Taikyoku sono ni
Name
Romaji: Taikyoku sono ni
Japanese: 太極その二 / 太極二段
Sono ni means the second form. Some references use Taikyoku nidan. Galaz Dojo keeps sono ni for consistent Kyokushin romaji. See Taikyoku for the series background.
Introduction
This second form retains the embusen and order of Taikyoku sono ichi, replacing Seiken chūdan oi tsuki with Seiken jōdan oi tsuki throughout. Raising the target tests shoulder, wrist and seiken alignment, gaze and vertical stability while preserving the same quality of stance and direction.
Place in the system
Group: Foundational kata. Level: Beginner / early kyu. Practise after understanding the structure of Taikyoku sono ichi. Apply the same principles as individual kihon. Use the familiar embusen to deepen technical precision, not simply to add another memorised form.
Technical profile
Stances: Zenkutsu-dachi. Hand techniques: Seiken gedan barai, Seiken jōdan oi tsuki. Principles: hikite, hip connection/control, centre line, shoulder and seiken alignment, kime and zanshin. Movement: Taikyoku embusen with 90°, 180° and 270° turns. Kiai: 8 and 16. Simple structure makes technical quality visible; ni demands more precision in line and height than ichi.
Embusen and technical diagram
Diagram unavailable: The embusen diagram described in the source is absent from this edition. Follow the directions and movement sequence in the text.
The pattern moves left and right, along the main line, out to the sides again and towards the finishing direction. It is commonly drawn as an I or H. Its numbering corresponds to the 20 main counts below. A diagram would describe direction and order, while stance, hips, gaze, hikite and breathing need the accompanying technical explanation. Check main directions, turns, stride, finishing point, pivot leg and stance transitions. Keep the body on its line, lead with the gaze and avoid corrective steps or turning the torso before the feet and hips.
Stances
Zenkutsu-dachi provides forward structure, stability and power transfer. Keep the front knee stable, the rear leg supportive, the body centred and the height consistent. Complete stance and technique together. The formal start and finish use Fudō-dachi; the yoi movement ends in Heikō-dachi.
Some modern references suggest approximately 70/30 weight distribution in Zenkutsu-dachi. Treat this as a teaching indication, not an absolute measurement attributed to Oyama unless a primary source explicitly states it.
Principal techniques
Gedan barai coordinates feet, hips and arm along a clear low line at directional changes. Hikite is not separately counted, but integrates the body, line and finish. Jōdan oi tsuki provides the advancing punch with aligned seiken, hip connection and kime. Refer to kihon/atari-bu definitions for individual technique detail.
Keep jōdan punches at the upper target without lifting the shoulder, bending the wrist, breaking the seiken line, leaning backwards or losing centre, stance height or balance. Distinguish chūdan from jōdan deliberately.
Start and finish
Begin in Fudō-dachi, facing shinden. Announce the kata name; on yoi, perform the slow preparation ending in Heikō-dachi according to dojo standard. In mugōrei, perform the kata without ongoing counting after hajime. This page numbers only the 20 main counts; start, yoi, naore and yasume are separate. On naore, retract the left foot and return 90° anticlockwise to Fudō-dachi according to dojo standard. On yasume, return to the resting position.
Keep the gaze in the preceding direction until the return turn is complete.
Movement sequence
The following teaching sequence supports practice and revision according to the selected Galaz Dojo/modern Kyokushin standard; it does not replace dojo instruction.
| No. | Direction | Stance | Technique | Comment |
|---|---|---|---|---|
| 1 | Turn 90° left | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn anticlockwise left and block low. Clearly retract the right hand to hikite. |
| 2 | Forwards | Migi zenkutsu-dachi | Migi seiken jōdan oi tsuki | Step forwards and punch straight towards jōdan level. |
| 3 | Turn 180° right | Migi zenkutsu-dachi | Migi seiken gedan barai | Turn clockwise right. Set the stance and block together. |
| 4 | Forwards | Hidari zenkutsu-dachi | Hidari seiken jōdan oi tsuki | Advance and punch jōdan oi tsuki with the left hand. |
| 5 | Turn 90° left onto the main line | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn anticlockwise onto the main line and block low. |
| 6 | Forwards | Migi zenkutsu-dachi | Migi seiken jōdan oi tsuki | Step forwards and punch jōdan, retaining the centre line. |
| 7 | Forwards | Hidari zenkutsu-dachi | Hidari seiken jōdan oi tsuki | Continue along the main line at the same height and technical direction. |
| 8 | Forwards | Migi zenkutsu-dachi | Migi seiken jōdan oi tsuki, kiai | Finish the first main line with clear kime and kiai. |
| 9 | Turn 270° left | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn 270° anticlockwise to a new direction and block low. |
| 10 | Forwards | Migi zenkutsu-dachi | Migi seiken jōdan oi tsuki | Step forwards and punch jōdan. |
| 11 | Turn 180° right | Migi zenkutsu-dachi | Migi seiken gedan barai | Turn clockwise to the opposite direction and block low. |
| 12 | Forwards | Hidari zenkutsu-dachi | Hidari seiken jōdan oi tsuki | Step forwards and punch jōdan with the left hand. |
| 13 | Turn 90° left onto the main line | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn anticlockwise onto the main line and block low. |
| 14 | Forwards | Migi zenkutsu-dachi | Migi seiken jōdan oi tsuki | Step forwards and punch jōdan. |
| 15 | Forwards | Hidari zenkutsu-dachi | Hidari seiken jōdan oi tsuki | Continue along the main line, retaining height, direction and zanshin. |
| 16 | Forwards | Migi zenkutsu-dachi | Migi seiken jōdan oi tsuki, kiai | Finish the second main line with clear kime and kiai. |
| 17 | Turn 270° left | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn 270° anticlockwise to a new direction and block low. |
| 18 | Forwards | Migi zenkutsu-dachi | Migi seiken jōdan oi tsuki | Step forwards and punch jōdan. |
| 19 | Turn 180° right | Migi zenkutsu-dachi | Migi seiken gedan barai | Turn clockwise to the opposite direction and block low. |
| 20 | Forwards | Hidari zenkutsu-dachi | Hidari seiken jōdan oi tsuki | Finish the final technical movement with controlled posture, direction and zanshin. |
Breathing, rhythm and kiai
Distinguish turns and blocks from advancing punches, and give the longer 270° turns at 9 and 17 their proper rhythm. Kiai is at 8 and 16, on the main lines. Create rhythm through clear preparation, controlled movement, technical completion and zanshin. Coordinate breathing, kime and kiai with the finish rather than making the whole form fast or mechanically even.
Technical key points
Lead turns with the gaze; pivot on the correct leg, especially at 9 and 17; complete footwork, hips, stance and technique as one unit; retain height and stance quality; give Gedan barai a clear low line; punch straight with aligned wrist, forearm and seiken; use active hikite; avoid corrective steps; and retain zanshin throughout.
Keep jōdan punches at the upper target without lifting the shoulder, bending the wrist, breaking the seiken line, leaning backwards or losing centre, stance height or balance. Distinguish chūdan from jōdan deliberately.
Common errors
Knowing the order while losing stance quality; torso turning ahead of feet and hips; unclear 270° turns or the wrong pivot leg; changing height; overly large, low or shapeless Gedan barai; punches without centre line or hip connection; forgotten or passive hikite; turning the front foot too early while advancing; mechanical rhythm; poorly coordinated breath, kiai and kime; and a finish that loses structure.
Additional errors are confusing this form with an earlier one, missing its stance or target changes, punching too high, raising the shoulder or bending the wrist.
Bunkai and application
Keep applications simple and appropriate to the form. Gedan barai can express low deflection, downward control or release; an advancing punch provides a direct counter after a block or positional change. Turning addresses a new attack. Zenkutsu-dachi gives stability and power transfer, hikite integrates the body and reinforces completion, and the gaze prepares direction and intent. Work with a partner under control; do not make the application more advanced than the technical level warrants.
The jōdan counter targets the upper level after a block or positional change. Gaze prepares that target; retain upper-line control without opening the body or losing balance.
Training method
- Review the embusen of Taikyoku sono ichi.
- Learn the order slowly with jōdan oi tsuki.
- Check 90°, 180° and 270° turns.
- Review every Zenkutsu-dachi.
- Check Gedan barai and Jōdan oi tsuki separately.
- Check that the jōdan punch does not raise the shoulder.
- Check wrist, forearm and seiken alignment.
- Check active hikite.
- Add breathing, rhythm, kime and kiai.
- Practise without counting, retaining zanshin throughout.
- Try simple partner bunkai, then return to the form.