{"id":2035,"date":"2025-03-23T17:45:17","date_gmt":"2025-03-23T08:45:17","guid":{"rendered":"https:\/\/budobooks.jp\/?p=2035"},"modified":"2025-03-27T21:33:11","modified_gmt":"2025-03-27T12:33:11","slug":"budo-beat-18-the-history-of-zanshin-part-1","status":"publish","type":"post","link":"https:\/\/budobooks.jp\/?p=2035","title":{"rendered":"Budo Beat 18: The History of Zanshin (Part 1)"},"content":{"rendered":"\n

The \u201cBudo Beat\u201d Blog features a collection of short reflections, musings, and anecdotes on a wide range of budo topics by Professor Alex Bennett<\/a>, a seasoned budo scholar and practitioner. Dive into digestible and diverse discussions on all things budo\u2014from the philosophy and history to the practice and culture that shape the martial Way.<\/em><\/p>\n\n\n\n

The following is No. 2<\/mark> of my 25-article series titled \u201cThe Philosophy of Zanshin\u201d (\u6b8b\u5fc3\u306e\u54f2\u5b66) published in Japanese in the Nippon Budokan\u2019s monthly magazine, Gekkan Budo<\/a> (“Budo Monthly”, February 2023, pp. 56-61). It\u2019s a rough translation, but I hope it offers some insight. You can read No. 1 here<\/a>.<\/p>\n\n\n\n

Introduction<\/strong><\/p>\n\n\n\n

Zanshin<\/em> is a cornerstone principle in modern budo, embodying a profound integration of educational philosophy and practical martial application. Despite its prominence today, the concept of zanshin<\/em> was scarcely mentioned among martial arts traditions during the Edo period (1600\u20131868). Moreover, early Edo-period martial treatises that do refer to zanshin<\/em> present a mosaic of differing interpretations, suggesting a complexity often overlooked in contemporary understanding. Remarkably, despite the ubiquity of zanshin<\/em> in contemporary budo discourse, no comprehensive historical examination of the term and its evolution across diverse martial arts traditions has previously been undertaken\u2014neither in Japanese nor English scholarship. This article, therefore, represents the first extensive effort to trace and analyse the historical nuances of zanshin<\/em>, exploring and comparing representative texts up to the mid-Edo period<\/mark> to illuminate the diverse meanings, subtle nuances, and evolving significance historically associated with the concept.<\/p>\n\n\n\n

Early Historical Context and Usage<\/strong><\/p>\n\n\n\n

Although the term zanshin<\/em> appears in Japanese literature from ancient times, its meaning differs significantly from what modern budo aficionados understand it to be. The earliest English-Japanese dictionary to include an entry for zanshin<\/em> defines it as \u201csan-sin<\/em> \u6b8b\u5fc3 A cruel mind\u201d.[1]<\/a> Japanese dictionaries also confirm a similar negative interpretation. For instance, the Wakan Gazoku Iroha Jiten<\/em> (1899) defines zanshin<\/em> \u201clingering regret, frustration\u201d, without mentioning martial arts at all. Furthermore, I understand that in China, the term is reportedly associated with meanings such as cruelty or regret.<\/p>\n\n\n

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This is a very rare text; Admiral Matthew Perry reportedly consulted Medhurst\u2019s dictionary in preparation for his voyage to Japan in 1853.<\/figcaption><\/figure>\n<\/div>\n\n\n

Though zanshin<\/em> does not appear to have been widely used in martial arts parlance before the modern period, instances can still be found in certain traditions.[2]<\/a> Needless to say, any form of complacency and carelessness are unacceptable in the context of combat. Historical teachings frequently emphasise caution, exemplified by H\u014dj\u014d Ujitsuna\u2019s famous phrase, \u201cTighten your helmet cords after victory\u201d<\/mark> (H\u014dj\u014d Ujitsuna-k\u014d O-kakioki<\/em>). This maxim warns warriors not to become intoxicated by their successes and urges continued vigilance against potential counterattacks. Such lessons advocating constant alertness, as zanshin<\/em> is generally understood today, are numerous. Nevertheless, historically, the term did not necessarily refer specifically to this state of mind.<\/p>\n\n\n

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H\u014dj\u014d Ujitsuna (\u5317\u6761\u6c0f\u7db1, 1487\u20131541) was the formidable second head of the Late H\u014dj\u014d clan, renowned for his strategic genius and visionary leadership that firmly established the clan\u2019s dominance in the Kant\u014d region during Japan\u2019s tumultuous Sengoku period.<\/figcaption><\/figure>\n<\/div>\n\n\n

Zanshin in Early Edo-period Military Texts<\/strong><\/p>\n\n\n\n

The term zanshin<\/em> appears in an early 17th-century military strategy text, K\u014dy\u014d Gunkan Hy\u014dban<\/em>. This work describes two mental attitudes\u2014zanshin<\/mark><\/em> (\u6b8b\u5fc3, vigilant mind) and kanshin<\/mark><\/em> (\u9591\u5fc3, calm mind)\u2014as strategies for responding effectively to changes in the enemy\u2019s actions and the battlefield situation. Specifically, it states: \u201cZanshin<\/em> means maintaining vigilance after battle, carefully watching for any changes from the enemy. Kanshin<\/em>, meanwhile, denotes restraining oneself and calmly assessing the timing of action and inaction.\u201d[3]<\/a><\/p>\n\n\n\n

In this text, <\/em>k<\/em>anshin<\/em> refers to maintaining composure and clarity of mind even amid chaos and confusion. In contrast, zanshin<\/em> carries connotations closer to what might be described as a \u201cnon-engagement strategy\u201d or \u201cstrategic retreat.\u201d Withdrawal involves resisting the temptation to immediately respond to an aggressor when confronted by a formidable enemy, instead buying time to recover strength or gain clearer perspective. The text suggests that, occasionally, the greatest gains are achieved precisely by doing nothing. In a sense, this zanshin<\/em> could be defined as \u201cleaving your heart out of it\u201d.<\/p>\n\n\n\n

Miyamoto Musashi\u2019s Perspective on Zanshin<\/strong><\/p>\n\n\n\n

Among martial arts treatises that mention zanshin<\/em>, Miyamoto Musashi\u2019s Hy\u014dh\u014d Sanj\u016bgo-kaj\u014d<\/em> (1641), Yagy\u016b Munenori\u2019s Heih\u014d Kadensho<\/em> (1632), and Yagy\u016b J\u016bbei\u2019s Tsuki no Sh\u014d<\/em> (1642) immediately come to mind.[4]<\/a> Musashi describes zanshin<\/em> and h\u014dshin<\/em> (\u653e\u5fc3, releasing the mind) as follows:<\/p>\n\n\n\n

\u201cZanshin<\/em> (lingering mind) and h\u014dshin<\/mark><\/em> (released mind) depend upon the situation and timing. When holding your sword, usually maintain intentional awareness (i no kokoro<\/em>). However, when decisively striking an enemy, release your inner mental state (kokoro no kokoro<\/em>) while still preserving your intentional focus. There are various interpretations of zanshin<\/em> and h\u014dshin<\/em>\u2014you must carefully consider the distinction.\u201d[5]<\/a><\/p>\n\n\n\n

Musashi divides the concept of \u201ckokoro<\/em>\u201d into two distinct layers: i no kokoro<\/em> (\u610f\u306e\u3053\u3053\u308d) and kokoro no kokoro<\/em> (\u5fc3\u306e\u3053\u3053\u308d). The former (i no kokoro<\/em>) can be interpreted as outward-directed spirit or active intention, while the latter (kokoro no kokoro<\/em>) represents one\u2019s inner core, deeper spirit, or mind. In combat, Musashi instructs practitioners to release (h\u014dshin<\/em>) their active intention outward, seizing the initiative and flexibly (lightly) responding to the enemy\u2019s movements, while firmly (heavily) retaining their inner core. When delivering a decisive strike, one releases the deeper, inner mind (kokoro no kokoro<\/em>) while retaining active intention (i no kokoro<\/em>) in order to stay prepared. Thus, even in striking, one mind is released (h\u014dshin<\/em>) and the other retained internally (zanshin<\/em>) as defence against counterattacks.<\/p>\n\n\n

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You can read my translation of Musashi’s Hy\u014dh\u014d Sanj\u016bgo-kaj\u014d<\/em> and all his other works in this book<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n

Musashi presented his Hy\u014dh\u014d Sanj\u016bgo-kaj\u014d<\/em> in 1641 to Hosokawa Tadatoshi, lord of the Kumamoto domain. Tadatoshi was a highly skilled disciple of Yagy\u016b Munenori, who, having mastered the deeper teachings of Shinkage-ry\u016b, received Munenori\u2019s Heih\u014d Kadensho<\/em> in 1637\u2014one of very few people to do so. Interestingly, Heih\u014d Kadensho<\/em> itself contains only a brief reference to zanshin<\/em>: \u201cRegarding zanshin<\/em>, it is used in both attack and waiting. Details to be transmitted verbally.\u201d Thus, Munenori left the specifics unwritten, deliberately retaining them as oral teachings.<\/p>\n\n\n\n

It is reasonable to speculate that Tadatoshi, intrigued by this secretive concept, may have sought Musashi\u2019s perspective after inviting him to Kumamoto in 1640. Musashi\u2019s response was codified explicitly in the Hy\u014dh\u014d Sanj\u016bgo-kaj\u014d<\/em>. Yet notably, Musashi omitted direct reference to zanshin<\/em> and h\u014dshin<\/em> from his final work, the Gorin-no-sho<\/em> (Book of Five Rings), completed in 1645, suggesting he chose not to publicly disclose these nuanced concepts further. Or, maybe he just forgot!<\/p>\n\n\n\n

The Yagy\u016b Shinkage-ry\u016b and Itt<\/strong>\u014d-ry\u016b <\/strong>Traditions<\/strong><\/p>\n\n\n\n

Yagy\u016b J\u016bbei compiled the teachings of his grandfather, Yagy\u016b Sekish\u016bsai, and his father, Yagy\u016b Munenori, into the text Tsuki no Sh\u014d<\/em>. Within this work, zanshin<\/em> is explained in considerable detail, indicating its central importance in the Shinkage-ry\u016b tradition. J\u016bbei emphasises:<\/p>\n\n\n\n

\u201cWhether you have struck successfully or missed, whether you seize the initiative or withdraw, advance or retreat\u2014in both your posture and gaze, never allow even the slightest lapse in vigilance; preserving your awareness (zanshin<\/em>) is of utmost importance. […] The mindset of \u2018letting go of one move and preparing immediately for the next\u2019 also embodies the continuous contemplation of many future possibilities.\u201d[6]<\/a><\/p>\n\n\n

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A section of Tsuki no Sho<\/em> (\u6708\u4e4b\u6284) “Notes on the Moon”), attributed to Yagy\u016b J\u016bbei Mitsuyoshi (\u67f3\u751f\u5341\u5175\u885b\u4e09\u53b3, 1607\u20131650), is a significant treatise on swordsmanship and martial philosophy within the renowned Yagy\u016b Shinkage-ry\u016b tradition. It embodies J\u016bbei\u2019s interpretations of his father\u2019s (Yagy\u016b Munenori\u2019s) teachings and elaborates on key strategic and philosophical concepts fundamental to the school.You can see the kanji for zanshin<\/em> in the top right. <\/figcaption><\/figure>\n<\/div>\n\n\n

Further, J\u016bbei states: \u201cGenerally speaking, the essence lies in adopting a mindset of zanshin<\/em>, maintaining the presence of mind and readiness to appropriately respond to whatever happens, even when you fail to land your strike.\u201d<\/p>\n\n\n\n

This teaching closely resembles the modern understanding of zanshin<\/em> in contemporary budo, emphasising continuous vigilance and readiness for all eventualities. Additionally, zanshin<\/em> appears frequently in teachings of the Itt\u014d-ry\u016b, another major school from the Edo period. However, because this style has numerous branches, nuances of the term differ somewhat even within the same tradition, depending on the source.<\/p>\n\n\n

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It\u014d Itt\u014dsai (\u4f0a\u6771\u4e00\u5200\u658e, c. 1560\u20131653) was a legendary swordsman and the formidable founder of the Itt\u014d-ry\u016b (\u4e00\u5200\u6d41) school of swordsmanship. Renowned for his unparalleled skill, intuitive brilliance, and relentless pursuit of martial perfection, Itt\u014dsai left a profound legacy shaping sword techniques across generations of warriors in feudal Japan.<\/figcaption><\/figure>\n<\/div>\n\n\n

For example, Kot\u014dda Toshisada\u2019s Itt\u014dsai Sensei Kenp\u014dsho<\/em> (1664) includes the following passage:<\/p>\n\n\n\n

\u201cUtsuri<\/em> (\u79fb, shifting) is like the moon reflecting onto the water. This is called the position of h\u014dshin<\/mark><\/em> (\u6367\u5fc3, presenting heart), meaning to \u2018approach.\u2019 Utsushi<\/em> (\u5199, reflecting) is like the water capturing the reflection of the moon. This is called the position of zanshin (lingering heart)<\/em>, meaning to \u2018separate\u2019.\u201d[7]<\/a><\/p>\n\n\n\n

According to Takeda Ry\u016bichi and Nagao Naoshige, this rather nebulous teaching can be interpreted in the following way:<\/p>\n\n\n\n

\u201cActively shifting toward the opponent (utsuri<\/em>) requires a rational defence grounded in principle, while passively capturing the opponent\u2019s form without intention (utsushi<\/em>) demands the skilled execution of technique to attack effectively. In our tradition, the former position (utsuri<\/em>) is transmitted as the h\u014dshin no kurai<\/em> (\u2018position of offering the heart\u2019), and the latter (utsushi<\/em>) as the zanshin no kurai<\/em> (\u2018position of lingering awareness\u2019). When illustrating these principles through logical reasoning, we employ the metaphor of suigetsu no denju<\/em> (\u2018transmission of the moon reflected in water\u2019).\u201d[8]<\/a><\/p>\n\n\n\n

In this context, \u201ch<\/em><\/strong>\u014dshin<\/em><\/strong>\u201d as its characters literally suggest, is the offering of one\u2019s heart\u2014uniting oneself completely with the opponent and shifting one\u2019s spirit into them to discern their intent. \u201cZanshin<\/em><\/strong>\u201d here means to spontaneously capture the opponent\u2019s appearance without conscious intention (mushin<\/em>), defending against their attacks while simultaneously counterattacking. Moreover, the Ono-ha Itt\u014d-ry\u016b\u2019s Itt\u014d-ry\u016b Heih\u014d Kana-gaki<\/em> (1692) provides the following explanation of zanshin<\/em>:<\/p>\n\n\n\n

\u201cAt the moment of victory, you must not pause even a single step nor leave behind any lingering attachment; discard all extraneous thoughts and maintain an unwavering state of total concentration. Although we teach the concept of zanshin<\/em>, it primarily serves during training as a corrective measure against deviations in technique, excessive tension, and overly competitive behaviour. Once this understanding is attained, however, it is vital to embody zanshin<\/em> precisely at the decisive moment of victory. Concepts such as kench\u016b-tai<\/mark><\/em> (attack within defence) and taich\u016b-ken<\/mark><\/em> (defence within attack) resemble zanshin<\/em>, yet differ fundamentally from hesitation (zannen<\/em>). Maintain your spirit without lingering attachments and never slacken at the critical point of victory. Should your opponent perceive hesitation and attempt a counterattack, your movements must never become excessive or uncontrolled. Constant practice is thus of utmost importance. Indeed, you must be mindful that lingering attachments at the moment of victory can inevitably arise.\u201d[9]<\/a><\/p>\n\n\n\n

When the moment to attack arrives, one must commit wholeheartedly, without reservation. The concept of kench\u016b-tai, taich\u016b-ken<\/em> (unity of attack and defence) teaches that offence and defence are inseparable: even while attacking, one must never lose readiness against the opponent\u2019s counterattack; similarly, even while defending, one must always remain poised to seize opportunities for offence. Techniques used to strike an opponent must simultaneously serve as defensive movements, and defensive techniques must equally function as attacks (kentai itchi<\/mark><\/em>). With full awareness (zanshin<\/em>), one does not merely guard against an enemy\u2019s counterattack or offensive move; rather, one responds actively, transforming defence immediately into counter-technique and vice versa.<\/p>\n\n\n

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A scroll of transmission from the Ono-ha Itt\u014d-ry\u016b.<\/figcaption><\/figure>\n<\/div>\n\n\n

Moreover, Ono-ha\u2019s Heih\u014d J\u016bni-kaj\u014d<\/em> (1689) states:<\/p>\n\n\n\n

\u201cLeave no attachment in your mind; strike so that awareness naturally remains (zanshin<\/em>). For instance, when you calmly and steadily pour water from a teacup, it empties completely, leaving not a single drop behind. But if you abruptly turn the cup upside down and then immediately right it, some water inevitably remains within. Following this logic, in our tradition, the wooden sword (bokut\u014d<\/em>) is decisively cut all the way down, without interruption. It is with this principle in mind that you must cultivate the practice and experience of zanshin<\/em>.\u201d[10]<\/a><\/p>\n\n\n\n

Thus, when one commits fully\u2014leaving nothing behind physically or mentally\u2014in an attack, zanshin<\/em> emerges naturally as a byproduct. In other words, rather than deliberately leaving your mind behind, genuine zanshin<\/em> arises spontaneously precisely because you attack with undivided focus and total commitment.<\/p>\n\n\n\n

Applications Beyond Swordsmanship<\/strong><\/p>\n\n\n\n

Thus, zanshin<\/em> encompasses various interpretations and carries multiple layers of meaning. In K\u014dy\u014d Gunkan Hy\u014dban<\/em>, it is presented as a tactical strategy\u2014disengaging from battle temporarily to observe and evaluate the enemy. Miyamoto Musashi approaches zanshin<\/em> psychologically, emphasising the need to maintain concentration and discern intent while engaging an opponent. Shinkage-ry\u016b describes zanshin<\/em> as maintaining constant vigilance even after an exchange has concluded. Meanwhile, Itt\u014d-ry\u016b likens the concept to the moon reflected on water, symbolising a mental state free from attachment to the enemy. Additionally, by attacking wholeheartedly without consciously holding anything back, one\u2019s mind paradoxically remains alert, ready to adapt or continue as necessary. In other words, what matters most is the mental readiness before a strike rather than afterward. Although paradoxical, the more completely one invests oneself in an attack\u2014without deliberately trying to retain awareness\u2014the more naturally zanshin<\/em> emerges, allowing the practitioner to freely and fluidly respond to personal errors or an opponent\u2019s counterattacks.<\/p>\n\n\n

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\u00a9 Alex Bennett<\/figcaption><\/figure>\n<\/div>\n\n\n

Examples of zanshin<\/em> extend beyond swordsmanship traditions. In the context of spear techniques, for instance, the H\u014dz\u014din-ry\u016b J\u016bmonji-kama Hy\u014dh\u014d Hyakushu<\/em> (1686) warns practitioners in a poem: \u201cIf your zanshin focuses only ahead, faults will inevitably appear behind.\u201d<\/mark>[11]<\/a><\/p>\n\n\n\n

This accentuates the necessity of maintaining mental vigilance in all directions to avoid negligence. Additionally, in Tenjin Shin\u2019y\u014d-ry\u016b J\u016bjutsu teachings, the mental framework for executing techniques is divided into three distinct phases: zenshin<\/mark><\/em> (preparatory mind), ts\u016bshin<\/mark><\/em> (going mind), and zanshin<\/mark><\/em> (lingering mind). According to Yoshida Chiharu and Iso Mataemon\u2019s Tenjin Shin\u2019y\u014d-ry\u016b J\u016bjutsu Gokui Ky\u014dju Zukai<\/em> (1893):<\/p>\n\n\n\n

\u201cZenshin<\/em> refers to the mental state from the initial kakegoe<\/em> (shout) up to the start of physical action. Ts\u016bshin<\/em> pertains to the mental functioning during the execution of the technique. Zanshin<\/em> denotes the mindset maintained immediately after completing the technique, focusing one\u2019s gaze and attention upon the opponent\u2019s eyes.\u201d[12]<\/a><\/p>\n\n\n

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Tenjin Shin\u2019y\u014d-ry\u016b J\u016bjutsu Gokui Ky\u014dju Zukai<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

Here, zenshin<\/em> (\u524d\u5fc3, preparatory mind<\/em>) refers specifically to the mindset when initiating action, beginning with the initial vocalisation (kakegoe<\/em>) and preparing to move. Ts\u016bshin<\/em> (\u901a\u5fc3, going mind<\/em>) indicates the state of mind during the execution of the technique itself. Lastly, zanshin<\/em> (lingering mind<\/em>) is defined as the mindset immediately after completing the action, when one shifts their gaze to carefully observe the opponent after the fact. These three mental states, combined sequentially, constitute the complete psychological flow necessary for executing a technique effectively.<\/p>\n\n\n\n

In modern kyudo (Japanese archery), the fundamental movements known as Shah\u014d Hassetsu<\/mark><\/em> (\u201cEight Stages of Shooting\u201d) conclude with zanshin<\/em> (\u6b8b\u8eab\u30fb\u6b8b\u5fc3, remaining posture and mind). Note here that \u2018shin<\/em>\u2019 is written in two ways, \u8eab (shin<\/em> = body) and \u5fc3 (shin<\/em> = heart\/mind). Thus, unsurprisingly, the concept of zanshin<\/em> also appears in historical archery texts. For example, in the Gokan no Sho<\/em>, a key manual of the Heki-ry\u016b Chikurin-ha tradition annotated by Hoshino Kanzaemon Shigenori (1642\u201396), an explanation of zanshin<\/em> was added in the volume titled \u201cShokan no Maki\u201d:<\/p>\n\n\n\n

\u201cAlso, zanshin<\/em> means to retain one\u2019s mind within the navel area. This is intended to prevent the torso and hips from rising excessively upward after releasing the arrow. Instead, one should keep the torso stable and balanced upon the hips, thereby retaining mental focus at the body\u2019s centre of gravity.\u201d[13]<\/a><\/p>\n\n\n

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Shah\u014d Hassetsu<\/em> (\u5c04\u6cd5\u516b\u7bc0), or the “Eight Stages of Shooting,” is the foundational sequence in kyudo (Japanese archery), meticulously guiding the archer from initial stance through the precise release of the arrow. Beyond mere technique, each step symbolizes a disciplined integration of body, mind, and spirit, embodying kyudo\u2019s ideal pursuit of harmony and self-mastery.<\/figcaption><\/figure>\n<\/div>\n\n\n

In this context, zanshin<\/em> specifically denotes maintaining physical and mental equilibrium and stability at the moment of releasing the arrow. Unlike swordsmanship or j\u016bjutsu<\/em>, kyudo does not involve direct combat with an opponent. Consequently, its concept of zanshin<\/em> (remaining posture and mind) is less about practical fighting and more reflective, ritualistic, and introspective\u2014centred around the idea of \u201cfacing oneself.\u201d Emphasis is placed on maintaining a dignified, graceful posture and composed mental state from beginning to end, without ever losing focus or discipline irrespective of the result of the shoot.<\/p>\n\n\n\n

Moreover, the Bijins\u014d Hika<\/em>, a poetic manual of the Heki-ry\u016b Chikurin-ha tradition, states: \u201cIn archery, there are three important moments; transmit each carefully through oral teachings.<\/em>\u201d These \u201cthree moments\u201d (mitsu no narai<\/mark><\/em>) refer specifically to: the initiation of drawing the bow, entering into full draw (kai<\/em>), and the state after releasing the arrow (zanshin<\/em>). Thus, rather than emphasising practical application, the focus here is on demonstrating elegance, refinement, and spiritual poise.[14]<\/a><\/p>\n\n\n

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Ii Naosuke (\u4e95\u4f0a\u76f4\u5f3c, 1815\u20131860) was the influential daimyo of Hikone and powerful Tair\u014d (Great Elder) of the Tokugawa Shogunate, whose decisive actions opened Japan to the West through the signing of the Harris Treaty. Known for his authoritative stance and political vision during a turbulent era, his assassination in the Sakuradamon Incident marked a pivotal moment in Japan\u2019s journey toward modernisation.<\/figcaption><\/figure>\n<\/div>\n\n\n

A similar concept emphasising refinement and dignity appears in the tradition of tea ceremony. Ii Naosuke (tea name: S\u014dkan), lord of Hikone domain, authored the Chayu Ichie-sh\u016b<\/em> (1858) and is credited with popularising the now-famous tea philosophy of ichi-go ichi-e<\/mark><\/em> (\u201cone encounter, one opportunity\u201d). In it, he describes the etiquette of bidding farewell, known as yoj\u014d zanshin<\/mark><\/em> (\u4f59\u60c5\u6b8b\u5fc3)\u2014a lingering feeling of appreciation shared between host and guest:<\/p>\n\n\n\n

\u201cDokuzakan\u2019nen <\/em><\/strong>(Reflections when sitting alone):<\/em> Both host and guest, sharing a lingering sentiment (yoj\u014d zanshin<\/em>), conclude the exchange of farewell greetings. When guests depart through the garden path (roji<\/em>), they should avoid raising their voices, quietly turning back with a reflective glance as they leave. Even more so, the host should respectfully continue watching, seeing off the guests until they are completely out of sight.\u201d[15]<\/a><\/p>\n\n\n\n

Thus, in tea ceremony, zanshin<\/em> symbolises refined awareness, emphasising the graceful, mutual appreciation and respect that persist even after the physical gathering ends.<\/p>\n\n\n\n

As described above, teachings on zanshin<\/em> vary significantly depending on the martial tradition. However, one important text that presents zanshin<\/em> in a more generalised, cross-style manner is the Tengu Geijutsu<\/em>-r<\/em>on<\/em> (1727). Its author, Niwa Jur\u014demon Tadaaki (Issai Chozan), was both a samurai of the Sekiyado domain in Shim\u014dsa Province and a swordsman himself. Notably, neither his famous works, Neko no My\u014djutsu<\/em> (\u201cThe Cat\u2019s Marvelous Skill\u201d) nor Tengu Geijutsu<\/em>-r<\/em>on<\/em> (\u201cThe Demon\u2019s Sermon on the Martial Arts\u201d), provide explicit instructions regarding technique or strategy. Instead, they aim primarily to guide martial artists inward, towards the inner path of personal development and spiritual refinement.<\/p>\n\n\n\n

\u201c<\/strong>Question:<\/em><\/strong> <\/em><\/strong>Many schools speak of zanshin<\/em>, but what exactly does it mean?<\/p>\n\n\n\n

Answer:<\/em><\/strong> Zanshin<\/em> simply means not becoming fixated on the action itself, thereby keeping the essence of your mind unmoved. When your mental foundation is immovable, your response to any situation is naturally clear and adaptable. This holds true not only for martial arts but also for daily human interactions. Even if you deliver a powerful strike that seems to penetrate to the depths of hell itself, you remain unchanged from your original self. Thus, you retain freedom of movement in all directions without obstruction or hindrance. Zanshin<\/em> does not mean deliberately preserving or leaving behind your consciousness. If you consciously attempt to hold back your awareness, your mind will become divided. Moreover, without clearly establishing your mental foundation, you\u2019ll merely strike or thrust blindly. Clarity arises naturally from an unmoving mental foundation. Therefore, you must strike clearly, thrust clearly, and nothing more. This teaching is extremely difficult to grasp. If misunderstood, it can lead to grave errors.\u201d[16]<\/a><\/p>\n\n\n\n

In other words, when a practitioner asks the Great Tengu about the various meanings of zanshin<\/em> taught by different martial schools, the response highlights that true zanshin<\/em> involves maintaining an immovable core of the mind, unattached to technique. With this unmoving mental core, one\u2019s actions remain clear and responsive. Even after executing the deepest cut, one\u2019s fundamental state remains unchanged. Thus, freedom of movement remains unhindered. Attempting deliberately to preserve one\u2019s awareness, however, creates duality in thought, resulting in confusion or blind actions. True clarity, the Tengu explains, arises spontaneously from a stable, unmoving mind. However, the passage concludes with a warning: misunderstanding this subtle teaching can lead to serious harm.<\/p>\n\n\n

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The Tengu (\u5929\u72d7)\u2014legendary mountain goblins in Japanese folklore\u2014have long been symbols of supernatural skill and secret wisdom in swordsmanship. Revered and feared as martial spirits, Tengu are traditionally believed to teach powerful and elusive sword techniques to worthy warriors, embodying the mystical ideal of transcendent mastery in Japanese martial arts.<\/figcaption><\/figure>\n<\/div>\n\n\n

That means, by maintaining an immovable core of the mind no matter what occurs, one can always respond or act in the most appropriate manner. This explanation closely resembles the concept of heij\u014dshin<\/em> (equanimity or \u2018ordinary mind\u2019) and even carries spiritual overtones. Interestingly, the teaching underlines that regardless of the outcome\u2014whether one\u2019s technique succeeds or metaphorically plunges into the depths of hell\u2014the practitioner\u2019s mental state must remain unaltered and calm. Thus, zanshin<\/em>, as explained here, underscores the absolute necessity of emotional control. It offers a profoundly philosophical yet intensely practical interpretation of the concept.<\/p>\n\n\n\n

Summary<\/strong><\/p>\n\n\n\n

As suggested by the statement \u201cVarious martial schools speak of zanshin<\/em>\u201d, it is clear that by the mid-Edo period, zanshin<\/em> had firmly established itself within martial arts practice and philosophy, influencing numerous schools and traditions. Over time, just as budo culture evolved, the concept of zanshin<\/em> underwent significant transformations, developing deeper layers of meaning and application. Today, it is widely recognized as a critical element within modern budo, particularly within discussions addressing the longstanding tension between \u201ccharacter formation\u201d and a \u201cwin-at-all-costs mentality.\u201d<\/p>\n\n\n\n

However, this contemporary debate is far from novel. As early as the mid-Edo period, martial artists grappled with similar concerns. The rise of rigorous training methods, such as uchikomi-geiko<\/em> (full-contact sparring using protective equipment), and the popularity of competitive gekiken<\/em> (sparring) matches heightened the tendency among practitioners to pose or celebrate immediately after delivering a successful strike\u2014a practice known as hikiage<\/mark><\/em>. This behaviour, reflecting overconfidence and carelessness, became problematic and was consistently criticized by martial arts masters and authorities. Recognizing the dangers inherent in such complacency, martial traditions began to systematically incorporate zanshin<\/em> as an essential criterion for determining valid victories. By explicitly requiring practitioners to demonstrate continued vigilance, even after achieving apparent victory, zanshin<\/em> reinforced humility, discipline, and mental preparedness. The subsequent historical development and detailed implications of incorporating zanshin<\/em> into martial practice and competition will be further explored in the following article.<\/p>\n\n\n\n

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[1]<\/a> Henry Medhurst, An English & Japanese, and Japanese & English Vocabulary, Compiled from Native Works<\/em>, 1830, p. 313. <\/p>\n\n\n\n

[2]<\/a> The modern period in Japanese history refers to the era beginning in the late 19th century, following the Meiji Restoration of 1868. During this period, the shogunate was replaced by an imperial government, prompting Japan to embark on rapid modernisation. The Meiji period (1868-1912) marks the transition from classical martial arts to modern budo.  <\/p>\n\n\n\n

[3]<\/a> Takeda-ry\u016b Gungaku Zensho, Jin<\/em>, 1935, p. 141<\/p>\n\n\n\n

[4]<\/a> Miyamoto Musashi authored the treatise Heih\u014d Sanj\u016bgo-kaj\u014d<\/em> in 1641 for Hosokawa Tadatoshi, daimyo of Kumamoto. Likely inspired by Yagy\u016b Munenori\u2019s earlier gift, Heih\u014d Kadensho<\/em>, Musashi\u2019s text serves as a valuable complement to his renowned Gorin-no-sho<\/em>, enriching our understanding of his swordsmanship philosophy.<\/em><\/p>\n\n\n\n

[5]<\/a> Reproduced in Bujutsu S\u014dsho<\/em>, (Kokusho Kankokai, 1915) p. 231<\/p>\n\n\n\n

[6]<\/a> In Nihon Bud\u014d Taikei<\/em>, Vol. 1, edited by Imamura Yoshio et al., (D\u014dh\u014dsha, 1982) p. 166<\/p>\n\n\n\n

[7]<\/a> Note that this \u2018h<\/em>\u014dshin<\/em>\u2019 (\u6367\u5fc3) is different to the h<\/em>\u014dshin<\/em> used by Miyamoto Musashi (\u653e\u5fc3).<\/p>\n\n\n\n

[8]<\/a> Takeda Ry\u016bichi and Nagao Naoshige, Itt<\/em>\u014dsai Sensei Kenp\u014dsho Yakuch\u016b: Keng\u014d It\u014d Itt\u014dsai no Oshie <\/em>(Benseisha, 2022) p. 8<\/p>\n\n\n\n

[9]<\/a> Ueda Raiz\u014d, Kenjutsu Rakuy\u014dsh\u016b<\/em> reproduced in Kindai Kend\u014d Meicho Taikei<\/em>, Vol. 5, edited by Imamura Yoshio et al., (D\u014dh\u014dsha, 1986) p. 235<\/p>\n\n\n\n

[10]<\/a> Ibid., p. 233<\/p>\n\n\n\n

[11]<\/a> Imamura Yoshio, Bud\u014d Kasensh\u016b<\/em>, Vol. 1, (Daiichi Shob\u014d, 1989) p. 402<\/p>\n\n\n\n

[12]<\/a> Yoshida Chiharu, Iso Mataemon, Tenjin Shin<\/em>\u2019<\/em>y\u014d-ry\u016b J\u016bjutsu Gokui Ky\u014dju Zukai<\/em> (1893), p. 23<\/p>\n\n\n\n

[13]<\/a> Imamura Yoshio et al., Nihon Bud\u014d Taikei<\/em>, Vol. 4, p. 201<\/p>\n\n\n\n

[14]<\/a> Imamura Yoshio et al., Bud\u014d Kasensh\u016b<\/em>, Vol. 1, p. 293<\/p>\n\n\n\n

[15]<\/a> Okuda Sh\u014dz\u014d ed., Chayu Ichiesh\u016b<\/em>, (1936), p. 101<\/p>\n\n\n\n

[16]<\/a> Reproduced in Bud\u014d H\u014dkan<\/em>, edited by Dai-Nippon Y\u016bbenkai K\u014ddansha (1934), p. 628<\/p>\n\n\n

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\"\"<\/a><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"The \u201cBudo Beat\u201d Blog features a collection of short reflections, musings, and anecdotes on a wide range of budo topics by Professor Alex Bennett, a seasoned budo scholar and practitioner. Dive into digestible and diverse discussions on all things budo\u2014from the philosophy and history to the practice and culture that shape the martial Way. The following is No. 2 of my 25-article series titled \u201cThe...","protected":false},"author":3,"featured_media":2049,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[35],"tags":[],"class_list":["post-2035","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-b-b-blog"],"_links":{"self":[{"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/posts\/2035","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/budobooks.jp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2035"}],"version-history":[{"count":5,"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/posts\/2035\/revisions"}],"predecessor-version":[{"id":2053,"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/posts\/2035\/revisions\/2053"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/media\/2049"}],"wp:attachment":[{"href":"https:\/\/budobooks.jp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2035"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/budobooks.jp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2035"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/budobooks.jp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2035"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}