Month: February 2025

Chattrapati Shivaji Maharaj – The Bagh Nakh and the Shuko

Vikram M R3 Comments

Today, 19th Feb, is Chattrapati Shivaji Maharaj Jayanti or the birth anniversary of Shivaji Maharaj. Shivaji Maharaj, who lived between 1630 and 1680, was the founder of the Maratha Empire (later Confederacy) that grew to be the most powerful political and military entity in India in the 18th century. He is also an extremely influential historical and cultural icon in modern India.

Portrait of Shivaji Maharaj. Image credit – Wikipedia

Shivaji Maharaj is an icon because of his military, political and social achievements. There are several books, series and movies featuring his life. His life is filled with several instances of derring-do, each of which, if not known history, would seem like the imagination of a great script writer. Shivaji and many of his military leaders were involved in acts of military heroism and greatness that are remembered to this day. Listening to the stories of their escapades is a hair raising, goose-bump inducing experience to this day, simply because these were audacious and carried out against overwhelming odds. Some of these would perhaps be called “Special Forces” operations if they had occurred in contemporary times.

Listed below are some of the incredible victories of Shivaji Maharaj and his military leaders in the second half of the 17th century. These are the ones that are top of mind for me, not a comprehensive listing.

  • The Battle of Pratapgarh, Nov 1659 – Shivaji Maharaj killed Afzal Khan with his Bagh Nakh during this conflict.
  • The Battle of Pavankhind (Ghodkhind) July 1660 – Maratha General Baji Prabhu Deshpande with 300 troops held back a Bijapur army many times its own size in a narrow pass allowing Shivaji Maharaj to escape.
  • Battle of Surat, Jan 1664 – Shivaji Maharaj led a daring night attack against much larger Mughal forces led by Shaista Khan.
  • Escape from Agra, Aug 1666 – Shivaji Maharaj and his son Sambhaji were political prisoners in Agra. They escaped through stealth, without a military action.
  • Battle of Singhagad (Kondhana)*, Feb 1670 – Maratha General Tanhaji Malusare and his troops scaled the walls of the Kondhana fort to defeat Mughal forces in a surprise attack.
  • Capture of Panhala fort, 1673 – Maratha commander Kondaji Farzand is supposed to have captured the fortress of Panhala with just 60 men, defeating a garrison of 2500 men (I am not aware if this is confirmed history of if folklore is mixed with history).
  • Battle of Umrani, 1674– Maratha General Prataprao Gujar led Maratha troops to victory against the army of the Bijapur Sultanate. There is a story relating to this battle where 7 Maratha warriors attacked the enemy camp, losing their lives in the process, but leading to an eventual Maratha victory.
  • Southern conquest – Shivaji Maharaj embarked on a conquest of many parts of Southern India between 1674 and 1680. This was in the direction opposite to that of their primary threat, the Mughal Empire under Aurangzeb! This military action later allowed the Marathas to survive the 26 year long Mughal-Maratha war.
  • Bahirji Naik – He was supposed to the spy master for Shivaji Maharaj, who was instrumental is several successful military campaigns. I am not aware of the full details of his specific role in the many military actions of the then fledgling Maratha Kingdom (it became an Empire later).
  • Maratha navy – The Marathas built a coastal navy which for many decades was a match for the Siddis of Janjira and all the European navies operating off the Indian coast at that time.

Consider the first battle mentioned above, the Battle of Pratapgarh. This occurred in late 1659 between the army of the Adil Shashi Sultanate of Bijapur and the Maratha Army. The Adil Shashi army was led by Afzal Khan and the Marathas were led by Shivaji. Afzal Khan was supposed to have been a giant of a man, standing somewhere between 6’6” and 7’ tall, and suitably large as well. Shivaji was supposed to have been about 5’6”.

This is a representation of the size disparity that was likely between Afzal Khan and Shivaji Maharaj!

The Marathas could not win in a pitched field battle and Afzal Khan’s troops could not face the Marathas in the hills and jungles. So, there was a siege of sorts of the Pratapgarh fort. A parley was arranged to allow for negotiation and perhaps a surrender of the Marathas without bloodshed. Afzal Khan and Shivaji were supposed to meet without any weapons and one bodyguard each to parley.

They are supposed to have met in a tent. Afzal Khan had a dagger hidden in the robes of his garments. Shivaji Maharaj did not trust Afzal Khan and hence wore chain mail armour under his garment. Shivaji also wore a Bagh Nakh (sometimes called the Wagh Nakh). This is a small weapon that resembles the claws of a tiger and is worn on the palm. “Wagh” or “Bagh” means “tiger” and “Nakh” means “claws”. The weapon is worn through rings on the fore and little fingers. The weapon is not visible and stays hidden in the hand. An opponent in front only sees two finger rings at first glance. Images of the bagh nakh and how it was carried are seen below.

A representation of a “bagh nakh” / “wagh nakh”

When they met in the tent to parley, Afzal Khan is supposed to have invited Shivaji for an embrace as he was the son of his friend. Afzal Khan knew Shivaji’s father who was also in the service of the Bijapur Sultanate. When the two embraced, Afzal Khan is supposed to have used his massive size and strength to try and crush the much smaller Shivaji. When this failed due to the chain mail, the large man drew his dagger and attempted to stab his opponent to death. This also failed as the dagger did not penetrate the mail shirt.

In defence against this attack, Shivaji used the bagh nakh against Afzal Khan. He managed to disembowel and kill the gigantic enemy General. With their General dead, the Bijapur army was routed by the Maratha forces. With this victory, the “Bagh Nakh” has achieved eternal fame in Indian military history.

A representation of how a bagh nakh is worn

The bagh nakh is memorable to such an extent that it is today used as the nickname of the 21st Batallion of the Special Para. This is one of Special Forces units of India. The unit is referred to as the “wagh nakhs”, “Tiger’s Claws”!

Considering my blog is about the intersection between Hindu culture, Indian history and the martial arts, here is the link between the use of the bagh nakh mentioned above and the martial arts. As my readers may know, I am a practitioner of the Bujinkan system of martial arts. The Bujinkan is a martial art of Japanese origin.

In the Bujinkan system, there is a close quarters weapon that is used, called “Shuko”. The shuko is no different from the bagh nakh. It was used historically as a tool to aid in climbing trees or scaling walls. The shuko was worn on the arms of the user and could double up as a weapon in a pinch. There is a version of the shuko that is worn on the legs, which also helps in climbing. An image of the training version of the shuko is seen below.

A representation of training version of a Shuko

The shuko can be used in grappling against an opponent wearing armour, by using the hooks or claws as points of leverage against the armour. They can also be used against unarmoured opponents to get past clothing and cause flesh wounds. In extreme situations, they can be used as protection for the palms when blocking a strike by a staff or even a sword. They are not guaranteed to protect the hand, but might improve the chances of reducing injuries. This potential use of the shuko as a weapon, shows that it is nothing but a Japanese version of the bagh nakh. Both versions of the same weapon seem to have come in handy in a really tight spot!

Another training version of the Shuko, with spikes instead of hooks

The equivalence between the bagh nakh and the shuko is the main purpose of this article, as elucidated above. But beyond this, I can see similarities in the military ways of the Marathas and the original teachings of the Bujinkan. One of the aspects taught in the Bujinkan system is “Ninpo Taijutsu”, also called “Ninjutsu”. There are 18 parts of study related to Ninjutsu, some of which include unconventional warfare.

Dr. Kacem Zoughari, a long time senior practitioner of the Bujinkan, has written a book about the history and origins of Ninjutsu, called “The Ninja, The Secret History of Ninjutsu: Ancient Shadow Warriors of Japan”. A link to this book is seen in the notes below. In this book, he gives many examples of how Shinobi were used in medieval times. A lot of these examples would seem like examples of sabotage and infiltration activities today.

The use of surprise raids and actions, using fire or darkness to allow small units to gain an advantage over larger forces are examples one sees in the book. This is pretty much the same thing that the Marathas employed against their more numerous opponents, who also had access to greater resources. The Marathas are always known for guerrilla warfare in the Indian mind. So, in the early stages of the formation of the Maratha Empire, their military actions were very similar to how the Shinobi operated in a roughly contemporaneous period in Japan.

I am not suggesting that either the Shinobi or the Marathas had any role in the evolution of the tactics and methods of the other. It is, in my opinion, a case of convergent evolution when faced by similar situations. But what this does reveal is that we in India have perhaps not done enough to popularize the actual combat methods of the Marathas.

The Marathas and Shivaji Maharaj are likely more popular in India than the Ninja are in Japan. But the study of the actual martial arts of historic Japan are definitely more prevalent when compared to those in India (including those of the Marathas). Yes, Mardani Khela, the martial art of the Marathas is still very popular in Maharashtra and other parts of India – but more as a performance and demonstration art. I am not sure if there are manuals of Maratha techniques that have been compiled and the same can be practiced today.

A bagh nakh integrated with a bichua (scorpion) knife

Perhaps seeing links with traditional martial arts in other countries will bring India to document her own traditional fighting arts, as more than dance, gymnastics and other performances. If traditional fighting arts can be documented elsewhere, the same can be done here, and the process might reveal a lot, like its application in other walks of life. This is perhaps as much a pranaam to Chattrapati Shivaji Maharaj as is preserving his memory and legacy of patriotism and valour.

Notes –

The Ninja, The Secret History of Ninjutsu: Ancient Shadow Warriors of Japan – Dr. Kacem Zoughari

* A link to an older post of mine, where I discuss the attack on the fortress of Kondhana and other such forts.

https://mundanebudo.com/2023/08/15/swaraj-and-the-lizard-and-ninjas/

The Bujinkan, as I see it – Series 1, Part 5 (of 5)

Vikram M R, , , , , , Leave a comment

Learning from oral transmission and experiences in the training spaces

The purpose of this series of posts is multi-fold. Firstly, it is a resource I can share with people who are not practitioners of the martial arts. For most of us, a majority of the people we interact with do not practice any form of martial art. Sharing ideas and practices about martial arts might require some “first principles” like definitions, overarching themes and ideas and objectives of the art form. Hopefully this series will be that resource.

Secondly, it is an opportunity for me to look back at my own thoughts about the Bujinkan. The thoughts are a document I can refer in the future to see if I my thinking has changed or evolved.

Lastly, practitioners of the Bujinkan who are relatively new to the system and long-time practitioners who might need a look back at aspects from earlier years could use this as a starting point for further discovery. There are several practitioners and Sensei of the Bujinkan with a lot more experience compared to me, who share content about the art form and the system. I strongly recommend that everyone consume the content from those sources. This series is possibly an index to search further in those sources.

So, this series in not a deep dive, it is more like a primer of my thoughts with scope for expansion in each aspect. Most importantly, whatever knowledge can be gleaned from this series is a conversation starter or direction pointer at best; it does not in any way replace actual training in a dojo with fellow budoka and a teacher who can help one progress.

In the first post of this series, I had given an introduction to this series and defined some basic concepts that would be revisited during subsequent posts. In the second post, I had looked in greater detail at the “Ten Chi and Jin”, which is considered the “basics” of the Bujinkan. In the third post, I discussed in brief the 5 styles of fighting and the 9 schools that make up the Bujinkan system of martial arts. In the fourth post I discussed the use of weapons as a part of training in the Bujinkan and martial arts in general, which in my opinion is the most important aspect of the martial arts. In this part, I will discuss how learning occurs in the Bujinkan and perhaps in most martial arts around the world. This is last of the aspects I had referred to as the “physical aspects” of the Bujinkan. These are seen in the screenshot below. The topic highlighted is the focus of this article.

This post refers to the actual training, learning, experience, expression and realization that happens in the space where martial arts training occurs. The space of training can be called dojo, akhada, kalari, garadi mane, gym or by any other name depending on the part of the world one is training in. The finer points of the various concepts, forms, weapons and their use, and the nuances of the movement and its flow; all of these can only ever be assimilated when one actually trains physically with a teacher and fellow practitioners (hopefully both senior and junior in martial experience).

It is because of the experiential nature and perpetual flow of learning that it is impossible to document it all. It is documented at a personal level and in most cases, perhaps never. Most individuals just use the martial arts to generate wisdom and lead a good life, and never bother to document their learning and journey. This aspect will be expanded upon later in this post.

A representation of experiential learning. Credit for the images – Left & Centre – “Mahabharata 5 – Enter Drona”, published by Amar Chitra Katha, Right – “Mahabharata 16 – Pandavas conquer the World”, published by Amar Chitra Katha

The words spoken by the teacher and fellow practitioners and experiences shared while training form the oral transmission part of the training. Each person hears everything differently and develops a system of movement that works for her or him individually. This works over years of training because the objective is learning and not teaching.

A representation of learning with a teacher. Credit for the images – “Mahabharata 5 – Enter Drona”, published by Amar Chitra Katha

Again, because there are as many variations of learning as there are people, it is impossible to document in any media. To give an analogy from Hindu culture, it is said that there are 300 versions of the Ramayana. But since every person who consumes any version experiences some part of the epic differently from every other person who consumes the same, a new personalized version is created for that person. So, there are in reality, as many versions of the Ramayana as there are people who experience the same in any media. And this changes every time there is another experience depending on the media of experience or the situation of the person, in terms of age and physical, intellectual, emotional and spiritual states. So, there literally are infinite versions of the Ramayana. This same is true of actual martial arts training.

This nature of learning is why most of the training is called “Kuden”, in the Bujinkan system. The “ku” in kuden is refers to empty space and “den” comes from the word “densho”. Densho refers to the scroll or book of teachings which is more like a syllabus. So, kuden means learning that is not contained in or cannot be obtained from a written document. In the modern world, densho can extend to videos or any other media available through social media and digital technology. Thus, literally everything that is learnt ONLY from experience can be classified under kuden.

A representation of learning by practice. Sketch by Vishnu Mohan.

Another analogy here from Hindu tradition is the difference between Shruthi and Smriti. Shruti refers to that which is heard and hence is analogous to the kuden mentioned above. Smriti refers to that which is documented (in the past it was books). Many a time, Shruthi could be some knowledge created due to a wonderful revelation that has occurred in a moment of great inspiration. This adds to one’s own and also to the learning of others. Of course, the inspiration in that special moment itself could be due to earlier experiences, learning, wisdom, or exposure to some Shruthi or Smriti. Also, over time, some Shruthi could become Smriti, if it becomes commonplace and can be documented to the advantage of many practitioners. This is when a densho gets created to supplement or replace kuden. Even this article could be considered a personal Smriti of years of Shruthi on my part.

A representation of “Shruthi”, or learning from the spoken word in the presence of a teacher. Image credit – “Mahabharata 1 – Veda Vyasa”, published by Amar Chitra Katha

Going by this analogy and the defined concept, all the other 4 parts before this one, where I discuss my understanding of the Bujinkan, where I have discussed the physical aspect of martial arts training, are a broad documentation that can be used to “learn about” the Bujinkan and maybe about martial arts in general. But the information there cannot be used to “learn” either the Bujinkan or the any other martial art. It is information about the martial art form, but not a guide to learning the martial art.

A representation of “Densho” or “Smriti”, a manual a student can use for practice. Sketch by Vishnu Mohan.

An aside here – I am adding a bit of personal opinion. I think learning happens through the skin, by means of osmosis while training in the dojo or an equivalent space. Many a time one is confused in the mind and hence learning is not active. Seeing and hearing lead to a semblance of imitation, but not learning. Also, I have never heard of anyone learn through smell and taste. Therefore based on what I have experienced and seen, learning seems to be through the skin, and passive. Maybe someone can share more details based on their knowledge & experience.

Considering that the martial arts lend themselves to learning through personal experience and not all of it is documented, an important concept takes shape. The one of the “martial journey” or “Shugyo” as it is referred to in Japanese. Over the years of training any martial art, one likely trains with multiple teachers and their respective students. These teachers contribute one’s experience and realizations through their own expressions of the art forms. These teachers might be from different countries, cultures and backgrounds, all of which adds to the learnings.

Then there is the exposure to knowledge from other media that is available today, like YouTube, books, and any other media. There are also online workshops and conferences that while not great for starting one’s martial journey, are great tools to share knowledge. All of this leads to one’s growth as a martial artist. Due to the long time this takes and perhaps the journey across many geographies, it is a journey in a very real sense. This journey is where one finds expressions of kuden by different individuals. Also, every time one finds a new set of documented experiences of kuden from a martial artist one has not trained with before, that is a new station in one’s martial journey as well.

One last point about the martial journey is that it is not necessarily a linear one. It helps one buttress one’s existing learning and add layers to one’s own experience. It also, more importantly, allows one to remember concepts that have been forgotten, basics that have not been revisited and practices that have been discontinued to one’s detriment. In this sense, it is a reminder and hence a circular journey to reconnect with basics or roots and make them stronger.

Word of caution – All of the above is my personal experience from class. It could be different from those of others, and I could be wrong in some of my perceptions. For details of specific concepts, techniques and forms, I recommend people train and experience the art form on their own. Barring that, there are several books and videos by the Soke (Hatsumi Sensei) himself, and then there is content in various media by people who have trained from around the time I was born or even before that. So, there is a lot of experience to immerse oneself in.

This is the last post that delves into physical aspects of the Bujinkan. The next series of 5 posts will deal with the non-physical aspects of the Bujinkan. These are seen in the screenshot seen below. I will start this series of posts in late March or April ’25.