A Small (?) Mystery of Heian Shodan 平安初段の小さな（？）謎
This is about a small mystery that some western instructors have wondered about in the past, so I want to share my thoughts on this unique point in Heian Shodan.
The question is the 4th movement, migi jodan tate mawashi kentsui uchi. No, I am not talking about its bunkai. The question is why we do not have this technique after the first gedan barai, the first movement. In other words, some of these western instructors thought an identical technique of jodan kentsui uchi was missing between move #1, left gedan barai and #2, right chudan oi zuki. By having this technique here Heian Shodan would become truly symmetrical and complete, wouldn’t it? So, was this technique forgotten or taken out by mistake? Let us check the old textbook, Funakoshi’s Karatedo Kyohan 空手道教範. I am sure you will find the same result; this “missing” technique is not there. Let us check Pinan Nidan (our Heian Shodan) in Shito-ryu and Shorin-ryu. I find that the questioned technique is not there either. We must conclude that this kata was created that way by Master Itosu 糸洲 (in the late 19th century). If this is the case, then there is a bigger puzzle. Why did he purposely skip or neglect a technique there and made this kata unbalanced? A hint is the key word of “symmetry”. This is a very western concept of beauty, correctness or completeness. On the other hand, in Japan, believe it or not, we consider it totally opposite.
The Japanese people do not consider symmetry and perfectly balanced geometry correct or beautiful. They even consider them wrong and ugly. I know most of the readers will have an issue with my statement and perhaps disagree with it.
Let me show you some examples.
Pic 1 Pic 2
One of the Japanese arts that has been exported to the world is Ikebana 生け花(the art of flower arrangement). Picture 1 is not a diagram of kata enbusen. Would you believe this is from a textbook of Ikebana? It is to show the basic structure of the flowers or how they should look when they are arranged. Pic 2 shows the actual flowers and the arrangement and you can see the arranger has used the off balanced and unsymmetrical format as instructed in a textbook. I do not know anything about Ikebana and I have never taken any lessons but I can explain to you why this must be this way as I know the mentality or the sense of beauty the Japanese perceive. We know that nothing in nature or anything natural in this world is symmetrical. In other words, anything that is symmetrical is artificial which the Japanese consider imperfect and not pretty. Ikebana, the flower arrangement is an artificial decoration using the thing of nature, the flowers. Of course, the flowers themselves are beautiful and the flower arrangement, the artificial deed, must not destroy or decrease the beauty. To keep the beauty of the flowers the Japanese choose to arrange them in an off balanced and unsymmetrical way. Does that make sense?
Here is another example. Take a look at the tea cups below. Another famous Japanese art is Sanoyu, the traditional tea ceremony.
Pic 3 is a tea cup used in Sado 茶道. See how the shape is purposely uneven and not round and far from symmetry? Even the design or coloring looks almost like it was done with some errors. I do not have the price list on this but I am sure it is as expensive if not more than a perfectly shaped Royal Worcester tea cup shown in Pic 4.
Pic 3 Pic 4
The concept of beauty is the same. We cherish what is natural and not artificial or perfect looking shape. I am not comparing the beauty here or who (Japanese or westerners) are right or better. I am simply showing you the different concept of the Japanese that is deeply embedded in their hearts and even in their life style.
Here are two photos of kimonos. One on the left has a general design of natural scene. The flowers on the left and right sleeves are designed differently. Look at the design of the photo on the right. The imbalance or difference between left and right is very significant. I believe this concept is quite different from that of the western world particularly that of the traditional concept.
Interestingly, the ukiyoe 浮世絵 (photo below) the artists of the Edo period (17th and 18th centuries Japan) such as Utamaro and Sharaku had much influence on the western artists who are classified as the impressionists of the 19th century.
Some of these famous painters include Monet, Renoir, Cezanne, Matisse, Pissaro, Gogh and many more. The academic painting method was to draw as accurately as it is perceived by a painter but the impressionists “violated” the rules as they put more emphasis on the feelings and the impressions they get from the real objects and scenes. I assume, these painters came to realize that it was impossible to copy the reality perfectly with their brushes. The Japanese artists knew this for many centuries and they perfected their impressionist painting style in the Edo period.
I can go on and show you many more examples from the Japanese culture but let me share with you only a few more examples that are much bigger than a flower arrangement or a tea cup. When you visit Japan many of you wish to visit some exotic Shinto shrines as they look very Japanese and the pictures of yourself ina gi in front of a shrine looks great (though the Japanese visitors may not appreciate it). Almost all of you are not visiting there to pray but just to marvel at the beauty of the structure and maybe the famous statues of A-un 阿吽. I would say this is a perfect example of showing the concept of ying and yang. A-un literally means an inhalation (阿) and exhalation (吽) of breathing. The term is also used in Shinto and Buddhist architecture to describe the paired statues common in Japanese religious settings, the Nio 仁王 (photo right) and the komainu 狛犬 (guardian lions, left).
The concept of A-un is very interesting and deep. If you wish to learn more, read on this subject in Wikipedia: http://en.wikipedia.org/wiki/A-un
The concept of imbalance or unsymmetrical extends to the concept of building a large structure such as a shrine. Here is a blue print of a shrine that was built more than half a century ago (Pic 5). The main part of the building is symmetrical but you can tell the whole building is not as you take a look at the structures that extend to both sides of the main building. The right structure is completely different from that of the left. Let’s take a look at a blue print of a church (Pic 6) and see how it is planned to be built. Here is one from Saint Thomas More Church in Darien, Connecticut. I thought it was an interesting coincidence that the Japanese shrine’s name is Dairen and the location of the Church is in the town of Darien Connecticut. The similarity certainly stops there. If you can find the original photo on the web, you can expand the blue print of the church. Even from the photo below you can see that it is beautifully symmetrical. The right side structure is almost a perfect copy of the left or vice versa. The only difference is probably the restrooms (one on the left is the Men’s and the one on the right is the Women’s).
Pic 5 Pic 6
Now, do you agree with my conclusion for the imperfection of Heian kata that it was placed on purpose?
I can almost feel how Itosu felt when he created Heian Shodan more than 100 years ago. It would had been a very boring kata if it did not have that one particular technique, jodan kentsui uchi. In other words, that move was a little spice to this kata. In fact, you will find, if you examine Heian closely, that some of the key techniques are being practiced only on one side (for instance, chudan nukite in Nidan and Sandan). You will find this not only in Heian but in all kata. You may want to review all the kata you know from this perspective and you will discover that none of them are perfectly symmetrical. You would probably think, “OK I understand the concept of the beauty by the Japanese people, but this is karate kata. Shouldn’t the kata being designed so that we can practice these techniques on both sides?” This is true, isn’t it? Your puzzled thought is understandable but the Okinawan masters had the answer. Master Itosu and other masters created kata purposely unsymmetrical to remind us that the students must practice gyaku kata (mirror image). Unfortunately, the practicing gyaku kata has not been exercised by all Shotokan dojos. In my dojo all brown belts are required to practice gyaku Heian kata and one of those kata will be required at their kyu exam. I also ask the black belts in my dojo to practice gyaku kata of all 16 Shotokan kata. Tekki may not be too challenging but try Bassai dai and Kanku dai in a mirror image. If practicing gyaku kata is not a part of your training syllabus, wouldn’t you want to include at least gyaku Heian kata and get the most out of these kata?