The Three Pillars of Karate
In traditional Karate - and especially within the Kyokushin school - training is structured around three primary pillars: Kihon (foundation), Kata (form), and Kumite (sparring). These elements form the basis of all progression and expression within the art. To neglect any one of them is to unbalance the whole. One may compare them to the development of language: Kihon are the letters and sounds, Kata the structured sentences, and Kumite the dynamic, fluent conversation between minds and bodies.
Kihon (基本) means “basics”, "foundation" or “fundamentals,” and it refers to the practice of individual techniques in isolation - punches, kicks, blocks, stances, strikes, and footwork. These are the essential components from which all higher forms of Karate are built. Without strong Kihon, everything else collapses.
In Kyokushin, Kihon typically includes:
Tsuki – Punches/Thrusts (e.g. Seiken Gedan Oi Tsuki, lower punch).
Uke – Blocks (e.g. Chudan Seiken Soto Uke, mid-level outside block).
Keri – Kicks (e.g. Mawashi Jodan Geri, high roundhouse kick).
Uchi - Strikes (e.g. Shuto Uchi Uchi, inside knife-hand strike).
Tachi - Stances (e.g. Tsuru Ashi Dachi, crane stance).
The essence of good Kihon lies in form, balance, coordination, and intent. Every movement must be executed with Kime (決め) - the moment of focused power and total commitment. Kime is the synchronization of breath, body, and mind in a single decisive instant. Alongside Kime, the practitioner develops Kiai (気合) - a sharp, explosive battlecry that channels energy, intimidates the opponent, and reinforces mental focus. Kiai is the outward manifestation of inner tension released with intent. It marks the moment of commitment and seals the technique with conviction. Practicing Kihon sharpens not only the physical technique but cultivates discipline, posture, timing, and body awareness. It builds the structure that makes more complex combinations and expressions possible later in training.
Hand Strikes (Te Waza / Uchi waza)
Seiken (正拳) – Forefist (knuckles)
Uraken (裏拳) – Backfist
Tettsui (鉄槌) – Hammerfist
Shutō (手刀) – Knife-hand
Nukite (貫手) – Spear-hand
Hiji Ate / Empi Uchi (肘打ち) – Elbow strike
Hiraken (平拳) – Flat fist
Ryūtōken (龍頭拳) – Dragon-head fist (knuckle of the index finger)
Shōtei (掌底) – Palm sole strike
Haishō (背掌) – Back of the hand strike
Oyayubi Ippon Ken (親指一本拳) – One-knuckle thumb strike
Nakayubi Ippon Ken (中指一本拳) – One-knuckle middle finger strike
Haitō (背刀) – Ridge-hand strike
Stances (Tachi Waza)
Heisoku Dachi (閉足立ち) – Feet together stance
Musubi Dachi (結び立ち) – Attention stance
Heikō Dachi (平行立ち) – Parallel stance
Zenkutsu Dachi (前屈立ち) – Front stance
Kōkutsu Dachi (後屈立ち) – Back stance
Kiba Dachi (騎馬立ち) – Horse stance
Neko Ashi Dachi (猫足立ち) – Cat stance
Sanchin Dachi (三戦立ち) – Rooted stance used in Sanchin Kata
Tsuru Ashi Dachi (鶴足立ち) – Crane stance (one-legged)
Moro Ashi Dachi (諸足立ち) – Natural forward stance / unequal-foot stance
Kake Ashi Dachi (掛足立ち) – Cross-legged stance
Kicks (Keri Waza)
Hiza (膝) – Knee
Chusoku (中足) – Ball of the foot
Haisoku (背足) – Dorsal foot / Ankle
Teisoku (底足) – Sole/blade of the foot
Kakato (踵) – Heel
Sokuto (足刀) – Edge/blade of the foot
Sune (すね / 脛) – Shin
Blocking Techniques (Uke Waza)
Jōdan Age Uke (上段上げ受け) – Upper-level rising block
Chūdan Soto Uke (中段外受け) – Outside block to the middle
Chūdan Uchi Uke (中段内受け) – Inside block to the middle
Gedan Barai (下段払) – Low sweeping block
Osae Uke (押さえ受け) – Pressing block
Kake Uke (掛け受け) – Hook block
Shutō Mawashi Uke (手刀回し受け) – Circular knife-hand block
Kōken Uke (後拳受け) – Wrist/back-wrist block
Juji Uke (十字受け) – X-block (cross-arm block)
Body Movement & Footwork
Tai sabaki (体捌き) – Body shifting / evasive movement (Includes pivoting, angling, and circular steps to avoid attacks)
Ayumi ashi (歩み足) – Natural stepping
Tsugi ashi (継ぎ足) – Sliding step
Yori ashi (寄り足) – Shuffle step
Okuri ashi (送り足) – Advancing footwork
Kaiten (回転) – Rotation
Mawate (回って) - to turn, rotate, revolve
Kata (型) are formal patterns of movement - predetermined sequences of strikes, blocks, stances, and transitions that simulate a fight against multiple imaginary opponents. In Kyokushin, Kata are not performed for aesthetic display, but as a tool for transmitting principles, internalizing timing, and cultivating deeper awareness of rhythm and structure.
In Japanese, the word Kata (型) is often translated as "form" or "shape." However, its deeper meaning is rooted in its kanji's (Japanese character) composition. The character 型 is composed of three elements:
Katachi (形) – meaning shape or form
Kai (刈) – meaning to cut
Tsuchi (土) – meaning earth or soil
Together, these suggest a poetic image: “a shape that cuts into the earth”. This reflects not only the physical impressions of kata practice but its impact on the mind and spirit - chiseling form into the ground, and into the self.
Kyokushin features a variety of Kata, including:
The Taikyoku series – Basic introductory forms.
The Pinan series – Intermediate forms focused on shifting and coordination.
Sanchin no Kata – A breathing-based form emphasizing tension, control, and conditioning (Iron Body).
Tensho – A soft-hard form rooted in circular, flowing movements.
The mastery of Kata depends on three important principles:
Iki no Chōsei (息の調整) – Breath control: managing timing and internal rhythm.
Chikara no Kyōjaku (力の強弱) – Balance of power and softness: when to apply tension and when to loosen up.
Waza no Kankyū (技の緩急) – Rhythm and speed technique: knowing when to accelerate or pause.
Through Kata, the student learns how to apply Kihon in structured flow. It is the practice of internalizing combat concepts in silence, letting the body speak the language of conflict in refined form. Kata bridges the gap between foundation and fluidity, through Renma (錬磨) - the relentless polishing and refinement of technique through repeated, mindful practice. It embodies the idea that true mastery is not achieved through variety, but through deep repetition that grinds away imperfections and reveals essence.
Taikyoku (大極 / 太極) – “Grand Ultimate”
Taikyoku Sono Ichi (大極その一) – Grand Ultimate Number One
Taikyoku Sono Ni (大極その二) – Grand Ultimate Number Two
Taikyoku Sono San (大極その三) – Grand Ultimate Number Three
Sokugi Taikyoku (足技太極) – “Kicking Grand Ultimate”
Sokugi Taikyoku Sono Ichi (足技太極その一) – Kicking Grand Ultimate Number One
Sokugi Taikyoku Sono Ni (足技太極その二) – Kicking Grand Ultimate Number Two
Sokugi Taikyoku Sono San (足技太極その三) – Kicking Grand Ultimate Number Three
Pinan (平安) – “Peace & Tranquility”
Pinan Sono Ichi (平安その一) – Peace & Tranquility Number One
Pinan Sono Ni (平安その二) – Peace & Tranquility Number Two
Pinan Sono San (平安その三) – Peace & Tranquility Number Three
Pinan Sono Yon (平安その四) – Peace & Tranquility Number Four
Pinan Sono Go (平安その五) – Peace & Tranquility Number Five
Gekisai (撃砕) – “Pulverize and Destroy”
Gekisai Dai (撃砕大) – Pulverize and Destroy – Major
Gekisai Sho (撃砕小) – Pulverize and Destroy – Minor
Classical Goju Ryu / Internal Forms
Sanchin no Kata (三戦の型) – The Form of Three Conflicts
Tensho (転掌) – Rotating Palms
Saiha / Saifa (砕破) – Crush and Tear
Seienchin (制引戦) – Conqueror and Subdue Over a Distance
Seipai (十八手) – Eighteen Hands
Advanced Kata
Kanku Dai (観空大) – Sky Gazing – Major
Sushiho / Gojushiho (五十四歩) – Fifty-Four Steps
Garyu (臥竜) – Reclining Dragon
Yantsu (安三) – “Keep Pure” or “Safe Three” (unclear origin)
Tsuki no Kata (突きの型) – The Form of Punches
Taikyoku (太極) – "Grand Ultimate" [Taikyoku Sono Ichi, Ni, San | Northern Kata]
"Taikyoku" represents the beginner’s path - an overview or the whole. Rooted in the idea of keeping an open, unprejudiced mind, it embodies the spirit of the beginner’s mind, receptive and humble.
Pinan (平安) – "Peace and Tranquility" [Pinan Sono Ichi, Ni, San, Yon, Go | Northern Kata]
Originally pronounced "Heian" in Japanese, "Pinan" refers to inner peace. These kata help build foundational techniques and coordination, while fostering mental calm and harmony between body and mind.
Yantsu (安三) – "Keep Pure" or "Safe Three" [Yantsu | Northern Kata]
The name may refer to safety and purity - emphasizing steadfastness in moral principles and spiritual clarity in the face of temptation or conflict.
Tsuki no Kata (突きの型) – "Punching Form" or "Form of Punches" [Tsuki no Kata | Northern Kata]
A kata focused on punching, with minimal kicking. "Tsuki" also implies luck - suggesting that fortune follows decisive, persistent action.
Kanku (観空) – "Sky Gazing" [Kanku Dai | Northern Kata]
The name combines Kan (to view) and Ku (sky, void). The kata opens with hands framing the heavens - a gesture of openness to the universe, symbolizing clarity amidst adversity.
Sushiho (五十四歩) – "Fifty-Four Steps" [Sushiho/Gojushiho | Northern Kata]
Also known as "Gojushiho", this advanced kata contains complex sequences that test fluidity, precision, and stamina.
Sanchin (三戦) – "Three Battles" or "Three Conflicts" [Sanchin no Kata | Southern Kata]
A fundamental Goju Ryu kata (appearing also in Uechi Ryu and Pangainoon), representing the unification of mind, body, and technique. Performed with tension and controlled breathing (tanden ibuki), it forges inner strength, focus, and an Iron Body.
Gekisai Dai (撃砕大) – "Pulverize and Destroy – Major" [Gekisai Dai | Southern Kata]
"Geki" means to attack or demolish, and "Sai" means fortress. The kata emphasizes breaking through strongholds, both physical and mental, with fluid, adaptive force.
Gekisai Sho (撃砕小) – "Pulverize and Destroy – Minor" [Gekisai Sho | Southern Kata]
A shorter, more intricate version of Gekisai Dai, emphasizing control and transition, often used to sharpen technique and flow.
Tensho (転掌) – "Rotating Palms" [Tensho | Southern Kata]
The soft, flowing counterpart to Sanchin (Yin). It blends circular, graceful hand motions with deep breathing, embodying the Yang aspect of martial balance.
Saiha (最破) – "Crush and Tear" [Saiha | Southern Kata]
Signifying a powerful force like a crashing wave. This kata encourages the mindset that with perseverance, one can overcome or break through any challenge.
Seienchin (制引戦) – "Conqueror and Subdue Over a Distance" [Seienchin | Southern Kata]
Literally meaning to subdue from afar, this kata teaches stamina, spirit, and patience - maintaining strength through long, deliberate sequences.
Seipai (十八手) – "Eighteen Hands" [Seipai | Southern Kata]
Derived from the number 18 (6 x 3), reflecting Buddhist symbolic qualities. The kata is rich in variation, complexity, and depth - symbolizing harmony through multiplicity.
Garyu (臥龍) – "Reclining Dragon" [Garyu | Southern Kata]
A metaphor for quiet strength and humility. The reclining dragon does not flaunt power - it reserves it. This kata encourages modesty, and control.
Mukyu
None
Kyu 10
Taikyoku Sono Ichi
Kyu 9
Taikyoku Sono Ni
Kyu 8
Taikyoku Sono San
Kyu 7
Pinan Sono Ichi
Kyu 6
Pinan Sono Ni
Kyu 5
Taikyoku Sono San
Kyu 4
Sanchin no Kata (With Ibuki)
Kyu 3
Pinan Sono Yon
Sanchin no Kata (With Kiai)
Kyu 2
Pinan Sono Go
Gekisai Dai
Kyu 1
Yansu
Tsuki no Kata
Dan 1
Tensho
Saiha
Taikyoku Sono Ichi, Ni and San (in Ura)
Dan 2
Kanku Dai
Gekisai Sho
Seienchin
Pinan Sono Ichi (in Ura)
Dan 3
Sushiho
Garyu
Seipai
Pinan Sono Ni (in Ura)
Own Kata
Kumite (組手) means “grappling hands”. In the context of Karate, it refers to sparring or the direct application of techniques against a resisting partner. If Kihon are the letters and Kata the sentences, then Kumite is the spontaneous conversation - where intuition, adaptability, and timing are tested in real time.
Kyokushin is known worldwide for its full-contact knockdown Kumite, where strikes are delivered with full intent (often without gloves), and body conditioning is paramount. However, sparring in Kyokushin is not monolithic. It includes structured and unstructured forms:
Yakusoku Kumite – Prearranged sparring, where partners rehearse fixed sequences of attack and defense, helping develop timing, distancing, and coordination.
Jiyu Kumite – Free sparring, where techniques are applied fluidly and creatively, without predetermined responses.
Kumite sharpens the ability to read an opponent, respond under pressure, and remain composed while exhausted or under threat. It is where theory is tested and self-image is broken or validated. It also builds humility - there is no hiding behind theory or form when confronted with direct resistance.
Just like spoken language, effective Kumite is not about aggression but clarity. It’s not only about delivering power, but knowing when and how to speak through movement.
Together, Kihon, Kata, and Kumite form a complete system - each refining and reflecting the others. In Kyokushin, all three are pursued relentlessly, because the ultimate truth (Kyokushin) cannot be reached by technique alone - it must be embodied, tested, and lived.