Kosho Shorei Ryu Kenpo Jujutsu: The Flower Book

By David Naimowicz

O'Sensei James Masayoshi Mitose brought Kosho Shorei Ryu Kenpo Jujutsu to Hawaii after being raised in Japan from 1920 to 1937. Kosho Ryu was claimed to be a family art of Japanese Kenpo that survived the 1868 ban on Kenpo being taught publicly as it was known as "The Killing Art" according to S.K. Uyenishi. It was passed down at the Shakain temple that was part of the Kumamoto Domain which had a long history associated with the Sohei warrior monk tradition which incorporated martial technique from Shaolin Chuan Fa. Kosho Ryu is passed down not as a set techniques but of concepts. Its mon or crest is near impossible to prove having an ancient origin and may have been passed down orally. More than a symbol, it functions as a diagram which contains all of the arts principles. It is simple enough to be memorized and contains enough within it to point to its origins. The inclusion of the mudras used extensively in the art in the seal and the Pine, Plum Blossom and Bamboo represented also has the mon appearing to function as a visual form of what in Shinto is called a "Mikoshi". This is the concept of the "portable shrine" which would carry Kami from place to place. Before the tradition of fully built portable shrines Mikoshi would be natural objects such as sticks or plants in which the Kami would rest in travel. Kami coming down into the objects of Nature was a feature and purpose of the Way of Flower Arranging. Having a large influence of Buddhism, Mitose presented the spiritual philosophy of Kosho Ryu as presenting East Asian thought while referencing Buddha, God and Jesus Christ. For many this added to the confusion as to the basis for this presentation in a historical context. Searching for the reality of Kosho Ryu and its obscurity requires a personal journey into the history of Japan before World War II gaining awareness of confusing and uncomfortable topics outside of the knowledge of those in the West and being in largely inaccessible until recent decades outside of academia. Part of this is with the decline of Yoshida Shinto as spiritual paradigm and people in Japan coming to new examinations and conclusions as to the truth behind Japanese spiritual and cultural traditions as they had been passed down. This lead to many influential new religious movements such as Oomoto. Mitose was most likely himself included in this current of thought learning from tradition and also going through a personal journey of learning and interpretation well before teaching his first Western student Robert Trias. Each student to advance in the art faces this dilemma of seeking personal meaning and understanding while searching for a sense of authenticity within a greater tradition. Keeping with the concept of Kosho Ryu being Kenpo as principles, this text is to present the facts of history which are likely to be true giving some clues as to the origin of the art and its continuity. From there it presents some points for study, research and answers through contemplation seeking answers in the realm of cognition. This is where much learning in the tradition of Kenpo does in fact, take place. It is hoped that this honors the art and Mitose name in the history of Japanese arts by making a contribution where it can be made.

• Format: Paperback
• Language: English
• ISBN: B0DF3265VF
• ISBN13: 9798336512298
• Release Date: August 2024
• Publisher: Independently published
• Length: 43 Pages
• Dimensions: 9.0" x 0.1" x 6.0"