DOCSLIB.ORG

+Fxzlffrn *E 4€/+L ITET

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
+Fxzlffrn *E 4€/+L ITET +Fxzlffrn *E 4€/+l ITET Heisei 24/ 2012 Kyudo Glossary ffi I trUFBEtiffiEfre [zst7) *TI*FA First Sekai Kyudo Koryu Enbu Kai [ParisJ executive committee lffiztrXtFEEte [ztt/) /v+X] [second Sekai Kyudo Taikai [Paris) Pre-Event] A\#tr Eli* A EA tr E EH I4H tr iEH;F+ KYUDO TERM Romanized Japanese Japaneseexplanation -+-E ' spelling (yudo term Englishexplanation $lE("iJ. eE^,'lj.JbX' r*i/..XIJ7 r7' + t7:7i:*jv\(48o146.132s6 et, vs ( ( v. A < a1 )il'trt+xt:H Z * * f . H$fi *- a I^fi./fX.IV.<'fr,6 ryE ffi;# il. crtcl te Ashibumi EPEA <H+aflav\hh" Hr'^/d++r;EitF.nt&< bA *.t0><', < a\k aljt.iF- Lr,.ffi;F&ixZ<. ilrrp+ The way of placing the feet when the Yumi is drawn. EFFa* Letreb7.+ritrLr,.4Et*&tbFI:lsD J'f " ?ah1>Er{*-Eo)4 Atari +t) lfr\lt:br:b.L" : : Lt Hitting the Mato El+li+Ht [: * t b b. L t EfrtJ h " Ateyumi T\? IFI)t:\< a: t eiL L. AAAtrlq;<v'z-.413-&0).t " The person who, in drawing the bow, ignores the basics and is mainly #TEATTfi: concernedwith hitting the Mato. ( H;E+t:tjv.(il. r';co$f:i+H L( * L eta :- L Lt h Awasebanare ar.1sq[ni+Ar'rra' IE+r-rE+aa r,it < HEf wILa. t . " Hanare that is releasedby adjusting both hands without Nobiai (r) trE+F€#EE+k+ffi 16) &tr^4]Ertrt+FntF.aH;EtEErE-fb" Azuchi *,/ar. l1l) tlllrJ htkPho). t " (2) P--<t:l6TTt) The place where the Mato is positioned. E'ry*EH;*l*. " (3) EAFFtl. .e'*rtt{, 18, iEilfl.tEn+U<;ilHAX.t':>( b" B (4) rilli Dfr y+E€gdH;F€#.1ffi1hri$#rg-l-b Betaoshi ^t*F L +tr n;+ft|a. < a u b T'. t+4t . L-" " The wrist is bent, and the Yumi is pushed fbrward with the palm of (Nr44. * ( algk aH;E|:iR: tr(+F€ L ( v.* j-.) one's hand (5 ) f E+ iJ. [EF+E.Dr]L ts f b #1f t b . GnEJzATt)rt24+ 3 E X ]'€) Biku (.).< aouiflq(". *rH;&i:^=.f:d I 5 F6 : L. In Kai, the draw contracts and the lte unconsciously and abruptly draws agaln. Boshi ryE-1- a*flI?;\l\5fa t.'tE 't l#l *firta. t " Objective: The pan of the Yugake that covers the tip of the thumb. At present, as the internationalization of Kyudo progressesin Europe, North and South c America, as well as in Asia and Australia, the number of Kyudo lovers is growing. Chijimi frlaa tAl o{tflq(". i-"h?tr . nf+r''f,EL.: L. As a part of the ancient traditional culture of Japan, Kyudo has a large meaningful In Kai, the Kiryoku, shoulders,and elbows become slack to people of many Chudo FF TIFI l. tdl ( 1t.lut L vocabulary, and in order to introduce the correct vocabulary the J flf\'a'F+a. " countries and to help spread the true Kyudo, it has been collected in a common lan- The correct body posture when drawrng the Yumi Churiki Elh'+h t*Rl ailif+tltlL'dlv./:.ltflEo: L. [t=] L 6=) guage. Our objective here is to compile an internationally standardized glossary of " The position in which half of the Yajaku has been drawn. Also called Kyudo. Daisan D Process of classification Daisan x-- illf t^Rl 01$/jlt-_Jlu,ft.lt:Eqo:L" lBfiJ . +rl L {, =). The Glossary has been compiled with the following points in mind: The position in which half of the Yajaku has been drawn. Also called Churiki 1 ) Terms in the Kyudo instruction manuals(Kyudo Manual Volume 1 )as well as the Dakimato +ETAT tft.l r).1.,t,"lt)lalEtlr:Ftt'.( tEflaaj tb.L. Positioning the Ashibumi at a point behind the cenrer of the Mato Kyudo Kyogi Regulations have been compiled Dekata litrt;ffir:frbEo. L" 2) The internationally standardized glossary has been romanized (i.e., written in Ro- The left shoulder extends foruard. man letters) , Dogi iEE [?*] /rre ( f ffi+dl L:L/:L8ft.o): L. 3 ) Explanatory sentences have been applied to supply meaning to words and expres- Clothing which has Tsutsusode (tight sleeves) and not Tamoto (long sions deriving from Japanese sleeves). 4 ) Following the preparation of the Glossary, the current English instructional materi- Doho llrJ [:J.a lE) trtf>bpttlFbH+r:6itlBt3LbhHt:6F,a u als are to be revised. (Presentlv. instruction in most countries is done using the A tool used for tighdy winding jute fibers on the Tsuru where the Hazu translated terms.) of the Ya is nocked. 5 ) The Glossary shall be updated with new terms as required. 2 Dozukuri fllAEU 4 tlt < r_3 a u l+t4g_7r h o. L. Hadanugi flltfiii3 The way of readying one's body when drawing the yumi. Removing the left sleeve when wearing Wafuku E Hakiya t# 3 * Jlv'/:f;l;h\0)ffi0>ttl1tttil- ( t:trri( L [i*] lt:tqo: " Enso HtE IEff Ai+ilj : t /e ( H e+fi( J ) rc)f,,-clfti b. t A Ya that, having been released,slides along the ground in front of the " Mato Preparingby making a circle-like fbrm with both of one's elbows, and befbre reaching the Azuchi not by stretchingthem. Hanakabushi)l+Ffr Nl:Jtr<alilll:b7rEfra. L " F The node of the bamboo near the middle of the Yabane "eLlL6wrdla. Fudeko +ftj rtl+H tt ot16u1 & Hanare Etrlt t tcEl t.b A.fna. L " " A powder used in Kyudo to stop the Nigiri from slipping The momcnt of releasing. Fushido ltfE t)ijh'htatr.lrAql+a.L. tli+,fff41L 6v'i Hangetsuno #E ONEI,'lf,\) *,tlt tt:lHfFl a/:,.lF.tJt:l,ltJ<{H, : I nerai " yasurib The body is bent fbrward Also called Kagamudo. Aiming at the half of the target to the lefi side of the Hansoku +E /g*otsea+tta.t " Half of the length of one's fbot Gezalshimoza TE T6ta)h . thr)ia. L" Harauhanare+l'ffin ifiI-bA lrot+Lv\atIA l lr-frEtLa):t The lower position a " A releasethat appearsas if one is driving somethingaway Giriko 3'l)ltfr lW) a+E+ftatT0)Loa'fn" f{,HE++ ,l + rl t b" (*EEt *rr-4- fr. Harigao mEA Elrlr.t ,_ I,EttifrtWI: L /:fiS) Etttt?c/:W. I t lUmrt'c:F,/:)lia . " The shape of the Yumi as seen from A powder used to stop the thumb of the Yugake fiom slipping. lt is the side-view when struns with 'giri, the Tsuru, said to make a giri' sound when applied. (A powder made from the oil extracted from boiled tree resin ) Hashiriba Et)n t e# Z/.:H.r'.t.i:fpju'({''lr \< t.6 tltEo : L. Gobunotsume EFB0)E* T-Ea#, E.+iatr,HEJ7) s rjhtE L <€ilt:if r'#Da) 5. When the Ya has been nocked, the Hane attached to the top. The fitting together of the five points of left and right fist, lelt and Haya F* ft.t:q12.7o).:L. ;J:JtRo42;t{-til3 i:I'ttt( bZt-a. L" right shoulder,chest, accordingto the correct skeletal alignment. The first of the Ya to be shot. The Ya is fletched with the surface of Godo AfiFl lx6. trtu. Ffir.6.E <. +r:.afrtoq14o'lfF.\a.L. the Hane facing outward. The five physical statesof Kaeru (turning), Kagamu (bending), Kakaru Hayake Fft tAl l:,^.6/er,'r L,t.&tlLa i.. * /:it [A] l:.r.' LEIAr.-frEtrb (leaning towards), Hiku (leaning away), and Chusei (balanced). Gogushi {++ lfr\l tt*j:-Jlt{ ri.6 Fo: t Releasinga Ya before Kai has been reached,or releasingthe Ya imme- " diately after ,Kai has A sharpenedpiece of bamboo designedto hold the Mato in place at the been reached. Azuchi Hazu l!.tEibth" GojyujyumonjiE€+I+ frrFfra1-y.i:a.r_" t).4L9.12)11t+F+.] o l+a6l (3)[1Hl The part of the Ya where the Tsuru is nocked. atE+Et lL(4)F(aJ0)+ffit Etr t *g.iiffr(s)HijfiL.+ Hazu 4E 1 affi i,#a lt $kt +itrI a F)ia . L . The five placesof the Jyumonji 1 ) the Yumi and the Ya, 2 )the Yumi The two ends of the Yumi where the Tsuruwa are positioned -HEtr and the Tenouchi of the Oshide, 3 ) the Oyayubi of rhe Yugake and the Hazukobore E: len kt # i/:14. bffi r,:Xfi:trr.h' 4 ilf /L6 : L . Tsuru, 4 ) the horizontal line connectingboth shoulderscrossing the ver- The Ya, having been nocked but not yet released, krosens fiom the tical line at the central line of the chest, 5 ) the vertical line of the neck Tsuru and falls and the Ya Hazumaki ts# ko lE ) r*a*16\,.( F]lbb+" Gyosha liH ttl ';Eo)ghlEo'). l < t . The winding and hardeningof thread to fix the Hazu to the Ya. One complete sequenceof movementsthat comprise drawing the Yumi Hazure ^n lW) l.b/:6ar\: to Not hitting the Mato Ha Ets ,l a+Eh*t\tas. +tsD Et lffi.< . t h' b a ltrtt. Hikagami Uh,hiA ,!4offHfiijd)rtfiUd):L" The part of the Yumi that is gripped. The name derives from wrapprng The back or hollow of the knee the Nigirikawa HikanuyazukaElr'A*H 1F.fr.)& tfl:l-13, [;iAu,], [i+Av..],rffir,(r\6 tAl at:f Habiki ( " n1l3 lltfrZl <',4 Ltraldt:l.ta;p5 f?EEirdFr< Ffl : t. In Kai, when the Yazuka has been fully drawn and Tsumeai and Nobiai ln Yugamae, drawing the Yumi the length of a feather between Yumi begin to work.
Load more

Recommended publications
  • The Arrow Shafts Is Pseudosasa Japonica Or Commonly Called Japanese Arrow Bamboo
    The Japanese Arrow By Godai Katsunaga Intorduction The Ya, or arrow of Japan and was between 34 and 38 inches in length, made of fire hardened bamboo shafts and had a steel arrow head., During this period and earlier arrows used in combat were often marked to identify who owned them, this allowed samurai to get the proper credit for killing an opponent. Period Construction The bamboo used for the arrow shafts is Pseudosasa japonica or commonly called Japanese arrow bamboo. This bamboo grows in slender culms that are packed tightly together, forming a dense hedge, with large, dark green foliage. It is a tough and versatile bamboo that will thrive in shade and in sun while growing to about 15 foot tall and was common throughout Japan. Farmers and other workers harvested the bamboo in the early winter when the plants saps were down. To get the required diameter need to make arrows the plants that were between two and three years in age were preferred. After harvesting, the best bamboo was hand selected and ideally stored for about a year for drying, allowing most of the moisture in the plant material to evaporate. Preparation of each shaft included having the nodes shaved off and then softening the shaft by placing it in hot sand prior to straightening it by hand. After the shafts were straightened, they were exposed to high heat to remove any remaining moisture and harden the natural sugars, creating a stronger bond of the natural fibers; this was known as fire hardening. Fletching was done with hawk, eagle, crane or pheasant tail feathers and could be either three or four flights depending on the arrow head that would be mounted.
    [Show full text]
  • Low-Tech Armortm
    LOADOUTS:TM LOW-TECH ARMORTM Written by DAN HOWARD Edited by JASON “PK” LEVINE Illustrated by DAVID DAY, DAN HOWARD, and SHANE L. JOHNSON GURPS System Design T STEVE JACKSON e23 Manager T STEVEN MARSH GURPS Line Editor T SEAN PUNCH Marketing Director T LEONARD BALSERA Managing Editor T PHILIP REED Director of Sales T ROSS JEPSON Assistant GURPS Line Editor T JASON “PK” LEVINE Prepress Checker T NIKKI VRTIS Production Artist & Indexer T NIKOLA VRTIS Page Design T PHIL REED and JUSTIN DE WITT Art Direction T MONICA STEPHENS GURPS FAQ Maintainer T VICKY “MOLOKH” KOLENKO Lead Playtester: Douglas H. Cole Playtesters: Roger Burton West, Nathan Joy, Rob Kamm, Stephen Money, David Nichols, and Antoni Ten Monrós GURPS, Warehouse 23, and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramid, Loadouts, Low-Tech Armor, e23, and the names of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license. GURPS Loadouts: Low-Tech Armor is copyright © 2013 by Steve Jackson Games Incorporated. Some art © 2013 JupiterImages Corporation. All rights reserved. The scanning, uploading, and distribution of this material via the Internet or via any other means without the permission of the publisher is illegal, and punishable by law. Please purchase only authorized electronic editions, and do not participate in or encourage the electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated. An e23 Sourcebook for GURPS® STEVE JACKSON GAMES Stock #37-1581 Version 1.0 – December 2013 ® CONTENTS INTRODUCTION .
    [Show full text]
  • Discovering Your Japanese American Roots – Family Names and Crests
    Discovering Your Japanese American Roots: Family Name & Family Crest Chester Hashizume [email protected] (626) 644-1954 Class Outline ▪ Your Family Name: Myoji ▪ Your Family Crest: Kamon Discovering Your Japanese American Roots © Chester Hashizume 2020 Page 1 Tracing Your Japanese Family Tree: Where to Start ▪ Need to determine WHERE your ancestors came from ▪ Most of the first Japanese immigrants from the late 1800s came from rural areas and small villages ▪ History of the Japanese family is inseparable from the native village or town of their ancestors (furusato or hometown). ▪ Families tended to live in the same village for hundreds of years because of a lack of mobility and incentive to move Discovering Your Japanese American Roots © Chester Hashizume 2020 Page 2 Tracing Your Japanese Family Tree: Where to Start ▪ Possible/probable that descendants are still living in the same area today ▪ Identifying the village (mura) or town (machi, cho) is key to discovering one’s Japanese roots ▪ Prefecture (ken), e.g., Hiroshima, Kumamoto, is too large an area to be able to locate a family Discovering Your Japanese American Roots © Chester Hashizume 2020 Page 3 Japanese Family Names: History ▪ Japanese family names or surnames (myōji) are inherently linked to the origin and history of the family, and reflect the customs and norms of Japanese society ▪ Until 1870’s, over 80% of the Japanese did not have family names o Having a myōji symbolized status/privilege/power, so for the most part, only the nobility and bushi/samurai had (allowed) family
    [Show full text]
  • The Samurai Armour Glossary
    The Samurai Armour Glossary Ian Bottomley & David Thatcher The Samurai Armour Glossary www.nihon-no-katchu.com The Samurai Armour Glossary Nihon-No-Katchu.com Open Library Contributors Ian Bottomley & David Thatcher Editor Tracy Harvey Nihon No Katchu Copyright © January 2013 Ian Bottomley and David Thatcher. This document and all contents. This document and images may be freely shared as part of the Nihon-No-Katchu Open Library providing that it is distributed true to its original format. Illustrations by David Thatcher 2 The Samurai Armour Glossary www.nihon-no-katchu.com This glossary has been compiled for students of Japanese Armour. Unlike conventional glossaries, this text has been divided into two versions. The first section features terminology by armour component, the second is indexed in alphabetical order. We hope you will enjoy using this valuable resource. Ian & Dave A Namban gusoku with tameshi Edo-Jindai 3 The Samurai Armour Glossary www.nihon-no-katchu.com Contents Armour Makers! 6 Armour for the Limbs! 7 Body Armour! 9 Facial Armour! 16 Helmets! 21 Neck Armour! 28 Applied Decoration! 29 Chain Mail! 30 General Features! 31 Lacing! 32 Materials! 33 Rivets & Hinges! 34 Clothing! 35 Colours! 36 Crests! 36 Historic Periods! 37 Sundry Items! 37 Alphabetical Index! 38 4 The Samurai Armour Glossary www.nihon-no-katchu.com Armour Kabuto Mengu Do Kote Gessan Haidate Suneate A Nuinobe-do gusoku with kawari kabuto Edo-Jindai 5 The Samurai Armour Glossary www.nihon-no-katchu.com Armour Makers Bamen - A small but respected group of armourers that worked during the Muromachi period until the 1700s.
    [Show full text]
  • Return to the Sword: Martial Identity and the Modern Transformation of the Japanese Police
    Return to the Sword: Martial Identity and the Modern Transformation of the Japanese Police The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Glasnovich, Ryan Sullivan. 2019. Return to the Sword: Martial Identity and the Modern Transformation of the Japanese Police. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42029818 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA RETURN TO THE SWORD: MARTIAL IDENTITY AND THE MODERN TRANSFORMATION OF THE JAPANESE POLICE A dissertation presented by Ryan Sullivan Glasnovich to The Department of East Asian Languages and Civilizations in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History and East Asian Languages Harvard University Cambridge, Massachusetts May 2019 © 2019 Ryan Sullivan Glasnovich All rights reserved. Dissertation Advisor: David L. Howell Ryan Sullivan Glasnovich Return to the Sword: Martial Identity and the Modern Transformation of the Japanese Police ABSTRACT This dissertation traces the creation and development of the Japanese police institution in the late-nineteenth century. Drawing on primary and secondary sources written by and for police officers, I focus on the role those officers played in creating their own distinct group and social identities during the formative years of modern policing in Japan.
    [Show full text]
  • Samurai Worksheet Packet
    Samurai Packet Made by Liesl, homeschoolden.com ©homeschoolden.com Feel free to make as many copies as you need for your children or the students in your classroom. This file may not be shared with others. This file may not be uploaded to any file-sharing website. You may not reproduce, repackage, or redistribute the contents of homeschoolden.com downloads, in whole or in part, for any reason. Name: ____________________________________ Japan Japan is an ________________________, a chain of islands. The four main islands of Japan are ________________________, ________________________, ________________________, and ________________________. The early Japanese culture was organized into ______________________. These were headed by a hereditary chief who was both a ______________________ and ______________________ leader. Each family’s position in society was ______________________. Some positions included farmers, weavers, potters, and the highest class, ______________________. By the 1100s, the noble court families lost power to strong rural lords. Feudalism developed in Japan during several centuries of warfare. The samurai developed a code of conduct called ______________________, Held the highest rank which means way of the warrior. but had no actual political power. Bushido emphasized loyalty and unquestioning ______________________ to one’s lord. Actual ruler. It also emphasized simplicity, __________________ and ___________________. A samurai that violated this code was thought to have disgraced himself and his Great landowners. family. To remove this disgrace, he was expected to commit suicide, and ______________________. Soldiers Held land granted by Samurai that had no leader were considered outcasts. They were called daimyo or shogun. ______________________. Bands of homeless samurai roamed the country attacking travelers and making raids.
    [Show full text]
  • Investigating the Influence of Edo and Meiji Period Monster Art on Contemporary Japanese Visual Media
    1 Investigating the Influence of Edo and Meiji Period Monster Art on Contemporary Japanese Visual Media Zília Papp A thesis submitted to the University of New South Wales in fulfillment of the requirements for the degree of Doctor of Philosophy 2008 2 Acknowledgements I would like to thank my academic supervisors Doctor William Armour, Senior Lecturer, School of Languages and Linguistics, and Professor Julian MurpIIhet, School of English, Media, and Performing Arts at the University of New South Wales. I would like to thank the kind help and academic advice of my external advisory supervisor, Professor John Clark, CIHA, FAHA, Director of the Australian Centre for Asian Art and Archeology and Professor of Asian Art History at the Department of Art History and Film Studies, the University of Sydney. I am very grateful for the kind advice I received from Doctor Alan Cholodenko, Honorary Associate, Department of Art History and Film Studies, the University of Sydney. I am also very grateful for the advice and help I received from animation director and cultural historian Jankovics Marcell, DLA, Hungarian Academy of Fine Arts, Director of Pannonia Filmstudio 1996-2007. Additionally, I would like to convey my gratitude for the kind help of the curatorial staff at the Mizuki Shigeru Memorial Museum in Sakaiminato city, Tottori prefecture; the Fukuoka Asian Art Museum; of Doctor Kawanabe Kusumi, MD, D.Msc, Director of the Kawanabe Kyôsai Memorial Museum and Timothy Clark, Head of Japanese Section, Department of Asia, the British Museum. I would also like to convey my gratitude for the generous help I received from the filming crews of the 2005 film Yôkai Daisensô and 2007 film Gegegeno Kitaro.
    [Show full text]
  • Examining Why the Japanese Nihonto Is Curved: a Study Based on Katori Shinto Ryu
    SUGAWARA SEPTEMBER 2019 Examining Why the Japanese Nihonto is Curved: A Study Based on Katori Shinto Ryu Fig. 1. Japanese sword from: Padrinan, Miguel A. “Museum-Art-Culture-History-East.” Pixabay. 2018. Introduction My name is Tetsutaka Sugawara and I have been a practitioner of Tenshin Shoden Katori Shinto Ryu (Katori) for more than 50 years. This Japanese sword martial art has been trained, taught and handed down for 600 years. It represents part of Japan’s history, culture, even religion, at times. Today, it connects people around the world. Through my extended travels as a Katori teacher, I have witnessed firsthand the impact Katori has had on people from different countries, across multiple borders, some conflict-ridden, some not. And always, fascinations with Japanese warrior history seem to hold fast. And deeply associated with the image of Japan’s fabled samurai is an equally powerful image of one particular weapon: the Nihonto. Centuries after its formal retirement from the battlefield, it remains readily recognizable and acclaimed. But why is it curved? This paper holds my own ideas, findings, questions and perplexities on the subject, which I hope will spur new discussions among students and scholars alike, as well as !1 SUGAWARA SEPTEMBER 2019 stoke the curiosities of scientific researchers to answer the questions that I cannot. What I can do is build on information provided by Masakuni Ishii in his book, Warabite Sword, and do so along the nexus of religious, cultural, commercial, and martial influences to better understand the origin, evolution and utility of the curved Nihonto. The reason why I chose Katori for analysis is because Katori is the source of many styles of swordsmanship in Japan.
    [Show full text]
  • July 2011 (Pdf)
    Tō-Ron Monthly Newsletter of the Northern California Japanese Sword Club General Meeting: 12:30pm to 3:30pm July 17, 2011 July 2011 NCJSC P.O. Box 7156 San Carlos, CA 94070 www.ncjsc.org [email protected] July Topic: Tokyo (Edo) - Shin-Shinto Swords and Kodogu Contents • 2011 Monthly Topics This month we continue our exploration of Edo but now with a focus • Directors & Committees on the New, the new Japanese society, the new government lead by the • Announcements / Request emperor and the new schools of sword-making; Suishinshi Masahide, Ho- sokawa Masayoshi, Ozaki Suketaka, Minamoto Kiyomaro and their many • Monthly Display students and for students of kodogu we will look at Unno Yoshiori and his many students, as well as Kano Natsuo and his many students. • Yes or No • The Price of Nadakai NO General Meeting in August • Bizen Osafune Yasumitsu Northern California Japanese Sword Club • NCJSC Publications SAN FRANCISCO TOKEN KAI (sword show) August 4 - 7, 2011 • 2011 NCJSC San Francisco Sword Show (See last page) @ 2011—All rights reserved No part of this newsletter may be copied, or used for other that personal use, without written permission from the NCJSC. To-Ron July 2011 Page 1 of 20 Monthly Meetings Factoid Meetings are held on the third Sunday of the Kamakura (鎌倉市, Kamakura-shi) is a month on the second floor (outside stairs). Directions can be found on the club website. city located in Kanagawa, Japan, about 50 kilometers (31 mi) south-south-west of To- kyo. It used to be also called Renpu (鎌府) Japanese Cultural & Community Center (short for Kamakura Bakufu (鎌倉幕府, or of Northern California 1840 Sutter Street Kamakura Shogunate)).
    [Show full text]
  • Fantasy of Far Japan, by Baron Kencho Suyematsu 1
    Fantasy of Far Japan, by Baron Kencho Suyematsu 1 Fantasy of Far Japan, by Baron Kencho Suyematsu Project Gutenberg's A Fantasy of Far Japan, by Baron Kencho Suyematsu This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: A Fantasy of Far Japan Summer Dream Dialogues Author: Baron Kencho Suyematsu Release Date: April 8, 2011 [EBook #35790] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK A FANTASY OF FAR JAPAN *** Produced by Andrea Ball, Christine Bell, and Marc d\'Hooghe at http://www.freeliterature.org Fantasy of Far Japan, by Baron Kencho Suyematsu 2 A FANTASY OF FAR JAPAN or Summer Dream Dialogues By BARON SUYEMATSU Author of 'THE RISEN SUN' London ARCHIBALD CONSTABLE AND COMPANY, LTD. 1905 LE SAMURAI C'etait un homme a deux sabres. D'un doigt distrait frolant la sonore biva, A travers les bambous tresses en fine latte, Elle a vu, par la plage eblouissante et plate, S'avancer le vainqueur que son amour reva. C'est lui. Sabres au flanc, l'eventail haut, il va. La cordeliere rouge et le gland ecarlate Coupent l'armure sombre, et, sur l'epaule, eclate Le blason de Hizen et de Tokugawa. Ce beau guerrier vetu de lames et de plaques Sous le bronze, la soie et les brillantes laques Semble un crustace noir, gigantesque et vermeil.
    [Show full text]
  • Samurai Warfare.Pdf
    Arms and Armour Press A CASSELL IMPRINT Wellington House, 125 Strand, London WC2R 0BB Distributed in the USA by Sterling Publishing Co. Inc., 387 Park Avenue South, New York, NY 10016-8810. © Dr Stephen Turnbull, 1996 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means electronic or mechanical including photo- copying recording or any information storage and retrieval system without permission in writing from the Publisher. British Library Cataloguing-in-Publication Data: a catalogue record for this book is available from the British Library ISBN 1-85409-280-4 Designed and edited by DAG Publications Ltd. Designed by David Gibbons; layout by Anthony A. Evans; edited by Michael Boxall. Printed and bound in Spain by Bookprint CONTENTS Preface, 7 Part Two: THE TECHNIQUES OF Part One: SAMURAI WARFARE, 53 THE DEVELOPMENT OF SAMURAI WARFARE, 9 5. Samurai Warfare in the Sengoku Period, 54 1. Early Samurai Warfare, 10 From Mounted Archer to The Ancestors of the Samurai, 10 Mounted Spearman, 54 The Conscript Armies, 11 The Role and Status of the The Rise of the Mounted Ashigaru, 57 Warrior, 13 The Composition of Samurai The First Samurai, 16 Armies, 59 Early Samurai Battles, 20 Organisation and Commun- ication on the Battlefield, 65 2. Military Gentlemen, 22 The Sengoku Battle, 68 The Way of Horse and Bow, 22 The Archery Duel, 22 6. Specialised Units in the Single Combat and the Samurai Sengoku Army, 70 Sword, 25 Archers and Spearmen, 70 Single Combat and the Dagger, The Introduction of Firearms, 73 28 From Nagashima to Nagashino, The Samurai in Group Combat, 77 29 Cannon in Samurai Warfare, 78 3.
    [Show full text]
  • The Rise of the Warrior Class in Japan 22.1 Introduction in the Last Chapter, You Read About the Court Culture of Heian-Kyo
    CHAPTER Samurai wore colorful armor made of metal, silk, and leather. The Rise of the Warrior Class in Japan 22.1 Introduction In the last chapter, you read about the court culture of Heian-kyo. Now you will learn about the rise of a powerful warrior class in Japan: the samurai. As you learned in Chapter 21, in 1185 Minamoto Yoritomo came to power in Japan. In 1192, he took the title of shogun, or commander-in-chief. Yoritomo did not take the place of the emperor. Instead, he set up a military government with its own capital in the city of Kamakura. While the imperial court remained in Heian-kyo, emperors played a less and less important role in governing Japan. The start of the Kamakura government marked the beginning of a new era in Japanese history. Increasingly, professional warriors—samurai—became Japan's ruling class. The era of the samurai lasted for 700 years, until the emperor was restored to power in 1868. Samurai were famed for their courage and skill. One young samurai told of being shot in the left eye with an arrow, Plucking out the arrow, he used it to shoot down the enemy marksman. Over time, an elaborate culture and code of conduct grew up around the samurai. A samurai was expected to be honest, brave, and intensely loyal to his lord. In fact, the word samurai means "those who serve." The samurai code was very strict. Samurai often killed them- selves with their own swords rather than "lose face" or personal honor. The samurai were more than fearless fighters.
    [Show full text]