The history of karate and the local Okinawan martial art known as tode during the period from the 1700s to the end of the 1900s is a complex tapestry woven from indigenous fighting practices, profound Chinese influences, and significant socio-political developments on Okinawa and, later, in mainland Japan. This era saw the art evolve from a secretive, highly effective combat system to a globally recognised martial discipline.
The 18th Century: Indigenous Roots and Deepening Chinese Influences
The origins of Okinawa’s fighting methods, referred to as Ti (or Te), meaning “hand” or “technique,” predate the 18th century, with some historians suggesting a development over five hundred or even more than a thousand years. This native Okinawan martial art was reportedly cultivated and promoted by the islands’ royal government organisation hiki under King Sho Shin, who reigned from 1477 to 1526. One of its original forms, Naihanchi kata, is characterised by anchored stances, controlled minimal hip torque, and hard-style short movements. Written records about its origin are scarce due to centuries of secrecy, lack of documentation, and later destruction. The earliest known records referencing Ti tend to be vague and from the 18th century.
Okinawa’s strategic location facilitated extensive trade and diplomatic relations with China, which began formally in 1373. A pivotal event in martial arts history was the arrival of the renowned “thirty-six Chinese families” from Fujian province in 1392 or 1393. Settling in Kume village near Naha, these families were crucial for trade and communication, bringing with them knowledge of Chinese kempō (“fist method” or “Chinese boxing”). Okinawan nobility and martial arts experts also traveled to China to study kempō at its source, often residing at the Ryukyu establishment in Fujian province. This continuous influx of Chinese knowledge led to the art being referred to as “tode” or “karate” (唐手), meaning “T’ang hand” or “Chinese hand”.
Several key figures in the 18th century exemplify this cross-cultural exchange:
- Chatan Yara (1668–1756): An early Okinawan martial artist who studied xingyiquan and qigong in Fujian province, China, under a teacher named Gong Xiangjun. He was a primary teacher to Pechin Takahara and created kata for both karate and Okinawa kobudo (martial arts using weapons like bō, sai, and tonfa).
- Pechin Takahara (1683–1760): An Okinawan martial arts pioneer who studied under Chatan Yara. Pechin Takahara is particularly notable for being the first Okinawan teacher to emphasise the ethical dimensions of Te, including compassion (ijō), humility, love, complete understanding of techniques and forms (katsu), and dedication (fo). Around 1756, he advised his student, Sakugawa Kanga, to train under a Chinese master.
- Kūsankū (Gong Xiangjun, c. 1730-1800): A Chinese martial artist from Fujian province. He arrived in Okinawa around 1756 as an ambassador or military envoy of the Qing Dynasty and stayed until about 1762. During his time on the island, he displayed his Chinese boxing and grappling skills and trained a dedicated group of students, significantly influencing the development of karate in Okinawa. The kūsankū/kushanku/kankū kata, taught in various traditional karate styles, is believed to have developed from his teachings.
- Kanga Sakugawa(1733–1815): Often referred to as the “father of Okinawan karate,” Sakugawa began his martial arts training around 1750 with Pechin Takahara. Some researchers believe he later studied Chinese martial arts under Kūsankū or by traveling to China. His lineage through his father, Kango (Teruya) Sakugawa, is also said to include training under a Muslim Pirate named Kaizoku Ahman. Sakugawa coined the term “karate” (唐手, “Chinese hand”) for the art he passed on.
The 19th Century: Secrecy, Refinement, and Emerging Masters
The 19th century continued under the shadow of the 1609 Satsuma invasion and the subsequent weapon prohibition, which further enforced the secret development of unarmed combat and kobudo. Martial arts training was primarily conducted by the aristocracy and gentry in utmost secrecy, often at night, for self-defence and personal development. This secrecy meant that few written records were kept, contributing to the reliance on oral traditions and legends for much of karate’s early history.
During this period, Okinawan tode became more formalised in different localities, leading to distinctions such as Shuri-te, Naha-te, and Tomari-te. While these were not formalised “styles” until the early 20th century, they represented different regional emphases. Shuri-te was considered the most indigenous, with less Chinese influence, while Naha-te preserved Chinese kempō most obviously. Tomari-te was geographically and technically positioned between the two. The constant interaction meant that distinctions between Shuri-te and Tomari-te were often tenuous.
More masters emerged, building upon the foundations laid in the previous century and further integrating Chinese and local practices:
Ankō Itosu (1831–1915): A highly influential student of Sōkon Matsumura. He served as secretary to the last Ryukyuan King, Sho Tai, until the monarchy was abolished in 1879. Itosu was instrumental in introducing karate into the Okinawan school system, beginning around 1901-1902, and to facilitate large group instruction, he simplified Matsumura’s Naihanchi kata and developed the foundational Pinan (Heian) kata series. He famously declared that “Karate begins and ends with Naihanchi,” a kata he encouraged students to practice 10,000 times to master. His style, Shorin-ryū, became known as Itosu-ryū in recognition of his skill and role as a teacher.
Sōkon “Bushi” Matsumura (1803–1899): A student of Sakugawa Kanga, he was renowned for his ferocity and spirit, earning him the nickname “Bushi” (Warrior) from Sakugawa. Matsumura served no fewer than three Okinawan kings. He traveled to Kyushu, Japan, to learn Jigen-ryū kenjutsu, the sword style favored by the Satsuma samurai, and subsequently taught it to some of his students. This profoundly influenced the development of Shuri-te, particularly its adoption of the “deadly first strike” principle, a concept absent in traditional Chinese kempō. Matsumura’s teachings are regarded as the progenitor of many contemporary karate styles, including Shōrin-ryū, Shotokan, and Shitō-ryū. In 1882, he also authored the “Seven Virtues of Bu,” a document that significantly impacted the philosophical development of karate-dō. His notable students included Ankō Itosu and Ankō Azato (Yasutsune Azato).
Kōsaku Matsumora (1829–1898) and Kōkan Oyadomari (1827–1905): These were two prominent teachers associated with Tomari-te. Matsumora, for instance, taught Motobu Choki.
Norisato Nakaima (mid-19th century): He is credited with bringing the Anan kata to Naha after studying with top Chinese martial arts practitioners in Beijing. The techniques of this kata, characterised by palm heel strikes, evasive footwork, and open-hand/crane fist techniques, strongly suggest Chinese kung fu roots. These techniques were transmitted only within the Nakaima family (Ryuei-ryū) until the late 1960s.
Higaonna Kanryō (1853–1915): Born into lower Okinawan nobility in Naha, his father was active in trade between Okinawa and China. Inspired by his father’s stories of Chinese martial arts, Higaonna traveled to Fuzhou, southern China, in 1867 at the age of 14, seeking to learn these “deadly arts” to avenge his father’s death. In Fuzhou, he studied for about fourteen years under Ryū Ryū Ko, a skilled martial artist and furniture maker, after presenting a letter of introduction from a respected Okinawan official. Upon his return to Okinawa, Higaonna established a second major lineage of Okinawan karate, teaching students like Chōjun Miyagi and Kyoda Juhatsu. He taught Naha-te as a martial art intended to kill when practiced at home, but as a form of physical, intellectual, and moral education at Naha Commercial High School. His knowledge of weapon arts learned from Ryū Ryū Ko is believed to be lost.
Karate Kata Step By Step 