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Secrets of The Samurai
Oscar Ratti & Adele Westbrook
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Lời giới thiệu
Cuốn sách võ đạo kỳ diệu - Secrets of The Samurai - là một trong nhiều tác phẩm nổi tiếng của võ sư - họa sĩ Oscar Ratti . Cuốn sách này chứa đựng những gì được coi là đơn giản và cô đọng về cả một nền võ học tinh tế - Võ đạo Nhật Bản . Trong một quá khứ binh lửa , các chiến binh Samurai đã chiến đấu dựa trên nền tảng gì , học luyện tập những gì , cơ sở nhận thức và tinh thần Bushido bắt nguồn từ đâu - Secrets of The Samurai sẽ trả lời cho bạn tất cả những câu hỏi trên và còn nhiều hơn thế . Tác phẩm là sự hợp tác của thầy Oscar Ratti và thầy Adele Westbrook - giờ đang là cuốn sách gối đầu cho nhiều thế hệ võ sinh các võ phái Nhật Bản trên toàn thế giới .
Một thời gian sau khi cuốn sách Secrets of The Samurai ra đời , các võ sư thuộc hiệp hội Võ đạo Brazil đã lấy nền tảng từ đó để xây dựng một loạt bài viết tổng quát về các hệ phái võ thuật của Nhật Bản - Các thầy đã sử dụng hình minh họa trong các cuốn sách của thầy Oscar Ratti như - Secrets of The Samurai & The Code of Samurai .
Do hiện nay Tuấn Anh rất bận , nên chưa thể dịch ra tiếng Việt , rất hy vọng các cô chú , anh chị & các bạn có thể dịch rồi đăng lên diễn đàn . Hôm nay xin được gửi tới các thành viên những bài viết bằng tiếng Anh này .
Bộ bài viết sẽ được hệ thống thành 4 tập bao gồm :
Book I :
1 - Koppo Jutsu
2 - Kumi Tachi
3 - Bo Jutsu
4 - Kempo
5 - Iaijutsu
6 - Jo Jutsu
7 - Aiki Jujutsu
Book II:
08 - Hojo Jutsu
09 - Tanto Jutsu
10 - Kobo Jutsu
11 - Kabuto no Bujutsu
12 - Kusari Fundo
13 - Ba Jutsu
14 - Kankyo Jutsu
Book III :
15 - Batto Jutsu
16 - Kenjutsu
17 - Tameshigiri
18 - Heiho
19 - Taiso
20 - Ketsugo
21 - Suriken Jutsu
Book IV
The Samurai Creed & The Bushido
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Chúc mọi người luôn nhiều niềm vui ! :)
Hagakure:laugh:
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Book III
15 - Batto Jutsu
16 - Kenjutsu
17 - Tameshigiri
18 - Heiho
19 - Taiso
20 - Ketsugo
21 - Suriken Jutsu
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15 - Batto Jutsu
The Battojutsu is the art of the cut with the sword, and is intimate connection to the Iaijutsu and to the Kenjutsu. Its creation is attributed to Hayashizaki Jinsuke Shigenobu (1542-1621), that would have received a divine inspiration for develop her as art.
While the Iaijutsu studies the booty of the sword from the "saya" (sheath), the Battojutsu consists of, in a continuous movement, remove the sword and carry out the cut. The line that separates those disciplines is very faint. The Batto is coached of three forms: individually (suburi), sequences (katá) and test of cut (tameshigiri). It is an art that aims at the maximum one of efficiency, ally to the speed of execution. However, it is necessary stand out that this "speed" comes naturally, after exhaustive years of training. Does not it be a matter of carry out any technique of way flustered. That is the kind of amateurism that can result in a poor technique and, what is worse, in physical mischief. First, it is necessary practice slow and prudent, for that develop the ability of management. By that reason, the beginner practices with the "bokuto", the sword of wood.
Several techniques of Batto were developed for include diverse situations in that the samurai would be able to be found, and that caused to an unexpected confrontation. In many cases, such confrontations occurred far from the fields of battle, inside the own castle of its mister. Such abilities were essential to the medieval warrior of the Japan.
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16 - Kenjutsu
The Kenjutsu (the art of the sword) is recognized generally as militant art. It begins always with the sword unsheathed, already with an aggressive intention. The first historical systematic educations recorded of the Japanese long sword began approximately in 800 CE. Since that time, of around 1.200 styles (schools) were documented. Many practitioners of the kenjutsu began it question itself a comprehension more elevated would be able to to be obtained with the practical one and the study with the sword. Like this, the kenshi (swordsman) transformed to "art of the sword" (kenjutsu) in a "road of the sword" (kendo). Then the kendô arose, about the century II.
Kenjutsu is considered a bujutsu classical (art of the war or martial art), being formulated well before of the reform of Meiji (the classic/modern one, that divides the line). The ryu classical of the kenjutsu (schools) tende it be completely secret in what concerns the practical one of its techniques, being a lot closed persons of outside of the Art of the Bugei. The ryu classical of the kenjutsu is the more near to the classical training of the warrior in the modern world. The examples are Yagyu Shinkage Ryu, and Tenshin Shoden Katori Shinto Ryu.
The utilization of the Katana, inside the clothing of the Kenjutsu traditional, consists generally of the hakama, in the keikogi and of the obi (streak).
The Kata (sequence of movements formulated or exercises) is the usual way of learn how the tangled movements demanded. Initially practices-itself individually, but is able to be practiced in pair or to even with multiple individuals. The tool-standard of the practical one is to bokken (sword of wood simulated) or a real sheet. The real cut, and the strike of the sheet against bundles tied and stems of bamboo, called of tameshigiri, give to the practical one more advanced of the ryusha (practising of a style) the real impact of the sheet of meeting to an aim.
Generally (but not always) in Japanese martial arts, the objectives of the "Of The" healthy for improve the interior, while the of the "jutsu" concentrate in teach the techniques of the war. It notices that this is a modern convention, does not something that reflect the historical use of the suffixes: what do we call now of kenjutsu is able to a time to have been used like the kendo. The convention of the terminology of jutsu of the such as is used in the west was popularized in its bigger breaks by Draeger. They defined terminologicamente, the art of earn real fights with real swords is kenjutsu. The preliminary objective of the kenjutsu is victory about opponents; the preliminary objective of the kendô is going to improve with the study of the sword. The kendô has also a strong aspect, with the big championships, watched greedy by the Japanese public. Like this, the kendô can be considered the Japanese philosophical sporting aspect.
In we will have of learning, the kenjutsu has a more complete curriculum. In the kendô, the need limits to scale of the techniques and of the aim. The practitioners of kenjutsu do not use generally the shinai in the training, preferring use bokken (swords of wood) or kataná (swords of steel) in order to preserve the techniques of the cut of the real fight of the sword. The training of Kenjutsu consists of practice to technical of the cut and perform the katá with the partner. By reasons of security, to practical free is rarely deed with kataná.
Kenjutsu - Historical
The history of the Japanese culture is full of episodes with the sword. Of fact, one of the three objects of sacred possession of an emperor, was the sword. The others two are the jewel and the mirror. The old legend of the xintoísmo says that a divinity dove a kataná in the sea and of the drops d' water that dropped of the tip were born the islands of the Japan. A cynic characterized the history of the Japan as many peoples that fight about little land. The sword and his use were facts forms by the history of the land and of his peoples. First, the sheet transformed itself a very efficient weapon of the cut, uniform of meeting to the armor. And two, his distribution changed, what permitted the ascent of a distinct style of the Japanese sword
In order to cultivate and improve the sword, as a weapon and like a form of art, two circumstances were demanded. First, it should have a sufficient stability for that manufacturers could practice his commerce without risks of market. The majority of the legendary battles of the Japanese folklore occurred in this period of time. In the beginning, the battles were between the race that we call now of Japanese, and the native peoples, called Ainu or Emishi. The battles were furious, and the leader of the army of the emperor was called of Taishogun, shortened later for Shogun, the last military authority of the Japan.
Later, the war of Gempei between the Taira and the clans of Miyamoto, documented like the wars between the clans that make an effort for the supremacy. Miyamoto earned occasionally, putting the claim to the title Shogun in his leader; after which the emperor declared that only the descendants of Miyamoto would be able to put the claim to the title.
In the end of the I century, three big generals raised itself, each an in the succession, and everybody unified the country under a leadership; Oda Nobunaga, Hideyoshi Toyotomi, and Ieyesu Tokugawa. When Tokugawa knocked down his last rival in the battle of Sekigahara in September of 1600, unified the country under an I govern by the first time in 800 years. Because Ieyesu would be able to claim the blood of Miyamoto, claimed also the title of Shogun for itself own and his heirs. His it was, Kamakura moved the center of the government for Edo, called today Tokyo. In the 268 following years, the Shogunato Tokugawa governed the land in peace.
And with peace, came the decline in the practical one of the sword, however small traditionalist groups refused it be forgot the old ways. The writing of these kenshi are cited before the end of the day as examples of big works. Miyamoto Musashi and Tsunemoto Yamamoto are considered still as the kensai (holy of the sword) in the Japanese folklore. With the big peace, came the warrior or the ronin unemployed (literally "wave the man"). Tokugawa tried to convert warriors in bureaucrats, for function the government. The Tokugawa may have governed in the peace, but bound a fist of iron for do like this. To part of his way control the stream of the Japanese society should establish a system of castes.
There were four classes of the peoples in descending order, in samurai (royalty), in farmers, in artisans, and in merchants. Those that were traditional warriors of farmers would not be able to use no of the most long swords, only the samurai would be able to erode the official emblem of the office, the sword. The Tokugawa closed also the back of Japan to the exterior world, performing all of the intruder and permitting only that a small only console nearby Kagoshima in the south be visited a time a year by merchants of Portugal.
In the gallery, the sword and his practical continued it decline during this time in a gradual way. In 1854, the ships of the Americans inscribed the bay of Tokyo and required to negotiate open with the Japan.
But about the Tokugawa was exercised pressure of internal necessities for turn the game. To only way that the Tokugawa would be able to see for preserve any measure of control limited should return the power to the emperor. And like this in 1868, the Tokugawa came down his position, returning the power to the emperor Meiji, beginning the reform of Meiji. The Japan had incorporated the industrial return. The samurai disbanded, officially, by the emperor Meiji. Later, they were excluded of the official emblem of the office, erode of the two swords, in 1877. This gave the ascent to the last big battle, the rebellion of the Satsuma in December 1877 to January 1878. The Satsuma refused to obey and fought with the army recruited of the government (with modern weapons) in Kagoshima in the south. The samurai dead and his martyrdom transformed itself a symbol for the practitioners.
The modern period of the sword was characterized by a bigger decline and more uniform. The Samurai was forced it give exhibitions to end try to earn money.
The arts of the sword are divided in diverse ways. First it is for the kind, ken or the iai (called sometimes batto). Also at the same time divide itself by the origin, the three families of arts of the sword; Styles of Muso ("deflate"), of Kage ("shade"), and of Shinto ("new sword"). Some kinds mix this, it depend on the origin and of the application. Inside each kind are the three styles.
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17 - Tameshigiri
Tameshigiri is the art that studies the forms of cut with the sword, simulated in mats of bamboo, that itself resemble to the fabric of the human body.
Formerly in the Japan, if used bodies for the test of the sheets, belonging to criminal or the persons already passed away. From those studies is that the final form of the Kenjutsu was achieved.
In other words, is able to be said that Tameshigiri is to practical of cut with the Japanese sword.
Inside a classical perspective, the Tameshigiri is part of the curriculum of the Kenjutsu, and passes it to be studied like this that the practitioner shows notions of correct experience acquired with the sword of cut.
Inside the modern application, the first stuff utilized for this practical are the mat and the bamboo.
The duty practical application of the cut with the sword teaches the most correct way of the application of the real form of cut.
The practitioner learns how to have the notion of the pressure that should apply in the cut for different objects, multiple and quick cuts in the due angles of attack of the sheet and it control his addressing and the consequences of its impact.
The mental concentration should be extremely strong, therefore, with the time, the practitioner understands that the achievement of the perfect cut is initiated in the thought.
Tradition and respect are main factors for those that drive to practical of the Tameshigiri as classical ritual.
The rules are strictly observed in the Tameshigiri. Long hours of practice promote the harmony between the first basic cut and the cut in Gyaku Kesa Giri.
Many masters still conserve the thought of the practical one of the Japanese sword in the Tameshigiri, as the own battle in itself, encouraging to practical only in bamboo, by will find that this simulates of perfect form the human body.
The reality was sight as the main form in the practical one of the Tameshigiri.
The result of the real practices of cut frequently is found in the Nakago of the sword, that be quizzed. Being like this, for understand the "mei" some knowledge of the terminology used is done necessary.
Several forms of Tameshigiri exist used us several local, each which with its own terminology. One of the most known systems is him utilized by the family Yamada, traditional testators of swords during the period Tokugawa.
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18 - Heiho
The Heiho is the strategy, inside the Bugei. Treats-itself of a discipline that is part of the history of the humanity since the Antiquity. In particular noticeable in all the nations that were at the center of wars, she acquired different forms, handlings and directives in each culture, and evolved, so that itself obtivesse more efficiency in the results.
In the East, some works that try the matter became famous, as "THE Art of the War", of Sun Tzu, and "Go Rin in the Sho" (THE Book of the Five Rings) of Miyamoto Musashi. In the history of the Japan, full of wars and conflicts, the strategy performed an important paper, helping the military leaders it will carry out the best maneuvers.
Conhecida as Heiho, in the Japan, in some schools assumed also the name of Bohiyako, that composed a reasoning come back for the field of battle and the actions of the enemy. In the Kaze in the Ryu Bugei, in particular, is one of the matters more strong, doing integral part of the road of the student since the graduation of Uchideshi, that obtém his formation in such matter with eight years of study.
The military formation and the maneuvers utilized in his actions did of the strategy the fear than did not it know. Of fact, the strategy penetrate the majority of the physical disciplines of the Bugei, since itself interacts constantly with an opponent, in each technique applied. On the other hand, she includes a sphere of action still bigger, when applied in the field of battle, through the planning of the tactics of war. In the present world, in that the wars come back itself to the corporate and marketing field, the strategies assume decisive paper. In the area of administration and marketing, the old jargons and maneuvers of war are used until today, however transported to a new economic reality.
Of way simplified, strategy would be "what do" and "by that do". It is the determination of the tactics it will be applied in field. Several schools dedicated part of the training to the matter that, ally to studies of tactics, training and theories, composed the military strategy as an in itself own art. In the century XVII, such disciplines were like this divided:
Heiho - military strategy;
Senjo Jutsu - tactical, maneuvers and manejamento of troops;
Soren - training and preparation of troops (formation, movement etc.);
Gungaku - theory of the military art (study of his nature and beginnings).
In the Bujutsu, of a practical form, some of the basic strategies of battle differ of the tactics utilized in the routine one. All are exhaustively coached by the practitioners, to knowledge:
Attack - is going to employ a technique before the opponent do him. Based itself in the initiative , in the element-surprise and in the speed.
Counterattack - is going to apply a technique when the opponent initiated its attack. It based itself in the timing , in the reaction well-calculated that uses the enemy attack as environment of defense.
Defense - consists of neutralize the action of the opponent, stopping that this reach his objective.
All they possess advantages and disadvantages and, for that are utilized successfully, involve the study detailed and the integration of diverse factors, as: perception, coordination, breath, auto-control etc.
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19 - Taiso
The Taiso (pronounces-itself 'tai-sô') is an arising from art of the old one Japan, that signifies "exercise" of a general, but his way definition itself extends to the deepest concepts of energy physiology and health.
Physical aspect of the Taiso
The Taiso aims at the movements of the body through the angulaões proportionate by him even, giving margin for aerobic exercises and anaeróbios according to the need of the practitioner. It based itself also in the isometria as importance sum factor for the vitality, without never leave of to be contemplated the breath - car of all to practical.
Working all the musculature, tendons and ligaments in the parameters of extension, flexibility, strengthening, enrijecimento and relaxation, form itself then a beautiful body inside the her healthy standards.
To practical of the Taiso
The Taiso, by to be based in the movement of animals, since the simplest forms to more complex, exercises about the human body an energy discharge of big intensity, by work frequently with the responsible, lumbar and abdominal region by the structure postural of him be a human.
The physical practices of the Taiso are moderately related with the capacity of each person, factor always determinant for the continuity and diligence of exercises. Simpler exercises exist, come back to the work of muscular relaxation and concentration or meditation, that seek the health through the breath. It is fact that be human is going to be the breath a mere involuntary trial, in what plays to the life. However, its essence itself distances hugely of this assertion. Believes-itself that the breath is based on the food of the vital energy (ki), responsible by the continuity of the life. Exercises come back only to the perception of this energy and real absorption of this fluid vital, through the inspiration, can bring endless number benefits for the practitioner, since a subsequent facility in carry out any physical activity it favor its longevity.
Already to practical of a lot, strong and heavier exercises requested at present by the breaks more young of the society, consist of complex and simple movements, that require physical stress and control of the breath. These exercises developed in epochs in that was not arranged of artificial stuff that contributed for the corporal strengthening, as to present weight training. However, healthy exercises of extreme forces and equilibrium, that require too of the practitioners, and develop to the maximum his capacities as the athletes.
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20 - Ketsugo
The Ketsugo, that signifies "THE Union with the All", is part of the Seishin in the Jutsu, jointly with the Mokuso in the Jutsu (art of the concentration).
Some basic movements compose that practice that promotes the development and the addressing of the Ki (vital energy), through millenary techniques of breath and postures.
It is of prominent importance that the language is bonds in the heaven of the mouth during the inspiration for promote the necessary connection to the Ten in the Hashi Bridge for the Heaven that does the connection between the energy of the heaven and of the land through the axis of the column.
In the Ketsugo, is essential do relaxations and exercises for extricate the mind of the daily activities.
Four basic breaths exist that compose the Ketsugo. They itself based us four elements and pierced in contractions and relaxations inside the breath (iki), applied in the inspiration (suikomu) and expiration (haku) during the practical one of the movements.
Hi in the Iki Breath of the Fire, coNsiste in contract all the body, to the maximum one that will be able to all of the muscles, during the inspiration and the expiration.
Mizu in the Iki Breath of the Water, consists of inspire and exhale maintaining all the body in state of relaxation.
Kuki in the Iki Breath of the Air, cOnsiste in inspire contracting the body and exhale of sloppy form.
Tsuchi in the Iki Breath of the Land , cOnsiste in inspire of sloppy form and exhale contracting all the body.
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21 - Suriken Jutsu
In the Japanese language Shuriken signifies:
Shu Hand
I laugh That also read itself ura - back, in the environment of, in, reverse, interior, palm, behind, lining, wrong side.
Ken That also read itself Tsuguri - sword, sword, sheet, hand of clock.
There are two basic kinds of shuriken: bo shuriken (thin and long sheets) and hira shuriken, or shaken (sheets barges, or in form of star or diamond).
The basic approach of throw the shuriken varies of a school for another one, being the main differences in the form of the sheets and in his use.
Second the text of contribution of the school of Susumo motoshima of the Japan, the origin of the throwing of small sheets comes from the Ganritsu Ryu, founded by Matsubayashi Henyasai, a professional swordsman to service of the 18o. mister of Matsuhiro, in Kanei, about 1624. That school originated the Katono, or Izu Ryu, founded by a samurai of Sendai, called Fujita Hirohide of Katono, also known as Katono Izu, student of Matsubayashi.
Second Motoshima sensei, this was the style that influenced the main schools of Bugei, being the road of origin of the practices studied in the Kaze in the Ryu Bugei.
He was pioneer in the launching of needles, with around 10cm and 20g, many of the which he used in their hair. The needle was insured between the medium finger and the indicator and thrown like a modern dart, in the eyes of the opponent. It said itself that he could throw two needles simultaneously to the figure of a horse, and set right each one of his hooves.
According to the contribution of Iwasaki sensei many were the styles that it leave then arose in the Japan old as by example:
Enmei Ryu
The famous swordsman Miyamoto Musashi is had like founder of that school, that studies the launching of a sheet of 40cm, probably a "so much" (knife). There is a history of a duel between Musashi and Shishido, expert in Kussari-Range (weapon developed for defense against the sword). When Shishido hauled his current, Musashi played a dagger and perforated him in the chest, killing him.
Shirai Ryu
The Shirai Ryu was founded by Shirai Toru Yoshikane, been born in 1783 in Okayama. To the 8 years of age, he began it learn how to art of the sword with Gone Shimpachiro of the Kiji Ryu, and to the 14 moved away for Tokyo and coached daily in the school of sword Nakanishi, of the Itto Ryu, and began it teach in Okayama to the 23. For nine years, his fame itself spreaded and he had more of 300 students, but he continued the doubt of its ability. In the subsequent years, returned to Edo several times for coach with his you, to that occasionally reached a kind of "bigger revelation" and found peace with its technical. After that revelation, he increased the name Tenshin to his art, that passed be it known by Tenshin Itto Ryu. The style of sheet and respective approach of launching that he taught stayed known by Shirai Ryu.
The sheet of the shirai Ryu was a spit of metal of 15 to 25 cm of length by 6mm of diameter. It was pointed in an extremity and round in the another one.
Negishi Ryu
The Negishi Ryu was founded by Negishi Nobunori Shorei, successor of Joshu Anaka during the last days of the shogunato Tokugawa. Negishi became student of Kaiho Hanpei, main second of sword of the Hokushin Itto Ryu, after show a promising management of the shinai when infant. It studied in other schools as Araki Ryu, and also the spear of the Oshima Ryu, occasionally becoming leader of the Kaiho Ryu, and later taught for several years. When the restoration Meiji ordered the abolition of the swords, became farmer, and passed away in 1904.
The basic form of the sheet of the Negishi Ryu is similar to a pen with a head more square and to another one tip as a slender bomb. They weighed around 50g, and sometimes had a clump of hairs or cotton in the rear tip for assure a straight flight.
Jikishin Ryu
Does not itself know very of the Jikishin Ryu, and suspicion is been that a precursor style variation of the Shirai or Negishi Ryu, or to of the Kashima Shinto Ryu, therefore his approach consists of position the right foot a pace to the front for throw the sheet. To main difference is in the way of hold the sheet.
The three smaller fingers stayed fold, while the index finger aims to the front, as was done a form of "gun" with the hand. The sheet stayed in his one inside and the thumb applies a light pressure of top for the bass, maintaining it fix about the medium finger fold, and holding the opposite tip below when the sheet leaves the hand. The indicator then rests in the lateral one of the sheet, giving support. The launching is deed simply raising itself and lowering the arm from the lateral one, while a pace to the front is fact. The arm cuts as went a sword.
Tenshin Shoden Katori Shinto-Ryu
This style is one of the most famous one of the Japan, with a long and distinct history. It is a composed art of several weapons, being the shuriken locked. As many other schools, the shuriken was taught as breaks of the training of the sword. There are descriptions of 2 kinds of sheets. An it is to hashi, in form of spit flattened, with a sharp tip and to another one straight.
Tatsumi Ryu
That school of martial arts was founded by Tatsumi Sankyo about 1500, and still functions today. She teaches a complete range of weapons, including the shuriken, as well as martial strategies and of field of battle. Details about the shuriken of this Ryu are scarce in the present, although suspects itself that the training of shuriken was introduced like art in a more recent date.
Otsuki Ryu
Yasuda Zenjiro, master of Kenjutsu of the Otsuki Ryu of Hiroshima, recounts that his professor, Okamoto Munishige, a samurai of the period Edo of the domain Aizu, used the shuriken in many occasions during its job in the forces of security of the xogunato. He carried around 12 sheets in several localities, including in the koshita (lapel of the hakama).
Ikku Ryu
Ikku Ryu is the given name to a relatively modern style of shuriken, created by a master of the modernity, Shirakami Ikku-ken. He was a student of the main one Naruse Kanji (passed away in 1948), that coached sword in the Yamamoto Ryu, and wrote a book about the fight with the Japanese sword, after his experiences in the war with the Chinese one in the turn of the century.
Main Naruse was a student of Yonegawa Magoroku that, by his time, was student of the supramencionado founder of the Shirai Ryu, Shirai Toru. Of his professor, Shirakami learned how about the Shirai Ryu and the Negishi Ryu, and combined the sheet of the Shirai Ryu with the style of launching of the Negishi Ryu, and formed a new approach, that involves a sheet of double tip.
(By Jordan Augusto Contribution Takeshi Hasegawa)
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Secrets of The Samurai
Oscar Ratti & Adele Westbrook
http://i179.photobucket.com/albums/w...20Jutsu/2a.jpg
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Lời giới thiệu
Cuốn sách võ đạo kỳ diệu - Secrets of The Samurai - là một trong nhiều tác phẩm nổi tiếng của võ sư - họa sĩ Oscar Ratti . Cuốn sách này chứa đựng những gì được coi là đơn giản và cô đọng về cả một nền võ học tinh tế - Võ đạo Nhật Bản . Trong một quá khứ binh lửa , các chiến binh Samurai đã chiến đấu dựa trên nền tảng gì , học luyện tập những gì , cơ sở nhận thức và tinh thần Bushido bắt nguồn từ đâu - Secrets of The Samurai sẽ trả lời cho bạn tất cả những câu hỏi trên và còn nhiều hơn thế . Tác phẩm là sự hợp tác của thầy Oscar Ratti và thầy Adele Westbrook - giờ đang là cuốn sách gối đầu cho nhiều thế hệ võ sinh các võ phái Nhật Bản trên toàn thế giới .
Một thời gian sau khi cuốn sách Secrets of The Samurai ra đời , các võ sư thuộc hiệp hội Võ đạo Brazil đã lấy nền tảng từ đó để xây dựng một loạt bài viết tổng quát về các hệ phái võ thuật của Nhật Bản - Các thầy đã sử dụng hình minh họa trong các cuốn sách của thầy Oscar Ratti như - Secrets of The Samurai & The Code of Samurai .
Do hiện nay Tuấn Anh rất bận , nên chưa thể dịch ra tiếng Việt , rất hy vọng các cô chú , anh chị & các bạn có thể dịch rồi đăng lên diễn đàn . Hôm nay xin được gửi tới các thành viên những bài viết bằng tiếng Anh này .
Bộ bài viết sẽ được hệ thống thành 4 tập bao gồm :
Book I :
1 - Koppo Jutsu
2 - Kumi Tachi
3 - Bo Jutsu
4 - Kempo
5 - Iaijutsu
6 - Jo Jutsu
7 - Aiki Jujutsu
Book II:
08 - Hojo Jutsu
09 - Tanto Jutsu
10 - Kobo Jutsu
11 - Kabuto no Bujutsu
12 - Kusari Fundo
13 - Ba Jutsu
14 - Kankyo Jutsu
Book III :
15 - Batto Jutsu
16 - Kenjutsu
17 - Tameshigiri
18 - Heiho
19 - Taiso
20 - Ketsugo
21 - Suriken Jutsu
Book IV
The Samurai Creed & The Bushido
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Chúc mọi người luôn nhiều niềm vui ! :)
Hagakure:laugh:
