Karate styles – Shuri-te

Shuri-te (首里手), also known as Suidii in Okinawan, is a pre-World War II term referring to a type of indigenous martial art practiced in and around Shuri, the old capital city of the Ryukyu Kingdom. It is considered one of the three historical methods or schools of Okinawan tode, alongside Naha-te and Tomari-te, from which almost all “modern” karate developed. The distinction between Shuri-te and Tomari-te, however, is often described as tenuous, arguably to the point of being practically meaningless.

Origins and Influences

Karate, as an indigenous Okinawan martial art, originated from an ancient fighting method known as Te or Ti (手, meaning “hand” or “technique”). Te developed more than 500 years ago, some sources suggest even over 1000 years ago, and was initially cultivated and promoted by the royal government organisation hiki under King Sho Shin (1477–1526). Chinese martial arts were later integrated into Te as improvements, without sacrificing Okinawan karate’s essence of self-protection.

Shuri-te was considered the most indigenous style of Te, with less influence from Chinese martial arts compared to other styles. However, the art form that became Shuri-te was a hybrid with complex origins that are not fully detailed. The earliest known records of Okinawan karate date back to the 18th century, though they are often vague and prone to misinterpretation. The history of modern karate in its formative stages largely consists of the biographies of prominent teachers of these methods.

Shuri-te was taught as secret knowledge among the Shuri nobility. Its development was profoundly marked by the fact that its masters took up the idea of a “deadly first strike,” contrasting with the Chinese kempō principle of “searching for the hands and legs” (tanshu tantai), which involved testing an opponent’s abilities and gradually closing distance. This philosophy was heavily influenced by the Jigen sword technique, the favored style of the Satsuma samurai who occupied Okinawa from 1609. The masters of Shuri-te shaped karate with the basic principle of killing an enemy with the first punch or kick, keeping the Satsuma samurai in mind as their adversaries.

Founders and Key Teachers

Several pivotal figures shaped Shuri-te:

  • Kanga Sakugawa(佐久川 寛賀) (1733–1815): Often referred to as the “father” of Okinawan karate, Kanga Sakugawa began his martial arts training around 1750 with an Okinawan martial artist named Pechin Takahara (1683–1760). Takahara himself had studied under the notable kobudo exponent Chatan Yara (1668–1756). Sakugawa is credited as the first teacher and master of a style that evolved into modern Okinawan and Japanese karate. He is said to have studied martial arts for many years under Kūsankū, a Chinese envoy from China who instructed students in Chinese martial arts in Okinawa. Some historians also believe Sakugawa traveled to China to further his studies and might have died in Beijing. His nickname, “Tode” (唐手, “Chinese hand”), was well-deserved. Sakugawa passed his knowledge to the Shuri nobility, having learned the northern Peking style of Chinese kempō (tō-de).
  • Sōkon Matsumura (松村 宗棍) (1800-1896): Sōkon Matsumura, a student of Sakugawa Shungo (Sakugawa Kanga), perfected Shuri-te. He was an incomparable master of the fist. Matsumura was granted the title “bushi” (warrior) by the Okinawan king for his abilities. Described by Gichin Funakoshi as having a terrifying presence, Matsumura was never defeated in a duel despite fighting many. He was tall, thin, and possessed unsettling eyes, and his student Itosu Ankō described him as blindingly fast and deceptively strong. Matsumura further reinforced the influence of bushidō on karate by traveling to Kyūshū to learn Jigen-Ryū kenjutsu, the sword style of the Satsuma samurai, and taught it to some of his students. The fighting traditions of Matsumora (an alternate spelling of Matsumura) were passed down to Yamazato Giki, Kuba Koho, and Iha Kodatsu. Matsumura’s teachings were fundamental to the development of many contemporary karate styles, including Shōrin-ryū, Shotokan, and Shitō-ryū, and all modern karate styles evolving from the Shuri-te lineage can be traced back to him. His grandson, Tsuyoshi Chitose, assisted Gichin Funakoshi in the early introduction of karate in Japan and founded the Chitō-ryū style.
  • Itosu Ankō (糸洲 安恒) (1831–1915): Itosu Ankō was the single most influential person in transforming karate from a pragmatic and lethal combat form into karate-dō as a lifestyle of physical, mental, and spiritual development. He studied karate under Sōkon Matsumura from an early age. Itosu became secretary to the last Ryukyuan king, Sho Tai, until the monarchy was dissolved in 1879. He was the foremost exponent of Shuri-te (also known as Shōrin-Ryū at the time) in the early 20th century. Itosu played a crucial role in introducing karate into Okinawa’s schools in 1901 and later urged the Japanese Ministry of Education to adopt karate in Japanese schools in 1908. He simplified Matsumura’s kata Naihanchi, developed the Chinese corkscrew punch, and created the Pinan katas. Itosu also notably revised kata, demonstrated single-blow victories, and brought karate into the public eye in 1902, moving it away from the extreme secrecy maintained by previous teachers. His students, who established famous schools and styles, included Choyu Motobu, Motobu Chōki, Kentsu Yabu, Chomo Hanashiro, Gichin Funakoshi, Kenwa Mabuni, and Chōshin Chibana. Itosu’s style of karate came to be known as Itosu-ryū in recognition of his skill and mastery.
  • Ankō Asato (安里 安恒) (1827–1906): Asato was a student of Matsumura and also taught Gichin Funakoshi.

Distinguishing Characteristics and Differences from Other Styles

Shuri-te, in its classical form, emphasises hard-style short movements, anchored stances, and minimal controlled hip torque. It is characterised by quick and linear techniques. The central concept in Shuri-te is the “deadly first strike” (ichigeki hissatsu), a principle that was adopted by its masters and stands in contrast to the “searching for the hands and legs” approach of Chinese kempō. This emphasis means that in a real fight, the first strike is decisive for victory or defeat, leaving no second chance. The “borrowing power from the earth” and “falling tree” principles are also kernel to Shuri-te, which beginners in the Itosu ryū always start their studies with.

In Shuri-te (and Tomari-te), power is generated from the legs/stance through the hips into the technique. This contrasts with classical Naha-te, which uses breathing from the tanden (lower abdomen) to make techniques powerful, and emphasises arm usage, with foot techniques limited to belt height.

While Shuri-te was considered less influenced by Chinese martial arts, its foundational figures like Kanga Sakugawa did study Chinese kempō. The notion of city-specific “styles” like Shuri-te, Naha-te, and Tomari-te was a later introduction, partly to avoid political offense to mainland Japan and obscure Chinese influences. However, these traditional labels often misrepresented the reality of karate’s development, as masters from different areas frequently trained and exchanged knowledge.

Growth and Spread

Shuri-te’s influence spread primarily through its key teachers. Itosu Anko was instrumental in introducing karate to the Okinawan school system and advocating for its adoption in mainland Japan. When karate was introduced to mainland Japan, it was often framed to appear as if it had evolved from Japanese martial arts rather than solely from China, to align with nationalistic sentiments.

While Gichin Funakoshi is widely recognised for introducing karate to Japan, his specific “Ryukyu kempo to-te jutsu” was not always officially recognised, and he faced skepticism from some Okinawan masters who viewed his introduced karate as a “failed attempt”. Nevertheless, Funakoshi, whose Shotokan style was mostly derived from Shuri-te and Tomari-te, played a significant role in bringing Okinawan karate to mainland Japan.

Branches and Official Organisations

The Shuri-te lineage is foundational to many modern karate styles. Successor styles include:

  • Shotokan
  • Shitō-ryū
  • Shōrin-ryū (including its substyles: Matsubayashi-ryū, Kobayashi-ryū, Shobayashi Ryu, Matsumura Orthodox Ryu, and Seibukan)
  • Shūdōkan
  • Shuri-ryū
  • Shōrinji-ryū
  • Isshin-ryū (a style that also overlaps with Gōjū-ryū elements)
  • Gensei-ryū
  • Motobu-ryū
  • Wadō-ryū (to some degree)
  • Chitō-ryū (which combines 70% of Shuri-te’s strength techniques with 30% softer techniques, and whose versions of Seisan, Bassai, and Chinto are nearly identical to the original Shōrin-ryū forms taught by Chōtoku Kyan).

In Okinawa today, Shōrin-ryū, originating from Shuri-te, is one of the three major currents, along with Okinawan Gōjū-ryū (based on Naha-te) and Uechi-ryū (derived from southern Chinese kempō).

Katas Associated with Shuri-te

Many katas are deeply associated with Shuri-te and its lineage:

  • Naihanchi (Tekki in Japan).
    • It was one of the original forms of Te.
    • Traditionally taught first in Tomari-te and Shuri-te schools before Itosu created Pinan kata.
    • Motobu Choki stated it was imported from China but no longer practiced there; he learned it from Sōkon Matsumura, Sakuma Pechin, Ankō Itosu, and Kōsaku Matsumora.
    • Motobu credited Naihanchi with containing all that is needed to be a proficient fighter.
    • Itosu simplified Matsumura’s Naihanchi. Some researchers believe Itosu created Nidan and Sandan versions, while others think it was originally one kata broken into three parts, evidenced by only Naihanchi Shodan having a formal opening.
    • In Shorin-ryū and Matsubayashi-ryū, Naihanchi Shodan is a brown belt kata, sometimes taught to green belts. It is also the first Shorin-ryū and Shindō Jinen-ryū kata to start with a technique to the right.
  • Kushanku (Kosukun).
    • Believed to represent defensive principles taught by a Chinese martial artist named Kusanku who visited Okinawa, with proof in the 1761 publication Oshima Hikki.
    • Chatan Yara Pechin taught it to Kyan Sensei.
    • Itosu Anko extracted Pinan kata from longer Kūsankū and Chang Nian/Channan kata taught by Sōkon Matsumura.
    • There are multiple interpretations; for example, Chatanyara no Kūsankū from Tomari, though its direct lineage is seen in Shuri as Kūsankū stayed there.
    • The Shi-Ho (four directions) variant was practiced in Shuri.
    • The most unique variation is “Tachimura no Kusanku” in KishimotoDi, passed down by Bushi Tachimura, a contemporary of Matsumura. This version remains unaltered by Ankō Itosu.
    • Kanku Dai is a Shotokan kata that displays typical Shotokan techniques and was Funakoshi’s favorite. It is considered a compilation of the Heian kata. Kanku Dai is also part of Shitō-ryū, learned by Kenwa Mabuni from Itosu alongside Funakoshi.
  • Pinan (Heian) #1-5.
    • Created by Itosu Anko in 1905 to be introduced in schools.
    • Extracted by Itosu from longer Kūsankū and Chang Nian/Channan kata.
    • Heian Nidan was originally Heian Shodan, and vice versa; Gichin Funakoshi transposed their names in the 1930s. Wadō-ryū and Shitō-ryū maintain the original Okinawan ordering.
  • Passai (Bassai).
    • An ancient kata whose origins, like Chinto, have been lost.
    • There were originally two types, Dai and Sho, but many variations exist today.
    • Funakoshi changed Passai Dai to Bassai Shodan in 1935 to reflect Japanese pronunciation and Kanji.
    • Tomari no Passai, Matsumura no Passai, and Shimpaku no Passai exist, with Matsumura no Passai likely closest to the historical original. Matsumura-no-Seisan features Shiko-Dachi (common in Tomari-te kata).
    • Bushi Tachimura passed on his version of Passai to Kishimoto Soko.
  • Chinto (Gankaku in Shotokan).
    • An ancient kata popular in the Tomari district.
    • Sōkon Matsumura is said to have taught this kata.
    • Some associations practice a Gankaku Sho kata alongside the standard Gankaku kata.
  • Wankan.
  • Rohai (Meikyo in Shotokan).
    • Originated from the Tomari-te school, named Matsumora Rohai after Kōsaku Matsumora.
    • Itosu later developed three kata from it: Rohai shodan, nidan, and sandan.
    • Shotokan‘s Meikyo is very distinct, believed to be a version Itosu taught to older students like Funakoshi.
    • Shitō-ryū teaches all three Itosu Rohai kata as well as Matsumora Rohai.
  • Wanshu (Empi/Enpi in Shotokan).
    • The name means “Excellent Wrist” or “Wang’s Series,” referring to the diplomat Wang Ji (1621–1689), who taught chu’an fa to the gentry of Tomari.
  • Jion, Jutte/Jitte, Ji’in.
    • In ancient times, Jion, Jin, and Jutte were one kata, but it’s unknown when or why they were separated.
  • Gojūshiho (Uesheishi).
    • Means “54 steps” or “54 methods”.
    • Developed by Sōkon Matsumura.
    • Some styles have two versions (Sho and Dai) to master difficult techniques.
  • Ananku.
  • Seisan (Sesan, Seishan, Jusan, Hangetsu).
  • Nijushiho (Niseishi).
  • Matsukaze. Likely adapted or a variation of the same version of Wankan practiced elsewhere, e.g. Matsubayashi-ryū.
  • Taikyoku. Japanese rendering of Chinese “taiji,” representing elementary or training kata. Performed in Kyokushinkai with backward spinning turns (“ura”).
  • Sanchin (Shuri-te version).
  • Kyan no Ananku, Matsumura no Seisan, Matsumura no Naihunchi, Maeda no Wansu, Oyadomari no Patsai, Matsumura no Gōjūshiho, Matsumura no Chintou, Yara no Kūsankū (Shorinji Ryu).
  • Fukyu Ichi, Fukyu Ni (or Gekisai Ichi) (Matsubayashi-ryū). Nagamine Shoshin, a student of Arakaki Ankichi and Chōtoku Kyan, created Fukyugata Ichi.
  • Ryukyu Kobudo Taikan.
  • Tokumine no Kun (bo kata). Tatsuo Shimabuku learned it under Chōtoku Kyan‘s supervision.
  • Chatan Yara no Sai. Learned by Tatsuo Shimabuku from Taira Shinken.
  • Kyan no Sai. Either learned from Chōtoku Kyan or devised by Shimabuku and named in his honour; Shimabuku later discarded it for Kūsankū Sai.

Legacy

Shuri-te’s legacy is profound, as it forms the foundational lineage for the majority of traditional Okinawan and Japanese karate styles practiced globally today. It emphasises a resolute combat philosophy focused on decisive, lethal strikes, distinguishing it from other approaches. The influence of figures like Sakugawa Kanga, Sōkon Matsumura, and Itosu Ankō cannot be overstated, as their teachings and adaptations directly shaped the evolution of modern karate. Through Itosu, karate was integrated into formal education, leading to its broader acceptance and popularisation, while also initiating its transformation into karate-dō, a “way of life” with philosophical and ethical underpinnings, particularly bushidō.

The challenges in documenting Shuri-te’s history, due to centuries of secrecy and the destruction of records, mean that much information relies on oral tradition and secondary sources. This makes the biographies of its masters crucial for understanding its development. Shuri-te, in its essence, represents the historical bedrock upon which the diverse and widely practiced art of karate stands today.