our style patch

g12The Cheonjikido style patch is simple, yet ripe with meaning.

The OUTER RED RING boasts a dual significance. First, proper martial arts training or the way of effectual martial energy is a harmonious annular relationship that should exist between fundamental technique, the honing of ki, and the application of ki to fundamental technique (i.e. that which matures, adapts, and reciprocates upon itself). Secondly, martial arts training is not to be a hierarchy of achievement crowned by fancy titles, “ultimate arts,” and arrival. Rather, it’s an unending quest of humble learning where there are only students and no true masters, a perpetual cycle of feeding and being fed.

The INNER RING depicts a mountain lake receiving vitality from four blue triangles while watering the land below. This represents the “way of a heaven lake” analogy that embodies the integrative, pragmatic, and evolving spirit of this art as demonstrated in the training of Chang Moo Kwan founders In Yoon Byung and Nam Suk Lee and expressly embraced and taught under the patronage of Sensei Larry Beal.

The FOUR BLUE TRIANGLES represent the four birthplaces of the traditional styles that made their mark in the lives of the Chang Moo Kwan patriarchs listed at the top of our lineage (i.e. Korea, Japan, Okinawa, and China).

The THREE WHITE TRIANGLES formed by the spaces between the blue triangles portray the subtle rhythms of reversal, of which Miyamoto Mushashi, a samurai warrior from the 17th Century wrote: “Unless you understand the rhythms of reversal, your martial artistry will not be reliable.” These three white triangles also pay tribute to the three primary style designations that show up in Cheonjikido’s black belt genealogy, going back to the days of In Yoon Byung in Seoul, Korea (i.e. Chang Moo Kwan, Carucado, and Teashikido).

The BLUE COLOR in this logo salutes the original style of Chang Moo Kwan, as this color was prominent in early style emblems. The RED COLOR of the outer ring salutes both Carucado and Teashikido, as this color was prominent in both official style patches. This color also pays subtle tribute the the traditional style of Japanese Aikido which has heavily influenced our art and proven key in terms of unlocking In Yoon Byung’s Chuan-fa roots.

The word CHEONJIKIDO appears in both English and Korean hanja (i.e. Chinese script). As In Yoon Byung, a Korean, ventured outside tradition to study martial arts in China, so should we never shun accountability from outside sources and/or other martial arts styles.

Finally, the symbol rising just above the middle blue triangles is the HANJA / KANJI CHARACTER FOR THE NUMBER 12, a reference to Cheonjikido’s Core Principle of Twelves. This numeric symbol also resembles a cross atop a hill. As everything within the inner circle falls below the top of this symbol, so Cheonjikido operates within the framework of the Cheonjikido Core Principle of Twelves as well as a biblical worldview that recognizes only one Master or Soke in this earthly life, the Lord Jesus Christ. Subtly, this symbol also pays tribute to The Twelve, a set of indigenous Chang Moo Kwan forms revived and acknowledged by Nam Suk Lee during the last years of his life in San Pedro, California before his death in 2000.  Through these forms, taught to us by some of Nam Suk Lee’s last students, the art of Cheonjikido has been able to reconnect with the indigenous art that resides at the top of our family tree.

the evolution of our style patch