{"id":2521,"date":"2025-10-02T08:39:39","date_gmt":"2025-10-01T23:39:39","guid":{"rendered":"https:\/\/budobooks.jp\/?p=2521"},"modified":"2025-10-02T08:48:32","modified_gmt":"2025-10-01T23:48:32","slug":"budo-beat-38-the-philosophy-of-zanshin-no-4-the-history-of-zanshin-part-3","status":"publish","type":"post","link":"https:\/\/budobooks.jp\/?p=2521","title":{"rendered":"Budo Beat 38: The Philosophy of Zanshin No. 4 \u2013 \u201cThe History of Zanshin\u201d (Part 3)"},"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 a translation of No. 4 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> (\u201cBudo Monthly\u201d, April 2023, pp. 30-35). It\u2019s a rough translation, but I hope it offers some insight. You can read the previous articles at the following links:<\/mark><\/p>\n\n\n\n

No 1. The Philosophy of Zanshin \u2013 \u201cThe Essence of Budo\u201d  <\/a><\/p>\n\n\n\n

No 2. The Philosophy of Zanshin \u2013 \u201cThe History of Zanshin (Part 1)\u201d<\/a><\/p>\n\n\n\n

No. 3. The Philosophy of Zanshin \u2013 \u201cThe History of Zanshin\u201d (Part 2)<\/a><\/p>\n\n\n\n

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

Last time, I focused on how the idea of zanshin<\/em> has evolved within the context of kendo. This time, I want to consider how other budo arts have approached and incorporated the concept. During the Edo period (1600-1868), apart from a handful of schools of archery and j\u016bjutsu<\/em>, zanshin<\/em> was rarely discussed outside of swordsmanship. That said, even when the word itself wasn\u2019t used, the underlying mindset (what we might call \u201cimplicit zanshin<\/em>\u201d) was always present as a foundation in every martial art. It was only from the early Sh\u014dwa era (1926-1989) onwards that zanshin<\/em> began to be widely accepted as a universal principle of budo. From that point, it developed beyond being a purely technical element at the \u201cmicro level\u201d and grew into a broader, \u201cmacro-level\u201d philosophical concept that could be integrated into everyday life as an integral part of the \u201cWay\u201d of budo.<\/p>\n\n\n\n

Zanshin<\/strong>\uff08\u6b8b\u5fc3\uff09<\/strong>& Zanshin<\/strong>\uff08\u6b8b\u8eab<\/strong>\uff09<\/strong>in Kyudo<\/strong><\/p>\n\n\n\n

When people hear the word zanshin<\/em>, many immediately think of kyudo (Japanese archery). In kyudo, zanshin<\/em> written with the kanji \u6b8b\u5fc3 (= lingering mind) refers primarily to the mental state of remaining composed and not releasing tension after the arrow has been loosed. Whereas, zanshin<\/em> written as \u6b8b\u8eab (= lingering body)[1]<\/a> refers to maintaining proper posture after the shot. One occasionally also finds the expression zanshin<\/em> (\u6b8b\u82af = lingering core), which emphasises holding firmly to one\u2019s inner centre or core until the very end. Today, both \u6b8b\u5fc3 and \u6b8b\u8eab are used, covering both the mental and physical dimensions of the concept.<\/p>\n\n\n\n

Zanshin<\/em> is the final stage of shah\u014d hassetsu<\/em> (\u5c04\u6cd5\u516b\u7bc0) \u2014 the eight fundamental stages of shooting that form the framework and standard of kyudo. These stages, with zanshin<\/em> as their culmination, are as follows (as described by the All Nippon Kyudo Federation):<\/p>\n\n\n\n

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    \n
  1. Ashi-bumi (<\/strong>\u8db3\u8e0f\u307f<\/strong>)<\/strong> \u2013 Open the feet and establish correct posture.<\/li>\n\n\n\n
  2. D\u014d-zukuri (<\/strong>\u80f4\u9020\u308a<\/strong>)<\/strong> \u2013 Place the bow against the left knee, the right hand at the right hip.<\/li>\n\n\n\n
  3. Yu-gamae (<\/strong>\u5f13\u69cb\u3048<\/strong>)<\/strong> \u2013 Hook the right hand onto the string, prepare the left hand (te-no-uchi<\/em>), then fix the gaze on the target.<\/li>\n\n\n\n
  4. Uchi-okoshi (<\/strong>\u6253\u8d77\u3053\u3057<\/strong>)<\/strong> \u2013 From yu-gamae<\/em>, calmly raise both fists to the same height.<\/li>\n\n\n\n
  5. Hiki-wake (<\/strong>\u5f15\u5206\u3051<\/strong>)<\/strong> \u2013 Draw the bow apart evenly to left and right.<\/li>\n\n\n\n
  6. Kai (<\/strong>\u4f1a<\/strong>)<\/strong> \u2013 With the draw complete, body and spirit unified, wait for the right moment for release.<\/li>\n\n\n\n
  7. Hanare (<\/strong>\u96e2\u308c<\/strong>)<\/strong> \u2013 Open the chest fully and release the arrow.<\/li>\n\n\n\n
  8. Zanshin \/ Zanshin (<\/strong>\u6b8b\u5fc3\u30fb\u6b8b\u8eab<\/strong>)<\/strong> \u2013 The completion of the entire shot. Maintain the posture and spirit for a time after the arrow has left the bow.<\/li>\n<\/ol>\n\n\n\n

    It is not the release of the arrow that marks the end of the shot. The sequence is only complete with [both types of] zanshin<\/em>. Even after the arrow has struck the target, the archer must maintain posture without breaking form, continuing to project ki<\/em> (energy or intent). Furthermore, when leaving the shooting position, the action known as yudaoshi<\/em> (returning to the posture of holding the bow at rest) is not treated as a separate step within the shah\u014d hassetsu<\/em>, but is considered part of zanshin<\/em>. This signifies the true completion of the basic shooting procedure, while also establishing the transition to the next shooting position.<\/p>\n\n\n\n

    However, just as in kendo, the way of thinking and interpreting zanshin<\/em> in the world of archery has shifted somewhat over time. According to Irie K\u014dhei (Emeritus Professor of Tsukuba University), in the case of zanshin<\/em> within the Heki-ry\u016b D\u014dsetsu-ha tradition of archery, five types can be identified: \u2460 zanshin<\/em> of the bow hand (oshite<\/em>); \u2461 zanshin<\/em> of the string hand (katte<\/em>); \u2462 zanshin<\/em> of the eyes; \u2463 zanshin<\/em> of the lower abdomen; \u2464 and zanshin<\/em> of the heart. He further explains that there are two aspects to it: \u201cthe state of body and mind at the moment of uchiokoshi<\/em> (the initial raising of the bow)\u201d and \u201cthe state of body and mind after the release.\u201d In other words, it was never limited merely to the final stage of shah\u014d<\/em> shooting process.[2]<\/a><\/p>\n\n\n\n

    Within the Chikurin-ha branch of the same Heki-ry\u016b tradition, shooting is divided into \u201cseven stages\u201d (shichid\u014d<\/em>), with the seventh being the release (hanare<\/em>), and zanshin<\/em> (\u6b8b\u8eab) is described as the physical state that comes afterwards. There is a particularly striking passage in Yashiro J\u014dz\u014d\u2019s Chikurin Shah\u014d Taii<\/em> (1922) under the section \u201cExplanation of the Seven Stages\u201d:<\/p>\n\n\n\n

    \u201cIf we were to compare archery to a human life: from ashibumi<\/em> (foot placement) and d\u014dzukuri<\/em> (forming the body) through to hiki-tori<\/em> (drawing) is the past; kai<\/em> (full draw) is the present; hanare<\/em> (release) is the end of life; and zanshin<\/em> is the future\u2014life after death. Human attachments resemble kai<\/em> (meeting or come together) and hanare (parting or separation)<\/em>; therefore, it is said that those who \u2018meet\u2019 must inevitably \u2018part\u2019 (a<\/em>esha j<\/em>\u014dri<\/em>),[3]<\/a> which is precisely why these stages are called kai<\/em> and hanare<\/em>.\u201d (p. 41)<\/pre>\n\n\n\n
    Furthermore, zanshin<\/em> (\u6b8b\u8eab) is explained as follows:<\/p>\n\n\n\n
    \u201cAto no nobi<\/em> means the posture after the release (hanare<\/em>). It is also called zanshin<\/em>, or sometimes mikomi<\/em> (continuation). In detail, it refers to the state of mind, body, and power after the arrow has left the bow. In other words, after completing the gobu no tsume<\/em> (the five-part process) and releasing, in ato no nobi<\/em> one\u2019s posture must remain unmoving, the strength held firm, appearing dignified. On the contrary, if the release causes the tension of spirit to collapse into emptiness, or if one lacks sufficient reserve of strength, then seeking ato no nobi<\/em> is impossible: the posture will break down and become most unseemly.\u201d (p. 49)<\/pre>\n\n\n\n
    The author notes that when an archer continues to maintain awareness of both body and mind even after releasing the arrow, the quality of the shot is elevated. It\u2019s grace, beauty, and force are enhanced, and the presence or absence of zanshin<\/em> makes the archer\u2019s dignity and bearing immediately apparent to any observer. In other words, zanshin<\/em> is what completes the shooting process, and it can be said to be a defining element of the philosophy of shin-zen-bi<\/em> (truth, goodness, beauty), which is regarded today as the very essence of modern kyudo.<\/p>\n\n\n\n
    In Takeuchi Mamoru\u2019s Ky\u016bd\u014d<\/em> (1928), an instructional manual from the early Sh\u014dwa period, zanshin<\/em> is described as follows:<\/p>\n\n\n\n
    \u201cIt refers to discerning the point where the arrow lands. For example, it is like when a boat approaches the shore: the oarsmen stop rowing four or five ken<\/em> (7-9 metres) before reaching land, and simply wait for the boat to draw in. At that moment, a degree of reserve strength still remains, and one must hold a feeling of extension, as if able to continue further to the left and right. Then, once the landing point of the arrow has been ascertained, the upper hazu<\/em> (tip of the bow) is tilted forward.\u201d (p. 33)<\/pre>\n\n\n\n
    It is thus clear that zanshin<\/em> is an indispensable element in facilitating the refinement and gravitas expected in kyudo. However, until 1934 when the Dai Nippon Butokukai[4]<\/a> issued the Ky\u016bd\u014d Y\u014dsoku<\/em> (Essential Regulations of Ky\u016bd\u014d) and introduced the standardised seid\u014d<\/em> forms, zanshin<\/em> (\u6b8b\u8eab) had not been included as a formal stage within the shooting method. At the time, there were critics of the Butokukai\u2019s newly created \u201cKy\u016bd\u014d Kata\u201d and Y\u014dsoku<\/em>, yet Tanaka Tomiz\u014d\u2019s Sh\u014dwa Ky\u016bd\u014d<\/em> (1936) quotes approvingly from the Ky\u016bd\u014d Y\u014dsoku<\/em>, praising the addition of the new \u201ceighth stage\u201d. According to his explanation:<\/p>\n\n\n\n
    \u201cAfter releasing the arrow, without changing posture, fix one\u2019s gaze on where the arrow lands. Zanshin<\/em> refers to those few seconds in which the lingering resonance of energy (kiai<\/em>) remains, without slackening. In order to create a fine zanshin<\/em> from the very beginning, one must carry out the shooting with wholehearted effort. The quality of a shot can be judged instantly by a single glance at the zanshin<\/em>. It is of utmost importance. That the Butokukai added zanshin<\/em> as the eighth stage to the Y\u014dsoku<\/em> was, I believe, entirely appropriate.\u201d (p. 69)<\/pre>\n\n\n\n
    In modern kyudo of the postwar era, the All Japan Kyudo Federation stipulates that \u201czanshin<\/em> of the body and mind is the final summation of the shot.\u201d<\/p>\n\n\n\n
    Zanshin in Taijutsu<\/strong>[5]<\/strong><\/a><\/p>\n\n\n\n
    What, then, of judo, which had such a profound influence on the modernisation and development of budo? As one of Kan\u014d Jigor\u014d’s many famous sayings goes:<\/p>\n\n\n\n
    \u201cWin, yet never become arrogant in victory; lose, yet never be crushed by defeat. In times of ease, never grow complacent; in times of danger, never be afraid. Simply, simply, keep treading the one true path.\u201d<\/pre>\n\n\n\n
    This expression encapsulates perfectly both the micro and macro dimensions of zanshin<\/em>. Yet, it is worth noting that Kan\u014d himself, as far as I can ascertain, never actually used the word zanshin<\/em> directly.<\/p>\n\n\n\n
    In the K\u014dd\u014dkan<\/em> journal J\u016bd\u014d<\/em> (Vol. 4, October issue, 1918), within the article \u201cOn the Forms of Kime no Kata<\/em>\u201d, however, we find the following explanation: \u201cWith the end of a technique, the spirit must not be cut off; what is called zanshin<\/em> must always be present.\u201d (p. 16). From what I can determine, this is the first appearance of the term zanshin<\/em> in judo literature. <\/p>\n\n\n\n
    Another instance appears much later in Hoshizaki Osamu\u2019s notable work Shin J\u016bd\u014d Tachi-waza Hen<\/em> (1933). Discussing the \u201cessence\u201d of K\u014dd\u014dkan judo, he writes: \u201cIf there are techniques founded on mushin<\/em>, then there are also techniques whose essence lies in zanshin<\/em>. A practitioner should not choose one over the other. If a technique that requires mushin<\/em> is performed with the attitude of zanshin<\/em>, it is only natural that strain and collapse will easily appear as a result.\u201d (p. 76)<\/p>\n\n\n\n
    In other words, there are techniques executed with the spirit of mushin<\/em> (initiating an attack oneself), and there are techniques of zanshin<\/em> (responding to the opponent\u2019s attack). However, it is pointed out that one must not make a distinction and choose only one or the other. This is because forcing such a separation leads to failure of the technique. Namely, whatever the technique, one must put aside extraneous thought and throw one\u2019s whole body and spirit into it. The explanation is admittedly rather difficult to parse, but it does reveal that by the early Sh\u014dwa period zanshin<\/em> was being consciously explored as a technical and philosophical element within judo. <\/p>\n\n\n\n
    Even after the war, references to zanshin<\/em> remain scarce in judo instructional texts. When it does appear, it is usually limited to concise definitions such as: \u201cThe attitude and mental readiness to prepare for a counterattack after throwing the opponent.\u201d (K\u014dd\u014dkan Waei Taish\u014d J\u016bd\u014d Y\u014dgo Sh\u014djiten<\/em>, 2000, p. 27). Unlike in kendo, naginata, or jukendo, however, zanshin<\/em> is not included among the official requirements to score an ippon<\/em> under judo\u2019s match regulations.<\/p>\n\n\n\n
    I once asked the late Murata Naoki (former Head of the K\u014dd\u014dkan Library and Archives, and former President of the Nippon Budo Gakkai) about this matter. What he shared with me was a tale of Kan\u014d Jigor\u014d\u2019s prowess. Between 1889 and 1890, Kan\u014d was sent to Europe to observe educational institutions. On the ship returning to Japan, the Hikawa-maru, a Russian seaman aboard began boasting of his own strength after a few tussles with other passengers. Watching this, Kan\u014d said words to the effect, \u201cI reckon I could pin you down, and you won\u2019t be able to get back up.\u201d When challenged to back his words up, he held the large man down, and sure enough, the seaman was unable to rise.<\/p>\n\n\n
    \n
    \"\"
    Naoki Murata (\u6751\u7530\u76f4\u6a39, 21 July 1949 \u2013 9 April 2020) was an 8th dan judoka, a prolific author, and the long-time curator of the Kodokan Judo Museum in Tokyo. He was also a good friend to me, and his loss is deeply felt both personally and in the academic world of budo where his insight, warmth, and scholarship are greatly missed.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n
    When the man challenged him again, insisting on a \u201cproper standing contest\u201d, Kan\u014d managed to throw him decisively. Yet as the Russian went tumbling headfirst, Kan\u014d caught him with both hands to prevent injury. The passengers who witnessed the scene saw the principle of \u201cj\u016b yoku g\u014d wo seisu<\/em>\u201d (softness overcoming strength) in action. They were equally struck by Kan\u014d\u2019s composure and compassion to prevent the giant Russian smashing headfirst into the hard deck, and the onlookers apparently erupted in thunderous applause.<\/p>\n\n\n\n
    Murata explained to me that the concept of zanshin<\/em> in judo is not only about avoiding carelessness after executing a technique, but also about ensuring the opponent\u2019s safety. Unlike weapons-based martial arts that rely on protective armour, judo techniques have the potential to cause serious harm. Thus, the timing of releasing a hold or the force applied in a throw must be governed not by a desire to damage, but by an attitude of \u201cpreserving life\u201d. \u201cIndeed,\u201d Murata said, \u201cit would not be an exaggeration to say that zanshin<\/em> in judo lies precisely in the fusion of sapp\u014d<\/em> (methods of killing) and kapp\u014d<\/em> (methods of reviving and preserving).\u201d<\/p>\n\n\n
    \n
    \"\"
    Kan\u014d Jigor\u014d (\u5609\u7d0d\u6cbb\u4e94\u90ce, 28 October 1860 \u2013 4 May 1938) was the founder of K\u014dd\u014dkan judo. Born in Hy\u014dgo, he dedicated his life to developing judo as both a martial art and a system of education. As an educator and internationalist, he travelled abroad many times, proactively sharing his ideas on judo and contributing to its spread across the world.
    <\/em>
    <\/figcaption><\/figure>\n<\/div>\n\n\n
    In sumo, the term zanshin<\/em> appears in Masuoka Satoshi\u2019s Sum\u014d K\u014dhon<\/em> (1935). In the section on preparatory exercises, he notes: \u201cWhen returning to the original position after rising, the attacker must always move centripetally, and moreover this posture demonstrates zanshin<\/em>.\u201d (p. 155)<\/p>\n\n\n\n
    Likewise, in Karated\u014d Sh\u016bsei, Vol. 1<\/em> (1936), compiled by the Keio University Karate Club, we find what is likely the earliest appearance of the term in karate literature: \u201cBoth opponents, facing one another at the end of kumite<\/em>, maintain zanshin<\/em>, each seeking to discern an opening in the other.\u201d (p. 130)<\/p>\n\n\n\n
    These examples emphasise the need never to let one\u2019s guard down. Yet, as in the judo story, they also point to a mindset concerned with preventing injury to one\u2019s training partner. In other words, what might be called an \u201cimplicit zanshin<\/em>\u201d was already present. Even in the writings of figures such as Ueshiba Morihei, the founder of aikido, or So Doshin, founder of Shorinji Kempo, the term zanshin<\/em> itself does not appear. Nevertheless, the same posture of readiness and mental attitude\u2014this implicit zanshin<\/em>\u2014is unmistakably there.<\/p>\n\n\n\n
    Karate-do also has other interesting ways of thinking about zanshin<\/em>. Nakayama Masatoshi, founder of the Japan Karate Association, stressed during the postwar development of karate competition (kumite<\/em>) that sun-dome<\/em> refers to stopping a punch or strike just before it makes contact for safety reasons. However, it is not simply pulling the blow. The strike is aimed and delivered with the full intention of going through the opponent, only checked at the very last moment. Nakayama called this kime<\/em>, which means the decisive focus and concentration of power at the end of a technique. He argued that if kime<\/em> is lost, then zanshin<\/em>, regarded as one of the essential elements of budo<\/em>, also disappears. As Ohmori Toshinori explains in What is Osu?<\/em> (2016), the Japan Karate Association placed great importance on this concept of kime<\/em>, treating it as central to the very essence of \u201ckarate as budo\u201d<\/em>. (\u014cmori Toshinori, Osu to wa Nanika?<\/em> 2016. My English translation of this book is available here<\/a>.)<\/p>\n\n\n
    \n
    \"\"<\/a><\/figure>\n<\/div>\n\n\n
    <\/p>\n\n\n\n
    Zanshin in Everyday Life<\/strong><\/p>\n\n\n\n
    By the 1930s, under the wartime regime, budo came to be given considerably more emphasis within the school system, eventually becoming a compulsory subject. What was significant about budo education in schools was that, alongside technical training, moral elements were also taught. Thus, in budo textbooks, sections were included not only on building a strong and healthy body, but also on showing how the spirit of budo was closely tied to the moral character of the Japanese people. Instruction was given on how the teachings of budo could be applied and lived out in everyday life.<\/p>\n\n\n\n
    In this way, zanshin<\/em> began to be highlighted not merely as a post-technique action for continued vigilance (micro), but for the first time in a broader, macro sense. The elevation of zanshin<\/em> beyond the dojo is strikingly evident in Sonobe Shigehachi\u2019s naginata textbook Kokumin Gakk\u014d Naginata Seigi<\/em> (1941). In his practical explanation he writes: \u201cEven after striking with full force, the opponent may rise again, or a second or third adversary may appear. It is the mental state of readiness that enables one to respond fully to such possibilities.\u201d (p. 290)<\/p>\n\n\n\n
    This mirrors the understanding of zanshin<\/em> in kendo. What is particularly intriguing, however, is the reference to the \u201cthree principles of life\u201d:<\/p>\n\n\n\n
      \n
    1. A life of sincerity (shinken naru seikatsu<\/em>)<\/li>\n\n\n\n
    2. A life of initiative (sen no seikatsu<\/em>)<\/li>\n\n\n\n
    3. A life of awareness and follow-through (zanshin no seikatsu<\/em>)<\/li>\n<\/ol>\n\n\n\n
      \u201cZanshin<\/em> means carrying something through to completion. It also means taking proper care of what follows. There are two meanings here. One is that after striking the opponent with a single cut, one keeps the mind fixed on observing the opponent\u2019s movement. In the moment of striking, however, the mind must never be left behind. One must put the whole spirit into it and strike with full power. When this is done, a residual awareness naturally remains and arises anew. It is like an autumn leaf falling from a tree, in which the new bud is already contained, and that bud has even greater vitality than before. In our own lives as well, if we simply rush from one thing to another and leave matters unfinished, we fail often. Unless we always leave our awareness behind and take care with what follows, things will not succeed. At the same time, unless we work with all our strength and to the very limits of our ability, our own powers will not develop. Therefore, we must always, under careful attention, give our utmost effort without holding back the mind, and furthermore see to the proper conclusion of things so that they are carried through to completion.\u201d (p. 296)<\/pre>\n\n\n\n
      In Nawata Tadao\u2019s Kend\u014d no Riron to Jissai<\/em> (1938), under the section \u201cMaking the Virtues of Training Part of Daily Life,\u201d we find the following passage:<\/p>\n\n\n\n
      \u201cIn kendo, for example, zanshin<\/em> is constantly emphasised, but this should not be confined solely to kendo itself. Rather, by carrying zanshin<\/em> into everyday life, we can live without the slightest gap or lapse. To make all the virtues acquired through training part of daily conduct is what gives kendo its true value.\u201d (p. 56)<\/pre>\n\n\n\n
      In short, the zanshin<\/em> learned through budo is understood as a state of tightening and focusing both mind and body, and it is recognised as a concept that is also useful in daily life. It encourages attentiveness to one\u2019s surroundings and care in one\u2019s own actions, and is proposed as something that can be applied in many areas of life, from human relationships to work. By being aware of how one\u2019s words and deeds affect others, one becomes more perceptive, and is able to cultivate better judgment directed toward long-term goals. This, it is argued, is the aim of budo education, and at the foundation of this ideal lies zanshin<\/em> as a new, macro-level and philosophical way of thinking.<\/p>\n\n\n
      \n
      \"\"
      (c) Alex Bennett<\/figcaption><\/figure>\n<\/div>\n\n\n
      <\/p>\n\n\n\n
      Summary<\/strong><\/p>\n\n\n\n
      As introduced in Part 2 of this series, there are references to zanshin<\/em> in the writings of Tenjin Shiny\u014d-ry\u016b j\u016bjutsu<\/em>, but such cases are rare among taijutsu<\/em>-based martial arts. Even in the modern era, the concept of zanshin<\/em> appears only infrequently outside of kendo and kyudo. Of course, as culture born from the battlefield, these arts naturally retained the principle of yudan taiteki<\/em>\u2014\u201cNegligence is the deadliest enemy.\u201d Yet, the specific term zanshin<\/em> was seldom invoked.<\/p>\n\n\n\n
      The period when zanshin<\/em> began to appear, albeit sparingly, in the writings of martial arts other than kendo and kyudo coincides with the 1930s, when budo was being enthusiastically promoted in schools. This era saw a rise in instructional manuals and the need for standardisation of budo concepts. It bears repeating: this does not mean the notion of zanshin<\/em> did not exist before, but rather that as the various martial disciplines developed, they gradually began to adopt the term itself, most likely drawing first from kendo. Moreover, while there are common threads in how zanshin<\/em> is interpreted across different arts, each discipline also has its own distinctive reading of the concept. This reveals the depth and richness of zanshin<\/em> as a philosophy.<\/p>\n\n\n\n
      In the next instalment of this series of articles, I will examine whether concepts equivalent to zanshin<\/em> can be found in foreign martial traditions.<\/p>\n\n\n\n
      \n\n\n\n
      [1]<\/a> In early kyudo writings, the term \u6b8b\u8eab (lit. \u201clingering body\u201d) was used with the understanding that it referred not only to the residual stance of the body but also to mental composure, since body and mind were considered inseparable. In more recent kyudo texts both \u6b8b\u8eab and \u6b8b\u5fc3 (\u201clingering mind\/spirit\u201d) appear, the latter emphasising the psychological dimension more explicitly. In other budo traditions, however, \u6b8b\u5fc3 is almost exclusively used, while \u6b8b\u8eab remains rare outside of kyudo.<\/p>\n\n\n\n
      [2]<\/a> Irie K\u014dhei, \u201cOn the Order and Historical Changes in the Terminology of Ky\u016bd\u014d Shooting Method Composition\u201d, Budo Studies<\/em>, Vol. 11, No. 1, 1978, pp. 13\u201322.<\/p>\n\n\n\n
      [3]<\/a> In Japanese today it\u2019s sometimes shortened to \u4f1a\u8005\u5b9a\u96e2 (esha-j\u014dri<\/em><\/strong>) and used in funeral inscriptions, temple writings, or even in literature to remind people to value encounters while they last, since parting is inevitable.<\/p>\n\n\n\n
      [4]<\/a> The Dai-Nippon Butokukai (Greater Japan Martial Virtue Association) was founded in Kyoto in 1895 as a private organisation to preserve and promote the martial traditions of Japan, standardise instruction, and foster moral cultivation through budo. It played a central role in the development of modern kendo, judo, and other martial arts by organising national events, accrediting instructors, and publishing training manuals. Although initially independent, the Butokukai was brought under direct government control in the late 1930s, before being dissolved by the Allied Occupation authorities in 1946 as part of wider demilitarisation policies.<\/p>\n\n\n\n
      [5]<\/a> Taijutsu<\/em> refers to budo disciplines that don\u2019t typically use weapons such as judo, karate, aikido etc.<\/p>\n\n\n
      \n
      \"\"<\/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 a translation of No. 4 of my 25-article...","protected":false},"author":3,"featured_media":2528,"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":[36,91,42,90,50],"class_list":["post-2521","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-b-b-blog","tag-budo","tag-karatedo","tag-kendo","tag-kyudo","tag-zanshin"],"_links":{"self":[{"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/posts\/2521","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=2521"}],"version-history":[{"count":4,"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/posts\/2521\/revisions"}],"predecessor-version":[{"id":2533,"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/posts\/2521\/revisions\/2533"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/budobooks.jp\/index.php?rest_route=\/wp\/v2\/media\/2528"}],"wp:attachment":[{"href":"https:\/\/budobooks.jp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2521"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/budobooks.jp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2521"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/budobooks.jp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2521"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}