PUBLIC MARKS with tag iaido

Ajoutée par TheTigrou44 le 30 mai 2009

羽賀準一: 昭和剣道界の鬼才 Haga Junichi: Genius Swordsman of the Showa Kendo World Rare footage, plus old-style Kendo footage. This video is kindly provided to me by Fujimori-Sensei and Uki-Kaicho of Ikkenkai, Haga-Dojo, and uploaded with their kind permission.

Circle M Tsuka-maki (Hilt wrapping) and Japanese Swords

You can download the PDF of iaido kakari keiko exercises that Yamasaki sensei teaches. These are useful for building up your basic iaido skills and body condition to support the performance of iaido kata.

Iaido Guidelines Iaido Guidelines Memo: By Masano Suetsugu, Kendo Kyoshi 8 Dan, Iaido Kyoshi 7 Dan, Fukuoka Kendo Renmei, Kyushu Japan Suetsugu Iaido Memo Iaido Guidelines Memo by Masano SUETSUGU Kendo Kyoshi 8 Dan Iaido Kyoshi 7 Dan Fukuoka Kendo Renmei, Kyushu Japan Note: This text was written in 1993 prior to the introduction of seite forms #11 & #12. 1. Manners 2. Iaido Fundamentals 3. All Japan Kendo Federation Iai

Après les articles sur l'étude du mouvement au sabre (partie 1, partie 2 et partie 3), j'ai eu envie de poursuivre la traduction de divers articles en lien avec Kuroda Tetsuzan sensei.

The above history of kendo/jutsu applies also to iaido/jutsu. In the latter half of the 15th century, Iizasa Ienao (also known as Iizasa Choisai) founded the Tenshin Shoden Katori Shinto Ryu. This ryu, and in the early part of the 16th century, the Tatsumi Ryu and Takenouchi Ryu all taught drawing as a formal part of their curriculum. These ryu all claim to be among the earliest to develop such skills.

The term “Iai” is taken from the Japanese phrase: “Tsune ni itte, kyu ni awasu”. The kanji (character) “I” can also be read as “itte” and “ai” as “awasu”. The meaning of this is “whatever we may be doing or wherever we may be, we must always be prepared for any eventuality”.

book called “Iaido shinsahin no me”. This book edited by the “Kendo Jidai” publisher is a compilation of 15x ZNKR 8th Dan Hanshi sensei’s opinions on what are the important points needed for shinsa, embu and taikai. It is of course written in Japanese and will probably not be translated, so we decided to start a very rough translation of some parts. The book is separated into fifteen parts, one for each sensei and each part separated into a 2 points and three chapters …

Here are some clear, concise pictures of the parts that make up the typical uchigatana (打刀) style of Japanese sword.

Le jour de Pâques 1984, un grand maître s’est éteint à l’age de quatre-vingt-douze ans, après avoir réalisé tous ses rêves de budoka. Les dernières années de sa vie furent bouleversées par l’arrivée de trois Français, qui se dévouèrent à l’étude du budo. Parmi eux, Jean-Pierre Réniez. C’était encadré de sa ” garde française ” que le senseï Okada Morihiro se déplaçait. De retour en France, Jean-Pierre Réniez voulut rendre hommage à celui qui fut son maître et un peu son père. Bushido lui a ouvert ses colonnes pour lui permettre de raconter la vie de senseï.

Un sabre, qu'est-ce ? Pour un spécialiste du Nippon-to, c'est une lame. Le reste que l'on appelle « monture » porte plusieurs noms selon l'usage que l'on réserve à la lame : le shirasaya ou le koshirae. De même que l'on n'est pas ses vêtements, un sabre n'est pas une monture. C'est ce qui explique que l'on puisse changer aisément de monture comme on change de vêtement.

Circle M Tsuka-maki (Hilt wrapping) and Japanese Swords

"when two people come together and fight with swords, the feeling of striking a particular area will arise in your opponent. At that time, you should give your entire body over to your opponent. At the exact moment when they see their chance and attempt to strike you should strike them and win…. this is real victory."

Nukitsuke and nukiuchi are different. “Tsuke” means you are acting to forestall an opponent’s attack before it begins. Nukiuchi on the other hand means, precisely, to cut down an opponent. Without understanding the difference between these two, your swordsmanship will not be effective.*

La partie la plus importante d'un sabre en est bien évidemment sa lame, l'habillement ( KOSHIRAE ), souvent somptueusement décoré n'est considéré qu'en seconde phase. La valeur d'un sabre ( valeur marchande, mais aussi sa valeur artistique et surtout son importance en tant qu'arme ) est la qualité de la structure qui compose sa lame mais aussi l'état de cette même lame.

Water Buffalo horn parts have been traditionally used on the majority of Japanese Saya and only the most expensive swords were decorated with metal parts such as those displayed below. The below parts are 'options' and are not part of any 'package'. They can easily be added to any newly constructed Saya as per your request. Individual prices available to written request or phone requests only.

Recently I had the opportunity, and privilege, of repairing my Sensei's first Iaito. The koiguchi had been well worn in, and there was a mild crack running down the ha side of the saya. Being the traditionalist that I am, research was my first step before performing the repairs.

fabrication de saya

This page features the construction of Shirasaya. Thumbnail images are accompanied by a short narrative. I did notice that in the process of creating this project page that there are quite a few images involved and that I had neglected to detail most of the shiage stages (finish). I will remedy this with additional photos to be added later.

As everyone need to do sooner or later, the time has come to repair koiguchi (again :-). This time I need to repair at least three saya, one for myself two for the club I train with, and probably more as well..

# Nihonzashi Diamond Finger Stones Long lasting polishing 40 to 0.25 micron (~ 450 to 40,000 grit) # 3M PSA Lapping Film 12 to 0.3 micron (~ 1800 to 30,000 grit) # 3M Micro-finishing Film 80 to 6 micron (~ 260 to 2500 grit) # Japanese Water Stones 80 to 8000 grit # Susudake すす竹 - Aged and Smoked bamboo for mekugi pins # Cotton Tsuka-Ito - 10 mm wide (Imported from Japan) # Silk Tsuka-Ito - 11 mm wide (Imported from Japan) # Leather Tsuka-Ito - 9 mm wide (Imported from Japan) # Black Cotton Tsuka-Ito - 10 mm wide (CAS / Hanwei) # Blue Cotton Tsuka-Ito - 11 mm wide (CAS / Hanwei) # Black Leather Tsuka-Ito - 9 mm wide (CAS / Hanwei) # Ray Skin (Same' 鮫) - Used for covering tsuka (handles) # Poplar Saya Blank # Buffalo Horn Block - Great for making kurikata # Buffalo Horn Sheet - Great for making kashira and koiguchi

Noted swordsmith Walter Sorrells demonstrates how he makes a shirasaya (a so-called "resting scabbard") used for storing Japanese swords and knives.

Nukitsuke and nukiuchi are different. “Tsuke” means you are acting to forestall an opponent’s attack before it begins. Nukiuchi on the other hand means, precisely, to cut down an opponent. Without understanding the difference between these two, your swordsmanship will not be effective.*

This article deals only with one such thing: the origin of the use of white dogi (hakama in particular). I’ve heard a lot of explanations for its use, from the ordinary to the mystical, with people sometimes even arbitrarily defining rules for wearing white. This occurs even in Japan. However, the reason for its initial introduction is as mundane as it can be, despite what connotations people may or may not give it now.