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Waki-gamae
, sometimes shortened to ''waki'', is one of the five stances in kendo: ''jōdan'', ''chūdan'', ''gedan'', '' hassō'' and ''waki'', as well as other related and older martial arts involving Japanese sword. ''Waki-gamae'' is a stance involving the swordsman hiding the length of one's own blade behind their body, only exposing the pommel to the opponent. This stance was common when there was no standard length of sword and was often used as a deterrent to any opponents who did not know the range of the sword being hidden and could be used as a sort of bluff technique. It also serves to conceal the orientation of the blade to one's opponent, as to give him no hint about your own intention for the next attack. Other Koryū schools may define "Waki-gamae" differently from its current form in Kendo. ''Waki-gamae'' is also known as the in the five elements classification and the in the Ittō-ryū teachings. 上野 靖之 (1966) ''剣道教典 (Educational Model Fencing)'' 尚武館 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hassō-no-kamae
, frequently shortened simply to ''hassō'' and occasionally called ''hassō-gamae'', is one of the five stances in kendo: ''jōdan'', ''chūdan'', ''gedan'', ''hassō'', and '' waki''. It is an offensive stance, named for one's ability to respond to a situation in any direction. ''Waki'' and ''hassō'' are not commonly used in modern kendo, except in kata. In ''hassō-no-kamae'', the left foot is forward, and the sword is held pointing upright with the hilt in front of the right shoulder. The blade should slope slightly to the rear. When cutting, the sword is raised above the head, as in ''jōdan''.上野 靖之 (1966) ''剣道教典 (Educational Model Fencing)'' 尚武館刊. p317 ''Hassō-no-kamae'' is used by uchidachi in the 4th kendo kata, opposite shidachi's ''waki-gamae''. This posture is also used in Naginata. It is also used in Kashima Shinden Jikishinkage-ryū's kata. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamae
is a Japanese term used in martial arts and traditional theater. It translates approximately to "posture". The Kanji of this word means "base". The implied meaning is 'readiness' or 'be ready'. Kamae is to be differentiated from the word , used in Japanese martial arts to mean stance. While ''tachi'' (pronounced ''dachi'' when used in a compound) refers to the position of the body from the waist down, kamae refers to the posture of the entire body, as well as encompassing one's mental posture (i.e., one's attitude). These connected mental and physical aspects of readiness may be referred to individually as and , respectively. Although it is a generic term, context may mean there's a default specific posture which is being implicitly referred to. e.g. many modern styles use ''kamae'' by itself as shorthand usually for the style's basic stance for sparring or self-defense. As a further note, there are also related verbs, and adding ''te'' to the end of kamae makes the command f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jōdan-no-kamae
, also known as ''jōdan-gamae'', and frequently shortened simply to ''jōdan'', is a basic ''kenjutsu'' posture. Jōdan-no-kamae means upper-level posture (lit. 'high/upper degree posture'). Kendo Jōdan-no-kamae is one of the five stances in kendo: ''jōdan'', ''chūdan'', ''gedan'', '' hassō'' and '' waki''. In jōdan-no-kamae, the sword is raised above the head with the tip (''kissaki''; 切先) pointing back and the blade facing up, in readiness to strike. It is the most aggressive stance of the five. There are commonly two types of jōdan-no-kamae, left (''hidari''; 左) and right (''migi''; 右), referring to which foot is out in front. As a more rare case, only one hand is used to hold the sword. Even rarer, the positions of the hands on the hilt of the sword may be reversed. In normal practice or competitions, left (''hidari'') jōdan-gamae is the most common. Its advantage is the reach of the strike, the intimidating posture and the speed of the strike. Its dis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chūdan-no-kamae
, occasionally ''Chūdan-gamae'', or simply ''Chūdan'' as it is shortened to in many Japanese martial arts schools that instruct in the use of the katana (sword). Chūdan-no-kamae translates to "middle-level posture", it is also called Seigan-no-kamae (正眼之構) that can be translated to "right posture". In most traditional schools of swordsmanship, and in the practice of kendo, chūdan-no-kamae is the most basic posture. It provides a balance between attacking and defensive techniques. Kendo Chūdan-no-kamae is one of the five stances in kendo: ''jōdan'', ''chūdan'', ''gedan'', '' hassō'' and '' waki''. This is the most basic stance in kendo which balances attack and defence. If correctly assumed, the trunk (''do'') and right wrist (''migi-kote'') are hidden from the opponent. The throat is visible, but the extended tip of the sword threatens a thrusting enemy with a likely counter-thrust. The head (''men'') is the only clearly open target, but this too is easily ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gedan-no-kamae
, frequently shortened simply to ''gedan'', occasionally shortened to ''gedan-gamae'', is one of the five stances in kendo: ''jōdan'', ''chūdan'', ''gedan'', hassō, and '' waki''. ''Gedan-no-kamae'' means "lower-level posture." This position is adopted when the sword is held out in front of the body pointing at the waist in kendo, or at the knee or sometimes the ankle in ''kenjutsu''. It is considered a variant of ''chūdan-no-kamae'' and therefore appearing as a defensive posture, but instead it is used to deflect blows and create striking opportunities. This stance is used as a transition from ''chūdan-no-kamae'' to a ''tsuki'' (突き; thrust). It is called the {{nihongo, Kamae of Earth, 地の構え, chi-no-kamae in Yagyū Shinkage-ryū.上野 靖之 (1966) 剣道教典 (Educational Model Fencing) 尚武館刊. p.317 European schools of swordsmanship The German school of fencing refers to this stance as ''alber'' "Fool's guard"; as it serves to bait the foolish with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kendo
is a modern Japanese martial art, descended from kenjutsu (one of the old Japanese martial arts, swordsmanship), that uses bamboo swords (shinai) as well as protective armor (bōgu). Today, it is widely practiced within Japan and has spread to many other nations across the world. History Swordsmen in Japan established schools of '' kenjutsu'' (the ancestor of kendo). These continued for centuries and form the basis of kendo practice today.. Formal kendo exercises known as '' kata'' were developed several centuries ago as ''kenjutsu'' practice for warriors. They are still studied today, in a modified form. The introduction of bamboo practice swords and armor to sword training is attributed to during the Shotoku Era (1711–1715). Naganuma developed the use of this armor and established a training method using bamboo swords. , third son of Naganuma and the 8th headmaster of the Kashima Shinden Jikishinkage-ryū Kenjutsu, is credited with improving the art with Japanese ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kendo
is a modern Japanese martial art, descended from kenjutsu (one of the old Japanese martial arts, swordsmanship), that uses bamboo swords (shinai) as well as protective armor (bōgu). Today, it is widely practiced within Japan and has spread to many other nations across the world. History Swordsmen in Japan established schools of '' kenjutsu'' (the ancestor of kendo). These continued for centuries and form the basis of kendo practice today.. Formal kendo exercises known as '' kata'' were developed several centuries ago as ''kenjutsu'' practice for warriors. They are still studied today, in a modified form. The introduction of bamboo practice swords and armor to sword training is attributed to during the Shotoku Era (1711–1715). Naganuma developed the use of this armor and established a training method using bamboo swords. , third son of Naganuma and the 8th headmaster of the Kashima Shinden Jikishinkage-ryū Kenjutsu, is credited with improving the art with Japanese ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metal (Wu Xing)
In Chinese philosophy, metal or gold (), the fourth phase of Wu Xing, is the decline of the matter, or the matter's decline stage. In Traditional Chinese Medicine Metal is yin in character, its motion is inwards and its energy is contracting. It is associated with the west, autumn, it governs the Yin, Zang organ the Lung and the Yang, Fu organ colon, nose and skin, old age, the planet Venus, the color white, dry weather, and the White Tiger (Bai Hu) in Four Symbols. The archetypal metals are silver or gold. Attributes In Chinese Taoist thought, ''Metal'' attributes are considered to be firmness, rigidity, persistence, strength, and determination. The metal person is controlling, ambitious, forceful, and set in their ways as metal is very strong. They are self-reliant and prefer to handle their problems alone. The metal person is also wise, business-oriented, and good at organization and stability. However, the metal person can also appreciate luxury and enjoy the good things in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wuxing (Chinese Philosophy)
(; Japanese: (); Korean: (); Vietnamese: ''ngũ hành'' (五行)), usually translated as Five Phases or Five Agents, is a fivefold conceptual scheme that many traditional Chinese fields used to explain a wide array of phenomena, from cosmic cycles to the interaction between internal organs, and from the succession of political regimes to the properties of medicinal drugs. The "Five Phases" are Fire ( zh, c=, p=huǒ, labels=no), Water ( zh, c=, p=shuǐ, labels=no), Wood ( zh, c=, p=mù, labels=no), Metal or Gold ( zh, c=, p=jīn, labels=no), and Earth or Soil ( zh, c=, p=tǔ, labels=no). This order of presentation is known as the " Days of the Week" sequence. In the order of "mutual generation" ( zh, c=相生, p=xiāngshēng, labels=no), they are Wood, Fire, Earth, Metal, and Water. In the order of "mutual overcoming" ( zh, c=相克, p=xiāngkè, labels=no), they are Wood, Earth, Water, Fire, and Metal. The system of five phases was used for describing interactions and rel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yin And Yang
Yin and yang ( and ) is a Chinese philosophy, Chinese philosophical concept that describes opposite but interconnected forces. In Chinese cosmology, the universe creates itself out of a primary chaos of material energy, organized into the cycles of yin and yang and formed into objects and lives. Yin is the receptive and yang the active principle, seen in all forms of change and difference such as the annual cycle (winter and summer), the landscape (north-facing shade and south-facing brightness), sexual coupling (female and male), the formation of both men and women as characters and sociopolitical history (disorder and order). Taiji (philosophy), Taiji or Tai chi () is a Chinese cosmological term for the "Supreme Ultimate" state of undifferentiated absolute and infinite potential, the oneness before duality, from which yin and yang originate. It can be compared with the old ''Wuji (philosophy), wuji'' (, "without pole"). In the cosmology pertaining to yin and yang, the mate ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ittō-ryū
, meaning "one-sword school", is the ancestor school of several Japanese Koryū kenjutsu styles, including Ono-ha, Mizoguchi-ha, Nakanishi-ha, Kogen, Hokushin, and Itto Shoden. The style was developed by Itō Ittōsai Kagehisa. Ono-ha Ittō-ryū is the oldest of the many Ittō-ryū styles which branched off from Ittōsai Kagehisa's original art. It continues to be one of the most influential of the traditional kenjutsu styles today, exerting a major influence, along with Hokushin branch, upon modern kendo's kata, tactics, and aesthetic. Ono-ha was founded by Ittōsai's immediate successor, Mikogami Tenzen (also known as Ono Jiroemon Tadaaki, 1565–1628), from whence the name of the art is derived. Oral tradition indicates that Ittosai made Tadaaki fight a serious duel with another student, Zenki, in order to establish a successor to the style. Serving as an instructor to both the second and third ''shōguns'', along with Yagyū Munenori of the rival school the Yagyū Shinkage-r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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