Indian martial arts

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Indian martial art refers to the battle system in the Indian subcontinent. Various terms are used for the English phrase "Indian martial arts", usually derived from Sanskrit or Dravidian sources. Although it seems to imply special discipline (eg archery, armed combat), in Classical times they are used generally for all combat systems.

Which of the most common terms of today, ? Astra-vidy? , is a combination of the words ? Astra (weapons) and vidy? (knowledge). Dhanurveda comes from the words for the bow ( dhanushya ) and knowledge ( veda ), "archaic" in the Puranic literature, martial arts in general. The text of Vishnu Purana describes dhanuveda as one of the eighteen traditional branches of "applied knowledge" or upaveda, along with shastrashastra or military science. The next term, yuddha kal? , derived from the words yuddha which means fighting or fighting and kal? which means art or skill. Related terms ? Astra kal? (lit. artistic weapons) usually refers specifically to armed discipline. Another term, yuddha-vidy? or "combat knowledge", refers to the skills used in the battlefield, covering not only actual combat but also battle formation and strategy. Martial arts are usually learned and practiced in traditional arts.

Video Indian martial arts

Histori

Antiquity (pra-Gupta)

Dhanurveda , parts found in the Vedas (1700 BC - 1100 BC) contain references to martial arts. The Indian epic contains early combat records, both armed and empty handed. Most of the Hindu-Buddhist gods are armed with their personal weapons, and are respected not only as the main martial artists but often as the originators of the system itself. The Mahabharata tells of an armed fighter with only a dagger on a lion, and describes a prolonged battle between Arjuna and Karna using bow, sword, tree, stone and boxing. The other unarmed combat in Mahabharata depicts two boxing fighter with fists and fights with kicks, finger attacks, knee attacks, and headbutts.

The oldest records of unarmed martial arts organized in South Asia are malla-yuddha or wrestling, codified into four forms and pre-dating the Vedic Period. The story depicting Krishna reports that he is sometimes involved in wrestling matches where he uses knee to chest attacks, blows to the head, hair pulls, and clutches. Based on the account, Svinth (2002) tracks the press ups and squats used by South Asian wrestlers to the pre-classic era.

In the Sanskrit literature, the term dwandwayuddha refers to duel, like the battle between only two soldiers and not soldiers. Epic often describes duel between god and hero like god as eternal one month or more. Malla-yuddha (wrestling competition) between Bhima and Jarasandha lasted for 27 days. Similarly, dwandayuddha between Parasurama and Bisma lasts for 30 days, meanwhile between Krishna and Jambavan lasts for 28 days. Likewise, dwandwayudda between Bali and Dundubhi, iblis in the form of buffalo, lasts for 45 days. The manusmriti said that if the jaws of a warrior were free during such a fight or duel, the opponent had to give him time to tie his hair before proceeding.

The Charanavyuha written by Shaunaka mentions four upaveda (applied Veda). These include archery (dhanurveda ) and military science ( shastrashastra ), its occupation is the dharma (dharma ) task of the knight class. The king usually belongs to the warrior class (warrior) and thus serves as head of the army. They usually practice archery, wrestling, boxing, and swords as part of their education. Examples include rulers such as Siddhartha Gautama and Rudradaman. Chinese monk Xuanzang wrote that Emperor Harsha was light on his feet despite his advanced age and managed to escape and arrest an assailant during the assassination attempt.

Many of the popular sports mentioned in the Vedas and epics are derived from military training, such as boxing (muslim-yuddha), wrestling (maladwandwa ), racing trains ( rathachalan ), horseback riding and archery ( dhanurvidya ). The competition is held not only as a player's greatness contest but also as a means to find the groom. Arjuna, Rama and Siddhartha Gautama all won their consorts in such tournaments.

In the 3rd century, the elements of the Patanjali Sutra Yoga, as well as the movement of the fingers in the dance of nata, were included in the art of fighting. A number of South Asian fighting styles remain closely related to yoga, dance and performing arts. Some of the choreographer sparring in kalaripayat can be applied to dance and kathakali dancers who know their worth is believed to be better than other players. Until last few decades, chhau dance is performed only by martial artist. Some traditional Indian traditional dance schools still incorporate martial arts as part of their training.

The written proof of martial arts in South India started from the Sangam literature around the 2nd century BC until the 2nd century. The Akananuru and Purananuru describe the use of spears, swords, shields, arcs and silambam in Sangam era. The calendars appear at Puram (v. 225, 237, 245, 356) and Akam (v. 34, 231, 293) to illustrate battlefields and battlefields. The word kalari tatt is symbolized as a military achievement, while kalari kozhai means cowards in the war. Each soldier in Sangam era receives regular military training in target training and riding. They specialize in one or more important weapons of the period including spears ( vel ), swords ( val ), shields ( creeps ), and arcs and arrows ( vil ambuous ). The battle technique of the Sangam period is the precursor precursor for kalipipayat. References to "Silappadikkaram" in the Sangam literature come from the 2nd century. This refers to the silambam staff who are very interested by foreign visitors.

The ten fighting styles of northern literature are said to have been created in different regions based on animals and gods, and are designed for certain geographies of their origin. The tradition attributes their convergence to the 6th century Buddhist university, Takshashila, the ancient Indian intellectual capital. Located in Panjab today, Pakistan, Ramayana mentions the city's establishment to Bharata who named it after his son Taksha. From the 7th century to the 5th century BC, this is considered very important as a center of commerce and learning, attracting students from all over Pakistan and northern India today. Among the subjects taught is "military science", and archery is one of its main art.

Several steps were taken to prevent martial activities during the Buddhist period. Khandhaka especially forbids wrestling, boxing, archery, and swordsmanship. However, references to martial arts are found in early Buddhist texts, such as the Lotus Sutra of the Lotus (1st century CE) referring to the art of boxing when speaking with Manjusri. These are also categorized combat techniques as shared keys, boxing strikes, grapples and throws. Saddharma The Lotus Sutra further mentions the martial art with a dance-like movement called Nara . Another Buddhist sutra called Hongyo-kyo (?????) describes the "power contest" between the ancestor of Buddha the Prince Nanda and his cousin Devadatta. Siddhartha Gautama himself was a champion wrestler and swordsman before becoming a Buddha.

Classic Period (3rd to 10th centuries)

Like other Sanskrit literary branches, treatises on martial arts became more systematic in the course of the first millennium AD. Vajra-musti, the style of armed wrestling, is mentioned in the source of the early centuries AD. Around this time, tantric philosophers developed important metaphysical concepts such as kundalini, chakra, and mantras.

The Sushuta Samhita (c) of the 4th century identifies 107 vital points on the human body that are classified as deadly if properly beaten with a fist or a stick. The work of Sushruta forms the basis of the medical discipline of ayurveda that is taught alongside various martial arts. With many other references scattered to vital points in Vedic and epic sources, it is certain that early South Asian fighters knew and practiced attacking or defending important points.

Around 630, King Narasimhavarman of the Pallava dynasty commissioned dozens of granite statues showing unarmed combatants disarming armed opponents. This is similar to the style described in Agni Purana .

Martial arts are not exclusive to the kshatriya caste, although the knight class uses them more widely. The 8th century text Kuvalaymala by Udyotanasuri records a fighting technique taught in educational institutions, where non-kshatriya students from all the subcontinent "are learning and practicing archery, fighting with swords and shields, with daggers, sticks, spears, and with fists, and in duel ( niyuddham ) ". Hindu priests from traditional gurukulas still teach their students' unsupported fighting techniques as a way of increasing stamina and training the physical body.

Gurjara-Pratihara began to rule during the 7th century and established a kyshatria dynasty in northern India that surpassed the previous Gupta Empire. During this period, Emperor Nagabhata I (750-780 AD) and Mihir Bhoja I (836-890) commissioned various texts on martial arts, and became practitioners of this system. Shiva Dhanuveda was compiled in this era. The khadga , a long-toed long-pointed sword, is given special preference. It is even used for khadga-puja , the ritual of sword worship. Gurjara-Pratiharas constantly attacked the Arab invasion, especially during the Khilafah campaign in India. The Arab historian Sulaiman writes about the ruler of Gurjara as the greatest enemy of Islamic expansion, while at the same time praising his cavalry. Gurjas still retain their gatka and kushti traditions, and to this day there are world-class wrestlers from communities that compete at national and international levels.

Kalipipayat has evolved into its present form in the 11th century, during the long period of war between the Cheras and Chola dynasties. The earliest leaflets that deal with the malla-yuddha technique are Malla Purana (13th century), unlike the previous Manasollasa that give the names of the movements but no description.

For several centuries, the invading Muslim armies have occupied much of Pakistan and northern India today. In response to the spread of Muslim rule, the southern Indian empire united in the 14th century to find the Vijayanagara Empire. Physical culture received much attention both by nobles and commoners in the empire, with wrestling becoming very popular with men and women. The gymnasium has been found in the royal neighborhood of Vijayanagara, and the records speak of regular physical training for commanders and their soldiers during peacetime. Royal palaces and the market place has a special arena where nobles and ordinary people are equally happy with watching games like chicken fights, ram fights and wrestling. One account describes the akhara in Chandragiri where the nobility practiced jumping, boxing, fencing and wrestling almost every day before dinner to maintain their health, and observed that "the seventy-year-old man only saw thirty".

Italian traveler Pietro Della Valle writes about the cane battle in southern India. According to Pietro, it is customary for soldiers to specialize in their particular skills and never use others even during war, "thus being highly skilled and well trained in what he does."

Like their predecessors, sword and wrestling games are commonly performed by Vijayanagara nobles. Krishna Deva Raya is said to have arranged a duel between a champion swordsman and prince Odisha known as an expert with swords and daggers. The prince accepts the challenge until he knows that he will fight someone who is not of royal blood and thus kills himself rather than "gouging his hands". Fernao Nunes and the Persian Persib Razzak messenger reported that Deva Raya II survived the assassination attempt "because he is a man who knows how to use swords and daggers better than anyone in his kingdom, avoided by the twists and turns of his body, the impetus directed at him, free him from him, and kill him with the short sword he has. "

Mughal Era (1526-1857)

After a series of victories, the conqueror of Central Asia, Babur, established the Mughal government in northern India during the 16th century. The Mughal family are patrons of native Indian art, not only recruiting Rajput warriors trained for their army but even practicing this system on their own. The Ausanasa Dhanurveda Sankalanam dates from the late 16th century, compiled under the auspices of Akbar. The Ain-i-Akbari says that the Mughal palace has various types of warring people from around the empire who will show their skills every day in exchange for rewards. Among them are said to be both native wrestlers and Mughal, slingers from Gujarat, Hindustani athletes, boxers, stone throwers and many others.

"There are several types of gladiators, each performing an amazing feat, in which they show speed and agility and combine courage and skill in squatting and up again, some using shields in combat, others using mace, defense and one-handed fighting, this is called ek-hath Those from the eastern districts of Hindostan use a small shield called "chirwah ." People from the province the south has such a shield to cover a man and a horse.This shield is called tilwah Another class uses a shield somewhat less than the height of a human, some use long swords, and grab them with their hands doing outside skills regular skills. There is another famous class called BankÃÆ'ºlis.They do not have a shield but utilize a strange type of pe dang who, although curved toward the point, straight near his grip, they master it with great skill, the skills they exhibit pass through all the descriptions. Others are skilled in fighting with knives and knives of various shapes; this is over a hundred thousand. Each class has a different name; they also differ in their appearance. In court there are a thousand gladiators who are always ready. "

Diligent hunters, popular sports among the Mughal tribe are shikar or tiger hunts. Although it is often done with arrows and then even rifles, it is considered most impressive to kill a tiger with a hand-to-hand weapon such as a sword or a dagger. A fighter who succeeds in becoming the best tiger will be awarded the title of Pachmar .

In the 16th century, Madhusudana Saraswati of Bengal organized part of the Naga armed sannyasi tradition to protect Hindus from the intolerant Mughal rulers. Although it is generally said to abide by the principle of nonviolence ( ahims? ), these Dashanami monks have long established an akhara for yoga practice and martial arts. Such battles have been recorded from 1500 to the end of the eighteenth century, although tradition links their creation with the 8th century philosopher Sankaracharya. They begin as the strata of Rajput warriors who will gather after the harvest and arm the peasants into military units, which effectively act as a self-defense squad. Common in Rajasthan, Maharashtra and Bengal, they will surrender their jobs and leave their families to live as mercenaries. Sadhu dragons today rarely practice any form of combat other than wrestling, but still carry trishula, swords, sticks and spears. To this day their retreats are called chhauni or armed camps, and they have been known to hold spears replicas among themselves. Recently in the 1950s, it was not unusual for the sadhu dragon to attack to kill someone because of a matter of honor.

There is also the seventeenth century Dhanurveda-samhita associated with Vasishtha. Maratha_dynasty_.281674.E2.80.931859.29 The Maratha Dynasty (1674-1859)

Originating from a hilly area marked by valleys and caves, Maratha became an expert horseman who liked light armor and a very mobile riding unit during the war. Known primarily as sword and spear master, their martial arts and tendencies for spears were mentioned at the beginning of the 7th century by Xuanzang. After serving the Dakshin sultanate at the beginning of the 17th century, the scattered Marathas united to find their own empire under soldier Shivaji Raje. After studying the original art of mardani khela from an early age, Chhatrapati Shivaji Maharaj is a skilled swordsman and proficient in the use of various weapons. He took advantage of his people's skill in guerrilla tactics (Siwi's silk) to rebuild Hindi Swarajya (native [Hinduism became a term traditionally applied to indigenous Indians throughout ancient times ] self-government) at the time of Muslim supremacy and increased intolerance. Utilizes speed, focused shock attacks (usually at night and on rocky terrain), and the geography of Maharashtra, Karnataka, & amp; South India; the Maratha rulers managed to defend their territory from the larger and heavily armed Mughal. The remaining Maratha Light Infantry is one of the "oldest and most famous" regiments of the Indian Army, tracing its origins to 1768.

Paika Rebellion

Paika is the word Odia for fighters or warriors. Their training school, known as paika akhada, can be traced back to ancient Kalinga and their art at one time protected by King Kharavela. In March 1817, under the leadership of Bakshi Jagabandhu Bidyadhar Mohapatra, nearly 400 Khanda Ghumusar in Ganjam marched towards Khordha in protest against British colonial rule. Many government buildings were burned and all officials fled. The British commander of a detachment was killed in a battle in Gangapada. Paika manages to capture two bases in Puri and Pipli before spreading a further uprising into Gop, Tiran, Kanika and Kujang. The rebellion lasted one and a half years before it was put out in September 1818. Today paika akhada is known primarily for their street performances during the festival.

Modern period (1857 - present)

South Asian martial art experienced a period of decline after the full establishment of British colonial rule in the 19th century. More European ways to regulate kings, soldiers, and government agencies, and increased use of firearms, are gradually eroding the need for traditional combat training related to caste-specific tasks. The British colonial government banned kalaripayat in 1804 in response to a series of rebellions. Silambam is also banned and is becoming more common in the Malay Peninsula than the native Tamil Nadu. However, traditional combat systems remain, sometimes even under the protection of enthusiastic British audiences who tend to comment on the original boxing violence and acrobatic movements that characterize South Asian fighting styles.

The British take advantage of societies with a very militaristic culture, characterizing them as "martial arts" and hiring them in the armed forces. Sikhs - already well known among Indians for their martial training - are highly regarded by colonists as soldiers and guards, and are stationed throughout not just India but Southeast Asia and other parts of the British Empire. Members of the army were allowed in as a means of settling disputes, provided they could still perform their duties as warriors after the game. The special form of boxing used by Punjabi soldiers is loh-musti , because the kara used by Sikhs can be used like brass knuckles.

The revival of public interest in the kalaripayat began in 1920 in Tellicherry as part of a wave of rediscovery of traditional art throughout southern India that marked a growing reaction to British colonial rule. Over the next three decades, other regional styles were later revived such as the silambam in Tamil Nadu, thang-ta in Manipur and paika akhada in Orissa.

Maps Indian martial arts

Text

Agni Purana

One of the earliest surviving guides of Indian martial arts is in Agni Purana (dated between the 8th and 11th centuries), the dhurveda section of Agni Purana includes chapters 248-251, categorizing weapons into thrown classes and not done and then subdivided into sub-classes. It catalogs the training into five main divisions for different types of warriors, namely horse-drawn carriages, rider elephants, horsemen, infantry, and wrestlers.

Nine asanas (horses) in the fight are listed below:

1. samapada ("holding the foot even"): standing in a closed row with feet together (248,9)
2. vai ?? kha : standing tall with separate legs (248.10)
3. ma ?? ala ("disk"): standing with separate knees, arranged in the form of a flock of swans (248.11)
4. ? l ?? ha ("lick, shine"): bend right knee with left leg pulled back (248.12)
5. polite? l ?? ha : bend the left knee with the right leg pulled back (248.13)
6. j? ta ("origin"): placing the right leg straight with the left foot perpendicular, the ankle being five separate fingers (248.14)
7. da ??? yata ("extended staff"): keep your right knee bent with your left leg straight, or vice versa; called vika? a ("horrible") if two feet apart two palms (248.16)
8. sampu? a ("hemisphere") (248.17)
9. swastika ("welfare"): keep both feet apart and lift the legs slightly (248.19)

Then there is a more detailed discussion of archery techniques.

This section ends with a list of action names or "actions" possible with a number of weapons, including 32 positions to be taken with swords and shields ( kha? Gacarmavidhau ), 11 names of techniques using rope in battle, with 5 names "action in the rope operation" along with a list of "deeds" related to the chakram (war-quoit), spear, tomara (iron club), mace, ax, i> bind? la or laguda , vajra, dagger, slingshot, and finally the action with a paw or a paw. A short section near the end of the text returns to the greater war concerns and explains the various uses of elephant and human warfare. The text ends with a description of how to send well-trained fighters to the battlefield.

Arthashastra

Arthashastra, c. The 4th century BC, usually associated with Chanakya chief advisor Chandragupt Maurya was one of the earliest treatises on state craft, including various topics such as economics, politics, diplomacy and military strategy.

More

There are still Dhanurveda-Samhita dating to the mid-14th century, by Brhat Sarngadhara Paddhati (ed. 1888).
Other references scattered for the art of fighting in medieval text include:
Kamandakiya Nitisara (8th century ed. Manmatha Nath Dutt, 1896),
The Nitivakyamrta by Somadeva Suri (10th century), the Site The Yuktikalpataru from Bhoja (11th century) and
The Manasollasa of Somesvara III (12th century)

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Weapons & amp; Art

Various weapons are used in South Asia, some of which are not found elsewhere. According to P.C. Chakravati in The Art of War in Ancient India , soldiers used standard weapons such as wooden or metal-tipped spears, swords, bamboo rumbia, wood or metal shields, axes, short and long bows in warfare as early as the 4th century BC. The military reports of the Gupta Empire (about 240-480) and Agni Purana later identified more than 130 different weapons.

The Agni Purana divides the weapon into the thrown class and is not streamed. The thrown class ( mukta

yantra-mukta : projectile weapons such as sling or bow

p ?? i-mukta : weapons thrown by hand like a javelin

mukta-sandarita

mantras : the mystical weapons cast by the magic spell (mantra), totaling 6 types

This is contrary to the class that is much larger than the three categories.

• hasta-? astra or amukta : a short-range weapon that does not leave a hand, totals twenty types
• mukt? look : weapons that can be thrown or used in close proximity, with a total of 98 varieties
• b? hu-yuddha or bhuja-yuddha : a body weapon, which is a no-arms battle

Duel with bow and arrow is considered the noblest, fighting with the next spear, while fighting with the sword is considered unrefined, and wrestling is classified as the most violent or worst form of fighting. Only a Brahmin who can be an acharya (teacher) of sastravidya, Kshatriya and vaishya must learn from Acharya, while a shudra can not take a teacher, go to "fight with himself in danger".

Over time, weapons developed and India became famous for its flexible wootz steel. The weapons most often taught in Indian martial arts today are the types of swords, daggers, spears, sticks, cudgels and maces.

Weapons are associated with some of the superstitions and cultural beliefs in South Asia. Drawing weapons for no reason is forbidden and considered by Hindus to disrespect Goddess Chandika. Thus the saying that the sword can not be sheathed until he takes blood. It was the duty of a mother to tie a warrior's sword around her waist before a war or a duel. In addition, he will cut his finger with a sword and make a tilak on his head from a drop of his blood. The weapons themselves are also anointed with tilak, most often from the newly decapitated goat blood ( chatanga ). Other taboos include seeing someone's shadow on a knife, saying the price or source of the acquisition, throwing it to the ground or using it for domestic purposes. Swordsmanship (Khadgavidya) Spearplay

Yudhishthira is said to be a master in the battle of the spear in Mahabharata , while Shalya is also noted to be a very good fighter in the field of spear. Also according to Indian Hindu myth, Kartikeya, son of Lord Shiva is said to be skilled in spear battles, holding a divine spear called Vel. The South Asian spear is usually made of bamboo with a steel knife. It can be used in hand-to-hand combat or cast when the fighters are far apart. Although primarily a thrust weapon, the wide spearhead also allows many cutting techniques. In the 17th century, the Rajput mercenaries in the Mughal army used a kind of spear that united the speared butt of a spear and a club near the head, making it similar to the mace. On the other hand, the longer cavalry spear is made of wood, with red cloth attached to the knife to prevent the opponent's blood from dripping into the shaft. The Marathas are respected for their skills of holding a ten-foot spear called bothati ( ?????? ) from the horse. The battle of Bothati is practiced with a spear-tipped ball, whose edges are covered with dye so that the collision can be easily confirmed. In solo training, the spear is aimed at a pile of stones. From here finally developed a unique Indian vita which has a five-foot rope attached to the tip of the weapon and tied to the spearman's wrist. By using this rope the spear can be pulled back after being cast.

Archery (Dhanurvidya)

Archery is noted as one of the noblest forms of defense within Indian cultural heritage. Siddharta Gautama is a champion with a bow, while Rama, Arjuna, Karna, Bisma, Drona and Ekalavya of all epics are all said to be unsurpassed archers.

The Indian arc was described as the height of their users by Arrian, and the Deccan arc in 1518 as "long as England". Composite bow is featured in Mughal artwork.

Traditional archery is currently practiced especially in the states of Ladakh and Arunachal in the far north. One sport that has survived to this day is thoda from Himachal Pradesh, where the archers try to shoot dull arrows at the foot of the opposing team. Mace-fighting_ (Gadayuddha) "> Mace-fighting (Gadayuddha)

Mace (Mace) is the weapon of Hanuman God in Ramayana. Lord Vishnu also carries a mace named Kaumodaki in one of his four hands. In the Mahabharata epic, Bhima, Duryodhana, Jarasandha and Balarama fighters are said to be masters of the mace. In the battle of the mace, Bhima won the final battle against Duryodhana by hitting the inner thighs. Such attacks below the waist are said to be in conflict with the duel mace etiquette, implying a degree of similarity to this type of battle. That and still be used as training equipment by wrestlers. A traditional mace (mace) is basically a wooden or steel ball mounted on the handle and with a single spike at the top. An alternate mace head is off off in the form of a lotus. According to Agni Purana , mace can be handled in twenty different ways. Due to its weight, a mace is said to be best suited for a fighter with large buildings or great strength. Mughal or mace clubs, known as gurj or gargaj , have a head consisting of 8-10 petal-shaped blades. Equipped with basket-hilt, round ball, and spiked top, this club type is designed to defeat opponents of armor-clad. Alternately, some gurjs have a pointed top and a hand guard.

Wrestling (Mallayuddha)

Grappling art ( malla-vidya ), practiced as a sport or a fighting style, is found throughout South Asia. True wrestling is called malla-yuddha, while the term malakhra refers to wrestling for sport. Malla-yuddha was codified into four forms that evolved from a purely sportive power contest into a real full contact fight known as yuddha . Because of extreme violence, this final form is generally no longer practiced. The second form, in which the wrestlers try to lift each other off the ground for three seconds, survive in Karnataka. Under the influence of the Mughal, the malla-yuddha incorporated a new training method known as kusti, which soon dominated much of South Asia. The traditional Malla-yuddha is almost extinct in the north where it has been replaced by kusti, but other forms of malakhra still exist in parts of India and Sindh, Pakistan. Vajra-musti is another old grappling art in which competitors wrestle while wearing horned knuckleduster. In the later styles it is called naki ka kusti (claw wrestlers), the duellists fight with bagh nakha. Many folk wrestling styles are also found in rural India, such as the mukna of Manipur and Inbuan wrestling from Mizoram.

Boxing (Mushtiyuddha)

Boxing (musti-yuddha) has traditionally been regarded as the most abusive form of unarmed South Asian combat. In ancient times it was popular throughout what is now Pakistan and northern India, but is rarely practiced today. Boxers hardened their fists with flashy stones and other hard objects. Matches can be one-on-one or group bouts. All types of strikes and grabs are allowed, and any part of the body can be targeted except the groin. Another form of boxing is loh-musti (meaning "iron hand"), said to have been practiced by Lord Krishna. In this variation, the boxer fights while holding a kara or a steel bracelet like a knuckleduster. Grabs, kicks, bites and attacks on the groin are all legal, the only prohibition of spitting on an opponent who is considered rude and dishonorable. Kara used for ordinary matches has no decoration, but the forms used during the war have one or more spikes on the edges. The kara can be paired with one in each hand, but it is generally only worn in one hand so that the other hand can be left free. In some cases, the free hand can be paired with another weapon, the most common of the nakha.

Kick

Kick-fighting ( aki kiti ) is the preservation of tribes from Nagaland. While the entire Naga population in northeastern India and northwestern Myanmar are traditionally known for their skill with wide swords (dao ) and other weapons, disputes between tribes and between tribes are solved in the sheer form kick-based unarmed. fight. The goal is to push the opponent to the knee or outside the ring. Only the legs used to attack, and even blocking should be done with the foot.

Pugilism

Many forms of unarmed combat ( b? Hu-yuddha or bhuja-yuddha ) combine too many techniques to categorize accurately. In modern times when carrying weapons is no longer legal, martial arts teachers often emphasize unarmed techniques as it looks more practical for self-defense purposes. A combatant without a weapon called the bhajanh , literally means someone who fights with their hands. The empty hand components of Indian martial arts are usually based on animal movements or Hindu gods. Binot, a Central Indian art that focuses on defense against armed and unarmed opponents, may be the earliest system of its kind. In the Mughal era, such warriors were known as ek-hath (lit. "one hand"), so named because they would show their art just using one arm.

Bal Vidya

64 kinds of skills & amp; art exists in ancient India that leads to well-developed individuals who improve their mind, body and intelligence so that they are able to perform their responsibilities efficiently and effectively on a personal, social and national level. Today, unhealthy and irregular lifestyles, frustration and increased competition in every area of ​​life affect the health of people, especially the youth. In such a scenario, one of the ancient Indian artes referred to as "Bal Vidya" can help not only to improve physical health but also improve one's mental and intellectual well-being. A strong mind and intellect are as important as a strong body. The Shree Aniruddha Upasana Foundation (Mumbai, India) is trying to revisit this ancient Indian martial art form and provide free "Bal Vidya" training to men and women. Art forms such as Mudgal Vidya, Vajra Mushthi, Surya Bhedan, Ashwa and various types of Yashwanti Malla Vidya use various weapons such as Laathi (iron-bound bamboo stick), Kaathi (Pole), Fari-Gadga, Dorkhand (rope) and Dandpatta (gauntlet ) -women). A book detailing all of these art forms under the title "Bhartiya Prachin Bal Vidya" (Indian Ancient Bal Art) is also available to achieve proficiency through training sessions attending the training sessions.

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System

As in other matters of Indian culture, South Asian martial arts can be divided into northern and southern styles. The northern system (including Pakistan and Bangladesh) can generally be referred to as shastra-vidiya , although this term is often used synonymously with gatka. The main difference is that the north is more open to Persian influences during the Mughal period, while the south is more conservative in preserving ancient and medieval traditions. The exception to this rule is the northeastern state which, due to their geographical location, is closed from most of the pre-European foreign invaders. As a result, the culture and methods of northeastern Indian battles are also closely related to Southeast Asia. In addition to the major divisions between the north and south, South Asian martial systems tend to be associated with certain states, cities, villages or ethnic groups.

Regional Style

Andhra Pradesh

Masters in Andhra Pradesh trace their lineage to the Vijayanagara empire, popular in the Konaseema region. The original system of Chedi Talimkhana or yudhkaushalya che talim is often abbreviated as Talimkhana or just Talim . Art uses some of the weapons used in the prescribed form. These include knife battles, sword fighting, and fighting staff ( kara samu ) in addition to other weapons such as mace (mace) and pata (sword guantlet).

Bengal and Bangladesh

Bengali war dance testimonials about weapons ever used in the Bengal region. Today most of these weapons are only used in choreography fights, including dao khela (knife combat) and fala khela (sword combat). The traditional stick battles (lathi khela) are still used in today's free debate. The stick may be short like a long coat or stick. The first one is sometimes paired with a shield.

Bihar

"Pari-khanda" is a form of fights created by Rajput and still practiced in many parts of Bihar. "Pari" means shield and "khanda" means sword according to region "Chhau", therefore this art uses sword and shield to fight. This battle has spawned a form of local dance called "Chhau" dance and martial elements have been completely absorbed by this dance. This is even done in some parts of Jharkhand and Odisha. Chhau is the name of a traditional dance drama in the eastern region of India and consists of three types. The three forms of "Chhau" are named after the district or village where they are performed, namely Purulia Chau from Bengal, Seraikella Chau from Bihar and Mayurbhanj Chau from Orissa.

Karnataka

Kannada's Battle Art is taught exclusively in traditional training rooms or garage mane . Disciplines include unarmed combat ( kai varase ), staff combat ( varage collars ) and sword combat ( katti varase ) among other weapons. It is most commonly viewed today only during the choreography demonstrations at the festival.

Kashmir

The swordsmanship of Kashmir is said to have an ancient history, but only then did he acquire his modern name sqay. Sqay survived the decline after the Indian partition by adopting the competitive methodology of karate and taekwondo. The types of competition include sparring, breaking, and forms or khawankay . Spak Prakira uses a fake sword called tora paired with a shield. Point-based debate, points given for successful striking with tora or by foot.

Kerala

The art of Keralite war comes to its present form through kalari, local variation of the gurukula education institution. Historically, a group of Kerala soldiers practiced Kalaripayut. Today there are three kalaripayat branches: north, middle and south. Training progresses from footwork and horses to unarmed techniques, blunt weapons, and ultimately weapons-eyed. The most common weapons today are sticks, sticks, swords, shields, spears, daggers and flexible swords.

Maharashtra

The Marathas develop their fighting styles based on country's hilly geography. Mardani khel today teaches armed techniques to be used in single combat as well as defense against multiple opponents. Other weapons include sword, shield, spear, dagger, kukri, double deer horn, and bow and arrow.

Manipur

The Manipuri art of huyen lalong was once practiced by indigenous tribes of states that would be involved in a duel governed by strict behavior rules. The armed component called thang-ta is named after the system's main weapon, thang (sword) and ta cheibi gatka where the foam sword is used in conjunction with the shield. Unarmed Huyen lalong is called the sissy and is used in conjunction with thang-ta when fighters lose their weapons.

Odisha

Orissan martial arts traces back to the class of paika soldiers mainly known for their use of khanda or double-edged swords. During peacetime, paika will hone their skills through martial arts, form training and various acrobatics. Their offspring have preserved this exercise in a training room called paika akhada, and demonstrating them primarily through street performances. Their sword training method called pari-khanda is still used as the first part of the chhau dance. Other weapons include staff and swordsmanship.

Panjab and Rajasthan areas

Martial arts in northwestern India and adjacent Pakistan are traditionally referred to by some terms but the most common ones today are shastara-vidiya or "self-defense science". Swordsman practice their technique either in routine using real sword, or free style combat with wooden stick called gatka, a form of stick battle. Gatka is associated with Sikh history and an integral part of the Shastar Vidiya Sikh array. During the colonial period, the term gatka was extended to mean the northwestern martial art in general. Some aspects of art, such as unarmed techniques or combat in armor, are currently practiced almost exclusively by the Nihang Sikh Order. Gatka combines several shapes, each with their own set of weapons, strategies, and footwork. At the end of the 18th century, this martial art was further developed as a recreational game and Panjab University of Lahore codified its rules to play it as a game.

Tamil Nadu

The original Tamil martial art has been referred to as silambam after its main weapon, bamboo staff. Training begins with a pattern of footwork before progressing to an attitude and then a fighting technique. Apart from its name, silambam includes various weapons such as swords, twin sticks, double deer antlers, whips, swords, shields and swords, daggers, flexible swords, and sickles. Unarmed silambam ( kai silambam ) is based on animal movements such as snakes, eagles, tigers, and elephants. Other Martial Arts from Tamil Nadu are Varma Kalai, Kalari Payattu, Adi Thadi, Malyutham AND Gusthi (Boxing Form from Tamil Nadu, not to be confused with North Indian Kushti which is a Wrestling art.)

src: www.sharda.ac.in

References

src: thumbs.dreamstime.com

External links

• Guru Hemang Shastar Vidiya
• Hegarty, Stephanie. "The only surviving martial arts teacher." BBC . October 29, 2011.
• Sikh Shastar Vidiya Restoration

Source of the article : Wikipedia