Heisei 24 / 2012

Kyudo Glossary
~~l I I D-utJ J P7ll!3e?!I t~iJ i:t~(J'\ 1) J ~tj~~~
First Sekai Kyudo Koryu Enbu Kai (Paris] executive committee
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[Second Sekai Kyudo Taikai (Paris] Pre-Event]
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Objective:
At present, as the internationalization of Kyudo progresses in Europe, North and South
America, as well as in Asia and Australia, the number of Kyudo lovers is growing.
As a part of the ancient traditional culture of J apan, Kyudo has a large meaningful
vocabulary, and in order to introduce the correct vocabulary to the people of many
countries and to help spread the true Kyudo, it has been collected in a common lan-
guage. Our objective here is to compile an internationally standardized glossary of
Kyudo.
Process of classification
The Glossary has been compiled with the following points in mind:
1) Terms in the Kyudo instruction manuals (Kyudo Manual Volume 1) as well as the
Kyudo Kyogi Regulations have been compiled
2) The internationally standardized glossary has been romanized (i.e., written i n Ro-
man letters),
3) Explanatory sentences have been applied to supply meaning to words and expres-
sions deriving from J apanese
4) Following the preparation of the Glossary, the current English instructional materi-
als are to be revised. (Presently, instruction in most countries is done using the
translated terms.)
5) The Glossary shall be updated with new terms as required.
2
Romanized
spelling
A
Ashibumi
Atari
Ateyumi
Awasebanare
Azuohl
B
Betaoshl
Blku
Bosl11
C
Chl/lml
Chudo
Churlki
Daisan
Dakimato
Dekata
Dogi
Doho
KYUDO TERM
J apanese explanation
English explanation
J Ell',!jJ :i. CjBI < Mj(7)J lI 7)ill'~h1J o
The way of placing the feet when the Yumi is drawn.
9=>~) I BSJ f=0t..:~'::'l::o
Hitting the Mato
9=>l"5 I BSJ f=~'"C~'::'I ::>:.:E1:: i., ~*~fllHJ l.l...n',b"5iJ l~1:i(7)'::'l::o
The person who, in drawing the bow, ignores the basics and is mainly
concerned with hitting the Mato.
-g.:bttilln {E~1!J v'-y){~ < jffif-,-C:Wlil'j'->:1!J :b-1tlJ l$T~ltl1.O)'::' 1::0
Hanare that is released by adjusting both hands without Nobiai.
:titl/~I BSJ HfHt ~t~pfi(7)'::' I ::0
The place where the Mato i~positioned.
t.:;jEflL., -,-,-y){:j'.ir;f1., -C(7)uG"C'Cj>:f!T'::'l::
o
The wrist is bent, and the Yumi is pushed forward with the palm of
one's hand
u: ~O);ln~l'\ f!!f,~ili&f=fJ ;J =51~m:,b'::'l::o
I n Kai, the draw contracts and the I te unconsciously and abruptly draws
again.
~~ [_] (7).m$~I 7)~>:m~$~I 7)'::'i::o
The part of the Yugake that covers the tip of the thumb.
~dJ:i. I ~J (7);I ;I (!&~"C\ )f<.:;i]"?1i'I . J j'J ~-y){*~u'::' I ::0
I n Kai, the Kiryoku, shoulders, and elbows become slack.
cpjjjiiJ I I J J >:51< .ill...v'~{*(7)~11t\I 7)'::' 1::0
The correct body posture when drawing the Yumi.
~t7J ' 9=>7J19d'J >:fifi'=I '-:n'fil::>iJ lv't.:i;l(!t~I 7)'::'l::o I *:==:'J I :: 'b~o
The position in which half of the Yajaku has been drawn. Also called
Daisan.
D
fifi' I 9<:RJ 0)=1'-7t>:iJlv't..:;I*!t~I7)'::'l::o I M:1J 9=':1J J I :: 'b~o
The position ill which haLf of the Yajaku has been drawn. Also called
Churiki.
lilsJ (7)r.p,L,J : ~i&1R1H=rifJ 7J '-:>'"C 1!~ill'~hJ T,b '::'1::0
Positioning the Ashiburni at a point behind the center of the Mato.
1i1l'i -y){lltrf=I \,bIi'I (7) .::. I :: 0
The left shoulder extends forward.
I *J -y){f;t. < lW1filI J f=U..:::&ijfi(7)'::' I ::0
Clothing which has Tsutsusode (tight sleeves) and not Tamoto (long
sleeves) .
153i:J f=:'K(7) I ~J HJ :66,bJ 1i1H'F~H;'ff=lft>:jl&~l...66~~f={~fflT ~
@*o
A tool used for tightly winding jute fibers on the Tsuru where the Hazu
of the Ya is nocked.
3
Dozukuri '7~ijl <I :: ~O)!J '{'HillLz_J .:,/rO).:: Co
The way of readying one's body when drawing the Yumi.
E
Enso lffilntHp!;f-t.:: C 1j:< p:j Hl,'j < J :: oJ t.dT~l"1'!U J .:,':: I ::0
Preparing by making a circle-like [01"111 with both of one's elbows, and
not by stretching them.
F
Fudeko l'7i!i:J --C'tJ t'P) O)m- ~ ~li:&,)J .:,;f)}0)':: Co
A powder used in Kyudo to stop the Nigiri from slipping.
- m I 7J' 7J' ; " t = 1j:J .:,!J '{:f0)':: Co I f:llijtff1JI :: bv' oJ
The body is bent forward. Also called Kagamudo.
Fushido
Geza/shimoza T@: Ti!L:O)f.\';' - J:$ \pJTO)':: Co
The lower position.
Giriko ~'~H I 5lJ 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 is
said to make a 'giri, giri' sound wheu applied. (A powder made from
the oil extracted from boiled tree resin.)
Gobunotsume 1iflBO)~ ft:tlO)$, ft:tJ O).il'l, ij0)5TPJ T~lEL(1fi-1'=lfEv'Wi&')%-)~o
The fitting together of the five points of left and right fist, left and
right shoulder, chest, according to the correct skeletal alignment.
Godo 1iijlii] 1X J.:" f:llu, ~i)'J.:" ill(, qolEo)1L-::>0)!J '1:fO)tkl~0)'::l::o
The five physical states of Kaeru (turning), Kagamu (bending), Kakaru
(leaning towards), Hiku (leaning away), and Chusei (balanced),
Gogushi i~$ rB<jJ ~jgiU=[I iJ ;.E'i!--ttJ .:,$O)':: 1::0
A sharpened piece of bamboo designed to hold the Mato in place at the
Azuchi.
Gojyujyumonji 1i~+X:~ 1LTP JTO)+ 'Jt~O).:: Co (1)'7 I :::9<:(2)'7C I fifi=f- J 0) I .=f-O)I *I J (3) I 5lJ
0)~ml::~~~O)qo.clffil.il'l~M~.5rn.C:9<:
The five places of the J yumonji. 1) the Yumi and the Ya, 2) the Yumi
and the Tenouchi of the Oshide, 3) the Oyayubi of the Yugake and the
Tsuru, 4) the horizontal line connecting both shoulders crossing the ver-
tical line at the central, line of the chest, 5 lthe vertical line of the neck
and the Ya.
1'J ~t '7 ~ij I < ~iI O)!I l1J YFO)'::Co
One complete sequence of movements that comprise drawing the Yumi.
Gyosha
Ha ~ '7o).J .:,$~O)~o.~~~m<'::I ::~~O)~~
The part of the Yumi that is gripped. The name derives from wrapping
the Nigirikawa.
~>J 51~ l'7f~':U l"J jc52:O)r"'~~~0):&'i!-l'Elffilntl"*--::>-COO <.:: 1::0
I n Yugamae, drawing the Yumi the length of a feather between Yumi
and Tsuru with both elbows.
J\flBO)~E r1Ljj"~O)lli1iJ ':::J E,ij~Ul 't1J O.:ZJ ..: 8 TP JT ~ lE L < ll-iH=tJ fH;;I : <l6..g. -7 ~o
Adding Ashi (Feet), Koshi (Lower Back), and Hara (Solar plexus) to the
Gobunotsume to form the Hachibunotsume according to the correct align-
ment.
Habiki
Hachibuno
tsume
Hadaire I ;fOij~J "C', ftfill ~~-t.:: I ::0
Returning the left sleeve when wearing Wafuku.
4
I ;fD~~J "C', ftfill HlI.('.:: Co
Removing the left sleeve when wearing Wafuku.
i] I v' t.::9<:7'J ~B'J O)-mI O)-tlli.I D H'I !I --::> -C r~J f:::1I l3 < ~:k!iM'::Co
A Ya that, having been released, slides along the ground in front of the
Mato before reaching the Azuchi.
:9<:~~flO)r"9f:::<b0~1'i0)':: 1::0
The node of the bamboo near the middle of the Yabane.
Hadanugi m u m ~.
Hakiya ~~*
Hanare
Hanakabushi ~~, * , ~1 ' i
Hangetsuno
nerai
Hansoku
Harauhanare
Harigao
Hashiriba
Haya
Hayake
Hazu
Hazu
Hazukobore
Hazumaki
Hazure
Hikagami
Hikanuyazuka
Hikiwake
Hikuyazuka
Himezori
ilit:l1. iI lW:/1..J .:,~r.l]O)':: 1::0
The moment of releasing.
=Ffl(7)~jlVI B'J J -~~ l:9<:f'l!l~J O)ft1ftlH:::1'tft-CaEl-)'::co
Aiming at the half of the target to the left side of the Yasurito.
=F.1E J E3:O):&'i!-O)-~O)':: I:: 0
Half of the length of one's foot.
tL -J ilit:l1. lltn:::<bJ .:,<b 0) NLv'O)ftJ .:, J : oJ ;;j:iI lULO)'::I ::0
A release that appears as if one is driving something away.
~~ltl! '7 ':::'12: ~tJ 'Ht*--::>t.:lI':f, /OJ't:-1ftlJ jjlj 7J '~~t.:JF:;O)':: I ::0
The shape of the Yumi as' seen from the side-view when strung with
the Tsuru,
*~)~~:9<:'t:-ilf.zt..:S;j\ ..t':::[Ojv'-citv'-c v' J .:,~;J fElO)'::I ::0
When the Ya has been nocked, the Hane attached to the top.
I'fl* 5'Gf:::~H:9<:O)'::l::o ~HlO)~7'J ':'1!-[Oj~f:::1ift-C<b0:9<:0)'::Co
The first of the Ya to be shot. The Ya is fletched with the surface of
the Hane facing outward.
."f.~ I ~J f:::}"G1j:v'-) i?nj~:/1..07J ', it..:t;;l: I ~J f:::}.,--::>t..:uH&f:::i1lI t:/1..J .:,
.:: I:: 0
Releasing a Ya before Kai has been reached, or releasing the Ya imme-
diately after Kai has been reached.
* 52:~iI f.zJ .:,pJ To
The part of the Ya where the Tsuru is nocked.
~1! '70) jjIjj;lIM0) '!Uiii ~tff f tJ .:,pJT0)':: I:: 0
The two ends of the Yumi where the Tsuruwa are positioned.
* Z.ia' :I 1 . :9<:~iIf.zt,:1&, ~1t:/1..J .:,J iirf:::,*:7J '52:;(I '~ li-f:/1..J .:,':: Co
The Ya, having been nocked but not yet released, loosens from the
Tsuru and falls.
*~ :9<:0) r~J ~*'t*--c:~v'-C[I iJ <l6J .:,*o
The winding and hardening of thread to fix the Hazu to the Ya.
:$'j.:I 1. I B<jJ f:::<bt.:G;;j:v'':: Co
Not hitting the Mato.
U tp Ii (}f. n!1l0)~~( 1m~1 ' i0) I *I1l!I J 0)':: I ::0
The back or hollow of the knee
51 iJ' Ml.* * r:9<::J RJ~~fH:::ijl ~, r1li1i%V'j, r{$%v'J 7J i:iliJ J v,'"CV,J .:, I ~J 0)':: to
In Kai, when the Yazuka has been fully drawn and Tsumeai and Nobiai
begin to work.
51-51Lt /OJ :9<:BI ~mJ < :1J~0)':: 1::0
The method for drawing open the Yumiya.
51 <** I :9<::J RJ~~ff,:::ij I v't':1& <b 'i!-~f::::9<:BI v''"CV' < I ~J 0)':: Co
I n Kai, when the Yazuka has been fully drawn, and the Ya is drawn
still further.
I ..tW~~J J :~To)~J .:,~~~lX--::>~~.O)ill~O)'::l::o
The gently curving line of the area below the Kamikiritsumeto
5
Himezoribushi *g}~J 1'i
Hinerikawa
Hirakiashi
Hirazuke
Hitote
Hitotsumato
sharei
Hizawoikasu
Honza
Hozuke
Hozuriba
Itatsuke
Itsukebushi
Ite
J iman
J iman
J yundachi
Kaeya
Kaeyumi
6
I "jl/')fJ t'rI /')~J :jJ ~I /')J !1J I /'):: t o
The node of the bamboo on the Yumi in the topmost section of the
Uchidake
itEl 15l1iJ I /')A~ Lt'I /'),fN.51;~=-5R::d-:ElI /'):: t o
The leather glued to the base of the forefinger on the Yugake
~~J E 1lW;~J ipG90ocfoJ ~:a:~.:Z:t,J J :!.~I :f~I /')::to
Turning 90 degrees while in Kiza position
+1 1 v t I 4iJ l";fi-=fl/') if!7'l{tJ I j I : 101 <~r;I /'):: t o
I n Kai, the back of the right hand faces forward,
- :9Z:2;$:I /')::to C!EJ 3:9Z:1I /') 1z:..:9Z:12;$:1/'):9Z:1/')~)
A pair of Ya, The Haya and the Otoya,
--:)B~~i*L---::>1/') I B'J J 'li:3A (2AXI 4Al/')j~i.H)J ;,:t,) C"M:t, I M:fLJ I /')
:: Co
Sharei which is performed with three people shooting at one Mato (situ-
ations with two or four people are also possible.)
~~1:1J '9 I ~J ff~J C".:tt-: :t,~H;'t-:J t-:2*'Ii: W71' Gy LJ :lj':t,J M"FI /'):: t o
A. movement in Kiza in which the knee on the side carrying the princi-
pal object is lifted slightly off the floor.
*~ I 1z:MJ I i l~tfiLJ J : ~2 tt<-=ftJ lj, I ~MJ I i I M{iLJ J : ~3 tt<l%Q)
{lZ:jjl[Q):: t o
The position in Rissha two steps in front of the Shai; in Zasha, three
steps in front of the Shai.
*J H1Lt I 4iJ l", :9Z:71'J iJ H=-lt<:: t o
I n Kai, the Ya touches the cheek.
:9Z:'li:ift.:Zt-:s~, fJ 1MI H=-fj:Q~~fN.Q):: t o
The Hane facing the inside when the Ya has been nocked.
9'2t ~0
Yajiri
9'2t ~i=-i!iv'J!n I/') :: t o
The node of the bamboo closest to the Yajiri.
I "j HHli' t o
A person who shoots with a Yumi.
J
i@!1z:
,!jjfdtl/')lljiHs~1/')iPl-J :, t - :~H~ 1/'):: Co
A condition of fullness at the moment of Hanare.
I 4iJ l"*ll~71'ijllj-J :, Q I /')H'!f--::> fs' 1/'):: t o
I n Kai, the moment of waiting for Seiki to become full.
~A't)[l"qTMT:t,~, 1ift71'G 1;$:-5--::>}I I &*1~/'o",MQ:: t o
When performing Gyosha with several people, starting from I chiban and
each shooting one Ya in order.
K
/fiJ !I jI /')~!L~I =-iJ lI l.:Z-c J ;,G;()'O'.l~iJ lI lTQ'f{iffll/')9'2Q)': t o 'fiJ lll:9Z:t
b"l70
Preparation of a replacement Ya in advance of unexpected situations,
Also called Yobiya.
/fiJ !I jI /')~!L~I =-{iffl.:Z-C, J ;, Gip tl6i.~fmlT :t,'f{iml/')I "jl/'):: t o
Preparation of a replacement Yurni in advance of unexpected situations,
/fiJ !1jV')~!L~~::~1I l.:Z-C, J ;,Gi.ptl6$fmlTQ'flifflQ)3(I /'):: Co
Preparation of a replacement Tsuru in advance of unexpected situations,
llfj;(p;((J ;,~::fj: QHI nJ :1l!t ~1/')': t o l{itmnJ J t b v' J
Bending forward during Dozukuri. Also called Fushido
I 9'23RJ ~+Y}- ~:::51 V' t-:1*!L~I/')': t o
Drawing the Yazuka completely,
mtLJ :a:1T7a;'j', l~iJ 'I i:'liI HtTQ:,l-I /'),:to
The person who assists the I te when Sharei is performed.
BS:1J foJ ~::{l:]!v'-Cv>Q I MI nJ :@~J 1/'):: Co l~nililJ Cbv'7o
Dozukuri that is inclined towards the Mato. Also called Totsudo.
;fi-=f~:::iiI 6QMElI /'),-~I /')': Co
A deerskin glove worn on the right hand,
1~l1iJ Q) 15MtJ ~::: .ti.J "I lH C :: ;:, Q),: t o
The 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': t o
The right angle of the Boshi of the Yugake and the Tsuru,
..1tJ J ~ff~ ",'H'r, r*1tTt 1J :~t.&:J 'li:I J ',jJ ET:t,t-:I 6~=-~<~I /')::Co
The cane wrapping that holds together the Todake, the Uchidake and the
Uwasekiita.
Kaezuru M5t
Kagamudo I BlHI nJ
Kai
.c"
"'"
Kaizoe 11'~~
Kakarido l!!liHilil
Kake/Yugake
5*
Kakeguchi UfD
Kakeguchi
jyumonji,_
Kamikiri
tsumeto
Kamiza/J yoza ..1&
Karahazu
Kashinjyotai
Kasumimato ~B9
Katabanare J t ~n
Kataire j j l A n
Kataya J t ~
Katte ~-'
Kattebanare ~~n
,~,
Kihontai :$:1*
Kihontaikei :$:1*lj'J I
J :ilZ:l/')J li',', J:k';pfiOK t o
The higher position.
Pil5HrJ a~, I ~J 7l'3(;(pG3J ttL -C, 1:9Z:~tLJ -ttfl:::J l#ttLt-:~, 9'271'
;J R:(;ffj:v< t o
During Hikiwake the Hazu becomes loosened from the Tsuru, there is
no Yakobore at Hanare and the Ya does not fly,
i!tu~ii I T~J l/')j;EiJ ' G, j[l < t ~I i I J :~J 1/')J J :!.71' G~.sJ )J {"FQ)
, : t o
Moving forward beginning on the Geza / Shirnoza foot, and while mov-
ing back beginning on the Kamiza foot
<=jJ c',:a:aC L, =:--::>I /')[EjUI J HlEv't-: 18SJ 1/')': t o
A Mato marked with a white center and three concentric circles,
;fi'-, tr:V')V<ftL71'-}J I /')l"~lttLi5:: t o
Releasing with one of either the right or the left hand.
I 9'2J HH f~ I /')jJ 'I i:i~1j Q t ~, i t : iiJ l'Hl!!: G L~C"~ B I OJ o
Measuring the strength of a Yumi without nocking a Ya, or drawing the
Yumi while warming up.
1if!9'2J -;U-:ii 1z:..9'2J v'ftLiJ ' 1;$:Q):9Z:I /'):: t o
A single Ya, either Haya or Otoya.
;fiI /')': Co 1,@)-=fJ t bJ 0
The right hand, Also called the Mete
tr:J : ~;fi-,l/')jJ 71'~-:J -C~ltT b 1/')0 1.@)-=fJ l#ttLJ . 1;fi-=fllllttLJ t b
J 0
Using the strength in one's right hand more than the left hand at Ha-
nare, Also called Metebanare or Migitebanare.
4;$:'i2!!i}, 8 ;$:ilifFI /') ,: t o
The four basic postures and eight basic movements,
ll'ift11it+J t':f=J C 1.IL+J t':f= J Q)1*:WI/') ,: t o
The Tateyoko J yumonji and Gojyu J urnonji Taikei
7
Kinteki lfrBi]
Kiri m~)
Kirisage mWl'Lf
Kiryoku
%.1J
Kiza
~)[~.
Kobanare I J \~tt
Koko m:D
Kuchiwari D~tl
Kurikomi ~~) J.6d f
28m O)gjljI H=B%J i' < *0
Placing the Mato at a distance of 28meters.
J ilI UlO)
Hanare
iJ ilithJ -Cjl!if'f- i i: {i:05'f-ipli''f-iF:k 6 < T"~ -G ~:: to
Either right or left hand or both hands drop at Hanare.
1tiiJ J {=i: z ~ ::I :::7irI H1~.:6*i1lt$:1J0
The will power that allows action to continue.
J l\J 1:-::>-Cml~jjJ i'l::~{=11ftJ l:'l::T0 Lt-:.~~'O):: to
A seated posture on the tip of the toes and with the knees on the floor
and the back is lowered.
:o5'f;6r,J , ~<jljlth~:: to
A smaller release by the Mete.
ft'fO).mO)a~tA~LmI :::O)OOO)HO)$~O)::to
The skin between the base of the thumb and forefinger on the Oshide.
i4'?J -C:9<;7irJ g..0)1lz:tl'l: {=;t;, 6:: I :::0
I n Kai, placing the Ya in the area of the line of the mouth.
i:9<;iI }zJ J J J 1'F-C, i,*J i-~-::>-n3::O):ill1) {=:9<;'I ::~I )J 2:,triJ J 1'FO):: 1:::0
The movement of taking the Hazu and moving it towards the Tsuru dur-
ing Yatsugae
Kusune ~~. ~:l:iJ t;~l'l i:::YiI! i-ii-tft-.: 'il ore: ~3::0)1f1g~~9='{:J lHH1'F1.,1lif{=ffl v' 60
A mixture of pine resin and oil applied when reinforcing the Tsuru or
making the Nakajikake.
i1TMJ {=.i3ft 1.,gr.b1'F0)~OCt r"'!li;1ji-M1J ]{=i~I j~o
Appropriately measuring the timing and distance of movements in
Gyosha.
M1il:f~'I l1ffl {=~ < t-.:'i;/d .t-.:~*O):: to
A tightly bound straw bale used for practicing Shajutsu.
BSO)jJ [OJ O):: to
The direction of the target.
ElO);'il;~:ill1) 0):: 1:::0
The field of vision.
I ffi'f(~~) :o5'fO)::to i#9f4J t'il,-)o
The right hand. Also called the Katte.
I ffi~~tt ft'fJ : I ) :o5'fO):1J 7irH9f-::>-CJ ilI tT 'il 0)0 i~'fjljithJ . i:05'fJ ilI Lh..J t 'il '
-)0
Using the strength in one's right hand more than the left hand at Ha-
nare. Also called Kattebanare or Migitebanare.
El-:5 1J 'l \ EI 0)1~v'jJO):: I ::: 0
The use of one's eyes.
=- '?5lit tl'lO)~;6~ 3:;js:;t;,65 *0):: to
A Yugake with three fingers.
~Bi]~i*L iM'f-J 4ij:{=WfflO)BS'U11., iM:tLJ 0):: to
Sharei which is performed with each I te aiming at his or her own Mato.
Maai
Makiwara
Matoshomen
Medori
Mete
Metebanare
Mezukai
Mitsugake
Mochimato
sharei
8
:9<; i-iI } z 1.,:illiJ 0)5 1n =Jff. i-:!Itv' -C1i1l5~Lt-.:l!G51'0):: to
The section of the Tsuru where the Ya is nocked that has been rein-
forced with jute fibers.
'f;6~1fTh'f, 9='1l'lUMl'l;6~'P,C.'{=~-::>-CtI jlT i'fO)i*J J 0):: to
The wrist is unbent, and in the center the middle finger and the thumb
push the Tenouchi.
i'Htl&6 Ti'1151'0) :: to
The part of the Yumi that is gripped.
:9<; 0) Tt 0) ::: to
The bamboo of Ya.
i4'?J -C, ~:1H]t;~~-ttr"'[!J f~<f$:HJ 3[Y6::: to
I n Kai, the Kiryoku becomes full and the body continuously flows out-
wards.
1$tf'i3 f~i!tT1.,2.21m J : I) :!'i:v''7O)::: to
Yumi that are longer than the standard 2.21meters
~~[il I BSJ tRH:1J [OJ {=11:jjV'-Cv'1., iR[f;J ;@~J 0)::: to
Dozukuri that is inclined away from the Mato.
~)J l li'm ;6~1&0 ~=j@z -Cv' ~m 0):: to
The left shoulder is held back.
~<~tt 1$:;6~1&;z,{=:i'iHr, jl!if'f'illtr{=I l~J illthO):::to
At Hanare, the body pulls back and both hands release towards the
front.
Monomi 4~~
Monomigaeshi ! I m~J ! R L -
Morogake ~fl~lit
Motare tt.::tt
Motohagi *j:~1
Motohazu
Mukobane
Munazuru
Muneate
N
Nakajikake q,1tff Lt
Nakaoshi
q,WL-
Nigiri
:f.i
No ~
Nobiai
1$.gl \
'J
J
Nobiyumi
Nokido
Nokikata
Nokuhanare
rot Hs{:[OJ~t6 :: to
Turning one's gaze to face the Mato.
I BSJ ~=[OJ ~tt-.:rot:r~T:: to
Returning one's gaze after facing the Mato.
tl'l0)J ;j(;6~5:;js:;t;,~ i~1l'iJ 0)::: to
A Yugake with five fingers.
I 4'?J ~=AI ), I ilh1.,~4'?B!ll, )i,Tjth-h~:1tHL~H*!L~o
Having reached Kai, the chance for Hanare is lost and Hanare isn't pro-
duced
i:9<;~~f.lllJ 'I :: it%J {=ft1.,S'!i\ i:9<;ffU jJ H*l':!I t6~l6t-:.p.iT0):: to iT
17U t <b' J 0
The place where the thread is wrapped on the Yajiri side when fixing
the Yabane to the No. Also called the Shitahagi.
'7O)T:trflffO)~:M,\jjO);6';Q'~Ti'f,~O):::to iriJ I fJ t<b'-)o
The lower end of the Yumi where the Tsuruwa is positioned. Also
called the Shimohazu,
*i-iI } z t-.:Ilif, >7'I l~lJ f= ~6~~i'J M:: t 0 i1~:J lr~~J t 'il ' -) 0
The Hane on the outside when the Ya has been nocked. Also called To-
gakeba
I ~J l"5!Z;6~J lijt=it < :: to
I n Kai, the Tsuru touches the chest.
1T~11lif{=J liji- ~3::;6' 1::,f*~1t'T6t : 160)~ - c t m O ):: to (~m\tBS {: ft+;6r1~
fflT 60)
A covering worn during Gyosha to guard the chest from the Tsuru. (I n
general it is used by women.)
9
Nonakabushi ~,*,~1'i
Noshirabe ~~1lJ r(
o
Obanare * ~n
Ochi 5i
Ochikata 5im
Ochiruhanare
Okuribanare
Omae
Oshide
Oshidegake
Otoya
Oyayubi
p
Q
R
Rissha
S
Sadamenoza
Sanjyujyumonji
Sanmiittai
Sashikata
10
i!HJ 'S;fI 1I :J E;6'iC:>, jf3 < I :: ~ 1;b}'E;6'iC:>iI ~!liJ J fFO)C:1::0
When moving forward, the left foot leads, when moving back away, the
right foot leads.
ss, i[fr)K71"7;;.7d: 2"6 !1tftc: I:: 0
The physical body filled with Kiryoku and energy
rll\J J 0) c p, C " O ) c: I:: 0
The center of the Mato
~ ,:>1-: ~?i!gi:: 0
The formal upright sitting position.
~ 0) I .Tjl!ijilifij0) I *J tlrfJ lUI=,*~ l-C;b 6 *ffO) c: I:: 0
The wooden blocks attached on the Uchidake side at both the upper and
lower ends of the Yumi.
1Ul.tl:.60f,& ~O)I .Tl*J l~Uf=1tftt-:~RO)C: 1::0
The wooden blocks attached on the inner side at the upper and lower
end of the Yumi.
~;6"~I= -'.)~, t~7\:;;6'ij~~lljT'ENI=Jffii' 6:tLO) -:. I:: 0
Bowing with the palms of pne's hands placed on the floor, the tips of
the fingers brought together at the knee
Shahohassetsu ~ijt:)\~1'i~~M1.Jt-:~O) 8 -'.)O)~T.O) c: I::0
The 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::0
The central position where the I te stands during Gyosha.
ltlJ H1T J * f<0) - :.I:: 0
A Taikai at which a Kyogi (a competition) is held.
~4ljn~t. #'lilu0) ~~.z; 6' iC:> 1I :#'fI . I=n ~ +ne: c: i:: 0
The method of Uchiokoshi starting from diagonal Yugamae to the left
forward diagonal.
rMJ 0)* 1 :: 7J :1.J :t~OC,ifil11o,Mit, M1R~1Fi' 11TMJ 0)%0)0
The form of Gyosha that displays the basic attitude, movements, steps
and technique for Sha.
Shibenohanare 0l:gBO)~n 1I :;b0)ft;, 1I :;bO)mO)[7I J -7jiJ T;6"~3'xl-CMn1.J J !J !.tE(ilS7J :lI !~nO) c: I:: 0
Aligning the four points of the left and right fist and the left and right
shoulder for the ideal Hanare.
rmJ 0) cp1i 1::' 1 = ;b1.JffiiJ 0) c: i:: 0 (9c t fJ ;6' iC:> =-'.) 0) ffiil)
The node of the bamboo near the center of the No. (The second node
from the Yajiri.)
5~jjJ liJ -"(0)1&,I :reJ HJ ,'iJ -"Z1.J ifi))fI 'O) -:. I:: 0
Following Tsurushirabe, the step of examining the No.
Sashinutai l e J l ; f i J E ;
Seikitai ~~1*
Seiko/Seikoku .:H~
Seiza jE~
Sekiita I Ulf'&
1I :;b0)-f';6"*~ <lil~n 6 c: 1::0
The left and right hands release expansively.
r1TMJ -t6S;f, l:ll.t4iJ :O) li1i'mO) I M-f'J O)C:l::o
The last He in Hitotachi when performing Gyosha.
ft;bO)m;6';.K''Z'7d: <, ;bm J : ~1I :mO)l!lv'mO)c: 1::0
The shoulders are not level, the right should being lower than the left.
Sekitomeita
5i~0~n m0)7I I i~J : ~1!l< TI =lilJ tn1.J c: 1::0
A release that is lower in height than the shoulder.
$f) ~n ;b-f';6'BSO)n~~ ~-'.)-'.)lilUL1.Jc: I:: 0
During Hanare, the right hand returns in the direction of the Mato
kii1.i r1TMJ -t6S;f, l:ll.t4iJ:o)li1i'rwO) I M-f'J O)C:l::o
The first I te in Hitotachi when performing Gyosha.
~~-f' 1I :-f'0) c: I ::0 I ~-f' J I :: 'bB7 0
The left hand, Also called Yunde.
Sesshurei
Shai
1I :-f'I =fifjv'1.J I 5lJ o)c : 1::0
The Kake used on the left hand.
r~-f'J 0)7 io,q&-eM69c0)C: 1::0 5~t=1i7..t-:s':l', ;j~t.I (0)3U"l*J lfiUf=;b
1.J 9c0)C: 1::0
The Ya of a Hitote that is shot later. When it is nocked on the Tsuru,
the surface of the Hane faces inward.
~J H~o
The thumb...
Shakai
Shamen
uchiokoshi
Sharei
J I .--;;-C I M1sLJ t=A~S--;;t-:11 l:9<:iI i'.zJ ~l,J I .--;;-C51<C:l::o
The I te advances to the Shai in a standing position, and remaining
standing, nocks the Ya and draws the Yumi.
Shikenrei ~~Ml:fL
Shikitai J E~l*
Shimohazu 1'~11
Shimosekiita TlUlf'&
,1'
Shitagake TtHt
Shitahagi H~I
A ED bo)~ I M:tLJ 0)S;f, l~t-f'J &ll 11h;f:;.zJ ;6" l!E1iE[!ijJ I=Ml-C r:tLJ ~
11'J fsLliO) c: I ::0
The position from which the I te as well as the Kaizoe perform Rei to-
wards the Wakishomen during Sharei.
=~+:X:cF J Em; . J lf . mO )k, , ' R; 6" I .; 6' iC:> Jil.t-: I:: ~1 =~ttt= ~1.J~H~O ) c: I:: 0
The posture in which, when seen from above, the soles of one's feet,
the lower back and the shoulders are aligned in one plane.
=1:ll:~1* !1t, ,C" ' ~O)=:~;6"1l'l-C~-'.)I =~1.J -:. 1::0
The body, the spirit and the Yumi join together to become one.
J im ftm 0) 7I I i H~' 0) C:I :: 0
The left shoulder is higher.
1~7\:;;6'J* t=-'.)< f'EN v=J ffi-t1.JtLO) c: I:: 0
Bowing with the tips of the fingers touching the floor.
%.1 3, i[fr1<\O)~v'fto)C: 1::0
The physical body empty of Kiryoku or energy.
~O)T~ffil0)5~~~0);6';6'1.J 1517to) c: I ::0 1*i)l1J I :: 'bBJ 0
The lower end of the Yumi where the Tsuruwa is positioned. Also
called the Motohazu.
~O)Tt'J ilO)I *J t'rllllH=1tltt-:*ffO);fRO) c: I:: 0
The wooden block attached on the Uchidake side at the lower end of
the Yumi.
rgtJ O)Tv=-'.)ftJ ., 'b O)'Z', l'!l"C'{'F--;; t~-f'~C: 1::0
A cloth glove worn under the Yugake.
:9<:~~;f.I R~rmJ 1=1t~S;f, 19c1it.J 1llIJ~if,'Z'~~fiI~t-:pfiO)C: 1::0 1*
~~I J I :: 'b J 0
The place where thread is wrapped on the Yajiri side when fixing the
Yabane to the No. Also called the Motohagi.
11
Shitakirizumeto TtTJ ~5!~ J j.tJ , i*lt'rI ::: TI UJ 1'&:~I lill%:T.Qt::1iJ f:::o%< ~O):: I ::: 0
The cane wrapping that holds together the Todake, the Uchidake and the
Shimosekiita.
Shitanaribushi TJ ixe1J 1=j00i*ltJ O)T*~i}'C, 2itO)ff60):: 1:::0
The second node of the bamboo from the bottom on the Ochidake of
the Yumi.
'ffil'Tf::::jfr:h.., :tL'f~H..trI iJ ~q:::1Ef1T i'fO)P'1J 0):: I ::: 0
I n Tenouchi, the wrist is bent downwards, the left fist is turned up-
wards.
T~t i9='1J lfftJ J : ~T*I S0) i]!i; 0) :: I ::: 0
The part of the Tsuru below the Nakajiikake
T~t BI < i~.!c:ttJ O)TO)n BI A~.Q J : J ~:::51< :: I ::: 0
Drawing by pulling from below the Tsurumakura
* 5 .!c :1}Jn , r*J ::~f:h.., I =jH~I :::T~O)*rL~~T.Qo
An error such as Tsurugire, Hazukobore, or dropping the Yumi.
13?t.\0).:h ~il'~AL, l3~f:::J ilil'nJ .,::l:::o
When the moment is full, Hanare happens naturally.
1f~l'B~ iMfli:J -eB<j0)9='{,0)1;'R..tJ : ~MfftI J n'jl,l'-:>- C 1 l::::> 0
At the Shai, standing and facing to the front slightly forward of the
center-line of the Mato.
-C0) V- GO)itlHJ :l!ill ~0):: I ::: 0
The area at the base of the hand.
iEiHiHillil-lEOOO) rl=j:fl/fx.J il'C,jlljfJ W~~..tO)ii11i~~::: inj@LJ , r*=:J ~I :::.Q
nYt . 0) :: I ::: 0
The method of starting with Yugarnae in Shomen, raising both elbows
straight up to the height of Uchiokoshi and forming Daisan.
i~I J * I =j0) P'1t'r I ::: J Wr ~=t~i n t : jI I jf iftlJ 000) *0) :: I ::: 0
The wood on both sides of the Yumi that is held between the Uchidake
and the Todake.
*C'J ;Q'G3itmnO)::l:::o r:tfl3lfX:~nJ I :::bJ o
The third node of the bamboo from the Yajiri. Also called the Ottori-
bushi
Shitaoshi
Shitazuru
Shitazuruwo
hiku
Shitsu
Shizenno
hanare
Shoimato
Shokon
Shomen
uchiokoshi
Sobaki
Sodesuribushi tllli~~1J
Sonkyo lllJ WJ li
Sorido J Hij]
Subiki ~51 g-
Suki lI :oR
Sumashi 5J t l-
Tadayazuka t.:t~5 <::*
Taikei i*~
12
Tanden
Tasukisabaki
Tateyoko
jyumonji
Tenmonsuji
Tenouchi
Teru
Teshita
Teshitabushi
Todake
Togashira
Tokakeba
Torikake
J f\1l:. -:J -C Rt~J[ Hi'( f::: itH~v' J : J n~~ T ;:, U:;;g:~}O):: I ::: 0
A sitting posture on the tip of one's toes and with the knees not touch-
ing the floor.
1~;:' ~:::O)~ti'.QJ : J 1='&:.0rRFoJ i.' I ) J 0):: 1:::0
Leaning back at Dozukuri.
*~itx. "n:::'5~51 < :: 1:::0
Drawing the Yumi without nocking a Ya.
~,!frto) ~ v'1jU, tJ J 1'FO):: I ::: 0
Posture and movement in which nothing is wasted.
~ft%~1L.v', ,L,~j!jf66J .,::l:::o
Clearing one's thoughts and calming one's spirit.
Toriuchi
Toriya
Toriyumino
shisei
Tsumasoroe
Tsumeai
r**J ~i: t::51v' i: t::Vj'-e', i566if"'J b i1$[Fifv'J b~v' r~J
0):: 1:::0
Kai in which one's Yazuka is drawn, bnt without Tsumeai or Nobiai.
1*;fi3-0)~(1:$-:J~)
The form of one's physique. (One's build)
Tsunomi
Tsurumaki
BEE TRUI I O)A..-cO)Till'J O)::l:::o
The area of the abdomen below the navel.
ff ~~j"~ t : T~~J lfft ~lJ 1J J f'FnYt. 0) :: I ::: 0
The method of tying up the Tasuki.
+~~~,., ~tt,m*O) I :::,~~,jlljfJ W,jlljfM,jI I jf'fmO) ~+
)(*I :::~.Q:: 1:::0
The vertical line formed by the legs, lower back, spine, vertebrae of the
neck, and the horizontal line formed by both shoulders, both arms, both
elbows, and fingers on both hands making up the J umonji.
~;tJ t~ii A1f. Lf~;Q' G/H~O)*~~H BiM't::1l;fI :::-C'~.0' f0) V- G0) U:>O))jjjO)
:: I ::: 0
A fold spanning the palm of one's hand when the knuckles at the base
of the fingers from the forefinger to the little finger are flexed.
'f 0) I*! t :'f -C-I =j ~j}J j J .,nYt . 0) :: I ::: 0
The method of gripping the Yumi with the left hand.
~~.Q riTMJ O)S;\\ 1=j;Q"~jj[-e'I ;:J :~< J i.Q J : J ':::51~5-HJ - .Qo (~rI iJ ;Q~1~
;:,~=.&:.Q:: I ::: 0)
I n Gyousha, the Yumi is not vertical at Hikiwake, but is slanted. (The
angle of the face is tilted back.)
'f T I =j0) f}J j ~0) T I i')J l$]- I i'):: I ::: 0
The part of the Yumi below the Nigiri.
'fT~1'i 1=j00J H'rO)T*~il'G 3it, t}J j~O)TI :j;,J .,j!jpO):: 1:::0
The third node of the bamboo from the bottom of the Todake, below
the nigiri.
9 1-t'r 5Y: =5:' J lHtt : I =jI i')71-111I J 0) it0) :: I ::: 0
The onter face of the Yumi when it is strung with the Tsuru.
~Wl 1=j0):j}J j~I ::: i*f'I '1R~J O)~TJ.,)iJTO):: 1:::0
The part of the Yumi that includes the Nigiri and the Yasurito
9 Wf~>J *~itx.t::ll;f, J 1-1J l~I :::~.Q~~1lO)::1:::0
The Hane on the outside when the Ya has been nocked.
i~J ~5.!c:~:::tl'Ht.QtJ J f'FI i'):: 1:::0
Positioning the Tsuru in the Yugake.
iPg;.&: I J J O)T-C'\ -I '.&: ~0)* ~,,'J :pjfO)...t:i22O):: I ::: 0
Below the Himezori, the area above the largest of the curves.
:1&5<:: iifl:9<::J HHSif, rz,*J ~:Ei'ff=t'f-:J :: 1:::0
Holding the Otoya in the right hand when shooting the Haya.
1L~0)~~ I =jI :::*~:fib t::lE Lv'~~\O):: 1:::0
The correct posture for holding the Yumi and the Ya.
llUWi:z ft ' f0)9= ' 1 ~, ~f~, +m0)3mO)J f\j'[;il'ffiH ::1:::0
Lining up the tip of the middle finger, the ring finger and the little fin-
ger on the left hand.
~~l' r~J -C-,~~~n:O'il'J ;.if;b~ ~, r1$[f'if"'J il~tI:\*.Q~*rL~~:::~.Q:: 1:::0
I n Kai, the condition in which all of the joints are engaged and Nobiai
is possible.
fiB! l=j'fO)W::j~O){t'HlO):: I ::: 0
The base of the Oyayubi on the Yunde.
~t ~ W5.!c: ~o%v)-C;j3< ~~O):: I ::: 0
A case for storing the wound up Kaezuru.
13
Tsurumakura
Tsurumichi
Tsurune
Tsurushirabe
Tsuruwa
U
Uchidake
Uchikiri
Uchiokoshi
Urahagi
Urahazu
Urazori
Uwabanare
Uwahagi
Uwahazu
Uwanaribushi
Uwaoshi
Uwasekiita
14 '
.HI I
...tiJ J l:
i5J I UO)fJ !HjO)pqj~I Ht~HRO)I :: ::0~:J ;,6ij/j:-C', 5H'f'M\;(p61:: ::60)::
1::0
The groove in the Yugake at the base of the thumb in which the Tsuru
is positioned,
iejtJ I LU 7?'G i4i;J i1:s5i:O)illl7.>~51J lO)::1::0
The path that the Tsuru travels between Yugamae and Kai.
,'IMtn -c ', sH'ejO)M*' I ftg!~J 'tH'?"C9-t~lifI 7)U::o
The sound made at Hanare when the Tsuru hits the Hitaiki (Himezori).
Uwazuru
Uwazuruwo
hiku
v
W
Wakishomen
iejtJ I d.J O)S~, 1=/=J 1lkl0)...tTO)S!t:'t~J ,lJ 6t.bf'F-I 7):: 1::0
I nspecti ng the central part of the Tsuru at Y ugamae.
ej 0) i5EfJ i: ;6'~t 7.>t-.:!6 ~:, " Hk~: Lt3:!( 0):: I ::0 (...tt W ; O ) mllffiiJ .
TtBI 7) l55i:lI ffiiJ ) .
The ring-shaped part of the Tsuru for positioning on the Hazu. (The up-
per Tsuruwa is red and the lower Tsuruwa is white.)
x
Y
Yadokoro
Yaguchi
s5i:'t:J tHH::ejO)pqjl!~l7)itl7):: I ::0 I lVrt'iJ I :: b':;, 0
The inner face of the Yumi when it is strung with the Tsuru. Also
called the Maedake.
ej 'ti);P,(:Ii ~Mil'!6lej~ I J J 't ~-t'/fv' U:: 0
Gripping the Yumi so tightly that Yugaeri is not possible.
ej:9cHTt,...tlf~ jJlto):: I ::0
The method of raising the Yumiya.
:9c)]J i'J U:-I J ?lI J I :1t6S;j\ I ~J jMlJ 't*1:~~~66t-,:pJ TI 7):: 1::0I H51J
I:: b'-] 0
The place where the thread is wrapped on the Haw side when fixing
the Yabane to the No. Also called the Uwahagi.
ejO)...tfrrij0)55i:1!ffii0);(p7?'6ff~5tO)::l::o I ..t.5EfJ I ::b':;'o
The upper end of the Yumi where the Tsuruwa is positioned. Also
called the Uwahaw.
55i:'t~L~~,~tO)jJ ~~~~6::l::o
The curving back toward the Todake when the Yumi is unstrung,
jiI Tj.'f- i t : tti.'f-;6' .. .tI :gmn 6 J I lrenO):: I:: 0
A Hanare in which both hands or the right hand release upwardly.
:9c)]J i'R't iJ ?lI J i:it6S~\ I ~J jl!I J 't*1:~~~66t-:pJ TO)::l::o 1*J :71J
I:: 'fl'1no
The place where the thread is wrapped on the Haw side when fixing
the Yabane to the No. Also called the Urahagi.
ejO)H#ijO)s5i:iI \iO)7?'7l'6ff~5tI 7)::l::o 1*5EfJ I ::b':;'o
The upper end of the Yumi where the Tsuruwa is positioned. Also
called the Urahazu.
ejO)pqitO)...te~G2.0).0)::l::q
The second node of the bamboo from the top on the Uchidake of the
Yurni.
Yaguchigaaku
Yairo
Yakobore
Yamakura
Yamichi
Yanori
Yasaki
Yasuji
Yatsugaedosa
Yawatashi
Yaziri
Yazuka
.'f-l7?'...tl::t.J Tn, ft.'f-~HTrDl ~I :!I -t I .'f-O)pqJ 0):: I ::0
The Tenouchi in which the wrist is bent upward and the palm of the
left hand is positioned so it pushes downwards.
ejO) 1*i)EfJ I 7)pqtHH:it~tt-: iI lklJ l!6tBU 0):: 1::0
The Sekitomeita fastened to the Uchidake side of the Urahazu
Yazurido
Yazutsu
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The part of the Tsuru above the Nakajikake.
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A way of drawing the yumi by pulling from above the Nakajikake
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The Shinpanin Seki
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The place where the released Ya comes to rest.
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The place where the Yumi and the Ya touch.
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A space which sometimes occurs between the Yumi and the Ya.
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A Ya veering in flight.
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The Ya, having been Docked but not yet released, loosens from the
Tsuru and falls. Also called Hazukobore.
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The place where the Ya rests on the base of the Oyayubi of the left
hand.
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The space in which the Ya flies.
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The path on which the Ya moves forward. Also, the line of the Yasuji
when aiming in Kai.
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The part of the Ya on the Yajiri side.
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The direction that the Ya flies,
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The step of nocking the Ya on the Tsuru,
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The first Sharei to take place at the beginning of a Shakai.
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Yajiri.
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The length of the Ya appropriate for one's physical build.
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The cane wrapping above the Nigiri on the Ya.
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A piece of equipment for storing the Ya, a quiver
15
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A Yugake with four fingers.
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Four Ya. Two sets of a Hitote of a Haya and un I OYI I .
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The upper torso is bowed forward 10 centimeters as II sign \\I ' .'sf) "I .
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A bag used for storing the Yumi.
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The step of returning to Toriyumi posture following Hanarc,
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At Hanare, the Tsuru rotates to the back of the left hand.
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The method of readying the Yumiya.
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A belt-shaped cloth for wrapping and storing the Yumi.
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I n Yugamae, the circular space between the Ya and the body.
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The board used to hold the Uwahazu when stringing the Yumi.
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The shape of the Yumi as seen from the side-view when the Tsuru has
been strung, Also called the Harigao.
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A rack for standing lip Yumi.
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The Yumi and the Ya.
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The left hand: Als called Oshite,
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Hanare that occurs when the left hand appears I push 10the Mala
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The Hane on the inside when the Ya has be n no'ked. Also called Ole
Hozuriba.
Yotsugake 1 Z 9 - : : J 5 ~
Yotsuya 1 l l l - : : J 9 < :
Yu 1!J
Yubukuro "5~
Yudaoshi
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Yugaeri i 3 i i & I )
Yugamae i3~M;t
Yumaki i 3 ~
Yumifutokoro i 3 ~
Yumihariita i35 !H&
Yuminari i3P X I)
Yumitate
Yumiya
Yunde
Yundeno
hanare
Yuzuriha
Z
Zanshin
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The condition of the spirit and the body irnmcdiutcly 111'1 ',' the VII has
been released.
Zasha
16
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The I te performs Rei at the Honza in the seared posilioll, sllillds I I lI d ud-
vances to the Shai. I n the seated position, the llc necks the YlI , stands
and shoots.
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