PUBLIC MARKS with tags "martial arts" & iaido

My name is Paul Taylor; I am a Systems Engineer living down in Australia. When I’m not riding Kangaroos or swatting flies, I’ve been developing a Wireless Digital Katana. In essence it is a very high-speed, high-accuracy motion sensitive input device. Right now I am running a Kickstarter campaign to fund my project into the real-world, interestingly it began months ago when another person’s Kickstarter failed to deliver.

Motion Capture & Iaido

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.

Muso Shinden Omori Ryu

The snow covered Izumo seen from the window of the air-plane was just so refreshing that I felt myself purified as if landing on to the holy ground. Driving for one hour and half from the air port, I went through a long tunnel jus like the womb of a huge dragon. Having passed quiet country village, I headed forth into a hilly cedar mountain. I couldn't help sensing god's presence there. I pushed my way through the deep snow, there appeared Kanayago-jinja. (the guardian deity of iron). I had to climb the steep approach to the shrine. Snow was swept clean around the shrine and I saw names of worshippers praying for the success of their Kera making were recorded in a note-book. I simply felt a strong impulse to observe how iron be made. Having opened door, there I found Tatara.

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.

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

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.

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.

The KFUM Uppsala Iaido Club practices Muso Shinden Ryu Iaido under Dai Nippon Iaido Renmei. The history of Muso Shinden Ryu dates back to Hayashizaki Jinsuke Minamoto no Shigenobu (1545 - 1618). At that time the school was not called Muso Shinden Ryu, that name comes from Nakayama Hakudo, who was the X-headmaster of the Shimamura branch. At demonstrations held in Kyoto in 1937 - 1938 he called his new style of Iaido Muso Shinden Ryu Battojutsu. We can divide the different techniques, or kata, into several levels: Muso Shinden Ryu Shoden, the basic, starting level. Starting mostly from seiza (ordinary sitting). Muso Shinden Ryu Chuden, middle level, starting from Tatehiza, a modified way of sitting, a little more aggressive position. Muso Shinden Ryu Okuden, high level, starting from both Tatehiza and standing. Muso Shinden Ryu Tachi Uchi no kurai, two sword kata, high level, two persons facing each other.

Koryu.com The Classical Martial Arts Resource

Cours tous les jeudis au Suigen Dojo de 19 h à 20 h 30 à la Salle de sports du Petit Houx à Azé, Loir et Cher (41100). Le Suigen Dojo est affilié à la Fédération Française de Battodo. L’enseignement au sein de la Fédération Française de Batto do provient de la transmission faite par 2 remarquables sensei (maîtres) japonais à Bernard Durand Sensei (7e dan kyoshi de kendo, 7e dan de batto do, 5 dan de iaido) fondateur de la Fédération Française de Batto do

Le Suigen Dojo est affilié à la Fédération Française de Battodo. L’enseignement au sein de la Fédération Française de Batto do provient de la transmission faite par 2 remarquables sensei (maîtres) japonais à Bernard Durand Sensei (7e dan kyoshi de kendo, 7e dan de batto do, 5 dan de iaido) fondateur de la Fédération Française de Batto do