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 Secrets of The Samurai

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Bài gửiTiêu 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 Westbrook

Lời 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 Brazil
đã 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 II

08 - Hojo Jutsu
09 - Tanto Jutsu
10 - Kobo Jutsu
11 - Kabuto no Bujutsu
12 - Kusari Fundo
13 - Ba Jutsu
14 - Kankyo Jutsu

Book III

15 - 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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Bài gửiTiêu 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

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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Bài gửiTiêu 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

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

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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Bài gửiTiêu 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

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
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Bài gửiTiêu 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

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

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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Bài gửiTiêu đề: Re: Secrets of The Samurai   Mon Dec 22, 2008 11:42 pm

Book II

08 - 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

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

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 medieval

By 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


"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
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Bài gửiTiêu 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

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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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

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

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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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

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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Book III

15 - 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

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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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

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
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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

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

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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Bài gửiTiêu 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
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

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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