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| Secrets of The Samurai | |
| | Tác giả | Thông điệp |
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Shyan Bạn mới
Tổng số bài gửi : 16 Registration date : 18/10/2008
| Tiêu đề: Secrets of The Samurai Mon Dec 22, 2008 11:36 pm | |
| Mình vừa tìm được cuốn sách này do bài viết của bạn hakagure ở diễn đàn ftuforum.net , xin post lại toàn bộ bài viết của bạn đó. ^ ^ nếu ai có thời gian thì dịch cho mọi người hiểu hơn hén. Secrets of The Samurai - Book I Oscar Ratti & Adele WestbrookLời giới thiệu Cuốn sách võ đạo kỳ diệu - Secrets of The Samurai - là một trong nhiều tác phẩm nổi tiếng của võ sư - họa sĩ Oscar Ratti. Cuốn sách này chứa đựng những gì được coi là đơn giản và cô đọng về cả một nền võ học tinh tế - Võ đạo Nhật Bản . Trong một quá khứ binh lửa , các chiến binh Samurai đã chiến đấu dựa trên nền tảng gì , học luyện tập những gì , cơ sở nhận thức và tinh thần Bushido bắt nguồn từ đâu - Secrets of The Samurai sẽ trả lời cho bạn tất cả những câu hỏi trên và còn nhiều hơn thế . Tác phẩm là sự hợp tác của thầy Oscar Ratti và thầy Adele Westbrook - giờ đang là cuốn sách gối đầu cho nhiều thế hệ võ sinh các võ phái Nhật Bản trên toàn thế giới . Một thời gian sau khi cuốn sách Secrets of The Samurai ra đời , các võ sư thuộc hiệp hội Võ đạo Brazilđã lấy nền tảng từ đó để xây dựng một loạt bài viết tổng quát về các hệ phái võ thuật của Nhật Bản - Các thầy đã sử dụng hình minh họa trong các cuốn sách của thầy Oscar Ratti như - Secrets of The Samurai & The Code of Samurai . Hôm nay xin được gửi tới toàn thể các bạn những bài viết bằng tiếng Anh này . Bộ bài viết sẽ được hệ thống thành 4 tập bao gồm : Book I : 1 - Koppo Jutsu 2 - Kumi Tachi 3 - Bo Jutsu 4 - Kempo 5 - Iaijutsu 6 - Jo Jutsu 7 - Aiki Jujutsu Book II08 - Hojo Jutsu 09 - Tanto Jutsu 10 - Kobo Jutsu 11 - Kabuto no Bujutsu 12 - Kusari Fundo 13 - Ba Jutsu 14 - Kankyo Jutsu Book III15 - Batto Jutsu 16 - Kenjutsu 17 - Tameshigiri 18 - Heiho 19 - Taiso 20 - Ketsugo 21 - Suriken Jutsu Book IV The Samurai Creed & The Bushido | |
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Tổng số bài gửi : 16 Registration date : 18/10/2008
| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:38 pm | |
| Book I : 1 - Koppo Jutsu
2 - Kumi Tachi
3 - Bo Jutsu
4 - Kempo
5 - Iaijutsu
6 - Jo Jutsu
7 - Aiki Jujutsu
1 - Koppo Jutsu It translated literally as approach of the bones, Koppo is the peculiar form studied in the arts that aim at the attack to the articulations. It studied in the Medium Age by the most traditional schools, the Koppojutsu, or simply Koppo, can be translated in a version of adaptation for the West as attack to the bones. Characteristic of the Aikijujutsu and Jujutsu, the Koppo is, doubtless, one of the matters of bigger efficiency studied inside the curricular grille of the Bujutsu. Inside the present time, we find Sussumo Motoshima as big expert of the traditional forms guarded in sequences of forms named like Kata. Motoshima Sussumo is a son of Chieko Motoshima, daughter of Noriyuki Mizumatsu, big holder of the technical one of the Koppojutsu. Mizumatsu was famous in its province by organize the forms and determine-them in a nomenclature that did not exist. Second Motoshima Sensei, healthy to the all ten kata that constitute of ten each sequences, that correspond to the most frequent attacks of the epoch. 2 - Kumi Tachi Kumi Uchi is it breaks that studies the form of seize (imobilizações and strangulations). Old enough art, is a fight that aimed at lead the adversaries upon soiling. It is one of the richest arts in movements and exercises, however healthy a lot guarded by the big masters, since were of big efficiency for the development of the binomial body. The origin of the Kumi Uchi can be considered as to more primitive of all. Some masters say that his origin was marked when a primitive man, infuriated with some another, advanced in its direction attack-him. And as still they were strangers the first their, martial techniques reaction was "seize" the enemy. However its practical as art of alone war was arise later. Even so, his techniques were based in the fight through the clinch, being enough developed to the long one of the years. One of his characteristics more strong also is linked to the aggressiveness, since its purpose outside always for ends of war, and not as sport. The name of the art can be translated into the Portuguese of the following form: Kumi: embrace, hold Uchi: it be Complex enoughart, that represents to older form of battle with clinch. Even inside the Kumi Uchi, by his immensity of techniques and imobilizações, healthy studied with enough tenacity the standing fight, however with a connotation more connection to the clinch. The Kumi Uchi is, inside the TaiJutsu, to older, elaborate through clinches, projections, keys and strangulations, for the end of the battle of the form more quick possible. The geography of the Japan always was an important point in the reasoning of the development of the techniques (very injured geography, country with 80% of his territory with mountainous formation). That shows that there was a big tendency of the battles will grapple and will elapse in the ground, doing with that the nature became a weapon in potential. In the regions of Hokkaido, certain villages arrived to the extreme of will utilize his training with wild animals, as bears, that had its nails trimmed, and the jaw tied. The idea of the development of a technique exceed the size and the weight of the opponent was constant. The need of the improvement brought to the present days it evolved technique applied us battles to short distance . | |
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Tổng số bài gửi : 16 Registration date : 18/10/2008
| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:39 pm | |
| 3 - Bo Jutsu The art of the utilization of the cane and others instruments of similar wood as weapons represent the point of transition of the approaches of battle armed for the done not arm. The wood, natural or polite and in all the possible forms always has served to the man in the implementation of her capacity of fight. She provides, otherwise the first, certain one one of the first stuff used by the man in the manufacture of mortal weapons. In the Japanese dimension of the art of battle, however, the wood was not (at least during the was feudal) a primary stuff utilized in the manufacture of weapons, but the iron and the steel. However, it constituted a fertile, although secondary, dimension whose strategic potential was explored, developed and systematized to several approaches will begin it take form, each complete approach and cash inside and outside of her same. Because of the fact of them will be comparatively less risky for the practical one that a sheet, the cane and several other weapons of wood usually were utilized in dojo of training of schools of bujutsu, where the techniques of long weapons and swords were taught. With the time, the relative use of the weapons of wood developed so well that, the real battle using the cane or the sword of wood, was committed by warriors (even in auto-defense against an unjust and potentially lethal attack being the adversary armed or not). The steel weapons wood replicas job or of iron enabled a lethal result done not desire to be minimized and, in cases of exceptional ability, eliminated barely that entirely that chance of accident. That fact helps it explain the popularity of the cane between the members of the social class that loathed the idea of the spilling of blood of his companions. Priests, monks, traveling, common persons and to poets used the cane or another instrument of wood, many of the which are used until today with several purposes. To the warriors competed in test of ability utilizing these weapons. According to the dictionary, the cane is any thing lengthened of square range. Specifically, inside the military dimension of the Japanese culture, however, the cane or a similar instrument of wood be used primarily in the training of the bushi in techniques that, in real battles, would involve the use of a sheet of mortal steel. Like this, they find itself so much specializations in the use of the as much as cane will go specializations with the utilization of weapons, therefore the wood replaced barely that all they in the epoch. The relation between them two the cane and the weapon that he represents was so intimate that to technical and the strategy of a was virtually indistinguishable of the another one in a symbiotic exchange. In this way, a swordsman would be able to employ the curved cane imitating the format of a sword with the same precision of a sheet. The techniques (jutsu) created by the effective job of these weapons of wood, however, were substantially the same maids when used with the iron or steel. Each a, however, also it developed independently of the discipline with the which was related, producing his own bequeathed and body of literature. To first specialization, naturally is represented by the art of the long cane with the thickness of the Bo - the Hasaku-bo or the Rokushaku-bo. To Monday is represented by the art of the Jo or bo or still Han-bo. One of the private approaches in the use of the Jo or Bo is a that is practiced us present days, not as much as real art of battle - Jojutsu - but with the disciplines that employ the form of the Jodo. In the kaze in the Ryu Bugei so much the Jo as much as the Bo possess in his particularity the preservation of the its initial form, or be, in the practical one of arts of war (jojutsu and bojutsu). 4 - Kempo It says a dictation that, in the time of a petal of rose fall to the ground, a practitioner of Kempo should carry out more of thousand movements. Kempo is the art come back for the aggressiveness and corporal strengthening, coming of the observation of movements of the animals, that became that as a form of natural fight of aggressiveness. The philosophy of the Kempo is going to seek the naturalness of the body in union with its aggressiveness. This forms violent of corporal fight was developed for ends of war, and by that subsequently was prohibited in the Japan, stayed restricted only to the villages that had like purpose to practical martial as war art environment. Following the same plot of the Aikijujutsu, the history of the sprouting of this practical martial itself loses in the time, but believes-itself that his origin date of more of 2 thousand years behind. It arrived to the Japan by influence of the Chinese, as environment of personal defense and warlike.its practice meaning come back for the use of the hands like defense, showing the first concepts of its philosophy. The name of the art can be translated into the Portuguese of the following form: Ke m - fists Po - approach, model The "approach of the fists" objective the survival to all cost, being considered by many, a practice of extreme violence, since animals movements drift, as the of the fight by the survival between the ferocious you will be of the forests. Is able to the juncture naturalness imagine and ferocity of a tiger that seeks his alive sustenance, as by example an antelope. It was by means of inspiration of that perfection of the nature that the big masters of the antiguidade sought to develop the body for the preparation faced with the war. Records and rumors show that the art was developed through the native old techniques of Bodhidarma (daruma san, as is known in the Japan), that was led through the cultural intermarriage between Japan and Chinese. His techniques of training put the man completely prepared it absorb all of the impacts, doing with that all the part of the body became a weapon in potential. Similar to the Kumi Uchi, the nature always was a very strict form for strengthening and muscular tone, important factor for the war. His practitioners used to crush small bundles of bamboo for the strengthening of the fists. | |
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Tổng số bài gửi : 16 Registration date : 18/10/2008
| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:40 pm | |
| 5 - Iaijutsu Iaijutsu is the art of unsheathe the sword, practiced with the techniques of battle, that go being taught during the training. It practiced today as an automatic device of booty, favors the self-discipline, the improvement of the coordination, and improvement the posture. In the majority of the styles, the real techniques of cut are valid but, for the practical one of the Iaijutsu with ends of defense or of war, the accuracy is absolutely necessary. Some versions affirm that The arts of the sword that know today began, probably, with Iizasa Choisai, the founder of the Tenshin Shoden Katori Shinto Ryu. That school included the use of many weapons, as the spear, and the throwing of knives. A big part of his curriculum consisted of the quick booty and in the immediate use of the sword in the self-defense. This section of his study is called Iaijutsu. Hayashizaki Jinsuke Shigenobu (1542-1621) has the reputation of to have received a divine inspiration that drove to the development of its art, call Muso Shinden Jushin Ryu Battojutsu. Batto signifies simply "cut with the sword". The point in common to both schools, as in many other schools of sword that treated predominantly of the cut with the sword, was that that art be practiced in the form of katás. As then it is able to a martial art be really efficient, being practiced through kata, against an imaginary opponent? That it is a more difficult a lot question than looks. The problem begins to the be tried it defined 'efficient', and upon considering that 'turned out' is desired. Naturally, in the kata there is not no opportunity of itself try his technical in the repeated battle times because, as in the kenjutsu, there is not no opportunity of modify his movements in answer to those of its opponent. Under the point of view dThe martial arts of the modern world, is easy treat superficially the arts of traditional sword and of criticize-them as improper, simply because do not we walk for the street carrying a sword. The martial artist has as should avoid the battle. That be explained there are thousands of years by Sun Tzu in the "Art of the War" and later by masters of the strategy. The martial artist that coaches entirely and correctly, driven by a sensei, will develop an ability of recognize difficult situations and of avoid-them before be transformed in a problem, will minimize the conflict, or will maintain a state of body that offer not opportunities for an aggressor. This is the sense of the Iaijutsu. The kanji (character) 'I' also can be well-read as 'itte' and 'ah' like 'awasu' in the phrase 'awasu of the neither of the kyu of the itte of the neither of Tsune' that signifies: "Wherever do you go and what want that you do, is prepared always". It be prepared is not alone have a state of lie aware, but have him coached rigorously so that, if necessary, a decisive technique can be used for finalize a conflict. With a sword, naturally, the cut is a mortal. Therefore, the study of the Kata is very difficult. 6 - Jo Jutsu
Rekishi in the Jo - History of the Cane Believes-itself that the art of the shortest cane was developed by the big swordsman Muso Gonosuke, there are approximately four centuries behind, after a defeat in fights by the famous one Myamoto Musashi, that utilized swords of wood (bokken, bokutô) for their battles. According to the historical tradition, Gonosuke withdrew for a temple Shinto and, after long period of arduous training, of a lot purification and meditation in the art of the cane, developed a noticeable domain about about the Jo. His style was named of Shindo Muso Ryu, was then that challenged Musashi for a news I confront. The approach created by Gonosuke enabled to enter the strong posture of the style of Musashi. Gonosuke Sensei practiced firm and continuously until develop the basic strikes that resulted in 20 techniques, that later were combined and optimized, being created the basic forms (Kata). The Katas basic of the Jo Jutsu, that subsequently came it be part of the Jo Of The (name adopted by some schools), include the utilization of sequências with other weapons, as Bo (long cane), Bokken and so much (knife). | |
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Tổng số bài gửi : 16 Registration date : 18/10/2008
| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:40 pm | |
| 7 - Aiki Jujutsu Aikijujutsu, martial art practiced formerly by the noble Japanese, by his wealth of knowledge and difficulty. It loses itself in the history the epoch or period of the sprouting of the art, since the Japan old did not exercise to practical of the written one, restraining the past knowledge barely between the relative of the villages. Itself says that his origin comes from the art of the sword, the Kenjutsu, when in the battles there was not other solutions for the defense that not the concept of the Sukima (empty). The Sukima represents a basic foundation of the Aikijujutsu, and is going to do with that an adversary (initially carrying the sword Kiếm thép) is not going to reach his objective, barely using the concepts of the four elements, water, fire, air and land. From this I begin the first movement arose that today constituted the Aikijujutsu. Very oldart, based in the harmony and in the utilization of the known, interior energy as Ki. The Ki is the beginning that governs the universe of the Aikijujutsu, focusing the studies in his conduction and addressing. Enough it used by old and women, by his wealth and efficacy of the utilization of the not; some it consider like the art of fight without fight. It is based in the utilization of keys, sprains and imobilizações, of way it disable the enemy seeking the harmony of the body. The name of the art can be translated into the Portuguese of the following form: Ai: harmony, love Ki: energy, vital force Ju: flexibility Jutsu: art The AikiJuJutsu, since the organization by Minamoto in the Yoshimitsu, and to even before, had many distinct roads what resulted in different styles, as the Daito Ryu Aiki JuJutsu, founded by Sokaku Takeda, and also the Aiki JuJutsu studied in the Kaze in the Ryu what differs of that in very by the influence of the arts of war in the old peoples, the ainos what originated the people Shizen. The Aikijujutsu of Takeda came of the lineage of the Minamoto, that organized the technical Aiki and founded him, approximately in the séc.XV. The art develops through the circularidade, such as in the universe, therefore the practitioner is a "sun", that mantém his enemies in its orbit, without never leave of lighten-them. However, always after the day, comes the night, that conceals the practices more strong and strict come back to the war, where what is found we call Hidoi. The Complexity of his system it consecrated like an art of noble customs. His difficulty is found exactly in the interior harmony of the practitioner, not being left lead for any feeling or emotion that affected to its technical. By that, the Aikijujutsu became a big practice of the strategists of the Kaze in the Ryu Bugei . | |
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Tổng số bài gửi : 16 Registration date : 18/10/2008
| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:42 pm | |
| Book II08 - Hojo Jutsu
09 - Tanto Jutsu
10 - Kobo Jutsu
11 - Kabuto no Bujutsu
12 - Kusari Fundo
13 - Ba Jutsu
14 - Kankyo Jutsu
08 - Hojo Jutsu Hojojutsu is the art of bind and tie a prisoner, using a cord. It developed in the Japan feudal, be practiced by the class of the samurai. The word "hojo" is formed by the kanji "ho", that also is pronounced "tori", and signifies "capture, bind"; and "jo", that also is pronounced "nawa", and signifies "cord". The word "jutsu" signifies "art, ability". To main reason of itself lace someone came of the need of be bound, maintain alive or stop the escape of determined individual. It was the case of the feudal period in the Japan, when the enemy be captured for supply information, or to be utilized in change of someone important that outside captured of another side. There are several other reasons by the which the hojojutsu was utilized. One of them was hold a prisoner it to be presented to some authority, in an eventual judgment by crimes made. Like this, the Japanese are detached for will have developed a sophisticated cord use system for tie persons. The Hojojutsu was incorporated to the martial knowledge of the bushi and used mainly in the bloody one was of the 'Sengoku Jidai'. The lower class of the officials, call of 'okapiki', learned how basic forms of hojojutsu under the supervision of the officials of the class samurai. The task of tie a prisoner or suspicion be relegated to the lower patents. With the restoration Meiji (1887), the Hojojutsu fell in disuse. It is important observe that the prisoners were tied of a specific way, indicating his social status. Each approach of marvel indicated the social position that the prisoner occupied and the crime that make. There is, inside the hojojutsu, special techniques for persons with strong or capable arms of will undo the we, so that, specially the person laced was stirred, more was strangled. The cords in general were deeds of linen, silk or hemp. In the period Edo, colorful cords indicated the crime and the status of the person. By example, the white cord be used for smaller crimes, while the blue cord be used for grave crimes. If the person went someone important, be used the violet cord. If it went of class drops, used itself a black cord. During that period, to be tied with a cord passing for the neck was extremely humiliating. Some considered worse than the death. Several kinds of us are utilized, with purposes that go since hold tight, strangle or lace a prisoner to another. The Kaze in the Ryu Bugei I possessed the Hojojutsu in its curricular grille, but other schools also developed that modality, as to Fujiwara Ryu, Chokuji Goden Ryu, Sekieuchi Shin Shin Ryu and many other. Oneof the approaches of capture a prisoner consisted of be thrown a sort of clasp that knocked down person. That then it be tied in an intricate net of cord, that it paralyzed completely. Today few are the masters that dominate the hojojutsu traditional. The modern police of the Japan still carries with himself cords for contain the prisoners, beyond the handcuffs. 09 - Tanto Jutsu
Tantojutsu or Art of the Knife (knife made under same standard of the Japanese swords) is basically divided in two forms: So much - kind of knife used in the Japan Aikuchi - kind of knife more bent used in the Japan The art of the Tantojutsu also can be divided by age, being the forms more classical and Traditional cited like Koryu and the most modern forms, that already involve recent concepts (from the séc. XIX) cited like Kindai. To practical of the Tantojutsu medievalBy it be part of the class of the Daisho, to so much always was studied like important discipline for the formation of a warrior or samurai. The knives, for the battle to a shorter distance than the sword, were utilized by its agility and capacity of harmonize with the most diverse angulações and directions. Inside the Kaze in the Ryu, or style of the wind, practiced by the Kyudoshin Bugei Kay Kan, descendant of the Ogawa Shizen Kay what mantém that Tradition already there is more of 400 years, the art of the so much one is sight under the prism of the reality and of the not fantasy, what it becomes a between the most meticulous and risky. The art of the knife always had a special attention by the wealth of movements and studies of anatomy, for become the most efficient possible one the application of the techniques of battle with the knife. Hiroshi Ogawa, Saiko Shidoshi responsible maximum by the Ogawa Shizen Kay, adapted the form of the Koryu Tantojutsu (classical forms) for the Kindai Tantojutsu (modern forms) of urban defenses (ShiHogo and ToshiHogo). ___________ "It to me Ah" is what do we name the notion of distance, the capacity of be situated before the adversary of way it obtain to better reaction defensive and better offensive action. Very it practiced not only in the Tantojutsu, but in all the arts that compose the Bugei, the "it to me ah" can be had like the base for the battle, armed or disarmed. In case of of the Tantojutsu, the depth of the studies of "it to me Ah" goes beyond the necessary one, since to so much is a weapon of extreme agility and harmony, that complicates a lot the comprehension of as be protected, defend or handle. The comprehension of the "it to me Ah" goes beyond simply distance itself of the opponent, but treat-him as went a worthy visiting one, not permitting that his anger infects the its interior. The masters see in the "it to me ah" a tool for the battle, as some of the most valuable, and constantly manipulate him. To the movements differed against the person, the despair of that the strike can reach the body is going to take a "safety margin", that represents ours own ruin. After it leave that the consequence took to count, we notice that we are distant the adversary, us putting handicapped persons of promote a following reaction, without that becomes apparent to the adversary. To the study of the "it to me Ah", the lull and tranquility faced with to storm are the most important attributes for the following pace. A movement is launched and with the maximum subtlety occurs the detour, necessary barely for not to be reached, maintaining a distance of to an inch of the strike, that provides a favorable situation upon calling counterattack. | |
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Tổng số bài gửi : 16 Registration date : 18/10/2008
| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:43 pm | |
| 10 - Kobo Jutsu The Kobujutsu is the art that embodies the assembly of weapons studied in the old practices of war. Known at present as Kobudo (road of the weapons), by the arts that compose the Gendai Budo, in determined regions was the reference for all the weapons that did not be part of the noble class of the daisho (whose literal translation, from the kanji "ooki" or "give", signifies "big" and "sho" or "chisai", "small"), composed by the Kiếm thép, Wakizashi, Aikuchi or so much. Like this, in some regions the Bo, the Jo, to Yari, to Naginata, Leave, the Jutte (sort of tridente), to Tonfa (sort of cacetete), the Kama (sort of scythe utilized for cut rice) between other, were classified similarly as breaks integral of the Kobujutsu. In determined arts, as the Hiệp khí đạo, karate of the between other, everything what refers to technical that utilize some sort of weapon is called of Kobujutsu, that would be able to to be translated by the kanji used like reference, like "art of the old war". "Ko" signifies old, "bu", war and "jutsu", art. Inside the classical arts that conserve the concept Koryu, the Kobujutsu is the term that refers the weapons of unlike characteristics them utilized by the samurais. The majority of these weapons was lent of the farmers and rebellious that, in consequence of the period of hunting to the swords, improvised agricultural appliances as weapons of defense, like is the case of the tonfa, nunchaku etc. Such weapons afterwards passed it be part of the curriculum of determined schools. In the present time, the information about the Kobujutsu are very vast, having several versions and analyses that do not establish a true and unique one. Some they affirm that the Kobujutsu arose in Okinawa; others, by the own evolution of the wars. Others attribute to the Chinese influence. The western books that initially tried the Kobujutsu cited barely some weapons, that stayed acquaintances by the westerners and years afterwards became protagonists of the Kobujutsu, however many other were utilized in the period Tokugawa and Meiji. The tessen, or gunsen (fan of iron), ono (sort of axe) and the kiseru (pipe) healthy some of them. 11 - Kabuto no Bujutsu It is a significant discipline of the Bugei, that represents the form and the reality of the war. Kakuto signifies "fight, seize, fight"; and Bujutsu, "art of war". It was defined, subsequently, by the masters as to "art of war come back to the reality". Since the origins, the techniques of war possess a very unlike vision the situations lived inside the theories and practices of a dojô, by that the traditional schools guard, in a curriculum named "Okuden", the application and real forms. The Kakuto in the Bujutsu had his ascent mainly in the was Tokugawa, when the wars and conflicts were more constant. The psychological formation provided by the Kakuto in the Bujutsu enables to the practitioner a perception of the reality of war, that is differentiated of the practical one driven by a professor, instructor or main. The traditional form directed for ends of the reality of war I included the utilization of any object that is available in a battle. Being like this, the war not possuía rules neither commandments that required that went utilized these or those weapons. Among the most famous names, if finds Takuji Sato, that lived in the end of the was Tokugawa, exactly in the period of transition with the was Meiji, that would restore years afterwards the arts of Koryu transforming them in Gendai Budo, that is a more appropriate form for the education, and not for the war. Believes-itself that only the lineages holders of the determined arts Koryu is that still possess such matter. The Bujutsu, of general form, always worried about the reality lived in his teachings, and perhaps that be the most appropriate way of explain the creation of so many Ryu, since to each day the training be performed and taught of unlike way the initial form. Some schools opted for teach the immutable, traditional form, and subsequently were recognized by the maintenance of the tradition and culture. Other they preferred to teach the Kakuto in the Bujutsu of free way and vivencial. Of a form or of another one, healthy few the schools and styles that still worry about that matter, that has forms of very peculiar teaching and characteristics, being easy for a master perceive some fraud or somewhat similar. However much it have evolved, the methodology applied in the Kakuto in the Bujutsu still is to same of its origin. Takuji Sato was a student of Kei Ogawa, that composes the family tree of the Brazilian Society of Bugei and KBK Corporation. | |
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Tổng số bài gửi : 16 Registration date : 18/10/2008
| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:43 pm | |
| 12 - Kusari Fundo Known as Manhiri Kusari or Kusari Deep, that weapon is a current one lastreada with pesos in the two tips that functions like device of marvel, esmagamento or strangulation of members or neck. In the Medieval Age believed itself that the kusari deep would be able to produce in his technical ability the force of thousand men. Being like this, was a lot utilized us attacks and defenses so much to the short one as to the long distance. They exist basically it practices of three kinds of kusari: short, medium and long. Many theories were developed from an only beginning, not establishing a school as only holder of the true techniques. The kusari made of steel appeared in the dimension of the bujutsu as to first Japanese weapon. His application of battle, even alone or combined with other weapons, is going to be very old. In fact, she looks to have been the link between several sizes and poles of several legends as to of the nage-range. Some authors believe that she widely was used in the defense of castles. Others visualize that the kusari also is utilized with the connection with Kama – scythe of several thicknesses. The weapon usually I possessed a portion of a lot iron utilized for the protection of the hands. Weapons of this kind became acquaintances as Kusari-Range and his primary purpose was paralyze the sword of the opponent or throw its current in direction to the enemy its while another one free extremity stayed for mortal operations. One of the specialists in kusari-range was Yamada Shinryukan, that defeated many swordsmen with his current and scythe before of find the death in the hands of Araki Mataemon, a swordsman that bound Shinryukan in a stake of bamboo. 13 - Ba Jutsu The Bajutsu is the art of the horseback riding of war. The old one bushi of the high patents was, by definition, the "warlike mounted", that went for the battles at the front of the troops. He, therefore, dominated the art of the horseback riding in the feudal epoch, as indicate the iron mount pieces and bronze found us dolmens Japanese. The Bajutsu is considered an as much as so old aristocratic art the period Heian. However, she lost much of her originality when the nobility, modifying the old practices of the clans of war for forms more "civilized" of approaches of violence, came it consider certain abilities in so vulgar martial arts that, in 1159, a captain of the guards of the external palace not even mounted a horse, limiting it be stimulated the provincial guards it will squeak in case of danger. Even in the more remote periods, home of the bushi (this is, the central residence of the clan to which he belonged) incluía big cowsheds and external areas where the horses were maintained and coached, but there is not as aim exactly where and when the horse was introduced in the Japan. Some studious they affirm that that animal was led by conquering immigrants to Yamato. All the same, the horse used in the Japan by the "warlike mounted" looks to be the typical similar, Asian pony upon using by Chinese and Korean, as well as by the riders Mongols, that really were born and lived together with horses. The Japanese sort probably is a crossing of several continental lineages, since those animals frequently were cited in lists of presents changed between the Chinese cut and the Japanese emperor. In the epoch, the crossing of species was specialty of certain clans, each which with his own approach. The horses of the clan Nambu, in particular, earned noticeable fame by all the Japan. Those animals were apparently more less than the species europeans or Arabian, but extremely strong, fast and capable of perform highly sophisticated maneuvers. They were had as "notoriously of bad temperament"; was necessary have an experienced hand tame-them, mainly in the uproar of a battle. The old one bushi, as the warlike Mongol, had a lot ability in tame that animal. He dressed a special armor (a-yoroi) when mounted. It was a functional and lighter armor that it developed in the century XVII, when the armor became predominantly decorative. It was basically to same armor that he used when on foot, with the addition of certain articles, as the peculiar waistcoat (horo), caneleiras (sune-keeps), and protectors of thighs (haidate), for compensate the disadvantage of be in position elevated and, consequently, become easy aim for the enemy swords during the battle. To the contrary one of the mounts of the European riders of the Medium Age, the horse of the bushi be not dressed with a heavy armor. His head be protected with a mask of iron, steel or leather, molded in its format or representing mythic monsters. The armor of the body of the animal was composed by small sheets of leather sewn about a fabric. It added itself the saddle, stirrups, reins and brake, that helped the rider it control its mount. The art of the horseback riding in land is known by jobajutsu or simply bajutsu, while the horseback riding in rivers is called of suieijutsu or suibajutsu. Each one of those modalities I possessed several traditional techniques, that differ of the europeans. By example, the bushi generally mounted for right interest, throwing his weight about the heel and not in the tip of the feet, as is done in the Europe. The Warrior held the reins with both the hands until be promptly for fight the enemy, when then he laced them to rings and clasps in the own armor and controlled the horse with the knees. The path of movement of the rider in enemy lines was irregular, so that he did not go reached by the goalkeepers. Nearby the enemy base, he did use of his swords and spears, if moving between enemy groups or grappling with another warrior mounted. In that kind of meeting, both utilized his mounts in total mobility and coordination, as itself were about the ground. Under great conditions, the horse would be so tuned with the personality of his driver that would act instinctively, advancing and recoiling us certain moments. Even to the night, the horses were used for trot silently, and also were coached for will cross streams, rivers and lakes, for maneuvers in waters near to the houses of the military clans. The military horseback riding had big effect in the Bugei, not barely as a military specialization but because involved all the other martial arts like strategic support. It would arch, the arts with weapons in general and techniques of battle without weapons straightly were affected, so much by the viewpoint of two riders being faced like by the viewpoint of a rider against a warrior in him soil. The riders employed all the techniques of the Bujutsu for the situation mounted. It would arch equestrian, by example, was a sub-specialization of the Kyujutsu high developed. They were developed special techniques of sword, spear and to even of battle disarmed against an individual mounted. To even the horses were wholesales without mercy, for that the rider came to the ground. The use of the horse in the battles left of be a determinant factor in the Japan before even though in the Europe. The high costs of maintenance of the horses and the geographical prominence of the archipelago nipônico, full of mountains, did not favor the development of a big cavalry of war, as was common in the Asia Central, Europe and Middle East. After it Was Modern, the Bajutsu practically disappeared. | |
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| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:44 pm | |
| 14 - Kankyo Jutsu Japanese word that has like literal translation "art of the environment". It taught by the old masters, the art of the Kankyo Jutsu aimed at the utilization of the environment as weapon help. It obtain itself move in a tight or too spacious localities is not so easy task that should be despised. The beginning of the Kankyo Jutsu occurred due to the need of the battles in forests, towns, villages, cowsheds etc. It was Tokugawa was marked by the constant evolution of the thought of war. Several they were the Ryu that developed in their teachings to ambientalização and awareness of the space offered by the moment of the conflict. The idea of that a warrior always should be ready obliged the class samurai older it develop certain strategic beginnings that would be applied in determined localities. Many they attributed important victories to knowledge that were added the arts as Heiho, Bajutsu, Kyujutsu between other. Doubtless, in a field of battle defeated the army more well prepared. Such art was a lot utilized by the secret class that exercised the protection to Ieyasu Tokugawa, always being positioned us debris of the castle or even in rooms with false bottom and utilizing attributes that facilitated the retreat of such leader in case of an unexpected war. The Kankyo Jutsu was to main weapon utilized by big strategists that cited in his passages the difficulties offered by the land. | |
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| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:45 pm | |
| Book III15 - Batto Jutsu
16 - Kenjutsu
17 - Tameshigiri
18 - Heiho
19 - Taiso
20 - Ketsugo
21 - Suriken Jutsu
15 - Batto Jutsu The Battojutsu is the art of the cut with the sword, and is intimate connection to the Iaijutsu and to the Kenjutsu. Its creation is attributed to Hayashizaki Jinsuke Shigenobu (1542-1621), that would have received a divine inspiration for develop her as art. While the Iaijutsu studies the booty of the sword from the "saya" (sheath), the Battojutsu consists of, in a continuous movement, remove the sword and carry out the cut. The line that separates those disciplines is very faint. The Batto is coached of three forms: individually (suburi), sequences (katá) and test of cut (tameshigiri). It is an art that aims at the maximum one of efficiency, ally to the speed of execution. However, it is necessary stand out that this "speed" comes naturally, after exhaustive years of training. Does not it be a matter of carry out any technique of way flustered. That is the kind of amateurism that can result in a poor technique and, what is worse, in physical mischief. First, it is necessary practice slow and prudent, for that develop the ability of management. By that reason, the beginner practices with the "bokuto", the sword of wood. Several techniques of Batto were developed for include diverse situations in that the samurai would be able to be found, and that caused to an unexpected confrontation. In many cases, such confrontations occurred far from the fields of battle, inside the own castle of its mister. Such abilities were essential to the medieval warrior of the Japan. 16 - Kenjutsu The Kenjutsu (the art of the sword) is recognized generally as militant art. It begins always with the sword unsheathed, already with an aggressive intention. The first historical systematic educations recorded of the Japanese long sword began approximately in 800 CE. Since that time, of around 1.200 styles (schools) were documented. Many practitioners of the kenjutsu began it question itself a comprehension more elevated would be able to to be obtained with the practical one and the study with the sword. Like this, the kenshi (swordsman) transformed to "art of the sword" (kenjutsu) in a "road of the sword" (kendo). Then the kendô arose, about the century II. Kenjutsu is considered a bujutsu classical (art of the war or martial art), being formulated well before of the reform of Meiji (the classic/modern one, that divides the line). The ryu classical of the kenjutsu (schools) tende it be completely secret in what concerns the practical one of its techniques, being a lot closed persons of outside of the Art of the Bugei. The ryu classical of the kenjutsu is the more near to the classical training of the warrior in the modern world. The examples are Yagyu Shinkage Ryu, and Tenshin Shoden Katori Shinto Ryu. The utilization of the Kiếm thép, inside the clothing of the Kenjutsu traditional, consists generally of the hakama, in the keikogi and of the obi (streak). The Kata (sequence of movements formulated or exercises) is the usual way of learn how the tangled movements demanded. Initially practices-itself individually, but is able to be practiced in pair or to even with multiple individuals. The tool-standard of the practical one is to bokken (sword of wood simulated) or a real sheet. The real cut, and the strike of the sheet against bundles tied and stems of bamboo, called of tameshigiri, give to the practical one more advanced of the ryusha (practising of a style) the real impact of the sheet of meeting to an aim. Generally (but not always) in Japanese martial arts, the objectives of the "Of The" healthy for improve the interior, while the of the "jutsu" concentrate in teach the techniques of the war. It notices that this is a modern convention, does not something that reflect the historical use of the suffixes: what do we call now of kenjutsu is able to a time to have been used like the kendo. The convention of the terminology of jutsu of the such as is used in the west was popularized in its bigger breaks by Draeger. They defined terminologicamente, the art of earn real fights with real swords is kenjutsu. The preliminary objective of the kenjutsu is victory about opponents; the preliminary objective of the kendô is going to improve with the study of the sword. The kendô has also a strong aspect, with the big championships, watched greedy by the Japanese public. Like this, the kendô can be considered the Japanese philosophical sporting aspect. In we will have of learning, the kenjutsu has a more complete curriculum. In the kendô, the need limits to scale of the techniques and of the aim. The practitioners of kenjutsu do not use generally the shinai in the training, preferring use bokken (swords of wood) or kataná (swords of steel) in order to preserve the techniques of the cut of the real fight of the sword. The training of Kenjutsu consists of practice to technical of the cut and perform the katá with the partner. By reasons of security, to practical free is rarely deed with kataná. Kenjutsu - Historical The history of the Japanese culture is full of episodes with the sword. Of fact, one of the three objects of sacred possession of an emperor, was the sword. The others two are the jewel and the mirror. The old legend of the xintoísmo says that a divinity dove a kataná in the sea and of the drops d' water that dropped of the tip were born the islands of the Japan. A cynic characterized the history of the Japan as many peoples that fight about little land. The sword and his use were facts forms by the history of the land and of his peoples. First, the sheet transformed itself a very efficient weapon of the cut, uniform of meeting to the armor. And two, his distribution changed, what permitted the ascent of a distinct style of the Japanese sword In order to cultivate and improve the sword, as a weapon and like a form of art, two circumstances were demanded. First, it should have a sufficient stability for that manufacturers could practice his commerce without risks of market. The majority of the legendary battles of the Japanese folklore occurred in this period of time. In the beginning, the battles were between the race that we call now of Japanese, and the native peoples, called Ainu or Emishi. The battles were furious, and the leader of the army of the emperor was called of Taishogun, shortened later for Shogun, the last military authority of the Japan. Later, the war of Gempei between the Taira and the clans of Miyamoto, documented like the wars between the clans that make an effort for the supremacy. Miyamoto earned occasionally, putting the claim to the title Shogun in his leader; after which the emperor declared that only the descendants of Miyamoto would be able to put the claim to the title. In the end of the I century, three big generals raised itself, each an in the succession, and everybody unified the country under a leadership; Oda Nobunaga, Hideyoshi Toyotomi, and Ieyesu Tokugawa. When Tokugawa knocked down his last rival in the battle of Sekigahara in September of 1600, unified the country under an I govern by the first time in 800 years. Because Ieyesu would be able to claim the blood of Miyamoto, claimed also the title of Shogun for itself own and his heirs. His it was, Kamakura moved the center of the government for Edo, called today Tokyo. In the 268 following years, the Shogunato Tokugawa governed the land in peace. And with peace, came the decline in the practical one of the sword, however small traditionalist groups refused it be forgot the old ways. The writing of these kenshi are cited before the end of the day as examples of big works. Miyamoto Musashi and Tsunemoto Yamamoto are considered still as the kensai (holy of the sword) in the Japanese folklore. With the big peace, came the warrior or the ronin unemployed (literally "wave the man"). Tokugawa tried to convert warriors in bureaucrats, for function the government. The Tokugawa may have governed in the peace, but bound a fist of iron for do like this. To part of his way control the stream of the Japanese society should establish a system of castes. There were four classes of the peoples in descending order, in samurai (royalty), in farmers, in artisans, and in merchants. Those that were traditional warriors of farmers would not be able to use no of the most long swords, only the samurai would be able to erode the official emblem of the office, the sword. The Tokugawa closed also the back of Japan to the exterior world, performing all of the intruder and permitting only that a small only console nearby Kagoshima in the south be visited a time a year by merchants of Portugal. In the gallery, the sword and his practical continued it decline during this time in a gradual way. In 1854, the ships of the Americans inscribed the bay of Tokyo and required to negotiate open with the Japan. But about the Tokugawa was exercised pressure of internal necessities for turn the game. To only way that the Tokugawa would be able to see for preserve any measure of control limited should return the power to the emperor. And like this in 1868, the Tokugawa came down his position, returning the power to the emperor Meiji, beginning the reform of Meiji. The Japan had incorporated the industrial return. The samurai disbanded, officially, by the emperor Meiji. Later, they were excluded of the official emblem of the office, erode of the two swords, in 1877. This gave the ascent to the last big battle, the rebellion of the Satsuma in December 1877 to January 1878. The Satsuma refused to obey and fought with the army recruited of the government (with modern weapons) in Kagoshima in the south. The samurai dead and his martyrdom transformed itself a symbol for the practitioners. The modern period of the sword was characterized by a bigger decline and more uniform. The Samurai was forced it give exhibitions to end try to earn money. The arts of the sword are divided in diverse ways. First it is for the kind, ken or the iai (called sometimes batto). Also at the same time divide itself by the origin, the three families of arts of the sword; Styles of Muso ("deflate"), of Kage ("shade"), and of Shinto ("new sword"). Some kinds mix this, it depend on the origin and of the application. Inside each kind are the three styles. | |
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| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:45 pm | |
| 17 - Tameshigiri Tameshigiri is the art that studies the forms of cut with the sword, simulated in mats of bamboo, that itself resemble to the fabric of the human body. Formerly in the Japan, if used bodies for the test of the sheets, belonging to criminal or the persons already passed away. From those studies is that the final form of the Kenjutsu was achieved. In other words, is able to be said that Tameshigiri is to practical of cut with the Japanese sword. Inside a classical perspective, the Tameshigiri is part of the curriculum of the Kenjutsu, and passes it to be studied like this that the practitioner shows notions of correct experience acquired with the sword of cut. Inside the modern application, the first stuff utilized for this practical are the mat and the bamboo. The duty practical application of the cut with the sword teaches the most correct way of the application of the real form of cut. The practitioner learns how to have the notion of the pressure that should apply in the cut for different objects, multiple and quick cuts in the due angles of attack of the sheet and it control his addressing and the consequences of its impact. The mental concentration should be extremely strong, therefore, with the time, the practitioner understands that the achievement of the perfect cut is initiated in the thought. Tradition and respect are main factors for those that drive to practical of the Tameshigiri as classical ritual. The rules are strictly observed in the Tameshigiri. Long hours of practice promote the harmony between the first basic cut and the cut in Gyaku Kesa Giri. Many masters still conserve the thought of the practical one of the Japanese sword in the Tameshigiri, as the own battle in itself, encouraging to practical only in bamboo, by will find that this simulates of perfect form the human body. The reality was sight as the main form in the practical one of the Tameshigiri. The result of the real practices of cut frequently is found in the Nakago of the sword, that be quizzed. Being like this, for understand the "mei" some knowledge of the terminology used is done necessary. Several forms of Tameshigiri exist used us several local, each which with its own terminology. One of the most known systems is him utilized by the family Yamada, traditional testators of swords during the period Tokugawa. 18 - Heiho The Heiho is the strategy, inside the Bugei. Treats-itself of a discipline that is part of the history of the humanity since the Antiquity. In particular noticeable in all the nations that were at the center of wars, she acquired different forms, handlings and directives in each culture, and evolved, so that itself obtivesse more efficiency in the results. In the East, some works that try the matter became famous, as "THE Art of the War", of Sun Tzu, and "Go Rin in the Sho" (THE Book of the Five Rings) of Miyamoto Musashi. In the history of the Japan, full of wars and conflicts, the strategy performed an important paper, helping the military leaders it will carry out the best maneuvers. Conhecida as Heiho, in the Japan, in some schools assumed also the name of Bohiyako, that composed a reasoning come back for the field of battle and the actions of the enemy. In the Kaze in the Ryu Bugei, in particular, is one of the matters more strong, doing integral part of the road of the student since the graduation of Uchideshi, that obtém his formation in such matter with eight years of study. The military formation and the maneuvers utilized in his actions did of the strategy the fear than did not it know. Of fact, the strategy penetrate the majority of the physical disciplines of the Bugei, since itself interacts constantly with an opponent, in each technique applied. On the other hand, she includes a sphere of action still bigger, when applied in the field of battle, through the planning of the tactics of war. In the present world, in that the wars come back itself to the corporate and marketing field, the strategies assume decisive paper. In the area of administration and marketing, the old jargons and maneuvers of war are used until today, however transported to a new economic reality. Of way simplified, strategy would be "what do" and "by that do". It is the determination of the tactics it will be applied in field. Several schools dedicated part of the training to the matter that, ally to studies of tactics, training and theories, composed the military strategy as an in itself own art. In the century XVII, such disciplines were like this divided: Heiho - military strategy; Senjo Jutsu - tactical, maneuvers and manejamento of troops; Soren - training and preparation of troops (formation, movement etc.); Gungaku - theory of the military art (study of his nature and beginnings). In the Bujutsu, of a practical form, some of the basic strategies of battle differ of the tactics utilized in the routine one. All are exhaustively coached by the practitioners, to knowledge: Attack - is going to employ a technique before the opponent do him. Based itself in the initiative , in the element-surprise and in the speed. Counterattack - is going to apply a technique when the opponent initiated its attack. It based itself in the timing , in the reaction well-calculated that uses the enemy attack as environment of defense. Defense - consists of neutralize the action of the opponent, stopping that this reach his objective. All they possess advantages and disadvantages and, for that are utilized successfully, involve the study detailed and the integration of diverse factors, as: perception, coordination, breath, auto-control etc. | |
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| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:46 pm | |
| 19 - Taiso The Taiso (pronounces-itself 'tai-sô') is an arising from art of the old one Japan, that signifies "exercise" of a general, but his way definition itself extends to the deepest concepts of energy physiology and health. Physical aspect of the Taiso The Taiso aims at the movements of the body through the angulações proportionate by him even, giving margin for aerobic exercises and anaeróbios according to the need of the practitioner. It based itself also in the isometria as importance sum factor for the vitality, without never leave of to be contemplated the breath - car of all to practical. Working all the musculature, tendons and ligaments in the parameters of extension, flexibility, strengthening, enrijecimento and relaxation, form itself then a beautiful body inside the her healthy standards. To practical of the Taiso The Taiso, by to be based in the movement of animals, since the simplest forms to more complex, exercises about the human body an energy discharge of big intensity, by work frequently with the responsible, lumbar and abdominal region by the structure postural of him be a human. The physical practices of the Taiso are moderately related with the capacity of each person, factor always determinant for the continuity and diligence of exercises. Simpler exercises exist, come back to the work of muscular relaxation and concentration or meditation, that seek the health through the breath. It is fact that be human is going to be the breath a mere involuntary trial, in what plays to the life. However, its essence itself distances hugely of this assertion. Believes-itself that the breath is based on the food of the vital energy (ki), responsible by the continuity of the life. Exercises come back only to the perception of this energy and real absorption of this fluid vital, through the inspiration, can bring endless number benefits for the practitioner, since a subsequent facility in carry out any physical activity it favor its longevity. Already to practical of a lot, strong and heavier exercises requested at present by the breaks more young of the society, consist of complex and simple movements, that require physical stress and control of the breath. These exercises developed in epochs in that was not arranged of artificial stuff that contributed for the corporal strengthening, as to present weight training. However, healthy exercises of extreme forces and equilibrium, that require too of the practitioners, and develop to the maximum his capacities as the athletes. 20 - Ketsugo The Ketsugo, that signifies "THE Union with the All", is part of the Seishin in the Jutsu, jointly with the Mokuso in the Jutsu (art of the concentration). Some basic movements compose that practice that promotes the development and the addressing of the Ki (vital energy), through millenary techniques of breath and postures. It is of prominent importance that the language is bonds in the heaven of the mouth during the inspiration for promote the necessary connection to the Ten in the Hashi – Bridge for the Heaven – that does the connection between the energy of the heaven and of the land through the axis of the column. In the Ketsugo, is essential do relaxations and exercises for extricate the mind of the daily activities. Four basic breaths exist that compose the Ketsugo. They itself based us four elements and pierced in contractions and relaxations inside the breath (iki), applied in the inspiration (suikomu) and expiration (haku) during the practical one of the movements. Hi in the Iki – Breath of the Fire, coNsiste in contract all the body, to the maximum one that will be able to all of the muscles, during the inspiration and the expiration. Mizu in the Iki – Breath of the Water, consists of inspire and exhale maintaining all the body in state of relaxation. Kuki in the Iki – Breath of the Air, cOnsiste in inspire contracting the body and exhale of sloppy form. Tsuchi in the Iki – Breath of the Land , cOnsiste in inspire of sloppy form and exhale contracting all the body. | |
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| Tiêu đề: Re: Secrets of The Samurai Mon Dec 22, 2008 11:46 pm | |
| 21 - Suriken Jutsu In the Japanese language Shuriken signifies: Shu – Hand I laugh – That also read itself ura - back, in the environment of, in, reverse, interior, palm, behind, lining, wrong side. Ken – That also read itself Tsuguri - sword, sword, sheet, hand of clock. There are two basic kinds of shuriken: bo shuriken (thin and long sheets) and hira shuriken, or shaken (sheets barges, or in form of star or diamond). The basic approach of throw the shuriken varies of a school for another one, being the main differences in the form of the sheets and in his use. Second the text of contribution of the school of Susumo motoshima of the Japan, the origin of the throwing of small sheets comes from the Ganritsu Ryu, founded by Matsubayashi Henyasai, a professional swordsman to service of the 18o. mister of Matsuhiro, in Kanei, about 1624. That school originated the Katono, or Izu Ryu, founded by a samurai of Sendai, called Fujita Hirohide of Katono, also known as Katono Izu, student of Matsubayashi. Second Motoshima sensei, this was the style that influenced the main schools of Bugei, being the road of origin of the practices studied in the Kaze in the Ryu Bugei. He was pioneer in the launching of needles, with around 10cm and 20g, many of the which he used in their hair. The needle was insured between the medium finger and the indicator and thrown like a modern dart, in the eyes of the opponent. It said itself that he could throw two needles simultaneously to the figure of a horse, and set right each one of his hooves. According to the contribution of Iwasaki sensei many were the styles that it leave then arose in the Japan old as by example: Enmei Ryu The famous swordsman Miyamoto Musashi is had like founder of that school, that studies the launching of a sheet of 40cm, probably a "so much" (knife). There is a history of a duel between Musashi and Shishido, expert in Kussari-Range (weapon developed for defense against the sword). When Shishido hauled his current, Musashi played a dagger and perforated him in the chest, killing him. Shirai Ryu The Shirai Ryu was founded by Shirai Toru Yoshikane, been born in 1783 in Okayama. To the 8 years of age, he began it learn how to art of the sword with Gone Shimpachiro of the Kiji Ryu, and to the 14 moved away for Tokyo and coached daily in the school of sword Nakanishi, of the Itto Ryu, and began it teach in Okayama to the 23. For nine years, his fame itself spreaded and he had more of 300 students, but he continued the doubt of its ability. In the subsequent years, returned to Edo several times for coach with his you, to that occasionally reached a kind of "bigger revelation" and found peace with its technical. After that revelation, he increased the name Tenshin to his art, that passed be it known by Tenshin Itto Ryu. The style of sheet and respective approach of launching that he taught stayed known by Shirai Ryu. The sheet of the shirai Ryu was a spit of metal of 15 to 25 cm of length by 6mm of diameter. It was pointed in an extremity and round in the another one. Negishi Ryu The Negishi Ryu was founded by Negishi Nobunori Shorei, successor of Joshu Anaka during the last days of the shogunato Tokugawa. Negishi became student of Kaiho Hanpei, main second of sword of the Hokushin Itto Ryu, after show a promising management of the shinai when infant. It studied in other schools as Araki Ryu, and also the spear of the Oshima Ryu, occasionally becoming leader of the Kaiho Ryu, and later taught for several years. When the restoration Meiji ordered the abolition of the swords, became farmer, and passed away in 1904. The basic form of the sheet of the Negishi Ryu is similar to a pen with a head more square and to another one tip as a slender bomb. They weighed around 50g, and sometimes had a clump of hairs or cotton in the rear tip for assure a straight flight. Jikishin Ryu Does not itself know very of the Jikishin Ryu, and suspicion is been that a precursor style variation of the Shirai or Negishi Ryu, or to of the Kashima Shinto Ryu, therefore his approach consists of position the right foot a pace to the front for throw the sheet. To main difference is in the way of hold the sheet. The three smaller fingers stayed fold, while the index finger aims to the front, as was done a form of "gun" with the hand. The sheet stayed in his one inside and the thumb applies a light pressure of top for the bass, maintaining it fix about the medium finger fold, and holding the opposite tip below when the sheet leaves the hand. The indicator then rests in the lateral one of the sheet, giving support. The launching is deed simply raising itself and lowering the arm from the lateral one, while a pace to the front is fact. The arm cuts as went a sword. Tenshin Shoden Katori Shinto-Ryu This style is one of the most famous one of the Japan, with a long and distinct history. It is a composed art of several weapons, being the shuriken locked. As many other schools, the shuriken was taught as breaks of the training of the sword. There are descriptions of 2 kinds of sheets. An it is to hashi, in form of spit flattened, with a sharp tip and to another one straight. Tatsumi Ryu That school of martial arts was founded by Tatsumi Sankyo about 1500, and still functions today. She teaches a complete range of weapons, including the shuriken, as well as martial strategies and of field of battle. Details about the shuriken of this Ryu are scarce in the present, although suspects itself that the training of shuriken was introduced like art in a more recent date. Otsuki Ryu Yasuda Zenjiro, master of Kenjutsu of the Otsuki Ryu of Hiroshima, recounts that his professor, Okamoto Munishige, a samurai of the period Edo of the domain Aizu, used the shuriken in many occasions during its job in the forces of security of the xogunato. He carried around 12 sheets in several localities, including in the koshita (lapel of the hakama). Ikku Ryu Ikku Ryu is the given name to a relatively modern style of shuriken, created by a master of the modernity, Shirakami Ikku-ken. He was a student of the main one Naruse Kanji (passed away in 1948), that coached sword in the Yamamoto Ryu, and wrote a book about the fight with the Japanese sword, after his experiences in the war with the Chinese one in the turn of the century. Main Naruse was a student of Yonegawa Magoroku that, by his time, was student of the supramencionado founder of the Shirai Ryu, Shirai Toru. Of his professor, Shirakami learned how about the Shirai Ryu and the Negishi Ryu, and combined the sheet of the Shirai Ryu with the style of launching of the Negishi Ryu, and formed a new approach, that involves a sheet of double tip. (By Jordan Augusto – Contribution Takeshi Hasegawa) | |
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