;

Unfolding the Fan The most common drawing technique, meant to be done in a simple arc smoothly and swiftly. The draw is meant to convey grace and confidence before committing to combat. This should be amongst the first things practiced by those who choose the sword as their weapon, as it should be the first thing mastered before a swordsman proceeds down the path of a Blademaster. In a more advanced version, this form is used to launch a direct attack from the sheath. Folding the Fan The mirror of Unfolding the Fan, this sheathing technique must be practiced as much as its counterpart. From guard stance to sheath, the sword follows through in a graceful arc. This arc that the blade makes in the air also serves to shake the blood from the steel. Blademasters are capable of performing this without looking. The Oneness ! focus e"ercise, meant to heighten the swordsman#s senses and make them fully aware of the world around them. It is a mental aspect that has bearing on the physical, as it tends to rela" the body to complete readiness and balance the breathing and heart rate. There are many names for this e"ercise, depending on region. The $alkieri term is the kodi. Illianers and other %outhlanders may call it the Flame and the &oid. 'ifferent individuals percieve the (neness differently, but all versions serve to aid the mind in applying itselt to the task of control and perception. Furthermore, advanced training in this mental e"ercise allows for greater emotional control, and thus even more heightened perception. The Ribbon Dances on the Breeze This is more of a correction than an actual form of striking. The point is to keep the blade moving after an overpowered attack, so that one may regain a guard stance after a wide swing of the blade. (ne should continue the arc of movement of their swing, bringing the blade behind and then back overhead before resuming a guard stance. This is similar in style to fighting with a one)handed blunt force weapon, as the point is to use the momentum of the weapon to return to a guard. Sheathing the Sword %heathing the %word is a Borderland ma"im, one that e"pands beyond sword work. It is meant to refer to an action taken that may be detrimental to one#s self, but the gain far outweighs the price * even if that price is one#s life. The Swallow Rides the Air This concept deals with drawing and moving simultaneously+ the point is to intercept an attacker as they are moving to engage another combatant. This is a key concept for ,aidin in the defense of their !es %eda-!sha#man. This concept requires speed, sureness of ability with the blade and absolute focus, so as to defend at the instant you reach the opponent.

.ote/ 0ave in mind that stances should flow into the ne"t, depending on the strikes that the stance provides. It is not advised to remain in a single one for more than a very short while.
Emptiness It has been argued by many that 1mptiness in itself is not a stance, but a natural way of life among Blademasters. For this purpose, it is how a swordsman should move during any and every waking moment. It is movement in perfect balance, whether it be while entering battle or strolling through a garden walk. 1ach step is silent and unhurried, rolling one#s steps from heel to toe. In theory, this is what gives a ,aidin the look of a living weapon, as he is prepared to strike from the balance at any moment. The Apple Blossoms in the Wind In this stance, the blade is held low but in a rela"ed grip. (ne moves slowly, as if being gently guided by the bree2e. The blade may move up or down as one moves, but it is still held in a low guard. This guard does well in preparing for an opponent attacking with The Serpent Stri es. The !at !rossing the !o"rt#ard This is a common stance, one that leaves the body loose and ready for any and all possible threats. To an untrained eye it may give the appearance of arrogance. (ne moves on the balls of their feet, with head held high and absolutely alert. The eyes move quickly to watch for threats. !rms and hands are kept free and unencumbered, making them available to move to the sword at a moment#s breath. (ne#s walk should remain confident and unhurried. The !reeper Embraces the Oa This stance is a slow form of movement, circling one#s opponent. The blade is in a guard stance, but moving from high to low and back again to offer new threats and guard against those same threats. Two common forms that begin from this stance are the Falling $eaf and-or the $ightning of Three %rongs. The &aw S"r'e#s the %lain This guard is a very high guard, commonly used with hand)and)a)half or two)handed swords. The sword is held over the head with both hands in a standard grip, point high. This stance leaves the body completely open, and is meant to be used in open space. This stance allows for powerful downward strikes, allowing momentum to assist the blade. The &eron Wading in the R"shes This is a practice form for those that have 3ust started on the path to attaining Blademaster. The form is intended to teach balance and footing. The blade begins at shoulder-head height, moving into a hori2ontal slash as the swordsman pivots on one foot. The movement should be practiced with full knowledge that it is unusable in actual combat, as it leaves the body open without recourse. The (ingfisher Watches the S # This form is a defensive stance, and is quite effective against the Do'e Ta es Flight. The blade is in a middle guard, held hori2ontally before the body, with the grip held on the strong side of the body ) that is to say the swordsman#s dominant hand.

The $eaf Floating on the Breeze This guard is considered a hori2ontal guard, and ad3usts to the situation. In defense, the blade should move up and down, with the grip rela"ed and ready to take action. (ffensively, the blade moves side to side in an unhurried motion while maintaining the threat of striking at any point in its movement. Two strong attacks from this guard are The $ightning of Three %rongs or the $izard in the Thornb"sh. The $eopard in &igh )rass This is more of a movement, to be used when surrounded by opponents. Both hands are on the sword#s hilt, and one#s steps are slow and measured. 4ike the !at !rosses the !o"rt#ard, the eyes should be constantly moving amongst your opponents to watch for the first threat. (ne#s movements should be in rela"ed but ready anticipation, as if stalking prey and looking for the first opening to pounce. The $eopard in the Tree This stance is intended for use with a preferred drawing technique. %wordhand is on the hilt, the other closed around the mouth of the sheath-scabbard, and the knees are bent in a rela"ed position. The body leans forward, ready, much like a coiled spring. The $ion on the &ill ! guard stance, with sword held point)up and hilt near to the shoulder. 5onsidered a high guard, it can also be assumed with the blade pointed directly at the opponent instead of vertically. The O* $owers &is &orns This is a middle guard, and e"pressly offensive in nature. The form begins with a lowered stance, feet spread apart, with the front foot outstretched, lowering the body on the back foot. The hilt is held close to the face, and one regards their opponent by looking at them from 3ust over the hilt. The sword point is angled downward towards the opponent, and most of the weight is placed on the back foot, which provides the power for the forms used from this stance. Two good forms to come from this stance are The +oon on the Water and The Falcon Stoops. The Swallow )lides to the Branch This is a guard stance to be used while moving+ the blade is diagonal across the front of the body, with the point tilted towards the direction one is moving. 0ands are on hilt, and held at waist level. From here one may move into The Swallow Ta es Flight upon reaching their target.

The Branch in the Storm This form is any high, hori2ontal slash used to deflect an opponent#s blade. !ny deflection should use the flat of the blade, and not the edge. This form is quite commonly used to counter The Ri'er of $ight. The !at Dances on the Wall This form is not precisely done the same way twice, and practicing over time, it will strengthen the wrists and make it more effective for the user. It is a series of feinting slashes, thrusts and parries, all of them short and intended to feel out your opponent and buy time to pinpoint a weakness.

The !at on &ot Sand %imilar to The !at Dances on the Wall, this form removes the tentative nature and turns it into an effective form for battling multiple opponents. The emphasis is speed and quick wrists+ those with the greatest skill can accomplish this against an overwhelming number of opponents. The !#clone on the %lain ! maneuver best served against multiple opponents to open space around the swordsman and take initiative. The blade is brought around in a windmill fashion, the blade e"tended out and brought around quickly in a full circle before returning to guard stance. ! good follow up to this maneuver would be The $izard in the Thornb"sh. The Falling $eaf !n effective parry maneuver, the Falling 4eaf begins from higher point, and sweeps back and forth a number of times before it reaches the lowest point. From this defensive maneuver you can launch into The Ri'er Underc"ts the Ban or The Wind Blows O'er the Wall. The )rape'ine Twines This form is a formidable disarming technique. It is accomplished by first engaging your opponent and binding their blade briefly, then dipping the tip of your blade under their hilt. By twisting at this point, you use leverage to disarm them and quickly end the fight. The (ingfisher !ircles the %ond This form is a combination of parry and movement+ the parry is at shoulder height or higher, typically to counter an overhand blow or beheading strike. The movement is either a retreat to the side or an advance into your opponent. The Sapling Trembles This form is a basic downward strike at your opponent#s wrist. Best used when your opponent has overe"tended a thrust or swing. ! good follow)up would be The Arc of the +oon. The Storm on the +o"ntain This is a very quick maneuver, beginning with a pivot and strike at the opponent#s wrist. The most advantageous use of this would be after a feint. !fter the wrist strike comes a chest thrust to finish the 3ob. This is very useful against daggers and-or one)handed swords, as it is an effective disarming maneuver. Watered Sil The blade is brought up hori2ontally over the head, with the point forward, with the intent to diffuse momentum of the opponent#s strike. This is often followed by a thrust to the opponent#s face, and works well to counter The Falling $eaf. Willow Embracing the Breeze This form is a combination of movement and strike, and can be used to increase or decrease distance from the opponent. It is a vertical parry with the blade pointed straight up, and a simultaneous movement either into the opponent#s inner guard, or backwards to maintain space.

Arc of the +oon This form begins at mid)body, arcs to the neck, and returns to guard stance. Its purpose remains to behead or severely wound the throat, making short work of your opponent. Blac %ebbles on Snow This form is a combination of parry and strike. The first portion of the form is to deflect the opponent#s blade with a parry, then down)cut to the opponent#s ribs with sudden force. The point of attack is to work yourself inside your opponent#s guard with the deflection, giving you precise opportunity to strike. The Boar R"shes Down the +o"ntain This is a standard among swordsmen of all skills, and is the basis for some more powerful forms. It begins as a powerful diagonal slash which starts behind the right shoulder, and then curves into a hori2ontal slash. It is common to deceive enemies with it because of its nature of altering course mid)swing. The Boar R"shes Downhill This form is similar to The Boar R"shes Down the +o"ntain, but is simpler as well. It remains a powerful diagonal slash from behind the shoulder and down into the #center# of the opponent, never changing course. It is a good counter for The !at Dances on the Wall. B"ndling Straw This combination strike has come to be quite useful against opponents using the quarterstaff. It begins with a series of quick chest)level thrusts, following by a downward arc to the side, then a return arc upwards to center, before returning to guard stance. !o"rtier Taps his Fan This blow is a simple but powerful overhand blow, best used from a high guard stance. It is meant to be quick and split the head. !"tting the !lo"ds This strike is a short hori2ontal chop, best served when inside your opponent#s guard and delivered with significant power. !"tting the Wind This form is slightly comple", and is primarily situational, as it requires some surprise in e"ecution. The form begins with a sidestep and twist of the wrists, delivering a sharp and quick thrust to the opponent#s open midsection. This is best used against a charging opponent, as the movement and strike serves to quickly end the engagement. The Dandelion in the Wind This form requires some finesse, and is considered an advanced form because of it. The blade slashes at upper torso or neck in a sinuous hori2ontal line, intended to weave around an intercepting blade.

The Do'e Ta es Flight This form begins in a low guard. The knees are bent to appro"imately ninety degrees, and the sword is held at the hip. The blade is thrust upwards into the chest, against the opponent#s attack. It is a gamble of an attack, but one the opponent may not be e"pecting. The Eel Among the $il# %ads This is a simple figure)eight strike, small and aimed for the opponent#s thighs or legs. This is used not to kill, but to reduce your opponent#s mobility. The Falcon Stoops This is a more conservative version of The (ingfisher Ta es a Sil'erbac . It is a quicker, shorter overhand thrust before returning to guard stance. The &eron Spreads its Wings $ost swordsmen frequently call this the #operational# version of The &eron Wading in the R"shes. Instead of suspending one#s self on the balls of the feet, a firmer stance is planted. The blade is held at shoulder height, and brought around in a tight cut, roughly a quarter)circle, while pivoting on one foot. The &"mmingbird (isses the &one#rose This form is a bold strike used in high guard. It is no more than a quick face thrust from shoulder height, and is a useful deterrent in the least. !gainst the charge, it is more often a killing blow than not. The (ingfisher Ta es a Sil'erbac This form has multiple uses, making it one of the most dangerous forms in a Blademaster#s repertoire. The sword begins at shoulder height or higher, and strikes down in a stab toward the abdomen. The attack can be begun lower ) chest or mid)torso height ) and stab at the legs or groin. This maneuver can also be used effectively to parry an attack. (issing the Adder This form is intended to finish an opponent who is overwhelmed and leaving themselves open. It is a series of quick thrusts to the torso, aimed more specifically at the heart. The $eopard,s !aress This form is begun from low guard, and is a quick and sudden slash at the opponent#s thighs or hamstrings, intended to immobili2e or severely hamper the opponent. $ightning of Three %rongs This combination strike is considered best performed from the stance The $ion on the &ill. It is a multiple)use form, as it begins with a thrust and can continue as a second and third thrust, or dual slashes to either side. The $ightning Stri es the Oa This is an intricate form that begins in defense, and then moves to use the opponent#s movement against them. The form begins with a hori2ontal cross)parry, followed by a quick step)around while keeping the blade engaged with the opponent#s blade ) not quite binding the two blades, but keeping contact. 6hile doing this, leverage can be applied to bring the point along the opponent#s neck in a shallow cut. 6hile engaging in this step)around, the swordsman e"tends their leg to trip the opponent. If the opponent falls, the form is completed by a downward stab ) typically a fatal one.

The $ion Springs ! form best used from the guard stance the $ion on the &ill, it is comprised of a simultaneous outward thrust and upward slash. It can be used in either variation of the stance, and is a good opening move. $izard in the Thornb"sh This form is used against multiple opponents, typically spaced at a significant angle or in front of and behind the swordsman. The form is composed of dual strikes+ the first is a strong chest thrust to the first opponent, then a pivoting kneel combined with a thrust or slash at the second opponent. This second strike is typically a thrust, though it is always dependant on the circumstances. $ow Wind Rising This form is a strong, often used form that is simple to learn but takes years to master so far as precision of application. It is a diagonal slash that begins low and ends high, typically from the swordsman#s strong side. This form is well used following the )rape'ine Twines or the $ightning of Three %rongs to return one to guard stance. The +ongoose Stri es the Serpent This form is used best when the blade tip is bound below low guard. The attack comes to the opponent#s neck with the crossguard of the sword, brought up with the full power of the hand as if you were striking the opponent with your fist. It is a good reminder that the blade is not the only part of a sword in combat. The +oon On the Water The form is more of a defensive strike than an offensive one, and e"ecuted best from The O* $owers his &orns or other high guard. It is a simple downward chest thrust, intended to force your opponent into retreat lest your blade skewer them. The +oon Rises O'er the $a es This form begins with a short hori2ontal slash, then commits to a vertical arc that, at its highest point, is aimed at the opponent#s throat. In this form, the blade should begin and end at chest level. The +oon Rises O'er the Water This form is identical to The +oon Rises O'er the $a es, but instead begins and ends at waist level. !gain, it is a short hori2ontal slash, followed by a vertical arc that reaches the opponent#s throat at its highest point. %arting the Sil This form is another mainstay of battle. It is a precise abdominal slash, good for drawing first blood in combat. %l"c ing the $ow-&anging Apple This strike is sudden and aimed at the neck of the opponent, requiring patience to use at the right point in the engagement. This can be quickly followed up by The $eopard,s !aress Rain in &igh Wind This form is an e"ercise in stamina, requiring quick wrists to ma"imi2e its effectiveness. It is an indeterminate number of quick and powerful side strikes, intended to wear down the opponent thoroughly and quickly.

Reaping the Barle# This form is another simplified strike, again relying on speed and strength. It is a begins with the sword out to the side, held hori2ontally, and brought into your opponent#s midsection quickly. The movement is done by both the torso and the arms+ the primary power for the strike is in the twist of the waist, but the arms propel the blade abruptly at the last moment before impact, with the intent to end the strike deep beneath the opponent#s ribcage. The Red &aw Ta es a Do'e ! lighter attack than Ri'er of $ight, this form is a similar cut at the opponent#s arm, but with the intent of causing damage to the flesh and weakening the opponent over time instead of taking the arm outright. Ribbon in the Air !nother form utili2ing a hori2ontal slash, this strike is accompanied by the blade moving up or down at the end of your strike. This form is also used in unison with an advance, bring the fight closer in to your opponent. The slash should not go above chest height. Ri'er of $ight This form is best used last in series begun with The Wood )ro"se Dances followed by The Red &aw Ta es a Do'e. The sword is brought down in a powerful vertical swing with full intent to take off the opponent#s arm. The Ri'er Underc"ts the Ban This is another mainstay in the swordsman#s knowledge, and has been the end of many a sword engagement. It can be accomplished by bringing about a fast and decisive hori2ontal slash, from either a kneeling or standing position. It is typically used to disembowel or behead the opponent. The Rose Unfolds This form is somewhat unique, but met to carve through an opponent#s defense. The blade begins in middle or high guard, and thrust high at the opponent#s torso. 'uring this thrust, the blade is rotated through a very tight arc downwards, appearing as if you are trying to carve a hole into the opponent. The form is completed by returning to guard stance before moving into the ne"t form. The Serpent Stri es This is less a #form# than a dedicated strike. It is quite simply a sword throw+ one hand placed at the crossguard, and another hand on the blade, near the point. The #back# hand at crossguard provides the force as the sword is thrown. It is generally accurate from si" to nine feet in distance. Soft Rain at S"nset This form uses the art of half)swording to great potential, but if used faultily can leave the body open to a lethal strike. The first intent is to strike the opponent#s face with your fist gripping the blade, but impacting the face with the hand. 6ith the impact of the fist is the drawing cut of the blade#s point against the opponent#s face, which will at least scar the enemy and at best give a good chance of blinding. Stones Falling Down the +o"ntain This form is similar to The Boar R"shes Down the +o"ntain. It begins at shoulder height, though differing from The Boar R"shes Down the +o"ntain, the blade remains in line with the shoulder, and not behind it. The blade is brought down in multiple, powerful strikes to beat back the opponent#s defenses.

Stones Falling from the !liff %imilar to Stones Falling Down the +o"ntain, it is a single overhand slash from shoulder height. This form can come down at a diagonal or straight vertical slash. %ome consider this an advanced form of The Boar R"shes Down the +o"ntain. The Stone Falls from the +o"ntain This form is another advanced form, and requires a great deal of grace. It is begun by an inward sidestep against a charging opponent. The body twists as the opponent charges past, and the sword is brought down in a slash on the opponent#s backside. Stri ing the Spar !nother e"ercise of stamina and quick wrists, this is a vertical attack much like Rain in &igh Wind. It is a series of multiple, powerful overhand blows. This works well against the return swing of $ow Wind Rising, or The &eron Spreads its Wings. The Swallow Ta es Flight !n effective combination strike, this form begins with a diagonal slash towards the opponent, followed by a short thrust. The initial slash is not as much an offensive strike but a defensive one, as it serves as a guard to position the thrust. The Thistledown Floats on the Whirlwind This form is a 3umping attack, one that is best used with surprise as an opening attack. The blade is held chest high, and close to the body as the swordsman makes a leaping spin to behead the opponent. The sword does not move more than a foot from its place against the body, instead using the body#s momentum through the spin to apply the force. Threading the .eedle This is a simple and fast strike, a very quick thrust at the shoulder or chest. It can be used in succession to keep the opponent on guard and buy time. The Tower of +orning !nother of the standard moves for a swordsman to build their skill upon, it is a simple vertical slash from low to high. This form is best combined with The Boar R"shes Down the +o"ntain or The !o"rtier Taps his Fan. Twisting the Wind ! form for multiple opponents, Twisting the Wind utili2es slashes and short thrusts during a quick and continual rotation of the body to counter or attack opponents on all sides. Two &ares $eaping This form is a charging attack, consisting of two vertical slashes that arc in a windmill fashion. The form typically begins on low left and arcs to high right, then coming back to low right to high left, in essence forming a figure eight. This fairs well against Stri ing the Spar . Water Flows Downhill This form is considered an #e"pert# version of the Boar R"shes Down the +o"ntain. Its primary purpose is to evade the opponent#s weapon and strike the easiest target. The blade begins high, in line with the shoulder, and comes down in a vertical slash that changes direction mid)stroke.

The Whirlwind on the +o"ntain This is a ground)level form of The Thisteldown Floats on the Whirlwind. !gain, blade is held chest high and close to body, as the body is the force behind the blade. The swordsman turns in place, not moving the blade with the arms more than two feet away from the body. It is typically used to behead, but can be used to ward off multiple attackers. 5are should be used, as this attack can leave the swordsman open to retaliation while recovering from the spin. Wind and Rain This is another combination form that requires quick wrists. 6ind and 7ain begins with a diagonal slash from low to high, then a number of short thrusts and-or overhand blows. The Wind Blows O'er the Wall This form is a good form of feint before the strike. The blade is brought up in a half)circle towards the opponent. !t the top of the arc, the blade is turned to the side and brought into a powerful hori2ontal slash. The Wolf $"nges This form is intended for close quarters+ it is a combination strike. The first move is a pommel strike from waist or abdominal level, preferably used to double over the opponent. The follow)up is an overhand strike with the blade. Both movements should be completed in very rapid succession. The Wood )ro"se Dances This combination of feinting, tentative short slashes thrusts and parries requires a good set of quick wrists, and is best used while remaining stationary. It is a good early)engagement form for feeling out the enemy for any weaknesses that might present themselves early.
$ost of the forms courtesy of $ahiro %hukosa, 5oncordances and 5haracters 6iki and the the Tar &alon 4ibrary.,