Ampuku Abdominal Acupressure

按
腹
AMPUKU
Abdominal Acupressure
THE CLASSICS AT THE HEART
OF JAPANESE BODYWORK
VOLUME 1
PHILIPPE VANDENABEELE

AMPUKU Abdominal Acupressure
Introduction 7
AMPUKU The Classics at the Heart of Japanese Bodywork
Philippe Vandenabeele
© 2020 Shinzui Bodywork International Institute.
All rights reserved for all countries.
All rights reserved. No part of this book may be used or
reproduced in any manner whatsoever without the express
written permission from the author except for brief quotations
embodied in critical articles and reviews.
Author and Editor: Philippe Vandenabeele
Jōnan-ku, Fukuoka, Japan.
Translations: Hiroko Kobayashi and the Shinzui Translation
Team: Sayuri, Akiko, Johanna and Philippe.
Illustrations: All Illustrations in this book belong to the
Shinzui Bodywork International Institute collection.
Photos: The pictures on page 23, 29 and 161 are
by Lieve Sinaeve www.fotosinaeve.be
Book design: Alexander Laue
ISBN : 978-4-600-00502-3
Publisher: Shinzui Bodywork International
Jōnan-ku, Fukuoka, Japan.
www.shinzui-bodywork.com
Disclaimer: The techniques contained in this book are intended to be
used by trained manual therapy practitioners. Readers should not use
any of the techniques in this book without receiving proper training
from a certified teacher or training centre. Neither the Publisher nor the
Author assumes any responsibility for any damage, loss or injury arising
out of the use of the material in this book. It is the sole responsibility
of the treating manual practitioner, relying on their own professional
skill and knowledge, to determine the best treatment for any individual
patient.
Origins of bodywork in Japan 9
The Ampuku Classics 19
Ampuku Adominal Acupressure Points
• The Large Intestine Channel 33
• The Stomach Channel 37
• The Spleen Channel 45
• The Bladder Channel 49
• The Kidney Channel ?? 55
• The Triple Heater Channel 61
• The Gall Bladder Channel 65
• The Liver Channel 71
• The Conception Vessel Channel 75
• The Governing Vessel Channel 81
• Extra Points 85
Anma Tebiki 89
Ampuku Zukai 109
Bibliography 156
Index 158
3

THE CLASSICS AT THE HEART OF JAPANESE BODYWORK
The ancient masters were profound,
subtle and responsive
The depth of their wisdom was unfathomable
We have no way to describe it
All we can do is describe them vaguely
They were watchful,
like men crossing a winter stream
Prudent, like one who is aware of their neighbours
Reserved, like visiting guests
Ephemeral, like melting ice
Simple, like uncarved wood
Receptive, like a valley
Opaque, like muddy pools
Can you wait quietly while the mud settles?
Can you remain still until the moment of action?
Do not seek fulfilment
By not seeking fulfilment,
you can stay one with the Dao
Lao Tzu
4
5

THE CLASSICS AT THE HEART OF JAPANESE BODYWORK
Introduction to Volume 1
Welcome to this first volume on the art of Ampuku.
For all those interested in the history and roots of
Japanese bodywork I wanted to offer access to the
information contained in the ‘Ampuku Zukai’ and
the ‘Anma Tebiki’. This also gives readers direct
access to the words of Ōta Shinsai and Fujibayashi
Ryohaku.
I strongly believe that in order fully to understand
our profession, it is important to understand its
origins. Over the five years it has taken me to complete
this project I have learned many things that
I was not aware of before starting the journey. It
has given me the opportunity to learn more about
the rich and deep bodywork traditions of Japan
and it has also given me more insight into the
Japanese culture and language. Most of all I am
grateful for how it has enriched my work, both as a
practitioner in my endeavours to help my patients,
and as a teacher in my attempts to transmit this
ancient wisdom to my students. It is my wish that
this book will be of service to any reader looking
to acquire a deeper insight into the beautiful and
powerful art of Ampuku.
that translating is much more challenging than I
had ever imagined.
In the second volume of the series I focus on how I
have incorporated Ampuku techniques into my own
bodywork practice. I have recorded how I combine
these techniques with what I have learned during
my thirty years of clinical practice and study. It
is my intention to share my experience of giving
thousands of treatments as well as what I have
learned from my teachers.
I give heartfelt thanks to my wife for all her encouragement,
to my parents and brother-in-law, to my
daughter Olivia and to the many other people who
have supported me during this project. My thanks
also go out to all the teachers, colleagues, patients
and students that I have met along my path.
Philippe Vandenabeele
Fukuoka, Japan
May 2020
With regard to the chapters on the Ampuku Zukai
and Anma Tebiki, I have done my absolute utmost
to provide faithful translations of the original texts,
while keeping the flavour of the old language intact
wherever possible. If there are inaccuracies, they
are only due to my own ignorance of this vast field
of difficult old material. The informed reader is
most welcome to contact me in the case of any
error. Through working on this book, I have learned
6
7

The origins of
bodywork in Japan
‘In the legendary age of the wondrous gods, the
divine Ōnamuchi-no-mikoto and Sukunahikonano-mikoto
gathered their strength and, with great
dedication, they cured all those who resided beneath
the heavens; they resolved to treat the afflictions of
humans and beasts alike.’1
The Japanese healing arts trace their origins back
through Japan’s mythical past. The kami2, or Japanese
gods and spirits, are considered to be highly
influential in shaping Japanese culture. In fact,
the Kojiki (Chronicle of Ancient Matters, 712 CE),
describes the creation of the ‘Eight Great Islands’
of Japan. Izanagi and his sister-wife Izanami, kami
from among the seventh and last generation of
gods to emerge after the formation of heaven and
earth, were asked by earlier generations of kami
to create order out of the shapeless chaos of the
world. They stood on the ‘heavenly bridge’ and
stirred the inchoate mass with a jewelled sword.
A drop of brine which fell from its tip created the
first island of Onogoro.
alive in the thousands of shrines found all over the
country, where priests perform shamanistic rituals
and recite incantations. The deities and forces of
nature are invoked in the causes of good fortune,
success, good health and to ward off calamities,
cleanse impurities etc. This ancient tradition is
also expressed through the many local festivals
held all around the country and is personified in
the lineage of the imperial family4. The Omamori
(Shinto amulets) are still very popular and worn
by many and the kamidana5 (household altars) are
found in almost every home. Most of all this ancient
tradition of kami worship is still very present in the
hearts and minds of the Japanese people.
Ōnamuchi-no-mikoto and Sukunahikona-no-mikoto
(quoted above) are closely linked together, among
the early gods, and are seen as the forefathers of
Japanese medicine. Ōnamuchi is one of the central
deities in the myths recorded in the Kojiki and in
The Kojiki is an influential early record which
brings together myths, legends, songs, lineages
and other oral traditions, and serves as a sacred
text for Shinto3. Kami worship is still a living reality
in modern day Japan. The tradition is kept
1
Ōta Shinsai “Ampuku Zukai”
2
Gods, deities and nature spirits.
3
Kami worship in modern times is generally referred to as Shinto
4 The first Emperor Jimmu was, according to myth, directly
descended from the Sun Goddess Amaterasu
5
Home shrine
8 9

The Ampuku Classics
As we have seen, there were two major books written
and published in the late Edo period describing
the art of Ampuku. They are the ‘Ampuku Zukai’,
按 腹 図 解 , by Ōta Shinsai, first published in 1827,
and the ‘Anma Tebiki’, 按 摩 手 引 , by Fujibayashi
Ryohaku, from 1835. Both of these are richly illustrated
woodblock-printed books.
From the title of Ampuku Zukai: 按 腹 図 解 , it is clear
for anyone familiar with the Japanese language, that
this book is an illustrated guide to the art of Ampuku.
The first Japanese kanji1, 按 an, in this context
means ‘holding, considering and investigating’. So
an can be read here as holding the hand still or applying
pressure, although it also encompasses the
other meanings of ‘investigating and considering’.
The second character, 腹 fuku, represents ‘abdomen,
belly, Hara or stomach’. When separate, the
pronunciation for the kanji 按 is ‘an’ and for 腹 it is
‘fuku’. However, when combining them to become
按 腹 - abdominal acupressure - this is pronounced
‘Ampuku’. The kanji 図 zu represents ‘drawing, picture,
illustration, chart, graph, sight or scene’, and
解 kai means ‘explanation, notes, understanding or
key’. Together I have translated these as ‘illustrated
guide’. Therefore the full title for the Ampuku Zukai
按 腹 図 解 is ‘An Illustrated Guide to Ampuku’.
The Anma Tebiki, 按 摩 手 引 , is an illustrated guide to
the art of Anma, 按 摩 . Anma is an ancient method of
bodywork that originally came from China, where it
was known as Anmo. Over the centuries in Japan it
developed its own distinct form. It can be translated
as 按 ‘an’ - to press and 摩 ‘ma’ - to rub. Its more
hidden meaning is to apply pressure to tonify and
to rub to disperse. It is known in today’s Shiatsu
as Ho - tonifying treatment and Sha - dispersing
treatment2. At the core of the Anma Tebiki are the
chapters dealing with Fukushin - Hara diagnosis -
and with Ampuku. In the Anma Tebiki, the Ampuku
techniques are described by Fujibayashi Ryohaku
as the ‘supreme’ techniques in bodywork which
‘must be applied after elaborate, unhurried and
thorough training’.
Both these classic texts were originally produced using
the ‘bound-pocket’ style, also known as stitched
binding. This style allowed a much greater variety
of appearance than other forms of binding3 and
was very popular during the Edo period. Thin paper
sheets were printed on one side only and then folded
in two. The pages were then placed on top of each
other and the free edges fastened using thin paper
strips. After that the book covers were added and
everything was bound together with thread.
The Ampuku Zukai
Ōta Shinsai repeatedly emphasises that he has written
his guide to Ampuku in the vernacular style, with a
broad public readership in mind. With his desire to
spread the information as widely as possible, there
must have been many of the original printed copies
in circulation when it was first published, but very
few survive today. After an international search of
1
Japanese character
2
Shizuto Masunaga, ‘Shiatsu et Médecine Orientale’
3
Fukurotoji
18 19

collections in universities and private libraries I was
others with great success, attracting people from
Practitioners and teachers seen as authorities
On the left we have an illustration from the original
very lucky to find a few examples of the first edition.
far and wide. Some have claimed that Japanese
in the field of Anma, and of Shiatsu, refer to this
1827 Edo period first print. On the right we have the
This original Ampuku Zukai was printed on 30 folding
Anma massage originated with Ōta Shinsai and
book as being one of the main written sources of
same illustration from the later 1887 Meiji period
leaves and is richly and beautifully illustrated by the
that he was a contemporary of Sugiyama Waichi
their art. Over time the Ampuku Zukai saw many
edition. We can see that in the Meiji edition the
renowned artist Murata Yosikoto. This artist was also
in the late 1600s5, however I have so far not been
different editions and below you can see examples
Japanese text is from a later date, where the kanji
known as Murata Kagen and among other important
able to find any evidence for this. What is certain is
from two of these.
are rendered separately. In striking contrast, the
books graced with his distinctive style is the 1830
that his book truly speaks to the imagination and
Edo period text is written in a much more flowing
Min no kōji retsujo zue4, from which we include the
has influenced many generations of practitioners
style, allowing us to appreciate the artistic dexterity
illustration below. Here you see a father instructing
since it was first published.
of the calligrapher Urabe Ryosai.
his daughter in how to give him a treatment, while
he refers to a manual and demonstrates with his
The Classic for restoring health through Ampuku
hand exactly how she should perform the technique.
Perhaps he is consulting the Ampuku Zukai?
Central to Ōta Shinsai’s work is his understanding
that disease arises whenever the patient’s basic
Ki6 becomes stagnant. He saw human life as being
animated by the ceaseless flow of Ki, such that
even a small degree of stagnation can cause illness,
and when this life force is severely blocked it
leads to death. Through applying Ampuku he was
confident that he could help to dissolve stagnation
and consequently he could treat all diseases. By
applying Ampuku to the abdomen he understood
The written text of the Ampuku Zukai is as beautiful
as its illustrations, being rendered by the master calligrapher
Urabe Ryosai. The text and the illustrations
together make this book a really exquisite piece of art.
how to release stagnation to restore the smooth
flow of Ki and ‘thus stabilise the intestines, regulate
the gut, stretch out the muscles, moisten the skin,
replenish energy, improve digestion and bowel
movement, improve memory, improve physical
Very little is known about Ōta Shinsai, other than
that he was a practitioner from Osaka who became
fitness, improve blood flow and joint movement
as well as hasten recovery from chronic illnesses.’
gravely ill when he was 30. According to his own accounts,
no treatment helped until the techniques of
Ampuku came to him and, almost miraculously, he
used them to heal himself. He then went on to treat
1827 Edo period edition 1887 Meiji period edition
4 明 希 慈 列 女 図 会 https://pulverer.si.edu/node/860/title/1
5
Kiiko Matsumoto and Stephen Birch “Hara Diagnosis: Reflections on the Sea”
6
Yuan Qi
20 21

THE CLASSICS AT THE HEART OF JAPANESE BODYWORK
AMPUKU
手
陽
明
大
腸
經
Abdominal Acupressure Points
THE LARGE INTESTINE CHANNEL
手
陽
明
大
腸
經
Hand Yang Ming
What follows is the list of acupressure
points used in the Ampuku Zukai and
the Anma Tebiki.
32
33

LI-15 – Shoulder Bone 肩 髃
肩 shoulder
髃 clavicle
Anterior and inferior to the acromion in a
depression found with the arm abducted.
Meeting point of the Large Intestine channel
with the Yang Qiao Mai.
• Removes obstruction from the channel
• Expels wind and clears heat
• Alleviates pain and benefits the shoulder
joint
• Regulates ki and blood
• Resolves phlegm and dissipates nodules
LI-15
34 35

THE CLASSICS AT THE HEART OF JAPANESE BODYWORK
AMPUKU
足
阳
明
胃
经
Abdominal Acupressure Points
THE STOMACH CHANNEL
足
阳
明
胃
经
Foot Yang Ming
36
37

ST-4 – Earth Granary 地 倉
地 earth
倉 granary, storehouse
Directly below the pupil, lateral to the corner of
the mouth. Meeting point of the Stomach and
Large Intestine channels with the Yang Qiao
Mai and Conception Vessels.
• Expels wind
• Removes obstructions from the channel
• Alleviates pain
• Benefits the tendons and muscles
ST-18 – Breast Root 乳 根
乳 breast
根 root
At the base of the breast, 4 cun 1 lateral to the
anterior midline, in the fifth intercostal space
• Regulates Stomach ki
• Benefits the breasts and lactation
• Frees the chest and alleviates cough
and wheezing
1
Thumb measurement: The width of the interphalangeal joint of the patient’s thumb is taken as 1 cun.
38 39

ST-19 – Not Contained 不 容
不 not, negative
容 to contain, to hold
On the abdomen, 2 cun lateral to the anterior midline
and 6 cun above the navel, level with CV-14
• Regulates the Stomach
• Harmonises the middle burner
• Descends rebellious ki
• Alleviates cough and wheezing
ST-20 – Assuming Fullness 承 満
承 to support, to receive
満 full, fullness
On the abdomen, 2 cun lateral to the anterior midline
and 5 cun above the navel, level with CV-13
• Harmonises the middle burner
• Descends rebellious Lung and Stomach-ki
ST-21 – Beam Gate 梁 門
梁 crossbeam, beam
門 gate , door
On the abdomen, 2 cun lateral to the anterior midline
and 6 cun above the navel, level with CV-14
• Regulates ki and alleviates pain
• Removes food stagnation
• Harmonises the middle burner
• Raises ki and stops diarrhoea
ST-22 – Pass Gate 關 門
關 gate, barrier; to close
門 gate, door
On the abdomen, 2 cun lateral to the anterior midline
and 3 cun above the navel, level with CV-11
• Regulates ki and alleviates pain
• Regulates the intestines and benefits
urination
• Regulates the “lower gate of the stomach”
ST-23 – Supreme Unity 太 乙
太 supreme, most
乙 one; intestines of a fish; second of the
heavenly stems
On the abdomen, 2 cun lateral to the midline and
2 cun above the navel, level with CV-10
• Clears the Heart
• Transforms phlegm and calms the spirit
• Harmonises the middle burner
太 乙 is the name of a star related to the abdomen
in Chinese astrology
ST-24 – Slippery Flesh Gate 滑 肉 門
滑 slippery
肉 flesh, muscle
門 gate, door
On the abdomen, 2 cun lateral to the anterior midline
and 6 cun above the navel, level with CV-14
• Regulates the Stomach
• Harmonises the middle burner
• Descends rebellious ki
• Alleviates cough and wheezing
ST-25 – Celestial Pivot 天 樞
天 celestial, heaven, vital
樞 pivot, axis
On the abdomen, 2 cun lateral to the navel.
Front Collecting point of the Large Intestine channel
• Promotes the function of the intestines
• Regulates the Spleen and Stomach
• Clears dampness and damp-heat
• Regulates ki and blood
• Relieves food stagnation
天 樞 the central star in the Northern Dipper
40 41

ST-32 – Crouching Rabbit 伏 兔
伏 to bend over; to hide
兔 rabbit
On the thigh, on a line drawn between the lateral
border of the patella and the anterior superior
iliac spine, in a depression 6 cun above the superior
border of the patella
• Removes obstruction from the channel
• Alleviates pain
• Expels cold and dampness
ST-31 – Thigh Joint 髀 關
髀 thigh
關 gate, joint
On the upper thigh, in the depression lateral to
the sartorius muscle, at the junction of a vertical
line drawn downward from the anterior superior
iliac spine, and a horizontal line drawn level with
the lower border of the pubic symphysis
• Removes obstruction from the channel
• Expels wind and dampness
• Alleviates pain
ST-36 – Three Li 三 里
三 three
里 to rectify; measurement of distance
Below the knee, 3 cun inferior to ST-35, one finger
breath lateral to the anterior crest of the tibia
He-sea point
Earth point of the Stomach channel
Regulates Spleen, Stomach and Kidney
Command point of the abdomen
Point of the Sea of Water and Grain
Heavenly Star point
• Benefits the Stomach and Spleen
• Fortifies the Spleen and resolves dampness
• Regulates the nutritive and defensive ki
• Tonifies ki and nourishes blood and yin
• Clears fire and calms the spirit
• Activates the channel and alleviates pain
• Raises yang and restores consciousness
42 43

ANMA TEBIKI
按
摩
手
引
The following pages are the chapters
on Fukushin and Ampuku from
Fujibayashi Ryohaku’s text,
‘Anma Tebiki’, written in 1799 and
published in 1835.
88 89

Fukushin
Diagnosis of the abdomen - Fukushin
After becoming trained and skilled in Dōin 1 one should
learn the techniques of Ampuku. Even if one’s Dōin
technique is excellent, no intended outcome can be
expected without knowledge of the illnesses which
occur inside the belly 2 . So now the inside-belly illnesses
and the locations of them are shown here, to
be shared and widely understood by practitioners.
While the pictures here cannot cover our complete
method, if practitioners understand these pictures
really well they can cure various diseases.
1
1/ Shokuhi no Hara
Hara of Food Stagnation
食 痞 の 腹
This picture shows stiffness around the lower left
chest area due to food stagnation. When the Stomach
and Spleen don’t function well, stiffness will appear
around the level of the 7th and 9th vertebrae.
This can cause nausea, and/or pains.
Introduction
Fukushin
1
Healing massage
2
In our translation ‘belly’ and ‘Hara’ are used interchangeably - the reader should know that they refer to the same general area
90 91

Ampuku
1/ Kori no Te
Technique of Apical Beat
巨 里 の 手
This picture shows the technique where the practitioner
senses and reads the patient’s apical heart
beats. This is to learn more about the patient’s Kyo/
Jitsu ( 虚 実 ) condition, and to soothe the patient’s
mind.
Once the practitioner has understood the illness
inside the belly, by studying the previous illustrations
that show how to perform Fukushin, they
should practice Ampuku to cure those illnesses.
However, if the practitioner is not skilled enough
and is an unskilled Ampuku practitioner, it will
damage organs rather than healing them. Ampuku
must be applied only after an elaborate, unhurried
and thorough training.
1
Introduction
Ampuku
96 97

2/ Migi Kyokotsu
Technique of Right Ribs7
右 の 胸 骨 の 手
4/ Ikei no Te
Technique of Stomach Meridian
胃 経 の 手
This picture shows how to perform ‘Bunpai’ between
the ribs on the receiver’s right-hand side. The direction
of rubbing should be away from the sternum
towards the side and from top to bottom. With the
fingertips, rub in a smooth manner between the ribs
(being careful not to apply too much pressure).
This picture shows how to give a swift and rhythmical
rub with the palm along the Stomach meridian.
Do this on the left and right sides alternately, starting
from just below the breasts to the level of the CV-8
‘Spirit Gateway’ acupressure point.
3/ Hidari Rokkotsu
Technique of Left Ribs
左 の 肋 骨 の 手
5/ Bunpai no Te
Technique of Drainage
分 排 の 手
This picture shows how to perform ‘Bunpai’ between
the ribs on the receiver’s left-hand side. The rubbing
direction should be away from the sternum only.
The practitioner should start rubbing from the solar
plexus towards the sides of the body up to around
the LV-13 ‘Camphorwood Gate’ acupressure points.
Rub forward in the direction away from practitioner,
then back in the direction towards the practitioner.
Apply this technique on both sides alternately.
5
4
3
2
7 In the original text he refers to the sternum, but when reading the description and looking at the illustration of the technique it is
clear that he is referring to the ribs
98 99

AMPUKU
ZUKAI
按
腹
圖
解
What follows is a complete
translation of the Ampuku Zukai,
‘An Illustrated Guide to Ampuku’
written by Ōta Shinsai and first
published in 1827.
108 109

1 The editor uses a famous epithet found in waka poetry here. This practice was often the mark of a cultured writer. From poem 17 by
Ariwara no Narihira in the Hyakunin Isshu collection.
Foreword
In the legendary age of the wondrous gods1, the
divine Ōnamuchi-no-mikoto2 and Skunahikonano-mikoto3
gathered their strength and, with great
dedication, they cured all those who resided beneath
the heavens; they resolved to treat the afflictions of
humans and beasts alike.
But then eons4 flew by and we arrived at an age
where the Tatami rock-bridge of the Kume islands
was rent asunder and those healing skills were lost
in the passage of time.
During his reign, the Emperor Kinmei granted audience
to the grand scholars of the Five Classics from
the kingdom of Baekje: date-keepers, medics, and
herbalists among them. They appeared before
him one after another, springing up like hemlock
saplings5. The Emperor in fact had more Chinese
in his employ than at the imperial court in China so
he was able to acquire a vast array of knowledge
from them. This great wealth of historical records
is only available to us thanks to his initiative, and
our medical practitioners, as well as those from
China, have handed down this knowledge to future
generations.
Has Dōin Ankyō6 not been transmitted in the same
fashion? Has knowledge of those skills not been
revived in our sovereign state? There is evidence
of its usage in more recent history, in a passage
of the ‘Tale of Eiga’7, where a woman was said to
have practised Haratori8 , though that account is
over seven hundred years old and knowledge of
these techniques is now as murky as the swamp
of Ikaho9. There is another account of its use - the
oldest one in fact - from overseas. It can be found in
none other than the father of medical literature, a
classic entitled ‘The Yellow Emperor’s Inner Canon’.
However, it has since become outdated and no such
evidence can be found now in the medical annals
of later generations.
For the whole of the last two hundred years in our
sovereign state, Watagami’s 10 raging tides have
indeed subsided, bringing the peace of Anguo 11 . This
glorious era has blessed us with good fortune and
allowed all who live beneath the heavens, from the
highest to the lowest, to enjoy this most peaceful
time. Yet in this time of prosperity, tens of thousands
have wasted away never having prospered, and
thousands have met their end without a living heir.
That is the dire state of affairs to which our nation’s
medical teaching has brought us.
It is because of this that both manuals and ‘experts’
in this discipline of medicine have proliferated and
are now as abundant as katsura leaves in the countryside;
one should say that we are fully equipped
with medical knowledge. While all other practitioners
have abandoned the Dōin Ankyō techniques,
distinguished physicians Doctors Kōga and Kagawa
from the Shimmering Capital are restoring Japanese
2
The Shinto god of medicine (among other things) before he received the august name Ōkuninush
3
God of healing and of brewing sake who assisted Ōkuninushi in building the world and protection against disease and wild animals
4
The editor uses yet another epithet, this time from the Man’yōshū
5
Another epithet from the Man’yōshū - Hemlock trees are fast-growing conifers
6
Manual therapy that originated in China and was later further developed in Japan
7
An epic centred on the life of courtier Fujiwara no Michinaga, written over a century from 1028 to 1107
8
Abdominal massage.
9
A reference to a line in the Tale of Genji
10 A sea deity from the Kojiki
11
A city in the Hebei Province of China, nicknamed ‘the medicine capital’
110 111

33
A small protuberance on the occiput.
Illustrated Techniques
for the Prone Position
Lay the patient chest-down, as depicted,
with the patient’s face turned to the left or
right. Depending on their preference, rest
their head on a pillow or a similar object.
Kneel on the patient’s left side. Place the
palm of your left hand near the patients
GV-4 ‘Life Gate’, then stroke with your right
palm along the spine, and along the Bladder
channels parallel, starting from the
GV-14 ‘Great Hammer’ acupressure point
towards the area of GV-4 ‘Life Gate’. Repeat
this step six to seven times.
Using your fingertips, evaluate and apply
pressure to the following acupressure
points: GV-20 ‘Hundred Meetings’,
GV-19 ‘Behind the Vertex’, the inion, GB-20
‘Wind Pool’ and along the hairline at the
back of the head. Proceed by kneading
the scapula, particularly TH-14 ‘Shoulder
Bone Hole’, LI-15 ‘Shoulder Bone’, and GB-
21 ‘Shoulder Well’. From the patient’s right
LI-15 ‘Shoulder Bone’ point, use kaishaku
along the arm, the inner and outer sides of
the elbow and the wrist, palm, and back
of the hand, all the way to each fingertip.
After that, return to LI-15 ‘Shoulder Bone’,
this time proceeding along the arm to the
fingertips using the chōma technique.
Then repeat the full sequence for the left
arm.
Next turn your attention to the back,
using kaishaku one vertebra at a time
from GV-14 ‘Great Hammer’ down to the
tailbone. Then work the Bladder channels
along the back in the same fashion.
Press along the major muscles in the
waist and hip area, in particular the acupressure
points GB-30 ‘Jumping Round’,
BL-53 ‘Bladder Huang’, and BL-54 ‘Sequential
Limit’. Continue by kneading
the area around BL-36 ‘Support’, BL-39
‘Bend Yang’, GB-32 ‘Central River’, ST-
32 ‘Crouching Rabbit’, and GB-31 ‘Wind
City’, as well as the kneecap area and
the inner and outer calves. Then proceed
to relieve tension at BL-40 ‘Bend Middle’
and BL-57 ‘Mountain Support’ using the
same kaishaku technique, kneading and
rubbing to relieve tension in the calf
muscles.
Next use kaishaku on the foot, between
the metatarsal bones, around the heel,
on the sides of the foot and the sole of
the foot, applying pressure to KI-1 ‘Gushing
Spring’ and KI-2 ‘Blazing Valley’. Use
kaishaku to relieve tension in the toes.
With your right hand press the two Hikon
‘Tumor Root’ acupressure points on either
side of the spine, while using your
left palm to apply chōma to the leg, from
GB-30 ‘Jumping Round’ down to the
toes. Repeat this several times.
Now with the left hand, press both Hikon
‘Tumor Root’ points, and slowly slide
your right palm down from GV-14 ‘Great
Hammer’ to Hikon ‘Tumor Root’. Maintain
pressure on the Hikon ‘Tumor Root’
points with both thumbs, keep the pressure
long enough then gently release.
Let the patient turn onto his back, then
proceed to the next step of the procedure.
124 125

Diagram
(left to right,
top to bottom):
Diagram
(in descending order):
ST-32
Crouching Rabbit
GV-20
Hundred Meetings
BL-40
Bend Middle
GV-19
Behind the Vertex
BL-39
Bend Yang
GV-18
Unyielding Space
GB-30
Jumping Circle
Inion
(Centre)
GB-31
Wind Market
GB-12
Completion Bone
GB-32
Central River
(Left and Right)
GB-21
Shoulder Well
GV-16
Wind Mansion
TH-14
Shoulder Bone Hole
GB-20
Wind Pool
EX-LE8
Inner Ankle
EX
Yōgan1
KD-2
KD-1
Blazing Valley
Gushing Spring
BL-31 to BL-34
Eight Liao
Coccyx
Along the Spine:
Vertebrae 1 to 21
1
‘Lumbar Eyes’ (3.5 cun lateral to the lower border of the spinous process of the fourth lumbar vertebra)
126 127

4/ Kōki
降 氣
5/ Rotō
櫓 盪
Push down rebellious Ki in the
arterie
Roll the abdominals with
a ferryman’s stroke
Apply pressure on the left and right ST-
25 ‘Celestial Pivot’ points with your left
thumb and forefinger, as depicted. Then
with your right thumb and forefinger, push
down on each pair of points starting from
ST-19 ‘Not Contained’ all the way to ST-25
Place your open hands on the abdomen as
depicted, with your fingertips on the right
side, and the tips of your thumbs towards
the left. Mimicking the movements of a
rower pulling on his oars, roll the abdominals
in a wavelike motion.
‘Celestial Pivot’ as the patient exhales. Repeat
this several times.
Diagram
(in descending order):
ST-19
ST-20
ST-21
ST-22
ST-23
ST-24
ST-25
Not Contained
Assuming Fullness
Beam Gate
Pass Gate
Supreme Unity
Slippery Flesh Gate
Celestial Pivot
136 137

Information about Fukuoka:
On location in Fukuoka, Japan
Combine training and vacation!
We are based in Fukuoka, Japan. It’s a beautiful
city on the north coast of Japan’s Kyushu Island.
And a perfect place to combine your Shinzui Bodywork
Method training with a vacation to Japan.
modern architecture, its food and culture... all in
a growing, vibrant city. In a small area you’ll find
beaches and mountains, Japan’s oldest Zen temple,
gourmet restaurants, beautiful parks, shopping
Information about the School:
The Shinzui Bodywork International Institute is a
center for East-West bodywork, based in Japan and
Belgium. It was founded by Philippe Vandenabeele
and Hiroko Kobayashi.
The Institute offers professional training, general
bodywork classes, a postgraduate program and
various other courses including individual sessions.
Fukuoka: mixing old and new
We’ve fallen in love with Fukuoka! Its wonderful
coastal setting, its mix of ancient temples and
Shinzui Bodywork School
Foundation and postgraduate training program
Shinzui Bodywork Method, a whole-body
manual therapy, firmly rooted in Eastern bodywork
traditions, with special focus on abdominal work
and meridian work, enriched with Western visceral,
fascial and musculoskeletal bodywork.
and more. It’s been called “a microcosm of Japan”.
With it’s vibe of ‘East meets West’, Fukuoka is the
perfect place for our Shinzui Bodywork institute and
courses!
Compared to larger cities such as Tokyo or Osaka,
Fukuoka is very compact. It takes just 10 minutes
to get from Fukuoka international airport to the
city center.
Shinzui Shiatsu School
Basic and complete Shiatsu training program to
become a professional Shiatsu practitioner. We are
a recognized institution and follow the standards
of the Belgian and European Shiatsu Federations.
More information: www.shinzui-bodywork.com
160 161

AMPUKU
Abdominal Acupressure
THE CLASSICS AT THE HEART OF JAPANESE BODYWORK
Philippe Vandenabeele
Ampuku, or traditional Japanese abdominal acupressure, is a highly refined form of manual
therapy that provided the base of what later would become known as Shiatsu. Its origins are
also closely related to the earlier Anma practice.
In the Japanese healing arts the abdomen, or ‘Hara’, is seen as an important centre of energy
for the body therefore Hara work should be part of any successful bodywork practice. This was
something that was emphasized by Shiatsu master Shinzuto Masunaga who saw Ampuku as
a very important part of Shiatsu. He understood that Ampuku could contribute enormously
towards helping the critically ill and those patients who require calm but penetrating manipulation.
Ampuku therapy not only allows the patient to remain tranquil, it has also the potential
to rehabilitate the patient’s internal functioning and is an important part of diagnosis.
This book is for all manual therapists interested in deepening their practice, by offering access
to the information on Ampuku contained in Ōta Shinsai’s ‘Ampuku Zukai’ and Fujibayashi
Ryohaku’s ‘Anma Tebiki’, the two illustrated classics at the core of Japanese bodywork that are
provided here in complete English translation for the first time.
Along with the translations of these two major works this book also offers a practical guide
on how to apply the different Ampuku techniques by Philippe Vandenabeele, a senior Shiatsu
teacher and practitioner, who unveils their deeper meaning.
This book will provide the manual therapist a unique opportunity to explore the origins and
the healing potentials offered by this traditional Japanese healing art.
Includes:
• First complete translation of the Ampuku Zukai in English together with the Illustrations of the original
first edition of the Ampuku Zukai
• First translation of the chapters on Hara diagnosis and Ampuku from de Anma Tebiki together with
the illustrations of the original first edition of the Anma Tebiki
• Overview and explanations of all the acupressure points used in the Ampuku Zukai and Anma Tebiki
• An in-depth explanation of the Ampuku techniques described in those two Edo period books.
Philippe Vandenabeele is a manual therapist and teacher based in Fukuoka Japan. With 30
years of clinical and teaching experience, Philippe has consolidated his knowledge, insights
and practical experience to develop his own unique approach: the Shinzui Bodywork Method.
Shinzui Bodywork is a whole-body manual therapy firmly rooted in Eastern bodywork
traditions with special focus on abdominal work, meridian work, and enriched with Western
visceral, fascial and musculoskeletal bodywork.
For:
Manual Therapists / Bodyworkers
Shiatsu students and practitioners
Anma practitioners
Massage therapists
Complementary Medicine
Oriental Medicine