{"id":2111,"date":"2025-04-18T12:02:34","date_gmt":"2025-04-18T03:02:34","guid":{"rendered":"https:\/\/budobooks.jp\/?p=2111"},"modified":"2025-04-18T12:12:00","modified_gmt":"2025-04-18T03:12:00","slug":"budo-beat-21-shu-perb-ha-mazing-ri-markable","status":"publish","type":"post","link":"https:\/\/budobooks.jp\/?p=2111","title":{"rendered":"Budo Beat 21: Shu-perb, Ha-mazing, Ri-markable"},"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>
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First. Sorry about the title… <\/p>\n\n\n\n

I\u2019ve recently embarked on delivering an online course for Waseda University, attempting\u2014bravely or perhaps foolishly\u2014to somehow condense the profound essence of budo into digestible wisdom. The first concept on my intellectual chopping block was the venerable and endlessly fascinating notion of shu-ha-ri<\/mark><\/em> (\u5b88\u7834\u96e2). I chose this deliberately, aiming to underscore the critical point that budo transcends mere technical accomplishment, unfolding instead as a lifelong, intricate dance of self-discovery, perpetual learning, and constant personal evolution. Indeed, it seemed only fitting to begin with a concept that encapsulates budo\u2019s essence as an inexhaustible journey rather than a fixed destination.<\/p>\n\n\n

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Of course it\u2019s a sake<\/em> now. That\u2019s stage four of shu-ha-ri<\/em>. Back to shu<\/em>. <\/figcaption><\/figure>\n<\/div>\n\n\n

My first encounter with shu-ha-ri<\/em> was back in 1987 during the written portion of my kendo Shodan exam. At the time, it struck me as nothing more than some obscure, hocus-pocus concept\u2014mystifying and distant. However, over the years, as I\u2019ve grown and \u2018matured\u2019 in both budo and life, I\u2019ve come to appreciate its significance and wisdom.<\/p>\n\n\n\n

Now, if martial arts were merely physical, a sturdy punchbag would be the ultimate sage. But there is something more subtle at play\u2014something ineffable, rooted in centuries of thoughtful refinement. Interwoven intricately with Japan\u2019s vibrant tapestry of cultural arts, shu-ha-ri<\/em> encapsulates the journey from earnest adherence to masterful transcendence. Its significance lies not merely in technical proficiency, but in the personal and spiritual growth it represents.<\/p>\n\n\n\n

The essence of shu-ha-ri<\/em> can best be distilled into a simple, poetic dictum drawn from Takano Sasabur\u014d\u2019s venerable text Kend\u014d<\/em>: \u201cAt first, train openly and boldly in the techniques. In the middle stage, explore widely. In the end, waste nothing.\u201d Takano quotes this maxim from the Itto-ry\u016b oral tradition, which neatly describes budo training as progressing from initial physical loosening, through rigorous exertion, and finally into spiritual refinement.<\/p>\n\n\n

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At the outset, we find shu<\/em> (\u5b88), the stage of faithful imitation. Picture a fledgling swordsman diligently mirroring the master\u2019s every move, absorbed in the earnest repetition of kihon<\/em>\u2014those fundamental techniques drilled into muscle memory. It is here, at the threshold of martial study, that foundations are established through expansive, unrestrained movements designed to liberate the body and mind from restrictive habits. This phase echoes the Buddhist concept of kai<\/mark><\/em> (\u6212 = \u015b\u012bla), embodying disciplined adherence to moral precepts\u2014similarly fundamental yet indispensable. In essence, kai<\/em><\/strong> is not merely about following rules. It is a discipline of the heart, a commitment to living with awareness, responsibility, and compassion. It guards against chaos within, and harm without. Or put more simply: kai<\/em> <\/strong>is the art of walking straight in a crooked world.<\/mark> This is shu<\/em>.<\/p>\n\n\n\n

Moving on to ha<\/em> (\u7834), or breaking away, the trainee\u2014now adept in fundamental techniques\u2014begins exploring and testing boundaries. This is where training becomes dynamic and investigative, a stage marked by intellectual curiosity and courageous experimentation. Martial artists in the ha<\/em> phase venture boldly beyond their original teachings and out of their comfort zone, blending insight from varied sources and methods, enriching their practice through exposure to alternative styles and approaches. This corresponds to the Buddhist notion of j\u014d<\/mark><\/em> (\u5b9a = sam\u0101dhi<\/em>), a meditative concentration emerging naturally through repeated, mindful practice. In short, j\u014d<\/em><\/strong> is the deep, stabilising stillness of mind through which true insight arises\u2014a still pool in which the moon of truth may be clearly reflected. Do what you are taught<\/mark> with purity of mind.<\/mark> <\/p>\n\n\n\n

Then comes the final ascent to ri<\/em> (\u96e2), transcendence. At this summit, a practitioner rises above both the discipline of imitation and the creative ferment of experimentation. It represents a state of true mastery where technique ceases to bind, instead serving as a seamless extension of intuition.<\/mark> Practitioners here move beyond form and convention, their actions dictated by an almost spiritual spontaneity\u2014a vivid expression of mushin<\/em> (no-mindedness). This resonates with the Buddhist concept e<\/mark><\/em> (\u6167 = praj\u00f1\u0101), where the mind achieves clarity, effortlessly navigating complex realities without conscious deliberation. E<\/em><\/strong> is the clarity of awakened seeing<\/mark>, the ability to distinguish truth from delusion, reality from illusion. It is the final flowering of a disciplined life and a calm, concentrated mind. If kai<\/em> is the compass, and j\u014d<\/em> is the still water, then e<\/em> <\/strong>is the moon reflected perfectly upon its surface.<\/p>\n\n\n

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Zeami (c. 1363\u2013c. 1443), the seminal playwright, actor, and theorist of Noh theatre. A master of performance and aesthetics, he elevated Noh from ritual entertainment to refined dramatic art, crafting its philosophical core around subtlety, grace (y\u016bgen<\/em>), and the disciplined pursuit of beauty through form.<\/figcaption><\/figure>\n<\/div>\n\n\n

But shu-ha-ri<\/em>, far from being confined solely to martial realms, extends roots deeply embedded in broader cultural and philosophical traditions of Japan. One striking parallel is found in the performative elegance of Noh theatre, particularly in the teachings of Zeami Motokiyo (1363\u20131443). Zeami\u2019s concept of jo-ha-ky\u016b<\/mark><\/em> (\u5e8f\u7834\u6025). It is a concept of structured progression, often seen in music, theatre, and martial arts, where a movement or performance begins slowly and deliberately (jo<\/em>), builds in complexity and intensity (ha<\/em>), and culminates in a swift, decisive climax (ky\u016b<\/em>). It reflects a natural rhythm of unfolding and resolution, emphasising pacing, timing, and flow. Like shu-ha-ri<\/em>, jo-ha-ky\u016b<\/em> embodies a deep understanding of progression\u2014starting with form, breaking into dynamic expression, and arriving at a point of spontaneous mastery. Zeami stressed unwavering adeptness of basics as a platform for artistic innovation\u2014capturing precisely the tension between adherence and creativity at shu-ha-ri<\/em>\u2019s core.<\/p>\n\n\n

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Sen no Riky\u016b (1522\u20131591), the legendary tea master who taught the essence of wabi-cha<\/em>\u2014austere, humble beauty in the tea ceremony. Serving warlords like Oda Nobunaga and Toyotomi Hideyoshi, he transformed the tea room into a space of quiet resistance and spiritual clarity, where simplicity spoke louder than splendour.<\/figcaption><\/figure>\n<\/div>\n\n\n

Further reflections emerge from the contemplative art of Chanoyu, the tea ceremony, greatly shaped by Sen-no-Riky\u016b (1522\u20131591) in the 16th century. Riky\u016b encapsulated this philosophy beautifully in his pedagogical verse: Adhere completely to the rules and forms\u2014even if you break them, even if you transcend them, never forget their source.\u201d[1]<\/a> He counselled devotees to master rituals meticulously (shu<\/em>), daringly innovate upon them (ha<\/em>), yet always take with you their essential meaning (ri<\/em>). This teaching significantly influenced the evolving discourse of shu-ha-ri<\/em>, embedding within martial philosophy an enduring message of respect for tradition coupled with fearless creativity.<\/p>\n\n\n\n

Shu-ha-ri<\/em> gained explicit martial articulation only later, notably during the Edo period (1600\u20131868) through tea master Kawakami Fuhaku (1716-1807). While Fuhaku taught within the refined domain of tea ceremony, his elucidation closely paralleled martial disciplines. He wrote the following which is probably the first text to explicitly explain the concept of shu-ha-ri<\/em>.<\/p>\n\n\n

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Kawakami Fuhaku, the passionate tea master who brought the Way of Tea to Edo. A devoted disciple of Sen no S\u014dtan\u2019s lineage, he boldly spread the ideals of the Omotesenke school among the samurai and townsfolk alike, blending rigorous etiquette with the poetic spirit of wabi<\/em>. His mission: to make tea not just a ritual, but a way of life.<\/figcaption><\/figure>\n<\/div>\n\n\n

\u201cShu<\/em> means to protect, ha<\/em> means to break away, and ri<\/em> means to separate from. Teaching the disciple corresponds to the stage called shu<\/em>. When disciples have thoroughly mastered shu<\/em>, they naturally progress toward ha<\/em> by themselves. This is the stage of advanced skill. However, remaining only in shu<\/em> is incomplete; likewise, staying only in ha<\/em> is incomplete. It is only by transcending these two stages that one becomes a true master. Ri<\/em> involves integrating and going beyond the previous two stages, yet it also means continuing to preserve their essential core.\u201d[2]<\/a><\/p>\n\n\n

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Fuhaku Hikki<\/em> (\u201cFuhaku\u2019s Notes\u201d), a richly detailed record of tea practice by Kawakami Fuhaku. More than a manual, it is a window into the mind of a reformer\u2014bridging warrior formality with the quiet elegance of wabi-cha<\/em>. <\/figcaption><\/figure>\n<\/div>\n\n\n

He emphasised mastering orthodox practices under a single instructor (shu<\/em>), courageously exploring variations and styles (ha<\/em>), before finally emerging into personal, intuitive expression (ri<\/em>). This triadic formulation<\/mark>, distilled from cultural wisdom accrued over centuries, now illuminates the path in martial arts, resonating intensely with practitioners of budo.<\/p>\n\n\n

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Gorin no Sho<\/em> (The Book of Five Rings<\/em>), the immortal treatise by swordsman Miyamoto Musashi (c. 1582\u20131645). Written in a cave in his final years, it distills the ruthless clarity of combat into five elemental scrolls\u2014Earth, Water, Fire, Wind, and Void. More than a strategy manual, it is a mirror for the martial mind: austere, uncompromising, and steeped in the path of self-mastery.<\/figcaption><\/figure>\n<\/div>\n\n\n

The relevance of shu-ha-ri<\/em> to martial artists is also powerfully reinforced by seminal martial texts. Although he doesn\u2019t use the term, Miyamoto Musashi\u2019s Book of Five Rings<\/em> echoes shu-ha-ri<\/em>\u2019s essence in the clear-eyed clarity of its counsel: progress step by patient step, respecting incremental mastery. Musashi asserts the necessity of continuous reflection, ever mindful of the ultimate goal\u2014the warrior\u2019s inner growth and transcendent understanding. Here again, the shu-ha-ri<\/em> framework subtly guides practitioners toward a deeper comprehension of martial artistry not merely as physical prowess but as holistic human development.<\/p>\n\n\n\n

In contemporary budo practice, shu-ha-ri<\/em> remains essential. Beginners disciplined in technique gradually test their understanding, subsequently evolving towards uniquely expressive mastery. This developmental arc prevents stagnation, promoting continuous personal and technical growth. Those who grasp shu-ha-ri<\/em> navigate martial arts as an enduring, enriching journey rather than mere mechanical repetition or shallow competitiveness.<\/p>\n\n\n

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Importantly, shu-ha-ri<\/em>, I believe, is not linear<\/mark>\u2014it does not simply start and finish. Rather, it unfolds like an ascending spiral, perpetually cycling through shu<\/em>, ha<\/em>, and ri<\/em>, each repetition at a higher level of refinement. The journey continues as long as one practices, forever deepening and evolving in skill, insight, and self-awareness.<\/p>\n\n\n\n

All said and done, shu-ha-ri<\/em> offers a pretty neat paradigm for understanding martial arts as an ongoing journey rather than a destination. From diligent mimicry (shu<\/em>), through critical exploration (ha<\/em>), to ultimate transcendence (ri<\/em>), it mirrors universal human growth\u2014embracing tradition yet advocating continuous innovation and authenticity. As Zeami, Riky\u016b, and Fuhaku illustrated vividly in their artistic disciplines, this balance between reverence and creative freedom<\/mark> defines genuine expertise.<\/p>\n\n\n\n

Thus, shu-ha-ri<\/em> endures\u2014not as a final destination, but as a gentle reminder that the truest artistry lies not in conquering stages, but in savouring each spiralling ascent with wry curiosity and humble elegance. Embrace the perpetual ebbs and flows of shu-ha-ri<\/em>! You\u2019ll need it for your Shodan\u2026<\/p>\n\n\n\n

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[1]<\/a> \u898f\u77e9\u4f5c\u6cd5 \u5b88\u308a\u3064\u304f\u3057\u3066 \u7834\u308b\u3069\u3082 \u96e2\u308b\u308b\u3068\u3066\u3082\u672c\u3092\u5fd8\u308b\u306a (Kiku sah\u014d mamori tsukushite, yaburu tomo, hanaruru tote mo moto o wasuru na<\/em><\/strong>). In <\/strong>Riky\u016b Hyakushu Shikai<\/em>, authored by Kanazawa S\u014di, published by Chad\u014d Gepp\u014dsha, 1927, p. 129<\/p>\n\n\n\n

[2]<\/a> Fuhaku Hikki<\/em>, edited by Edo Senke Chanoyu Kenky\u016bkai, published by Edo Senke Chanoyu Kenky\u016b-shitsu, December 1979. P. 164<\/p>\n\n\n

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