Wado Ryu and Japanese Budo
Being realistic, to write anything significant about Wado Ryu and Japanese Budo would take considerably more time and space than I have access to at the current time. But, my hope is that in some small way I can contribute to propagating a deeper understanding of the way the Wado Ryu is woven into the fabric of Japanese martial culture and unravel some of the complexities.
I am very much aware of the myths and misinformation spread by previous attempts to create potted histories of the various strands of the martial arts, be they Japanese, Chinese or Korean. And with this in mind I make my apologies in advance for any generalisations or inaccuracies that have crept into the following text.
Understanding Budo - why it matters.
As the popularity of Wado Ryu karate worldwide continues to spread instructors and students are compelled to look deeper in to the discipline that they have chosen to explore. Although many are content to polish and develop skill in pure technique, some practitioners have a desire to examine the rich fabric of the culture of the traditional Japanese martial arts in an attempt to gain a greater understanding of their discipline.
After all, we all come face to face with cultural differences from the moment we first cross the threshold of a martial arts Dojo (the name "Dojo" is enough in itself to give us a clue to the fact that we are on a peculiar kind of hallowed ground.) From the formal bow to the logic behind the syllabus and rank promotion we see concrete evidence of a methodology that sits outside of our normal understanding of western or modern culture.
The common cry of the "revisionists", the "modernisers" is, "Why do we continue to conform to these anachronistic practices, doing things for no discernable or understandable reason?" and there immediately appears the flaw in the argument - if you didn't understand it, don't be so keen to throw it away! Find out why it was put there first place.
Revisionists also like to strip the martial arts down to what they perceive as the bare bones of "just what works", and yes, in a quick-fix type of way this can be done. After all, in a push button, fast food culture, where everyone leads busy lives, who has the time to be bothered with the minutiae of fine and precise detail, subtleties of balance and breathing, as well as hours and hours of relentless grueling practice?
Also, if Wado Ryu stylists want to tap in to the real essence of the school/style and really develop an understanding of the objectives beyond the physical attainment of mechanical skill, there are a few important issues that need to be grasped. Many of these issues pertain to the place of a foreign martial culture from a different age and a different geographical location, within the modern western social framework. Also, as will become apparent, Hironori Ohtsuka founder of Wado Ryu karate had a much wider agenda.
"Jutsu" and "Do".
To begin to grasp the essentials of Japanese Budo (lit. "Martial Way") one must first examine the phenomenon of Jutsu and Do.
There has been much debate regarding the clarification of the issue of Jutsu and Do and it is possible that much of the early (20th century) attempts at defining these two terms have been over simplistic. The tendency to categorize for the sake of convenience carries a hefty penalty for the serious researcher.
Put simply, "Jutsu" in the context of martial arts means "art", "skill" or "science", hence "Bujutsu" means "Martial Arts" or the science of the Warrior ("Bushi").
When "Bu" has the extension "Do" grafted on to it it means
This "Way" can also be translated as "path" or "road" and also associated with livelihood, as in; a person who by compulsion or profession has chosen to tread their particular path, it is their "Way".
The concept of "Do" originates with the Chinese "Tao". Taoism, probably more a philosophy than a religion, has permeated Chinese thought at all levels of society since it's formal recognition in the 4th century BCE in the work Chinese sage Lao Tzu, who compiled his final words in the form of a manuscript commonly known as the "Te Tao Ching". His ideas were not new to the time in which he lived, but his synthesis of the Taoist philosophy was in itself a masterpiece in literature and in conveying the essence of Taoism.
The Tao embodies the natural Way, the balance of the circular nature of the universe and the duality of opposites that are in constant motion and change. It's simplicity and purity is staggering, yet the implications are almost too big for the human mind to grasp.
There has always been a simplicity and austerity associated with Taoism, a stripping away of the inessentials. Many Taoist qualities have been absorbed by other oriental philosophical and religious systems, the no-nonsense methodology of Zen Buddhism, adopted by the Japanese warriors of the
Obviously, within such a long timeframe the various philosophies and religious beliefs became inextricably woven into the mindset of the professional warrior and were used, and in some cases misused, to suit the particular situation. Warrior Zen borrowed heavily from Taoist and Confucian ideas, but the idea of the "Tao", the "Way" (also "Michi" in Japanese) remained fairly constant.
Case Histories - Judo and Kendo.
To gain some kind of insight in to the historical climate prevalent prior to the birth of Wado Karate it may be useful to briefly examine two parallel systems that faced the same types of trials and pressures experienced by the early pioneers of distinctly Japanese karate.
In the 19th century in
Japanese Swordsmanship, Kenjutsu was considered in some areas to be a hangover from the feudal past, and also carried associations as a hotbed of dissatisfaction for those who wanted a reversal of the Meiji headlong rush towards the modernisation of the Japanese nation. Grim faced, idealistic and radical young men saw the old schools of swordsmanship as the last bastions of the golden days of the pre-Meiji era.
To survive, Kenjutsu had to make an ethical, and inevitably, practical transition. The transformation of Kenjutsu in to Kendo took place when the powers that be felt that the art of the Sword, when transformed into a modernised and more workable format, would be of great benefit to the health and vitality of the developing Nation. Out went the brutal duelling, often resulting in injury, even death, and in came the modern bamboo sword (Shinai) and the more refined protective armour.
At the end of the 19th century this same educational and altruistic transformation also underpinned Jigoro Kano's vision and, if you like, rescue package to arrest the perceived decline and ills of the many Jujutsu schools in
Against hostile conservative opposition and with dogged determination
Privately or publicly Martial Arts commentators alternately see
How Karate became a Japanese Budo system.
The story of how the plebeian art of Okinawan Toudi Jutsu (Karate Jutsu) came to be incorporated in to the catalogue of mainstream Japanese Martial Arts is worthy of a book to itself. However, for the sake of this study it is necessary to understand some of the background to this to appreciate how Wado Ryu karate (or "Wado Ryu Jujutsu Kempo") fits into the picture.
Throughout the late 19th and early 20th century Japan had set it's sights on expansion and development, both territorially and economically, and despite embracing the best of western economic methodology was keen to promote it's individuality and national pride. This was the heyday of Japanese Nationalism.
The Japanese Martial tradition had a prominent place in national pride. To the Japanese martial arts establishment the fact that this Martial tradition was home-grown and (from their point of view) unique in the world was all the more reason to encourage its growth and revival - albeit in a revised form.
The newly introduced Karate Jutsu initially did not mesh well with the Martial Arts Establishment. The early Okinawan pioneers who arrived in mainland
An Okinawan schoolteacher, Gichin Funakoshi who was progenitor of the karate school today known as Shotokan was one of the first generation of Masters to attempt to promote and develop the practice of Karate in major Japanese cities. He understood the situation very well and realised that the acceptance of Karate Jutsu as a form of Chinese Boxing which would stand shoulder to shoulder with mainstream Japanese Martial Arts would be difficult for the Establishment to swallow.
Aside from the nationalistic issue the other obstacles centred around the lack of organisation and structure within early Karate practice in
Internal feuding between the Okinawan Masters competing for supremacy did not help matters. This resulted in fragmentation and lack of a clear and agreed syllabus. There was no space for stylistic differences, the Japanese way demanded a standardising of Karate practice.
One of the first casualties was the name itself, or at least the first character that made up the name. Originally "Kara" referred to "Chinese/China" and "Te" as "hand". But this Chinese connection had to be lost in transition. This wasn't new, as early as 1905 one of the Masters in
A standard training uniform was the next area of attention.
The Dai Nippon Butokukai was the organisation responsible for the propagation and development of the traditional Japanese Martial Arts and it was this very same group who oversaw and pressurised the exponents of Karate-Do to toe the party line. However, the original intention of the Butokukai was not allowed to come to full fruition. Their dream of a single style, a single syllabus, in short, homogenous karate, was severely interrupted by the second world war. Particularly as the occupying forces dissolved the Butokukai (and other organisations which appeared to contribute to Japanese militarization). Amazingly the popularity of the various karate groups continued to grow in the post war period.
Whether the factions that exist today enrich or befoul the content and credibility of Karate-Do is perhaps a matter worthy of further debate.
Two of the chief contributors to the growth of Japanese rather than Okinawan Karate were Yasuhiro Konishi (1893 - 1983) and Hironori Ohtsuka (1892 - 1982).
Konishi was from a wealthy background, a martial arts enthusiast, an accomplished Jujutsu-ka and a Kendo teacher. He had already had some exposure to Okinawan Karate before he trained under Gichin Funakoshi. He was also instrumental in supporting the maverick Okinawan Master, Choki Motobu, (also a key influence on Hironori Ohtsuka.)
Konishi and Ohtsuka together must have seen something in the Okinawan Karate-Jutsu that complemented their ideas of how the Japanese Martial Arts can grow and develop. They were instrumental in developing the first contest Kumite and were not afraid to blend, incorporate and synthesise aspects of their previously attained martial skills with the Okinawan Karate taught to them by Funakoshi, Motobu and Kenwa Mabuni (founder of Shito Ryu Karate).
It is generally accepted that despite the fact that Ohtsuka Sensei had access to probably the most famous and accomplished Okinawan karate experts of their generation, he was not satisfied with the answers he was getting. While he freely adopted sections from the curriculum of the strains of Okinawan karate he was exposed to his most innovative developments show the distinctive stamp of Japanese Budo/Bujutsu.
There is a stark contrast between the seemingly crude but effective kumite drills seen within Okinawan karate and the kumite drills that Ohtsuka Sensei formulated as the backbone of Wado Ryu.
One can only speculate as to how Ohtsuka Sensei, as a Menkyo Kaiden in Shindo Yoshin Ryu Jujutsu of nearly forty years experience, would have viewed the grappling "Bunkai" shown to him by the likes of Choki Motobu etc.
As has been mentioned before Ohtsuka Sensei had his own agenda for the formula and curriculum of his Wado Ryu and the roots of this are clearly embedded in the soil of distinctly Japanese Budo.
The Wado Ryu Karate we know today is a product of the political and social events outlined in the previous feature. However, it is quite a different task to unearth the ethos and philosophy of the system. Sadly the written and quoted words of Ohtsuka Sensei are too quickly and easily dismissed as being abstract and too far removed from the perceived function of the fighting arts as we are accustomed to see them in this modern age.
Within some of the Japanese Koryu (old school) Budo or Bujutsu it is quite easy to recognise the Ryu's affiliation to particular philosophical or religious streams. Sometimes they are conveniently allied to, or based around, particular temples, but often they seem to be maddeningly fickle. For example the practitioners of modern day Aikido seem unsure as to whether their system is a Shinto based art or a Zen based art. Also with the Katori Shinto Ryu school of swordsmanship, while closely bound to the Katori shrine which is the main Shinto shrine dedicated to the deity of the sword, its practitioners adhere to incantations and magical gestures from the Shingon sect of esoteric Buddhism.
How much importance should be made of the attachment of religious philosophies to the very raw practicalities of technical fighting skills is open to speculation. Perhaps to some it only becomes relevant at the very highest level of practical combat achievement? Perhaps it could be argued that in the truest traditions it is woven into the fabric of training from the very first point of contact, from the initial bow at the Dojo threshold?
Returning specifically to Wado Ryu; it must be remembered that Ohtsuka Sensei's martial arts background was in Japanese Budo/Bujutsu, not in the Okinawan martial tradition. Whilst not necessarily at odds with the Okinawan methodology or ethos there are easily recognisable differences resulting from the different influences and subtle cultural mixes.
So, it seems logical that if one is to attempt to trace the roots of Wado philosophy one has to look historically much further back in time than the introduction of Karate to mainland
It is known that Ohtsuka Sensei's family background and allegiance was predominantly to the Shinto religion, but perhaps it would be an oversimplification to say that this was the sole influence on his philosophical vision for Wado Ryu, given his contact with key individuals in the martial arts throughout the length of his illustrious career. For example, it is known that he was influenced by the Yagyu school of swordsmanship, which, as most researchers will acknowledge, is heavily influenced by the Zen mindset, through Yagyu Munenori (1571 - 1646) from his mentor in matters spiritual, the brilliant Zen monk, Takuan Soho (1573 - 1645).
So what exactly is the Wado Ryu philosophy?
It is too easy to just focus on the idea of "development of character" as a higher objective for martial arts training. This simplistic answer does little to enlighten us as to how this lofty objective is achieved, and certainly doesn't move us any closer to understanding the founder of Wado Ryu's thinking underpinning the technical syllabus that we all in our own way try to follow. So what is it that lies beyond the physical outward manifestation of a list of prescribed techniques?
"Wa".
A convenient place to start would perhaps be the "Wa" in "Wado".
Commentators inevitably connect this to "Wa" the "harmony" aspect in the name Wado. This is a quick and convenient way of skating over the issue, when in actual fact closer examination would reveal greater subtlety.
"Wa" translated basically as "harmony" or "peace" does not do justice to the real significance of "Wa" in Japanese life. Within Japanese society "Wa" is the cement that holds this society together. It is Unity, cooperation, conformity, social and personal equilibrium, consciousness of the group and perhaps most significantly, balance.
The "Wa" in Japanese society represents a rule for the balance of that society - its harmony. This does not mean that it is locked into "sameness" or "uniformity"; there is some scope for differences and diversity. A useful example would be to think of an orchestra, in which to work successfully each musician must play their individual part for the benefit of the whole.
In his book, "You Gotta Have Wa", the author Robert Whiting described "Wa" in the context of Japanese Baseball. His observations of the uniquely Japanese approach to the game revealed what he took to be the positive and negative aspects of "Wa" in the team dynamics of the professional game. While the cohesiveness of belonging to the group or the team has tremendous advantage in the high-pressure world of Japanese Baseball, transgressors who are seen as out of synchronisation with their teammates are harshly dealt with by the hierarchy. The harmony had to be maintained.
Therefore "Wa" has a social context, and is not to be considered as just an abstract ideal, a buzz-word for everything hanging together well in the martial technique department, a kind of fuzzy "it goes without saying" cure-all for every combat scenario.
Ohtsuka Sensei on Budo.
What other clues did Ohtsuka Sensei leave to enlighten us on the matter of Wado philosophy?
In his writings Ohtsuka Sensei describes how the original Japanese characters for the Martial Arts meant two apparently contradictory things. The first suggesting "Conflict/Battle" the second, "To cease/to stop". He suggests that as times have changed so the interpretation of what is the emphasis of Budo has changed, stating that the feudal priority was placed upon skill in taking life, in killing, but as more peaceable times came then other strengths and virtues within the Martial Arts came to the fore. Also, because of the opening out of society these strengths and virtues were no longer the sole property of the elite warrior class. His suggestion is that things have now turned full circle and that the Martial Arts are now again about stopping conflict and peace for everyone.
Ohtsuka Sensei was keen to offer guidance for true students of the Martial "Way". He said that it is important that Martial Artists seek the "true essence of the martial arts". For him this was found through the hard disciplined training of the body and the mind. This, he said, is a very difficult path, or "Way" to remain true to. To stay on this path the student must not only be disciplined, clear and unwavering in his own objectives, but must also have the guidance of a Sensei of the true tradition, and the support of his fellow trainees.
He warned against straying from the correct path, indicating that grave danger lay in wait for those who lose sight of their objectives. Although it is often said that it is the journey not the final destination where the real benefits are found, Ohtsuka Sensei advised that the objectives are the guiding lights that keep us clearly on the "Way".
Neither did he see his martial art as a selfish quest for prestige or power or the domination and suppression of others, in fact quite the opposite. Martial Arts are to be the vehicle for the promotion of peace on a global scale. No retiring to a cave to contemplate the Universe, Ohtsuka Sensei saw the Martial Arts as very social phenomena, as a tool to build the necessary mental muscle to enable people to tackle the conflicts and disharmony all too common in modern society. It was his understanding that Martial virtues provided a moral and ethical backbone for the motivators and leaders of tomorrow.
A practical and physical Philosophy.
Nature seems an endless source of inspiration for Ohtsuka Sensei. Universal laws, truisms with natural references abound in his writings and teachings. Very much following the Taoist ideology (although without openly subscribing to it) Ohtsuka Sensei sees truth within the laws of Nature. The patterns of rise and fall, the paths of least resistance and the power gained from yielding and pliancy hold a predominant place within his personal objectives.
"Being an expression of peace, martial arts have no impossibilities…It [the particular Martial Art] does not exceed heaven, it does not oppose the earth. It does not oppose people; it is in accord with all of these. Like the blowing wind and the flowing water, it is in accord with the ways of nature. Water always flows from high to low. When the flow is obstructed, water goes round this obstruction and continues to flow smoothly as before. It will flow through the smallest of spaces and cracks, perhaps taking along with its flow anything that stands in its way. Likewise with the wind. A Gourd that floats on this flow of water rides above this invincible flow; hence, it never sinks."
Ohtsuka Sensei also uses the image of a Water Wheel to describe how the energy of an opponent can be absorbed and used against them. This harnessing of the attackers destructive force is a true expression of the laws of Nature.
However, his most far reaching comparison, a model, a picture to help us to go some way towards understanding his deepest projection or ideal, would be his "Ball of Air" analogy, worth quoting in full:
"Defence and offence in Martial Arts work with the ways of nature. One's movement must be like a ball - uninterrupted and fluid. A ball's movement is smooth - it does not contradict or oppose the ways of nature. Techniques in martial arts must be flexible to change and other forces - like a "ball of air". Regardless of the degree of smoothness a flow of movements must occur. A "ball of air" would move freely from other external forces, it moves in accordance to its environment. It can change its shape and form infinitely - thus, its surfaces and limits change infinitely. There is shape without shape, surface without surface and limit without limit. These changes are infinite. Like outer space, it is infinitely limitless. It is like the sky. This infinity embraces all things and makes peace. In martial arts there is no such thing as the ultimate technique. Techniques must be infinitely changeable and altered, just like the sky and space."
Within this passage Ohtsuka Sensei tries to push the barriers of the analogy towards a multi-dimensional model. Yes, he is describing physical technique, but he is also underlining how this is the natural way, following nature's laws easily observed if one is sufficiently tuned in.
The image that he conjures up suggests techniques that easily flow from one to the next, but not abstracted or separated from the pressures and characteristics of the environment (or opponent). This fits comfortably with technical principles inherent within Japanese Budo.
An example might be that it is often said that there is no blocking in Wado, as there is no blocking within all traditional Japanese Budo. This does not suggest that one makes no effort to defend oneself, but rather that the coverage (the block) is part of the flow of movement, the action appropriate to respond to attack. And of course this defence is not dependant upon the limbs divorced from the body movement, but that the body movement governs the action of the covering limbs. Ideally this fluency complements perfectly the situation one finds oneself in, as with a mirror and what is reflected in its surface. This is well known to practitioners of Kendo and Kenjutsu.
"Ten, Chi, Jin, no Ri-Do ni Wa suru"
Ohtsuka Sensei believed that true Martial Arts matched perfectly with the eternal and infinite laws of the cosmos and nature. To understand how this works he presented us with the model, "Ten, Chi, Jin, no Ri-Do ni Wa suru". (It was from this model that the name Wado originated.) This is essentially about the relationship between the various elements: "Ten" meaning "heaven", "air", "sky". "Chi" meaning, "earth", "the ground", "the soil under our feet", and "Jin" as "Man", (Mankind), "human". How these vital ingredients connect and interrelate, how they balance, or fail to balance, relates to the state of harmony or peace - the "Wa".
Of "Ten, Chi, Jin".
These three ingredients are inseparable. Man (Jin) cannot opt out of his role in Nature, or avoid his responsibilities towards the earth (Chi), he is subject to the laws of the cosmos/heaven, (Ten). Man is positioned as a conduit, a connection between heaven and earth, feet on the ground, head in the sky. However it is also clear that although Heaven and Earth can exist without Man, Man cannot exist without Heaven and Earth, his dependency is indisputable.
A special mention must be made for the word/character "Jin". As with many such words there are extra meanings and attachments. In the Japanese language "Jin" for "man" or "person", or "mankind/humanity" refers to the higher qualities of humanity and does not apply to the more base forms of human nature. Thus "Jin" can also mean "honourable person/people with a compassionate heart" To try and grasp the true meaning of this it is important to understand what an "honourable person" is in the Japanese psyche.
The character for "Jin" is written with the same character as the suffix "Hito" and it is "Hito" that is often attached to the names of the highest ranking people, the very pinnacle of the social hierarchy - Emperor Aki-hito would be an example. This makes more sense once we understand that within Japanese culture there is no such association with Kings and rulers being tyrannical or despotic as we find in the west. Far from it, these Japanese rulers are associated with benign paternalism and all other such connected positive qualities. So it is here we understand that "Jin" has the connection with, "virtuous", "charitable", "compassionate", "humanitarian" and generally "benevolent".
The particular importance of "Chi", "Earth" in the equation becomes clearer when we consider
The trinity of "Ten, Chi, Jin" is also relevant to other branches of the Japanese martial arts. Within the Aikido of Morihei Ueshiba these three elements were symbolically interwoven using the shapes Circle (Ten/Heaven), Square (Chi/Earth), Triangle (Jin/Man). Ueshiba said of this symbolism;
"The triangle represents the generation of energy and initiative; it is the most stable physical posture. The circle symbolises unification, serenity and perfection; it is the source of unlimited techniques. The square stands for form and solidity, the basis of applied control."
As with all issues related to this theme, individual words expand into concepts and the concepts expand to encompass deeper levels of application.
"Ri".
"Ri-Do" equals "
"Ri" is not easy to pin down; it suggests actions or events perfectly tuned to the universal flow. That is, the hidden laws governing all natural conditions of movement. To gain a clearer understanding of "Ri" it would perhaps be useful to look at examples of what is not "Ri".
To go against "Ri" is to force an issue or a situation, to swim against the current in order to achieve one's objective, to use excessive amounts of force, to waste energy while performing a task.
Here we see practical connections with Ohtsuka Sensei's methodology. In training Ohtsuka Sensei advised us to apply three maxims to keep us on the straight and narrow:
1. "Do not use unnecessary force."
2. "Do not make unnecessary movement".
3. "Do not use unnecessary techniques to achieve your effect."
These three phrases are watchwords to remind us to remain connected to the laws of "Ri".
So we see that "Ri" is really "the right way" to do things, it is the "logical way". There is of course the opposite to "Ri", and when we talk about going against the natural way, this is described as "Mu-Ri". This means that it is an illogical way of doing something. It might work, if you force it, but really it is unlikely to succeed. Coming back to place this in to the realm of martial technique - it is possible for a punch to be "Mu-Ri", if it is forced through by sheer brutality.
Written in the Chuang Tzu, a Taoist text composed in the fourth century BCE, is a parable which, in its essence helps to give a practical example of the advantages gained from remaining connected to and appreciative of the "universal flow". In the chapter titled, "Yang Shang Ku" is a description of the method used by the cook of the household of Prince Wen Hui to carve up an ox,
"Every touch of his hand, every heave of his shoulder, every step of his foot, every thrust of his knee, with the slicing and parting of the flesh, and the zinging of the knife - all was in perfect rhythm, just like the Dance of the Mulberry Grove or a part of the Ching Shou symphony."
On observing this pure poetry of motion the prince is impressed and questions his cook further. The cook replies with,
"What your servant really cares for is Tao, which goes beyond mere art. When I first began to cut up oxen, I saw nothing but oxen. After three years of practicing, I no longer saw the ox, as a whole. I now work with my spirit not with my eyes. My senses stop functioning and my spirit takes over. I follow the natural grain, letting the knife find its way through the many hidden openings, taking the advantage of what is there, never touching a ligament or tendon, much less a main joint."
"A good cook changes his knife once a year because he cuts, while a mediocre cook has to change his every month because he hacks. I've had this knife of mine for nineteen years and have cut up thousands of oxen with it, and yet the edge is as if it were fresh from the grindstone…"
The cook then goes on to describe how his experience enables him to deal with even the most difficult of butchery problems,
"… However, when I come to a difficulty, I size up the joint, look carefully, keep my eyes on what I am doing and work slowly. Then with a very slight movement of the knife, I cut the whole ox wide open. It falls apart like a clod of earth crumbling to the ground…"
So here we see from one of the Chinese Classics an example of an artisan attuned perfectly to the nature of his materials.
To push the principle of "Ri" to the extreme, within a martial arts context, it could be described as the blinding flash of pure genius executed flawlessly during combat, where the protagonist meshes perfectly with the situation and acts/reacts impeccably, following the laws of natural motion and pure justice on all levels.
"Ji"
While on the subject of "Ri", it is worth commenting on the complementary principle of "Ji".
All phenomenon, all actions that comply perfectly to this natural flow are examples of "Ri", whereas actions that mimic these spontaneous phenomenon are classified as "Ji". These are reflections, descriptions of "Ri", not the real thing, but have value in their own way. Rather like a photograph is not the moment, it is a copy of a frozen instance, but all the same invaluable in recording the aftertaste of a pure moment in time, which is unrepeatable.
"Riai"
It would be remiss of me not to make a passing reference to "Riai", a common expression in Japanese martial arts. The "Ai" suffix is the same as in "Aiki" and obviously "Kiai", meaning, "to bring together". So "Riai" can be translated as "integrity of principles" or "the bringing together of principles", but more realistically Riai means, "the inherent logic of the technique".
"Ten, Chi, Jin, No Ri-Do ni Wa suru" is best understood in diagram form. "Wa" as an all-encompassing circle. This is seen as the objective, as the result of the harmonization of the other elements. If the correct balancing of Ten, Chi, Jin is contained within and following the principles of "Ri-Do" then "Wa" occurs. Within a martial arts context this is considered a lofty ideal and very difficult to achieve.
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Diagram representing the relationships between the key elements.
There is little doubt that Ohtsuka Sensei did not conjure up these ideals as a seperate entity attached to the Wado curriculum. He believed that these goals could only be acheived through rigourous physical training and a highly tuned and focussed intellect.