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The Spiritual Dimensions of the Martial Arts

January 15, 201 !y da"id#ones samurai-shinto !$ %&!'%( J)*'+ !,%)((. /e who wishes to li"e in an oriental martial art, rather than to #ust practice it on a physical le"el, must so train his consciousness to attain a self-discipline that at last his conscious mind will merge into an identity with the "ery principle of life itself. 0 *aurice 1alle )mongst the usual loud and predicta2le offerings at the )ustralian cinema 2o3 office last summer, the /ollywood mo"ie (he 4ast +amurai emerged as an interesting alternati"e for many curious mo"ie-goers. 5e were presented with a uni6ue perspecti"e on the cultural interaction 2etween 'ast and 5est. (he film deals almost e3clusi"ely with the philosophical, spiritual and martial differences 2etween Japan and )merica, and presents in grand form the figure of the +amurai, and the way his martial practice has a powerful spiritual dimension to which the 5est cannot relate. (he traditional practice of *artial )rts is now e3periencing a renaissance of sorts, and this is largely due to the fact many people are realising the e3istence of the esoteric spiritual components 2ehind widely 7nown styles. (he )rts are no longer considered remnants of old cultures, 2ut "alid and effecti"e methods of achie"ing spiritual growth. (he *artial )rts were actually formulated for this purpose all along. ) +piritual /eritage -n 85, the -ndian mon7 !odhidharma arri"ed in +outhern 9hina. &n his arri"al he mo"ed to the /uan pro"ince where he spent nine years in meditation, facing the roc7 wall

of a ca"e. 5hen the mon7 emerged from his retreat, he stum2led across a small mountain temple appro3imately one mile away called +haolin. !odhidharma was shoc7ed to see the terri2le physical condition of the mon7s of the +haolin (emple who practiced longterm meditation e3ercises which, while ma7ing them spiritually strong, totally destroyed their physical health. !odhidharma created an e3ercise regime for the mon7s in"ol"ing physical techni6ues that were efficient in strengthening the 2ody, and e"entually, could 2e used to defend oneself from the ine"ita2le tra"elling thie"es and gangs prominent in the area at the time. (he latter 2enefit was a simple side 2enefit of the practice. (he former was the main o2#ecti"e. (he primary concern was always maintaining the physical strength of the mon7s for the purpose of meditation. (hese physical e3ercises de"eloped into what we now 7now as *artial )rts. )mongst the myriad of contemporary options for de"eloping the spirit, the *artial )rts remains one of the oldest and most uni"ersally effecti"e systems for teaching internal ideas which awa7en the spiritual dimension in all parts of life. (he :hysical :ath (o 'nlightenment (he true "alue in studying the *artial )rts lies not in the learning of the techni6ue or system itself, 2ut in the ac6uisition of particular internal 6ualities that are de"eloped through the learning process. (he physical e3ercises are the concrete e3amples of a2stract philosophical principles. ;ootwor7 systems teach the student a2out the 6ualities of energy, e22 and flow, and 2oth creati"e and destructi"e potential. /andwor7 patterns teach the student a2out 2alance, dynamics and the intuition of natural spirit. (he actions of 2loc7ing, deflecting, stri7ing, 2rea7ing and throwing all contain concepts that can 2e applied to the human spirit. (hen in com2at, we unite these concepts and in the process disco"er our own nature which is forced to emerge under e3treme stress and pressure. &ne is ne"er rattled as much as when under attac7. -n this act, one<s metal is tested and they emerge with a new "iew of themsel"es and in many cases, a "iew of their true self.

(his is a first step to self realisation. (he legendary Japanese swordsman, *yamoto *usashi, found that the more he loo7ed for proficiency and efficiency in his training, the more he loo7ed for proficiency and efficiency in all things. /e 2egan to loo7 for the deeper purpose in e"erything that he did. 5hen farming, he too7 land made useless 2y yearly floods and turned it into producti"e land 2y 2uilding his di7es and fields in the shape of the natural water flow. (he farmers 2uilt a shrine in his honour for his concepts and prayed at that shrine daily. /e found that e"ery part of his life effected e"ery other part of his life and he 2egan to loo7 for the spirituality in e"ery part of his life. 9om2at places great demands on the capacities of the warrior. +uch demands act as powerful learning situations for self-disco"ery and self-confrontation. 9onfronting =eath (o defeat a thousand enemies is good, 2ut the +amurai who defeats himself is the greatest of warriors. 0 (he =hammapada :erhaps the first and most important of these is the confrontation with death. (hroughout life we are sporadically confronted with death, 2e it through family, tele"ision or literature. -n the modern world we are "ery familiar with death, 2ut rarely if e"er are we confronted with the prospect of our personal demise. !ut when it does arri"e it most li7ely will 2e a sudden, irre"oca2le and incon"enient e"ent from which we learn nothing. (he martial artist does not ignore or wait for death, 2ut wal7s right up to it. -n the *artial )rts, death is a constant presence. (he whole acti"ity re"ol"es around it. )ttac7, defense and counter-attac7 are all performed as if a true life-or-death situation were in"ol"ed. 5ith proficiency, the "igour of the actions increases and, if one is using weapons, one may employ, for instance, a >li"e< ?na7ed@ sword instead of a 2am2oo or wooden sword 0 all of which ma7e the situation genuinely dangerous. (he practitioner confronts death and ma7es peace with it in the 7nowledge it is ine"ita2le. 5ith this

understanding, there e3ists no more fear, and the martial artist is now truly free. )ll spiritual systems set up a confrontation with death, for confronting death is perhaps the most important element of spirituality. (he 2asic preparatory practices of !uddhism in"ol"e the recognition one<s life is short and one may die tomorrow. -n the 9hod rite of (i2et, practitioners "isit a gra"eyard at night ?where the corpses are left e3posed to the elements and sca"engers@ and in"ite the demons to come and ta7e them. 9hristians and *uslims in"ite the )lmighty to ta7e their souls at any time. (he fear of death is the greatest o2stacle for the martial artist. (his fear has a 6uality of rigidity, or paralysis, or of loss of controlA one may freeze with terror, or one may panic and react 2lindly and irrationally. +uch reactions, intruding at the crucial moment in com2at, will spell death, e"en for the technically accomplished fighter. !ut freedom from this incapacitating fear releases great powers. (here is a story of a *aster of the Japanese (ea 9eremony from the pro"ince of (asa 0 a man of no martial s7ill yet of great meditati"e and spiritual accomplishment. /e accidentally ga"e offence to a high-ran7ing +amurai and was challenged to a duel. /e went to the local 1en *aster to see7 ad"ice. (he 1en *aster told him fran7ly that he had little chance of sur"i"ing the encounter, 2ut that he could ensure an honoura2le death 2y treating the com2at as he would the formal ritual of the (ea 9eremony. /e should compose his mind, paying no attention to the petty chatterings of thoughts of life and death. /e should grasp the sword straightforwardly, as he would the ladle in the (ea 9eremonyA and with the same precision and concentration of mind with which he would pour the 2oiling water onto the tea, he should step forward, with no thought of the conse6uence, and stri7e his opponent down in one 2low. (he (ea *aster prepared himself accordingly, a2andoning all fear of death. 5hen the morning of the duel arri"ed, the +amurai, encountering the total poise and fearlessness of his opponent, was so sha7en that he promptly 2egged forgi"eness and called off the fight. (he recognition and mental triumph o"er death is the martial artist<s greatest power, in that he will focus on the fact he has little time and hence lets his acts flow accordingly.

'ach act is your last 2attle on 'arth, and only with this philosophy will your acts ha"e their rightful power. &therwise they will 2e, for as long as you li"e, the acts of a timid man. -n the words of a +amurai legend, B2eing timid is fine if you are to 2e immortal, 2ut if you are going to die, there is no time for timidity, simply 2ecause timidity ma7es you cling to something that e3ists only in your thoughts.C -t soothes you while e"erything is at a lull, 2ut then the awesome, mysterious world will open its mouth for you, as it will open for e"ery one of us, and then you will realise your sure ways were not sure at all. !eing timid pre"ents us from e3amining and e3ploiting our lot as men. *astery of 'nergy (o the martial artist, 'nergy manifests within each indi"idual as spirit, spirit manifests in each indi"idual as mind. (his 'nergy or B9hiC as it is 7nown in 9hina, or BDiC in Japan, permeates e"erything, and hence is 2oth the martial artist<s strongest connection to his enemy as well as his strongest weapon against his enemy. (he mastery of this energy is a central element of all traditional forms of *artial )rts practice. (wo widely recognised e3pressions of this ideal are the 9hinese art of (ai 9hi 9huan, and the Japanese art of )i7ido. (ai 9hi 9huan integrates many elements of 9hinese culture such as philosophy and religion, medicine, and military practice. -t draws its inspiration for mo"ement hea"ily from the philosophy of yin and yang. -t incorporates the theory of the ;i"e 'lements of cosmology and the principles of the !agua ?B'ight (rigramsC@ together with motion, creating a continuous flow of mo"ement that reflect the ideas 2ehind these ideologies. (he $in-$ang sym2ol, which is often lin7ed with (ai 9hi 9huan, represents the interaction of $in and $ang. $in and $ang are shown in e6ual amounts, yet the $in portion of the $in-$ang contains a small amount of $ang and the $ang portion an e6ually small amount of $in. (he ancient 9hinese saw the uni"erse as a "ast unity with e"ery part of it 2eing related to and dependent on e"ery other part. 5ithin this unity, there is continual change in an

endless cycle 2etween two partners, the $in ?feminine, dar7, soft, yielding@ and the $ang ?masculine, hard, aggressi"e@. (he uni"erse is entirely made from these two forms of energy and in order for all things to progress harmoniously, the forces of $in and yang must constantly interact with each other. 5hile doing so, each must e"ol"e, o"er a period of time, into its opposite, #ust as day gradually turns to night. ;or this reason, e"erything that seems to 2e $in contains some $ang and all that is $ang also contains some $in, without which change would not 2e possi2le. ?9hen 4ei@ ;rom this "iew of e3istence and energy, the style of (ai 9hi 9huan was constructed. -t is a perfect physical e3pression of the $in-$ang philosophy and operates within the same parameters and limitations. 5hile other martial styles are "iolently fast and rigid, (ai 9hi is slow and controlled, with techni6ues that flow endlessly into one another. Just as $in-$ang energy maintains a continual flow, so does the (ai 9hi form. (here is no rigid stop-start, only a controlled natural mimic of energy. (his is why (ai 9hi is often seen as one of the most graceful and peaceful *artial )rts. Just as energy is circular in flow, all (ai 9hi footwor7 is circular in direction, and #ust as energy is a natural phenomenon, the (ai 9hi defence postures are always in a natural form, not rigid, 2o3ing-li7e military stances. (he effecti"e practice of (ai 9hi relies on a pure and deep understanding of the $in-$ang/ (ai 9hi "iew of 9hi and the uni"erse. 5ithout this spiritual dimension to the art, the student is not practicing (ai 9hi, they are simply performing empty mo"ements of little significance to themsel"es or the world around them. )nother art dealing with the dynamics of energy was founded 2y ,eshi2a *orihei in 1E 2. (he Japanese art of )i7ido was considered a continuation of the +amurai )rts, and 2orrows much of its spiritual dimension and e3pression from !ushido ?(he 5ay of the +amurai@, particularly its use of traditional sword practices. -t is a relati"ely contemporary system and much a continuation of Japanese "alues and culture as it is a culti"ation of philosophy and spirit.

(he meaning of )i7ido is literally the Bartful path of disco"ery of gathering DiC. Di is the Japanese translation of 9hi, and shares an identical definition. -t is suggested that Di was B2ornC at the same instant as the rest of the uni"erse, and that we are all 2orn from the Di of the uni"erse. )ll li"ing organisms ha"e e6ual access to Di, and it will course through our system if we allow it. =aily )i7ido practice is primarily directed at maintaining a 2alanced state physically and emotionally, and practicing ways to culti"ate this energy. 4i7e (ai 9hi, )i7ido is a physical e3pression of this way of seeing the world. )s a result, it has no attac7 form, 2ecause attac7ing an opponent would 2e li7e attac7ing a family mem2er or damaging the flow of ,ni"ersal Di energy sustaining the world. &nce again, 2ecause Di mo"es constantly, so does the martial artist, with all of )i7ido<s footwor7 occurring in circular patterns. )i7ido also places great attention on the 2alance aspect of energy, and hence has created an awareness of 2alance essential to its maneu"ers. (he main techni6ues of the style in"ol"e particular throwing and wrestling patterns that are precisely dependent on the perfect 2alance of its practitioner. -n )i7ido li7e all *artial )rts, physical and emotional 2alance is codependent. :hysical 2alance helps to engender emotional 2alance. )n understanding of the nature of our spirit will help the practitioner create an effecti"e alignment of thought and action. 5hen e"ery aspect of the indi"idual is aligned the indi"idual is 2etter a2le to adapt and change. +pirituality and the +amurai (he 5ay of 1en perpetuates the earliest !uddhist traditions. -t signifies the perfect natural state of enlightenment. 1en cannot 2e rationalised, only e3perienced, li"ed and realised. ,nattaina2le through concrete thought and analysis, the 5ay of 1en is found through meditational practice engaging 2oth mind and 2ody. 1en may 2e considered a uni6ue e3pression of the *ahayana !uddhism. -t originated in the northern regions of -ndia and later mo"ed to 9hina and then Japan where it 2ecame a strong influence from around 11E0 9' onwards. -t e3erted such an influence that up until a few years ago, it would ha"e 2een difficult to find a person of no2le Japanese origins who had not 2een e3posed to 1en philosophy. 1en offers an interesting perspecti"e in the world of *artial )rts and spirituality, 2ecause

it 2ecomes hard to see where the spiritual philosophy ends and the martial practice 2egins. 5hile most *artial )rt philosophies are a 2uilding process supplying us with tools and understanding, the e3perience of 1en is a destructi"e process, in the strict sense that it remo"es things from our li"es that 7eep us from enlightenment. 1en<s li2eration comes in a2solute autonomy. (here are no gods, no denominations, and no higher authority. -t is necessary to a2andon all crutches and proceed forward with no assistance. (he role of 1en in the +amurai society is amazingly comple3. -t sustained the warrior spirit in two ways: *orally, 2ecause 1en is a system which teaches the indi"idual not to loo7 2ac7 once the course is decidedA and philosophically, 2ecause 1en treats life and death indifferently. (he classic te3t, /aga7ure or B/idden 2y 4ea"esC attri2uted to the +amurai $amamoto (sunetomo, states that, B(he 5ay of the +amurai is found in deathC and goes on to say that the +amurai is powerful 2ecause his mind is no longer attached to life and death. (he +amurai will Bcon6uer immortality 2y dying without hesitations.C Freat deeds are accomplished when one attains the 1en state of Bno-mind-ness.C -t is through this 1en state of Bno-mindC that swordplay 2ecomes not an act of 7illing 2ut an instrument of spiritual self-discipline. (he indi"idual, the sword and the target 2ecome one. (he 2lade mo"es 2y itself under the influence of the target without any indi"idual decision, always finding a perfect 2low. (he ac7nowledgement of mastery in the sword is also the ac7nowledgement of a higher degree of 1en spirituality. (he Bno-mindC is one of the most influential 1en concepts to mi3 with the +amurai psyche. ) mind unconscious of itself is a mind that is not at all distur2ed 2y affects of any 7ind. -t is the original mind and not the delusi"e one that is choc7-full of affects. -t is always flowingA it ne"er haltsA nor does it turn solid. -t fills the whole 2ody, per"ading e"ery part of the 2ody. -t is ne"er li7e a stone or a piece of wood. -f it should find a resting place anywhere, it is not a mind-of-no-mind. ) no-mind will 7eep nothing in it. -t is thus called mushin. ?F.%. :aruls7i@ (his Bempty-minded-nessC applies to all creati"e acti"ities, such as dancing and swordplay. (he mind flows freely from one o2#ect to another stopping at no single

concern. -n this process the mind is free and fulfills e"ery function re6uired of it. 5hen the mind stops at a single thought, it loses its freedom. -t cannot hear, it cannot see, e"en when sound enters the ears or light flashes 2efore the eyes. '"ery mind has the nature of !uddha and e"ery person is already li2erated 2eyond 2irth and death. (hey must only realise this fact. 1en see7s to promote this realisation, the gradual process of which is referred to as +atori. (he conse6uence of +atori is a completely new way of seeing the world and one<s place within it. )ccording to 1en, li2eration should not 2e loo7ed for in the ne3t world, for this is the ne3t world and is already li2erated. 5e are already at our goal, yet we cannot realise it. 1en does not re6uire in"ol"ement in speculation, sacred te3ts or writings, and e"ery theory is "alid only as an indication toward the 5ay. &riginally a secret doctrine, passed on 2y the !uddha to his disciple *aha7assapa, 1en itself arose as a reaction against the fantastic and shallow rituals of traditional /induism, and while seeming 6uite loose in form, it actually operates on a 2ase of se"ere self-discipline which appealed to the +amurai. ;ar remo"ed from the harsh ascetic practices of its contemporary systems, the discipline of 1en in"ol"es a more su2tle and inward form operating on four le"els. (he first is the mastery of e3ternal o2#ects, in particular the reactions which emanate from them. (he student must understand that e"ery time a yearning leads him toward something, he is not in control of the e3ternal o2#ect, 2ut rather the o2#ect is in control of him. B/e who lo"es a li6uor, decei"ed himself in thin7ing that he is drin7ing the li6uorA the truth is, the li6uor is drin7ing him.C ?/aga7ure@ (he second stage sees the student master the physical 2ody. &ften at this le"el, martial training accompanies spiritual growth as an initiatory counterpart. -t is here that legends grew of superhuman +amurai and masters who could withstand the e3tremes of heat and cold, and 2rea7 trees and stone with their 2are hands. (he +amurai e3erts dominion o"er his 2ody and mastery of his own mental functioning. -magine your own 2ody as something other than yoursel"es. -f it cries, 6uiet it right away, as a strict mother does with her own child. -f it is capricious, control it as a rider does his own horse, through the 2ridle. -f it is sic7, administer medicines to it, #ust as a doctor

does with a patient. -f it diso2eys you, punish it, as a teacher does with a pupil. ?/aga7ure@ (he third stage in"ol"es controlling personal emotion, and esta2lishing an inner e6uili2rium. (hrough meditational practices the student confronts e"ery fear and e3citement in an effort to B2ring the heart under control.C (he fourth stage is the re#ection of the 'go, and the most difficult. (he heart of the philosophy promotes a higher form of spontaneity, freedom and calmness in action. (raditional arts ha"e originated in the 'ast as a response and e3ecution of this mental state. *any of these arts were de"eloped as a means of achie"ing 1en awareness. 5hile the ma#ority are martial in nature, the 1en element e3tends to the art of drama, the tea ceremony, flower arranging, and painting. *astery in any of these arts cannot 2e achie"ed without the inner enlightenment and transformati"e power of 1en. Fenerally 1en does not promote the hermit li7e e3istence found in legend, 2ut rather as7s that the practitioner li"es in the world with a 1en state of consciousness which should 2e permanent and permeate e"ery e3perience and acti"ity. (he student will la2our with his mind and 2ody until they ha"e reached the e3treme limit of all natural faculties, and e"entually achie"e +atori. (he student is only supposed to spend the training period in 1en monasteries, and once they ha"e achie"ed +atori, the student returns to the world, choosing a way of life that fits their needs. *artial )rts systems are all united in the fact they demand the practitioner to read#ust their lifestyle. )side from 2eing an intellectual and physical pursuit, true practice arises in the e3pression of the )rt throughout one<s daily life and thought. )ttending a *artial )rts class once a wee7 will not release the enormous transformati"e potential of this a"enue, 2ut it will start you on an ancient path that has affected li"es for centuries. 4i7e all spiritual endea"ours it re6uires commitment and patience. -f you appreciated this article, please consider a digital su2scription to Gew =awn. !i2liography '"ola, J., (he 1en (radition, /olmes :u2lishing Froup

(sunetomo, $., trans. 5. 5ilson ?1E8E@, /aga7ure, Dodansha -nt. 9ompany: (o7yo :aruls7i, F., ?1E8H@, )n -ntroduction to &riental :hilosophy, &hara :u2lications, -nc: 9alifornia +uzu7i, =.(., ?1E5E@, 1en and Japanese 9ulture, :antheon !oo7s, -nc: Gew $or7 9hen 4ei, '3ploding the *yths of *artial )rts Feis, D.'., ?1EI8@, 9hristmas 9linic Gewsletter, (he ;uga7u7ai -nternational )ssociation Feis, D.'., ?1EE0@ (he +piritual )spect of the *artial )rts, (he ;uga7u7ai -nternational )ssociation :aruls7i, F., 1en and the +amurai: 5hy 1en !ecame )ssociated with a 5arrior 9lass

%&!'%( !,%)((- is an )ustralian curator, artist and researcher. /e is a :ast :resident of the ;riends of the )rt Fallery of 5), a mem2er of (he !la7e +ociety, founding :resident of 9ollecti"e888. /e contri2uted this article to Gew =awn in 200 . %o2ert !uratti is the owner and director of !uratti ;ine )rt. 5e2site: www.2uratti.com.au.