The word “Karate” is formed by the combination of two Chinese ideographs, which may literally be translated as, “empty hand”. This translation is often construed to mean, “weaponless” or “unarmed”. Such a construal, however, is only partially correct. In order to better understand the true nature of Karate, it is important to examine these two Chinese ideographs and others, which have in the past been, somehow related; for as Confucius stated in his analects, (know as the “Lun Yu”): “If the name is not correct, the words will not ring true.” It should be noted, at this point, that the Chinese ideographs or characters, (known in Japanese as “Kanji”), are written in the same way in Japanese, but are pronounced differently in the two languages.

Historically, many terms have been used to describe the fistic art that we know today as Karate. The most common of these are pronounced in Japanese: Kempo or Kenpo, Tode, and Te. The terms “Kemp” and “Tode”, illustrate the close relationship that existed between Chinese fistic arts, and those of Okinawa, which later evolved in Karate.

“Kempo”, may be translated as, “the way or law of the fist.” In the Chinese Mandarin dialect, “Kempo” is pronounced, “Chuan Fa”, (Ken Fat in the Cantonese dialect).

The character, “To”, used in writing, “Tode”, represents the famous Chinese T’ang dynasty, (618-906 A. D.), which had many effects of great consequence on Japan and Okinawa. The “To” ideogram, may also be read as “Kara”, and if was at one time used to designate “China” or “things Chinese “. The character used to symbolize the “De” in “Tode”, simply means “hand”, and it may also be pronounced “Te”.

“Te”, is often used as a shortened version to “Tode”, to describe a fighting method, which was practiced on Okinawa. When the “To” and “De” ideographs are combined, they may roughly form “China hand”. “Tode” may also be pronounced, “Karate”, however, this usage is different from the one that is commonly used at present. “Tode” (or Karate) was for the most part, the standard method of describing the fistic art on Okinawa, prior to 1906. As this time, a book entitled, “Karate Soshu Hen”, was written by an Okinawa Karate expert named, Chomo Hanagi.

In his book, Hanagi replaced the “To” ideograph with one known as “Ku”. When spoken, the “Ku” ideograph was still pronounced “Kara”, however, the meaning was not the same. The “Kara” which the “Ku” character represents, may be translated as “empty” or “nothing”. This is symbolic of a philosophical concept (originating in Buddhism), known in Japanese as “Mushin” or “no-mindedness”, where one is free of all thoughts which would hinder progress towards self-improvement.

This connotation of “empty” points out the attempt to show an ethical and philosophical value in Karate beyond the combative or physical element.

This change in the writing of Karate did not become the accepted form, however, until an Okinawan newspaper, known as the “Ryukyu Shimpo Sha”, arranged a gathering of certain prominent Okinawan Karate Masters in October 1936 to review various elements of the art. Such notable experts as, Kentsu Yabe, Chotoku Kiyan, Choki Motobu, Chojum Miyagi, Juhatsu Kiyoda, Choshin Chibana, Shinei Shiroma, Chosei Hanagi and Chotei Soryoku met in the capital city of Naha and discussed topics which included, the method to be used in the writing of Karate. It was decided that the “Ku” character was preferable to the older “To” ideograph due to its ethical connection as well as to the fact that by abolishing the “To” character, the implications of heavy Chinese influence would be greatly lessened. Soon after the conclusion of this meeting, the use of the “Ku” character in the writing of Karate became the standard method and it remains so at present.