a Japanese light novel:Tsurune – “Kazemai High School’s Kyūdō Club”
Today I would talk about yugaeri (弓返り) in Kyudo. I would describe this article only serves as a purely description rather than a teaching. Therefore, if you would like to learn about Tenouchi (手之內) or if you grip your bow too hard, please let us direct you to your dojo teachers or seniors for further learning.
Ok, back to the topic, yugaeri is a rotating motion of bow, inside the left hand grip. It is a result of an action and reaction pair, at the moment the arrow is being released. The string would finally go from the inner arm to the outer arm side.
In Japanese Kyudo, the arrow is set on the right of bow. If the archer cannot achieve yugaeri, the arrow would be pushed to to the right during release. Hence, yugaeri is not to make the shooting form look cool, but it keeps the arrow being shot along a straight track. It is also important to have yugaeri to prevent the string from hurting ourselves. Yugaeri helps to avoid injury of hitting and bruising inner arm; and even sometimes hitting the ear or face.
The beginners now reading till here may think, “Ok, I understand. Let me DO the Yugaeri then.” Well… it is easy to say, then DO. Although some beginners may consider Yugaeri is another milestone after they are allowed to shoot in front of mato (target), it is NOT something urgent and necessary for general beginners. (Still we understand their urge to master the Yugaeri )
(Some seniors say) We may need the Yugaeri to pass the 3rd grade (3-Dan) Kyudo exam, and ultimately we will be able to make it one day……I recall my early days of learning Kyudo. Immediately after I saw my senior’s demonstration, I could not imitate the same. It made me feel like a magic. I felt like my eye can see, but my hand could not follow.
To make it simple and clear, if you can manage a proper tenouchi (手の内), Yugaeri would naturally happen. Some may eager to achieve Yugaeri, by twisting the hand wrist or throwing the bow inside the grip. They may itimate something alike by appearance mistakenly. As time goes by, this would become a bad habit that takes future time to rectify.
One day, when you can achieve Yugaeri, it is time to tell you how it is a good one. A correctly-formed Yugaeri would keep its level, hence, your hand would remain holding the grip of bow (握り皮). In another word, a correctly-formed “Yugaeri” appears to mysterious to beginners. When grip is too hard, there is no Yugaeri; if grip is too loose, the bow drops too much.
There are a few video clips extracted from the animation, my own shooting and a shot by a teacher (Hanshi). You may click the image above to get directed to internet video source. You may observe the tenouchi of 8th grade Hanshi holder SHIBATA Takeshi sensei from the video clip below. Viewing all these, I would like encourage everyone towards further Kyudo advancement.
The original：Wayne Translation：Wai Ming Wai Ming, Languages and the way of saying/listening are my way to heal my curiosity. As an architect, I had made enough reasons(excuses) to travel. Love to read books and read interpersonal atmosphere. Two shooting hobbies: Photography and Kyudo.
Toshiya（通矢, とおしや), means “long range arrow/passing arrow”. In the old time, it was one kind of popular archery exhibition contest, also namely Dô-sha（堂射, どうしゃ）or Dô-ma-e（堂前, どうまえ）. It was held at the approximately 121m long west veranda of Sanjusangendo Temple in Kyoto, Japan.
Ōyakazu (大矢数, おおやかず) was the most famous among all events. Archers shot as many arrows as possible for a 24-hour period, from the southern end of the veranda to the northern.During the early Edo period , Toshiya had its greatest popularity. With the support from different feudal domains (藩, Han), many archers attempted to break the records until the large-scaled Toshiya suspended from Mid Edo period.
Sanjusangendo Toshiya
Related comics and animations
There was a Japanese comics, titled as “Te-n-wo-i-ru” (天を射る, means “shooting the sky”) by author NISHIOGI Yumie (西荻 弓絵, にしおぎ ゆみえ). It features the main character as HOSHINO Shigenori (星野茂則, ほしの しげのり). He was a fuedal warrior(samurai) who belonged to the Owari Domain, during early Edo period.
On 28 May 1662, HOSHINO Shigenori took part in Sanjusangendo Temple’s archery contest in Kyoto, and established a record of 6,666 successful shots out of 10,025 arrows. This made him as the best archer in the country at the time, breaking the record by YOSHIMI Daiemon (吉見台右衛門) from Kishū (紀州) Domain. HOSHINO was then appointed by the Owari Domain to lead the infantry, with income of 500 koku (石, a unit expressing value of rice or a land co-relating the rice production.) In 1668, KASAI Sonoemon from Kishū Domain set a record of 7,077 hits out of a total of 9,000 arrows and broke HOSHINO’s record.
Sanjusangendo Toshiya
World record
On 2 May 1669 , HOSHINO challenged again and broke KASAI’s record by achieving 8,000 hits out of 10,542 shots, and restored his brand as the best in Japan. This was originally a 24-hour attempt, started from 6pm of 1 May. However, the new record was attained at noon of 2 May, the challenge was ended 6 hours ahead of the finishing time, in order to encourage the next record breaking. HOSHINO had his another reward of 300 koku increased. 15 years later, on 27 April 1686, WASA Norito, Daihachiro (和佐範遠, 大八郎) from Kishū Domain became the best archer with 8,133 arrows hit out of 13,053.
NAITO Masahiro 内藤 政優 (ないとう まさひろ), the 5th feudal lord of Koromo Domain held a Tōshiya at the west corridor in the Todai-ji Temple (東大寺) on 20~21 Apr 1842 in Tenpō era. On the second day of the event, samurai of Koromo Domain, ANDO Hayataro (安藤 早太郎, あんどう はやたろう) made a new national record of 75.5% hit rate, by 8,685 hits out of a total of 11,500 arrows.
Although it was a record established at a different venue and in a different building, hence, not being a direct comparable to those in Sanjusangendo Temple, it was generally considered as a more difficult Tōshiya in the Todai-ji Temple. Official from the Owari Domain also recognized it was a magnificent historical record.
Sanjusangendo Archery Contest
Toshiya in modern days
Nowadays, Toshiya becomes the 60m long range archery competition of modern Kyudo. Archers now shoot at the plaza in front of west veranda of Sanjusangendo Temple, from the south to the north. It is named as ‘the Festival of the Great Target’ (大的全国大会, Oomato Zenkoku Taikai)
It is a sunday event, around the middle of January every year. The participants are of two groups. One group are new adults at their age of 20, wearing traditional clothing – Furisode Kimono, who also celebrate their coming-of-age ceremony. The other group is formed by title-holders, the senior kyudo practitioners. All of them should submit their applications via the All Nippon Kyudo Federation (ANKF).
Sanjusangendo Archery Contest
Every participant will bring 2 arrows to shoot. Only those who hit both can proceed to next round. Champion would be determined by the second round, who hits closest to the target centre. To get the first round pass is already very difficult. I witness only 6 can proceed to second round among over 1000 archers in the female new adult group.
Update: The Tōshiya of 2021 was cancelled due to COVID situation.
The original：Wayne Translation：Wai Ming Wai Ming, Languages and the way of saying/listening are my way to heal my curiosity. As an architect, I had made enough reasons(excuses) to travel. Love to read books and read interpersonal atmosphere. Two shooting hobbies: Photography and Kyudo.
Words from translator: I hope you enjoy reading this article this year, as happy as watching it on site. We look forward to travelling in the coming years, and view in person.
Kyudo is a Japanese traditional competitive sports; which is based on the classic Kyujutsu(“art of archery”) transforming into a ritual sports. We can say Kyudo has its long history in Japanese martial art. The basic of Kyudo is to train the archer’s body and mind by his or her movement, mental strength, manner, morality, etc. through shooting the target by the bow and arrow. During the old days, the art of archery also included using tactics and striving for victory among different schools or skills, while Kyudo is nowadays developed as a health-oriented sports.
Let us talk about ritual in Kyudo. In fact, modern Kyudo is purely a shooting sports, but adding the ritual part makes the Kyudo as the art of archery. Every kyudo learner had known that the ritual starts from the time stepping into the practice venue (Kyudojo). Learning the basic walking/sitting/kneeling/turning/bowing movement (Kihontai), entering and leaving the Kyudojo (before and after each round of shooting), exam procedure, competition procedure, and the repeating base setting to full draw movements (Hassetsu) are all forming the ritual.
Why a pure shooting evolves into Kyudo, as the art of archery? We can summarize into one sentence: the ritual entitles the shooting a new meaning instead of just repetitive shooting. We can learn about the importance of ritual from the conversation bewteen the Little Prince and the fox.[extract from The Little Prince, Author: Antoine de Saint-Exupéry]
Let me quote a few lines from [The Little Prince]. ……said the fox. ‘ For instance, if you come at four in the afternoon, when three o’clock strikes I shall begin to feel happy. The closer our time approaches, the happier I shall feel. By four o’clock I shall already be getting agitated and worried; I shall be discovering that happiness has its price. But if you show up at any old time, I ‘ll never know when to start dressing my heart for you…We all need rituals.’
‘What is a ritual?’ said the little prince.
‘Something else that is frequently neglected,’ said the fox. ‘It’s what makes one day different from the other days, one hour different from the other hours. There is a ritual, for example, among my huntsmen. On Thursdays they dance with the village girls. So Thursday is a wonderful day for me! I can take a stroll as far as the vineyard. If the huntsmen went dancing at any old time, the days would all be the same, and I should never have a holiday.’
In contrast with an hour of pure shooting the target, an hour paying more attention to the detail than the previous shot leads us on the way to the true meaning of kyudo. Well, Kyudo is also named the Way of Bow. And the ‘Way’ itself can rarely be explained or passed on simply. Everyone may experience or persue a different ‘Way’.
There is no absolute right or wrong, hence, it is not necessary to force the other to recognize or implement my ‘Way’. We do not assume it is a fault if he or she does not do well, whereas the learners are encouraged to experience, to pay attention the flow of the ritual. This makes such an hour of time different from an hour of pure shooting. Then, the learners will find their own ‘Way’ one day. They will be aware that every shot is unique.
Even myself, I have not had a definite answer for my ‘Way’ yet as I am still on my way of learning. I am still a beginner and sometimes slack off, pretty much like my life. Despite the above mentioned, I started writing about Kyudo in the hope of gradually building up a better sense in each future hour of Kyudo along my learning. There must be one day, I can become more aware that how each shot would be unique comparing to my previous thousands or millions of shot. I hope this article can let us encourage each other in our endeavours .
The original：Wayne Translation：Wai Ming Wai Ming, Languages and the way of saying/listening are my way to heal my curiosity. As an architect, I had made enough reasons(excuses) to travel. Love to read books and read interpersonal atmosphere. Two shooting hobbies: Photography and Kyudo.
為什麼會想做”弓道相關用語辭典及語音”，其實是這樣的，因為筆者不懂日文，所以聽到的弓道相關用語的日文都是聽久後記起來，很少是花時間特別去背，但有時候會懷疑自己念的到底是不是對的。上星期去練習時剛好聽到教課的講師有講到一句日文，就問學姐這句怎麼樣念才是對的這樣的問題。昨天想到後又跟另一位討論這問題時，把弓道相關用語辭典的語音製作出文章的想法就出現了，不過說真的用這些語音久到有點崩潰，所以相關的翻譯會再慢慢更新。希望這篇文章也能對同樣日文苦手的人們，在弓道學習上有所幫忙。本篇所有日、英文資料來自《全日本弓道聯盟》之弓道相關用語辭典。語音部分全部來自 Google 小姐 wwww。也特別感謝「Kyo桑」學長願意提供中文翻譯。
あ行
足踏み(あしぶみ) Ashibumi – 弓を引く時の足の踏み方。The way of placing the feet when drawing the Yumi. 射法八節之一，用於固定射位上的站位動作。雙腳邁開時呈外八字60度角，且拇指與標靶處於同一線上。
中て弓(あてゆみ) Ateyumi -「的」に当てることを主とし，基本を無視している弓引き者のこと。A person who draws a Yumi and ignores the basics; concerned mainly with hitting the Mato. 主要目標為上靶，而忽略基本知識的射手。
合わせ離れ(あわせはなれ) Awasehanare – 伸び合いがなく両手で調子を合わせて離す離れのこと。Hanare without Nobiai and releasing by adjusting both hands to match. 有悖於「離れ」原意，在雙手協調配合的情況下射手自行放出箭矢。
内竹(うちだけ) Uchidake – 弦を掛けた弓の内側の竹のこと。「前竹」とも言う。The bamboo on the inside of the Yumi when it is strung with the Tsuru. Also referred to as the Maedake. 專指竹弓內側。
末矧(うらはぎ) Urahagi – 矢羽根を「箆」に付ける時，「筈」の側を糸で巻き留めた所のこと。「上矧」とも言う。The place where the thread is wrapped on the side of the Hazu when fixing the Yabane to the No. Also referred to as the Uwahagi.
末弭(うらはず) Urahazu – 弓の上端の弦輪が掛かる部分のこと。「上弭」とも言う。The upper end of the Yumi where the Tsuruwa is looped onto. Also referred to as the Uwahazu. 於弓上端掛弦輪處。與「本弭（Motohazu）」相對應。
上押し(うわおし) Uwaoshi – 手首が上に折れ，左拳を下向きに押す「手の内」のこと。A Tenouchi in which the wrist is bent pointing upwards and the left fist is pushing downwards. 滿弓時，左手往標靶方向將弓下壓之力。
上関板(うわせきいた) Uwasekiita – 弓の「末弭」の内竹側に付けた「関止板」のこと。The Sekitomeita fixed on to the Urahazu on the side of the Uchidake. 用來保護弓身上端（末弭）內竹側的木板。與「下関板（Shimo-sekiita）」相對應。
上矧(うわはぎ) Uwahagi – 矢羽根を「箆」に付ける時，「筈」の側を糸で巻き留めた所のこと。「末矧」とも言う。The place where the thread is wrapped on the side of the Hazu when fixing the Yabane to the No. Also referred tu as the Urahagi.
乙矢(おとや) Otoya – 「一手」のうち後で射る矢のこと。弦に番えた時，矢羽根の表が内側にある矢のこと。One of the Ya in a Hitote that is shot later. When it is nocked onto the Tsuru, the surface of the Hane faces inward. 乙箭。相對於「乙矢」的稱呼則是「甲矢」。乙箭是指，箭頭朝左且任一羽毛朝上時，羽毛根部於外側之箭矢。
替矢(かえや) Kaeya – 不測の事態に備えて，あらかじめ準備する予備の矢のこと。予備矢とも言う。A replacement Ya prepared for unexpected situations. Also referred to as Yobiya (spare Ya). 為防意外，事先準備好的備用箭。
懸かる胴(かかるどう) Kakarudo – 的方向に傾いている「胴造り」のこと。「突胴」とも言う。Dozukuri that is leaning towards the mato. Also referred to as Totsudo. 向標靶方向傾斜的「胴造り」。又稱「突き胴（Tsuki-do）」。
下進上退(かしんじょうたい) Kashin-Jotai – 進む時は「下座」の足から，退く時は「上座」の足から運ぶ動作のこと。When moving forward, one begins with the Geza/Shimoza (lower) foot. When moving back, one begins with Kamiza (higher) foot.
肩入れ(かたいれ) Kataire -「矢」を番えず弓の力を測る時，または肩慣らし等で弓を引くこと。Measuring the strength of a Yumi without nocking a Ya, or drawing the Yumi while warming up. 未上箭狀態下來測量弓力時，將弓引開的動作。
勝手離れ(かってはなれ) Kattebanare – 左手より右手の方が勝って離すもの。「馬手離れ」･「右手離れ」とも言う。When the right hand is stronger than the left hand when releasing. Also referred to as Metebanare or Migitebanare.
空筈(からはず) Karahazu – 「引分け」時，「筈」が弦から外れて，「矢零れ」せずに離れた時，矢が飛ばないこと。During Hikiwake, the Hazu become loose from the Tsuru but there is no Yakobore and during the release, the Ya does not fly. 於「引分け」同時箭尾脫落，但未掉落的狀況下「離れ」，而造成箭矢無法順利飛出的狀況。
ぎり粉(ぎりこ) Giriko -「弽」の親指の滑り止めの粉。使用時ギリギリと音がする(木脂を煮詰め油を除去した粉) A powder used to stop the thumb of the Yugake from slipping. Makes a “giri giri” sound when applied. (Powder made from tree resin with the oil reduced by boiling.) 用於增加「弽」与拇指及中指間的摩擦力，其原料為松脂加熱至凝固後搗碎之粉末。
天鼠･薬煉(くすね) Kusune – 松脂と油を混ぜたもので，弦の補強や中仕掛けを作る時に用いる。A mixture of pine resin and oil applied for reinforcing the Tsuru or when making the Nakajikake. 松脂與菜籽油之混合物。為製弦、黏握皮時的接著劑。
五重十文字(ごじゅうじゅうもんじ) Goju-Jumonji – 五ヶ所の十文字のこと。(1)弓と矢(2)弓と「押手」の「手の内」(3)「弽」の拇指と弦 (4)胸の中筋と両肩を結ぶ線(5)首筋と矢。The five areas of the Jumonji: 1) the Yumi and Ya, 2) the Yumi and Tenouchi of the Oshide 3) the thumb of the Yugake and the Tsuru, 4) the center line of chest and the connection line of the shoulders, 5) The line of the neck and Ya. 指「会」時五個呈現90度的地方。弓與箭矢、弓與「手の内」、拇指與弦、胸骨與雙肩、頸線與箭矢，所呈現的五處垂直交叉線。
五部の詰(ごぶのつめ) Gobu-no-tsume – 左右の拳，左右の肩，胸の5ヶ所を正しく骨法に従い嵌め合うこと。When the five points consisting of the left and right fist, the left and right shoulder, and the chest fit together according to correct skeletal alignment.
坐射(ざしゃ) Zasha – 本座に坐って礼をし，立って射位に進み，座して矢番えをして立って射ること。Shooting procedure in which Rei si performed while sitting, standing up move into Shai sit down to nock the Ya and stand up to shoot the Yumi.
定めの座(さだめのざ) Sadamenoza – 「射礼」の時，「射手」及び「介添え」が「脇正面」に対して「礼」を行う位置のこと。The position in which Ite and Kaizoe execute Rei towards Waki-Shomen during a Sharei. 射禮時，射手及介添向上位者或觀眾的行禮位置。
三重十文字(さんじゅうじゅうもんじ) Sanju-Jumonji – 足底・腰・肩の線が上から見たときに一枚になる状態のこと。The posture where seen from above, the soles of the feet, lower back and shoulders are aligned in one plane. 雙腳線、腰線、肩線呈水平，由上至下鳥瞰時亦在同一平面上之站立姿勢。
下押し(したおし) Shitaoshi – 手首が下に折れ，左手拳を上向きに押す「手の内」のこと。A Tenouchi where the wrist is bent pointing downwards and the left fist is pushing upwards. 滿弓時，左手緊捏弓並以手掌下端推弓之狀態。同「ベタ押し（Beta-oshi）」。
下矧(したはぎ) Shitahagi – 矢羽根を「箆」に付ける時，「矢尻」側を糸で巻き留めた所のこと。「本矧」とも言う。The area where thread is wrapped on the side of the Yajiri when fixing the Yabane to the No. Also referred as the Motohagi.
四部の離れ(しべのはなれ) Shibe-no-hanare – 左右の拳，左右の肩の四ヶ所が一致して離れる理想的な離れのこと。An ideal Hanare in which the four points of the left and right fist and the left and right shoulder separate at the same time.
射礼(しゃれい) Sharei -「射」の基本となる態度，動作，射法，射技を示す「行射」の形のこと。The basic attitude, movements, Shaho and technique of the Sha displayed in the form of a Gyosha. 祭祀、典禮等行射禮法。在射術的基礎上，以一手或兩手箭進行儀式、禮法。
順立(じゅんだち) Jundachi – 多人数で行射する時，1番から1本ずつ順次後ろへ射る事。When performing Gyosha with several people, shooting starts from No. 1 (Ichiban) in order, one arrow at a time.
正面打起し(しょうめんうちおこし) Shomen-Uchiokoshi – 正面の「弓構え」から両腕を真上の高さに「打起し」「大三」をとる方法のこと。The method of starting with Yugamae in Shomen, raising both of elbows straight up to the height in Uchiokoshi and forming Daisan. 從正面上舉之「打起し」。
関板(せきいた) Sekiita – 弓の上下両端の内竹側に接着してある木片のこと。The wooden pieces glued on the Uchidake side at both the upper and lower ends of the Yumi. 弓身內側上下兩端用來保護弓身（本／末弭）的木板。
折手礼(せっしゅれい) Sesshurei掌が床に付き，指先が膝頭程度に屈する礼のこと。Bowing with the palms of the hands placed on the floor, with the tips of the fingers brought towards the line of the kneecap.
蹲踞(そんきょ) Sonkyo – 爪立って膝頭を床に付けないよう腰を下ろした姿勢のこと。The posture of squatting on the tip of the toes and with the knees not touching the floor. 兩膝如坐，膝蓋臀部不著地之坐姿。
大三(だいさん) Daisan -「矢尺」のほぼ半分ほどを引いた状態のこと「肘力･中力」とも言う。When about half of the Yajaku has been drawn. Also referred to as Churiki. 由左手主導，將弓推出，並保持右手肘位置不變，右手下臂則自然地被牽引向靶，使箭矢與地面保持平行之動作。
縦横十文字(たてよこじゅうもんじ) Tateyoko-Jumonji – 足，腰，脊柱，頚椎の縦線と，両肩，両腕，両肘，両手指の横線が十文字になること。The vertical line formed by legs, lower back, spine, vertebrae of the neck, and the horizontal line formed by both shoulders, arms, elbows, and fingers on both hands making up the Jumonji (Cross). 足部、腰部、脊椎、頸部之縱軸，與雙肩線、雙肘線之橫軸所呈現之垂直交叉線。
詰合い(つめあい) Tsumeai – 「会」で，各関節がかみ合わさり，「伸合い」ができる状態になること。The condition in which all of the joint are engaged and Nobiai is possible during Kai. 雙手內外旋均使其達至力道平衡之動作。與「伸合い」同為「会」時的重點。
弦音(つるね) Tsurune – 離れで，弦が弓の額木･「姫反」を打って発する音のこと。The sound made at Hanare when the Tsuru hits the Hitaiki (Himezori). 「離れ」後，弓身復原時，弦因瞬間的拉扯而產生的破空聲響。非拍擊上關板所產生。
弦枕(つるまくら) Tsurumakura – 「弽」の親指の内側付け根のところにある溝で，弦が掛かるところのこと。The groove in the Yugake at the base of the thumb in which the Tsuru is knocked into. 弽內側扣弦處。
弦輪(つるわ) Tsuruwa – 弓の「弭」に掛けるために輪状にした弦のこと。(上は赤の「弦輪」･下は白の「弦輪」)。The ring-shaped part of the Tsuru looped onto the Hazu of the Yumi. (The upper Tsuruwa is red while the lower Tsuruwa is white.) 弦上下兩側之圈套。
天文筋(てんもんすじ) Tenmonsuji – 人差指から小指の間接を曲げた時にできる手のひらのしわの筋のこと。A fold spanning the palm of the hand when knuckles at the base of the fingers from the forefinger to the little finger are flexed. 手掌略彎曲時，掌內所凹陷下的摺痕。
道宝(どうほう) Doho -「弦」に矢の「筈」をはめる処を作る時に麻を巻き締める為に使用する道具。A tool used for tightly winding hemp fibers onto the area when the Hazu of the Ya is nocked into the Tsuru. 用來平整「中仕掛」之道具。其名源自發明者 吉田重賢之號。
中押し(なかおし) Nakaoshi – 手首が折れず，中指と親指が中心になって押す「手の内」のこと。Tenouchi where the pushing action is made with the wrist unbent. Mainly using the middle finger and the thumb. 指左手正確的推弓方式。特指拇指與中指環住弓身，且中指垂直於弓身。
中仕掛け(なかじかけ) Nakajikake – 矢を番える辺りの弦に麻を巻いて補強した部分のこと。The section of the Tsuru where the Ya is nocked and has been reinforced with hemp fibers. 箭矢裝設於弦之亞麻強化處。
伸合い(のびあい) Nobiai – 「会」で，気力を充実させ間断なく体を伸ばすこと。Stretching the body when Kiryoku becomes full and without disruption in Kai. 氣力充沛，並朝上下左右延伸之動作。與「詰合い」同為「会」時之重點。
八部の詰(はちぶのつめ) Hachibu-no-tsume -「五部の詰」に足，腰，腹を加えた8ヶ所を正しく骨法に従い嵌め合うこと。Adding the feet, lower Back, and stomach to the Gobu-no-tsume and tightening together these eight areas according to correct skeletal alignment.
羽引き(はびき) Habiki – 「弓構え」で，弓と弦の間を羽の長さ程両肘で張って開くこと。Opening the space between the Yumi and the Tsuru to a feather’s length by stretching the elbows during Yugamae. 「取懸け」後使弓弦間保持羽毛長度之動作。
甲矢(はや) Haya – 先に射る矢のこと，羽根の表が外向きに付けてある矢のこと。The first Ya to be shot. The Ya where the Hane is facing outside. 甲箭。相對於「甲矢」的稱呼則是「乙矢」。甲箭是指，箭頭朝左且任一羽毛朝上時，羽毛根部於內側之箭矢。
膝を生かす(ひざをいかす) Hiza wo ikasu -「跪坐」で主たる物を持った膝を床から少し上げる動作のこと。A movement in Kiza in which the knee on the side carrying the principal object is lifted slightly off the floor. 跪坐狀態下，主要持弓一方的膝蓋些微上浮。同「生かす（Ikasu）」。
一つ的射礼(ひとつまとしゃれい) Hitotsumato-sharei – 一つの「的」を3人(2人又は4人の場合もある)で射る「射礼」のこと。Sharei which is performed with three people shooting at one mato (situations with two or four people are also possible). 在一個靶位的狀態下，由三人（二至四人）所行的射禮。
本座(ほんざ) Honza – 「立射」は「射位」より2歩手前，「坐射」は「射位」より3歩手前の位置のこと。The position which is two steps in front of Shai in Rissha; and three steps in front of Shai in Zasha. 至射位前的等待及行禮位置。
胸当て(むねあて) Muneate – 行射時に胸を弦から保護するための当て物のこと。(一般的に女子が使用する。)A covering worn during Gyosha to guard the chest from Tsuru. (In general it is used by women.) 行射時用來保護胸口的護具。
馬手離れ(めてばなれ) Metebanare – 左手より右手の勝って離すもの。「勝手離れ」，「右手離れ」とも言う。The strength in the right-hand is used to release over the left hand. Also referred to as Kattebanare or Migitebanare.
もたれ(もたれ) Motare – 「会」に入り，離れる機会を逸し，離れが生まれない状態。After reaching Kai, the chance for Hanare is lost and Hanare isn’t able to be produced. 進入「会」後，漸漸流失「離れ」時機，導致無法產生「離れ」的現象。
本矧(もとはぎ) Motohagi -「矢羽根」を「箆」に付ける時，「矢尻」側を糸で巻き留めた所のこと。「下矧」ともいう。The place where the thread is wrapped on the side of the Yajiri when fixing the Yabane to the No. Also referred to as the Shitahagi.
本弭(もとはず) Motohazu – 弓の下端の弦輪の掛かる部分のこと。「下弭」とも言う。The lower end of the Yumi where the Tsuruwa is looped. Also referred to as Shimohazu. 於弓下端之突起套弦處。與「末弭」相對應。
矢こぼれ(やこぼれ) Yakobore – 矢を「番えた」後，「離れ」の前に弦から外れ落ちること。「筈こぼれ」とも言う。A Ya that has been nocked but loosens from the Tsuru and falls before Hanare. Also referred to as Hazukobore.
弓成り(ゆみなり) Yuminari – 弦を掛けた時，側面から見た弓の形のこと。「張顔」とも言う・The shape of the Yumi seen from the side-view the Tsuru has been stung. Also referred to as the Harigao. 張弓後，弓側面所呈現的型態。又稱「張顏」。
立射(りっしゃ) Rissha – 立って「射位」に入り，立ったまま「矢番え」をし。立って引くこと。When taking position in Shai, carrying out Yatsugae, and the Yumi while maintaining standing posture. 相較於坐射，整體過程以立姿行射。
而當你可以堅持上課到第三期時，自己也差不多可以瞭解是否要繼續弓道之路了，接著筆者會推薦你購買屬於自己的弓道服，除了獎勵自己前兩期的努力外，穿著弓道服上課跟一般白色 t 恤的感覺肯定是不同的。如果你一開始不知道那種比較好，或是預算有限制的話，日本弓道具店都會有新手包，裡面會有整套的弓道服。當然你要分開買也都是可以的，歡迎到各大弓道具店選購（誤。在這裡筆者想鼓勵大家多穿弓道服行射，不管你是還在學習還是已經畢業的，畢竟你練的是弓道對吧。當你購買完新手包後，也代表你有兩雙足袋可以輪替了，襪子都會每天換了不要跟我說足袋只會需要一雙。而這個時間點也可以買一把座右弓，雖然說協會都會分發膠條，不過購買一個跟弓形狀差不多的座右弓在家練習是非常好的。
