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Map of Okinawa showing $.onl~of the more famousand important areas of Okinawan and Karate history

The Lineage ofYoshukai Karate

IntroductionThe history and lineage of Yoshukai Karate can be traced back over three hundred

years to an obscure Okinawan named Takahara Peichin. Many famous martial artsmasters have been involved between Takahara's time and the present

Okinawa's earliest influences for fighting arts came from China. Okinawa was atrading partner of China and many lands in the FarEast. For hundreds of years Okinawawas a vassal of China ruled by Okinawan royalty, a situation that was beneficial for bothcountries because the Ryukyuan Kingdom was largely a merchant nation. It maintainedcommercial ties to Indonesia, Vietnam, Korea, and its benefactor, China. Prosperity wasby and large a function of a trade in luxury goods. However, in 1609, the Satsuma samuraifrom Kyushu invaded and conquered the entire kingdom in only two months. The Japanesewere able to achieve this remarkable feat because of an edict of 1507 banning weaponsownership by the Okinawan king.

Being unarmed gave rise to the study of what would ultimately become the art weknow today as karate.

The Early PeriodTakahara Peichin (1683-1760) was noted for being Sakugawa Kauga's first instructor.

Peichin was a title that referred to the Okinawan warrior-class families or Bushi. Afterstudying with Takahara, Sakugawa was introduced to the Chinese attache to Okinawa,Kung Shang K'ung. Kung Shang K'ung (Kushanku or Kusanku in Okinawan; Kosokun inJapanese) taught 'Tode" Sakugawa beginning in 1756. He taught Kumiuchijutsu, which is aseries of fighting and grappling techniques. Kata, or the set-pattems of techniques socommon to the oriental martial arts, were not included in Kusanku' s training regimens.Kusanku introduced the principle of hkite(pullingldrawing hand) to Okinawa. Chatan Yara(1740- 1812) assisted Kusanku.

'Tode" Sakugawa Kauga (1733-1815) was the chief proponent of Kusanku'steachings in Okinawa. He studied with other Chinese masters as well when heaccompanied Kusanku back to China. InChina, he became versed in the longstaff or bo(kun in Chinese, hence the modem Okinawarvlapanese formal terms Kon). Because of hispioneering of the martial arts in Okinawa, Sakugawa became known to history as 'Todi(later: Tode) Sakugawa." Tode refers to the Tang Dynasty of China.

Makabe Choken (1764-1825) was one of Sakugawa's best students and probably'Bushi" Matsumura's original teacher.

'Bushi" Matsumura's Life and Influence'Bushi" Matsumura Sokon's long life (1797-1889?) spanned many generations of

karate-ka, from his initial studies under Sakugawa and Makabe through the early life ofFunakoshi Gchin (1868-1957). Because of hisposition as chief bodyguard to the king of

Okinawa, he was able to influence and formalize many aspects of karate, most notably,kata. Matsumura created or modified a number of kata to pass on his teachings. Eachkata was given it's own name. Some of the kata refined by Matsumura include Seisan,Bassai Chinto, and Kusanku, which are still practiced by Yoshukai stylists today. Thoughmodified through the generations, these kat a contain the basic Matsumura idea oftwisting the hips to generate maximum power. Aside from karate and bo-jutsu.Matsumura was reported to have earned aMenkyo(license of proficiency) inswordsmanship.

Matsumura's most famous student was Itosu Anko (1830-1915), a short barrel-chested man of only five feet in height. Although Itosu did not personally favor high kicksor the hip-pivoting moves of his teacher, he did pass them onto hisstudents. itosu'srnostsignificant contribution to karate was his additional development of kata. In fact, ltosu'sintroduction of the five short Pinan series of kata was for group practice with elementarychildren in mind. Itosu was instrumental in ushering in modem karate based on simple, easilyleamed fundamental techniques.

Itosu taught many of "Sushi"Matsumura's later students including Kyan Chotku(1870-1945) and Hanashiro Chomo (1869-1945). Oyadomari Kokan (1827-1905) alsoinstructed Kyan Chotku, teaching him the SassaiKata of 'Bushi" Matsumura. MakabeChoken's student Teruya Kisei (1804-1864) taught Oyadomari. Kyan taught Dr. ChitoseSassai,Kusanku, and other various kata. Hanashiro taught Dr. Chitose Ryusan Kata.

One of Matsumura's last students was Motobu Choyu (1865-1927). Motobu was ofOkinawan royalty and was taught a style of martial art called Cotendewhich meant"Palace Hand." This form of martial art was said to be much like Ju-jutsu or Aikido and alsocontained Tuite (grasping hands) techniques. Gotende was said to show an "art within anart" because it showed hidden techniques within the kata.

Arakaki Seisho (1840-1918), Dr. Chitose's first instructor, was a student of FujianChinese Master Wai Xinxian. Arakaki was known for teacbiog the young Chitose SeisanKata and making the youth practice that one form for seven years before moving on toanother kata. Arakaki eventually taught Dr. Chitose Shihohai. Niseishi,and Sanchin also.

O-SenseiDr. Cbitose was bom Chinen Tsuyoshi in 1898, the grandson of 'Bushi" Matsumura on

his father's side. Though his father was not involved in the martial arts, the young boy hadaccess to the finest instructors on the islands. He began his studies under Arakaki Senseiatthe age of seven. He would continue his study and involvement with karate for the next79 years until his death in 1984.

Inhisearly childhood, his elementary teacher was none other than Funakoshi Gichin,who would later introduce karate to Japan proper. After Arakaki, Chinen went on tostudy with another Chinen, Chinen Sanda (1842-1925). master of bo-jutsu, the art of thesix-foot staff. Continuing his karate education along with academic learning, Chinen alsostudied Naha-te under Hagashi~:mnaKarryo (1853-1915) alongside Miyagi Olojun (1888-

1953) and Mabuni Kenwa (1889-1957). While this might seem like enough karateinstructors and dojo-mates. Chinen would also leam old-style Te grappling and submissiontechniques, Tuite, from Kanagushiku Peichin. Chibana Chosin (1885-1969), another ofltosu's most devoted students, also could be found at Kanagushiku's dojo.

ChinenTsuyosh not only managed to study with all these masters and future karatelegends but was also admitted to the University of Tokyo's Medical School at the sametime. By the time he moved to Tokyo he was no longer Chinen Tsuyoshi, but ChitoseTsuyoshi. Changing names was a somewhat common practice for Okinawans wanting tomove in an upward fashion in the ultra-nationalistic Japan of the 1920's and 1930's. Whilehe studied medicine, hiskarate reputation grew and he was asked to assist Funakoshi inteaching karate. Many Shotokan stylists would receive much of their training from Dr.Chitose. Funakoshi remarked that Chitose was exceptionally skilled and knowledgeable inkarate kata. During a 1936 meeting of Okinawan masters, which Dr. Chitose attended,the term "karate" was officially adopted over the older phrase "todi" During this time, Dr.Chitose was still training with various dojos' inTokyo.

Sadly, many of the old masters died during World War Two and Okinawa lay in utterruinsafter the war's massive bombing raids. Inaddition to losses suffered during the war,martial arts training were banned inJapan and Okinawa following the war by the SCAP(Supreme Commander of the Allied Powers). Dr. Chitose was instrumental in organizing arelief benefit in 1946 for the islanders; it was called the Okinawa Kobudo Taikai(exhibition). In 1948, a year after the SCAP ban, Funakoshi and several of the "old masters"talked about the unification of all the karate styles in an AI/Japan Karatedo FederationInfighting and elitists attitudes among the various masters' assistants prevented theFederation from truly unifying Japanese Karate. Although the multi-styled union fell apart,Dr. Chitose remained on its board of directors until hisdeath decades later.

The information about Yoshukai's lineage was derived from the book:Unsnte" The Secrets of Karate

ByJohnSellsW.M.l-lawley PublicationsHollywood, Ca 90046

A Summary of the Yoshukai Lineage*. "Todc" Sakugawa (1733-1815) He was a well-known Okinawan martial artist

who studied with various Chinese masters. He was also a weaponsexpert, esp. with the boo

'Bushi" Matsumura (1797-1889) A long lived royal guard who taught manyfuture karate masters. Matsumura was responsible for refining andcreating kata used by all styles of Okinawarvlapanese karate today.His kat a contain his trademark of twisting the hips to generatemaximum power. Matsumura was also Dr. Cbitose's grandfather.

Itosu Anko (1830-1915) Itosu developed additional kata, including the Pinanseries for elementary aged beginners. He introduced the modemkarate era by using simple, easily learned fundamentals and thenmoving on to more advanced techniques.

Arakaki Seisho (1840-1918) Dr. Cbitose's first instructor. Arakaki taughtDr. Chitose Seisan,Shihohai, Niseishi, and Sanchin. '

Motobu Choyu (1865-1927) Motobu taught Dr. Chitose a style of fighting,that used various hidden movements contained within the kata calledTuite.

Hanashiro Chomo (1869-1945) Hanashiro taught Ryusan to Dr. Chitose.Kyan Chotku (1870-1945) A great influence on Dr. Chitose, Kyan taught him

Bassai, Kusanku, and other kata.

Sakugawa-Adopts many Chinese practices.Matsumura-Refines kata, teaches many future masters, "twisting of the hips"Itosu-Develops Pinan series, establishes "Tode" in Okinawan elementariesArakaki-Seisan, Shihohai, Niseishi. & SanchinMotobu- TuiteKyan-Bassai KusankuHanashiro-RyusanHagashionna-Naha-te techniquesKanagushiku- Tuite techniquesChinen Sanda-bo-jutsu techniques

*This list is incomplete because O-Sensei studied the martial arts with manyfellow karate-ka for almost 80 years. It would be virtually impossible to listevery master from whom he learned something.

Ifyou keep these precepts at the Elementary Schools thenin ten years Tode will have prevailed, not only in Okinawa,but all Japan Tode would also be able to contribute to amilitary society'.

Itosu Yasutsune, October, 1908

1. Tode should be practiced not for your own interestbut for the protection of your parents, and it is neverintended to hurt anyone

2. Tode is practiced to make muscles and bones hard asa rock and to make arms and legs substitutes for spears;hence it is practical that it will help our militarysociety to come .. The First Duke of Wellington said whenhe defeated Napoleon L "Our victory today was attainedin our school yards."

3. Tode cannot be mastered in a short time. One to twohours of hard training every day for three or four yearswill make you a master ofTode.

4. Tode requires such strong hands and feet that youshould practice striking one to two hundred times each.

5. Tode should be practiced with your loins straight up,lungs 'Wide open, shoulders down and feet firmly on theground .

.6. Tode kata should be practiced 'With its practical usein your mind.

T. Tode kata should be practiced for the idea whether itis for physical training or for its practical use.

8. Tode should be practiced with intensity as if you areon the battlefield.

9. Tode should be practiced properly for your physicalstrength.

10. Tode masters have lived longer because it developsmuscle and bone, helps the digestive organs, andimproves the circulation of the blood. Therefore, Todeshould be practiced in physical education courses inelementary schools and up. In doing so we could producemen capable of defeating ten enemies single-handed.

1936 gathering in Okinawa of karate leaders to determine thefuture of the art included (standing left to right): CusukumB,Chitose, Chibana, Nakasone (representing Toyama'. Also, seated:Kyan, Yabu, Hanashiro and Hiyagi.

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By Shihan PaulSimmons

Yoshukai Kata:

History and Development

The kata, or "formal practices", of each style of martial art best demonstrates the

essence or spirit of its practitioners. Kata distinguishes martial arts from brute fighting. The

techniques contained and often hidden within the forms give the karate-ka inslqht to advanced

methods of subduing a foe. Kata re-enact battle-tested techniques from many Chinese,

Okinawan, and Japanesemasters, for whom mistakeswould have grave consequences.

Most kata contain a series of movements: a few major techniques presenting the main

idea of the kata, and various basic movements simply connecting the major techniques. AnalysiS

of the floor patterns reveals linear motion. Although there are some exceptions, most Okinawan

kata run along intersecting, perpendicular lines. Many kata follow a pattern like the letters "I,"

"H," "X," or a cross-like intersection drawn on the floor. Each kata contains many different types

of stances; each stance gives certain advantages to the defensive or offensive techniques

revealing the theory of the kata. The kicks, strikes, or blocks of a kata are executed in straight

lines or circular motions, sometimes quickly with great exactness and sometimes slowly with

great tension. Always, the techniques teach us the hard-earned lessonsof ancient masters.

The two major groups of kata are Shuri and Naha. Shuri and Naha are both villages in

Okinawa from which many of the old masters came. The Shuri kata are usually more fluid and

quicker paced while Naha kata are more power oriented and have slower, more deliberate

footwork. Seisanand Bassaiare examples of Shuri kata, while Neseishiand Sanchinare examples

of Naha kata.

A number of kata used by Yoshukai practitioners translate as numeric names: Seisan (13

Hands), Neseishi (24 Steps), Sanseiru (36), and Sanchin (3 Battles). Though certainly of

Significance originally, the relationship between the exact meaning of the names and the

techniques used in the kata are in dispute among many masters of many styles of martial arts.

Knowing the moves but not understanding the theory of kata is of no more use than

learning random combinations. Understanding what the kata have to teach separates the novice

from the advanced karate-ka. Learning the next move is certainly not as important as

understanding why the last move was performed a particular way. Kata serve many purposes

today: they teach techniques (both obvious and hidden), they contain theory, and they provide a

form of meditation.

The study of Yoshukai kata beginswith elementary training drills including

Nijusichi-No-Kata and the four Kihon Kata. These forms emphasize uniting basic sta ces, blocks,

and strikes with correct breathing practices to maximize power. After approximately a year of

study, more theoretical kata are introduced. These kata, Zenshinkotai through the Rohai Kata,

incorporate more advanced footwork for use with multiple opponents. Karate-ka learn trapping

and containment techniques for the first time. Strategy is also taught in these intermediate kata.

The joining of blocks, strikes and kicks set up opponents for highly effective counterstrikes.

Interestinqly, traditional kata utilize only basic front kicks and sidekicks. In the advanced, black

belt level kata, strikes are directed towards pressure points and vital areas to disable multiple

opponents quickly. More circular blocks are taught by the advanced kata, enabling the defender

to quickly counterstrike, as well as Circular, slashing hand strikes. Correct breathing and posture

throughout kata study cannot be over-emphasized. Breathe!

The following brief explanation of kata used in the Yoshukai system includes basic

translations of the names, history, and the theory the kata imparts to the karate-ka.

Nijusichi-No-Kata - "27 Movements" - This basic training form utilizes only hand techniques to

introduce the beginner to proper, effective blocks and strikes. Each technique is performed first

by the left side, then the right. Basic blocks are executed, followed by strikeS to imaginary

opponents surrounding the practitioner.

Kihon Kata Shodan - "Basic Form First Level" - Commonly referred to as an "H-form", this

form and the three that follow it, use the same floor pattern that traces a capital H on the floor.

These forms can be traced back in various incarnations to Okinawa well over a century ago. The

H-forrns were introduced to the Okinawan school systems to teach elementary-age students

easier kata patterns than those of the more advanced levels. Kihon Kata Shodan contains basic

front stances, center blocks, and center punches. The last move, common to all four of the Kihon

Kata, is a heel-palm strike with the right hand, twisting the hips towards the left, followed by a

counter-twisting hip motion and a left-handed center punch.

Kihon Kata Nidan - "Basic Form Second Level" -Uoper blocks and upper punches are the

lesson of the second H-form.

Kihon Kata Sandan - "Basic Form Third Level" - This form introduces the beginner to the

immoveable stance, or fudo-dachi, and the straddle stance, or shiko-dachi. The hand techniques

are lower blocks and center punches. The new stances make this third H-form the most difficult

of the Kihon series to perform correctly, requiring a great deal of practice.

Kihon Kata Yondan - "Basic Form Fourth Level" - This form uses the same floor pattern and

stances, but now introduces front kicks. The addition of the front kicks brings the lesson of

balance and stability to the beginning student. The same lower blocks and center punches from

the third basic kata are used with the addition of slow knife-hand blocks, shuto uke. Deep

breathing is introduced to the students in conjunction with the shuto uke.

Zenshinkotai - "Advancing and Retreating" - Zenshinkotai, which begins with four steps that

mirror the moves of an imaginary opponent, is the first kata Yoshukai practitioners learn that

contains sidekicks.

Shiho-Hai - "Fighting to the Four Directions" - Dating back to 1828, Shiho-Hai was originally

shown to Chinese officials visiting the Royal Court of Okinawa. The four-way turn at the onset of

the kata demonstrates the usefulness of the neutral uchihachiji-dachi while maintaining vigilance

around the area. This kata demonstrates many typical movements contained in Okinawan kata of

the time. When performed correctly, this kata will develop hip snap, which will enable the student

to deliver strong punches from the uchihachiji-dachi.

Seisan - Uterally translated,. Seisan means "13 hands", The kata' s origins are in the Fujian

Province of China. Seisan has been used in Okinawa for over two hundred years. Several versions

of Seisan have been contrived since its origin and practically every karate style uses it as a

method of training. The version used by Yoshukai practitioners is the "Arakaki-version." Seisho

Arakaki, (1840-1920) learned Seisan from Bushi Matsumura, one of the master instructors and

bodyguard of the Royal Court of Okinawa. Years later, Arakaki would teach Seisan to a youthful

student named Tsuyoshi Chinen, Matsumura's grandson. This youth would change his Okinawan

name to something more Japanese-sounding in order to gain entry to medical school. Yoshukai

practitioners now know him as Dr. Chitose.

Dr. Chitose taught the Arakaki version to Kaicho. Therefore, Seisan, as used by the World

Yoshukai Karate Kobudo Organization, is the Arakaki-Seisan. The kata teaches how to get inside

an adversary's attack and destroy their stability, while simultaneously developing a strong

foundation. Seisan combines straight ahead attacks with backward slides to gain an advantage in

distance and timing. In the nineteenth century, Seisan was practiced to learn proper posture and

was the first kata learned in many styles. As with all kata, correct breathing and timing are

related and must be learned to gain the finer points of Seisan. The first "major" kata learned by

students, Seisan introduces both "soft" and "hard" techniques. This is from the Shuri-te group of

kata.

Neseishi - ''Twenty-four Steps" - Arakaki taught Neseishi to Dr. Chitose also. Uke Seisan, many

traditional styles use Neseishi. Breathing and concentration are tested during this kata. Kaicho

has remarked that Neseishi is his personal favorite of the kata. This is from the Naha-te group of

kata. The origin of the name Twenty Four Steps is uncertain.

Rohai - Rohai, meaning "sign of the white heron", takes its name from the crane stances in the

kata. The Rohai series (Rohai-Sho and Rohai-dai) are short kata featuring throwing and sweeping

techniques. Because of the transitional moves, Rohai kata are difficult to master even though

they are neither long nor complex.

Mugen - The inspiration for the Mugen kata, translated "Endless", is the extension of infinite

power through deflective blocking. Grand-Master Yamamoto developed this kata using the basic

"H" floor pattern with an emphasis being placed on various uses of the heel-palm strike as an

assertive block that misdirects the opponent's attack.

Tenshin - "Turning Body Motions" - A simple cross-shaped floor pattern hides the real

complexity of this kata. Tenshin focuses on coordinating hip-twist and punching to develop

power. The key to maximizing powerful punches is in the hasami-dachi to zenkutsu-dachi

transition. Tenshin teaches a very practical defensive strategy for extremely close range evasion

and counterstriking techniques. Although Tenshin does not always compete well in tournaments,

it is one of the most usable kata for thosewho put the time into understanding it.

Bassai - "To BreachA Fortress" - Bassai is the most commonly practiced of all the known kata.

Most martial artists will learn one version of Bassai by the time they earn their black belt. A

testament to the usefulnessand practicality of the kata is how it has circumnavigated the globe

and permeated more styles of martial arts than any other kata. The name Bassai can be

translated to mean to breach a fortress or to overcome.The kata can be traced back to Okinawa

around the turn of the nineteenth century, when it was originally called Patsai, then Passai,and

finally Bassai when Funakoshi took it to Japan in the 1922. The earliest records indicate that it

was taught, and possibly developed, by Bushi Matsumura in an Okinawanvillage, Shimbuku.

The philosophy behind the Bassai kata is to turn potential defeat into victory by

breaching and destroying the ''fortress.'' Bassaiteaches the student to overcome a bad situation

and achieve victory by using quick twists and changes of the body's position. Breathing is very

important when performing the twisting motions in order to gain maximum snap and power. This

kata is from the Shuri-te kata group.

Chinto - "Fighting to the East" - The word Chinto supposedly is derived from the name of a

Chinese seaman befriended by Bushi Matsumura. Chinto is characterized by its narrow, straight-

line floor pattern. Some folklore stipulates that the practitioner has the sun at his back or is

facing the moon during various sections of the kata. Found in many styles, Chinto is considered

to be an advanced kata and is even difficult for experts to perform due to the balance required.

The kata teaches many hand-trapping techniques and other subtle moves useful for close in

fighting. Like Seisan, Chinto utilizes many instances of quick body position shifts to gain the

advantage in close encounters. Chinto is a difficult kata to perfect.

Sochin - "Monks of Peace" or "Men of Peace" - Sochin came from Fujian, China and was

originally introduced in the Okinawan village Naha by SeishoArakaki. Sochin is performed on a

cross-shaped floor pattern and contains techniques for short-range defense and counterstrikes.

Like Tenshin, stance transition is the key to utilizing this kata effectively. The karate-ka must

constantly strive for balance in the practice of Sochin.The referenceto monks or men of peacein

the translation of the name may be from the Chinese origins, possibly referring to the monks of

the Shaolin Temple.

Sanseiru - "36" - A short but advanced kata from Fujian, China. Sanseiru contains some of the

most beautiful techniques and useful theory after Seisan and Bassai. Uke these two kata,

Sanseiru is broken into sections that deal with multiple opponents, sweeping techniques, and eye

strikes. The tempo of Sanseiru ranges greatly from one section to the next. A thorough

understanding of the application must be in place before the proper timing becomes evident to

the practitioner. This kata displays many examples of twisting and entering moves like Tenshin.

Again, correct breathing is imperative.

Ryusan - "Dragon Mountain" - Thought to be developed by Hanashiro Chomo, one of Sushi

Matsumura's students, Ryusan contains many examples of twisting motions of both offensive and

defensive natures. The name Dragon Mountain implies the whipping motion of a dragon's tail.

The eye attacks, both from quick jabs and the circular twists that attack the eyes near the end of

the kata, are particularly interesting since few Yoshukai kata use obvious eye slashes. Trapping

blocks, combined with eye jabs, provide a great example of avoiding an attack and taking the

initiative.

Kusanku - Kusanku was inspired by Kung Shang K'ung, a visiting Chinese official at the Royal

Court of Okinawa in 1756. Kung Shang K'ung introduced to Okinawa some of the Chinese

fighting or grappling techniques, which were incorporated into the Kusanku kata. One of the

oldest kata in use today, Kusanku is used in many variations as an advanced kata throughout

Okinawa and Japan. Kusanku is one of the longest kata in all styles using it. It is based on a

straight-line floor pattern and contains some of the quickest examples of hand and wrist traps

along with quick shuffle-steps and crescent kicking blocks like those of the Rohai and Chinto

kata, respectively. Kusanku is an advanced kata that contains many practical self-defense

techniques.

Sanchin - "Three Sattles" - Another kata from the Fujian Province of China, Sanchin exemplifies

Naha kata with its' emphasis on breathing. The name Sanchin implies that those who train

diligently can overcome the conflict between the mind, body, and spirit to 'unify those basic

components of humanity. Sanchin emphasizes breathing, strength, and a strong posture. Sanchin

kata utilizes the "hour-glass" stance, sanchin-dachi, to develop a strong stable kata in which hard

breathing and tension develop chi power. Open hands were used to perform thrusting moves

originally, but most styles now use fists instead. Even though most versions are short arid simple,

Sanchin is a very hard kata to perfect due to the extreme amount of physical exertion. Sanchin is

not a kata for learning complex techniques, but an exercise for personal development of internal

power and concentration.

Resources:Kaicho Yamamoto, Founder and Supreme Master of Yoshukai Karate, Interview

Kyoshi Toyama, World Yoshukai Karate Kobudo Organization Director, Interview

Shihan Culbreth, World Yoshukai Karate Kobudo Organization Director, Interview

Hanshi Dometrich, Chief Instructor and President of the U.S. Chito-Kai, Interview

Unante: The Secrets of Karate by John Sells, W.M. Hawley Publications, Hollywood, CA.

Yosei - Inspired by the grace and power of the Pacific Ocean, which separates Japan and the

United States, this sai kata teaches circular deflective blocking followed by punctuating strikes of

the sat,

Unryu - "Dragon in the Sky" - Developed by Kyoshi Sumiko Yamamoto, this kata is reminiscent

of certain sections of Sanseiru and Ryusan because of the turning and whipping motion of the

sai, which emulates a dragon's tail. Unryu is a beautiful example of how weapons can be used toillustrate an idea without sacrificing their true purpose and function.