Delivering a proper Descending Cut - Understanding HEMA
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Rising Draw Cut·Blood and Iron HEMA
Hosts Nicole Smith and Sean Franklin go in depth with some of the technical aspects of throwing a proper descending cut …
Rising Draw Cut
Genus逆袈裟抜き
TraditionalTranslation: Reverse Kesa Draw
Overview
The Rising Draw Cut is an iaidō nukitsuke variant in which the blade is drawn upward in a rising arc rather than horizontally, cutting from the opponent's lower body toward the upper body or face. [1] This draw-cut is used in specific iaidō kata that address threats from a low or seated position, where the upward trajectory exploits the attacker's proximity. [1],[2] The rising draw-cut requires precise coordination of sayabiki and blade extraction, as the upward motion demands different timing than the standard horizontal nukitsuke. [2],[3]
History & Origin
Rising draw-cut variations appear in several koryū iaidō kata and in specific forms within the Seitei Iai set, reflecting the tactical need to address attackers from different positions. [1] These upward nukitsuke actions demonstrate the art's versatility in responding to threats from any angle. [2],[3]
Effectiveness
Lineage
The rising draw cut was part of the multi-directional cutting curriculum in classical kenjutsu schools, complementing the descending cuts. [1]
Competition Record
Rising cuts are demonstrated in iaidō kata competition and tameshigiri events. [1]
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Biomechanical Mechanism
Primary Action — Cutting, thrusting, or striking with a bladed weapon — edge alignment and trajectory determine cutting effectiveness
Joints Involved — Wrists (edge alignment and rotation), elbows (extension for thrusts, chambering for cuts), shoulders (arc of the cut), hips (power generation)
Force Vector — Varies — downward diagonal cut (kesa-giri), horizontal cut (yoko-giri), thrust (tsuki), or rising cut (kiri-age)
Weapon Mechanic — Edge alignment (hasuji) is critical — the blade must travel along its cutting plane for effective cuts
Position & Entry
From ready stance (chudan-no-kamae or equivalent) — Assume guard position, establish distance (ma-ai), execute the cut or thrust when an opening appears
From engagement distance — Use footwork to close to striking range, execute the technique with proper edge alignment (hasuji)
As counter — Wait for the opponent's attack, deflect or avoid, and counter-cut to the exposed target
Variants
Standard cut — primary cutting angle from the ready stance
Thrust (tsuki) — straight thrust targeting the throat, chest, or face
Rising cut (kiri-age) — upward diagonal cut from low to high
Diagonal cut (kesa-giri) — downward diagonal cut following the kimono line
Videos
How to "Throw" Draw the Katana
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Rising Draw Cut·Let's ask Seki Sensei | Online Katana Lessons
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How to connect the Japanese Sword from the draw to the cut!
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Rising Draw Cut·Roger Wehrhahn
How to connect the Japanese Sword from the draw to the cut! This month we will be covering the "furikaburi" or the move…
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3 videosWhat Instructors Say
The rising draw cut integrates the draw (nukitsuke) with an upward cutting motion, requiring precise coordination between blade trajectory, body mechanics, and hand positioning. Roger Wehrhahn provides the most detailed technical breakdown, emphasizing eight key points in the furika-buri (raising movement): bringing the elbow inward while keeping the hand level, bending the wrist inward, positioning the hand inside the center line with the blade outside the shoulder, returning the left hand (saiya) to its natural position, directing the right hand upward, and having the left hand trail to join at the tsuka for the two-handed overhead attack in jodan position. Wehrhahn stresses that the right hand must remain higher than the left and that the movement should flow continuously without stopping—the furika-buri functions as a connective transition to enable swift follow-up attacks. Let's Ask Seki Sensei contributes practical tactical context, highlighting that in Asaemi Shindu methodology, the left hand controls the draw entirely by managing the sheath, allowing the right hand to remain relaxed on the handle. This approach maintains a forward safety zone and enables rapid response to enemy attacks, including the ability to reverse-draw in close combat or release the handle for defensive movements. Blood and Iron HEMA's Shawn Franklin and Nicole Smith address broader cutting principles applicable across blade arts: power derives from hip rotation synchronized with footfall, edge alignment is critical for effective cutting, and the blade must rotate rather than merely push through the target. These instructors collectively teach that rising draw cuts demand disciplined hand positioning, continuous flowing motion, and integration of lower-body power through rotational mechanics.
Synthesized from 3 instructors
- Roger Wehrhahn — How to connect the Japanese Sword from the draw to the cut!: Detailed eight-point technical breakdown of the furika-buri (raising movement), emphasizing elbow-inward hand-across coordination, wrist bending, hand positioning inside center line with blade outside shoulder, continuous flow without stopping, and maintaining right hand higher than left throughout the movement to jodan position.
- Let's Ask Seki Sensei | Online Katana Lessons — How to "Throw" Draw the Katana: Practical application of Asaemi Shindu draw methodology emphasizing left-hand control of sheath, relaxed right-hand grip allowing flexibility to release or reverse-draw, maintenance of forward safety zone, and tactical responsiveness to enemy attacks in close-range combat scenarios.
- Blood and Iron HEMA — Delivering a proper Descending Cut - Understanding HEMA: Fundamental cutting mechanics applicable across blade arts: power generation through hip rotation synchronized with stepping, blade rotation rather than pushing, critical importance of edge alignment, and timing coordination between sword impact and foot contact for grounded structure.
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Ratings
Risk of injury to the person this technique is applied to
9
Extreme9/10
Edged weapons cause fatal lacerations; historical battlefield mortality rates >30% (Amberger 1999)
Skill level needed to execute this technique reliably
Advanced
Whether this technique is allowed under major competition rule sets
— FIE Sabre — Legal cutting technique to upper body target ...
FIE Rules of CompetitionPDF— FIK Kendo — Legal if targeting valid area with correct form
FIK Kendo Competition RulesPDFWEKAF — Legal striking technique {src— WEKAF Competition Rules}
HEMA — Legal in applicable weapon categories {src— various organizations
Training Notes
✓The rising draw cut (kiritsuke or gyaku-kesa) draws the sword from the scabbard in an ascending arc — cutting from low to high, typically from the opponent's hip to the opposite shoulder (Draeger, Classical Budo, 1973)
✓The rising draw cut is used when the opponent is close and the horizontal draw is not possible — the ascending arc works in confined spaces
✓Execution: draw the sword from the scabbard, directing the blade upward in a diagonal ascending path from the hip toward the opposite shoulder
✓The rising draw cut uses different body mechanics than the horizontal: the hips drive upward and the drawing hand lifts while the scabbard hand pulls down and back
✓The rising draw targets the torso from below: the ascending cut passes through the abdomen and chest, following the kesa (diagonal) line
✓The rising draw is particularly effective from kneeling positions: the upward direction matches the natural motion of rising from the knees
✓In some koryu (classical) schools, the rising draw is the primary draw cut: the ascending arc is considered more natural from the scabbard position
Common Mistakes
!Using the same body mechanics as the horizontal draw — the rising cut requires upward hip drive and different arm positioning
!Not directing the blade along the ascending diagonal — the cut must follow the rising kesa line from hip to shoulder
!Drawing the blade horizontally instead of ascending — the direction must be upward from the start of the draw
!Not using saya-biki appropriate for the rising angle — the scabbard pull must accommodate the upward blade path
!Cutting too steeply (straight up instead of diagonal) — the rising cut follows a diagonal, not a vertical path
!Not following through the ascending path — the blade must travel through the target along the full diagonal
!Practising the rising draw without understanding when it applies — the rising cut is for specific tactical situations
Related Techniques
Counter Techniques
Setup Chain
1Ready Position — assume the guard stance appropriate for the weapon
2Distance Control — manage spacing relative to the opponent
3Execute Technique — perform the offensive or defensive action with correct form
4Return to Guard — recover to a defensive ready position
Sources & References
Primary Source
The Book of Five Rings (Miyamoto Musashi, 1645)
1BookThe Book of Five Rings (Musashi, 1645)
Alias sources — [1] Japanese Swordsmanship (Warner & Draeger, 1982) [2] Secrets of the Samurai (Ratti & Westbrook, 1973) [3] Secrets of the Samurai (Ratti & Westbrook, 1973)
2BookThe Art of Fencing (Barbasetti, 1932)
Effectiveness sources — [1] Classical Bujutsu (Draeger, 1973) [2] Classical Fighting Arts of Japan (Mol, 2001)
3OtherJapanese Martial Arts Standard Terminology (武道用語)
Established Japanese martial arts naming convention — native Japanese term (和語/漢語)
4CitationThe Book of Five Rings (Musashi, 1645)
Alias sources — [1] Japanese Swordsmanship (Warner & Draeger, 1982) [2] Secrets of the Samurai (Ratti & Westbrook, 1973) [3] Secrets of the Samurai (Ratti & Westbrook, 1973)
5CitationThe Art of Fencing (Barbasetti, 1932)
Effectiveness sources — [1] Classical Bujutsu (Draeger, 1973) [2] Classical Fighting Arts of Japan (Mol, 2001)
Community
Athletics
Requires
wrist control for edge alignment, grip endurance, footwork precision
Favours
quick wrists, strong forearms, good posture
Key muscles
forearm extensors/flexors, deltoids, core, calves
Frequently Asked Questions
What's the most common mistake people make when performing a rising draw cut from the scabbard?
According to Roger Wehrhahn, a frequent error is dropping the hand down as you bring the sword across, which moves the sword away from the attack. Instead, keep your hand level with your elbow as you bring the elbow in, ensuring the elbow stays against your body and in line with your shoulder.
Why shouldn't I grip the katana handle too firmly during a draw cut?
Seki Sensei explains that a firm grip prevents you from letting go quickly to dodge attacks, and it also prevents you from immediately reversing the draw in close combat by turning your thumb to reverse the blade—something that takes much longer if you have to fully release and re-grip.
How do I connect the rising cut smoothly without pausing between movements?
Roger Wehrhahn emphasizes that the furikaburi (the motion leading into the cut) is a transition that should flow continuously—bring the elbow in, hand up to the top, then attack immediately without stopping between movements, using the pattern: in, up and out.
Should I practice rising draw cuts with actual sharp swords?
Blood and Iron HEMA stresses that practicing with sharps or test cutting is important because you can only truly verify proper alignment and cutting success when the blade is functioning as intended, rather than relying solely on practice with training swords.
How does the Rising Draw Cut work?
The Rising Draw Cut is an iaidō nukitsuke variant in which the blade is drawn upward in a rising arc rather than horizontally, cutting from the opponent's lower body toward the upper body or face. This draw-cut is used in specific iaidō kata that address threats from a low or seated position, where the upward trajectory exploits the attacker's proximity.
Where does the Rising Draw Cut come from?
Rising draw-cut variations appear in several koryū iaidō kata and in specific forms within the Seitei Iai set, reflecting the tactical need to address attackers from different positions. These upward nukitsuke actions demonstrate the art's versatility in responding to threats from any angle.
Is the Rising Draw Cut legal in competition?
FIE Sabre: legal — Legal cutting technique to upper body target area; FIK Kendo: legal — Legal if targeting valid area with correct form; WEKAF: legal — Legal striking technique; HEMA: legal — Legal in applicable weapon categories
How dangerous is the Rising Draw Cut?
Danger rating 9/10. Extreme — edged weapons cause fatal lacerations; historical battlefield mortality rates >30% (Amberger 1999)
How do I set up the Rising Draw Cut?
The standard setup chain: Ready Position → Distance Control → Execute Technique → Return to Guard.
How do I defend against the Rising Draw Cut?
Standard counters include: Parry (Absetzen) — deflect the incoming blade with a counter-displacement / Void (Step Back) — withdraw from measure to avoid the cutting arc / Counter-Cut (Nachreisen) — strike into the opponent's opening during their attack.
What are the variants of the Rising Draw Cut?
Common variants: Standard cut (primary cutting angle from the ready stance); Thrust (tsuki) (straight thrust targeting the throat, chest, or face); Rising cut (kiri-age) (upward diagonal cut from low to high); Diagonal cut (kesa-giri) (downward diagonal cut following the kimono line).
How effective is the Rising Draw Cut in competition?
Rising cuts are demonstrated in iaidō kata competition and tameshigiri events.
What are common mistakes when doing the Rising Draw Cut?
Top errors to watch for: Using the same body mechanics as the horizontal draw — the rising cut requires upward hip drive and different arm pos… / Not directing the blade along the ascending diagonal — the cut must follow the rising kesa line from hip to shoulder / Drawing the blade horizontally instead of ascending — the direction must be upward from the start of the draw / Not using saya-biki appropriate for the rising angle — the scabbard pull must accommodate the upward blade path.
What are other names for the Rising Draw Cut?
The Rising Draw Cut is also known as Gyaku Kesa Nuki, Upward Battojutsu, Rising Iaijutsu.