Kansei period in Edo era is a kind of time to change for Martial Arts. Sadanobu MATSUDAIRA played an active part mainly in this period as a political leader of the Shogunate or a master of Martial Arts. So, in studying Martial Arts after this period, it is the starting point to clarify his thought of Martial Arts.
In this study, I paied attention to the points that he united KITO-RYU-JUDO and KOUOTSU-RYU, and that he made new KOUOTSU-RYU. Summaries were as follows.
1. Sadanobu MATSUDAIRA devoted himself to Seibei SUZUKI's KITO-RYU-JUDO “SHINBU-NOMICHI”It was improved as “michi” which transcended “jutsu” and ruled the world.
2. KOUOTSU-RYU was formed by the founder of “han”. Sadanobu MATSUDAIRA was under the influence of SHINKAGE-YAGYU-RYU and Takuan. So, it was the method to rule the world like SHINKAGE-YAGYU-RYU. Sadanobu MATSUDAIRA revived KOUOTSU-RYU that had formed by Sadatsuna MATSUDAIRA.
3. Sadanobu MATSUDAIRA formed new KOUOTSU-RYU by uniting common points among KITORYU-JUDO “SHINBU-NO-MICHI” and KOUOTSU-RYU. New KOUOTSU-RYU was Martial Arts that assumed actual fighting. Because it needed to master practical skill of Matial Arts in order to realize the method to rule the world. This was his ideal, and it is concluded that it affected Martial Arts that was changed after Kansei period.

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This study is aimed at explaining the origin of the name, techniques, and philosophy of Jikishinryu Judo, founded in Shimane Prefecture and felt to be the first to use the term ‘judo’ in its nomenclature.
Details of the study include:
1) Mitsuhide Terada was the founder of Jikishinryu Jujyutsu, the early name for Jikishinryu Judo, and was later succeeded by Sadatsugu Terada and, subsequently by Masanaga Inoue.
2) Masayori Inoue, the forth successor of the head family, changed the name from Jikishinryu Jujyutsu to Jikishinryu Judo in 1724.
3) The main lesson content of Jikishinryu Jujyutsu consisted of sword handling techniques for use when wearing armor, with thirty techniques altogether.
On the other hand, techniques of Jikishinryu Judo, the modified version of Jikishinryu Jujyutsu, increased in number from thirty to ninety-seven, and included techniques suitable for casually-dressed participants, such as hitting techniques (atemi-waza) and throwing thechniques (nage-waza). Jikishinryu Judo was a synthesized martial art with both sword and hand techniques.
4) The doctrine of Jikishinryu Judo included not only the mastery of techniques for battle, but also a philosophical approach to conducting one's life based on a combination of firmness and flexibility tempered with moderation and mild temperament.

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Kashima can be said to be a holy place of the martial arts, which created a distinctive sword culture centering on Kashima Shrine. The Kashima school of sword fighting that developed in Kashima is one of the most important schools in the history of Japanese sword fighting, along with the Kageryu and Ittoryu schools.

The Kashima style of sword fighting originates in Kashimano Tachi (Kashima sword), which teaches the techniques developed by Kuninazuno Mahito, and it was renamed Kashima Jokoryu, Kashima Chukoryu, and Shintoryu (in order) as time progressed. In this paper, the Kashima school refers to the swordplay of this school.

The Kashima school of sword fighting has too many unexplained subjects, although it is a most important one in the history of the martial arts.

This research is intended to consider the technique of the Hitotsuno Tachi and its mythological background based on discussions about Sanro (being entrenched in a shrine) ascetic training and the Futsunomitama-no-Tsurugi (Futsunomitama sword) in the Kashima school. Books amassed by the Yoshikawa Family, including Heiho Jikansho written by Sekihei Ohtsuki in 1842, were examined for that purpose.

The following results were obtained in this research.

1. The technique of the Hitotsuno Tachi contained mind techniques as well as sword-wielding techniques in Shintoryu, at least during the period covered by the literature used in this research.

2. The Hitotsuno Tachi is considered to be the art of the god of the Futsunomitama sword, which is a spiritual sword, and is based on the sacredness of this spiritual blade during the age of the gods.

3. The Hitotsuno Tachi is a secret imparted by a god through ascetic training in a shrine in isolation from society, and its existence becomes a reality only through this relationship with the god in question. The god in this case is Takemikazuchi, who is worshiped at Kashima Shrine, and the sword that this god of warriors owns is the Futsunomitama sword. That is, it is supposed to be the Futsunomitama sword that secures the relation with Takemikazuchi.

4. The achievements of the war god Takemikazuchi and the spiritual power of the Futsunomitama sword are related in ancient myths. The Hitotsuno Tachi placed importance on the myth of Kuniyuzuri (handing over the reigns of the country) as the mythological background in its magic, whereas the myth of the eastern expedition by Emperor Jinmu played an important role in magic rituals as the mythological background.

5. The Futsunomitama sword is described as the spiritual sword that enabled the Kuniyuzuri in peace, and the philosophy involved in the technique of Hitotsuno Tachi seems to be almost the same.

6. The myth of Kuniyuzuri related in Kashima, is different from what has been traditionally recognized. That is, in contrast to the tradition that Takemikazuchi demands to hand over the reigns of the country to him by sitting on the cutting edge of a spiritual sword standing hilt down, it is a distinctive tradition that demands Kuniyuzuri by sitting before a sword that stands with its cutting edge stuck into the surface of the beach. This indicates clearly the attitude of demanding Kuniyuzuri without resorting to the sword.

7. In addition, the philosophy of this myth is closely related to the technical viewpoint of the Kashima sword school, including the Hitotsuno Tachi that asks the swordsman to put forth his body with his sword on his back. This characterizes the technique of the Kashima school, and ultimately, the Hitotsuno Tachi.

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Iai originated in the practical combative techniques known as battd (striking instantly with a sword while rapidly unsheathing it in one stroke) which were born during the ages of civil and martial disorder. These martial techniques, batto, as they yielded to the necessities of the subsequent ages of peace underwent drastic transformations in terms of both the way the techniques were preformed and their ideological forntations, and gradually developed into what is now known as iai. Within the process of this development, in terms of physical technique, the trend toward the practice of the art from a sitting posture occupies a central position. This central position is shared on the mental side with the philosophical reorientation of the art toward one possessing the fundamental nature of being directed toward a defensive response to a sudden and unexpected attack such as what might occurr even in an orderly society. This kind of iai, in both its physical and intellectual characteristics, was well suited to the peaceful social conditions of Tokugawa society. Iai was the model martial art for an age of social order. By developing in this way, undergoing many technical vicissitudes, the adoption of sitting in the formal posture of seiza, the use of the samurai's uchi-gatana (long sword worn through the belt with edge upwards) instead of the soldier's tachi (long sword slung from the belt with edge downward), and assuming the character of a mental discipline practiced without an opponent, iai eventually realized its standard form which has been preserved down to the present time.

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This research considers the influence of the Shugendō in Bujutsu practice focusing on Ten-ryu. The purpose of this study is to analyze the technique and thought found in The Ten-ryu Shomokuroku and The Kandatsu Family Collection. The Ten-ryu Shomokuroku is said to be a book of secrets from the beginning days of Ten-ryu. The Kandatsu Family Collection mostly contains information regarding magical practices.

In the Ten-ryu Shomokuroku, combination of technology and mystic words (chanting) was obtained and the importance of mystic words was checked in technical motion of Ten-ryu. The contents of the mystic words (chanting) aimed for unification of the chanter with a Tengu.

On the other hand, the Kandatsu Family collection, aims at the unification between the self, nature, and the Shinto and Buddhist deities.

The processes to begin unification with nature are as below.

(1) Nature (the cosmos) is felt within the body.

(2) A natural integration of one's body with the environment it exists in.

(3) Confidence that Shinto and Buddhist deities exists in all the places of the body.

(4) Becomes the transcendence existence that conforms to the Chinese five elements theory.

Being united with the Shinto and Buddhist deities means forming esoteric Buddhism's outlook of the cosmos in the body. It became the backing of the technique.

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About the era of Oei (A. D.1400) Chujo Hyogonosuke Nagahide started the Chujo school of swardsmanship, introducing the doctrine of the Zen sect by Jion, a Zen priest into it. Later it prevailed widely in the province of Echizen (now it is Fukui Prefecture), where lived the Toda Family, from whose descendants appeared a large number of masters and experts in succession, as the result of which, the Chujo was called the Toda school before everyone knew it.
The founder of the Toda school was Nagaiye, whose son Kageiye succeeded to him and his three sons, Satoiye, Seigen and Kagemasa handed down the secret of the art. It was especially to Shigemasa who was the adopted son of Kagemasa that the authority of this family reached the climax. I have tried to consider in this monograph the details of the tradition which flourished from the Chujo to the Toda school with the help of documents in connection with the same school.

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