Pinan sono yon¶

Name¶

Romaji: Pinan sono yon
Japanese: 平安その四 / 平安四段
English: Fourth Pinan kata / Pinan number four

Pinan is the Okinawan reading of the characters 平安 and can be understood pedagogically as peace, calm, security, or peace of mind. In karate, this should not be understood as passivity, but as the ability to maintain control, balance, and clarity during technical movement.

Sono yon means number four or fourth form. In some sources, the designation Pinan yondan or 平安四段 is used. On Galaz Dojo, the page name Pinan sono yon is used for consistency with Kyokushin romaji and the other kata pages.

Introduction¶

Pinan sono yon is the fourth kata form in the Pinan series. It builds on the earlier Pinan forms but has a clearer focus on double defenses, high kicking techniques, short explosive transitions, elbow technique, knee technique, and coordination between open-hand and closed-hand positions.

The kata requires the practitioner to shift between Kokutsu-dachi, Zenkutsu-dachi, Tsuruashi-dachi, and Kake-dachi, and to coordinate blocking, kicking, uraken, elbow technique, shutō technique, double punches, and knee technique.

Pinan sono yon is more dynamic than the first three Pinan forms. It trains not only direction and stance, but also the ability to shift quickly between defense and attack, maintain balance after a high kick, and generate power without losing technical form.

Position in the system¶

Group: Pinan kata
Level: Intermediate level
Technical focus: Kokutsu-dachi, Zenkutsu-dachi, Tsuruashi-dachi, Kake-dachi, shutō uchi uke, shutō jōdan uke, gedan jūji uke, morote uchi uke, jōdan yoko geri, uraken, hiji jōdan ate, shutō ganmen uchi, chūdan mae geri, kake wake kamae, nihon chūdan tsuki, hiza geri, and shutō mawashi uke

Pinan sono yon is trained after the student has understood Pinan sono ichi, Pinan sono ni, and Pinan sono san. The kata requires more advanced control of balance, kick recovery, hip rotation, and compound hand techniques.

The kata functions as a check of whether the practitioner can:

perform double blocks in Kokutsu-dachi
coordinate Shutō uchi uke and Shutō jōdan uke
perform Gedan jūji uke with a clear centerline
maintain balance in Tsuruashi-dachi
perform Jōdan yoko geri with simultaneous Uraken jōdan yoko uchi
follow the kick with Hiji jōdan ate
perform Shutō ganmen uchi with correct direction and a protective opposite-hand position
enter Kake-dachi with Uraken sayū ganmen uchi
perform Kake wake kamae slowly and with control
coordinate Chūdan mae geri and Nihon chūdan tsuki
use Hiza geri after a gripping marker
finish with Shutō mawashi uke in Kokutsu-dachi

Technical profile¶

Area	Content
Main focus	Double defenses, high kick, elbow technique, knee technique, and explosive transitions
Stances	Kokutsu-dachi, Zenkutsu-dachi, Tsuruashi-dachi, Kake-dachi
Hand techniques	Shutō uchi uke, Shutō jōdan uke, Gedan jūji uke, Morote uchi uke, Uraken, Hiji ate, Shutō ganmen uchi, Kake wake kamae, Nihon chūdan tsuki, Shutō mawashi uke
Leg techniques	Jōdan yoko geri, Chūdan mae geri, Hiza geri
Movement	Side turns, diagonal steps, kake-dachi transition, and final pivot
Kiai	Movements 10 and 19
Character	Dynamic, explosive, and technically more demanding than the first three Pinan forms

Pinan sono yon contains several clear contrasts: slow preparation and explosive technique, high kick and close-range elbow technique, open hand and closed hand, as well as forward-directed attack and circular finishing block.

Embusen and technical figure¶

The embusen of Pinan sono yon contains side turns, forward movements, diagonal directions, kicking sequences, Kake-dachi, and finishing shutō movements.

The diagram shows the movement pattern of Pinan sono yon. The numbering corresponds to the kata’s 20 main counts and should be read together with the movement sequence below.

The figure is a technical reference for direction and order. It does not show all details of stance, hip work, gaze, hikite, kicking technique, elbow technique, kake-dachi, knee technique, or breathing.

During learning, the student should especially check:

main directions and turns
transitions into Kokutsu-dachi, Tsuruashi-dachi, and Kake-dachi
kick recovery after Jōdan yoko geri and Chūdan mae geri
the direction of Shutō ganmen uchi
movement 18 as a gripping marker, not as a new separate stance
the direction of Hiza geri
the pivot in movement 19
that no extra adjustment steps are added
that the gaze is directed before the technique is completed

Stances¶

Pinan sono yon uses four main technical stances:

Stance	Function in the kata
Kokutsu-dachi	Used in the opening double blocks and in the finish with shutō mawashi uke.
Zenkutsu-dachi	Used in jūji uke, morote uke, shutō ganmen uchi, kake wake controls, punching sequences, and several forward-directed moments.
Tsuruashi-dachi	Used as a balance position before and after jōdan yoko geri and after chūdan mae geri.
Kake-dachi	Used after chūdan mae geri and before uraken sayū ganmen uchi. The stance must be set with control.

Formally, the kata begins and ends in Fudō-dachi. After the command yoi, the yoi movement is performed according to dojo standard and ends in Heikō-dachi.

It is especially important that Kokutsu-dachi does not fall forward, that Zenkutsu-dachi is set without extra correction steps, that Tsuruashi-dachi is held with control before and after the kick, and that Kake-dachi is landed stably.

Central techniques¶

Technique	Function in the kata
Shutō uchi uke / Shutō jōdan uke	Double defenses in the opening with protection on the chūdan and jōdan lines.
Seiken gedan jūji uke	Downward cross block with a clear centerline.
Seiken morote uchi uke	Reinforced middle-level block with supporting hand.
Jōdan yoko geri / Uraken jōdan yoko uchi	Coordinated kick and arm technique toward a side line.
Hiji jōdan ate	Close-range elbow technique after the kick and hip rotation.
Shutō ganmen uchi / Shōtei jōdan cover	Strike to head level with the opposite hand protecting.
Chūdan mae geri / Uraken sayū ganmen uchi	Kick followed by short uraken in Kake-dachi with kiai.
Kake wake kamae	Slow crossing preparation or opening structure.
Nihon chūdan tsuki	Two consecutive chūdan punches with clear order and hip connection.
Hiza geri	Knee technique after a pulling hand action or gripping marker.
Shutō mawashi uke	Final circular block in Kokutsu-dachi.

The techniques should be performed with correct striking surface, line, hikite, hip connection, and technical completion. Where the form of the technique is already described in the kihon or atari-bu section, the kata page should link there instead of repeating all technical detail.

Start and finish¶

The kata begins in Fudō-dachi, facing shinden.

After the name of the kata, Pinan sono yon, is announced, the command yoi is given. A slow yoi movement is then performed, ending in Heikō-dachi according to dojo standard.

In mugōrei, the kata is performed without continuous counting after the command hajime.

On this page, only the kata’s 20 main counts are numbered. Start, yoi, naore, and yasume are described separately.

On the command naore, the right foot returns to Fudō-dachi according to dojo standard. On yasume, the practitioner returns to the resting position.

Movement sequence¶

The movement sequence below describes the kata in pedagogical order according to modern Kyokushin/KWF standard. It is intended as support for training and repetition, but does not replace instruction in the dojo.

No.	Direction	Stance	Technique	Comment
1	Turn 90° left	Hidari kokutsu-dachi	Hidari shutō uchi uke / migi shutō jōdan uke	Turn counterclockwise into Kokutsu-dachi and perform a coordinated double shutō block.
2	Turn 180° right	Migi kokutsu-dachi	Migi shutō uchi uke / hidari shutō jōdan uke	Turn clockwise into Migi kokutsu-dachi and perform the mirrored double shutō block.
3	Turn 90° left onto the main line	Hidari zenkutsu-dachi	Migi seiken gedan jūji uke	Turn into Zenkutsu-dachi and block gedan jūji uke with clear cross structure.
4	Forward	Migi zenkutsu-dachi	Migi seiken morote uchi uke	Step forward and block morote uchi uke with a clear supporting hand.
5	Balance preparation	Tsuruashi-dachi	Waki no kamae	Slowly bring the left leg into Tsuruashi-dachi and draw both hands to migi waki no kamae.
6	Side kick and elbow	Hidari zenkutsu-dachi	Hidari jōdan yoko geri / hidari uraken jōdan yoko uchi / migi hiji jōdan ate	Kick yoko geri and strike uraken simultaneously. Recover the foot, set down into Zenkutsu-dachi, and finish with hiji jōdan ate against the open hand.
7	Balance preparation	Tsuruashi-dachi	Waki no kamae	Turn the body 45° and slowly lift the right leg into Tsuruashi-dachi with the hands in hidari waki no kamae.
8	Side kick and elbow	Migi zenkutsu-dachi	Migi jōdan yoko geri / migi uraken jōdan yoko uchi / hidari hiji jōdan ate	Perform the mirrored kick and elbow sequence with control over kick recovery and hip rotation.
9	Turn left	Hidari zenkutsu-dachi	Migi shutō ganmen uchi	Turn the torso and gaze toward the new direction. Perform shutō ganmen uchi with the opposite hand protecting.
10	Diagonal kick and kake-dachi	Migi kake-dachi	Migi chūdan mae geri / migi uraken sayū ganmen uchi, kiai	Kick chūdan mae geri, recover the leg, enter Migi kake-dachi by stepping or jumping, and strike uraken with kiai.
11	Turn 135° left	Hidari zenkutsu-dachi	Kake wake kamae	Turn counterclockwise into Hidari zenkutsu-dachi and slowly enter kake wake kamae.
12	Forward	Migi zenkutsu-dachi	Migi chūdan mae geri / nihon chūdan tsuki	Kick mae geri, step forward into Migi zenkutsu-dachi, and perform two chūdan punches.
13	Turn 90° right	Migi zenkutsu-dachi	Kake wake kamae	Turn clockwise into Migi zenkutsu-dachi and slowly enter the mirrored kake wake kamae.
14	Forward	Hidari zenkutsu-dachi	Hidari chūdan mae geri / nihon chūdan tsuki	Kick mae geri, step forward into Hidari zenkutsu-dachi, and perform two chūdan punches.
15	Diagonal left	Hidari zenkutsu-dachi	Hidari seiken morote uchi uke	Move 45° counterclockwise and block morote uchi uke.
16	Forward	Migi zenkutsu-dachi	Migi seiken morote uchi uke	Step forward and block morote uchi uke.
17	Forward	Hidari zenkutsu-dachi	Hidari seiken morote uchi uke	Step forward and block morote uchi uke.
18	Same direction	Hidari zenkutsu-dachi	Gripping marker toward the head	Open both hands and mark a grip toward an imagined opponent’s head. This is a gripping marker from the previous position, not a new stance.
19	Knee technique and turn	Hidari kokutsu-dachi	Migi hiza geri / hidari shutō mawashi uke, kiai	Pull the hands downward and perform migi hiza geri with kiai. Place the right foot diagonally in front of the left, then turn 180° counterclockwise into Hidari kokutsu-dachi with shutō mawashi uke.
20	Forward	Migi kokutsu-dachi	Migi shutō mawashi uke	Step forward into Migi kokutsu-dachi and finish with shutō mawashi uke and zanshin.

Breathing, rhythm, and kiai¶

The rhythm should mark the difference between:

double shutō blocks in Kokutsu-dachi
Gedan jūji uke and Morote uchi uke
slow balance preparation in Tsuruashi-dachi
explosive Jōdan yoko geri with Uraken and Hiji jōdan ate
Shutō ganmen uchi with a protective hand position
Kake-dachi with Uraken and kiai
slow Kake wake kamae
Chūdan mae geri followed by Nihon chūdan tsuki
the Morote uchi uke sequence
gripping marker and Hiza geri with kiai
final Shutō mawashi uke in Kokutsu-dachi

Kiai is performed on:

movement 10
movement 19

In movement 10, the kiai is placed on Uraken sayū ganmen uchi in Kake-dachi, not on the Chūdan mae geri itself. In movement 19, the kiai is placed on Hiza geri together with the pulling hand action.

Technical key points¶

Direct the gaze before the turn and technique are completed.
Clearly distinguish between Kokutsu-dachi, Zenkutsu-dachi, Tsuruashi-dachi, and Kake-dachi.
Perform Shutō uchi uke / Shutō jōdan uke as a coordinated double block.
Perform Gedan jūji uke with clear cross structure and centerline.
Perform Morote uchi uke with the correct supporting hand.
Control balance in Tsuruashi-dachi before and after the kick.
Coordinate Jōdan yoko geri and Uraken jōdan yoko uchi.
Recover the kicking leg before placing the foot down.
Coordinate hip rotation and Hiji jōdan ate.
Perform Shutō ganmen uchi with the opposite hand protecting.
The landing in Kake-dachi must be controlled and directed.
Perform Kake wake kamae slowly without losing structure.
Perform Nihon chūdan tsuki with clear order and hip connection.
Movement 18 is a gripping marker from the previous position, not a new stance.
Pull the hands actively during the Hiza geri moment.
In movement 19, the left foot should not move after the right foot has been placed diagonally in front; the turn is made by pivoting on the right foot.
Finish Shutō mawashi uke with stable Kokutsu-dachi and zanshin.

Common errors¶

The double shutō blocks become unsynchronized.
Kokutsu-dachi falls forward.
Gedan jūji uke lacks clear cross structure.
Morote uchi uke lacks the function of the supporting hand.
Tsuruashi-dachi becomes a rushed transition without control.
Jōdan yoko geri is performed without a stable supporting leg.
Uraken and the kick are not coordinated.
Hiji jōdan ate becomes a loose elbow movement without hip connection.
Shutō ganmen uchi lacks the protective opposite hand.
Kake-dachi is landed unstably.
Kiai is incorrectly placed on the kick in movement 10 instead of on the uraken in Kake-dachi.
Kake wake kamae is performed too quickly or without structure.
Chūdan mae geri lacks recovery.
Nihon chūdan tsuki loses order or centerline.
Movement 18 is treated as a new stance instead of a gripping marker.
Hiza geri becomes a loose knee lift without a pulling hand action.
The left foot is incorrectly moved in the transition to Shutō mawashi uke in movement 19.
The finishing Shutō mawashi uke lacks stable Kokutsu-dachi.
Breathing, kiai, and kime are not coordinated with the completion of the technique.

Bunkai and application¶

Bunkai for Pinan sono yon should focus on double defenses, high kick, close-range attack, elbow technique, control of the opponent’s head, and the final positional change.

Movement or technique	Simple bunkai
Shutō uchi uke / Shutō jōdan uke	Double control against the chūdan and jōdan lines.
Gedan jūji uke	Downward cross block or catching control.
Morote uchi uke	Reinforced middle-level block.
Jōdan yoko geri / Uraken jōdan yoko uchi	Coordinated kick and arm technique toward a side line.
Hiji jōdan ate	Close-range elbow technique after the kick and landing.
Shutō ganmen uchi	Strike to head level with the opposite hand protecting.
Kake-dachi / Uraken sayū ganmen uchi	Positional change and short attack at close range.
Kake wake kamae	Opening or separating control of the line.
Chūdan mae geri / Nihon chūdan tsuki	Kick followed by two straight punches.
Gripping marker / Hiza geri	Control of the head or upper body followed by knee technique.
Shutō mawashi uke	Circular control and final zanshin.

Bunkai should be trained in a controlled way with a partner and should not be made more advanced than the technical level of the kata justifies.

Training method¶

Train the kata step by step:

Repeat Pinan sono ichi, ni, and san.
Learn Pinan sono yon slowly and without power.
Train Shutō uchi uke / Shutō jōdan uke.
Train Gedan jūji uke and Morote uchi uke.
Train Tsuruashi-dachi and Waki no kamae.
Train Jōdan yoko geri and Uraken jōdan yoko uchi together.
Train Hiji jōdan ate after the kick and landing.
Train Shutō ganmen uchi with the protective hand position.
Train Kake-dachi and Uraken sayū ganmen uchi.
Train Kake wake kamae slowly.
Train Chūdan mae geri followed by Nihon chūdan tsuki.
Train the Morote uchi uke sequence.
Train the gripping marker and Hiza geri.
Train the pivot in movement 19: the right foot is placed diagonally in front, and the left foot does not move.
Train the finishing Shutō mawashi uke.
Add breathing, rhythm, kime, and kiai.
Train without counting and maintain zanshin from start to finish.
Try simple bunkai with a partner and then return to the kata form.