Good Gasshō: Japan Report Eleven 令和6年

Before I got to Gasshō, I began my morning commuting to 菊川駅 Kikukawa station. I was on my way to visit 井上刃物 Inoue Hamono. I had some questions to ask and maybe some items to purchase. 

At the shop they sell Japanese woodworking tools. Their business has been around since the Meiji era. It is currently run by third and fourth generation family members 井上 時 夫 Inoue Tokio, and 井上 真 俊 Inoue Masatoshi.

Some tools they sell include: 鉋 kan’na (planes); 彫刻鑿 chokoku nomi (carving chisels); 玄能 Gen’nō (hammers); 鋸 nokogiri (hand saws); and all variety of 刃物 hamono for specific use cases.

They even had 尺 shaku and 寸 sun measuring squares. They also displayed a collection of cute 源氏鶴亀 墨壺 genji tsurukame sumitsubo (turtle and crane ink pots). These are used like the chalk lines that I grew up using in construction to snap lines on lumber.

After running some more errands, I ended up walking to 両国駅 Ryōgoku Station. I caught the train from there all the way to Nodashi. It was time for class with Furuta Sensei.

Gasshō With Furuta Sensei

He started class with 天略宇宙合掌 Ten Ryaku Uchū Gasshō. It is a both kamae and a mudra. He went into the physical nature of the kamae first.

The drill he used came in three variations. First, as the attack comes in, you don’t move. You must have 不動心 fudōshin. Hold your ground and the shape of the kamae acts like a wedge to redirect the strike away from your center.

For the second he said we should “go.” Furuta Sensei likes to practice his English, so he said the first variation was “stay,” and second was “go”. In this case the Gasshō becomes a fist and strikes first.

In the third part of the drill, you open up your Gasshō to receive the attack. This is an example of 引力 inryoku that comes from 天地陰陽之構 Tenchi In’yō no Kamae.

This led into some philosophical discussion about Gasshō. The meaning of the mudra is quite deep. It includes all of the elements, yin and yang, and the whole universe in a praying posture. He even told us how to hold our hands for a kyojitsu that he described as a form of “dark energy”.

During a break, Furuta Sensei brought me over to the picture of Takamatsu Sensei hanging near the genkan. It is the photo where he holds the bō with a fierce expression. Furuta said that Hatsumi Sensei had written 天略宇宙合掌 Ten Ryaku Uchū Gasshō in the margins of the photograph.

He finished class with knife attack and defense. Using the same principles of Gasshō to defend and redirect. Or, you might draw your own blade to shield. Of course Furuta had many knives and threw them around the dojo.

If you were a bystander, watch out! He threw one at me and I managed to draw my own knife to deflect it and that made him happy. This is the joy of training with Furuta Sensei.

Hokusai

After class, I visited the 北斎美術館, Hokusai Museum. This museum opened in 2016 and I had it on my list every time I visited Japan. But I never could go because I didn’t want to miss anything at the dojo.

The museum was built on the site of the 津軽氏 Tsugaru family Daimyō residence from the Edo period. There is a story that Hokusai was commissioned to paint a folding screen with horses by the feudal lord. This prompted Hokusai to return to Sumida and finish out his days in Edo.

Hokusai was known for his woodblock and ukiyo-e prints, but he worked in many different styles and mediums during his life. He started as a young boy and produced tens of thousands of paintings. He had a remarkable ability to capture the essence of his subjects.

He is considered a master in all of the art world. During the period of “Japonsime” he was a great influence on European artists such as Van Gogh and Monet. Some of these artists borrowed or copied the style and technique of his ukiyo-e.

One of his most famous works is 神奈川沖浪裏, the great wave off Kanagawa. The wave is seen cresting in the foreground over Mt Fuji in the back. This image is one of the most famous in all of Japanese art, even into the modern day.

The museum building was designed by Kazuyo Sejima. The shape is five interlocking volumes clad with an aluminum facade. It has a similar presence in the neighborhood as the Disney Concert hall in Los Angeles where I live.

I was surprised by an animatronic depiction of Hokusai in his studio. He is wrapped in a kotatsu and crouched over a painting on the tatami. His daughter assists him with the water and ink. This scene brought nostalgia of my many pleasant afternoons watching Hatsumi Sensei absorbed in his own painting.

I loved the interactive nature of the museum. You can flip through reproductions of his sketchbooks. Not only is the artistic technique incredible, but Hokusai depicted all aspects of Japanese life and culture from that era. It is a historic record of the dress, customs, and even weapons that can inform our study of the Bujinkan Martial arts.

Much Like Hatsumi Sensei, Hokusai always thought his next work would be better. I think every artist feels that. Hokusai wrote a Haiku just before his death,

人魂で
行く気散じや
夏野原
Even as a ghost
I shall lightly tread
the summer fields

Every visit to Japan feels like a gift. I learn so much in training and from the culture. I hope to tread lightly before my spirit reaches the summer fields. Up next, Japan Report Twelve 令和6年.