The Way of Drawing and Cutting with the Japanese Sword

Shoden Waza 




    Nagae Matasaburo performs Ryodume no kata from Muso Shinden Eishin Ryu Iaido, Nagasaki, ca. 1965. All videos of Nagae-sensei are courtesy of www.whaleeaters.org.


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    This site is a repository of some useful reference materials for those interested in iaidou, particularly Eishin-ryu iaidou, which is one of the styles that I practice. (I also practice Toyama-ryu, which is a far more "modern" school of Japanese swordsmanship. Toyama-ryu was developed for use by military and police officers during the rapid social, political and technological modernization brought about by the Meiji restoration of the 19th and early 20th centuries. Exponents of Toyama-ryu, such as Obata Toshishiro, claim it is more practical and "no-nonsense" than classical shools such as Eishin-ryu. Such claims are not uncontested).

        Summary of Eishin-Ryu Iaidou

        SHODEN SEIZA WAZA - 初伝正座業.

        • SEIZA MAE- 正座前
        • SEIZA MIGI - 正座右
        • SEIZA HIDARI - 正座左
        • SEIZA USHIRO- 正座後ろ
        • YAEGAKI- 八重垣
          • YAEGAKI OMOTE- 八重垣
          • YAEGAKI URA- 八重垣
        • UKENAGASHI- 受流
        • KAISHAKU- 介錯
        • TSUKEKOMI - 附込
        • TSUKIKAGE- 月影
        • OIKAZE- 追風
        • NUKIUCHI  - 抜打


        • YOKOGUMO - 横雲
        • TORA NO ISSOKU - 虎の一足
        • INAZUMA - 稲妻
        • UKIGUMO - 浮雲
        • YAMAOROSHI - 山颪
        • IWANAMI - 岩波
        • UROKOGAESHI - 鱗返
        • NAMIGAESHI - 波返
        • TAKIOTOSHI - 瀧落
        • MAKKOU - 真向

        OKUDEN TACHIWAZA - 奥伝立業

        • YUKIZURE - 行連
        • TSUREDACHI - 連達
        • SOUMAKURI - 惣捲
        • SOUDOME - 総留
        • SHINOBU - 信夫
        • YUKICHIGAI - 行違
        • SODE SURIGAESHI - 袖摺返
        • MONIRI - 門入
        • KABEZOE - 壁添
        • UKENAGASHI - 受流


        • ICHI - 暇乞一
        • NI - 暇乞二
        • SAN - 暇乞三

        OKUDEN SUWARIWAZA - 奥伝座業

        • KASUMI -
        • SUNEGAKOI - 膝囲
        • SHIHOUGIRI - 四方切
        • TOUZUME - 戸詰
        • TOUWAKI - 戸脇
        • TANASHITA - 棚下
        • RYOUZUME - 両詰
        • TORABASHIRI - 虎走


        • DEAI - 出会
        • TSUKEKOMI - 附込
        • UKENAGASHI - 受流
        • UKEKOMI - 受込
        • TSUKIKAGE - 月影
        • SUIGETSUUTOU - 水月当
        • ZETSUMYOUKEN - 絶妙剣
        • DOKUMYOUKEN - 毒妙剣
        • SHINMYOUKEN - 心妙剣
        • UCHIKOMI - 打込

        *A note on romanization used in this site: Japanese is replete with doubled vowels, like the double o in Iaidõ. The bar indicates a doubled vowel. The double o is not pronounced oo as in cool but rather oh as in cold. Morever, double vowels in Japanese are drawn out, twice as long as single vowels. Double o (õ) can also be properly "romanized" with Arabic script as ou or oo. The ou convention (modified Hepburn) is easier, and in fact this is how Japanese text is entered via computer keyboard, so I'm used to it. Moreover, I think it is less confusing for those who are not students of the Japanese language to use the ou convention, as it more closely approximates the actual pronunciation. This is the approach I will use (the title banner of this page notwithstanding). Similarly, I will violate romanization convention and use ei for the double e. I will employ standard romanization with ii (pronounced ee as in feel), uu (pronounced oo as in cool) and aa (pronounced ah as in...ah.) Remember: double vowels are doubled in duration.