拝抜 Ogaminuki – Part 1 –
This technique is called “Ogaminuki (拝抜)”.
This is one of the Tachi-ai(立合・立相) Ippon-nuki(一本抜) and Ten-nuki(点抜) techniques, and it is especially important as an introductory method for learning Reiho(礼法 bow) and the function of the lower body.
In addition to learning the basics, it is also a technique for surprise attacks (Nukiuchi 抜討 or Jyoi-uchi 上意討ち) initiated from a bowing posture.
About the Name
The term “Ogami-Nuki” is also known by other names, such as “Ichiyu Nuki (一揖抜)”, “Yuto(揖刀)”, and “Karatake Wari(唐竹割)”. The term “Yū” (揖) means “bow” or “greeting.” “Ichiyū Nuki” refers to drawing a sword after making a bow, and “Yūtō” carries a similar meaning of drawing a sword after bowing. “Karatake Wari” means cutting straight down, as if splitting(Wari 割り) a bamboo(Karatake 唐竹) in half. In this context, “Ogami” (拝み) does not mean making a gesture of prayer with palms together, nor does it involve praying to deities. It refers to “placing both hands on the hilt of the sword from a deep bowing posture as if in prayer (a gesture known as Agegassyo 上げ合掌), then drawing the sword while raising the upper body, and attacking.” From this act of “drawing the sword as if praying,” the term “Ogami (worship) Nuki (drawing a sword)” has evolved.
Situation and Scenario
At a close distance, a genuine bow (Shin-no-Rei 真の礼) is performed toward the opponent. From there, in a surprise move, the head is raised while drawing the sword, and a straight downward cut is made with both hands. In formal samurai etiquette (Girei 儀礼), it is not customary to engage at a close distance. Therefore, in practice (actual fighting), techniques like Hane-Nuki (羽根抜き a small jump with both feet together) are used to close the distance. As an advanced application, there are cases where one moves to In-Yo-An (陰陽暗 right, left, back) to evade the enemy’s attack while counterattacking (Do-Nuki 動抜き).
However, in this explanation, we will only cover the basic technique, Ten-Nuki (点抜き).
Explanation of the Procedure
The stance begins from either Musubi-dachi (結立 Joined Heels Stance) or Heisoku-dachi (閉足立ち Closed Feet Stance), but since starting from Musubi-dachi makes it easier to learn the correct foot positioning, it is especially recommended for beginners. First, from Musubi-dachi (Joined Heels Stance), place both hands in Hirade (開手 open hands) on your thighs.
Perform the Shin no Rei (真の礼 Deepest bow). Be mindful to execute the bow with care and respect. The bow is also part of the training. Without Reiho (礼法), it is impossible to master the correct techniques. With your head still lowered, place both hands on the sword as if in gassyo (Age-Gassyo 上げ合掌 The movement of raising both hands to perform gassho), then cut the koiguchi (Koiguchi-wo-kiru 鯉口を切る Push the tsuba) with the thumb of your left hand. Perform Saya-biki (鞘引き pulling the scabbard back) and draw the sword in the “Sashinari (指しなり maintaining the angle at which the sword is worn)”while simultaneously straightening your upper body. Grip the sword with your right hand, forming the “Tatsu-no-kuchi(龍の口 Dragon’s Mouth)”, then place your left hand on the hilt, also forming the “Tatsu-no-kuchi(龍の口 Dragon’s Mouth)”. Arch your upper body and strike downward with a vertical cut. At this time, open both hip joints widely, spread your knees apart, and turn your toes outward while standing on tiptoe. Push your hips forward as much as possible. Then, raise the tip of the sword, spread your feet evenly to the sides into a Bajō-dachi (馬上立), take the Ten no Seigan (点の青眼) stance, and then maintain Zanshin (残心). The cut is basically aimed at the opponent’s forehead down to the chin.
Points to Note
How to Place the Hands on the Hilt (Tsuka)
Place your hands on the sword as if in gassyo (合掌 palms together in prayer). This is called Age Gassho(上げ合掌). By doing this, the armpits are tightened, forming the correct posture, and drawing the sword can be done smoothly. However, simply performing Gassho does not result in the correct posture. What Age Gassho teaches is to place the hands on the sword without letting the elbows flare out. Humans have a natural tendency to open their armpits instinctively. Therefore, this habit cannot be corrected without repeated practice and acquiring the proper body mechanics over time. For beginners, it is important to consciously press both elbows completely against the sides of the ribs. This will help acquire the body mechanics needed to keep the armpits closed.
Regarding the posture during sword drawing
When drawing the sword, the upper body is raised with the waist (primarily the hip joints) as the pivot. The three common mistakes made during the sword-drawing process are as follows.
1,Extending the knees when drawing the sword
2,Not arching the back when drawing the sword
3,Rising onto tiptoe when drawing the sword
In other words, the correct posture when drawing the sword is as follows:
1,Do not straighten the knees; keep them in their current position (without bending them further).
2,Do not stand on your toes.
3,Do not arch the back excessively; a natural, slight arch resulting from raising the upper body is acceptable.
Also, at the point when the left hand is placed on the hilt after completing the sword draw (or just before that), the upper body is still slightly leaning forward. It is not vertical.
The trajectory of the right hand during the sword draw
Here are some important points regarding the trajectory of the right hand when drawing the sword. For beginners, in particular, the right hand should trace a slight arc outward, coming to a position above the head and in line with the center of the body. In Tsurube-Nuki(釣瓶抜), the focus is primarily on drawing the right hand straight upward, but while Ogami-Nuki is similar to Tsurube-Nuki, the method of drawing the sword is subtly different, and the learning points also vary, so attention is needed. In practice, during the Ri (Sosyo) stage, it is acceptable for the right fist to follow an almost straight line when drawing the sword. However, if beginners attempt this, it can lead to several issues that may hinder the Kangi (完技 the complete mastery of the technique).
In Ogami-Nuki, if beginners draw the sword straight up, the following issues may arise.
1,Attempting to draw the sword straight up (in a straight line) can cause the right fist to move to the left of the centerline (Jinchū-ro 人中路 Centerline of the human body).
2,Attempting to draw the sword straight up (in a straight line) can result in a Hanmi (半身) during the draw (twisting the upper body to the left).
3,Attempting to draw the sword straight up (in a straight line) can cause the upper body to rise abruptly, leading to an excessively arched posture at the end of the draw. This reduces striking power, shortens reach, and destabilizes the blade’s trajectory.
The upper body does not Hanmi (半身 turn sideways) but maintains a Taimen (対面 frontal position) when drawing the sword. When drawing the sword, the shoulder joint is pulled back, causing the chest to turn slightly to the left. However, it does not result in a Hanmi (半身). However, this is also true for Tsurube-Nuki, where the blade passes close to the left armpit during the draw, which can be dangerous. Therefore, many people twist their chest to the left when drawing the sword to avoid cutting the left armpit. However, by sliding only the left shoulder joint back (while keeping the sternum facing forward as much as possible), the tip of the blade can be kept from touching the left armpit.
Regarding the right Tenouchi (手の内 hand grip)
In Syu (守,Kaisyo 楷書), it is important to correctly form the Tenouchi (手の内 hand grip) above the head. First, when the right hand reaches the highest point, the right fist should form the Tatsunokuchi (龍の口 dragon’s mouth). This causes the Tsukagashira (柄頭 pommel) to lower. If the Tenouchi (手の内 hand grip) is not properly engaged, the tip of the blade will remain lowered, the Tsukagashira (柄頭 pommel) will remain raised, and the left hand will not be able to reach, causing the right elbow to bend, which can lead to bad habits. The habit of bending the extended right elbow and then straightening it again when drawing the sword becomes a preparatory movement for delivering a powerful cut, ingraining itself as a habit. To swing something forcefully, such preparatory movements are important and are used instinctively. However, a Japanese sword has sufficient capability to incapacitate an opponent with a shallow cut, without needing such great force and preparatory movements. To overcome this instinct, it is essential to practice cutting downward with the elbow extended during the draw, without bending it.
Regarding Tenouchi (手の内) and the tip of the blade
When the Tenouchi (手の内 hand grip) is properly aligned during the backswing, the tip of the blade naturally aligns with the Jinchuro (人中路 center line of the body), ensuring that the Hasuji (刃筋 the trajectory of the sword’s tip) for Mokkō is correct. If the Tenouchi (手の内 hand grip) is inadequate during the backswing, the tip of the blade will deviate from the Jinchuro (人中路 center line of the body), causing the Hasuji (刃筋 trajectory of the sword’s edge) to become misaligned at the start of the downward cut.
Regarding the trajectory of the left hand
The left hand moves in a straight line from the left hip to the handle (Tsuka 柄). However, due to the structure of the human body, the left hand will naturally curve outward as it is raised unless specially trained. Additionally, due to the human body’s structure, where the shoulder joint serves as the pivot point for arm movement, even if you try to move the left fist in a straight line, centrifugal force will come into play when performing Kyu (急), causing the left fist to slightly bulge outward. Therefore, beginners in particular should move their left hand in an inward arc.
コメント