转贴，居合十式

鬼夜叉

[转帖]居合十式
居合招式的创制



　　为便于居合道运动的推广，日本居合道界集合了十二位大专家，开会研讨融合各流派特质制定出一套为各家所接受并赋与居合道新生命的制式招术。它归纳了五个项目：

一、拔付(NUKITSUKE)的横一文字。
二、结束的纵（竖）一文字。
三、左右肩两斜架裟斩。
四、收刀。
五、突刺的一刀。

　　居合道的招术是一种起居静之势而与敌对峙的刀术，制定的动作包括正坐三式、立膝一式、立姿三式总共合计七式，大约可满足一般练武者之意归纳而成，基本上是以古流派为思考根源，但所制定的"制定居合"招式却不属于那一流派，而是新创独特的动作。招式的制定经缜密的讨论，终于昭和四十三年（1976年）三月创立敲定。同年五月在京都大会上，对众多剑道和居合道人士公开发表而定案，而后昭和五十五年（1988年）又在原有七式之外，添加了三招新的立姿招式，从此制订居合与日本剑道型一样成为十式招技。

第一式刀技　前（正面）



意义：
互相对峙，预感对手有杀意，制先机向对手太阳穴（目和耳一条线附近）拔击，瞬即由正面斩下得胜。
动作：
、向正面正坐，行三呼吸（吸第三次气息时）后，两手稳静握刀柄和鞘口，同时推开刀离鞘口，也浮起腰部，竖起双足之足尖，伸腰垂直上身，一面将鞘扭向左，稳慢拔出刃，至刀尖尚余约10公分时，踏出右足同时将刀水平，向对方太阳穴泪厉拔击。

注：刀拔出时，左手握住鞘口，小指押，擦左腰带，左肘要充分拉后，此动作称谓鞘引（SAYABIKI）。（拉鞘）
　　拔付时，上身向左后拉约45度，左拳在离身体中心线右斜前约45度处停住。刀刃高度与右肩成水平，刀尖微较水平低下（如滴下鉏附近之水，能慢慢向刀尖流移程度）停住右拳内侧。
　　踏出时，两膝要成直角（90度）充分挺出腰部，垂直上身，力气贯注下丹田。

二、拔击后，瞬即将左膝移靠右踵（脚跟），依左耳高度，刀持水平，右手肘向内弯，像刺突后方的心意迅速将刀振举头顶，同时左手移握刀柄，瞬即踏出右足同时由正面斩下。

注：左手移握刀柄时，左手握住鞘口要移至水月近处才松手。
　　振举两手尽量高举头顶，斩下时体姿与前项注 同，斩下时左膝不动。
　　斩下时双拳掌，要像扭毛巾的要领向内扭停住在脐前，双手腕首上端伸出，刀尖稍低。
　　从振举至斩下不待分秒，行一贯连串动作。

三、斩下后，左手离开刀柄，移贴左腰带，同时右手稍向前刺之气氛，手掌心向上，刃向左，展伸肘，像刺右斜后，水平大回旋至与正面成90度时，弯肘右拳移靠太阳穴附近，站起同时，袈裟斩的要领摆下振血。

注：站起时稍弯两膝，成落腰姿势，此种姿势称谓"居合腰"。
　　振向是振落雨伞上水滴要领动作。
　　振下时，右拳头的高度与左手掌水平，刀尖向前低下约45度，而在右掌稍微内侧止住，此时刃部要朝振下方向。

四、保持“居合腰”原状，后足（此时是左足）移前与右足并拢，稍停，右足拉后，左手离腰移握鞘口，移到在中央（脐前），刀锷近处刀栋移至左手拇指和弯曲食指所作成洞口上，向右斜前展伸右肘同时将鞘拉后（此时左手小指贴在左腰带着移后），将刀尖滑入鞘口，将刀慢慢纳入，同时左手推鞘口至肚脐前停住，一面降腰徐徐合拢双手纳毕，同时右膝跪着地板。

注：纳刀时鞘口由中指握住，拇指和食指要松握，刀不可用拇指和食指挟住刀身。
　　刀纳毕时，锷内侧要在脐正中前，刀大约保持水平。

五、纳毕后起立，同时后足（右足）移靠前足并拢，右手松离刀柄，成佩刀姿势，退移至次式刀技开始位置（以下至十式止均同）。

第二式刀技 后（向后面）



意义：
感受坐在后面对手有杀意，制先机回旋，对正背后对手，同时拔击太阳穴，接着从头顶斩下得胜。

动作：
一、身体向正，向右转180度向后正坐，稳静双手握刀，足指竖起，依照第一式刀技动作一、将刀拔出，浮开左膝，用右膝为轴点，向左回旋180度，对正对手，左足稍踏左边，同时向对手太阳穴激厉拔击。

注：此招技与第一式刀技「前」之动作大致相同，唯一不同处是由后回旋180度回复正面拔击，踏出的脚与第一式有所差异，要注意踏出左足。
　　以下之动作二、拔击，三、振血，四、纳刀，五、起立与第一式相同，只是，足之运法有左右之差异。

第三式刀技　受流（向右）




意义：
坐在左侧对手，突然站起，斩下来袭时，一面起立架开来刀，从对手左肩口「袈裟斩」砍斩取胜。

动作：
一、由正面向右（正面为左）正坐，面朝视左方对手，同时双手握住柄鞘，浮腰竖立右足尖，一面伸直腰部，左足稍踏右边（参照图）（此时足尖向外侧）同时将刀贴近胸前，站起，左手拉下鞘，右手将刀往上拔出面额前上方，刃向右斜上，刀尖向后下垂，保持架开（受流）姿势。

注：注视左侧对手动作，不仅面部如此，也要稍微推出右肩的心境施行，则接下去的动作会较流畅。
　　往上拔速度，要依拔击动作「徐、破、急」速率施行。
　　刀往上拔时，左手保持握住鞘口，左肩稍移后面，用刀掩护上体姿态。

二、接着，右足移踏左足侧，一面起立（同时「受流」架开对手斩下之刀瞬间），刀尖由后回旋右上方身体正对对手，左手移握刀柄，动作连贯不可停顿，左足拉退后方同时，由对方左肩口袈裟斩下。

注：从起立至斩下止，不可停顿，要像流水般，一连贯串施行。
　　斩下时，双手停止在脐前，刀尖要较水平稍低。

三、斩下后，保持原状，稍弯右膝，左肘伸直，刃部向前，双手移上左前，将刀斩击部位（刃尖七吋部位）移置右膝上。

注：刀用双手移止左前上时，右手松握，掌心向上，刀柄挟在拇指和食指中间，由下面保持轻轻支托形态。此时左肘要充分伸展，握住刀柄之左拳移上左斜前方。
　　刃部向外，刀柄在上，刀尖朝下四五度横一文字，与上体成平行。
　　刃尖七吋部位，轻托置在右膝头上。
　　这亦是振血之一种，要把残心的意境充份表现出来。

四、右掌松开刀柄，反掌从上逆手换握。

注：逆手是不可用力强握。

五、右手反掌逆手握时，左手离开刀柄，移握鞘口，右手再反掌向上，刀尖由下方，回旋左方，将锷附近移靠鞘口，反掌（「逆手」掌手向上）姿态纳刀，缓慢蹲下，左膝头着地皮同时纳毕。

六、刀纳毕，起立同时后足（左足）移前并齐右足，右手离开刀柄，回复佩刀姿势。

第四式刀技　柄当（柄撞）



意义：
前后遭遇袭击，先以刀柄头撞击对手水月（心窝）连着用右单手刺击后面对手水月，再次以凌厉气势将前方对手劈斩得胜。

动作：
一、向正面依居合膝坐稳，双手迅速握住刀柄同时浮腰，竖起左足尖伸直腰部，右足踏出，同时用双手并握刀与鞘整体激厉向前撞出，依柄头撞击对手水月（SUIGETSU）心窝。
注：居合膝「作法」参照居合膝项目。
　　双手握刀时，右手将刀柄横面握住。
　　撞击时，柄头高度约标准本身水月高度。

二、撞击后，右手保持伸展右肘姿势，急速用左手将鞘往后拉引，一面以左膝为轴，把身体向左转约45度，刀同时拔出，刃尖朝向后面对手，刀尖刀栋贴在左胸（乳）保持水平，上体垂直，充分伸展右肘刺击后方对手心窝（水月）。

注：刀拔出时，握住鞘口之左手要充分拉尽刀鞘。
　　刺击后方对手时，左手握住鞘口移送脐前。

三、刺击后，依左膝为轴，向右回旋，抽出刀刃之意境振举头上，左手移握刀柄，回复正面向对手，同时以泪厉气势从头顶斩下。

注：不可忘记，抽出刀刃心境动作。
　　回复正面时，双目要较身体回转向正面之前，先注视对手。
　　振举至斩下动作要一连贯串，不待分秒空档。
　　斩下时，刀尖稍较水平低。

四、斩下后，保持原姿势，将刀向右拂开，同时左手离柄移贴左带。

注：这亦是振血动作之一种，此时右拳位置要在身体中心线右前约45度处附近，其高度与移贴在左带左手成水平，刀尖要较水平低一点，而稍在右掌内侧止住。

五、振血后，左手由左带移握鞘口，一面纳刀，将前足（右足）引退靠左足稳定身腰，跪着左膝，保持蹲踞姿势。

注：纳刀要领同第一式刀技。
　　引退前足（右足）时，要自然直线引退，不可向右描半月（弧形）般引退。
　　单膝着地蹲踞是竖起足尖，把且门格置在左足踵（足跟）上，右足引退，保持立膝形状，浮着右踵，移至左足尖附近。

六、落定腰部，隔一呼吸之后，伸展腰部，右足踏出，起立同时后足（左足）移前并齐右足，右手离柄，保持佩刀姿势。

第五式刀技　袈裟切（袈裟斩）



意义：
前进中，前方对手振举刀欲斩下来时，从右?下往上拔击，反刀从左肩口袈裟斩下得胜。

动作：
一、前进中，左足踏出同时双手握刀，将鞘向左外反转一面拔刀，踏出右足，同时右单手从对手右?下逆袈裟往上斩。

注：前进都由右足起步（以下至第十式刀技均同）。
　　往上斩时右拳停止在右肩上方，刀不出体侧，约肩幅程度，扭挺出腰部为要。

二、往上斩后，双足保持原位（不移动），左手离鞘口移上握柄不待分秒，由左肩口袈裟斩下。

注：一和二要一贯连串动作，斩上和斩下时注意不得停顿。
　　往上斩同时反掌斩下时，想要斩对方左耳心境袈裟斩下。
　　左手要离鞘口时，必须把鞘往内扭转复原，鞘口移至脐前。
　　斩下时，不移右手反掌将刀垂直竖起而无须摆振后方。
　　斩下时，双拳停止在脐前，刀尖稍较水平低下（同第三式刀技「受流」）。

三、斩下后，引退右足采取八相架构，表示残心。

注：双目不离受斩倒下的对手，稳静地将刀引上右肩采取八相架构。
　　八相架构时，锷要保持在口之高度，离口一个拳，注意不要引上过高。

四、由八相架构，约停半拍呼吸，引退左足，一面左手离柄移握鞘口，同时将袈裟斩下振血。

注：注意左手。不像于其他刀技，移贴左带，而直接移握握鞘口（准备纳刀）此时鞘要保持水平。

五、振血后，保持原姿势纳刀。

六、后足（左足）移前并齐前足，右手离柄复佩刀姿势。

第六式刀技　诸手突（双手刺突）



意义：
前进中，遭受前后对手袭击，先将前面对手拔击其右斜面部，瞬即依双手刺击其心窝，继即将后面对手从正面斩下，再次由前面来袭的其他对手，从其正面斩下而得胜。

动作：
一、前进中，左足踏出同时双手握刀，右足踏出，身体同时向左后拉开，瞬击对手右斜面部。

注：「拔付」和「拔击」注意二项不同之处。
　　瞬击时，刀尖停在颚之高度，刃都向右斜下。

二、刀卸下架中段一面将后足移前足踵，左手移握刀柄，瞬即右足踏出，同时用双手，刺突对手心窝。

注：左手移握刀柄时鞘口不要忘记移至脐前。
　　刺击动作要像如闪电般。后足移靠前足踵，瞬即右足踏出刺击。
　　刺击时刀尖，稍较水平高。

三、刺击后，左足为轴，向左后回旋，同时一面将刀振举头顶，正对后面对手，瞬即正面斩下。

注：向左回旋振举刀时，将刺入体内之刀，要以抽出之要领施行。
　　回旋时为保持稳定姿势，左足稍开外侧为佳。
　　斩下时之刀位，保持水平。

四、斩击后面对手后，同三之要领再对正，由前面来袭之另外对手从正面斩下。

注：再次回旋对正时，为保持稳定姿势，左足稍踏开左侧为佳。

五、斩下后，保持其原姿势，将刀向右「拂开」（振血），左手同时移至左带。

六、振血后，左手由左带移握鞘口，保持原姿势纳刀。

七、刀纳毕，后足（左足）移靠前足并拢，右手离柄复佩刀姿势。

第七式刀技　三方切（三方位斩）



意义：
前进中，遭受正面及左右，三方位对手袭击，先瞬击右方对手头部，再劈斩左方对手面部，继即劈斩正对面之对手而得胜。

动作:
一、前进中（右、左、右如此进第三步时）右足踏出同时，双手握刀，面向右方对手，右足踏出时瞬击右对手头部。

注：面向右方对手时足部踏法最重要，此时前足（左足）足尖要向右斜右方（即踏在右足左斜前方）。
　　与第六式刀技之瞬击部位不相同，而刀尖要斩击至咽喉停住。

二、瞬击后，仍保持原足位而以右足为轴，朝向左方对手，同时将刀振举头顶，左手握刀柄，左足稍踏开左侧斩下其正面。

注：朝向对时，双目同时转视对手。
　　斩下时，刀保持水平（对手之「水月」）。

三、斩下后，继即将刀振举头顶一面，右转向正面对手，右足踏出，同时斩击其面部。

注：此式斩下与二之要领相同，唯右足踏出之点有差异。

四、斩后右足引退后面采取左上段架构表示残心。

五、表示充分残心后，左足遂渐引退右足后方，左手离开刀柄移贴左腰带，刀同时从右袈裟方位振下行振血。

六、左手由左带离开握住鞘口，以此姿势纳刀。

七、后足（左足）移前，并齐前足，右手离开刀柄复佩刀姿势。

第八式刀技　颜面当（撞击面部）



意义：
前进中，遭受前后对手袭击，先将前面对手之颜面部以刀柄头、柄铛（以柄头撞击），继之向后方对手水月用单手刺击，再次回旋180度正对前面对手，由头顶斩下得胜。

动作：

一、前进中，左足踏出同时双手握刀，右足踏出，刀与鞘整体激厉刺出，以柄头撞击对手面部。注：前进必先由右足踏出，左足踏出同时握刀（以下第九式、第十式皆同）。
　　刀用双手握时，右手握刀锷附近，左手握鞘口，而拇指押扣刀锷。　
　　刀与鞘整体撞击时，双手肘尽量展伸，撞击时右手，从上面轻贴刀柄模样。
　　撞击时柄头高度，依准双目之间。

二、撞击面部后，左手瞬即引拉鞘，一面注视背后对手，刀尖脱离鞘口同时，握住刀的右手移靠贴右上腰，刃部向外保持水平架构，左足稍移左侧，而为轴，向左旋转与对手相对，不得崩溃姿势而保持上身端正，右足踏出一步，刺击背后对手心窝。

注：身躯向左旋转速度与拉引鞘速度同快。
　　握刀的右手，移贴位置是「上腰」（即腰骨上）此时身体完全与背后对手面对面。
　　刃部始终保持向外和水平，刀尖不可有上下摆动。
　　刺击背后对手时，不可只靠右手伸出刺击，右足踏出同时依腰力刺击意境，右肘伸直刺击。
　　刺击时，右拳头在心窝高度，刃部向外。

三、刺击后，刀从对手体内抽出，向左旋转180度一面架开来刀振举刀，左手移握柄头，右足踏一步，将前面对手从正面斩下。

注：身躯向左旋转180度回复正面时，左足稍踏开左侧整顿姿势。
　　斩下时，双拳停止在脐前，刀保持水平。

四、保持原姿势，将刀向右拂开（振血），同时左手离柄移贴左腰带。

五、左手离腰带，移握鞘口，照原姿势纳刀。

六、后足（左足）移靠前足并拢，右手离柄回复佩刀姿势。

第九式刀技　添手突（添手刺突）



意义：
前进中，察觉左方对手，制先机一面向左旋转90度给予对手右袈裟瞬击，立即将刃部向下，左手掌挟押刀刺击对手腹部得胜。

动作：

一、前进中，左足踏出同时双手握刀，继即右足踏出而为轴，将身体向左旋转90度，一面对正左侧对手，左足引退将身体向左后拉，同时由对手右肩袈裟瞬击。注：前进中，左足踏出时，左足尖要向左开45度踏着，接着即以右足尖踏在正左方，将身体旋转时，左足尖亦同时向正左方。
　　身体向左转同推开鞘口，徐徐拔刀，一面旋转，至刀尖快脱离鞘口同时引退左足。
　　右袈裟要斩下至脐之高度。

二、瞬击后，右足稍引退半步（丁字足），身体向右后拉，同时刃部向下保持水平拉后，握着柄的右拳贴置右上腰，左手拇指和食指确确实实挟住刀身中间，同时右足为轴左足踏出，刺击对手腹部。

注：右足稍引退（即指约退半步之意）。此时右足尖向右外45度踏着，身体亦同样向右方45度。
　　握住刀的右手引移至右腰位置时，依上腰为准。右手移贴右上腰和左手拇指及食指挟住刀栋与引退右足半步要用一拍子动作施行。这姿势称谓「添手刺架构」。
　　刺对手腹部时不唯用手腕之力量，以用身体刺击心意充分将腰部推前。
　　刺击时，身体照原来保持向右45度开着，握住柄之右拳，不离腹部而移贴在脐前。此时刀尖不可上下摆动，即保持水平。

三、刺击后，左手保持其原位不动，拇指和食指挟住刀身的手掌朝向下方，刃向前，右肘轻轻展伸，握柄之右拳向右斜前上抬，采取右乳高度架构，表示残心。

注：此时身体照原向45度开着，面部亦朝向毙下对手。
　　表示残心时，展伸在右斜前上的右腕与刀之角度，约成直角90度。

四、表示残心后左手离开刀身移握鞘口，左足引退同时，将刀向右拂开（振血），依照振血姿势纳刀。

注：振血时，身体照原朝向左方对手。

五、后足（左足）移齐前足并拢，右手离柄复佩刀姿势。

第十式刀技　四方切（四方位斩)



意义：

前进中，遭受四方位对手围攻，为制先机，刀与鞘整体右斜前推出，先用「柄当」（即用柄侧面撞击），想拔刀的对手甲右拳，继续一面拉鞘拔出刀，以右单手，刺击左斜后方对手心窝，再继续复向右斜前对手（即最先受撞击者）正面斩下，连接着斩下右斜后方对手，再继续架开左斜前方对手劈下之刀，振举至头顶向对手正面斩下得胜。

动作：

一、前进中，左足踏出同时双手握刀，左足为轴，身体转向右斜前，将刀与鞘整体推出，右足踏出一步，以柄侧面撞击对手右甲。

注：双手握刀时，右掌从下，左手照原握鞘口，拇指要押扣刀锷。
　　要撞击右手时，先将刀鞘扭转左外方，以柄侧面（平面）撞击对手之手甲，此时右足踏出。二、撞击后，瞬即用左手拉鞘，刀尖脱离鞘口同时，身体向左回转，对着后面对手成左半身，将刀尖前端附近刀栋，贴着左胸前架构，上身保持端正，左足踏出，右肘充分展伸，刺击对手心窝。

注：撞击对手甲右拳，要瞬即开始拉鞘。
　　刀拔出同时，将刀尖附近刀栋，贴住左胸部位，刃部向外水平架构。
　　刺击对手心窝时，右肘要充分展伸，但身体保持左半身姿势，左手握住鞘口，移至脐前，刺击时右肩不超出左肩。

三、刺击后，刀抽出心境，由左，振举头顶同时，左手移握刀柄，一面将身体向右旋转正对右斜前对手，同时左足踏出斩击其正面。

注：旋转斩砍其面部时，注意身体平稳，不要摇幌，因此要特别留意，足步的运行。
　　刀斩下时，刀位保持水平（以下同）。

四、确实斩下后，保持原姿势，左足为轴，旋转正对右斜后对手，架开来刀姿势，将刀振举头顶，右足踏出，斩砍其面部。

注：此时，亦注意足部之运行和斩下之方向。

五、斩下后，继即以右足为轴，向左旋转180度，一面正对左斜前对手，刀振举至头顶，一面面对左斜前对手，刀振举至头顶，左足踏出，稍移左侧站稳，右足踏出斩击其面部。

六、砍倒最后对手后，缓慢地将右足引退，同时采取左上段架构，表示残心。

七、残心后，引退左足，一面左手离柄，移至左腰带，同时将刀依袈裟方位振下行振血。

八、左手离左腰带，移握鞘口，保持振血姿势纳刀。

九、刀纳毕后，后足（左足）移靠前足并拢，右手离柄复佩刀姿势。

孤独刀客

真贵资料,顶!

jonnyan

全部文章都是來自台灣居合耶

台灣居合 和日本居合的標準已改了

机器卡

初到贵地就看了两篇这么好的文字介绍，非常感谢楼主和楼上的好文章。

29军大砍刀

如果能配点细节的图片就好了。

soso

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全劍連 制定居合 (視頻)


http://www.budoclub.ru/seitei.shtml

harashi

原帖由 soso 于 2005-8-25 14:21 发表
--------------------------------------------------------------------------------

全劍連 制定居合 (視頻)


http://www.budoclub.ru/seitei.shtml

好地方哇
大大增加了我学习俄语的动力

soso

Keep in mind that there really is no standard size as swords should be tailored to the individual's body and personal likes. As a general rule-of-thumb, the correct sword length can be measured when standing naturally erect while grasping the sword's handle just below the tsuba, the hand held comfortably along the side of the leg. Allowing the sword to rest point down, the tip should barely touch ground a few inches in front of the foot. Fig. 1 illustrates the prime example of a sword used for iai batto do. (Note: Illustrations may be added at a future date.)
    a. Monouchi width about 2.5 cm (1")
    b. Base width   about 3 cm (1-1/4")
    c. Tang length   about 21 cm (8-1/4")
    d. Sori depth   about 1.5 cm (5/8")
    e. Monouchi     (striking area)
    f. Hamon depth   about 1/3-1/4 of the blade's width
    g. Handle length about 24 cm (9-1/2").
    h. Blade length   about 67-71 cm (26-1/2"-28")

Proper Grip (TE-NO-UCHI). Regardless of one's hand size, the tsuka (handle) should be only long enough to accommodate a two-finger gap between the trailing edge of the right hand and the leading edge of the left hand (Fig. 2). It is acceptable for just a bit of the kashira (pommel) to extend from the left fist; however, one should refrain from employing a "baseball bat grip." The fist-to-fist baseball bat type of grip reduces both the amount of positive control to the blade, and power in executing the cut.

Additional care should be emphasized in placing the palms along the top of the handle's ridge line which strengthens the grip and also increases the strength of the cut. If the palms are placed along the flat of the handle, only the thumb knuckles overlap the handle ridge; this is a very weak grip and must be avoided. The sword can easily be dislodged from the practitioner while attempting to cut through a target if this incorrect grip is used. The knuckles can also be injured from impact stress, as well as by the force generated by a solid object (sword) traveling through the air. The muscles in the hand will work harder and tire more easily; the practitioner may lose control of the blade, or even send the sword sailing across the dojo.

Charin Shibori (wringing grip). While grasping the handle, exert a slight twisting action, as if to wring excess water from a dish rag. Both hands should twist inward; the right hand in a counterclockwise direction, the left hand clockwise (Fig. 3).

Length. Sword blades transition to 2 shaku 3 sun (about 70 centimeters) because the Tokugawa government Circa1600-1867 standardized the measurement. There are examples of swords being 2 shaku, and 2 shaku 5 sun; however, these were instances where a person's body height was extremely different from the average of the day. Also, the former Imperial Army and Navy military swords were standardized at 2 shaku 2 sun (about 67 centimeters).

Swords used in modern iaido range from 2 shaku 3 sun to 2 shaku 5 sun (about 70 cm. to 76 cm.) in length. Anything longer than that would be for an exceptionally large person.

Using a sword longer than 2 shaku 5 sun for tameshigiri (test-cutting) is inadvisable because the body of the blade may be a bit weak due to the excessive length of the blade. The blade may bend or break when combined with the physical shock of striking an immovable object, incorrect blade angle, and an incorrect striking angle. The longer a blade is, the more likely it is to be weak.

I had the considerable opportunity to meet the great master Nakayama Hakudo (Hiromichi) sensei and was able to hear his insight about the length of a sword. Nakayama sensei said that subtracting 3 shaku (90 cm) from one's own height was a good rule-of-thumb; the resulting difference would be a good sword length. From my height of 5 shaku 4 sun (164 cm), I subtracted 3 shaku. Therefore, a good length for my sword would be 2 shaku 4 sun (73 cm).

However, this length would only be good for practicing iai kata in empty space; it is just a bit too long for test cutting. After World War Two I was presented with a koto sword which was 2 shaku 4 sun 5 bu (74 cm) in length and 1 used it for about five years. But once while test-cutting, my grip was not on the mark and I ended up bending the sword beyond repair. The standard blade length for modern test-cutting is 2 shaku 3 sun 5 bu (71 cm); I recommend that students do not use swords exceeding this length.

Weight. A regular sword which is good to use will weigh from 1.1 kilograms up to 1.3 kg, including the handle and tsuba. If the sword is any heavier, the practitioner will have to use physical strength. It may appear all right while practicing iaido forms, but when cutting forcefully downward or executing chiburi (blood removal), the blade will often shake uncontrollably when brought to a halt. The root cause of many bad habits in swordsmanship is that the sword is too heavy. It is essential to use caution with a heavy sword.

Sori (curvature). The sori is measured at the deepest portion between the imaginary "length" line and the back of the blade. A sori of 5 bu (1.5 cm) is adequate for a sword of 2 shaku 3 sun (70 cm). Anything deeper or shallower is unsatisfactory for high class swordsmanship.

Mihaba (blade width). The ideal blade width will be approximately 1 sun (3 cm) at the tsuba-moto [base of the hand guard), and about 8 bu (1.4 cm) at the monouchi ("sweet spot," about 1/3 of the blade measured from the point). The balance of a sword with these measurements will be good. As with the sori, anything deeper or shallower will be unsatisfactory for high class swordsmanship.

Nagako length. The length of the nakago (tang) affects the balance of the sword; this becomes very important for the principles of high class swordsmanship.

Generally speaking, koto and shinto swords will have a nakago of approximately 5 sun (15 cm). The standard handle length is 8 sun (24 cm). If the nakago is too short, when cutting through material, it can break where the butt of nakago meets the handle (fig. 4). If the handle is 8 sun the nakago should be 7 sun. If you have a long nakago, the balance point of the sword will be at the handle. Moreover, in the opposite case, if the blade-weight is light, a short nakago will improve the balance of the sword.

In the case of a heavy blade having a short nakago, the balance can be corrected by placing lead inside the handle cavity near the pommel. The blade will feel lighter because the center of gravity was shifted.

Some swords of the 1933-1945 period will have a short nakago because they were designed to be used with one hand so that a pistol could be used in the other. A sword with a short nakago should not be used for test-cutting; however if this is all you have, then please do so with the following advice.

When the nakago is short (about 15 cm long) a baseball bat grip should be used when test-cutting to provide additional support to the cut (Fig. 4). Only in this instance should the practitioner choke up on the handle, allowing an unsightly amount of tsuka to extend past the left hand.

If a baseball bat grip is not utilized in this instance (e.g., if the "proper" grip is applied), the torque created by the wringing action, and the impact shock stress generated by cutting will lead to structural degradation of the handle where the nakago ends, and it will break [I have done this while practicing kata with an older Showa era sword that had the original handle. On this note, if you are using a sword with a handle over twenty years old, have the handle replaced.)

Hamon depth A hamon (temper line) depth of one-third to one-fourth of the blade width is adequate. When the hamon is gaudily too deep, the blade is generally brittle and will chip easily; also, the blade will break easily. Worse yet, when the blade is hard, its kireaji (ability to cut well) will not be very favorable.

Mekugi. Swordsmanship is one martial art in which safety is of paramount importance. Always check the mekugi prior to practice, even if you are alone. Replace any mekugi that is thin, broken, or appears weak.

Failure to do a safety check can lead to disaster. A high school student was killed in Japan while he observed an iaido demonstration. The performer's blade was thrown from its handle into the audience because the mekugi had slipped from its housing. This terrible accident could have been prevented if the performer had checked his handle prior to the demonstration.

Ideally, the primary mekugi should be made of bamboo. Bamboo is the preferred material because it is flexible; even if it breaks, the fibers are resilient enough to prevent the blade from being propelled across the room. The handle should be designed so that the mekugi can be inserted from only the side of the tsuka which is covered by the palm. Therefore, the primary mekugi should be of bamboo, inserted from the right side of the handle; the hikae (reserve) mekugi should be manufactured of iron or steel and inserted from the left side.

The metal-to-metal fitting of hikae mekugi to nakago might be smooth, lacking sufficient friction to lock in. Create a firm fit by roughening the outside of the metal mekugi with a file, hacksaw, or wirecutters. The resultant "teeth" will bite firmly into the soft steel of the nakago and prevent the metal mekugi from slipping out during training. In the interest of safety, pracioners of Toyama Ryu and Nakamura Ryu utilize two retaining pins (Fig. 6).

soso

Menuki placement. Menuki are the ornaments afiixed to the handle, between the rayskin and the wrapping. They were originally decorations used to cover the sword retaining pins (mekugi); however, in later times they became practical in that when placed where the palm meets the handle, the resultant gap was filled. This "palm swell" created a more comfortable grip, quite similar to today's custom pistol grips which are designed to "fill" the palm.

The tachi was sworn slung from a belt with the cutting edge down. Therefore the right hand menuki, when viewed from the obverse (omote) side, was placed closer to the retaining pin (Fig.7); the left hand menuki, on the reverse (ura) side, was placed closer to the pommel.

When the tachi-styled sword transitioned in the late 16th century to the uchigatana (worn edge-up, thrust though a sash), the convention remained of placing the omote menuki close to the retaining pin (Fig. 8). This practice resulted in the menuki being on the opposite side of the palm--practicality had been superceeded by strict adherence to format.

Few schools of swordsmanship retained the practical method of positioning the menuki. The one notable traditional style is Yagyu Ryu; the modern styles which adopted this method are Toyama Ryu and Nakamura Ryu.

Wrapping the menuki to the handle came about during the Muromachi period (1338-1573) when the fittings were generally in the handachi (half-tachi) style. The Imperial Army and Navy military swords of 1933-1945 were also outfitted in the handachi style, and the menuki were placed where the palms of the hand meet the handle.

Essentially, the menuki become useless ornaments for the handle when positioned in the Edo style. However, if the menuki are affixed in the handachi style, one's swordsmanship will become satisfactory. Ninety per cent of the swords used by today's iaido enthusiasts have the Edo style menuki placement.

A. This illustrates a good placement of the left and right menuki as the handle ius grasped from above.
B. This illustrates a good placement of the right menuki when using only the right hand. The left menuki may be centered on the handle, as it will have no relation to the grasp. (Actually, there is no restriction stating that the left menuki must be placed lower.)
C. Edo period fitting (uchigatana mounting). Most swords today are outfitted in this manner. This positioning of the menuki is the least desired.

Groove. A sword with a groove will make a whistling sound when swung. Many high-ranking practitioners dislike swords with grooves; however, there are some high-ranking practitioners that like the groove. In the samurai period movies and plays, a whistling sound is dubbed in to appeal to the audience. Also, the novice believes that making the whistling sound while cutting shows good technique. This thought also prevails during iaido exhibitions. With the exception of experts, it is generally believed that an emitted sound is wonderful.

If a sword has a groove there is the chance that it will alert your opponent during the dark of night. This is not proper for high class swordsmanship, so the story goes. I have heard that a long time ago the term "chi-nagare" (blood flow) was used because the blood would flow down the groove as water flows down a ditch.

The presence of a groove has absolutely no relationship to whether the sword will cut well or not; however, it does have something to do with the weight and balance of the sword. The entire blade will be just a bit weaker with a groove, but dynamically speaking, it will also have more flexibility. The overall form of a sword with a groove is gracefully elegant, and generally speaking, there are many people who like this style.

Shinogi (ridge). The height and pitch of the shinogi is relative to the blade's ability to cut well. Many factors affect a sword's sharpness or dullness, and differ according to the swordsmith. The most important aspect overall is the blade width; what is more related to this, and has become the main question, is the height of the shinogi.

There are two styles of shinogi: raised, and flat (Fig. 10). A sword with a raised shinogi will cut thick, hard material well; however, its penetration of soft material is poor. For example, when performing suemono giri (vertical cut) on horizontally stacked material such as rolls of rice straw, the sword's ability to cut well is reduced by half.

Compared with the previous example, a sword with a flat shinogi will cut soft material well; its penetration of horizontally stacked rolled straw will be good, and its sharpness will be satisfactory. However, if you make a mistake even while using the proper tenouchi (grip), the blade will bend. If I may offer an example, a sword named "Seki no Magoro Kanemoto" was well known as the best cutting sword in Japan. It was constructed with a flat shinogi, and the way it easily cut through material was its special feature.

Both "Dodanuki" and a shin-shinto "Mito" sword had raised shinogi and were known to be sharper than Kanemoto; but, when performing suemono giri (daigiri-cutting on a platform), the Kanemoto cut through five stacked, layered rolls of rice straw while the others came to a halt in the third roll.

That was in the case of cutting on a platform: a sword with a raised shinogi will get stuck, which is a bad fault. The sharpness may be the same, but the proof is in the height difference of the shinogi. A blade with a raised shinogi is suitable for actual combat as well, but in the case of platform cutting, a definite difference becomes clear. In essence, a sword with a wide blade and flat shinogi will have perfect sharpness.

When cutting bamboo, the cutting ability of a sword with a raised shinogi will not significantly change. Its flexibility will be strong, and is suitable for bamboo. On the other hand, a flat shinogi has no flexibility and is unsuitable for cutting bamboo. When one's hasuji or tenouchi are wrong, the blade will often bend. In short, test cutting is similar to cooking. Different kitchen knives are used according to what is being prepared. A knife with a thick "back" will be used for hard vegetables and meat; a knife with a thin "back" will be used for soft items such as greens.

soso

Fittings. The fuchi (support band) and kashiya (pommel), like most components of a sword, are often an expression of the owner. One of the most prevalent styles today is the Higo style (Fig. 11), named after the province of its adaptation (present day Kumamoto). The Higo fittings differ from others in that the fuchi tapers slightly from the nakago ana (tang slot) to where it meets the handle; the topmost crest of the kashira gently slopes downwards toward the the butt of the handle, much like a well worn hill. The Higo kashira has found a popular audience with today's iaido exponents because of its elegant style and its comfortable practicality: it will not cause blisters in the left palm as do other styles possessing a more linear construction. Higo fittings are well represented in Toyama Ryu and Nakamura Ryu dojo.

Tsuba. The tsuba (hand guard) is essential in that it protects the practitioner's right hand; however, the tsuba need not be overly large. As a matter of fact, if a deflection is properly executed, a tsuba is not at all necessary. However, we humans have a psychological reliance on the mere presence of a tsuba. Because the tsuba is so easy to replace, many practitioners try to find original pieces or modern reproductions to match their own personality. In doing so, they often choose large tsuba, one with dimensions exceeding 3 inches. A large tsuba is undesirable because it interferes with proper sword handling techniques by applying pressure to the back of the right hand. If you have a rim impression on the back of your right hand after training, your tsuba is too large. The preferred tsuba in Toyama Ryu and Nakamura Ryu is a small tsuba; an excellent example is the "Nakamura Hanjiro" tsuba (Fig. 12). The predilection for the smaller tsuba may have its origin with the model 1933 shin gunto (new army sword which had a regulation tsuba of about 2 x 3 inches--the sword techniques of the Toyama Military Academy were specifically designed with this sword in mind. Nakamura Hanjiro Tsuba Nakamura Hanjiro was a well known practitioner of Jigen Ryu kenjutsu and one of Japan's first army generals. On becoming a general, he changed his name to Kirino Toshiaki, and he led Meiji government troops against the Satsuma rebels during the Seinan War (Satsuma Rebellion, 1877). In 1981 I was a guest on an NHK television (equivalent to ABC or BBC) production given in honor of Nakamura Hanjiro. Afterwards, an admirer of Hanjiro presented me with a replica of Hanjiro's tsuba. This tsuba, with its six gently undulating round lobes remains one of my favorites. It measures 2 x 3 inches and is devoid of artwork. There are openings on either side of the nakago ana (tang slot) for utility knives, and a set of udenuki ana. (Retention cord holes). Retention cords were used in battle much like the strap on a ski pole or a racquet ball racquet (Fig. 13). Udenuki ana on tsuba produced after 1600 are probably ornamental, used to "balance" the overall tsuba shape and/or designConclusion. I have traveled the length and breadth of Japan not just to test the sharpness of swords, but to express my thoughts and experience in my special area of kireaji. I particularly wanted to write about the ideal sword for actual use; however, because this field is so broad, I have only presented an abridgment. I do hope that this brief introduction to the ideal sword will be openly received, not only by those interested in swordsmanship, but also by those who study other martial arts.

About the Author : Nakamura Taizaburo was born in 1912 in Yamagata prefecture. He now resides in Tsurumi, Yokahama, where he presides over the International Iai-Battodo Federation and teaches battodo for the Kaku Sei Kai.

这篇文章很好,出自中村泰三郎先生之手.那位英文好翻译下.绝对置顶..
关于试斩刀选择和一些基础的拔刀道知识

[ 本帖最后由 soso 于 2005-8-25 15:21 编辑 ]

情人刀

我在有空的时候翻一下吧,供大家研究.但是其中有很多是日语,可能是专业用语,我反而不知道了.

winston

不错呀  我也来帮着UP！！！

101师

建议至顶！

phhp74

很好的讲述刀法的文章，英文资料要是翻译了就更好了，感谢楼主，辛苦了！