Yin and Yang in Karate

It is a myth that karate is a hard martial art in the sense that it only uses hard techniques. It appears hard, but that is because it is related to a variety of so-called hard methods, such as Southern Shaolin. The karate text, Bubishi, does not specify a difference between Northern and Southern types of gongfu, instead simply noting Shaolin. While the old masters disagreed over the idea that karate kata were descended either from Shorin-ryu, using the characters for Shaolin, or Shorei-ryu, using the ideograms for Zhaoling, supposedly referring to the, or a, Southern Shaolin Temple, the commonality is that both are a kind of Shaolin boxing. In other words, the sort of gongfu seen to be harder or external, when compared with Wudang boxing which, while descended itself from Shaolin, is viewed as being softer or internal. Although, both Shaolin and Wudang actually teach hard and soft techniques and methods, as the concept of yin and yang runs deep in Chinese history and culture.

According to Kanken Toyama (Oyadomari) in his Introduction to Karate-Do: Its Inner Techniques and Secret Arts (1956 – translated into English in 2019 by Tobey Stansbury), there are no such styles as Shorin-ryu and Shorei-ryu in karate, only hard and soft. However, there are general northern and southern types of Chinese boxing, discussed traditionally in quanfa through the saying, “Northern legs, southern hands”. Northern-style gongfu is usually formed in patterns that require a lot of space to perform, because they are based on the military patterns used for weapons such as different kinds of swords and the spear. Whereas, southern gongfu is more civilian based, hence the term “civil fighting arts”. Also, as with other parts of China, the terrain and weather differ in the south. Therefore, southern boxing often moves less than northern boxing, and sometimes not much at all. Stances are not necessarily narrow, but there is more emphasis on solidity while using the hands and body. Okinawan kenpo, or in other words, karate, is generally more like the southern kind of Chinese boxing, though there are a range of influences which have contributed over the centuries to making Ryukyu kenpo unique to Okinawa. Nonetheless, experts such as Gichin Funakoshi are supported in their theory on Shorin-ryu (Northern-style Shaolin boxing) and Shorei-ryu (Southern-style Shaolin boxing; Zhaoling boxing) with, for instance, Wong Kiew Kit’s 1996 book, The Art of Shaolin Kung Fu, stating on page 38 that “Southern Shaolin Kung Fu is characterised by solid stances, powerful arms and elaborate hand techniques, in contrast with the elegant jumping, extensive movements and wide range of kicking attacks of the Northern Shaolin version.” This is completely separate from karate, so masters like Gichin Funakoshi were not wrong in distinguishing between different broad types of boxing; one that is lighter, and one that is heavier. Master Funakoshi noted that both should be studied, and this advice fits perfectly with the study of yin and yang as yin is light while yang is heavy.

In Collins Chinese Dictionary, the character for yin refers to the negative and the shade, while the symbol for yang refers to the positive and the Sun, and is masculine. Gichin Funakoshi, in his 1925 text Rentan Goshin Karate Jutsu, translated into English in 2001 by John Teramoto, described yin and yang in relation to the use of the hands as he had been taught by his teacher, Anko Asato, as noted in Karate-Do Ichiro (Karate-Do: My Way of Life), Master Asato always emphasising the differences between yin and yang. According to the English version, entitled Karate Jutsu, shinite is the dying hand, female hand, or yang hand, while ikite is the living hand, male hand, or yin hand. This seems odd or an incorrect translation or typing error, as yin is female and yang is male. Yet the same sort of description is given in later books by Gichin Funakoshi, including Karate-Do Kyohan (1935 – translated in 2005 by Harumi Suzuki-Johnston) and Karate-Do Kyohan (1958 – translated in 1973 by Tsutomu Ohshima). It cannot, then, be a mistake. I think it must either mean that both hands can change between types depending on the situation, or that the living hand is soft and the dying hand is hard. Regardless, yin is soft and yang is hard, but they rely on each other and are interrelated and constantly changing, with no beginning or end. This is a fundamental aspect of Taoism, referring to the beginning of the Universe and the creation of everything. Indeed, the hand gesture in which you place the open left palm over the closed right fist is a physical representation of yin and yang, meaning balance, peace and to stop fighting. That same posture is the manifestation of the Chinese character for martial (wu in Mandarin, bu is Japanese and Okinawan). There are quite a number of karate kata that employ this position, such as jion, jitte, wansu, passai, naihanchi (in a different manner), and many more.

Gichin Funakoshi stated in Rentan Goshin Karate Jutsu that karate contrasts to jujutsu in that it can be considered a “hard” martial art. However, he goes on to write that hard and soft co-exist, and that grappling techniques can be considered soft which is fundamental to karate if the student seeks to become truly skilful. Furthermore, Funakoshi stated in the same text, on page 37 of the English edition, “... the ancient expression [which] says, ‘Battle exists in the interval between the normal and the abnormal – without knowing that the abnormal becomes normal, and the normal changes to the abnormal, how can victory be achieved?’” Immediately following this, it reads, “Yin and yang have no beginning, action and stillness are not apparent; unless one knows the Way, who can hope to gain victory?” And then the end of the paragraph talks about the cardinal principles, which are the same, albeit later described in a more succinct and refined way, as the three cardinal points of karate noted by Master Funakoshi in other works, including in his Twenty Guiding Principles of Karate which were first published in Karate-Do Taikan in 1938 by Genwa Nakasone, and translated into English in 2003 by John Teramoto. The principles are: Hard and soft application of power, stretching and contraction of the body, and fast and slow application of technique, all of which are clearly based on the opposites of yin and yang.

In Karate-Do Tanpenshu (2006), by Patrick and Yuriko McCarthy, there is an article written by Gichin Funakoshi in 1934 entitled Stillness & Action / Yin & Yang. Funakoshi details the concept of yin and yang to a degree that shows the reader that he clearly had a great understanding of this ancient Chinese notion of opposites in the Universe. Indeed it is the foundation of Chinese martial arts, with some styles such as taijiquan and taiji mantis going so far as to name their systems after it, taiji referring to yin and yang after there was nothing in the Universe. The taijiquan classics, including the Treatise by Master Chang San-feng, written around 1200 AD according to T’ai Chi Classics by Waysun Liao, 1977 / 1990, the Treatise by Master Wong Chung-yua, written circa 1600 AD, and the Treatise by Master Wu Yu-hsiang, who lived from 1812 to 1880, all discuss the principles of yin and yang when explaining the key points to know regarding the method of Long fist that is commonly known as taijiquan. Karate could also be called something like taiji karate (although that could be viewed as being incorrect as it is a combination of languages). Yet, it already is, in a manner of speaking. Taikyoku is taiji, but in Japanese. The three taikyoku kata in Funakoshi karate were developed by either Gigo Funakoshi or his father or both together. In the 1958 Karate-Do Kyohan by Gichin Funakoshi, he wrote about taikyoku being the first and last kata of a real student of karate. That is because the basics are fundamental and difficult to master. Yet, taikyoku is taiji and therefore yin and yang, so the teachings of the natural opposites of life and existence are supposed to be taught as the foundations and most important lessons in karate. Morinobu Itoman also discussed yin and yang in Okinawan karate in his 1934 book, The Study of China-hand Techniques, translated by Mario McKenna into English in 2012. From pages 154 to 156, there is a section called The Way of Opposites, and the first line reads, “Martial strategy is the way of opposites.” The third sentence is: “If my opponent employs one strategy, then I employ its opposite.” In sumo wrestling, I have seen several exponents who were small and comparably light defeating much larger wrestlers by using the skills found in soft power, harmonising to use their opponent’s strength against them. Hence, all complete martial arts study yin and yang; soft and hard; opposites.

In physical practice, the theory of yin and yang applies in many ways from a pure perspective. If there is no weight on one foot, it is completely yin, while the foot bearing your weight is fully yang. The free leg, or yin leg, can be most efficiently employed for kicking or stepping. Meanwhile, the arms and hands are yin on the outside and yang on the inside, yet can be applied in a multitude of manners. For example, checking the opponent’s attack, rather than blocking it in a raw sense, is yin defence. A counter-attack would be yang. All of the various methods of blending with the opponent’s assaults are yin, as they are soft. If, on the other hand, I use a defensive technique in a striking fashion, that is yang. For instance, instead of blending with the attack, I can essentially hit the advancing arm or leg. In addition, rather than just crudely blocking in such a way anywhere, I can select a location, preferring a soft target to a hard one, particularly when using the bones of my own arm. You need stamina and efficiency in fighting, as well as accuracy and speed, but you also need to utilise yin and yang and use your mind to strategise and fight with intelligence. It is better for longevity in a situation and in life to block hard to a soft point such as the upper arm, as opposed to connecting bone with bone more so on the inside and outside of the forearm near the wrist or by the elbow. Iron-body training is great, and you should be confident that you will not be easily hurt, coupled with your ability to evade and your skills in defence. But to rely solely on an iron-like physique is a mistake. As Master Anko Asato taught Gichin Funakoshi, “Think of the hands and feet as swords.” And as Master Funakoshi also wrote in his 20 precepts, “Do not think of winning; think, rather, of not losing.” Hence, focus on defence and do not let your opponent so much as touch you. In addition to this, employing the three cardinal points, as previously noted, as well as moving in accordance, the principles of yin and yang can be applied skilfully and with intellect, enabling, as with the case of certain sumo wrestlers, a small person to defeat someone much larger, no matter how intimidating they may appear.

This essay was written for my 5th Dan exam, which I passed in early January 2022.

Sean Marshall