In the beginning of the article

Others, of course, a more confusing aspect of the described paradox is the fact that the depth'hare like the infinite consciousness, at the same time with life the point of view of its location in the lower abdomen has no anatomical confirmation. The coordinates that determine Hara's position refer to a much larger and infinitely more objective system, the Universe, so that Hara is equated to its center. In this regard, Hara, being the core of personality, something deeply personal and individual, at the same time becomes something impersonal and Ecumenical, turning into an open "window" overlooking the infinite universe. In this regard, I would like to reproduce the well-known expression of Morihei Ueshiba: "the universe fits in my Hara".

 

This phrase is in no way a sign of O-Sensei's hypertrophied egocentrism; on the contrary, having come a long way in his quest to find the most solid and stable position of his Hara, the Master met with the Universe, clearly traced for Hara, which in turn turned into its giant sanctuary.

 

I am not trying to move away from the main theme - kimusubi, or to make an excursion into the metaphysical world of the Teacher. These problems are not metaphysical, but strictly practical. Two tasks-establishing the right kimusubi with adversary and the right occurrence in space (or, if want, in "the Universe") - inextricably are linked between themselves. During his single exercises with sword, spear and yo (stick) Morihei Ueshiba, no doubt, directed all efforts to develop their own coordinates in space, and the search for universal coordinates; from the success of the second search depended on the result of the first, which, in turn, served as the most convincing proof of the significance of the latter.

 

If you do not go into details, to work out both movements - iriyi and tepkan - first of all, you need to master a rack called Hanmi (hitoemi), which has the shape of an inverted triangle: one foot is exposed forward and, like a horizontal axis coming out of the Hara, is directed directly at the enemy; the second is set back so that both feet form a kind of inverted triangle, in the center of which is the projection of the vertical (cervicodorsal) axis of the body. Body weight is transferred to the front of both feet, especially at the start of the movement. Both basic movements can be freely performed from this rack. Despite the apparent fragility of this stand compared to adopted in judo, if executed properly it's very mobile and functional, as it allows to "absorb" the energy of the attacker - a punch or thrust (zuki) with a sword or spear or get into it without having to avoid her or get in her way. When moving both forward and backward, each step is carried out strictly with the feeling of kimusubi, keeping Hara in a strong, stable state.

 

Like any body movement, the correct production of "Hanmi" requires intense and serious training; it is not enough just to be able to statically perform this stand. This rack is extremely dynamic and" open", that is, is located and disposed in relation to any attack from any party. In essence, it is designed to repel multiple simultaneous attacks. Aikido uses several other contrasting concepts, such as Omote and hurrah, obverse and reverse, the first of which refers to the movement directed directly to the enemy, and the second - to the movement carried out in the opposite direction, that is, from his back. These paired concepts are closely related to the already mentioned irimi and Tenkan, and sometimes indistinguishable from them, but should not be considered as the same. Many techniques, especially basic ones, are based on both Omote and hurrah. Great importance in Aikido is attached to such concepts as the sense of Maai, spatial location, and kokyu, the rhythm of the flow of Ki. In the absence of a sense of Maai, the "breath" of the subject's vital and dynamic core is difficult; its improvement is associated with the assimilation of other life streams, while acquiring the correct sense of space.

 

For each situation, there is a separate Maai, inherent only in this moment. However, it is also true that at the heart of the problems of Maai perception lies the concept of Hara, the life core of each individual. In other words, it is not the state of Hara that is determined by the sensation of Maai, but rather the second that is established and controlled by the first. With the proper Maai the face of locomotor activity (attacks) of the enemy'hare is in a state kimusubi; thus there is a complete sense of "breathing", which can be developed through a long workout. Action in Aikido often acquires the character of deep breathing. Throwing techniques are called kokyu nage, "respiratory mapping", although the rhythm of the movements does not necessarily have to coincide with the rhythm of the real (pulmonary) breathing, which at the moment may even be delayed.

 

In these techniques, dynamic integration reaches such a level of purity that the last drops of duality disappear and there is a feeling that the space itself "breathes". In addition to "breathing power", kokyo-ryoku, koku-nage requires the education of another, far more subtle sensations, koku -ability to grasp and guide the aggressive impulse at the initial time, that is, directly at the beginning of the attack, by a light rhythmic movement, catching and projecting the flow of Ki is sometimes attacking without using almost no physical effort.

This aspect of kokyo, which can sometimes be mixed with an ability called "agility," "dexterity," or "arcane skill," is nonetheless worthy of being the subject of serious and systematic research. In reality, kokyu is not an ability per se; it is a breath, an energy connection of Ki inseparable from the concept of kimusubi. In fact, it is a confident feeling of kimusubi, allowing you to act with a full sense of"breathing". Hara "inhales" and "exhales" the flow of the enemy's Ki, following its growth and development and directing them. This sense of consistency and continuity in the implementation of technical actions can be described as follows: "to absorb and act on ikkoku (in one breath)".

 

In addition, kimusubi, which is established at the first contact before the beginning of any movement or action, that is, at the time of confrontation face to face with the enemy, not taking any action, or at the time when the enemy shows the first weak signs of action, can also be considered from the point of view of kokyu. From a psychological point of view, these aspects of the concept are perhaps the most subtle. Slow and calm "breathing" of the choir in combination with deep concentration allows to reach the connection with the opponent's Ki.

On the other hand, the state of concentration that must be maintained after the completion of the movement or action, which is called zanshin, in essence also belongs to the questions of kokyu and kimusubi. We are talking about a complete mental expansion, which fills the void formed immediately after the completion of the technical action - a short pause, which, however, is characterized by an extremely acute feelings, vitality and spiritual richness. At the same time, we are not talking about leaving the state of kimusubi, but about the complete preservation of kokyu. However, this internal action should be expressed through the most natural gesture and behavior in General, without the slightest artificiality or ostentatious elevation. In this case, we mean a high maturity of the action and behavior in General, which is a natural reflection of your experience and full ownership of any situation, combined with the nobility of spirit and rejection of vulgarity.

 

In the daily practice of Aikido, it is often possible to encounter non-compliance with the principles of kimusubi and kokyu before and after the movement; however, it is necessary to at least keep in mind their importance.

As has just been shown, if the action indicated by the concept of "fight" from the beginning to the end is under the control of the kimusubi principle, it is easy to understand that it is no longer about physical or technical superiority (the concept of "technique" is considered in the usual way, that is, as mechanical agility). For example, when confronting a punch, the problem is not so much the development of a rigid technique in order to avoid defeat - in this case, the achievement of the unification of Ki is impossible, but in an attempt to install kimusubi with this energy flow. The question is to understand and communicate at a deeper level than in the normal physical, psychological or intellectual plane. It is a complete understanding to which a properly trained body gives a natural and spontaneous response.

 

As it was shown, the attention of the Aikido student is mainly directed inward. However, in order to avoid misunderstanding it should be noted that at the same time the seriousness of being face to face with the attacking opponent is not ignored in any way. However, the understanding of this seriousness comes from within, from the core, the root, that is radical (radix (lat.) - root. - Primas'.translator's.), while having an essential character that is not amenable to physical or superficial explanation. On the other hand, to achieve such a radical and essential understanding, the attacker himself must come from the depths of himself; his actions must be radical and essential; first he must immerse himself in himself, reach his essence, to the very depth and, finding there the only inherent beginning, develop his irresistible action. Radical understanding is carried out only from the center. It is necessary to find not only its own source of movement but also the source of movement belonging to the attacker; both sources are combined. Thus, the minimum change in the actions of the enemy can be immediately and easily determined. This is the essence of the concept of kimusubi.