+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.