Taikyoku sono ni¶

Name¶

Romaji: Taikyoku sono ni
Japanese: 太極その二 / 太極二段
English: Second Taikyoku kata / basic kata number two

Sono ni means number two or second form.

In some materials, the designation Taikyoku nidan or 太極二段 is used. On Galaz Dojo, the page name Taikyoku sono ni is used for consistency with Kyokushin romaji and the other kata pages.

For common background on the Taikyoku series, the name Taikyoku, and the series’ place in Kyokushin, see Taikyoku.

Introduction¶

Taikyoku sono ni is the second basic kata form in the Taikyoku series. It is based on the same simple embusen and the same movement structure as Taikyoku sono ichi, but with one important technical change: all thrusts are performed as Seiken jōdan oi tsuki instead of Seiken chūdan oi tsuki.

The kata trains the same fundamental relationship between stance, direction, turning, blocking, thrusting, breathing, and kime as the first Taikyoku form. The difference is that the thrust is directed toward jōdan level, which places higher demands on shoulder control, wrist line, seiken line, gaze, and the body’s vertical stability.

Taikyoku sono ni should therefore not be treated as a new kata merely because the student changes the target level. It should be used to check whether the practitioner can maintain the same stability, direction, and technical quality when the attack level changes from chūdan to jōdan.

Position in the system¶

Group: Basic kata
Level: Beginner level / early kyu level
Technical focus: Zenkutsu-dachi, gedan barai, jōdan oi tsuki, hikite, turns, and embusen

Taikyoku sono ni is trained after the student has understood the basic structure of Taikyoku sono ichi. Since the embusen and movement order are the same, the practitioner can focus on the technical difference between chūdan oi tsuki and jōdan oi tsuki.

The kata should be used to deepen precision in basic technique, not only to add another form to the kata order. Every block and thrust should follow the same technical principles as when the technique is trained individually in kihon.

Technical profile¶

Area	Content
Main focus	Same basic structure as Taikyoku sono ichi, but with thrusts to jōdan level
Stances	Zenkutsu-dachi
Hand techniques	Seiken gedan barai, Seiken jōdan oi tsuki
Central principles	Hikite, shoulder control, seiken line, centerline, kime, and zanshin
Movement	Basic embusen of the Taikyoku series with 90°, 180°, and 270° turns
Kiai	Movement 8 and 16
Character	Simple in form, but more demanding in line and height than Taikyoku sono ichi

Taikyoku sono ni consists of a simple and clear embusen with recurring turns, Seiken gedan barai, and Seiken jōdan oi tsuki in Zenkutsu-dachi. The form primarily trains whether the practitioner can maintain the same stability and body line when the thrust is directed to the upper level.

Embusen and technical figure¶

The embusen in Taikyoku sono ni follows the same simple I-like or H-like movement pattern as Taikyoku sono ichi, depending on how the diagram is presented. The difference lies in the target level of the technique: Seiken jōdan oi tsuki instead of Seiken chūdan oi tsuki.

The diagram shows the movement pattern for Taikyoku sono ni. The numbering corresponds to the kata form’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, or breathing.

During learning, the student should especially check:

main directions and turns
step length and finishing point
that no extra adjustment steps are added
that the body does not turn before the feet and hips
that the gaze is directed before the technique finishes
that the jōdan thrust does not change the height or balance of the stance

Stances¶

Taikyoku sono ni uses one main technical stance:

Stance	Function in the kata
Zenkutsu-dachi	Used in the kata form’s 20 main counts during Gedan barai and Jōdan oi tsuki. The stance provides forward-directed structure, stability, and power transfer.

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

In some modern materials, the approximate weight distribution in Zenkutsu-dachi is given as around 70/30. On Galaz Dojo, this should be understood as a pedagogical marker, not as an absolute measurement from Oyama unless the primary source states it explicitly.

It is especially important that the front knee remains stable, the rear leg provides support, the height does not change unnecessarily, and Jōdan oi tsuki does not cause the upper body to lean backward or the shoulder to rise.

Central techniques¶

Technique	Function in the kata
Seiken gedan barai	Used in all direction changes. The technique trains low blocking, clear line, active hikite, and coordination between footwork, hip, and arm.
Seiken jōdan oi tsuki	Used on the forward movements. The thrust is directed to jōdan level with correct seiken line, hip connection, shoulder control, and kime.
Hikite	It is not a separate movement in the sequence, but it is essential for gathering, line, and technical completion.

Jōdan oi tsuki must not become a lifted arm movement where the shoulder rises and the body loses its center. The thrust should be directed toward the upper level without breaking the body’s vertical line or losing stability in Zenkutsu-dachi.

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 detailed text.

Start and finish¶

The kata begins in Fudō-dachi, facing the shinden.

After the name of the kata has been announced, Taikyoku sono ni, the command yoi is given. A slow yoi movement is then performed, finishing 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 form’s 20 main counts are numbered. Start, yoi, naore, and yasume are described separately.

On the command naore, the practitioner returns 90° counterclockwise to Fudō-dachi by drawing back the left foot according to dojo standard. The gaze remains in the previous direction until the turn is completed. 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 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 zenkutsu-dachi	Hidari seiken gedan barai	Turn counterclockwise to the left and block low. The right hand is drawn clearly to hikite.
2	Forward	Migi zenkutsu-dachi	Migi seiken jōdan oi tsuki	Step forward and thrust straight to jōdan level.
3	Turn 180° right	Migi zenkutsu-dachi	Migi seiken gedan barai	Turn clockwise to the right. Set stance and block at the same time.
4	Forward	Hidari zenkutsu-dachi	Hidari seiken jōdan oi tsuki	Move forward and strike jōdan oi tsuki with the left hand.
5	Turn 90° left onto the main line	Hidari zenkutsu-dachi	Hidari seiken gedan barai	Turn counterclockwise onto the main line and block low.
6	Forward	Migi zenkutsu-dachi	Migi seiken jōdan oi tsuki	Step forward and thrust jōdan while maintaining the centerline.
7	Forward	Hidari zenkutsu-dachi	Hidari seiken jōdan oi tsuki	Continue along the main line with the same height and technical direction.
8	Forward	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° counterclockwise to a new direction and block low.
10	Forward	Migi zenkutsu-dachi	Migi seiken jōdan oi tsuki	Step forward and thrust jōdan.
11	Turn 180° right	Migi zenkutsu-dachi	Migi seiken gedan barai	Turn clockwise to the opposite direction and block low.
12	Forward	Hidari zenkutsu-dachi	Hidari seiken jōdan oi tsuki	Step forward and thrust jōdan with the left hand.
13	Turn 90° left onto the main line	Hidari zenkutsu-dachi	Hidari seiken gedan barai	Turn counterclockwise onto the main line and block low.
14	Forward	Migi zenkutsu-dachi	Migi seiken jōdan oi tsuki	Step forward and thrust jōdan.
15	Forward	Hidari zenkutsu-dachi	Hidari seiken jōdan oi tsuki	Continue along the main line while maintaining height, direction, and zanshin.
16	Forward	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° counterclockwise to a new direction and block low.
18	Forward	Migi zenkutsu-dachi	Migi seiken jōdan oi tsuki	Step forward and thrust jōdan.
19	Turn 180° right	Migi zenkutsu-dachi	Migi seiken gedan barai	Turn clockwise to the opposite direction and block low.
20	Forward	Hidari zenkutsu-dachi	Hidari seiken jōdan oi tsuki	Finish the final technical movement with controlled posture, direction, and zanshin.

Breathing, rhythm, and kiai¶

The rhythm should show the difference between:

turning with Gedan barai
forward movement with Jōdan oi tsuki
the longer 270° turns on movements 9 and 17
the kiai points on the main lines

Kiai is performed on:

movement 8
movement 16

Rhythm should not be created by performing the movements quickly. It should be created by ensuring that each moment has a clear start, movement, technical completion, and zanshin.

Technical key points¶

Direct the gaze before the turn and technique finish.
Pivot clearly on the correct leg in the turns.
Pay special attention to the 270° turns on movements 9 and 17.
Let footwork, hip, and technique finish as one unit.
Preserve the quality of Zenkutsu-dachi throughout the entire form.
Keep the same height during movement.
Perform Gedan barai with a clear low line, not as a loose arm swing.
Perform Jōdan oi tsuki straight forward without raising the shoulder.
Keep wrist, forearm, and seiken in correct alignment.
Let the jōdan thrust go toward the upper level without the body losing center.
Use hikite actively in every block and thrust.
Avoid extra adjustment steps after turns.
Preserve zanshin throughout the entire kata form.

Common mistakes¶

The form is performed like Taikyoku sono ichi without technical understanding of the difference between chūdan and jōdan.
The student knows the order but loses the quality of the stance.
Jōdan oi tsuki becomes too high and loses its line.
The shoulder rises when thrusting to jōdan.
The wrist bends or the seiken line breaks.
The upper body leans backward to create height.
Turns are made with the upper body before the feet and hips.
The 270° turns on movements 9 and 17 become unclear.
The pivot is made on the wrong leg.
Height changes between steps.
Gedan barai becomes too large, too low, or lacks a clear line.
Hikite is forgotten or becomes passive.
The front foot turns too early in the forward movements.
The rhythm becomes mechanical and lacks technical intent.
Breathing, kiai, and kime are not coordinated with the completion of the technique.
The end of the kata form falls apart.

Bunkai and application¶

Bunkai for Taikyoku sono ni should be kept simple and close to the kata form’s technical level. The analysis should show how low blocking, direction, stance, and counterattack toward the upper level are connected.

Movement or technique	Simple bunkai
Gedan barai	Low deflection, downward control, or release.
Jōdan oi tsuki	Direct counterattack toward the upper level after a block or positional change.
Turn	New direction toward a new attack.
Zenkutsu-dachi	Stability and power transfer in block and thrust.
Hikite	Gathering of the body and reinforcement of the technique’s completion.
Gaze	Prepares direction, intent, and striking level.
Jōdan line	Control of the upper target level without the body opening or losing balance.

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 form justifies.

Training method¶

Train the kata form step by step:

Repeat the embusen from Taikyoku sono ichi.
Learn the order slowly with jōdan oi tsuki.
Check the 90°, 180°, and 270° turns.
Review each Zenkutsu-dachi.
Check Gedan barai and Jōdan oi tsuki separately.
Check that the jōdan thrust does not raise the shoulder.
Check wrist, forearm, and seiken line.
Check active hikite.
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.