Читать книгу One Arrow, One Life. Zen, Archery, Enlightenment онлайн

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The individual techniques learned in one of the arts will never fit the circumstances. Even in judo, where the techniques are very numerous, one tends to rely on certain ones which have been mastered, even if they are not absolutely appropriate. There are means of forcing the situation a little to bring off a favorite trick. This is skillful ji, but it cannot be said to be ri.²

True mastery comes when one understands the underlying principles of the art.

One example of ji and ri, techniques and underlying principles, in kyudo is found in the process of aiming. There are several accepted techniques of aiming. In one such technique, called the "moon at daybreak"³ the kyudoka (practitioner of kyudo⁴ ) positions the bow so that the area of the bow directly on top of the grip blocks the center of the target from the kyudoka's vision. Since that part of the bow is wrapped with thin pieces of cord, it is possible to count, or estimate, the number of wraps one sees below the center of the target when one hits the target. Through trial and error the kyudoka can find a sighting point on the wrappings which is likely to produce accurate shots, just as one adjusts the cross-hairs on a rifle sight. However, to rely on this technique has certain limitations. First, the level of wrapping used for sighting will vary from bow to bow depending on the thickness of the wrappings. Second, the thrust of a bow varies with the temperature and humidity. Thus, different sighting points would have to be established in accord with different climatic factors. Similarly, the speed and the direction of the wind can also affect the arrow's trajectory and thus would also have to be taken into account. Finally, to say that one can actually establish an exact sighting point is an oversimplification of what actually happens. No kyudoka, regardless of his level of proficiency, can hold the bow and arrow perfectly still. This is more true in Japanese than in Western archery due to the mechanical differences between modern Western bows and the traditional Japanese bow. Even with a kyudo master, at full draw one will notice that the tip of the arrow oscillates. While the range of the oscillations is slight, it is enough to mean the difference between hitting and missing the target. The kyudoka must somehow "decide" at what point in the cycle of oscillations to release the arrow. It is not possible to describe adequately how this is done, for it is done by feel, by intuition. Any technique, such as the moon at daybreak method of sighting, is only an approximation of what occurs in a proper shot. Such a technique can only bring a kyudoka to a certain point. After that, his intuition must take over. When done properly, the specific techniques of shooting are transcended as the kyudoka transcends ji and acts in accordance with ri. In the Ways, ji connotes skill and ri connotes inspiration. When one sees into the underlying principles, one's performance becomes inspired.