In martial arts, geometric shapes are often used to visualize concepts related to movement, state, and moment.
Using this framework, we can begin with the point and line as representations of the moment and the state.
The convergence of lines creates angles and their corresponding geometric shapes, which, when given volume, become three-dimensional solid forms. This provides us with a graphic representation of movement.
For some people, this is a practical way to visualize positions, movements, forces, and anticipate the results of combining them all. But if this approach doesn't resonate with you, don't worry—it’s not a requirement.
Symmetry
We're used to seeing perfect geometries formed by ropes in photographs, but photographs are fiction. It’s important to remember a crucial detail: nature is not symmetrical.
Symmetry is absent in nature. Our heart is located to the left; we will always have one arm more muscular and one side of the body more developed, which will affect the ties.
Don’t chase symmetry; it is unrealistic and artificial. The natural beauty of the human body in shibari is revealed when the tie adapts to the body, allowing it to settle into its natural and neutral anatomical position.
Symmetrical patterns are also part of Japanese aesthetics. Take, for instance, origami, with its figures created from geometrically folded paper.
However, it’s worth noting that in origami, what we see is an abstraction of nature. The viewer recreates in their mind the image suggested by the artisan, filling in the gaps with elements that align with their mental schemas. For example, when looking at a paper folded to resemble a crane, each of us will envision our idealized crane. But all represented cranes look identical.
In contrast, if we consider another Japanese art form, such as the process of creating a bonsai, we’ll see that symmetry is not only absent but deliberately avoided. No two bonsai trees are alike.
In this case, the artisan replicates a scene from nature explicitly, providing the viewer with a wealth of detail and nuance so that each person’s mental representation of the bonsai is accurate. What will vary from one viewer to another, however, is the emotion they feel at that moment.
In this sense, this style of shibari is closer to the bonsai than to origami. We seek the natural essence of each person in each moment, and each individual experiences their own emotional journey.
Left Turn or Right Turn
Much like a screw that tightens in one direction and loosens in the other, the energy, balance, and equilibrium of a body also have direction.
If we turn one way, energy contracts; if we turn the other, energy expands. This is simply the application of centrifugal and centripetal forces.
Perhaps this is why many riggers, especially Japanese ones, build their ties from left to right.
Note: Regarding the direction of tying (left-right or right-left), there is no significant technical reason to favor one direction over the other.
Some common arguments suggest that many Japanese riggers are left-handed or that blood flows in the body from left to right. However, there is no established rule regarding the direction of the turn.
Thus, like every other aspect of sekibaku, we must pay attention to the individual characteristics of each person.
The rigger should experiment and determine if there are differences when starting a tie on the left or right arm of the tied person.
Factors such as being left- or right-handed, having one side of the body more developed, or past injuries will determine the best option in each case.
The tied person should listen to their body to determine which direction feels more comfortable and efficient for tying. This requires testing, assessment, and trial and error.
When considering the rope's turning direction for a specific tie, such as a single column tie on a leg, the choice of whether to turn one way or the other (left/right, inward/outward) should be based solely on the subsequent movement we intend to make with that limb.
For instance, consider a single column tie on the thigh to lift the leg.
If the rope is tied from the outer thigh toward the inner thigh, we’re signaling to the brain that this will be the direction of movement.
Now, if we lift the leg and try to open the hip, there will be resistance because we initially indicated “we’re going inward” but then asked for the opposite movement. This sends contradictory information.
In this case, tying the rope from the inner thigh outward would be much more efficient since all the information aligns.
With all this in mind, ties will typically not be symmetrical. The body isn’t, and nature isn’t.
The aesthetic principle of symmetry is a characteristic of Western culture, while shibari is rooted in techniques and ideas from Japanese culture.
Square, Triangle, Circle
These three geometric shapes synthesize the foundation of anatomical technique in Yagami Ryu.
Square
The square represents balance, stability, and solidity. It is the foundation we start from and refer to as shisei (姿勢).
Emotionally, it signifies containment and control, representing a state that tends to endure.
It also symbolizes the ability to adapt to different circumstances and situations, relying on the solid foundation provided by our knowledge, skills, and capabilities.
If you visualize a square, or better yet, a cube, you'll see it is a geometric shape that tends to maintain its position; it won't move easily—its geometry prevents it. All its sides are equal, and all its angles are equal.
Applied to shibari, the square represents a position of balance and equilibrium, immobile, stable, and resistant to change. In general, a person in a position of balance or anatomically neutral—sitting in seiza, with a restriction applied with their arms behind them or takate kote—perfectly defines the concept of "square."
Without a “square,” it is impossible to achieve the control required to manage a session adaptively.
When we apply movement, the square also helps us manage the force of gravity (Tenchi 天地) to bring it to the ground and use it to our advantage.
However, when we talk about "square shapes," this is metaphorical and has nothing to do with "box ties" or the body's resemblance to this geometric posture.
Triangle
In shibari, the triangle is key and lends its name to numerous techniques (sankaku).
As we've seen in this course, states are composed of moments, and these moments are what we will use to manage the session. Similarly, a square can be decomposed into triangles.
The triangle symbolizes the intent that guides us in decision-making. It is the geometry that allows the rigger to use the bound person's energy to manage their body and desire.
It represents stability but also the possibility of moving in all directions, whether linearly (forward and backward) or in spirals rotating around any of its vertices.
Anatomical restriction is built from triangles, using this geometric shape to disrupt the bound person's balance.
If you visualize a triangle (or a pyramid), it’s easy to see how it can rotate effortlessly around one of its angles/vertices and do so in all planes with circular movements.
A triangle is composed of three vertices. Translated to the body, these are primarily feet, hips, and shoulders.
Question: What types of joints are feet, hips, and shoulders? Stable or mobile?
If we add volume to the triangle, we can achieve movement in up to eight possible directions.
When we apply energy through the rope lines, we do so at angles, creating triangles or vectors that imply direction and intensity.
The triangle allows us to destabilize the square. Not in the sense of "toppling it," but in changing it.
In Japanese mystical discourse, the triangular shape is associated with the flow of water in a stream. Let’s focus on the fundamental concept here: Water is unstoppable and always finds the path of least resistance.
For better comprehension of the “triangle” concept, you can visualize the scene mystically interpreting the lines as flows of energy and applying the rules governing their flow.
Alternatively, if you are more scientifically inclined, you can visualize the same scene from the perspective of physics and trigonometry, interpreting the lines as vectors.
This is why parallel lines should be avoided, especially if they are "lifelines" (those originating from an upper anchor point).
Aesthetically (from the Japanese point of view), they are unpleasant. Technically, they not only fail to contribute but detract, as they distribute forces and energies in a stable, flat, and dull manner, preventing progress in the framework of desire.
The triangle itself is strong. It distributes forces efficiently, which is why it is used in construction and why we will use it as a basis for creating restrictions.
One physical characteristic of the triangular shape is that the force applied to this shape is evenly distributed throughout its structure. This is particularly advantageous when creating anatomical restrictions.
Another feature that makes this shape beneficial as a basis for restriction is that the forces "encapsulated" within that triangle are independent of the rest of the body and sum to zero.
For example, if we generate a triangle arm-shoulder between the rigger and the bound person via a grip (Kote Tori 小手取), all the force the bound person exerts in response will be compensated for by the geometric shape itself, without the rigger having to apply any force—only maintain their balance.
This way, the rigger's “square” (core) directs the force exerted by the bound person to the ground and recaptures it from the ground for the next movement.
We must get used to seeing triangles in the body and forming triangles between the rigger's and the bound person's bodies.
For this reason, the rigger never positions themselves directly in front of the bound person. It's always better to be to one side, at a 45-degree angle.
Not all triangles require three “lines” to form, understanding “lines” as limbs or body parts. We can also use vectors of force or motion to complete one side of the triangle.
It’s essential not to use brute force or force the bound person to form part of the triangle. The smoother, more fluid, and more suggestive the creation of these shapes, the more effective they will be, especially in erotic play.
A first step in studying these shapes is visualizing them. Learn to see, create them with both bodies. No more. First see, then generate, and finally move.
Here’s the English translation of the text about the Circle:
Circle
The geometric shape of the circle represents how we execute movements, whether with the rope, the motion of the bound person's body, or the movement of the rigger.
Over years of teaching, one consistent observation is that students often insist on performing linear, rigid movements.
This is a mistake. Circular and fluid movements are far more efficient as they leverage inertia and loss of balance to initiate motion and create vectors of movement.
The circle symbolizes the connection between participants—the maai that turns a succession of moments into the illusion of a state.
In shibari, movement is circular. Starting with a triangle, we create a rotation around one of its vertices. To visualize this, imagine a set square or protractor. If you fix one vertex and rotate it around that point, the movement will remain stable, without eccentricity, and fluid.
Just like when visualizing the movement of a triangle, with circular movements, we must think in three dimensions. It is as if we take a triangle and rotate it to form a sphere.
Circular movement is fluid, smooth, and free from edges or interruptions.
The same principle applies when managing a tied person. We must identify the vertices of the triangle to employ and generate a fluid movement that maintains balance.
From an anatomical perspective, particular attention should be paid to movements involving the shoulders and hips.
These are two "ball-and-socket" joints, where the mobile part has a spherical surface—the head of the humerus in one case and the femur in the other.
In these cases, it is crucial to ensure that the "ball" of the bone rotates within the joint, rather than sliding.
You can easily visualize this by taking a ball (or any spherical object) and sliding it across a surface, like a table or the floor. The motion will feel jerky and rough.
Now let it roll with a simple push—it will move smoothly and without interruption.
Note: Not all movements are "circles." Some are "angular," such as the rope transitions in a kanukishibari. But we’ll address that in the corresponding lesson.
One detail about the meaning of the word "circle": When we talk about a circle, we refer to a movement (or shape) with a beginning and an end, like the Ensō zen (円(相). Specifically, Yagami Ren uses the word "maru" (まる), a term also used in the names of Japanese ships, meaning "returning home."
In the erotic context, a circle is the way each applied technique brings the tied person back to the starting point within the framework of desire.
These three shapes should be seen as tools to visualize techniques during practice. They are not static figures, nor should they be understood as flat forms. Instead, they must be imbued with movement and volume, as we move within a three-dimensional space.
Into Practice
Visualizing these geometric abstractions and applying them to the body, its posture, and movement can be complex and requires practice. However, this is essential for fluid and efficient shibari.
It may seem confusing at first, but by following these steps, we can progress in understanding and mastering these techniques:
- Visualize in your mind the outcome of the movement or technique on the tied person.
- Visualize the steps to achieve it, seeking the referenced geometries.
- Apply the technique slowly, step by step, executing one step and observing its result before moving to the next.
- Evaluate the results against the visualization from step 1.
- Repeat until you achieve the desired result four out of five times.