A historical Perspective During the Reign of

TOKO KO GAKU

CHUI #24
The literary works of Shoden Ryuchi on Shorin Kobushi Nyumen or entering into study at Shorin temple were very famous writings and gave great detail into what had to endure during this austere training.
He wrote about Tsuki Kobushi and Tsuhai Kobushi and their associated techniques and their commonalties. A professor taught a Buden Hiroshi these gate groups from Peking. The above were some Japanese who were involved with Kobushi-Ho.
They played heavily into China’s Chugoku Bujutsu and their teachings especially Budenki. Next we will cover entering a Kobushi-Ho school.
---Teikopei and Budenki or Utenshu two famous Japaense People---
---Chugoku Ryugaku---

(Studying Abroad in China)
From 50 years ago until today there have been many people from a variety of countries studying Tsuhai Kobushi in the city of Peking. Budenki as of this writing was still in Peking studying Tsuhai Kobushi-Ho. Budenki and Utenshu were also known as Tetsuwan or Iron Men. Buden sensei during the Taisho eras 13^th year (1924) was attending college and shortly after that went to study abroad in Peking to learn Tsuhai Kobushi-Ho. He first entered school in Peking entering into the Chugoku Kogengaku Shakai. During the old day’s one had to learn much about China, its history, language, religion and philosophy at Peking University before being allowed entry into a Kobushi-Ho school. Peking then had only one popular fist style Tsuhai Kobushi-Ho. Its teacher was a one Gashin Horo. One also had to have a letter of introduction before being allowed to study.

This was done in that most Japanese from long ago were warlike militaristic peoples. New students of Japanese descent were screened carefully and wee made to pass rigid examinations before entry to any school was allowed. They wanted to be assured that these people were of good moral stock or quality and of impeccable spirit. Then they were allowed to enter the Kobushi-Kan Daigaku to learn basics like Kendo, which was taught by Seison Goro Hanshi. Once one took this pre-course and passed he was considered a shoe-in for the Kobushi-Ho School and when one stayed in Peking and studied there were many strange and new things to be learned aside from language and customs.

The techniques used in Kobushi-Ho were different than those learned in most Japanese martial arts. China’s form of Bujutsu was more spiritual than anything else. In this style there were the middle techniques of strength which were often times very perplexing such as Tsuhai Kobushim taught by Gashinko, Tsuhai Kobushi taught by Chosaku, Kashi Kobushi taught by Ryushi Sen, Shimo Kobushi taught by Hakurakumin.
These were especially important strength techniques. In Peking there was also the Taikyu Kobushi-Ho group which taught at the Koku-Justsu Kan by Chochu Kyosei who was also famous.


---Tsuhai Kobushi to Chosaku---

(Tsuhai Kobushi and Sensei Chosaku)
The center of this art revolved around its teacher Chosaku. Chosakeu was also known as Iyurin in his younger days. He was born in Northern China in the city of Koga. Buden Sensei came to Peking about this time and was around the same age. Both were of different temperament though as Chosaku and trained with many different types of people like teachers, Ryokusha, Shafu and Ishi to mention a few. They talked of many things that concerned Kobushi-Ho the body, the hips, breathing hand and feet placement. Chosaku and demonstrated a technique that defended against two people one form the front and one from the back using only the front and rear hand in a swinging motion or strike. He had also seen many contests were combatants were killed or injured because of these challenges.

From these events he wrote the Suiki Chosan on which was based his techniques. He came to be very popular and feared by some because of his techniques, Buden Sensei was introduced to a man named Kyoryusei and it was with this man that he started his training in the Kakuha no Kobushi-Ho. Then he trained in Tsuhai Kobushi-Ho. The former was sort of a basic primer for him before studying his real art. Gakushin Horo was his teacher in Tsuhai Kobushi-Ho and was from him which he received his teaching certificate. Tsuhai Kobushi was legendary in form, style and technique as was the teachers and students. During the Sengaku Jidai the Byaku-En or white monkey style was founded by three masters with connections to Tsuhai Kobushi, they were Odo, Rigi, and Kansei.

In ancient times Tsuhai Kobushi was also called Anhai or Chohai. Tsuhai Kobushi was famous for its strong body stature. Its power it was said emanated from the lumbar region of the body. Also the arms and elbows formed formidable weapons.

---TSUHAI KOBUSHI TO GASHJIN HORO---

(Tsuhai Kobushi and Gashin Horo)
As this study goes the original author of this work states that Tsuhai and Tsuhi Kobushi styles are basically the same. They both use Horyoku-Ho or the power discharge law or way. Both al take basics from the original style. Each had eight specific techniques and eight kata.
Tsuhi Kobushi is classified as having three general sub-groups

1.) Byaku-En Tsuhi Kobushi (White Monkey Fist way)

2.) Hekikai Tsuhi Kobushi

3.) Shorin Tsuhi Kobushi.

These are said to have from a Masamune influence or a righteous fist sect. In Peking these days the Byaku-Ren Tsuhi Kobushi is very popular and its current master is a man named Chokendo. Again this leads us back to the realization that Chosaku made with the integration of these styles and there techniques to now include Hekikai Tsuhi Kobushi. Shorin Tsuhi Kobushi, and Shorin Cho Kobushi were joined together to make one eclectic style Tsuhi Kobushi-Ho. Reach special distinctive features of each style.
Hekikai Kobushi was known as the earth/ground fist way. Its master was Chokendo. This style was also patterned after his Byaku-Ren Tsuhi Kobushi style.
Buden Sensei was a teacher and master of Tsuhai Kobushi was another man named Gashin Horo. Upon this Tsuhai and Tsuhi Kobushi became two different sects or styles. There were name changes made to differentiate the two changes in kanji characters only. This brought about conflict between two other teachers who fought a drunken brawl over this issue Chosaku and a man named Domon. Each fended each other off with no resulting injuries. One style base don the elbow the other on the strong lumbar region.
During those days in China as it was opening up to trade and commercialism so was Kobushi-Ho beginning to expand with the peasants form settlement to settlement. Even though this style was spreading it was still practiced in secret. Only the best and trustworthiest were allowed entrance. The government was aware of this activity and was actively seeking is HQ's.
In Peking there were authorized enclaves which were allowed to practice Chugoku Bujutsu. The current head of this group was a one Daido Geininka Muraishi (Or known as Gorotsuki). Consequently, Buden Sensei began teaching another student named Garo who was an influential Japanese who came abroad to study Kobushi-Ho. Many Chinese were opposed to this as Garo had ties to Japanese Ultra-Military Groups. But Buden Sensei I believe did not care he trusted the man on his word and documents as well as his word of honor.

According to Chinese law if a person came to learn from abroad he was taught a sanitized version often times of this art. The Chinese were very protective of their classical art styles and not wanting them or their honor tarnished by a foreigner. One upon entering China had to have sterling credentials to even get an appointment.

---BUDEN SENSEI NO TSUHI KOBUSHI-HO---

(Sensei Buden and his art of Tsuhi Kobushi-Ho)

In the suburbs of Peking there is a place of reverence known Nyan Nyan Chugoku no Kodorara no Shin.

This was a place of reverence for long passed children. Every year during the 5th month 6th day there was a festival conducted to honor the children. Many came from far a way to be at this festival. Also many Kobushi-Ho masters came to meet and talk about their styles. This festival also was geared for these masters to meet on the Bujutsu no Hyoenkai.
In 1934 on Mt. Myoho these groups from the Bujutsu no Hyoenkai met on this mountain to discuss. It was there that Buden Sensei was nominated as a teacher of this big society. Thee Tsuhai Kobushi was introduced into this society’s agenda. In attendance were master’s form all over China.
This style demonstration was very imposing to say the least. One military man who was very interested in this style Tekobu Iten who came from Peking to witness this styles effectiveness. Buden Sensei and his religious group became very famous after this. He gave many lectures, demonstrations and tours.
His notoriety became known of the royal family and eventually the Shorin groups in the Honan Province where Mt. Susan was located. It was well known that the Shorin-Ji Priests had great strength and great spiritual insight. In those days Susan folks were known to have rebellious natures. They though did not want people who were like this to enter their precincts even though they did it. Buden Sensei had though special permission thru the government with the special representative from Susan to enter into the temple grounds for training. He was allowed but with three armed guards. He was there for three years. During his time of study there Buden learned Kobushi from Ryuiki Koka and based his publication on these experiences. Buden stayed up night and day to learn as much as he could. He was it seems a natural learner. In 1937 he consolidated his practices of Tsuhai Kobushi into a publication, which was known as the Ki To Bo Kyo Shi Ji Sho Fu - (Translated from Chinese). This was allowed thru the auspices of the Chinese government.
This writing by Buden Sensei outlined the basis or foundation for his art, as it was refined in China.

Next is an appraisal of the Bujutsu-Ka system. This writing is from a publication in Peking and only parts of it could be gathered for dissemination. The reason is to preserve its contents. There are some publications of this nature in Tokyo at the present, which outline the basics, some techniques and grade or class system. Some have even waited for the individuals who have the complete document to die in order to get their hand son the complete document. The reason is that there were some secret principles of this art that should not be released to the public. These techniques were passed down to family members only.

Buden Sensei's Tsuhai Kobushi-Ho and his Kobushi-Ho no Bujutsu are very complete and detailed. There also is a section devoted to Buddhism. One had to have that background in order to open up a school in Peking.
His teachings were also geared toward the police organizations and the military drills. He had studied several other arts over a six-year period. In 1939 Biden Sensei was involved in the Rokokyo Jiken. Afterwards there was an organization formed based on this incident.
This organization with the permission of the Chinese government was named the Hokukyo Jian Iji Kai.
Buden was advisor to this group on the board of education at Peking Daigaku as a professor, ambassador, and part time investigator. During the war in Northern China between the Chinese and the Japanese he was assigned to a military group as an advisor to the army's (Chinese Translation Hoku Hyo Chi Kui Toku Mu Ki Kan. He also had influence as a religion educator. In the pre-war days and during the war he stayed for another 12 years.

He stayed on to study Chinese historical literature and Buden was again hired as an instructor. He was also in charge of new students coming from Japan to China studying abroad. Buden's tenure eventually led him to his dream to be a part of the secret societies revolving around Kobushi-Ho. He was given an opportunity and directions to a secret location within Peking’s precincts with strict instructions. During the middle of this war the Japanese army met its end in disaster. Buden and the Chinese army helped stave off the Japanese attack but at the cost of thousands of deaths on the Chinese side.

But he was able to help maintain the historical records pertaining to Kobushi-Ho.
Even though Peking was being bombed throughout the war he and the Chinese army were resolute in their resistance. Even during the war there was talk thru intelligence channels that Peking was going to bombed out of existence. Because of this information many of the cultural assets were taken and hidden at a variety of locations away from the bombing including thousands of historical volumes pertaining to Buddhism and Kobushi-Ho. China was impressed with Buden's ideas of saving valuable information resources. One other valuable asset saved was the Kahoku Shukyo Nenkan or the Northern Chinese Religious Yearbooks. Other ancient works written in the ancient writings detailing revolutions during the time when China was named Shina.
Upon returning to his native country Buden Sensei developed the Bujutsu Kankei and this started an exchange between China and Japan involving Tsuhai Kobushi-Ho. This system started out as word of mouth and was kept secret for many years. Many people did not know of its existence until way later.

Also upon retiring he also formed the Shuku Tokutanki Daigaku in a province near Tokyo. He was Chief advisor and again held many positions. He was active until age seventy and was still in good health.

He was given the title of Kobushi-Sei or Kobushi Saint. He attended many alumni meetings and served as advisor to the other Kobushi-Ho groups.
CHUI #25

There were two publications written by Buden one was the Yocho Hogen Cho and Ryubikyu each encompassed two volumes. This covered Taikyouku Kobushi-Ho, and Taikyouku Kobushi-Ho History, and its founder Chosanbo. Togo Sensei of the Shorin Butoshu was also mentioned in these books. Next we will look at another important fact from antiquity for example Buto-San or Buto Mountain came Chosanbo founder of Shorin was also thought to be a Taoist Wizard or Sennin. Chosanbo it was said had a dream one night in which a god had came down from the heavens and imparted on him the secrets of Kobushi-Ho. During his youth Chosanbo learned many things from Buto-San and its strange precincts.

A story is related here, which took place in a garden in a temple on Buto-Yama or Buto Mountain. There was a magpie flying around wanting to land in this garden to eat but was stopped by a large serpent. The bird flew high and low but the large serpent followed him everywhere he went ominously. The snake’s head expanded and contracted while following the bird in a fluid motion. The bird though flew up and down effortlessly. These animals’ actions follow the same laws as the art of Kobushi-Ho using the Nyo/Go weakness and strength and the mapping of these areas. The understanding of these laws enable one to better understand cause and effect which can lead to enlightenment the idea of the moving mind.
Chosanbo the Sennin or Wizard was a Taoist scholar. He often times exercised at night in the moonlight to enable him to make better contact with the gods.
This he hoped would improve his Sword techniques and his Kobushi-Ho to a limit far above his own expectations and anyone else’s for that matter. It is said that he gained much power thru the wind and rain spirits that inhabit that mountainous area.
Thru this interaction with nature’s forces his spirit was built up to a level far above that of any other practioner of Kobushi-Ho. He was able to see nature clearly in all its primal clarity like no other.

By watching the crane and monkey fight one day unnoticed by the animals due to his spiritual quietude he learned much and that was applied to the style he developed. Chosanbo was also always practicing his concealment techniques much like the snake does hiding in the tall grass on the footpaths that surrounded this mountain area. One day he did encounter a very large snake and was forced into battle with it in a body of water nearby where he was hiding. The snake told Chosanbo he could see him and bid him to come out and do battle. Chosanbo from his position did not answer him directly but leapt from his place of concealment and jumped on the snake unexpectedly. Chosanbo grasped the snake’s body in one hand and big head in another and face the snake his grip was such that the snakes was in fear of its life.

Taikyoku Kobushi had many one-handed techniques such as the one above that were very powerful when used properly and with spirit. With the ongoing battle still in progress Chosanbo let go of the body and soundly struck the snake a blow that splattered blood everywhere. The snake flew away into the sea to be banished forever. Many thanked Chosanbo especially the birds that flew high and low because they were always attacked by this snake. Chosanbo the wizard used a Dai Kobushi-Ho technique known as Kunkyu Shako or stretching the bow and hitting the tiger. In another adventure involving Chosanbo who one day ran into a tiger, which both not knowing each other was on the same path, until it was to late be both frightened. Chosanbo ran right into the tiger and afterwards the tiger backed up to evaluate the situation. Then leapt on Chosanbo trying to grasp his pray with both hands and crush him. Chosanbo at the same time blocked both paws outward and pushed his knee into the tiger’s head killing it instantly with blood splattering everywhere. He was also cast into the sea. Chosanbo was at a level of skill to be able to vanquish most anything that came across his path.

In another episode Chosanbo was walking thru mountain snow one day and slipped and fell off a crevice and rolled into a large rock, which in turn knocked another large rock over onto him and was hurt badly. He needs medical attention quickly. There was a winter storm quickly behind him. He then used his own strength to move this large rock off his body and threw it over the cliff next to him. According to this legend he had strength that was unbelievable by most.
But all is duly recorded in the history books. The Chosanbo and his Dai-Kyoku Kobushi-Ho even today pass down many legends. It is also said that Chosanbo had direct transmissions from Daruma Dai-Shi.
Why are the legends of Chosanbo no spread out more and the good he did developing his art. Once the truth is out about this man many will want to do more research into this life and adventures. One must have an open mind though. In these writings Chosanbo also went by a pseudo name Sanbo. Sanbo helped many people in his life and some to the point where they accompanied him it was said with no food or water due the situation in the mountains that they traveled for 1000 days using the power walk before finding food or shelter.

Also during the Ming and Manchu era a scholar by the name of Korishu wrote extensively about Kobushi-Ho and Oseinan another famous martial artist. They say that Oseinan was a descendant from heaven that’s were he gained his martial experience.

Shorin Kobushi-Ho’s attacking techniques are the most important next to the counter attack techniques. Also important is Naiha Kobushi-Ho. This style is suppose to imbibe into one a sense of quietude in spirit and this is used when in movement utilizing striking techniques. On the other side of the coin we have the Gaika Kobushi-Ho or the external system this has its own special distinctive features of self-defense and spiritual or body attitudes. The internal system of Kobushi-Ho came from the Sung dynasty originally and was perfected in a dream by Chosanbo. Chosanbo’s Naika Keito was passed on down to Oseinan Sensei to carry on its traditions.

Since the time of Oseinan Boshishu during the early days of the Manchu Dynasty Chugoku Kobushi-Ho and the development of the Naika Kobushi and the Gaika Kobushi-Ho Keito many changes have come about.

This was evident especially during the closing years of the Manchu Dynasty The two developed into the Taikyoku Kobushi-Ho system and had spread almost everywhere throughout China. Oseinan’s name was on everyone’s lips as the founder of this eclectic system. He learned this system from the wizard Chosanbo.
By now this group and its teachers were disseminating information on this style at a fantastic rate. The famous style, which originated on Buto-Yama, became almost a household word. In the early years of this style around 1930 Togo sensei it was said was dissatisfied with the way the style was developing. He thought it should always have stayed as Shorin Kobushi-Ho and its expansion deterred because this at was not for just anyone. It is regrettable that there was information lost by this man because of the above. That is why now all Kobushi-Ho Densetsu is duly recorded.
Daruma Dai-Shi or Daruma the great teacher of Shorin Kobushi was always open to discuss ways to improve this style and not keep it hidden. The Ming’s and the Manchu’s spoke Chosanbo very highly of for all the good that he had done for this art and its dissemination to the general populace. In truth there are many records of this man but the information is scant but it is on record. However, the records of Naika and Gaika Kobushi, which eventually evolved into Taikyouku Kobushji-Ho were plentiful, this is thankful. These were the more important of the techniques used in Taikyoku Kobushi-Ho. These were used as defensive flanking techniques. And were taken form Oseinan’s Naika System. In modern times the two styles are considered basic primers to learn before one learns Taikyoku Kobushi-Ho. This is what Chosanbo had intended to do all along.
CHUI #26
There has been some historical discussion as to the founder of Taikyoku Kobushi-Ho. Some say it was Chosanbo other scholars say it was a man named Chin O Tei. This subject had come under close scrutiny by scholars and was expounded upon in a thesis named Ninsei Chao Ninsei. It was a classical viewpoint in which many arguments were formulated but in the end the conclusion leant more credence toward Chonsanbo, as the evidence was more in record that was of Chin O Tei.
Much was contained in Kobushi Law and in Kobushi techniques each of which has Chosanbo’s personnel signature. Much of the genealogy about Chin O Tei could not be validated known as the Chinchoko. Chin O Tei after this came under bitter or severe criticism for his claims in many Chinese physical education journals.
Especially the Shintai Zasshi printed in May of 1965. Also that same year the same article came out in and article by on Chugoku Bujutsu Shi by Togen Buko. Some private individuals voiced their concerns also i.e., Chin O Sei Chinkako no Chinizoku who was a relative of Chin O Tei. He stated that his ancestor might have been in error.
On the outside his style of Kobushi-Ho Chinka Kobushi-Ho was still a very popular style but their ambitions were well hidden for what reason no one knows. Chin O Sei followed his ancestor’s footsteps to the letter.
It was brought out later that their may have been two people named Chin O Tei and the false one was considered to have started the rumors of who started the style in revenge for past reasons unknown today.
Togen Sensei was of the same opinion. Many Chinese scholars agree with him also on this thesis. There were three other styles of Taikyoku Kobushi-Ho written about that were very popular 1.) Kenka Taikyoku Kobushi no Renshu Ho, 2.) Chin Sensei Taikyoku Kobushi-Ho, 3.) Taikyoku Kobushi Kenkyu. These three volumes are very famous with much information on the style its techniques and teachers.

Let’s review the study of Taikyoku Kobushi Kenkyu and its origins. This is what we will cover next. Taikyoku Kobushi’s founder (Again as stated before this is still just conjecture) Chin O Tei from Honan province the city of On. He was born into a low-grade class at that time. His genealogy states his name was Sotei. It is said that he had much knowledge Bujutsu. In Japan he was known as Yamato no Tatsujin or Japan’s Bujutsu expert. He was also known to been a rebel leader of 1,000 rebel bandits during the last rebellion. Chinka’s Kobushi-Ho consisted of Toso Jutsu (Sword & Spear Art). The Ming records indicate this as being authentic. This information was recorded during the years 1618~1621. In 1619 the Manchu military raided the compound in which Chin O Tei was staying which resulted in many deaths.

The reason for this raid is still unclear. In 1625 there was a conference convened to study this incident. During this time Chin O Tei according to the Ming’s were a rebel but one for the good of the people against tyranny.
During the end of the Ming era when their downfall was imminent Chin O Tei was growing old and wanted to retire from Kobushi Kenkyu and lead a pleasurable life. Chin O Tei was also known as Sokukeiko and was at one a military commander and a Bujutsuka. He was the head of many Ryu it was said in his area. Others who kept his traditions and namesake to carry Kobushi-Ho to new heights succeeded him. Above all it is stated that at first glance this could not be so because of the conflict with the other founder. Both historical outlines of both supposed founders must be read and you must make the determination as to who is the real founder. See the below:
Eiheifushi and Chin O Tei are outlined in two legends Roryukenshi and Rakusenkenshi. This data on Chin O Tei goes into his character makeup or personality. The people who were with him it was said called him Shinryu or Spirit Dragon. In 1607 the Chinese civil service exams were out and Chin O Tei had taken part in these for a government job. This started in Shenshi province in the city of Chihen. In 1618 a man named Jun An Goshi was promoted into service and in 1620 he started work under Chin O Tei. But Jun left service shortly after for unknown reasons and changed his name to Kansatsu Goshi. In 1626 the Heibu conference convened. In 1630 the Manchu army captured Eihei and Chin O Tei were captured as accused of being rebel leaders. Both were put into prison and died there.
Next are the biographies of Kaikei Fushi and Okkenshi no Gojyukai. Gojyukai and another man not mentioned above Onken Tochi were from Honan province in the locality of a military post named Hongyaku Gun. This was an area of much violence and bloodshed.
During the war Iyuhai, Kyohei Shubi and Chi O Tei were commissioned officers who also led attacks on the pirates when they were scourging the area. According to the Anping provincial records this was recorded by the then era King Onten who reined for a sixteen-year period from 1643.
Thusly, Chinkako Chin O Tei also commanded the Kyohei Shubi or the Kyohei Army Garrison and which later on Chinkako was replaced by Ryoto Goshi who stayed in that position for 13 years. Also some say there were two Chin O Tei’s one with the kanji as and the other with Historical records indicate they were two separate men.
Some say the one the above with Chin’s name was an imposter named Koryu Keidoshi. The military army command structure shows that Chin O Tei was on their roles as an active commander. The military commander Chin O Tei as stated before had another name Sokukeiko. Never the less Chinkako no Chin O Tei was the founder of Taikyoku Kobushi-Ho. This is duly recorded they say in the Kobushi Kei or Kobushi sutras. He was considered the Dai Shogun of Taikyoku Kobushi.

Sokukeiko had many other regular jobs other that his military duties. As history states he was a martial artist and teacher first and foremost. He was a philosopher and poet. It appears that Koryu Keidoshi and Gunhi Senyo were leading peasant rebellions to clean up the corruption in the military wanting to be military heroes. But as far as Taikyoku Kobushi goes Chin O Tei was the people’s choice for an martial hero. For some reason he then Shogun was resistant to this mans popularity. But history says Chin O Tei led the rebellion against the pirates and forced them either back to their own areas or destroyed a majority of their populace in battle. From this he rose even higher in the military ranks and became the people’s hero.

He also put down other reactionary soldier groups into place who were fomenting revolt among the peasants for a different government rule. Chinka Taikyoku Kobushi-Ho thru these efforts had a very good reputation with the current government and was always looked to for sound military advice. Koryo Keidoshi it was said he started his own offshoot of Chinka’s martial art but it never received that mush popularity of student gathering. Many of the peasant groups he tried to teach wanted nothing to do with him because they had guns that could a person form a distance. They were of the opinion why do I need my hand sand feet when I have a gun? In Chin O Tei’s family he had same name Chin Chu Sei who became a good martial artist and military in his own way and led many insurrections for the people against all tyranny or oppression that affected the peasants.
He fought for many different types of class struggles to try to achieve a level of equality for the peasant class. Once the peasants knew they had a Taikyoku Kobushi master at their side they fought till hell froze over. Many others of the higher classes opposed such a leader and Chin O Tei and his son because that went contrary to all they believed in or were taught by the ancients.
CHUI #27
The Ryubiko was one of two literary works done that dealt with the Kobushi-Ho legends during the Manchu rule. It also dealt with Kobushi-Ho proper and Kobushi Shoshi a short history of Kobushi-Ho.

In 1968 another writing was published entitled Kokosho which dealt with Chinka Kobushi-Ho and was published by the Shinka Joto publishing group. This was the first time a publication of this type was ever put out talking about Kobushi-Ho and it being available to the general public. Some writings were done as early as 1958 but they were never published. The 1968 work started in 1963 and took six years to write, edit and publish.

Chinka, Taikyoku Kobushi Ho's text is comprised of five volumes as the following shows:
  Dai Ichi Sho (Vol # 1) Chinka, Taikyoku Kobushi no hatsu no takushoku\ The eight characteristics of Chinka, Kobushi
  Dai Ni Sho (Vol #2) Dai Ichi Ryo no Kata, to hachi ju san kyodo no zuhai The first kata, and the 33 rules of deportment with illustrations
  Dai San Sho, (Vol #3) Dai Ni Ryo no Kata to shichi ju ichi kyodo no zuhai The second kata, and the 71 rules of deportment with illustrations
  Dai Shi Sho (Vol #4) Chinka Taikyouku Kobushi no Seishoku (one hand)

Ni nin de konde, okokau, (Two person drills according to Kobushi Law

  Dai Go Sho (Vol #5) Chinka Taikyouku Kobushi no Ran omo totsinte

(Discussion of the eight precepts of Taikyoku K/H plus information on the analects of

Chingin (1849 1929)
In the beginning of the book there are many comments and commentaries on Taikyoku Kobushi and its literature and history and their main points. There are also references made to other selected reading material. In the early days of the Ming era there was a military commander named Chin 0 Tei who was founder of this style.
Chin o Tei as stated before was born in Honan province in Oken City. He started his career as a minor government official. In 1618 he had an appointment as advisor to Yamato, Chokurei, and Liaotung military commanders under Junan Goshi Kenkan Gun Goshi.

He was involved in wars involving the Nuruhachi Shinko Gun and earned a distinguished award for his actions. In 1644 during the downfall of the Mings Chin 0 Tei was at this time very old. He retired from the study of Kobushi Ho and became an advisor to other groups under his leadership. These groups under his leadership developed the five paths or five kata, for this style and the eight energies supporting these kata.

Chin 0 Tei held his title for some 30 years under government auspices. He commanded a garrison in the far northern regions of China during his tenure. This outpost was attacked many times in the past especially during the early years. During this early period it was said that the precepts of Kobushi Ho were being developed along with their 32 energies. Also of import here is the breathing methods of this style along with a deep understanding of the Yin/Yang principles and anatomy. Chinese medicine and science were also the mainstays of this eclectic art and how they applied to the body. In terms of anatomy the interior and exterior of the body were studied and examined carefidly. From this study adepts were able to map the bodies weak points, pressure points, and blood flow. By adjusting these areas they were able to control its energies.
Chinkako followed his teacher’s studies well and carried on the traditions of Taikyoku Kobushi well enough to become an expert in the art. Chin 0 Tei's training went on for five generations of teachers and students. During the time (1771 1853) there were 14 experts or teachers trained. They formed the Chinyuhon group and made minor changes to the Kata.
It seemed there were also two paths this style was following that was changed to one path and formed another group named the Hosui Gun. During the Chinyuhon era many changes were made to this style and the Kata were also changed somewhat. New military exercises were formed from these changes. From these changes the Chinseibyo and Shoka military exercises were formed.
These changed the shape of military strategy within the Chinese military. Chinkako techniques were combined with Chohoka techniques to form the Choho Kata series.
Chinka Kobushi Ho, which was a derivative of Chin 0 Tei’s style, branched out to form the Shinka, Chinseibo and Chohoka systems of Taikyouku Kobushi Ho. The Chinchoko and Chinka teachers were very famous during their time. Kata during this time was very important if not the mainstay of this style.
There was another teacher Yorugen (1799 1872) he had some thirty odd years of training in Kobushi Ho. He had studied at many schools within the Peking area. He formed the Yoka Kaikyoku Kobushi Ho system, which was also very popular. Another Man Bu U Sho (1812 1880) he also studied under Yorugen, Roka and Chinseibo. From these teachers he formed the Buka Taikyoku Kobushi Ho system.
Chinchoko passed on his knowledge to Roka to include the 1st and 2nd kata's of his style. The 1st kata was very important in that it trained one on the weaknesses and strengths of the body. From this came the body laws and the use of the hand. This style used a lot of circular and re directing blocks. These were broken down into dividing hand blocks and combination re direction blocking defenses. He auxiliary exercises between students were designed to develop strength, stamina, and speed. They were also taught to develop a peace of mind when in motion and control of techniques. They were taught to perform these actions front and back and side to side. These are basic and easy to learn but it takes practice and development of internal energy to implement properly. These actions are not only for defense of offense but also it helps the user in a therapeutic way to develop a much more healthy body thorough the use of these ancient exercises. The second kata help develop more dexterity and speed using the Nyu/Gyo precepts. The body and the inner spirit will guide the hand.
The body and hand laws should work in conjunction with each other. The mind, body and spirit should be a whole whereby the hands and feet act in unison or automatically without thought or action.

Do not forget speed and power will come with practice. As the Kata changes so should the individual. Ones energy should be restored through their constant use.

Always look for the opening when training and seize the moment. Exercise control when exercising with your partner. Never hurry a technique use your time and power wisely. Kata and technique exercises have their purpose. Look carefully into the basics of each of the above groups in order to gain a better working knowledge of this art.

On the basic Kata the first again is first and foremost its basics have to be learned built upon and expanded in order to develop the fist way. This method may seem strange and first but as one progresses in it and build up his or her skills it will all fall into place. With the first Kata learned and properly developed one can start on the second kata, which with the first and its basics the second will help develop speed, strength, and dexterity. On strength one must be able to use both weakness and strength to form an even parity. One will need to use both in this style in order to survive. This point must never be forgotten or not learned properly. Just as the basics are important in the first Kata this point is paramount in the second Kata.
Chinchoko's military fame was developed on his high skill or level of expertise in the Kobushi strike. He passed this information and its development on to his most trusted students. In modern times the big military cliques all look to Chinchoko, Enki, and Koun, revere their tomb epitaphs on which are written the Kobushi creed. Enki no Shikatsuka (1887~1957) had compiled and chronicled 30 volumes on his style over a 20-year period.
In Peking during the year 1928 there were twenty volumes compile done in this style to date. One volume that was in development was devoted to two different training systems called To-Te and Kumite. Two people could practice what they had learned from the kata and use them in a two-person drill situation.
Both hands and feet were used together to help develop each other’s techniques and skills in offense and defensive techniques. These techniques assist a student in capturing or seizing a punch or kick and to present a proper counterattack. It teaches them also the stumbling technique, which was a Chinka Taikyoku Kobushi-Ho during technique.
In the same area the Yoka Taikyouku Kobushi-Ho style was also thriving and was taught then by Koyusei Rikenka. This style taught the same basics as in the Chinka school.
It was used to attract the youth to teach them the right path to follow for themselves, their family and their country. The above text, which contains written material on the 1st & 2nd katas, was taught late in life after the basic exercises and techniques were learned. The genealogies of both styles are long and famous. It was so recorded from the beginning of the Ming era.
Since the time of Chinka Tei during the same period many Taikyoku expert came to be. Of the offshoot styles the Nyu Kyoku or passive breathing techniques were the most popular. It was said that thru this style of breathing one could extend his or her life. This technique was called " Jutsu Toshite no Kyokuho". It was written about early on in this writing and was a very popular techniques used by many of the older people familiar with this style. I am of the opinion that this was taught not as a regular part of the study but as a side door taught only to the most valued of people. This was told by Shokanko Sensei formerly the Kyodai Karate Bushodai Chusho. His senior student Sentotsugi Chin O was taught this method of breathing and the other mysteries of Bujutsu. This information was related to him thru Soshi and famous philosopher of the time who was also an expert in this art. He also taught a specialized springing or jumping technique coming from a low position to a higher one ending up on one foot. Soshi was a student of Mencius and was a very profound thinker, strategist and teacher. As stated above Soshi was a Tatsujin or expert in this passive breathing art. Whether he was asleep or awake he was always breathing in this strange way almost tidal in concept. It was said that he dreamed in this state. One learned from breathing slowly and deeply from below and expelling the excess out thru the throat in a controlled manner. This breath can be channeled thru any part of the body.

Since the warring states era during the time of Kei O there was a famous cook who was known to have used this breathing technique while cooking. His cooking techniques were famous while he used this specialized technique. Some animals it was seen breathed in this way. One though must have a good spirit in order for this technique to work.

One must put his mind into the spirit world to see or use the technique properly. To be intimate with Tenchi heaven and earth and to do this unconsciously is the key.
This cook as it turned out had been trained in that and knew the breathing techniques and had a good grasp of anatomy, which made him a candidate for this art. Strange to find such a person with such uncommon skills as a cook to be able to grasp the fundamentals of such an arcane art and uses them in conjunction with his cooking art. By now this cook and famous knife techniques were known for 19 years. Many had heard of this famous cook with no name. Now we see this same technique being used by swordsman who had read of this mans cooking efforts. Why not use it to help one wield a sword properly so it began.
With this technique was able to be calm while wielding a sword to forget the self and let the body do what it had to do.
In the world of Taikyoku Kobushi the word Taikyoku means big world and from the olden days. Also during this time the idea of a philosophy was just being established. During the Sung era during the reign of Shurenkei (1017~1073) the Taikyoku lineage began. Its leaders and their roots were deep into Dokyo or Taoism. This is base root for the Taikyoku lineage. This was a new era on interpretations of Dokyo and discussions on Jichuron and Ningenron or the discussions of man and life or man and heaven and what their role was. Also being developed and discussed was Dotokuron or discussions of man and his moral duties. These three were tied together to form a triad of mans destiny. This is what the Sung era's philosophy was based on. It is said that Japan had a big influence on this philosophical view, which led to the development of a neo-Confucianism style of philosophy.
Sokukeiko (Kobushi-Kei) that was previously talked about developed the Nyu-Ha or soft fist style and had very distinctive features. Chin O Tei or Sokukeiko as it was stated took his style into the military arena to create the Taikyoku Kobushi-Ho style. Once this name was established it held well for eternity. From the Nyu-Ha came the Naika and Gaika or the internal/external styles and flourished from he end of the Ming era well into the Manchu era.

Togo's Shorin Butoko also had a Naika & Gaika style. His development is a little older than the above. In 1669 during the 8th year of Kosho we see that the epitaphs and praise for Shorishu and Oseinan were plentiful. Korishu or AKA Koshugi and Koteirin lived during the Manchu era. They were famous scholars in their own right. There was though much resistance to their writing. But the rest of the world knew of them and their skills. During the close of the Manchu era a literary work was developed by this two-titled Mei I Taikoroku. It was a treaty for young people to read and guide to live by thru the use of martial arts. The epitaphs of Oseinan talk about this writing. Also written was that Shorin Kobushi would always receive great fame in heaven or on earth. It also states that this art will guide the people of China thru hard and good times and serve them well.

The internal styles taught that man must achieve a great inner peace with himself especially when in motion like a moving type of meditation. He must be in complete control. He must never commit any sin against him or others. The external system of Shorin was a little different. It is said much influence from the internal system came from Chosanbo. Chosanbo was noted for establishing the first Naiha or internal group. From the historical records Taikyoku Kobushi-Ho flourished everywhere in China and abroad. Next is a story or hypothesis about Takikyoku Kobushi-Ho. The human body and its mind is very complex in nature and the mapping of its vital points was even a greater task. The bodies breathing techniques were also difficult for most to fathom especially their development and their use throughout the body. It was said that the breath possess certain energy or spiritual qualities and when properly developed and used a person was considered formidable.

The breathing method was what held the Kobushi-Ho system together. Taikyoku's aim was develop a better person thru enhanced body development skills. This was accomplished in phases. During the Ming era there were many people of different body styles and mindsets, which enabled this style to pick the best of each to develop this style. This Sokukeiko knew about early on and used this ideal logy in his military drills.

The Ming’s downfall was attributed to the Chukanminkoku or the Republic of Taiwan and in which Kobushi-Ho played a role. The development and path of the Nyuka Kobushi-Ho system followed its founders into this era with great relish. Also the Naika Kobushi-Ho, which eventually integrated into the Taikyoku Kobushi-Ho system and became a one of a kind art. Chin O Tei and Chinka as were talked about had created a very eclectic art style whose study and following would had surpassed even their wildest dreams had they been alive. The Nyuha had prepared one for a long life.

Sokukeiko in one direction took his style to the military to develop a better or more robust fighting force. Its drills were the strictest known to the Chinese military. They were just as harsh as the mountain priests. During the Tang era the Sohei developed and honed their stick fighting art to high degrees of success. This followed suit all the way into the late Ming era when Kobushi-Ho was first established and well into the Manchu era. Until then they were still considered a secret society. Its instruction was passed on down thru word of mouth thru elaborate rituals. Both the Naika & Gaika Ha had many followers. The Gaika group had origins even at the beginning of Shorinji sect on Mt Suyama or Susan as it was commonly called. Its establishment was a direct result of Daruma Dai-Shi's teachings.
Chosanbo's style, which was steeped in Daoism, was opposed by most only that it was fully understood. Most thought magic and wizards a hoax or at best stories to keep children awake but that was not the truth. Chosanbo the wizard was as real as his art that he had developed and is known in the historical records. These were fine arts of the gentleman and not an art for ruffians.
It was successful because of the people involved and their dedication to their arts and teachings. Hupei provinces Mt Buto in Honan province Suyama are steeped in legend, lore and much much fact. Both areas teachings and training flowed together at one point in time.
(Chugoku Kobushi-Ho yori)