In kajo #20, we noticed that the concept of maai had not been considered with enough attention since the beginning of this study.
We now know that the relationship between Ichi rei and Shikon really defines the true location of the technique, not only on the diagram, but also and above all in reality.
In other words, the maai of the actual technique must respect the proportion given in the diagram by the intersection of the spiral with the four diameters of the sphere.
In order to understand why irimi nage and ikkyo are executed at the same place but in two opposed rotations of the spiral, one needs to understand that these are not two different techniques as it is often believed, but the same technique executed in one case in uke’s rear imbalance and in the other case in uke’s front imbalance, ie in ura space for irimi nage and in omote space for ikkyo,( cf kajo #19, as one can see it the following photos :
We also know since kajo #5, that ikkyo omote and shiho nage omote are each other’s omote are ura and are two aspects of the same technique (once in ue kara shita rotation, once in shita kara ue rotation):
But if ikkyo = irimi nage and if ikkyo = shiho nage, we can write the following equation: ikkyo = irimi nage = shiho nage.
In this equation, the relationship ikkyo-irimi nage materializes the horizontal axis (left-right) and the relationship ikkyo-shiho nage materializes the vertical axis (shita-ue):
This is the cross of aiki and also can be represented as follows:
Ikkyo being the point of origin, shiho nage is the work of Takamimusubi that creates from this point an upward spiral to the right, irimi nage is the work of Kamimusubi creating a downward spiral to the left.
Let’s remember what O Sensei said about the energy of Ame-no-Minakanushi, the single origin:
It is the interaction of Takamimusubi and Kamimusubi who when they dance, create a spiral upward on the right and a spiral downward on the left
— Takemusu Aiki, Volume II, 1st cycle of speeches, Editions du Cénacle de France
Ikkyo, shiho nage, irimi nage are the three origins of the technique, Sangen. They are both three and one at a time. They are the source, and the divine techniques of aiki are born out of them, and this is why they are the only three that are at the origin of the blue spiral on our diagram. Ikkyo, shiho nage, irimi nage are the three origins of the technique, Sangen. They are three and one at a time. They are the source, and the divine techniques of aiki are born out of them, and this is why they are the only three that are at the origin of the blue spiral on our diagram.
Is it really surprising to discover that they form together the ankh cross, the cross of generation and life in ancient Egypt? If the traditions of the world spoke a different language, they would no longer be tradition.
We know since kajo #3, that the three horizontal diameters of the sphere determine six directions in the horizontal plane, this is what O Sensei called roppo, and we know since kajo #17 that the vertical diameter determines two directions in the vertical plane.
The six horizontal directions and the two vertical directions thus form the eight directions (happo).
In Aikido, each of these directions is the location of a technique at the intersection with ichi rei, the divine spiral. These eight forces give birth to eight fundamental techniques that form together hachiriki, the eight powers of Aikido.
We analyzed in detail these eight basic techniques over the past kajos, and we have explained above how three of them (ikkyo, irimi swimming and shiho nage) have a special place.
We have acquired that knowledge through the explanations of O Sensei himself, but we also recontructed it like a puzzle, we have not found as a single piece, so to speak. It would obviously be nice to find in the teaching of the Founder, an overall confirmation of the results we have reached. This teaching exist, but it is encrypted, and I unveiled today.
It can be found in Budo, O Sensei’s book, and especially in the construction plan of this book:
1 – Explanation of the principle of action: hanmi irimi → tai no henka →irimi- tenkan
2 – Presentation of the eight fundamental techniques according to their symmetry axes (pages 11 to 22 of the original edition):
A – ikkyo – irimi nage ..... Ippo
B – kote gaeshi – nikyo ..... Nipo
C – sankyo ..... Sanpo
D – irimi nage – shiho nage – gokyo ..... Ippo
E – yonkyo – shiho nage – tenchi nage ..... Yonpo
There are indeed eight techniques: ikkyo, irimi nage, kote gaeshi, nikyo, sankyo, shiho nage, yonkyo, tenchi nage. Gokyo indeed should not be considered as an independent technique, as we explained (kajo #13) how ikkyo and gokyo are really the same technique, and that is the reason why the Founder gathered them under the same name (ippo).
Now, we can not help but notice the following: in the plan adopted by O Sensei, each technique is demonstrated once, with the exception of three techniques that are demonstrated twice: it is ikkyo (with gokyo) irimi nage and shiho nage, ie ... the three origins, sangen.
Nothing is random here, and this is the confirmation we needed.
O Sensei has intentionally left in the plan of his book the following message: There are eight forces, ordered in pairs along four axes, I present them in this order and in this form in my book so that you recognize them as such; among these eight forces, three are at the origin and I put them in evidence by repeating these three, and these three only, two times each, only to make you understand that they are the single origin.
I want to end this kajo # 22 by returning to what I already said in kajo #21.
The role of the corporeal soul, as expressed in the speeches of the founder, makes it impossible that ichi rei shikon sangen hachiriki could not be explained by concrete evidence in relation to the body work in Aikido.
And we have shown as far as words can explain, the relationship between O Sensei’s sentence and the work of the body.
The work of the mind can’t be accomplished in this world but through the work of the body, and to achieve this, the body must dance the sacred dance of Aikido (furumai), guided in its movement by the divine plan of ichirei shikon sangen hachiriki.
Philippe Voarino, July 2012.
Aikido is not a sport, it is a martial art which laws (takemusu) are in harmony with the laws of the universe. Studying them allows the practitioner to understand his place in the universe. Aikido was born in Iwama, O sensei achieved in that village the synthesis of tai jutsu, aiki ken and aiki jo.
The International Takemusu Aikido Federation (ITAF) brings to the practitioner the structure he needs in order to work as close as possible to the reality O sensei MU defined. The official national representations are the guarantee of a teaching faithful to the Founder's.
In modern Aikido, weapons are hardly taught, if taught at all. In O sensei's Aikido, on the contrary, aiki ken, aiki jo and tai jutsu are unified and form together a riai, a family of harmonious techniques stemming from one unique principle. Each techniques helps understand all the others.
Peace is a balance between a human being and the world around him. The true martial art's goal is not to become stronger than one's opponent but to find in that opponent a way to realize harmony. There is no enemy anymore as such, but an opportunity offered to reach unified ki.