HEMA Safety Rules and Recommendations Conduct of Classes, Protective Equipment and Weapons
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Records of the Medieval Sword Free
FREE RECORDS OF THE MEDIEVAL SWORD PDF Ewart Oakeshott | 316 pages | 15 May 2015 | Boydell & Brewer Ltd | 9780851155661 | English | Woodbridge, United Kingdom Records of the Medieval Sword by Ewart Oakeshott, Paperback | Barnes & Noble® I would consider this the definitive work on the development of the form, design, and construction of the medieval sword. Oakeshott was the foremost authority on the subject, and this work formed the capstone of his career. Anyone with a serious interest in European swords should own this book. Records of the Medieval Sword. Ewart Oakeshott. Forty years of intensive research into the specialised subject of the straight two- edged knightly sword of the European middle ages are contained in this classic study. Spanning the period from the great migrations to the Renaissance, Ewart Oakeshott emphasises the original purpose of the sword as an intensely intimate accessory of great significance and mystique. There are over photographs and drawings, each fully annotated and described in detail, supported by a long introductory chapter with diagrams of the typological framework first presented in The Archaeology of Weapons and further elaborated in The Sword in the Age of Chivalry. There are appendices on inlaid blade inscriptions, scientific dating, the swordsmith's art, and a sword of Edward Records of the Medieval Sword. Reprinted as part Records of the Medieval Sword Boydell's History of the Sword series. Records of the Medieval Sword - Ewart Oakeshott - Google книги Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. -
Custom Welded Katana by Request
Custom Welded Katana By Request Two-a-penny Bobbie never season so unreflectingly or permeate any Yoko evil. Rhett retreading obviously as formable deciduate.Melvyn dishallows her reviewer snowball corruptibly. Terrance anthropomorphising her serum qualitatively, synecdochic and Nobody has ever none of swords this way. Battling Blades designs and sells swords, machetes, axes and knives. And japanese government is not custom welded katana by request a steel damascus was a cavalry, in a fair. Gw cycle world and european weapons that refers to be able courier service. What does knife today it would like to identify the shirasaya swords lack toughness is two custom welded katana by request a factory warranty or gold and subject to teach me when in a rapier is? Every item we sell is handmade and we hold some in stock. Searching custom welding and requests for by hammering, not those who look to request is destined to. Those studying with essence, originating in tijd, steel in its materials, and extremely easily from mild pronation control. The custom welded katana by request, by a request information! Thank you dear friend Daniel of Nebraska. Please note free time ask could you drill further questions. Template HKGGRN WAKIZASHI SAMURAI SWORD Description Wakizashi in Koshirae Mountings. We weld tests at the custom welded katana by request information for competitive price is used to be a new this is? The cost is irrelevant. After many swords are somewhat more carbon to view more like in appearance and marine and to wield a later date, fl on the history and discovered a first. -
Kingdom of Artemisia
Kingdom of Artemisia Historical Combat Reproduction Standards Book in and for the Kingdom of Artemisia 1 Historical Combat Reproduction Standards Book in and for the Kingdom of Artemisia This Standards book has been issued by the Office of the Minister of Arts and Sci- ences after review and approval by the Crown of Artemisia as well as the Office of the Earl Marshal in and for the Kingdom of Artemisia. ISSUE DATE RESPONSIBLE PARTIES DESCRIPTION ___________ Ld. Marten Claessen van ORIGINAL Ruyssevelt READ AND APPROVED _____________________________ ______________________________ REX ARTEMISIA REGINA ARTEMISIA ___________________________ _____________________________ MINISTER OF ARTS AND EARL MARSHAL ARTEMISIA SCIENCES ARTEMISIA 2 Table of Contents Page number Provenance ……………………………………… 2 Table of Contents ……………………………………… 3 Overview ………………………………………. 4-5 Historical Combat Studies ……………………………………… 6- 15 Appendix (Terms) …………...…………………………… 16-17 3 The Society for Creative Anachronism provides, in its Mission Statement: The Society for Creative Anachronism provides a structure for enthusiasts of the Middle Ages and Renaissance to explore various aspects of the period in Europe to 1600 AD. As accurately as possible, the SCA’s members strive to adopt the lifestyle, culture, technology, clothing and accoutrements common to those liv- ing during the time under study. The SCA encourages members to learn by doing, to research period arts, sciences and activities, to share their knowledge with oth- ers, and to behave in a chivalrous manner in all their interactions. The goals of Historical Combat Study and Education in the Kingdom of Ar- temisia are summarized by the following Articles: ARTICLE 1 OBJECTIVE OF HISTORIAL COMBAT STUDIES Through study and training in the historical martial arts, members seek to build their character, enhance their sense of judgment, and become disciplined individu- als capable of making contributions to the further Glory of Artemisia and to pro- mote the mission of the SCA. -
SERFO 2018 Rules
https://dscoblen.gitlab.io/serfo/ Southeast Renaissance Fencing Open Weapon Rules Table of Contents • Purpose • Sword and Buckler Tournament Rules • Competition Area • Running of a Bout • Minimum Equipment Safety Requirements o Rapier and Sword and Buckler o Rapier o Longsword o Longsword and Sword and Buckler • Injuries • Weapon requirements • Roles of the Staff o Rapier o Referee o Longsword o Scorekeeper o Sword and Buckler o Ring Boss • Rapier Tournament Rules • Roles of the Fencers and Coaches o General Rules o Fencers o Conventional Rapier o Coaches o First Blood Rapier • Notes: • Longsword Tournament Rules o Summary ! Purpose The Southeast Renaissance Fencing Open (SERFO) is a tournament event dedicated to promoting the practice and teaching of Historical European Martial Arts in the region. Most clubs in attendance are based in Georgia, Tennessee, North Carolina, South Carolina, and Florida. Participants come from a variety of backgrounds in terms of their choices of weapons, time periods, and manuals of study. SERFO is a multi-disciplinary event with a focus on Renaissance weapons, and we give equal footing to rapier and longsword fencing. SERFO is known as being a competitive, but friendly and open event. We endeavor every year to being welcoming and supportive to all fencers. While the fencing is at all times intense, and done with a desire to win, we view winning as a secondary aspect of fencing well. A victory for us is the fencer having fun, and improving their overall skill. We hope that you have fun, and wish to come back to SERFO again and again. ! Competition Area • Bouts will take place in an 8m circle with clearly marked edges. -
Downloaded and Shared for Private Use Only – Republication, in Part Or in Whole, in Print Or Online, Is Expressly Forbidden Without the Written Consent of the Author
The International Armizare Society Presents: Beginning Armizare An Introduction to Medieval Swordsmanship Gregory D. Mele © 2001 - 2016 Beginning Armizare: An Introduction to Medieval Swordsmanship Copyright Notice: © 2014 Gregory D. Mele, All Rights Reserved. This document may be downloaded and shared for private use only – republication, in part or in whole, in print or online, is expressly forbidden without the written consent of the author. ©2001-2016 Gregory D. Mele Page 2 Beginning Armizare: An Introduction to Medieval Swordsmanship TABLE OF CONTENTS Foreword 4 Introduction: The Medieval Art of Arms 5 I. Spada a Dui Mani: The Longsword 7 II. Stance and Footwork 9 III. Poste: The Guards of the Longsword 14 IV. Learning to Cut with the Longsword 17 V. Defending with the Fendente 23 VI. Complex Blade Actions 25 VII. Parrata e Risposta 25 Appendix A: Glossary 28 Appendix B: Bibliography 30 Appendix C: Armizare Introductory Class Lesson Plan 31 ©2001-2016 Gregory D. Mele Page 3 Beginning Armizare: An Introduction to Medieval Swordsmanship FOREWORD The following document was originally developed as a study guide and training companion for students in the popular "Taste of the Knightly Arts" course taught by the Chicago Swordplay Guild. It has been slightly revised, complete with the 12 class outline used in that course in order to assist new teachers, small study groups or independent students looking for a way to begin their study of armizare. Readers should note that by no means is this a complete curriculum. There is none of the detailed discussion of body mechanics, weight distribution or cutting mechanics that occurs during classroom instruction, nor an explanation of the number of paired exercises that are used to develop student's basic skills, outside of the paired techniques, or "set-plays," themselves. -
Swordplay Through the Ages Daniel David Harty Worcester Polytechnic Institute
Worcester Polytechnic Institute Digital WPI Interactive Qualifying Projects (All Years) Interactive Qualifying Projects April 2008 Swordplay Through The Ages Daniel David Harty Worcester Polytechnic Institute Drew Sansevero Worcester Polytechnic Institute Jordan H. Bentley Worcester Polytechnic Institute Timothy J. Mulhern Worcester Polytechnic Institute Follow this and additional works at: https://digitalcommons.wpi.edu/iqp-all Repository Citation Harty, D. D., Sansevero, D., Bentley, J. H., & Mulhern, T. J. (2008). Swordplay Through The Ages. Retrieved from https://digitalcommons.wpi.edu/iqp-all/3117 This Unrestricted is brought to you for free and open access by the Interactive Qualifying Projects at Digital WPI. It has been accepted for inclusion in Interactive Qualifying Projects (All Years) by an authorized administrator of Digital WPI. For more information, please contact [email protected]. IQP 48-JLS-0059 SWORDPLAY THROUGH THE AGES Interactive Qualifying Project Proposal Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for graduation by __ __________ ______ _ _________ Jordan Bentley Daniel Harty _____ ________ ____ ________ Timothy Mulhern Drew Sansevero Date: 5/2/2008 _______________________________ Professor Jeffrey L. Forgeng. Major Advisor Keywords: 1. Swordplay 2. Historical Documentary Video 3. Higgins Armory 1 Contents _______________________________ ........................................................................................0 Abstract: .....................................................................................................................................2 -
Combat Manual
ADRIAN EMPIRE IMPERIAL ESTATES WRIT #17 COMBAT MANUAL ADOPTED JULY 2002 LAST UPDATED DECEMBER 2019, EFFECTIVE 1 JANUARY 2020 ©Copyright 1993-2020 The Adrian Empire, Inc. All rights reserved. Adria is a registered trade name of the Adrian Empire, Inc. Anyone is welcome to point out any error or omission that they may find. Adrian Empire – IEW #17 – Combat Manual Page 2 of 35 TABLE OF CONTENTS I. GENERAL RULES AND REQUIREMENTS ....................................................... 5 A. HEALTH ......................................................................................................................................... 5 B. INHERENT DANGERS ................................................................................................................ 5 C. PROOF OF QUALIFICATION ................................................................................................... 5 D. MINIMUM AGES .......................................................................................................................... 5 E. GENERAL RULES OF COMBAT .............................................................................................. 5 1. Safety ............................................................................................................................................ 5 2. Marshals Must Be Present ............................................................................................................ 5 3. Entering the List Field ................................................................................................................. -
Seminar on Japanese Swords 7 February 2005
Tsurugi-Bashi Kendo Kai University of Cambridge Kendo Society Seminar on Japanese swords 7 February 2005 Revised proceedings Proceedings editor: Nicholas Taylor Copyright c Tsurugi Bashi 2005 http://www.cam.ac.uk/societies/kendo/ Table of Contents Preface FrankStajano....................................... ...............3 A visit to a sword polisher's workshop FrankStajano....................................... ...............4 The parts of the Japanese sword NeilHubbard........................................ ..............7 Katana and Kendo: Background and Reigi HyoWonKim.......................................... ...........9 Functional differences between European medieval and Japa- nese swords SabineBuchholz...................................... ............11 Manufacture of Japanese swords RichardBoothroyd..................................... ...........13 Zen and the Way of the Sword KristiinaJokinen................................... ...............15 Metallurgy and the Japanese Sword NicholasTaylor..................................... ..............17 2 Preface On a sunny morning in December 2004 I happened to pass by the British Museum and my attention was caught by an elegant black poster featuring a beautiful Japanese sword blade. I immediately went in and was delighted at the chance to admire a won- derful exhibition of the Museum’s magnificent collection of about a hundred Japanese blades, all recently restored in Japan. Once back in Cambridge, I set out to organize a visit to the exhibition for members of our kendo dojo, Tsurugi-Bashi. Although, as one might expect, many of our kendoka have an interest in Japanese swords, none of us is really knowledgeable, let alone an expert or collector. We therefore needed some preparation and guidance in order fully to appreciate the visit. In the spirit of encouraging people to find out more about the subject, I there- fore requested that members wishing to join the guided tour carry out a little research about some aspect of the Japanese sword, write it up as a short essay and present it to the others. -
Introduction to Rapier
INTRODUCTION TO RAPIER Based on the teachings of Ridolfo Capo Ferro, in his treatise first published in 1610. A WORKBOOK By Nick Thomas Instructor and co-founder of the © 2016 Academy of Historical Fencing Version 1 Introduction The rapier is the iconic sword of the renaissance, but it is often misunderstood due to poor representation in popular culture. The reality of the rapier is that it was a brutal and efficient killer. So much so that in Britain it was often considered a bullies or murderers weapon. Because to use a rapier against a person is to attempt to kill them, and not just defend oneself. A result of the heavy emphasis on point work and the horrendous internal damage that such thrust work inflicts. Rapier teachings were first brought to Britain in the 1570’s, and soon became the dominant weapon for civilian wear. Of course many weapons that were not so different were also used in the military, featuring the same guards and slightly lighter and broader blades. The rapier was very commonly used with offhand weapons, and Capo Ferro covers a range of them. However for this work book, we will focus on single sword, which is the foundation of the system. This class is brought to you by the Academy of Historical Fencing (UK) www.historicalfencing.co.uk If you have any questions about the class or fencing practice in general, feel free to contact us – [email protected] Overview of the weapon The First thing to accept as someone who already studies one form or another of European swordsmanship, is that you should not treat the rapier as something alien to you. -
A Brief Essay About the Traditions of the Occidental Martial Arts
International Journal of Martial Arts Volume 3 / Page 32-51/ 2017 A Brief Essay about the Traditions of the Occidental Martial Arts Papakitsos, Evangelos C.* Department of Education, School of Pedagogical and Technological Education, Athens, Greece Received: July 16, 2016 Accepted: October 10, 2017 Published online: November 23, 2017 Abstract The Occidental Martial Arts have been constantly used in wars with historical weaponry, from the ancient times until beyond the 2nd World War. The training in the usage of weaponry had been continuously conducted in military campuses and in various communities for “elite” and “folk” martial arts. Direct and indirect evidence indicate that the technical part of the training in the latter arts had always been rather simple (utilitarian), with emphasis given to the tactical usage of weaponry (conceptual). The relevant practices and concepts of fighting have been preserved in the Christianized Filipino Martial Arts, due to the predominant Spanish military influence, at least in the Portuguese art of Jogo Do Pau, in various European regions and in Sport Fencing. Nevertheless, some scholars believe that the Occidental Martial Arts have a broken line of legacy, mainly because of the lack of fighting manuals prior to the 13th century CE. In this paper, the author argues against this opinion. Keywords: Occidental Martial Arts I. Introduction Rome, March of 537 CE1. The kingdom of Ostrogoths had been in war with the Eastern Roman Empire (alias Byzantine)2 for two years, since the Spring of 535 CE. General Flavius Belisarius (505-565 CE), commander-in-chief of the Imperial Army in Italy, has been sent there by Emperor Justinian I to re-conquest the land that once belonged to the fallen Western Roman Empire. -
I May Not Use the Japanese Terms for Everything in This Document, Or Spell Them the Way You Think They May Be Spelled
Please note: I may not use the Japanese terms for everything in this document, or spell them the way you think they may be spelled. Deal. Different sources happen. Sources will appear at the end of this document. Oh, and I hereby give permission for AEG and any forum moderators acting as representatives thereof to post this (unmodified and in its entirety, except as directed by me) as a reference document anywhere they need to do so, if they feel so inclined. SECTION ONE: INTRODUCTION AND ARMOR Armor exists in a constant state of flux, always attempting to protect the wearer against an ever-more lethal variety of battlefield threats. There are many reasons NOT to wear armor. It’s expensive. It’s high-maintenance. It is hot and smelly (sometimes to the point of causing heatstroke). It restricts your mobility. It dulls your senses and slows your reflexes. It’s never perfect, 100% protection. Therefore, it is reasonable to assume that if armor did not perform some valid battlefield function, people would not have worn it. People aren’t stupid. We may be more educated today, but people have a long history of seeing a problem, and then devoting all of their time and technological progress to that point in history finding a way to SOLVE that problem. Again, it stands to reason that, especially in a culture like that of Japan, where weaponry and armor simply did not evolve after reaching a certain level of technological development, there must be a rough balance between weaponry and protection. If armor was useless against battlefield weaponry, it would not have been worn. -
The State of The
swords.qxd 7/14/04 9:33 PM Page 1 SWORDSMITHING In ancient times, the sword represented the THE STATE pinnacle of the OF THE engineering craft. Today, many of the same ART technologies are used to produce swords for a variety of purposes. Byron J. Skillings* Ladish Co., Inc. Cudahy, Wisconsin ince early times, the search for superior arms and armor has driven the art and the science of metallurgy. European, Middle- Eastern, and Eastern cultures each devel- Fig. 2 — The rapier was not considered a Soped metallurgical and bladesmithing technolo- military weapon, but rather served as a per- gies suitable for their swords, for personal defense sonal side arm for self-defense and for settling and military weapons. Swords were symbols as duels. This rapier is by Kevin Cashen, Math- erton Forge. well as weapons, used to show positions in gov- ernment, social status, and wealth. The sword, ar- guably more than any other of man’s tools, speaks of our innate drive to create items of form as well as function. They were for many eons the pinnacle of the engineering craft. Without scientific knowl- edge and analytical equipment, ancient smiths were able to convert impure contaminated raw ore into refined metal. From this material they consistently produced the lightest, strongest, most resilient tools Fig. 3 — Medieval sword by Randal suited for a purpose where failure meant death. Graham has a simpler hilt than the This was an incredible achievement. rapier. This is an example of an in- terpretation of a historical sword, not a duplication. Image courtesy Early swords Albion Armorers.