English Hangul (한글) Hanja (한자/漢字) Mi Guk Kwan Romanization MCST Romanization Literal translation (other info)
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English
Hangul (한글)
Hanja (한자/漢字)
Mi Guk Kwan Romanization
MCST Romanization
Literal translation (other info)
Tang Soo Do Mi Guk Kwan Martial Arts Way of the Warrior Titles Grandmaster Master instructor Teacher Senior Student Junior Member Dan Student / Gup Kodanja Dan members Dan number Gup members School member Beginners Test Judges/testers Ceremony/class School Country Flag Flag / Banner School Flag Atten‐hut! Salute the flag Return Pay respect / bow Bow to…(instructor) Partners bow Meditate Meditation Sit down Be seated Please Thank you … also Thank you
당수도 미국 관 무예 (or 무협) 무도 관장 님 사범 님 교사 님 선배 님 후배 단 급 고단자 유단자 단번 유급자 관원 초보자 심사 심사관 관 국기 기 관기 차렷 국기 배례 바로 경례 사범 님 께경례 상호 간에 경례 묵념 명상 앉아 착석 세요 감사합니다 고맙습니다
唐手道 美國館 武藝 武道 館長 師範 敎師 先輩 後輩 段 級 高段者 有段者 段番 留級者 館員 初步者 審査 審査官 館 國旗 旗 館旗 國旗 拜禮 敬禮 師範 敬禮 相互 間 敬禮 默念 冥想 着席 感謝
Tang Soo Do Mi Guk Kwan Moo ye Moo do Kwan Jhang nim Sa Bom Nim Kyosa nim San Beh nim Hu Beh Dan Gup Kodanja You Dan Ja Dan Bun You Gup Ja Kwan Won Cho bo ja Shim sa Shim sa kwan Kwan Kuk Gi Gi Kwan Gi Cha Ryut Kukki bae rye Ba ro Kyung net sa bom nim ke kyung net Sahng Ho Kan E kyung net Muk Nyum Myong Sang Anj‐oh Chuk suk Se yo Kahm Sa Ham Ni Da Ko Map Som Nee Da
Dangsudo Migug gwan Muye (Muhyeob) Mudo Gwanjang nim Sabeom nim Gyosa nim Seonbae nim Hubae Dan Goeb Godanja Yudanja Dan beon Yugeubja Gwan‐won Choboja Simsa Simsagwan Gwan Guggi Gi Gwangi Caryeos Guggi baerye Baro Gyeongrye Sabeom nim kke gyeongrye Sangho gan‐e gyeongrye Mugnyeom Myeongsang Anj‐a! Chagseog Seyo Gamsa habnida Gomabseubnida
Tang Hand Way U.S. School Martial Arts Martial Way/path School Head Sir Master Sir Teacher Sir Elder/Senior Sir Junior / Younger Stage/level/degree Class High rank people Experts Dan Number Class member School official First step person Judgement / audit Examiners / judges Home of / School National flag Flag/banner School banner Atten‐hut! Pay respect to the flag Finish/As you were! Salute Master sir we salute you (ke/께= unto) Salute each other A moment of silence Deep thought Sit down (from 앉다) (usually with !) Take a seat Please Thank you (formal) Thank you (friendly/informal)
V9.0 Copyright © 2012 ‐ 2014
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You’re welcome Hello Hello Goodbye Uniform Belt Studio Commands Ready Ready for kicks Begin Again / Repeat Stop Resume/Continue Return Relax (rest) Turn to rear Yell Look/focus By the count Without count Switch feet Hurry / Move it Technique direction Moving forward Backing up / retreat Sideways/laterally Reverse hand/foot Lower Middle Upper Two handed Both hands Lowest Right side Left side Other side/Twist Inside‐outside Outside inside Jumping (front kick) V9.0 Copyright © 2012 ‐ 2014
천만에요 안녕 하십니까 안녕 하세요 안녕히 계십시오 도복 띠 도장 준비 발 차기 준비 시작 다시 그만 계속 바로 쉬어 뒤로돌아 기합 시선 구령에맞춰서 구령 없이 발 바꿔 빨리 전진 후진 횡진 역진 하단 중단 상단 쌍수 양수 최 하단 오른 쪽 왼 쪽 틀어 안에서 밖으로 밖에서 안으로 이단 ... (앞 차기)
安寧 安寧 道服 带 道場 準備 始作 繼續 氣合 視線 口令 口令 推進 後進 橫進 逆進 下段 中段 上段 雙手 兩手 最下段
Chun Mhan Eh Yo An’nyong Ha Sip Ni Ka An’nyong Ha Say O Ao’nyong Hi Kye Sip Sio Dobak Ddi Dojang Jhoon Bee Bal Cha Gi Jhoon Bee Shi jak Dashi Gu Man Kay Sok Ba ro Shio Dwi ro tora Ki hap Shi Sun Ku Ryung E Mat Cho So Ku Ryung Up Shi Pal ba kwa Pali Chun jin Hu jin Wheng jin Yuk jin Ha dan Choong dan Sang dan Ssang soo Yang soo Choi Ha Dan O Rin Jok Wen Jok Tuel Oh / T’ro Ahneso Pahkuro Pahkeso Ahnuro ee dan (Ahp chagi)
Cheonman‐eyo Annyeong hasibnikka Annyeong haseyo Annyeonghi gyesibsio Dobog Tti Dojang Junbi Bal chagi junbi Sijag Dashi Geuman Gyesog Baro Swieo Dwiro dora Gihab Siseon Guryeong‐e majchwoseo guryeong eobs‐i Bal bakkwo Bbalri Jeonjin Hujin Hoengjin Yeogjin Hadan Jungdan Sangdan Ssangsu Yangsu Coe hadan Oreun jjog Oen jjog Teuro Aneseo baggeuro Baggeso aneuro idan (Ap chagi)
You’re welcome How are you/Good day (formal) How are you (less formal) Goodbye (formal) Uniform Belt Studio Readyness Foot ready to kick Start / go ahead Again Stop Continue Finish/As you were! Stand at ease Turn toward the rear Yell/Show mental focus Gaze / line of sight By verbal command Without verbal commands Change feet Quickly Advance Backwards Laterally Opposite/Inverted move Lower section/portion Center section/portion Top section/portion Twin hands both hands Maximum lowest Right Side (jjog=side) Left Side (jjog=side) Twisting / Turning (from 틀다) Inside out Out in Second level (front kick)
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Hopping/Skipping Double kick … also combo kick Same foot Hand Techniques Attack / Strike / hit … also Strike Block Punch/hit Middle punch Back fist Knife hand (edge) To pierce / spear Spear hand Ridge hand Hammer fist Pliers hand Palm heel Elbow Gooseneck Side punch Mountain block One finger fist 1 finger spear hand 2 finger spear hand Soft fist Knuckle Spear hand Double back fist Double hammer fist Foot hold defense Painting/Smearaing Hit drums / milk cow Catching/Smashing To beat eggs Foot Techniques Kick Front kick also front Snap kick also snap front kick V9.0 Copyright © 2012 ‐ 2014
뜀을 두 발 ... 연속 ... 같은 발 수 기 공격 치기 막기 권 중 권 갑 권 수 도 관 관 수 역 수도 권도 집게 손 장관 팔꿈 손목 등 횡진 공격 산 막기 일 지 권 일 지관 수 이지관수 유권 관절 관 수 장갑권 장 권도 발 잡아 막기 도말 식 타고 식 확격 요식 족기 차기 앞 차기 앞 차넣기 앞 뻗어 차기
連續 手技 攻擊 拳 中拳 甲拳 手刀 貫 貫手 逆手刀 拳刀 / 拳槌 掌貫 橫進 山 一指拳 一指貫手 二指貫手 柔拳 關節 貫手 長甲拳 長拳刀 塗抹 式 打鼓式 攫擊 搖式 足技
Deemeul Du bal Yeon sok Getten Bahl Soo gi Kong kyuck Chi Kee Mahk Kee Kwon Chung Kwon Kap Kwon Soo do Kwan Kwan soo Yuk soo do Kwon do Jip Kye Son Jang kwan Pal Koop Son Mok Deung Wheng Jin Kong Kyuk San Mahk Kee Il Ji Kwon Il Ji Kwan soo Ee Ji Kwan Soo Yoo Kwon Ban Jul Kwan Soo Jang Cap Kwon Jang Kwon Do Bal Ja Ba Mahk Kee Do Mahl Sik Ta Ko Sik Hwa Kuk Yo Sik Jok gi Chagi Ahp chagi Ahp Cha Na Gi Ahp podeo chagi
Ddwim‐eul Du bal Yeonsog Gat‐eun bal Su gi Gong‐gyeog Chigi Maggi Gweon (Chinese: quán) Jeong gweon Gab gweon / Gag gweon Su Do Gwan Gwan su Yeog su do Gweon do Jibge Son Jang Gwan Palkkum Sonmog deung Hoengjin gong gyeog San Maggi il ji gweon il ji gwan su i ji gwan su Yu gweon Gwanjeol gwan su Jang gab gwoen Jang gweon do Bal jab‐a maggi Domal sig Tago sig Hwag gyeog Yo sig Jog gi Chagi Ap chagi Ap Caneohgi Ap ppeod‐eo chagi
Leaping/springing (from 뛰다) Two feet / both feet Sequence/Series Same foot Hand techniques Attack Strike Prevent/block/obstruct (from 막다) Punch / strike with hand Center punch Leading punch / Armor punch Hand knife/blade To penetrate/pass through Penetrating hand Reverse su do Fist knife / Fist hammer Pliers / tongs hand Penetrating palm / palm fist Elbow The Back of the Wrist Lateral / transverse Mountain Block One digit punch One digit penetrating hand Two digit penetrating hand Soft Punch Joint piercing hand Long leading punch Long fist blade Foot grab block (form of 잡다) Smearing type (Du Mun rocking) Beat a drum type (Chil Sung 3 end) Seize, Strike (Du Mun fists) Shake/Sway type (elbows in Jinto) Foot techniques Kick Front kick Soccer kick/push kick Extends in front kick
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Inside‐out heel kick Outside‐in heel kick Stretching front kick Round‐house kick Side kick aka Snap Side kick Hook kick Also hook kick Hop hook kick Back kick also Spin Back kick Spin hook kick Knee strike Outside in foot block Reverse round kick Stances Ready stance Front Stance Back Stance Horse Stance also Horse Stance One leg stance Side Stance Intermediate position Cross legged stance also cross leg stance Forms Basic forms Pyung Ahn (1‐5) Bassai Also Pal Che Chil Sung (1‐7) Naihanji (1‐3) aka Neibojin (1‐3) Jin do Rohai Sip Soo Kong Sang Koon Sei Shan V9.0 Copyright © 2012 ‐ 2014
안에서 밖으로 차기 밖에서 안으로 차기 앞 뻗어 올리 기 돌려 차기 옆 차기 옆 뻗어 차기 후려기 차기 후려 차기 뜀을 후려기 차기 뒤 차기 뒤 돌려 차기 뒤 돌려 후려기 차기 무릎 차기 발바닥 으로 막기 빗 차기 자세 준비 자세 전굴 자세 후굴 자세 기마 자세 기마 자세 한 발 서기 자세 사고립 자세 중간 자세 교차 립 자세 교차 립 자세 형 기초 형 평안 바싸이 발 채 칠 성 내한지 / 나이한찌 내보진 / 네부진 찐도 / 진퇴 로하이 십수 공상군 시싼
姿勢 準備 姿勢 前屈 姿勢 後屈 姿勢 騎馬 姿勢 騎馬立 姿勢 四股立 姿勢 中間 姿勢 交叉立 姿勢 交差立 姿勢 形 基礎 形 平安 拔塞 / 拔砦 拔 (塞 /砦 / 採 / 柴) 七星 内限地 內步進 / 內畔戰 進退 鷺牌 十手 公相君 十三
Ahneso Pahkuro chagi Pahkeso Ahnuro chagi Ahp podeo olrigi Tollyo chagi Yup chagi Yup podeo chagi Hu Ri Gi Chagi Hu Reo Chagi Deemul Hu Ri Gi Chagi Dwi chagi Dwi tollyo chagi Dwi Dull Ryo Hu Ri Gi Chagi Moo Roop chagi Bal Ba Dak Euro Mahk Kee Peet Chagi Jaseh Choon Be Jaseh Chun Gul Jaseh Hu Gul Jaseh Ki Ma Jaseh Ki Ma Rip Jaseh Han Bal Seo Kee Jaseh Sa Ko Rip Jaseh Choong Gan Jase Kyo Cha Rip Jaseh Kyo Cha Rip Jaseh Hyung Ki Cho Hyung Pyung Ahn Bassai Pal Che Chil Sung Naihanji Jin do Lo Hai Sip Soo Kong Sang Koon Sei Shan
Aneseo baggeuro chagi Baggeso aneuro chagi Ap bbeodeo olreogi Dolreyo chagi Yeop chagi Yeop bbeodeo chagi Huryeogi chagi Huryeo chagi Ddwim‐eul huryeogi chagi Dwi chagi Dwi dolryeo chagi Dwi dolryeo huryeogi chagi Mureup chagi Balbadag eulo maggi Bis Chagi Jase Junbi Jase Jeongul Jase Hugul Jase Gima Jase Gimarip Jase Han Bal Seogi Jase Sagorib Jase Jung‐gan Jase Gyocha rib Jase Gyocha rib Jase Hyeong Gicho Hyeong Pyeong‐an Bá sāi Bal chae Chil Seong Naehanji/Naihanjji Naebojin /Nebujin Jjin do / Jin‐toe Rohai Sib su Gong sang‐gun Sissan
Inside out kick Outside in kick raise in front stretching Turn kick Side kick Extend/stretch beside kick Flail/whip kick Flail/whip kick Leaping flail kick Rear kick Rear turn kick Rear turn whip kick Knee kick Prevent with the sole Crooked/Slanted kick Pose/position Ready Position Forward Position Tilted back position Horse Rider position Horse Rider position Stand on one foot position Four ply upright position Intermediate position Crossing state position Crossing stance (Japanese) Forms Basic form Peaceful confidence Capture fortress (Chinese) Best selection/Capture fort (Korean) Seven Star Inside (Limited / Occupied) Ground Inside step ahead/War in the banks Advance & Retreat Heron style (Chinese) Ten hands (Person’s name) Thirteen (Chinese pronunciation)
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Wang Shu Ji‐on O‐Sip Sa Bo Yug ro (1‐6) Du mun Joong Jul Po wul Yang Pyung Sal Chu Ch’ungro Hwa Sun Form numbering With Gicho Hyeong Il bu Ee bu Sam bu With Bassai Dai Sho With Pyung Ahn/Naihanji Cho dan (first) Ee Dan (second) Sam Dan (third) Sa Dan (fourth) O Dan (fifth) With Chil Sung Il lo (first) Ee ro (second) Sam no (third) Sa ro (fourth) O ro (fifth) Yung no (sixth) Chil lo (seventh) Other / miscellaneous Self Defense Sparring Free sparring Ground Sparring One step sparring Three step sparring V9.0 Copyright © 2012 ‐ 2014
왕슈 / 왕수 지온 / 자은 오십사보 육 로 두 문 중 절 포 월 양 편 살 추 충 로 화선 일 부 이 부 삼 부 대 소 초단 이단 삼단 사단 오단 일 로 이 로 삼 로 사 로 오 로 육 로 칠 로 호신술 대련 자유 대련 좌 대련 일 수식 대련 삼 수식 대련
汪輯 / 王輸 慈恩 /(挚/意/智)蕴 五十四步 六路 斗門 中截 抱月 揚鞭 煞鎚 衝擄 花仙 一 部 二 部 三 部 大 小 初段 二段 三段 四段 五段 一路 二路 三路 四路 五路 六路 七路 護身術 對練 自由 對練 座 對練 數式 對練 數式 對練
Wang Shu Ji‐on O‐sip Sa Bo Yuno Du mun Joong Jul Po wul Yang Pyung Sal Chu Ch’ungno Hwa Sun Il bu Ee bu Sam bu Dai Sho Cho Dan Ee dan Sam Dan Sa Dan O Dan Il lo Ee ro Sam no Sa ro O ro Yung no Chil lo ho sin sool Dae Run Jayu dae run Jua dae run il soo sik dae run Sam Soo Sik Dae Ryun
Wangsyu / Wangsu Ji‐on / Ja‐eun O‐Sib Sa Bo Yug ro Du mun Jung jeol Po weol Yang pyeon Sal chu Chung ro Hwa seon Il bu i‐bu Sam bu Dae So Chodan i‐dan Sam dan Sa dan O dan Il ro i ro Sam ro Sa ro O ro Yug ro Chil ro Ho sin sul dae ryeon Jayu dae ryeon Jwa dae ryeon il su sig dae ryeon Sam su sig dae ryeon
Wang’s collection / King’s defeat Gentle Kindness / Collected truth Fifty four steps Six roads Great/Heavenly gate Cut the middle Embrace The moon Raise the whip Evil/killing hammer Powerful capture Pure/Heavanly flower Part one Part two Part three Greater/major Lesser/minor Lowest / first level Second level Third level Fourth level Fifth level First way Second way Third way Fourth way Fifth way Sixth way Seventh way Protect body skill Face to face drill Free sparring Seat sparring Single formula drill Triple formula drill
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Breaking (boards) Chi/Ki/Qi Neh Gung Weh Gung Shim Gung Sip‐Sam Seh Mu Pahl Dan Khum Balance Balance Ryu Pa Muye Dobo Tongji Weapons Knife Staff Sword Gum Do Haidong Gum Do Sword Wooden Sword “Real” Sword (sharp) Bamboo Sword Practice Metal Sword Scabbard Draw sword Sheath away sword Stab Cut Eight key concepts Courage Concentration Endurance Honesty Humility Control of Power Tension‐Relaxation Speed Control Anatomy Foot V9.0 Copyright © 2012 ‐ 2014
격파 기 내강 외강 심강 십삼세 무 팔 단 금 천칭 균형 류파 무예도보통지 무기 단도 봉 검 검도 해동검도 검 목검 진검 죽도 가검 검집 발도 착검 찌르기 베기 용기 정신통일 인내 정직 겸손 힘 조절 신축 완급 족
擊破 氣 內功 外功 心功 十三式 武八段錦 天秤 均衡 流派 武藝圖譜通志 武器 短刀 棒 劍 劍道 海東劍道 劍 木劍 真劍 竹刀 假劍 發刀 著劍 勇氣 精神統一 忍耐 正直 謙遜 力調整 伸縮 緩急 足
Kyok pa Chi Neh Gung Weh gung Shim Gung Sip‐Sam Seh Mu Pahl Dan Khum Choong Shim Gyoon‐young Ryu Pa Muye Dobo Tongji Moo gi Tanto Bong Gum Gum Do Haidong Gumdo Gum Mok Gum Jin Gum Chook Do Ka Gum Gum Jip Pal Do Chak Gum Chirugi Pegi Yong Gi Chung Shin Tong Il In Neh Chung Jik Kyum Son Him Cho Chung Shin Chook Wan Gup Jok
Gyeong pa Qì Naegang Oegang Simgang Sib‐sam se Mu Pal Dan Geum Cheonching Gyunhyeong Liupa Muye Dobo Tongji Mugi Dando Bong Geom Geomdo Haedong Geomdo Geom Mog geom Jin geom Jug do Ga geom Geom jib Baldo Chag geom Jjireugi Begi Yong‐gi Jeongshintong‐il Innae Jeongjig Gyeomson Him Jojeol Shinchug Wangeub Jog
Smashing Spirit/Vitality (Chinese pronunciation) Inner strength Outer Strength Mind/spirit strength Thirteen influences/forces Martial 8 paths of silk Scales Equillibrium Flow diverges Illustrated Annals of Martial Arts Weapon Dagger Staff Sword Sword path/way/style East Sea (Korean) Sword Style Sword Wood sword Real sword Bamboo sword Fake Sword Sword Home/Nest/Crib Send out/dispatch Sword Wear the sword Stick/Lunge Cut Courage Spiritual Unity Endurance Honesty Humility Force Control Elastic/stretchy Gradual urgent Foot (Chinese)
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Foot Hand Hand Above Upper Lip Fist Waist Leg Forehead Elbow Knee Chin Arm Groin Abdomen Solar Plexus Head Face Neck Wrist Ankle Collarbone Chest Native Korean Numbers 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 V9.0 Copyright © 2012 ‐ 2014
발 수 손 인중 주먹 허리 다리 이마 팔꿈 무릎 턱 팔 샅 단전 명치 머리 얼굴 목 손목 발목 쇄골 가슴 하나 둘 셋 넷 다섯 여섯 일곱 여덟 아홉 열 열하나 열둘 열셋 열넷 열다섯 열여섯 열일곱 열여덟
手
Bahl Soo Sohn In Choong Chu Mok Hu Ri Da Ri Eema Pahl Koop Moo Roop Tuck Pahl Sat Dan Jun Myung Chi Meori Eol Gul Muk Sohn Muk Bahl Muk Swae Gul Ka Seum Hana Dool Set Net Da Sot Yuh Sot il Gup Yo Dull Ah Hope Yohl
Bal Su Son Injung Jumeog Heori Dari Ima Palggum Muleup Teog Pal Sat Danjeon Myeongchi Meori Eolgul Mog Sonmog Balmog Swaegol Gaseum hana dul ses nes daseos yeoseos ilgob yeodeolb ahob yeol yeolhana yeoldul yeolses yeolnes yeoldaseos yeol‐yeoseos yeol‐ilgob yeol‐yeodeolb
Foot (Korean) Hand (Chinese) Hand (Korean) Philtrum Fist Waist Leg Forehead Elbow Knee Chin Arm Groin Abdomen Pit of the stomach Head Face Neck Wrist Ankle Collarbone Chest
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19 20 30 40 50 60 70 80 90 Sino‐Korean Numbers 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 30 40 50 60 70 80 90 100 200 1,000 10,000 V9.0 Copyright © 2012 ‐ 2014
열아홉 스물 서른 마흔 쉰 예순 이른 여든 아흔 일 이 삼 사 오 육 칠 팔 구 십 십일 십이 십삼 십사 십오 십육 십칠 십팔 십구 이십 삼십 사십 오십 육십 칠십 팔십 구십 백 이백 천 만
一 二 三 四 五 六 七 八 九 十 十一 十二 十三 十四 十五 十六 十七 十八 十九 二十 三十 四十 五十 六十 七十 八十 九十 百 二百 千 萬
il Ee Sam Sa Oh Yuk Chil Pal Ku Sip Sip‐il Sip‐ee Sip‐sam Sip‐sa Sip‐oh Ship‐yuk Ship‐chil shi‐pal Ship‐ku
yeol‐ahob seumul seoleun maheun swin yesun ileun yeodeun aheun il i Sam Sa O Yug Chil Pal Gu Sib Sib‐il Sib‐i Sib‐sam Sib‐sa Sib‐o Sib‐yug Sib‐chil Sib‐pal Sib‐gu isib samsib sasib osib yugsib chilsib palsib gusib baeg ibaeg cheon man
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References: General info http://en.wikipedia.org/wiki/Sino‐Korean_vocabulary http://en.wikipedia.org/wiki/Hanja http://en.wikipedia.org/wiki/Hangul http://en.wikipedia.org/wiki/Korean_mixed_script http://en.wikipedia.org/wiki/Neigong http://en.wikipedia.org/wiki/Qigong http://en.wikipedia.org/wiki/Korean_martial_arts http://en.wikipedia.org/wiki/Taekwondo#Korean_commands Muye Dobo Tongji http://www.amazon.com/dp/1880336480 Hangul/Hanja Translation and Romanization Google Translations: http://translate.google.com/?hl=&ie=UTF‐8&tl=en#ko|en| Bing Translations: http://www.microsofttranslator.com/?ref=SALL&br=ro&mkt=en‐US List of Hangul characters: http://www.ling.ohio‐state.edu/~kyoon/tts/unix‐help/KoreanHangul&Unicode.html Chinese Pinyin Dictionary: https://chinese.yabla.com/chinese‐english‐pinyin‐dictionary.php Hanja Dictionary: http://hanjadic.bravender.us/ Kanji Dictionary: http://jisho.org/kanji U.S. Library of Congress rules for Romanization: http://www.loc.gov/catdir/cpso/romanization/korean.pdf Korea National Rules for Romanization: http://www.korean.go.kr/eng/roman/roman.jsp Online McCune‐Reischauer Romanization Dictionary: http://www.romanization.org/main.php About Korean and Sino‐Korean Numbers: http://askakorean.blogspot.com/2010/03/korean‐language‐series‐sino‐korean.html Other martial arts vocabulary compilations used for cross reference General (Tang Soo Do): http://www.angelfire.com/nc3/tangsoodo/terms.htm General (Tae Kwon Do): http://maximv.home.xs4all.nl/tkd/book.html General (Kuk Sool): http://www.martialartsspring.com/terms.html General (Tae Kwon Do): http://de.wikipedia.org/wiki/Taekwondo‐Begriffe General (Jung Su Won): http://www.jsw.com/terminology.html General (Tae Kwon Do): http://blog.daum.net/tkdnews/15967341 General (Soo Bahk Do): http://soobahk.blog17.fc2.com/blog‐date‐20050721.html General (Kuk Sool): http://www.ockoreanmartialarts.com/about/curriculum/ General (Chinese TKD): http://zhidao.baidu.com/question/83299141.html General (Japanese/Korean/English): http://www.sawaisao.com/pdf/OUEL_ST_v10_n1.pdf General (Hapkido): http://www.elitemartialartoc.com/blog/2011/09/09/hapkido‐techniques‐white‐to‐1st‐dan.html V9.0 Copyright © 2012 ‐ 2014
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Forms (Karate): http://www.arts.ualberta.ca/~aoki/Karate‐do/Kata/kata_catalog.html Forms (Karate): http://www.karate.com.tw/Rules/New%AA%FE%BF%FD/New%AA%FE%BF%FD.htm Forms (Kyokushin): http://uskyokushin.com/kata.htm Forms (various): http://www.artsrn.ualberta.ca/aoki/Karate‐do/Kata/Classical%20kata.html Taiji: http://www.tai‐chi‐wizard.com/principles‐of‐tai‐chi.html
Books used as reference: Hwang Kee. Soo Bhak Do Tang Soo Do, Volume 1, self‐published 1978, Registered 1961, Library of Congress 79‐110358 Hwang Kee, Tang Soo Do Soo Bhak Do Moo Duk Kwan Volume 2, self‐published 1992. ISBN 0963135805 Hwang Kee. History of Moo Duk Kwan, self‐published 1995. ISBN 0963135872 Sang H. Kim, Muye Dobo Tongji The Comprehensive Illustrated Manual of Martial Arts, Turtle Press 2000. ISBN 9781880336489 Ho Sik Pak, Complete Tang Soo Do Manual Vol 2, High Mountain Publishing 2005, ISBN 0971860912 Kang Uk Lee, Tang Soo Do The Ultimate Guide to the Korean Martial Art, A & C Black 1998, ISBN 0865681708 Gichin Funakoshi Manuscript, Tang‐Soo: Ryūkyū Kenpō (唐手 : 琉球拳法) (1922) online available here: http://kindai.ndl.go.jp/info:ndljp/pid/971654 Gichin Funakoshi, Karate‐Do Kyōhan Translated by Tsutomu Ohshima, Kodansha USA 1973, ISBN 0870111906 o Original Title 空手道教範 = “Karate textbook/training manual” o Original from 1936, available in pdf here: http://www.hawaii.edu/asiaref/okinawa/digital_archives/karate_museum.html Gichin Funakoshi, Karate Jutsu, Translation/Interpretation by John Teramoto, Kodansha International 2001, ISBN 4770026811 Gichin Funakoshi, “To‐Te Jitsu,” Translated by Shingo Isida, Masters Publication 1997, ISBN 0920129226 o Original title: “唐手術: 錬膽/護身 Tang‐soo/Kara‐te Jutsu (art) forge courage / self‐defense”, Tokyo Ko Bun Do Books 1925 o Original 1925 digital edition available here: http://www.hawaii.edu/asiaref/okinawa/digital_archives/karate_museum.html Gichin Funakoshi, “Karate‐do Ichiro /空手道一路” 1956 publisher 講談社 ASIN: B000J9LS9O Motobu Chōki, Okinawa Kenpō To‐te Jutsu / 沖縄拳法唐手術, 1926, http://kindai.ndl.go.jp/info:ndljp/pid/922034 Donn E. Dreager & Robert W Smith, Comprehensive Asian Fighting Arts, Kodansha USA 1969, ISBN 0870114360 The Japan Digital Library from the Meiji Era: http://kindai.ndl.go.jp/ The University of Hawaii Okinawa Karate Collection: http://www.hawaii.edu/asiaref/okinawa/digital_archives/karate_museum.html
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Notes: Romanization/Pronunciation: There are (at least) three different official systems for writing Korean words using western characters (Romanization): The system of the Korean Ministry of Culture, Sports and Tourism (MCST), developed around 2000; the McCune‐Reischauer system developed in the 1930s; and the Yale system developed in the 1940s and used in linguistics. On the internet there are many home‐grown transliterations of Korean and most don’t match any of the official systems. (see also http://en.wikipedia.org/wiki/Romanization_of_Korean) Romanization is an imperfect guide to pronunciation, since Korean contains many allophones which are pronounced somewhat between the corresponding English letters, or require an aspirated pronunciation. For example in “바로 baro,” meaning “as you were,” the “b” is pronounced midway between a “b” and a “p”, making it a “soft b” or an “un‐aspirated p” – “pa without an exhale” – and the “r” is pronounced partly as an “l” – i.e. like an “r” but with the tongue up and forward like an “el.” To native English speakers “바로 baro” might sound like “baro” or “balo” or “paro” or ”palo,” where it’s actually not quite any of these. (see also http://en.wikipedia.org/wiki/Korean_phonology ) Japanese Without going into detail, Japanese uses two syllabic writing systems, Hiragana and Katakana, both known as “kana,” and a Chinese derived logographic system, nearly identical to the Korean Hanja, known as “Kanji.” This document refers to the logographic Chinese characters generically as Hanja, even in the context of Japanese texts. For the most part when providing Hanja/Kanji the Traditional Chinese characters are used, rather than their Japanese or Korean variants. Korean homophones: Just as English has many roots in Latin, Korean has roots in Chinese. Some Korean words sound the same and are written the same in Hangul but have different meanings and origins. If their meaning is not clear from context, the Hanja (Chinese character) is often used for clarification. Note that Japanese is similar in it’s use of Chinese characters which the Japanese call Kanji. For simplicity this document uses the term “Hanja” to refer to the Chinese characters, even in the context of discussing the Japanese use of the same or similar characters. In Korean, “Do (도)” may mean “path” or “way” from the Chinese Dào (道); or it may mean “knife / sword” from the Chinese Dāo (刀). These two words are pronounced in Chinese with different intonation, but they are pronounced the same in Korean. To clarify, which is intended, the corresponding Hanja are usually placed after the Hangul characters. Note that only the homophones relevant to this document are listed here. Thus Do (도) can also be any of these: 倒 刂 到 匋 叨 咷 啕 嘟 図 圖 圗 堵 塗 壔 導 屠 島 嶋 度 弢 徒 忉 悼 慆 挑 掉 掏 搗 搯 擣 桃 棹 檮 櫂 洮 涂 淘 渡 滔 濤 燾 盜 睹 祷 禱 稌 稲 稻 綢 纛 菟 萄 覩 賭 跳 蹈 逃 途 都 酴 鍍 闍 陶 鞀 鞱 韜 饕 鼗 都 which are not relevant to Tang Soo Do. Kwan or Gwan (권) can be: “school” from the Chinese guǎn (馆); or “official” from the Chinese guān (官); or “spear” (as in “to pass through or pierce”) from the Chinese guàn (貫). Gi or Ki (기) can mean (also among many others): “Flag” (Chinese: Qí 旗) as in Gug‐gi; “Technique” (Jì 技) as in Su‐gi; “Device” (Qì 器) as in Mugi (Mu=martial, gi=device); “Spirit/Energy/force” (Qì 氣) as in Chi or Young‐gi (brave spirit (勇氣) = courage). Gi can also be a nominalizer – see below. Jang or Jhang (장) can mean: “leader/head of” (Zhǎng 長) as in Kwan Jhang Nim; “long” (also 長) as in Jang Cap Kwon; “palm” (Zhǎng 掌) as in Jang Kwan; “meeting place” (Chǎng 場) as in Do Jang. Hwa (sometime Hua) (화) can mean “flower” (Huā 花); “fire” (Huǒ 火); “Magnificent” (Huá 華); or “gentle” (Hé 和);
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Grammar, Conjugation / verb forms: Jab‐a (잡아) (Bal jab‐a Maggi ) is the imperative form of the verb Jabda (잡다) which means to take, hold, seize, arrest, catch, capture. Tuero (틀어) (twisting) is the imperative form of the verb Tuelda (틀다) which means to turn, twist, wrench. Gi (기) can be used as “nominalizer” – adding “기” to a verb turns it into a noun. For example: The gi (기) in Cha‐gi (차기) turns the verb Chada (차다) meaning “to kick” into “a kick.” Similarly Mag‐gi (막기) turns the verb Mag‐da (막다) which means “to shield” or “to defend” or “to protect” into “a block.” Anj‐a! (앉아) is the imperative of the verb Anjda (앉다) meaning to take a seat. Hureo /Hureogi (후려/후려기) (Hureogi Chaggi) is from the verb Hureochida (후려치다) meaning to whip, lash or swipe; Chida (치다) being to hit or strike. Techniques are referred to variously as “Bup / Beob” (Hangul: 법 / Hanja: 法) meaning “method”; Gi (Hangul: 기 / Hanja: 技) as in “Su gi” meaning technology or technique; or sometimes “Sik/Sig” (Hangeul: 식 / Hanja: 式) meaning type or style.
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Hyeong / forms: Where possible, Grand Master Hwang Kee’s writings were used as a definitive source. The earliest source which includes reference to some of the forms used in Tang‐Soo‐Do is a manuscript written in 1922 by Gichin Funakoshi, which is available online (see references section). Aside from the illustrations which were replaced with photos, this manuscript is nearly identical to the 1925 published edition of Funakoshi’s 1925 Jutsu. Also referenced frequently is Funakoshi’s 1936 Karate‐Do Kyohan and some translations published later. The following short‐hand is used to indicate references in‐line rather than with footnotes: “Jutsu” means the 2001 Karate Jutsu translation by Teramoto; “Jutsu pdf” means the 1925 pdf from the U‐Hawaii collection; “To‐te Jitsu” is the 1997 Translation of Jutsu by Isida; “Kyohan” means the 1973 translation of Karate‐Do Kyohan by Ohshima; “Kyohan pdf” is the 1936 edition from the U‐Hawaii collection. For the pdf references, the page number is the pdf page. Despite the relatively older sources, the origin of the names of some of the forms is obscure. In 1935 Funakoshi wrote (Kyohan p.35, and Kyohan pdf p.36) that “…the names of the kata have come down to us by word of mouth/oral tradition…many of which had ambiguous meanings...” The situation hasn’t improved since then. Several of the forms seem to originate in either China or Okinawa (depending on which form and which source of information), pass through several hands / generations in Okinawa and then find their way to Japan and Korea, sometimes being renamed along the way. Regardless of origin, several of the form names are clearly pronounced based on the Chinese pronunciation of the Hanja rather than the Japanese, Okinawan or Korean pronunciation of the same characters. There is also no definitive written source, predating others, regarding the naming or origin of the forms across different schools, even when the forms are performed nearly identically. This is likely due to the scant written record predating the early 20th century, possibly because weapons and martial arts practice were outlawed for commoners in various locations in Asia starting around 1600 as Funkaoshi speculates, or possibly because of the very low level of literacy in the region until the late 19th Century (see http://www.unesco.org/education/GMR2006/full/chapt8_eng.pdf ). As a result some guesswork is involved in the pronunciation and meaning of the form names. Another significant factor is that the Okinawa/Korea/Manchuria regions traded with each other and underwent several conquests leading to a lot of cultural cross‐pollination. Okinawa was an independent Kingdome, but with strong ties to China until a Japanese invasion in 1609. At that point, until the 1870s, Okinawa remained independent but paid tribute to both Japan and China. In 1879, Japan annexed Okinawa over protests from China, and began a campaign to eliminate aspects of Okinawan independence including the Okinawan language. Similarly, Korea, went through periods of invasion by China starting in the Tang Dynasty (~600 ad) and by Japan starting around 1590. Korea also had extensive trade relations with and at times was tributary to both Japan and China. Therefore pinning down definitively the development of orally passed martial arts is likely not possible. In “History of Moo Duk Kwan” Grandmaster Hwang Kee claims to have learned at least some of the forms he taught from a book or books. Starting around 1920, martial arts folklore entered popular culture and dozens of books and magazine articles were written, many attempting to promote one style or another. The book Hwang Kee referred to was possibly Gichin Funakoshi’s 1925 book To‐Te Jutsu (唐手術), or his 1936 Karate‐Do Kyohan (空手道教範), but possibly books or articles by others, as the same set of forms are practiced by many styles not affiliated with Funakoshi. For his part, Funakoshi doesn’t claim authorship to any of the forms, except the basic Ten No Kata (Kyohan p.35). While some of Hwang Kee’s writing mirror Funakoshi, it seems clear that Hwang Kee had other sources of information available to him before the 1978 publication of his Volume 1. Funakoshi also seems to have been influenced by the Chinese Wǔbèi zhì (武備志) which he quotes in Jutsu, while Hwang Kee quotes extensively from the Muye Dobo Tongji (무예도보통지/武藝圖譜通志) which formed the basis of the many forms he introduced starting in the 1950s. There is no lack of clarity when it comes to these later forms: Chil Sung (칠 성/七星), Yug ro (육로/六路) and Hwa Sun (화선/花仙). These were developed by Grandmaster Hwang‐Kee based on information he found in the Muye Dobo Tongji (무예도보통지/武藝圖譜通志) as well as his study of Chinese martial arts. The Hanja for the names of the first three Yug‐ro forms are spelled out in his Volume 2 (pp.169, 183, 197) and the other three are clear from the Muye Dobo Tongji.
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Pyung Ahn (1‐5) In Volume 1, p.372 Grandmaster Hwang Kee uses the characters “平安” for these forms and spells them in English as “Pyung Ahn.” The matching Hangul would be “평안” which in MCST Romanization would be “Pyeong‐an.” Hwang Kee translates these as “peaceful safety/confidence.” A modern dictionary translates the first character "平” as “calm” or “peaceful” and the second “安" as “secure” or “safe.” The characters ”平安” are pronounced “Píng'ān” in Chinese, “Heian” in Japanese and “Pyeong‐an” in Korean. Funakoshi originally (Jutsu pdf p.5, 18) also uses the “平安” characters, transliterating the name “Pinan (ピンアン)” and in hiragana (Jutsu pdf p.29) also “Pinan (ぴんあん).” In Kyohan (Kyohan pdf p.36, 41) Funakoshi still uses “平安” but indicates these characters are pronounced “Heian (ヘイアン).” However he still calls the form “Pinan (ピンアン)” in Katakana in large lettering in parentheses after the Hanja. The 1973 translation calls the forms Heian (Kyohan p.35) with no mention of Pinan, however it seems clear that the form was originally named using the Chinese pronunciation. This Chinese‐based pronunciation seems a recurring theme in several form names, and seems to indicate a Chinese origin, despite common mythology attributing the form to one of Funakoshi’s predecessors. In Kyohan, Funakoshi reorders the forms relative to Jutsu, exchanging the first and second. Hwang Kee uses the same sequence of these forms as Kyohan. Shito‐Ryu, Wado‐Ryu and Shorin‐Ryu styles currently use the original order. Bassai In volume 1 of “Soo Bahk Do / Tang Soo Do” p.411, Grandmaster Hwang Kee refers to this form as "Bassai” and indicates that “The original name of this form was Pal Che”. He provides the Hanja for “Pal Che” as . The first of these is clearly 拔, which could mean “best” as in “chosen” or “outstanding.” However, the second is unclear, and seems to be 柴 which is “si” in Korean or “chai” in Chinese, meaning firewood. This doesn’t fit the text and may be a typographical error, or perhaps the character has archaic meaning not found in modern dictionaries. The character appears again on the same page (仙人擔柴勢 /虎兜門柴勢 /拔虎尾勢) in references to movements of the “So Rim Sa.” However interpreting “Che” as the similar character 採, fits the text as meaning “collection”. Thus the “Pal Che” name could be ”발채 / 拔採” meaning “best collection” and would be spelled Bal Cae in MCST Romanization where the B in “Bal/ 발” is soft and “Cae/채” is pronounced like “che.” (see pronunciation section). Alternately, Bal Cae (발채) could also be the Korean pronunciation of the Chinese “Bá sāi” characters of “拔塞”. These could be translated as: “Bá/拔” in this case meaning “capture or seize” and “sāi/塞” meaning fortress or fortification, and the Korean pronunciation of “Bá sāi/拔塞” would be “Bal Cae/발채.” Most Japanese styles use these “拔塞” characters or their similar Japanese variants “披塞” / “拔砦” for this form. Note that “sāi(塞)” and “zhài (砦 )” are both “cae (채)” in Korean and both mean fortress. In Jutsu (Jutsu pdf pp.29, 146) Funakoshi does not provide Hanja for this form, and calls it “Passai (パッサイ)” in Katakana. In Kyohan (Kyohan pdf pp.37, 62) Funakoshi uses “拔塞” spelling it “Bassai (バッサイ)” in Katakana. Both Funakoshi, claiming the form originated in the “Shōrin‐ryū /少林流.” and Hwang Kee claiming it incorporated movements from the “So Rim Sa” (소림 사 / 少林 寺), attribute the origins of this form to Shaolin style martial arts. Naihanchi In his TSD Volume 2, pp.11, 23, 33, Grandmaster Hwang Kee spelled the name of this form as “나이한찌” (which would be Naihanjji in MCST Romanization), which he spells as “Nai han ji” in English but provides no Hanja for this spelling. Ho Sik Pak spells this form as Naihanji “나이한지” (Complete TSD Volume 2, p.68) Several styles use the characters “内蟠地” which would be pronounced “naebanji/내반지” in Korean , and “Nèi pán di” in Chinese, and would be translated literally as “in an occupied place.” However the best fit seems to be the similar ”内限地” which would be pronounced “naehanji/내한지” in Korean and “Nèi xiàn di” in Chinese. This ”内限地” would translate literally to “in a limited place” or more colloquially as “in close quarters” or “in a tight spot.” V9.0 Copyright © 2012 ‐ 2014
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Other martial arts systems use several different Chinese characters for this form, including “內步進” meaning “inside stepping” and which would be pronounced “naebojin/내보진” in Korean and “Nèi bù jìn” in Chinese. Naihanchi’s “Iron horse” interpretation is generally attributed to Funakoshi. However Funakoshi originally refers (Jutsu pdf p.29) to the form as “Naihanchi (ナイハンチ)” and attributes the form to the Shōrei‐Ryu (昭霊流) (Okinawan style as opposed to the Shōrin‐ryū (少林流) or Chinese Shaolin style). In the Kyohan first edition (Kyohan pdf pp.37, 73, 83, 86) Funakoshi calls this form “Kibadachi (騎馬立/キバ ダチ)” or “Cavalry Horse Stance,” while still referencing “Naihanchi (ナイハンチ)” in parentheses. At some point before the second edition of Kyohan was translated in 1973 (Kyohan p.36) the form was renamed again to “Tekki,” using the “Iron Cavalry” characters “鉄騎” now prevalent among Shotokan practitioners and the reference to Naihanchi was removed, so at the very least Funakoshi came up with the “Iron horse” later in his career, when pressure was high to “Japanify”. Jin‐Do The form named “Jin‐do” in TSDMGK and variously Chinto, and Jinto, in other styles, seems to have been translated variously as “guard the east” and “crane on a rock.” In Volume 2, p.47, Grandmaster Hwang Kee spells the form “찐도” (MCST “jjin‐do”) which he spells “Jin Do” in English, but provides no Hanja. However on p.48, Grandmaster Hwang Kee relates this for to the Sip‐Sam‐Seh noting that “Jin” is advance (進) and “toe” is retreat (退). Confusingly the Hangul for this Jin‐toe “進退” would be “진퇴” which in MCST is jin‐toe, and which would be pronounced closer to “Chin‐teh." So it’s not clear whether Grandmaster Hwang Kee meant this to be simply a “characteristic of the form” or the actual Hanja indicating the meaning of the name. Some Japanese styles use the Hanja “鎮闘” pronounced Zhèn dòu, in Chinese and meaning either “town battle” or “to suppress a fight.” Funakoshi originally (Jutsu pdf p.29) called this form “Chintou (チントウ),” but provided no Hanja. Funakoshi later (Kyohan pdf p.37) renamed this form “Gankaku (ガンカク)” using the characters “岩鶴" which mean “rock crane,” but still indicated the original name of the form is “Chintou (チントウ)” in parentheses. Wado‐Ryu sometimes use the characters “岩鶴" but still call the form interchangeably Gankaku and Chinto. Shorin‐Ryu and Isshin‐Ryu styles tend to call the form Chen To and use the “鎮闘/town battle” characters. For reference, the other Sip‐Sam‐Se “십삼세/十三勢” mentioned in Hwang Kee volume 2 p.47, seem to be derived from Tai‐Chi concepts. These are what Hwang Kee refers to as "the O‐Heng” / “오행/五行” or five energies, which Hwang Kee claims are divided into two philosophies/schools of thought: Neh‐Ja “내가/內家” internal school and Weh‐Ja “외가/外家” external school. The neh‐ja five are comprised of “Jom 첨/沾” – touch; Yeon “점/黏” – attach/stick; Jom “첩/貼” – keep close; Soo “수/隨” – follow; Boon Ju Hang “불주정/不丟頂” – do not resist/do not go against; The Whe‐Ja are: Jin “진/進” – advance; Toe “퇴/退” – retreat; Ko “고/顧” – look (left/east); Ban “반/盼” – gaze (right/west); Jung “정/定” – Settle (center/equilibrium).” Although the Hanja are not entirely clear in the book. Rohai In Volume 2, p.61, Grandmaster Hwang Kee spelled this as “로하이” spelling this “Lo Hai” in English, however “로” is pronounced by Koreans somewhere in‐between “ro” and “lo.” The correct modern transliteration for “로” is “ro,” according to the McCune‐Reischauer system, the US government system and the MCST rules. The “lo/ro” issue is due to the fact that r and l are allophones in Japanese and Korean. In Korean, r and l are represented by a single character “ᄅ” which is pronounced more like “r” when it appears before a vowel or semi vowel (e.g. “ro” 로 or “hureyo”) and more like “l” before a consonant or at the end of a word (eg. foot is “bal” 발). In Japanese, there is no distinction between r and l and the pronunciation for both is the same and “ro/ロ” would be pronounced somewhere between “ro” and “lo.” For more, see pronunciation section above. Funakoshi spelled the name of this form “Rōhai (ロ一ハイ)” (Jutsu pdf p.29) but provides no Hanja and no description of the form. In Kyohan this Rohai is not mentioned at all, though Shotokan practitioners do perform a somewhat similar form and call it Meikyō (明鏡) or “bright mirror.” Elsewhere, Rohai is fairly universally (Wado‐Ryu, Shito‐Ryu, Shorin‐Ryu) V9.0 Copyright © 2012 ‐ 2014
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spelled with the characters “鷺牌” which translate to “heron style/type/brand.” The Hanja “鷺牌” (heron style) would be spelled in Hangul “로패” which is “Ro‐pae” in MCST Romanization.” The Chinese pronunciation of the “Heron Style / 鷺牌” characters is “Lù pái.” in Japanese, however, “鷺牌” would be pronounced “Sagi pai.” Sip Soo In Volume 1 p 253, Grandmaster Hwang Kee refers to this form in passing, indicating he will cover it in volume 2. In Volume 2 p.73, Grandmaster Hwang Kee titles this form with the title “Sip Soo” in English. The characters in parentheses are clearly “십수” (MCST sib su) which is the same Korean spelling for this form used by Ho Sik Pak (Vol 2 p.172) and others. The first part before the parentheses however is “진” which is “jin” in MCST Romanization, and the second part appears to be a combination of the glyphs “ᄄ” with “ᅵ” and “ᅩ.” This combination is not a regular Korean syllabic form and would be Romanized as “ddio.” It’s unclear what “Jin‐ddio” would be in this context, and is possibly a typographical error.
“Sip soo/십수” would correspond to the Korean pronunciation for the Hanja “十手” meaning “ten hands” which are the characters used for this form in several styles, including Shito‐ Ryu, Goju‐Ryu and Wado‐Ryu. In Japanese the characters “十手” are pronounced “Jitte”. Funkaoshi originally (Jutsu pdf p.29) only refers to this form as “Jitte (ジッテ)” and provides no Hanja. Later (Kyohan pdf p.37) he uses the Hanja “十手”. The Chinese pronunciation of “十手” is “Shí shǒu.” Kong Sang Goon In Volume 2, p.83, Grandmaster Hwang Kee does not provide Hanja for this form, only the Hangul “공상군” which he spells “Kong Sang Koon” in English. However he relates (Volume 2 p.84) the name of the form to a “Chinese missionary” by the same name. The Hangul “공상군” corresponds to the Hanja “公相君” which are used for this form by several styles. Funakoshi (Jutsu pdf p.29) uses the characters “公相君” for this form which he spells “Kūshankū (くうしゃんくう)” in Hiragana. Later (Kyohan pdf p.37) Funakoshi renamed the form Kankū “観空” meaning “view of the Sky” though he spells it “Kuwankuu (クワンクウ)” in katakana, while most Shotokan schools currently spell this in Katakana as “Kankuu カンクウ” or “Kankū (カンクー)”. Funakoshi (Kyohan pdf p.37) uses the Hanja “公相君” in parentheses with a pronunciation in Katakana as “Kūshankū (クーシャンクー)”, though, again, the translation drops any mention of Kūshankū, possibly as a reflection of the revised later edition. The Chinese pronunciation of “公相君” is “gōng xiāng jūn” and these Hanja don’t translate as a phrase other than possibly someone’s name: “公” means public or common; ”相” means mutual or a portrait; ”君” means gentleman or ruler according to several dictionaries. Sei shan In Volume 1, p.353, Grandmaster Hwang Kee mentions this form, naming it Sei San, and in Volume 2, p.103, spells the form “시싼/十三” and “Sei Shan” in English. The MCST for “시싼” would be “si‐ssan.” In his Complete Tang Soo Do Volume 2, p.222 Ho Sik Pak spells the form Sei Shan, but spells it with three syllables in Korean: “세이샨“ (MCST se‐i‐syan). Funkaoshi originally (Jutsu pdf pp.29, 143) called the form “Seishan (セイシャン)” but provided no Hanja. Later, in Kyohan (pdf p.37, 89) he renames this form “Hangetsu (半月)” meaning “half moon,” spelling this as "Hangetsu (ハンゲツ)”. In the Kyohan first edition he indicates the prior name as “Seishan (セイシャン)” in parentheses, claiming (Kyohan p.36) that this is because one “characteristically describes semi‐circles with the hands and feet…” In the 1973 translation the reference to Seishan is removed.
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Goju‐Ryu use the “十三” Hanja for this form but spell it ”Seisan (セイサン)” in kana. The characters “十三” are the number 13 and are pronounced “Sib‐sam/십사” in Korean and “Jūzō” in Japanese, so the name of the form seems to reflect the Chinese pronunciation of “十三” which is “Shí sān”. Thus, the form could possibly be spelled Shi‐san in English, which corresponds phonetically to Grandmaster Hwang Kee’s Hangul “시싼” which is pronounced “Shi‐san.” Wang‐Shu In Volume 2, Grandmaster Hwang Kee spells this form as ”왕슈 (汪輯)/Wang Shu” (p.117). In MCST Romanization this would be “Wang‐syu.” Funakoshi uses the same Hanja “汪輯” (Jutsu pdf.29) spelling this “Wanshyu (わんしゅ)” in Hiragana and he spells (Jutsu pdf p.150) this in Katakana as “Wanshuu (ワンシュウ)”. Funakoshi later (Kyohan p.36, Kyohan pdf p.37) renamed this form Empi “燕飛/エンピ” meaning “swallow’s flight” though he still used the “Wanshuu (ワンシュウ)” spelling in parentheses in the 1936 edition. The characters ” 汪輯” would translate to “Wang’s Collection” or “Pool/Pond collection.” The first character, “汪” is pronounced “Wang” in Chinese and Korean, however it is pronounced “Hiro (ひろ)” in Japanese. The second character “輯” is pronounced “Shū (シュウ)” in Japanese, but is pronounced “ji” in Chinese and “jib/집” in Korean. So “汪輯” does not match the pronunciation “Wang Shu” in any language. Other styles use the characters “王鎮” (Wang‐zhèn /King’s Town), and “王冠” (Wang‐ guān/King’s Crown). The character “王” which is similar to “汪” and is also pronounced “Wang” in Chinese and Korean (and Wa in Japanese), means “king”; and the similar character “輸” pronounced “shū” in Chinese, “Shu/シュ” in Japanese, and “su/수” in Korean means “to be defeated.” Thus Wang‐shu spelled “王輸” would mean “The King’s defeat” or “defeat the king” and is pronounced “Wang‐Shu” in all three languages. This seems a possible name for a form in a region where weapons were outlawed by the king, and perhaps practicing a form named “King’s defeat” would have been politically incorrect in the late 19th century, and was may have re‐written as “汪輯”. Ji‐On In Volume 2, p.131, Grandmaster Hwang Kee spells the name of this form as “지온” and “Ji‐On” in English, but with unclear Hanja:
. The second character seems to be ”藴|蘊|蕴“
which means “collected” or “accumulated,” and would be pronounced “on/온” in Korean. The first character might be ”摯” meaning real, true or sincere. In which case, “摯蕴” would be “collected truths” or perhaps “sincerely profound.” Other possibilities for “지온” are “意蕴” which would translate to “inner meaning” or possibliy or “智蕴”, meaning “accumulated wisdom.” On p.132 Grandmaster Hwang Kee refers to Ji and On as part of the Sip‐Sam‐Seh, which would make “心氲” or “centered spirit” a possibility, although unrelated to the Hanja shown in the book on p.131. Japanese karate usually spells this form 慈恩 which they pronounce “Ji‐on” and which would translate as “gentle kindness” and is pronounced in Korean “Ja‐eun/자은.” In Jutsu (Jutsu pdf p.29) Funakoshi does not provide Hanja for this form and spells it Jion “ジオン”. Later (Kyohan p.36, pdf p.37) Funakoshi uses the Hanja “慈恩” and attributes the form and this spelling to a temple named the Greater Grace Temple (大慈恩寺) in Xian, China. The name of the temple in Japanese would be the Great Jion Temple (jionji‐dai). The Chinese pronunciation of “慈恩” would be “cí'ēn,” which phonetically is something like “tsu‐en.”
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O‐Sip Sa Bo In Volume 2 p.147 Grandmaster Hwang Kee names this form “O‐Sip Sa Bo” and spells the form with Chinese numbers for the O‐Sip Sa “五十四”, but puts in a Hangul “bo/보” at the end. Although the Hangul bo “보” is associated with 29 Hanja, in this case, “bo/보” seems clearly to indicate “步” meaning “steps.” So “五十四步” would mean “fifty four steps.” The corresponding Hangul would be “오십사보.” However, as Grandmaster Hwang Kee makes clear on p.148, the form has 77 moves. Funakoshi (Jutsu pdf p.29) mentions a form which he spells “五十四步/ほ” which has been translated (To Te Jitsu p.20, Jutsu p.31) as “Gojūshiho” though Funakoshi uses the Chinese variant “步” of the last character rather than the Japanese equivalent “歩”. While this form is practiced by most modern Shotokan practitioners, Funakoshi did not provide the details of this form in either book. Some styles have two versions, greater/dai and lesser/sho, of this form, and some styles use the same Hanja, but pronounce the form SuShiho. This might be because the Chinese pronunciation of “五十四步” is “Wǔshísì bù” and Japanese use the character ”Ho/歩” which is a Japanese variant of the Chinese ” bù/步”. Du Mun In Volume 2, p.169, Grandmaster Hwang Kee uses the character 斗 to indicate “top or great.” This character is the simplified Chinese version of the character “鬥.” Most of the Hanja used in this document are the Traditional Chinese versions of the characters, but in this case the same character “斗” is used for readability, as otherwise Du Mun would be “鬥門” making it look confusingly like “gate gate” instead of “great gate.” Hwa‐sun In Volume 2, p.209, Grandmaster Hwang Kee labels this form as Hwa Sun “화선/花仙”, calling it “pure flower.” He claims the form is his translated version of a form he calls “Kwon Bop Do Hae Hyung,” which he named Hwa Sun. The MCST Romanization of “화선” is “hwa seon.” The character “仙” means “pure” in the sense of a “heavenly, celestial or immortal being” where “pure” as in “unadulterated” would be “jun/준/純.” The choice of name for this form is possibly a reference to the early name of Tang Soo Do being the Hwa Soo Do, which itself was a reference to the ancient (~50BC – 900 AD) Korean order of knights known as the “Hwarang” (화랑/花郞).
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Other: 1.
2.
“Kap Kwon” for back‐fist: a. “Kap” 갑 can be any of: 匣 合 岬 押 甲 胛 鉀 閘 韐. Using these “back‐fist” could be “box”, “shell”, “armor,” or i. 갑 /甲 can “the first” as in one who leads, in this case “the leading punch” ii. 갑 /甲 can also mean “the former” as in one referring to “the former and the latter” or in this case “the former punch”. b. Outside of Tang Soo Do there are very few web references for back‐fist being “갑권” however, Hapkido sometimes refers to back‐fist as the similar sounding “Gag Kwon” 角拳 which would translate as “spiny or horn punch” c. Several Chinese and Japanese martial arts use the characters 裡拳 (“li gwon” in Chinese or “Riken” in Japanese) which means “inside punch”/ ”back‐fist” “Kwon do” for hammer‐fist: a. “do” 도 would be consistent with 刀 as in sword or blade b.
“Toe” 퇴 (槌) would mean “hammer” but is pronounced more like “te” than like “dough”
c.
Other possibilities for “do” here: Drum (鞀), Revolving drum with knobs (鼗)
Tae Kwon Do info: Much of this terminology does not apply to Tae Kwon Do. Tae Kwon Do is a result of the unification of various Korean martial arts systems. This unification started in the late 1950s and resulted in many changes, including the “Korean‐ization” of the terminology. Many “Sino‐Korean” terms were dropped in favor of native Korean equivalents. For example Pumsae (품새) is used in place of Hyung (형/形), jileugi (지르기) in place of gong‐gyeog (공격/攻擊), etc. See the references section for some Tae Kwon Do terminology collections.
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