一ヶ条（一）大東流一ヶ条技法解說
｜ Ikkajo 1

古武道（據說）會將最難的技術最先學習，因爲基礎技術即是核心技術，高階技術都是在掌握核心技術後的延伸，反倒是最先學的最困難，所以也會一再重複學習跟驗證。

大東流的一亇条是技術名稱，也是一整組類似技術的目錄名稱，一亇条是基礎，但也異常困難，顧名思義一亇条意思就是「第一課、第一組」（合氣道用一教為名也差不多意思），在沒有太多基礎下，順利做出一亇条非常困難，如果覺得很容易，要嘛天賦奇才，不然就是對手配合。

一亇条的難度在於：只用兩個點控制對手，而對手有很多可動關節來抵抗或代償，光是靠扭轉的做法很難有效，更何況，手臂只是傳導，控制對方重心才是重點，或者更精確地說，用自己身體施展技術來控制對方的身體。

如果只是簡單槓桿力學，用講的遠比實際操作容易，施術者(取方)使用的槓桿來自手肘為支點的前臂外推槓桿，但被施術者(受方)是使用身側以肩膀、手肘的多支點回拉槓桿，取方的外推槓桿輸出應該遠小於受方的回拉槓桿系統，意思是以力抗力的話，即便是一樣身體素質的雙胞胎彼此作一亇条，在力量較勁的前提下，受方的抵抗力能夠輕易大於取方輸出力，因此容易遇到抵抗且難以克服抵抗。

我流派的大東流一亇条特徵： 手腕跟手肘兩點穩定控制，鎖定對手肩關節，往上浮然後往下崩的破壞重心。

概略流程：先手攻擊（先之先/待之先/後之先），從閃避(或先手攻擊往前)對手攻擊線的方向，由側45度左右切入並往前施展，在前進過程中控制手腕跟手肘，一旦控制後沿著破壞重心的方向持續延展，手作為導體，透過步法發動破壞重心的攻擊，上身的放鬆形成滑動支點的往上破勢及往下崩。

往上破勢及往下崩：折疊肘關節以固定肩關節，透過合氣揚的動作讓對手上浮，對手的手肘越過身體重心時，透過本來作為支撐點的自己手肘的往下滑動讓支點滑移，對手原本浮起的上身會突然找不到可以抗力的支點而從讓重心從腰部開始崩落，整體過程是身體／步法逼近直線前進同時佔據對手原有的空間，崩作掛過程幾乎不改變控制點。

高第說：「直線屬於人類，曲線屬於上帝」，對於大東流來說，要考慮的問題既是直線也是曲線。受限於關節，人類天生難以畫出直線，只能透過不斷訓練逼近直線，曲線是適合人類的活動，但未經訓練的曲線將存在很多缺陷，而不是真正的曲線。大東流藉由鍛鍊直線，但身體做出的自然反應是曲線，就成為逼近直線的曲線。

在讓受方往上浮起的過程中，會經過取方手肘作為支點的過程，其後取方想像中是讓自己雙手垂直往下放，但受限於手肘及正在往前移動的自身身體，最後會出現讓手肘支點滑動而近似拋物線的移動軌跡，同時，取方身體從一開始的閃避攻擊線後從45度切入受方重心的過程，受限於受方實質上站立的位置，在不將受方撞開但卻會破壞重心，其實移動軌跡也是逼近直線的曲線。

大東流一亇条系統包括：引技、後變更、入身投（首卷投）、入身倒、屏風倒、足掃、絞頸技等等，大抵都是遵循在一亇条框架脈絡，控制受方的手肘手腕施展技術。

Ancient martial arts (it is said) teach the most difficult techniques first, because the basic techniques are in fact the core techniques. Higher-level techniques are merely extensions once the core is mastered. As a result, the very first things learned are the hardest, and so they are studied and verified repeatedly.

In Daito-ryu, *ikkajo* is both the name of a technique and the title for a whole set of similar techniques. *Ikkajo* is the foundation, but it is also extremely difficult. Literally, *ikkajo* means “first lesson, first set” (in Aikido, the term *ikkyo* carries nearly the same meaning). Without much prior foundation, executing *ikkajo* smoothly is very difficult. If it feels easy, either one is an extraordinary natural talent, or the opponent is deliberately cooperating.

The difficulty of *ikkajo* lies in this: one controls the opponent only with two points, while the opponent has many movable joints to resist or compensate. Simply relying on twisting motions is rarely effective. More importantly, the arms are only a means of transmission; the real point is controlling the opponent’s center of gravity—or more precisely, using one’s own body to apply the technique in order to control the opponent’s body.

If one views it as simple leverage mechanics, it is easier to explain than to execute. The executor (tori) applies leverage by pushing outward with the forearm using the elbow as a pivot. But the receiver (uke) counters with a pulling leverage system that uses multiple pivots from the shoulder and elbow on the side of the body. The outward leverage of tori should be far weaker than uke’s multi-pivot pulling system. This means that if it is only force against force—even between identical twins of equal physical capacity performing *ikkajo*—uke’s resistance power can easily exceed tori’s output power. Therefore, resistance is encountered often and is difficult to overcome.

In our school’s Daito-ryu *ikkajo*, the characteristics are: stable control of two points—the wrist and the elbow—locking the opponent’s shoulder joint, then floating upward and collapsing downward to break their center of gravity.

General flow: begin with initiative (sen no sen / tai no sen / go no sen). From evading (or advancing with initiative) along the opponent’s attack line, enter at about a 45-degree angle from the side and advance forward. During the advance, control the wrist and elbow. Once control is secured, continue extending along the line that breaks the center of gravity. The hands serve as conductors, while the footwork launches the attack on the opponent’s balance. Relaxation of the upper body forms a sliding pivot that generates upward-breaking force and downward-collapsing force.

**Upward breaking and downward collapse:** By folding the elbow joint to fix the shoulder joint, then raising with an Aiki-age movement, the opponent is lifted. When the opponent’s elbow passes beyond their center of gravity, the executor’s own elbow—which had been the support point—slides downward, causing the pivot point to shift. The opponent’s raised upper body suddenly loses a base of resistance, so their center of gravity begins to collapse from the waist downward. Throughout the process, the body and footwork drive a nearly straight-line advance, simultaneously occupying the opponent’s original space. The collapsing throw proceeds with almost no change to the initial control points.

Gaudí said: “The straight line belongs to man, the curve belongs to God.” For Daito-ryu, the issue to be considered is both the straight line and the curve. Because of the limitations of the joints, human beings are naturally incapable of producing a true straight line; only through constant training can one approach straightness. Curved movement suits the human body, but untrained curves contain many flaws and are not true curves. In Daito-ryu, one trains toward the straight line, yet the body’s natural response remains curved—thus creating curves that approximate straightness.

During the process of making the uke float upward, the motion passes through a stage where the tori’s elbow serves as the pivot. Thereafter, in tori’s mind the arms should be placed straight down vertically, but because of the limitations of the elbows and the forward motion of the body itself, what actually appears is a sliding of the elbow pivot that produces a trajectory resembling a parabola. At the same time, tori’s body, after evading the initial attack line, cuts into uke’s center of gravity at a 45-degree angle. Because of uke’s actual standing position, the trajectory—though not colliding forcefully with uke yet still breaking their balance—also becomes a curve that approximates a straight line.

The Daito-ryu *ikkajo* system includes: *hikigi* (drawing-in techniques), *atogohen* (subsequent variations), *iriminage* (entering throw, also called *shokuwagenage*), *irimidaoshi* (entering body collapse), *byobudaoshi* (screen collapse), *ashibarai* (foot sweep), *jokinwaza* (strangulation techniques), and others. In general, all follow the framework and logic of *ikkajo*, applying techniques by controlling uke’s elbow and wrist.