A historical Perspective During the Reign of

CHUI #24

The Tsuki Monha during the Manchu era's Kansho Nengan in Hopei Province was located near Toryoko Yama and was run by a Taoist Priest named Kandocho ga Jinkei.

This gate group's knowledge it was said was passed onto a Japanese person by the name of Buden Shirashi. He became the Gen Peking Daigaku Kyoju Gen Shukutoku Tanki Daigoku Gakucho or the professor of the New Peking College and the President of the New Womens Virtue Junior College President. He was given this honor thru the Chairman of the Alumni Kioken Choshutsu Tocho.
Next is Ko Kobushi, which was a Northern Kobushi Ho Group.The originator of this style was the first Sung Emperor Chokyoin. Of this Universal Fist Way emerged in the Hopei area. These were R ikugo Honmon and the Shorin Itamon. Ryutokukan during the Kosho Nengen led these gate groups (1875 1908). Rikugo Tansui and Chokosan wrote about these groups’ activities.
Both groups indicated or demonstrated "Universality" of Heaven and Earth in all Four Corners of the earth it was said. From this style techniques there was created the crane spirit. The spirit in the body made it pliable and soft on the inside. By utilizing the whole body one acts automatically and the movement comes from the pelvic region. One who moves like that moves like a god.
The hand, body and eyes play an important role here in that that they must action in unison. The eye and the spirit, the spirit and ki, energy and the body, body and the hand, and the hand and the foot. These combinations must move with unerring accuracy. Timing is just as important as the technique in this style labeled the "Universal Style". Rikugo or Universality is the key to these style actions.
The emphasis should be on the end result. One must know all the facets of Kobushi Ho to make any style work. Nanha Shorin Kobushi Go Daimon or the (5) big southern gate groups of Shorin Kobushi then were Sa Kobushi, Dantai Kobushi, Ryuka Kobushi, Ko Kobushi, and Sui Kobushi. Fukien Province was the center for these gate groups especially Ko Kobushi and Hakutsuru Kobushi. Also mentioned were Ei Kobushi, Taiso Kobushi, and Arhat Kobushi.
Daruma Kobushi and Toro Kobushi are also important to remember and research. In Taiwan there are four great gate groups active Ko Kobushi, Tsuru Kobushi, Eishun Kobushi, and Taiso Kobushi.
[Buto Ba Kobushi Jutsu]
In Hopei Province there is a mountain called Buto Yama on this mountain there was a Taoist Priest named Chosanbo. This man was a part of a very famous legend. He was the sect founder of the Buto Ha or Buto Group Combat Fist Way.
His was a style patterned after Naika Gaika Kobushi Ho. This style best exemplified the mixture of hard and soft Nyu (Weakness) Yawaraka (Softness), Go or Gyo (Strength) and Katai or (Hardness). Their actions in technique use were used in moderation or with restraint.
His style was augmented with another martial facet Renbu and Shubu or military training and military drills. With the above applications Nyu, Go, Yawaraka, and Katai the end result was peace action or inaction. The idea in the end was using either one or the other in moderation.

This sort of technique/mind set was a very effective when coupled with Kobushi Ho. More on this style is given below.

[Taikyoku Kobushi]
Before we spoke of the above styles founder. This style may appear strange as it is unlike style we have talked about. There are three opinions on how this style came about 1) On Buyto Yama there was once a very old Taoist Wizard named Chosanbo as we know claimed to be the founder of Buto ha Kobushi Jutsu. Or 2) this arts development was an off shoot of Yoka Taikyoku no Shushiyoroshin or Daikyoku Kobushi which was based in Honan Province whose master teacher was an ancestor of Onken Chinka Do. 3) At the close of the Ming era there was a military commander named Chin 0 Tei Soshisetsu who also may have development this style.
Of the opinions number one seems the most plausible as there is more documentation leading to credibility of this first opinion. It has been recorded that the Tang fist way specialists Togo and Tohan may have develop this art but this has been discounted. Opinion #2 During the Ming era there were two people military commanders Keiko and Heichi who had a hand in this arts development but this has been discounted also.

In more recent times there was documentation uncovered which was wrote about in a Chinese Physical Education Magazine called Shintaiiki (May 1965) which offered a thesis titled Choninjo and gave varying viewpoints on Taikyoku Kobushi and its history and origins. There are many opinions today on this subject and is recommended reading for the historian.

Taikyoku's genealogy has been recorded quite closely. Indications point toward Emperor Chin 0 and a reference to a man named Chinchoko (1771 1853) who may have been involved in this style. Supposedly a man named Yorosen studied (1779 1872) studied under Chinchoko and renamed the art Gendai Yoka Taikyoku Kobushi who then taught it to Chinseihei (1795 1868), and Bu U Jo (1812 1880).
Bu U Jo then renamed the style Buka or Bus House or style of Taikyoku Kobushi. Both the above teachers made big names for themselves by teaching this pure art form. Additionally, during this era the descendents of this art started many tributary branches, which flourished rather well. The Shodensho details this art in their writings on Chugoku Bujutsu and uses the title Taikygku Kobushi to this date.
The following is a short Genealogy:

Meisho Originator

1. Chinka Taikyoku Kobushi   Rokabu (Kanan Chinka

Mande)
2. Chinka Taikyoku Kobushi   Shinkabu (Chinyubon)

3. Chinka Taikyoku Kobushi   Shokabu (Chinseihei)

4. Yoka Taikyoku Kobushi   Rokabu (Yorosen)

5. Yoka Taikyoku Kobushi   Shokabu (Yosenko)

6. Goshi Taikyoku Kobushi (Senyu  

Kokansen)

7. Bushi Taikyoku Kobushi (Busho)

8. Kakushi Taikyoku Kobushi (Kaku I Shin)

9. Sonshi Taikyoku Kobushi (Sonrokoto)

10. Kai Taikyoku Kobushi (Toeiketsu)

11. Kan I Taikyoku Kobushi (Tenmansei)

12. Sohen Taikyoku Kobushi (Chinhanrei)

13. Choshi Taikyoku Kobushi (Chosaku)

14. Hatsuka Taikyoku Kobushi (Koshunsan)

15. Kosai Taikyoku Kobushi (Kyoshiryo)

16. Kanka Taikyoku Kobushi (Ninshitai Ikuki Ensha)

17. Nanshu Taikyoku Kobushi (Keiseiwa)

After this are some present day individuals as passed on

by written records and from word of mouth transmission.

1. Shokyuten (Teihi)

2. Kotenho (Ukyoshi)

3. Sentenken (Ridoshi)

4. Sansei Shichi (Kosenhyo)

Two additions for correction.
1. Naika Kobushi-Ho (Chosanbo)

2. Oshugaku Taikyoku Kobushi (Oshugaku)

Records now show that Taikyoku Kobushi’s lineage was passed onto the last know person Oshugaku. This style was required reading for most Asian martial artists and was defined as a classical martial art according to Kobushi-Ho records. Some people consider the writings on this style mysterious in nature in that out of one sentence or paragraph on this style 400 words could easily be composed to explain this style but in an abstract way.
Trading techniques with the enemy is also covered. There are also two other records outlined in the Bubikyo “Chugoku Kobushi-Ho Den or Legends, and Taikyoku Kobushi-Ho these will be covered next.

Taikyoku when explained often eludes to the bi-polar term Inyo/Onyo Yin/Yang and their causes and effects. This style is affected by action/inaction. Once this is understood and applied a certain physiological quietude is achieved. As this quietude envelops other people they can see as you did what is actually passing them by. They actually see time stop and see what the world around you is really likeand revel in the quietude of the silent moment. We all have it is a matter of development.

Two terms come to mind here Muku or when you run out of something and Kyoku interests or pleasure. If both of these are run in excess we loose site of what’s really in front of out noses. One who is weak will eventually overcome man or people in general who use strength for example to achieve any means.
Its like Nyi/Go (Softness or Strength), which, have to be used like Inyo/Onyo, one without the other will eventually lead to defeat of the self. Together there is a union, which keeps things in balance.
I believe that thru weakness alone man has a tendency to look away. The other side makes one tenacious. To be more effective especially in a hurry one must be pliable or soft on the outside and hard on the inside. To mobilize quickly one must be flexible like bamboo. To prevent being subdued, one must be flexible thru weakness or by being soft yet unbending.
From Chaku-Ho strength of spirit this leads to the enlightenment of strength. This must be done though gradually. Strength or enlightenment of such can be overused or misused. You may if not done properly for example overextend yourself during a technique and damage yourself or others when control is a factor. They say that the intellect is the key to developing strength and thru this the development and control of energy can be accomplished. Bear in mind that it must be an empty spirit void of all internal/external flights of fancy. This all can be concentrated at the tanden or the focal point 3” below the naval. As we develop this should be the spot were we retire to remain calm.
Man knows this principle inherently but is repressed in most as a forgotten art. Baby’s have, as do small children. But there is a time we lose it because we do not develop it hence the martial arts training. When one sees one who is at peace with everything he is avoided because he seeks no conflict.
The term Ikio or strength & energy. Is there a distinction? Can you have one without the other no because one replenishes the other. Without proper development one is nothing but a lop sided vessel it can hold water but eventually it will out. To strike out with power anyone can do this but focused strength mixed with the energy of the spirit that is different.
As one gets older one becomes more fragile and all the more emphasis should be placed on saving and storing Chi or Ki. With this in affect and with the techniques one has learned thru Kobushi-Ho one can live forever.
When it’s used properly there will a point in time when the body will go thru a transition like the wheel theory. One must not let age creep up on you. Once you have harnessed the energy required things could be delayed. One can tell that a person has done this it is in his gaze thru the eyes one can see who or what he really is. Using this harnessing technique for power or strength and using the concepts of Inyo/Onyo wondrous things can happen.
One must have the character one must be tenacious in pursuing this effort. The Inyo/Onyo concept can be used any number of ways. The above is only one example. The universe is like a membrane or Kokoro. Once one learns

how to manipulate the Kokoro the result is waves of energy that go outward as well as inward. Outward like when one throws a rock in a pond the center is where the rock hits. That is the Kokoro or the heart. The waves that emanate from that point are energy waves. Inwardly energy can be stored thru manipulation of the Kokoro.

One portion can though negate the other. It depends on how much control the individual has and of which entity. Until one understands the concepts of Inyo/Onyo and the self-true strength will not be realized. Strength is something that should not be looked for it is a by-product of proper training. Strong and Strength both have different Kanji characters and different meanings Kei is the term Strong, Ki is for the word strength or power.

The Kanji for Shin is and means spirit or spiritual strength. One must study the term Zuima or polishing of the spirit. The spirit holds the minds motivation and such a condition can be achieved but only thru much spiritual training. The author Rubiyaku has much more so say on this written article.

The above is also a part of Taikyoku Kobushi training. The theories of the above must be understood thoroughly both the technical and the philosophical. One must also become thoroughly conversant with the term Kei and Shin. Some ask what is the meaning of strength? Sensei Yomeijiro tries to explain in the following. Taikyoku Kobushi has to be a part of your life it’s not something you can pick up and learn then have it forever. You have to devote yourself this art it has to be your life.

No that's not all it is. What about what’s inside the leaves. That's what most people fail to see. They look so hard they miss the obvious. The term Kei or strength by name alone is nothing. Strength or power in this day and age does not come easy. When it does come though it like a revelation. Ki, Chi and Shin also involve different techniques and is difficult to develop let alone master.

Strength is an abstract issue, which is corporeal in nature. One may ask what sort of idea is this? When first encountered this idea appears concrete. Therefore, Taikyoku Kobushi being strange in style and form has the end result of producing power or strength. But the idea of movement using power or strength can be readily seen when viewing this style in action. This will enable one when properly trained to never be caught off guard.
Correct posture as with any art is also important as is with Kata. Proficiency is gained thru repetition. It is important to master the Kata and its myriad of techniques. Kata can develop muscular strength outwardly as is with any isometric exercise. This is also good for the body, skeletal system, nervous system, and the cardiovascular system. Again true strength is centered on spirituality.
Working the Kata with a partner is also a must in order to learn proper placement and coordination and control. Thru ones lifetime one must as the training proceeds, one will see many changes both physically and mentally.
Another issue is when properly trained is seizing the moment it is that temporary lapse in the opponents attention that one must seize and utilize for one's own benefit. With Taikyoku Kobushi there is strength in movement. Strength is a two-sided coin it can work for you or against you.

More power is less and less is more? This is the path one wishes to follow. Each technique is different in every situation. It said that one must train ten years in order to see any benefit in any technique or kata.

The benefit being real spiritual power or strength. So says Sensei Yomeiji. In a single word about strength or Kei in movement as would be the same for Ki. The key is in "'Crystallization" of Ki & Ryoku. This is done thru harmonious interaction of Inyo/Onyo and technique.
Japanese Budo often refers to the term Ki and is used as a one-word statement. It is difficult to define and even harder to explain. Next we will talk about two other important terms "Hashi" & "Nen". The former means to rush, run, flee or be in excess. The latter means "Tenacity". These terms have a definite place in this eclectic style. Research into Ki, Hasho, and Nen is must in order to understand Taikyoku Kobushi Techniques.
To hurry could mean to rush but also it could mean to reach out quickly but effectively. Tenacity could mean to hang on to something or to be sticky. This then could lead into the sticky hand technique of grasping and redirecting. To hurry could also mean to pursue and opponent for example who uses striking power as tool. If used properly one can drain an opponent of his this way by causing him continually to rush as you do but then you change and redirect.
Thus the attempt he makes is gradually being used against him. The reverse of this is the sticky portion always deflecting his moves and the opponent never making any progress. This will in turn upset his equilibrium. The adept with a senior can be a rewarding experience in that you can see this eventually thru proper training. This is the true essence of Taikyoku Kobushi.
Additionally thru Nyugi or weakness techniques and coupled with Geki Nagi or reverse throws is another way to overcome one more powerful than yourself. These are specially designed techniques of the Taikyoku Kobushi style. One is either like a feather when falling or like the fly. These two terms also bear looking into.

The divisions we critiqued earlier brought out some interesting points about Taikyoku Kobushi. Also meditation time must also be used to contemplate these ideas. One way the old teacher’s use to practice while they were contemplating was watching a leaf fall or a bird feather float effortlessly down to the ground over and over.

Watching a worm climb the tree so effortlessly the slowness of the movement and its ease of effort at which it moves along. Then you ask yourself why is weakness so important. The insight when first felt or understood will be like a lightening bolt jolting you. The laws of weakness will be better understood once experienced. Taikyoku Kobushi weakness theory can also be best expressed thru the breathing techniques, which also lead to a long life.
One must never forget or neglect this portion of the training. It is paramount to survival.
As we mentioned before there many offshoots of Taikyoku Kobushi; Chinka Taikyoku Kobushi and then Yoka Taikyoku Kobushi and its founder Yorosen and its expansion in the Peking area. With these styles practices it was said that Sensei Yorosen was able to stay alive forever.
Another Sensei named Uzen was raised in the Peking area visited Yorosen everyday to talk of the arts. One day a Shorin Priest came calling to visit. Uzen Sensei personally greeted this priest and in doing so suddenly the Priest lunged at Uzen and tried to punch him. Uzen then with the palm hand moved into a defensive position as the accounts were given the priest acted like he was on a string like a puppet. The force of this unseen defensive blow made the priest jump back like he was struck by lightening. The priest then uttered a discourteous apology. The priest then all of a sudden changed his attitude in that he had a flash of temporary insight into what had just happened. Uzen Sensei was silent throughout. Just then a sparrow came flying through. As quick as it flew though so did Uzen’s palm hand move again and the sparrow was stopped in its tracks and could move or fly. He finally released it only to repeat the same movement with his foot he again checked the sparrow’s flight. And again as quickly as that happened he freed the sparrow and he flew away.

The priest as thick as he was, was standing nearby with mouth agape looking in amazement at what had just transpired. This legend came from Taikyoku Kobushi Sensei Yoka’s students.

Again Taikyoku Kobushi is based on many tenets of the prime two are Nyu/Go. The soft way uses the opposition and counter reaction. If the enemy strikes with the power of (10) this is reversed and sent back to him thru the above principles. This type of body style is different from most arts i.e., if the enemy attacks from the side his power appears to double if not checked he will over come you. If you come back with the power of (11) using the above principles you will over come the enemy. From this (10) position the enemy proposes this could become easily enough

an unguarded position. So with the (1) power you provide this can upset the table and change the outcome of a battle very quickly.
The same can be done with spiritual strength. The enemy’s movements much are carefully watched to look for that lapse in awareness.
One cannot be late in taking advantage of this once it rears its head the opponent is unguarded take him out with softness and redirect his actions elsewhere, if all else fails take him out. With the calmness of the spirit and using the enemy’s action against him one can overcome those large than him.
Taikyoku Kobushi can be used against armed assailants as well as unarmed assailants. The hands at times can do the same things a weapon can do. Taikyoku Kobushi sometimes uses grasping techniques to control an errant opponent. There also may be times were confrontation could be avoided as a rule. Centrifugal force can also be used to set one free much like Aikido moves.
Chugoku Kobushi no Ryuho’s principles have also been fine-tuned by Chinka Kobushi-Ho Sensei. Of them the founder Chin who also developed Yoka Taikyoku Kobushi was a famous military commander. The Chinka model was a basis for Sokukeiko Kobushi-Ho. Sensei Yoka also help create Nyuho Kobushi-Ho. Then from that came Engen Kobushi style.
[Chugoku Kobushi-Ho Den yori]


DAI YON SEI

CHUGOKU KOBUSHI-HO

RYAKUDEN

(cont)

Part VI

Chugoku Kobushi-Ho Ryuha

(Conclusion)
Another famous style to mention of the Taikyoku

Kobushi genre is Hachi Ka Kobushi who founder was

Hachika Yushin Renkan Sho. There are very few facts available on this person and his style.
As legends have it there were four people from Hopei province and one foreigner who were granted a license to teach this style. Of the four from Hopei there was Junten Bunken no Tokaisa, Kanshin, Yoshiko, and the foreigner Waiko. In Honan Province Tokaisan also learned the concepts of Inyo/Onyo from Tomurin Sensei. After that he went back to teaching under the name Hachikasho. He also incorporated Eki no Ri or Divination Learning into his style. In recent times Hachi Ka Kobushi has one master Fukugen Shonin also known as (Tokaisan Shiki Ichi Fukugen Shonin). The techniques he perfected were all open hand techniques. In the Shodensho it is written that this is an approved Kobushi style. His style of fighting had some distinctive features in that all the Kata and fighting techniques go forward backward, left and right in a plus sign formation.
His fighting techniques vary with different offensive defensive movements his techniques center on using the whole body utilizing a variety of twisting and turning actions. This type of action emulates a dragon moving in and out with unusual rapidity using the body as a springboard. One of the Kata is named the Ryu no Kata

or Dragon Kata. Hachi Ka Kobushi's principles are difficult to explain, as their theories are very complex for example the Kei I Kobushi or Shape Idea Fist. It was also known as Koi Kobushi or Korobae Rikugo Kobushi or the

Universal Spirit Hand Fist.
This legend roots and came from the Sung Dynasty from a famous Military Commander Gakuhi a name given by the Sung Emperor Bumu-O. They’re a many legends from the southern area which have been talked about and there are some other individuals like Shushi, Meimatsu Seisho from Shanshi Province and Hotosho no Kisaika. Shuman-San was another distinguished teacher who was called upon from time to time by the Sung Emperor Bumu-O. According to Kobushi genealogy tables Shuman-San was a very gifted person with a pen who wrote much about Kei I Kobushi. Kisaika received training from Tairyuho in Shantung, Sekeibu in Shenshu, and Magakurei in Honan provinces. It is important to know about these different groups and their teachers. The lineage is important to follow.

More that 28 different types of groups have been covered up until now. These different arts used by a variety of people in the world today are being put in an order which may seem difficult to follow but there are many similarities here which can be found in Uech-Ryu. That is why this is being written about. Some things may seem trivial but that type of thought process is how things get

missed. Who sets the standards for these styles since most have died out? The ones still alive are done so by the famous teachers and valiant efforts of today’s martial art student population in today’s world.
Up until now many attempts have been made to emulate these styles like Gaika Kobushi, Buto-Ha Kobushi, Naika. These are the three most important styles of the Kobushi-Ho group. These are the three traditional groups. There are one or two cases where exceptions are made in the Chugoku Kobushi-Ho arena of the Shorin group there was Engenki who had techniques that were localized rather than coming from the traditional styles already mentioned. Evidence of this for example shows there were movements based on the unfolding of a simple fan. Some thought these techniques roots came from Shorin Kobushi Jutsu. There are over 360 writings on this style. By general classification

there were 5 sub-groups. This was the start of a classical system after all the fine points were worked out it finally became an accepted system or art and after this Chugoku Kobushi-Ho Ryuha became Shorin Kobushi. From Mt Su came the five major styles Honan Provinces Shorin, Fukien Provinces Shorin, Hunan Shorin, Gabi-Yama Szechuan Shorin, and Koto Shorin.

Honan Shorin was the strongest of the five and was based on the main style. Of the smaller sub-groups there were Yuka Shorin, Nyu Shorin, Koka Shorin, and Nyu/Go Shorin. Within the Yoka Shorin sub-group there was three sub gate groups Dai-Seimon, Rakan-Mon, and Weitan Mon. Often it is asked which style should be studied? The best answer is either go to the source or the one closest to the source and seek instruction.
Each has their own good points or bad points but in all it’s the proper development of mind and body. Most all styles basic techniques are the same it how their used that counts. What is the individual looking for?
How will be used and why? What is the individual psyche like? These questions and more could determine what one is suited for.
Traditionally, Chinese people involved in the traditional arts must be seen first hand. After viewing the different gate groups one can possibly make a determination on what suits him. This though is only after he is accepted. What is he willing to offer up in order to learn? Frankly most people today think that it should be laid for them on a platter for it is nothing more than a way to protect oneself. How untrue and that’s why most foreigners learn only what they are allowed to learn or a learning based on preconceived notions.
Again this type of an art is not a hobby, or an affectation that can be learned in months or even a year. It’s a lifetime dedicated goal. The techniques are the gemstones of the complete setting or system. At first glance it seems hopeless that anything could be gained or learned from such an convoluted system such as has been described. Many before us had asked the same questions and look where they are now. Therefore, this was just a general view of Chugoku Kobushi-Ho and is based on input and historical info gathered from legends and their respective Ryu. Next is a genealogical chart, which depicts lineage.