著者

工藤 龍太 志々田 文明

出版者

一般社団法人 日本体育学会

雑誌

体育学研究 (ISSN:04846710)

巻号頁・発行日

vol.55, no.2, pp.453-469, 2010 (Released:2010-12-28)

参考文献数

50

被引用文献数

2

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The main purpose of this study was to verify the process of formation and development of the concept of aiki used by Morihei Ueshiba, the founder of Aikido, and his disciples. The main points can be summarized as follows: 1. The term aiki has been used to refer to particular martial arts techniques and to a spiritual state that can be experienced by practicing Aikido. Morihei taught aiki as a technique, as shown in the memorandum of the Japanese Imperial Navy Admiral Isamu Takeshita around 1930. Kisshomaru Ueshiba, Morihei Ueshiba's son, also introduced these techniques in his book, “Techniques of Aikido” (1962), etc. However, neither Morehei Ueshiba nor his son explained about aiki in detail. Kenji Tomiki and Gozo Shioda used aiki as a term of technique, but they do not seem to have taught techniques under the name of aiki. 2. Onisaburo Deguchi, the head of Omoto-kyo, used the expressions “the union between a kami and a mortal” in 1921 and “the great love of the kami” in 1935, which Morihei later emphasized in relation to aiki. Omoto-kyo heavily influenced the building of Morihei's thoughts on aiki and Aikido. Aiki was likened to the great love of the Universe, Heaven and Earth, or the kami who nurtures all nature and mortals. In short, a) aiki is the union between the kami as love, and mortals, hence the practice of aiki is the purification of mind and body; b) the practice of Aikido creates a paradise for mortals on earth; c) because the kami does not oppose anyone, a practitioner does not oppose in Aikido. Morihei's thought influenced the policy of the succeeding organization of Aikido through Kisshomaru. 3. Morihei's four main pupils inherited his thoughts through several arrangements. Shioda explained aiki as “a technique for following the laws of nature”. Tohei insisted that aiki is “the union between the ki in heaven and earth and a mortal”. Sunadomari interpreted aiki as a combative technique and a divine work. Tomiki understood the term in two ways: one is a technique that falls into the category of kuzushi (balance-breaking), and the other is the unity of ki (energy) between nature and man. As to the way that Aikido should develop in the future, we need to study further Morihei's thoughts and their development under his pupils.

著者

工藤 龍太

出版者

体育史学会編集委員会学会事務局

雑誌

体育史研究 = Japan journal of the history of physical education and sport (ISSN:09144730)

巻号頁・発行日

no.35, pp.27-42, 2018-03

著者

工藤 龍太

出版者

日本武道学会

雑誌

武道学研究 (ISSN:02879700)

巻号頁・発行日

vol.52, no.2, pp.39-55, 2020-03-31 (Released:2020-08-26)

参考文献数

100

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The purpose of this study is to examine the researches on atemi-waza by Kano Jigoro, the founder of judo, and his pupils to clarify the development of the theory of judo as a martial art during the prewar Showa era. The main points are summarized as follows:According to Kano, atemi-waza should be practiced in the shobuho (the martial arts system of judo) kata as part of the judo system. It was a dangerous technique which had the potential to kill or wound an opponent, but as judo is a martial art, it was also an essential technique. Kano created the “Seiryoku-Zenyo-Kokumin-Taiiku” (Maximum- Efficiency National Physical Education) in which there is solo practice that, starting from shizentai (natural posture), teaches atemi-waza that use the hands and feet. Through this kata, Kano’s aim was for practitioners to achieve all of the shobuho, taiikuho (the physical education system of judo) and shushinho (the intellectual and moral system of judo).Seiryoku-Zenyo-Kokumin-Taiiku became a model method for practitioners to learn atemi-waza, and it was a kata method adopted in judo which had become a compulsory subject in school physical education in 1931. Based on this kata, other new atemi-waza kata were devised into which research was carried out regarding their physical education aspects. Concerning its martial art aspects, research was more developed in times of war. Nango Jiro , the second Kodokan president, also studied and trained in atemi-waza and established an in-house atemi-waza research committee at the Kodokan in 1942, and conducted systematic research into it.Tomiki Kenji, who trained in judo and aikijujutsu, conceived judo as a comprehensive combat art that integrated both kendo and judo principles. In the thesis “The systematic study of techniques while maintaining distance in judo” (1942), Tomiki regarded atemi-waza as the opening technique of an attack which could change into a throwing technique or joint-locking technique. Tomiki thought that atemi-waza using the hand blade from hanmi (oblique stance) was important. He transformed Kano’s dangerous atemi-waza into another which was based on the principle of throwing techniques in judo. The purpose of that atemi-waza was to touch and topple the opponent by using the hand blade.Regarding the development of the theory of judo as a martial art, on the assumption that atemi-waza was an essential technique, there were two research directions: the pursuit of killing techniques and the technical uniqueness of judo.

著者

工藤 龍太

出版者

一般社団法人 日本体育学会

雑誌

日本体育学会大会予稿集 第69回(2018) (ISSN:24241946)

巻号頁・発行日

pp.71_2, 2018 (Released:2019-01-18)

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講道館柔道創始者の嘉納治五郎は様々な武術を研究し、「武術としての柔道」を生涯にわたり探求し続けた。柔道が競技スポーツとして普及していく一方で、柔道の武術性が失われていくことを危惧した嘉納は、修行者に形と乱取稽古の併修を説いた。昭和2(1927)年までに嘉納が完成させた精力善用国民体育の形(以下「精力善用の形」)は、2人で行う相対動作に加えて1人で行う単独動作が含まれている点で、柔道の形としては画期的なものであり、集団体操としても採用されるなどの展開があった。先行研究では、この形が国民体育の実施と当身技の習得といった体育的・武術的観点から、柔道をより優れたものにするために嘉納が創案したものであり、嘉納にとって理想の柔道の形であったことが指摘されてきた。本発表では、嘉納の理想的な柔道を具現化した精力善用の形が戦前の体育や武道の世界に与えた影響や、様々なレベルの実践者たちの反応がどのようなものであったかを資料に基づき調査しながら、戦前の精力善用体育の形の展開過程を明らかにしたい。

著者

工藤 龍太

出版者

[出版者不明]

巻号頁・発行日

2011-01 (Released:2016-11-27)

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制度:新 ; 報告番号:甲3204号 ; 学位の種類:博士(スポーツ科学) ; 授与年月日:2011/3/15 ; 早大学位記番号:新5500

著者

工藤 龍太

出版者

社団法人日本体育学会

雑誌

日本体育学会大会予稿集

巻号頁・発行日

no.61, 2010-09-08

著者

井上 康生 増地 克之 石井 孝法 田村 昌大 久保田 浩史 桐生 習作 工藤 龍太 中嶋 哲也 南谷 直利 鈴木 貴士 松井 崇 與儀 幸朝

出版者

日本武道学会

雑誌

武道学研究 (ISSN:02879700)

巻号頁・発行日

vol.54, no.2, pp.183-200, 2022-03-31 (Released:2022-04-07)

著者

工藤 龍太

出版者

一般社団法人 日本体育・スポーツ・健康学会

雑誌

体育学研究 (ISSN:04846710)

巻号頁・発行日

vol.61, no.2, pp.681-700, 2016 (Released:2016-12-14)

参考文献数

58

被引用文献数

1 1

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The present study aimed to clarify the inception and development of Kenji Tomiki's technical theory of budo during the pre-war Showa era, focusing particularly on the succession of Jigoro Kano's concept of judo as a martial art. The main points are summarized as follows:  A letter written by Tomiki in 1928 reveals that he was interested in the comprehensive combat techniques of Ueshiba's aikijujutsu including the use of bare hands and weapons. Tomiki considered that devotees of budo should practice a comprehensive range of techniques from bare-handed combat to the use of weapons. While he mainly succeeded to shobu (martial arts) under the systematic judo theory of Kano, he also thought it possible to overcome the problems inherent to taiiku (physical education), shushin (development of the spirit), and ishinho (methods to ease the spirit) by studying aikijujutsu. The starting point of Tomiki's theory was to emphasize the kata training that simulated various situations in actual combat.  During the prewar period, Tomiki tried to ascertain the fundamental principles of ken-no-ki (ki of the Japanese sword) and ju-no-ri (the principle of flexibility). These principles made it possible to complement the principle of judo as seiryoku-zenyo (most efficient use of energy) that Kano had proposed technically.  In 1942, Tomiki published a research article entitled “The systematic study of techniques while maintaining distance in judo: The principles of judo and the techniques of Aiki-Budo”. In the article, he tried to present consistency between randori and these techniques while maintaining distance in judo, then established 6 fundamental laws of martial arts, including kendo, a system for education in these techniques, and the 12 basic kata.  The consistent points of Tomiki's theory of budo in the pre-war era were to understand the strong and weak points of each competitive budo and kata, and the importance of kata. Although the emphasis on atemi-waza in Tomiki's theory had points in common with the combative techniques of school budo during the interwar period, Tomiki was really interested in overcoming the disadvantages of judo for sport based on Kano's concept of judo as a martial art. Tomiki mainly inherited the latter, and criticized competitive judo.

著者

工藤 龍太

出版者

日本武道学会

雑誌

武道学研究 (ISSN:02879700)

巻号頁・発行日

vol.48, no.3, pp.121-134, 2016-03-31 (Released:2018-03-12)

参考文献数

25

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Kanō Jigorō diligently studied “atemi-waza” (striking techniques). When he watched aikido founder Ueshiba Morihei’s martial arts demonstration in 1930, he praised that performance as the ideal of the martial arts. This study aims to analyze 689 of Ueshiba’s counter techniques against atemi-waza, as detailed in the martial arts notebooks Ken and Kon, written by the Japanese Imperial Navy Admiral Takeshita Isamu, Ueshiba’s pupil and patron in 1930, with reference to the explanations of Kanō Jigorō’s pursuit of judo as a martial art. The author will consider the similarities between Kanō’s ideal judo as a martial art and Ueshiba’s techniques. The main points are as follows:(1) From the beginning of the Kōdōkan, Kanō had taken measures to cope with atemi-waza, but he could not adopt the techniques into the randori system because of the risk of injury. Instead, he adopted atemi-waza into kata, although practitioners continued to emphasize randori despite Kanō’s repeated warnings. Kanō feared the practitioners’ bad posture. Kanō believed that an essential element in judo as a martial art was to dodge the opponent’s unpredictable atemi attacks by using nimble body movements. He therefore stressed the importance of a natural posture. Kanō thought that a natural posture was ideal because it could flexibly respond to any atemi attack.(2) The opponent’s atemi-waza in the 689 techniques highlighted by Takeshita included both short- and long-distance attacks. These techniques made the opponents’ atemi attacks, which included chops, punches, and kicks, ineffective through the use of nimble body movements and the skillful use of the hands in situations where the practitioner was either standing or sitting. Based on a natural posture and these defensive techniques, Ueshiba used dangerous atemi-waza or skilled throwing techniques that were influenced by Daitō-ryū Aiki-jūjutsu. It becomes clear that one of the features of Ueshiba’s skills, as praised as an ideal martial art by Kanō, was to cope with the opponent’s atemi attacks by using a natural posture and nimble body movements, both of which were essential elements in judo as a martial art according to Kanō.

著者

工藤 龍太 志々田 文明

出版者

一般社団法人 日本体育学会

雑誌

体育学研究 (ISSN:04846710)

巻号頁・発行日

pp.1006250159, (Released:2010-06-30)

参考文献数

49

被引用文献数

2

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The main purpose of this study was to verify the process of formation and development of the concept of aiki used by Morihei Ueshiba, the founder of Aikido, and his disciples. The main points can be summarized as follows: 1. The term aiki has been used to refer to particular martial arts techniques and to a spiritual state that can be experienced by practicing Aikido. Morihei taught aiki as a technique, as shown in the memorandum of the Japanese Imperial Navy Admiral Isamu Takeshita around 1930. Kisshomaru Ueshiba, Morihei Ueshiba's son, also introduced these techniques in his book, “Techniques of Aikido” (1962), etc. However, neither Morehei Ueshiba nor his son explained about aiki in detail. Kenji Tomiki and Gozo Shioda used aiki as a term of technique, but they do not seem to have taught techniques under the name of aiki. 2. Onisaburo Deguchi, the head of Omoto-kyo, used the expressions “the union between a kami and a mortal” in 1921 and “the great love of the kami” in 1935, which Morihei later emphasized in relation to aiki. Omoto-kyo heavily influenced the building of Morihei's thoughts on aiki and Aikido. Aiki was likened to the great love of the Universe, Heaven and Earth, or the kami who nurtures all nature and mortals. In short, a) aiki is the union between the kami as love, and mortals, hence the practice of aiki is the purification of mind and body; b) the practice of Aikido creates a paradise for mortals on earth; c) because the kami does not oppose anyone, a practitioner does not oppose in Aikido. Morihei's thought influenced the policy of the succeeding organization of Aikido through Kisshomaru. 3. Morihei's four main pupils inherited his thoughts through several arrangements. Shioda explained aiki as “a technique for following the laws of nature”. Tohei insisted that aiki is “the union between the ki in heaven and earth and a mortal”. Sunadomari interpreted aiki as a combative technique and a divine work. Tomiki understood the term in two ways: one is a technique that falls into the category of kuzushi (balance-breaking), and the other is the unity of ki (energy) between nature and man. As to the way that Aikido should develop in the future, we need to study further Morihei's thoughts and their development under his pupils.