Shizan Iaido Nihon Butokuin >> The Position of Enbu Today >> "Shizan Iaido as Aesthetics" >> Words at the Dojo (training room)   How deep can you go in your internal galaxy? Holding a Katana in this modern world, it could mean that you are also holding a danger of cutting across a hierarchy. It is meaningless to wave your katana against an apprentice and be proud of it. In whatever field the person belongs, there are people who have sharp eyes to understand the person at once. Once you meet those eyes, you have to stand at the same point, or else, you are already loosed. Meditation is the same as Zazen. The only difference is the form of sitting. "Mickyo-zen" which means "Yuga" is done by the mind of "Ajikan". However, if I teach you, it will fall down to "Yakozen" , therefore, you will be doing under "Susokukan". Never make a sound when you lay your katana on the floor. Even if there was a sound, the strict tense of not making a sound is important. When practicing the forms, do not look anywhere else until you complete the form. Eyes following the sword is what the very lowest apprentices do. Wielding a tatami roll as a virtual target has a meaning of enhancing your skill, but if you just stick to it, you are just a tatami cutter. It is nonsense to boast how many tatamis you can cut. Not a Tatami rolls as a virtual target, nor a real human being. I am holding this katana against something that exists far away over my view. There are many books that talk about budoh or bushidoh. For instance, "Hagakure" or "The introduction to Hainn" written by Yukio Mishima, "Bushidoh" by Inazoh Nitobe, and as a bottom line, there are books published by "Mook publications" that are widely read. I should say, if you have time to read those books, read "Fushikadenn" of Zeami. All the culture and art are condensed in that book. It is based on Bukkyo philosophy though. The decadence of Luchino Visconti, the passion of Che Gebarra, the insanity of Antonin Artaud, the solitude of Eric Satie, the exclusiveness of Glenn Gould, the nobleness of Balthus, the depression of Lui Ferdinand Celine, the jouissance of Johan Sebastian Bach, perfectionism of Joe Strammer, aesthetics of Seishu Tachihara, the wisdom of Tatsuhiko Shibusawa, the rebellion of Sennorikyuu, faithful power of Kaishuh Katsu, unrestrained works of Taikan Yokoyama, Gaikotsu Muyabu's rebelling spirit, adolescent mind of Hyakkenki Uchida, Kyoka Izumi's exotic beauty. Many more to list up, but I wish to live with those admirable people's divine sensitivity.