Classification: battô, iai and iaijutsu
One of the most well-known phenomena of Japanese swordsmanship is the direct draw and strike: battô (抜刀) or iai (居合い). Modern classifications tend to see battô as an offensive technique (attack from the scabbard) and iai more often as a defensive reaction (move to parry an attack). Historically, however, the terms were often used interchangeably. Even today, there are strong overlaps between iaidō (居合道), battōjutsu (抜刀術) and kenjutsu (剣術).
While battô is occasionally practiced in armor - with adapted techniques due to different sword attachments - iaijutsu and iaidō are usually based on civilian clothing and everyday wear (tucked through the obi 帯).
Why nukitsuke is more complicated than it looks
Simply pulling out a sword may work - but it is prone to mistakes that cost time, accuracy and strength, or can even be dangerous:
- Habaki (鎺 / 鎺金): The brass or copper piece on the body of the sword holds the blade securely in the saya (鞘, sheath). Pulling it out jerkily can cause delays and make the movement "wobbly" - energy from the strike is lost.
- Friction & cant: The saya is lacquered wood; abrasion on the cutting edge leads to friction. If the blade is drawn at an angle, increased friction occurs or it jams - in the worst case, the blade can break out of the sheath and injure the hand holding it with one hand.
- Precision: For powerful, accurate cuts, the blade should not rest against the inner surface of the sheath when being pulled out - a "free-floating" blade is ideal.
This is why entire ryūha (流派, schools) have developed detailed rules for drawing and thrusting only.
Aim of the correct nukitsuke
When drawing correctly, the blade should not come into contact with the sheath if possible - it should "float freely". If contact is unavoidable (for less experienced practitioners), it should be on the flank of the blade, not on the edge or back.
Step-by-step: Correct nukitsuke
- Saya no shisei (鞘の姿勢) - stance/position of the sheath
Some styles tilt the saya slightly, others align it directly in the cutting line. The latter simplifies the move-and-stroke maneuver, but has the disadvantage of revealing the intention to the opponent. - Sayabiki (鞘引き) - "pulling forward" the blade while it is still sheathed
The left hand grasps the saya and pushes the sword still in the sheath from the obi to the right hand. Important: do not pull the right hand towards the handle, but the handle and hand meet at a predefined meeting point. - Koiguchi-kiri (鯉口切り) - "opening the carp's mouth"
To release the habaki, press against the tsuba (鍔, crossguard) with the thumb or the back of the left hand. - Sayanuki (鞘抜き) - pulling the scabbard away from the blade
Without moving the sword, the saya is pulled back until the kurikata (繰形, fastening nupsi for the carrying cord) rests against the obi. At this point, part of the blade usually remains in the sheath. - Koshinuki (腰抜き) - final release of the blade
By pulling back/lowering the hip (or alternatively stepping with the right foot), the last piece of the blade is released from the scabbard - still without moving the sword much. - Nukitsuke (抜き付け) - the actual draw and strike
The right hand, which previously held the handle loosely, closes tightly and performs the striking or parrying movement.
With these distributed, precise movements, amazing reach can be achieved - even with very long blades - without losing control or striking power.