Martial Weaponry

BALISONG

The Bali song is presented as a Filipino knife in literature on the subject. Bali song belongs to the practise of Filipino Martial Arts. The word and the culture of Bali song have origins in Batangas, Philippine islands. Many legends exist about the fabulous use of Bali song by Filipino warriors. One of them would have killed 29 opponents with his Bali song, this legend is sometimes told to justify the Bali song nickname “veintinueve” (twenty nine). But it is not sure that the concept of the Bali song (a blade and two mobile half-handles) comes from the Philippines.

The oldest “Bali song concept” knife found is the Pied-Du-Roy, which has been dated before 1791. This knife is French, and can be seen in the Musée de la Coutellerie, in Thiers (centre of France, Laguiole, the most famous French “city of knives”).

Knife Collectors have managed to find “Bali song concept” knives from European countries estimated to be made during the 14th century. The Bali song itself is a specialised weapon requiring careful practise in order to master its use. Techniques based on the Bali song are taught at the society, and a complete history can be found in the member’s section.

BANG

As the short staff is easy to make and use, and is practical, it has become a very popular weapon. The short staff emphasis is on a sweeping action due to its shorter length. Some movements used for other weapons (such as spear and sabre) can also be used in staff forms. There are many methods of using the short staff like chopping, swinging, jabbing, hanging, jumping, leaping, smashing, pointing, blocking, sheltering, holding, piercing, floating, carrying, poking, and lifting. The different Chinese Traditional Kung Fu schools have different emphasis on different moves. The Japanese staff is commonly called roku shaku Bo, simply because its usual length is 6 feet. However, the staffs used by warriors at Shuri Castle were 5 feet 8 inches. These staffs were shortened to fit inside the house to avoid any disadvantage in case of a fight indoors. Besides the 6 feet staff, there are 3 feet, 4 feet staff as well as long ones ranging from 8 feet to 9 feet to 13 feet staffs used like a lance against cavalry. This weapon is taught at the society and a complete history can be found in the member’s section.

BATAK KAPAK

When a fighter unsheathed a battlefield Batak Kapak in ancient times, the cutting edge was almost always smeared with some type of deadly poison, which acted almost instantly upon entry into the bloodstream via laceration of the flesh. Even the smallest cut was enough to usher the poison into the bloodstream. Knowledge and use of poisons derived from various species of poisonous frogs, snakes, scorpions and spiders were considered an essential element of a warrior’s arsenal of close-quarter combative skills. These poisons rapidly accelerated death and were mostly feared for their nearly instantaneous killing power. This is another reason why Penjcak Silat techniques and systems such as Sabetan and Rhikasan focus on the immobilization of the hands at close quarters, this traditional weapon looks like a small hand axe but all its metal edges were razor sharp.

BATAK RAUT

The kings of the ancient Sudanese kingdom were considered very powerful. When a king died, his subjects believed that his spirit filtered into the jungles and became part of the spirit of a tiger. There are two terms for the tiger that rules the jungles of West Java. One is Harimau, which is the generic Bahasay Indonesian word for tiger, and the other is Pak Macan (pronounced “Pah-mah-chahn - sometimes anglicized and spelled Pamacan), which loosely translates to “great tiger.” Thus, the great tiger is very much revered by the Sudanese. So awed were the ancient Sunda peoples by the power and ferocity of the Pamacan, that the common blade of the people was patterned after the shape of the claw of Pamacan. This very large blade was known as Batak Raut, or “claw of Pamacan.” Literally translated as “tiger claw,” the Batak Raut was revered symbolically as well as practically employed as a large cutting weapon.

CHANG BANG

The long-staff is called the “father of all weapons” meaning all other weapons were developed from it. The long staff is described as “for carrying loads or for martial arts”. The staffs were one of the necessities of life for townsmen and fishermen. This art was studied and practiced for self-defense, and excellent techniques have been handed down. It is presumed that Sapposhi (high-ranking Chinese missions) from Fuzhou province brought staff techniques to other parts of Asia. Also, Okinawans went to Southern China or Shanghai and learned long-staff. These Okinawans studied and developed staff techniques after they came home. The staff techniques described in the Chinese war tactics book called “Bubishi” and “Kikoshinsho” are very similar to ones we are practiced today. Both books say that staffs is the essence and foundation of all martial arts weapons. After researching various documents in the Shaolin temple, it seems the staff was combined with Chinese martial theory and evolved to fit the physical features of the Chinese people and the political situation of the islands. In ancient times, the Kuba (Chinese Palm tree) was used as material for staffs. The grain of this hard tree is wavy-like, the same as oak (but white instead of red). Kuba was an ideal material for staffs. It is not easily broken or bent in actual fighting and, in case it is broken, it’s still an effective weapon as the broken point is quite sharp. However, in recent years, red oak has been used as a staff material. This weapon is taught at the society and a complete history can be found in the member’s section.

Dan Gong

The Chinese bow itself is quite light, backed with sinew but without horn. They were decorated with snakeskin and often had tips carved in the shape of a monkey’s head. The most extraordinary part of the bow, however, is the string. It is made up partly from silk bowstring and partly from rigid bamboo straps. A small cup of carved bamboo covered with sharkskin holds the baked clay pellet. The bow is drawn with the bow-hand grasping the grip below centre, imparting and outward torque to prevent the pellet from hitting the grip when the string is released. The draw-hand thumb and forefinger grip around the cup, holding the pellet in against it. This is easy because the draw-weight does not exceed 25lbs. The pellet or arrow cup is drawn back to the archer’s eye, and the shot is made aiming at the target past the top of the grip (which is aligned level with the pellet-cup.) This sort of bow was popular for shooting at small birds. The shot is supposed to be non-lethal: the idea was to catch birds live: not to kill them.

GOLOK

A Heavy, cleaver-like knife with a curved blade ranging in length from 10” to 20”. It is used in some systems of Indonesian silat. The blade is slightly weighted toward the tip, moving the accurate spot for heavy cutting to a section of blade well forward - but not so much forward that the blade becomes difficult to control. You can handily make heavy cuts, using a section about half way down the blade. You can sweep through smaller or softer targets by using portions of the blade closer to the tip. If you imagine your arm and blade making an arc as you swing it, then clearly the part of the blade toward the tip covers more distance and so is going much faster. Blades such as the parang are optimized for this, and so will readily out-chop the golok. The thing to remember is that having a wide heavy section of blade far from your grip makes them far more difficult to control if the blade meets a knot in the wood and deflects slightly. If the golok blade were more pointy, then with less weight at the tip to counterbalance, the sweet spot for heavy cutting would move much closer to the grip. Without going into great detail, the blade on the golok is about as optimal in shape as it can get for general use in cutting for survival or to replace the inferior Machete.

GONG JIAN

Because the Mongols lived in an environment where survival skills were always of the utmost importance, it was a matter of course that they should develop excellent tools, both civilian and military. One piece of equipment that was of great significance in war as well as in the daily life of the Mongols was their composite bow. Perhaps this bow is not quite as well known in the West as the English longbow, which was the best bow ever to emerge in Europe. Yet the Old Mongolian bow was incomparably superior to everything seen in the West. Not until the advent of breach-loading firearms in the 1800’s was the Mongolian bow decisively surpassed as a long-range shooting tool. Still the original Mongolian bow remains a formidable tool for targeting, war or hunting, and the people around the Bajkal Sea regularly used these bows for hunting at least up to the twentieth century. When we are talking about Mongolian bows, the first thoughts go the their military use, although hunting and target practice certainly were more prominent activities. Every day was not filled with war, but hunting and the training of skills were part of the daily routine. In the military, each soldier carried two bows on horseback. One bow was for long-range shooting, another for shooting at close distances. Also, each soldier had two quivers with arrows for different purposes. To mention but a few of these, there were armour-piercing arrows with a particularly heavy arrowhead of tempered steel, there were incendiary arrows for setting buildings afire and spreading fear in the enemy ranks, as well as whistling arrows for signalling. Of course, the most arrows they carried were ordinary arrows where the arrowhead and length of the shaft were adjusted to the normal range at which the particular type arrow was to be used. The standard was that each soldier should have at least sixty arrows with him or her. Yes; it merits mention once more that the strongest and most courageous Mongolian females rode along with the men and fought bravely. Also, the women who did not ordinarily participate in military activity nevertheless had to learn how to wield the bow, a necessary skill for self-defence as well as hunting. The Mongolian bow was the best bow in the world, and probably still is. Even though the modern high-tech compound bows are in some ways more convenient to use and can be made equally powerful, the sheer simplicity of the Mongol composite bow with its complete independence of foreign equipment and complicated parts that the archer cannot easily repair or replace makes the Mongol bow on balance a superior solution. More about the Mongol empire can be found in the biography section as well as the Equestrian taichi area.

GUAI

Guai are the ancestor of the billy club used by modern police forces, and are meant to be used in pairs .Guai go by more names and/or spellings than any other martial weapon, as they are also known as tonfa, tunfa, toifua, tonkua, tunkua, taofua, tonfua, and tuiha. Tunfa or tonfa in Japanese (and American) version,Guai, tonkua or tunkua are Chinese terms, and tuifa (and probably similar spellings) is an Okinawan name. This weapon develops grip strength and the muscles of the forearms, and teaches dexterity and awareness of arm and hand positioning. This weapon originated from an ordinary household utensil, a handle for a mortar (or a hand mill), it has a tapered hardwood billet between 15 inches and 20 inches in length, with a short projecting side handle set about 6” from the thicker end. Its main purpose is defense. Attacking with Guai can also be powerful with the proper use of the wrist. This weapon is taught in its traditional form at the society and a complete history can be found in the member’s section.

Javanese Keris

In the old days, tribes would collect the skulls of the enemies they had beheaded to prove their prowess. For the same purpose, agrarian communities would collect the horns of buffaloes they had slaughtered and the Javanese would only feel contented if, apart from owning a big house and a horse, they could own a keris (Javanese dagger). The legend of Mpu Gandring, the master blacksmith murdered with the kris he forged himself by King Ken Arok, who had ordered the dagger from him, dates back about five centuries. Though he was not the first kris-maker, this story has persisted for centuries. Its mystery is intriguing and has prompted widespread speculation over the years. No records and convincing evidence have yet indicated when krises were first wrought. While the Rukam inscription (829 Caka/907 AD) makes some reference to the word kris, this Javanese weapon is likely to have been recognized even earlier. The contents of Rukam and several other inscriptions mention the symbolic role of krises in ritual offerings to the gods, while the legend of Mpu Gandring’s tragic death affirms the function of the kris as a weapon as well as a sanctified heirloom with magical powers. Krises became intimate in the daily life of the Javanese (as governor general Raffles once put it, “Javanese males without krises are like nude men”) and assumed a variety of different functions. There are no less than 20 functions, for display, as a piece of auxiliary equipment for court soldiers, an accessory for ceremonial dress, an indicator of ranks/social status, a symbol of heroism, of philosophy, of spiritual communication, talismans etc. Krises once even acted as personal representatives of their owners. Formerly, when a Javanese groom failed to show up beside his bride on their wedding day, he could send his private kris to represent him. So plentiful and important were krises in the past that they also served as one of the symbols of a successful life for males. Javanese men could consider their life complete only after possessing a wisma (house), a turangga (horse), a wanita (woman), a kukila (bird) and a curiga (kris). Besides curiga, a kris is also called kadga, dhuwung, wangkingan or tosan-aji. Many people are interested in krises because they are claimed to possess magical powers. Some krises are said to be capable of warding off disasters (floods, fires, storms, wild animals etc.), or to enhance somebody’s authority, good fortune, affection and so forth. Conversely, other krises are believed to cause mishaps, bad luck and other negative things.

KARAMBIT

Prior to 1280 AD, most of West Java was part of the indigenous Pajajaran kingdom. The Badui tribe of West Java, the aboriginal people of Sunda, considered to be the ethnic group of the Pajajaran, lived relatively peacefully until the coming of the Majapahit empire (circa 1351 AD). At that time the Badui tribe quickly migrated to the rugged mountainous regions of the west, brought their weapons with them and remained self-governed. . The Karambit is also referred to as the Kuku Bima (literally “the claw of Bima”). Pre-12th century influence as a result of Hindus settling in Indonesian archipelago, brought the Mahabharata (“great epic of the Bharata Dynasty”) and the Ramayana, (two major epics of India, valued for both high literary merit and religious inspiration), to Java. Contained within the Mahabharata is the Bagavadgita (“the Lord’s song”), which is the single most important religious text of Hinduism. Bima is one of the most revered characters from the Mahabrapta . This curved knife allows the forefinger to be inserted in a hole at the head of the hilt.

KHUKURI

Some of the great and famous knives of the world: Bowie Knife, Stiletto, Scimitar, Roman Sword, Samurai, and Machete etc. All have played great historical roles because of their cutting edge. Khukuri is the most famous of them all. It is partly because of the romance and myths behind them are utterly believable. This because of the decisive slashing edge of the Khukuri, which became well known to those who had to face it in the well-documented battlefields since 1814 when the British in India first experienced its effectiveness when they faced the Ghurkhas in Western Nepal. Thus was born the legends and romance. The history is something else. Khukuri is the national knife of Nepal, originating in ancient times. It is an all-purpose knife of the hill peoples of Nepal, especially the Magars and Gurungs in the west, and the Rais and Limbus in the east. These peoples are called the Ghurkhas who form the former Brigades of Ghurkhas both in the British and Indian Armies, not to mention the Royal Nepal Army itself. It is a medium-length curved knife each Ghurkha soldier carries with him in uniform and in battle. In his grip, it is a formidable razor-shape weapon and a cutting tool. In fact, it is an extension of his arm. When his rifle misfires, or when his bullets have run out, a Ghurkha unsheathes his Khukuri and makes his final run on the enemy in a fury to finish the business. The Khukuri is carried in a wooden (often leather covered) stealth. There are two tiny knives tucked behind it. Karda: A small knife tucked behind the scabbard, its main purpose is to cut small things and also work as a skinning knife. Chakmak: A sharpener tucked behind the scabbard. It can be used as a flint maker also Notch: The notch near the handle on the edge of the blade is a Hindu fertility symbol. It is also the footprint of a cow (cow is a sacred animal in Hindu religion) So the notch forbids slaughtering sacred animals with it. The Ghurkhas also kept promises with it that they will never use this weapon on women and children. Nevertheless, the knife being a lethal weapon, the notch on it is also for the blood to drip and not to soil the holder’s hand, so the user can maintain his grip for further demonstration Khukuri also pronounced Kukri A Nepali boy is likely to have his own kukri at the age of five or so and becomes skilful in its use long before his manhood. By the time a Ghurkha joins the army, the kukri has become a chopping extension of his dominant arm. This is important, because it is not the weight but the edge of the weapon that makes it so terrible at close quarters so much as the skilled technique of the stroke. It is important to remember that the kukri is a tool of work, at home in the hills and on active service it will be used for cutting wood, hunting and skinning, opening tins, clearing undergrowth and any other chore. From this fact it is plain to see there can be no truth in the belief that a Ghurkha must draw blood every time before he may return the kukri to its sheath. The oldest known Kukri appears to be one in the arsenal museum in Kathmandu, which belonged to Raja Drabya Shah, King of Gorkha, in 1627. It is interesting to note that it is a broad, heavy blade. However it is certain that the origins of the kukri go further back. There is one tenable story that Alexander’s horsemen carried the “Machaira”, the cavalry sword of the ancient Macedonians, in the fourth century BC on his invasion of northwest India. Its relationship with the kukri is plain to see. A third century sculpture, of which only a much later Greek copy exists, shows what is probablyTHE TIGER

An old Chinese saying states, “One mountain has no room for two tigers”, In China, tigers are considered so fierce that only one can live in peace on a mountain. Since there are no lions in China, tigers are called the king of all land beasts.

The same is true of the tiger form in the Shaolin system. Shaolin monks watched tigers in action. They observed their strength, courage, and power, and decided the animal had an immense value to their kung fu. Thus, tiger movements within gungfu reflect a strong influence of the tiger in action.

The tiger form differs from the other four animals in that its training is designed to produce strong bone .A tiger is a fast animal with a strong attack. His attack is a pressing action, like being run down by an automobile. A tiger’s strength is a hard, forceful, external strength.

The tiger animal form not only develops power, but also conditions the necessary tendons and bones to harden and strengthen the spine and neck. To exude hard external power, the neck and back must become tense and strong .The tiger form provides that ability.

Since much of Gungfu power in technique comes from strong stances and powerful waist action, the martial artist must have a well conditioned back. The tiger form develops a strong, sturdy back.

When using the tiger claw specific movements, the whole hand is important, not just just the fingers therefore, it is a key for the student to develop his fingers, palms and legs.

In ancient China Practitioners strengthened their fingers and arms by lifting clay jars filled at different levels with gravel. This is similar to the training of the dragon form. Students were also encouraged to grab and squeeze tree branches to condition and develop strength is their fingers, hands and arms. (Nowadays rubber balls can be used).

The more familiar training method of the Shaolin tiger form is “Taming the Tiger” this is a form of push up which incorporates the tiger claw hand position. It involves a standard push up technique that with time evolves into the ability to move in a circular exercise . a Scythian prisoner of war lying down his arms. The weapon looks amazingly like a modern kukri. The actual origins are lost to time, but it is pretty certain that it is of Indian origin and before that a similar blade was carried by the early Egyptians called a kopesh. The Greeks copied that design and called it a kopis and then the Macedonians continued using the unique forward curved blade shape and referred to it as a machiara or later as the Roman falcatta. Later it could have found its way to India with Alexander the Great or via the extensive trade routes from the Arabian peninsula into the sub-continent.

kris

A Double-edged Malaysian dagger with blades ranging from 5 inches to 30 inches. It is a standard weapon of all classical Indonesian pentjak-silat styles and can be said to be the national weapon of Java. Primarily designed for thrusting, this weapon is known also as creese, cries, cris, crise, crisi, dawang, keris, and querix. All kris possess hantu (spirit), and many are said to be capable of tuju, “sorcery by pointing.” These qualities are imparted by the secret and mystical forging process of the pande (expert), as the smith is called, but can only be activated by the owner. Purportedly lethal even when stabbed into the victim’s shadow or footprints, legends tell of the kris rattling in the owner’s sheath to warn him of approaching danger or leaping from its sheath to fight for its owner. Size, shape, and workmanship of the weapon vary. The kris is unique among weapons in two ways: its blade widen suddenly, just below the base, which is set almost perpendicular to it; and, in all but the earliest, one-piece (blade-handle) models, the blade is not set firmly to the handle. All early kris were straight bladed; undulating blades are said to be adopted from Indian weapons. The deadliness of a kris in combat increases with the number of waves it possesses. A wavy blade causes a larger wound and penetrates more readily between bones.

LIU-DAN-BANGUN

The dragon pole or six and a half pole was originally used by boat-men in the paddy fields and rivers of china to steer and direct a boat. It was adapted into the wing chun system, according to legend, after her marriage Wing-Chun taught martial arts to her husband Leung Bok-Lao. He in turn passed these techniques on to Leung Lan-Kwai. Leung Lan-Kwai then passed them on to Wong Wah-Bo. Wong Wah-Bo was a member of an opera troupe on board a Red Junk. Wong worked on the Red Junk with Leung Yee-Tai. It so happened that Jee Shim, who fled from Shaolin, had disguised himself as a cook and was then working on the Red Junk. Jee Shim taught the Six-and-a-Half-Point Pole techniques to Leung Yee-Tai. Wong Wah-Bo was close to Leung Yee Tei and they shared what they knew about martial arts. Together they shared and improved their techniques, and thus the Six-and-a-Half-Point Pole was incorporated into the Wing Chun style. The weapon varies in length but is usually around 7ft long. Projection of sensitivity and valuable conditioning training can be gained from its use. This weapon is taught at the society and a complete history can be found in the member’s section

lun

The origin of Kung-fu Wheel blades is shrouded in the mysteries of Chinas past. While the weapon has an illustrious history in oral legend, it is not specifically mentioned in the ancient literature of kung fu. Weapons in the class of Wheel blades are, however, encountered in literature from the latter part of the Ching dynasty (1644-1892) authored first by Yang Lu Chang (1799-1872) and then by Yang Ban-Hou (1837-1892). Even there, however, the literature is as sparse as we would expect given that the skill required could not have been common. From a metallurgical point of view, the Wind-Fire Wheels share much of the same history as the Jian which is a decidedly more common weapon dating back hundreds of years. This common history may be traced to the fact that production of swords and other cutting weapons from steel alloys reached high levels of craftsmanship during the Ching Dynasty. While several localities achieved renown in such weapons, three are held in especially high regard. Two of these esteemed areas, Lung Chuan and Wu Kan, are in eastern China in the Zurgian Province. As students of Tai Chi might guess, the third location was at the Shaolin Temple-Chin Ying in Henan Province. The significance of Wheel blades extends further to its compatibility with traditional barehanded kung-fu. Forms for working with some measured weapons such as the staff encourage adaptations to capture the weapon’s physical length and flexibility. Movements and forms with Wheel blades, on the other hand, are easily anchored on the same principles of barehanded martial arts. Save for minor adaptations to protect the practitioner from self injury.

RANTE

This chain weapon is used in the tridharma style of pentjak-silat. Affixed to one end is a saw-toothed gear like metal weight. The rante is whirled at different lengths while held in one hand. By changing hands, the swing may be lengthened to its full extension, approximately one yard. This weapon is said to be inherited from the Chinese by practitioners of delima, another form of pentjak-silat.

SABIT

A good Javanese sabre sword or pedang sabit (sabit i.e. crescent or sickle) with. A Thick and very sturdy blade has an arcing profile (sabit). Pamor patterns are arranged in the mlumah technique, and are of the wos utah, or scattered rice variations. It is said to provide frequent small opportunities for the owner, or indirectly, enhancement of his material well being. It is also the same term for side kick in some Indonesian styles.

XIAO

As an inextricable part of Chinese culture, Chinese flute has a long history covering over 7000 years. Experts have identified that the bone flute discovered in Hemmed, Hennang Province, and dates back to more than 7000 years ago. The finding disproved the introduction of flute by Zhang Ian, a famous messenger, in Western Han Dynasty (206BC-25AD). Flutes in Jin Dynasty (265-420AD) and Han Dynasty (206BC-220AD) appeared in various sizes and pitches. From Su Dynasty(581-618AD), flutes which can play halftone came into existence. In Tang Dynasty(618-907AD), Liu Xi invented “Seven Star flute”, which was the first flute in the world with film on one hole. This was a great evolvement in the history of the development of flute. When it came to Song Dynasty(960-1279AD),another kind of flute appeared with its mouthpiece in the middle and player crossed his hands when playing the flute. Flutes in Yuan Dynasty(1271-1368AD) were exactly the same as todays . A popular weapon in Chinese kung-fu. The practitioner of this art could, it is said, transmit the power of chi through the music of his/her flute and drive an opponent mad. The flute is also the Emblem of Han-Hosing- Tsu of the eight immortals. In martial practise the flute is used much like a short stick to strike, parry, pierce and bludgeon. Some flutes even had blades hidden in them. This weapon is taught at the society and a complete history can be found in the member’s section

ARROWS

Oriental arrows come in a number of different shapes and styles. The most common type has the normal wedge-shaped head. The armour peircer has a narrow spike-head and is designed to punch through different types of armour. The frog crotch arrowhead forms a V, the inner edge that is sharp. These are used to cut standards, armour cords, and inflict terrible wounds on things caught between the jaws. The humming bulb arrow is fitted with a carved woodenhead that whistles loudly when fired. The sound can be heard up to one mile away and it was often used for signalling, it was sometimes fitted with oil soaked cloth or straw to allow its use as a fire arrow. The leaf head arrow is fitted with a broad head designed to cause greater injury. These arrowheads were often carved with elaborate designs, making them works of art themselves.

CHO-KO-NU

The chu-ko-nu is a repeating light crossbow, capable of firing several bolts before needing reloading. Mounted on the top is a magazine that can hold up to 10 quarrels. The cocking and reloading action is worked by a single lever, pushed forward and then pulled back. This allows a faster rate of fire than its western counterpart. Up to two quarrels can be reloaded in the magazine, and it was common for competitions to be held on the quickness of reloading. It is heavier than a western crossbow and has a poorer range.

DAIKYU

This is the largest type of bow found in the world. In some ways, it is similar to the longbow. It varies in length from five feet to eight feet long and bent at the ends for greater power. Unlike most bows, the grip (nigiri) is not centred, being closer to the bottom. This allows the bow to be fired from horseback and kneeling positions. The use of this weapon is now widely practised as the art of Kyudo where great emphasis is placed on meditating on the target and less on the warfare usage.

FANG

A fang is a heavy iron weapon, modelled on the elephant goad. It is about the length of a short sword. On the end is a sharp point with a heavy hooked point below it. Used much like the Lian (sickle) this weapon was around 10 times as heavy and required strength training to use.

JITTE

Also known as jittei, jutte, or jutta, this 15-inch Japanese weapon usually consists of an iron or steel rod, a long hilt, and a characteristically square hook jutting from the rod at the hilt. It is often fitted with a guard (tsuba) and a scabbard; in certain rare cases it is even mounted as a sword, complete with blade. Some sources report it is carried hanging from the belt or in a scabbard inserted in the waistband or sash; others claim it is generally hung from the wrist by a cord tied to a ring on the hilt. The jitte’s origins are unclear: Okinawan and Japanese provenance are both claimed. Whatever its origins, this weapon gave rise to a sophisticated method of combat known in Japan as jittejutsu. Its techniques included parries, blows and thrusts, and on occasion the weapon was hurled. The hilt of the jitte could also be used with devastating effect in delivering reverse blows to maim or even kill an unwary opponent. Mastery of jittejutsu depended upon skill in the art of displacement, called tai-sabaki (body movement), which made it possible for an expert to change positions quickly, sliding or whirling away from an opponent, whose reach normally extended to the tip of his long sword. Since the techniques of kenjutsu (art of the sword) are numerous, the techniques of jittejutsu of necessity had to be sufficiently inclusive to cover all threatening contingencies. Official use of the jitte was restricted to police officers of the feudal era, for whom it was a symbol of position. Warriors were said to have dutifully acknowledged the efficiency of this instrument, which, in the hands of experts, could snap a steel blade, or send it whirling away. The techniques utilised could be credited with the modern self-defence weapon the Kobutan

KATANA

The katana is a single-edged slightly curved sword ending in a chisel point. It evolved gradually from the normal sword and is noted for its superior construction and design. It is perhaps one of the finest types of swords made. Great care is taken in making the katana and the forging and construction of it is considered a rare and valuable art. The weapon-smith must labour long hours to achieve the correct temper of the blade. When correctly made, the blade is light, well balanced, and combines great strength and with flexibility and resilience. The quality of the metal and forging allows the blade to be ground to a razor sharp edge. In addition, such blades are often crafted beautifully with etched designs, prayer of family lineages. Equal attention is also given to the hilt, guard, and scabbard of the weapon. Katanas often have individual names, reflecting deeds of glory in which it has been used. For the samurai, the katana is more than just a sword; it is part of his honour and the honour of his family. It is his personal weapon, not to be used by others. To touch the scabbard of the sheathed katana is to insult the samurai. To draw blade without permission is an insult. A single katana may have been in the same family for generations, becoming a treasured heirloom. To loose such a weapon is a shameful disgrace that can only be swept clean by the recovery of the weapon and the punishment of those who have taken it. Many samurai have given their lives to recover the family’s weapon. The value of a katana can vary greatly, depending on the quality of workmanship and the history of the weapon. The application of the katana is based on only two cuts and the variation thereof; this requires purity of thought and methodical precision. Many arts have derived from this weapon, most notably Kendo and Iaido; also modern Jodo is often credited to the katana. It was well established in ancient times that gifts to the gods must possess three very important elements: purity, rarity and value. The Japanese sword was believed to have all three of these characteristics, and it was not uncommon to dedicate one as a votive offering in religious ceremonies. Ancient records reveal that the first such offering was made to the deities around 3 B.C. Later, when the sword symbolized the samurai code, it acquired even richer spiritual qualities. The legendary sword smith Amakuni is supposed to have forged the first curved sword blade about AD.700. The straight-edged blades had been chiefly used for stabbing, but cavalry was becoming increasingly more important in battle at this time, and the horseman wanted a weapon designed for slashing. Yatsutsuna is the first authentic sword smith whose name has been documented. He worked around A.D 900 and the blades he created were so superb that the Japanese sword has changed little since his time. As in almost every aspect of Japanese culture, China also influenced the Japanese sword. The shapes, as well as the names of Japanese swords, are related, directly or indirectly, to Chinese sources. The ancient Chinese ideograms for Jian (double-edged sword) and Dao (single-edged sword or knife) are considered semantic and phonic roots of both the Japanese renditions “ken” and “to,” which were to evolve into “katana” – the Japanese reading of Dao that supplanted the more ancient rendition “to.” Placed together, in reverse order, the Japanese “to-ken” was also a general term for all types of swords.

The bushi usually carried two swords: the long sword, or katana, and the short sword, called wakizashi. These were the two blades (daisho) that the bushi alone was privileged by law to wear and employ, and they symbolized his position in Japanese society. The long sword, ranging from the long nodachi or dai-katana to the standard-sized katana, measured 2 feet or more in length. This was the weapon used for close-quarter combat. The short sword or wakizashi measured from 16 inches to 20 inches and could be used in combat as an auxiliary weapon or for other purposes, such as beheading an enemy or performing ritual suicide. Both were worn on the left side and secured at the waist to facilitate quick and easy draw. In later periods, both blades were thrust through the waist sash, edge upward, the katana on the left side and the wakizashi across the stomach The wakizashi seldom left the bushi’s belt for any reason; the katana could be removed when custom required: when at home, while visiting another bushi’s home, or within the confines of the ruling lord’s palace. Considering the exaggerated veneration in which the native katana has been held from the earliest times, it is not surprising that the occupation of sword smith should have been regarded in feudal days as an honourable profession. Casting of the sword blade was even considered a religious ceremony, complete with traditional costume. The forging of blades was surrounded with ritual secrecy, and technical details were passed down from father to son. In fact, the personality of the individual smith was thought to be reflected or animistic ally embodied in the blades he forged. It is not surprising, then, considering the importance of this weapon in the eyes of the samurai, that the capacity to read a blade, seeing and knowing the marks that indicate its maker and age, became a highly sophisticated art, requiring special facilities and knowledge, and long experience. It was believed a great sword smith imbued his swords with qualities beyond the physical. A fine sword was thought to have a character of its own, and a samurai who owned such a sword had to live up to it. More than an instrument of killing, it was an instrument to lead the samurai who owned it to spiritual enlightenment. A Japanese proverb states, “katana wa no tamashii”: The sword is the soul of the samurai. Regarded as a treasured family heirloom, the sword was carefully preserved and passed on to each succeeding generation. Even in modern times, these swords have been carried into battle by officers and men of the Japanese armed services. Outlooks differ regarding the swords that were confiscated during the tenure of the Allied Occupation in Japan after World War II. Many American soldiers thought they were collecting mere war souvenirs and seldom understood or suspected the value and deep meaning of the swords. Eventually, most of the confiscated swords that had been collected en masse and which were know to have special artistic or historical value were returned the their original owners to be preserved as objects d’art. The Japanese sword lost much of its prestige as a sidearm after World War II, but it still remains the most finely wrought steel weapon in the world. The legendary Damascus and Toledo blades or the Excalibur of English literature diminish when compared with the craftsmanship and quality invested in the ritual manufacture of the Japanese sword. In 1965 a museum of Japanese swords was founded in Tokyo. There is also a Japanese society for preserving swords of beauty

KAWANAGA

The kawanaga is both a tool and a weapon. It is a length of rope with a grappling hook at one end and a weight at the other. It can be used for climbing or as a weapon, by swinging the hook or the weight at the opponent. In addition, the rope can be used to entangle an opponent. This type of weapon is popular with ninjas, since it has several uses and is easily concealed.

KISERU

KUMADE

The kumade is a dual-purpose tool. It is a long wooden shaft with a rake-head fitted at one end. It can be used for climbing by setting the rake prongs in a crack, ledge, or sill and climbing up the pole. It can also be used as a weapon. Since it has a multiple uses and can be carried without arousing suspicion, it was a common item for the ninja and Yakuza to use.

KUSARI-GAMA

The kusari-gama is a development of the common Japanese kama (sickle), designed for more fighting purposes. It is a kama with a length of weighted chain attached to the butt end of the handle. It can be used in several ways. The user can attack with the kama in hand, he can club and entangle with the weighted chain, or he can whirl the kama at the end of the chain. This weapon is relatively easy to make and was favoured by both peasants and ninjas. Another favoured fighting method of the kusarigama, which was a long-range blade and chain weapon. A ninja could hurl the chain with its weighted end at an enemy from a safe distance, entangle him and then move in close with the sickle-shaped blade and cut him to pieces.

KYOKETSU-SHOGI

A similar weapon to that of the kusarigama, but used much earlier in ninja history, was the kyoketsu shoge. This had a hook blade with an 18-foot-long (5.5 m) length of cord attached to it, with an iron ring fastened on to the opposite end. It was used exclusively by the ninja, and here again the long cord could be put to use in a hundred other ways when not being used as a weapon the rope can be swung to attack with the blade or weight, snapped around the feet or arms to entangle, thrown like a bola, or held while striking with the knife. Although the rope is far easier to cut or break than a chain, the weapon is often used by ninjas since it is almost silent when employed. It is easy to conceal and if often worn as a belt or under a sash.

LAJATANG

This rare and unusual weapon is only found in the hands of martial artists skilled in its use. It consists of a three to five foot shaft with a crescent blade fitted at each end. Some have barbs sticking out from the edges. It is used in the same fashion as a two-headed halberd and is considered as a cousin of the traditional wooden staff.

MANCATCHER

A man catcher is a two-pronged pole arm. Each prong is curved to encircle a humanoid creature of man size. It is not used for large wild animals. The man catcher has spikes and sharpened edges to both damage the opponent and prevent the use of hands and arms. Anyone caught in a man catcher is less likely to escape the more they struggle. Furthermore, the victim can be pulled and pushed with it. With a technique often used to pull the victim off his feet, either to a kneeling or prone position. A common tactic with this weapon was to capture the victim and then to jerk him off his feet or horse, pressing the pole down to pin the neck to the ground. In such position, the captive was virtually helpless.

METSUBISHI

This small wooden device is used to blow a puff of powder in the opponents face. It has a mouthpiece at one end, a chamber for holding the powder, and a small tube at the other end. Blowing hard through the mouthpiece forces the powder out the tube, possibly in the face of the victim. The metsubishi does no damage, but can be used to blow irritating or blinding powders at the victim. The most common powders are pepper, ashes, and dust. It was often used by ninjas for distraction and escape and by city constables when attempting to capture a criminal. It added to the myth that ninjas could disappear in a puff of smoke.

NAGINATA

A Scimitarlike blade, 3 feet in length, fixed to a slightly longer shaft. From the 11th century, when the Monamoto and the Taira clans started their long struggle, the naginata became popular among military men because of its combined powers of cutting and thrusting. Early naginata consisted simply of a blade and shaft, a handguard was added later. Double-edged blades and blades set at right angles (jumon-ji naginata) became the most popular type. There were three major forms; the first appears to have been the ancient tsukushi-naginata, whose shaft was inserted into a metal loop on the back of the blade; the second, and most common, was secured to the shaft; and the third, and rarest, had a socket at the base into which the shaft was inserted (ta-no-saki). Their shafts were heavily lacquered and decorated with metal fittings. The naginata is usually employed with propellerlike slashes directed to all parts of the enemy’s anatomy. From a safe distance the naginata could keep a sword-bearing enemy at bay. It is believed that the introduction of protective armour for the legs and lower part of the body was owed to the effectiveness of the naginata. During the Muromachi Period (1392-1573) hundreds of styles of naginata developed, but, with the arrival of firearms in 1542 began a decline. By 1600 it was relegated to a symbolic position. The naginata, interestingly enough, was also referred to as the “woman’s spear,” because women of the Japanese military class were expected to have perfected its use by age 18. Even in modern Japan, it is said there are few more graceful or interesting spectacles than the manipulation of this weapon by an expert female fencer. Today women practice it as a sport and a form of physical education.

NEKODE/SHUKO

Also called shuko, this is another dual-purpose ninja tool. Its primary purpose is to assist in climbing, by jamming the spikes into the cracks to give a better grip. The ninja of Japan wore these brass knuckles, which were made of a metal plate adorned with four spikes extending from the palm. There were also placed on the feet if grip was needed. Not always a weapon this has evolved from a tool used for bringing in fishnets.

NINJA-TO

Perhaps the most readily identifiable weapon of the ninja was his sword or shinobikatana. The ninja sword was totally different to that of the samurai’s beloved weapon. It was generally short (about 20 inches – 50 cm – in length), having a single-edged straight blade with an oversized hand guard (tsuba). Because the blade was short the ninja could strap it to his back and thus keep his hands free. If he were suddenly attacked the sword could be unsheathed whilst still on his back and put quickly into action. The low ceiling in Japanese houses prohibited a very long sword being drawn in this manner, but a short, straight 20-inch blade proved to be no problem. Everything about the ninja’s sword was a veritable box of tricks. The scabbard was longer than the blade by about 3 inches (7.5 cm). This extra space allowed the ninja to store poisons, powdered medicines and flash powders in its detachable bottom. If he was pursued by enemy soldiers he could remove this lower piece of the scabbard, dive into a river or lake and use the hollow scabbard to breathe through. Over and over again, tricks such as these not only confused the enemy but also laid the foundation for ninja being thought of, as superhuman spirits that could disappear at will. The long cord used for strapping on the sword could be put to a multitude of uses, for instance as a rope to tie up a prisoner or in conjunction with the extra large hand guard for helping the ninja over some high obstacle such as a castle wall. Stepping onto the sword’s tsuba, this extra leg-up could then be aided by the ninja hurling the rope over a parapet and pulling him up with it. In the forest he could snare small game using the cord as a slipknot noose. The sword had a very different meaning for the ninja than it did for the samurai. The samurai carried two swords, which, along with his top-knotted hair, was the mark of a warrior. His trusty daishio (swords) were made from high-grade carbon steel and each had taken months to make by skilled sword smiths, who hammered and folded and hammered again the edge of the blade until it contained hundreds of layers of finely forged steel. The reverence a samurai placed upon such a weapon was little short of worship. His blade was his very being, his honour, and his code, even his soul. The ninja’s sword, on the other hand, had a blade that was of very poor quality and dull in comparison to the razor sharp edge of the samurai blade. It resembled nothing more than a short piece of sharpened iron with a handle and was crudely forged using less than ideal materials. The finished product often had a tendency to break. To the ninja, his sword was just another tool of the trade.

PARANG

In the Malay world, swords have a double function, they can either be a warrior’s weapon or an all purpose utility tool. Swords have different shape and use; they can be divided in four major types. Parang is a generic term used all over the archipelago to describe any type of single edge chopping weapon. Usually a kind of machete used for hunting or moving in the jungle. It was commonly found in the hands of primitive Japanese tribesman, who used it for everything and were seldom found without it. The Japanese parang is a heavy bladed machete capable of delivering chopping blows of great force. It is thought that it is one of the earliest weapons found in Japan.

PELLET BOW

This weapon is almost identical in construction and use to a normal bow. However, instead of firing a normal arrow, it has a small sling in the bowstring for holding a small stone or pellet of clay or lead. The firing style is different from that of a normal bow. The pellet can be fired with more force than a sling. The use of this weapon was restricted to non-samurai classes in feudal Japan (as they were not allowed to use a Daikyu).

SANG KAUW

This martial weapon comes in two forms. The first form is a double-headed spear with a loop handle in the centre with a dagger or crescent potruding from it. The weapon is used with one hand to parry and attack. Its second form is identical in appearance except that a small buckler (shield) is fitted to the centre with a dagger blade protruding from it. When the second form is used it requires a more defense like mentality. In either form the weapon requires diligent practice to use effectively.

SHURIKEN/SHAKEN

The shuriken is a small throwing weapon. It comes in various shapes and sizes, the two most common being the star and the spiked form. Stars have three or more razor edged points, ensuring that at least one will strike the victim when thrown, they come in a variety of sizes and are designed based on specific traditions. Spikes are large pins (much like the modern throwing knife) tapering to sharp points. Contrary to popular belief these are short ranged weapons designed to be thrown by hand at a distance not exceeding ten feet. They are useful because they can be tipped with poison and very easily concealed in clothing or worn in the hair. The shaken is similar to shuriken and is used in the same way. They come in many different shapes and are thrown from short range. The shaken are Small, multipointed throwing weapons, such as dirks, darts, stars, etc. They vary in design from three to ten points. These weapons were an integral part of a ninja’s arsenal. Most shakens were aimed at the eyes, temple, throat, and arms to slow an attacker.

SIANGKAM

This weapon hardly looks useful at all and can only be used effectively by a character trained in the proper martial arts style. The siangkam looks like a metal-shafted arrow with a small wooden handle replacing the feathers. It is normally used in pairs, one for each hand. The siangkam can be used to jab, thrust, slash and parry. It cannot be thrown effectively. Even though it has an appearance of an arrow. Its use is similar to the Chinese Ermei-ci (found in pakua), and therefore it is an excellent close range weapon.

SODE GARAMI

The sode garami, or sleeve entangler, is a highly specialised weapon. It is used to catch and entangle an opponent without causing great harm. It is normally made as a pole and crossbar set with a large number of spikes and hooks. When used successfully, it hooks and catches the clothing of the opponent who is then captured and rendered impotent without being hurt (inline with Buddhist beliefs). When used specifically to catch the opponent, the sode garami does no damage. However, forceful blows can also be struck with the weapon, resulting in a versatile tool. This weapon was often carried by palace guards or city constables (much like the big sweeper). Sodegarami is also the name of an intertwining sleeve choke used by some jujutsu schools.

TETSU-BISHI

Tetsu-bishi are small caltrops, not melee or thrown weapons. The tetsu-bishi is a ball or four-sided diamond of spikes, designed so that no matter how it lands at least one spike is pointing upwards. They are used to stop or slow the movement of men and animals by making the ground extremely dangerous to walk on. Because of the way they are designed, they cannot be thrown at an opponent for any good effect. Rather, they are cast on the ground at the feet of an opponent when being pursued. They are greatly favoured by ninjas since they can allow a quick and unpursued escape. They can be common natural items with spike filled casings. These vicious weapons were especially effective to slow a pursuing enemy. Since no matter which way they landed, one spine always pointed upwards, the pursuers, who generally wore straw sandals, were constantly harried. These caltrops also were sprinkled around an encampment or castle wall to prevent an enemy’s stealthy approach.

TETSUBO

The Tetsubo, or iron-shod rod, is the Japanese version of the mace. It is a long wooden rod, wielded with two hands, the upper half of which is covered with studded iron strips. Buddhist priests and wanderers often use it, since it can also serve as a walking stick and is also blunt (in keeping with no drawing of blood doctrines). This is one of the early weapons transferred from the Asian continent to Japan. The tetsubo, or iron staff, came in various shapes and lengths, with circular, hexagonal, or octagonal cross-sections. Its systematic use was known as tetsubo-jutsu. The tetsubo could be employed mounted or afoot, but only the strongest warriors were able to become proficient in its use.

UCHI-NE

This is a short, heavy javelin that looks like a miniature arrow. It can be thrown effectively for short distances or used for thrusting and jabbing. They were often carried by Daimyo when travelling and were ornate in appearance.

WAKIZASHI

This is a short sword, similar in design and construction to the katana. Like the katana, the wakizashi may be named for some past deed or event. It holds almost as important a place in a samurai’s honour as his katana. Those rules and guidelines concerning the katana and its care also apply to the wakizashi when it is part of a matched set. The samurai normally wears the wakizashi and the katana as a pair. This is known as daisho, or ‘long and short’. Indeed, in the history of Japan the two weapons were a sign of the samurai’s status. Only samurai were allowed to wear them both. Should others disobey this law they would be subject to arrest or immediate execution for presuming a rank they have no right to hold. Although a short sword the wakizashi is not used in an underhand way and utilises the same precision of movement as the katana. It was about 16” to 20” long and as well as its use in combat, the wakisashi was also used to commit Seppuku (ritual suicide).

BISHOU

The Dagger is a small knife. It tends to be defined as any knife used or designed for fighting one handed and inefficient for eating or cooking. Primarily a stabbing weapon, the dagger was usually double edged and narrow. Most of the techniques were to stab in and tear out. They tend to be punches or hammer fist strikes modified for speed. While the Philipino styles took knife to a very high level with their techniques, the Japanese styles did not put a lot of effort into dagger. Since a single edged knife was simply a smaller sword and a dagger was less, daggers were usually thrown away. While there were specialized uses for the dagger, it tended to be viewed as a thrown weapon or something an assassin would use. An example of the specialized uses were the ermei piercers and ring daggers. Both were designed for use in water with variations mainly focused on being able to swim and still have control of the weapon, Recon is the obvious reason for this. Some other uses that came to light recently was for the use of a knife in urban settings. There were places that you could not take a sword. The Dagger was specialized for killing and made a perfect weapon to carry into small spaces. When people carried knives to eat with, a household could not guarantee the safety of all the guests. The host began to provide utensils so people would not have a reason to pull their own knife. The dagger design became more popular shortly after this new custom became popular. It also has impressive applications in a close quarter combat role. The survival/hunting knives are still better but the dagger is easier to fabricate and cheaper to maintain. These twin daggers vary in length and are concealed for quick access. The ability to fight with two knives is a skill learned by explorers through various expeditions and discovery missions, this skill is taught to allow the practitioner to develop the mind and improvise within his environment. It involves close quarter techniques that are very similar to the movements found in Kali and Penjkat Silat. This weapon is taught at the society and a complete history can be found in the member’s section.

CHAI

Short, forklike metal weapon approximately 15” to 20” in length and weighing about 3lbs. The weapon consists of a shaft, pointed in front and tapered to a blunt lipped end, and the two tines projecting from about a quarter of the distance from the end of the shaft. The Chai is primarily a defensive weapon, used rather like a truncheon, to strike, poke, jab or hook (with the tines). The tines may catch the blade of a sword. Often two or three Chai were carried, one in each hand and one through the waist band in reserve. The Chai has a long history found in India, China. Malaysia, and Indonesia; the weapon also migrated to Okinawa where it was pronounced as “SAI” based on its Greek symbol shape. This weapon is taught at the society and a complete history can be found in the member’s section.

CHI

This is a specialized long weapon with a hook-like spearhead used in Chinese kung fu, favoured for its use by dock dwellers or sailors for pulling boats to shore. The movements of this weapon are essentially the same as that of spear techniques, with the added ability to hook or entangle with the weapon.

CHUI

A set of short copper cudgels with large copper balls attached to one end, a humorous looking weapon, usually utilised by strong and shorter individuals. This weapon commonly weighed around 30kg (each) and cultivated great strength through its fast usage. This discipline does not contain any “Flowery” techniques and is a destruction weapon for overwhelming the opponent using force.

ERMEI-CI

Primarily a hidden or secondary weapon, this piercing implement was commonly used in conjunction with another discipline, its use was eventually adopted by Baguazhang practitioners to emphasis their eight palm disciplines. Quite often this weapon was used under water (due to its ease of technique) to pierce or stab through vital areas. This weapon is taught at the society and a complete history can be found in the member’s section.

FANG TIAN HUA JI

This specialised weapon combines the sword, spear and halberd; traditionally used against a spear with a hooking action, there are both long and short styles of this weapon, with varying combinations on its attributes. The weapon illustrated would be referred to as a Full moon snake spear, a half moon would have only one halberd attribute and the snake refers to the snake like form of the spearhead.

FEI ZHUA

A Chinese weapon called the flying claw; this weapon is attributed to vagabond characters in kung-fu movies, but was actually a practised weapon. It was used as a kind of grappling hook or Man catcher and often contained Barbs on the palm of the iron hand. The hand itself weighed approximately 12-16lbs and when thrown could quite easily knock out an opponent. Techniques with this weapon resemble the steel whip, although contrary to kung-fu film lore, the claws used in ancient China were not movable (e.g. they didn’t grab the opponent).

HU-CHA

The Tiger fork is a large Trident originally used to kill Tigers in southern China. Planted in the ground as a tiger charged, the animal impaled itself on the three sharpened prongs. Eventually, the fork entered the arsenal of long kung-fu weapons. It is often wielded by performing lion dance troupes. Southern forks are larger than those used in the north, their techniques demonstrating power rather than style. Northern forks were designed for mounted soldiers; the southern were used primarily on foot.

HU DEH DAO

Also known as southern style short sabres, baat jam do, wing chun knives, boot knives or butterfly knives (due to the grip), It originated from the butchers chopping cleaver. These variably shaped weapons are usually seen in pairs and often attached to the large kung-fu drum played at lion dance ceremonies. They are primarily used in southern kung-fu styles. The top of the knife hilt is turned forward so that the practitioner can flip the knife around the thumb. The knives themselves were dulled when used by Shaolin monks to prevent blood shed (which is against Buddhist doctrine). This weapon is taught at the society and a complete history can be found in the member’s section.

HU-TOU-GOU

Also known as tiger’s head hooks; the written characters for the double hooking sword actually refer to the large crescent-shaped hand guard, but because the sound of the word for this hand guard is similar to the sound of the Chinese word for double hooking sword (which is also a synonym for tigers head) the weapon is loosely referred to as “the tiger’s head hook”. This is a weapon found primarily in northern styles of kung-fu and both swords can be linked to increase the range of the weapon.

JIAN

The double-edged sword is known as the mother of weapons. Said to have been invented by Ch’ih-yu, who forged his sword from gold found in nearby mountains, the weapon often has supernatural qualities attributed to it - to chase away evil demons, etc. Use of the sword was traditionally reserved to the upper classes. It was the emblem of the sage, varying from 1 ½ feet to 3 feet in length. The best sword smiths in china were Che-Yen, 2600 B.C, and Kan-Chiang, who lived in the state of Wu in the 3rd century B.C They are said to have forged magic swords of steel, regarded as supernatural because they were so much sharper that earlier bronze weapons. A rock still exists in Kashing that was, as the story goes, split into two by Kan-Chiang, who was testing the blade of a sword. Also famous for his sword is Lu-Tung-Pin, one of the eight immortals, who was given a magic sword by his Sifu (teacher), Chung-Li-Chuan. Lu could hold the scabbard of his weapon while the blade jumped from its sheath to obey his commands. Many swords have poetic names pertaining to a specific hilt design or method of use. The Chinese god of swords, Fei-Yang, ruled both male and female swords. According to legend, the sword’s handle was called “T’an”, its end called “Feng”, and the scabbard called “Fu-Yao” or “Ru-Yao-Mu”. Materials from which swords were made were gold, jade, silver, iron, oyster shells, brass or, in the case of the chien talisman, coins. Sword techniques fall into four general categories: Single-sword, double-sword, long tasselled sword and short tasselled sword. This weapon is taught at the society and a complete history can be found in the member’s section

JIN-QIAN-CHAN

This coin shaped halberd, is a large weapon with a circular shape at one end. A very rare weapon it is illustrated here to show the versatility found within the minds of martial artists. This weapon was designed specifically for use against spear or pronged weapons, with its intricate head able to catch other long weapons and even break the attacking weapon, the circle is the symbol of Taoism usually represented by a yin-yang. Taoism and martial arts have shared a close history with each other in the history of the orient.

PAN-GWAN-PI

Sometimes this weapon was called the brush of justice, easy to conceal or even carry around. This was a common weapon employed by Chinese painters, who due to their occupation were employed to transcribe many martial styles to book form, and thus some of them became martial artists who then adapted the paintbrush for use in defense. Chinese painting has its origins in the pictographs inscribed on bronze during the Xia, Shang and Zhou dynasties. Paintings on silk, possessing linear effects, had appeared during the period of the Warring States (475-221BC) and by the late Western Han era (206BC-AD24), paintings in rich colours were being done, such as the murals discovered in Han tombs. In the history of Chinese painting, figure painting was the first genre to appear. The earliest examples, during the Warring States period, were on silk. (Paper began to be manufactured only in the first century AD.) By the time of the Tang (AD740-70), figure painting was already well advanced. Mountains, rivers, flowers and birds served only as the background or embellishment of a painting; they developed into independent genres at a much later date. In time, however, landscape painting became the most important genre and numerous schools, theories and techniques relating to it evolved. The earliest extant Chinese landscape is Spring Excursion by Zhan Ziqian of the Sui (AD 581-618), an artist who paid special attention to brushwork and used dots and lines as his principal method of expression. Today, many artists believe that a mastery of landscape painting makes it easier to learn figure and flower-and bird painting because techniques learnt for the former can be used in the latter.

SHAO-ZI-GUN

A weapon composed of two pieces of hardwood connected by rope or chain. The length of the weapon varies, but is usually around 12” to 14”. Although the connecting link is never very long, its length does vary from 1” to 5”. Earlier, the link was made from horsehair, leather, silk, or rope; today, nylon cord or chain is most often used. Although the original shao-zi-gun (nunchaku in Japanese) is octagonal (hjakakuei in Japanese), with eight sides based on the eight trigrams of the I-ching, there are variations: round (maru-gat in Japanese) in which both pieces are round and of even length; long-short (so-setsu-kon in Japanese) in which one piece is about half the length of the other; half size (han-kei in Japanese) in which two sides are cut from one normal size and a longer chain is added; three piece (San setsu-kon in Japanese) in which all three pieces are around 14” long, or a variation which one side is long but the other side is composed of smaller pieces; and four piece (yon-setsu-kon in Japanese) in which there are two longer and two shorter pieces all hinged together. Modern versions of this classical weapon, especially those in the U.S.A often have fancy handgrips and employ such innovations as ball bearing swivels (super swivels in Japanese). This weapon is taught at the society and a complete history can be found in the members section.

ZHEN-MA-DAO

The chop horse broad knife used in Chinese kung-fu, especially the southern styles. With a series of rings attached to its dorsal edge. The rings are used to catch an opponents weapon (e.g. spear) and to create a distracting noise. Also known as double-hand big knife, this large sabre was used primarily to chop off the legs of a horse, a method of bringing down a mounted opponent. This weapon is taught in its traditional form at the society and a complete history can be found in the member’s section.

ZI-WU

The Deer horn Knives or Meridian blades are a very unique weapon originating from the Baguazhang (or perhaps more correctly Baguaquan) school of Chinese martial arts. Dong Hai Chuan the founder himself practiced this weapon. There are numerous stories of him killing large groups of armed men who had attacked him. Most of these are apocryphal and probably stem from the story on his original grave marker. It says there that once while travelling outside the city, Master Dong was attacked by many men with weapons. He defeated them all “moving like a hurricane”. As he did travel through rough country, it is likely that he would have defended himself from bandits using his Deer horn Knives. They are designed for use against multiple attackers, or any type of weapon. There are techniques for use against the spear, staff, sabre and especially the sword. It has been said the Deer horn Knives are especially good at defeating the sword with their hooking and trapping techniques. ZI-Wu Deer horn Knives come in various sizes. Large ones can be used to scale walls while small ones are used like throwing stars. There are also various configurations like recurve points and knives with either three or four points each. Initially the knives had only three points one of which was slightly curved like a duck’s head. It is said the duck’s eye, a small indentation on one blade, could be laced with poison. This weapon is taught at the society and a complete history can be found in the member’s section