Material

The yumi, as made by Shibata Kanjuro XXI Sensei for kyudo practice, corresponds to the go mae higo, i.e. it has a naka uchi (middle section) made of four heat-hardened higo (bamboo slats), a wooden slat in the centre (maple) and two sobaki (outer woods - often haze → wax tree wood). In addition, there is the elastic todake (outer bamboo) and the hardened uchidake (inner bamboo), which should not come from the same bamboo cane. Only the two ‘leaf sides’ of the bamboo cane can be used.

First the naka uchi 中打 is glued and then planed into a complex shape. Uchidake (also maedake) and todake are planed and glued onto the naka uchi (yumi uchi) together with the kami no seki ita and shimo no seki ita (top and bottom ends of the wood). The gluing is pressed by winding a string, which is tightened with bamboo wedges. Shibata Kanjuro XXI usually requires a urea glue that can withstand climatic fluctuations and is elastic. High-quality yumi are glued with Nibe にべ (a glue that is liquid at high temperatures) made from deer skin using steam. Superglue is also often used.

After gluing, the sides are roughly plastered and the ends rudimentarily carved. Then the yumi is stretched for the first time with a shinaitsuru (strong sinew) - a delicate act. The ancient haridai (wooden ram) is used for this.

Once stretched, the yumi is left to stand still for a few days. Then its ends and sides are finished, finely sanded, polished on the sides with a boar's tooth, handle leather and rattan attached and the master's signature branded on.

Depending on your height and draw length, you will need a corresponding yumi.

- Hankyu (half bow) for children
- Sansun tsumari 三寸詰り (yumi shortened by three suns) approx. 212 cm
- Nami 並弓 (normal yumi) approx. 221 cm, for smaller people
- Nisunnobi 二伸弓 (two sun extended Yumi) approx. 227 cm, for taller people
- Yonsunnobi 四伸弓 (four sun extended yumi) approx. 233 cm, for people over 2 metres tall

Roku sun nobi (extended by six sun) and Hassun nobi (extended by eight sun) are also commercially available. They are not used in our school. The yumi is stressed by the draw and needs this to ensure that the arrow flies quickly. If the yumi is too long, the result is a flimsy shot. Sensei therefore recommends making the yumi as short as possible (Nami or Nisunnobi).

The draw weight is given in kilograms. A beginner uses a yumi with 7 - 12 kg. Advanced users have yumi with a draw weight of between 12 - 25 kg (sometimes even more). When changing to a heavier yumi, a two-kilo step is advisable; too large a step is not advisable.

Stretch the yumi on a secure surface. Hold the yumi with the lower end in the groin area and press the bow down in a controlled manner with your left hand until you can hook in the tsuru with your right hand. Make sure that the knots are correctly positioned. The kami no shigake (knot winding at the top) is directed to the right. The shimo no shigake (knot winding at the bottom) is directed to the left. The knots are also called ‘Tsuru wa’.

A yumi with this shape, as produced by Shibata Kanjuro XXI Sensei, is sweet in the hikitori (stretching) at the beginning and becomes increasingly difficult to pull until the kai, as the lower curve is tighter. In hanare, the lower part of the yumi quickly shoots forwards and accelerates the ya so that it rises slightly at the beginning of the flight phase. Such a yumi is used to shoot directly at the target at 28 metres.

A yumi with this shape is popular because the yumi can be pulled evenly to the quay. When released, the ya flies straight down and then increasingly towards the ground. In order for the ya to hit the target, it must actually be ‘aimed’ over the mato at 28 metres.

The yumi on the left has a correct shape: The upper and lower curves are in balance; the ha / kyuha 弓把 (distance between yumi and tsuru) is 14 - 16 cm depending on the yumi (the head can slip through). It is important that you know and can judge your yumi. A yumi that is out of shape must be corrected.

When relaxed, the yumi should offer space for about two fist heights at the handle. If it is higher, it can suddenly turn into its opposite shape and possibly break. This is why the yumi should remain taut for transport until its urazori is normal again. Urazori is normally higher after a tsuru tear and must therefore be checked. The yumi should be stored in a cool, not too dry place.

Shibata Kanjuro XXI Sensei sells a class yumi for around €600. A personal yumi costs around €1100, but can cost up to several thousand euros. The decisive factors are the materials used: the quality and age of the bamboo (e.g. susutake 煤竹 → bamboo from an old house; monchiku 紋竹 → bamboo marked by bacteria; irotake 色竹 → dark-coloured bamboo) and the wood, the glue and the finish. An urushiyumi 漆弓 (lacquered yumi) involves a lot of work, which is reflected in the price. Laminated bows made of fibreglass and carbon are also available on the market, but these lack the specific properties of bamboo yumi. This is why the Shibata only work with natural materials (exception: glue). Which yumi you buy is a personal decision.

The following points should be considered:
- Size: Namisun or Nisunnobi (very rarely: sansun tsumari or yonsunnobi)
- Draw weight and type (materials: bamboo, wood)
- Glue (synthetic or natural → Nibe).
The rattan windings (there are only a few traditional types) and the lacquer finishes are mainly aesthetic.

With the yumimaki.
To protect the foot of the yumi, you can also put an ishitzuki over it.

Tsuru are traditionally made from hemp. As they tear quickly, require careful handling and are also expensive, most kyudo people switch to synthetic tsuru. They are made from aramid and are extremely durable. Mixed tsuru made of hemp and aramid are also available as an alternative. Depending on the draw weight of a yumi, different thicknesses are available to buy - 0 is the thinnest, 4 the thickest. Shibata Sensei recommends using tsuru that are as thin as possible so that they break from time to time and thus revitalise the yumi.

Hemp Has a nice sound, tears quickly, expensive, comes in different thicknesses and lengths - depending on the yumi.
Hemp / synthetic fibre blend Combines the qualities of hemp and aramid. The price is moderate.
Synthetic fibre is inexpensive and lasts a long time.

THE TSURU IS TORN

After tearing the tsuru, it makes sense to let the yumi rest for half a day or a whole day. The height (urazori) of the yumi often changes considerably when it is relaxed (it becomes higher).

PUTTING ON A NEW TSURU

The new tsuru is attached to the shimo-no-seki-ita (top) with the knot already tied and placed snugly on the inside of the yumi, which is curved outwards. When you arrive at the kami-no-seki-ita (bottom), measure back two finger widths from the point of attachment. This point is the bending point for the new knot. Care should be taken when tightening for the first time, as the tsuru may be too long or too short. If a discrepancy is detected, the tensioning process must be cancelled immediately and the tsuru lengthened or shortened accordingly.

HOW THE TSURUWA (TSURU KNOT) IS TIED

The shimonoshigake (knot at the top) is usually left as it is. The tsuru is lengthened or shortened at the Kaminoshigake (knot at the bottom). The tsuru becomes more supple with heat. With the waraji 草鞋 (tendon reamer), the tsuru can be rubbed warm in vigorous up and down movements. This spreads the kusune くすね (tsuru resin) evenly and makes the surface smoother.

NAKASHIKAKE 中仕掛 (TENDON WINDING)

A nakashikake (conical thickening) is attached to the tsuru in the docking area so that the ya sits firmly on the tsuru and the tsuru is protected at the same time. The tsuru is coated with white glue from just above the handle to 9 cm downwards, then hemp or softened old tsuru fibres are wrapped around the tsuru as shown.

Finally, the wrapping is rubbed smooth with the doho 道宝木 (rubbing sticks). The hazu 筈 (arrow nock) should then be kept full. The nakashikake must therefore be made neither too thick nor too thin. The doho are cleaned again after work, otherwise they will be no good the next time they are used.

The correct arrow length is measured from the centre of the neck to the fingertips plus two to three finger widths. Arrows that are too short must not be used (risk of accident); arrows that are too long are not pretty, but can be used.

Ya > Arrow
No > Arrow shaft
Hane > Feathers
Yajiri > Arrowhead (classic)
Yanone > Arrowhead (modern)
Hazu > nock
Yazutsu > quiver
Haya > first arrow, male
Otoya > second arrow, female
Boya > practice arrow for makiwara practice without feathers. The bamboo shaft is thicker than that of a long-distance arrow
Makiwaraya > Arrow with narrow feathers for makiwara practice
Kazuya > Favourable arrow for mato practice with feathers. The bamboo shaft is thinner than a makiwara arrow. Therefore, you must not shoot it at the makiwara (risk of breakage)
Yotsuya > Four good arrows for mato practice with identical shafts and exquisite feathers

Hane > Feathers
Otori > Sea eagle
Taka > falcon
Ishiuchi > outer tail feather of a sea eagle or falcon - best quality
Oba > inner tail feather of a sea eagle or falcon - better quality
Teba > wing feather of an eagle or falcon - good quality
Haya Hane > left curved feather used for the Haya
Otoya Hane > right curved feather used for the Otoya

Feathers from turkeys and swans are used for a favourable ya. Feathers from birds of prey may only be used if they comply with the International Convention on International Trade in Endangered Species of Wild Fauna and Flora.

Hazu - cams made of horn or plastic
Yajiri - tips different for Makiwara-Renshu and Mato-Renshu

Bamboo A thin coat of clove or walnut oil cares for the bamboo.
Feathers Ruffled feathers can be straightened using steam.

Whenever possible, the kake is put on sitting down (in the direction of the makiwara, mato or kamiza). To protect the inside of the kake, the shitagake (inner glove) is put on first. The kakehimo (strap) is placed around the neck so that it does not fall to the floor. The fingers and thumbs of the kake should not be touched on the outside so that they do not become greasy.

Special binding On mourning occasions, the kake is tied at the bottom of the wrist in Chikurin ha as a sign of sympathy (in other schools, the kake is always tied at the bottom).

Giriko
Giriko (a powder made from tree resin such as rosin) is applied to the middle finger and massaged in so that the Kake can be used optimally. This resin ensures that the thumb adheres properly to the middle finger.

Oshidegake
When practising, the feathers of the ya can scratch the skin of the yunde (bow hand). To prevent this, a protective glove can be worn, which mainly protects the thumb.

Shibata Kanjuro XXI Sensei says: Practising barefoot is ok.

Trousers


Skirt

tied Hakama (left: trousers; right: skirt)