUGAKE,   means   a  
reverse  rotation  [C3_10].  
*   URAGAMI   Sakae   sensei,   using   a   YOTSUGAKE   has   the   same  
opinion,   but   when   using   a   MITSUGAKE,   he   teaches   to   continue   the  
rotation  until  HANARE.    
*   However   ISHIOKA   Hisao   sensei   disagrees   with   these   opinions  
[C3-­‐7]   and   recommends   to   release   naturally   when   using  
MITSUGAKE  or  YOTUSGAKE.  As  the  release  is  instantaneous,  it  is  
difficult   to   follow   what   happens.   The   best   is   to   look   at   the   final  
ZANSHIN  form  of  the  practitioner  and  imagine  the  position  of  their  
YUGAKE.   Finally,   my   personal   opinion   is   it   is   first   a   problem   of  
balance  between  right  and  left,  and  we  must  find  the  best  method  
for  ourselves.  
 
SPECIAL  YUGAKE  
 
Finally,  some  words  for  people  using  specific  YUGAKE,  built  in  a  way  it  is  difficult  to  follow  the  
ICHIMONJI   rule   (JYUMONJI),   like   HIRAZUKE.   The   friction   between   the   string   and   the   YUGAKE  
thumb  is  increased,  leading  the  arrow  to  fly  to  the  right  of  the  target.    
Some  sorts  of  compensation  can  be  given  like:  
(1)  Change  the  angle  of  the  bow,  URAHAZU  toward  the  left,  or  
(2)  Lower  a  bit  the  elbow  position  compared  to  its  normal  position.  
These   are   solutions   used   in   the   DOSHA   shooting   (about   DOSHA:   URAGAMI   Sakae   Sensei  
[C3_22]   and   UOZUMI   Bunue   sensei   [C3_15]).   This   is   not   nice,   but   it   allows   overcoming   the  
difficulty  caused  by  this  special  form  of  the  YUGAKE.  
 
 
 
 
 
 

  47  
48    
CHAPTER  4  -­‐  THE  HEART  AND  THE  TARGET  
 
USHIOKOSHI  AND  HIKIWAKE  
 
After  YUGAMAE,  we  look  at  the  target,  a  phase  called  MONOMI.  This  is  a  moment  where  we  start  
to  be  bound  to  the  target  with  the  heart.  
For  the  target,  you  may  have  two  kinds  of  thought:  
 
-­‐   The   first   one,   the   target   is   an   enemy   aiming   at   me   with   bow   and   arrows   and   murderous  
intentions.   Of   course,   in   a   dojo,   we   are   not   in   such   battlefield   situation,   but   it   is   a   perception  
where   the   KYUDO   is   not   a   game   neither   a   sport.   It   has   to   be   seen   as   fortifying   the   heart   in  
desperate   situations.   Of   course,   we   do   not   have   such   feeling   in   modern   KYUDO,   but   some  
persons  with  more  fighting  spirit  may  develop  this  perception.  
INAGAKI   Genshiro   sensei  teaches  [C4_23]  that  in  HEKI  RYU,  he  gives  value  to  meet  the  target  
with  such  spirit,  to  overcome  the  barrier  between  life  and  death.  
 
-­‐   The   second   one,   the   target   is   a   mirror   that   reflects   myself.   In   the   eastern   civilizations,   from   the  
old  age,  archery  was  used  both  for  fighting  and  to  measure  human  virtues.  Confucius,  the  great  
Chinese   teacher,   was   using   archery   in   his   teachings   to   built   the   essential   of   human   being.   In  
China,  archery  was  also  a  mean  to  appoint  people  to  state  service,  as  illustrated  by  this  note  from  
ANZAWA  Heijiro  sensei  [C4_2]:  
A  practitioner  was  able  to  hit  a  small  leaf  at  hundred  paces,  but  his  shooting  was  quite  different  
from   the   one   of   Confucius.   He   was   just   an   excellent   archer,   but   Confucius   was   able   to   hit   the  
target  with  his  virtues,  and  his  shooting  was  inspiring  a  deep  respect.  
 
During  MONOMI,  UCHIOKOSHI  and  HIKIWAKE,  the  practitioner  shows  the  Beauty  by  mastering  
the   imbalances   of   the   KYUDO   as   for   example,   the   difference   in   the   hand   movements   during  
DAISAN   and   HIKIWAKE.   Winning   by   the   technique   and   by   the   spiritual   power   is   the   most  
difficult  of  the  KYUDO  HASSETSU.  It  prepares  to  KAI  as  culminating  point  of  the  shooting.  
 
A   PRELIMINARY   KNOWLEDGE   (SUMMARY  OF  
THE  KYUDO  KYOHON)  
 
UCHIOKOSHI  
 
This   is   the   action   to   raise   both   left   and   right  
hands   with   the   bow   and   arrow   before   opening  
the   bow.   There   are   two   forms,   SHOMEN  
UCHIOKOSHI  and  SHAMEN  UCHIOKOSHI  
(1)   For   SHOMEN   UCHIOKOSHI,   raise   the   bow  
quietly   directly   from   the   YUGAMAE   position,  
hands  at  the  same  level.  
(2)  For  SHAMEN  UCHIOKOSHI,  take  the  bow  in  an  
oblique   position   on   the   left   and   then,   raise   the  
bow  up  on  the  left  oblique.  
The  height  level  of  UCHIOKOSHI  is  about  arms  at  
45   degrees,   but   a   difference,   more   or   less,   is  
allowed   depending   on   age   and   physical  
constitution.  
When   doing   UCHIOKOSHI,   pay   attention   to   be  
comfortable   in   mind   and   body,   to   adjust  
breathing   properly,   to   always   keep   the  
DOZUKURI,   to   make   wrists   flexible,   to   always  

  49  
keep   the   arrow   almost   horizontal   and   parallel   to   the   body,   and   to   lower   the   shoulders.   Make  
UCHIOKOSHI   breathing   calmly,   as   the   sun   slowly   rises   in   the   morning,   or   as   the   smoke   rises  
quietly  through  a  windless  day.  
 
HIKIWAKE  
 
HIKIWAKE   is   the   movement   to   open   the   bow   by  
equalizing   right   and   left.   It   is   the   central   process  
in   the   shooting.   Performing   the   right   HIKIWAKE  
affects  a  lot  the  next  steps  of  KAI  and  HANARE.  
 
For  HIKIWAKE,  three  styles  are  possible:  
(1)   Do   UCHIOKOSHI   in   front   of   the   body,   and   then  
move   both   hand   to   DAISAN   where   you   do   not  
stop,  and  then  start  HIKIWAKE  opening.  
(2)   Do   UCHIOKOSHI   in   front   of   the   body,   and   then  
move  both  hand  to  DAISAN,  then  stop  briefly,  and  
start  HIKIWAKE  opening.  
(3)  Do  UCHIOKOSHI  towards  the  left,  and  oblique  
to   the   DAISAN   position.   Do   not   stop   there   and  
open  to  the  SANBUN  NO  NI  position  (two  third  of  
the  length  of  arrow  regardless  of  the  feather)  and  
pause  there.  
 
During   HIKIWAKE,   the   level   of   both   hands   is  
parallel   to   the   ground   and   the   tip   of   the   arrow   is  
pointing   slightly   down,   to   the   target.   The   arrow  
stays   parallel   to   the   body,   its   tip   never   raised   up  
(a  tendency  for  beginners).  Then  open  the  bow  in  
SAYU   KINTO,   which   means   equalize   the   left   and  
right.   The   position   of   the   right   hand   is   a   little  
higher   and   oblique   to   the   forehead.   Leave   space   between   the   forehead   and   the   right   fist   of  
approximately  a  distance  of  a  fist  or  two.  During  HIKIWAKE,  push  the  left  fist  to  the  target,  and  
at  the  same  time,  pull  the  right  fist  up  to  the  end  of  the  right  shoulder.  Finally,  the  arrow  comes  
to  the  mouth,  but  should  never  be  below  the  level  of  the  mouth.  This  level  is  called  KUCHIWARI.  
When   the   bow   is   fully   opened,   the   string   touches   the   chest.   This   is   called   MUNAZURU.   During  
HIKIWAKE,  there  might  be  a  stop  at  the  DAISAN  position  or  at  SANBUN  NO  NI  position,  but  this  
is  done  thinking  about  the  balance  of  the  whole  body.  During  HIKIWAKE,  we  must  draw  the  bow  
following   the   traditional   method,   that   is   to   equalize   the   left   and   right,   centered   on   the   hips,   to  
harmonize  all  movements  with  the  breath,  to  open  slowly  and  keep  calm,  not  too  slowly  or  too  
quickly,  as  the  water  flows,  to  have  the  feeling  of  entering  the  body  inside  the  strung  bow  while  
opening  the  breast  right  and  left  using  muscles  and  bones  of  the  chest  and  the  back.  Opening  the  
bow  with  the  body  is  an  essential  point  of  the  practice.  If  done  correctly,  TATEYOKO  JYUMONJI  
(cross  vertical  and  horizontal)  is  formed  with  the  body,  the  bow  and  the  arrow.  
 
NOTES:  
(1)  All  the  movements  are  activated  from  the  lap  belt.  
(2)  Do  not  do  HIKIWAKE  with  hands;  muscles  and  bones  of  the  chest  and  the  back  are  the  center  
of   the   movement.   Use   the   power   of   the   upper   arm   to   draw   the   right   hand,   let   the   right   wrist  
given  to  the  strength  of  the  string,  and  draw  with  the  right  elbow.  
(3)  Do  HIKIWAKE  being  always  aware  of  the  vertical  line  (TATESEN).  
(4)   The   Japanese   words   MIGITE,   KATTE   or   METE   are   relating   to   the   right   side   while   their   left  
counterpart,  in  same  order  are  HIDARITE,  OSHIDE  or  YUNDE.    
(5)  Draw  the  bow  with  the  bones.    

50    
  
METHODS  OF  EXERCISE  
 
(1)   MONOMI:   Keep   the   line   of   the   neck   perpendicular   to  
the   ground   when   you   turn   your   head.   The   amplitude   of  
head   rotation   is   not   large   or   small;   it   is   best   to   keep   the  
natural   position.   URAGAMI   Sakae   Sensei   [C4_22]  
teaches   that   when   someone   calls   you,   and   you   turn   the  
head,  this  is  the  amplitude  of  the  MONOMI  rotation.  
 
For   BISHU   CHIKURIN   RYU,   UOZUMI   Bunue   sensei  
teaches   [C4_13]   a   rule   to   maintain   perpendicular   to  
the   ground   the   line   of   the   neck   muscles,   which   are  
apparent  when  turning  the  head.  However  HOURIBE  
Shizen   sensei  said  [C4_4]  that  it  would  be  better  to  
understand  the  cervical  vertebrae  instead  of  the  line  
of  the  muscles.  
 
(2)   UCHIOKOSHI:   raise   fists   with   bow   making   a   circular  
motion,   then   hold   it   perpendicular   to   ground.   The  
URAHAZU   position   (the   low   extremity   of   the   bow)   is  
always  maintained  on  the  center  line  of  the  body,  or  a  little  
to  the  right.  
There   is   a   teaching,   for   UCHIOKOSHI,   where   we   must   raise  
the   bow   primarily   with   the   right   hand   (NOTE:   IZAWA  
Senju   sensei   [C4_6]).   This   is   to   correct   the   beginners  
tendency   to   raise   the   tip   of   the   arrow   higher   than   ideal  
position.   With   advanced   people,   we   may   see   the   opposite  
trend,  with  the  arrow  pointing  too  low.  
After   experience,   it   is   desirable   to   raise   the   fists   keeping  
balance.   It   is   possible   to   sometime   verify   this   by   a   quick  
look  in  front.  
 
(3)  From  UCHIOKOSHI  to  HIKIWAKE,  extend  the  line  of  the  
back   and   neck,   and   push   down   the   shoulders,   torso   and  
hips   (See   TEN   TSUKU,   CHI   TSUKU,   in   "explanation   and  
analysis",  this  chapter).  HIKAGAMI  (back  of  knees)  is  tensioned  properly,  and  at  the  same  time,  
KI  (spirit  energy)  is  maintained  in  the  TANDEN.  
 
(4)  During  the  movement  of  the  hand  at  DAISAN,  and  during  HIKIWAKE,  the  shoulders  (together  
with   the   blades)   have   the   role   of   movement   axis.   However,   while   moving   to   the   position   of  
DAISAN,   the   left   shoulder   is   fixed   (main   axis),   and   the   right   shoulder   can   be   a   bit   higher,  
depending   the   bow   power   (NOTE:   TOMITA   Tsunemasa   sensei   [C4_11]   and   IZAWA   Senju  
sensei   [C4_6]).  This  is  useful  to  draw  the  bow  with  the  entire  body,  and  also  to  ensure  that  the  
right  shoulder  does  not  move  backwards).  
When   moving   the   bow   in   DAISAN,   movements   of   both   hands   should   be   done   slowly,   but   the  
movement   of   the   left   fist   is   a   bit   quicker   to   guide   his   partner.   The   right   fist   should   always   follow  
the   left   fist.   In   addition,   there   is   a   rhythm,   slowly   at   first,   then   a   little   faster,   and   finally   even  
slowly.  The  line  of  the  arrow  is  always  kept  almost  parallel  to  the  shoulders.  
TAKAGI  Tasuku  sensei  teaches  [C4_10]  that  at  this  step,  the  three  fingers  of  the  left  TENOUCHI  
should  be  flexible  as  a  rubber,  while  maintaining  the  TENOUCHI  form.  
 

  51  
(5)  During   the   DAISAN   transition,   the   right   elbow   stays   almost   at   the   same   position,   gradually  
raised  a  little  higher,  with  at  the  same  time  an  inside  rotation  of  the  right  forearm.  
DAISAN  position  is  determined  by  
1)  The  angle  of  the  arm  at  the  end  of  UCHIOKOSHI  (about  45  degrees),  
2)  The  position  of  the  right  elbow  at  DAISAN  and  
3)  YAZUKA,  the  length  of  the  "band"  of  the  arrow.  At  DAISAN,  the  arrow  is  drawn  to  about  half  
the  length  of  YAZUKA.  
 
It   is   difficult   to   self-­‐analyze   his   movement.   It   is   better   to   look   for   somebody   else   checking   and  
giving  some  feedback.  

(6)   In   HIKIWAKE,   move   down   the   left   fist   to   the  

target,   but   do   not   oppose   the   left   TENOUCHI   to   the  
power   of   the   bow.   Do   not   push   the   bow   with   the  
TENOUCHI,  but  as  opening  the  bow,  just  resist  to  the  
bow   power   with   the   whole   body.   On   the   right   side,  
make   the   wrist   flexible,   soft,   drawn   by   the   elbow  
(NOTE:   TAKAGI   Tasuku   sensei   [C4_9]).   However,  
when  using  a  MITSUGAKE,  never  soften  too  much,  it  
would   prevent   correct   rotation   of   the   forearm  
(NOTE:  URAGAMI  Hiroko  sensei  [C4_20]).  
 
(7)  As  the  left  hand  goes  down,  do  the  same  with  right  fist.  HIKIWAKE  is  performed  by  opening  
the   bow   as   if   the   body   was   introduced   between   the   strung   bow   and   the   string.   What   matters  
most  is  to  constantly  maintain  the  feeling  of  KYUKAI  during  HIKIWAKE  (NOTE:  UOZUMI  Bunue  
sensei   [C4_17]).   This   means   to   give   importance   to   the   space   formed   by   the   chest,   arms,  
TENOUCHI,   and   the   arrow   (the   "KYUKAI"),   and   it   also   looks   like   to   a   balloon   that   will   burst   with  
pressure.   For   this,   always   maintain   fluency   in   the   elbows.   When   extended,   this   is   time   for  
HANARE,  release.  
 
(8)   The   movement   of   the   hands   (and   elbows)   during  
HIKIWAKE   naturally   draws   the   bow   (NOTE:   IZAWA  
Senju   sensei   [C4_6]).   The   form   of   the   path   is   called  
SORIHASHI,  the  "bow  bridge"  
a)   For   beginners,   it   is   very   difficult   to   draw   the   correct  
path   in   HIKIWAKE   because   they   move   the   shoulders  
forward   and   backward.   As   a   solution,   I   teach   to   follow  
the  path  almost  straight  with  the  right  fist  to  the  position  
of  SANBUN  NO  NI  (two-­‐thirds  of  the  length  of  the  arrow  
without  feathers),  and  from  the  position  of  SANBUN  NO  
NI,   to   have   all   movements   from   the   elbow   (upper   arm  
and  the  shoulder  blades).  
In  this  case,  it  is  often  better  to  teach  the  path,  taking  with  
the  beginner  the  bow  and  string  as  illustrated  (IL48).    

52    
 b)   During   this   phase,   a   beginner   may   often   have   a   YAZUKA   too  
short.  In  this  case,  the  teacher  should  tell  him  to  reduce  the  angle.  
As  he  progresses,  train  him  to  the  right  SORIHASHI.  
 
(9)   On   the   importance   of   SANBUN   NO   NI   position:   In   SHOMEN,  
there   is   no   concept   of   SANBUN   NO   NI,   but   it   is   still   very  
important  for  the  SHOMEN  practitioner,  because  this  position  is  
a   change   point   in   the   function   of   opening   the   bow   (NOTE:  
URAGAMI   Hiroko   sensei   [C4_21]   and   NAKANO   Keikichi  
sensei,   former   president   of   ZNKR   "SHOMEN   is   also   aware   of  
SANBUN  NO  NI").  At  this  point,  you  can  adjust  the  balance  of  the  
two   TENOUCHI   and   also   the   IKIAI   (breathing).   In   addition,   we  
start   to   use   for   the   first   time   in   the   blades   while   opening   the  
chest  (IZAWA  Senju  sensei  [C4_6]).  
 
(10)   While   using   the   blades,   it   is   not   correct   to   think   they  
join   laterally   to   the   middle.   Only   the   lower   parts   of   blades  
tend   to   join.   It   is   enough   to   adjust   them   while   keeping   the  
right  balance,  according  to  UOZUMI   Bunue   sensei  [C4-­‐19].  
Be   aware   of   this,   BISHU   CHIKURIN   RYU   calls   it   "INEN   no  
KOTO",   which   was   a   secret   of   this   school.   "INEN"   means  
"having   consciousness"   and   “KOTO",   "thing",   said   UOZUMI  
Bunue  sensei  [C4-­‐18].  
 
(11)  In  this  step,  the  left  TENOUCHI  must  be  maintained  in  a  state  without  pointing  to  any  side.  
This  is  for  a  better  work  of  TSUNOMI  and  SHOKON.  Then,  as  
opening   the   bow,   the   left   TENOUCHI   resist   to   the   power   of  
the   bow,   with   the   third   joint   (or   their   neighborhoods)   of  
three  fingers  not  over  tightening  the  bow.  
In   particular,   we   must   soften   the   fingers.   After   some   time,  
make  sure  that  the  three  right  fingers  work  well.  When  this  
is   done   properly   during   HIKIWAKE,   we   always   feel   an  
harmony  between  the  "three  fingers  of  the  right  and  those  of  
the  left."  
 
EXPLANATION  AND  ANALYSIS  
 
TEN  TSUKU  CHI  TSUKU  
 
We   have   already   seen   the   importance   of   TATESEN   (the   vertical   line).   A   teaching,   TEN   TSUKU  
CHI  TSUKU,  emphasizes  this  importance.  The  Japanese  words  "TEN"  mean  "sky",  "CHI",  "earth"  
and  "Tsuku"  is,  in  this  case,  "extend  upward"  or  "plunge  downward".  To  do  this,  draw  vertically  
the  cervical  vertebrae,  the  neck,  turning  the  head  correctly,  extending  the  back  up,  lowering  the  
shoulders,   the   torso   and   anchoring   the   feet   firmly.   Then   you   can   feel   the   TATESEN   function,   and  
also  the  TANDEN  is  naturally  enriched.  
However,  when  opening  the  bow,  the  work  on  the  YOKOSEN  line  may  prevent  the  correct  feeling  
of  the  TATESEN  line.  More  specially,  when  attached  to  hit  the  target,  we  may  completely  lose  the  
essential   function   of   TATESEN.   The   unification   of   the   spirit   and   the   target   can   only   occur   with  
the   complete   feeling   of   the   vertical   line.   Of   course,   the   work   on   this   line   must   be   particularly  
effective  during  UCHIOKOSHI  and  HIKIWAKE.  It  is  why  sensei  from  the  past  let  us  this  aphorism,  
TEN  TSUKU  CHI  TSUKU.  

NOTE:   UOZUMI   Bunue   sensei   [C4_16]   and   also   ANZAWA   sensei   [C4_1]   taught   that   in  
UCHIOKOSHI   we   extends   infinitely   upwards   from   the   TANDEN,   breathing   out,   then   when  

  53  
moving   to   the   DAISAN   position,   we   change   the   respiration   as   if   we   inspire   all   "cosmic   air"   in   the  
TANDEN.   Then,   in   HIKIWAKE,   we   exhale   again   really   slowly   and   quietly,   enriching   the   TANDEN.  
This  teaching  explains  the  meaning  of  TEN  TSUKU  CHI  TSUKU  as  a  way  to  assist  breathing.  
 
KYUKAI  
 
I   already   explained   this   concept   in   the   paragraph   7)   of   "Exercise".   It   is   the   posture   formed   by  
arms,  chest,  bow  and  arrow,    already  from  YUGAMAE  and,  on  the  other  hand  the  spring  for  the  
explosion  of  HANARE.  In  this  regard,  there  is  a  teaching  from  BISHU  CHIKURIN  RYU  called  "ENPI  
no   SHA".   The   source   is   in   a   fable   in   which   a   monkey   (EN)   draws   a   bow   (SHA)   made   of   a   piece   of  
glycine  and  tree  branch.  However,  the  monkey  has  significantly  curved  arms  (elbows  -­‐  PI),  while  
drawing.   When   he   releases,   he   extends   his   left   arm   and   as   a   result   he   is   able   to   shoot   very  
strongly.  
The  teaching  suggests  that  until  the  position  of  KAI,  never  extend  (push)  too  much  the  left  arm,  
because   it   is   detrimental   to   a   good   NOBIAI.   However   it   is   also   a   mistake   to   understand   this   as   to  
bend  the  left  arm  (elbow)  in  KAI.  
NOTE:  On  this  subject,  UOZUMI   Bunue   sensei  [C4_16]  and  UNO   Yozaburo   sensei  [C4_12]  are  
teaching  that  in  HIKIWAKE,  it  is  necessary  to  give  some  ease  to  the  left  elbow  and  never  push  
too  much.  Pushing  the  bow  must  be  done  with  the  power  of  the  centerline  of  the  left  arm  from  
the   elbow   as   a   base.   Avoid   doing   this   operation   with   the   wrist   only.   UNO  sensei   said   that   this   is  
"ENPI  no  SHA".  
 
SAYU-­‐KINTO  (EQUALIZE  RIGHT  AND  LEFT)  
 
To   fully   draw   the   bow,   we   say   that   we   need   to   do   HIKIWAKE   with   a   sense   of   SAYU-­‐KINTO.  
However,   if   the   paths   of   right   and   left   in   HIKIWAKE   were   the   same,   we   could   keep   this   rule  
without   difficulty.   But   in   the   Japanese   KYUDO,   it   is   clear   that,   for   HIKIWAKE,   distances   are  
different   (the   right   is   longer   than   the   left).   In   this   case,   how   can   we   keep   the   rule   of   SAYU  
KINTO?   We  must   remember   that  there  is   a   position   called   DAISAN.   To   tell   the   truth,   the   name  of  
this   position   comes   from   a   teaching   of   SAYU   KINTO   rules.   DAISAN   is   an   abbreviation   of   "OSHI  
DAIMOKU  HIKE  SANBUN  NO  ICHI".  
"OSHI"   means   "push",   "HIKE",   "band   the   bow",   "DAIMOKU"   means   "more",   “SANBUN   NO   ICHI"  
means  "third".  But  the  character  "SAN"  is  abbreviated  for  writing  the  word  "SANBUN  NO  ICHI".  
So,  "DAISAN"  is  an  acronym  for  "OSHIDAIMOKU-­‐HIKE-­‐SANBUN-­‐NO-­‐ICHI".  It  is  also  symbolized  
as   an   important   position   of   balance   in   HIKIWAKE.   Translating   literally,   this   means   that   we   must  
use  two-­‐thirds  of  the  power  to  move  left  and  one  third  right  (but  there  are  other  opinions  telling  
70%   left,   30%   for   right).   In   any   case,   this   metaphor   tells   us   to   use   the   left   hand   as   a   base   for  
conducting  the  movement,  and  on  the  other  hand,  the  right  hand  should  always  follow  the  left  
hand.  Releasing  the  right  wrist  in  HIKIWAKE  is  just  a  preparation  for  it.  
In   other   words,   taking   into   account   the   difference   in   left   and   right   distances,   we   must   move  
more  slowly  left  hand  on  a  shorter  path,  and  the  right  hand  smoothly  follows  the  movement  of  
the  left  hand,  in  the  other  direction.  
It  is  very  difficult  to  learn  this  correct  balance.  We  have  to  train  a  lot,  for  example  with  a  mirror  
in   front.   In   this   case,   until   the   arrow   approaches   KUCHIWARI,   we   must   keep   the   following  
conditions:  
(1)  The  arrow  always  approaches  the  body  under  the  same  angle,  
(2)  The  level  of  the  arrow  is  almost  constant,  
(3)  Do  not  over  bend  the  right  wrist    
(4)  Always  maintain  the  correct  position  of  the  right  elbow,  
(5)  Be  careful  that  the  line  of  the  shoulders  and  torso  do  not  move  forward  or  backward  

NOTE:   UOZUMI   Bunue   sensei   teaches   [C4_14]   that   in   human   psychology,   when   moving   any  
part   of   the   body,   we   are   focused   to   this   part.   If   two   area   are   mobilized   at   the   same   time,   of  
course,   we   focus   on   the   one   that   has   the   largest   range   of   motion.   In   shooting,   the   amount   of  

54    
movement  on  the  right  is  almost  two-­‐thirds,  while  on  the  left  a  third  only.  SAYU  KINTO  therefore  
means   that   the   left   must   complement   two-­‐thirds   of   the   strength,   and   the   right   one   third.  
However,  it  is  only  a  psychological  teaching,  it  does  not  mean  the  real  distribution  of  the  forces.  
 
SORIHASHI  (CIRCLE  ARCH  BRIDGE)  
 
(1)  MIZU  NO  NAGARE:  HIKIWAKE  is  a  movement.  Arms  are  
opened  right  and  left.  In  this  case,  the  right  arm  is  bent,  and  
also   during   movement   to   the   position   of   DAISAN,   the   right  
elbow   is   a   little   higher.   Naturally,   the   level   of   the   arrow   is  
slightly   inclined.   The   tip   is   a   little   lower.   Water   may   flow  
over   the   arrow   slope.   The   ancients   called   this   slope   "MIZU-­‐
NO-­‐NAGARE".  
 
(2)   NIJI   NO   KAKEHASHI:   In   the   position   of   UCHIOKOSHI,  
elbows  are  kept  balanced,  but  in  HIKIWAKE,  they  are  not  at  
the   same   height.   However   we   must   do   HIKIWAKE   with  
SAYU-­‐KINTO.   How   can   this   be   achieved?   This   is   the   subject  
of   the   SORI-­‐HASHI.   The   Japanese   word   "SORI-­‐HASHI"   means  
"circle  arch  bridge".  This  is  also  called  "NIJI  NO  KAKEHASHI  
(rainbow  bridge).  It  means  in  HIKIWAKE,  we  must  draw  the  
bow  with  both  hands  (and  elbows)  following  paths  forming  
arches.   In   other   words,   fists   and   elbows   are   following  
circular   movements,   natural   movements   as   said   by  
HOURIBE  Sizen  sensei  [C4_3].  
 
If  we  think  to  the  movement  of  the  fists,  we  can  see  an  interesting  problem:  
During  HIKIWAKE,  if  the  arrow  is  drawn  parallel  to  the  body,  it  describes  a  surface,  which  can  be  
either   a   plan   or   a   cylinder.   However,   if   the   arrow   always   points   to   the   target,   then   is   it   conic?  
UOZUMI  Bunue  sensei   recommends   [C4_15],   but   only   with   the   left   hand,   to   draw   a   curved   line  
as   shown   on   (IL53).   Probably,   this   is   a   thought   where,   in   HIKIWAKE,   we   must   bring   the   body  
into   the   opened   bow.   On   this   subject,   KAMINAGA   Masakichi   sensei   teaches   [C4-­‐7],   that  
according  to  physical  condition,  there  will  be  several  SORIHASHI  lines  (TSURUMICHI).  
 
(3)   SORIHASHI   amplitude:   For   SORIHASHI,   which   curve   is   the   best?   UOZUMI   Bunue   sensei  
teaches   [C4_15]   that   this   is   not   the   shape   of   a   high   dome   nor   close   to   a   straight   line.   What   is  
desirable  is  halfway  between.  Probably,  we  can  take  the  constant  orientation  and  inclination  of  
the  arrow  relative  to  the  body  as  an  order  of  idea.  
 
(4)  About  the  movement  of  the  right  hand  and  the  elbow:  
Finally,   we   can   have   a   look   to   the   movement   of   the   right   hand.  
During  HIKIWAKE,  you  should  feel  as  pushing  the  string  with  
the   KAKEGUCHI   (YUGAKE   groove),   especially   after   SANBUN  
NO   NI.   This   feeling   is   useful   to   move   the   elbow   deeper.  
KAMINAGA  Masakichi  sensei  teaches  [C4_7]  that  if  you  move  
the  right  fist  outward,  the  right  elbow  naturally  moves  inward  
behind   the   shoulder.   It   looks   like   the   movement   of   the   front  
and  rear  of  a  boat.  
We   can   understand   that   this   movement   is   totally   part   of  
SORIHASHI,  but  at  the  same  time,  it  should  be  noted  that  this  
action  should  not  be  done  excessively.  
 
 
 

  55  
  
 

56    
CHAPTER  5  –  WAIT  THE  RIGHT  MOMENT  
 
KAI,  TSUMEAI  AND  NOBIAI  
 
KAI   is   a   process  for  preparing  HANARE,  but  
is   also   a   culminating   point   of   efforts.   This   is  
on  one  hand  a  fight  against  the  power  of  the  
bow,   and   on   the   other   hand   it   is   a  
culmination   of   what   has   been   prepared  
with   sincerity   from   ASHIBUMI.   It   is   said  
that   in   KAI,   we   should   feel   a   state   of   mind  
where   outside   is   immobility,   while   inside  
mobility   is   like   a   bamboo   which   is   bent   by  
the   weight   of   snow   and   will   retrieve   its  
shape  (ISHIOKA  Hisao  sensei  [C5_4]).  
There  are  other  Japanese  words  describing  
KAI:   "KANYA   NI   SHIMO   O   KIKU".   It   is   a  
metaphor:   KAI   is   a   limpid   state   as   if   we  
hear  "the  sound  of  freezing"  by  a  cold  night.  
KANYA   means   "cold   night",   SHIMO   "frozen"  
and  KIKU  "to  hear".  
ANZAWA   Heijiro   sensei   teaches   [C5_1]  
that   KAI   is   the   external   posture   that  
conforms  to  internal  bones  structure  of  the  
archer,   and   it   succeeds   to   HIKIWAKE.   In  
other   words,   we   must   continue   infinitely  
the  effort  to  maintain  a  triangle  in  body  and  
spirit,   triangle   formed   from   DAISAN  
between   right,   left   and   TANDEN.   It   is   not  
only   NOBIAI,   but   also   a   state   of   mind   where   after   mastering   the   whole   body   by   filling   the  
TANDEN,  there  is  nothing  to  add  or  remove  anymore.  Confronted  with  ourselves,  with  the  target  
in  the  heart,  the  arrow  has  already  hit  the  target  as  result  of  the  unification.  
 
A  PRELIMINARY  KNOWLEDGE  (SUMMARY  OF  THE  KYUDO  KYOHON)  
 
KAI  is  the  state  where  HIKIWAKE  is  completed,  but  in  the  spirit  of  the  archer,  KAI  is  an  infinite  
HIKIWAKE.   Everything   we   have   done   up   to   now   is   to   achieve   this   KAI.   Here,   mind,   body,   bow  
and  arrow  are  one.  This  is  done  without  releasing  the  spirit.  The  energy  is  deployed.  The  body  is  
extended   to   the   sky   and   anchored   deeply   to   the   ground.   The   right   time   for   the   release   can   come.  
This  is  the  culminating  time  for  the  shooting  efforts.  What  matters  most  in  KAI  are  TSUMEAI  and  
NOBIAI.  A  condition  to  correctly  achieve  KAI  is  to  respect  the  rule  of  TATEYOKO  JYUMONJI  and  
draw   a   correct   HIKIWAKE.   To   comply   with   this   TATEYOKO   JYUMONJI   rule,   we   must   also   have  
the   GOJYU-­‐JYUMONJI   (the   five   cross),   where   we   must   set   the   key   points   in   the   body.   This   is  
TSUMEAI.  Therefore,  TSUMEAI  and  NOBIAI  are  absolute  requirements  for  a  good  shooting.  
 
TSUMEAI  
 
To  achieve  TATEYOKO  JYUMONJI  in  KAI,  we  must  build  important  points  in  TSUMEAI:  
 
THE  CONSTRUCTION  OF  THE  VERTICAL  LINE  
Seen  from  above  the  archer,  feet,  hips  and  shoulders  must  overlap  properly,  by  stretching  up  the  
spine  and  the  neck  and  by  stabilizing  the  bottom.  This  is  called  SANJYU  JYUMONJI  (triple  cross)  
with   the   vertical   line.   It   is   a   fundamental   condition   to   form   a   good   TATESEN   (vertical   line).   In  

  57  
SANJYU  JYUMONJI,  the  function  HIKAGAMI  (behind  the  knees)  is  also  important  to  stabilize  the  
feet.  HIKAGAMI  must  be  stretched.  
 
THE  CONSTRUCTION  OF  THE  HORIZONTAL  LINE  
We   must   open   the   bow   equally   right   and   left   with   the   imaginary  centerline   formed   by   the   arms;  
never  use  fists  or  hands  end  only.  We  must  care  to  the  relationship  between  the  TSUNOMI  (the  
thumb  base)  and  the  right  elbow,  and  also  we  must  try  to  open  the  centerline  of  the  chest.  These  
actions  have  long  been  called  TSUMEAI,  GOBU  NO  TSUME  or  SHIBE  NO  HANARE.  
NOTE:  see  more  details  in  Chapter  6.  
 
NOBIAI  
 
NOBIAI   is   an   absolute   prerequisite   for   a   good   HANARE.   When   shooting   without   NOBIAI,   the  
release   occurs   just   with   the   fingers.   NOBIAI   is   not   only   a   body   extension   along   the   arrow   line,  
but  also  a  growth  of  the  spiritual  energy.  In  respect  of  the  TATEYOKO  JYUMONJI,  with  a  feeling  
of  body  stability  and  with  the  growth  of  the  mind  energy,  we  must  shoot  like  a  balloon  bursts.  
This   is   NOBIAI.   Some   schools   are   teaching   YAGORO,   reach   the   maturity   of   the   release.   It   is   a  
culminating   point   before   releasing.   There,   the   energy   of   the   archer   goes   to   the   sky   and   to   the  
ground,   his   technique   is   efficient,   but   what   matters   most   is   to   perform   the   technique   with   the  
backing  of  the  mind  energy.  Then,  KAI  is  a  continuation  of  the  state  of  mind  without  any  concern,  
dedication,  desire  or  distraction  to  the  target.  This  is  the  state  of  mind  to  train  for:  self-­‐control,  
peace,  patience  and  good  decision,  and  to  overcome  weaknesses  of  mind:  anxiety,  weakness,  fear  
and  humility.  This  training  has  an  underlying  goal:  shooting  is  life.  
NOTE:  there  are  three  ways  for  releasing  
*  HIKU  YAZUKA:  release  with  the  technique,  without  conscience.  
*   HIKANU   YAZUKA:   release   after   a   mature   state   of   mind,   at   the   right   time   for   stabilization   of   the  
heart  and  the  reinforcement  of  the  spiritual  energy.  
*  TADA  YAZUKA:  release  because  YAZUKA  is  either  weak  or  stretched.  
We  train  for  HIKANU  YAZUKA  to  avoid  HAYAKE  (release  too  fast,  without  maturity)  or  MOTARE  
(wait  too  long  before  the  release).  
An   old   Japanese   poem   says:   HIKU   YAZUKA,   HIKANU   YAZUKA   NI,   TADA   YAZUKA,   HANATSU  
HANARE  or  HANASARURU  KANA.  This  is  a  teaching  where  we  must  choose  between  the  three  
above  HIKANU  YAZUKA.  
 
NERAI  
 
In  KAI,  the  arrow  should  point  directly  to  the  target.  In  NERAI,  with  both  eyes  opened,  we  aim  
primarily  using  left  eye  external  corner  and  right  eye  inner  corner  with  the  left  side  of  the  bow,  
and  the  center  of  the  target  as  reference.  In  KINTEKI  (28m)  shooting,  the  direction  of  the  arrow  
is   usually   horizontal,   but   the   vertical   position   of   the   left   fist   to   the   target   also   depends   on   the  
distance,  the  bow  strength  and  the  arrow  weight.  
 
METHODS  OF  EXERCISE  
 
ENTER  INTO  THE  BOW  
 
To   be   able   to   hold   the   bow   easily,   we   must  
enter   the   body   into   the   opened   bow,   by   fixing  
the   shoulders   articulations.   To   fix   means   to  
stretch  laterally  the  shoulders  and  at  the  same  
time   reinforce   the   line   below   the   arms,   called  
SHITA   SUJI.   It   is   also   required   to   correctly   set  
shoulders,  arms,  elbows,  and  the  body  to  resist  
efficiently  to  the  bow  power.    

58    
URAGAMI   Hiroko   sensei  teaches  [C5_13]  this  is  TSUMEAI.  However,  if  we  only  try  to  hold  the  
bow   statically,   the   YAZUKA   will   certainly   reduce.   We   must   always   continue   to   compensate  
muscle  weakness  with  the  shoulders  extension  and  the  spiritual  energy.  
 
THE  POSITION  OF  THE  SHOULDERS  
 
We   always   have   to   maintain   the   correct   position   of   the  
shoulders.   Previously,   we   have   seen   that   practitioners  
often   have   a   tendency   to   move   back   left   shoulder,   but  
nowadays  we  can  also  see  a  backward  movement  of  the  
right  shoulder.  I  think  it  comes  from  the  old  days  when  it  
was   important   to   move   forward   the   right   shoulder   to  
tighten   the   elbow.   However   now,   an   archer   prefers   to  
easily   open   the   bow,   by   pushing   too   much   the   left   arm,  
thus   moving   forward   the   shoulder.   These   two   trends   are  
bad   habits.   On   the   last   point,   HOURIBE   Sizen   sensei  
teaches  [C5_3]  that,  for  those  who  have  such  a  tendency,  
it   is   necessary   to   teach   to   move   the   right   shoulder  
inward  during  HIKIWAKE,  but  not  too  much.  
See   on   the   same   subject   comments   from   URAGAMI  
Hiroko  sensei  [C5_14].  
 
KUCHIWARI  POSITION  
 
KUCHIWARI   means   the   angle   of   the   lips.   In   SHOMEN,   we   usually   place   the   arrow   at   KUCHIWARI  
in  KAI.  However,  it  is  assumed  that  the  line  of  the  arrow  can  be  positioned  between  KUCHIWARI  
and  the  base  of  the  nose.  This  is  well  known  to  archer  belonging  to  HEKI  RYU  INSAI  HA  placing  
the   arrow   near   the   base   of   the   nose.   What’s   important   is   to   always   use   the   same   place.  
Furthermore,   the   arrow   must   touch   the   cheek.   These   two   conditions,   touching   the   cheek   and  
arrow  positioning  are  very  important  to  regularly  reach  the  target  (reference  point).  
See  on  this  subject  comments  from  ISHIOKA  Hisao  sensei  [C5_4].  
 
ANGLE  OF  THE  BOW  
 
In  shooting  KINTEKI  (28m),  it  is  often  taught  to  have  a  slight  angle  of  the  bow  with  respect  to  the  
vertical.  On  the  other  hand,  many  sensei  teach  it  is  better  to  hold  the  bow  vertically  (e.g  CHIBA  
Tanetsugu   sensei   [C5_2]   and   UNO   Yozaburo   sensei   [C5_7]).   It   may   come   from   some  
differences  between  shooting  methods  (on  the  teaching  from  BISHU  CHIKURIN,  see  "Analysis").  
On  the  other  hand,  in  the  modern  KYUDO,  we  can  understand  that  it  is  only  a  matter  of  degree.  
URAGAMI  Sakae  Sensei  described  [C5_14]  that  in  KAI,  as  we  lean  slightly  forward,  it  is  natural  
to  hold  the  bow  parallel  to  the  angle  of  the  body.  
 
THE  FUNCTION  OF  THE  LEFT  HAND  
 
What  matters  most  is  that  the  TSUNOMI  (the  thumb  base)  
works   enough   to   overcome   the   power   of   the   bow.   For   this,  
we   must   give   a   torsion   to   the   bow   by   pushing   its   right   side  
with  the  first  joint  of  the  thumb.  This  action  should  not  be  
made   prematurely   but   considering   all   the   posture   balance,  
right  and  left,  pushing  straight  through  the  arm.  It  is  better  
to  superpose  bones  of  the  forearm.  
I   think   this   is   just   an   ideal   as   it   depends   on   the   bones  
structure  of  the  arm  for  each  people.  This  action  is  not  only  

  59  
useful  for  NOBIAI,  but  also  to  hit  the  target  as  explained  by  ISHIOKA  Hisao  sensei  [C5_4].  
 
THE  FUNCTION  OF  THE  RIGHT  HAND  
 
In   KAI,   the   thumb   is   stretched   out   of   the   YUGAKE  
(glove)   by   pulling   the   elbow,   and   sufficiently  
stretched   out   inside   the   glove.   This   is   a   preparation  
for   the   release.   When   the   TSUNOMI   works   well,   the  
right   thumb   is   pushed   quickly   as   a   spring,   and   the  
arrow   is   released.   This   must   be   a   natural   action   as  
explained  by  ISHIOKA  Hisao  sensei  [C5_4].  
In   KAI,   the   right   elbow   function   is   to   resist   to   the  
power   of   the   bow.   It   is   also   supported   by   the   tension  
of  the  bottom  line  of  the  upper  part  of  the  arm.    
 
NOBIAI  (EXTENSION)  
 
During   the   release,   we   may   loosen.   URAGAMI   Hiroko  
sensei   teaches   [C5_13]   she   does   NOBIAI   after   adjustment  
of   the   shoulder   blades   in   the   lower   position   and   also   by  
maintaining   natural   and   correct   position   of   the   shoulders  
and   arms,   extending   laterally   the   elbows   from   the  
centerline   of   the   body.   At   the   same   time,   she   feels   like  
extending   to   the   left   and   the   right   the   shoulder   blades.   But  
when  only  extending  along  the  arrow  line,  we  cannot  split  
the  center  of  the  body  right  and  left  at  HANARE.  We  need  
to   work   with   chest   muscles   by   fixing   the   back   part   of   the  
shoulder.   She   also   teaches   to   not   use   any   power   with   the  
hands.   We   must   avoid   stiffness   of   the   joints   to   have   the  
efficiency   of   the   spring.   Finally,   what   matters   is   to   extend  
the   body   in   all   the   directions,   being   conscious   of   the  
ZANSHIN  position  to  be  achieved.  
 
NERAI  (AIMING)  
 
We  must  aim  at  the  target  in  order  to  use  the  right  eye  to  see  
the   bow   (NIGIRI-­‐TO)   and   the   left   eye   to   see   the   target  
(KOYAMA   Takashige   sensei   [C5_6]).   We   may   note   here   a  
difference   between   this   and   the   KYOHON   explanations   (see  
"Preliminary   knowledge"),   but   this   is   only   a   difference   of  
expression.   We   do   not   look   at   the   target   center,   but   we  
divide  the  target  with  the  left  side  of  the  bow.  However,  to  be  
sure   of   the   NERAI,   the   correct   position   must   be   checked   by  
an  rear  observer,  as  taught  by  ISHIOKA  Hisao  sensei  [C5_4].    
There   are   three   methods   for   aiming   (see   illustrations).   The  
first   method   is   most   taught,   but   it   is   only   an   ideal.   It   is   called  
HANGETSU   (half-­‐moon),   the   second   YAMI   (dark   moon)   and  
the  third  ARIAKE  (pale  moon,  still  visible  at  dawn).  
 
BREATHING  IN  KAI  
 
Until  HIKIWAKE,  we  may  use  various  methods  of  breathing.  In  KAI  we  should  use  only  the  water  
breathing,  SUICHU  NO  IKI.  It  may  lead  to  suffocating  when  not  done  properly.  What  is  important  
is   when   lowering   the   breathing   into   the   TANDEN   while   doing   HIKIWAKE   we   must   find   the   right  

60    
position   for   an   efficient   NOBIAI.   It   will   be   not   efficient   if   too   low   or   too   high   in   the   TANDEN.  
When  feeling  comfortable,  we  can  feel  the  true  SUICHU  NO  IKI.  See  later  chapter  on  IKIAI.  
 
EXPLANATION  AND  ANALYSIS  
 
The  Japanese  word  KAI  comes  from  the  Buddhist  word  "E  SHA  JYO  RI".  I  will  further  explain  in  
the   chapter   on   HANARE.   Here   it   is   enough   to   know   that   KAI   means   "meeting"   which   is   also   a  
requirement   for   the   "separation"   (the   arrow   release).   The   preparation   for   HANARE   is   called  
TSUMEAI.   We   have   already   understood   this   meaning   above.   Below,   I   would   like   to   add   some  
more   elements   to   the   concept   of   TSUMEAI,   apart   from   GOBU   NO   TSUME   explained   in   Chapter   6,  
which  are  of  course  conditions  for  NOBIAI.  
 
GOJU  JYUMONJI  
 
For  SANJU  JYUMONJI  (crosses  of  shoulders,  hips  and  feet  to  the  center  line  of  the  body),  we  have  
already  seen  it  is  a  very  important  rule  in  the  whole  process  of  shooting.  Here  we  learn  another  
rule,  GOJU  JYUMONJI.  These  are  the  vertical  and  horizontal  lines  that  intersect  at  five  points  in  
the  shooting  position.  
(1)  Bow  and  arrow  
(2)  The  thumb  of  the  glove  and  string  
(3)  The  bow  and  left  TENOUCHI  
(4)  The  centerline  of  the  chest  (this  also  means  the  spine)  and  shoulders    
(5)  The  backbone  of  the  neck  (cervical  vertebrae)  and  the  arrow  
 
NOTE:  KYUDO  KYOHON  1,  P100,  101.  We  must  adjust  properly  these  five  crosses.  
 
*  The  bow  and  arrow  
The  arrow  crosses  the  string  in  JYUMONJI.  However  the  point  
of  the  arrow  nock  is  slightly  higher  than  the  right  angle  formed  
by  the  arrow  on  the  string.  This  is  because  when  we  open  the  
bow,   the   point   where   the   arrow   rests   on   the   thumb   rises   a  
little  bit.  
Teaching  from  UOZUMI  Bunue  sensei  [C5-­‐8]    
 
*  The  thumb  of  the  YUGAKE  (glove)  and  the  string  
As   I   explained   in   the   passage   "TENOUCHI   of   the   right   hand,"   we   must   put   the   thumb   at   right  
angle  to  the  string  (when  using  a  MITSUGAKE).  This  is  of  course  a  rule  in  the  TORIKAKE,  but  also  
during  any  phase  after.  
Teaching  from  UOZUMI  Bunue  sensei  [C5-­‐8]  
 
*  The  bow  and  left  TENOUCHI  
It   was   already   discussed:   when   preparing   the   TENOUCHI,   we   must   grab   the   bow   in   JYUMONJI  
(cross,  right  angle)  with  the  hand.  After  opening  the  bow,  this  TENOUCHI  shape  is  distorted  in  
UWAOSHI  because  the  bow  gradually  bends  while  opened,  but  we  keep  the  cross  of  the  hand  to  
the  bow.  In  other  words,  we  continue  NAKAOSHI  to  KAI.  
Teaching  from  UOZUMI  Bunue  sensei  [C5-­‐8]  
 
*  The  spine  and  shoulders  
This  is  one  of  the  most  important  points  to  properly  form  the  TATESEN  line.  We  must  stretch  the  
spine  to  the  sky  and  at  the  same  time  keep  the  correct  position  of  the  shoulders.  
 
*  "The  bones  of  the  neck"  and  the  arrow  
It  is  also  one  of  the  most  important  points  for  the  TATESEN  line.  UOZUMI  Bunue  sensei  teaches  
[C5-­‐8]   that   if   there   is   a   tendency   to   tilt   the   neck   to   the   left   (towards   the   target)   this   is   due   to   the  

  61  
fact   that   all   the   left   power   pushing   the   bow   is   weak.   When   the   neck   moves   to   the   right,   this   is  
due  to  the  fact  that  the  right  side  is  weak.  This  cross  is  easily  deformable  during  HIKIWAKE.  To  
avoid   this,   we   must   approach   the   arrow   to   the   face   with   the   proper   distance   while   doing  
HIKIWAKE.  
 
HIKAGI  JYUMONJI  NO  KOTO  (The  angle  of  the  bow  in  KAI)  
 
Formerly,  it  was  recommended  to  tilt  a  little  the  bow.  On  this  
subject,   BISHU   CHIKURIN   RYU   explained   by   giving   HIKAGI  
example:   the   Japanese   traditional   fence   is   braided   and  
mounted   obliquely   on   the   bamboo   frame   (HIKAGI   JYUMONJI  
NO   KOTO,   UOZUMI   Bunue   sensei   [C5-­‐11]).   If   shooting   in  
HIKAGI,   the   arrow   is   reaching   the   MATO   on   the   AZUCHI  
(traditional   sand   wall   to   protect   arrows)   and   is   not   deviating  
laterally   to   the   right   or   to   the   left   of   the   target.   We   may   say   this   is   better   when   aiming   with   a  
long   and   vertical   object,   however   we   have   already   seen   that   in   modern   KYUDO,   many   sensei   are  
teaching  that  we  must  hold  the  bow  perpendicular  (to  ground),  not  tilted.  
 
GOJAKU  NO  KOTO  
 
In  KAI,  we  must  continue  to  push  straight  (but  avoiding  
any  stiffness)  the  left  arm  to  the  target,  by  working  with  
SHITA  SUJI.  As  a  result,  we  feel  as  if  the  shoulder  and  left  
wrist   are   naturally   fixed,   and   on   the   other   hand   we   are  
able  to  maintain  the  TENOUCHI  flexibility.  This  action  is  
not   only   useful   for   NOBIAI,   but   also   to   hit   the   target.   For  
a   long   time,   the   importance   of   GOJAKU   NO   KOTO   has  
been   taught.   It   means   strengthening   the   tension  
between   the   thumb   and   the   pulse   position   also   called  
GOJAKU   DOKORO.   GOJAKU   DOKORO   means   the   weak  
position  that  needs  to  be  reinforced.  (GO  =  strong,  JAKU  
=   weak,   DOKORO   =   position).   (NOTE:   On   this   subject,  
UOZUMI   Bunue   sensei   [C5-­‐12]).   If   we   must   fix   the  
wrist,  we  should  not  forget  the  role  of  this  place  as  a  spring  for  HANARE.  
 
FUNAZAO  NO  NEIRI  NO  KUDEN  
 
In  KAI,  we  must  maintain  the  right  forearm  with  flexibility.  But  
it   needs   some   power,   some   tension,   to   keep   the   correct   form  
(without   bending   the   wrist).   In   this   regard,   BISHU   CHIKURIN  
RYU   gives   a   rule   of   "FUNAZAO   NO   NEIRI   NO   KUDEN"   (the  
forearm  given  to  the  elbow  in  KAI,  which  looks  like  a  bamboo  
stick   in   the   river,   to   hold   a  
boat.   (See   UOZUMI   Bunue  
sensei  [C5-­‐10]).  
 
 
SECOND  SORIHASHI  (NIDO  NO  SORIHASHI)  
 
We   have   already   understood   the   need   to   open   the   bow   in  
SORIHASHI   during   HIKIWAKE   but   how   it   looks   like   in   KAI?  
BISHU   CHIKURIN   RYU   teaches   that   in   KAI,   this   movement   is  
changed  to  a  linear  motion  (NOTE:  UOZUMI  Bunue  sensei  [C5-­‐
9]).  However,  this  straight  line  is  also  a  part  of  an  infinite  circle,  

62    
in   the   archer’s   heart.   There   we   prepare   IBIRAKI   (open   the   arms,   as   soon   as   the   spring   of   both  
thumbs  works)  for  the  release.  
 
SPIRITUAL  STATE  IN  KAI  
 
Finally  following  is  a  comment  from  KAMINAGA  Masakichi  sensei:  KAI  must  have  the  limpidity  
of  the  crystal  [C5_5].  We  draw  and  expand,  but  without  force.  It  is  a  state  without  thinking,  the  
heart  gradually  calms  down  and  we  are  one  with  the  technique.  We  are  conscious  of  our  lower  
abdomen   (TANDEN),   and   we   extend   (NOBIAI)   with   "water   breathing"   (SUICHU   NO   IKI).   The  
spiritual  energy  is  in  line  with  the  posture.  One  breath  for  each  movement  (ICHI  RIKI  ISSOKU)  is  
also  suitable  for  NOBIAI,  while  more  may  cause  instability.  If  the  strength  of  the  bow  is  ten,  we  
must  work  with  twelve  in  mind,  and  then  an  instantaneous  KIAI  cause  the  release  like  a  flash.  
 
Shooting  without  working  with  the  mind  (heart)  is  shooting  in  the  darkness.  The  desired  KAI  is  
to   be   able   to   stretch   to   overcome   the   bow   power   otherwise   with   a   weak   KAI   and   the   bow   is  
winning.   To   win   against   the   bow,   we   must   work   with   KAI   of   always   same   length,   same   form,  
same   function,   where   the   release   comes   from   the   whole   body,   not   only   from   the   right   and   left  
hands.  
 
 
 

 
 

  63  
CHAPTER  6  –  SHARI  KENSHO  
 
HANARE  AND  ZANSHIN  
 
Finally  comes  the  moment  where  I  must  speak  about  HANARE  (the  arrow  release).  However  I  do  
not   feel   I   have   the   right   qualities   for   this.   I   think   I   am   not   mature   enough,   and   I   do   not   have  
enough   experience   on   HANARE   as   a   result   of   looking   for   the   absolute   limit   of   the   human   spirit.   I  
must  seek  advices  from  others.  
There   is   a   Japanese   word   "SHARI   KENSHO".   The   word  
"KENSHO"   comes   from   a   ZEN   doctrine:   We   originally  
have   the   same   sincerity   than   Buddha   has   in   his   heart.  
Then,   we   often   lack   of   purity.   In   this   sense,   "find   the  
original   heart"   is   "KENSHO".   The   word   "KEN"   means  
"find"   and   "SHO"   means   "original   character".   Now   we  
can  find  the  heart  of  Buddha  “RI”  in  a  shoot  “SHA”.  
The   greatest   master   AWA   Kenzo   sensei   chose   the  
word   "SHARI   KENSHO".   In   this   regard,   it   was   an  
experience.  He  had  the  technique,  a  hundred  arrows,  all  
hitting   the   target,   but   what   was   the   meaning   of   this?  
Anyone   can   do   the   same   with   a   good   training.   He   was  
deeply   suffering   when   late   one   night,   his   whole   family  
sleeping,   the   calm   around,   and   the   moon   illuminating  
moderately,  AWA  Kenzo  entered  alone  in  the  DOJO  and  
walked   to   the   shooting   line.   He   took   a   resolution:   he  
had  to  find  a  truth  to  the  limit  of  the  body.  He  began  to  
shoot   with   unwavering   resolution.   He   was   losing  
consciousness   but   at   one   moment,   a   beautiful   sound  
occurred,   as   if   it   was   coming   from   the   heaven.   It   was  
“THE”   TSURUNE   (the   sound   of   the   string   hitting   the   top  
of   the   bow).   He   had   never   heard   this   before,   very   clear   and   strong.   He   was   ecstatic.   Here   he   was  
in   a   perfect   non-­‐ego.   Of   course,   the   arrow   reached   the   center   of   the   target   (SAKURAI  
Yasunosuke  sensei  [C6_6]),  but  it  was  more  than  this.  
One  might  think  that  this  story  is  at  a  very  high  spiritual  level  but  I  think  we  also  need  to  look  for  
human  dignity  in  the  training  KYUDO.  If  this  is  correct,  HANARE  and  ZANSHIN  are  the  result  of  
what  we  are  looking  in  KYUDO.  
 
 
A  PRELIMINARY  KNOWLEDGE  (KYUDO  KYOHON  SUMMARY)  
 
When  the  KAI  is  achieved,  HANARE  follows.  HANARE  means  the  string  leaves  the  GAKE  and  the  
arrow  leaves  the  string.  During   NOBIAI,  the  chest  opening  to  the  right  and  to  the  left  from  the  
center   of   the   body   has   reached   its   limit,   then   the   arrow   flies   off   with   KIAI   (spiritual   power  
culminating  at  this  time).  
 
The   words   "KAI"   and   "HANARE"   are   coming   from   a   Buddhist   doctrine:   E-­‐SHA-­‐JYO-­‐RI.   "E"   and  
"KAI"  are  synonymous,  "RI"  and  "HANARE"  too.  Meet  (E)  is  (SHA)  always  (JYO)  separation  (RI).  
In   KYUDO,   KAI   is   for   HANARE,   they   are   one.   In   KAI,   all   forces   are   unified   and   concentrated.   This  
power  is  transferred  to  the  arrow  in  HANARE.  Therefore,  HANARE  happens  naturally.  This  is  not  
the  result  of  a  deliberate  release,  but  as  if  a  drop  of  dew  falls  naturally  on  earth,  HANARE  arrives  
at  the  proper  time.  This  is  an  ideal.  
 
ZANSHIN   is   the   archer's   position   after   the   release.   After   HANARE,   there   is   something   that  
remains,   ZANSHIN.   ZANSHIN   is   caused   by   the   release,   but   succeeds   to   KAI.   We   must   maintain  

  65  
the  posture  with  KIAI  after  HANARE,  extending  the  body  to  the  right  and  to  the   left,  horizontally  
and  vertically.  The  eyes  are  looking  to  the  YADOKORO  (the  point  where  the  arrow  hit).  
During   a   successful   completion   of   the   shooting,   ZANSHIN   is   admirable,   and   YUDAOSHI   (the  
action   to   put   back   the   bow   at   the   DOZUKURI   position)   is   full   of   life.   We   can   there   see   the  
effectiveness  of  this  shot  and  the  dignity  of  the  shooter  proves  it  too.  
 
After   YUDAOSHI,   calmly   put   back   the   MONOMI   in   front,   and   then   join   the   feet.   During   these  
actions,  we  must  also  take  care  to  have  ZANSHIN  everywhere.  
 
 
METHOD  OF  EXERCISE  AND  REVIEW  
 
HANARE  
 
To  realize  the  beauty  in  HANARE,  is  the  idea  that  all  practitioners  should  have.  But  God  treats  us  
unequally.  Seeing  beginners,  some  may  realize  it  easier,  others  will  never.  However,  those  who  
think   they   have   succeeded,   after   lot   of   training,   may   feel   a   difficulty   arise.   This   proves   that  
HANARE  is  basically  the  acquisition  of  the  whole  KYUDO  practice.  
HANARE   consists   of   different   elements,   spiritual,   physical,   psychological   and   technical,   felt  
individually.   Therefore,   we   cannot   indicate   an   absolute   method   for   HANARE   to   someone   else.  
Each  one  of  us  must  overcome  difficulties  with  patience.  
 
(1)   It   is   often   understood   that   HANARE   is   mainly   caused   by   the   function   of   the   right   hand.  
However  the  release  at  the  right  hand  is  related  to  the  function  of  the  left  hand,  especially  linked  
to  the  TSUNOMI.  KUBOTA   Shintaro   sensei  teaches  [C6_2]  that  if  we  do  not  practice  for  a  long  
time,   the   left   hand   will   lose   sharpness   because   it   relies   on   many   techniques:   TENOUCHI,   the  
amplitude  of  tension  in  the  left  arm,  etc.  
On  the  opposite,  when  the  function  of  the  right  hand  is  learned,  with  the  role  of  the  YUGAKE,  of  
the  thumb,  we  generally  do  not  forget  and  it  becomes  a  natural  movement.  
We  must  therefore  concentrate  in  KAI  to  obtain  HANARE  in  ICHIMONJI  (release  all  along  the  line  
of  the  arrow)  with  an  awareness  of  the  functions  of  the  TENOUCHI,  of  TSUMEAI,  of  NOBIAI  and  
secondly  trying  to  find  the  right  time  of  the  release  with  KIAI.  
 
OKAZAKI  Hiroshi  sensei  teaches  [C6_4]  that  even  if  we  tighten  too  much  the  hand  (fingers)  in  
the  YUGAKE,  HANARE  is  not  difficult  when  a  teacher  has  
given  a  method  to  open  wide  the  arms  and  the  chest.  This  
is   a   very   important   teaching,   but   of   course,   for   beginners,  
we   also   need   to   teach   to   give   some   rotation   to   the  
YUGAKE  for  the  release.  
 
(2)   The   ideal   of   HANARE   is   to   achieve   a   full   balance,  
which   means   that   when   we   consciously   try   to   release  
along   the   line   of   the   arrow,   we   feel   an   imaginary   line  
stretched  between  the  bases  of  the  thumbs,  right  and  left.  
Then   we   continue   to   mentally   extend   laterally   the   chest  
and   the   release   happens.   It   has   to   be   noted   there   is   a  
technic   for   maintaining   the   very   delicate   function   of  
TSUNOMI:  
As  opening  the  bow,  it   tilt  gradually  down  to  the  target  at  
the   same   time.   The   position   of   the   left   wrist   changes  
gradually   and   we   can   eventually   lose   the   correct  
TSUNOMI.   It   is   important   to   remember   to   maintain   the  
TENOUCHI   not   tilted   to   any   side.   If   you   have   such   ease   in  
KAI,  you  can  find  the  right  TSUNOMI  position.  

66    
  
(3)  For  the  right  hand,  we  have  seen  that  it  is  a  natural  action.  But  we  cannot  say  that  everyone  
learn  the  correct  method.  If  it  is  the  wrong  way,  especially  for  the  amplitude  of  rotation  of  the  
right   forearm,   we   cannot   expect   a   good   HANARE.   It   is   also   very   difficult,   because   the   rotation  
depends   on   the   physical   condition,   of   the   equipment   (particularly   the   YUGAKE)   and   left   hand  
TENOUCHI.  However,  if  we  can  shoot  along  the  line  of  the  arrow,  there  is  no  problem.  We  must  
continue,  for  a  good  HANARE,  to  always  check  the  good  balance  right  and  left.  For  example,  if  we  
have  adopted  the  NAKAOSHI  method  and  if  an  excessive  rotation  of  the  right  forearm  is  given,  
we  cannot  feel  the  imaginary  line  between  the  bases  of  the  thumbs.  Even  if  we  wiggle  this  line,  
the  arrow  flies  outside  the  target.  
 
(4)   A   nice   HANARE   is   acquired   through   a   good   training.   The   habit   producing   a   well-­‐balanced  
HANARE   depends   on   both   the   amount   of   exercises   and   their   frequency.   The   ancients   KYUDOKA,  
"professional",  were  shooting  many  arrows.  For  example,  URAGAMI  Sakae  Sensei  described  his  
experiences   in   his   book,   with   a   two   hundred   arrows   practice   every   day.   This   was   possible  
because  he  had  his  own  Dojo.  For  us,  we  may  need  chance  to  practice  with  a  lot  of  arrows  and  to  
develop  the  proper  technique.  Therefore,  if  we  practice  in  a  public  DOJO,  it  is  desirable  that  the  
local  teacher  gives  each  student  this  chance.  
 
(5)  Middle  and  good  practitioners  need  some  direction  for  HANARE.  But  they  already  know  the  
pleasure  of  hitting  the  target.  In  such  case,  they  may  believe  that  their  success  comes  only  with  
their  technique,  and  bad  habits  are  coming  quickly.  The  result  can  be  a  messy  HANARE.  To  avoid  
this  tendency,  we  should  always  come  back  to  KYUDO  fundamentals.  When  facing  the  MATO,  it  is  
very  important  to  understand  the  purpose  of  the  practice.  Always  check  ASHIBUMI,  DOZUKURI,  
TENOUCHI,  the  state  of  the  right  hand,  IKIAI,  the  balance  between   right  and  left,  the  existence  of  
the  imaginary  line  stretched  between  the  bases  of  the  thumbs,  the  TANDEN,  etc.  and  of  course  
TSUMEAI  and  NOBIAI.  For  each  shoot,  we  can  find  something.  To  do  this,  it  will  be  necessary  to  
hold  the  bow  at  least  five  seconds  in  KAI.  KUBOTA   Shintaro   sensei  said  [C6_2]  that  for  a  correct  
HANARE,   there   must   be   "NAIKAN   NO   KOKORO",   the   faculty   of   observing   consciously   what  
happens  in  a  quiet  attitude.  
 
ZANSHIN  
 
ZANSHIN  expresses  the  substantial  value  of  the  shooting.  After  the  release,  the  shooting  leaves  
form  and  mood  for  each  practitioner.  This  is  ZANSHIN.  There  are  two  ways  to  write  the  Japanese  
word  "ZANSHIN":  "leave  the  body"  and  "let  the  heart".  The  first  is  the  ZANSHIN  external  posture,  
the   second,   ZANSHIN   inside,   something   spiritual.   ZANSHIN   as   an   action   means   staring   at   the  
YADOKORO   without   changing   the   posture   after   the  
release.   But   we   also   keep   the   full   attention   to   the  
posture,  the  KIAI  (spiritual  energy)  stays,  the  TANDEN  
is   full   and   rich,   the   cross   TATE   YOKO   JYUMONJI   is  
rigorously   set.   In   ZANSHIN   we   see   the   shooting  
gradation,   that   is   to   say,   SHAHIN   and   SHAKAKU,   the  
posture   of   dignity   and   clear   state   of   mind,   according  
FUKUHARA  Ikuo  sensei  [C6_1].  
 
(1)   ZANSHIN   is   full   of   resonances.   Never   do  
YUDAOSHI  too  quickly  
 
(2)   Do   not   let   the   low   point   of   the   bow   to   go   toward  
the  target.  This  is  caused  by  the  little  finger  too  weak.  
Do  not  tilt  the  tip  of  the  bow  to  the  right  or  to  the  left  
(if   you   turn   excessively   the   left   arm   in   KAI,   the   tip   of  
the  bow  too  often  goes  to  right  at  HANARE).  

  67  
  
(3)   After   the   release,   continue   to   breath   for   a   few   moments,   and   then   calmly   set   back   the   bow   in  
the  DOZUKURI  position.  Then  turn  the  head  back  and  regain  natural  breathing.  All  movements  
are  done  slowly  because  they  are  the  expression  of  the  satisfaction  of  having  done  your  best.  
 
(4)   The   distance   between   the   position   of   the   left   fist   in   KAI   and   its   position   after   the   release  
should   not   be   too   long.   A   great   teacher   says   that   it   is   less   than   9   cm   to   the   left.   But   you   must  
understand   that   in   the   modern   KYUDO,   it   can   become   bigger   because   YAZUKA   is   longer.  
However,  it  goes  without  saying  that  it  is  very  important  to  never  shoot  with  force.  
 
(5)  For  YUDAOSHI,  the  line  drawn  by  the  bow  tip  from  the  front  is  a  straight  line  to  a  point  on  
the   ground   at   the   center   of   the   body.   Never   draw   a   circle.   Make   the   action   of   YUDAOSHI   with  
suitable  IKIAI  (expiring  breath).  
 
 
 

 
 

 
 
 
 
 
 
 
 
 
 

68    
ADDITIONAL  INFORMATION  (FOR  CORRECTION  OF  BAD  HABITS)  
 
WEAK  HANARE  
 
(1)  Case  where  the  left  shoulder  joint  is  not  set  enough  
*   Strengthen   the   base   of   the   left   shoulder.   BISHU   CHIKURIN  
RYU  teaches  a  method  based  on  lowering  left  shoulder  below  
the   level   of   the   right   shoulder   in   KAI.   The   left   shoulder   is  
almost   in   the   middle   of   the   imaginary   line   between   the   two  
bases  of  the  thumbs,  and  the  power  of  the  bow  works  stronger  
on  this  articulation.  
(Teaching  by  UOZUMI  Bunue  sensei  [C6_8])  
*   Strengthen   SHITA   SUJI,   the   line   under   the   arms,   but   leave   a  
bit  of  ease  in  the  elbows.  
*   Extend   the   shoulders   (and   chest)   right   and   left:   this   is   to   say,  
do  "NOBIAI".  
*  Do  not  persist  in  KAI  too  long.  Do  not  miss  YAGORO,  the  right  
moment  of  the  release.  
*  Check  the  need  to  rotate  the  YUGAKE  during  the  release.  Choose  one  of  the  following  methods  
1)  Do  not  turn  the  YUGAKE  (forearm)  
2)  Release  by  turning  outside  
3)  Release  by  working  on  the  rotation  of  the  forearm  
 
(2)  Case  where  the  function  of  the  left  thumb  is  abnormal.  
*   Correct   the   orientation   of   the   thumb   in   KAI:   point   the   tip   of   the  
thumb  to  the  target  as  possible,  but  do  not  bend  the  thumb  inward  
*   Be   conscious   to   do   IBIRAKI,   the   thumb   moving   to   the   left   at   the  
release  time.  
 
(3)   Case   where   YAZUKA   YAJYAKU  
(length   of   the   "band"   of   the   arrow)  
is  too  long.  
*  Do  not  bend  excessively  the  
right  wrist  in  KAI.  
*  Do  not  lift  the  left  shoulder.  
*   Do   not   set   too   low   right  
elbow.  
 
HANARE  WHERE  THE  RIGHT  FIST  IS  UP  
 
(1)  Case  where  the  left  fist  goes  down  too  low  at  HANARE  
*   Learn   the   NAKAOSHI   method   for   left   TENOUCHI.   Do   less  
UWAOSHI.  
*  In  KAI,  work  on  strengthening  the  SHITA  SUJI  line,  under  arms,  
especially  the  left  arm.  
*   Be   aware,   before   the   release,  
to   open   horizontally   fists   and  
arms.  
*   Do   not   focus   solely   on   the  
target.   Do   not   be   misled   by   the  
eyes.   The   angle   down   to   the  
target   sometimes   hides   the  
sense   of   the   horizontal   line   in  
KAI.  

  69  
  
 
 
(2)  Case  where  the  right  fists  is  too  high.  
*  Open  more  YAZUKA  and  then  set  in  the  correct  position  the  
right  elbow.  
*  Do  not  lower  the  left  shoulder  too  much  
*  If  you  use  a  new  YUGAKE,  release  the  strap.  
 
(3)  Case  where  the  tip  of  the  thumb  is  moving  too  low  in  KAI    
*  Always  respect  the  rule  of  ICHIMONJI  
*  Correctly  place  the  right  elbow  
*  Do  not  bend  too  much  right  wrist.  
*  Raise  the  tip  of  the  right  thumb  horizontally  
 
OTHER  CASES  
 
(1)  Case  where  the  right  fist  stops  in  front  at  release  
*  Draw  enough  YAZUKA.  
*  Practice  how  to  open  arms  from  the  center  of  the  chest.  
*  Strengthen  the  tightening  of  shoulder  joints  
 
(2)   Case   where   the   left   fist   moves  
excessively  back  at  release.  
*  Compensate  the  lack  of  YAZUKA.  
*   Strengthen   the   power   of   SHITA  
SUJI  of  the  arms  (upper  part).  
*  In  the  release,  move  more  the  right  elbow  behind  the  shoulder.  
*  When  in  NOBIAI,  care  to  the  balance  left  /  right.  
*  Push  almost  straight  the  left  arm  in  KAI,  then  release  along  the  
line  of  the  arrow  at  HANARE.  
 
There   may   be   other   bad   habits   than   the   ones   listed   above.   The   best   is   to   always   return   to   the  
fundamentals   of   KYUDO.   It   is   not   easy,   it   is   a   long   way   to   go,   but   we   can   reach   our   goal.  
MORIKAWA   Masaru   sensei   said:   if   you   notice   an   abnormal   habit,   try   to   fix   it   right   away,   but  
you  do  not  have  to  rely  on  someone  to  find  the  solution.  You  can  investigate  yourself  the  reasons  
that   prevent   from   obtaining   the   correct   movements.   Whatever  
these   problems   are   unique   to   yourself   or   not,   it   depends   only   on  
your  own  to  correct.  However,  what  also  matters  is  the  flexibility  
to  accept  feedback  from  others.  
 
EXPLANATION  AND  ANALYSIS  
 
MUSHIN  NO  HANARE,  WITHOUT  ARTIFICE  
 
Up  to  now,  we  said  that  HANARE  happens  naturally  as  a  result  of  
NOBIAI   rather   than   by   a   desire   to   shoot   the   arrow.   Abandon   the  
desire   to   hit   the   target,   and   wait   only   the   right   time,   this   is  
"MUSHIN   NO   HANARE",   release   with   "no   ego",   without   any  
artifice.  It  is  also  called  URORI  NO  HANARE  (a  release  like  a  drop  
of   dew   falling   from   a   leaf   on   the   ground),   OHMU   NO   HANARE   (a  
release   on   equal   right   and   left   like   a   parrot   imitating   the   human  
voice),  NASHI  WARI  NO  HANARE  (a  release  as  if  a  pear  was  cut  in  
the  middle),  etc.  

70    
  
For  such  HANARE,  the  ancients  taught  that  in  TSUMEAI  we  adjust  five  locations  (GOBU)  of  the  
body:   left   TENOUCHI,   right   shoulder,   left   shoulder,   chest   and   right   elbow,   like   wood   splitters  
pushed  inside.  TSUME  of  these  five  places  are  called  "GOBU  NO  TSUME".  
When   these   TSUME   are   set,   we   release   as   if   the   four   TSUME   (except   the   chest)   are   split   with  
sparks,  and  as  if  we  threw  a  stone  to  the  chest  TSUME.  This  is  SHIBE  NO  HANARE,  according  to  
UOZUMI  Bunue  sensei  [C6_9].  
This  explanation  is  very  attractive  and  very  interesting.  But  how  can  we  achieve  this?  
 
YAGORO,  AT  THE  RIGHT  TIME  
 
URAGAMI  Sakae  sensei,   Great   Master   of   HEKI   RYU   INSAI   HA,   wrote   in   his   book   [C6_10,   C6_11]  
about  technique  for  good  HANARE,  named  "YAGORO  principle".  YAGORO  means  the  right  time  
for  the  release.  In  this  regard,  there  is  a  difference  between  INSAI  HA  and  other  schools.  In  INSAI  
HA,   "TSUMEAI"   is   the   end   of   HIKIWAKE   and   the   beginning   of   KAI   while   KAI   is   NOBIAI.   In  
NOBIAI,   the   bow   is   pushed   by   twisting   the   TENOUCHI,   and   by   tilting   it   slightly   to   the   right  
towards   the   target.   At   the   same   time,   the   right   arm   is   pulled   while   turning   the   forearm   inwards.  
As  a  result  there  is  a  time  where  we  can  no  longer  do  NOBIAI.  This  is  YAGORO.  This  process  is  
similar   to   a   glass   filled   with   water   (TSUMEAI),   where   a   few   drops   are   added   (NOBIAI),   and  
finally,   at   the   limit   of   NOBIAI   the   arrow   flies   off   the   string   as   water   overflows   from   the   glass  
(YAGORO).  
 
In  this  explanation,  we  can  find  an  interesting  suggestion.  However,  this  technique  is  INSAI  HA,  
so   when   belonging   to   other   schools,   you   may   learn   other   techniques.   In   any   case   the   rule   of  
YAGORO   should   be   kept.   For   example,   when   applying   the   NAKAOSHI   principle   to   HANARE,  
YAGORO   is   when   shooting   along   the   arrow   line   while   keeping   NAKAOSHI   form,   after   enough  
extension  of  the  shoulders  and  the  chest.  
 
JIMAM,  UNTIL  MATURATION  
 
There   is   a   Japanese   word   "JIMAN",   which   means   to   continue   to   keep   the   bow   until   NOBIAI  
reaches   its   limit.   "JI"   means   "to   hold   the   bow"   and   "MAN",   "maturity".   In   this   concept,   there   is  
another   word   with   the   same   pronunciation   "JIMAN",   which   is   used   for   a   superior   state   in   KAI.  
With   the   sign   "naturally",   the   word   "JIMAN"   means   the   “natural   release”   after   reaching   maturity  
in   KAI.   The   first   contains   a   caveat:   an   artifice.   In   our   step   of   progression,   we   start   by   the   first  
explanation.  
 
OTHER  COMMENTS  
 
(1)   MORIKAWA   Masaru   sensei   wrote   [C6_3]:   use   no   force   to   release.   Make   enough   NOBIAI  
with   a   challenge   to   reach   its   limit.   In   this   process,   if   we   decrease   the   tension   in   the   fingers  
pressing  the  right  thumb,  HANARE  comes  as  if  we  are  not  
using  any  artifice.  It  is  a  natural  HANARE.  
 
(2)   OKAZAKI   Hiroshi   Sensei,   8th   Dan   KYOSHI   and  
Japanese   KYUDO   champion   for   three   consecutive   years,  
wrote   [C6_5]:   as   done   in   general,   facilitating   TSUNOMI  
function  as  a  spring  for  HANARE  is  often  accompanied  by  
the  risk  of  asking  too  many  artifices.  To  avoid  this,  for  the  
left   TENOUCHI   in   KAI,   I   try   to   keep   the   same   form   at  
release:   left   thumb   tip   already   nearly   to   the   target.   At   the  
same   time,   I   still   draw   the   middle   finger   to   the   target.  
Strength  is  low,  but  sufficient,  because  the  bow  is  already  
twisted  enough  by  the  TENOUCHI.  With  this  I  do  NOBIAI  in  

  71  
order  to  extend  the  shoulders  to  the  left  and  to  the  right,  removing  the  tension  in  both  hands.    
For  me,  KAI  is  a  struggle  to  challenge  the  limits  of  the  physical  force  with  the  energy  of  the  mind.  
I  always  look  for  "MUHATSU  NO  HANARE"  to  release  "without  wanting  to  release".  
He  uses  his  26  kg  bow,  and  his  KAI  duration  often  exceeds  15  seconds.  He  says:  during  the  first  
10  seconds  of  KAI,  I'm  losing  my  physical  strength,  so  I  cannot  do  anything.  For  the  5  seconds  
after,  I  lose  all  physical  sense.  In  this  step,  I  began  the  battle  between  my  mind  and  myself.  Once,  
while  I  held  the  bow  for  about  40  seconds,  I  found  something  wonderful  in  my  HANARE.  
 
(3)  Finally,  I  want  to  talk  about  the  experience  of  SUZUKI  Hiroyuki  sensei,  Hanshi  10th  Dan.  He  
wrote   in   [C6_7]:   we   must   find   the   right   moment   for   HANARE,   while   opening   the   bow   without  
excess,   and   making   TSUMEAI   and   NOBIAI   with   sincerity.   In   KAI,   I   have   the   image   of   wave   at   sea.  
HANARE   is   the   moment   where   the   wave   explodes   on   the   shore.   Then   the   wave   extend   on   the  
shore,   showing   greatness   of   KI,   and   the   wave   goes   back   during   ZANSHIN.   I   always   have   such  
image  in  my  KAI.  
 
 

72    
CHAPTER  7  -­‐  IKIAI  (BREATHING)  
 
At  all  times,  if  we  take  pleasure  to  only  hit  the  target  while  neglecting  the  training  work,  it  causes  
bad  habits,  including  HAYAKE,  too  fast  release  without  reaching  a  proper  maturation.    
This  tendency  is  a  concern  for  me,  but  I  also  observed  it  with  many  European  practitioners.  
 
What  causes  HAYAKE?  
When  a  person  has  a  good  practice,  the  target  hitting  rate  increases,  because  hitting  is  not  that  
difficult  if  we  have  the  correct  balance  left  and  right.  When  we  have  learned  this,  the  tendency  is  
to   reduce   the   KAI   duration.   Many   other   reasons   can   be   added,   such   as   the   archer   himself,   his  
bow   to   strong,   the   excitation,   etc.   However,   the   fundamental   reason   for   this   resides   in   weak  
body  conditions  and  unregulated  breathing,  more  specifically  during  HIKIWAKE  and  KAI.  
I  have  already  given  my  views  concerning  the  body  form  and  condition,  so  now  I  would  like  to  
give  some  clues  concerning  breathing.  
 
IKIAI  means  the  right  method  to  breath  for  KYUDO.  It  is  not  that  easy  to  learn  it  efficiently,  and  I  
am   not   sure   to   master   it   for   myself.   One   reason   for   HAYAKE   may   be   the   suffocation.   By  
suffocating  in  KAI,  the  tendency  is  to  push  the  air  into  the  TANDEN  to  increase  the  stability  of  
the   lower   part   of   the   body.     This   is   both   correct   and   incorrect.   Pushing   too   much   the   air   into   the  
belly   stabilize   but   increase   suffocation.   Correctly   moving   the   breathing   into   the   TANDEN   is  
creating  harmony  between  the  spiritual  energy  and  the  bow  power.  This  is  a  NOBIAI  condition.  
We  must  continue  to  expire  during  KAI,  but  if  doing  this  too  much  then  comes  the  suffocation,  
because  the  air  in  the  TANDEN  comes  back  to  the  chest.  This  destabilizes  both  spirit  and  body,  
and  leads  to  HAYAKE.  For  a  really  nice  shooting  it  is  important  to  master  the  breathing.  This  is  
the  subject  of  this  chapter,  IKIAI.  
 
 
 
 
METHODS  OF  EXERCISE  
 
 
VARIOUS  METHODS  
 
After  choosing  a  method  for  IKIAI,  we  must  practice  it  until  it  comes  a  habit.  For  this  it  is  better  
to  start  experimenting  without  the  equipment,  bow  and  arrows.  
 
There  are  various  possible  methods  for  IKIAI:  
 
 (1)   At   the   beginning   of   UCHIOKOSHI,   inspire   then   expire   just   before   the   end;   then,   the   same   for  
moving   to   DAISAN.   Then,   for   HIKIWAKE,   inspire,   and   when   the   right   hand   pass   over   the   ear,  
start   to   gently   exhale   half   of   the   air,   and   move   the   rest   to   the   TANDEN   as   taught   MORIKAWA  
Masaru  sensei  [C7_2]  
 

 
 

  73  
(2)   During   YUGAMAE,   expire,   then   slightly   inspire   during   UCHIOKOSHI,   and   suspend   the  
breathing.  Then  stay  like  this  while  opening  the  bow  until  SANBU  NO  NI.  Fill  the  TANDEN  and  
expire   gently   until   YUDAOSHI   completion.   Then,   come   back   to   the   normal   breathing,  as  taught  
by  URAGAMI  Sakae  sensei  [C7_6]  
 

 
 
(3)  During  YUGAMAE,  expire,  then  inspire  during  UCHIOKOSHI,  inspire  as  if  you  were  inspiring  
the  cosmos  into  the  TANDEN,  then  expire  slightly  while  adding  tension  to  the  TANDEN  until  KAI,  
without  hardening  intentionally  the  TANDEN,  as  taught  by  ANZAWA  Heijiro  sensei  [C7_1]  and  
URAGAMI  Sakae  sensei  [C7_7]  
 

 
 
(4)  During  YUGAMAE,  take  a  breath,  inhale  and  exhale  as  daily  breathing.  During  UCHIOKOSHI,  
inspire   again,   and   when   starting   HIKIWAKE   inspire   then   change   to   expire   to   the   end   of  
YUDAOSHI  as  taught  by  UOZUMI  Bunue  sensei  [C7_5]  
 

 
 
Of  course,  there  are  other  methods,  and  everyone  has  to  find  the  one  it  fits  the  best  for  himself.  
As  an  exercise,  we  can  start  with  large  inspirations,  to  be  reduced  after.  
 
INSTRUCTION  TO  AVOID  HAYAKE  
 
A   method   is   to   work   at   the   MAKIWARA,   go   to   KAI,   and   never   release.   Try   to   maintain   the  KAI   at  
least   10   seconds,   then   close   the   bow.   Once   used   to   this   exercise,   do   the   same   in   front   of   the  
MATO,  what  is  important  is  to  not  release.  After  two  weeks  like  this,  there  is  a  chance  that  our  
HAYAKE  is  defeated,  as  taught  by  OKAZAKI  Hiroshi  sensei  [C7_3]  
 
For  me,  it  is  not  anymore  difficult  to  maintain  my  KAI  for  10  seconds.  If  you  do  it  like  this,  you  
will  see  that  the  abdomen  gradually  becomes  like  a  balloon  because  of  the  air  in  the  TANDEN,  
but   without   suffocation.   There   is   no   more   air   in   the   upper   chest   and   just   what   is   required   in   the  
lower   chest.   If   starting   to   suffocate,   breathe   just   a   bit,   naturally.   Of   course,   we   must   slightly  

74    
expire  during  KAI.  Inspiring  during  KAI  is  abnormal,  but  if  we  can  concentrate  on  NOBIAI,  it  is  
possible  to  consider  that  this  inspiration  is  natural.  
 
NOTE:   there   is   a   known   story   in   Japan,   when   ANZAWA   sensei   was   practicing   KYUDO   with  
students  in  a  winter  morning.  It  was  very  cold,  and  during  the  shooting  it  was  possible  to  see  the  
respiration  through  his  nose.  Students  were  having  a  doubt  that  the  master  was  practicing  the  
correct  respiration,  and  were  asking  questions.  ANZAWA  sensei,  could  not  see  this,  because  he  
was   fully   concentrated   on   his   NOBIAI.   It   was   a   difficult   subject,   but   also   a   way   to   learn   about   the  
limits  of  breathing  rules  in  KAI.  
 
Despite  the  fact  that  such  exercise  is  very  useful,  it  may  also  be  difficult  to  achieve  during  official  
demonstrations,  where  the  circumstances  are  also  influencing.  We  can  only  reach  a  correct  IKIAI  
with  a  long  and  perseverant  training.  
 
 
EXPLANATION  AND  ANALYSIS  
 
 
HEIJO  NO  IKI  
 
BISHU   CHIKURIN   RYU   teaches   that   when   practicing,   the   breathing   must   not   be   done   with  
artifice.  Breathing  has  to  be  HEIJO  NO  IKI,  natural,  non-­‐conscious.  I  think  it  is  really  nice  to  be  
able  to  do  this,  but  for  years  I  never  understood.  On  this  subject,  UOZUMI  Bunue  sensei  wrote  
in   his   essay   [C7_5]   on   BISHU   CHIKURIN   RYU   that   it   is   a   mistake   to   think   it   is   breathing   as   in  
normal   life.   In   example,   in   KAI,   we   should   practice   the   SUICHU   NO   IKI,   the   breathing   under  
water,   where   we   can   only   expire   slightly,   as   if   telling   “i-­‐i-­‐i”,   corresponding   to   the   sound   with  
quasi-­‐closed   mouth.   To   get   the   natural   breathing   is   a   very   long   and   difficult   training.   In   this  
teaching,  it  is  possible  to  find  some  ideas:  
 
 (1)  If  we  lift  up  a  heavy  stone,  do  we  think  to  the  quantity  and  position  of  breathing  for  this?  No,  
in  fact  the  breathing  comes  with  the  movement,  with  the  action,  by  instinct.  
 
HEIJO  NO  IKI  means  the  breathing  naturally  adapted  for  the  shooting  action.  Breathing  without  
any  artifice,  natural  breathing  for  the  action,  adapted  to  the  shooting  effort.  
 
 (2)   As   the   shooting   process   is   complicated,   we   cannot   acquire   easily   the   natural   breathing  
without  training.  We  must  practice  it  until  it  comes  a  habit,  until  this  breathing  is  really  natural  
to  the  circumstances.  
 
(3)   In   KAI,   it   is   better   to   never   think   to   tune   breathing,   and   just  do   NOBIAI.   If   we   hold   breathing,  
suffocation  may  come  and  the  shooting  be  perturbed.  
 
 (4)   In   KAI,   never   push   too   much   the   air   down.   The   quantity   of   air   in   the   TANDEN   is   what   we  
need   until   the   end   of   HANARE.   In   addition,   to   fight   against   the   bow   pressure   we   need   a   new  
energy   which   comes   from   the   “i-­‐i-­‐i”   breathing,   “i-­‐i-­‐i   no   IKI”.   It   opens   the   throat   to   avoid  
suffocation.  
 
 (5)  In  general,  expiration  has  a  strong  energy.  When  we  want  to  cut  something,  as  for  example  
with  a  KATANA  (Japanese  sword),  we  must  expire  at  this  moment.  In  KYUDO,  to  fight  against  the  
bow   power,   we   must   draw   a   part   of   the   air   into   the   TANDEN,   and   exhale   the   rest.   The   energy  
accumulated  into  the  TANDEN  initiates  the  release.  
 
 
 

  75  
NE  IKI  
 
We  must  understand  NE  IKI:  it  means  the  breathing  maintained  into  the  TANDEN.  In  the  normal  
days,  do  we  use  all  the  air  stored  in  the  lungs?  No,  there  is  still  some  remaining.  During  ZAZEN,  
we   train   for   long   expiration   and   move   a   part   to   the   TANDEN.   It   means   in   ZAZEN,   there   is   always  
an   air   accumulation   in   the   TANDEN.   This   is   ZAZEN   NE   IKI.   In   KYUDO   we   do   the   same,  
accumulate   air   in   the   TANDEN.   If   losing   the   NE   IKI,   there   will   be   suffocation   while   shooting.  
However,  doing  this  consciously,  may  also  lead  to  suffocation  while  shooting.  NE  IKI  built  from  
long  training  ensures  the  stability  of  the  body  center.  
 
 
KYOSHIN  
 
Finally,   I   want   to   express   here   what   AWA   Kenzo   said   [C7_4]:   for   the   beginner,   when   in   KAI,  
teach  to  shoot  while  moving  the  respiration  down  and  stop  it.  For  an  experienced  practitioner,  
tell  to  expire  during  HIKIWAKE  while  moving  air  down  in  TANDEN,  then  suspend  a  bit.  A  high-­‐
level  practitioner  has  a  high  vision  on  everything.  This  is  KYOSHIN,  un-­‐attached  heart.  To  look  
for   KYOSHIN   is   essential.   The   arrow   released   with   KYOSHIN   flies   naturally.   We   can   shoot  
without  thinking  to  the  bow  power,  without  thinking  to  KIAI,  which  depends  of  the  will.  We  are  
unified   with   the   arrow   to   the   infinite   path   to   the   universe.   There   is   no   result,   no   bow,   just   an  
arrow  flying  naturally  and  strongly.  Even  if  it  is  difficult,  satisfaction  comes  from  this.  
 
 
 

 
 

76    
POSTSCRIPT  
 
A   few   days   ago,   I   received   the   KYUDO   magazine.   There   was   here   a   word   from   SAITO   Tomoji  
sensei  about  a  seminar  for  HANSHI  that  I  read  with  emotion.  
Here  are  the  ages  of  the  participants:  a  person  of  more  than  90  years,  thirteen  persons  over  80  
years,   forty-­‐two   persons   over   70   years   and   thirteen   more   over   60   years.   But   six   persons   who  
participated  last  year  have  now  disappeared.  Although  death  is  a  part  of  life,  this  bad  news  hurt  
him.  He  is  now  85  years  old,  but  he  still  continues  in  KYUDO  the  unity  between  mind  and  body.    
He  is  still  lucky  to  have  peers.  He  certainly  wished  to  not  have  more  people  disappearing  around  
himself.  Today,  we  can  live  long  time,  but  life  is  difficult  with  great  age.  After  80  years,  it  is  like  
climbing   a   too   steep   slope.   We   fill   we   cannot   have   a   rest   anymore.   Climb,   climb,   and   climb   again  
every   day.   Pleasures   and   pains   that   KYUDO   archers   fell   at   this   age   can   only   be   understood   by  
people   of   the   same   age.   SAITO  sensei   feels   what   is   life.   It   is   “to   reach   the   goal   we   set”,   but   what  
is  this  goal?  Be  in  harmony  with  peers  and  friends?  KYUDO  is  a  bright  world,  which  allows  this.  
 
This   is   the   summary   of   the   Saito   sensei   article.   All   this   may   exist   in   other   sports   and   other  
BUDO.  However,  in  KYUDO,  people  over  80  can  be  as  active  as  any  practitioner  to  find  something  
in   life.   Because   if   we   lose   our   good   technique   of   the   past,   we   can   still   express   dignity   in   our  
shooting.  Here,  of  course,  it  is  no  longer  necessary  to  consider  the  grades:  TITLE  and  DAN.  
 
I  like  the  word  "NICHI   GETSU   SHIN".  This  is  a  poem.  One  morning  at  dawn,  in  the  middle  of  a  
large  field,  we  are  standing  under  the  golden  sun  rising  and  the  silver  moon  fading,  and  we  shoot  
the   arrow   with   the   bow.   But   it   is   internalized.   We   can   do   the   same   in   a   DOJO,   with   the   same  
feeling.   This   is   what   I   was   taught   by   UOZUMI   Bunue   sensei,   which   is   a   master   of   the   highest  
level   in   Japan,   80   years   old.   Previously,   he   wrote   beautiful   books,   which   were   distributed,   to  
students  without  expecting  any  reward.  I  would  now  like  to  continue  his  work  by  this  essay.  
 
Goodbye  my  friends!  
 
SATO  Kaori  
 
Lyon,  1990  
 

  77  
FINAL  CHAPTER  
 
INTENTION  OF  THIS  NEW  CHAPTER    
 
This   new   chapter   is   written   for   the   people,   which   have   participated   to   this   essay,   specifically,  
Christine  ONDEL  and  Michel  CHAVRET,  Charles  STAMPFLI  and  Pierre  GUILLOT.  
The  goal  is  to  give  more  details  on  KARASAWA  Kotaro  sensei  book.  
 
The  special  signification  to  mention  the  names  above  is  that  they  helped  to  revive  this  essay  that  
I  wrote  about  20  years  ago.  As  a  special  thank  I  want  to  give  them  something.  As  I  am  already  
pretty  old,  I  cannot  progress  anymore  in  KYUDO  practice  and  teach  them.  However,  I  can  read  
Japanese,   I   have   the   experience   of   the   practice,   and   I   speak   a   bit   French,   so   I   can   use   my  
competencies  for  such  remote  teaching.  
 
I  also  have  to  explain  my  choice  of  this  KARASAWA  Kotaro  sensei  book.  The  KYUDO  DOKUHON  
written   by   this   sensei   is   very   attractive.   This   sensei   reaches   a   highest   level   in   the   DAI   NIHON  
BUTOKUKAI,  ZEN  NIHON  KYUDO  RENMEI,  HEKI  RYU  INSAI  HA,  OGASAWARA  RYU,  etc.  
He   got   excellent   results   on   scientific   analysis   of   the   KYUDO,   and   his   comments   are   very   detailed  
to  satisfy  people.  His  thought  is  opening  eyes.  
 
If   I   was   like   in   the   past,   and   I   was   trying   to   pass   the   7th   DAN   exam   today,   what   would   be   the  
conditions  to  succeed?  This  is  the  subject  I  would  like  to  dig.  For  this,  I  can  get  some  answers  in  
KARASAWA   sensei   book,   and   I   think   the   people   to   whom   this   chapter   is   written   for   are   also  
advanced   enough   to   accept   the   challenge   for   themselves.   This   chapter   may   also   give   some   other  
details  to  correct  the  previous  ones  written  a  long  time  ago.  
 
MY  KYUDO  STORY  
 
I  have  a  very  long  practice  of  KYUDO,  as  I  started  when  I  was  13.  At  this  moment,  I  was  at  the  
college.   I   practiced   for   5   years   at   school,   then   at   university.   Then   I   stopped   for   about   10   years  
when   starting   to   work   in   the   labor   administration.   I   resumed   the   practice   at   about   40.   It   has  
been  my  golden  age  during  10  years,  up  to  the  RENSHI  6th  DAN  level.  I  was  also  participating  to  
various  competitions  and  winning  often,  including  by  KAI  CHU  (4  arrows  over  4).  Success  with  
the  last  arrow  is  always  difficult.  I  was  selected  by  the  TOKYO  federation  for  championship  and  
won  some  prices  at  the  KANTO  competitions.    
I  think  my  physical  form  was  driving  these  performances,  as  I  was  able  to  place  my  right  elbow  
enough   in   the   back.   This   aptitude   was   coming   from   an   old   school,   IKKAN   RYU   that   I   practiced   at  
school.  It  states  in  lowering  the  bottom  of  the  left  shoulder  and  strengthening  the  right  elbow  by  
rising  a  bit  the  right  shoulder.  
However,   in   modern   KYUDO,   there   must   be   an   equal   balance   between   right   and   left,   so   I   started  
to  modify  my  form.  As  the  right  hand  position  was  staying,  I  started  to  modify  my  left  shoulder  
position,  and  as  it  was  not  strong  enough,  I  also  modified  my  left  TENOUCHI.  My  shooting  form  
was  looking  ideal  externally,  but  in  fact  it  was  leading  to  disastrous  consequences.  My  bow  was  
complaining   and   I   broke   several   times   the   external   bamboo   TODAKE,   after   3   to   6   months   of  
practice.  I  needed  to  purchase  another  bow  each  time,  which  was  very  expensive  at  the  end.  
I  noticed  gradually  this  was  coming  from  my  shooting  form,  so  I  started  to  change  my  TENOUCHI  
to   be   closer   to   NAKAOSHI   form,   and   I   reduced   my   right   hand   rotation.   The   right   shoulder  
position  changed,  but  my  hitting  rate  gradually  deteriorated.  My  confidence  in  my  KYUDO  was  
fading  away.  
For   the   KYOSHI   exam,   organized   in   various   place   once   a   year,   I   needed   to   travel,   which   was  
expensive  too,  and  as  the  exam  was  difficult,  it  took  time  to  succeed.  When  I  got  it,  at  the  same  
time  I  completely  lost  confidence  in  my  KYUDO.  
 

  79  
A  CHALLENGE  FOR  THE  7TH  DAN  
 
 
After   my   60,   I   came   in   France   and   develop   deep   friendship   with   practitioner   in   Europe,   Lyon,  
Geneva,   Montpellier,   etc.   These   words   are   bringing   back   images   of   these   good   old   days.  
However,  I  regret  that  I  this  time  my  KYUDO  was  so  poor.  I  wanted  to  show  good  form  abroad,  
but  as  my  form  was  deteriorating  before  coming,  and  with  the  new  environment  and  challenge,  
it  was  a  big  problem  I  was  unable  to  resolve.  
Before  leaving  Japan,  ONUMA  sensei  asked  me  to  present  the  7th  DAN  exam,  at  SHINJUKU  dojo.  
For  this  first  attempt,  I  did  a  KAI  CHU,  with  two  arrows,  but  I  did  not  succeed.  Of  course,  it  is  very  
difficult  to  get  it  the  first  time,  but  also  I  should  have  understood,  that  my  own  form  was  fading  
away,   and   this   was   the   real   problem.   Without   coming   in   France   I   would   have   corrected   my  
tendencies  at  the  TOSHIMA  dojo  and  probably  got  it.  
ONUMA   Sensei  had  said  the  7th  DAN  was  a  summit  difficult  to  reach,  but  if  getting  it,  it  would  
have  reinforced  my  leading  position  while  in  Europe.  I  wanted  to  study  the  social  and  economic  
life  in  France,  but  this  exam  was  also  useful  to  recover  some  confidence.  
In   this   exam,   we   must   express   elegance   in   the   shooting.   ZANSHIN   must   reveal   a   majesties  
extension   feeling.   It   must   show   an   expression   of   the   mental   power   and   not   a   superficial  
technique.  
 
 
MAINTAIN  A  ZANSHIN  FULL  OF  DIGNITY  
 
 
I   can   only   recommend   having   a   ZANSHIN   expressing   beauty.   Beauty   is   the   result   of   the   effort,  
but   should   not   be   wishfully   built.   Just   think   to   the   ZANSHIN   form   while   doing   NOBIAI   is   an  
“authorized  artifice”.  
 
NOTE:  I  suggest  working  with  a  video  camera  to  be  able  to  see  and  analyze  his  own  HANARE.  
 
 
KARASAWA  SENSEI  FEEDBACK  
 
 
1)  YOKO  ICHI  MONJI  during  the  last  NOBIAI  step  
 
YOKO  ICHI  MONJI  is  the  line  between  hands,  arms,  chest,  resulting  from  good  shooting.  
KARASAWA  sensei  says  that  if  we  can  extend  the  forearms  by  working  with  SHITA  SUJI  on  right  
and  left,  the  right  forearm  is  positioned  opened  enough.  YUNDE,  the  left  side   is  extended  toward  
the  target,  and  the  left  hand  drop  just  a  little  (about  half  the  hand  size,  3cm).  
KARASAWA   sensei   indicates   that   to   have   a   nice   shooting,   the   elbows   must   be   in   the   same  
situation  in  KAI,  with  for  both  a  rotation  (watch  direction).  From  the  practitioner,  his  right  arm  
in  HIKIWAKE  looks  rotating  in  the  opposite  direction.  
For  this,  the  arrow  is  at  KUCHIWARI  (mouth  line),  we  raise  a  bit  the  right  elbow,  moving  it  to  the  
back,  en  extending  both  side  from  shoulder  basis.  
Note   that   in   other   schools,   sensei   may   have   different   opinions.   I   accept   the   one   from  
KARASAWA  sensei,  but  also  recommend  studying  HANNEN  HANJAKU  in  BISHU  CHIKURIN  RYU.  
 
2)  BAD  HABITS  AT  HANARE  
 
At  HANARE,  at  least  two  bad  habits  may  easily  occur.  The  first  one  is  to  let  the  left  fist  drop  too  
much.  This  comes  from  a  too  strong  desire  to  achieve  YUGAERI,  and  also  because  the  TENOUCHI  
is  weak.  In  fact,  the  YUGAERI  is  a  function  of  the  TENOUCHI,  but  the  beginner  wants  to  do  it  as  
result  of  opening  the  hand  palm.  This  impacts  ZANSHIN.  It  is  a  lot  of  work  to  correct  this.  

80    
  
The  second  bad  habit  is,  during  the  release,  to  move  the  left  fist  either  to  the  left  or  to  the  right.  
In   fact,   at   HANARE,   we   should   not   change   the   TENOUCHI   form,   push   toward   the   target   while  
doing  SHI  ME  MODOSHI  (squeeze  and  replace  immediately).  
KARASAWA   sensei   explains   that   at   HANARE   we   should   squeeze   the   left   TENOUCHI.   At   this  
moment,  the  fingertips  are  just  a  bit  relaxed,  and  they  should  squeeze  the  bow  at  release.  When  
done  quickly,  the  bow  does  not  drop  nor  move  right  and  left.  The  TSURUNE  is  clear  and  the  bow  
stays  vertical.  
When   squeezing,   does   it   open   the   three   fingers   tips?   Also   due   to   the   bow   rotation   the   hand  
balance  is  broken,  does  it  stay  relaxed?  Do  we  relax  the  TENOUCHI  for  better  rotation?  
KARASAWA  sensei   explains   that   if   we   have   a   good   TENOUCHI,   we   can   do   HANARE   without   the  
SHI   ME   MODOSHI,   only   by   squeezing.   This   is   ideal.   In   general,   we   have   to   learn   SHI   ME  
MODOSHI.  
URAGAMI   Hiroko   sensei   says   she   does   not   see   a   visible   change   in   his   TENOUCHI   form,  
however  she  did  change  it  gradually.  
 
3)  SHI  ME  MODOSHI  training  
 
This  is  important  to  overcome  bad  habits  and  maintain  the  shooting  beauty.  
• Practice   it   without   a   bow,   create   a   circle   with   thumb   and   index   finger   and   solidify   the  
fingertips.  
• Reduce   the   circle   diameter   between   thumb   and   middle   finger,   by   slipping   the   bottom  
part  of  the  thumb  against  the  upper  part  of  the  middle  finger.  Do  not  move  thumb  and  
index.  
• Attach  a  3kg  weight  to  the  palm  and  try  same  movement  
KARASAWA  sensei  thinks  that  by  practicing  this,  we  should  obtain  good  results.  
 
4)  TSURUNE  
 
This   is   the   sound   of   the   string   hitting   the   upper   part   of   the   bow,   SEKI   ITA.   This   may   be   a   clue   on  
the  quality  of  the  HANARE,  but  also  depends  of  the  bow  maker.  
If  the  SHI  ME  MODOSHI  is  good,  the  TSURUNE  may  be  really  nice.  
Here  is  a  short  story:  at  a  TAIKO  concert  (Japanese  drum),  the  presenter  explained  the  technique  
to,  just  before  hitting,  relax  a  bit  the  grip  and  squeeze  again.  There  might  be  some  differences,  
but  roughly  it  looks  like  SHI  ME  MODOSHI.  
 
5)  NOBIAI  
 
In  KAI,  NOBIAI  is  very  important.  During  HIKIWAKE,  the  bow  power  is  distributed  left  and  right,  
but   in   oblique   (45   degree).   Then,   when   the   arrow   touches   the   mouth,   we   change   the   YOKO  
ICHIMONJI  function.  Then  we  do  NOBIAI  until  HANARE.  However,  NOBIAI  does  not  only  mean  
reach   the   YAJAKU   (arrow   length).   We   must   maintain   a   tension   in   opposition   to   the   bow  
compression  effort.  
When  we  extend  the  forearms  and  muscles  below,  the  right  forearm  gets  naturally  closer  to  the  
arm,  and  the  right  elbow  is  extended  as  far  as  possible.  With  this,  we  can  hit  the  target.  
When   the   elbows   are   firmed   and   stabilized,   we   can   balance   right   and   left   with   extension   of  
YUNDE   and   the   forearm.   NOBIAI   is   done   in   conjunction   with   TSUMEAI.   TSUMEAI   means   build  
the  solidity,  strength  muscles  under  the  shoulders.  
 
During  HIKIWAKE,  the  right  wrist  does  not  have  a  main  role.  The  movement  is  conducted  by  the  
line   from   the   fingers   to   the   elbow.   By   opening   the   chest   muscles,   we   lower   the   shoulder   basis  
and  expand  the  back  muscles.  
 
 

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6)  THE  HANARE  EVENT  
 
Do  not  choose  the  HANARE  moment  by  opening  the  hand.  Pinch  the  thumb  and  at  the  same  time  
turn  the  wrist.  After  the  release,  immediately  close  the  hand.  
Do  not  curve  the  thumb  inside,  into  the  YUGAKE.  Extend  the  thumb;  it  should  touch  the  opposite  
side.  
 
7)  BOW  POSITION  IN  ZANSHIN  
 
There  are  different  positions  according  to  schools.  HEKI  RYU  maintains  the  bow  oblique;  it  was  a  
form  for  the  battlefields.  
 
 
IKIAI  
 
 
After   many   years   of   practice,   IKIAI   reaches   the   intimate   level.   IKIAI   for   KAI   is   using   the  
diaphragm.  We  first  inspire  in  the  lungs,  then  after  gently  expire  to  the  diaphragm.  At  the  same  
time,  reinforce  the  TANDEN.  At  this  time,  we  can  still  breath,  even  talk.  
 
1)  About  HAYAKE  
 
Personally,   I   have   a   tendency   to   HAYAKE.   During   my   KYOSHI   exam,   I   just   maintained   the   KAI  
about   3   seconds,   not   more.   However,   I   succeeded,   because   it   is   requested   to   do   a   KAICHU   (2  
arrows  hitting)  and  to  perform  the  SAN  NIN  HITOTSU  MATO  SHAREI  and  express  unity  between  
candidates   and   style   beauty.   For   the   7th   DAN   exam,   the   level   is   higher,   and   IKIAI   is   important  
there.  
How  many  seconds  should  take  the  KAI?  In  fact,  the  question  is  nonsense.  
KARASAWA   sensei   wrote:   this   question   is   not   meaningful.   The   real   question   is   about   the  
content  of  TSUMEAI  and  NOBIAI.  KAI  should  be  at  least  5  to  6  seconds,  but  KAI  deepness  is  more  
important.  
 
2)  OKAZAKI  sensei  opinion  
 
According  to  OKAZAKI  Hiroshi  sensei,  we  must  be  able  to  stay  in  KAI,  in  front  of  the  MATO,  for  
about   10   seconds,   without   releasing.   When   the   desire   to   hit   the   target   comes,   HAYAKE   may   also  
come.   OKAZAKI   sensei   is   known   to   have   very   long   KAI,   so   his   opinion   should   be   taken   with  
care.  
 
3)  KARASAWA  sensei  opinion  
 
KARASAWA  sensei  says  he  was  also  having  the  HAYAKE  problem.  His  experience  is  different  to  
overcome   this   issue:   he   was   checking   different   phase   before   shooting,   as   NERAI,   NOBIAI,   etc.   He  
was  checking  shoulders,  left  elbow,  TENOUCHI,  right  shoulder,  etc.  
However,   one   day   an   examiner   told   to   KARASAWA   sensei   to   stop   to   think   to   this   checklist,   it  
was   cutting   his   KAI   in   several   parts.   It   took   him   about   7   years   to   retrieve   his   KYUDO   quality,  
without  cutting  the  KAI.  
 
What  is  KAI?  It  is  not  a  process.  
What  is  MUSHIN?  A  Chinese  character  says  without  heart  …  but  I  cannot  answer  there,  I  do  not  
have  quality  for  this.  
 
But,  everything  anyway  starts  from  the  basis.  
 

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4)  Sensei  roadmap  
 
From  DAISAN  to  the  end  of  HIKIWAKE,  inspire  enough,  then  after  expire  softly.  You  must  repeat  
this  …  we  do  not  take  conscience  that  the  target  is  present.  Inspire,  then  expire  softly,  even  the  
singers  are  applying  this  rule.  

  83  
TO  CLOSE  THE  FINAL  CHAPTER  
 
 
I   am   now   87,   and   of   course   I   will   never   try   my   7th   DAN,   or   any   other   grade.   But   I   have   also  
decided   to   go   for   the   publication   of   this   essay.   I   do   not   speak   well   French,   but   I   accepted   the  
challenge   of   this   translation.   By   chance,   I   got   some   help   and   I   very   much   appreciated   this  
excellent  work.  I  really  enjoyed.  
 
Life   is   like   this.   After   the   earthquake   in   the   TOHOKU   district,   many   people   are   helping   others.  
Japanese  are  using  the  word  KIZUNA,  link,  for  this.  
 
This  book  is  a  KIZUNA  between  Japanese  and  French  KYUDO  practitioners.  
 
KYUDO  is  deep  and  vast.  I  am  now  at  the  final  exam  step  and  I  am  eager  of  the  result.  
 
Goodbye  my  friends,  
 
SATO  Kaori  
TORIDE,  March  2013  
 
 
 
TO  CLOSE  THE  ENGLISH  TRANSLATION  
 
 
At  the  end  of  the  POSTSCRIPT,  SATO   sensei  said  that  the  essay  was  only  there  to  help  people,  
without   any   reward   in   mind.   Just   above,   he   is   also   explaining   that   it   is   a   KIZUNA,   a   link   between  
Japanese   and   French   practitioners.   I   completed   the   translation   in   this   spirit,   no   reward,   and   if  
possible  extend  the  link  to  non-­‐French  practitioners.  
 
Pierre  Guillot  
Geneva,  February  2014  
2nd  revision,  February  2016  
 
 

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