Waza catalog · 82 techniques + 5 hiwaza
Kimarite, classified
Every won bout ends with the announcement of the technique that decided victory. The full catalog of 82 official kimarite plus 5 non-technique situations — with difficulty, frequency and mechanics.
Kimarite names are usually compounds of two or three morphemes describing the movement. Knowing these elements lets you read the mechanics of a technique from its name alone. Click any term on the left — we will show every technique where it appears, and highlight that morpheme in every name in the catalog below.
oshi
5 techniques
continuous push (constant contact)
The wrestler pushes the opponent with both hands against the chest or shoulders, gradually forcing him past the shobu-dawara line. The arms remain bent at the elbows throughout — no belt grip. A purely power-based technique, relying on a stable stance and strong forward drive.
Hardest part
Keeping your own low position and balance while pushing, without giving the opponent a chance to grab the belt.
Variant of oshidashi: the push causes the opponent to fall onto the dohyō or outside the ring rather than stepping out upright.
The wrestler bends and throws the opponent over his own hip onto the dohyō.
When the opponent reacts to an inside pull, the wrestler grabs him around the waist and pulls, dumping him onto the dohyō.
The wrestler falls backwards without any technique from his rival — usually as a result of overcommitting to his own attack.
IFS regulations specify a list of forbidden techniques, called kinjite. Performing one results in the bout being immediately stopped by the gyōji and the wrestler disqualified.
01
striking with a clenched fist
Strikes & contact
02
jabbing with the fingers, especially at the eyes or solar plexus (mizo-ochi)
Strikes & contact
03
kicking the opponent in the chest or waist
Strikes & contact
04
grabbing the hair
Body grabs
05
grabbing the throat
Body grabs
06
bending one or two of the opponent's fingers
Body grabs
07
biting
Strikes & contact
08
simultaneously striking both of the opponent's ears with the palms
Strikes & contact
09
grabbing the front of the belt (maebukuro / maetatemitsu) or sliding fingers under the belt and pulling
Belt & clothing grabs
10
grabbing items of clothing other than the mawashi — for the second and any subsequent time
The first occurrence only results in a release order (a procedural rule by the gyōji, not part of the canonical JSA list of 8 kinjite).
Belt & clothing grabs
Note
The rules allow a single first grab of any item of clothing other than the mawashi — the gyōji then orders the wrestler to release, but the bout continues. Only the second and subsequent such action results in disqualification.
87 / 87 techniques
#
Name · meaning
Difficulty
Frequency
Group
Photo / diagram — coming soon
The wrestler pushes the opponent with both hands against the chest or shoulders, gradually forcing him past the shobu-dawara line. The arms remain bent at the elbows throughout — no belt grip. A purely power-based technique, relying on a stable stance and strong forward drive.
Hardest part
Keeping your own low position and balance while pushing, without giving the opponent a chance to grab the belt.
Photo / diagram — coming soon
The wrestler grabs the opponent's mawashi and, pressed against his body, drives him over the edge of the ring. The key is staying low and controlling the hips through the belt grip. The most common technique in professional sumo — it accounts for roughly a third of all decided bouts.
Hardest part
Securing and holding a useful belt grip while simultaneously blocking the opponent's attempts to grab yours.
Photo / diagram — coming soon
Variant of yorikiri in which the opponent does not step out upright but falls — either outside the ring or onto the dohyō. It occurs when the opponent loses balance heavily during the force-out.
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Variant of oshidashi: the push causes the opponent to fall onto the dohyō or outside the ring rather than stepping out upright.
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The wrestler delivers a series of strong, short thrusts with both hands and straightened elbows, without keeping constant contact with the opponent between thrusts. This is the key difference from oshidashi. Used by wrestlers who prefer fighting at distance.
Hardest part
Keeping rhythm and tempo of the thrusts so that the opponent has no time to step off the line or grab your belt.
Photo / diagram — coming soon
Variant of tsukidashi: the thrusts cause the opponent to fall onto the dohyō rather than step out upright.
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The wrestler presses his whole body against the opponent and, leaning forward, drives him to the ground, dumping him backwards onto the dohyō. Despite being classed as basic, the technique is rare — it demands a very specific position and timing.
Hardest part
Catching the right moment — the wrestler must be taller or heavier than his rival to press him down effectively without risking his own fall.
Photo / diagram — coming soon
The wrestler grabs the mawashi with an outside grip (uwate — over the opponent's arm) and, turning sideways, throws his rival onto the dohyō. One of the more common throwing techniques.
Hardest part
Securing the outside grip while blocking the opponent's same attempt, then timing the turn correctly.
Photo / diagram — coming soon
Variant of uwatenage with an inside grip (shitate — under the opponent's arm). The wrestler pulls the belt downward and turns, throwing the opponent.
Hardest part
Keeping the inside grip without letting the opponent block the arm movement.
Photo / diagram — coming soon
The wrestler slips a hand under the opponent's armpit, reaches across his back and, turning sideways, throws him onto the dohyō without gripping the belt. Demands timing and speed.
Hardest part
Getting under the opponent's armpit at the right moment — too slow and the rival has time to counter.
Photo / diagram — coming soon
The wrestler wraps his arm around the opponent's outstretched arm and throws him onto the dohyō without gripping the belt. A common technique, often combined with other moves.
Hardest part
Holding control of the opponent's arm long enough to complete the full throw before he escapes or counters.
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The wrestler takes an inside belt grip and pulls the opponent forward and to the side, dumping him onto the dohyō. Unlike shitatenage — no rotation, just pulling.
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Variant of shitatedashinage with an outside grip. The wrestler pulls the belt and drags the opponent forward onto the dohyō.
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The wrestler clamps both arms around the opponent's head or neck and throws him onto the dohyō. A rare technique requiring precision and the right timing.
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The wrestler raises his thigh into the opponent's groin while wrapping both arms around him, then throws him onto the dohyō.
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The wrestler turns his back to the opponent, grips his arm with both hands and throws him over his own back. Known from judo, in sumo this throw is extremely risky — the thrower must keep his own knee off the dohyō, or he loses. Famous executions include Kaiō's win over yokozuna Musashimaru in 2000 and Hōshōryū's win in 2021.
Hardest part
Completing the full throw without your own knee touching the dohyō — unlike in judo, in sumo this means a loss.
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The wrestler bends and throws the opponent over his own hip onto the dohyō.
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The wrestler thrusts his leg behind the opponent's knee and sweeps both legs out from under him, dumping him onto the dohyō.
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The wrestler slides his leg into the opponent's groin, lifts him off the ground and throws him sideways. Both wrestlers must first have a mutual belt grip.
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The wrestler grabs the mawashi and lifts the opponent's entire body, hurling him behind himself onto the dohyō. One of the hardest throwing techniques — requires exceptional strength.
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The wrestler grabs the inside of the opponent's thigh or knee with one hand and pushes with the other — either forcing him over the line or down.
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The wrestler hooks his own heel against the opponent's heel and, pushing back, knocks him off balance, forcing him to fall backwards.
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When the opponent reacts to a throw by stepping his leg forward, the wrestler grabs the inside of that thigh and, lifting, drops him onto the dohyō.
Hardest part
The technique is a reaction to the opponent's move, not an initiative — it demands an instant read of the situation.
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The wrestler lifts the opponent's ankle from the front, causing him to fall.
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After an opponent's failed throw, the wrestler grabs his thigh from the outside, lifting it and dumping him onto his back.
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After dodging the opponent's throw, the wrestler slips his knee under the opponent's thigh and pulls, dragging him onto the dohyō.
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After dodging a throw, the wrestler grabs the opponent's ankle and pulls, dragging him onto the dohyō.
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When the opponent loses balance forward, the wrestler grabs his leg from behind and pulls, ensuring the fall.
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The wrestler grabs one of the opponent's legs, destabilising him and forcing him to lose balance or step out of the ring.
Hardest part
Dropping low enough to grab the leg without exposing your own back to attack.
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The wrestler wraps his leg around the opposite leg of the opponent and, driving him backwards, dumps him onto the dohyō.
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The wrestler kicks the inside of the opponent's foot; a quick pull causes the loss of balance.
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The wrestler kicks the outside of the wobbling opponent's foot while simultaneously dumping him onto the dohyō.
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The wrestler wraps his calf around the opponent's calf from the outside and, pushing him back, knocks him over.
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Right after the tachi-ai, the wrestler kicks the opponent's legs to the outside while simultaneously twisting or pushing, toppling him onto the dohyō.
Hardest part
Timing — the technique is executed immediately after the tachi-ai, demanding a split-second decision.
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The wrestler hooks his leg behind the opponent's knee and, twisting him sideways and back, throws him over his own leg onto the dohyō.
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Variant of sotogake hooking the calf from the inside. The wrestler topples the opponent backwards onto the dohyō.
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When the opponent escapes komatasukui by switching his leg, the wrestler switches to the other leg and repeats the scoop.
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The wrestler simultaneously wraps one leg around the opponent's leg, grabs the other thigh and drives his head into the opponent's chest, lifting him and throwing him onto his back. One of the rarest and hardest techniques in sumo history. In makuuchi it has been recorded only a handful of times — the canonical cases are Mainoumi's wins over Kotofuji (September 1992) and over Tomoefuji (September 1993).
Hardest part
Coordinating three simultaneous actions with different parts of the body — leg, arm and head must act in the same instant.
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The wrestler moves his hands onto the opponent's torso or shoulder past his centre of gravity and, twisting, dumps him onto the dohyō. One of the more common twisting techniques.
Hardest part
Sensing the moment when the opponent is destabilised enough for the twist to land.
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The wrestler twists the opponent's outstretched arm, forcing him to fall.
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The wrestler reaches over the opponent's back, grabs his mawashi and throws him forward or to the side. Demands exceptional flexibility — known from the repertoire of Estonian wrestler Baruto and yokozuna Wakanohana II.
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The wrestler wraps both arms around the opponent's outstretched arm and, levering through his own arm, forces him to fall onto the dohyō. Similar to tottari but with a different body alignment.
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The wrestler twists the opponent's head or neck, forcing his fall.
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The wrestler reacts in a flash to the opponent's move, twisting his body and dumping him onto the dohyō without a belt grip.
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The wrestler grabs the outside of the opponent's left (or right) knee and, twisting him over his own left (or right) knee, drops him onto the dohyō.
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Variant of sotomuso gripping the inside of the knee.
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The wrestler uses his head as a pivot point to push the opponent down during the twist.
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The wrestler wraps his hands around the opponent's arm while gripping the shoulder and squeezing, forcing the fall. One of the more common twisting techniques.
Hardest part
Getting into the right position under the opponent's arm without giving him a chance to counter.
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The wrestler grabs the mawashi and, jerking it sharply downward, forces the opponent's knees to touch the dohyō.
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The wrestler slides his hand under the opponent's arm, grips the mawashi and, pulling the belt down, forces him to fall or to touch the dohyō with his knee.
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The wrestler wraps both arms around the opponent's outstretched arm and pulls him forward onto the dohyō.
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Variant of shitatehineri with an outside grip. The wrestler grabs the mawashi over the arm and, pulling down, forces the fall.
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The wrestler wraps one arm around the opponent's outstretched arm while holding his wrist with the other hand, twisting and forcing him to fall. A counter to tottari.
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The wrestler clasps both arms around the opponent's back and twists him sideways onto the dohyō.
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The wrestler reaches over the opponent's arm, grabs his outstretched arm and, twisting it down, simultaneously grabs the body and throws in the same direction.
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The wrestler grips the opponent's head or neck with both hands in a pincer motion and twists him onto the dohyō. The name comes from the shape of a sake bottle (tokkuri).
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The wrestler pulls both of the opponent's arms, causing him to fall forward. The technique resembles the traditional Japanese cast of a fishing net — hence the name.
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The wrestler slips his head under the opponent's outstretched arm and torso, forcing him to bend backwards over his own legs. Never used in makuuchi since 1955.
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The wrestler wraps one arm around the opponent's arm and the other around his leg, lifts him and throws him sideways and backwards. Never used in makuuchi since 1955.
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The wrestler wraps one arm around the opponent's arm and the other around his leg, lays him perpendicularly across his shoulders and dumps him. The name refers to the tasuki sashes used to tuck up kimono sleeves. Last recorded in makuuchi in May 1951 (Tochinishiki against Fudōiwa), even before the official kimarite list was formalised in 1955 — never used at the top level since.
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The wrestler slips his head under the opponent's armpit and pushes him backwards across his own back. Never used in makuuchi.
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The wrestler dodges the opponent's push by sliding under his arm, grabs it with both hands and pulls it down, causing the fall. Recorded in makuuchi by Asashōryū against Takanonami (September 2002) and by Ishiura against Nishikigi (November 2019). The famous 1991 bout of Mainoumi versus Akebono was officially counted as uchigake, not tsutaezori.
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The wrestler performs a full turn beneath the opponent, coming up from below, and lifts him with his arms, throwing him over his back onto the dohyō. Since the kimarite list was formalised in 1955, it has been recorded in makuuchi only twice: Maenoyama against Tatekabuto (March 1957) and Iwakaze against Wakatenryū (May 1964).
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The wrestler pushes a wobbling opponent from behind, forcing him out of the dohyō. One of the simpler and more common techniques.
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Variant of okuridashi in which the opponent falls onto the dohyō rather than stepping out of the ring.
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The wrestler slaps the opponent's shoulder, back or arm with an open hand, forcing him to fall forward. One of the more common techniques — a typical response to a tachi-ai charge.
Hardest part
Timing — the slap must land when the opponent is leaning forward but before he regains a stable position.
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The wrestler pulls the opponent's shoulder, arm or mawashi, forcing him to fall forward. Often used as a defence against a charge.
Hardest part
Avoiding the opponent's thrusts while simultaneously pulling him down.
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Stepping back sideways, the wrestler grabs the opponent's arm with both hands and pulls him out of the ring.
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The wrestler locks both of the opponent's arms and shoulders with his own arms and pushes him out of the dohyō.
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Variant of kimedashi — after locking the arms, the wrestler dumps the opponent onto the dohyō instead of pushing him out.
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The wrestler hooks the opponent's ankle from behind, standing behind his back.
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The wrestler pulls the opponent down from behind his back.
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The wrestler throws the opponent from behind his back.
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When the wrestler is being driven to the edge of the dohyō, he leans backwards and, twisting the opponent's body, forces him out of the ring or down. One of the most spectacular techniques — performed from a defensive position in the very last second before defeat.
Hardest part
Tremendous leg strength and back flexibility at the moment the wrestler is already on the brink of losing. A timing error ends the bout.
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When the opponent is behind the wrestler, the wrestler steps backwards and pushes him out of the dohyō.
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The wrestler pushes down on the back of the opponent's neck from behind.
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The wrestler lifts the opponent by the mawashi and drops him onto the dohyō.
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The wrestler plants his foot behind the opponent's foot from the side while simultaneously pushing him out of the ring with his arm.
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The wrestler grabs the opponent's mawashi from behind, lifts him and carries him out of the dohyō.
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The wrestler lifts the opponent by the mawashi from behind and drops him onto the dohyō.
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When the opponent reacts to an inside pull, the wrestler grabs him around the waist and pulls, dumping him onto the dohyō.
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Facing the opponent, the wrestler grabs the mawashi with both hands, lifts the opponent's entire body off the dohyō and carries him out of the ring. Demands exceptional strength. Rare but one of the more spectacular techniques.
Hardest part
Lifting the opponent's full body weight (often over 100 kg) with both hands while keeping your own position on the dohyō.
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The opponent steps backwards out of the dohyō on his own, without any attack from his rival.
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The wrestler executing a technique accidentally plants his own foot outside the dohyō at the moment when the opponent he is pushing out is still falling or stepping out.
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The wrestler falls backwards without any technique from his rival — usually as a result of overcommitting to his own attack.
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The wrestler stumbles and lands on one or both knees with no meaningful contact from his rival.
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The wrestler stumbles and lands on one or both hands with no meaningful contact from his rival.