Kashima Shinden Jikishinkage-ryū
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| Traditional Japanese martial art | |
|---|---|
| Kashima Shinden Jikishinkage-ryū (島神傳直心影流) |
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| Founder | Matsumoto Bizen-no-Kami Naokatsu (松本 備前守 尚勝) |
| Date founded | c. 1570 |
| Period founded | Late Muromachi period (1336 – 1573) |
| Location founded |  Kashima, Japan |
| Current headmaster | Iwasa, Kyoushyusai (Souhonbu, Honbuchou) |
| Arts taught | |
| Art | Description |
| Kenjutsu – ōdachi and kodachi | Sword art – long and short sword
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| Ancestor schools | |
| Kage-ryū (Aizu) • Yagyū Shinkage-ryū | |
| Descendant schools | |
| Daitō-ryū • Shindō Yōshin-ryū • Shintō Musō-ryū | |
Kashima Shinden Jikishinkage-ryū (鹿島神傳直心影流?), often referred to simply as Jikishinkage-ryū or Kashima Shinden, is a traditional school (koryū) of the Japanese martial art of swordsmanship (kenjutsu). The school was founded in the mid-sixteenth century, based upon older styles of swordsmanship, and is one of the few ancient Japanese martial arts schools still existing today.[1][2][3][4][5][6][7]
Kashima Shinden Jikishinkage-ryū can be translated as the "divinely transmitted, honest reflection of the heart, school of Kashima."
By repetitive practice, one maintains a constant connection with the cosmos by aspiring to "unwavering intention" or jikishin (直心) and "perfect clarity of mind" or seimeishin (生命心) like a cloudless sky on a brilliant sunny day. A practitioner who has attained heightened jikishin and seimeishin is said to have an "immovable heart" or fudōshin (不動心).[8]
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[edit] History
The Jikishinkage-ryū style descends from the kenjutsu styles developed in the late Muromachi period which overlaps the early Sengoku period, or better dated as late fifteenth or early sixteenth century, at the Kashima Shrine by the founder, Matsumoto Bizen-no-Kami Naokatsu (松本 備前守 尚勝, 1467–1524).[1] The direct predecessors of the Jikishinkage-ryū style are the Shinkage-ryū and the Kage-ryū (Aizu) styles.
The Jikishin Kage-ryū Kenjutsu comes from a previous school, Kage-ryū Kenjutsu. A samurai called Aizu Iko founded Kage-ryū in 1490.[citation needed] He perfected, and taught his style around Japan. There are evidence from 1525, that another samurai, Kumizume Ise no Kami Nobutsuno (1508-1548) is teaching his own style, a form of Kage-ryū kenjutsu. He called it Shinkage-ryū (the school of the new shadow). Jikishin Kage-ryū means 'the newest school of the ancient shadow'. He was denoting with the name, to the ancestors, and expressing respect to his former masters. Matsumoto Bizen no Kami Naukatsu was a famous master of this school, he also founded his own school first called Kashima Shinryū, then Kashima Shinden Jiki Shinkage-ryū. These schools can be found even today all around the world. There are more variations like Jikishin Kage-ryū, Seito Shinkage-ryū, etc.
During the 19th century, Jiki Shinkage-ryū was one of the most popular schools of combative swordsmanship (kenjutsu) in eastern Japan, especially in the Edo area. The 14th headmaster of Jikishin Kage-ryū Kenjutsu--Kenkichi Sakakibara--was one of the most well-known swordsmen of his time, and the personal bodyguard of the Shogun.[citation needed] Sakakibara had hundreds of students during his lifetime, many of them rising to the "rank" of menkyo kaiden (免許皆伝) and shihan (師範), thus able to pass on the full tradition. His most talented disciple was Yamada Jirōkichi from whom the Seito Ha (main line system) and many branch lines were derived. (Watatani and Yamada, Bugei ryuha daijiten, 1978:155-156, list 20 menkyo kaiden successors under Sakakibara.)
A less well-known, but highly skilled, menkyo kaiden ranked student was Matsudaira Yasutoshi, who, like Yamada, studied the more traditional ways of Jikishin Kage-ryū. The best apprentice of Yasutoshi was Makita Shigekatsu, a young man from a samurai family from Hokkaidō. His name, and Jikishin Kage-ryū became famous on the northern island in the times of the Japanese civil war in 1868.[citation needed] By sword fighting, he was an expert of kyudo, Japanese archery.[citation needed] He was the heir of the title of shihan (successor) of Jiki Shinkage-ryū, but unfortunately he was fighting a losing battle against the Emperor in the revolution. The cast of the samurai was disbanded, and he had to run. Later, he returned to Hokkaidō, and opened his own dōjō, called Jikishin Kan Dōjō. He was teaching various martial arts, not just kenjutsu. His dōjō was popular, in spite of the prohibition of the katana in 1876.[citation needed]
After Shigekatsu's death, the village of Atsuta raised a black granite obelisk in his memory. This memorial can be seen today. The family tradition has been taken by his grandson, Kimiyoshi Suzuki. Kimiyoshi is also a master of Goju-ryu Karate and Jikishin Kage-ryū Kenjutsu.[citation needed]
There were many other famous practitioners of Jiki Shinkage-ryū under Sakakibara who did not reach the highest levels of the system and consequently were not named as successors. Perhaps the most famous of these was Sokaku Takeda, founder of Daitō-ryū Aiki-jūjutsu. In contrast, some writers have claimed that other famous historical personages such as Muso Gonnosuke were in the line of transmission of Jiki Shinkage-ryu. However, Gonnosuke was never in the direct lineage of Jiki Shinkage-ryu.
[edit] Characteristics
The Jikishinkage-ryū style has many differences when compared to modern kendō. We can readily point out the different footwork and breathing:
- The unpō (運法) is the footwork used in the Jikishinkage-ryū style and can be translated as law, rule or method (for) transporting, conveying or carrying ('walking'). Unlike the suriashi of modern kendo, it is stressed that both feet stay firmly planted on the ground at all times.
- Every kata (形) has two distinct roles called the "striking/attacking sword" uchidachi (打太刀) and the "doing/receiving sword" shidachi (受太刀).
- The kiai (気合) consists not only of the shouting, like most martial arts, but of the proper way of inhaling and state of mind as well.
- The synchronous deep breathing Aum (唵) (or a-un) with one's partner which accompanies most movements.[8]
- The kamihanen (上半円, upper semicircle) and shimohanen (下半円, lower semicrcle) (also called jo han en and ge han en) are unconventional waza (techniques) of this style. Roughly, the swordsman draws a semicircle (upwards or downwards) with both his right hand (holding the sword), and his left hand (free). He finishes the movement with his arms extended, the sword pointing upwards, and the free hand's index finger pointing downwards. These movements can be considered as a "greeting" and a form of meditation, and are usually executed in the beginning and end of a kata or suburi (素振り) session. They represent all the things in heaven and all the things in earth, and the practitioner in the center of everything.
- The morōde (両腕, both arms) movement in which uchidachi raises with both arms the sword of shidachi to jōdan and receives the subsequent uchikomi with the side of the blade. This results in thrusting the left arm forwards and turning both arms outwards to allow to absorb shidachi's cut.
Jikishinkage-ryū exponents train with both ōdachi (大太刀) and kodachi (小太刀) (but not both at once).
[edit] Clothing
Kenjutsu was practiced in a thick kimono (keikoga) in the old times. It was needed for protection, though it was sometimes still not enough. Practices are far less dangerous nowadays, the standard clothes in kenjutsu are normal keikogi (稽古着) and hakama (袴). Preferably all pieces are in the same colour of dark blue or, when one seriously dedicates the practice to the kami (神), in white. To prevent treading on the hakama when moving in a low position, the hakama is raised a bit by neatly folding the left and right outside front pleats up under the straps which are tied around the waist, before training commences.[4] It is possible to wear tabi (足袋) when necessary.
For outdoor practice, jika-tabi (地下足袋) are worn. As uchidachi always faces sun, this role can be very blinding, but it is not allowed to wear sunglasses or hats. However, in extremely cold conditions one can wear a hat (without sun reflector) and other extra protective clothing. When one has not enough hair or eyebrows or in extreme hot conditions, one can wear a tenugui (手拭い) or hachimaki (鉢巻) to prevent sweat irritating the eyes or to keep hair out of the face. Note that tabi and jiki-tabi should preferably match the colour of the hakama.
It is prohibited to wear jewellery and the like as is custom in many martial arts. This rule is to prevent injuries to oneself and practicing partner as it is to prevent excessive display of ego and unneeded distractions.
Some practitioners wear aikidogi (合気道着) or karategi (空手着). In some groups beginners wear white obi (帯), intermediates wear blue and brown obi and those who successfully completed their exam for 1st dan can wear black obi with hakama. Others practice in hakama without colored obi.
[edit] Ranks
These licenses in the Seito Ha (main line recognized by Kashima Shrine) are as follows:
| rank | level | requirements |
|---|---|---|
| shomokuroku (初目録) | - | disciple must show competence in Hōjō on kata |
| jomokuroku (助目録) | - | disciple must show competence in Tō no kata |
| reikenden | - | disciple must show competence in Kodachi no kata |
| kyuri-no-maki | kyōshi (教師) | disciple must show deep understanding of the nature of Jikishinkage-ryū and show competence in Habiki no kata |
| goku-i | shihandai (師範弟) | disciple has been initiated in Marubashi no kata |
| menkyo (免許) | shihan (師範) | disciple has mastered the system |
Over the years the trainee should begin showing competence in leading/teaching the system. Consequently usually, but not always, the student receiving Kyuri-no-maki is at the level of Kyoshi (assistant instructor); the student receiving Goku-i is at the level of Shihandai(associate instructor); and the recipient of Menkyo is at the level of Shihan (master instructor). However, according to Yoshida Hijime, the current (20th) headmaster of the Seito Ha, only a Shihan may teach independently of the headmaster. (A restriction not necessarily followed in other lines.)
Shinbukan:
| “ | There wasn't anything like exams or ranks in the early Japan. When the master found his apprentice ready, he ordered him to show his knowledge. There were four levels in Jikishinkage-ryū. The reiken, the normal trainee level, the mokuroku and the kirkgami, the advanced level, and the highest menkyo kaiden, was the masters' level, and gave the owner the right to start teaching. The diplomas were hand-written, and contained every technique the examinees showed before the master. If the exam was successful, the new master could wear the hakama. This represented today's black belt. These things have changed nowadays, we use the same kyū (級) - dan (段) method as in most of the martial arts. | ” |
|
—Kimiyoshi Suzuki,[citation needed] |
||
| rank | belt | color | title | type |
|---|---|---|---|---|
| 3rd kyū |  |
white | - | mudansha (無段者) |
| 2nd kyū |  |
blue | - | mudansha (無段者) |
| 1st kyū |  |
brown | reiken | mudansha (無段者) |
| 1st dan |  |
black | kirigami | yūdansha (有段者) |
| 2nd dan | |
black | mokuroku (目録) | yūdansha (有段者) |
| 3rd dan | |
black | menkyo | yūdansha (有段者) |
The highest rank disciples of Kimiyoshi Suzuki sensei are 2nd dan black belts (mokuroku). The exams for belts are held once in a year, in the summer training camp. A person can take only one exam in a year.[citation needed]
In some groups, hakama can only be worn by those who successfully completed their 1st dan exam.[citation needed] This is mainly done for practical reasons - for the teacher to see how the student positions his or her legs and feet and for the teacher and students to quickly see whom to call upon for assistance. In more traditional groups, everyone wears hakama.[citation needed]
[edit] Kihon
Basic technique and movements are:
| name | basic | other |
|---|---|---|
| te no uchi (grip) | ||
| kamae (posture) |
|
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| ashi sabaki (foot work) | unpō |
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| seme-waza (attack) |
|
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| uke-waza (protect) |
|
|
| kiai |
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[edit] Kata
- Classical Jikishin Kage-ryū Kata:[9]
- Hōjō no kata - 法定之形
- Fukuro Shinai no Kata (Tō no kata) - 韜之形
- Kodachi no kata - 小太刀之形
- Habiki no kata - 刃挽之形
- Marubashi no kata - 丸橋之形
These five sets are the only ones practiced in Japan today and were established in this order by the time of Yamada Ippusai in the late 1600s.[5] In stead of the extension 'no kata', the kata in this book have the extension 'no bu' (之部), which means section (of this book).
- Basic Kata (only Shinbukan):
- Happo Ido (6+ variations)
- Uchikomi Ichi (10+ variations)
- Uchikomi Ni (6+ variations)
- Inazuma (5 stages) - 稲妻
- Inazuma Uradori (5 stages)
- Jūppon Ichi (10 stages) - 十本一
- Jūppon Ni (10 stages) - 十本二
- Master Kata (only Shinbukan):
- Jūppon Ni Batto (10 stages) - 十本二抜刀
- Tachiuchi (9 stages)
- Iai Katas (only Shinbukan)
- Iai (7+ katas)
- Urafune Iai (15 katas)
- Urafune Ushiro (6 katas)
- Urafune Mae (5 katas)
- Urafune Yoko (4 katas)
The katas listed below are only practiced by Kimiyoshi Suzuki's students in Shinbukan preparing for classical katas.
[edit] Hōjō
The Hōjō (法定) kata is the first classic kata of the Jikishinkage-ryū style and can be translated as laws, rules or methods ('principals') (which are) definitive, crucial or stable ('fundamental'). Both the shidachi and the uchidachi usually use wooden swords, bokken (木剣) or bokutō (木刀), although real swords, shinken (真剣), can be used as well.[8][4]
The Hōjō kata is composed of 4 stages, also called seasons, namely Spring (haru no tachi), Summer (natsu no tachi), Autumn (aki no tachi) and Winter (fuyu no tachi) in order of execution. Each season containing from 6 – 8 waza (movement). Before each season is executed the kamihanen, and after each season, the shimohanen.[8][4]
The themes of the four seasons refer to universal principles which also express themselves in other manifestations.[citation needed] Some of these are listed in the table below.
| ipponme (一本目) first stage |
nihonme (ニ本目) second stage |
sanhonme (三本目) third stage |
yonhonme (四本目) fourth stage |
| haru no tachi (春の太刀) spring sword |
natsu no tachi (夏の太刀) summer sword |
aki no tachi (秋の太刀) autumn sword |
fuyu no tachi (冬の太刀) winter sword |
| hassō happa (八相発破) eight-aspects ???-??? |
itto ryōdan (一刀両断) one-sword both-cut |
uten saten (右転左転) right-turn left-turn |
chotan ichimi (長短一身) long-short one-body |
| acceleration | fast | deceleration | slow |
| childhood | adolescence | maturity | old age |
| morning | afternoon | evening | night |
| warming | heat | cooling | cold |
Each season has a respective pace, kōan (公案), footwork, breathing, kiai, and other features reminiscent of the perceived characteristics of that season.
- spring has waza which are executed in a smooth and fast manner, accompanied by loud kiai. The koan of spring is eight-aspects ???-??? which can be translated as all directions.[5]
- summer has movements that are explosive and intense. The koan of summer is one-sword both-cut which can be translated as cutting your ego.[5]
- autumn has a varied pace, symbolizing change. The koan of autumn is right-turn left-turn which can be translated as times of change.[5]
- winter movements are slow, but firm. This is even more accentuated on the footwork of each season. The koan of winter is long-short one-body. The following example is an illustration of this principle. Imagine a situation where one person has a yari (槍) or naginata (長刀 or 薙刀), which stands for long, and the other a has sword, which stands for short, but the situation is as such that there is no more discussion, any discussion at this point would be superfluous. This metaphor tries to explain the meaning behind this koan that in this season life and death are one.[5]
Both uchidachi and shidachi take on a stance in Spring and Autumn which is called nio dachi. This refers to the pair of guardian deities of Buddhism called niō (仁王), which can be found as large statues at entrances of some of the ancient Japanese temples and shrines. The right statue is called Misshaku Kongō (密迹金剛) who has his mouth opened, this represents vocalization of the first character of Sanskrit which is pronounced "a." The left statue is called Naraen Kongō (那羅延金剛) who has his mouth closed, represents the vocalization of the last letter of Sanskrit which is pronounced "um."
It is said that these two characters together symbolize the birth and death of all things, like we are born with "a" and our mouth open (inhale) and we die with "um" and our mouth closed (exhale). Similar to "Alpha and Omega" or "A to Z", they signify "beginning and end", "everything" or "all creation."[citation needed] The contraction of both is Aum (Devanagari ॐ), which is Sanskrit for God. The stances and expressions of the statues, the sounds "a" and "um" and the symbolism behind this are very import in the Hōjō kata.[citation needed]
The 15th headmaster wrote this on the meaning of the Hōjō kata:
| “ | As you live your life, you become hindered by all manner of impurities. Through the act continuously discarding these pollutants you must try to return to your original nature just as it was when you were a baby. | ” |
|
—Jirōkichi Yamada, [8] |
||
[edit] Fukuro Shinai no kata (Tō no Kata)
The Fukuro Shinai no kata (袋竹刀之形) or Tō no kata (韜之形) is the second kata of the Jikishinkage-ryū style. The kanji 韜 is rare and old and is read as "tō" but has the meaning of "fukuro" (袋)
This kata is composed of 14 stages, divided in 6 groups (the first one with 4 stages, and the others with 2 each). Each stage has about 4 movements. This kata is characterized by very fast waza. Both the uchidachi and the shidachi use fukuro shinai (袋竹刀).[5][4]
[edit] Kodachi no kata
The third kata in the ryū, the Kodachi no kata (小太刀之形) has six stages. Shidachi uses a large heavy wooden kodachi (like the name of the kata), and uchidachi uses a standard kendo style bokuto or a fukuro shinai. All the three stages of this kata have shidachi running into "combat" with uchidachi. Jikishinkage-ryū is unique because the kodachi is used with two hands on the tsuka.[5][4]
[edit] Habiki no kata
The fourth kata is called Habiki no kata (刃挽之形) and it is a blend of concepts from Hōjō no kata and Tō no kata. Both shidachi and uchidachi use shinken in this kata set. In several places both shidachi and uchidachi end up on one foot after cutting. There are four kata in Habiki no kata, and they are the ura version of Hōjō no kata.[5][4]
[edit] Marubashi no kata
The Marubashi no kata (丸橋之形) is the most advanced kata, it focuses on very difficult kiai and subtle movement. To the casual observer it looks as though nothing is happening in the kata at all. Shidachi uses kodachi and uchidachi uses odachi. Like the last set of kata both use shinken.
This kata used to be a secret. It is not clear when the secrecy was lifted but the kata is, like the other five, described with text and photographs in the book of Yamada Jirōkichi that was published in the early twentiest century (1927).[5][4]
[edit] List of representatives
Below is the list of headmaster successors:
- Founder: (Kashima Shin(kage) Ryū): Matsumoto Bizen-no-Kami (松本備前守, 1467 – 1524)[1][4]
- 2nd headmaster (Shinkage Ryū): Kamiizumi Ise-no-Kami Nobutsuna (上泉伊勢守信綱, 1508 – 1577)
- 3rd headmaster (Shinkage Ryū): Okuyama Kyūkasai Taira no Kimishige (奥山休賀斎平公重, 1528 – 1602)
- 4th headmaster (Shin Shinkage Ryū): Ogasawara Genshinsai Minamoto no Nagaharu (小笠原源信斎源長冶, 1574 – 1644)
- 5th headmaster (Shinkage Jikishin Ryū): Kamiya Denshinsai Sadamitsu (神谷伝心斎直光, 1582 – 1663)
- 6th headmaster (Jikishin Seitō-ichi Ryū): Takahashi Danjōzaemon Shigeharu (高橋弾正左衛門重治, 1610 – 1690)
- 7th headmaster (Jikishin Kage Ryū): Yamada Heizaemon Mitsunori (Ippūsai) (山田平左衛門光徳(一風斎), 1638 – 1718)
- 8th headmaster: Naganuma Kunisato Shirozaemon (長沼四郎左衛門国郷, 1688 – 1767)
- 9th headmaster: Naganuma Shirozaemon Fujiwara no Yorihito (長沼活然斎藤原綱郷, 1702 – 1772)
- 10th headmaster: Fujikawa Yashirō Uemon Fujiwara no Yorihito (藤川彌司郎右衛門尉藤原近義, 1726 – 1798)
- 11th headmaster: Akaishi Chikayoshi (赤石近義, 1749 – 1825)
- 12th headmaster: Dannō Gennoshin Yoshitaka 團野源之進義高 (1761 – 1849)
- 13th headmaster: Odani Shimosa-no-kami Nobutomo 男谷下總守信友 (1798 – 1864)
- 14th headmaster: Sakakibara Kenkichi 榊原鍵吉 (1830 – 1894)
[edit] Seitō - ha
- 15th headmaster: Yamada Jirōkichi 山田次朗吉 (1863 – 1930)[8]
- 16th headmaster: Kawashima Takashi 川島 堯
- 17th headmaster: Ōnishi Hidetaka 大西英隆 (1906 – 1966)
- 18th headmaster: Namiki Yasushi 並木靖 (1926 – 1999)
- 19th headmaster: Itō Masayuki 伊藤雅之 (c. 1930 – 2001)
- 20th headmaster: Yoshida Hijime 吉田基 (c. 1945)
[edit] Hyakuren Kai
- 15th headmaster: Yamada Jirōkichi 山田次朗吉 (1863 – 1930)[8]
- 16th headmaster: Ōnishi Hidetaka 大西英隆 (1906 – 1966)
- 17th headmaster: Hayakawa Kōichi 早川幸市 [Hyakuren Kai 1st Leader]
- 18th headmaster: Iwasa Masaru 岩佐勝 (1945 –) [Hyakuren Kai 2nd Leader]
[edit] Daihonzan Chozen-ji (Zen Dōjō)
(only Hōjō kata)
- 15th headmaster: Yamada Jirōkichi (1863 – 1930)[8]
- 16th : Ōmori Sōgen (1904 – 1994)
- 17th : Terayama Katsujo (1938 – 2007)
[edit] Nomi - ha
- 14th headmaster: Sakakibara Kenkichi (1830 – 1894)
- 15th headmaster: Nomi Teijiro
- 16th headmaster: Nomi Hamao
- 17th headmaster: Ishigaki Yasuzou
[edit] Shinbukan
- 15th headmaster: Matsudaira Yasutoshi (1835 – 1880)
- 16th headmaster: Makita Shigekatsu 牧田重勝 (1849 – 1914)
- 17th headmaster: Suzuki Kimiyoshi 鈴木公宜 (1934 –)
[edit] Present day practice
Places where groups practicing Jikishinkage-ryū Kenjutsu can be found today:
| Asia | Europe | North America |
|---|---|---|
Lineage of Ōmori Sogen is indicated with †. Lineage of Matsudaira Yasutoshi via Suzuki Kimiyoshi is indicated with ‡. Lineage of Namiki Yasushi via Masatomi Ikeda is indicated with ♦. Lineage of Namiki Yasushi via Hideki Hosokawa is indicated with •. Only Hōjō kata is indicated with *.
[edit] References
- ^ a b c Koryu Bujutsu: Classical Warrior Traditions of Japan, volume 1 by Skoss, Diane (Editor). New Jersey, Koryu Books, 1997. ISBN 1890536040.
- ^ Kashima Shinden Jikishinkage-ryu. Koryu Books, 2002.
- ^ Jikishinkage-ryu kenjutsu. Koryu Books, 2002.
- ^ a b c d e f g h i (Japanese) Kashima Shinden Jikishinkage-ryu. The Origin of Samurai-Swordsmanship from KASHIMA SHRINE, The God of BUSHIDO KASHIMA - A Symbol of Justice by the Sword. by Masaru Iwasa. Japan, SAMURAI-BUSHIDO SOCIETY, 2005, hardcover. ISBN 4900785245.
- ^ a b c d e f g h i j (Japanese) Kashima Shinden Jikishinkage Ryū 鹿島神傳直心影流 by Yamada Jirōkichi 山田 次朗吉. Suishinsha, hardcover, 1927.
- ^ (Japanese) Kashima Shinden Jiki Shinkage Ryū Gokui Denkai『鹿島神伝直心影流極意伝開』by Ishigaki Yasuzō 石垣安造. Japan, Tōkyō, Shinjusha 新樹社, 1992, hardcover. ISBN4-7875-8407-3.
- ^ (Japanese) Jiki Shinkage Ryu Kenjutsu with Omori Sogen. Japan, Nihon Kobudo series, filmed during the 1970's by the Japanese Ministry of Education in a series on many of the traditional koryū. DVD, 2005.
- ^ a b c d e f g h KATEIGAHO International Edition (KIE), JAPAN'S ARTS & CULTURE, 2008 WINTER ISSUE VOL. 18, Mastering Budo by SEKAI BUNKA PUBLISHING INC.. Tokyo, Japan, magazine, 2008, pages 70 - 73. ISBN 9784418071432.
- ^ (Japanese) 鹿島神傳直心影流 Kashima Shinden Jikishinkage-ryu - Official site describing the five kata
- ^ a b c d e f g h i j k Sanshinkai Aikido
- ^ (Czech) Hojo aneb Kashima Shinden Jikishinkage-Ryu
- ^ a b c d e f (English)/(Hungarian)/(Romanian) Jikishin Kage-ryu Kenjutsu
- ^ Kishintai Aikido Dojo
- ^ Yuki Mizu Kumo.
- ^ Hōbyōkan
- ^ Sokeizan Daiyuzen-ji practising only Hōjō kata.
- ^ Daihonzan Chozen-ji practising only Hōjō kata.
[edit] External links
- (Japanese) 鹿島神傳直心影流 Kashima Shinden Jikishinkage-ryu - Official Site
- (Japanese) 鹿島神傳直心影流 Kashima Shinden Jikishinkage-ryu
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