i(ru) - anwesend sein,
wohnen,
existieren
ai - passen, anpassen,
zusammen
passen
do - Weg, Pfad, Tao
Back
Back Terminology
A lot of the words used in
iaido are borrowed from kendo, or other budo. Some of the commonly used
words
and phrases in our dojo are listed below:
You can also find an
excellent list on the Fighting Arts iaido
terminology page by Ms.
Deborah Klens-Bigman.
Contents
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Contents |
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|
Katana - diagram, descriptions, measuring, parts |
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Pronunciation
Japanese is not a tonal
language like Chinese or Thai, and is comparatively easy to pronounce.
Vowels
Japanese has both short and
long vowels and the distinction is often important. In romanized
Japanese, long
vowels are marked with a macron, so that ŁE/b> represents "long
O".
|
Hiragana characters |
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|
|
a |
i |
u |
e |
o |
|
|
あ |
い |
う |
え |
お |
|
k |
か |
き |
く |
け |
こ |
|
s |
さ |
し |
す |
せ |
そ |
|
t |
た |
ち |
つ |
て |
と |
|
n |
な |
に |
ぬ |
ね |
の |
|
h |
は |
ひ |
ふ |
へ |
ほ |
|
m |
ま |
み |
む |
め |
も |
|
y |
や |
|
ゆ |
|
よ |
|
r |
ら |
り |
る |
れ |
ろ |
|
w |
わ |
|
|
|
を |
|
ん |
|||||
|
g |
が |
ぎ |
ぐ |
げ |
ご |
|
z |
ざ |
じ |
ず |
ぜ |
ぞ |
|
d |
だ |
ぢ |
づ |
で |
ど |
|
b |
ば |
び |
ぶ |
べ |
ぼ |
|
p |
ぱ |
ぴ |
ぷ |
ぺ |
ぽ |
|
ky |
きゃ |
|
きゅ |
|
きょ |
|
sh |
しゃ |
|
しゅ |
|
しょ |
|
ch |
ちゃ |
|
ちゅ |
|
ちょ |
|
hy |
ひゃ |
|
ひゅ |
|
ひょ |
|
gy |
ぎゃ |
|
ぎゅ |
|
ぎょ |
|
j |
じゃ |
|
じゅ |
|
じょ |
|
by |
びゃ |
|
びゅ |
|
びょ |
a あ/ア
like 'a' in "father"
i い/イ
like 'i' in "machine"
u う/ウ
like 'oo' in "hoop"
e え/エ
like 'e' in "set"
o お/オ
like 'o' in "rope"
n ん/ン
short 'n' at the end of a syllable, pronounced
as 'm' before 'b', 'p' or 'm'.
Note that "u" is
often weak at the end of syllables. In particular, the common endings -desu
and -masu are usually pronounced as "des'" and
"mas'" respectively.
Consonants
k かきくけこ / カキクケコ
like 'k' in "king"
g がぎぐげご / ガギグゲゴ
like 'g' in "go"
s さ すせそ / サ スセソ
like 's' in "sit"
z ざ ずぜぞ / ザ ズゼゾ
like 'z' in "haze"
t た てと / タ テト
like 't' in "top"
d だ でど / ダ デド
like 'd' in "dog"
n なにぬねの / ナニヌネノ
like 'n' in "nice"
h はひ へほ / ハヒフヘホ
like 'h' in "help"
p ぱぴぷぺぽ / パピプペポ
like 'p' in "pig"
b ばびぶべぼ / バビブベボ
like 'b' in "bed"
m まみむめも / マミムメモ
like 'm' in "mother"
y や ゆ よ / ヤ ユ ヨ
like 'y' in "yard"
r らりるれろ / ラリルレロ
like 'r' in "row" (actually a sound
between 'l' and 'r', but closer to 'r')
w わ / ワ
like 'w' in "wall"
sh し / シ
(s before i) like 'sh' in "sheep"
j じ / ジ
(d before i) like 'j' in "jar"
ch ち / チ
(t before i) like 'ch' in "touch"
ts つ / ツ
(t before u) like 'ts' in "hot soup"
f ふ / フ
(h before u) like 'wh' in "who"
Particles
Japanese uses certain
hiragana characters as particles which mark the grammatical function of
a word
or phrase in a sentence. Some hiragana are pronounced differently when
used as
a particle:
- は (topic marker) is
pronounced wa, also in こんにちは (kon'nichiwa)
- へ (direction marker)
is pronounced e
- の (possessive marker)
is pronounced no
Accent
and intonation
Avoid placing too much
emphasis on particular words or syllables. Japanese does have stress
and
intonation, but it is significantly flatter than English. Mastering
word stress
is a more advanced topic and neglecting it at this point should not
interfere
with meaning. Just trying to keep your intonation relatively flat will
make
your attempts to speak Japanese more comprehensible to local listeners.
When
asking questions, you can raise the tone at the end, as in English.
Budo
Iaido
The way of drawing the sword.
Kendo
The way of the sword, already drawn.
Koryu
Old school or lineage.
Muso
Jikiden Eishin Ryu
A style or
Muso
Shinden Ryu
style related to the above, originated by
Nakayama Hakudo.
Seitei
Basic, fundamental. Seitei gata, fundamental
techniques (kata).
Etiquette
Etiquette names:
Hajime no
Saho
Beginning etiquette.
Owari no
Saho
Finishing etiquette.
Reigi
Etiquette.
Reiho
Etiquette, method of bowing. Done before and
after class.
Reishiki
Same as above.
Saho
Method of etiquette.
Sword positions:
Datto
Taking sword from belt.
Keito
Same as teito shisei.
Taito
Putting sword into belt.
Teito
Holding the sword loose by the left side. Also
used when sword is in belt and both hands loose at sides.
Teito
Shisei
Holding the sword by the left side, as if in
the obi. Thumb on tsuba.
Bowing:
Joseki ni
Rei
Bow to the high section of the dojo.
Kamiza ni
Rei
Bow to kamiza (gods) usually in front.
Otagai ni
Rei
Bow to each other.
Rei
Bow.
Ritsu Rei
Same as tachi rei.
Sensei
(Gata) ni Rei
Bow to teacher(s).
Shinzen ni
Rei
Bow to shrine.
Tachi Rei
Standing bow.
To Rei
Bow to sword.
Za Rei
Kneeling bow.
Commonly Used Words:
Arigato
Thank you (informal).
Domo
Thanks (informal).
Domo
Arigato
Thank you (formal).
Domo Arigato
Gozaimasu
Thank you very much (very formal).
Dozo
Please go ahead.
Gomennasai
Excuse me, I'm sorry.
Onegaishimasu
Please (when asking for something, usually as
in Please let's practice together).
Oshiete
(Kudasai)
"(Please) teach me", such as a polite
way to get a game with an older better player at a Go club, or before
keiko
with a visiting high ranked sensei.
Onegai shimasu is used when asking someone to do something for you, but
unlike
kudasai, which needs to be attached to the verb, onegai shimasu can
stand by
itself, such as in giving an item to buy to the cashier, or to a waiter
to get
a dirty plate removed, or as an additional exhortation after the
initial
please, as in "Oshiete kudasai. Onegai shimasu." Yarimasho-ka might
also be better for "Let's practice (play) together, shall we?"
Onegai
Otsukaresamadeshita
A thank-you that is used after training.
Otsukaresamadeshita
You have become tired (because of the hard work
you have done teaching). An expression of thanks.
Sumimasen
Excuse me (to attract attention). Can also be
used a basic "I'm sorry."
Ranks
and Titles
Kohai
Junior student.
Senpai
Senior student.
Sensei
Instructor.
Shihan
A senior teacher, properly used within the
school only, when outside, use sensei.
Kyu
Student grade, from 5 to 7 up to 1, the
highest.
Dan
More advanced grades, from 1 to 10.
Yudansha
Members with dan grades.
Mudansha
Members with kyu grades.
Hanshi
Highest title from ZNKR, must be 55 or older
and 8 dan.
Kyoshi
Middle title from ZNKR, must be 7th dan.
Renshi
Title bestowed from ZNKR in addition to Dan
ranks. Basically designates someone as eligible to judge.
Soke
Head of style (actually head of family, unifier
of gods and lineage).
Kaicho
"Owner" of school (organization) eg.
Musoshindenryu Dojo,
Kancho
"Owner" of school (building, hall).
Dojo
Arrangement
Dojo
Practice hall.
Ge
Side of dojo opposite shinzen.
Joseki (Jo)
High side, Shinzen.
Shomen
Front of room.
Shinzen,
Kamiza
Altar, gods place.
Shimoseki,
Shimoza
Opposite of the Sensei, where students sit.
Students
line up on one side of the room, instructors on the other. Shinzen is
one of
the two remaining sides, usually depending on where the door to the
room is. If
the door is in a corner, usually that corner is where the lowest ranked
students would sit. Preferably, shinzen is to the east.
Shomen
Sensei
S
h
i J G
n o e
z
e
n
Sempai -> decreasing rank door
Shimoza
Commands
in the Dojo
Ato
Move back.
Hajime
Start.
Hayaku
Quickly.
Iai
Kisogeiko
Fundamental practice.
Ijyo
That's all (after recitation).
Junbitaiso
O Hajimemasu
Begin the warm-up.
Junbitaiso
O Owarimasu
Warm-ups are finished.
Katana O
Motte
Get your sword(s).
Kiyotsukette
Be careful.
Matte
Wait.
Mawatte
Turn around.
Mo Motte
More, eg. mo oki, bigger.
Mokuso
Close the eyes, meditation. Done before and
after practice.
Osame To
Replace swords into saya.
Yame
(Yamete)
Stop.
Yoi
Ready.
Yukkuri
Slow.
Yuru Yaka
Ni
Smoothly.
General Vocabulary
Age
Lift or raise up.
Atto De
Afterwards.
Batto
Draw the sword.
Chigau
That's different, wrong.
Chiisai
Small.
Chikaku
Near, close.
Dame
Not like that, wrong.
Hai
Yes. I understand.
Heta
Unskillful, poorly done.
Iie
No.
Jozu
Skillful.
Kyojun
Standard, basic level.
Machigaimasu.
It's a mistake, wrong.
Miru
Look.
Naze
Why.
Okii
Big.
Semeru
Push, press.
Shita
Under, below.
Shito Kokyu
One breath.
Shizuka ni
Softly, gently, quietly.
Sukoshi
A little, a small amount.
Tate
Standing, upright.
Wakarimasu
I understand.
Waruii
Bad.
Directions
for Placement or Movement
Mae
Forward.
Migi
Right.
Hidari
Left.
Ushiro
Rearward, behind.
Omote
Front.
Ura
Back.
Uchi
Inside.
Soto
Outside.
Jodan
High.
Chudan
Middle.
Gedan
Low.
Fukaku
Low.
Ichi Mon Ji
A straight line.
Tate Ichi
Mon Ji
A vertical line.
Yoko Ichi
Mon Ji
A horizontal line.
Chokakku
Right angles.
Do
Degrees, eg. kyu ju do is 90 degrees.
Heiko
Parallel.
Kakudo
Angle.
Massugu
Straight ahead.
Naname
Diagonal.
Otoshi
Dropping.
Shomen
Straight ahead.
Ue
Up.
Yoko
Horizontal, to the side.
Asoko
Over there.
Biki
To move, as in saya biki or hakama biki.
Gyaku
Reverse, opposite, inverted.
Hantai
The other way around. Backwards.
Kiku
Lower.
Komi
Coming close or drawing near.
Soko
There, that position.
The
Uniform
Keiko Gi
Practice uniform.
Embu Gi
Demonstration top / uniform.
Gi
Refers to top only.
Kamishimo
Over vest / jacket.
Kesa
Lapel / part of monk's costume hanging from
left shoulder.
Mon
Family crests on uniform (There are usually
five on a formal montsuki.)
Montsuki
Wide sleeved top with mon on chest, sleeve and
back.
Sode
Sleeve, on practice top.
Tanomo
Large sleeves on formal tops.
Uwa Gi
Practice top.
Zekken
Chest patch embroidered with own name and dojo
name.
Obi
Belt.
Hakami
Split skirt, wide legged pants.
Himo
Straps / cords
Hera
Peg in back of hakama.
Matadachi
Split in side of hakama.
Koshita
Back plate on hakama.
Tabi
Japanese sock-slippers used in the dojo.
Zori
Japanese sandals for use outside dojo.
Postures
Hanmi
Half forward stance.
Hitoemi
Equal stance, feet parallel forward
Iai Goshi
Hips lowered, stable position.
Iai Hiza,
Tate Hiza
Kneeling on one calf.
Kamae
Posture, stance.
Kiza
Kneeling, but up on the toes.
Seiza
Kneeling on both calves.
Tachi
Standing.
Chudan
Middle kamae, sword in middle, seigan is a
chudan gamae.
Gedan
Lower level, sword pointed down.
Hasso Gamae
Figure 8 stance, sword by side of head. Usually
hasso hidari, sword on right, left foot forward.
Jodan
Upper level, sword above head. Usually hidari
jodan, left foot forward.
Karuma
Like waki gamae, blade horizontal.
Kasumi
Arms crossed over to hide technique (mountain
mist).
Kongo
Blade vertical in front of face.
Seigan
Natural step, fundamental kamae.
Waki Gamae
Sword pointed down and back, for a sutemi
(sacrifice) waza. Usually sword on right side (migi waki gamae), left
foot
forward. Other purpose - hiding length of sword, especially in case of
a broken
one.
Sword
Cuts and Blocks
Aiuchi
Strike together.
Ate
Strike.
Gyaku Kesa
Giri
Diagonal upward cut.
Katate Uchi
One handed cut.
Kesa Giri
Diagonal downward cut. A kesa is a sash worn
diagonally across the chest by buddhist priest.
Kiri
Cut. (kiru: to cut)
Kiri Age
Same as gyaku kesa giri.
Kiri Gaeshi
Large diagonal cut, sword finishing in waki
gamae position. Different meaning in kendo, refers to partnered
practice with
attacker performing successive yokomen and defender blocking.
Kiri Kudashi
Finishing cut.
Kiri Otoshi
Dropping cut, straight down.
Morote Uchi
Two handed cut.
Shomen Uchi
Strike on front of head.
Sune Gakoi
Block to protect the leg (shin).
Tsuki
Thrust.
Uchi
Strike.
Uke Nagashi
Receive and deflect.
Yokomen
Uchi
Strike on side of head.
Yoho Giri
Horizontal cut.
Types of Practice
Embu
Demonstration.
Kata
- structured practice; form or pattern.
Ji Geiko
Free practice (kendo).
Jogeburi
(Jogesuburi)
Suburi with the finishing position with tip
about 2" above floor.
Keiko
Practice.
Nanamae Men
Suburi with the "corners" of the head
as target, 45 degree angle - same technique as in kiri-kaeshi
Oji Waza
Receiving techniques.
Saiumen
Suburi practising left and right yoko-men
alternately.
Shiai
Competition.
Taikai
Match within a competition. Tournament.
Tameshigiri
Test cutting with a live blade.
Uchikomigeiko
- continuous attack practice
Parts of
an Iaido Technique (Kata)
Henka Waza
Small variations in same basic technique.
Kae Waza
Substitute or totally different techniques.
Waza
Technique.
Kokyu
Breath control.
Chosoku
Breathing.
Metsuke
Gaze.
Enzen No
Metsuke
Gaze at the far mountains.
Batto
To unsheath a sword.
Nukitsuke
or Kiri Tsuke
Simultaneous draw and strike.
Tate Ha
Standing edge, draw with edge up.
Jo Ha Kyu
Acceleration in technique, buildup to climax.
Seme
Pressure.
Semeru
Pressing forward.
Saya Biki
Movement of scabbard (usually to rear during
nukitsuke).
Saya Banare
Tip at koiguchi during draw, just before
strike, the flight from the scabbard.
Kime
Focus
Furi Kaburi
Lifting sword from nuki to morote jodan.
Kiri Kudashi
or Kiri Tsuke
The finishing strike.
Hiki Taoshi
Pulling down. (Usually the opponent).
Hiki Kiri
Pulling cut, usually when pulling over teki.
Hane Age
Flipping over. (Flipping up the blade.)
Chiburi
Shaking off the blood, cleaning the blade.
O-Chiburi
Large or circular chiburi.
Yoko
Chiburi
Horizontal chiburi, move to the side.
Chinugui
Wiping off the blood, as is done in Uke
Nagashi.
Noto
Replacing the blade in the saya.
Tate Noto
Standing noto, blade replaced with edge facing
up.
Zanshin
Awareness, watchfulness, "lingering
heart".
Holding
the Katana
Te No Uchi
Grip on sword with fingers pulling into palm.
Shibori
Wringing. Twisting the hands inward over the
handle on the cut.
Hasuji
Angle of movement of the edge. Where the edge
is "pointing".
Kiri Te
Grip that allows cutting action with blade.
Seme Te
Pushing hand. Pressing forward with the blade.
Mamori Te
As for seme te. Covering or protecting hand.
Shini Te
Hand position that does not allow a cut. Dead
hand.
Tome te
Stopping hand, one that is defensive.
Nobi Te
As for shini te.
Kata Te
One handed.
Moro Te
Two hands on tsuka.
Soe Te
"Assisting hand" One hand on tsuka,
one on blade.
Diagram of Katana and Saya
(Click on image to open a
larger image in a separate window)
Descriptions
of the Katana
Sword names:
Aikuchi
a dagger with no tsuba, typically worn by women
Bokken
Hardwood replica of sword.
Bokuto
Hardwood replica of sword.
Daisho
Great small, the set of two swords, daito and
shoto.
Daito
Great sword, larger of the set of two, daisho
along with shoto.
Gunto
War sword, usually refers to those made just
prior to and during WWII.
Iaito
Practice sword for Iaido, usually not sharp.
Katana
Same as Daito. Mounted edge up.
Ken
Sword, usually refers to the straight double
edged type.
Kodachi
equivalent to SHOTO, lit. "small
TACHI" with the same fittings as a tachi.
Koto
"Old sword". Blades before about
1600.
Suburito
Wooden sword, usually heavy. Used to build
strength.
Shinai
Bamboo practice sword, used for Kendo.
Shinken
A real or "live" blade.
Shinto
New swords, from about 1600 to 1870.
Shin-shinto
Modern blades.
Shoto
the smaller of a pair of daisho, the other is the
daito.
Tachi
Old style sword, (koto) mounted edge down.
Tanto
a knife-sized short sword, typically less than
1 SHAKU in length
To
Sword, curved type, single edge.
Uchi Gatana
Inside sword, forerunner of Katana, worn in
belt.
Wakizashi
equivalent to SHOTO, the shorter sword in a
DAISHO pair, typically less than 2 SHAKU in length
Measuring
the Katana:
Shaku
30.2 cm. or 11.9 inches.
Sun
1/10 of a shaku.
Bu
1/10 of a sun, 0.3 cm
Nagasa
Measure of length of blade from kissaki to mune
machi in a straight line
Sori
Measure of curve of blade from nagasa to mune
at deepest point.
Sword length parameters:
Tachi,
Daito, Katana, = 2+ shaku.
Shoto, Wakizashi, 1-2 shaku.
Tanto, <1 shaku.
Parts
of the sword:
Omote
For Tachi. That side that faces out from the
hip when it is in the saya in its usual mounting. This side is signed
by the
swordmaker.
Ura
For Tachi. Side that faces the hip.
Sashi Omote
(Katana) Side facing out.
Sashi Ura
(Katana) Side facing hip.
Tachi-Mei
The side with the signature.
Katana-Mei
The side with the signature.
Points on the sword blade
(tang to tip):
Tang:
Nakago
Tang of blade.
Nakago Jiri
End of tang.
Mei
Signature on tang.
Yasuri Mei
File marks on tang.
Hitoe
Back of tang, meets mune at mune machi. Also
called Nakago-mune.
Mekugi Ana
Hole through tang.
Mune Machi
Notch for habaki, at back of blade.
Ha Machi
Notch for habaki, at edge side of blade.
Blade:
Tsuba Moto
1/3 of blade nearest tsuba.
Middle 1/3 of blade.
Mono Uchi
1/3 of blade nearest tip, cutting area.
Katahaba
Measurement
at thickest part of blade.
Mune
Back of blade.
MUNE TYPES: Mitsumune (3 surfaces), Marumune (rounded), Iorimune
(standard 2
surface)
Shinogi Ji
Area of blade near back from shinogi to mune.
Hi
Grooves down shinogi ji.
Shinogi
Line of blade between shinogi ji and jigane,
ridge at widest point of blade.
Hiraji
Area of blade between hamon and shinogi.
Jigane
Refers to the steel material. Jigane = skin
steel. Shingane = core steel. These have different carbon contents.
Appearance
of the jigane is controlled by the smith's folding technique. Can be of
different
patterns, courseness, etc.
Hamon
Ha = edge, Mon = Pattern. The shape or style of
the yakiba. This does not necessarily exactly follow the shape of the
yakiba. A
polisher will "improve" it sometimes.
Hira
Face of the blade between shinogi and ha,
includes hiraji and hamon.
Yakiba
Yaki = fired, Ba (Ha) = edge. The hardened part
of the blade near the edge.
Habuchi
Boundary of the yakiba.
Ha
Cutting edge.
Tip:
Yokote
Line between edge plane and tip plane.
Mitsukado
Point where shinogi, yokote, and ko shinogi
meet.
Ko Shinogi
Shinogi line through tip area.
Kissaki
Tip area, from yokote to end.
KISSAKI SIZES:
Ko kissaki = small, Chu Kissaki = medium, O kissaki = large.
Fukusa
Cutting edge in tip area.
Boshi
The hamon of the kissaki. Hardened area in tip
/ the curve leading to the point.
Fittings of the sword:
Tsuka
Handle.
Kashira
Fitting at end of handle, end of handle.
Tsuka Maki
The style, or pattern, or method of wrapping
the handle.
Tsuka Ito
The material used to wrap the handle. Silk, Leather,
etc.
Same
Belly skin from a type of Ray. However, the
word SAME means "shark", not "ray fish".
Menuki
Decorative fixtures on handle.
Mekugi
Retaining peg.
Mekugi Ana
Hole for peg.
Fuchi Gane
Fitting between handle and guard.
Seppa
Spacers on either side of tsuba.
Tsuba
Sword guard.
Habaki
Fitting between tsuba and blade, wedge for
koiguchi.
Kogai
Skewer.
Kogatana
Ko =
small,
Katana = blade. Small
knife carried in a pocket on the Saya.
Kodzuka
Ko = small, Tsuka = handle. Handle of the Kogatana.
The scabbard:
Saya
Scabbard.
Shirasaya
lit. "white scabbard", a plain
storage-only scabbard
Koiguchi
Scabbard mouth (literally carp's mouth).
Kurigata
Knob for tying sageo.
Shitodome
Metal fittings inside the kurigata.
Sageo
Cord from saya (kurigata) to hakama himo.
Kojiri
Fitting at end of saya, end of saya.
Body
motions
Tai Sabaki
Body motions. TAI Body. SABAKI Movement.
Hikari Ashi
Rear foot moves forward and turns to face
opponent, front foot turns to establish feet again in kamae but with
opposite
foot forward.
Irimi
Entering.
Jiku Ashi
Turning foot, the main axis of rotation.
Kaiten
Turning.
Mawari
Swinging around.
Seme
ASHI Pushing or pressing foot.
Suri Ashi
Sliding foot.
Tenkan
Moving one foot behind the other to face 180
degrees.
Walking:
Ayumi Ashi
Normal walking motion, back foot slides up to
become front foot.
Chidori
Ashi
"Bird walk" as in ayuma ashi.
Fumi Komi
Shift forward, as in a strike, using the hips.
Fumi Komi
Ashi
Foot motion as shifting forward, front and back
slide together, not two different movements.
Okuri Ashi
Following foot, step forward with front foot,
then rear foot moves same distance forward to regain original distance
apart.
Tsugi Ashi
Half step, rear foot up to front then front
forward again.
The
swordsman
Names of roles:
Kasso Teki
Invisible opponent.
Motodachi
Defender, teacher side in waza practice.
Nage
Performer of technique.
Shidachi
(SHI TACHI)
Completing sword. Finishes partner practice.
Teki
Opponent
Tori
Attacker.
Uchidachi
(UCHI TACHI)
Entering sword. "Attacker" in partner
practice.
Uke
Receiver (of technique)
The body (top down):
Nakazumi
Centreline of body
Atama
Head
Men
Head.
Shomen
Front or top of head.
Yokomen
Side of head.
Shamen
Side of head, temple
Gammen
Point on face between the eyes.
Sunmen
Same as gammen.
Me
Eye.
Mimi
Ear.
Jinchu
Centre of upper lip.
Kubi
Neck
Nodo
Throat
Do
Chest / side of body at ribs
Sui Getsu
Solar plexus.
Mune
Chest. Particularily the area over the heart,
in kendo, the embroidered part of the do above the do target.
Te
Hand.
Te Kubi
Wrist.
Omote
Open / palm of hand.
Kote
Wrist (forearm).
Hiji
Elbow
Kata
Shoulder
Ude
Arm in general.
Ura
Back of hand
Yubi
Finger / toe
Koshi
Hip.
Hara
Abdomen.
Tanden
Centre of balance, below navel.
Seika
Tanden
As per tanden.
Ashi
Foot or leg.
Ashi Kubi
The ankle.
Philosophical
concepts
Aiuchi
Mutual strike, strikes at the same time.
Budo
Way of war.
Bushido
Way of warrior.
Dai Kyo
Soku Kei
Big strong fast smooth.
Dehana WAZA
Strike at the outset, as opponent moves, like
sen no waza.
Do
Activity, motion.
Fushin
Frozen or stopped mind.
Fudoshin
Immovable mind, calm spirit.
Fukaku
Personal character.
Gokai
Grandeur, large feeling, full motions.
Go no Sen
no Waza (GO NO SEN)
Strike at a suki, a mind stopping. Strike
before the opponent forms the intention to strike.
Heijishin
Ordinary mind.
Jo Ha Kyu
Slow, faster, fastest.
Kake Goe
Yelling to get extra energy. Like Kiai.
Kensen
Pressure from the sword, esp. the tip.
Ki
Spirit, energy, inner strength.
Ki Ken Tai
Ichi
Spirit, sword, body, one.
Kiai
Shout, yell.
Kime
Sharpness of movement, positive end of cut or
thrust.
Kimochi
Feeling, sensation.
Kiryoku
Willpower.
Kokoro,
Shin
Mind.
Kokyu
Breath, breath power.
Ma
Distance, space, interval (in time).
Mawai
(MAAI)
Mutual distance (in space).
No mind, no rationalization.
Muga
No ego.
Munen
No thought.
Oi Waza
Chasing or following strikes, attack as
opponent retreats.
Riai
Unification of action and theory.
Sae of
Swordsmanship
The skill beyond technique only.
Saya no
Uchi no Kachi / Saya no Uchi de Katsu
Saya = scabbard, uchi = inside, kachi =
victory. The sword in the saya, winning without drawing.
Sen
Initiative, to forestall.
Sen No Waza
(SEN)
Strike faster than opponent, before attack
delivered.
Sen Sen no
Waza (SEN NO SEN)
Strike as opponent commits to an attack but
before he moves.
Sei
Motionless, inactive.
Shu Ha Ri
Keep, break, leave. Memorize technique,
question and understand, forget technique.
Suki
Opening.
Sutemi
Sacrifice technique, accept a blow to deliver
one.
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All content © 2006 - Musoshindenryu Dojo - Moorhead, Minnesota, USA
mu - Traum
so - Idee, Gedanke
shin - Gott
den - übermitteln,
überliefern
ryu - Stil, Schule, Strom, fließen
i(ru) - anwesend sein,
wohnen,
existieren
ai - passen, anpassen,
zusammen
passen
do - Weg, Pfad, Tao
Tokugawa Ieyasu (1543-1616) konnte sich Anfang des 17. Jhts. (1600 Schlacht von Sekigahara, 1603 Ieyasu wird Shogun) gegen alle seine Gegner siegreich durchsetzen und es ging eine lange Zeit des Bürgerkriegs in Japan zu Ende.
Neue Formen und Stile des Iaido kamen auf und wurden miteinander vermischt. Fast alle beruhten auf einer Ausgangssituation, die darin bestand, dass jemand in das Haus eines anderen geschickt wurde, um diesen gefangen zu nehmen oder zu töten. Oft geschah das sozusagen nicht offiziell sondern um des Vorteils der Überraschung willens während eines Besuches. Eine gefährliche Situation für Gast und Gastgeber, wo ein plötzlicher Angriff in einem Moment der Unaufmerksamkeit leicht Erfolg haben konnte, z.B. beim Verbeugen oder bei der Verabschiedung.
Aus der Situation des Einander-gegenüber-Sitzens leitet sich ursprünglich auch die Bezeichnung Iaido ab.
Das
Schriftzeichen su(waru) bedeutete soviel wie sitzen
oder sich
setzen und wurde erst später vereinfacht zu dem heute
gebräuchlichen iru.
Das geschah durch Weglassen des ersten Teiles von suwaru. Das neu
entstandene
Zeichen i(ru) bedeutet soviel wie "anwesend sein"
oder auch "existieren". Das Zeichen für ai hatte
im
Zusammenhang mit dem Sitzen die Bedeutung von "gegenüber".
I-ai war ursprünglich also die Bezeichnung für Techniken, die im Sitzen (oder Knien) ihren Ausgang nahmen. Im Gegensatz zu jenen im Stehen (tachi-ai).
Zusammenfassung: heute werden folgende Zeichen verwendet
i(ru) - anwesend sein,
wohnen,
existieren
ai - passen, anpassen,
zusammen
passen
do - Weg, Pfad, Tao
Muso Shinden Ryu
Iaido
bedeutet also in etwa soviel wie "eine Schule des Iaido, entwickelt aus
einer in einem Traum erlebten göttlichen Eingebung" oder
persönlicher
ausgedrückt:
"Ich träumte einen göttlichen Gedanken und daraus entstand
diese Schule
des Iaido".
Der Name stammt vom Begründer des Muso Shinden Ryu Iaido Nakayama Hakudo (siehe Bild), der sein Leben dem Studium der Schwertkünste gewidmet hatte. Er war zu der Überzeugung gelangt, dass die alten Kampfkünste neu interpretiert werden sollten und ging dazu über, das Schwerttraining nicht länger als Vorbereitung für eine praktische Anwendung zu sehen, sondern als Methode, die der persönlichen Weiterentwicklung dienen konnte.
Das Schwert war nicht länger ein Werkzeug zum Niederschneiden eines Gegners, sondern ein Hilfsmittel zum Durchschneiden des eigenen Egos
Viele der alten Techniken dürften zuerst auch nur mit dem Kurzschwert (wakizashi) oder Breitmesser (tanto) ausgeführt worden sein, da innerhalb eines Hauses das Tragen von Langschwertern nicht gestattet war.
Später ging man aus Gründen der Ausbildung und weil sich die Idee hinter dem Training verändert hatte dazu über, alle Techniken mit dem Langschwert zu üben und auch ausschließlich dieses im Training zu verwenden.
Im Iai-jutsu, in dem nach wie vor eine Ausrichtung auf reale Kampf- situationen mit dem Schwert gegeben ist, werden anders als im Iai-do auch Kurzschwert- Techniken oder Techniken mit zwei Schwertern unterrichtet. Die ursprüngliche Motivation Schwertkampf zu studieren lag eben darin, effiziente Techniken zu erlernen, die eine schnelle und sichere Methode darstellten, einen (oder mehrere) Gegner zu töten.
Iai-do dient heute Zwecken der Selbsterziehung und persönlichen Weiterentwicklung.
letzte Änderung 2020.09.15 by wir