I recently had the good fortune to write an article about Iraha Chōkō (1901–1986), which was subsequently published (Gekkan Hiden 2026/10). In this article, I also addressed the connection between Iraha Chōkō and Hokama Tetsuhiro. Unfortunately, due to space limitations, I was unable to discuss the subject in full. I would therefore like to elaborate on it here.
Hokama Sensei met Iraha Sensei at the latter’s home on 25. February 1984, where he was also able to see the “Kyoda Jūhatsu Sensei Karate-dō Kun.” A photograph of it appears in Hokama’s book Okinawa Karate-dō no Ayumi. Hokama did not, however, visit Iraha Sensei alone; he was apparently introduced to him by Iraha’s nephew, Chōketsu.
Hokama also attended Iraha’s calligraphy exhibition in February 1985. A pamphlet containing all of Iraha Chōkō’s works was also produced for this event. However, the calligraphy “Sangen Ichiryū” is absent from this pamphlet, although the original is still preserved today in Hokama Sensei’s dōjō. By contrast, the calligraphy “Taizen Jijaku” is included in the pamphlet and likewise remains preserved in the dōjō.
It can therefore be assumed that “Sangen Ichiryū” was one of Iraha Chōkō’s final works and was created during the last year of his life.
The calligraphy “Sangen Ichiryū” (三源一流) can be understood as three origins converging into a single stream. Whether Iraha had Tō’on-ryū in mind when creating this calligraphy requires further investigation.
As you are undoubtedly aware, Tō’on-ryū incorporates elements of Naha-te (Sanchin, Seisan, Sanseirū, and Pecchūrin), Shuri-te (Jion), and White Crane (Nepai). In a sense, these represent three distinct origins that converge within Tō’on-ryū to form a single style.
The calligraphy “Taizen Jijaku” (泰然自若) represents the ability to remain calm and composed, even in difficult situations. It describes a state of mind in which a person maintains inner peace and self-control, regardless of the challenges they face.
Karate Kenkyū Shitsu 