This lesson focuses on Tsuba-Tengaeshi 鍔転返, a seated technique of Okigatana 置刀 (Yasumedachi 休太刀), categorized under Denchô Tôhô Saya no Uchi 殿中刀法鞘ノ中—a method of controlling an opponent without drawing the sword. This is considered one of Tenshin-ryu’s secret techniques (hiken 秘剣 It is also referred to as Hidachi 秘太刀).
The reason this is considered a Hiken is likely because it represents a highly exceptional situation: preventing and stopping a sudden draw-and-strike (nukiuchi 抜討) aimed at executing (Teuchi 手討ち,手打ち) someone who is in a prostrated position (heifuku 平伏), which is a gesture of submission.
It is a technique that seeks a path to survival—a glimmer of life within certain death—from an overwhelmingly disadvantageous situation.
In the past, even in the case of an jōi-uchi 上意討ち (an execution by official order), those of samurai status still had the right to defend themselves.
Particularly, when a domain was to be abolished (*kaieki*), a group of emissaries known as shirin-dan 士林団 kōgan 光願 samurai would be dispatched as heralds—delivering a pre-notification before the official decree. These messengers would present written orders and wear haori emblazoned with the Tokugawa crest (aoi no go-mon 葵の御紋) to display their authority when meeting with the domain’s senior retainers.
Even in such situations—within the castle grounds—they would carry their long swords (daitō 大刀) with them. This custom was a remnant of Sengoku-period negotiation practices. (Normally, carrying a long sword is not permitted when entering a castle)
However, to show that they had no intention of drawing their sword, they would bind the tsuba (handguard) and sageo 下緒 (cord) together with a twisted paper string (koyori 紙縒).
There are also alternate oral traditions stating that the koyori could be torn by wetting it or cut with a small knife (kogatana 小刀 It is also referred to as Kozuka 小柄) in order to draw the sword if necessary.
In such formal confrontations, deliberately insulting the opposing party to provoke their anger and incite rebellion was a tactic that made use of Tōchū Tōhō Saya-no-Uchi 殿中刀法鞘ノ中—the method of controlling a situation without drawing the sword inside the castle. In particular, Tsuba-Tengaeshi was employed while in the prostrated position (heifuku 平伏).
Through detailed formal proceedings, it was made clear that although one side had shown proper respect—demonstrating the intention not to draw the sword by binding it with a koyori 紙縒 (paper cord)—the other party had shown hostility toward the representative (myōdai 名代) of the Tokugawa shogun. This was regarded as equivalent to treason.
In other words, this created a legitimate pretext (Taigimeibun 大義名分) for dismantling the domain.
Between the founding of the Tokugawa shogunate and the reigns of the first three generations—Lord Ieyasu (1st), Lord Hidetada (2nd), and Lord Iemitsu (3rd)—approximately 130 domains were abolished (kaieki 改易).
Regarding the name
In this technique, the principle of leverage is used to reverse the orientation of the sword.
The tsuba 鍔 (handguard) serves as the fulcrum, the tsukagashira 柄頭 (end of the handle) is the point of effort, and the kojiri 鐺 (end of the scabbard) is the point of action.
Because the sword is reversed using the tsuba as the pivot, the technique is called Tsubaten-Gaeshi 鍔転返 (which can be literally interpreted as “turning the tsuba to counterattack” or “reversing the sword through the movement of the tsuba”).
It is also sometimes referred to more simply as Tsuba-Gaeshi 鍔返—meaning “tsuba reversal” or “counterattack using the tsuba.”
Another term used is Tsubatentzume-no-Koto 鍔転詰事, which means “turning the tsuba to seal the opponent’s attack.”
Regarding the procedure
1,The distance is Gyô no Ma 行の間 (5.5 shaku, about 165 cm). Begin by bowing in Gasshurei 合手礼 or Sôshurei 雙手礼, and enter the prostrated position (heifuku 平伏).
At this time, do not raise your chin; keep your head lowered and observe your opponent’s presence using an upward glance. However, if you lift your gaze before fully bowing, your opponent may notice, so keep your eyes lowered until your head is completely down.
2, When you sense that your opponent is about to draw their sword, remain in the prostrated position and press down on the pommel (Tsukagashira 柄頭) with your left hand (point of applied force). Using the tsuba as the fulcrum, lift the saya (scabbard) to create a gap between it and the floor. (The kojiri 鐺 becomes the point of action.)
3, Then, with your right hand palm facing upward, insert your entire thumb along with the hand under the scabbard.
4, Using the pommel (Tsukagashira 柄頭) as the fulcrum, lift the end of the scabbard (kojiri 鐺 – point of action) by applying force with your left hand (point of applied force), as if flipping the scabbard upward.
5, Without lifting the Tsukagashira from the floor, slide it forward toward your face, and position the sword vertically in front of your head, with the blade facing forward.
Lower your left hand from the scabbard and hold the tsuba with the ulnar side of your palm (the hypothenar eminence) to stabilize it.
6, Raise your right knee.
7, Step your right foot forward in a large motion, and use the kojiri and scabbard to strike your opponent’s right forearm as they attempt to draw their sword. By suppressing their right forearm, you prevent the draw.
8, From this point on, there are various possible variations. However, for beginners, continue by rotating the sword with your left hand to turn the blade to the right, then switch your grip with the right hand and use your right thumb to hold the tsuba.
9, Release your left hand from the Tsukagashira, retreat diagonally to the left for more than 6 shaku (approximately 180 cm), and maintain zanshin in shumoku-ashi (橦木足) stance.
After that, complete the technique by following the usual procedure.
Important point
- When inserting your right hand between the scabbard and the floor, always place your thumb together with the four fingers and insert them all under the scabbard. Most people try to hold the scabbard, so their thumb ends up on top of it.
- When positioning the sword on the centerline (nakazumi 中墨 – the central line connecting you and your opponent), make sure not to move it away from your face. Perform the movement with the image of using the sword as a shield to protect yourself.
- When raising the sword, be sure to keep the end of the handle (tsukagashira) from lifting off the floor at all times.
- When raising the sword, slide your right hand from its initial position under the scabbard up to the tsuba (handguard). It is necessary to hold the tsuba with the palm of your right hand, but many beginners tend to forget this. Please make sure to always do it.
- When moving the sword forward, be careful to keep the end of the handle (tsukagashira) from lifting off the floor at all times. In the sôsho 草書 (ri 離) stage, the tsukagashira may lift slightly, but in the kaisho 楷書 (shu 守) stage, it should basically remain in contact with the floor as it slides forward.
(However, if there is a risk of damaging the floor of the training area, please lift it slightly during practice.)
Especially in the early stages of training, the tsukagashira tends to lift off the floor. To prevent this, do not hold the tsukagashira with your left hand—slide it forward without gripping it.
Regarding the principle of leverage
This technique makes use of the principle of leverage.
Use your left hand to hold down the tsukagashira (as the point of effort), using the tsuba as the fulcrum, and raise the scabbard (with the kojiri acting as the point of action) to create a gap between the floor and the scabbard.
Using the tsukagashira as the fulcrum, lift the kojiri (point of action) by applying force with your left hand (point of effort), as if flipping up the scabbard.
Switching the grip on the sword when stepping backward
Use your left hand to turn the sword—the edge moves from facing downward to facing right. Switch your grip with the right hand, and use your right thumb to hold the tsuba. Retreat diagonally to the right with a large step, assuming the shumoku-ashi 橦木足 stance.
Regarding the movement of the feet
After positioning the sword upright in front of you, raise both toes.
Step forward with your right foot.
Step your right foot even farther forward, as much as possible.
Bring your left knee forward and place it near the heel of your right foot (yose-ashi 寄せ足).
In conclusion
This technique is a desperate, last-resort move that turns the tide from a hopeless situation. In the prostrated position (heifuku 平伏), you cannot clearly see your opponent. That makes the timing extremely difficult, and the technique itself is very challenging. In martial arts, techniques are always practiced as ideal forms—within the reality that things will never go exactly as planned.
If you cannot carry out the technique ideally even during practice, then applying the form (kata 勢法) in real combat is nothing more than a distant dream. Many people look down on kata practice without understanding this fundamental truth. This tendency is especially noticeable when it comes to kaisho 楷書 (shu 守) practice.It’s true that kaisho alone is not sufficient as training. However, kaisho forms the foundation of everything.
The swift techniques of Tenshin-ryu are one of its greatest appeals. Their effectiveness in real combat needs no further proof. However, the foundation that supports these techniques is the seemingly dull kaisho practice. The more you train, the more you begin to appreciate the depth and value of kaisho.So devote yourself fully to your training.
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