Iai

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Many Labels of Japanese Swordsmanship

Over the generations, there has been many titles used to represent swordsmanship in Japan. Some terms are used to define sword fighting, while others may be specific to a particular approach to using a sword in combat. Then there are those that are era-specific, as well as few that are unique labels designed for a type of sword.

Here’s a comprehensive list of labels used to indicate swordsmanship throughout the history of Japan, in no particular order. The descriptions for each are not just from an online dictionary, but also are based on my understanding through encountering them from my martial arts studies, research projects, linguistic interpretations, and so on.

Kenjutsu (剣術)
the most commonly known label today, as well as widely used both in Japan and around the world. It is a standard name for “sword techniques”, “swordplay”, and “sword art”. While almost everyone will use this term to refer to Japanese swordfighting, this doesn’t mean that it is the oldest, nor the first term used. When you use the term kenjutsu, most will associate it to the katana, but fundamentally this term refers to all types of bladed weapons. Also note that the katana became the standard used from the Edo period onward, as it originated from the uchigatana (打刀).

An example of a modern katana. From Photo-AC.

Why “kenjutsu”? Looking at it from a linguist viewpoint, the word “ken” (剣) generally inplies a double-edged sword. The origin of this name is thought to come from ancient times, and stems from Chinese influences that had played a large role in the development of Japan. In China, single-edged swords were identified by the kanji “刀”, while double-edged swords were identified by the kanji “剣”. While earlier discoveries from researchers point out that Japan did use double-edged swords in their infancy, the term kenjutsu was eventually used indiscrimanently as time went on, which is even more evident when single-edged swords became the norm for Japanese warriors.

It should be noted that attempts were made to “correct” this by those who wanted to properly define this evolution with the preferred “刀” kanji during the Edo period. However, in the end, they failed to sway the majority to give up the use of “剣”, thus why kenjutsu (剣術) remains as a mainstay even today.

Gekitō (撃刀)
A label I’ve just recently come across, it is said to be very old, and one of the earliest words to describe sword fighting. From what I am able to gather, this term was found in the “Nihon Shoki” (日本書紀), one of Japan’s oldest texts on classical Japanese history completed in the year 720 during the Nara period.

Can this really be stated as a term for swordsmanship? On one hand, this could be the case considering how old the word is, and how many unique words & dialects existed in the past when Japan was not unified. On the other hand, this may have been a generic label used to describe fighting with a sword at that time, before military families, strategists, and martial experts alike made strives to establish a more uniformed methodology. In any event, gekitō is not a word used to describe swordsmanship in this form nowadays.

Kenpō (剣法)
This term is very similar to kenjutsu. At times, it may be used interchangably on a general, definition level. While I can’t say which one came first, there is evidence of kenpō being used as early as the Heian period (794 – 1185). While it tends to have the same meaning as kenjutsu in most usages, some may use it to refer to a more deeper, tactical approach to understanding sword methodology.

As an example, the text “Kenpō Hiketsu” (剣法秘訣) is considered a rare, classical documentation on the topic of sword fighting. In it are many tips, advices, and insight on topics such as taking advantage of certain aspects of a sword, certain scenarios when facing off against an opponent of different sizes, how to step, thrusting vs striking, using kiai (気合, spirited shouting), and so on. This is different from how kenjutsu is interpreted, which is normally for actual sword techniques that involve cutting, thrusting, and blocking. At the end of the day, how kenpō is interpreted in its entirety is still based on the martial system.

Kendō (剣道)
the modern adaptation of Japanese swordplay, so to speak. It represents a new vision and direction to preserving Japanese sword fighting that came into fruition around the mid-late 1800s. A far departure from wielding a live blade and fighing on a battlefield or engaging with an opponent in mortal combat, practicioners of kendō participate in competitive matches with split bamboo swords called a shinai (竹刀), while for solo practices a wooden oak sword called bokken (木剣)¹ is an option.

The term kendō does more than signify sword fighting; it represents a departure from the old ways of training to kill, and gives way to a more straight forward, physically-intensive approach that conditions one’s physical body through rigourous training, steeling the mental, and tempering the spirit. The results can be seen in competitive matches held all over the world. Highlights of this system includes a large emphasis on thrusting techniques, and quick strikes to the upper body. For participants to stay safe, they wear bōgu (防具), or protective gear, which includes a head gear, chest protection, and wrist guards. Of course, these vastly differ from more traditionally-focused schools, from the design of the sword, types of cuts, areas on the body that can be targeted, and overall strategies.

An image depicting kendō practice. From Photo-AC.

One can say that that kendō directly has its roots in classical swordfighting, which is true for the most part. For the sake of argument, it is an evolved form of Japanese swordfighting for modern times. Kendō does originate from a previous system called gekiken, which represented a much more aggressive approach similar to real fighting. More on this below.

Gekiken/Gekken (擊剣)
This is considered the predecessor of kendō. Developed around mid Edo period, gekiken came around the time when martial artists needed a means to keep their fighting edge alive due to no more wars, as well a safer means to train 1-on-1 rigorously without killing each other. This also developed into a means for different schools to challenge and competitively engage without any reprocussions of starting a feud. Of course, this assumption can be superficial at times.

For starters, shinken (真剣, live steel swords) were not used. Instead, shinai were used for engagements, which is the same as in kendō. However, bokken were also used by some groups; while less dangerous than metal swords, a person could still suffer severe injuries from heavy strikes by a bokken…and in the worst case scenario, be killed. Next are the protective gear associated with gekiken. Unlike kendō, practitioners would don more pieces of these when participating in gekiken, which included a head gear, chest protection, wrist guards, and shin guards. This is following the common attack areas taught in kenjutsu of old. Protective gear helped to keep those safe even when using bokken. However, some groups raised the stakes and disregarded protective gear, with the idea that those skilled enough would fair well in a more realistic engagement. For those with proper training and good self control, then doing gekiken with no protective gear isn’t impossible.

Another point that separates gekiken from kendō is that grappling was allowed. In fact, it was ok to discard one’s weapon and wrestle one’s opponent to the ground if it meant securing victory.

Hyōhō/Heihō (兵法)
This is a label that can be pronounced in two ways. Some will argue that “hyōhō” is the correct, and classically accurate, pronunciation, but this is hard to prove as factual. In any case, this label is in a unique place because it’s not only reserved for sword play, but military strategies at a whole.

The kanji used for either terms come from the Chinese use of them in ancient times on the same topic regarding strategies for warfare. Around the Muromachi/Sengoku period, and especially during the early Edo period, the label was being used to represent a knowledge of sword fighting. If we look at this from a larger perspective, this label as used by schools specializing in the sword still focused on a wide level of strategy for all types of combative situations…with the sword being at the center. It can also be said that a greater symbolism and status accompanied the sword, putting it on a high pedastel by sword teachers for the ruling government’s army, as well as aristocrats from samurai families. Thus, placing an emphasis to having the sword as a staple for those who wanted to learn anything related to fighting.

This label is still in use primarily by classical schools that specialize in sword fighting, such as Shinkage ryū.

Heijutsu (兵術)
Another variation of “heihō” (hyōhō). Personally, I’ve only came across this in very few occasions. From my understanding, it’s used similar to heihō (hyōhō), as it points toward methods with the sword used for combative situations.

Kodachijutsu (小太刀)
This term is used for fighting with a shorter sword, generally geared towards the actual kodachi (小太刀). In the past, swords were categorized by the length of the blade. Since warriors carried a long-short sword set, the longer sword was called  “tachi” or “uchigatana”, while the shorter sword was identified as “kodachi” or “wakizashi”.

An image of a kodachi. From Photo-AC.

Before Edo period, there were very few actual styles that documented techniques and strategies specifically for the kodachi. However, this changed later in the Edo period, for a systematic structuring became more prevalent for the kodachi, along with other types of shorter blades. In fact, some schools started pairing longer weapons, such as the naginata, with shorter swords and knives as secondary weapons.

Tōhō (刀法)
This term tends to signify a more “deeper” level of Japanese sword fighting, similar to kenpō. Instead of just mere techniques of cutting, it could be viewed that, in the past, this term also covered a wider range of skills, tricks, and strategies similar to heihō. This is based on each school’s methodology, of course.

The origin of this label stems from its use in China, where it stood for swordplay (i.e. how to use a sword). In Japan, there are cases that indicate this label being used in the past. The biggest one being Kyōhachi ryū (京八流), a system accredited to individuals such as Kiichi Hōgen (鬼一法眼)². As one would guess, it is liken to the term tōjutsu (see further below), as it too referred to swords with a single edge.

As mentioned, this is an older term that is not used as a general label for sword fighting nowadays. However, organizations like the Nihon Battōdō Renmei (日本抜刀道連盟), and Zen Nihon Iaidō Tōhō (全日本居合道刀法) are those few where tōhō is activily used.

Tachisabaki (太刀捌き)
A term that is much older, and not commonly heard. Its usage is the same as tōhō in the past, where it relates to the overall methodology of utilizing a sword. Disecting this term, “tachi” is the older term used for the iconic Japanese sword, while “sabaki” is a term that, based on context, points to overcoming a situation through advantageous means.

Tōjutsu (刀術)
Similar to kenjutsu, this is a label that stands for “sword techniques”. Interestingly enough, there was a push for this to be the new word used universally, as the kanji better represents the actual sword type used in Japan. It is said that during Japan’s infancy, different types of swords were used, such as single-edge and double-edge. After several generations, around the Heian period, swords that were both single-edge and had a curve began to take shape. By around late Sengoku period, and into the early half of the Edo period, many sword-centric martial schools were established, with most of them styling their curriculums around the sword type that is now recognized as the katana. It’s around this era where, for the sake of pride in Japan and all things that are part of its culture, that some individuals initiated a change for Japanese sword fighting to be labeled as “tōjutsu” instead of the generic term “kenjutsu”.

To better understand this is to refer to the kanji “tō” (刀) and learn of its usage. Based on its origin, this kanji represents a single-edge blade, which can be implied to a wide range of weapons of like design with no limit to shape or size. Many sword types throughout Japanese history also incorporate this kanji in its name, such as tachi (太刀), kodachi (小太刀), uchigatana (打刀), nodachi (野太刀), and so on³. As these were implements of war, and were taught from instructions from tried-and-true experiences, the idea was to stop using the term “kenjutsu” (剣術) and properly label Japanese methodology of sword techniques using the kanji that depicted this.

Today, the term “tōjutsu” can be viewed as a specialty word, for despite the push for change, it never replaced the widely-known “kenjutsu” label. Those who train in more classical martial styles, or reference Edo-written (as well as older) documentations, have a more likely chance of hearing this term.

Tachijutsu (太刀術)

During the majority of Japan’s warring periods before the inevitable unification, the tachi was the representative of Japan’s standard sword type. It was also the precursor of the katana, but not necessarily in size and design, but more in terms of status. Just as the katana was reserved for the samurai family and their retainers during the Edo period, the tachi was allowed to be used by those from military families who held high ranks or leadership positions such as “commander”.

A pic of a tachi. From Wikipedia.

The qualities of the tachi that stand out are its long length, more elaborate curve in the blade, the noticeable bend in the sword handle, and the adornments/fittings that make it a sword suitable to be slung on the belt. These qualities are very different than the popular katana, to the point where the methodology of using the tachi veers it away from standard sword techniques, although not entirely on a fundamental level. For example, the tachi is said to be more advantageous while on horseback due to its large curvature, meaning it was usually swung one-handedly. It is due to these differences that gave birth to the term “tachijutsu”. Yet, truth be told this is not a proper term, as it wasn’t used when the tachi was the standard sword of choice. One can say that this term came later during the Edo period, when certain martial artists, in an effort to retain those unique techniques, coined the term.

The use of “tachijutsu” is purely on this longer & widely curved sword and its stated usage on the battlefield. This does not include the rather loose definition of what makes a sword qualified to be called a “tachi”⁴.

Tachiuchi (太刀打ち)
This is a unique type of label that is limited to swordfighting mostly in a one-on-one scenario. Usually indicates engaging in rigorous sword strikes with another within a training environment, such as within the dōjō using bokken. However, this term can also mean getting into a fight, as well as whether one is skillful or not to fight another.

Another use case for this term is to engage in an all-out battle. This is especially the case when both sides are equal in skill and strength.

Kumitachi (組太刀)
Another unique term very similar to, if not interchangeable with, the previously mentioned tachiuchi. The premise of this word is based on training against another in swordfighting. This may have been introduced during the Edo period, when more training halls were being built and practitioners could spend dedicated time striking with their bokken while blocking those from their peers.

Battō (抜刀)
A well known term, it stands for a unique method of utilizing the sword. Fundamentally speaking, this entails a fast-draw methodology of a sheathed sword to cut down an opponent. This method is not only limited to this use case, but for the most part the premise of using a sword in a fast-draw manner tends to be the main highlight. As for the label itself, there are also slight variations, such as “battōjutsu”, “battōdō”, and “battō no hō”. On a related note, there was an alternative of the label known as “bakken” (抜剣), but this was short-lived, for almost no one uses it today.

Battō, or the style of fast-draw cutting, is said to have been established as a functional method of using the Japanese sword for combat established by Hayashizaki Jinsuke Shigenobu in the late 1500s. Others who studied under him spread the knowledge, which has helped to keep this methodology alive up to this day.

It is similar to another term known as iai. In fact, on a fundamental level, the 2 are interchangeable. As to which term comes first, that can be argued tirelessly, but most sway in favor of battō.

Iai (居合)
Another term related to the method of drawing a sword out of its scabbard for cutting. The predecessor to this is ofter said to be battō.

A pic of an iaidō training session. From Photo-AC.

It could be viewed that in the past, usage of the words battō and iai were interchangeable. However, nowadays iai has a much more clearer distinction in use. Many schools that practice iai use a curriculum that involves solo practice; instead of practicing techniques against a partner, a student practices drawing the sword and cutting at an imaginary opponent. The goal here is to find a unity in both one’s physical, mental, and spiritual state, and draw the sword in pure unison, as if being in a zen state. Most schools in Japan that practice iai use an iaitō (居合刀), which is a replica of a live sword (shinken), but are made out of aluminum instead of carbon steel. Iaitō are lighter than shinken, but are brittle and not designed for clashing. This also makes it impossible to sharpen them.

Saya no uchi (鞘の中)
A specialty term that means the same as battō and iai. From my understanding, it is not an actual label widely used, but more of a code word. In some use cases, a poetic description of battō/iai.

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This covers the many terms used for swordsmanship throughout Japan’s history. The major take from this is that swordsmanship was identified accordingly depending on the time period, groups, and it’s role in society as a whole. Even today there are still some specialty terms being created to identify the methodology and approach to learning the sword by various groups. While it’s impossible to capture all of these terms (especially obsured ones, or those coded for use by those who are in the know), it’s good to continually increase one’s knowledge on this, as it helps when doing research especially in dated Japanese documents.

1) It is more common to call wooden swords “bokutō” (木刀) in Japan, while “bokken” is a more familiar term used outside of Japan. This isn’t a case of right or wrong as both are Japanese terms, but could be viewed just as a preference.

2) You can read more on Kyohachi ryu and Kiichi Hogen here.

3) The kanji ken (剣) was used in the names of some bladed implements in Japan, such as kaiken (懐剣).

4) This is related to what makes a sword a “tachi” versus an “uchigatana”. While there are stated “standards” for a tachi in the past based on dimensions and sword adornments, it was not unusual for some warriors to use a shorter, smaller curvature sword and identify it as a tachi as it was their main sword. This even became more ambiguous when such shorter swords that were the length of a uchigatana had the stated adornments of a tachi, and slung in the same manner.

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Hayashizaki Shigenobu: Pioneer of Sword-Drawing

For over half a year, we have been working on the basic skills and finer qualities of battōjutsu, as taught in Chikushin Martial & Cultural Training Group. Having a great interest in battōjutsu early in my martial arts career, I’ve personally been training in this based on different instructions received alongside with kenjutsu. For those curious, battōjutsu (抜刀術) is a systematic approach to drawing out a sheathed Japanese sword to cut, often labeled as “sword-drawing” and “draw-cutting”¹. Generally the techniques for sword-drawing are widely recognized by a more modern title, “iaidō²” (iai for short), although there are certain martial schools that still use the term battōjutsu (battō for short)³.

For today’s article, we’ll take a look into the origins of battō (iai), which is tied to Hayashizaki Jinsuke Shigenobu, the founder of this unique sword system. Sources used in writing this include (but not limited to) the following:

 

THE BEGINNING

The origins of battō/iai as we know it today takes place around the mid 1500s by a young man named Hayashizaki Jinsuke Minamoto Shigenobu (林崎甚助源重信). While many martial schools give credit to his extraordinary development of techniques for fast “draw-cutting”, the reasoning for him even creating such a sword style was under grim conditions. To understand this, we’ll look further into the family he was born into.

Pic of a statue of Hayashizaki Shigenobu, which is housed in Hayashizaki Iaijinja. From the book “Kanbon Nihon Bugei Shoden”.

While Shigenobu is widely known under the surname “Hayashizaki”, he was originally from the Asano family. He’s the son of Asano Kazuma Minamoto Shigeharu (浅野数馬源重治) and Sugano (菅野). Shigeharu, Shigenobu’s father, was once a guard acting as lead inspector of the northern section of the Imperial palace. From 1538 he was employed as an officer to serve Mogami Inaba-no-Kami Mitsuhide (最上因幡守満英), who was the 6th lord of Tateoka castle in Dewa Country (present day Murayama City, Yamagata Prefecture). Sugano⁴, Shigenobu’s mother, was from the Takagi family of Tateoka, Dewa Country. Shigeharu and Sugano would get married in 1540, and later have Shigenobu in Tateoka in 1542. Upon his birth, Shigenobu was given the name “Tamijimaru” (民治丸).

In the Asano family, their ancestral deity⁵ was “Kumano Myōjin” (熊野明神), whom they prayed to. Kumano Myōjin (also referred to as “Hayashizaki Myōjin” in some sources) was housed in a 3-room shrine within “Arayato no Ji” (荒宿の地), an area located in the northeast section of Hayashizaki grounds of Ōkura forest (present day Hayashizaki, Murayama City, Yamagata Prefecture). Shigeharu continued with these customs and paid his respects with his family when they had the chance to visit Kumano Myōjin shrine.

 

REASON FOR VENGEANCE

Sometime in 1547, Asano Shigeharu went to go play a game of Go⁶ with a priest at the Kumano Myōjin shrine. After spending his day doing so, he was returning home late in the night. On his way home, Shigeharu was targeted by a warrior named Sakaichi Unsai (坂一雲斎)⁷, who apparently harbored ill intentions against him. Using the night as a cover, Unsai ambushed Shigeharu and murders him. Later Shigeharu’s death is notified to his family members, as well as the identity of the murderer. Fueled with anguish, Sugano and her son plotted to get revenge against Sakaichi Unsai.

Shigenobu and his mother would remain in Tateoka, where he began receiving training in kenjutsu at the age of 8 from Higashine Keibu Tayu (東根刑部太夫)⁸, who was a warrior of Tateoka castle. In 1554, Shigenobu, at the age of 13, would periodically stay at Kumano Myōjin shrine to pray not only for protection and success in extracting vengeance to his family’s ancestral deity, but to receive further instructions to perfect his use with the sword. Armed with his late father’s family sword called Nobukuni (信國), he trained in the methods of kenjutsu, and worked hard in developing a style that would prove effective against his target. Instead of just merely practicing how to swing a sword in a duel-like fashion, Shigenobu focused on techniques that evolved around drawing the sword out of its sheath to deliver unpredictable cuts. The family sword he trained with was a rather long one, measuring to 3 shaku 2 sun⁹. Possibly made for use on the battlefield, this sword gave him exceptional reach. To effectively use it for fast-draw cutting purposes, especially against someone who used a shorter sword, Shigenobu would need to develop methods for drawing this long sword out with speed.

 

BIRTH OF BATTŌJUTSU AND HAYASHIZAKI SHIGENOBU

It is said that in 1556, Shigenobu underwent a special ritual called “Hyakunichi no Sanrō¹⁰”, where he spent 100 days at the shrine devoting himself to prayer for guidance in perfecting his ability in battō. Sometime during the evening of the 100th day, Shigenobu witnessed a divine vision. While sleeping, he was visited by Kumano Myōjin in his dreams, who demonstrated to him a secret technique called “Manji Nuki¹¹”. In learning this, Shigenobu became enlightened to the inner secrets of sword-drawing. With this revelation, he decided to call his sword system “Shinmyō Hijutsu no Junsui Battō¹²”, and set off to train further to a master-like level with the sword.

An insert from ”Jinrin Kinmō Zui, vol. #7″ (人倫訓蒙図彙7巻) from year 1690. Entitled “Iai Torite” (いあいとりて), it depicts a swordsman using methods of iai (sword-drawing method) to defeat 2 opponents. From Wikipedia.

Reaching the age of 18 in 1559, Shigenobu changed his name from “Asano Tamijimaru” to “Hayashizaki Jinsuke Minamoto Shigenobu”¹³. This was to identify his growth, as well as paying homage to the grounds where he was nurtured into a swordsman, Hayashizaki. In recognition of this growth, his sword system today is respectively called “Hayashizaki Musō ryū¹⁴”,  as this title reflects how he was divinely enlightened in the secret methods of battō.

Assuming his new name and role as a swordsman, Shigenobu set out to fulfill his family’s desire for revenge on his father’s murderer, Sakaichi Unsai. This doesn’t happen overnight, however, as time was needed to possibly track down his target. This finally becomes a reality, for in 1561 Shigenobu was able to locate Sakaichi Unsai at his home in the capitol city Kyō (present day Kyōto, Japan). Details of the confrontation varies depending on the source which tells it, so no concrete info on how it transpired. What all sources agree on is that Shigenobu was able to cut down Sakaichi and successfully extract revenge. With his mission completed, he then returned back to his hometown, and paid his respects at Kumano Myōjin shrine. He also offered the Nobukuni sword to the shrine.

 

SPREADING THE KNOWLEDGE OF SWORD-DRAWING

Upon returning home, Shigenobu was caring for his sick mother. However, a year after successfully carrying out revenge, Shiguno passed away in 1562. With no other responsibilities at hand, Shigenobu left Hayashizaki to travel around Japan and further refine his martial skills. He crossed into a few areas well known for their martial combat. For example, it is said that in 1563 he went to Kashima and received tutelage from Tsukahara Bokuden¹⁵ (塚原卜傳), founder of Kashima Shintō ryū¹⁶. Shigenobu was able to learn the secret method of Kashima Shintō ryū’s highest technique, called “Ichi no Tachi¹⁷”. It is also mentioned that he studied Tenshin Shoden Katori Shintō ryū¹⁸. Outside of kenjutsu training, Shigenobu studied “Onmyō Kaigō¹⁹ during his stay at Ichi-no-Miya (present day Omiya)²⁰ in Owari Country (present day Aichi Prefecture). The philosophy from Onmyō Kaigō was also incorporated into his sword-drawing style.

Outside of his own personal kenjutsu training, Shigenobu took the role of instructor for his own sword system. For example, in 1563 he resided in Yonezawa, Aizu (Fukushima Prefecture) for some time. During this, he was actively instructing his style of battōjutsu to those in Akai Village, Wakamatsu (Fukushima Prefecture). During the course of his journey Shigenobu gained other students. Notable names that developed their own sword drawing style based on Shigenobu’s teaching include the following:

  • Tōshimo Tsuke-no-Kami Motoharu²¹ (founder of Shinmei Musō Tō ryū²²)
  • Tamiya Heibē Shigemasa²³ (founder of Tamiya ryū²⁴)
  • Katayama Hōki-no-Kami Hisayasu²⁵ (founder of Hōki ryū²⁶)
  • Takamatsu Kanbē Nobukatsu²⁷ (founder of Ichi-no-Miya ryū²⁸)

 

A pic of Hayashizaki Iaijinja. From Wikipedia.

In his later years, Shigenobu stayed for about a year in the residence of his student, Takamatsu Kanbē Nobukatsu in Kawagoe, Bushū (present day Kawagoe City, Saitama Prefecture). In 1617, he received permission to leave on a short trip to Ōu (north-eastern section of Japan). However, during the same year he later became very ill in the middle of his travel, and passed away. Although he passed in an untimely manner, his name and his system of sword-drawing lives on. In recognition to his life, the Kumano Myōjin shrine was renamed to “Iaijinja” (居合神社).

 

ENDING

This concludes the history of Hayashizaki Shigenobu, and how he developed the martial system of sword-drawing. I hope this was a good and informative read for everyone.

1) Other older names used for the system of draw-cutting includes “saya no uchi” (鞘の内), “iai” (different from the modern naming convention, these are written as either 居相 or 坐合), “bakken” (抜剣), and “nukiawase” (抜合).

2) 居合道. Iaidō is the modern, non-violent approach to sword-drawing, which stems from the older version “iaijutsu” (居合術).

3) There have been many debates regarding the differences between the names “battō” and “iai”. Some points made range from one specializing only in seated forms to one incorporating practices such as test cutting. The truth is, there are no real differences, for they both mean the same thing.

The use of either battō or iai throughout history lies on certain factors. One example falls on which naming convention was popular at given time. Another, depended on current headmaster of specific school and what principles & philosophies that were intended to be expressed. We also have to keep in mind that as Japan moved more to periods of less wars and conflicts, some surviving schools changed their curriculum from being combat-oriented to self-development. Iaidō is a prime example of this.

All in all, while the various sword-drawing styles of today may focus on specializing in certain traits, the underlining meaning between the words battō and iai are the same.

4) Sugano is unusual as a given name. On top of this, she is also associated with another name that is written as “志我井”. This could possibly be her given name, but pronunciation is obscure.

5) Known as “soshin” (祖神)

6) 碁. Go is a Japanese board game where players try to dominate the territory of their opponent.

7) Some sources also indicate that he was known by the name “Sakagami Shūzen” (坂上主膳).

8) “Tayu” is not his given name, as it indicates his position or rank. Why is his given name not revealed is unknown.

9) 3 shaku 2 sun = 96.96 cm or 38.2 in.

10) 百日参籠

11) 卍抜. Another way it is written is “Manjiken” (万字剣).

12) 神妙秘術の純粋抜刀

13) This is done in a ceremony when a boy reaches his coming of age, which is called Genpuku (元服).

14) 林崎夢想流. Also known as “Shin Musō Hayashizaki ryū” (神夢想林崎流). Take note that Hayashizaki Shigenobu himself did not name his sword system this, but later generations did in remembrance of his contribution.

15) There is an article about Tsukahara Bokuden, which can be read here.

16) In Japanese sources, this is mentioned in a vague manner, as it is stated alongside with Shigenobu’s travel to Kashima to study under Tsukahara Bokuden. Under who and exactly where he studied Katori Shintō ryū is not made clear. While historically Bokuden learned Katori Shintō ryū at a young age, as an adult he started his own martial system.

17) The full title of what Shigenobu is said to have been taught is “Kashima Shintō ryū Saikō Hiden Tenka Dai Ichi no Ken” (鹿島新当流最高秘伝天下第一之剣).

18) 鹿島新当流

19) 陰陽開合. While the exact details are not described, this is related to rhythmic exercises, which is found in specific martial systems such as Taikyokuken (太極拳).

20) Old name is 一宮, new name is 大宮

21) 東下野守元治

22) 神明夢想東流

23) 田宮平兵衛重正

24) 田宮流

25) 片山伯耆守久安

26) 伯耆流

27) 高松勘兵衛信勝

28) 一宮流