Heisei 24 / 2012

Kyudo Glossary

~~l IID-utJJP7ll!3e?!It~iJi:t~(J'\ 1) J ~tj~~~First Sekai Kyudo Koryu Enbu Kai (Paris] executive committee

[~2 ffiJti!W'7~*~ (J'\ 1) J 7v.~J[Second Sekai Kyudo Taikai (Paris] Pre-Event]

l=:O.=s3J1.iE'"C'U:,~lKx1'lt ~t* PrJ*, :,sUiT:)7 . :t-t T.::::.T i:::;J3v''"(1'jJ]!0)00~jR1bJ~J1td-;., ~< O)I7Ji~H*;Q't\'l.z '"(6'"("'iTo B2js:tJ*0){~*JfJt1t-e~) IBSJ f=0t..:~'::'l::oHitting the Mato

9=>l"5 IBSJ f=~'"C~'::'I::>:.:E1:: i., ~*~fllHJl.l...n',b"5iJl~1:i(7)'::'l::oThe person who, in drawing the bow, ignores the basics and is mainlyconcerned with hitting the Mato.

-g.:bttilln {E~1!Jv'-y){~ < jffif-,-C:Wlil'j'->:1!J:b-1tlJl$T~ltl1.O)'::' 1::0Hanare that is released by adjusting both hands without Nobiai.

:titl/~ IBSJ HfHt ~t~pfi(7)'::' I::0The place where the Mato i~ positioned.

t.:;jEflL., -,-,-y){:j'.ir;f1., -C(7)uG"C'Cj>:f!T'::'l::oThe wrist is bent, and the Yumi is pushed forward with the palm ofone's hand

u : ~O);ln~l'\ f!!f,~ili&f=fJ;J=51~m:,b'::'l::oIn Kai, the draw contracts and the Ite unconsciously and abruptly drawsagain.

~~ [_] (7).m$~I7)~>:m~$~I7)'::'i::oThe part of the Yugake that covers the tip of the thumb.

~dJ:i. I~ J (7);I;I(!&~"C\)f:jl&~ l...66~~f={~fflT ~@*oA tool used for tightly winding jute fibers on the Tsuru where the Hazuof the Ya is nocked.

3

Dozukuri '7~ijl < I::~ O)!J'{'HillLz_J.:,/rO).:: CoThe way of readying one's body when drawing the Yumi.

EEnso lffilntHp!;f-t.:: C 1j:< p:j Hl,'j < J:: oJ t.dT~l"1'!U J.:,':: I::0

Preparing by making a circle-like [01"111 with both of one's elbows, andnot by stretching them.

F

Fudeko l'7i!i:J --C'tJt'P) O)m- ~ ~li:&,)J.:,;f)}0)'::CoA powder used in Kyudo to stop the Nigiri from slipping.-mI7J'7J';"t= 1j:J.:,!J'{:f0)':: Co If:llijtff1JI::b v' oJThe body is bent forward. Also called Kagamudo.

Fushido

Geza/shimoza T@: Ti!L:O)f.\';'- J:$\pJTO)':: CoThe lower position.

Giriko ~'~H I5lJ O)!fJ!mO)m-~li:&')O)111o1~mll':f:f"I),;,I) c1ifiJ'"tJ.:,o (*iji'i~~jjj!j&,)iEll~~* L..t..:111)A powder used to stop the thumb of the Yugake from slipping. It issaid to make a 'giri, giri' sound wheu applied. (A powder made fromthe oil extracted from boiled tree resin.)

Gobunotsume 1iflBO)~ ft:tlO)$, ft:tJO).il'l, ij0)5TPJT~lEL(1fi-1'=lfEv'Wi&')%-)~oThe fitting together of the five points of left and right fist, left andright shoulder, chest, according to the correct skeletal alignment.

Godo 1iijlii] 1XJ.:" f:llu, ~i)'J.:" ill(, qolEo)1L-::>0)!J'1:fO)tkl~0)'::l::oThe five physical states of Kaeru (turning), Kagamu (bending), Kakaru(leaning towards), Hiku (leaning away), and Chusei (balanced),

Gogushi i~$ rB-C r~J f:::1Il3< ~:k!iM'::CoA Ya that, having been released, slides along the ground in front of theMato before reaching the Azuchi.

:9

Himezoribushi *g}~J1'i

Hinerikawa

Hirakiashi

Hirazuke

Hitote

Hitotsumatosharei

Hizawoikasu

Honza

Hozuke

Hozuriba

Itatsuke

Itsukebushi

Ite

Jiman

Jiman

Jyundachi

Kaeya

Kaeyumi

6

I"jl/')fJt'rI/')~J:jJ~I/')J!1JI/'):: toThe node of the bamboo on the Yumi in the topmost section of theUchidake

itEl 15l1iJ I/')A~ Lt'I/'),fN.51;~=-5R::d-:ElI/'):: toThe leather glued to the base of the forefinger on the Yugake

~~JE 1lW;~J ipG90ocfoJ~:a:~.:Z:t,JJ:!.~I:f~I/')::toTurning 90 degrees while in Kiza position

+11 vt I4iJ l";fi-=fl/') if!7'l{tJIjI: 101 < ~r;I/'):: toIn Kai, the back of the right hand faces forward,

- :9Z:2;$:I/')::to C!EJ3:9Z:1I/') 1z:..:9Z:12;$:1/'):9Z:1/')~)A pair of Ya, The Haya and the Otoya,

--:)B~~i*L---::>1/') IB'JJ 'li:3A (2AXI4Al/')j~i.H)J;,:t,) C"M:t, IM:fLJ I/'):: CoSharei which is performed with three people shooting at one Mato (situ-ations with two or four people are also possible.)

~~1:1J'9 I~Jff~J C".:tt-: :t,~H;'t-:J t-:2*'Ii: W71' Gy LJ:lj':t,JM"FI/'):: toA. movement in Kiza in which the knee on the side carrying the princi-pal object is lifted slightly off the floor.

*~ I1z:MJ Ii l~tfiLJ J: ~ 2 ttQ IMInJ:@~J 1/'):: Co l~nililJ Cbv'7oDozukuri that is inclined towards the Mato. Also called Totsudo.;fi-=f~:::iiI6QMElI/'),-~I/')': CoA deerskin glove worn on the right hand,1~l1iJ Q) 15MtJ ~:::.ti.J"IlH C :: ;:, Q) ,: toThe place on the Tsurumakura of the Yugake where the Tsuru is posi-tioned,

UfD+:lZ:~ I~J Q)~I'I-=rt5i;'li:jj[ftJ I::i!i:>-CQ': toThe right angle of the Boshi of the Yugake and the Tsuru,

..1tJJ~ff~ ",'H'r, r*1tTt 1J:~t.&:J 'li:IJ',jJET:t,t-:I6~=-~

Kinteki lfrBi]

Kiri m~)

Kirisage mWl'Lf

Kiryoku %.1J

Kiza ~)[~.

Kobanare IJ\~tt

Koko m:D

Kuchiwari D~tl

Kurikomi ~~) J.6df

28m O)gjljIH=B%Ji' < *0Placing the Mato at a distance of 28meters.

JilIUlO)Hanare

iJilithJ -Cjl!if'f-i i: {i:05'f-ipli''f-iF:k 6 < T"~ -G ~:: toEither right or left hand or both hands drop at Hanare.1tiiJJ {= i: z ~::I:::7irIH1~.:6*i1lt$:1J0The will power that allows action to continue.

Jl\J1:-::>-Cml~jjJi'l::~{=11ftJl:'l::T0 Lt-:.~~'O):: toA seated posture on the tip of the toes and with the knees on the floorand the back is lowered.:o5'f;6r,J, ~ < jljlth~:: toA smaller release by the Mete.

ft'fO).mO)a~tA~LmI:::O)OOO)HO)$~O)::toThe skin between the base of the thumb and forefinger on the Oshide.

i4'?J -C:9-n3::O):ill1) {=:9

Nonakabushi ~,*,~1'i

Noshirabe ~~1lJr(

oObanare *~nOchi 5i

Ochikata 5im

Ochiruhanare

Okuribanare

Omae

Oshide

Oshidegake

Otoya

Oyayubi

p

Q

R

Rissha

SSadamenoza

Sanjyujyumonji

Sanmiittai

Sashikata

10

i!HJ'S;fI1I:JE;6'iC:>, jf3 < I:: ~ 1;b}'E;6'iC:>iI~!liJJfFO)C:1::0When moving forward, the left foot leads, when moving back away, theright foot leads.ss, i[fr)K71"7;;.7d:2"6 !1tftc: I:: 0The physical body filled with Kiryoku and energyrll\JJ 0) cp,C"O) c: I:: 0The center of the Mato~ ,:>1-: ~?i!gi:: 0The formal upright sitting position.

~ 0) I.Tjl!ijilifij0) I*JtlrfJlUI=,*~ l-C;b 6 *ffO) c: I:: 0The wooden blocks attached on the Uchidake side at both the upper andlower ends of the Yumi.

1Ul.tl:.60f,& ~O)I.Tl*Jl~Uf=1tftt-:~RO)C: 1::0The wooden blocks attached on the inner side at the upper and lowerend of the Yumi.

~;6"~I= -'.)~, t~7\:;;6'ij~~lljT'ENI=Jffii' 6:tLO) -:. I:: 0Bowing with the palms of pne's hands placed on the floor, the tips ofthe fingers brought together at the knee

Shahohassetsu ~ijt:)\~1'i~ ~M1.Jt-:~O) 8 -'.)O)~T.O) c: I::0The eight steps which make up the shooting of the Yumi.11TMJ ~':l'0) l~t-f'J ;6":ll.-'.)cp,C"lsLji:O)C:1::0The central position where the Ite stands during Gyosha.

ltlJH1T J *f1I:#'fI. I=n~ +ne: c: i:: 0The method of Uchiokoshi starting from diagonal Yugamae to the leftforward diagonal.

rMJ 0)*1:: 7J:1.J:t~OC, ifil11o,Mit, M1R~1Fi' 11TMJ 0)%0)0The form of Gyosha that displays the basic attitude, movements, stepsand technique for Sha.

Shibenohanare 0l:gBO)~n 1I:;b0)ft;, 1I:;bO)mO)[7IJ-7jiJT;6"~3'xl-CMn1.JJ!J!.tE(ilS7J:lI!~nO) c: I:: 0Aligning the four points of the left and right fist and the left and rightshoulder for the ideal Hanare.

r mJ 0) cp1i 1::'1=;b 1.JffiiJ0) c: i:: 0 (9c t fJ ;6' iC:>=-'.) 0) ffiil)The node of the bamboo near the center of the No. (The second nodefrom the Yajiri.)

5~jjJliJ-"(0)1&,I:reJ HJ,'iJ-"Z1.Jifi))fI'O)-:. I:: 0Following Tsurushirabe, the step of examining the No.

Sashinutai leJl;fiJE;

Seikitai ~~1*

Seiko/Seikoku .:H~

Seiza jE~

Sekiita IUlf'&

1I:;b0)-f';6"*~ < lil~n6 c: 1::0The left and right hands release expansively.r1TMJ -t6S;f, l:ll.t4iJ:O) li1i'mO) IM-f'J O)C:l::oThe last He in Hitotachi when performing Gyosha.ft;bO)m;6';.K''Z'7d:

Shitakirizumeto TtTJ~5!~ Jj.tJ, i*lt'r I:::TIUJ1'&:~Ilill%:T.Qt::1iJ f:::o%< ~O):: I:::0The cane wrapping that holds together the Todake, the Uchidake and theShimosekiita.

Shitanaribushi TJixe1J 1=j00i*ltJO)T*~i}'C, 2itO)ff60):: 1:::0The second node of the bamboo from the bottom on the Ochidake ofthe Yumi.'ffil'Tf::::jfr:h.., :tL'f~H..trIiJ ~q:::1Ef1T i'fO)P'1J 0):: I:::0In Tenouchi, the wrist is bent downwards, the left fist is turned up-wards.

T~t i9='1Jlfft J J: ~ T*IS0) i]!i;0) :: I:::0The part of the Tsuru below the Nakajiikake

T~t BI < i~.!c:ttJ O)TO)n BI A~.Q J: J ~:::51< :: I:::0Drawing by pulling from below the Tsurumakura

* 5.!c:1}Jn, r*J ::~f:h.., I=jH~I:::T~O)*rL~~T.QoAn error such as Tsurugire, Hazukobore, or dropping the Yumi.

13?t.\0).:h ~il'~AL, l3~f:::Jilil'nJ.,::l:::oWhen the moment is full, Hanare happens naturally.

1f~l'B~ iMfli:J -eB -C1l::::>0At the Shai, standing and facing to the front slightly forward of thecenter-line of the Mato.-C0)V- GO)itlHJ:l!ill ~ 0):: I:::0The area at the base of the hand.

iEiHiHillil-lEOOO) rl=j:fl/fx.J il'C,jlljfJW~~..tO)ii11i~~::: inj@LJ, r*=:J ~I:::.QnYt. 0) :: I::: 0The method of starting with Yugarnae in Shomen, raising both elbowsstraight up to the height of Uchiokoshi and forming Daisan.

i~IJ* I=j0) P'1t'r I:::JWr ~=t~i n t: jIIjfiftlJ00 0)*0) :: I:::0The wood on both sides of the Yumi that is held between the Uchidakeand the Todake.

*C'J;Q'G3itmnO)::l:::o r:tfl3lfX:~nJI:::bJoThe third node of the bamboo from the Yajiri. Also called the Ottori-bushi

Shitaoshi

Shitazuru

Shitazuruwohiku

Shitsu

Shizennohanare

Shoimato

Shokon

Shomenuchiokoshi

Sobaki

Sodesuribushi tllli~~1J

Sonkyo lllJWJli

Sorido JHij]

Subiki ~51 g-

Suki lI:oR

Sumashi 5Jt l-

Tadayazuka t.:t~5O))jjjO):: I::: 0A fold spanning the palm of one's hand when the knuckles at the baseof the fingers from the forefinger to the little finger are flexed.

'f 0) I*! t:'f -C-I=j~ j}JjJ.,nYt. 0) :: I:::0The method of gripping the Yumi with the left hand.

~~.Q riTMJ O)S;\\ 1=j;Q"~jj[-e'I;:J:~< Ji.Q J: J ':::51 ~ 5-HJ-.Qo (~rIiJ;Q~1~;:, ~=.&:.Q:: I::: 0)In Gyousha, the Yumi is not vertical at Hikiwake, but is slanted. (Theangle of the face is tilted back.)

'f T I=j0) f}Jj~ 0) T Ii')Jl$]- Ii'):: I:::0The part of the Yumi below the Nigiri.

'fT~1'i 1=j00JH'rO)T*~il'G 3it, t}Jj~O)TI:j;,J.,j!jpO):: 1:::0The third node of the bamboo from the bottom of the Todake, belowthe nigiri.

91- t'r 5Y: =5:' JlHt t: I=jIi')71-111IJ0) it0) :: I:::0The onter face of the Yumi when it is strung with the Tsuru.

~Wl 1=j0):j}Jj~I::: i*f'I'1R~J O)~TJ.,)iJTO):: 1:::0The part of the Yumi that includes the Nigiri and the Yasurito

9Wf~>J *~itx.t::ll;f, J1-1Jl~I:::~.Q~~1lO)::1:::0The Hane on the outside when the Ya has been nocked.i~J ~5.!c:~:::tl'Ht.QtJJf'FIi')::1:::0Positioning the Tsuru in the Yugake.iPg;.&:IJ J O)T-C'\ -I'.&: ~ 0)* ~ ,,'J:pjfO)...t:i22O)::I:::0Below the Himezori, the area above the largest of the curves.

:1&5

Tsurumakura

Tsurumichi

Tsurune

Tsurushirabe

Tsuruwa

UUchidake

Uchikiri

Uchiokoshi

Urahagi

Urahazu

Urazori

Uwabanare

Uwahagi

Uwahazu

Uwanaribushi

Uwaoshi

Uwasekiita

14 '

.HII

...tiJJl:

i5JIUO)fJ!HjO)pqj~IHt~HRO)I::::0~:J;,6ij/j:-C', 5H'f'M\;(p61:: ::60)::1::0The groove in the Yugake at the base of the thumb in which the Tsuruis positioned,

iejtJILU 7?'G i4i;J i1:s5i:O)illl7.>~51JlO)::1::0The path that the Tsuru travels between Yugamae and Kai.

,'IMtn-c', sH'ejO)M*' Iftg!~J 'tH'?"C9-t~lifI7)U::oThe sound made at Hanare when the Tsuru hits the Hitaiki (Himezori).

Uwazuru

Uwazuruwohiku

vW

Wakishomen

iejtJId.J O)S~, 1=/=J1lkl0)...tTO)S!t:'t~J,lJ6t.bf'F-I7)::1::0Inspecti ng the central part of the Tsuru at Yugamae.ej 0) i5EfJ i: ;6'~t 7.>t-.:!6 ~:,"Hk~: Lt3:!( 0):: I::0 (...ttW;O) mllffiiJ .TtBI7) l55i:lIffiiJ) .The ring-shaped part of the Tsuru for positioning on the Hazu. (The up-per Tsuruwa is red and the lower Tsuruwa is white.)

xY

Yadokoro

Yaguchi

s5i:'t:JtHH::ejO)pqjl!~l7)itl7):: I::0 IlVrt'iJ I::b ':;, 0The inner face of the Yumi when it is strung with the Tsuru. Alsocalled the Maedake.

ej 'ti);P,(:Ii ~Mil'!6lej~ IJ J 't ~ -t'/fv' U:: 0Gripping the Yumi so tightly that Yugaeri is not possible.ej:9cHTt,...tlf~ jJlto):: I::0The method of raising the Yumiya.

:9c)]Ji'JU:-IJ?lIJ I:1t6S;j\ I~J jMlJ't*1:~~~66t-,:pJTI7):: 1::0 IH51JI:: b'-] 0The place where the thread is wrapped on the Haw side when fixingthe Yabane to the No. Also called the Uwahagi.ejO)...tfrrij0)55i:1!ffii0);(p7?'6ff~5tO)::l::oI..t.5EfJ I::b':;'oThe upper end of the Yumi where the Tsuruwa is positioned. Alsocalled the Uwahaw.

55i:'t~L~~,~tO)jJ~~~~6::l::oThe curving back toward the Todake when the Yumi is unstrung,jiITj.'f-i t: tti.'f-;6' ...tI:gmn 6 JIlrenO):: I:: 0A Hanare in which both hands or the right hand release upwardly.

:9c)]Ji'R't iJ?lIJ i:it6S~\ I~J jl!IJ't*1:~~~66t-:pJTO)::l::o 1*J:71JI:: 'fl'1noThe place where the thread is wrapped on the Haw side when fixingthe Yabane to the No. Also called the Urahagi.

ejO)H#ijO)s5i:iI\iO)7?'7l'6ff~5tI7)::l::o 1*5EfJ I::b':;'oThe upper end of the Yumi where the Tsuruwa is positioned. Alsocalled the Urahazu.ejO)pqitO)...te~G2.0).0)::l::qThe second node of the bamboo from the top on the Uchidake of theYurni.

Yaguchigaaku

Yairo

Yakobore

Yamakura

Yamichi

Yanori

Yasaki

Yasuji

Yatsugaedosa

Yawatashi

Yaziri

Yazuka

.'f-l7?'...tl::t.JTn, ft.'f-~HTrDl ~ I:!I-t I.'f-O)pqJ 0):: I::0The Tenouchi in which the wrist is bent upward and the palm of theleft hand is positioned so it pushes downwards.

ejO) 1*i)EfJ I7)pqtHH:it~tt-: iIlklJl!6tBU 0):: 1::0The Sekitomeita fastened to the Uchidake side of the Urahazu

Yazurido

Yazutsu

...tiJt 1r.1"1:I:j~HtJ .J: ~ ...tff~0)5~17)::1::'0The part of the Tsuru above the Nakajikake.

...tiJH:51< il:I"i:l::J'lHtJ 0)...tO)jJ'tiJi-::>S:R6.J:-] /f51~}j0)::l::oA way of drawing the yumi by pulling from above the Nakajikake

'i~!I'1j~ lit 0) :: I::0The Shinpanin Seki

*;oJi MGnt-::9c;6'JEi3v't-.:*",,(O)::1::0The place where the released Ya comes to rest.

*D ejt:9c;6'~-t~;oJTO)::l::oThe place where the Yumi and the Ya touch.

*Diii!!> < ej 1:::9c17)r"~t:?);'ra~7J'1:~ 6 :: I::0A space which sometimes occurs between the Yumi and the Ya.

*1' :9c7?'=t.IJXn"C1R;Iv1:v,

mO)'!&ilq *ib ~ rifJIU0)':: CoA Yugake with four fingers.

9