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News & Events / News and Events
« Last post by Blade~ on April 27, 2017, 01:03:00 pm »If you have any news or events related to this forum feel free to post them here.
Recent Posts
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General Discussion / Re: Tang Shi Sword Factory Qi Ping (Not sure of spelling)
« Last post by Blade~ on April 24, 2017, 01:50:17 pm »Hi James, thanks for the post. Here is some more information about the Tangxi sword factory in Xiping county, Henan Province. In 2014 the factory was listed as national intangible cultural heritage, due to preserving the traditional way of Chinese sword making.
The photos below are recent from 12 April 2017 showing how the swords are still hand made in the factory today. Please also follow the link below where you can read a brief article and see additional pictures from the factory. Hope this helps:
Article about the Tangxi sword factory
The photos below are recent from 12 April 2017 showing how the swords are still hand made in the factory today. Please also follow the link below where you can read a brief article and see additional pictures from the factory. Hope this helps:
Article about the Tangxi sword factory
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General Discussion / Tang Shi Sword Factory Qi Ping (Not sure of spelling)
« Last post by bklynjames on April 08, 2017, 08:10:01 pm »@ 5:25 they describe the Tang Shi Sword Factory in qi ping china. Does anyone have any information on the factory?
https://www.youtube.com/watch?v=ydJqd5hiRkE&t=325s
https://www.youtube.com/watch?v=ydJqd5hiRkE&t=325s
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Weapons / Nunchaku (ヌンチャク)
« Last post by Blade~ on March 26, 2017, 09:33:40 am »The nunchaku (ヌンチャク) is a traditional Okinawan martial arts weapon consisting of two sticks connected at one end by a short chain or rope. Used by Okinawan farmers, it was not a historically popular weapon because it was ineffective against the most widely used weapons of that time, and because few techniques for its use existed. The two sections of the weapon are commonly made out of wood, while the link is a cord or a metal chain. The nunchaku is most widely used in martial arts such as Okinawan kobudō and karate, and is used as a training weapon, since it allows the development of quicker hand movements and improves posture.
In modern times, nunchaku (Tabak-Toyok) were popularized by actor and martial artist Bruce Lee and his martial arts instructor Dan Inosanto, who introduced this weapon to the actor. Another popular association in modern times is the fictional character Michelangelo of the Teenage Mutant Ninja Turtles franchise. Organizations including the North American Nunchaku Association, World Amateur Nunchaku Organization, Fédération Internationale de Nunchaku de Combat et Artistique, World Nunchaku Association, and International Techdo Nunchaku Association teach the use of nunchaku as a contact sport.
Modern-day nunchaku can be made from metal, wood, plastic or fibreglass. Toy and replica versions made of polystyrene foam or plastic are also available. Possession of this weapon is illegal in some countries, except for use in professional martial art schools.
In modern times, nunchaku (Tabak-Toyok) were popularized by actor and martial artist Bruce Lee and his martial arts instructor Dan Inosanto, who introduced this weapon to the actor. Another popular association in modern times is the fictional character Michelangelo of the Teenage Mutant Ninja Turtles franchise. Organizations including the North American Nunchaku Association, World Amateur Nunchaku Organization, Fédération Internationale de Nunchaku de Combat et Artistique, World Nunchaku Association, and International Techdo Nunchaku Association teach the use of nunchaku as a contact sport.
Modern-day nunchaku can be made from metal, wood, plastic or fibreglass. Toy and replica versions made of polystyrene foam or plastic are also available. Possession of this weapon is illegal in some countries, except for use in professional martial art schools.
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Weapons / Tonfa (トンファー)
« Last post by Blade~ on March 26, 2017, 09:22:45 am »The tonfa (トンファー) also known as tong fa or tuifa, is a melee weapon best known for its role in the armed component of Okinawan martial arts. It consists of a stick with a perpendicular handle attached a third of the way down the length of the stick, and is about 15–20 inches long. It was traditionally made from red or white oak and wielded in pairs. The tonfa is believed to have originated in either China or Southeast Asia where it is used in the respective fighting styles. A similar weapon called the Mai sok san is used in Krabi-krabong and tomoi.
Although the tonfa is most commonly associated with the Okinawan martial arts, its origin is heavily debated. One of the most commonly cited origins is China, although origins from Indonesia to Thailand are also possible. Okinawan tradition derives the tonfa from a millstone handle. The Chinese and Malay words for the weapon (guai and topang respectively) literally mean crutch, which may suggest the weapon originating from the crutch. In Cambodia and Thailand a similar weapon is used consisting of a pair of short clubs tied onto the forearms, known in Thai as mai sok and in Khmer as bokgatau. In Thailand and Malaysia the mai sok often has a similar design to the tonfa, with a perpendicular handle rather than being tied on. This weapon might be the original version of the tonfa.
Although the tonfa is most commonly associated with the Okinawan martial arts, its origin is heavily debated. One of the most commonly cited origins is China, although origins from Indonesia to Thailand are also possible. Okinawan tradition derives the tonfa from a millstone handle. The Chinese and Malay words for the weapon (guai and topang respectively) literally mean crutch, which may suggest the weapon originating from the crutch. In Cambodia and Thailand a similar weapon is used consisting of a pair of short clubs tied onto the forearms, known in Thai as mai sok and in Khmer as bokgatau. In Thailand and Malaysia the mai sok often has a similar design to the tonfa, with a perpendicular handle rather than being tied on. This weapon might be the original version of the tonfa.
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The sai (釵) is a traditional piercing melee weapon used in Okinawa. The basic form of the weapon is that of a pointed, prong shaped metal baton, with two curved prongs (yoku) projecting from the handle (tsuka). There are many types of sai with varying prongs for trapping and blocking.
Before its arrival in Okinawa, the sai was already being used in other Asian countries including India, Thailand, China, Vietnam, Malaysia, and Indonesia. It may have been brought to Okinawa from one or several of these places simultaneously. Silat practitioners typically refer to the sai either as chabang in Indonesian or tekpi in Malay. Based on the Indian trisula, early evidence in the form of Japanese art shows that the chabang predates the sai's use in Okinawa and China. The word trisula itself can refer to both a long or short-handled trident. Because the trisula was created in South Asia, it is possible that the sai originated in India and spread along with Hinduism and Buddhism. This is supported by the fact that the trisula is important as a Hindu-Buddhist symbol.
In Okinawa the sai was used by domestic police (ufuchiku) to arrest criminals and for crowd control. Use of the sai was perfected in 1668 by Moto Chohei, an Okinawan prince.
The sai eventually reached Japan in the form of the jitte, which usually has only a single prong although some jitte have two prongs like a sai. Both are like truncheon weapons, used for striking, bludgeoning.and also for multiple punctures over different positions on the body.
Before its arrival in Okinawa, the sai was already being used in other Asian countries including India, Thailand, China, Vietnam, Malaysia, and Indonesia. It may have been brought to Okinawa from one or several of these places simultaneously. Silat practitioners typically refer to the sai either as chabang in Indonesian or tekpi in Malay. Based on the Indian trisula, early evidence in the form of Japanese art shows that the chabang predates the sai's use in Okinawa and China. The word trisula itself can refer to both a long or short-handled trident. Because the trisula was created in South Asia, it is possible that the sai originated in India and spread along with Hinduism and Buddhism. This is supported by the fact that the trisula is important as a Hindu-Buddhist symbol.
In Okinawa the sai was used by domestic police (ufuchiku) to arrest criminals and for crowd control. Use of the sai was perfected in 1668 by Moto Chohei, an Okinawan prince.
The sai eventually reached Japan in the form of the jitte, which usually has only a single prong although some jitte have two prongs like a sai. Both are like truncheon weapons, used for striking, bludgeoning.and also for multiple punctures over different positions on the body.
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The kun (Japanese: bo) is usually made with hard wood or a flexible wood, such as red or white oak, although bamboo and pine wood have been used, more common still is rattan wood for its flexibility. The kun may be tapered in that it can be thicker in the center (chukon-bu) than at the ends (kontei) and usually round or circular (maru-bo). Some kun are very light, with metallic sides, stripes and a grip which are used for XMA and competitions/demonstrations. Older kun were round (maru-bo), square (kaku-bo), hexagon (rokkaku-bo) or octagon (hakkaku-bo). The average size of a kun is 6 shaku (around 6 ft (1.8 m)) but they can be as long as 9 ft (2.7 m) (kyu-shaku-bō).
A 6 ft (1.8 m) bō is sometimes called a rokushakubō (六尺棒: ろくしゃくぼう). This name derives from the Japanese words roku (六: ろく), meaning "six"; shaku (尺: しゃく); and bō. The shaku is a Japanese measurement equivalent to 30.3 centimeters (0.994 ft). Thus, rokushakubō refers to a staff about 6-shaku (1.82 m; 5.96 feet) long. The bō is typically 3 cm (1.25 inch) thick, sometimes gradually tapering from the middle (chukon-bu) to 2 cm (0.75 inch)at the end (kontei). This thickness allows the user to make a tight fist around it in order to block and counter an attack.
In some cases for training purposes or for a different style, rattan was used. Some were inlaid or banded with strips of iron or other metals for extra strength. The kun range from heavy to light, from rigid to highly flexible, and from simple pieces of wood picked up from the side of the road to ornately decorated works of art.
A 6 ft (1.8 m) bō is sometimes called a rokushakubō (六尺棒: ろくしゃくぼう). This name derives from the Japanese words roku (六: ろく), meaning "six"; shaku (尺: しゃく); and bō. The shaku is a Japanese measurement equivalent to 30.3 centimeters (0.994 ft). Thus, rokushakubō refers to a staff about 6-shaku (1.82 m; 5.96 feet) long. The bō is typically 3 cm (1.25 inch) thick, sometimes gradually tapering from the middle (chukon-bu) to 2 cm (0.75 inch)at the end (kontei). This thickness allows the user to make a tight fist around it in order to block and counter an attack.
In some cases for training purposes or for a different style, rattan was used. Some were inlaid or banded with strips of iron or other metals for extra strength. The kun range from heavy to light, from rigid to highly flexible, and from simple pieces of wood picked up from the side of the road to ornately decorated works of art.
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Weapons / History of traditional weapons
« Last post by Blade~ on March 26, 2017, 09:06:49 am »It is a popular story and common belief that Okinawan farming tools evolved into weapons due to restrictions placed upon the peasants by the Satsuma samurai clan when the island was made a part of Japan, which forbade them from carrying arms. As a result, it is said, they were defenseless and developed a fighting system around their traditional farming implements. However, modern martial arts scholars have been unable to find historical backing for this story, and the evidence uncovered by various martial historians points to the Pechin Warrior caste in Okinawa as being those who practiced and studied various martial arts, rather than the Heimin, or commoner. It is true that Okinawans, under the rule of foreign powers, were prohibited from carrying weapons or practicing with them in public. But the weapons-based fighting that they secretly practiced (and the types of weapons they practiced with) had strong Chinese roots, and examples of similar weapons have been found in China, Malaysia and Indonesia pre-dating the Okinawan adaptations.
Okinawan kobudō systems were shaped by indigenous Okinawan techniques that arose within the Aji, or noble class, and by imported methods from China and Southeast Asia. The majority of Okinawan kobudō traditions that survived the difficult times during and following World War II were preserved and handed down by Taira Shinken (Ryūkyū Kobudō Hozon Shinkokai), Chogi Kishaba (Ryūkyū Bujustsu Kenkyu Doyukai), and Kenwa Mabuni (Shito-ryū). Practical systems were developed by Toshihiro Oshiro and Motokatsu Inoue in conjunction with these masters. Other noted masters who have Okinawan kobudō kata named after them include Chōtoku Kyan, Shigeru Nakamura, Kanga Sakukawa, and Shinko Matayoshi.
Okinawan kobudō arts are thought by some to be the forerunner of the bare hand martial art of karate, and several styles of that art include some degree of Okinawan kobudō training as part of their curriculum. Similarly, it is not uncommon to see an occasional kick or other empty-hand technique in an Okinawan kobudō kata. The techniques of the two arts are closely related in some styles, evidenced by the empty-hand and weapon variants of certain kata: for example, Kankū-dai and Kankū-sai, and Gojūshiho and Gojūshiho-no-sai, although these are examples of Okinawan kobudō kata which have been developed from karate kata and are not traditional Okinawan kobudō forms. Other more authentic Okinawan kobudō kata demonstrate elements of empty hand techniques as is shown in older forms such as Soeishi No Dai, a bo form which is one of the few authentic Okinawan kobudō kata to make use of a kick as the penultimate technique. Some Okinawan kobudō kata have undergone less "modern development" than karate and still retain much more of the original elements, reflections of which can be seen in even more modern karate kata. The connection between empty hand and weapon methods can be directly related in systems such as that formulated in order to preserve both arts such as Inoue/Taira's Ryūkyū Kobujutsu Hozon Shinko Kai and Motokatsu Inoue's Yuishinkai Karate Jutsu. M. Inoue draws direct comparisons between the use of certain weapons and various elements of empty hand technique such as sai mirroring haito/shuto waza, tonfa reflecting that of uraken and hijiate, and kama of kurite and kakete, as examples. The footwork in both methods is interchangeable.
Okinawan kobudō systems were shaped by indigenous Okinawan techniques that arose within the Aji, or noble class, and by imported methods from China and Southeast Asia. The majority of Okinawan kobudō traditions that survived the difficult times during and following World War II were preserved and handed down by Taira Shinken (Ryūkyū Kobudō Hozon Shinkokai), Chogi Kishaba (Ryūkyū Bujustsu Kenkyu Doyukai), and Kenwa Mabuni (Shito-ryū). Practical systems were developed by Toshihiro Oshiro and Motokatsu Inoue in conjunction with these masters. Other noted masters who have Okinawan kobudō kata named after them include Chōtoku Kyan, Shigeru Nakamura, Kanga Sakukawa, and Shinko Matayoshi.
Okinawan kobudō arts are thought by some to be the forerunner of the bare hand martial art of karate, and several styles of that art include some degree of Okinawan kobudō training as part of their curriculum. Similarly, it is not uncommon to see an occasional kick or other empty-hand technique in an Okinawan kobudō kata. The techniques of the two arts are closely related in some styles, evidenced by the empty-hand and weapon variants of certain kata: for example, Kankū-dai and Kankū-sai, and Gojūshiho and Gojūshiho-no-sai, although these are examples of Okinawan kobudō kata which have been developed from karate kata and are not traditional Okinawan kobudō forms. Other more authentic Okinawan kobudō kata demonstrate elements of empty hand techniques as is shown in older forms such as Soeishi No Dai, a bo form which is one of the few authentic Okinawan kobudō kata to make use of a kick as the penultimate technique. Some Okinawan kobudō kata have undergone less "modern development" than karate and still retain much more of the original elements, reflections of which can be seen in even more modern karate kata. The connection between empty hand and weapon methods can be directly related in systems such as that formulated in order to preserve both arts such as Inoue/Taira's Ryūkyū Kobujutsu Hozon Shinko Kai and Motokatsu Inoue's Yuishinkai Karate Jutsu. M. Inoue draws direct comparisons between the use of certain weapons and various elements of empty hand technique such as sai mirroring haito/shuto waza, tonfa reflecting that of uraken and hijiate, and kama of kurite and kakete, as examples. The footwork in both methods is interchangeable.