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Post by tajima on Oct 15, 2007 6:35:34 GMT
Hello Everyone. I have composed this ongoing list of guides and tutorials with all things JSA and Eastern Weaponry and arts. Of course, this list will never be completely finished - however, I have pinpointed some important, interesting or just plain helpful guides for everyone to come and see. I could not have made this alone and I have a list of people to thank, not just people who made the tutorials but also others. If anyone has any new donations or has written a guide they would like to be posted, send it to me via PM or MSN and I will be glad to help out, provided it is suitable. I have edited a large portion of these guides as they may have spelling mistakes, errors in grammar and all that jazz to make it easier for everyone. Please, without further adieu, enjoy the JSAopedia! Links: AKBAN Wiki Martial Arts Database, posted by Bhosa: www.ninjutsu.co.il/wiki/index.php/Main_PageBasic Draw, Cut and Etiquette Technique posted by Chopchop: /index.cgi?board=jsa&action=display&thread=1178627597 How to Disassemble your Katana toyamaryu.org/katana_disassembly.htmA fairly difficult guide to tying Sageo (Bear with me) www.nihontoantiques.com/sageo_tying.htmTUTORIALS: Page 1: How to Make Choji Oil by Hissatsu Page 2: Information on the art of Gumdo by Alant Page 3: Advanced terminology on the Katana by Hissatsu Page 4: Mahiro Shukosa’s sword forms posted by Laowho Page 5: How to make a DIY Tameshigiri Stand (Cutting stand) by Hissatsu Page 6: Core Traditional Eastern Weapons, posted by Hissatsu Page 7: -Reserved- Page 8: -Reserved- Page 9: -Reserved- Page 10: -Reserved- Page 11: -Reserved- Page 12: -Reserved- Thanks to Bhosa, Hissatsu, Laowho, Chopchop, Alant, Paul Southren, Ronin, Nihonto Antiques, Toya Maryu, Cheness and Hanwei, anyone who has encouraged or helped me with collecting and choosing swords and all of SBG!
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Post by tajima on Oct 15, 2007 6:36:26 GMT
HOW TO MAKE YOUR VERY OWN CHOJI OIL - BY HISSATSU
No doubt you have all heard of Choji oil and occasionally seen it for sale. What is the mystery with this oriental mix used for oiling your beloved swords There is no mystery, you can make your very own Choji oil relatively cheaply , all you need is a suitable bottle, one with a secure lid, a clean medicine bottle will do.
You need to get some fine mineral oil, either buy this from the chemist [it's used for skin care, I believe ], or fine sowing machine oil will be ideal. The other ingredient you need is a small bottle of Clove oil, this again you can get from any chemist including Boots, for less than a £1.00. If your really nice your local chemist might even give you an empty medicine bottle or two
THE MIXING RATIO IS 99% FINE MINERAL OIL TO 1% CLOVE OIL
Remember to put half the mineral oil in the bottle first, then the clove oil, replace the lid shake vigorously, then top up with the remainder of the mineral oil and shake again.
Really all it is doing is making a pleasant aroma to distinguish it from other bottles of oil that you have.
CONGRATULATIONS..........YOU HAVE CHOJI .....
And you have made a massive saving, and enough Choji to last you years, With the added bonus that the aroma of cloves now permeates the whole house
---EDITORS NOTE: The ratio is two teaspoons of Clove Oil to every litre of Mineral Oil.
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Post by tajima on Oct 15, 2007 6:37:18 GMT
SOME INFORMATION ON GUMDO - ALANT This may be considered off topic, but I see no place for Eastern non-Japanese sword art. Hopefully someone here knows more than I could glean off the internet. Are there any practitioners of this Korean sword art here? www.dojangweb.com/gumdo.asp?start=8&catid=144Gumdo is Korean for "way of the sword." Unlike Kendo, Gumdo is more of a martial art than a sport. It focuses more on traditional sword techniques used for battle rather than duelling en.wikipedia.org/wiki/Haidong_GumdoHaidong Gumdo, also spelled Haedong Kumdo, is a name coined around 1982 and used for several Korean martial art organizations that use swords. - The Japanese technique primarily focuses on one-versus-one, or individual combat. - The Korean technique primarily focuses on one-versus-many, or battlefield combat. Haidong Gumdo may be generally characterized as exchanging multiple strikes of the sword for one strike of the sword. The one strike concept characterizes the Japanese method. The Japanese ideal of "one strike, one kill" is prevalent in Japanese kendo (kumdo), even today. The merits and limitations of each of the philosophies may be debated endlessly. Probably the best way to characterize the main difference between Japanese Kendo and the Korean Haidong Gumdo styles is through training philosophy: The Korean sword in this review looks like a Katana, but there are apparently a few differences. www.arscives.com/bladesign/koreanswordreview.htmA thoughtful explanation with some detail: victorian.fortunecity.com/operatic/739/main.htm
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Post by tajima on Oct 15, 2007 6:37:50 GMT
KATANA TERMINOLOGY BY HISSATSU Japanese katana Terminology Glossary
Sometimes, you may come across a word which you have forgotten, or could not quite place, so to help, and as a reference, I have put a list of some of the more commonly used words below. Hope it's useful.
A
AIKUCHI - a tanto with no tsuba (guard) AOI - hollyhock, commonly used as a Mon ARA-NIE - coarse or large nie ASHI - legs (streaks of nioi pointing down toward the edge) ATOBORI - horimono added at a later date ATO MEI - signature added at a later date AYASUGI - large wavy hada (grain)
B
BAKUFU - military government of the Shogun BO-HI - large or wide groove BOKKEN - wooden sword for practicing sword kata BONJI - sanskrit carvings BO-UTSURI - faint utsuri BOSHI - temper line in kissaki (point) BU - Japanese measurement (approx 0.1 inch) BUKE - military man, samurai BUSHIDO -the code of the samurai
C
CHIKEI - dark lines that appear in the ji CHISA KATANA - short katana CHOJI - clove shaped hamon CHOJI OIL - oil for the care of swords CHOJI-MIDARE - irregular choji hamon (temper line) CHOKUTO - prehistoric straight swords CHU - medium CHU-KISSAKI - medium sized point (kissaki) CHU-SUGUHA straight, medium width temper line
D
DAI - great or large DAI-MEI - student smith signing his teacher's name DAIMYO - feudal lord DAISHO - a matched pair of long and short swords DAITO - long sword (over 24 inches)
F
FUCHI - collar on hilt FUCHI-KASHIRA - set of hilt collar (fuchi) and buttcap (kashira) FUKURA - curve of the ha or edge in the kissaki (point) FUKURE - flaw; usually a blister in the steel FUKURIN - rim cover of a tsuba FUNAGATA - ship bottom shaped nakago FUNBARI / FUMBARI - much taper of the blade from the machi to the kissaki FURISODE - shape of sword tang that resembling the sleeve of a kimono
G
GAKU-MEI - original signature inlaid in a cut-off (o-suriage) tang GENDAITO - traditionally forged sword blades by modern smiths GIMEI - fake signature (mei) GIN - silver GOKADEN - the Five Schools of the Koto period GOMABASHI - parallel grooves GUNOME - undulating hamon GUNOME-MIDARE - irregularly undulating hamon GUNTO - army or military sword mountings GYAKU - angled back, reversed
H
HA - cutting edge HABAKI - blade collar HABUCHI - the line of the hamon HADA - grain in steel, pattern of folding the steel HAGANE - steel HAGIRE -edge cracks in the hamon (fatal flaw) HAKIKAKE -broom swept portions in the boshi HAKO BA - box shaped hamon HAKO-MIDARE - uneven box shaped hamon HAKO-MUNE - square shaped blade back HAMACHI - notch at the beginning of the cutting edge HAMIDASHI - tanto or dagger with a small guard (tsuba) HAMON - temper pattern along blade edge HANDACHI - tachi mountings used on a katana or wakizashi HATARAKI - activities or workings within the hamon or temperline HAZUYA - finger stones used to show the hamon and hada HI - grooves in the blade HIRA-MUNE - flat blade back ridge HIRA-TSUKURI / HIRA-ZUKURI - blade without a shinogi (flat blade) HIRO-SUGUHA - wide, straight temper line (hamon) HITATSURA - full tempered hamon HITSU / HITSU-ANA - holes in the tsuba for the kozuka or kogai HO - kozuka blade HONAMI - family of sword appraisers HORIMONO - carvings on sword blades HOTSURE - stray lines from hamon into the ji
I
ICHI - one or first ICHIMAI - one-piece sword construction ICHIMAI BOSHI - point area (kissaki) that is fully tempered IHORI-MUNE - peaked back ridge IKUBI - boar's neck (a short, wide kissaki) INAZUMA - lightning (a type of activity in the hamon) ITAME - wood grained hada ITO - silk or cotton hilt wrapping ITOMAKI NO TACHI - tachi with top of saya wrapped with ito ITO SUGU - thin, thread like hamon
J
JI - sword surface between the shinogi and the hamon JI-GANE - surface steel JI-HADA - surface pattern of the hada JINDACHI - tachi JI-NIE - islands of nie in the ji JIZO BOSHI - boshi shaped like a priest's head JUMONJI YARI - a yari with cross pieces JUYO TOKEN - highly important origami for sword by NBTHK JUZU - hamon like rosary beads
K
KABUTO - helmet KABUTO-GANE - tachi style pommel cap KABUTO-WARI - helmet breaker KAEN - flame shaped boshi KAERI - turnback (refers to the boshi at the mune) KAI GUNTO - naval sword KAJI - swordsmith KAKIHAN - swordsmiths or tsuba makers monogram KAKU-MUNE - square back ridge KAMIKAZI - divine wind KANJI - Japanese characters KANMURI-OTOSHI - backridge bevelled like a naginata KANTEI - sword appraisal KAO - carved monogram of swordsmith on tang (nakago) KASANE - thickness of blade KASHIRA - sword pommel or buttcap KATAKIRI - sword with one side flat (no shinogi) KATANA - sword worn in the obi, cutting edge up KATANA KAKE - sword stand KATANA-MEI - signature side that faces out when worn edge up KAWAGANE - skin or surface steel KAZU-UCHI MONO - mass produced swords KEBORI - line carving done on sword mounts KEN - straight double edged sword KENGYO - triangular or pointed nakago-jiri KESHO YASURIME - decorative file marks on nakago KIJIMATA - pheasant thigh shaped nakago KIJIMOMO - pheasant leg shaped nakago KIKU - chrysanthemum KIKUBA - chrysanthemum temperline (hamon) KIN - gold KINKO - soft metal sword fittings (not iron) KIN-MEI - gold inlay or gold lacquer appraiser's signature KINZOGAN MEI - same a kin-mei KINSUJI - golden line (type of activity in hamon) KINZOGAN-MEI - attribution in gold inlay on nakago KINSUJI - whitish line along hamon KIRI - paulownia KIRI HA - flat sword with both sides bevelled to the edge KIRI KOMI - sword cut or nick on the blade from another sword KISSAKI - point of blade KITAE - forging KIZU - flaw KO - old or small KOBUSE - blade constructed with hard steel around a soft core KO-CHOJI - small choji hamon KODACHI - small tachi KODOGU - all the sword fittings except the tsuba KOGAI - hair pick accessory KOIGUCHI - the mouth of the scabbard or its fitting KOJIRI - end of the scabbard KOKUHO - national treasure class sword KO-MARU - small round boshi KO-MIDARE - small irregular hamon KO-MOKUME - small wood grain hada KO-NIE - small or fine nie KO-NIE DEKI - composed of small nie KOSHIATE - leather suspensors (hangers) for a sword KOSHIRAE - sword mountings or fittings KOSHI-ZORI - curve of the blade is near the hilt KOTO - Old Sword Period (prior to about 1596) KOZUKA - handle of accessory knife KUBIKIRI - small tanto for cutting the neck or removing heads KUNI - province KURIJIRI - rounded nakago jiri KURIKARA - dragon horimono (engraving/carving) KURIKATA - scabbard (saya) fitting for attaching the sageo KUZURE - crumbling or disintegrating KWAIKEN - short knife carried by women
M
MACHI - notches at the start of the ha and mune MACHI-OKURI - blade shortened by moving up the ha-machi and mune-machi MARU - round MARU-DOME - round groove ending MARU-MUNE - round mune MASAME - straight grain (hada) MEI - swordsmith's signature MEIBUTSU - famous sword MEKUGI - sword peg MEKUGI-ANA - hole for mekugi MEMPO - face guard or mask MENUKI - hilt ornaments MIDARE - irregular, uneven temperline (hamon) MIDARE-KOMI - uneven pattern in boshi MIHABA - width of sword blade at the machi MIMIGATA - ear shaped hamon MITOKOROMONO - matching set of kozuka, kogai and menuki MITSU KADO - point where yokote, shinogi and ko-shinogi meet MITSU-MUNE - three-sided mune MIZUKAGE - hazy line in ji commonly due to re-tempering MOKKO - four lobe shaped (a tsuba shape) MOKUME - burl like hada MON - family crest MONOUCHI - main cutting portion of blade (first six inches from kissaki) MOROHA - double-edged sword MOTO-HABA - blade width near habaki MOTO-KASANE - blade thickness MU - empty or nothing MUJI - no visible grain MUMEI - no signature (unsigned blade) MUNE - back ridge of sword blade MUNEMACHI - notch at start of mune MUNEYAKI - regions of temper along the mune MU-SORI - no curvature
N
N.B.T.H.K. - Nihon Bijutsu Token Hozon Kai (sword preservation group) NAGAMAKI - halberd weapon mounted as a sword NAGASA - blade length (from tip of kissaki to munemachi) NAGINATA - halberd NAKAGO - sword tang NAMBAN TETSU - foreign steel NANAKO - raised dimpling (fish roe) NAOSHI - corrected or repaired NASHIJI - hada like pear skin NENGO - Japanese era NIE - bright crystals in hamon or ji NIE-DEKI - hamon done in nie NIKU - meat (blade having lots of fullness) NIOI - cloud like hamon NIOI-DEKI - composed of nioi NIOI-GIRE - break in hamon NODACHI - large tachi worn by high officials NOTARE - wave like hamon NOTARE-MIDARE - irregular wave like hamon N.T.H.K.. - Nihon Token Hozon Kai (sword appraisal group) NUNOME - overlay metal-work
O
O - large OBI - belt sash O-CHOJI - large choji hamon O-DACHI - very long sword (over 30 inches) O-KISSAKI - large kissaki O-MIDARE - large irregular hamon OMOTE - signature side of the nakago O-NIE - large nie O-NOTARE - large wave patterned hamon ORIGAMI - appraisal certificate ORIKAESHI MEI - folded signature OROSHIGANE - specially processed steel for making swords O-SEPPA - large seppa (usually on tachi) OSHIGATA - rubbing of the signature on the nakago O-SURIAGE - a shortened tang with the signature removed
S
SAGEO - cord used for tying the saya to the obi SAGURI - catch-hook on saya SAIHA/SAIJIN - retempered sword SAKA - slanted SAKI - tip or point SAKI-HABA - blade width at yokote SAKI ZORI - curvature in the top third of the blade SAKU - made SAME' - rayskin used for tsuka (handle) covering SAMURAI - Japanese warrior or the warrior class SANBONSUGI - "three cedars" (hamon with repeating three peaks) SAN-MAI - three-piece sword construction SAYA - sword scabbard SAYAGAKI - attribution on a plain wood scabbard SAYAGUCHI - mouth of the scabbard (koi-guchi) SAYASHI - scabbard maker SEKI-GANE - soft metal plugs in the tsuka hitsu-ana SEPPA - washers or spacers SHAKU - Japanese unit of measure approximately one foot SHAKUDO - copper and gold alloy used for sword fittings SHIBUICHI - copper and silver alloy used for sword fittings SHIKOMI-ZUE - sword cane SHINAE - ripples in steel due to bending of blade SHINAI - bamboo sword used in Kendo SHINGANE - soft core steel SHINOGI - ridgeline of the blade SHINOGI-JI - sword flat between the mune and shinogi SHINOGI-ZUKURI - sword with shinogi SHIN-SHINTO - New-New Sword Period (1781 to 1868) SHINTO - New Sword Period (1596 to 1781) SHIRASAYA - plain wood storage scabbard ****ODOME - small collars in the kurikata and/or kashira SHOBU ZUKURI - blade where shinogi goes to the tip of the kissaki (no yokote) SHOGUN - supreme military leader SHOTO - short sword (between 12 and 24 inches) SHOWATO - sword made during the Showa Era (usually refers to low quality blades) SHUMEI - red lacquer signature SHURIKEN - small throwing knife SORI - curvature SUDARE-BA - bamboo blinds effects in hamon SUE - late or later SUGATA - shape of sword blade SUGUHA - straight temper line SUKASHI - cut out SUN - Japanese measure, approx. one inch SUNAGASHI - activity in hamon like brushed sand SURIAGE - shortened tang
T
TACHI - long sword worn with cutting-edge down TACHI-MEI - signature facing away from body when worn edge down TAKABORI - high relief carving TAKANOHA - hawk feather style of yasurime TAMAHAGANE - raw steel for making swords TAMESHIGIRI - cutting test TAMESHI-MEI - cutting test inscription TANAGO - fish belly shaped nakago TANAGO-BARA - fish belly shaped nakago TANTO - dagger or knife with blade less than 12 inches TATARA - smith's smelter for making sword steel TO - sword TOBIYAKI - islands of tempering in the ji TOGARI - pointed TOGI - sword polish or polisher TORAN - high wave like hamon TORII-ZORI - sword curve in the middle of the blade TSUBA - sword guard TSUCHI - small hammer/awl for removing mekugi TSUKA - sword handle TSUKA-GUCHI - mouth of handle TSUKA-ITO - handle wrapping or tape TSUKAMAKI - art of wrapping the handle of a sword TSUKURI / ZUKURI - sword TSUKURU - made by or produced by TSUNAGI - wooden sword blade to display fittings TSURUGI - double edged, straight sword
U
UBU - original, complete, unaltered tang (nakago) UCHIGATANA - fighting katana UCHIKO - fine powder used to clean sword blades UCHIZORI - curved inward UMABARI - horse needle UMA-HA - horse teeth hamon UMEGANE - plug used to repair kizu URA - side of the nakago facing toward the body URA-MEI - signed on the ura (usually the date) UTSURI - reflection of temperline in ji
W
WAKIZASHI - short sword (blade between 12 and 24 inches) WARE - opening in the steel WARI-BASHI / WARI-KOGAI - chop-sticks
Y
YAKI DASHI - straight temperline near the hamachi YA-HAZU - arrow notch shaped hamon YAKIBA - hardened, tempered sword edge YAKIDASHI - hamon beginning just above the ha-machi YAKIHABA - width of yakiba YAKI-IRE - fast quenching of sword (tempering) YAKIZUME - temperline in boshi with no turn back YANONE - arrow head YARI - spear YASURIME - file marks on nakago YOKOTE - line between ji and kissaki YOROIDOSHI - armour piercing tanto
Z
ZOGAN - inlay ZUKURI - sword
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Post by tajima on Oct 15, 2007 6:38:45 GMT
MAHIRO SHUKOSA'S SWORD FORMS POSTED BY LAOWHO Thanks Chopchop. just the sort of thing so many of us newbies eat up. thought I'd contribute info f/ a site I found, which will be more meaningful to those who don't need pictures.
Mahiro Shukosa's Guide to Sword-Forms
Well, here it is. A listing of all the sword-forms I could find, plus a description of my belief of how to execute them. Note that some sword-forms have multiple names, e.g. "Moon Rises over the Water." Also, don't take my word for how these are done - every Warder has his own personal style...
Thank you all who visit this page; it seems that I have more supporters than I realized. Two things: as a result of further research and training, I will soon be updating this page, and many sword forms will receive a facelift and some will change entirely. I will also be attempting to group them by category, so that you can know what forms flow most naturally from which stance. All according to me, of course. Secondly: if you wish to use information from this page, I have absolutely no problem with it: but as a courtesy, if you wish to use the information in a game or other non - webpage related info, I request that you send me an email at yawmin@leland.stanford.edu simply telling me what you're doing with it, so I can see what my humble work is going towards. If you want to use this page or any part of it on a web page, I ask that you just credit me as the author and include a link to my page on yours, preferably close to the data you're using. Thank you very much, and may you all one day find your cabbage.
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By name: A through C D through H I through L M through S T through Z
Apple Blossoms in the Wind A versatile technique, intended for use against an ambush by multiple opponents. The blade is held low, but ready for use in a number of strike forms. Keep loose and move slowly.
Arc of the Moon A simple slash, meant to take off an opponent's head. Probably begins at midbody level, arcs to neck, and ends back at a guard stance.
The Boar Rushes Down the Mountain A vertical slash, but one that can alter course in midswing quickly. Starts high and ends low. Try this with Tower of Morning.
Bundling Straw Several quick chest-level thrusts, followed by an arc and a paired return arc that should return the blade to a guard stance. Try this against a quarterstaff opponent.
Cat Crossing the Courtyard Not a sword-form or stance, but a method of movement which maximizes alertness and reaction potential. Weight should be on the balls of the feet, with head held high and eyes constantly shifting, watching for threats. Arms and hands should freely move, not in pockets or holding items. Each step should be taken confidently, but not hurriedly.
The Cat Dances on the Wall A feinting, tentative series of short slashes, thrusts, and parries. The swordsman must have good wrists and quick feet for this to be effective. Useful for buying time.
Cat on Hot Sand A faster, less tentative version of The Cat Dances on the Wall. Better for multiple opponents.
The Courtier Taps His Fan A quick, powerful overhand blow, meant to split the head. A good move for anyone to have in his repetoire.
The Creeper Embraces the Oak A slow, circling stance. The blade goes from high to low and back to constantly offer a new threat and to guard against others. Forms to use out of this: The Falling Leaf, Lightning of Three Prongs.
The Falcon Stoops An abbreviated version of The Kingfisher Takes a Silverback. A quick overhand thrust, returning to a guard position just as quickly.
The Falling Leaf A more exaggerated and slower version of The Boar Rushes Down the Mountain. Starting high, the blade sweeps back and forth before reaching its lowest point. Can be used to parry effectively against multiple opponents, or just one. Move from this straight into The River Undercuts the Bank or The Wind Blows over the Wall, and you've got an effective pair.
Folding the Fan The sword sheathing technique. The blade is smoothly swung around from guard stance and sheathed, all in one motion.
The Grapevine Twines A circular motion when blades are locked, used to disarm an opponent.
The Heron Spreads Its Wings The operational version of Heron Wading in the Rushes. A tighter cut, concentrated in one sector of the arc of the sword.
Heron Wading in the Rushes IMPORTANT: This form should only be used for practicing balance. It is possible to use this form in combat, but it is highly likely you will receive your opponent's weapon in your chest before you take his head. A horizontal, pivoting slash done on one foot. Begun at shoulder or head height.
Hummingbird Kisses the Honeyrose A quick thrust in the face. Will at least deter an opponent, and will usually kill a charging opponent outright. Blade should start from shoulder height, though it may be performed from any level less quickly.
The Kingfisher takes a Silverback Begun while the sword is at shoulder height or higher, a downward stab for the abdomen. Begun when the sword is lower than shoulder height, a downward stab meant to cripple a leg or the groin. May also be used to parry a midlevel strike.
Leopard in the Tree A preliminary form, begun with both hands on the hilt of the sword, knees bent, and leaning forward in a ready position. This form is used to prepare for Unfolding the Fan or another such drawing technique.
Leaf Floating on the Breeze A horizontal guard position with a form similar to The Falling Leaf. The blade will move up and down according to the threat while moving horizontally to offer new threats. A good basic form. Attacks from this position should include Lightning of Three Prongs and Lizard in the Thornbush.
Lightning of Three Prongs Beginning from a basic stance like Lion on the Hill, a thrust that can either continue as a thrust or slash to either side. Can also be used to parry.
Lion on the Hill A basic guard stance, with the sword held at shoulder height ready to move into a variety of other forms. Looks kinda like Crono's basic battle stance - see a Chrono Trigger page for more info.
Lizard in the Thornbush Used expressly against two opponents. One thrust to the chest, then pivot and kneel with either a thrust or a slash, usually a thrust. Good mid-level technique; most veteran-level soldiers have mastered this form.
Low Wind Rising Can be done from almost any stance - even sitting. A diagonal slash, beginning low and rising cleanly. May be used to return to a guard stance after a form such as The Grapevine Twines or Lightning of Three Prongs.
Moon Rises Over the Water A vertical arc after a horizontal, tentative slash. The blade should begin and end in the same position - near the waist.
Parting the Silk A more controlled slash, probably used as a precision block or strike. Directed at the abdomen, a good move to draw first blood or inflict nonlethal damage on an opponent.
Ribbon in the Air A horizontal slash that may change direction up or down at the tail end. Should be begun just below chest height. Both feet should be used in this form, unlike the Heron forms.
The River Undercuts the Bank Can be done from a kneeling or standing position. A horizontal slash, used to disembowel or behead.
Sheathing the Sword More of a concept than a sword-form, this is used when what you can gain is greater than or equal to what you may lose in the process of gaining it. This might be using Heron Wading in the Rushes like Rand al'Thor, or it might be using Lizard in the Thornbush to take down two major opponents when you know a third, less important one is coming up behind you.
Stones Falling from the Cliff The medium difficulty version of Boar Rushes Down the Mountain. A good mainstay of a battle, this form is useful for both parrying and attacking. The sword should begin at least at shoulder height and come down.
Striking the Spark A rapid series of powerful overhand blows, best begun on the return swing of a slash like Low Wind Rising or The Heron Spreads Its Wings. If you've got stamina this can win a battle for you.
The Swallow Rides the Air The guard stance assumed after performing The Swallow Takes Flight. More of an on-the-run stance, made for attacking or defending while mobile.
The Swallow Takes Flight Basically, Low Wind Rising followed by a short thrust. The form is angled more toward the opponent, though, so that the opening slash is more a guard for the thrust.
Thistledown Floats on the Whirlwind A short-range jumping spin-swipe, used for beheading. Best if done by surprise. An opening move in most cases. The sword should not move more than a foot or so; the main force is provided by the spin of the body. The blade should not extend too far out from the body, and be approximately chest high.
Tower of Morning A vertical slash, starting low and ending high. I'd pair this one with Boar Rushes Down the Mountain or The Courtier Taps His Fan.
Twisting the Wind For use in a tight situation, when one is outnumbered. A quick, continual rotation of the body, using slashes and short thrusts to counter or attack as the situation dictates.
Unfolding the Fan The exact opposite of Folding the Fan. Can be used as an opener, since this form can unsheathe the sword and stroke at the same time. Can also be used if caught off guard or in an awkward position.
Water Flows Downhill A more complicated form of The Boar Rushes Down the Mountain. This form can and will change direction in midstroke; only the more advanced swordsmen use this form. Like its name, it takes the easiest route from high to low, avoiding contact with the other weapon while seeking its target.
Whirlwind on the Mountain A form of Thistledown Floats on the Whirlwind, except done while remaining on the ground. Can be modified for use for striking uphill or downhill simply by changing the angle of the spin. The sword also is extended further than with Thistledown Floats on the Whirlwind.
Wind and Rain Another complicated form. Begun with either Low Wind Rising or Parting the Silk, this form follows through with multiple short thrusts or quick overhand blows.
The Wood Grouse Dances Similar to the Cat Dances on the Wall, but from a more stationary point. Mainly to feel out an enemy, more than to do serious harm.
- Mahiro Shukosa
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Post by tajima on Oct 15, 2007 6:39:34 GMT
BUILDING A CUSTOM DIY CUTTING STAND OR TAMESHIGIRI POST - HISSATSU MATERIALS # 1-4"X 4" Meta Post Stand. # A 4"X 4" Wood Post ready treated [about 29" high] # 4" X 22mm Plastic Pipe. # 10" X 18mm Pine dowel. # 4 X 6mm long Bolts. # 6' of 3" X 1 1/2" Wood for legs. # Pencil. # Drill + drill bits. # Ruler. # Saw. # Hammer.
An easy way to make your very own Tameshigiri, or cutting stand
Sooner or later, alot of owners of a cutting Katana want to do just that, cut. To do this safely one should have a proper Tameshigiri stand that is stable, with legs not too long as to trip over, and also no parts near the target that are metal or material that will damage your Katana or cause shards to splinter off.
What I have put together is a stand that is not only safe, but is accessible to anyone as the majority of the parts can be obtained in a one stop visit to your local DIY Store.
The Post that fits into the "Meta-Post" unit should be ideally, groin high, 28"-30"approx. The hole for the 22mm plastic piping, should be drilled to 3 1/2", and the pipe cut to 4" this aids the ability to change the doweling if it becomes damaged, always remember that wood swells!!!
When mounting the "legs" countersink the holes for the heads of the bolts, so as the stand lies flat on the surface you will use. The legs should not be any longer than 18" each. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CAUTION: Always make sure stand is located in a clear area. Look for obvious dangers, such as trees, shrubs, electric cables etc. ALWAYS ensure that children and pets are not within the vicinity, better still, keep them indoors.
My apologies for mixing imperial measurements with metric, I hope this does not cause too much confusion or problems.
MAY ALL YOUR CUTS BE CLEAN, AND ABOVE ALL, SAFE!!
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Post by tajima on Oct 15, 2007 6:40:07 GMT
BASIC OKINAWAN WEAPONARY - HISSATSU
A brief history of traditional martial arts weapons of Okinawa A brief history of traditional martial arts weapons of the Okinawan and Japanese styles of karate and Kobudo. Simply put, karate means empty hands. Kobujitsu or Kobudo on the other hand is and Okinawan term for fighting with weapons. By walking into almost any martial arts school in the world, you will inevitably see a wall full of ancient style weapons that were originally not developed AS a weapon.
Early in the 1600s, Japan conquered the Ryukyu Islands whose main island is Okinawa. Okinawa is located some 300 miles south of the southernmost tip of the mainland of Japan. Fearing an over throw, the emperor of Japan forced the people of Okinawa to give up all weapons.
Thanks to trade, the nearness of China as well as the Shaolin monks and nuns who helped them, the Okinawans developed a means of self-protection by using common farm implements for weapons. Most of what are now traditional martial arts weapons are still used for farming to this day.
Nunchaku - “flail” Commonly called “nun chucks” or “chucks”, this is without doubt the most well known of the weapons. It is basically two sticks connected to each other by a string or chain. Their farming use was to beat the rice so it can be tossed on a large screen or piece of material to allow the wind to blow away the husks. The nunchaku can be used as both an offensive and defensive weapon by using them to strike, trap, jab, or choke an attacker.
Bo-“short staff" The Bo is a long wooden staff for herding livestock, guiding boats or used as a way of carrying supplies in baskets. In this instance the Bo was placed across the shoulders and the baskets would hang from either side. Although there are two styles of the Bo, the average length of both is 6' with a diameter of 3.5 inches. The Chinese Bo keeps an equal diameter along its entire length where as the Okinawan style tapers at each end. This tapering makes for a much more focused and affective strike. Regardless of the style, its ends are used to strike an opponent's eyes, throat, and solar plexus of groin. It can also be used to block an attack as well as to sweep the feet. For those who are well versed in its use, a broom, mop, paint handle and any number of household items can make for an excellent stand in.
Tonfa- The Tonfa was developed as a handle for a grinder of rice in Japan and soybeans in Okinawa. The Tonfa is found to be affective when laid across the forearm as a way to block a sword or Bo attack. Tonfas are made of a hardwood such as oak, are approximately 17 inches long and have a 4.5 to 5 inch long handle near one end. The Tonfa is usually about 2 inches thick and has gained immense popularity among law enforcement agencies. The police issue PR-24 is carried by countless police officers as a nightstick and seen on television regularly.
Kama - A deadly, razor sharp sickle that has a half-moon shaped blade and wooden handle. The Kama is still used by farmers to cut rice and grass but seldom taught as a weapon due to its dangerous nature. The Kama is a defensive weapon that was used against sword and Bo attacks. It can become deadly when used as an extension of the users hands. In hand to hand fighting, the Kama is used to block a punch or kick but as it does so, the sickle blade can slash deeply into the arm or leg. There have been reported cases where a wrist or other body part was actually severed during practice and training.
Sai- (pronounced sigh)- The sai was developed for planting rice or vegetable seeds. It resembles a trident and has central, rounded or octagonal shaped steel blade approximately 16 inches long. On either side of the blade there are two prongs that are wrist guards. Sais can be used for a number of things such as stabbing, slashing, punching, blocking, and even throwing. It is believed that farmers who used the sai would carry three at a time. One sai for each hand and one was kept in the belt to throw if necessary. Legend states a strap of some sort was occasionally tied to the handle so the farmer could retrieve it.
Not all weapons found in a dojo started out as farm tools.
Jo “short staff” Developed by Muso Gonnosuke after suffering a defeat by swordsman Miyamoto Musashi in the early 1600s. It is made of hard wood and is 4 feet in length. This shorter length allowed close fighting with possibilities the longer Bo staff didn't allow. The jo can be used to choke, pin, lock, and throw an opponent. Years after his defeat, Muso once again faced Musashi and came out of the match the victor.
Manrikigusari- This weapon is a chain, which is usually 12 inches long. It has weights on each end that resemble handles. A samurai by the name of Masaki developed the weapon as a way to kill an opponent without bloodshed. This bloodless killing was important because it was sacrilege to spill blood on palace grounds. The manrikigusari can be used to block, choke, strike, and throw an opponent.
Shuriken One of the most popular of weapons is also known as the ninja throwing star. Initially developed to provide a distraction and not a weapon of attack. Regardless of Hollywood magic, shurikens can injure but not penetrate deeply enough to kill. The most popular of shuriken styles come in four to twelve points per star.
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Post by tajima on Oct 15, 2007 6:40:29 GMT
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Post by tajima on Oct 15, 2007 6:40:49 GMT
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Post by tajima on Oct 15, 2007 6:41:12 GMT
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Post by tajima on Oct 15, 2007 6:41:35 GMT
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Post by tajima on Oct 15, 2007 6:41:59 GMT
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Post by tajima on Oct 15, 2007 6:42:23 GMT
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